Posts Tagged ‘Fleetwood Mac’

fleetwood mac live reissue

Fleetwood Mac have unveiled a Super Deluxe reissue of their 1980 live album, “Fleetwood Mac Live”The LP captured the iconic line-up in top form at tour stops along their global trek in support of their 1979 studio album, “Tusk”.

Three songs from Tusk are featured on “Live!”, including “Sara,” “Over and Over” and “Not That Funny” – while the rest of the track listing included a selection of highlights from throughout the band’s storied career, including massive hits like “Dreams,” “Go Your Own Way,” “Don’t Stop” and “Rhiannon.”

The upcoming 3-CD/2-LP expanded reissue features a newly remastered version of the original 1980 release, plus more than an hour of unreleased live versions of classic Fleetwood Mac tracks, recorded between 1977 and 1982. The 14 live tracks that debut on the Super Deluxe Edition  include “Tusk,” “Gold Dust Woman,” “Songbird” and “The Green Manalishi (With the Two-Pronged Crown).” The set also includes a bonus 7-inch single featuring previously unreleased demos for “Fireflies” and “One More Night” 

An unreleased live performance of “The Chain” recorded in Cleveland in 1980 is available now as a digital download/streaming services.

The Fleetwood Mac Live: Super Deluxe Edition is presented in a 12 x 12 rigid slipcase and comes with a booklet filled with rare photos, a full itinerary for the “Tusk” Tour, plus a history of the live album by writer David Wild. He writes: “Then and now, Fleetwood Mac Live artfully marks a fascinating time period for a group that, in one form or another, has been on the global stage for more than half a century… It’s a wildly entertaining rock ’n’ roll circus in full swing under a big tent of the band’s own creation as they leave audiences dazzled in locales from Paris, France, to Passaic, New Jersey.”

The majority of the original album was recorded live between 1979 and 1980, save for a few exceptions:  “Don’t Let Me Down Again,” was recorded in 1975 during the tour for Fleetwood Mac; Dreams” and “Don’t Stop” are from the band’s soundcheck in Paris; while “Fireflies,” “One More Night,” and a cover of the Beach Boys’ “Farmer’s Daughter” were all recorded in California during a special show for the band’s crew, family, and friends.

In addition to the Super Deluxe set, a special limited Tour Edition will also be available. With only 1,000 copies being released, this set adds a replica ticket, backstage pass, ad, button, sticker and iron-on patch from the era to the collection.

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Fleetwood Mac: Fleetwood Mac 1973-1974: Quadruple LP + 7

‘FLEETWOOD MAC 1973-1974’ follows on from 2013’s 1969-1972 vinyl boxset that continues to bring the band’s early albums back into print. The vinyl collection includes three remastered studio albums: ‘Penguin’ (1973), ‘Mystery To Me’ (1973), and ‘Heroes Are Hard To Find’ (1974). The box set concludes with an unreleased recording of the band’s December 15th, 1974 concert at The Record Plant in Sausalito, California. The performance captures the band – Fleetwood, Welch and the McVies – on tour supporting their latest album, ‘Heroes Are Hard To Find’.

Originally, the show was simulcast on the legendary rock radio station KSAN-FM in San Francisco. For the vinyl version of this release, to ensure superb sound quality, Chris Bellman at Bernie Grundman Mastering cut the lacquers for all the albums from the original analogue masters, which are pressed on 140-gram vinyl and presented in replica sleeves made to look like the original pressings. As a final touch, the set also includes a 7” single with “For Your Love” (Mono Promo Edit) on one side, and the previously unreleased “Good Things (Come To Those Who Wait)” on the flipside.

The collection covers a five-year timeframe that encompasses several different band line-ups, from founding members Mick Fleetwood, Peter Green, John McVie and Jeremy Spencer; to later additions like Danny Kirwan, Christine McVie, Dave Walker, Bob Welch, and Bob Weston.

Singer songwriter and Fleetwood Mac’s Stevie Nicks has announced a new concert film set to screen in movie theatres for two nights only in October.

