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What's your favorite Peter song with Fleetwood Mac?
I must admit, I'm not as big a fan of this era as post 1975, but here's my favorite one
Oh Well. The lyrics are so powerful to this song, it'sf ar and away my favorite song he's ever done. I'd love other suggestions. Man Of The World, Love That Burns, and Albatross are also right up there for me |
I don't think I've ever posted before in this forum. Here are my favorite Peter Green songs with Fleetwood Mac.
1. Green Manalishi 2. Need Your Love So Bad 3. Man Of The World 4. Love That Burns 5. Stop Messin' Around 6. Jumping At Shadows 7. Albatross 8. Oh Well 9. Rattlesnake Shake 10. I Loved Another Woman |
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Hands down, no thought needed:
OH WELL |
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There's only one reason they stopped playing it...Lindsey. He just has no respect for the band prior to his involvement. A scourge on the band. I was SO glad he left...I was SO disappointed he returned. :mad: :(
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-Lis |
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Ya know...even though "Oh Well" is my all-time favorite FLEETWOOD MAC song, there's really not a tune Peter Green's done with the Mac that I don't like. In fact, after "Oh Well", it is difficult to even name what would be #2...I think its about a 25 (or more)-way tie for second. ok, ok, ok...get the gun away from my head...here's an "as of this very moment" Top 10 list: 1) (duh) OH WELL 2) I Loved Another Woman 3) Watch Out (the "Blues Jam @ Chess" version) 4) Albatross 5) Rattlesnake Shake 6) Stop Messin' Round 7) Black Magic Woman 8 ) Green Manalishi 9) Love That Burns 10) Before The Beginning |
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By the way, I actually prefer Rick Vito's live versions of "I Loved Another Woman" over Peter Green's original album version. |
Oh Well and Need Your Love So Bad.
The first is being used in a Lays Chips commercial over here, and the latter was used on an episode of Sopranos that I saw recently. :) |
Man Of The World
Need Your Love So Bad Sandy Mary |
No special order:
Show Biz Blues / Do You Give A Damn For Me Blues In B flat Minor / Before The Begining Preachin' Blues 1st Train Home If I Loved Another Woman Oh Well Love That Burns Black Magic Woman Green Manalishi Rattlesnake Shake Albatross I think I'll stop here, I could go on but it's late.... |
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Which Sopranos episode?! How cool!!! I've seen them all and I don't recall ever hearing that song.... and how weird that they are using Oh Well for a Lays commercial! :lol: -Lis |
Does anyone love "Underway" as much as I do? Or am I just mistaken in thinking that was his song? Whatever the case, it's one of my all-time favorite FM songs of any era.
Also, I love "Show-Biz Blues" "Albatross" "Need Your Love So Bad" "Black Magic Woman" and "Oh Well," of course. |
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What really does qualify as one of his songs? People have listed several ("Need Your Love So Bad", "Jumping At Shadows") that he didn't write. My favorite examples of Peter's live work are mostly songs he didn't write, but turned in absolutely stunning performances ("Jumping At Shadows", "Worried Dream", "Got A Mind To Give Up Living"). And several of his songs that the band recorded in the studio are done significantly better, IMHO, on live or BBC session recordings ("Love That Burns", "Lazy Poker Blues", "Rattlesnake Shake", “The World Keep On Turning”, as well as "Need Your Love So Bad"). My favorites of the studio versions of Peter's songs: Oh Well The Green Manalishi Albatross Man Of The World I Loved Another Woman Before The Beginning Tough to say which is my absolute favorite of these, it can vary from week to week. The powerful lyrics and two-part song structure of "Oh Well" are brilliant (can anyone imagine that Clapton would have conceived of the 2-part arrangement of "Layla" had it not been for "Oh Well"?). And the guitar work at the end of "The Green Manalishi" is so intense it's downright scary. Those two tend to be my favorites of this bunch. |
Hello?
