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Live At The BBC - Fleetwood Mac


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Live At The BBC (1995) - Fleetwood Mac


    Featuring »

Mick Fleetwood, Peter Green, Danny Kirwan, John McVie, Christine McVie, Jeremy Spencer

    Tracklisting »

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Disc One:
Rattlesnake ShakeLyrics available
  Date Performance: 1970-04-09, Running Time: 7:39
  Comments: From Radio 1 “In Concert”. Recorded at the Paris Cinema, Lower Regent Street, London. First broadcast April 19, 1970 (P) 1970 BBC
Sandy MaryLyrics available
  Date Performance: 1970-04-27, Running Time: 5:00
  Comments: From Radio 1 “Top Gear". Recorded at the Playhouse Theatre, London. First broadcast May 23, 1970. (P) 1970 BBC Nick Pickett is listed as a guest but he doesn't play on this track though he did play on other tracks from the session which this track was taken.
I Believe My Time Ain't LongLyrics available
  Date Performance: 1967-11-07, Running Time: 3:00
  Comments: From Radio 1 “Top Gear". Recorded at Maida Vale 4, London. First broadcast November 12, 1967. (P) 1967 BBC Performance includes Elmore James arrangement but incorrectly attributed it to Spencer.
Although The Sun Is ShiningLyrics available
  Date Performance: 1969-10-06, Running Time: 2:31
  Comments: From Radio 1 “DLT”. Recorded at Aeolian Hall, Studio 2, London. First broadcast October 12, 1969. (P) 1969 BBC
Only YouLyrics available
  Date Performance: 1970-04-27, Running Time: 2:51
  Comments: From Radio 1 “Top Gear". Recorded at the Playhouse Theatre, London. First broadcast May 23, 1970. (P) 1970 BBC Nick Pickett is listed as a guest but he doesn't play on this track though he did play on other tracks from the session which this track was taken from. This track most likely doesn't feature Spencer (though listed in the liner notes as being on it). If they are on it, their parts have been mixed down/out.
You'll Never Know What You're Missin'Lyrics available
  Date Performance: 1969-03-10, Running Time: 2:52
  Comments: Billed as "You Never Know What You're Missing". From Radio 1 “Top Gear". Recorded at the Playhouse Theatre, London. First broadcast March 16, 1969. (P) 1969 BBC Incorrectly lists the songwriting credit to Spencer.
Oh WellLyrics available Tabs available Midi available
  Date Performance: 1969-10-06, Running Time: 2:26
  Comments: From Radio 1 “DLT”. Recorded at Aeolian Hall, Studio 2, London. First broadcast October 12, 1969. (P) 1969 BBC
Can't Believe You Wanna LeaveLyrics available
  Date Performance: 1969-03-10, Running Time: 3:25
  Comments: From Radio 1 “Top Gear". Recorded at the Playhouse Theatre, London. First broadcast March 16, 1969. (P) 1969 BBC
Jenny LeeLyrics available
  Date Performance: 1970-07-07, Running Time: 2:19
  Comments: From BBC Radio “First Gear". Recorded at Maida Vale 4, London. First broadcast August 22, 1970 (though Peter Lewry's 'Fleetwood Mac - The Complete Recording Sessions 1967-1997" book lists July 22, 1970). Liner notes also incorrectly list Green as playing on this session. (P) 1970 BBC
HeavenlyLyrics available
  Date Performance: 1969-03-10, Running Time: 2:37
  Comments: From Radio 1 “Top Gear". Recorded at the Playhouse Theatre, London. First broadcast March 16, 1969. (P) 1969 BBC
When Will I Be LovedLyrics available
  Date Performance: 1970-07-07, Running Time: 2:13
  Comments: From BBC Radio “First Gear". Recorded at Maida Vale 4, London. First broadcast August 22, 1970 (though Peter Lewry's 'Fleetwood Mac - The Complete Recording Sessions 1967-1997' book lists July 22, 1970). Liner notes also incorrectly list Green as playing on this session. (P) 1970 BBC
