PETER GREEN – ” End Of The Game ” 50th Anniversary Reissue

Posted: January 18, 2020 in ALBUMS, MUSIC
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Esoteric Recordings are pleased to announce the release of a newly re-mastered and expanded 50th anniversary edition of the first solo album by the legendary Peter Green.

Peter’s work with Fleetwood Mac needs no introduction. His acclaimed guitar playing and writing graced several albums and a succession of hit singles before he departed the group in 1970. He embarked on the recording of his first solo album only a month after leaving Fleetwood Mac,

The End of the Game would be an entirely instrumental affair, quite different in feel from Green’s work with Fleetwood Mac. Released to very little fanfare, unjustly so as it was an imaginative work with Green’s instantly recog-nisable guitar playing. “The End Of The Game” and it was as much a departure from “The Green Manalishi” as that same track had been from the rest of Fleetwood Mac’s entire output. Through three tracks per side, Green pursued a far looser strand of improvisational rock comprised of wholly instrumental outings that were entirely un-bluesy, extemporaneous free rock borne on the wings of Green’s guitar with its expansive tone evoking the loosest of feels, often drenched with emotional wah-wah pedal use of hair triggered sensitivity. The rhythm section of Bluesbreaker and ex-Anysley Dunbar Retaliation bassist Alex Dmochowski and Geoffrey Maclean on percussion allow Green all the room to explore through distended lines of fragile but strongly poetic counterpoint as the addition of twin keyboardists Zoot Money (grand piano) and future Hot Tuna keyboardist Nick Buck (organ, electric piano) sporadically appear only to colour in a clutch of fine points which Green has left wide open as he is in a constant state of unhurried transit and always onto the next subtly-turned phrase.

The album rises up to a slow fade and into the raucous nine minute wah-wah led jam of “Bottoms Up.” As the title suggests, it’s carried along by a heavy bass line that sallies forth unswervingly to provide Green with a woody and thriving backdrop to begin the odyssey of successive circular wah-wah guitar configurations. Electric piano lines twinkle and fall like stars once Green lets up to recollect before another sweet and extensive wah-wah outpouring and the band is solidly back to stabilise Green’s ever-migrating wah-wah guitar textures. “Timeless Time” passes by silently like a gentle current under the land bridge that links the two jamming continents of side one together. The elongated “Descending Scale” opens with jumpy off-beats of piano clusters and busy though sensitively played drums like a send up of a jazzbo warm up until Green throws the whole discordant array into a high pitched wah-wah crescendo that reverberates into another unresolved conclusion that soon all but quietly slips away but for the accompanying half-erased instrumentation.

Side two begins with “Burnt Foot” and Dmochowski’s over-recorded, punctuation bass pummeling over the taking care of bizniz jazz drums that cascade all around Green’s riffing quietly traipsing in the background until it breaks down into a drum solo of sizzling cymbals with no drum skin spared from a multitude of lightning quick flourishes. Dmochowski’s bass returns to erratically shift gear into a gritty jam with Green’s churning wah-wah fanning out into a 359 degree arc of groove before its premature breakdown and subsequent fade. “Hidden Depth” opens with strategically played and watery-echoed wah-wah, with the returning piano and organ choppy in the intro and then straightening out with interplaying tones as emotions and riffs that suggest the breaking of a new dawn. Nick Buck’s organ colourations take on the same role of melancholy as Rick Wright’s from “Mudmen” or Tom Constanten’s emerging springtime renewal in “Quadlibet For Tenderfeet” off side one of “Anthem Of The Sun.” And all the while, Green’s restrained guitar of reversed pick-ups rings out truly unheard of tones with a natural delight for spaciousness and innuendo. All is peaceful until broken by a quick cut into the screeching wah-wah opening of the title track, ”The End Of The Game” which closes the album aggressively hectic and free form — loosely strung together not by rhythms but phrasing and a requited, unspoken understanding between the players.

The following year saw the release of a single ‘Heavy Heart’ b/w ‘No Way Out’, which received some airplay and saw Green perform ‘Heavy Heart’ on Top of the Pops. A collaboration with Nigel Watson followed early in 1972 for Green’s final single for Reprise Records, ‘Beasts of Burden’ b/w ‘Uganda Woman’.

This new and expanded Esoteric Recordings edition has been newly remastered from the original Reprise master tapes, features four bonus tracks (drawn from the two non-album singles) which appear on CD for the first time. It also features a booklet with new essay and an exclusive interview with Zoot Money on the making of the album.

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