Fleetwood Mac – Blues Jam In Chicago (1969/2004)

FrontCover1.jpgBlues Jam at Chess/Fleetwood Mac In Chicago/Blues Jam In Chicago Vols. 1 & 2 was the result of a recording session in early 1969, at Chess Records in Chicago (home to Muddy Waters, Howlin’ Wolf, et al.) with Fleetwood Mac, then a young British blues band, and a number of famous Chicago Blues artists from whom they drew inspiration. (by wikipedia)

This set, recorded at Chess Record’s Ter-Mar complex in Chicago, pairs Peter Green’s Fleetwood Mac with some of the Windy City’s blues legends including Willie Dixon, Otis Spann, Buddy Guy, and David “Honeyboy” Edwards. Put together on short notice, and recorded in one day, the sessions have something of a ramshackle feel, but the energy of the performances transcends any shortcomings on this date. Dixon oversaw the proceedings, and can be heard during the between-song banter giving directions and chastising Walter “Shakey” Horton for missing his cues.


Since the Peter Green-led Fleetwood Mac was so directly influenced by Chicago blues, the session acts as a kind of stylistic homecoming for the band. Bassist John McVie and drummer Mick Fleetwood contribute driving rhythms while guitarists Danny Kirwan and Jeremy Spencer lend both rhythms and the occasional lead. Green’s stunningly fluid guitar work is at the fore, as usual. But the real treat is picking out the Chess players–Otis Spann’s piano on “I Got the Blues,” J.T. Brown’s tenor sax on Elmore James’s “I Can’t Hold Out,” or Guy and Edwards, who go toe-to-toe with Green on “Red Hot Jam,” one of the session’s indisputable highlights.


Like VOL. 1, BLUES JAM IN CHICAGO VOL. 2 documents collaborations between some of Chess Records’ most prominent bluesmen and the late-1960s version of Fleetwood Mac (the blues-rock power outfit, as opposed to the commercially successful soft-rock incarnation from the ’70s). Given that the Peter Green-led Fleetwood Mac was already deeply rooted in Chicago blues, the project proved to be a natural for the group, with Green’s blues-drenched leads and the chops of Mick Fleetwood (drums), John McVie (bass), Danny Kirwan and Jeremy Spencer (guitars) providing a perfect framework for contributions by Willie Dixon, Otis Spann, and David “Honeyboy” Edwards, among others.


Green and company bring an edge to the proceedings, playing with the kind of muscle and unbridled energy associated with rock music. Interestingly, VOL. 2 has greater variety in the lineup than VOL. 1, with Dixon substituting on bass for McVie on a number of tracks, along with much swapping of vocal duties. This last fact gives the second installment the edge over the first, with Edwards singing on his own tunes (“Honey Boy Blues” is a highlight), and the inimitable Spann singing “Someday Soon Baby” and “Hungry Country Girl.” This is one of the finer snapshots of British blues-rock meeting its source. (by allmusic)

This album is not only a highlight in the career of the early Fleetwood Mac, but in the history of Blues …


Alternate frontcover

Mick Fleetwood (drums)
Peter Green (vocals, guitar)
John McVie (bass)
Danny Kirwan (vocals, guitar)

Jeremy Spencer (vocals, guitar, slide guitar)
J. T. Brown (saxophone)
Willie Dixon (bass)
David “Honeyboy” Edwards (guitar)
Buddy Guy (guitar)
Walter “Shakey” Horton (harmonica)
S.P. Leary (drums)
Otis Spann (vocals, piano)



CD 1:
01. Watch Out (Green) 4.20
02. Ooh Baby (Burnett) 4.06
03. South Indiana (take 1) (Horton) 3.21
04. South Indiana (take 2) (Horton) 3.47
05. Last Night (Jacobs) 5.01
06. Red Hot Jam (take 1 with studio talk) (Green) 5.55
07. Red Hot Jam (take 2 – master version) (Green) 6.02
08. I’m Worried (Green) 3.47
09. I Held My Baby Last Night (James/Taub) 5.16
10. Madison Blues (James) 4.56
11. I Can’t Hold Out (James) 4.49
12. Bobby’s Rock (previously unreleased) (James) 4.00
13. I Need Your Love (John Jr.) 4.32
14. Horton’s Boogie Woogie (take 1 with studio chatter – previously unreleased) (Horton) 3.37
15. I Got The Blues (master version with previously unreleased false start) (Horton) 4.55

