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Peter Green Splinter Group

The Peter Green Splinter Group was a band formed in 1996 and led by guitarist and singer Peter Green, the founding member and former leader of who had left the group in 1970 due to personal struggles. The band marked Green's second major comeback to performing and recording after years of health challenges, initially focusing on interpretations of classics while gradually incorporating original songs. Core members included Green on guitar and vocals, alongside guitarist Nigel Watson, with rotating rhythm sections that featured notable musicians such as bassist and drummer in the early lineup, later joined by Roger Cotton on keyboards, Pete Stroud on , and Larry Tolfree on . Active until early 2004, the Splinter Group released eight studio albums through labels like Artisan Recordings and Eagle Records, beginning with their self-titled debut in 1997—a collection of standards—and culminating in Reaching the Cold 100 in 2003, which blended covers with Green's compositions. Their emphasized Green's signature fluid guitar style and emotive playing, drawing from influences like and , while live performances often revisited Fleetwood Mac-era hits such as "" and "The Green Manalishi." The group toured extensively in the UK and during their run, earning praise for Green's renewed energy despite occasional inconsistencies attributed to his past. The band disbanded in 2004 following Green's abrupt departure, which canceled a planned tour and halted production on a ninth album, amid reports of internal tensions.

Background and Formation

Peter Green's Pre-Group Career

Peter Green emerged as a prominent figure in the scene in the mid-1960s, drawing influences from blues artists like and honing his skills during a stint as lead guitarist in John Mayall's Bluesbreakers from 1965 to 1967. His tenure with the Bluesbreakers, where he replaced , helped solidify his reputation for emotive, fluid guitar playing rooted in traditions. In 1967, Green co-founded with drummer and bassist , both former Bluesbreakers bandmates, establishing the group as a leading blues-rock outfit. As the band's primary guitarist, vocalist, and songwriter through 1970, Green penned many of their signature tracks, including the instrumental "," which topped the UK charts in 1968 and became their first number-one single; "," a UK Top 40 hit in 1968 later popularized by ; and "Oh Well," which reached the US Hot 100 in 1970. The band's self-titled debut album in 1968 peaked at number four on the UK charts and sold over one million copies worldwide, showcasing Green's innovative blend of blues, rock, and . Green's departure from in May 1970 stemmed from escalating personal and psychological struggles, including a mental breakdown triggered by heavy use during a March 1970 party in , , and a growing rejection of fame and materialism. Diagnosed with drug-induced , he underwent and exhibited increasingly erratic behavior, leading to periods of institutionalization, including several months at London's clinic in 1977 following an incident in which he threatened his manager with a over a . In the 1970s, Green's solo efforts were sporadic and reflective of his instability, with releases like the experimental instrumental album The End of the Game in 1970, featuring raw, free-form guitar jams backed by session musicians, and In the Skies in 1979 on PVK Records, which marked a tentative return to more structured blues-rock songwriting amid his ongoing health challenges. By the 1980s, he had largely withdrawn from public musical life, living reclusively with family and taking odd jobs such as gravedigging and hospital orderly work to sustain himself.

Rehabilitation and Band Origins

Peter Green's rehabilitation from longstanding challenges, including exacerbated by earlier drug use, began in the mid-1990s with significant support from his friend and fellow musician . , who had previously collaborated with Green in the 1960s band Peter B's Looners, encouraged him to pick up the guitar again after years of inactivity and medication dependency. Living with 's family in , , for about nine months around 1995, Green gradually relearned the instrument through informal jam sessions, overcoming physical challenges where "his fingers wouldn’t do what his mind wanted them to do," as described. This low-key process helped Green stop his daily medications and rebuild his musical connection without pressure. Green's return to performing was reluctant and incremental between 1995 and 1996, marked by shyness and lingering health concerns, but it steadily built his confidence. He started with acoustic explorations of blues songs alongside Watson, leading to small, unassuming gigs in the UK and , such as an appearance at the festival in summer 1996. These early outings focused on simplicity and personal enjoyment rather than large audiences, allowing Green to navigate his ongoing auditory hallucinations and while rediscovering his passion for guitar. Despite his reservations, the positive reception from intimate crowds helped him transition from isolation to tentative stage presence. In 1996, Green and Watson formalized their collaboration by forming the Peter Green Splinter Group as a flexible centered on live performances, rather than a rigidly structured band. This setup included occasional contributions from drummer and others, emphasizing improvisation and standards over studio commitments. The group's early motivation stemmed from Green's desire to reconnect with his roots in a supportive, non-commercial environment, distinct from the intense spotlight and expectations of his era, where he had laid foundational influences in the late 1960s.

