Peter GREEN - Blues For Dhyâna 1998

Peter GREEN - Blues For Dhyâna 1998

Blues

If you're unfamiliar with Peter's post-Mac work, this is a pretty nice place to start, as it compiles some of the finest tracks from his typically hard-to-find late '70s and early '80s albums. Throughout, this compilation presents a consistency in tone, mood and quality.... so that it actually feels like it was recorded at one session. Get this disc. If you like high-quality, moving blues-rock, you will not be disappointed.
**
Collection of 12 great blues numbers recorded between 1978-1983. Includes 'Born Under A Bad Sign', 'I Could Not Ask ForMore' & 'Liquor And You'. 1998 Culture Press release.
**
This is a recent release but does not contain any new material. It's another compilation of songs from Peter Green's 80s solo albums. Hardcore Green fans will likely have these tracks on the original albums; those who are interested will be better served by the vastly superior "Green and Guitar" compilation. (Note: both of these collections chicken out and use a "young" picture of Peter when he was still in Fleetwood Mac. At the time these songs were recorded he already looked older and was starting to lose his hair. So much for truth in advertising...)
**
Dave Mattacks- Drums
Godfrey McLean- Drums
Morris Pert- Percussion
Roy Shipston- Keyboards
Larry Steele- Guitar (Bass), Bass
Paul Westwood- Guitar (Bass), Bass
Jeff Whittaker- Percussion
David Wilkie- Piano
Reg Isidore- Drums
Ronnie Johnson- Guitar
Mike Green- Vocals
Snowy White- Guitar
Daniel Boone- Keyboards, Vocals
Pete Bardens- Keyboards
Bob Bowman- Guitar
Pam Douglas- Vocals (Background)
Rick FennGuitar
Peter GreenGuitar, Producer, Vocals
Kuma Harada- Guitar (Bass), Bass
Webster Johnson- Keyboards
Peter Vernon KellProducer
Mo Foster- Guitar (Bass), Bass
**
01.Fool No More (7:42)
02.Born Under a Bad Sign (2:53)
03.I Could Not Ask for More (4:56)
04.Walkin' the Road (3:48)
05.Last Train to San Antone (5:30)
06.Lost My Love (5:22)
07.Just Another Guy (6:01)
08.What Am I Doing Here (3:24)
09.Pan y Queso (3:42)
10.Liquor and You (3:47)
11.Six String Guitar (4:30)
12.One Woman Love (5:27)
**

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Peter GREEN - Whatcha Gonna Do 1981

Peter GREEN - Whatcha Gonna Do 1981
Creole 6.24600

Blues

The blurred image of Peter Green in the cover is not
Purposelessly, In the Mid 70's he was Diagnosed as
A Schizophrenic Thus he spent time in mental institute
And treated with Electro convulsive therapy.
With the Help of his brother's family he returned to his
Strength and Music.
So when he plays the Blues it's for Real.
**
The third album that Peter Green made after he launched a comeback in the late '70s, Whatcha Gonna Do? was a disappointment on several levels. It was a sluggish record, often with something of a going-through-the-motions feel. While Green's blues-rock guitar chops remained intact, they were executed with less fire, force, and imagination than they had been in his best work. Most disturbingly, there often seemed to be a conscious effort to move Green's sound toward mainstream soul-funk, as well as to add some uncomfortably incorporated reggae rhythms. It's an unmemorable album, but for all that, not a terrible one. You can hear Green's natural affinity for R&B in both his fluid guitar and earthy vocals on some of the better songs, like "Trying to Hit My Head Against the Wall," "Like a Hot Tomato," and "Lost My Love" (the last of which, like early Fleetwood Mac's cover of Little Willie John's "Need Your Love So Bad," makes clear Green's overlooked love of sentimental '50s American R&B/proto-soul). These would be quite acceptable from a blues-rock journeyman, but Green was cursed, perhaps, by the shadow of his greater achievements and by listeners' knowledge that he had been capable of delivering more inspirational goods. ~ Richie Unterberger