CD 2:
01. World’s In A Tangle (Rogers) 5.26
02. Talk With You (Kirwan) 3.28
03. Like It This Way (Kirwan) 4.25
04. Someday Soon Baby (Spann) 7.37
05. Hungry Country Girl (Spann) 5.47
06. Black Jack Blues (Brown) 5.08
07. Everyday I Have The Blues (Slim) 4.55
08. Rockin’ Boogie (Spencer) 3.58
09. My Baby’s Gone (Edwards) 4.04
10. Sugar Mama (take 1 – previously unreleased) (Traditional) 0.49
11. Sugar Mama” (take 2 – master version) (Traditional) 6.08
12. Homework (Clark/Perkins/Rush) 3.21
13. Honey Boy Blues (previously unreleased) (Edwards) 2.20
14. I Need Your Love (take 1 – previously unreleased) (Rogers) 2.15
15. Horton’s Boogie Woogie (take 2 – previously unreleased) (Horton) 3.40
16. Have A Good Time (previously unreleased) (Horton) 4.55
17. That’s Wrong (previously unreleased) (Horton) 4.13
18. Rock Me Baby (previously unreleased) (Jackson) 3.25





Fleetwood Mac – Carousel Ballroom (1968)

FrontCover1After distinguishing himself and achieving a level of recognition in Europe, like Eric Clapton before him, Peter Green departed John Mayall’s Bluesbreakers, freeing himself of employment and artistic restrictions. However, unlike most of the British guitar greats, Green was never concerned with flash or becoming a guitar superstar – an attitude that made him one of the most compelling of all the British guitar players from the 1960s. Green could play incisively and cleanly, but was equally adept at ripping with tremendous power. This made listening to any of Green’s material a rewarding experience; many of his originals have a timeless quality that still sounds fresh and intriguing today.

This outstanding early performance by Fleetwood Mac occurred only a week into their first visit to the United States, when Peter Green was only 21 years old. Falling right between the release of their self-titled debut album and their follow-up, Mr. Wonderful, this show captures the band in its early incarnation, when they were still a quartet – and one of the Crusaders of the late ’60s English blues movement. Peter Green was the chief architect of the band’s sound at this point, and was providing the bulk of their original material. Green was beginning to explore music outside traditional blues, and his playing could be wonderfully restrained one minute and powerfully explosive the next, marked by a distinctive vibrato and economy of style. His haunting, sweet-yet-melancholy tone was very distinctive, and was blessed with an inherently human quality that other British guitarists often struggled for.


At this early stage, Jeremy Spencer comprised the band’s other creative force. Spencer could authentically recreate Elmore James onstage, and this novel ability, along with a ribald sense of humor (shared by the entire band), helped fuel the band’s early stage shows. Spencer could also create dead-on parodies of 1950s rock ‘n’ roll songs, often of the teen idol variety, giving the band an onstage theatrical element that was both funny and entertaining. The band’s overt sense of humor, in addition to their accomplished musicianship, certainly endeared them to many of the San Francisco music elite.

The set begins in fine fashion with Elmore James’ “Madison Blues,” and Green and Spencer trading relatively simple licks over a relaxed shuffle to warm things up. “My Baby’s Skinny” provides the audience their first taste of Peter Green’s delicious guitar tone. The number is a great early vehicle for Green, who takes lead vocal and peals off biting leads that display his innate ability to play with both penetrating directness and tensioned restraint. Riley King’s “Worried Dream” follows; a lengthy, slow blues number, the tune demonstrates Green at his best, delivering heartfelt vocals and delicious guitar work with great nuance and style.

Two more Elmore James classics are up next, showcasing Jeremy Spencer, and proving just how well he had mastered James’ feel for slide guitar. Both “Dust My Broom” and “Got To Move” feature distinctly different facets of James’ best work and Spencer has a strong handle on both. The group keeps a relaxed groove going underneath that lets Spencer shine. “Trying So Hard To Forget” is an early Peter Green original that has more of a vocal than an instrumental focus, but fits right in with the band’s early repertoire nonetheless.