Career and Evolution

Early Activity (1996–1998)

The Peter Green Splinter Group emerged in 1996 as a vehicle for Green's return to music following his rehabilitation from long-term health challenges. Spearheaded by longtime associate Nigel Watson, the band adopted a blues-oriented approach, drawing on Green's foundational influences to ease him back into performing. This initial phase emphasized low-pressure rehearsals and recordings to rebuild his creative momentum. The core lineup consisted of Peter Green on lead guitar and vocals, Nigel Watson on guitar and vocals, on , on drums, and on keyboards. This configuration provided a solid rock backbone while allowing Green space to focus on his expressive work. The group's informal setup, with flexible arrangements and occasional guest contributions, underscored its origins as a supportive ensemble rather than a rigid outfit. In December 1996, the band recorded material for their self-titled debut album, released in 1997 by Snapper Music. The blended two new studio tracks with live performances captured during an early tour, capturing the raw energy of their initial outings. It prominently featured covers of blues standards, including Robert Johnson's "," alongside covers such as Rush's "It Takes Time," signaling the band's commitment to honoring classic while incorporating Green's contemporary interpretations. The album's mix of homage and fresh material highlighted the Splinter Group's role in reintroducing Green's signature tone to audiences. To address Green's lingering stage fright and acclimate him to live settings, the group embarked on tentative tours across the UK and starting in 1996. Key early dates included a May performance at the Opera House in , UK, and a June slot at the Piazza Blues Festival in , , followed by 1997 shows in , , and , UK. These outings served as testing grounds, prioritizing intimate venues to gradually restore his performance confidence amid the band's fluid, supportive dynamic. The name "Splinter Group" aptly reflected this loose structure, evoking a splintered yet resilient offshoot from Green's storied past. In 1996, Green contributed "Midnight" to the tribute album Twang! - A Tribute to & , recorded with the core lineup plus additional musicians, showcasing his guitar influences.

Mid-Period Success (1999–2001)

During this period, the Peter Green Splinter Group achieved significant productivity with a series of releases that showcased a mix of original compositions and covers, often exploring motifs of journey and the timeless nature of the genre. Their 1999 Destiny Road, the band's first full studio effort, featured soulful grooves and blues-drenched guitar lines across tracks blending Green's originals with reinterpretations, evoking themes of personal transformation and wandering paths. Released on Artisan Records, it marked a consolidation of the group's sound following the stable lineup established in prior years. Similarly, (2000) delved into covers of classics, serving as a to their earlier Johnson and emphasizing the enduring power of traditions through Green's emotive slide work and the band's rhythmic drive. The group's momentum continued into 2001 with Time Traders and Blues Don't Change, both highlighting Green's prowess supported by originals and standards that underscored ' unyielding essence. Time Traders, issued on Records, delivered polished British blues-rock with warm, laid-back arrangements, including horn-infused tracks that evoked a sense of temporal exploration. Blues Don't Change, also on , focused on well-worn standards from artists like , capturing the genre's ageless simplicity and communal spirit in straightforward, honest performances. Complementing these, the compilation Me and the Devil (2001, Snapper Music) assembled a three-disc retrospective of interpretations by the Splinter Group alongside other artists, reinforcing Green's deep-rooted connection to origins and aiding broader distribution of his revival-era work. Touring expanded internationally during this era, with the band venturing into the for a notable September 2000 run that included stops at venues like B.B. King's Blues Club in and the in , drawing crowds eager for Green's live interpretations of staples. This period also saw heightened media focus on Green's resurgence, as outlets highlighted his return to form through interviews and coverage of the Splinter Group's evolving sound. The shift to Eagle Records in 2001 improved promotional reach and global availability for releases like Time Traders and , facilitating wider exposure. Central to this success was the heightened collaboration between Green and guitarist Nigel Watson, who contributed , co-wrote select material, and provided vocal harmonies that bolstered Green's lead, creating a dynamic interplay evident in ' cohesive textures and inspired covers. Watson's role, rooted in his earlier efforts to support Green's , peaked here in fostering a balanced ensemble sound that propelled the group's creative output.

