In an interview from 1979, you stated that your earlier involvement in a 60's R&B outfit called "The Seven Souls" may have evolved into similar musical styling of Earth, Wind, & Fire. Have you ever had the desire to make a dance-able 70's style jazz-funk album?

I understand that your early musical training was on clarinet, which I recall that you accidentally broken onto pieces on purpose when you were young. Did you ever play the flute/clarinet parts for that wonderful song called, "The Ghost" from the Fleetwood Mac LP "Bare Trees?" Besides playing guitar, did you ever play bass on any Fleetwood Mac LP's?

I don't mean to get too personal, but how many times were you married and do you have any children? (K.E. Gil, Los Angeles, California, USA)

The Seven Souls were actually part of a large group of players in LA, that were all in different bands, but sort of trying to do the same thing. There was the 'Souls, there were the guys, Bobby Watson and Tony Maiden, who later, with Chaka Kahn, turned into "Rufus",. Up north, there was the disc jockey on KYA, Sylvester Stuart, who later was "Sly" of "Sly and The Family Stone".. CBS records was going to sign either the Seven Souls, or Sly Stone to a recording deal. They picked Sly...good choice, much more original than our band was.You even had bands like "The 5th Dimension", actually they were a singing group, who the Seven Souls used to back up when they were still called "The Versatiles". Then you had all the Ike and Tina Turner review alumni, like "Nose", and David T Walker of "The Kinfolks", who later became a much recorded session player. All of us sort of knew each other, from the clubs, we had the same friends etc. The Seven Souls even played at Jordan High School in LA for Motowns debut of The Jackson 5. And Larry Williams, he of "Bony Marony" fame produced one of the Seven Souls two singles. It was a "tight" scene"!

I took Clarinet lessons for about 6 years, and played in the school orchestra, when I suddenly realized that the girls didn't think guys with clarinets were 'cool".

The flute parts on The Ghost, were played by Christine McVie on a "Mellotron". I played bass on quite a few Mac songs ;"Revalation", and "Keep On Going" come to mind.

I've been married 3 times, and never had any kids, just 2 dogs ! ;-)

I would like to say that I feel that you were the best guitarist that FM has ever had. You and Bob Weston were great together. Are there any live tapes with Weston and you together? Any recordings by the Seven Souls on cd? Many years ago in March of 1982 I spoke with a friend of yours named Judy Wong. How is she doing these days? I hope you get to release some Mac material that you play on in the future I would love to hear "Good Things". By the way, you should have been inducted into the Rock N' Roll Hall of Fame with FM. THEY CHEATED YOU!!!! What is your favorite memory of your career with FM? (Tom Kirby, Roswell, New Mexico, USA)

Thanks for the compliments,... I'm sending you another 50$ ;-)

There's nothing released by "The Seven Souls", except some backing tracks on some old "Rainbows" 45's which I'm sure are long out of print. Nothing on CD.

Judy Wong is doing ok, although her condo was wrecked in the bad LA earthquake a couple of years ago...

I've talked about the RnR HOF in an earlier answer, and it was pretty long-winded, so please refer to that !;-) That song sums it up..."You cheated, you lied, you said that you loved me !" ;-)

My favorite moment with FM was probably after I had actually left the band, when Mick was my manager and I was opening up big outdoor shows for them like Riverfront in Cincinnati, and French Kiss was a hit, Rumours was a hit and we were all on top of the world, and could do no wrong ! ;-) (we thought !) ;-)

Do you plan on touring or playing nightclub gigs? What kind of cigar do you like? (Ernie Fuhr, Rockford, Illinois, USA)

No plans to tour at the moment. I don't smoke cigars anymore, but I used to like "Excalibur" made in Honduras.

Hello Bob, I saw you play with a band called Touch, I think. Who was in that band and did you do any recording with them. It would be great if you would play again in southern California. (Carl Swift, Sierra Madre, California, USA)

"The Touch" was me, Dallas Taylor (ex Crosby Stills Nash drummer), John Schayer on bass, and Brian Wild on vocals. We recorded some demos, but nothing was released.

If I do any live shows, I will absolutely play the LA area. Thanks for your interest !

Hi, Bob...guess who, again? Next battery of queries.

