Peter Green Green & Guitar The Best Of Peter Green 1977 81 (1996){mccd 244}

This is a reasonably comprehensive collection of Peter Green's catalog, with 78 minutes of music at mid-price, drawn from In the Skies, Little Dreamer, Blue Guitar, White Sky and Legend, the first two albums contributing the majority of the best material here. Green's guitar playing is as impressive as ever, and his singing is nothing to ignore, a sweet, gently soulful rasp that recalls his one-time rival Eric Clapton at his best behind the microphone. There's just a bit of fall-off in quality between tracks like "Apostle" and "Little Dreamer," and later stuff like "Last Train From San Antone" when they're heard side by side. And a lot of this doesn't seem as strong today as it did in the late '70s, when Green was one of the last exponents of British blues still working in that genre and getting heard. But the sound is good, and the price is right.

Peter Green is one of the best guitarists of his generation and after a period in the wilderness he re-emerged in 1997 to critical acclaim with the Splinter Group. The material Peter Green recorded with the Splinter Group on five albums for Snapper Music represents a true return to form for the ex-Fleetwood Mac guitarist, including the W.C. Handy award winning album The Robert Johnson Songbook. This new vitality was confirmed on the classic limited edition double live album Soho Session (sold out week one), recorded at the world-famous Ronnie Scott's club. Then his first original material since the early '80s was presented on Destiny Road, produced by Cream lyricist Pete Brown.

A massive, 2-disc compilation featuring cover versions of virtually every Peter Green song written during his Fleetwood Mac period, and a few drawn from his mid-80s solo period. While there are some weaker moments in this 39-track collection, the majority of the interpretations feature blues guitar, piano and vocal at their very best. Rather than simply pay tribute to Peter Green by faithfully imitating his material, the artists have chosen to re-interpret these songs and in most cases the results are superb. The power of Green's influence is felt all the more deeply when so many artists use his music as a jumping-off point. A must have item for blues guitar fans.

Countless blues-rock guitar greats emerged during the late '60s – the most recognizable names being Jimi Hendrix and Eric Clapton. But one who usually gets overlooked is the great Peter Green, who led Fleetwood Mac early in their career…

ZZ Top closed out their tenure with London Records in late 1977 with The Best of ZZ Top, a basic but terrific ten-song retrospective of highlights from their first five albums (well, four, actually, since the underwhelming Tejas is ignored). There are no surprises here, just album rock favorites, which means it does draw heavily on Tres Hombres (four songs, total), adds Fandango's "Tush," "Blue Jean Blues," and "Heard It on the X" for good measure, then rounds it out with two songs from Rio Grande Mud and a selection from the debut. Yeah, there are a couple good album tracks missing, but as a ten-song summary of their early years, this can't be beat.

Walk on the Wild Side: The Best of Lou Reed was the standard record company "hits" compilation surveying Reed's five-year, eight-album sojourn at RCA from 1972 to 1976. Its 11 songs included two from Lou Reed, three from Transformer (among them, of course, this album's title track, Reed's sole chart hit), one from Berlin, two from Rock N Roll Animal (one of which is "Sweet Jane" minus the introductory fanfare), and the title tracks from Sally Can't Dance and Coney Island Baby, plus the previously non-LP B-side "Nowhere at All." It was a bulletproof selection, as unimaginative as it was dependable, which oddly was why it worked so well.

The Best of Peter Tosh: Dread Don't Die is an excellent compilation of the best of his '80s albums. While there are fewer of his trademark songs than on his more popular compilation Scrolls Of The Prophet, Dread Don't Die is a stronger collection. Also worth mentioning is that the sameness which hurt Scrolls Of The Prophet is absent as every track here is top notch.

Legendary drummer, Mick Fleetwood enlisted an all-star cast for a one-of-a-kind concert honouring the early years of Fleetwood Mac and its founder, Peter Green which was held on 25th February 2020 at the London, Palladium. The bill included Neil Finn (Crowded House), Noel Gallagher (Oasis), Billy Gibbons (ZZ Top), David Gilmour (Pink Floyd), Kirk Hammett (Metallica), John Mayall (Blues Breakers), Christine McVie (Fleetwood Mac), Jeremy Spencer (Fleetwood Mac), Pete Townshend (The Who), Steven Tyler (Aerosmith) and Bill Wyman (Rolling Stones). Legendary producer Glyn Johns (Small Faces & The Beatles) joined as the executive sound producer and the house band featured Mick Fleetwood himself along with Andy Fairweather Low, Dave Bronze, Rick Vito, Zak Starkey, Jonny Lang and Ricky Peterson.

ZZ Top closed out their tenure with London Records in late 1977 with The Best of ZZ Top, a basic but terrific ten-song retrospective of highlights from their first five albums (well, four, actually, since the underwhelming Tejas is ignored). There are no surprises here, just album rock favorites, which means it does draw heavily on Tres Hombres (four songs, total), adds Fandango's "Tush," "Blue Jean Blues," and "Heard It on the X" for good measure, then rounds it out with two songs from Rio Grande Mud and a selection from the debut. Yeah, there are a couple good album tracks missing, but as a ten-song summary of their early years, this can't be beat.

Grant Green signed to Blue Note for a second time in 1969. Where his first stint with the label was nearly all hard bop, the recordings from his second stay were almost all funky soul-jazz. Predictably, these are sessions that jazz purists have dismissed throughout the years, even though - when judged strictly on the level of funky, groove-oriented dance music - the music is quite strong. During the '80s and '90s, dance and hip-hop fans rediscovered Green's records from the late '70s and sampled his playing and grooves on their own records. Blue Note assembled The Best of Grant Green, Vol. 2 to capitalize on the popularity of this acid-jazz movement. All of the material on this disc is drawn from albums - The Final Comedown, Live at the Lighthouse, Visions - that never received much attention in jazz circles. Nevertheless, fans of this sound will find The Best of Grant Green, Vol. 2 to be a delight – there are a lot of wonderfully funky, dense grooves on here, and many of the songs have been out of print since their original issue. Hard bop fans will not reconsider their negative opinion of this music based on this compilation, but acid-jazz, groove, and hip-hop fans will find this disc to be an excellent addition to their Grant Green collection.