October 1966

Great Western Exhibit Center
 2120 South Eastern Avenue, Commerce CA 90040

Situated less than 20 miles south of Los Angeles in the city of Commerce, the Monster Halloween Freak-Off was sponsored by Southern California's KRLA - a popular Top 40 radio station on the AM dial; Bob Eubanks, Casey Kasem, Dave Hull (the Hullaballooer), Wolfman Jack and Real Don Steele were among the famous on-air personalities.

Once known as Beatle radio, KRLA encountered problems with the FCC over dodgy contests and dubious logs, the station changed ownership and its licence turned over. After various format changes in 1976 - progressive rock to soft rock - the station settled on an Oldies format. Since that time, KRLA went through additional changes; Sports Programming, Disney radio and is currently AM 870 The Answer. Not sure that answers anything at all.

Of the seven bands, The Seeds and Davie Allan were well known. Lesser known were Les Watson and The Panthers, whose single "A Love Like Yours" was released in 1968. The track was released on Pompeii Records - run by Pat Morgan, promoter of the Monster Show. The Dallas-based label also released music from Ike and Tina Turner and issued pressings by the Ikettes.

Morgan promoted an earlier Freak-Out at the Shrine Exhibition Hall in Los Angeles. Mainstream press refered to the event as a "happening". The lineup included The Factory, Count Five, and the Mothers of Invention.

While not tearing it up in a freakathon fracture, the Panthers also played "The In Crowd" - one of the last vestiges of the declining area known as Gaslight Square in St. Louis. The psyhedelic club was formerly the "Roaring 20's". While in town, Les and the boys also played the Cheetah Fashion Ball at the Chase-Park Plaza Hotel. Described as a mod fashion show, the benefit included the Liverpool Five, the Sheratons, and the Illusions. Proceeds went to the National Hemophilia Foundation.

When the Great Western Exhibit wasn't dealing with livestock or nerve spasms for the youth market, the fifty year old venue just off the Santa Ana Freeway hosted more mainstream events; Auto Fairs, Home Improvement Shows, Boating Shows and The Annual Sports Vacation & Travel Show. If fishing tackle didn't hold your interest, The Health, Beauty and Physical Fitness Show might have been be more enticing. The 1978 event demonstrated "holistic concept in action", and visitors would learn how to "integrate the exotic forces of energy with the physical forces to make them well-adjusted, happy and healthy". Admission for the day was a very natural and unconditional two dollars and fifty cents.

In December 1967 the venue was home to Festival Latino, a three-day KMEX event showcasing Jose Feliciano, Pedro Vargas and Sonia La Unica.

The Great Western Exhibit Center began under the less

October 1966

August 1967

The Third Eye
 312 South Catalina Avenue, Redondo Beach, CA 90277

Not to be confused with coffeehouse 'The Third Eye' in Cathedral City, Redondo's Third i began life in the 1930's when the Pelton Motor Company were happy to sell you a Dodge sedan for just below 800 dollars. Dealership manager Walter Linch remained on the premises for years, running Walter Linch Imports, until a man named Paul Moore was granted a licence to operate a youth recreation center.

The site became Club Bel Air, with house band The Bel-Airs (oddly enough). The South Bay surf spot went through various changes; the Revelaire Club (owned by KRLA DJ, Rebel Foster) and Sir Gass. Among the acts who played the club were; The Turtles (known as The Crossfires), Buffalo Springfield, The Knack and The New Generation.

While at KRLA, Reb Foster teamed with fellow jock Bob Eubanks who took an early interest in The Beatles. The radio pair leased a famous venue and managed to sell out all 12,000 tickets in three hours for the August 23rd 1964 Hollylwood Bowl show. If that surprised anyone, it might have been Ray Duncan for Pasadena's Independent StarNews when he wrote, "Though the Britishers may not be the best vocal quartet on earth, they do seem to generate excitement in certain segments of our society."

Foster kept his love for the Brits going as he promoted another big show headlined by Billy J. Kramer and the Dakotas plus Gerry and the Pacemakers ("direct from London"). For $5, teens at the Long Beach Arena got to hear The Superbs, Round Robin, The Standells, The Larks, Dick & Dede, Paul Revere and the Raiders and Sonny and Shere (sic).

Fellow jock Bob Eubanks was also no stranger to what teens were up to. Eubanks was busy producing Orange County's World Teen Fair and operating his string of "Cinnamon Cinder" dance clubs, which began 1962. The original location in Studio City was followed by Long Beach (on the site of supper-club La Ronde at 4401 Pacific Coast Highway) and moved out of state all the way to Texas and on to Fresno.

The clubs' success was attributed to a few stringent rules; No-one under 18 permitted. Single men past age 25 were discouraged from seeking entrance. Girls were not permitted if wearing capris or shorts (must wear skirts). Boys were barred if wearing t-shirts, sweatshirts, club or school jackets, levis or tennis shoes.

As Eubanks himself explained, "Sloppy dress makes for sloppy behaviour". Indeed.

The club served no alcohol, admission was $1.50 and cost an additional $1.50 to re-enter -- a cunning ploy discouraging brash youngsters heading to their Dodge for a sip of liquour. Despite the Draconian rules, kids packed the club and still managed all the latest dances; The Crossfire, The Slauson, The Madison, The Mashed-Potato, The Stiff Leg and The Bounce.

In 1965, as part of the Good Guys (with newcomer Don McKinnon), Foster would take the 9PM to midnight slot at the bigger and better KFWB/98... "Hear today's top music, lively platter-chatter". Foster's interest in the Liverpudlian long-hairs continued at the new station, and partnered with ex-KPPC jock, B. Mitchel Reed. The duo brought listener's continous reports of The Beatles' 1965 American tour. When Foster wasn't keeping tabs on the mop tops, he and Maud Skidmore also hosted the nightly show Squzzle.

Foster was chosen as MC for an outdoor concert at the newly renovated Picwood Theater on Pico Blvd. The charity event for the new Julie Christie film Petulia, donated proceeds to the Free Clinic on Fairfax. He was back at KRLA in 1971, airing Sunday 4-8 PM, and had entered the promotions business, organizing events such as Three Dog Night/Osibisa at The Forum in 1971. Ticket for a good seat seat you back $6.50

By 1973, Reb departed KRLA as program director and on-air personality. Station manager Hal Matthews was unsympathetic, "Frankly, the problem with Reb was that he was Top 40 oriented and just didn't care for our present soft-rock format and wanted no part of it". That same year in a study conducted on high-school campuses by KROQ, Elton John was the most popular rock star, followed by The Beatles (who disbanded three years earlier) and The Rolling Stones.

Long after the venue closed its doors, the Redondo site was home to Lifestyles furniture store, followed by Razzmatazz Records and Video. In 1989, the 1934 building was one of many places flagged as vulnerable in the event of an earthquake.

For more on Bob Eubanks and KRLA, please visit the wonderful vintage KRLA covers.

November 1966

Bido Lito's
 1608 Cosmo Street, Los Angeles, CA 90028

A decade before the freaks and hippies of Sunset spaced out to the heavy vibes, this small dimly lit brick 1925 building housed various of businesses; a cafe in the 1940's, a cocktail bar owned by Stan Wilson (1960), followed by the beatnik jazz club "Cosmo Alley" - formerly owned by Cosmo Capital Company.

The Hollywood venue hosted several stage productions, among them; Jean Genet's West Coast premiere of "Deathwatch" in 1960. Staged by Vic Morrow, the cast included such luminaries as Leonard Nimoy and Paul Mazursky.

The turtlenecks and smoky aroma continued for a while, when the hep joint became The Sundowner, located "Behind the Ivar Theatre".

Despite gaining an audience at Bido Lito's, Iron Butterfly didn't impress Robert Hilburn, music critic for the L.A. Times. Reviewing their gig at The Hollywood Bowl in 1969, Hilburn called the young band "the most unexciting, unappealing, major rock group I've seen." Hilburn continued to say "Their music captures none of the essential elements of good rock".

Bad vibes aside, Iron Butterfly received a warmer response after playing the Swing Auditorium in San Bernadino. Reporting for the County Sun, Jan Sears noted the band received a welcome home from the audience and that the show had "an aura of competent professionalism". Sears also quashed the false reports that eleven people had died at the show from "bad acid". The first act on the bill, The Blues Image, encouraged the audience "to be free".

Prior to their gig at The Shrine Auditorium in November of 1968, Iron Butterfly appeared at Bullock's La Habra for an autograph party. The department store event was held in stores' Collegienne Shop. To mark the event, sspecially priced albums went for $2.99.

By 1971, the diminuitive club became "The Sewers of Paris Café", which evolved into the "Gaslight Bar" years later.

June 1967

June 1967

June 1967

Beverly Cavern
 4289 Beverly Blvd., Los Angeles CA 90004

The Happening
 2905 Sunset Blvd., Los Angeles CA 90026

The three-day event at "The Happening" in Echo Park was masterminded by promoter, Erich Langmann. No stranger to the club scene, Langmann operated the Beverly Cavern in 1965, being promoted as 'The Nightclub for Young Europeans'.

The corner building at Beverly and Ardmore was built in 1924 and enjoyed a brief run as the Beverly Cafe. The Cafe and Cocktail Lounge offered nightly entertainemt and a very reasonable lunch for 35 cents.

The venue was operated by Rose and Albert Dietch until the late 1950's, at which point the club became a popular spot for Dixieland fans. The Firehouse Five Plus Two were house favorites. Local FM radio station KMLA covered the club for their Thursday night show, Night Life. The jazz club was so popular with Hollywood's elite, that Ida Lupino and Howard Duff popped in to hear Ben Pollack and his Dixielanders in 1951.

In the early 1970's, the club diversified its roster and serious round table discussions were added: "Develop your success mechanism and use your imagination to program yourself into achieving your life's goals" by Dr. Sidney Walter, Rubin Carson's "Is There Life After Marriage" and "I Love You, I Love You, I Hate You" by Catherien Bond were helping patrons deal with their issues. The dance club also gave lucky punters Adult Comedy at its Funniest with 'Patti & the Boyfriends'.