Technical questions from one guitarist to another...slap me if I get sounding TOO much like a Guitar Player Magazine reporter! ;-)

Throughout the years, I've seen you play mostly Gibsons...the white SG, the double neck, the tobacco sunburst Les Paul Standard (which was SO cool I HAD to buy one...well, TWO...sold the first one to get a Firebird...the guitar, not the car...then had seller's remorse...so had to get another one a few years later), and a white Les Paul Custom...then read about the adventures of your ES-345. In the video from the Roxy, (and on the cover of your first RCA album) you have that unusual hybrid of Firebird body with Les Paul Custom neck....was that a custom made guitar, or did Gibson market those commercially? It looks vaguely familiar, like I'd seen one hanging on the wall of a guitar shop, but I'm not sure if it was the same model as the one you had.

Although in inner sleeve photos in the first Paris album shows you with the famed sunburst LP, both times I saw you with Paris you were playing Strats! That surprised me. Do you/did you like them? What inspired the change?? just for "changes" sake?? Was there a particular tone you were looking for? Then after French Kiss, you went back to Les Pauls.

Around the time of "French Kiss", I saw a couple of magazine ads where you were endorsing Hagerstrom guitars (and their synth trigger system). Did you ever use those in concert? Or was that mainly for studio work? Or was it just for endorsement's sake? ;-)

I see on the new CD cover the Gibson endorsement...what model do you play these days?

The cool thing when I saw you on the "Heroes Are Hard To Find" tour was your foot pedal collection at the base of your mic-stand. A whole row of Morley pedals !!! WOW!! You were the first guitarist I'd ever seen with THAT many pedals. You were also the first guitarist I ever saw use a Roland Space Echo (during your Paris stint) What are you using now??

With all the phenomenal technical leaps & bounds in guitar gear over the last 20 years or so, have you kept up with Guitar Synths for your effects? (which is probably a redundant question, after asking the prior question)

After going back & listening through some of your prior CD's over the course of the past week, I rediscovered the short interlude before "Devil Wind" on your Three Hearts album. Was that you AND Todd Sharp? Or all you? Was it recorded live or overdubbed? (which again, considering the question before, could be considered "redundant"...sorry)

Well, that's all for now...more to come...if somebody else doesn't ask the questions I was going to already. (Steve Denison, Long Beach, California, USA)

If you got paid by the word, you'd be RICH ! ;-) Yes, Gibsons and I just seem to feel right, although I have played, (and owned) Fenders of all stripes.

The guitar on the cover of the 1st RCA album is a Gibson RD Artist, which they don't make anymore, and unfortunately, I don't own anymore. It was a cool guitar with a really "reachable" neck and active electronics. I used it on "Precious Love", and on tour in Japan. It did great on Motown "skank" type sounds.. I used to try to use Strats., because I might've thought they looked cooler, more "dangerous", you know...the "Jimi Hendrix effect". But Gibsons are just more comfortable, and I play better on 'em.

Yes, the ascending synthesizer "wail" sound on "Outskirts", on French Kiss is that Hagerstrom (I had forgotten the name) set up. It was the only way for a guitarist to get that kind of sound then.I don't have it anymore, wish I did !

My main guitar today is a Gibson 3 pickup Nighthawk, a beautiful blond bookmatched top. I love it, it "does it all", and it's very lightweight... Today I use a Sans Amp and an ART rack box for processing, nothing particularly fancy.

I probably ran through 3 or 4 Morley pedals in those days, from hard use.

That acoustic thing on "Devil Wind" is mostly Todd Sharp, (doing the hard stuff ;-) and me doing the atmosphere "pad".

And now Steve, 50 push-ups !!! ;-)

"OH NO, NOT HIM AGAIN"!!!! This time, let's talk JAZZ...

I've got a few Miles Davis, John Coltrane, & T-Monk lp's. They each seem have "the one" lp that is "their definitive" one (well, Miles sort of has a few different ones depending on era). I guess "Kind Of Blue" would be Miles' definitive "be-bop" one & "Giant Steps", Coltrane's (do you agree?)....what, in your view, would be Charlie Parker's?? What I've heard, I've liked, but they're mainly compilations from various years of recordings. IS there a "definitive" Charlie Parker album?

I've mainly been into Be-Bop for only "listening pleasure" and not from a "I gotta learn how to play this" point of view. In fact, I have not even considered "Be-Bop" being a guitar form of music, basically, just piano & horns. Once again, you've inspired me to reconsider that. Thank you! What guitarists (besides yourself, of course!) would be considered "Be-Bop" guitarists? Kenny Burrell? Joe Pass? Herb Ellis? Would they be considered Be-bop?

Unfortunately, I didn't get to see George Van Eps one last time before he passed on, but I was fortunate to see him play at a Sushi restaurant once a month for a while. Would he be considered in that list too? Which brings me to another question....

