[snoot]

Originally Posted by slipkid

Snoot, I think we're just going in circles with no end, so I'll just leave it where it stands. I maybe too old now to have a guitar hero, but I certainly had a drum hero in Bill Bruford as a teenager.

Sometimes you have to circle about a bit to get what need be said out. It makes for good discussion too, assuming things don't overheat, or get too personal. If it generates further discussion or gets people thinking, it's worth the effort. Afterall, that's what we're here for primarily, right? I think we all have musical heroes, both players and songsmiths. If not, we probably wouldn't be chatting on a forum like this right now. Even the biggest musicians have theirs. Green used to adore Hank Marvin of the Shadows, as you no doubt know.

As for BB, that man could tap the sticks with the best of 'em. Not a bad choice at all. Some interesting stuff he did with King Crimson and Patrick Moraz later on too.

As to the neck and neck guitar front, there is a B.B. King cover on Youtube from New Orleans 1/3o or 31/70 (I call that near the end) that has a four minute Peter Green solo. I don't want to post it to continue this thread, but I can pretty much say without question that Danny Kirwan could not duplicate that solo. This isn't an insult, many other guitarists couldn't do it either. He may have been able to pick the notes, but not with the soul, passion, and keen sense of dynamics that you hear coming from Green's hands. That solo I feel is the greatest and simplest example as to why PG is so loved by other guitarists, professional and amateur alike.

Good point you make. In the pure soul and emotive front, Peter was hard to top. When he let loose and ripped it up, dust was sure to fly. Danny had a better sense of rhythm than Pete though, and stuck to structure more. They could both improv masterfully, but Green aimed for the clouds while Danny kept his feet more planted. That's why the two worked so well together. They had somewhat contrasting styles, but could also mimic eachother if and as needed, and always find the requisite common ground. You never knew what you were gonna get when the two cut loose. Call it part of the magic.

If only Spencer had devoted himself more toward ramping things up back then. He had all the potential in the world, but never could get his mind and heart in sync with Peter's overall vision. That's why Danny took on such a large role so quickly. He was a better, more enthusiastic learner, and he brought in the kind of groove and bounce Peter was looking for. Danny may have brought the rock/pop sensibilities to the band, but that was exactly what Peter wanted - and had been looking for. For that reason, it was just as much Green as Kirwan that shifted the band from "purer" blues, never forget that. If PG didn't want that turn of direction, it wouldn't have happened! That wasn't tolerance, it was synthesis. Purposeful synthesis.

I guess I'm making up for lost time with a band that I didn't discover the first time around, at least the pre '75 version. Even I have a copy of 1988's FM's Greatest Hits that is exclusively '75-'88. It hasn't been played in eons, but maybe I'll pull it out soon.

Well you've made up for lost time then, that's for sure. If only more would take the exploratory plunge and immerse a little, they'd be surprised at what they had been missing out on! I am always floored by Lindsey and what he brings, both with his instrument and on the production side. What a wiz! Then you've got Stevie with all her charms. But to overlook Green at his height, or Kirwan's creative riffing with Greenie and Spencer and Welch, or what Bob did so smoothly with Weston and then on his own, is to miss the bigger picture. And if that weren't enough, you have Christy's great ditties and vocal prowess. Her backing vocals rival her lead ones, starting with Kiln House!! THAT is the wonder of Fleetwood Mac. Pity the post-75ers who don't realize what they're missing out on!

Now I realize this section is mostly for axe bangers and blues enthusiasts, Greenmeisters as it were (and that's cool since that's where it all started), but as we all know, FM was so much more than that. The diversity of their sound - all overlapping mind you, and born from an undiluted blues-rock core - is hard to top in rock n roll annuls.

I bought "Perfect Days" about three weeks ago, which has the same cover as "Madison Blues", but with only half the songs (I thought it was Madison Blues ). It's certainly is interesting to hear alternate versions of the Kiln House tunes with some unreleased material thrown in.

Ain't it the truth. Those sessions were better than many give credit to. A pretty heady accomplishment considering the band was fighting off the shellshock of losing their undisputed leader. It was touch and go as to whether they were going to just call it quits back then. Jeremy flat out rocks on that production, he was never more front and center. His guitar work with Danny was really nice too during those sessions. And then you had CM adding some cherry and timely backing vocals, and a few tickles on the keys. That album should be in every true Macsters crib. And it is not as far a throw from TPO as many would have you believe, if you listen to it closely. It was just a milder, a not so obvious, form of musical angst, cut from a different cloth. Not as gripping as TPO of course (Peter's pain was hard to match), but certainly a bit smoother around the edges. And the shift - not reinvention - continued.