A1 	Loser Two Times 	4:28
A2 	Momma Don'tcha Cry 	3:19
A3 	Born Under A Bad Sign 	2:53
A4 	I Could Not Ask For More 	4:55
A5 	Baby When The Sun Goes Down 	5:33
B1 	Walkin' The Road 	3:49
B2 	One Woman Love 	5:28
B3 	Cryin' Won't Bring You Back 	5:03
B4 	Little Dreamer 	7:00

Bass Guitar – Paul Westwood (tracks: A1 to A4, B1, B3, B4)
Drums – Dave Mattacks
Lead Guitar – Peter Green (tracks: A1 to A3, A5 to B4)
Organ – Roy Shipston (tracks: A1 to B1, B3, B4)
Percussion – Morris Pert (tracks: A1, A2, B1 to B4)
Rhythm Guitar – Ronnie Johnson (tracks: A1 to B1, B3, B4)
Vocals – Peter Green (tracks: A1 to B3) 
+
Backing Vocals – Carol Ingram, Pam Douglas (tracks: A1, B4) 
Harmonica – Peter Green (tracks: A4)
Piano – Dave Wilkey, Peter Vernon-Kell (tracks: A4)
Bass Guitar – John Edwards  (tracks: A5)
Bass Guitar – Kuma Harada  (tracks: A6)

When Peter Green issued Little Dreamer in 1980, it was the second straight year he had released an album after a nine-year gap. Fairport Convention drummer Dave Mattacks must have wondered what he had gotten himself into because the opener, "Loser Two Times," ais almost as close to disco as the Rolling Stones got with "Miss You." Green continues in a funky vein with "Mama Don't You Cry," as if shaking off the cobwebs and actually trying to pay attention to the current scene. He goes right back to his roots on the album's third tune with "Born Under a Bad Sign" and stays with blues derivatives the rest of the way. The album-ending title track sounds like a seven-minute version of the dreamy Green tune "Albatross," a hit for Fleetwood Mac in the '60s. Sounding more confident than on his comeback album, he seems more like the Greeny of old, although the move toward funk didn't really suit him. ---Mark Allan, AllMusic Review

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01 – Loser Two Times
02 – What Am I Doing Here
03 – One More Night Without You
04 – Big Boy Now
05 – Born Under A Bad Sign
06 – The Clown
07 – When It All Comes Down
08 – Black Woman
09 – Honey Bee
10 – Baby When The Sun Goes Down
11 – Bandit
12 – Little Red Rooster
13 – Zulu Gone West
14 – Blowing All My Troubles Away
15 – Must Be A Fool
16 – Same Old Blues
17 – Fallin’ Apart
18 – Liquor And You
19 – Nobody Knows You When You’re Down And Out
20 – One Woman Love
21 – Cryin’ Won’t Bring You Back
22 – Help Me Through The Day
23 – Indian Lover
24 – Sweet Sixteen
25 – Man Of The World
26 – Who’s That Knocking
27 – Blues Don’t Change
28 – Crawlin’ King Snake
29 – Dead Shrimp Blues
30 – Albatross

Peter Green is regarded by some fans as the greatest white blues guitarist ever, Eric Clapton notwithstanding. Born Peter Greenbaum but calling himself Peter Green by age 15, he grew up in London's working-class East End. Green's early musical influences were Hank Marvin of the Shadows, Muddy Waters, B.B. King, Freddie King, and traditional Jewish music. He originally 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 Clapton's 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 recording. 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 '70s 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 January 12, 1998, when Fleetwood Mac was inducted into the Rock & Roll Hall of Fame. In a rare, perfect moment, Green jammed with fellow inductee Santana on "Black Magic Woman." ---Mark Allan, allmusic.com

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01. In The Skies
02. Slabo Day
03. Apostle
04. Loser Two Times
05. Baby When The Sun Goes Down
06. One Woman Love
07. Time For Me To Go
08 The Clown
09. Proud Pinto
10. Bullet In The Sky
11. Last Train To San Antone
12. Watcha Gonna Do
13. Woman Don't
14. Bandit

Peter Green (born Peter Allen Greenbaum, 29 October 1946) is a British blues rock guitarist. As the founder of Fleetwood Mac, he was inducted into the Rock and Roll Hall of Fame in 1998. Green's songs, such as "Albatross", "Black Magic Woman", "Oh Well", and "Man of the World", appeared on the record charts, and several have been adapted by a variety of musicians.

