Fleetwood Mac's debut gig 45 years ago today
 

Peter Green's Fleetwood Mac performed for the first time in public 45 years ago today - 13 August 1967 at the Windsor Jazz and Blues Festival.

Pretty amazing that we have a recording of that first performance. Here are a few audio clips from YouTube:
http://www.youtube.com/watch?v=e08kol0ZzrM
http://www.youtube.com/watch?v=lAztGdNt4IU
http://www.youtube.com/watch?v=dxofilJ_58Q
http://www.youtube.com/watch?v=eTt0PnHsnNA

Very cool information. I was 5 years old. I became a huge fan at age 16.

45 Years ago today!
 

Today is the birthday of the Marquee Concert. I've been listening to it this afternoon. Great concert!

GJK

Ultimate Classic Rock
http://ultimateclassicrock.com/fleet...c-debut-album/

45 Years Ago: Fleetwood Mac’s Self-Titled Debut Released

by Ryan Reed4 hours ago

There have been many Fleetwood Macs over the years: the late ’60s blues-rock titans, the transitional folk-rock successors, and the unexpected crossover pop-rock mega-stars of the late ’70s. But this complex game of musical chairs begins way back in February of 1968. That’s when the band released their fascinating debut album, defining a new era of British blues.

The band was formed by guitarist-vocalist Peter Green, who fled John Mayall‘s hugely influential Bluesbreakers project, also managing to snatch away the sturdy rhythm section of drummer Mick Fleetwood and bassist John McVie from the Bluesbreaker ranks. The line-up was cemented with the addition of Jeremy Spencer, a slide-guitarist known for his quirky stage persona and reverence of blues greats like Elmore James.

‘Fleetwood Mac’ is revered for defining a new era of electric blues, and most of that praise is well-deserved. Green, who would remain in the band only for two further albums, does the heavy lifting on this debut, dominating track after track with his dazzling electric guitar work to his soulful vocal stylings. ’Merry Go Round’ is a groovy showcase for Green’s explosive soloing; ’Long Grey Mare’ rides a busy riff, with added pizzazz from Green’s showboating harmonica lines.

But the true highlight is ‘I Loved Another Woman.’ A smoky, mystical Latin-blues fusion, it’s a musical precursor to ‘Black Magic Woman,’ which was released three months later as a single. There’s something eerie and magnificent about Green’s anguished vocal, moaning over a simmering rhythm section groove, topped off with an atmospheric guitar solo for the ages.

In light of these standouts, it’s easy to overlook the album’s awkward spots — almost all of which trace back to Jeremy Spencer. The guitarist’s tributes to blues greats like Elmore James and Robert Johnson are by far the least interesting tracks here, and his originals don’t fare much better: The standard 1-4-5 chug of ‘My Baby’s Good to Me’ is redeemed only by his white-lightning slide-guitar. Meanwhile, his vocals are often obtrusive and grating (check the chesty bravado of ‘Cold Black Night’), and his hoarse delivery often sounds like a parody of the legends he honors elsewhere.

To their credit, Fleetwood and McVie anchor every track with rich rhythmic interplay: Green named the band named after the rhythm section, after all. But at this point, their confidence was clearly still coalescing.

The album itself was a hit, peaking at No. 4 on the UK charts, despite the presence of a successful single. But its influence on the musical landscape of the late ’60s was a better gauge of its success: Green’s talented crop of blues players were carving out a territory all their own, kick-starting one of most magnificent lineages in rock history.

Yes well that's his take on it 45 years after the event.! When I first heard it- borrowed from a school pal , it was Jeremy's stuff that stood out! How did he get that guitar to sound like that -I was only sixteen - I'd never heard of ElmoreJames- so I wasn't comparing him with anything The above critic is being very harsh. I still love these songs ,and the way Jeremy plays them but ( if one has to criticise Jeremy it would be for the Elmore numbers on MR Wonderful for being so very similar given that he could have showcased his other talents -on piano for example ) )

With more listening, one began to appreciate Peter's economy and expression ,and one realised what a talent Peter was, but again I'd never heard recordings by BB King orMuddy Waters ,and it was thanks to this album and others around at the time and articles in Beat Instrumental, in which Peter talked about his influences and his heroes, that I and others learned about these people and what wonderful players they were. Then better than that , we saw them live eg Bb * at the FM albert hall concert .
Also over the years I ve spoken to a couple of people who were at thie first ever performance at the Windsor Jazz and Blues fest, and they said it was Jeremy that impressed them . I think a lot of this was to do with whether one had seen Peter with John Mayall, and therefore knew who he was .I certainly hadn't All I had were the stills on the back of the album !

* this was a typo! I of course meant BB ,but I've decided to leave it in ,as I quite like the idea a legendary blues player called B Flat King !

:thumbsup:

And I fully agree with your comment above. I was in the same position, being 17 years of age in Holland.

Back in my younger years as a blues novice, I would attend open blues jams quite frequently. On quite a few occasions with different people leading the jam, they would turn to us on stage and say "Slow blues in BB's key".:shrug: Being a "rookie" I would look at the bass player and he'd mouth or whisper "B Flat" when he'd see the puzzled or "deer in the headlights" look on my face. Once I "got it", I just thought that was the funniest thing. It was like "bluesman's code" or something. I felt like I was initiated into a "secret society" after that! :thumbsup:

That's a cool story. Do you call actual keys on stage? We always use words, as "D" can sound like anything! Adam, Boy, Carl, Doggie, Earl, Frank, George. Those are what we call.

I did monitors for BB King, about 5 years ago. He put on an excellent, LONG show(especially for a guy his age!), and at the end of the show, he pointed right at me, and said, "I want to thanks the sound guy". I know that's a little, nothing story, but it was my one BB King moment in life!

Now it's pretty much done with hand signals. Inverted "Peace Symbol" (pointing down, not up) "A", 3 fingers sideways, "E", Left index finger with right index finger & right thumb, "D", And, "C" is kind of self explanatory. I look at them with a "death stare" if they call "F" (and, I try to hide if there's a horn player on stage...don't want to be playing any of those "flat" keys...or I bully them into playing in "C"...which is about like me playing guitar in "F". :D)

Well I'd be thrilled if BB refered to me in such a situation, and you are right to treasure the moment !

I've never heard of this term before ,but thinking about it now, BB must have had to play in B flat cause of the horns etc in his band (music written in key of C but comes out as Bb when they play -if I remember correctly )

You could really cause some confusion if you shouted out John before the next number !

" OK boys ,this ones in Earl Sharp "(¬sounds like a country banjo picker !)

And, the band would look at you like "WTF? That's "F"!" :rolleyes:

If you take this to it's (il)logical conclusion then Earl Sharp is really Frank*

* Homer's code

Dont get me started on Doh! A deer !a female deer!

:thumbsup: