1505 San Pablo Avenue, Berkeley, CA: New Orleans Performers List, October-December 1967 ('67 Berkeley X)

 

 

A poster for the Youngbloods and Paul Arnoldi at Berkeley's New Orleans House, November 27-29, 1967

In early 1966 the live rock concert market exploded in San Francisco, thanks to Bill Graham at the Fillmore Auditorium and Chet Helms at the nearby Avalon Ballroom. The city of Berkeley, and the University of California there, provided a significant number of the fans for the San Francisco ballrooms. It was no surprise that Berkeley rapidly had a live rock scene of its own. Throughout 1966 there had been various efforts to establish live rock venues in Berkeley, largely unsuccessful. In January of 1967, however, Berkeley had its first nightclub primarily devoted to live rock bands playing original music. 

[This is the last in a series of 1967 Berkeley posts originally presented on Ross Hannan's Berkeley In The Sixties blog. Ross, a friend, co-conspirator and inspirational scholar, died on November 9, 2024, mourned by all who knew him and many who did not. Since the fate of Ross' blog cannot be predicted, I am publishing the final post in my own blog. Hoist a pint or light one up for Ross]

1505 San Pablo Avenue in Berkeley, the site of New Orleans House, as it appeared in 2009. I do not know of any photos of the exterior, interior or stage of New Orleans House from when the club was open.

The New Orleans House, in North Berkeley at 1505 San Pablo Avenue, between Jones and Hopkins Streets, only held about 200 patrons. But it served beer and wine, there was a dance floor and sometimes even a light show. So it was kind of like a miniature Avalon, if the Avalon had offered beer and dinner. There weren't yet that many rock bands in Berkeley, but there weren't really many places to play, either. As part of my survey of 1967 rock music in Berkeley, I am looking at every performer at the New Orleans House during that year (see below for links). My prior post reviewed New Orleans House performers from July to September 1967. This post will look at New Orleans House performers from October through December 1967. If anyone has additional information, corrections, photos, insights or recovered memories, please include them in the Comments. Flashbacks encouraged. 

Berkeley Barb ad for New Orleans House, September 29, 1967

September 29-30, October 1, 1967 New Orleans House, Berkeley, CA: Morning Glory (Friday-Sunday)
New Orleans House was on San Pablo Avenue, near the Berkeley border and the Alameda County line. It was North of campus--"Northside" in local parlance--which was more sedate than the more raucous Southside. Telegraph Avenue, the riots and the undergraduates were all Southside.  Southside was for undergraduates. Northside was more oriented towards assistant professors and graduate students, with no riots. The Gilman Street neighborhood where the club was located was accessible both to campus and to San Francisco via Transbay buses, and just below (West) of the "Northside" neighborhood of the UC Campus.

Music generally began at New Orleans House at 9:30, even on weeknights, which seems late. But in fact the club served dinner from 5:00-9:00pm, and happy hour was from 8:00-9:00, where beer was just 75 cents a pitcher. So the club was also a restaurant and hangout for the neighborhood, separate from being just an entertainment venue. It was mostly open six nights a week, closed on Thursdays. Owner Kitty Griffin had run a restaurant on College Avenue (Kitty's) for a while, so she knew the Berkeley market. She also taught handicapped children during the day for the Contra Costa School district, and New Orleans House was her night gig.

Two Suns Worth, by Morning Glory, released on Fontana Records 1968

Morning Glory was a Mill Valley band with a sort of Jefferson Airplane sound. Since the Airplane were huge in 1967, those sort of groups got signed, and Morning Glory would put out the album Two Suns Worth on Fontana in 1968   The back cover was photographed on a cable car, just to ensure that no one missed the San Francisco connection.  The album isn’t bad, but its not that memorable.  Bassist Bob Bohanna wrote most of the songs, and shared the vocals with Gini Graybeal.

October 2-4, 1967 New Orleans House, Berkeley, CA: Steve Miller Band (Monday-Wednesday)
It was commonplace at folk clubs to have a Hoot Night (short for "Hootenanny") early in the week. The general format was that a "host" would perform a few songs, and aspiring locals could get up and sing a few songs. It was a way for amateurs to have some fun, and for aspiring professionals to get heard. The likes of Bob Dylan and Linda Ronstadt were first heard (in Greenwich Village and West Hollywood, respectively) at a Hoot. Berkeley folkies had attended the regular Hoot at the Jabberwock until it had closed in July of 1967.

Later in the Summer, the New Orleans House added "Guest Night" on Monday nights, hosted by folksinger Larry Hanks, who had also hosted the Jabberwock hoot. New Orleans House pointedly called it "Guest Night." The ad said "Folk Music, Poetry, Variety" to distinguish it from an exclusively folk music event. Berkeley hippies weren't against folk music--they mostly liked it--but they didn't want to see themselves as square, aging "Folkies," so Guest Night broadened the options. I have no idea who actually may have performed.

New Orleans House "Guest Night" also included a late night set by a rock band. "Dancing to Rock Bands 11:30-1:30" was also code for "not just folk music." Usually a regular band played the late set, but this week featured the Steve Miller Band. The Steve Miller Band had been playing New Orleans House since early in 1967, and by this time they were major attractions at the Fillmore and Avalon, with record companies hovering around. But the Miller Band worked hard, gigging every night if they could, so they were always willing to play New Orleans House on weeknights. Steve Miller and Boz Scaggs were out in front of the band, singing and playing guitars. Jim Peterman was on organ, with Tim Davis on drums and vocals, both old pals of Miller from Madison, WI. Berkeley's Lonnie Turner played bass.

Berkeley Barb ad for New Orleans House, October 6, 1967

October 6-8, 1967 New Orleans House, Berkeley, CA: Flamin’ Groovies (Friday-Sunday)
The Flamin’ Groovies were a few years younger than the first wave of Fillmore and Avalon musicians, but had still been connected to the scene from the beginning.  The Groovies had continued to play in the British Invasion style that preceded the acid-tinged jamming that characterized the Fillmore scene. The Groovies short rock songs and snotty attitude were not popular in San Francisco, and opinions remain divided about them.  The group intermittently broke up and reformed over the next few decades. When punk hit a decade later, the Groovies were seen as precursors, but despite popularity in England and elsewhere they remained (and remain) small beer in San Francisco and the Bay Area. The Groovies had already played a few weekends at New Orleans House earlier in 1967, so the fact that they were still getting booked meant they must have built an audience there.

October 9, 1967 New Orleans House, Berkeley, CA: Guest Night/Short Yellow (Monday)
The Barb ad just listed "Guest Night" as "Hoot," perhaps giving in to the inevitable. The late night band was Short Yellow. Short Yellow had recorded some demos at Golden State Recorders in 1967 ("Highway Highway" and "Start Seeing"). The group featured singer Sandy Gurley, and the two tracks were released on the Big Beat compilation What A Way To Come Down. Sandy Gurley would later release a solo album on Tower in 1968.

October 10-11, 1967 New Orleans House, Berkeley, CA: Quicksilver Messenger Service/Congress of Wonders (Tuesday-Wednesday)
Quicksilver Messenger Service were already headliners at both the Avalon and the Fillmore, and had little need to play the New Orleans House. After this date, however, numerous lesser groups that shared management with Quicksilver started to play the New Orleans House, so I believe that this show was a quid pro quo, since Quicksilver surely packed the place even on a weeknight. Capitol Records was on the verge of signing Quicksilver, although there debut album would not come out until May 1968.

Quicksilver Messenger Service’s manager was a shrewd Chicagoan named Ron Polte.  Polte was friends with Nick Gravenites and Paul Butterfield and was primarily responsible for the many connections between Chicago and San Francisco musicians.  Polte also had a booking agency called West-Pole. Polte's partner in West-Pole was former Big Brother manager Julius Karpen, who had been supplanted by Albert Grossman (Bob Dylan's manager). West-Pole booked numerous act, including Quicksilver, Congress of Wonders, Freedom Highway, The Sons of Champlin, The Ace of Cups and Phoenix. They also seem to have handled West Coast booking for Albert Grossman's acts, including Big Brother and Electric Flag. 

Congress Of Wonders released their debut album Revolting on Fantasy Records in 1970

Congress Of Wonders were a comedy trio from Berkeley, initially from the UC Berkeley drama department and later part of Berkeley’s Open Theater on College Avenue, a prime spot for what were called “Happenings” (today ‘Performance Art’).  Congress Of Wonders also performed at the Avalon and other rock venues.

Ultimately a duo, Karl Truckload (Howard Kerr) and Winslow Thrill (Richard Rollins) created two Congress of Wonders albums on Fantasy, Revolting (1970) and Sophomoric ('72). Their pieces “Pigeon Park” and “Star Trip”, although charmingly dated now, were staples of San Francisco underground radio at the time. Earl Pillow (Wesley Hind) was the original third member.

Berkeley Barb ad for New Orleans House, October 13, 1967

October l3-14, 1967: New Orleans House, Berkeley, CA Freedom Highway/Congress of Wonders (Friday-Saturday)
Congress Of Wonders, as Berkeley locals, seemed to have enough heft to headline the weekend. They were joined by another West-Pole affiliated band. I believe this was the implicit deal for Ron Polte: Quicksilver packing the house on two weeknights in return for his up-and-coming groups getting booked for the weekend.

Freedom Highway had formed in the Haight Ashbury in 1965, and may have opened for the Buffalo Springfield at the Fillmore in November 1966 (local bands often opened shows yet did not appear on the poster).  By 1967, the group had moved to Marin, and contrary to almost every other San Francisco group, became a power trio influenced by English groups like The Who.  Richie Ray Harris was the guitarist, Scott Inglis played bass and Bruce Brymer played drums. Freedom Highway was under the West Pole management umbrella and lasted until 1970.  In 2002 Switzerland’s RD Records released a CD of Freedom Highway demos called Made In 68.