Can't believe that someone failed to mention Closing my eyes. Has to be one of the saddest songs ever written, and there's stunningly beautiful guitar parts on it. Otherwise, Green Manalishi is amazing. Chilling. But very powerful.. |
Accusations at ye olde Buckingham in the matter of ye olde tired and cliched setlists have been raised in other boards of the Ledge, so I thought I'd inappropriately answer some of them here in the Peter Green board. If you excuse me for doing that.
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But then if Lindsey so hated Bob Welch's contributions to Fleetwood Mac, it is odd that he later on worked for the retake of "Sentimental Lady" with Bob. And about Christine's pre-1975 oldies not getting much room (after all, she did want to do "Just Crazy Love" during the Dance tour, didn't she?), if that was a huge problem to her you'd think she would have tried to fix that during the Tango In The Night and Behind The Mask tours since the person who supposedly didn't want her to do those wasn't around. But no, she just chose to play old Rumours-era favourites of hers. Which doesn't surprise me, after all she tends to think that the songs she wrote in the Rumours line-up are her artistic peak and that she's pleased with only one pre-BN album; Mystery To Me. As to Fleetwood Mac stopping doing songs from 1967-1974 at one point, that was of course due to the success of Rumours; my understanding is that nearly all the tracks from the album have become radio standards of sorts in the USA and that obviously contributed to the setlists being centered around that album. Another thing that contributed to the static setlists was that the band members started drifting away from each other; it was no longer a bunch of friends hanging out together but it was getting closer to a bunch of business people dealing with each other out of necessity. At first it didn't affect the band interplay (since they still toured a lot), but later it did a major toll on it, especially during those five years between the Mirage and Tango In The Night tours. They were being pulled to various directions at the same time due to all that success, and because of that there was hardly any time, room or will to rehearse anything but the obvious songs (definitely no oldies) and arrange the setlist differently every night. But then I guess some people will always prefer the blues nostalgia over the Rumours nostalgia. ;) Not that there's anything wrong with that. And as to Fleetwood Mac not playing "Oh Well" now, one could easily state that "Oh Well" isn't a song made for a dozen back-up musicians, but a song for a real stripped-down band. But then the song would clearly benefit from those guitar harmonies (like "Eyes Of The World" does, as ChiliD said at one point) that the back-up musicians can create. And why not play it with just the core three instrumentalists, like they did with "I'm So Afraid", "Gold Dust Woman" (with the addition of Brett Tuggle) and "Never Going Back Again"? However, I think it's not just Lindsey's choice not to play "Oh Well". The song, after all, features quick drum rolls and uptempo playing. It is possibly difficult for Mick these days to achieve that, after all there was nothing in their live set (or on Say You Will, for that matter, although I admit I haven't heard Something Big) that had such a frenetic tempo. Actually with all the help he gets from other percussionists these days, it's not surprising that his drumming has been degenerating somewhat; Say You Will the album features pretty much standard 4/4 throughout, and as ChiliD once said, it could be anyone playing there. Who knows what's happened with his drumming between 1995-2003, but it sure doesn't seem good. |
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"I'm on the tour and it is an issue. Unfortunately it doesn't get mentioned to Mick too often since it makes him self-conscious. But, yes, there are issues with the time. It's not bad... he is just an emotional drummer. If he is excited, it speeds up. If he digs in and plays, as he calls it, "greasy" it tends to slow down a bit. Everyone on stage accomodates without any problems, though. It was an issue with Lenny Castro, though, and he would get quite frustrated. If you were to ask any drummer in the business to see a show on this current tour, they would say the same thing about the time. ... His time has a tendency of rushing and dragging depending on his energy. Great drummer, great feel, but not always the best at timekeeping in the true sense of the word. Ask anyone on the tour." |
I think Lindsey was being patronizing in that Jim Ladd interview.
