An oral history of the CC Club jukebox
With Andy Mannix
The bar back in the 1950s, when it was still the CC Tap and offered live music and dancing.
When David Prass bought the CC Tap in 1974, it was a 3.2 beer joint that had live music and a stage. Prass re-named the bar the CC Club, and transferred the liquor license over from his father's old bar. Along with the booze came new restrictions on the kind of entertainment the CC could offer, including no more bands. But the bar could still have a jukebox.
Over the next decade-plus, as the CC Club became the center of Minneapolis's rock scene, its juke became legendary. The employees at the record store across the street would walk over with new records, and the bands who hung out there, including the Replacements and Soul Asylum, would drop off their singles to be added into the rotation. The juke became symbolic: If it was still playing, the bar was still swinging (several stories begin with some variation on, "It was like 1 o'clock, the jukebox hadn't been turned off yet..."). And if a local band's CD showed up in the juke, it was a sign they had made it.
About two years ago, the CC traded its carefully curated old jukebox for a digital one that can play thousands of songs. The greater catalog has meant increased revenue for the bar's owners, but also the feeling that, as Soul Asylum's Dave Pirner puts it, "That era is gone."
- COVER: Here Comes a Regular: An Oral History of the CC Club
- Slideshow: Behind the scenes: The CC Club, an oral history
- Best Jukebox 1998 and 1999
Moe Emard, current co-owner of the bar: When [Prass] transferred the license, it was what you call a class E license, and that's just a jukebox. So they didn't have a license for a band anymore. When we took over and business was slow, the jukebox was a big thing. We had a good jukebox because we had a lot of local bands on our jukebox, and that helped a lot.
Paul Metsa, musician and author of Blue Guitar Highway: It was kind of a legendary jukebox. That was part of the allure and the charm was to be able to have a cheap jukebox that was the soundtrack of your afternoon or evening. They had local stuff, you know, classic R&B and rock 'n roll. And it was well used. It was a well-oiled machine, let's put it that way.
Peter Jesperson, manager at Oar Folk record store and co-founder of Twin/Tone Records: In the early days, us Oar Folk guys fed them stuff. No offense to anyone at the CC but they didn't really understand their clientele and we kind of were their clientele so we gave them stuff to put on that we knew would be popular. Then later on when Kim Laurent started working at the CC, she was a lot more savvy and she would ask both the jukebox dealer and us for specific stuff as well as taking our suggestions.
Kim Laurent-Lusk, weeknight waitress since 1987: Tommy Stinson came in here once, and he went up to the jukebox and put on a song, and then he just danced, he did a little dance alone. And then he left.
Tommy Stinson, bassist for the Replacements: I think what was cool about it if I recall is that they had a lot of local stuff as well as stuff that we all wanted to hear. I think there's a good amount of, if you're going to go bar music and you're going to go for country tunes, I think they had the right kind of country tunes. Like less Travis Tritt and bullshit like that and more of Hank Williams and stuff like that. It seems to me they had a pretty wide jukebox of good stuff. I think Aerosmith was probably in that mix too -- they seem to be in every jukebox that I've grown up around.
Curt Almstead, a.k.a. Curtiss A, musician: There was all kinds of good stuff on the jukebox, and I think they did that as sort of an homage of the musicality of the place.
Dave Pirner, lead singer of Soul Asylum: The jukebox was great. Just that it was a real jukebox, and the songs in the jukebox were selected by the people who work at the club. And it was really cool, because suddenly, you'd walk in and there was a new Replacements single in the jukebox. That part of it was just another really personal touch. Somebody who was coming from out of town could listen to local music and listen to the music that people in town were listening to and listen to these bands that people were talking about, and possibly hanging out in this place.