text:
news aggregator
Ottawa City Council
Marc Laviolette
Richard Cannings
election
Parliament
1993 Canadian election
Liberal
Montreal
Rosemont
Bloc Québécois
Benoît Tremblay
Ryerson Review of Journalism
NASCAR Busch East Series
NASCAR Canadian Tire Series
Personal site
"Bourque Newswatch"

categories: Ottawa city councillors,Racing drivers from Ontario,NASCAR drivers,Candidates in the 1993 Canadian federal election,ARCA Menards Series drivers,1958 births,Canadian sportsperson-politicians,Franco-Ontarian people,Journalists from Ontario,Living people

paragraph: Pierre Bourque (journalist)

paragraph: Pierre Bourque (born October 7, 1958), a journalist and former politician in Ottawa, Ontario, operates the online news aggregator site "Bourque Newswatch" (Newswatch).

paragraph: Section::::Politician.

paragraph: In March 1991, Bourque was appointed to Ottawa City Council and the Regional Municipality of Ottawa-Carleton to fill a vacancy after Marc Laviolette became mayor, but lost to Richard Cannings in the election of that November. He ran then for Parliament in the 1993 Canadian election as a Liberal candidate in the Montreal riding of Rosemont, and lost to Bloc Québécois candidate Benoît Tremblay. He subsequently ran for Ottawa city council again in 1994, but was not elected.

paragraph: In 2001, the "Ryerson Review of Journalism" (RRJ) criticized Bourque and Newswatch. RRJ said Bourque had not written some of his books but only acted as a researcher. In addition, many of Newswatch's breaking stories had often been inaccurate. RRJ also reported that, despite Bourque's web traffic claims, a random sample indicated that Canadian Internet users had not visited the Newswatch site and that no major Canadian journalist used Newswatch as a source.

paragraph: Newswatch has also been criticized for allowing advertisers to purchase headlines and to "torque" them to highlight a positive news story about itself or a negative story about an opponent.

paragraph: Section::::Racing driver.

paragraph: Bourque has been a race car driver in the NASCAR Busch East Series and NASCAR Canadian Tire Series.

paragraph: Section::::Racing driver.:Rolex Sports Car Series.:Grand Touring.

paragraph: () Bold – Pole Position. (Overall Finish/Class Finish).

paragraph: Section::::External links.

paragraph: BULLET::::- Personal site

paragraph: BULLET::::- "Bourque Newswatch"

description: racecar driver

wikidata_label: Pierre Bourque

wikipedia_title: Pierre Bourque (journalist)


text:
Swedish
football
AS Saint-Étienne
Division 1 Féminine
defender
Kopparbergs/Göteborg FC
Linköpings FC
Maria "Kia" Karlsson
Damallsvenskan
double
UEFA Women's Champions League
FA WSL
Doncaster Rovers Belles
Ramada Jarvis
Jitex BK
Bardolino Verona
Brescia
transferred
Division 1 Féminine
AS Saint-Étienne
Sweden
Foreign players in the FA WSL
The FA SuperLeague site
Footofeminin profile
archive

categories: Jitex BK players,Swedish expatriate sportspeople in France,1985 births,Expatriate women's footballers in England,Women's association football midfielders,Expatriate women's footballers in Italy,Linköpings FC players,Swedish expatriate sportspeople in Italy,FA Women's Super League players,AS Saint-Étienne (women) players,Swedish footballers,Sportspeople from Gothenburg,Serie A (women's football) players,Damallsvenskan players,Doncaster Rovers Belles L.F.C. players,Swedish expatriate footballers,Women's association football defenders,A.C.F. Brescia Calcio Femminile players,Kopparbergs/Göteborg FC players,Living people,Expatriate women's footballers in France,Swedish expatriate sportspeople in England,A.S.D. AGSM Verona F.C. players,Swedish women's footballers

paragraph: Maria Karlsson (footballer, born 1985)

paragraph: Maria Josefina Karlsson (born 8 February 1985) is a Swedish former footballer. Her last club was AS Saint-Étienne of France's Division 1 Féminine, where she played as a defender. Karlsson currently works as an agent for the Swedish sport agency Connect Management Group, CMG.

paragraph: Section::::Club career.

paragraph: Karlsson played for Kopparbergs/Göteborg FC (2002–2008) and Linköpings FC (2009–2010). After signing for Linköpings, Karlsson was known as Maria Karlsson II, or Maria "Kalle" Karlsson due to the presence of senior teammate and namesake Maria "Kia" Karlsson. Karlsson made 154 appearances in the Damallsvenskan, the highest level of women's football in Sweden. She won a League and Cup double with Linköping in 2009. She also played in the UEFA Women's Champions League in 2009 and 2010.

paragraph: In January 2011 Karlsson became the first Swede to sign for a club in the new FA WSL. After a successful trial, she signed a deal to play for Doncaster Rovers Belles while living at the Ramada Jarvis hotel in Doncaster. At the end of the English season Karlsson returned to Sweden, signing for Jitex BK. After six Damallsvenskan appearances and one goal, in November 2011 Karlsson revealed she had departed Jitex and was considering a contract offer from Italian club Bardolino Verona. She signed a six-month deal to commence on 1 January 2012.

paragraph: After moving on to Brescia, Karlsson transferred to French Division 1 Féminine team AS Saint-Étienne in August 2015.

paragraph: Section::::International career.

paragraph: Karlsson won a total of 57 caps with Sweden at youth level. These comprised eight caps at Under–17 level, 24 at Under–19 level and 25 at Under–21/23 level.

paragraph: Section::::See also.

paragraph: BULLET::::- Foreign players in the FA WSL

paragraph: Section::::External links.

paragraph: BULLET::::- The FA SuperLeague site

paragraph: BULLET::::- Footofeminin profile

paragraph: BULLET::::- (archive)

description: Association footballer

wikidata_label: Maria Karlsson

wikipedia_title: Maria Karlsson (footballer, born 1985)


text:
Gerard III, Count of Guelders
Margaretha of Brabant
Count William II
Frisians
Floris V, Count of Holland
Floris de Voogd
Adelaide of Holland
Gerard III, Count of Guelders
Margaretha of Brabant
Margaret of Cleves
Adolf VIII of Berg
Enguerrand IV, Lord de Coucy
Philippe of Dammartin
Reginald I, Count of Guelders
Dietrich VII, Count of Cleves
Arnhem

paragraph: Otto II, Count of Guelders

paragraph: Otto II, Count of Guelders (Dutch: Otto II, Graaf van Gelre) was a nobleman from the 13th century. He was the son of Gerard III, Count of Guelders and Margaretha of Brabant.

paragraph: Section::::Life.

paragraph: After Count William II (1227–1256) was slain in 1256 by Frisians his two-year-old son Floris V, Count of Holland inherited Holland. His uncle (Floris de Voogd regent from 1256 to 1258), and later his aunt (Adelaide of Holland regent from 1258 to 1263) fought over custody of Holland with other nobles. At the battle of Reimerswaal on 22 January 1263, Count Otto II defeated Aleidis and was chosen regent by the nobles who opposed Aleidis.

paragraph: Otto II served as Floris V's guardian until he was twelve years old (1266) and considered capable of administering Holland himself.

paragraph: Section::::Family.

paragraph: Otto II, Count of Guelders was the son of Gerard III, Count of Guelders and Margaretha of Brabant.

paragraph: Otto first married Margaret of Cleves in 1240. They had two children:

paragraph: BULLET::::- Elizabeth of Guelders, married Adolf VIII of Berg, no issue;

paragraph: BULLET::::- Margaret of Guelders, married Enguerrand IV, Lord de Coucy, without progeny.

paragraph: Otto married as his second wife Philippe of Dammartin in 1253, and they had four children:

paragraph: BULLET::::- Reginald I, Count of Guelders

paragraph: BULLET::::- Phillipa of Guelders, married Waleran II, Lord of Valkenburg.

paragraph: BULLET::::- Margaret of Guelders, married Dietrich VII, Count of Cleves.

paragraph: BULLET::::- Maria of Guelders

paragraph: Section::::See also.

paragraph: BULLET::::- Arnhem

wikidata_label: Otto II, Count of Guelders

wikipedia_title: Otto II, Count of Guelders


text: baseball

text: Arizona Diamondbacks

text: Oakland Athletics

text: Major League Baseball

text: Diamondbacks

text: Tom Glavine

text: Atlanta Braves

text: 2001 World Series

text: home run

text: RBI

text: Texas Rangers

text: spring training

text: Oklahoma Redhawks

text: Columbus Clippers

text: New York Yankees

text: Rochester Red Wings

text: Minnesota Twins

text: Oakland Athletics

text: Sultanes de Monterrey

text: Mexican League

text: Yankees

text: free agent

text: Chandler, Arizona

text: Naranjeros de Hermosillo

text: Águilas de Mexicali

text: Yaquis de Obregón

text: MLB Statistics, Bio and Photos

categories: Oklahoma RedHawks players,Baseball players from Sonora,Major League Baseball first basemen,1974 births,People from Hermosillo,Sportspeople from Chandler, Arizona,Arizona Diamondbacks players,Caribbean Series players,Mexican expatriate baseball players in the United States,Rochester Red Wings players,2009 World Baseball Classic players,Major League Baseball players from Mexico,Columbus Clippers players,All-Star Futures Game players,Oakland Athletics players,Living people,2006 World Baseball Classic players,Scranton/Wilkes-Barre Yankees players

paragraph: Erubiel Durazo

paragraph: Erubiel Durazo Cárdenas (born January 23, 1975) is a Mexican former professional baseball player. Durazo played for the Arizona Diamondbacks (–) and the Oakland Athletics (–) in Major League Baseball.