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Sure, if he's doing a solo tour, I don't expect to hear ANY Fleetwood Mac songs of ANY era...if he does his own FMac compositions, all the better. But, if he's touring as a member of Fleetwood Mac, I expect to hear Fleetwood Mac songs from throughout the life of their existence, not just tunes from a particular member's involvement. Big contradiction in logic: If Lindsey doesn't want to be in a cover band, then why is he recording Rolling Stones, Bob Dylan, & Donovan tunes? Gee, those are "covers"? Why not "cover" (although I'm not in total agreement of even my own usage of the term in this case) Fleetwood Mac songs while touring as a member of Fleetwood Mac?? AND, furthermore...if they keep hammering away at 30 year old tunes from Rumours like they do, they might as well classify themselves as "an oldies band"...cuz they SURE as hell aren't promoting their current material, either. I'll just bet Lindsey would LOVE to be considered a member of an OLDIES band. :shocked: Ok...enough talk of Lindsey in the Peter Green board. My apologies. |
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A little bit OT but--Does anyone remember about 10 yrs ago there was an internet rumour going around that Peter had died? I remember playing Closing my Eyes a bunch of times and crying. i was so glad to finally hear that Greeny was still alive!!! -Lis |
Man Of The World. :)
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You've seen a few quotes of Lindsey appreciating Then Play On and "Oh Well" throughout the years (a search at BLA finds some of them anyway). Unlike you, I do not see him showing a complete disregard to the past of Fleetwood Mac. Quote:
About the Rolling Stones songs, I guess I can give you that one (although we still haven't heard all of "I Am Waiting"), those aren't changed too much from their original beginnings. But it's not certain how many of those he would have even wanted to release; the tracklist of GOS that David first received contained THREE of them and that seemed very excessive on a single album. But then we don't know if some of the songs on the tracklist were just suggestions; after all, 17 tracks is a lot for a single album. Now considering things like "Hypnotized"; most fans seem to think that Lindsey doesn't sound right doing the song and they consider it Bob Welch's property. I agree with that, and therefore I understand why Lindsey wanted to drop it; he couldn't add anything that was significantly his own to the song, and therefore it's not the same case as with those Dylan/Donovan/Harrison covers, which he totally makes his own, IMO. And I'd rather hear an "Oh Well" from 1969-1990 (I haven't unfortunately heard an entire Time tour bootleg) than a lackluster "Oh Well" from 1997-2004, period. If he feels he can't add anything of importance to "Oh Well" anymore, it is his right to leave it in peace. And as to the band dropping "Oh Well" from the setlist, I still don't think Lindsey is all to blame; I think the band has been alienating itself from its past for a long time to come anyway. It plays the songs in its setlist that have always been the most easily negotiable between the members; it takes a lot of concrete to be shifted in order for them to bring an old classic back into play. Rick Vito and Billy Burnette could do it, but then Rick probably joined them on the condition of getting to play some Peter Green-era songs (furthermore, how come I haven't seen you complaining of the 1987-1995 tour line-ups ignoring WELCH-era songs? It's not like they were in bad blood all that time, were they?), after all that is his favourite period of Fleetwood Mac. Quote:
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Oh no, I didn't want to barge in on this discussion...Anyway I must say that you have to consider Mac as being at least 2 seperate bands. After Danny, Jeremy and Peter left only the rhythm section was the original. The personality of the band is hardly in the rhythm section, although Mick is an original drummer. So I think Lindsey shouldn't have had to play any old songs, some commercial thinking obviously played a part, maybe Mick thought it was good to have some old "greatest hits" thrown in. Also, I don't care at all for Bob Welch singing Peter Green's song as he did in MK 2. What were they trying to do, pretend he was the new Greeny??Not close. Certainly similar reasons as above as the contemporary albums hardly had any hit singles. |
