This is my Peter Green story. I met Peter in 1969 at the olld Boston T Party club on Berkley Street in Boston. My brother Stanley and I went to almost every show at that club. We saw Led Zeppelin, BB King, Buddy Guy, Jeff Beck with Rod Stewart, Jethro Tull and almost every other Blues man and band that was touring back them. I was a 19 year old fledging guitarist and the inspiration that poured out of that club on any given night of the week was unbelievable and I feel so fortunate that we got to see so many of the greats playing live in a small 300 seat club but seeing Fleetwood Mac in 1969 on their first tour changed my life. I had heard almost all the great guitar players of that era and most of the white guys were not as impressive to me as the originals cats like BB King, Albert King, Freddy King etc. But then came Peter Green. It was the first time I ever heard a Sunburst Les Paul and in fact I went out the very next day and bought one just like his for $500. Today they are worth $250K, I wish I hadn’t sold mine on one broke Christmas in 1981. but that's a different story. Fleetwood Mac floored me. Their groove, their authenticity and the contrast between Jeremy Spencer’s imitation of Elmore James to Peter’s more deep meaningful songs. Well except for a few like “Rattlesnake Shake” which we all know is about wanking off. Peter did have a great sense of humor. I" I aint pretty and my legs are thin" When Fleetwood Mac finished their set, my brother and I were walking through the club right by Peter who was on his way to his dressing room. My brother, boldly said, "hey Peter my brother has a Les Paul too”. (I actually had a 52 Gold top at that time). Peter turned to us and said, “hey why don't you guys come to our hotel we’re having a party”. So, we followed Peter and ended up with a few other people in his room. We talked music and guitars and through that we had a connection. Fleetwood Mac played in Boston a bunch of times and every time they came, I would hang out with Peter. One time he and I went to see BB King play and he ended up sitting in. After the show we were back stage and BB turned to me and said, " no one plays me as authentically as Peter”. I never forgot that. Another time I was standing in the audience watching Fleetwood Mac and standing next to me was Carlos Santana. Carlos was a huge fan of Peters and that might have been the moment he heard Black Magic Woman for the first time. I like to think so anyway. After Peter quit Fleetwood Mac, I called him in London and asked him if he wanted to come over for a visit and to play music with my band, The Act. We were living in a house in the middle of the woods in South Berwick Maine. I figured it was a long shot but he said sure. I couldn’t believe he said yes. A few weeks later I picked up Peter, his suitcase, his Sunburst Les Paul and his Fender six string Bass at Boston’s Logan Airport and drove him up to Maine. My memory is vague at how long he stayed with us but it might have been a month. I do remember a few days after he came that we found out that Jimi Hendrix died, so that would put him there on September 18, 1970. I remember him looking stunned and very saddened. He told me that a few days before he was in London hanging out with Jimi. Every day we would get up and play very long one chord jams with Peter leading the way. I think I played three notes over and over and just listened to him. I can see him now twisting his mustache as he was contemplating life. I also remember one morning he was sitting on the house steps with his Les Paul jamming with the birds. Not the Byrd’s, the real birds in the trees. We did one or two gigs with him, one being at the newer Boston T Party on Lansdown st. . I actually have two tapes of Peter playing with us, one from the house in Maine and one from that Gig at the T Party. For some reason I’ve never played them for anyone. Peter had a female friend who was going to Goddard College in Vermont and he eventually left Maine and headed up there. Where he went from there I never found out.. Peter's guitar playing did not reply on tricks or fancy licks or runs. Every note he played was connected to his heart. He economical, soulful, authentic and he played with dynamics and pure fire. He would then turn on his super sweet and sensitive side as in his song Albatross. He was a very thoughtful, deep, sweet, funny and open person and his playing was exactly who he was as a person and that is a rare thing find in a musician. I am deeply saddened at his passing. I hope he went peacefully for he was a peaceful soul. I will miss him but am thankful that I got to know him just a little. Oh Well! in 1972 Peters good friend and band mate Nigel Watson came over to Boston and lived with me for a year. Peter lent him two guitars to take with him, A 56 or 57 Strat and a Dobro. I believe oe of these was the Resonater and the old Start you mention in this video. I have pictures I coul send you if you want to see the guitars in my house in 1972
@@JackMackband I remember hearing about Jack Mack & The Heart Attack back around 1982...don't know if it was a NYE special or something on MTV. A band like Southside Johnny and the Asbury Jukes. That's what I remember.
One of the best blues guitarists of all tine, a true visionary and inspiration. Admired by fans and fellow musicians alike, BB King once said that Green was the one who made him sweat. He was able to play with great sensitivity and authority combinig both with astonishing ease. A natural born mystic who has left us with a great musical legacy spanning some 50 years. If music be the food of life , then play on!!!! Peter Green a true original.
Without a doubt my favorite British blues player. In terms of emotion, dynamics, etc he is unsurpassed in my humble opinion. There was absolutely no separation between Peter and his guitar, it was simply connected to his soul and psyche. Fantastic video by the way, very informative keep it up!
Agreed, but it's not just his guitar playing. Green's voice carried the same blues that his guitar did. Yet his face always seemed to have a huge smile. Hard to fathom what was goin' on in that noggin of his!
Weird Old Uncle Kenny Should have mentioned that! Absolutely agreed! My favorite voice as well. The live if you let me love you gives me chills every time, same with I’ve got a mind to give up living... pure shivers. The man really meant what he was doing.... always wondered myself what was going through his head.
What I learned is, don't take LSD!!!! Mushrooms are much better if you want that experience. Imagine how different his life would have been without the freak out trip in Germany.
In the early sixties l saw John Mayall’s Blues Beakers with Pete playing the ‘Harmony Meteor’ many times at the Bromley Court Hotel, Bromley Kent. What a great atmosphere in the that small venue. ln later years l had the pleasure of talking to Pete when our band were supporting Fleetwood Mac in London. What a guitarist he is. l bought my first band electric organ (a Vox Continental ) from the owner of ‘Orange’ at his parents house in ‘67? Brilliant band years of the 60’s 70’s.
