01	Apostle						03:56
	02	A Fool No More						07:44
	03	Loser Two Times						04:31
	04	Slabo Day						05:08
	05	Cryin' Won't Bring You Back						05:07
	06	Gotta See Her Tonight						05:52
	07	Last Train To San Antone						05:32
	08	Woman Don't						05:05
	09	Whatcha Gonna Do?						03:52
	10	Walkin' The Road						03:48

Blue Guitar

Format : Import CD
Released : 1981 Nov
Label : Creole / Castle



Great tunes on an odd compilation make it worthwhile
Reviewer: John Fitzgerald, Human resources staff database assistant March 29, 2001

An odd compilation album of songs from Peter's first three PVK albums "In the skies",
"Little dreamer" & "Whatcha gonna do". There are three recordings here that are of main
interest though as they are either only available here or rarely available elsewhere. One is
the opener "Apostle" which is different to the version on "In the skies" Although still very
mellow, it has a more prominent lead part though I think this has more to do with the way
both versions were recorded as opposed to Green not wanting the "In the skies" version
to have one, and there's some ooh and aah backing vocals too. Probably not as good as
the "In the skies" version but it's such a good song that it's safe to say both versions are
great. "Woman don't" was the B side to the "Walkin' the road" single and curiously
"Watcha gonna do" didn't appear on the album of the same name but does appear here.
The rest are pretty good choices from the previous three albums but it's hardly definitive.
However, there's enough good ones here for recommendation.





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.
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 his 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 record. 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 1970s 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 Jan. 12, 1998 when Fleetwood Mac was inducted into the Rock and Roll Hall of Fame. In a rare, perfect moment Green jammed with fellow inductee Santana on "Black Magic Woman." - Mark Allan





Peter Green
Legendary British blues guitarist Peter Green who founded Fleetwood Mac in 1967 is touring again after over a decade's absence. In fact his new band Splinter Group has been touring more or less constantly since late 1996. They recently completed a tour of the US and have been in the studio recording their third album.

click here for the latest news on Peter and Splinter Group.

So who is this Peter Green character?
Peter Allan Greenbaum (as he was born, and as he now signs his name) was born to a London Jewish family in 1946. Given a guitar by his brother, Peter learned to play and after a stint with Peter B's Looners and Shotgun Express (where he played with Rod Stewart) he got his big break in 1966 when he replaced Eric Clapton in John Mayall's Bluesbreakers. At this time a certain Mick Fleetwood and a certain John McVie were also in the band. Peter recorded one album with the Bluesbreakers, "A Hard Road", which featured Freddie King's The Stumble - Peter's calling card during his time with Mayall, and one Green composition, Supernatural.

In 1967 Peter decided to leave the Bluesbreakers and start his own band with Mick Fleetwood and John McVie. He called his new band Fleetwood Mac. Together they would become one of the biggest selling bands of the late 60's, and in 1969 they sold more singles than the Beatles and Rolling Stones put together. But sadly around that time Peter got into drugs, specifically LSD, and it seemed that he would never be the same again. At first his deterioration wasn't anything more odd than the general excesses of the time. He got religion, started wearing robes and wanted much of his royalty money given to charity. But behind this lay what would later be diagnosed as schizophrenia.

In 1970 Green quit Fleetwood Mac, recorded a solo album of acid-induced jams called The End Of The Game and gave up music to live the life of a recluse. Although he was tempted into the studio to lay down one guitar solo for Fleetwood Mac's 1973 Penguin album, from 1971-77 he was effectively out of the music business. He took on some menial jobs such as gravedigger and hospital orderly, and spent some time in a mental institution and even in prison.

There was a resurgance of sorts in the late 70's when Peter went into the studio to record some more solo albums. In The Skies (1978) featured some lovely instrumentals like The Apostle, but it and the other albums which followed before his eventual re-retirement in 1984 weren't even close to reaching the heights that he'd reached in the 60's. One of the potentially more interesting recordings from these times is 'Katmandu - A Case For The Blues' where Peter joins forces with Mungo Jerry and Vincent Crane for an album of blues tunes. Sadly, though there are some good moments Peter seems mostly to be conspicuous by his absebce on this album - though that is partly because he actually plays drums on some of the tracks! Perhaps the best album from this period is Blue Guitar, a compilation of the best tracks from this aborted comeback.