The most fascinating number of this set comes next, and again, clearly demonstrates Green’s greatest strengths as a performer. His take on Freddy King’s “Have You Ever Loved A Woman,” a song that would eventually become synonymous with Eric Clapton, is equally as virtuosic, and in some ways even more refined. This is the stuff that made B.B. King himself refer to Peter Green as “the only man to ever make me sweat.” The band increases the tempo and the set speeds to a close with one of Green’s original numbers from their forthcoming second album, Lazy Poker Blues. This new (at the time) number stays close to the studio arrangement, featuring tight ensemble playing and a sizzling guitar solo from Green. (by Alan Bershaw)


Mick Fleetwood (drums)
Peter Green (guitar, vocals)
John McVie (bass)
Jeremy Spencer (guitar, vocals)
Paul Butterfield (harmonica on 11. – 15.)


CD1: June 9, 1968 first set
01. Madison Blues (James) 4.31
02. My Baby’s Gone (Edwards) 6.00
03. My Baby’s Skinny (Green) 4.48
04. Worried Dream (King) 9.57
05. Dust My Broom (James) 4.32
06. Got To Move (Williamson) 3.00
07. Worried Mind (Bennett 4.41
08. Instrumental (unknown) 10.29
09. Have You Ever Loved A Woman? (Myles) 7.58
10. Lazy Poker Blues (Green/Adams) 4.49

CD 2: June 9, 1968 second set:
11. Stop Messin’ ‘Round (Green) 2.12
02. I Loved Another Woman (Green) 7.03
03. I Believe (Spencer) 5.17
04. The Sun Is Shining (James) 6.2705. Long Tall Sally (Penniman/Blackwell/Johnson)  4.53
06. Willie & The Hand Jive (Otis) 4.04
07. Tutti Frutti (Penniman/LaBostrie) 3.02
08. Thanks by Peter Green, announcer band intros + crowd noise before encore  0.32
09. Ready Teddy (Marascalco/Blackwell) 3.16

CD 2: June 7 or 8, 1968 S.F. Carousel Ballroom
10. I Need Your Love So Bad (John) 1.46
11. I Believe (James) 4.59
12. Shake Your Moneymaker (James) 9.12
13. Ready Teddy (Marascalco/Blackwell) 2.30
14 Peter Green says thanks, announcer outro + crowd noise 0.19


Fleetwood Mac – Complete Unreleased BBC 1967-68

FrontCover1 This album is by courtesy of the Johnny Kidd Fan Club, I am proud to be able to offer you this amazing collection of Peter Green’s Fleetwood Mac on the BBC. Many of these tracks have never been traded or torrented before. Others are upgraded from lesser quality versions that have circulated. [In 1995, Castle Communications had put out a two-CD Fleetwood Mac Live At The BBC.]

Of course, when you get Mac live, you don’t just get Peter, but also Jeremy [Spencer] doing his Elmore James tunes, and his ’50s schtick. I asked Graham Parker (a big Green fan) about seeing them live, he said some of Jeremy’s 50’s schtick was almost Spinal Tap-ish. But you do get some interesting Jeremy here, especially on May I Have a Talk and Crazy for my Baby

But the fact remains that these guys were the best blues band in the UK during this time. Listen how they nail Sweet Little Angel, a song Jeff Beck was soon to make part of the JBG set. And Mean Old World, a song Christine [McVie] would soon bring to Chicken Shack. But for raw emotion, you can’t beat Green’s solo rendition of Robert Johnson’s Dead Shrimp Blues. The old saying was that Johnson’s first record in the UK was only bought by three people: Keef, Eric, and Greenie. Cream was doing an adrenaline fired version of Crossroads. Green, however, just sits down and plays Dead Shrimp solo, plaintive and emotional. What balls. (by lilpanda)

I guess, this one is for collectors only !


Mick Fleetwood (drums)
Peter Green (vocals, guitar, harmonica)
Jeremy Spencer (vocals, guitar)
John McVie (bass)
Eddie Boyd (piano, vocals on 03.)

