I’m limiting this list to clubs/venues that existed during the 1960s, hence some omissions of later establishments. I’ve garnered research from multiple sources and attempted to credit all direct quotes.
BIDO LITO / GASLIGHT / OPIUM DEN – 1608 No. Cosmo Street, downtown Hollywood. This small venue opened late ’65. closed early ’68. According to Domenic Priore’s book RIOT ON SUNSET STRIP, “Club that broke Love and the Seeds, formerly a folk den, Cosmo Alley, run by Herb Alpert.” Iron Butterfly lived upstairs for a month after moving from San Diego to Los Angeles. Adjacent to the Ivar Theater. In the eighties, it became the Gaslight. In the mid-nineties, it became the Opium Den. The second picture is the Bido Lito backstage entrance during the Gaslight era. Now it’s Goldfinger’s (last photo.)
Click on images to enlarge.
BRAVE NEW WORLD – Began as “a little place called Brave New World. Low-key with no signage and off the beaten path – two blocks west of La Brea at 7207 Melrose – this was an underground club in the truest sense of the word.” (Domenic Priore) Moved to 1644 N. Cherokee in early 1966 (off Hollywood Blvd.) According to Art Fein’s THE LA MUSICAL HISTORY TOUR, “Its large stage area afforded Frank Zappa’s Mothers (the name as later changed to Mothers of Invention by the record company) the opportunity to engage in theatrics heretofore impossible. Zappa’s Freak Out map called Brave New World “a very IN sort of late teen spot.” Today it’s the Artstring boutique seen below.
CINNAMON CINDER – 11345 Ventura Blvd. Studio City – formerly Larry Potter’s Supper Club, later the Magic Mushroom. There were two additional Cinnamon Cinders, one in Long Beach and one in San Bernardino. The one on Ventura Blvd. next became the Magic Mushroom, then the Point After (sports bar), then a country-music club called V.I.S. As far as I know, the location was most recently the Maf Club, and this is the 2013 photo of it I found in Facebook. It also said it might be permanently closed.
CIRO’S LE DISC/ CRAZY HORSE/ IT’S BOSS/ KALEIDOSCOPE / ART LABOE’S OLDIES BUT GOODIES CLUB/ COMEDY STORE – 8433 Sunset Blvd. Legendary nightclub built in the 30s, featuring an 80 foot revolving stage. Its capacity was almost 1500, making it a spectacular psychedelic ballroom. It was Ciro’s from 1939 to 1957. In the early sixties, it was Crazy Horse, a twist club. It was briefly Ciro’s again, then It’s Boss in July, 1965. When the Byrds played at Ciro’s, it was a “totally red room, lots of light, the best dance floor in Hollywood, its about 40 feet by 60 feet” (Domenic Priore, Riot on Sunset Strip.) When it became It’s Boss, “it was taken over by Paul Raffles and Bill Doherty, who had previously worked at PJ’s. They immediately fitted out the legendary club with huge pop-art paintings and designs, while the futuristic curves of the entrance were given a new prominence by a groovy, bubble-shaped neon sign declaring ‘It’s Boss’ to the Strip. The interior walls became eerie, oversized tributes to vintage comic strips and pop stars in the style of Roy Lichtenstein, Dick Tracy and Little Orphan Annie juxtaposed with various Beatles, Stones and James Brown silhouettes.” (Priore) The Doors appeared here April 21-23, 1967. It later became the temporary home of a psychedelic club called Kaleidoscope. From 1970-76, it was Art Laboe’s Oldies but Goodies Club, then Spectrum 2000. Today it’s the Comedy Store. Most of the photos are early Ciro’s, but the fourth is supposed to be Bob Dylan on stage with the Byrds. I couldn’t find shots of the It’s Boss or Kaleidoscope marquee. If you have some, please share!
CRESCENDO/INTERLUDE / CRESCENDO/TIGER TAIL / THE TRIP – 8572 Sunset Boulevard, next to the towering Playboy Building. Open October 1966 – May 67. Art Fein explains, “Upstairs above the Trip was the Interlude, where Lenny Bruce sometimes performed. The building, long torn down, originally housed Gene Norman’s Crescendo, a very popular jazz club of the 1950s. The site is now a vacant lot.” (Fourth row of three photos copied from Alison Martino’s excellent vintage LA site.)