paragraph: Section::::Major league career.

paragraph: He helped the Diamondbacks by hitting a 2-out, 2-run home run off Tom Glavine in Game 5 of the 2001 National League Championship Series against the Atlanta Braves, which proved to be the series-winner, and the Diamondbacks went on to win the 2001 World Series.

paragraph: Durazo enjoyed his best season in when he hit .321 with 22 home runs and 88 RBI with Oakland. However, his career was derailed by injuries. In , the Texas Rangers invited him to spring training, but he did not make the major league club. He split the 2006 season between the Triple A Oklahoma Redhawks of the Rangers organization, the Triple A Columbus Clippers of the New York Yankees organization, and the Triple A Rochester Red Wings of the Minnesota Twins organization.

paragraph: Durazo was invited to 2007 spring training by the Oakland Athletics, where he played well, but was released before the start of the season. He joined Sultanes de Monterrey of the Mexican League. On July 17, 2007, Durazo signed a minor league contract with the Yankees, playing in 29 games for their Triple-A team. Durazo became a free agent at the end of the season. He currently resides in Chandler, Arizona with his wife Martha and their daughter Mariana Durazo.

paragraph: Section::::Career in Mexican Pacific League.

paragraph: Durazo has been playing in Mexico for the Naranjeros de Hermosillo since the – season in which he was the rookie of the year. For the 2009–2010 Mexican Pacific League season he was sent to Águilas de Mexicali, but later that same season he was sent on loan to Yaquis de Obregón.

paragraph: Section::::External links.

paragraph: BULLET::::- MLB Statistics, Bio and Photos

description: Major League baseball player

wikidata_label: Erubiel Durazo

wikipedia_title: Erubiel Durazo


text: Lincoln

text: hyperbolic paraboloid

text: Lindsey County Council

text: Bishop Grosseteste College

text: Richard S. Scorer

text: Repton School

text: Corpus Christi College, Cambridge

text: Royal Naval Volunteer Reserve

text: Fleet Air Arm

text: Baltic Sea

text: Kingston, Ontario

text: Lincoln County Hospital

text: Lotus Elan

text: Reform Club

text: George Grey Wornum

text: Edna Clarke Hall

text: William Farr School

text: Louth

text: Scunthorpe

text: RIBA

text: The Victorian Society

text: Wythenshawe Bus Garage

text: Ilkeston

text: Félix Candela

text: hyperbolic paraboloid

text: Commonwealth Institute

text: Markham Moor

text: Little Chef

text: Retford

text: Grade II listed

text: St John the Baptist Church

text: Welton

text: Louth

text: Tattershall

text: Richard Thomas and Baldwins

text: Tony Bartl

text: Brayford Pool

text: St John the Baptist

text: Canwick

text: North Hykeham

text: The Welding Institute

text: Abington, Cambridgeshire

text: Granta Park

text: Tony Bartl

text: Sam Scorer Gallery

text: His death in "Architects Journal"

text: Flickr group of his buildings

text: Listed structure in May 2012

text: Markham Moor restaurant in 2009

categories: 20th-century English architects,People from Lincoln, England,1923 births,Architects from Lincolnshire,Fleet Air Arm aviators,People educated at Repton School,Alumni of Corpus Christi College, Cambridge

paragraph: Sam Scorer

paragraph: Hugh Segar "Sam" Scorer FRSA (2 March 1923 – 6 March 2003) was an architect who worked in Lincoln, England and was a leading pioneer in the development of hyperbolic paraboloid roof structures using concrete. He also was involved in architectural conservation and research into the work of local 19th-century architects, as well as creating an art gallery in Lincoln, now known as the Sam Scorer Gallery.

paragraph: Section::::Life.

paragraph: He was brought up in Lincoln, one of five children. His father was a senior partner in a firm of solicitors, and later became clerk to Lindsey County Council. His mother was a lecturer at Bishop Grosseteste College, a teacher training college. A brother was Richard S. Scorer. He went to the independent Repton School in south Derbyshire, where he became head boy, and excelled at drawing.

paragraph: He read Mechanical Sciences at Corpus Christi College, Cambridge in 1941, and enjoyed painting as well. He was commissioned in the Royal Naval Volunteer Reserve and met his wife in Canada, when training to be a Fleet Air Arm pilot. He served as a fighter pilot until 1945, but was invalided out of service, having crashed while attempting to land on a moving aircraft carrier in the Baltic Sea.

paragraph: Combining his interest in artwork and mechanical design, he decided to become an architect. He entered the Architectural Association School of Architecture (AA) in the second year in 1946, and graduated in 1949.

paragraph: He married Anna Humphrey in 1943 in Kingston, Ontario. They had a son and a daughter (who died in April 1986). He lived on Gibraltar Hill in Lincoln. He died in Lincoln County Hospital in March 2003, aged 80.

paragraph: Away from architecture he was a motor racing enthusiast, attending many of Europe's grand prix circuits. He owned a succession of fast cars, such as a Lotus Elan and various Jaguars, all with his personalised number plate of EVL 1. He was a member of the Reform Club and took an interest in Liberal politics.

paragraph: Section::::Career.

paragraph: He worked for a year as assistant to George Grey Wornum. In 1950, he began work for Denis Clarke Hall (son of Edna Clarke Hall). With Clarke Hall he designed three schools in Lincolnshire in the 1950s:

paragraph: BULLET::::- William Farr School (1952)

paragraph: BULLET::::- Lacey Gardens Junior School, Louth (1953).

paragraph: BULLET::::- Riddings Comprehensive School, Enderby Road, Scunthorpe (1958 with extensions in 1965-70. Two-storey blocks with the classroom block linked to the service block by a vestibule. The kitchen is screened with a heavily rusticated or embossed wall. Vertical emphasis is provided by a watertower with glazed cistern.

paragraph: From 1954, his consultancy firm, Denis Clarke Hall, Scorer and Bright and Partners was based on Lindum Terrace in Lincoln. Scorer was the Chairman of the RIBA East Midlands planning committee. He was the first Chairman of the East Midlands Group of The Victorian Society. In 2000 he founded The Gallery, now known as the Sam Scorer Gallery, in Lincoln.

paragraph: Section::::Career.:Hyperbolic paraboloid structures.

paragraph: Thin shell concrete roofs were invented in Germany around the 1920s, as a means of achieving large spans with limited materials and at low cost. The strength of the roof lies in its shape, and the way it carries the loads by the forces exerted in the planes of the shell, rather than by the weight of their materials. The first shell roofs were simple barrel vaults. The earliest is Wythenshawe Bus Garage, Manchester, built 1939-42. After the Second World War, the form was taken further. One of the first engineers to specialise in concrete shell techniques in Britain was the German refugee of Hungarian origin, Dr K. Hajnal-Kónyi, who arrived in London in 1936, and who worked with Sam Scorer. Scorer became fascinated by the possibilities of shell roofs as a student, and designed a hyperbolic paraboloid roof in 1956 for a water tower in Ilkeston, Derbyshire. Félix Candela in Mexico was experimenting with ‘anticlastic’ or shells with double curvatures of opposing convexity and concavity, from which the hyperbolic paraboloid emerged. The form was particularly appropriate for developing countries because of its simple materials and low cost. The rationing of steel in the post-war period in Britain also was reason for the popularity of these designs. The 'hypar', as it is sometimes known, enjoyed a brief fashion, seen in buildings such as the Commonwealth Institute of 1960-2 and also the Wrexham swimming baths of 1964.

paragraph: Examples of Scorer's Work are:

paragraph: BULLET::::- Lincoln Motor Car Company Garage and Showrooms and later used as the headquarters of the Lincolnshire Library service. Designed 1958, built 1959 by Sam Scorer of Denis Clarke Hall, Scorer and Bright; engineer Dr K. Hajnal-Kónyi. Reinforced concrete construction to main former garage, with steel frame and concrete floors to circular corner block and curtain wall elevation to block facing Lucy Tower Street which has flat roof. Rear former garage, has a reinforced concrete hyperbolic paraboloid shell roof, supported on columns to provide a clear unobstructed area. Circular front showroom (now Prezzo) used to display cars.

paragraph: BULLET::::- Former petrol station on A1 at Markham Moor, Nottinghamshire. This same type of design was used for a petrol station (became a Little Chef restaurant in 1989 but now disused) at Markham Moor on the south-bound A1/A57 near Retford, designed in 1959. The shell canopy was designated Grade II listed on 27 March 2012.

paragraph: BULLET::::- In 1962 he designed the St John the Baptist Church in Ermine, Lincoln. Its aluminium roof is the shape of a hyperbolic paraboloid, and the building has a hexagonal floor plan and concrete walls. It is a Grade II* listed building.

paragraph: Section::::Architectural Work by Scorer.

paragraph: BULLET::::- William Farr Church of England Comprehensive School (1952) Welton

paragraph: BULLET::::- Lacey Gardens Junior School (1953) Louth.

paragraph: BULLET::::- House and Summerhouse for E. W. Scorer (1955) Lincoln

paragraph: BULLET::::- Gibraltar Hill (1955) Lincoln. His own house.

paragraph: BULLET::::- Extension to the Gartree Secondary Modern School (1956 and 1960) Tattershall, Lincolnshire.

paragraph: BULLET::::- Scunthorpe Steelworks. Laboratory for Richard Thomas and Baldwins (1958) Redbourn Works. Described by Pevsner and Harris as "an interesting structure with fifteen concrete mushroom pillars. Hence the roof comes down in lobes" This included murals and designs for Plyglass panels by Tony Bartl. The building appears to have been demolished by 1989.

