jim kweskin tour

Jim Kweskin

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Never Too Late: Duets With My Friends

I Just Want to Be Horizontal Samoa Wilson with the Jim Kweskin Band

Relax Your Mind

Penny's Farm Jim Kweskin & Geoff Muldaur

Come On In Jim Kweskin and Meredith Axelrod

In the 21st Century

Garden of Joy The Jim Kweskin Jug Band

Jim Kweskin's America

Jug Band Extravaganza Jim Kweskin, Geoff Muldaur, John Sebastian, David Grisman, Maria Muldar, The Barbecue Orchestra

Enjoy Yourself (It's Later Than YouThink)

Vanguard Visionaries

See Reverse Side for Title Jim Kweskin and The Jug Band

Live the Life Samoa Wilson with the Jim Kweskin Band

Now and Again Jim Kweskin Band with Samoa Wilson

Jump for Joy Jim Kweskin & The Neo-Passé Jazz Band

Side By Side

Jim Kweskin Boston, Massachusetts

Jim Kweskin is the founder of the legendary 1960s Jim Kweskin Jug Band with Fritz Richmond, Geoff Muldaur, Maria Muldaur, Mel Lyman & Bruno Wolfe. During the 5 yrs they were together, they transformed the sounds of pre-WWII rural music into a springboard for their good-humored performances. Jim is best known as a singer & bandleader, & created one of the bedrock guitar styles of the folk revival. ...   more

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Jim Kweskin Tickets

Jim Kweskin Concert Tickets

Grab Jim Kweskin tickets to see a great performance live and in person. Concerts are held in a wide variety of venues that vary from small nightclubs, arenas, concert halls to stadiums and concert festivals held at outdoor parks. Concerts typically require professional audio equipment to support the performer. Prior to recorded music, live concerts were the only way to hear musicians perform.

The first known concerts were in the late sixteenth century in London. In the late eighteenth century, the most common performances were symphonies. Concerts vary in type and include recitals, theatrical, classic and tribute. Get ready to be shouting and dancing along with fans in the audience. Purchase Jim Kweskin tickets to witness a spectacular show.

How much are Jim Kweskin tickets?

Jim Kweskin ticket prices can range from around $34 on up. The get-in ticket price can be as low as around $27 depending on the location. If you are looking for cheap tickets, check the availability of seating in the upper levels of the venue. Over the past decade, concert ticket prices have seen an increase of over 55%. However, ticket prices for these performances will tend to be modest with most tickets being under $65 each.

When do Jim Kweskin tickets go on sale?

TicketSmarter has a wide selection of authentic Jim Kweskin tour tickets within a week of the tour being announced. You never need a presale code to get early access to concert tickets with us. Don’t miss out on an unforgettable show and download available Jim Kweskin tickets today.

Jim Kweskin Tour Dates & Concert Schedule

Jim Kweskin concert schedule typically includes a number of stops along their tour. However, there are some instances where the performances are limited to one city or venue or limited tour stops. Potentially see them perform at The Fox Theatre at Foxwoods, Arcada Theatre in St. Charles and Daryl's House in New York. Look at the Jim Kweskin tour date schedule above to find out when they will be in your hometown.

Songs from the Jim Kweskin Tour Setlist

Jim Kweskin's setlist while performing in Tuckerton , NJ at “The Lizzie Rose Music Room” included the following songs:

• Eight More Miles
• Wreek of the Tennessee Train
• Play The Guitar

Source: Setlist.fm

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Jim Kweskin Concert Setlists & Tour Dates

Jim kweskin at cafe wha, new york, ny, usa.

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Jim Kweskin at The Lizzie Rose Music Room, Tuckerton, NJ, USA

• Eight More Miles
• Wreek of the Tennessee Train
• Play The Guitar

Jim Kweskin at Unison Arts & Learning Center, New Paltz, NY, USA

Jim kweskin at new bedford folk festival 2017, jim kweskin at folk project acoustic getaway, morristown, nj, usa.

• The Mermaid

Jim Kweskin at ChicagoFest 1979

Jim kweskin at market house, oswego, ny, usa.

Jim Kweskin

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Most played songs

• Eight More Miles ( 1 )
• Pack Up Your Sorrows ( 1 )
• Play The Guitar ( 1 )
• The Mermaid ( 1 )
• Wreek of the Tennessee Train ( 1 )

More Jim Kweskin statistics

Nobody has covered a song of Jim Kweskin yet. Have you seen someone covering Jim Kweskin? Add or edit the setlist and help improving our statistics!

Artists covered

Mimi & Richard Fariña Shel Silverstein

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2 people have seen Jim Kweskin live.

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Jim Kweskin on the web

Music links.

• Jim Kweskin Lyrics (de)
• Wikipedia page

Tour Update

Marquee memories: pond.

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BLUE CHEER #1 (ca. OCT 1966 - ca. NOV 1966) 1) Richard 'Dickie' Peterson vocals, bass, rhythm guitar 2) Leigh Stephens lead guitar 3) Jerre Peterson vocals, rhythm guitar 4) Vale Hamanaka organ Hammond B-3 5) Bartlett Jere Whiting vocals,harp 6) Eric Stephen Albronda drums

ca. October 1966 Golden Gate Park, San Francisco, CA

BLUE CHEER #2 (ca. NOV 1966 - ca. JAN 1967) 1) Dickie Peterson 2) Leigh Stephens 3) Jerre Peterson 4) Vale Hamanaka 5) Jere Whiting 6) Ted White (?) drums

unknown date, 1966 or 1967 Holiday Inn, Davis, CA (with Sparrow)

unknown date, 1966 or 1967 Avalon Ballroom, San Francisco, CA (with The Sparrow)

January 14, 1967 Panhandle Park Polo Fields, San Francisco, CA ("Gathering of the Tribes - The First Human Be-In", with The Charlatans, Big Brother and The Holding Company, Quicksilver Messenger Service, Grateful Dead (featuring Charles Lloyd), Jefferson Airplane, Loading Zone, Sir Douglas Quintet, Allen Ginsberg, Gary Snider, Timothy Leary, New Age (featuring Country Joe McDonald. Blue Cheer went to the event prepared to play but there was not enough time)

BLUE CHEER #3 (ca. JAN 1967 - MAR 1967) 1) Dickie Peterson 2) Leigh Stephens 3) Jerre Peterson 4) Vale Hamanaka 5) Jere Whiting 6) Alowicous 'Al' Merriweather drums

January 28, 1967 Winterland, San Francisco, CA ("Psychedelic Celebration No.1", with Dr. Timothy Leary (backed up by The Outfit), Richard Alpert & others)

February 3, 1967 California Hall, San Francisco, CA (Hell's Angels Event, supporting Big Brother and the Holding Company)

February 10, 1967 California Hall, San Francisco, CA ("A Tribute To J. Edgar Hoover" with Jook Savages, Mojo Men, Congress Of Wonders)

February 14, 1967 Fillmore Auditorium, San Francisco, CA ("St. Valentine’s Day Flatly Dance", with Dino (Valenti), Quicksilver Messenger Service, The Human Being, Bill Boone, W.M. Flatly, Ambrose, Don Lewis, Chip Crosby, Mother Kali & Invisible 3rd)

February 15, 1967 California Hall, San Francisco, CA (with Big Brother And The Holding Company)

February 21, 1967 California Hall, San Francisco, CA (with Big Brother And The Holding Company & The VIP's)

February 25, 1967 U.C. Davis Freeborn Hall, Davis, CA ("Benefit for Filmakers Workshop and SDS", with Country Joe And The Fish & Barbara Garson's Macbird)

BLUE CHEER #4 (MAR 1967 - ca. JUL 15, 1967) 1) Dickie Peterson 2) Leigh Stephens 3) Jerre Peterson 4) Vale Hamanaka 5) Jere Whiting 6) Paul Whaley drums

March 6, 1967 U.C. Davis Freeborn Hall, Davis, CA

March 19, 1967 Provo Park, Berkeley, CA ('The Reversal of Planet Earthquake Picnic', with Loading Zone, New Delhi River Band, Motor, Mad River, Frumious Bandersnatch, Soul Purpose, Haymarket Riot, Ulysses S. Crockett & The Afro-Blues Persuasion. Rescheduled & relocated from The Mineral Springs area of Tilden Park on March 11th when the event was rained out)

March 25, 1967 Santa Cruz Civic Auditorium, Santa Cruz, CA (supporting Quicksilver Messenger Service & Sparrow)

March 31-April 1, 1967 Avalon Ballroom, San Francisco, CA (supporting Big Brother And The Holding Company, with Charlatans)

April 21, 1967 Pythian Hall, Portland, OR (with Tweedy Bros.)

April 22, 1967 Portland State College Ballroom, Portland, OR (with The Heirs)

April 23, 1967 Caffe Espresso, Portland, OR

April 28, 1967 Pythian Hall, Portland, OR (with P.H. Factor Rock Band)

May 14, 1967 Portland Armory, Portland, OR ("Portland Spring Trips Festival", with The Wailers, P.H. Phactor Jug Band, Weeds, Red Coats, Courtmen, Tweedy Bros, Impacts, U.S. Cadenza, 7th Resemblance, Russo and Brentano, Poverty Five, The Gazebo & The Seventh)

May 26-28, 1967 Avalon Ballroom, San Francisco, CA (with The Charlatans)

June 4, 1967 Avalon Ballroom, San Francisco, CA (with The Doors & The Miller Blues Band. Blue Cheer were not billed on the poster)

June 29, 1967 California Hall, San Francisco, CA (supporting Big Brother And The Holding Company, with Congress Of Wonders)

Summer 1967 (or probabily 1968) Napa Town and County Fairgrounds, Napa, CA (uncertain)

July 1, 1967 Mt. Tamalpais Outdoor Theater, Mt. Tamalpais, CA ("Festival of The Growing Things - Barefoot Dancing on the Grass", with Quicksilver Messenger Service, Steve Miller Blues Band, Sandy Bull, Hugh Masekela, Congress of Wonders, The Charlatans, Ace Of Cups, Wildflower & Mt. Rushmore)

July 1-2, 1967 Avalon Ballroom, San Francisco, CA (with Big Brother and The Holding Company & Emerald Tablet)

July 4, 1967 California Hall, San Francisco, CA (with The New Salvation Army Banned & The Pariah)

July 7-8, 1967 California Hall, San Francisco, CA (with Sopwith Camel)

July 11-13, 1967 The Matrix, San Francisco, CA (with The Seattle Lawn. It was after one of these three nights that Dickie Peterson, Leigh Stephens and Paul Whaley decided to fire Jerry Whiting and Vale Hamanaka, since they were guilty of pretending to play when they were on stage. Jerre Peterson said that if the two had been fired then he would leave the band too and eventually did so)

BLUE CHEER #5 (ca. JUL 16, 1967 - SEPT 1968) 1) Dickie Peterson 2) Leigh Stephens 3) Paul Whaley

July 22, 1967 Straight Theater, San Francisco, CA (Straight Theater Opening Weekend, with Country Joe and The Fish, Charlatans, Freedom Highway & The Dossier)

July 27-30, 1967 Avalon Ballroom, San Francisco, CA (with Youngbloods & Captain Beefheart And His Magic Band)

July 31, 1967 Fillmore Auditorium, San Francisco, CA (Benefit show for the Haight-Ashbury Free Medical Clinic, featuring Big Brother & The Holding Company, The Charlatans (with Bill Cosby on drums) & Anonymous Artists of America)

August 8, 1967 Family Dog, Denver, CO

August 14, 1967 The Crystal Ballroom, Portland, OR

August 17, 1967 Sonoma County Fairgrounds, Santa Rosa, CA (with Bronze Hog & Sir Douglas Quintet)

August 25-27, 1967 Matrix, San Francisco, CA (supporting Colors)

August 28, 1967 Golden Gate Park Lindley Meadow, San Francisco, CA ("Chocolate George's Wake", with Grateful Dead, Big Brother and The Holding Company, Mt. Rushmore. Blue Cheer went to the event perhaps prepared to play but finally due to scheduling problems, there was just not enough time)

August 28-September 1, 1967 Muir Beach Tavern, Marin County, CA ("A Study In Electricity And Nature", with Sons of Champlin, Electric Flag, Mt. Rushmore, Mad River, Black Swan, Flying Circus, Universal Joint, Phoenix, Morning Glory, Melvin Q., Haight Society, South Side Sound System, Loading Zone, Pyewacket, Transatlantic Railroad, Martha's Laundry, and many surprises and mystery guests)

September 8-9, 1967 Family Dog, Denver, CO (supporting Big Brother And The Holding Company)

September 21, 1967 El Camino Park, Palo Alto, CA ("afternoon Be-In" produced by the Mid-Peninsula Free University, with New Dehli River Band & Steve Miller Band)

September 21 & 23, 1967 Fillmore Auditorium, San Francisco, CA (Supported by Vanilla Fudge & Sunshine Company)

September 24, 1967 Muir Beach, Mill Valley, CA ('Captain Ahab’s Homecoming', with West Coast Natural Gas Co., Mad River, Freedom Highway, Serpent Power, Burgundy Blues, Raven, Travel Consul, Black Swan & Mark Spoelstra’s Jade Muse)

September 28-29, 1967 Western Front, San Francisco, CA (with The Wildflower & Jesse Fuller)

September 30, 1967 Earl Warren Showgrounds, Santa Barbara, CA (supporting Quicksilver Messenger Service, Clear Light & The Van Morrison Group)

October 1, 1967 El Camino Park, Palo Alto, CA ("free festival presented by The Mid-Peninsula Free University", with The Anonymous Artists of America, The Steve Miller Blues Band, The New Dehli River Band, The Solid State, The Congress Of Wonders & (MC) Ira Sandperl)

October 6-7, 1967 Straight Theater, San Francisco, CA (cancelled)

October 6-8, 1967 Avalon Ballroom, San Francisco, CA (supported by Lee Michaels & Clifton Chenier)

October 11-12, 1967 Fillmore Auditorium, San Francisco, CA ("Benefit For Haight-Ashbury Medical Clinic", supporting Jefferson Airplane & The Charlatans)

October 13-14, 1967 Winterland, San Francisco, CA (supporting Jefferson Airplane & The Charlatans)

October 15, 1967 Avalon Ballroom, San Francisco, CA (supporting Buddy Guy)

October 20-21, 1967 Western Front, San Francisco, CA (supported by The Other Half, The Wildflower & Eric Announcing)

October 22, 1967 Straight Theater, San Francisco, CA ("A Benefit for the Shire School" (evening show), with Serpent Power, Phoenix, Congress Of Wonders & Black Swan)