For the next 12 years Peter was again in and out of mental hospitals, eventually ending up living with his brother in the early 90's. In 1994 he resurfaced just enough to give an interview for Mojo magazine, in which he talked about how his medication left him too tired to play guitar. It was around this time that Peter met up with an old friend from the 60's and 70's, Nigel Watson who was working as a builder. Nigel would play guitar at his home for fun, and eventually Peter decided he wanted to join in.

In 1995 Peter took the brave decision to quit his schizophrenia medication, and started to seriously practice guitar with Nigel. This lead to them forming a new band with Niel Murray on bass and Cozy Powell on drums. The Splinter Group made it's debut at a German blues festival before playing at the Alexis Korner Memorial festival in England, and later headlining at the Guildford Folk And Blues Festival in the summer of 1996, by which time Spike Edney had been added on keyboards. If Peter's playing wasn't back to it's best he was still attracting thousands of fans to his concerts and improving all the time.

A short UK tour turned into a long UK tour, which turned into a long European tour. A BBC television documentary, English and European radio appearances and over 50 gigs in the latter half of 1996 eventually resulted in the release of a new album. They continued to tour through 1997, Peter getting better and better all the time. In late 1997 Powell and Edney left the band, and tragically Powell was later killed in a road accident.

In 1998 Peter was inducted into the Rock And Roll Hall Of Fame along with Fleetwood Mac, and jammed alongside Santana on American TV. Another new album has been released, and a tour of the US has been completed.

Huge thanks to Mungo Jerry for furnishing me with a free copy of the Katmandu CD






Nigel Watson

When Nigel Watson once again hooked up with his old friend Peter Green back in 1995 it wasn't long before the two were talking guitars and, quite soon after that, playing them. This was no unusual thing for Watson but a very big and important step for Green away from a long and deeply unhappy spell. Peter hadn't touched an instrument for years ever since the dubious days of his early 1980s band, Kolors, and 'smart money' in the music business was certain that he'd put away his guitar for good. Watson - or rather Watson's special friendship with Green that goes back to the 1960s - proved 'smart money' wrong.
In 2000 the two guitarists have well over three hundred gigs, and three albums, under their belts with their band The Splinter Group. Moreover the pair's 1997 two guitars project - The Robert Johnson Songbook - last year won an accolade from the prestigious Memphis-based W.C. Handy Awards, the first English artists ever to achieve this.
Nigel first met Peter in Putney during Peter's time in John Mayall's Bluesbreakers and a few years later was re-introduced to Green by his then brother-in-law who was the original Fleetwood Mac's manager. Peter's sudden departure from Mac and the mainstream music business in the spring of 1970 marked the beginning of their first collaboration: in 1971 Watson played bass on Green's first post-Mac single 'Heavy Heart' also the name of the early 1970s band the two formed along with Snowy White, Kuma Harada on bass band Chris Kelly on drums.
Watson and Green co-wrote 'Beast of Burden' Green's second single with a Watson composition 'Uganda Woman' on the other side. In the mid-1970s Nigel joined Stretch, the band who a year previously had enjoyed chart success with 'Why did you do it?' - a single that was a covert reference to the bogus Fleetwood Mac debacle.
In 1979 Nigel moved to Japan where he played in several bands most notably an outfit called Wild Life. He also played solo gigs whilst living there.
Happily married to wife Sandra, away from the stage and recording studio Nigel is a family man with two young boys always ready and willing to keep him on his toes. His interests are focused on nature and birdlife in particular.






Original Hot Foot Powder label image TM and (c) 2000 cat yronwode, Lucky Mojo Curio Co.





