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.

ASH GROVE FOLK MUSIC CLUB – “From the early 1960s until the mid 1970s it was operational at 8162 Melrose Ave – now site of The Improv. Later revived on Santa Monica pier. The Ash Grove was venue for all the big names in folk music over the years, (Thank you Linda Morris).

Ash Grove

The Ash Grove was a folk music club located at 8162 Melrose Avenue in Los Angeles, founded in 1958 by Ed Pearl and named after the Welsh folk song, “The Ash Grove.”

In its short fifteen years, the Ash Grove forever altered the music scene in Los Angeles and helped many artists find a West Coast audience. Bob Dylan recalled that, “I’d seen posters of folk shows at the Ash Grove and used to dream about playing there….”

The club was a locus of interaction between older folk and blues legends, such as Mississippi John Hurt, Son House, Earl Hooker and Muddy Waters, and young artists that produced the ‘Sixties music revolution. Among those Pearl brought to the Ash Grove were Doc Watson, Pete Seeger, June Carter, Johnny Cash, Jose Feliciano, Phil Ochs, Joan Baez, Johnny Otis, Ramblin’ Jack Elliott, Ian and Sylvia, Kathy and Carol, Sonny Terry, Brownie McGhee, New Lost City Ramblers, The Weavers, The Greenbriar Boys, Lightnin’ Hopkins, Luke “Long Gone” Miles, Barbara Dane, Holly Near, Arlo Guthrie, Rising Sons, Mance Lipscomb, Guy and Candie Carawan, John Jacob Niles, Bukka White, Howlin’ Wolf, Johnny Shines, John Fahey, Willie Dixon, Lonnie Mack and Kris Kristofferson.

The Limeliters performed at the Ash Grove on July 29, 1960. Their performance was recorded and became the LP “Tonight: In Person – The Limeliters.” The group consisted of Lou Gottlieb, Alex Hassilev and Glen Yarbrough; quoting from the back cover of the album, “You leave the Ash Grove convinced your friends were right. This group IS great.” Lee Shito, The Billboard.

Ash Grove Entrance

Folk singer Ross Altman likened the Ash Grove to a “West Coast University of Folk Music.”[1] Ry Cooder first played back-up guitar at the Ash Grove when he was sixteen years old. Linda Ronstadt got her start hanging out at the Ash Grove. “My goal in those days was just to play the Ash Grove in Los Angeles because that was the center of folk music at the time”, she remembered. “The first place I went in Los Angeles was the Ash Grove. That is where I met Kenny Edwards. Kenny liked Mexican music and we started the Stone Ponys.”[2] Future Byrds Chris Hillman and Clarence White met at the Ash Grove while both were in high school. They then played there with The Byrds on May 23rd 1969. [3]

The school of traditional folk music

While the club was best known for “folk” or “roots” music, such as bluegrass and blues, Ed Pearl also featured socially committed jazz and rock artists, such as Oscar Brown, Jr., Chuck Berry, James Booker and Jackson Browne. And, long before there was a recognized “world” genre in the music industry, the Ash Grove provided a venue in Los Angeles for such diverse performers as Ravi Shankar, Mongo Santamaría, Miriam Makeba and the Virgin Islands Steel Band.

The Ash Grove also became associated with the cultural and political ferment of the 1960s. In the coffee house tradition, Pearl encouraged an occasional mix of music with poetry, lecture, film or comedy. Lenny Bruce, Mort Sahl, the Firesign Theatre, Rowan & Martin and Steve Allen brought their comedy and commentary to the Ash Grove. Luis Valdez‘s El Teatro Campesino performed, as did Dr. Demento, poet Charles Bukowski and artists campaigning against the Vietnam War, such as Jane Fonda.  A series of fires, including what patrons believed was an arson attack, led to the club’s demise in 1973.   After the Ash Grove closed in 1973, LA Times music critic Robert Hilburn wrote its obituary, which included an anecdote about the club’s influence on the Rolling Stones: “On his way out of the Ash Grove one night, Mick Jagger, a frequent visitor to the club, shook Pearl’s hand in gratitude. He simply wanted to thank Pearl for all the entertainment – and no doubt musical education – the club had given him.” And, Hilburn concluded, “The Ash Grove’s contribution to this city’s musical heritage was invaluable.”[5]

THe Byrds live at Ash Grove 1969


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.  The Cinnamon Cinder chain was a chain of nightclubs owned by Bob Eubanks. Acts that appeared in the clubs included The Coasters, The Drifters, Sonny & Cher, Buffalo Springfield, Ike & Tina Turner, and The Shirelles.

