Posts Tagged ‘Peter Green’

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.

A 35 Disc Deluxe Box Set from the Godfather of the British blues : There are box sets and then there are BOX SETS. John Mayall’s ‘The First Generation 1965-1974 set sits firmly in the latter category, being substantial both in the artefacts contained within and the superb music it encompasses. It is the first time a set of this size has been released documenting John Mayall’s influential early years and, not only does it have all the albums from his much lauded formative career, but it also contains unreleased tracks aplenty.

Featuring Eric Clapton, Peter Green, Mick Taylor, Harvey Mandel, Blue Mitchell, Jon Mark and many more outstanding musicians, this mammoth package contains 35 CDs plus a beautiful hardback book and much more. Not for nothing did John Mayall earn the moniker ‘The Godfather of British Blues’. For a short but compelling time in the ‘60s and ‘70s he recognised raw talent when he saw it, he took it in, he nurtured it, and everyone thrived and benefitted as the result.

Says a press release describing the collection: “It is the first time a set of this size has been released documenting John Mayall’s early years and not only does it have all the albums from his much-lauded formative career but it also has unreleased tracks aplenty. Many of the best musicians of the period passed through the hallowed ranks of John Mayall’s Bluesbreakers, and all are on show here in a stunning set crammed with musical highlights. Put together with John Mayall’s full co-operation, the full list of contents is as follows:- 35 discs, including 3 CD Singles & 8 previously unreleased discs, alongside newly remastered versions of the original Decca & Polydor albums.

The press release continues with further details: “Not for nothing did John Mayall earn the moniker ‘Godfather of the British Blues.’ For a short but compelling time in the ’60s and ’70s he recognized raw talent when he saw it, he took it in, he nurtured it and everyone thrived and benefitted as the result. Many of the best musicians of the period passed through the hallowed ranks of John Mayall’s Bluesbreakers, and all are on show here in a stunning set crammed with musical highlights. 

Music from seven unreleased gigs (including Windsor 1967, Gothenburg 1968, Berlin 1969 and San Francisco 1970 and others).- 28 unreleased BBC tracks featuring guitarists Eric Clapton, Peter Green and Mick Taylor.- Individually signed photograph.- Hardback book including many rare photos and memorabilia plus a full gig listing for the period.- Separate book including fan club letters and correspondence.- Two replica posters – Ten Years Are Gone and tour poster from 1968.- Replica press pack for John Mayall Plays John Mayall.

For a short but compelling time in the ’60s and ’70s John Mayall recognised raw talent, took it in, nurtured it, and everyone thrived and benefitted as a result. Many of the best musicians of the period passed through the hallowed ranks of John Mayall’s Bluesbreakers. All are on show here in a stunning set crammed with musical highlights.

The unreleased concerts include Windsor 1967, Gothenburg 1968, Berlin 1969 and San Francisco 1970 and the 28 unreleased BBC tracks feature none other than Eric ClaptonPeter Green and Mick Taylor!

This box set will be limited to 5,000 copies worldwide and is released on January 29th, 2021 on the Madfish label through Snapper Music.

Pre-Order the Box here: https://JohnMayallMusic.lnk.to/TheFirstGeneration

Peter Green was unique and we all miss him. Such a great talent… Forty Below Records: In celebration of Peter Green’s Birthday, John Mayall’s Bluesbreakers “Live In 1967”, featuring Peter Green, John McVie and Mick Fleetwood. Each Volume showcases three John Mayall originals including the opening track, all-time blues classic “Tears In My Eyes”; “Chicago Line”, complete with John McVie bass solo; and “Please Don’t Tell”, a great example of the power blues The Bluesbreakers were revered for. Thanks to dedicated fan Tom Huissen who took his one channel reel-to-reel tape recorder into various London clubs in 1967, these historical performances were captured for all time. Unheard for almost fifty years, John recently obtained these tapes and began restoring them with the technical assistance of Eric Corne of Forty Below Records. Corne adds, “While the source recording was very rough and the final result is certainly not hi-fidelity, it does succeed in allowing us to hear how spectacular these performances are.” It’s truly an exciting glimpse into music history.

On both this and Volume 1 you hear Peter Green play loads of awesome lead guitar and many of these tracks were never recorded in the studio by the Green lineup of the BluesBreakers.
The band were John Mayall vocals, Organ, Harp, Peter Green Guitar, John McVie Bass, Mick Fleetwood Drums.
Sound quality is not 2020 standard but it is very good considering its age and the technology used to make this recordings. I was brought up on Free Live and Peter Greens Fleetwood Mac Live at Boston 1970 so to my ears these Mayall Live recordings are fine sound quality wise. 

Let us be honest this is no hi-fi recording but it absolutely captures what it was like seeing them in a small club; it has all the atmosphere, even the tension, and is certainly good enough to enjoy and hear the performance. 

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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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.

Buy Online Mick Fleetwood & Friends Celebrate The Music Of Peter Green And The Early Years Of Fleetwood Mac - Super Deluxe Edition Box Set

Legendary drummer, Mick Fleetwood enlisted an all-star cast for a one-of-a-kind concert honouring the early years of Fleetwood Mac and its founder, Peter Green which was held on 25th February 2020 at the London, Palladium.

