Music Search: Bob Welch and Paris
Smokin' Dave
called Paris, and released a couple of albums that didn't sell very
well, and now they're out of print. I had their first one, "Big Towne
2061" and loved it, but no longer have it. Does anyone here know where
I can find any of the cuts on mp3? I've searched Napster and Scour
Exchange, endlessly, but found nothing.
--
Smokin' Dave
Hell hath no coffee, no cigarettes.....
Smokin' Dave's Taxicab Diaries
http://www.smokindave.com
Endymion9
had several cuts off of that album, I believe. I loved French Kiss! Saw
him open for Dave Mason at the Univ. of Georgia in 78. Great concert.
These are the songs on Best of
1. Black Book - Paris
2. Big Town, 2061
3. Heart Of Stone - (bonus track)
4. Blue Robin - (bonus track)
5. Sentimental Lady
6. Hot Love, Cold World
7. Ebony Eyes
8. Precious Love
9. Church
10. Ghost Of Flight 401, The
11. Don't Wait Too Long
12. Future Games
13. Rebel Rouser - (bonus track)
14. Man Overboard - (bonus track)
15. B666
16. Don't Stop - Bob Welch And Ave M
http://www.amazon.com/exec/obidos/ASIN/B0000032ID/o/qid=968713902/sr=2-3/103
-1086335-3635838
--
Endy/Dennis
"dancing us from the darkest night is the rhythm of love powered by the
beating of hearts." XTC
http://home.mindspring.com/~endymion9/index.htm
"Smokin' Dave" <smoki...@smokindave.com> wrote in message
news:39f733e6...@news.msy.bellsouth.net...
Steve_2000
"Endymion9" <endy...@mindspring.com> wrote:
> Can't help you on the mp3's but I do have a cd The Best of Bob Welch
that
> had several cuts off of that album, I believe. I loved French Kiss!
Saw
> him open for Dave Mason at the Univ. of Georgia in 78. Great concert.
>
probably a third here, that was the Winterland format) were great. Was
it really 78? Thought it was a bit earlier..coulda been though. Paris
was good, even if it was a short lived project.
Dave Mason was a very strong live act in the mid-late 70s. Great tunes,
great band, lots of GREAT tasty bluesy lead guitar that you hardly ever
got to hear on his records. He was probably hotter than Eric Clapton at
the time. EC was laying back during those years, Mason was taking no
prisoners in a very civilized, very English way. I had first seen him
live touring 'Alone Together' earlier-he was very good then, as was his
opening act..some country-rock guys from LA named 'Loggins and Messina'
who had just released their first album.. That was a pretty good show
too (waaay excellent...who would guess L+M would go onto what they did
and the young Loggins would have a 25 year career ahead of him)?
Mason kicked tail in concert back then. One of the great semi-forgotten
70s headliners.
imo
Steve
Sent via Deja.com http://www.deja.com/
Before you buy.
The Wanderer
--
Buddy
from Brooklyn
http://www.geocities.com/athens/thebes/5591/
Steve_2000 wrote in message <8pmsdm$a0q$1...@nnrp1.deja.com>...
Jeff Troutman
> Didn't Loggins And Messina break up in like '74?
>
1976. But if they were the support act on Mason's _Alone Together_ tour,
then the year in question is likely 1971, at the beginning of L & M's
partnership.
Jeff Troutman
The Wanderer
--
Buddy
from Brooklyn
http://www.geocities.com/athens/thebes/5591/
Jeff Troutman wrote in message <8pn5n3$av5$1...@bob.news.rcn.net>...
Steve_2000
openers...again at Winterland so there was probably a 3rd act. One of
those shows where you see a future headliner in the support position.
Winterland was the legendary big brother auditorium to the Fillmore
West which had closed in the early 70s. Bill Graham continued to use it
for his ballroom size shows here through most of the 70s.
Winterland finally closed in 1978 and one of the final shows (and my
last visit there) was a Kenny Loggins solo show. Always a fan of his,
always a great band (and always a bonus to be in his audiences-which
were full of tons of attractive ladies-they'd often came in pairs or
groups-even into the 1990s. '2 shows for the price of one:)'
Loggins had made the successful leap into a solo career after L+M split
and was on his first or second true solo record by then.
Ironically the first (1971-2) Loggins and Messina album was started as
a Kenny Loggins solo project with Messina producing. Jim Messina is a
strong musician/producer and recognized the perfect fit, so they added
in some of his songs, co-wrote a few, he sang some..and they called
it "Kenny Loggins and (or 'with') Jim Messina-Sittin In."
