Customer Reviews

Then Play on

5 star:		(59)
4 star:		(16)
3 star:		(3)
2 star:		(2)
1 star:		(1)

 

 

Yes, Warner Brothers, I mean you.

With all of the advances in remastering technology over the life of the CD format, you should be ashamed to offer such a classic recording that sounds this bad. And that is why I'm giving a one-star rating to a five-star album.

Imagine my dismay when I slipped this great album into my CD player, cued up "Oh, Well", and was greeting with the tinniest, noisiest (hiss), most distorted and worst sounding presentation of this song I've ever heard. Whatever master this travesty was spawned from sounds many times removed from the original recording.

Granted, the original recording has inherent noise and distortion, but even the LP I had back in the 70's sounded better than this. And the technology certainly exists, and has existed for years, to bring this wonderful recording properly into the digital domain.

To properly judge how bad this CD sounds, all one has to do is A/B "Oh, Well" from "Then" against the remastered single version on the now-defunct "The Chain" box set.

This is a textbook example of why consumers have complained about the CD format for so long. In this case, this is horrible neglect of a classic recording, and a pathetic corporate culture at Warner's in refusing to utilize modern technology to improve the listening experience for the consumer for almost 30 years.

WB, where is your soul? When exactly did you lose it (maybe that black day 25+ years ago when you fired Bonnie Raitt, Van Morrison and a host of talented others in the same day?). Haven't you sold enough copies of "Rumors" alone to afford to properly re-master this classic?

But then again, I am speaking to the company who has steadfastedly refused to bring its catalog into the digital age until the late 90's - over two decades since the introduction of the CD format.

As I said before, Warner Brothers, you should be ashamed. You dishonor your company, the artists whose true genius cannot be fully (audibly) appreciated, and the legacy of the pioneers of your company who found and nurtured those artists, all for the sake of the allmighty buck.

First and foremost, Jeremy Spencer does not play on this album. Although a great player, (Kiln House is his best contribution to the band) the sounds you hear were created by Kirwan and Green.
I cant begin to say how fresh this album sounds, every time I put it on. While still able to bring you back to that warm 60's sound, it never sounds dated. This is FM's first serious departure from the straight blues which appeared on previous efforts thanks to, IMHO, Kirwan's presence.
Just a young lad of 20 his maturity as a song writer is brilliantly evidenced in the first track "coming your way". The song changes from a groovy little number to a heavy ending, reminiscent of I want You (Shes so heavy). Only heavier and louder. From here Kirwan flawlessly moves from said number to the dreamy instrumental "my dream" and other beautifully sad songs like "When you say' and "Although the sun is shining".
How is it possible for him to get no recognition in the annals of music history? To me its simply an indication that people simply dont know their music, and are too willing to accept the Claptons, Santanas and (insert other overrated player) as "the" guitar players.
Kirwan constantly gets labelled as "Green's protege" when in fact Kirwan could keep up with Green's masterful playing as demonstrated on Fighting/Searching for Madge. As a songwriter, Kirwan tapped into music in a way that only the most talented musicians could do. He looked to the past for influece, while still incredibly ahead of his time, writing songs the likes of Cobain would write 20 years later. To write songs like he did, and play as he did, at such a young age, is a testament to his brilliance.
Speaking of brilliance, enough cant be said of Green's guitar playing either; not to mention his singing. If he had to leave after an album, Im glad it was this one. "Before the beginning" is one of my favourite album closers and "Oh well" has to be one of the greatest rock riffs ever written. Listen closely to Green and Kirwan interplay; these guys were meant to jam together. Page(not overrated)was hugely influenced by Green; just compare "Showbiz blues" to Zep III.
Green's playing had a raw power, a really special quality that no other guitarist, save Kirwan, could harness. This album demonstrates this ability all too well.
This of course could not be so without one of the best rhythm sections in music history. They are the rare breed of musician who knows when to shut up and when to speak up. Every note, every beat is exactly as it should be. Transitions are flawless, (F/S for Madge, ending of "coming your way") and this album makes them sound full, heavy and just plain ol' great!
Come to think of it, I believe I may have already reviewed this album(or was it Kiln House, Future Games or Bare Trees?...cant remember, but you should get these anyway) Either way, listening to this album does just that; it makes you want to tell people about it over and over again. I hope that this lineup, which is shrouded by that monster "Stindsay Buckinnicks", will earn their rightful place as the lineup representing this band's creative peak. That is to say, once Danny Kirwan left the band, they lost that sound that made this band so special, and gained two members who were so generic, so bland, so very "easy listening". Please enjoy!