Reviews

Splinter Group in Concert, Pontesbury by Rob Davies
So you're a legendary blues guitarist who has been criss-crossing Europe with your band, and recording in New York; your new CD is just released, and you're about to embark on an intensive British tour, co-headlining with John Mayall. What do you do to fill the few days of respite in between? well, you go to Pontesbury, to play the Public Hall (capacity 200) and scare a few sheep into the bargain... at least, if you're Peter Green that's what you do!
As for the punters who had gathered at this mid-Shropshire venue, and had their appetites whetted by the excellent support band (Fabulous Bluehearts), they just wanted that one man, the man who had once claimed "I can't sing, I ain't pretty and my legs are thin". Yet, if they had come to pay homage to their hero, they stayed to enjoy the whole band, because Peter Green was joined by fellow guitarist Nigel Watson and the rest of Splinter Group, at the event organised by Shropshire promoters, Real-Music.
Throughout an intense 1 hour 45 minute set, the band delivered a comprehensive exploration of the blues in all it's varieties; interpreting such masters as Freddy King & Elmore James, whilst throwing in self-penned numbers from both now and the 60's. Having made a statement of intent in the first 5 numbers, which pushed the blues to it's R&B and funk boundaries, a member of the audience shouted "what about Robert Johnson?" - "it's funny you should say that..." replied Roger Cotton from the stage, and they proceeded to sit down, pick up their acoustic guitars, and deliver a splendidly muscular version of "Travellin' Riverside Blues" followed by "Steady Rollin' Man"; (Peter by this time well into harmonica mode) Such a cross section of material could only have been pulled off with conviction by a band which was cohesive and which enabled it's musicians to make their individual statements. So Nigel Watson's wizardry and application of tremolo (a sadly neglected art form!) never got in the way of Peter Green's beautifully crafted blues leads. The powerhouse of the band, however, remained the 'Splinter' element - Larry Tolfree a driving force on drums; Peter Stroud, faultless and fretless on Bass; and Roger Cotton choosing his moments to let rip on Hammond Organ & electric piano.
As for Peter Green, we all hoped he was going to indulge us, and before long, he did - with an instrumental version of "Man of The World". No, you don't have to tell us about your life, Peter, just play it! Later you could see 200 heads going into rewind, when the band played Albatross.... and yes, once or twice, Green's guitar was unleashed to transcend anything else happening on stage. But this Good Friday evening was not just about Peter Green... it was about the blues, and how it never dies as long as you have 5 geezers like this to deliver it! And if you didn't get to hear your absolute all-time favourite? Oh Well, you can't have everything.....


Visit Real Music promoting live music events in Shropshire, and bringing Big Names to Small Places

Original Hot Foot Powder label image TM and (c) 2000 cat yronwode, Lucky Mojo Curio Co.



TRACKLISTING

1 Steady Rollin' Man (R.Johnson) Otis Rush (guitar)
2 From Four Until Late (R Johnson) Dr John (piano) Brian Bull (guitar)
3 Dead Shrimp Blues (R Johnson) Hubert Sumlin (guitar)
4 Little Queen Of Spades (R Johnson) Otis Rush (guitar)
5 They're Red Hot (R Johnson) Dr John (piano) Brian Bull (guitar)
6 Preaching Blues(R Johnson)
7 Hellhound On My Trail (R Johnson)
8 Travelling Riverside Blues (R Johnson) Honeyboy Edwards (guitar) Joe Louis Walker (guitar)
9 Malted Milk (R Johnson)
10 Milkcow's Calf Blues (R Johnson)
11 Drunken Hearted Man (R Johnson)
12 Cross Road Blues (R Johnson) Buddy Guy
13 Come On In My Kitchen (R Johnson)

To hear a selection of these beautiful tracks see audio

All songs written by Robert Johnson controlled by King of Spades Music Worldwide.

Peter Green Guitar/Slide Guitar/Harmonica/Vocals
Nigel Watson Guitar/Slide Guitar/Vocals
Roger Cotton Guitar/Piano
Pete Stroud Upright Bass
Larry Tolfree Drums

Produced by Roger Cotton/Peter Green/ Nigel Watson

Original Hot Foot Powder label image TM and (c) 2000 cat yronwode, Lucky Mojo Curio Co.




SLEEVE NOTES

From The Delta:.. To The City

On the trail of 'Hot Foot Powder'

In 1999, The Robert Johnson Songbook by Peter Green and Nigel Watson was voted Best Comeback Album of The Year in The Prestigious W.C. Handy Awards by The Blues Foundation. And in some ways this achievement echoed a phenomenon which took place during the 1960s - something now remembered as the transatlantic blues crossover. It took British blues-based bands such as the Rolling Stones and Cream, and their sometimes radically updated interpretations of Robert Johnson classics such as 'Love In Vain' and 'Crossroads', to draw the attention of young white America to its own rich blues heritage. Quick to wag a disapproving finger at musicians such as Keith Richards and Eric Clapton were the blues purists - the kind of shallow-minded ilk of traditionalists who booed and jeered Bob Dylan at the Royal Albert Hall for having the nerve to take to the stage armed with - God forbid - an electric guitar and a head full of fresh ideas.

