Showing posts with label B-Venues. Show all posts
Showing posts with label B-Venues. Show all posts

Tuesday, February 5, 2013

Barbary Coast Room, International Room, Women's Gym, Commons Lawn, San Francisco State University, 1600 Holloway Ave., San Francisco, CA

Capacity 375

On May 3, 1993, S.F.S.U. Student Center's Barbary Coast Room was dedicated to Jack Adams and renamed Jack Adams Hall.(1) Jack Adams was a beloved member of the SFSU community for over 20 years and is remembered for his hard work and dedication to both the campus and AIDS community. A year after his graduation he joined SFSU as the properties manager, and later the stage manager for the school of Creative Arts.
In 1982 he was appointed assistant director of the Student Union, a position he would hold until his untimely death nearly ten years later.
Adams resigned in July 1992 because of his declining health due to AIDS-related complications. He passed away on November 21, 1992 at the age of 47.

Jerry performed here on
9/30/66 Grateful Dead
The "Whatever It Is" Trips Festival was held indoors and outdoors, over three days, according to the poster.(2)
Stewart Brand, was the promoter. The S.F.S.C. Acid Test was quite an event and was held in several different places on the campus. Ken Kesey came up from Mexico to attend, escorted by several of the Hell’s Angels, and he made numerous broadcasts from S.F.S.C.’s underground radio broadcast booth. This was the last legal Acid Test; LSD was made a controlled substance on October 6, 1966.(3)
On this night it took place in the International Room, S. F. State College, San Francisco, CA: Grateful Dead, The Only Alternative and His Other Possibilities with Mimi Farina, The Light Castle (9:00pm to 3:00am)(4)

10/1/66 Grateful Dead
On this night it was held in the Women's Gym, S. F. State College, San Francisco, CA: San Andreas Fault Finders, Dino Valenti, Universal Parking Lot, Congress Of Wonders (John Lennon Readings), Ken Kesey (with Freewheelin' Frank on harmonica and Kesey's cousin Dale on violin), Bill Ham Lightshow, Grateful Dead (9:00pm to 5:00am)(4)


10/2/66 Grateful Dead
Common's Lawn, S. F. State College, San Francisco, CA: Grateful Dead, The Only Alternative and His Other Possibilities with Mimi Farina, The Committee, Congress Of Wonders (12:00am to 3:00pm)(4)

Stereo Control Room Master (recorded 4:00am - 6:00am)
 October 2, 1966
.
1.)The Head Has Become Fat Rap

2.) A Mexican Story: 25 Bennies

3.) A Tarnished Galahad

4.) Get It Off The Ground Rap >

5.) It's Good To Be God Rap >

6.) Nirvana Army Rap >

7.) The Butcher Is Back

8.) Acid Test Graduation Announcement

9.) Send Me To The Moon >Closing Rap

Credits on 10/2/66:

Voices: Ken Kesey and Hugh Romney

Guitar: Ken Kesey

Violin: Dale Kesey

Organ: Jerry Garcia

Engineering: Steve Newman, Ken Kesey, Mountain Girl

Venues listed in the program are(4):
Common's Lawn
Education 117
Gallery Lounge
International Room
Lowell High School Field
Men's Gym
Sculpture Yard
Women's Gym 125
Women's Gym

The “Whatever It is” performances are as follows(5):  
30 September 1966
Sculpture Yard, S. F. State College, San Francisco, CA
Demon Lover, Anonymous Artists of America, The Infinite Painting & The Universal Structure
4:00pm on

30 September 1966
International Room, S. F. State College, San Francisco, CA
Grateful Dead, The Only Alternative and His Other Possibilities with Mimi Farina, The Light Castle
9:00pm to 3:00am

30 September 1966
Gallery Lounge, S. F. State College, San Francisco, CA
Don Garrett (9:00pm), Chloe Schott (10:00pm and 1:00am), Poetry Reading (11:00pm), Paul Robertson Jazz Band (12:00pm), Congress of Wonders (2:00am), Ron Boise Musical Sculpture and Artwork of Dion Wright, Bob Branaman, Bruce Connor and Karen Koslow
9:00pm to 3:00am

30 September 1966
Women's Gym, S. F. State College, San Francisco, CA
Bill Ham Light Show, Wildflower, Blue House Basement, J Baldwin's Tensed Membrane Screen, Rock Workshop
9:00pm to 3:00am

30 September 1966
Men's Gym, S. F. State College, San Francisco, CA
Bernie Gunther (of the Esalen Foundation) Sensory Awakening (10:00pm and 1:00am), Robert Baker Cosmic Comic (12:00pm), The Merry Pranksters, Don Buchla
 9:00pm to 3:00am
The Buchla Box
30 September 1966
Women's Gym 125, S. F. State College, San Francisco, CA
Bob Beck Light Show
9:00pm to 3:00am

30 September 1966
Education 117, S. F. State College, San Francisco, CA
Film Guild Movies
9:00pm to 3:00am

01 October 1966
Men's Pool, S. F. State College, San Francisco, CA
Water Polo (12:00am), Light Show and Open Swimming (2:00pm)
12:00am on

01 October 1966
Common's Lawn, S. F. State College, San Francisco, CA
Wildflower, Anonymous Artists of America, Blue House Basement (from 12:00am), The Committee (2:30pm), Robert Baker (4:00pm), San Francisco Mimi Troupe perform "Olive Pips" (5:00pm)
12:00am on

01 October 1966
Lowell High School Field, S. F. State College, San Francisco, CA
SF State v Santa Clara (Football - The Little Big Game)
1:30pm on

01 October 1966
Sculpture Yard, S. F. State College, San Francisco, CA
The Final Solution, Demon Lover, The Infinate Painting & The Universal Structure
4:00pm on

01 October 1966
International Room, S. F. State College, San Francisco, CA
??????
9:00pm to 3:00am

01 October 1966
Gallery Lounge, S. F. State College, San Francisco, CA
Don Garrett, Ron Boise Musical Sculpture and Artwork of Dion Wright, Bob Branaman, Bruce Connor and Karen Koslow.
9:00pm to 3:00am

01 October 1966
Women's Gym, S. F. State College, San Francisco, CA
San Andreas Fault Finders, Dino Valenti, Universal Parking Lot, Congress Of Wonders (John Lennon Readings), Ken Kesey (with Freewheelin' Frank on harmonica and Kesey's cousin Dale on violin), Bill Ham Lightshow, Grateful Dead
9:00pm to 5:00am

01 October 1966
Men's Gym, S. F. State College, San Francisco, CA
The Merry Pranksters, Don Buchla. A planned Jefferson Airplane and Paul Butterfield Blues Band after midnight performance was never held due to police intervention intervention.
9:00pm to 3:00am

01 October 1966
Education 117, S. F. State College, San Francisco, CA
Film Guild Movies
Day and Night
02 October 1966
Common's Lawn, S. F. State College, San Francisco, CA
Grateful Dead, The Only Alternative and His Other Possibilities with Mimi Farina, The Committee, Congress Of Wonders
12:00am to 3:00pm

01 October 1966
Women's Gym 125, S. F. State College, San Francisco, CA
Bob Beck Light Show
9:00pm to 3:00am

02 October 1966
Education 117, S. F. State College, San Francisco, CA
Film Guild Movies


3/3/82 Jerry Garcia Band (Barbary Coast Room)
Afternoon show.

1.)^http://www.sfsustudentcenter.com/about/heroes.php
2.)^http://www.deadlists.com/posters/1960s/19660930a.html
3.)^http://www.classicposters.com/Grateful_Dead/poster/Other_California/SFT.1966.09.30
4.)^The Yellow Shark, comments, 2013-02-07, http://jerrygarciasbrokendownpalaces.blogspot.com/2013/02/barbary-coast-room-and-commons-1650.html
5.)^5.)^Hannan, Ross, email to author, 2013-02-07.

