Walter Mencken 6:15 p.m., Feb. 28
Top 50 Historic San Diego Concerts Ever 1925 to 2009, more
Singing songs and carrying signs.....
NEW COMPREHENSIVE LOCAL MUSIC DATABASE IS LAUNCHED
IT'S DONE!!!! And growing every hour....
If you wanna see a list of over 1,5000 San Diego bands, with links to full profiles, photos, discographies, articles, MP3s, etc, checkout http://www.sandiegoreader.com/bands/search/
Believe it or not, you can click on ANY LOCAL MUSICIAN'S NAME (around 4,500 musicos listed!) and bring up bios of every notable band they've ever been in! Try it here with Rob Crow ---
AND, if that wasn't cool 'nuff, click on an instrument, say like this here link to "Drums" - BAM, a list of EVERY DRUMMER IN SAN DIEGO!!!
We've been working on this massively cross-linked Local Music Database for over two years now, covering a century of San Diego history --- if you're a local performer who wants to add or edit a page, go to http://www.sandiegoreader.com/band/edit/
More anon!!!! JAS
LOCALS JOIN MC FLOW VS. PROP 8
“You say domestic partnership / Is just the same -- It isn't true
You mask your hate in Bible verses / What would Jesus do?
Last time I checked, the Bible said "Love thy neighbor" and I do
But I remember history, when weddings were forbidden too
For interracial couples / How silly does that seem to you?
Someday when our kids look back, they'll ask us why we froze in fear
Why we wrote hate on the books, why we made rights disappear
We'll be forced to answer to them, why we backed discrimination
Why we broke up marriages and families with no hesitation --- ”
San Diego rapper MC Flow's new video for "Created Equal" continues the project born on November 5, after Californians opposing legalized marriage between gay couples voted Proposition 8 into law. Local hip-hop artist MC Flow responded in verse – the video for the song was filmed on the streets of San Diego, with cameos by a number of sign-carrying (if not flag-waving or Bible-thumping) locals:
“This film is about community, hope and equality for all,” says Flow. “No project has ever been closer to my heart!”
Here’s the vid below, which comes with my rarely awarded five-finger recommendation (Scott Wilson's local-centric "Coffeehouse 101" is the only other San Diego vid to ever receive my elusive whole-hand salute) –
Flow -- aka Abby Schwartz -- raps about politics and women's issues. She grew up in New York City and moved to San Diego in 2000 to study holistic medicine at Pacific College of Oriental Medicine in Mission Valley. "I left my master's program to go into treatment for anorexia," she says. "Through the process of healing and empowering myself, I found my voice and began writing spoken-word and performance pieces based on issues surrounding women and body image."
She started her MC career performing open-mic nights at coffeehouses like Claire de Lune and Lestat's. "When I first began, I joined a networking group called the Community," she says, "and my first shows were with that group of artists. We get together regularly to share demos, talk about hip-hop, and listen to music."
Recalling her 30th birthday in 2007, she says "My friends and I were celebrating down in Mexico, and I was dared to make an appearance at the party wearing nothing but my birthday suit and a birthday crown. I did it, and I wasn't even that drunk."
MC Flow is frequently joined onstage by fellow performers Lauren DeRose, Taylor-Tay, and dancer G.G. Employment multitasking is nothing new to her. She describes her worst job: "Selling shoes at an upscale boutique in Cambridge, Massachusetts, one summer while I was in college. First, any job involving feet is no fun. Second, any job involving rich women asking you to run up and down the stairs a hundred times is no fun. The lowest moment was when we had a flood in the basement where all the shoes were stored -- we had to go downstairs, change into giant rain boots, and wade through the water to get the clients' shoes. Then we were expected to come back upstairs and act as if nothing was out of the ordinary. Not a good day at the office."
Though Flow won Best Hip-Hop Album at the 2008 San Diego Music Awards, for her record Incredible, she says rapping doesn't yet pay her bills. "I work as a dog walker and pet sitter, and I love my job. It provides me with flexibility to do shows, and I walk around all day listening to my iPod. If you see a woman walking dogs through Balboa Park and rapping away on high volume, it's probably me."
Blurt (Oct. 18, 2007)
FIFTY HISTORIC SAN DIEGO CONCERTS: 1917 thru 2005
2-28-17 – Blues legend Jelly Roll Morton played a San Diego gig on this date, according to Morton biographers and Sandiegoconcertarchive.com. Several historians speculate that this concert, at an unnamed local venue, led to an offer of steady gigs in L.A., prompting Morton to relocate to the west coast in summer 1917.
In 1921, Morton was performing regularly at the Kansas City Bar in Tijuana. Two of his most revered songs were written there: “The Pearls” and "Kansas City Stomp," named after the bar. According to Dead Man Blues author Phil Pastras, “His trips to San Diego and south of the border had something to do with the Hollywood crowd as well, especially after prohibition set in. That is where the crowd would go to drink and party. They had a race track, and gambling and booze was legal, so that is where the crowd went.” San Diego had outlawed cabaret dancing in 1917 and the U.S. ban on alcoholic drinks was launched in 1920.
In 1921, Morton and a small orchestra were scheduled to perform at the U.S. Grant Hotel. Band member Dink Johnson later claimed the band was fired by the hotel management, because Morton sat at the piano and played with his legs crossed, ostensibly offending white patrons. Morton, however, later told an interviewer that he cancelled the gig himself, after finding out an all-white band playing at the Hotel was being paid twice the fee his band had been offered.
4-4-56 and 4-5-56 – Elvis Presley: "This is the first time that the Hancock is going to rock and roll, while still in anchor!" The titular host of NBC's Milton Berle Show [aka Texaco Star Theater] introduced Elvis Presley to a live audience on the deck of the aircraft carrier USS Hancock, docked at the Naval Station in San Diego bay. Presley's first-ever California performance included "Heartbreak Hotel" (on its way to becoming his first #1 hit) and a few others. The singer gamely acknowledged the raging controversy about his "shocking" onstage pelvic gyrations by taking part in a comedy sketch. Presley introduced Berle, dressed as Elvis (world's first Elvis impersonator?), saying "Mah twin brother, Melvin Presley." Berle/Melvin then takes credit for all the hip-wiggling, saying "I gave him his singing style - I used to drop grasshoppers down his pants."
Elvis' sexually-charged "singing style" was no joke to San Diego police, however. The next two nights, both of Presley's concerts at the San Diego Arena on 8th and Harbor Drive (aka Glacier Garden ) were sold out and police presence was heavy. Over both evenings, several young women were removed from the Arena, reportedly for "hysterical and lewd behavior." The Shore Patrol had to set up a floating blockade behind the venue, after two teen girls in their underwear and carrying soaked dresses emerged from the water to make a run for Presley's dressing room (they were caught by police and released, presumably after their garments dried). Three people were arrested.
"Some girls broke into the bathroom of Elvis's dressing room and stole the toilet seat," recalled KCBQ disc jockey Don Howard in a 1979 interview with localKicks Magazine. "His Cadillac was covered with obscene messages, and two sailors were arrested for masturbating during the show from watching the antics.... After the concert, the police arrested 12 girls running nude through the halls of the El Cortez Hotel, looking for Elvis.”
“I introduced him [to the stage],” says longtime local DJ Happy Hare Martin, “and he rushed out and sang the first chorus of Hound Dog, which I could not hear above their primal screams. Then…he began wiggling and rotating his pelvis. This is when half the girls lost control of their bladders.”
Martin had been with Elvis backstage in the hours leading up to the show. “Elvis was a blonde,” he says. “I kept his secret for many years, until I learned that he had been outed…When I entered the dressing room, I was flustered to see that the King had no clothes. He was pacing buck naked in the dressing room…Seeing me, he grabbed his gold Lamé suit and covered himself. Too late. I had caught him.”
“In contrast to his black head of hair was a golden wheat-colored tuft [down below]. Yep, he was a natural blonde, alright. ‘You ain’t gonna tell nobody, are ya?’ he asked, almost pleading. I nodded a firm no, and that was that. I later learned that Tony Curtis was his idol. He regarded Tony as the ultimate babe magnet, so he dyed his hair raven black, just like Tony's…the kid obviously did not realize that his hair could have been [turd brown], and it would not have mattered.”
Ticket sales for the two 1956 concerts (with his new backing band the Jordanaires) reportedly totaled $17,250, with 11,250 fans attending. The day after the second San Diego date -- April 6 -- Presley signed a seven-year movie deal with Paramount. Three weeks later, "Heartbreak Hotel" hit number one.
When Presley was scheduled to return to the Arena June 6, Police Chief Adam Elmer Jansen (the city's longest-serving Chief, at 14 years) had had enough. "If he puts on the same kind of show that he did last April, I'll arrest him for disorderly conduct," he was quoted saying in the Union (repeated nationwide after newswires picked up the story). "I've had enough complaints from parents to assure me that twerp is not doing the kids any good." Late in the year, the city Social Services Department held a series of hearings, to discuss whether Presley should be banned from playing in San Diego .
Presley escaped town without being arrested or banned and in fact returned years later to pack them in for three more sold-out performances, after Police Chief Jansen retired - November 15, 1970 (ticket sales 14,659), April 26, 1973 (15,050 attendees) and April 24, 1976 (17,500 attendees).
“The Principal called and asked me to do something for the new kids,” Martin told me in March 2008. “I was full of myself in those days. I said ‘Sure’ and got on the phone…I took it for granted that he [Valens] knew me, and I asked him about coming down to San Diego to sing for the new school. No mention of money. He immediately said yes, no doubt thinking that anyone this audacious must be important.”
“There was no opposition from the school, all were thrilled that I could get someone with two or three songs on the Hit Parade.” When Hare picked up Valens at the airport, the rising rock star emerged from the plane with his guitar slung around his neck and carrying a small amp. “At the school, all of the students were in the yard, because they were still painting the new auditorium. Ritchie didn’t seem to mind. He sang two songs that I recall, ‘Donna’ and ‘La Bamba,’ and some other newer songs, all on the red clay, in the broiling sun, for the better part of an hour.”
“Many kids broke into impromptu dancing and that egged Ritchie on. Him playing, and them dancing and celebrating, [it was] a musical fiesta. A South L.A. Latino kid, connecting with 2,000 young Anglos…it was historic. No autographs or pictures…things were more structured in those days.”
Valens was literally on the brink of superstardom as he flew back to L.A. that evening. “If it had been a couple of months later,” says Hare, “I would have had to put him up in an expensive hotel and paid him a lot of bucks. But, that day, he was just a simple kid wanting to help.” Valens perished in the same February 1959 plane crash that also killed Buddy Holly and the Big Bopper.