When I lived in London just over a decade ago I used to get my guitarv worked on by a guy who had a workshop in a big secure lock up in an industrial complex. A lot of the big bands would store their equiptment there when not out touring. All the gear was in these areas like jail cells so you could see into them and spot the bands names stencilled on the flight cases etc. Right next to the guitar techs workshop was a cage full of just guitars in cases, Bass's, mandolins, Banjos, and amps with no stencilled identification. I asked the tech who owned the gear and he said it belonged to Peter Green, every so often Peter would drop by and leave another guitar or other that he had just purchased.
We used to say that if you could see silver circles in the center of the speakers through the grill cloth of Fender amplifiers then you were looking at JBL speakers . In this video when he is talking about if the speakers were JBL speakers in the cabinet @9:04 you'll notice on the top speaker the silver circle shining through the grill cloth in the photo , In the Fender amps this was the upgraded speaker if I remember correctly it usually was $100.00 difference from the base price , and I think that was per speaker in the Fender Showman & Dual Showman . They were 15" speaker cabinets . I played through the Fender Blackface Bandmaster and the later in Blackface Bassman head with 2-12 close back cabinet. Great tone
Great video! Thx. I saw Greenie's Fleetwood Mac one nite in 1968 at Bill graham's Fillmore West in SF. It was quite by accident by 1968 I had stopped attending the Fillmore and the Avalon and those kind of venues. I was singing and playing guitar in a blues band at the time. I was into BB King who I had seen live several times in those days. My friend convinced me to go to Fill W that nite. It was Butterfield Blues band (all new lineup) and Fleetwood Mac. I only knew Greenie from Mayall's "Hasrd Road" which I had listened to several times. I thought of Green as a kinds of "Clapton" type. So I didn't know the trends had been changing and I figgered that Fleetwood Mac was a kind o Peter Green version of Cream! Ha ha. Wow! Was I surprised! Here was a young man with a chromed vintage Les Paul. I dunno how he achieved that perfect chromed body effect. Did he take it to a metallurgist? Someone mentioned something about "chrome foil?" Mebbe you can tell me. Here was a young man who came out and sang and played very much like BB King! I was a Greenie Freak from the moment. I began listening to the records when they came out and adding some of Macs tunes to our set list. I even learned slide that week and we started doin f Elmore James tunes. Btw in 1968 I had to go to a hardware store and have them cut me off and piece of conduit to get a slide! No Guitar Center walls of slides then! No brass, steel, chromed, steel, glass, beveled glass, blue tinted beveled and non-beveled glass, glass bottles...haha I went back to see the Mac the following year which was actually Jan 1970. saw the Orange amps. they had acquired Danny Kirwan and the were doing "Green Manalishi" and "Albatross" That was when I first heard Greenie use a great reverb as an effect a la Black magic woman solo. He would play a chorus with a big, wide, warm tone and then click on the reverb.
The broken neck on Green's Les Paul was repaired by Richard Bartram of Bartram Guitars, Littleport, Cambs. He was doing work for Chandler's at the time. He has a photo of the guitar sans strings on his bench after it was fixed.
@@TheGuitarShow Don't wish too hard, my friend! The years sneak up pretty damned quick. Be happy with your genuinely Old Soul. The Music will keep you young at heart.
@@larrygeetar9309 ,very well-put! Good advice, I seem to have lost the "spark under my ass"! But people that are "around" my age, that continue to jam with their pals give me some encouragement to get off my ass and dance, boy! At 63, I try to listen to my own advice, which is a challenge at times. "As long as you have a musical instrument(guitar) you're never alone" 10-Q, L.G.!
In the two live vids I've seen (BBC 'Oh Well' and the Norwegian TV clip) Peter Green got excellent tones from his Fender amps. His guitar had so much bite and snarl at times (bridge pickup) and great fluid bluesy tone from the neck pickup and the amps really brought it out. Great vid here. Thanks for posting this.
Excellent video !!!! 2 things ~ #1 ....The Marshall block logo half stack was a JTM45 ( 36 watts) . # 2 ~ You can get the out of phase sound by reversing the magnet ( north to south ) or clockwise / counter clockwise ....no magic wiring. By doing this to either the neck or bridge pickup....you will have the out of phase sound in the middle position with both volumes on full.
wozzlepop Agreed, I remember reading somewhere different variation of the story, that when a guitarist was missing, John Mayall asked the audience if there was someone who could step in, and Peter Green came forward. Wasn’t this story on some LP cover?
Fun story on the great Peter Green, thanks. I remember listening to 'Fleetwood Mac In Chicago' with my dad. He was enamoured with Peter Green's playing and his singing voice. I wore that record out and bought him the CD version. He said 'Peter doesn't sound as good on CD...! So I found him another vinyl copy! What was I thinking buying a vinyl diehard a CD???
Great video! Love Peter's tone! If you dig the Boston Tea Party stuff, Shrine '69 is a really nice recording also. Killer tones on that gig too. Thanks again, very cool info. 👍👍👍
Very nice presentation. I recall that GP PG cover story from '97 or so that revisited the LP showing up at Hamer's shop. Seems like the wiring looked stock but they used a compass to discover the neck pups magnet was flipped.
Thank you for this video, which obviously took considerable research. Peter Green is one of my favorite guitar players, especially blues guitar - probably my favorite blues guitar player out of the UK. Eric Clapton also said he thought "Greenie" was the best UK guitar player back in the day (Hendrix was from Seattle). Green played the notes that needed to be played, and knew what to leave out, so his music would "breathe". The Fleetwood Mac blues band are still one of my favorite jamming tracks, although playing like Green takes a Maestro's touch.
Great video, as always!! A Dual Showman is nothing else than a Twin Reverb (head only). Love the JBLs loaded 2x15 Fender cabs! They sound great with every amp. (I currently use a JTM45 style amp with mine).
special human, vast legacy, Mississippi runnin through his blood, coming to rest on canvey island, essex, the thames delta. btw cool to see the upside of the youtube platform as a timeless reference point on display, and a little elbow grease from the goose. I hope you are a content content creator at the moment; mysterious,intense artists need good advocates/jouralists as their scribes.
Sad loss all years we lost when he was ill great blues player one off another one gone always sounded great made many kids pick up the guitar to play rip pete always be remembered 👍
out of phase can be done magnetically or electrically and it's the same thing. The repair was done on a record player to rewind the coils and it was wound the opposite way making it electrically out of phase with the bridge pickup only when both pickups on and both volumes at 10. Roll one volume down a bit and it actually gets louder because they are less out of phase causing less low end cancellation.
