This is my Peter Green story. I met Peter in 1969 at the olld Boston T Party club on Berkley Street in Boston. My brother Stanley and I went to almost every show at that club. We saw Led Zeppelin, BB King, Buddy Guy, Jeff Beck with Rod Stewart, Jethro Tull and almost every other Blues man and band that was touring back them. I was a 19 year old fledging guitarist and the inspiration that poured out of that club on any given night of the week was unbelievable and I feel so fortunate that we got to see so many of the greats playing live in a small 300 seat club but seeing Fleetwood Mac in 1969 on their first tour changed my life. I had heard almost all the great guitar players of that era and most of the white guys were not as impressive to me as the originals cats like BB King, Albert King, Freddy King etc. But then came Peter Green. It was the first time I ever heard a Sunburst Les Paul and in fact I went out the very next day and bought one just like his for $500. Today they are worth $250K, I wish I hadn’t sold mine on one broke Christmas in 1981. but that's a different story. Fleetwood Mac floored me. Their groove, their authenticity and the contrast between Jeremy Spencer’s imitation of Elmore James to Peter’s more deep meaningful songs. Well except for a few like “Rattlesnake Shake” which we all know is about wanking off. Peter did have a great sense of humor. I" I aint pretty and my legs are thin" When Fleetwood Mac finished their set, my brother and I were walking through the club right by Peter who was on his way to his dressing room. My brother, boldly said, "hey Peter my brother has a Les Paul too”. (I actually had a 52 Gold top at that time). Peter turned to us and said, “hey why don't you guys come to our hotel we’re having a party”. So, we followed Peter and ended up with a few other people in his room. We talked music and guitars and through that we had a connection. Fleetwood Mac played in Boston a bunch of times and every time they came, I would hang out with Peter. One time he and I went to see BB King play and he ended up sitting in. After the show we were back stage and BB turned to me and said, " no one plays me as authentically as Peter”. I never forgot that. Another time I was standing in the audience watching Fleetwood Mac and standing next to me was Carlos Santana. Carlos was a huge fan of Peters and that might have been the moment he heard Black Magic Woman for the first time. I like to think so anyway. After Peter quit Fleetwood Mac, I called him in London and asked him if he wanted to come over for a visit and to play music with my band, The Act. We were living in a house in the middle of the woods in South Berwick Maine. I figured it was a long shot but he said sure. I couldn’t believe he said yes. A few weeks later I picked up Peter, his suitcase, his Sunburst Les Paul and his Fender six string Bass at Boston’s Logan Airport and drove him up to Maine. My memory is vague at how long he stayed with us but it might have been a month. I do remember a few days after he came that we found out that Jimi Hendrix died, so that would put him there on September 18, 1970. I remember him looking stunned and very saddened. He told me that a few days before he was in London hanging out with Jimi. Every day we would get up and play very long one chord jams with Peter leading the way. I think I played three notes over and over and just listened to him. I can see him now twisting his mustache as he was contemplating life. I also remember one morning he was sitting on the house steps with his Les Paul jamming with the birds. Not the Byrd’s, the real birds in the trees. We did one or two gigs with him, one being at the newer Boston T Party on Lansdown st. . I actually have two tapes of Peter playing with us, one from the house in Maine and one from that Gig at the T Party. For some reason I’ve never played them for anyone. Peter had a female friend who was going to Goddard College in Vermont and he eventually left Maine and headed up there. Where he went from there I never found out.. Peter's guitar playing did not reply on tricks or fancy licks or runs. Every note he played was connected to his heart. He economical, soulful, authentic and he played with dynamics and pure fire. He would then turn on his super sweet and sensitive side as in his song Albatross. He was a very thoughtful, deep, sweet, funny and open person and his playing was exactly who he was as a person and that is a rare thing find in a musician. I am deeply saddened at his passing. I hope he went peacefully for he was a peaceful soul. I will miss him but am thankful that I got to know him just a little. Oh Well! in 1972 Peters good friend and band mate Nigel Watson came over to Boston and lived with me for a year. Peter lent him two guitars to take with him, A 56 or 57 Strat and a Dobro. I believe oe of these was the Resonater and the old Start you mention in this video. I have pictures I coul send you if you want to see the guitars in my house in 1972
@@JackMackband I remember hearing about Jack Mack & The Heart Attack back around 1982...don't know if it was a NYE special or something on MTV. A band like Southside Johnny and the Asbury Jukes. That's what I remember.
Without a doubt my favorite British blues player. In terms of emotion, dynamics, etc he is unsurpassed in my humble opinion. There was absolutely no separation between Peter and his guitar, it was simply connected to his soul and psyche. Fantastic video by the way, very informative keep it up!
Agreed, but it's not just his guitar playing. Green's voice carried the same blues that his guitar did. Yet his face always seemed to have a huge smile. Hard to fathom what was goin' on in that noggin of his!
Weird Old Uncle Kenny Should have mentioned that! Absolutely agreed! My favorite voice as well. The live if you let me love you gives me chills every time, same with I’ve got a mind to give up living... pure shivers. The man really meant what he was doing.... always wondered myself what was going through his head.
One of the best blues guitarists of all tine, a true visionary and inspiration. Admired by fans and fellow musicians alike, BB King once said that Green was the one who made him sweat. He was able to play with great sensitivity and authority combinig both with astonishing ease. A natural born mystic who has left us with a great musical legacy spanning some 50 years. If music be the food of life , then play on!!!! Peter Green a true original.
What I learned is, don't take LSD!!!! Mushrooms are much better if you want that experience. Imagine how different his life would have been without the freak out trip in Germany.
In the early sixties l saw John Mayall’s Blues Beakers with Pete playing the ‘Harmony Meteor’ many times at the Bromley Court Hotel, Bromley Kent. What a great atmosphere in the that small venue. ln later years l had the pleasure of talking to Pete when our band were supporting Fleetwood Mac in London. What a guitarist he is. l bought my first band electric organ (a Vox Continental ) from the owner of ‘Orange’ at his parents house in ‘67? Brilliant band years of the 60’s 70’s.
@@TheGuitarShow Don't wish too hard, my friend! The years sneak up pretty damned quick. Be happy with your genuinely Old Soul. The Music will keep you young at heart.
@@larrygeetar9309 ,very well-put! Good advice, I seem to have lost the "spark under my ass"! But people that are "around" my age, that continue to jam with their pals give me some encouragement to get off my ass and dance, boy! At 63, I try to listen to my own advice, which is a challenge at times. "As long as you have a musical instrument(guitar) you're never alone" 10-Q, L.G.!
We used to say that if you could see silver circles in the center of the speakers through the grill cloth of Fender amplifiers then you were looking at JBL speakers . In this video when he is talking about if the speakers were JBL speakers in the cabinet @9:04 you'll notice on the top speaker the silver circle shining through the grill cloth in the photo , In the Fender amps this was the upgraded speaker if I remember correctly it usually was $100.00 difference from the base price , and I think that was per speaker in the Fender Showman & Dual Showman . They were 15" speaker cabinets . I played through the Fender Blackface Bandmaster and the later in Blackface Bassman head with 2-12 close back cabinet. Great tone
Excellent video !!!! 2 things ~ #1 ....The Marshall block logo half stack was a JTM45 ( 36 watts) . # 2 ~ You can get the out of phase sound by reversing the magnet ( north to south ) or clockwise / counter clockwise ....no magic wiring. By doing this to either the neck or bridge pickup....you will have the out of phase sound in the middle position with both volumes on full.
When I lived in London just over a decade ago I used to get my guitarv worked on by a guy who had a workshop in a big secure lock up in an industrial complex. A lot of the big bands would store their equiptment there when not out touring. All the gear was in these areas like jail cells so you could see into them and spot the bands names stencilled on the flight cases etc. Right next to the guitar techs workshop was a cage full of just guitars in cases, Bass's, mandolins, Banjos, and amps with no stencilled identification. I asked the tech who owned the gear and he said it belonged to Peter Green, every so often Peter would drop by and leave another guitar or other that he had just purchased.
The broken neck on Green's Les Paul was repaired by Richard Bartram of Bartram Guitars, Littleport, Cambs. He was doing work for Chandler's at the time. He has a photo of the guitar sans strings on his bench after it was fixed.
Great video! Thx. I saw Greenie's Fleetwood Mac one nite in 1968 at Bill graham's Fillmore West in SF. It was quite by accident by 1968 I had stopped attending the Fillmore and the Avalon and those kind of venues. I was singing and playing guitar in a blues band at the time. I was into BB King who I had seen live several times in those days. My friend convinced me to go to Fill W that nite. It was Butterfield Blues band (all new lineup) and Fleetwood Mac. I only knew Greenie from Mayall's "Hasrd Road" which I had listened to several times. I thought of Green as a kinds of "Clapton" type. So I didn't know the trends had been changing and I figgered that Fleetwood Mac was a kind o Peter Green version of Cream! Ha ha. Wow! Was I surprised! Here was a young man with a chromed vintage Les Paul. I dunno how he achieved that perfect chromed body effect. Did he take it to a metallurgist? Someone mentioned something about "chrome foil?" Mebbe you can tell me. Here was a young man who came out and sang and played very much like BB King! I was a Greenie Freak from the moment. I began listening to the records when they came out and adding some of Macs tunes to our set list. I even learned slide that week and we started doin f Elmore James tunes. Btw in 1968 I had to go to a hardware store and have them cut me off and piece of conduit to get a slide! No Guitar Center walls of slides then! No brass, steel, chromed, steel, glass, beveled glass, blue tinted beveled and non-beveled glass, glass bottles...haha I went back to see the Mac the following year which was actually Jan 1970. saw the Orange amps. they had acquired Danny Kirwan and the were doing "Green Manalishi" and "Albatross" That was when I first heard Greenie use a great reverb as an effect a la Black magic woman solo. He would play a chorus with a big, wide, warm tone and then click on the reverb.
out of phase can be done magnetically or electrically and it's the same thing. The repair was done on a record player to rewind the coils and it was wound the opposite way making it electrically out of phase with the bridge pickup only when both pickups on and both volumes at 10. Roll one volume down a bit and it actually gets louder because they are less out of phase causing less low end cancellation.
Fun story on the great Peter Green, thanks. I remember listening to 'Fleetwood Mac In Chicago' with my dad. He was enamoured with Peter Green's playing and his singing voice. I wore that record out and bought him the CD version. He said 'Peter doesn't sound as good on CD...! So I found him another vinyl copy! What was I thinking buying a vinyl diehard a CD???
In the two live vids I've seen (BBC 'Oh Well' and the Norwegian TV clip) Peter Green got excellent tones from his Fender amps. His guitar had so much bite and snarl at times (bridge pickup) and great fluid bluesy tone from the neck pickup and the amps really brought it out. Great vid here. Thanks for posting this.
I saw them in Austin,Tx. in 1970, and all three guitarists were playing through Fender Dual Showman amplifiers. If you look at the pictures of Peter's Les Paul he had the pickup height set extremely low on the treble side with it corresponding high on the bass side of the strings. RIP Danny Kirwan, a brilliant guitarist who complemented Mr. Green perfectly and had the best vibrato technique I have ever heard.
My fave guitarist to come out of the UK (and I love a number of them). Someone once said in comparing the two, that Clapton was a rock guitarist who played blues, while Green was a blues player who played rock. I can't argue with that.
