Live At The BBC

We're in between studio albums again. In September 1995 a 2 disc, 36 track album was released called Live At the BBC which contained various BBC radio sessions recorded between 1967 and 1971 when the band was made up (in varying stages) of Peter Green, Jeremy Spencer, John McVie, Mick Fleetwood and Danny Kirwan. Many of the tracks featured were otherwise unavailable so I thought it definitely worth me reviewing.

The first disc kicks off with Rattlesnake shake, first broadcast on Radio One in April 1970. Peter Green jams his way through but at over seven and a half minutes long I was waiting for the end - I can't say I'm particularly looking forward to the two 24+ minute versions on the Live in Boston albums which I've yet to listen to. Sandy Mary is another Peter Green track, which was written for his girlfriend at the time and would have been the title track of the next Fleetwood Mac album if he hadn't left the band in 1970, suggesting that the band's sound would have gone in a more hard driving rock direction as oppose to the rock and roll direction they went with on Kiln House. You can really let yourself go with this one and drift into another world.

I believe my time ain't long, and we're back to the famous Elmore James riffs that Jeremy Spencer obviously loved. Then we are treated to Danny's haunting vocals on Although the sun is shining, which sound even more heart-wrenching live and acoustic. Only you is another Kirwan track, recorded in May 1970 for Radio One's Top Gear, it was also re-recorded for his last solo album, Hello there big boy, which I am desperate for a copy of. There's not much in the way of lyrics but the guitars are rocking. Jeremy Spencer then does his Elvis impersonation on the Baker Knight track You never know what you're missing, which is catchy and boppy and I like a lot on first listen.

One of Peter Green's biggest hits, Oh Well, is less than two and a half minutes long here but it's enough to rock the house down - although I'd have preferred more of this and less of Rattlesnake shake to be honest.He then shows his emotional side on a Fats Domino track (written by lloyd Price) called Can't believe you wanna leave, which is a blues-style rocker.

It all goes a bit fifties style then, and Jeremy Spencer's catchy Jenny Lee, followed by a rather good Conway Twitty/Jack Nance track called Heavenly, in which Jeremy sounds a bit like Elvis again. He then does a good take of the Everly Brothers classic, When will I be loved from 1959. Danny Kirwan goes a bit rock and roll then on When I see my baby, which he wrote himself but sounds like it could easily have been a massive hit in the late fifties. Jeremy's Buddy's song continues the theme on his tribute to the late Buddy Holly, and another track from Kiln House (Hi ho silver) is re-named here as Honey Hush, which is sung by Jeremy again and has more of a rockabilly sound.

I enjoyed all of that rock and roll, but I'm ready for some rocking guitars now. Instead we get a Son House track called Preachin' that Jeremy does practically on his own and is just a weird mix of eerie vocals and guitar playing, and probably my least favourite track of theirs so far since I've been doing these reviews. Peter Green returns then on Jumpin' at shadows, a haunting track that was included on the album The Original Fleetwood Mac. This is stripped back and heartbreaking. He then jams through a Robert Johnson track called Prechin' blues that doesn't really do much for me, and the first disc ends with the brilliant Need your love so bad, although the sound isn't as sharp on this one - which is a shame as it's one of my all-time favourite Peter Green tracks.

Disc two starts with Peter Green giving a good delivery of Long grey mare, a bluesy track from the debut album, with infectious guitars and drum beat. Sweet home Chicago follows, which is another Robert Johnson composition and features more upbeat vocals from Peter. The band all sound like they are having fun on this and giving the various instruments all thy've got. Then that all familiar Elmore James riff is back on a track of his called Baby please set a date. Jeremy does play it well but it sounds very samey.

Danny gives a good vocal on Blues with a feeling (credited to Little Walter, although according to Wikipedia it was written in 1947 by Rabon Tarrant), although it's not one of my favourites. The sound quality isn't great on Stop messing around, but it's a good fast performance by Peter and barely recognisable from the original. The interestingly titled Tallahassee Lassie (a hit for Freddy Cannon) is next and is pure rock and roll. It actually doesn't sound like Peter Green or Fleetwood Mac at all, but it's a good send-up all the same.

Jeremy is on his own now with a piano, and just Mick on drums, on the absolutely beautiful Hang on to a dream. Written by Tim Hardin, this really brings out Jeremy's soulful side and could just as easily be John Lennon singing. He then goes a bit Buddy Holly-esque on the track Linda, which is infectious as they come, and then he's back doing the blues on the Elmore James classic, Mean mistreatin' mama, although at least the riff is a bit different to the usual.

Peter on his own now on World keeps turning, a slow burning blues number that was included on the debut album. Then Jeremy does I can't hold out, which is a retitled version of Elmore James' Telephone blues and was also featured on Blues Jam at Chess. It's the same old riff but quite infectious. There's a rare Danny Kirwan track now called Early morning come, recorded for Radio One's Top Gear in May 1969, and I think this is the only place you will find this track. There isn't much in the way of lyrics and it's really only for completists like me, but the fact that it's by Danny has me more interested than I'd otherwise be.

A stunning version of Albatross is equally as mesmerizing and haunting (if not more) than the original. Looking for somebody follows, and Peter gives a heart-rending interpretation of this. Then he sounds almost morose on A fool no more (also from The Original Fleetwood Mac), which really does tug at the heart strings. Jeremy takes over then on a more stripped back and soulful version of Got to move, and then we come to Like crying, like dying (which features on Then play on merely as Like crying) where Danny's vocals and guitar compliment nicely with Peter's brilliant guitar work. It's nothing like the version on Then play on (which I absolutely adore) but still good. The final track is Man of the world, and Peter Green gives a hauntingly brilliant performance, and it isn't too far removed from the single version and a fantastic way off rounding off the album.

I'll admit I had to listen to this album in two sittings, but it's a purchase that I'm glad I made - and not just for the otherwise unavailable tracks. For the vast majority of the time the sound quality really is excellent, especially when you consider the age of the recordings, and it's a refreshing look at the original Fleetwood Mac band (plus Danny) that I am growing ever more interested in.