Blues rock is a fusion genre and form of rock music that relies on the chords/scales and instrumental improvisation of blues . It is mostly an electric ensemble-style music with instrumentation similar to electric blues and rock (electric guitar, electric bass guitar, and drums, sometimes with keyboards and harmonica). From its beginnings in the early to mid-1960s, blues rock has gone through several stylistic shifts and along the way it inspired and influenced hard rock , Southern rock , and early heavy metal .
130-436: Daniel David Kirwan (né Langran , 13 May 1950 – 8 June 2018) was a British musician and guitarist, singer and songwriter with the blues-rock band Fleetwood Mac between 1968 and 1972. He released three albums as a solo artist from 1975 to 1979, recorded albums with Otis Spann , Chris Youlden , and Tramp , and worked with former Fleetwood Mac colleagues Jeremy Spencer and Christine McVie on some of their solo projects. He
260-403: A major triad fuses better than a minor triad and a major-minor seventh chord fuses better than a major-major seventh or minor-minor seventh . These differences may not be readily apparent in tempered contexts but can explain why major triads are generally more prevalent than minor triads and major-minor sevenths are generally more prevalent than other sevenths (in spite of the dissonance of
390-527: A "vertical" dimension (frequency-space) and a "horizontal" dimension (time-space), and often overlaps with related musical concepts such as melody , timbre , and form . A particular emphasis on harmony is one of the core concepts underlying the theory and practice of Western music . The study of harmony involves the juxtaposition of individual pitches to create chords, and in turn the juxtaposition of chords to create larger chord progressions . The principles of connection that govern these structures have been
520-428: A C chord, there are three notes: C, E, and G. The note C is the root. The notes E and G provide harmony, and in a G7 (G dominant 7th) chord, the root G with each subsequent note (in this case B, D and F) provide the harmony. In the musical scale, there are twelve pitches. Each pitch is referred to as a "degree" of the scale. The names A, B, C, D, E, F, and G are insignificant. The intervals, however, are not. Here
650-421: A chord with a root, third, fifth, and seventh spelled C, E, G, and B ♭ . Other types of seventh chords must be named more explicitly, such as "C Major 7" (spelled C, E, G, B), "C augmented 7" (here the word augmented applies to the fifth, not the seventh, spelled C, E, G ♯ , B ♭ ), etc. (For a more complete exposition of nomenclature see Chord (music) .) Continuing to stack thirds on top of
780-421: A consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds. In simple words, that occurs when there is a balance between "tense" and "relaxed" moments. For this reason, usually tension is 'prepared' and then 'resolved', where preparing tension means to place a series of consonant chords that lead smoothly to the dissonant chord. In this way
910-496: A devoted fan of the band's lead guitarist, Peter Green , and followed Fleetwood Mac around the London clubs, often turning up at gigs during the afternoon to help to carry the gear in and jam with Green after the soundcheck. "Which is how Danny Kirwan came into our lives," Fleetwood said. "Danny was a huge fan of Peter's. He would see us every chance he got, usually watching in awe from the front row." Fleetwood Mac had been constituted as
1040-440: A different style. He was full of ideas that helped to move Fleetwood Mac out of the blues and into the rock mainstream ... Playing live, he was a madman." Fleetwood Mac biographer Leah Furman said Kirwan had "provided a perfect sounding board for Peter's ideas, added stylistic texture, and moved Fleetwood Mac away from pure blues." Kirwan was interviewed by weekly music paper Melody Maker soon after joining Fleetwood Mac and gave
1170-525: A form of heavy rock. Jimmy Page , who replaced Beck in the Yardbirds, followed suit with Led Zeppelin and became a major force in the 1970s heavy metal scene. Other blues rock musicians in the 1970s include Dr. Feelgood , Rory Gallagher and Robin Trower . Beginning in the early 1970s, American bands such as Aerosmith fused blues with a hard rock edge. Blues rock grew to include Southern rock bands, like
1300-599: A four-piece, and was augmented after the recording of Kiln House by the arrival of keyboard player Christine McVie, described by Fleetwood as "the best blueswoman in England", as a fifth band member. The new line-up allowed Kirwan to develop more melodic rock. Kirwan and Spencer handled the guitars and vocals together on the Kiln House album, released in September 1970, and continued the working relationship they had developed during
1430-675: A little club in Brixton, the Nag's Head, one night when we played with a local band called Boilerhouse. Danny played beautifully, getting a subtle tremolo effect from his fingering." Fleetwood Mac's producer Mike Vernon booked Boilerhouse to play at his blues club, the Blue Horizon in Battersea, and he remembered, "Danny was outstanding. He played with an almost scary intensity. He had a guitar style that wasn't like anyone else I'd heard in England." Kirwan became
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#17328632446601560-484: A major seventh interval alone (i.e., C up to B) may be perceived as dissonant, but the same interval as part of a major seventh chord may sound relatively consonant. A tritone (the interval of the fourth step to the seventh step of the major scale, i.e., F to B) sounds very dissonant alone, but less so within the context of a dominant seventh chord (G7 or D ♭ 7 in that example). In the Western tradition, in music after
1690-689: A more aggressive sound common to rock. In the UK, the style was popularized by groups such as the Rolling Stones , the Yardbirds , and the Animals , who put several blues songs into the pop charts. In the US, Lonnie Mack , the Paul Butterfield Blues Band , and Canned Heat were among the earliest exponents. Some of these bands also played long, involved improvisations as were then commonplace on jazz records. In
1820-422: A musician, remembered Kirwan as "a very bright boy with very high musical standards. When we were on the road he was constantly saying 'Come on, Clifford, we must rehearse, we must rehearse, we've got to rehearse'." Davis said Kirwan "was the originator of all the ideas regarding harmonies and the lovely melodies that Fleetwood Mac would eventually encompass." Kirwan progressed from being an 18-year-old guitarist in
1950-436: A ninth chord has five members [tonic, 3rd, 5th, 7th, 9 th] , not nine.) Extensions beyond the thirteenth reproduce existing chord members and are (usually) left out of the nomenclature. Complex harmonies based on extended chords are found in abundance in jazz, late-romantic music, modern orchestral works, film music, etc. Typically, in the classical common practice period a dissonant chord (chord with tension) resolves to
2080-616: A precise sense of phrasing and timing and he was well-trained, as opposed to us, who had just wandered into it." Welch remembered Kirwan's lead guitar style as mature and economical. Welch's contrasting attitudes towards Kirwan – on one hand, a difficult personal relationship, and on the other his great respect for Kirwan's musicianship – were a point of focus during the sixteen months they were together in Fleetwood Mac. Fleetwood remembered that they were "very different as people and as musicians". A personality clash developed and by 1972, under
