2 Cds. Rec. Live In The Studio A substantial (and official) supplement to the band's recorded legacy with Peter Green, this double CD features 36 songs broadcast between 1967 and 1971, in mostly superlative sound. The title, though, isn't 100 percent accurate; half a dozen tracks were recorded shortly after Green left the band, and since Green is still listed as part of the lineup for all but one of these in the liner notes, Castle Communications either has the dates or personnel wrong.

Anyway, the music gives a good idea of the range of the band in their earliest, and by many accounts, best incarnation. It is not, however, all blues-rock by any means; quite a few of these are given over to Jeremy Spencer-dominated parodies of '50s rock, and while these are entertaining in a modest fashion, the best moments, unsurprisingly, are when guitarists Danny Kirwan and (more particularly) Green play their own material. Some of Green's most well-known compositions from the era are here ("Man of the World," "Albatross," "Rattlesnake Shake," and "Oh Well"), and in the usual BBC tradition, these have a sparer and rougher feel than the studio versions, though they don't either match or redefine them.

"Preachin'," "Preachin' Blues," and "Early Morning Come" are otherwise unavailable showcases for Spencer, Green, and Kirwan, respectively, that demonstrate their facility with no-nonsense, down-home blues when they got in a serious mood. While this isn't as essential a collection as Then Play On or the numerous best-of anthologies covering the Peter Green era, it presents more solid evidence of the band's skills in both blues-rock and surprisingly straight rock (a cover of Tim Hardin's "Hang on to a Dream" is the surprise find of the set), though some may find the detours into comedy and '50s rock irksome. ~ Richie Unterberger

If you've ever wondered what the original Fleetwood Mac really sounded like, these BBC Recordings give a very good idea. They're one part blues band, one part oldies act, one part serious, and one part tongue very much in cheek. Any band that could play Elmore James and B.B. King blues with absolute precision and passion one minute and become a drunken lunatic rockabilly band the next had to have chops and a sense of humor and this version of the Mac had both in spades. Jeremy Spencer craziness balances out Peter Green's seriousness, while Kirwan and the rhythm section of McVie and Fleetwood rope it all in. An illuminating two disc set that any roots music or blues lover will adore. Highly recommended. ~ Cub Koda

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.

Fleetwood Mac: Peter Green (vocals, guitar); Jeremy Spencer (vocals, slide guitar, guitar); Danny Kirwan (vocals, guitar); John McVie (bass); Mick Fleetwood (drums). Additional personnel: Nick Pickett, ... Full DescriptionChristine Perfect, Eddie Boyd. Recorded live between 1967 and 1971. Includes liner notes by Mick Fleetwood and Stephen Davis.


  Blues By Green CD
  by Peter Green
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Here is yet another Peter Green collection comprised mainly of material from 1979 through 1983, with the thoroughly enjoyable Fleetwood Mac A-side "Man of the World," from 1969, included for some inexplicable reason. The material here is culled from Green's first return to recording after a six-year hiatus for personal and mental health reasons. The Peter Green who returned to the scene on In the Skies was a leaner and meaner player. His concern was more with the atmospherics of playing blues-inflected material than with the attack of the blues themselves.

The opening track from that album, "Slabo Day," with its four-chord repetitive minor-key figure and organic hand percussion, is an anomaly in the Green discography, with the possible exception of "Albatross." Like that track, "Slabo Day" is a showcase for Green's deeply lyrical and mysterious phrasing: taut, open-ended, and razor-sharp. Also from In the Skies come the spooky, mystifying "Just for You," which along with "Black Magic Woman" could have been recorded by Santana, and "A Fool No More," a scathing little blues jam with staccato phrasing that has the wheels coming off the track ever so slowly. And these are indicative. Green upped the production ante a little on his subsequent albums from the period, such as Little Dreamer from 1980, Whatcha Gonna Do? from 1981, White Sky from 1982, and Kolors from 1983, and he continued to develop his singing voice. In fact, cuts such as "Fool No More," "Last Train to San Antone," "Same Old Blues," "Born Under a Bad Sign," and "Gotta See Her Tonight" showcase Green as a consummate British blues singer.

These 14 tracks reveal that Green might not have possessed his full self-confidence, but he was restless, adventurous, and in full grasp of his guitaristry. The liner notes by Greg Russo offer a solid if concise documentation of the songs themselves and their respective lineups, and the price is right. This is a true best-of from an overlooked middle period in Green's erratic yet musically wondrous career. ~ Thom Jurek

Mojo (Publisher) (8/03, p.112) - 4 out of 5 stars - "...It's a nifty package for newcomers to Peter Green's blues-rock sound..." Hide Description


  On The Road To Freedom CD - Import
  by Alvin Lee
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German reissue of 1973 album, that's unavailable domestically, includes one bonus track, 'So Sad (No Love Of His Own)' (Single Version). Guests include, George Harrison, Steve Winwood, Jim Capaldi, & Ron Wood. Repertoire. 2003.

Ten Years After guitarist Lee teamed up with gospel crooner LeFevre for a session that could be best described as hard spiritual rock. The 1973 album features guest shots from George Harrison, Stevie Winwood, Ronnie Wood, and Jim Capaldi, among others.

Personnel: Alvin Lee (vocals, guitar, sitar, bagpipe, drums); Mylon LeFevre (vocals, acoustic guitar, 12-string guitar, percussion, background vocals); Ron Wood (guitar, 12-string guitar, slide guitar, drums); Andy Stein (fiddle); Tim Hinckley (piano, organ, background vocals); Steve Winwood (piano); Jim Capaldi, Mick Fleetwood (drums); Rebop (congas); Mike Patto (percussion, background vocals).