Thursday, November 22, 2012

Big Al's Gashouse, 4335 El Camino Real, Palo Alto, CA

Big Al's Gashouse was a pizza-and-beer joint, affiliated with similarly named places in North Beach and around the Bay Area (there really was a "Big Al"). Big Al's was another pizza place, like The Tangent or Magoo's, but at least it was connected to the City, if not really part of it.
The exact date of the Warlocks gig (or gigs) is unknown, but McNally and Jackson (in The Illustrated Trip) place it in August 1965.
Big Al's Gashouse burned down in January 1966. It was eventually replaced by a suburban hipster bar called The Trip, which opened in November 1966, but by that time the Warlocks were very far past that road.(1)

Ashtray:
http://s286.beta.photobucket.com/user/THEMISTERSMILEY/media/ASHTRAYS%20-%20California%20SF%20Bay%20Area/DSCF0360.jpg.html

8/65 Warlocks

1.)^Arnold, Corry, Lost Live Dead, 2009-09-06, North To San Francisco, http://lostlivedead.blogspot.com/2009/09/north-to-san-francisco-warlocks-in.html

Sunday, November 18, 2012

Big Beat Club, 998 San Antonio Road, Palo Alto, CA

Owner Yvonne Modica, quite an interesting figure in her own right, had been a successful restaurant and night club entrepreneur in the Bay Area since the 1950's.
According to Yvonne Modica's obituary, one of the innovations of The Big Beat was a "breakfast show" from 2 to 6 am on Saturday and Sunday mornings, where no liquor was served. Apparently musicians would finish their other gigs, and come to jam and hang out until the early hours. Breakfast shows were a regular feature of Jazz clubs in San Francisco and later there were a number of rock or soul breakfast shows around the Bay Area, including at Winchester Cathedral in Redwood City, Frenchy's in Hayward or Modica's other club, The Trip in San Mateo, which opened later in 1966.

While the well-kept building is now vacant, it still looks very much like the 1960s pizza parlor and dance club where the Dead played an acid test. The location of the club, in a then deserted industrial district near Highway 101.(1)
Although The Big Beat continued to exist, it dropped completely off the psychedelic radar. The club was open at least until Spring 1968. Charlie Musselwhite performed here on March 24, 1968.

12/18/65 Grateful Dead
Seven days after they first performed as the Grateful Dead.
Ironically enough, The Big Beat's lasting fame came the weekend before it opened, when Ken Kesey's crew rented the place for a party, and the Grateful Dead played at The Acid Test.(1)
Held in a metal warehouse west of the railroad tracks, the event at the "Big Beat Club" was one of Kesey's Acid Tests.
"There were lots of people with their faces painted and a real carnivalesque feeling," remembers Nelson, now a San Francisco songwriter. "It was like a burgeoning rave scene, a million raves thrown into one."
"The Big Beat came out of nowhere. This is where everybody played, the next step from the coffeehouses," Williams says.
But before the Pranksters got on their now-famous bus, they treated the Peninsula to public acid tests. Spencer, a Perry Lane resident, was at the first one, in a warehouse down by the mudflats off Bayshore Road. He said it was the Grateful Dead's first big public performance.
"So was Neal Cassidy, among other soon to be infamous folks (the Dead, but they might have been the Warlocks at that point, and all the Pranksters). He and his girl-friend were having an argument at one point...very entertaining for the rest of us!"(2)
Interestingly, someone who attended recalls two stages on opposite sides of the building (a common arrangement, making it easy to switch over to a new band) and an all-girl band who alternated with the Dead.

1.)^Rock Prosopography 101, 2009-08-14, http://rockprosopography101.blogspot.com/2009/08/december-18-1965-big-beat-palo-alto.html
2.)^ Bell, Margaret, 2009-09-01, http://www.paloaltoonline.com/square/index.php?i=3&t=551#add_comments

Saturday, November 10, 2012

Barbara Meir's father's living room, CA



Jerry performed here in
??/??/61 Robert Hunter
"The only known tape of Bob and Jerry was recorded by Barbara Meier's father in the living room of her house at her sixteenth birthday party. As Danya says, "It was a big deal to be able to make a tape in those days; not like today where everyone has recorders."(1)






1.)^Jackson, Blair, Garcia: An American Life, pg. 36.

Friday, November 9, 2012

Bearsville Studios, Speare Road, Bearsville, New York

Bearsville Studios was a recording studio at Bearsville, New York just west of Woodstock, New York.
The Band doing a photo shoot in the main tracking room during the construction of Bearsville Studios.
The studio was opened in 1969 by Albert Grossman, manager of Bob Dylan, The Band, Janis Joplin and Todd Rundgren.
Most of Grossman's artist roster from Bearsville Records recorded at the studio. Notably including (alphabetically) The Band, Elizabeth Barraclough, Brian Briggs, Paul Butterfield, Bobby Charles, Foghat, The Johnny Average Band (The Falcons), NRBQ, Todd Rundgren and Utopia, Randy VanWarmer, Nicole Wills, Tony Wilson, and Jesse Winchester.
"Bearsvile Sound Studio", as it was commonly called, built a client roster outside of Bearsville Records including (alphabetically) 10cc, Rory Block, Jeff Buckley, Cheap Trick, Alice Cooper, Crack The Sky, The dB's, Fear Factory, Foreigner, Danny Gatton, The Isley Brothers, New York Dolls, Orleans, Phish, The Psychedelic Furs, Bonnie Raitt, R.E.M., The Rolling Stones, John Sebastian, Patti Smith, They Might Be Giants, The Tubes, The Vines,and Spirit, XTC and many others.
The studio did a great deal of demo work; and very little commercial advertising work; catering to its star-powered pedigree. The two hour drive from New York City, a "retreat" for some artists, combined with residences owned by Albert Grossman, amplified this value.

Studio A, Bearsville Studio
Studio A, Bearsville Studios
Studio B, Bearsville Studios
In-house studio staff production and engineering talent included (alphabetically): George Carnell, George Cowan, Tom Edmonds, Chris Hansen, John Holbrook, Ian Kimmet, Chris Laidlaw, Ken Lonas, Todd Vos, Mark McKenna, Ray Niznick, Jim Rooney, John Simon, and others.

The Speare Road facility contained two studios: Studio B, fitted with a heavily modified Quad-8 in the late 1970s and early 1980s; and Studio A, a much larger and unique acoustic space.
Until 1980, the control room for Studio B was the primary mix location. Initially designed by John Storyk, the B control room was modified to replace the quad 8 console with an SSL 6000E to suit changing client sonic beliefs. There were originally quad Westlake/601-style monitors oriented such that each looked like the iconic Bearsvile Bear logo; the LF drivers as "eyes", their ports as "ears", the HF driver as a "nose", and the horn as a "mouth". The Turtle Creek barn was located down the hill off of Ricks Road. A separate Utopia Video facility behind the Bear Cafe became operational in 1981 after it outgrew the logistics operating within Studio A in 1979 and 1980.
The Studio A space was used for rehearsal and pre-production of the 1978 Rolling Stones "Some Girls" tour.

