Pre-Rumours MacNuggets

[vivfox]

Jan. 27, 2010
Premier Guitar recently conducted an interview with AEROSMITH guitarist Joe Perry. A couple of excerpts from the chat follow below.


Premier Guitar: You were influenced by Jeff Beck and Jimi Hendrix specifically, but how did Peter Green fit into the equation?

Perry: A lot of English bands came to Boston before they hit New York back then. I guess they wanted to warm up first there. I had a friend who got a lot of free tickets to the Boston Tea Party club. FLEETWOOD MAC took up residence at the Tea Party for weeks on end, and I must have seen them thirty times or more. I saw them on great nights, terrible nights, nights when they were all drunk. Peter Green's style, attitude and sound really got to me. These guys didn't care about being rock stars. It was all about the music for them. I became a big fan of FLEETWOOD MAC. I guess you could say I was most influenced by the second wave of British bands, like THE YARDBIRDS, MAC and THE WHO.

http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=134164

[vivfox]

Name: Terry Nash Location: St. Catharines, Ontario, Canada

I am currently a single heterosexual male living with a neutered male cat that is healthier and happier than I am, and I like to post on Internet message boards. If I would have known this is how I was destined to turn out ten years ago after graduating University, I would have stabbed myself in the head with my gift graduation pen then and there.

Wednesday, January 27, 2010

Fleetwood Mac
Ultrasonic Studios
Hempstead, NY
10-08-74

Old school Mac. God bless Peter Green - that crazy born again bastard.

http://tofuplanktonmeatloaflive.blogspot.com/2010/01/fleetwood-mac-ultrasonic-studios.html

[vivfox]

Its music is the real allure for the band Girls
Although singer Christopher Owens has an interesting backstory
By ANDREW DANSBY Copyright 2010 Houston Chronicle
Jan. 27, 2010, 10:32AM


Christopher Owens' phone goes straight to voicemail. “I'm busy right now or something …” it says, capturing an off-kilter duality that makes his band — essentially a duo with guitarist Chet J.R. White — so interesting. The “or something” speaks to a ruffled slouchy vibe to Girls, in no small part due to Owens' often disheveled appearance and his openness in interviews to talk about drug use. Further, the band's debut album (called Album) isn't a polished thing. The recording has many of the bits of rough-hewn color that are the mark of an apartment-made masterpiece.

His first guitar, pictured on Album's cover, was given to him by Jeremy Spencer, a member of Children of God who was also a member of Fleetwood Mac for several years.

http://www.chron.com/disp/story.mpl/ent/6836672.html

[vivfox]

The Blue Horizon Records label is reactivated by the orchard and the warner music group.
January 27, 6:58 PMMusic Industry ExaminerMark Cope


Now this is cool…except what’s the deal with the catalog? One of THE premier blues labels, Blue Horizon Records, is about to be revived by Seymour Stein, the man that started Sire Records, and Richard Gottehrer, producer and founder and chief creative officer for The Orchard.The deal was announced on Jan. 25th at the MIDEM conference in Cannes. The revived U.K label will be based in the New York City office of The Orchard,

Blue Horizon Records was the UK’s most influential blues label. In but a short life span, in excess of seventy singles and sixty albums were released. Blue Horizon had more chart success than all other blues related labels could muster collectively. The name Blue Horizon has become synonymous with the blues boom of the '60s and '70s. Blue Horizon, which was distributed by CBS under exclusive contract, was in operation until the '70s. The label's repertoire is currently released by Sony Music Entertainment and the new label will not have access to the old catalog.

Blue Horizon Records was the home for blues artists like Otis Spann, The Fleetwood Mac Blues Band (awesome stuff), Chickenshack (Christine Perfect (McVie)’s first band), Champion Jack Dupree, Bukka White, Mississippi Joe Callicot & Furry Lewis, Eddie Boyd (Get the “Dust My Broom” album), Ansley Dunbar, Elmore James, and the amazing “Fleetwood Mac In Chicago.”

It’s too bad that the new Blue Horizon Records won’t have access to the catalog since this is a very special label. The recordings that Fleetwood Mac released were all stellar and heavily blues oriented. The band included Mick Fleetwood, John McVie, Peter Green, and Jeremy Spencer. One will find the original version of the Santana hit, “Black Magic Woman,” which was written by Green. Along with the classic song “Albatross,” also penned by Green. If you haven’t yet discovered Peter Green, find the Blue Horizon recordings or any 60’s Fleetwood Mac albums as quick as possible and you will realize what a great guitar player he is and how tight this band was to play the blues. British record producer Mike Vernon founded the original Blue Horizon company. Sire later took a 50% stake and went on to take control of the company, although Sony has the catalog.

Seymore Stein, VP of Warner Bros. Records, joined Gottehrer in Cannes for the announcement. Gottehrer has stated that the label will look for new talent to distribute through The Orchard, while Warner Music Group will have the opportunity to participate in releases in Europe and the U.K. Physical product will be released "where necessary" but the label will initially focus on digital releases, on a global basis. It has not announced any band signings yet. "The real reason for doing this is both Seymour and I want to get back to functioning in a creative way (together) and discovering and working with artists," Gottehrer told Billboardbiz.com. He added, "we both work at great companies" (Warner Music Group and The Orchard). WMG will "have the opportunity to step in and bring it to a wider audience," says Gottehrer of Blue Horizon signings, although the major label group has no equity stake or formal relationship with the label. Again, it's too bad that they didn't get the catalog.

http://www.examiner.com/x-29591-Music-Industry-Examiner~y2010m1d27-The-Blue-Horizon-Records-label-is-reactivated-by-the-orchard-and-the-warner-music-group

[vivfox]

Revolver - An albumguide to the rock history (not complete yet ...
By hbrattbakk
Fleetwood Mac - Love That Burns Fleetwood Mac - Need Your Love Tonight Fleetwood Mac - Trying So Hard To Forget Fleetwood Mac - Sara - Edit Version Fleetwood Mac - Think About Me Fleetwood Mac - What Makes You Think You're The One ...
Share Spotify Playlists at ShareMyPla... - http://sharemyplaylists.com/

[vivfox]

FRIDAY, Jan. 29, 2010

Forty years ago this weekend, the Grateful Dead and Fleetwood Mac co-headlined the opening of a concert venue at 1820 Tchoupitoulas Street called A Warehouse. By the standards of today, the 1850s-era cotton and coffee warehouse’s brick walls, wooden support columns and cement floor represented an especially raw, no-frills space. But over its 12 year run, the Warehouse endeared itself to a generation of New Orleanians with dozens of landmark performances, from early ZZ Top and Allman Brothers gigs to the final performance of The Doors.

The building was demolished long ago, but fond memories remain. Tonight and Saturday, the far more luxurious Harrah’s New Orleans Theatre hosts a celebration of the Warehouse’s 40th anniversary. An all-star band of locals — including keyboardist Larry Sieberth, guitarists Jimmy Robinson and Cranston Clements, bassist Matt Perrine and drummer Doug Belote — will perform music by Talking Heads, the Who, Rod Stewart, Pink Floyd, David Bowie, Elton John, Chicago, Foghat and other acts that played the Warehouse. A preview of an upcoming documentary about the Warehouse precedes the show.

http://www.nola.com/music/index.ssf/2010/01/a_warehouse_anniversary_a_radi.html

[sjpdg]

Name: Terry Nash Location: St. Catharines, Ontario, Canada

I am currently a single heterosexual male living with a neutered male cat that is healthier and happier than I am, and I like to post on Internet message boards. If I would have known this is how I was destined to turn out ten years ago after graduating University, I would have stabbed myself in the head with my gift graduation pen then and there.

Wednesday, January 27, 2010

Fleetwood Mac
Ultrasonic Studios
Hempstead, NY
10-08-74



Old school Mac. God bless Peter Green - that crazy born again bastard.

http://tofuplanktonmeatloaflive.blogspot.com/2010/01/fleetwood-mac-ultrasonic-studios.html


I don't mean to sound rude in any way, shape or form, and I don't want this to be seen as an attack because that is not the spirit in which my comment is made, but I honestly fail to see why this particular post is really relevant.

[vivfox]

Tuesday, February 2, 2010
Early Fleetwood Mac Live

Originally posted on August 19, 2008

Fleetwood Mac. They are a household word (or, actually two words). Perhaps no band except the Stones has had such a long and varied history, from a heavily musically endowed blues band to rock titans.

There is a CD lurking around, cheap if you can find it, that documents the original band rather well. Fleetwood Mac Live—Early Recordings (MBH) does not list the personnel, date or location of the recording on the disk, and the sound quality is not first rate, but it shows off the early incarnation at their raw best. This is electric blues at the core, and what sounds like Peter Green is doing some great lead work. It is nice to hear and time has been kind to this lineup. Nothing sounds dated.
Posted by Gapplegate at 6:41 AM
Labels: blues rock, early fleetwood mac

http://gapplegateguitar.blogspot.com/2010/02/early-fleetwood-mac-live.html

[vivfox]

Peter Green's Fleetwood Mac 1969 - When John Mayall's Bluesbreakers lost Eric Clapton, Mayall said he found a guy who was better to replace him: Peter Green. Peter Green then founded and named Fleetwood Mac after his rhythym section he took from the Bluesbreakers: Mic Fleetwood & John McVie. After outselling the Beatles at the time, he joined a commune, started taking acid, and wanted to give all of Fleetwood Mac's money to charity. He then disappeared from the band.

http://bigdanblogger.blogspot.com/2010/02/big-dans-big-news-feb-2-2009.html

[vivfox]

Playing at the Marquee shortly once, in 1963 was the man destined to become the Godfather of British Blues… John Mayall…. John’s famous band, The BluesBreakers went onto fame and fortune as many musicians joined and left in quite a procession over the next few years. John celebrated his 70th Birthday a couple of years ago and is enjoying plus ever. This offers deceive the notion that life is over at forty and its all downhill from there on. The list of John’s protégées is a who’s who of the music Business; a good proportion of whom are still playing today. John McVie, co-founder of Fleetwood Mac, Mick Fleetwood, Jack Bruce of Cream, Eric “Slowhand” Clapton, Peter Green, Aynsley Dunbar, Mick Taylor and many more.

http://www.sevenmusicinc.com/uncategorized/first-a-trickle-then-a-flood-the-birth-of-the-blues-in-britain

[vivfox]

Love LYRICS Fleetwood Mac-Blood On The Floor
Written by Jeremy Spencer.

Well goodbye world
It’s sad but true
Got a date with the hangman
I have to leave you
I shot my Darlin’
Three times of more
The reason I’m goin’
Is blood on the floor

The nights are so lonely
The days are so long
I’m in the jailhouse
Cause they say I’ve done wrong
I don’t say I’m sorry
I just say I’m sore
The reason I’m goin’
Is blood on the floor (blood on the floor)

Well I came home one night
She were lyin’,
With her legs around
Another mans bod
She saw me, stared laughin’
But she cried, when she saw my gun

Goodbye world
I guess we must part
They’re taking my life
Cause I shot my sweetheart
I don’t say I’m sorry
I just say I’m sore
The reason I’m goin’
Is blood on the floor
Oh the reason I’m goin’
Is blood on the floor
Oh the reason I’m goin’
Is the blood on the floor

Posted on February 11, 2010 at 10:00 am by admin · Permalink
In: Lyrics

http://www.lovelyrics.info/21104-fleetwood-mac-blood-on-the-floor.html

[vivfox]

Founder of Fleetwood Mac Peter Green playing again in the Midlands
2:08pm Thursday 11th February 2010
By Adam Smith »


One of Britain’s greatest guitarists and Blues performers is coming to Birmingham’s intimate Glee Club for one of the gigs of the year.

Hot on the heels of his triumphant concert at The Robin at Bilston in December Peter Green and Friends return to the Midlands on Monday February 22.

As a teenager in the 1960s Peter was at the vanguard of the British Blues scene and at 19-years-old he replaced Eric Clapton in John Mayall's Bluesbreakers.

A year later he founded Fleetwood Mac and within three years they were the biggest Rock band in the world outselling the Beatles and the Stones.

Hits like Black Magic Woman, the achingly beautiful Man of the World and the million selling Albatross broke new ground and brought the band critical and commercial acclaim.

However, as well as being arguably Britain’s finest exponent of the Blues Peter also became one of our country’s first casualties to the drug taking celebrity lifestyle.

Already showing the signs of the pressure during an ill fated trip to Munich in 1970 Peter had a life-changing mind-altering night on acid and subsequently decided to quit Fleetwood Mac.

He then suffered with several mental health issues and consequently dropped out of the public eye.

Despite only a short time at the top Peter Green is still regarded as a legend in the music world with BB King and Carlos Santana lavishing praise on the Londoner.

In 1998 he was inducted into the Rock And Roll Hall Of Fame and recently was included in the Rolling Stone 100 Greatest Guitarists of All Time.

And now with his new incarnation, Peter Green and Friends, he is enjoying performing before crowds again and is enjoying his music.

His set will include a few of his classic compositions and fresh renditions of his very own blues, R&B and soul favourites.

Tickets to see Peter Green and Friends at the Glee Club on Monday February 20 are £25.00 and are available from 0871 472 0400 or www.glee.co.uk.

http://www.halesowennews.co.uk/newsxtra/music/5002566.Founder_of_Fleetwood_Mac_Peter_Green_playing_again_in_the_Midlands/

[vivfox]

Love LYRICS

Fleetwood Mac-Night Watch
Written by Bob Welch.

Go on, you know you’re only one
Set me free
You take me up and turn around
But let me in
Take this shadow from my eyes
And tell me everything
Take the desert from my soul
And lift me up from down below
Let me take some pride in your creation

Cause I have lived alone in castles that were lonely
And I have cursed the dawn and wondered why I do
Well I have wondered why I live
Now I know you must forgive
Let me stand inside your magic shadow

The night is coming faster
And you’re feeling all unchained
In the north there is a jungle
Where rockets are aflame
And I hope that in the desert
There are ships and there is noise
And above the greatest city
There will shine a magic shadow
And a voice

It’s taking long but I’m getting strong as I grow old
Please believe me let the magic reach me and I will unfold
I’ll step aboard with you onday
And see my dust just melt away
And then I’ll step inside your magic shadow
dreamers…

ooooh…ooooooh…ooooooohhhhhhh
magic shadows

ooooh…ooooooh…ooooooohhhhhhhh

Have you seen, have you seen
Have you seen, have you seen
Have you seen, have you seen
Have you seen, have you seen magic shadows
Have you seen, have you seen magic shadows
Have you seen, have you seen magic shadows
Have you seen, have you seen magic shadows…
ooooh…ooooooh…ooooooohhhhhhhh
ooooh…ooooooh…ooooooohhhhhhhh
ooooh…ooooooh…ooooooohhhhhhhh
ooooh…ooooooh…ooooooohhhhhhhh
ooooh…ooooooh…ooooooohhhhhhhh
ooooh…ooooooh…ooooooohhhhhhhh…

Posted on February 12, 2010 at 8:20 am by admin · Permalink
In: Lyrics · Tagged with: Bob Welch, castles, Creation, dawn, desert, Everything, jungle, magic shadows, ooooh, Ooooooh, ooooooohhhhhhhh, pride, rockets, Set, shadow, shadow dreamers, ships, soul

http://www.lovelyrics.info/21186-fleetwood-mac-night-watch.html

[vivfox]

Listen: Big Towne, 2061 (Mono) / Paris

While going through the library for my previous Mica Paris post, I couldn’t resist also listening to her alphabetical predecessor, Paris – the band.

Baffling how this post-Fleetwood Mac then ‘just prior to successful solo artist’ era Bob Welch group hardly gets a mention. Almost as though they never existed.

Firstly, nowhere near enough credit is afforded to the Fleetwood Mac/Bob Welch chunk of albums. Being just prior to their Stevie Nicks/Lindsey Buckingham skyrocket, it’s sadly dwarfed. As with the Peter Green era just before it, all top with must-have singles.

I was a serious Glenn Cornick fan, for ages considering him the best bassist out there. From seeing Jethro Tull’s first US show at The Fillmore East, I was in. THIS WAS and STAND UP, keepers for life. That band just plummeted downhill once he left. Replaced by a very stiff someone or other, all the band’s soul was robbed.

Therefore, with much interest did I approach Paris. BIG TOWNE, 2061, the album oddly didn’t register with FM radio – a strange twist given the Fleetwood Mac and Jethro Tull history. Not to mention it’s quality. Seemed Capitol didn’t care, never do recall much press or visibility. Add bad timing to the equation: this preceded punk by less than a year, so in no time, the tasty picking was passe.

Still, a good single. I forced it on everyone around for ages, which clearly didn’t really help the big picture at all.

http://www.somanyrecordssolittletime.com/?p=5223

[vivfox]

Fleetwood Mac Poster From Fillmore West On 11 Feb 71: 21 3/16 X 28 3/16
February 20th, 2010
Fleetwood Mac Poster from Fillmore West on 11 Feb 71: 21 3/16 x 28 3/16 Jake Pierres Medieval vision advertised Fleetwood Mac Steppenwolf and Its A Beautiful Day in three separate concerts sharing the Fillmore West and Winterland. Pierre was not a frequent poster artist and took the opportunity to sign his name front and center an unusual touch on Graham posters.

Average Price :$585


Buy Fleetwood Mac Poster from Fillmore West on 11 Feb 71: 21 3/16 x 28 3/16

http://surprisemusic02.dnsalias.org/2010/02/Fleetwood-Mac-Poster-from-Fillmore-West-on-11-Feb-71-21-3-16-x-28-3-16/

[vivfox]

Fleetwood Mac Poster From Fillmore West On 11 Feb 71: 21 3/16 X 28 3/16
February 20th, 2010
Fleetwood Mac Poster from Fillmore West on 11 Feb 71: 21 3/16 x 28 3/16 Jake Pierres Medieval vision advertised Fleetwood Mac Steppenwolf and Its A Beautiful Day in three separate concerts sharing the Fillmore West and Winterland. Pierre was not a frequent poster artist and took the opportunity to sign his name front and center an unusual touch on Graham posters.

Average Price :$585


Buy Fleetwood Mac Poster from Fillmore West on 11 Feb 71: 21 3/16 x 28 3/16

http://surprisemusic02.dnsalias.org/2010/02/Fleetwood-Mac-Poster-from-Fillmore-West-on-11-Feb-71-21-3-16-x-28-3-16/

Over $500.00 for a poster!!! You can eat my ear for that kinda money. Everyone stays close to the fireplace!

[jeremy spencer]

Over $500.00 for a poster!!! You can eat my ear for that kinda money. Everyone stays close to the fireplace!

Okay, but don't get burned. People actually exist who would fork out for this rubbish in this current economic crisis? Gimme a break! Where are the priorities?

[ButterCookie]

Over $500.00 for a poster!!! You can eat my ear for that kinda money. Everyone stays close to the fireplace!

A few friends and me just got an eBay listing removed for someone selling Blondie outtakes from the first album. $150. I've got the lot on my harddrive for free. Some people are so stupid it just makes me angry.

It's like Christine Perfect, £100 for a copy on eBay. Yeah, get real.

[vivfox]

Recently , another reply to me from A Fleetwood Mac guitarist

So , i wuz pissed... an on my ausdiocandy site i put this..........
(ok my urgent message wuiz pretty harsh , biut TRUE)

> Would some one pleeze write as fukk*ngg review of my S**T
> .. i dont care if ya say it's S**T or WHATEVER.. JUST SAY SOMETHING!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Goddam
> dontcha know, if folks come by my page an dont see a single good
> or straight up comment. d'ya REALLY think they'rte gonna lissen
> 2 any of my S**t......Honest..........Woulld You???C'mon.....
> have a heart................I dont need ego strokin.. i just
> need the TRUTH.. in PRINT....THANK YOU VERY MUCH
> !!!!!!!!!!!!!!!!!!!!!!!
so bob wrote.
Doc..Don't get upset by not getting"reviews"..I don't get "reviews" either...
Just go by how many listens you're getting......

I'll listen to some of your stuff and comment...but remember, most people won't take the time...It's like filling out online "surveys"...
people don't like to bother..

Bob Welch

http://docrockstudio.blogspot.com/2010/02/recently-another-reply-to-me-from.html

[Meowi]

Over $500.00 for a poster!!! You can eat my ear for that kinda money. Everyone stays close to the fireplace!

The cost of being a Mac fan, I don't own any posters yet!

[vivfox]

Forgotten rock bands of the 70s
Chicken Shack lost Christine McVie to Fleetwood Mac but still exist and are playing in Hessle next month. I wonder if Stan Webb still has his 200' guitar lead that he used to wander round the audience with? ...
mudcat.org RSS Feed of Topics - http://mudcat.org/

[vivfox]

Fleetwood Mac Postcard From Fillmore West On 11 Feb 71: 7 X 9 1/40

February 28th, 2010adminUncategorized
Fleetwood Mac Postcard from Fillmore West on 11 Feb 71: 7 x 9 1/4 Jake Pierres Medieval vision advertised Fleetwood Mac Steppenwolf and Its A Beautiful Day in three separate concerts sharing the Fillmore West and Winterland. Pierre was not a frequent poster artist and took the opportunity to sign his name front and center an unusual touch on Graham posters.

Average Price :$175

http://positionmusic01.dyn-o-saur.com/2010/02/Fleetwood-Mac-Postcard-from-Fillmore-West-on-11-Feb-71-7-x-9-1-4/

[vivfox]

Vintage V100 ICON Series Les Paul-style Lemon Drop Electric Guitar ...
By admin
“When I was young and in a band, we supported the original Fleetwood Mac to play at a gig we'd organised. Fleetwood Mac let us use their PA, and Peter Green even let me use his amp! He wouldn't let me use his guitar but he was always my ...
UKguitars.com - http://www.ukguitars.com/

[vivfox]

Fleetwood Mac Postcard From Fillmore West On 11 Feb 71: 7 X 9 1/40

February 28th, 2010adminUncategorized
Fleetwood Mac Postcard from Fillmore West on 11 Feb 71: 7 x 9 1/4 Jake Pierres Medieval vision advertised Fleetwood Mac Steppenwolf and Its A Beautiful Day in three separate concerts sharing the Fillmore West and Winterland. Pierre was not a frequent poster artist and took the opportunity to sign his name front and center an unusual touch on Graham posters.

Average Price :$175

http://positionmusic01.dyn-o-saur.com/2010/02/Fleetwood-Mac-Postcard-from-Fillmore-West-on-11-Feb-71-7-x-9-1-4/

Fleetwood Mac 1970s Ticket from Fillmore West on 11 Feb 71: Complete Set Jake Pierres Medieval vision advertised Fleetwood Mac Steppenwolf and Its A Beautiful Day in three separate concerts sharing the Fillmore West and Winterland. Pierre was not a frequent poster artist and took the opportunity to sign his name front and center an unusual touch on Graham posters.

Price :$390

http://messupmusic07.ath.cx/2010/03/Fleetwood-Mac-1970s-Ticket-from-Fillmore-West-on-11-Feb-71-Complete-Set/

[vivfox]

Blues Britannia: (21.00 to 22.30 yesterday) followed last week's BBC4 TV's Heavy Metal Britannia documentary, and was 90 minutes of excellent viewing. It traced how the blues records came into England and were picked up by the likes of Brian Jones, Keith Richards, Mick Fleetwood, Paul Jones, then the band's they spawned copying the music - The Yardbirds, Fleetwood Mac, The Stones etc. A fair amount of time was given over to interviewing the black blues artistes; Champion Jack Dupree, Muddy Waters, John Lee Hooker etc; so it was another tiny speck of gold amongst the landfill of crap our TV programmes are. But it encourages me to read more books, so there is a plus side.
It may well be available via the BBC iplayer if you missed it.

posted by Alan Burridge at 12:10 AM

http://alanburridge.blogspot.com/2010/03/blues-britannia-followed-last-weeks.html

[vivfox]

Who do you think are some great guitarists that are overlooked?
Like for me, Terry Kath (Chicago) is one of the many guitarists that got me playing but is sometimes overlooked by many. Who do think are some overlooked guitarists?

It’s funny that you mention Terry Kath. I just posted a Youtube link here the other day of the song ‘Free Form Guitar’ off of the ‘Chicago Transit Authority’ album. I’ve been a huge fan of those first few Chicago albums for many years…that one in particular. I was in a band many years ago and we covered their song ‘South California Purples’…great soloing by Terry!
Their cover of I’m a Man was incredible too!
Terry Kath is best known for pioneering the hammer-on harmonic guitar technique. He was also worshipped by Jimi Hendrix after Jimi caught them in a live performance at The Whisky A Go Go in 1968.
It’s so nice to see somebody mention his name in this forum.
Amazing guitarist, and definitely overlooked!
RIP Terry Kath.

Another guitarist in Terry’s league back at that time was Phil Keaggy of the band Glass Harp. Ted Nugent was quoted as saying "I don’t know what happened to that Phil Keaggy, he could have saved the world with his guitar" in Guitar Player Magazine.
When Jimi Hendrix was on the tonight show in the late 60’s, Johnny Carson asked him, "what does it feel like to be the greatest guitarist in the world?" Jimi responded with, "I don’t know, you’d have to ask Phil Keaggy".
Phil was an incredilbe player, and another one of the many overlooked guitarists.

Here’s a few others that don’t seem to get much recognition:
Jim McCarty – guitarist for Mitch Ryder Detroit/Wheels & Cactus
Steve Hillage – guitarist for Kahn, Gong, Mike Oldfield, etc.
Steve Hackett – Genesis
Eddie Phillips – The Creation (first to ever bow an electric guitar)
Tony McPhee – The Groundhogs
Dave ‘Clem’ Clempson – Colosseum, Humble Pie
Jorma Kaukonen – Jefferson Airplane, Hot Tuna, solo
Peter Kaukonen – Jefferson Starship, Hot Tuna, solo
Peter Banks – Yes, Flash, solo
Eddie Hazel & Ron Bykowski – Funkadelic & Parliament
Darryl Stuermer – played with Jean Luc Ponty, Phil Collins, etc.
Phil Manzanera – Roxy Music
Jeff ‘Skunk’ Baxter – Steely Dan
Randy California – Spirit
Uli Roth – The Scorpions, Electric Sun
D*ck Wagner – The Frost, Alice Cooper, Lou Reed, etc.
Steve Hunter – Detroit, Alice Cooper, Lou Reed, etc
Paul Chapman – UFO
Mick Box – Uriah Heep
Jan Akkerman – Focus, solo
Frank Marino – Mahogany Rush, solo
Walter Rossi – Charlee, solo
Adrian Belew – King Crimson, Frank Zappa, solo
Mick Abrahms – Jethro Tull, Blodwyn Pig, solo
Leigh Stephens – Blue Cheer
Kazuo ‘Flash’ Takeda – Blues Creation, Creation
Elliot Easton – The Cars, CCR Revisited
John Goodsall aka Johny Mandella – Brand X, Atomic Rooster, etc
Lee Pickens – Bloodrock, solo
John Nitzinger – Nitzinger
Larry Reinhart – Iron Butterfly, Allman Bros, Captain Beyond
Les Harvey – Stone the Crows
Stan Webb – Chicken Shack, Broken Glass, Savoy Brown
Phil Keaggy – Glass Harp,
Adrian Gurvitz – Gun, Three Man Army, Baker Gurvitz Army
Floyd Radford – Edgar Winters White Trash, Johnny Winter, Tin House
Tom Verlaine – Television
Dominic Troiano – Bush (Canadian band), James Gang, solo
Bob Welch – Fleetwood Mac, Paris
Ricky Medlocke – Blackfoot, Lynyrd Skynyrd
Harvey Mandel – Canned Heat, Rolling Stones, solo
Mike Pinera – Blues Image, Iron Butterfly, Thee Image, Ramatam, Alice Cooper
Kirby (no known last name) – Stretch, Curved Air. Stretch also toured the US as the bogus Fleetwood Mac in the early 70’s

Some great answers here, but I feel many of the guitarists mentioned are not overlooked at all…and are very well known and respected musicians. Especially when it comes to the likes of Ritchie Blackmore, Gary Moore, Peter Green, Peter Frampton, Stevie Ray Vaughan, Pete Townsend, Frank Zappa, Eddie Van Halen, Martin Barre, Jeff Beck, and Steve Howe. No offense to the people that mentioned them…but when have they ever been overlooked?