History sort of came full-circle when Green and Watson released The Robert Johnson Songbook, a collection of Johnson songs in May 1998. Reviewing it in the 'cutting edge' music column of a daily broadsheet newspaper, one eminent British music critic not only frowned upon, but he also seemed truly offended by the innovative and sometimes radical arrangements on that album. Which was a pity because everybody else loved those modern interpretations, especially, the Americans. So in a sense it was the crossover revisited - two Brit bluesers showed the music world on both sides of the Atlantic some of the endless possibilities there in Robert Johnson's raw but complex music.

Encouraged by strong sales and rapturous audience reactions to Robert Johnson songs when performed at Splinter Group gigs, the W.C. Handy Awards accolade helped to pave the way for 'Hot Foot Powder' - fresh arrangements of the thirteen songs from the Robert Johnson canon not covered in 'The Robert Johnson Songbook'.

'That Turnaround To The Blues' - Honeyboy Edwards On The Robert Johnson legacy

In the studio in Chicago, December 1999, Peter, Nigel, Roger and Stuart Taylor (who set up the US sessions) were in for a rare treat. After several takes of Honeyboy laying down his unique Delta slide on an upbeat arrangement of 'Travelling Riverside Blues', Nigel made a request: would Robert Johnson's one time guitar partner play 'Crossroads' for them. Watson and Green had heard 'Honeyboy' perform the song with Robert Lockwood Jnr during the 1998 Robert Johnson Convention at which Green and Watson also played. Honeyboy gladly obliged and played 'Crossroads' there in the studio control room to the delight of all present.

Original Hot Foot Powder label image TM and (c) 2000 cat yronwode, Lucky Mojo Curio Co. www.luckymojo.com



Welcome to the Hot Foot Powder Pages, celebrating the latest album by Peter Green and Nigel Watson. Following on from the WC Handy Award winning "Robert Johnson Songbook" the boys are back with the second and final instalment of Johnson's brief but monumental legacy. Green and Watson reinvent Johnson's material in fresh and innovative styles and this recording provide a perfect picture of the evolution of the blues - from Johnson to modern day.

Release date: April 17th on Artisan Records (c/o Snapper Music)
USA: released May 2nd.

Original Hot Foot Powder label image TM and (c) 2000 cat yronwode, Lucky Mojo Curio Co.



PETER GREEN SPLINTER GROUP (1997)
Artisan

Also, the Japanese import version has a bonus track, GREEN MANALISH

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SOHO SESSION (1999) 2CD SET Artisan
Limited edition of 20,000 copies

Peter Green - Guitars, vocal and harmonica
Nigel Watson - Guitars and vocal
Roger Cotton - Keyboards and vocal
Neil Murray - Bass
Larry Tolfree - Drums

Tracklisting
Disc One
IT TAKES TIME
HOMEWORK
BLACK MAGIC WOMAN
INDIANS
HEY MAMA KEEP YOUR BIG MOUTH SHUT
THE SUPERNATURA
/RATTLESNAKE SHAKE
SHAKE YOUR HIPS
ALBATROSS

Disc Two
TRAVELLING RIVERSIDE BLUES
STEADY ROLLIN' MAN
TERRAPLANE BLUE
HONEYMOON BLUES
LAST FAIR DEAL GONE DOWN
IF I HAD POSSESSION OVER JUDGEMENT DAY
GREEN MANALISHI
GOIN' DOWN
HELP ME
LOOK ON YONDER WALL




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DESTINY ROAD (1999)
Artisan

Peter Green - Guitars, vocal, harmonica
Nigel Watson - Guitars, vocal
Roger Cotton - Keyboards, guitars, vocal
Peter Stroud - Bass
Larry Tolfree - Drums

Tracklisting
BIG CHANGE IS GONNA COME
SAY THAT YOU WANT TO
HEART OF STONE
YOU'LL BE SORRY SOMEDAY
TRIBAL DANCE
BURGLAR
TURN YOUR LOVE AWAY
MADISON BLUES
I CAN'T HELP MYSELF
INDIANS
HIDING IN SHADOWS
THERES A RIVER
(BONUS) MAN OF THE WORLD


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The youngest of four children, Peter Allen Greenbaum was born on October 29, 1946, in London's working-class East End. He first became interested in the guitar at age ten, when one of his brothers brought home a cheap Spanish guitar, which eventually became Peter's hand-me-down: "My brother showed me a few chords, and I took off." Early influences were Hank B. Marvin (of The Shadows), blues guitarists Muddy Waters and B.B. King, and "some old Jewish songs."

