A Tribute To PETER GREEN

Original released on Double CD + Blu-Ray BMG CAT 454 TCD

(EU 2021, April 30)

JOHN MAYALL: "The Turning Point"

Original released on LP Polydor 583.571

(UK, October 1969)

This prophetically titled project represents yet another crossroad in John Mayall's ever evolving cast of prime British bluesmen. This album also signifies a distinct departure from the decibel-drowning electrified offerings of his previous efforts, providing instead an exceedingly more folk- and roots-based confab. The specific lineup featured here is conspicuous in its absence of a lead guitarist, primarily due to Mayall recommending himself out of his most recent string man. After the passing of Brian Jones, the Rolling Stones decided to tour and at the behest of Mick Jagger, Mayall suggested Mick Taylor - who had been with him since "Crusade" (1967). Mayall gave this potentially negative situation a positive outcome by retooling the combo into an acoustic quartet featuring old friends as well as some vital new sonic textures. Mayall (vocals/harmonica/slide guitar/telecaster six-string/hand & mouth percussion) joined forces with former associates Steve Thompson (bass) and Johnny Almond (tenor & alto sax/flute/mouth percussion), then added the talents of Jon Mark (acoustic finger-style guitar). It becomes readily apparent that Mark's precision and tasteful improvisational skills place this incarnation into heady spaces. The taut interaction and wafting solos punctuating "So Hard to Share" exemplify the controlled intensity of Mayall's prior electrified outings. Likewise, Mark's intricate acoustics pierce through the growl of Mayall's haunting slide guitar solos on "Saw Mill Gulch Road." "The Turning Point" also examines a shift in Mayall's writing. The politically charged "Laws Must Change," the personal "I'm Gonna Fight for You J.B." and the incomparable "Room to Move" are tinged with Mayall's trademark sense of irony and aural imagery. (Lindsay Planer in AllMusic)

JOHN MAYALL: "Bare Wires"

Original released on LP Decca SKL 4945

(UK 1968, June 21)

"Bare Wires" was the first Bluesbreakers album of new studio material since "A Hard Road", released 16 months before. In that time, the band had turned over entirely, expanding to become a septet. Mayall's musical conception had also expanded - the album began with a 23-minute "Bare Wires Suite," which included more jazz influences than usual and featured introspective lyrics. In retrospect, all of this is a bit indulgent, but at the time it helped Mayall out of what had come to seem a blues straitjacket (although he would eventually return to a strict blues approach). It isn't surprising that he dropped the "Bluesbreakers" name after this release. The album was Mayall's most successful ever in the U.K., hitting number three. (William Ruhlmann in AllMusic)

JOHN MAYALL: "The Blues Alone"

Original released on LP Ace Of Clubs SCL 1243

(UK, November 1967)

With a release coming only two months after "Crusade", "The Blues Alone", the first Mayall "solo" album (i.e. without The Bluesbreakers), was John Mayall's third album of 1967, or fourth, if you count the various artists compilation "Raw Blues". Like "Raw Blues", it was released initially on Decca's discount Ace of Clubs label to distinguish it from a regular Mayall album, although the distinction has been lost over time. It was actually recorded prior to "Crusade" on May 1, 1967. Mayall played and overdubbed all instruments except drums, which were handled by Bluesbreaker Keef Hartley, which was one way of dealing with his ongoing personnel difficulties (by this time, his bassist, John McVie, had left to join Fleetwood Mac). It also served notice that, despite his band being a spawning ground for several British stars by now, the real star of the group was its leader. But it didn't quite prove that, since Mayall, while certainly competent on harmonica, keyboards, and guitars, doesn't display the flair of an Eric Clapton or Peter Green, and the overdubbing, as is so often the case, robs the recording of any real sense of interplay. ("The Blues Alone" hit #24 in the U.K. and #128 in the U.S.) (William Ruhlmann in AllMusic)

JOHN MAYALL's BLUESBREAKERS: Crusade

Original released on LP Decca SKL 4890

(UK 1967, September 1)

