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Author: Subject: Peter Green (Fleetwood Mac)

True Peach





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  posted on 12/5/2008 at 10:55 AM
This is the version of the band that I love




Fleetwood Mac "Oh Well"
http://www.youtube.com/watch?v=KE4HGlmtOcg&feature=related

Fleetwood Mac "Like it This Way"
http://www.youtube.com/watch?v=HQ8AcEYTEFY

Fleetwood Mac "Rattlesnake Shake"
http://www.youtube.com/watch?v=JsVmsPv6_Ic

Fleetwood Mac "World keep on turning"
http://www.youtube.com/watch?v=rxux5LdmjQU

Fleetwood Mac - "Need Your Love So Bad"
http://www.youtube.com/watch?v=lxeQKQQ6k4s&feature=related

Fleetwood Mac "Black Magic Woman"
http://www.youtube.com/watch?v=nvgO9jWaSFM&feature=related

Fleetwood Mac "Albatross"
http://www.youtube.com/watch?v=fvfKHQ6OJlc&feature=related

Fleetwood Mac - "First Train Home"
http://www.youtube.com/watch?v=cYVJDaksTeU

Peter Green "A fool no more"
http://www.youtube.com/watch?v=lIkiKy-T-gU

Fleetwood Mac - Green Manalishi
http://www.youtube.com/watch?v=DYBQdXv0BhM&feature=related

 

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Zen Peach



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  posted on 12/5/2008 at 10:57 AM
Many excellent clips. Thanks Kenny. I enjoy all the various periods for different reasons. The Welch years were the weakest but still some good moments.

 

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  posted on 12/5/2008 at 11:31 AM
Yes indeed. IMHO:
Peter Green was the finest pure blues player that 1960's England produced.
No doubt about it!

[Edited on 12/5/2008 by PeachNutt]

 

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  posted on 12/5/2008 at 11:33 AM
quote:
Many excellent clips. Thanks Kenny. I enjoy all the various periods for different reasons. The Welch years were the weakest but still some good moments.


"Weakest" in what way? Commercially? Creatively??

After the Peter Green era, the Bob Welch era is my next fave. (I liked the Buckingham Nicks era up until the end of the Tusk tour...then it went downhill)

[Edited on 12/8/2008 by chiliD]

 
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  posted on 12/5/2008 at 11:37 AM
Thanks Kenny!... Fleetwood Mac when it really mattered!

 

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  posted on 12/5/2008 at 12:25 PM
Good stuff indeed! Thanks!

 

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  posted on 12/5/2008 at 01:07 PM
I enjoy ALL the incarnations of Fleetwood Mac (some more than others), but the original was indeed something special. Some albums I own are Then Play On, Vintage Years (an overview of lps like Mr. Wonderful, Peter Green's Fleetwood Mac), The Pious Bird of Good Omen, Live at the BBC, The Original Fleetwood Mac (rarities) and a video which came out on Castle Music Pictures called "The Early Years" which is fantastic.
 

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  posted on 12/5/2008 at 02:10 PM
Thanks for the blast from the past jog, Kenny...in my long lost teen freak years growing up in England...we saw them play at a london club....love Peter Green's voice and those UK bluesmen..what an era..I'm blissfully melting again...

Albatross...ah the bedding memories to this song

 

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  posted on 12/5/2008 at 07:19 PM
Great band. I agree, Peter Green [& John Morshead of Aynsley Dunbar's Retaliation] probably UK's finest blues player.
Saw the band's debut in 1967 at the Windsor Jazz & Blues Festival!

Great memories...

 

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  posted on 12/5/2008 at 07:30 PM
quote:
Great band. I agree, Peter Green [& John Morshead of Aynsley Dunbar's Retaliation] probably UK's finest blues player.
Saw the band's debut in 1967 at the Windsor Jazz & Blues Festival!

Great memories...


Aynsley Dunbar Retaliation - "Warning" AUDIO ONLY with pictures
http://www.youtube.com/watch?v=3l3c-42huW0



John Moorshead:

Also spelled Moreshead, Moorhead, Morshead or Morsehead depending on source. I have chosen to use the spelling on Aynsley's album covers.

Excellent blues guitarist who once played with Shotgun Express. Joined Aynsley Dunbar Retaliation and is featured on all albums recorded under this group name. Joined/formed Heavy Jelly with Jackie Lomax when Aynsley formed Blue Whale. Thereafter joined Graham Bond's Holy Magick ("Holy Magick" VERTIGO 6360 021 in 1971). Featured on Denny Laine's first solo album "Aah Laine" in 1973. Then I lost track of this gentleman for a long time.