01. Sweet Little Angel (King/Taub) 4.29
02. Bee-I-Bicky (unknown) 3.25
03. Where You Belong (Boyd ) 2.13
04. Mean Old World 3:19 (5.6MB)
05. Please Find My Baby 3:16 (5.5MB)
06. Black Magic Woman (Green) 2.35
07. Peggy Sue Got Married (Holly) 1.44
08. That Ain’t It (unknown) 2.31
09. Psychedelic Send Up Number (unknown) 4.29
10. Dead Shrimp Blues (Johnson) 3.12
11. Sheila (Roe) 2.03
12. Evening Boogie (Spencer) 2.57
13. You Need Love (John) 4.49
14. May I Have A Talk With You (Burnett) 4.12
15. Bo Diddley (McDaniel) 2.48
16. Wine Whiskey and Women (Traditional) 2.16
17. Crutch and Cane (James) 3.13
18. If You Be My Baby (Green) 3.30
19. Crazy For My Baby (Dixon) 3.13



 Fleetwod Mac in Chicago

Fleetwood Mac – Behind The Mask (1990)

FrontCover1.jpgBehind the Mask is the 15th studio album by British/American rock band Fleetwood Mac, released in 1990. It was the first album released by the band after the departure of guitarist Lindsey Buckingham. He was replaced by Billy Burnette and Rick Vito, both guitar players, singers and songwriters. Fleetwood Mac thus became a six-piece band with four singer/songwriters. The album was not as successful as its predecessor, Tango in the Night, nor did it spawn any big hit singles although “Save Me” made the US Top 40, while “Love Is Dangerous” and “Skies the Limit” enjoyed some airplay. Though it barely reached the US Top 20, the album entered the UK Albums Chart at number 1 and achieved platinum status there. Following the album’s release and subsequent world tour, bandmembers Stevie Nicks and Rick Vito left the band, though Nicks would rejoin in 1997.

The cover for the album was created by photographer Dave Gorton. He stated that the band did not wish to appear on the front cover of the album and Mick Fleetwood himself FleetwoodMac1990suggested that he create an image that “spiritually symbolised” the band instead. The album cover earned a Grammy nomination in 1991 for “Best Album Package”.

The album received very mixed reviews. Allmusic gave the album 1.5/5 stars, their lowest rating of any Fleetwood Mac album, calling Buckingham’s departure “a severe blow” for the band and saying that “the songs are among the least inspired the band ever recorded.” Other critics, however, praised the new line-up. The Los Angeles Times gave the album 3.5/5 stars, commenting that “[w]ithout Buckingham’s obsessively unique vision, the group has embraced an all-for-one, one-for-all attitude for what sounds like the most truly group effort since Rumours, or perhaps even since 1972’s Bare Trees.” Rolling Stone rated it as 4/5 stars, claiming that “the addition of Rick Vito and Billy Burnette is the best thing to ever happen to Fleetwood Mac” and that “[n]ot since Rumours has Fleetwood Mac recorded pain so unwaveringly and sounded this together.”


Billy Burnette (guitar, vocals)
Mick Fleetwood (drums, percussion)
Christine McVie (keyboards, synthesizer, vocals)
John McVie (bass)
Stevie Nicks – vocals
Rick Vito (guitar, vocals)
Asanté (percussion on 11.)
Lindsey Buckingham (guitar on 08.)
Stephen Croes (synclavier, synthesizer, keyboards, percussion)


01. Skies The Limit (C.McVie/Quintela) 3.45
02. Love Is Dangerous (Vito/Nicks) 3.18
03. In The Back Of My Mind (Burnette/Malloy) 7.02
04. Do You Know (Burnette/McVie) 4.19
05. Save Me (C. McVie/Quintela) 4.15
06. Affairs Of The Heart (Nicks) 4.22
07. When The Sun Goes Down (Vito/Burnette) 3.18
08. Behind The Mask (C. McVie) 4.18
09. Stand On The Rock (Vito) 3.59
10. Hard Feelings (Burnette/Silbar) 4.54
11. Freedom (Nicks/Campbell) 4.12
12. When It Comes To Love (Burnette/Morgan/Climie) 4.08
13. The Second Time (Nicks/Vito) 2.31




Fleetwood Mac – Mr. Wonderful (1968)

FrontCover1Released in 1968, Mr. Wonderful is the second album by the British blues-rock band, Fleetwood Mac. This all-blues album was broadly similar to their debut album, albeit with some changes to personnel and recording method. The album was recorded live in the studio with miked amplifiers and PA system, rather than plugged into the board.[citation needed] A horn section was introduced; and Christine Perfect of Chicken Shack was featured on keyboards. In the USA, the album was not issued under the name Mr. Wonderful, though around half of the tracks appeared on English Rose.

