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  #46  
Old 01-16-2009, 03:44 AM
JonsonP JonsonP is offline
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"Seven Stars" - always been 80% sure this was Snowy, similar playing style to his Bird of Paradise era work, but could be wrong!
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  #47  
Old 01-16-2009, 01:31 PM
absinthe_boy absinthe_boy is offline
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"you can recognise Peter by just two notes"....take his bit-part on Peter Gabriel's "Up" album in 2004. It is just a few notes, but you KNOW it's Peter Green. Couldn't be anyone else.

I think we all agree that we hope Peter isn't wheeled on stage by someone hoping to use his name for their own financial gain. I like to think that Nigel Watson got involved in the whole Splinter Group thing because he genuinely thought it was helping Peter...indeed for the first few years it probably did. I will always remember Peter's comments in the Hard Road documentary "I love playing, I love appearing. It's really great, you know"...."Nothing's gonna stop me now"...but clearly he doesn't always feel this way. But maybe Nigel pushed too far, or took too much control. Its something we just don't know about.

Another great musician in a somewhat similar situation, who I have seen perform live and from very close to the stage...Brian Wilson. Now there's a guy who has good and bad concerts. I was privileged to be at one of the best, and the guy was on fire with energy for much of the show. He was keenly aware of his audience, mugged for my camera and smiled at me a lot...But other nights I know he was lackluster...I have the 'unofficial DVDs'...I suspect Peter has good and bad days, days when he feels pumped up at the prospect of performing in front of an audience and days when he'd rather go watch a DVD with a cuppa.
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  #48  
Old 01-16-2009, 01:44 PM
dino dino is offline
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Quote:
Originally Posted by Blue Horizon View Post
Hmmm a really interesting thread this one...........anyway here's my take on post Mac Peter Green.
Like some of you lucky people I lost count of the number of times I saw FM with Peter at the helm and when my guitar hero called it a day with the Mac I was devastated to say the Least!
The last gig I went to before Peter really started to show outward signs that all was not well health wise was the 1970 Bath festival when he joined John Mayall. The Bootleg recording of that gig is awful but I can assure you the band and Pete's guitar playing was outstanding.
Fast Forward to the early 80's and Peter's first proper comeback gig was at the Golden Lion Pub in Fulham, London. The Place was packed out as you can imagine but alas what a disappointment it turned out to be for all those Punters who came to see PG as they remembered him with FM. The Guy was totally out of it and should never have been on the stage....I felt so sorry for him and came away from the place feeling angry that the people around him at that point in time were using him and his legacy to their advantage and had completely disregarded his mental state and health.
I cannot recall how long it was before I had the next opportunity to see 'my guitar hero' but I just had to go with the hope that what I witnessed at the Golden Lion was a One Off....bad day at the office type thing. This Gig was at the Tolworth community centre (South West London/Surrey) and what a transformation! Peter for better not worse (high on something or totally clean?) was on FIRE that night with his guitar chops and vocals well and truely nailed. I remember him playing and singing a stunning 'Need Your Love so Bad' and 'Man of the World'. I really could not believe the difference between these two gigs...chalk and cheese as they say in the uk.... but I was a very happy guy that night as 'my hero' was back on track or so I thought at the time..........
The Next time I saw PG was with Kolours at (I think) The Astoria Theatre in Victoria London. I wont dwell on the details to much but just to say that it was a repeat of the Golden Lion gig. Peter during one number stepped on his guitar lead and pulled the Jack plug from his guitar and continued to play without realising that nobody could hear anything.....it was so sad to see him totally out of it. Also he did leave the stage soon afterwards during one song leaving the band to conclude the number and the concert. No encores or a return to the stage for any of them that night.
I think the above highlights the thoughts of some that during the early 80's you never knew what you were going to witness when you went to see PG and for me during this time he became an enigma.....but also someone who I still wanted to support and see whenever I could. Now in hindsight I totally understand what was happening to the guy thanks to Martin Celmins, the BBC 'Hard Road' documentary, Man of the World dvd and the likes of you lot out there in Penguin Land.