1961: Johnny Cash at Bostonia Ballroom, El Cajon - The story of Johnny Cash walking into a local club in 1961 to play a surprise set with a group of local pickup players has been hotly disputed. It supposedly happened at El Cajon's Bostonia Ballroom (aka Red Mill, El Amigo, Club 911, Marco Polo, and most recently known as the troubled Royal Palace). El Cajon's mayor Mark Lewis has been quoted saying Cash did the unannounced show there, among other locals making claiming this happened.
However, according to Eldonna Lay, author of an El Cajon book of history and curator of the Knox House Museum, it never occurred. Now it turns out that Iron Butterfly co-founder Danny Weis (one of the guys who quit the band before their first album came out) has photos of his father's band backing up Cash at the Bostonia, to back up his story of how it came to happen. Some of the pics include the Bostonia's owner at the time, Smokey Rogers, which seems a fair indication that they were indeed taken at the place and date Weis provided.
Still unconfirmed is the rumored (and far less likely) Elvis appearance at the Bostonia, in the audience rather than onstage, cited repeatedly by Mayor Lewis but also debunked Eldonna Lay (this time I suspect correctly).
6-30-65: Jerry Lee Lewis played downtown's Convention Hall, earning himself a "stern warning" from a "top local cop" because he allegedly violated city municipal code 33.1593: "It is unlawful for any musician or entertainer performing at a teenage dance to mingle with or physically contact the patrons." Lewis later told Goldmine magazine, "A couple of ladies, I don't know who they were or how old they were, they came up onstage and danced with me...when I came offstage, all of a sudden I was scared they'd run me out of town. This guy, he might've been the chief, he told me I could have been arrested."
7-21-65 – Sonny and Cher: When the duo performed the first of two nights at El Cajon's Power House (1550 North Magnolia Avenue), local radio was just beginning to play their single "I Got You, Babe," and they'd just made their first TV appearance on June 12 on American Bandstand. In a venue seating no more than 500 people, they performed the song, as well as several others from their upcoming debut album Look at Us (to be released that August). The majority of the set was made up of cover songs like "You've Really Got a Hold on Me" (the Miracles), "Then He Kissed Me" (written by Phil Spector for the Crystals), and "Unchained Melody" (by North and Zaret, most famously recorded by the Righteous Brothers).
The Power House date may have been their first performance of the Dylan song "All I Really Want to Do," which they'd just seen the Byrds perform in L.A. the previous week. Even though they knew the Byrds wanted to record it, Sonny -- who'd noted the Byrds' success redoing Dylan tunes -- convinced Cher to record the song for a solo release, and this version would hit stores first.
A week after the San Diego concerts, they were on TV again in the half-hour musical-variety show Where the Action Is, just as "I Got You Babe" closed in on Billboard's number-one chart spot, where it remained for three consecutive weeks. After an appearance on The Ed Sullivan Show later in the year, they were done with small venues. Their 1-21-66 appearance at San Diego's Convention Hall (202 C Street, downtown) reportedly sold out the same midsize room the Rolling Stones had barely filled the previous month (12-5-65, though that was an afternoon show).
8-28-65 – the Beatles: For the Beatles' one and only local appearance, at Balboa Stadium, radio station KCBQ declared that Saturday "Beatle Day" and gave out pins saying so to attendees. Four local teenagers won a contest to present ceremonial keys to the city to the band at an afternoon press conference.
Area DJ "Happy Hare" (aka Harry Martin) recalled for Kicks Magazine that "Joan Baez was going to visit John Lennon [backstage], and she was caught up in the human riptide, because she was on the outside of the fence with all the kids. I literally lifted her up and pushed her over the fence. She eventually got backstage, but she came close to being crushed to death."
Local headlines the next day read "Beatles Quip at a Fast Clip" and "Ecstasy and Emotion: Beatles and Beatlemania Erupt." The band played around 40 minutes, with some of the show surreptitiously recorded by KGTV chief photographer Lee Louis, who smuggled in a 16mm film camera (a portion of his footage is posted on YouTube). Around 28,000 tickets were printed, priced at $3.50 and $5.50, though only about 18,000 were sold. The Beatles were reportedly paid $50,000, while promoters said their cut was around $6000.
The night before the San Diego gig, August 27th, the Beatles met Elvis Presley for the first time, spending around an hour in his Bel Air mansion. According to Disc Weekly at the time (9-4-65), Elvis jammed with the Beatles to a tune played on his jukebox. A member of Elvis' Memphic Mafia talked the Beatles into signing a piece of Elvis stationary, which is due to be auctioned with an opening bid of $50,000.
Helen Halmay interviewed the Beatles before their only San Diego concert. Halmay, who was 20 at the time, says she has a few regrets.
"Nobody who interviewed them asked for their autograph.... I had never been to a press conference before. I didn't know I didn't need tickets since I was with the press. After the press conference, we went out and went in through the gates. I thought, 'By God, if I bought tickets, I'm going to use them.' Do you know how much those tickets would be worth if I had saved them?"
What questions did reporters ask the Beatles? "People tended to ask them what they thought of San Diego. That was really dumb. They had never been here before, and they had just gotten off the bus. My one question was 'What's your favorite American TV show?' I think they said The Man from U.N.C.L.E."
Halmay, who was the society editor for the weekly La Mesa Scout, says she "asked my owner/editor/publisher if I could cover it. He said, 'None of our readers are interested in the Beatles.' " Halmay got permission to go (off the job) and bought her own film to take pictures.
"They are not very exciting. It just shows them sitting in a row at a table." She says all four were heavy smokers. "I guess I've forgotten how much people used to smoke in those days."
As it was with Balboa Stadium, Halmay says the La Mesa Scout "...never made it out of the '70s." (Some material for this capsule written by Ken Leighton)
11-1-64 – the Rolling Stones made their first San Diego appearance, playing an evening show at Balboa Park Bowl, having appeared that afternoon at
The show's promoter Danny Millsap, who ran a local record store, told the Reader in an April 1998 article that he paid the Stones $400. “I remember paying Rosie and the Originals $500,” he recalled of booking the popular local group known for their hit song “Angel Baby” (later recorded by John Lennon).
Only around 300 people were in the
“We figured what the Hell,” says Millsap. “We had made everything we were going to. Might as well let everyone enjoy themselves…I think I lost about 500 bucks on that show. It was no big deal. The kids had a good time.”
Danny Millsap’s son David, a high school junior at the time, recalls “Because the crowd was so small, you could actually hear what the Stones were playing…they sounded better that night than any time I’ve heard them since.”
Local opening act The Misfits featured future Moby Grape singer/bassist Bob Mosley. “We played a lot of places around town,” he recalled in a 2005 interview, “but [the Stones show] was the biggest thing we’d done.”
At the time, the Misfits were signed to Imperial Records, whose roster included Ricky Nelson and Fats Domino. Their single “This Little Piggy,” released just before the Stones show, was appearing in Top 30 surveys for radio station KDEO - which hosted the Stones concert - as well as at KCBQ and KGB.
A backstage photo of the Stones mingling with various locals is reproduced above, featuring (top row from left) Ron Armstrong, Bill Wyman, Keith Richards, Earl Steely, Mick Jagger, Joey Page, Charlie Watts and Bob Mosley; (bottom row from left) Joel Scott Hill (later of Canned Heat), an unidentified photographer, Harold Kirby (bassist with Hill's band), and Eddy Dunn.
Misfits members depicted are drummer Ron Armstrong, rhythm guitarist Earl Steely, bassist Bob Mosley, and lead guitarist Eddy Dunn. Armstrong would later join Jamul. Page was an area singer seen frequently on the Shindig TV show - the photo was taken by Misfits manager (and swimming pool salesman) Bob Herrington.
Another opening act, Joel Scott Hill and the Invaders, featured drummer Willie Kellog, who recalled that day and meeting the Stones backstage for an April 1998 Reader article. “They were just these frail looking little guys with gray skin. They don’t get much sun over there in
As for the Stones’ set, Kellog says “We were laughin’ at those guys. Jagger was doin’ all this jerky sh-t, singin’ the blues with that heavy English accent. That band was hitting a lot of clams, man. There was just a lot of wangin’ and dangin’ going on up there.”
