Pre-Rumours MacNuggets

[Evan Morris]

I couldn't agree more, the night three version of Jumping At Shadows is the most intense, the most direct of the three nights. I like the other two as well, they are more intricate but there is a slight feeling of desperation about night three.

The version of Black Magic Woman with the live fade out has always been my favorite. I've been told that BMW was recorded on all three nights, and that the live fade out is actually night one from the Boston Tea-Party performances. The version that was released as night one, is in fact night two. There was also a night three, but it was scrapped due to tape damage juring the re-mastering process. I've looked and listened for other bands from that era or any, and I haven't yet found one that used a live fade out.
According to Peter's introduction, he had only performed the song live, twice before. This would have been pre-Kirwan, and as much as I like the Green-Kirwan jam versions of this song, I would have liked to hear how Peter played it live, alone, just after it was written.

[slipkid]

Originally Posted by Evan Morris

I couldn't agree more, the night three version of Jumping At Shadows is the most intense, the most direct of the three nights. I like the other two as well, they are more intricate but there is a slight feeling of desperation about night three.

The version of Black Magic Woman with the live fade out has always been my favorite. I've been told that BMW was recorded on all three nights, and that the live fade out is actually night one from the Boston Tea-Party performances. The version that was released as night one, is in fact night two. There was also a night three, but it was scrapped due to tape damage juring the re-mastering process. I've looked and listened for other bands from that era or any, and I haven't yet found one that used a live fade out.
According to Peter's introduction, he had only performed the song live, twice before. This would have been pre-Kirwan, and as much as I like the Green-Kirwan jam versions of this song, I would have liked to hear how Peter played it live, alone, just after it was written.

Since the Fleetwood Mac PR machine want to make us believe that Peter Green was lobotamized 3/70 in Munich, the "I've Got a Good Mind to Give Up Living" from Stockholm 4/1/70, and "Black Magic Woman", from the Roundhouse in London 4/24/70..Green's last live performance in London, didn't happen. Yet both performances are the best I've ever heard from ANY guitar player, including Jimi Hendrix . Now that the world has Youtube everything has changed.
If you love "Black Magic Woman", listen to this version....


http://www.youtube.com/watch?v=BaPWQkdJ2nI



This is the Stockholm version of "I've Got a Good Mind to Give Up Living". Come on dino, tell that isn't one of the best electric guitar solos of ALL TIME!

http://www.youtube.com/watch?v=t0ytgYYZuLs


Thanks for the clarification of BMW from Boston Evan. As for pre-Kirwan, there is that "Worried Dream" from San Francisco.(recorded by Bear, it sounds like an Owsley Stanley production, I'm only guessing but the "sound" of the recording says Bear) This is FM's first visit to the states on Youtube. It's certainly before Green did LSD, and is it ever intense!!

http://www.youtube.com/watch?v=57gogeTtZtQ

[Evan Morris]

Although I have always thought that debating the question of who was the greatest player from that era or any other was somewhat futile given personal taste, etc.. A guitar player freind of mine once told me that to make an honest judgement on this subject, you would have to listen to 300-400 players satarting with Mister Johnson and freinds up to the time when computer technology changed most everything, 1975 or so..

Well, thanks to Youtube I have managed to listen to most of those 400 players and still I haven't found anyone that was in Peter's class at that time, not Henrix, Clapton, Beck, not even Buddy Guy. I thought maybe I would find his equal in the Jazz world, but here as well, I just can't find any player that is or was on the same level, close, but no cigar.

Thanks Slipkid for the Youtube links. I have heard the Round House and Stockholm versions on Youtube but they are the only boots that I have not yet aquired. I have the Carousel Ballroom boot with Worried Dream and yes it is stunning. Your comment about Owlsley is interesting, I've wondered who taped that show as it was pre Dinky Dawson.

[Wouter Vuijk]

Originally Posted by Evan Morris

Thanks Slipkid for the Youtube links. I have heard the Round House and Stockholm versions on Youtube but they are the only boots that I have not yet aquired. I have the Carousel Ballroom boot with Worried Dream and yes it is stunning.

I sent you a private message

[slipkid]

Originally Posted by Evan Morris

Although I have always thought that debating the question of who was the greatest player from that era or any other was somewhat futile given personal taste, etc.. A guitar player Friend of mine once told me that to make an honest judgment on this subject, you would have to listen to 300-400 players starting with Mister Johnson and Friends up to the time when computer technology changed most everything, 1975 or so..

Well, thanks to You tube I have managed to listen to most of those 400 players and still I haven't found anyone that was in Peter's class at that time, not Henrix, Clapton, Beck, not even Buddy Guy. I thought maybe I would find his equal in the Jazz world, but here as well, I just can't find any player that is or was on the same level, close, but no cigar.

Thanks Slipkid for the Youtube links. I have heard the Round House and Stockholm versions on Youtube but they are the only boots that I have not yet acquired. I have the Carousel Ballroom boot with Worried Dream and yes it is stunning. Your comment about Owlsley is interesting, I've wondered who taped that show as it was pre Dinky Dawson.

We should be good friends!! You just typed what I've been trying to express since I re-discovered Peter Green two years ago. As a rule I hate rock/blues guitar players, of any generation, unless it's a certain handful :-). In the jazz world, there's Grant Green, and Wes Montgomery, and my mother's Charlie Byrd. I could never hate them.

I'm a year short of 40, and for the first time in my life (age 37), I FINALLY found the best rock/blues guitarist ever,or should it be finally "heard" him. I already had his work with Mayall, and the BBC live FM CD's. Peter Green's guitar playing makes me want to forget that Clapton, Jimi, SRV, Page, Beck, Blackmore, and Townshend ever existed. Thanks to hearing Peter Green in a different light, I've come to appreciate guitarists like David Gilmour. I also think Jerry Miller deserves serious accolades.

