The Groundhogs
Band members Related acts
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line up 1 (1972) - Peter Cruikshank (RIP 2017) -- bass - Tony McPhee (RIP 2023) -- vocals, guitar, mellotron, harmonium - Ken Pustelnik -- drums, percussion
line up x (1975) - Dave Wellbelove -- guitar - Mick Cook (RIP 1997) -- drums, percussion - Martin Kent -- bass - Tony McPhee (RIP 2023) -- vocals, guitar, synthesizers
line up x (1975-76) NEW - Ric Adams -- guitar (replaced Dave Wellbelove) - Mick Cook (RIP 1997) -- drums, percussion - Martin Kent -- bass - Tony McPhee (RIP 2023) -- vocals, guitar, synthesizers
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- ABC (Ric Adams and MIck Cook) - Mike Batt and Friends (Tony McPhee) - The Brunning Sunflower Blues Band - Dumpy's Rusty Nuts - John Dummer Bues Band (Tony McPhee) - Egypt - Herbal Mixture (Tony McPhee) - Home (Mick Cook) - Lastwind (Ken Pustelnik) - Mapleoak (Mick Cook) - Tony McPhee Band (Tony McPhee) - Prager, Rye & Hall - Ken Pustelnik's Groundhogs (Ken Pustelnik) |
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Genre: rock Rating: 3 stars *** Title: Who Will Save the World? The Mighty Groundhogs Company: United
Artists Year: 1972 Country/State: New Cross, London, UK Grade (cover/record): VG+/VG+ Comments: gatefold sleeve; cut top right corner; original inner sleeve Available: 1 Catalog ID: -- Price: $40.00
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If your life were on the line I guess the chances are at least nominally better The Groundhogs could do something to save you. Your chances would certainly be better than hoping your local government would spring to the rescue. The Groundhogs at least benefited from a slimmed down organizational structure and delivering their fifth studio album in five years, demonstrated the ability to complete recording projects. I don't know about you, but the only thing my local government can do consistently is raise my tax rate.
Engineered by Martin Birch, 1972's "Who Will Save the World? The Mighty Groundhogs" found The Groundhogs stepping into the world of political and social commentary. In case the striking album cover by Marvel Comics animator Neal Adams (best know for his work drawing the Silver Surfer and The X-Men), didn't give it away, the album reflected a concept piece. Inspired by Adams' artwork, the plotline seemingly found the band doing their best to save the world from the threats of pollution ('Wages of Peace'), over-population and war. Each member of the band was assigned responsibility for combating one of the human plagues though the plans of action and outcomes were a bit on the vague side. Front man Tony McPhee's described the plotline as being about "man's devastation of his environment, mainly for profit." The themes were all pretty dark, but tracks like 'Earth Is Not Room Enough' and 'Music is the Food of Thought' rocked with the best of their catalog and while there was no detailed "get well" plan for saving the world The Groundhogs made sure we know mankind has the tools to save itself - 'Music is the Food of Thought.' Written entirely by McPhee, the album was also interesting given it found the trio expanding their traditional blues-based bass-drums-guitar palate to include McPhee's liberal use of mellotron and harmonium (check out their cover of the traditional Gospel tune 'Amazing Grace'). McPhee found the mellotron while the band were recording the album in Wembley's De Lane Lea Studios. Is it there best album? Not in my book, but because it is so atypical and out there, it's certainly one of their most fascinating releases. Well worth checking out if you can find an affordable copy. Also to yourself a favor and purchase the original vinyl version so you can enjoy Adam's artwork.
United Artists was seemingly perplexed by the album; uncertain how to market it. They didn't even bother with a single (though in Japan their instrumental version of 'Amazing Grace' was issued as a 45. In the hopes of breaking the band in the States the company put the band on the road touring the US. Unfortunately Hurricane Agnes saw a number of their performance cancelled. The crowning glory came when McPhee fell off a horse, breaking his wrist. The rest of the tour was then cancelled.