Thank you for this video, which obviously took considerable research. Peter Green is one of my favorite guitar players, especially blues guitar - probably my favorite blues guitar player out of the UK. Eric Clapton also said he thought "Greenie" was the best UK guitar player back in the day (Hendrix was from Seattle). Green played the notes that needed to be played, and knew what to leave out, so his music would "breathe". The Fleetwood Mac blues band are still one of my favorite jamming tracks, although playing like Green takes a Maestro's touch.
wozzlepop Agreed, I remember reading somewhere different variation of the story, that when a guitarist was missing, John Mayall asked the audience if there was someone who could step in, and Peter Green came forward. Wasn’t this story on some LP cover?
Otis Rush I was told played a Epiphone Riviera with out of phase pickups. I was told this by Larry Craig . He brought this up cause my Riviera has out of phase pick ups .
Flipping the magnet on a humbucker or reversing the winding orientation (deliberately facilitated on more modern pickups) on one or other pickup achieves the same out-of-phase tone when used in conjunction with the other, normally phased pickup. I've tried it for comparison on pickups wired for switchable phase orientation. Out-of-phase on Srat-type guitar is achievable with wiring mods to the five-position switch only, because of the 'slug' magnets. I discovered the magnet- flip effect after rebuilding and repotting a humbucker and putting the magnet back with it's poles reversed. Edit;- Looking at some old footage with good close up shots it appears that the neck pickup may have deliberately been refitted upside down at some point, as the pole screws are on the bridge side of the pickup. This may have been an attempt to effectively alter the magnet orientation, I'm obviously not sure as to just why this may have been done, unless a replacemen bridge pickup was fitted for some reason. Fitting the pickup like this whatever the reason, would require a longer lead as the original lead in either case would be too short, hence the grey wire.
Very nice presentation. I recall that GP PG cover story from '97 or so that revisited the LP showing up at Hamer's shop. Seems like the wiring looked stock but they used a compass to discover the neck pups magnet was flipped.
Great video! Love Peter's tone! If you dig the Boston Tea Party stuff, Shrine '69 is a really nice recording also. Killer tones on that gig too. Thanks again, very cool info. 👍👍👍
A very good video for guitar and amp junkies. A small clarification if I may -- at 8:53, the amps in the photo appear to be a Deluxe Reverb (20W, 1-12" spkr) on the left, and a Twin Reverb (100W, 2-12") on the right.Definition on this screen isn[t sufficient to determine whether either amp has the aluminum trim around the speaker baffle, which was a feature on the first iteration of the silverface amp line. I have a 1969 Twin Reverb, according to transformer and pot date codes, but it has the original, aluminum-trimmed baffle. Fender was notorious for using up any parts remaining from previous models on their replacements. At 9:02, the photo shows a late-1969 or later SF Twin Reverb atop a Dual showman cabinet, as you say. The badge in the lower right corner of the twin indicates JBLs. An easier method is to notice the aluminum dustcaps on the 12" and 15" speakers. That feature was exclusive to the D-120F, D-140F, and D-150F JBLs. The 120 was 12" (in the Twins), the 140 a 15" guitar speaker (in the Showman/Dual Showman), and the 150 a 15" bass speaker. The 'F' suffix denoted Fender exclusive use. The only difference between the Showman and Dual Showman was the output transformer, because the Showman used a single 15" at 8 ohms, while the Dual Showman used two 15" in parallel for an impedance of 4 ohms. The cabinet in the photo referenced is definitely a two-15". Single 15" cabinets were the same size, but mounted the single speaker in a different configuration, using a second baffle behind the front baffle. The front baffle had an aluminum 'tone ring' which extended about two inches behind the front baffle, leaving a gap to the baffle on which the speaker was mounted. The Tremolux amps were never equipped with reverb. The Tremolux amps were discontinued at the end of the blackface amp era. The amplifier heads which incorporated reverb did not arrive until the early 70s, and were pretty much limited to the Bandmaster (or Band-Master) Reverb and Showman/Dual Showman Reverb models. Fender had made stand-alone reverb units in brown, blonde, and black vinyl coverings from about 1962 through the late 60s/early 70s. Off-topic -- Ted Nugent has used Fender Super Twins with 2-12s, atop Dual Showman-sized 2-15 cabinets. Twin Reverbs are rated at about 85W, while Super Twins are rated by CBS Fender as being 180W. Super Twins are NOT missed.
@@TheGuitarShow Hank Marvin and The Shadows were to those British guitar aces as The Ventures were in America. Thousands of guitar players in The States and bands were influenced by The Ventures. At their induction to the Rock & Roll HOF, John Fogerty called them the band that launched a thousand bands. I was one of those teenagers and can attest to the power The Ventures in the early 60's. They were the standard by which all instrumental rock bands were judged.
@greenmean1 I'm from the UK and my old man had the Shadows and The Who on tape in the 70's. I lived in Egypt between the age of 6 and 10 and and remember the Shadows playing everywhere, especially Apache. I still remember that blaring out while I sat on one of those coin operated stationary motorcycles that rock back and forth making noises lol.
I played lead for Peter Green in 1985 ,the Ghanaian in his “fugu “ robe playing blues when Peters nails were too long for him to play ! I hope he’s ok at his place in Richmond
@Kari Bannerman Strange, I have your name listed as Alfred Bannerman... What happened? By the way, thanks for having tried to help him out and you guys did make nice music ( I have the Frankfurt december 13 1984 show)
Thanks so much, i'm a Peter Green junkie, to me him and Danny were the best to come out of England. Shed pickups are as good as they get for Reverse Wound, now I just ordered a set of Wizz Reverse wound, and waiting to put them in my Replica 59, and I think that the Thro-baks for magnet flip are the best of the Flip magnet only. I prefer the Reverse wound.
Yeah the Wizz makes some fantastic pups........I have a Vintage brand Peter Green Lemon burst..its kinda heavy but other than that its really nice but needs some top shelf pups....Wizzer's are pricey but well worth it Probably between them,Lollar Imps or maybe some A2's from Onamac Windery....Alright Johnny
@@paulcowart3174 I have a set of Quiesence pups by Skatterbrane (now unobtainium). These are A5 neck and A2 bridge, both 7.8k. I flipped the neck magnet and the result is as close to Greeny's sound as you are likely to get. Maybe the A5 with its extra bit of cut does it but no other combination I've tried quite gets it.
Before there was the Brown Sound there was the Green Sound huh? Every time I watch an old Mac performance on CZcams I end up wondering why Danny Kirwin is not a name that is far more well known among guitarists. Pups and switching etc? I have tried most configs. The one I like best is not out of phase Green style. It's having the neck pup split and mixing with the bridge in humbucking mode. It adds a little noise, but makes the neck pup fat but still bright, which then gets blended to taste with the aggression of the bridge pup using the pots.
Danny Kirwin was just as good as Peter was, but Peter was obsessed with Clapton. I have bootlegs of him I think from '66, and his solos all sound like Eric. Unfortunately Danny had a horrible downfall just as bad as Peter did, I don't remember what happened but he ended homeless and alcoholic in a homeless shelter. WAY underappreciated for sure.
Kirwan was never in Peter's league. Ever. I saw them live 6 times - and every time Peter was the clear star of the show. Peter's technique, feel, and vibrato were amongst the greatest of all time.Green, at his best ('66 - '70), was one of the very greatest 'feel' guitarists of all time. Kirwan was a good foil for Peter, but never his equal.
@@petegilgan6217 I have to agree with you. Danny became a great guitar player, and a good compliment to Green's playing (distinctly different), but Green was the best blues/rock player to come out of the UK back in the day. Eric Clapton himself said "Greenie was the best". Green learned to play like Clapton, because he replaced him in John Mayall's band - that's why Dave Stephens gas bootlegs of him playing like Eric. But Green listened to all the blues greats, like the other UK guitar players did, and people like Otis Rush, the Kings, etc., all influenced his playing.
I seem to recall in that Jol Danzig interview, Jol stating that the neck humbucker being magnetically out of phase (flipped magnet) and he said that this sounds different than just wiring pickups electrically out of phase. I've had other people insist that there's no difference between the methods.
special human, vast legacy, Mississippi runnin through his blood, coming to rest on canvey island, essex, the thames delta. btw cool to see the upside of the youtube platform as a timeless reference point on display, and a little elbow grease from the goose. I hope you are a content content creator at the moment; mysterious,intense artists need good advocates/jouralists as their scribes.
Pete was using a Les Paul with a Marshall amp with Peter B's looners prior to joining John Mayall. And Pete would have been far too modest to claim " I can play better than that " to John Mayall. Pete was living upstairs from Mayall in West End Lane and they saw a lot of each other. It took him about a year in the Bluesbreakers before it was generally agreed that he had surpassed Clapton. A great post anyway.
ray chappell. John Mayall said that as well in a video interview, that a young Peter was rather "cocky," "cheeky" and insistent, said he could do better than the poor Clapton replacement on stage. So Mayall let him play, and Peter didn't disappoint. Straight from Mayall's mouth. He also said a young Peter was a force to be reckoned with. He knew his stuff.
ray chappell what album is it evidence that Green surpasses Clapton? I would like to listen to this album. I've always been impressed with Clapton's playing on the Beano album, I even prefer it to Cream.
Mark70609. Hard to make comparisons, but I think Peter Green distinguished himself from the start. Check him out with Mayall, Mick Fleetwood, John McVie the summer before he started Fleetwwood Mac. A 2-CD set of live club stuff. Just came out. Peter was dynamite. His part: all guitar, no vocals. His fills were beyond compare. Wicked blues phrasing and rhythm chops. He's in prime form. Clapton had brilliance, Peter had soul. Two different styles.
I flipped the magnet on my L.P and it sounds great for Peter Green style solo's. Pickup manufacturers charge a fortune for their 'Peter Green modded pickups' - its fairly easy to do yourself if your handy with a screwdriver . 🎸👍
I think there's some parts missing to the story of the LP pickup. In the early 70's I worked at a recording studio at 19 Gerrard St, Soho, London, which was two doors away from Sam Li's workshop. I remember speaking to someone from there once (not Sam unfortunately) who said that Peter's guitar was repaired there (not the neck break) and the pickup refitted. I figured out that the sound was the same as 'out of phase' (this was before it became much of a thing) because of work I was experimenting with in the studio. Later I tried to do the same to an SG by taking out the neck pickup and rewiring it. First up, this is not a job that involves simply swapping wires over. One side is connected to the metal work so you have to desolder, seperate and resolder them, so not a job that could be done accidentally. And this method works as we all know now. Most modern pickups are wired so as to give you more choice in switching (single coil, phase etc). But the if PG's pickup had been disassembled and rewired, as it looks in the photo, then the phase trick could have happened accidentally, equally, the magnet(s) could have been reversed too (with respect to the other pickup). Funnily enough, my efforts with the SG hum bucker looked exactly like the photo with the grey wire coming out of it. I wired it back in with a push-pull pot switch to switch it in or out of phase. I remember it was a tricky bit of wiring because of the earthing situation! Interestingly, in recent years I've had the opportunity to play some genuine 59/60 Les Pauls and some of them have a very similar sound to PG's guitar, with the right volume/tone and pick up selection. Anyway, just my two bob's worth.
I think Throbak have it right. One coil was rewound using formvar and probably reverse wound (using a record player) putting it out of phase with itself. He then got it back with a grumble from Green and flipped the start/finish leads putting it back in phase.. but left the middle position out of phase by accidentally (almost not, in fact the out of phase thing was long since established as a popular mod) reinstalling the magnet the wrong way round. Incredibly, the exact same repair was done to Kossoff's burst. Probably both done by the same person (Sam Li). Both guitars have a totally unique honk and sweet highs that made all those amazing records..
At time stamp 9:04, Those speaker cabinets are Fender Showman, with 2 JBL 15 inch speakers, (note the silver speaker cones), 1967, or older grill cloth. In 1968 CBS changed the grill cloth to the ones like the Twin Reverb amps sitting on top of the cabinets. By the way, you could also get Bandmaster, with 2 Jensen, or Utah 12 inch speakers, with 1 port, or non ported. The Showmen were deeper cabinets than the Bandmasters. Bandmasters were also available in a half height model, sporting JBL (the most $75.00) Jensen (Mid price $35.00 each, & black paper cones), or Utah (student priced, $15.00 each, also black paper cones). These half height cabs also had fold out metal legs, so you could tilt the cabinets to point 45 degrees up.
Great video, as always!! A Dual Showman is nothing else than a Twin Reverb (head only). Love the JBLs loaded 2x15 Fender cabs! They sound great with every amp. (I currently use a JTM45 style amp with mine).
Later I found out he used a black Gibson Howard Roberts Fusion into a tweed Fender Blues Deville. I played that combo for years, before I realized that Peter Green used it too.
Great Post. Inspired me to share my experience of trial and error in search of the holy OOP. The Peter Green LP is the most book-worthy of all LP's ever made. The reason is the sound/tone contradiction and the mythology/misinformation surrounding the facts. I wish the man himself could remember more about this most wonderful mistake or maybe PG intended all the variants i.e. P/UP height bias towards the treble strings. P.UP screws facing away from neck and of course the magnet flipped to create Destructive Interference or Out Of Phase (OOP) From my research the PG OOP is only truthfully achieved magnetically (Zeemen law of physics) and NOT electronically (Stark Law of physics)+ turning the Neck p/up around contributes to the (OOP) sound because the p/up screws will be further from the neck producing a less thick/jazz tone (as a complete sidenote, one utuber occasionally removes the screws completely from humbucker to create a singlecoil!) and finally the magnet flip or is it rotation? I had to keep experimenting with the aforementioned (3x), even thinking I had flipped/rotated the bar magnet successfully, when in fact I hadn’t! Eventually I found the opposite poles, and there is no doubt when you get it right! NB Stark effect- the splitting of spectral lines observed when the radiating atoms, ions, or molecules are subjected to a strong electric field discovered by a German physicist, Johannes Stark (1913). The analogue of the Zeeman effect i.e., the magnetic splitting of spectral lines Pieter Zeeman (1865-1943) However, the 5k CustomShop Gibson LP1 Peter Green/Gary Moore Signature model was ONLY electronically wired OOP!!- reason it was cheaper on labour/materials/time in assembly rather than to honour the original MAGNETIC OOP!!! PG also had his p/up height with the screws very close to the thin/high GBE strings and far away from the thick EAD, again it's all about turning a overweight Harley into an off-roader or a one-trick pony into something that could be a counterpoint Kiwin's LP! BB King’s use of the Gibson Variatone, an electronic frequency cutting switch unit, that incrementally removes frequencies, thus electronically emulating the magnetic OOP. I believe this to be the sonic DNA lineage of the PG magnetic OOP! Then you need to "cook" to find the magic. I have the vol of the bridge p/up on 8 and the neck on 6. Its all about imbalance and dissonance. Play with the tone controls if you wish, but basically the main objective is to use the 2 vol controls to get the 2 p/ups to work against each other for dominance to achieve what I describe as the sound of the air in the hollow-chocolate-easter egg that you POP into!! However according to the Haynes guitar manual - If you want the bridge and neck pickups to be out-of-phase with each other when the switch is in the center position, and your pickup has 4 conductors (red, white, green, and black), then swap the locations of the green and black wires for ONE pickup, not both. That means that if the Green wire of the bridge pickup is soldered to Ground and the Black is connected to the tab on the volume pot, put the Black wire on the Ground connection and the Green wire on the tab of the pot. The Haynes les paul manual says the the best way to get the 'hollowness' is to flip the magnet (out of phase) reverse the pickup in it's surround (semi phase corrected) and then reverse the green and black wires to wire it out of phase again. e.g. 1 - magnet swap (out of phase) The magnetic poles of those bar magnets are the long sides, not the ends like you might guess. You flip them over so that the long edges reverse 2 - pickup reversal (back in phase, kinda) - semi phase corrected 3 - wiring the ground and hot in the opposite to normal places (out of phase again) I tried all this without any effect! Ellis from Hamer wrote, “Dantzig recalled that Gary Moore stopped by the factory in the early Eighties with Green’s Les Paul. “‘I asked if I could check out the wiring,’ remembered Dantzig, ‘and I carefully examined the pickups and their controls. Everything looked totally stock-the pickups were wired in phase-but I knew they didn’t sound stock when played together. “‘The I used a compass to measure the pickups’ magnetic polarity. I discovered that one magnet was oriented north-to-south while the other was oriented south-to-north. The pickups were Magnetically out of phase-this was the secret we’d all been searching for!’ “Dantzig agreed to incorporate magnetically out-of-phase pickups and reverse the neck pickup in the custom Hamer,” Ellis continued. “I sent a pair of Antiquity humbuckers to Seymour Duncan, requesting that he flip the magnet on one. Before I could explain why, Duncan said, ‘Ahh-you want the Peter Green mod.’” So did the wiring replicate Green’s nasal tone? The answer, Ellis said, was an unequivocal yes. “In a dual-pickup setting where each humbucker has its own volume pot, you can bleed the relative phase shift to create timbres ranging from a piercing howl to a subtle treble boost.” But as Ellis points out, the resulting tone ISN'T the same that you get from WIRING humbuckers out of phase. It seems that MAGNETICALLY out-of-phase pickups are responsive to pitch, creating an entirely different sort of sound. “Oddly, the resulting sound is sweeter and more musical than what you get from WIRING humbuckers out of phase,” Ellis writes. “MAGNETICALLY generated phase shift seems to respond to pitch changes-the higher the note, the more pronounced the effect. Chords and bass notes don’t have the thin, shrill sound of out-of-phase wiring, yet high notes played on the top strings have a pronounced hollow cry.” On a spiritual sidenote if you watched/listened to Spencer’s account of returning from the Munich house of horrors. He describes in the original doc (now edited!!) PG and DK comatosed on the back seat of the car with entities morphing in and out of them. czcams.com/video/wux6pzqKH9E/video.html Both subsequently suffered and were “treated? for mental health problems, which I believe was actually demonic infestation and NOT the industry politically correct cited LSD fallout. czcams.com/video/2_DBR-1h1Hs/video.html Listen to what DK said to a friend about the Munich/Black magick event czcams.com/video/uzUCH4Hcjjo/video.html According to the Boston Tea party concerts. PG states Green Manalishi is about the devil and not greenback/money as purported by misinfo industry publicist Keith Altham! Though J Spencer appeared in the photo on the single cover sleeve, Spencer is thought not to have been present at the recording sessions, though he was present when Green was recording the eerie howling noises heard at the end of the song, according to an interview with Spencer on the barred Part 10 of the BBC Peter Green documentary DVD, "Man of the World".re- during the banshee-type whailings of Manalishi's recording in an underground carpark, Spencer recalls seeing entities coming out of the speakers! PG also went onto to say that he believed some guitars are cursed! Is this the real reason after a LORRY crashed into the car boot that contained the PG LP- resulting in Gary's facial scars and the broken PG neck/headstock that GMoore sold it on to no other than Ouji-Kirke/Metallica who interestingly asked J Page whether he should buy the PG no 1 ! GM left millions in his estate-so it wasn't about needing cash! So what did the previous 2 owners have to say about this LP. PG- "It was a fuddy old guitar with a tree trunk for a neck" PG in recent years said he would never use a LP again because they are too Parisian! GM- " Not as easy to play, more effort required" J Hendrix used this PG LP upside down at a Mac gig at the Marquee in late 60's on New Years Eve and played Auld Lang Syne! www.vintageguitar.com/22223/peter-green/ www.timesofisrael.com/the-last-blues-of-peter-green/
Godspeed Peter, One of the greatest guitar player's . And that silver wire could be the braided cord out of the pickup. If you think about a strat with the middle pickup rwrp.when in pos. 2 an 4 giving you that out of phase sound ,flipping one of the magnets in the pickup would give you that sound.🙏🎸🎸
At one stage he used a 59 Fender Bassman combo with the 4 10 inch speakers--however one speaker was deliberately left unconnected. What that contributed to the resulting tone was evidently worth the finagling.
Sad loss all years we lost when he was ill great blues player one off another one gone always sounded great made many kids pick up the guitar to play rip pete always be remembered 👍
I remember that Peter Green solo on "Supernatural" on the Mayall "Hard Road" LP. At the time rock was still growing and the trends that came then came in a linear fashion at least, here in northern California At that time guitarists everywhere were experimenting with sustaining notes using feedback. "Supernatural" was the solo that killed the "feedback" trip. Like at about the time the noserider surfboards killed noseriding in surfing, after "Supernatural's" beautiful, fat, sure long tones and spectacular pan shifts discouraged any further efforts! I still think that masterful solo is unsurpassed in feedback. )
I was at a gig in Woolwich, S E. London. They were using an old beaten up, well used, bunch of amps. They had a break, and swapped the old stuff for a bunch of brand new Orange gear.
Saw Fleetwood Mac at one of the boat clubs in Nottingham, probably the Britannia in late 68 I think, remember snow on the ground He was playing through an Orange amp and cab. I'm sure Matamp made the Orange amps. back then.
Peter also owned a 1952 Gibson Les Paul Gold top. The guitar was given to him by Eric Clapton. Green gave it to Duster Bennett in the late 1960's and eventually it ended up with Top Topham who I think still owns it.
A little off topic, but the pickup selector on Jeremy Spencer's '58 Strat was a factory option at that time and he came across it when wondering around an Oakland guitar warehouse with Peter and Jerry Garcia...
I've seen recent photos of Peter playing a G&L ASAT Special. Greg Koch has said that one of the reasons so many Tele players switched to late '50s LPs was that they sounded like "fat Teles". The humbuckers were underwound relative to modern LPs. The ASAT Special uses higher output Tele pickups, so you could almost say that the ASAT Special was Leo Fender's approach to "hotter" tele pickups with less noise (but not noiseless.)
In about 1973 ,I was mucking about with my 66 sg standard and turned the pickup around ,to get more treble from the front pickup ,then when running both ,in the middle position ,I got that lower volume out of phase sound. Then I discovered you could get the same sound by just putting the bar magnet in the opposite way .You can get the same sound by doing either of these two things.
The grey wire could have been soldered on to the original windings for some weird reason. The fact that there was no concrete mention of the bobbin wires being original is also suspect. Any tech worth his/her salt would have known the right type AWG 22 copper, formvar or? that would have been used originally. The turning around of the neck pickup so that the pole pieces are closer to the neck pickup would lessen the bass response but also accentuate the out-of-phase effect between the two as well as being magnetically out of phase because the magnet was flipped. It's funny how a lot of people try that setup on Lp's to try to sound like Peter, but that sound was from his soul, heart, head and fingers.
