Peter Green

Peter Green was a brilliant team player. As well as a gentle soul and unique genius.

The original Fleetwood Mac demonstrates this in spades: 3 brilliant guitarists with their own unique styles, with the solid Fleetwood/McVie rhythm section holding it all down.

The Peter Green Splinter Group saw the man re-emerging with all the old powers in place, with a band of musical excellence and mutual nurture.

 Examples:

The original Fleetwood Mac at their zenith  

The Peter Green Splinter Group 2003:

[  YouTube Link:  Copyright reasons disallow the video itself to be embedded here, sorry! ]

Behind the music there are all those stories. And in the music, and its inter-song presentation in the second video, there is food for woke vigilantes to chew on.

None of it matters. There is transcendence here.

Wind-in-Pines Remembered

These are a few snatched images from old notebooks and albums stored away for almost a half-century. How well I was looked after - with my travelling buddy Bob - by the Burnham family in those Summer 1972 days! It was a special time. Why I took no more photos is a mystery. Though of course, a Kodak Instamatic and a couple of 24-frame film rolls was all I seemed to think was enough for a 3-month sojourn in the USA. But in recompense, the memories of Sebago Lake remain fixed vivid in the mind.

How we enjoyed creating this! Long gone now I'm sure

Wind-in-Pines

Not far, though it seems an age; yet
No eternity, just an instant in time.
Here is another country; here
City vapours vanish, and sweet air
Whistles the wind-song sifting in Pines.

The rain is music in the forest trees
And the mingling of a past and present falling
Softens the carpet of ground for a transient listener.

Here is a new song, yet scarcely
Dare I listen, dare
Scarcely touch the brittle stems
Perennial
Yet only of a moment’s time.

Sebago Lake, Maine
June 22nd 1972

Eduardo Paolozzi: General Dynamic F.U.N.

Featuring in the exhibition space at the Woodstock Museum this month is the touring exhibition of silk-screen prints from Eduardo Paolozzi. It is on show until February 9th and features a series of fifty screen prints and photolithographs created between 1965 and 1970. These screen prints are firmly rooted in the pop-art movement, and pre-date the more famous iconography of Andy Warhol: both artists employing techniques which allow for replication of the work in various modes of colour and sequence.

A swift look through the comments made by contributors to the visitors' book encouraged me in the view that I was not alone in finding the mainly-chaotic in this well-organised presentation. A sense of humour and detachment helps to get the best of these images. I came away echoing the thoughts of the majority about this heap of images from advertising, films, cartoons, screen and cultural icons and much else by way of cultural ephemera. The art presents a window to the minds of generations now, that have been exposed constantly to multifarious and random ideas and images from all directions, putting upon us a constant pressure to sift and sort through so much input - so that in the end we must rest with the flow in a place which may or may not fit a coherence.

© http://wutw.co.uk/eduardo-paolozzi-general-dynamic-f-u-n-the-oxfordshire-museum/

Momentarily I called to mind the commercial work of Robert Opie. He, like Paolozzi had passion for advertising ephemera as a boy and young man, and I remembered him from one summer maybe 50 years ago now, where I lodged in his house in West Ealing and was surrounded by tins and packages of famous consumer goods and commercial brands, which later formed a minuscule part of what has come to be a major collection and commercial enterprise. To each their own: art or commerce in ephemera, the subject for reflection today.

From Robert Opie Collection
© https://www.museumofbrands.com/time-tunnel/