-
I saw Dave Mason many times in the 70s. He lived in Marin County near
here so like Steve Miller, the Dead, Doobs and a lot of other 'local'
bands, he probably played more Bay Area dates than he did national
tours. And he toured a Lot. He was a real road dog ...kinda like pre-
"Comes Alive" Peter Frampton, another popular mid-level rocker who was
constantly on the road-either headlining medium size places with strong
support or supporting/co-headlining on big bills-fesivals..solid act,
medium drawing power waiting for the Break..which did come in his case.
I didn't 'mind' Peter Frampton before the huge live disc over exposed
him-he's a talented singer-songwriter-player. But I sure didn't have to
go out of my way to see him live. Circa 74-76 he was another guy who
seemed to be on one long tour and I caught him in support slots for
Rod/Faces (with Loggins and Messina billed over him), Fleetwood Mac and
at least a couple other things. Had first seen him early on in Humble
Pie, which was really Steve Marriot's show, and much harder rocking.
Frampton always played/performed well, though...wherever I saw him.
After he got almost overly popular with the live disc and became a true
headliner, I didn't bother to see him again till he was all done with
it and snuck out playing lead on David Bowie's 86-7 'Glass Spiders'
mega-tour/production. PF played well there too-but it was totally
Bowie's show, he was at his popular peak or just past it. Everyone was
pretty surprised when Bowie announced who the 'familiar looking' guy
was playing lead guitar.
Steve
In article <1%Ev5.5979$6f1.4...@bgtnsc05-news.ops.worldnet.att.net>,
Steve_2000
that
> had several cuts off of that album, I believe. I loved French Kiss!
Saw
> him open for Dave Mason at the Univ. of Georgia in 78. Great concert.
>
> Endy/Dennis
Gosh that Paris appearance had been on my mind today. Strange how some
concert sets seem to stay with you. FWIW, I never heard any their
recordings but I remember that night pretty well-I enjoyed them.
I recall they were a trio and that Bob (who I'd seen a couple times
with Fleetwood Mac) used a Les Paul and quite a bit of echo (in a
_good_ way) to fill things out. He was obviously the main guy with the
lead vocals and songs and stuff. It hit me this afternoon that I
*think* one of my favorite 70s rock drummers, Clive Bunker was in that
band. Clive was a 'heavy' drummer with a great groove-when he cut loose-
and a sense of humor. His drumming initially powered the original
lineup of Jethro Tull into stardom.
Pretty sure Clive added his talents to 'Paris' (maybe why one of the
reasons they stick out in my concert-memories.) Anyone know who was the
bassist? I think it was another rock veteran.
Reviews on Paris recorded output are mixed, but I enjoyed them live and
remember they seemed to be having a great time onstage.
imo
Steve
> "Smokin' Dave" <smoki...@smokindave.com> wrote in message
> news:39f733e6...@news.msy.bellsouth.net...
> > Bob Welch, at some point after leaving Fleetwood Mac, started a band
> > called Paris, and released a couple of albums that didn't sell very
> > well, and now they're out of print. I had their first one, "Big
Towne
> > 2061" and loved it, but no longer have it. Does anyone here know
where
> > I can find any of the cuts on mp3? I've searched Napster and Scour
> > Exchange, endlessly, but found nothing.
> >
> >
> > --
> > Smokin' Dave
Jeff Troutman
>
> I recall they were a trio and that Bob (who I'd seen a couple times
> with Fleetwood Mac) used a Les Paul and quite a bit of echo (in a
> _good_ way) to fill things out. He was obviously the main guy with the
> lead vocals and songs and stuff. It hit me this afternoon that I
> *think* one of my favorite 70s rock drummers, Clive Bunker was in that
> band. Clive was a 'heavy' drummer with a great groove-when he cut loose-
> and a sense of humor. His drumming initially powered the original
> lineup of Jethro Tull into stardom.
Clive was/is a fantastic drummer. I really enjoy "Dharma For One" off the
first Tull LP. But I don't think he was in Paris. IIRC, the drummer on
their first LP was Thom Mooney, who had been in the Nazz with Todd Rundgren.
He was replaced for the 2nd LP by another guy with Rundgren connections,
Hunt Sales.
>
> Pretty sure Clive added his talents to 'Paris' (maybe why one of the
> reasons they stick out in my concert-memories.) Anyone know who was the
> bassist? I think it was another rock veteran.
