It took me 25 years but I finally got to see Peter Green in concert at Wilbert's in Cleveland on Thursday, August 27. Among the 60s records in my collection that keep finding their way to the turntable (or CD player) the early Peter Green Fleetwood Mac records have found a prominent place of late. There is a maturity to Green's youthful playing that is remarkable even now. When I discovered that he would be playing at a venue 2 hours away in Cleveland I could not pass up the opportunity to see one of the great guitarists in an intimate atmosphere. The club was small and filled to capacity with appreciative fans who remained standing for the full two hours of the concert. The crowd ranged from people in the 40s and 50s (like myself) for whom Peter Green was an important musical influence and kids in their 20s. As I waited for the concert to begin, I really did not know what to expect--would his playing be a mere distant echo of past glory? Would this be an exercise in nostalgia rather than a profound musical experience? Any such fears were immediately dispelled in the first few minutes of his performance. From the moment Mr. Green took the stage--dressed in a bright green shirt and a vaguely Central Asian cap that made him appear almost dervish-like--his playing displayed the effortless skill of a true master. Throughout the performance Peter Green's guitar playing was both confident and nuanced--a perfect lesson in the power of truly economical guitar playing. Never playing three notes when two would do, eschewing effects boxes and "guitar treatments," never confusing speed with technique his playing was nothing short of phenomenal. Both on the Stratocaster and the Gibson Howard Roberts Fusion he coaxed some of the sweetest and fullest tones out of his Fender amp that I have ever heard. Highlights included a version of "The Supernatural" that was if anything more mature and subtle than the original and a slowed down version of the "The Stumble" that caught all of the playfulness and humor of the Freddy King original. There is something deeply spiritual about Peter Green's playing. Peter Green reveals elements of the blues that are often ignored by lesser players. Unlike many other blues musicians who focus on the angst and pain on the surface of blues songs he captures something of the joyful and controlled optimism that runs as an undercurrent in the blues . This was intelligent music performed by people who understood the power and depth of the music they were playing, but also the joy involved in its execution. Much credit is due to the new Splinter Group--not only to Nigel Watson who has become remarkably adept as a foil for Green's own playing in a way that reminded me of the earlier interplay between Danny Kirwan and Peter Green in Fleetwood Mac, but the entire band. On extended songs like "Rattlesnake shake" and "Black Magic Woman,"--which included elements of the Santana version-- the interplay between the musicians was superbly executed. They presented the crowd with music that was simultaneously serious and fun. The encore included a powerful version of "Look over Yonder's Wall" that built to a magnificent crescendo and a Hendrix cover. The opening act--a fine local band called Nobody's Fool-- also closed with a Hendrix cover. It featured the drummer's 14 year old son--"Kid Flash"--on a blisteringly aggressive version of "Red House." It takes away nothing from that young man's talent and performance to note that in a way Green's set provided the aesthetic alternative to that approach to the blues--a set that revealed the less aggressive more nuanced and mature side of the tradition, where ego and flash are subsumed in the music.

One can only hope a live recording of this tour will be released at some point in the future. The tour continues--if you are at all a fan of the blues GO SEE THIS BAND PERFORM. It is a revelation. I rank the experience of seeing Peter Green and the Splinter Group among the most compelling musical experiences I have had. I ran home and immediately picked up my guitar and began rethinking how I play. In the future everytime I feel like "showing off" or playing aggressively I will try to remember--"It's the economy stupid"--and think of how Peter Green's "less-is-more" guitar playing so effectively captures the real power of the blues in ways that few other players have yet approached.

Review by Robert Ethington, August 31, 1998

The Peter Green concert at Wilbert's in Cleveland, was one of the most remarkable shows I've ever seen. Kicking off his U.S. tour (the first in...30 years?), it was an auspicious occasion.

Seeing Green in concert is to experience something completely AUTHENTIC; This ain't show-biz, folks, this is a musician of great depth, virtuosity, and courage getting up and playing ON THE EDGE. His history is well known, but rather than detracting or inhibiting from his playing (or the enjoyment thereof), if enhances the experience. There is nothing exploitative going on - Rather, the Splinter Group supports and inspires Green throughout. 

The biggest surprise was the regular dipping into the Fleetwood Mac songbook: "Albatross", "Rattlesnake Shake", even "The Green Manalishi" were featured.  But it seemed that Green's most inspired playing occurred during the more straightforward blues numbers from the new Robert Johnson Songbook cd, and in the incandescent beauty of "The Super-Natural", the classic Green original from his days with John Mayall.

I had the honor of speaking with Peter Green for a moment before the show - But the greater honor was hearing him play live. If you have the change - Don't miss Peter Green!!

Review by Smacdoug, August 31, 1998 [posted to The Ledge]

Well, I wasn't sure if I'd be able to see Peter Green, since all of my pals are away at school, which meant I'd have to drive to Cleveland alone (a 3 1/2 to 4 1/2 hour drive), but I decided that I absolutely had to see Peter Green in concert. Needless to say, it was a wise decision on my part.

Anyways, after a long drive (and getting lost several times) I got to Wilberts at around 6:30. I walk in the door, look up, and see Peter Green playing harmonica. I'm totally speechless at this point. Anyways, Peter Green and Nigel Watson were having a sound check. They were playing "Travelin' Riverside Blues" with Nigel on guitar and vocals. Not knowing what to say to Peter, I went up to Nigel and said "great job." He looked at me and said "Cheers," which was SOOO cool!!!

Okay, how was the show? I was blown away. Of course, I was right up in front, with a killer view of Peter Green. The Mac/Mayall tunes that he did include Black Magic Woman, Rattlesnake Shake, Homework, The Stumble, The Supernatural, The Green Manalishi, and Albatross. There were also a lot of other great tunes. Pete's playing was mixed. Some songs were much better than others. The Supernatural and The Stumble, for example, really lost their shine, but Rattlesnake Shake, Albatross, and Green Manalishi totally rocked. All in all, though, it was a great show. I HIGHLY recommend you see this show if you can.

Now, for me, the cool part. I finally thought of what to say to Peter, and I got that opportunity after the show. I simply thanked him for introducing me to the blues (as Fleetwood Mac In Chicago was my first blues recording). He was super humble. Some might mistake it as being rude, but those of us who've read Mick's book know how Peter Green really is. Incidentally, he signed his autograph as "Peter Greenbaum."

The show with Peter Green and the Splinter Group was amazing. Peter Green still has it after all these years. He seemed extremely shy and we were really glad to see Peter Green back after all these years.. Keep rockin Peter Green....