GOLD STAR RECORDING STUDIO – From Wikipedia – “In the mid-1950s, aspiring pop star and future recording legend Phil Spector began hanging out at local studios, including Gold Star, hoping to learn about recording. He eventually won the confidence of Gold Star’s house producer-engineer Stan Ross, who took Spector under his wing and taught him the basics of record production. In the early 1960s, Spector used Gold Star as the recording venue for most of his famous “Wall of Sound” recordings. It was also the venue for many important recordings by the Beach Boys, including portions of their 1966 LP Pet Sounds, the international #1 hit “Good Vibrations“, and recordings for the aborted Smile project.
The studio was renowned for its echo chambers. According to Gold, who designed the chambers after years of research and experimentation, they were built in an area of about 20 ft (6.1 m) x 20 ft and were complementary trapezoids 18 ft (5.5 m) long. The walls were thick, specially-formulated cement plaster on heavy isolation forms. Entry into the chambers was through a series of 2 ft (0.61 m) by 2 ft doors, and the opening was only about 20 in (51 cm) wide and high.
Gold Star was responsible for what is believed to be the first commercial use of the production technique called flanging, which was featured on the single “The Big Hurt” by Toni Fisher. Another of Gold’s innovations was a small transmitter that allowed him to broadcast mixes so that they could be picked up on a nearby car radio, which was especially important to recording artists in the era when AM radio was the dominant broadcast medium.
The studio was the venue for hundreds of chart-topping recordings by scores of leading pop and rock artists including Ritchie Valens, Eddie Cochran, The Chipmunks, The Cascades, “Route 66” composerBobby Troup, Phil Spector, Darlene Love, Donna Loren, Brian Wilson, Sonny & Cher, The Rose Garden, Zane Ashton (aka Bill Aken), Buffalo Springfield, Duane Eddy, Jimi Hendrix, Neil Young, The Ronettes, Dick Dale, The Righteous Brothers, Iron Butterfly, Herb Alpert & The Tijuana Brass, Jan and Dean, Joan Jett, Cherie Currie, Meat Loaf, The Champs, The Sunrays, The Baja Marimba Band, Bobby Darin, The Cake, The Who, The Monkees, Tommy Boyce, The Band, The Go-Go’s, The Ramones, The Association, Art Garfunkel, Leonard Cohen, Bob Dylan, John Lennon, Tina Turner and Maurice Gibb.
It was also widely used by music, film, television, radio and Broadway artists including Frank Loesser, Johnny Mercer, Sammy Fain, Bob Sherman, Dick Sherman and Dimitri Tiomkin and it was the recording ‘home’ of the pioneering ABC-TV prime-time pop show Shindig!. Donna Loren, a cast member of Shindig!, recorded there early in her career on the Crest label. Jazz artists who recorded there include Gerry Mulligan, Chet Baker, Oscar Moore, The Hi-Los and Louis Bellson. Singer-songwriter Johnette Napolitano, co-founder of Concrete Blonde, was the studio’s receptionist in the early 1980s. Shifting economics caused Gold Star to close its doors in 1984, as newer technology allowed bands to make their own recordings. Several months after the studios were vacated, a fire destroyed the building. A mini-mall was later constructed on the site. On March 11, 2011, Ross died of complications following an operation to correct an abdominal aneurysm. He was 82.
GAZZARRI’S – From Wikipedia – “The club reached its peak of popularity in the late 1960s, featuring Jim Morrison’s young new group, along with other LA talent such as The Bobby Fuller Four,Buffalo Springfield, and The Walker Brothers. It then achieved major LA relevance again in the late 70’s, featuring the David Lee Roth-led Van Halen nightly for months on end, and then into the 1980s through the early 90’s as one of the top LA glam metal nightclubs. It was owned and operated by the “Godfather of Rock and Roll”, Bill Gazzarri. Gazzarri himself was known for dressing up as a Chicago-style gangster and frequenting the club on performance nights. Located near the corner of Doheny and Sunset Boulevard in West Hollywood, and just several dozen yards from both the Rainbow Bar and Grill and The Roxy Theatre, Gazzarri’s became famous as a launching pad for future rock and roll stars.