When I See My BabyLyrics available
  Date Performance: 1970-07-07, Running Time: 2:11
  Comments: From BBC Radio “First Gear". Recorded at Maida Vale 4, London. First broadcast August 22, 1970 (though Peter Lewry's 'Fleetwood Mac - The Complete Recording Sessions 1967-1997' book lists July 22, 1970). Liner notes also incorrectly list Green as playing on this session. (P) 1970 BBC
Buddy's SongLyrics available
  Date Performance: 1970-07-07, Running Time: 2:09
  Comments: From BBC Radio “First Gear". Recorded at Maida Vale 4, London. First broadcast August 22, 1970 (though Peter Lewry's 'Fleetwood Mac - The Complete Recording Sessions 1967-1997' book lists July 22, 1970). Liner notes also incorrectly list Green as playing on this session. (P) 1970 BBC
Honey HushLyrics available
  Date Performance: 1970-07-07, Running Time: 3:08
  Comments: From BBC Radio “First Gear". Recorded at Maida Vale 4, London. First broadcast August 22, 1970 (though Peter Lewry's 'Fleetwood Mac - The Complete Recording Sessions 1967-1997' book lists July 22, 1970). Liner notes also incorrectly list Green as playing on this session. (P) 1970 BBC
Preachin'Lyrics available
  Date Performance: 1971-01-05, Running Time: 3:05
  Comments: Recorded at Maida Vale 4, London. First broadcast January 23, 1971. (P) 1971 BBC This track most likely doesn't feature Kirwan, Fleetwood, John or Christine McVie (though listed in the liner notes as being on it). If they are on it, their parts have been mixed down/out.
Jumping At ShadowsLyrics available
  Date Performance: 1969-06-10, Running Time: 3:36
  Comments: From Radio 1 "Chris Grant’s Tasty Pop Sundae". Recorded at 201 Piccadilly, Studio 1, London. First broadcast June 15, 1969. (P) 1969 BBC Original 1995 Live At The BBC issues includeed an edit malfunction in this track but subsequent pressings did not. This track most likely doesn't feature Spencer (though listed in the liner notes as being on it). If they are on it, their parts have been mixed down/out. This track most likely doesn't feature Christine McVie (though Peter Lewry's 'Fleetwood Mac - The Complete Recording Sessions 1967-1997' book lists her as being on it. If they are on it, their parts have been mixed down/out.
Preachin' BluesLyrics available
  Date Performance: 1968-08-27, Running Time: 1:59
  Comments: Sometimes billed as "Preachin' The Blues". From Radio 1 “Top Gear”. Recorded at 201 Piccadilly, Studio 1, London. First broadcast September 1, 1968 (though Peter Lewry's 'Fleetwood Mac - The Complete Recording Sessions 1967-1997' book lists August 26, 1968 as the recording date & the CD liner notes list September 11, 1968 as the 1st air date) (P) 1968 BBC This track most likely doesn't feature Spencer, Kirwan, Fleetwood, John McVie or guest Christine McVie (Perfect) (though listed in the liner notes as being on it). If they are on it, their parts have been mixed down/out.
Need Your Love So BadLyrics available
  Date Performance: 1968-08-26, Running Time: 3:48
  Comments: From "Radio 1 O’Clock”. Recorded at 201 Piccadilly, Studio 1, London. First broadcast September 1, 1968. (though the CD liner notes list September 11, 1968 as the 1st air date) (P) 1968 BBC This track most likely doesn't feature Spencer or guest Christine McVie (Perfect) (though listed in the liner notes as being on it). If they are on it, their parts have been mixed down/out. This track was not listed on some early pressings of "Live At The BBC" but the track was included on those discs.

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Disc Two:
Long Grey MareLyrics available
  Date Performance: 1967-11-07, Running Time: 2:53
  Comments: From Radio 1 “Top Gear”. Recorded at Maida Vale 4, London. First broadcast November 12, 1967. (P) 1967 BBC This track most likely doesn't feature Spencer (though listed in the liner notes as being on it). If they are on it, their parts have been mixed down/out.
Sweet Home ChicagoLyrics available
  Date Performance: 1968-11-01, Running Time: 3:10
  Comments: From World Service "Rhythm & Blues 26". Recorded at Aeolian Hall, Studio 1, London. First broadcast November 26, 1968. (P) 1968 BBC Christine McVie (Perfect) is listed as a guest in Peter Lewry's 'Fleetwood Mac - The Complete Recording Sessions 1967-1997' book on this track but she most likely doesn't play on this track though she did play on other tracks from the session which this track was taken.
Baby Please Set A DateLyrics available
  Date Performance: 1967-11-07, Running Time: 2:59
  Comments: From Radio 1 “Top Gear”. Recorded at Maida Vale 4, London. First broadcast November 12, 1967. (P) 1967 BBC Songwritig credit incorrectly given to "McCoy". Sounds as if Peter Green's harmonica part has been mixed down.
Blues With A FeelingLyrics available
  Date Performance: 1969-03-10, Running Time: 2:56
  Comments: From Radio 1 “Top Gear". Recorded at the Playhouse Theatre, London. First broadcast March 16, 1969. (P) 1969 BBC
Stop Messin' RoundLyrics available
  Date Performance: 1968-08-26, Running Time: 2:17
  Comments: From Radio 1 “Top Gear”. Recorded at 201 Piccadilly, Studio 1, London. First broadcast September 1, 1968 (P) 1968 BBC This track most likely doesn't feature Spencer (though listed in the liner notes as being on it). If they are on it, their parts have been mixed down/out. Also sounds like Christine McVie/Perfect's probable guest part has been mixed down/out.
Tallahassee LassieLyrics available
  Date Performance: 1969-03-10, Running Time: 3:24
  Comments: From Radio 1 “Top Gear". Recorded at the Playhouse Theatre, London. First broadcast May 11, 1969. (P) 1969 BBC
Hang On To A DreamLyrics available
  Date Performance: 1968-10-09, Running Time: 2:56
  Comments: From Radio 1 Club. Recorded at the Playhouse Theatre, London. First broadcast November 5, 1968. (P) 1968 BBC This track most likely doesn't feature Green, Kirwan & John McVie (though listed in the liner notes as being on it). If they are on it, their parts have been mixed down/out.
LindaLyrics available
  Date Performance: 1969-06-10, Running Time: 2:03
  Comments: From Radio 1 "Chris Grant’s Tasty Pop Sundae". Recorded at 201 Piccadilly, Studio 1, London. First broadcast June 15, 1969. (P) 1969 BBC
Mean Mistreatin' MamaLyrics available
  Date Performance: 1968-05-27, Running Time: 4:03
  Comments: Sometimes billed as "You're A Mean Mistreater, Mama". From Radio 1 "Top Gear". Recorded at 201 Piccadilly, Studio 1, London. First broadcast June 2, 1968. (P) 1968 BBC It's unknown who played piano on this track.
The World Keep On TurningLyrics available
  Date Performance: 1968-01-16, Running Time: 2:39
  Comments: Incorrectly billed as "World Keeps Turning". From Radio 1 “Top Gear”. Recorded at Aeolian Hall, Studio 2, London. First broadcast March 24, 1968 (though the CD liner notes lists Janary 21, 1968 (P) 1968 BBC
I Can't Hold OutLyrics available
  Date Performance: 1968-01-16, Running Time: 2:27
  Comments: From Radio 1 “Top Gear”. Recorded at Aeolian Hall, Studio 2, London. First broadcast Janary 21, 1968 (P) 1968 BBC
Early Morning ComeLyrics available
  Date Performance: 1969-03-10, Running Time: 2:29
  Comments: From Radio 1 “Top Gear". Recorded at the Playhouse Theatre, London. First broadcast May 11, 1969. (P) 1969 BBC This track most likely doesn't feature Spencer, Green, Fleetwood or John McVie (though listed in the liner notes as being on it). If they are on it, their parts have been mixed down/out.
AlbatrossInstrumental Midi available
  Date Performance: 1968-10-09, Running Time: 2:48
  Comments: From Radio 1 Club. Recorded at the Playhouse Theatre, London. First broadcast November 5, 1968. (P) 1968 BBC This track most likely doesn't feature Spencer (though listed in the liner notes as being on it). If they are on it, their parts have been mixed down/out.
Looking For SomebodyLyrics available
  Date Performance: 1967-11-07, Running Time: 2:40
  Comments: From Radio 1 “Top Gear”. Recorded at Maida Vale 4, London. First broadcast November 12, 1967. (P) 1967 BBC This track most likely doesn't feature Spencer (though listed in the liner notes as being on it). If they are on it, their parts have been mixed down/out.
A Fool No MoreLyrics available
  Date Performance: 1967-11-07, Running Time: 3:40
  Comments: From Radio 1 “Top Gear”. Recorded at Maida Vale 4, London. First broadcast November 12, 1967. (P) BBC
Got To MoveLyrics available
  Date Performance: 1967-11-07, Running Time: 2:57
  Comments: From Radio 1 “Top Gear”. Recorded at Maida Vale 4, London. First broadcast November 12, 1967. (P) BBC
Like CryingLyrics available
  Date Performance: 1968-10-09, Running Time: 2:33
  Comments: Billed as "Like Crying Like Dying". From Radio 1 Club. Recorded at the Playhouse Theatre, London. First broadcast November 5, 1968. (P) BBC This track most likely doesn't feature Spencer, Fleetwood or John McVie (though listed in the liner notes as being on it). If they are on it, their parts have been mixed down/out. Oddly, the liner notes don't list Kirwan as beinng on the recording which is obviously incorrect.
Man Of The WorldLyrics available Midi available
  Date Performance: 1969-06-10, Running Time: 2:49
  Comments: From Radio 1 "Chris Grant’s Tasty Pop Sundae". Recorded at 201 Piccadilly, Studio 1, London. First broadcast June 15, 1969. (P) 1969 BBC This track most likely doesn't feature Spencer (though listed in the liner notes as being on it). If they are on it, their parts have been mixed down/out.
    Guest Appearances »