2210-443: A quartet but Green, the band's founder, wanted to move away from pure blues and had been looking for a new musical collaborator and backing guitarist to work with, as slide guitarist Jeremy Spencer did not contribute to his songs. Green found that he and Kirwan worked well together, and suggested to Fleetwood that Kirwan could join Fleetwood Mac. Although the rest of the band were not entirely convinced, Fleetwood invited Kirwan to join
2340-577: A riot when he tried to end the show at midnight and Green finally ran out of ideas at 4am. American guitarist Bob Welch was recruited to replace Spencer in April 1971. He arrived in London from Paris , where he had been stranded after his previous band fell apart. Fleetwood said later, "We tried a few others, but Bob was the perfect fit. We loved his personality. His musical roots were in R&;B instead of blues [and] we thought it would be an interesting blend. He had
2470-423: A seventh chord produces extensions, and brings in the "extended tensions" or "upper tensions" (those more than an octave above the root when stacked in thirds), the ninths, elevenths, and thirteenths. This creates the chords named after them. (Except for dyads and triads, tertian chord types are named for the interval of the largest size and magnitude in use in the stack, not for the number of chord members : thus
2600-523: A small pub band in south London to being a member of an internationally known touring band in one move. He played his first gig with Fleetwood Mac on 14 August 1968 at the Nag's Head Blue Horizon Club in Battersea , London. Ten days later he was with them on stage at the Hyde Park Free Concert in London, performing on the same bill as Family , Ten Years After and Fairport Convention . A session in
2730-775: Is Cream 's " Crossroads ". Although it was adapted from Robert Johnson 's " Cross Road Blues ", the bass "combines with drums to create and continually emphasize continuity in the regular metric drive". Rock music uses driving rhythms and electric guitar techniques such as distortion and power chords already used by 1950s electric blues guitarists, particularly Memphis bluesmen such as Joe Hill Louis , Willie Johnson and Pat Hare . Characteristics that blues rock adopted from electric blues include its dense texture, basic blues band instrumentation, rough declamatory vocal style, heavy guitar riffs , string-bending blues-scale guitar solos, strong beat, thick riff-laden texture, and posturing performances. Precursors to blues rock included
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#17328632446602860-428: Is an additional chord member that creates a relatively dissonant interval in relation to the bass. The notion of counterpoint seeks to understand and describe the relationships between melodic lines, often in the context of a polyphonic texture of several simultaneous but independent voices. Therefore, it is sometimes seen as a type of harmonic understanding, and sometimes distinguished from harmony. Typically, in
2990-404: Is an additional chord member that creates a relatively dissonant interval in relation to the bass. Following the tertian practice of building chords by stacking thirds, the simplest first tension is added to a triad by stacking, on top of the existing root, third, and fifth, another third above the fifth, adding a new, potentially dissonant member a seventh away from the root (called the "seventh" of
3120-461: Is an example: As can be seen, no note will always be the same scale degree. The tonic , or first-degree note, can be any of the 12 notes (pitch classes) of the chromatic scale. All the other notes fall into place. For example, when C is the tonic, the fourth degree or subdominant is F. When D is the tonic, the fourth degree is G. While the note names remain constant, they may refer to different scale degrees, implying different intervals with respect to
3250-480: Is commonplace in music theory. This is usually accounted for by the replacement of horizontal (or contrapuntal ) composition, common in the music of the Renaissance , with a new emphasis on the vertical element of composed music. Modern theorists, however, tend to see this as an unsatisfactory generalisation. According to Carl Dahlhaus : It was not that counterpoint was supplanted by harmony (Bach's tonal counterpoint
3380-511: Is convention, if possible, to use each letter in the alphabet only once in describing a scale. A note spelled as F♭ conveys different harmonic information to the reader versus a note spelled as E. In a tuning system where two notes spelled differently are tuned to the same frequency, those notes are said to be enharmonic . Even if identical in isolation, different spellings of enharmonic notes provide meaningful context when reading and analyzing music. For example, even though E and F♭ are enharmonic,
3510-420: Is created using steps of the same size, producing harmonic relations marginally 'out of tune' from pure frequency ratios as explored by the ancient Greeks. 12-tone equal temperament evolved as a compromise from earlier systems where all intervals were calculated relative to a chosen root frequency, such as just intonation and well temperament . In those systems, a major third constructed up from C did not produce
3640-441: Is frequently cited as placing little emphasis on what is perceived in western practice as conventional harmony; the underlying harmonic foundation for most South Asian music is the drone , a held open fifth interval (or fourth interval) that does not alter in pitch throughout the course of a composition. Pitch simultaneity in particular is rarely a major consideration. Nevertheless, many other considerations of pitch are relevant to
3770-497: Is judged to detract from the whole composition can be described as disharmonious rather than dissonant. The term harmony derives from the Greek ἁρμονία harmonia , meaning "joint, agreement, concord", from the verb ἁρμόζω harmozō , "(Ι) fit together, join". Aristoxenus wrote a work entitled Elements of Harmony , which is thought the first work in European history written on
3900-498: Is one of the sweetest albums I have." On the last two Fleetwood Mac albums that featured Kirwan, his songs occupied about half of each album. His guitar work was also evident on songs written by Welch and Christine McVie as they developed their own songwriting techniques. Future Games was released in September 1971. Welch brought a couple of new songs, notably the lengthy title track, which featured Welch and Kirwan playing long instrumental sections. Welch recalled later, "I mostly did
4030-573: Is surely no less polyphonic than Palestrina's modal writing) but that an older type both of counterpoint and of vertical technique was succeeded by a newer type. And harmony comprises not only the ("vertical") structure of chords but also their ("horizontal") movement. Like music as a whole, harmony is a process. Descriptions and definitions of harmony and harmonic practice often show bias towards European (or Western ) musical traditions, although many cultures practice vertical harmony. In addition, South Asian art music ( Hindustani and Carnatic music )
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4160-420: Is the concept of combining different sounds together in order to create new, distinct musical ideas. Theories of harmony seek to describe or explain the effects created by distinct pitches or tones coinciding with one another; harmonic objects such as chords , textures and tonalities are identified, defined, and categorized in the development of these theories. Harmony is broadly understood to involve both