As a Fender employee I had the privilege of serving Peter and hanging out with him from 1998 to 2004, his Splinter group years. Peter told me many stories during this time including the reason why his Les Paul neck pickup was installed “out of phase”. Apparently he sent it off to be repaired( I can’t remember what he told me the problem was) and it came back with the pickup placed the wrong way round. This is what he told me and he chuckled at the out of phase legend that grew around a mistake.
So the polarity can be flipped either magnetically or when the pickup was re wound they reversed the polarity , seeing the grey wire that is probably what happened . Flipping the polarity magnetically and electronically sounds the same .
Different sound depending on electric/magnetic. Over 20 years ago i found instructions online on how to “peter green” my les paul. It worked. You dont have to flip the pickup itsself. You open the pickup and roll the magnet like a hotdog (not an end to end flip) close it up and you’ve got the out of phase green sound when you spilt pickups.
@@ryanodonnell4184 So you are flipping the phase magnetically by turning the magnet putting it out of phase with the other pickup . When I had some strat pickups with a plastic bobbin that you could pull the magnets out and install them either way , north or south , I experimented and found that flipping the phase magnetically or , electronically on the coil sounded the same .
From what I've gathered is the wire was Formvar, and not 42 gauge wire that was ome that Gibson used. If anybody knows what amps that were used at Chess Record Session I would like to know, you can tell they were Fender Combos don't know if they were Twin Reverb or Deluxe Reverbs and they were Silver face.
Well thats another myth I've not heard before. Don't believe anything you read on forums, there are so many "experts" there just parroting what someone else said, what someone else said, etc. etc. I have wound a test bucker with heavy formvar for neck position, it was awful, in 42 gauge, and also a single coil Charlie Christian replica in 38 gauge because all the internet resources say the CC pickup was 38 heavy formvar. The pickup was incredibly muddy. So, I bought a real CC pickup, and yes the wire was 38 gauge but was actually plain enamel, huge difference. If it was rewound with 43 gauge formvar, the DC resistance would be extremely high, because 43 gauge has more resistance per foot, so that idea falls apart right there too. Plain enamel was the "norm" for magnet wire, if you went to a radio electronics store.
The 60's Fender Dual Showman amp does not have reverb. Take a close look at Greens neck pickup. It looks to me as if it's upside down. The exposed poles are on the bottom which is reversed. Looks as if he or a tech flipped the pickup over.
No-one will believe this, but.... In the late 1970's I lived in a small town called Whitton, near Twickenham in west London. I was 17 or 18, recently started playing guitar, and needed an amp. I saw an ad in our local newspaper for a Marshall head (I think it was 50W, but may have been a 100), which was my ultimate dream at the time, on sale for the princely sum of £45. I rang the number in the ad - a lady answered and it transpired that she lived just round the corner from my house. I went round that afternoon to see the amp, which had an extra knob on the front panel - the lady explained that she was selling it for her son who was in hospital at the time, and all she knew was the extra knob made it louder. Long story short, I bought the amp, and as I was leaving she said 'I hope you enjoy it - my son loved it but says he doesn't want it any more - you might have heard of him, his name's Peter Green from Fleetwood Mac.' That extra knob was a custom overdrive and man, did it sound good. Of course, being a pig-ignorant teenager I knew the name Fleetwood Mac but had never heard of Peter or his history, and never appreciated what I had. I sold the amp a year or so later to buy some other insignificant bit of kit, and have regretted it to this day. Oh for a time machine!
Man, that's gotta be the ultimate guitar gear seller's remorse story! You poor bastard. I don't feel so bad now having sold my 1970 Strat or vintage Super Reverb.
It is achievable. What you are hearing is tube driven plate reverb. You can search here on CZcams to find out what a real one sounds like from that era. Thats his bridge pickup, and he is standing facing the amp up close to get the sustaining feedback. That is also easy to do, its just a matter of volume and standing in the right space and room. But this is the sound of a real PAF, and not some modern handwound "bucker," they are not remotely the same. Your average humbucker has NOTHING in it that is identical to whats in a vintage PAF. I have nearly 20 years of research into that subject and have been published in several books and magazines, writing on my experience in true science-based reverse engineering. You would be rather shocked if you ever play an original PAF, they are very bright and biting in person. On my channel I have a handful of original PAF buckers installed in my guitars and compare them to my work, if you want to hear what originals really sound like. The sound on Supernatural is not a document, its an audio engineer's art form. Treble is EQ'd to be less edgy, the plate reverb itself adds its own EQ. These recordings were done on all tube studio gear, analog tape, microphones that don't exist anymore, speakers that can't be reproduced fully, and amps that had no master volumes, no gain, no pedals.
Re: Peter Green Mod. I experimented over the years since seeing Greenie live in 1968 at Fillmore west SF and I found that I got the best results from; take the neck pickup out flip the magnet END OVER END, put the pickup back in backwards to get that squawky Peter Green tone. My favorite Greenie tone was the "Mr Wonderful" flat response recording with the horns. Still love that. 1968 I had only a lowly 1954 Strat which I got for free. I know now that this was a travesty or a tragedy but In order to get the Greenie tone I had humbuckers installed I it and a 6 position switch from the Gibson Varitone used on the ES 345 and ES 355. This was before silicon chips. In order for the Varitone to work it required 2 large bars as transformer install in the back next to the whammy bar springs. If that wasn't heavy enuf before it was really heavy now! I would put the switch on # 5 and get that BB "Blues is king" sound. )
Further to what has already been mentioned in the video, Peter Green's biographer Martin Celmins mentions that Peter also owned a two pickup Dallas Tuxedo electric which is shown on the footage of the recorded 'Man Of The World' at The Beat Club circa '69/'70? I owned a used Dallas Tuxedo some years ago and they were a very early UK electric model, arguably being among the first UK production electric guitars. A pretty basic single cutaway 'student' guitar made from one piece of wood with no truss rod either! Really sweet-sounding pickups though. Seem to recall another was found in an attic where John Lennon stayed in his early years as well, which later was sold at a Beatles memorabilia auction. ... One further observation for the PG enthusiasts. ... When the early Fleetwood Mac with Bob Brunning on bass played at the '67 Windsor Jazz and Blues festival, Peter Green had covered his Sunburst Les Paul in black fablon, a sticky-backed plastic-like covering material sold in rolls which some households used to overlay kitchen table tops and the like. If you look back at the festival pic in the video, the guitar looks somewhat 'black' and when asked at a later gig elsewhere as to why (?) Peter told him he had covered it because he thought Sunburst Les Pauls were getting a bit too common and wanted something different-looking.
I saw Greenie's Mac at Fillmore West in SF in 1968. Greeny was playing a LP with a chromed body!!! I thought it was a cool take on Les Pauls which were played by all the greats at that time and a cool statement about pop culture and US motorcycle culture But I wondered how he chromed the body which is made of wood but later I heard that chrome strips were available...he may have done that on his 1959 "lemon drop" I went to see Greenie's Mac the following year. This time Danny Kirwan was in the band and all played thru Orange amps. I heard "Albatross" and "Green Manalishi" which Greeny announced was "About Devils" Devil worship was beginning to become a trend in England at that time. Greeny used to use reverb as an "effect" so he would switch it on and off: play dry for a chorus and click it on and play wet for a chorus as in the studio version of "Black Magic Woman"
I can´t remember where, but at a point in time I have read an interview with PG, where he stated that Albatros was recorded directly into a mixing desk.
Peter Green was not only a superb guitarist, but also a great blues singer and composer. We all miss him very much.
So true Jake
This is my Peter Green story.
I met Peter in 1969 at the olld Boston T Party club on Berkley Street in Boston. My brother Stanley and I went to almost every show at that club. We saw Led Zeppelin, BB King, Buddy Guy, Jeff Beck with Rod Stewart, Jethro Tull and almost every other Blues man and band that was touring back them. I was a 19 year old fledging guitarist and the inspiration that poured out of that club on any given night of the week was unbelievable and I feel so fortunate that we got to see so many of the greats playing live in a small 300 seat club but seeing Fleetwood Mac in 1969 on their first tour changed my life.
I had heard almost all the great guitar players of that era and most of the white guys were not as impressive to me as the originals cats like BB King, Albert King, Freddy King etc. But then came Peter Green. It was the first time I ever heard a Sunburst Les Paul and in fact I went out the very next day and bought one just like his for $500. Today they are worth $250K, I wish I hadn’t sold mine on one broke Christmas in 1981. but that's a different story. Fleetwood Mac floored me. Their groove, their authenticity and the contrast between Jeremy Spencer’s imitation of Elmore James to Peter’s more deep meaningful songs. Well except for a few like “Rattlesnake Shake” which we all know is about wanking off. Peter did have a great sense of humor.
I" I aint pretty and my legs are thin"
When Fleetwood Mac finished their set, my brother and I were walking through the club right by Peter who was on his way to his dressing room. My brother, boldly said, "hey Peter my brother has a Les Paul too”. (I actually had a 52 Gold top at that time). Peter turned to us and said, “hey why don't you guys come to our hotel we’re having a party”. So, we followed Peter and ended up with a few other people in his room. We talked music and guitars and through that we had a connection.
Fleetwood Mac played in Boston a bunch of times and every time they came, I would hang out with Peter. One time he and I went to see BB King play and he ended up sitting in. After the show we were back stage and BB turned to me and said, " no one plays me as authentically as Peter”. I never forgot that. Another time I was standing in the audience watching Fleetwood Mac and standing next to me was Carlos Santana. Carlos was a huge fan of Peters and that might have been the moment he heard Black Magic Woman for the first time. I like to think so anyway.
After Peter quit Fleetwood Mac, I called him in London and asked him if he wanted to come over for a visit and to play music with my band, The Act. We were living in a house in the middle of the woods in South Berwick Maine. I figured it was a long shot but he said sure. I couldn’t believe he said yes. A few weeks later I picked up Peter, his suitcase, his Sunburst Les Paul and his Fender six string Bass at Boston’s Logan Airport and drove him up to Maine. My memory is vague at how long he stayed with us but it might have been a month. I do remember a few days after he came that we found out that Jimi Hendrix died, so that would put him there on September 18, 1970. I remember him looking stunned and very saddened. He told me that a few days before he was in London hanging out with Jimi.
Every day we would get up and play very long one chord jams with Peter leading the way. I think I played three notes over and over and just listened to him. I can see him now twisting his mustache as he was contemplating life. I also remember one morning he was sitting on the house steps with his Les Paul jamming with the birds. Not the Byrd’s, the real birds in the trees. We did one or two gigs with him, one being at the newer Boston T Party on Lansdown st. . I actually have two tapes of Peter playing with us, one from the house in Maine and one from that Gig at the T Party. For some reason I’ve never played them for anyone. Peter had a female friend who was going to Goddard College in Vermont and he eventually left Maine and headed up there. Where he went from there I never found out..