...have you ever played one of those 7-string jobbies that Van Eps conjured up?? That's all from me for today...more tomorrow! (look out!!!) (Steve Denison, Long Beach, California, USA)

You may not be a "stalker", but you are.....a talker! ;-)

I'm not an expert "discographer" on Be-Bop or anything, but it has always seemed to me that Charlie Parker, because he died so young, and was so "careless" with how he thought of his recorded performances (read Miles Davis' autobiography) that he's the worst represented on record of any of the Be Bop pioneers. According to Miles Davis, Parker really just wanted to play, LIVE, and get high. He evidently accepted any "b.s." context an a&r man put him in just to be done with it and put the money in his pocket. Unlike Coltrane, or Miles, evidently Parker never thought of himself as having any "posterity"; he lived for the moment, for right now. As a result, a lot of his stuff is very poorly recorded, with cocktail glasses clinking in the background etc., although I guess some of his work has been remastered and sonically cleaned up. I don't know which ones would be the best though.. The Jaimie Abersold catalog store sells a lot of remastered Parker compilations, and they might know...

Be Bop really could be said to have started with Charlie Christian and Django Rheinhart (sp?). All the guys you named, Joe Pass, Herb Ellis, Kenny Burrell are all "monsters" on the guitar, and frankly way out of my league. I'm only trying to hint at some of the stuff THEY could do on my CD. I think I'll have to wait till my next life to be able to come anywhere close to those guys ! ;-) George Van Eps...another mu**%33f""ker on guitar. Really, I'm embarrassed that your putting me in the same context with those guys!

If my record could serve as an INTRODUCTION to just the basic "flavor" of Be Bop ,then I will be happy. I've never played a seven string guitar, it's all I can do to handle 6 strings at a time !;-)

Hello Bob. Just a couple of questions for you. I like your new stuff and your old music also. Did Tommy Bolin play with the Mac in LA for a radio broadcast? The BBC did tape some live show with FM with you and Danny that most fans would love to here. Give me your make on the Time Mac-- Bekka, Billy, Dave Mason and why Mick is not saying much about that band but John does? Keep rock'n Bob. Thanks. (Bill Seamans, Buffalo, Minnesota, USA)

As far as I know, the late Tommy Bolin never played with FM. The BBC owns that show with me and Kirwan, and who knows what the BBC will ever do, or when they'll do it ! ;-)

I don't understand what you mean when you say John talks about the Bekka, Billy, Dave Mason band but Mick doesn't..? I don't think I know much about that..

Hi again, and may I add that I agree with you about bringing jazz into the year 2000. I love jazz as well. I remember hearing at one time that you hosted a tv show called "Hollywood Heartbeat". What kind of show was it? Damon Garascia, Ferndale, Michigan, USA)

"Hollywood Heartbeat" was a show, like "MTV", only a year before MTV started. In other words , we'd go to clubs and catch bands playing, and then I'd "interview" somebody; Tom Peterson of Cheap Trick for instance, or Mick Fleetwood. It was filmed though, not live via satellite, so in that way it was different from MTV.

What people don't realize about "jazz" is what they don't realize about so called "classical" music. Did you know that "back in the day", artists like Paganini and composers used to "jam" and do their own thing or variation on somebody's tune for hours at a time? Whoever made up the craziest and most pleasing s--- "won".. It was like a battle of the bands. It was NOT people sitting around being stuffy and "serious" all the time.

Hello again..several more questions from me to you! How did you meet Todd Sharp? Do you still hear from Robbie Patton? I love your appearance on Don't Give It Up!!!! Are there any musicians that you would like to work with in the future? Thanks again for everything and Take care....:~) (Christa, West Haven, Connecticut, USA)

Todd Sharp showed up at auditions I was holding to find players to tour supporting the French Kiss album. Todd had just come off several years with Hall and Oates, on the road, and when Mick and I spied his (still!) lithe and lissome form, (not to mention svelte hairstyle! ;-) and heard his cascading flurry of honeyed notes coming from his "tool" (a Flabbocraster), we "fell in love", and hired him on the spot, or "post haste", as they said 100 years ago in England ! (Todd, if you read this, don't e mail me...;-) What a guy ! ;-)

Robbie Patton was a very nice guy, energetic and fun to work with. Everybody used to call him, "the snapper"!;-)

I'd love to produce Eddie Van Halen in a "jazzier" context, I think he never developed his amazing talents away from just playing with the same 3 guys. (Although they're GREAT don't get me wrong!) I also think Lindsey and I could do something interesting some day...I don't mean as a part of Fleetwood Mac...Lindsey has very interesting musical ideas...I want to work with people who want to "break out" of the "cage" of the pop/rock/jazz..blah blah blah categories. Music should be about more than a NEW way of selling the same OLD cornflakes, time after time.