In 1976, the Beverly Cavern promoted itself as a new jazz club, with the Chuck Flores Quintet, Buddy Collette and Herb Ellis keeping the vibe on the nights when disco wasn't the draw. Langmann exited the club by this time.


Back in 1967, Langmann's Echo Park club, which opened in the summer, promoted itself as a "total electro-audio-visual environmental experience".

Located at The 'Big Orange Place', the building (which possibly housed multiple businesses) was home to the "Hollywood Dance Studios" in the early 1930's. Universal-Pictures-Corporation ran an ad, "Seeking clever Juvenile Talent". Hollywood's finest must have read the newspapers, as Carl Laemmle Sr. (Universal's President) was guest of honor for the Hollywood Dance Studio's 'Juvenile Show' in April 1931. The following day, Universal's Seed (John M. Stahl) had its World Premiere at the Fox Carthay Circle.

Shortly thereafter the dancers moved out and "The Dixie Club" waltzed in, until 1935. Also on the premises was the Contemporary Theater.

During the 1940's and 50's, the Silverlake location became the popular hotspot "El Zarape", and showcased Latin-American entertainment from the likes of Chico Colombo and his Mambo Band, Ruben Reyes, Bobby Ramos and Chico Colomo. It was renamed "El Continental" some time later and became a favored meeeting place for The Mexican Sportswriters Association, as well as Club Los Aficionados de Los Angeles.

By the mid-1960's, its latest name was "Club Havana", offering Big Band Jazz with Don Ellis on Monday nights. If Monday was no good, Tuesday's brought you the Hindustani Jazz Sextet.

Time has drastically altered the building and turned it into a strip mall (Silversun Plaza). The club was upstairs and is now a dentist office.

June 1967

Middle Earth Bar
 18467 Ventura Blvd., Tarzana CA 91356

In 1967, Hobbit fever was rampant. The album "Poems and Songs of Middle Earth" was released on the Caedmon label, and fantasy booklovers and longhairs could light one up and listen to stories told in English and Elvish, as read by the author.

So it only seemed fitting that Tarzana's latest club name itself Middle Earth, after the hugely popular Tolkein book 'Lord of the Rings'. Hobbit fever was spreading; other locations feeling the Noldor vibe popped up in Indianapolis, and across the pond by the fruit and veg markets in London's Covent Garden - which then moved the The Roundhouse. In Los Angeles, a sandwich shop on Vermont Avenue also called itself "Middle Earth".


In the late 1940s, the Tarzana site was dance hall, "Lee's Round-Up Café". Within a year, the building was leased by the Veterans of Foreign Wars, Ladies Auxillary 4089. The interior was in the process of being remodeled with a club room for their organization.

In 1966, the place received a makeover; the Ventura Blvd spot was now the "Yum Yum Tree", and bands like Arrow recording artist The Recalls ("The Valley's newest rock and roll sensation") were keeping teens happy. The informal dance hall served beer from 8:00 to 9:00 PM for the outrageous price of ten cents.

One group who would have appreciated low-cost beer might have been the Hell's Angels. In 1966, two members from the motorcycle organization were evicted from the bar, along with others from competing ruffians, Satan's Slaves. A rumble ensued, resulting in an employee seeing the receiving end of a beer bottle.

Two years later, the Valley News reported the club was the scene of a drug bust. West Valley police conducted the 4AM raid which netted thirteen arrests, and "several bags of what appeared to be marijuana".

The building was demolished in 1969.

June 1967

August 1967

By the mid 60's, L.A.'s top rated radio station was KHJ (Kindness, Health, Joy). KHJ Radio 93 (an RKO General outlet) used an innovative Top 40 format -- a strict 30-record playlist called the Boss 30. In addition, KHJ allowed direct phone lines to the DJ's to request songs - the 'Boss Line'. Easy listening veteran Johnny Mann supplied the soft jingles. KHJ employed on-air personalities such as Don Steele, Tommy Vance ("a long-haired Englishman"), Robert W. Morgan, and Dave Diamond. On Tuesday's, you would find Diamond at The Tiger Room of the Crescendo nightclub on Sunset. KHJ's mascot was Chris Varez, aka The Big Kahuna.

It wasn't all boss hits. In 1964, listeners could tune in to hear the velvety timbres of Sir John Gielgud and Sir Ralph Richardson in The New Radio Adventures of Sherlock Holmes - brought to you by Horton and Converse.

Ushering in a new era, KHJ replaced many long-time people; talk personality Michael Jackson was replaced by DJ Paul Compton, and waved goodbye to Steve Allen and Jayne Meadows. Jackson made his TV debut in 1964, interviewing Mort Sahl and Susan Oliver on Channel 9 ("weeknites at midnight"). In 1969, Robert W. Morgan - The Boss Deejay became the new host of "where it's at" program, The Groovy Show - shown weekdays at 5:30 PM on Channel 9 televison. Morgan was also handling KHJ's crucial 6-9 AM drive-to-work slot.

KHJ took their listener's seriously. In March 1967, the station conducted a Teendex survey to determine what caused teens to turn the dial and switch stations. Conducted at the Teen-Age Fair at the Hollywood Palladium on Sunset, just over 4000 questionaires were turned in. The results came back; 28% said "A bad record", followed by "News", "Too much talk", "A commercial", "Static", and lastly, "An old record".

The teens had spoken. The hottest record that month was Ruby Tuesday - no reason to change the dial there. What might cause teens to switch? Could be No Milk Today by Herman's Hermits, Tiny Bubbles by Don Ho or People Like You by Eddie Fisher.

KHJ were everywhere. On September 11th 1966, Channel 9 premiered Boss Jocks at 6PM - a weekly live shows of Top 30 tunes, high school musical groups and guests. The show was in color. Actually, not a bad week for TV; Mission Impossible, premiered on CBS at 9PM, Flipper entered it's 3rd season and Get Smart kicked off it's second season (guest star, Dick Gautier) - both on Channel 4. If you were still awake at 1:15 in the morning, Channel 7 kept it going with Terror in the Crypt with Christopher Lee.

The junior set weren't ignored either; their morning started with Secret Squirrel, Underdog and Frankenstein Jr. and The Impossibles on Channel 2. By 10 AM, Space Ghost, Milton the Monster and The Jetsons distracted them from reality. Sports fans grabbed a Schlitz for the San Francisco Giants versus The New York Mets at Candlestick Park.

By 1971, KHJ (still number one) saw the changes in radio. General Manager Paul Cassidy pointed out to the L.A. Times' Don Page that while their audience is "highly teen", they're in a growth period and moving toward the 18-34 market. Cassidy observed KRLA's format of playing album cuts. Despite saying he wasn't too concerned with the so-called underground movement being pionerred by FM radio, Cassidy admitted that at 36 years old, perhaps it was hard for him to relate.

Cassidy added that KHJ's morning man, Charlie Tuna is a bright guy; he uses the phones and does funny stuff and said "Topicality is essential". Cassidy was aware of a new phenomenon invading the top 40 spectrum; the bubble-gum field, from the likes of Bobby Sherman and David Cassidy.

August 1967

Originating in New York in 1966, the Cheetah Discotheque was run by Olivier Coquelin (who once appeared on The Dating Game) and Borden Stevenson, son of the late UN Ambassador, Adlai Stevenson. Described as a "now" club, a "place for mods" and the "place where things are happening, Baby", Cheetah opened in April of 1966 on the site of the Arcadia Ballroom.

The club had three floors equipped for dancing, talking, movie and television watching, reading and drinking - although only beer and soft drinks were initially served. Cheetah didn't stop there. A boutique was on the premises, with items from the mod capital of the world - London's Carnaby Street. General admission was $3 on weeknights and a more outrageous (but probably justified) $4 on weekends. Drinks went for 75 cents.

In 1968 alone the club attracted a dazzling array of artitss to perform; The Human Beinz, Wilson Pickett, H.P. Lovecraft, Strawberry Alarm Clock, Big Brother and the Holding Company, Them and The Magnificent Men. If that wasn't enough, The American Breed headlined, along with The Troys and Y-Nots. A year earlier, the Cheetah was packing them in with the likes of Jay and the Techniques, The Buckinghams and Neil Diamond (as in "Just pour me a drink and I'll tell you some lies").

In 1966, record label Audio Fidelity partnered with Cheetah for a line of albums recorded at New York's Cheetah discotheque. First in the series was "Where It's At", featuring The Esquires, Michael Shaw and the Prophets, and the Little Flowers. The New York club also sponsored a Cheetah Showcase, spotlighting new talent in popular music. Auditions were held at Broadway and 53rd Street.

Cheetah Clubs soon opened in other cities; Chicago and in Los Angeles -- located in the Pacific Ocean Park area by the Venice pier. In L.A., KFWB deejay Gene Weed hosted the TV show "The Happenings", and filmed the first segment from the Cheetah Club. For the West Coast engagement of their U.S. tour debut, British supergroup Traffic stopped in at the Cheetah Club, as did Pink Floyd. The Chicago tribune reported an explosion destroyed the location at 1106 West Lawrence Avenue - the site of the Aragon ballroom. By 1968, the venue reverted back to The Aragon.

Reporting for the Arizona Republic, Jeanne Sakol was quite bemused. In her August 1967 piece on the club, Sakol refered to the Cheetah as "One of the New, Swinging, Teen-Age Fun Emporiums". This lively description appeared alongside a photo of 'Dancers in Psychedelic Costumes Add to the Total Environment of Nightclubs'.

Sakol refered to the kids as the 'Now Generation' and noted "the young have taken over the after-dark scene in America". Sakol highlighted the Cheetah as the best-known and most successful attempt at TE (Total Environment). Sakol also reported the while the Cheetah catered to youth, it did admit grown-ups.

Italian radio and TV network RAI didn't deprive their audience of the American scene. A weekly program called New York '66 interviewed various artists of the day, Cy Coleman, the Supremes, the Lovin' Spoonful and Paul Anka. Other segments included recordings from a few New York hotspots; 'The Persian Room', 'Americana', 'The Living Room' and 'The Phone Booth' -- as well as the opening of the Cheetah Club.