October 15, 1967 New Orleans House, Berkeley, CA: The Black Messengers (Afro Jazz 5-9pm)/Rock & Blues Jam Session (Musicians Invited 9:30-2 am) (Sunday)
Another informal tradition was started at New Orleans House, namely Sunday jazz shows. Berkeley had no jazz club, and the sort of assistant professor/grad student types who liked jazz probably lived Northside anyway (and they probably still do, but that's another issue). I don't know who was in The Black Messengers, nor exactly what may have constituted "Afro-Jazz." My suspicion was that there was a conga drummer in the band.

The Black Messengers were followed by a jam session. Some musicians must have hosted the jam, but I don't know who. The Sunday jams the next few weeks were hosted by the band Short Yellow.

October 16, 1967 New Orleans House, Berkeley, CA: Short Yellow/The Time Being (Monday)
The "Hoot" or "Guest Night" seems to have disappeared. Within a year, the Freight & Salvage would open a few blocks away, and Hoot Night would reappear on San Pablo Avenue.

The Time Being is unknown to me. Good name, though.

October 17-18, 1967 New Orleans House, Berkeley, CA: Strawberry Jam (Tuesday-Wednesday)
Strawberry Jam is unknown to me. There had been an Oakland band called Strawberry Window that had played New Orleans House earlier in the year. Strawberry Window would change their name to Dandelion Wine, so perhaps this was an intermediate name.

October 20-21, 1967 New Orleans House, Berkeley, CA: The Zuckerman Clavichord/Paul Arnoldi (Friday-Saturday)  
The Zuckerman Clavichord was a local group that local guitarist Bob Zuckerman (in both Motor and later Deacon And The Suprelles) was not a member. They were a trio featuring Jeff Baker on electric clavichord, Geoff Ohlsonn on electric bass and Peter Joseph on drums. They played original songs with vocals, but I don't know what they actually sounded like (they did appear once on KPFA on May 16 1968).

Paul Arnoldi had been a folksinger/bluegrass musician in Cambridge, MA, but he had come to UC Berkeley to get a graduate degree in architecture. He was a songwriter by this time, and he wrote and played in what he called a "Prairie style." 

There were almost no clubs in the Bay Area that booked original rock music, really just New Orleans House, the Matrix in San Francisco and The Poppycock in Palo Alto. But the concert business was booming, so almost every band was booked somewhere during the weekend, making it hard for New Orleans House to get established bands on Friday and Saturday.

There are no Barb listings, nor an ad for the week of October 21-28. I don't read anything into that. Any temporary closure would likely have been announced. I think an advertising deadline was missed, and some regulars played the weekend.

Berkeley Barb ad, October 27, 1967

October 27-28, 1967 New Orleans House, Berkeley, CA: The Zuckerman Clavichord/Paul Arnoldi (Friday-Saturday)
The previous weekend's headliners were booked again.

October 29, 1967 New Orleans House, Berkeley, CA: The Black Messengers (5-9 pm)/Short Yellow and Jam Session (9:30-2:00 am) (Sunday)

October 31-November 1, 1967: New Orleans House, Berkeley, CA Miller Blues Band (Tuesday-Wednesday)
The Steve Miller Band returned to New Orleans House for a final time, playing on Halloween and the night after. They were incorrectly billed under their early '67 name "Miller Blues Band." Steve had dropped the "Blues" part of his name a few months earlier, as the band had broadened their sound. Yet it was appropriate that the last booking at New Orleans House for the Steve Miller Band was under the same umbrella as the first one, as they traveled on to bigger and better things.

The Steve Miller Band had been signed to Capitol, who would send them to London to record their debut album. The classic Children Of The Future would be released in April 1968. The Sailor album followed at the end of '68, after which Boz Scaggs had left the group. Both Boz and the Miller Band went on to staggering success in the 1970s, a long climb from the corner of San Pablo Avenue and Hopkins Street.

Tuesday night was a Halloween Costume Party. The Bay Area loves, loves, loves Halloween, always has, always will. Some locals must have dressed up that night as zombies, or "Ronnie Raygun," and gone out to New Orleans House for Halloween . A decade later, when some of those couples, now married, may have been driving in their Volvo station wagon, hearing "Fly Like An Eagle" or "Lido Shuffle" on the radio, did they recall dancing to Steve and Boz doing "Junior Saw It Happen" and "Baby's Calling Me Home"?

November 2, 1967: New Orleans House, Berkeley, CA Graham Leath Productions (Thursday)
From here on, New Orleans House was once again open on Thursday nights, but closed on Mondays. The "Hoots" were probably passe, and not a draw for a rock club. Interestingly, however, New Orleans House booked a dance troupe on Thursday nights. 

A unique feature of Berkeley rock clubs in the 1960s was how regularly they booked theater and dance troupes. Now, it was common for rock clubs everywhere to book a little jazz, folk and blues on off nights. There weren't always enough rock bands to go around, particularly in the '60s, and rock fans usually had some residual interest in other music, so it made sense to have other genres on weeknights. But theater and dance was something different entirely. Yet New Orleans House, along with The Steppenwolf and later Mandrake's (both several blocks South on San Pablo Avenue) regularly booked theater and dance. These troupes were usually "progressive," and sometimes political, not just performing old musicals, but it wasn't rock nor even music.

In 1967, New Orleans House regularly booked a troupe called the Graham Leath dancers. The Graham Leath company was a collaboration between John Graham and A.A. Leath. I won't try and go into a dance rabbit hole, but Leath was apparently a unique and independent creative force, just like the rock bands carving out their own musical futures. A.A. Leath had been part of Anna Halprin's dance school, who had her own deep ties to the Haight-Ashbury arts community.  His dance company partnership with John Graham seems to have been formally presented here as Graham Leath Productions. New Orleans House had booked the dance company regularly on Thursday nights throughout the Spring. After a hiatus, Graham Leath Productions returned to perform many Thursdays in the Fall of 1967.

Berkeley Barb ad for New Orleans House, November 3, 1967

November 3-4, 1967 New Orleans House, Berkeley, CA:Charlie Musselwhite Band (Friday-Saturday)
Harmonica player Charlie Musselwhite had led a blues band in Chicago, sharing the front line with guitarist Harvey Mandel. Both were white, but they had a black rhythm section, similar to their friends in The Butterfield Blues Band. Musselwhite had been born in Mississippi and had then moved to Memphis, and ultimately Chicago.  He was one of a small number of white musicians in Chicago (including Nick Gravenites, Paul Butterfield, Mike Bloomfield, Elvin Bishop and a few others) who stumbled onto the blues scene by themselves.

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

By the end of 1967, Harvey Mandel had moved on to his own thriving musical career, but Musselwhite had become a regular performer in the Bay Area. I believe Musselwhite's guitarist at this time was young Tim Kaihatsu, who would go on to have an excellent career as a blues musician in the Bay Area.

November 5, 1967 New Orleans House, Berkeley, CA: The Black Messengers (5-9pm)/Short Yellow & Guest Musicians (9:30-2am) (Sunday)

November 7-8, 1967 New Orleans House, Berkeley, CA: Hair (Tuesday-Wednesday)
The Barb ad says “The Darby Slick Band,” to distinguish this from the then-current Broadway musical. Hair was a short-lived San Francisco band featuring singer Jean Piersol and guitarist Darby Slick.  Slick had been in The Great Society (his brother had married the former Grace Wing) and had co-written “Somebody To Love.” Also in the band were saxophonist Terry Clements, bassist Bing Nathan and drummer John Oxendine (there was apparently another member named Henry Salas, too).

November 9, 1967 New Orleans House, Berkeley, CA: Graham Leath Productions (Thursday)

Berkeley Barb ad for New Orleans House, November 10, 1967

November 10-11, 1967 New Orleans House, Berkeley, CA Morning Glory/Short Yellow (Friday-Saturday)

November 12, 1967 New Orleans House, Berkeley, CA: The Black Messengers (5-9pm)/Short Yellow & Guest Musicians (9:30-2am) (Sunday)

November 14-15, 1967 New Orleans House, Berkeley, CA: Liberty Street (Tuesday-Wednesday)
Liberty Street was so named because the group lived on Liberty Street in San Francisco.  One member (bassist Mike Friedman) had been in a Berkeley High School group called The Answer.

November 16, 1967 New Orleans House, Berkeley, CA: Graham Leath Productions (Thursday)

Berkeley Barb ad for New Orleans House, November 17, 1967

November 17-18, 1967 New Orleans House, Berkeley, CA: Gale Garnett & The Gentle Reign/The Black Messengers (Friday-Saturday)
Gale Garnett was born in New Zealand, and after a variety of family difficulties her family re-settled in Canada at age 11.   She moved to New York and became an actress, and then moved to California.  While Garnett guest starred in numerous TV shows, she also had a folk-singing career. She had a 1964 hit called “We'll Sing In The Sunshine,’ for which she won a Grammy.  She mostly focused on her singing career in the 60s and was primarily located in the Bay Area. Garnett was talented at both singing and acting, but of course, the fact that she was a knockout helped a lot.

An Audience with The King Of Wands, by Gale Garnett & Gentle Reign. Their debut folk-rock album would be released by Columbia in 1968.

In late 1967, Garnett moved from folk music to "folk-rock," leading the group Gentle Reign. Their initial 1968 album on Columbia would be called An Audience With The King Of Wands. The 1969 followup was Sausalito Heliport. The Sausalito Heliport was a failed business venture--private helicopters turned out not to be a thing, sadly--but many Fillmore bands rehearsed there, including the Grateful Dead. In a heliport, no one cares if you are a loud rock band.  

