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. The 15 tracks on The Best Of The Peter Green Splinter Group, comprising the best material from the five Splinter Group albums, provide the perfect reintroduction to the man who has inspired a generation of guitarists and blues lovers alike. In addition to the 15 tracks highlighting the best of Peter Green's renaissance, the package includes a special bonus disc revisiting five classic tracks from Green's early career.

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.

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…

Released in 1968, Mr. Wonderful is the second album by the British blues-rock band, Fleetwood Mac. This all-blues album was broadly similar to their debut album, albeit with some changes to personnel and recording method. The album was recorded live in the studio with miked amplifiers and PA system, rather than plugged into the board…

Peter Green was a great talent but put out very erratic records, and never recaptured the brilliance of his best work with the early Fleetwood Mac. This compilation, though drawing from both solo and Fleetwood Mac recordings, is far from the best way to sample or even gain some appreciation for his music…

Recorded in London in January 1968 with three members of the early lineup of Fleetwood Mac (the one that played blues, not pop/rock): Peter Green (guitar), John McVie (bass), and Mick Fleetwood (drums). It's an adequate setting for Boyd's straight Chicago piano blues, going heavier on the slow-to-mid-tempo numbers than the high-spirited ones, though Green is a far more sympathetic accompanist than the rhythm section.

A substantial (and official) supplement to the band's recorded legacy with Peter Green, this double CD features 36 songs broadcast between 1967 and 1971, in mostly superlative sound. The title, though, isn't 100 percent accurate; half a dozen tracks were recorded shortly after Green left the band, and since Green is still listed as part of the lineup for all but one of these in the liner notes, Castle Communications either has the dates or personnel wrong…

Peter Green's Fleetwood Mac formed in London in 1967 by guitarist Peter Green, drummer Mick Fleetwood and guitarist Jeremy Spencer, with bassist John McVie completing the line-up for their self-titled debut album, Fleetwood Mac began as a very different beast to the one they would become by the mid-1970s. Danny Kirwan joined as third guitarist in 1968 and keyboardist Christine Perfect, who contributed as a session musician from the second album, married John McVie and joined in 1970. Primarily a British blues band initially, they scored a UK number one with Albatross , and had lesser hits with the singles Oh Well and Black Magic Woman , the latter successfully covered by Santana. All three guitarists left in succession during the early 1970s, changing the sound of the group quite dramatically.