The third album that Peter Green made after he launched a comeback in the late '70s, Whatcha Gonna Do? was a disappointment on several levels. It was a sluggish record, often with something of a going-through-the-motions feel. While Green's blues-rock guitar chops remained intact, they were executed with less fire, force, and imagination than they had been in his best work. Most disturbingly, there often seemed to be a conscious effort to move Green's sound toward mainstream soul-funk, as well as to add some uncomfortably incorporated reggae rhythms. It's an unmemorable album, but for all that, not a terrible one. You can hear Green's natural affinity for R&B in both his fluid guitar and earthy vocals on some of the better songs, like "Trying to Hit My Head Against the Wall," "Like a Hot Tomato," and "Lost My Love" (the last of which, like early Fleetwood Mac's cover of Little Willie John's "Need Your Love So Bad," makes clear Green's overlooked love of sentimental '50s American R&B/proto-soul). These would be quite acceptable from a blues-rock journeyman, but Green was cursed, perhaps, by the shadow of his greater achievements and by listeners' knowledge that he had been capable of delivering more inspirational goods. [The 2005 CD reissue on Sanctuary adds two bonus tracks, the 1980 B-side "Woman Don't" and "Whatcha Gonna Do?" (which, though ostensibly the title cut of the record, was oddly unused on the original album itself).] ~ Richie Unterberger

Peter Green- (Vocals, Guitar);
Jeff Daly- (Saxophone);
Roy Shipston- (Keyboards);
Paul Westwood- (Bass Guitar);
Dave Mattacks- (Drums).
**
A1. Gotta See Her Tonight  5:46
A2. Promised Land  3:29
A3. Bullet in the Sky  3:19
A4. Give Me Back My Freedom  5:37
A5. Last Train to San Antone  5:29
B1. To Break Your Heart  3:52
B2. Bizzy Lizzy  3:25
B3. Lost My Love  5:21
B4. Like a Hot Tomato  3:01
B5. Head Against the Wall
**
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Peter GREEN with Fleetwood Mc - Live at the BBC 1995

Peter GREEN with Fleetwood Mc - Live at the BBC 1995
EDF CD 297
Recorded live between 1967 and 1971

Blues

Before they came to virtually define melodic Southern California rock in the late 1970s, Fleetwood Mac was a UK-based '60s blues-rock band, their style fueled by the electric American blues of Elmore James and Muddy Waters. Back then, the Mac's style was defined by the scorching guitar and impassioned vocals of Peter Green and the keening slide guitar of Jeremy Spencer. This three-CD set finds the band cutting loose on some of their favorite blues and early rock & roll songs, recorded live at the BBC studios between 1967 and 1971.
**
This album is great on a couple of levels.  One, is that close listen bears out the range of inspiration that came from Fleetwood Mac in general, and Peter Green in particular.  These guys influenced important music that would be recorded by The Beatles, Clapton, The Allman Brothers, Savoy Brown, and countless other blues based bands.  They were every bit as important to "Blues-Rock" as Zeppelin, Cream, and The Yardbirds.  They didn't achieve the fame because they chose to stay truer to the traditions of the music than their more famous counterparts.  And while that lack of flash may have cost them sales, it sure makes for some great listening.  Peter Green, Jeremy Spencer, and Danny Kirwan are outstanding.  And with the Fleetwood/McVie backbone behind them, they rarely fail to satisfy.  There are however a couple of downsides that cause me to give 4 stars rather than 5.  The most glaring to me is that while sincere and heartfelt, a little goes a long way when it comes to Jeremy Spencer's 50's tributes.  I could have done with 3 or so fewer of those in favor of some more blues.  Also, the tracks tend to be somewhat shorter than what Mac fans from this era have come to enjoy.  Fewer songs, and more solos might have been better, but in all fairness, the restrictions of live radio may have contributed to that situation.  These however are small complaints in the much larger picture of great British Blues by a band that needs to be appreciated more.
**
Peter Green- (Vocals, Guitar);
Jeremy Spencer- (Vocals, Slide Guitar, Guitar);
Danny Kirwan- (Vocals, Guitar);
John McVie- (Bass);
Mick Fleetwood- (Drums).
Additional personnel:
Nick Pickett, Christine Perfect, Eddie Boyd.

