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The Touring Band
Concert Review (by Cameron Crowe)
The Itinerary


The Touring Band:
Mick Fleetwood - Percussion
Bob Welch - Guitar, Vocals
John McVie - Bass Guitar
Christine McVie - Lead Vocals and Keyboard
Danny Kirwan - Vocals, Guitar (fired in Aug. '72)
Bob Weston - Lead Guitar, Background Vocals (hired Sept. '72)
Dave Walker - Lead Vocals (hired Sept. '72)


Concert Review:
(The Concourse, February 25, 1972)
published in The San Diego Door, March 9, 1972
(by Cameron Crowe)

Before I attempt to review the February 25th John Baldry, Fleetwood Mac, and Savoy Brown Concourse extravaganza, let me indulge in a trivial plea.

Do not let any of the San Diego Union concert reviews find you believing in what they say. If you look closely enough at any Union concert "analysis", you will note that never will anything but the first three songs of the top billing be listed. The reason? The Union deadline time is 10:30 pm. At this magical hour all concert reviews of a show that very night must be in. So Union journalists, obviously not being superhuman, must leave after the first three songs or 10:00 pm. - whichever comes first.

The Union review of the recent Youngbloods concert is a prime example of this. If fact, the author, Elson Irwin, who also writes a column in the horny 'Bachelor's Beat' paper (he once wrote in his BB column "The real show at these rock shows is not the music, but the pretty young bra-less things that provide a pleasant view of the breasts right on down to the crotch), critically hung himself and blew his cover in that very review. The list of his criticism of the concert was that The Youngbloods played with the attitude of "let's-give-these-peasants-a-little-bit-of-what-they-want-to-hear-and-get-out-of-here". Irwin, who left after the first songs, was oblivious to the fact The Youngbloods went on to play for three-and-a-half hours.

Anyway, the point I am trying to make is that a portrait in full of a group's live performance cannot be found in The Union. Do not be persuaded into believing a review written on the basis of the first three tunes when most groups take that long to get adjusted to the audience, the equipment, and the acoustics.

When I reached my seat it was about 8:15. I turned to my immediate right to inquire as to the name of the unfamiliar group playing on stage and received an inaudible reply. Thinking myself a guinea pig for a new, unexpected, "dynamite, blockbuster band," I settled back and was surprised to actually see some rare, opening act talent.

The group consisted of an extremely talented lead guitarist clad in a red felt jumpsuit reminiscent of Pete Townshend, a girl singer-tambourine player in hot pants, a lead singer-rhythm guitarist, and an unflashy yet efficient bassist.

After about 15 minutes of listening to the band, and some extra-tasty slide guitar work, the lead singer announced the coming of John Baldry. With that, amid scattered applause, the opening act became a back-up band. Baldry took the stage and proceeded to sing into a dead microphone. I don't know, but I suppose it can get rather uncomfortable to make a grand entrance, be acknowledged by the audience, and then confidently belt you into a dead mike. It took about ten seconds for the dolts operating the sound system to take the hint and turn up the mike.

Baldry, dressed in his customary suit and hat, tried hard. Perhaps too hard, as he futilely attempted to drum up some excitement. He tried all the predictable ploys too (poor guy). Local humor... name dropping... everything.

"If the owners of the Earth club are here tonight, I wish they'd invite me back," he said.

"It closed!" screamed a particularly corrective young lady in the front row. Baldry, however, didn't acknowledge the helpful information as he proceeded to discuss his desire to gig at Earth the remainder of his half-hour set.

His last tune, the title track from his It Ain't Easy LP, found the band completely proficient and Baldry in top vocal shape. Baldry was even able to coax the audience into joining him on the chorus. So, happy for getting at least that, Baldry left the stage amid the same scattered applause that ushered him in.

Fifteen minutes later the curtain rose to reveal Fleetwood Mac. Their first number, a rip-roaring jam, generated enough excitement in itself to over-shadow the whole of Baldry's set.

Fleetwood Mac's set was much the same as the one performed last year at the Arena. This set, however, was more inspired and in turn, inspiring, than the other. The group went on to demonstrate their excellent double-lead guitar techniques on "Woman of a 1,000 Years" and the title track from their most recent Future Games album.

Fleetwood Mac has gone through many changes. They've lost Peter Green and Jeremy Spencer, but they've gained an excellent pianist in Christine McVie, and a talented lead singer-guitarist in Bob Welch. Mick Fleetwood, the only original member is still going strong and producing fine music. His number to shine on, "Tell me all the Things You Do" is perhaps the best number their set has to offer. Choosing a specific tune as best, however, tends to downgrade the others, and by no means is that my intention.

"Black Magic Woman" arose the audience to the point where they refused to let the song end. Finally, fifteen minutes after it began, Welch told the crowd that they had better move on to a new number, a blues shuffle which allowed Christine to showcase her boogie-woogie piano work and bluesy voice. Following that was the last tune, a cut from their new album due in late March.

The crowd was in just the right receptive mood at this point.

Minutes later, the curtain once again parted to present Savoy Brown. "Goin' Down" acquainted the crowd with the group's brand of rock 'n roll, and "Let It Rock" tore the roof off the Concourse. For the first time, the usually calm, and cool San Diego audience went wild. Everyone was dancing from the cheapo seats right up to the front row.

The band had a tight, compact sound that is essential to playing rock 'n roll.

The unique set-up was one sole revolving amplifier placed at the rear center of the stage. The band's electric pianist, looking amazingly enough like Cat Stevens, was grinning ear-to-ear as he played the traditional style of Jerry Lee Lewis, while David Walker, the lead singer consistently proved his voice to be the perfect tone to blend with the rocking guitar work of Kim Simmonds.