My fave guitarist to come out of the UK (and I love a number of them). Someone once said in comparing the two, that Clapton was a rock guitarist who played blues, while Green was a blues player who played rock. I can't argue with that.
I played lead for Peter Green in 1985 ,the Ghanaian in his “fugu “ robe playing blues when Peters nails were too long for him to play ! I hope he’s ok at his place in Richmond
@Kari Bannerman Strange, I have your name listed as Alfred Bannerman... What happened? By the way, thanks for having tried to help him out and you guys did make nice music ( I have the Frankfurt december 13 1984 show)
I saw them in Austin,Tx. in 1970, and all three guitarists were playing through Fender Dual Showman amplifiers. If you look at the pictures of Peter's Les Paul he had the pickup height set extremely low on the treble side with it corresponding high on the bass side of the strings. RIP Danny Kirwan, a brilliant guitarist who complemented Mr. Green perfectly and had the best vibrato technique I have ever heard.
Later I found out he used a black Gibson Howard Roberts Fusion into a tweed Fender Blues Deville. I played that combo for years, before I realized that Peter Green used it too.
In about 1973 ,I was mucking about with my 66 sg standard and turned the pickup around ,to get more treble from the front pickup ,then when running both ,in the middle position ,I got that lower volume out of phase sound. Then I discovered you could get the same sound by just putting the bar magnet in the opposite way .You can get the same sound by doing either of these two things.
I think there's some parts missing to the story of the LP pickup. In the early 70's I worked at a recording studio at 19 Gerrard St, Soho, London, which was two doors away from Sam Li's workshop. I remember speaking to someone from there once (not Sam unfortunately) who said that Peter's guitar was repaired there (not the neck break) and the pickup refitted. I figured out that the sound was the same as 'out of phase' (this was before it became much of a thing) because of work I was experimenting with in the studio. Later I tried to do the same to an SG by taking out the neck pickup and rewiring it. First up, this is not a job that involves simply swapping wires over. One side is connected to the metal work so you have to desolder, seperate and resolder them, so not a job that could be done accidentally. And this method works as we all know now. Most modern pickups are wired so as to give you more choice in switching (single coil, phase etc). But the if PG's pickup had been disassembled and rewired, as it looks in the photo, then the phase trick could have happened accidentally, equally, the magnet(s) could have been reversed too (with respect to the other pickup). Funnily enough, my efforts with the SG hum bucker looked exactly like the photo with the grey wire coming out of it. I wired it back in with a push-pull pot switch to switch it in or out of phase. I remember it was a tricky bit of wiring because of the earthing situation! Interestingly, in recent years I've had the opportunity to play some genuine 59/60 Les Pauls and some of them have a very similar sound to PG's guitar, with the right volume/tone and pick up selection. Anyway, just my two bob's worth.
I think Throbak have it right. One coil was rewound using formvar and probably reverse wound (using a record player) putting it out of phase with itself. He then got it back with a grumble from Green and flipped the start/finish leads putting it back in phase.. but left the middle position out of phase by accidentally (almost not, in fact the out of phase thing was long since established as a popular mod) reinstalling the magnet the wrong way round. Incredibly, the exact same repair was done to Kossoff's burst. Probably both done by the same person (Sam Li). Both guitars have a totally unique honk and sweet highs that made all those amazing records..
Godspeed Peter, One of the greatest guitar player's . And that silver wire could be the braided cord out of the pickup. If you think about a strat with the middle pickup rwrp.when in pos. 2 an 4 giving you that out of phase sound ,flipping one of the magnets in the pickup would give you that sound.🙏🎸🎸
A very good video for guitar and amp junkies. A small clarification if I may -- at 8:53, the amps in the photo appear to be a Deluxe Reverb (20W, 1-12" spkr) on the left, and a Twin Reverb (100W, 2-12") on the right.Definition on this screen isn[t sufficient to determine whether either amp has the aluminum trim around the speaker baffle, which was a feature on the first iteration of the silverface amp line. I have a 1969 Twin Reverb, according to transformer and pot date codes, but it has the original, aluminum-trimmed baffle. Fender was notorious for using up any parts remaining from previous models on their replacements. At 9:02, the photo shows a late-1969 or later SF Twin Reverb atop a Dual showman cabinet, as you say. The badge in the lower right corner of the twin indicates JBLs. An easier method is to notice the aluminum dustcaps on the 12" and 15" speakers. That feature was exclusive to the D-120F, D-140F, and D-150F JBLs. The 120 was 12" (in the Twins), the 140 a 15" guitar speaker (in the Showman/Dual Showman), and the 150 a 15" bass speaker. The 'F' suffix denoted Fender exclusive use. The only difference between the Showman and Dual Showman was the output transformer, because the Showman used a single 15" at 8 ohms, while the Dual Showman used two 15" in parallel for an impedance of 4 ohms. The cabinet in the photo referenced is definitely a two-15". Single 15" cabinets were the same size, but mounted the single speaker in a different configuration, using a second baffle behind the front baffle. The front baffle had an aluminum 'tone ring' which extended about two inches behind the front baffle, leaving a gap to the baffle on which the speaker was mounted. The Tremolux amps were never equipped with reverb. The Tremolux amps were discontinued at the end of the blackface amp era. The amplifier heads which incorporated reverb did not arrive until the early 70s, and were pretty much limited to the Bandmaster (or Band-Master) Reverb and Showman/Dual Showman Reverb models. Fender had made stand-alone reverb units in brown, blonde, and black vinyl coverings from about 1962 through the late 60s/early 70s. Off-topic -- Ted Nugent has used Fender Super Twins with 2-12s, atop Dual Showman-sized 2-15 cabinets. Twin Reverbs are rated at about 85W, while Super Twins are rated by CBS Fender as being 180W. Super Twins are NOT missed.
Otis Rush I was told played a Epiphone Riviera with out of phase pickups. I was told this by Larry Craig . He brought this up cause my Riviera has out of phase pick ups .