Eddie (Edward Riley) Boyd, Christine McVie, Nick Pickett

    Released »

1995-09-23

    Format »

Domestic Vinyl/CD Album

    Other Appearances »
Bob Conduct (Engineer), Alan/Allen Harris (Engineer), Pete Ritzema (Engineer), Dave Tate (Engineer), Tony Wilson (Engineer), Joe Young (Engineer), Bernie Andrews (Producer), Jeff Griffin (Producer), Bev Phillips (Producer), John Walters (Producer), Paul Williams (Terry Day) (Producer), Duster (Tony/Anthony) Bennett (Songwriter), Leroy Carr (Songwriter), Bob Crewe (Songwriter), Clifford (G.) Davis (Adams) (Songwriter), Phil Everly (Songwriter), Phil Everly (Songwriter), Peter Green (Songwriter), Peter Green (Songwriter), Tim Hardin (Songwriter), Ella Holley (Songwriter), Son House (Songwriter), Elmore James (Songwriter), Little Willie (William Edgar) John (Mertis, Jr.) (Songwriter), Robert Johnson (Songwriter), Danny Kirwan (Songwriter), Danny Kirwan (Songwriter), (Thomas) Baker Knight(, Jr.) (Songwriter), Little Walter (Walter Jacobs) (Songwriter), Jack Nance (Songwriter), Mimi Picariello (Songwriter), Lloyd Price (Songwriter), Marshall E. Sehorn (Songwriter), Frank Slay (Songwriter), Jeremy Spencer (Songwriter), Jeremy Spencer (Songwriter), (Sleepy) Lou Willie Turner (Songwriter), Conway Twitty (Songwriter), Stephen Allen Davi(e)s (Liner Notes), Mick Fleetwood (Liner Notes), Mick Fleetwood (Liner Notes), Ross Halfin (All Photography), Chris Walter (All Photography)

