Plinth – Albatross
Posted On: March 23, 2010
The last week has been one of those unusual weeks of transition. Winter is finally tailing off, and slowly but surely we are being teased with brighter days and warmer temperatures.
We are however subjected to subtle reminders of what is being left behind as a cold breeze or a sudden shower interferes with our shift in focus. Therefore, it’s appropriate in many ways that I had the opportunity to review this interesting recording from UK composer Michael Tanner, or Plinth, during this period.
“Albatross” is a collection of 5 interpretations of the Fleetwood Mac track of the same name and like the changes we are witnessing in the world around us, it provides the listener with a variation of audible delights suitable for the adapting seasons.
Despite being a bird, in literary circles the Albatross itself is largely considered to hold metaphorical value. Sometimes defined as a wearisome burden, this is in an allusion to Samuel Taylor Coleridge’s poem The Rime of the Ancient Mariner.
The original composition from Fleetwood Mac was in many ways an early example of ambient guitar music focusing on just two chord patterns, balanced lightly with cymbals. It’s a dreamy composition and Plinth certainly pays homage in this respect with each track successfully conveying a relaxed, gentle approach to music.
To expand upon the original’s approach Tanner calls upon the services of Aine O’Dwyer (harp), Richard Moult (piano) and Nick Palmer (piano on one track). While these accompaniments are subtle, they add both depth and richness to the recordings they feature on.
The tracks themselves vary in scope ranging from the relatively short “Albatross Four” (clocking in at just under four minutes) to the expansive and drawn out “Albatross Three” (which comes in at over twenty five minutes). Despite these differences in duration, the tracks stay true to their source each conveying images of slow tides, starry nights, gentle breezes and all to different degrees.
Over the last week I have enjoyed these sounds whilst waking up earlier in the morning thanks to the brighter dawn. I’ve had the luxury of sitting on a park bench absorbing these sounds through my headphones on a lunch break, accompanied by the ambience of a bustling city as it awakes from it hibernation. I’ve also battled rainstorms and bitter winds as the change in climate reluctantly sheds its skin. Yet despite this, and in spite of any metaphorical connotations the Albatross holds, Plinth has done away with any encumbrance and delivered a harmonious collection of sounds appropriate for all conditions.
- Review by Josh Atkin for Fluid Radio
Track List:Click on link below to hear these track samples
Albatross One (excerpt)
Albatross Two (excerpt)
Albatross Three (excerpt)
Albatross Four (full track)
Albatross Five (excerpt)
The influence of Alcohol and cold weather led me to believe I could cover the entirety of Fleetwood Mac’s ‘Albatross’ by myself with an out-of-tune Telecaster and a loop pedal. I could not. In the art of failing miserably, something new was created. Also featuring Aine O’Dwyer on harp, Richard Moult and Nick Palmer (Directorsound) on piano alongside various bowed strings and harmonium. Guitars recorded in Hastings on New Years Eve 2007 and New years Day 2008 (except track 5 which was recorded some time earlier at home) - Michael Tanner
About the artist:
Michael Tanner is a composer, writer and musician from the south of England occasionally recording under the pseudonym ‘Plinth’. Tanner first came to attention on the the Geographic Records compilation, “You Don’t Need Darkness To Do What You Think Is Right” in 2001. Other releases include “Wintersongs” and “Plays Victorian Machine Music” on Dorset Paeans and Rusted Rail, respectively – Both are now sold out. After a brief hiatus, Plinth returned with a split CD with Piano Magic’s Glen Johnson. ‘The Rest I leave to the Poor,’ by Plinth/Textile Ranch was released on Make Mine Music in late 2008.
Tanner is a member of the bands Directorsound, Tyneham House, United Bible Studies, The Rural Tradition and plays live with English folk-musician Sharron Kraus. Engineering and Recording credits include Sharron Kraus’ acclaimed The Foxes Wedding, forthcoming albums by Agitated Radio Pilot and United Bible Studies, whilst he’s also contributed songs and remixes to Andria Degen’s Pantaleimon. Other musical outlets include acoustic duo, The A Lords with Nicholas Palmer and Vangelis-styled synth project Cat Lady with Matthew Shaw.