"Who WIll
Save the World? The Mighty Groundhogs" track listing: 1.) Earth Is Not Room Enough (Tony McPhee) - 4:45 rating: **** stars Never expected to say something like this about a Groundhogs track, but 'Earth Is Not Enough' is the funkiest slice of ecology-oriented rock and roll I own (admittedly there's not a lot of competition in this musical niche) Loved the weird "dry" sound McPhee got from his guitar on this one. The track was also notable for introducing the band's discovery of the mellotron. McPhee's use of the instrument wasn't the most sophisticated playing you'll ever hear, but it gave the tune a nifty "the-aliens-are-coming" flavor. 2.) Wages of Peace (Tony McPhee) - 4:33 rating: **** stars Hearing the combination of McPhee's bouncy melody and the corresponding dark lyrics always make me smile. Powered by Peter Cruikshank's roaring bass lines (the man is definitely overlooked), 'Wages of Peace' gave each member a shot at the spotlight. 3.) Body in Mind (Tony McPhee) - 3:45 rating: *** stars Sporting a raw guitar sound and unusual start-and-stop song structure 'Body in Mind' continued the diatribe against human greed and the dominating pro-ecology theme. McPhee's voice is normally pretty raw, but here he takes it to a whole new level and getting accustomed to take a while. Things started to return to normal when McPhee's guitar solo kicked in. 4.) Music is the Food of Thought (Tony McPhee) - 4:30 rating: **** stars 'Music is the Food of Thought' was also a good example of the appeal found I've always found in McPhee's dry, nasally vocals. Perhaps not the most subtle slice of ecological commentary you'll hear, say what you will, but some fifty years after he wrote the tune his commentary remains on the mark. More mellotron via the "horn" arrangements. 5.) Bog Roll Blues (Tony McPhee) -3:02 rating: *** stars 'Bog Roll Blues' is the only song I know of that seems inspired by toilet paper: "Hanging on a convenience wall, A roll of two-ply crepe and one-ply clear, The silent sentinels of health, supplied by the corporation hygiene surveyor, Perforated, sectionalised, medicated, sterilised each layer ..." The violin (or perhaps it was a guitar being played with an effects pedal), was certainly irritating ... The tune also appeared as the "B" side to their 'Amazing Grace'' 45.
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2) Guitar nirvana ... Yeah, 'Death of the Sun' was one of McPhee's weird, almost discordant melodies, but there was something fascinating hearing all those strings going on a once. I've always wondered how many overdubs there are on this one. Kudos to the Cruikshank-Pustelnik rhythm section for keeping it all organized 2.) Amazing Grace (instrumental) (traditional) - 2:20 rating: ** stars The album clearly lacked a truly commercial song so it shouldn't have come as a surprise no single was released in Europe, or the States. The melody remained instantly recognizable, but the combination of harmonium and super-fuzzed up guitar solo made for one weird cover. For some reason the track was released as a single in Japan.
- 1972's 'Amazing Grace' b/w Bog Roll Blues' (Liberty catalog number LLR 10095)
3.) The Grey Maze (Tony McPhee) - 10:05 rating: *** stars Ten minutes of any musical genre is a lot; but this is one of those exception. Sporting what sound like multi-tracked McPhee vocals, the first couple of minutes of 'The Grey Maze' reflect a surprisingly commercial rock tune. From there it devolves into an extended guitar-based fever dream jam that's less interesting, but still has its moments.
