While literally dozens of musicians played alongside guitarist and singer
Tony McPhee
in the British heavy blues and prog rock band
the Groundhogs
, most fans insist the definitive lineup was the one where
McPhee
was joined by bassist
Pete Cruickshank
and drummer
Ken Pustelnik
. This was the edition of the group that cut their three most celebrated albums -- 1970's
Thank Christ for the Bomb
, 1971's
Split
, and 1972's
Who Will Save the World?
-- and where their balance between tough, no-nonsense blues figures and
's more adventurous guitar explorations was most satisfying. For devotees of this era in
Groundhogs
history,
Roadhogs (Live from Richmond to Pocono)
is a treat -- it presents two unreleased live recordings from this period, one recorded in England in the first year they were working together, and the other from the final date of an American tour that would be the last hurrah for this particular trio prior to a reunion tour in 2003. As one might expect, the 1969 gig at the Richmond Athletic Ground in Southwest London is more closely steeped in the blues, though the group were more than willing to stretch out and explore the outer limits of the material (especially on the 14-minute marathon of "Still a Fool"), and the ferocity of
's guitar is a fine match for the thoughtful wallop of the rhythm section. The 1972 performance (part of a two-day festival that also included
Black Sabbath
,
Faces
the J. Geils Band
, and
Emerson, Lake & Palmer
) was recorded at the Pocono Raceway in Long Pond, Pennsylvania, and the fact
ran through a mere four songs in their 37-minute set tells you how much they were committed to jamming. They were also more dynamic and assured after nearly four years together, and though they could still be crushingly heavy when they felt like it, the dynamics are noticeably more refined.
's
Hendrix
-influenced volleys of notes connect in more interesting ways, and he makes smarter use of dissonance here. The audio quality is less than perfect on both shows, but it's more than adequate, and clear enough that the band's righteous noise comes through in the mix. Given the large number of live albums in
' catalog,
is likely to be of interest primarily to the group's more loyal fans, but it documents a vital period in their history, and it's a worthwhile addendum to their outstanding studio albums of the era. ~ Mark Deming