When I dived headlong into the British blues scene in 1968 there was naturally a lot of "hero worship". I didn't go much for sports heroes... Deep inside I wanted to be a guitar hero myself - just like those cool Englishmen. In my mind I formed some sort of image of the ideal blues guitar hero: long hair, moustache, Levi's shirt, leather jacket, boots. And a cherry red Gibson SG.
John Moorshead was perfect!

Lately it's been more Beck, Clapton and Green on my turntable (or CD player!). But when I listen to those Dunbar albums today, I must say that John Moorshead still impresses me. He played in a more "American" style than most of his U.K. contemporaries. He had most certainly done his homework!

John Holmes wrote in the "British Blues Review" October '88 in his piece on the Aynsley Dunbar Retaliation: "... a final Retaliation LP entitled "Remains To Be Heard" was issued in 1970 on the Liberty label. This was more than an LP of rejected tracks, and once again featured some fine guitar playing from John Morshead, particularly on the slow blues, "Downhearted", which for me is one of the finest recorded guitar solos by a white blues player!"

The "British Blues Review"s June '89 issue contained a favourable review of a live gig by Dr Jim's Wonder Tonic (a four piece from Dorset), featuring the elusive Mr. J.M.
Pete Moody's photograph depicted our clean shaven and healthy looking hero playing a natural finish Telecaster and wearing a satisfied smile, a checkered shirt and Lee jeans in the best Fogerty tradition.

But where is he now? When asking around in London in the summer of '98 I heard that he lived on the west coast (Bristol?), possibly played with the Aynsley Dunbar Trio and a year ago had gigged with guitarist Top Topham. More info invited!

All below are AUDIO ONLY with some photos.

Shotgun Express "I Could Feel The Whole World Turn Round"
http://www.youtube.com/watch?v=Gp0kU65rI5c

Shotgun Express "Curtains"
http://www.youtube.com/watch?v=PXw9uVxddZE

Shotgun Express - Indian Thing
http://www.youtube.com/watch?v=nhAbO0Z_Tt0&feature=related



[Edited on 12/6/2008 by OldDirtRoad]

 

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  posted on 12/5/2008 at 07:48 PM
Kenny .... I haven't got the time right now to look at all these fantastic videos you put up, but Thanks in advance.. Love FM with Peter Green ...so cool....
Many incarnations of FM , I think it's a total of 14 ... they were all pretty darn great.

 

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  posted on 12/5/2008 at 08:44 PM
Thanks for putting the video list together. The early Fleetwood Mac years with Peter Green is some of my favorite music ever.

Got to add one - Man of the World:

http://www.youtube.com/watch?v=7_--lzn3SrU

 

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  posted on 12/5/2008 at 10:41 PM
While watching the links from this thread I saw these segment story pieces - The Peter Green Story, 10 minute videos. I had never seen this before, it is an excellent biography type thing. Includes interviews with Green, Green's family, Fleetwood, Spencer, McVie, Vernon (Blue Horizon), Mayall, etc.

Part 1 - Intro and Mayall
http://www.youtube.com/watch?v=NYdHES4J0Ng

Part 2 - Fleetwood Mac is formed minus McVie
http://www.youtube.com/watch?v=HUVyjw0EnBc&NR=1

Part 3 - Band starts to record and McVie joins
http://www.youtube.com/watch?v=6nRb6xL0CBI

Part 4 - Mr Wonderful and stories from the early shows
http://www.youtube.com/watch?v=AHBmdQnc198

Part 5 - LSD and Kirwan joins
http://www.youtube.com/watch?v=9rySzbQSJBY

Part 6 -
not available (part 6 link actually plays part 1 video in error)

Part 7 - Man of the World, new record label (Then Play On)
http://www.youtube.com/watch?v=ElAmyp-oVLI

Part 8 - nearing the end
http://www.youtube.com/watch?v=_JcKoiVmVao

Part 9 - the end (including the Munich story)
http://www.youtube.com/watch?v=Lv7l1pQsGMM

Part 10 - Peter goes solo, Jeremy leaves
http://www.youtube.com/watch?v=er1uEeg11zk

Part 11 - Peter's breakdown and "treatments"
http://www.youtube.com/watch?v=Ca1MKFR43XY

Part 12 - Conclusion
http://www.youtube.com/watch?v=xvY53E3OWJI

 

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  posted on 12/5/2008 at 11:05 PM

Thanks... Good stuff, I always like to see folks add more.