Green was a major figure in the "second great epoch" of the British blues movement. B.B. King commented, "He has the sweetest tone I ever heard; he was the only one who gave me the cold sweats." Eric Clapton and Jimmy Page have both praised his guitar playing; he is noted for his use of string bending, vibrato, and economy of style.

Rolling Stone ranked Green at number 38 in its list of the "100 Greatest Guitarists of All Time". His tone on the instrumental "The Supernatural" was rated as one of the 50 greatest of all time by Guitar Player. In June 1996, Green was voted the third-best guitarist of all time in Mojo magazine. --- bbc.co.uk

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01. Got To See Her Tonight [05:50]
02. Promised Land [03:33]
03. Bullet In The Sky [03:23]
04. Give Me Back My Freedom [05:40]
05. Last Train To San Antone [05:33]
06. To Breave Your Heart [03:56]
07. Bizzy Lizzy [03:28]
08. Lost My Love [05:25]
09. Like A Hot Tomato [03:08]
10. Trying To Hit My Head Against The Wall [03:44]

Peter Green – guitar, vocals
Ronnie Johnson – guitar
Roy Shipston – keyboards
Paul Westwood – bass guitar
Mo Foster – bass guitar
Dave Mattacks – drums
Lennox Langton – percussion
Jeff Daly – saxophone

The third album that Peter Green made after he launched a comeback in the late '70s, Whatcha Gonna Do? was a disappointment on several levels. It was a sluggish record, often with something of a going-through-the-motions feel. While Green's blues-rock guitar chops remained intact, they were executed with less fire, force, and imagination than they had been in his best work. Most disturbingly, there often seemed to be a conscious effort to move Green's sound toward mainstream soul-funk, as well as to add some uncomfortably incorporated reggae rhythms. It's an unmemorable album, but for all that, not a terrible one. You can hear Green's natural affinity for R&B in both his fluid guitar and earthy vocals on some of the better songs, like "Trying to Hit My Head Against the Wall," "Like a Hot Tomato," and "Lost My Love" (the last of which, like early Fleetwood Mac's cover of Little Willie John's "Need Your Love So Bad," makes clear Green's overlooked love of sentimental '50s American R&B/proto-soul). These would be quite acceptable from a blues-rock journeyman, but Green was cursed, perhaps, by the shadow of his greater achievements and by listeners' knowledge that he had been capable of delivering more inspirational goods. --- Richie Unterberger, Rovi

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CD 1
01. Evil Woman Blues with John Mayall
02. The Stumble with John Mayall’s Bluesbreakers
03. Sitting In The Rain with John Mayall’s Bluesbreakers
04. The World Keep On Turning with Fleetwood Mac
05. The Supernatural with John Mayall’s Bluesbreakers
06. Looking For Somebody with Fleetwood Mac
07. Long Grey Mare (feat. Bob Brunning) with Fleetwood Mac
08. Stop Messin’ Around with Fleetwood Mac
09. Train Is Coming with Eddie Boyd & His Blues Band
10. Greeny with John Mayall’s Bluesbreakers
11. Soul Dressing with Peter B’s Looners
12. I Loved Another Woman with Fleetwood Mac
13. No Place To Go with Fleetwood Mac
14. You Don’t Love Me with John Mayall’s Bluesbreakers
15. Lazy Poker Blues with Fleetwood Mac
16. Merry Go Round With Fleetwood Mac
17. Trying So Hard To Forget with Duster Bennett
18. Ramblin’ Pony with Fleetwood Mac
19. Drifting with Fleetwood Mac

CD 2
01. Black Magic Woman with Fleetwood Mac
02. Albatross with Fleetwood Mac
03. Ain’t Nobody’s Business with Otis Spann
04. Someday Baby with Otis Spann
05. Watch Out with Fleetwood Mac (Blues Jam At Chess)
06. Ooh Baby with Fleetwood Mac (Blues Jam At Chess)
07. Horton’s Boogie Woogie – Take One with Walter Horton, Otis Spann & S.P. Leary
08. Love That Burns with Fleetwood Mac
09. First Train Home with Fleetwood Mac
10. Need Your Love So Bad with Fleetwood Mac
11. Don’t Goof With The Spook with Peter Bardens
12. The Answer with Peter Bardens
13. Homage To The God Of Light with Peter Bardens
14. Oh Well Part 1 and Part 2 with Fleetwood Mac