paragraph: BULLET::::- Riddings Comprehensive School (1958), Scunthorpe. The classroom block linked by a vestibule to the dining room and gym. The kitchen and ancillary rooms are screened by an effective, very heavily rusticated or embossed wall. A tall watertower provides vertical emphasis

paragraph: BULLET::::- Petrol Station (1959–60) Markham Moor, on A1

paragraph: BULLET::::- Lincolnshire Motor Company Showrooms (1959–61), Brayford Pool, Lincoln. Later from about 1974 Lincolnshire Libraries headquarters and store. Now restaurants.

paragraph: BULLET::::- St John the Baptist (1963), Ermine Estate, Lincoln

paragraph: BULLET::::- Lindum House, Montagu Road, Canwick. Converted into a house for Peter and Kari Wright, in 1969- 70. Described as a "former Command Post, barely visible from the kerbside, nestling within an undulating 0.4-acre plot. Only its distinctive triangular ecclesiastical spire window peaks above the horizon. Internally the property has an expansive principal 31 ft (approx) reception room, kitchen/breakfast room, four bedrooms and bathroom".

paragraph: BULLET::::- Barclay's Bank (1968–70). Corner of the High Street with the Corn Hill, Lincoln. Tinted glass facades. By Bright of Clarke Hall, Scorer and Bright.

paragraph: BULLET::::- Lucy Tower car-park (1973-4), Brayford Pool, Lincoln

paragraph: BULLET::::- Sports Centre (1974), North Hykeham, Lincoln

paragraph: BULLET::::- The Welding Institute, (1975) Abington, Cambridgeshire. Probably the Richard Weck building on Granta Park, a steel and plate glass structure with internal and external murals by Tony Bartl. This may have been recently demolished (2012-2014), as, despite being in a conservation area, its significance was not appreciated.

paragraph: BULLET::::- Waterside House (1978-9), Waterside North, Lincoln. Environment Agency Building. Red brick on a concrete frame, with recessed mortar joints, detailed with curves and chamfers

paragraph: BULLET::::- 1980s Designed two houses on Spring Hill, Lincoln for the building contractor, Richard Lucas Ltd.

paragraph: BULLET::::- Southern Outfall Pumping Station (1987) Cleethorpes

paragraph: BULLET::::- Damon's Restaurant (1987-8) Swallowbeck on the junction with the Lincoln Western by-pass. An American burger bar. The up-turned roof structure represents ribs of beef.

paragraph: BULLET::::- Roman Villa (1990s). House. Lincoln

paragraph: BULLET::::- Damon's Motel (1993) Swallowbeck

paragraph: BULLET::::- Sam Scorer Gallery, Drury Lane, Lincoln, (2000)

paragraph: Section::::References.

paragraph: BULLET::::- "Times" Obituary, 9 April 2003, page 30

paragraph: Section::::Literature.

paragraph: BULLET::::- Antram N (revised), Pevsner N & Harris J, (1989), "The Buildings of England: Lincolnshire", Yale University Press.

paragraph: Section::::Literature.:Architectural Writing.

paragraph: BULLET::::- Kaye D. and Scorer S. (with Introduction and Gazetteer by David Robinson), "Fowler of Louth: The Life and Works of James Fowler, Louth Architect 1828-1892", Louth Museum 1992.

paragraph: BULLET::::- Scorer S. (introduction), (1990) "The Victorian Facade: William Watkins and son, architects, Lincoln 1858-1918" Lincolnshire College of Art and Design. . Booklet to accompany exhibition at the Usher Gallery, Lincoln.

paragraph: Section::::External links.

paragraph: BULLET::::- Sam Scorer Gallery

paragraph: BULLET::::- His death in "Architects Journal"

paragraph: BULLET::::- "Sam Scorer; A lesser known architect of the twentieth century"; Karolina Szynalska (2010)

paragraph: BULLET::::- Flickr group of his buildings

paragraph: BULLET::::- Blog description of several buildings, including Damon's restaurant

paragraph: Section::::External links.:News items.

paragraph: BULLET::::- Listed structure in May 2012

paragraph: BULLET::::- Markham Moor restaurant in 2009

description: British architect

wikidata_label: Sam Scorer

wikipedia_title: Sam Scorer


text:
Lan Xang
palladium
Luang Prabang
Phra Bang
Vientiane
Luang Prabang
Jatakas
Panchatantra
Ramayana
Phra Lak Phra Lam

categories: 15th-century births,1520s in Asia,Buddhist monarchs,Year of birth unknown,1510s in Asia,Kings of Lan Xang,Laotian Theravada Buddhists,16th century in Lan Xang,16th-century monarchs in Asia,1520 deaths

paragraph: Visoun

paragraph: Visoun (Vixun also Visunarat) was the king of Lan Xang from 1500 until 1520. He was the seventh son of King Sai Tia Kaphut, King of Lan Xang. He was appointed as Governor of Vientiane in 1480 and as Chief Minister with the title of Phya Sena Muang in 1491 with the reign name of Visoun (Lightning). He served as Regent for his minor nephew from 1495 to 1497. He deposed his nephew and was proclaimed as King in 1500. He ascended the throne and was crowned King in 1501. His reign was prosperous and peaceful with a large number of shrines and monuments being constructed, including the Maha Vihara of Wat Visoun, which he built to house the palladium of Luang Prabang, the Phra Bang, which had been at Vientiane since 1359. A number of important religious texts and literary works were composed or translated into Lao during his reign. He died at Vientiane in 1520.

paragraph: Section::::Literature during his reign.

paragraph: During his reign, Visoun invited learned monks to stay in Xiang Dong Xiang Thong (Luang Prabang). At that time, Buddhist and Hindu literature were copied and translated. Lao monks extended the "Jatakas" to be the Lao version. The Lao version of "Jatakas" called Ha Sip Xat contains 27 stories which are not in the original "Jatakas." Moreover, the Lao monks produced the Lao version of "Panchatantra" and "Ramayana" which is known as the "Phra Lak Phra Lam."

alias: Visoun Vixun

description: King of Lan Xang

wikidata_label: Visunarat

wikipedia_title: Visoun


text:
guitarist
singer
songwriter
blues rock
Fleetwood Mac
Otis Spann
Chris Youlden
Tramp
Jeremy Spencer
Christine McVie
Brixton
South London
jazz
Eddie Lang
Joe Venuti
Django Reinhardt
Ink Spots
O-levels
clerk
Fenchurch Street
City of London
Hank Marvin
the Shadows
Django Reinhardt
Jimi Hendrix
Eric Clapton
Bluesbreakers
blues
Fleetwood Mac
Mike Vernon
Peter Green
Lowell Fulson
Marquee Club
Battersea
Melody Maker
slide guitar
Jeremy Spencer
Mick Fleetwood
John Mayall and the Bluesbreakers
roaring twenties
big-band
John Mayall
Hendrix
Cream
vaudeville
Peter Green
rhythm guitar
harmonies
Django Reinhardt
Clifford Davis
guitarist
pub
South London
Battersea
Hyde Park
London
Family
Ten Years After
Fairport Convention
BBC
UK
Paris
The Who
Small Faces
Pink Floyd
The Troggs
New York
Fillmore East
Manhattan
Fillmore West
San Francisco
Boston Tea Party
Miami Pop Festival
Chuck Berry
Muddy Waters
BB King
The Grateful Dead
hit single
Albatross
CBS
New Bond Street
B-side
clarinet
Joe Venuti
Adrian Rollini
Eddie Lang
The Beatles
Abbey Road
Blue Horizon
John Lennon
Apple Records
Muddy Waters
Regal Theatre
Chicago
Mike Vernon
Chess Records
Marshall Chess
Willie Dixon
Otis Spann
Buddy Guy
Blue Horizon
Fleetwood Mac in Chicago
Then Play On
Then Play On
Gibson Les Paul
Lindsey Buckingham
Oh Well
Mike Vernon
12-bar blues
Tinsley Ellis
Beatles
Rolling Stones
English Rose
English Rose
Fillmore East
The Vaudeville Years
Show-Biz Blues
The Temperance Seven
The Vaudeville Years
Show-Biz Blues
Man of the World
The Green Manalishi
Martin Birch
bass guitars
Hollywood
B-side
Otis Spann
The Biggest Thing Since Colossus
Christine McVie
Christine Perfect
When You Say
Jeremy Spencer
Tramp
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Christine McVie
New Orleans
Kiln House
Buckingham
Nicks
Madison Blues
pub
Headley
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Dragonfly
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B-side
Jeremy Spencer
Los Angeles
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cult
Children of God
Christian
rock 'n' roll
Bible
Fillmore West
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Clifford Davis
Peter Green
jamming
Los Angeles
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John McVie
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R&B
Deep Purple
Savoy Brown
Van Morrison
Alice Cooper
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Seattle
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Fillmore East
Deep Purple
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alcoholism
Bare Trees
Rupert Brooke
wah-wah
scat
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funk
jazz
25 Years – The Chain
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Bare Trees
Beatles
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alcoholism
beer
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Dave Walker
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love
Midnight in San Juan
reggae
The Beatles
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alcoholism
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mescaline
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royalties
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big-band
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royalties
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Second Chapter
Clifford Davis
Kiln House
An Evening with Fleetwood Mac
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pneumonia
Mick Fleetwood
Mojo
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Jeremy Spencer
Bob Welch
Watkins
Fender Stratocaster
Hyde Park, London
Fender Telecaster
Gibson Les Paul
Goldtop
Gibson Les Paul Standard
Gibson Les Paul Custom
Orange
valve (vacuum tube) amplifier
Fender Dual Showman
Second Chapter
DJM
Midnight in San Juan
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Ram Jam City