 

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  posted on 12/6/2008 at 12:10 AM
quote:

Thanks... Good stuff, I always like to see folks add more.


thanks for the John Moorshead stuff

 

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  posted on 12/8/2008 at 03:50 PM
If anyone is interested, there is a Green era FM vine of the BBC Rock Hour 1970.

http://www.allmanbrothers.com/modules.php?op=modload&name=XForum&fi le=viewthread&tid=77025#pid1958312

 

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  posted on 12/8/2008 at 04:30 PM
love Peter Green - his contributions are somewhat forgotten today, but that man could play
 

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  posted on 12/8/2008 at 08:34 PM
Listen to this one from 1-31-70 Warehouse show! To introduce the song Peter says:

"This one's a BB King number...I think it's one of his best slow ones, and I feel that I agree very much with the thing and sort of imagine meself in the same situation so that's why I'm going to do it. It's called All Over Again."

http://www.youtube.com/watch?v=IxgY9eEFiYM

 

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  posted on 12/8/2008 at 10:36 PM
I've been playing my 1/30 and 1/31 Warehouse shows and came across 2/1/70 show on Wolfgang's vault. You can listen to it for free streaming you just have to register with the site. It is great!

http://concerts.wolfgangsvault.com/dt/fleetwood-mac-concert/20052773-2365.h tml

 

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  posted on 12/8/2008 at 10:41 PM
peter green in Mac was greattttt.
but his band,Splinter Group has some fine music.
check them out...

 

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  posted on 12/8/2008 at 11:39 PM
Good excerpt below taken from here:
http://guitarplayer.wordpress.com/2008/07/15/peter-green-the-greatest-forgo tten-guitar-hero/

quote:
Peter Green Gear:

Not much info out there on what he played, besides info on his ‘59 Les Paul. If you want to have a similar setup, go for the Lemon Drop guitar, which is just super cool, you shouldn’t even care there’s no “Gibson” on the headstock. He reportedly used Fender Twins on Mac recordings…so maybe the Fender Twins with jensens would be a good starting point, also considering the great Fender reverb - Green loved reverb.

He famously used Orange amp heads, though he wasn’t necessarily a big fan of Orange. What he was a big fan of was the big, extreme reverb sounds…if you get a Electro Harmonix Holier Grail, you’ll be able to explore some cool sounds Peter Green would be proud of in his Mac days…

Here’s some more detailed info we found searching the web, about some of Peter Green’s recording secrets:

The Guitar Magazine from England ,a special Fleetwood Mac,Peter Green issue Volume 7 number 3 January 1997.

with John Mayall:
'A Hard Road' Peter Green's John Mayall album...

THE SUPERNATURAL

recorded Decca Studios,London,Oct 1966

Equipment:Green used a 50-watt Marshall head through one of Marshall’s very first 4X12 cabs.The amp section of this combination formed the basis of what would later become the Bluesbreaker 2X12 combo. Green played his legendary ‘59 Les Paul.

Peter admitted that the credit for this tune really should go to session producer Mike Vernon(of the famous Blue Horizon label).

“That was his idea. We were in the studio and I was playing this chord sequence on the organ which was really good. I did some guitar and the piece just developed from there. It should have been Mike’s really,but he said;”Have it.It’s yours.”

With Fleetwood Mac:
Peter Green in his Fleetwood Mac days

ALBATROSS

Recorded:October 1968,8 track,CBS Studios,New Bond St.,London.

Personnel: Peter Green(rhythm,lead and slide guitar);Danny Kirwan(slide guitar);John McVie(double- tracked bass);Mick Fleetwood(mallet drums)

Equipment: Peter Green played the rhythm parts on his ‘59 Les Paul as well as the solo and slide ’seagull’effects. Kirwan used his Telecaster for the second slide part and refrains

Late 1968 and into 1969 proved to be Peter Green’s great creative window. He would never be as happy or as prolific again. Listened to in isolation, Albatross -a product of that optimism-sounds more like an ambient record or a sub-orchestral easy listening experiment than a conventional pop track. Then again,Fleetwood Mac were never exactly a conventional band…

By immersing himself in classical music,African music and jazz, Green was deliberately attempting to distance himself from the blues. Once slide exponent Danny Kirwan entered the Mac picture, Green had all the encouragement he needed. Though familiar now, Albatross (or ‘Albert Ross’ as Green would introduce it on stage) was then a daring experiment. Green wanted to explore the use of reverb, intending the track to mirror the gentle pillow of winds upon which the bird rises and falls through the air currents.