We were fortunate enough to see Peter Green at Tramps club in Manhattan, NY, last night. We arrived there at about 8:00 PM, an hour before the show was supposed to start, and already there was a *really* long line of people standing there, waiting to get in. We walked to the end and felt sort of discouraged as to our chances of getting a good view of him. However, Marty had made a few contacts with some of Peter’s entourage, and his name had been given to Pete’s manager, Mich Reynolds. Luckily Mich happened to be standing right by the box office window when Marty went up there to see if he could pass a note back to her, and we were given clearance to come right in. I think they were going to let us in for free, but we’d had tickets already anyway. BTW, on our way in, we heard people calling our names—there were people who were up in the front of the line who recognized us from the Penguin—we think they were from Massachusetts….? Sorry we couldn’t stop to chat, but the security guy was waiting for us with Mich.

We walked into the empty club where they were doing the soundcheck, and talked for a bit with Mich, who was very gracious with us. We gave her some printouts of the Peter Green material from the Penguin, and she said it all looked "brilliant." Near the stage we could see Peter himself, and we were soon taken over to meet him. Mich showed him the Penguin pages, and he looked quite astounded to see all the written material on him. It was quite cute to see the look on his face. He did comment that, "You don’t have my full name," (inside the star on the main page) and Mich explained to him that we couldn’t fit his full name there. I touched his arm and told him that his tour had generated much interest on the site, and that people were excited he was on the road again. I’m not sure he really understood what the Penguin was, or the internet, but he seemed appreciative. At this time we also met Nigel Watson, who was to the left of Peter. We asked if it was OK if Peter signed a couple of things for us, and he walked over to a table with me so I could remove the records from my bag. As I did this I told him how much I‘ve been enjoying his work on Then Play On lately, and he nodded. He then signed my vinyl copy of his solo album "In the Skies", (unfortunately, this one smeared…) and then signed the front cover of the original (unopened) ‘dog and dustbin’ Fleetwood Mac album. Before signing it, he looked over the cover like he hadn’t seen it in a long time. I asked him if he was enjoying himself and if things were going well so far on the road, and he thought for a minute and then nodded and smiled. I didn’t really care that he didn’t talk; it was just so great to see him looking so well! We asked if we might take a picture with Peter, but Mich felt it would be better if we took it during the show instead.

He then went off with some other folks while we spoke with Martin Bell, (Peter’s guitar tech), a nice chap whom we had also previously corresponded with. In chatting with Martin he told us that the first show of the tour, in Cleveland, was the best he’d ever heard Peter play. We bought a nice hunter green Splinter Group T-shirt for $20 (we thought it was dark blue like the album cover when we bought it). As people began to come into the club, Marty suggested that I stand up by the front of the stage to save us good spots, but Martin said we "shouldn’t worry too much about that" and told us we could sit right up in the front, where the photographers sit. He OK’d this with the security guy at Tramps as well, and we were also given permission to take pictures. Martin said that normally flash photography is not allowed, but if it was for the site then that was fine-- just take photos during the first 3 songs only.

Let us take an opportunity here to say that we were much impressed by the people working with Peter Green. They are all incredibly supportive and protective of him, and seem truly concerned with being sure that everything around him goes on in a manner that is best for Peter. He has a marvelous support system, and they are certainly to be commended for making it possible for Peter to do what he is doing.

The opening act was Savoy Brown; we hadn’t even known there would be BE an opening act. They were very good, but after an hour we were quite ready for Peter!! We finally took our places up under the stage (we’d stood in the crowd all throughout the Savoy Brown show) and were thrilled when Peter took the stage. There could not have been a more supportive crowd. Folks were shouting out things they wanted him to play—mainly Man of the World, Oh Well, Albatross, and Green Manalishi. He did do Albatross, and upon finishing that, said, "Here’s a song that I think is much better than Albatross!" It was Green Manalishi, which he played and sang with much enthusiasm, and the powerful rhythm section gave the song a great ominous feel. Rattlesnake Shake was another great performance, but the song that stands out in my mind as my favorite of the evening was The Supernatural. He wrote this instrumental when he was still in John Mayall’s Bluesbreakers, at around the age of 20, and it still sounds eerie and incredible 30 years later. He looked so genuinely happy as he played this that the crowd burst into spontaneous applause, and this made him smile more. It gave me the chills. From our seats directly in front of the stage, we had an unsurpassed view of the performance, and we really enjoyed ourselves. (Plus it was so great to *sit*! I’m a wimp when it comes to standing for a long length of time….) The club had a capacity of about 1000, and it looked as if it was nearly full—we wouldn’t be surprised at all if it was sold out. Very impressive crowd.

Anyway, to wrap things up, the Splinter Group was a great asset to Pete’s performance. They are a strong band who can carry him in those moments when he needs to be carried. Nigel has mastered the art of playing like Peter Green, and at times when I thought it was Green I was hearing, I realized it was really Nigel. Much credit should go his way in terms of the musical end result.

We had to leave the show early (I think he had 1 or 2 more songs to do) due to a train we had to catch at 12:40 AM. We thanked Martin, Mich and the security guy for their assistance, and then practically ran back to Penn Station, talking about the show the whole way home. We have to give a special thanks to John and Annemarie for making this night out possible for us- they babysat Brittany and did a great job!!

We also want to say thanks to Stuart Taylor, Mich Reynolds (both partners in managing Peter), and Martin Bell for their assistance in making it such a wonderful night for us.

Please take a look at our photo gallery-- we have twelve pictures of the concert available for viewing. There are two photos on each page-- use the arrows to navigate through the gallery.

Review by Gypsy, September 9, 1998

The title for this review flashed through my mind as I watched Peter Green playing at Tramps, based on the graffiti that used to adorn London's subway walls at the height of his fame.

Well, this review's been long in coming, but better late than never…and the same could also be said for Peter Green! I had been in a state of excitement all day to see Peter- THE Founding Father of my favorite band, and I knew it was going to be a special night.

I'd intended to be among the first to arrive when the doors opened at 8PM, but was still running errands in NJ and didn't wind up making it to Tramps until about 20 minutes to 10PM, when Peter was slated to open, by which time, of course, it was packed. I tried my usual technique of politely slipping between people to get to the front of the stage, but it was literally just too full, and people had no indication that they were moving. So I was forced to remain where I was 'packed', about three deep from the right hand side of the stage. And boy, was it hot in that joint!

Savoy Brown came on at 10PM. I had no idea who they were, but they played ferocious, hot blues. They were a great opener, and the bass player was very intense. I still had hope of squeezing my way to the front once they finished, to be in a good spot to see Peter, but NO chance-nobody budged. Then, once the crew started setting up the stage for the Splinter Group, the crowd broke out into anticipatory applause and shouts of 'Peteeeer'!