4290-558: Is the older Medieval and Renaissance tonalité ancienne , "The term is meant to signify that sonorities are linked one after the other without giving rise to the impression of a goal-directed development. A first chord forms a 'progression' with a second chord, and a second with a third. But the former chord progression is independent of the later one and vice versa." Coordinate harmony follows direct (adjacent) relationships rather than indirect as in subordinate. Interval cycles create symmetrical harmonies, which have been extensively used by
4420-415: Is usually called doubling , a technique The Beatles used in many of their earlier recordings. As a type of harmony, singing in unison or playing the same notes, often using different musical instruments, at the same time is commonly called monophonic harmonization . An interval is the relationship between two separate musical pitches. For example, in the melody " Twinkle Twinkle Little Star ", between
4550-518: The BBC radio studios in London followed, to record twelve songs for broadcast on John Peel 's 'Top Gear'. Three days after that the band began a 50-date tour of the UK and Scandinavia, and at the end of November they were in Paris, performing in a New Year's Eve show for French television [ORTF 'Surprise Partie'] with The Who , Small Faces , Pink Floyd and The Troggs . Two days later, on 1 December 1968, Kirwan
4680-553: The Bluesbreakers . Kirwan was 17 when he came to the attention of established British blues band Fleetwood Mac in London while fronting his first band, Boilerhouse, a blues three-piece with Trevor Stevens on bass and Dave Terrey on drums. Boilerhouse played support slots for Fleetwood Mac at London venues such as the Nag's Head in Battersea and John Gee's Marquee Club in Wardour Street. Mick Fleetwood recalled, "We met Danny at
4810-688: The Chicago blues musicians Elmore James , Albert King , and Freddie King , who began incorporating rock and roll elements into their blues music during the late 1950s to early 1960s. 1963 marked the appearance of American rock guitar soloist Lonnie Mack , whose idiosyncratic, fast-paced electric blues guitar style came to be identified with the advent of blues rock as a distinct genre. His instrumentals from that period were recognizable as blues or rhythm and blues tunes, but he relied heavily upon fast-picking techniques derived from traditional American country and bluegrass genres. The best-known of these are
4940-633: The City of London . Kirwan's mother was a singer and he grew up listening to the music of jazz musicians such as Eddie Lang , Joe Venuti , Belgian gypsy guitarist Django Reinhardt and 1930s–40s groups such as the Ink Spots . He began learning guitar at the age of 15 and rapidly became an accomplished musician and guitarist. He was influenced by, among others, Hank Marvin of the Shadows , Django Reinhardt, Jimi Hendrix , and particularly by Eric Clapton 's playing in
5070-509: The chromatic scale is the minor second and its inversion , the major seventh. For typical spectral envelopes in the central range, the second roughest interval is the major second and minor seventh, followed by the tritone, the minor third ( major sixth ), the major third ( minor sixth ) and the perfect fourth (fifth). Familiarity also contributes to the perceived harmony of an interval. Chords that have often been heard in musical contexts tend to sound more consonant. This principle explains
5200-482: The 1963 Billboard hit singles " Memphis " and "Wham!". Around the same time, the Paul Butterfield Blues Band was formed. Fronted by blues harp player and singer Paul Butterfield , it included two members from Howlin' Wolf 's touring band, bassist Jerome Arnold and drummer Sam Lay , and later two electric guitarists, Mike Bloomfield and Elvin Bishop . In 1965, its debut album, The Paul Butterfield Blues Band
5330-530: The 1990s, which saw guitarists Gary Moore , Jeff Healey , and Kenny Wayne Shepherd become popular concert attractions. Female blues singers such as Bonnie Raitt , Susan Tedeschi , Sue Foley , Joanne Shaw Taylor and Shannon Curfman recorded blues rock albums. Groups such as the Jon Spencer Blues Explosion and the White Stripes brought an edgier, more diverse style into the 2000s, while
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5460-644: The Allman Brothers Band , ZZ Top and Lynyrd Skynyrd , while the British scene, except for the advent of groups such as Status Quo and Foghat , became focused on heavy metal innovation. While blues rock and hard rock shared many similarities in the early 1970s, more traditional blues styles influenced blues rock in the 1980s, when the Fabulous Thunderbirds , Stevie Ray Vaughan , Georgia Satellites and Robert Cray recorded their best-known works, and
5590-530: The Black Keys returned to basics. Gary Clark Jr. , known for his fusing of blues, rock and soul, has been classified as a blues rock artist, with Rolling Stone ' s Jonathan Bernstein referring to Clark's albums Blak and Blu (2012) and The Story of Sonny Boy Slim (2015) as "steeped in a sleek, modern blues-rock production style". Formed in 2017, Bulls of Prey is a successful Hungarian band in this genre. Harmonies In music , harmony
5720-603: The Doors and Big Brother and the Holding Company with Janis Joplin , also adapted songs by blues artists to include elements of rock. Butterfield, Canned Heat, and Joplin performed at the Monterey (1967) and Woodstock (1969) festivals. In the UK, several musicians honed their skills in a handful of British blues bands, primarily those of Cyril Davies and Alexis Korner . While the early British rhythm and blues groups, such as
5850-464: The English style of consonance that used thirds and sixths. The English style was considered to have a sweeter sound, and was better suited to polyphony in that it offered greater linear flexibility in part-writing. Carl Dahlhaus (1990) distinguishes between coordinate and subordinate harmony . Subordinate harmony is the hierarchical tonality or tonal harmony well known today. Coordinate harmony
5980-472: The I. The Allman Brothers Band 's version of " Stormy Monday ", which uses chord substitutions based on Bobby "Blue" Bland 's 1961 rendition, adds a solo section where "the rhythm shifts effortlessly into an uptempo 6/8-time jazz feel". The key is usually major , but can also be minor , such as in " Black Magic Woman ". One notable difference is the frequent use of a straight eighth-note or rock rhythm instead of triplets usually found in blues. An example
6110-495: The Joe Venuti / Eddie Lang Blue Five in 1933. Kirwan worked it out from the record and adapted it for Green and himself to play on guitar, but Green remembered, "I couldn't do it properly, I can't play that sort of big-band type thing," so Kirwan played all the guitar parts himself. The Beatles admired "Albatross" and were inspired by it to create the slow, melodic, harmonised track "Sun King" on their 1969 album Abbey Road . In
6240-419: The Rolling Stones , the Yardbirds , and the Animals , incorporated American R&B , rock and roll , and pop , John Mayall took a more distinctly electric blues approach. In 1966, he released Blues Breakers with Eric Clapton , the first of several influential blues rock albums. When Eric Clapton left Mayall to form Cream , they created a hybrid style with blues, rock, and jazz improvisation , which
6370-513: The Royal Albert Hall in London when Fleetwood Mac supported BB King on the opening date of his first UK tour, and they played support on the eight-date tour. Kirwan's first recorded work with Fleetwood Mac, in October 1968, was his contribution of the second guitar part to Green's blues instrumental " Albatross ". Green had been working on the piece for some time, and Kirwan completed it by adding