I was at a gig in Woolwich, S E. London. They were using an old beaten up, well used, bunch of amps. They had a break, and swapped the old stuff for a bunch of brand new Orange gear.
I flipped the magnet on my L.P and it sounds great for Peter Green style solo's. Pickup manufacturers charge a fortune for their 'Peter Green modded pickups' - its fairly easy to do yourself if your handy with a screwdriver . 🎸👍
I remember that Peter Green solo on "Supernatural" on the Mayall "Hard Road" LP. At the time rock was still growing and the trends that came then came in a linear fashion at least, here in northern California At that time guitarists everywhere were experimenting with sustaining notes using feedback. "Supernatural" was the solo that killed the "feedback" trip. Like at about the time the noserider surfboards killed noseriding in surfing, after "Supernatural's" beautiful, fat, sure long tones and spectacular pan shifts discouraged any further efforts! I still think that masterful solo is unsurpassed in feedback. )
I saw Greenie's Mac at Fillmore West in SF in 1968. Greeny was playing a LP with a chromed body!!! I thought it was a cool take on Les Pauls which were played by all the greats at that time and a cool statement about pop culture and US motorcycle culture But I wondered how he chromed the body which is made of wood but later I heard that chrome strips were available...he may have done that on his 1959 "lemon drop" I went to see Greenie's Mac the following year. This time Danny Kirwan was in the band and all played thru Orange amps. I heard "Albatross" and "Green Manalishi" which Greeny announced was "About Devils" Devil worship was beginning to become a trend in England at that time. Greeny used to use reverb as an "effect" so he would switch it on and off: play dry for a chorus and click it on and play wet for a chorus as in the studio version of "Black Magic Woman"
A little off topic, but the pickup selector on Jeremy Spencer's '58 Strat was a factory option at that time and he came across it when wondering around an Oakland guitar warehouse with Peter and Jerry Garcia...
At one stage he used a 59 Fender Bassman combo with the 4 10 inch speakers--however one speaker was deliberately left unconnected. What that contributed to the resulting tone was evidently worth the finagling.
I can´t remember where, but at a point in time I have read an interview with PG, where he stated that Albatros was recorded directly into a mixing desk.
Saw Fleetwood Mac at one of the boat clubs in Nottingham, probably the Britannia in late 68 I think, remember snow on the ground He was playing through an Orange amp and cab. I'm sure Matamp made the Orange amps. back then.
Peter also owned a 1952 Gibson Les Paul Gold top. The guitar was given to him by Eric Clapton. Green gave it to Duster Bennett in the late 1960's and eventually it ended up with Top Topham who I think still owns it.
I seem to recall in that Jol Danzig interview, Jol stating that the neck humbucker being magnetically out of phase (flipped magnet) and he said that this sounds different than just wiring pickups electrically out of phase. I've had other people insist that there's no difference between the methods.
Peter Green was not only a superb guitarist, but also a great blues singer and composer. We all miss him very much.
So true Jake
RIP Greenie, you really were the best! I feel broken now.
I know what you mean, Gordy.
Bless you Peter Green. 1946-2020.
This is my Peter Green story.
I met Peter in 1969 at the olld Boston T Party club on Berkley Street in Boston. My brother Stanley and I went to almost every show at that club. We saw Led Zeppelin, BB King, Buddy Guy, Jeff Beck with Rod Stewart, Jethro Tull and almost every other Blues man and band that was touring back them. I was a 19 year old fledging guitarist and the inspiration that poured out of that club on any given night of the week was unbelievable and I feel so fortunate that we got to see so many of the greats playing live in a small 300 seat club but seeing Fleetwood Mac in 1969 on their first tour changed my life.
I had heard almost all the great guitar players of that era and most of the white guys were not as impressive to me as the originals cats like BB King, Albert King, Freddy King etc. But then came Peter Green. It was the first time I ever heard a Sunburst Les Paul and in fact I went out the very next day and bought one just like his for $500. Today they are worth $250K, I wish I hadn’t sold mine on one broke Christmas in 1981. but that's a different story. Fleetwood Mac floored me. Their groove, their authenticity and the contrast between Jeremy Spencer’s imitation of Elmore James to Peter’s more deep meaningful songs. Well except for a few like “Rattlesnake Shake” which we all know is about wanking off. Peter did have a great sense of humor.
I" I aint pretty and my legs are thin"
When Fleetwood Mac finished their set, my brother and I were walking through the club right by Peter who was on his way to his dressing room. My brother, boldly said, "hey Peter my brother has a Les Paul too”. (I actually had a 52 Gold top at that time). Peter turned to us and said, “hey why don't you guys come to our hotel we’re having a party”. So, we followed Peter and ended up with a few other people in his room. We talked music and guitars and through that we had a connection.
Fleetwood Mac played in Boston a bunch of times and every time they came, I would hang out with Peter. One time he and I went to see BB King play and he ended up sitting in. After the show we were back stage and BB turned to me and said, " no one plays me as authentically as Peter”. I never forgot that. Another time I was standing in the audience watching Fleetwood Mac and standing next to me was Carlos Santana. Carlos was a huge fan of Peters and that might have been the moment he heard Black Magic Woman for the first time. I like to think so anyway.
After Peter quit Fleetwood Mac, I called him in London and asked him if he wanted to come over for a visit and to play music with my band, The Act. We were living in a house in the middle of the woods in South Berwick Maine. I figured it was a long shot but he said sure. I couldn’t believe he said yes. A few weeks later I picked up Peter, his suitcase, his Sunburst Les Paul and his Fender six string Bass at Boston’s Logan Airport and drove him up to Maine. My memory is vague at how long he stayed with us but it might have been a month. I do remember a few days after he came that we found out that Jimi Hendrix died, so that would put him there on September 18, 1970. I remember him looking stunned and very saddened. He told me that a few days before he was in London hanging out with Jimi.
Every day we would get up and play very long one chord jams with Peter leading the way. I think I played three notes over and over and just listened to him. I can see him now twisting his mustache as he was contemplating life. I also remember one morning he was sitting on the house steps with his Les Paul jamming with the birds. Not the Byrd’s, the real birds in the trees. We did one or two gigs with him, one being at the newer Boston T Party on Lansdown st. . I actually have two tapes of Peter playing with us, one from the house in Maine and one from that Gig at the T Party. For some reason I’ve never played them for anyone. Peter had a female friend who was going to Goddard College in Vermont and he eventually left Maine and headed up there. Where he went from there I never found out..