October 31, 1967 private land in the midst of gold mines, Sutro, Lyon County, NV ("Love-In", with Amplified Om, and other local bands)

November 3-4, 1967 Family Dog, Denver, CO (supported by Superfine Dandelion)

November 10-11, 1967 Shrine Exposition Hall, Los Angeles, CA (supporting Buffalo Springfield & The Grateful Dead)

November 22, 1967 El Rancho Hotel, Sacramento, CA (with John Rosasco Quartet)

November 23, 1967 Avalon Ballroom, San Francisco, CA (supporting Big Brother & the Holding Company & Mt. Rushmore)

November 26 or 27 or 28 or 29, 1967 Avalon Ballroom, San Francisco, CA ("Vox-In sound workshop", with Sopwith Camel, All Men Joy, Just Six, Gut, The Breed & others)

November 30-December 2, 1967 Fillmore Auditorium, San Francisco, CA (supporting Nitty Gritty Dirt Band & Clear Light)

December 5-10 or 6-11, 1967 Whisky A Go Go, West Hollywood, CA (with (6-10) Them)

December 9, 1967 Civic Auditorium, Santa Monica, CA (Firesign Theatre "Benefit Concert, with Buffalo Springfield, The Collectors, The United States Of America, Sonny Terry & Brownie McGhee, Dick Gregory)

December 15, 1967 Shrine Auditiorium, Los Angeles, CA (supporting Moby Grape & Country Joe & The Fish)

December 21-23, 1967 Avalon Ballroom, San Francisco, CA (with Soul Survivors & Siegal Schwall)

December 28-31, 1967 Avalon Ballroom, San Francisco, CA (with Country Joe And The Fish, Lee Michaels, (28th-30th) Jim Kweskin Jug Band, (31st) Flamin' Groovies, Mt. Rushmore & Mad River)

January 7, 1968 Fillmore Auditorium, San Francisco, CA (Benefit For "Stop The Draft Week", with Phil Ochs, Loading Zone, Mad River, Mt Rushmore & The Committee)

January 12-13, 1968 Retinal Circus, Vancouver, BC (cancelled)

January 12-13, 1968 Shrine Auditorium, Los Angeles, CA (supporting Big Brother And The Holding Company, With Mint Tattoo)

February 2, 1968 L.A. Sports Arena, Los Angeles, CA (with Steppenwolf)

February 6-8, 1968 Straight Theater, San Francisco, CA (with the movies "War of the Buttons" & "Cosmic Man")

February 8, 1968 U.C. Davis Freeborn Hall, Davis, CA

February 10, 1968 Los Angeles, CA (US TV "American Bandstand" lip-synching "Summertime Blues", with Joe Tex. Broadcast date)

February 10, 1968 Shrine Exposition Hall, Los Angeles, CA (with The Jimi Hendrix Experience, Soft Machine & Electric Flag)

February 16-17, 1968 Crystal Ballroom, Portland, OR (with Nazzare Blues Band)

February 21, 1968 Civic Auditorium, San Jose, CA (supporting The Who, with Sagittarious)

February 23-25, 1968 Civic Auditorium, Honolulu, HI (with The Hedge, Indian Head Band and others local bands)

February 28, 1968 U.C. Davis Freeborn Hall, Davis, CA

March 1-2, 1968 Cheetah, Los Angeles, CA (supporting Paul Butterfield Blues Band (2nd only) & supported by Music Machine both days)

March 5-6, 1968 Family Dog, Denver, CO

March 8, 1968 Sacramento State University, Davis, CA

March 10, 1968 Avalon Ballroom, San Francisco, CA (supporting Love)

March 13, 1968 Selland Arena, Fresno, CA (supporting Cream)

March 14, 1968 Fillmore Auditorium, San Francisco, CA (supporting Traffic & H.P. Lovecraft)

March 15, 1968 Winterland, San Francisco, CA (supporting Traffic & H.P. Lovecraft)

March 16, 1968 Earl Warren Showgrounds, Santa Barbara, CA (with Nitty Gritty Dirt Band & The Nazz)

March 19, 1968 'The Steve Allen Show', NBC TV Show, Los Angeles, CA (filming date) The band perform: 'Summertime Blues' and 'Out Of Focus'.

March 20, 1968 Avalon Ballroom, San Francisco, CA with All Men Joy, Black Swan, Ace Of Cups, Creedence Clearwater (sic) "KMPX Strike Fund Benefit" KMPX-fm was the first underground rock station, but Tom Donahue and his staff went out on strike in protest of ownership’s refusal to share the wealth (the staff later moved en masse to KSAN). Many other acts not shown on the concert poster may have actually played this benefit, including Santana Blues Band, Grateful Dead and maybe Charley Musselwhite, Kaleidoscope, Jeremy Steig & The Satyrs, Clover, Frumious Bandersnatch.

March 29, 1968 Selland Arena, Fresno, CA (supporting Eric Burdon and The Animals)

March 30, 1968 Phoenix Fairgrounds Exhibit Building, Phoenix, AZ (with Eric Burdon and The Animals)

March ?, 1968 Sports Arena, San Diego, CA (with The Rascals (cancelled), Ray Stevens, American Breed)

April 5, 1968 Eagles Auditorium, Seattle, WA (with Fat Jack)

April 6, 1968 Community Concourse, San Diego, CA (with Jello's Gas Band)

April 7, 1968 Swing Auditorium, San Bernardino, CA (with Steppenwolf, Cactus & The Drift)

April 9, 1968 Sun Air Drive-In (movie theater), 68050 Highway 111, Cathedral City, outside Palm Springs, CA with Eric Burdon and The Animals, Sweetwater, The Collectors, Dirty Blues Band, Lights by Picadilly Light Show "Palm Springs Pop Festival"

April 11, 1968 Anaheim Convention Center, Anaheim, CA with Electric Flag, Steppenwolf "Teen Time USA"

April 13, 1968 Utah State Fairgrounds Coliseum, Salt Lake City, UT (supported by Clear Light)

April 16, 1968 Minneapolis Auditorium, Minneapolis, MN (cancelled?)

April 18, 1968 The Boston Tea Party, Boston, MA (replaced B.B. King, supported by Cloud)

April 19, 1968 Stardust Lane Ballroom, Aurora, IL

April 19 or 20, 1968 Kinetic Playground, Chicago, IL with The Velvet Underground Blue Cheer were not advertised but an eye witness remember them as opening act one of these two nights (probabily on April 20).

April 20, 1968 Niles Township High School - West Division, Oakton at Edens Expressway, Skokie, IL

April 21, 1968 Ibew Auditorium, Chicago, IL

April ??, 1968 Sonoma County Fairgrounds, Santa Rosa, CA

April 25, 1968 'Upbeat', WEWS Channel 5, WUAB-TV Studios, Cleveland, OH with The Yardbirds, The Fireballs, Bob Francis, Bobby Goldboro, Harumi, The Human Beinz, The McCoys, The Outsiders, Freddie Scott, The Short Kuts, Sly and the Family Stone, The Velvet Underground, Mary Wells, Kim Weston (filming date......the episode was broadcasted on May 4) The band perform: 'Summertime Blues'.

April 25, 1968 Palace Theater, Cleveland, OH (supporting Yardbirds & Traffic)

April 26-27, 1968 Fillmore East, New York City, NY (supporting Traffic, with Iron Butterfly)

May 1-3, 1968 Electric Factory, Philadelphia, PA (supported by Elizabeth & Henry Crow Dog)

May 2 or 3, 1968 Belmont Plateau, Fairmount Park, Philadelphia, PA ("Be-In", free afternoon concert)

May 9, 1968 Boston Tea Party, Boston, MA (with Quill)

May 10-12, 1968 The Action House, Long Island, NY

May 11, 1968 University of Minnesota Williams Arena, Minneapolis, MN (with The Castaways & Herb Alpert)

May 17, 1968 Freeborn Hall, U.C. Davis, Sacramento, CA with Big Brother And The Holding Company, Quicksilver Messenger Service (scheduled but not appeared), Oxford Circle, Andrew Staples, New Breed, The Loyal Opposition

May 18, 1968 Gulfstream Park, Hallandale, FL with Jimi Hendrix Experience, Mothers of Invention, Crazy World of Arthur Brown, John Lee Hooker, The Crowd, The Bangals "Miami Pop Festival" Marshall Brevitz and Michael Lang, the owner of Coconut Grove's first head shop, put together the Miami Pop Festival at a horse racing track (Gulfstream Park) in nearby Hallandale. Criteria Studios in Miami helped put the sound system together, as they had for Thee Image. The show was a financial disaster, mainly due to bad weather, and the second day (May 19) was canceled altogether. Hendrix, Zappa and many other unoccupied musicians spent the day jamming in a bar. Lang went on to organize Woodstock. Blue Cheer performance was filmed but with no sound.

May 25, 1968 Love Street, Houston, TX (with Bubble Puppy)

May 25, 1968 Fillmore East, New York City, NY (with Country Joe And The Fish & Pigmeat Markham)

June 13, 1968 Kaleidoscope, Louisville, KY (with The Waters, The Ginger People & The Oxfords)

June 14, 1968 Indiana Beach Amusement Park, Monticello, IN

June 15, 1968 Rumpus Room, Belvidere, IL

June 15, 1968 'Upbeat', WEWS Channel 5, WUAB-TV Studios, Cleveland, OH with Helen Aberth, The American Breed, Ronnie Dante, Jay and the Techniques, Robert John, The Robbs, Sly and the Family Stone, Steppenwolf, Billy Vera (broadcast date)

June 21-23, 1968 Grande Ballroom, Detroit, MI (supported by (21st) The Jagged Edge, The Soul Remains, (22nd) The Soul Remains, Nature's Children, (23rd) MC5, The Psychedelic Stooges)

June 24, 1968 Illinois Fairgrounds, Joliet, IL (Blue Cheer cancelled and Jokers Wild filled in for them)

June 27-30, 1968 Wrigley Field, Los Angeles, CA with Grassroots, Peanut Butter Conspiracy, Sweetwater, Pacific Gas & Electirc, Illinois Speed Press, Family Tree, Lee Michaels, Afro Blues Quintet + 1, Sfunglass, Stu Gardner, Alice Cooper, Charlie Small, Tim Buckley, Bo Diddley, The Chambers Bros., The New Breed, Collectors, Jerry Braun, Billy Stafford, The Committee, Watts Work Shop, Nitty Gritty Dirt Band, Grateful Dead, Sunshine Company, T-Bone Walker, Johnny River, Murray Roman (MC), Frank Zappa (MC; first day only), Lights by Thomas Edison-Castle Lights "Phantasmagoria - A Community Effort"

June 28-30, 1968 Electric Theatre, Chicago, IL (supported by Hello People)

Summer 1968 Concord Coliseum, Concord, CA

July 5, 1968 Eagles Auditorium, Seattle, WA

July 11, 1968 Shrine Exposition Hall, Los Angeles, CA (supporting Grateful Dead)

July 12-14, 1968 Fillmore West, San Francisco, CA ("Blues Bash". Supported by Ike & Tina Turner & Freddie King)

July 13, 1968 'Upbeat', WEWS Channel 5, WUAB-TV Studios, Cleveland, OH with Freddie Cannon, The Fireballs, The Happenings, The Hello People, The Hombres, The Lemon Pipers, Porgy & The Monarchs, O.C. Smith (broadcast date)

July 19, 1968 Denver, CO

July 20, 1968 Lagoon Opera House, Ogden, UT with Big Brother and The Holding Company

July 26-27, 1968 Shrine Exposition Hall, Los Angeles, CA (supported by Pink Floyd & Jeff Beck Group)

August 4, 1968 Orange County Fairgrounds, 88 Fair Drive, Costa Mesa, CA with Grateful Dead, Eric Burdon And The Animals (possible day 3), Jefferson Airplane, Iron Butterfly, The Byrds, Things To Come, Illinois Speed Press, Quicksilver Messenger Service "First Annual Newport Pop Festival"

August 9-11, 1968 Eagles Auditorium, Seattle, WA with Pink Floyd

August 13-15, 1968 Avalon Ballroom, San Francisco, CA with The Byrds, Steve Miller Band, West)

August 17, 1968 'Upbeat', WEWS Channel 5, WUAB-TV Studios, Cleveland, OH with The Amboy Dukes, Hank Ballard, Jerry Butler, Eternity's Children, The Flavor, The New Colony Six, The Ohio Express, The Sunshine Company (broadcast date in Ohio, while in California it was broadcasted on August 25)

August 17, 1968 Santa Rosa Fairgrounds, Santa Rosa, CA (supported by Sir Douglas Quintet)

August 30, 1968 Hi Corbett Field, Tucson, AZ (with The Who)

September ?, 1968 Memorial Stadium, Sacramento, CA (with The Young Rascals. Leigh Stephens' last gig with the band)

BLUE CHEER #6 (SEPT 1968 - JAN 1969) 1) Dickie Peterson 2) Paul Whaley 3) Randy Holden vocals, lead guitar

September 2? or October ?, 1968 basketball court, unknown high school, Eugene, OR Randy Holden's first gig with the band

October 5, 1968 Arizona State Fairgrounds, Phoenix, AZ (supporting Iron Butterfly, with The Byrds, Sweetwater & The Standells)

October 11, 1968 Thee Image, Miami, FL

October 15, 1968 Blaises Club, London, ENG

October 16, 1968 Middle Earth, Richmond Athletic Club House, London, ENG

October 18, 1968 'How It Is', BBC TV Show, London, England (filming date)

October 19, 1968 'Upbeat', WEWS Channel 5, WUAB-TV Studios, Cleveland, OH with The Box Tops, Johnny Cash, Wayne Cochran and his C.C. Riders, Jackie De Shannon, The Delfonics, Neil Diamond, The Grass Roots, Al Hirt, Tommy James and the Shondells, Johnny Nash, The 1910 Fruit Gum Company, The Outsiders, The T.I.M.E. Unit, Bobby Vee, Clarence Carter, Shipley and Brewer, Carla Thomas, Charlie and Inez Foxx, Junior Parker, Autry Inman (broadcast date)

October 19, 1968 Middle Earth, Roundhouse, Chalk Farm, London, ENG with Middle Earth Symphony Orchestra

October ??, 1968 'Beat Club', TV Show, Bremen, West Germany with The Easybeats, Spooky Tooth, Family Dogg (filming date......the episode was broadcasted on November 16) The band lip-synched 'Summertime Blues'.