In 1982, the Studio A control room was fitted with a custom 40 channel Neve 8088 that had originally been built for The Who.
The studio owned an acclaimed Bosendorfer piano that was tuned and maintained by Dick Cambell.
Adjacent to Woodstock NY, artists recording at Bearsville would frequently perform, often under a pseudonym, at local venues such as the Joyous Lake.
Studio managers included (chronologically) Susan Palmer, Jim Marron, George James, Griff McRee, Ian Kimmet, Mark McKenna, Chris Laidaw and Chris Hansen.
Chief engineers included (chronologically) Ted Rothstein, Michael Guthrie, Eddie Ciletti, Shep Siegel, Ken McKim, and George Cowan.
Bearsville Sound Studio shared the record company logo designed by Milton Glaser.
And then his widow Sally surprised everyone by finishing the theater left incomplete at Albert’s death, then leading the studio into some of its most productive years in the late 1980s and early 1990s. She finally sold the restaurant/theater complex to Bear Café restaurateurs Peter Cantine, Eric Mann and Andy Cooper, who continue to run their fine eatery and manage the property today.
The Bearsville Studios, where artists like The Band, Paul Butterfield, Bonnie Raitt, Janis Joplin and John Hartford recorded, where Muddy Waters did his Woodstock album and the Woodstock Mountain Review kicked it in, where the Johnny Average Band and Robbie Dupree made records, where Randy Van Warmer cut “Just When I Needed You Most,” and Jesse Winchester sang and played, where the Rolling Stones rehearsed before their Joyous Lake appearance, including a 250-seat theater and a second recording house, were finally sold in 2004 and have been made into a private residence.(1)

Jerry performed here in
1973 with Paul Pena, Merl Saunders, The Persuasions as backup singers, and Ben Sidron on piano. So who was the drummer?
In 1973 Paul Pena was recording at Grossman's Bearsville Studios, and this time he had a sizable cast of musicians working with him: Jerry Garcia assisting on guitar, Merl Saunders on keyboards, a cappella soul singers the Persuasions on backup, and Ben Sidran, who had been playing with Steve Miller and Boz Scaggs since the early '60s, on piano.(excerpts from Howie Spielman)




1.)^Smart, Paul, 2011-02-24, Bearsville's Barons, Woodstock Times - Bearsville’s baron Remembering Albert Grossman 25 years later

Friday, October 26, 2012

The Ballroom, Manhattan Center, 311 W. 34th and 8th, New York, NY


Capacity 1200

The Manhattan Center building was built in 1906, originally as the Manhattan Opera House by Oscar Hammerstein I. The architects were J.B. McElfatrick & Son. Opened on December 3, 1906.
1906
It's located at 311 West 34th Street in Midtown Manhattan, houses Manhattan Center Studios (home to two recording studios), its Grand Ballroom, and the Hammerstein Ballroom, one of New York City's most renowned performance venues.
The root cause for the construction centered around boldly rivaling the established Metropolitan Opera by featuring cheaper seat costs for the ordinary New Yorker. Rapidly, it became the alternative venue for many great operas and celebrated singers to make their debut.


In 1910, after the Metropolitan Opera could no longer withstand competition, offered Hammerstein $1.2 million to cease producing opera for a course of 10 years. He accepted the offer and experimented with various acts preceding the decision to sell the building.

In March 1911, it was opened as a "combination" house by the Shubert brothers featuring vaudeville shows during the week and concerts on Sunday nights at much more affordable prices.

In 1922, the Manhattan Opera House was purchased by the Ancient Accepted Scottish Rite of Free Masonry, who built a new building fasçade and The Grand Ballroom on the seventh floor.

In 1926, Warner Brothers chose to set up the Vitaphone sound-on-disc system in The Grand Ballroom to capture the 107-piece New York Philharmonic orchestra for the film Don Juan which marked the release of the inaugural commercial film featuring a recorded musical soundtrack.

In 1940, the name of the building altered to the Manhattan Center helping to attract a variety of different types of events.

In 1976, the building was purchased by its current owner, the Unification Church for $3,000,000.[1] and becme a warehouse.

In 1986, Manhattan Center Studios was formed to develop the center into a venue with the capability of holding multimedia festivities. MCS expanded the audio recording facilities when Studio 4 was opened in 1993. Studio 7 was rebuilt in 1996 to become a state-of-the-art control room capable of servicing all types of recordings and live events in the Ballrooms.

The Manhattan Center became a hot spot for "big band" dances as well as trade shows, union meetings and other social functions.
Among the diverse events held here throughout the decades that followed were radio broadcasts, recordings and performances by the likes of Paul Robeson, Judy Garland, Harry Belafonte, Perry Como, Leonard Bernstein, David Bowie, Grateful Dead, Bob Marley. In the early 1990s, wrestling show WWE Monday Night Raw broadcast from the Grand Ballroom a record 28 times.







Jerry performed here on
4/4/71 NRPS and Grateful Dead(2)
4/5/71 NRPS and Grateful Dead
4/6/71 NRPS and Grateful Dead




































8/15/71 NRPS and Grateful Dead






































1.)^Biermans, J. 1986, The Odyssey of New Religious Movements, Persecution, Struggle, Legitimation: A Case Study of the Unification Church Lewiston, New York and Queenston, Ontario: The Edwin Melton Press
2.)^http://www.nrpsmusic.com/music/1971.html

Wednesday, August 22, 2012

Buena Vista Studio, 737 Buena Vista West, San Francisco, CA


737 Buena Vista West, once connected to the home next door at 755 Buena Vista West, was originally designed and built by architect Edward J. Vogel.
This stately house, a mixture of Beaux-Arts Classicism and Colonial Revival, was built in 1897,  for Richard Spreckles, a nephew of sugar magnate Claus Spreckles.

Richard Spreckles on the right, with wife.

It is said to have had it's share of noted residents, including journalist Ambrose Bierce and writer Jack London-the latter alledgedly wrote one of his better known stories, White Fang, here.(2)

Buena Vista Studios, one of the first truly hippie-friendly studios, appeared on the scene in the mid-1960s. It was located in an old-money mansion, didn’t have much space, and the acoustics weren’t the best; however, its close proximity to Haight-Ashbury coupled with owner Gene Estribou’s musician contacts led to some interesting sessions. Engineer/producer Estribou learned his craft  from Henry “Sandy” Jacobs, an audio wizard known for his experimental KPFA radio programs, where he oft en showcased his space age soundscapes, hypnotic drum loops, and other avant-garde arrangements. Estribou had also conveniently married an heiressto the Spreckels Sugar fortune. He set up his recording facilities on the fourth floor of a late 19th century mansion formerly belonging to Richard Spreckels (nephew of sugar baron Claus Spreckles), overlooking Buena Vista Park at the edge of the Haight. Estribou’s room did not refl ect its lavish surroundings by any means, but the bare-bones space did acquire one of the city’s fi rst 4-tracks, at a time when most engineers were still trying to get more mileage out of the 3-track.

Intensifications (MEA, 1965; reissued on CD by Locust Music in 2004) was recorded in 1965 at Gene and Sara Estribou's home, the former Spreckels Mansion at 737 Buena Vista Avenue, San Francisco. Gene and J.P. converted the top floor ballroom of the Spreckels Mansion into a recording studio, where Intensifications was recorded. Gene plays songs he wrote for guitar on one side of the album, and J.P. plays songs he composed for banjo on the other side. (5)

Photographer Herb Greene introduced Estribou to members of the Grateful Dead, and he promptly invited them to his studio. They accepted, the day after a Saturday night Acid Test party at California Hall, on the fringe of the seedy Tenderloin district. Band and crew hauled massive amounts of heavy equipment up four flights of stairs to rehearse and record some of their first studio demos under their new name (putting an end to The Warlocks) for Scorpio Records in June 1966. Scorpio released two of these tracks, “Stealin’” and “Don’t Ease Me In.” 
The Dead, though, did not have a good time recording – Weir was very irritated about hauling the band’s gear up to the fifth floor; Lesh dismissed Estribou as a “dilettante”; and Garcia summarized the sessions: “we never got in on the mixing of it and we didn’t really like the cuts and the performances were bad and the recordings were bad and everything else was bad, so we didn’t want it out…it doesn’t sound like us.”
Estribou himself also had a hard time: “It was an effort to get out of the zone of indecision, as you can imagine. The early Dead was trying to find themselves…and get a product out, when Phil wanted to do one thing and Jerry wanted to do another… So it was frustrating for everybody, but we had to get something finished rather than nine thousand hours of shit that was unusable.”
Even Estribou’s hopes for his record label came to grief when it turned out that there was already a Scorpio Records in San Francisco!
And as Scully says, he had almost zero distribution. It seems only 150 copies of the Scorpio single were printed, and mostly vanished. Garcia said, “Those records never went on sale. That was a guy who was starting his own record company, but he didn’t really have any connections, so it’s not as if that single was released to any stores apart from maybe one or two in Haight-Ashbury. The Psychedelic Shop probably had 20 or 30 of them.”