And then Peter and the Splinter Group came on. And there he was, onstage- THE Granddaddy of Fleetwood Mac. I couldn't believe he was actually alive and in front of me. Only being familiar with his work from 'The Chain' box set (yes, shame on me), I wasn't sure what to expect, but I knew that history in the making was about to begin. The flashbulbs were going off like crazy during the first few minutes, when they stepped onto the stage and geared up for the first song. Although I wasn't sure what the 'camera rules' were, I had snuck mine in, and you can see the fruits it bore accompanying this review.

Of course, the group launched into some amazing, smoldering blues, and although I didn't know the first couple of songs- I didn't care. I was so happy I was there. I just stood there craning my neck in utter reverence to catch a better look at THE Green God. Live, all the way from England, standing there playing in front of me as though the last 30 years never existed. I couldn't take my eyes off his fingers on that guitar.

Peter seemed rather humble, what with all of us fans screaming 'Peteeeeeeer', and shouting out 'Rattlesnake Shake!', 'Greeeen Manalishiiiii', and 'Oh Well!'. He just seemed surprised that all of this fuss was for him. I was very impressed with him...his fingers just flew over that guitar neck, and I couldn't help but be reminded of Lindsey Buckingham during moments in the show (or should that be the other way 'round?)

And THEN they launched into 'Black Magic Woman'. Oh-to hear those first few beautiful chords being played-I can't possibly describe what I felt during that song-but just to see Peter resurrect that song and to have him playing it front of us was nothing short of magical. Nigel Watson said afterward, "And that was 'BMW'! " (very funny). Peter's voice sounded wistful, sweet, like he had never stopped singing. And they-the Splinter Group- were wonderful. They all obviously connect very cohesively with each other, (the way a good band should), and seem to be a great support for Peter. Not to gloss over their newer songs, like 'Indians', etc., which were special and superb, but I was just lying in wait for the 'big' songs. When they started up 'Rattlesnake Shake'-the whole crowd just went wild, roaring with approval. It was hot, sultry blues at it's best. I must have bust a smile a mile wide when Peter sang, 'I know a guy, his name is Mick.' Such a wonderful connection. BTW, one man I met, John, had come up from MD to see this show, and told me that he'd heard Mick would probably make an appearance for the CA shows (which, I've read, has already happened). Peter played at least two (possibly three) different guitars during the show, the first being a white & cream colored one, the second (for Black Magic Woman) being black.

I just have to say: It was so wonderful to see this man, knowing his past history and where he's come from…and to watch as an almost angelic look passed over his face, as he was drawn into the depths of the chords he was playing. It almost brought tears to my eyes. Here was the guitar player everybody worshipped over all these years-coming full circle to play for us, and it was truly a piece of history that was made in Tramps that night.

It was totally sweltering in that place- I swear I was going to pass out a couple of times…I've always considered myself a tough cookie, but it must be that I'm getting older :-(

During 'The Stumble', I leaned over with curiosity to the guy standing next to me and asked him what song they were playing, which he clarified for me. A few songs later, as they drifted into 'Albatross', the same guy leaned over and said, humorously, "If you don't know this one, they'll kick you out!" You could have heard a pin drop among this boisterous blues crowd as they played 'Albatross'. Peter was perfect-I wish they had just continued playing that over and over…..it could send you to sleep.

He played harmonica on a couple of songs, and it was a real treat for me, since I never knew he played. The sound was out on his harp for one song, but the crowd was too polite to shout out that there was no sound, and they couldn't have been heard anyhow.

I would have totally killed to get him to sign something afterward, and hung out for about fifteen minutes, but couldn't miss my last train home, and so had to leave before Peter and the band (if they ever did) came out. I'd also planned to see if I could find Marty and Lis, but it was impossible in that smoky blues bar atmosphere. If you have a chance, catch this tour-it's a must. And very special thanks to the Adelson's for making these reviews possible through the Penguin.

Check out the pictures that Gypsy took in the NYC show photo gallery.

I had the honor of seeing Peter Green and The Splinter Group in Chicago on August 30, 1998.  It was nothing short of amazing.  The opening band came out and played a bunch of instrumentals and a couple other songs to warm-up the crowd, and then the Splinter Group came out.  They were great.  Among many new songs, they played some older Fleetwood Mac hits such as "Black Magic Woman," "Albatross," "Green Manalishi," and "Rattlesnake Shake," and sounded great. We had extremely close seats (front row, a bit to the left of Peter), even though there wasn't a bad seat in the house, and we could see everything that was going on.  Peter was very happy and cheerful for the entire show, and his playing seems to have stayed the same, brilliant way it always has been. If you are a fan of the Fleetwood Mac blues era, or even just a fan of the blues, don't miss your chance to see the show, it will blow you away.

Peter Green and the Splinter Group played to a capacity crowd at the Cabooze, a popular blues/rock club in Minneapolis. Between 500 and 750 people were sandwiched into the place , so every ovation was a standing ovation. Peter and the fellows played a two hour set including two sets of encores. Highlights included a very rocking version of Rattlesnake Shake, Shake Your Hips, Black Magic Woman, Green Manalishi - which really rocked the house, as well as a fine version of Going Down (originally a Jeff Beck Group tune?) A fine fine version of Albatross, as well as tunes like It Takes Time, Homework, The Stumble,  and other more recent tunes. Nigel, Peter and Roger covered the waterfront in styles and songs. Also in there were a couple of Robert Johnson originals. Peter was in good form, as always leaving plenty of room for Nigel, but when Peter decided it was time to play he ROCKED ! I don't know whether any of them knew it when Nigel introduced "Where the Indians Win" , but the club is four blocks from one of the highest concentrations of urban Indians in the nation,  (How ironic). After the set the band came out to greet the fans. Peter and Nigel in particular were sought after. I myself had Peter sign my 8-tracks of Then Play On ( first version without Oh Well!) and In The Skies - interestingly enough, he signed In The Skies as Peter Greenbaum, but Then Play On as Peter Green!  The next gig is at the Fillmore in San Francisco. Nigel was in good form as well this evening. For someone who only recently came back to the instrument, The Green God still has his mythical qualities. And the band is tight. It was a fine evening, with a reasonable ticket of $15. Tim Sparks,  a local blues/jazz guitarist opened the show with acoustic tunes.

Review by Bill Seamans, September 7, 1998

I hope all you Peter Green fans get to see a show in a small club setting peter and the Splinter band played great. Peter had a big ass smile on his face all nite so must like playing live again. They played some blues covers and some fleetwood mac covers that pete wrote and some rock tunes going down and Jimi Hendrix.  Go see a show if you get a chance.

I've waited over 20 years to see this guitar legend and with everything that Greeny's been thru I have to say that it was the most memorable concert this year...He played tunes from the old Mac like "Rattlesnake Shake", "Albatross", "The Stumble" and of course "The Green Manalishi" which without hesitation went right into "I'm Going Down"....... a truly exciting show for all fans waiting for his return...after the show, the band signed autographs in the lobby.... nice touch

Review by Phil Hof, September 6, 1998 I am still shaking. I just got back from a dream, somebody pinch me.

