Question:
Peter Green (born Peter Allen Greenbaum, 29 October 1946) is a British blues rock guitarist. As the founder of Fleetwood Mac, he was inducted into the Rock and Roll Hall of Fame in 1998. Green's songs, such as "Albatross", "Black Magic Woman", "Oh Well", "The Green Manalishi (With the Two Prong Crown)" and "Man of the World", appeared on the record charts, and several have been adapted by a variety of musicians. Green was a major figure in the "second great epoch" of the British blues movement.
On 27 June 1970, Green appeared at the Bath Festival of Blues and Progressive Music with John Mayall, Rod Mayall (organ), Ric Grech (bass) and Aynsley Dunbar (drums). Also soon after leaving Fleetwood Mac, he accompanied former bandmate keyboardist Peter Bardens (Peter B's Looners) on Bardens' solo LP The Answer, playing lead guitar on several tracks. In that same year, he recorded a jam session with drummer Godfrey Maclean, keyboardists Zoot Money and Nick Buck, and bassist Alex Dmochowski of Aynsley Dunbar's Retaliation; Reprise Records released the session as The End of the Game, Peter's first post-Fleetwood Mac solo album. In 1971 he had a brief reunion with Fleetwood Mac, helping them to complete a US tour after guitarist Jeremy Spencer had left the group, performing under the pseudonym Peter Blue. He recorded two tracks for the album Juju with Bobby Tench's band Gass; a solo single and another with Nigel Watson, sessions with B. B. King in London in 1972 and an uncredited appearance on Fleetwood Mac's Penguin LP in 1973, on the song "Night Watch". Green's mental illness and drug use had become entrenched at this time and he faded into professional obscurity. In the early 2000s there were rumours of a reunion of the early line-up of Fleetwood Mac, involving Peter Green and Jeremy Spencer. The two guitarists and vocalists were apparently unconvinced of the merits of such a project, but in April 2006, during a question-and-answer session on the Penguin Fleetwood Mac fan website, bassist John McVie said of the reunion idea: If we could get Peter and Jeremy to do it, I'd probably, maybe, do it. 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.
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What happened Post-Fleetwood Mac?

Answer:
after leaving Fleetwood Mac, he accompanied former bandmate keyboardist Peter Bardens (Peter B's Looners) on Bardens' solo LP The Answer,

Question:
Sam & Dave were an American soul and R&B duo who performed together from 1961 until 1981. The tenor (higher) voice was Sam Moore (born 1935) and the baritone/tenor (lower) voice was Dave Prater (1937-1988). Sam & Dave are members of the Rock and Roll Hall of Fame, the Grammy Hall of Fame, the Vocal Group Hall of Fame, the Memphis Music Hall of Fame, and are Grammy Award and multiple gold record award-winning artists.
When Sam & Dave arrived at Stax, they worked with producer & engineer Jim Stewart and songwriters including the MGs' guitarist Steve Cropper, who wrote or co-wrote four of their first eight recordings. The duo then moved to relative newcomer writers and producers Isaac Hayes and David Porter. Hayes and Porter wrote and produced the duo's biggest hits (although they did not receive production credits until the Soul Men LP and singles). According to Moore and Prater, they also greatly influenced the duo's singing style, and shifted their recording style from the style of their Roulette records to a more live, more energetic gospel, call-and-response feel and beat driven soul style the group is known for today. Sam & Dave's Stax records also benefited from the musicians and engineering at Stax. The Stax house band, Booker T. & the M.G.'s, and the Stax horn section, the Mar-Keys, were world-class musicians who co-wrote (often without credit) and contributed to recordings--the same musicians who recorded with Otis Redding, Wilson Pickett, Carla Thomas and other soul artists. Sam & Dave's Stax recordings through 1967 were engineered by Stax founder Jim Stewart, who created the Memphis Sound by recording live in a single take. Stewart is credited for instrumental mixes that allowed for instrumental separation and the distinct contribution of each instrument to the overall feel of the song. While the first two Stax singles failed to chart, the third, the Hayes/Porter composition (with similarities, including the title, to a gospel standard) "You Don't Know Like I Know" hit #7 R&B in 1966. This was the first of 10 consecutive Top Twenty R&B chart hits over three years, and 14 R&B chart appearances during their career.
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Are there any other interesting aspects about this article?

Answer:
Stewart is credited for instrumental mixes that allowed for instrumental separation and the distinct contribution of each instrument to the overall feel of the song.