Peter Green’s 1979 solo return, In the Skies, is a soulful, laid-back masterpiece of atmospheric blues-rock and smooth, nocturnal jazz-funk. Marking his triumphant comeback after nearly a decade away from the music industry, the album replaces the fiery, distortion-heavy blues of early Fleetwood Mac with a subdued, shimmering, and deeply lyrical sonic profile. Green’s guitar work—shared closely with lead guitarist Snowy White—is fluid, expressive, and drenched in subtle chorus and delay, delivering warm, weeping single-note phrasing that relies on space and emotional nuance rather than speed. Driven by Reg Isidore’s gentle, Latin-inflected drum grooves, Godfrey MacLean's percussion, and Peter Bardens’ (Camel) lush Fender Rhodes and Hammond organ beds, tracks like "Slabo Day" and the ethereal title track float on hypnotic, slow-burning grooves. Quietly confident and beautifully understated, In the Skies remains one of the most organic, melancholic, and enduring guitar records of the late 1970s.
Peter Green’s 1979 solo return, In the Skies, is a soulful, laid-back masterpiece of atmospheric blues-rock and smooth, nocturnal jazz-funk. Marking his triumphant comeback after nearly a decade away from the music industry, the album replaces the fiery, distortion-heavy blues of early Fleetwood Mac with a subdued, shimmering, and deeply lyrical sonic profile. Green’s guitar work—shared closely with lead guitarist Snowy White—is fluid, expressive, and drenched in subtle chorus and delay, delivering warm, weeping single-note phrasing that relies on space and emotional nuance rather than speed. Driven by Reg Isidore’s gentle, Latin-inflected drum grooves, Godfrey MacLean's percussion, and Peter Bardens’ (Camel) lush Fender Rhodes and Hammond organ beds, tracks like "Slabo Day" and the ethereal title track float on hypnotic, slow-burning grooves. Quietly confident and beautifully understated, In the Skies remains one of the most organic, melancholic, and enduring guitar records of the late 1970s.