Albatross is released through Dead Slack String Records and can be purchased from the label’s web site here
There's a song from David Gilmour's "On an Island", penned "Then I Closed My Eyes". I'm sorry Vivfox, but this song is the true tribute to Peter Green's "Albatross".
This is the Youtube link to David Gilmour's version of "Albatross" with Jools Holland:
I miss Peter Green, and Danny Kirwan:
Last edited by slipkid : 03-24-2010 at 12:48 AM.
They can't decide what price to sell it for
Posted with Jeremy's permission
I don't know if a link is provided
lundi 22 mars 2010
Red Hot Jam
VA – BLUES JAM IN CHICAGO - EPIC EPC 88591 (The Netherlands)
Previously Released As ‘BLUES JAM AT CHESS’ On The BLUE HORIZON label.
Fleetwood Mac : Peter Green, Danny Kirwan, John McVie, Mick Fleetwood, Jeremy Spencer
With Walter ‘Shakey’ Horton, Guitar Buddy, Honey Boy Edwards, Willie Dixon, J.T. Brown, Otis Spann, S.P. Leary.
1. Watch Out (4:16)
2. Ooh Baby (4:05)
3. South Indiana - Take 1 (3:21)
4. South Indiana - Take 2 (3:46)
5. Last Night (5:01)
6. Red Hot Jam (5:55)
7. I'm Worried (3:46)
8. I Held My Baby Last Night (5:16)
9. Madison Blues (4:55)
10. I Can't Hold Out (4:49)
11. I Need Your Love (4:31)
12. I Got The Blues (4:55)
1. World's In A Tangle (5:25)
2. Talk With You (3:28)
3. Like It This Way (4:24)
4. Someday Soon Baby (7:36)
5. Hungry Country Girl (5:46)
6. Black Jack Blues (5:08)
7. Everyday I Have The Blues (4:54)
8. Rockin' Boogie (3:58)
9. Sugar Mama (6:08)
10. Homework (3:20)
Fleetwood Mac 1971-1975: ‘California Leaning’Categories: Featured, Rock and Roll
Written By: Tim T.
I’ll be the first to admit that I’m a huge fan of the Rumors era line-up but digging deeper into the Mac’s catalog is highly recommended. Two forgotten stalwarts of Fleetwood Mac’s early 70’s lineups include the dandy Bob Welch and guitar virtuoso Bob Weston. If you like Christie McVie’s legendary contributions during the late ’70’s and early ’80’s you’ll love some of her gems on albums like Penguin, Heroes are Hard to Find and Mystery to Me.
Fleetwood Mac Live in 1973
McVie, sorely missed on the two most recent Fleetwood Mac reunion tours, is now retired in the English countryside but her legacy looms large over the long and storied career of the band. She has, to date, appeared on all but two albums, either as a member or as a session musician. Any questions about the soul and depth of McVie’s compositions and writing skills should be answered with a listen to Mystery To Me’s final track, Why. Hmmm, I’m getting carried away about McVie and I set off to shine some light on Welch and Bob Weston.
Here’s a 1976 version of Why with Lindsey Buckingham adding some tasteful guitar stylings.
Bob Welch was a pure bred Californian who helped to convince Mick Fleetwood and John McVie to move the band from England to California back in 1971. Welch, who later had big success as a solo artist after bowing out of Fleetwood Mac in late 1974, is best known for his nimble guitar work, fine songwriting and a somewhat geeky persona with large oversized glasses and a tendency to wear a fedora.
It can be argued that Welch’s contributions to Fleetwood Mac were pretty profound, he was instrumental in moving the band toward a more pop-based California sound, laying the groundwork for Buckingham and Nicks who would essentially replace him in 1975.