Peter's guitar playing did not reply on tricks or fancy licks or runs. Every note he played was connected to his heart. He economical, soulful, authentic and he played with dynamics and pure fire. He would then turn on his super sweet and sensitive side as in his song Albatross. He was a very thoughtful, deep, sweet, funny and open person and his playing was exactly who he was as a person and that is a rare thing find in a musician. I am deeply saddened at his passing. I hope he went peacefully for he was a peaceful soul. I will miss him but am thankful that I got to know him just a little. Oh Well!
in 1972 Peters good friend and band mate Nigel Watson came over to Boston and lived with me for a year. Peter lent him two guitars to take with him, A 56 or 57 Strat and a Dobro. I believe oe of these was the Resonater and the old Start you mention in this video. I have pictures I coul send you if you want to see the guitars in my house in 1972
I didn't realize that Jack Mack & The Heart Attack was "late 60's era".
Great story! Thanks.
@@karenpato1 I started Jack Mack in 1980
@@JackMackband I remember hearing about Jack Mack & The Heart Attack back around 1982...don't know if it was a NYE special or something on MTV. A band like Southside Johnny and the Asbury Jukes. That's what I remember.
Great story, man.. What a great way to honor Greenie.. Thank you.
One of the best blues guitarists
of all tine, a true visionary and
inspiration. Admired by fans and
fellow musicians alike, BB King
once said that Green was the one
who made him sweat.
He was able to play with great
sensitivity and authority combinig
both with astonishing ease.
A natural born mystic who
has left us with a great musical
legacy spanning some 50 years.
If music be the food of life , then play on!!!! Peter Green a true original.
Without a doubt my favorite British blues player. In terms of emotion, dynamics, etc he is unsurpassed in my humble opinion. There was absolutely no separation between Peter and his guitar, it was simply connected to his soul and psyche. Fantastic video by the way, very informative keep it up!
Thanks David
Agreed, but it's not just his guitar playing. Green's voice carried the same blues that his guitar did. Yet his face always seemed to have a huge smile. Hard to fathom what was goin' on in that noggin of his!
Weird Old Uncle Kenny Should have mentioned that! Absolutely agreed! My favorite voice as well. The live if you let me love you gives me chills every time, same with I’ve got a mind to give up living... pure shivers. The man really meant what he was doing.... always wondered myself what was going through his head.
Yes, yes. And "Before the Beginning" on Then Play On. Gets me every time!
the world could learn quite a lot from Peter Green, kind, humble and no ego. A true Virtuoso and forever a LEGEND!
Well actually he approached the stage and told john mayal i can play better than that referring to eric Clapton
@@matthewortiz7977 That wasn't "ego" - he was just telling the truth. Clapton later said "Greeny was the best".
It wasn’t EC - it was during his “vacation” in Greece.
He wasnt a virtuoso, he just played from the heart
What I learned is, don't take LSD!!!! Mushrooms are much better if you want that experience. Imagine how different his life would have been without the freak out trip in Germany.
Favorite song was "Jumping at Shadows" from the BBC sessions. I'll never forget the lead in. Met him in the '90's. Rest in peace. You will be missed.
In the early sixties l saw John Mayall’s Blues Beakers with Pete playing the ‘Harmony Meteor’ many times at the Bromley Court Hotel, Bromley Kent. What a great atmosphere in the that small venue. ln later years l had the pleasure of talking to Pete when our band were supporting Fleetwood Mac in London. What a guitarist he is.
l bought my first band electric organ (a Vox Continental ) from the owner of ‘Orange’ at his parents house in ‘67? Brilliant band years of the 60’s 70’s.
I have to say that I really admire and appreciate the amount of work that went into putting this "History of...) series together...thank you!
That Strat in the photos is a '54 or early '55. Ash body, solid shaft pots, styrene plastics, round string tree.
When I lived in London just over a decade ago I used to get my guitarv worked on by a guy who had a workshop in a big secure lock up in an industrial complex. A lot of the big bands would store their equiptment there when not out touring. All the gear was in these areas like jail cells so you could see into them and spot the bands names stencilled on the flight cases etc. Right next to the guitar techs workshop was a cage full of just guitars in cases, Bass's, mandolins, Banjos, and amps with no stencilled identification. I asked the tech who owned the gear and he said it belonged to Peter Green, every so often Peter would drop by and leave another guitar or other that he had just purchased.
Very cool thanks for the comment
I think there's a video of Peter Green visiting his storage to talk about various guitars and basses that he owned.
@@Renhjarta
yes, i've seen that video,
RIP. Your music will last for ages, mate. Cheers, Bless and thank you.
We used to say that if you could see silver circles in the center of the speakers through the grill cloth of Fender amplifiers then you were looking at JBL speakers . In this video when he is talking about if the speakers were JBL speakers in the cabinet @9:04 you'll notice on the top speaker the silver circle shining through the grill cloth in the photo , In the Fender amps this was the upgraded speaker if I remember correctly it usually was $100.00 difference from the base price , and I think that was per speaker in the Fender Showman & Dual Showman . They were 15" speaker cabinets . I played through the Fender Blackface Bandmaster and the later in Blackface Bassman head with 2-12 close back cabinet. Great tone
Thanks, Ramon. Fantastic video.