Along with The Roxy Theatre, The Whisky a Go Go, The Troubadour, The Starwood, and other nearby nightclubs, it was a staple of the Los Angeles music scene in the 1960s, 1970s and 1980s and early 90’s. Some other bands that played at Gazzarri’s either prior to or during their mainstream success include Johnny Rivers, The Go-Go’s, Tina Turner, Southgang, Sonny and Cher, Ratt, Cinderella, Chicano rock band Renegade, punk band X, Victor Flamingo, Quiet Riot, Stryper, Mötley Crüe, Poison, Guns N’ Roses, Warrant, Faster Pussycat, and Canadian rockers Hollywood Trash. Other notable local Los Angeles area bands to play there included Redd Kross, Brunette, Shark Island, Hurricane (band), Page 3, Taz, Tuff, Foxx, Storyteller, James Bond, Reinkus Tide, D’Molls, Cold Shot, LEGACY,TRAMP and Pretty Boy Floyd, and bands that never made it like Odin, managed by Bill Gazzari himself, and featured in The Decline of Western Civilization Part II: The Metal Years, bands such as Salute, Shocktop, and Broken Cherry. Many giant hand-painted pictures of these bands adorned the side of the club’s outside wall for many years.
The 90 yard stretch of sidewalk on Sunset Boulevard that runs from the front steps of Gazzarri’s (now The Key Club, 9039 West Sunset Blvd), to the parking lot between the Rainbow Bar and Grill (9015 West Sunset Blvd) and The Roxy Theatre (9009 West Sunset Blvd), was the national center of the 1980s glam metal movement that spawned dozens of MTV bands and radio hits. Aspiring bands and musicians from around the world, coming to Los Angeles to make it big, eventually found themselves on this small stretch of sidewalk passing out their flyers, watching the competition in the clubs, or enjoying the scene packed with thousands of other musicians, famous rock stars, porn stars, groupies, and Los Angeles teenagers.
The nightclub also “moonlighted” variously over the years a stage-dance venue, and Gazzarri’s would often combine the strip-club-like dancing of attractive, young girls in between live band performances. The “Miss Gazzarri’s Dancers” over the years included future Playboy Playmate and Hugh Hefner girlfriend Barbi Benton, and future television star Catherine “Daisy Duke” Bach. The club became a favorite hangout for teen dancers who loved live music, which was not lost on the neighboring television studios. Gazzarri’s was acknowledged by TV executives as the real-life inspiration for music-based TV shows such as Don Kirshner’s Rock Concert, The Monkees, and The Partridge Family.
The club was part of the controversial Los Angeles “Pay-to-Play” concept in the 80’s, along with the other major Hollywood nightclubs that showcased bands with original songs. The philosophy then among club owners was that, since many acts that played their clubs went onto fame and fortune, and the world’s most powerful record companies were literally right across the street, the bands would be willing to pay money to the club just to play there.
For the most part, Pay-to-Play was a successful 80’s ruse for the clubs, including Gazzarri’s. Up to four bands per night would each “buy” 100-200 tickets from the club at $5 or so, handing over in advance hundreds of dollars to the owner for a 45-minute slot on the “famous stage”. If the band was able to unload the tickets (at any price they could get from fans, girlfriends, parents, etc.) then that was their pay for the evening. However, if the band couldn’t get 20 or 30 people to show up after such an investment, they quickly learned “Hollywood Rock and Roll 101” – that the music business was as much (or more) about drawing people and making money as it was about good music. Soon, many bands were spending as much time promoting, handing out flyers, advertising in local magazines, and building mailing lists as they were on songwriting, practicing, and actually gigging live. Young, hungry bands such as Poison, Mötley Crüe, Van Halen and Guns N’ Roses became early masters of self-promotion as a result, developing street-smart business skills that would serve them even as world-renowned superstars. Axl Rose stated several times in interviews that the “L.A. scene was so competitive, if half the bands in the Top 40 right now had tried to get their big break in L.A. instead of somewhere else, they never would have made it.”
