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Credit: Far Out \/ Columbia Records<\/p>\n
Thu 3 September 2026 3:00, UK <\/p>\n
As for many then-soon-to-be musicians from his generation, Aerosmith\u2019s Joe Perry<\/a> credited the moment he watched The Beatles play The Ed Sullivan Show for the first time on February 9th, 1964, as a significant shift in how he perceived music.<\/p>\n \u201cI had already heard some of their songs on the radio, but I wasn\u2019t prepared by how powerful and totally mesmerising they were to watch,\u201d he recalled to CBS<\/a> in 2014, \u201cIt changed me completely. I knew something was different in the world that night.\u201d<\/p>\n A young Perry had first picked up a guitar at the age of ten<\/a>, 13 years old, when he watched The Beatles, and he became fixated on honing his craft once he was introduced to the array of musicians and genres that his classmates were consuming in school. He would attempt to play in sync with the given record on his turntable, sitting in his room and lifting the needle to coincide with the riff. It was at Vermont Academy, an all-boys preparatory school, that Perry\u2019s world expanded even further. <\/p>\n He was introduced to writings in The Village Voice, and the discographies of Jimi Hendrix, The Who and The Yardbirds. Soon, he began to envision himself as a musician, too, and one musician, in particular, stood at the forefront as an exemplary pillar: Peter Green. Speaking to Guitar World<\/a> in 2020, in remembrance of the guitarist\u2019s passing, Perry highlighted \u2018Black Magic Woman\u2019, saying, \u201cThe song was such a huge hit for Santana<\/a> that most people don\u2019t know it was written by him, and he\u2019s never gotten the credit he\u2019s due.\u201d<\/p>\n \u201cThough Peter wrote and sang most of the Mac\u2019s songs, he didn\u2019t fit into the classic \u2018front man\u2019 slot,\u201d Perry continued, \u201cThey were a true jam band, and you definitely got the \u2018all for one, one for all\u2019 vibe watching them live.\u201d Such was the live energy that Perry recalled sticking with him from early on, as he thought to himself that it was the kind of band he wanted to be a part of: \u201cFor me, that was the template for Aerosmith\u201d.<\/p>\n \u201cFor guitar purists, there are some standout recordings from his blues years as John Mayall\u2019s latest \u2018find,\u2019\u201d Perry noted, referring to Green\u2019s early years as the guitarist for the English blues-rock band, when he was brought in as Eric Clapton\u2019s replacement in 1966. But after just one album, he left the group, displeased with the shift from the blues music the Bluesbreakers were entertaining. In turn, he formed Fleetwood Mac with two other former Bluesbreakers members: Mick Fleetwood and, later, John McVie, in 1967. <\/p>\n For Perry, it was Fleetwood Mac\u2019s third album, 1969\u2019s Then Play On<\/a>, in particular, that heard Green reach his full potential as a musician. He described the album as \u201cfilled with vehicles for Peter finally turning the corner,\u201d he explained, \u201cCombining his blues chops with his songwriting\u201d. This album would, however, be his last with his band before his departure in May 1970.\u00a0<\/p>\n Further reading: From The Vault<\/strong><\/p>\n \u201cIf he hadn\u2019t decided, for whatever reason, to leave his guitar and the band behind,\u201d Perry reasoned, \u201cFleetwood Mac was on the verge of making the jump from the Boston Tea Party, the Fillmore and the Fox Theatre in Atlanta to arenas like Led Zeppelin, The Who, etc.\u201d<\/p>\n Green would continue to record music and perform live subsequently, once reuniting with John Mayall while working with the likes of Gass and Peter Bardens, but his personal struggles began to consume his work<\/a>, and while he resumed making music once he received the help and guidance that he needed, his life would not be the same. <\/p>\n<\/p>\n
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