The Cinnamon Cinder came about to fill a need for teenagers who were either too young or couldn’t afford the entry to regular night clubs.[1] The clubs were located in Southern California. Bob Eubanks, the chains owner was a Los Angeles disc jockey and game host. He hosted The Newlywed Game.[2] He had partners and one of them was former L.A. policeman Mickey Brown and Van Nuys skating rink owners, Stan Bannister and Roy Bannister.[3][4]

Acts like The Righteous Brothers and Stevie Wonder were booked for the clubs at North Hollywood and Long Beach.[5] A television show called The Cinnamon Cinder Show originated from the clubs. There was also a hit record called “Cinnamon Cinder” which was recorded by The Pastel Six and The Cinders.[6][7] It was also recorded by a band called The Hartung Sounds.[8][9]

There were strict rules for the customers. The dress code discouraged the wearing of blue jeans, capri’s or shorts. Alcohol wasn’t permitted, and if a person showed signs of being under the influence, they would be turned away. Any adults such as parents that came in to check on their children would have to be accompanied by a member of the opposite sex. This was to stop older men coming in with the intention of preying on younger girls.[10]






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.[2]

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.[3]

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.[4] 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.[5]   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.[6]



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.  The Haunted House – ’60s Nightclub is a Facebook site.




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.  The Roxy Theatre (often just the Roxy) is a nightclub on the Sunset Strip in West Hollywood, California, owned by Lou Adler and his son, Nic, who operates it.[1]  

The Roxy was opened on September 23, 1973, by Elmer Valentine and Lou Adler, along with original partners David Geffen, Elliot Roberts and Peter Asher. They took over the building previously occupied by a strip club owned by Chuck Landis called the Largo. (Adler was also responsible for bringing the stage play The Rocky Horror Show to the United States, and it opened its first American run at The Roxy Theatre in 1974, before it was made into the movie The Rocky Horror Picture Show the next year.)

Neil Young and the Santa Monica Flyers (billed as Crazy Horse, a related ensemble) played the Roxy for the first week it was open. Only three months later, the Genesis lineup with Peter Gabriel played several consecutive days at the Roxy, a run that some band members and many fans consider to be amongst their finest performances (due in part, to the intimate atmosphere and good acoustics of the venue).

Paul Reubens, then a struggling comedian, introduced his Pee-wee Herman character in a raunchy revue here in 1981 that included such aspiring comics as Phil Hartman and Elayne Boosler.

The small On the Rox bar above the club has hosted a wide variety of debauchery in its history. The bar was a regular hangout for John Lennon, Harry Nilsson, Alice Cooper and Keith Moon during Lennon’s “lost weekend” in 1973-74 and hosted parties arranged by Heidi Fleiss in the 1980s.