One side note is that Estribou said he took the band to Western Recording to finish recording for the single. But Blair Jackson suggests that, since Western Recording was actually in Los Angeles, they more likely went to Coast Recorders. This seems to dovetail nicely with Scully’s recollection that the band recorded some demos at Coast, though with Estribou at the helm rather than Healy.(6)

“We had an Ampex 3-channel instrumentation deck that Henry Jacobs brought into the studio,” said Estribou in an early interview. “I had built a big horn and a studio; we had good condenser mics
and spent a lot of time optimizing the board. We went down to Western Recording and used their studio for doing some tapes that ended up being on the first 45 from Scorpio Records.”
Scorpio, an imprint of Fantasy Records, would only last two years, amassing only 13 releases during that time, two of which were cancelled. The labels best known act was of course the Golliwogs from El Cerrito, who would change their name to Creedence Clearwater Revival and go on to great success.

These Grateful Dead sessions came out much later, in 2003, on Birth of the Dead, a compilation of studio and live material from 1965 to 1966.
Bob Matthews, fresh out of high school and living on Bob Weir’s bedroom floor, sat in on the sessions at Buena Vista. A voracious learner,  he took in every microphone placement, every spin of the tape machine’s reels, every nuance of the recording process.
And on that post–LSD trip Sunday, he realized his purpose with “the tribe.” “That was when I became enamored with recording as a function and a process in the legacy of any given live performance of the Grateful Dead,” says Matthews, who went on to engineer dozens of live and studio recordings for the band. “I told Weir that the live performance would always be what they were about; that whatever they did in the studio would be different, and I thought it would require somebody within the family to properly create a recording that represents what takes place musically. And I was going to be that person.” Weir answered, “If you have the dream, go for it!”

When The Dead weren’t using the room to rehearse or record, Estribou rented the space to bands such as Quicksilver Messenger Service and Steve Miller Band, who recorded songs for the film
Revolution at the studio.

Mainstream Records’ Bobby Shad, a guy that Joel Selvin describes in his book Summer of Love as a “practiced shyster who rummaged through the peripheries of jazz and
blues, making cheap records and paying the artists as little as he could,” also graced the studio with his presence.

Shad auditioned S.F. rock acts such as Wildflower and the Final Solution, both of which he signed. Big Brother & the Holding Company, featuring their new lead singer, Janis Joplin, also auditioned for Mainstream Records at Buena Vista studio, but didn’t get a deal initially. Aft er a four-week residence at a Chicago nightclub, the band got a call from Shad, who apparently pitted the group against their manager, concert promoter Chet Helms, and convinced them they would get the “short end of the stick” if they didn’t sign with him. Th ey agreed to the deal, shoddy as it was, and recorded their self-titled debut for the label in 1967. Columbia Records soon saved the group from Shad’s grip by buying out their Mainstream contract.

Not much of note came from Buena Vista Studios after the late1960s.
Graham Nash bought the mansion in the 1970s, followed in the 1980s by actor Danny Glover, who performed with the San Francisco Mime Troupe before going to Hollywood.
Modesto Bee, March 4, 1983

The city saved the mansion from demolition in the 1990s, when it operated as a bed and breakfast. (1)

The house has been available for rent since January, 2011 (asking $14,000 per month).(4)

The building is in mint condition as of 2011(3)

Jerry recorded here in
June 1966 Grateful Dead
“In July [1966] our first single comes out on a small local label, Scorpio Records: Don’t Ease Me In with Stealin’ on the B-side, both recorded in John Estribow’s attic. Estribow was a friend of the band who had a small label with almost zero distribution.(7)







1.)^Johnson, Heather, If These halls Could Talk, pg 41
2.)^Richards, Rand, Historic Walks in San Francisco: 18 Trails Through the City's Past,pg148
3.)^nalepa,michael, fodor's sanfrancisco 2009,pg143
4.)^http://www.socketsite.com/archives/rentals/
5.)^http://www.jppickens.com/music.html
6.)^Grateful Dead Guide, The Dead In The Studio, 2011-10-18, http://deadessays.blogspot.com/2011/10/dead-in-studio-1966.html
7.)^Scully, Rock, Living With The Dead

Saturday, July 21, 2012

Boston Tea Party (The Ark), 15 Lansdowne Street, Boston, MA

Entrance signage




Capacity 2425

Built by the congregation of abolitionist and Unitarian preacher Theodore Parker, the four-story Second Empire structure on Appleton (Berkeley) Street opened as a meeting house in 1872.
By 1886, the building was being used for community social work after it was taken over by the Benevolent Fraternity of Unitarian Churches. Above the original entry on Berkeley Street, a huge window depicts the Star of David, leading to erroneous assumptions the building was once a synagogue.
By the time the lease on the Berkeley Street building passed from Mel Lyman's hands to recent Harvard Law School graduate Ray Riepen in late 1966, the building had become The Moon Dial, a venue for underground films, which then morphed into Filmmakers Cinematheque and attracted an audience and budding filmmakers from Boston University and M.I.T.

"People such as Ray Riepen, a corporate lawyer who handled civil trials for the Kansas City attorney's office went to Harvard Law School and became the first underground mogul as the owner of a club the Boston Tea Party, originator of the FM rock station WBCN-FM, and publisher of the alternative weekly The Phoenix who later lost it all and went back to Kansas to practice law and presiding as a circuit court judge..." from a review of Mansion on the Hill.

In late ‘66 the building became home to the Filmmakers Cinematheque, which showed “underground” movies by Andy Warhol, among others.


To support the film programs, it was decided to hold a series of weekend “dance concerts” like those then happening at the Fillmore and Avalon ballrooms in San Francisco.(3)  It began as the project of a group of local underground film-makers, titled Films Cinematheque, who felt that they needed a psychedelic salon. They were in it mainly for the good times, and they chose an abandoned temple at 53 Berkeley St. for their room. An M.I.T.-based mechanical wizard named David Hahn contrived the light show, which was run from a secondhand Univac which he had picked up for five dollars.

The address 53 Berkeley Street (at the corner of Appleton Street in the South End) was the original home of the Tea Party.

It was on January 20, 1967 that The Boston Tea Party first opened its doors in a building constructed in 1872 as a Unitarian meeting house at 53 Berkeley Street. The land it stands on was donated to the Unitarians by wealthy Boston merchant John Gardner, whose son Jack married famed socialite Isabella Stewart. Her Italian palazzo-style home later became one of Boston’s most renowned and revered museums.
On the first night, says Don Law, 400 friends showed up, but the amazing thing was that 300 paying customers showed up as well. In the early days, Law recalls, the audience was an incredibly strange mixture. You'd have four nuns in the balcony, a couple of Harvard professors around for a look, 14 girls from Dorchester and a guy from M.I.T. It was basically the scene for the Cambridge aristocracy. Somewhat awed by the proportions of the former temple and the newness of it all, the teeny-bopper element stayed away. Although it booked very few good acts and ran on a shoestring, The Tea Party flourished under the imaginative direction of its owner, Ray Riepen. Financial success lasted precisely as long as the novelty did.(5) 
The show on the opening weekend and the next one featured The Lost. In that group, his first band, was Willie “Loco” Alexander, who later became a mainstay of Boston’s punk scene. Then came the Tea Party debut of The Hallucinations, whose frontman Peter Wolf went on to hit records and the cover of Rolling Stone with The J. Geils Band. Soon the film showings ended, and the Tea Party began presenting acts from out of town. The Velvet Underground first came up from New York City in May ‘67, and because they didn’t perform in New York again for the next three years, the Tea Party in effect became their home club.
It also became a favored destination for many top rock and blues artists, and a must-play venue for bands on their first U.S. tour.