Welch was mysteriously snubbed by the Rock and Roll Hall of Fame and Fleetwood Mac when the band was inducted in 1998. Welch had this to say about the affair:
“I’m really disappointed about being overlooked by Fleetwood Mac. It basically comes down to the fact that they don’t like me anymore. “I guess they can do what they want. I could understand it if I had been a sideman for a year. But I was an integral part of that band for five years. I put more of myself into that band than anything else I’ve ever done.”
Full props to Bob Welch who wrote several standout tracks for the band including Sentimental Lady, Hypnotized and Bermuda Triangle.
Bob Weston had a short lived stint with the band but helped stabilize the band’s sound after the departure of previous guitar god Danny Kirwin. He would famously be fired for having an affair with Mick Fleetwood’s first wife during the band’s 1973 tour.
Never a dull moment for Fleetwood Mac, whatever the incarnation of the band may be..
Tuesday, March 30, 2010
The Day After The Sabbath 14 compilation
TDATS 14, another primordial concoction from the lost land of the rock dinosaurs. This one kicks off with the purplish hard prog of I Drive, a mainly english band who played and recorded in Germany. Bubble Puppy enters the frey with with some of the hardest riffing 60s psych there was, Riders Of The Mark is even older than that and while not heavy in the same sense, it has that oninous foreboding feeling that metal would use later on. Colosseum displays infectious groove that would be sampled by Fatboy Slim years later and Paris features ex-Fleetwood Mac member Bob Welch, rocking hard like you'd imagine Mac would have continued to do so if Peter Green had remained. Track 12 is the customary cover, this time sludge-punks Killdozer's 1989 cover of a James Gang classic. Canadian Neil Merryweather (also a founder of Mama Lion, on TDATS XI) finishes up with the entertaining mix of glam, metal, space rock and prog that he would make his own on his 'Space Ranger' and 'Kryptonite' albums.
01. I Drive - Down Down Down - 1972
02. Bubble Puppy - Hot Smoke and Sassafras - 1969
03. Starz - Boys In Action - 1976
04. Riders Of The Mark - The Electronic Insides... - 1967
05. Colosseum - The Kettle - 1969
06. Neon Rose - Waiting For The Train - 1974
07. Asoka - Psykfoni For Ekogitarr Och Poporkester - 1971
08. Stud - Woman Like You - 1975
09. Hustler - Midnight Seducer - 1974
10. Solid Ground - Tell Me - 1976
11. Paris - Breathless - 1975
12. Killdozer - Funk #49 (James Gang cover) - 1989
13. Neil Merryweather - Sole Surviver - 1974
DL link available on this site
Peter Green’s Fleetwood Mac “I’m Worried”
Posted by admin – April 7, 2010
Live performance of Fleetwood Mac (Jeremy Spencer guitar and vocals.)
25 Comments on Peter Green’s Fleetwood Mac “I’m Worried”
Respond | Trackback
April 7, 2010 at 1:44 am
c’mon now, this annoying ass elmore crap has close to nothing to do with peter green
April 7, 2010 at 2:28 am
definitely cause its real, anyone with ears will tell you that, lot of people on this planet dont have ears tho, lol lol lol
April 7, 2010 at 2:52 am
Bonzo Dog Doo Dah Band, lol
April 7, 2010 at 3:15 am
Probably because it’s just very real????
April 7, 2010 at 4:07 am
Jeremy is amazing here…. wow
April 7, 2010 at 4:30 am
April 7, 2010 at 4:35 am
this is the REAL Fleetwood Mac!
April 7, 2010 at 5:09 am
Ask the Bonzo Dog DooDah Band
April 7, 2010 at 5:32 am
Is it me, or is McVie tripping his brains out on ths one? LOL
April 7, 2010 at 6:18 am
Cool,he’s real cool is Jeremy Spencer
April 7, 2010 at 6:44 am
Jerry, the man who makes Elmore still alive and well.
April 7, 2010 at 6:57 am
April 7, 2010 at 7:31 am
April 7, 2010 at 7:58 am
Can the blue men sing the whites?
