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Folk Era Santa Monica Concert CD

Folk Era

(This is the combined MONO version of  both "Bud & Travis In Concert" and "Bud & Travis In Concert at the Santa Monica Civic Auditorium Volume 2", not to be confused with the separate stereo CD releases of the original two albums by The Travis Edmonson Collection , which were available from this website

(Due to problems with the recording, there are no clips from this album on the site, but the songs may be found on pages devoted to BUD & TRAVIS IN CONCERT and BUD & TRAVIS IN CONCERT VOLUME 2 pages)


March 24, 1960: Feeling The "Rush"

by Thomas P. Straw, Webmaster,

"Period Rush."

This is a wonderful term historical re-enactors use to describe a state of complete mental and spiritual immersion into a by-gone era. It's the feeling of connecting so keenly, so utterly, to a given time and place (even a specific event within that time and space), that transcendence - a link to the universal-is achieved.

Though I am not a re-enactor, a "period rush" is what I feel every time I listen to Bud and Travis In Concert, and its later companion album, In Concert, Part 2 (which documents "bonus" material from the same concert).   I have experienced "the rush" thousands of times by now, each time more powerful than the previous. I suspect that the multitude of visitors to over the years feel much the same way. Almost without fail, they tell me of their love of, their reverence for, and their debt to the In Concert albums (the first one especially).  I am frankly hard-pressed to think of any folk music lover who has heard these performances and not been changed for the better in some way. There is no greater proof of this than the visitor testimonies I publish regularly on the B&T site.

Critics constantly remind us that this is one of the true measures of art: not number of units sold, but the more intangible, and infinitely more powerful, "ability to transform lives." By this gauge alone, the B&T In Concert albums are masterpieces, and certainly among the very greatest live albums ever recorded. Within the admittedly nebulous category of "traditional" music, perhaps only Johnny Cash At Folsom Prison can rival them. Superficially, these albums have very little in common (though Cash's off-color banter between songs is quite reminiscent of B&T); still, each one succeeds brilliantly where other concert albums almost always fail: that is, they send us on a successful journey back to a specific time and place, but with the ultimate goal of channeling into an energy and an experience that is truly timeless.

In this case, the voyage is to Santa Monica, CA, ca.  1960. The date is March 24-fittingly, the very beginning of spring. John F. Kennedy is still nearly a year away from his whirlwind presidency. The post-war boom is in full swing, and perhaps no other region of the country embodies the vigor and promise of the United States so much as southern California. Nearly everything seems new and growing: freeways, suburbs, commercial airplanes, space travel, even the Santa Monica Civic Auditorium itself.  It is perhaps misleading to think of this time as an "era of innocence," but listen again to the performances on this CD, and just try not to surrender to the idea.

"Nowadays, courtship or dating imply [sic] picking up the girl in the family car and buying her at least a hamburger and a milkshake," the boys remind us, amidst a flood of hilarious verbal highjinks, including references to such time-capsule oddities as "Rh factors, “Quo Vadis, Vic Tanny, and "slenderella rejects." It all would seem quaint at best, perhaps dated at worst, until the music starts playing: "Guess I'll Go Home," "My Mary," "Malaguena Salerosa," "Carmen Carmella," "Amor De La Calle," "Cloudy Summer Afternoon."  In those moments, the rush takes over, and the circle is complete. We never again want to completely return to our own more cynical place and time.

Grouches can carp all they want. Maybe 1960 was never really so "innocent," so simple, so romantic. But that isn't the point. Bud and Travis make us believe in the magic, through their charm, their humor, and their incredible, ageless music. All these elements work together, each the lesser without the others.  They make it so darn easy for us to romanticize, even those of us (like myself) who were not even alive when this concert took place. Taken in sum, this concert reminds us in exquisite terms of how it feels to be joyously alive-not just in Santa Monica circa 1960, but in any place, at any time.

Now, finally, the "full sum" is available on one CD. No more Volumes 1 & 2, just one night, one amazing concert. The songs are now presented in the order that Bud and Travis actually played them, so that we can more truly immerse ourselves in the evening as it happened. Nevertheless, a few seconds of CD programming can pretty accurately re-create the albums as they were originally released. Personally, I can't wait to listen to this CD both ways-over and over again. After all, those of us who have taken this trip so many times before know that Bud and Travis are, and always will be.