CD 3
01. Man Of The World with Fleetwood Mac
02. Before The Beginning with Fleetwood Mac
03. Momma Don’tcha Cry - solo
04. Underway with Fleetwood Mac
05. Rattlesnake Shake with Fleetwood Mac
06. It’s Gonna Be Me Peter Green - solo
07. White Sky (love that evil woman) with Fleetwood Mac
08. The Green Manalishi with The Two Prong Crown and Fleetwood Mac
09. Show-biz Blues with Fleetwood Mac
10. In The Skies - solo
11. Like A Hot Tomato - solo
12. Whatcha Gonna Do? - solo
13. Carry My Love - solo
14. Corners Of My Mind - solo
15. Hidden Depth (feat. Zoot Money) - solo

CD 4
01. Big Change Is Gonna Come with Splinter Group
02. I’m A Steady Rollin’ Man (feat. Otis Rush) with Nigel Watson & Splinter Group
03. It Takes Time with Splinter Group
04. Don’t Walk Away with Splinter Group
05. Heart Of Stone with Splinter Group
06. Love In Vain Blues with Nigel Watson & Splinter Group
07. From Four Until Late (feat. Dr John) with Nigel Watson & Splinter Group
08. I’m Ready For You with Splinter Group
09. Cruel Contradictions with Dick Heckstall-Smith
10. Me And The Devil Blues with Nigel Watson & Splinter Group
11. Cross Road Blues (feat. Buddy Guy) with Nigel Watson & Splinter Group
12. Dead Shrimp Blues (feat. Hubert Sumlin) with Nigel Watson & Splinter Group
13. Travelling Riverside Blues (feat. Joe Louis Walker & Honey Boy Edwards) with Nigel Watson & Splinter Group
14. Time Keeps Slipping Away with Splinter Group
15. Look Out For Yourself with Splinter Group
16. Albatross with Chris Coco

Some Peter Green fans might be put off by this 64-song/four-CD collection, owing to the fact that they are likely to already own a significant chunk of what's here (especially the Fleetwood Mac material). (And in fairness, there apparently isn't a lot of -- or any -- unreleased material to draw on from Green's classic period with the band). But this reviewer had to spring for this four-and-a-half hour showcase of his work, and for one major reason -- vitality. Green's virtuosity is a given, and his taste and his insights into blues and what can be done with it -- while still leaving it as blues -- are well known to anyone who's heard his work. But what the makers have done here is to truly assemble his finest, most energetic and inspired work across over 35 years and well over four hours' listening time, into a collection that's greater than the sum of its parts -- in that regard, this set rivals the Eric Clapton Crossroads retrospective, except that doing this set took a bit more courage, as Green hasn't gotten nearly the publicity for his musicianship that Clapton has for his across the last four decades. The first two discs and the first half of the third contain a track list that, distilled slightly more, could be a strong contender for a "best of Fleetwood Mac" in their pre-pop incarnation, 23 tracks that, thanks to some ambitious cross-licensing, combine the group's Blue Horizon and Reprise catalog material into a comprehensive whole, and the makers have even included one cut off of Green's post-Mac End of the Game solo album. Green's earlier work with John Mayall's Bluesbreakers is represented, if not quite so thoroughly, and his two distinct periods working with Pete Bardens, under his own name and earlier as part of Peter B's Looners, is offered, along with material done with Duster Bennett and Otis Spann. The quality of the playing (and singing) speaks for itself, but the producers have also assembled the material in not quite strict chronological order -- "Soul Dressing" with Peter B's Looners is right in the middle of a disc that includes work with Mayall, Duster Bennett, Otis Spann, and early Fleetwood Mac -- so that there's a lot of variety in the listening. The sounds range from Mississippi Delta and electric Chicago blues to prog rock-ish and psychedelic pieces, and into R&B-based material, acoustic tracks placed just right in the middle of electric sides, and all manner of variation. The fourth disc covers the highlights of Green's solo career, and while the tendency of some would be to dismiss it or, at least, regard it as more of an appendix to his classic years, it turns out to be as vital as the rest of the set -- whatever personal demons Green had to overcome to get to the point represented here, it will be plain to anyone that he brought as much energy and finely tuned musical insights to his post-1971 career as he did to his work with his early bands. In other words, for anyone who truly loves the blues, Green's solo work with the Splinter Group (and some other contexts), represented on Disc Four, is every bit as worthwhile as his early stuff. And that -- and the killer sound, and the excellent annotation -- more than makes up for any repetition that might be entailed in buying this set. For longtime fans it's still essential, and for anyone who's ever wondered what the big deal was about Peter Green, or the "other" Fleetwood Mac, or even British blues, it's a great place to start, and might just be a revelation. (And it will also be a good introduction to the work of Pete Bardens, Dick Heckstall-Smith, Zoot Money, et al.). ---Bruce Eder, Rovi