Bill Gazzarri died in 1991 and the club closed down in 1993. In 1994, the building suffered irreparable damage from the Northridge earthquake. It was torn down in 1995 and a new club called Billboard Live was built on the former Gazzarri’s site. It opened in 1996. Billboard Live became The Key Club in 1998.” (End Wikipedia)
Gazzarri’s started at 319 No. La Cienega but moved to 9039 Sunset on June 1, 1965. Eventually, the Strip Gazzarri’s “had three stages, all facing each other in the same room, allowing multiple bands to play on a non-stop, live rotation.” (Priore)
HAUNTED HOUSE – 6315 Hollywood Blvd. Formerly Zardi’s Jazzland. According to Domenic Priore, “The psychotronic garage den the Haunted House had opened on Hollywood Blvd. with a smoke-snorting monster stage, Batgirl go-go dancers and a general horror movie motif.” Art Fein writes, “The scenes from It’s a Bikini World were filmed here with performances by the Animals, Castaways, Toys and Pat & Lolly Vega. Also used in the film The Girl in the Gold Boots. It was described in the Frank Zappa Freak map as “fulla go-go & snappy ensembles & hairdos & a genuine firebreathing bandstand.” Much later the site housed Cave Theatre, another XXX adult theatre that thrived in the 1970’s and 1980’s. Next it was the Hollywood Cabaret, offering live ‘adult’ performances. By 2013 it was the Deja Vu Showgirls strip club.
LARGO / ROXY / ON THE ROX – Largo Burlesque @ 9009 Sunset became the Roxy in 1973. It was the exotic strip club where Dustin Hoffman took Katharine Ross in The Graduate. It was a topless club called the Phone Booth for awhile. The room on top became a small bar, ON THE ROX, when the Roxy opened.
LONDON FOG – 8919 Sunset, next door to Galaxy. The facade was a red and purple paint job picked out by silhouettes of go-go dancers and wicked raunchy lettering. The Doors played there, as you can see by Jim Morrison in the third photo. Today it’s a nail salon. The question about its proper location – which is 8919 Sunset – is settled and clarified in this Wikipedia excerpt. “The London Fog was a 1960s nightclub located on the Sunset Strip in what was then unincorporated Los Angeles County, California (now in the city of West Hollywood). It is most notable for being the venue where The Doors had their first regular gigs for several months in early 1966 before becoming the house band at the Whisky a Go Go.
The London Fog was located just west of the Whisky a Go Go, a few doors down, at 8919 Sunset Blvd.
In the years after its closure, much confusion has arisen as to what establishments occupied the space of the Fog after it closed.
Both Duke’s Coffee Shop (in its original location) and Sneaky Pete’s, a former nightclub featuring music, claimed to have replaced the London Fog. Photographs from the era show that both establishments were located further east of the London Fog, east of the Galaxy nightclub. 
EARL CARROLL THEATER/ MOULIN ROUGE / HULLABALOO / KALEIDOSCOPE / ACQUARIUS THEATER – 6230 Sunset. It was a nightclub, Earl Carroll’s Vanities and became Moulin Rouge in the fifties. Hosted concert movie the Big T.N.T show featuring Ike and Tina. On 12/9/65 was renamed the HULLABALOO, run by LA DJ Dave Hull. It “retained its original art deco glamour, adding in a twisty of iconic band pictures – including the cover of the Beatles Rubber Soul – which hung from the ceiling. ” (Priore). On March 22, 1968, it became KALEIDOSCOPE which had floated from It’s Boss (Ciro’s) to the Coconut Grove before landing here. That scene waned and it became the ACQUARIUS THEATER. It was briefly notorious as the Chevy Chase Theater; since 1997 it’s been occupied by Nickelodeon.
PALLADIUM – 6215 Sunset Blvd. (Hollywood Palladium). Opened in 1940, capacity 5,000. In the sixties and seventies, Lawrence Welk’s name can be seen above the marquee as he owned the place and broadcast his TV show from there (Fein).