I can't say exactly why I was so fascinated by this record 31 years ago when I bought it (the earliest American release, sans "Oh Well") at a Woolworth's for somewhere around $3.50. I was probably drawn to the cover, which was certainly colorful and mysterious. (In those days, I could afford to buy interesting-looking music just because of the album cover.) After a couple of puzzled listens, I decided this would be my favorite rock album of all time. Again, I can't say exactly why. Perhaps it was the blues at the heart of it or the enthusiasm in the music. Except for Green, the musicians possessed no more than the talent you'd expect from a rock record, but there was something different about it, something genuine, even heartfelt. Later, much later, after delving into these guys' lives and subsequent extremely checkered careers, I came to understand that it was their sheer good fortune at the time to be thrown together during a period of extreme (and often acid-fueled) ferment in music (as well as everything else). They came out of the blues, but they listened to the Dead, the Doors, and any number of other innovative bands, and they put that extensive, authentic, dangerous, diverse experience to good use. This is still my favorite rock album, and for more than sentimental reasons. It holds up.

what a shame one of the most important items of electric blues history does not have the treatment that deserves,this cd sounds like an old casette that played one million times.

"Then Play On" was Peter Green's masterpiece fronting Fleetwood Mac. Featuring the amazing "Oh Well", "Rattlesnake Shake" and other classic Green songs, it continues to improve with time. While I appreciate Eric Clapton and can marvel at Jeff Beck, Green was THE BEST blues guitarist to come out the UK. Complimented by Jeremey Spencer and Danny Kirwan, this three pronged guitat attack greated one of the most powerful incarnations of the Mac and that's saying something considering how many variations the band has gone through over the years.

Bluesy, soulful and, at times, heartbreaking, "Then Play On" sounds horrible on this CD issued by Warner. Clearly the mastertapes weren't used here and this album which was mastered back in 1987 is in desperate need of remastering. It also might help to restore some of the material released on the original UK version of the album. I'd suggest re-releasing this great album with its original line up and bonus tracks. I'd love to hear "The Green Manalishi" added and remastered for this set (the boxed set "The Chain" has that and more. Sadly, that version has only the first half of "Oh Well" which was the A side of the original single).

It's too bad that Fleetwood Mac has had so many incarnations, varied incarnations, over the years. In the end, they're really the story of a couple of the finest guitar players (Green & Kirwan) to ever play together. Sounds over the top, I know, but I think these guys were each touched by the gods in some cruel way. It's hard to find a sense of touch, fire, vibrato, soulfulness, clarity, tone and speed that Kirwan and Green both had. And look where they both ended up. Mad, alcoholic, homeless, wandering, broken. They probably reached their peak with Then Play On. Great, searching, avant-blues stuff.

The thing that annoys me most about this album is that is was butchered.
On the original UK version 'Underway' lead into 'One Sunny Day'. This track has been shortened and it souns awful. 'One Sunny Day' was Kirwans best contribution to this album and it isn't here!. There was no need to have 'O'h Well' on this album becuase it was on the 'Fleetwood Mac's Greatest Hits' album (the red one) where it belonged. The least they could have done was to remove the overlap, it sounds bad. Then there's Madge. What can I say? I would like to search for the person who butchered this album and fight him or her. It would make me feel much better. Then, there's the sound quality... The original album (I have two vinyl copies - with different album covers) is one of my favourite ablums of all time and it grieves me to give it four stars.
For Peter Green fans, check out the brilliant "End Of The Game".

I"ve listened to all of Fleetwood Mac's blues recordings before this album while in high school. At college in my first year, I wandered by a dorm room and heard something that stopped me cold in my tracks - "Searching For Madge" was playing. Only a few times in my life have I been stopped cold by music e.g. being in SF and hearing Stevie Ray's "Texas Flood" and going What Was That?

