"[5][6][7] His trademark sound included string bending, vibrato, emotionally expressive tone, and economy of style.

He later stated that Hank Marvin was his guitar hero and he played the Shadows' song "Midnight" on the 1996 tribute album Twang.

It was with Peter B's Looners that he made his recording début with the single "If You Wanna Be Happy" with "Jodrell Blues" as a B-side.

[2] In October 1965, before joining Bardens' group, Green had the opportunity to fill in for Eric Clapton in John Mayall & the Bluesbreakers for four gigs.

[4] Mike Vernon, a producer at Decca Records recalls Green's début with the Bluesbreakers: As the band walked in the studio I noticed an amplifier which I never saw before, so I said to John Mayall, "Where's Eric Clapton?"

Bob Brunning was temporarily employed on bass guitar (Green's first choice, Bluesbreakers' bassist John McVie, was not yet ready to join the band).

The songs chosen for single release showed Green's style gradually moving away from the group's blues roots into new musical territory.

In the same year they scored a hit with Green's "Black Magic Woman" (later covered by Santana), followed by the guitar instrumental "Albatross" (1969), which featured new band member 18-year-old Danny Kirwan and reached number one in the British singles charts.

There, under the joint supervision of Vernon and Marshall Chess, they recorded with some of their American blues heroes including Otis Spann, Big Walter Horton, Willie Dixon, J. T. Brown and Buddy Guy.

Green had first seen Kirwan in 1967 playing with his blues trio Boilerhouse, with Trevor Stevens on bass and Dave Terrey on drums.

"[15] While touring Europe in late March 1970, Green took LSD at a party at a commune near Munich, an incident cited by Fleetwood Mac manager Clifford Davis as the crucial point in his mental decline.

[29][30] Communard Rainer Langhans mentions in his autobiography that he and Uschi Obermaier met Green in Munich and invited him to their Highfisch-Kommune.

In that same year he recorded a jam session with drummer Godfrey Maclean, keyboardists Zoot Money and Nick Buck, and bassist Alex Dmochowski of The Aynsley Dunbar Retaliation; Reprise Records released the session as The End of the Game, Green's first post-Fleetwood Mac solo album.

In 1971, he had a brief reunion with Fleetwood Mac, helping them to complete a U.S. tour after guitarist Jeremy Spencer had left the group, performing under the pseudonym Peter Blue.

[33] He recorded two tracks for the album Juju with Bobby Tench's band Gass,[34] followed by a solo single, one with Nigel Watson, sessions with B.B.

The exact circumstances are the subject of much speculation, the most famous being that Green wanted Simmons to stop sending money to him.

With the help of his brother Michael, he was signed to Peter Vernon-Kell's PVK label, and produced a string of solo albums starting with 1979's In the Skies.

He also made an uncredited appearance on Fleetwood Mac's double album Tusk, on the song "Brown Eyes", released the same year.

[39] In 1981, Green contributed to "Rattlesnake Shake" and "Super Brains" on Mick Fleetwood's solo album The Visitor.

He recorded various sessions with a number of other musicians notably the Katmandu album A Case for the Blues with Ray Dorset of Mungo Jerry, Vincent Crane from The Crazy World of Arthur Brown and Len Surtees of The Nashville Teens.

[40] In 1986, Peter and his brother Micky contributed to the album A Touch of Sunburn by Lawrie 'The Raven' Gaines (under the group name 'The Enemy Within').

The two guitarists and vocalists were apparently unconvinced of the merits of such a project,[43] but in April 2006, during a question-and-answer session on the Penguin Fleetwood Mac fan website, bassist John McVie said of the reunion idea: If we could get Peter and Jeremy to do it, I'd probably, maybe, do it.

[47] Early in 2004, a tour was cancelled and the recording of a new studio album stopped when Green left the band and moved to Sweden.

[49] He has been praised for his swinging shuffle grooves and soulful phrases and favoured the minor mode and its darker blues implications.

His distinct tone can be heard on "The Supernatural", an instrumental written by Green for John Mayall and the Bluesbreakers' 1967 album A Hard Road.

[52][53] A 1968 Gretsch White Falcon semi-acoustic and a 1931 National Duolian Resonator each sold for £38,400, and a 1999 Fender Strat USA Custom Shop relic guitar fetched £23,040.

[56][57] Many rock guitarists have cited Green as an influence, including Gary Moore,[58] Joe Perry of Aerosmith,[59] Andy Powell of Wishbone Ash,[60] and more recently, Mark Knopfler,[61] Noel Gallagher, and Radiohead bassist Colin Greenwood.

In the same article Robinson cites Jimmy Page, with whom the Crowes toured: "he told us so many Peter Green stories.