Peter Green Splinter Group,
Sep 07,1998, Seattle, WA, Bumbershoot Festival,

Recorded by Randy

Rec. Info:
This is converted from the oryginal tape cassete -> transfer -> Audacity (edit/remaster) -> WAV -> FLAC -> DIME -> YOUR EARS AND MIND...

Review by Wayne M. Berta, September 8, 1998

Bumbershoot is the type of festival that you sample your way through, a little crab cake here, some roasted corn there. Some Joan Baez or Mary Lou Lord, then Zeke.

My day started at the Mainstage for a double bill of Buck Owens and Screaming Trees. Yes, Buck Owens AND Screaming Trees. Twenty minutes of Buck Owens was enough to inspire me to seek out a burrito and beer garden. Returning to the Mainstage I heard the Buckaroos ending their set with an endless version of Johnny B. Goode. Screaming Trees were joined for about half of their set by Peter Buck. Great show.

The evening plans were for Burning Spear, Keb Mo and Bonnie Raitt; but the immediate plans were for The Splinter Group, featuring Peter Green. They were scheduled for the House of Blues Stage, tucked between the Waco Brothers and Linda Hornbuckle. We endured the closing songs of the Waco Brothers to position ourselves for a front row view of The Splinter Group. About fifty persons or so packed the front of the stage immediately after the Waco's fans left. Many had come due to nice publicity of the local media. It seemed every newspaper and radio station had a list of top things to do at Bumbershoot and most had Peter Green on the list. Others came to see Peter again - he played Seattle with Fleetwood Mac in September of 1968. Others, like me, had come to see Green for the first time. We spent the half hour wait speculating on what we�ll here. Will it be the quiet blues of the Robert Johnson tribute, the covers of the first Splinter release or maybe some oldies?

That question was answered by the second song, Black Magic Woman. This song was typical of the first few: lots of Nigel Watson and a little of Peter Green. Peter's voice was a barely audible whisper and his guitar was drowned out by Nigel's. And it seemed that the crowd took as long to warm up to Nigel as it took Peter to warm up to performing. But Rattlesnake Shake and Stumble changed all that. Peter played some hot guitar while Nigel faded into the background. The rest of the show was Peter playing all the leads or trading off with Nigel. When Watson played the lead part of Albatross the crowd finally showed its appreciation and all of us were stunned by his guitar work on The Green Manalishi. It would have brought the crowd to its feet had they not been standing the whole time.

Rattlesnake Shake, Stumble, Albatross and The Green Manalishi were the musical high points. But the best part of the show was Peter's introduction to Stumble. Earlier Peter had noted Black Magic Woman was by request but didn't say much more. He introduced Stumble as a Freddie King song similar to Hideaway. Peter went on to say that Clapton left John Mayall's band to form Cream and "I replaced... no, that's not the right word, substituted...not the right word, what I'm trying to say is...filled the place of Eric Clapton. And I guess you can say I did a pretty good job of it," he concluded.

The last song of the show was Going Down. When it was over we were asked if we wanted one more and of course we did and the band played Look On Yonder Wall. That was the encore. Even though the crowd shouted for more, they were already ten minutes overtime. At a festival like Bumbershoot they keep to a pretty strict timetable so another song was out of the question. So after nearly ninety minutes it was over. Pretty good job of it, indeed!

FULL SHOW (81:40 min.)

02.It Takes Time
05."Rattlesnake Shake"
06."The Stumble"
07."Keep Your Big Mouth Shut"
08."The Supernatural"
09."Hip Shake"
14."Look On Yonder Wall"

--Nigel Watson--
Fender Strat, Gold w/maple fingerboard
Fender Twin Amp, silver face w/4-12 extension cabinet underneath
Vox AC-30
Guild black dreadnought acoustic w/cutaway

--Peter Green--
Fender Strat, Cream w/rosewood fingerboard
Gibson Howard Roberts
Vox AC-30
Fender Tweed Blues Deville Amp, w/4-10�s

--Larry Tolfree--
Yamaha drum kit

--Pete Straud--
Ampeg bass amp (couldn�t identify the model)
custom fretless bass

--Roger Cotton--
Hammond B-3 and Leslie speaker cabinet
Roland keyboard

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