October 25, 1968 start of the Holland tour

October 30, 1968 Falkoner Center, Copenhagen, DEN

October 31, 1968 Konserthuset, Stockholm, SWE

November ?, 1968 Sarasota National Guard Armory, Sarasota, FL

November 8-9, 1968 Psychedelic Supermarket, Boston, MA

November 21, 1968 Grande Ballroom, Detroit, MI (supported by The Stooges)

November 22, 1968 Aragon Ballroom, Chicago, IL (supporting Jefferson Airplane, with Creedence Clearwater Revival)

November 22-23, 1968 Kinetic Playground, Chicago, IL (supported by Creedence Clearwater Revival)

November 27, 1968 The New Place, Chicago, IL

November 2? or December ?, 1968 'Come Alive', TV Show, Pittsburgh, PA (filming date) The band perform 'The Hunter'.

November or December, 1968 'Upbeat', WUAB TV Studios, Cleveland, OH (filming date. BroadcasT on Jan. 26, 1969) The band perform 'Just A Little Bit'.

December 8, 1968 New City Opera House, Minneapolis, MN (with Happy Dayz & White Lightning)

December 20-21 (days uncertain), 1968 The Ballroom, Bridgeport, CT with Hello People

December 22, 1968 Los Angeles Sports Arena, Los Angeles, CA ("L.A. Pop Festival", with Jose Feliciano, Righteous Brothers, The Box Tops, Canned Heat & Three Dog Night)

December 26, 1968 Cow Palace, Daily City, CA ("KYA Presents The San Francisco Holiday Rock Festival", with Santana, Canned Heat, Steppenwolf, The New Buffalo Springfield, The Spencer Davis Group, Three Dog Night, The Electric Prunes, Flaming Groovies & Tender Loving Care)

unknown date, 1968 Danceland, West View Park, Pittsburgh, PA

unknown date, 1968 The Catacombs, Houston, TX

unknown date, 1968 Sunken Gardens, San Antonio, TX

unknown date, 1968 The Cellar, Chicago, IL

unknown date, 1968 Aurora, IL

unknown date, 1968 City Auditorium, Colorado Springs, CO

unknown date, 1968 US TV "The Joe Pyne Show"

unknown date, 1968 Golden Gate Park, San Francisco, CA

unknown date, 1968 Kiel Opera House, Kiel Auditorium, St. Louis, MO (with Kaleidoscope & Mt. Rushmore)

January 11, 1969 WUAB-TV Studios, Cleveland, OH (US TV "Upbeat" with Archie Bell and the Drells, John Fred and His Playboy Band, Brian Hyland, The Ohio Express, Jeannie C. Riley, Jimmy Damon, The Free Design, Bob Seger System, Young-Holt Unlimited & The Young Turks. Broadcast date)

January 1969 Stockton, CA (Randy Holden's last gig with the band)

BLUE CHEER #7 (JAN 1969 - ca. OCT 1969) 1) Dickie Peterson 2) Paul Whaley 3 Bruce Stephens vocals, lead guitar 4) Raph 'Burns' Kellogg bass, keyboards

January 12-13, 1969 Retinal Circus, Vancouver, BC (cancelled because the venue closed)

February 19-23, 1969 Whisky-A-Go-Go, West Hollywood, CA (cancelled, with Linda Ronstadt & Alice Cooper)

February 23-25, 1969 Civic Auditorium, Honolulu, HI

March 2, 1969 Long Beach, CA (US TV "The Steve Allen Show". Broadcast date)

March 2?, 1969 Ft. Lauderdale, FL

May 9, 1968 The Boston Tea Party, Boston, MA (supported by Quill)

June 7, 1969 Kelker Junctin, Colorado Springs, CO

July 4, 1969 Lewiston, ID (cancelled)

July 19, 1969 Aragon Ballroom, Chicago, IL (with Jefferson Airplane & Hello People)

September 8, 1969 Fremont, CA (US TV "The San Francisco Sound", with Buffalo Springfield, Richie Havens & Electric Flag. Broadcast date)

BLUE CHEER #8 (ca. OCT 1969 - FEB 22, 1970) 1) Dickie Peterson 2) Bruce Stephens 3) Ralph 'Burns' Kellogg 4) Norman 'Norm' Mayell drums, vocals, guitar, bass, sitar, delruba, percussion

February 18-22, 1970 Whisky A Go Go, West Hollywood, CA (with Bangor Flying Circus)

BLUE CHEER #9 (FEB 23, 1970 - SUMMER 1970) 1) Dickie Peterson 2) Ralph 'Burns' Kellogg 3) Norman Mayell 4) Gary Lee Yoder vocals, lead guitar

March 12, 1970 Panther Hall, Fort Worth, TX (supporting Johnny Winter)

May 1-2, 1970 Warehouse, New Orleans, LA (with Buddy Miles Express)

May 8-9, 1970 Eastown Theatre, 8041 Harper Avenue Detroit, MI (with Troyka & John Drake's Shakedown)

May 10, 1970 Grandmother's, Lansing, MI (with Teegarden & Van Winkle & Coven)

?, ?, 1970 Waikiki Shell, Honolulu, HI (with Spirit)

BLUE CHEER #10 (SUMMER 1970 - FEB 1971 (?)) 1) Ralph Kellogg 2) Norman Mayell 3) Gary Lee Yoder

July 18, 1970 Terrace Ballroom, Salt Lake City, UT (cancelled. Replaced by Blue Mountain Eagle, with Love & Fever Tree)

August ?, 1970 Jacksonville, FL

September 15, 1972 Memorial Hall, Kansas City, KA with Spirit (?????)

BLUE CHEER #11 (1974) 1) Dickie Peterson 2) Jerre Peterson 3) Ruben De Fuentes guitar 4) Terry Rae drums

BLUE CHEER #12 (1974 - 1975) 1) Jerre Peterson 2) Ruben De Fuentes 3) Terry Rae 4) Nick St. Nicholas vocals, bass

BLUE CHEER #13 (1978 - 1979) 1) Dickie Peterson 2) Tony Rainier guitar 3) Mike Fleck drums

BLUE CHEER #14 (1984 - 1985) 1) Dickie Peterson 2) Paul Whaley 3) Tony Rainier

BLUE CHEER #15 (1985 - 1987) 1) Dickie Peterson 2) Tony Rainier 3) Brent Harknett drums + 4) Tonka Bell vocals (she sang with them only in 1985 and only for a few rehearsals)

BLUE CHEER #16 (1987) 1) Dickie Peterson 2) Tony Rainier 3) Billy Carmassi drums

BLUE CHEER #17 (1987 - 1988) 1) Dickie Peterson 2) Ruben De Fuentes 3) Eric Davis drums

BLUE CHEER #18 (1988 - 1989) 1) Dickie Peterson 2) Andrew 'Duck' MacDonald vocals, guitar 3) Dave Salce drums

BLUE CHEER #19 (1989 - 1990) 1) Dickie Peterson 2) Paul Whaley 3) Andrew MacDonald

BLUE CHEER #20 (1990 - JAN 22, 1993) 1) Dickie Peterson 2) Paul Whaley 3) Dieter Saller guitar, percussion

June 22, 1991 Grosse Freiheit 36, Hamburg, GER (with The Honx)

April 19, 1992 Grosse Freiheit 36, Hamburg, GER (with Mountain)

BLUE CHEER #21 (JAN 23, 1993 - MAR 1?, 1993) 1) Dickie Peterson 2) Dieter Saller 3) Gary Holland drums

February 4, 1993 Heidelberg, GER (Gary Holland's first gig with the band)

February ?, 1993 Essen, GER (The show was recorded and videotaped)

February ?, 1993 Schweinfurt, GER

February ?, 1993 Regensburg, GER

February ?, 1993 Hildesheim, GER

February ?, 1993 Hannover, GER

February ??, 1993 Karlsruhe, GER

February ??, 1993 Bonn, GER

February ??, 1993 Reutlingen, GER

February ??, 1993 Wuppertal, GER

February ??, 1993 Berlin, GER

February ??, 1993 Hamburg, GER

February ??, 1993 Luebeck, GER

February ??, 1993 Cologne, GER

February or March 1993 Bern, SUI

February or March 1993 Zurich, SUI

February or March 1993 Vienna, AUT

February or March 1993 Salzburg, AUT

February or March 1993 Enschede, NED

February or March 1993 Vigo, SPA

February or March 1993 Madrid, SPA

February or March 1993 Barcelona, SPA

February or March 1993 San Sebastian, SPA

February or March 1993 Burgos, SPA

BLUE CHEER #22 (1998 - OCT 12, 2009) 1) Dickie Peterson 2) Paul Whaley 3) Andrew MacDonald + 4) Joe Hasselvander drums (he played with them for a couple of shows in New Hampshire in 2004)

October 10, 1988 Ruhrersaal, Numberg, GER

February ?, 1999 Tokyo, JPN

February ?, 1999 Osaka, JPN

February 18, 2009 Bluebird Theater, Denver, CO (cancelled, with Country Joe "celebrating the grand opening of the Denver Art Museum exhibit of 60s San Francisco poster art called “Are you Experienced?")

• 1 October 15, 1977 Olympia Stadium, Detroit, MI
• 2 The Magic Summer Tour

Rock Archaeology 101

Photos and artifacts from mostly forgotten and mostly Bay Area rock venues of the 1960s and early 70s

Thursday, March 11, 2021

2504 san pablo avenue, berkeley, ca: the long branch saloon 1971 performance list (and building history--long branch i).

2504 San Pablo Avenue itself was a seminal address in Berkeley '60s music history. It is a fact of zoning that use permits tend to persist, so a venue with a license to allow music will generally continue to offer music. It is far easier for a new proprietor to lease a building with an existing permit than lobby for a new one, so clubs often change names, owners and musical styles, but not addresses. In the early 1960s, 2504 San Pablo had been the site of The Cabale, later The Cabale Creamery, an essential stop on the early 60s folk circuit. In 1965 it briefly became The Good Buddy and then Caverns West, and in November of that year it became the pre-psychedelic Questing Beast . It was at the Questing Beast where local folksingers Joe McDonald and Barry Melton got some friends and "plugged in" to become Country Joe And The Fish.

The Questing Beast had closed in May 1966, and 2504 became Tito's, which featured live music but was mostly a dance club. In late 1969, the club was re-named Babylon, and featured local bands playing original music . In 1971, new owner Malcolm Williams doubled the capacity of the room from about 175 to around 350, and renamed the club The Long Branch Saloon. The Long Branch featured original music, too, but it paid a little better, with a correspondingly higher quality of performers.

Location and Memory Sometime in the late 1980s or early 90s, Jerry Garcia was asked about his opinions of different venues around the country. By that time, the Grateful Dead had played every venue, some of them many times. Garcia admitted, however, that when he didn't remember names of venues--for one thing, they often changed--and in any case he was just driven there in a van. When he got on stage at the soundcheck, though, he admitted he would look around, and often recognize that he had played there before, thinking "oh yeah, this place, I've been here!"

Although few musicians have had the vast experience of Garcia, any rock fans who have lived in an area for a long time can recall that happening on occasion. You get tickets for a new club, and you get there, and park, and get inside, and look at the stage, and think--"hey wait a minute, this is where I saw the So-And-Sos." Musicians must play a lot of live shows must have this experience regularly, getting on stage and recognizing the view, realizing they had played the club with a different band when it had another name, or had seen their friends play there.

For musicians who played around the East Bay in the 60s and 70s one of those addresses would have been 2504 San Pablo Avenue. To illustrate this, I am going to point out the experiences of Jerry Garcia and Barry Melton, whose notoriety extends far enough that we know their history. The important point here, however, is that numerous patrons and musicians would have had multiple experiences at 2504 San Pablo, recognizing it every time, even if belatedly.

Cabale (Creamery) January 1963-April 1965 Sandy Rothman, a Berkeley bluegrass musician from way back, recalled Berkeley's Cabale (in a reflection no longer accessible on the internet)

It was on San Pablo Avenue, a main north-south thoroughfare parallel to Telegraph on the opposite (west) side of town, at the southwest corner of Dwight Way and San Pablo. I don't recall how "Creamery" got attached to it -- maybe from the steamed milk that was in the cappuccinos and lattes? The name "Cabale" was taken from "Cabala," a medieval system of Jewish mysticism. (Other dictionary definitions are: "a traditional, esoteric, occult, or secret matter" and "an esoteric doctrine or mysterious art." Do any of those terms resonate with bluegrass, nearly a cult in itself?! Hahaha.)

In the early 1960s, there was a ‘folk circuit’ that emphasized serious folk music like Doc Watson and Mississippi John Hurt (as opposed to the more popular Kingston Trio-style of folk music).  The Cabale was one of the anchors of the circuit, along with Club 47 in Cambridge, many clubs in Greenwich Village (such as the Gaslight and Folk City), the Ark in Ann Arbor and the Ash Grove in Los Angeles.  The story of this circuit is well told in Jim Rooney and Eric Von Schmidt’s fine book Baby Let Me Follow You Down (U-Mass Press, 1979).

The Cabale, at 2504 San Pablo Avenue (at Dwight), was a folk club founded in late 1962 by Rolf Cahn and Debbie Green (two Cambridge, MA folkies), along with Howard Ziehm and Red Dog alum Chandler A. Laughlin III (later known as Travus T. Hipp).  Cahn, a Jewish refugee from Nazi Germany, had served in the US Army during the war and also played and taught classical, flamenco, and folk guitar. Cahn had also founded the Blind Lemon in 1958 (at 2362 San Pablo) , the first Berkeley coffee house to feature folk music. 

The Cabale had opened on January 4, 1963 and ran until mid-1965, when the folk action moved to the Jabberwock .  Somewhere along the way Carroll Peery, manager of the Chambers Brothers and Big Mama Thornton, happened to acquire a majority interest in the Cabale.  The name of the venue was changed to the Cabale Creamery in August of 1964. (As a side issue, the one-time notoriety of the Cabale/Cabale Creamery coffee house led the local vice squad and FBI to ban the licensing of any business under the name "Cabale" in the future. However, the late Chan Laughlin retained Cabale News Service as his business cover). Physically, per Sandy Rothman and others, the Cabale was a fairly small, long and narrow, dark room with the ambience of a '50s Beat coffeehouse. Coffee drinks were made at the far end of the room. Initially, the stage was against the long wall on the north side of the room (the right side as you walked in); later, it was on the short wall just inside and to the right of the entrance.

The usual entertainment at the Cabale included local musicians and quite a few traveling "folk individuals" from the more developed Cambridge folk scene. Bluegrass was scheduled only occasionally at the Cabale, but on the other hand, it was the only club in Berkeley where it was presented at all during that period (1963-4). Thus, for musicians like Sandy Rothman or Jerry Garcia, the Cabale was a destination when someone like the Kentucky Colonels were playing. 

