Peter Green, Supernatural	click here to listen
Snapper Music, SMACD949.

This attractive, two disc release comes with a useful set of sleeve notes, giving a snapshot history of Peter and Fleetwood Mac for those coming to Green's idiosyncratic, sparse and individualistic guitar style for the first time.

Disc one comprises live recordings of the Green era Mac favourites, interestingly spread between the original band in their heyday in 1970, and Splinter Group performances at Ronnie Scott's in 1998, following Green's re-emergence from the wilderness.

Inevitably, there is something vital about a youthful Green in full pomp and some of the soloing on these early performances soars above the band, with a truly pure blues tone – check out Black Magic Woman. Other tunes highlight just how good Mick Fleetwood and John Mcvie were as a powerhouse rhythm section during that period – like Sandy Mary. All but the diehards may struggle to pick the gems from a rambling, suitably hedonistic 24 minutes of Rattlesnake Shake.

The live Splinter group versions of classic Mac on disc one reveal Green emerging, tenderly, from his shell, not afraid of his lauded back-catalogue. Disc two starkly demonstrates the transition from youth to maturity in a blues artist, particularly vocally, with Green's lifetime travails informing a resigned, melancholic delivery.

It's also easy to hear Robert Johnson's influence (imagine a Johnson who had lived into his fifties), with a representative selection of Johnson covers. The band of seasoned pro's is accomplished, the playing tight and contained, the groove, as in Big Change is Gonna Come, laid back. Green's guitar sound has morphed from throaty, singing Gibson to cultured Fender, as did his early hero Clapton's. There are some interesting guest performances, including Dr. John, who adds to an atmospheric, bar room version of From Four ‘til Late. The great Paul Rodgers seems to struggle when they elect to keep Sweet Home Chicago close to Johnson's original key.

Green lays himself bare with a couple of solo tracks, dobro; harp and voice his only defence, which convey an enigmatic fragility. The last track, Going Down, gives us an idea of the Splinter Group in full flow and, in particular, Cozy Powell on drums raises the energy into something less sedate.

This is a nice package, well presented, charting the musical history of an iconic figure in British blues.

JBBlue