Greenbaum (who was calling himself Peter Green by age fifteen) played bass in several amateur bands before being invited by keyboardist Peter Bardens to play lead in his band, Peter B's Looners (pictured at right), in early 1966. It was here that the nineteen-year-old guitarist first encountered Mick Fleetwood, the group's drummer. He stayed with the Peter B's for three months before leaving to join John Mayall's Bluesbreakers. He had been an avid fan of the Bluesbreakers' guitarist, Eric Clapton, and when Clapton left the group to go to Greece for awhile, Mayall had hired another guitarist. Mayall recalls, "Eric's replacement wasn't nearly as good and this cockney kid-- Peter Green-- kept coming down to all the gigs and saying, 'Hey, what are you doing with him; I'm much better than he is. Why he's no good at all!'...he got really nasty about it, so finally I let him sit in." Peter did about three gigs with the band before Clapton returned. Finally, six months later, when Clapton left the band for good, Peter was immediately hired as his replacement. "I knew Peter was going to have to deal with the Clapton comparisons," says Mayall, and fans were often openly hostile towards the new guitarist, shouting out that they wanted Eric. In time, however, Green proved himself to be a formidable talent in his own right-- "his emerging voice aspired to say as much as possible in a few well-chosen notes delivered with a haunting, sweet-yet-melancholy tone." With his instrumental piece called 'The Supernatural', Peter "cemented his growing reputation both in England and abroad." It was in the Bluesbreakers that Green solidified his relationship with the rhythm section, John McVie, and Mick Fleetwood; when he left the group in 1967, Green would recruit the two in order to found his own band, Peter Green's Fleetwood Mac.

The band went over quite well at their first public appearance on August 13, 1967, at the Windsor Jazz and Blues Festival. A few months later, McVie agreed to join Green, Fleetwood, and Jeremy Spencer
(bassist Bob Brunning had known he was only temporary); the band's first album, released in February, 1968, brought them much acclaim as "the new crusaders of the English blues movement." Peter, who had become "the reigning hero of the booming British blues scene," began to feel frustrated, wanting the band to move beyond pure blues and parodies; he did not, however, feel that Spencer was going to take much initiative in terms of growing beyond that basic repertoire. Therefore, Green hired a third guitarist, Danny Kirwan, to help take some of the weight off his own shoulders.

Green's work on Mr. Wonderful, English Rose, Then Play On, and the live Boston Tea Party albums "chronicle a guitar genius at the peak of his abilities." His instrumental composition, 'Albatross,' gave the band their first British number one single; his 'Black Magic Woman' later became a massive hit for Carlos Santana. Other standout tracks include 'Stop Messin' Around,' 'Need Your Love So Bad ,' 'Oh Well,' and 'Rattlesnake Shake.' However, as the band became more and more successful, Peter Green seemed to be making a mental and emotional decline. He had been experimenting with acid while the band was on the road, and the drugs were negatively altering his personality. An incident in Munich seemed to be the last straw: "He disappeared for three days...he was getting spiked or dosed with acid," John McVie recalls, "and when he came back, that was it: everything went from there." His autobiographical song 'Man of the World' was "a hauntingly sorrowful song about a man who has everything he wants, except the companion he so obviously craves."