Garcia, then newly married, was teaching music in Palo Alto and trying to start a music career. Famously, the self-absorbed Garcia was practicing banjo in the store on New Year's Eve '63, not reflecting why none of his students had shown up. A teenager heard the music and knocked on the door. When Garcia told the 15-year old from nearby Atherton that he wanted to form a jug band, young Bob Weir said "I'm in." And so it began. When the Kweskin band played a one-nighter, Garcia had to go (Weir was probably in exile at Boarding School). 

For Garcia, the striking thing about the Kweskin Jug Band was not the music, which was great. Unlike literally ever other group at the time, the Kweskin Band were not "entertainers." Even the Beatles, creative as they were, wore matching suits, had a structured show and had bits of showbiz patter between songs. The Kweskin crew wore what they liked, casually bantered with the audience and each other, played requests--if they felt like it--and enjoyed themselves. That was what folk music was like when you played it in your living room. The Kweskin Band was just inviting everybody in to join them. That, right there, was the model for the Grateful Dead: play what you want, enjoy yourself, and invite along anyone who thinks that it would be fun. 

Garcia was also friendly with the Kentucky Colonels and their great guitarist Clarence White. The Colonels played the Cabale a number of times, and Garcia surely went to see them any time he could. The Cabale didn't book bluegrass that often, but no other club booked bluegrass at all. So even though he lived in Palo Alto, Garcia made the trips to Berkeley when it was important. For such a tiny, unassuming place, the Cabale is remembered fondly by many Berkeley musicians .

Bob Neuwirth -Cambridge folksinger who was famous as Bob Dylan's running mate Pat Kilroy -Berkeley folk singer who founded the band New Age Perry Lederman - obscure but influential Berkeley guitarist (later he did something-or-other for some Owsley character ) Danny Kalb -a few years later, lead guitarist for The Blues Project Reverend Gary Davis -"If I Had My Way," "Death Don't Have No Mercy," and many more Jesse Fuller -one-man band from Oakland ("San Francisco Bay Blues," "Beat It On Down The Line")

The name was amended from simply "the Cabale" to the Cabale Creamery in August 1964.  The club folded around May, 1965.

The Questing Beast was primarily a folk coffeehouse and hosted similar acts to the Jabberwock on Telegraph Avenue. It booked mostly Folk, but with a fair amount of flamenco, bluegrass and classical guitar playing thrown in. By all accounts it never managed to turn a profit. Still, there was a hint of electricity in the there, making the Beast a somewhat different animal than prior folk clubs. For one thing, some rock bands were booked. Not from out-of-town, maybe not even good, but they were plugged in. Also, the walls of the club were covered with an elaborate psychedelic mural, although no pictures of it have endured. 

The famous Mr. Owsley lived not far away, on Berkeley Way (roughly near Hearst and McGee, for those who know Berkeley geography), and he was reputed to hang out at the Questing Beast. A long-ago Grateful Dead tape from early 1966 was labeled "rehearsal-Questing Beast Feb 12 '66." The location was spurious, as the Dead never rehearsed there--the tape was probably made at Owsley's house--but there was still a psychedelic association with the Questing Beast, befitting its name.

Among the tiny number of folk musicians in Berkeley at the time were Navy veteran Joe McDonald and Brooklyn transplant Barry Melton. In Fall 1965, The duo had made an anti-war 45 rpm single called "Feel-Like-I'm-Fixin'-To-Die Rag" in a friend's living room, only for sale at one used bookstore near the campus (Moe's Books). For the single, the duo was named Country Joe and The Fish, which reflected jokes about Marxist ideology. Around October 1965, the pair had taken the bus and then hitchhiked around Oregon and Seattle, playing at anti-war gatherings. In February of 1966, however, they saw the Butterfield Blues Band at the Fillmore, and they began to see things differently--although the mysterious Mr. Owsley may have indirectly assisted.

One night around March, Joe and Barry were booked to play folk music at the Questing Beast. This time, however, they brought along a few friends. Barry brought an electric guitar, and some other friends (probably Bruce Barthol and Paul Armstrong) played amplified guitar and bass, and another friend, John Francis Gunning, played some drums, while Joe sang and blew some harmonica. They did some blues, and some instrumentals, and an original song about smoking pot, which would end up being known as "Bass Strings" (with a then-racy introduction where Joe sang "Hey partner/Won't you pass that reefer around"). 

From then on, when Country Joe and The Fish played Questing Beast, they had some friends and some amplifiers. The band--now it was a band--would release their own EP in late 1966, passing that reefer around the world, well beyond the confines of Berkeley. Vanguard Records signed them, but only on the condition that they wouldn't sell their own record any more.

Unfortunately, by May 1966, The Beast had been slain, with its downfall well documented in the May 6 (Vol 2, Number 18) and May 13 (Vol 2, Number 19) issues of the Barb . A hastily arranged three day benefit was arranged with Solomon (Feldthouse – later of eclectic LA band Kaleidoscope) with the Holiday Dancers, Country Joe and The Fish, John Paul, Dave Cohen, Dan Paik and The Gospel Tonics (who had originally been scheduled) appearing.

The very last musical performances at the Questing Beast were Country Joe and The Fish on May 6 and 7 (see the calendar above), getting ready to spread Berkeley to the outside world. Sunday and Monday (May 8 and 9) saw The Questing Beast host Jerry Abrams’ Berkeley Cinematheque (something they had done each Sunday since March 20) and the doors closed for the final time on May 9, 1966. The city of Berkeley had grounds (albeit thin ones) to deny the Beast its Cabaret license, and so they wouldn't have been able to pay performers.

Babylon July 1969-April 1971 In the Summer of 1969, Tito's became Babylon. Babylon featured original electric rock bands. A colleague looked into the bookings from July 1969 through November 1970, and they were all local Berkeley bands . The only name that stands out today is Purple Earthquake, a band of former Berkeley High students who would evolve into the band Earth Quake. Earth Quake released several albums in the 1970s, and they would also rule the Long Branch for five years.

A few flyers and artefacts from Babylon survive. The flyer above was from March 13, 1970. The notations "18 and Over Welcome" and "Food" meant that it was a restaurant, technically, with a cabaret license. Minors were allowed in if they were over 18, but they couldn't buy beer (although I bet they drank some). I think the nightly audiences for the Babylon weren't much older than 21, and probably lived relatively near to San Pablo Avenue.

By the Spring of 1971, the Babylon was owned by one Malcolm Williams. I don't know how long Williams had run or owned Babylon, but he decided to expand the club and rename it.

The Long Branch May 28, 1971-November 1976 By 1971, the live rock music market was evolving, and lots of entrepreneurs were noticing. Rock music had always been the province of teenagers, of course. But 60s rock music, with the likes of the Beatles, Bob Dylan and Cream, had raised the ante. Rock music fans didn't just "move on" when they turned 18. Those kids who were 15 when the Beatles had played Ed Sullivan in 1964 were past drinking age. They were still listening to rock music, and they took it seriously. And while every rock fan wanted to see the most popular bands when they came to town, their options were expanding.

A rock fan in his 20s probably had a job, and a few more dollars than when they were teenagers. They also didn't have parents constraining them, and they could drink. They weren't going to go to the Fairmont in San Francisco, but taking a date to a club where you could drink beer and dance was starting to seem like a viable idea.

At the same time, UC Berkeley was expanding. It had never been a small school, but in the early 70s they added more and more students. California parents realized their kids could get a prestigious Ivy League-quality degree for the bargain price of around $212.50 a quarter. When those students graduated, many of them stuck around Berkeley. Rock music had been oriented towards the Fillmore West and other big dance halls, but now nightclubs were starting to book original bands, too. Berkeley had lots of young people, a town that didn't object to long-haired hippies, and a generally central location. 

There had been music clubs in Berkeley since World War 2, of course. But as the 70s dawned, the various music clubs in Berkeley started to evolve. The New Monk, near campus at University and Shattuck, shifted from being a fraternity hangout to a rock nightclub, and by the next year it would become the Keystone Berkeley . Malcolm Williams ran Babylon, but he had big plans, too.

A May 23, 1971 article in the San Francisco Chronicle about Bay Area rock nightclubs had an interview with Malcolm Williams. Williams had hired some of the staff from the old Avalon Ballroom, and he was planning to upgrade Babylon by doubling its capacity, from about 175 to around 350. A bigger club meant better acts, not just local bands who probably lived nearby. Certainly, the Bay Area did not want for good local bands, but they were all trying to make a living. 

As for the name change, at the time it was a fairly obvious choice. The Long Branch Saloon was the name of a famous watering hole in the Wild West town of Dodge City, KS, back in the 1870s. More importantly, Gunsmoke had been a top-rated TV show since 1955, with James Arness as Marshall Matt Dillon. Bars all over the country were named "The Long Branch." Everyone immediately recognized the symbolism, the joint where everyone went, where everything exciting happened.

Ironically, the biggest club in the Bay Area would be the Keystone Berkeley, just 2 miles from the Long Branch. The New Monk, at 2119 University, mainly a frat beer joint, would be taken over in 1972 by Freddie Herrera and become the Keystone Berkeley . The Keystone Berkeley officially held 476, but it was widely felt that more people were regularly crammed in. Thanks to regular performances throughout the 70s by Jerry Garcia, Tower Of Power, Elvin Bishop and others, the Keystone Berkeley became the premier nightclub gig in the Bay Area until about 1977. 

As a result, the Long Branch ended up being a sort of farm team for the Keystone Berkeley. That wasn't a bad thing, necessarily, for the bands themselves. Keystone Berkeley and Long Branch didn't have identical crowds. The Keystone was nearer to campus, and at least on weekends drew people from Alameda, Contra Costa and Marin counties. The Long Branch had a little bit younger crowd who just liked to go out, and probably mostly lived around Berkeley. 

At the Long Branch, mostly the same bands played the club over and over. If a band could build an audience at Long Branch, the expectation was that their own regulars would see the band over and over. Earth Quake, for example, the archetype for a Long Branch band, could play a wide variety of exotic British Invasion cover songs, so that their regular fans didn't hear the exact same set every time.

The Long Branch didn't really advertise. The club seemed to have made sure that their best weekend bookings were listed in the Berkeley Barb and the San Francisco papers, but there were rarely listings for the weekdays. There were probably flyers around town (common in Berkeley), but none have survived from 1971. Also, FM rock radio stations usually announced an "entertainment calendar" in the afternoons and evenings, where they would run down all the club bookings ("tonight, at the Lion's Share, The Sons, and at Keytstone Korner, Elvin Bishop Group," and so on). No doubt the Long Branch made sure that KSAN and the other stations had their weekend bookings, at least.

The Long Branch had three bands on their opening night, all three of which could have been the headliner on their own. The listings in the Barb and Examiner also said "$2 refund if Bridge receipt." This was to encourage fans from San Francisco (using the Bay Bridge) or Marin (using the Richmond Bridge) or even the Peninsula (using the San Mateo or Dumbarton Bridges). I don't know how many patrons actually took them up, but it was a marker of a club trying to expand its weekend audience beyond its own neighborhood.

Country Weather were a Walnut Creek (Contra Costa County) group, from just over the Berkeley Hills. They had originally been called The Virtues, but soon after lead guitarist Greg Douglass joined, they changed their name to Country Weather. Country Weather never released a record when they were together from 1967-73.  Since the group was familiar from many posters from 1968 onward, Country Weather became one of the great lost San Francisco groups of the 1960s.  Ultimately, the group reformed in the 21st century and still performs occasionally. RD Records released some of their 60s demos and live performances, along with some 21st century recordings. Greg Douglass became a successful guitarist in the Bay Area, best known for co-writing “Jungle Love” for Steve Miller, with whom he played for many years. Douglass was also a member of Hot Tuna for one brief, sensational tour in Spring 1975. 

Wayne The Harp was guitarist Wayne Ceballos. Ceballos had led the Bay Area trio AUM (pronounced "Ohm") in the sixties. AUM had released two albums, and opened at both Fillmores as well. Ceballos still played the same kind of hard-driving blues guitar in his new group.

Earth Quake would play the Long Branch at least every month for five years, and in many cases every Friday night. Earth Quake, with their vast trove of cover versions, always had a loyal audience at the club.

I can't find any reference about who played Saturday night, although I suspect it was one of these three bands. For the balance of this post, I am only noting bands where I have been able to find a listing. In general, the same bands played the Long Branch over and over, so missing nights might not likely reveal other bands.  The Long Branch was generally open from Tuesday through Sunday. Wednesday was "audition" nights, with unknown bands. Most other clubs had "audition night" on Monday, so the Long Branch was smart to choose another night.

June 4, 1971 Long Branch, Berkeley, CA: Grootna (Friday) Grootna was a Berkeley band that had arisen out of a 60s Berkeley band called Sky Blue. Guitarist Vic Smith and singer (and sometime drummer) Anna Rizzo had teamed up with guitarist/writer Allan "Slim Chance" Silverman. Drummer Greg Dewey (from Mad River) was also in the band, along with a few others. The band played a batch of songs written by Silverman and his songwriting partner Austin DeLone. DeLone, however, was playing pubs in London with the band Eggs Over Easy. Everybody in Grootna had many links to numerous Berkeley ensembles .

June 18-19, 1971 Long Branch, Berkeley, CA: Wayne The Harp/Flying Circus (Friday-Saturday) Flying Circus were a Marin band. Some form of the band had existed since about 1966. Flying Circus shared equipment and a rehearsal space with the band Clover. Flying Circus lead guitarist Bob McFee was the brother of Clover lead guitarist John McFee. Bassist John Hapaala was the only member who was in both the 60s and 70s versions of Flying Circus. The band had self-released a single in 1970, as a promotional tool, but I have never heard it. To my knowledge, Flying Circus fell broadly into the Marin country-rock category, something like Clover. 

June 20, 1971 Long Branch, Berkeley, CA: Charlie Musselwhite/Cookin' Mama (Sunday) Charlie Musselwhite had been born in Mississippi and moved to Memphis, and then ultimately to Chicago.  He was one of a small number of white musicians in Chicago (including Nick Gravenites, Paul Butterfield, Mike Bloomfield, Elvin Bishop and a few others) who had stumbled onto the blues scene by themselves.

A Chicago club regular, Musselwhite eventually recorded an album for Vanguard in 1967 called Stand Back , which had started to receive airplay on San Francisco’s new underground FM station, KMPX-fm. Friendly with the Chicago crowd who had moved to San Francisco, his band was offered a month of work in San Francisco in mid-1967, so Musselwhite took a month’s leave from his day job and stayed for a couple of decades.