Peter was so strong tonight! He smiled, grinned, spoofed, and even flashed that "bite the lower lip" intense look like at the top of the Ledge#1 page-- you know the look I mean. Peter had FUN!

He played the regular set, and never faltered that I could see. He must be getting stronger as the tour goes on, because I saw no sign that he was anything but in control and playing everything with sure-footedness (sure-fingeredness?) that just left me amazed!

I got to the Ventura Theatre right at 5. It’s an old 1920’s theatre converted into a dinner club, holding about 900 I would say, including the balcony.

Out front I met a few fans who had been to Peter’s last LA shows so many years ago. A younger guy who was hanging around, not going to the show, made the mistake of asking "if this guy was any good." The friends of one fan kind of stood back, expecting blows to be thrown! "The best," was the short answer. Then the kid got a lecture and history lesson that he won’t soon forget! Every word true.

We could look in the rear stage door and see them warming up, and there he was, playing and chatting with Nigel. GASP! Not wanting to offend, I motioned to the main roadie guy with my camera, and he came over and admonished us that there would be NO PICTURES unless I had a photo pass. The door closed and we worried if we would get any pictures at all.

No worries, it turns out he meant before the show only. A TV spot was being filmed and they didn’t want any interference. At the show, they allowed cameras with no restrictions. WHEW!

KE Gil and his brother came up, and we chatted and took down several of the xeroxed posters they plastered at the front of the theatre. A few minutes later a ravishing Renee and her friend Bill came up, and we staked out the very front of the line. We were let in, and sat at the tables one row from the stage, where we were told the sound would be better than the stage tables. I was able to walk up almost to the stage for pictures, anyway. We sat for dinner and exchanged eager grinning looks of anticipation.

The opening act did an enjoyable job of guitar/harmonica blues numbers, but we really just couldn’t wait for the Splinter Group. While waiting after the opener, KE spotted Mick Fleetwood at the rear of the stage! I walked up to make sure, dragging Renee to make sure she had a look. Yup, there he was, towering above all in his maroon jacket and ponytail. He walked upstairs to the band room and presumably talked to Peter until they came out to play.

It was sweltering in the club. But I forgot about it the minute the host came up and announced Mick to do the band intro. He said few words, but mentioned that he and Peter had started Fleetwood Mac so many years ago, and that they had kept the fire going through all the years, and that it was great to be here to see Peter and the Splinter Group play.

Then came the music, and it just never let up!

It Takes Time: Okay, I was watching Peter like a hawk, soaking in every move, and admittedly watching for any signs of trouble. By the time this song was over, I started grinning uncontrollably. I could see that, unlike the slow start that reviews of earlier shows had talked about, he was ready to play right from the first note! What a wonderful surprise.

Homework: Any doubts about Peter were gone by now. He sang with a smile and played with a focus that became hypnotizing. Hot lead and sweet rhythm playing were both engrossing.

Black Magic Woman: My god, I named this song on the first note they played in the key check. So did the crowd, because there was applause before the echo stopped! Great jamming in the middle, a little like the album, then some interesting new twists.

Indians: A new song with Nigel on vocals. He commented that in the American westerns the cowboys always won, and he wanted to see one where the Indians win.

Mama, Keep your Big Mouth Shut: I hadn’t heard this one before, but Peter plays harmonica and guitar.

Dark End of the Street: Nigel on vocals again, well played, but I have the Linda Ronstadt version too drilled into my brain.

Rattlesnake Shake: At this point, I think, the band was introduced, and the drummer "apologized for playing Mick’s part on this one." When Peter sang the words, "Now, I know this guy/ His name is Mick/ Now, he don't care when he ain't got no chick/ He do the shake," he was looking up at the side of the theatre (where Mick was, in the back room) and Peter was grinning, almost laughing out loud! This strikes me as a reconciliation as important as the Stevie/Lindsey make up for the Dance. You KNOW that upstairs Mick was playing "air drums" to every beat! Oh, for a camera in that room!

The Supernatural: Has to be heard to be believed. Peter and Nigel both again shined on these, all over the scale, gently tickling the melody without mercy. It’s songs like this that make me wish I was 10 years OLDER, not younger, so that I might have heard these in the late ‘60s live. The chord changes grab me every time, reminding me of Black Magic Woman at first, then dropping down. Heavenly!

Hip Shake: Peter was almost laughing through this song. I can’t tell you the joy in his eyes, looking at other band members, closing his eyes in concentration, just having fun.

Travelling Riverside Blues, Steady Rollin' Man: These two Robert Johnson songs were so full of soul, in vocals and playing, they were much more engrossing than on CD. I guess blues are really made to sit and watch, as much as listen.

The Stumble: If I remember right, Nigel played lead on most of this. But Peter was noodling and strumming some really nice parts along the way. I think this was his choice to let Nigel shine here, because he stepped back of Nigel before they started playing.

Tina: Another new one of Nigel’s, about his young (and current) adoration of Tina Turner, apparently. Can you blame him? I hope this makes it onto a new CD.

Albatross: Magic, ethereal, soothing like the original. A standing ovation followed, of course.

Green Manalishi: How do you top Albatross? Here was the answer. After these two songs, I was having a late ‘60s flashback, and I wasn’t even there the first time! You really felt the power that a guitar great can muster in a song like this. We all have heard these for years, so we are used to their strength. But for a moment I tried to imagine how it must have felt to hear this live for the first time back then. It would have been a revelation!

Going Down: Wild and rolling finale like you would expect, and Peter’s softer voice is a great match for this song.

Nigel’s sister and Splinter Group manager Mich Reynolds came out, and she asked if we’d had enough and wanted more. Oh, really, you have to ask?!

Help Me: Some fine fiery reminiscence of Booker T’s "Green Onions" by Peter and Nigel on guitar here in the instrumental middle, with some fine organ licks, too.

Look on Yonder Wall: Peter alternated between singing and harmonica, both with soul. We all clapped on the back beat.

After, as they walked off to a standing ovation, Nigel pointed to Peter, who very understatedly nodded and raised his hand to waist level as he walked off the stage, about as much of a bow as he would allow himself. But he was grinning, nodding, and obviously loving the attention, however he might be trying to squelch it!

We waited at our table a bit, all grinning and looking a bit dazed. Renee disappeared and came back shortly with a t-shirt for me (what a sweety!), and the news that there was a sign in the lobby saying Peter would be signing autographs after the show! I had to see it with my own eyes. YES!

