#Whiskey a go go mod#

That alone made the three nights at the Whisky a step forward from Redding, who was hungry to become a star on his own terms. He had to work to win that crowd, which he does by the end of the set, by which point they’re cheering “Respect.” At that point, Redding wasn’t unknown, particularly in R&B quarters-he had three Billboard R&B Top 10s, with a fourth soon to follow-but such gutbucket soul shows simply weren’t played in mainstream rock venues like the Whisky A Go Go. Once Otis hit the stage on April 8, the applause was polite but not enthusiastic. Indoors there is a different dynamic, particularly if it’s a crowd confronted with something they’ve never seen before, which was certainly the case of the Los Angelinos that headed to the Whisky to see Otis Redding that April weekend in 1966. In the open air, excitement spreads like fire. & the M.G.’s-because he benefitted from the festival setting. It happened later at the Monterey International Pop Festival in ’67-backed then by Stax/Volt house band Booker T. Otis managed that crossover but not at the Whisky. So they set up shop right on the Sunset Strip, home to such hip rock‘n’rollers as the Byrds, Love, the Turtles and the Doors, figuring there was no better place to introduce Redding to a white audience. The idea wasn’t to have Otis record pop music, but rather bring his act straight to the rock audience.

Redding’s residency was a deliberate attempt on the part of the singer and his management to move him out of the Chitlin Circuit and into the mainstream. This is the residency that is captured in its entirety on Stax’s six-disc box Live at the Whisky A Go Go: the Complete Recordings. For his ’66 stint at the Whisky A Go Go, he was backed by his road band, the Otis Redding Revue-a ten-piece group similar to the bands who supported him whenever he toured the south. A few songs earlier, he first informed the crowd that they were recording the concert with plans of releasing it as an album, playing the newly-written “Good to Me” for the second time in nine songs simply because it was the single and they needed to get it right. Otis Redding says these words just before launching into “Respect” on April 8, 1966, wrapping up the first of seven sets he’d play over the course of three days at Los Angeles’ Whisky A Go Go.

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records, the band's sound smoothed out to a more pop-oriented sound that was ideal for radio, but the fact they are the first all-female band to write their own songs and play their own instruments to top the Billboard album charts proves they were a talented deserving band. It's true when the band signed a deal with I.R.S. area in the late 70's with recordings that pre-dated, Beauty and the Beat that were raw and hungry.

My opinion at the time of the Go Go's was that they were too pre-packaged and slick, thanks to MTV! How judgemental can I be! I must admit, songs from the Go Go's (and the Bangles) became guilty pleasures, they are upbeat songs, great to dance to (which I avoid) and fun! When the compilation record, Return to the Valley Of The Go Go's was released I became aware this band had roots in the punk/new wave scene in the L.A. You couldn't go anywhere without hearing the annoying ear-worms of Like A Virgin, Venus (note: the original version from Shocking Blue is a great song!) and the Go Go's, We Got the Beat and Vacation.

The new music of the early 80's on mainstream radio introduced more female-based music, as music videos on MTV that marketed the look and image of the performers that led to to the popularity of Madonna, Bananarama and the Go Go's.

#Whiskey a go go mod#

As the 80's arrived, my musical tastes expanded further to included new wave, mod and punk bands through more progressive radio stations and the emergence of MTV (MuchMusic, for you Canadians) that also offered some alternative to mainstream commercial radio. High school expanded to the popular groups at the time, Boston, Foreigner, Supertramp, Cheap Trick and Van Halen (the last 3 groups I saw in concert in the late 70's), as well as bands that were already considered 'classic rock', Rolling Stones, CCR, the Kinks, Hendrix, the Who. Pre-high school I listened to the safe bets at the time, Elton John, Paul McCartney/the Beatles, that sort of thing. There was definitely music that stuck with me from high school to the present that I listen to today. If you're like me you listened to a lot of music on the radio when you were younger.