If You Weren't There, You Haven't Heard It Yet

By John Thomas
 Magic Music Enterprises, CD Producer

In September of 1959, I was a junior at UC Santa Barbara. I had been bitten by the "folk music bug" the previous year, having already put a lot of new miles on my Martin D-18 guitar by playing in coffee houses and clubs in Los Angeles that summer. It was around October of that year that I was asked to open for a group passing through: their name was Bud and Travis, and they were playing at the lopan. one of the two major coffee houses (along with the Noctambulist) where new folk talent passed through on their way to San Francisco and/or LA.

Having been around the folk music scene, I'd heard rumors that Bud and Travis were great, and boy, were they! After a couple gigs, Travis and I got to be good friends, and that spring, he invited me to attend the first "major" west coast performance of Bud and Travis at the Santa Monica Civic Auditorium on March 24th, 1960.

I'd never been to the venue before, and when I walked in, I saw that it was a cross between the Greek Theater, the Hollywood Bowl, and Carnegie Hall. It was already filling with fans, and the electricity was palpable. This was a special event, a packed house of 3,000 strong, for a special show! We all knew it would be a night to remember even before the house lights dimmed and the introduction was made. When Bud and Travis launched into "Myra," the entire audience became one with the performers. I was in the 5th row center stage, and it was truly awesome!

I've never experienced anything like it before or since.  I'd seen and heard Bud and Travis play in person before, but never like this. The magic of their music, now enhanced by Alberto Calderon on percussion and Charles Gonzales on the guitarron, was evident from the first few notes. Every song took me to a place I'd never been before, and a place I wanted to return to time and again. The lights were alternately strong and delicate, spotlighting each solo in the most amazing manner. The sound was "right there"-they filled the room. When I left, I felt ten feet taller than when I came in!

We all became one that night: the performers, the audience, the sound engineer, the lighting technician, all part of an experience that brought us to a new understanding of music-its impact, its power, and its meaning as a shared  experience that can truly elevate the human spirit and provide a new dimension to the meaning of life. Truly, it was a once in a lifetime experience. I've been fortunate to continue my friendship with Travis through the years, and am delighted to have been the producer of his solo albums on Folk Era Records (The Tucson Tapes Vols. 1 and 2 and Live at UC Santa Barbara). While working with Travis on these recordings, both of us lamented that the original LP recordings of Bud and Travis In Concert did not present the Santa Monica show in the way it was actually performed. Therefore, Travis graciously re-created the real set list as it was originally performed on March 24,1960.

Unless you were there, you've never heard it before. This is the magic of that experience, in its true reality. I was lucky enough to experience it that first time, and now, so can you. Welcome (back) to the show!

Truly Timeless

by Zach Kaplan
Executive Producer

While the music of Bud and Travis is from the 60s, it's not just of the 60s. After just about wearing out an earlier CD of their music (much in response to my toddler grandson's demand), it struck me what a really timeless appeal this has. The beautiful language in the songs borders on hypnotic. Travis has indicated that it's characteristic of the region where he grew up (Nogales, near Sonora). The appeal of this music goes far beyond nostalgia buffs trying to recapture "that time." There's at least one toddler who loves it.

At a 1982 songwriter's conference in LA, keynote speaker Oliver "Bud" Dashiell addressed the difficult topic of artist Responsibility in his hilariously inimitable way: "If there were only fresh fruit and cheese to eat. it wouldn't matter who wanted a Twinkie. Ya dig? So in a measure, it's our responsibility, and if we take only fruit and cheese to the producers and the publishers, and give only that to the audience, then they ain't gonna get any Twinkies!"

This is classic Bud. funny, but never frivolous. Entertaining, but always insightful and intelligent. Self-effacing, but unflinchingly committed to his ideals and his art. It's these qualities, along with his musical legacy, that make Bud's untimely passing (in the late 1980s, from complications stemming from a brain tumor) such a tragic loss.

Throughout his career, but especially as a member of Bud and Travis, Bud showed us that an artist can make music that is nourishing to the soul while still attaining a measure of "quantifiable" success that even record company "suits" could not deny. Consider his liner notes to the greatest hits album Cloudy Summer Afternoon.   "Bud and Travis, understand, never became a household word, but Bud and Travis was probably the first act to ever be extended for a month at the Blue Angel in New York ... You name the place, we played it... The Santa Monica Civic, the Laguna Bowl, the Hollywood Bowl, the Forest Hills Tennis Stadium ..  I had reason to believe that what we were doing was effective. Even though it didn't make headlines."