Coquelin went on to mastermind his next club in the winter of 1970 - "Hippopotamus". Staying in the Big Apple, the pleasure palace was located less than two miles from Cheetah at 154 East 54th Street and served fine food, courtesy of head chef, Andre Pernod. There was also a Mantra garden. According to New York Magazine, the 2,400 square foot dance floor was filled with "transvestites in stretch jumpsuits unbuttoned provocatively to the waist, girls in stainless steel blouses, and men in ankle-length curly-white lamb coats."

Not content with successfull clubs under his belt, Coquelin ventured into the hospitality industry, first with Habitation Le Clerc and then in 1982 with Relais de L'Empereur - Haiti's newest hotel. Located an hours drive from Port-au-Prince, in Petit-Goâve, rates were $250.00 per room.

August 1967

Back at Thee Experience, the main attraction was The House of D.B.S.. The cryptic name was actually the Dirty Blues Band, backed by lead singer, Rod Piazza. Their eponymous album was released on the Bluesway label in 1968. The Van Nuys News described them as "a fairly average band, not in the same class as Paul Butterfield."

September 1967

Back in Venice, The Marvellos were tearing it up, along with Bobby Angel and Taj Mahal.

The Marvellos released a few singles, first by asking Why Do You Want To Hurt The One That Loves You for Loma in 1966. Flip over the driving dance beat platter and you got 'You're Such a Sweet Thing'. The following year they signed with Warner Bros and released Yes I Do.

Bobby Angel had seen a thing or two (with or without The Hillsiders), having released a few singles such as, Baby-O-That's The Way I Want To Go in 1961 and 'Submarine Races' in 1962 for Astra.

Arthur K. Adams had also been kicking around, beginning with, The Same Thing/Tend To You for Valdot in 1962. Adams had women problems and complained, She Drives Me Out of My Mind for Modern in 1968.

Adams and Bobby Angel teamed up in 1967 for a few gigs at "Mr. Zaff's", a rich, modernisitic club in El Monte. According to sources, they really "put down" all the sounds. The groovy nightclub opened in 1967 and was operated by Melvin 'Corky' Packard. The El Monte hotspot, formerly "The Bunny Palace", opened with Al and The Originals - one of the Top 10 teen favorites.

Unfortunately, since becoming a Kareoke/BBQ joint, the only thing being "put down" right now are off-key vocals to Destiny Child's Say My Name.

September 1967

Aside from Saskatoon's The Great Flood, the biggest group from Canada in 1968 might have been The Nomads. The seven-piece Edmonton-based outfit recorded Hits of the Nomads (featuring Lenny Richards) for Point Records.

September 1967

With songs written and produced by Paul Arnold, The ID released two singles from their 1967 album "The Inner Sounds of the Id"; Short Circuit/Boil The Kettle, Mother and Wild Times/The Take.

Labeled a "sizzling L.A. outfit", The Inner Sounds of the ID played Chicago's Mad Show Revue at the Happy Medium club in 1967. The RCA group puzzled some critics. Dave Wagner for Wiscon's Post-Crescent paper was not impressed: "This amusing quintet refers to its sound as the 'unshape of things to come'. Could be, because the Id is unexciting, unorignal and uninteresting". RCA also released an album by Alan Funt.

The group was headed by Jerry Cole - a noted session musicain with 'The Dirty Dozen' - a group of seasoned studio guys and gals that included Hal Blaine, Tommy TeDesco, Bill Strange and Carole Kaye. Cole (born Jerald Kolbrak), who passed away in 2008, was part of the surf beat scene in 1964. Cole recorded 'Surf Age' for Capitol, under the name Jerry Cole and his Spacemen. Apart from The Beach Boys, Capitol rode the wave that year with, Surfink, Mr. Gasser and The Weirdos, Dick Dale and his Deltones.

A single, Where Are We Going? was put out by Aura in 1976.

September 1967

September 1967

September 1967

October 1967

October 1967

Smokestack Lightnin' were familiar to the Cheetah crowd, having played in 1968 along with Ultimate Spinach and The Sunshine Company. Keeping it going on the West Coast, the band joined Kaleidoscope at Cal State in May of 1970. -- the same month Pink Floyd served up "Alan's Psychedelic Breakfast" at the Santa Monica Civic Auditorium. The group then headed to the Valley for teen dances held at the Encino Community Center. Also booked for the teenagers; The Midnighters, The East Side Kids, Indescribably Delicious and Marshmallow Steamshovel (candidate for greatest band name ever). Admission was one dollar and fifty cents.

Unfortunately, not everybody was taken with their blues-rock sound. John Mendelsohn for the L.A. Times covered their slot at the Whisky a Go Go in December 1969. Calling the band "Perenially Los Angeles' worst name group". Despite their bad name, Mendelsohn continued "At its inception during the golden days of Pandora's Box, a shoddy imitation of the Yardbirds, Smokestack Lightnin' is today living proof that at least a few young whites can perform famous Howlin' Wolf and Bo Diddley numbers with only disastrous results".

This didn't stop them being booked solid. In 1967, when the Dave Clark Five headlined Santa Monica's Civiv Auditorium, they joined the bill alongside Gordian Knot. A year later they were special guests at the Electric Carnival. The Long Beach Sports Arena show also featured Buffalo Springfield, Canned Heat and Country Joe and the Fish.

Radio station KRLA presented Southern California's screenings of The Cream (the 1969 farewell concert at London's Royal Albert Hall), the boys were joined live on stage with Illinois Speed Press. One might assume a name like that would hinder success, but Illinois Speed Press received favorable coverage. The Chicago-based outfit played Fillmore East with Ten Years After and scored a minor hit with 1968's Get in the Wind for Columbia/Aphrodite. Billboard Magazine opined it "should be a good discotheque smash". Their 1969 eponymous album contained the well-received hit, P.N.S. (When You Come Around).

Reknowned musician Johnny Guitar Watson had been around since the 1950's. Watson recorded two hits on the Modern label back in 1955 -- Oh Baby and Give a Little. By 1956, Watson was signed with BPM Records in Culver City. The Houston-born Watson scored a hit with Cuttin' In (King), which reached number 11 on the R&B charts in 1962.

An accomplished guitarist, Watson was no stranger to West Coast audiences. Back in 1962, Watson was on the bill with headliner "Moms" Mabely (Funniest Woman Alive), joined by Ketty Lester and Johnny Otis at the Hillstreet Theatre in downtown L.A. The MC was Larry McCormick - future news anchor. In 1967, Watson appeared at The Limit in Long Beach (currently an Arco gas station). At a 1968 benefit for the Scholarship & Tutorial Program of Black Student Alliance at the Sports Arena, Watson joined an esteemed lineup that included; The Impressions, Dick Gregory, Leroi Jones, Eartha Kitt and O.C. Smith. Tickets ranged between $3 and $5. Watson also played The Blue Bunny in Montebello.

The rhythm and blues man was part of the three-day Soul Bowl '69 event, at Houston's Astrodome. The benefit was to raise money to "promote low-cost housing in the nations ghettos". The star-studded lineup included; Ray Charles, Aretha Franklin, Percy Sledge and Redd Foxx. Many of Watson's hits were sampled later on. In 2016, Give Me My Love, taken from the 1978 album Funk Beyond the Call of Duty was adapted as the intro for No More Parties in L.A. by Kanye West.

Fellow blues guitarist Larry Williams had been hanging around since the lats 1950's and was behind a string of big hits. The R&B maestro did well with Short Fat Fannie and Bony Moronie, both released by Specialty in 1957. By 1963, Bony Moronie was being covered by The Appalachians for ABC-Paramount - a hit in the jukebox market.

Williams' first outing with Chess My Baby's Got Soul was one of Billboard Magazine's 'Spotlight Winner of the Week' in 1959. In 1966, Williams signed with Okeh Records, who released his debut single, I'd Rather Fight than Switch. Working with Okeh, Williams was also writing and producing for other artists, such as Little Richard for the track, Poor Dog (Who Can't Wag His Own Tail). Williams teamed with Johnny Watson in 1967 for the Okeh album Two for the Price of One. And the 'Hit Team' of Williams and Watson struck again with the release of Nobody in late 1967. Williams was also behind the Staple Singers track For What It's Worth on Epic.

One year later, they scored a hit single with their version of Mery, Mercy, Mercy - written by Joe Zawinul (also a hit for the Cannonball Adderly Quintet that same year). Reflecting the changing mood of the times, Williams got serious with Wake Up (Nothing Comes to a Sleeper But a Dream), released on Venture in 1968.

Still active in to the mid-70's, Williams was working with Fantasy on the album Larry Williams and the ATS Express. The veteran talent made a dent with the funk album That Larry Williams - aided by Fred Wesley leading the horn section.

October 1967

October 1967

 6230 Sunset Blvd., Los Angeles CA 90028

Not to be confused with Van Morrison, who played defense for Indiana State in 1966, or even Van McCoy, it was Belfast-born Van Morrison who made his first L.A. appearance at Dave Hull's Hullabaloo, on Sunset. Morrison's album Blowin' Your Mind! on Bang was creating a stir with tracks like the nine-minute T.B. Sheets and the smash Brown Eyed Girl (famously ruined by Julia Roberts in Pretty Woman (Garry Marshall, 1990). Not everything was golden. Reviewing Morrison's 1974 album Veedon Fleece, Rolling Stone's Jim Miller noted Van's tendency to mumble instead of enunciate and likened it to "a pinched nerve drowning in porridge".

The Special Added Attraction at the Hullaballoo was The Yellow Payges, four local lads from Hollywood. They released several tracks; Crowd Pleaser, Slow Down and Frisco Annie (Uni). The young group played "Superscene '68" at the Rose Bowl in Pasadena. They were joined by a whose who of scenesters; Brotherhood, Eric Burdon and the Animals and The Lemon Pipers. VIP tickets set you back $6.