Front+BackCover1Compared to the huge success of the band’s first album, Fleetwood Mac, this sequel received rather muted critical reviews: Allmusic described it as “a disappointment”. Four of the songs, “Dust My Broom”, “Doctor Brown”, “Need Your Love Tonight” and “Coming Home”, all begin with an identical Elmore James riff.

Sputnik Music describes the style as vocally conservative, sticking to gruff mannerisms, and it often sounds like Green is drunkedly wandering through the music. The production adds further insult to injury, as it muffles his voice rather than amplifying it and makes the instruments sound murky.

This album expounds primarily on up-tempo blues tracks fronted either by Peter Green or Jeremy Spencer.

“Stop Messin’ ‘Round” is the benchmark by which all those Freddie King-type numbers are to be judged, (including Freddie’s). The sound and phrasing of Peter Green’s guitar is simply awesome. Add the horns and piano, and you’ve got a classic. That same fiery combination appears in the titles, “Rollin’ Man”, “If You Be My Baby”, and “Lazy Poker Blues” with the rhythm varying slightly. “Trying So Hard To Forget” is the slowest tune on the album. “Love That Burns” is an extraordinary Peter Green slow blues number. Listening to Christine (Perfect) McVie”s piano fade out at the end of the song, will give you chills.
Jeremy Spencer’s “I’ve Lost My Baby” may be the finest interpretation of Elmore James ever put on wax. The blues master’s “Hawaiian Boogie” is transformed into “Evenin Boogie”, and there are four tracks based on Elmore’s “Dust My Broom” guitar riff, that title being one of them.

FleetwoodMacMick Fleetwood and John McVie were proving themselves to be the best blues rhythm section in the business.
It has been reported that the sessions for the first album (Peter Green’s Fleetwood Mac) and “Mr. Wonderful” was one continuous project. The overall sound of course is quite different. On the first album, the equipment (instruments, mikes, etc.) was plugged directly into the tape deck. For “Mr. Wonderful”, a PA, and speakers, were set up in the studio to create a more live sound, reminiscent of a 1940’s recording studio; thus producing an ideal environment for recording this music.

Mr. Wonderful is a great blues album. (by Joe Panackia)

And I can´t get enough of this great Elmore James riff !

Mick Fleetwood (drums)
Peter Green (vocals, guitar, harmonica)
John McVie (bass)
Jeremy Spencer (vocals, slide guitar)
Johnny Almond (saxophone)
Duster Bennett (harmonica)
Steve Gregory (saxophone)
Dave Howard (saxophone)
Christine Perfect (piano)
Roland Vaughan (saxophone)

01. Stop Messin’ ‘Round (Green/Adams) 2.22
02. I’ve Lost My Baby (Spencer) 4.18
03. Rollin’ Man (Green/Adams) 2.54
04. Dust My Broom (James/Johnson) 2.54
05. Love That Burns (Green/Adams) 5.04
06. Doctor Brown (Brown/Glasco) 3.48
07. Need Your Love Tonight (Spencer) 3.29
08. If You Be My Baby (Green/Adams) 3.54
09. Evenin’ Boogie (Spencer) 2.42
10. Lazy Poker Blues (Green/Adams) 2.37
11. Coming Home (James) 2.41
12. Trying So Hard To Forget (Green/Adams) 4.47

Fleetwood Mac – Then Play On (1970)