Savoy Brown, like Fleetwood Mac, began several years ago as a blues band and slowly evolved into a straight rock 'n roll band.

Rock 'n roll indeed. The next tune was a Willie Dixon one, "Wang-Dang-Doodle," from the Street Corner Talking album. This cinched the crowd. As I turned around, I couldn't see one person that wasn't on their feet, clapping, dancing, running, or going generally crazy.

"All I Can Do Is Cry," was anti-climactic. The slow blues tune gave Kim Simmonds, the sole original Savoy Brown member, a chance to regurgitate a dazzling solo, and a chance for everyone to settle down a bit.

The title tune from the brand, spanking new LP Hellbound Train continued the theme of slow blues and served as a suppressant for an audience that was thirsty for a boogie.

And a boogie they got. The last tune, which lasted for over twenty minutes, whipped the crowd into true euphoria not only for the audience, but for the band as well. With that they left the stage, but the deafening applause drew them back for the traditional encore of "Tell Mama."

The electric pianist traded his keyboards for a rhythm guitar and the group proceeded to secure the rip-up job. Soon after, the houselights were flipped on, and the show was over. The 8,000 people had been over-powered for several hours by pure unadulterated rock 'n roll, and loved every minute of it.

Buddy Holly would have been proud. The Tour Itinerary:
(If you have any additions (or corrections) to this page, please send them here. As always, you will receive full credit for your submission.)

Date	Venue	City (Fleetnotes are highlighted in blue)
January 13, 1972	King's Hall	Derby, England
January 14, 1972	Huddersfield Polytechnic	Huddersfield, England
January 15, 1972	Leas Cliff's Hall	Folkestone, England
January 20, 1972	Top Rank	Sunderland, England
January 21, 1972	Leeds Polytechnic	Leeds, England
January 24, 1972	Messehalle	Sindelfingen, West Germany
February 4, 1972	London City University	London, England
February 13, 1972	Madison Square Garden	New York, NY
February 18, 1972	Brunel University	Uxbridge, England
February 25, 1972	The Concourse (see above review)	San Diego, CA
February 27, 1972	Hollywood Palladium	Hollywood, CA
March 3, 1972	Swing Auditorium	San Bernardino, CA
March 5, 1972	Honolulu International Center	Honolulu, HI
March 8, 1972	Berkeley Community Theatre	Berkeley, CA
March 1972	Salpointe Catholic High School	Tucson, AZ
March 10, 1972	PNE Coliseum	Vancouver BC
March 11, 1972	Salem Armory	Salem, OR
March 12, 1972	Paramount Theater	Seattle, WA
March 13, 1972	Ford Auditorium	Detroit, MI
March 14, 1972	Ford Auditorium	Detroit, MI
April 1, 1972	Vega Baja	Puerto Rico
April 2, 1972	Vega Baja	Puerto Rico
April 3, 1972	Vega Baja	Puerto Rico
April 15, 1972	St. Pete Bayfront Center	St. Petersburg, FL
April 1972	Palace Theatre	Waterbury, CT
April 28, 1972	The Spectrum	Philadelphia, PA
May 7, 1972	Alumni Stadium	Amherst, MA
May 1972	Ocean State Theatre	Providence, RI
May 1972	Capital Theatre	Port Chester, NY
May 1972	University Of New Haven	New Haven, CT
May 14, 1972	Golden Hall	San Diego, CA
August 1972	Mcalister Auditorium	New Orleans, LA
August 11, 1972	Pacific Coliseum	Vancouver, British Columbia
August 14, 1972	Boston Common	Boston, MA
August 18, 1972	North Carolina Motor Speedway	Rockingham, NC
August 21, 1972	Saratoga Performing Arts Center	Saratoga, NY
August 24, 1972	Syria Mosque	Pittsburgh, PA
August 27, 1972	Veteran's Memorial Coliseum	Jacksonville, FL
August 28, 1972	.	Atlanta, GA
August 29, 1972	.	Atlanta, GA
August 30, 1972	Gaelic Park	Bronx, NY
Sept. 2, 1972	Long Island Arena	Commack, NY
Sept. 3, 1972	Empire Dragway	Leicester, NY
Sept. 1972	.	Rochester, NY
October 1972	Ford Auditorium	Detroit, MI
Nov. 3, 1972	Polytechnic	Newcastle, England
Nov. 9, 1972	.	Syracuse, NY
Nov. 10, 1972	Hersheypark Arena	Hershey, PA
Nov. 11, 1972	Palace Theatre	Waterbury, CT
Nov. 12, 1972	.	Williamsburg, VA
Nov. 17, 1972	International Amphitheatre	Chicago, IL
Nov. 18, 1972	.	St.Louis, MO
Nov. 19, 1972	.	Minneapolis, MN
Nov. 22, 1972	.	Tulsa, OK
Nov. 23, 1972	.	Oklahoma City, OK
Nov. 25, 1972	Sam Houston Coliseum	Houston, TX
Nov. 26, 1972	Memorial Auditorium	Dallas, TX
Dec. 1, 1972	Veterans Memorial Hall	Des Moines, IA
Dec. 2, 1972	State Fairgrounds Coliseum	Indianapolis, IN
Dec. 6, 1972	Convention Hall	St. Louis, MO
Dec. 8, 1972	IMA Auditorium	Flint, MI
Dec. 16, 1972	Sportatorium	Dania, FL
Dec. 23, 1972	Academy Of Music	New York, NY

Sources:
Press Reviews & News Clippings
Tickets & Posters
Documented Venue History
Contributions from Aurani, Brian Clarke, Don Benedict, HubBub, J. Martin, John King, Mike, Larry, Rob Farrish, Randy Foley, Ray Rivers, RM Horan, Steve Denison, Mark Freeman, Will Darlington