SpinFlashBack

The Groundhogs
'Scratching The Surface'
1968, BGO records


The Groundhogs.  Doesn't exactly illicit much Rock and Roll oomph, does it?  But oomph they have.  Led by Tony McPhee (guitarist/vocalist/composer), the 'hogs were under the American radar as far as the British Blues Boom of the '60s goes.  In the U.K., however, their future acceptance included a #9 on the U.K. charts ('70, "Thank Christ for the Bomb"), #5 ('71, "Split") and #8 ('72, "Who Will Save the World?").  Hardly a ripple over here.  Except for a single American bluesman by the name of John Lee Hooker.  An early gathering of future 'hogs, The Dollarbills, found themselves opening for Hooker in '64 and quickly changed their lame name to John Lee's Groundhogs.  This was in homage to Hooker's '60 track, "Ground Hog Blues", which eventually lead to their second release, "Hooker and the Hogs" ('68).  Also in '64, though, there were some questions to be answered.  ONE: Would McPhee join John Mayall and his Bluesbreakers to replace Eric Clapton?  Two: Would McPhee join Peter Green and newly formed Fleetwood Mac?  Not many musicians would turn those offers down but he stuck to his vision.  Judge for yourselves.  His 'hogs catalog is waiting to be heard.

Their first, "Scratching the Surface" ('68), is their rawest, most unrefined and unashamedly blues release and, as its credits state: Entire album recorded live (no overdubs).  This loosey-goosey focus is what a lot of Brit Invaders tried to do.  Replicating and reinventing the blues, to much American chagrin, was a testament to their love and respect of this art form.  Many traditional loyalists of the blues were turned off as the guitars and amps were turned on.  I think more than a few Americans in the mid/late '60s were hoping that this was just a fad.  Something that would rise for awhile and then go down in flames.  Like a lead balloon. 

Starting with a nice, unadorned lead on the first track, "Rocking Chair", McPhee immediately sets himself apart.  "Walkin' Blues", with blistering guitar and sweet, laid back vocals.  "Married Men", more straight forward blues.  Chuggin' and churnin' with "No More Doggin'".  "Man Trouble" and its heavy bass/drums rumble that satisfies all 6+ minutes.  A theme of man and woman, from a British perspective, comes through loud and proud.  A raucous complement to McPhee's snarling axe and steady vocals is astounding harmonica gymnastics by one Steve Rye.  This is his only 'hog appearance as he trades fierce and armor-piercing blows with McPhee, almost upstaging him on all of the tracks.  McPhee had to work hard to be the dominant alpha-dog and this CD is much better for it.  Rye's original, "Early in the Morning", sneaks up and envelops us with his nasty harp and rock vocals.  His interpretation of the much-recorded and tweaked "You Don't Love Me", again with solid vox and solo-showmanship, made McPhee prove as to who the leader of this band was.  Sadly, Rye, who should be on everybody's list for harp God, died in '92.  He never proved himself as he fell prey to substances.  He is a virtual non-existent player that could have achieved superstardom. 

Most of these tracks resemble the blues/rock shuffle of "Sittin' On Top of the World", a '30 song by The Mississippi Sheiks and "Come On In My Kitchen", '36 by Robert Johnson.  These songs are linked because the melody of "Kitchen" is based on "Sittin'".  I guess we could compare/contrast far worse songs with than these classics.  So, today I'm proclaiming it to be Groundhogs Day.  Take that Punxsutawney Phil.