The bill included Billy Gibbons, David Gilmour, Jonny Lang, Andy Fairweather Low, John Mayall, Christine McVie, Zak Starkey, Steven Tyler, Bill Wyman, Noel Gallagher, Pete Townshend, Neil Finn, Kirk Hammett and many more. Legendary producer Glyn Johns joined as the executive sound producer and the house band featured Fleetwood himself along with Andy Fairweather Low, Dave Bronze and Ricky Peterson.

Fleetwood, who curated the list of artists performing, said: “The concert is a celebration of those early blues days where we all began, and it’s important to recognize the profound impact Peter and the early Fleetwood Mac had on the world of music.

Peter was my greatest mentor and it gives me such joy to pay tribute to his incredible talent. I am honoured to be sharing the stage with some of the many artists Peter has inspired over the years and who share my great respect for this remarkable musician. ‘Then Play On’…”

Esoteric Recordings are pleased to announce the release of a newly re-mastered and expanded 50th anniversary edition of the first solo album by the legendary Peter Green.

Peter’s work with Fleetwood Mac needs no introduction. His acclaimed guitar playing and writing graced several albums and a succession of hit singles before he departed the group in 1970. He embarked on the recording of his first solo album only a month after leaving Fleetwood Mac,

The End of the Game would be an entirely instrumental affair, quite different in feel from Green’s work with Fleetwood Mac. Released to very little fanfare, unjustly so as it was an imaginative work with Green’s instantly recog-nisable guitar playing. “The End Of The Game” and it was as much a departure from “The Green Manalishi” as that same track had been from the rest of Fleetwood Mac’s entire output. Through three tracks per side, Green pursued a far looser strand of improvisational rock comprised of wholly instrumental outings that were entirely un-bluesy, extemporaneous free rock borne on the wings of Green’s guitar with its expansive tone evoking the loosest of feels, often drenched with emotional wah-wah pedal use of hair triggered sensitivity. The rhythm section of Bluesbreaker and ex-Anysley Dunbar Retaliation bassist Alex Dmochowski and Geoffrey Maclean on percussion allow Green all the room to explore through distended lines of fragile but strongly poetic counterpoint as the addition of twin keyboardists Zoot Money (grand piano) and future Hot Tuna keyboardist Nick Buck (organ, electric piano) sporadically appear only to colour in a clutch of fine points which Green has left wide open as he is in a constant state of unhurried transit and always onto the next subtly-turned phrase.

The album rises up to a slow fade and into the raucous nine minute wah-wah led jam of “Bottoms Up.” As the title suggests, it’s carried along by a heavy bass line that sallies forth unswervingly to provide Green with a woody and thriving backdrop to begin the odyssey of successive circular wah-wah guitar configurations. Electric piano lines twinkle and fall like stars once Green lets up to recollect before another sweet and extensive wah-wah outpouring and the band is solidly back to stabilise Green’s ever-migrating wah-wah guitar textures. “Timeless Time” passes by silently like a gentle current under the land bridge that links the two jamming continents of side one together. The elongated “Descending Scale” opens with jumpy off-beats of piano clusters and busy though sensitively played drums like a send up of a jazzbo warm up until Green throws the whole discordant array into a high pitched wah-wah crescendo that reverberates into another unresolved conclusion that soon all but quietly slips away but for the accompanying half-erased instrumentation.

Side two begins with “Burnt Foot” and Dmochowski’s over-recorded, punctuation bass pummeling over the taking care of bizniz jazz drums that cascade all around Green’s riffing quietly traipsing in the background until it breaks down into a drum solo of sizzling cymbals with no drum skin spared from a multitude of lightning quick flourishes. Dmochowski’s bass returns to erratically shift gear into a gritty jam with Green’s churning wah-wah fanning out into a 359 degree arc of groove before its premature breakdown and subsequent fade. “Hidden Depth” opens with strategically played and watery-echoed wah-wah, with the returning piano and organ choppy in the intro and then straightening out with interplaying tones as emotions and riffs that suggest the breaking of a new dawn. Nick Buck’s organ colourations take on the same role of melancholy as Rick Wright’s from “Mudmen” or Tom Constanten’s emerging springtime renewal in “Quadlibet For Tenderfeet” off side one of “Anthem Of The Sun.” And all the while, Green’s restrained guitar of reversed pick-ups rings out truly unheard of tones with a natural delight for spaciousness and innuendo. All is peaceful until broken by a quick cut into the screeching wah-wah opening of the title track, ”The End Of The Game” which closes the album aggressively hectic and free form — loosely strung together not by rhythms but phrasing and a requited, unspoken understanding between the players.

The following year saw the release of a single ‘Heavy Heart’ b/w ‘No Way Out’, which received some airplay and saw Green perform ‘Heavy Heart’ on Top of the Pops. A collaboration with Nigel Watson followed early in 1972 for Green’s final single for Reprise Records, ‘Beasts of Burden’ b/w ‘Uganda Woman’.

This new and expanded Esoteric Recordings edition has been newly remastered from the original Reprise master tapes, features four bonus tracks (drawn from the two non-album singles) which appear on CD for the first time. It also features a booklet with new essay and an exclusive interview with Zoot Money on the making of the album.