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paragraph: Danny Kirwan

paragraph: Daniel David Kirwan (13 May 1950 – 8 June 2018) was a British musician whose greatest success came with his role as 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 his former Fleetwood Mac colleagues Jeremy Spencer and Christine McVie on some of their solo projects.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Early career.

paragraph: Section::::Biography.:Early career.:Musical influences and first band.

paragraph: Danny Kirwan was born Daniel David Langran in Brixton, South London. His mother, Phyllis Rose Langran, was a singer and he grew up listening to the music of jazz musicians such as Eddie Lang, Joe Venuti and Django Reinhardt and 1930s-40s groups such as the Ink Spots. Danny's parents separated when he was young. Phyllis Rose Langran married Aloysious James 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 the City of London.

paragraph: Kirwan was an accomplished self-taught guitarist who had been influenced by Hank Marvin of the Shadows, French gypsy guitarist Django Reinhardt, Jimi Hendrix and particularly by Eric Clapton's playing in the Bluesbreakers. He began learning guitar at the age of fifteen: he was seventeen 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 guitar and Dave Terrey on drums.

paragraph: He is said to have persuaded Fleetwood Mac's producer Mike Vernon to watch Boilerhouse rehearse in a South London basement boiler-room, after which Vernon informed Fleetwood Mac founder Peter Green of his discovery. Vernon was impressed by Kirwan's guitar playing and subtle vibrato and thought he sounded like blues player Lowell Fulson. Vernon 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's band began playing support slots for Fleetwood Mac at London venues such as John Gee's Marquee Club in Wardour Street and the Nag's Head in Battersea, which gave Kirwan and Green the opportunity to jam together and get to know each other.

paragraph: Section::::Biography.:Early career.:Joining Fleetwood Mac.

paragraph: Green briefly took a managerial interest in Boilerhouse but Stevens and Terrey were not prepared to turn professional, so an advert was placed in the weekly music paper "Melody Maker" to find another rhythm section to back Kirwan. Over 300 hopefuls were said to have applied but none was deemed good enough, so another solution was found. Fleetwood Mac had been constituted as a quartet, but Green had been looking for another guitarist to share some of the workload in view of slide guitarist Jeremy Spencer's unwillingness to contribute to his songs.

paragraph: The band's drummer Mick Fleetwood, previously a member of John Mayall and the Bluesbreakers, suggested that Kirwan could join Fleetwood Mac. Although the rest of the band were not entirely convinced, Fleetwood invited Kirwan to join the band in August 1968. Kirwan was evidently not expecting this and his reaction was described as "astonishment and delight."

paragraph: Green had wanted to move Fleetwood Mac away from pure blues and needed a new musical collaborator and backing guitarist to work with. "Which is how Danny Kirwan came into our lives," Fleetwood recalled. "Danny was a huge fan of Peter's. He would see us every chance he got, usually watching in awe from the front row." Kirwan would often turn up at gigs during the afternoon, help to carry the gear in and jam with Green after the soundcheck.

paragraph: 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 arrival expanded Fleetwood Mac to a five-piece with three guitarists.

paragraph: 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 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."

paragraph: Section::::Biography.:Fleetwood Mac.

paragraph: Section::::Biography.:Fleetwood Mac.:The early days.

paragraph: Mick Fleetwood described the early Fleetwood Mac as it was when Kirwan joined the band. "We were a rude, wild, fun-loving bunch of people ... Fleetwood Mac never wanted to be pure blues like John Mayall, or rock like Hendrix or Cream. We were a funny, vulgar, drunken vaudeville blues band at that time [1967-70], playing music as much to amuse ourselves as to please an audience."

paragraph: Section::::Biography.:Fleetwood Mac.:Guitar style.

paragraph: 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 original material. Kirwan was the ideal foil for Green's new approach: he played gentle, supportive rhythm guitar to Green's and Spencer's fiery solo work and introduced vocal harmonies to some of the songs. Spencer said, "Peter and I had seen Danny play and thought he was very good. Peter and Danny worked well together."

paragraph: 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 a different style ... Playing live, he was a madman." Fleetwood Mac biographer Leah Furman commented, "Danny provided a perfect sounding board for Peter's ideas, added stylistic texture, and moved Fleetwood Mac away from pure blues."

paragraph: Kirwan was interviewed by the British weekly music paper "Melody Maker" soon after joining Fleetwood Mac and gave 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."

paragraph: The band's manager Clifford Davis, himself 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."

paragraph: Section::::Biography.:Fleetwood Mac.:First gigs and tours.

paragraph: Kirwan progressed from being an eighteen-year-old guitarist in 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 on stage at the 24 August 1968 Hyde Park Free Concert in London, performing on the same bill as Family, Ten Years After and Fairport Convention; two days later he was in the BBC radio studios in London, recording a session of twelve songs for broadcast; three days after that he began a 50-date tour of the UK. At the end of November he was 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, he was in New York 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, BB King and The Grateful Dead.

paragraph: Kirwan toured several times with Fleetwood Mac in Europe. Fleetwood said in his autobiography, "We were "huge" in Europe. Even a simple blues track like "Shake Your Moneymaker" went to the top of the charts in Scandinavia. Every place we played was sold out and raving."

paragraph: Section::::Biography.:Fleetwood Mac.:First recording: "Albatross".

paragraph: Kirwan's first recorded work with Fleetwood Mac, in October 1968, was his contribution of the second guitar part to Green's instrumental hit single "Albatross". Green had been working on the piece for some time and Kirwan completed it by adding 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.

paragraph: The band spent two days recording and mixing the track at CBS studios in New Bond Street, London, and when they listened to 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 1 in the UK singles charts in December 1968 and sold nearly a million copies.

paragraph: The B-side of "Albatross" was Kirwan's first published tune, the instrumental "Jigsaw Puzzle Blues". This was an old clarinet piece, written by Joe Venuti and Adrian Rollini and recorded by the Joe Venuti / Eddie Lang Blue Five in 1933. Kirwan worked out the piece from the record and adapted it for himself and Green to play on guitar, but Green remembered, "I couldn't do it properly. I can't play that sort of big-band type thing. My style wasn't all that satisfactory to Danny, but his style wasn't all that satisfactory to me." So Kirwan played all the guitar parts himself.

paragraph: The Beatles were said to have admired "Albatross", and to have been inspired by it to create the slow, melodic, harmonised track "Sun King" on their 1969 album "Abbey Road". In 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.

paragraph: Section::::Biography.:Fleetwood Mac.:Blues sessions at Chess.

paragraph: 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 Theatre in Chicago. While they were there, producer Mike Vernon heard that Chess Records 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.

paragraph: The sessions 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 the album.

paragraph: Section::::Biography.:Fleetwood Mac.:"Then Play On", 1969.

paragraph: Kirwan's skills came further to the forefront on the mid-1969 album "Then Play On", recorded at Kingsway Studios in Holborn, London. Green had told Kirwan when he arrived that he would be responsible for half of the band's next album and the songwriting and lead vocals on "Then Play On" were split almost equally between Kirwan and Green, with many of the performances featuring their dual lead Gibson Les Paul guitars. Fleetwood said that Kirwan, asked to write his first songs for the band, "approached his assignment very cerebrally, much as Lindsey Buckingham would do later, and came up with some very good music." [Fleetwood would later say in an interview that Buckingham had "a huge regard for Danny".]

paragraph: Spencer did not play guitar or sing on the album and Kirwan had a significant role in the recording. He composed seven of the fourteen tracks and his "Coming Your Way" opened Side 1. His varied musical influences are 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 the guitar parts on his "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."

paragraph: 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". "Then Play On" was released in September 1969 and reached number 5 in the UK album charts. It was the band's first album to sell more than 100,000 in America.

paragraph: In December 1969, sixteen months after Kirwan joined the band, Fleetwood Mac were voted the UK's number one Progressive Group in "Melody Maker's" end-of-year polls. The band had also outsold the Beatles and the Rolling Stones in Europe in record sales and concert tickets.

paragraph: Section::::Biography.:Fleetwood Mac.:US releases.

paragraph: The US-only release "English Rose" from the same era included Kirwan's "Without You" and "One Sunny Day", plus his tense 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 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.

paragraph: 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 the later non-UK vinyl releases.

paragraph: 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.

paragraph: Section::::Biography.:Fleetwood Mac.:Archival packages.

paragraph: Archival packages from this era such as "The Vaudeville Years" and "Show-Biz Blues" double sets include several Kirwan songs and show his blues influences, as well as the more arcane tastes that led to songs like "Tell Me from the Start", which could have been mistaken for a song by the 1920s-style group The Temperance Seven. Kirwan's unusual musical interests are said to have prompted band leader Green to dub him "Ragtime Cowboy Joe".

paragraph: The track listing on "The Vaudeville Years" contained five of Kirwan's songs: "Like It This Way", “Although the Sun Is Shining", "Love It Seems", "Tell Me from the Start" and "Farewell", plus his joint composition with Green, "World in Harmony". His songs on "Show-Biz Blues" were "Mind of My Own" and a live version of "Coming Your Way". Kirwan's uptempo blues "Like It This Way" was recorded during the "Man of the World" sessions early in 1969. It was the first Fleetwood Mac recording to feature Kirwan and Green's duelling twin-lead guitars, which would later become part of the band's live performances.