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How do you feel about Danny Kirwan taking over lead vocals on "Black Magic Woman" during the Future Games/Bare Trees era? During that same time, Welch ONLY did "Oh Well"...and those two aforementioned tunes were the only Peter Green tunes in the set at the time. Welch ONLY started singing the rest of the Peter Green material when he was the only male vocalist LEFT in the band in 1974 (even still, "Jumping At Shadows"---albeit, not a Peter Green song, is closely tied to Peter---was sung during that era by Christine McVie..so out of the three tunes perceived as "Peter Green" tunes, they were evenly split between the three vocalists at the time). That whole post-Mystery To Me, pre-Buckingham Nicks era was the time frame that they were trying to hold on to ownership of the band's name due to all the litigation with Clifford Davis....fighting for their very survival as "Fleetwood Mac", so of course they were gonna pack their set with Peter Green tunes. Peter was less than 4 years gone from the band (about 1/3 of the time between Fleetwood Mac albums these days) their fan-base still expected to hear those songs from "Fleetwood Mac", regardless of personnel (same as how I feel today...I don't care WHO is in the band...if the band's name is "Fleetwood Mac" there are certain expecations as to the material that should be played...and, no, it is NOT the Rumours album in its entirety, either) Back then the band KNEW that they had certain (for lack of a better term) "obligations" to their audience to play the older material, even though the songwriter(s) were no longer in the band. That is one of the unique things ABOUT Fleetwood Mac; there's really not any other band that has this kind of dilemma, since MOST bands who've had a great turnover in personnel, hasn't had the turnover in songwriters/singers...the main singer/songwriter is usually the only one left. |
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hey cD - i am really enjoying this thread. especially your posts i did think of one other example where the band carried on (long) after the leader/principal songwriter left. pink floyd, who similar to fm, struggled for a a number of years before finding their bearings. in contrast, to succeed, rather than going through personnel changes until finding the right combo, pf cast about for a new formula, eventually finding that writing about their departed leader was the trick. i'm not suggesting that the bn-mac do an album about peter green. well maybe i am. it might be more inspiring than fm without chris.... best, zero |
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As for the band not doing Peter's stuff these days, I don't know why, but I suspect that they dropped "Oh Well" because Peter Green is/was back recording and touring, and maybe they didn't feel the need to carry on his legacy anymore. |
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If it had been a big issue for the band to keep a lot of the pre-1975 material in, you'd think Christine in particular would have butted heads with Lindsey about that. We all know she was often against Lindsey's experiments in the studio, so why couldn't she resist him well enough in the subject of setlists? After all, it was her own songs that were on the line too. But then maybe she preferred to play the songs that she liked better than whatever she had written in the past (save perhaps the songs from Mystery To Me). If those fans you're talking about were bothered by something, I think it was mainly due to the static setlists that the band adopted at some point during the Rumours tour (we all know how they changed the sets every night prior to mid-1977). But I think I already said why that happened, it was the fault of the band in general; it wasn't just a bunch of friends playing together anymore, but a group of people doing business with each other and concentrating on all the side-effects of the success in full. It was the easiest choice for them to play the same setlist every night rather than to start rehearsing something they hadn't played before in the middle of a tour. Quote:
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i would be very surprised if it was played w/ sg. pete has said a number of times that he doesn't like 'oh well pt 1' . best, zero |
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However, the attitude that Lindsey has about feeling like a lounge guitarist whenever he played the old songs seems pretty goofy. Everybody knows that he wouldn't do those songs if he wasn't in Fleetwood Mac, just as Fleetwood Mac wouldn't do a Buckingham Nicks song without either he or Stevie being in the band (although, "Crystal" and "Don't Let Me Down Again" could be exceptions, as they were also released under the Fleetwood Mac moniker). I will say that if the CURRENT personnel play a Buckingham Nicks song live, they should also play a pre-1975 song, to be fair. |
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The fact of the matter is that you guys see a sort of nostalgia-laden metaphysical interconnection between all the various incarnations of the Mac -- so do I, but only in a figurative sense. In other words, in practical terms (in terms of individual psychology & preference), "Fleetwood Mac" is a fiction: nothing more than a series of songwriters & singers & musicians that followed or preceded one another in various specific groupings along a certain timeline. But you really take "Chain, keep us together" literally in the sense that you want the metaphysical binding of that "Chain" to apply to pragmatic elements, such as set lists & so forth. To me, that's crying for the moon. It's like extinguishing the fire in the fireplace so that Santa won't get scorched. Steve, did I ever say how glad I really am that you're posting on this board a lot more? You & I go waaaaaaaaaay back, you ol' son-of-a-gun, you. |
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