Joel Scott Hill and the Invaders later became the house band at a popular
The Misfits split in 1965, after guitarist Earl Steely married and refused to tour. Bob Mosley joined Moby Grape, but hit on hard times after that band dissolved amidst years of lawsuits. “I was living in the bushes alongside a
The day after the
The Reader's 4-2-98 issue includes a feature about the Stones' first
ALSO SEE: www.myspace.com/ronarmstrongmusic
7-8-67: The Doors' debut album was still new when former Clairemont Longfellow Elementary School student Jim Morrison appeared with the band in his former hometown for the first time. His parents lived in Coronado, his father having just risen to the rank of rear admiral. "North County band the Lyrics, Marsha and the Esquires, and two other bands started promptly at 8:30 p.m., for over 4000 fans," reports "Crasher" columnist Josh Board. "Unfortunately, with only one album out, it was a short set, with only a handful of songs." Board points to Greg Shaw's book The Doors on the Road, which states, "...during 'Light My Fire,' two women leaped over the railing...and raced to the stage, briefly clutching Morrison's feet before being briskly escorted off by the police." The Doors played three other San Diego concerts with Morrison; 11-4-67 and 6-29-68 at the Community Concourse and 8-22-70 at the Sports Arena (captured on the bootleg vinyl album Celebration). A 10-26-69 date at Balboa Stadium was canceled after Morrison was accused of exposing himself onstage in Miami. After Morrison died, the Doors returned to Balboa Stadium -- 8-13-72 -- for a taped performance widely circulated among Doors concert collectors under titles like Turn Me On Dead Man and Breakin' through Balboa. Jim Morrison backstage in San Diego ************************************************ 1-13-68 - The Turtles, the Byrds, Buffalo Springfield, the Stone Poneys, San Diego Sports Arena: "Although I loved the hits of the Turtles, I took umbrage at them getting top billing over the Byrds," remembers AcousticMusicSanDiego operator Carey Driscoll of this ten-band event. Buffalo Springfield refused to leave the stage after their two allotted songs, instead playing a full 30 minutes (irking organizers). The Stone Poneys with Linda Ronstadt had Mike Nesmith's "Different Drum" on the charts and were about to put out their third album, though they would split up within two weeks of the San Diego show (one of their final concerts). The Byrds had released The Notorious Byrd Brothers just ten days before and were in the midst of lineup changes; though they'd lost David Crosby, the San Diego date was one of their first with eventual cult icon Gram Parsons. The Turtles, touring behind their Golden Hits album, were at the peak of their powers and popularity. "One of the best sets I've seen to this day," recalls Driscoll. "Mark Volman and Howard Kaylan were energetic and entertaining.... Volman's antics included throwing his tambourine straight up into the rafters of the arena, doing spins and splits while it was up there, kicking it off the heel of his foot when it came down, grabbing it out of the air and hitting it, on the beat, in perfect timing with the next verse." *********************************************** 9-28-68: Big Brother and the Holding Company were scheduled to play a sold-out show at downtown's Community Concourse. The afternoon before the show, Janis Joplin announced to the press her intention to quit the band. "I told you, you remember, that I was going to do a thing of my own," she wrote in a letter to her family dated the same day (and published by her sister in the book Love, Janis). "There'll be a whole lot of pressure because of the 'vibes' created by my leaving Big Brother and also how big I am now." (The band's album, Cheap Thrills, was number one on the Billboard charts, where it remained for eight weeks.) Joplin explained in the letter that "It's to be set up [so] I'm a corporation called Fantality, which will hire all the musicians and pay all the bills. Much more responsibility, but also much more chance of making money for me as my price goes up.... Albert [Grossman, manager] told me -- are you ready? -- that I should make a half million next year, counting record royalties." Her final gig with Big Brother took place in San Francisco two months later. 3-29-69: Janis Joplin appeared at the Sports Arena for one of the first West Coast concerts with her new group, the Kozmic Blues Band. "Janis was flirting with a lethal combination of drugs, alcohol, and heroin," wrote Joplin's sister Laura of that period in her Love, Janis book. "Linda Gravenites found Janis purple on the floor one day in March. At least she knew how to revive Janis from a heroin overdose.... The media pressure might have been one reason she gave herself for increasing her use of heroin." Also in March '69, the New York Times magazine ran an article quoting Joplin: "Yeah, I know I might be going too fast. That's what a doctor said.... I don't go back to him anymore. Man, I'd rather have ten years of superhypermost [sic] than live to be seventy by sitting in some [expletive] chair watching TV." Joplin and the Kozmic Blues Band appeared in San Diego one other time (October 4, '69), exactly one year before her death. ******************************************** 5-11-69: The Grateful Dead headlined SDSU's Spring Fling concert at the Aztec Bowl. Held on Mother's Day, the show included Canned Heat, Quicksilver Messenger Service, Lee Michaels, Tarantula, and Tijuana-bred Carlos Santana. Jerry Garcia performed "Morning Dew," and Ron "Pigpen" McKernan (four years before he died) sang lead on a 20-minute version of "Hard to Handle." Pigpen also fronted the band for "Good Lovin'," "Good Morning Little Schoolgirl," and "Turn on Your Love Light," the last highlighted by a jam with Santana's percussionists and singer. One of Spring Fling's promoters was future mayor Roger Hedgecock, who at the time aspired to create a local concert scene similar to San Francisco's. "There was a lot of opposition from the city," he recalled in a 1980 interview with Kicks Magazine. "But all the predictions of total chaos and calamity did not come true." Hedgecock recruited the local chapter of the Hell's Angels to provide security, sealing the deal with a complimentary case of Jack Daniel's. "I got a note back from them thanking me for the case," according to Hedgecock. "They drank it all at one party." Space was provided for arts-and-crafts exhibits, as well as a booth for the city's brand-new free clinic. "Even the Black Panthers had a booth," said Hedgecock. Much of the show was aired live on KPRI-FM, and tapes of the broadcast still circulate among tie-dyed and squinty-eyed collectors. ****************************************** 5-24-69 - The Jimi Hendrix Experience played one of its final gigs at the Sports Arena. Ticketless fans rushed the doors en masse, resulting in local headlines the next day reading "Police Arrest Gate Crashers" and " 'Music Lovers' Mar Hendrix Concert." Attendee J. Stuart recalled for the Reader website “What did happen as we were leaving was we encountered a very large group of riot squad sprinting towards us. One man fell down and I witnessed three riot police clubbing him with long riot sticks. I told the girl I was with to run for the car, and I escaped by climbing on the hood of a car and sprinting over many car hoods. It was a total downer after such a great concert.” Backstage, Hendrix was interviewed by San Diego Free Press writer Jim Brodey. "At one point," according to Brodey, "the interview was interrupted by promoters and someone with a 'love medallion.' Top 40 radio station KCBQ had sponsored a contest in which entrants who had made the 'grooviest love medallion' would win a free ticket to the concert and present their love beads to Hendrix in person. Jimi, who knew nothing of the contest, refused to save face for the bumbling KCBQ and wouldn't see the winners." When the Experience hit the stage just before 10 p.m., a professional crew recorded the entire concert. Hendrix told the audience, "You people down here are witnessing some really beautiful times. Like, groovy times you'll be telling your children and their children's children about, man. This is, like, the epicenter of where it's happening, right here in California. I just wanted you to know that, even though I think you know it already. Does it ever rain here? Would you care if it did? I didn't think so." The 12-minute Arena version of "Red House" turns up on Hendrix in the West (Polydor/WB Reprise, 1972). A 1982 LP, Concerts, uses snippets of Hendrix's stage chatter spliced between live takes from other performances. The four-CD set Stages (Polydor/WB Reprise, 1991) has nearly the whole show, except for "Foxy Lady" (the feedback-heavy intro caused too much buzz on the master tape). A box set collection, The Jimi Hendrix Experience (Universal/MCA, 2000), features the San Diego version of "Red House," along with "Purple Haze" from the same show. Just over a month after playing San Diego, the Experience played its last concert at the Denver Pop Festival. ******************************************
11-11-69 - The Rolling Stones played an almost completely undocumented and unknown concert in San Diego. Local rock historian Bart Mendoza has the scoop:
Music-history books and websites report that the Rolling Stones visited San Diego ten times to date, but tour posters and handbills have turned up that shed light on a little-known 11th concert a matinee on November 11, 1969. San Francisco music archive Wolfgang’s Vault has a Randy Tuten–designed, 14” X 22” Rolling Stones concert poster for November 10, 1969, at the San Diego International Sports Arena. The poster is amended at the bottom, “By Popular Demand, Second Show, 2:30 p.m., Tues., Nov. 11.” Indicating the rarity of these advertisements, an Oakland Coliseum poster for November 9 sells for $289; the San Diego edition, which uses the same image, will set you back $2115.
According to Sports Arena general manager Ernie Hahn, the arena doesn’t have records regarding the show, though he can confirm seeing the show on promoter Bill Graham’s database. While the November 10, 15-song set has been extensively bootlegged, nothing from a possible second show has surfaced.
The confusion likely stems from the fact that the Stones played at the coliseum in Phoenix, Arizona, on November 11, 1969. However, on this tour, they did play more than one show in several cities, and it’s only a one-hour-and-ten-minute flight from San Diego to Phoenix.
The dates of November 10 and 11 converged for the Stones and San Diego 36 years later. On November 11, 2005, the band made a tour stop at Petco Park. The previous day, Keith Richards and Toots Hibbert headed to Santee’s Strate Sound Studios to work with engineer Alan Sanderson.
“I was told not to let anybody know it was happening and not to mention it after it was done,” said Sanderson, who had worked with the Stones on their 1997 Bridges to Babylon album. “My contact in the organization looked me up, asking if I had any studio time. I didn’t, but quickly moved the existing client and started sweating bullets. It took two days to set up.
“We did one track with Toots — ‘Pressure Drop,’” I think that track is on every album of his, a different version each time,” Sanderson joked.
Sanderson continues his Stones-related work, reporting, “Last year I recorded and edited demos with Keith in New York, at his house, and in an old library in Massachusetts. And I recently completed archiving the recordings from the last three years of their live shows.”
Also on the bill were her old band, Big Brother and the Holding Company, whose guitarist Sam Andrew, had quit Big Brother for awhile to join Janis’s shortlived Kozmic Blues Band
“Sam said the drinking was beginning to show in Janis’s body and she was gaining weight again,” according to Joplin’s sister Laura, in her book Love, Janis. “Sam also recalled the puffy red skin that she had, a clear sign of excessive alcohol consumption. The emotional roller coaster was still going fast for Janis. High and then low, she struggled to maintain an equilibrium.”
Joining Joplin at the Sports Arena was longtime Doors producer Paul Rothchild, who was being considered to work on her next album. “In San Diego,” says Laura, “Janis gave him a stopwatch, saying ‘Look, I’ve got thirty-five good minutes in me. You stand behind the amps and I’ll look you over, you flash me how much time I have left.’ Paul thought it was a good sign that she was pacing herself like a runner.”
Rothchild later said of watching Joplin in San Diego, “She was singing and I was enraptured, because I was listening to one of the most brilliant vocalists I ever heard, in classical, pop, or jazz music. What a voice…all of the woman was revealed. The vessel of Janis vanished. For somebody like me, who was always talking about the inner beauty and all that stuff, it got me big. So I was totally hooked from that moment on, on every single possible level.” Rothchild would work on Joplin’s final album Pearl, including her only number one single, “Me and Bobby McGee.”
“The presence of old friends in San Diego had energized her for the airplane journey back to San Francisco,” according to Laura Joplin. “She bought drinks for everyone. [Big Brother guitarist] James Gurley found her too exuberant, as though desperately trying to be the life of the party.”
One month later, on August 12, the Full Tilt Boogie Band’s equipment was stolen in Boston, and the group performed at Harvard Stadium with borrowed gear. It was Joplin’s last public appearance with the group; she died of a drug overdose in Los Angeles October 4.
10-4-70: Frank Zappa and the Mothers played the Peterson Gym at SDSU. This newly-formed Mothers featured former Turtles singers Mark Volman and Howard Kaylan, billed as “The Phlorescent Leech and Eddie,” or Flo and Eddie, due to Turtles-related litigation.
Before showtime, many in the audience were talking about Janis Joplin’s death earlier that Sunday. Hard rock trio Head Over Heels opened, having been brought down from
Wearing tye-dyed jeans and a purple t-shirt, Zappa told the audience “I went to Grossmont High and Mission Bay High. You can see how much good it’s done for me.” Among the reported set highlights was a lengthy excerpt from the operatic 200 Motels, which had been performed and recorded with a symphony orchestra that summer but was thus-far unreleased. “Definitely x-rated material,” Zappa warned the crowd beforehand. “Anyone who will be offended should leave now.”
The set closed with the Turtles’ “Happy Together,” resulting in a standing ovation and a lengthy encore of “Who Are the Brain Police” (a song that inspired the name of the popular psychedelic
A subsequent review in the San Diego Onion complained of Zappa’s guitar solos; “He seems to deceive himself sometimes into thinking he’s Eric Clapton or somebody and, really, he isn’t.” The Daily Aztec gave a more glowing review, though it was noted that Zappa “played for an audience a good third of which was too spaced out to perceive it as anything but ‘weird’ sounds.”
10-18-70: Pink Floyd performed in San Diego for the first time at the Intercollegiate Baseball Facility (a.k.a. the Polo Field) at UCSD. Touring behind their Atom Heart Mother album, they had played the previous month for their largest audience ever -- over 500,000 people -- in Paris. Despite their popularity in Europe, Floyd was third on the San Diego bill, behind Hot Tuna and Leon Russell.
