An accurate reflection of the time

Peter Green was NOT happy with Chess studios. He was "angry" in his own words. Many of the Chicago bluesmen that the Mac idolized were not so fond of the Mac either. And, it shows on this record.

Much of the music is horrendously out of tune. Honeyboy Edwards especially refused to tune. But, so did supposedly great producer Willie Dixon. Buddy Guy appeared on one uninspired track and left.

Yet, there is some terrific music here among the crud. Otis Spann, one of the greatest bluesmen ever, shines. He seemed to be among the few locals who appreciated what the Mac were trying to do. A few months later, he cut an album in NY with the band that is one of the most stunning blues albums I've ever heard. Otis became a fan of Peter Green's, reciprocating a love Green himself had for Otis' deeply emotional, flowing work. Later, Christine McVie carried Otis' influence into the more "popular" version of the Mac. Her piano playing was always heavily influenced by Otis.

Even amid the rather lackluster playing by the other bluesmen, Otis' playing stands out...from the background!

But, there is an even stranger aspect to this recording. Jeremy Spencer, whose renditions of Elmore James songs seem to rankle so many Mac fans, was in his glory. Although people accused him of mockery, Jeremy truly loved Elmore James' music. On this recording he had the opportunity to play his versions of EJ with Elmo's own sax player, the great JT Brown. And, the tracks featuring the pettite slidemeister with the old vet are absolutely the highlight of the set. Jeremy was so obviously ecstatic and humbled to play with JT that the glee oozes from the recording.

This is not a "Peter Green" highlight. This is Jeremy Spencer and Otis Spann in Chicago. Jeremy in ecstasy and Otis simply saving what could easily have been a nightmare with his incredible empathy and compassion. No crap from Otis. Too bad the other bluesmen couldn't get past their "We'z the blues" arrogance and Peter Green couldn't get past his anger at their attitude. Both show on this set.

McCrap

Save your $$ for some real blues. (See Wolf, Muddy, Hooker, etc.)



This album proves the general rule, which has virtually no exceptions: White guys can't sing the blues. (See Eric Clapton, Paul Butterfield, Mike Bloomfield, Johnny Winter, etc., etc.) Peter Green is just an awful blues vocalist. He's got knowledge, but he ain't got the soul. There's one thing to live the life and sing the blues; there's another to study the records and sing the blues. And boy, does it show here. So, given the fact that he's the lead vocalist on almost all of the tracks, this make the album torturous. As proof, I offer the two tracks sung by Otis Spann and J.T. Brown. That's the blues.



It's also clear, as another reviewer pointed out, that the Chess artists are none to happy to "collaborate" on this album. The uneasy feeling between Mac and the Chess artists is palpable. This is not always the case. (See the Wolf London Seessions.)



Do yourself a favor. Take a pass on this one.

Nice for Mac fans, not so much for blues lovers

Saying "white folks can't sing blues" is as patently racist (and wrong) as saying black people can't sing country. You have to take the evidence on a case for case basis.



The recorded evidence here shows that sometimes the singing is too clipped and mannered to make good blues ("Watch Out","Like it This Way") but at others it's more relaxed and works well ("Ooh Baby","I'm Worried"). Of the 3 Fleetwood Mac vocalists, Jeremy Spencer is the most frequently convincing.



Most of the time the tunes never really are allowed to open up and burn, instrumentally OR vocally. This is true of both the Mac players, and most of the blues legends they're collaborating with.



Shakey Horton sounds anemic on "South Indiana (2nd take)" and "Last Night". "Red Hot Jam" just ISN'T..despite the presence of Honeyboy Edwards, Green, Buddy Guy, Willie Dixon AND Shakey Horton all on the track. There's never the sort of frantic guitar interplay you'd imagine from such an assemblage. On "Someday Soon Baby", it's leaden drumming from Mick Fleetwood that sinks it;Danny Kirwan's overly stiff vocal ruins "Like It This Way".



Another thing that will detract from this package for all but the most ardent Mac fans is the consistent use of false starts and studio chatter to lead off and finish up tracks.This might have been better either removed, or left at the end as "bonus tracks" to allow for a better listening experience.



The standouts here usually feature Otis Spann, who does several impassioned vocals and adds some wonderful piano (particularly on "World's in a Tangle") or Jeremy Spencer, who pours stinging slide into the mix on his idol Elmore James' "I'm Worried" and "I Can't Hold Out", along with credible vocals.



BOTTOM LINE:

I've heard worse blues albums, but then again, I've heard many that are better (from white AND black performers). This one is really only for rabid fans of the Mac, not blues aficionados in general.