Final Years and Dissolution (2002–2004)

In 2003, the Peter Green Splinter Group released their studio album Reaching the Cold 100 on Eagle Records, which became the band's only entry on the Blues Albums chart, peaking at number 11 in March. Recorded at Roundel Studios, the album featured a mix of original -rock compositions and covers, showcasing Green's laid-back guitar style alongside contributions from collaborators like Roger Cotton and Nigel Watson. That same year, the group issued the live DVD An Evening With Peter Green Splinter Group in Concert, captured during their 2003 European tour and including both electric and acoustic sets that highlighted Green's revitalized playing. These releases represented the band's evolving sound, building on the success of their mid-period work with more introspective arrangements. However, internal strains emerged amid Green's ongoing health challenges, including fluctuations related to his medication, which affected his concentration and led to a desire for reduced touring commitments. These issues culminated in the cancellation of a scheduled 2004 European tour, exacerbating tensions within the group. The Splinter Group officially disbanded in early 2004 after Green's abrupt departure, which halted production on a planned new studio album; no subsequent reunion efforts occurred. In the aftermath, surviving members turned to individual pursuits, including solo recordings, while Nigel Watson later reflected on the band's importance in supporting Green's recovery and stabilization during his later career phase.

Musical Style and Legacy

Blues Foundations and Influences

The Peter Green Splinter Group operated firmly within the genre of rock, a style that bridged traditional American with the interpretive flair of 1960s British musicians. Drawing heavily from pioneers such as and Chicago figures like , the band's sound echoed the raw intensity of these roots while incorporating elements from Green's formative years in , where he honed a soulful, introspective approach to expression. This foundation allowed the group to revive Green's early affinity for authentic forms, prioritizing emotional resonance over commercial polish. Central to the Splinter Group's identity were Green's signature techniques, which delivered stinging, emotive solos that conveyed vulnerability and depth, often evoking the quality for which he was nicknamed the "Green God." He frequently incorporated harmonica to add a layer of raw, wailing texture, enhancing the bluesy grit without overpowering the melody. The arrangements were characteristically sparse, favoring minimalistic structures that highlighted emotional subtlety and restraint rather than flashy virtuosity, allowing space for Green's deliberate phrasing and tonal nuances. Thematically, the group delved into covers, exemplified by their dedication to the songbook project, which captured the haunting mysticism and personal torment of Johnson's originals. Green's own compositions extended this focus, exploring motifs of hardship, isolation, and redemption, reflecting his personal journey through adversity while maintaining a spiritual undercurrent drawn from traditions. Instrumentation centered on guitar-driven propulsion, with Green's lead and slide work at the forefront, supported by for atmospheric swells and a solid of and drums that facilitated extended improvisational jams. This setup underscored the band's commitment to live, organic exploration, where collective interplay amplified the genre's improvisatory essence.

Critical Reception and Impact

The Peter Green Splinter Group received praise from critics for its authentic return to blues roots, particularly highlighting Green's raw guitar work and emotive performances that evoked classic traditions. In a review of their 1999 album Destiny Road, JazzTimes described the collection as a "strong" effort featuring "soulful grooves and warm, blues-drenched lines," with Green's "eloquent bluetones" on guitar and "fragile, plaintive vocals" adding depth to tracks like the B.B. King-inspired "You'll Be Sorry Someday." Similarly, a 2012 Louder assessment of the live album Blues Don't Change commended Green's singing as "marvellously affecting" and "as soulful as white guys ever get," emphasizing his lead vocals on nearly all tracks as a standout element that captured the essence of authenticity. However, reception was mixed, with some critiques pointing to the simplicity of and Green's evolving vocal as limitations that confined the group to niche appeal rather than broader commercial success. The Louder review noted that the band's delivery on Blues Don't Change offered "little more than the basics," with guitar work described as only "slightly more than serviceable" and the resembling that of a "semi-pro pub band," suggesting superior existing versions of the standards covered. A 2002 review acknowledged the group's solid establishment on the blues circuit but observed that performances, while confident, sometimes lacked the explosive energy of Green's earlier career, reflecting a more restrained, introspective approach rooted in blues foundations. The Splinter Group's output played a key role in rehabilitating Green's reputation after decades of personal struggles, reestablishing him as a vital figure in the scene and inspiring a renewed interest among revivalists. By the early , Green had overcome earlier perceptions of fragility—evident in documentaries showing his disorientation—to perform regularly with , delivering "intermittent flashes" of his former brilliance that reinforced his legacy as a . This period's work influenced subsequent acts by demonstrating a commitment to , unpolished expression over commercial polish, helping to sustain the genre's introspective side amid broader rock evolutions. The group's seven albums from 1997 to 2003 solidified Green's late-career contributions, providing a substantial body of material that maintained his relevance until his death in 2020. Post-dissolution in 2004, archival releases such as the 2005 compilation The Best of Peter Green Splinter Group and later reissues kept the catalog accessible, ensuring the band's influence endured through tributes and retrospectives honoring Green's enduring impact on blues guitar and songcraft. In July 2025, Primary Wave Music acquired Green's publishing interest in his compositions, including those from the Splinter Group era, further preserving his legacy.