  • Jazz group The Crusaders recorded the live album Scratch at the Roxy in 1974.
  • Frank Zappa & The Mothers of Invention recorded most of their Roxy and Elsewhere (1974) album during December 1973. Since 1974, various albums have included material from those shows. In 2015, a live concert video was released showing those performances. The entire series of performances (all four public shows from December 9-10, 1973) are to be released as a 7CD box set in March 2018.[2]
  • Bob Marley & The Wailers recorded Live at the Roxy (released in 2008) on May 26, 1976.
  • The Ramones played their first California concert at the Roxy on August 11, 1976. The concert scenes for their 1979 movie Rock ‘n’ Roll High School were filmed at the Roxy in December 1978.
  • Peter Gabriel played several shows at the Roxy during his first solo world tour on April 9 and 10, 1977 (2 performances/day). All of these shows was broadcast by FM local radio but has never released as an official record.
  • George Benson‘s Platinum live album Weekend in L.A. (1978) was culled from a three-night engagement at The Roxy from September 30 – October 2, 1977.
  • Nine songs from Bruce Springsteen & the E Street Band’s Live/1975-85 album were recorded at the Roxy from shows in 1975 and 1978. The 1978 show was also broadcast on local radio station KMET.[3]
  • Van Morrison recorded a radio show in November 1978 that was released as a promo LP Live at the Roxy.
  • The live album Welcome to the Club by the Ian Hunter Band, featuring Mick Ronson, was recorded at the Roxy during seven shows over a week in November 1979 and released the following year.
  • Prince (musician) very first leg of his debut North American tour, “Prince Tour” kicked off at the Roxy on November 26, 1979
  • English prog rock band Gentle Giant played their last gig here on June 16, 1980. The soundboard recording was later released as the live album The Last Steps.
  • Warren Zevon‘s live album, Stand in the Fire, was recorded during five shows he played at The Roxy in 1980.
  • Musician Stevie Wonder played a concert at the Roxy featuring the first ever live performances of his hits Lately and Master Blaster (Jammin’).
  • Billy & The Beaters‘ 1981 debut album (including singles “I Can Take Care of Myself” and “At This Moment“) was recorded live at the Roxy January 15–17, 1981.
  • In 1984, Ratt recorded the video for their hit single “Back for More” from the album Out of the Cellar at The Roxy.
  • Guns N’ Roses recorded Live at the Roxy in 1986.
  • Jane’s Addiction recorded the basic tracks for their 1987 self-titled debut album, at The Roxy in January, 1987. While the album was finished in studio, the band hoped tracking the basics live would better help capture the energy and essence of the band.
  • The Too Hot For Snakes album by Carla Olson and Mick Taylor was recorded on March 4, 1990.
  • Agent Orange‘s live album Real Live Sound was recorded here on July 21, 1990.[4]
  • System of a Down made their first performance here in 1993, due to their manager and bassist persisting.
  • NOFX‘s live album I Heard They Suck Live!! was recorded at the Roxy on January 8–9, 1995.[5]
  • Michel Polnareff‘s live album, Live at the Roxy, was recorded in 1995 and released in 1996.
  • Social Distortion released a live album, entitled Live at the Roxy on June 30, 1998, that was recorded on April 7–9, 1998.
  • The CD/DVD album Collision Course by Linkin Park and Jay-Z, comes with a DVD that contains behind the scene footage and the second take of all the Collision Course’s songs at the Roxy Theatreon July 18, 2004.
  • Avril Lavigne performed her acoustic EP Control Room: Live at The Roxy in 2008. When speaking about this tour, Lavigne said that she wanted this tour to be performed in smaller locations so she could connect with her fans more instead of at large arenas.
  • The Mighty Boosh performed their second stint of American shows at The Roxy Theatre in July 2009.
  • The Roxy Theatre is featured in the 2008 video game, Midnight Club: Los Angeles.
  • Sum 41 shot the video for their song “Screaming Bloody Murder” at the Roxy on April 3, 2011.
  • The Royal Pirates held their fourth public California showcase at the Roxy on August 5–6, 2011.
  • Fuse TV taped the live performance of Red Hot Chili Peppers for Fuse Presents: Red Hot Chili Peppers Live from the Roxy on August 22, 2011.
  • KoRn shot the performance part of the video for their song “Narcissistic Cannibal” at the Roxy on September 27, 2011.
  • Ariana Grande performed a sold out concert at the Roxy on February 19, 2012.
  • Jessie J has also played a show at The Roxy on April 9, 2012 to a crowd of 500 including Jason Derulo and bandmates from The Wanted.
  • MENEW performed a sold out concert during their Wide Awake Hello Tour at the Roxy on August 14, 2012.
  • Tori Kelly performed a sold out concert at the Roxy on October 24, 2012 (which was streamed live online on Ustream).[6]
  • Mark Tremonti played a show at The Roxy with his solo band on March 3, 2013, playing his debut solo album All I Was.
  • Escape the Fate released a DVD, Escape the Fate: Live from the Roxy from their free show there on January 6, 2013. It was included in their Deluxe version of the album Ungrateful.
  • Atmosphere did a release party at the venue for their seventh album, Southsiders, which was released on May 6, 2014.
  • Babes in Toyland played their second show in 14 years since their breakup in 2001 on February 12, 2015 at the venue. They were introduced by Tom Morello, and in attendance were other celebrity guests including Brody Dalle, Donita Sparks, Eric Erlandson, and Patty Schemel.[7]
  • U2 played a concert at the Roxy on May 28, 2015, during a gap in performances during their Innocence + Experience Tour.



On The Rox

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.[1]

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. [2][3][4]

In Oliver Stone‘s 1991 film The Doors, the scenes depicting the London Fog were actually shot at the location that became the Viper Room in 1993.[5]”  

London Fog has a Facebook site.