I couldn't believe it. Fleetwood Mac had moved to something else that appeared then and still does appear perfect. In particular, I love the synergy of Peter Green's guitar work with that of a 19 year old Danny Kirwin who played in more of a vibrato style - very distinct and powerful. These two guitarists (and other band members as McVie) in songs like "Searching for Madge" and "Fighting for Madge" danced among each other in the most subtle manner of synergy - an astonishing sound. If anyone remembers the "tightness" of Paul Butterfield's "East-West" in which Elvin Bishop and the great Michael Bloomfield "talked" to each other and twined in "East-West", this album has that magical component you won't find hardly anywhere among two lead guitarists. Danny Kirwin in my opinion is one of the most under-rated guitarists of all rockdom whereas Peter Green recieved all accolades instead, which he rightly deserved. Even Mick Fleetwood showed genius then (versus his later pap) in his lower-regions drumming in "Coming My Way". Every song in this album is distinct yet it fits. 'm listening to it now and it moves me as powerfully as it did when I was a kid ("Before The Beginning" is playing); I can only say this about few musical gems. And I will always miss Danny Kirwin who became a street person but never picked himself up like Peter Green eventualy did; these genius' had their demons - worthy of a good journalistic investigation.

This album moves my soul in way words can't define; as I finish these words I'm listening to the original "Black Magic Woman". Nah, FM in the the old days didn't get the acclaim they deserved and this was the best of their end before Danny Kirwin left in '72.

I'm giving this album (not this crappy CD recording of course) to a 22 year old friend. Let's see how she reacts to real music.

My next door friend and Bassist in my High School Band and beyond, Mike, and I first enjoyed this when it came out in 1969-70....we had picked up on "English Rose" and really liked the Blues and Tunes, but "Then Play On" was something new to our ears.....at the time we knew little about the players except that the original 3 were from Mayall's Bluesbreakers...at the time of our discovery and enjoyment listening to the LP many hours and hours, we were unaware of the influence of the very young Danny Kirwan and the prescence of Christine Perfect on Keys...I recently purchased the CD, having given up the original LP back in the 70's and having listened to it on a cassette copy over the years....The guitar interplay between Green and Kirwan is worth the purchase alone...nothing else quite sounds like this recording....the Plaintive, melancholy tunes that Kirwan and both Green wrote and the Rockin "Rattlesnake Shake" as well as Green's " Oh Well" are true classics for all time....the one thing that pervades through many of these tunes is a loose soulful Jamming that was created as they wrote and recorded....I only wish that I could have seen this Band play live...of course, Jeremy Spencer contributed almost nothing to this recording ,though his slide guitar and on stage persona were integral to the sound of Mac......I never tire of listening to this one of a kind recording...I recommend buying all of the early Mac recordings up through the Bob Welch era with Kirwan still playing and writing on "Bare Trees and "Future Games"....then you can get a sense of how unique these players are.....and let's not forget how great and innovative McVie and Fleetwood are as the bottom of this sound...they will always be one of the best anchor teams in Rock.

During my college years, every time I would slide "Then Play On" onto my turntable the uninitiated in every crowd would have the same stunned reaction, "Who are those guys?" Oh Well was such a hit in Athens, GA that it stayed on the jukebox at Hoagies Bar for over a dozen years...until the bar was sold and turned into a restaurant. This was about the time the B52s and REM were hanging around.

This past week I let some of the programmers in my office listen to the Peter Green cover CD "Rattlesnake Guitar"....and got the same reaction...If you were not an avid Fleetwood Mac Fan as I was back then, Mac means Buckingham and Stevie. But as we all know, Fleetwood Mac is all about changes from derivative blues to original blues based rock to pure rock and roll to mellow ballads. We oldies loved Mac because each album had a fresh and original sound. I was fortunate enough to see them twice, once with the original lineup touring behind Then Play On, and then again touring after Bare Trees. Fortunately I missed the bogus Fleetwood Mac #2 tour which did not include Mick or John and was the subject of a major lawsuit.

For those of you just now finding out about this marvelous early and middle period of Fleetwood Mac, Congratulations, you are in for a real treat. Listen to them all, in order!