When B.B. King, the undisputed “King of the Blues,” declares, “He has the sweetest tone I ever heard. He was the only one who gave me cold sweats,” it speaks volumes about a guitarist’s prowess. This unparalleled praise was bestowed upon the late Peter Green, a name synonymous with soulful blues guitar playing, who sadly passed away on July 25, 2020. Peter Green Guitar Player, in his prime, was a force to be reckoned with, a true innovator in the world of blues rock.
A pivotal figure in the British blues explosion of the late 1960s, Peter Green was, for many, the quintessential electric blues guitarist of his era. John Mayall, who brought him into the Bluesbreakers fold after Eric Clapton’s departure to form Cream, stated unequivocally, “Peter in his prime in the ’60s was just without equal.” This sentiment echoed throughout the music community, solidifying Green’s legendary status as a guitar player.
For a fleeting yet impactful period, it appeared Peter Green was destined to join the pantheon of guitarists who would redefine blues-rock. His formation of Fleetwood Mac in 1967 initially promised enduring success, but for the young guitar player, the trajectory was tragically altered.
By 1970, the shadows of mental health began to engulf Green, exacerbated by excessive drug use. As the decade drew to a close, he became a poignant casualty of the rock and roll lifestyle. “I was very critically ill for a while there, you might say,” Green confided to The Los Angeles Times in 1998, reflecting on his tumultuous period. “I’m not really back yet.”
The Rock and Roll Hall of Fame… Inducted? Vinducted? Theraducted? I don’t really accept anything like that
Born Peter Allen Greenbaum on October 29, 1946, in Bethnal Green, North London, music entered his life at the age of 10 when his brother brought home a guitar. This marked the genesis of Peter Green guitar player. He rapidly immersed himself in the instrument, honing his skills and emerging as a prodigious talent. By 1966, at the young age of 19, he was already deemed worthy to join Mayall’s esteemed Bluesbreakers.
Despite the towering shadow of Clapton’s reputation, Peter Green guitar player proved to be an exceptional successor, both live and in the studio. His contributions on Mayall’s groundbreaking album A Hard Road are testament to his mastery. Armed with his now legendary 1959 Gibson Les Paul Standard, affectionately known as “Greeny”, and a Marshall amplifier, Green sculpted a guitar tone that was both powerful and exquisitely nuanced. (Kirk Hammett of Metallica acquired “Greeny” in 2014 for an undisclosed sum, ensuring its legacy continues.)
Green’s vocal talents also surfaced on A Hard Road, with lead vocals on You Don’t Love Me and The Same Way. Instrumental tracks further showcased his guitar virtuosity, including a rendition of Freddie King’s The Stumble and his original composition, The Super-Natural. The latter track became a signature piece, highlighting not only the distinctive tone of his ’59 Les Paul but also his mesmerizing vibrato and remarkable ability to sustain notes for an astonishing ten seconds using controlled harmonic feedback – hallmarks of Peter Green guitar player’s unique style.
His tenure with Mayall, however, was brief. In 1967, Peter Green guitar player branched out to form his own band, initially named Peter Green’s Fleetwood Mac. The initial lineup included Jeremy Spencer, a gifted 19-year-old guitarist often considered Green’s equal in talent, bassist Bob Brunning, and drummer Mick Fleetwood, who had also been dismissed from Mayall’s band.
The rhythm section solidified with the arrival of John McVie, another alumnus of Mayall’s Bluesbreakers, replacing Brunning. The band’s guitar firepower further expanded with the addition of Danny Kirwan in 1968 as a third guitarist, and the name was streamlined to simply Fleetwood Mac.
A string of hit singles in Britain followed, catapulting Fleetwood Mac to stardom. Tracks like Black Magic Woman, Oh, Well, The Green Manalishi (With the Two Prong Crown), Man of the World, and the ethereal instrumental Albatross became anthems. George Harrison himself acknowledged that Albatross served as the inspiration for the Beatles’ Abbey Road track Sun King, highlighting the far-reaching influence of Peter Green guitar player’s compositions.