Filmed in 2017 during Stevie Nicks’ 24 Karat Gold Tour, “24 Karat Gold The Concert” sees the iconic singer delivering beloved hits and rare gems from throughout her storied career as both a solo artist and member of Fleetwood Mac. The film’s set list includes classic songs like “Rhiannon,” “Stop Draggin’ My Heart Around,” “Edge of Seventeen,” “Stand Back” and “Landslide.”

The singer also provides rare insight to her music throughout the movie, discussing the inspiration behind many of her legendary songs. “The 24 Karat Gold Tour was my all-time favourite tour,” Nicks has proclaimed in a press release. “I not only got to sing my songs, but I was able to tell their stories for the first time. I love having the opportunity to share this concert with my fans.”

The film will be released theatrically worldwide for two nights only on October. 21st and 25th, screening at select movie theaters, drive-ins and exhibition spaces. Tickets go on sale September. 23rd at StevieNicksFilm.com. The website also provides the most up-to-date information regarding participating theaters. Filmed at the Indianapolis and Pittsburgh stops of her 2016/2017 tour with The Pretenders.

You can watch the trailer for 24 Karat Gold The Concert,

In addition to the movie, a companion live double album will be released October. 30th. The two-CD version will be available exclusively at Target stores, while the digital version will be released on most major streaming platforms the same day. It will also be available on vinyl, with a limited-edition “Crystal-Clear” version sold exclusively at Barnes & Noble.

In anticipation of the album, Nicks also released a new live version of the Fleetwood Mac favourite “Gypsy,” Stevie was recently one of many people to pay tribute to Fleetwood Mac co-founder Peter Green. “My biggest regret is that I never got to share the stage with him,” she said. “I always hoped in my heart of hearts that that would happen. When I first listened to all the Fleetwood Mac records, I was very taken with his guitar playing. It was one of the reasons I was excited to join the band.”

Stevie Nicks BMG Rights Management Bass: Al Ortiz Guitar: Carlos Rios Keyboards: Darrell Smith Drums: Drew Hester Background Vocals: Marilyn Martin Keyboards: Ricky Peterson Background Vocals: Sharon Celani  Guitar: Waddy Wachtel .

Buy Online Fleetwood Mac - Stranger Blues Live 5LP White Vinyl

As well as founding Fleetwood Mac, the late Peter Green was arguably the finest British blues guitarist, singer and songwriter of his generation. This 4-CD boxed set showcases his dazzling talent across numerous broadcasts, spanning studio performances for the BBC and live sets in San Francisco, Finland and Sweden. Capturing him at the peak of his powers between early 1968 and late 1969, it comes complete with a booklet containing background notes and rare images, making it an essential purchase for his army of admirers. Collection of Fleetwood Mac performances led by the late great Peter Green
  • Includes performances captured for broadcast on British, American and Scandinavian radio stations

Original Live Broadcasts 1968 BBC includes Top Gear, January 21st 1968: Top Gear, March 24th 1968: Saturday Club, April 13th 1968, Top Gear, June 2nd 1968: Top Gear, July 7th 1968:

Radio One O’clock, August 26th 1968: Top Gear, October 13th 1968: Top Gear, November 24th 1968: Live At The Carousel Ballroom, San Francsico,
8th June 1968, KSAN-FM,  Live In Kulttuuritalo, Helsinki, Finland, 24th September 1969, Yleisradio Oy (Yle),  Live At The Cue Club, Gothenburg, Sweden, 2nd November 1969, Sveriges Radio

Fleetwood Mac

Solicitors acting on behalf of his family said in a statement: “It is with great sadness that the family of Peter Green announce his death this weekend, peacefully in his sleep. “A further statement will be provided in the coming days.”

Blues rock guitarist Green, originally from Bethnal Green in east London, formed Fleetwood Mac with drummer Mick Fleetwood in 1967. Green left the band after a last performance in 1970, as he struggled with his mental health. He was eventually diagnosed with schizophrenia and spent time in hospital in the mid-70s.

He was among the eight members of the band – along with Fleetwood, Stevie Nicks, Lindsey Buckingham, John McVie, Christine McVie, Danny Kirwan and Jeremy Spencer – who were inducted into the Rock & Roll Hall of Fame in 1998. he band was originally called Peter Green’s Fleetwood Mac featuring Jeremy Spencer.