In 1968, the top rock group were given a week-long engagement at the Pusi-Kat in San Antonio, Texas. 1968 was a good year for the Yellow Payges, having been voted 'Best New Group of the Year' by the Youth Foundation of America. No less than loveable Monkee Mickey Dolenz himself awarded the prize at the St. Jude's Benefit at the L.A. Sports Arena. The award for Best New Solo Artist went to Mary Hopkin.

the hard rock band made it to "Pop Festival '69" at the HemisFair Plaza Arena in Texas. Added to the bill were Tommy James and the Shondells and The Clique (riding high with Sugar on Sunday). Tickets prices $5.

In what must have been an eye-opening event, the band were lucky enough to play the New Jersey State Fair in September 1969. Located off Route 33 in Trenton, the bill included the Joie Chitwood Thrill Show and Tiny Tim. Dick Clark booked the band for "Happening '67" at the Fairground Auditorium in Longview, Texas.

And surprising no-one, a commerical version of Finger Poppin' Party (MCA) was redone as part of a massive AT&T promotion for the Yellow Pages. The Cunningham and Walsh Agency created TV spots and a Party Pak was distributed. But don't feel left out, because you're officially invited to a "Finger Poppin' Party".


Having changed hands from Earl Carroll's Theater to the Moulin Rouge, the newly-minted Hullabaloo officially became a teen-age nightclub in early 1966. Wealthy realtor Gary Bookasta and DJ Dave Hull were the backers on the new venue. Bookasta, one-time manager of The Yellow Payges, also managed Hullabaloo's house band "The Palace Guard", and later became president of L.A. radion station, KROQ.

The change was drastic. Gone was the famous cement wall with signatures of Hollywood celebrities (Bogart, W.C. Fields, Tyrone Power among them). When the black curtain fell, it revealed the in-crowd; The Grass Roots, Ike and Tina Turner and the Beau Brummels. Newspaper headlines were appropriately dismayed, "Earl Carroll Restaurant Becomes Hangout for Shaggy-Haired Youths".

John Scott for the L.A. Times took notice of the change in the club scene, "The big switch in entertainment was to that heady, loud, monotonous a Go-Go musical beat, which impels young people to dislocate their backs on dance floors." Scott continued, "In Los Angeles the Sunset Strip, justly famed in the past for swank niteries hosting the mink-and-diamond set, turned into a rendevous for beatniks in leather jackets and stretch pants, who watusied, jerked and mashed-potatoed when they weren't sitting spellbound listening to long-haired, and sometimes barefooted, groups. Such places as Gazzaris, Whisky a-Go-Go, It's Boss, The Trip and the Hullabaloo resounded to this cacophony of sound."

If anyone was left unimpressed it was Frank Sennes, former Moulin Rouge owner. Commenting on the obliteration of the old star-signed blocks, Sennes lamented it was "the desecration of a shrine honoring the greatest names in showbusiness."

By 1968, Teen Clubs International Inc was offering the Hullabaloo name to be franchised ("You don't have to sell anything -- the teenagers are already sold on Hullabaloo"). The Gala Party in December 1965 kicked off with Del Shannon, followed by Ike and Tina Turner the next day (admission was $1.50). Van Morrison wasn't the only overseas talent making a Hullabaloo stopover -- The Yardbirds made their only L.A. appearance in January 1966.

The Sunset hotspot opened its facilities to students from six Valley high-schools for an all-night graduation party. Music came from Mike Clifford, and students received snacks and breakfast in the morning. The participating highschools were; Granada Hills, James Monroe, North Hollywood, Reseda, Sylmar and Verdugo Hills. The all-night party was PTA-sponsored, and seniors were offered billiards, dancing, a photographer and fortune teller.


The original building opened in 1938 at a cost of $500,000 and came equipped with four stages, one of which was a double revolving stage. Earl Carroll died in a plane crash in 1948, and a year later the building was up for sale to theatrical producer Gene Mann. Although Mann had rights to use the Earl Carroll name, he intended to forgo the existing cafe and convert the building into a theater.

  Click for Gallery

Ultimately, the building officially became Frank Senne's "Moulin Rouge" in December 1953. Calling itself the "Showplace of the World", the new owner introduced top variety acts, a choice of dinners and cocktails, and dancing to two orchestras (one is never eough) - all for five dollars. Not on the bill was the scuffle between Frank Sinatra and John Wayne in 1960. The melee occurred when Wayne and Sinatra got into a heated exchange over the singer's hiring of Albert Maltz - a writer working on a screenplay entitled The Execution of Private Slovik. Maltz was jailed in 1951 after refusing to tell whether he belonged to a Communist organization.

The verbal business carried over to the parking lot. A valet pulled up too close to Frank, who proceeded to lunge at the young attendant. Another valet stepped in and saw the receiving end of Frank's bodyguard. Sinatra eventually settled for an undisclosed sum.

New ownership took over the Moulin Rouge in 1963, and the newly decorated nite club now offered more risque fare with acts like Lili St. Cyr and "Nelida" in "Naughty-Naughty". By 1965, Las Vegas-style revue was gone and The Hullaballo was in.

After a brief period in 1968 when it became the Kaleidoscope, the next tenant was the Aquarius Theatre, who remained until the 1980's. In 1983, the building was acquired by Sunset-Gower Studios, who then renovated and the facility was ready for jaw-dropping entertainment such as "The Chevy Chase Show".

By the end of the 1990's, the place known simply as "Sunset Boulevard Theater" was then the new home to cable channel Nickelodeon, who held the spot for the next decade, at which point, it was purchased by Essex Property Trust.

In 2016, the Gordon B. Kaufmann-designed building was approved as a Historic-Cultural Monument.

The London-born Kaufman (who died in 1949) attended the Whitgift School in Croydon and emigrated to the U.S. in 1914. Kaufman lived at 627 South Carondolet Street. Kaufmann was behind a vast number of notable buildings, including;
  • 1928 - Scripps College.
  • 1929 - Westwood Hills Methodist Church.
  • 1930 - The Hollywood Ritz-Carlton Hotel. At a cost of $5,000,000, the structure would have been the first Pacific Coast unit for the luxury hotel chain, but was never completed.
  • 1930 - Blacker House and Ricketts House dormitories. California Institute of Technology, Pasadena.
  • 1931 - The Times Mirror Printing and Binding House.
  • 1933 - Sawyer School of Business / Holmby Building, UCLA.
  • 1936 - Store Building at 1056 Westwood Blvd. Westwood Village.
  • 1936 - Home Economics Building, San Pedro High School.
  • 1937 - Rancho Santa Anita Model Home
  • 1937 - Coldwell, Cornwall & Banker office at Wilshire Blvd. and Plymouth Avenue.
  • 1937 - Florentine Gardens. Hollywood.
  • 1937 - Southern California Gas Company. Glendale office. Reconstruction.
  • 1937 - Bankcroft Whitney Company (Lawbook publishers). 226 West First Street.
  • 1940 - Hollywood Palladium. The $750,000 building was intended to hold 10,000 people, and accomodate parking for 1000 cars. The structure was operated by Southern California Enterprises, headed by film producer Mauric M. Cohen.
  • 1940 - Union Oil Building. 7th and Hope Street. Kaufman handled the modernization. Construction was completed by original architects McDonald & Kahn.
  • 1948 - Westinghouse office. 600 South St. Paul Avenue.

October 1967

 9039 Sunset Blvd, West Hollywood, CA 90069

The Sunset Strip address had a long and storied history begining with its origins as "Cafe Roxy" "Rendevouz of the Cinema World" in 1935. Two years later, new owner Marcel Lamaze put his name on the joint, now renamed "Cafe Lamzae". The hot spot featured the customary big bands and dancing, as well as unique acts such as "Myrus - The Wizard of Mental Telepathy", and "Peggy Fears - The Glamor Girl of Songs."

The start of the 1940's brought a rapid turnover of establishments; "Biarritz Restaurant", the "King's Club" - an after-hours "bottle club" selling liquor after midnight at a higher price, the "Deauville French Restaurant", and "Dave's Blue Room" run by Dave Kleckner.

More notable was "Sherry's Restaurant", managed by ex-cop Barney Ruditsky. The Sunset eatery was no stranger to action. In 1949, Mickey Cohen, L.A. mob boss and alleged haberdasher, took a few slugs while exiting the restaurant. Cohen survived, although his two companions were fatally wounded. If a pre-dawn gangland shootout didn't diminish reservations, having its liquor licence revoked didn't help either. One board member described the swank night spot as "a hoodlum hangout and a general police problem".

With all that kerfuffle, Sherry's closed its doors and the nautical-themed "Plymouth House" opened around 1953. Nothing lasts forever apparently, as "Jack Denisons" opened in September 1958. After a year, the spot expanded to become "Jack Denison's Golden Slipper", and ravished diners were treated to the "Scandalous Can Can Follies" and charged $2.99 for dinner (whiskey was 99 cents). The Follies were canned. In 1961, new hosts Sammy and Dominick transformed the place back to the "Plymouth House".

By the time Gazzari's (also known as Hollywood A Go-Go) opened, Los Angeles nightlife offered jet-set swingers and industry elite a wide variety of choices. In June 1968, the L.A. Times critiqued the most popular;
  • Cheetah - 1 Navy Street, Venice. "It is full of young people lounging around on imitation leopard sofas who seemingly are waiting to die."

  • PJ's Back Room - 8851 Santa Monica Blvds. "The room has a charge and a zest, in spite of its early Las Vegas bad taste decor. The crowds are respectable and easy."

  • After a solid run as one of Hollywood's go-to nitespots, PJ's changed hands in 1968. After successfully running the place for a number of years, owner Paul Raffles sold his place to "Sneaky Pete's", noted Sunset Strip eatery. But late-nite revellers needn't have worried; the former adults-only hot spot remained au courant with music fans by booking top-draw acts The Fifth Dimension and Ike & Tina Turner.

    By 1973, PJ's reemerged as the Starwood Club.

  • Arthur - 666 North La Cienega Blvd. "It is very well decorated, its staff unusually pleasant, and the drinks are all doubles. The location, smack in the middle of Restaurant Row, can't be beat."