paragraph: Section::::Biography.:Fleetwood Mac.:Singles 1968-1970.

paragraph: Fleetwood Mac's hit singles from 1968 to 1970 were all written by Green but Kirwan's style showed through, thanks to Green's desire not to act as the band's main 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 the World", which was released in April 1969 and reached number 2 in the UK charts.

paragraph: The final hit single from this line-up, "The Green Manalishi", was recorded 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 at the results of the session because he couldn't 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" 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."

paragraph: 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 the UK for six years.

paragraph: The B-side of "The Green Manalishi" was the instrumental "World in Harmony", the only track ever 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."

paragraph: Kirwan and Green had already worked on melodic twin guitar demos that had sparked rumours in the music press in late 1969 of a duelling guitars project, but ultimately nothing came of it.

paragraph: Section::::Biography.:Fleetwood Mac.:Kirwan and Green.

paragraph: 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, with Green recalling that Kirwan always had to arrive anywhere an hour early, but Green was more talented when it came to improvisational skills.

paragraph: One of the band's roadies, Dennis Keane, suggested later that the success of "Albatross" and the follow-up single "Man of the World" went to Kirwan's head and he became more confident, to the point of trying to pressure Green and compete with him. Producer Martin Birch, however, remembered that Kirwan was often seeking reassurance from Green and that he was always in awe of him. "I often got the impression that Danny was looking for Peter's approval, whereas Peter wanted Danny to develop by himself."

paragraph: Section::::Biography.:Fleetwood Mac.:Departure of Peter Green.

paragraph: 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 later said 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 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.

paragraph: Section::::Biography.:Sessions away from Fleetwood Mac.

paragraph: Section::::Biography.:Sessions away from Fleetwood Mac.:Otis Spann, Spencer, McVie.

paragraph: 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 was then 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.

paragraph: 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 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."

paragraph: Section::::Biography.:Sessions away from Fleetwood Mac.:Blues band Tramp.

paragraph: 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 the recording.

paragraph: Tramp's bass player Bob Brunning, Fleetwood Mac's first bassist, said later that he had "thoroughly enjoyed" working with Kirwan during the Tramp sessions and remembered him being "extremely 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, and he recalled that when his bass amp was stolen in 1969, Kirwan had given him a vintage Marshall amp as a replacement.

paragraph: Section::::Biography.:"Kiln House", 1970.

paragraph: Section::::Biography.:"Kiln House", 1970.:Arrival of Christine McVie.

paragraph: 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." They continued briefly as a four-piece and were rescued 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. Fleetwood said, "Christine became the glue ... she filled out our sound beautifully."

paragraph: The new line-up allowed Kirwan to develop more melodic rock, included some of McVie's songs, introduced vocal harmonies and continued to showcase Spencer's talents. McVie played her first official gig with Fleetwood Mac on 1 August 1970 at The Warehouse in New Orleans, Louisiana, at the start of a three-month US tour.

paragraph: Section::::Biography.:"Kiln House", 1970.:Kirwan compositions.

paragraph: 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 started during the recording of Spencer's solo album the previous year. Kirwan's songs on the album included "Station Man", co-written with Spencer and John McVie, which became a live staple into the post-1974 Buckingham-Nicks era.

paragraph: His other songs were "Jewel-Eyed Judy", dedicated to a friend of the band, Judy Wong; the energetic "Tell Me All the Things You Do", and "Earl Gray", an atmospheric instrumental which Kirwan largely composed while Peter Green was still in the band. Kirwan also sang distinctive backing vocals on some of Spencer's numbers, such as the 1950s-flavoured album opener "This Is the Rock". Christine McVie played keyboards and sang backing vocals, uncredited, on the album.

paragraph: 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 the year, was also 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 his apparent occasional lack of inspiration when writing lyrics. The B-side of the single, "The Purple Dancer", written by Kirwan, Fleetwood and John McVie, featured Kirwan and Spencer duetting on lead vocals.

paragraph: Section::::Biography.:"Kiln House", 1970.:Departure of Jeremy Spencer.

paragraph: Two tours of the US followed in support of "Kiln House" but the second, in February 1971, was blighted by guitarist Jeremy Spencer's bizarre departure from the group. He disappeared from the band's hotel in Los Angeles on the afternoon of a sold-out gig at the prestigious Whiskey A Go Go, which had to be cancelled, and after several days of searching was discovered to have joined the California-based religious cult the Children of God.

paragraph: Spencer was a devout Christian and away from his rock 'n' roll stage persona he was said to read the Bible and pray every day. When he was finally tracked down by the band's manager, he said he had been approached by members of the cult in the street, he had joined them of his own free will and he had no further interest in Fleetwood Mac.

paragraph: Spencer recalled in later years that at the age of twenty-two he was questioning everything, he had become dissatisfied with his life and he no longer enjoyed playing. He regretted not having gone about his departure in a more thoughtful way, but said "that's just the way it happened ... I needed to get away." In an interview in 2006 he said, "I knew I had left them [the band] in the lurch, but I prayed desperately for them." Spencer played what turned out to be his last gig with Kirwan, Fleetwood and John and Christine McVie at the Fillmore West in San Francisco on Sunday 14 February 1971.

paragraph: Section::::Biography.:"Kiln House", 1970.:Return of Peter Green.

paragraph: The band had an uncomfortable time completing the tour without him. Spencer had been an essential part of the "Kiln House" material they were performing, and his Elmore James blues set and his rock 'n' roll Elvis act had been vital parts of the show. They had another six weeks of contracted gigs to do that could not be performed with only one guitarist, and they 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.

paragraph: Green had left Fleetwood Mac nearly a year previously after becoming disillusioned with the music business, but “in a spirit of friendship” he agreed to do it. He had one condition: that each show would consist mostly of improvisation and free-form jamming. Fleetwood recalled, “We had no choice. We were absolutely shattered by Jeremy’s defection.” The next day, Friday 19 February 1971, Green arrived in Los Angeles after a fourteen-hour flight from London and was taken straight to Swing Stadium in San Bernardino, California, where he played his first gig of the tour with his old band after a half-hour rehearsal in the dressing room.

paragraph: Fleetwood commented later that jamming and improvising a show each night “made for an interesting six weeks, because not once did we take the stage knowing what the set was going to be." In later years bass player John McVie would remember that kind of performing as "invigorating", but at the time, he said, "We were scared stiff. We would go on stage every night, look at the audience and not have a clue what we were going to play." The band's jamming was received enthusiastically by the American audiences. Fleetwood recalled, "The whole act seemed to go down pretty well. We were always called back for encores."

paragraph: Once they got into their stride, Kirwan is reported to have felt annoyed and overshadowed because Green was taking a leading role in their guitar playing on stage. After one gig 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] was playing around him on stage to try to egg him on, but Danny didn't have the fire or the skills of improvisation, so he got very frustrated."

paragraph: The final gig 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 "took the place by storm" with a four-hour improvised version of "Black Magic Woman". Promoter Bill Graham almost started a riot when he tried to end the show at midnight and Green finally ran out of ideas at 4am. Fleetwood reflected later that, in the end, the tour had been a success and those six weeks were the most lucrative run they had ever had.

paragraph: Section::::Biography.:Bob Welch.

paragraph: Section::::Biography.:Bob Welch.:Welch and Fleetwood Mac.

paragraph: Californian guitarist Bob Welch was recruited to replace Spencer in April 1971, without an audition, after a few weeks of getting to know him. Welch arrived from Paris, France, where he had been stranded after his previous band fell apart in the middle of a European tour. 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 a precise sense of phrasing and timing and he was well-trained, as opposed to us, who had just wandered into it."

paragraph: Welch recalled, "Immediately I began to discover Fleetwood Mac's unusual organisational methods. I was expecting they'd tell me to learn these songs and sing this way, but it was nothing like that. We just jammed and played some blues on the side." Welch was "put to work right away" in a summer 1971 tour of the British circuit and some European dates and he remembered, "Mick ran a loose ship. Most of the time it was jam city. We basically got drunk and had a good time."

paragraph: Welch later described what it was like working with the band. "Touring was a lot of fun. We played with Deep Purple, Savoy Brown, Van Morrison, Alice Cooper and others, only it was exhausting, because we would have ridiculous itineraries, like going from Tampa Fla to Seattle WA and back in 36 hours. Fleetwood Mac used to rock pretty hard opening for Deep Purple. As I remember, we always got a couple of encores. Their crowd seemed to like us. An abiding memory would be 'really getting into it' on stage, jamming at the end of a song and making things up as we went along, not knowing how it was going to come out, or how it was going to end."

paragraph: Welch described Fleetwood as "a gifted drummer" and said John McVie was one of the most inventive bass players he had ever worked with. He remembered Kirwan's lead guitar style as mature and economical.

paragraph: Section::::Biography.:Bob Welch.:Welch and Kirwan.

paragraph: Welch's contrasting attitudes towards Kirwan – on one hand a difficult personal relationship, and on the other his respect for Kirwan's musicianship – were a point of focus during the sixteen months they were together in Fleetwood Mac. Fleetwood remembered, "The two of them were very different as people and as musicians." A "personality clash" developed and by 1972, under the strain of touring, Kirwan was arguing with Welch and "picking fights".

paragraph: 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 was the definition of 'deadly serious'."

paragraph: 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 hinted at musical differences. "I think Danny thought I was too clever a player ... too jazzy, too many weird notes. I don't feel he loved my stuff to death."

paragraph: 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" is one of the sweetest albums I have."

paragraph: Section::::Biography.:Bob Welch.:"Future Games", 1971.