Personnel

Core and Founding Members

The Peter Green Splinter Group was founded in 1996 by Peter Green and Nigel Watson, who played pivotal roles in the band's formation and sustained its operations until dissolution in 2004. Green served as the central figure, handling lead vocals, , and harmonica throughout the band's existence from 1996 to 2004, while providing much of the songwriting and infusing performances with his signature authenticity rooted in his earlier tenure. Nigel Watson, a co-founder, contributed vocals and guitar from 1996 to 2004, offering essential support in Green's rehabilitation from personal challenges and aiding in arrangements that helped revive Green's career. Tolfree joined on in 1997 and remained until 2004, delivering a steady rhythmic foundation that underpinned the group's post-initial phase recordings and live shows. Roger Cotton provided keyboards and starting in 1998 through 2004, enhancing the band's sound with distinctive textures during its mid-period output. Pete Stroud anchored the rhythm section on from 1998 to 2004, supporting the group's later studio albums and tours with reliable low-end drive. Early temporary members, such as drummer , assisted briefly before the core lineup solidified.

Lineup Changes and Contributors

The Peter Green Splinter Group began with an initial lineup from 1996 to 1997 that included, alongside core members Peter Green and Nigel Watson, keyboardist , bassist , and drummer . This configuration recorded the band's self-titled debut album in 1997 but underwent changes shortly thereafter due to scheduling conflicts, as Powell and Murray committed to other projects, including Powell's work on Brian May's Another World album and tour. By late 1997 and into 1998, the band stabilized with the addition of keyboardist Roger Cotton on and , bassist Pete Stroud on fretless and fretted bass, and drummer Larry Tolfree on drums and percussion, forming that supported subsequent releases like Destiny Road (1999). This lineup provided continuity through the group's most active recording period, with Tolfree remaining until the band's dissolution in 2004. Guest contributions were sporadic but notable, particularly on the 2000 album , where blues luminaries such as guitarist (on tracks 1 and 4), pianist (on tracks 2 and 5), guitarist (on track 3), and others including and Joe Louis Walker appeared, enhancing the tribute material without major vocal features. The group operated without prominent formal managers, and production duties were frequently shared by Nigel Watson, underscoring the informal, collaborative ethos of the Splinter Group's operations.