    Since 1955, the former tenant was the "The Oyster House" (run briefly by Elliott Mizelle). Arthur however had a brief run, despite calling itself "L.A.'s Newest and swingin'est in-spot". With even less time on the block was the members-only "Sportslamp". The private club with mahogany paneling set athletes back $150 a year. Heading the operation was Tony Verna, creator of the "instant replay". Didn't last. The "Pear Gardren Restaurant", which cooked Japanese and Korean food at the table took over. Years later, the site switched gears entirely to become an art gallery.

  • Whisky A Go Go - 8901 Sunset Blvd. "When it thrived, it was elegant in its new fashion. It is now quite tarnished, and afflicted with the Sunset Strip malaise: Hustling for the bucks. In its favor, and this is a very redeeming quality, Whisky gives breaks to new groups, many of whom deserve it. A good place for looking at musicians with a future".

  • Candy Store (Private Club) - 451 North Rodeo Drive. "Where all of the beautiful, interesting but not necessarily rich people hang out. The crowd is rather uncomfortably with it, which means that some gawk and others pretend to be oblivious while gawking. The Candy Store is probably the only true International club in town."

    Long before it was private, the Beverly Hills address was cocktail lounge "The Tropics". Real estate broker Walter Marks kept an office there in the 1950's. After the tiny club moved out (capacity at the Candy Store was around 130) in the mid-1970's, men's clothing store Theodore Mann stepped in.

  • Kaleidoscope - Sunset near Vine. "Kaleidoscope is an exciting barn of a place. The upper level is for dancing. The remaining levels down to the stage are for sitting: no chairs though. The walls are hung with screen, and Kaleidoscope has the best light show in town. When the musicians shut down at 2 a.m., the movies go on."

    First known as International Kaleidoscope, the club operated at 1228 Vine Street (the (site of the former Steve Allen Playhouse) in Hollywood since 1965. However, the rock and roll club ran into a snafu when Naional General Corporation, the owners of the building, charged their tenants with violating the lease, by subletting the property. Having already remodeled and installing a 360-degree light show and new sound system, they were prevented from entering the building. The venue shuffled around a bit, moving to Ciro's and The Embassy Room at The Ambassador Hotel.

    The owners; John Hartmann, Skip Taylor (Lawrence Taylor Tatman, III) and Gary Essert made their second attempt in March of 1968, and settled on the former site of Hullabaloo. The impressive opening lineup included Jefferson Airplane, Buffalo Springfield, and Canned Heat. Clearly, the move to Sunset worked out - by June, the club was packing them in for shows from Love, Rhinoceros and Taj Mahal. A month later, Kaleidoscope held its second Quasi-Annual Film Orgy - four days of continous motion pictures.

    Acts from the U.K. got their turn when the severely underated The Crazy World of Arthur Brown converted a bemused crowd in June 1968. Also on the bill were The Byrds - featuring McGuinn, Hillman, Kevin Kelly, Gram Parsons and JD.

    The Kaleidoscope was the setting for radio station KPPC's benefit concert in April 1968. Among the bands to play were Pacific Gas and Electric, Bo Diddley, the Collectors, Canned Heat, the Committee and the Doors. Papers reported that Doors front man Jim Morrison delivered his lengthy poem, Celebration of the Lizard, resulting in several females in the audience to pass out. Not sure if the same reaction occurred a year later when Morrison allegedly exposed himself at a Miami concert.

    Kaleidoscope co-founders Gary Essert and Skip Taylor produced the U.S. version of Holland's version of Woodstock; Stamping Ground (Jason Pohland/George Sluizer, 1971). Promoted as The Dutch Connection - A Government Experiment That Worked. 300,000 Found a Lost Weekend. Although not well received, the R-rated film offered glimpses of several key groups; Pink Floyd, Family, It's a Beautiful Day, Al Stewart and T-Rex. The film was playing a year later, paired with Joe Cocker's Mad Dogs & Englishmen (Pierre Adidge, 1971). The 4-Channel Stereo Sound feature played Pacific's Picwood in West Los Angeles.

    Essert, technical coordinator for UCLA's motion picture division, went on to create Filmex (Los Angeles International Film Exposition) in 1971 (with partner, Gary Abrahams). The opening ceremony took place at Grauman's Chinese Theater in Hollywood, and kicked off with Peter Bogdanovich's The Last Picture Show. The non-competitive film festival was helped by industry veterans George Cukor, Walter Mirisch and King Vidor.

    After the demise of Filmex in 1985, and spurred on by the lack of foreign film in Los Angeles, Essert became Artistic Director of the newly-formed American Cinematheque in 1986. Initial plans were to open at the Pan-Pacific Center on Beverly, which was going through a major renovation.

    Canned Heat's manager and Kaleidoscope co-founder Skip Taylor attended Columbia University and married Venita Wolf at St. Cyril's Church in Encino in 1968. The busy club promoter and manager co-wrote the track Let's Work Together and remained busy as a producer. With his brother Jim, on Canned Heat's 1972 album, Historical Figures and Ancient Heads and 1974's Reel to Real by Arthur Lee and Love (RSO).

    Under his new production company, Taylor released Harvey Mandel's The Snake (Janus), and ex-Who drummer Keith Moon enlisted Taylor to produce his 1975 solo album, Two Sides of the Moon for MCA. Taylor continued working steadily, and in 2003, produced Canned Heat's Canned in the Can (featuring only one original member).

    Kaleidoscope's initial building on Vine Street was destroyed in a fire in 1990 - faulty electrical wiring was given as the cause. The building opened in 1928 as the Filmarte Theatre, debuting with the The Golden Clown (Robert Florey). Tickets for the premiere attraction were $1.

  • The Daisy Club (Private Club) - 326 North Rodeo. "Jack Hanson, the man who put females in pants and created the bottom and leg craze, is the boss. The pool playing facilities are intimate and excellent. The beautiful people, many of whom deserted for the Factory, will be back. For a town full of clubs without tradition, the Daisy has created its own."

    Daisy Club operator Jack Hanson was behind the successfull celebrity-driven store, Jax Slacks Shop, which begun life in 1944. The mid-1960's Jax look was "aimed at the woman who descended from her pedestal long ago. She is in the world - on the move - and wants fussless clothes that leave her free to think about other things."

    None other than Nancy Sinatra namechecked Hanson as one of the three most important men in modern-day America; father Frank and Hugh Hefner completed the trio. In 1969, Hanson backed his first movie, A Boy... a Girl (John Derek).

    Back in the day, alleged Russian price Mike Romanoff owned his namesake restaurant there until 1951, when it then moved to 140 South Robertson Blvd., and eventually closed in 1962. The Rodeo site became the Friar's Club for a while in the early 1950's. The Daisy closed in 1970 to become a lunchtime restaurant and introduced cabaret entertainment.

    Performance art group The Mystic Knights of the Oingo Bongo performed in 1975, and billed as "surrealistic mixed media".

    The Daisy became a Christian nightclub in 1976, operated by Bryan MacLean - former guitarist and vocalist for Love. In the 1980's, Jack Hanson was back at the Daisy, now operating as a Private Club Disco, at least for those willing to fork over $500 a year.

  • The Factory - 662 North La Peer Drive. "The Factory's patrons can be public or private. It is big and it has many places for seclusion or public display. The graffiti in the johns would keep a gossip columnist in buinsess for years, and the food is excellent. Now and then there is the sweet smell of of smoke floating around, but that just makes it more interesting."

    The former premises of Mitchell Camera Factory was converted into the Facory in 1967. The idea was conceived by nine mebers of "Hollywood's horse-and-Camaro set"; Sammy Davis Jr., Peter Lawford, Anthony Newley, Pierre Salinger, Richard Donner, Paul Newman, Jerry Orbach (of the department store), and leading the pack - Peter Bren and Ronald Buck. Buck, a one-time acquaintance of Jack Hanson spent around $200,000.

    Ron Buck and Peter Bren's father Milton, were previously involved in West Hollywood civic affairs. Citing concerns over "grave and sordid conditions which have existed in recent times on and near Sunset Blvd and Santa Monica Blvd", the two men petitioned for Cityhood for the Sunset Strip in 1966. The application, filed with the County Local Agencies Formation Commission, sought to incorporate as an independent city, the 'Sunset Strip' west of Hollywood.

    According to reports, the new community would include unincorporated areas surrounded by the cities of Los Angeles and Beverly Hills. The area would be known as West Hollywood.

    While the Factory was operating on the upper level, the ground floor was utilized for other purposes. Gallery owner Douglas Christmas opened ACE Gallery in 1968. Among the featured artists were Sol LeWitt and DeWain Valentine. Following ACE was merchandising-design firm Hamilton-Howe. A year later, the space was occupied by The Street, "A potpourri of exciting shops and boutiques designed for those who see the new and unusual." The new business was open seven days a week, from noon until 2AM.

    After The Streets cleared out, the "Old Fashioned Spaghetti Village" moved in. Graham Gelfat from design form S&H Interiors created "Southern California's Newest Family Fun Restaurant" and offered patrons everything from penny arcade's, old-time saloons and a variery of quaint settings. The old-timey pasta joint was the scene of an offical Guinness Records breaking contest in October 1973; a portly gent from Alhambra demolished 2.2 pounds of spaghetti in two hours and six minutes.

    The ravenous diner could have sweated it out at the next place that took the address; Scott Forbes' "Studio One" - a gay disco. That club morphed into the cabaret venue "Backlot Theatre". Studio One was still kicking around by 1994, when it hosted alternative dance music night Midnight Mass. After folding, the "Love Lounge" began hosting their glam night Cherry.

    The fickle nature of L.A.'s 1968 club scene being what it was, led designer James Galanos to comment, "The people today at The Factory are money people. Those young people who first made the magic there have left."

    Regardless, The Factory remained in business and began hosting live performance. Feiffer's People, a revue based on Jules Feiffer's writing and cartoons was performed nightly in 1970. Keeping company among the cast was pratfalling TV chef, John Ritter. By 1971, The Factory was holding their Concert Series -- presenting Mugwumps, Pasadena Ghetto Orchestra (later American Gypsy) and Barry Melton & the Fish.