In February this year, artists including Fleetwood, Pink Floyd’s David Gilmour, ZZ Top’s Billy Gibbons and guitarists Jonny Lang and Andy Fairweather Low performed at the London Palladium in a gig celebrating the early years of Fleetwood Mac and its founder, Green. He wrote the huge hit Fleetwood Mac song “Albatross”.

Before forming Fleetwood Mac Green and Fleetwood previously played together in John Mayall & the Bluesbreakers.

He went on to form the Peter Green Splinter Group in the late 1990s.

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Time for another journey through the past with David Conway. In June 1970 I bought the new Fleetwood Mac 45 . Both sides of it! featured some wonderous guitar  We didn’t know it at the time but this would be the last Peter Green recording with the band . It was Top Ten in the UK a total of four weeks.

The song was written during Green’s final months with the band, at a time when he was struggling with LSD and had withdrawn from other members of the band. While there are several theories about the meaning of the title “Green Manalishi”, Green has always maintained that the song is about money, as represented by the devil. Green was reportedly angered by the other band members’ refusal to share their financial gains.

Green has explained that he wrote the song after experiencing a drug-induced dream in which he was visited by a green dog which barked at him. He understood that the dog represented money. “It scared me because I knew the dog had been dead a long time. It was a stray and I was looking after it. But I was dead and had to fight to get back into my body, which I eventually did. When I woke up, the room was really black and I found myself writing the song.”

Producer Martin Birch recalled that Green was initially frustrated that he could not get the sound he wanted, but Danny Kirwan reassured him that they would stay in the studio all night until the band got it right. Peter Green said later that although the session left him exhausted, “Green Manalishi” was still one of his best music memories.. “Lots of drums, bass guitars … Danny Kirwan and me playing those shrieking guitars together …A 13-minute live version of “The Green Manalishi” was recorded in February 1970, prior to the single’s release in May, but it remained unreleased until 1985 when it was unofficially released on a number of records, such as Shanghai Records’ Cerulean and Rattlesnake Shake. In 1998 it was issued with along with the entire set of recordings on the Live in Boston: Remastered three-CD boxed set.

The song was played live by subsequent versions of Fleetwood Mac on tour with Bob Welch and then Lindsey Buckingham singing the vocal and taking on the song’s guitar parts.

The B-side of the single was an instrumental written by Green and Danny Kirwan, titled “World In Harmony”. The two tracks were recorded at the same session in Warner/Reprise Studios, in Hollywood, California. The only track bearing a Kirwan/Green writing credit, the two had plans to collaborate further on a guitar-driven album, but the project never materialised.

There is a different 13 minutes live version of the song part of the Fleetwood Mac: live in Boston album . This song has been versioned by famous bands like Corrosion of Conformity, Arthur Brown, The Melvins and The Need, being the most famous of them the Judas Priest’s version at the point it’s been mistaken as a Judas Priest original song.

Buy Online Fleetwood Mac - Then Play On, Deluxe Book Pack Double Vinyl + Deluxe Mediabook CD Album

“Then Play On” is the third studio album by British blues rock band Fleetwood Mac, released on 19 September 1969. It was the first of their original albums to feature Danny Kirwan and the last with Peter Green. The album, appearing after the group’s sudden success in the pop charts, offered a broader stylistic range than the classic blues of the group’s first two albums. The album went on to reach No6 in the UK, subsequently becoming the band’s fourth Top 20 hit in a row, as well as their third album to reach the Top 10. The title is taken from the opening line of William Shakespeare’s play Twelfth Night — “If music be the food of love, play on”.

