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  #61  
Old 09-30-2013, 10:35 PM
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sharksfan2000 sharksfan2000 is offline
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Quote:
Originally Posted by becca View Post
I actually like that Oh Well is in two parts as I've never had it on CD in that form before, just on vinyl.
Agree, becca. "Oh Well" was originally released in two parts and it makes perfect sense that the original single version was reproduced. It would be nice to create a proper "one-part" track that omits the repeated portion of "Part 2" - all of the single-track versions of the song include that repeated portion. Doesn't seem like it would be hard to digitally edit it though.
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  #62  
Old 10-01-2013, 01:12 AM
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Originally Posted by sharksfan2000 View Post
It would be nice to create a proper "one-part" track that omits the repeated portion of "Part 2" - all of the single-track versions of the song include that repeated portion. Doesn't seem like it would be hard to digitally edit it though.
The 1998 CD release of the 1971 Greatest Hits actually has Oh Well without the repeated part.
It is indexed as 2 tracks, but plays like one, with a total time of 7.58.
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  #63  
Old 10-01-2013, 09:30 AM
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Originally Posted by Rubber Duck View Post
The 1998 CD release of the 1971 Greatest Hits actually has Oh Well without the repeated part.
It is indexed as 2 tracks, but plays like one, with a total time of 7.58.
Thanks for the tip, Rubber Duck! I have an earlier CD release of Greatest Hits, from 1989. The combined time for the two tracks on that release is 9.05, with the repeated part of "Part 2". And of course my old vinyl version has the repeated portion too, since it's just replicating the original "Part 1" and "Part 2" single format, same as the new remastered Then Play On. I'll have to look around for a copy of that later CD release of Greatest Hits.
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  #64  
Old 10-01-2013, 10:55 AM
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Originally Posted by sharksfan2000 View Post
Thanks for the tip, Rubber Duck! I have an earlier CD release of Greatest Hits, from 1989. The combined time for the two tracks on that release is 9.05, with the repeated part of "Part 2". And of course my old vinyl version has the repeated portion too, since it's just replicating the original "Part 1" and "Part 2" single format, same as the new remastered Then Play On. I'll have to look around for a copy of that later CD release of Greatest Hits.
You´re welcome!
My copy is a digi-pack (I think they all were) - Columbia 460704 9.
The timing on the cover is wrong, judging by that Oh Well pt 1 would include the acoustic intro part -
cover says 3.28, actual time is 2.21.
(and Rattle Snake Shake gets a time of 2.05 on the cover...)
Superb record it is, too!
My first FM LP bought back in 1971.
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  #65  
Old 10-01-2013, 12:12 PM
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Originally Posted by Rubber Duck View Post
You´re welcome!
My copy is a digi-pack (I think they all were) - Columbia 460704 9.
The timing on the cover is wrong, judging by that Oh Well pt 1 would include the acoustic intro part -
cover says 3.28, actual time is 2.21.
(and Rattle Snake Shake gets a time of 2.05 on the cover...)
Superb record it is, too!
My first FM LP bought back in 1971.
Yes, the CD cover on mine also has that 2.05 error for "Rattlesnake Shake" - I just checked and it's actually 3.32. And I also checked to make sure that my copy does include that acoustic portion at the end of "Oh Well Part 1" and it indeed does include it. The release number for my copy is CBS 460704 2. Thanks again - I'll see if I can track down that more recent release.

Last edited by sharksfan2000; 10-01-2013 at 12:21 PM..
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  #66  
Old 10-03-2013, 11:01 AM
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Hi guys!

Are we now to assume that the original UK vinyl, the new CD reissue and the vinyl in the 1969-1972 boxset are the only versions that have the original UK tracklisting of TPO?

Discogs shows an old vinyl reissue with the black cover which is supposed to have the original tracklisting but the actual vinyl contents may differ according to one collector I've talked to.

Apart from that, only old German vinyl issues seem to have the first UK tracklisting.