paragraph: On the last two Fleetwood Mac albums which featured Kirwan, his songs occupied about half of each album. His guitar work was also evident on songs written by Welch and McVie as they developed their own songwriting techniques. "Future Games", recorded at Advision Studios in London in the middle of a hectic tour schedule and released in September 1971, was a departure from the previous album with the absence of Spencer and his 50s rock 'n' roll parodies. 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 the rhythm guitar parts. Danny and I worked together pretty well."

paragraph: Kirwan contributed the album's opening track, "Woman of 1000 Years", which, according to one unknown critic at the time, "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. Kirwan's influence can also be heard on the two Christine McVie songs, "Morning Rain" and "Show Me a Smile". McVie later described "Woman of 1000 Years" and "Sands of Time" as "killer songs". Welch said "Woman of 1000 Years" was "Danny at his best."

paragraph: "Future Games" sold well in America. Fleetwood Mac were given top billing at the Fillmore East in New York and broke house records for sellouts at other venues. Kirwan began an 11-month tour of America and Europe with the band, opening a couple of dozen gigs for Deep Purple and for several months playing second on the bill to Savoy Brown. In a rare week off, early in 1972, they returned to London and recorded their next album, "Bare Trees", in a few days. Fleetwood said the songs on the album reflected the band's "jaded road-weariness and longing for home." Christine McVie wrote in "Homeward Bound", "I don't want to see another airline seat or another hotel room." The pressure and strain of life on the road, of constant travelling and performing, increasingly affected Kirwan. As 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."

paragraph: Section::::Biography.:Bob Welch.:"Bare Trees", 1972.

paragraph: "Bare Trees" was recorded at DeLane Lea Studios in London and released in March 1972. The album contained five Kirwan tracks including another instrumental, "Sunny Side of Heaven". The lyric for 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.

paragraph: "Bare Trees" and "Child of Mine", which touched upon the absence of Kirwan's father during his childhood, opened each side of the LP and under Welch's influence showed funk and slight jazz leanings. An unissued Kirwan track, "Trinity", was played live for a period during 1971–1972 and the studio version was eventually released on the 1992 box set "25 Years – The Chain".

paragraph: Welch commented later, "There was no overall plan to make "Bare Trees" sound bleak, it just happened. I think a lot of that mood comes from Danny's angst in his writing. His songs always had a kind of loneliness and forlornness about them. He was not exactly a happy-go-lucky guy."

paragraph: The American music magazine "Rolling Stone" published a review of "Bare Trees" in the issue dated 8 June 1972. Reviewer Bud Scoppa said how much he had liked the previous albums, "Kiln House" and "Future Games". He found "Bare Trees" "more introspective" but harder-hitting and he said, "As before, it's Danny Kirwan who makes the difference." He likened "the kind of music the new Mac plays" to "the moody rock of the middle-period Beatles" and commented on the resemblance of Kirwan's style, with his "deft melodic touch", to Paul McCartney's. He noted that after Spencer had left the band, Kirwan had become "the sole focal figure". He said Kirwan's "Jewel-Eyed Judy", "Tell Me All the Things You Do" and "Station Man" were "among the best examples of the soft-hard rock song, with their silky vocals and smoking guitars." Scoppa ended the review by saying:

paragraph: Section::::Biography.:Firing from Fleetwood Mac.

paragraph: Section::::Biography.:Firing from Fleetwood Mac.:Pressure and stress.

paragraph: By the summer of 1972 Kirwan had been writing, recording, touring and performing continuously for nearly four years, since the age of eighteen, as a member of a major international band. He had shouldered much of the songwriting responsibility during the band's recent troubled and uncertain period and through changes in line-up and musical style. He had also found himself pushed into the spotlight as lead guitarist and front man to replace Peter Green. The pressure eventually affected his health: he developed serious problems with alcoholism and there are stories of him not eating for several days at a time and subsisting mostly on beer.

paragraph: The pressure and stress of life as a professional musician, of constant travelling and performing and exhausting schedules, particularly affected Kirwan. As the band's 1972 tour progressed he became increasingly hostile and withdrawn and began drinking heavily. Fleetwood said, "On that long tour in 1972 Danny became quite volatile ... He just got more and more intense. He wouldn't talk to anyone. He was going inside himself, which we put down to an emotional problem that we had no idea about. We thought he was just being awkward. I had no idea he was struggling at that level." He said,

paragraph: Section::::Biography.:Firing from Fleetwood Mac.:Backstage incident.

paragraph: Kirwan became estranged from the other members of the band and things came to a head in August. Backstage before a concert on the 1972 US tour to promote "Bare Trees", he argued with Welch over tuning their guitars and suddenly flew into a violent rage, banging his head and fists against the wall. He smashed his Gibson Les Paul guitar, trashed the dressing room and refused to go on stage. Kirwan watched from the mixing desk as the rest of the band struggled through the gig without him and offered unwelcome criticism afterwards.

paragraph: Other members of the band recalled Kirwan's breakdown. Welch said, "We had a university gig somewhere. Danny started to throw this major fit in the dressing room. He had a beautiful guitar ... [a vintage Les Paul Black Beauty.] First he started banging the wall with his fists, then he threw his guitar at the mirror, which shattered, raining glass everywhere. He was pissed out of his brain, which he was for most of the time. We couldn't reason with him."

paragraph: Fleetwood said, "We all felt a blow-up was brewing, but we didn't expect what happened. We were sitting backstage waiting to go on. Danny was being odd about tuning his guitar. He went off on a rant about Bob never being in tune ... He got up suddenly ... and bashed his head into the wall, splattering blood everywhere. I'd never seen him do anything that violent in all the years I'd known him. The rest of us were paralysed, in complete shock. He grabbed his precious Les Paul guitar and smashed it to bits. Then he set about demolishing everything in the dressing room as we all sat and watched. When there was nothing left to throw at the wall or overturn, he calmed down. Five minutes to showtime and there was blood everywhere. Danny said 'I'm not going on'. We were already late to the stage and we could hear the crowd chanting for us. We had to go on stage without him."

paragraph: The band struggled through the gig without a lead guitarist, with Welch trying to cover Kirwan's lead parts. Welch remembered, "I was extremely pissed off and the set seemed to drag on for ever. To do a whole set without Danny was tough, because all the band arrangements depended on him being there for a guitar part or a vocal part or whatever. I think we told the audience Danny was sick, which I guess he was, in a way."

paragraph: Section::::Biography.:Firing from Fleetwood Mac.:Sacking from the band.

paragraph: After a conference between the other band members back at the hotel, Kirwan was sacked. Fleetwood, who had been the only member of the band still speaking to him, said later,

paragraph: Fleetwood said in 1976, "It was a torment for him, really, to be up there [on stage], and it reduced him to someone who you just looked at and thought 'My God'. It was more a thing of, although he was asked to leave, the way I was looking at it was, I hoped it was almost putting him out of his agony," adding later, "I don't think he's ever forgiven me." In an interview in 2014 Fleetwood recalled, "Danny was wonderful, but he couldn't handle the life."

paragraph: Welch said that up until then the band had remained loyal to Kirwan, even when he became impossible to work with. "I would say, 'the guy doesn't show up to rehearsals, he's embarrassing, he's paranoid, we've spent five hours dealing with him', but Mick, John and Christine remained loyal to him because he was Peter's protégé."

paragraph: Kirwan said in an interview in 1993, "I couldn't handle it all mentally. I had to get out."

paragraph: His reaction after being sacked was initially one of surprise, and it seemed he had little idea of how alienated from the other band members he had become. Shortly afterwards he met his replacement Bob Weston in a musicians' bar in London. Weston described the meeting: "He was aware that I was taking over and rather sarcastically wished me the best of luck – then paused and added, 'You're gonna need it.' I read between the lines that he was pretty angry with the band."

paragraph: Fleetwood rationalised the decision to fire Kirwan as a way to put him out of his misery. Kirwan however, in an interview with the British newspaper "The Independent" in 1993, looked back at his time with the band and his departure without any resentment. He said,

paragraph: Section::::Biography.:Solo career and beyond.

paragraph: Section::::Biography.:Solo career and beyond.:Hungry Fighter, Walker, 1974.

paragraph: In early 1974 Kirwan and another recently departed member of Fleetwood Mac, guitarist Dave Walker, joined forces with keyboardist Paul Raymond, bassist Andy Silvester and drummer Mac Poole to form a short-lived band called Hungry Fighter. This group played only one gig, at the University of Surrey in Guildford, England, which was not recorded. Walker remembered, "Danny was an incredible talent ... at this time [his] guitar playing was still superb, but he was becoming increasingly withdrawn."

paragraph: Walker said the band did not function properly because "perhaps we were not focused enough musically, and in addition, Danny Kirwan's problems were just starting and this made communication extremely difficult." He said Kirwan's alcoholism had been a factor, "although in fairness to Danny the rest of the band drank a fair bit themselves," and while some interesting stuff was going on, "the focus of the project left a bit to be desired." He said later, "Danny Kirwan, bless him, had already started his downward spiral, and it was so painful and sad to watch that I think it permeated the band’s optimism and vision."

paragraph: Walker had previously been a member of a late-60s UK band which opened a show for Fleetwood Mac at the Lyceum Theatre in London in 1969. In a "Penguin" Q&A session in 2000 he recalled Kirwan's guitar playing being "very classy". He commented,

paragraph: Section::::Biography.:Solo career and beyond.:Other sessions: Youlden, Tramp.

paragraph: After leaving Fleetwood Mac, Kirwan worked with Chris Youlden of Savoy Brown on his solo album "Nowhere Road" [1973].