This is from The Tech, an MIT student newspaper from 1967.........
Appearing Saturday and Sunday nights at The Boston Tea Party are the Chambers Brothers, currently on the pop record charts with their song "All Strung Out." Well known around Boston, they are famous for their blending of pop, gospel, and blues. Also started last month and continuing at 53 Berkeley in Boston is the local branch of Film Maker's Cinematheque and the Boston Tea Party with experimental lighting and electronics by an MIT graduate. With the establishment of the Cinematheque, Boston has become one of the best cities in the country for experimental film and the small colony of Underground film-makers is growing rapidly. Stop in Tuesday to Thursday evenings. Their program usually features the works of individual film-makers who frequently are in attendance to discuss their work; January, Harry Smith and Gregory Markopoulos made the trip to Boston. Of course, our own Film Society is very active and Stan Brakhage will be at the Institute sometime in April. Weekends the Cinematheque literally and figuratively sheds its skin to become the Tea Party. Boston's first environmental light show and dance perhaps more accurately described as light show and crush..(5)

The original Jeff Beck Group, featuring then-unknown Rod Stewart and future-Rolling Stone Ronnie Wood, played here in June ‘68.

B.B. King made his first appearance before a white Boston audience at the Tea Party in April ‘68 after years of performing at black clubs in town.(5)

Led Zeppelin debuted in January ‘69. (3)

The Tea Party location on Berkeley Street may have closed on June 28, 1969 when Chicago Transit Authority and Alice Cooper played there (as listed on the June 1969 Tea Party calendar).(5)

In July ‘69 the club relocated to a larger space at 15 Lansdowne Street, where The Ark was about to close. Throughout its existence the Tea Party showcased and inspired local musicians, and was a major catalyst for the rock scene in Boston.(3) Fenway Park is just across the street.

Over the years, the building at 15 Lansdowne Street has served many different purposes. At the turn of the century, retailer Eban Jordan, of Jordan Marsh and founder of The Boston Globe, built 13-15 Lansdowne Street to house his delivery horses, carriages and trucks.

In 1969, 15 Lansdowne Street entered the entertainment arena as a psychedelic club called The Ark. (2)
The ill-fated Ark opened and closed within 17 weeks, losing about $400,000. The Ark tried to create a tame, elegant aura of psychedelia and sell it to the tie-and-jacket crowd. Its owners created a second - rate version of New York's Electric Circus. They were three- and-a-half years behind the time in a business where, if you're four months late, you're dead,.... says Law.
   ....The Ark, people said, Look at that dump on Berkeley street, there's no reason why it should be succeeding, says Law. They were right, it was a dump, but it had a following. ....Of course, we tried to help them every way we could, he says, beaming mischievously. We told them, yes, environments were really where it was at, and yes, we were amazed at how quickly they had grasped the obvious..... But the Ark sank even before it opened. Its owners had been ...art hustled... into believing that computerized art had a brilliant future, and they had invested thousands in a virtual IBM complex to run a mediocre light-show. They left no financial reserves with which to pay for talented acts. Within weeks they faced their desperate financial situation and sold out to the Tea Party. Thus the Tea Party now sits in the Ark's old headquarters on Lansdowne Street. The full-time staff has shrunk from the Ark's magnificent maximum of 45 to a bare minimum of three.(5)

Soon after, the legendary Boston Tea Party, managed by Don Law, moved into the 15 Lansdowne Street address. Both the Tea Party and its predecessor The Ark played host to many of rocks most celebrated acts such as Bob Dylan, The Who, Led Zeppelin and The Grateful Dead. Don Law would later become one of Americas premiere concert promoters.

“The two shows I remember where I just sat with my mouth open was that Yardbirds show [in Connecticut which his first band Chain Reaction opened for] and Led Zeppelin at the Boston Tea Party in 1969.”
--- Steven Tyler, lead singer of Aerosmith, article in Rolling Stone, 4/21/05


John Paul Jones recalls the show:
   As far as I'm concerned, the key Led Zeppelin gig - the one that put everything into focus ... was one that we played on our first American tour at The Boston Tea Party. We'd played our usual one-hour set, using all the material from our first album and Page's White Summer' guitar piece and, by the end, the audience just wouldn't let us off the stage.
   It was in such a state that we had to start throwing ideas around ... just thinking of songs that we all might know or some of us knew a part of, and work it from there. So we'' go back on and play things like I Saw her Standing There' and Please Please Me' ... old Beatles favorites. I mean, just anything that would come into our head, and the response was quite amazing.
   There were kids actually banging their heads against the stage .... I've never seen that at a gig before or since, and when we finally left the stage we'd played for four and a half hours. Peter (Peter Grant ... Zep's manager) was absolutely ecstatic. He was crying and hugging us all. You know with this huge grizzly bear hug. I suppose it was then that we realized just what Led Zeppelin was going to become.....(5)

“Most people don’t know this but Fleetwood Mac back in its original form was a kick-ass blues rock band! Joe (Perry, lead guitarist) and I were insane about them when we were teenagers in the ‘60s. We went to see them at least 2 or 3 times at this place called The Boston Tea Party, which is this legendary cathedral of the hippy era. It was a local psychedelic trippy San Francisco kinda club which was really happening at the time.”
--- Tom Hamilton, bassist for Aerosmith, interview on Bulllz-Eye.com, 11/06/0(3) 


The handbill for the 7/14 through 7/16/69 concerts featuring Procol Harum & Blodwyn Pig list the venue as 15 Lansdowne Street (behind the centerfield bleachers of Fenway Park), where the Tea Party had moved in July 1969. According to a Tea Party gig listing, Larry Coryell played the Tea Party on 7/12/69, the the only show played in-between the 6/28/69 & 7/14/69 shows. I have not seen a poster for this gig, so I am not sure where it was performed, but it was more than likely played at the 15 Lansdowne location.
From the street you went up some steps to the double front door, then went up two flights of wooden stairs to the level where the Tea Party was. There was no ground floor lobby. Inside, there was a high arch over the stage which was still emblazoned with the words "Praise Ye The Lord."
The accompanying light show covered the walls with the colorful and fluid shapes of immiscable colored oils between sheets of transparent materials on overhead projectors pulsating to the beat, along with film clips of trains rushing at you and for Zep the Hindenburg disaster. Some nights there would be light shows on three walls.
Upstairs they had a black light room where your white clothes would glow. The balcony had seats and offered a great view. At some point downstairs in front of the stage they added rows of theatre seats (old) because at this point we stopped dancing and listening became more important. 

The rise of the disco era saw ownership of the space change hands once again.
A young Steve Rubell and Ian Schrager with their partner Jon Addison bought the building and converted it into a glamorous discotheque aptly named 15 Lansdowne. A few years later they sold out to Addison and went back to New York City and opened the infamous Studio 54 and later Morgan's Hotel, which would start the boutique hotel revolution. 
Meanwhile, Addison hired a young hotshot, Patrick Lyons, to manage the venue now renamed Boston, Boston.
In 1980, he and a group of investors bought the property. The building was converted into condominiums in 1982. The performance area was actually converted into two floors. There was also a 7-11 convenience store at the street level. Eventually the rest of the Lansdowne Street clubs. Boston, Boston became Metro and after installing the domed roof in 1988, Citi.

The building at 15 Lansdowne Street has been called Avalon since 1992. Avalon underwent a major multimillion-dollar renovation in 1999. The new Avalon included an additional 7,000 square feet of space created by annexing the Mama Kin Music Hall, a 600-person club, which was located next door.(2)




The mastermind behind the Boston Tea Party club was Ray Riepen. Riepen is a legendary character . Besides the Tea Party he started WBCN and The Phoenix. He had vision and smarts. His story can be found in the book Mansion on the Hill by Fred Goodman which covers the rise of the counter culture business man.
Ray Riepen

From "Ken Melville"
04-19-2011, 12:09 am
At the Ark we (Fire & Ice) opened for Mike Bloomfield and the Super Sessions Band--I think it was Buddy Miles, Billy Cox and somebody other than Al Kooper on organ. Also on the bill was Otis Spann but he showed up with no piano, so he had to use ours--Don Grolnick's. A Wurlitzer A200. Spann was totally hammered as usual and promptly pounded so hard on the keys be blew out my Fender Twin Reverb's speakers. We got paid about $15 apiece for the gig so I couldn't afford to replace them. But at least we had a great jam at the end of the night with me and Mike fronting Otis (who by now was playing through the PA via miking the tiny A200's speaker) and the SS boys. I liked the Ark, big, huge high ceiling, and a little sense of design to it (had some huge Christo-like curtain on part of it)(, as opposed to the Tea Party's raw untouched original church space.