Blue Horizon.
Interesting. Do you remember the years for these gigs?
It's indeed wrong to disregard all Greeny's concerts in the 80's.
I have several tapes from 1983 where he plays really well.
Though after that, not so much.
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  #49  
Old 01-16-2009, 03:12 PM
Ms Moose Ms Moose is offline
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Question What makes The Unique unique?

So many elaborate, knowledgeable comments and great thoughts! Threads within the thread. If these threads get much longer and more intense I will have to give up work!

Unfortunately I just can't work out how to multi-quote , so just to hang on to ONE of the many great themes here, I will comment on:

Quote:
Originally Posted by dansven View Post
Peter's approach is unique!! Mayall said recently that he's one of few players who only have to take a couple of notes, to be recognized. It's true!!!
Nigel Watson?!?! A former plumber (or whatever)?!?! As Vinnie said: "...he ain't got it." Their guitar styles are as different as their voices.
This sort of thing always puzzles me... if people can't distinguish Peter Green from any other guitar wannabe ... then what's the big thing about Peter Green then?? Why would he be so special then to those people???
Peter Green used to be a butchers apprentice - remember???

This "quality-thing" is very difficult and usually we use words like: "tone" or "feel"....But what the hell is it???? Some of it might be:

1) dansven:"Their guitar styles are as different as their voices": I think PG once said that he considers the guitar the instrument that takes over where the voice "have to give up" (some great singers sees it the other way around, but have the same unique "talent"/gift: Frank Sinatra said that he (Sinatra) was inspired by the trombone in his phrasing, Billie Holliday wanted to be able to sing like Satchmo played his trumpet).
This is [I]one aspect[I]that - to me - distinguish PG's playing from other players: his playing - like the voice - seems to be part of his being (warts and all) and this human quality ressonates instantly with other human beings in a way that is very unique: he is able to communicate feeling directly(One or two of the great classical violinists are blessed with this abillity too). Mick Fleetwood had a comment in the same line as this about PG's singing voice in the MOTW DVD.

2) Contained intensity (as opposed to blasts of energy) and unerring sense of rhytm/timing/pace.

3) He seems to be able to "stay or be with" each note, which makes him very "present" in his playing in a way that is rather unmatched. It's "a hesitation before taking the leap". It is like he starts all over again every time he plays (this sounds crazy I know). A lot of players are way ahead of themselves - they are "dab" or clever, but they are not "present" in the music.
This aspect is could maybe help distinguish him from others/imitators. They can (to a limited extent) imitate the "tone" or "feel" - but not the timing/pace. Maybe this is why some of us don't care too much whether he is "playing lead" or doodling - whatever he does he is "present".

Trying to balance in life, blessed or cursed (whichever way you look at it) with these "gifts" - no wonder this human being needs a long break in between the battles. PG himself commented once that "playing guitar - (or did he say "bending strings"?) - broke his heart, and he wouldn't let it happen to him again". Tapping in to the principal for years carves the way to burn-out.

This (1-3) is why I agree with JonsonP's 80% on Seven Stars, even though the cover on my CD copy has it otherwise. Snowy is not even mentioned on that particular number. I might be wrong too of course.

Hope this wasn't too "long-haired" (danish slang for space-cadet ramblings) and sorry about the broken english.

Ms Moose
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  #50  
Old 01-17-2009, 08:05 PM
snoot snoot is offline
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JonsonP
As a solid gig-worthy guitarist Nigel does a fair job, but when it comes to trying to emulate PG's FM sound it just doesn't come close.

He doesn't match up to Green's navel. On stage that's pretty apparent. In the studio with the tricks and slights they can utilize, things aren't always as cut and dry. That goes all the more so for a guitarist of Snowy White's reach and caliber, or even incognito top-notch session men that are often employed on certain, less-than-forthcoming productions.

doodyhead
Nigel has own way with things. I am sure that if he dug deep he would have his own style. It seems however that he does not improvise very well.