Tickets cost $3.50 for the general-admission show, which started at noon. "There was a big marijuana protest on the grounds at the same time," recalls one-time concert promoter Dan Tee, a member of UCSD's Student Body Council at the time and one of the people behind the show. "About a hundred people were carrying signs and chanting 'legalize it, legalize it,' and it seemed like there were at least that many cops around too. "[The protestors] weren't too organized, though. Before long, most of them were going into the concert instead of protesting.... We used a bunch of their [abandoned] sign poles to prop up a temporary fence that gate-crashers tore down to get into the concert."
The San Diego date was one of the few where the experimental song "Alan's Psychedelic Breakfast" was performed by the band. It lasted around 20 minutes. "They actually sat at a little folding table and ate for part of the song," says Tee, "with tapes of voices and sound effects playing in the background."
The band returned to San Diego one year later -- 10/17/71 -- to play a show at Golden Hall that became widely bootlegged.
10-17-71 – Pink Floyd at Golden Hall: One of the most widely bootlegged concerts of the vinyl era, collectors of ROIOs (recordings of illegitimate origin) at www.pf-roio say of this concert:
"This is post-Syd pre-Dark Side Floyd at the height of their jamming power...Each instrument is clear and, for a change, Rick [Wright]'s organ is played up in the mix."
"Possibly the best currently available show from the fall 1971 shows...'Fat Old Sun' is the extended version, with an extra verse sung before the jam." "PF shows off their quad sound effects. The music fades out and somebody enters through a door, walks around in the room opening doors with different sounds behind them. After a while, 'Cymbaline' fades in again." Among the many bootlegs available of this performance, From Oblivion appears to have the closest to a complete setlist, now available on CD and frequently auctioned through eBay.
6-13-72 - Rolling Stones: Only recently have viewing-copies of Robert Frank's long-suppressed documentary "[Expletive]sucker Blues" surfaced. The movie famously chronicles the Stones' infamous 1972 tour, timed to promote "Exile On Main Street" [released April 12] and the group's first time playing North America since the deadly 1969 Altamont concert. In the film, one scene takes place at the San Diego International Sports Arena date
Backstage, Mick Jagger can be seen deciding what to wear over his purple jumpsuit - a silver lame' jacket, black leather coat or raspberry polka dot shirt, his three main sartorial accessories for the tour. He ends up shrugging his shoulders to don a plain denim jacket that looks small even on his thin frame, muttering "I don't care, it's only San Diego ." The set was reportedly fair - it's one of the few occasions they've performed "Honky Tonk Woman" live. The real show was happening outside, in the Arena parking lot.
The Bill Graham-produced event had, like the Stones themselves, sold out. Unreserved seating cost $6.50, among the year's highest ticket prices (even aside from the free parking) in an era when Pink Floyd, Traffic and Chicago tickets cost local patrons $4 - $5.
Around three hundred apparently ticketless youths milled around the Arena parking lot as someone, perhaps several someones, worked their way through the crowd, selling dozens of counterfeit tickets for anywhere from $10 to $20 each. The actual tickets had been imprinted on a beige fiber cardstock with slightly raised ink - the counterfeits were offset printed with thick raised ink, fairly convincing except printed on a yellow-orange cardstock. Had the color been closer to the genuine tickets, most of the counterfeits might have gone unnoticed.
Hapless scam victims were refused admission and soon the crowd of angry, ripped off Stones fans and rowdy ticketless bystanders were moving threateningly en masse for the row of entrances. Guards (one of whom later characterized the scene as "a riot") were overwhelmed, dozens of people stormed the gates and ran into the hall and police were helpless do anything other than summon medical aid for a handful of mildly injured gatekeepers.
When it was reported that most rioters appeared underage, a Juvenile Delinquency and Crime Commission was set up to investigate whether local rock concerts in general and Stones concerts in particular should be restricted to only adult patrons (no city measure ever materialized). The scene was eerily repeated in July at a Montreal Stones show, where 3,000 victims of ticket forgers rioted in the streets. At the same concert, one of the band's equipment trucks was dynamited by French separatists, making the San Diego date seem more rowdy than riotous by comparison.
Surviving counterfeit tickets from the Sports Arena show are highly prized collector's items, sold and traded with certificates of authenticity signed by purported experts in rock and roll memorabilia. One eBay auction in late 2003 for an untorn San Diego 6-13-72 bootleg ticket, "certified authentic" (an authentic counterfeit?), attracted over 3,800 hits, drawing 65 bids and closing at $251.00, plus $7.50 insured shipping.
9-7-72 – Jefferson Airplane at the San Diego Sports Arena: This was one of the Airplane's final concerts with their "classic" lineup, which split up two weeks later following a San Francisco date. Onstage at the Sports Arena were Paul Kantner, Jack Casady, Jorma Kaukonen, and Grace Slick. Singer Marty Balin had left the band, and drummer Joey Covington had quit in April, to be replaced by John Barbata from the Turtles. Future Jefferson Starship members David Freiberg and Papa John Creach were also on board for this show, recorded for the original Airplane's final album, Long John Silver. Poco opened, playing a short set that included "Consequently So Long," with Jorma Kaukonen guesting on the latter.
Just two weeks earlier, the band had threatened to cancel the remainder of the tour, after Slick was maced by police and Kantner slightly injured in a fight during an Akron, Ohio, concert. Someone in the band's crew allegedly called the police "pigs" from the stage, sparking the melee: the crewmember -- Jack Casady's brother Chick -- was dragged off the stage and arrested.
10-27-72 – Elton John at San Diego Sports Arena: there was some doubt whether Elton John would make his scheduled appearance at the Sports Arena. His new single “Crocodile Rock” b/w “Elderberry Wine” was due to hit stores that very day, but the future Sir Elton had been summoned by the Queen of England for a royal command performance at London’s Palladium, alongside Liberace, and was thinking of canceling. With the San Diego show sold out, while an October 30 concert in Phoenix still showed empty seats, John decided to blow off Phoenix for his date with the Queen.
His Sports Arena set featured nineteen songs, including “Tiny Dancer,” “Levon,” and “Honky Cat,” with guest Larry “Legs” Smith tap dancing during “I Think I'm Gonna Kill Myself.”
After the concert, Elton was spotted at a local bar known as Jerry’s Hole, on San Diego Avenue and California, where Paul Lynde would also show up from time to time. Jerry's Hole was then already known around town as an early so-called “gay bar,” located in the center of a V–shaped intersection.
Dan Whitehead, who spent two decades as a local theater projectionist, recalls “There was an outdoor section where there was a fire ring. When my friends and I came in that night there was a guy setting at the fire and I told Trish and Duffy ‘I think that's Elton John.’ They mocked me at first until it was discovered that it was indeed him. It was during a time when he was thinking of buying a home in San Diego. I never spoke with him and I don't know why he didn't buy a place in San Diego. I wish I'd gone over to talk to him. I felt intimidated and just didn't do it. For that matter, I don't think any of my friends went over and spoke to him either. I wonder if he thought we were all cold fish?”
While in the U.K. to perform for the Queen (not Bernie Taupin, but the Queen of England), John duped new keyboard tracks over a filmed promo for T Rex’s “Bang A Gong (Get It On),” directed by pal Ringo Starr.
4-26-73: Elvis Presley appeared at the San Diego Sports Arena. He came to perform in San Diego five times (six, if you count his 4/3/56 set on the aircraft carrier USS Hancock, docked at the 28th street Naval Station). After the Navy show, he appeared for two consecutive nights at the San Diego Arena on Eighth and Harbor Drive (a.k.a. Glacier Garden). He returned to the Arena for a sold-out show in June 1956 but didn't perform again in San Diego until November 15, 1970.
It was at the 1970 show where, according to ipayonecenter.com, "[Elvis] met a security guard working backstage who, as it turns out, hailed from Elvis's hometown. They shared a few laughs and Elvis went to perform to a full house and leave town. The next day, much to the amazement of the security guard and the entire Arena staff, a brand-new Cadillac was delivered to the security guard."
Elvis's final local appearance was at the Sports Arena on April 24, 1976.
11-17-73: Tom Waits played at Folk Arts Rare Records, then located in Hillcrest at 3743 Fifth Avenue. "He did our open-mike nights back when he was still at Hilltop High," says Folk Arts owner Lou Curtiss. "In '73, he was a doorman at the Heritage but, when they closed, I started doing concerts at the store, and I asked him to do one of the first ones. We didn't have much space, so we were crammed to the rooftops; he was just starting to get real well known.... Bob Webb, who owned the Heritage, played guitar, and Tom played guitar and piano."
Waits, who had one album under his belt, performed songs from his upcoming LP The Heart of Saturday Night, including "Shiver Me Timbers" and "San Diego Serenade."
"I still have a tape of the show," says Curtiss. Admission was "no more than $4" and Waits was paid from proceeds of around 150 ticket sales. "He got most of the money," says Curtiss, "we weren't getting rich off these things."
Curtiss owns over 4000 reels of concert tapes, the majority recorded by himself. Having recently received $35,000 from the Grammy Foundation Grant Program to preserve some of his collection, this concert is in consideration for the planned digital archive, which will be available to researchers and interested public.<p>Tomwaitslibrary.com posts the original Reader ad for the Waits show:
8-11-74: Frank Zappa brought his Mothers of Invention to Golden Hall for a show immortalized on the bootleg LP Golden Debris. The audience was admitted while the band performed a sound check, apparently with faulty equipment. Zappa apologized for the poor sound during "Uncle Meat," "Pygmy Twylyte," "Cosmik Debris," and "Help, I'm a Rock" before concluding, "That seems to be as good as it gets."
Opening act Tom Waits then took the stage with his piano. Waits performed "San Diego Serenade," along with a few other songs and an extended monologue -- boos were heard, and one audience member yelled, "Somebody shoot that [expletive]." Waits showed up onstage again during Zappa's set, telling his "12-inch man" joke while the Mothers played "Ol' 55."
The Mothers that night included drummer Chester Thompson, who'd later play with Genesis. Three of the songs performed were unreleased at the time: "Inca Roads," "T'Mershi Duween," and "Dupree's Paradise." After the show -- captured on the bootleg LP Golden Debris -- the duo visited Waits's old job site, Napoleone's Pizza in National City, where Zappa was so impressed by the jukebox selection that he mentioned it glowingly in a subsequent interview. He told Zappa fanzine City of Tiny Lights (published out of North County), "It's a good thing I didn't know about that pizza, or that jukebox, or I might have never left San Diego."