The bass player was Glenn Cornick, who was the original bassist in
.......Jethro Tull. :)
Jeff Troutman
Steve_2000
"Jeff Troutman" <yourhe...@starpower.net> wrote:
> "Steve_2000" <steve...@my-deja.com> wrote:
> It hit me this afternoon that I
> > *think* one of my favorite 70s rock drummers, Clive Bunker was in
that
> > band. Clive was a 'heavy' drummer with a great groove-when he cut
loose-
> > and a sense of humor. His drumming initially powered the original
> > lineup of Jethro Tull into stardom.
>
> Clive was/is a fantastic drummer. I really enjoy "Dharma For One"
off the
> first Tull LP. But I don't think he was in Paris. IIRC, the drummer
on
> their first LP was Thom Mooney, who had been in the Nazz with Todd
Rundgren.
> He was replaced for the 2nd LP by another guy with Rundgren
connections,
> Hunt Sales.
> Anyone know who was the
> > bassist? I think it was another rock veteran.
>
> The bass player was Glenn Cornick, who was the original bassist in
> .......Jethro Tull. :)
>
> Jeff TroutmanThanks Jeff.
I must have inhaled that night:) At least I sorta remembered the Tull
connection. Hunt Sales rocks too-dunno if he was on that tour, maybe...
Most folks associated with Todd seem to have their chops damn together.
IMO, the almost initial Tull lineup from Stand Up till Bunker (and/or
Cornick) left was an amazing band. Basically a heavy guitar trio with
Anderson doing a high energy 'no one can touch this' over-the-top
showmanship deal as he sang, played flute and acoustic guitar...they
were as good as any of the legendary early hard rock bands. Zeppelin,
the Who, anybody...Tull could hold their own against any of em in
concert.
Bunker has said Anderson had every second of their ultra dynamic and
very dramatic stage show rehearsed-nothing 'spontaneous' but it was
high energy, complex (and unique) music...and simply one of the most
amazing things I'd ever seen. And it was just 3 guys and a frontman-all
world class.
Anderson still stands alone with the crazed leprehcan/madman stage
persona he created and the showmanship and energy he brought to the
shows until he 'got older'-many years later. Ian has said in recent
years that he (somewhat unfortunately) has his own live concert legacy
of great showmanship to try to live up to. I was him 10 years ago and
he did a great job of trying and was still very good, but you knew that
he wasn't 23 anymore. I think he's modified his approach to concerts in
middle age. I can't imagine Tull being anything less than very good.
But that early Tull band did one of the most incredible shows-imo, Ever-
in rock with their talent and hard work at staging a very tight, top
notch production in an era when most superstar bands were just jamming
loosely in concert. In a way Tull's early tightly structured
music/concerts presaged the tightness that some other bands would adopt-
for musical or showmanship reasons-as the 70s unfolded. The era of the
jammed was sorta drawing to a close, and Tull kinda helped kick that
door closed...altho they probably were unaware of doing it.
They/Anderson always seemed to work in their own universe, which for a
few golden years in the early 70s was acceptable to the mass mainstream
rock audience.
Their remaining hardcore fans (I'm one) are fans for life, I think. Tho
I haven't bought much recent music, I still make the odd live concert
and treasure the recordings I do have...all the stuff through 'Brick'
and a couple newer things.
imo
Steve
Endymion9
news:8pmsdm$a0q$1...@nnrp1.deja.com...
I thought it was 78. I went to UGA from the Fall of 77 to Spring of 78 so
it's possible it was late 77.
Like I said Welch opened and yes there was supposed to be a third (opening
act). However the truck bringing the equipment from Memphis, TN broke an
axel and the concert started 2 hours late. After Welch played the roadies
came out and started setting up for Mason. About 30 minutes later Mason
started playing. During the first song the amp for the bass player went
out. Then the amp went out for one of the backup vocals during the second
song. Mason yelled "that's it! I'm not ruining my voice trying to overcome
this and not willing to put up with this crap." and walked off. The crew
came out and fixed the problems. About 45 minutes later Mason came back
out. When he finally started playing it was like 5 hours after we had first
arrived. He played for about 2 hours then came out for about 45 minutes of
encores to make up. Once all the bugs were worked out it was a great
concert!
Steve_2000
"Endymion9" <endy...@mindspring.com> wrote:
> "Steve_2000" <steve...@my-deja.com> wrote in message
> news:8pmsdm$a0q$1...@nnrp1.deja.com...