6500-693: The Sun Is Shining", "Love It Seems", "Tell Me from the Start", and "Farewell", plus a joint composition with Green, "World in Harmony". His songs on Show-Biz Blues included his first recorded song, "Mind of My Own", and a live version of "Coming Your Way". Kirwan's up-tempo blues "Like It This Way" was recorded during the "Man of the World" sessions early in 1969, and was the first Fleetwood Mac recording to feature Kirwan and Green's duelling twin-lead guitars, which became part of
6630-504: The UK for six years. The B-side of "The Green Manalishi" was the instrumental "World in Harmony", the only track given a "Kirwan/Green" joint songwriting credit. In March 1970, Green said that he and Kirwan were planning an album based around their two guitars, and Spencer recalled later that Kirwan and Green had begun to piece their guitar parts together "almost like orchestrally layered guitar work." Kirwan and Green had already worked on melodic twin guitar demos that had sparked rumours in
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#17328632446606760-574: The US. Kirwan began a two-month tour with the band to promote English Rose at the Fillmore East in New York on 1 February 1969. The US track-listing of Then Play On was reordered to allow the inclusion of the full nine-minute version of Green's hit single "Oh Well", and two of Kirwan's songs, "My Dream" and "When You Say", were dropped. Only "Coming Your Way", the wistful "Although the Sun Is Shining" and his duet with Green, "Like Crying", appeared on all
6890-616: The World", which was released in April 1969 and reached number two in the UK charts. The final hit single from this line-up, " The Green Manalishi ", was recorded in the US in April 1970, in a difficult night-time session after Green had announced that he was leaving the band. Producer Martin Birch recalled Green growing increasingly frustrated because he could not get the sound he wanted, and Kirwan reassuring him that they would stay there all night until they got it right. Green said later that although it had left him exhausted, making "Green Manalishi"
7020-695: The album-closer, "Dust", was taken from a poem about death by British war poet Rupert Brooke , although Brooke was not credited. "Danny's Chant" featured heavy use of the wah-wah guitar effect and was essentially an instrumental piece, except for Kirwan's wordless, rhythmic scat vocals. Blues rock Blues rock started with rock musicians in the United Kingdom and the United States performing American blues songs. They typically recreated electric Chicago blues songs, such as those by Willie Dixon , Muddy Waters , and Jimmy Reed , at faster tempos and with
7150-539: The album. Kirwan's skills came to the forefront on the band's mid-1969 album Then Play On , recorded at Kingsway Studios in Holborn, London. Green had told Kirwan when he joined the band that he would be responsible for half of the next album, and the songwriting and lead vocals on Then Play On were split almost equally between them, with many of the performances featuring their dual-lead Gibson Les Paul guitars. Fleetwood said that Kirwan, asked to write his first songs for
7280-500: The band got into their stride, Kirwan is reported to have felt annoyed and overshadowed because Green was taking a leading role in their guitar playing. After one show at which Fleetwood Mac were the headliners, he is said to have thrown a bottle of beer over Green in the dressing room. Green's biographer Martin Celmins said Green had not been trying to put Kirwan down. "[Peter] just played around him, trying to egg him on, but Danny didn't have
7410-630: The band in August 1968. Fleetwood said, "Danny was an exceptional guitar player. It was clear that he needed to be with better players ... In the end, we just invited him to join us. It was one of those 'ah-ha' moments when you realise the answer is right there in front of you." Kirwan's reaction was described as "astonishment and delight". His arrival expanded Fleetwood Mac to a five-piece with three guitarists. Green described Kirwan as "a clever boy who got ideas for his guitar playing by listening to all that old-fashioned Roaring Twenties big-band stuff." Kirwan
7540-649: The band that Green left because of personality clashes with Kirwan and musical and personal differences with the other band members. He said Green wanted to be free to play with other musicians and not be tied down to a particular musical format. Green said, among other things, that he was exhausted from endless touring. In January 1969, Kirwan made his first musical appearance outside Fleetwood Mac when he contributed to Otis Spann 's blues album The Biggest Thing Since Colossus with Green and John McVie. After Then Play On had been completed, Kirwan worked on Christine McVie's first solo album, titled Christine Perfect (McVie
7670-510: The band to join the Children of God . The band had another six weeks of contracted gigs that could not be performed with only one guitarist, and would face financial ruin if they cancelled the tour. In desperation, manager Clifford Davis phoned Peter Green in England and asked if he would temporarily rejoin the band to save them from disaster. Green agreed, on condition that each show was to consist mostly of improvisation and free-form jamming . Once
7800-420: The band's live performances. Fleetwood Mac's hit singles from 1968 to 1970 were all written by Green but Kirwan's style shone through, thanks to Green's desire not to act as the band's musical focus. Kirwan joined Green in the dual guitar harmonies on "Albatross", contributed to " Man of the World " and took the solo on "Oh Well Pt. 1". Mike Vernon recalled "considerable input" from Kirwan in the making of "Man of
7930-429: The band's roadies, Dennis Keane, recalled that Kirwan had begun to clash with Green. He suggested that the success of "Albatross" and the follow-up single "Man of the World" may have gone to his head and made him more confident, to the point of trying to pressure Green and compete with him. Producer Martin Birch, however, remembered that Kirwan often sought reassurance from Green, and seemed to be in awe of him. "I often got
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#17328632446608060-422: The band, "approached his assignment very cerebrally, much as Lindsey Buckingham would do later, and came up with some very good music." (Fleetwood said in an interview many years later that Buckingham had "a huge regard for Danny".) Kirwan's input drew on material he had written in his first band. Green took a back seat during the recording sessions and left most of the guitar work to Kirwan, who composed seven of
8190-412: The chord) producing a four-note chord called a " seventh chord ". Depending on the widths of the individual thirds stacked to build the chord, the interval between the root and the seventh of the chord may be major, minor, or diminished. (The interval of an augmented seventh reproduces the root, and is therefore left out of the chordal nomenclature.) The nomenclature allows that, by default, "C7" indicates
8320-440: The classical common practice period , a dissonant chord (chord with tension) "resolves" to a consonant chord. Harmonization usually sounds pleasant when there is a balance between consonance and dissonance. This occurs when there is a balance between "tense" and "relaxed" moments. Dissonance is an important part of harmony when it can be resolved and contribute to the composition of music as a whole. A misplayed note or any sound that
8450-513: The composer ensures introducing tension smoothly, without disturbing the listener. Once the piece reaches its sub-climax, the listener needs a moment of relaxation to clear up the tension, which is obtained by playing a consonant chord that resolves the tension of the previous chords. The clearing of this tension usually sounds pleasant to the listener, though this is not always the case in late-nineteenth century music, such as Tristan und Isolde by Richard Wagner. A number of features contribute to