    Record Label »
Castle

    Catalogue Number »

06076 81101-2 ('95 Original) EDF CD 297 GAS 0000297 EDF ACX (2000 Reissue)

    Running Time »

56:55/51:52

    Liner Notes »

After many years of waiting I am proud to be able to present to you an incredible selection of Fleetwood Mac songs found deep from within the archives of the BBC. I searched for a way in this first release to portray the magic of those early Fleetwood Mac days and to also show a very different side of the band that many of you may not have even known existed.

This journey into my past was one that has not only reconnected me with many personal memories, but one that has given me insight; a reminder of why the passion of playing has stayed with me for all these years. Now you may be asking who all these young players are? We are Peter Green, John McVie, Jeremy Spencer, Danny Kirwan and Mick Fleetwood. In simple language, we were a group of young Englishmen who assembled themselves around one person - Peter Green. Even looking back now it amazes me how Peter's vision came through his music, and how that vision helped to create, and to leave behind an incredible feast of work. These BBC recordings may for the first time allow many of you an insight into Peter's live performances with Fleetwood Mac. Peter was a player with passion, a special touch and incredible talent. He was a player I am proud to say I was able to play drums with!

Jeremy Spencer, now how does one describe this tiny man of 5 feet 3 inches with the power of a giant. As you will hear on these recordings, Jeremy brought not only his love of the blues (which is demonstrated with his passion for Elmore James), but also his obsession for rock and roll, a side of him that in many ways would leave its imprint on the band's history. While performing live Jeremy always had a sense of fun with the music. I only wish that some of these sessions had been caught on film, for seeing was believing this crazy man on stage. Lest we not forget, he was also one hell of a slide guitar player.

John McVie and myself put together, for we are still just that, together. Musically he is a bass player that has an innate ability to be there always in the right amounts and at the right time. His sense of knowing is still very often my guiding light.

Danny Kirwan was to join the original four members of Fleetwood Mac and to add a freedom to our music. This freedom of having 3 guitars was something especially Peter had found the need to explore. On these tapes you will certainly hear that musical magic between Peter and Danny. I believe there was an innocence in Danny that lent itself to the bands journey into the world of harmonies and melody. In the end I think it is fair to say that all five original members contributed their own musical steps to the dance that was Fleetwood Mac.

I hope you, like myself, enjoy the spirit of these BBC recordings.

Mick Fleetwood

Fleetwood Mac

The BBC Broadcasts

The Fleetwood Mac that recorded these 36 songs for the British Broadcasting Company in 1969/70 was the hottest band in Europe. Playing Chicago-style blues in an era of country rock, late psychedelia and the decline of the Beatles, Fleetwood Mac enjoyed a run of Macmania in 1969 that included frenzied fans flghting to get into still-small gigs, hit singles and poll wins in the music papers. The band's genius was founding guitarist Peter Green, perhaps the most beloved musician in England for his stunning simplicity and integrity, who emerged from John Mayall's Bluesbreakers with globular electric blue tone that B. B. King said was the only thing he ever heard that made him sweat. Jimmy Page ranked Peter Green with Eric Clapton and Jeff Beck, and in America younger players like Carlos Santana and Joe Perry of Aerosmith regarded the Green God as the greatest of them all.