By 1971, blues weren't as interesting to major labels. Musselwhite's 1971 album was Takin' My Time , on Arhoolie Records. Musselwhite's backing group on the album included Robben Ford, a great young guitarist from Ukiah. By mid-71, I think Ford (and his brother, drummer Patrick Ford) had left Musselwhite to form their own band, but it's not impossible that Robben played the Long Branch with him.

Cookin' Mama was a local band fronted by Sherry Fox, who had been in RJ Fox. They were a big, eight-piece band with horns. Pat Thrall was the lead guitarist. Cookin' Mama would release a 1972 album called New Day .

July 2-3, 1971 Long Branch, Berkeley, CA: Elvin Bishop Group/Linx (Friday-Saturday) Elvin Bishop had moved to the Bay Area from Chicago in Spring 1968. By 1969 he had a band and was regularly playing The Keystone Korner. Bishop was signed to Bill Graham's San Francisco label, distributed by Columbia, and he had released two albums. After a 1969 debut, the Elvin Bishop Group had released Feel It! in mid-1970. Elvin's band featured Stephen Miller on organ (from the band Linn County) and singer Jo Baker. Baker, Bishop and Miller all shared vocals.  

Linx played the Long Branch regularly, as well as other Berkeley clubs, but I don't know anything else about them [ update 20230528 : thanks to a Commenter, I know that Linx (sometimes spelled Lynx) featured young Berkeley saxophonist Lenny Pickett, later in Tower Of Power and long-time leader of the Saturday Night Live Band. Also in the group was (future) renowned Manhattan chef Jonathan Waxman]

Alice Stuart was a fine blues guitarist and singer. Although she was from Seattle, she had been playing in the Bay Area since about 1964. Stuart had performed and recorded in a variety of settings. At one point in late 1969, she had even been the temporary bass player for the Lost Planet Airmen. Stuart had released the album Full Time Woman in 1970, on the small label American Records. It was a fairly introspective album. By 1971, Stuart was leading an electric trio called Snake, with Karl Sevareid on bass Bob Jones on drums (and vocals), and they would record for Fantasy in 1972.

Clover's members were also Marin County natives. Clover had formed in late 1967, out of a band called The Tiny Hearing Aid Company. Fantasy Records, flush with Creedence money, had signed Clover. The band released two poorly-produced but pretty good albums, their self-titled debut in 1970, followed by Fourty-Niner in 1971. Clover was a four-piece band, with lead and pedal steel guitarist John McFee, lead singer and guitarist Alex Call, bassist John Ciambotti and drummer Mitch Howie (McFee, Call and Howie had been in Tiny Hearing Aid). Clover worked out of Mill Valley. By the end of '71, Fantasy seemed to have dropped Clover. Clover kept plugging along, playing Monday nights in Berkeley, even after two albums. The proximity of Mill Valley to downtown Berkeley made this a sensible gig for Clover.

July ?, 1971 Long Branch, Berkeley, CA: Commander Cody and His Lost Planet Airmen I could find almost no listings for July, but I don't read much into that. Newspapers published listings on a space-available basis, and sometimes lesser clubs like the Long Branch weren't mentioned in the paper due to lack of space. In other cases, no one from the club may have remembered to call the paper with the week's bookings.

Berkeley's very own Commander Cody and His Lost Planet Airmen had moved out to California from Ann Arbor, MI in the Summer of '69 . They had set up shop in a rambling house in nearby Emeryville. The band played "hippie honky-tonk," a strange brew of Western Swing, traditional country, old-time rock and roll and Berkeley sensibilities. The band had been signed to Paramount Records, and at this time they were recording their debut ( Lost In The Ozone would come out in November). We can infer this Commander Cody date, however, since we know that the band was recording live at the Long Branch and the New Monk in July (as it says so on the back of the album).  On the album, the songs "What's The Matter, Now" and "20 Flight Rock" were recorded live, but whether either (or both) were recorded at the Long Branch isn't clear.

However, Sopwith Camel had reformed in 1971. Their first gig seems to have been at the Matrix on March 5. The re-formed group had 4 of the 5 original members. The original songwriting partnership of guitarists Peter Kraemer and Terry MacNeil was intact, along with bassist Martin Beard and drummer Norman Mayell. In the meantime, Beard and Mayell had played on the hit single "Spirit In The Sky" with Petaluma's Norman Greenbaum.  

Jabo Stokes is unknown to me.

August 6-7, 1971 Long Branch, Berkeley, CA: Commander Cody and His Lost Planet Airmen/The Crabs (Friday-Saturday) The Crabs were a popular Berkeley club band, although they didn't ever break out of the club circuit. They played in a style that would now be called "Roots-Rock" or "Americana" today, but those terms didn't yet exist. The author Charles Reich, who published a huge bestseller in 1970 called The Greening Of America , was a huge fan of The Crabs, and mentioned them a number of times in his book (Reich also interviewed Jerry Garcia for Rolling Stone , and it was published as a book called A Signpost To New Space ). 

August 17, 1971 Long Branch, Berkeley, CA: Driver (Tuesday) Driver are unknown to me. If a Bay Area band from this period is unknown to me, they are officially obscure. Driver very well may have been a fine band, in fact, but bands booked at the Long Branch on a Tuesday night didn't have any local following.

The New Riders Of The Purple Sage were Jerry Garcia's vehicle for letting him play pedal steel guitar in a live band. Since John Dawson wrote and sang the songs, and Garcia's old pal David Nelson played guitar, Garcia could just concentrate on the steep learning curve of the pedal steel, with no vocal or front-man duties. By this time, the Riders had completed the recording of their debut album NRPS , which would come out in September. Garcia himself had found the pedal steel too daunting, and had already made plans to cede the chair to the great Canadian steel guitarist Buddy Cage (who had been playing with Ian and Sylvia Tyson's Great Speckled Bird).

Not only was Cage a far better steel player than Garcia, if the band did not have a full-time player in the steel slot, the band could never play enough to make a living. The Grateful Dead had managed to climb out of some severe debt incurred in 1970 (their manager had absconded with $150K), but the Riders were still just trying to break even. A good paying gig on the weekend would help the band cover its expenses until the album made them nationally popular.

High Country were a Berkeley bluegrass band led by mandolinist Butch Waller. High Country were regulars at Berkeley's already-legendary folk club, the Freight And Salvage (a half-mile North, at 1827 San Pablo) . Waller had been pals with Garcia and David Nelson, both former bluegrassers, since 1963. Waller and David Nelson had been in a bluegrass band together in 1964 (the Pine Valley Boys), and in '69, Nelson had even played a little with High Country. One time, High Country's banjo player wasn't available, and Jerry Garcia filled in (June 19, 1969--of course, there's a tape) . 

Butch Waller had surely been to the Cabale many times, as had Nelson, so they too probably had that burst of recognition when they got there.

August 29, 1971 Long Branch, Berkeley, CA: Charles Ford Blues Band (Sunday) The Charles Ford Blues Band was a fine blues band that featured three brothers from Ukiah, CA up in Mendocino County. Guitarist Robben Ford, drummer Pat Ford and harmonica man Mark Ford played modern, uptempo blues. It was rooted in tradition, but jazzy and flowing as well. Namesake Charles Ford was their father. They would release a fine album on Arhoolie in 1972 ( Charles Ford Band ). Robben Ford would go on to well-deserved fame, playing with the LA Express, George Harrison, Joni Mitchell, Miles Davis and many others.

August 30-31, 1971 Long Branch, Berkeley, CA: Tower Of Power (Monday-Tuesday) Tower Of Power , though originally from Fremont, were the pride of Oakland. They had been discovered by Bill Graham at the Tuesday night Fillmore West auditions , and their first album East Bay Grease had been released on Graham's San Francisco label (distributed by Atlantic). Ultimately, Atlantic's sister label Warner Brothers would pick up Tower. Tower's immortal second album, Bump City , would be released in early 1972, presaging an era where the A's, Raiders and Golden State Warriors were making all things Oakland ascendant.

The core of Tower Of Power had been together since 1968. Their unique horn section sound had been honed in Oakland clubs since 1969. Tower Of Power played both rock clubs and R&B dance clubs, dominating both of them with aplomb. At this time, they were just a hard working band, filling in empty nights on their calendar. I think the Long Branch was open on a Monday (and publicizing the booking) just because Tower was available.   

September 1, 1971 Long Branch, Berkeley, CA: Ongood/Wormwood Star (Wednesday) Ongood and Wormwood Star are both unknown to me. Wednesday was audition night.

September 2, 1971 Long Branch, Berkeley, CA: Pendergrass (Thursday) Pendergrass is unknown to me. 

September 3-4, 1971 Long Branch, Berkeley, CA: Loading Zone/Staton Brothers (Friday-Saturday) The Loading Zone , from Oakland, had played the original Trips Festival back in 1966. By 1971, they had been through many different iterations. By this time, although they still broadly featured the mix of rock and soul as when they had started, they had no original members. They were good, though: Linda Tillery and Wendy Hass on vocals Tom Coster on organ, Doug Rauch on bass, Tony Smith on drums and Bruce Conte on guitar. The Zone shared management and a rehearsal space with Tower Of Power, and they, too, played both R&B and rock clubs.

The Staton Brothers were an East Bay band from Hayward who had been signed by the Monkees' management around 1967. Jeff and Mike Staton were both singing guitarists, broadly in the style of Buffalo Springfield. The band had toured with the Springfield and others in the 1960s. In late 1972, the Staton Brothers would release an album on Epic, but there was a problem with distributors, so the album did not sell . Ultimately both Staton brothers worked with Stephen Bishop and many others as guitarists and songwriters, mostly based in Nashville. Since "Staton" was often misunderstood, and just an adopted name anyway, they used different names.

For club gigs, Finnegan pretty much played blues. He was a powerful vocalist as well as a great organ player, so he could play with any combination of musicians. Some of his "friends" might have been had notable musical pedigrees and would definitely have been good players.

September 11, 1971 Long Branch, Berkeley, CA: Stoneground (Saturday) Stoneground had been put together by KSAN impresario Tom Donahue in 1970 for an intended movie about a "traveling Woodstock" called Medicine Ball Caravan . The Grateful Dead were booked for the movie, but backed out at the last minute. However, Alembic sound had to honor their part of the contract, so the Dead had stayed home and recorded American Beauty with Stephen Barncard, because Bob Matthews and Betty Cantor had gone on the road with Stoneground.

Stoneground had just released their self-titled debut album on Warner Brothers.  Among the key members of Stoneground were singers Sal Valentino, Lynne Hughes, Annie Sampson and Deirdre LaPorte. Guitarist Tim Barnes also sang. Pete Sears had been the pianist for the album, although he had probably been replaced by Cory Lerios by September.

September 13-14 , 1971 Long Branch, Berkeley, CA: Tower Of Power (Monday-Tuesday) Clearly the two night booking for Tower Of Power on a Monday and Tuesday was a success, since they returned a few weeks later. 

September 15, 1971 Long Branch, Berkeley, CA: Entity/Driver (Wednesday) Entity is unknown to me.

September 16, 1971 Long Branch, Berkeley, CA: Bittersweet (Thursday) Bittersweet was a rock band from Chico, CA, who moved to the East Bay. Rock historian Bruno Cerriotti has a detailed history of their adventures. 

I don't know how reflective Barry Melton might have been about his own history. But the entire Country Joe and The Fish saga, including playing Anti-War protests, hit albums, Woodstock, European tours and all the rest had pretty much got its start when Joe and Barry had plugged in at the Questing Beast in March, 1966. Now, here was Barry Melton, back at 2504 San Pablo Avenue.

Melton, who had moved from Berkeley to Marin by this time, had released a solo album on Vanguard in 1970 called Bright Sun Is Shining . It had been recorded in Chicago and New York with veteran session pros like Phil Upchurch, rather than with Fillmore West guys. The album had mostly been covers of blues and old R&B songs. This was actually quite consistent with Melton's musical history, but it may not have been entirely expected by 60s fans who were used to songs about politics and drugs. I don't know who was in Melton's live band at this time.

September 19, 1971 Long Branch, Berkeley, CA: Crabs (Sunday)

September 20-21, 1971 Long Branch, Berkeley, CA: Tower Of Power (Monday-Tuesday)

September 23-25, 1971 Long Branch, Berkeley, CA: Grootna/Mike Finnegan (Wednesday-Friday)

September 26, 1971 Long Branch, Berkeley, CA: Bittersweet (Sunday)

September 29, 1971 Long Branch, Berkeley, CA: Road House/Wormwood Star (Wednesday) Road House is unknown to me. 

By this time, High Country had probably released their self-titled album on Raccoon Records .  The Youngbloods had become so successful behind "Get Together" that Warners had given them their own label. Banana (Lowell Levenger) was a bluegrass banjo player from way back, so he recorded High Country at his home studio, and got the album released on the Youngbloods' imprint.

October 5, 1971 Long Branch, Berkeley, CA: Charlie Musselwhite/Charles Ford Blues Band (Tuesday) Charlie Musselwhite was billed with the band featuring Robben and Pat Ford, two former band members. It's not impossible that Musselwhite just sat in with the Charles Ford Band, instead of bringing his own group. 

October 7, 1971 Long Branch, Berkeley, CA: Charlie Musselwhite/Frank Biner Band ( Thursday) Frank Biner was a popular local soul singer. Over the course of the 70s, Tower Of Power recorded a few of his songs, and he put out a few albums as a bandleader, but back in '71 Biner was just another guy working the clubs. Biner was originally from Chicago, where he had recorded a few singles, but he had moved to the East Bay in the late 60s .

October 8-9, 1971 Long Branch, Berkeley, CA: Commander Cody and His Lost Planet Airmen/Asleep At The Wheel (Friday-Saturday) Asleep At The Wheel were based in Paw-Paw, WV, and played Western Swing music with a rock beat. They generally gigged around the greater Washington, DC area. In 1971, they had opened for Commander Cody and His Lost Planet Airmen, and the Cody crew encouraged them to move to the East Bay. Asleep At The Wheel relocated to Oakland, and started playing regularly at local nightclubs. This booking was probably one of the first (if not the first) performances by the Wheel in the Bay Area. The Airmen were on the verge of releasing their debut album, and they could pack the Long Branch, so plenty of fans were going to hear Asleep At The Wheel.