I could list many more guitarists that I feel are overlooked…but there’s a few anyways!

http://www.guitarcourses.ws/blog/great-guitarists/who-do-you-think-are-some-great-guitarists-that-are-overlooked

[vivfox]

Fleetwood Mac Poster From Fillmore West On 11 Feb 71: 21 3/16 X 28 3/16
Posted by admin on 20th March 2010 in Uncategorized
Fleetwood Mac Poster from Fillmore West on 11 Feb 71: 21 3/16 x 28 3/16 Jake Pierres Medieval vision advertised Fleetwood Mac Steppenwolf and Its A Beautiful Day in three separate concerts sharing the Fillmore West and Winterland. Pierre was not a frequent poster artist and took the opportunity to sign his name front and center an unusual touch on Graham posters.

Price :$585
http://cavemusic09.dnsalias.org/2010/03/Fleetwood-Mac-Poster-from-Fillmore-West-on-11-Feb-71-21-3-16-x-28-3-16/

[PenguinHead]

Wow! I have a Filmore West poster that I bought about 18 years ago. The bill lists:

Jr. Walker and the All Stars
Fleetwood Mac
Lee Michaels
Tony Joe White

August 5, 6, 7, 1969

I know I paid less than 70 dollars for it -- in mint condition! I bought it at a record convention, where I also got an original, very rare 1967 Monterey Pop Festival poster for $300. I had both professionally framed and they hang in my living room.

I recently saw a Monterey poster listed for $15oo! I'm not into fine art, or art as an investment, but I think I made a very smart purchase!:D

[vivfox]

What's Buzzing In My Ears - Fleetwood Mac
Posted about 14 hours ago
Artist: PLAY Fleetwood MacAlbum:PLAY Mystery to MeTrack: PLAY Hypnotized


I know a crappy video(Hypnotized). This is one of my favorite FM songs, I guess coz it has some meaning to it for me. I heard & bought this record in 1973 while my ship was staying in Majorca, Spain for 2 weeks. My memeory is really fuzzy, but there is a nightclub/disco there, that is built in some caves overlooking the Med.
I spent a lot of my time there, talking to the DJ, dancing, drinking, even saw a bull fight, etc., anyway I first heard this song in Spain. On my ship, we had a little radio station (the size of a closet) that just broadcast on the ship only. I use to do the midnight to whenever I got tired shift coz no one else wanted it. So basically I was just spinning tunes to a couple of insomniacs drinking coffee & reading paperbacks in the mess room, but, hey I was happy. Even though the Navy provided records, I brought & bought a lot of my own albums to play. I think that is one way I kept my sanity for those 4 years. Anyway, I hope you enjoy the song as much as I do.

Release notes from Best Buy: Fleetwood Mac: Bob Welch (guitar, vocals); Bob Weston (guitar, slide guitar); Christine McVie (keyboards, vocals); John McVie (bass); Mick Fleetwood (drums).Additional personnel: Martin Birch (acoustic guitar).
Released in 1973 and now regarded as an important transitional album in Fleetwood Mac's long march towards superstardom, MYSTERY TO ME featured the lineup of Mick Fleetwood, John and Christine McVie, singer/guitarist Bob Welch and guitarist Bob Weston. The hiring of Welch had angered original guitarist Danny Kirwan and after a 1972 gig, the volatile Kirwan went berserk backstage and was fired.
On MYSTERY TO ME, the follow-up to PENGUIN (1973) and the band's strongest album in years, the luminous elements of the future Fleetwood Mac were falling in place; Bob Welch's rambling, mystical reverie "Hypnotized" became (and remains to this day) a rock radio standard.The Welch-Weston-John McVie-penned "Forever" grooves with an atypical African gloss, and the bluesy growl of Welch's "The City" lashes out at New York, contradicting Lindsey Buckingham's giddy city ode "Empire State" on 1982's MIRAGE.
Yet it is Christine McVie's thoughtful, majestic "Why," which unfolds from a backcountry fingerpick to a soaring poem of regret and passage, that marks the transition from early Mac (which officially ended with 1974's HEROES ARE HARD TO FIND) to one of the most influential Anglo-American bands of all time.


http://mog.com/DashboardDJ856/blog/1849446

[vivfox]

Monday, March 22, 2010
EARLY YEARS OF FLEETWOOD MAC (RK FAVORITES)

Fleetwood Mac are a British-American rock band formed in 1967 in London.

The only member present in the band from the very beginning is its namesake drummer, Mick Fleetwood. Despite band founder Peter Green naming the group by combining his two former bandmates' surnames (Fleetwood, McVie) (from John Mayall's Bluesbreakers—it was actually the title Green had given to a demo recording they had recorded while in Mayall's band), bassist John McVie did not play on their first single nor at their first concerts.

Keyboardist Christine McVie has, to date, appeared on all but two albums, either as a member or as a session musician. Christine also supplied the artwork for the album Kiln House.

The two most successful periods for the band were during the late 1960s British blues boom, when they were led by guitarist Peter Green, (my favorite time) and from 1975 to 1987, with more pop-orientation, featuring Christine McVie, Lindsey Buckingham and Stevie Nicks.

Nothing against the more successful lineup featuring Nicks and Buckingham but the original Fleetwood Mac was an entirely different band. Peter Green, Mick Fleetwood, and John and Christine McVie's created a clasic sound that is unforgettable.

http://www.retrokimmer.com/2010/03/early-years-of-fleetwood-mac-rk.html

[vivfox]

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

www.myspace.com/michaeltanner
www.deadslackstring.com

http://www.fluid-radio.co.uk/2010/03/plinth-albatross/

[slipkid]

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".

http://www.youtube.com/watch?v=Ed3zYu5BHCs


This is the Youtube link to David Gilmour's version of "Albatross" with Jools Holland:


http://www.youtube.com/watch?v=t98nc4FazxM


I miss Peter Green, and Danny Kirwan:


http://www.youtube.com/watch?v=8scHKFwr0og

[vivfox]

Fleetwood Mac Poster From Fillmore West On 11 Feb 71: 21 3/16 X 28 3/16
Posted by admin on 20th March 2010 in Uncategorized
Fleetwood Mac Poster from Fillmore West on 11 Feb 71: 21 3/16 x 28 3/16 Jake Pierres Medieval vision advertised Fleetwood Mac Steppenwolf and Its A Beautiful Day in three separate concerts sharing the Fillmore West and Winterland. Pierre was not a frequent poster artist and took the opportunity to sign his name front and center an unusual touch on Graham posters.

Price :$585
http://cavemusic09.dnsalias.org/2010/03/Fleetwood-Mac-Poster-from-Fillmore-West-on-11-Feb-71-21-3-16-x-28-3-16/


Fleetwood Mac 1970s Ticket from Fillmore West on 11 Feb 71: Complete Set Jake Pierres Medieval vision advertised Fleetwood Mac Steppenwolf and Its A Beautiful Day in three separate concerts sharing the Fillmore West and Winterland. Pierre was not a frequent poster artist and took the opportunity to sign his name front and center an unusual touch on Graham posters.

Price :$390

http://longjumpmusic09.selfip.org/2010/03/Fleetwood-Mac-1970s-Ticket-from-Fillmore-West-on-11-Feb-71-Complete-Set/

[vivfox]

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.

Disc 1

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)

Disc 2

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)

http://unclegil.blogspot.com/2010/03/red-hot-jam.html

[vivfox]

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
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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.
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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..

http://www.subrosacafe.com/fleetwood-mac-1971-1975-california-leaning/

[vivfox]

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

http://aftersabbath.blogspot.com/2010/03/day-after-sabbath-14-compilation.html

DL link available on this site

[vivfox]

Peter Green’s Fleetwood Mac “I’m Worried”
Posted by admin – April 7, 2010

Live performance of Fleetwood Mac (Jeremy Spencer guitar and vocals.)


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25 Comments on Peter Green’s Fleetwood Mac “I’m Worried”
Respond | Trackback

stjohntheconqueror says:
April 7, 2010 at 1:44 am
c’mon now, this annoying ass elmore crap has close to nothing to do with peter green

ttfozgreen says:
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

Bluesblaster says:
April 7, 2010 at 2:52 am
Bonzo Dog Doo Dah Band, lol

Bluesblaster says:
April 7, 2010 at 3:15 am
Probably because it’s just very real????

Tzaosirus7 says:
April 7, 2010 at 4:07 am
Jeremy is amazing here…. wow

michaeljayshaw says:
April 7, 2010 at 4:30 am
♫♪♫♫♪♫♫♪♫♫♪♫

theriffer says:
April 7, 2010 at 4:35 am
this is the REAL Fleetwood Mac!

HaggisPowah says:
April 7, 2010 at 5:09 am
Ask the Bonzo Dog DooDah Band

af4k says:
April 7, 2010 at 5:32 am
Is it me, or is McVie tripping his brains out on ths one? LOL

longneckshorty says:
April 7, 2010 at 6:18 am
Cool,he’s real cool is Jeremy Spencer

Vernuft says:
April 7, 2010 at 6:44 am
Jerry, the man who makes Elmore still alive and well.

BakdN8 says:
April 7, 2010 at 6:57 am
hahahahahaha touche

1955sex says:
April 7, 2010 at 7:31 am
Elmore James?????

scopu says:
April 7, 2010 at 7:58 am
Can the blue men sing the whites?

blueice0170 says:
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.

evanfrmheaven says:
April 7, 2010 at 9:05 am
you are welcome.

Vernuft says:
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

greenysfleetwoodmac says:
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

oemik says:
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.

evanfrmheaven says:
April 7, 2010 at 11:22 am
Your welcome, Instead of looking tired, perhaps they look serious?

oemik says:
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.

evanfrmheaven says:
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.

tommyau2006 says:
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

evanfrmheaven says:
April 7, 2010 at 1:13 pm
Your welcome, Uncle Tony.

mcleanartists says:
April 7, 2010 at 1:20 pm
Thanks for posting this, ignore the ignoramus.

http://teamairplay.com/blog/http:/teamairplay.com/blog/archives/4741

[michelej1]

Nashville's the Place. Excerpt with a mention of Bob Welch moving there in article about Nashville.
Music Dish Network
http://www.musicdish.com/mag/?id=12639


"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."

[chiliD]

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.


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.)

[aleuzzi]

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.)

By all accounts (Mick's, Bob's, Clifford Davis's) Bob was the reason they relocated to the US. What I don't know is if the relocation happened at the end of 73 or the beginning of 74.

Anyone know?

[vivfox]

News - Breaking News
Tuesday, Apr. 13, 2010
Tickets for the Rock & Pop Masters, an all-star band, go on sale Saturday
By SANDRA OKAMOTO - [email protected]

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.

http://www.ledger-enquirer.com/2010/04/13/1085707/tickets-for-the-rock-pop-masters.html

[vivfox]

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.

http://silveradoraremusic.blogspot.com/2010/04/fleetwood-mac-roundhouse-london-uk.html

[vivfox]

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

http://classicrockmusic70s90s.suite101.com/article.cfm/the-many-faces-of-fleetwood-mac

[vivfox]

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

Try......

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!!!!!!!!
OUCH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

http://docrockstudio.blogspot.com/2010/04/omfg-i-thought-me-dying-was-worst-news.html

[vivfox]

Can you name some bands with more than one great guitar player (in ...
By admin
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/

[Wouter Vuijk]

Can you name some bands with more than one great guitar player (in ...
By admin
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/

There are (were) lots around, I'll just stick to three of them:
Wishbone Ash: Ted Turner/Andy Powell
Allman Bros: Dicky Betts/Duane Allman
The BluesBlasters: Ronald Schoonveld/Peter van Heereveld/Wouter Vuijk :lol:

[vivfox]

Jeremy Spencer of Fleetwood Mac and The Bluesbreakers wsg ...
Detroit Event: Jeremy Spencer of Fleetwood Mac and The Bluesbreakers wsg Thornetta Davis - Find event details, directions, start time, and other related ...
http://events.detnews.com/detroit-mi/events/show/116817865-jeremy-spencer-of-fleetwood-mac-and-the-bluesbreakers-wsg-thornetta-davis

[chiliD]

Can you name some bands with more than one great guitar player (in ...
By admin
Fleetwood Mac – Peter Green, Jeremy Spencer,Danny Kirwan
The Paul Butterfield Blues Band – Mike Bloomfiled, Elvin Bishop
Little Feat – Lowell George, Paul Barrere.

There are (were) lots around, I'll just stick to three of them:
Wishbone Ash: Ted Turner/Andy Powell
Allman Bros: Dicky Betts/Duane Allman
The BluesBlasters: Ronald Schoonveld/Peter van Heereveld/Wouter Vuijk :lol:

Well, you're leaving out:

Fleetwood Mac (1971-72): Danny Kirwan/Bob Welch
Fleetwood Mac (1973): Bob Welch/Bob Weston


The Allman Bros RELY on two:

Dickey Betts/Dan Toler (1979-81)
Dickey Betts/Warren Haynes (1986-1993)
Dickey Betts/Jack Pearson (1993-94)
Dickey Betts/Derek Trucks (1994-2000)
Warren Haynes/Derek Trucks (2000-current)

And, there was that short lived incarnation of The Yardbirds: Jeff Beck/Jimmy Page

I can't even name 'em all, but Thin Lizzy made the twin guitar sound their signature.

And, then there's the "classic lineup" of the Eagles: Joe Walsh/Don Felder/(Glenn Frey - mostly rhythm but would toss in a lead here & there)

And, in the studio, Derek & The Dominos: Eric Clapton/Duane Allman

Blind Faith: Eric Clapton/Steve Winwood

Arc Angels: Charlie Sexton/Doyle Bramhall II

Clapton usually tours with an extraordinary co-guitarist: Either Doyle Bramhall II or Derek Trucks (or both)....he had Mark Knopfler with him in the late 80's....he had Tim Renwick (lead guitarist for Roger Waters) with him in '85...Albert Lee from 79-83...George Terry from 74-78.

Dave Mason Band (75-82): Dave Mason/Jim Kreuger

One incarnation of Savoy Brown: Kim Simmonds/Stan Webb/Miller Anderson

Well, and back when Stu Sutcliffe was playing bass, The Beatles: George Harrison/Paul McCartney

The Rolling Stones: Keith Richard/Brian Jones, Keith Richard/Mick Taylor, Keith Richard/Ron Wood

A short-lived incarnation of John Mayall's Bluesbreakers in the '80s: Coco Montoya/Walter Trout

[vivfox]

Saturday, May 08, 2010
Another Blast From The Past

Before Stevie Nicks was the primary voice of Fleetwood Mac, there was this talented singer, songwriter, and musician who gave the band its distinctive sound and uniquely carved out style:

His name was Bob Welch.

He eventually left to go solo. He had a couple of decent releases, whilst the band went in another direction with Lindsey Buckingham and the women. Those who were not pleased with that direction, were able to enjoy that sound for a little while longer with Bob's solo work.

http://poli-yy.blogspot.com/2010/05/another-blast-from-past_08.html

[vivfox]

1. Peter Green—Oh Well (Fleetwood Mac, Then Play On, 1969). Green is still alive, which is sort of amazing given the Class As and the schizophrenia. He replaced Eric Clapton in John Mayall’s Bluesbreakers, and did a better job. Green is pure blues here, and his most recent band, Peter Green’s Splinter Group, put out some fine blues albums in the 1990s and 2000s. After he left Mayall’s band he founded Fleetwood Mac—which he also left a couple of years later, but not before putting out the classic Then Play On. I recall seeing an interview with B.B. King at some point where he said the only guitarist that ever scared him was Green. Green has a very pure sound, much like what Mark Knopfler developed. Green got there first.

http://www.scholarsandrogues.com/2010/05/09/wufs-favorite-guitar-solos/

[vivfox]

May 13 in history « Homepaddock
By homepaddock
1950 Danny Kirwan, British musician (Fleetwood Mac), was born. 1950 Stevie Wonder, American singer and musician, was born. 1950 The first round of the Formula One World Championship was held at Silverstone. ...
Homepaddock - http://homepaddock.wordpress.com/

[vivfox]

The Top 13 Mad Musical Geniuses | The Top 13 | www.thetop13.com
This guitar legend and Fleetwood Mac founder influenced greats ranging from Jimmy Page to BB King. But Green also spent years binging on LSD and was in and out of mental hospitals, growing his fingernails bizarrely long (as you can see ...
The Top 13 - http://www.thetop13.com/

[vivfox]

Fleetwood Mac Kiln House Rock Music CD Review


Kiln House is the latest Rock CD put out by the highly group Fleetwood Mac and they have once again delivered a brilliant collection of tracks. I’m confident Fleetwood Mac fans, and Rock fans alike will be pleased with this one.


It’s a rare day indeed that I get a CD from an artist that I can truthfully say does not have a bad track in the bunch. I’m more than happy to announce that’s exactly what I must say about this one. There simply isn’t a bad one in the bunch. No fillers here at all, with each song standing tall on it’s own.


Kiln House has a pleasantly varied, mix of 10 tracks that are very well written and brilliantly performed songs by these clearly outstanding musicians. With many of the songs displaying a lot of the kind emotion that makes for a really great listen. Seemingly drawing from what I can only imagine are their own personal experiences. At different points touching on the most real emotions of love, and the pain of failed relationships can certainly be heard.


If you’re even mildly into Rock music you’ll enjoy this album. Overall Kiln House is an a great release. I give it my double thumbs up. You will not be disappointed with one single track.


While the entire album is outstanding the truly standout tunes are track 3 – Blood On The Floor, track 9 – Tell Me All The Things You Do, and track 10 – Mission Bell.


My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – This Is The Rock. It’s a great track!


Kiln House Release Notes:
Fleetwood Mac originally released Kiln House on October 25, 1990 on the Reprise label.


CD Track List Follows:

1. This Is The Rock 2. Station Man 3. Blood On The Floor 4. Hi Ho Silver 5. Jewel Eyed Judy 6. Buddy’s Song 7. Earl Gray 8. One Together 9. Tell Me All The Things You Do 10. Mission Bell

Fleetwood Mac: Jeremy Spencer (vocals, guitar, piano); Danny Kirwan (vocals, guitar); Mick Fleetwood (drums). Additional personnel: Christine Perfect (background vocals).

http://newyorknewsbreak.com/fleetwood-mac-kiln-house-rock-music-cd-review-095502

[vivfox]

June 2,2010
Fleetwood Mac Penguin Rock Music CD Review
Uncategorized Add commentsOne word describes the CD Penguin from Fleetwood Mac… AWESOME!

Refreshingly, this was one of those CDs I was able to just pop in and comfortably listen to from beginning to end. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

Penguin has a nicely varied, mix of 9 tracks that are very well written and brilliantly performed songs by these clearly superb musicians. Most of the songs display a lot of the kind emotion that makes for a really great listen. Seemingly drawing from what I can only imagine are their own real life experiences. At different points touching on the most real emotions of love, heartbreak, pain, failed relationships and unattainable romance. They’re all here.

I’m of the opinion that Penguin is certainly some of this groups best work in a few years. A totally enjoyable CD and an outstanding release. What I call must have music. I give it two thumbs up because it’s a collection that even the casual Rock fan can appreciate and enjoy.

While this entire CD is outstanding some of my favorites are track 2 – Bright Fire, track 7 – Did You Ever Love Me, and track 9 – Caught In The Rain

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – Remember Me. Great track!

Penguin Release Notes:

Fleetwood Mac originally released Penguin on March 22, 1990 on the Warner Bros. Records label.

CD Track List Follows:

1. Remember Me 2. Bright Fire 3. Dissatisfied 4. Road Runner (I’m A) 5. Derelict, The 6. Revelation 7. Did You Ever Love Me 8. Night Watch 9. Caught In The Rain

Fleetwood Mac: Bob Weston (vocals, slide guitar, banjo, harmonica); Bob Welch (vocals, guitar); Dave Walker (vocals, harmonica); Christine McVie (vocals, keyboards); John McVie (bass); Mick Fleetwood (drums, percussion).

Additional personnel: Steve Nye (organ, steel drums); Ralph Richardson, Russel Valdez, Fred Totesaut.

Recorded at the Rolling Stones Mobile Unit, Hampshire, England in January 1973.

http://www.justapple.us/fleetwood-mac-penguin-rock-music-cd-review.html

[PenguinHead]

Over $500.00 for a poster!!! You can eat my ear for that kinda money. Everyone stays close to the fireplace!

I have an original Filmore poster from 1969. On the bill are JR. Walker & the All Stars, Fleetwood Mac, Lee Michaels and Tony Jo White. I bought it about sixteen years ago. I don't think I paid more than $100 for it. My original Monterey Pop from 1967 was a bit more - $400. Rare as it is, I've seen one sell recently for $1000. This is my idea of "fine art" !

[vivfox]

Fire walk with me | Fairtilizer blog: The Do It Yourself Music Club
By Fairtilizer
It was so nice to re-edit some lost songs by artists like Fleetwood Mac or Todd Rundgren; distort, accelerate, twist them and force them to obey me. The result is something very emotional to me. It's like my bedroom soundtrack with no ...
Fairtilizer blog: The Do It Yourself... - http://blog.fairtilizer.com/

[vivfox]

Bob Welch - 'Lose Your...' + 'Carolene' (1977)

Bob Welch was the singer and guitar player for Fleetwood Mac before Stevie Nicks and Lindsey Buckingham joined, so he's not very well known. A lot of his songs tend to sound alike, which is to say the songs feature his voice and guitar and no real frills. This is actually a good thing.

The year that Fleetwood Mac had their unprecedented success with Rumours, Welch released a little album called French Kiss. It had two hits, 'Sentimental Lady' and 'Ebony Eyes.' The remainder of the album was solid, if not terribly innovative. I pick 'Carolene' as the best of the non-hits.

Welch had a small theme in French Kiss. The last song of side one was 'Lose My Heart.' The last song on side two was 'Lose Your Heart.' Wedged in between the other four songs on side two, there was a 42-second teaser called 'Lose Your...' leading into 'Carolene.' Technically, 'Carolene' is a stand-alone song but I can't listen to one without the other.

http://threepartsfoolish.blogspot.com/

[vivfox]

There's a blues undercurrent to the album, from the title to opener "Jefferson Jericho Blues" to something more indefinable and haunted in the shadows. If anything, Mojo hews close to the blazing blues-rock of early Fleetwood Mac.
"I love Peter Green! He's one of my idols. I could listen to Peter Green all day. And that's very much what I had in mind on a lot of the [new] stuff. I wanted to get a sound that mixed up say the Chicago Chess stuff and John Mayall, Peter Green's Fleetwood Mac, early Jeff Beck Group. These were records I played to the engineer a lot before we began the project," says Petty. "I told him, 'I want the guitars right up loud, as loud as the vocals when [Mike] plays,' and I think we succeeded at that. Mike's just amazing. He really stepped up and did his part."

Campbell is right out front on Mojo. It's a refreshing change of pace and perhaps a chance for folks who haven't paid close attention the past 35 years to discover just how tremendous a guitarist Mike Campbell truly is. Often he's an extremely tasteful, subtle, respectful player, working into the muscular of the music rather than riding on top.

"I tried to kinda drum that out of him [laughs]. It was like, 'Okay, let's show 'em what you can do. Just rip and have some fun.' He never let us down," enthuses Petty. "I've known Mike and Ben for so long and they still amaze me. I couldn't dream of playing with anyone else."

http://www.jambase.com/Articles/Story.aspx?storyID=23022

[vivfox]

Tom Petty: Something Good Coming | ICT magazine
I wanted to get a sound that mixed up say the Chicago Chess stuff and John Mayall, Peter Green's Fleetwood Mac, early Jeff Beck Group. These were records I played to the engineer a lot before we began the project, says Petty.
ICT magazine - http://www.ictmag.info/

[vivfox]

A bluesier approach to this 1973 Fleetwood Mac classic originally sung by Bob Welch. Bob Welch I ain't, so I went this direction. Hope you dig it! Thanks for checking it out. All attempts at vocals and instrumentation by EW.

Released: Jun 11, 2010 | 12:18 PM
Category: Blues
Application: GarageBand
Loop Use: No loops

File Type: .mp3
File Size: 8.87 MB

http://www.icompositions.com/music/song.php?sid=142578

[slipkid]

The Top 13 Mad Musical Geniuses | The Top 13 | www.thetop13.com
This guitar legend and Fleetwood Mac founder influenced greats ranging from Jimmy Page to BB King. But Green also spent years binging on LSD and was in and out of mental hospitals, growing his fingernails bizarrely long (as you can see ...
The Top 13 - http://www.thetop13.com/

Peter Green is #8, but that's not my concern.



Of the most hated sports teams, how can the Philadelphia Eagles rank #6 compared to the others that are just out of jealousy because they have won championships within the last twenty years? The Eagles haven't won a championship in 50 years. I credit ESPN for going out of it's way to make sure they can get a cheap story of bad fan behavior from Philadelphia, while letting other cities (such as NY, Chicago, Boston, Washington) off the hook.

[slipkid]

1. Peter Green—Oh Well (Fleetwood Mac, Then Play On, 1969). Green is still alive, which is sort of amazing given the Class As and the schizophrenia. He replaced Eric Clapton in John Mayall’s Bluesbreakers, and did a better job. Green is pure blues here, and his most recent band, Peter Green’s Splinter Group, put out some fine blues albums in the 1990s and 2000s. After he left Mayall’s band he founded Fleetwood Mac—which he also left a couple of years later, but not before putting out the classic Then Play On. I recall seeing an interview with B.B. King at some point where he said the only guitarist that ever scared him was Green. Green has a very pure sound, much like what Mark Knopfler developed. Green got there first.

http://www.scholarsandrogues.com/2010/05/09/wufs-favorite-guitar-solos/


They aren't very scholarly since the "Oh Well" solo is Danny Kirwan, not Peter Green. "Love That Burns" would have been a "scholars" best choice.