In the January 9, 1975 issue of the Reader, writer Ted Burke cited this show as his Second Worst concert of 1974. Reader concert reviewer Steve Esmedina called it his Number One Worst Concert of 1974.<p>Tomwaitslibrary.com posts an additional quote from Michael C. Ford (2007): "He [Waits] was so heckled and so beleagured by the rudeness of the audience that he didn't show up the next night. He just lowered the lid on the piano and went home" (Source: Michael C. Ford interview March 21, 2007 as quoted in “Lowside Of The Road: A Life Of Tom Waits" by Barney Hoskyns. Faber/ Broadway, 2009)
4-9-74: Deep Purple played the final date of their U.S. Burn tour at the Sports Arena, in a show that would later circulate on the bootleg vinyl album Perks and Tit. “This is the last gig of our tour, so it’s going to be a bastard,” the band’s new singer David Coverdale announced after the opening number.
Only four tracks appeared on the initial bootleg, released by Kornyphone Records. In 2003, archive label Sonic Zoom located the original sound engineer who taped the concert from the mixing desk, and he was able to provide an additional song – “Smoke on the Water,” previously only heard on a rare early ‘80s boot – as well as Jon Lord’s four-minute keyboard introduction to “You Fool No One.” Unfortunately, recordings of that song and the encore “Space Truckin’” are reportedly lost.
Sonic Zoom’s six-song CD Deep Purple Live in
Songs from the
10-13-74: T Rex and Blue Oyster Cult were scheduled to play Golden Hall. T Rex had just undergone personnel changes and singer Marc Bolan was in the midst of splitting with his wife and living in L.A. to avoid British taxes. T Rex's new album, Teenage Dream, hadn't done well in the U.S., and Bolan was struggling with health problems. (His weight gain caused tabloids to dub him England's Porky Pixie.) After an October 2 show in New Jersey, Bolan (reportedly drinking heavily and using cocaine) became ill and the next few tour dates were cancelled, including San Diego. With Blue Oyster Cult still willing to play, Little Feat were added to the bill and the concert went on.
3-10-75 – Led Zeppelin at San Diego Sports Arena: On tour behind their Physical Graffiti album, the mighty Zep played a 14-song set at the Sports Arena, with no opening band. Doors for the sold-out concert opened at 3:00 p.m., and seating was unreserved, with no chairs on the floor. A ten-foot balloon imprinted with "1975 World Tour" was bounced around the audience, until the band finally took the stage at 9:00 p.m., an hour later than scheduled.
As captured on the bootleg album Symphony in a Thousand Parts, after the opening medley of "Rock and Roll" and "Sick Again," Robert Plant implored the unruly crowd to "shut right up" and "step back," as patrons pressed toward the stage. The drum solo in "Moby Dick" ran just under a half hour in length, and female attendees reportedly showered the stage with underwear during the opening strains of "Stairway to Heaven."
The bootleg album does not include the final encore, "Heartbreaker." Two weeks after this show, Zeppelin became the first band in history with six albums on the charts simultaneously.
***************************************** 6-16-76 – Paul McCartney and Wings at San Diego Sports Arena: McCartney brought his Wings Over America tour to the Sports Arena just as Wings at the Speed of Sound was topping the U.S. charts. "They flew in on a private jet, [and] people literally wept when McCartney hit the stage," recalls local music historian and Shambles front man Bart Mendoza. "He played a hit-filled show, lasting just over two hours, and included a few Beatles tunes -- 'I've Just Seen a Face,' 'Lady Madonna,' etc. -- but stuck heavily to his solo tunes." Mendoza says that a high point came with "a pyrotechnic-laden 'Live and Let Die.' But the defining moment was likely those first two seconds as the crowd realized that, yes, he was about to play 'Yesterday.' It was pandemonium." Several songs from this show appear on the bootleg album Oriental Nightfish, produced in 1977 by Reading Railroad Records (aka Hoffman Avenue Industries, Inc.). A double LP on colored vinyl, San Diego cuts include "Jet," "Magneto and Titanium Man," "My Love," "Soily," and "Beware My Love." *********************************************** 10-7-76 – the Who at San Diego Sports Arena: Beneath Keith Moon's drum kit that evening was a Persian rug that the day before had graced a reception area near his room in a Phoenix hotel. According to the biographical DVD The Most Dangerous Man Alive, Moon was "accused by another hotel guest of urinating on the expensive carpet...easily seen by anyone walking past the room." Moon told hotel management that the wet spot had been caused by a spilled drink. "When told the band would be billed for the full value [of the rug], Moon moved some furniture off the carpet, rolled it up, slung it over his shoulder, and took it immediately to the band's tour bus, using it that night and over the next few dates [including San Diego] to anchor his notoriously unstable drum kit." The 21-song set included cuts from their newest album, The Who by Numbers, including "Squeeze Box" and "Dreaming from the Waist," as well as an eight-song medley from Tommy (the movie version having debuted the previous year). No local news reports surfaced of damage to the Westgate Hotel, where the band stayed that night before driving to Oakland. The Who only played San Diego one other time with Moon before the drummer died in September 1978. ******************************************* 9-2-77: On this date, local concertgoers could choose from Mahogany Rush at the Civic Theater, Leon Russell at SDSU's Open Air Amphitheatre, and Bob Marley at the Civic Theatre. The Marley show (and the rest of his tour) was canceled because a cancerous growth had been found on one of Marley's toes. The press was told he'd injured his foot while playing soccer. When a toe had to be amputated, Marley refused, saying it was against his Rastafarian beliefs. He died of cancer three and a half years later. ******************************************** 12-15-78: I saw the Ramones play this Montezuma Hall show. The band was still breaking in "Marky," fresh from Richard Hell and the Voidoids. That night, they played "Rockaway Beach," "Sheena Is a Punk Rocker," and "Now I Wanna Sniff Some Glue," which Joey introduced as "the one that got us banned in Sweden" (true). My friend Joe and I were collecting autographs after the show when a guy I later deduced to be Ed Stasium (producer and sometime band guitarist) came up and announced the band's van wouldn't start and the equipment trucks had already left for L.A. Joe piped in that he had a pickup truck, and, the next thing we knew, we were driving north with four Ramones and manager Danny Fields in the truck bed. The band was due to shoot scenes the next day for Rock 'n' Roll High School at the abandoned Mount Carmel High in Watts. Unbeknownst to us, the guys had some blue Magic Markers, and they spent the trip doing shaky drawings on a grey tarp that Joe had in the truck bed. After we dropped the band at a roadside motel near Watts, Joe was angry to see the marked-up tarp, but I offered to buy him a new one if he let me keep it. I still have it...don't bother making offers. When the Ramones returned to town to play Montezuma Hall 10-31-79, they squeezed in a visit to the zoo, where they posed for a photo spread that ran a few weeks later in the short-lived local music magazine Kicks. ********************************************** 12-28-78 - The Grateful Dead at Golden Hall: This second of two nights at downtown’s Golden Hall was one of the Dead’s last performances with soon-to-be-fired keyboardist Keith Godchaux. An audience-recorded tape of the show has long circulated – with an much-cursed break during “Eyes Of The World” - but now a soundboard recording of all twenty-one (or so) songs, provided by Dead guitarist Bob Weir, is available to fans online. Some review excerpts from the trading website Deadbase: “The Tennessee Jed solo has always fascinated me and this one is in my top twenty percent...[Bob] Weir of course screws up the lyrics to Truckin’…5:01 into Wharf Rat, Jerry yells ‘Quiet!’ I think he was directing it to Keith.” “Nice Sugaree opener, although in the middle, Donna [Godchaux] gets a little too wobble waily [sp].” “The Shakedown [Street] is tight and super-funky. Bob's rhythmic fills are just fantastic…Check out the transition between Truckin’ and Wharf Rat. Picture perfect.” “The Estimated Prophet lead, it's a friggin' anthem. One can imagine ancient Irish warriors racing into battle with the bagpipes playing this tune.” “The Eyes of the World is quick-paced but clean. In the jam coming out of it, there's a short section where Phil [Lesh] and Keith are definitely playing Turn On Your Lovelight, sans Pigpen, alas.” "Eyes is glorious in its noodley [sp] splendor. What are those, 1/164th notes?” *********************************************** 5-16-79: The Police played the long-gone Roxy club on this night, on Cass Street in Pacific Beach. Broadcast live on KGB-FM, the performance was widely bootlegged, the most common version being "San Diego d'Amour." Several websites offer the entire bootleg, including dimeadozen.org, jimihendrixforever.blogspot.com, and rapidshare.com. One site, fisica.unlp.edu, claims to have the first-generation radio station reels. “This is from station tapes, logo on them and all, given to me by a station employee in 1998 [and] taken directly from their reel to reel.” The site claims its recording is “a slight upgrade to the well-circulated [bootleg]…The key differences: The speed of the recording in the present transfer is a little slower, and in my opinion closer to pitch correct than ‘San Diego d'Amour.’ There is greater dynamic range…the present transfer has a tape flip during the jam in 'Roxanne.' I have taken the liberty of patching this up using the missing bars from ‘San Diego d'Amour.’” Listening to the download, two songs into a thirteen-song set, just before “So Lonely,” Sting tells the crowd “Nice to be in San Diego. I thought it would be warm. It's too cold for us.” Near the end of the night, during “Roxanne,” he announces “You know we are live on the radio on KGB-FM 101.5, which makes it even more important that you sing and show all the folks out there what they miss.” The ensuing cheers peg the volume meters into distortion. After the approximately one-hour set, Roxy operators were reportedly dismayed to find graffiti on the theater’s wall murals featuring movie stars like Marilyn Monroe and W.C. Fields. A brief article in the San Diego Union didn’t specify the nature of the messages, other than to say they were “amorous.” A theater worker was quoted saying “We cleaned a lot of lipstick off Marilyn.” ******************************************* 5-22-79 – the New Barbarians at San Diego Sports Arena: This was the final U.S. (and second-to-final ever) public concert by Keith Richards's short-lived "community service" band, formed to work off a drug bust. The stellar lineup included Richards, Ron Wood, jazz bassist Stanley Clarke, and Faces keyboardist Ian McLagan. Three weeks earlier, Richards had skipped out on a Milwaukee show, causing patrons to stage a riot, but all were present and accounted for at the Sports Arena. The high-ticket garage band slammed through Wood solo songs, as well as tunes by Dylan, Chuck Berry, Johnny Paycheck, and of course several Stones standards (though "Honky Tonk Woman" went MIA, despite being played on most of the other 19 Barbarian dates). Wood sang lead for Robert Johnson's "Love in Vain," evoking his old Faces version of the tune (the Stones also covered it), while Richards tickled the ivories for Tammy Wynette's "Apartment Number 9" (?!). Famed album photographer Henry Diltz (Morrison Hotel, etc.) shot pictures in San Diego, and the band taped the gig (as did at least two bootleggers), but the New Barbarians didn't appear on official record until last year, when Wood released a double CD archiving a 1979 Maryland show. ******************************************** 10-10-79 - The Clash at Golden Hall: The Clash headlined this bill at downtown’s Golden Hall that included local band the Standbys. For this date on the "Clash Take the Fifth" tour, a few weeks before the release of London Calling, the Hall was only about half full. A series of troublesome punk shows downtown caused the fire marshal to insist on the house lights remaining at full intensity during the entire event. The Clash played their set so fast and furious, with virtually no break between songs, that local newspaper reporters had difficulty discerning which number was being performed when the audience overran their seats and tried to climb onstage en masse, only to be fought off by security, police, and the band itself. “They swarmed the stage in a fervid display of violent solidarity for the disillusioned from all walks of life,” wrote concert reviewer Clyde Hadlock in Kicks Magazine (November 1979). As recounted in the book A Riot of Our Own by Johnny Green, the band stopped mid-song at least twice before the full-on audience assault, to complain about patrons trying to get onstage and spitting at the band. According to Joe Strummer, “When they all came at us at once, I kicked one punter right in his face.” Gary Heffern of the vintage local band the Penetrators says "The night before the Clash played that show with the standbys, they came to an after-prom show that we played with the Paladins at - I'm thinking La Jolla (?) - I remember I had a broken foot (my main toe-bone came up through the top of my foot, during an on-stage flip in Arizona. Had to spend 5 days in the hospital on that one, and wait for swelling to go down, so they could re-break and re-set it. Anyways, I remember doing the show in pajamas and a cane, which Strummer and company kept stealing during our show. Man, I loved the Clash...Ah, San Diego I still love and hate you from the bottom of my little punk rock heart." ************************************************** 11-4-79 - the Knack: Tickets for this show at downtown’s Fox Theatre sold out in just a few hours. The band opened with the first three songs from their newly released album Get the Knack, which many critics compared favorably to the Beatles. During the concert, detractors in the audience unfurled a large banner reading “Knuke the Knack” and “Get off your ego trip, the Knack suck.” The show continued and the banner eventually vanished; both the San Diego Union and Kicks magazine mentioned it in their respective reviews. Few Knack biographies note that the band debuted Get the Knack at a San Diego venue. In February 1979, two months before its release, the Knack played the entire album for a Capitol Records showcase at the Catamaran near Mission Beach. Based on advance buzz, the Catamaran sold out, prompting the venue to host other prerelease live-album performances by then-unknowns such as the Motels and the Pop.
