Showing posts with label Scott Campbell. Show all posts
Showing posts with label Scott Campbell. Show all posts

4.18.2014

A NIGHT AT BOOKIES CLUB 870

 GLO

Bookies was a gay club as far back as my dad could remember. The neighborhood had really gotten bad. Around the corner was a disco. DJs and discos were everywhere and clubs didn't want to book live bands. Bookies was one-of-a-kind club, it was the only club that had live punk. The neighborhood was rough so we parked between the two bars in the security lot.

 

The parking lot had half as many people partying as the club. The line was always out the door. The wait was long but entertaining because the crowd outside was as interesting as the bands on stage. Black leather was the common denominator among the club goers, more than the bleached hair, torn jeans, high tops, fishnets, leather pants, pointy toed boots.


Through the doors of bookies it was a big Native American bouncer was rumored to carry a gun. They collected money at the door and checked IDs. Inside the club was very dark but you could see it once had been nice.

  Whipping Boy Wash. DC

The high black diamond talk cushioned booths were the only place where doing lines was publicly ignored in Detroit. I long bar I'm one wall, the bartenders where from the day shift gay bar. The music they played before the show was always so new. 

 LIVE FROM DETROIT PHOTO

Bookies with the first place you'd ever hear anything. I heard the cars there before they got airplay. Bauhaus, 999, The Police, Susie and the Banshees. I loved to dance before the show.

 
In the basement was the restrooms. They were brightly lit long bathrooms with little dressing stations. That's where I would pierce peoples ears with safety pins. You could listen to the bands through the floor, the stacks of blank the stage rumbled all the way down to the basement.


Upstairs in front of the stage it was loud between the stacks. It felt intimate. It felt as if Johnny thunders was standing there singing to me in my living room with 100 other people crushed against me. sweat and leather.

GLO

3.19.2014

BEHIND THE SCENES IN DETROIT ROCK: LATE 1970S


Sillies singer BEN WAUGH flies above the stage at Bookie's while Bob "Bootsey X" Mulrooney keeps a beat. PHOTO: Robert Matheu, Creem Magazine

One of the few outlets for original rock music in Detroit in the 70's were small theaters and auditoriums. The thriving ballroom scene and teen clubs of the late 60's and early 70's disappeared.

 The Hideout was a Harper Woods VFW Hall

The Hideout was a Harper Woods rental hall named Harper Hall which was leased weekends by Dave Leone and his partner "Punch" Andrews in the mid-60's and brought Bob Seger, Ted Nugent (Amboy Dukes), Grosse Pointe favorites The Underdogs, and many others their first taste of fame.

 Cinderella Theater on Jefferson

Concerts at the Cinderella Theater on Jefferson (where J. Geils recorded a live album) and the Eastown Theater in the early 70's just ceased to exist. After two concerts in 1977 at The Kramer Theater on Michigan near Livernois, a concert at the Trenton Theater downriver, and an abortive attempt to lease The Ramona Theater, I was looking for some way to play without losing any more hard-earned money I'd made on the Chrysler assembly line.


 In January '78, a boarded-up gay bar at John R and Seven Mile was made available to us as long as the owner got ALL the door receipts (or so I was told). A couple of those shows in January and February were packed houses, but I wasn't interested in continuing to make money for everyone else.


Sam "Bookie" Stewart offered us a weekend in March at his club and we agreed as a band to do it. The original bill was The Sillies, Coldcock, and Curly's Convicts, a Windsor band. The Denizens (from Livonia) ended up as the opener, which was fortuitous as they became a mainstay at Bookie's for the next two years as did Coldcock.
 

Much to my surprise, Don Fagenson (a.k.a. Don Was) brought the new MC-5 into Bookie's three weeks before our date in spite of the fact that the room hadn't had live music since band leader Frank Gagen ran the place back in the 40's or 50's.

The following week was Fagenson's "Motor City Revue" with The Traitors (Fagenson's "punk" band", The Niggers (a black concept band he had assembled), and The Pigs. Word was the turnout for both shows was less than hoped.

The following week, Sureshot Productions hastily assembled a few bands to fill in the night. The Sillies were asked to play, but we deemed it safer to wait until out own headline, which had been booked six weeks before.

The crowd for both March 17 and 18 were such that Bookie offered us the room to book from there on in. Ironically, I didn't WANT it! Bookie kept half the $3 a head admission price. Other bars would give you the ENTIRE door PLUS 10% of the bar receipts. My rhythm guitarist begged me to partner with him on the room and, being my best friend, I reluctantly agreed. I had no idea that it would change the live rock scene in Detroit for the next 35 years.

3.10.2014

BOOKIE'S & THE DETROIT MUSIC SCENE PART 1

 
The Mutants at Bookie's Club 870, 1978. 
Photo Deanne Nichols

Scott Campbell
March 10, 2014
 
The Detroit original rock scene had fallen on hard times in the 70's. In the mid-60's, Mitch Ryder, Bob Seger, The Amboy Dukes, The Rationals, The MC5, and numerous other bands got record deals and radio airplay. By the mid-70's, new Detroit acts were frozen out of airplay with the death of underground radio and record labels weren't signing. A band could earn a living playing five 45 minute sets per night but they had to be AOL radio rock hits. Typically, a band would get a song list from the bar owner and NO original songs were allowed.

By early 1977, new bands such as The Sillies, The Romantics, and a new MC5 fronted by original singer Rob Tyner were looking for anywhere to play original sets of their own music. The Sillies rented The Kramer Theater on Michigan Avenue east of Livernois to do a real concert with themselves in between the new MC5 and an opening set by Destroy All Monsters with Stooges guitarist Ron Asheton and original MC5 bassist Michael Davis. The show drew 1,000 people but most of the money was mysteriously missing from the till, leaving Sillies founder Scott Campbell $1,000 in the hole.

Much as bars were a step down from theater concerts, a nightclub that would host original concerts in the style of NYC's Max's Kansas City or the Whiskey A Go Go in LA was needed for Detroit. The trick was finding a place and making it successful.


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