8580-436: The composers Alban Berg , George Perle , Arnold Schoenberg , Béla Bartók , and Edgard Varèse 's Density 21.5 . Close harmony and open harmony use close position and open position chords, respectively. See: Voicing (music) and Close and open harmony . Other types of harmony are based upon the intervals of the chords used in that harmony. Most chords in western music are based on "tertian" harmony, or chords built with
8710-423: The core of the music played on album-oriented rock radio in the United States, and later the classic rock format established there during the 1980s. Blues rock can be characterized by bluesy improvisation , extended boogie jams typically focused on electric guitar solos, and often a heavier, riff -oriented sound and feel to the songs than found in typical Chicago-style blues . Blues rock bands "borrow[ed]
8840-475: The counterpoint harmony in the middle section. Green said, "Once we got Danny in, it was plain sailing... I would never have done 'Albatross' if it wasn't for Danny. I would never have had a number one hit record." Kirwan said Green had told him what to do and all the bits he had to play. The band spent two days recording and mixing the track at CBS studios in New Bond Street , London, and when they listened to
8970-592: The different methods of performance adopted: in Indian Music, improvisation takes a major role in the structural framework of a piece, whereas in Western Music improvisation has been uncommon since the end of the 19th century. Where it does occur in Western music (or has in the past), the improvisation either embellishes pre-notated music or draws from musical models previously established in notated compositions, and therefore uses familiar harmonic schemes. Emphasis on
9100-523: The early-mid-1960s) and his power trios , the Jimi Hendrix Experience and Band of Gypsys , had a broad and lasting influence on the development of blues rock, especially for guitarists. Clapton continued to explore several musical styles and contributed to bringing blues rock into the mainstream. In the late 1960s, Jeff Beck , with his band the Jeff Beck Group , developed blues rock into
9230-469: The entire history of music theory appears to depend on just such a distinction between harmony and counterpoint, it is no less evident that developments in the nature of musical composition down the centuries have presumed the interdependence – at times amounting to integration, at other times a source of sustained tension – between the vertical and horizontal dimensions of musical space. The view that modern tonal harmony in Western music began in about 1600
9360-670: The final mix, everyone agreed it was "a beautiful record". "Albatross" was released in November 1968 on Mike Vernon's Blue Horizon label. It reached number one in the UK Singles Charts in December 1968 and sold nearly a million copies. Kirwan provided the instrumental "Jigsaw Puzzle Blues" for the B-side of "Albatross". His first published composition, this was originally a clarinet piece, written by Joe Venuti and Adrian Rollini and recorded by
9490-511: The fire or the skills of improvisation, so he got very frustrated." The final concert of the tour was in New York on Saturday 27 March 1971, the second of two nights at the Rock Pile on Long Island . Until then Green had kept a relatively low profile, but in his last ever performance with Fleetwood Mac, he and Kirwan and the band "took the place by storm" with a four-hour improvised version of " Black Magic Woman ". Promoter Bill Graham almost started
9620-405: The first indication of the breadth of his musical influences. He told Melody Maker : I'm not keen on blues purists who close their ears to all other forms of music. I like any good music, particularly the old big band-type things. Django Reinhardt is my favourite guitarist, but I like any music that is good, whether it is blues, popular or classical. The band's manager Clifford Davis , himself
9750-485: The first two notes (the first "twinkle") and the second two notes (the second "twinkle") is the interval of a fifth. What this means is that if the first two notes were the pitch C , the second two notes would be the pitch G —four scale notes, or seven chromatic notes (a perfect fifth), above it. The following are common intervals: When tuning notes using an equal temperament, such as the 12-tone equal temperament that has become ubiquitous in Western music, each interval
9880-475: The former is considered to be a major third up from C, while F♭ is considered to be a diminished fourth up from C. In the context of a C major tonality, the former is the third of the scale, while the latter could (as one of numerous possible justifications) be serving the harmonic function of the third of a D♭ minor chord, a borrowed chord within the scale. Therefore, the combination of notes with their specific intervals—a chord—creates harmony. For example, in
10010-434: The fourteen tracks. His "Coming Your Way" opened side one of the album. Kirwan's varied musical influences were evident throughout, from the flowing instrumental "My Dream" to the 1930s-style "When You Say", which Green had earmarked to be a single until his own composition " Oh Well " took shape and was chosen instead. "Coming Your Way" was a full band performance and "Like Crying" was a Kirwan duet with Green. Kirwan played all
10140-467: The gradual historical increase in harmonic complexity of Western music. For example, around 1600 unprepared seventh chords gradually became familiar and were therefore gradually perceived as more consonant. Individual characteristics such as age and musical experience also have an effect on harmony perception. The inferior colliculus is a mid-brain structure which is the first site of binaural auditory integration , processing auditory information from
10270-573: The guitar parts on "Although the Sun is Shining". Mike Vernon noted that Kirwan's presence and his eclectic musical influences "were already beginning to take the band out of mainstream 12-bar blues and into blues-rock and rock ballads ." The UK release of Then Play On featured two extra earlier Kirwan recordings, the sad blues "Without You" and the heavy "One Sunny Day", which was later covered by American blues musician Tinsley Ellis on his 1997 album Fire It Up . The US-only release English Rose from
10400-404: The idea of an instrumental combo and loud amplification from rock & roll". It is also often played at a fast tempo, again distinguishing it from the blues. Blues rock songs often follow typical blues structures, such as twelve-bar blues , sixteen-bar blues , etc. They also use the I - IV - V progression, though there are exceptions, some pieces having a "B" section, while others remain on
10530-505: The impression that Danny was looking for Peter's approval, whereas Peter wanted Danny to develop by himself." After rumours in the music press in early 1970 that Kirwan would leave Fleetwood Mac, it was Green who departed, in May of that year. Kirwan said later that he was not surprised. "We just didn't get on too well basically ... We played some good stuff together, we played well together, but we didn't get on." Brunning said in his 1998 history of
10660-441: The interval of thirds. In the chord C Major7, C–E is a major third; E–G is a minor third; and G to B is a major third. Other types of harmony consist of quartal and quintal harmony . A unison is considered a harmonic interval, just like a fifth or a third, but is unique in that it is two identical notes produced together. The unison, as a component of harmony, is important, especially in orchestration. In pop music, unison singing