OH WELL (Parts 1 and 2)

Equipment: Green plays a Michigan dobro-style resonator for the intro to Part 1 and his Ramirez flamenco nylon string for Part 2.The electric guitar parts are on his ‘59 Les Paul through an Orange GT120.

ECHO BEACH-The Fleetwood Mac Sound

Green and fellow guitarists Danny Kirwan and Jeremy Spencer were reverb freaks; indeed. If Fleetwood Mac had any trademark sound it was the heavy reverb and Green’s choice of amplifiers was dictated not so much by the actual sound of the amps as much as the quality, richness and depth of the reverb.

As the Fleetwood Mac sound grew in complexity from the straight blues to mini-epics like Albatross and Oh Well,so the need to add more reverb grew. Green went from using the Marshall 50-watt head through the 4X12 cab (one of the first 4X12s in Britain)to using Orange amps,then the latest stack on the market. The distinctive amps-now favoured by Noel Gallagher, amongst others-did not come with spring reverb systems included. Green’s GT120 120-watt Orange head was put through two Orange 4X12s while the reverb was taken care of by a seperate valve powered preamp and reverb spring system. The band got the amps as part of an endorsement deal after Dinkie,their road manager saw them demoed at a London music store.

“Dinkie loved volume,”recalls Dennis Keen. He loved thousands of watts of power,like The Who,and when he heard the clean power of the Orange’s he went crazy and bought a whole load.

Peter was never convinced they were any good,but we used ‘em for a year or so and they were certainly good live. When we toured with BB King we played the Albert Hall and BB actually asked if he could use the Orange stacks,cause he rated them really highly.’

Green now maintains that he was always unsure about using Orange amps because they didn’t have the right depth of reverb and were often too trebly for his smooth glissandi guitar breaks. Eventually Green would move over to tried-and-tested Fenders which,even today,feature some of the best dynamic spring reverbs around.

The Green Manalishi (With The Two Prong Crown)

Recorded:Warner Brothers Studios,Hollywood;mixed and overdubbed at De Lane Lea,Holbern,London,London,April 1970

Personnel: Peter Green(vocals,guitars);Danny Kirwan(vocals,guitar);John Mc Vie(bass);Mick Fleetwood(drums).

Equipment:’59 Les Paul and Fender Bass VI through an Orange GT120 with several 4X12 cabs.

Recording Green Manalishi

The power chords that provide the track with so much of its menace were the result of late night experiment at DE Lane Lea Studios.Using the underground car park beneath the studio, the engineers set out three 4X12 speaker cabs. They close- miked one, then distance- miked the other two to catch the cavernous reverb generated when Green played the power chords on his Fender Bass VI-the blended guitar sound is one of the most startling ever captured on tape.’It sounds like there must be loads of compression and fuzz and overdrive on the guitars to get that sound,but there isn’t,’ reveals Keen.’Peter had things like Cry Babys and Coloursound distortion pedals but he didn’t use ‘em that often.He was mainly into reverb-that was his big thing.’

The chilling solo guitar,was counterpointed by Green’s demonic howling vocal,was achieved in the same way as the chord bombast-though this time by having one microphone pick up the reflection off the far wall of the car park,effectively giving the sound a complex reverb delay.

For live performances,Green almost exclusively used his ‘59 Les Paul occasionaly switching to his Strat ‘when the mood took him.’ On two occasions he used the Fender VI live.’The thing about Pete was that he had all the effects but he never used ‘em adds Keen.’He could make a note distort just by overplucking it;that’s how good he was.Total control.’

Green’s increasing turmoil was never more fearfully expressed than on a live version of Manalishi recorded at The Boston Tea Party club on the Mac’s final US tour in 1970. Black,frenzied and clocking in at around 16 minutes,it is a must for all Green-o-philes.Though barely audible over the the ferocious backing,Green’s screams verge on the ungodly. Bootlegs of The Boston Tea Party are especially worth hunting out(have had a copy for many years-yngwie308)as it features an otherwise unreleased jam with Clapton and Green.

By this point,Fleetwood Mac had dispensed with the Orange backline for their live shows and opted for a selection of Fenders that included Peter’s Dual Showman head and several 2X12 cabs. At some smaller gigs Green took to using a Tremolux through a 2X10 simply because he felt the reverb system was unsurpassed.”We were in New York and we had nothing to do,’recalls Dennis Keen.’It was either stay in the hotel room,get bored and get out of it-which wasn’t ideal-or go wandering . So we went down to Manny’s music store off Times Square and just bought a load of new Fender amps. I don’t think Pete was fed up with the Orange stuff,he just fancied a change.’