April 7, 2010 at 8:07 am
I absolutely love Jeremy’s playing in this. I also like the video — it reminds me of the best examples of independent cinema–has a unique magnetic look, cool smeary colors PLUS fantastic sound.
April 7, 2010 at 9:05 am
you are welcome.
April 7, 2010 at 9:21 am
Tku for posting, great cover of Elmore James’ best tune, I don’t care about the quality of footage, the music is what really matters
April 7, 2010 at 10:14 am
this is some good ****! i understand why you cant get the real vids! ****ing har to get hold on! **** of tommy
April 7, 2010 at 10:56 am
Thanks, lets agree that the music does not sound tired, but certainly serious. It’s alive and full of energy. The original copy on YouTube made me go and buy the Complete Blue Horizon 1967-1969. It’s incredible, I don’t know why that music after 40 years still make me listen and enjoy.
April 7, 2010 at 11:22 am
Your welcome, Instead of looking tired, perhaps they look serious?
April 7, 2010 at 11:27 am
Thanks for posting this clip (an original copy was removed some time ago), I enjoy watching Peter Green and Danny Kirwan, accompanying Jeremy Spencer. They play with respect, but at the same time they look tired. Probably because af Jeremy’s ‘egotrips’ in the band, only playing his own numbers.
Fate really takes character when looking at these images. Knowing what happened a few years later and what happened to the musicians and Fleetwood Mac later.
April 7, 2010 at 12:06 pm
Dear Mr. tommy of Low stature, I am sorry that I assumed you could read. Thanks for the feed back.
April 7, 2010 at 12:17 pm
go sit on a trailer hitch and swivel dude. Go buy some decent video stuff and do the job properly
April 7, 2010 at 1:13 pm
Your welcome, Uncle Tony.
April 7, 2010 at 1:20 pm
Thanks for posting this, ignore the ignoramus.
Nashville's the Place. Excerpt with a mention of Bob Welch moving there in article about Nashville.
Music Dish Network
"Nashville has also become home to other famous musicians who are looking to get away from the New York and LA scenes, such as Jonathan Cain, a member of the group Journey who now lives here. There are members of 80's & 90's bands who have moved here - Gunnar Nelson and Kelly Keagy of Night Ranger. Bob Welch, an original member of Fleetwood Mac just moved here."
Uhhhh....no. That's wrong.
It wasn't until the whole Mystery To Me tour, "bogus band" fiasco in '73/74 that Welch suggested they emigrate to the US (SoCal in particular) to be physically closer to their record company's headquarters. From the time he joined the band until they moved to California, Welch, I think, was living at the Fleetwood Mac "commune" Benifolds. (Right, Bob? If you happen to read this.)
Among God's creations, two, the dog and the guitar, have taken all the sizes and all the shapes in order not to be separated from the man.---Andres Segovia
Last edited by chiliD : 04-09-2010 at 10:44 AM.
News - Breaking News
Tuesday, Apr. 13, 2010
Tickets for the Rock & Pop Masters, an all-star band, go on sale Saturday
By SANDRA OKAMOTO - firstname.lastname@example.org
The Rock & Pop Masters, an all-star band featuring members of bands like Fleetwood Mac and Grand Funk Railroad, is scheduled to perform at 8 p.m. June 25 in the Columbus Civic Center, 400 Fourth St.
Members of the Rock & Pop Masters include Joe Brochard, Blue Oyster Cult; Larry Hoppen, Orleans; Mark Farner, Grand Funk Railroad; Bob Welch, Fleetwood Mac; John Cafferty, Beaver Brown Band and Pat Travers, Pat Travvers Band.
Tickets for the Rock & Pop Masters, an all-star band, go on sale at 10 a.m. Saturday.
If you are buying tickets at the local Ticketmaster outlets, be sure to take cash.
Call the Civic Center at 706-653-4460 or Ticketmaster at 706-494-8330 to charge tickets.