So we lined up, the rather foul mouthed host lady exhorting us to show RESPECT. This turned out to be totally unnecessary, as the crowd was calm, even reverent. After half an hour, the band slowly walked behind the tables, and proceeded to sign anything put in front of them. Michelle also sat with Peter as he signed autographs. She was so kind and gentle, accommodating pictures of Peter with fans, turning down no tactful requests.

This was a gathering of the faithful, judging from the photographs, some amazing original prints from the late '60s, personal photos from that era, even a repro of Peter’s Les Paul guitar, all of which were signed. Peter examined every inch of the guitar, a funny mix of curiosity and a grin on his face. Chili D, you would have died at the sight of that signed guitar! I asked the guy if he was going to put it hermetic storage, and he shot back, "you bet your a$$!"

Peter seemed really tickled by some of the early photographs, looking at them, pointing things out like "gee, this is back when I was clean-shaven!" He really seemed into this, not like he was just obliging us. Peter signed Renee’s CD, KE Gil’s book and CD, and a couple of CDs for me (interestingly, "Green" on my old BBC CD, and "Greenbaum" on the new Splinter CD).
Several people took pictures right in front of him, and while he sort of rolled his eyes at how corny the scene was, he smiled when he did so; I think he really enjoyed the attention.

I took a lot of pictures, more than I expected thanks to KE Gil's donation of a roll of high-speed film. We were at the stage or at the next table, so they are close. We also took some after the show of Peter signing our stuff. After this, we kind of just stood there, not really believing our eyes. If you had asked me a few years ago, I would have said this would never happen-- hearing Peter, meeting him, shaking his hand.

And he seemed to enjoy it as much as we did!

Review by K.E. Gil, September 6, 1998

It was such an honor for a young lad like me to actually meet Mr. Peter Greeen(baum). I became extremely excited to exchange words and to actually touch the hands of the man who was once called "The Green God"! To make the most this rare event I had Peter sign my Peter Green biography, a CD copy of his 2nd solo LP "In The Skies", and a flyer in which I had my brother steal from the front of the theatre.

I remembered back in 1996, Peter Green(baum) said that he really wanted to help out Danny Kirwan if he could. So after the concert I asked Peter, "Are you going to ask Danny Kirwan to join the Splinter Group"? Peter shook his head and replied "No", but then Mich Reynolds also replied that, "Danny's isn't well"...

The second question I asked was, "What size strings did you use when you were in Fleetwood Mac....10's, 11's, 13's "? Peter looked at me with a bit of a puzzled look and said, "Strings?.....(long pause while looking at Mich)...I forget what size I used, but I think the middle one was a 17".

There was one last question that I really wanted ask Peter Green(baum) was if he has had any contact with his only daughter Rosebud Samuel Green(baum), but I didn't since it might have made him feel uncomfortable.

Review by Renee, September 6, 1998

I had a great time last night. Peter was really really good!

It was so neat to see Mick also. Phil, KE, KE's brother, and my friend Bill were all there with me to enjoy this wonderful night of great music. I feel so lucky to have seen P.G. and his band here in the U.S. once again. He sounded great.(I love his voice) I couldn't have asked for a better time. I got his autograph on my Live in London "68" c.d. Phil took pictures and I'm glad because this was a night to remember!

Phil: THANK YOU! Can't wait to see the photo's.

Review by Ron Chambliss, September 7, 1998

VENTURA THEATER, Saturday, September 5th, 1998

Peter Green & The Splinter Group

THE PREAMBLE:

I have been a fan of Peter Green since I first saw him open for ‘The Who’ with ‘Peter Green's Fleetwood Mac’ in June of 1968. Since then, I've seen him nine times, the last being January 9, 1970. So, this concert meant quite a lot to me. I arranged for tickets at the Ventura Theater -- the first hour that they were available -- I think this was back in May. They set me up with the best seats in the house, Louie the floor manager saw to that. Our entourage encompassed eight people of which only two had seen him before. Four other friends also came to join us. We had our own table at the very front and just to the left of Peter, so the view of him and his fingers was perfect.

Got there a bit early for the show, about 4:30, so took some pictures of the theater and had a look around. The first fan I meet is a softspoken lad named Phil. I think he told me his brother turned him on to Peter Green and I also believe he's a regular hear on The Ledge. A fellow named Rick Berthoud and his wife, Carol, were soaking in all the activity at the back door while the band was sound checking. It was eerie to hear some familiar tunes being warmed up through the back door, trying to figure out if it was Peter or Nigel playing guitar. Rick plays guitar in “The Persuader Band,” and they play blues as well as cover some old Fleetwood Mac material.

While in line, I tried to find anybody who’d seen Peter perform before, and I’m thinking of the sixties. Only one guy volunteered so I went to talk to him, his name is Robert Schaffner. It turns out he had seen him before, but four days earlier in Chicago... we both have a laugh.

Mich Reynolds, Pete's manager, was spotted across the street. I went to chat with her and make sure photographs would be possible. She was very charming and kind and filled me in on all the details I wanted to know about Peter and the show. Next thing I know, Mick Fleetwood comes driving up in a black Mercedes. Word has it that Peter has given the OK for him to sit in on congas if they can scrounge up a pair on this Labor Day weekend at the 11th hour.

It is decided he will announce Peter and “The Splinter Group,” and if they can find congas, he may perform.

The entire night was magical from beginning to end. The crowd seemed full of anticipation for the evening to come. There were a lot of real fans there, and people who were curious, and people who had a few memories and wanted to reconnect with them.

I spotted Peter long before the performance on stage left. He’d come down to view the audience and see the stage setting, evidently. A few of us observed him spontaneously breaking into a brief little dance. It would be about an hour before "The Splinter Group" would take the stage.

We observed David Hildago from Los Lobos going upstairs/back stage apparently to greet Peter. Mick Fleetwood was also observed in the wings. In the audience, we also observed a few stars. Billy Mumy (“Danger Will Robinson”) was at the table next to us as well as Tony “gee, Wally” Dow and their entourage.

THE SHOW:

Mich Reynolds announces that Mick Fleetwood will do an introduction. The magic spell is beginning. Mick, in fashion similar to the Rock Hall of Fame Awards introduction, pays homage to Peter for being his inspiration and greets The Splinter Group.

Peter and the band launch into Otis Rush’s old tune, “Little By Little” a.k.a. “It Takes Time,” and it becomes clear that this is going to be one hell of a great night. Peter’s singing is “spot-on.” No, this is not the singing of Peter’s yesteryear; this is Peter Green now, in the moment, just as he always was. His voice is smoky and expressive. I am bursting with excitement. His guitar playing is in control, again different than yesteryear, but in the now.

I DIVERGE:

I see Peter as this kind of “sage” or ancient wise man. He seems oblivious, or perhaps indifferent with many of the worldly events around him... his ego is very much in the background, and he is charming. The entire audience has risen to their feet to make him feel welcome to Southern California, and he barely seems to take notice, just a slight smile of acknowledgment -- he is concerned with the music.

