Rave Reviews for "A Love That Burns"

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Burlington County Times “A Love That Burns” Review:

“Vineberg: Mount Laurel man’s ‘hobby’ leads to three-volume opus on recordings of Peter Green

The first-time author has chronicled 1,000 live and studio performances from Green, the acclaimed British blues guitarist and original leader of Fleetwood Mac.

Richard J. Orlando has never met Peter Green. Never spoken to him or seen him perform live.

And yet over the last two decades, the acclaimed British guitarist’s music has been a constant presence in Orlando’s life, to the point where he could probably tell you almost every detail about nearly every song Green recorded and performed over a six-year period at the height of his career.

Don’t believe me? The proof is in the pages — more than 1,900 of them.

Orlando, of Mount Laurel, is the author of “A Love that Burns: A Definitive Guide to the Recordings of Peter Green,” a three-volume opus that will be available in paperback this Friday following its release as an ebook last February.

The series meticulously chronicles 1,000 live and studio performances of 378 songs Green delivered from 1966 to 1971 as a solo artist, band member, guest musician and original leader of Fleetwood Mac, which he co-founded in the summer of 1967.

If you’re unfamiliar with Green’s music, don’t feel bad. So was Orlando, until he discovered it while listening to Dan Aykroyd’s blues radio show in the early 1990s.

“He did an episode about British blues, and four of the songs he played featured Peter Green, and I was just stunned. I had never heard any of this before,” said Orlando, 58, a Queens, New York City, native who moved to Mount Laurel about 20 years ago with his wife, Lee, and son, Martin.

Of course Orlando knew Fleetwood Mac — everybody does — but he was unfamiliar with the band’s pre-Buckingham-Nicks, blues-based material led by Green, who was named the third-best guitarist of all time in a 1996 Mojo magazine poll.

“It was Green’s guitar playing. It just had this quality and spirituality that completely hooked me,” he said. “When Dan Aykroyd played ‘Black Magic Woman,’ of course I was very familiar with the Santana version, and I kind of knew that Santana didn’t write it, but I didn’t know who did. I had never heard the original version.

“It was so drastically different that I had to find out more about this guy: OK, who was this guy? What’s the deal here?”

At first, his quest for answers was just about discovering as much of Green’s music as possible. Writing his first book hadn’t yet crossed his mind.

“It took me a long time to gather any amount of his recordings. Most of them were not available since his official recordings were out of print at the time, and this was really before the internet, so I was kind of on my own,” Orlando said. “I would go to record shows and there would be bootleg collections and some live recordings and each time I would get more material. Then when I got the internet and started doing research I started to hook up with other people around the world, and we began trading recordings, first on cassette.

“One of the problems was you would get these recordings, and there was very little information about when it was done, where it was recorded, things like that. I was on a Fleetwood Mac forum online, and this one guy said to me, ‘You really should try to put together a list, when you know where they’re from, write that down, so you can kind of keep track of the stuff.’

“But it was like, OK, there’s multiple versions of any given song, how do I know which ones I really preferred? So I started doing little write-ups for each version, then it just kept growing from there, and what became a hobby soon became what seems like a lifetime project.”

Orlando, who works as a produce associate at the ShopRite on Union Mill Road in Mount Laurel, said the research and writing took 15 years.

He had to stop somewhere, which is why the book focuses only on the influential first phase of Green’s career, which includes his time in John Mayall’s Bluesbreakers, his 1970 solo debut album and his stint in Fleetwood Mac, which ended amid his struggles with mental illness. Green’s comebacks as a solo artist in the 1980s and with the Peter Green Splinter Group in the late ’90s are not covered.

But even just focusing on the early years, Orlando was not able to chronicle it all. Since the completion of the ebook, he has discovered additional recordings from that era, which he has written about in a blog on his website,

(Smiling Corgi is his independent publishing company, named for his late corgi, Flash. “You couldn’t help but smile when you looked at that dog, and I hope people feel the same way about my book,” Orlando said.)

Among the most enjoyable aspects of his research were meeting fellow fans around the world (or at least communicating with them online) and hearing so many of Green’s live performances.

“The studio recordings are terrific, but he really came to life onstage,” said Orlando, whose sources included Fleetwood Mac co-founder Jeremy Spencer and Mike Vernon, who produced the band’s earliest albums. “When you hear the live recordings, that’s when you really understand why he’s considered a legend in some circles. No two versions of any songs are alike, sometimes the variations are very minor, sometimes he dramatically worked them from one night to the other. That’s where the excitement comes in.”

Orlando doesn’t know if Green, 71, is aware of the book, but he did find Green’s nephew on Facebook last year and sent him the ebook version. He’d love to get in touch again and mail him the hard copy.

“I doubt that Peter Green would be reading it on an iPhone, it’s awful thick, but if he had a paperback, maybe he would peruse it,” Orlando said. “I would be very gratified for him to know that there are people out there, and this is how much his music means to them.”

Whether Green sees it or not, Orlando hopes the book and the accompanying website become a continued source of information about an artist whose talent he believes has been far too overlooked through the years.

“I’m proud of myself for following through and getting it done, and I’m very excited about seeing what type of reaction I get, but what I’m really hoping for is that the website becomes almost like a clearing house for correcting information that’s out there, or getting a dialogue going about the music, to keep it alive,” he said. “There are still people discovering his music today, which I think is terrific. And I would like them to have a single place to kind of find the information they may be looking for.””