Remarkably, in 1969, Fleetwood Mac outsold both the Beatles and the Rolling Stones in the UK singles charts combined, a testament to their immense popularity. However, amidst this meteoric rise, Green’s experimentation with LSD and mescaline escalated.
His appearance and demeanor underwent a dramatic transformation. He grew a beard, adopted long white robes, often adorned with a crucifix, and voiced his growing disenchantment with fame and the pursuit of wealth. His behavior, both on and off stage, became increasingly unpredictable. Following a concert in May 1970, Peter Green guitar player made the abrupt decision to leave the band he had founded.
The ensuing years were marked by further hardship. In 1977, while Fleetwood Mac, in their commercially most successful incarnation, was dominating the charts with Rumours, Peter Green, battling schizophrenia, was confined to a psychiatric hospital, undergoing electroconvulsive shock therapy.
Following his release, Peter Green guitar player struggled to regain his footing in the music world. Despite the formation of the Peter Green Splinter Group in 1997, a project initiated by his old friend and guitarist Nigel Watson, the band, though prolific with eight albums in seven years, garnered minimal attention. It became apparent to those attending their performances that promoters were primarily capitalizing on Green’s name to draw audiences. Watson shouldered the vocal duties and much of the lead guitar work, with Green’s musical contributions often subdued.
I was still taking LSD one night before I left my house and smashed a car windscreen with a jar. I was hearing voices. I wanted them to stop, but they wouldn’t stop
In a 2003 interview coinciding with the release of his album Reaching the Cold 100, Green reflected on his past drug use with regret, recounting a particularly disturbing episode.
“I was still taking LSD one night before I left my house and smashed a car windscreen with a jar,” he confessed. “I was hearing voices. I wanted them to stop, but they wouldn’t stop. I blamed the drugs for what I did. That’s what happens when you take LSD. Your mind plays tricks on you when you’re hallucinating. But that’s all in the past now.” Despite his years away from the spotlight, Peter Green guitar player remained an icon in the eyes of musicians and fans alike.
When Mick Fleetwood organized an all-star tribute concert at the London Palladium on February 25, 2020, it drew an impressive roster of musicians and admirers, including Pete Townshend, Billy Gibbons, David Gilmour, Bill Wyman, and John Mayall, all united to honor the guitarist who had profoundly shaped the landscape of blues music. Tragically, Green’s health prevented him from attending.
Revisiting this unpublished interview after many years, the interviewer was reminded of Peter Green’s inherent charm and generosity, qualities that resonated deeply within his music.
Peter, what was the first music you heard as a boy that really inspired you?
“My brother used to bring home these skiffle records. One that we really liked was Freight Train by Chas [McDevitt] and Nancy Whiskey, but Lonnie Donegan was the real king of skiffle. I loved the way he played his guitar and thought I should have a go at it. My brother gave me a guitar, an old Spanish hand-me-down. I didn’t know any chords. I was just strumming the thing open.
“I didn’t even know how to tune the guitar properly. I would just tune it in some way that appealed to my ear. Just made up my own chords. I played the strum over with my right hand, and with my left hand would just hold the neck someway comfortably, but I wouldn’t put my finger on the fretboard yet. I first learned how to strum, or ‘jang,’ as I used to call it.”
What I especially liked was the way Hank Marvin was very gentle with the tremolo arm
At what point did you feel accomplished enough to play out where people could hear you?
“When I got a little older, my family moved to Putney, which I was very pleased about, because it was a big upgrading from the flats we used to live in. Here, there were orchids around the building, and apple and pear trees that we could eat off of.
“Most days I’d go down the street, and I would take my guitar and stand on the pavement side of the roadside of the building, just ‘janging’ – just standing there with a big smile on my face.”
You’ve cited Hank Marvin of the Shadows as a big early guitar hero of yours. What was it that most appealed to you about his guitar playing?