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1) I Believe My Time Ain't Long
2) Take Out Some Insurance
3) When It All Comes Down
4) Honey Bee
5) Little Red Rooster
6) Don't Start Me Talking
7) Nobody Knows You When You're Down And Out
8) Help Me Through The Day
9) Honest I Do
10) Blues Don't Change
11) Crawlin' King Snake

Musicians:
Peter Green (vocals, guitar)
Nigel Watson (vocals, guitar)
Roger Cotton (keyboards)
Larry Tolfree (drums)

It’s hard to believe that it’s been forty-five years since Peter Green formed Fleetwood Mac after leaving John Mayall’s Bluesbreakers where he served as Eric Clapton’s replacement in 1966. During and since that time, Green has made a reputation for himself as a singer/songwriter/multi-instrumentalist and is considered by many to be “the best white blues guitarist ever”.

In 1996, Green formed The Peter Green Splinter Group and has 10 albums to its credit. In 2001, Peter and the band recorded Blues Don’t Change and, until now, it was only sold at their shows and through their website. Eagle Rock Entertainment is now offering this great album of classics commercially. The 11-track album covers great blues tunes by Willie Dixon; John Lee Hooker; Albert, BB and Freddie King; and Jimmy Reed, among others.

Green is joined by Nigel Watson on guitar and vocals, Pete Stroud on bass, Roger Cotton on keyboards, and Larry Tolfree on drums. Together, the punch out eleven great blues classics that are worth multiple slaps of the repeat button for each and every tune. Boomerocity especially loved I Believe My Time Ain’t Long, Little Red Rooster, Nobody Knows You When You’re Down and Out and Help Me Through the Day.

If you love great blues – and great blues classics – then you’ll definitely want The Peter Green Splinter Group’s Blues Don’t Change. You’ll learn very quickly that they don’t. --- Randy Patterson, boomerocity.com

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CD 1
1  It Takes Time - Otis Rush 5:18 
2  Homework - Otis Rush 3:45 
3  Black Magic Woman - Peter Green 7:07 
4  Hey Mama Keep Your Big Mouth Shut - Ellis McDaniel 6:18 
5  The Supernatural - Peter Green 3:36 
6  Rattlesnake Shake - Peter Green 4:59				play 
7  Shake Your Hips - James Moore 5:15 
8  Albatross - Peter Green 3:30 

CD 2
1  Travelling Riverside Blues - Robert Johnson 3:59		play 
2  Steady Rollin' Man - Robert Johnson 3:13 
3  Honeymoon Blues - Robert Johnson 3:03 
4  Last Fair Deal Gone Down - Robert Johnson 3:19 
5  If I Had Possession Over Judgement Day - Robert Johnson 4:27 
6  Green Manalishi - Peter Green 5:37 
7  Goin' Down - Don Nix 7:35 
8  Help Me - Ralph Bass; Sonny Boy Williamson; Willie Dixon 4:48 
9  Look on Yonder Wall - Elmore James; Marshall Sehorn 6:46

Peter Green - (vocals, lead guitar, slide guitar, harmonica)
Nigel Watson - (vocals, lead guitar, rhythm guitar)
Roger Cotton - (piano, Hammond C3, rhythm guitar) 
Neil Murray - (bass)
Larry Tolfree - (drums, percussion) 
Milton Brown, Debra Lewis, Ray Shell, Charita Thomas [The Street Angels] - backing vocals