PANDORA’S BOX – From ’62-’67, it was a teen stronghold – no alcohol was served, kids under 18 drank hot chocolate and iced tea. In 1966, it became the flash point for the Sunset Strip riots when the LAPD tried to crack down on teenagers. Stephen Stills was inspired to write “For What It’s Worth” based on these events. Today it’s a traffic island at the intersection of Sunset and Crescent Heights.
PJ’S / STARWOOD – “Situated on the corner of Crescent Heights and Santa Monica Boulevard, PJ’s was the most high-profile club in early 1960s Hollywood. Dodd describes the audience as being “trendy, hip, swingy” and sporting “thin ties and sport jackets” (Priore) 1962-72? From the website http://gogonotes.blogspot.com/2008/11/1961-1968-pjs.html “P.J.’s opened in February of 1961. The new owners were Paul Raffles, Chuck Murano, Bill Daugherty and Elmer Valentine. The owners aimed to create a late night hot spot that nightclub performers and other Hollywood celebrity types would want to go to after the other clubs closed down. It advertised itself as having fine food, fair price and fantastic jazz. P.J.s’ offered a great, cozy jazz atmosphere. There was no cover charge, no minimum and no pretense. Initially, P.J.’soffered a few hip gimmicks, such as – earphones for each guest to listen to his or her favorite stereo record – or a wood burning set to carve your name into the white oak tabletops – (don’t know how long that great idea lasted). From the get-go P.J.’s wanted to be the show people’s club. Indeed, from 1961 thru 1967 – P.J’.s was probably the hippest and swingin’est club in town. It had a capacity of 485 people within its two showrooms… the Main Room (back) and the Junior Room (front). Progressive jazz was often played in the more intimate front Junior room, which was smaller…..March 1964 – dancing was introduced at P.J.’s – YEAH! The owners removed the piano bar in the back room, installed a dance floor, and the Twist, Mashed Potatoes, Watusi the Swim, the Bird etc were demonstrated for the first time at the club at 8151 Santa Monica Boulevard. JUNE 1964 – When dancing finally came to P.J.’s – the response was overwhelming. The niteryundertook a $125,000 expansion program – enlarging the club’s main room by2,000 sq ft – built out to the rear portion. It also greatly enlarged the present dance floor – which was now on two different levels. The upper dance floor had 154 seats. In Nov 1965 – PJ’s had three band rooms. In the front corner of the bar was Eddie Cano and his group. On one dance floor The Standells played. On the other dance floor the Jerry Wright Trio.
There was the vast difference in patrons. Some of them were bearded beatniks into cool jazz, some were youngsters into the new rock beat, others were well dressed ladies and gentlement. Who could tell who danced to what music. Even the owners, Paul Raffles and Bill Daugherty didn’t understand what was happening here. – the LA Times reported.
RED VELVET / SOULED OUT / CLUB LINGERIE – 6507 Sunset Blvd. According to Art Fein’s excellent book, THE LA MUSICAL HISTORY TOUR, in the sixties this was the Red Velvet. “Though the Kinks, Sonny and Cher and the Turtles appeared here, the Red Velvet generally drew an older rock crowd for bands like The Righteous Brothers, the Bobby Fuller Four and the Knickerbockers (the house band, whose “Lies” hit number twenty on the Billboard charts in 1966.) As a result, it was summarily dismissed on Zappa’s freak map as HQ for the plastic and pompadour set.” It served alcohol, so patrons had to be over 21. According to Priore, Elvis Presley liked this club because “of all the rock’n’roll clubs in Hollywood, this was the one that most catered to people who refused to let their hair go Beatle. The Red Velvet was, thankfully, the last bastion for pompadours, ducktails, and greasy rock’n’roll.” During the seventies, it was Souled Out, a soul nightclub. It later became Club Lingerie.
SEA WITCH – 8514 Sunset Blvd. My Own Place Became the Sea Witch. (Next to Dino’s on Sunset Blvd.) A tiny place, with a capacity of approximately sixty. Raw wood, designed to look like a ship. Open between ;64-’67.