**
Cd 1
01. Rattlesnake Shake   7:38
02. Sandy Mary   5:00
03. Believe My Time Ain't Long   3:00
04. Although the Sun Is Shining   2:31
05. Only You   2:51
06. You Never Know What You're Missing   2:52
07. Oh Well   2:26
08. Can't Believe You Wanna Leave   3:25
09. Jenny Lee   2:19
10. Heavenly   2:37
11. When Will I Be Loved   2:13
12. When I See My Baby   2:11
13. Buddy's Song   2:09
14. Honey Hush   3:08
15. Preachin'   3:05
16. Jumping at Shadows   2:36
17. Preachin' Blues   1:59
18. Need Your Love So Bad   3:48

Cd 2
01. Long Grey Mare   2:53
02. Sweet Home Chicago   3:10
03. Baby Please Set a Date   2:59
04. Blues With a Feeling   2:56
05. Stop Messing Around   2:17
06. Tallahassee Lassie   3:24
07. Hang on to a Dream   2:56
08. Linda   2:03
09. Mean Mistreatin' Mama   4:03
10. World Keeps Turning   2:39
11. I Can't Hold Out   2:27
12. Early Morning Come   2:29
13. Albatross   2:48
14. Looking for Somebody   2:40
15. A Fool No More   3:40
16. Got to Move   2:57
17. Like Crying Like Dying   2:33
18. Man of the World   2:49
**
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Peter GREEN - The End Of The Game 1970

Peter GREEN - The End Of The Game 1970
Label: Warner
Audio CD: (May 13, 1996)
Recorded: London, mid-1969

Blues

Peter Green's CD The End of the Game is a worthy purchase. Its lead track, "Bottoms Up," is a freeform jam worthy of its placement right at the top of the album's playlist. As the rhythm section plows and pianist Zoot Money holds it down, Green's Les Paul leads the barebones group into the Stratocastersphere. Ironically, the music sounds focused, as persistent rumors from around this time chronicling Green's mental instability seem unfounded given the quality of the music.

This cut is certainly amongst the top five recordings that Green appears on, and anyone interested in his back story and catalog should start here. It sounds nothing like the Fleetwood Mac music heard these days on the FM dial. The track, though, does follow in the footsteps of the brief instrumental excursions pioneered by Green on the early, yet seminal (and still relatively unknown) Mac album Then Play On, which had been cut earlier in the year.

Hendrix-ian in his approach, yet very original, Green's performance here is the real reason that he is remembered at all, because, without this document (and since most of his recordings with Fleetwood Mac were steeped heavily in straight-ahead, twelve-bar blues), it would be tough to place him near the Beck/Clapton/Page pantheon of rock guitarists based on recordings alone. "Bottoms Up", though, shows that Green's instrumental approach, when unleashed, was as "out there" as both wah-heavy progressive rockers and as the recognized forefather of this style of avant-garde jamming, John Coltrane.
At least at this stage of the game, anyway...
By Marcus Singletary.
**
Peter Green- (Guitar),
Zoot Money- (Piano),
Nick Buck- (Keyboards),
Alex Dmochowski- (Bass),
Godfrey Maclean- (Drums)
**
01. Bottoms Up
02. Timeless Time
03. Descending Scale
04. Burnt Foot
05. Hidden Depth
06. The End of the Game
**
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Peter GREEN - Katmandu, A Case For The Blues 1987

