Cover Music Performance

Performance: Cover Music Performance*

You can reach Mark at:

PO Box 1331 Cambria CA 93428
Email: markoffice@markstantonwelch.net
Office Phone: 805.927.2416
Text via cell: 805.660.5989

*cover music: playing music from other artists in public performance in clubs, wineries, weddings, and private events

Current
Live Performance
Schedule

ONGOING PERFORMANCES

Wednesdays: Tognazinni's Dockside
Morro Bay, California 11 AM - 2:20 PM

Thursdays: Cambria Pines Lodge
Cambria, California 6:30 PM to 9:30 PM

SINGLE
PERFORMANCES

Music is the glue that can hold an event together. The sensitive musician pays attention and watches people and their responses. He knows when to engage and when to lay back, providing the right song and ambiance to support the mood. Being comfortable with people, engaging with them in between songs; being able to field requests; knowing and regulating the just right volume levels; providing background music during breaks; being dressed and groomed appropriately for the event; adjusting set up and tear down times to support the overall experience…these are all elements of a professional who will serve to make your experience all the better.

Mark can do this with ease and flow. Please consider him for your musical needs, be that in a dinner house, as background on a Sunday afternoon at a winery, at a wedding, in performance in a concert setting, or as prelude and breaks in a conference. Good music. Good connections. Good times…

When you secure Mark’s services you can leave all your concerns about the music part behind… and enjoy yourself…

Check Mark's Local Cover Music Performance Calendar

Mark is a lifelong resident of San Luis Obispo County, born and raised in the North County. He came into the local music scene in the early 1970’s performing at the Darkroom, the Spindle, Cigar Factory, and Mclintock’s Saloon. In various band permutations that included 20 years in The Whales Knees and The Main Street Band, Mark has performed at hundreds of parties, events, clubs, and weddings.

As a solo artist he has had a similar history doing the dinner houses, casuals, and weddings. His smooth, engaging voice allows him to present any style in convincing fashion. Having played at so many weddings and private parties has developed an extensive and eclectic song list that includes 50’s, 60’s, 70’s, 80’s, country, and standards. (See the sample song lists above.)

Additionally, his musicianship affords him the ability to learn and present almost any song that may be requested.

Listen to Mark Performing Medleys of a
Variety of Cover Tunes

Fifties Music Medley Video

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Music Medleys Audio
50's, 60's, 70's Country, Standards

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Watch Mark share a medley of songs from the 50's in the above left player or listen to him share medleys from the 50's, 60's, 70's. Country, and Standards in the player to the above right..

Contact Mark with questions and for booking at

markoffice@markstantonwelch.net

Office: 805.927.2416

Cell/Text: 805.660.5989

I look forward to sharing music at your event...

Some Anecdotes Along the Cover Music Performance Highway #1

A Short History of SLO clubs

In the early 70's when I and the group Flapjaw first started sharing our original music the SLO club scene was a different landscape than today. The prime spots were really 5 places: The Dark Room, The Cigar Factory, Mclintock's, 1865, and the cream of them all, The Spindle. We started at the Dark Room and would play on a stage just inside the door with backs to the street. Crowded conditions, indeed. We functioned as the band, the greeters to those who came stage right, and as crowd control. In turn we received a monetary pittance but a meal and all the beer we could drink. At 22 years old that was quite the solid wages. It was a great place to play, an acoustic music paradise.

The Cigar Factory was a dinner house with a downstairs bar. Typically we would play Happy Hour from 5-7 and then take our gear downstairs for the set up for the night music. The Factory was a hub for music, intimate and carpeted with a good sound. There is where I discovered Grand Marnier and would order it whenever someone would buy the bad a drink...it was like shooting sugar into your veins. I am sure it helped the music quite a lot...

McLintocks grew in stature as the 70's progressed until it became one of the premier night spots of the 80's. In the early days the band had to set up a stage to the left of the entrance. Four big hunks of wood had to be brought over from next door. Since it was a dinner house we could not get in until after 8 with a 9 music start time. People were already lined up outside to get in for music by the time we got there and loaded in the stage and all our gear. And by this time it was a different band, still The Whale's Knees, but new personnel including a...

Some Anecdotes Along the Cover Music Performance Highway #2

A Full Day of Music

Back in the late 70's into the 80's there were two prime playing spots along the San Luis Creek near Mission San Luis Obispo. One was the Spindle and the other was the Cigar Factory. As we got better we established a growing following which opened up doors to more gigs.. As often as possible we would secure the Spindle from 12-4 and then the Cigar Facory after that. When you played Cigar Factory you played both the Happy Hour out on the patio by the creek and the downstairs bar in the evening through closing.

We would arrive at 10:30 to set up at the Spindle, grab a quick lunch and then do 4 sets with a raucous crowd cheering on the music and the frivolity. As soon as we were done we would wrap cords around mic stands and shuffle everything 500 feet down the creek to the back side of the Factory and do a quick set up to start music by five. It was a beautiful patio under a glorious magnolia tree. We would play for two hours and then carry the PA down to the bar. Since we were an acoustic 5 piece vocal oriented band the set up and tear down was hardly an issue. The, once set up we would get a quick meal and start the night music at 9.