Peter Green, drummer Mick Fleetwood and bassist John McVie had all played with John Mayall's bands. Jeremy Spencer was a tiny, fire-breathing 18-year-old slide-guitar player from Lichfield, Staffordshire, who had been discovered impersonating the late bluesman Elmore James dead-on by producer Mike Vernon, who had signed Peter Green to a recording contract and with his brother Richard Vernon was really responsible for assembling the original band. Named for all four members, the band made it's debut as "Peter Green's Fleetwood Mac Featuring Jeremy Spencer" at the Windsor Jazz & Blues Festival in September 1967. Their first two albums, released in 1968, made them overnight stars in Britain and headliners in the psychedelic ballrooms of late-60's America. After a few months, Peter Green, uncomfortable with the spotlight, hired 19-year-old Mac fan Danny Kirwan away from his Brixton band to fill out the line-up as third guitarist.

It was no accident that Peter Green named Fleetwood Mac after his rhythm section. John McVie was the best blues bassist in England. He really knew how to rock a band and was at first reluctant to leave the security of The Bluesbreakers and join this new band that Peter Green wanted to name after him. Mick Fleetwood's powerful drumming had been honed in a series of mid sixties London bands. By the time he met Green and McVie, Mick was a striking 6'6" dynamo whose playing packed a serious wallop, and whose fun-loving persona overlaid an unpretentious vibe over the bands shows.

Fleetwood Mac was actually three discrete bands. Peter Green's fluid, moving blues songs were original masterpieces that stand with the most serious work of the rock movement. Jeremy Spencer was a brilliant mimic and rock chameleon whose studies of the early masters - Elvis, Fats Domino, Buddy Holly, Little Richard - inspired whole sets of rock & roll parodies alternating with hilarious displays of vulgarity and phallic imperialism that got Fleetwood Mac banned from some of the best clubs in London. Finally there was the rambling, jamming Fleetwood Mac of Peter Green and Danny Kirwan, whose twinned sensibilities inspired extended improvisatory voyages a la the Grateful Dead and led to some of Peter Green's classic compositions "Black Magic Woman," "Searching For Madge," and many others.

These BBC broadcasts represent all three styles of the original band at the height of its powers. Peter Green starts off Disc 1 with "Rattlesnake Shake," his majestic jam on self gratification from the band's then current album, 'Then Play On'. The next song, "Sandy Mary," written for Peter's girlfriend Sandra Ellsdon, would have been the title track of the next Fleetwood Mac album if Peter Green hadn't left the band in 1970, just after the last of these recordings.

Then Jeremy takes over with "Believe My Time Ain't Long," one of his uncanny Elmore reincarnations and Fleetwood Mac's first single from late 1967. Then two Danny Kirwan songs, "Although The Sun Is Shining" and the great Sixties pop of "Only You" with its delicate weave of guitars. Then back to Jeremy-as-Elvis on "You Never Know What You're Missing." This mix of Peter's soul, Jeremy's oldies and Danny's teenage pop pretty much duplicates the live shows that captivated audiences in the year that Fleetwood Mac outsold the Beatles in Europe.

Peter Green resumes with "Oh Well," another trademark lick that evolved into one of their biggest singles. Then he does Fats Domino's "Can't Believe You Wanna Leave."

Next Jeremy transforms the band into its Fifties alter ego, Earl Vince and the Valiants, and does "Jenny Lee," "Heavenly," the Everly Brothers' "When Will I Be Loved," "Buddy's Song" and the Rock & Roll Trio's classic Rockabilly love call, "Honey Hush." Danny Kirwan does "When I See My Baby." Jeremy performs the eerily prophetic "Preachin'" in 16 months he too would leave the band to preach the Baptist gospel like the restless character portrayed in the old blues.

Peter Green liked to do the late harmonicist Duster Bennett's "Jumping At Shadows," a big centrepiece for Fleetwood Mac that was close to the nervous state that the basically shy musician lived with. He carries this mood through with a superb acoustic rendering of Robert Johnson's "Preachin' Blues" and the band's third single, Little Willie John's "Need Your Love So Bad." Peter Green leads off Disk 2 with "Long Grey Mare." Pete, Jeremy and Danny trade licks on the old R&B standard "Sweet Home Chicago," a prime example of the telepathic interplay Fleetwood Mac used to get on a good night. Jeremy does Elmore James's "Baby Please Set A Date" and Danny interprets Little Walter's "Blues With A Feeling."