In the 1970s Garnett returned to Canada and focused on acting. She remains a professional actress with a wide variety of credits (she appeared in the movie My Big Fat Greek Wedding, to name just one).

November 19, 1967 New Orleans House, Berkeley, CA: The Black Messengers (5-9pm)/Short Yellow & Jam (9:30-2am) (Sunday)

November 21-22, 1967 New Orleans House, Berkeley, CA: Charles Musselwhite Band/Congress of Wonders (Tuesday-Wednesday)

November 23-25, 1967 New Orleans House, Berkeley, CA: Hair/Congress of Wonders (Thursday-Saturday)
The band Hair did not last song. Darby Slick and singer Jean Piersol would go to Chicago, where Darby would produce two Piersol singles for Cadet Concept Records. Note that the bands are booked for Thursday night, which was Thanksgiving. Berkeley in the 60s had a lot of people far from home, so going out on Thanksgiving was well within the norm.

November 27-29, 1967: New Orleans House, Berkeley, CA: Youngbloods/Paul Arnoldi (Tuesday-Thursday)
The Youngbloods were a Boston and New York folk-rock band in the mode of the Lovin' Spoonful.  Lead singer and bassist Jesse Colin Young (nee Perry Miller from Queens) had released two solo albums by 1966, one of which had been called Young Blood.  The band had now been signed to RCA, and they had released their first album as a band for RCA in early 1967. In June 1967, Young and the rest of the band (singer-guitarist Jerry Corbitt, pianist/dobro player Lowell "Banana" Levenger and drummer Joe Bauer) were booked for six weeks on the West Coast. It went so well that the Youngbloods moved to Marin County in September 1967. Around that time, RCA released Earth Music, the Youngbloods' second album.

The early Youngbloods were much more bluesy than their lighter, better known work a few years later would suggest. It is a little-noticed fact that the Youngbloods' famous recording of Dino Valenti’s “Get Together” had actually appeared on the first RCA album in late 1966.  It was a modest hit single, but did not attract much attention until 1969. Valenti was well known around the scene, and both The We Five and The Jefferson Airplane (among others) had already recorded the song. While they were booked for many weekend concerts up and down the Coast, the Youngbloods often found time to play weeknight gigs at clubs like New Orleans House and the Poppycock.

Berkeley Barb ad for New Orleans House, December 1, 1967

December 1, 1967 New Orleans House, Berkeley, CA: Ace of Cups,/”Xmas Carol” by Congress of Wonders (Friday)
The Ace Of Cups had formed in San Francisco in the Summer of 1967.   While they played fine original music and had well-crafted songs with excellent harmonies, they are mainly remembered for being the only all-woman group on the Fillmore scene.  By late 1967, Ace Of Cups were managed by Ron Polte and booked by West Pole. The band lived in Tam Valley in Marin.  Denise Kaufman, the primary songwriter in the group, had gone to Berkeley High with the son of New Orleans House owner Kitty Griffin.

Kaufman, however, despite only being in her early 20s, had already had a remarkable history. Soon after high school, she had joined up with Ken Kesey’s gang of Merry Pranksters (she appears in Tom Wolfe’s Electric Kool-Aid Acid Test as ‘Mary Microgram’).  After breaking up with boyfriend Jann Wenner (future Rolling Stone publisher), she moved to the San Bruno Mountains and joined the remains of a group called The Frantics.  

The Frantics changed their name to Luminous Marsh Gas and played some obscure joints on the El Camino Real in the South Bay.  Kaufman sang for the group, as well as playing some guitar and harmonica. The other members were all from Seattle:  guitarist Jerry Miller, drummer Don Stevenson and organist Chuck Schoening.  Schoening subsequently joined a different commune in the Mountains and became part of the group Anonymous Artists of America.  Miller and Stevenson went on to form the legendary Moby Grape  (the entire story is detailed in Patrick Lundborg’s fine article in Shindig #7).

It's Bad For You But Buy It, the 2003 cd on Big Beat of demos and live tracks recorded by Ace Of Cups in the 1960s

West-Pole booked Ace Of Cups all over the Bay Area in the 1960s, usually paired with other West-Pole bands (as they were this night in Berkeley). Polte was too coy with record companies, however, and Ace of Cups was never signed. Despite their local popularity and substantial talent, the Ace of Cups never recorded while they were still an active band.  Good taste won out, however, and a scant 36 years after their formation, Big Beat released a fine CD of the group’s demos and live recordings in 2003. Just 15 years later, Ace Of Cups released their first studio album and commenced a world tour (if your world is Marin County). 

December 2, 1967 New Orleans House, Berkeley, CA: Ace of Cups/Savage Resurrection (Saturday)
Savage Resurrection were a mostly teenage band from nearby Richmond.  They would release an album on Mercury in 1968 (subsequently re-released as a CD on Mod Lang in 1998).

December 3, 1967 New Orleans House, Berkeley, CA: The Black Messengers (5-9pm)/Short Yellow (9:30) (Sunday)

December 5-6, 1967 New Orleans House, Berkeley, CA: Clover/The Natural 7 (Tuesday-Wednesday)
The New Orleans House was becoming not only a regular gig for East Bay bands, but for Marin County groups as well.  While this was partially a result of the profusion of West-Pole groups (while West-Pole offices were on Martha Street in San Francisco, most of their bands lived in Marin), it was also a function of the fact that bucolic Marin had very few paying gigs.  A Mill Valley band like Clover could easily exhaust what few gigs there were in Marin County, but they were not yet established enough to be San Francisco regulars.

Clover was a rarity in 1967, a Marin band that whose members were actually from Marin County. In early 1967, the Mill Valley band Tiny Hearing Aid Company had featured John McFee on lead guitar, Alex Call on guitar and lead vocals, Bob McFee on bass and Mitch Howie on drums. In mid-67, Bob McFee had moved over to become lead guitarist in Flying Circus, another Mill Valley band. John Ciambotti, formerly of The Outfit, had joined, Tiny Hearing Aid became Clover. The Outfit weren't well-known, but they had rehearsed at the Straight Theater, so they were well hooked into the SF rock underground. Clover's debut was apparently July 4, 1967. 

Clover had a long, complicated career. Its members were mostly successful, but not while they were in Clover. Throughout the band's 10 years of existence, they played Berkeley as much as anywhere, but they started at New Orleans House.

The Natural 7 is unknown to me.

December 7, 1967 New Orleans House, Berkeley, CA: Graham Leath Productions (Thursday)

December 8-9, 1967 New Orleans House, Berkeley, CA: The Loading Zone/Robert Baker (Friday-Saturday)
The Loading Zone had been Oakland's first export to the Fillmore scene. The band had formed out of the ashes of a Berkeley band called The Marbles. In 1966, The Marbles had fallen apart, so they had merged with the remnants of the jazzy Tom Paul Trio. Guitarists Steve Dowler and Pete Shapiro shared the front line with organist and singer Paul Fauerso. Loading Zone was the first of the  ballroom bands to merge psychedelic rock with R&B, with long feedback-drenched solos on top of a funky beat. Ballroom crowds loved it, and Loading Zone showed promoters and musicians that the sound would work. The Zone kicked open the door that was walked through by Sly And The Family Stone and then Tower Of Power. Loading Zone's unheralded history is complex, but we have looked at it at great length.

The Loading Zone often had a horn section that played with them, although in smaller clubs there was often no room for them on stage.  The players were probably Todd Anderson on tenor sax and Pat O’Hara on trombone.  Their roadie, high school student Steve Kupka, played baritone sax when there was room on the stage, and if he was allowed into the venue. Todd Anderson shared vocals with organist Paul Fauerso. At one point in late '67 (the exact chronology is unclear, even to us) they had a female vocalist (possibly named Suzanne Lewis), but she did not last.

Robert Baker was a comedian.

December 10, 1967 New Orleans House, Berkeley, CA: The Black Messengers (5-9pm)/Short Yellow (9:30) (Sunday)

December 12-13, 1967 New Orleans House, Berkeley, CA: Ball-Point Banana (Tuesday-Wednesday)
Ball-Point Banana is unknown to me.

December 14, 1967 New Orleans House, Berkeley, CA: Graham Leath Productions (Thursday)

December 15-16, 1967 New Orleans House, Berkeley, CA: Morning Glory/T&A Rhythm & Blues Band (Friday-Saturday)
Supporting the Morning Glory this weekend were the oddly-named T&A Rhythm & Blues Band. The T&A Rhythm and Blues Band featured bassist John Kahn, saxophonist Ron Stallings, guitarist Bob Jones and drummer John Chambers. Stallings and Jones sang. Bob Jones had been in the folk-rock group the We Five ("You Were On My Mind"), and Chambers had been their drummer. Stallings was also an actor, and had been a leading player in the San Francisco Mime Troupe.  Kahn had come to the San Francisco Conservatory in Fall '66 to receive formal training in the bass. A roommate, however (probably Chuck Schoning), persuaded him to rent an electric and play soul music in Top 40 clubs. Somewhere--probably a jam--Kahn had met Jones.

The silly name was just a goof on absurd psychedelic band names. The group mostly played soul music, like Sam & Dave songs. The band later evolved into the more bluesy Memory Pain. The band lived together, and sometimes when Kahn would go to jam sessions, he would encourage Jones to bring John Chambers' drums, even though he had no training as a drummer. Ultimately, Bob Jones was hired by Mike Bloomfield as a drummer, so in effect Jones was, in his words "Kahned into drumming."