THEE EXPERIENCE – From Wikipedia – “Thee Experience was located in Hollywood, California, on Sunset Boulevard, from the grand opening on March 14 through December 1969. It has been erroneously listed as located at 7751 Sunset Boulevard; however, the address is clearly visible on advertisements as 7551 Sunset Blvd. Thee Experience was the brainstorm of owner and founder Marshall Brevitz, who later opened a night club of the same name in 1967 in Hollywood, Florida. The club, which stayed open until 3 AM, was so popular it outgrew its space. Brevitz later opted for a larger location, moving the club in early winter of 1968. Marshall had located a disused 32 lane bowling alley known as the Sunny Isles Bowling Center and, with others, converted it into a psychedelic ballroom. The name of the club was changed to “Thee Image Club“ located at 18330 Collins Avenue in Miami Beach, Florida., honoring the house and very popular local band, the Blues Image. Opening night featured three nights in a row of Frank Zappa and the Mothers of Invention, in March 1968. Thee Image Club
By early 1969 was persuaded by the likes of Frank Zappa and Eric Burdon to relocate to Southern California. Once Marshall had found the new location for his club, he changed the name back to the original “Thee Experience” and hired someone to paint the exterior to an enlarged portrait of Jimi Hendrix with the front door as his mouth.
Here is a partial list of some of the bands and performers that played and or recorded at the club during its brief existence: Alice Cooper (who played the opening night), Frank Zappa, Jean Luc Ponty Experience,Albert Collins, The Flying Burrito Brothers, John Lee Hooker, Big Mama Thornton, Joe Cocker, Eric Burdon, Buddy Miles Express, Elvin Bishop, George Duke Trio, Captain Beefheart, The New Yardbirds (Led Zeppelin), T.I.M.E. (Trust In Men Everywhere), Steve Young, Magical Berri Lee, A.B. Skhy, Fair Be Fall, Rockin’ Foo. Pogo (before they changed their name to Poco), Blues Magoos, Southwind, Black Pearl, Junior Markham & the Tulsa Rhythm Revue, Bobby Doyle. Colwell-Winfield Blues Band, SRC, Blues Image, Screaming Lord Sutch & the Mighty Fat, Fields, Illinois Speed Press, Linn County, C.K. Strong, Sons of Champlin, T.S. Song, Joe Cocker & the Grease Band, Bluesberry Jam, Bangor Flying Circus, Roxy Music, War (with Eric Burdon), Lonnie Mack, Baby, Stoneface, Grand Funk Railroad, Tyrannosaurus Rex, Tarantula, Albert Lee, Spencer Davis Group and many others.“
Today it’s an auction house. It was the last psychedelic club on Sunset.
TROUBADOUR – From Wikipedia, the free encyclopedia – (Redirected from Doug Weston’s Troubadour) The Troubadour is a nightclub located in West Hollywood, California, USA, at 9081 Santa Monica Boulevard just east of Doheny Drive and the borderof Beverly Hills. It was opened in 1957 by Doug Weston as a coffee house on La Cienega Boulevard, then moved to its current location shortlyafter opening and has remained open continuously since. It was a major center for folk music in the 1960s, and subsequently for singer-songwriters and rock.
The Troubadour played an important role in the careers of Elton John, Linda Ronstadt, James Taylor, the Eagles, The Byrds, Love, Joni Mitchell, Hoyt Axton,Carole King, Bonnie Raitt, J.D. Souther, Jackson Browne, Van Morrison, Buffalo Springfield and other prominent and successful performers, who played performances there establishing their future fame. In 1962, comedian Lenny Bruce was arrested on obscenity charges for using the word “schmuck” on stage; one of the arresting officers was Sherman Block, who would later become Los Angeles County Sheriff. On August 25, 1970, Neil Diamond (who had just recorded his first live album at the Troubadour) introduced Elton John, who performed his first show in the United States at the Troubadour. In 1974, John Lennonand his friend Harry Nilsson were ejected from the club for drunkenly heckling the Smothers Brothers. Randy Newman started out at the club and comics Cheech & Chong and Steve Martin were discovered there. In 1975, Elton John returned to do a series of special anniversary concerts. In November 2007, James Taylorand Carole King played a series of concerts commemorating the nightclub’s 50th anniversary and reuniting the two from their 1970 performance.