April 24, 1970
— In early April, when Fleetwood Mac returned to London after an emotional European tour, Peter Green, devastated by drugs, suddenly announced he would be leaving the group in late May. Clifford Davis, the band’s manager, reluctantly began cancelling an upcoming British tour set to begin the following month. Relationships in the stunned band were strained, but the Mac still had to complete recording “The Green Manalishi (With the Two-Prong Crown)”, Peter’s final studio effort with them, as well as a B-side for the single. To underscore the troubled band relationships, Jeremy Spencer opted out of these sessions to work on his own album.
Despite the high tension, the recording sessions at De Lane Lea Studios in London, driven by the intense music, still had their moments. Mick set up his new gong, surrounded by six microphones and miles of cables, in the underground car park below the studio. When Mick banged his gong, that car park vibrated like a giant bell with an eerie ringing that reverberated off the walls. Talk about an echo! Another night, Carlos Santana showed up, and it didn’t take long for a lengthy jam session to start. In the past, Peter often hit upon brilliant melodic ideas in the midst of jams like these, and on this night, he was showing Santana some pretty impressive licks. At some point, Peter had introduced Santana to “Black Magic Woman”, the hit that Carlos would record shortly thereafter for his own band’s second album. Throughout the sessions, Clifford did his best to convince Peter to stay, but Greenie steadfastly maintained his intention to leave, seemingly happier now that his decision was public.
We finished recording on April 20th and headed to Scotland for gigs in Dundee, Aberdeen, and Edinburgh. The crowds, aware that Peter was leaving, were huge and ebullient, and Chris Adamson and I spent more time being security guards than working the stage. We were both concerned about the recent turn of events that had begun with Peter’s drug use in Germany. Peter was very fragile, yet his guitar-playing was powerful and evocative during these Scottish gigs. Still the band’s musical leader, Peter had decided to go back to the two-song set list format: Peter would perform two songs, followed by Danny Kirwan’s two songs, followed by Jeremy’s two songs. Everyone was happy with that set-up, and the shows were quite good, despite any tensions that remained when the band came off stage.
On Friday, April 24th, we returned to play a gig at the Roundhouse on Chalk Farm Road in North London, part of a Pop Proms series that began with Traffic on the previous Monday and Elton John on Tuesday. Chris convinced me to add more cabinets to our WEM system, knowing that fans and press would be out in full force to see Peter. Charlie Watkins, my mentor and grand old man of British sound reinforcement, obliged us with the extra gear. Originally a steam engine turning shed dating back to Victorian times, the Roundhouse became an arts venue in 1964. Although it has undergone extensive architectural transformations since then, back in 1970 it was still funky. The interior of the circular building was unique with a high, arching dome ceiling. I was excited, as I knew this reflector would be great for our sound. For the Mac, a stage was built at one end with no seats on the floor. Mick’s eyes lit up when he saw the balcony walkway that circled the building.
A year earlier, the band had played with B.B. King at the Royal Albert Hall, the first show of a British tour with the blues giant who had brought a backing band with him. Attended by England’s rock royalty—Jimmy Page, Eric Clapton, Mick Taylor, Keith Richards, Mick Jagger—as well as Janis Joplin and her band, the concert was a blues aficionado’s dream. Flamboyant Long John Baldry was the master of ceremonies; Duster Bennett and Brownie McGhee and Sonny Terry were the openers. For this important show, I had added extra sound equipment, including a pair of bright red, parabolic speakers that resembled breasts for vocals. After the show, Mick Jagger stopped me backstage.
“I loved those giant tits on the organ!” he exclaimed, thinking they were stage props. When I explained that they were speakers, he started laughing. Mick Fleetwood, who was standing behind me, quipped, “All we need now is a huge, blow-up dick!”
Although Fleetwood had been promising the band the inflatable stage prop since the Albert Hall show, no one had seen it and everyone had forgotten about it. Not Fleetwood, especially when he saw the walkway at the Roundhouse. Unbeknownst to the rest of the band, he had cajoled Jagger into loaning him an inflatable penis, complete with testicles, for this performance.