paragraph: In 1974 Kirwan worked again with Mick Fleetwood at Southern Music Studio in Denmark Street, London, in recording sessions for the second album of London-based blues band Tramp. The band's bass player Bob Brunning, Fleetwood Mac's first bassist, said Kirwan seemed to have recovered from his Fleetwood Mac traumas. He remembered him being "extremely friendly and cooperative" and said he was a pleasure to work with. Kirwan played with Tramp in a 1974 BBC Radio One live broadcast to promote the album. Tramp later performed a few live shows with Kirwan on guitar and Fleetwood as one of the drummers.

paragraph: Section::::Biography.:Solo career and beyond.:Solo albums, 1975–1979.

paragraph: Guided by ex-Fleetwood Mac manager Clifford Davis, Kirwan recorded three solo albums for DJM Records between 1975 and 1979. These albums showed a gentler side of his music, as opposed to the blues guitar dynamics of his Fleetwood Mac years. The first of these, "Second Chapter" [1975], exhibited various musical influences, including a style close to that of Paul McCartney later in his Beatles career. Many of the songs were very simple musically, with little more than infectious melody and basic lyrics to sustain them. Lyrical themes rarely ventured beyond love. A "Rolling Stone" review of "Bare Trees" in 1972 commented on the similarity of Kirwan's musical style to Paul McCartney's. Kirwan said in 1997 that McCartney had been one of his early influences.

paragraph: "Midnight in San Juan" [1976] featured a reggae-inspired cover of The Beatles' "Let It Be", which was released as a single in the US. Otherwise Kirwan tended towards simpler tunes and dispensed with the heavy production which had dominated his previous album. The lyrics were still mostly about love but were less cheerful than before, with growing themes of loneliness and isolation, such as on the closing track, "Castaway". One song, "Look Around You", was written by fellow Mac refugee Dave Walker, with whom Kirwan had worked in Hungry Fighter a couple of years previously.

paragraph: Kirwan's last album, "Hello There Big Boy!", recorded in London in January 1979, featured guitar contributions from his Fleetwood Mac replacement Bob Weston on two tracks, "Getting the Feeling" and "You". Weston said later, "As an experience it was difficult. Danny was barricaded in a womb of studio baffle boards much of the time. He had become totally reclusive. Danny appears to have played rhythm guitar on that album, but he couldn't handle the lead guitar work. It was evident he'd fallen totally apart."

paragraph: Kirwan was not well at this time and it is not clear how much, if any, guitar work he contributed to the recording, although he did sing on all the tracks. Fewer of the songs were self-penned and there was one song, "Only You", which was retrieved from his Fleetwood Mac days. There were also backing vocalists for the first time, and the musical style was much less distinct. A record company press release stated that producer Clifford Davis had added contributions from 87 musicians to the final recording. Davis later described the album as "so bad". He said, "[Kirwan] had to finish it for contractual reasons, but I had to put down the acoustic guitar parts and the vocals and everything else. I even picked the songs."

paragraph: None of Kirwan's solo releases was commercially successful, which could be attributed to his reluctance to perform live. Kirwan did not play any live gigs after a few shows with Tramp and a single performance with Hungry Fighter, all in 1974. This left all three of his solo albums unsupported by any form of extra exposure or active promotion, apart from an irregular string of equally unsuccessful singles. None of his singles were released in continental Europe, where he might have enjoyed some success given Peter Green's resurgence there, particularly in Germany.

paragraph: Section::::Personal life.

paragraph: Kirwan married Clare Stock in 1971 but was divorced a few years later. They had one son, Dominic Daniel, born in 1971.

paragraph: Section::::Personal life.:Mental health.

paragraph: Section::::Personal life.:Mental health.:Fleetwood Mac period, 1968-1972.

paragraph: Kirwan was described by those who knew him in Fleetwood Mac, between the ages of 18 and 22, as a brilliant and exceptionally talented musician, but also as shy, sensitive, nervous and withdrawn. Christine McVie said in 2018, "Danny was a troubled man and a difficult person to get to know. He was a loner." John McVie recalled, "Danny was a very nice guy, nervous and shy ... he had a lot of insecurity." Mick Fleetwood described Kirwan as "nervous and sensitive" and commented, sympathetically, that he had "carried all his emotional baggage around with him". Jeremy Spencer remembered Kirwan as "jittery and nervous" and said the pressure had been too much. A member of the band Kirwan was in briefly in early 1974 recalled, "Danny had a touch of genius, but the poor fellow was a bag of nerves. I found it hard to have a conversation with him." In a "Melody Maker" interview in 1969 Kirwan described himself as "nervous" and "highly strung". He said, "I just can’t relax."

paragraph: In 1969 Peter Green described Kirwan, then aged 19, as neurotic and prone to worrying. He said, "[Danny] has done some incredible things on the new LP and we're proud to have him with us, [but] he's neurotic and worries about everything. Whenever he has to be anywhere he gets there about an hour early. He even worries about simple things like catching a bus. He bites his nails until they bleed. He's either right up or right down, either raving or worrying."

paragraph: Bob Welch worked with Kirwan in Fleetwood Mac from April 1971 until August 1972. He recalled, "I thought he was a nice kid, but a little bit paranoid, defensive, a little bit disturbed. He would always take things I said wrongly ... He would take offence at things for no reason. He'd play something and I'd say, 'That's kinda nice' and he'd say, 'Kind of nice? You mean you don't like it?' 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'."

paragraph: In "Penguin" Q&A sessions in 1999 and 2003, Welch said, "Danny Kirwan was a wonderful musician, and we had no problems there at all. It was just his personality ... he was 'ill' even then, I think ... he acted paranoid, like people didn't mean it when they complimented him. He was suspicious of people's motives. I would try to have rational conversations with him but he always seemed to respond with suspicion, as if there was some kind of subtext to what I was saying. In the end he was making us all feel uncomfortable. He didn't have a real easygoing manner or, as I recall, much of a sense of humour. He was a sort of 'moody genius' type to work with. I didn't understand Danny at all […] But he was such a sweet and charming singer and writer. The contrast couldn't have been greater between what he sounded like and what it was like to be around him." Welch said,

paragraph: Kirwan's mental state appears to have been fragile before he became involved with Fleetwood Mac. The band's manager, Clifford Davis, said Kirwan's mother had split from his father "and Danny was always trying to find him. He had a lot of problems with self-confidence and security ... Hurled into the Fleetwood Mac circus in his teens, he found the fame hard to cope with." In his song "Child of Mine", evidently dedicated to his infant son, which opened "Bare Trees" in 1972, Kirwan wrote "I won't leave you, no not like my father did."

paragraph: Section::::Personal life.:Mental health.:Alcohol and drugs.

paragraph: Alcohol and drugs appear to have contributed to Kirwan's decline. Green's biographer Martin Celmins said that by the age of 21, after two and a half years as a professional musician, Kirwan was "lost in a drink and drugs wasteland." A lot of pressure and responsibility had fallen on his shoulders after Green left the band in 1970 and he had found it difficult to cope. By the end of 1970 his excessive drinking was causing concern. By 1972 he was said to be drinking heavily and showing signs of alcoholism and he had experimented with LSD and mescaline. Celmins quoted Fleetwood's first wife, Jenny Boyd, who knew Kirwan, as saying, "I think drugs and alcohol got Danny totally nuts in the end. He was just too sensitive a soul." In the late 1970s Kirwan's mental health deteriorated, and after a difficult time recording his final solo album in January 1979 he played no further part in the music industry.

paragraph: Section::::Personal life.:Mental health.:Homelessness.

paragraph: During the 1980s and 1990s Kirwan endured a period of homelessness in London. In 1980 Fleetwood Mac were in London for a concert and Kirwan turned up at their hotel. Fleetwood recalled later, "It was heartbreaking ... he'd slept on a park bench the night before." In 1989 Fleetwood Mac's first bass player, Bob Brunning, wanting to interview Kirwan for a book he was writing, tracked him down to the St Mungo's Community Hostel for the Homeless in London's Soho district. Brunning said Kirwan was "still slim, but puffy-cheeked and highly agitated. He couldn't talk coherently, just said, 'Can't help you Bob. Too much stress'."

paragraph: In 1993 Fleetwood contacted the Missing Persons Bureau in London from Los Angeles and Kirwan, then aged 42, was traced to a hostel for the homeless in London where he had been for the past four years, "carrying all his wordly goods in a rucsac" and living on social security and small amounts of royalties. Kirwan was interviewed by the British newspaper "The Independent". He said, "I've been through a bit of a rough patch, but I'm not too bad. I get by. I suppose I am homeless, but then I've never really had a home since our early days on tour."

paragraph: In 1994 he was said to be "a homeless alcoholic, divorced, with a son he hardly ever sees." In March 1996 he was reported to be sleeping on park benches and was a semi-permanent resident of a hostel for the homeless. Around this time his ex-wife was quoted as saying, "[Danny] lives a very simple life and is pretty much disconnected from what you or I would call reality."

paragraph: In July 2000, a few weeks after his 50th birthday, Kirwan was settled in a care home for alcoholics in South London. Martin Celmins, who had interviewed Kirwan in 1996, said he was now looking "fitter, stronger and more together" and kept a guitar in his room. He noted, "[Danny] remains a very private person who keeps himself to himself." In 2002 Jeremy Spencer visited with Kirwan's ex-wife and son. Spencer said later that the meeting had been pleasant, although Kirwan was "in his own world". Kirwan was well looked after and was visited by family and friends.