Thanks so much for your hard work here this was soooo fun and informative for greenie fans!
pleasure - thanks for watching
A very interesting and informed piece of work. Excellent. Thanks!
pleasure
Great video! Thx. I saw Greenie's Fleetwood Mac one nite in 1968 at Bill graham's Fillmore West in SF. It was quite by accident by 1968 I had stopped attending the Fillmore and the Avalon and those kind of venues. I was singing and playing guitar in a blues band at the time. I was into BB King who I had seen live several times in those days. My friend convinced me to go to Fill W that nite. It was Butterfield Blues band (all new lineup) and Fleetwood Mac. I only knew Greenie from Mayall's "Hasrd Road" which I had listened to several times. I thought of Green as a kinds of "Clapton" type. So I didn't know the trends had been changing and I figgered that Fleetwood Mac was a kind o Peter Green version of Cream! Ha ha. Wow! Was I surprised! Here was a young man with a chromed vintage Les Paul. I dunno how he achieved that perfect chromed body effect. Did he take it to a metallurgist? Someone mentioned something about "chrome foil?" Mebbe you can tell me. Here was a young man who came out and sang and played very much like BB King! I was a Greenie Freak from the moment. I began listening to the records when they came out and adding some of Macs tunes to our set list. I even learned slide that week and we started doin f Elmore James tunes. Btw in 1968 I had to go to a hardware store and have them cut me off and piece of conduit to get a slide! No Guitar Center walls of slides then! No brass, steel, chromed, steel, glass, beveled glass, blue tinted beveled and non-beveled glass, glass bottles...haha I went back to see the Mac the following year which was actually Jan 1970. saw the Orange amps. they had acquired Danny Kirwan and the were doing "Green Manalishi" and "Albatross" That was when I first heard Greenie use a great reverb as an effect a la Black magic woman solo. He would play a chorus with a big, wide, warm tone and then click on the reverb.
"Move on at peace, Peter Green.
Great video guys - concise and very interesting
Love this series! Cheers
Great show! I like this series a lot
IM FOND OF THE PETER GREEN ALBUM "IN THE SKIES" R.I.P PETER GREEN 🎸 🇸🇪
This is great! Thank you for this
pleasure
Thanks. A great tribute to a great musician.
The broken neck on Green's Les Paul was repaired by Richard Bartram of Bartram Guitars, Littleport, Cambs. He was doing work for Chandler's at the time. He has a photo of the guitar sans strings on his bench after it was fixed.
thanks for this
I was at the Tea Party show in question. They played there a few times as did most of the
British Invasion bands. Historic venue, great shows.
It's one of my all time favourite concerts wish I could have been born a decade or two earlier! Thanks for watching
@@TheGuitarShow Don't wish too hard, my friend! The years sneak up
pretty damned quick. Be happy with your genuinely Old Soul. The Music
will keep you young at heart.
@@larrygeetar9309 ,very well-put! Good advice, I seem to have lost the "spark under my ass"! But people that are "around" my age, that continue to jam with their pals give me some encouragement to get off my ass and dance, boy! At 63, I try to listen to my own advice, which is a challenge at times. "As long as you have a musical instrument(guitar) you're never alone" 10-Q, L.G.!
Amazing video my friend. Much appreciated by many I’m sure. More please.
Many thanks indeed Ben - more coming soon!
Great piece of reporting on a fabulous player. Thanks!
thank you
Brilliant. Learned a lot, enjoyed it. Huge thnx
In the two live vids I've seen (BBC 'Oh Well' and the Norwegian TV clip) Peter Green got excellent tones from his Fender amps. His guitar had so much bite and snarl at times (bridge pickup) and great fluid bluesy tone from the neck pickup and the amps really brought it out. Great vid here. Thanks for posting this.
My pleasure bro and thanks for watching!
This was fascinating! Thanks a million!!
Pleasure
This series is great! I'd love to see more of other artists.
pleasure Jerry
Hes the man in my collection...his touch his harmonic sensibilty and what seems to be impeccable likeness to bb kings tone and vibrato.....hes my hero
agreed
@@TheGuitarShow thanks man, so glad i found ur channel . lol , tons of guitar porn ! ...cheers bro
Excellent, very well done
RIP Peter Green and thank you. Like many others, Peter Green was and still is my favorite of the Mayall guitarists.
I will Take this with me when I go!! Thank you Peter, RIP
Excellent video brother...thank you x
thanks for watching bro
Fascinating video, subscribed.
Excellent video !!!! 2 things ~ #1 ....The Marshall block logo half stack was a JTM45 ( 36 watts) . # 2 ~ You can get the out of phase sound by reversing the magnet ( north to south ) or clockwise / counter clockwise ....no magic wiring. By doing this to either the neck or bridge pickup....you will have the out of phase sound in the middle position with both volumes on full.
Awesome video man!!
thanks
I’ve always felt that Supernatural was the high water mark for electric guitar. Perfection. Good stuff here thanks!
I agree 🙏🎸
Right on
2:01 I find this hard to believe as Peter has always been incredibly modest and polite. :)
wozzlepop Agreed, I remember reading somewhere different variation of the story, that when a guitarist was missing, John Mayall asked the audience if there was someone who could step in, and Peter Green came forward. Wasn’t this story on some LP cover?
sounds exactly like the way Moon got himself into the Who. maybe got mixed up with that scenario
I love Peter greens sound and stile real unique
That was great ...well done
Fun story on the great Peter Green, thanks. I remember listening to 'Fleetwood Mac In Chicago' with my dad. He was enamoured with Peter Green's playing and his singing voice. I wore that record out and bought him the CD version. He said 'Peter doesn't sound as good on CD...! So I found him another vinyl copy! What was I thinking buying a vinyl diehard a CD???
Thankyou for sharing. Though somewhat technical, I am learning so much!
Pleasure Jim!
Great man, great guitarist and writer. Will be sorely missed. RIP Peter.
Great video! Love Peter's tone! If you dig the Boston Tea Party stuff, Shrine '69 is a really nice recording also. Killer tones on that gig too. Thanks again, very cool info. 👍👍👍
Very nice presentation. I recall that GP PG cover story from '97 or so that revisited the LP showing up at Hamer's shop. Seems like the wiring looked stock but they used a compass to discover the neck pups magnet was flipped.
thanks - yes thats the general opinion thanks for watching
Saw this before but great to see after the passing of Peter Green.
Rest In Peace, Greeny.
Cool video... Thankyou!!
GRACIAS MAESTRO POR HABER EXISTIDO , DESCANSA EN PAZ GENIO.....
Thank you for this video, which obviously took considerable research. Peter Green is one of my favorite guitar players, especially blues guitar - probably my favorite blues guitar player out of the UK. Eric Clapton also said he thought "Greenie" was the best UK guitar player back in the day (Hendrix was from Seattle). Green played the notes that needed to be played, and knew what to leave out, so his music would "breathe". The Fleetwood Mac blues band are still one of my favorite jamming tracks, although playing like Green takes a Maestro's touch.