Understatement of the year. They say he used to be pretty fluent on congas though.

Agreed that when Nigel plays his own style. But what is his own style?

LOL. You gotta stay in the game big boy. You're comments are too hip. NO MORE APOLOGIES PLEASE!

dansven
And I guess it's a give-and-take situation really. I mean: Where would Nigel be today without Peter? And where would Peter be today without Nigel?

Sad but true. Nigel has been there for years, and for that reason I think we all have to cut him a bit of slack now and again.

This sort of thing always puzzles me... if people can't distinguish Peter Green from any other guitar wannabe ... then what's the big thing about Peter Green then?? Why would he be so special then to those people???

You can for the most part, considering his playing style and phrasing is unique. It's even more evident on the stage. But I know what cats like Kirwan and White were capable of. If you think you can always "box" them conveniently, especially when they morph into imitation mode, you're sorely mistaken. That's also part of the magic of the studio and high end enhancements, if and when they're gunning for it.

I get the impression you admire Danny more than Peter. And I agree, Danny needs much more recognition! Though, as much as I really adore Danny (both as guitar player and songwriter), I always find that Peter is dimentions above him!

Adore? Mmmm, no. Admire what he brought to the Mac? Very much so. Feel he's under-recognized? To the max. Dimensions below Greenie? No chance, especially not by 1969-1970. As Pete was slipping, Danny was rocketing. He carried the TPO project. My greatest lament of the PGFM era is that we never got to put our ears to the preliminary tapes that were cut by PG and DK for what would have been the follow-up to Then Play On. It was supposedly heavily slanted toward the instrumental side of things, but had just barely got off the ground.

As for them trading licks, I've no trouble identifying who's who!

Wanna take a crack at TPO then -- what percentage on that production do your ears tell you is PG on the guitar front?

Howabout a Mike Bloomfield vs. Peter Green debate instead?

You caused it, now Vinnie is feeling blue for being candid with his views [*slaps a paper mache cut-out of doodyhead in hopes he'll come back to his senses and snap out of his late lament* ]. As I see it, once you make the "big time", you're marked for additional examination and critiquing, whether it be good, bad or somewhere in between. You already get the big bucks and hot chicks, so that's the least you can expect back in return. What fun is just lapping praise upon a bunch of musical prima donnas? Same thing goes for those we elect to govern us, and our bosses and leash handlers - it's all fair game in love and war. Artists are no different, and fall under the same, often intense, spotlight.

slipkid
Oh no! Here we go again, and I'm not helping this time! I'll be cheering you on from the sidelines.

Right. Stay out of it, if you know what's good fer ya.

absinthe_boy
I think we all agree that we hope Peter isn't wheeled on stage by someone hoping to use his name for their own financial gain. Another great musician in a somewhat similar situation, who I have seen perform live and from very close to the stage...Brian Wilson. Now there's a guy who has good and bad concerts.

Excellent comparison, and quite apropos. Both were musical wizards, both helped set certain standards during their heyday, both were nice guys (almost to a fault), and both went down in a hail of hallucinogenic bliss, er, blues, never fully to return.

Peter has good and bad days, days when he feels pumped up at the prospect of performing in front of an audience and days when he'd rather go watch a DVD with a cuppa.

Say it again. His storyline in a nutshell from the time he left the PGFM era.

Ms Moose
This aspect is could maybe help distinguish him from others/imitators. They can (to a limited extent) imitate the "tone" or "feel" - but not the timing/pace. Maybe this is why some of us don't care too much whether he is "playing lead" or doodling - whatever he does he is "present".

Agreed. But with just the right wizardry behind the controls and dubs, lots of things can be "pushed" if a concerted effort is made to imitate. At least by capable hands, more than some imagine.

Hope this wasn't too "long-haired" (danish slang for space-cadet ramblings) and sorry about the broken english.