With just one week to go to the Splinter Group's showcase at Ronnie Scott's club in London Soho, Peter Green's Jaguar is cruising on the M4 motorway en route to a Sunday night gig at the Cardiff Coal Exchange. In the car cassette-player is an important tape the first mixes of four tracks from the Robert Johnson Songbook album by Green and co-guitarist Nigel Watson. As they listen, both musicians agree that there is still some work to be done on the mixing in order to bring out the jazz lounge vibe, which they accompanied by the band on certain numbers - were trying to recreate. One exception though is Watson's arrangement of 'Honeymoon Blues' with Neil Murray's walking bass lines, Larry Tolfree's brushes and Roger Cotton's relaxed lounge piano. "Ronnie Scott's, here we come," said Peter as the song ends, obviously relishing the prospect The Splinter Group are ready for their debut at the world famous Jazz venue. "Our record company" Nigel explains "was looking to promote the release of our Robert Johnson album, and so we incorporated the Splinter Group into the show.

In the middle of the set we did a medley of Robert Johnson songs with the 'Street Angels' (A gospel vocal quartet), this gave the gig a freshness that everyone enjoyed". Adrenalin was really flowing during soundcheck on Sunday, April 5th 1998. Sound engineer Arthur Anderson, had to balance the sound at much lower volume levels than usual, in order to suit a venue designed for acoustic 'unplugged' acts, and not amplified electric blues bands. "We had to be careful", Peter recalls, "because it's a perfect sized Jazz club with acoustics that are incredible - so you don't need to be loud. I really enjoyed having to play quietly". After half an hour of opening the club was packed to the rafters. The crowd included many music biz people and journalists who proved to be enthusiastically attentive through the whole set (which lasted over two hours). That the band went down a storm playing for their London fans comes as no great surprise; but more objective confirmation that this was an especially successful performance was to be found in press write-ups published the following week.

The Independent's James McNair was reminded - as he listened to Splinter Group's version of "Rattlesnake Shake" of Peter Green's legendary status as an innovator of guitar sounds during the 1960s; sounds which subsequently were adopted by acts such as ZZ Top. This same critic was also impressed by Green's true blues voice and the contemporary dance groove that the band nailed down as they performed R&B classics such as Bo Diddley's 'Mama, keep your big mouth shut'. What's more, Nigel Watson's crucial role in Green's 'miraculous comeback' over the past few years was very obvious, McNair asserted. Watson's mastery of Robert Johnson's often complex guitar style got a mention, as did the variety of styles that the band obviously felt comfortable playing - ranging from updates of the old Fleetwood Mac hits, to very 1990's gospel interpretations of Robert Johnson classics. For the Splinter Group, Soho Session (An Evening at Ronnie Scott's) is another milestone; for the listener it is also a yardstick charting the musical progress of a band now completing its third year in various line-ups (five so far, to be precise), A two year chunk separates the recording of the bands first live album Peter Green Splinter Group and this one. During that time the band gigged extensively in Europe, Ireland and the U.K. Most notably, in November 1997 the band did six high-profile support slots in Britain for the BB King Blues Band. When the tour reached the Fairfield Halls at Croydon the audience got an unexpected bonus - B.B. King, Peter Green and Nigel Watson on stage together for an impromptu jam. Listening to this album, Splinter Group aficionados naturally will have their own opinion on the band's development. But the chances are that anyone who caught them on the B.B. King tour, and then saw them once more just three months later on their Spring '98 UK concert hall tour will have noticed a surge in the band's confidence and attitude.

So, what happened in those intervening months? Nigel Watson explains "We spent a month touring Germany and working on our sound. On several nights our tour manager Arthur recorded the gig at the sound desk and we'd listen to it afterwards back at the hotel, and on the tour bus travelling to the next gig, Larry and Roger pitched in with ideas about improving our sound and performance with the result that we came back from the tour a much tighter band". A tighter band, yes, but one which was now also defining its own unique groove for the first time. An in-your-face groove on numbers added to the set list over in Germany, these were: Slim Harpo's "Shake Your Hips", Bo Diddley's "Mama, Keep Your Big Mouth Shut" and Robert Johnson's "Terraplane Blues", along with a jazz flavoured version of Green's classic instrumental "The Supernatural". On the Harpo, Diddley and Johnson songs the Tolfree/Cotton effect is especially noticeable. Certainly, the 19 tracks on this album - 7 blues standards; 5 Peter Green classics; 6 songs from the Green/Watson Robert Johnson album; and one Watson original - confirm the band's versatility in their choice of blues-based material.