I'd like to produce Fleetwood Mac, the way William Orbit produced Madonna, or "The Dust Brothers" produced Beck. Explore new frontiers, climb new mountains...or get mentally "old" and set in your ways. That bit of preaching will cost everybody 2$ apiece ! ;-)

Hello---what an honor to talk to you. I've been a FM fan for years and I adore "Ebony Eyes", "Hypnotized" and "Sentimental Lady". I have a vague memory of seeing you and Stevie playing together at a "California Jam". (I saw the performance on television; I was about nine at the time so I can't vouch for my accuracy) Stevie was singing backup on "Ebony Eyes." Does this ring a bell with you or was I dreaming? (Dianne Lopp, Tulsa, Oklahoma, USA)

Thank you for the compliments on my songs ! You're right, Stevie was at the "Cal Jam" 2 in Ontario CA, and although not performing herself, she did do my last song, which was always Ebony Eyes, with me... Stevie loved performing, and when she could, she'd show up at my, or some other friends gig and just "pitch in". The headliners on that show, which incidentally was the largest crowd (over 300,000) for a rock gig ever, was Aerosmith and the then 2 years old U2. Great memories !;-)

I absolutely adore Ebony Eyes...it's just totally lucious! I have several bootlegs (ahem excuse me but they are a necessity for any fan)...and Stevie has performed that song many times with you...I was just curious how that all came about...did you work much with her....and did you work any with Lindsey?...Ooooo Ebony Eyyeeess!!!..sorry...Thanks for taking the time to answer our questions=) (LauraTN, Morristown, Tennessee, USA)

Laura, I noticed you mentioned bootlegs...bootlegs??....BOOTLEGS!!!....cool,,send ME some ! ;-)

Thanx for your comments about Ebony Eyes ! A lot of times, when I was on tour opening up on FM shows, Stevie would come up and do Ebony Eyes with me, just for fun. One time at the LA coliseum, I was opening for "The New Barbarians" which was like Keith Richards, Stanley Clark..but the big thing was everybody was thinking that Mick Jagger might show up. The first 10 or so rows of seats were all invited "critics", writers from the LA Times etc. They were VERY hostile to me, yelling things like, "get off, 'ya wimp!" , and "where's Mick Jagger" etc. At the end of my 40 min set, Stevie came to my rescue. She marched up on stage during Ebony Eyes, the last song, and motioned for the band to stop. Then she gave those front rows a piece of her mind.. Saying things like "Bob is my friend, and this is unfair", and Bob is the "Fred Astaire of rock and roll"," I love his stuff" etc. etc. I wish I had it on tape ! You could've heard a pin drop! Here was Stevie, who at the time was at least as "big" as Mick Jagger telling these snotty critics off ! THAT's the kind of person Stevie is, I'll never forget it ! And by the way, Jagger never did show up...

Yes, I worked with Lindsey; he produced the re-recorded hit version of Sentimental Lady, and also sang and played guitar on it.

Place your order for Welch's solo album, Bob Welch Looks At Bop now ! The supply of these albums is limited and are in stock now. They are autographed by Bob Welch and are priced at $14.25 + $1.75 S/H. You can place your order for this album now in The Penguin Album Corner. Thanks!

Hi Bob! It's a pleasure to know that you're on the local scene (I'm about 30 mins. south of Nashville). I really enjoy the Bare Trees album and was wondering if you have any good stories about the making of that record or about the songs themselves. Also, do you play gigs around the local clubs and, if so, where? I'd love to come out and catch a performance sometime. Thanks for all the hard work and years of great music. (Thomas Helmick, Chapel Hill, Tennessee, USA)

Yes, Nashville is musicians "hog heaven" ! ;-)

I've never done any "official", that is, "advertised in advance" gigs in town, but I've done some NSAI fundraisers, (you'd have to be a member of NSAI to go), and I've jumped on stage with Billy Burnette, or Jeff Baxter and Bobby Cochran a couple times. All spur of the moment stuff. Actually, on Nov 27th I'm doing an acoustic "in store" for the opening of a new Media Play store in Douglasville GA, in the southern 'burbs of Atlanta... If you feel like driving down...;-)

The spoken thing Mick does about "trees so bare, so bare" on "Bare Trees", was written, I think by this sweet old lady that lived near Benifolds named "Mrs. Scarrott". Mick did an affectionate "schtick" on her, to close the album.;-) Also, there were a lot of strikes by the power companies union during the recording of Bare Trees, and the lights would go out all the time for hours on end..