© Scott R. Blackerby August, 2024
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Genre: rock Rating: 4 stars **** Title: Black Diamond Company: United
Artists Year: 1976 Country/State: New Cross, London, UK Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: -- Price: $25.00
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Front man Tony
McPhee formally ended The Groundhogs in 1974. It was a short-lived
break as he reactivated the nameplate the following year. The
Groundhogs, Mark II wasted no time going back into the studio for their
second album in a year. With a minor personnel change in the form of
guitarist Ric Adams replacing Dave Wellbelove, the line-up remained
consistent with McPhee supported by drummer Mick Cook and bassist Martin
Kent. 1976's self-produced "Black Diamond" fou
"Black
Diamond" track listing: 1.) Body Talk (Tony McPhee) - 4:50 rating: **** stars Powered by a breezy guitar riff, McPhee's dry, ragged voice and a touch of synthesizer, 'Body Talk' made it clear McPhee and company were interested in expanding their domain into commercial FM radio. The song also reflected some of the most misogynistic lyrics I've heard in a while - "You may not have a future; Or brains in your head; But you can make up that short change; With lovin’ instead It don’t take too much talent ;To lie on your back ;So let’s not waste time and effort; On things that you lack ..." 2.) Fantasy Partner (Tony McPhee) - 5:13 rating: *** stars With a brittle, slightly ominous aura, 'Fantasy Partner' has always reminded me of something off a Terry Thomas and Charlie album. Interestingly, McPhee's voice sounded different on this one - fuller and less gruff. The lyrics were certainly cutting edge for 1976. I have to smile at the thought of the band's working class fan base puzzling their way through lyrics like "I understand why there are some men attracting each other, men know what men want and what they need is a love like a brother ... they never found it in female form so the look for another " 3.) Live Right (Tony McPhee) - 3:44 rating: **** stars The bluesy 'Live Right' underscores McPhee as one of rock's overlooked guitarist. Virtually every track he plays on benefits from his work. That's certainly the case for what would otherwise be a preachy bluesy number - the combination of his electric guitar and acoustic slide work is pretty awesome. Not sure what effect he was using on the electric. 4.) Country Blues (Tony McPhee) - 4:17) rating: ** stars Most of life is gray and just because a song is entitled 'Country Blues' doesn't mean you're going to be hearing a Lightnin' Hopkins tune ... it's all relative. And against that baseline this one was more rock than country-blues. Not saying it was great, but it wasn't nearly as bad as it could have been. Couple of cold beers would probably result in an additional star.
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2) OMG that growl of a voice ... Awesome rocker and once again I'd love to know what effect McPhee was using on his guitar - it sounded like an eBow , or some sort of synthesizer effect? 2.) Friendzy (Tony McPhee) - 5:28 rating: *** stars Hum, guess we bought a copy of the Slade dictionary or popular words ... Pedestrian blues-rocker. Not one of the album's most memorable performances. 3.) Pastoral Future (instrumental) (Tony McPhee) - 3:09 rating: **** stars The instrumental 'Pastoral Future' (the only instrumental they ever recorded?) is easily one of the prettiest melodies in the entire Groundhogs catalog. It's one of those songs that can drop your blood pressure ten points over three minutes. Listening to it again, there's kind of a Mark Knopfler solo vibe going on here. 4.) Black Diamond (Tony McPhee) - 5:55 rating: **** stars Thr title track was unlike anything else on the album; perhaps unlike anything else in The Groundhogs catalog ... Imagine an English folk-rock outfit like Fairport Convention deciding they actually wanted to record a rock song. Awesome jangle-rock guitar; crushing drums from Mick Cook and a set of lyrics that were fascinating. My favorite performance on the set. Hard to believe United Artists didn't tap this one as a single.
© Scott R. Blackerby August, 2024
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the focus remaining firmly on McPhee's guitar pyrotechnics. In my book
this set merely underscored he was a criminally overlooked player. In
contrast, McPhee as lead singer was a mixed bag. His dry and ragged
voice took some getting acclimated to (check out the rocker 'Your
Love Keeps Me Alive'), but anyone who can
stomach Dire Strait's Mark Knopfler should pass the test with flying
colors. I've actually grown to like McPhee's voice over the
years. While their tenth studio set wasn't a ground-shattering change
in direction, it was solid throughout. With the exception of 'Country
Blues' McPhee and company seemed to be shifting their attention to a
slightly more commercial pop-rock sound. Longtime blues-rock fans were
probably not very happy with the updates, but to my ears performances like
the misogynistic opener
'Body Talk', 'Your Love Keeps Me Alive' and the beautiful instrumental
'Pastoral Future' were taunt, yet commercial. Best of the lot was the
folk-rocker-turns to crushing hard-rock title track. With the proper
marketing support, they could have given better known blues-rockers like Bad
Company a run for their money. As far as I can tell United Artists
didn't even bother floating a single off the album. Shame.