October 10, 1971 Long Branch, Berkeley, CA: Earth Quake/Bittersweet (Sunday)

October 12, 1971 Long Branch, Berkeley, CA: Hades (Tuesday) Hades , sometimes billed as the Hades Blues Band, or Hades Blues Works, was a local band. They had played the club back when it was called Babylon. 

In the late 60s, guitarist Jimmy Thorsen, bassist Steve Wright and drummer John Cuniberti had been in a band called Traumatic Experience. With the addition of guitarist Craig Ferreira, they became Hades. Steve Wright would go on to play in the Greg Kihn Band, and John Cuniberti became an important engineer and producer, particularly for Bay Area punk rock acts .

October 14, 1971 Long Branch, Berkeley, CA: Vertek (Thursday) Vertek was probably a power trio from Red Bluff, CA, called Vertrek. They had played the Fillmore West audition night in May of 1969.

October 24, 1971 Long Branch, Berkeley, CA: Frank Biner/Bittersweet (Sunday)

Shanti put out an album on Atlantic in 1971, recorded at Pacific High Recorders in San Francisco (PHR was probably actually Alembic Studios by this time, but they seemed to prefer to use the outdated name in some instances).  I don't know when the Shanti album was released, but I believe it was actually in the Summer of 1971 ( there was an event that seemed to be related to the album release at Mickey Hart's ranch in August ). I have not heard the album, but descriptions of it suggest an intriguing experiment that didn't entirely succeed, a mixture of psychedelic rock songs with Indian embellishment, along with genuine efforts to merge electric rock and Indian music in an amplified setting. Shanti played around the Bay Area until they broke up some time in 1972. Some of the Shanti members went on to have interesting careers, and many of them were Grateful Dead-adjacent. Zakir Hussain was a key figure in the Ali Akbar Khan School Of Music, which had moved to Marin in 1971. An offshoot of the school was the Diga Rhythm Band, a percussion group that included Mickey Hart, who produced their album for Round Records in 1975. Diga Rhythm Band played a few public shows, and Jerry Garcia came and played at one in Golden Gate Park (on May 30, 1975) . Francisco Lupica was the inventor of The Beam, and Mickey Hart and Dan Healy adopted the concept as part of the Grateful Dead's concert setup. Guitarist Neil Seidel seems to have had a substantial music career, although I think it was mostly in soundtrack work. Bassist Steve Leach became somewhat known as a producer, as Steven Wold, and in the 21st century, as a performer, as Seasick Steve. 

Osceola was a band from Florida, who had moved to San Francisco around 1969. They had played around at places like The Family Dog on the Great Highway, and other clubs, but they never got to a higher tier.

November 7, 1971 Long Branch, Berkeley, CA: Osceola/Bittersweet (Sunday) Osceola returned to headline Sunday night. This appears to be the last show at the Long Branch until the first weekend in December. By triangulation, I am assuming that the full expansion to 350 patron capacity was completed in November.

December 3-4, 1971 Long Branch, Berkeley, CA: Country Weather/The Dogs (Friday-Saturday) The Long Branch returned to business on the first weekend of December. Country Weather were the headliners, as they had been in May. The Dogs are unknown to me.

December 5, 1971 Long Branch, Berkeley, CA: Hades/Grayson Street (Sunday) The actual Grayson Street was a short street a few blocks from the Long Branch. The band Grayson Street were a sort of roots-rock band from the East Bay. This gig was probably one of their first shows.The band was co-led by harmonica player Rick Kellogg and tenor saxophonist Terry Hanck, both of whom sang. Grayson Street never recorded, but many of its members ended up working with Elvin Bishop, Coke Escovedo, Tower Of Power and others. Grayson Street played the Long Branch as much or more than any band, including Earth Quake. 

December 6, 1971 Long Branch, Berkeley, CA: Hades/Fluid Drive (Monday) Fluid Drive are unknown to me.

December 8, 1971 Long Branch, Berkeley, CA: Knee Deep/Grayson Street (Wednesday) Knee Deep are unknown to me.

December 9, 1971 Long Branch, Berkeley, CA: Beefy Red/Linx (Thursday) Beefy Red was a Marin band, a 10-piece ensemble somewhat in the mold of the Sons Of Champlin, with a horn section and jazzy solos. Band members included trumpeter Mark Isham, guitarist Barry Finnerty and drummer Jim Preston.

December 10, 1971 Long Branch, Berkeley, CA: Asleep At The Wheel/Linx (Friday) We don't need a review of Asleep At The Wheel's appearances with Commander Cody in October to know how they went down. Here they were two months later, headlining Friday night. The Wheel surely had the whole club up and dancing, and a lot of beer got sold. 

December 25 , 1971 Long Branch, Berkeley, CA: Linx/Frank Biner (Saturday) It's surprising that the Long Branch had a Christmas night show booked, but the Long Branch was a neighborhood joint. A lot of people in Berkeley were from somewhere else, and it's not like they could all FaceTime with their family.

December 29 , 1971 Long Branch, Berkeley, CA: Hades/Mojo Hand (Wednesday)

December 30, 1971 Long Branch Around and Around/Mojo Hand (Thursday) I'm sure that the Long Branch had a Friday night New Year's Eve show, but I don't know who was booked. I assume it was some of the many bands that played the club regularly.

If anyone has additional information, corrections or insights about bands that played the Long Branch during this period, please put them in the Comments.

Another regular band, The Rockets, started playing the Long Branch in 1972. Lead singer Eddie Mahoney (1949-2019), a former New York City police trainee, started calling himself "Eddie Money" in 1974. By July, 1974, they were Eddie Money and The Rockets, and then just Eddie Money. Eddie Money was picked up by the Bill Graham organization, and he went on huge success as a singer, selling millions of records. Songs like "Two Tickets To Paradise" and "Baby Hold On To Me" are very familiar to listeners of a certain age.

For many years, 2504 San Pablo Avenue was a store called Good Vibrations. It wasn't a music store, but it was scandalous enough to live up to the Cabale history (don't google it at work). Eventually, as Berkeley got more and more wealthy, gentrification finally got all the way down to Dwight Way and San Pablo Avenue. The building was completely remodeled, and re-opened as a restaurant. The new address is 2512 San Pablo Avenue, but it's the same location. The first restaurant I am aware of was called Sea Salt, which opened about 2009 or so. Sea Salt closed, though, and a new restaurant opened on November 11, 2014.

The name of the new restaurant? The Long Branch Saloon . It says "Upscale comfort food is served in a stylish setting with open rafters & butcher-block tables." Given the turnover in Berkeley's population, it's likely that the locals think the Long Branch is just a reference to Dodge City--which it is--and don't see the nod to a hard-rockin' past. But maybe when a Barry Melton or a Huey Lewis drops by for some upscale comfort food, they pull up and think, "hey I know this joint..."

update 20230604: Historic Flyer

Reader Lydia B sent some historic flyers. Here's a sample from November 1973, front and back

Appendix: Other Posts in the 1970s Rock Nightclubs Series

Keystone Berkeley, 2119 University Avenue, Berkeley, CA: 1972 Performers List

3138 Fillmore Street, San Francisco, CA: The Matrix January-June 1970 Performers List (Matrix I)

Bay Area Rock Nightclub Survey: Berkeley, January-April 1974 (Bay Area '74 I)

33 comments:

July 29, 1971 Long Branch, Berkeley, CA: Sopwith Camel/Jabo Stokes (Thursday) "However, Sopwith Camel had reformed in 1971. Their first gig seems to have been at the Lion's Share (in San Anselmo) in April." Actually their first gig was at The Matrix in SF on March 5-6, 1971

August 29, 1971: Bittersweet also on the bill September 11, 1971: No Stoneground. I have Bittersweet and Earthquake October 10: Also Bittersweet October 24: Also Frank Biner

Thanks for both of these comments Bruno, I made the updates

September 11: Bittersweet and Earthquake (according to SF Examiner, and also Bittersweet diary) Berkeley Barb listed Stoneground but it was a typo because actually according to SF Examiner, Stoneground and Boz Scagss played at The New Monk that night

August 29: Berkeley Barb listed only Charles Ford Blues Band, but as I said Bittersweet played according to their diary, although I don't know if they replaced CFBB or were just the second act on the bill

September 16: Bittersweet played according to their diary, although SF Examiner have Barry Melton and The Fish, and Pendergrass, so maybe Bittersweet were added as third act or they replaced one of the two acts biled (we know Barry Melton played also on September 17, at least according to Berkeley Barb)

Cousin Howie managed Bittersweet for quite awhile then. Still remember Chick, the lead vocalist, and a light-sensitive instrument we built for him. Wild days.

October 10 I have Bittersweet according to their diary, but Earthquake? are you sure? because both BB and SF Examiner have no bands for that day

Thanks for the details. With respect to newspaper listings at the time, they were on a space available basis (to facilitate the layout), so not mentioning acts at a club has no significance. Their may not have been space, or no one from the club called the papers. That being said, I can't remember where i got the Earth Quake note.

Yes I took over the Babylon in late 69 and cleaned up the image by renaming it The Long Branch so I could get a permit needed to expand. Local bands did months of benefits to pay for materials. The giant I beam that was needed to hold up the connecting wall was $2000. We opened in May 1971. I was 23 years old and grew up real fast. I was lucky to meet great talent from all over the world. We were one of the first to showcase reggae from Jamaica thanks to the The Shakers who played white Yankee reggae every Sunday. Asleep at the Wheel and Eddie Money got their start at the Long Branch. Patti Smith packed the house a few times as di Tpotd and The Maytals. The Rockets (Eddie's start) and Earth Quake Hades Aum Grayson Street and 10000 other mostly local bands made the club fun rocking and the place to PARTY.

Above written by Malcolm Williams owner of The Long Branch from late 69 or early 2970 through November 2971. I am the last of the East Bay club owners besides Jerry Figone and Art Duran.

Late 1969 I started to work at The Babylon. May 28 1971 I changed name to Long Branch. I closed club November 1 1976. Hope u had fun Malcolm

Hi Malcolm! Any chance you have any old ledgers, datebooks, anything from the Long Branch? It looks like the New Riders played there some in August and October 1971.

Early 1970 opps.

Correction. I took over The Babylon in December 1970. Opened as The Long Branch May 21 1971. Closed at the end of November 1976. Just walked away as business was poor and punk was the new trend. Didn't like it and rent was due. Three months later Jerry Steel from The Stop Sign opened as The Branch and lasted a out 4 months.

Malcolm, thanks for checking in. Do you recall what the capacity of the Long Branch was vs Babylon? 350 vs 175, according to the paper, was that accurate?

Malcolm, I'm glad to see you're alive and kicking. This is Dan Wells. Me and my brother David were tight with you, the M Joneses and the Earth Quake in those days. I just recalled a memory of going to a waterfall with you and your gf at the time, and helping a guy who had a seizure. You let me stay at your place for awhile, but I was on a long road to growing up and you wound up kicking me out. (Thanks for the help!) Many good times: You bought that great bank of seats at the Oakland Colliseum for the Rolling Stones/Ike & Tina/BB King show, so all our gang got to sit together. It'd be great to communicate if you feel like it . Best wishes.

Yes and I.was the one with epilepsy. So it was me having a seizure but don't remember it We had great times like building the bandroom with a million egg cartoons

Malcolm, you and Mayo managed my band for a while. I think 73 and 74 maybe a bit of 75. Loved playing there and was sad when it closed. Hope life has been to both of you

Outstanding docu of Berkeley music history, big kudos rockarcheology101 ! I used to play at Long Branch Saloon in it's heyday circa 1971 / '72 - keep up the great music journalism, JH

He's still playing all over with posts on Face Book. Take a look. Malcolm

I haven't read this article about The Babylon and The Long Branch since I wrote a bit about my owning both a few years back. I'm still here at age 76 and have all the records of who played from 1069 till 1976. I would like to heat from all and especially the person who wrote the above article. Iv been asked to write a book but so far haven't. Love to all. Malcolm [email protected]

Hey Malcolm! I'm sending you an email with a few of the flyers...hope to hear back! - love, Lydia - [email protected]

Please send again. Did not receive. Thanks

Linx sax player was Lenny Pickett went on to Tower of Power and Saturday Night Live bandleader. Trombone player was Jonathon Waxnman famous chef.

Anon, thanks for this great information about Linx. I udated the post.

Reader Lydia B sent in scans of some Long Branch flyers from 1973. I included a sample above. Thanks Lydia!

You're welcome, Corry! Think I figured out how to post a comment...let's see...

Okay, good - it's working! Are you aware of the short-lived Berkeley music newspaper called The Night Times? I worked for them (as well as doing publicity for the Long Branch) ... one of the 'owners' was Joel Selvin. I cruised around to local nightclubs to get ads for the paper, dealt with Freddie Herrera, etc.

I'll have to look into the Night Times, thanks

I went through the paper copies at the SF Public Library some years back. https://jgmf.blogspot.com/2014/09/night-times.html

I remember you Lydia. You were a great team player and helped me big time. So glad we crossed posts. Love to you Malcolm

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Friday, june 25, 2021, the lion's share, 60 red hill avenue, san anselmo, ca: 1971 overview and performance listings.

Although it has been difficult to find a full list of performers at the Lion's Share, I have recovered enough listings to provide some perspective. This post will review the known bookings at The Lion's Share from April through June 1971, when the club was both a helpful pit stop for touring bands and a regular booking for the many local groups. 

Of course, by the 1980s, the rock musicians who had become famous--Jerry Garcia, Grace Slick, Huey Lewis, Van Morrison--pegged Marin as the destination for successful rock and rollers. It didn't hurt that George Lucas was already there. But it hadn't always been that way. Originally, rock musicians went to Marin County because housing was cheap and the bridges made nightclub gigs easy. There were plenty of old farmhouses and empty ranches for free-thinking rockers. There was also plenty of cheap housing, and easy trips to San Francisco and East Bay. Plenty of musicians, most of them not remotely famous, found that Marin was cheap and a good location. By the early 70s, there was a surfeit of rock musicians in the County.

The land in and around San Anselmo was mostly pastoral until 1874, when the North Pacific Coast Railroad (NPC) added to its line a spur track from San Anselmo to San Rafael. In 1875, the railroad completed a line from Sausalito to Tomales and north to Cazadero via San Anselmo. For a few years, the town was referred to on railroad maps as "Junction," but in 1883 the name San Anselmo came back into use. The San Anselmo post office opened in 1892. From 1902 until the early 1940s, San Anselmo was part of Marin's Northwestern Pacific Electric Train system (in 1907, investors formed the NWP). The Miracle Mile's and Center Boulevard's current "raised roadbed" were the railroad's right of way. Becoming unprofitable as a result of competition from the automobile, and the opening of the Golden Gate Bridge, the railway was officially closed on March 1, 1941.  San Anselmo had always been a sort of bedroom community for San Francisco, but after the 1940s people had to drive to the city across the Golden Gate Bridge, rather than take the electric train to the Ferry.

