2-CD set of the complete and unedited concert recorded from the soundboard and mixed by the Peter Gabriel engineering team. These professionally mastered and manufactured CDs (NOT CD-Rs) are packaged in cardboard mini (LP-style) gatefold sleeves that add to the bootleg look and feel.
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.
German soprano Dorothea Herbert submerged herself into the quietness we’ve all encountered during the COVID lockdowns. Society became to a full stop, an of course tragic time but also one that offered introspection. Die stille Stadt gives musical expression to that and became an album with a radiating program consisting of music by the unfortunately still underrated Alma Mahler, two breathtaking song cycles by Erich Korngold (including the famous aria ‘Glück, das mir verblieb’ from Die tote Stadt), completed by a selection of very powerful and illustrative songs by Franz Schreker.
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…