  • One club not covered, but still worth mentioning was Club John, at 321 North La Cienega Blvd. The upscale nitery founded by John J. Pike Jr., and Baroness Phyllis de Clara, lasted a few years. Going from private club to public discotheuqe, Club John ended as a live entertainment venue with dancing. Pike, was the son of Hancock Park resident, socialite and portrait artist, Marion Hewlett Pike.

  • Gazzarri's - 9039 Sunset Blvd. "The light show is strictly from the early black light age, and the slideshow consists of a lot of unattractive pictures of attractive young girls. Considering the admission minimum and poor shows, it can be said of Gazzarri's that what overflows of the rest of the Strip goes here. Those who go deserve what they get".

At the age of 38, the impressario began with the Italian eatery, Gazzaris Restaurant, at 319 North La Cienega. Aside from serving fine cuisine, courtesy of Mamma Gazzarris (real name Bruna), the establishment had live music (four shows nightly). In 1962, crooner Ray Anthony helped diners ingest their stuffed cannoli with his warm vocals. A few years later, Gazzari gave diners a new experiece - Theater Games - charades but with audience participation.

By 1996, the ghost of Gazzari's was about as relevant as The Spin Doctors. In August of that year, a brand new venue took its place - the well-financed "Billboard Live". Music had changed since the time of Gazzri's heyday; Cypress Hill, The Large Professor and Outkast were making waves on the Rap charts, country music owed a debt of gratitude to Jeff Foxworthy and Alan Jackson for their duet Redneck Games, video sales were kept alive with Playboy: The Best of Jenny McCarthy and the Stone Temple Pilots were Trippin' On a Hole in a Paper Heart.

But less than two years after Billboard Live erected its massive JumboTron screen over the marquee, it quietly shuttered its doors and re-emerged as "The Key Club" - which was bestowed the honor of "LA's #1 Club" from the prestigious AOL City Guide. The venue attracted the finest talent from across the land... Green Jello, Fox Twot, Penis Flytrap and Smash Mouth all hit the Key Club stage in 1999.

The Key Club closed in 2013.

A year later, the building rose from the ashes, this time as the swanky nightclub, "1 OAK".

October 1967

The Golden Bear
 306 Pacific Coast Highway, Huntington Beach CA 92648

Built in 1927 as a restaurant, the coastal eatery lasted until 1948, when marital problems caused the owner to commit suicide. The wife tried to keep it going, but it closed in 1952. After remaing vacant for a number of years, it gained new life as a nightclub. But that too was short-lived. Another owner, George Nikas took over in 1964, and turned things around, booking major acts. For the clubs reopening in 1966, comedian Mort Sahl was booked.

Sometimes called the future "Miami of the West", Orange County's fastest growing city ("where living is great"), had a projected population of 100,000 by 1970. The Pacific's Golden Coast had eight miles of the finest and safest beach in Southern California - which included Huntington Beach State Park and the Bolsa Chica State Beach Park. Living in 'smog free' Huntington Beach was a breeze. A spacious 2-bedroom/1 bath townhouse was going for $16,000 in 1965 - and you're 3 minutes from the beach. The Golden Bear was part of the community and apart from the music, the coastal nook offered European coffees, beer, wine, pizza and steaks.

The Huntington Beach hotspot attracted a wide range of big names; By 1970, Arlo Guthrie, The Animals, Janis Joplin, Neil Diamond, The Association, Santana and The Smothers Brothers all did their thing at the Paciific Coast Highway hotspot. Capacity was small at only 250 people, and admission was $3.50 for a top act. There were plenty of blues to be heard as well; The Johnny Otis Show, Eddie 'Cleanhead' Vinson, Shuggie Otis and Big Joe Turner played in '72. And it was the Golden Bear where Jackie DeShannon took her band for a warm-up gig before hitting the Troubadour. But the club's heyday lasted until the mid-70's, at which point the Golden Bear turned back to being a Greek restaurant.

But all was not lost. In 1974, former law student Rick Babiracki took over the club, and by the mid-70's, Orange County's answer to Hollywood was booking everyone from Country Joe McDonald, McGuinn-Clark-Hillman, Billy Cobham, The Runaways and Commander Cody to Taj Mahal and Linda Ronstadt. The list of diverse acts continued in 1978 with Cherie Currie, Flo and Eddie, Johnny Paycheck and Nick Gilder. That same year, Jim Nabors appeared at Harrah's in Reno, and The Tom Robinson Band played The Starwood. But it wasn't all music apparently, as actress Susan St. James was Master of Ceremonies at an extravaganze for Tom Hayden, Democratic Candidate for U.S. Senate in 1976.

In 1987, a draft of an Environmental Impact Statement conducted by Caltrans on the Pacific Coasy Highway widening project, noted that the Golden Bear Cafe (as it was known at the time) was considered an Historic Property and eligible for inclusion on the National Register of Historic Places. Unfortunately, as part of the Main Street redevelopment project, the club was torn down that year. The venue had hit financial straits by that time. A plaque remains on the current site - "The Pierside Pavillion".

As for the other Golden Bear, Jack Nicklaus is still standing.

October 1967

October 1967

Thee Experience
 7551 Sunset Blvd., Los Angeles, CA 90046

The Bitter End (West)
 8409 Santa Monica Blvd., West Hollywood, CA 90069

When Thee Experience opened in April of 1968, the club gained a repuation as one the best jam clubs in town. Late night and Sunday sessions included sets by members of the Grateful Dead, Steve Miller, Frank Zappa, Steppenwolf and Eric Burdon.

Run by Marshall Brevitz, the small rock club became a major hangout for some big names, and sources claim Jimi Hendrix played there ten nights in a row. The L.A. Times said the club was "rigidly entrenched in the 'hip' Sunset Strip milieau as one of the top clubs in which to hear and see the best of the new groups in town." It was apparently a favorite spot for groupies.

However, the club closed after a year and Marshall Brevetz returned with a new place and a new location in West Hollywood, simply called "Thee Club". Retaining the famous jam sessions, the opening in August 1970 scheduled Frank Zappa and the Mothers of Invention, although they did not perform. No worries, The Grateful Dead, Blues Image, Sweetwater, Judy Mayhan and Iron Butterfly were booked for upcoming gigs. The venture was shortlived. Brevitz later became Bobby Womack's personal manager - and received a writing credit on 1973's Across 110th Street.

With Brevitz' club long gone, Greek restaurant "The Bojavi" moved in. The moussaka didn't last. Club owner Paul Colby, proprietor of New York's The Bitter End saw an opening. Colby made changes to its East Coast counterpart; it was more folk-rock than hard rock, and came with an $8000 sound system, tavern and restaurant. In keeping with the East Coasts' seating situation, the venue installed pews - although they were replaced with more comfortable seating later on.

The inuagural lineup in 1970 included Sweetwater, John Phillips, comedian David Steinberg, Kris Kristofferson and Feather. Admission was between $3 and $4. By 1971, the club added a new lounge area for jazz attractions, adjacent to the main building. Little Richard dropped in and Captain Beefheart was back for a week-long engagement.

After the New Year, Richard Pryor and Bo Diddley headlined together. And it would have been rude to leave plenty of snacks out for Dick Gregory, who performed while on his 100-day protest diet. Another cap in the feather for the club was booking Curtis Mayfield's L.A. singing debut, in February 1971.

The entertainment changed quite a bit by 1973. After a refurbishment, the live stage show Tubstrip was presented. The show with "extensive nudity and X-rated language" was a "homosexual comedy about the misadventures of eight boys and a dirty old man whose lives cross during the course of one long evening at a Manhattan bath house."

Brevits' Thee Experience was on the corner of Sunset and Sierra Bonita in Hollywood, and originated as the "Granada Music Shoppe". Audiophiles could pick up their favorite Vocalion records. If butter and cheese was your thing, the next tenant was "A&P Store", who operated in the 1930's. A decade later, the Save Our Way Market took over. The building became the Bear Wood furniture store in the 1980's.

October 1967

October 1967

Deana Martin was Dean's youngest daughter from his first wife Betty. No stranger to the glitzy world of showbusiness, Deana had appeared on The Dean Martin Show in 1966, singing Side by Side with Dean. The show had been on for one year and doing well, despite its 10-11 PM slot. Competition came from; Ed Sullivan, Andy Williams, Red Skelton and Jackie Gleason - all of whom had shows of their own. Not one to miss out, ABC premiered Dick Clark's "Where The Action Is" the same year.

By 1973, Dean and his Ding-a-Lings had gone stale. Life Magazine tuned in and the result wasn't pretty, "The Dean Martin Show is witless". A far cry from their initial observation during its second season. "Yet true cool only occurs on Thursday evenings (NBC) when The Dean Martin Show freshens the stale ether with a spontaneous, slapdash air."

Deana had a small role on NBC's hit show, The Monkees ('Some Like It Lukewarm'), playing Daphne, a member of an all-girl band. First signed by Columbia in 1965, Deana was repped by Terry Melcher - reportedly linked romantically to older sister Claudia. A year later Deana moved to Reprise, and was handled by acclaimed writer/producer Lee Hazelwood. Along with three friends, Deana formed "Chromium Plated Streamlined Baby". Their original name was 'The Human Beings', but since it sounded too close to the established band 'The Human Be-Ins', they opted for something exceedingly "sin".

According to Loius Cook of the Detroit Free Press, the 19 year-old Deana vis very pretty in a dark-haired, dark-eyed way and she does good things for a long-sleeved mini-skirtv. Cook made sure to mention that "Miss Martin not only sings, but on occasion beats a tamborine and shakes maracas". The band, still going by their old name, were in town for a gig at The Duchess Lounge.

In 1967, they headed West to play JD's in Arizona - where Deana was billed simply as "Vivacious Daugher of Dean Martin".

October 1967

Believe it or not, Chocolate Tunnel - a name that could have used more time to consider - made a slight dent in the Hot 100 Charts in 1967. The quirky track was arranged by Gary Paxton, a talented arrange/producer and writer.