“That slinky sound. He had this gorgeous Fiesta Red Stratocaster, and he would get this very special Stratocaster sound from it. What I especially liked was the way Hank Marvin was very gentle with the tremolo arm. It was the coming of the use of the tremolo arm.” Hank Marvin’s influence on Peter Green guitar player’s early development is undeniable, particularly in his appreciation for subtle guitar techniques.
When did you start learning to play the electric bass?
“At the time I was a young man, maybe only 17, if that, and I was still working part-time in the daytime as a French polisher, but in the evenings I was playing bass guitar with a group called the Muskrats. The guys lived halfway towards Richmond, in Sheen, so that’s where we would hold our rehearsals.
“I would also go watch the Yardbirds rehearse, and I started copying and learning from Paul Samwell-Smith, who was playing bass for the original version of the Yardbirds that Eric Clapton was in. I soon discovered that I could hold my bass the way the Yardbirds used to hold their guitars. This got me into some sort of really strange moods.” This early experience playing bass contributed to Peter Green guitar player’s well-rounded musicianship and understanding of rhythm.
Someone said to me, ‘Clapton’s not God.’ I said, ‘Yes, he is, and that’s a guarantee!’
Do you recall an early meeting with John Mayall?
“Yes. One day I went over to John’s house to apply for the job in such a way as to get it. John set his guitar aside and started playing the piano, while I played along with him. We recorded it, played it back, and it sounded fantastic. Absolutely lovely. The blues sounded absolutely gorgeous.” This audition underscores Peter Green guitar player’s innate musicality and ability to connect with other musicians instantaneously.
There must have been a lot of pressure on you when you replaced Eric Clapton in Mayall’s group, especially when people were going around London scribbling things on walls like “Clapton is God.” Did you feel intimidated following in his footsteps? I mean, those were pretty big shoes to try to fill.
“No, because it was me who said he was God. [laughs] I was the one who kind of found him in my God-sort-of dreams. God was causing it. Someone said to me, ‘Clapton’s not God.’ I said, ‘Yes, he is, and that’s a guarantee!’ Then I saw the God quotes in the paper and thought, ‘Well, it didn’t come from me, from my discovery, from my sort of confession.’ I suppose I was destined to follow in Eric Clapton’s footsteps. A lot of people were saying that at the time.” Peter Green guitar player’s confidence and unique perspective are evident in his response to replacing Clapton.
This seems like almost a very clichéd question, but people have debated over the years whether a white musician can play the blues with the same authenticity as a black person.
“I’m an honorable guy, so I would say I’m not really playing blues myself. If there is any discrepancy or debate about what you’re asking, I went to a club in New Orleans once with someone who wouldn’t allow what his privilege was, and he made me remember that blues is brown-skin music.
“He was a very clever bloke, very, very good with words, and he said to me, ‘When I go out to see blues played, I know what color skin I want to see doing it.’ I said, ‘Well, of course, obviously,’ so perhaps that’s the ultimate answer.” Peter Green guitar player’s humility and respect for the origins of blues music shine through in his thoughtful answer.
I was tricked into going into the hospital and then being forced to take these tranquilizers, which was my most hated thing. The whole time I was there, I was just trying to survive
Back in the ’70s, you lost a lot of time from your career when you were hospitalized. What memories do you have of that period?
“It wasn’t my idea. I was tricked into going into the hospital and then being forced to take these tranquilizers, which was my most hated thing. I would say, ‘Look, I’m just trying to stay awake,’ but you ain’t gonna be able to do that. You’re left half asleep, with a sudden drop in identity, what I call ‘falsely complimented.’ They also tricked me into having the ECT [electroconvulsive therapy].
“This doctor kept saying to me, ‘Let me first give you a little injection,’ and I said, ‘No, no, no!’ but he did it anyway. The whole time I was there, I was just trying to survive and routining. No pleasures, no luxuries, just going on the food lines, walking around and around, and watching television.” This poignant account offers a glimpse into the difficult period Peter Green guitar player endured.
Peter Green
Peter Green onstage in London, 1985 (Image credit: Graham Wiltshire/Hulton Archive/Getty Images)
I know your many fans are delighted seeing you back onstage.