EARL CARROLL THEATER/ MOULIN ROUGE / HULLABALOO / KALEIDOSCOPE / ACQUARIUS THEATER – 6230 Sunset. Earl Carroll Theatre was the name of two important theaters owned by Broadway impresario and showman Earl Carroll. One was located in the Broadway Theater District in New York City and the other on Sunset Boulevard in Hollywood, California.  The first was the Broadway theatre venture at 753 Seventh Avenue & West 50th Street in New York City. Designed by architect George Keister,[1] it opened on February 25, 1922,[2] and was highly successful for a number of years until it was demolished and rebuilt on a lavish scale. It reopened in August 1931 with Carroll’s billing that it was “the largest legitimate theater in the world.” However, the facility’s operating costs proved astronomical and it went into foreclosure in early 1932 after which it was acquired by producer Florenz Ziegfeld who renamed it the Casino Theatre. The Casino was the site of a very successful revival of Ziegfeld’s production of Show Boat in 1932. However, Ziegfeld too went bankrupt only a short time later. After being acquired by Billy Rose and operating for a time as a night club, the theater closed in 1939. The building was converted to retail space in 1940 and eventually became a Woolworth’s Department Store. It was demolished in 1990.

Earl Carroll built his second famous theater at 6230 Sunset Boulevard in Hollywood, California. It opened on December 26, 1938. As he had done at the New York theater, over the entrance Carroll emblazoned the words “Through these portals pass the most beautiful girls in the world“. An “entertainment palace”, the glamorous supper club-theater offered shows on a massive stage with a 60-foot (18 m) wide double revolving turntable and staircase and swings that could be lowered from the ceiling. The building’s façade was adorned by what at the time was one of Hollywood’s most famous landmarks: a 20-foot-high (6.1 m) neon head portrait of entertainer Beryl Wallace, one of Earl Carroll’s “most beautiful girls in the world”, who became his devoted companion. The sign survived several changes of ownership and venue name but was completely removed during major decorative overhauling in 1968. A re-creation made from photos is today on display at Universal CityWalk, at Universal City, as part of the collection of historic neon signs from the Museum of Neon Art. Another prominent exterior feature was the “Wall of Fame”, on which were mounted more than a hundred individual concrete blocks autographed by Hollywood celebrities, including some of the biggest stars of the 1930s and 1940s.

Later achieving various degrees of fame in films and on television, Jean Spangler, Mara Corday, Yvonne De Carlo, Phyllis Coates, Maila Nurmi, Gloria Pall, and Mamie Van Doren were some of the showgirls who performed there. The facility was a popular night spot for many of Hollywood’s most glamorous stars and powerful film industry moguls such as Darryl Zanuck and Walter Wanger, who sat on the Earl Carroll Theatre’s board of governors.

The theater was sold following the 1948 deaths of Earl Carroll and Beryl Wallace in the crash of United Airlines Flight 624. It continued to operate but by the early 1950s it was falling on hard times.

In 1953, Las Vegas showman Frank Sennes reopened the theater as a nightclub under the name “Moulin Rouge”. The popular TV contest show Queen for a Day was broadcast from the Moulin Rouge during part of the show’s 1956–1964 run.[3]

In late 1965 it became the “Hullabaloo”, a minors-welcome rock and roll club, capitalizing on the popularity of the television variety show Hullabaloo.

For several months in 1968 it was the “Kaleidoscope” and featured many top West Coast rock acts, with an emphasis on local bands such as The Doors.

Later in 1968, the venue was redecorated in the psychedelic art style,[4] renamed the “Aquarius Theater”, and rededicated as the home of a long-running Los Angeles production of the Broadway musical Hair. It was still sometimes used for rock concerts on Mondays, when the Hair company had its day off, and as a result the Aquarius is famous as the place where The Doors performed on July 21 & 22, 1969, making live recordings that were later issued commercially.[5]

In 1983, the Pick-Vanoff Company purchased the property and converted it into a state-of-the-art television theater that for nine years was the taping site of Star Search.[3] The Pick-Vanoff Company also owned Sunset-Gower Studios, formerly the home of Columbia Pictures. For many years, it was used for the annual Jerry Lewis MDA Telethon.[3] In the fall of 1993, the theater was the venue for Fox Network‘s The Chevy Chase Show under the name “The Chevy Chase Theater”. The talk show was a disaster and was cancelled after five weeks; the theater reverted to its previous name soon after.[6]

In the late 1990s, the name of the theater was changed to “Nickelodeon on Sunset” and it became the headquarters for Nickelodeon’s West Coast live-action television production after the theater was acquired by the cable television channel Nickelodeon. Some of the shows filmed there for Nickelodeon include the ten-season run of All That, The Amanda Show, Drake & Josh, and more recently iCarly and Victorious.