I love Bare Trees, especially Sentimental Lady. I went to every record store trying to find it. what was it like working with Danny Kirwan? Also, what were the sessions like? Was it hard to fill Jeremy Spencer's shoes? Thank you so much for doing this. (Edna, Boston, Massachusetts, USA)

I'm glad to hear your nice comments on "Bare Trees" and Sentimental Lady!

Danny K. was sort of a "moody genius" type to work with...he didn't have a real "easygoing" manner, or, as I recall, much of a sense of humor. Musically, however, he was a very innovative and exciting player/singer/writer.He never would buy his own cigarettes though, and would always bum mine ! ;-) The sessions with him in the band were always intense, in a fun way. I don't like to work under that kind of pressure anymore...

Jeremy Spencer was so unique, with his satires and everything, that I never even tried to do what he was doing...The hard part was was figuring out what would fit with what FM had done in the past, and still be different so I wouldn't just be copying somebody else....

Thank YOU for your questions and your interest !

Here are a few more questions: 1. Can you describe the Rolling Stones Mobile Unit, what type of setup was it? 2. Where were the group photos taken for Future Games, Mystery To Me, Penguin, and Heroes Are Hard To Find albums? 3. What was it like to live at Benifolds? (Tom Kirby, Roswell, New Mexico, USA)

The Rolling Stones Mobile was one of the 1st, and the most sought after movable recording studios in a truck. It was narrow,(duh...cause it was in a truck..;-) and it had room for only about 6 people to sit. Without getting technical, oh to hell with it, let's GET technical (girls, except airline pilots, engineers and mathematicians, TAKE YOUR BREAK ;-) ) it had a "Helios" console, and some rather unimpressive "Tannoy" monitors. The thing was, when you got everything you had recorded on it back to the mixing studio to put the final touches on, it sounded amazing, i.e. absolutely "true" to the original performances....no coloration at all, no "garbhage". That's why Deep Purple did their biggest album on it (the "mobile" in "Smoke On The Water" is the Rolling Stones Mobile), Fleetwood Mac did "Mystery To Me" on it, and hundreds of other bands, (Led Zeppelin too I think), used it. It was called "Rolling Stones" because I think the 'Stones had at first owned it and had it built.

The group photos for all the albums, except "Heroes", were taken at Benifolds, in one room or other, or outside.The group photo on the back of "Heroes", with everybody cracking up,was taken at the recording studio in LA where "Heroes" was recorded. I think we were all laughing because Nixon had just resigned ! ;-)

My first winter at Benifolds there was still no central heating, and I'd have to run to the bathtub real fast and turn on the hot water, and then run back to bed until it filled up, and then run back and jump in. It was so cold, like maybe 20 degrees, that the whole bathroom would steam up so much that you couldn't see where the walls were...

Tim, I could go on and on, but I just realized this is a q&a not a novel I'm writing ! ;-)

The questions I did have for you have been answered. So let me just say that I've enjoyed your music over the years and I'm thrilled you have a new album out. I love the new album BTW. I was fortunate enough to see you play live with Avenue M back in 1990. It was a club called Bogart's in Long Beach California and you blew the roof off the place! Which reminds me, do you have any plans of releasing a live album? I sure hope so! Your a wonderful musician and I hope you come to Southern California soon. Best of luck in your future endeavors. (David, Norwalk, California, USA)

....and all the answers I had for you....have been given ! ;-) Just kidding ! Seriously, you really don't have any other questions, like, "what color are your eyes", or, "is there a God?". ;-) Just kidding, again ! Seriously, REALLY seriously, it "thrills" me, and I mean it, even though "thrills" is a pretty silly word, that you like my new CD.

So far, everybody has seemed so open minded about what I'm doing on "Bop", and frankly, I guess I must have expected more "resistance"..If only the rest of the country was as"accepting" as everybody on The Penguin ! Of course, if you're lying to me , just to "look good".... ;-) I do have a potential live album in the works, but releasing it is probably quite a ways off...