Dang never knew you were doubling up. Your command of English is par excellent. Chops to that Moose.
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  #51  
Old 01-17-2009, 08:22 PM
snoot snoot is offline
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Quote:
Originally Posted by Blue Horizon View Post
Hmmm a really interesting thread this one...........anyway here's my take on post Mac Peter Green.

Fast Forward to the early 80's and Peter's first proper comeback gig was at the Golden Lion Pub in Fulham, London. The Place was packed out as you can imagine but alas what a disappointment it turned out to be for all those Punters who came to see PG as they remembered him with FM. The Guy was totally out of it and should never have been on the stage....I felt so sorry for him and came away from the place feeling angry that the people around him at that point in time were using him and his legacy to their advantage and had completely disregarded his mental state and health.
You can't help but come away with those kinds of feelings if you witnessed it first hand.

I cannot recall how long it was before I had the next opportunity to see 'my guitar hero' but I just had to go with the hope that what I witnessed at the Golden Lion was a One Off....bad day at the office type thing. This Gig was at the Tolworth community centre (South West London/Surrey) and what a transformation! Peter for better not worse (high on something or totally clean?) was on FIRE that night with his guitar chops and vocals well and truely nailed.

There ya go, more of the YMMV I spoke of earlier. Call it the WYSIWYG syndrome.

The Next time I saw PG was with Kolours at (I think) The Astoria Theatre in Victoria London. I wont dwell on the details to much but just to say that it was a repeat of the Golden Lion gig. Peter during one number stepped on his guitar lead and pulled the Jack plug from his guitar and continued to play without realising that nobody could hear anything.....it was so sad to see him totally out of it. Also he did leave the stage soon afterwards during one song leaving the band to conclude the number and the concert. No encores or a return to the stage for any of them that night.

And but again. With the experiences I had, I simply couldn't handle more of the same, and gave up the concert ghost. Fortunately he made a more steady recovery as the eighties begat the nineties and beyond. Keep yer fingers crossed is all I can say.

Now as far as Danny Kirwan's guitar playing.
I can usually tell the difference between Peter's and Danny's playing but I do recall going to see the Mac one night at a gig in London when they decided to give 'Need Your Love so Bad' an airing....I was coming back from a bathroom break and they were just going into the final guitar break which Peter plays......I re-entered the hall to witness Peter give Danny the nod and Danny just stood there and played note /touch perfect the end guitar solo. Out of all the Mac gigs I went to I never ever saw that happen again. If I had not seen him play that break with my own eyes I would of sworn that it was Peter's playing.

Like a breath of fresh air, from one who saw it with their own eyes and ears. But still, we have the Doubting Thomas's by the score, and others who size up Danny to be little more than a convenient foil for the Green God.
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  #52  
Old 01-18-2009, 10:23 AM
dansven dansven is offline
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Originally Posted by snoot View Post
You can for the most part, considering his playing style and phrasing is unique. It's even more evident on the stage. But I know what cats like Kirwan and White were capable of. If you think you can always "box" them conveniently, especially when they morph into imitation mode, you're sorely mistaken. That's also part of the magic of the studio and high end enhancements, if and when they're gunning for it.
Mister, you're talking contradictions here!
You're suddenly saying it easy to identify Peter's playing, and especially onstage, because it's unique and everything. Wouldn't it be right to assume that Peter could do even better in the studio than onstage? After all, you emphasized how his concerts were ups and downs. In the studio on the other hand, he would have the chance to do several takes to get the best results. And didn't have to deal with the "stage fright" part of it.

Quote:
Originally Posted by snoot View Post
Admire what he brought to the Mac? Very much so. Feel he's under-recognized? To the max. (...) My greatest lament of the PGFM era is that we never got to put our ears to the preliminary tapes that were cut by PG and DK for what would have been the follow-up to Then Play On. It was supposedly heavily slanted toward the instrumental side of things, but had just barely got off the ground.
Agreed!
Regarding the instrumental project, I have a clipping of an NME interview with Peter from '69-'70. He said that it would be an album of instrumentals, and that he already had 6 songs ready. I'm not sure if he meant written or recorded. I'm sure it would have been a classic album.