December 17, 1967 New Orleans House, Berkeley, CA: The Black Messengers (5-9pm)/Short Yellow (9:30) (Sunday)

December 19-20, 1967 New Orleans House, Berkeley, CA: Celestial Hysteria (Tuesday-Wednesday)
Celestial Hysteria was a Berkeley band, and they had played the Straight Theater and the North Beach club DinoCarlo's, among other venues.  The organist was John Barsotti, later a Professor of Broadcast Arts and Communications at San Francisco State University. No doubt Professor Barsotti is a relative of the many Berkeley Barsotti’s who played a critical role in the Bill Graham Presents organization.

According to Professor Barsotti (in an email to Gray Newell):

Celestial Hysteria had a male lead singer named Greg Renfro who later left the band and was replaced with a female singer named Mary Lou Hazelwood.  The band also consisted of Buddy Greer on traps, Mark Buvelot on Bass, John Formosa and Jim Logue on Guitar (later a guy named John Allen also on guitar), and I played Hammond organ.  We recorded and played shows from 1967-69…  I believe I am the only member of the band that stayed in the music Industry.

There was apparently some record company interest in 1968, and the band recorded some demos, but the band members were minors and their parents refused to sign a contract, so the deal went no further. 

December 21, 1967 New Orleans House, Berkeley, CA: Flamin' Groovies (Thursday)
December 22-23, 1967 New Orleans House, Berkeley, CA: Flamin' Groovies/Country Weather (Friday-Saturday)
Country Weather was a Walnut Creek (Contra Costa County) group, from just over the Berkeley Hills. They had originally been called The Virtues, but soon after lead guitarist Greg Douglass joined, they changed their name to Country Weather. This was probably one of their earlier gigs as Country Weather.

Country Weather never released a record when they were together from 1967-73   Since the group was familiar from many posters from 1968 onward, Country Weather became one of the great "lost" San Francisco groups of the 1960s.  Ultimately, the group reformed in the 21st century and still performs occasionally.  RD Records released a vinyl edition of some of their 60s demos and live performances.

Greg Douglass became a successful guitarist in the Bay Area, best known for co-writing “Jungle Love” for Steve Miller, with whom he played for many years. Douglass was also a member of Hot Tuna for one brief, sensational tour in Spring 1975.

Berkeley Barb ad for New Orleans House, December 29, 1967

December 29-31, 1967 New Orleans House, Berkeley, CA Charlie Musselwhite Blues Band/Congress of Wonders (Friday-Sunday)
New Orleans House first year as a rock club ended with some regular performers, as Charlie Musselwhite and Congress Of Wonders had been booked there many times. The live rock market was booming, in Berkeley as well as everywhere else, and opportunities looked promising for 1968.

[In the future, since these posts were on Ross' blog, they may only be accessible on a Wayback Machine]

For the previous post in the '67 Berkeley series (Berkeley concerts, July-December 1967), see here

1505 San Pablo Avenue, Berkeley, CA: Performers List January-March 1967 ('67 Berkeley I)

1505 San Pablo Avenue, Berkeley, CA: Performers List April-June 1967 ('67 Berkeley IV)

1505 San Pablo Avenue, Berkeley, CA: Performers List July-September 1967 ('67 Berkeley VII)

For the Berkeley, Oakland and East Bay Rock History Navigation Tracker, see here

Chicken On A Unicycle

 

 

 

 

 

2504 San Pablo Avenue, Berkeley, CA: The Long Branch Performance History October-December 1973 (Long Branch III)

The Long Branch, 2504 San Pablo in Berkeley, some time in the 1970s

By the end of 1973, live rock music was booming, and as rock audiences aged, rock nightclubs became more viable. Once rock fans were of drinking age, spending too much time in a large, dark cavern with thousands or tens of thousands people didn't seem as rockin' as relaxing with a cold drink in a place where you could actually see the stage. If you were on a date, or hoping to meet someone, the attraction of a rock club was even more pronounced. If two people liked the same band, or the same kind of music, you were both halfway there to getting together.  Rock nightclubs started to thrive in almost every big city and near every college campus. Berkeley was no exception. 

The Long Branch, at 2504 San Pablo Avenue (at Dwight), had opened in May 1971. The venue had been a music club going back to 1962. As the Cabale Creamery, it had been Berkeley's essential stop for traveling folk musicians. It was at the Cabale where Jerry Garcia saw the Jim Kweskin Jug Band, and the Cabale was a regular date for Clarence White and the Kentucky Colonels, too. Later, in early 1966, as the Questing Beast, 2504 San Pablo was the place where Country Joe McDonald and Barry Melton first plugged in to amplifiers as Country Joe & The Fish. Later still, it became Tito's (1967-68) and then Babylon (1969-70). In 1971, former Avalon Ballroom staffer Malcolm Williams took over the venue, doubled the capacity to 350 and re-opened it as the Long Branch Saloon. I wrote a post about the club's first seven months in 1971, and then another post about acts playing the first half of 1972. By the end of 1973, the Long Branch was well-established on the Berkeley rock scene, booking bands six or seven nights a week. 

Now, in the East Bay, the top rock night club was the Keystone Berkeley, right next to the University of California campus. The Keystone was right in downtown Berkeley at 2119 University Avenue (at Shattuck Avenue). On weekends, the Keystone booked popular local acts like Jerry Garcia, Elvin Bishop and Tower Of Power, and touring acts as well, plu some smaller acts on weeknights. Keystone drew crowds from all over Berkeley and Oakland, and even Marin and San Francisco. Parking wasn't difficult in downtown Berkeley--amazing as that may seem today--so the club attracted a wide audience. 

The Long Branch, meanwhile, was 2 miles West and South of campus. The Branch drew mostly from the neighborhoods near the club, and it was as much a hangout as a destination. We have a good picture of what was happening at the club then because former Long Branch publicist Lydia Frazier Bosley was kind enough to send scans of long lost flyers. Frazier herself made the flyers for the Long Branch, and helped distribute them around the East Bay. With these, we can get a great look at who played the club in 1973 and '74, and how that defined the economics of the scene at the time

Since the same bands played the Long Branch over and over--that was the whole point--I am just focusing on the last three months of 1973, to avoid needless repetition. Anyone with additional information, insights, corrections and real or imagined memories, please include them in the Comments. Flashbacks encouraged. 

Scan of the back of a Long Branch flyer, October 1973

The Long Branch was a hangout, but a hangout that booked rock bands and wanted its patrons to dance. But it mainly wanted them to hang out. Admission was cheap, and often free, and beer was often cheap, too. The goal was to get the locals to come early and stay late. They would likely meet people who lived nearby, and make friends, and maybe dance and perhaps even get married. The back of one of the flyers (above) explains the attractions of the Long Branch:

Howdy...we'd like to turn you on to the LONG BRANCH Saloon, Berkeley's Hot Nite Spot famed for it's FINE ROCK & ROLL and Good Vibes

The Club opens at 8pm Tues-Sun, and if you come before 9 pm, the admission is half-price. Also on Tues-Wed-Thurs-Sun, BEER will cost 10c a glass between 8 and 9pm.

Since our fuss ball games are so popular we have plans to expand and add some new games like POOL, PONG & AIR HOCKEY.

Meanwhile, as always we'll entice you onto the DANCE floor with some to the hottest young bands around. Really the MUSIC is outstanding, terrific and wonderful.

The LONG BRANCH is a great place to hang out, meet friends, get high and treat yourself to PRIMO ROCK & ROLL. Come on down and check it out.

THE LONG BRANCH call us to find out what's happening
2504 SAN PABLO at DWIGHT 848-9696

The doors usually opened at 8:00pm at the Long Branch, but the Examiner and other papers reported the bands as starting at 9:30. That meant a lot of people were there only to hang out. Since many nights were free admission, or close to it, the band wasn't necessarily the main attraction for every patron.

The Long Branch had a very different approach to booking than other contemporary Bay Area rock clubs. Clubs like the Keystone Berkeley typically had the most popular local acts once a month, a lot of touring bands coming through, and filled in the other dates with more local bands. The Long Branch, however, pretty much had the same bands every week. There were three "house bands" that played almost every week (Earth Quake, The Rockets and Grayson Street), and new bands added to the mix would play the same night for an entire month. As far as I know, the regular Long Branch bands all had large repertoires, typically including a lot of cover versions, so their fans didn't hear the same set every week.

October, 1973 flyer for The Long Branch, 2504 San Pablo Avenue (designed by and courtesy of Lydia Frazier Bosley). Note that there is no Area Code for the phone number, because Berkeley, San Francisco and the entire Bay Area North of San Jose used the 415 Area Code.

October 1, 1973 Long Branch, Berkeley, CA: The Rockets (Sunday)
The Rockets had been playing the Long Branch since January 1972, and mostly just played the club. Lead singer Eddie Mahoney was a transplanted NYPD cop trainee. Guitarist Dan Alexander, bassist Chris Sohlberg and drummer John Cuniberti were all from Berkeley. All of the Rockets went on to some success in the music industry. Cuniberti and Alexander were successful on the production side, Sohlberg played with many artists, and Mahoney went on to huge success as Eddie Money ("Two Tickets To Paradise," "Baby, Hold On To Me").

October 3, 1973 Long Branch, Berkeley, CA: Audition Night (Wednesday)
The calendar says "surprise night," but Wednesdays was the night to give new bands a chance to play. The Long Branch wasn't high on the Bay Area rock food chain, and many bands got their first break at the Branch. Keep in mind that it was all but impossible for penniless new bands to make a listenable tape, even of a live performance, and they generally had to lug their gear to a club and actually play a set in order to get heard by a club owner.