[slipkid]

There's a blues undercurrent to the album, from the title to opener "Jefferson Jericho Blues" to something more indefinable and haunted in the shadows. If anything, Mojo hews close to the blazing blues-rock of early Fleetwood Mac.
"I love Peter Green! He's one of my idols. I could listen to Peter Green all day. And that's very much what I had in mind on a lot of the [new] stuff. I wanted to get a sound that mixed up say the Chicago Chess stuff and John Mayall, Peter Green's Fleetwood Mac, early Jeff Beck Group. These were records I played to the engineer a lot before we began the project," says Petty. "I told him, 'I want the guitars right up loud, as loud as the vocals when [Mike] plays,' and I think we succeeded at that. Mike's just amazing. He really stepped up and did his part."

Campbell is right out front on Mojo. It's a refreshing change of pace and perhaps a chance for folks who haven't paid close attention the past 35 years to discover just how tremendous a guitarist Mike Campbell truly is. Often he's an extremely tasteful, subtle, respectful player, working into the muscular of the music rather than riding on top.

"I tried to kinda drum that out of him [laughs]. It was like, 'Okay, let's show 'em what you can do. Just rip and have some fun.' He never let us down," enthuses Petty. "I've known Mike and Ben for so long and they still amaze me. I couldn't dream of playing with anyone else."

http://www.jambase.com/Articles/Story.aspx?storyID=23022


This is very cool!! I've noticed the past two years on Sirius/XM's Tom Petty show that he has played a lot of Peter Green FM or Mayall/Green songs. His 2006 30th anniversary concert from his documentary DVD featured a dead-on cover of "Oh Well" (the Boston Tea Party 2/70 version with the extra solo).

[vivfox]

peter green

the original 59' peter green les paul

peter green in action during old fleetwood mac days

i'm supposed to be doing my 2000 word history essay but i kinda got sidetracked while listening to peter green on john mayall and the bluesbreakers and fleetwood mac, so this shall be a tribute post!

NOT! just gonna go about praising his tone actually. alright fine some brief history of the man (and his guitar) first. peter green got noticed in the music scene after replacing eric clapton in the john mayall and the bluesbreakers band. after playing on a record he moved on to form fleetwood mac, which i'm sure a few of you have heard of. what many don't know about fleetwood mac is that it used to be a blues/rock band, before it defected to pop music when peter green left the band after being diagnosed with schizophrenia due to abuse of LSD.

many cite him as one of the pioneers of blues rock because of his "darker blues" playing style and holy grail les paul tone, though never reaching quite the commercial success of eric clapton and jimmy page. and what's the secret to peter green's tone? well its quite obvious isn't it, knowing my blog...

notice the pickups

his guitar!! actually, the pickups on his guitar. but then again, this subject has been on debate by guitar people all over for a long time, and the world still isn't too sure what it is that gives him his brilliant tone. some say its in the fingers, but i'm just gonna go with his pickups, which are wired out-of-phase (whatever that means) that give his tone the mojo!

peter green used a gibson les paul which he modified in 1967, having the neck pickup rewired and reversed. also, peter green used to be gary moore's mentor, and sold him his gibson later on. so in many gary moore albums, you actually hear his guitar, but gary moore's tone is NOTHING and i repeat NOWHERE near to peter green's. i guess the amps and effects play a role as well. gary moore later sold the guitar for 1.2 million dollars, not sure to who.

download the john mayall and the blues breakers album - a hard road. there are a few tracks where his guitar tone (and playing) really stand out. tracks i'd suggest are dust my blues and so many roads. keep in mind this is british blues, which to some might seem boring/bland. oh and this album has lotsa harmonica stuff as well! ;)

if you're interested, you can get a replica version of the PG (praveen ganesh luls) les paul, pre-aged and with the modified pickups from Vintage guitars. do check out the review as well. the wear doesn't look 100% authentic but what do you expect from a 400 quid made in china guitar? the only downside is they have hardly any dealers outside of england, bummer.

http://rikipu.blogspot.com/2010/06/peter-green.html

[aleuzzi]

They aren't very scholarly since the "Oh Well" solo is Danny Kirwan, not Peter Green.

I did not know this for sure, but it doesn't surprise me in the least.

[vivfox]

For all that it is one of his staples, Black Magic Woman is actually a 1970 cover of a 1968 Fleetwood Mac rendition written by Peter Green. A medley with Gabor Szabo's 1966 Gypsy Queen, Santana's version works in exotic Hungarian rhythms with folk and latin strains. The album Abraxas, on which Black Magic Woman appeared, went to #1 and quadruple platinum, largely on the strength of the song.

It is possible, however obliquely, that the song was partly responsible for Peter Green leaving Fleetwood Mac. After it was released, Green reputedly befriended some people who were actually into black magic. In an interview with Cameron Crowe of Rolling Stone magazine, Christine McVie said these were the people who turned him on to acid, which led to Green leaving Fleetwood Mac.

http://www.wnew.com/2010/06/video-classics-black-magic-woman-santana.html

[slipkid]

For all that it is one of his staples, Black Magic Woman is actually a 1970 cover of a 1968 Fleetwood Mac rendition written by Peter Green. A medley with Gabor Szabo's 1966 Gypsy Queen, Santana's version works in exotic Hungarian rhythms with folk and latin strains. The album Abraxas, on which Black Magic Woman appeared, went to #1 and quadruple platinum, largely on the strength of the song.

It is possible, however obliquely, that the song was partly responsible for Peter Green leaving Fleetwood Mac. After it was released, Green reputedly befriended some people who were actually into black magic. In an interview with Cameron Crowe of Rolling Stone magazine, Christine McVie said these were the people who turned him on to acid, which led to Green leaving Fleetwood Mac.

Out of respect, the story is Carlos Santana visited Peter Green while the band was recording "The Green Manalishi" in London, 4/70. He asked Peter Green's permission to cover "Black Magic Woman". The "black magic" came before in Munich, 3/70 on a tour of Europe.

I still say Munich is a Fleetwood Mac fairytale to explain the actions of a band leader who didn't want to be in a famous rock band, with a lot of phonies (agents, producers, managers). Peter saw through all that b.s. at the time. While his drug abuse at the time led to his mental breakdown (three-four years later), Peter Green was playing at the top of his game the day he left Fleetwood Mac. Green even came back to replace Jeremy Spencer later winter/early spring U.S. tour 1971. That infamous Fillmore East concert is legendary from those who attended.

[slipkid]

peter green

the original 59' peter green les paul

peter green in action during old fleetwood mac days

i'm supposed to be doing my 2000 word history essay but i kinda got sidetracked while listening to peter green on john mayall and the bluesbreakers and fleetwood mac, so this shall be a tribute post!

NOT! just gonna go about praising his tone actually. alright fine some brief history of the man (and his guitar) first. peter green got noticed in the music scene after replacing eric clapton in the john mayall and the bluesbreakers band. after playing on a record he moved on to form fleetwood mac, which i'm sure a few of you have heard of. what many don't know about fleetwood mac is that it used to be a blues/rock band, before it defected to pop music when peter green left the band after being diagnosed with schizophrenia due to abuse of LSD.

many cite him as one of the pioneers of blues rock because of his "darker blues" playing style and holy grail les paul tone, though never reaching quite the commercial success of eric clapton and jimmy page. and what's the secret to peter green's tone? well its quite obvious isn't it, knowing my blog...

notice the pickups

his guitar!! actually, the pickups on his guitar. but then again, this subject has been on debate by guitar people all over for a long time, and the world still isn't too sure what it is that gives him his brilliant tone. some say its in the fingers, but i'm just gonna go with his pickups, which are wired out-of-phase (whatever that means) that give his tone the mojo!

peter green used a gibson les paul which he modified in 1967, having the neck pickup rewired and reversed. also, peter green used to be gary moore's mentor, and sold him his gibson later on. so in many gary moore albums, you actually hear his guitar, but gary moore's tone is NOTHING and i repeat NOWHERE near to peter green's. i guess the amps and effects play a role as well. gary moore later sold the guitar for 1.2 million dollars, not sure to who.

download the john mayall and the blues breakers album - a hard road. there are a few tracks where his guitar tone (and playing) really stand out. tracks i'd suggest are dust my blues and so many roads. keep in mind this is british blues, which to some might seem boring/bland. oh and this album has lotsa harmonica stuff as well! ;)



I'm not blaming you Vivfox, you're only the messenger.

The irony of this blog post is that Peter Green's special "tone" wasn't heard until he formed Fleetwood Mac. While the blogger lists examples of tone (he does give credit to playing, barely), from John Mayall's "A Hard Road", it's still a factory stock '59 Les Paul. At the very least, the neck pickup was missing.

If this blogger ever heard "Fleetwood Mac" (the original 1968 album), he would never call British blues "boring or bland". I would also recommend the "Live In Boston" Volumes 1 and 2 from the Boston Tea Party, recorded 2/70. It also wouldn't hurt to do a few Peter Green Fleetwood Mac hits on Youtube.


To set the record straight, a great example of Peter Green's flipped magnet tone is the studio "Black Magic Woman" guitar solo.

I tried to respond directly to this person's blog last night, but I don't have the proper account. If someone could help me send this post to him? Thanks.

[vivfox]

Review of the Fleetwood Mac CD Heroes Are Hard To Find
Thursday June 17th 2010, 9:04 am

Fleetwood Mac have been a heavy hitters in the Rock genre for quite a while now and Heroes Are Hard To Find is an excellent illustration as to why.

Heroes Are Hard To Find is a pleasantly varied, mix of 11 tracks that are very well written and brilliantly performed songs by these clearly talented musicians. With many of the songs displaying a lot of the kind emotion that makes for a really great listen. Seemingly drawing from what I can only imagine are their own personal experiences. At different points touching on the most real emotions of love, heartbreak, pain, failed relationships and unattainable romance. They’re all here.

Listen to Heroes Are Hard To Find and I believe you’ll find there’s not much to dis-like about it. The songs are inspired, the production is simply outstanding, and this is clearly the work of a group of musicians in top form. So much so that if you’re even mildly into Rock music you’ll enjoy this CD.

While the entire CD is outstanding the truly standout tunes are track 2 – Coming Home, track 9 – Prove Your Love, and track 11 – Safe Horbour.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – Heroes Are Hard To Find. Outstanding!

Heroes Are Hard To Find Release Notes:

Fleetwood Mac originally released Heroes Are Hard To Find on October 25, 1990 on the Reprise label.

CD Track List Follows:

1. Heroes Are Hard To Find 2. Coming Home 3. Angel 4. Bermuda Triangle 5. Come A Little Bit Closer 6. She’s Changing Me 7. Bad Loser 8. Silver Heels 9. Prove Your Love 10. Born Enchanter 11. Safe Horbour

Fleetwood Mac: Bob Welch (vocals, guitar, vibraphone); Christine McVie (vocals, keyboards, Arp string synthesizer); John McVie (bass); Mick Fleetwood (drums, percussion). Additional personnel: Pete Kleinow (pedal steel guitar). Recorded at Angel City Sound, Los Angeles, California in July 1974.

http://chumphonlive.com/blog/kelliwinner/2010/06/17/review-of-the-fleetwood-mac-cd-heroes-are-hard-to-find/

[vivfox]

fleetwood mac fans owe a great deal of love to bob welch. welch kept the mac afloat during the early 1970s, while success was elusive. he came in after peter green and jeremy spencer, two of the three main dudes of the band, left (green left for a solo career; spencer left to join the questionable Children of God.) i’m sure most mac fans probably can’t name any songs whatsoever on the three albums during welch’s era; though one welch song, later re-recorded, became a monster hit for welch as a solo artist (sentimental lady, a song that sounds more like a commercial, maybe selling some feminine hygiene product perhaps…)

anyway, welch went solo just before the mac hit it big. nicely, though, christine mcvie and mick fleetwood make appearances on his solo album french kiss, which includes the revamped sentimental lady as well as our song du jour, ebony eyes. he did quite well, had a few other minor hits, and then sort of fell off the radar. he continued to make music of course, including an experimental bop album, but he hasn’t yet achieved the same success as he had with french kiss.

ebony eyes is a sweet little rocker with a menacing guitar hook. i was about 12 when this came out, and it definitely screams seventh grade to me whenever i hear it. sure, seventh grade was a delightful year; i had a teacher who was prepared to dislike me intensely because my Middlebro gave him a run for his money three years prior. (oh, the fun of having to prove myself to a teacher who i believed in my infinite tween heart was an idiot. but this would be the first of many times when i would get one of Middlebro’s former teachers and they would either be pleasantly surprised at what a nice young lady and good student i was… or, in the case of chemistry and physics classes, the teachers were incredulous at how i was dumb as a post in the hard sciences, especially after following my smarty-pants brothers. sigh. it stinks being the youngest sometimes.)

anyway, when i wasn’t trying to be the best girl in the whole world for that teacher, i was one of the many, the proud young ladies getting attacked in the locker area. yes, this was a time when boys ran around snapping your bra as well as your rainbow suspenders, which were in vogue then.


yes, virginia, these suspenders were all the rage once.
i’m not certain my back ever recovered from it all.

so as you can see, ebony eyes gave me hope. it spoke to me: one day, i believed, i’d find men who were interested in more than just pawing at my clothes… men who will actually look at and in my eyes (once they weren’t obscured by humungous 1970s era glasses.) men who will like me just because i’m me.

let’s just say it took awhile.

http://www.wrekehavoc.com/index.php/2010/06/21/guilty-pleasure-monday-ebony-eyes-bob-welch/

[vivfox]

Written on June 23, 2010 at 12:00 am by Tori Norskog
Rock legend makes a come back in Virginia City


When he sat down at the Pioneer Bar after he got off work at the Virginia City Cafe, Dave Walker immediately ordered a non-alcoholic beer.

The bartender, Rosy, brought him his drink and then changed the song playing to one of, what he thought was, Savoy Brown’s songs. Savoy Brown is the band Walker spent the majority of his career with and is most well-known for being a part of.

Once the song came on, Walker stopped Rosy at once, barking “That’s not me, that’s a wanker!”

Rosy eventually found a Savoy Brown song, one of their hits called “Street Corner Talking,” and said, “I was in my 20s when this song came out. I was in college when I first heard this song.”

Walker looked down humbly and giggled.

“It turns out I’m still fairly well known in my generation. I was unaware of this,” he said.

Aware or not, after more than 50 years of performing, Walker is still very well-known and continues to do what he is best at.

“I feel more at home doing that (performing) than I do anything else, it comes naturally to me,” Walker said. “For years and years before and after Savoy Brown I denied my musical self because I thought I wasn’t valid.”

But now, he is accepting his validity and talent and making a come back.

His current band, the Dave Walker Band, has been invited to play on the main stage at the Rockin’ the Rivers music festival with the Doobie Brothers in August.

This performance will come just after the Dave Walker Band releases their first album, called “Crazy All the Time.”

While Walker has played in 13 countries with legends like Black Sabbath and Fleetwood Mac, he said the Dave Walker Band is his favorite band he has ever worked with.

“We are equal. We have musical integrity. We play the best we can all the time,” Walker said.

He also said his current band includes the best musicians he has ever played with, and his band mates are just as enthusiastic about playing with him.

“He is an exceptional singer. There is something about the way he sings that I can’t pinpoint. He’s world class. He’s a rock singer with subtlety,” said base player Eddie Tsuru.

Walker moved to Montana from New Mexico in 1998 to escape a bad marriage. When he first got here, he tried to make a home in Bozeman, but didn’t like it much.

Then, three years ago, he went through Virginia City and thought: “This is more like it,” and he has been there ever since. His fortune in finding Virginia City still astounds him.

“We kinda live in paradise,” Walker said.

When he moved to Virginia City he began to resuscitate his music career. He recorded his solo album “Walking Underwater,” which got him introduced to his now band members Jimmy Lewis who plays the guitar, Eddie Tsuru who plays the bass, Chris Cundy who plays keyboards and Mike Gillan who plays the drums.

The Dave Walker Band plays an eclectic range of genres including blues, R and B, funk, country and classic rock.

He has been able to be himself with his current band, Walker said. He is an eccentric, enigmatic personality who is not afraid to go a little nuts and speak his mind, which is a characteristic his band mates value in him.

“They turn me loose,” Walker said. “Fleetwood Mac was afraid to turn me loose, so not much creatively happened.”

His current band, however, appreciates his opinion and what he brings to the table.

Tsuru, whose first concert was seeing Savoy Brown, said one of his favorite parts about working with Walker is the stories he shares. Walker, 65, was born and spent most of his younger years in England, where he got the opportunity to meet a lot of musicians who would become legends.

“He is connected to all the great rock stars from England,” Tsuru said. “His drinking buddy was John Bonham from Led Zeppelin. He had breakfast with Richard Blackmore from Deep Purple. I found a picture of him sandwiched between John Lennon and David Bowie.”

One of Walker’s favorite memories is a show back in 1991 with Savoy Brown in Budapest, Hungary, when the country was still behind the Iron Curtain.

The promoter of the show was excited about the concert because she thought they were going to get nearly 750 people, and then 2,200 ended up attending, Walker said.

“That was when music was an international language,” he said. “We were playing in this communist country and were able to communicate. Performers can do more good in terms of crossing international barriers in an hour and a half than most politicians can do in 20 years. That’s maybe the coolest thing about what I do.”

Another musical experience he recalled was when he was 18 and played a four concert series where the Beatles opened for his band at the time, The Redcaps.

During the first show of the series, he said he received the best compliment of his life. George Harrison told him he liked his suit.

Such experiences have contributed to his well-established career, which is still blossoming.

“Dave is making a comeback in a big way,” Tsuru said.

The Dave Walker Band will be playing Aug. 15 at the Rockin’ the Rivers festival which will be near Three Forks in the Jefferson River Canyon.

This Friday the Dave Walker Band is playing a show near Livingston.

“I am in awe and obliged to them (my band) for their effort. They are the best of the best, the best musicians I have worked with,” Walker said.

http://www.madisoniannews.com/2010/06/rock-legend-makes-a-come-back-in-virginia-city/

[michelej1]

Alejandro Escovedo talks about songs on his album:

http://www.expressnightout.com/content/2010/06/alejandro-escovedo-street-songs-of-love-liner-notes.php

Street Songs

I really love this song. First of all, it's very different than anything else on the record. I wanted to write a song very much like David Bowie's song "I'm Afraid of Americans." So I started writing that riff [hums riff], which reminded me very much of early Fleetwood Mac, when it was Jeremy Spencer, Peter Green and Danny Kirwan, so it was a real guitar-heavy thing. The lyrics really came from the residency that I did at the Continental Club in South Austin —Â I did two months there before we made the record. We'd bring three new songs every Tuesday night, present them to the audience acoustically, and then bring the band out and show the audience how we could arrange things. So those lyrics became about that part of town in Austin. Then as I was traveling ... I met someone who became part of that song also. There were all these parts — I had a lot to draw from. It became a little like "Walk on the Wild Side."

[chiliD]

Out of respect, the story is Carlos Santana visited Peter Green while the band was recording "The Green Manalishi" in London, 4/70. He asked Peter Green's permission to cover "Black Magic Woman". The "black magic" came before in Munich, 3/70 on a tour of Europe. .

Santana's "BMW" was recorded & released in 1969, so that "story" of Carlos asking permission while FMac was recording "Green Manalishi" is bullsh**.

The irony of this blog post is that Peter Green's special "tone" wasn't heard until he formed Fleetwood Mac. While the blogger lists examples of tone (he does give credit to playing, barely), from John Mayall's "A Hard Road", it's still a factory stock '59 Les Paul. At the very least, the neck pickup was missing. ks.

Really? Then what do you call "The Supernatural"??? Also, listen to tracks from the Deluxe Edition of A Hard Road...the "quack" was there on tracks like "Greeny", "Rubber Duck" & "Curly"...well, before Fleetwood Mac was formed.

[slipkid]

Santana's "BMW" was recorded & released in 1969, so that "story" of Carlos asking permission while FMac was recording "Green Manalishi" is bullsh**..

Sorry, "Abraxas" (including "Black Magic Woman") wasn't released until 9/70, four months after Peter Green left Fleetwood Mac. I didn't pull that anecdote from thin air, have you read the Christopher Hjort book on the British Blues movement? That book has been a godsend compiling media publications from the period, and pasting them together into a cohesive story about that great period from '65-'70 with Mayall, Cream, FM, Derek and the Dominoes, and the Stones.

Really? Then what do you call "The Supernatural"??? Also, listen to tracks from the Deluxe Edition of A Hard Road...the "quack" was there on tracks like "Greeny", "Rubber Duck" & "Curly"...well, before Fleetwood Mac was formed.

I have the deluxe edition of "A Hard Road", and all the tracks you mention do not have that "tone". First off, "The Supernatural" was done in the fall of '66 as it was part of the original "AHR" album. Peter Green didn't have his pickup problem until at least late winter/early spring '67. You're confusing echo with "out of phase". "Greeny" to my ears is pure bridge tone, as are "Rubber Duck", & especially "Curly". "Curly" sounds like Jeff Beck so that immediately rules out "out of phase".


The second track from "Peter Green's Fleetwood Mac", play it now if you own it ("Merry Go Round")! That's is "THE TONE"! It's thin, and honky, there is no John Mayall song with Peter Green that has that tone.

BTW, why are you defending that blog? The guy was completely clueless. You of all people should've known that, or at least I thought you did. Now I wonder. :laugh:

[chiliD]

I wasn't defending anything....I'm more of a prosecutor. :laugh:

Just yankin' yo' chain. I was just being "full o' crap". Just trying to get a response. "Let's see what happens if I jab with this stick" kinda thing.

Like the Monty Python skit: "Uh....I'd like to have an argument please...."

"No it isn't"

"Yes it is"

"No it isn't"

:laugh::laugh:

[Wouter Vuijk]

I wasn't defending anything....I'm more of a prosecutor. :laugh:

Just yankin' yo' chain. I was just being "full o' crap". Just trying to get a response. "Let's see what happens if I jab with this stick" kinda thing.

Like the Monty Python skit: "Uh....I'd like to have an argument please...."

"No it isn't"

"Yes it is"

"No it isn't"

:laugh::laugh:

Marvellous:
http://www.youtube.com/watch?v=kQFKtI6gn9Y

[slipkid]

I wasn't defending anything....I'm more of a prosecutor. :laugh:

Just yankin' yo' chain. I was just being "full o' crap". Just trying to get a response. "Let's see what happens if I jab with this stick" kinda thing.

Like the Monty Python skit: "Uh....I'd like to have an argument please...."

"No it isn't"

"Yes it is"

"No it isn't"

:laugh::laugh:


Thanks for making me feel like Dr. Temperance Brennan, while you're Seeley Booth. (Netflix turned me into a "Bones" fan)


"Thank YOU Bicycle Repair Man!"

"My hovercraft is full of eels."

"'E's not pinin'! 'E's passed on! This parrot is no more! He has ceased to be! 'E's expired and gone to meet 'is maker! 'E's a stiff! Bereft of life, 'e rests in peace! If you hadn't nailed 'im to the perch 'e'd be pushing up the daisies! 'Is metabolic processes are now 'istory! 'E's off the twig! 'E's kicked the bucket, 'e's shuffled off 'is mortal coil, run down the curtain and joined the bleedin' choir invisibile!! THIS IS AN EX-PARROT!! " haha


This is my favorite MPFC sketch, it's a mockumentary on a boxer named Ken Clean Air Systems;


"Every morning, he jogs the forty-seven miles from his two-bedroomed, eight-bathroom, six-up-two-down, three-to-go-house in Reigate, to the Government's Pesticide Research Centre at Shoreham. Nobody knows why."

[chiliD]

Thanks for making me feel like Dr. Temperance Brennan, while you're Seeley Booth. (Netflix turned me into a "Bones" fan)

I like to think of myself as a blues guitarist version of Jack Hodgins. :lol:

[slipkid]

I like to think of myself as a blues guitarist version of Jack Hodgins. :lol:

So you like to be left for dead somewhere in a southwest desert by Billy Gibbons after you (Jack Hodgins) broke it off with his daughter Angela? You know Billy was/is a Peter Green fan, how great is that? :lol:

[chiliD]

So you like to be left for dead somewhere in a southwest desert by Billy Gibbons after you (Jack Hodgins) broke it off with his daughter Angela? You know Billy was/is a Peter Green fan, how great is that? :lol:

Oh, of course! But, if you'd seen the last season's ending episode, Jack & Angela ride off into the sunset together.

Just listen to:

Brown Sugar
Just Got Back From Baby's
Blue Jean Blues
Asleep In The Desert (basically a Tex-Mex version of "Oh Well, Part 2")

Any of those it would hard to distinguish Rev Willy from Peter Green's playing.

[slipkid]

Oh, of course! But, if you'd seen the last season's ending episode, Jack & Angela ride off into the sunset together.

Just listen to:

Brown Sugar
Just Got Back From Baby's
Blue Jean Blues
Asleep In The Desert (basically a Tex-Mex version of "Oh Well, Part 2")

Any of those it would hard to distinguish Rev Willy from Peter Green's playing.

I tried to watch "Bones" last season without the background of the previous seasons (since "Fringe" now follows "Bones", a show I've watched since the very first ep.). Without the backstory of Dr. T. Brennan, the show doesn't make sense even in season five.

Now that I've seen the previous four seasons', I understand everything. I've only seen a handful of eps. from season five, I will gladly buy season five on DVD in October. I'm aware of Jack and Angela are back together. At least we haven't seen the last of Mr. Gibbons on "Bones".



What makes this show work is that the writers know if Bones, and Booth actually "hook up" it's completely over. If anyone remembers "Moonlighting", or "Cheers", you kill the tension, and the fans get bored. I think the two will eventually become a couple, when the writers, and producers decide to end the show.

[vivfox]

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[vivfox]

I have been thinking a lot today about Fleetwood Mac, rather Peter Green's Fleetwood Mac and more specifically Danny Kirwan, who along with Scott Walker (more on this to come soon!) is my current vintage crush. I'm such a sucker for a pair of baby blues poking out from under a floppy fringe. Danny is said to have been an emotional, quite neurotic young man at the time, and was so inspired when playing it would bring him to tears. Forget the weeping though, I do like a chap in a nice tight sweater! I wish I could have found some better pics...

Danny's story is though a rather sad one, after leaving the band in the early 70s and releasing a couple of solo albums he sadly succumbed to the all to familiar downward spiral of alcoholism and has spent the last 30 odd years living in homeless shelters, he was last tracked down a few years ago to a specialist alcoholics clinic in South London.