Paxton teamed with Kim Fowley in 1960 to form Maverick - the promotions side of Maverick Music. The label had a few tunes under their belt, namely Alley-Oop - a hit for The Hollywood Argyles (Lute Records), of which Paxton was lead singer. His single Little Blue Man was popular in 1961 and a year later, It's So Funny I Could Cry/Teen Age Crush was released on Liberty.

Later, Paxton wrote Beach Party for Dave York (TKM), which didn't pan out. But his luck would change. Hollywood comedian and part-time actor Bobby Pickett joined vocal group The Cordials. Although he soon departed, Pickett and The Cordials lead singer wrote a little song, which they took to Paxton (since The Cordials were signed to him).

Paxton knew a hit when he heard it, and Bobby 'Boris' Pickett and The Crypt Kickers enjoyed the fast moving single, Monster Mash - reaching number 2 on the Hot 100. Pickett's mega hit became a staple of novelty compilations and reappeared on the charts every few years. Since the singles' success, Pickett returned to acting in 1963, turning up in commercials and guest appeared on Bonanza, Dan August, Dr. Kildaire and The Beverly Hillbillies.

The novelty bug kept on going for Paxton in 1964 when the talented tunesmith released Two Hump, Dual Bump Camel Named Robert E. Lee on his Garpax label. Keeping the mystique rolling, the track went out under the name, Gary Paxton and the ?'s.

Paxton continued working as a busy producer/arranger and songwriter. Johnny Cash turned to the Gary Paxton Singers as backup for his 1973 American Oil commercials. Keeping it country, Paxton produced The Boogie King for Big Merle (King Records), who toured with Hank Williams Jr.

October 1967

October 1967

The winter of 1967 in Los Angeles offered people a smattering of entertainment choices; The 6th Annual Decorator Show at the Sports Arena served up the 'Mr. Blackwell' Exhibit, Maurice Chevlaier was warbling about little girls at the Dorothy Chandler Pavilion, Gilbert & Sullivan at the Robert Frost Auditorium in Culver City (Culver City High School), or Diana Ross and The Supremes at UCLA.

This wouldn't be their only trip to L.A. of course. The all-girl group played the Anaheim Convention Center in early 1969, with Bill Medley and the Watts 103rd Street Band on the program, followed by The Fabulous Forum in Inglewood in August. Like dozens of other events, tickets for that show were now avaialble via the new 'Electronic Box Office' system, known as TRS ("Dial TRS-1000").

Joining them were Motown's very own Edwin Starr and The Edwin Hawkins Singers. The Forum's upcoming shows included The Rascals with Sly and The Family Stone, Dione Warwick, James Brown and Blind Faith.

In October, Diana Ross and The Supremes hosted The Hollywood Palace. The televised variety show also featured Sammy Davis Jr., and the Jackson Five. The light entertainment show aired on Channel 7/ABC at 9:30 PM and went up against 'Petticoat Junction' on CBS (with guest June Lockhart) and 'Buck Owens' on Channel 13.

By late 1969, Ross planned to leave the Supremes (Mary Wilson and Cindy Birdsong), to be replaced by Jean Terrell. And indeed, her last show as a Supreme took place at The Frontier in Las Vegas in January 1970.

October 1967

October 1967

Capt'n Merriweather's Pickle Farm
 4315 Melrose Avenue Los Angeles, CA 90029

It was ironic that The Strawberry Alarm Clock headlined the opening of East Hollywood's "Capt'n Merriweather's Pickle Farm" in October of 1967. Joing them was Seattle-based group, Daily Flash. Managed by the promotions firm led by Charlie Greene and Brian Stone, their version of the folk song "The French Girl" was released in 1967 for Uni. The same year, the band played a mod party at the California Mart plaza, in downtown Los Angeles. The charity bash hosted by Aid-Mates (a group of young married couples, raised money for the Children's Speech Hearing Center in Van Nuys.

The hard-working band were popular on television, having appeared on KHJ's Boss City in 1966, along with The Four Tops and The Association. Two shows at the Whisky with the Beau Brummels and The Byrds capped a good year.

A year later, they guested on NBC's The Man from U.N.C.L.E., singing My Bulgarian Baby. If detonators making atoms dance to music wasn't your thing, CBS had Daktari, Channel 13 with another hour of Perry Mason, and ruth or Consequence with Bob Barker on 11 were all good alternatives.

Built in 1923, the East Hollywood building began life as "Jensen's Melrose Theater". The interior design firm Robert E. Power Studios handled design duties. Situated on Western Avnue (in the area now known as Koreatown), the decorating firm were invloved with other L.A. buildings; Hollywood Chapel in the Hollywood Cemetery, Utters Undertaking Parlor in Alhambra, Rose Garden Ball Room in Long Beach and The Criterion Theatre to name a few.


Originating as the Kinema Theatre ("famous for its good music"), the Criterion became the Fox Critereon Theatre, located downtown at 7th and Grand. In 1930, John Ford's "all talking movietown production", Men Without Women was personally recommended by Harold Franklin, President of Fox West Coast Theatres. Taking out a print ad in the L.A. Times, the theatre chain didn't hold back, "'Men Without Women' is the greatest thrill drama I have seen in years... there is an element of greatness in the picture... there is a human touch... there is a flash of genius... these attributes are so manifest that I believe John Ford will win the gold medal of 1930 with 'Men Without Women'".

Despite the excited hyperbole for the 77-minute movie, the gold medal for Outstanding Picture went to MGM's The Broadway Melody. The Fox Criterion also ran the sumptous Garbo movie Romance, which arrived with fervent hoopla, "It is to the everlasting credit of Los Angeles that its people 'shop' for pictures... and when they see a great one they KNOW it!... Ever ready to comply with public demand Fox West Coast Theatres transfer GARBO in 'Romance' today."

Showtimes ran from 11AM to 11PM and admission was 35 cents until 1PM. The theatre was demolished in 1941.


Back in East Hollywood, Jensen's Melrose Theater operated as legit theater and movie house until the 1950's. The "Fountain Avenue Baptish Church" had a brief spell, but cleared out by 1952. The Ukranian Cultural Center set up shop a few years later.

At the start of the eighties, the 700-capacity hall became part of the club scene. Former Al's Bar booker Michael O'Reilly lined up The Plugz, Flesh Eaters, Gun Club and Phrast Freddie and Thee Precions for its opening.

October 1967

Ash Grove
 8162 Melrose Avenue Los Angeles, CA 90048

Ash Grove II
 6820 Santa Monica Blvd., Los Angeles CA 90028

Located in West Hollywood, the Ash Grove had been the "finest in folk music entertainment" for years, with many big names holding court since 1958. Started by 22 year-old Ed Pearl, the venue saw everyone from Muddy Waters, Johnny Cash, the Byrds, Taj Mahal and Pete Seeger play the 200-seat venue. By the late 60's, Pearl expanded by adding a multimedia workshop to reflect the social and cultural conditions that fed the music. The Watts Repetory Theater Company staged an 'Anti-Minstrel Show' in 1967 to a "delighted but bewildered audience", and described as "bizarre, chilling and humorous" by the L.A. Times. The 'Super Spook Show' was directed by Jayne Cortez and featured Stanley Crouch, who also shared some of the writing duties.

In 1969, a fire brought the venue down, although Pearl believed it was politically motivated arson. But the site was rebuilt and reopened within months. A benefit to help rebuild the club was held at Pilgrimage Theater, featuring The Byrds (McGuinn as the only original member), Pacific Gas and Electric, Kaleidoscope and the Firesign Theater.

A second fire ocurred a year later and the Ash Grove set up a temporary home at the Europe Theatre on Beverly for a weekend concerts. Things were back up, and in 1971, a limited number of people got to see Phil Spector on stage, teaching a course on the record business. Lucky patrons paid $25 for the seven-week course, of which Spector appeared for four of them.

The diverse booking attracted a variety of shows. In 1972, satirist group, The Credibility Gap opened at the Ash Grove. Dan Sullivan for the L.A. Times was impressed with the young men, saying "they may be the most devastating quartet since 'Beyond the Fringe' went back to London. When they have finished with a target, it is a disaster area". Sullivan spoke highly of Harry Shearer and Mike McKean and noted the venue "is a friendly place that more of the student crowd should know about".

With the folk scene in decline, Pearl made the decicion to close in 1973. The former UCLA drop-out planned to continue with a multimedia center in the KPFK studios on Cahuenga - where he ended up hosting a radio show. The original Melrose location reopened in May 1974 as the Pitschel Players Cabaret - a satirist group from San Francisco.

Quite a departure from the folk stylings of the Kingston Trio, the gala New Year's Eve show for 1974 was The Elegant Female Impressionist Musical Revue known as French Dressing - with "Diana Ross", "Bette Midler" and "Judy Garland". Over at Frankenstein's Castle, aka The Roxy on Sunset, The Rocky Horror Show was in its final month before heading to Broadway. Tickets for the New Year's Eve show were $10. But if rice and suspenders weren't your thing, Debbie Reynolds and Pasty Kelly were appearing in Irene at the Schubert Theatre in Century City.

And for those with no interest in live performance whatsoever, movie theaters were showing Blazing Saddles (Mel Brooks), Zardoz (John Boorman) and The Sugarland Express (Steven Spielberg).

Life wasn't a cabaret for too long however, as the Melrose Avenue site soon became "Budd Friedman's Improv". Even with events such as Timothy Leary ('Stand-Up Philosopher') in 1979, the spot became home to virtually every famous comedian, either as employee or future star.


With the Ash Grove still in his mind, Pearl was ready to go again. In 1988, Pearl set about with the "New Ash Grove" in Hollywood, at 6820 Santa Monica Blvd. The reborn venue boasted a 400 seat theater and restaurant. Although the gallery began presenting poetry, music and film, the main showroom wasn't ready. Strangely though, Hamilton Camp and The Beef Sisters were already booked. By the summer, it was over. Extensive building repairs and issues with obtaining a beer and wine licence killed the project.

Undeterred, Pearl was negotiating a move to the basement of the First Unitarian Church at 2936 West 8th Street (which likely never happened). For what it's worth, the summer smash that year, Crocodile Dundee II, was "back for another 'G'Day."