Peter's guitar playing did not reply on tricks or fancy licks or runs. Every note he played was connected to his heart. He economical, soulful, authentic and he played with dynamics and pure fire. He would then turn on his super sweet and sensitive side as in his song Albatross. He was a very thoughtful, deep, sweet, funny and open person and his playing was exactly who he was as a person and that is a rare thing find in a musician. I am deeply saddened at his passing. I hope he went peacefully for he was a peaceful soul. I will miss him but am thankful that I got to know him just a little. Oh Well!
in 1972 Peters good friend and band mate Nigel Watson came over to Boston and lived with me for a year. Peter lent him two guitars to take with him, A 56 or 57 Strat and a Dobro. I believe oe of these was the Resonater and the old Start you mention in this video. I have pictures I coul send you if you want to see the guitars in my house in 1972
I didn't realize that Jack Mack & The Heart Attack was "late 60's era".
Great story! Thanks.
@@karenpato1 I started Jack Mack in 1980
@@JackMackband I remember hearing about Jack Mack & The Heart Attack back around 1982...don't know if it was a NYE special or something on MTV. A band like Southside Johnny and the Asbury Jukes. That's what I remember.
Great story, man.. What a great way to honor Greenie.. Thank you.
RIP Greenie, you really were the best! I feel broken now.
I know what you mean, Gordy.
Without a doubt my favorite British blues player. In terms of emotion, dynamics, etc he is unsurpassed in my humble opinion. There was absolutely no separation between Peter and his guitar, it was simply connected to his soul and psyche. Fantastic video by the way, very informative keep it up!
Thanks David
Agreed, but it's not just his guitar playing. Green's voice carried the same blues that his guitar did. Yet his face always seemed to have a huge smile. Hard to fathom what was goin' on in that noggin of his!
Weird Old Uncle Kenny Should have mentioned that! Absolutely agreed! My favorite voice as well. The live if you let me love you gives me chills every time, same with I’ve got a mind to give up living... pure shivers. The man really meant what he was doing.... always wondered myself what was going through his head.
Yes, yes. And "Before the Beginning" on Then Play On. Gets me every time!
One of the best blues guitarists
of all tine, a true visionary and
inspiration. Admired by fans and
fellow musicians alike, BB King
once said that Green was the one
who made him sweat.
He was able to play with great
sensitivity and authority combinig
both with astonishing ease.
A natural born mystic who
has left us with a great musical
legacy spanning some 50 years.
If music be the food of life , then play on!!!! Peter Green a true original.
Bless you Peter Green. 1946-2020.
Favorite song was "Jumping at Shadows" from the BBC sessions. I'll never forget the lead in. Met him in the '90's. Rest in peace. You will be missed.
the world could learn quite a lot from Peter Green, kind, humble and no ego. A true Virtuoso and forever a LEGEND!
Well actually he approached the stage and told john mayal i can play better than that referring to eric Clapton
@@matthewortiz7977 That wasn't "ego" - he was just telling the truth. Clapton later said "Greeny was the best".
It wasn’t EC - it was during his “vacation” in Greece.
He wasnt a virtuoso, he just played from the heart
What I learned is, don't take LSD!!!! Mushrooms are much better if you want that experience. Imagine how different his life would have been without the freak out trip in Germany.
In the early sixties l saw John Mayall’s Blues Beakers with Pete playing the ‘Harmony Meteor’ many times at the Bromley Court Hotel, Bromley Kent. What a great atmosphere in the that small venue. ln later years l had the pleasure of talking to Pete when our band were supporting Fleetwood Mac in London. What a guitarist he is.
l bought my first band electric organ (a Vox Continental ) from the owner of ‘Orange’ at his parents house in ‘67? Brilliant band years of the 60’s 70’s.
I was at the Tea Party show in question. They played there a few times as did most of the
British Invasion bands. Historic venue, great shows.
It's one of my all time favourite concerts wish I could have been born a decade or two earlier! Thanks for watching
@@TheGuitarShow Don't wish too hard, my friend! The years sneak up
pretty damned quick. Be happy with your genuinely Old Soul. The Music
will keep you young at heart.
@@larrygeetar9309 ,very well-put! Good advice, I seem to have lost the "spark under my ass"! But people that are "around" my age, that continue to jam with their pals give me some encouragement to get off my ass and dance, boy! At 63, I try to listen to my own advice, which is a challenge at times. "As long as you have a musical instrument(guitar) you're never alone" 10-Q, L.G.!
RIP. Your music will last for ages, mate. Cheers, Bless and thank you.
I have to say that I really admire and appreciate the amount of work that went into putting this "History of...) series together...thank you!
We used to say that if you could see silver circles in the center of the speakers through the grill cloth of Fender amplifiers then you were looking at JBL speakers . In this video when he is talking about if the speakers were JBL speakers in the cabinet @9:04 you'll notice on the top speaker the silver circle shining through the grill cloth in the photo , In the Fender amps this was the upgraded speaker if I remember correctly it usually was $100.00 difference from the base price , and I think that was per speaker in the Fender Showman & Dual Showman . They were 15" speaker cabinets . I played through the Fender Blackface Bandmaster and the later in Blackface Bassman head with 2-12 close back cabinet. Great tone
Excellent video !!!! 2 things ~ #1 ....The Marshall block logo half stack was a JTM45 ( 36 watts) . # 2 ~ You can get the out of phase sound by reversing the magnet ( north to south ) or clockwise / counter clockwise ....no magic wiring. By doing this to either the neck or bridge pickup....you will have the out of phase sound in the middle position with both volumes on full.
When I lived in London just over a decade ago I used to get my guitarv worked on by a guy who had a workshop in a big secure lock up in an industrial complex. A lot of the big bands would store their equiptment there when not out touring. All the gear was in these areas like jail cells so you could see into them and spot the bands names stencilled on the flight cases etc. Right next to the guitar techs workshop was a cage full of just guitars in cases, Bass's, mandolins, Banjos, and amps with no stencilled identification. I asked the tech who owned the gear and he said it belonged to Peter Green, every so often Peter would drop by and leave another guitar or other that he had just purchased.
Very cool thanks for the comment
I think there's a video of Peter Green visiting his storage to talk about various guitars and basses that he owned.
@@Renhjarta
yes, i've seen that video,
Hes the man in my collection...his touch his harmonic sensibilty and what seems to be impeccable likeness to bb kings tone and vibrato.....hes my hero
agreed
@@TheGuitarShow thanks man, so glad i found ur channel . lol , tons of guitar porn ! ...cheers bro
I’ve always felt that Supernatural was the high water mark for electric guitar. Perfection. Good stuff here thanks!
I agree 🙏🎸
Right on
RIP Peter Green and thank you. Like many others, Peter Green was and still is my favorite of the Mayall guitarists.
The broken neck on Green's Les Paul was repaired by Richard Bartram of Bartram Guitars, Littleport, Cambs. He was doing work for Chandler's at the time. He has a photo of the guitar sans strings on his bench after it was fixed.
thanks for this
Great video! Thx. I saw Greenie's Fleetwood Mac one nite in 1968 at Bill graham's Fillmore West in SF. It was quite by accident by 1968 I had stopped attending the Fillmore and the Avalon and those kind of venues. I was singing and playing guitar in a blues band at the time. I was into BB King who I had seen live several times in those days. My friend convinced me to go to Fill W that nite. It was Butterfield Blues band (all new lineup) and Fleetwood Mac. I only knew Greenie from Mayall's "Hasrd Road" which I had listened to several times. I thought of Green as a kinds of "Clapton" type. So I didn't know the trends had been changing and I figgered that Fleetwood Mac was a kind o Peter Green version of Cream! Ha ha. Wow! Was I surprised! Here was a young man with a chromed vintage Les Paul. I dunno how he achieved that perfect chromed body effect. Did he take it to a metallurgist? Someone mentioned something about "chrome foil?" Mebbe you can tell me. Here was a young man who came out and sang and played very much like BB King! I was a Greenie Freak from the moment. I began listening to the records when they came out and adding some of Macs tunes to our set list. I even learned slide that week and we started doin f Elmore James tunes. Btw in 1968 I had to go to a hardware store and have them cut me off and piece of conduit to get a slide! No Guitar Center walls of slides then! No brass, steel, chromed, steel, glass, beveled glass, blue tinted beveled and non-beveled glass, glass bottles...haha I went back to see the Mac the following year which was actually Jan 1970. saw the Orange amps. they had acquired Danny Kirwan and the were doing "Green Manalishi" and "Albatross" That was when I first heard Greenie use a great reverb as an effect a la Black magic woman solo. He would play a chorus with a big, wide, warm tone and then click on the reverb.
That Strat in the photos is a '54 or early '55. Ash body, solid shaft pots, styrene plastics, round string tree.
Thanks, Ramon. Fantastic video.
out of phase can be done magnetically or electrically and it's the same thing. The repair was done on a record player to rewind the coils and it was wound the opposite way making it electrically out of phase with the bridge pickup only when both pickups on and both volumes at 10. Roll one volume down a bit and it actually gets louder because they are less out of phase causing less low end cancellation.
Great comment - many thanks!
Fun story on the great Peter Green, thanks. I remember listening to 'Fleetwood Mac In Chicago' with my dad. He was enamoured with Peter Green's playing and his singing voice. I wore that record out and bought him the CD version. He said 'Peter doesn't sound as good on CD...! So I found him another vinyl copy! What was I thinking buying a vinyl diehard a CD???
I think a lot of people really appreciate your work, more than thumb it. I can't believe people bother to thumb down. Love your wok Thank you.
many thanks indeed - it means a lot!
Love your wok. Me too.
IM FOND OF THE PETER GREEN ALBUM "IN THE SKIES" R.I.P PETER GREEN 🎸 🇸🇪
I will Take this with me when I go!! Thank you Peter, RIP
Thanks so much for your hard work here this was soooo fun and informative for greenie fans!
pleasure - thanks for watching
In the two live vids I've seen (BBC 'Oh Well' and the Norwegian TV clip) Peter Green got excellent tones from his Fender amps. His guitar had so much bite and snarl at times (bridge pickup) and great fluid bluesy tone from the neck pickup and the amps really brought it out. Great vid here. Thanks for posting this.
My pleasure bro and thanks for watching!
I love Peter greens sound and stile real unique
I saw them in Austin,Tx. in 1970, and all three guitarists were playing through Fender Dual Showman amplifiers. If you look at the pictures of Peter's Les Paul he had the pickup height set extremely low on the treble side with it corresponding high on the bass side of the strings. RIP Danny Kirwan, a brilliant guitarist who complemented Mr. Green perfectly and had the best vibrato technique I have ever heard.
thanks Pat for this info!
Danny had a killer vibrato
This series is great! I'd love to see more of other artists.
pleasure Jerry
My fave guitarist to come out of the UK (and I love a number of them). Someone once said in comparing the two, that Clapton was a rock guitarist who played blues, while Green was a blues player who played rock. I can't argue with that.
A great summation thanks so much Maggie
What a fantastic video have a wonderful day also in my opinion peter green was a fantastic musician 😊
Thank you for this video, which obviously took considerable research. Peter Green is one of my favorite guitar players, especially blues guitar - probably my favorite blues guitar player out of the UK. Eric Clapton also said he thought "Greenie" was the best UK guitar player back in the day (Hendrix was from Seattle). Green played the notes that needed to be played, and knew what to leave out, so his music would "breathe". The Fleetwood Mac blues band are still one of my favorite jamming tracks, although playing like Green takes a Maestro's touch.