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Dimensions below Greenie? No chance, especially not by 1969-1970. As Pete was slipping, Danny was rocketing. He carried the TPO project.
Peter "slipping"??? Now what is your definition of "slipping"? I'm sure he was having some mental issues (guilt, money etc...) during his last days with FMac. But his guitar playing didn't change ... didn't lose any energy... until after "The End Of The Game". Listen to his contributions to Memphis Slim and Toe Fat, which were recorded after he left FMac. Danny could never do that kind of stuff.
Peter's schizophrenia really manifested after The End Of The Game, with mental institutions etc. That's when I'd say Peter was "slipping".

Do you have have any live bootleg recordings from '69-'70?

Danny "carried the TPO project." How can you say something like that???
Give me some proof!
Really, to me this sound like a rash statement of a Kirwan fan.

Your admiration for Danny is the big issue, isn't it? Let me again say that I really admire Danny, and not as a foil for Green.
However, if Danny had what Peter had, and according to you was rocketing and carrying the TPO project... then why didn't the guitar playing on Kiln House, Future Games and Bare Trees have that same magic as Then Play On?

Quote:
Originally Posted by snoot View Post
Wanna take a crack at TPO then -- what percentage on that production do your ears tell you is PG on the guitar front?
Sure I can!! But why don't you give me YOUR percentage first??? Instead of telling me I haven't got a clue.
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  #53  
Old 01-18-2009, 10:49 AM
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sharksfan2000 sharksfan2000 is offline
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Originally Posted by dansven View Post
Regarding the instrumental project, I have a clipping of an NME interview with Peter from '69-'70. He said that it would be an album of instrumentals, and that he already had 6 songs ready. I'm not sure if he meant written or recorded. I'm sure it would have been a classic album.
Any chance you could scan that clipping and post it, dansven? There aren't that many late '60s interviews I've seen and it would be cool to read that one.
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  #54  
Old 01-18-2009, 10:56 AM
dansven dansven is offline
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Any chance you could scan that clipping and post it, dansven? There aren't that many late '60s interviews I've seen and it would be cool to read that one.
Sure, Sharksfan!
It's not really an interview, to my memory. Rather a short article, with some comments from Peter. I have a few .. they're stuffed away. I'll dig them out and post some scans in the following days!
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  #55  
Old 01-18-2009, 10:59 AM
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Sure, Sharksfan!
It's not really an interview, to my memory. Rather a short article, with some comments from Peter. I have a few .. they're stuffed away. I'll dig them out and post some scans in the following days!
Great, dansven- thanks!!
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  #56  
Old 01-20-2009, 06:29 AM
snoot snoot is offline
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Originally Posted by dansven View Post
Mister, you're talking contradictions here!
You're suddenly saying it easy to identify Peter's playing, and especially onstage, because it's unique and everything. Wouldn't it be right to assume that Peter could do even better in the studio than onstage? After all, you emphasized how his concerts were ups and downs. In the studio on the other hand, he would have the chance to do several takes to get the best results. And didn't have to deal with the "stage fright" part of it.
Identification as such is always easier with visual enhancements to serve as guideposts. No way around that. Peter, in his modern, less than energized form, could employ lots of synthetic "tricks" to make up for certain deficits if he cared to, but he has never been into that kind of scene. Besides, it would be far more efficient for his handlers and production people to utilize others to carry part of the missing muscle. This kind of thing has gone on for as long as there have been recorded productions, when and as needed. It's what often goes on behind the scenes - and behind those sometimes missing credits - that comprises the unwritten story (just ask Jimmy "sessions" Page, before he hit the "big time"). Principals and producers alike know it's what can make or break a project, and sometimes their budgets.

Agreed!
Regarding the instrumental project, I have a clipping of an NME interview with Peter from '69-'70. He said that it would be an album of instrumentals, and that he already had 6 songs ready. I'm not sure if he meant written or recorded. I'm sure it would have been a classic album.