"Nobody minded the bare tables and floors, the wrought iron chairs, a bar that was not fifteen feet from the stage, which the owner refused to stop operating when the bands played, so that  the ringing of the cash register became an integral part of the music.. It was a cold room to play in, except that it was one of the few clubs North of San Francisco in Marin County that hired the hip acts and paid them and that had a sound system and piano."

The Lion's Share in San Anselmo opened in July, 1969. It was generally open from Tuesday through Sunday. In general, there were auditions and local performers on Tuesday and Wednesday, although although at times they would book touring acts who had an open date. Of course, it being Marin County and all, sometimes "the locals" had a rock and roll pedigree as well. The club served beer, wine and bar food. Nominally, per California law, it was a restaurant with entertainment, rather than a bar. Realistically, what that meant was that a 22-year old guy could bring a 19-year old date, no small thing given the age of rock fans at the time. 

At this distant remove, it has been fairly difficult to construct a list of performers for the Lion's Share. 1971 was probably the peak year for the club, when despite its limited capacity of 250-300, it was still viable to book touring acts. Also, of course, the local musicians were always available for gigs. In the next few years, clubs like Keystone Berkeley, the Boarding House, the Great American Music Hall and the Orphanage offered more exposure and more money, so the Lion's Share had fewer touring acts and less prominent call on the locals. 

To give a flavor of the Lion's Share in 1971, I have just reviewed the known acts from April to June 1971, to the extent that I can identify them. In the appendix, I have listed every show that I could find for the whole year. While I suspect I am not missing bookings by any touring acts--they are the most likely to have been listed in the local papers--it is an irony of the Lion's Share that we are just as interested in the local bands that played there. Many of them may have been booked on little or no notice, but we would be very interested in them now. Booker Sally Henderson, a transplant from the Cambridge, MA scene, was well-connected across the country. According to an SF Chronicle article (May 23, 1971), Considine said that touring acts were offered a guarantee, while local bands got a percentage of the door. This was needed because otherwise local bands would let in too many of their friends for free, which in Marin was a genuine consideration.

At the Lion's Share, Tuesdays and Wednesdays were "Audition Night," for local bands. Unless there was a touring act on one of those nights, the acts do not seem to have been listed in the papers. Of course, in 1971 Marin County, members of "local bands" very well might have gone on to great success, but for now we can only hope for better sources to arise. I could not find a listing for the weekend of April 1-3, and that too will have to wait for improved sources (for the balance of this post, I will skip over days where I have no listings).

April 9-10, 1971, Lion's Share, San Anselmo, CA: Loading Zone/Sorry Muthas (Friday-Saturday) The first band we have a date for in this period was The Loading Zone, playing Friday and Saturday night. The Loading Zone had been an original psychedelic band, going back to the Ballroom days of 1966. The Zone were based in Oakland, and they were the first Fillmore band to blend soul music with psychedelic guitar solos. They were a popular opening act, and as such they opened a door that bands like Sly And The Family Stone and Tower Of Power walked through. In our detailed history of the Loading Zone, they had an intriguing shot at the big time around 1968, and it didn't work out. The band had kept going however, in various incarnations.

In mid-1970, the original Loading Zone fell apart when founder/organist Paul Fauerso left the band. Lead singer Linda Tillery, however, the best known member of the band, reformed the group as a quartet. Tillery's singing was backed by a trio of organist Tom Coster, his brother Al on drums and bassist Mike Eggleston. Contemporary reviews suggest that the 1970 Zone had some soulful singing from Tillery, mixed with jazz interludes from the Costers. They were a popular band in Bay Area clubs at the time.

The Sorry Muthas were apparently a local jug band

Finnegan had long been a regular at The Lion's Share. In late 1970, he had run the Sunday night jam sessions every other week or so, with an informal band called The Nu Bugaloo Express, which included guitarist Danny Nudalman, bassist Dave Schallock and drummer Bill Vitt (on the alternate Sundays, Bill Champlin had run the jam session with the players that would become Yogi Phlegm and then the reformed Sons Of Champlin). It's possible that there were still regular Sunday night jams during this period, but this night was the only listing I found.

For club gigs, Finnegan pretty much played blues. He was a powerful vocalist as well as a great organ player, so he could play with any combination of musicians. It being Marin, some of his "friends" might have been had notable musical pedigrees and would definitely have been good players.

The pretentiously named One was apparently a Bolinas resident, and a friend of Paul Kantner's. Since he was a friend of Kantner's, he got to release an album on Grunt Records, the Airplane's RCA imprint.  The music is credited to Reality D. Blipcrotch. Supposedly, the album is a peak example of rock stars indulgently releasing albums by their pals. I have not heard the record. I know of only a few other performances by One (or Reality, if you were on a first-name basis), such as at a Grunt Records party several months later. 

April 20, 1971, Lion's Share, San Anselmo, CA: Sopwith Camel/others (Tuesday) Tuesday night was an audition night, but the April 20 booking was interesting enough to be noted in the paper. The Sopwith Camel was an original San Francisco psychedelic band, with roots going back to the Red Dog Saloon in Virginia City, NV and 1090 Page Street. The Sopwith Camel had been one of the first Fillmore bands to sign a recording contract, and they had perhaps the first hit single of the scene, as well, with "Hello Hello" in February 1967. That record was in the Lovin' Spoonful jugband style, which has hot at the time (and the Camel were produced by Spoonful producer Erik Jacobsen). The Camel had to face the grumblings of locals who felt that they had "sold-out." The band had ground to a halt in late 1967. However, Sopwith Camel had reformed in 1971. This Lion's Share one of the earliest shows for the new incarnation (they had debuted on March 5 at the Matrix). The re-formed group had 4 of the 5 original members. The original songwriting partnership of guitarists Peter Kraemer and Terry MacNeil was intact, along with bassist Martin Beard and drummer Norman Mayell. In the meantime, Beard and Mayell had played on the hit single "Spirit In The Sky" with Petaluma's Norman Greenbaum. 

By the end of 1970, Van Morrison had released his third album on Warner Brothers, His Band And Street Choir. The album had two substantial AM hits, "Domino" (reaching #9 on Billboard) and "Blue Money" (which reached #23). More importantly, however Morrison's three Warners albums-- Astral Weeks, Moondance and Street Choir --all received wide, constant airplay on FM radio. So Morrison was a genuine rock star, and many of his songs were familiar to even casual rock fans. In the Spring of 1971, Morrison had been recording his next album ( Tupelo Honey ) in San Francisco.

Since Morrison lived just up the road in Fairfax, the Lion's Share was the nearest nightclub to his own house. Van Morrison playing the tiny Lion's Share was big news in the rock world, and the show was reviewed by San Francisco Examiner critic Phil Elwood the next Tuesday (April 27). The weekend booking at the club was probably the first time Van Morrison had played a Bay Area nightclub, and certainly the first time it had actually been publicly acknowledged. Van Morrison would go on to play Bay Area clubs for the next dozen years, and each time it was seen as an "only in San Francisco" special. More or less, that was true. While Van didn't play Bay Area clubs as often as Jerry Garcia did--no other rock star ever would--Van was a worldwide star in the 1970s, in a way that Garcia was not. 

Elwood's review describes Morrison fronting a nine-piece band with horns and backup singers. Elwood singles out guitarist Ronnie Montrose for praise. Montrose had been playing lead guitar on the Tupelo Honey sessions, and while his guitar parts on songs like the title track and "Wild Night" are embedded in our memories now, they would have been absolutely striking the very first time. Ironically, Montrose would go on to fame as a hard rocking guitarist with the Edgar Winter Group (he was on "Frankenstein") and then the group named after him, with Sammy Hagar on lead vocals. Morrison would go on to play three more dates (April 30-May 2) the next weekend at the Keystone Korner in San Francisco, but he would return to the Lion's Share a number of times in ensuing years.

Melton, who had moved from Berkeley to Marin by this time, had released a solo album on Vanguard in 1970 called Bright Sun Is Shining . It had been recorded in Chicago and New York with veteran session pros like Phil Upchurch, rather than with Fillmore West guys. The album had mostly been covers of blues and old R&B songs. This was actually quite consistent with Melton's musical history, but it may not have been entirely expected by 60s fans who were used to songs about politics and drugs. I don't know who was in Melton's band at this time.

May 6-8, 1971, Lion's Share, San Anselmo, CA: Jim Kweskin Jug Band (Thursday-Saturday) The Jim Kweskin Jug Band had formed in 1963 in Cambridge, MA, and they had been unusually influential. Besides playing fairly authentic "jug" music, then a fairly unknown style, the Kweskin band had a significant influence on young musicians. The band's late 1963 debut on Vanguard single-handedly made jug band music nationally popular. More importantly, in the early 60s, musicians in all styles were supposed to be "entertainers," wearing matching stage clothes while they performed their "show," and had scripted "patter" between numbers. Certainly The Beatles, truly revolutionary musicians, had the matching clothes and acted like entertainers on stage.

The Jim Kweskin Jug Band appeared on stage in their regular clothes, played whatever songs they felt like at that moment, and casually chatted with themselves and the crowd between songs. This was what folk music was like in the living room, and the crowd was just invited in with them. Jerry Garcia and his friends had seen the Jim Kweskin Jug Band in Berkeley (on March 11, 1964) and instantly decided that was how it was going to be: play what you want, when you feel like it, and wear whatever. David Grisman and other young musicians had the same reaction.

The Jim Kweskin Jug Band had a fairly successful run in the mid-60s, although ultimately rock music and its fans passed them by. Lots of good musicians had been in the Jim Kweskin Jug Band, and many of them would end up in Marin, including Geoff and Maria Muldaur and Richard Greene. More unsettlingly, however, by around 1968 one member of the band, harmonica player Mel Lyman, had taken on an outsized role in the bandmembers lives. The whole story of the Lyman Family, as they are known, is quite unnerving, and you can google it yourself if you have an interest.

In 1971, Reprise Records had released a Jim Kweskin solo album with the ungainly name of Richard D Herbruck Presents Jim Kweskin's America Co-Starring Mel Lyman And The Family . I presume that a tour had been arranged in support of the album. The "Jim Kweskin Jug Band" name was probably used bcause it was familiar. The whole Mel Lyman saga is not for the faint, so there has been little reflection on Kweskin's musical activities at this time.

May 13-15, 1971, Lion's Share, San Anselmo, CA: Sopwith Camel/Loading Zone (Thursday-Saturday) Sopwith Camel returned for a weekend headline booking, joined by The Loading Zone. Two years after this, the Sopwith Camel would release their second album, just six years after their debut, The Miraculous Hump Returns From The Moon . Erik Jacobsen also produced the 1973 Reprise Records release. 

Shanti put out an album on Atlantic in 1971, recorded at Pacific High Recorders in San Francisco. PHR was probably actually Alembic Studios by this time, but they seemed to prefer to use the outdated name in some instances.  I don't know when the Shanti album was released, but I believe it was actually in the Summer of 1971 (there was an event that seemed to be related to the album release at Mickey Hart's ranch in August ). I have not heard the album, but descriptions of it suggest an intriguing experiment that didn't entirely succeed, a mixture of psychedelic rock songs with Indian embellishment, along with genuine efforts to merge electric rock and Indian music in an amplified setting.

Shanti played around the Bay Area until they broke up in 1972. Some of the Shanti members went on to have interesting careers, and many of them were Grateful Dead-adjacent. Zakir Hussain was perhaps the key figure in the Ali Akbar Khan School Of Music, which had moved to Marin in 1971. An offshoot of the school was the Diga Rhythm Band, a percussion group that included Mickey Hart, who produced their album for Round Records in 1975. Diga Rhythm Band played a few public shows, and Jerry Garcia came and played at one in Golden Gate Park (on May 30, 1975) . Francisco Lupica was the inventor of The Beam, and Mickey Hart and Dan Healy adopted the concept as part of the Grateful Dead's concert setup. Guitarist Neil Seidel seems to have had a substantial music career, although I think it was mostly in soundtrack work. Bassist Steve Leach became somewhat known as a producer, as Steven Wold, and in the 21st century, as a performer, as Seasick Steve.

Ian And Sylvia and Great Speckled Bird, always popular in Canada, had joined the legendary Festival Express train tour across Canada. On that epic journey, Jerry Garcia and the New Riders Of The Purple Sage discovered Great Speckled Bird pedal steel guitarist Buddy Cage. By early 1971, Garcia was looking to extract himself from the Riders so that they could have their own career. After Garcia recorded the band's debut with them throughout 1971, he stepped aside so that Cage could took his place. By this time, Cage had left Ian And Sylvia, and was mainly playing sessions in Canada. Cage would move to Marin in September 1971, and his live debut with the New Riders was in Atlanta on November 11, 1971.

Opening act The Rowan Brothers had recently been signed to Columbia Records. Chris and Lorin Rowan were the younger brothers of Peter Rowan, all from Massachusetts. Peter had played in Bill Monroe's Bluegrass Boys from 1964-67, and then had formed the usual post-folkie psychedelic rock band with mandolinist David Grisman. Earth Opera had fallen apart after two albums on Elektra, and Peter Rowan had ended up joining the band Sea Train. Meanwhile, Grisman had ended up as producer of Peter's two younger brothers. 

David Grisman had been friends with Jerry Garcia since they had met at a bluegrass festival in Union Grove, PA in 1964. Grisman had moved to the Bay Area for a while, and had a bluegrass group in 1966-67 called The Smoky Grass Boys . By 1970, after the demise of Earth Opera, he had reconnected with Garcia. Grisman had played on the 1970 Grateful Dead album American Beauty (playing mandolin on "Ripple"), and he had joined the Dead for an acoustic set at Fillmore East (September 20, 1970). At Fillmore East, Garcia had encouraged Grisman and his manager Richard Loren to bring the younger Rowans out West, and by 1971 they had moved to Stinson Beach. The Rowan Brothers, along with Grisman, had started playing some low-key gigs as a trio.

Phil Elwood of the Examiner reviewed one of these Lion's Share shows (almost certainly May 27, reviewed on May 31), and mentioned that the Rowan Brothers were backed by Grisman and "a couple of members of the Grateful Dead." In fact, the Rowan Brothers stage band this night would have been the two of them on guitars and vocals, with Grisman on mandolin and keyboards, co-producer Bill Wolf on bass, Bill Kreutzmann on drums and Garcia on pedal steel guitar. The Wednesday show was the debut of this configuration of the Rowan Brothers. They would play several more gigs around the Bay Area, culminating in a high profile show at Fillmore West, broadcast on the radio. Although the duo had been signed to Columbia, they had not yet recorded an album.