What a fantastic video have a wonderful day also in my opinion peter green was a fantastic musician 😊
Great video, as always!!
A Dual Showman is nothing else than a Twin Reverb (head only).
Love the JBLs loaded 2x15 Fender cabs! They sound great with every amp. (I currently use a JTM45 style amp with mine).
special human, vast legacy, Mississippi runnin through his blood, coming to rest on canvey island, essex, the thames delta. btw cool to see the upside of the youtube platform as a timeless reference point on display, and a little elbow grease from the goose. I hope you are a content content creator at the moment; mysterious,intense artists need good advocates/jouralists as their scribes.
Sad loss all years we lost when he was ill great blues player one off another one gone always sounded great made many kids pick up the guitar to play rip pete always be remembered 👍
out of phase can be done magnetically or electrically and it's the same thing. The repair was done on a record player to rewind the coils and it was wound the opposite way making it electrically out of phase with the bridge pickup only when both pickups on and both volumes at 10. Roll one volume down a bit and it actually gets louder because they are less out of phase causing less low end cancellation.
Great comment - many thanks!
My fave guitarist to come out of the UK (and I love a number of them). Someone once said in comparing the two, that Clapton was a rock guitarist who played blues, while Green was a blues player who played rock. I can't argue with that.
A great summation thanks so much Maggie
I think a lot of people really appreciate your work, more than thumb it. I can't believe people bother to thumb down. Love your wok Thank you.
many thanks indeed - it means a lot!
Love your wok. Me too.
I played lead for Peter Green in 1985 ,the Ghanaian in his “fugu “ robe playing blues when Peters nails were too long for him to play !
I hope he’s ok at his place in Richmond
sounds amazing - I think he resides now near to Southend-On-Sea, Essex (actually where I come from)
@Kari Bannerman Strange, I have your name listed as Alfred Bannerman... What happened? By the way, thanks for having tried to help him out and you guys did make nice music ( I have the Frankfurt december 13 1984 show)
@Bob Aha
I already liked it upon reading the title.
thanks Jo
Your videos are very good
I saw them in Austin,Tx. in 1970, and all three guitarists were playing through Fender Dual Showman amplifiers. If you look at the pictures of Peter's Les Paul he had the pickup height set extremely low on the treble side with it corresponding high on the bass side of the strings. RIP Danny Kirwan, a brilliant guitarist who complemented Mr. Green perfectly and had the best vibrato technique I have ever heard.
thanks Pat for this info!
Danny had a killer vibrato
Later I found out he used a black Gibson Howard Roberts Fusion into a tweed Fender Blues Deville. I played that combo for years, before I realized that Peter Green used it too.
In about 1973 ,I was mucking about with my 66 sg standard and turned the pickup around ,to get more treble from the front pickup ,then when running both ,in the middle position ,I got that lower volume out of phase sound. Then I discovered you could get the same sound by just putting the bar magnet in the opposite way .You can get the same sound by doing either of these two things.
Great info!
pleasure
I think there's some parts missing to the story of the LP pickup. In the early 70's I worked at a recording studio at 19 Gerrard St, Soho, London, which was two doors away from Sam Li's workshop. I remember speaking to someone from there once (not Sam unfortunately) who said that Peter's guitar was repaired there (not the neck break) and the pickup refitted. I figured out that the sound was the same as 'out of phase' (this was before it became much of a thing) because of work I was experimenting with in the studio. Later I tried to do the same to an SG by taking out the neck pickup and rewiring it.
First up, this is not a job that involves simply swapping wires over. One side is connected to the metal work so you have to desolder, seperate and resolder them, so not a job that could be done accidentally. And this method works as we all know now. Most modern pickups are wired so as to give you more choice in switching (single coil, phase etc). But the if PG's pickup had been disassembled and rewired, as it looks in the photo, then the phase trick could have happened accidentally, equally, the magnet(s) could have been reversed too (with respect to the other pickup).
Funnily enough, my efforts with the SG hum bucker looked exactly like the photo with the grey wire coming out of it. I wired it back in with a push-pull pot switch to switch it in or out of phase. I remember it was a tricky bit of wiring because of the earthing situation!
Interestingly, in recent years I've had the opportunity to play some genuine 59/60 Les Pauls and some of them have a very similar sound to PG's guitar, with the right volume/tone and pick up selection.
Anyway, just my two bob's worth.
I think Throbak have it right. One coil was rewound using formvar and probably reverse wound (using a record player) putting it out of phase with itself. He then got it back with a grumble from Green and flipped the start/finish leads putting it back in phase.. but left the middle position out of phase by accidentally (almost not, in fact the out of phase thing was long since established as a popular mod) reinstalling the magnet the wrong way round. Incredibly, the exact same repair was done to Kossoff's burst. Probably both done by the same person (Sam Li). Both guitars have a totally unique honk and sweet highs that made all those amazing records..
Kirk hammit of metallica now owns the guitar
Judging by the later outfit, that acid really got to him
Myself, a fan of Clapton ,Pete GREEN , GARY MORE. Blues of the sixties.
fabulous
Godspeed Peter, One of the greatest guitar player's . And that silver wire could be the braided cord out of the pickup. If you think about a strat with the middle pickup rwrp.when in pos. 2 an 4 giving you that out of phase sound ,flipping one of the magnets in the pickup would give you that sound.🙏🎸🎸
A very good video for guitar and amp junkies. A small clarification if I may -- at 8:53, the amps in the photo appear to be a Deluxe Reverb (20W, 1-12" spkr) on the left, and a Twin Reverb (100W, 2-12") on the right.Definition on this screen isn[t sufficient to determine whether either amp has the aluminum trim around the speaker baffle, which was a feature on the first iteration of the silverface amp line.
I have a 1969 Twin Reverb, according to transformer and pot date codes, but it has the original, aluminum-trimmed baffle. Fender was notorious for using up any parts remaining from previous models on their replacements.