Indeed, indeed. I remember way-back-when pondering what might come of it. And waiting. And what did we ultimately get? Kiln House. LOL [not that I regretted it in the long run, I'm actually quite a fan of that production]

Peter "slipping"??? Now what is your definition of "slipping"? I'm sure he was having some mental issues (guilt, money etc...) during his last days with FMac. But his guitar playing didn't change ... didn't lose any energy... until after "The End Of The Game".

No sorry my friend. His guitar prowess had taken a hit well into '69, due to his mental state. Not when he was on, but when he wasn't in burn or drive mode. His mind was already beginning to fray at the edges by TPO. It was his consistency, and the discipline to push hard and forward, that were now becoming erratic, to say the least. By 1970, it was a real concern for the whole band. His substance indulgences led to the Munich incident, that incident wasn't created out of a vacuum, and didn't begin the downward spiral (accelerated it perhaps, compounded things no doubt, but it wasn't the genesis of his troubles, regardless of what you read from certain sources). Still, he had his moments, both on stage and in the studio, but never with the consistency of before.

Listen to his contributions to Memphis Slim and Toe Fat, which were recorded after he left FMac. Danny could never do that kind of stuff.

It would be unwise to underestimate what young Kirwan could do. There was a reason Peter Green chose him to be his right hand man and partner in crime (er, battle). In that regard, Greenie was no fool.

Peter's schizophrenia really manifested after The End Of The Game, with mental institutions etc. That's when I'd say Peter was "slipping".

No, by then it was full bore and the game was up, or more accurately (a la the man himself), it became the end of the game. There was also a reason Jeremy increasingly sought sanctuary away from the fold, beyond any star-power doubts he may have had. With what he had experienced, and what he saw going on around them, the COD must have looked like the perfect escape to much of the craziness that ultimately brought Green to his knees.

Do you have have any live bootleg recordings from '69-'70?

Don't need to rely on them. Used to see some of the concerts first hand back then. Glimpsed some other insider knowledge back in the day to boot.

Danny "carried the TPO project." How can you say something like that???
Give me some proof!
Really, to me this sound like a rash statement of a Kirwan fan.


Kirwan fan I am, but then I'm a Green fan, a Spencer fan, a Welch fan and a Westy fan. All were part of the great Mac attack guitar front. But the majority of what you hear on TPO is by the lad himself. Peter was counting on him, needed him to step up and cover the bases, and he delivered. Where Peter excelled, perhaps like never before, was in the stunning compositions he put together at that time, often born of outright pain and anguish. That, more than anything else, makes that production his shining star, arguably his apex. Beyond that, he counted on Danny to carry a huge amount of the studio weight. There's no shortage of PG interlaced throughout though, so there's little point in kicking up camp dust over this.

Your admiration for Danny is the big issue, isn't it? Let me again say that I really admire Danny, and not as a foil for Green.
However, if Danny had what Peter had, and according to you was rocketing and carrying the TPO project... then why didn't the guitar playing on Kiln House, Future Games and Bare Trees have that same magic as Then Play On?


Rocketing as a fully lit package, something Peter already was, and had been for some time. Both on the guitar end, and, as importantly, on the compositional front. Those two were destined for bigger and better things together, but they never quite got there when things went into a blackened orbit. I've said it before, when Peter went down, he took part of Danny with him (possibly a piece of Jeremy as well). That bittersweet synthesis was tied together in damn near cosmic ways, and thus the parallels with even their respective demises.

There's plenty of sweet licks from DK on the subsequent projects, it's just he had less fuel in his tank - less desire in driving things over the top - when PG was out of the loop. Who was there to rev him up, or keep his feet planted when his own insecurities kicked in? As good as Spencer and Welch were, and as well as they worked with him in crafting those mid era releases, they weren't Green in Kirwan's eyes, the one who motivated him like none other (even if it bordered on a love-hate relationship at times).