Hello again. Bob, you have the ability to put a signature sound to your music. It is easy to hear your work on the Dawson and Friends song. I am looking forward to hearing the new CD. Why isn't it available at local stores? I thought your work with Jeff Baxter and Spirit looked like you were having a lot of fun. Could you tell us anything about those sessions and is there much likelihood that either video or audio will be available to purchase. Thanks. (Carl Swift, Sierra Madre, California, USA)

I'm trying to get the new CD in as many stores as possible, but at this time of year, the Christmas season, AND the year 2000 thing, "shelf space" is hard to come by. I suggest you get the CD at The Penguin, or CD now or something. Marty's price is better though!;-) [and they are autographed]

I ALWAYS have a lot of fun when I work with Baxter ! That Spirit thing was filmed over at the "A&M" studios soundstage on La Brea in LA, phone # 541-33..... , ask for "Emily"..just kidding !;-) I haven't ever heard anything about that Spirit stuff being released...

I had a question regarding French Kiss. Was that originally intended to be the 3rd Paris Album? Some of the songs sound like they could have been written for Paris. I love the guitar work on that Album! Do you remember how the recording sessions went for that LP? One final thought on French Kiss, Who was the woman with you on the cover? Thanks again. (Damon Garascia, Ferndale, Michigan, USA)

Yes, French Kiss was possibly going to be a 3rd Paris album, but Paris was breaking up,Hunt Sales had contracted Bells palsy Glenn Cornick was doing a side project, I think, and it was probably John Carter who suggested I get Alvin Taylor (drummer) and do it as a "solo"album.

We cut the basic tracks for FK with just me and Alvin doing the music... Then I'd erase my temporary guitar track and put the bass on. Then I'd sing, and we'd bring everybody else in. The most exciting part for me was working with Gene Page and the 30 piece string section he was conducting..to watch those guys work was amazing. (The late Gene Page wrote string arrangements for all the Motown acts, Whitney Houston, etc, etc, etc.)

Hi! First I must say that I'm a HUGE fan of your work with the Mac (especially Mystery To Me) and I look forward to hearing the new album! I've got a couple questions...

First, what was your first impression of Christine McVie and what was it like working with her? Second, what about New York drove you to write "The City"? Third, are "Miles Away" and "Keep On Going" about anything in particular. And fourth, whose idea was it to give "Did You Ever Love Me" a reggae feel? Thanks a lot! (Ali, Montgomery Township, Pennsylvania, USA)

I appreciate all the compliments ! Christine Mc Vie is a very strong and outspoken lady, and also a good cook ! She had already been the leader of her own band, "Chicken Shack", when I met her, and also had won Melody Maker magazines " singer of the year" or something. So she was well established, and I had, and still have, a lot of respect for her as a musician and writer/singer. Christine's father was the 1st violinist for the Birmingham symphony orchestra, so you didn't "mess" with Chris when it came to music ! ;-)

New York was having one of it's worst periods in history when I wrote "The City". The city was nearly bankrupt, they were having "garbage strikes", and homeless guys were coming out at every stoplight to try to clean your windshield for a dollar. All the English people in our touring crew, including the roadies, used to be really paranoid about being "mugged" or something whenever we went there. Once at an "Academy of Music" gig there, somebody fired a gun at the stage, and pieces of plaster fell all over our heads.. Now, of course, I hear Ny is a whole different story !

"Miles Away" was essentially a stream of consciousness thing about how the whole "peace and love" thing of the 60's had turned to s--- in the 70's..."Don Juan goes up in a cloud of (crack) smoke" etc.

"Keep On Going" is about "truckin' through the madness" and NOT selling out for a $.

I think the groove on "Did You Ever Love Me" came from a groove on a drum machine, (the same one that suggested "Hypnotized"), that Mick played steel drums to.

Hi Bob! It's such an honor to get to speak to you via this forum :-) I've been a fan of your music for many years! Thanks for taking the time to answer our questions.

I love the "Penguin" album and was wondering what the inspiration was for the song "Night Watch?" Also, how do you like living in Nashville? Do you have any plans to play 328 Performance Hall? I've been there many times and it's a great place to see a show. BTW, if you're ever in need a drummer, my brother is always looking for a gig ;-) Take care and keep on rockin'! (Ann, Gordonsville, Tennessee, USA)

Thanks for your nice thoughts and compliments ! My ego is ballooning up like the Goodyear blimp !