The final album of an (unintentional) trilogy, "Crusade" is most notable for the appearance of a very young, pre-Rolling Stones Mick Taylor on lead guitar. Taylor's performance is indeed the highlight, just as Eric Clapton and Peter Green's playing was on the previous album. The centerpiece of the album is a beautiful instrumental by Taylor titled "Snowy Wood," which, while wholly original, seems to combine both Green and Clapton's influence with great style and sensibility. The rest of the record, while very enjoyable, is standard blues-rock fare of the day, but somewhat behind the then-progressive flavor of 1967. Mayall, while being one of the great bandleaders of London, simply wasn't really the frontman that the group needed so desperately, especially then. Nevertheless, "Crusade" is important listening for Mick Taylor aficionados. (Matthew Greenwald in AllMusic)

JOHN MAYALL's BLUESBREAKERS: "A Hard Road"

Original released on LP Decca SKL 4853

(UK 1967, February 17)

Eric Clapton is usually thought of as John Mayall's most important right-hand man, but the case could also be made for his successor, Peter Green. The future Fleetwood Mac founder leaves a strong stamp on his only album with the Bluesbreakers, singing a few tracks and writing a couple, including the devastating instrumental "Supernatural." Green's use of thick sustain on this track clearly pointed the way to his use of guitar riffs with elongated, slithery tones on Fleetwood Mac's "Albatross" and "Black Magic Woman," as well as anticipating some aspects of Carlos Santana's style. Mayall acquits himself fairly well on this mostly original set (with occasional guest horns), though some of the material is fairly mundane. Highlights include the uncharacteristically rambunctious "Leaping Christine" and the cover of Freddie King's "Someday After a While (You'll Be Sorry)." (Richie Unterberger in AllMusic)

MAYALL & CLAPTON's Blues Breakers

Original Released on LP Decca LK 4804 (mono) 

(UK 1966, July 22)

Rarely has any single record album induced such a shift in popular music. "Blues Breakers With Eric Clapton" not only catapulted Clapton to the helm of the burgeoning British blues-rock scene, it likewise made significant noise on the other side of the Atlantic - where the blues had literally been born, bred, and buttered. In addition to John Mayall (guitar/vocals) and Eric Clapton (guitar/vocals), this incarnation of the Blues Breakers utilises the talents of John McVie (bass) and Hughie Flint (drums). As a combo, this band was able to reinvent the American blues for a fresh audience whose ultimate response would give rise to subgenres such as heavy metal and other roots-related rock. While their contributions prove immeasurable, they are likewise sadly eclipsed by that of Clapton. In retrospect - unlike many of the other revolutionary changes occurring in pop music circa the mid-60s--the Blues Breakers are infinitely more subtle in their attack. Their most obvious weapon is the advantage of documenting in-the-studio material from their live performance set. Clapton needed precious little time to gestate the blues. His ability to express himself is uncanny, as if he were a man twice - if not three times - his age. The passionate inflections and unforgettable impressions Clapton makes upon these grooves swiftly catapulted him into both international exposure as well as legendary guitar rock idol status. "Blues Breakers with Eric Clapton" is an invaluable touchstone into primordial pre-metal rock & roll. (Lindsay Planer, All Music Guide)

JOHN MAYALL: "Blues From Laurel Canyon"

Original released on LP Decca SKL 4972

(UK, November 1968)

Mayall's first post-Bluesbreakers album saw the man returning to his roots after the jazz/blues fusion that was "Bare Wires". "Blues from Laurel Canyon" is a blues album, through and through. Testimony to this is the fact that there's a guitar solo only 50 seconds into the opening track. Indeed, Mayall dispersed the entire brass section for "Blues from Laurel Canyon", and instead chose the solid but relatively limited backing of Mick Taylor (guitar), Colin Allen (drums), and Stephen Thompson (bass). Instantly, it is apparent that John Mayall hasn't lost his touch with the blues. "Vacation," the album's opener, reminds one exactly why this artist is so celebrated for his songwriting ability. The staggering Mick Taylor (here still in his teens) truly proves his worth as a blues guitarist, while Steve Thompson (also in his late teens) works superbly with one of the genre's most interesting drummers, Colin Allen. "Blues from Laurel Canyon" is as unerring as "Bluesbreakers with Eric Clapton", and equally as musically interesting. Not only is this one of the finest John Mayall albums, it is also a highlight in the blues genus. (Ben Davies in AllMusic)