If you believe that music is an expression of the soul, however you see that, then you would have seen the concert as an amazing connection to that most private of places. That expression is the bones of this performance. Facility is secondary, the how-to of playing – although it certainly is not lacking. It’s just that you’re not saying to yourself, “Gee, whiz, look at that technique.” You can’t, because you are somewhere else. Many performances lack that major component of feeling and are “nothing” except guitar gymnastics. From where I sit, Peter does not think about the “how-to-impress” part of music. He is an artist and a true artist places content above all else. The artist just expresses. That is Peter.

And, when Peter Green is in that moment, his self consciousness disappears and he has become a channel for a much higher level of being..

THE SONGS:

It Takes Time (Little By Little) - F#
Homework - Dm
Black Magic Woman - Dm
Indians - Am
Mama, Keep Your Big Mouth Shut - Bb
Dark End of the Street - G
Rattlesnake Shake - A
The Supernatural - Dm
Shake Your Hips
--------------------------------
Traveling Riverside Blues - A
Steady Rollin' Man
--------------------------------
The Stumble - E
Tina -- G
Albatross -- E
Green Manalishi - Em
Going Down
--------------------------------
Help Me - F
Look on Yonder Wall - E

SOME NOTES:

LITTLE BY LITTLE--This is obviously a song of Peter’s choice. He’s into it, and it’s a strong performance all around. In 1968, he recorded this song, which is on the “Rarities” album. He still does it great and with more authority and maturity.

HOMEWORK--Peter really enjoys doing covers of some of these great tunes. He used to do this one in F#m but now he’s moved it down to Dm to suit his current vocal style. This, by the way, is another Otis Rush song.

BLACK MAGIC WOMAN--While the performance and singing on this song is wonderful, I get the feeling he does it because the fans or band members want it. Nigel Watson does the solo guitar work, almost note for note to Peter’s original. I’m not sure how I feel about that.

BIG MOUTH--This is the first song that Peter really lights up on. There is much expressiveness in his voice and animation in his face... he’s really into it. He seems to be ad-libbing with the vocals as well.

THE SUPER-NATURAL--I’d read on the net that this song was now in the set. This must have been Peter’s idea, because he goes to town with it. His playing is exceptional. I’m watching his fingers like a hawk. They are so beautiful and graceful, he plays without effort and speaks volumes. All the emotion of the original. The crowd gave him a standing ovation after this one.

ROBERT JOHNSON TUNES--These are the ones that got him interested in playing again, and again he is very expressive with his voice. But his harp playing is what really stands out here to me. It is amazing to me how fine a harp player he is. I mean, he was always good, but now there is an additional depth or dimension to his playing. Whether he’s playing or singing, he seems to channel his music from this wonderful place.

THE STUMBLE--This is of course a great one. It’s now played much closer in style to the Freddy King version, which we all know because we have the CD. Great fun. He seems to get a kick out of playing this one.

ALBATROSS--Nigel actually does most of the lead work on this one. Peter plays the lower harmonies on the twin guitar parts. Nice to hear this song for nostalgic reasons, but again, I don’t think Peter really cares if it’s in the set. I think Peter has always had this mind-set of playing what he wants to play, can you blame him?

GREEN MANALISHI--An excellent vocal performance and he has fun singing it. I learned a few things watching him play the guitar parts. Again, Nigel does most of the solo work at the end of the song in the Peter Green ‘old style’ and he does it very well... he’s actually an excellent guitarist.

GOING DOWN--This is the song they close the set with, and it’s the most string bending Peter does all night. Again, he seems to enjoy it and the facial expressions during his soloing seem to affirm that he’s having fun.

HELP ME—This, I believe, was the best vocal of the evening. He’s a very convincing blues singer, which I guess is no surprise but on this tune something changes. He becomes the song. When he sings “When I walk, you walk with me -- When I talk, you talk with me -- you gotta help me” it is not somebody just singing the lyrics. He is telling the story, and it is very convincing, as is the harp playing.

LOOK ON YONDER WALL--More good stuff. He starts off on harp and midway switches to guitar. What I notice is that as the roadie hand him his guitar Peter says “thank you.” How many performers are that polite to their stage crew? Sadly, this is the last song, and we cannot coax another out of the band. It’s like being at Disneyland at 12 midnight and there will be no more rides.

As the reality that the show is over begins to set in, they begin to play “Man of the World” over the PA.
Bitter sweet.

THE EQUIPMENT AND PLAYERS:

--Nigel Watson--
Fender Strat, Gold w/maple fingerboard
Fender Twin Amp, silver face w/4-12 extension cabinet underneath
Vox AC-30
Guild black dreadnought acoustic w/cutaway

--Peter Green--
Fender Strat, Cream w/rosewood fingerboard
Gibson Howard Roberts
Vox AC-30
Fender Tweed Blues Deville Amp, w/4-10’s

--Larry Tolfree--
Yamaha drum kit

--Pete Straud--
Ampeg bass amp (couldn’t identify the model)
custom fretless bass

--Roger Cotton--
Hammond B-3 and Leslie speaker cabinet
Roland keyboard

I apologize for the utter length of this review, but it is necessary.

Let's start at 12:00 PM. My dad and I walked over to the officials booth next to the ticket entry, and we explained who we were, and that backstage passes were waiting for us. Things got worked out well enough, and we were shown where to go, who to talk to, etc. After arriving at the stage, we talked to a nice girl named Lisa, and she gave us both passes.

We watched the Lloyd Jones Struggle, an Oregon blues group (who, incidentally, wailed!) and later went off to find something to eat. After eating, we met up with Don Brown, who possesses probably the biggest Peter Green collection on Earth. I'd told him I would get his copy of the Robert Johnson Songbook signed for him, and he and his wife were both quite grateful. We talked with them before going off to find Dave Sjoblom, aka Peach-Head.

Peach-Head is a Peter Green fanatic, and my dad has known him since forever. Since my dad was never really a HUGE Peter Green fan, he was more than happy to give his pass to him.

We walked to the backstage area (which was separated from the crowd by just a small picket fence), and talked with Don, etc., and we saw them. They were walking toward the backstage lounge, and my heart nearly stopped beating. Peter was in the center of the group, and was decked out in a T-Shirt and shorts. They passed on by, and we talked about this encounter (well, a sighting anyways) amongst ourselves. About 15 minutes later, they walked back to where they had came from, and Don talked to Nigel for a brief moment.

A little later, I spotted Martin Bell, and we greeted each other. He also mentioned that he'd arranged for my dad to come backstage as well (he'd wanted to meet my dad). We went over to get his pass, and somehow three passes were waiting for us. We gave the other two to Don and his wife, for which they were quite grateful.