Like Crying is my favourite song of his and it's been in my head all day, and pretty much sums up how I have been feeling today. I usually feel super depressed on my birthday but this year I was rather cheerful for this first time in years, I think actually the b'day blues have been delayed a week and they've really got to me today.

http://smashingbird.blogspot.com/2010/07/vintage-crush.html

[vivfox]

Review of the Fleetwood Mac CD Then Play On

The exceptionally talented Rock group Fleetwood Mac have released their CD entitled Then Play On. I am very confident and happy to announce that I believe Fleetwood Mac fans, and Rock fans alike will be pleased with this one. With the release of Then Play On their artistic excellence is on full display as they have once again delivered a brilliant collection of tracks that could very well be their best work to date.

I wish it weren’t the case but, it’s not everyday that I get a CD for review that I can just pop in and comfortably listen to from beginning to end. There is usually a song or two that I just can’t force myself to get through. Not at all the case with Then Play On. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

These days it’s a very rare CD on which every single song is good or better than the one before it. This CD is certainly one of those rare CDs.

If you’re a Fleetwood Mac fan this is a CD your collection flat cannot be without. In fact, this is one of those CDs that you don’t even have to be a fan of lname, or even Rock to know is good. It’s just good music. Period.

While this entire album is really very good the truly standout tunes are track 1 – Coming Your Way, track 7 – Although The Sun Is Shining, and track 13 – Before The Beginning.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 13 – Before The Beginning. Great track!

Then Play On Release Notes:

Fleetwood Mac originally released Then Play On on October 25, 1990 on the Reprise label.

CD Track List Follows:

1. Coming Your Way

2. Closing My Eyes

3. Show-Biz Blues

4. My Dream

5. Underway

6. Oh Well

7. Although The Sun Is Shining

8. Rattlesnake Shake

9. Searching For Madge

10. Fighting For Madge

11. When You Say

12. Like Crying

13. Before The Beginning

Fleetwood Mac: Peter Green, Jeremy Spencer, Danny Kirwin (vocals, guitar); John McVie (bass); Mick Fleetwood (drums). Additional personnel includes: Christine Perfect (background vocals).

http://corywinebarger.storeblogs.com/2010/07/23/review-of-the-fleetwood-mac-cd-then-play-on

[vivfox]

Some Days, I Just Can't Help Myself
Peter Green's Fleetwood Mac Revisited

The Best Of The Boston Tea Party Tapes
Friday, July 23, 2010

Several people remarked last month about not only the quality of the playing, but also the fidelity of the recordings on the remastered 'Live In Boston' set that was captured during Fleetwood Mac's incredible three night run at the city's Boston Tea Party in early February of 1970. The tapes were intended for a live recording to captialize on the band's rising popularity here in the States, but were shelved when their leader, Peter Green left the band shortly after they were recorded. Subsequently, the masters sat in the vaults for years until a truncated version was officially released in 1985, and then remastered and re-released in their entirety in 2003.

Of course the Boston Tea Party recordings were widely bootlegged prior to any official release, and with noticably inferior sound. Today however, these recordings stand as the absolute best of the very few live recordings available from Peter Green's Original Fleetwood Mac. I have noted however that Wolfgang's Vault has a few Peter Green era shows available for streaming, but I've yet to hear them for a quality comparison.

As of 2010, the Boston Tea Party tapes have now been issued and reissued under a host of names, most of them variations on 'Boston Tea Party,' or 'Live In Boston.' And now there's one more, 'Peter Green's Fleetwood Mac Revisited: The Best Of The Boston Tea Party Tapes.' This one you won't find in stores, or from traders. It's only available here because it was I who edited and condensed the three volume set down to one extraordinary 92 minute set. "But that's already been done," you might say. "And where's the 'Encore Jam' with Joe Walsh and Eric Clapton?" Well, the answer to the first question is, "Yes, it has been done. 'Boston Blues' is it's name." Here's that recordings track sequence:

1) Black Magic Woman
2) Like It This Way
3) Oh Well
4) Jumping At Shadows
5) Stranger Blues
6) Oh Baby
7) Got To Move
8) Rattlesnake Shake
9) World In Harmony
10) Sandy Mary
11) Loving Kind
12) Red Hot Mama
13) I Can't Hold Out
14) The Green Manalishi (With The Two-Pronged Crown)
15) Encore Jam


And now here's mine:

1) World In Harmony
2) Jumping At Shadows
3) Like It This Way
4) Only You
5) Loving Kind
6) Sandy Mary
7) Rattlesnake Shake
8) Stranger Blues
9) Oh Well
10) Madison Blues
11) Coming Your Way
12) Black Magic Woman
13) The Sun Is Shining
15) The Green Manalishi (With The Two Pronged-Crown)


Most of the same material, but a different running order. A set much like the one that is 'Boston Blues.' That is to say, one that never really transpired, at least not in these particular sequences. Through the magic of editing, a performance is rearranged so as to appear authentically correct. But if you weren't there to remember it (and who really would unless you were sitting there taking notes, at which point you'd immediately be singled out a possible Narcotics Agent and then shunned for the remainder of the evening, not to mention putting everyone around you uptight), then you'd never know the difference.

So getting back to the questions, my answer to the second would be, "Like 'blooze' and 'boogie,' jams are largely irrelavent, typically memorable only in the moment, but rarely thereafter." With regard to the aforementioned 'all-star' jam, imagine this if you will. After a smoldering set, Peter and the band are brought back on stage for an encore. In tow are Joe Walsh and Eric Clapton, a guitar players wet dream. The crowd goes ape ****. The excitement is palpable. Then picture the sound of vomit as played by one bass player, one drummer, and no less that five guitarists. That's the 'Encore Jam.' It's kinda' like that whole Y2K thing ten years ago. Everyone thought it would be armageddon and the world would end. But when the clock struck midnight, it all turned out to be a whole lotta' nothing. The ocean's didn't rise, the Earth didn't go off it's obit, bibles didn't need to be rewritten. It was just another day. That is the 'Encore Jam.' Trust me on this one, O.K.? You're not missing anything.

"So why bother redoing what's already been done," you ask? Good point. All I can say is simply because, "No.#1) I like Peter Green's Fleetwood Mac, No.#2) I enjoy audio editing, and No.#3) I thought I could possibly do a better job than on 'Boston Blues,'" plain and simple. And I hope I'm right on that last one. You see, I figure if it were my band, I'd start out with a few low-key numbers just to get warmed up. You know, something to loosen up a bit to get rid of the opening night jitters. Sort of like putting the pot on the stovetop and bringing things to a slow simmer. Then I'd turn up the heat a little with some Danny Kirwan numbers before slipping into the heavy stuff where the juices are starting to flow and you're finally cooking on all four burners. That's why I reshuffled the set list and if I hadn't mentioned it to you, you'd likely accept it as a factual document. Sue me.

Since I'm bound to ruffle the feathers of a few purists out there, I've sweetened the deal by also including Fleetwood Mac's, 'Shrine '69,' recorded a year earlier at Santa Monica's Shrine Auditorium. It should make for a good comparison to the Boston Tea Party performances, although it too can stand on its own as a great document of the band's power during the Peter Green era. That's the deal. Take it, or leave it. But either way, enjoy it.

The Best Of The Boston Tea Party Tapes

1) World In Harmony
(from Volume Two)
2) Jumping At Shadows
(from Volume One)
3) Like It This Way
(from Volume One)
4) Only You
(from Volume One)
5) Loving Kind
(from Volume Three)
6) Sandy Mary
(from Volume Three)
7) Rattlesnake Shake
(from Volume Two)*
8) Stranger Blues
(from Volume Two)
9) Oh Well
(from Volume Two)
10) Madison Blues
(from Volume Three)
11) Coming Your Way
(from Volume Three)
12) Black Magic Woman
(from Volume One)
13) The Sun Is Shining
(from Volume Three)
14) The Green Manalishi (With The Two-Pronged Crown)
(from Volume One)

*The rendition of 'Rattlesnake Snake' on Volume One is actually a better performance, but it's faded out on the official recording. On the other hand, Volume Two's version is a complete one, thus it's inclusion here despite being the lesser performance of the two. I originally attempted merging the best of both into one giant Frankenstein track, but after seven unsuccessful tries, I decided that it wasn't worth reinventing the wheel. However, I've already done that, haven't I? Oh well.

Shrine '69

1) Tune Up
2) If You Be My Baby
3) Something Inside Of Me
4) My Sweet Baby
5) Albatross
6) Before The Beginning
7) Rollin' Man
8) Lemon Squeezer
9) Need Your Love So Bad

http://birdswithbrokenwings2.blogspot.com/2010/07/some-days-i-just-cant-help-myself.html

[doodyhead]

I notice that on your list for shrine 69 you did not include the missing track "Blue Suade Shoes"

Since there are doubles to many of the tracks on the te4 party recordings, which ones did you choose besides rattlesnake shake?

doodyhead, mel and vinnie

[vivfox]

I notice that on your list for shrine 69 you did not include the missing track "Blue Suade Shoes"


It's not my list. It came from the web.

[slipkid]

Why does everyone miss the Vol. 3 version of "Jumping At Shadows"? It maybe the best single recorded track from the three nights in Boston. It's shorter than the other two, yet it defines in a 4:50 nutshell why Peter Green is so beloved today, at least by this poster.

The reason why Peter Green should stand out over his contemporaries, is his use of dynamics in a live setting. Pete Townshend, Jeff Beck, Jimmy Page, and Jerry Garcia were all using dynamics in a live setting at the time. Yet nothing approaches how Peter Green conducted Fleetwood Mac during the late winter/early spring of 1970.

Does anyone notice the "fade outs" of "Black Magic Woman" from Boston '70 are not studio fade-outs, but pure band discipline? No other band from the states, or the U.K. was doing that at the time. For years I thought The Who's "Live at Leeds" was a snapshot into the best live rock music ever made. I'm now convinced it's Peter Green with Fleetwood Mac from 1/70-5/28/70.


There's a stray Boston "Black Magic Woman" on the 2CD "Jumping At Shadows", it is the best version I've heard.

[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]

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]

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 :nod:

[slipkid]

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]

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.

[Evan Morris]

It's hard to disagree with your comments regarding Duane Allman. I have fantasized about Duane and Peter playing in the same band, it would have been mind blowing to be sure.
I still feel that Peter's musical connection was stronger, but of course we never got the chance to hear how Duane may have developed musically. A tragic loss still felt by many...

[sharksfan2000]

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.
There have been rumors for years that a recording exists of just such a collaboration, but nothing has ever come to light, so the rumors may or may not any truth behind them: http://ledge.fleetwoodmac.net/showthread.php?t=15619

[slipkid]

It's hard to disagree with your comments regarding Duane Allman. I have fantasized about Duane and Peter playing in the same band, it would have been mind blowing to be sure.
I still feel that Peter's musical connection was stronger, but of course we never got the chance to hear how Duane may have developed musically. A tragic loss still felt by many...

If anyone can find the 11/70 New Orleans Warehouse recording of a three hour "Mountain Jam". The song began around midnight, and ended around 3 A.M.. You'll then have your answer. I fear that hurricane Katrina may have destroyed hidden gems tucked away in many attics.

The closest recorded evidence we have is that 2/11/70 Grateful Dead Fillmore East performance (second set) with Peter Green, and Duane Allman jamming to "Dark Star", and "Turn On Your Lovelight". Yet because Owsley Stanley is doing his best not to let two far and way beyond guitar talents upstage the regular members of the Dead, Green gets mixed out, as does Duane at times.

[vivfox]

Miss Kristin Puts a New Spin on Early Fleetwood Mac Favorites with "A Miss Kristin Mac Attack"
Not one to follow the crowd but known for paving the way via her undeniable originality, Miss Kristin strikes again with her impressive take on early Fleetwood Mac songs for both young and old to enjoy.

Putting a new spin on old favorites like "Emerald Eyes" and "Did You Ever Love Me", Miss Kristin croons her favorite early Fleetwood Mac songs in a reggae style production that brings new life and love to old favorites many may have never been introduced to otherwise. The songs may be a mystery to some, but to countless others, Miss Kristin is assisting in remembering an earlier time, with her demonstrative and emotive vocals.

Due to be released in September 2009 on the Big Fuss Records label, Miss Kristin enchants with these ten carefully selected tracks, from one of the greatest bands of our time (Fleetwood Mac) prior to their Stevie Nicks days. This is a top-notch collection of eclectic and classic songs that pays homage to this great band and their music created in the seventies.

Positioned beautifully in accordance with Christine McVie's sensual vocal style Miss Kristin re-creates favorites like "Spare Me A Little" and "Why" with new sincerity and strength. Touched by the greatness of classics like "Crazy Love", "Dissatisfied" and "The Way I Feel", Miss Kristin handles much of her own instrumentation, creating drum programming, playing the acoustic guitar and keyboards for all songs. Kristin features the expressive and talented reggae artist Emmanuel Sallasie on backing vocals and electric guitar for "Emerald Eyes", "The Derelict" and "Did You Ever Love Me" as well as some acoustic lead style guitar on "Bare Trees". And as with other more recent Miss Kristin releases, Kristin again features the exceptional Tom Landry on bass guitar for the entire collection. Erick Thorton makes two guest appearances with his tuneful harmonica on "Child Of Mine" as well as "The Derelict".

While "A Miss Kristin Mac Attack" will potentially manifest nostalgia, it triumphs in creating a fresh new beginning for these ten top drawer selections. Miss Kristin's Mac Attack features tender heartfelt melodies and riffs that remain and exist; weaving through your head long after the song has ended. This is a classic collection that will prevail as one of the masterpieces of the Miss Kristin catalog presenting itself in light of greatness for years to come.

Produced at 2High2Die Studios in Campbell, CA "A Miss Kristin Mac Attack" is a Big Fuss Records release and will be a digital only release initially. Look for it on iTunes and Amazon.com as well as EMusic, Rhapsody and wherever fine digital downloads are sold.

Contact:
Miss Manor
Big Fuss Records
408-871-9135
www.misskristin.com
Author Information
Miss Manor
Big Fuss Records
http://automoved.com/item/nasa920191000058519ci8ao/key8c1a92164363574

[vivfox]

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[vivfox]

Tuesday, August 10, 2010
Tramp - Tramp (1969)


Tramp – Tramp

Music Man SMLS 603 (U.K. 1969)

BOB BRUNNING bass
MICK FLEETWOOD drums
BOB HALL keyboards
DAVE KELLY vocals
JO ANNE KELLY vocals
DANNY KIRWAN guitar
DAVE BROOKS saxophone
IAN MORTON percussions

This was a great assembly of Fleetwood Mac alumni Bob Brunning on bass, Danny Kirwan on guitar and Mick Fleetwood on drums and they are rounded out nicely by Brunning's long time partner in crime Bob Hall (both played in Savoy Brown) on piano and Dave & Jo Ann Kelly on vocals (though under fake names due to legal reasons). Inspired playing and material set this platter alight. The rocking galloper "Own up" gets us started on perfect footing with Dave and Jo Ann dueling it out on lead vocals while Kirwan's rough guitar keeps the energy going along with great drum fills by Fleetwood and Brunning holds up his end well, a real highlight.

Other rocking moments are Danny's guitar instrumental spotlight called "Hard work" which is a fierce shuffle and Bob Hall has some of his most meaningful ivory licks added to this one. This is probably the longest Kirwan has soloed on his own on record to date though the slow "Street walking blues" often gets overlooked in this regard as Kirwan solos for well over a full minute towards the end of the track here and it's a gut wrencher that keeps you begging for more. If I have any complaint about this record, it's just that the late great Jo Ann Kelly is perhaps under used here as though she does a great job as mentioned on the opening cut, it sounds like she's really only on two other tracks here which are the great mopey classic blueser "Baby what you want me to do" handled perfectly here by all concerned and the catchy slight chunky funk of "On the scene" though again, accompanied by "little brother Dave". This turns out to be a minor quibble though as Dave lays down some great vocals on the rest of the tracks. The light plinky shuffle of "Same old thing", the effective stroll of "What you gonna do when the road comes through", the piano led boogie of "Somebody watching me", a piano and vocal only moaner called "Too late now", another piano led ballad called "Month of Sundays" (though it also includes a finger snapping jazz feel with Danny's delicate guitar strums keeping it successfully in this vein) and the well put together closing sing a long "Another day".

These explanations I have attempted to give here hardly do justice to the great sound this group have put out for us here as I find it a mix of blues and rock that is not bettered in many other albums if any. Also impressive is that Brunning is credited with co writing all tracks here except the Kirwan guitar work out discussed above and the great straight ahead blues highlight here "Baby what you want me to do" and I would say this album would rank as a highlight in the respective discography of all 3 Mac members here to date.

01 Own Up (2:49)
02 Same Old Thing (2:06)
03 What You Gonna Do (2:53)
04 Somebody Watching Me (2:59)
05 Too Late Mow (2:43)
06 Baby, What You Want Me to Do (4:11)
07 Street Walking Blues (3:19)
08 On the Scene (2:47)
09 Month of Sundays (3:42)
10 Hard Work (4:23)
11 Another Day (2:11)

Artwork Included

This is not a Cousin-Mike rip ; it was sent to us by a visitor. The source is probably CGR – Credits to Chris.

http://cousin-mike.blogspot.com/2010/08/tramp-tramp-1969.html

[PenguinHead]

Tuesday, August 10, 2010
Tramp - Tramp (1969)


Tramp – Tramp

Music Man SMLS 603 (U.K. 1969)

BOB BRUNNING bass
MICK FLEETWOOD drums
BOB HALL keyboards
DAVE KELLY vocals
JO ANNE KELLY vocals
DANNY KIRWAN guitar
DAVE BROOKS saxophone
IAN MORTON percussions

This was a great assembly of Fleetwood Mac alumni Bob Brunning on bass, Danny Kirwan on guitar and Mick Fleetwood on drums and they are rounded out nicely by Brunning's long time partner in crime Bob Hall (both played in Savoy Brown) on piano and Dave & Jo Ann Kelly on vocals (though under fake names due to legal reasons). Inspired playing and material set this platter alight. The rocking galloper "Own up" gets us started on perfect footing with Dave and Jo Ann dueling it out on lead vocals while Kirwan's rough guitar keeps the energy going along with great drum fills by Fleetwood and Brunning holds up his end well, a real highlight.

Other rocking moments are Danny's guitar instrumental spotlight called "Hard work" which is a fierce shuffle and Bob Hall has some of his most meaningful ivory licks added to this one. This is probably the longest Kirwan has soloed on his own on record to date though the slow "Street walking blues" often gets overlooked in this regard as Kirwan solos for well over a full minute towards the end of the track here and it's a gut wrencher that keeps you begging for more. If I have any complaint about this record, it's just that the late great Jo Ann Kelly is perhaps under used here as though she does a great job as mentioned on the opening cut, it sounds like she's really only on two other tracks here which are the great mopey classic blueser "Baby what you want me to do" handled perfectly here by all concerned and the catchy slight chunky funk of "On the scene" though again, accompanied by "little brother Dave". This turns out to be a minor quibble though as Dave lays down some great vocals on the rest of the tracks. The light plinky shuffle of "Same old thing", the effective stroll of "What you gonna do when the road comes through", the piano led boogie of "Somebody watching me", a piano and vocal only moaner called "Too late now", another piano led ballad called "Month of Sundays" (though it also includes a finger snapping jazz feel with Danny's delicate guitar strums keeping it successfully in this vein) and the well put together closing sing a long "Another day".

These explanations I have attempted to give here hardly do justice to the great sound this group have put out for us here as I find it a mix of blues and rock that is not bettered in many other albums if any. Also impressive is that Brunning is credited with co writing all tracks here except the Kirwan guitar work out discussed above and the great straight ahead blues highlight here "Baby what you want me to do" and I would say this album would rank as a highlight in the respective discography of all 3 Mac members here to date.

01 Own Up (2:49)
02 Same Old Thing (2:06)
03 What You Gonna Do (2:53)
04 Somebody Watching Me (2:59)
05 Too Late Mow (2:43)
06 Baby, What You Want Me to Do (4:11)
07 Street Walking Blues (3:19)
08 On the Scene (2:47)
09 Month of Sundays (3:42)
10 Hard Work (4:23)
11 Another Day (2:11)

Artwork Included

This is not a Cousin-Mike rip ; it was sent to us by a visitor. The source is probably CGR – Credits to Chris.

http://cousin-mike.blogspot.com/2010/08/tramp-tramp-1969.html

I'm intriqued! How does one download it?

[vivfox]

I'm intriqued! How does one download it?


I didn't see a dl link either. Oh Well.

[Wouter Vuijk]

I didn't see a dl link either. Oh Well.

Try this one:
http://fleetwoodmacmusic.blogspot.com/search/label/Bob%20Brunning

[vivfox]

The other talented Rock group Fleetwood Mac have released their CD entitled Bare Trees. I am very confident and happy to announce that I believe Fleetwood Mac fans, and Rock fans alike will be pleased with this one. With the release of Bare Trees their artistic excellence is on full display as they have once again delivered a brilliant collection of tracks that could very well be their best work to date.

one that will grab your attention right out of the gate has Child Of Mine and allow to go until the last note of the last song Thoughts On a Grey Day, which is another great track by the system.

The day This is a very rare CD where every single song is good or better than the one before it. This CD is definitely one of those rare CDs.

The total bare tree is outstanding from beginning to end. One of the CD after listening to some songs are just etched into your memory. A must have for Rock fans. Really spectacular from beginning to end.

While the entire CD is really very good some of my favorites are track 1 – Child Of Mine, track 3 – Homeward Bound, and track 8 – to forgive Me A Little Of Your Love

My Bonus Pick, and the one that got Sore [... as in "proud On Repeat"] is track 10 – Thoughts On A Grey Day. This is a great track!

Bare Trees Release Notes:

Fleetwood Mac originally released bare tree on October 25, 1990 reprise label.

CD Track List Follows:

1. I kid
2. Ghost, The
3. Homeward Bound
4. Sunny Side Of Heaven
5. Bare Trees
6. Sentimental Mother
7. Danny's singing
8. Spare Me A Little Of Your Love
9. Dust
10. Thoughts On A Grey Day

Fleetwood Mac: Danny Kirwin, Bob Welch (Vocals, Guitar), Christine McVie (vocals, keyboards), John McVie (Bass), Mick Fleetwood (drums).

http://www.sonnybruce.com/ghost-note-drums/

[vivfox]

Fleetwood Mac – “Hypnotised (Hypnotic re-edit)” « DJ Cold Duck
By djcoldduck
A sometimes successful, sometimes rather rough, remix of the ancient Fleetwood Mac tune (that is, 1973, from a brief period after Peter Green but before Stevie Nicks). Here I sped up the original, fattened the bottom, and then worked in ...
DJ Cold Duck - http://djcoldduck.wordpress.com/

[vivfox]

Musical epicentre – a guide to 60s Soho | The Vintage Guide to London
By Lena
It was here that John McVie (of Fleetwood Mac) proposed to Christine Perfect (also of Fleetwood Mac), and where Paul McCartney first set eyes upon upon his future wife Linda Eastman. Map. The Marquee, Wardour St ...
The Vintage Guide to London - http://www.thevintageguidetolondon.com/

[vivfox]

Dave Walker Band's new CD 'refreshing'

Posted: Friday, September 17, 2010 12:00 am | Updated: 2:11 pm, Thu Sep 16, 2010. RACHEL HERGETT, Chronicle Staff Writer | 0 comments

Dave Walker may be a legend in his own right, but in "Crazy All The Time" he allows the rest of the Dave Walker Band a chance to shine.

Many of the songs on the album released July 17, are slower, losing the hard-driving edge of Walkers previous work with Savoy Brown and Fleetwood Mac.

"Talk of the Town," for example, delves into psychedelic rock, with an expanded intro and licks reminiscent of Pink Floyd. Then the track shifts and Walker himself is suddenly Jim Morrison, fronting The Doors through the drug-addled ‘70s.

It's refreshing.

Still, the Dave Walker Band is probably at it's best in the full-on blues tune "Mr. Shame Shame," showcasing both Chris Cundy's abilities on the keys and the reason Walker is known as "the voice" - his vocals perfecting the rawness expected of the genre.

"Crazy All The Time" is one of those albums that keeps you listening, that grabs your attention and holds it because of its variety but with just enough common musicality to remain congruent.

The Bozeman-based Dave Walker Band is Jim Lewis on guitar, Eddie T. on bass and Mike Gillan on drums, along with Cundy and Walker.

Rachel Hergett may be reached at [email protected] or 582-2603.

http://www.bozemandailychronicle.com/arts_and_entertainment/sounds/article_6790c9d6-c1ce-11df-8306-001cc4c002e0.html

[vivfox]

Review of the Fleetwood Mac CD Heroes Are Hard To Find
Fleetwood Mac released their most recent CD entitled Heroes Are Hard To Find.

Fleetwood Mac have been a heavy hitters in the Rock genre for quite a while now and Heroes Are Hard To Find is an excellent illustration as to why.

Heroes Are Hard To Find is a pleasantly varied, mix of 11 tracks that are very well written and brilliantly performed songs by these clearly talented musicians. With many of the songs displaying a lot of the kind emotion that makes for a really great listen. Seemingly drawing from what I can only imagine are their own personal experiences. At different points touching on the most real emotions of love, heartbreak, pain, failed relationships and unattainable romance. They’re all here.

Listen to Heroes Are Hard To Find and I believe you’ll find there’s not much to dis-like about it. The songs are inspired, the production is simply outstanding, and this is clearly the work of a group of musicians in top form. So much so that if you’re even mildly into Rock music you’ll enjoy this CD.

While the entire CD is outstanding the truly standout tunes are track 2 – Coming Home, track 9 – Prove Your Love, and track 11 – Safe Horbour.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – Heroes Are Hard To Find. Outstanding!

Heroes Are Hard To Find Release Notes:

Fleetwood Mac originally released Heroes Are Hard To Find on October 25, 1990 on the Reprise label.

CD Track List Follows:

1. Heroes Are Hard To Find 2. Coming Home 3. Angel 4. Bermuda Triangle 5. Come A Little Bit Closer 6. She’s Changing Me 7. Bad Loser 8. Silver Heels 9. Prove Your Love 10. Born Enchanter 11. Safe Horbour

Fleetwood Mac: Bob Welch (vocals, guitar, vibraphone); Christine McVie (vocals, keyboards, Arp string synthesizer); John McVie (bass); Mick Fleetwood (drums, percussion). Additional personnel: Pete Kleinow (pedal steel guitar). Recorded at Angel City Sound, Los Angeles, California in July 1974.

http://sherrybates.easyworldwidemall.com/2010/09/18/review-of-the-fleetwood-mac-cd-heroes-are-hard-to-find/

[vivfox]

UK versus USA: Reasons Why America Doesn’t Make Music As Good As We Do

The UK version of Fleetwood Mac had it all. It had the best guitar players and the biggest drug-****ery. The US version pretty much survived their bouts with cocaine, reuniting every-so-often to play AOR for men and women in slacks. The UK version of Fleetwood Mac pretty much disintegrated in a cloud of weed smoke and melted their brains with super potent acid dished out by weird German cults. The tunes were better too.

http://www.hecklerspray.com/uk-versus-usa-reasons-why-america-doesnt-make-music-as-good-as-we-do/201051135.php

[vivfox]

Review: Sandi Thom, The Globe, Cardiff
Sep 23 2010 by Our Correspondent, South Wales Echo

SANDI Thom, the singer-songwriter who achieved fame in 2006 after performing live over the web from her London basement flat, provided the new noise insulation at the Globe with as demanding a test as it will receive.