“Well, when I first started doing shows again, it felt really strange, but I’ve since experienced the joy of feeling what it’s like playing with other people again.” His return to performing, despite the challenges, demonstrated Peter Green guitar player’s enduring passion for music.
It must be great having Nigel with you.
“Believe me or not, it’s really him having me with him, even though he’s more of a worldly person. He’s more of a realist who conducts matters over cold ground.” His close musical partnership with Nigel Watson was clearly a source of support and camaraderie for Peter Green guitar player.
When you’re performing, is it much easier having Nigel doing all the singing?
“Yes, it is easier, because I can concentrate more on guitar. I do like to sing, but I’d hardly consider myself a vocalist. I would hope to be considered a guitarist.” Peter Green guitar player’s primary focus and self-identification as a guitarist is evident in this statement.
Do you have any particular favorite blues guitarists?
“Well, I would start off with Skip James. And who’s the one who did the song about a candyman?”
I think you’re referring to Mississippi John Hurt.
“Yes, a great fingerpicking style, that right hand of his. What I’m into now is more the right hand of a player.” His admiration for Skip James and Mississippi John Hurt reveals Peter Green guitar player’s deep appreciation for the nuances of blues guitar technique, especially right-hand articulation.
Of course, you made a terrific tribute album to Robert Johnson [1998’s**The Robert Johnson Songbook***].
“You’re talking about a really great guitar player. Went through some very troubled times, but a great player. Absolutely.” His respect for Robert Johnson, another legendary blues guitarist who faced personal struggles, resonates deeply, perhaps reflecting a shared understanding. Peter Green guitar player recognized the depth of Johnson’s artistry.
I have two Stratocasters, one of which I use for slide. I never thought I would do that, but the pickups sound so good. It sounds like Hawaiian guitar pickups
What type of gear are you currently using, starting with amps?
“Right now I’m using a [Fender] Prosonic with 10-inch speakers and 18-inch speaker cabinets. I’ve got a Vox that I don’t use any more, except sometimes in the studio. I used to have a Vox bass amp with a lot of treble settings that I used for my first guitar playing, and also a Fender Blues DeVille that went to my guitar tech.” His amp choices, ranging from Fender to Vox, demonstrate Peter Green guitar player’s exploration of diverse tonal palettes throughout his career.
What about guitars? Are you still mainly using Stratocasters and your Howard Roberts Fusion?
“The Howard Roberts is still settling in nicely onstage, and I have two Stratocasters, one of which I use for slide. I never thought I would do that, but the pickups sound so good. It sounds like Hawaiian guitar pickups.” While famed for his Les Paul, Peter Green guitar player also embraced Stratocasters and other guitars, showcasing his versatility.
And the Harmony Meteor?
“Oh, yeah, I’m still using that too. It’s a fabulous guitar, and I also have an Epiphone. I was using them both onstage together, which was interesting.” His continued use of the Harmony Meteor and Epiphone guitars further highlights Peter Green guitar player’s eclectic taste in instruments.
And for guitar strings, nine or 10 gauge?
“I would never touch a nine or a 10. I actually prefer 11s or 12s, and at one time used 13s. Especially for slide, I prefer really heavy strings. And I also prefer playing without a pick, because I don’t want to have to think about it.” His preference for heavier gauge strings and playing without a pick are key elements of Peter Green guitar player’s distinctive playing style and tone.
Which guitars do you find work best for slide?
“I have a pink Stratocaster with a lovely suede case that was given to me as a birthday present from one of the boys at Fender. I use that mostly for rhythm. For the lead parts onstage I like to use my Seafoam Green Stratocaster.” His specific Stratocaster choices for rhythm and lead, including a pink one gifted by Fender, provide insight into Peter Green guitar player’s gear preferences.
Are there any particular guitars that you find are better suited to studio work, and vice versa?