The Peter Green-led edition of the Mac isn’t just an important transition between their initial blues-based incarnation and the mega-pop band they were to become, it’s also their most vital, exciting version. The addition of Danny Kirwan as a second guitarist and songwriter foreshadows not only the soft-rock terrain of “Bare Trees” and “Kiln House” with Christine Perfect-McVie but also predicts the future sound of Rumours. That only pertains to roughly half of the also excellent material here, though; the rest is quintessential Green,

The immortal “Oh Well,” with its hard-edged, thickly layered guitars and chamber-like sections, is perhaps the band’s most enduring progressive composition. “Rattlesnake Shake” is another familiar number, a down-and-dirty, even-paced funk, with clean, wall-of-sound guitars. Choogling drums and Green’s fiery improvisations power “Searching for Madge,” perhaps Mac’s most inspired work save “Green Manalishi,” and leads into an unlikely symphonic interlude and the similar, lighter boogie “Fighting for Madge.” A hot Afro-Cuban rhythm with beautiful guitars from Kirwan and Green on “Coming Your Way” not only defines the Mac’s sound, but the rock aesthetic of the day. Of the songs with Kirwan‘s stamp on them, “Closing My Eyes” is a mysterious waltz love song; haunting guitars approach surf music on the instrumental “My Dream”; while “Although the Sun Is Shining” is the ultimate pre-Rumours number someone should revisit. Blues roots still crop up on the spatial, loose, Hendrix Green’s influence was on Mac’s originality and individual stance beyond his involvement. Still highly recommended and a must-buy.

Expanded edition featuring original UK track list plus four bonus tracks.

New sleeve notes by Anthony Bozza, which include a personal foreword by Mick Fleetwood.

Blues pianist Eddie Boyd’s “7936 South Rhodes” was recorded in London in January 1968 with three members of the early line-up of Fleetwood Mac: Peter Green (guitar), John McVie (bass), and Mick Fleetwood (drums). It’s a tantalizing setting for Boyd’s straight up Chicago piano Blues, going heavier on the slow-to-mid-tempo numbers than the high-spirited ones.

Boyd was born either on Stovall’s Plantation, near Clarksdale, Mississippi, He learned to play the guitar and the piano. His piano playing was influenced by the styles of Roosevelt Sykes and Leroy Carr. An automobile accident in 1957 in which he was injured put his career on hold for a while Boyd toured Europe with Buddy Guy’s band in 1965 as part of the American Folk Blues Festival.

He later toured and recorded with Fleetwood Mac and John Mayall and the Bluesbreakers. Tired of the racial discrimination he experienced in the United States, he first moved to Belgium where he recorded with Dutch Blues band Cuby & The Blizzards. Boyd died in 1994 in Helsinki, Finland, just a few months before Eric Clapton released the chart-topping blues album, From The Cradle that included Boyd’s “Five Long Years” and “Third Degree”.

On June 25th, 2019, The New York Times Magazine listed Eddie Boyd among hundreds of artists whose recorded material was reportedly destroyed in the 2008 Universal fire.

Recorded in London in January 1968 with three members of the early lineup of Fleetwood Mac (the one that played blues, not pop/rock):Peter Green (Guitar), John McVie (bass), and Mick Fleetwood (drums). It’s an adequate setting for Boyd’s straight Chicago piano blues, going heavier on the slow-to-mid-tempo numbers than the high-spirited ones, though is a far more sympathetic accompanist than the rhythm section.

Eddie Boyd with Fleetwood Mac.

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Produced by the band members themselves and engineered by the legendary Martin Rushent, “Future Games” was recorded at London’s Advision Studios between June and August 1971, and the fact that it was released on September 3rd of the same year shows just how quick the turnaround was. In addition to Kirwan, the album also stands out as being the first Fleetwood Mac album to include Christine McVie as a full member as well as the first to feature Bob Welch, but it’s also notable for being the band’s first album without Jeremy Spencer.

When Fleetwood Mac turned in Future Games, Reprise Records said that they wouldn’t release it with only seven songs, so the band popped back into the studio and laid down “What a Shame,” doing so as a jam, hence the song writing credits including every member of the band. The album’s lone single, “Sands of Time,” failed to chart in either the U.S. or the U.K., but one tune has managed to find a tremendous audience over the years: the title track, penned by Welch, which is by far the most streamed song on the album.

Future Games was poorly received by the critics of the time. Future Games is a thoroughly unsatisfactory album. It is thin and anemic-sounding and I get the impression that no one involved really put very much into it. If Fleetwood Mac have tried to make the transition from an energetic rocking British blues band to a softer more “contemporary” rock group, they have failed. If they have simply lost interest.

