Posts Tagged ‘50th Anniversary Edition’

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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One of the pioneers of Progressive Music – or Prog Rock as it’s more widely known – is a UK band from the early years of Rock’s infancy. Their name is Van der Graaf Generator. This band still works together with their last album, Do Not Disturb, released back in 2016. Overall, this influential band released thirteen albums from 1968 through 2016 (thus far).  Their first album, “The Aerosol Grey Machine”, welcomed the band to the public.

The album was originally intended as a solo album by the band’s lead singer and main songwriter, Peter Hammill. When the band signed with Charisma Records, a deal was worked out whereby The Aerosol Grey Machine would be released under the Van der Graaf Generator name, in return for Mercury Records releasing Hammill from his earlier contract with it.

The Aerosol Grey Machine. Originally issued in 1969, The Aerosol Grey Machine adequately sets the stage for the great Van der Graaf Generator classics to follow. This 50th Anniversary Edition of this debut will feature new remastering and the addition of rare and previously unreleased bonus tracks to round out the  planned 2CD reissue.

For this reissue, eight extra tracks that include two previously unreleased 1967 demos, two single issues, and four BBC Sessions live performance tracks from a November 1968 session. A booklet with photos, notes, credits, an essay, and a new Pete Hammill interview.  Also included will be a replica Pete Hammill-designed poster from 1968.

A 180g-weight vinyl LP is also planned for reissue that will include the new remaster of the classic debut. It will come with a packed in 7″ vinyl single of the rare and withdrawn “People You Were Going To” with a B-side of “Firebrand”. The LP will be presented in a classic gateway sleeve with the UK artwork that was unissued.

Esoteric Recordings proudly announcing the release of a new re-mastered 50th Anniversary Limited Edition boxed set of the classic debut album ‘Aerosol Grey Machine’ – available for order now, and to be released April 26th via Esoteric Recordings.
Features the re-mastered album, an additional CD of rare & previously unreleased tracks, demos & BBC sessions, a facsimile 180g vinyl LP of ‘The Aerosol Grey Machine’ (cut at Abbey Road Studios), housed in the impossibly rare unreleased British gatefold sleeve design, a 7-inch single of the very rare withdrawn release ‘People You Were Going To’ b/w ‘Firebrand’, a lavish book with an essay by Sid Smith & exclusive interview with Peter Hammill, and a replica 1968 poster designed by Peter Hammill.

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