paragraph: Section::::Personal life.:Mental health.:Final interview.

paragraph: Music writer Martin Celmins met Kirwan in the hostel where he was staying in London and managed a brief interview, which was published in "The Guitar Magazine" [UK] in July 1997. Celmins said Kirwan was "mostly cheery ... and able to express his views forcefully and articulately." Celmins asked how he had come to play the blues. Kirwan said, "I was around and gathered it all up and got involved. I didn't think 'I want to be a musician'. It just kind of happened ... I got into the blues and it got into my system." His favourite bluesmen were Albert King and Otis Rush. Rush "had this nice sting in his playing ... that was his stamp." Celmins asked about big-band music and Django Reinhardt. "Those were the kind of records I'd buy. I worked out 'Jigsaw Puzzle Blues' from that stuff and then played the signals to the rest of the band. John McVie knew every signal you could give out – signals to say, 'You do this' and 'You do that', and they'd do it and it would all come together. That band was so clever – they knew all the signals and could do it." Celmins asked how he had joined Fleetwood Mac. Kirwan said, "Mick Fleetwood asked me ... I didn't know what to think once I'd joined because ... then I was on stage and there were television cameras and I got a bit paranoid."

paragraph: Kirwan said, "I always liked Mick Fleetwood – he was like family. I still think of them as friends. John McVie is the cleverest person. A nice bloke and highly intelligent. He was my best friend in the band at the time ... Jeremy Spencer was a bit sarcastic. And although I used to get on with John and Mick, it got very cliquey ... So I wasn't actually a part of them really. I only got mixed up with them ... [Peter and I] played some good stuff together, we played well together, but we didn't get on. I was a bit temperamental, you see."

paragraph: Section::::Personal life.:Mental health.:Munich commune incident, 1970.

paragraph: In a 2009 BBC documentary about Peter Green, and also in Bob Brunning's book 'Fleetwood Mac: The First 30 Years' [1998], the band's manager, Clifford Davis, blamed Kirwan's mental deterioration on the same incident in March 1970 that is alleged to have damaged Green's mental stability: a reaction to LSD taken at a hippie commune in Munich in the middle of a European tour. Davis said, "Peter Green and Danny Kirwan both went together to that house in Munich, both of them took acid as I understand it, [and] both of them, as of that day, became seriously mentally ill."

paragraph: Other sources, however, say that Kirwan was not present at the commune in Munich. Fleetwood Mac roadie Dinky Dawson remembers that only two of the Fleetwood Mac contingent went to the party: Green and another roadie, Dennis Keane. Dawson states that Kirwan did not go to the commune, and that when Keane returned to the band's hotel and told them that Green would not leave the commune, neither Kirwan nor Davis went to fetch him, leaving the task to Keane, Dawson and Mick Fleetwood.

paragraph: Keane agrees with Dawson's account, except for the details that he phoned Davis from the commune and did not physically return to the hotel to fetch help; and that Davis accompanied Dawson and Fleetwood to fetch Green. Green said of the incident, "To my knowledge, only Dennis and myself out of the English lot went there." Jeremy Spencer has suggested that he was also present at the commune and arrived later with Fleetwood. Neither Keane, Dawson, Green nor Spencer mention Kirwan being present at the commune.

paragraph: Section::::Personal life.:Mental health.:LSD and mescaline.

paragraph: Kirwan appears to have taken LSD before the Munich commune incident. Fleetwood stated in his autobiography that the band took LSD together when they arrived in New York in December 1968 at the start of their second US tour. They opened for the Grateful Dead at the Fillmore East and after the gig they were offered "the best, most pure LSD available." Fleetwood said, "We all wanted to try it ... We all had a go." They took the LSD in a hotel room in New York, "sitting in a circle on the floor, holding hands", and later took more LSD trips together as "a bonding experience."

paragraph: Mescaline also featured. Green had experimented with both LSD and mescaline: he said his tortured song "The Green Manalishi" was the result of a mescaline nightmare. Fleetwood remembered Kirwan and Spencer taking mescaline when the band arrived in San Francisco at the start of a US tour in February 1971. He said, "It really did a number on them, Jeremy [Spencer] in particular. The effects seemed to last far longer than they should have." Spencer walked out of the band soon afterwards.

paragraph: Section::::Personal life.:Later developments.

paragraph: Kirwan was inducted into the Rock and Roll Hall of Fame in Cleveland, Ohio, in 1998 for his work as part of Fleetwood Mac. He did not attend the induction ceremony.

paragraph: Peter Green said in a "Penguin" Q&A session in 1999 that all the [early Fleetwood Mac] musicians were receiving their share of royalties, although there had been difficulty over the years in collecting some of them from the record companies. He said, "Danny Kirwan is still receiving his and is doing OK."

paragraph: Kirwan's three solo albums were given a belated CD release in February 2006, but only in Japan. A limited edition of 2,500 copies of "Second Chapter" was issued by Repertoire Records in early 2008. The rights and royalties situation regarding these releases is currently such that it is not commonly known if Kirwan's estate will receive any income from them. Prior to this, only "Second Chapter" had been available on CD, for a brief period in Germany in 1993. The rights are now owned by Clifford Davis.

paragraph: During the mid-2000s there were rumours of a reunion of the early line-up of Fleetwood Mac, involving Green and Spencer. The two guitarists apparently remained unconvinced about a reunion and Kirwan made no comment on the subject. In April 2006, during a question-and-answer session on the "Penguin" Fleetwood Mac fan website, bass player John McVie said of the reunion idea, "If we could get Peter and Jeremy to do it, I'd probably, maybe, do it. I know Mick would do it in a flash. Unfortunately, I don't think there's much chance of Danny doing it. Bless his heart."

paragraph: One of Kirwan's songs, "Tell Me All the Things You Do" from the 1970 album "Kiln House", was included in the set of Fleetwood Mac's 2018-19 ""An Evening with Fleetwood Mac"" tour, with guitarist Neil Finn on lead vocals.

paragraph: Section::::Death.

paragraph: Section::::Death.:Date, place and cause.

paragraph: Danny Kirwan died in London, England, on 8 June 2018, aged 68. An obituary in "The New York Times" quoted Kirwan's former wife as saying that he had died in his sleep "after contracting pneumonia earlier in the year and never fully recovering from it."

paragraph: Section::::Death.:Tributes.

paragraph: In a statement posted on Facebook, Mick Fleetwood said, "Danny was a huge force in our early years ... Danny's true legacy will forever live on in the music he wrote and played so beautifully as a part of the foundation of Fleetwood Mac that has now endured for over fifty years. Thank you, Danny Kirwan. You will forever be missed."

paragraph: Fleetwood had previously said in an interview, "I cared for Danny a lot and I care for his legacy. Danny was a quantum leap ahead of us creatively. He was a hugely important part of the band."

paragraph: The September 2018 edition of the British music magazine "Mojo", in a two-page tribute to Kirwan's life and music, quoted Christine McVie as saying: "Danny Kirwan was the white English blues guy. Nobody else could play like him. He was a one-off ... Danny and Peter gelled so well together. Danny had a very precise, piercing vibrato – a unique sound ... He was a perfectionist ... Listen to "Woman of 1000 Years", "Sands of Time", "Tell Me All the Things You Do" – they're killer songs. He was a fantastic musician and a fantastic writer." Jeremy Spencer said, "Danny brought inventiveness and melody to the band ... I was timid about stepping out with new ideas, but Danny was brimming with them."

paragraph: In 1999 Bob Welch said Kirwan had been "a talented and gifted musician; an innovative and exciting player, singer and writer. As a musician he was developed way beyond his years." Mick Fleetwood said in 1990, "Danny was an exceptional guitar player who inspired Peter [Green] into writing the most moving and powerful songs of his life."

paragraph: Section::::Equipment.

paragraph: BULLET::::- Watkins Rapier 33, 1960s British-made Fender Stratocaster-style guitar, with a chambered body. Kirwan's was red, and he used it when in Boilerhouse, and during early Fleetwood Mac performances (e.g. Hyde Park, London, free concert 1968).

paragraph: BULLET::::- Fender Telecaster Standard Blonde. Used on "Like Crying".

paragraph: BULLET::::- 1956 Gibson Les Paul Standard, Goldtop, P-90 pickups, no pickguard, later refinished to red.

paragraph: BULLET::::- 1959 Gibson Les Paul Standard, Cherry Sunburst, no pickguard.

paragraph: BULLET::::- 1959 Gibson Les Paul Standard, Tobacco Sunburst, no pickguard.

paragraph: BULLET::::- 1957 Gibson Les Paul Custom, 3 pickup Black Beauty, no pickguard.

paragraph: BULLET::::- Orange Matamp 100W valve (vacuum tube) amplifier, usually used with two 4 x 12 Orange speaker cabinets (used by the whole band for a period) and separate Orange (valve) spring reverb unit.

paragraph: BULLET::::- Fender Dual Showman amplifier

paragraph: Section::::Discography.

paragraph: Section::::Discography.:Solo albums.

paragraph: BULLET::::- "Second Chapter" (DJM 1975)

paragraph: BULLET::::- "Midnight in San Juan" (DJM 1976)

paragraph: BULLET::::- "Danny Kirwan" (DJM 1977 – US release of "Midnight in San Juan")

paragraph: BULLET::::- "Hello There Big Boy!" (DJM 1979)

paragraph: BULLET::::- "Ram Jam City" (Mooncrest 2000 – recorded in the mid-1970s as demo tracks for the "Second Chapter" album)

description: British musician

wikidata_label: Danny Kirwan

wikipedia_title: Danny Kirwan