Link to this article can be found here:

Yahoo! Japan’s “A Love That Burns” Review

“Published British Blues ‘Green God’ Peter Green Study ‘A Love That Burns’

A Love That Burns Reviews
Fleetwood Mac (Center: Peter Green) (Photo: Shutterstock / Afro)

“Eric Clapton is God, but Peter Green is greater than God.”

In the late 1960s, British music fans told them to say this way.

In 1966, Peter who joined John Maya’s Bluesbreakers as successor guitarist of Erik was completely unknown until then, but won a charismatic popularity. In March 1967, Bruce Breakers’ album “Hard Road” recorded a hit of 10th in the UK chart.

In 1967 Peter formed Fleetwood Mac as an independent. The musicality which interpreted the American black blues in the British style gained tremendous support and they raise the British Blues boom. Especially Peter’s guitar gave birth to many believers. The single “Albatross” which won the first place in the UK chart became the inspiration source of the Beatles’ “San King”, and Santana covered “Black Magic Woman”, that guitar play is the world’s top musician It has influenced us. Joe Perry of Aerosmith also covers Fleetwood Mac ‘s “Stop Messing Around” and Peter gave to Gary Moore, 1958 Gibson Les Paul now owned by Metallica’s Kirk Hammet are doing.

But in April 1970 Peter suddenly withdrew from the band. Disappear from the music scene. It is said to be caused by mental pressure as a leader of the popular band and the effect of drugs, but the retirement with world pressure suppression on the front calls for shock.

(Incidentally Fleetwood Mac then greets a global break with a new member)

After that, Peter played the comeback twice in the latter half of the 1970s and the latter half of the 1990s, and in Japan in 1999 and 2002, the performance has also come to Japan. It is now retired again, but the guitar play in the late 1960s, which is said to be heyday, has been deified and still continues to attract music listeners all over the world.

American music researcher Richard J. Orlando is one such person.

Although Mr. Orlando did not experience Peter’s play in real time in the Fleetwood Mack era, he listened to CDs and was touched by its “honesty, personalism, humor, and raw power”. For over 20 years, he has thoroughly verified all records, CDs, guest participation in other artists’ works, unreleased live sound sources and so on. Then the book that was published in 2018 is “A Love That Burns: The Definitive Guide To The Recordings Of Peter Green, The Founder of Fleetwood Mac Live And In Studio 1966-1971” (published by Smiling Corgi Press).

All three books and a total of nearly 2,000 pages, this book is the first recording at Peter B’s Luners from Peter’s birth, activities at John Maya’s Blues Breyers, Fleetwood Mac, solo after leaving It follows the trajectory to the album “End of the Game” (1971).

The last recording described is a guest participation in “Penguin” of the old-fashioned Fleetwood · Mack in 1973, and the detailed activities since the comeback in “The Empty Guitar In The Skies” in 1979 are touched Absent. The sound source of the time Peter called “Green God = Green God” is being drilled down to the point of stoic.

As an example of how much detail, Willie Dixon, Buddy Guy, Otis Span and others participated in the legendary session that Fleetwood Mac made in Chicago on January 4, 1969, “Bruce · Jam In Chicago Vol. 1 “” Vol. 2 “, but this book uses 40 pages for the work of only one day. A commentary on the song played on the day, the workmanship of the play, the reaction of the listener at the time, etc. are described in detail, and by listening to the album listening to the page with the page landing, the pleasure is several times better. Such a commitment goes through the full story.

Mr. Orlando cites “getting reliable first information” as a hard work in writing this book. Tracing the footprints of artists nearly half a century surely will surely involve extraordinary difficulties. Mr. Peter seems to have not interviewed himself, but even if he interviews it is highly likely that he did not remember much of the time. The author (Yamazaki) also interviewed Peter several times, but when it was a detailed story of the past, it was blurred as “I do not remember.”

Reviews A Love That Burns

Nonetheless, Mr. Orlando interviewed Jeremy Spencer, a female guitarist of Peter’s Fleetwood Mack era, and a signboard producer of British Blues and Mike Vernon who also worked on Macs, and a number of rare sound sources, magazines I dig down while hitting materials. Although there is no artwork such as artist photos, records, jackets, etc., there is no schedule of translation of Peter Green’s artist’s image among enormous data at present, but for future researchers, this book Will be an important reference.

On September 12, 2018, Fleetwood Mac’s “Mr. Wonderful” (1968) and “Sacred Bird” (1969) are cheap as part of Sony Music Japan’s “Guitar Legends Series” Board CD It is decided to be recurrent. Peter Green’s guitar continues to shake our soul in the 21st century.”

Link to the original Yahoo! Japan article can be found here:

The Vinyl Press’ “A Love That Burns” Review

“Peter Green: A Love That Burns- Definitive Reference Guide by Richard Orlando (3 volumes, Smiling Corgi Press 2017)

Smiling Corgi Press A Love That Burns Reviews
“To call this exhaustive study of Peter Green’s performances an ambitious undertaking would be damning by faint praise: over 1,900 pages, cataloging and commenting on the history and attributes of 1,000 recorded performances by the legendary guitarist Peter Green spread among three volumes. These volumes took author Richard Orlando more than 15 years to assemble.

Green is a relatively modern artist who composed and performed within our lifetimes—and within a fairly narrow window of time. However, detailed information about the body of his work is not nearly as widespread or accessible as it is for many other artists of lesser significance. Orlando was forced to do the sort of music archeology often reserved for the early blues players, unearthing forgotten history even if it was not that long past.”

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