FleetwoodMacThenPlayOnFC1This Peter Green-led edition of the Mac isn’t just an important transition between their initial blues-based incarnation and the mega-pop band they became, it’s also their most vital, exciting version. The addition of Danny Kirwan as second guitarist and songwriter foreshadows not only the soft-rock terrain of “Bare Trees” and “Kiln House” with Christine Perfect-McVie, but also predicts Rumours. That only pertains to roughly half of the also excellent material here, though; the rest is quintessential Green. The immortal “Oh Well,” with its hard-edged, thickly layered guitars and chamber-like sections, is perhaps the band’s most enduring progressive composition. “Rattlesnake Shake” is another familiar number, a down-and-dirty, even-paced funk, with clean, wall-of-sound guitars. Choogling drums and Green’s fiery improvisations power “Searching for Madge,” perhaps Mac’s most inspired work save “Green Manalishi,” and leads into an unlikely symphonic interlude and the similar, lighter boogie “Fighting for Madge.” A hot Afro-Cuban rhythm with beautiful guitars from Kirwan and Green on “Coming Your Way” not only defines the Mac’s sound, but the rock aesthetic of the day. Of the songs with Kirwan’s stamp on them, “Closing My Eyes” is a mysterious waltz love song; haunting guitars approach surf music on the instrumental “My Dream”; while “Although the Sun Is Shining” is the ultimate pre-Rumours number someone should revisit. Blues roots still crop up on the spatial, loose, Hendrix-tinged “Underway,” the folky blues tale of a lesbian affair on “Like Crying,” and the final outcry of the ever-poignant “Show Biz Blues,” with Green moaning “do you really give a damn for me?” Then Play On is a reminder of how pervasive and powerful Green’s influence was on Mac’s originality and individual stance beyond his involvement. Still highly recommended and a must-buy after all these years, it remains their magnum opus. 
Mick Fleetwood (drums)
Peter Green (guitar, vocals)

Danny Kirwan (guitar, vocals)
John McVie (bass)
Jeremy Spencer (guitar, vocals)
Big Walter Horton (harmonica)


01. Coming Your Way (Kirwan) 3.47
02. Closing My Eyes (Green) 4.50
03. Showbiz blues (Green) 3.50
04. My Dream (Kirwan) 3.30
05. Underway (Green) 2.51
06. Oh Well (Green) 8.56
07. Although The Sun Is Shining (Kirwan) 2.31
08. Rattlesnake Shake (Green) 3.32
09. Searching For Madge (McVie) 6.56
10. Fighting For Madge (Fleetwood) 2.45
11. When You Say (Kirwan) 4.22
12. Like Crying Like Dying (Kirwan) 2.21
13. Before The Beginning (Green) 3.28



Fleetwood Mac – Largo (1975)

FrontCover1With mainstay Peter Green no longer with the band, Fleetwood Mac would go through a series of personnel changes (some might even call this a trademark of the band) but managed to weather out a transitional period that would end with the recruitment of guitarist Lindsay Buckingham. Buckingham agreed, on the condition that his musical partner and girlfriend, Stephanie “Stevie” Nicks, also become part of the band; Fleetwood agreed to this.

On July 11, 1975, Fleetwood Mac released another self-titled album, though this would be affectionately known as “The White Album” among the fans.

On tour to promote the new album, one would have thought the band would showcase all the new songs. Instead, only three new songs were featured in the set at Largo in September 1975 – Rhiannon, World Turning and Blue Letter. Overall, the show was almost like a greatest hits package, a mix of recent tracks such as Spare Me A Little Of Your Love, Station Man and Hypnotized to Peter Green-era tunes such as Oh Well and Green Manalishi. Though Lindsay Buckingham was no Peter Green, he easily satisfied the fans (check out the jam on I’m So Afraid). By then, Fleetwood Mac were no longer a blues band. They were already a pop-rock outfit.

This show is said to be a soundboard recording taken from a TV broadcast. With the exception of a bit of hiss, the overall sound is excellent.

Recorded live in Largo MD, September 1975. FromThe “White Album” Tour.

Lindsey Buckingham (guitar, vocals)
Mick Fleetwood (drums, percussion)
Christine McVie (keyboards, synthesizer, vocals)
John McVie (bass)
Stevie Nicks (vocals)

01. Intro 1.13
02. Get Like You Used To Be (Webb/Perfect) 3.46
03. Station Man (Kirwan/Spencer/J.McVie) 6.21
04. Spare Me A Little Of Your Love (C.McVie) 4.10
05. Rhiannon (Nicks) 7.22
06. Why (C.McVie) 4.10
07. I’m So Afraid (Buckingham) 5.17
08. Oh Well (Green) 2.58
09. Green Manalishi (Green) 5.24
10. World Turning / Mick’s Drum Solo (Buckingham/C.McVie/Fleetwood) 8.35
11. Blue Letter (Curtis) 5.08
12. Hypnotized (fades early) (Welch) 6.07