2:01 I find this hard to believe as Peter has always been incredibly modest and polite. :)
wozzlepop Agreed, I remember reading somewhere different variation of the story, that when a guitarist was missing, John Mayall asked the audience if there was someone who could step in, and Peter Green came forward. Wasn’t this story on some LP cover?
sounds exactly like the way Moon got himself into the Who. maybe got mixed up with that scenario
Great piece of reporting on a fabulous player. Thanks!
thank you
Amazing video my friend. Much appreciated by many I’m sure. More please.
Many thanks indeed Ben - more coming soon!
I think you have to add Otis Rush to the list of guitarists who had a major influence on PG in terms of tone and phrasing.
So true
Otis Rush I was told played a Epiphone Riviera with out of phase pickups. I was told this by Larry Craig . He brought this up cause my Riviera has out of phase pick ups .
OR also had a great influence on EC
Flipping the magnet on a humbucker or reversing the winding orientation (deliberately facilitated on more modern pickups) on one or other pickup achieves the same out-of-phase tone when used in conjunction with the other, normally phased pickup. I've tried it for comparison on pickups wired for switchable phase orientation. Out-of-phase on Srat-type guitar is achievable with wiring mods to the five-position switch only, because of the 'slug' magnets. I discovered the magnet- flip effect after rebuilding and repotting a humbucker and putting the magnet back with it's poles reversed.
Edit;-
Looking at some old footage with good close up shots it appears that the neck pickup may have deliberately been refitted upside down at some point, as the pole screws are on the bridge side of the pickup. This may have been an attempt to effectively alter the magnet orientation, I'm obviously not sure as to just why this may have been done, unless a replacemen bridge pickup was fitted for some reason. Fitting the pickup like this whatever the reason, would require a longer lead as the original lead in either case would be too short, hence the grey wire.
Very nice presentation. I recall that GP PG cover story from '97 or so that revisited the LP showing up at Hamer's shop. Seems like the wiring looked stock but they used a compass to discover the neck pups magnet was flipped.
thanks - yes thats the general opinion thanks for watching
Great video! Love Peter's tone! If you dig the Boston Tea Party stuff, Shrine '69 is a really nice recording also. Killer tones on that gig too. Thanks again, very cool info. 👍👍👍
A very interesting and informed piece of work. Excellent. Thanks!
pleasure
A very good video for guitar and amp junkies. A small clarification if I may -- at 8:53, the amps in the photo appear to be a Deluxe Reverb (20W, 1-12" spkr) on the left, and a Twin Reverb (100W, 2-12") on the right.Definition on this screen isn[t sufficient to determine whether either amp has the aluminum trim around the speaker baffle, which was a feature on the first iteration of the silverface amp line.
I have a 1969 Twin Reverb, according to transformer and pot date codes, but it has the original, aluminum-trimmed baffle. Fender was notorious for using up any parts remaining from previous models on their replacements.
At 9:02, the photo shows a late-1969 or later SF Twin Reverb atop a Dual showman cabinet, as you say. The badge in the lower right corner of the twin indicates JBLs. An easier method is to notice the aluminum dustcaps on the 12" and 15" speakers. That feature was exclusive to the D-120F, D-140F, and D-150F JBLs. The 120 was 12" (in the Twins), the 140 a 15" guitar speaker (in the Showman/Dual Showman), and the 150 a 15" bass speaker. The 'F' suffix denoted Fender exclusive use. The only difference between the Showman and Dual Showman was the output transformer, because the Showman used a single 15" at 8 ohms, while the Dual Showman used two 15" in parallel for an impedance of 4 ohms. The cabinet in the photo referenced is definitely a two-15". Single 15" cabinets were the same size, but mounted the single speaker in a different configuration, using a second baffle behind the front baffle. The front baffle had an aluminum 'tone ring' which extended about two inches behind the front baffle, leaving a gap to the baffle on which the speaker was mounted.
The Tremolux amps were never equipped with reverb. The Tremolux amps were discontinued at the end of the blackface amp era. The amplifier heads which incorporated reverb did not arrive until the early 70s, and were pretty much limited to the Bandmaster (or Band-Master) Reverb and Showman/Dual Showman Reverb models. Fender had made stand-alone reverb units in brown, blonde, and black vinyl coverings from about 1962 through the late 60s/early 70s.
Off-topic -- Ted Nugent has used Fender Super Twins with 2-12s, atop Dual Showman-sized 2-15 cabinets. Twin Reverbs are rated at about 85W, while Super Twins are rated by CBS Fender as being 180W. Super Twins are NOT missed.
"Move on at peace, Peter Green.
This is great! Thank you for this
pleasure
It is fascinating to learn how many greats have a common inspiration in Hank Marvin.
yes it's true Kaz...this video took a lot of research phewww!!!!
@@TheGuitarShow Hank Marvin and The Shadows were to those British guitar
aces as The Ventures were in America. Thousands of guitar players in The States
and bands were influenced by The Ventures. At their induction to the Rock & Roll
HOF, John Fogerty called them the band that launched a thousand bands. I was
one of those teenagers and can attest to the power The Ventures in the early 60's.
They were the standard by which all instrumental rock bands were judged.
The shadows were British guitar pioneers. Inspiring a generation of guitarists me included.
@greenmean1 I'm from the UK and my old man had the Shadows and The Who on tape in the 70's. I lived in Egypt between the age of 6 and 10 and and remember the Shadows playing everywhere, especially Apache. I still remember that blaring out while I sat on one of those coin operated stationary motorcycles that rock back and forth making noises lol.
amzing - thanks for sharing the memories @@antmax
Saw this before but great to see after the passing of Peter Green.
Rest In Peace, Greeny.
Great video guys - concise and very interesting
I played lead for Peter Green in 1985 ,the Ghanaian in his “fugu “ robe playing blues when Peters nails were too long for him to play !
I hope he’s ok at his place in Richmond
sounds amazing - I think he resides now near to Southend-On-Sea, Essex (actually where I come from)
@Kari Bannerman Strange, I have your name listed as Alfred Bannerman... What happened? By the way, thanks for having tried to help him out and you guys did make nice music ( I have the Frankfurt december 13 1984 show)
@Bob Aha
Thanks so much, i'm a Peter Green junkie, to me him and Danny were the best to come out of England. Shed pickups are as good as they get for Reverse Wound, now I just ordered a set of Wizz Reverse wound, and waiting to put them in my Replica 59, and I think that the Thro-baks for magnet flip are the best of the Flip magnet only. I prefer the Reverse wound.
thanks for watching and thanks for the info
Yeah the Wizz makes some fantastic pups........I have a Vintage brand Peter Green Lemon burst..its kinda heavy but other than that its really nice but needs some top shelf pups....Wizzer's are pricey but well worth it Probably between them,Lollar Imps or maybe some A2's from Onamac Windery....Alright Johnny
@@paulcowart3174 I have a set of Quiesence pups by Skatterbrane (now unobtainium). These are A5 neck and A2 bridge, both 7.8k. I flipped the neck magnet and the result is as close to Greeny's sound as you are likely to get. Maybe the A5 with its extra bit of cut does it but no other combination I've tried quite gets it.
Myself, a fan of Clapton ,Pete GREEN , GARY MORE. Blues of the sixties.
fabulous
Before there was the Brown Sound there was the Green Sound huh?
Every time I watch an old Mac performance on CZcams I end up wondering why Danny Kirwin is not a name that is far more well known among guitarists.
Pups and switching etc? I have tried most configs. The one I like best is not out of phase Green style. It's having the neck pup split and mixing with the bridge in humbucking mode. It adds a little noise, but makes the neck pup fat but still bright, which then gets blended to taste with the aggression of the bridge pup using the pots.
Danny Kirwin was just as good as Peter was, but Peter was obsessed with Clapton. I have bootlegs of him I think from '66, and his solos all sound like Eric. Unfortunately Danny had a horrible downfall just as bad as Peter did, I don't remember what happened but he ended homeless and alcoholic in a homeless shelter. WAY underappreciated for sure.
And before the brown and green sound there was the blues sound. At least we know or primary colors!
By far the best tone I can get from my Gibson Les Paul, absolutely agree.
Kirwan was never in Peter's league. Ever. I saw them live 6 times - and every time Peter was the clear star of the show. Peter's technique, feel, and vibrato were amongst the greatest of all time.Green, at his best ('66 - '70), was one of the very greatest 'feel' guitarists of all time. Kirwan was a good foil for Peter, but never his equal.
@@petegilgan6217 I have to agree with you. Danny became a great guitar player, and a good compliment to Green's playing (distinctly different), but Green was the best blues/rock player to come out of the UK back in the day. Eric Clapton himself said "Greenie was the best". Green learned to play like Clapton, because he replaced him in John Mayall's band - that's why Dave Stephens gas bootlegs of him playing like Eric. But Green listened to all the blues greats, like the other UK guitar players did, and people like Otis Rush, the Kings, etc., all influenced his playing.
Great man, great guitarist and writer. Will be sorely missed. RIP Peter.
I seem to recall in that Jol Danzig interview, Jol stating that the neck humbucker being magnetically out of phase (flipped magnet) and he said that this sounds different than just wiring pickups electrically out of phase. I've had other people insist that there's no difference between the methods.
I already liked it upon reading the title.
thanks Jo
special human, vast legacy, Mississippi runnin through his blood, coming to rest on canvey island, essex, the thames delta. btw cool to see the upside of the youtube platform as a timeless reference point on display, and a little elbow grease from the goose. I hope you are a content content creator at the moment; mysterious,intense artists need good advocates/jouralists as their scribes.
Pete was using a Les Paul with a Marshall amp with Peter B's looners prior to joining John Mayall. And Pete would have been far too modest to claim " I can play better than that " to John Mayall. Pete was living upstairs from Mayall in West End Lane and they saw a lot of each other. It took him about a year in the Bluesbreakers before it was generally agreed that he had surpassed Clapton. A great post anyway.
Thanks Ray for your comment - great to hear that info - thanks again!
ray chappell. John Mayall said that as well in a video interview, that a young Peter was rather "cocky," "cheeky" and insistent, said he could do better than the poor Clapton replacement on stage. So Mayall let him play, and Peter didn't disappoint. Straight from Mayall's mouth. He also said a young Peter was a force to be reckoned with. He knew his stuff.
ray chappell what album is it evidence that Green surpasses Clapton?
I would like to listen to this album.
I've always been impressed with Clapton's playing on the Beano album, I even prefer it to Cream.
Mark70609
Live at the Boston Tea Party albums
Mark70609. Hard to make comparisons, but I think Peter Green distinguished himself from the start. Check him out with Mayall, Mick Fleetwood, John McVie the summer before he started Fleetwwood Mac. A 2-CD set of live club stuff. Just came out. Peter was dynamite. His part: all guitar, no vocals. His fills were beyond compare. Wicked blues phrasing and rhythm chops. He's in prime form. Clapton had brilliance, Peter had soul. Two different styles.
I flipped the magnet on my L.P and it sounds great for Peter Green style solo's. Pickup manufacturers charge a fortune for their 'Peter Green modded pickups' - its fairly easy to do yourself if your handy with a screwdriver . 🎸👍
yes its true but someone like me - I would be afraid to break the wires
Use a little care and you'll have no trouble.
I think there's some parts missing to the story of the LP pickup. In the early 70's I worked at a recording studio at 19 Gerrard St, Soho, London, which was two doors away from Sam Li's workshop. I remember speaking to someone from there once (not Sam unfortunately) who said that Peter's guitar was repaired there (not the neck break) and the pickup refitted. I figured out that the sound was the same as 'out of phase' (this was before it became much of a thing) because of work I was experimenting with in the studio. Later I tried to do the same to an SG by taking out the neck pickup and rewiring it.
