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Anyway, around this time the landlord forced us to take the apartment above the club. We were making too much noise, and the tenants had moved out, and we were told we had to move in. With the extra space, I got a bedroom, Flaming Pie got an office, the musicians got a dressing room, and there was even one extra room. We had our first American tour on the West Coast in the spring of 1991. We took three bands – Sonny Sharrock, Third Person, and Chunk – on the road to San Francisco, Eugene, Portland, Seattle, and Vancouver.
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Knitting Factory's 1,500-capacity concert venue features top performers from around the world. The following summer, 1991, with a more realistic lineup of four groups and having made all the arrangements myself from New York, we had fewer problems. We broke even financially, sold a lot of merchandise, and were able to promote our records-all dramatic changes from the previous year. The interest and respect of the European audience for outside-the-mainstream music ensure that our European tour will be at least, a yearly event.
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The new concept for making the live recordings was to split the signal between the house sound system and the recording studio. Thus, the engineer in the studio could adjust and mix the sound for recording and not, like the engineer in the club, for the ears of the customers in the room. This separate mix gave us much more flexibility for recording. They were made by Louis on a new $2,000 Nakamichi cassette deck I bought from a guy on the street for $50. It was the only item not stolen from us during the break-in-it had been in the repair shop. We then moved to a four-track Tascam cassette machine that we borrowed from Swamp Thing (this I believe was stolen too).
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I suggested a series of Live at the Knitting Factory recordings. Within a few weeks, he had a full proposal from the Knitting Factory on his desk. After a lengthy process that brought in lots of money for the attorneys, we finally had a contract.
Built To Spill: There's Nothing Wrong With Love 30th Anniversary Tour
A small diversionary tribute to Raymond Ross, the photographer, seems in order and will help fill in some gaps. He lived (still does) on the third floor of our building. In 1987, the building consisted of Estella’s Peruvian Restaurant on the ground floor, us on the first floor. A large Hispanic family on the second, Mr. Ross on the third, and two people on the fourth whose names I can’t remember.
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It took many months of good tea and beer sales at the Knitting Factory to cover this loss, but the European music scene and the six groups saw the tour as a sensational success. More than 100 favorable reviews and articles appeared throughout the continent in magazines, newspapers, and local fanzines. Our record distributor-Enemy Records-saw the positive effect on sales.
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He said he was trying to find a place to premiere it and wanted to do it the next week. We were fully booked, but I suggested a midnight concert and he was into it. The club was all standing room, people peering from everywhere. We had 40 chairs; 95 people paid to get in, and John had 25 guests, mostly Japanese women to fill the room. The 120 people in the room, squished like sardines, hot and sweaty, were the most beautiful thing I had ever seen.
We received a lot of press attention, a lot of artistic support, and the community seemed relieved to have an alternative to the perennial JVC Festival. Even though we didn’t make much money, the attention alone made it a success. When Steve and I got together for our first meeting, I was very nervous. I thought, Here I am talking to a guy I’ve desperately tried to give Swamp Thing’s demo tape to, a guy who would never return my phone calls, and now I’m sitting here exchanging ideas.
Around this time, Flaming Pie signed two other Madison bands, Honor Among Thieves and Phil Gnarly and the Tough Guys, as well as native New Yorker Joey Arias, who sang Billie Holiday covers. The record company was collecting experience, not cash. Even with the support of a major label at that time, we had to take the promotion and marketing into our own hands in order to get the artists on the records exposed to more than the audience sitting in the club.
He recommended me for an interview with Steve Ralbovsky (at the time head of A&R for A&M Records), who was looking for someone to start a new program of releases. One of Steve’s ideas was a label for A&M somewhat similar to Nonesuch at Elektra (Steve is now working as a VP at Elektra). Nonesuch was breaking ground as a major-label offshoot supporting artists outside the mainstream.
We also scheduled two weeks of powerful bills at the club for our second summer festival. I thought it was a good idea to call Michael Dorf-the owner-and incorporate this important music into our festival.” I was welcomed to the world of big-business jazz. I was there the whole six weeks, and Bob came over to manage one bus for the last three hellish weeks. Not only was the tour losing money, but the schedule was burning everyone out. In a serious lapse of judgement, I trusted a first-time agent in Belgium to handle some of the contracting and logistics. He spoke German, French, Flemish, and English and was a very nice guy.
By April 1987, I was booking every single night, mostly improvisers or artists in a jazz vein who needed work. Still, not too many people seemed to be responding to the posters I was putting up on the street or to our small ad in the Voice. For a photo show we were doing of Raymond Ross’s old jazz pictures, I made a number of different posters using copies of the photos and saying the musicians in them were appearing at the Knitting Factory. For some reason, this dubious success inspired me and Bob to take the recording industry more seriously.
Returning to Madison, Swamp Thing based itself in the Midwest, playing gigs and weekend tours in local bars and clubs. I was getting work for the band by moonlighting as an agent, manager, and record-company executive. I had entered the University of Wisconsin Law School for a year, so my parents were covering my room and board. My bedroom was filled with law books and boxes of records. My first Macintosh computer contained more data on record stores than criminal records. I spent most evenings that year trying to collect the money we were owed for all the records we’d sent out for free and checking to see whether radio stations were even playing them.
It is a continuously changing, non-stop, creative struggle to keep the Knitting Factory above water. With any luck it will sell, and if you are reading it, that’s a good sign. If you are my mom or dad, I appreciate your buying a copy-you’ve always been a great supporter of my projects. We had been selling wine and beer with a restaurant license for about two years and needed a full liquor license if we were to start paying off our loans. Estella’s Peruvian Cafe, located below us in the building, had a full liquor license, making it difficult for us to apply for one.
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