At 9:02, the photo shows a late-1969 or later SF Twin Reverb atop a Dual showman cabinet, as you say. The badge in the lower right corner of the twin indicates JBLs. An easier method is to notice the aluminum dustcaps on the 12" and 15" speakers. That feature was exclusive to the D-120F, D-140F, and D-150F JBLs. The 120 was 12" (in the Twins), the 140 a 15" guitar speaker (in the Showman/Dual Showman), and the 150 a 15" bass speaker. The 'F' suffix denoted Fender exclusive use. The only difference between the Showman and Dual Showman was the output transformer, because the Showman used a single 15" at 8 ohms, while the Dual Showman used two 15" in parallel for an impedance of 4 ohms. The cabinet in the photo referenced is definitely a two-15". Single 15" cabinets were the same size, but mounted the single speaker in a different configuration, using a second baffle behind the front baffle. The front baffle had an aluminum 'tone ring' which extended about two inches behind the front baffle, leaving a gap to the baffle on which the speaker was mounted.
The Tremolux amps were never equipped with reverb. The Tremolux amps were discontinued at the end of the blackface amp era. The amplifier heads which incorporated reverb did not arrive until the early 70s, and were pretty much limited to the Bandmaster (or Band-Master) Reverb and Showman/Dual Showman Reverb models. Fender had made stand-alone reverb units in brown, blonde, and black vinyl coverings from about 1962 through the late 60s/early 70s.
Off-topic -- Ted Nugent has used Fender Super Twins with 2-12s, atop Dual Showman-sized 2-15 cabinets. Twin Reverbs are rated at about 85W, while Super Twins are rated by CBS Fender as being 180W. Super Twins are NOT missed.
By the way.i love the origanal fleetwood mac. The album "Then play on " is so damn cool!
Really interesting thanks
pleasure
When I played with Peter he kept telling me ‘Listen to Robert Johnson ...’Must have been an important influence
🙏🎸
Many Thanks ..cool video .. :)
I think you have to add Otis Rush to the list of guitarists who had a major influence on PG in terms of tone and phrasing.
So true
Otis Rush I was told played a Epiphone Riviera with out of phase pickups. I was told this by Larry Craig . He brought this up cause my Riviera has out of phase pick ups .
OR also had a great influence on EC
I was at a gig in Woolwich, S E. London. They were using an old beaten up, well used, bunch of amps. They had a break, and swapped the old stuff for a bunch of brand new Orange gear.
Thanks for this
I flipped the magnet in my 1996 Hamer USA....it got me there
nice what model is it?
I flipped the magnet on my L.P and it sounds great for Peter Green style solo's. Pickup manufacturers charge a fortune for their 'Peter Green modded pickups' - its fairly easy to do yourself if your handy with a screwdriver . 🎸👍
yes its true but someone like me - I would be afraid to break the wires
Use a little care and you'll have no trouble.
Matamps are alive & well and still making high quality products
Can’t wait for the out of phase pickup test❗️
Coming soon
Nothing but love for the 1970s band but Peter Green was the best
I agree
Very informative
Thanks!
I remember that Peter Green solo on "Supernatural" on the Mayall "Hard Road" LP. At the time rock was still growing and the trends that came then came in a linear fashion at least, here in northern California At that time guitarists everywhere were experimenting with sustaining notes using feedback. "Supernatural" was the solo that killed the "feedback" trip. Like at about the time the noserider surfboards killed noseriding in surfing, after "Supernatural's" beautiful, fat, sure long tones and spectacular pan shifts discouraged any further efforts! I still think that masterful solo is unsurpassed in feedback. )
Supernatural is an amazing tone 🙏🎸
Stay away from drugs so long pete
Peter's living in peaceful retirement on Canvey Island now.
That’s awesome!!🤟😊
:( www.rollingstone.com/music/music-news/peter-green-fleetwood-mac-dead-obit-1033950/
Not anymore :'(
❤️Thank you, oh man... 📌
I saw Greenie's Mac at Fillmore West in SF in 1968. Greeny was playing a LP with a chromed body!!! I thought it was a cool take on Les Pauls which were played by all the greats at that time and a cool statement about pop culture and US motorcycle culture But I wondered how he chromed the body which is made of wood but later I heard that chrome strips were available...he may have done that on his 1959 "lemon drop" I went to see Greenie's Mac the following year. This time Danny Kirwan was in the band and all played thru Orange amps. I heard "Albatross" and "Green Manalishi" which Greeny announced was "About Devils" Devil worship was beginning to become a trend in England at that time. Greeny used to use reverb as an "effect" so he would switch it on and off: play dry for a chorus and click it on and play wet for a chorus as in the studio version of "Black Magic Woman"
A little off topic, but the pickup selector on Jeremy Spencer's '58 Strat was a factory option at that time and he came across it when wondering around an Oakland guitar warehouse with Peter and Jerry Garcia...
Awesome 😎
At one stage he used a 59 Fender Bassman combo with the 4 10 inch speakers--however one speaker was deliberately left unconnected. What that contributed to the resulting tone was evidently worth the finagling.
Thanks for this James
S.Dunkin has a "greenie" set of HB's with the 'out of phase" base P/U in the custom shop. I will be buying them soon.
10:01 There’s a photo of Jeremy Spencer playing a Strat which had the selector switch under the neck pickup 👍
I can´t remember where, but at a point in time I have read an interview with PG, where he stated that Albatros was recorded directly into a mixing desk.
Saw Fleetwood Mac at one of the boat clubs in Nottingham, probably the Britannia in late 68 I think, remember snow on the ground He was playing through an Orange amp and cab. I'm sure Matamp made the Orange amps. back then.
Thanks for this 🎸🙏
Peter also owned a 1952 Gibson Les Paul Gold top. The guitar was given to him by Eric Clapton. Green gave it to Duster Bennett in the late 1960's and eventually it ended up with Top Topham who I think still owns it.
Hi thanks for the comment I was at Tops home last year he only had a Fender telecaster and a silver face amp and an old acoustic. Thanks 🙏
I saw Top Topham play the gold top in about 1998. He said it was a 1952 that PG had owned.
Love these videos! Would love to see one on Randy Bachman!
For me, would absolutely Love to hear and see the progression of Robin from the Paramounts & Procol - up to the present!!
I seem to recall in that Jol Danzig interview, Jol stating that the neck humbucker being magnetically out of phase (flipped magnet) and he said that this sounds different than just wiring pickups electrically out of phase. I've had other people insist that there's no difference between the methods.