10790-445: The late 1960s and early 1970s, the style became more hard rock-oriented. In the US, Johnny Winter , the early Allman Brothers Band , and ZZ Top represented a hard rock trend, along with Led Zeppelin , Ten Years After , Savoy Brown , and Foghat in the UK. In the 1980s, more traditional blues styles influenced blues rock, which continues into the 2000s, with more of a return to basics. Along with hard rock, blues rock songs became
10920-752: The later non-UK vinyl releases. On the 1990 CD release, Kirwan's two dropped songs were reinstated, although "One Sunny Day" and "Without You" were now absent from releases in all territories, including the UK. The 2013 CD release restored the original UK track order, with "Without You" and "One Sunny Day" included. Archival packages from Kirwan's time with Green in Fleetwood Mac, such as The Vaudeville Years and Show-Biz Blues double sets, included several of his songs and showed other musical influences besides blues. Kirwan's unusual musical interests were said to have prompted band leader Green to dub him "Ragtime Cowboy Joe". The track listing on The Vaudeville Years contained five Kirwan songs: "Like It This Way", "Although
11050-625: The left and right ears. Frequency following responses (FFRs) recorded from the mid-brain exhibit peaks in activity which correspond to the frequency components of a tonal stimulus. The extent to which FFRs accurately represent the harmonic information of a chord is called neural salience, and this value is correlated with behavioral ratings of the perceived pleasantness of chords. In response to harmonic intervals, cortical activity also distinguishes chords by their consonance, responding more robustly to chords with greater consonance. The creation and destruction of harmonic and 'statistical' tensions
11180-509: The listener's ear determines harmony. Current dictionary definitions, while attempting to give concise descriptions, often highlight the ambiguity of the term in modern use. Ambiguities tend to arise from either aesthetic considerations (for example the view that only pleasing concords may be harmonious) or from the point of view of musical texture (distinguishing between harmonic (simultaneously sounding pitches) and "contrapuntal" (successively sounding tones)). According to A. Whittall : While
11310-446: The music press in late 1969 of a "duelling guitars" project, but ultimately nothing came of it. Despite the closeness of their musical partnership, Kirwan and Green did not always get on well personally, which was at least partly due to Kirwan's short temper. Kirwan had high musical standards and concentrated more on rehearsing than the other members of the band—Green recalled that Kirwan always had to arrive anywhere an hour early. One of
11440-519: The music, its theory and its structure, such as the complex system of Ragas , which combines both melodic and modal considerations and codifications within it. So, intricate pitch combinations that sound simultaneously do occur in Indian classical music – but they are rarely studied as teleological harmonic or contrapuntal progressions – as with notated Western music. This contrasting emphasis (with regard to Indian music in particular) manifests itself in
11570-405: The nature of the performance. Early Western religious music often features parallel perfect intervals; these intervals would preserve the clarity of the original plainsong . These works were created and performed in cathedrals, and made use of the resonant modes of their respective cathedrals to create harmonies. As polyphony developed, however, the use of parallel intervals was slowly replaced by
11700-411: The nomenclature as simple as possible, some defaults are accepted (not tabulated here). For example, the chord members C, E, and G, form a C Major triad, called by default simply a C chord. In an A ♭ chord (pronounced A-flat), the members are A ♭ , C, and E ♭ . In many types of music, notably baroque, romantic, modern and jazz, chords are often augmented with "tensions". A tension
11830-428: The overtone series. In classical music the perfect fourth above the bass may be considered dissonant when its function is contrapuntal . Other intervals, the second and the seventh (and their compound forms) are considered Dissonant and require resolution (of the produced tension) and usually preparation (depending on the music style ). The effect of dissonance is perceived relatively within musical context: for example,
11960-425: The perception of a chord's harmony. Tonal fusion contributes to the perceived consonance of a chord, describing the degree to which multiple pitches are heard as a single, unitary tone. Chords which have more coinciding partials (frequency components) are perceived as more consonant, such as the octave and perfect fifth . The spectra of these intervals resemble that of a uniform tone. According to this definition,
12090-409: The perception of what is known as "beating" or "roughness". These precepts are closely related to the perceived dissonance of chords. To interfere, partials must lie within a critical bandwidth, which is a measure of the ear's ability to separate different frequencies. Critical bandwidth lies between 2 and 3 semitones at high frequencies and becomes larger at lower frequencies. The roughest interval in
12220-446: The perfect unison , octave , fifth , fourth and major and minor third and sixth, and their compound forms. An interval is referred to as "perfect" when the harmonic relationship is found in the natural overtone series (namely, the unison 1:1, octave 2:1, fifth 3:2, and fourth 4:3). The other basic intervals (second, third, sixth, and seventh) are called "imperfect" because the harmonic relationships are not found mathematically exact in
12350-626: The physiological approach, consonance is viewed as a continuous variable measuring the human brain's ability to 'decode' aural sensory input. Culturally, consonant pitch relationships are often described as sounding more pleasant, euphonious, and beautiful than dissonant pitch relationships, which can be conversely characterized as unpleasant, discordant, or rough. In popular and jazz harmony , chords are named by their root plus various terms and characters indicating their qualities. In many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with "tensions". A tension
12480-486: The precomposed in European art music and the written theory surrounding it shows considerable cultural bias. The Grove Dictionary of Music and Musicians ( Oxford University Press ) identifies this clearly: In Western culture the musics that are most dependent on improvisation, such as jazz, have traditionally been regarded as inferior to art music, in which pre-composition is considered paramount. The conception of musics that live in oral traditions as something composed with
12610-530: The recording of Spencer's solo album the previous year. Kirwan's songs on Kiln House included "Station Man", co-written with Spencer and John McVie, which became a live staple into the post-1974 Buckingham - Nicks era. His other songs on the album were " Jewel Eyed Judy ", dedicated to Judy Wong, a friend of the band from San Francisco, "Tell Me All the Things You Do"; and "Earl Gray", an atmospheric instrumental that Kirwan had largely composed while Peter Green
12740-449: The recording. Tramp's bass player Bob Brunning, Fleetwood Mac's first bassist, said he had enjoyed working with Kirwan during the Tramp sessions and remembered him being friendly and cooperative. In his 1998 history of the band, Brunning described Kirwan as "a talented and soulful musician" who had contributed much fine work to Fleetwood Mac's repertoire. He recalled that when his bass amplifier