We hung around that area until Martin told us he was going to take us to meet Peter. We walked to the back of the stage, and a computer was set up which was broadcasting the "Liveconcerts.com" thing. Peter was looking over the operator's shoulder, having a look at what he was doing, when we came up. Martin said to him "This is Alex, he runs our official website", and Peter shook my hand and smiled. Then, Martin added "This is his dad, Steve". Peter did the same to my dad, and then shook Martin's hand! All in all, he didn't say a word to me, but his facial expressions were more than enough.

My dad and I walked to the backstage lounge, where everybody in the band except Peter was sitting on the couches. Peter was somewhere else, I don't know where. Anyways, Nigel was sitting on a couch, half asleep. Arthur Anderson, the tour manager, woke him up, and Nigel explained that he'd gotten maybe two or three hours of sleep the previous night. I introduced myself everywhere else, and sat down on the arm of one of the couches. Then Peter strolled in.

He just walked around the room, rooted through the fridge, and eventually found a Twix bar. Nigel asked me if I'd met Peter yet, and I told him yes. He didn't say anything at all, just looked around until somebody directed him elsewhere. He didn't look disoriented, as some earlier reviews have stated. He just kinda looked bored.

Everybody gradually left the room, and I did too. By then, we'd met up with Don, his wife, and Peach-Head, explained to them that we'd met Peter, etc. Then, the show started.

I was standing next to the ramp to the stage when the band was introduced. As they walked by, I hollered "Good luck", but nobody answered. I didn't even need to say it. I'll go ahead with a "song by song" review:

"It Takes Time"- The band opened with this Otis Rush classic, and Peter was barely heard. It was probably due to his whisper-voice, but his guitar was somewhat quiet as well. I thought nothing of it, and the song was very well done.

"Black Magic Woman"- Peter dedicated this song to somebody named Eve, and once again his guitar was very quiet. It was well performed, however.

"Indians"- Nigel introduced this new song of his, and I quite liked it. He stated that when watching westerns as a kid, he'd always wondered why the Indians never won a battle, hence the inspiration for this song. Good one.

"Rattlesnake Shake"- This was quite well done, and Peter started getting a better stage presence by now. He was also more audible, which I was obviously in favor of.

"The Stumble"- Any doubts about his playing ability went out the window. Peter's guitar got louder, and he SMOKED. I was just astounded at the feeling he put into every note. His playing got better and better after this.

"Dark End Of The Street"- This may not be in the right order, but I think I'm including all the songs. Anyways, Nigel sang this song beautifully, and Peter played a gorgeous guitar solo in the middle.

"Keep Your Big Mouth Shut"- I'd never heard this Bo Diddley song before, but I like it. Peter started every chorus with "Hey mama...", to which Nigel and Roger would follow up "Keep your big mouth shut!". Great interplay here.

"The Supernatural"- Introduced by Roger as "spooky rock", Peter took authority here. In fact, I almost prefer it over the Mayall version. Peter didn't use sustain to as much advantage as on the original, but other than that it was a thrilling performance.

"Hip Shake"- Not one of my favorites. Having said that, it has an okay riff, and they performed it well (for what it was, anyways).

"Albatross"- Nigel played the famous hook from this song, while Peter played fills. When it got to the two-part harmony, Peter and Nigel played as one, and won many a "Woah" from the crowd.

"The Green Manalishi"- Good god, this was astounding! Peter played excellently on this, but I must say that I was most impressed with Nigel's guitar solo. He COOKED on this one. The rhythm section was quite punishing as well, and the sheer power of this one made my hair stand up.

"Look On Yonder Wall"- The encore, Peter played harp on this (and sang) until Martin gave him his Gibson Howard Roberts to finish things up. What a killer way to end the show!

All bias aside, they just smoked. The crowd was just absolutely packed, and after the band left the stage, about two thirds of them left. People were buying Splinter Group CD's, chanting for more... Unbelievable.

Nigel and Peter went off to the lounge to do an interview, so I congratulated the rest of the band on a stellar show, and asked Martin if I'd be able to talk to Peter again. He said to talk to Arthur after a while, etc., all in all, it was about an hour until Peter and Nigel emerged. They came out briefly, and then went back in. Again they returned, and I asked Peter if he would sign my guitar. He smiled real cooly and nodded. He signed it right behind the bridge, posed for pictures with both myself and Peach-Head, and went off with Nigel.

All of us talked amongst ourselves until we realized that Peter and Nigel were signing autographs at a merchandise table, and Nigel hadn't signed my guitar. He happily did so, and I went around and got the whole band to do so as well, including Martin and Arthur.

After the autograph-signing (just a note: I saw 7-year-olds going up to him asking for autographs. The word has been spread!), Peter and Nigel walked near our location, and I remarked to Peter "Wonderful show!". He smiled, and looked the other way. After a little bit, the whole band got into a van, Peter sitting in back. I waved as they drove away, Peter waved back, and they were gone.

We had a long chat with Martin and another crew member, and Martin explained to us that Peter is a terribly modest person. In fact, he told us that he'd gotten his first phone call from Peter (after working with him for one and a half years) that afternoon! This cleared up why he hadn't said a word to me. We talked about the band's performance and everything until we decided to split.

Expect many a picture (I think I took 60-some total, but I'll narrow it down) to come soon.

Review by Wayne M. Berta, September 8, 1998

Bumbershoot is the type of festival that you sample your way through, a little crab cake here, some roasted corn there. Some Joan Baez or Mary Lou Lord, then Zeke.

My day started at the Mainstage for a double bill of Buck Owens and Screaming Trees. Yes, Buck Owens AND Screaming Trees. Twenty minutes of Buck Owens was enough to inspire me to seek out a burrito and beer garden. Returning to the Mainstage I heard the Buckaroos ending their set with an endless version of Johnny B. Goode. Screaming Trees were joined for about half of their set by Peter Buck. Great show.

The evening plans were for Burning Spear, Keb Mo and Bonnie Raitt; but the immediate plans were for The Splinter Group, featuring Peter Green. They were scheduled for the House of Blues Stage, tucked between the Waco Brothers and Linda Hornbuckle. We endured the closing songs of the Waco Brothers to position ourselves for a front row view of  The Splinter Group. About fifty persons or so packed the front of the stage immediately after the Waco's fans left. Many had come due to nice publicity of the local media. It seemed every newspaper and radio station had a list of top things to do at Bumbershoot and most had Peter Green on the list. Others came to see Peter again - he played Seattle with Fleetwood Mac in September of 1968. Others, like me, had come to see Green for the first time. We spent the half hour wait speculating on what weíll here. Will it be the quiet blues of the Robert Johnson tribute, the covers of the first Splinter release or maybe some oldies?