By 1991 however, Pearl was already in serious talks to develop an Ash Grove on the Santa Monica Pier. Despite permit issues causing delays, the venue eventually opened in the summer of 1996 with Dave Alvin and Peter Case set for the debut. A year later, the City wwas hitting up Pearl for past-due rent, which was around $4,000 a month. In retrospect, Sandra Bullock had problems with Jason Patrick in Speed 2: Cruise Control - so things were tough all around.

After closing its doors in the summer, the situation worsened. Citing massive debts, the venue filed for Chaper 11. The Pier site was replaced by "Arcadia", an upscale club/restaurant.

Eleven years later, the Ash Grove celebrated it's 50th anniversary with a star-studded lineup of poets and musicians at UCLA's Royce Hall.

October 1967

October 1967

October 1967

December 1967

December 1967

December 1967

December 1967

 1144 Westwood Blvd. Los Angeles CA 90024

Galaxy Club
 8917 Sunset Blvd., Los Angeles CA 90069

Built in 1929 by architect Russell Collins, the historic building was home to a number of stores. The mermaid-inspired store Headquarters was known as "Taffy's" during the 1950's. The apparel store had three other locations, and sold skirts, blouses and dresses. For a while, "Westwood Beauty Supply" sold hair tints, dyes and human wigs.

By the mid-60's, the goods had shifted to tobacco, and "Ed's Tinder Box" was the proprietor. The well-known pipe store was founded in 1928 and run by Ed and Karl Kolpin. In the 1970's, "Delphi Jewelers" were happy to sell you a Rolex Submariner for $315, until they went bankrupt in 1978. But "Céleste Jewelers" took over and kept things ticking.

The "In" spot on the Sunset Strip was the "Galaxy", and enjoyed a rich history of prior establishments. In 1937, the site opened as "Little Hungary", serving fine food. For reservations, call CRestview 9263. The small eatery retained its continental cuisine when it then became "Little Gypsy" in the 1950's - "Wild gypsy music. Try chicken paprika". Even Walter Winchell recommended the place, "Love and kisses to Shandor, the Greatest Gypsy Violinist".

Some time later, the small spot was known as "The Clan" - 'The Strip's Most Intimate Supper Club'. But not for long, because the magic bow and fiddle worked wonders, and the place was known as "The Golden Violin". It was here where The Ziegfeld Girls Club of California held a reunion in 1960.

Around 1964, owner Rose Deitch (who passed away in 1994) announced new excitement with her latest venture, 'Galaxy' - where you could dance the Twist and Watusi (hopefully not on a full stomach). Music was supplied by the Pat and Lolly Vegas Trio. By 1969, the venue was calling itself "Thelma", and hosting rock acts such as Ike & Tina Turner Revue, The Grateful Dead, the Byrds and Humble Pie.

By the mid-60's, the Galaxy was one of many teenage dance spots converting to going topless. The County Welfare Board (chaired by Sybill Brand) also received notice from Gazzari's with their intent to go topless and burlesque. In the wake of troublesome teen behavior on the Strip, many dance spots had their permits revoked, which led to a host of new topless establishments were taking over. One caveat being special licences would be required, and the possibility of being unable to serve alcohol.

Apparently, much of the blame was pointed at hippies ("hardcore roughnecks" as one Sheriff put it), who were blamed for the area's decline. The Glamour Belt, once considered "an opulent center of haute mode specialty shops and a dining and entertainment oasis for sophisticates after dark", was now changing in character. One Sunset Strip realtor had this unique perspective, "that as long as a hippie is not blocking the sidewalk - that is if you can walk over him or around him - he is within the law."

It seemed hippes were also to blame for the demise of the Strip's famed club "Pandora's Box". The 40 year-old building on the corner of Sunset and Crescent Heights was demolished in August of 1967. The L.A. Times reported, "Police and politicians who blamed the hangout for all the 'evil and misery' of last years's Sunset Strip rebellion watched the destruction and shed no tears. County Supervisor Ernest E. Debs denied that condemnation orders against the club were triggered by the hippie unrest. Debs told reporters, "That was just a coincidence. However, the place is an eyesore. Look at them over there - they all need a bath."

Fortunately, the West Hollywood Presbytarian Church sponsored a "bath-in" and appealed for soap, shampoo, detergent and old bathing suits to be used in the cleansing experiment. A spokesman explained, "We intend to gather in the parking lot next to the church and wash away the dirt... here's a chance for people to do something about the dirty hippies." The hippie washing church became the United Church of Christ in 2014.

The reach of the unwashed hippie's had extended further East, as their presence was called a contributing factor to the decline of the Thunderbird Motel, now being run a retirment hotel bt its new owners.

Luckily, this subculture had been broken down into digestible pieces. And by the summer of 1967, with the onslaught of teenagers heading for the beach areas, one sheriff's investigator explained it in laymen's terms; "the more intellectual type of hippie, the one who generally claims a religious experience and kinship with the arts, will gather in Malibu and Topanga". "The 'goofy-kid' type of hippie, generally the teenager out of control, will roam the Sunset strip in West Hollywood."

The roaming situation might have been an issue. The L.A. Times reported that while an anti-loitering ordinance had been ruled unconstitutional, the City council would try again, enacting an Ordinance to prevent "hippies from annoying and molesting pedestrians."

Things got so bad, that even respected car rental business Savon Rent-a-Car was affected, and ordered to tone down it's signage. In June 1969, the County Regional Zoning Board explained, "garish colors and glaring signs no longer will be tolerated on West Hollywood's Sunset Strip". Board members continued to gripe that "hippies, psychedlic colors, too much traffic and garish lighting have been depreciating Strip property values".

However, the Board said they would grant Savon's zone exception if it "limited its parking lot to 12 cars and toned down its mustard yellow and psychedelic green to something less gaudy, and screen its sign from being seen by patrons and employees of (adjacent business) the Kavkaz Armenian restaurant."

The tiny plot of land across from the now-defunct Tower Records is currently home to the decidely bland Coffee Bean and Tea Leaf, situated under the now-defunct Spago restaurant.

December 1967

Pasadena Civic Auditorium
 300 East Green Street, Pasadena CA 91101

The Pasadena Civic Auditorium was home to a variety of events: Mort Sahl and the Limeliters, Ferrante and Teicher ("The Movie Theme Team"), ballet and screening travelogues, such as Incredible Iceland and Canada's Billion Dollar Highway (for those interested in Banff National Park).

By the time Tim Buckley played the Civic in December, the charismatic folkster had two albums under his belt. The Elektra Recording artist made his Troubadour debut a year earlier. The "Frizzy-Haired Musical Magnet" was compared to Dylan, but according to the L.A. Times, the 19 year-old was "sexier, and had a better voice".

Not so complimentary was the L.A. Times toward The Mother's of Invention. Reviewing the Mothers' August 1966 gig at the Shrine Exposition Hall, staff writer Stan Bernstein headlined his piece; "The Mother's of Invention Find a Way to Bore Nearly Everyone". Perhaps he just didn't get it. "The show lacked direction and there was little or no supervision. What was supposed to be entertaining happened to be monotonous."

With two albums on the Verve label behind them, Zappa was a busy man. The front man opened The Nifty Agency in Greenwich Village, and was looking to create his own label, as well as produce music for his sister, Candy. By the time they played the Civic in December, their latest album, Freak Out had been on the charts for 22 weeks. The album was sitting comfortably above Roger Williams' Born Free.

The Civic was popular for religious events as well. The Oral Roberts Crusade exclaimed you could "Expect a Miracle!" in 1968. A year later, droves of people lined up in Pasadena for the International Yardage Fair.

December 1967

Not to be confused with the erotic Euro film of the same name, the all-girl group from Fullerton, California were signed to Fontana, and released the single, It's My World/Beachball, produced by Dick Toops of Pie Productions. Toops was co-writer on the 1960 track Maybe He Loves Me.

Their only album Straight or Lame was recorded for United International.

December 1967

December 1967

December 1967

December 1967

In 1967, Warner/Reprise were inviting listeners to Turn On/Tune In with a pleasant roster of artists; The Tokens, Beau Brummels, The Electric Prunes and The Jim Kweskin Jug Band. The folk band had been around since 1964, recording for Maynard Solomon's Vanguard label - home to Ian and Sylvia, The Rooftop Singers, Buffy Saint Marie and Joan Baez.

Popular with the college crowd, the happy-go-lucky group from Cambridge, Massachusettes were called one of the very best jug bands. A 1970 greatest hits compilation, featuring the "high dry sound of Maria D'Amato's voice". Miss D'Amato spent six years with the group, where she met her future husband Geoff Mulduar. They departed the band, and toured on their own, appearing at the Berskshire Theatre Festival, along with The Full Tilt Boogie Band, Bobby Neuwirth, Earth Colors and Pete Yarrow. Maria went on to have a top five single in 1974 with Midnight at the Oasis.

December 1967

Douglas Good and Ginny Plenty's album (written by Tony Romeo and Wes Farrell), The World of Good and Plenty received decent reviews. Good and Plenty "are able to make up for their vocal shortcomings with imaginative effects that should appeal to young people looking for the sound they like". Despite their shortcomings, the duo made an appearance on WNEW TV's The New Yorkers on Christmas Day, 1967.

The single Living in a World Of Make Believe/Pocketful of Tunes hit the Hot 100 charts in 1966 and released on Senate Records (formed by Farrell). Distributed through ABC Records, the new label's firsr release was Michael Horn's Strawberry Dream.

Producer Wes Farrell had a hit on his hands when he co-wrote Hang on Sloopy in 1966. The smash was a big seller for The McCoys and Ramsey Lewis. Working steadily, Farrell worked with Ronnie Milsap, The Cowsills, Dawn, Marjoe Gortner and The Partridge Family. In 1973, Farrell formed his own record label, Chelsea Records and in January 1974, married Frank Sinatra's youngest daughter Tina, at Caesars Palace in Las Vegas. Citing irreconciable differences, Tina filed for divorce after ten months.

Farrell passed away in 1996, as did Minnie Pearl, at age of 83.


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