Thom may have made her name with I Wish I Was A Punk Rocker (With Flowers in My Hair), but her first two albums were largely acoustic affairs.

Since leaving Sony and setting up her own label, the Scot has abandoned commercialism and immersed herself in the Blues.

Her 15-song set was largely made up of tracks from her new LP, Merchants and Thieves, embellished by Animals and Fleetwood Mac covers and a heavier version of Punk Rocker, but if the quality of the songs was high, so was the volume.

At times it was like sitting in a car with the loud button pressed and the bass turned to maximum.

The floor upstairs vibrated and ears popped.

Thom only went acoustic for one song, the first encore, Fleetwood Mac’s Need Your Love So Bad. Too Bad.

Thom was part of a six-piece band, two guitars, bass, drums and keyboards supplemented by a tambourine-waving support singer.

The keyboards were drowned out and the vocals were too often beaten by the drums.

It was certainly a departure from her first two albums – Smile… It Confuses People, and The Pink & the Lily, following the trail taken by Chris Rea, though he made a dozen mainstream LPs before picking up his Blues guitar.

The evening compared somewhat unfavourably to bluesman Rea’s concert in Cardiff’s St David’s Hall, a couple of years ago, when the sound levels were spot on and the vocals did not compete with instruments.

Anyone wanting to hear the real Thom should listen to Maggie McCall on Merchants and Thieves.

It’s Americana with a hint of Scotland.

http://www.walesonline.co.uk/showbiz-and-lifestyle/arts-in-wales/2010/09/23/review-sandi-thom-the-globe-cardiff-91466-27322555/

[vivfox]

Alphonse Mouzon | Music, CD's, Records, Cassettes
By admin
Stretch also toured the US as the bogus Fleetwood Mac during the early 70's. I could list several others that I feel deserve more recognition, many of which would be a tad too obscure for most... There's a few anyways. ...
Music, CD's, Records, Cassettes - http://www.originalrecordsos7.com/


What is your favorite Fleetwood Mac Album w/ Peter Green? » Green ...
By admin
I really like Fleetwood Mac with Green and Welch…. what's your favorite album with Peter Green? ALso, favorite song by.
Musical Multimedia - http://www.musicalmultimedia.com/

[michelej1]

Trev Wilkinson talks about V100 Icon Lemon Drop guitar on Songnetworks website:

http://www.songnetworks.org/vintage-v100-icon-lemon-drop-tribute-electric-guitar/

Still got the blues? Trev’s V100 “Lemon Drop” is a real tribute. “When I was young and in a band, we supported the original Fleetwood Mac to play at a gig we’d organised. Fleetwood Mac let us use their PA, and Peter Green even let me use his amp! He wouldn’t let me use his guitar but he was always my favourite guitarist….”

[vivfox]

September 28th, 2010 • 16:09
Review of the Fleetwood Mac CD Mystery To Me

Not sure what鈥檚 happening with me on this one, but it seems like the more I listen to it, the better Mystery To Me gets. Mystery To Me simply stated is one of their best CDs to date.

Fleetwood Mac have been a heavy hitters in the Rock genre for quite some time now and Mystery To Me is an excellent illustration as to why.

Mystery To Me has a nicely varied, mix of 12 tracks that are very well written and brilliantly performed songs by these clearly superb musicians. With many of the songs displaying a lot of the kind emotion that makes for a really great listen. Clearly drawing from what I can only imagine are their own real life experiences. At different points touching on the most real emotions of love, heartbreak, pain, failed relationships and unattainable romance. Theyare all here.

Overall Mystery To Me is an outstanding release. What I call must have music
I give it two thumbs up and is most definitely a worthy addition to any Rock collection. Truly an outstanding Rock CD. One of those that is completely void of any wasted time, as each track is simply superb.

While the entire CD is really very good some of my favorites are track 3 – Just Crazy Love, track 6 – Keep On Going, and track 12 – Why

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – Emerald Eyes. Great track!


http://colin.ilikehandbag.com/2010/09/28/review-of-the-fleetwood-mac-cd-mystery-to-me/

[vivfox]

...In between dosages of Grateful Dead, I supercharged with some early Fleetwood Mac. In their late 60s and early 70s incarnations, the Dead and the Mac seem to complement each other nicely. It's not that they sound alike. Nobody sounds like the Grateful Dead. I hate it when people find out that I'm a head and assume that I'll also like New Riders of the Purple Sage, or Quicksilver, or Hot Tuna, or Little Feat. I don't like any of that stuff. I don't like 'jam bands' per se. I like bands with great songs, and if they happen to throw some good jamming into the mix then that's great, but the jamming itself is almost never what draws me in to, say, the Allman Brothers or Jefferson Airplane.

I don't really get Phish. They sound like muzak to me - stoner muzak for college kids. It's not my thing at all.

The Dead are a completely distinct animal, though there are records you can play alongside live Dead music that go really well. Peter Green-era Fleetwood Mac would be in this category for me, and maybe even two or three albums after Peter Green left the band. Then Play On, Fleetwood Mac's masterpiece from 1970, might just be the greatest guitar album ever made, though not in an ostentatious way. The playing is in fact quite understated when it needs to be. Their approach to music is similar in my mind to Richard Thompson. He is a phenomenal guitar player, but he doesn't feel like he has to beat you ever the head with it.

Sometimes it's what isn't played or what's left to the listener's imagination that counts just as much as what what is played. Don't mistake what I'm saying. There's furiously slashing interplay between Peter Green and Danny Kirwan throughout the Then Play On, but it's never showy, always just exactly right in setting the proper mood and vibe. I'm fascinated by Fleetwood Mac and want to say more about them
at some point when I get my **** together...

http://lalonelyone.blogspot.com/2010/10/fragments.html

[vivfox]

BluesonaMonday - Gordon Smith
By inrumford
Fans of that early FLEETWOOD MAC sound will flip for the version of J.B. Lenoir's "I've Been Down So Long" which has both JOHN McVIE and MICK FLEETWOOD on it. Their rhythm section work perfectly compliments this really cool blues ...
MOG - Blogs for inrumford - http://mog.com/inrumford

[vivfox]

SKAMANCHACKETT: PETER GREEN'S FLEETWOOD MAC : Marquee Club, 15/8/67
By Skamanc
Following their Windsor debut, the Mac made their club circuit debut @ the Marquee on August 15th 1967. Here is another quite muddy audience reording. Bass & drums are generally inaudible, though in Mick Fleetwood's case, ...
SKAMANCHACKETT - http://skamanchackett.blogspot.com/

[vivfox]

Albatross (Fleetwood Mac) lesson Pt 1 o 2 How to play this ...
By Jessica
First part of a lesson analysing the consstruction of the dreamy guitar instrumental Albatross Written by Peter Green and performed by Fleetwood Mac The single topped the british charts (the B side was the excellent Dany Kirwin ...
Aquestions.com - http://aquestions.com/

[vivfox]

Simplicity works for me...
And how about the Fleetwood Mac version of 'Need Your Love So Bad'? Am I the only one who hates the strings in the background? A beautiful, simple slow blues with fecking orchestral strings stuck in it. Actually, I probably am the only ...

http://www.mudcat.org/thread.cfm?threadid=132578&messages=11

[doodyhead]

Truth is Peter hated them too. It was put out when BBKing did The Thrill is gone. Mickey Baker was called in to do this after it was recorded
check out the reissue of "Pius Bird Of Good Omen" to hear the way Peter heard it

[Evan Morris]

I read that he was quite pissed with Mike Vernon for having the strings added behind his back.

I love them all, but the live version from Shrine 69 is my favorite.

[BklynBlue]

Just for the record, the use of strings on 'Need Your Love So Bad' could not have been inspired by King's (actually, producer Bill Szymczyk's) use of them on 'The Thrill Is Gone' as that record was not released until late 1969, appearing on his LP "Completely Well", with the single charting (King's first crossover hit after twenty years of recording) in early 1970.
It has been said that Mayall introduced the song to Green and maybe he did - it appeared on Kings 1968 LP "Lucille", which also contained 'Worried Dream'
Green was on something of a King "kick" at the time, having gone to Paris to see King play in April of 1968 (same month Fleetwood Mac recorded 'Need Your Love So Bad' and Green can be heard performing at least three other numbers closely associated with King around this time: 'Buzz Me', 'How Blue Can You Get' and 'Worried Dream'

[doodyhead]

I was wondering if you would weigh in

we know when need your love so bad was recorded, but when waere the strings added. the record is unclear. and when was the single released of "Need Your Love S Bad" with the Micky "Guitar" Baker string arrangement?

vinnie c

[BklynBlue]

The strings were most likely recorded sometime in May, while the band was out of the country (think Vernon was concerned about Green's reaction? :rolleyes: - the single was first released on July fifth, 1968

Vernon re-released it a year later, but more importantly, remixed it -
With all of the previously unreleased material on the Blue Horizon box set, it seems petty to complain about what was missing, but I think it's a shame that no room could be found for either the original or remixed versions of the single -

the remix can be heard on "The Blue Horizon Story Vol. 1" and actually highlights the string section -

It is not just a matter of bringing the strings up in the mix; they are more prominent because the horns and organ have been mixed way down. The fog horn drone of the saxophones and the low sustained organ notes are no longer heard during the intro and are barely discernable through the bulk of the number; their limited use makes them far more effective when they are heard, wafting up to underscore a line or heighten an emotion before dissolving back into the mix.

While the use of the strings will always be a bone of contention, their effectiveness is best heard on the third stanza of this version, where rather than sounding like lead slabs being applied to the number, they now supply the wind to lift Green’s vocal, and the number itself, allowing them to soar.

Bringing down the horns and organ has the effect of clearing the soot and sludge that obscured the number, allowing the listener to hear it as if for the first time.

I would have liked to have heard this mix applied to the full length version available on the box set.

[vivfox]

rock rare collection fetish: FLEETWOOD MAC - Marquee Club London ...
By rockitaly
FLEETWOOD MAC - Marquee Club London 15/8/1967. Pubblicato da rockitaly a 13:44. 0 commenti: Posta un commento. Post più vecchio Home page. Iscriviti a: Commenti sul post (Atom). Lettori fissi. Informazioni personali ...
rock rare collection fetish - http://rockrarecollectionfetish.blogspot.com/

[vivfox]

Mystery to Me | bloodredemption.com
By admin
When Mystery To Me came in 1973, Fleetwood Mac were done being Peter Green's blues band and were on their way to the international superstardom they would soon find on their self-titled 1975 album, and Rumors, which sealed the deal. ...
bloodredemption.com - http://www.bloodredemption.com/

[vivfox]

A Conversation with John Mayall
By Administrator
Did I forget to mention Peter Green, John McVie and Mick Fleetwood who became Fleetwood Mac, have also been known to work with Mr. Mayall? I sure hope the Rock 'n Roll Hall of Fame thanks this man soon. Until then, Thank you Mr. John ...
American Blues News - http://www.ameriblues.com/

[vivfox]

Saturday, October 16, 2010
Parody and Satire: Take a Look Around Mrs. Brown


Jeremy Spencer: Take a Look Around Mrs. Brown

[out of print]

I've mentioned this song before, but thanks to this weeks' theme, you can finally hear it.

Jeremy Spencer released his first solo album in 1970, while still a member of Fleetwood Mac. All of his bandmates played on it, and it's possible it was recorded to make up for the fact that Spencer didn't play at all on the Mac's then-recent Then Play On album.

It's basically a collection of rock'n'roll pastiches and send ups of Elvis, the Beach Boys, "heavy" blues, and more. "Take a Look Around Mrs. Brown" spoofs psychedelic rock, and after a dodgy start, it's spot-on.

Spencer was never much of a songwriter. His early contributions to Fleetwood Mac albums were largely Elmore James impersonations. When founder Peter Green left the band, Spencer and fellow singer/guitarist Danny Kirwin had to pick up the slack for Kiln House, and Jeremy's attempts at real songwriting are particularly weak. But his ability to mimic a variety of genres was always spot on.

Posted by FiL at 9:24 PM

Labels: Jeremy Spencer, Parody and Satire

http://sixsongs.blogspot.com/2010/10/parody-and-satire-take-look-around-mrs.html

[vivfox]

Fleetwood Mac released Mr. Wonderful a mere seven months after their self-titled debut. Much like that album, they proved to be extremely popular in the United Kingdom, reaching number ten on their charts. I have to say it featured one of the ugliest jackets in rock history. The album was revised and renamed English Rose in The United States with an equally ugly cover, but received little attention and did not chart.

Their second release had some high points but not the consistency of the first. The core band of drummer Mick Fleetwood, bassist John McVie, and guitarists Peter Green & Jeremy Spencer were still in place. A number of additional musicians were on hand, including four saxophonists and harmonica player Duster Bennett. The most notable session player was keyboardist Christine Perfect of Chicken Shack, who would go on to have a long and storied history with the band.

When Fleetwood Mac was on, they were very good. But there was trouble in paradise, as Green and Spencer did not play with each other on five of the songs.

The best two tracks are “Trying Hard To Forget,” which combines the acoustic guitar talents of Green with those of harp player Duster Bennett, and the traditional blues tune “Dust My Broom,” which does not include Green but does include terrific slide guitar by Spencer. The two tracks present both sides of Fleetwood Mac separately, which did not bode well for this line-up.

The best of the other Spencer tracks are “I’ve Lost My Baby,” and “Evenin’ Boogie.” Spencer is one of the lost treasures of the late sixties and early seventies slide guitar, and he shines here.

Peter Green’s main advantage was the caliber of his vocals plus the fact he was a more versatile guitarist who created one of the purist sounds in rock music at the time. His “Stop Messin’ Round,” “Love That Burns,” and “If You Be My Baby,” are all examples of his smooth style.

Fleetwood and McVie were beginning to jell as the rhythm section and they were a constant on this album. They would also remember Christine Perfect's contributions.

Mr. Wonderful was a competent, if not exceptional album. Green would recognize the need for change and would make a big one before their next album was released.

http://blogcritics.org/music/article/music-review-fleetwood-mac-mr-wonderful/

[vivfox]

October 21, 2010

When they're not backing Gustav Estjes in the Swedish psych-rock band Dungen, Reine Fiske and John Holmegard (along with singer Christopher Gunrup and Fredrik Swahn) make up The Amazing. And, true to its name, the group plays meandering, willowy psychedelic rock that's nothing short of jaw-dropping.

In the six-and-a-half-minute epic "The Kirwan Song," The Amazing pays tribute to Fleetwood Mac guitarist Danny Kirwan, cribbing the lead-guitar melody from Mac's 1972 track "Sunny Side of Heaven." But any relation to the bright old instrumental ends there. Instead, The Amazing cooks up a bewitching psychedelic feast, with rollicking, tricked-out drums, ghostly vocal "oooo"s and subtle organ washes. The guitar riffs slay, too, and even echo some of The Grateful Dead's deepest and most out-there live improvisations. "The Kirwan Song" fades out at the 4:20 mark, but just when you think it's wrapped, the track fades back in with a dazzling, freeform jam that'd make Kirwan proud.

http://www.npr.org/templates/story/story.php?storyId=130719824

[vivfox]

This could be in the JTIS thread or here:

I was just driving down a dark road listening to Peter Green's Green Manalishi and it sounded so spooky. Totally cool and I was feelin' real good.

[vivfox]

Celebrity birthdays on October 29, 2010

Happy Birthday to everyone celebrating today

Country singer Lee Clayton is 68.
Guitarist Denny Laine (Wings, Moody Blues) is 66.
Singer-actress Melba Moore is 65.
Guitarist Peter Green (Peter Green's Fleetwood Mac) is 64.Actor Richard Dreyfuss is 63.
Actress Kate Jackson is 62.
Actor Dan Castellaneta (The Simpsons) is 53.
Drummer Peter Timmins of Cowboy Junkies is 45.
Rapper Paris is 43.
Singer S.A. Martinez of 311 is 41.
Actor Trevor Lissauer (Sabrina the Teenage Witch) is 37.
Actress Gabrielle Union is 37.
Actor Brendan Fehr ("Roswell") is 33.

http://www.ontheredcarpet.com/2010/10/celebrity-birthdays-on-october-29-2010-1.html

[vivfox]

FARK.com: (5722461) Fleetwood Mac's Peter Green is 64 today. To ...
My favorite Fleetwood Mac. Link (new window) I got to see Bob Welch do this live after they ... The Fleetwood Mac version is just too, I dunno, uptight. ...
http://www.fark.com/cgi/comments.pl?IDLink=5722461

[vivfox]

A Facemelting Blog of Staggering Riffage.: Fleetwood Mac--Oh, Well ...
By Jake Lancaster
Fleetwood Mac--Oh, Well-1969. I thought three chicks ruined this band until I found out Lindsey Buckingham was/is a dude-or so he alleges. Posted by Jake Lancaster at 12:06 PM. 0 comments: Post a Comment. Older Post Home ...
A Facemelting Blog of Staggering... - http://afacemeltingblogofstaggeringriffage.blogspot.com/

[slipkid]

Thanks for deleting my posts, and I'm not a troll. I just know more than you about Peter Green's era with Fleetwood Mac (as does a handful of other posters). I was only correcting what you posted. I know, "don't shoot the messenger", yet I was only trying to correct the errors of what you had quoted. Seriously, just stick with the Buckingham era, you're not a true fan of the early band anyway.

I'm counting the minutes as when you can get this post deleted. CHEERS!

[vivfox]

Peter Green: Black Magic Woman

[purchase]

…this one. Black Magic Woman is the song that was a hit for Santana back when. But it was written by Peter Green, for the blues band he was in at the time. Perhaps you’ve heard of Fleetwood Mac? Green was one of the founders of the band, but he didn’t stay long, and he was long gone by the time they reached the height of their popularity. Green had some serious problems that kept him out of the music business for many years. But by 2003, Green had a band, and he revisited some of his old material. I like his vocal on this remake better than the Fleetwood Mac original. The song as done here is also twice as long as the original version. Although this is a studio recording, it has the feel of a live jam, and a fine one.

http://oliverdiplace.blogspot.com/2010/11/song-chain.html

[Norton]

Peter Green: Black Magic Woman

[purchase]

…this one. Black Magic Woman is the song that was a hit for Santana back when. But it was written by Peter Green, for the blues band he was in at the time. Perhaps you’ve heard of Fleetwood Mac? Green was one of the founders of the band, but he didn’t stay long, and he was long gone by the time they reached the height of their popularity. Green had some serious problems that kept him out of the music business for many years. But by 2003, Green had a band, and he revisited some of his old material. I like his vocal on this remake better than the Fleetwood Mac original. The song as done here is also twice as long as the original version. Although this is a studio recording, it has the feel of a live jam, and a fine one.

http://oliverdiplace.blogspot.com/2010/11/song-chain.html



The version in the link is from the album Reaching the Cold 100 (Splinter Group):-

http://www.mediafire.com/file/f9org1cgwfc3mel/14%20-%20Black%20Magic%20Woman.mp3

[vivfox]

there is another very cool version of " Rings"that Leo Kottke
did a few years ago with Mike Gordon of Phish and the album "Sixty Six Steps". The same album has a killer version of "Oh Well" the old Fleetwood Mac written by Peter Green. I do mean killer. I am too lazy to find a link. Knock yourself out.

http://okjimmseggrollemporium.blogspot.com/2010/11/ok_18.html

[vivfox]

http://bootlegtunzworld.blogspot.com/2010/11/peter-greens-fleetwood-mac-cue-club.html

password: bootlegtunzworld
PLUS 2 KICKASS MUSIC VIDEOS INCLUDED

Fleetwood Mac
Cue-Club, Sweden
11.02.1969

Tracks:
01 Rattlesnake Shake
02 Underway
03 World In Harmony
04 Red Hot Mamma
05 Got To Move
06 Improvisation
07 Coming Your Way
08 Stranger Blues
09 Albatross
10 Oh Well
11 The Green Manalishi (Outtake)

Click on link to download

[zoork_1]

[...]... Fleetwood Mac Cue-Club, Sweden 11.02.1969


Hmm, my guess it's 1970-04-02 Konserthuset Göteborg, Sweden

BTW, here's a pic fromthe gig

/zhttp://s1182.photobucket.com/albums/x460/zoork_1/?action=view&current=C13_15.jpg

[Wouter Vuijk]

Hmm, my guess it's 1970-04-02 Konserthuset Göteborg, Sweden

BTW, here's a pic fromthe gig

/zhttp://s1182.photobucket.com/albums/x460/zoork_1/?action=view&current=C13_15.jpg

Hmmmm....
What makes you think it's from Göteborg? The setlist corresponds to the setlist already known from the Cue Club, and Dinky Dawson doesn't mention a show on april 2, 1970.

???????

Love the picture though. Did you take it, were you there, and is that a proof of the show in Göteborg on that particular date?
Keep us informed.
:wavey:

[sharksfan2000]

Hmmmm....
What makes you think it's from Göteborg? The setlist corresponds to the setlist already known from the Cue Club, and Dinky Dawson doesn't mention a show on april 2, 1970.

???????

Love the picture though. Did you take it, were you there, and is that a proof of the show in Göteborg on that particular date?
Keep us informed.
:wavey:
Not zoork, but there's a lot of doubt that the show in question is actually from the early 11/69 date that the Cue Club show is listed under. The setlist and playing are much more like a show from late winter or early spring 1970 than mid-autumn 1969. In particular, that arrangement of "Rattlesnake Shake / Underway" was not used until early 1970, based on other live recordings. On other recordings from 11-12/69, it had not yet stretched out to the length it is on this show, and it did not yet include "Underway". Also, the date seems too early for a live "Green Manalishi." As to the exact date and venue that it's more likely to be from, I don't know.

I believe the question about the date of this show has been discussed before on the Ledge, and it's been discussed extensively on the Wolfgang's Vault webpage for this show (which is where the recording came from): http://www.wolfgangsvault.com/fleetwood-mac/concerts/cue-club-november-02-1969.html

[Wouter Vuijk]

I believe the question about the date of this show has been discussed before on the Ledge, and it's been discussed extensively on the Wolfgang's Vault webpage for this show (which is where the recording came from): http://www.wolfgangsvault.com/fleetwood-mac/concerts/cue-club-november-02-1969.html

Sorry. Yes, I did read the comments on Wolfgangs Vault a while ago. Just forgot I did (age problem ?:shrug:). I'm rather inclined to believe it is from Göteborg as Zoork mentioned.

[sharksfan2000]

Sorry. Yes, I did read the comments on Wolfgangs Vault a while ago. Just forgot I did (age problem ?:shrug:). I'm rather inclined to believe it is from Göteborg as Zoork mentioned.
No worries, Wouter! My memory is not what it used to be either. :o

[zoork_1]

[...]... Love the picture though. Did you take it, were you there, and is that a proof of the show in Göteborg on that particular date?
Keep us informed.
:wavey:

Think I sorted that out at Wolfgangs Vault ... :-)

No, I didn't take that pic, but I've been in contact with the person who shot it.
Here's another..., from Cue Club

http://s1182.photobucket.com/albums/x460/zoork_1/?action=view&current=CueClub.jpg

/z

[vivfox]

Listening to Fleetwood Mac before Stevie ruined it... Yeah, I said it · Edit · Delete; Autopost. PS did you know that "Black Magic Woman" was written by them but made popular by Santana? ...
http://socialsoundsystem.com/listening-to-fleetwood-mac-before-stevie-ruin

[vivfox]

http://s1182.photobucket.com/albums/x460/zoork_1/?action=view&current=CueClub.jpg


I was only able to view the first photo because of the darn pop ups that keep popping up. You can x them out and they return faster than I can click NEXT to see the next picture.

[sharksfan2000]

Think I sorted that out at Wolfgangs Vault ... :-)

No, I didn't take that pic, but I've been in contact with the person who shot it.
Here's another..., from Cue Club

http://s1182.photobucket.com/albums/x460/zoork_1/?action=view&current=CueClub.jpg

/zGreat photos! Please post more of them if you are able to get more from the person who shot them.

[vivfox]

What's Buzzing In My Ears - Peter Parcek 3
By DashboardDJ856
The disc opens with Peter Parcek's take on Fleetwood Mac's "Showbiz Blues," written by one of his idols, Peter Green. Parcek lays down electric lead and rhythm guitar, slide, and National steel resonator guitar to "Showbiz Blues," and ...
http://mog.com/DashboardDJ856/blog/2551986

[vivfox]

<object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/ypDxmMoS8dU?fs=1&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/ypDxmMoS8dU?fs=1&amp;hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>

Fan-filmed video footage of HALFORD
"The Green Manalishi (With The Two Pronged Crown)" last night (Wednesday, December 1) at Madison Square Garden in New York City (as the support act for OZZY OSBOURNE) can be viewed below.

HALFORD's setlist was as follows:

01. Resurrection
02. Made In Hell
03. Locked And Loaded
04. Made Of Metal
05. Nailed To The Gun (FIGHT cover)
06. Fire And Ice
07. Thunder And Lightning
08. The Green Manalishi (With The Two Pronged Crown) (FLEETWOOD MAC/JUDAS PRIEST cover)
09. Diamonds And Rust (JOAN BAEZ cover)
10. Jawbreaker (JUDAS PRIEST cover)
11. Like There's No Tomorrow
12. Cyberworld

http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=150306

[Wouter Vuijk]

<object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/ypDxmMoS8dU?fs=1&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/ypDxmMoS8dU?fs=1&amp;hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>

Fan-filmed video footage of HALFORD
"The Green Manalishi (With The Two Pronged Crown)" last night (Wednesday, December 1) at Madison Square Garden in New York City (as the support act for OZZY OSBOURNE) can be viewed below.

HALFORD's setlist was as follows:

01. Resurrection
02. Made In Hell
03. Locked And Loaded
04. Made Of Metal
05. Nailed To The Gun (FIGHT cover)
06. Fire And Ice
07. Thunder And Lightning
08. The Green Manalishi (With The Two Pronged Crown) (FLEETWOOD MAC/JUDAS PRIEST cover)
09. Diamonds And Rust (JOAN BAEZ cover)
10. Jawbreaker (JUDAS PRIEST cover)
11. Like There's No Tomorrow
12. Cyberworld

http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=150306

Just like Judas Priest they made a terrific job of killing the essence of the song by disbanding the haunting suspense only Peter could hav brought into it.
Halford and Judas Priest should be sent to jail or something the like :mad:

[vivfox]

Bob Welch - His Fleetwood Mac Years And Beyond (CD, Album) at Discogs
The recordings contained on this compact disc are new recordings by Bob Welch of songs he performed while a member of Fleetwood Mac and his solo career. ...
www.discogs.com/Bob-Welch-His-Fleetwood.../2584367

[zoork_1]

Great photos! Please post more of them if you are able to get more from the person who shot them.