October 4, 1973 Long Branch, Berkeley, CA: Asleep At The Wheel/Alice Stuart & Snake (Thursday)
October 5, 1973 Long Branch, Berkeley, CA: Asleep At The Wheel/Clover (Friday)
Asleep At The Wheel was a hippie Western Swing band from the DC area, based in Paw Paw, WV. In Fall 1971, they had opened in West Virginia for Commander Cody and His Lost Planet Airmen, perhaps the only band remotely like them, and the Cody crew encouraged them to move to Berkeley. On October 8 & 9, 1971, Asleep At The Wheel had opened for Cody and the Airmen at the Long Branch. By December 10, 1971, they were headlining the Branch. Asleep At The Wheel had played relentlessly throughout the Bay Area ever since, building a crowd in all the clubs around.

By 1973, Asleep At The Wheel had released their first album, Comin' Right At Ya (on United Artists). The Wheel was managed by Joe Kerr, who also managed Cody and the New Riders of The Purple Sage, giving him a big chunk of the San Francisco country-rock sound.

Alice Stuart and Snake's Believing album (Fantasy Records 1972)

Alice Stuart was a blues guitarist and singer, originally from Seattle, who had moved to the Bay Area in 1964. Initially a solo, she had "gone electric" around 1970, and formed her trio Alice Stuart & Snake. Drummer Bob Jones (ex-We Five, ex-Mike Bloomfield, ex-Southern Comfort) shared vocals with Stuart, and bassist Karl Sevareid completed the band. In 1972, Fantasy had released the Believing album. Fantasy released a single in 1973 (with tracks from the album), and Snake stayed together until at least 1974, but the band was never able to get much traction. Nonetheless, Stuart continued a successful solo career well into the 21st century. 

Joe Kerr's business card when he managed Clover, ca 1973

Clover had been founded in Mill Valley in 1969, an outgrowth of the band Tiny Hearing Aid Company. As a quartet, Clover had released two albums on Fantasy in 1970 and '71. Fantasy had dropped them, but the band had since added two additional members. By this time, Clover had Alex Call as the main lead singer, Huey (Cregg) Louis on vocals and harmonica, John McFee on lead and pedal steel guitar, Sean Hopper on keyboards, John Ciambotti on bass and Mickey Shine on drums. Joe Kerr also managed Clover.

Why Don't You Try Me, Earth Quake's second album on A&M Records, released in 1972

October 6, 1973 Long Branch, Berkeley, CA: Earth Quake (Saturday)
Earth Quake, from Berkeley, were the ultimate Long Branch band. The band had played the opening night of the Long Branch on May 28, 1971. Originally, they had been a Berkeley High band called Purple Earthquake. The members of Earth Quake had met Long Branch proprietor Malcolm Williams back in the 1960s, when he had been promoting shows at Maple Hall in nearby San Pablo. By 1971, they had been a quartet, with Robbie Dunbar on lead guitar, lead vocalist John Doukas, bassist Stan Miller and drummer Steve Nelson. Earth Quake would release their debut album on A&M Records sometime that year. Earth Quake would play the Long Branch at least every month for five years, and in many cases every Friday night.

In contrast to most Bay Area bands, who typically played longer songs in an improvised blues style, Earth Quake had been inspired by British Invasion bands like The Who and Small Faces. In 1972, A&M Records had released the second Earth Quake album, Why Don't You Try Me. The album didn't go anywhere, and A&M dropped the band. Besides their original material, however, Earth Quake had a huge trove of relatively obscure covers (like The Easybeats "Friday On My Mind"), so they were still endlessly engaging to their local fans in Berkeley. At least some of the members of Earth Quake, possibly all of them, lived in Berkeley. Earth Quake were the "house band" at the Long Branch if anyone was.

Once the band had been dropped by A&M, Earth Quake's imaginative manager Mathew "King" Kaufman had the idea that they should release their own records. Although against any kind of record business orthodoxy at the time, Kaufman created Beserkley Records, and started releasing 45 rpm singles on a shoestring. The quixotic label's first production was a single of "Mr Security," by Earth Quake, released on October 11, 1973. Unlikely as it may have seemed, and although it took a few years, Beserkley Records turned out to be hugely successful. Kaufman anticipated the punk rock/Indy label surge years before it happened elsewhere.

Grayson Street band, ca Fall 1973 (promo photo from December 23 '73 Examiner)

October 7, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday)
Grayson Street was named after a short street in Berkeley that ran from Aquatic Park to San Pablo Avenue, terminating four blocks south of Dwight Way and San Pablo, the site of the Long Branch. Grayson Street played the Branch just about every week from 1972 through 1975, sometimes more than once a week. They, too, were a house band.  

Grayson Street was fronted by saxophonist Terry Hanck and harmonica player Rick Kellogg, both of whom sang, and played in a funky blues style that was good for dancing. They had been formed before 1972, but their first advertised show at the Long Branch was June 24, 1972. In late '72, Grayson Street had included Berkeley High's Lenny Pickett, previously in the band Linx. By 1973, however, Pickett had joined Tower of Power. Grayson Street was full of experienced musicians. Guitarist Tim Kaihatsu and organist Clay Cotton had both played extensively with Charlie Musselwhite and other blues musicians. Kellogg had played harmonica for Elvin Bishop for a while, and Kellogg and bassist John Knight had been in Linx (with Pickett). Drummer John Otis rounded out the band.

Also in the band in Fall '73 was singer Jo Baker, who had been in The Elvin Bishop Group from 1970-73. Bishop and Baker had been a couple, having met a jam session in Boston in 1967 (Baker had been in the group Clouds, and Bishop had been with the Butterfield Blues Band). In mid-1973, Baker and Bishop had split up personally and musically. 

Grayson Street pretty much confined its performances to the East Bay, but most of the members went on to thriving musical careers. Terry Hanck would tour with Elvin Bishop for many years, Kaihatsu (1945-2014) would tour and record with Robert Cray, Clay Cotton was a popular club attraction in the Bay Area for decades and Jo Baker would join the revived Stoneground in early 1974.

October 10, 1973 Long Branch, Berkeley, CA: Audition Night (Wednesday) 

October 11, 1973 Long Branch, Berkeley, CA: Rubin & The Rubinoos (Thursday)
Rubin & The Rubinoos were led by singer (and rhythm guitarist) Jon Rubin, and guitarist Tommy Dunbar. Tommy was the younger brother of Earthquake's Robbie Dunbar, so it was no surprise they were getting a chance at the Branch.  The Rubinoos played short, poppy rock songs with hooks and harmonies, completely at odds with any other Berkeley bands at that time. 

The Modern Lovers album Live At The Long Branch, released in 1998, and recorded at the Branch on April 21, 1972. The Modern Lovers were in California attempting to record an album for Warners.

October 12, 1973 Long Branch, Berkeley, CA: Earth Quake/The Modern Lovers (Friday)
The Modern Lovers were from Boston, and their sound was modeled on the Velvet Underground. They had been signed by Warner Brothers, and in early '72 the label had flown them out to Los Angeles to record demos with John Cale. Thus the Modern Lovers had played a show at the Long Branch on April 21, 1972, opening for Earth Quake, one of their few shows outside of the Boston area (a recording of the show was released in 1998). The Modern Lovers at this time were a quartet, with songwriter Jonathan Richman on guitar and vocals, future Talking Head Jerry Harrison on organ, Ernie Brooks on bass and drummer Dave Robinson (later in The Cars).

Richman became well-known for his lively, innocent acoustic sound, but this version of the Modern Lovers was dark and loud. Warner Brothers had flown the band back out to LA in 1973 to record more demos (which were later released), but the Modern Lovers never managed to complete an album for the label. Ultimately Richman would achieve international success after he moved to Berkeley and recorded for Beserkely Records, the label started by Earth Quake's manager.

October 13, 1973 Long Branch, Berkeley, CA: The Rockets/The Modern Lovers (Saturday)
On Saturday night, the Modern Lovers opened for The Rockets. Jonathan Richman opening for Eddie Money--that didn't happen again. Must have been a memorably bizarre evening.

October 14, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday)

October 16, 1973 Long Branch, Berkeley, CA: Rubin & The Rubinoos (Tuesday)

October 17, 1973 Long Branch, Berkeley, CA: Audition Night (Wednesday) 

October 18, 1973 Long Branch, Berkeley, CA: Off The Wall (Thursday)
Off The Wall are unknown to me. 

Good N Cheap, Eggs Over Easy (A&M, 1972)

October 19, 1973 Long Branch, Berkeley, CA: Alice Stuart & Snake/Eggs Over Easy (Friday)
Opening act Eggs Over Easy featured three New Yorkers, two of whom (guitarist Jack O'Hara and pianist Austin De Lone) had met in Berkeley in 1970. They had released one album for A&M in 1972, Good N' Cheap. Most people had not (nor have not) heard the album. Nonetheless, Eggs Over Easy played a significant role in the history of English rock, and not by coincidence, and their Wikipedia entry is well-deserved.

DeLone and O'Hara had returned to New York in 1970, where they met Brien Hopkins and formed Eggs Over Easy as a no-drummer trio (all three played various instruments). Their manager had English connections, so when the band was signed they went to record at Olympic Studios in Barnes, London. Recording was completed by January 1971. There were management issues, however, and they were advised to stay in London while it got sorted. Eggs Over Easy played a few college gigs (with ex-Animal John Steel on drums). The trio took a house in Kentish Town, in North London, near a large pub called The Tally Ho.