In 2004, it was sold to a private equity firm as part of a larger parcel of property. As of September 2007, the City of Los Angeles Historic Preservation Board was working to assure that the theater is protected.

Earl Carroll



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).

Hollywood Palladium is a theater located at 6215 Sunset Boulevard in Hollywood, California. It was built in a Streamline Moderne,[1] Art Deco style and includes an 11,200 square foot (1040 m²) dance floor including a mezzanine and a floor level with room for up to 4,000 people. The theater was listed on the National Register of Historic Places in 2016.

Los Angeles Times publisher Norman Chandler funded the construction of the art deco Hollywood Palladium at a cost of $1.6 million in 1940.[2] It was built where the original Paramount lot once stood[3] by film producer Maurice Cohen and is located between Argyle and El Centro avenues. The style dance hall was designed by Gordon Kaufmann, architect of the Greystone Mansion, the Los Angeles Times building and the Santa Anita Racetrack in Arcadia.[1] He was also the architect for the Hoover Dam and early Caltech dorms.[3]

The ballroom opened on October 31, 1940[2] with a dance featuring Tommy Dorsey and his Orchestra and band vocalist Frank Sinatra.[3] It had six bars serving liquor and two more serving soft drinks and a $1 cover charge and a $3 charge for dinner.[3]

From 1955-1976, the scene of Latin Music Orchestras for ragers sponsored by radio personality Chico Sesma titled Latin Holidays. The Tito Puente Orchestra performed regularly between 1957-1977 to sold out houses of 5000.[4] The Joe Loco Orchestra and show performed on the March 1965 Latin Holiday with singer/dancer Josephine “Josie” Powell.

During World War II, the Palladium hosted radio broadcasts featuring Betty Grable greeting servicemens’ song requests. Big Band acts began losing popularity in the 1950s, causing the Palladium to hold charity balls, political events, auto shows, and rock concerts. In 1961, it became the home of the long-running Lawrence Welk Show.[2][5]

Pop Expo ’69, referred to as a “teenage fair,” was a youth-oriented event held from 28 March to 6 April 1969 at the Palladium, and included performances by The Jimi Hendrix Experience and the MC5. Beginning in the 1980s and 90s, punk rock, rap and heavy metal concerts started to be booked at the venue. Several white power disturbances resulted, eventually leading to the Palladium closing for eight weeks, starting in February 1993.

In 1964, it was announced that none of the jazz bands scheduled were to be paid and a riot ensued after the show was cancelled.[3] In 1973 Stevie Wonder performed with Taj Mahal in what was advertised as an “Afrocentric concert” to benefit African refugees.[3]

Since 1985, the theater has been owned by Palladium Investors Ltd., a privately held group. Curfews were implemented in 1993 and a show by Marky Mark and the Funky Bunch was called off because of a brawl that occurred a few nights earlier, .[3] It was also used for Hollywood celebrity parties.[3]

In 2007, the owners agreed to a long-term lease to operate, manage and exclusively book the Hollywood Palladium with Live Nation, a Los Angeles-based company.[6]

The Palladium reopened with a Jay-Z concert on October 15, 2008[7] after a year-long, multimillion-dollar renovation by Live Nation. The renovation included an overhaul of the venue’s interior and exterior, a new dance floor, expanded concessions, upgraded restrooms and improvements to the stage infrastructure. Jay-Z performed for nearly an hour-and-half, backed by an eight-piece band and DJ AM, who played his first show after surviving a plane crash in South Carolina.[6] The Hollywood Palladium was also used as the memorial service site for DJ AM on September 3, 2009.[8]

For the 2008-2009 season, a yearlong table for four cost $30,000.[3]

An expansion of the Palladium property parking lot was approved by the Los Angeles City council on March 2016. The plan consists of two 28 story residential towers that surrounds the historic music venue. Each tower will stand 350 feet tall and create 731 condominiums, 24,000 sq ft store front retail space and a below grade parking garage. The Towers were designed by Stanley Saitowits of Natoma Architects. The “L” shaped design resembles and echoes the Streamline Moderne – art deco design of the Palladium. The firm intends to break ground in 2018 as the site is prepped and lawsuits are settled. [9]



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.