Bud's list of venues must be viewed in a proper historical context. In 1960, no musical act had ever played a football or baseball stadium. Mass rock spectacles like Woodstock were years in the future. For eight years (1961-1968), the Santa Monica Civic Auditorium was home to the Academy Awards ceremony. To play there in 1960 was the height of prestige, and a very symbolic statement that an act had "arrived." On the surface, this level of prestige and acclaim seemed incongruous with B&T's record sales, but as Bud further mentioned in the Summer Afternoon liners: "When a Bud and Travis audience walked out of a concert they had one, been entertained, and two, been exposed to something they might not otherwise have ever heard, and they certainly felt they knew who we were, which could account for the word-of-mouth, underground kind of thing we created."

With this CD. Bud and Travis have "arrived" again.   It's time to go spread the word

(notes by Travis Edmonson)

"In the way of preparation to record our In Concert album, we both began recalling the endless number of concerts, both scheduled and unscheduled, and the numerous pressures that accompanied the learning and performance of these songs. Each was different, and accordingly, the intensity of our involvement varied a great deal. We were not over-rehearsed, but we were close to it.

I can recall my involvement with the songs as being somewhat like the involvement with each of my children. When it came time to do the concert and record it, we felt that each song spoke a certain amount of that involvement.

One day. after having performed one of the songs, I turned to Bud and said, "Man, that's genuine." He raised his eyebrows and said, "Of course." I'll never forget that. In the course of putting the show together for the concert we paused at one point to be sure we had things in the proper order.

We looked at each other, nodded, and went on. When we were finished with the concert and were in the wings, Bud turned to me and said, "Well that was worth doing." I agreed.

Prior to our practices, we had each taken the time to prepare a proposed song list so that we could put our notes together and quickly assemble the order of the program. It surprised both of us how close our choices were and how much of it was due to our method of working. As to the introductions, we each built a basic frame for each song to which we could add scraps of pertinent information at will on stage.

Not all of the performances of Bud and Travis were on concert stages. We were given the honor of being the first people in history to play and sing on the floor of Congress for an audience of the combined members of the House and Senate. We were asked by Senator Yarborough of Texas to sing a song I had written, "The Time of Man" (about the use of an atomic weapon and its effect on the world).  Bud and I had decided from the beginning that we didn't want to get caught up in any protest movements. This however, was a special occasion.

Performing, that is to say singing and playing the music we loved, was almost second nature to us. We felt the most important thing we could do was share the music with our fans. When we went on stage large or small it was in those first few moments that the audience knew when the evening came to a close they would have shared something special with us and feel fulfilled."

-Travis Edmonson
March 24, 2004

Executive Producer:  Zach Kaplan
(Dedicated to Harry Yoxall and Benjamin Kaplan)
Produced by John Thomas for Magic Music Enterprises, Burbank, California
Remixed and Remastered by Bruce Lowe, Cinema Show Music, Woodland Hills, California
Graphic Design by Thomas Patrick Straw,

(Liner notes reprinted with the kind permission of Folk Era Records)


Released on the 43rd anniversary of this unforgettable concert, this was the first attempt at a CD of the two original In Concert albums in mono.  Organized in what was believed to be the original order of the concert, it offered a new approach to the songs.




1. Myra
2.  Patter
3. They Call The Wind Mariah
4.  Patter
5. Amor De La Calle
6.  Patter
7. Delia's Gone
8.  Patter
9. Young Lord
10.  Patter
11. Johnny, I Hardly Knew Ye
12.  Patter
13. Cloudy Summer Afternoon
14.  Patter
15. E La Bas
16.  Patter
17. Malaguena Salerosa
18.  Patter
19. Rioting In Africa (Merry Minuet)
20.  Patter
21. My Mary
22.  Patter
23. Guess I'll Go Home
24.  Patter
25. Last Train To San Fernando
26.  Patter
27. Vamos Al Baile (Come To The Dance)

Disc Two

1. Angelico
2.  Patter
3. La Vaquilla Colorado
4.  Patter
5. Suzanne (Every Night When The Sun Goes In)
6.  Patter
7. Raspberries, Strawberries
8.  Patter
9. All My Sorrows
10.  Patter
11. Bonsoir Dame
12.  Patter
13. Two Brothers
15. Carmen Carmella
16.  Patter
17. The Clock
18.  Patter
19. La Bamba
20.  Patter
21. Sloop John B.
22.  Patter
23. Everybody Loves Saturday Night
denotes Travis Edmonson compositions
   denotes Travis Edmonson collaborations
 denotes Travis Edmonson arrangements
    denotes Travis Edmonson arrangements in collaboration

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