But the critical acclaim and celebrations in the aftermath of Splinter Group's Ronnie Scott's gig, soon were tinged with a note of real sadness, which rings on today. Namely, that on that same night the colourful life of Cozy Powell Splinter Group's original drummer in every sense of that word - came to a tragically early end at the age of 50. Powell's car spun out of control in the small hours of Monday morning on the M4 near Bristol. So this album, as well as being a manifesto outlining the band's future (n.b. after it was recorded, Pete Stroud took over on bass last summer in time for their successful tour of the U.S.) is also a small eulogy for the supreme musician and brilliant star who played a vital role in Splinter Group's past. "We played at Ronnie Scott's" said Nigel Watson, "on the same night that Cozy was killed on the motorway, and because he was a founder member, we'd like to dedicate some of this recording to him. We will always be very grateful for his contribution in helping us start this band up". Peter Green adds: "Cozy was a very nice bloke one of the nicest people I've ever met. There were no troubles from him when he was travelling with us...a super bloke...that's all I can say. ---www.fleetwoodmac.net

Recorded live at Ronnie Scott's Jazz Club in Soho, London, this two-disc set captures much of the essence of Green with the Splinter Group, his backing outfit for the last several years. And it's an interesting mix of material they come out with, from blues covers, a set of Robert Johnson material, as well as a trawl through the old Fleetwood Mac songbook -- which might well be the big draw here. However, welcome as it is to have Green back as a regular performer, he's not the man he once was, and it's notable the guitar solos aren't defined -- you can never tell who's playing, as colleague Nigel Watson has his tone and style down perfectly. In many ways, the most satisfying segment comes with six Robert Johnson tracks, which arrive without Green baggage or expectation, and really do satisfy, while the addition of the Street Angels, a gospel group, on vocals, strengthens the sound, which already has plenty of backbone. "The Supernatural," once one of Green's most incisive instrumentals, seems to have lost its bite -- but that's true of all the old material. "Green Manalishi" was heavy as lead when it originally appeared, and now it's weightless, while the subtleties of "Albatross" have vanished, and "Black Magic Woman" seems oddly formless. This isn't to say it's a bad album by any means. It's perhaps unfortunate that Green has to deal with his own history. There are moments when the old genius shines, but they're few and far between. He's lived the blues, but his ability to transform that into music has mostly vanished. Satisfying if you take it on its own terms and don't expect the god-like playing that once defined Peter Green, the Soho Session is a British blues outfit with taste, chops, and occasional transcendent moments. ---Chris Nickson

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01. Bottoms Up
02. Timeless Time
03. Descending Scale
04. Burnt Foot
05. Hidden Depth
06. The End Of The Game		play

Personnel:
Peter Green (guitar)
Zoot Money (piano)
Nick Buck (keyboards)
Alex Dmochowski (bass)
Godfrey Maclean (drums, percussion)

...there might be a planet where radio stations play great music. Until we find that planet, you'll have to check out CD's and other media. "The End Of The Game" is Peter Green's foray into something that is truly genre bending. Is it Jazz? Rock? Blues? Is it Ambient music? Or is it variations on Folk melodies? It's a bit of all of the above, and the terms "mind expanding", or "stunning" come to mind upon listening. The expansive musical exploration suggests why Peter Green and his former bandmates in Fleetwood Mac evenutally parted company. Fleetwood Mac wanted to play more traditional and familiar blues variations and rock tunes, while Green seems as if he wanted to fuse the improvisations of Jazz/rock musicians like Frank Zappa and John McLaughlin, with the blues of early John Mayall and Jimi Hendrix at his peak.

