Album Remarks & Appraisals:
2004 remastered reissue of the classic 1968 debut album features 19 tracks including 7 bonus tracks, 'My Heart Beat Like A Hammer' (Take 1), 'Merry Go Round' (Take 1), 'I Love Another Woman' (Take 1, 2, 3, 4), 'I Loved Another Woman' (Take 5, 6), 'Cold Black Night' (Take 1, 2, 3, 4, 5, 6), 'You're So Evil', & 'I'm Coming To Stay'. Includes expanded booklet with detailed notes & photos. Blue Horizon.
Fleetwood Mac: Peter Green (vocals, guitar, harmonica); John McVie, Bob Brunning (bass guitar); Jeremy Spencer, Mick Fleetwood.
Personnel: Jeremy Spencer (vocals, guitar, slide guitar, piano); Mick Fleetwood (drums).
Liner Note Author: Mike Vernon.
Recording information: CBS Studio, London, England (??/??/1967-12/11/1967); Decca Studio, West Hampstead, London, England (??/??/1967-12/11/1967).
PETER GREEN'S FLEETWOOD MAC, the band's full-length debut, is miles removed from commercially tailored soft rock of Fleetwood Mac's 1970s incarnation. The '60s version of the band, led by guitarist/singer Peter Green, was edgy, psychedelic, and rooted deeply in the blues. Green's love of revved-up 12-bar jams, raw boogie grooves, and shredding electric leads come together beautifully on this album, with the help of slide guitarist/singer/pianist Jeremy Spencer, drummer Mick Fleetwood, and bassist John McVie.
With the exception of Spencer, the members had played together in John Mayall's Bluesbreakers, and took the slashing, mercurial sound and lock-step interplay from that outfit and--arguably--improved on it. Though the album is steeped in traditional blues and includes covers of tunes by Robert Johnson ("Hellhound on My Trail"), Howlin' Wolf ("No Place to Go"), and Elmore James ("Got to Move"), the compositions penned by Green and Spencer stand up, especially the subtler singing and playing by Green (as on "Looking for Somebody"). Released at time when the market was glutted with amped-up British blues, PETER GREEN'S FLEETWOOD MAC stands above the competition with its superior musicianship and gutsy punch. It remains a template for hard-driving blues-rock.
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