Actually that's a little harsh, I still love EC with Mayall, and Cream. I also like old Pete Townshend before he smashed his hand in '92/'93. Mick Ronson., should be mentioned.

[vivfox]

by Greg Brady
On July 30, 2010 at 5:15 pm
.The liner notes tell some of the tale, detailing 4 new members since the band’s beginning only 4 years earlier (Peter Green left in 1969, Jeremy Spencer in 1970, Christine McVie and Bob Welch are the new bandmates here), and a search for a new direction musically.

The band’s push toward a softer rock begins here, most of the tracks being moody and languid. Making the pacing this way means the album lives or dies on the strength of the lyrics and in this case, there are about 3 too many Danny Kirwan songs sinking the proceedings. “Woman of 1000 Years” and “Sometimes” are dreadful. With a better lyric, “Sands of Time” would be outstanding, but the meandering pretentious lyric renders the song mediocre. “What a Shame” is another uninteresting instrumental.

The best tunes here are Bob Welch’s Biblical potboiler “Lay it All Down” which shows the strongest hook appeal of any of the songs, the wistful title track (which is the only song here to wax philosophical and benefit from it), and Christine’s “Show me A Smile”.

This is definitely one to only pick up used and only if you’re a diehard FM fan. The band has some good pre-Buckingham/Nicks material but this isn’t the place to find it.
Rating: 2 / 5


by Anonymous
On July 30, 2010 at 5:42 pm
.I am a avid FM fan, and honestly, I can’t listen to this album. I love the Pete Green Era, and the Lindsey/Stevie era. But this doesn’t even stack up to Bare trees. Likely the least listened too album in my FM collection.
Rating: 2 / 5


by A. Calabrese
On July 30, 2010 at 6:22 pm
.The Future Games LP by Fleetwood Mac was released at the end of FM’s blues era. Peter Green had long left the band. Guitarist/singer Jeremy Spencer went joined a religious commune, and Danny Kirwin was on his way to total meltdown. And, while the band, tried to fill in the gaps with the addition of Christine Perfect aka McVie and Bob Welch they just couldn’t get back what was lost. If the preceeding Kiln House and Bare Trees LPs are classics, Future Games just comes off as a contractural obligation piece. There are no strong songs here. Much on this album, like Woman of 1,000 Years, Sands of Time, and Show Me A Smile, are nice to listen too, there is nothing memorable here. If you are an Fleetwood Mac fan, than pick up the CD to fill in the blanks. FM’s transition from a rock/blues band to a pop band was not a smooth one, and it shows on Future Games.
Rating: 3 / 5


by Brian D. Rubendall
On July 30, 2010 at 8:22 pm
.Most people know little about the music Fleetwood Mac produced before Stevie Nicks and Lindsey Buckingham arrived in the mid-70s and transformed them into hitmaking superstars. But the seeds of the band’s later megasuccess began to be sown on “Future Games.” Christine McVie had only recently signed on, and her impact was immediately felt on “Show Me a Smile,” in which she can be heard laying the foundations for the hits she would write later. Of the rest of the songs, the highlights are “Woman of 1000 Years,” the title track and “Sands of Time.”

The album’s main drawback is that the band often sounds chilly and remote, a stark contrast to the melodic warmth of their later classics. Also, guitarist-singer Bob Welch, who Buckingham later replaced, never really fit in with the band’s style. The CD booklet contains no lyrics sheet, but does have a short biography on each performer and a full page of detailed liner notes that were penned when the album was released on CD.

Overall, a solid if unspectacular early album from a band that would later go on to much larger success.
Rating: 3 / 5


by Ian D. Macintyre
On July 30, 2010 at 9:00 pm
.This album was recorded during the period when Peter Green had long since departed and Buckingham and Nicks were unknowns playing the So Cal club circuit. Danny Kirwan is the driving force on this album just as Lindsey would be on Rumours 6 years later. With the additions of Bob Welch and Christine McVie, the seeds are sown for the band’s move from English blues to the mellow rock that would garmer success for them a half-decade later. A great album. However, some songs run on too long.
Rating: 4 / 5

http://xtechblog.com/future-games/

[Evan Morris]

It sounds like we are on the page Slipkid. In my opinion they are all great players, past and present. I think that anyone from that era that has been called a Guitar God,
Guitar Hero, Wizard, etc., is deserving of the title, they are all great players in their own way.
Still...
I haven't found anyone that appears to have the same emotional, even spiritual connection to the music that Peter has.
Perhaps it's Peter's humble nature or lack of ego that allows him to connect so easily, so thouroughly. For me, this is what seperates him from the others.
I like your selection of players, especially Mills, Ronson, and Grant Green.
I actually have the Moby Grape albun WOW on vinyl that was given to me by a freind when I was about 12 years old or so. Must dig it out a give it a listen, probably haven't heard it in twenty five years, should be interesting.
I've always liked Ronson's work with Bowie, and Grant Green, like Peter, was one the most underrated players in history.

[vivfox]

2TheAdvocate
Wayne Goldsmith says, “My future wife and I were also at the concert at Independence Hall that had Rory Gallagher, Pot Liquor and Fleetwood Mac. ...
http://www.2theadvocate.com/columnists/99603259.html

[chiliD]

Originally Posted by Evan Morris

I haven't found anyone that appears to have the same emotional, even spiritual connection to the music that Peter has.

Only one in my book....Duane Allman. Too bad that other than only playing together when they'd both sit in with the Grateful Dead at the same time, they never worked together besides that...I think there would've been some damned fine music come out of a Duane Allman/Peter Green collaboration. We've all seen what Duane did for Clapton's career.