From "Dick Carter"
09-21-2011, 04:06 pm
Actually, the piano was mine, an old Wurlitzer, although it was of course Don Grolnick that played it (I played sax) and Otis broke the piano too. We didn't open for the other band ("The American Flag", with Bloomfield, Miles, Spann, and a horn section, including I think David Sanborn) they had just played a gig in a stadium, and felt like playing some more, and walked into the club and asked if they could sit in. And of course they took over the stage. The $15 sounds about right. Mike was found dead in his car, of an overdose, I think, some months after that night. The place was previously called "The Garage", (it used to be a garage, that had been turned into a rock club) and still had an old car hanging from the high ceiling). It was also used for boxing matches, and the stage we played on was also the boxing ring. The year was 68 or 69, I think. 



Performance List

1967
1/20, 21 Fri-Sat The Lost
1/27, 28 Fri-Sat The Lost
3 +4 Fri-Sat The Lost

Feb
3 +4 Fri-Sat The Lost / Catharsis
17+18 Fri-Sat Beacon Street Union / Hallucinations
24+25 Fri-Sat The Cloud / Bagatelle

March
3-4 Fri-Sat Hallicunations/Edens Children/Bagatelle
10+11Fri-Sat Lothar & the Hand People/Orphans
17+18 Fri-Sat Lothar & the Hand People/The Hallucinations
24-25 Fri-Sat The Bagatelle/The Growth

April
14-15 Fri-Sat Lothar & the Hand People / Front Page
21-22 Fri-Sat Lothar & the Hand People / Hallucinations
28-29 Fri-Sat David Blue and the American Patrol / Ill Wind



May
5+6 Fri-Sat Orphans / David Blue and The American Patrol
12-13 Fri-Sat The Lords and Ladies / The Orleans
19+20 Fri-Sat Beacon Street Union / Children of Paradise
26-27 Fri-Sat Andy Warhol's Velvet Underground / Ferris Wheel

June
2+3 Fri-Sat Hallucinations/Jeremy Steig
9+10 Fri-Sat Andy Warhol's Velvet Underground/Beacon St Union
16+17 Fri-Sat Ill Wind / Hallucinations
23+24 Fri-Sat The Grass Menagerie/ The Beacon Street Union
30 Fri Lothar & the Hand People/The Shakers


July
1 Sat Lothar & the Hand People/The Shakers
7+8 Fri-Sat The Ragamuffins/The Street Choir
14+15 Fri-Sat The Peanut Butter Conspiracy/90th Congress
21+22 Fri-Sat The Free Spirit/The Shakers
28+29 Fri-Sat The Paupers/Bagatelle

August
4+5 Fri-Sat Peanut Butter Conspiracy/Bagatelle
18+19 Fri-Sat Hallucinations/The Ultimate Spinach
25+26 Fri-Sat Country Joe and the Fish

Sept
1+2 Fri-Sat Catharsis/The Mushroom
8+9 Fri-Sat Canned Heat/90th Congress
15+16 Fri-Sat Wildflower/The Bagatelle
22+23 Fri-Sat The Mushroom/The Hallucinations
29+30 Fri-Sat Children of Paradise/Beacon Street Union

Oct
6+7 Fri-Sat Canned Heat/Ultimate Spinach
13+14 Fri-Sat The Luvs/The Grass Menagerie
20+21 Fri-Sat Phluph/The Cloud
27+28 Fri-Sat Sidewinders/Bagatelle/Hallucinations

Nov
3+4 Fri-Sat The Bagatelle/The Mandrake Memorial
17+18 Fri-Sat Butter/Bo Grumpus/Salvation
24+25 Fri-Sat The Ultimate Spinach/The Baul Singers & Dancers of Bengal

Dec
1+2 Fri-Sat Kaleidoscope/ The Chain Reaction
8+9 Fri-Sat Clear Light/The Street Choir
15+16 Fri-Sat Richie Havens/The Bagatelle
22+23 Fri-Sat Lothar & The Hand People/Beacon Street Union
29+30 Fri-Sat The Hallucinations/Children of God

1968
Jan
5+6 Fri-Sat The Cloud/Ill Wind
12+13 Fri-Sat Ultimate Spinach/The Colt Brothers/Conception
19 Fri Festival of the Boston Sound
Beacon St Union/Butter/Hallucinations
20 Sat Festival of the Boston Sound
Bagatelle/Jessie's First Carnival
26+27 Fri-Sat Tim Buckley/Nazz

Feb
2+3 Fri-Sat H.P. Lovecraft/ Butter
9+10 Fri-Sat Eric Andersen/ The Grass Menagerie
16+17 Fri-Sat The Bagatelle/The Apple Pie Motherhood Band
23+24 Fri-Sat The Peanut Butter Conspiracy/PPMWW

March
1 FriThe Chambers Brothers/South End Hate Band
2 SatThe Chambers Brothers/Hallucinations
8+9 Fri-Sat J. Geils Blues Band/Canned Heat
15-16 Fri-Sat The Beacon Street Union/The Hallucinations
22+23 Fri-Sat Velvet Underground/United States of America
29+30 Fri-Sat Ultimate Spinach/Butter

April
4 Thurs Muddy Waters w/Otis Spahn/The Hallucinations
5+6 Fri-Sat Amboy Dukes/The Tangerine Zoo
11 Thurs Yardbirds/Steve Miller Band
12 Fri Yardbirds/Steve Miller Band/Cloud/Earth Opera
13 Sat Yardbirds/Steve Miller Band/Earth Opera
18 Thurs B.B.King/Cloud
19+20 Fri-Sat Siegal Schwall Band/J Geils
25 Thurs Procol Harum/ The Hallucinations
26 Fri Howling Wolf/The Beacon St Union / The Hallucination
27 Sat Howling Wolf/The Beacon St Union

May
2 Thurs Traffic / Butter
3+4 Fri-Sat Butter / Clear Light/Tim Rose
9-11 Thurs-Sat Blue Cheer / Quill / Bagatelle / The Hallucinations
16 Thurs Velvet Underground / Hallucinations
17+18 Fri-Sat Velvet Underground / Bo Grumpus
23-25 Thur-Sat John Lee Hooker / Hallucinations/Quill
30+31Thurs-Fri Van Morrison Controversy / Ill Wind

June
1 Sat Van Morrison Controversy / Ill Wind
6-8 Thur-Sat The Cloud / Group Image
13-15 Thur-Sat Quicksilver Messenger Service / Hallucinations
19-22 Wed-Sat The Bagatelle / J.Geils Blues Band

July
4-6 Thur-Sat The Ultimate Spinach / Listening
18-20 Thur-Sat Lothar & the Hand People / The Hallucinations
25-27 Thur-Sat Beacon Street Union / The Cloud

August
1-3 Thur-Sat The Nazz / Kaleidoscope
8-11 Thur-Sat Staple Singers / Bo Grumpus w/Felix Pappalardi
15-17 Thur-Sat Eden's Children / The Velvet Underground
22-24 Thur-Sat Apple Pie Motherhood Band / Wind in the Willows
29-31 Thur-Sat Albert King / Jeremy Steig & the Satyrs

Sept
5-7 Thur-Sat Ars Nova / Ford Theatre
12-14 Thur-Sat Buddy Guy / Quill
20-21 Fri-Sat Eden's Children / J Geils Quintet
27-28 Fri-Sat The Velvet Underground / Fire and Ice

Oct
3-5 Thur-Sat Rhinoceros / Quill
10-12 Thur-Sat Ten Years After / The Listening
17-19 Thur-Sat John Mayall & the Blues Breakers/ Bones
22-23-24 Tue-Thur Jeff Beck / Kensingtom Market/Earth Opera
25-26 Fri-Sat Headstone Circus / Far Cry
31 Thurs James Cotton Blues Band / SRC