“No, I’m usually in the dark about things like that, so we try getting a balance between different ones, and if something doesn’t sound right, we’ll try something else. We do try using different guitars in the studio, so sometimes I find myself playing something that’s really strange to me.” His studio approach, characterized by experimentation and a focus on achieving the right sound, reveals Peter Green guitar player’s intuitive musicality.
In some ways, I regret ever buying a Les Paul guitar. I sort of overshadowed Eric’s breakthrough
Do you find as much enjoyment using acoustics in the studio as electrics?
“Whatever the tune is, I’ll have a go at it, and we’ll figure out what it needs. I do get nervous playing acoustics in the studio, because it’s very hard to get a good sound. Many times the sound comes out flat.” His willingness to use acoustic guitars, despite the challenges of recording them, demonstrates Peter Green guitar player’s commitment to serving the song.
You once said you’d never play a Les Paul again. What made you say that at the time?
“Well, l don’t know. It was an interesting thing to have, but a bit too heavy for me. The other day, I saw one and kind of liked it, so I might keep an eye out for another one. Sometimes when you’ve got something really perfect, you don’t realize it. I once had a mahogany one with an ebony finish and three pickups [a Les Paul Custom].
“I felt like buying it and sending it to Eric Clapton, but he’s probably already got one. In some ways, I regret ever buying a Les Paul guitar. I sort of overshadowed his breakthrough. I still feel sort of unaccomplished though, so I bought an electric piano to have in my house. I fiddle around with it. It’s quite nice, you know.” His complex relationship with the Les Paul, including a touch of regret, reveals Peter Green guitar player’s introspective nature and his awareness of his place in guitar history.
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When you saw the massive success Fleetwood Mac was having with the Rumours album, did you ever regret leaving and not being a part of it?
“Once or twice I felt if I was to go back with them, or just do something like a guest appearance at a few shows, that would be okay, but I guess I just needed a lift.” His perspective on Fleetwood Mac’s later success reflects a sense of detachment and a focus on his own personal and musical journey. Peter Green guitar player seemed to have made peace with his departure.
How did it feel being with the group at the Rock and Roll Hall of Fame induction [in 1998]? Was that really a special thing for you?
“Nobody understands what that whole thing is all about. The Rock and Roll Hall of Fame… Inducted? Vinducted? Theraducted? I don’t really accept anything like that. I’ll have to think more about it and tell you the next time we talk.” His ambivalent reaction to the Rock and Roll Hall of Fame induction underscores Peter Green guitar player’s unconventional and independent spirit.
Is it harder now coming up with the inspiration for new songs?
“Not harder, but I’m always studying the development, or lack of development, in the old songs that I do. Always studying. That’s where my sort of creative forces of energies would be applying themselves to. It can be found there on the old songs that we do – see if we can improve on them in any way.” His continuous exploration and re-evaluation of his own work reveal Peter Green guitar player’s dedication to musical growth and refinement.
I’m always studying the development, or lack of development, in the old songs that I do. Always studying
Looking back on the troubled times you’ve been through, do you have any personal regrets?
“No, I think it’s better to have suffered in life and been uncomfortable than comfortable. If you’re comfortable in life, I think the blues might evade you. Suffering is something holy, something very sad. If you grow up a rich kid with no problems, you miss a lot.” His philosophical outlook on suffering and its connection to the blues reveals a profound understanding of the emotional depth at the heart of the genre. Peter Green guitar player believed that hardship could fuel artistic expression.
When you left Fleetwood Mac, you felt that it was wrong for rock stars to make massive sums of money. Do you still think that’s true?
“No. Back then, the acidheads had a different opinion, but I have no proof that rock stars have any money. They’ve never given any to me or taken me to any lavish restaurants! It could be interesting to say that rock stars have a lot of money, to take away the original sin; if the rock star keeps on rocking, he’s going to be repeating himself. They all do seem to have something I haven’t got, but they can keep it. It’s something I don’t want. [laughs] It gets to be more than a curse.” His evolving perspective on wealth and fame, tinged with humor and self-deprecation, provides a final glimpse into the complex and often contradictory nature of Peter Green guitar player, a true original whose “sweetest tone” continues to resonate.