This wasn't Garcia's first appearance at the Lion's Share. The Grateful Dead had quietly tried out their acoustic configuration by playing three nights at the Lion's Share (July 30-August 1, 1970). The band was preparing to record American Beauty , and seems to have wanted to get a little live work in. Similarly, the New Riders Of The Purple Sage had played a surprise Monday night gig on January 11 (1971). The timing suggests that the Riders wanted to break in new drummer Spencer Dryden prior to recording their debut. The pattern seems similar here: the Rowan Brothers were thinking about recording, so producer David Grisman brought along some friends for a live rundown.

The Lion's Share was a modest place, but here was an opening act that featured two members of one of the biggest rock bands in San Francisco. It was just another weekend. Garcia's activities are accounted for on the next few nights, so he did not play at the Lion's Share on the 28th and 29th, and since he was sick enough to cancel a Grateful Dead show (the 28th), it's highly unlikely that he played there on the 30th. Presumably the Rowan Brothers reverted to their trio format for the rest of the weekend.

June 3-5, 1971, Lion's Share, San Anselmo, CA: John Stewart (Thursday-Saturday) John Stewart (1939-2008) had been a member of The Kingston Trio from 1961 to 1967. The group had been very popular, but they were passed by when the likes of The Beach Boys and The Beatles came along. Stewart had gone solo, and released a variety of well-received albums, such as 1969's California Bloodlines . Although he had written a hit for The Monkees ("Daydream Believer"), he was well known at this time. but not particularly successful. His most recent album would have been Willard , released on Capitol in 1970. At some point in the 1970s, Stewart would actually move to Marin, although I'm not sure exactly when. He ended up having a productive, successful career as a songwriter and performer into the 21st century.

June 9-12, 1971, Lion's Share, San Anselmo, CA: Bola Sete (Wednesday-Saturday) Bola Sete (1923-1987, born Djalma de Andrade) was a Brazilian jazz guitarist who had been prominent in the 60s. Bola Sete (which means "Seven Ball"), after a substantial career in South America in the 1950s, had ended up playing at the Sheraton Hotel in San Francisco, where he captivated Dizzy Gillespie (it turned out that Gillespie's piano player, Argentinian Lalo Schifrin, had played with Bola Seta in Rio). Brazilian jazz was hot at the time, and Bola Sete had recorded and toured with both Gillespie and Vince Guaraldi. Guaraldi and Bola Sete had made some very popular albums for Fantasy Records in the mid-60s. After about 1968, however, Bola Sete had reduced his presence and largely stopped recording and performing, although he hadn't actually retired. Bola Sete did continue to play periodic Bay Area shows.

The Lion's Share wasn't a jazz club, but there weren't any jazz clubs in Marin County, either. Bola Sete lived in the Bay Area--possibly in Marin, I'm not sure--so if he was going to play a Marin gig, the Lion's Share was the obvious choice. Bola Sete did have a 1971 album on Fantasy, called SheBaba. It's an anomaly, and may have been released for contractual reasons. Probably Bola Sete just accompanied himself, and I wouldn't be surprised if the Lion's Share booking was a warm-up for some higher profile shows later.

June 18-20, 1971, Lion's Share, San Anselmo, CA: Denny Zeitlin Trio (Friday-Sunday) Marin resident Denny Zeitlin is a pretty remarkable musician, and the type of player who set Marin County apart from other places . Zeitlin had been a piano prodigy since his youth. In 1963, although he was in medical school at Johns Hopkins, he had been signed to Columbia Records as a jazz pianist. He made four well reviewed, forward-looking jazz albums on Columbia through 1967. In 1968, young Dr. Zeitlin accepted an internship as a psychiatrist at the University Of California at San Francisco, and his musical career was put in abeyance.

By 1971, Zeitlin was performing around the Bay Area--in between his full-time medical work. Earlier in the 60s, Zeitlin had been a sophisticated player in the mode of Bill Evans. Now, he had added electric keyboards to the mix, playing a Fender Rhodes and a clavinet along with his grand piano. Drummer George Marsh and electric bassist Mel Graves had been in the Jerry Hahn Brotherhood--broken up due to Mike Finnegan's departure--so they had a bit of a rock sensibility to go with some serious jazz chops. 

The Bay Area had always had a thriving jazz scene, even though successful players (like Dave Brubeck, Cal Tjader or John Handy) had to go to Los Angeles or New York to hit it big. It's no surprise to find out that plenty of interesting electric jazz experiments were underway in the Bay Area in the late 60s and early 70s. Most of them were under the radar, however, and there was very little recorded evidence. Some groups like The Fourth Way, the Loading Zone, South Bay Experimental Flash and a few others were trying on new hats for jazz, and the Denny Zeitlin Trio was as well. The Trio from that era got sensational reviews, but they never recorded to my knowledge.

The previous year, Kristofferson had toured with a backing trio, with Zal Yanovsky (ex-Lovin Spooful) on guitar, Norman Blake on dobro and guitar, and Billy Swan on bass. Presumably he had a similar backup combo, but I don't know if he had the same musicians in 1971.

January 1-2, 1971, Lion's Share, San Anselmo, CA: Elvin Bishop/Home Sweet Home (Fri-Sat)

January 7-9, 1971, Lion's Share, San Anselmo, CA: Barry McGuire and The Doctor (Thur-Sat)

January 10, 1971 Lion's Share, San Anselmo, CA: Big Mama Thornton/Chico David Blues Band (Sun) 

January 11, 1971 Lion's Share, San Anelmo, CA: New Riders Of The Purple Sage /Chico David Blues Band/Nazgul/Mendelbaum (Monday)

January 14, 1971, Lion's Share, San Anselmo, CA: Boz Scaggs (Thur)

January 15-16, 1971, Lion's Share, San Anselmo, CA: Joy Of Cooking/Commander Cody and His Lost Planet Airmen  (Fri-Sat) 

January 17, 1971 Lion's Share, San Anselmo, CA: Commander Cody and His Lost Planet Airmen/Loading Zone (Sun)

January 21, 1971, Lion's Share, San Anselmo, CA: Charlie Musselwhite (Thur)

January 22-23, 1971, Lion's Share, San Anselmo, CA: The Sons/Sunset (Fri-Sat)

January 28-30, 1971, Lion's Share, San Anselmo, CA: Jerry Hahn Brotherhood/Mike Finnegan Trio (Thur-Sat)

February 4-7, 1971, Lion's Share, San Anselmo, CA: Tim Buckley Quintet with Buzz and Bunk Gardner (Thur-Sun)

February 18-21, 1971, Lion's Share, San Anselmo, CA: Doc and Merle Watson (Thur-Sun)

February 24, 1971 Lion's Share, San Anselmo, CA: Syzgy (Wed)

February 25, 1971, Lion's Share, San Anselmo, CA: Mike Finnegan's New Group and Lane Tietgen (Thur)

February 27-28, 1971, Lion's Share, San Anselmo, CA: Mike Finnegan with Jerry Wood/Lane Tietgen (Sat-Sun) 

March 4-5, 1971 Lion's Share, San Anselmo, CA: Kate Taylor/John Stewart (Thur-Fri)

March 6-7, 1971, Lion's Share, San Anselmo, CA: Eric Andersen/Kate Taylor Quintet (Sat-Sun)

March 11-12, 1971, Lion's Share, San Anselmo, CA: Big Brother and The Holding Company (Fri-Sat)

March 19-20, 1971, Lion's Share, San Anselmo, CA: John Lee Hooker/Cooking Mama (Fri-Sat)

March 26-27, 1971, Lion's Share, San Anselmo, CA: Denny Zeitlin/Ofoedian Den (Fri-Sat)

April 9-10, 1971, Lion's Share, San Anselmo, CA: Loading Zone/Sorry Muthas (Fri-Sat) Sorry Muthas Jug Band

April 16, 1971 Lion's Share, San Anselmo, CA: Mike Finnegan and Friends/One (Sunday)

April 20, 1971, Lion's Share, San Anselmo, CA: Sopwith Camel/others (Tues)

April 23-25, 1971, Lion's Share, San Anselmo, CA: Van Morrison w/Montrose (Fri-Sun)

April 30, 1971, Lion's Share, San Anselmo, CA: Barry Melton and The Fish (Fri)

May 6-8, 1971, Lion's Share, San Anselmo, CA: Jim Kweskin Jug Band (Thur-Sat)

May 13-15, 1971, Lion's Share, San Anselmo, CA: Sopwith Camel/Loading Zone (Thur-Sat)

May 18, 1971, Lion's Share, San Anselmo, CA: Shanti (Tues)

May 27-30, 1971, Lion's Share, San Anselmo, CA: Ian and Sylvia/Rowan Bros w DG (reviewed May 31 Examiner)

June 3-5, 1971, Lion's Share, San Anselmo, CA: John Stewart (Thur-Sat)

June 9-12, 1971, Lion's Share, San Anselmo, CA: Bola Sete (Wed-Sat)

June 17, 1971, Lion's Share, San Anselmo, CA: Mike Finnegan and Friends/Howard Wales (Thur)

June 18-20, 1971, Lion's Share, San Anselmo, CA: Denny Zeitlin Trio (Thur-Sat)

July 1-4, 1971 Mike Finnegan and Friends (Thur-Sun)

July 7-11, 1971, Lion's Share, San Anselmo, CA: Country Joe and Pitschel Players (Wed-Sun)

July 15-18, 1971, Lion's Share, San Anselmo, CA: Eric Andersen/Joyous Noise (Thur-Sun)

July 30-August 1, 1971, Lion's Share, San Anselmo, CA: Mose Allison Trio/Ron Douglas (comedy) (Fri-Sun)

August 4, 1971, Lion's Share, San Anselmo, CA: Van Morrison (Wed)

August 12-14, 1971, Lion's Share, San Anselmo, CA: Taj Mahal/Mississippi Sam Chatman (Thur-Sat)

August 21, 1971, Lion's Share, San Anselmo, CA: Yogi Phlegm/Uncle Vinty (Sat)

September 2-4, 1971 Lion's Share, San Anselmo, CA: New Riders Of The Purple Sage (Thur-Sat

September 8-12, 1971, Lion's Share, San Anselmo, CA: Ian Matthews/Shawn Phillips (Wed-Sun)

September 16, 1971, Lion's Share, San Anselmo, CA: Flying Circus/Peter Spelman (Thur)

September 17, 1971, Lion's Share, San Anselmo, CA: James and The Good Brothers/Uncle Vinty/Cris Williamson (Fri)

September 23, 1971, Lion's Share, San Anselmo, CA: Gideon & Power (Thur)

September 24-25, 1971, Lion's Share, San Anselmo, CA: Jerry Garcia, Tom Fogerty, Merl Saunders/Charlie Daniels, Jerry Corbitt, Billy Cox (Fri-Sat) September 29-30, 1971, Lion's Share, San Anselmo, CA: Hookfoot/Barley at The Hop (Wed-Thur)

October 5, 1971 Lion's Share, San Anselmo, CA: Earthrise (Tues)

October 7-10, 1971, Lion's Share, San Anselmo, CA: Mike Finnegan and Jerry Wood Band (Thur-Sun)

October 16-17, 1971, Lion's Share, San Anselmo, CA: Grootna (Sat-Sun)

October 19-21, 1971, Lion's Share, San Anselmo, CA: Dave Van Ronk/High Country (Thur-Sat)

October 24, 1971 Lion's Share, San Anselmo, CA: Commander Cody and His Lost Planet Airmen/Clover

October 28-30, 1971, Lion's Share, San Anselmo, CA: Doug Kershaw/Shanti (Thur-Sat)

October 31, 1971 Lion's Share, San Anselmo, CA: Doug Kershaw/Charles River Valley Boys (Sun)

November 4-6, 1971, Lion's Share, San Anselmo, CA: Clover/Joyous Noise (Thur)

November 11-12, 1971, Lion's Share, San Anselmo, CA: John Hammond Jr/Your Own Backyard(Thur-Fri)

November 13-14, 1971, Lion's Share, San Anselmo, CA: John Hammond Jr/Real Charles Ford Band (Sat-Sun)

November 18-21, 1971, Lion's Share, San Anselmo, CA: Ramblin' Jack Elliott and Friends (Thur-SuN)

November 26-28, 1971, Lion's Share, San Anselmo, CA: Van Morrison and Friends (Fri-Sun)

December 1, 1971, Lion's Share, San Anselmo, CA: Mike Finnegan and Jerry Wood, plus Jellyroll (Wed)

December 5, 1971, Lion's Share, San Anselmo, CA: Mke Finnegan and Jerry Wood, plus Jellyroll (Sun)

December 16-18, 1971, Lion's Share, San Anselmo, CA: Merry Clayton and Band/Sunset (Thur-Sat)

December 23, 1971 Lion's Share, San Anselmo, CA: Special Christmas Show (Thur)

Dec 30-31 Lion's Share, San Anselmo, CA: Joy Of Cooking (Thur-Fri)  

Appendix 2: Other Posts in the 1970s Rock Nightclubs Series

Keystone Berkeley, 2119 University Avenue, Berkeley, CA: 1972 Performers List

3138 Fillmore Street, San Francisco, CA: The Matrix January-June 1970 Performers List (Matrix I)

Bay Area Rock Nightclub Survey: Berkeley, January-April 1974 (Bay Area '74 I)

The Troubadour, 9081 Santa Monica Boulevard, West Hollywood, CA: January-April 1970 Performers List (Troubadour I)

3138 Fillmore Street, San Francisco, CA: The Matrix July-September 1970 (Matrix II)

The Troubadour, West Hollywood and San Francisco: May-August 1970 Performers List (Troubadour II)

2 comments:

As an odd comment to Phil Elwood's May 31 review of Ian & Sylvia/Rowan Brothers, noting the appearance of some members of the Grateful Dead, I had assumed he was reflecting the May 27 show. The Dead played May 29 and 30, and Garcia canceled a Grateful Dead show on May 28 due to illness, also not appearing with NRPS that night (they played as a quartet). May 27 seems the most likely--still, Elwood reviewed Congress Of Wonders (and The Roches) at the Boarding House on Thursday May 27 (published May 28) and was very specific about the night. Its entirely possible Elwood reviewed two shows in one night, publishing the second one later (May 31) but I'm pointing out the timeline.

I kind of do think it was May 27th with the Rowans, and the GD performer was BK.

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