Sorry for slow response, here's two more:

http://i1182.photobucket.com/albums/x460/zoork_1/MF.jpg

http://i1182.photobucket.com/albums/x460/zoork_1/JS.jpg

/z

[sharksfan2000]

Sorry for slow response, here's two more:

http://i1182.photobucket.com/albums/x460/zoork_1/MF.jpg

http://i1182.photobucket.com/albums/x460/zoork_1/JS.jpg

/zThanks, zoork! Great to see these old photos.

[vivfox]

What's the real deal with Danny Kirwin's 'burst? - My Les Paul Forums
By SingeMonkey
You only hear praise for him from Fleetwood Mac fans. Based on a couple of conversations I've had, this may be because some of his most famous work - like Jigsaw Puzzle Blues - gets attributed to Peter Green. ...
http://www.mylespaul.com/forums/vintage-les-pauls/119411-whats-real-deal-danny-kirwans-burst.html

[vivfox]

Fleetwood Mac feat. Peter Green
Swing Auditorium, San Bernardino, CA
07-19-1971
SBD from 1st Gen. Reel! A++

As we all know Peter Green left Fleetwood Mac in 1970. But this is no date typo, it's the real thing. In fact, Peter Green re-joined Fleetwood Mac for a few tour dates, after Jeremy Spencer left Fleetwood Mac hanging when he took off with this cult called Children of God.
Tell Me All The Things You Do is a freakin' masterpiece, just like those infamous 1970 shows!
Since this is indeed very rare stuff, I upped it as wav files. Please enjoy without moderation!

http://gratefulbreed.blogspot.com/2010/12/fleetwood-mac-feat-peter-green-swing.html

[vivfox]

Powerpopaholic: Stuff I somehow missed: The Autumn Defense, Bleu ...
By Aaron
Echoes of early Fleetwood Mac and Neil Young are visible in most of these tracks , but nothing comes close to that dynamic first single. Amazon. Bleu "Four". Bleu returns after last year's "Watched Pot" to this self funded fourth album. ...
http://powerpopaholic.blogspot.com/2010/12/stuff-i-somehow-missed-autumn-defense.html

[vivfox]

10 albums that changed Bill Mumy’s life


You may recognize Bill Mumy from one of his alter egos, such as Will Robinson from TV’s “Lost in Space.” But Mumy has been part of musical groups The Jenerators, Barnes & Barnes, Seduction of the Innocent, The Be Five and Redwood. His latest solo album is “Glorious in Defeat.”

Fleetwood Mac:
Then Play On
I could listen to Peter Green play guitar forever. “Oh Well” is amazing. Fleetwood Mac managed to create the extended jam-rock blues style, and they did it right. The interplay of Peter Green’s vintage Gibson Les Paul weaving in and out with Danny Kirwan’s Les Paul paved the way for many other groups to follow, but none did it better — beautiful, soulful playing behind the tasty and powerful rhythm section of Mick Fleetwood and John McVie, who remain the only constants in Fleetwood Mac. Danny Kirwan contributes some soothing mellow pop blues songs here, but it’s all about Peter Green. This album taught me that white boys can play the blues.

http://www.goldminemag.com/article/10-albums-that-changed-bill-mumy-life

[vivfox]

Under the covers December 30, 2010
Posted by fetzthechemist

I had one of those musical epiphanies a couple of week’s ago. I bought a CD of the early Fleetwood Mac, pre-Stevie Nicks and pre-going-pop. (It’s called The Best of Peter Green’s Fleetwood Mac). I got the CD because it was a high-school memory. One of my good friends was big into them – I remember listening to the Bare Trees album at his house during my senior year, so it must have been 1971 or 1972. The epiphany? There is the song “Black Magic Woman”, the one Carlos Santana had as a hit. But the songwriter is Peter Green, so Santana was covering it.

I have a mental list I keep of famous songs made famous by an artist, but in reality written and performed first by another famous artist who nobody connects with the song. I’ll list a few and my comments.

Some sort of string together….like Three Dog Night made the sone One (is the loneliness number) a hit, but it is a Harry Neilsson song. But Harry Nilsson covered Badfinger’s Without You. Badfinger did Come and get it, but that was a Paul McCartney song written for the movie “The Magic Christian”, which Ringo Starr was in. Harry Nilsson gets an asterisk note here as a famous artist who did a very famous and recognizable song that nobody associates him with…..”People let me tell you about my best friend…”, yeah, the theme from The Courtship of Edie’s Father.

Rod Stewart covered Robert Palmer’s Some Guys have all the Luck (and in his anthology boxed set made the mistake of saying it was not the Robert Palmer who made the videos with the tall, slinking women in black, when it was one and the same Robert Palmer).

Tina Turner covered Credence Clearwater Revival’s Proud Mary. John Fogarty had stopped playing the song in concerts, but when people started saying it was a Tina Turner song he resumed playing iy to get credit.

Whitney Houston covered Dolly Parton’s I will always love you.

Olivia Newton-John covered Bob Dylan’s If not for You – but the arrangement of it sounds very much like George Harrison’s cover version, rather than the Bob Dylan one – but George got no credit for that inspiration (ironically this was in the period where George was being suited by the composers of She’s So Fine for plagarism in his song My Sweet Lord).

There must being others. I just find it intriguing how a song gets popularized.

http://fetzthechemist.wordpress.com/2010/12/30/under-the-covers/

[slipkid]

Just like Judas Priest they made a terrific job of killing the essence of the song by disbanding the haunting suspense only Peter could hav brought into it.
Halford and Judas Priest should be sent to jail or something the like :mad:

:nod:

They took all of the darkness, and evil out of the song, from a band that's supposed to be ironically dark, and evil. To read those punks on Youtube who are JP fans tell me that they made "The Green Manalishi" better is dumb at best. Where are the power chords? Where is the space of time with dread, where is the evil laugh? Judas Priest did a 'Pat Boone' to what was a very scary song in 1970.


There's no doubt that Peter Green's "Green Manalishi" inspired Brian May, and later helped to create the early 80's wave of British Heavy Metal (Iron Maiden).

[vivfox]

Saturday, January 01, 2011
Green makes a hard morning easier

HAPPY NEW YEAR everyone!
Well, 2011 began like so many mornings in 2010.
RORY THE INSOMNIAC DOG woke me up waaaaay too early.
I can never get back to sleep once the cold air of the outdoors hits my feet -- Rory really had to go out, apparently -- so I am sitting here listening to some blues while the rest of last night's revelers slumber (heck, I think Rory even went back to sleep).
Sometimes you hear about so-called "guitar gods" and think: Yeah, whatever. I never think that about PETER GREEN.

I just heard his absolutely stunning work on the instrumental, "The Supernatural," on the classic British blues album, "A HARD ROAD," by JOHN MAYALL & THE BLUESBREAKERS.

Green would eventually form Fleetwood Mac, but in 1966 he had the unenviable task of replacing Eric Clapton in Mayall's band.

The next year, Green proved any doubters wrong with his great work on "A Hard Road," then he struck out on his own with former the Bluesbreakers rhythm section, drummer Mick Fleetwood and bassist John McVie, in Fleetwood Mac.
As ever, Mayall simply retooled, and future Rolling Stone Mick Taylor joined the band -- basically a nursery for the best British guitarists in a generation.
This album is so good, it just about makes up for the early morning doggy wake-up call.

http://erik1966route1.blogspot.com/2011/01/green-makes-hard-morning-easier.html

[vivfox]

Bob Welch’s next column, in its entirety: “Go Ducks!(1,000)” Media digest Jan. 4, 2011
Some business, first and foremost: a post on the new Voice and Ethos is on its way, but there is a lot to read yet on that score.

With that down, I’d like to draw our attention to the words of Eugene resident Leslie Graham, who gives the following pointer to Guard columnist Bob Welch: “I love my Ducks! That’s what Welch should have said, over and over again.” Also, who here wouldn’t like to see Eugene’s Bob Welch perform a set of Fleetwood Mac covers, or possibly turn out for the Oakland Athletics?

http://www.oregoncommentator.com/2011/01/04/bob-welchs-next-column-in-its-entirety-go-ducks1000-media-digest-jan-4-2011/

[vivfox]

Mick Fleetwood, Dave Kelly, Peter Green - Rarities (1995)

MP3 320Kbps | 47 min 02 sec | Covers | 115.51 Mb

Genre: Rock, British Blues | Label: Appaloosa

“Rarities is a British blues classic album from the late 60s featuring unreleased material of former Fleetwood Mac, Savoy Brown and Blues Band members and various British blues artists: Peter Green, Mick Fleetwood, Bob Hall, Danny Kirwan, Bob Brunning, Jo-Ann and Dave Kelly, and others. ”

Tracklist

---------

01. Ride With Your Daddy Tonight (Peter Green, vocals)

02. Simple Simon (Bob Bruning, vocals)

03. Ah! Soul (instrumental)

04. It Takes Time (Peter Green, vocals)

05. If You Let Me Love You (Peter Green, vocals)

06. Uranus (instrumental)

07. Own Up (Jo Ann Kelly & Dave Kelly, vocals)

08. Somebody Watching Me (Jo Ann Kelly & Dave Kelly, vocals)

09. Baby, What You Want Me To Do (Jo Ann Kelly & Dave Kelly, vocals)

10. Street Walking Blues (Dave Kelly, vocals)

11. Hard Work (instrumental)

12. Too Late For That Now (Jo Ann Kelly & Dave Kelly, vocals)

13. Funky Monkey (Dave Kelly, vocals)



Personnel:

------

Peter Green (vocals, guitar)

Bob Brunning (vocals, bass)

Jo-Ann Kelly, Dave Kelly (vocals)

Danny Kirwan, Colin Jordan (guitar)

Bob Brooks (saxophone)

Bob Hall (piano)

Pete Banham, Mick Fleetwood (drums)

Ian Morton (percussion)

http://www.downeu.com/forum/music/330335-mick-fleetwood-dave-kelly-peter-green-rarities-1995-a.html

[vivfox]

Rock Gems of the 70s: Fleetwood Mac's Oh Well
I know, I know, this was recorded in 1969, and the real Fleetwood Mac wasn't around for much of the 70s as Peter Green faded into mental illness. Still, they were ahead of their time (and they were also the greatest blue-eyed blues band bar none) and Oh Well is a great example of their inventiveness. The album this song comes from, Then Play On also features their rock anthem Rattlesnake Shake, well worth checking out.

http://www.musicalramblings.com/2011/01/rock-gems-of-the-70s-fleetwood-macs-oh-well.html

[vivfox]

Thursday, January 6, 2011
Bob Welch (Fleetwood Mac) Interview with Jason Saulnier

Jason Saulnier interviews Bob Welch guitarist for Fleetwood Mac from 1971 to 1974.
We talk about the Nashville flooding the worst in 500 years. We talk about recording the classic Fleetwood Mac albums which guitars and amplifiers were used.
The early days of recording and how every few years tracks would be added to the recording systems.
Interview May 4, 2010


<object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/1POXuQo_Mq8?fs=1&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/1POXuQo_Mq8?fs=1&amp;hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>

http://gtmometal.blogspot.com/2011/01/bob-welch-fleetwood-mac-interview-with.html

[vivfox]

Peter Green of Fleetwood Mac: living with Schizophrenia
By Kamal
Peter Green, the British guitarist, founder of the band Fleetwood Mac (the band's original name was “Peter Green's Fleetwood Mac”) and 1998 Rock and Roll Hall of Fame inductee was diagnosed with schizophrenia in the mid 1970s during ...
http://trialx.com/curetalk/2011/01/peter-green-fleetwood-mac-schizophrenia-treatments-symptoms-clinical-trials/

[vivfox]

Friday, January 14, 2011

Fleetwood Mac - June 9, 1968 - Carousel Ballroom San Francisco, CA

Cd 01
01 [cuts in] Madison Blues 4:31
02 My BabyÕs Gone 6:00
03 My BabyÕs Skinny 4:48
04 Worried Dream 9:57
05 Dust My Broom 4:32
06 Got To Move 3:00
07 Worried Mind 4:41
08 Instrumental 10:29
09 Have You Ever Loved A Woman? 7:58
10 Lazy Poker Blues 4:49

Cd 02
01 [cuts in] Stop Messing Around [with Paul Butterfield] 2:12
02 I Loved Another Woman [with Paul Butterfield] 7:03
03 I Believe [with Paul Butterfield] 5:17
04 The Sun Is Shining [with Paul Butterfield] 6:27
05 Long Tall Sally [with Paul Butterfield] 4:53
06 Willie & The Hand Jive 4:04
07 > Tuti Frutti 3:02
08 Thanks by Peter Green, announcer band intros + crowd noise before encore 0:32
09 Ready Teddy [cut] 3:16
June 7 or 8, 1968 S.F. Carousel Ballroom 18:52
10 [cuts in] I Need Your Love So Bad 1:46
11 I Believe 4:59
12 Shake Your Moneymaker 9:12
13 Ready Teddy 2:30
14 Peter Green says thanks, announcer outro + crowd noise 0:19

Peter Green - guitar, vocals
John McVie - bass
Mick Fleetwood - drums
Jeremy Spencer - guitar, vocals
Paul Butterfield - harp (where noted)

From Peter Green's stage comments, this is from one week into Fleetwood Mac's first U.S. tour and he sounds like he's having a really good time on the last night of a 3 show run with Grateful Dead and Jefferson Airplane. This is presumed to be the last night because Peter Green makes a comment about how they'll be back in 2 weeks (not the following night). I think that they returned to the Carousel on the 22nd or 23rd of June.
Enjoy this terrific recording !!!
.
Links in Flac
http://www.multiupload.com/91GT6R8954
http://www.multiupload.com/3AEFWQTVON

http://silveradoraremusic.blogspot.com/2011/01/fleetwood-mac-june-9-1968-carousel.html

[vivfox]

While playing a gig with The Jam Band, Steven Tyler was impressed by Jam Band's cover of Fleetwood Mac's song 'Rattlesnake Shake.'
In a June 1975 interview with Circus Magazine, Steven Tyler said the following about the experience, "They did this song so well that I knew if I could get together with these guys, we could pull the same feelings off with some of the songs I wrote, so I got together with them...I loved Joe's style. He always played out of tune and real sloppy and I just loved it."

http://www.suite101.com/content/steven-tyler-rock-iconamerican-idol-judge-a336146

[vivfox]

In 1977, Peter Green, who had earlier left Fleetwood Mac, was institutionalized after firing a pistol in the general direction of a delivery boy who was attempting to deliver a $30,000 royalty check. Green had renounced Rock and Roll in 1970 and didn't want the money. He later worked as a hospital porter and a gravedigger, but came back in 1979 to record "In the Skies", which did manage some moderate success. Worked out well for Fleetwood Mac as well....

http://collectingvinylrecords.blogspot.com/2011/01/music-news-notes-did-you-know_22.html

[doodyhead]

In 1977, Peter Green, who had earlier left Fleetwood Mac, was institutionalized after firing a pistol in the general direction of a delivery boy who was attempting to deliver a $30,000 royalty check. Green had renounced Rock and Roll in 1970 and didn't want the money. He later worked as a hospital porter and a gravedigger, but came back in 1979 to record "In the Skies", which did manage some moderate success. Worked out well for Fleetwood Mac as well....

http://collectingvinylrecords.blogspot.com/2011/01/music-news-notes-did-you-know_22.html

Peter never fired a gun at any one that we know of.
he was arrested for threatening to do it with a gun that was at his brothers house in another city from where he lived. And I guess someone should finally say that the person who split the royalty rights for a lot of Peters music was the person who forwarded the message which was not given first hand and facilitated the calling of the police. He may never have been put in jail for a crime that he did not commit if it were not for a person with vested interested in peters funding stream. there a lot of " nots" in that last sentence, but I think you will get my drift.

[Mario]

Peter never fired a gun at any one that we know of.
he was arrested for threatening to do it with a gun that was at his brothers house in another city from where he lived. And I guess someone should finally say that the person who split the royalty rights for a lot of Peters music was the person who forwarded the message which was not given first hand and facilitated the calling of the police. He may never have been put in jail for a crime that he did not commit if it were not for a person with vested interested in peters funding stream. there a lot of " nots" in that last sentence, but I think you will get my drift.

And actually Peter was asking for money and not refusing it........

Mario.

[vivfox]

Peter never fired a gun at any one that we know of.
he was arrested for threatening to do it with a gun that was at his brothers house in another city from where he lived. And I guess someone should finally say that the person who split the royalty rights for a lot of Peters music was the person who forwarded the message which was not given first hand and facilitated the calling of the police. He may never have been put in jail for a crime that he did not commit if it were not for a person with vested interested in peters funding stream. there a lot of " nots" in that last sentence, but I think you will get my drift.


Perhaps you can send this info to the writer of this blog. It isn't me.

[doodyhead]

Thanks Mario,

Even when you listen to that "Gentleman", in the "Man Of The World"video bio, he neglects to mention that fact. Only that Peter had let him register the stuff, which after all was a mistake perhaps, or not if you ascribe to the premise that Peter did not give any credence to any value to their songs that they would actually be worth anything. That The guy would eventually hold the band hostage with copyrighted material and nicklel and dime Peter when he needed cash is amazing. That it would then further result in Peter being the crazy bad guy in this just shows how crazy this world is.

In another note , you never hear much about what Mick John or Christine were told when that same guy started the Fake Fleetwood Mac playing the songs that he owned because of this. I would love to hear about that but I guess that is tied up in lawsuit litigation

yours truly

doodyhead.

[doodyhead]

Perhaps you can send this info to the writer of this blog. It isn't me.

I went to the site but did not find the posting. It would be helpful if folks who write about this stuff would take the time to fact check like they used to do in newspapers. (LOL)The truth on the web is an elusive thing

[vivfox]

I went to the site but did not find the posting.

It's written below the youtube video of INXS, Listen Like Thieves.

[Mario]

Perhaps you can send this info to the writer of this blog. It isn't me.

Nobody is here to put yourself in guilty.....
As Peter's fan I just wanted to put the record straight.....
End Of The Story....

Mario.:D

[doodyhead]

Dear Vivfox,

I also did not imply that you said it either.


It is just that when a lie gets repeated over and over, it somehow is taken to be true.

Just look at American politics as an example.

The only way it stops is when people continually have to correct the BULLS__T artists every time. THe price of freedom is vigilance.

doodyhead, mel and vinnie

[Wouter Vuijk]

Just look at American politics as an example.


Not just American, you Yanks don't have the exclusive rights to political lies :D

[sharksfan2000]

Dear Vivfox,

I also did not imply that you said it either.


It is just that when a lie gets repeated over and over, it somehow is taken to be true.

Just look at American politics as an example.

The only way it stops is when people continually have to correct the BULLS__T artists every time. THe price of freedom is vigilance.

doodyhead, mel and vinnie
Well said, Vinnie. Your observation leads to my only real problem with this ongoing "MacNuggets" thread (and some other threads on the Ledge as well), which is that a lot of writing from all over the web is presented here uncritically, with no regard as to whether it provides anything new or is just rehashing things we've seen a hundred times already, or - more importantly - whether it's even accurate factually. To me, if you're going to post things like the snippet that's been specifically discussed in the past few days, you owe it to people to not just re-post someone else's "bulls__t", as Vinnie puts it so well. And you should have enough knowledge about the subject not to post these items if you can't tell whether or not they are "bulls__t".

Sorry to anyone if they think that's harsh, but it's what I believe. As Vinnie also stated very well, "when a lie gets repeated over and over, it somehow is taken to be true." If we here at the Ledge are true fans of Fleetwood Mac and its members, we should be more careful so as to not spread lies about them.

[Wouter Vuijk]

Thanks Vinnie and Sharksfan.
These words came straight from my heart. just couldn't find a way to state it myself.

[jeremy spencer]

In 1977, Peter Green, who had earlier left Fleetwood Mac, was institutionalized after firing a pistol in the general direction of a delivery boy who was attempting to deliver a $30,000 royalty check. Green had renounced Rock and Roll in 1970 and didn't want the money. He later worked as a hospital porter and a gravedigger, but came back in 1979 to record "In the Skies", which did manage some moderate success. Worked out well for Fleetwood Mac as well....

http://collectingvinylrecords.blogspot.com/2011/01/music-news-notes-did-you-know_22.html

...that refuses to die, despite those of us who know and repeatedly attempt to refute it. Peter did not work as a gravedigger. He tended the flowers in the cemetry garden! A big difference imo, but that's not sensational enough is it?

[Mario]

...that refuses to die, despite those of us who know and repeatedly attempt to refute it. Peter did not work as a gravedigger. He tended the flowers in the cemetry garden! A big difference imo, but that's not sensational enough is it?

Of course Jeremy, lies are always more sensational than the truth......
tha's is life......!:shrug:

Mario.

[dansven]

...my only real problem with this ongoing "MacNuggets" thread (and some other threads on the Ledge as well), which is that a lot of writing from all over the web is presented here uncritically, with no regard as to whether it provides anything new or is just rehashing things we've seen a hundred times already, or - more importantly - whether it's even accurate factually.
Exactly!! My participation in this thread has been zero. I can't believe it has grown to 13 pages ... so much cut-and-paste bull**** from the web. It doesn't belong here.
:shrug:

[vivfox]

Exactly!! My participation in this thread has been zero. I can't believe it has grown to 13 pages ... so much cut-and-paste bull**** from the web. It doesn't belong here.:shrug:


Your participation counts as one now.

Cut and paste B.S.??? (He said rock and roll ballerina, where else would she go?)

[slipkid]

What a shock I received while watching a 1970 episode of "Doctor Who ; Spearhead from Space" on Netflix instant streaming. The scene of a doll production plant used a twenty second snippet of "Oh Well".

[ThePenguin]

^
The point of the MacNuggets thread, which started in Rumours, was to have a "catch all" thread, in which FM media mentions that only have a derivative connection to the group could be posted. That way, Ledge members who were not interested in such trivial tidbits could simply skip the thread and the forum would not be clogged with such tangential fare.

I realize that the MacNuggets are not everyone's cup of tea. That's why they are confined to one place and you can just ignore the entire thread and concentrate on the topics containing more substantial FM material, which does interest you.

[dino]

^


I realize that the MacNuggets are not everyone's cup of tea. That's why they are confined to one place and you can just ignore the entire thread and concentrate on the topics containing more substantial FM material, which does interest you.

First, thanks for maintaining The Ledge.
The thread can easily be ignored yes, but it's bad when incorrect or offensive information is collected. Or links to illegal downloads. It amounts to little more then a "spam" thread.

[sharksfan2000]

First, thanks for maintaining The Ledge.
The thread can easily be ignored yes, but it's bad when incorrect or offensive information is collected. Or links to illegal downloads. It amounts to little more then a "spam" thread.
Yes, thanks to The Penguin for keeping this site going, and for the MacNuggets explanation.

I agree with dino here - we do need to be more careful about what gets reposted from various sources on the web, both in this thread and in other ones. I want to take his comment a little further too. While there's no harm in presenting most of the bits and pieces of info that are reposted on this thread, spreading untrue information can be harmful. As people who are supposed to care about the band and its members, we should take greater care in seeing that this does not continue to happen, as with the "Peter Green fired a pistol in the direction of a delivery boy" post." If such a post is accompanied by a comment from whoever posts it that it's an example of these types of false rumors - or even just a note questioning whether such a claim is true or not - that's one thing. But to present it as fact, without such a comment or critique, serves only to further spread misinformation.

By analogy, there are plenty of crazy claims around the web that Stevie Nicks is a witch, yet I don't see those being reposted without comment on the Rumours MacNuggets thread - I found few posted at all, and those that I found were explicitly being held up for deserved ridicule. So why should we allow different treatment for pre-Rumours band members? Are they considered lesser members and not deserving of the same respect as Rumours-era members?

In this particular case, a number of people stepped in to set the record straight, but we can't always count on that happening. We all just need to be more respectful of all Fleetwood Mac members and see that we don't spread harmful and false information about them.

[ThePenguin]

The fact that something is posted in this thread, with an attribution saying where it came from, does not mean it's posted as "fact." You can post an article or comment without adopting its content as true. So, blaming a poster for the false information in a statement that is not theirs is illogical.

If you see something that's untrue, then you can simply comment on it yourself.

That happens plenty of times in all of the threads here. It's not the sole obligation of the person who posted it.

There's incorrect information posted all of the time, from song names, dates, incorrect line ups to rumors that Stevie Nicks is not only a witch, but that she used a suppository for cocaine. When there's information that people disagree with, they respond with corrections or their own opinions.

Not everyone who posts information has as much knowledge about Peter Green as you do, so they can't post with explanatory comments in all situations. If you are suggesting that people only post in the thread if they are knowledgeable, that would make for better reading, indeed. However, it's not a rule I'm interested in implementing.

This is a discussion board. It's not a reference source. As an archive, it is intended to honor and preserve Fleetwood Mac memories in a way. However, only as a place where you can observe public conversations over time, not as an historical repository.

If I ever get enough time to update the biography section, then you can believe that I'm going to be concerned with upholding only truth and facts. But that is not the purpose of these community bulletin boards. And not everyone who participates in them has the same motivations or interests. Unfortunately, some of the material (perhaps most of the material) you'll find that others post is not what you would post yourself.

You can always participate by contradicting, correcting or amending any inaccuracies you see or, if it's just too annoying to sift through them, then I can perfectly understand that and think such threads are best avoided.

[dino]

Thanks for the nice and considered response.

The problem is really a clash of interests on this site...when Rumors fans enter pre-Rumors territory (and sometimes the opposite) . Pre-Rumors fans are in general into the music, not gossip and "lighter subjects" which characterize the Rumors pages ("OMG! What kind of shirt is Lindsey wearing???"). :D

[dansven]

It's good to have The Penguin here to participate in this "MacNuggets" issue.
The Ledge is a fantastic forum for discussion and information! :)¨

However, the idea of a "catch all" thread is not a good one, especially when this thread gives no explanation of being just that. IMO this thread breaks several of the rules of the "General Forum Usage - What Are The Rules For The Ledge" section.:(

"Unauthorized copyrighted material"
Illegal downloads.....

"No Attacks / Retaliation of any kind. Either against a member or group of members."
and
"Fan Fiction."
Several of the stories posted here I'm sure will be felt as both disrespectful and attacks by members of Fleetwood Mac. If we should post everything/anything we stumbled across the the web, certain members would be both hurt and displeased - and I don't need to mention any names... And I'm sorry to say this has already happened several times before in other threads too, by participants of the "MacNuggets" thread!!
A simple search on the web will give you tons of gossip, but it shouldn't be posted here uncritically. Some of it cathegorizes as simply "fan fiction".