It's very nice to listen to TPO as it was intended on CD, but I wouldn't want to shell out loads of money for the 1969-72 boxset so the used market is my only option for the real vinyl copy right now...
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  #67  
Old 10-28-2013, 02:19 AM
michelej1 michelej1 is offline
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Rockasteria Blog, October 25, 2013:

http://rockasteria.blogspot.com/2013...n-1969-uk.html

Fleetwood Mac - Then Play On (1969 uk, blues rock masterpiece, deluxe expanded 2013 edition)

A peculiar news bulletin appeared in the July 12th, 1969, edition of Rolling Stone: Two members of the British blues band Fleetwood Mac were going to "put Christ on wax," as the headline put it. Singer-guitarists Peter Green and Jeremy Spencer planned to write and produce an "orchestral-choral LP" about the life of Jesus. "The record will be in addition to an album by the full band and a solo LP by Spencer," the report said, then quoted Spencer: "We believe in God, and this is a serious venture."

The Jesus LP was never made. But those few lines in Rolling Stone caught, in eerie miniature, the searching energies and mounting crisis — musical, spiritual, psychological — that soon shattered the classic bluespower Fleetwood Mac that created this record and the vital singles included in this reissue: Green, Spencer, singer-guitarist Danny Kirwan, bassist John McVie, and drummer Mick Fleetwood.

Then Play On was Fleetwood Mac's third studio album — and the only LP made in that lineup's supernova lifetime. Recorded in the late spring and summer of 1969, Then Play On was released in Britain and America that fall. A few months later, in May 1970, Green — Fleetwood Mac's founder and leader — left the band, citing religious convictions. "I want to lead a freer and more selfless life along Christian principles," he told Rolling Stone at the time.

The guitarist, who was born Jewish, had also suffered traumatic experiences with LSD and was showing ominous signs of an illness eventually diagnosed as schizophrenia. Spencer and Kirwan were soon gone as well, the former to a Christian commune in Los Angeles in February, 1971. Kirwan, who was only 18 when he joined Fleetwood Mac in mid-1968, was fired in August, 1972, when his drinking and manic behavior became too much to bear.

Fleetwood and McVie survived the chaos and ensuing personnel changes, carrying the band that Green named after them to a spectacular, multi-platinum rebirth, still going today. "But the outcome of this album is not what we dreamed of," Fleetwood says now concerning the devastation that followed Then Play On. "I had no idea at the time of the hidden textures, the indicators that Peter was reaching out in songs like 'Before The Beginning' — that he was questioning what and who he was."

Born Peter Greenbaum in East London in 1946, Green was only 20 when he became Eric Clapton's successor in John Mayall's Bluesbreakers. He quickly earned acclaim for his dynamic, melodically incisive approach to Chicago blues guitar, showcased on Mayall's 1967 album, A Hard Road. Green started Fleetwood Mac that summer. McVie also came from the Bluesbreakers. Fleetwood had played in white R’n’B groups, such as The Cheynes and Shotgun Express. And Spencer was a hot, teenaged slide guitarist with a special passion for Mississippi bluesman Elmore James.

By late 1968, Fleetwood Mac had two British hit albums, Fleetwood Mac and Mr. Wonderful, made before Kirwan joined. An early '69 single, Green's dreamy instrumental, "Albatross," went to Number One there. "You're going, 'How on earth did this happen?'" Fleetwood marvels. "We were having hits playing Elmore James. People are drinking their tea in the suburbs of Manchester, watching us on these pop TV shows, and they didn't know we were just doing the same music we played in the pubs."

Still just 23, Green quit Fleetwood Mac in the wake of astonishing work — arguably his best on record, given the troubles looming around the bend. Then Play On, the '69 two-part hit single "Oh Well," and the thrilling, tormented 1970 45 "The Green Manalishi (With The Two Prong Crown)" all capture the first-era Fleetwood Mac at their exploratory peak: blessed with protean guitar talent and inventing a highly personal, matured psychedelia while still grounded in Chicago and Mississippi blues.

The album is also marked by a striking, whispered majesty — part day-glo country, part anguished prayer — in Green and Kirwan's delicately triggered ballads. Then Play On, issued in different, confusing U.K. and U.S. track sequences. The cover and title of Then Play On now come with more pathos than Green and Fleetwood intended. They named the record after the opening line in William Shakespeare's Twelfth Night, a prescription for healing, joy, and amorous comfort: "If music be the food of love, play on." The image spread across the gatefold sleeve — a naked young man riding a white horse — was an Art Nouveau mural by the English painter Maxwell Armfield, originally commissioned for the dining room of a London mansion.