Peter Green Solo

End of the Game

Recorded: May-June 1970 London

Personnel: Peter Green(lead,rhythm guitar);Nick Buck(Hammond organ);Alex Dmochowski(bass);Godfrey Maclean(drums)

Equipment:’59 Les Paul,sunburst ‘67 Stratocaster through a Marshall 50-watt combo,and Marshall 100-watt head through a Fender 2X12 cab.

Zoot Money played piano on the album and remembers a highly motivated yet verbally uncommunicative Green.’The thing about Peter is that he didn’t really feel he’d met someone or really become a friend unless he’d jammed with them because that was how he spoke to the world.He was a bit of a savant really.Music was his language-notes,scales,joyous harmony…that was how he spoke.’

Recording End Of The Game

‘I think Peter deliberately choose people for that session who were ready for a change,’says Zoot Money.’We all arrived around 10 at night,had a quick chat,then we were into it. We jammed for 20 minutes,tapes rolling,then we stopped…quick chat and off we went again. Six hours later the whole thing was over. No drugs(contrary to much public opinion-yngwie308),no talking,just playing…and I remember it being very exciting,in places. We didn’t go back over anything and Peter only overdubbed one guitar part. I actually recall him being very happy-he was free to jam.For years he’d been caught up in the need to stick to the recipe. Here he was,making music that grew organically,evolved and couldn’t be repeated or replicated.’

At Green’s insistance the band were recorded without baffles or seperation. The room was ambient- miked and the results sent straight to tape. Green then listened back and edited sections together until he had six tracks of varied length.’If you want to know how he worked,it was as if he’d get you to climb up a ladder to one level,then kick the ladder away,then lead you up another and so on,’Zoot ponders.’Peter was obviously influenced by the psychedelic bands but his freeforming was much more about finding the psychic level,the interconnection and the unspoken language between musicians.’

Others recall an altogether darker atmosphere. Bassist Alex Dmochowski believes Green was attempting to ‘find out what was making him scream, musically.’It’s interesting to note that for The End Of The Game sessions Green was persuaded to stop taking his lithium and explore his own rapidly fragmenting psyche.

Whatever the circumstances of it’s recording,End Of The Game is flawed,scary,beautiful and unjustly overlooked.Part ambient,part driving frenetic fractured techno jamming,it was as deep an expression of Peter Green’s inner mind as anything he had ever recorded and was,in many ways,years ahead of it’s time.

End Of The Game helped a little,’says Green,laughing as he recalls the unbridled freeform extremism of it’s birth.’It taught me what was and what wasn’t possible.I made it as an expeiment because I felt restricted.I’m still restricted and I can’t learn fast enough to say what I have inside…but I’m learning again.That was the problem in the beginning.I couldn’t play the things I heard in my head.It makes you want to give up sometimes.I thought maybe I could get closer to it by doing it that way.I don’t think it worked too well.But now I’m learning beter to do all the things I should have learned in the first place.’



 

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  posted on 12/9/2008 at 12:02 AM
Thanks so much nebish for adding the bio on Peter Green... will watch all at another time , but watched part 1 and it is so great... I have always been hungry for info on Peter Green, fascinating... such a talent to bad about mental break down , whether drug related or genetics.

Thanks again Kenny for starting this thread....

 

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  posted on 12/10/2008 at 12:48 AM


I believe this is a picture of Fleetwood Mac show in Sweden 11-6-69 (Jeremy may be off to the left at the piano?). Here is a site of the band Blue Pearls where Bela Stephens recalls his encounters with the band and reviews of 5 shows where Peter played Sweden with either FM or solo.

http://www.thebluepearls.com/green.htm

[Edited on 12/10/2008 by nebish]

 

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  posted on 1/25/2009 at 11:11 AM
I recently received the UK Peter Green box set, `THE
ANTHOLOGY'. Four career-spanning discs in a sweet
hard-cover box with a killer 72-page full-colour book!
Very nice with a lot of rarities and b-sides. I don't think
it has anything from Greeny's first solo album, `END OF
THE GAME' (licensing issues, probably) but every other
facet of his career is here. Everything but the 3-hour
`Mountain Jam' with the Brothers, of course.




 

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  posted on 1/25/2009 at 11:27 AM
thanks

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