The Tally-Ho had a "jazz-only" policy for performers, a common restriction of London Pubs at the time. Eggs Over Easy, used to playing in bars in the States, persuaded the Tally Ho to let them perform. They debuted at the Tally Ho in May 1971 (with Steel on drums), and started to draw large crowds. Ultimately they were playing three nights and Sunday afternoon at the Tally Ho, and drawing huge crowds. Nick Lowe and other members of his band (Brinsley Schwarz) regularly joined them on stage. Eggs Over Easy single-handedly invented "Pub Rock," and a wave of groups like Brinsley Schwarz followed them throughout England. Eggs Over Easy became a sort of underground sensation, but the band played their last show in England on November 7, 1971

Ultimately Eggs Over Easy's album recorded in London was never released, and the band returned to the States. Their debut A&M album included new recordings of what they had done in England. In 1973, they returned to the Bay Area, and Eggs Over Easy toured the US with major bands (like The Yes and The Eagles), but never got traction. The band struggled on until 1981, but despite their legendary status they never got any honor in their own country.

October 20, 1973 Long Branch, Berkeley, CA: Earth Quake/Rubinoos (Saturday)
Rubin & The Rubinoos would shorten their name to just The Rubinoos by the end of the year.

October 21, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday)

October 23, 1973 Long Branch, Berkeley, CA: Rubin & The Rubinoos (Tuesday)

October 24, 1973 Long Branch, Berkeley, CA: Audition Night (Wednesday) 

October 25, 1973 Long Branch, Berkeley, CA: Swan (Thursday)
Swan are unknown to me.  

October 26, 1973 Long Branch, Berkeley, CA: Perry And The Pumpers (Friday)
Perry And The Pumpers was a blues band led by harmonica player Perry Welsh. They often backed up touring blues musicians. Welsh was from Cedar Rapids, IA, and had moved to San Francisco in 1967. He was friendly with another Iowa transplant, organist Stephen Miller. Miller had been in the band Linn County in the 60s, and his organ anchored the Elvin Bishop Group from 1970-73. Welsh recorded with Bishop and Miller on two Bishop Group albums (1970's Feel It and 1972's Rock My Soul).

Bishop sat in with Perry And The Pumpers on occasion. As far as I know, some members of Perry And The Pumpers ended up in the 1974 edition of the Elvin Bishop Group, including guitarist Johnny Vernazza, pianist Phil Aaberg and bassist Fly Brooks, while Welsh and Stephen Miller returned to Iowa.

October 27, 1973 Long Branch, Berkeley, CA: Dave Brown Resurrection/Big Art and The Trashmasters (Saturday)
Both Dave Brown Resurrection and Big Art and The Trashmasters are unknown to me. There was a local musician (a bass player and producer) named Dave Brown, but I don't know if this was his band. From peripheral evidence I think The Trashmasters were a sort of Long Branch All-Stars group from other "house" bands. "Big Art's" was also the name of a Berkeley club in the basement of LaVal's Pizza (near Hearst & Euclid, on Northside).

October 28, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday)

October 30, 1973 Long Branch, Berkeley, CA: Rubin & The Rubinoos (Tuesday)

October 31, 1973 Long Branch, Berkeley, CA: Earth Quake/Rockets (Wednesday) 3rd Annual Hootchie Kootchie Ball
Halloween was always a Big Deal in Berkeley, so it's no surprise that two of the house bands played it.

November 1973 flyer for The Long Branch at 2504 San Pablo Avenue in Berkeley (flyer designed by and courtesy of Lydia Frazier Bosley)

November 1, 1973 Long Branch, Berkeley, CA: Chains (Thursday) free
Chains are unknown to me. 

November 2, 1973 Long Branch, Berkeley, CA: Grayson Street (Friday)

November 3, 1973 Long Branch, Berkeley, CA: Copperhead/Earth Quake (Saturday)
Copperhead had been formed in late 1971 by ex-Quicksilver Messenger Service guitarist John Cipollina. They had gone through a number of personnel changes, but by mid-1972 the lineup had stabilized. Cippolina was joined by pianist and singer Jim McPherson (ex-Stained Glass), who was the principal songwriter, guitarist Gary Phillipet, bassist Hutch Hutchinson and drummer David Weber. The band had a harder sound than Quicksilver, with more of an R&B feel. Columbia records signed the band, and they had released their debut album in Spring 1973. Copperhead played all the Bay Area clubs, but they had not yet toured Nationally.

Unfortunately, Clive Davis was pushed out as CEO of Columbia Records in the Summer of 1973. Many of the Bay Area bands signed by Clive, including Copperhead (as well as the Sons Of Champlin, the Rowan Brothers and David Rea) were dumped by the label. Copperhead had a local following in the clubs, but their album was left high and dry. They would break up by the end of the year.

November 4, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday)

November 5, 1973 Long Branch, Berkeley, CA: Rockets (Monday) free
The fact that the flyer lists some weeknight shows as free is an indicator that the principal weeknight business of the Long Branch was selling beer to the locals. 

November 6, 1973 Long Branch, Berkeley, CA: Rubin & The Rubinoos (Tuesday)

November 7, 1973 Long Branch, Berkeley, CA: Swan (Wednesday)

November 8, 1973 Long Branch, Berkeley, CA: Chains (Thursday) free

The Tubes at Winterland ca 1974, with Fee Waybill as Quay Lewd, probably singing "White Punks On Dope"

November 9-10, 1973 Long Branch, Berkeley, CA: The Tubes/Spotlight (Friday-Saturday)
The Tubes had only formed around March, 1972. Most of the band members were from Phoenix, AZ. Initially, guitarist Bill Spooner, keyboard player Vince Welnick and bassist Rick Andersen had been in a popular Phoenix band called The Beans. The Beans had moved to San Francisco in Fall 1970. They had played numerous local gigs, but hadn't really made much headway. After some band members left the Beans, it had turned out that another popular Phoenix band had lost some members, so guitarist Roger Steen and drummer Prairie Prince had relocated to San Francisco to join The Beans. Their roadie John "Fiji" Waldo was added as lead singer, and The Tubes were born.

The Tubes played a sort of progressive rock rather than modified blues. They also had a fairly elaborate stage show, which was pretty much unheard of at the time. Initially, of course, their props were just cardboard and confetti, but they were a performing band from the beginning. The Tubes had first played the Long Branch on June 4, 1972, and periodically returned. By late '73, there was an underground buzz about them. They played a lot of gigs in gay bars, which were quite lucrative but not advertised in the mainstream press. In the early 70s, gay culture was the source of style and cool in the Bay Area, so the Tubes managed to always be right on the cutting edge of that cool. On June 1, 1973, the unknown Tubes had opened for Led Zeppelin at Kezar Stadium (fifth on the the bill), which for the wider Bay Area was the first time rock fans would even hear of them (this included me). 

Spotlight is unknown to me.

November 11, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday)

November 13, 1973 Long Branch, Berkeley, CA: Rubin & The Rubinoos/Above & Beyond (Tuesday)
Above & Beyond are unknown to me. 

November 14, 1973 Long Branch, Berkeley, CA: Swan (Wednesday)

November 15, 1973 Long Branch, Berkeley, CA: Chains (Thursday) free

November 16-17, 1973 Long Branch, Berkeley, CA: Sutro Sympathy Orchestra/Enola Faye Moss [16 only] (Friday-Saturday)
Sutro Sympathy Orchestra were from Reno, although they played regularly in the San Francisco area. Singer Lynne Hughes had been in The Charlatans back in the 1960s.

Enola Faye Moss is unknown to me.

November 18, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday)

November 19, 1973 Long Branch, Berkeley, CA: Rockets (Monday) free
Even The Rockets, a house band, played for free on a Monday night. 

November 20, 1973 Long Branch, Berkeley, CA: Rubin & The Rubinoos (Tuesday)

November 21, 1973 Long Branch, Berkeley, CA: Swan (Wednesday)
Closed for Thanksgiving Thursday (22).

November 23, 1973 Long Branch, Berkeley, CA: Rockets (Friday)

November 24, 1973 Long Branch, Berkeley, CA: Grayson Street (Saturday)

November 25, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday)

November 27, 1973 Long Branch, Berkeley, CA: Rubin & The Rubinoos/Above & Beyond (Tuesday)

November 28, 1973 Long Branch, Berkeley, CA: Swan (Wednesday)

November 29, 1973 Long Branch, Berkeley, CA: Chains (Thursday) free

November 30, 1973 Long Branch, Berkeley, CA: Earth Quake (Friday)

December 1973 flyer for The Long Branch at 2504 San Pablo Avenue in Berkeley (flyer designed by and courtesy of Lydia Frazier Bosley)

December 1, 1973 Long Branch, Berkeley, CA: Rockets (Saturday)
We are missing listings for December 2 and 3 (Sunday and Monday), but it's reasonable to assume that some of the usual suspects played. 

December 5, 1973 Long Branch, Berkeley, CA: Swan (Wednesday)

December 6, 1973 Long Branch, Berkeley, CA: Chains (Thursday) 

December 7, 1973 Long Branch, Berkeley, CA: Asleep At The Wheel/Topkela (Friday)
December 8, 1973 Long Branch, Berkeley, CA: Asleep At The Wheel/Alice Stuart & Snake (Saturday)
Topkela is unknown to me. 

December 9, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday) 

December 10, 1973 Long Branch, Berkeley, CA: Titans/Rockets/Country Thunder (Monday) Legal Aid Benefit
It's easy to make fun of Berkeley--I for one never tire of it--but there's no question that things happen in Berkeley long before they happen elsewhere (for example, Berkeley's Freight And Salvage club banned smoking in 1968, and the city of Berkeley would ban smoking in restaurants around 1977). As a result of its forward-looking nature, some things catch on in Berkeley that never catch on elsewhere. One such trend was "white reggae," hippie bands that played sped-up reggae for dancing. They were very popular in 1970s Berkeley, and pretty much nowhere else. The Titans, formerly Knee Deep, were the first such band. Titans would evolve into The Shakers, and became Long Branch regulars a few years later, even releasing an album, but they too are forgotten. 