Other alumni include Fleetwood Mac, Rod Stewart, Carly Simon, George Carlin, Michael Nesmith, Rickie Lee Jones, Paramore, The Tragically Hip, Sloan, Lenny Bruce, Bette Midler, Leo Kottke, Bruce Springsteen, Billy Joel, the Pointer Sisters, Liza Minnelli, Half Way Home, Sheryl Crow, Natalie Maines, The Everly Brothers,Karla Bonoff, Al Stewart, Kyle Vincent, Waylon Jennings, Tom Waits, Pavement, The Knack, Rise Against, Leonard Cohen, Tommy Cody, Roberta Flack, Ramblin’ Jack Elliot, Paul Sykes, Donny Hathaway, Arlo Guthrie, Darren Criss, The Spats, Nick Jonas, Neil Diamond and Republic of Loose.
The Troubadour featured new wave and punk in the late 1970s and early 1980s, and became virtually synonymous withheavy metal and glam bands like Mötley Crüe, Candy, Guns N’ Roses, Poison, Warrant and W.A.S.P. in the 1980s. Guns N’ Roses played their first show at the Troubadour, and were also discovered by a David Geffen A&R representative at the club. During the Glam/ Metal years Gina Barsamian was the primary booking agent for the club. There is a variety of styles of music played at the Troubadour to the present day and it continues to be one of Hollywood’s favorite and most respected places to see live music.
Today the venue is well known for presenting emerging UK artists (Radiohead, Coldplay, Franz Ferdinand, The Libertines, Arctic Monkeys), punk/hardcore acts, such bands as Billy Talent, Papa Roach, and Rise Against, the latter filming five nights in a row for a DVD, Generation Lost. It is also still a popular venue to showcase singer-songwriters: Ray LaMontagne, Joanna Newsom, Fiona Apple, Kina Grannis.”
UNICORN – 8907 Sunset Blvd. The Unicorn opened in 1957 as a folk rock venue. It became Sneeky Pete’s, then Duke’s. (Located next to the Whisky a Go Go on Sunset Blvd. The following paragraph is from this website http://nightflight.com/early-80s-and-late-nites-at-sunset-buddy-helm-remembers-peter-ivers/ but I think the writer is wrong about London Fog occupying this space. My research puts London Fog at 8919 Sunset Blvd. As far as I know, the rest of the paragraph is accurate.
“In the 60s, the very same underground space, located at 8907 Sunset Blvd. in what is now West Hollywood, had been occupied by a short-lived venue called the London Fog, where the Doors played a handful of shows in 1966 before it closed its doors and then re-opened, under new ownership, as Sneeky Pete’s. The space continued to undergo transformations over the years, and more recently it was Duke’s coffeehouse, but in the early 80s, it had actually been a restaurant called At Sunset, and for a short time, there was actually a private club in the back, which was only accessible through a back door found down a long series of steps. Once you were inside you could actually see that it was kind of a sprawling space, with a large kitchen that had a walk-in cold-box, and there was a large adjacent room with red leather booths that served as the dance floor/stage area. If you walked up a set of steps you’d find two more private rooms.”
WHISKY A GO GO – 8901 Sunset opened 1/11/64. According to Fein, “it was the site of an old bank building that had been remodeled into a short-lived club called the Party. It was originally painted red, then changed over the years but in early 1990 it was repainted red and its old striped awnings were restored for the movie The Doors.” Quoting Priore who quoted Playboy magazine, “Los Angeles has emerged with the biggest and brassiest of the discos – Whisky A Go Go, a frenetic watering hole inspired by its more docile Parisian namesake. Two short-skirted maidens demonstrate the latest dance in a nine foot square glass-enclosed booth dangling 30 feet above the floor. When the live musicians take five, the girls convert the place to a true discotheque, playing record requests made from strategically located house telephones on a $35,000 stereophonic sound system.” On the righthand side, a staircase leads up to the dressing rooms (and still does). The Whisky closed in 1982 and reopened in 1986 as a “four wall” (promoters and bands rent it.) “Although a few booths remain on the perimeter, the interior has mostly been transformed into a bare, seatless space where the audience is forced to stand throughout the performances” (Chris Epting, LED ZEPPELIN SLEPT HERE.)