That question was answered by the second song, Black Magic Woman. This song was typical of the first few: lots of Nigel Watson and a little of Peter Green. Peter's voice was a barely audible whisper and his guitar was drowned out by Nigel's. And it seemed that the crowd took as long to warm up to Nigel as it took Peter to warm up to performing. But Rattlesnake Shake and Stumble changed all that. Peter played some hot guitar while Nigel faded into the background. The rest of the show was Peter playing all the leads or trading off with Nigel. When Watson played the lead part of Albatross the crowd finally showed its appreciation and all of us were stunned by his guitar work on The Green Manalishi. It would have brought the crowd to its feet had they not been standing the whole time.

Rattlesnake Shake, Stumble, Albatross and The Green Manalishi were the musical high points. But the best part of the show was Peter's introduction to Stumble. Earlier Peter had noted Black Magic Woman was by request but didn't say much more. He introduced Stumble as a Freddie King song similar to Hideaway. Peter went on to say that Clapton left John Mayall's band to form Cream and "I replaced... no, that's not the right word, substituted...not the right word, what I'm trying to say is...filled the place of Eric Clapton. And I guess you can say I did a pretty good job of it," he concluded.

The last song of the show was Going Down. When it was over we were asked if we wanted one more and of course we did and the band played Look On Yonder Wall. That was the encore. Even though the crowd shouted for more, they were already ten minutes overtime. At a festival like Bumbershoot they keep to a pretty strict timetable so another song was out of the question. So after nearly ninety minutes it was over. Pretty good job of it, indeed!

For the past 14 years San Diego has put on a magical, musical, show called "Street Scene". It's a three day, open-air party on closed streets of the downtown with some of the best music you will hear anywhere on the planet. My wife and I go every year and sample the blues and rock sections of the multiple stage menu, but this year we went for one reason only. That reason was Peter Green.

I still remember how I listened to Peter's last concert on the BBC with Fleetwood Mac with a sinking heart. I grew up in England with Peter Green's music so it's ironic that only after I moved to America do I get a chance to see my favorite musician.

After 28 years the anticipation was excruciating. Of course, it was a highpoint just to see Peter walk onto the stage after so long.

I am still digesting the concert. The group started out with some new material and it was great to see what a tight team Splinter Group is. Nigel Watson excelled on lead.  The bassist and drummer were outstanding musically and did a great job of providing a solid foundation for the show on all fronts. The keyboardist was wonderful and warmed the crowd with his sense of humor (sorry Splinters, I couldn't hear all your names for the noise).  Peter played with such style and feeling and his music's strongest quality was still the emotion and tonality which cannot help but pour out of the songs.

There were plenty of people of my generation at the front of the stage obviously reveling in the same historic moment, but there were also lots of Generation X'ers stomping to the beat of "Rattle Snake Shake", reinforcing the universal appeal of Peter's music.

"Street Scene" runs on a tight schedule of approximately 50 minute sets in order to fit all of the artists in. Out of the corner of my eye I noticed an event organizer drawing a finger across his throat in a gesture to indicate that the next song had to be the last. I found myself yelling "No!". Doesn't he know how long we've waited?

The group's roadies did a great job keeping the organizers at bay and there were still two songs left to relish. Albatross and Green Manalishi. As the Splinter Group finished their set and left the stage to huge applause, a young girl ran forward. She spontaneously hung her necklace of green glowing light tube around Peter's neck and planted a big kiss on his cheek. Seemingly surprised by all the fuss Peter smiled then slipped quietly away leaving the rest of us just trying to keep from following him.

Review by Lesley Thode, September 15, 1998

Peter's tour date down in San Diego was at an annual street musical festival called Street Scene, where many musical acts occupy about 10 stages for sets between an hour and 90 minutes, over a three day period. Peter and the Splinter Group played in the Blues Tent last Friday night.

Now, I have to say up front that I'm not a gigantic fountain of knowledge about Peter, so I can't even say which songs he sang, besides "Black Magic Woman." I was also not too terribly close to the stage, so I couldn't really focus my eyes on his hands and his guitar, as I usually enjoy doing when I watch guitarists play. And, since I was with some other people whom I could not seem to make understand who Peter was and why I "had" to see him, I didn't get to stay and see the whole set. So I've got to approach this quasi-review from a different angle. As others have probably offered lots of musical review, I guess I need to share a more personal story. I had an experience at Peter's show that was really touching, and it had as much to do with Peter as it did with Peter's affect on his fans . . .

We got to the Blues Tent while the roadies were still setting up the stage and testing the equipment. There was a older gentleman, dressed in his work clothes, standing alone. He looked a little uncomfortable surrounded by mostly younger music fans, and he looked a bit antsy . . . waiting for the show to begin. He kept glancing around and he finally sort of cautiously moved towards me. I don't know why he picked me, but he did. He began with, "How many people here do you think really even know who Peter Green is? How many of these people here really know what he was, and that he wrote 'Black Magic Woman,' and that he was in Fleetwood Mac, and that he was Fleetwood Mac when he was in the band?"

The man was English, and probably about Peter's age or a little older. I realized that the reason he came over to me was because he was simply bursting with the need to talk to SOMEBODY about having the experience of seeing Peter. He explained that he never ever thought he'd have the chance to see Peter Green play again, not after all of the troubles Peter has fought with and has had to emerge from in the last 15-20 years. He told me that he agreed with John (he never said: "John McVie," he just assumed that I would know who John was - and I did!) that he was uneasy and unhappy to see Peter through the years since leaving Fleetwood Mac, because it made him sad to see a shadow of the man and the musician that once was. But when he'd heard that Peter was playing again, and was playing well - he wouldn't believe it until he could see it for himself. So this man had bought a ticket to the entire street festival for nobody but Peter; he had raced down from work before being able to change into more comfortable clothes; and was there by himself because he simply had to see the legendary Peter Green play again. He repeated to me several times that he just couldn't believe that this opportunity presented. He just couldn't believe that he was going to see Peter playing again.

As the concert started, I kept an eye on this gentleman. Everytime Peter held a particularly long and sweet note, this gentleman shook his head, looked to the ground and closed his eyes. He drank in everything Peter did and I was very touched and got a tremendous amount of enjoyment watching how touched this man was to see a musical hero that he thought had disappeared into tragedy years ago.

Peter never talked to the audience, his guitar player did all of the introductions. Every once in a while, in between concentrating on his tender playing, he would bust into a big, goofy grin and look around at his band and the audience. Between seeing Peter look genuinely comfortable and happy to be playing, and seeing the older gentleman in the audience derive such obvious and heartfelt pleasure from hearing the music - it was just a really touching, sweet concert experience for me.

As I reluctantly had to leave before the set was over, since my ride home was walking away from me, I was just left with the feeling that I had witnessed what the ultimate musical experience is about for a fan and a performer.