By November 1979, the Catamaran was presenting themed concert events such as a “San Diego New Wave Showcase” (which included locals the Penetrators and the Crawdaddys) and “L.A.’s Best Rock Night,” which featured both X and the Go-Go’s in their pre-album days.
11-10-79 - the Dead Kennedys: On this night, the Dead Kennedys played the final concert ever staged at the city’s first punk venue, downtown’s original Skeleton Club on Fourth Avenue, across from Horton Plaza. Owner Laura Fraser was forced to close the basement level club due to problems with the hundred year-old building meeting fire codes. In addition, plainclothes police frequently ticketed patrons for everything from public drunkenness and drug possession to weapons violations, lewd behavior, and even for spitting on the sidewalk outside the club, prompting Fraser to allege municipal harassment.
When the Dead Kennedys hit the Club’s four-inch-high stage, lead singer Jello Biafra had just recently run for Mayor of San Francisco, coming in at fourth place. Around 300 patrons paid $3.50 to see the band speed through a topical set that included the anti- totalitarianism anthem “Holiday in Cambodia,” “Kill the Poor” (concerning urban neutron bombs), and “California Über Alles,” about a world where political punching bag Jerry Brown is President. One local paper called the mosh pit “a battleground that formed in front of, and at times on, the stage.”
The Skeleton Club reopened on December 7, 1979, at 202 West Market Street, in a locale abandoned by the previous – and ultimately doomed – tenant; Climax Limited Disco World.
(Jello at the Skeleton Club 11-10-79, courtesy http://cheunderground.com/blog/?p=904)
IGGY POP AT THE CATAMARAN 12-5-79
On this date, Iggy Pop played the Catamaran in Mission Beach, with the Fall and local punkers the Penetrators opening. Here’s an excerpt of a show review from Kicks Magazine (January 1980):
“Taking possession of the stage like a wired dervish from monkey hell, [Iggy] proceeded to dance the room into a frenzy that didn’t let up for the duration of his set, which consisted of a hefty sampling of tunes from his early days with the Stooges laced with his more recent, self-reflective tunes of alienation and survival. He even unleashed a savage, blistering cover of the Kinks’ You Really Got Me for the surprise of the night.”
“In the past few years, Pop has had some consistently excellent bands, and this one was no exception. Spearheaded by ex-Damned guitarist Brian James and ex-Patti Smith Group keyboardist Ivan Kral, the new group managed to hold its own against one of the most dynamic, riveting performers in rock and roll.”
“Highlights of the evening were TV Eye, China Doll [later recorded by David Bowie], and a sweltering version of the Stooges’ classic I Wanna Be Your Dog, as well as a freight train encore of the New Values masterpiece Five Foot One.”
“A man in his thirties, Iggy Pop is nonetheless the punk of all times……..”
1-2-80, Cheap Trick at the Sports Arena - On this date, Cheap Trick played to a sold out crowd at the Sports Arena. Exactly one year earlier (1/2/79), the band’s Civic Theatre concert had only attracted around 1,000 patrons, before their breakthrough Budokan album was released.
The setlist included their recent hit single, “Dream Police,” as well as requisite numbers like “Surrender,” “Big Eyes,” and “I Want You to Want Me.” According to concert reviewer Thomas K. Arnold, singer Robin Zander was “clutching the microphone and acting as though he was lusting after the young girls in the audience as much as they were lusting after him.”
Rick Nielson acted “zany” and “ridiculous,” according to Arnold, who said the guitarist “pranced around like an idiot, making grotesquely silly faces at the crowd and acting like an outpatient from a mental hospital whose release was a horrible mistake.”
Soon after the concert, a controversy over the tickets arose after concert promoter Marc Berman was revealed to have sold choice seats to Trip Tickets, a resale agency then atop the local “scalper” circuit. The City Attorney’s office announced their Consumer Protection Unit was investigating Berman, who admitted to the San Diego Union that he sold between 200 and 300 seats to Trip Tickets. “I don’t know what would be illegal about it,” he told the reporter.
Berman was absolved of any wrongdoing, though laws regarding ticket resale were later altered to preclude such arrangements between primary and secondary ticket sellers. A few years later, Berman – who’d been a San Diego concert promoter since the mid-‘70s - took a job in L.A. as operations director for a resort entertainment company.
Marc Berman was for years the city's MVP concert promoter. He battled both the City and the Sports Arena to bring rock shows to Jack Murphy Stadium, as well as overseeing the concert incarnation of PB's Roxy Theater that brought acts like the Police and Iggy Pop to that much-missed venue. My concert stubs from my favorite local shows circa 1978 to the mid-80s almost always read "Marc Berman Presents" ---
In early 1980, when the City Attorney’s office announced their Consumer Protection Unit was investigating Berman, the allegation that he sold between 200 and 300 seats to Trip Tickets mainly concerned Sports Arena shows by Cheap Trick, Kiss, and Rod Stewart.
No room here to include more of Berman's response, but worth noting are his ongoing battles with Arena management, not the least of which included a lawsuit the Arena filed to keep Berman from promoting "competing" concerts elsewhere, citing city government agreements regarding the Arena that had nothing to do with Berman.
Berman was, IMO, a concert fan's best friend during that whole era - he was passionate about bringing a world of music to a sleepy burgh that hadn't yet become a popular tour destination. He actually battled ticket scalpers - he was quoted in Kicks (2-80) saying “It actually hurts my concert business, because people are spending two or three times the ticket prices when they could be going to two or three of my other shows.”
2-1-80 – Gary Wilson: On this date, eccentric punk pioneer Gary Wilson played downtown's Skeleton Club along with locals Four Eyes.
"Gary Wilson had tape and stuff wrapped around him and there's flour being thrown all over during his performances," recalls Mark DeCerbo of Four Eyes. "I'm sure the crowd there that night had never seen anything like it in their lives.... Gary would run through the crowd like a maniac and out of the club and disappear. We would see him back at the house after the gig, and he'd be sitting there in the dark."
Wilson had recently arrived in San Diego and formed a group he called the Blind Dates (whose members would also play with Four Eyes).
"Our equipment was broken down and ragged and literally held together by duct tape," recalls Wilson today. "Something caught on fire onstage; I think it was caused by a power cord from one of our amps. After our performance, there was a tremendous amount of flour all over the stage and the club's equipment. It looked like a snowstorm hit the place.... I can't remember being paid for the gig. The owner probably got mad at us and docked us our pay."
Gary Wilson's career was recently jumpstarted after he was found working at a local porn store by private detectives; they were employed by a record label that wanted to reissue Wilson's music.
7-1-80: Grateful Dead fans, however believable their addled faculties may be, usually cite the band's 1980 album "Go To Heaven" as the nadir of their recording career, though "Alabama Getaway" and "Don't Ease Me In" became later concert staples. That year's tour still managed to bring out the tie-dyed and squinty-eyed in big numbers for an appearance at the Sports Arena. Advance press reports made it clear that local police were "on guard" for the expected influx of illicit drugs and illegal activity in the parking lot and audience seats.
Even before the show started, several people were arrested for smoking pot. One bust was witnessed from alongside the stage by Dead members Bob Weir, Mickey Hart and band manager Danny Rifkin.
The trio tried to intervene, cajoling onlookers to join them in separating the young potsmoker from police offers trying to effect the arrest. Cops pulled out additional handcuffs and arrested Weir, Hart and Rifkin for "suspicion of inciting a riot."
The three defendants had to return to San Diego several weeks later to face charges. Their offense was reduced to a low grade misdemeanor, fines were paid and everyone walked out of the courtroom with a grudge against the SDPD that lingers to this day. "We couldn't believe what fascists they are down there," Weir told Golden Scarab, a Dead fanzine, in 1999. "We almost never went further south than Irvine after that. We didn't wanna set the kids up to be busted by a bunch of gorillas with no education, who hate rock and roll music."
11-3-80: The Police, XTC and Oingo Boingo at the Civic Theater: Opening act XTC was riding on the popularity of their Black Sea album. Two years later, they'd play only one date of an American tour, in San Diego, before canceling the rest of the tour due to Andy Partridge's stage fright, essentially retiring from concert appearances forever. Oingo Boingo (with Danny Elfman) had only recently altered format, from a theatrical troupe called the Mystic Nights of the Oingo Boingo to a rock combo; they'd only released one self-titled EP under the shortened name at the time.
The Police's Zenyatta Mondatta (and its first single "Don't Stand So Close to Me") was in the U.S. top ten. The concert was sold out, with ticket sales reported at 14,585. I had a second-row seat, and the statute of limitations now allows me to admit that I broke that seat while dancing on it to "Walking on the Moon." The Police were reportedly so exhausted by this show that they canceled their next gig in Las Vegas to recuperate.