Copies of comments at Youtube?? come on.:shrug:

[sharksfan2000]

Thanks for the response, Penguin - that clarifies things a great deal. I know that not all internet forums operate with the same rules or expectations so it's helpful for you to explain things so clearly.

Of course there are inaccuracies in many posts, and I've been guilty of those as well and have been corrected. As you noted, that's all part of the value of a discussion board such as this one. I only meant to suggest that perhaps more care should be given when reposting stories about a person's negative words or actions that may be of questionable veracity - it should take only a moment or two of research on the web to find out whether such stories are likely to be true or not before posting them, with or without attached commentary.

I should probably just stay away from this thread since there's usually not much of interest for me here. But I must admit, the discussions that some of these reposted stories generate are illuminating and often quite entertaining! ;)

[ThePenguin]

"No Attacks / Retaliation of any kind. Either against a member or group of members."


That does not mean against members of Fleetwood Mac. It means against members of The Ledge: the posters here.

While trolls are not welcome, there is no prohibition against posting comments that may be derogatory towards a member of Fleetwood Mac.

Obviously, two Fleetwood Mac members have posted here. When they are here as Ledgies, If I see them being attacked by other Ledgies, I'll take action.

Unauthorized Downloads refers primarily to posting of music that's commercially available.

The thread violates none of the forum rules.

I do think that the point that a catch all thread is more appropiate for some forums than others is a valid one. This is a place where more serious musical discussion and appreciation takes place. So, it's no surprise that this particular thread is too fluffy for most people's taste. However, it's easy to skip and it's not going to be removed.

[dansven]

That does not mean against members of Fleetwood Mac. It means against members of The Ledge: the posters here.

While trolls are not welcome, there is no prohibition against posting comments that may be derogatory towards a member of Fleetwood Mac.

Obviously, two Fleetwood Mac fans have posted here. When they are here as Ledgies, If I see them being attacked by other Ledgies, I'll take action.

Thanks for the reply!

[SuperFleetwood]

?????????????????????????????????

Nobody is here to put yourself in guilty.....
As Peter's fan I just wanted to put the record straight.....
End Of The Story....

Mario.:D

[Silver Springs]

Wow. For the first time in my life I'm actually reading this thread with a gaping jaw. Personally, I don't read this thread or other Macnuggets as they're not my cup of tea. But I'm not about to hound the creator with a flaming torch, calling for it to be deleted because it's not "factual information". If facts are what you're after, then I think most of the site can be ignored by you. Macnuggets is about sharing opinions, found thoughts and suppositions on the band. As Penguin said, it's about sharing memories. As much as we hate to believe it, alot of false stories are a big part of the Mac history. And so, personally, it makes each and every post just as valid as the other. Because it helped mould their image. Falseties can be just as effective as the truth in moulding who the band is how they're percieved to be. I don't know. There's alot of calling for personal censorship here and it is something I just do not like. Everybody has a right to share what they like within the law and morality. I see nothing in these threads that shouldn't be there given the terms I commented on. This has as much right to exist as a thread as any other.

[Mario]

?????????????????????????????????

It was about who started the thread.......

[doodyhead]

Hey, lets all just calm down

People can post anything they want

Vivfox is just picking up threads on the web

I just reacted to the BS out there in the COSMOS

I did comment on the page in question on that idiots blog

I am not responsible for others. but I have the right to say stuff too>

so do YOU!

But I will not personally attack any one I hope others do the same

Even Jeremy Spencer deleted his own comment w(when he thought it was opening a can of worms?)

"A stranger is a best friend you will never know!"

[SuperFleetwood]

You know what VivFox is taking the time to share it WITH THE LEDGE, who cares if its from OTHER websites, The ledge is a place where we can share things, REGARD LESS if its from another WEBSITE. I mean common.

Hey, lets all just calm down

People can post anything they want

Vivfox is just picking up threads on the web

I just reacted to the BS out there in the COSMOS

I did comment on the page in question on that idiots blog

I am not responsible for others. but I have the right to say stuff too>

so do YOU!

But I will not personally attack any one I hope others do the same

Even Jeremy Spencer deleted his own comment w(when he thought it was opening a can of worms?)

"A stranger is a best friend you will never know!"

[tilthefirefades]

You know what VivFox is taking the time to share it WITH THE LEDGE, who cares if its from OTHER websites, The ledge is a place where we can share things, REGARD LESS if its from another WEBSITE. I mean common.

Exactly Rob!

No one else cares enough for this band to take the time to do what Viv does :nod:

[doodyhead]

Maybe I am not being understood

Vivfox is doing a good thing, in my opinion.
I really am just going to say this once more and you will never hear about this from me again

never

I do not believe in the theory that " Any publicity is good publicity as long as they get your name right.

If I know something is being disseminated that is wrong, I have a duty as an individual to at least say it is wrong.
I did not go out and look for people trashing Peter Green. It found me

So should I just say nothing?

This would be a mighty bland website, Maybe thats what people want

.....what do you think?

[michelej1]

I think everyone understands each other now. We don't have to agree. Let's not discuss it any longer, pro or con, because that will probably only serve to prolong or promote friction.


Michele

[vivfox]

Fleetwood Mac's Peter Green Controversial Rifle Threat (A Top Story)

On Wednesday Fleetwood Mac's Peter Green Controversial Rifle Threat was a top story. Here is the recap: (Gibson) On this day in 1977, former Fleetwood Mac guitarist Peter Green threatened his accountant Clifford Adams with an air rifle when he was trying to deliver a £30,000 ($51,000) royalty check to him. Gibson takes a look back:
Funny thing is, when given the chance to talk about his version some of the great "Peter Green" stories, Green is remarkably down-to-earth, matter-of-fact and he explains how everything, invariably, gets blown up by the press.

The story goes that on this day in 1977, Green was arrested for possessing a gun without a license and using threatening behavior. He supposedly tried to shoot his ex-manager Clifford Davis when he delivered his royalty check. The police came and arrested Green and he was put in prison. But Green, while not denying the story's basic facts to Q magazine in 1997, does have a somewhat less dramatic memory of events 20 years previous. For one thing, he says, the gun in question was a .22 rifle, the kind you'll find at a fairground, and he didn't even own any bullets. As for actually threatening to shoot his ex-manager, Green explains that while a threat was made, it was made on the phone. But, as he told Q, the media always like a good story.

“The papers were saying these ridiculous things like, ‘He went to the accountant’s office with an air rifle trying to get him to hand over a £30,000 cheque.’ There was no £30,000 cheque. I did get on the phone and threaten to shoot the windows out of the accountant’s office, but it was only a threat,” Green said.

Even the police arrest and subsequent jail time seem more mundane in Green’s retrospective vision: “The police came to me and they said, ‘Did you make that phone call?’ I said, ‘Yeah. It was only a .22 fairground kind of rifle and I didn’t have any bullets anyway.’ They put me in a couple of different prisons – Brixton, Wandsworth. It was nice because I didn’t do nothing. It was alright, y’know, walking around the yard once a day.”

http://www.antimusic.com/news/11/jan/ts26Fleetwood_Macs_Peter_Green_Controversial_Rifle_Threat.shtml

[sharksfan2000]

Thanks so much for making the effort to find and post that article, vivfox! :) Well done, and that does indeed "set the record straight".

I think everyone understands each other now. We don't have to agree. Let's not discuss it any longer, pro or con, because that will probably only serve to prolong or promote friction.

Yes, I think you're right on this. Not everyone agrees on things, but let's just continue from where we left off before all this recent brouhaha.

[sharksfan2000]

Just one more post to further illuminate the story of Peter Green and the gun. It happened in late 1976 - I have a couple of books from 1978 that mention it, so they're roughly contemporary. One book ("Fleetwood Mac- The Authorized History" by Samuel Graham) states that Green and manager Clifford Davis had a fight on the telephone and that Green "threatened to shoot him". Davis reported that to the police, and when questioned, Green admitted he owned a gun and had used it once for hunting. Another book ("Fleetwood Mac - Rumours n' Fax" by Roy Carr and Steve Clarke) reproduces part of a newspaper or magazine clipping (the source of that is not stated, but it appears to have been from very shortly after the incident) which states that Green had demanded that his manager stop royalty payments, admitted to having a pump-action rifle without a firearms certificate, but denied threatening to damage his manager's office windows (presumably with the gun, but that's not stated explicitly).

A more recent account of the incident from Martin Celmins' book seems to rely mainly on Green's own memory of the events many years later. This account has Green asking Clifford Davis for money rather than trying to have royalty payments stopped, but Green admits that during the telephone conversation with Davis, he said "I'll shoot you." When told that an accountant - David Simmons - had the money, Green admits he said "well, I'll shoot his windows down too." From the account in this book, Green actually owned two guns, the one described as a .22 fairground rifle, and an older single-barrel shotgun. Green says in the book that although he owned the guns (and he does mention buying cartridges when he purchased the .22 rifle), he did not actually have either in his actual possession at the time of the phone call to Clifford Davis - they were at a different location or locations.

Both Celmins and Graham books state that Green was arrested later at his home; the article reproduced in the other book does not make the place of the actual arrest clear, but the somewhat sloppy wording could be taken to mean that he was arrested at Davis' offices, which could be where that part of later stories originated.

So while some of the exact details are still open to question, there seems no doubt that Green threatened his manager and accountant over the phone, but never fired a gun at either of them. What he did was bad enough, and it's a shame that the story was then distorted and sensationalized by others to make his actions sound much worse than they really were. Thanks again to vivfox for posting that most recent article to "set the record straight" here on the Ledge.

[vivfox]

Recently I read The Element: How Finding your Passion Changes Everything, by Sir Ken Robinson. This noted creativity expert studies very successful creative people. In his book, he cites the experiences of many creative types who didn’t know what they were good at until they heard or saw something that struck a chord within them.

For instance, Robinson interviewed drummer Mick Fleetwood of the band Fleetwood Mac, who, as a young boy, struggled in school but loved to tap on things. What Fleetwood called “this tapping business” really came to life when he went to a live musical performance for the first time and realized that he wanted to be in that kind of environment:

“One day, I walked out of school and I sat under a large tree in the grounds. I’m not religious, but with tears pouring down my face, I prayed to God that I wouldn’t be in this place anymore. I wanted to be in London and play in a jazz club. It was totally naïve and ridiculous, but I made a firm commitment to myself that I was going to be a drummer.”

What came next was a series of “breaks” that might never have occurred if Mick had stayed in school.

Mick’s parents understood that school was not a place for someone with Mick’s kind of intelligence. At sixteen, he approached them about leaving school, and rather than insisting that he press on until graduation, they put him on a train to London with a drum kit and allowed him to pursue his inspiration.
Note that Fleetwood’s parents didn’t force him to play the drums, nor did they dissuade him from following his dream in order to follow one of theirs. Robinson’s book is full of stories of people who successfully followed their own interests, or passions as Robinson calls them. Not one of them achieved greatness by following their parents’ passions. In fact, in most cases the parents, if mentioned at all, either encouraged their children to find their own passions, or at the very least did not get in their way.

http://barbarafrankonline.com/blog.php/2011/01/31/can-you-motivate-your-child-to-achieve-greatness/

[vivfox]

The B-side gives the artist opportunity to release material that doesn’t seem to fit on albums. With each single, the Pixies showed that they had so many classic songs, they could afford to chuck a few away on B-sides. The song Wave of Mutilation on their album Doolittle was a classic display of the band’s characteristic quiet-loud-quiet dynamic tension. But I prefer the slower UK Surf version, which is softer, bathed in reverberating guitar.

Man of the World, a fragile Peter Green-era highlight, was backed with the thuggish Someone’s Going to Get Their Head Kicked in Tonight. It doesn’t sound anything like Fleetwood Mac, evidenced by the fact that the Rezillos managed to cover it. Conversely, What the World is Waiting for captures the essence of the Stone Roses: hubristic lyrics, loose guitar riffing, skittering drums and lolloping bass. Without What the World is Waiting For, there’d be no Bluetones. But don’t hold that against it.

http://davereinstein.com/2011/02/03/readers-recommend-b-sides-%E2%80%93-the-results/

[sharksfan2000]

Wow - Pixies, Fleetwood Mac, and The Stone Roses all in one short blog post, very nice. Three good songs too.

[vivfox]

Speaking of missing (it’s a tenuous link this, but bear with me) it’s been decades since the last sighting of musician Jeremy Spencer. One day in 1971 he told fellow members of Fleetwood Mac that he was popping out to a Los Angeles bookstore. On the way he met members of the Children of God cult and, according to legend, was never seen again.

Until last night, that is, when he turned up, in rude health, on a BBC 4 documentary about that other Fleetwood Mac casualty, Peter Green. (Actually, I say ‘that other’ casualty, but Fleetwood Mac’s body count is only slightly lower than the Somme’s.)

I was genuinely surprised to see him, having been under the impression that he was still AWOL. But, no, there he was with Mick Fleetwood and John McVie, and a happy trio they appeared to be. Where had he been all these years? Dunno. The programme never told us.

Then again, there probably wasn’t the time. You may be able to cram an overview of Ronald Reagan’s extraordinary life into 90 minutes, but you’d need a couple of weeks to cover the legend of Fleetwood Mac.

http://www.shropshirestar.com/education/2011/02/07/storyville-american-idol-ronald-reagan/

[vivfox]

Best Slow Blues Songs
"How Blue Can You Get" BB King ( breathtaking guitar intro) PS Big Pink Lad, is that the Fleetwood Mac song that starts out "I'm crazy for my baby but my baby don't love me..."? Great song, I've been looking for a recording of it. vl ...
http://www.mudcat.org/thread.cfm?threadid=56000&messages=73

[vivfox]

The show was sold out and there was a lot of love on stage. I totally biffed the words to Fleetwood Mac's 'Oh Well,' but, oh well. Had so much fun on stage I barely remember any of it. Had some drinks, had some sleep, in the morning had some blueberry pancakes, and threw a bunch of socks and party dresses into my suitcase and headed to the airport. First stop, Portland.
http://www.spinner.com/2011/02/16/nicole-atkins-mondo-amore-tour-bowery-ballroom/

[jeremy spencer]

Speaking of missing (it’s a tenuous link this, but bear with me) it’s been decades since the last sighting of musician Jeremy Spencer. One day in 1971 he told fellow members of Fleetwood Mac that he was popping out to a Los Angeles bookstore. On the way he met members of the Children of God cult and, according to legend, was never seen again.

Until last night, that is, when he turned up, in rude health, on a BBC 4 documentary about that other Fleetwood Mac casualty, Peter Green. (Actually, I say ‘that other’ casualty, but Fleetwood Mac’s body count is only slightly lower than the Somme’s.)

I was genuinely surprised to see him, having been under the impression that he was still AWOL. But, no, there he was with Mick Fleetwood and John McVie, and a happy trio they appeared to be. Where had he been all these years? Dunno. The programme never told us.
Then again, there probably wasn’t the time. You may be able to cram an overview of Ronald Reagan’s extraordinary life into 90 minutes, but you’d need a couple of weeks to cover the legend of Fleetwood Mac.

http://www.shropshirestar.com/education/2011/02/07/storyville-american-idol-ronald-reagan/


Very interesting that he spotted this. I have read books about FM and watched numerous videos over the years, and I have been amazed at those speaking for me (or against me:)), the words put into my mouth and stories told, without a single request for an interview or comment from me from the authors or producers. That is partly why I agreed to this interview for 'Man of the World', as I am sick of having to refute such exaggerrations and worse to no avail. Although the programme was about PG (naturally) the interviewers did ask me a few questions about what happened with me and the following years, but none of it was used. On top of that, my observations on the deeper spiritual significance of Peter's demise was conveniently cut. Maybe it was getting too 'religious' for British TV.
'I might not give the answers that they want me too ... oh well.'

[doodyhead]

Dear Jeremy,

I am actually interested it both what happened to you and Peter. I was a 17 year old "Bluesman" (( I thought, anyway) growing up in Brooklyn. I became a fan of the band just as Peter left the group. I did not even know that. I first saw the band when you played at the Skating rink in central park on what was to be your last tour with the group. I loved the show but was aware that there were a lot of drunk people in the audience (more so than the usual pothead psychedelic crowd)
Later on that year I happened to be taking a subway train into the city and somehow struck up a conversation with a fellow passenger. For whatever reason I mentioned that I was a fan of the band that had just self destructed (I thought) I related that both you and peter went off to find god or something. The person responded that he was actually going to Manhattan to join up with the children of god and that you were with them and were going to be playing somewhere. Being a brooklynite, I got suspicious of who I was talking to and backed out of the conversation. I have read various things and stories of that time but there is nothing like first hand accounts to get closer to the "truth" If you could shed any light on you or peters thinking or what you or he said during that time at least I am interested. I also was really curious about the religious "musical" or something project you were supposed to be collaborating on. That would be during the "Tommy" and "U a Pop Pantomime" period.
with respect and admiration,

vinnie c

[michelej1]

http://www.rttnews.com/Content/EntertainmentNews.aspx?Section=2&Id=1560005&SM=1
Look Back: Fleetwood Mac Release Debut Album 43 Years Ago

(RTTNews) - Fleetwood Mac burst onto the U.K. rock scene with the release of their self-titled debut on February 24, 1968.

At that time, the band was a straight-ahead blues act, with a significantly different lineup than the group that would later become one of the best-selling acts of the late 1970s and early 1980s.

Long before the addition of Lindsey Buckingham and Stevie Nicks, who would become key songwriters during the band's "Rumours" period, their debut album featured a mix of blues covers and originals co-written by the fronting guitarists Peter Green and Jeremy Spencer. Green had teamed with drummer Mick Fleetwood in 1967 after splitting from the more established John Mayall and the Bluesbreakers.

Green, Spencer and Fleetwood initially pushed hard to recruit Bluesbreakers bassist John McVie and even named the group Fleetwood Mac in an attempt to draw him in. It was only after the band made their debut at the Windsor Jazz and Blues Festival in August of 1967 that McVie agreed to join.

The debut effort, sometimes called the Dog and Dustbin album due to the picture on the cover, propelled Fleetwood Mac to nearly overnight stardom in the U.K. It reached number four on the U.K. chart, though it made little impact in the U.S. The band followed up with the release of two singles, "Black Magic Woman" and "Need Your Love So Bad."

[TrueFaith77]

So the 50th Anniversary will be Feb 24, 2018?

[jeremy spencer]

Dear Jeremy,

I am actually interested it both what happened to you and Peter. I was a 17 year old "Bluesman" (( I thought, anyway) growing up in Brooklyn. I became a fan of the band just as Peter left the group. I did not even know that. I first saw the band when you played at the Skating rink in central park on what was to be your last tour with the group. I loved the show but was aware that there were a lot of drunk people in the audience (more so than the usual pothead psychedelic crowd)
Later on that year I happened to be taking a subway train into the city and somehow struck up a conversation with a fellow passenger. For whatever reason I mentioned that I was a fan of the band that had just self destructed (I thought) I related that both you and peter went off to find god or something. The person responded that he was actually going to Manhattan to join up with the children of god and that you were with them and were going to be playing somewhere. Being a brooklynite, I got suspicious of who I was talking to and backed out of the conversation. I have read various things and stories of that time but there is nothing like first hand accounts to get closer to the "truth" If you could shed any light on you or peters thinking or what you or he said during that time at least I am interested. I also was really curious about the religious "musical" or something project you were supposed to be collaborating on. That would be during the "Tommy" and "U a Pop Pantomime" period.
with respect and admiration,

vinnie c

Okay, Vinnie, I'll answer some of this the best I can at the moment.
Yes, I left to find God but realised that God had already 'found' me, (I was never lost in His mind all along, He just woke me up to that fact).
The incident you mentioned must have happened in 1972, as by that time I was living on the lower East side in one of our loft communes, and we did do a gig in Central Park. It was good.
A stupid question. Why would being a Brooklynite make you suspicious?
Anyway, yes, Peter and I had discussed doing something musically on Jesus' life. I merely mentioned it to Nick Logan, a New Musical Express reporter at the time and it made big news, for which I got a lot of flack from the rest of the band.
A year later, Andrew Lloyd Webber et al beat us to it!
Okay. Hope that suffices somewhat.
Thank you for your interest, Vinnie. Did you see my private message reply to your note?
Sincerely, Jeremy.

[doodyhead]

Okay, Vinnie, I'll answer some of this the best I can at the moment.
Yes, I left to find God but realised that God had already 'found' me, (I was never lost in His mind all along, He just woke me up to that fact).
The incident you mentioned must have happened in 1972, as by that time I was living on the lower East side in one of our loft communes, and we did do a gig in Central Park. It was good.
A stupid question. Why would being a Brooklynite make you suspicious?
Anyway, yes, Peter and I had discussed doing something musically on Jesus' life. I merely mentioned it to Nick Logan, a New Musical Express reporter at the time and it made big news, for which I got a lot of flack from the rest of the band.
A year later, Andrew Lloyd Webber et al beat us to it!
Okay. Hope that suffices somewhat.
Thank you for your interest, Vinnie. Did you see my private message reply to your note?
Sincerely, Jeremy.
I wish I had gone to Central Park that day. Oh Well
I hope you are touring the states again soon.

fair winds,

vinnie c

[vivfox]

Fleetwood Bac act at Medina
By a County Press reporter - Friday, February 25, 2011

THERE are less than 50 tickets remaining for tonight’s (Friday) Fleetwood Mac tribute at Medina Theatre.
Organisers urged those who have still not bought a ticket to contact the box office or risk disappointment.
Fleetwood Bac have received rave reviews from Mick Fleetwood himself and are fresh from touring the United Arab Emirates.
The two-hour show focuses on the Rumours era and features songs from the Peter Green days, as well as some of Stevie’s biggest solo hits.

http://www.iwcp.co.uk/news/music/fleetwood-bac-act-at-medina-37418.aspx

[vivfox]

1969, Fleetwood Mac, The Move, Amen Corner, Peter Sarstedt, The Tymes, Harmony Grass and Geno Washington all appeared at Pop World ‘69 at London’s Wembley Empire Pool.

http://www.gibson.com/en-us/Lifestyle/News/day-in-music-0316-2011/

[vivfox]

It’s said that a guitarist’s tone is his fingerprint — the ultimate signpost of his identity. Moore’s tone was, at its foundation, a derivation of his British blues influences: Peter Green and Bluesbreakers-and-Cream-era Eric Clapton. But the most distinctive part of Moore’s character as a player was in his head and his hands. Moore’s picking speed and attack were ferocious, and his vibrato was equal to that of Green and Clapton — among the world’s finest.

Nonetheless, in purely mechanical terms, it’s possible to get close to Moore’s immense tone. The ideal tools are a Gibson Les Paul Standard and a Marshall amp or its high-gain equivalent. Like Green and Clapton, Moore made his mark initially with a classic Sunburst. In fact, his primary guitar was the classic Sunburst: the so-called Holy Grail Les Paul that belonged to Green during the latter’s heyday with the original Fleetwood Mac and John Mayall’s Bluesbreakers.

Moore first saw Green in the Bluesbreakers when he was 14 and heard his calling in the distinctive throaty voice of Green’s 1959 ’Burst, a guitar with a singular and magical tone. There’s been a lot of speculation over the years on just how Green’s instrument achieved it’s super-warm trebly sound. Green says he reversed a magnet in the neck position humbucker while tinkering with the guitar. Another tale has a repairman accidentally re-winding the pickup in reverse.

Moore acquired the guitar in 1969, after Green became his mentor. That year “Greenie” quit Fleetwood Mac and began his long estrangement from the music business. Moore used the guitar throughout his musical evolution, which veered into hard rock with his first solo disc in 1973, then on to artier but no less heavy turf with bassist/singer Phil Lynott in Thin Lizzy, and to the fusion based Coliseum II. The guitar makes several prominent and extended appearances on Moore’s last DVD and CD releases, 2007’s Live At Montreux DVD — The Definitive Montreux Collection and 2009’s five-CD Essential Montreux.

After 37 years in Moore’s hands the guitar was auctioned in 2006 beginning with an asking price of $2-million and made its post-auction debut on display at the Dallas Guitar Show in 2007.

http://www.gibson.com/en-us/Lifestyle/Features/gary-moore-0317-2011/

[vivfox]

http://www.crawdaddy.com/index.php/2011/03/29/my-life-is-the-road-owsley-the-bear-stanley-was-a-friend-of-the-mac/

My Life Is the Road: Owsley “The Bear” Stanley Was a Friend of the Mac
By Dinky Dawson
On Monday, December 8, 1969, Fleetwood Mac began a four-night engagement at Steve Paul's Scene in New York City. After the sound check, Teddy Slatus, the club's manager, came into the green room looking for Peter Green. ...

[vivfox]

BLUES: John Mayall
By Frank De Blase on March 30, 2011

British blues giant John Mayall has been playing for more than 40 years. And just about anybody that counts in British blues has passed through the hallowed halls of his Bluesbreakers. Peter Green, John McVie, and Mick Fleetwood got their feet wet with Mayall before forming Fleetwood Mac; Mick Taylor went on to join The Rolling Stones; Andy Fraser broke free to form Free; and before Eric Clapton and Jack Bruce went psychedelically heavy with Cream, they too were Bluesbreakers. At age 74, Mayall still tours 120 dates a year, playing the beautiful blues, and breaking in the next big guitar hero.

John Mayall plays Sunday, April 3 at 8 p.m. at German House Theatre, 315 Gregory St. $30-$35. 857-8385

http://www.rochestercitynewspaper.com/events/choice-concerts/2011/03/BLUES-John-Mayall-4-3/

[slipkid]

I wish I had gone to Central Park that day. Oh Well
I hope you are touring the states again soon.

fair winds,

vinnie c

Thanks vinnie, you finally cracked Jeremy Spencer's outer shell.

While I doubt Peter Green, and Jeremy Spencer were about to hire Ian Gillan to sing the original soundtrack to "Jesus Christ Superstar", I know what Jeremy Spencer is trying to post. Towards the end of Peter Green's run in FM, he became closer with JS because of PG's "Christianity". Peter Green wanted to constantly donate money from side "gigs" for charity. Mick Fleetwood was the one who told Peter Green that, "I'm too selfish to do this". So Peter Green began to lose interest in FM, and when he discovered "Krautrock" in Munich 3/70, he was going to leave the band, in a couple months.

The irony is if Mick Fleetwood let PG do his "thing" for charities, the band wouldn't have suffered as it did for almost five years without Peter Green. They would've been serious rock stars, not a pop band that would make American mini-van mom's proud. On a serious note, I know Peter Green would've left eventually because of mental illness, but it didn't have to happen as soon as May, 1970.

[vivfox]

This Day in Music: April 11th
04.11.2011Brought to you by ThisDayinMusic.com

Born on this day:

1956, Neville Staples, vocalist (The Specials, Fun Boy 3)
1958, Stuart Adamson, guitarist, vocalist (Skids, Big Country)
1966, Lisa Stansfield, vocalist
1969, Cerys Matthews, vocalist (Catatonia)
1987, Joss Stone, vocalist

1956, Traveling from Amarillo to Nashville, the plane Elvis Presley was a passenger on developed engine trouble and was forced to make an emergency landing. The incident created a fear of flying for Presley.

