Fleetwood Mac Concert Review

Fleetwood Mac at Extravaganza

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. In 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 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.

Courtesy of the Door (aka San Diego Door) – Cameron Crowe –  March 9, 1972  – March 30, 1972