After the concert, gate-crashers were found to have gained entry via an ingenious route. On the roof of the theater, a vent duct had been disassembled, and an unknown number of ticketless patrons apparently climbed into the hole to enter an elevator shaft, open a trap door, and drop in. The elevator faced an administrative area leading directly to the concert hall itself. The breach was discovered later, as the gate-crashers neglected to reclose the elevator ceiling's trap door or return to the roof to reattach the vent grate. The illicit access was soon curtailed by pouring cement over the roof's vent bolts.
9-15-83: Elvis Costello and the Attractions played an experimental "amphitheater seating" show at the Sports Arena with two thirds of the venue blocked off. The bands (Aztec Camera opened) were set up in the rear of the venue and played to what would normally be the worst seats in the house. About a third of the 3500 seats were filled, despite the success of Costello's most commercial effort up to that time (Punch the Clock).
Security guards let in people without tickets, but the exodus of patrons outnumbered those coming in, and the Attractions finished their (mostly inaudible) set for fewer than a thousand fans. "Amphitheater seating" at the Sports Arena died soon after.
8-6-84 – Spirit at the Rodeo: The reunion of Spirit's classic lineup should have finally earned them the fame and acclaim they'd long deserved. Guitarist Randy California and drummer Ed Cassidy had been calling their band Spirit, but this date at La Jolla's defunct Rodeo was the group's first performance in nine years to also include original members Jay Ferguson and Mark Andes (who were having hits as Jo Jo Gunne) and John Locke. It was the opening date of their first tour together in 14 years.
Cassidy was 61 years old, Ferguson and Andes had tasted considerable post-Spirit success (Andes had also played with Firefall and was still with Heart), and California had clearly taken his version of Spirit in a more hippie-jam direction since the original lineup fractured.
My balcony seat afforded me a great view of both the band on fire and a wildly enthusiastic audience stoking the flames. Even if it weren't a historic occasion for Spirit (in my opinion the best and most underrated band ever to emerge from L.A.), I'd still rank it among the top fives shows I've seen. However, despite the five-album deal they'd just signed with Mercury Records, and regardless of the demonstrative sellout crowd in San Diego, the reunited Spirit only played a handful of subsequent gigs.
Members soon went their separate ways -- again -- leaving only core members Ed Cassidy and Randy California to carry on the name. For a while. California drowned in 1997, while saving his son from an ocean riptide in Hawaii (his son survived). Locke died in 2006 from complications due to lymphoma.
9-1-85: Black Flag, the Minutemen, and SWA played Palisade Gardens Roller Rink on University near 30th. Police stopped the show four times due to noise complaints. Nearby businesses frequently petitioned owner Johnnie Wright to shut down Palisade's concerts. The shows stopped soon after this one, but what a helluva show it was…….
12-14-85: The Dead Kennedys played one of their final shows with original singer Jello Biafra, at downtown’s California Theater. As the set wrapped up, raucous fans tore up the seats and pulled curtains down from walls, causing police to call out a riot squad, though officers stayed outside the building until the crowd dispersed on its own. The fifteen song set included tunes off their newest album Frankenchrist, as well as “Triumph of the Swill,” “Police Truck,” and the encore “Holiday in Cambodia.”
The show's promoter - future Casbah owner Tim Mays - recalls "The police were called in by the fire marshalls - who were freaking out about fans not staying in their seats and clogging the aisles. Some seats got destroyed...At one point I went outside to get some air, and there were police on all four corners surrounding the block the theatre was on. They weren't going to let me go back inside. Finally, one of my production managers convinced a female cop he happened to know that I was indeed the promoter and not just some random fan who had wandered outside."
Gary Heffern of the Penetrators posted this recollection of the show at http://cheunderground.com/blog/?p=904&cpage=3#comment-54498 : "One of the security guys keeps calling us the 'f-cking pentrators.' The first few times I kinda let it go, but after awhile it starts to p-ss me off, so I ask him about it and he says very sincerely, and wide-eyed 'That's the name of the band, right?' I don’t now how to answer this, so I keep looking at him. Finally he blurts out nervously 'Well that's what the cops and all the security call you guys.' This was during the soundcheck."
The next night, the DKs performed at Tijuana’s Teatro Casa de la Cultura, in a show also promoted by Mays (tickets: $5). Outside the venue, Mexican police arrested several San Diegans “for no apparent reason,” according to newspaper columnist George Varga. After the DKs, the California Theater only hosted a handful of punk shows for the remainder of its existence as a concert hall. After TJ, the band with Biafra only played three more concerts before calling quitting the concert trail a few weeks later.
8-5-88 – Wild Man Fischer at the San Diego Comic-Con: Moving around between low-budget downtown hotels in the mid-'80s, Frank Zappa's one-time protégé Larry "Wild Man" Fischer quietly became a San Diego street fixture. In 1988, his friend Bill (Lost in Space) Mumy came to town for the San Diego Comic Convention, along with a few comic-creator musicians who'd formed a band called Seduction of the Innocent.
Fischer told the Reader: "Billy said, 'Why don't you sing with us? You'll have a good time!' It'd been a long time since I'd played live." Was he nervous about the prospect? "I'm always nervous," he says.
Fischer was coerced onstage long enough for an incandescent set that included his doo-wop ditty "The Taster" and an a cappella rendering of "Merry Go Round." ("I'm getting a little sick of that song," he says now about his best-known tune.) The crowd was rowdy and responsive, even those unfamiliar with Fischer. His ever-increasing volume, enthusiasm, and spasmodic onstage body language proved infectious, and the audience handed "Wild Man" the most sustained applause of the evening. I was lucky enough to catch this rare show, one of only two dozen or so gigs Fischer can recall performing (struggling with schizophrenia, he'd backed out of many performances). Video clips from this performance appear in a new documentary film about Fischer, DeRailroaded.
8-19-90: Nirvana played the year-old Casbah. This gig (a year before the release of Nevermind) has appeared on two bootlegs. The first to surface featured only 46 minutes of the band's 17-song set and is missing the last 5 songs ("Stain," "Negative Creep," "Blew," a bluesy jam, and "Verse Chorus Verse"). In March 2003, a more complete and better-recorded version surfaced; it's 62 minutes long, but with almost a minute of "Dive" missing (complete on the older, poorer-sounding version). Dave Grohl was not yet with the band (he joined in September of '90); drummer Dale Crover played San Diego and a few other West Coast dates.
10-24-91 – Nirvana at Off The Record: Thanks to the Hillcrest record store's relationship with Geffen Records, OTR hosted Nirvana for an in-store appearance near the start of their first national headline tour. "Right when we found out [Nirvana] was definitely coming, Nevermind jumped from number 20 to number 7 on the Billboard charts," recalls store manager Phil Galloway. "Part of the deal was that we had to provide the equipment, a 12-string guitar, a PA...the plan was for them to do an all-acoustic set. Geffen [Records], or some radio network, was also going to record it. Things on our side fell through because we had all right-handed instruments, and so Curt went ahead and played electric guitar. They ended up doing a whole 40-minute hard-rock set."
"After the set, they hung out and signed autographs and posters for people. You could tell Curt [Cobain] wasn't into that part at all, though. He wasn't in the mood to pose for pictures and, well, let's just say he was definitely feeling down. Not at all like he was during the set...A lot of us talked about that later, how he seemed to be having a great time, and all of a sudden he looked so miserable and depressed. The guys in the band went out to dinner with a bunch of the employees, some record-company people, and even a few customers got invited along, but that definitely wasn't something [Cobain] was into." A video of this performance has been uploaded to YouTube.
9-19-93 – Jethro Tull at SDSU Outdoor Amphitheatre: The band had canceled an earlier local show due to singer Ian Anderson's throat problems. This concert (the final date of a U.S. tour) got off to a rough start, with Anderson verbally berating an audience member near the front for smoking a joint. He later gave a short speech about how the stage pulls smoke past him and how this affects his singing. "He mentioned he had been taking amoxicillin and joked he was receiving it anally," according to Reader reviewer Allan Peterson.
The upside to the vocal problems was that they played unusual instrumental versions of songs normally sung ("The Whistler," "Sossity, You're a Woman"), as well as added numbers rarely performed live, like Andy Giddings's "Parrott" and a lengthy flute solo that included bits of "In the Grip of Stronger Stuff" (unreleased until two years later). Peterson describes the latter as "an untitled jazzlike instrumental that seemed free of any historical expectation and actually flew on its own."
Opening band Procol Harum pranked the headliners by showing up onstage while Tull played -- for the only time that tour -- in drag!
12-29-93: Nirvana played the Sports Arena. The band's 24-song set was the source of two widely circulated bootleg albums: Smells Like TJ captures all 100 minutes onto a Hi8 master, while Pizzongs is missing most of the unidentified mystery finale.
After the third song, "Breed," bassist Krist Novoselic told the crowd, "Nice to be playing San Diego, hometown of Eddie Vedder." After covering Bowie's "Man Who Sold the World," Novoselic asked, "Who here is from San Ysidro?" Two songs later, he continued, "We used to play here in San Diego, we used to play, like, the Casbah and Iguanas, where you have to wait at the McDonald's in San Ysidro because the federales were on the payroll to let you cross the province."
(Me backstage for Pink Floyd at Jack Murphy Stadium - mock if you must my fanny pack, stone-washed jean jacket, jogging pants, and mullet, but they had a killer catering tent and I was having the time of my life!)
4-14-94 – Pink Floyd at Jack Murphy Stadium: "I could easily smell the burning stench of our failed drug laws," wrote Reader columnist Allan Peterson about Pink Floyd's first San Diego concert in 19 years. The immense scope of the elaborate show, with all its effects, movie screens, inflatable animals, and (excellent) quad sound, is not what ranks this show (sans the "real" Pink, Roger Waters) among great and historic local events.
Rather, it was the stirring performance of "The Great Gig in the Sky." Peterson says, "Singer Durga McBroom's take on that classic piece was seamlessly compelling and contained all that one could hope for -- longing, sadness, acceptance, raw beauty...the terrifying immediacy of mortality, the telling reality of loss." I felt the same chill down my spine during the rendition, and over a decade later, that's "the moment" everyone I know who was there still raves about.
Bootleg aficionados apparently agree, usually ranking this date -- and that performance of "Great Gig" -- among the best of the entire U.S. tour.
11-6-95 and 11-7-95 – Pearl Jam at San Diego Sports Arena: The Ramones opened for these two sold-out general-admission shows. On opening night, "They did an awesome version of 'Deep' with some cool-sounding slide sounds," recalls an attendee on the band's Fanview webpage. "They performed a short screamer of a song. Later we would find this to be 'Lukin,' but it wouldn't be released until No Code came out in August of '96...they did a sweet version of 'Black,' with lighters raised all around and the crowd chanting to the doo doo doo."
