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That's what the fuss is about
Plus he had the distinctive 'out of phase' tone from his Les Paul, which makes him instantly recognisable.
As @Fretwired says above, glass of your favourite tipple, kick back and relax with this...
The Green Manalishi
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The live stuff recently released when he was part of John Mayall's band are stunning.
I was lucky enough to get this on tape way back in the 70's, - the live album Shrine '69 (recorded, IIRC on a simple 2-track) was initially only released to radio stations and only went on general release in 1999 for some reason. it's Greenie at the top of his game, just before he quit Fleetwood Mac.
What surprised me later was realising that my preference wasn't as idiosyncratic as I thought - there's a significant and quite hard core minority of blues players and fans who continue to regard him as the epitome of blues guitar playing.
I'm no longer much of a blues fan to be honest - all the juice got squeezed out of the genre long ago for me - Green and BB King are pretty much the only guys I'd listen to now and that rarely (although I did give some listening time to Marcus King's album this year).
In the end you check him out and you either agree with us or don't. One particular favourite track not widely mentioned is "Out of Reach" a very basic reverb-drenched minor blues by John Mayall that Green also sings lead vocal on.
It's easy for old folks to say someone was fantastic in their day, but it doesn't necessarily sound immediately impressive now.
He's before my time tbh, as he was burnt out by the time I was six, but I know enough about the course of rock music in the 60s to appreciate him as someone who's very difficult to emulate, even now.
before i I left the shop for good I asked the owner why she tolerated this guy when she’d happily show others the door...
turns out out she was a massive fleetwood mac fan... also turned out that “john” was none other than peter green himself!... absolutely gutted I didn’t recognise him or spend more time chatting to him.
This would have been 89-90. Apparently he compleatly dropped out of regular life as he’d had enough!...
i was also also told a tale that he once marched into his record label, pointed a shot gun at someone and told them in no uncertain terms to “stop sending me money”... how true that is I don’t know...
There's that famous story about when Stevie Ray Vaughn was on stage with BB King and when it came to the break of course SRV tore it up, then he signalled to BB who just played one note, twisted and sustained it and of course brought the house down.
Yes, the problem with the blues is with the odd extremely rare exception it has been done to death and hardly anyone sounds original any more. I remember when Kenny Wayne Shepherd came along everyone was raving about him and I was thinking well he sounds to me just like Chris Duarte and he's just a Stevie Ray Vaughn clone...
On studio recordings, Mr Wonderful and Then Play On (or a Best Of...) are where to look. The first FM album is good, but Jeremy Spencer's Elmore James covers can be a bit wearing.
The late 70s/early 80s comeback are so-so, it can be sampled cheaply on a number of cheapo CDs. There's occasional flashes of his former self, but you can tell he's not fully at the races.
The Splinter Group material is better than the 70s comeback although he seems more at home on the acoustic songs than the full electric band. Much of the time however, the music is being driven by his co-guitarist Nigel Watson.
Nothing by modern standards is very technical or flash but the timing and feel was in a different league....
If you are not from that era it will take some listening too but you just have to let wash over you especially the haunting minor blues stuff.
The comebacks were nice in sentimental terms but the first attempt ISTR was largely Snowy White pretending to be Greenie and the 2nd coming was heavily dominated by Nigel Watson who held it all together really with occasional moments of old Peter.
Its a story as sad as any in Rock as I always hoped he might one day find a way back.
Theres about 4 or 5 notes in this intro, listen without the video. More out of less, deceptive simplicity etc
Peter Green has aged less somehow - maybe it’s the reverb, but the note choices and phrasing are amazing and the vibrato alone is worth listening for.
Also makes you realise quite how much JoBo has lifted from the past
For me, it's the sound (check out Need your love so bad) but also as @peteri has said, the note choices and phrasing.
Listen, dig it, imbibe it. Play it if you can, or at least let it influence your own playing. The latter would be the best possible tribute.
Seriously: If you value it, take/fetch it yourself
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Shoutout to Stagestruck for saving me the needi to mention the Boston Tea Party sessions which were truly exceptional in capturing the spirit of the early Fleetwod Mac.
As a humorous aside, I now live in the house where several members of the original lineup attended my eldest sister in law's birthday party! Back in the day, of course.
Stay sharp (unless you're playing with a brass section)...
Well, the blue light was my baby, and the red light was my mind.”
Robert Johnson