Discography

Studio Albums

The Peter Green Splinter Group released seven studio albums between 1997 and 2003, primarily through the and labels, showcasing the guitarist's return to roots with a mix of covers and original material. These recordings, available on both and formats, emphasized Green's distinctive guitar tone and songwriting, often blending traditional structures with subtle influences. While commercial success was modest, the albums highlighted the band's evolution from acoustic tributes to more electric, collaborative efforts. The band's self-titled debut , Peter Green Splinter Group, arrived in via Recordings and featured 12 tracks of covers, marking Green's re-emergence with raw, electric interpretations of classics like "." Recorded with a core lineup including Nigel Watson on second guitar, the captured an unpolished energy reflective of live sessions adapted to studio settings. In 1998, issued The Robert Johnson Songbook, a 16-track acoustic-focused tribute comprising interpretations of 's standards, such as "" and "," emphasizing Green's fingerpicking style and vocal intimacy. The project, initially a duo effort with before expanding to the full group, paid homage to one of Green's key influences and showcased stripped-down arrangements that prioritized emotional depth over embellishment. Destiny Road (1999, Artisan) contained 13 songs blending originals and covers with road-themed narratives, including tracks like "Big Change Is Gonna Come" that evoked themes of journey and resilience, supported by the band's growing rhythmic foundation with on drums. This release shifted toward a more cohesive band sound, incorporating and harmonica for a wandering, narrative-driven aesthetic. The 2000 Artisan album Hot Foot Powder delivered 13 energetic blues-rock tracks, featuring guest appearances from luminaries like on "Little Queen of Spades," on "I'm a Steady Rollin' Man," and on "From Four Until Late," infusing the sessions with high-voltage interplay and a lively, jam-oriented vibe. Green's interplay with these veterans underscored the album's vibrant, collaborative spirit, drawing on electric and traditions. Switching to Eagle Records, Time Traders (2001) offered 13 songs with experimental edges, including atmospheric pieces like "Real World" that incorporated subtle psychedelic elements and unconventional structures, reflecting Green's willingness to push beyond strict conventions. The album's production highlighted layered guitars and moody dynamics, bridging the group's earlier purity with forward-looking . Also in 2001 on Eagle, Blues Don't Change presented 11 covers as a to genre staples, with renditions of "Take Out Some Insurance" and "" that honored the form's enduring power through straightforward, heartfelt deliveries. This collection reaffirmed the band's commitment to the canon, using minimalistic arrangements to let Green's phrasing shine. The final studio effort, Reaching the 100 (2003, Eagle), comprised 13 reflective tracks serving as a contemplative closer, featuring originals like "Ain't Nothing Gonna Change It" that explored themes of fate and endurance amid the band's winding down. With a polished yet somber tone, it encapsulated Green's mature perspective on his journey.

Live Albums, Compilations, and Other Releases

The Peter Green Splinter Group's live output primarily consisted of recordings capturing their energetic performances of standards and original material, with a focus on intimate club settings. Their debut live release, Soho Session, was recorded on April 5, 1998, at in , , and issued as a limited-edition double CD in 1999 by Artisan Recordings. This features 19 tracks blending classics like "" and "The Green Manalishi" with covers such as Robert Johnson's "Last Fair Deal Gone Down" and Slim Harpo's "," showcasing Green's raw guitar tone and the band's tight rhythm section in a full live environment. A subsequent release of the same Ronnie Scott's performance, Soho Live at Ronnie Scott's, appeared in as a double CD on Snapper Music's imprint, broadening accessibility beyond the initial limited run. This edition retains the original setlist's emphasis on improvisation and Green's understated vocals, with extended jams on tracks like "Honeymoon Blues" and "," highlighting the group's ability to evoke emotional depth in a atmosphere. Compilations from the Splinter Group's catalog served to consolidate their studio recordings, often drawing from early albums like The Robert Johnson Songbook and Destiny Road for thematic retrospectives. Me and the Devil, a three-CD released in 2001 by Snapper Music, centers on interpretations of 's blues catalog, including tracks across acoustic and electric arrangements. The 2002 double-CD compilation The Best Of Peter Green Splinter Group, also on Snapper Music, spans 20 selections from their first five years, featuring collaborations with on "I'm a Steady Rollin' Man" and live cuts like "The Green Manalishi," encapsulating the band's evolution from acoustic roots to fuller . Later compilations extended this archival approach post-2004 disbandment. Supernatural: An Anthology, issued in 2007 by Snapper Music, compiles 25 tracks including rare Splinter Group material alongside Green's broader career highlights, such as "Albatross" and "Jumping at Shadows," to underscore his supernatural guitar phrasing in blues contexts. A 2007 two-CD reissue paired the 2001 album Time Traders (originally on Eagle Records) with the final studio effort Reaching the Cold 100 (2003, Eagle), presenting 27 tracks of introspective blues like "Real World" and "Legal Fee Blues" in remastered form for renewed appreciation. Singles and promotional releases were sparse, with the most notable being the 2001 promo single "Real World" on Eagle Records, a from Time Traders emphasizing Green's melodic over a mid-tempo groove. In video media, the 2003 DVD An Evening With Peter Green Splinter Group in Concert, released by , documents a 2002 performance split between electric and acoustic sets, featuring 18 songs including "Heart of Stone" and "Man of the World," with bonus interviews capturing the band's final touring phase. Post-disbandment archival efforts culminated in a vinyl reissue of The Best Of Peter Green Splinter Group on Madfish, a double LP edition with 17 tracks selected for their representation of the group's blues-rock fusion, including live renditions and guest spots with on "." No additional major video releases emerged beyond the 2003 DVD, though these compilations and reissues preserved the Splinter Group's contributions to Green's late-career blues revival.

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