The music here is wordless, and it is as compelling as anything released by the likes of John Coltrane or Miles Davis. Because it is not easily classified as to musical type (rock, blues, or jazz are all equally applicable), it is not "radio friendly", and probably doesn't fit into any pop or other contemporary radio formula--so don't expect to hear it on most stations. "The End Of the Game" is probably a bit too "far out" for many listeners' tastes, like most of the output by the aforementioned jazz legends. Like a lot of jazz and ambient music, this is not a collection of catchy melodies and clever hooks. Unlike a lot of avant-garde music, though, this stays based in blues chord and rhythmic strucutes and never drifts into the "wierdness for the sake of wierdness" realm that ultimately sinks most expermimental music.

Of Green's subsequent CD's, only "In The Skies" even comes close to this. While I liked the songs, rhythms, and melodies on "In The Skies", it left me with none of the sense of exploration and adventure that this CD does. This CD holds up well to many repeat listenings, and all but demands to be digitally remastered. ---B. Lynch

Fleetwood Mac's guitarist Peter Green released the all-instrumental The End Of The Game (1970) before disappearing for almost a decade. Borrowing the format of the jam session from jazz music, but the atmosphere from Ernst's surrealistic paintings, horror soundtracks and voodoo rituals, Green indulged in sheer sound-painting. The hallucinated ramble of the guitar weaves colorful textures for mantra-like psalms. It is visceral, primordial music that echoes the eruption of volcanos, ocean tides and the life-cycle of equatorial forest. Green's expansion of consciousness is one of both folly and ecstay, one that would be better defined as epic terror.

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Disc: 1
1. Burglar
2. Steady rollin' man
3. Big change is gonna come
4. Phonograph blues
5. Help me
6. Sweet home Chicago
7. Hitch hiking woman
8. Tribal dance
9. Homework
10. Love in vain
11. You'll be sorry some day
12. Look on yonder wall
13. Traveling riverside blues
14. Going down
15. Hiding in shadows

Disc: 2
1. Albatross (bonus track)
2. Green Manalishi (bonus track)
3. Rattlesnake shake (bonus track)
4. Supernatural (bonus track)
5. Man of the world (bonus track 

Band:
Peter Green - Guitar, Harmonica, Vocals
Spike Edney - Keyboards
Neil Murray - Bass
Cozy Powell - Drums
Nigel Watson - 	Guitar, Vocals

Peter Green tentatively returned to performing and recording in 1996, and The Peter Green Splinter Group is the first fruits of that comeback. The very fact that Green is performing again is encouraging, but the album sadly falls short of high expectations. A collection of blues covers, the record is filled with standards like "Going Down" and "Dark End of the Street," delivered professionally and without much flair. Green himself plays competently, but there are only a handful of times where his playing is unexpected and inspired. That might seem like a disappointment, but it's reassuring to have any flashes of brilliance, and they suggest that he could record a full-fledged return to form if given some time. ---Thom Owens, Rovi

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1.When You Got a Good Friend 2:46
2.32-20 Blues 2:56
3.Phonograph Blues 3:28
4.Last Fair Deal Gone Down 2:46
5.Stop Breakin' Down Blues 3:18
6.Terraplane Blues 3:43
7.Walkin' Blues 3:06
8.Love in Vain Blues 4:48
9.Ramblin' on My Mind 3:00
10.Stones in My Passway 2:56
11.Me and the Devil Blues 3:02
12.Honeymoon Blues 2:32
13.Kind Hearted Woman Blues 3:41
14.I Believe I'll Dust My Broom 3:20
15.If I Had Possession Over Judgement Day 3:41
16.Sweet Home Chicago 4:14

Personnel
    Peter Green – guitars, vocals, harmonica
    Nigel Watson – guitars, vocals
    Neil Murray – bass guitar
    Roger Cotton – piano
    Larry Tolfree – drums
+
    Paul Rodgers – vocals on track 16
    Street Angels '98 – backing vocals

The Robert Johnson Songbook is Peter Green's first recording made entirely of covers of the music written by the King of the Delta Blues. Unfortunately, though pleasant, The Robert Johnson Songbook lacks the warmth and soulfulness of its successor -- Hot Foot Powder. The Robert Johnson Songbook features Green's Splinter Group, plus a guest appearance by Paul Rodgers. ---Tim Griggs, Rovi

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