Critic Robert Christgau’s commentary shows how much the man admires what he perceives as his superior ability with wordplay as well as the usual pomposity and factual errors:
These white blues (and hippie rockabilly) veterans shouldn’t have to depend on new recruit Bob Welch’s deftly metallized r&b extrapolation for rock and roll, but unless you count the studio jam, they do. And if the best song on the album isn’t the slowest, that’s only because Welch also has mystagogic tendencies. It’s the simplest in any case: Christine Perfect’s ‘Show Me a Smile.’
Christine was no longer calling herself Perfect but was still good enough to qualify as McVie. Bob Welch actually contributed relatively little to Future Games: he wrote two of the songs (including the title track) and “played mostly rhythm guitar.” And to apply the term “mystagogic” to Bob Welch is completely absurd, for “A mystagogue is a person who initiates others into mystic beliefs, and an educator or person who has knowledge of the sacred mysteries of a belief system.” Neither of Welch’s songs come close to qualifying as a trip into the mystic (though Danny Kirwan’s do).

The expansion of the band’s range is established immediately in the pair of sus2 acoustic guitar chords that form the intro to Kirwan’s “Woman of 1000 Years.” Patterns of sustained and major seventh chords have an elusive, indefinite feel, calling up adjectives like “ethereal,” “dreamy” and “melancholy.” Most songwriters fail to develop chord structures to support them, leading to a vague, uncertain musical statement that lacks a sense of forward movement—songwriter and song remain suspended in a musical vacuum.

Danny Kirwan was not one of those songwriters. “Woman of 1000 Years” has one of the most beautiful and satisfying chord structures I’ve ever heard. When I reproduced the chords on my acoustic guitar, I felt myself moving into a still, reflective space where I was at one with the sheer beauty of the musical progression. I switched to piano and the progression had the same entrancing effect. The sense of movement and wonder is enhanced by subtle changes and additions along the way that keep things challenging and intensely interesting—but not once does a chord feel out-of-place. Chord charts on the Internet are often hit-or-miss (half the contributors couldn’t tell a minor chord from a major to save their lives), but I found one on Ultimate Guitar that gets it right. If you are a musician, I encourage you to head over there and explore the pattern—the improvisational opportunities are limitless.

Back to our story, the “resolution” chord is Asus2, which effectively means there is no resolution at all—the woman of a thousand years remains an indefinable mystery. Although not specifically identified as such in the lyrics, the woman is certainly a manifestation of the muse, but Kirwan doesn’t limit her role to sparking creativity in the artist. Danny Kirwan’s vocal is beautifully restrained and blends marvelously with Christine McVie’s harmonies. The first guitar solo is a gorgeous display of simplicity, completely consistent with the nature of the composition as it seems to end a bar before its time, avoiding definitive resolution; the complementary guitar fade supplies an appropriately gentle exit. While “Woman of 1000 Years” is hardly your typical album opener, it is a compelling experience nonetheless, establishing a mood for the album that asks the listener to shift gears, slow down and take some time to enjoy the magic of music.

Let us correct the record. Future Games balances the impressive song writing talents of Kirwan, Welch and Christine McVie. Each of those artists put a great deal of effort into crafting those songs, a glaring truth that is obvious to anyone who actually takes the time to listen to the record. Danny Kirwan is clearly the dominant presence, contributing the three songs most crucial to establishing the reflective mood of the album. If anything, Future Games increased Fleetwood Mac’s “promise” by extending their playing field beyond straight blues-based rock ‘n’ roll.

Future Games may not have been a gargantuan hit in America, but it did kick off a trend for a few albums where each album did better than one that preceded it, with 1972’s Bare Trees hitting and Penguin so it still furthered Fleetwood Mac’s fanbase in the States.