We would go until 1 AM and then saunter out satisfied and rolling in the dough. That would mean probably $200 dollars apiece for 11 hours of music. Since all of us were in our mid 20's it was a walk in the park energetically. We loved to play, got lunch and dinner, got all the beer we could drink, and met a lot of wonderful people. We did this once and sometimes twice a month and always looked forward to the satisfaction gained from getting paid to play. It was heavenly...

Some Anecdotes Along the Cover Music Performance Highway #3

The Wine Street Inn Gig

Right in the heart of downtown San Luis Obispo on Higuera Street was an indoor mini mall called, The Network. There was a host of little shops there, from a paper store to a clock store and all in between. At the back, as you headed towards San Luis Creek, there was an island right in the way, and that was The Spindle (the food prep part.) Downstairs there was a restaurant called the Wine Street Inn. The owner was one of the original owners of the great SLO acoustic club up on Monterrey Street by the Obispo Theater, Tom. It was a fondue restaurant. It was on an elevated area surrounded by little boutique spots. It was a popular destination eatery for the county. There was a wine bar on the right side and then back in the corner to the right of where the stairs came down, was a cozy little cubby where the musicians played.

In the early days our original acoustic band played there quite a bit. There were 4-5 of us, depending on the day. We used 4 acoustic guitars and each had a different capo position to give us a unique acoustic full range sound that so supported our 3 and four part harmonies. It was gorgeous when it worked. Now these were the days before electronic tuners so we all had to do it by ear. With us all in different positions on the guitar it was common to see us all with our ear on the guitar attempting to tune up.

Usually on the first break the guys would go upstairs and imbibe in you know what. So, by the time we came back and started to tune, we each easily got lost in the beautiful sound that came through the guitar with our ear on it. Needless to say tuning took even more time. Musicians!

Some Anecdotes Along the Cover Music Performance Highway #4

Spindle World Series Day

I have shared that The Spindle was the most desirable place to play. And whatever version of the Whale's Knees showed we were always welcome by Nancy. One could say we ruled the roost. Whether that was true or not we sure had fun there and often did the unpredictable. For instance, we played one Saturday when the World Series was in full motion. I did not want to miss the game because we had to play. And I did not want to miss the gig because the series was on. So, I did the obvious...bring a TV. I set up to our right at the corner of the stage by the speaker so we could keep up. It soon became obvious to the crowd and in no time at all, they wanted in on the updates. So, sandwiched between songs, only when something had happened, we gave the update. People began to pick sides and soon there were cheers in the audience as the game progressed. The music actually became incidental. In fact, we had learned several baseball themes, Dodgers and Giants, and would intersperse them through the festivities. It became know as the World Series Day at the Spindle.

Some Anecdotes Along the Cover Music Performance Highway #5

Medleys are Born

Despite the great fun and contained energy of a club packed with people it was a harsh reality that the clubs did not pay very much, especially back in the day. So, the clubs became a vehicle to generate casuals where we could earn hundreds more. This is what kept us afloat in our regular lives. Our club work was very different than what was needed playing dance music. The dance setting was all about the song list and the placement of the songs. Keeping the energy moving with the music is a priority.

The Whales Knees permutation in the 80's was more of a dance band. We played a whole lot of 50's and 60's music because those we played for were from that era more often than not. We were playing for our own generation. As we began to develop a plan and a style some things just happened spontaneously.

A song would get the people up and dancing. When the song ended there would be that awkward space of what was next. If we took too long to decide the next song people...

Some Anecdotes Along the Cover Music Performance Highway #6

No Breaks

Gigs can be long and they can be grueling in some cases depending on the environment, the audience, the level of smoke (in the old days), the response...breaks are often a welcome change that gives the hands, the feet, the back, and the voice an opportunity to recover. Plus it gives the audience a chance to recover as well, creating opportunities to work the room and make personal connections and visit with old friends. It can also give everyone's ears a chance to rest and recuperate, even if only for 15 minutes (even though many clubs are so loud with the conversations...and see clubs pump the music during the breaks as well...geez...keep 'em drinkin'!. Most bands take breaks between their 3-4 sets, usually 45-60 minutes, each gig/event.

Given the importance and even necessity to step away regularly you would there would be no reason not to take the regular breaks. And in many cases that is what the Whale's Knees Band was known for in the 80's permutation. I present three reasons why we made such a choice more often than not.

Some Anecdotes Along the Cover Music Performance Highway #7

Madonna Inn 11 Hour Gig

As the Whale's Knees Band and later, the Main Street Band , we became a very in-demand provider of wedding music, from the sol ceremony music to the background dinner music, to the full blown celebration dance music. Weddings were great. People were usually in a great mood ready to have fun and celebrate. There was always spontaneity, never knew what was going to happen or be said with the wedding party, extended family, and friends who aligned with bride or groom. Sometimes we felt like the band on the Titanic...as a little on the side running bet we would project the percentage possibility of the couple staying together. With some you just knew there were storms ahead. All part of the fun for us. Always good food, plenty of flowing drink, and most of the time, a good cake to be sampled later.