First up, this is not a job that involves simply swapping wires over. One side is connected to the metal work so you have to desolder, seperate and resolder them, so not a job that could be done accidentally. And this method works as we all know now. Most modern pickups are wired so as to give you more choice in switching (single coil, phase etc). But the if PG's pickup had been disassembled and rewired, as it looks in the photo, then the phase trick could have happened accidentally, equally, the magnet(s) could have been reversed too (with respect to the other pickup).
Funnily enough, my efforts with the SG hum bucker looked exactly like the photo with the grey wire coming out of it. I wired it back in with a push-pull pot switch to switch it in or out of phase. I remember it was a tricky bit of wiring because of the earthing situation!
Interestingly, in recent years I've had the opportunity to play some genuine 59/60 Les Pauls and some of them have a very similar sound to PG's guitar, with the right volume/tone and pick up selection.
Anyway, just my two bob's worth.
Thankyou for sharing. Though somewhat technical, I am learning so much!
Pleasure Jim!
I think Throbak have it right. One coil was rewound using formvar and probably reverse wound (using a record player) putting it out of phase with itself. He then got it back with a grumble from Green and flipped the start/finish leads putting it back in phase.. but left the middle position out of phase by accidentally (almost not, in fact the out of phase thing was long since established as a popular mod) reinstalling the magnet the wrong way round. Incredibly, the exact same repair was done to Kossoff's burst. Probably both done by the same person (Sam Li). Both guitars have a totally unique honk and sweet highs that made all those amazing records..
Kirk hammit of metallica now owns the guitar
At time stamp 9:04, Those speaker cabinets are Fender Showman, with 2 JBL 15 inch speakers, (note the silver speaker cones), 1967, or older grill cloth. In 1968 CBS changed the grill cloth to the ones like the Twin Reverb amps sitting on top of the cabinets. By the way, you could also get Bandmaster, with 2 Jensen, or Utah 12 inch speakers, with 1 port, or non ported. The Showmen were deeper cabinets than the Bandmasters. Bandmasters were also available in a half height model, sporting JBL (the most $75.00) Jensen (Mid price $35.00 each, & black paper cones), or Utah (student priced, $15.00 each, also black paper cones). These half height cabs also had fold out metal legs, so you could tilt the cabinets to point 45 degrees up.
thanks for this info
Watching the utube vids: on 99% Greeni played Fender Showmans, especially Dual Showmans, some Twins!
Great video, as always!!
A Dual Showman is nothing else than a Twin Reverb (head only).
Love the JBLs loaded 2x15 Fender cabs! They sound great with every amp. (I currently use a JTM45 style amp with mine).
Later I found out he used a black Gibson Howard Roberts Fusion into a tweed Fender Blues Deville. I played that combo for years, before I realized that Peter Green used it too.
Great Post. Inspired me to share my experience of trial and error in search of the holy OOP. The Peter Green LP is the most book-worthy of all LP's ever made. The reason is the sound/tone contradiction and the mythology/misinformation surrounding the facts. I wish the man himself could remember more about this most wonderful mistake or maybe PG intended all the variants i.e. P/UP height bias towards the treble strings. P.UP screws facing away from neck and of course the magnet flipped to create Destructive Interference or Out Of Phase (OOP) From my research the PG OOP is only truthfully achieved magnetically (Zeemen law of physics) and NOT electronically (Stark Law of physics)+ turning the Neck p/up around contributes to the (OOP) sound because the p/up screws will be further from the neck producing a less thick/jazz tone (as a complete sidenote, one utuber occasionally removes the screws completely from humbucker to create a singlecoil!) and finally the magnet flip or is it rotation? I had to keep experimenting with the aforementioned (3x), even thinking I had flipped/rotated the bar magnet successfully, when in fact I hadn’t! Eventually I found the opposite poles, and there is no doubt when you get it right!
NB Stark effect- the splitting of spectral lines observed when the radiating atoms, ions, or molecules are subjected to a strong electric field discovered by a German physicist, Johannes Stark (1913). The analogue of the Zeeman effect i.e., the magnetic splitting of spectral lines Pieter Zeeman (1865-1943)
However, the 5k CustomShop Gibson LP1 Peter Green/Gary Moore Signature model was ONLY electronically wired OOP!!- reason it was cheaper on labour/materials/time in assembly rather than to honour the original MAGNETIC OOP!!! PG also had his p/up height with the screws very close to the thin/high GBE strings and far away from the thick EAD, again it's all about turning a overweight Harley into an off-roader or a one-trick pony into something that could be a counterpoint Kiwin's LP!
BB King’s use of the Gibson Variatone, an electronic frequency cutting switch unit, that incrementally removes frequencies, thus electronically emulating the magnetic OOP. I believe this to be the sonic DNA lineage of the PG magnetic OOP!
Then you need to "cook" to find the magic. I have the vol of the bridge p/up on 8 and the neck on 6. Its all about imbalance and dissonance. Play with the tone controls if you wish, but basically the main objective is to use the 2 vol controls to get the 2 p/ups to work against each other for dominance to achieve what I describe as the sound of the air in the hollow-chocolate-easter egg that you POP into!! However according to the Haynes guitar manual - If you want the bridge and neck pickups to be out-of-phase with each other when the switch is in the center position, and your pickup has 4 conductors (red, white, green, and black), then swap the locations of the green and black wires for ONE pickup, not both. That means that if the Green wire of the bridge pickup is soldered to Ground and the Black is connected to the tab on the volume pot, put the Black wire on the Ground connection and the Green wire on the tab of the pot. The Haynes les paul manual says the the best way to get the 'hollowness' is to flip the magnet (out of phase) reverse the pickup in it's surround (semi phase corrected) and then reverse the green and black wires to wire it out of phase again. e.g. 1 - magnet swap (out of phase) The magnetic poles of those bar magnets are the long sides, not the ends like you might guess. You flip them over so that the long edges reverse 2 - pickup reversal (back in phase, kinda) - semi phase corrected 3 - wiring the ground and hot in the opposite to normal places (out of phase again) I tried all this without any effect!
Ellis from Hamer wrote, “Dantzig recalled that Gary Moore stopped by the factory in the early Eighties with Green’s Les Paul. “‘I asked if I could check out the wiring,’ remembered Dantzig, ‘and I carefully examined the pickups and their controls. Everything looked totally stock-the pickups were wired in phase-but I knew they didn’t sound stock when played together. “‘The I used a compass to measure the pickups’ magnetic polarity. I discovered that one magnet was oriented north-to-south while the other was oriented south-to-north. The pickups were Magnetically out of phase-this was the secret we’d all been searching for!’ “Dantzig agreed to incorporate magnetically out-of-phase pickups and reverse the neck pickup in the custom Hamer,” Ellis continued. “I sent a pair of Antiquity humbuckers to Seymour Duncan, requesting that he flip the magnet on one. Before I could explain why, Duncan said, ‘Ahh-you want the Peter Green mod.’” So did the wiring replicate Green’s nasal tone? The answer, Ellis said, was an unequivocal yes. “In a dual-pickup setting where each humbucker has its own volume pot, you can bleed the relative phase shift to create timbres ranging from a piercing howl to a subtle treble boost.” But as Ellis points out, the resulting tone ISN'T the same that you get from WIRING humbuckers out of phase. It seems that MAGNETICALLY out-of-phase pickups are responsive to pitch, creating an entirely different sort of sound. “Oddly, the resulting sound is sweeter and more musical than what you get from WIRING humbuckers out of phase,” Ellis writes. “MAGNETICALLY generated phase shift seems to respond to pitch changes-the higher the note, the more pronounced the effect. Chords and bass notes don’t have the thin, shrill sound of out-of-phase wiring, yet high notes played on the top strings have a pronounced hollow cry.”
On a spiritual sidenote if you watched/listened to Spencer’s account of returning from the Munich house of horrors. He describes in the original doc (now edited!!) PG and DK comatosed on the back seat of the car with entities morphing in and out of them.
czcams.com/video/wux6pzqKH9E/video.html
Both subsequently suffered and were “treated? for mental health problems, which I believe was actually demonic infestation and NOT the industry politically correct cited LSD fallout. czcams.com/video/2_DBR-1h1Hs/video.html
Listen to what DK said to a friend about the Munich/Black magick event
czcams.com/video/uzUCH4Hcjjo/video.html
According to the Boston Tea party concerts. PG states Green Manalishi is about the devil and not greenback/money as purported by misinfo industry publicist Keith Altham! Though J Spencer appeared in the photo on the single cover sleeve, Spencer is thought not to have been present at the recording sessions, though he was present when Green was recording the eerie howling noises heard at the end of the song, according to an interview with Spencer on the barred Part 10 of the BBC Peter Green documentary DVD, "Man of the World".re- during the banshee-type whailings of Manalishi's recording in an underground carpark, Spencer recalls seeing entities coming out of the speakers!
PG also went onto to say that he believed some guitars are cursed! Is this the real reason after a LORRY crashed into the car boot that contained the PG LP- resulting in Gary's facial scars and the broken PG neck/headstock that GMoore sold it on to no other than Ouji-Kirke/Metallica who interestingly asked J Page whether he should buy the PG no 1 ! GM left millions in his estate-so it wasn't about needing cash! So what did the previous 2 owners have to say about this LP. PG- "It was a fuddy old guitar with a tree trunk for a neck" PG in recent years said he would never use a LP again because they are too Parisian! GM- " Not as easy to play, more effort required" J Hendrix used this PG LP upside down at a Mac gig at the Marquee in late 60's on New Years Eve and played Auld Lang Syne!
www.vintageguitar.com/22223/peter-green/
www.timesofisrael.com/the-last-blues-of-peter-green/
Godspeed Peter, One of the greatest guitar player's . And that silver wire could be the braided cord out of the pickup. If you think about a strat with the middle pickup rwrp.when in pos. 2 an 4 giving you that out of phase sound ,flipping one of the magnets in the pickup would give you that sound.🙏🎸🎸
At one stage he used a 59 Fender Bassman combo with the 4 10 inch speakers--however one speaker was deliberately left unconnected. What that contributed to the resulting tone was evidently worth the finagling.
Thanks for this James
10:01 There’s a photo of Jeremy Spencer playing a Strat which had the selector switch under the neck pickup 👍
Sad loss all years we lost when he was ill great blues player one off another one gone always sounded great made many kids pick up the guitar to play rip pete always be remembered 👍
I remember that Peter Green solo on "Supernatural" on the Mayall "Hard Road" LP. At the time rock was still growing and the trends that came then came in a linear fashion at least, here in northern California At that time guitarists everywhere were experimenting with sustaining notes using feedback. "Supernatural" was the solo that killed the "feedback" trip. Like at about the time the noserider surfboards killed noseriding in surfing, after "Supernatural's" beautiful, fat, sure long tones and spectacular pan shifts discouraged any further efforts! I still think that masterful solo is unsurpassed in feedback. )
Supernatural is an amazing tone 🙏🎸
Stay away from drugs so long pete
I flipped the magnet in my 1996 Hamer USA....it got me there
nice what model is it?
I was at a gig in Woolwich, S E. London. They were using an old beaten up, well used, bunch of amps. They had a break, and swapped the old stuff for a bunch of brand new Orange gear.