12870-573: The rhythm guitar parts. Danny and I worked together pretty well." Kirwan contributed the album's opening track, "Woman of 1000 Years", which one reviewer said "floated on a languid sea of echo-laden acoustic and electric guitars". His other songs were the melodic "Sands of Time", which Warner Bros. Records chose as a single in the US, and the country-flavoured "Sometimes", which suggested the route he would later take during his solo career. McVie later described Kirwan's "Woman of 1000 Years" and "Sands of Time" as "killer songs". Welch said "Woman of 1000 Years"
13000-500: The root note (e.g. one tone up is a 2nd), so the root is counted twice by adding them. Apart from this categorization, intervals can also be divided into consonant and dissonant. As explained in the following paragraphs, consonant intervals produce a sensation of relaxation and dissonant intervals a sensation of tension. In tonal music, the term consonant also means "brings resolution" (to some degree at least, whereas dissonance "requires resolution"). The consonant intervals are considered
13130-513: The root.) Dyads , the simplest chords, contain only two members (see power chords ). A chord with three members is called a triad because it has three members, not because it is necessarily built in thirds (see Quartal and quintal harmony for chords built with other intervals). Depending on the size of the intervals being stacked, different qualities of chords are formed. In popular and jazz harmony, chords are named by their root plus various terms and characters indicating their qualities. To keep
13260-437: The same era included Kirwan's "Without You" and "One Sunny Day", plus his blues "Something Inside of Me" and "Jigsaw Puzzle Blues", both also dating from earlier sessions. Fleetwood described the album as "a sort of pastiche" consisting of the best cuts from their second studio album, Mr Wonderful , plus "Black Magic Woman", "Albatross", and the four new tracks from Kirwan. English Rose was Fleetwood Mac's second album release in
13390-413: The same frequency as a minor third constructed up from D♭. Many keyboard and fretted instruments were constructed with the ability to play, for example, both of G♯ and A♭ without retuning. The notes of these pairs (even those where one lacks an accidental, such as E and F♭) were not the 'same' note in any sense. Using the diatonic scale , constructing the major and minor keys with each of the 12 notes as
13520-564: The sessions. The recordings made at Chess Studios were judged a great success, and were released by Vernon in December 1969 as a double album on the Blue Horizon label, originally entitled Blues Jam at Chess and later reissued as Fleetwood Mac in Chicago . Fleetwood said later that the sessions had produced some of the best blues the band had ever played, and ironically, the last blues that Fleetwood Mac would ever record. Two of Kirwan's songs, "Talk With You" and "Like It This Way", were included on
13650-429: The seventeenth century, harmony is manipulated using chords , which are combinations of pitch classes . In tertian harmony, so named after the interval of a third, the members of chords are found and named by stacking intervals of the third, starting with the "root", then the "third" above the root, and the "fifth" above the root (which is a third above the third), etc. (Chord members are named after their interval above
13780-454: The songs. Spencer said, "Peter and I had seen Danny play and thought he was very good. Peter and Danny worked well together." Fleetwood said, "Danny worked out great from the start. His playing was always very melodic and tuneful, with lots of bent notes and vibrato . Danny's style of playing complemented Peter's perfectly because he was already a disciple. His sense of melody on rhythm guitar really drew Peter out, allowing him to write songs in
13910-608: The spring of 1969, after Fleetwood Mac's manager had removed the band from the Blue Horizon label, John Lennon was reported to be interested in signing Fleetwood Mac to the Beatles' new Apple Records label. In early January 1969 Kirwan was on his first tour of the United States with Fleetwood Mac, and they opened for Muddy Waters at the Regal Theater in Chicago. While they were there, producer Mike Vernon heard that Chess Records
14040-418: The strain of touring, Kirwan was arguing with Welch and "picking fights". Welch commented later, "Danny was a brilliant musician [but he] wasn't a very lighthearted person, to say the least. He probably shouldn't have been drinking as much as he did, even at his young age. He was always very intense about his work, as I was, but he didn't seem to ever be able to distance himself from it and laugh about it. Danny
14170-412: The subject of centuries worth of theoretical work and vernacular practice alike. Drawing both from music theoretical traditions and the field of psychoacoustics , its perception in large part consists of recognizing and processing consonance , a concept whose precise definition has varied throughout history, but is often associated with simple mathematical ratios between coincident pitch frequencies. In
14300-414: The subject of harmony. In this book, Aristoxenus refers to previous experiments conducted by Pythagoreans to determine the relationship between small integer ratios and consonant notes (e.g., 1:2 describes an octave relationship, which is a doubling of frequency). While identifying as a Pythagorean, Aristoxenus claims that numerical ratios are not the ultimate determinant of harmony; instead, he claims that
14430-430: The tonic can be achieved using only flats or sharps to spell notes within said key, never both. This is often visualized as traveling around the circle of fifths , with each step only involving a change in one note's accidental. As such, additional accidentals are free to convey more nuanced information in the context of a passage of music and the other notes that make it up. Even when working outside diatonic contexts, it
14560-572: The tonic. The great power of this fact is that any musical work can be played or sung in any key. It is the same piece of music, as long as the intervals are the same—thus transposing the melody into the corresponding key. When the intervals surpass the perfect Octave (12 semitones), these intervals are called compound intervals , which include particularly the 9th, 11th, and 13th Intervals—widely used in jazz and blues Music. Compound Intervals are formed and named as follows: These numbers don't "add" together because intervals are numbered inclusive of
14690-453: The tour progressed he became withdrawn and isolated from the rest of the band, got into arguments with Welch and was drinking heavily to the point where, Fleetwood said, "alcoholism began to take hold." Bare Trees was recorded at DeLane Lea Studios in London and released in March 1972. The album contained five new Kirwan tracks, including another instrumental, "Sunny Side of Heaven". The lyric for
14820-549: The tritone interval) in mainstream tonal music. In organ registers, certain harmonic interval combinations and chords are activated by a single key. The sounds produced fuse into one tone with a new timbre. This tonal fusion effect is also used in synthesizers and orchestral arrangements; for instance, in Ravel 's Bolero #5 the parallel parts of flutes, horn and celesta resemble the sound of an electric organ. When adjacent harmonics in complex tones interfere with one another, they create