"Stop Messing Around" was one of Peter Green's show stoppers - soulful, controlled, discretely passionate. He makes a smooth switch from this work of art to a casually artless send-up of Freddie "Boom Boom" Cannon's "Talahassie Lassie," a typical stunt that showed how Fleetwood Mac refused to take themselves or their act too seriously.

Next Jeremy does a letter-perfect take on Tim Hardin's "Hang On To A Dream" that like much of Jeremy's work, goes beyond mimicry to a slate of transubstantiative possession. Same with the next two tracks, Buddy Clark's "Linda" and Elmore James's "Mean Mistreatin' Mama."

"World Keeps On Turning" is another magisterial Peter Green composition. Jeremy's "I Can't Hold Out" is a retitled version of Elmore James's "Telephone Blues." "Early Morning Come" is a Danny Kirwan song that leads to "Albatross," Peter Green's perennial hit instrumental that was so big in England in 1968 that the Beatles were inspired to write "Here Comes The Sun" in tribute to the Green God.

Peter continues with a brilliant performance of "Looking For Somebody" and the terribly sad and quite prophetic "A Fool No More" that seems to presage his strategic retreat from the music business within a few months of these final BBC sessions. The set winds down with Jeremy's version of Mississippi Fred McDowell"s "Got To Move," Peter and Danny's chiming harmonics on "Like Crying, Like Dying," and Peter Green's abject, haunting "Man Of The World," another hit record that sent a candid message to the band's audience that storm clouds were forming on the horizon.

Not long after the last BBC broadcast of Fleetwood Mac's powerful blues show, all three guitarists left the band, which then emigrated to California to regroup in 1975 as one of the biggest acts in history. some of whose sales records still stand. But when veterans of the Sixties talk about seeing Fleetwood Mac at the Marquee or the Fillmore or the Boston Tea Party, this is the legendary band they mean, along with its brilliant philosopher king, Peter Green.

Stephen Davis

This compilation (P) 1995 Fleetwood Records Ltd. (C) 1995 Castle Communications PLC released by arrangement with BBC Worldwide Ltd.

Essential Records

All rights of the producer and of the owner of the recorded work reserved. Unauthorised copying, lending, hiring, public performance, diffusion and broadcasting of this work prohibited.

Made in England

Compact Disc Digital Audio

LC 6448

5 017615 8 23

    Reviews »
Add your review here.

5/5.05/5.05/5.05/5.05/5.0
QUINTESSENTIAL. BEST PETER GREEN´S FLEETWOOD MAC
Review written by Orlando Guedez-Calderin (orlycalderin@aol.com), December 25th, 2004

To say this album deserves less than 5 stars is nearly a sin. In fact, I find it is the best available collection of Fleetwood Mac, with wonderful notes.

I have the complete Boston Series, The Official Columbia/Sony Records and the Marquee 67 and Shrine 69 shows. Therefore believe me I know a little about the band. I also have some of the recordings made by Peter Green and John McVie with John Mayall (John Mayall Thru the Years, Decca, 1971). These boys, together with Alvin Lee´s Ten Years After, achieved the best blues-rock-pop mix, under my vision.

Blues purists might dislike the Spencer game of playing Elvis-style covers with the alter ego of Fleetwood Mac, Earl Vince and the Valiants. I find this rather offers a relaxing moment before the next blues or jam attack. In fact, I find unusual this idea of a band with an alter ego. It is part of the originality Green-McVie-Fleetwood-Spencer-Kirwan achieved during their wonderful 1969-1970 work. In these numbers we may find an excellent sound. Unfourtunately there are not some interviews, which may provide a better image of the inner conflicts that were going on inside Peter´s and Jeremy´s minds and let them to leave the band short after the last BBC programs included herein. In the other hand, the absence of interviews give the pleasure of a continous play.