1961, Bob Dylan played his first live gig in New York City at Gerde’s Folk City, opening for John Lee Hooker.

1964, The Beatles set a new chart record with 14 singles on the Billboard Hot 100. The songs ranged from “Can’t Buy Me Love” at #1 to “Love Me Do” at #81.

1970, While in Germany Peter Green quit Fleetwood Mac but agreed to finish the band’s current European tour to avoid a breach of contract.

1981, Hall & Oates started a three-week run at #1 on the U.S. singles chart with “Kiss on My List,” the duo’s second American chart-topper.

1988, Cher won an Academy Award for best actress for her role in Moonstruck.

1988, Guns N’ Roses shot the video for their song “Sweet Child O’ Mine” in a ballroom in Huntington Beach, CA.

1994, Oasis released their first single, “Supersonic,” which peaked at #31 on the U.K. charts.

http://www.gibson.com/en-us/Lifestyle/News/day-in-music-0411-2011/

[vivfox]

On this day in 1970, as The Beatles disintegrated, their single “Let It Be” hit #1 and on this day in 1970, guitarist Peter Green of Fleetwood Mac announced his departure from the original line-up in order to follow his religious beliefs.

http://kzok.radio.com/2011/04/11/the-beatles-and-fleetwood-mac/

[vivfox]

http://www.seattlepi.com/lifestyle/blogcritics/article/Danny-Kirwan-The-Forgotten-Man-of-Fleetwood-Mac-964938.php

[vivfox]

Let’s Pick, Fleetwood Mac 2
By: Larue Friday June 10, 2011

Long ago, I began a diary to discuss the lolng history of OLD Fleetwood Mac, before Lindsey Buckingham N Stevie Nicks.

Because, I think they were always better, n I grew up loving that band.

As I mentioned in the first diary, that Mac with Lindsey/Stevie had commercial success, and indeed put out some great music, albeit it’s more pop centric nature.

This diary takes up from where the last one left off.

So, there we were loving the Old Mac 4 of Green (Peter Green’s Fleetwood Mac) which had a YOUNG Jeremy Spencer doing slide blues, old rock n roll and such, with Mic on drums, John McVie bass. N a few of them from John Mayall’s Bluesbreakers, which also birthed Clapton, Beck N Page, but that’s another whole page n history of stuff.

N then some how The Mac found n added Danny Kirwin (see the wiki on Mac in first diary).

He was 18. N he changed the band.

But this band changed a LOT once they hit the USA.

Hey, here’s one with all Five Macs, early on.

Story is that Peter Green was working on this song, n Jeremy Spencer was no help with no desire to help. Don’t know if that’s true but it’s been said.

So, Danny Kirwin came on board, and helped Green finish this song, n that was the beginning of the end for Spencer. Sorta.

Shortly after the release of their second album Fleetwood Mac added guitarist Danny Kirwan, then just eighteen years old, to their line-up. Green had been frustrated that Jeremy Spencer had little desire to contribute to Green’s songs. A mature and accomplished self-taught guitarist, Kirwan’s signature vibrato and unique style added a new dimension to an already complete band. With Kirwan the band released their first number one single in Europe, “Albatross”.

Despite the supposed end of Spencer with the band, there was much to lie ahead before he completed his demise from the band.

Peter Green left the band according to WIKI in May of ’70. His problems with mental stability (LSD or or other?) led him to want to give all the band’s money to charity. N he quit. See the Mac Wiki for more detail.

So, the band’s in USA, touring, n Green leaves. First loss. 1970.

At this point, young Danny Kirwin n young Jeremy Spencer were left to carry on.

And dawg dayum did they carry on, with Kiln House, still one of my fav Mac albums of all time.

Kiln House:
This project showed the two of them reaching out, n doing their best without guru Green to lead. N they smoked it.

It also features one Christine Perfect, who did the album cover art work. N who on one or two songs, I forget, became part of the band.

You just can’t get any better than Christine Perfect, n she tears up the the blues classic I’d Rather GO BLIND (I’d Rather Be A Blind Girl) that Etta James made famous.

Lord I love them horns . . . but that’s another diary some time about Cold Blood, Chicago Transit Authority, Electric flag n of course, Tower Of power.

N all this time, I have failed to draw the connect from old Elmore James majestry that Jeremy Spencer was soooooooo good at!

At this time, a song called DragonFly by Danny Kirwin, showcased what was to come. N Kirwin was to become a hoss. This song tells his git flavor, just listen to that sustain n glory. We will talk more of Kirwin’s git sound, as we progress thru the Mac lineup changes.

Sadly, after Kiln House, and while on tour in the US, Spencer went out one day, and never came back. Per Wiki:

While on tour in February 1971, Jeremy Spencer said he was going out to “get a magazine”, but never returned. After several days of frantic searching, the band discovered that Spencer had joined a religious group, the Children of God. Liable for the remaining shows on the tour, they convinced Peter Green to help finish the tour. He brought along his friend, Nigel Watson, who played the congas (twenty-five years later Green and Watson would collaborate again to form the Peter Green Splinter Group). Green, however, would only be back with Fleetwood Mac temporarily, so the band decided to search for a new guitarist.

Incredible, now two greats had left, one had come back, for a bit.

N the band played on!

THIS led to a version of the band I can’t help feeling, was the best that Mic Fleetwood could ever have felt feeling, was the best (aside from Bucky/Stevie).

And this is definitely one of my fav versions of this band, ever.

They moved to LA, they went out and found Bob Welch, Green n Spencer were gone, and Kirwin had that haunting sound which paired up with the new gitslinger so well.

Bob Welch.

This led to two of the greatest Mac albums of all time IMHO.

Sadly, all the Fleetwood Mac youtube’s I want to present have been deleted.

So, just let me say that Future Games N Bare Trees were epic sounds with Kirwin N Welch.

My two favs of all time, Mac style.

Kirwin went on to be useless due to drink, n was fired from the band while on tour around ’72.

Others were added to the band, Bob Weston was a monster, but he fooled around with Mic Fleetwood’s wife, and was fired.

N by the end of Mystery To Me the band was hurting.

Christine was done with a drunken John McVie, Mic was dumped by his old lady, n then, along came Buckingham N Nicks.

N they disintegrated hard, too. The rest is history.

But before Buckingham N Nicks, The Mac had a few configurations that were incredible.

I hope all y’all will check out old Mac, their music, n chase their incredible history.

Especially the music of Welch/Kirwin, on Future Games and Bare Trees.
Man that was and is, some fine, fine music.

N that’s my end of The Mac.

Bless them, their music, and anyone who stops by.

http://my.firedoglake.com/larue/2011/06/10/lets-pick-fleetwood-mac-2/

[vivfox]

This Day in Music Spotlight: Goodbye John Mayall, Hello Fleetwood Mac
June 15, 1967

Andrew Vaughan|06.15.2011

In London in the mid-‘60s, John Mayall's Bluesbreakers were THE blues act to see. When guitar god Eric Clapton left, Mayall turned to another young guitar player who had previously filled in for E.C. when he was on vacation, Peter Green.

After a while Green pushed for drummer Mick Fleetwood to replace Aynsley Dunbar. John Mayall agreed and The Bluesbreakers became Green, Fleetwood, John McVie and Mayall.

Mayall was a mentor by nature and gave Green studio-time for his birthday gift. Green, delighted, recorded four songs with Mick Fleetwood and John McVie. Tracks included a Green vocal on “ First Train Home” and a prophetic instrumental, “ Fleetwood Mac,” so named after the band’s rhythm section.

Things were hunky dory for a while, but when Mayall fired Fleetwood for being drunk it was the beginning of the end for Green and the Bluesbreakers. On June 15, 1967 Green quit to start a new band. Green and his agent called on slide guitarist Jeremy Spencer, Fleetwood, and he worked on getting McVie. But McVie opted to stay with Mayall, so Green used Bob Bruning instead. The new band made their live debut at the Windsor National Jazz and Blues Festival in August 1967 as Peter Green's Fleetwood Mac featuring Jeremy Spencer.

With Mayall starting to move away from blues to jazz, McVie decided to join Green after all. When The band’s moody instrumental, “Albatross,” hit #1 in the U.K., Fleetwood Mac headed to America, quickly becoming one of the coolest blues bands on the rock scene, with Green in particular winning acclaim and plaudits from critics and peers.

Carlos Santana called Green’s playing “a holy grail of tone,” while B.B. King said his playing gave “cold sweats”.

In July 1969 Fleetwood Mac headlined the Schaefer Music Festival in New York City's Central Park, along with The Byrds, Chuck Berry, Miles Davis, Led Zeppelin, B. B. King, The Beach Boys, Frank Zappa and Patti LaBelle. Easily the biggest band in Europe in 1969, the end was not far away.

Green had become disillusioned with life in the fast lane and began to retreat from the fame game. At some point in 1969 he began to tell the band they should give away all their money. Nobody concurred, but Green personally began to divulge himself of cash and possessions, eventually leaving the band in 1970 and retiring from the music business.

http://www.gibson.com/en-us/Lifestyle/Features/spotlight-0615-2011/

[sharksfan2000]

"If this article is not factual take it up with Andrew Vaughan" - love that post title, vivfox!

Aside from some things that are open to question ("Easily the biggest band in Europe in 1969"? - I'd like to see something to back up that claim), the most obvious factual error in this is that the band was nowhere near NYC Central Park in July 1969, having canceled their planned US tour that summer to stay in the UK.

[vivfox]

Published: Saturday, July 30, 2011 at 3:30 a.m.

The withering Alabama heat isn’t a problem for Christer and Vanja Fridhammar, who flew to the Shoals to attend the W.C. Handy Music Festival.

The couple, from Goteborg, Sweden, are not strangers to the Muscle Shoals area, but this is their first visit to the festival, which celebrates the music of native son William Christopher Handy, the Father of the Blues.

“We love the heat,” said Christer, a retired banker who’s turned his attention to his first love, the blues. He hosts a website that chronicles a vibrant roots music scene in Goteborg, and Vanja photographs local musicians.

“The music is fabulous, and the heat is a bonus,” Vanja said.

So, how did someone from far away Sweden become enamored of a distinctly American music?

“I got into the blues when I heard Peter Green’s Fleetwood Mac at a concert in 1968,” Christer said. “It was like a religious experience. It opened doors.”

Fleetwood Mac began as a hardcore blues band in England in the late 1960s, and Green was considered on a par with Eric Clapton as a blues guitarist at the time.

Christer said that was “second-hand” blues, but began to investigate the band’s source material, which led him the early blues masters such as Robert Johnson and Blind Lemon Jefferson.

Christer and Vanja met years ago in Goteborg through a mutual friend in a local blues band.

“We met because of the blues,” Vanja said.

http://www.timesdaily.com/article/20110730/NEWS/110729771?Title=Swedish-visitors-soak-up-atmosphere

[michelej1]

http://i300.photobucket.com/albums/nn2/michelej1/Fleetwood%20Mac/dannykirwan-petergreen-1.jpg

From a blog: Caelum Et Terra (Heaven and Earth)
http://caelumetterra.wordpress.com/2011/08/27/danny-kirwan-and-fleetwood-mac/

Danny Kirwan and Fleetwood Mac
August 27, 2011 by Daniel Nichols

To most people Fleetwood Mac means the band, featuring Stevie Nicks and Lindsey Buckingham, that had a string of huge hits in the 70s.

But that was only one of the many incarnations of Fleetwood Mac. Before that the shining lights of the band were Christine McVie and Robert Welch. Curiously, Mick Fleetwood and John McVie, who gave the band their name and whatever continuity it had, never had a discernable sound of their own. They just sort of played along with whoever was the real creative force at the time.

And in its earliest incarnation that was Peter Green and Danny Kirwan. Although the band began, like so many British rock bands, playing straight up American blues, it was not long before Green and Kirwan began finding their own unique voices.

I commented when I was writing about the book Electric Eden: Unearthing Britain’s Visionary Music, that it was a strange omission to not mention early Fleetwood Mac at all.

Here is one of Danny Kirwan’s compostions, showing his work at its most beautiful:
[link to Woman of a Thousand Years]

[michelej1]

Excerpt from an Interview with Dough "Cosmo" Clifford

Stuff.Co.Nz 12/1/2011
http://www.stuff.co.nz/entertainment/blogs/blog-on-the-tracks/6065934/The-Doug-Cosmo-Clifford-Interview

This triggers a memory of Fleetwood Mac - another band that's carried on along the road, members shifting, the music just keeps on drifting...and Clifford remembers seeing the Peter Green-helmed version of the band. "They would come out and hand around a bottle - and you know it wasn't the only thing that had been consumed. And they'd take the lid off and pass the bottle into the crowd. But they were just a great, great band. There was no question. Just awesome stuff. Very inspiring. Later they went in a whole new direction with the girls on board - and they nailed that too. I mean, they were one of the biggest bands in the world. I always felt that Lindsey Buckingham was an underrated guitarist; really an extraordinary guitarist."

[vivfox]

By Doug Davis Thursday, Mar 8 2012

The Grateful Dead sang, "What a long, strange trip it's been" a mere five years into their psychedelic journey. That was 10 years before Christopher Owens, songwriter-guitarist of the San Francisco-based band Girls, came into the world. That puts his trip at 30-plus years, and it has been strange indeed.

Born and raised within the Children of God cult, Owens roamed the world with his mother. He observed as she and her fellow members preached and trolled for new recruits through the devious techniques of the cult (Google "flirty fishing"). All cultural content — music, books, videos, pictures — was controlled by cult leaders, with most of it originating within the cult itself.

At least some of the musicians in the cult were competent. The guitar Owens uses to write virtually all his songs was a gift to the Owens family from Jeremy Spencer, a guitarist in the original roster of Fleetwood Mac. Spencer famously disappeared on tour in Los Angeles, eventually surfacing with a head shaved as cult member: a huge celebrity catch for them.

"There was this one center where like 500 members lived called The Jumbo, where all of our music, audio and video cassettes and books were made," explains Owens. "At one point, we got to live there, and Jeremy Spencer lived there too, and was kind of the musical director." Before joining the cult, Owens' mother had been a Fleetwood Mac fan, a point she made when the opportunity presented itself.

"He gave the guitar to my mom, for me and my sisters to learn to play," he continues, "and a couple years later, after we moved to France, I just became obsessed with it."

As soon as he could break away at age 16, he went to live in Amarillo with a sister who'd opted out of the cult. He was free to soak up all forms of popular culture he'd missed in his first 15 years, and was taken under the wing of Stanley Marsh 3, Amarillo's wealthy, eccentric art prankster famous for, among other things, creating the Cadillac Ranch.

The friendship remains strong, with Owens listing himself as a "former member of Stanley Marsh 3's Dynamite Museum"on his Twitter bio. "We are very much in touch, and he is still very big in my life," Owens confesses.

He eventually settled in San Francisco, and drifted through acknowledged bouts with drug addiction. He met and became fast friends with Chet "J.R." White, a fellow musician and producer, and they formed Girls in 2007. They've released two albums, the latest being 2011's Father, Son, Holy Ghost. Owens says the songs often emerge fully formed, captured by singing the lyrics and beat into his phone before they're lost.

He's wandering the world again, now as a touring musician. Owens creates video tour diaries he posts on YouTube under the name "chrissybaby4ever." They're fascinating, often tranquil and obviously personal.

"There's an element where I make them for myself, because I watch them too," explains Owens. "But for others, I also include things like sights that touch me, what books I am reading, or videos I'm watching, as a way of sharing something about myself."

Owens agrees when it's suggested his life reflects a kind of Newtonian social order. "Yeah, my mom, like a lot of people, kind of dropped out, joined this group and had kids, and now the kids have grown up and dropped out of that," he laughs.

http://www.dallasobserver.com/2012-03-08/music/the-long-strange-trip-of-girls-christopher-owens/

[vivfox]

Carlos Santana first broke into the big time at Woodstock in 1969. I wasn’t there, but I marveled at his prowess even back then. I’m also struck by how he and his music have remained relevant to this day.

To tell you how much of a fan I am, I still have never been able to completely grasp the fact that the song “Black Magic Woman,” was written in 1968 by Peter Green, then a mainstay of Fleetwood Mac. But Santana made it a worldwide hit in 1970.

Go back and listen to the Mac track–it’s pretty awesome, if you ask me.

http://www.theimproper.com/music/4943/carlos-santanas-classic-style-endures-woodstock

[vivfox]

Peter Green’s Les Paul

The 1959 Gibson Les Paul of Fleetwood Mac’s Peter Green has one of the most fascinating stories of any sunburst. When Fleetwood Mac’s Peter Green bought his Standard, interest in ’bursts was rising again – partly due to Mike Bloomfield and Eric Clapton, whom Green had replaced in John Mayall’s Blues Breakers.

Green told Guitarist magazine in 1999, “I stumbled across one when I was looking for something more powerful than my Harmony Meteor. I went into Selmer’s in Charing Cross Road [central London] and tried one. It was only £110 and it sounded lovely and the color was really good. But the neck was like a tree trunk… It was very different from Eric’s Les Paul, which was slim with a very fast action.” £110 equals a still-considerable $2,500 today, but Green knew he had a bargain. Green’s Standard – very light in color, and what most now describe as “honeyburst” – featured on many of Mac’s late-’60s releases.

When Green walked away from music in the early ’70s with mental health problems, he sold the guitar to Gary Moore – the Irishman was a friend and close neighbor of Green’s in London. Green initially tried to give the Les Paul to Moore, but Gary insisted on paying the £110 it originally cost. There was also the understanding that if Green ever wanted it back, all he had to do was ask. But Peter never did.

The guitar was celebrated for its sweet tone. Some say Green tinkered with the neck pickup and accidentally refitted the humbucker reversed and “out of phase,” resulting in a more nasal sound. However, Jol Dantzig once had the chance to examine it and he said it wasn’t that the pickup being reversed that was the cause itself, but the actual magnets inside that neck ’bucker were out of phase with one another. Dantzig recalled, “This was the secret we’d all been searching for!”

In Gary Moore’s hands, the guitar featured on numerous tracks – notably the Blues For Greeny album of Fleetwood Mac covers dedicated to his hero. But Moore suddenly sold it in 2006. Why? Only Gary knew, but there were rumors that Gary – who had injured his hand and had to cancel a 2005 tour – was suddenly faced with huge insurance costs.

The guitar is now at Maverick Music in North Carolina. Probably in a vault.

http://www.gibson.com/en-us/Lifestyle/Features/les-paul-sunbursts-0319-2012/

[jeremy spencer]

Peter Green’s Les Paul

The 1959 Gibson Les Paul of Fleetwood Mac’s Peter Green has one of the most fascinating stories of any sunburst. When Fleetwood Mac’s Peter Green bought his Standard, interest in ’bursts was rising again – partly due to Mike Bloomfield and Eric Clapton, whom Green had replaced in John Mayall’s Blues Breakers.

Green told Guitarist magazine in 1999, “I stumbled across one when I was looking for something more powerful than my Harmony Meteor. I went into Selmer’s in Charing Cross Road [central London] and tried one. It was only £110 and it sounded lovely and the color was really good. But the neck was like a tree trunk… It was very different from Eric’s Les Paul, which was slim with a very fast action.” £110 equals a still-considerable $2,500 today, but Green knew he had a bargain. Green’s Standard – very light in color, and what most now describe as “honeyburst” – featured on many of Mac’s late-’60s releases.

When Green walked away from music in the early ’70s with mental health problems, he sold the guitar to Gary Moore – the Irishman was a friend and close neighbor of Green’s in London. Green initially tried to give the Les Paul to Moore, but Gary insisted on paying the £110 it originally cost. There was also the understanding that if Green ever wanted it back, all he had to do was ask. But Peter never did.

The guitar was celebrated for its sweet tone. Some say Green tinkered with the neck pickup and accidentally refitted the humbucker reversed and “out of phase,” resulting in a more nasal sound. However, Jol Dantzig once had the chance to examine it and he said it wasn’t that the pickup being reversed that was the cause itself, but the actual magnets inside that neck ’bucker were out of phase with one another. Dantzig recalled, “This was the secret we’d all been searching for!”

In Gary Moore’s hands, the guitar featured on numerous tracks – notably the Blues For Greeny album of Fleetwood Mac covers dedicated to his hero. But Moore suddenly sold it in 2006. Why? Only Gary knew, but there were rumors that Gary – who had injured his hand and had to cancel a 2005 tour – was suddenly faced with huge insurance costs.

The guitar is now at Maverick Music in North Carolina. Probably in a vault.

http://www.gibson.com/en-us/Lifestyle/Features/les-paul-sunbursts-0319-2012/

:lol:That was a steal! I paid $120 for my first 2nd hand Strat in '68 and that was regarded as cheap! Most name guitars in London were selling at twice the price. It's just that Les Pauls were not considered a saleable item when Pete bought his.

[iamnotafraid]

Peter Green’s Les Paul

the neck was like a tree trunk… It was very different from Eric’s Les Paul, which was slim with a very fast action.”

Mine must be the same neck. It's like
playing a baseball bat.

[slipkid]

:lol:That was a steal! I paid $120 for my first 2nd hand Strat in '68 and that was regarded as cheap! Most name guitars in London were selling at twice the price. It's just that Les Pauls were not considered a saleable item when Pete bought his.

So you, and Peter both bought second hand Strats together. It's obvious since Pete's strat had a retro-fitted volume knob not from Fender stock. Any pre CBS Strat is gold. The tone an original pre mid sixties strat had with only a two tone switch is almost late 50's Les Paul territory. If you couple an original Fender Strat/Telecaster with a vintage Fender amp, you have tone perfection. That's why Peter's Les Paul worked so well with the Fender Dual Showman. Jesse Ed Davies' Tele with a Fender Showman was fat, as was Danny Kirwan's Tele.

Eric Clapton's "Bluesbreaker" 1960 Les Paul guitar was stolen in 1966. Either it still exists, and whomever has it isn't going to tell, or it's been lost due to some catastrophic event.

[slipkid]

http://i300.photobucket.com/albums/nn2/michelej1/Fleetwood%20Mac/dannykirwan-petergreen-1.jpg



That is my favorite picture of Danny, and Peter!

[THD]

So you, and Peter both bought second hand Strats together. It's obvious since Pete's strat had ........

I'm a bit confused here-which post does it state that Peter bought a strat ?

[slipkid]

Have you ever seen this?


http://www.youtube.com/watch?v=RtmW2ek7WkQ

Peter Green bought a Fender Stratocaster during his first visit to the US, as did Jeremy Spencer. This is was filmed 8/68, after FM's first visit to the states two months prior.

Peter Green is playing a three selector switch Strat with no knob and one that's not from Fender. That's as second hand as they come!

[TheSorcerer]

I've just had a big splurge on the 1970-1974 Fleetwood Mac albums. I'd only ever heard the tracks that were featured on The Chain box set and never really looked into much more than that until recently. I must say that there's some absolute corkers and I'm a little ashamed that it's taken me so long to find out about them. "Mystery to Me" is fast becoming one of my favourite Fleetwood Mac albums. "Dust" from "Bare Trees" is a track in paticular that I'm really digging at the moment.

[vivfox]

Coming Home
The Green Manalishi
Spare Me A Little
Bad Loser
Sentimental Lady
Future Games
Bermuda Triangle
I'd Rather Go Blind
Why
Night Watch
Homeward Bound
Angel
I Loved Another Woman
Oh Well
Rattlesnake Shake
Hypnotized
Black Magic Woman

http://www.setlist.fm/setlist/fleetwood-mac/1974/auditorium-theatre-chicago-il-5bda434c.html


October 19, 1974
This is such an awesome setlist and I know all of you are aware of it. I posted because we have been speculating what somgs the band might perform this year and I thought this was such a great setlist from the past.

[vivfox]

2Cellos Cover AC/DC With Steve Vai And Fleetwood Mac With Elton John
by PAUL CASHMERE on JANUARY 4, 2013

2Cellos second album ‘In2ition’ features an all-star line-up of guests including their mentor Elton John on two tracks and Steve Vai helping them cover AC/DC.


“We’re extremely happy to have collaborated with such great guest artists and we believe that this is just the beginning. We’ve practiced all our lives, and in this project we’ve succeeded in extending the possibilities of the cello and bringing it to a wider audience,” say the 2Cellos.

Luka Sulic and Stjepan Hauser (aka 2Cellos) recorded ‘In2ition’ with the legendary producer Bob Ezrin.

Elton features on a cover of Fleetwood Mac’s ‘Oh Well’ and remakes his classic ‘Candle In The Wind’ with 2Cellos. Steve Via is on guitar for AC/DC’s ‘Highway To Hell’.

2Cellos have been touring the world opening for Elton for the past few years and then feature in his band. “Elton suggested that we cover ‘Oh Well’ because he thought it would be perfect for the cello. We said we’d do it if he sang on it and he agreed!” says Stjepan. “It’s a fairly unknown Fleetwood Mac song and Elton’s voice sounds amazing on the track.”

The album also features songs from Coldplay, Muse, The Police and The Prodigy.

1. Oh, Well (feat. Elton John)
2. We Found Love
3. Highway to Hell (feat. Steve Vai)
4. Every Breath You Take
5. Supermassive Black Hole (feat. Naya Rivera)
6. Technical Difficulties
7. Clocks (feat. Lang Lang)
8. Bang Bang (feat. Sky Ferreira)
9. Voodoo People
10. Candle in the Wind
11. Orient Express
12. Il Libro Dell ‘Amore (feat. Zucchero)
13. Benedictus

Stay updated with your free Noise11 daily music newsletter. Subscribe to Noise11 Music News here

Watch the Noise11.com interview with 2Cellos:Click on link


http://www.noise11.com/news/2cellos-cover-acdc-with-steve-vai-and-fleetwood-mac-with-elton-john-20130104

[michelej1]

[The Guardian, excerpt from an article about rock bands and politicians]

July 10, 2013, The Guardian by Ray Jones

http://www.guardian.co.uk/society/2013/jul/10/rolling-stones-unite-generations-politicians

It started in the late 1960s. I doubt if many of us could claim to have been at Woodstock, but a few might have been at the first Isle of Wight, and I was at the grandparent of Glastonbury at Shepton Mallet when Led Zeppelin headlined. I even got a job as front-of-stage security at the Bath festival in 1970 – where Fleetwood Mac stole the show.

[SteveMacD]

The only problem is Fleetwood Mac didn't play that festival. Peter Green played with John Mayall, but it was in June, 1970, and Pete was officially out of the band by then.

[vivfox]

Wishing Bob Welch a Happy Birthday???

http://my.firedoglake.com/dakine01/2013/08/31/saturday-water-cooler-happy-birthday-bob-welch-fleetwood-mac-van-morrison-rick-roberts-and-gina-schock-gogos/

[vivfox]

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