![]() ![]() Jackson took care of accounting and general business matters. Abram actively managed the club room and made bookings while also recording those musicians he knew and liked. Sometime in 1966 or 1967, Marty Balin sold his share of the club to Peter Abram and Gary Jackson, two of the original partners they bought out the remaining partner. The rear wall had a window opening for the small galley used to prepare food. ![]() A small sound booth occupied the center of the left wall, and a few cocktail tables were at the left rear in front of the mural. The stage was a step above the floor on the right side, center to rear. The right front area had chairs and most of the cocktail tables, while the center of the room to the rear was a dance floor. The ceiling at the front third of the club was about ten feet high, but farther back, it went up to about 18 feet. #Early steppenwolf vinyl album ds 50060 license#Inside, near the entrance, there was a bar (beer and wine license only) on the front left. The entrance was recessed about two feet and was left of center on the windowless wall seen from the street, and there was a cabinet outside to the door's right where upcoming bands were listed and handbills were posted. The club itself was very small its max occupancy was only around 120 people. The club's lighting was very subdued everywhere but on its small stage. Another wall was adorned with hieroglyphics. In the early years of The Matrix, there was a huge mural of the Four Horsemen of the Apocalypse on the left wall near the rear rumor was that the members of Jefferson Airplane had painted it before the club first opened. Management would waive the cover charge for prominent musicians who entered the club as customers. On their off nights, many would go there to hear other groups they knew or just to visit. The Sparrow (before they changed their name to Steppenwolf)Ĭreated and operated by musicians, the Matrix was popular with local and visiting musicians.The Only Alternative and His Other Possibilities (October 18 t and February 17–19, 1967).Steve Miller Blues Band (with Boz Scaggs before he formed his own band).Mickey & the Hartbeats (a subset of the Grateful Dead consisting of Mickey Hart, Jerry Garcia, Phil Lesh, and Bill Kreutzmann).Jerry Garcia & Friends (aka Jerry Garcia Band).Commander Cody and his Lost Planet Airmen.Besides Jefferson Airplane, many other well-known bands and musicians performed there: ![]() The Matrix was an important place in the formative years of the San Francisco rock music scene, featuring not only rock bands, but several blues artists and blues bands, with an occasional jazz artist thrown in. Thompson was a contributing editor for Rolling Stone magazine (founded in 1967 in San Francisco). Thompson in the late 1960s – it was mentioned briefly in Fear and Loathing in Las Vegas during a flashback scene. The Matrix was a favorite haunt of gonzo journalist Hunter S. Gleason, who became an early champion of the group. Jefferson Airplane rose rapidly to local prominence during late 1965 and early 1966 with their performances at The Matrix, and it was there that they were first seen by noted music critic Ralph J.
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