Sound quality varies from track to track, because we have many different sessions compiled herein. But the tracks show a great quality of sound, not so good as the Boston Tea Party show recently issued in three volumes, but still great and more heterogeneous. From Peter own compositions to classic blues, including a curious version of Dylan´s "Hang on to a Dream" and the Elvis act of Jeremy, highly valuable. It is sad Rattlenake Shake is not extended and the jam is more compressed when compared with the superb one in Live in Boston (Vol 2). We would also love to hear the inspired second part of Oh Well as it was recorded in the studio (Then Play On), but that is another flaw from the Live in Boston series and it seems the group focused on the first part of this rendition to love making.

The variety of tracks is amazing and it is a compilation which shows all sides from this phenomenal quintet, the first one with 3 lead guitarrists. The rythm session is also captured with good detail and there is no audience making noise and allowing self-indulgence from the musicians. A mistake in the notes: Albatross did not inspire George Harrison´s "Here Comes the Sun" in Beatles´Abbey Road, but "Sun King" by John Lennon (sharing credits with Paul) in the same album.

Men, thanks to this album I got an understanding of the official history of Fleetwood Mac and begun to appreciate the whole catalog even more.

In Argentina and Brazil there are many recordings from Fleetwood Mac which can be found and the main ones are available. The official collection, unfortunately, is scarcely offered and most of it I bought it in the States and Spain. Bad for Columbia/Sony ! I discovered the band in my homeland, Venezuela, where I bought the Boston Concerts issued by Dutch seal "Zillion".

It's worth every dollar paid.

4/5.04/5.04/5.04/5.04/5.0
Straightforward rock and blues
Review written by John Fitzgerald, September 30th, 2004

This is a jam packed collection of live recordings done for the BBC that mainly centers on shorter rock and blues numbers though the leadoff run through of "Rattlesnake shake" is the main exception with some gut wrenching string bending from the Green god but this recording is now redundant because of it's complete release (with the "Underway" section) on the "Show biz blues" collection. This fact doesn't really matter because it is followed by a real treat which is a gruff version of "Sandy Mary" (which those familiar
with the Boston tea party tapes will recall) which includes some great Hendrix styled wah wah licks. Other Green highlights include the strolling "Can't believe you wanna leave", "Long grey mare" with a different rhythm style than that which appears on the debut album and another great Little Richard type rocker in "Tallahassee lassie" which is a good second helping for those yearning more numbers of this kind that Peter had mastered so well on the Boston tea party tapes. You won't be disappointed with the usual bunch of
classic Green greats either, "Man of the world" sounds as though it's the same backing track as the studio recording but Peter's vocal is live. I just thought I'd point out some interesting twists that some of these versions enclose. Same can be said for Jeremy's Elmore James and Elvis impersonations but to me Spencer's real treats are a slightly different slidey blues tune called "Prechin'" and my personal favorite on the set which is a
beautiful cover of Tim Hardin's "Hang on to a dream". It's arguable as to whether Jeremy was impersonating Hardin or not but it can be taken nonetheless as a serious moving piano ballad with some tasty cymbal sprays from Mick. Danny is not to be outdone, in addition to some more well known "Then play on" era goodies, he's got a jangly original pop tune called "When I see my baby", a stomping slow blues entitled "Blues with a feeling" and "Early morning come" which is a nearly solo acoustic blues that shows Kirwan can get
successfully pure and traditionalist as anybody else. On the whole, less improvisational than some may hope but still colorful and varied nonetheless. According to "The complete recording sessions" book, there's at least another 70 odd recordings still in the BBC vaultsof the Mac up until 1971, one can only hope these see the light of day soon too.

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Contains live material recorded for the British Broadcasting Company between 1967 & 1970

Charts Peak: UK #48 (Sep 1995)

    Last Modified »
2010-12-17
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Discography entry submitted by Mary Anne.