Sure I can!! But why don't you give me YOUR percentage first??? Instead of telling me I haven't got a clue.

Are you saying your ears might deceive you? You wouldn't be alone.
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  #57  
Old 01-20-2009, 05:47 PM
dansven dansven is offline
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Snoot ...... now I get it!!! I understand you're posting this stuff just for fun! Your posts are hilarious!!!

Either that, or you're the one who's "slipping" ... into Kirwan obsession..


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Originally Posted by snoot View Post
His guitar prowess had taken a hit well into '69, due to his mental state.
HAHAHAHAHAHAAHAHAHAHAH!!!!!!!!


Quote:
Originally Posted by snoot View Post
Don't need to rely on them. Used to see some of the concerts first hand back then. Glimpsed some other insider knowledge back in the day to boot.
No, you don't need them because they would ruin your Kirwan illusion!!!
And I assume you don't have the Toe Fat lp og the Memphis Slim lp either..... so basically: You don't know what you're talking about!

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Originally Posted by snoot View Post
But the majority of what you hear on TPO is by the lad(...)
YES!!! YES!!!! There you go again!!!!



..... I've asked for proof earlier, and I ask again! Anything!!!...other than your wild imagination, of course.


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Are you saying your ears might deceive you? You wouldn't be alone.
Not at all. But it's just stupid to go on discussing... anything I'd say would be answered with something like: "Sorry my friend, but DK did the majority..."
You're the one who ought to start giving your percentage!
I've asked for some references ...... you've given me none.
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  #58  
Old 01-20-2009, 05:55 PM
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Someday you'll learn the full story. Don't lose sleep over it. Ciao-ski m8.
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Old 01-21-2009, 01:55 AM
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  #59  
Old 01-21-2009, 01:57 AM
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slipkid
Oh no! Here we go again, and I'm not helping this time! I'll be cheering you on from the sidelines.

Snoot: Right. Stay out of it, if you know what's good fer ya.
Damn straight, 'dansven' had the ammo that a kid that was born just under one year after PG left FM didn't!! Thank you 'dansven'! Your Kirwan worship is annoying. I love him as a member, but you have to be kidding in your comparisons to PG. I have the boots, and I have the pro live recordings, it's just not there. Not even when Green left, Kirwan doesn't come close to Green as a soloist.

For dansven, is the Toe Fat material still available? I know the Memphis Slim album is.


I lied?? I couldn't let this one go.

Last edited by slipkid; 01-21-2009 at 02:03 AM..
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Old 01-21-2009, 02:46 AM
dino dino is offline
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Quote:
Originally Posted by slipkid View Post
Damn straight, 'dansven' had the ammo that a kid that was born just under one year after PG left FM didn't!! Thank you 'dansven'! Your Kirwan worship is annoying. I love him as a member, but you have to be kidding in your comparisons to PG. I have the boots, and I have the pro live recordings, it's just not there. Not even when Green left, Kirwan doesn't come close to Green as a soloist.

For dansven, is the Toe Fat material still available? I know the Memphis Slim album is.


I lied?? I couldn't let this one go.
Yep, that Kirwan obsession is annoying. He was great, but why to try pit him against Greeny? He was a pupil, a kid, in awe of Peter.
I'll say: Just from listening evidence (oh, maybe CIA doctored the live tapes :), Greeny was on fire to the end of his tenure with Mac. Listen to the Boston Tea tapes, listen to the London gig from April 1970 (AFTER Munich, remember).
It's frighteningly imaginative playing. The fact that Danny has lots of space on Then Play On was more a case of generosity on somone's part than burn-out. How many guitar heroes give over half their new album to a protegée? Danny's songs are fine, but immature. He wrote far better material for Kiln House, Future Games and Bare Trees. His disctinctive vibrato can be heard on his own songs, Oh Well and the Madge jams. The Madge jams are a good example for those who have trouble telling the styles apart. Not pointing any fingers, of course
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