Even nice albums need some kick, and Future Games certainly delivers on that score. Christine McVie’s “Morning Rain” gives her a chance to warm up her piano fingers in a percussive role dedicated to reinforcing the solid rhythm established by the ever-grounded pair of Fleetwood and McVie. I love the way this song opens, lulling the listener into believing the root chord is F# before making a move to establish F# as the tension chord demanding resolution to B major. The sweet bluesy guitar licks that highlight that transition make me smile at the cleverness of the ruse as they settle into the solid groove. For a rock song, Christine’s vocal in the verses (supported by harmony) is comparatively subdued, but soon we learn that she’s been saving her vocal chords for the more enthusiastic performance in the bridge . The contrast between the two vocal styles adds to the appeal of the song, and even more excitement awaits us in the instrumental passages where the guitarists let loose. I also love the way the piece ends, with Christine and the boys reminding us of the song’s essential melodic nature with a nice round of wordless singing. “Morning Rain” is a tasty little piece promising that Future Games will cover a lot of musical ground.

“What a Shame” was added at the last minute because the album submitted by the band contained only seven tracks and the record company wanted eight. The band responded with a single key jam with heavy bass featuring Christine’s brother John on saxophone. I’m glad John picked up a few bucks in the process, but other than executing the piece with due professionalism, the band doesn’t sound particularly interested. If they had to include it on the album, it might have been better to move it back into the fourth slot to serve as a brief intermission between “Future Games” and “Sands of Time.” It’s sufficiently low-key so as not to disturb the nice album vibes.

(18/9/71) ADVERT 16X12" FLEETWOOD MAC : FUTURE GAMES

Moving onto Bob Welch’s Fleetwood Mac début, “Future Games” makes use of the sustained and major seventh chords we heard in “Woman of a 1000 Years,” in this case producing a slight drone effect with the unifying B-note (Em, Cmaj7, Asus2, B7). However, Welch’s piece features clearer resolution to E minor in the verses and G major in the chorus, hinting at a more definitive theme in the lyrics. Despite the unknowable nature of the future, Welch pulls it off by universalizing the message: playing out future possibilities is something everyone does, whether it’s speculating on the afterlife, the possibility of a relationship with this person or that person, or worrying about disasters that may come our way. “I know I’m not the only one to ever spend my life sitting playing “Future Games”.  Musically, “Future Games” complements Kirwan’s contributions to the album with its pensive mood and restraint. The band passes up the opportunity to go big in the instrumental passage featuring the guitar solo, using that passage to reinforce the melody before easing into the third verse. Though I think they could have shortened the fade a bit, “Future Games” works on multiple levels, and demonstrates Bob Welch’s gift for melody that would later result in “Sentimental Lady.”

The flow of Danny Kirwan’s “Sands of Time” is as gentle and mesmerizing as the flow of a mountain stream. The music here alternates between G major and its E minor complement, spiced with a delightful variety of guitar fills, cascading arpeggios and some nifty cymbal work from Mick Fleetwood. The lyrics involve the interplay of darkness and light, as expressed in the verse that opens and closes the song.

In a stunning turn of events, Danny seems to go full country in the introduction to “Sometimes,” with Christine McVie’s down-home piano and sweetly picked guitar leading the way. Danny inserts a minor chord into the mix and John McVie fills the empty spaces with deep, penetrating bass. Danny then steps into the role of jilted lover, remembering the good times while throwing his aching back into his work to help push the emotional pain to the sidelines. The song straddles the line between classic sad song and defiance of sadness, expressed both in the lyrics and in the surprisingly muscular guitar fills. Although not as deep or complex as his other two contributions, don’t let its subtlety fool you: “Sometimes” is first-rate song writing by a very talented songwriter.

The one contribution on the album I could have done without is Bob Welch’s “Lay It All Down,” a rather pedestrian attempt at blues-influenced gospel with the usual “just like the good book said” crapola. Thematically it’s a weak fit; I suppose one could argue that it maintains the connection with the earlier model of Fleetwood Mac, but that was then, this was now, and this song flat-out sucks.