In the late 1950s Pandora’s Box was a popular coffeehouse located at 8118 Sunset Boulevard, on the corner of Sunset Boulevard and Crescent Heights Boulevard. Home to some of the more adventurous artists in town, Pandora’s Box hosted up-and-coming jazz musicians such as Les McCann and Carla Bley, while artist Burt Shonberg adorned the interior of the club with a mural similar to his works in the famous Cafe Frankenstein and The Purple Onion.[2]

In 1962, the club was bought by disc jockey and Shindig! host Jimmy O’Neill. O’Neill’s trendsetting booking policy made Pandora’s Box the center of the Sunset Strip youth scene. The club featured performances by artists such as the Beach Boys, the Byrds and Sonny & Cher.

While the club itself did not serve alcohol, Pandora’s Box soon became a hangout where underage drinking was not uncommon. Moreover, numerous complaints arose about drug use and loud music.[3] Ultimately however, the biggest problem that arose for the club was the obstructions it caused upon traffic, a result of both its numerous visitors and its unfortunate location at one of the busiest intersections in the city.

In 1966, annoyed residents and business owners in the district had encouraged the passage of a strict 10:00pm curfew and loitering law to reduce the traffic congestion and disturbances resulting from crowds of young club patrons.[1] This was perceived by the young, local rock music fans as an infringement on their civil rights, and for weeks tensions and protests swelled. On Saturday, November 12, 1966, fliers were distributed along the Strip inviting people to demonstrate later that day. Hours before the protest one of L.A.’s rock ‘n’ roll radio stations announced there would be a rally at Pandora’s Box.[4] That evening, as many as a 1,000 youthful demonstrators, including such celebrities as Jack Nicholson and Peter Fonda (who was handcuffed by police), erupted in protest against the perceived repressive enforcement of these recently invoked curfew laws and the forced closure of Pandora’s Box.[5]

The unrest continued the next night and off and on throughout November and December, while Pandora’s Box had already been forced to close its doors. Sonny & Cher, who got their start on the Strip as Caesar and Cleo, made an appearance in front of Pandora’s Box in December, while on Christmas Day, Pandora’s Box reopened for one night only. There, according to author Domenic Priore, Stephen Stills first publicly performed “For What It’s Worth, a song written in response to the riot.”[1]

Meanwhile, the local administration had decided to get tough, and rescinded the “youth permits” of twelve of the Strip’s clubs, thereby making them off-limits to anybody under 21. In November 1966, the Los Angeles City Council voted to acquire and demolish the Pandora’s Box.[6] The club was eventually demolished in early August 1967.[7]

Buffalo Springfield‘s 1967 hit single “For What It’s Worth (Stop, Hey, What’s That Sound)” was written by group member Stephen Stills in response to the riots around Pandora’s Box. Later, Stills said: “Riot is a ridiculous name, it was a funeral for Pandora’s Box. But it looked like a revolution.”[8]

Plastic People“, a song recorded by Frank Zappa and The Mothers of Invention in November 1966, directly mentions Pandora’s Box in its lyrics: “I hear the sound of marching feet… Down Sunset Boulevard to Crescent Heights… and there… at Pandora’s box… We are confronted with… a vast Quantity of… Plastic people…”.[9]

The 1967 film Riot on Sunset Strip is a fictionalized depiction of the events around Pandora’s Box and was filmed and released within four months of the riot.



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.

November  1965
Bobby Fuller Four played an engagement at P.J.’s  dance floor and recorded a live album there. (Fuller was found dead in a parked car near Sunset shortly thereafter. His death was ruled a suicide but remains mysterious.)
1967-1968 – P.J.’s hung in there as a jazz hang out for a couple more years…Eddie Cano’s band continued to play at P.J.’s until it closed 1968.”
In the seventies, PJ’s became The Starwood, owned by the infamous Eddie Nash. It closed in 1982 after a mysterious fire. Today it’s a mini-mall.

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.[2] 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[3] located at 18330 Collins Avenue in Miami Beach, Florida.,[4] 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.[5]

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,[6]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.[7][8]

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.[1][2] 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.[3] 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.[4]

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,[5] 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.

In 2011, a documentary about the club called Troubadours: Carole King / James Taylor & The Rise of the Singer-Songwriter was released.[6][7]

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.”

The Unicorn


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.)