Recorded in 1973.


  Looking In CD
  by Savoy Brown
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Savoy Brown's blues-rock sound takes on a much more defined feel on 1970's Looking In and is one of this band's best efforts. Kim Simmonds is utterly bewildering on guitar, while Lonesome Dave Peverett does a fine job taking over lead singing duties from Chris Youlden who left halfway through the year. But it's the captivating arrangements and alluring ease of the music that makes this a superb listen. The pleading strain transformed through Simmonds' guitar on "Money Can't Save Your Soul" is mud-thick with raw blues, and the comfort of "Sunday Night" is extremely smooth and laid back. "Take It Easy" sounds like it could have been a B.B. King tune as it's doused with relaxed guitar fingering.

The entire album is saturated with a simple, British blues sound but the pace and the marbled strands of bubbly instrumental perkiness fill it with life. Even the Yardbirds-flavored "Leaving Again" is appealing with its naïve hooks, capped off with a heart-stopping guitar solo. This album along with Street Corner Talking best exemplify Savoy Brown's tranquilizing style. ~ Mike DeGagne

Live Recording


  Blue Matter CD
  by Savoy Brown
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The third release by Kim Simmonds and company, but the first to feature the most memorable lineup of the group: Simmonds, "Lonesome" Dave Peverett, Tony "Tone" Stevens, Roger Earl, and charismatic singer Chris Youlden. This one serves up a nice mixture of blues covers and originals, with the first side devoted to studio cuts and the second a live club date recording.

Certainly the standout track, indeed a signature song by the band, is the tour de force "Train to Nowhere," with its patient, insistent buildup and pounding train-whistle climax. Additionally, David Anstey's detailed, imaginative sleeve art further boosts this a notch above most other British blues efforts. ~ Peter Kurtz

  Stonedhenge CD - Import
  by Ten Years After
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This is their third album, prepared for CD from the original master tapes. Ten Years After: Alvin Lee (vocals, guitar, harmonica, piano); Mike Vernon (vocals); Chick Churchill (piano, celesta, organ); Leo Lyons (bass guitar); Ric Lee (drums); Count Simon (bongos); Roy Baker (sound effects); The Bird, Martin Smith , Reverb .

Ten Years After's third album is one of those artifacts that simply screams late '60s, which is to say its production is more than a little trippy, and it's also all over the stylistic map. "I Can't Live Without Lydia," for example, features keyboardist Chick Churchill making vaguely Brubeck-ian noises on up to four overdubbed pianos simultaneously. The next track, "Skoobly-Ooobly-Doobob," is a brief scat blues improvisation with guitar hero Alvin Lee playing and singing in unison, as Ric Lee's drums, just barely audible, putter about in both stereo channels seemingly at random.

The album's centerpiece, of course, is "Hear Me Callin'," a sort of psychedelic take on John Lee Hooker-style blues complete with fashionable phasing effects (it was a substantial radio hit). However, true fans justifiably swear by the 55-second percussion version of "Three Blind Mice" that follows.

Remastered with the 4 bonus tracks 'Hear Me Calling' (single vesion), 'Woman Trouble' (U.S. version0, 'I'm Going Home' (single version), and 'Boogie On'. 14 tracks


  Space In Time CD
  by Ten Years After
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Ten Years After: Alvin Lee (vocals, guitar); Chick Churchill (keyboards); Leo Lyons (bass); Ric Lee (drums). Recorded at Olympic Studios, London, England. A Space in Time was Ten Years After's best-selling album. This was due primarily to the strength of "I'd Love to Change the World," the band's only hit single, and one of the most ubiquitous AM and FM radio cuts of the summer of 1971. TYA's first album for Columbia, A Space in Time has more of a pop-oriented feel than any of their previous releases had. The individual cuts are shorter, and Alvin Lee displays a broader instrumental palette than before. In fact, six of the disc's ten songs are built around acoustic guitar riffs. However, there are still a couple of barn-burning jams.

The leadoff track, "One of These Days," is a particularly scorching workout, featuring extended harmonica and guitar solos. After the opener, however, the album settles back into a more relaxed mood than one would have expected from Ten Years After. Many of the cuts make effective use of dynamic shifts, and the guitar solos are generally more understated than on previous outings. The production on A Space in Time is crisp and clean, a sound quite different from the denseness of its predecessors. Though not as consistent as Cricklewood Green, A Space in Time has its share of sparkling moments. ~ Jim Newsom

A SPACE IN TIME was Ten Years After's biggest commercial success. The reasons are pretty obvious; Alvin Lee's songwriting had improved markedly and there was far more stylistic variety than on their previous albums.

The big hit here was "I'd Love to Change the World," with its catchy acoustic guitar hook and the immortal opening line, "Everywhere is freaks and hairies." Other highpoints include: "Baby Won't You Let Me Rock 'n' Roll You," the band's first stab at Stones-style raunch (complete with a riff from Led Zeppelin); the country-ish romp "Once There Was a Time"; and the gently folky and surprisingly self-deprecating "Over the Hill," which features strings, a move that would have been unthinkable for this band a year or two earlier.Rolling Stone (10/14/71, p.49) - "...The original material and arrangements are terribly lame ....As the Romans used to say...let the buyer beware..."


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