It was around this time that Peter began to loathe the fame and fortune he had acquired, and became extremely religious, appearing on-stage wearing crucifixes and flowing robes. He proposed to the band that they only keep what was absolutely necessary financially and give the rest of the money away to charities. Green said he had a vision of an angel holding a starving Biafran child in her arms, and the vision prompted him to make his charitable proposal: "I thought I had too much money to be happy and normal. Thousand of pounds is just too much for a working person to handle all of a sudden, and I felt I didn't deserve it." Mick Fleetwood was resistant to the idea from the very beginning (he did not feel the band was making any fortunes anyway), yet John McVie said he initially went along with this plan because "there was no reason not to." He soon came to his senses when he realized that the proposition was coming from "a guy who'd just been given lots of acid." Faced with the band's refusal to give away all monetary gains, Peter Green decided to leave Fleetwood Mac, but not before writing the haunting 'Green Manalishi,' which seems to document his struggle to stop his descent into madness. 'The Green God' left Fleetwood Mac in a responsible manner, and his departure shocked and saddened the music world. His last show with the band was on May 28, 1970.

After leaving the band, he went on to record a "meandering and unfocussed" solo album called The End of the Game-- "a double reference to the extinction of wildlife and his own withdrawal from life." He had a brief reunion with Fleetwood Mac when Jeremy Spencer left the group (Green flew to America to help them complete the tour, but insisted that their sets consist of nothing but jams of 'Black Magic Woman.') and he was also an uncredited guest on their 1973 Penguin album on the track 'Night Watch.' He 're-emerged' in the late '70's and early '80's with three relatively inconsequential albums, In the Skies, Little Dreamer, and White Sky. He was an uncredited guest on Tusk's 'Brown Eyes'; Peter also contributed to 'Rattlesnake Shake' and 'Super Brains' on Mick Fleetwood's solo album, The Visitor, before retiring again. He currently lives with his mother, brother, and sister-in-law outside of London. Green was recently the subject of a biography by British author Martin Celmins, Peter Green, Founder of Fleetwood Mac. He has one daughter, Rosebud, the result of his brief marriage to Jane Samuel in the late seventies.

It would appear that the mind-altering substances that Peter used in his days with Fleetwood Mac have left permanent marks on his psyche. Green himself admits, "I took one too many LSD trips. And that puts me in the Care and Attention category." He spends much of his time watching television and going for walks, and also attends a day center. He "hardly ever touches" the guitar-- "I'm on some medication-- I don't know what it is-- but it makes it hard to concentrate. I rarely feel like playing." Green was interviewed as recently as November, 1994, by Guitar Player magazine: "While soft-spoken, self-effacing, and evidently still recovering from past traumas, Peter proved to be articulate, humorous, and very much tuned into his own legacy."

Both Mick Fleetwood and John McVie still speak with awed reverence of their former bandmates musical abilities, and harbor a true sense of loss for the charismatic talent that he once was. "You take pot luck when youring him up," says Mick. "You can be saddened or you can be quietly amazed." Fleetwood used to visit Green but eventually found it too difficult to truly sustain a relationship: "I was just so sad I couldn't wave a magic wand and have him be the person I wanted him to be...he was very sick...It's a great loss." McVie recalls, "I prefer to remember him before he left. (Seeing him) upset me too much. It might sound cowardly but I thought it was so sad and such a bloody waste...I'd give anything for a millionth of his talent...But I still have flashes of him. Him laughing. 'Cos before Manalishi, it was a bunch of lads having a great time playing music they loved." As sad as Green's decline may be, fans can be glad he is still alive-- "he is still held in the highest regard by his peers and devotees, some of whom consider him the best white blues guitarist ever." His name appears frequently in global guitar magazines, and Peter was recently the focus

of a biography by British author Martin Celmins. Gary Moore, a long-time admirer of Green's and current owner of Peter's 1959 Les Paul, released a tribute album entitled Blues for Greeny. The reclusive Peter appeared recently on stage with Moore. Just before Peter headlined on the August 18, 1996 appearance at the North Bucks Blues and Folk Festival with his band, Peter Green and the Splinter Group, Mick Fleetwood stated, "He's back in the studio, he's actually playing again which is why he's here on this planet. I do seriously believe he has a magic touch. He's enjoying that and I think in about three weeks he's playing his first gig in twelve years at a festival in Germany. I think you will never see Pete back out in the show biz sense of the word but I think you will hear some more music from Peter Green and I hope I'm part of that. I hope that comes to pass." Peter's public appearances have increased recently marked by two new albums entitled Splinter Group and Robert Johnson's Songbook, a European tour, and now a short tour of the United States. Peter was also inducted into the Rock and Roll Hall of Fame on January 12, 1998 at the Waldorf Astoria Hotel in New York City where he played Black Magic Woman with fellow inductee Santana.