Country Thunder are unknown to me.

December 12, 1973 Long Branch, Berkeley, CA: Swan (Wednesday)

December 13, 1973 Long Branch, Berkeley, CA: Chains (Thursday)  

December 14-15, 1973 Long Branch, Berkeley, CA: Earth Quake (Friday-Saturday)

December 16, 1973 Long Branch, Berkeley, CA: Rockets (Sunday)

December 17, 1973 Long Branch, Berkeley, CA: Rockets (Monday)

December 19, 1973 Long Branch, Berkeley, CA: Rubinoos (Wednesday)

December 20, 1973 Long Branch, Berkeley, CA: Rockets (Thursday)

December 21, 1973 Long Branch, Berkeley, CA: Rockets/Grayson Street (Friday)

Country Casanova, the third Paramount Records album by Commander Cody and His Lost Planet Airmen. George "Cody" Frayne leans on a Lincoln.

December 22, 1973 Long Branch, Berkeley, CA: Commander Cody and His Lost Planet Airmen/Asleep At The Wheel (Saturday)
Commander Cody and His Lost Planet Airmen and Asleep At The Wheel could both pack the Long Branch on a weekend, and had done so many times. There would have been no reason to book both of them, so the bands must have wanted to do it. Since the bands were good friends and shared management, it wouldn't have been hard to arrange.

Cody and The Airmen had been playing the Long Branch since before their first album was released, and indeed at least one track on their immortal debut Lost In The Ozone had been recorded there (either "What's The Matter Now" or "20 Flight Rock"). The band's third Paramount Records' album, Country Casanova, had been released in May 1973. In November, the Airmen had recorded their next album (Live From Deep In The Heart Of Texas) at the Armadillo World Headquarters in Austin, TX (it would be released in March, 1974). 

Asleep At The Wheel, meanwhile, had decided to move to Austin, as it was their spiritual home. Since the band moved to Texas in early 1974, it's possible that this show was a celebration and fare-thee-well for the Wheel's departure.

December 23, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday)

December 26, 1973 Long Branch, Berkeley, CA: Rubinoos (Wednesday) 

December 27, 1973 Long Branch, Berkeley, CA: Chains (Thursday) 

December 28, 1973 Long Branch, Berkeley, CA: Earth Quake/Rubinoos (Friday)

December 29, 1973 Long Branch, Berkeley, CA: Grayson Street (Saturday)  

December 30, 1973 Long Branch, Berkeley, CA: Grayson Street (Sunday)

December 31, 1973 Long Branch, Berkeley, CA: Earth Quake/Rockets (Monday)

Beserkeley Chartbusters, Vol 1, released by Beserkeley Records in July 1975, was put together by Earth Quake's management. It featured songs by Earth Quake, Greg Kihn, Jonathan Richman and The Rubinoos, all of whom had played the Long Branch many times.

Outcomes Assessment: Long Branch Bands
Berkeley's Long Branch was essentially a neighborhood club, booking bands every week for regular patrons who lived nearby. Yet rock music was booming in the Bay Area, so many of the aspiring bands who played the Branch ended up leaving a much larger mark than you might think for a 350-capacity beer joint in West Berkeley.

Bill Graham signed Eddie Money to a management contract in 1975. His 1977 debut album on Columbia included "Two Tickets To Paradise" and "Baby Hold On," and sold millions

The Rockets broke up in early 1974. All of them thrived. Lead singer Eddie Mahoney debuted the Eddie Money Band in June 1974, and they played the Long Branch regularly too. In early 1975, Money was signed by Bill Graham's management team. Ultimately Money would be hugely successful, selling millions of records on the back of giant hits like "Two Tickets To Paradise" and "Baby Hold On To Me."

Drummer John Cuniberti has been a successful producer, particularly with "New Wave" bands. Guitarist Dan Alexander is well-regarded in production and audio circles, and bassist Chris Sohlberg played with Santana and many other artists.

In 2021, Ray Benson and Asleep At The Wheel released Half A Hundred Years, on Home Records

Asleep At The Wheel moved to Austin in early 1974. They are still together, still touring and established legends. Pretty good for a band from Paw Paw, WV.

Love On The Wire, Clover's 4th and last album, and their 2nd on Mercury Records, was released in late 1977. It's a very good album, even if almost no one has heard it.

Clover struggled on until 1977. They were "discovered" in 1976 by producer Nick Lowe, who had loved the first two Fantasy albums and had no idea they hadn't broken up. Lowe facilitated two excellent Clover albums recorded in England in 1976 and '77, but the band never caught on. The Lowe association, however, was how members of Clover ended up backing Elvis Costello on his debut album My Aim Is True.

After Clover, broke up, Huey Lewis and pianist Sean Hopper teamed up with members of Soundhole and became hugely successful as Huey Lewis & The News. Guitarist John McFee, meanwhile, joined the Doobie Brothers (they were still touring in 2023), and singer Alex Call wrote some hit singles.

8.5, by Earth Quake, released by Beserkeley in 1976

Earth Quake had been dropped by A&M, but their manager Mathew "King" Kaufman started the Beserkley Records label. Besides releasing Earth Quake and Rubinoos albums, the label had big hits with Jonathan Richman and Greg Kihn. Earth Quake broke up in the early 80s, ultimately releasing 5 albums.

Grayson Street never recorded, but many members of the band moved on to bigger groups. Tenor saxophonist Lenny Pickett still leads the Saturday Night Live Band. Founder Terry Hanck joined Elvin Bishop and toured with him in the late 70s for many years.

Jonathan Richman and The Modern Lovers, released by Beserkeley in 1976

Jonathan Richman and The Modern Lovers released albums on Beserkley Records, starting in 1976. "Egyptian Reggae" became a hit,  and songs like "Road Runner" and "Abominable Snowman In The Market" are underground classics.

Tubes lead singer Fee Waybill, at Winterland ca 1974, as Dr. Strangelove, singing Tom Jones' "It's Not Unusual" (a regular showstopper for the band--you had to have seen it, just trust me...)

The Tubes released their first album in 1975, and it was a huge sensation. Their stage show, with every song its own self-contained "music video'--six years before MTV--was inspired and unforgettable. They toured America and the UK to well-deserved acclaim, and they had popular radio hits as well. The economics were unworkable, however, and the financial woes of the band eventually ground them to a halt. Keyboard player Vince Welnick joined the Grateful Dead in 1990. Versions of The Tubes have continued to perform intermittently over the decades. 

Appendix: Long Branch Performers, January-July 1974
Lydia Frazier Bosley was kind enough to send some additional flyers, and for historical value I have included them below. Since the Long Branch had a repetitive booking strategy, I didn't write out each booking. I did note when there was a band that had not appeared at the Long Branch before.

January 1974 flyer for The Long Branch at 2504 San Pablo Avenue in Berkeley (flyer designed by and courtesy of Lydia Frazier Bosley)

January 15, 1974 Long Branch, Berkeley, CA: Asleep At The Wheel/Naomi Ruth Eisenberg (Tuesday)
Asleep At The Wheel had supposedly moved to Austin by this time, but they toured so much that they regularly appeared in Bay Area clubs anyway. 

Naomi Ruth Eisenberg had been in various local ensembles, but she was best-known for having been one of the original "Hot Licks" with Dan Hicks. She sang and played fiddle, and was also a singer-songwriter. 

Terry Dolan and Terry and The Pirates finally released a 1979 album of live performances, with an All-Star cast (including John Cipollina, Greg Douglass, Lonnie Turner, Nicky Hopkins and Grateful Dead engineer Dan Healy as producer)

January 18-19, 1974 Long Branch, Berkeley, CA: Terry and The Pirates (Friday-Saturday)
Copperhead finally disintegrated by the end of 1973, so John Cipollina promptly hooked up with numerous local ensembles. One such band was Terry And The Pirates, led by singer/songwriter Terry Dolan. Dolan had moved from the Washington, DC area in 1969 and had been playing around the Bay Area ever since. Terry And The Pirates was a somewhat casual ensemble that played Dolan's songs. Cipollina was the only regular "member," with a rotating cast depending on who was available. Typical members included guitarist Gregg Douglass (ex-Country Weather, future Steve Miller Band) and the old Copperhead rhythm section (Hutchinson and Weber).

Dolan's songs were pretty good, but not really great. Terry And The Pirates were popular locally, and his demos got some airplay on FM, but he never really got over the top.

January 20, 1974 Long Branch, Berkeley, CA: Valley Boys (Sunday)
The Valley Boys were a country rock band, possibly from Fresno, who regularly played Bay Area clubs.  

I Gotta Be Me, Gideon & Power's 1972 album on Bell (recorded in 1971 at Keystone Korner in San Francisco with members of the Elvin Bishop Group)

January 25-26, 1974 Long Branch, Berkeley, CA: Gideon & Power/Grayson Street [25]/Frank Biner and The Nightshift [26] (Friday-Saturday)
Gideon Daniels was a powerful singer with a gospel background, and the band Gideon & Power played in a sort of gospel-rock style. Gideon & Power recorded a 1971 album live at the Keystone Korner, supported by some players from the Elvin Bishop Group. Since Gideon Daniels had been Elvin Bishop's housemate at one point, it's not surprising to find out that various members came and went through Gideon & Power over the years, and the band was somewhat of a farm team for Bishop. Singer Mickey Thomas and organist Melvin Seals had successful shifts with Gideon and then Elvin, too (Seals of course went on to play with the Jerry Garcia Band for 15 years).