Nov
1+2 Fri-Sat James Cotton Blues Band / SRC
7-9 Thur-Sat Terry Reid / The McCoys
14-16 Thur-Sat Buddy Miles Express / Dino Valente
21-23 Thur-SatJ. Giles Blues Band / Listening
29+30 Fri-Sat Lothar and the Hand People / The Cloud

Dec
5-7 Thur-Sat Pacific Gas and Electric / The Quill
12-14 Thur-SatThe Velvet Underground / MC5
19-21 Thur-Sat Fleetwood Mac / Ill Wind
26-28 Thur-SatCharles Musselwhite Blues Band / The Listening

1969
Jan
2-4 Thur-Sat B.B. King / Fire and Ice
9-11 Thur-Sat The Velvet Underground / Holy Modal Rounders
16-18 Thur-Sat Mother Earth / The Insect Trust
22 Wed The Velvet Underground The Tea Party Birthday Party� Free Admission.
23-25 Thur-Sat Led Zeppelin / The Raven
30-31 Thurs-Fri Savoy Brown Blues Band / J. Geils Blues Band

Feb
1 Sat Savoy Brown Blues Band / J. Geils Blues Band
6-8 Thur-Sat Lothar and the Hand People / The Raven
13-15 Thur-Sat Jethro Tull / Silver Apples
20-23 Thur-Sat The Byrds / The Flying Burrito Brothers
27-28 Thurs-FriBuddy Guy/ Woody's Truck Stop

March
1 Sat Buddy Guy / Woody's Truck Stop
6-8 Thur-Sat Chicago /J.Geils Blues Band
13-15 Thur-Sat The Velvet Underground / Wilkinson's Tricycle
16 Sun Barry and the Remains / The Lost
20-22 Thur-Sat The Nice / The Raven
27-29 Thur-Sat Rhinceros / Aynsley Dunbar

April
3-6 Thur-Sat Julie Driscoll, Brian Auger & Trinity/SRC
11-13 Fri-Sun Family/Sweetwater
18-20 Fri-Sun Albert King/Big Mama Thornton
Posters after this have the Landsdown Street address.  
 
May
6-8 Thur-Sat Jeff Beck Group w/Rod Stewart/ The Nice
9-11 Thur-Sat Poco/Family
13-15 Thur-Sat The Who / Roland Kirk
16-17 Sun-Mon Joe Cocker Grease Band / Roland Kirk
22-23 Thur-Sat Bonzo Dog Doo Dah Band / It's a Beautiful Day
27-29 Thur-Sat Led Zeppelin / Zephyr
30-31 Sun-Mon Velvet Underground / Allman Brothers Band

June
5-7 Thur-Sat Delaney, Bonnie and Friends (Eric Clapton) / Serfs
12-14 Thur-Sat Johnny Winter/ The Raven
19-21 Thur-Sat Dr John the Night Tripper/Allman Brothers
23-24 Mon-Tue Savoy Brown Band/Crazy World of Arthur Brown
26-28 Thur-Sat Chicago Transit Authority/Alice Cooper

July
11 - Fri Velvet Underground
12 - Sat Larry Coryell/Country Funk/The Quill
14-16 Mon-Wed Procol Harum/Bloodwyn Pig
23-25 Wed-Fri Jethro Tull/The Free
26 Sat Tom Rush/Terry Reid/ The Free
31-Aug 2 Thur-Sat Ten Years After/Magic Terry & the Universe

August
5-7 Tue-Thur B.B. King/Teagarden and VanWinkle
8+9 Fri-Sat Mother Earth/Teagarden and VanWinkle
14-16 Thur-Sat The Velvet Underground/The Serfs/Country Funk
21-23 Thur-Sat Savoy Brown Blues Band/Santana Blues Band
28-30 Thur-Sat Spooky Tooth/The Flock

September
4-6 Thur-Sat Raven/Tyrannosaurus Rex/Don Cooper
9-11 Tue-Thur Ten Years After/ The Stooges
12+13 Fri-Sat Ricky Nelson/The Coasters/NRBQ
18-20 Thur-Sat Chuck Berry/Bo Diddley/Mountain
25-27 Thur-Sat J Geils Band/ Lonnie Mack/ The Move
30 Tue Mandrake Memorial/Apaloosa/Dirty John's Hot Dog

October
2-4 Thur-Sat Grateful Dead/Bonzo Dog Band
7 Tue Mocha Chip/Ascension/Boswell
9-11 Thur-Sat Spirit/Elvin Bishop Group/ Sha-Na-Na
16-18 Thur-Sat Steve Miller Band/ Liverpool Scene
23-25 Thur-Sat The Kinks/Lee Michaels/The Quill
30-Nov 1 Thur-Sat Super Session's Al Kooper/Aum/King Crimson

November
6-8 Thur-Sat Taj Mahal/Bloodyn Pig
11-12 Tue-Wed The WHO/Tony Williams
13-15 Thur-Sat Santana/ Grand Funk Railroad
20-22 Thur-Sat Mountain/Humble Pie/Eric Mercury
23 Sun The Incredible String Band
26-29 Wed-Sat Joe Cocker & Grease Band/Fleetwood Mac

December
4-6 Thur-Sat The Nice/Allman Brothers Band
8-9 Mon-Tue Jethro Tull
11-13 Thur-Sat Johnny Winter/Sons of Champlin/Ten Wheel Drive
19-21 Fri-Sun Sha-Na-Na/New York Rock and Roll Ensemble
26-28 Fri-Sun Fleetwood Mac/Tim Hardin
29-31 Mon-Wed The Grateful Dead

1970
January
2-3 Fri-Sat Mountain/Blues Project/Dion DiMucci
8-10 Thur-Sat B.B. King/Cold Blood/J Geils Band
15-17 Thur-Sat James Cotton Blues Band/Kaleidoscope
22-24 Thur-Sat The Byrds/Doug Kershaw
29-31 Thur-Sat The Staple Singers/MC5/Rhinoceros

February
5-7 Thur-Sat Fleetwood Mac/The James Gang
8-9 Sun-Mon Delaney & Bonnie & Friends w/Eric Clapton
12-14 Thur-Sat The Kinks/Rensissance
19-21 Thur-Sat Spider John Koerner & Willie Murphy/E Mercury
22 Sun NRBQ/Livingston Taylor/The Proposition/Club Wow
26-28 Thur-Sat The Everly Brothers/Sha-Na-Na

March
1 Sun Neil Young & Crazy Horse/Country Funk
2-4 Mon-Wed Ten Years After/Redbone
5-7 Thur-Sat MC5/Family/Stone the Crow
12-14 Thur-Sat Mother Earth/Argent/Mocha Chip
15 Sun Santana
19-21 Thur-Sat Youngbloods/Livingston Taylor/Seals & Croft
26-28 Thur-Sat Lee Michaels/Rod Stewart & Faces/Zephyr

April
2-4 Thur-Sat Mountain/Ronnie Hawkins
9-11 Thur-Sat Quicksilver Messenger Service/Sugar Creek/Roxy
12 Sun Pink Floyd
16-18 Thur-Sat Van Morrison/Blodwyn Pig/Blues Image
19 Sun Pentangle/Livingston Taylor
23-25 Thur-Sat Manfred Mann/Cold Blood

May
3-4 Sun-Mon The Incredible String Band/The Stone Monkey
7-9 Thur-Sat Buddy Miles/NRBQ/Ambergris
10 Sun John Sebastian/Ramblin' Jack Elliot
14-16 Thur-Sat John Hammond/Seals & Croft/The Insect Trust
21-23 Thur-Sat Little Richard

June
7-8 Sun-Mon Traffic/Fairport Convention/Sugar Creek
15-17 Mon-Wed Ten Years After/Mott The Hoople
18-20 Thur-Sat Poco/The Brethren

August
11-13 Mon-Wed The Byrds/Colosseum

September
10-12 Thur-Sat Fleetwood Mac/Fairport Convention
13 Sun Miles Davis/Osmosis
8-10 Thur-Sat Mungo Jerry/Humble Pie/Spider John Koerner

Closed for good in December 1970.