The Central Coast is a destination spot for big weddings because of its beauty and the places that cater to weddings. We were in cahoots with Wedding Planner, Eileen Hobbs, of Weddings and Happy Times, so we would often be the recommended first call band. Let's face it, we knew a shit load of music of all styles, could learn and cover anything, had good musicians, sounded great, knew how to work the room and build the energy, knew and respected typical wedding protocol, and looked good. What's not to like? And weddings were where you could really make some great money to augment the club wages.

Some Anecdotes Along the Cover Music Performance Highway #8

The Whales Knees Permutations

It started in Paso Robles in the Summer of 1972 when I met a songwriter, Steve Peters, from Castro Valley, California and a guitar player from Atascadero named Gary Roda. I honestly do not even recall the circumstance of the meeting. But it was fortuitous for it would set in motion collaborations and bands for the next 30 plus years. Steve had the songs. I had the voice and could also play acoustic (I had picked up my Martin 000-18 acoustic guitar with my first student loan when I started my collegiate career in 1970 at Claremont Men's College in Pomona...isn't that what you do with a student loan?). Gary had the guitar chops and the higher range to round out our beautiful 3 part harmony. This was the foundation. Three months of practice in a house in Paso Robles and then Steve convinced me to take my 1957 Volkswagon bug with us and our gear on the journey to fame in Boulder, Colorado. We were called Flapjaw back then (don't asked me why, but it was 1972, and names were kind of odd).

Fast forward after an epoch journey that got me and Gary back home with the Volkswagen sold to a Sheriff in Henrietta, Oklahoma, and me needing to get back into school to make sure my mother kept her welfare...Steve found his way back at some point. We reconvened and added a bass player, Mark Stoltenberg, who was a classmate of mine at Paso Robles High School. We had played together for a year or so in a cover band called Statesboro Blues,

Some Anecdotes Along the Cover Music Performance Highway #9

The Art and Science of Solo Gigs

Showing up in front of people and sharing your voice and your songs is a courageous thing to do. It is scary at times, it's invigorating, and it's inspiring as well. It is a place to find a zone of peace within, to learn to not be so attached to outcome, to stay focused even when there is little response to validate. One learns to be stronger and more confident and less looking for others to tell us we are ok and good enough. And yet, the music industry in the large scale is cut throat, vicious and abusive. Careers rise and fall over night. The public feels it is their right to ridicule and pass judgement of your song, the way you look, your dress, your talent...and in these times, so much of it is done anonymously. So why on Earth would someone want to be a performing musician?

For me, it comes down to the feeling I get when I sing and really resonate with what I am singing. It is a timeless place where I feel in a flow that rides the melody and the rhythm. I get fed by singing, especially now that I know all about sound and how it massages and clears and uplifts my own physical and emotional self, I see an expanded value in it. Mostly it is an intimacy that happens when sharing the core of me, vulnerable to all who hear and see, and, honestly, making a human to human connection. It may not be everyone, but it is someone...and that is usually enough. When I was writing songs weekly for the Sunday...

It is such a joy and an adventure to play music in front of people. If the mood and setting are right then engaging them is a big part of the experience. Who doesn't reflect back on where they were when a song was first heard way back when? Playing for people serves them by keeping them in touch with the own precious history. That's one of the reasons I know so many songs, or have so many more available on the iPad.

And I am sensitive and respectful to the additional purpose of my being there as well. I adjust my volume and slip more into the background if that is required. I can pace the musical selection to ride the energy of the group at a wine tasting or dinner house. I can pick it up when I need to. It's amazing what one musician can do sometimes!

If you, as a club owner, as a winery owner, as a wedding planner, as someone planning a gathering, desire music at your event, you would be well served to secure the expansive musical services of Mark Stanton Welch

You can reach Mark at:

PO Box 1331 Cambria CA 93428
Email: markoffice@markstantonwelch.net
Office Phone: 805.927.2416
Text via cell: 805.660.5989

My Musical Journey Thus Far: A Narrative with Pictures

Let's Start Reminiscing About SLO Town Musical Glory Days 1972-1997

follow the email links in these boxes and tell your stories

Got any old photos of events where I or the bands I played in during the 70's, 80's and 90's that you would share? I will post them on a Thanks for the Memories Page here and on Facebook... clubs, weddings, private parties...you name it...dig 'em up! Let me know... thanks!

Do you have any suggestions for current places to play in San Luis Obispo County and beyond? Please include contact info if you can...

Share Some Memories of your experiences with the bands I was in in San Luis Obispo during the 70's, 80's, and 90's...send me an email.

Got any bootleg recordings of days at the Spindle or elsewhere? Let's get them posted!

Do you have any suggestions for current places to play in San Luis Obispo County and beyond? Please include contact info if you can...

Listen to Mark's Music Samples