This month we delve into the "Venue of the Month" archives for another look at San Francisco's Great American Music Hall. Since this originally ran two years ago, I had the good fortune of attending The Disco Biscuits two-night stand last October. Although sold out, the venue was never uncomfortable, prompting friends to discuss the differences between "west coast sold out" and "east coast sold out." Nevertheless, the venue is rich in musical history and remains virtually untouched since the Grateful Dead graced this stage in August of 1975.

As always, we are looking for you to write about your favorite venue. Send your ideas submissions to venue@jambamds.com

GREAT AMERICAN MUSIC HALL
by Dieter Rogers

Nestled in the heart of San Francisco, one of Rock and Roll's most legendary music halls continues to host live music nearly every night. Built in 1907, just after an earthquake and fire left San Francisco in disarray, the Great American Music Hall reflects San Francisco's soaring spirit, grand nature, and fabled history.

A stunning result of the combined efforts of a French architect and a politician, the Great American Music Hall first opened its doors as a restaurant. Blanco's, as the building was then called, mirrored San Francisco's rejuvenated spirit in wake of the destructive disasters. Chris Buckley, a San Francisco politician, envisioned the 5000 square foot building as a return to prosperity. It served San Francisco's demand for an entertainment nightspot. Gambling and fine cuisine thrived in the decorative building.

In 1936, the building again symbolized recovery. The Great Depression of the early 1930's left the country in an unstable condition. Along with many businesses, Blanco's perished due to the poverty induced changes. With a new ownership taking the reins, the Music Box hosted late nights of dancing and reverie. The heyday of the Music Box was short-lived, and by 1948, 859 O'Farrell St. again operated as Blanco's. This incarnation of Blanco's featured jazz music. While the hall continued to survive hard times, it would suffer through one more especially inglorious struggle before rising to its current excellence.

The 1950's saw the building run by the Moose Lodge. The building reached such a point of demise that demolition nearly became its fate. However, the hall was saved once again as it became the restaurant Charles. Finally, the building began to realize its potential in the early 1970's. Opening its doors as the Great American Music Hall in 1972, the venue began to carve its current place in history.

It was during this period that San Francisco became a gathering point for the liberal-minded. San Francisco embraced the developing culture, or rather counter culture. The Haight Ashbury district became a symbol of hippie culture. Music played a vital role in this developing lifestyle where deviation from conservatism was embraced. In this environment, experimental bands such as the Grateful Dead and Santana thrived. Different venues showcased the emerging talent as a music hungry generation packed buildings night after night and late into the night. Live music became a high demand, and concert promoters such as the Family Dog and Bill Graham attempted to see that the demand was met.

The Great American Music Hall had finally begun to establish its status as a world class venue. The building would often fill to its 400 person capacity as music filled the room. The Great American was open almost every night and welcomed a diversity of sounds to its stage.

One especially historic time from this era occurred in 1975. It was in 1975 that San Francisco's own Grateful Dead played at the Great American to an invitation only crowd. Playing every song off their Blues For Allah album, the band delighted those in attendance with the live music which would eventually become the band's first From the Vault release. It was during 1975 that the Dead did little touring, and the appearance at the Great American stands out from this period of both the history of the band and the building.

Now, almost thirty years strong, the venue has showcased a list of legends which includes such names as John Lee Hooker, George Clinton, Bill Monroe, and Stephane Grapelli (to name just four). Yet, the venue remains very much a part of the contemporary music scene. Simply put, the Great American has always welcomed the unestablished. Before reaching their current levels of popularity, Dave Matthews, The String Cheese Incident, Robert Cray, and Big Bad Vodoo Daddy all played the O'Farrell St. gem.

Other factors have contributed to the venue achieving such notable success. For example, in this era of gargantuan amphitheatres packing fans in for summer concerts, the Great American is open all year long. Thus, there is no "summer concert season" and musicians can filter through the venue all year long. Another strength of the Great American is its location in San Francisco. San Francisco has a rich musical history, and the city's music scene has become quite high profile. Many band's stops in San Francisco are memorable as special guests and rare covers sparkle. To be so highly regarded in San Francisco lends credibility to the Great American's stature and status. But, the most significant reason for the Great American's long success is the intimacy of the venue itself.

From the street, an unassuming sign marks the Great American's location on O'Farrell St. However, inside any individual should be mesmerized by the venues quaint charm. An intimate setting, the Great American cannot help but keep fans and musicians coming back. As amphitheatres and large indoor venues are the trend in the current music scene, the Great American harkens back to the music venues of the past. The inside is a testament to detail. A cozy oak dance floor accommodates those in the audience inspired to dance. Ornate frescoes adorn the ceiling, and grandiose marble columns lend an air of royalty to the venue. From upstairs balconies, any one can look down upon performer and audience.

The stage at the Great American is small and not set far from the audience. Thus, the fans and artists truly share the setting and its energy. The Great American is a rare locale where musicians can make eye contact with almost any person in the audience. And, in such close quarters, audience participation is inevitable as infectious energy pushes everyone higher.