Ah, those were the daze:)
We take good sound and lights for granted in today's concerts..the
venue itself will always effect sound, but in general, today's concerts
sound and look as good as they can and minor equipment malfunctions are
taken care of quickly. Major equipment malfunctions are almost unheard
of at a current professionally produced concert.
Not so in the 70s and earlier. We were lucky to have promoter Bill
Graham in this area. Early on 'Bill Graham Presents' came to imply a
guarantee that the concert would have as good P/A and lighting as were
available and that the shows would generally start on time and as
advertised.
But BGP wasn't the only promoter in town (still isn't) just the best. I
went to many late 60s and 70s shows at competing ballrooms, colleges
etc where different local promoters (or student organizations) produced
concerts with varying results.
Sometimes it was fantastic like Bruce Springsteen in 1977 at Santa
Clara University, playing to capacity (5000?) in the basketball gym-but
sounding Great and blowing away an unsuspecting but curious crowd-who
probably had read more about his legendary live shows than actually
heard much of his music by that point. Credit Bruce himself for his
notorious hands on quality control at all his shows even after he
became a big star. He still personally soundchecked the entire halls,
eventually arenas, Thoroughly even after he was a big star and could
afford top quality production.
Other 70s concerts had all kinds of snafus, from running late and/or no
shows for the supporting acts to major equipment/PA failure. I once saw
a concert at SJ State where the headliner, the Doobie Brothers, simply
stopped their set after 2 songs explaining they 'had to get the PA
straightened out.' They came back on 30 mins later and continued fine-
tuning monitors during for a while during the show with hand signals.
Eventually they just realized their onstage sound was what it was and
rocked out. Probably trashed their voices but it sounded good out front.
Saw (great) guitarist Larry Carlton-the 70s LA session king, Steely Dan
and many many other hit records-playing a large club circa 79. He had
one of the first 'rack' guitar effects systems...and couldn't get sound
out of it. So he stood onstage and answered questions from the audience-
tons of 'non-famous' guitarists-in a workshop type atmosphere...while
his techs scrambled to figure out the rack problem.
Ironically, Carlton is one of the finest 'natural' guitarists and
musicians around and uses little effects. He finally just told the
techs to "plug me straight into the damn amp"...:) Most of his famous
solos on sessions are just his Gibson 335 into a small combo amp. Of
course, 20 seconds later they figured out that a single switch on the
guitar tuner built into the fancy rack was in the 'mute' position.
Larry absolutely burned that night to make up for it...but it turned
out that the Q/A was a one-off very unique, entertaining (and
educational) thing. I was glad the stupid tuner switch was in the wrong
place.
Sly Stone was a local artist (Oakland) when he was making his
name...and he did legendary ballroom gigs here..loose but On Fire. Imo,
Sly was a pioneering funkster who changed music-and appealed to a wide
crossover audience. Once he got to be a star, the 'trappings' and
excesses of showbiz caused him to be an early burnout. He didn't die as
some other superstars of his era did...but he quickly turned into a
legendary (very) late starter-if he showed up at all. Read an article
on some concert stats for probably 1971..he missed about 25% of his
shows. He started many of the ones he did make it to an hour or more
late. Luckily the one time I caught him it was a fantastic show (in a
smaller hall) that went on *fairly* on time and they were very hot.
Most major concerts these days are produced by experienced local
promoters, and increasingly by the big national corps like SFX who own
a lot of facilities as well. The price of tickets has skyrocketed and
good to great PA/Lighting and OnTime solid performances are expected by
the fans. Sound equipment (and the engineers who run it) have advanced
light-years from the early days of Big Rock Concerts.
Of course, sound is subjective and I still hear stories of 'weird
sound' at some shows...very rarely anything major like 'the PA blew
up' -- more like 'the bass was too loud'...
And while a lot of younger pop acts have a very strictly staged (and
choreographed) computer-run show which is exactly the same every night,
many of the rock (and older artists in many genres) do a more
traditional concert with room for improvising, changing songs etc. On
these type of shows you'll hear about an artist doing a particularly
good show-or maybe 'he/she/they were better back in 19XX'..or maybe
they started late etc. Hopefully it's "the best show I've ever seen 'em
do."
The sound/lights have pretty much been taken for granted since the mid
80s in most major concerts-specific natural venue acoustics aside. A
pro sound company can make 'compensations' for a big old coliseum arena
built for sports 15-30 or more years ago-but it's still a basketball
arena or hockey rink (or both).
Newer amphitheaters designed for music generally fare much better...and
most cities have at least one mid sized theater where the right artist
and sound company can make magic on any given night.