The sessions for Then Play On began that April in London. Fleetwood Mac — an early pillar of the British blues revival imprint Blue Horizon — had a new major-label deal with Warner Bros., and were producing themselves. The engineer was Martin Birch, who continued to work with the band through the early '70s. (Birch was also about to start a long studio relationship with Deep Purple.) But the evolution out of the purism on Fleetwood Mac and Mr. Wonderful had been going on — and moving fast — since the summer of 1968, when the four-piece Mac toured the U.S. for the first time, appearing in psychedelic dancehalls like San Francisco's Carousel Ballroom and mixing with fellow travellers, in blues and roots, such as the Grateful Dead, The Byrds, and Creedence Clearwater Revival.

The Fleetwood Mac that made this album did not survive its creation. But the dreams, drive, and truths in these songs, in the guitars — they play on, as Green intended. "Truly, as a musician, he was ready to move on," Fleetwood says. "The sad part is he didn't feel he could take us. But even when he formed Fleetwood Mac, there was this incredible focus, like making sure it was not his name on there: 'No, I want this to be your band.' I'm not so sure that Peter didn't have a vision that one day, when he left, he didn't want this thing to collapse.

"This was a man," Fleetwood says of his old friend, "who saw things that we could not imagine." And this was his gift, before saying goodbye.

by David Fricke, R. S. June, 2013
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  #68  
Old 11-06-2013, 02:03 PM
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Cool I'm going...

to check out the new 2013 SHM-CD Japan import set, which consists of mini-lp vinyl cd versions of the following:

1969 Then Play On
1970 Kiln House
1971 Future Game
1972 Bare Trees
1973 Mystery To Me
1973 Penguin
1974 Heroes Are Hard To Find

I like that they do not include extra material/bonus tracks, just the tracks that appeared on the original vinyl and the artwork within contains what was featured on the sleeves of the original vinyl.
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"Fleetwood Mac and its fans remind me of a toilet plunger...keep bringing up old sh*t..."
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  #69  
Old 11-10-2013, 11:56 PM
michelej1 michelej1 is offline
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Jambands.com Published: 2013/11/08 by Jeff Tamarkin

http://www.jambands.com/reviews/cds/...panded-edition

If you were to ask most of the fans that paid a bundle to see Fleetwood Mac this year who Peter Green, Jeremy Spencer and Danny Kirwan were, then you might just get a lot of blank stares in return—even today, the pre-Stevie Nicks incarnations of the venerable British-born institution remain largely unknown to way too many. But for others, those were the most exciting years, and the triple-guitar lineup that came together to cut the band’s third album, Then Play On, in 1969, was quite possibly the most daring and diverse Mac configuration. Kirwan’s first full album and Green’s last with the band, Then Play On featured a near-even mix of compositions by the two co-frontmen at the time, Green’s leaning toward the bluesier side (the tough-as-hide “Rattlesnake Shake”), Kirwan’s undeniably blues-rooted while flirting with a more mainstream rock/pop direction that would be honed over the course of
the ‘70s.

Drummer Mick Fleetwood and bassist John McVie each contributed a single tune but this one’s really about the guitars—and the guitarists, although Spencer didn’t offer new song material this time around and only played sporadically. Of Kirwan’s songs, the spare, tender “When You Say” and the instrumental showcase “My Dream” are highlights, but there really isn’t a song on the album that doesn’t make one ponder what might have been if this particular quintet didn’t fall apart right after. The expanded edition appends the original record with two period singles: the Green favorites “Oh Well” (both parts) and “The Green Manalishi (with the Two Pronged Crown),” along with the latter’s B-side, another Kirwan guitar feast, “World In Harmony.”
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  #70  
Old 12-30-2013, 08:07 PM
michelej1 michelej1 is offline
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Mon., December 30, 2013 2:00pm (EST) GPB News

http://www.gpb.org/news/2013/12/30/a...s-worth-a-damn

Another Fleetwood Mac Album That's 'Worth A Damn'

By Tom Cole

This year saw the reissue of two vintage albums by Fleetwood Mac: the hugely popular Rumours,and the last album to feature the band's founder, Peter Green, called Then Play On.