"Nightwatch" was about the "big" UFO landing, where they come down, everybody sees them, and everything changes (hopefully) for the better..A lot of my "album track" songs, (as opposed to the "singles", which were usually love songs) had themes of being 'saved by the bell" at the last minute from all our troubles here on this planet. Sounds kinda familiar doesn't it ? ;-)

I love living in Nashville; the countryside looks a lot like southern England ! I've been to 328 to see other people, but at the moment I have no plans to play live...( with or without your brother ! ;-)

A 'quick one'....well, two....for now. Waiting for the arthritis meds to kick in...;-) Is there a take "in the can" of the version of "Hypnotized" with Dave Walker's vocal?? AND... What is your opinion of the Pointer Sisters' version of "Hypnotized"?? (I assume you've heard it) (Steve Denison, Long Beach, California, USA)

Blow some my way..;-)

I don't know if there is a take of Dave Walker doing Hypno. or not. I would assume that an engineer never erases any final vocals, but if there is one, I've never heard it, or heard about it.

I was very surprised when Richard Perry picked (I'm assuming it was him) that song for the Pointer Sisters. I was flattered, of course, since they were a wonderful group, but I sometimes wonder if they could've made any sense of the lyrics, which were pretty "un-pop" for the time, and obscure. It would be kind of like hearing Ricky Martin singing Rhiannon, you'd kinda go wha......?? ;-)

Hi Bob, wow I have had the opportunity to ask some questions of some really great Musicians here...and here is another!! And yes, another question from New Mexico!! I first had a sampling of your music when I bought the Chain Box Set...it really sounded familiar and I loved it instantly, however it seemed as your work was not as widely showcased as the other artists...My question then is how about a Bob Welch's Fleetwood Mac's Greatest Hits?? Another question I have is from a previous answer you gave...How did you come about having Guns N' Roses rehearse in your Garage?? P.S.--> All of us down in NM would love to see ya when you tour...=) (Joshua, Las Cruces, New Mexico, USA)

I love New Mexico; I lived in Phoenix for awhile, and we went to Albuquerque and Santa Fe all the time, where I stupidly ordered the "hot" version of an enchilada, and suffered for 2 weeks afterwards ! ;-) Yow !

Please refer to a previous answer as to why I think the powers that be, (mainly Mick F) don't feature my stuff as much as other members, past or present. It's a political/emotional/perception thing on their part. I am "de invisible man"... ;-)

I knew the "developing" Guns And Roses, because I was involved (maybe gonna co-produce) a band called "London" in LA, and part of that whole crowd included Izzy Stradlin and Paul Adler. I had part of my garage walled off, and they used to practice there, and sometimes sleep there, when they were broke and before they got a deal. We were all also, sad to say, pretty bad junkies at the time, and there's nothing like the common bond of heroin, I fear !

I would love to play in NM, no plans to tour right now however..

Hello Bob,

It's great to see that you're back in action with a brand new album. I hope it'll be available in most records stores soon so, most people can hear/buy it?

What are you're memories of the "Bare Trees" sessions and Tour. It's my fave 1971-74 F.M. album. Everyone had really great songs on that album. Did you play mostly rhythm guitar on that album to Danny Kirwan's Lead Guitar ?

Thanks for all the great songs like "Sentimental Lady", "Ebony Eyes", "Hot Love Cold World", Big Town 2061, "Blue Robin", and my fave Bob Welch/F.M song "Hypnotized". Hope to see you tour in the Washington, D.C./Northern Va. Area, soon ? (Steve Elliott, Arlington, Virginia, USA)

I hope "BW Looks At..." will be available everywhere soon too; meanwhile, you can get it from Marty A. Help support The Penguin! ;-)

The "jazzier" leads on Bare Trees are mine, Danny's are the bluesier ones, which was his forte. Sometimes we'd play harmonized leads; mostly on stage though. Thanks for the kind words on my songs ! No plans at the moment to tour..

Bob,

Thank you so much for doing the Q and A. I mainly wanted to tell you how much I love "Hypnotized" and "Sentimental Lady". Those are my favorites from the days when you were with FM. I am also very sorry you were not inducted into the R&R Hall of Fame.

How was the song "Hypnotized" made? Unlike Steve I am not a musician so I can't tell just by listening how a "sound" is achieved. (Vianna, Alexandria, Virginia, USA)

Vianna..

I'm glad to do the q&a, although it IS a LOT of typing ! ;-) Thanks for your comments on "Hypnotized" and "S. Lady" !

Vianna, maybe I've been a little too "mild" in my reaction to the questions about my "Hall Of Fame" induction thing, very much unlike say, "the Grateful Dead" induction, for instance, where the late Jerry Garcia made sure that every single person who had ever even played or sang with the Grateful Dead, let alone had been an actual equal member, was inducted. I just got off the phone with the Deads' keyboard player, who did their last tour, who confirmed this. Even Don Henley wouldn't participate unless an old, and rather obscure member of the early Eagles, Randy Meisner, was included.