"At the conclusion of 'Blood,' Eddie slammed his microphone stand into the ground and threw it into the crowd. The band left the stage and the noise level was incredible, trying to get the band back out for an encore." Also on the setlist was another unreleased No Code number, "Habit," and a cover of the Byrds' "So You Want to Be a Rock and Roll Star."
Of the second night, Tom S. at Fanview says, "At the end [of "I Got [expletive]"], Eddie was having a problem with his guitar, it didn't want to stay in tune. He leaned into the mike and said, 'Watch this,' whereupon he took his axe off and grabbed it by the neck, spun around, and launched the [expletive] over Jack's head, clearing it by maybe a foot, and said, 'New guitar please; after all, I am a rock star.' "
Introducing "Leaving Here," Vedder told the crowd, "We tried to play this song last night, and we [expletive] it up really badly, so we'd like to try it again." Says Tom S.: "It was funny because they false-started it three times before they got it going. But, when they did, it sounded great."
8-29-2000 – Stevie Nicks at the Marriott Hotel: The Fleetwood Mac songstress brought her full wardrobe and dual video screens for this private corporate gig in a dinner club setting at the Marriott Hotel, for the National Association of Chain Drug Stores Convention (no cocaine jokes, please…).
"She started the show with 'Enchanted,' and the entire band sounded very technical and like a studio recording," recalls Jim T at Nicksfix.com. "Her appearance reminded me of the FM days in the late '70s that I grew up listening to. She was charismatic and looked young again... people stood and started dancing in their dresses and suits."
Erin at Nicksfix -- only 14 at the time -- says, "Everyone was screaming and clapping for her...She was wearing the same dress she wore on VH1's Storytellers, and I also noticed that she traded her usual platform boots for black platforms where the whole sole touched the ground with rhinestones on the front...Stevie dedicated 'Landslide' to all of us, and while she was singing, I just wanted to cry."
6-16-01: Snoop Dogg's "Puff, Puff, Pass" tour began in San Diego on this night. The show ended early, as the rapper left the Coors Amphitheatre stage after only 45 minutes. When he pulled the plug, Dogg had already been hit in the chest with a thrown red visor and members of his entourage standing onstage were being pelted with bottles and other debris.
Someone from the audience tried to climb onstage and alleged gangmembers were pulling speakers from the stage and trashing them. According to witnesses, it had nothing to do with the music - the people onstage were wearing blue colors. Offending/offended audience members were wearing red.
Suddenly, it was a a scene from Dr. Suess, only with with tattoos, as starbellied sneeches and barebellied sneeches threatened to go head to head in a violent confrontation. According to the Union-Tribune, a security guard suffered a minor injury after being struck by an unidentified object during the "disturbance" but no arrests were made other than a woman under the influence of drugs or alcohol.
As Dogg left the stage and house lights came up, the sound of microphones being slammed to the ground while still amplified was mistaken by some to be gunshots and a minor panic ensued.
Chula Vista Police took the stage in what police Lt. Dan Linney called a "skirmish line," as a show of force, but audience members quickly regained their calm and left the venue compound peaceably.
After the concert, Snoop's tour bus was pulled over in Temecula. The police smelled marijuana smoke, searched the bus and found 300 grams of pot. A member of Snoop's entourage claimed possession of the herb, was cited for misdemeanor possession and released. On October 19, two of the rapper's tour busses were pulled over again, this time in Cleveland , for speeding, and six more bags of weed weighing 200 grams were found. Snoop and two fellow passengers were arrested for misdemeanor possession, making the "Puff, Puff, Pass" tour one of the most aptly named in recent memory.
10-18-02: Nelly had nothing to do with the fatal stabbing that took place after his performance, in a VIP parking lot at the Coors Amphitheatre stop of his Nellyville tour. However the incident further tarnished hip-hop's reputation among local promoters and venue owners and raised public concern about concert safety, with area hip-hop bookings becoming fairly scarce over the ensuing year.
Police said officers directing traffic after the Nelly concert were flagged down by people in two cars near the venue. Each car contained a stabbing victim and a third car was pointed out containing parties said to be involved in the stabbing. Concertgoer Faitamai Tauanuu, a 30-year old Samoan man, died from his injuries and Sean Bowers, 27, was stabbed in the shoulder and under the armpit and hospitalized in serious condition.
Police arrested Steven Tesam, 42, and Hank Banegas, 26, holding them for murder and attempted murder, and Tesam's 16-year-old son was taken to a juvenile facility, under suspicion of conspiracy. Tesam was the chairman of the Viejas band of the Kumeyaay Indians, who operate the Viejas Casino. Banegas is his nephew.
Witnesses said Tauanuu was stabbed in the heart during an alcohol-fueled fight, the combatants shouting obscenities. At a preliminary hearing in January 2003, Fili Usini testified that the victim was killed while trying to break up a scuffle between TeSam and Bowers. Deputy District Attorney Jeff Dusek told the court that charges would not be brought against Tesam because of insufficient evidence and the tribal chairman was released. The 16-year old was also released but Tesam's nephew Banegas was charged with the murder and faced 26 years to life for the stabbing.
On August 13 2003, Banegas circumvented his upcoming trial by pleading guilty to voluntary manslaughter and assault charges. At the October 8 sentencing, Defense attorney Tom Warwick tried to characterize the victim Tauanuu as belonging to a Samoan "Blood" gang, but prosecutor Dusek said the 30-year-old Paradise Hills man was just trying to break up a fight Tesam started with Tauanuu's friends. "He was trying to solve the situation that night and he ended up dead," Dusek told the judge. Banegas was sentenced to ten years in prison.
The mayor of Chula Vista , Shirley Horton, pointed out that the Nelly incident was the first major violent incident at the Amphitheatre after more than 50 events, adding "We will certainly evaluate the situation."
2-22-03 – Paul McCartney plays a private party in Rancho Santa Fe: When Ralph Whitworth threw his wife a 50th birthday party at Delicias restaurant, he forked out a million bucks (for charity) to have McCartney perform for the crowd of around 150. Macca and band (including guitarist Rusty Anderson) did 19 songs, as well as the Beatles' rarely performed "Birthday" (which was later added to the tour's setlist).
In a press release, McCartney said, "Normally I don't do this sort of gig, but I was chuffed to do it because it was a 'win-win' show. Ralph gets to be the great husband for organizing the surprise, his wife gets a rocking party, I get to rehearse the band for the tour, and most important, Adopt-A-Minefield gets one million dollars."
"Crasher" columnist Josh Board knows Rusty Anderson's sister, who lives in San Diego. "The day after the Rancho Santa Fe concert, I called to ask if she was there. She said, 'No, I didn't make it. Rusty left a few messages on my machine, but I got them too late. I can't believe it. For them to be so close like that. And I went all the way to Russia to see them.'"
Less than a year later, the Whitworths filed for divorce.
3-28-05 and 3-30-05 – U2 at San Diego Sports Arena: The opening dates of U2's Vertigo Tour came just two weeks after their induction into the Rock and Roll Hall of Fame. Ticket prices ran $49.50 to $165, though area resale agencies like Advancetickets.com were charging $1190 for fifth-row seats.
"The band sounded amazing from start to finish," says Interference.com contributing editor Devlin Smith of the opening date. "Even though Bono said at the end of the main set, 'You can screw up a little, we're amongst friends, right?' I couldn't name a single blunder."
"Bono said during 'One,' 'Did You come here to play, Jesus, because I did,' and introduced himself to the audience during the night's closer, '40,' as Little Lord Jesus," says Smith. "Edge was confident and comfortable, taking much of the spotlight for himself as he shared vocal duties on 'Miracle Drug,' sang 'La, la, la, la, de, day' on 'Running to Stand Still,' and sported a Madonna-style head mike to provide backing vocals on 'Zoo Station.'"
Smith says drummer Larry Mullen was "broadening his stage persona, supplying backing vocals for 'Love and Peace or Else' and 'Elevation,' and picking out notes on a synthesizer for 'Yahweh.' " As for bassist Adam Clayton, "He and Edge did mix it up, readopting an early-'80s tradition of swapping instruments for 40."
According to Pollstar magazine, the March 30 show grossed $2.9 million, making it the only 2005 San Diego show among that year's top 100 moneymaking concerts.
THE DAY NIRVANA PLAYED OFF THE RECORD: 10-24-91 - Detailed feature on Nirvana playing a tiny local record store, just as their first album was hitting the charts, featuring interviews with OTR staffers, rare video footage of the event, and more... http://www.sandiegoreader.com/weblogs/bands/2007/sep/03/the-day-nirvana-played-at-off-the-record
THE DAY JIMI HENDRIX CAME TO TOWN - 5-24-69: From my extensive interviews with Hendrix bassist Noel Redding, here's the inside scoop on a legendary (and highly bootlegeed) local concert... http://www.sandiegoreader.com/weblogs/bands/2007/sep/03/the-day-jimi-hendrix-came-to-town
THE DAY BEACH BOY BRIAN WILSON GOT BUSTED IN BALBOA PARK: In June 1978, Brian Wilson - without telling his wife or fellow bandmembers - decided (inexplicably) to escape his life entirely and hitchhike to Mexico. He wound up in San Diego a few days later, mentally fogged, barefoot, and unwashed. “He was on a binge," according to Stephen Love, brother of Beach Boy Mike Love and sometime-band manager..... http://www.sandiegoreader.com/weblogs/bands/2007/sep/18/the-day-beach-boy-brian-wilson-got-busted
THE DAY THE MONKEES TURNED DEL MAR INTO CLARKSVILLE: 9-11-66 -
WHY MEXICANS HATED ELVIS: May 1959: While Elvis Presley’s popularity in the U.S. was arguably at its all-time peak, Mexico was in the midst of a huge anti-Elvis backlash. Tijuana tabloids called him a racist and homosexual, after the singer reportedly told gossip columnist Federico de León "I'd rather kiss three black girls than a Mexican." A Mexican woman in the same column was quoted saying "I'd rather kiss three dogs than one Elvis Presley”..... http://www.sandiegoreader.com/weblogs/bands/2007/sep/13/why-mexicans-hated-elvis-plus-celeb-sighting/
Like this blog? Here are some related links:
OVERHEARD IN SAN DIEGO - Several years' worth of this comic strip, which debuted in the Reader in 1996: http://www.sandiegoreader.com/photos/galleries/overheard-san-diego/
FAMOUS FORMER NEIGHBORS - Over 100 comic strips online, with mini-bios of famous San Diegans: http://www.sandiegoreader.com/photos/galleries/famous-former-neighbors/
SAN DIEGO READER MUSIC MySpace page: http://www.myspace.com/sandiegoreadermusic
JAY ALLEN SANFORD MySpace page: http://www.myspace.com/jayallensanford
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