14950-426: The use of improvisatory techniques separates them from the higher-standing works that use notation. Yet the evolution of harmonic practice and language itself, in Western art music, is and was facilitated by this process of prior composition, which permitted the study and analysis by theorists and composers of individual pre-constructed works in which pitches (and to some extent rhythms) remained unchanged regardless of
15080-427: The year, was written by Kirwan and included lyrics adapted from a poem by W. H. Davies . This was not the last time Kirwan used a poem as lyrics for a song, and may have been a solution to occasional lack of inspiration. The B-side of the single, "The Purple Dancer", written by Kirwan, Fleetwood, and John McVie, featured Kirwan and Spencer duetting on lead vocals. On a US tour in early 1971, Jeremy Spencer abruptly left
15210-461: Was "Danny at his best". Kirwan began an 11-month tour of America and Europe with the band, opening a couple of dozen shows for Deep Purple and for several months playing second on the bill to Savoy Brown . In a rare week off, early in 1972, the band returned to London and recorded their next album, Bare Trees , in a few days. The pressure and strain of life on the road, of constant travelling and performing, were increasingly affecting Kirwan. As
15340-456: Was about to close its famous Chicago studio and suggested recording a Fleetwood Mac blues album in the home of Chicago blues before it disappeared. He and Marshall Chess arranged a two-day recording session in which Kirwan, along with Green, Spencer, McVie and Fleetwood, played with legendary blues musicians David 'Honeyboy' Edwards, Walter 'Shakey' Horton, J.T. Brown, Willie Dixon , Otis Spann , Buddy Guy , and S.P. Leary. Willie Dixon organised
15470-835: Was in New York City at the start of an almost sold-out, 30-date Fleetwood Mac US tour which would include performances at major venues such as the Fillmore East in Manhattan, the Fillmore West in San Francisco, the Boston Tea Party , and an appearance before 100,000 fans at the three-day Miami Pop Festival in Florida alongside, among others, Chuck Berry , Muddy Waters , B. B. King , and The Grateful Dead . In April 1969, Kirwan played at
15600-590: Was inducted into the Rock and Roll Hall of Fame as a member of Fleetwood Mac in 1998. Kirwan was born Daniel David Langran on 13 May 1950 and raised in Brixton , South London . His parents separated when he was young and his mother, Phyllis Rose Langran, married Aloysious J. Kirwan in 1958 when Danny was eight. Kirwan left school in 1967 with six O-levels and worked for a year as an insurance clerk in Fenchurch Street in
15730-515: Was known to be "emotionally fragile", and Green said that in the early days, Kirwan "was so into it that he cried as he played." A year after forming Fleetwood Mac, Peter Green was looking for ways to extend the band and perhaps change its direction. He wanted to be open to other musical styles and bring in more of his own material. Kirwan was the ideal foil for Green's new approach: he played gentle, supportive rhythm guitar to Green and Spencer's fiery solo work and introduced vocal harmonies to some of
15860-582: Was not commercially successful, but Spencer discovered that he and Kirwan worked well together without Green. He said later, "In retrospect, one of the most enjoyable things was working with Danny on it, as it brought out a side of him I hadn't seen." In 1969, Kirwan contributed as a session guitarist to the first album by London-based blues band Tramp , titled Tramp , which was recorded at DeLane Lea Studios in Soho . The album featured an uptempo guitar instrumental, "Hard Work", from Kirwan. Mick Fleetwood played drums on
15990-481: Was one of his best musical memories. "Lots of drums, bass guitars ... Danny Kirwan and me playing those shrieking guitars together ... I thought it would make number one." The track was recorded at Warner-Reprise's studios in Hollywood on the band's third US tour. "The Green Manalishi" was released in May 1970 and reached number 10 in the UK charts. It was the band's fourth consecutive hit single, and Fleetwood Mac's last in
16120-733: Was released. AllMusic 's Michael Erlewine commented, "Used to hearing blues covered by groups like the Rolling Stones, that first album had an enormous impact on young (and primarily White) rock players." The second album East West (1966) introduced extended soloing – the 13 minute instrumental title track included jazz and Indian raga influences – that served as a model for psychedelic and acid rock . In 1965, avid blues collectors Bob Hite and Alan Wilson formed Canned Heat . Their early recordings focused heavily on electric versions of Delta blues songs, but soon began exploring long musical improvisations (" jams ") built around John Lee Hooker songs. Other popular mid-1960s groups, such as
16250-623: Was still in the band. Kirwan sang distinctive backing vocals on some of Spencer's numbers, such as the 1950s-flavoured opening track "This Is the Rock". Other Kirwan compositions from the second half of 1970, such as those which eventually surfaced in the 2003 Madison Blues CD box set, included "Down at the Crown". The lyrics referred to a pub near the band's communal house, 'Benifold', in Headley , Hampshire. The unsuccessful single " Dragonfly ", recorded late in
16380-519: Was still using her maiden name). She included a version of Kirwan's "When You Say" on the album, which was chosen as a single. Kirwan arranged the string section and acted as producer. Kirwan worked with Fleetwood and John McVie on the first solo album from a then-current member of Fleetwood Mac when Spencer recorded his album Jeremy Spencer , released in January 1970. Kirwan played rhythm guitar in various styles and sang backing vocals throughout. The album
16510-528: Was stolen in 1969, Kirwan had given him a vintage Marshall amp as a replacement. After Green left in May 1970 the band considered splitting up. Kirwan and Spencer were now having to front the band and their morale was low. Fleetwood said Spencer was terrified of being a front man on his own, "and the pressure on Danny's sensitive temperament was tremendous." He recalled, "There was one terrible night when everybody decided they wanted to leave ... but one by one, I talked them all back in." The band continued briefly as
16640-448: Was the definition of 'deadly serious'." Welch recalled, "I thought he was a nice kid, but a little bit paranoid, a little bit disturbed. He would always take things I said wrongly. He would take offence at things for no reason ... I thought it was just me, but as I got to know the rest of the band, they'd say 'Oh yes, Danny, a little... strange'." Welch also suspected that Kirwan did not appreciate his musical style. "I think Danny thought I
16770-479: Was the most innovative to date. British band Fleetwood Mac initially played traditionally-oriented electric blues, but soon evolved. Their guitarist Peter Green , who was Clapton's replacement with Mayall, brought many innovations to their music. Chicken Shack , early Jethro Tull , Keef Hartley Band and Climax Blues Band recorded blues rock songs. The electric guitar playing of Jimi Hendrix (a veteran of many American rhythm and blues and soul groups from
16900-459: Was too clever a player ... too jazzy, too many weird notes. I don't feel he loved my stuff to death." In a Penguin Q&;A session in 1999, Welch said, "Danny Kirwan was a very innovative and exciting player, singer, and writer. He was a very intuitive musician ... he played with surprising maturity and soulfulness. I always loved Danny's playing in Fleetwood Mac and on his solo work. His Second Chapter
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