My being left out of the Hall Of Fame thing, was purely political. There is a "board", consisting of people like Seymour Stein, who works for WB records for example, who supposedly votes on exactly who will be included. I inquired, politely, about my being left out, and was told that the "board" didn't feel that my years with Fleetwood Mac "were up to their standards" for inclusion in the induction. Pete Greens', and Lindsey and Stevie's years with the band, evidentially WERE up to the board's "standards". They would not tell me, either, exactly what those "standards" were... Were they sales ? My albums with FM have sold less than Rumours, but they have sold certainly as well as, if not more than, the Pete Green FM albums.. all of my 5 records with FM are at least "gold" or "platinum". Were the "standards" what a person did AFTER they left Fleetwood Mac? Well, when I left Fleetwood Mac I had a platinum record, "French Kiss", under my own name. Pete Green never had a platinum record under his OWN name. Neither did, God bless 'em, Danny Kirwan, or Jeremy Spencer, or Dave Walker, or Bob Weston (as I say, God bless 'em, but I'm trying to make a point). Christine McVie's solo album was GREAT, but it didn't do anywhere nearly as good as mine. French Kiss is platinum in 7 countries, including the US. So in WHICH way then, did my musical contributions to Fleetwood Mac, including "Hypnotized", which last year won an ASCAP award for 25 consecutive years of worldwide airplay, and "Sentimental Lady", which was a top ten Billboard single when, by the way, I won Billboard Magazine's "best new artist 1978", in which way PRECISELY (sorry to yell ;-) did my contributions to Fleetwood Mac not come up to the "board's" standards ??!! And in Mick's book he says, "Bob Welch saved Fleetwood Mac" and they STILL left me out ??

Politics, Vianna, politics..... and retribution because I sued them, and they were p--sed.. off !

Forgive that rant, but I had to get it "off my chest"...they did me a lot dirtier than I've been letting on. I could NEVER be that unfair to anybody.

And BTW, my personal opinion is that Mick and the other "people' who are handling Pete Green, are only using him to help their own careers!

Vianna, again, I apologize for "unloading" on you, but all this needed to be said publicly. As for the other part of the question, can it wait, I have to get a drink ...?,,,(of water ;-)

Hi again Bob, What are you're memories of the "Bare Trees" album sessions and the Tour. It's my fave 1971-74 F.M. album. Everyone had really great songs on that album. Any unreleased songs from this album that you can remember ? Thank you !! (Steve Elliot, Arlington, Virginia, USA)

There probably are some unreleased songs from Bare Trees, or any of my other albums w/FM, but WB records owns those masters and they do what they're gonna do, or not do, and I'm not in "the loop"! One of the things I remember about the Bare Trees tour, is that the stage at the Eastown Theater in Detroit slanted so much it was like you were playing on the side of a hill. And we ate a lot of Dunkin' Donuts, especially Christine ! ;-)

I have another question? I read in Mick Fleetwood's book that the masters for the Bare Trees lp were erased by accident and you had to remix the album. How was this done and was the final mix any different from the original one? What is your opinion of Mick's book? was it accurate? Why did you leave FM? On what day did you leave? (Tom Kirby, Roswell, New Mexico, USA)

The Bare Trees masters got erased because the airlines had just started putting in anti hijacking metal detectors, and the very 1st ones were not "tape safe" and would erase recorded tapes. They don't do that now !

The remix we did in LA may have been slightly different from the one that got erased, but we never did sit down and compare the "copy master" with the remix. I remember the playback at Warners of the "erased" tapes; it was embarrassing. All the execs were sitting around in a conference room anticipating the new record, and what they heard sounded like it was underwater... It was a Maalox moment ! ;-)

I think Mick's book is pretty accurate on the time I was with the band. When it gets to the Stevie and Lindsey years, I really couldn't say, because although I was around a lot, I wasn't there for the blow by blow.

I left FM mainly because I felt like it was time to "risk it" and see what I could do on my own. I felt FM had reached a sort of dead-end creatively. Actually, the record company did too. They were very UNsupportive of the "new" Stevie and Lindsey lineup, and essentially did nothing much in support of the "white" album, until the record started to take off by itself. I got my record deal at Capitol, incidentally, BEFORE the "white" album had taken off, based on the strength of Future Games through "Heroes...". I don't know exactly what day I left; I basically finished out the "Heroes.." tour about late Dec '74.

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