"I think it's one of the most beautiful records and exciting records ever made," Rolling Stone senior writer David Fricke says. He wrote the liner notes for the reissue.

"I think as a statement of searching within blues, within rock, within the possibilities of the electric guitar like I said, I think it's one of the best records ever made," Fricke says. "I've got three copies of it I wouldn't be caught with anything less."

Then Play On was recorded in the spring and summer of 1969, and the story of the album is the story of a band at a turning point. The previous fall, Fleetwood Mac added 17-year-old guitarist and singer Danny Kirwan, giving the band a powerful three-man front.

"You had Peter Green playing the B.B. King-style Chicago blues, mainly; Danny Kirwan with his more melodic rock, as it turned into; and then Jeremy Spencer doing these remarkable Elmore James impersonations is what they were, really," says Peter Green's biographer, Martin Celmins. "And for all that package to be in one band was a huge draw. And the response they got from the audience was wild. You know, they were just the top live band."

Fed Up With Stardom

Fleetwood Mac was also on top of the British charts. Its members were pop stars, and they'd only been together a little more than two years. But when it came time to make their third studio album, Green was fed up with stardom. He'd grown up poor in a tough neighborhood in London's East End, and the piles of money the band was making started to make him uncomfortable. Green was determined to escape the music-industry treadmill, and he wanted his band to follow him.

"Peter Green was all about making an album that was going to be different and pushing the other members to say, 'Hey, wake up! We gotta do something special here,' " drummer Mick Fleetwood says. "And we as a band especially myself and John as a rhythm section were all about following our friend and our musical mentor into the fire, which became the Then Play On album."

Guitarist and singer Jeremy Spencer co-founded Fleetwood Mac with Green but says he had no idea how he could contribute to this new direction the band was taking.

"He would want me to play rhythm licks like Hubert Sumlin. [Demonstrates.] That sort of thing," Spencer says. "He very much liked that. But at that time, I wasn't really I didn't feel proficient enough to do that, and so I would sort of back off. And so that pretty much opened the door for Danny Kirwan to move in."

Spencer chose not to play on the sessions, though he is pictured with the band inside the album cover and remained a member. Kirwan composed half of the songs on Then Play On, including the album opener, "Coming Your Way."

On A Quest

During the sessions, Green became increasingly withdrawn, composing material on his own and sometimes playing many of the parts himself. He was searching for something both in the free-form improvisations that punctuate the album and in his personal life.

"He found himself in a band where the rest of them were a bunch of lads who were having a great time, you know, playing music live and making records," biographer Martin Celmins says. "And I think that Peter kind of went on a spiritual journey, the beginnings of which are very evident in Then Play On."

The 23-year-old Jewish kid from London's East End went from an interest in Buddhism to Christianity. It was a journey influenced to some degree by Green's experimentation with LSD. But Celmins says Green was not an acid casualty.

"The influence of drugs didn't help, but I think it's been exaggerated," Celmins says. "I think there were far more musical lifestyle reasons why he no longer wanted to be a member of a world-beating rock 'n' roll band."

Drummer Fleetwood says Green's bandmates couldn't keep up with their leader's vision.

"Part of his frustration was thinking he couldn't move forward with the existing band," Fleetwood says.

A Remarkable Accomplishment

Green left Fleetwood Mac just months after Then Play On was released. He made several albums trying to integrate his spiritual search with music that would express it, until he abandoned music under the weight of what was eventually diagnosed as schizophrenia, as he said in a 2009 BBC documentary.

"We saw a doctor," Green says. "He said, 'Do you hear voices?' I said, 'Yeah, I do. I am having a lot of kind of strange experiences inside of my head.' But I didn't think I was schizophrenic. To them, it's schizophrenic, but to you it's hellishly single-minded."