Fortunately, Future Games ends on a high note with Christine McVie’s “Show Me a Smile.” Songs written by parents for their children generally don’t grab me because of the latent sentimentality, but there’s one verse that lifts this song out of the maudlin and into the reality that a child’s future is likely to result in disappointment. Christine captured that dynamic beautifully, carefully balancing her vocal so that she never goes too soft or over the top. The music is equally supportive of that balance, with luscious arpeggiated guitar, lead guitar fills and splashes of piano guiding us gently through the verses, and John McVie delivering serious punch with his bass during the louder passages. “Show Me a Smile” ends Future Games by underscoring the album’s essential beauty.

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    • The only constant members are drummer Mick Fleetwood and bassist John McVie. That’s where the band’s name comes from, and they won a lawsuit to prove it.
    • Fleetwood Mac began life as a blues band during the peak years of the British blues movement. Their first album is officially titled Fleetwood Mac, but nearly everyone refers to it as Peter Green’s Fleetwood Mac, referring to the band’s lead guitarist and singer. This début album was a smashing success, and remains one of the most enjoyable blues records of the era. Jeremy Spencer contributed slide guitar and some vocals. As was true for so many British musicians of the era,  Peter Green developed his chops in John Mayall’s band.
    • Peter Green stayed with the band  through the third studio album, Then Play Onthe first album with Danny Kirwan. Kirwan would emerge as sort of co-leader with Jeremy Spencer on the fourth album Kiln House. Spencer left the band shortly thereafter. Christine Perfect, aka Christine McVie, who had appeared occasionally on earlier albums, became a full-time member after Kiln House, the name change reflecting her marriage to John McVie.
    • Prior to Future Games, an American musician by the name of Bob Welch joined the band, sharing guitar duties with Kirwan. This relationship ended after the follow-up album Bare Trees when Kirwan’s drinking and temper led to some serious altercations with Welch, which in turn led to Kirwan’s dismissal. Welch contributed to five studio albums, and the period from Future Games to Heroes Are Hard to Find are colloquially referred to as the Bob Welch Era or similar designation.
    • In 1975, Christine McVie pushed hard for a more radio-friendly music to pad her bank account. Welch thought he’d be better off going solo and left the band. Fleetwood Mac replaced him with Americans Stevie Nicks and Lindsey Buckingham.

If you love the blues then owning , this album is a no-brainer. Recorded in just one day in January 1969 with blues pianist Spann backed by Fleetwod Mac (minus Mick Fleetwood on drums – replaced here by Spann’s regular drummer, S.P.Leary), the record has all the immediacy of a ‘live’ recording.Despite the credit Amazon may use, make no mistakes – this is an Otis Spann record – not a Fleetwood Mac release . That said Peter Green was at the height of his powers when the album was cut, the Mac were at the height of their ‘blues-phase’ fame and so Spann was more than happy for his record to feature Green’s awesome lead guitar breaks alongside his own mighty piano playing. As you’d expect the combination makes for a terrific record. The session In January of 1969, with the British power blues quintet Fleetwood Mac at Chess Records studios to jam with the likes of Willie Dixon, S.P. Leary, Honeyboy Edwards, and longtime Muddy Waters‘ pianist Otis Spann.

The sessions were so rich and fruitful that three-fifths of the Mac (specifically bassist John McVie and guitarists Peter Green and Danny Kirwin) impressed Spann enough to cut a record with them at the same sessions. While the classic “Country Girl” and a seven-minute “Someday Soon Baby” (which features a lengthy intro from Green on which Spann can be heard barely off mic telling the rest of the band to “let him play on”) ended up on the Mac’s Blues Jam at Chess double set: remaining cuts included “Dig You” and “Walkin'” and are a near perfect match of Spann’s exciting, emotive singing and the Mac’s youthful muscle. “The Biggest Thing Since Colossus” was released on Mac manager/producer/strongman Mike Vernon’s London-based Blue Horizon label.

if you are looking for some funky Chicago blues played and sung by one of its legendary exponents (who featured on many of Muddy Water’s records and was a member of Waters‘ touring band), with the one and only Peter Green accompanying him, then Otis Spann’s ‘The Biggest Thing Since Colossus’ comes mightily recommended. When Fleetwood Mac toured the USA, their producer set up some recording session with some of their heroes and this set doesn’t disappoint. Otis Spann is great, Peter Green is great and Danny Kirwan is great.