Thanks for this
Saw Fleetwood Mac at one of the boat clubs in Nottingham, probably the Britannia in late 68 I think, remember snow on the ground He was playing through an Orange amp and cab. I'm sure Matamp made the Orange amps. back then.
Thanks for this 🎸🙏
By the way.i love the origanal fleetwood mac. The album "Then play on " is so damn cool!
Peter also owned a 1952 Gibson Les Paul Gold top. The guitar was given to him by Eric Clapton. Green gave it to Duster Bennett in the late 1960's and eventually it ended up with Top Topham who I think still owns it.
Hi thanks for the comment I was at Tops home last year he only had a Fender telecaster and a silver face amp and an old acoustic. Thanks 🙏
I saw Top Topham play the gold top in about 1998. He said it was a 1952 that PG had owned.
A little off topic, but the pickup selector on Jeremy Spencer's '58 Strat was a factory option at that time and he came across it when wondering around an Oakland guitar warehouse with Peter and Jerry Garcia...
Can’t wait for the out of phase pickup test❗️
Coming soon
I've seen recent photos of Peter playing a G&L ASAT Special. Greg Koch has said that one of the reasons so many Tele players switched to late '50s LPs was that they sounded like "fat Teles". The humbuckers were underwound relative to modern LPs. The ASAT Special uses higher output Tele pickups, so you could almost say that the ASAT Special was Leo Fender's approach to "hotter" tele pickups with less noise (but not noiseless.)
Koch is right about that! Thanks for this I will touch on this subject in a future video 🎸🙏
The magnet In Peter’s neck pickup was reversed. I did that accidentally to a vintage Gibson of mine. Very similar tone quality to Greens. 😅
nice Robert!
In about 1973 ,I was mucking about with my 66 sg standard and turned the pickup around ,to get more treble from the front pickup ,then when running both ,in the middle position ,I got that lower volume out of phase sound. Then I discovered you could get the same sound by just putting the bar magnet in the opposite way .You can get the same sound by doing either of these two things.
The grey wire could have been soldered on to the original windings for some weird reason.
The fact that there was no concrete mention of the bobbin wires being original is also suspect.
Any tech worth his/her salt would have known the right type AWG 22 copper, formvar or? that would have been used originally.
The turning around of the neck pickup so that the pole pieces are closer to the neck pickup would lessen the bass response but also accentuate the out-of-phase effect
between the two as well as being magnetically out of phase because the magnet was flipped.
It's funny how a lot of people try that setup on Lp's to try to sound like Peter, but that sound was from his soul, heart, head and fingers.
As a Fender employee I had the privilege of serving Peter and hanging out with him from 1998 to 2004, his Splinter group years.
Peter told me many stories during this time including the reason why his Les Paul neck pickup was installed “out of phase”. Apparently he sent it off to be repaired( I can’t remember what he told me the problem was) and it came back with the pickup placed the wrong way round. This is what he told me and he chuckled at the out of phase legend that grew around a mistake.
Thanks. A great tribute to a great musician.
When I played with Peter he kept telling me ‘Listen to Robert Johnson ...’Must have been an important influence
🙏🎸
So the polarity can be flipped either magnetically or when the pickup was re wound they reversed the polarity , seeing the grey wire that is probably what happened . Flipping the polarity magnetically and electronically sounds the same .
Different sound depending on electric/magnetic. Over 20 years ago i found instructions online on how to “peter green” my les paul. It worked. You dont have to flip the pickup itsself. You open the pickup and roll the magnet like a hotdog (not an end to end flip) close it up and you’ve got the out of phase green sound when you spilt pickups.
@@ryanodonnell4184 So you are flipping the phase magnetically by turning the magnet putting it out of phase with the other pickup .
When I had some strat pickups with a plastic bobbin that you could pull the magnets out and install them either way , north or south , I experimented and found that flipping the phase magnetically or , electronically on the coil sounded the same .
From what I've gathered is the wire was Formvar, and not 42 gauge wire that was ome that Gibson used. If anybody knows what amps that were used at Chess Record Session I would like to know, you can tell they were Fender Combos don't know if they were Twin Reverb or Deluxe Reverbs and they were Silver face.
Ill find out for you - I think they are deluxes - but Ill confirm it
Well thats another myth I've not heard before. Don't believe anything you read on forums, there are so many "experts" there just parroting what someone else said, what someone else said, etc. etc. I have wound a test bucker with heavy formvar for neck position, it was awful, in 42 gauge, and also a single coil Charlie Christian replica in 38 gauge because all the internet resources say the CC pickup was 38 heavy formvar. The pickup was incredibly muddy. So, I bought a real CC pickup, and yes the wire was 38 gauge but was actually plain enamel, huge difference. If it was rewound with 43 gauge formvar, the DC resistance would be extremely high, because 43 gauge has more resistance per foot, so that idea falls apart right there too. Plain enamel was the "norm" for magnet wire, if you went to a radio electronics store.
This was fascinating! Thanks a million!!
Pleasure
Matamps are alive & well and still making high quality products
The 60's Fender Dual Showman amp does not have reverb. Take a close look at Greens neck pickup. It looks to me as if it's upside down. The exposed poles are on the bottom which is reversed. Looks as if he or a tech flipped the pickup over.
Thanks for this
Great show! I like this series a lot
No-one will believe this, but....
In the late 1970's I lived in a small town called Whitton, near Twickenham in west London. I was 17 or 18, recently started playing guitar, and needed an amp. I saw an ad in our local newspaper for a Marshall head (I think it was 50W, but may have been a 100), which was my ultimate dream at the time, on sale for the princely sum of £45.
I rang the number in the ad - a lady answered and it transpired that she lived just round the corner from my house. I went round that afternoon to see the amp, which had an extra knob on the front panel - the lady explained that she was selling it for her son who was in hospital at the time, and all she knew was the extra knob made it louder. Long story short, I bought the amp, and as I was leaving she said 'I hope you enjoy it - my son loved it but says he doesn't want it any more - you might have heard of him, his name's Peter Green from Fleetwood Mac.'
That extra knob was a custom overdrive and man, did it sound good. Of course, being a pig-ignorant teenager I knew the name Fleetwood Mac but had never heard of Peter or his history, and never appreciated what I had. I sold the amp a year or so later to buy some other insignificant bit of kit, and have regretted it to this day. Oh for a time machine!
Amazing - and yes I believe thanks for the memory!
Man, that's gotta be the ultimate guitar gear seller's remorse story! You poor bastard. I don't feel so bad now having sold my 1970 Strat or vintage Super Reverb.
wow!
What a story! I felt bad just reading this!
WOW! That would be some historic amplifier, lost in time now.
GRACIAS MAESTRO POR HABER EXISTIDO , DESCANSA EN PAZ GENIO.....
supernatural is one of the ultimate burst tones with unsurpassed playing imo, i doubt anyone could recreate that with the same tone and feed back
I'd like to give it a go but even to get half close would be great ...his half stack Marshall was the best
@@TheGuitarShow i would love to hear you have a go at this, my plexi and 2x12 is available to try, i can turn it up where i am
customguitarkits okay lets do Ill bring some reverb
It is achievable. What you are hearing is tube driven plate reverb. You can search here on CZcams to find out what a real one sounds like from that era. Thats his bridge pickup, and he is standing facing the amp up close to get the sustaining feedback. That is also easy to do, its just a matter of volume and standing in the right space and room. But this is the sound of a real PAF, and not some modern handwound "bucker," they are not remotely the same. Your average humbucker has NOTHING in it that is identical to whats in a vintage PAF. I have nearly 20 years of research into that subject and have been published in several books and magazines, writing on my experience in true science-based reverse engineering. You would be rather shocked if you ever play an original PAF, they are very bright and biting in person. On my channel I have a handful of original PAF buckers installed in my guitars and compare them to my work, if you want to hear what originals really sound like. The sound on Supernatural is not a document, its an audio engineer's art form. Treble is EQ'd to be less edgy, the plate reverb itself adds its own EQ. These recordings were done on all tube studio gear, analog tape, microphones that don't exist anymore, speakers that can't be reproduced fully, and amps that had no master volumes, no gain, no pedals.
Here's an indepth look at a vintage plate reverb being set up and a short demo at the end.
czcams.com/video/P7Mye5v4ThQ/video.html
Re: Peter Green Mod. I experimented over the years since seeing Greenie live in 1968 at Fillmore west SF and I found that I got the best results from; take the neck pickup out flip the magnet END OVER END, put the pickup back in backwards to get that squawky Peter Green tone. My favorite Greenie tone was the "Mr Wonderful" flat response recording with the horns. Still love that. 1968 I had only a lowly 1954 Strat which I got for free. I know now that this was a travesty or a tragedy but In order to get the Greenie tone I had humbuckers installed I it and a 6 position switch from the Gibson Varitone used on the ES 345 and ES 355. This was before silicon chips. In order for the Varitone to work it required 2 large bars as transformer install in the back next to the whammy bar springs. If that wasn't heavy enuf before it was really heavy now! I would put the switch on # 5 and get that BB "Blues is king" sound. )
Peter's living in peaceful retirement on Canvey Island now.
That’s awesome!!🤟😊
:( www.rollingstone.com/music/music-news/peter-green-fleetwood-mac-dead-obit-1033950/
Not anymore :'(
Further to what has already been mentioned in the video, Peter Green's biographer Martin Celmins mentions that Peter also owned a two pickup Dallas Tuxedo electric which is shown on the footage of the recorded 'Man Of The World' at The Beat Club circa '69/'70? I owned a used Dallas Tuxedo some years ago and they were a very early UK electric model, arguably being among the first UK production electric guitars. A pretty basic single cutaway 'student' guitar made from one piece of wood with no truss rod either! Really sweet-sounding pickups though. Seem to recall another was found in an attic where John Lennon stayed in his early years as well, which later was sold at a Beatles memorabilia auction. ... One further observation for the PG enthusiasts. ... When the early Fleetwood Mac with Bob Brunning on bass played at the '67 Windsor Jazz and Blues festival, Peter Green had covered his Sunburst Les Paul in black fablon, a sticky-backed plastic-like covering material sold in rolls which some households used to overlay kitchen table tops and the like. If you look back at the festival pic in the video, the guitar looks somewhat 'black' and when asked at a later gig elsewhere as to why (?) Peter told him he had covered it because he thought Sunburst Les Pauls were getting a bit too common and wanted something different-looking.
I saw Greenie's Mac at Fillmore West in SF in 1968. Greeny was playing a LP with a chromed body!!! I thought it was a cool take on Les Pauls which were played by all the greats at that time and a cool statement about pop culture and US motorcycle culture But I wondered how he chromed the body which is made of wood but later I heard that chrome strips were available...he may have done that on his 1959 "lemon drop" I went to see Greenie's Mac the following year. This time Danny Kirwan was in the band and all played thru Orange amps. I heard "Albatross" and "Green Manalishi" which Greeny announced was "About Devils" Devil worship was beginning to become a trend in England at that time. Greeny used to use reverb as an "effect" so he would switch it on and off: play dry for a chorus and click it on and play wet for a chorus as in the studio version of "Black Magic Woman"
I can´t remember where, but at a point in time I have read an interview with PG, where he stated that Albatros was recorded directly into a mixing desk.
Nothing but love for the 1970s band but Peter Green was the best
I agree