Green underwent electroshock therapy and took powerful medications that left him unable to play. He was institutionalized. Mick Fleetwood says the members of Fleetwood Mac had no idea going into the sessions for Then Play On that Green was suffering so much. It makes the album's accomplishment all the more remarkable.

"When people ask me in interviews to this day what's the most favorite album, I say, 'Well, I can't pick one album but I'll pick two. And one is Then Play On, and two is the Tusk album because they were really pushing the envelope," Fleetwood says. "And that is part and parcel of why bands keep going. And certainly can look back on their work and say, 'We did something that was worth a damn.' And Then Play On was worth a damn."

The instigator of Then Play On, Peter Green, eventually returned to music. He continues to perform and record today.
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  #71  
Old 01-02-2014, 06:07 PM
librax2 librax2 is offline
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Default Another Fleetwood Mac Album That's 'Worth A Damn'

Another Fleetwood Mac Album That's 'Worth A Damn'

This story is also on the NPR website
http://www.npr.org/2013/12/30/258376...m_source=Music
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  #72  
Old 01-08-2014, 08:31 PM
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Anyone know why this hasn't been released on iTunes yet?
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  #73  
Old 01-09-2014, 01:25 AM
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Dear Ken,
I love the uncut studio version on "The Vaudville Years. ( October Jam #1 and #2) There you get the studio versions of both Underway and the two madges. Still though the spliced Then Play On versions are what hooked me onto jamming. It was like "The Greatful Dead "only with better players (my apologies to dead fans of which I am also one)

vinnie
I just ordered TPO deluxe, I've been off my game. I just found a great documentary on Big Star, and whiffed for two years.

Don't apologize for overrated jam band music. Had Peter Green stayed with FM, there is no way the Grateful Dead would've invited them back after that "Busted down in New Orleans" weekend months, and years later. FM made the Dead look amateur. It's an honor that FM with Green in early 1970 spooked the GD, yet GD still felt comfortable with the Allmans. 1970 Fleetwood Mac, and Allman Brothers were in a higher class of Jam Band, than the Grateful Dead. Even though FM came back later in 2/70 Fillmore East, Bear's mix turned down Peter Green's guitar during The Spanish Jam.

What's great about "Vaudeville Years", is the complete "Underway" studio jam. The "October Jam's" are unlrelated to TPO, as the album was released the previous month. The 10/69 jams were a foundation for a new album that never happened.

Last edited by slipkid; 01-10-2014 at 01:08 AM..
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  #74  
Old 01-09-2014, 02:34 PM
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Originally Posted by slipkid View Post
FM made the Dead look amateur. It's an honor that FM with Green in early 1970 spooked the GD, yet GD still felt comfortable with the Allmans. 1970 Fleetwood Mac, and Allman Brothers were in a higher class of Jam Band, than the Grateful Dead. Even though FM came back later in 2/70 Fillmore East, Bear's mix turned down Peter Green's guitar during The Spanish Jam.
I dunno, Green and Kirwan might have picked up something from the Dead (besides some acid)... the GD were heavily into Miles Davis and were incorporating some ideas about spaces into their jams as early as Clementine Jam (although very cautiously). Peter was way ahead in that regard though it's true.
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Old 01-10-2014, 01:20 AM
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I dunno, Green and Kirwan might have picked up something from the Dead (besides some acid)... the GD were heavily into Miles Davis and were incorporating some ideas about spaces into their jams as early as Clementine Jam (although very cautiously). Peter was way ahead in that regard though it's true.
Munich 3/1970 was not an accident. Peter Green was experimenting with free-form German progressive rock (Krautrock). To Jeremy Spencer's ears' at the time, it was noise. That's where "The End of the Game" was born. Peter Green was on a higher plane than everyone else, and they thought he was insane. Mick Fleetwood couldn't grasp that Peter Green wanted to leave potential fame, and fortune, for artistic freedom. It wasn't until he left FM for good after the 1971 US spring tour, that he began to show signs. Yet I believe a lot of his problem was depression, no one wanted to follow his goal. Yet fifteen years later, Bob Geldolf pulled off an UK/USA one day Live Aid concert to help the famine in Ethiopia. That's all Peter Green wanted to do in 1970. The rest of the band said, "no".
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