Peter GREEN - Katmandu, A Case For The Blues 1987
Label: CMC / Satelite

Blues

His career riddled by drug abuse and paranoia, Peter Green is still regarded by some fans as the greatest white blues guitarist ever, Eric Clapton notwithstanding. As he grew up in London's working-class East End, Green's early musical influences were Hank B. Marvin of the Shadows, Muddy Waters, B.B. King, Freddie King, and traditional Jewish music.
Born Peter Greenbaum but calling himself Peter Green by age 15, he played bass before being invited in 1966 by keyboardist Peter Bardens to play lead in the Peter B's, whose drummer was a lanky chap named Mick Fleetwood. The 19-year-old Green was with Bardens just three months before joining John Mayall's Bluesbreakers, whose rapidly shifting personnel included bassist John McVie and drummer Aynsley Dunbar. A keen fan of Clapton, Green badgered Mayall to give him a chance when the Bluesbreakers guitarist split for an indefinite vacation in Greece. Green sounded great and, as Mayall recalls, was not amused when Clapton returned after a handful of gigs, and Green was out.

When Clapton left the band for good six months later to form Cream, Mayall cajoled Green back. Fans were openly hostile because Green was not God, although they appreciated Clapton's replacement in time. Producer Mike Vernon was aghast when the Bluesbreakers showed up without Clapton to record the album A Hard Road in late 1966, but was won over by Green's playing. On many tracks you'd be hard-pressed to tell it wasn't Clapton playing. With an eerie Green instrumental called "The Supernatural," he demonstrated the beginning of his trademark fluid, haunting style so reminiscent of B.B. King.

When Green left Mayall in 1967, he took McVie and Fleetwood to found Peter Green's Fleetwood Mac. Jeremy Spencer and Danny Kirwan shortly afterward gave Fleetwood Mac an unusual three-guitar front line. Green was at his peak for the albums Mr. Wonderful, English Rose, Then Play On, and a live Boston Tea Party recording. His instrumental "Albatross" was the band's first British number one single and "Black Magic Woman" was later a huge hit for Carlos Santana. But Green had been experimenting with acid and his behavior became increasingly irrational, especially after he disappeared for three days of rampant drug use in Munich. He became very religious, appearing on-stage wearing crucifixes and flowing robes. His bandmates resisted Green's suggestion to donate most of their money to charity, and he left in mid-1970 after writing a harrowing biographical tune called "The Green Manalishi."

After a bitter, rambling solo album called The End of the Game, Green saddened fans when he hung up his guitar, except for helping the Mac complete a tour when Spencer suddenly joined the Children of God in Los Angeles and quit the band. Green's chaotic odyssey of almost a decade included rumors that he was a gravedigger, a bartender in Cornwall, a hospital orderly, and a member of an Israeli commune. When an accountant sent him an unwanted royalty check, Green confronted his tormentor with a gun, although it was unloaded. Green went to jail briefly before being transferred to an asylum.

Green emerged in the late '70s and early '80s with albums In the Skies, Little Dreamer, White Sky, and Kolors, featuring at times Bardens, Robin Trower drummer Reg Isidore, and Fairport Convention drummer Dave Mattacks. He reprised the Then Play On Mac standard "Rattlesnake Shake" on Fleetwood's solo 1981 album, The Visitor. British author Martin Celmins wrote Green's biography in 1995. Psychologically troubled, on medication, and hardly playing the guitar for most of the '90s, the reclusive Green resumed sporadic recording in the second half of the decade. He surfaces unexpectedly from time to time, most prominently January 12, 1998, when Fleetwood Mac was inducted into the Rock & Roll Hall of Fame. In a rare, perfect moment, Green jammed with fellow inductee Santana on "Black Magic Woman."
By Mark Allan
**
Jeff Whittaker (Vocal Rapping), Peter Green (Guitars), Vincent Crane (Keyboards), Jeff Whittaker (Percussion), Ray Dorset (Guitar), Greg Terry-Short (Drums), Len Surtees (Bass)
**
01. Dust My Broom [04:21]
02. One More Night Without You [05:28]
03. Crane's Train Boogie [03:18]
04. Boogie All The Way [04:29]
05. Zulu Gone West [03:12]
06. Blowing All My Troubles Away [05:22]
07. Strangers Blues [04:54]
08. Sweet Sixteen [03:32]
09. Who's That Knocking [04:20]
10. The Case [03:38]
**
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