The address 15 Lansdowne was a House Of Blues but since then the building's been demolished.

Jerry never performed at the original Boston Tea Party at 53 Berkeley.
Jerry did perform at 15 Lansdowne on
4/21/69 Grateful Dead (The Ark)
4/22/69 Grateful Dead (The Ark)
4/23/69 Grateful Dead (The Ark)
10/2/69 Grateful Dead and Tarot (Tom Constanten) (Boston Tea Party)
10/3/69 Grateful Dead and Tarot (Tom Constanten) (Boston Tea Party)
10/4/69 Grateful Dead and Tarot (Tom Constanten) (Boston Tea Party)
"I ... remember that between sets there was a mime/music improv that involved a mime (I do not know who he was) with Jerry, Mickey and TC doing improv music behind him. It was different, strange and weirdly engaging."(1) The mime was Rubber Duck (Joseph Lennon McCord).(6)

12/29/69 Grateful Dead (Boston Tea Party)
12/30/69 Grateful Dead (Boston Tea Party)
12/31/69 Grateful Dead (Boston Tea Party)
"There was the famous New Year’s Eve gig with the Dead when they served spiked acid punch. Jerry Garcia was a hoot to hang out with."(4)


1.)^Jerry Garcia's Middle Finger, 2012-01-29, comments
2.)^Sweeney, Emily, Boston Nightclub History: Lesson #1, 2007-09-12, http://www.boston.com/thingstodo/gotoit/2007/09/boston_nightclu.html
3.)^Music Museum of New England, http://www.mmone.org/content.php?nav=teaparty
4.)^Guiliano, Charles, Hello Freeform Radio, Bye-Bye Boston Tea Party, 2011-04-18, http://www.berkshirefinearts.com/04-18-2011_steve-nelson-wbcn-4.htm
5.)^Lovell, Paul "Blowfish", The Boston Tea Party Club, http://www.punkblowfish.com/BostonTeaParty.html
6.)^chsid, comments, 2010-05-03, http://www.dead.net/show/october-2-1969#comment-100110

Friday, July 13, 2012

Boar's Head #2, Jewish Community Center (3), Holly Street? or Cherry Street?, San Carlos, CA

Boar’s Head is the British way of marking Twelfth Night — the evening of the fifth of January, preceding Twelfth Day, or Epiphany — bringing the Christmas period to an end.
The Boar’s Head Feast precedes Christianity, going back to ancient times when the boar was sovereign of the forest. Hunted as a public enemy, boar was the first dish served at banquets. As Christian beliefs overtook pagan customs, the presentation of a boar’s head at Christmas, beginning in the 14th century, came to symbolize the triumph of virtue over sin.(6)
A celebration of Twelfth Night - The Boar's Head - a 650 year old celebration, with the music of Medieval, Renaissance & Contemporary England!  Legend has it that a scholar was studying a book of Aristotle while walking through the forest on his way to Midnight Mass.  Suddenly, he was confronted by an angry wild boar. Having no other weapon, the resourceful Oxonian rammed his metal-bound philosophy book down the throat of the charging animal, whereupon the brute choked to death.  That night the boar's head, finely dressed and garnished, was borne in procession to the dining room, accompanied by carolers singing "in honor of the King of bliss." (5)

Capacity 40

There were two Boar's Head's in San Carlos, CA, not open all at the same time.

Boar's Head (23), Jewish Community Center, San Carlos, CA.
The Jewish Community Center was founded by a group of enthusiastic Jewish community members, the Peninsula Jewish Community Center was brought to life in a rented home in Burlingame in 1948. A place of compassion and a symbol of unity to all, the PJCC quickly became popular among many San Mateo County residents. With demand for the Center growing by leaps and bounds, the tiny house was soon too small to support the needs of its membership, so the Center was moved to a storefront (anyone know the exact address?) in San Carlos.
By 1960, due to the Peninsula’s increasing population, the Board of Directors eagerly set out to find a new home yet again.
In 1963, the PJCC purchased and opened a much larger facility on a 4+ acre site in the Belmont hills where it remained for the next 40 years.(1)

Jerry performed here on
6/11/62  Sleepy Hollow Hog Stompers (Marshall Leicester, banjo, guitar; Dick Arnold, fiddle)[2]
Jerry introduces the band as listed above.
Buck Dancer's Choice [1:16] (Instrumental) (Buck Dance by Reverand Gary Davis)
A comment is made that they don't know why the song is called that, maybe at some point a buck dancer chose it.
Little Birdie [2:47](Jerry pays banjo solo and sings)
Credit is given to the "Coon Creek Girls". This song is interesting because it contains the lines:
I have a short time to stay here
And a long time to be gone.
and..
I'd rather be in some dark holler
Where the sun don't never shine
Than to see you be (?????)
And to know that you'll never be mine
Sally Goodin' [1:18]
Hold The Woodpile Down [2:52]
Crow Black Chicken [2:27]
The Johnson Boys [2:21]
Shady Grove [2:25]
Hop High Ladies [1:51]
Sweet Sunny South [2:57]
All Go Hungry Hash House [2:44]
Jerry announces the next tune with all of the folkie seriousness and none of the banter:
Garcia: Thank you. On a sort of serious note, for a change, before there were instruments, or a lot of instruments around in the mountains, and well, way back in England and Scotland, and so forth, songs were mostly sung unaccompanied. So I’d like to sing a song that probably almost everyone is familiar with around here, you’ve probably heard it quite a bit. I’d like to do it unaccompanied, the way I heard a man named Roscoe Holcombe do it. It’s called “Man of Constant Sorrow."(5)
Man Of Constant Sorrow [1:46](sung acapella by Jerry)
Jerry mentions that he heard Roscoe Holcomb do it that way.
Rabbit Chase [2:17]
Three Men Went A-Hunting [1:47]

6/11/62 Ron "Pigpen" McKernan, Mike Sector
"We retained the name Boar's Head as we still had the signs, so we could put them up each Friday and Saturday. This location flourished even more than the previous one and they had people like Jesse Fuller there as well as the various string bands (most of which had Garcia in) like the Wildwood Boys and all the other Palo Alto outfits. The Boar's Head lasted about another year (till about mid 1964) when due to hostility from not only the establishment but the local straight kids as well, they were forced to close down."[3]
"He was hanging around at the various scenes that were going on in Palo Alto. At that time I was sort of a beatnik guitar player. And he’d come around to these parties and I’d be playing blues, and he’d watch very carefully and he’d go home and learn things, all on the sly. And he took up the harmonica as well back in those days… He was deathly afraid to play in front of anybody. He’d been playing harmonica secretly for a long time, and one time he got up on stage at a folk music place and I backed him up on the guitar; he played harmonica and sang. And he could sing like Lightnin’ Hopkins, which just blew everybody’s mind!”[6]


Boar's Head (Peninsula Jewish Community Center), San Carlos, CA
1.)^History of the Peninsula Jewish Community Center, http://www.pjcc.org/about/about-history.html
2.)^Troy, Sandy,  Captain Trips, pg. 39-41, 257
3.)^Albin, Peter, Platt, John, Pete Albin: Be A Brother, Comstock Lode 3.
4.)^The Times, 1960-05-17, pg. 17, http://www.newspapers.com/newspage/51726785/
5.)^Getz, Michael M. and Dwork, John R., The Deadhead's Taping Compendium, pg. 72.
6.)^Garcia, Jerry, Pigpen Solo, 2011-04-22, Grateful Dead Guide, http://deadessays.blogspot.com/2011/04/pigpen-solo.html
7.)^Albin, Peter, 2015-01-26, email to author.
8.)^Albin, Peter, Platt, John, Pete Albin:Be A Brother, Comstock Lode 3.