The Many Faces of Fleetwood Mac
April 14, 2010 Lorne Cansler
When many fans think of Fleetwood Mac, they naturally think of the five members that brought the band its most commercial success. However, Mick Fleetwood and John McVie had recorded 10 albums with seven different combinations of musicians under the name of Fleetwood Mac, before they assembled the lineup that made the band superstars.
The Early Years of Fleetwood Mac
Fleetwood Mac, then a British blues band, released their first album in 1968. Peter Green's Fleetwood Mac featured Peter Green and Jeremy Spencer, both on guitars and vocals, while Spencer also contributed as a pianist. The band's rhythm section, drummer Mick Fleetwood and bassist John McVie, would remain the only constants in the band. The same foursome would release their second album, Mr. Wonderful, later that same year.
Their third album, Then Play On (1969) featured a new member, 18-year-old Danny Kirwin on guitar and vocals. With three guitarists in the group, Jeremy Spencer contributed less to Then Play On than he did on previous albums.
The 1970 release, Kiln House, was Fleetwood Mac's first album without Peter Green, who left the band while struggling with psychoses. The band chose not to replace Green and Fleetwood Mac was once again a quartet.
In 1971, Fleetwood Mac released Future Games, their first album without Jeremy Spencer, who had joined the Children of God. John McVie's then-wife, Christine, joined the band to replace Spencer on keyboards.
Bob Welch became the first American to join Fleetwood Mac by replacing Spencer on guitar. Welch and Christine McVie's contributions to the band also included vocal and songwriting talents. Along with Danny Kirwin, Fleetwood Mac had three singer-songwriters. The same line released Bare Trees in 1972.
Danny Kirwin's alcohol dependence and related problems created problems within the band and Mick Fleetwood found it necessary to fire him. Kirwin was replaced by guitarist Bob Weston and vocalist Dave Walker. Now a six-member band, Fleetwood Mac released Penguin in 1973.
The band fired Dave Walker because they thought his vocal style was not compatible with the group. Without replacing Walker, Fleetwood Mac released another album in 1973, Mystery to Me. While on tour, Mick Fleetwood discovered that his wife was having an affair with Bob Weston, who was immediately fired.
Mick Fleetwood, John McVie, Christine McVie, and Bob Welch returned to the studio and released Heroes are Hard to Find. It would be the last Fleetwood Mac album with Bob Welch, who left the band for a solo career.
ARTICLE CONTINUES IN THE RUMOURS FORUM INSIDE THE MACNUGGETS THREAD
Thursday, April 15, 2010
OMFG .. an i thought me DYING was the worst news in the worlld...
Aint so .. a hunnert folks careers have just been SCREWED cus somebody at their web hosting service f***ed up... why who has been screwed.. you may ask..
OK .... fair question
BOB WELCH (PARIS, Fleetwood Mac for FOUR years)
Mick Abrahams (er... FOUNDER MEMBER of Jethro Tull and BLODWYN PIG an oh im too pissed to add more but savoy browns also in there .. an of course ME!!!!!!!!
Can you name some bands with more than one great guitar player (in ...
Fleetwood Mac – Peter Green, Jeremy Spencer,Danny Kirwan The Paul Butterfield Blues Band – Mike Bloomfiled, Elvin Bishop Little Feat – Lowell George, Paul Barrere. Permalink. Drop Dead Fred wrote at 10:26 - 25th April 2010 Permalink ...
Golf - http://golf.juegin.com/
|FLEETWOOD MAC personally signed 45 - CHRISTINE McVIE
|FLEETWOOD MAC personally signed Greatest hits LP cover - CHRISTINE McVIE
|Christine McVie Poster Fleetwood Mac Old /Warner Brothers
|FLEETWOOD MAC STEVIE NICKS MICK CHRISTINE MCVIE LINDSEY GRAMMY AWARD POSTER
|1978 Press Photo Christine McVie Rock Singer Songwriter - RRV30495