Frank Biner was a popular local soul singer. Over the course of the 70s, Tower Of Power recorded a few of his songs, and he put out a few albums as a bandleader, but back in '74 Biner was just another guy working the clubs. Biner, with his band Nightshift, was a regular on weeknights at the Keystone Berkeley, but he played some gigs at the Long Branch, too. Biner was originally from Chicago, where he had recorded a few singles, but he had moved to the East Bay in the late 60s.

February 1974 flyer for The Long Branch at 2504 San Pablo Avenue in Berkeley (flyer designed by and courtesy of Lydia Frazier Bosley)

February 8, 1974 Long Branch, Berkeley, CA: Earth Quake/Son Of Pete (Friday)
The Friday show was reviewed by Berkeley Gazette critic Todd Tolces. It seems that Stoneground was booked to open for Malo at UC Berkeley's Zellerbach Auditorium. Stoneground had a band illness, and had to cancel, so Earth Quake did the opening set, and then hustled the 2 miles down to the Long Branch to headline.

Tolces also described Son Of Pete's set, extended somewhat due to Earth Quake's delayed arrival. Son Of Pete appears to have been a reggae "Toaster," a very odd thing outside of Jamaica and some neighborhoods in New York City. Toasters dj'd reggae records for dancing over customized sound systems, playing with the stereo mix and various effects, while also singing or talking over the records. As I understand it, the "Toaster" setup, pioneered in Jamaica, was a technological building block for rap music. Nascent rappers apparently took Toaster-type setups (sound system, multiple turntables, mic) and layered different music onto it. Outside of New York (or Kingston), however, many did not recognize the configuration.

It's easy to laugh at Berkeley--and fun too--but here was a guy playing gigs as a Reggae Toaster, playing a style of music unseen outside parts of New York Metro. Tolces praised Son Of Pete particularly for having numerous cool, unheard Reggae 45s, and I assure you that Berkeley took record snobbery seriously indeed. I have seen references that suggest that Son Of Pete was Earth Quake manager (and Beserkley Records founder) Matthew Kaufman, but I can't confirm that.

February 22-23, 1974 Long Branch, Berkeley, CA: The Tubes/Kid Gloves (Friday-Saturday)
Kid Gloves are unknown to me. They regularly opened for The Tubes. 

SF Examiner March 8, 1974

March 8, 1974 Long Branch, Berkeley, CA: Earth Quake/New Stoneground (Friday)
I do not have flyers for March and April 1974, but I did some research on booked bands. I am including notes on any of the groups that hadn't played in the previous several months.

Stoneground had been formed in 1970 out of various San Francisco bands, to provide a "house band" for KSAN boss Tom Donahue's Medicine Ball Caravan. The Medicine Ball Caravan was meant to be a sort of traveling Woodstock, busing freaks around the country to put on mini-Woodstocks everywhere. The Grateful Dead backed out at the last moment. A strange film was made of the peculiar trek. Stoneground was signed by Warner Brothers and recorded 3 moderately successful album. Stoneground had no less than five lead singers, and had a sort of gospel-ish feel laid on top of a typical rock band. Stoneground broke up in mid-1973.

In early 1974, Stoneground lead guitarist Tim Barnes re-formed the band, initially just as a quartet. Barnes was the only lead singer. They probably did some of Stoneground's old songs, but they would have sounded different with just one singer. Other band members were organist Fred Webb (ex-It's A Beautiful Day), bassist Terry Davis and drummer Sammy Piazza (ex-Hot Tuna). Somewhat later, Stoneground would add two lead singers, including Jo Baker, and return somewhat to their older sound, and they eventually rose to at least a similar level to what they had been in the early 70s.

SF Examiner March 21, 1974

March 21, 1974 Long Branch, Berkeley, CA: Jimmy Baric Group (Thursday)
The Jimmy Baric Group are unknown to me. They played the Long Branch regularly during March 1974. I suspect that it might be guitarist Jimmy Berick, later in the Epic Records band Masters Of The Airwaves.

 

SF Examiner, March 23, 1974

 

March 23, 1974 Long Branch, Berkeley, CA: Naomi Ruth Eisenberg/Mitch Woods and His Red Hot Mama (Saturday)
Brooklyn-born pianist Mitch Woods had been playing in the Bay Area since 1970. Woods backed singer Gracie Glassman, as Mitch Woods And His Red Hot Mama, but I'm not sure if they had a band or were a duo. In the next few years, Woods would form Mitch Woods and His Rocket 88s, who had a throwback R&B sound. Woods has had a successful career ever since, and he still appears to be going strong.  

 

SF Examiner, March 30, 1974

March 30, 1974 Long Branch, Berkeley, CA: Valley Boys/Soundhole (Saturday)
Soundhole was a Marin band, who seemed to have debuted at the Branch on this Sunday night. By year's end, Soundhole would headline every Sunday night for a couple of months. Bay Area geography is odd, and West Berkeley was actually very near to Marin County (particularly after rush hour), so this was really a local gig for them. 

Soundhole was a rock band, but they had a sound that was influenced by jazz and soul. Kinda like Van Morrison, which is why Van Morrison--another Bay Area club regular--hired them as his backing band around 1974. Heady stuff for some guys from Marin who were still pretty new to the music scene. Soundhole was led by guitarist Brian Marnell, who would become somewhat known in the Bay Area for leading the band SVT (with Jack Casady) in the later 1970s. John Farey (later in Zero) played organ, and Brian Hogan played tenor sax.

Bassist Mario Cipollina (John's younger brother), drummer Bill Gibson and saxophonist/guitarist Johnny Colla would team up with two members of Clover (see above) to form Huey Lewis And The News, going on to fame and fortune.

May 1974 flyer for The Long Branch at 2504 San Pablo Avenue in Berkeley (flyer designed by and courtesy of Lydia Frazier Bosley)

May 2, 1974 Long Branch, Berkeley, CA: Fluid Drive (Thursday)
Fluid Drive are unknown to me. They were regular performers at the Long Branch on Thursdays in May 1974.

The Long Branch did not advertise bands on Monday, Tuesday and Wednsday nights. I don't know if the club was closed those nights, or if they just didn't book music. 

May 10-11, 1974 Long Branch, Berkeley, CA: Frank Biner and The Nightshift/Lucky Strike (Friday-Saturday)
After his club debut a few months earlier, Frank Biner was now headlining weekends at The Long Branch

Lucky Strike was a blues-rock band fronted by singer and harmonica player David Burgin. They had some good success in East Bay clubs, but never climbed any higher on the ladder.

May 17, 1974 Long Branch, Berkeley, CA: Grayson Street/Steel Band (Friday)
The Steel Band are unknown to me.  Possibly it's "a" (Caribbean) steel band.

June 1974 flyer for The Long Branch at 2504 San Pablo Avenue in Berkeley (flyer designed by and courtesy of Lydia Frazier Bosley)

June 16, 1974 Long Branch, Berkeley, CA: Frank Biner and The Nightshift featuring The Stovall Sisters (Sunday)
Lillian, Netta and Joyce Stovall were three of 22 (!) children raised in a gospel-singing family that had moved to Oakland in the late 1950s. The trio had released a sort of gospel-soul album on Reprise in 1970 which included the hit "Hang On In There." They were also the backup singers for Norman Greenbaum's "Spirit In The Sky." I assume Biner and Nightshift backed them for a set, and also played their own set.

June 29, 1974 Long Branch, Berkeley, CA: Eddie Money/Lucky Strike (Saturday)
The Rockets had broken up at the end of 1973. In June 1974, Eddie Mahoney re-introduced himself as "Eddie Money," with a new band led by guitarist Jimmy Lyons. They dominated the Long Branch, just as the Rockets had done.

July 1974 flyer for The Long Branch at 2504 San Pablo Avenue in Berkeley (flyer designed by and courtesy of Lydia Frazier Bosley)

July 5, 1974 Long Branch, Berkeley, CA: Norman Greenbaum & Crossfire/Yesterday & Today (Friday)
Norman Greenbaum was an anomaly at the Long Branch, as he was at every club he played at. Greenbaum, a guitarist and singer, had been in a 60s band that played in a sort of Lovin' Spoonful style band called Dr West's Medicine Show and Junk Band. In 1969, Greenbaum wrote a song that got him signed by Reprise, and assigned to staff producer Erik Jacobsen, former producer of the Spoonful. After a re-arrangement, Greenbaum's gospel-folk "Spirit In The Sky" sold millions of copies and went #1 all over the world. It is still heard regularly today on soundtracks on commercials.

He did release a second album, which included a minor hit "Canned Ham."Greenbaum lived quietly on his farm in Petaluma and didn't perform much, because he didn't have to.  Nonetheless, he sometimes toured around local clubs. We can guess his last number. Crossfire seems to have been an existing group, but I don't know anything else about them.

Yesterday & Today was a band from Oakland. Initially a cover band, they had started to play their own material in a hard rocking English style, kind of like Humble Pie. The quartet slugged it out in East Bay clubs for years. In 1984 when "hair metal" was popular on MTV, they finally made it big as Y & T, releasing the hit album In Rock We Trust.

July 11, 1974 Long Branch, Berkeley, CA: Frisco Kids (Thursday)
The Frisco Kids are unknown to me.

July 31, 1974 Long Branch, Berkeley, CA: Butch Whacks And His Glass Packs (Wednesday)
Butch Whacks and His Glass Packs were a 15-piece rock and roll band dedicated to performing old style rock and roll hits from the 50s and early 60s. The band got their start as students at St. Mary’s College in Moraga playing frat parties, and eventually morphed into a very popular bay area club and theater act.

For the post about shows at the Long Branch from its opening in May 1971 through December 1971, see here

For the post about shows at the Long Branch from January through June 1972, see here