"Everything here is unsurpassed of rage, darkness, anger, of damnation." 
The Groundhogs "UK Tour 76" 2004
I enjoy listening this disc when I have the balls. There are two reasons. First, because nobody knows the Groundhogs, let alone their album of 1975, "Crosscut Saw." Then because it is clear that Tony Mc Phee, guitarist-singer-composer-band leader and also the balls.
Yet when the group reformed in 1975 after only a few months of separation, McPhee feels it is because a new opportunity to develop his new music within a group, which is more again. Summarize a bit. Between 1970 and 1972, the class group of three magnificent albums heavy-blues tortured in the top 10 English. With "Hogwash," published in late 1972, the group's success declined. The solo album in 1973 McPhee knows little success, and therefore sees the man take the reins of his trio. "Solid", published in 1974, is one of the most depressing albums of rock history alongside the best recordings of Joy Division (not their official albums). The tour that followed saw McPhee spray Hate the band's repertoire of moves to guitar murders. The man, weakened by a difficult family situation, can take no more and decides to stop spending in early 1975. But
concerts Groundhogs leave traces, and the public, charred by both artistic brilliance, wanting more. Or almost. 1975 was a turning point: The punk edge gently dominates the glam, progressive s'ampoule, and hard-rock reigns supreme Loved giant concerts. It smells so
fir for Groundhogs, group attached to the roots blues, and fragile to compete in never having imposed in the U.S.. Linkages become Stray ties.
Yet since the start of the "Thanks Christ For The Bomb" in 1970, McPhee merges blues and progressive rock. Since 1972, the Mellotron made its debut in the musical horizons of the group. Yet, the blues is there, and most importantly, modesty and sobriety of soul gray any English because the group can take off to megalomaniacal delusions of his contemporaries.
And then in 1974, is the rupture. "Solid" is published this year, and disc is a wild, violent, harsh. It is propelled into a masterpiece and a complete break with the music business. The disc is already making many in terms of sensations, but that's not enough.
"Crosscut Saw" goes even further, and brings new comets Blues-Rock Night. The lineup consisted of McPhee on guitar and vocals, Martin Kent on bass, Dave Wellbove on guitar and Mick Cook on drums. John Cruishank, bassist survivor of the era "Thanks Christ ..." is more of the game.
Commercial success is gone. "Solid" is the latest record of Groundhogs ranked in the UK charts. The album also copiously murdered by the critics, could not bury the remains a group in trouble in his attempt to accept his choice of music against the winds of the sensation of the moment (Bowie, Roxy Music, ELP ....). It then remains
Groundhogs to the stage to demonstrate the power of his music on stage. Admirer indescribable "Solid" and "Crosscut Saw", I have long dreamed of a witness in a concert tour by the magic synthesis of these two albums. This disc brought it to me.
was often reduced to a group of Groundhogs Blues-Rock rough and rustic, light years away from the ambitions of the giants of progressive rock, from Led Zeppelin to Black Sabbath by way of Jethro Tull. Even Bowie is put it is you say.
Tony McPhee played the Blues forever. But he managed to inject a rare stroke of genius among the groups exceed the original composition to extract the absolute essence. Like Led Zeppelin. Like Deep Purple. Except that the Groundhogs always knew to stop before the megalomaniacal delusions that affected the two mentioned above. Here, no delusions solo ten minutes. Improvisation fetches the piece of tripe, it brings power, texture, emotion.
And it is here for all songs. Undoubtedly, the new Groundhogs are very high quality. Everything here is unsurpassed rage, darkness, anger, damnation.
We are at Kings Hall Derby March 24, 1976. Groundhogs are the new tour to promote the album released late 1975: "Crosscut Saw." Sales were modest, and the rooms also respects far experienced in 1971, the group's commercial heyday.
. Despite a large core of fans, the quartet must face the indifference of the English music press. It's probably a good, saw the outburst of bitterness which she showed to the release of "Solid". Sure, the Groundhogs began their slow decline into anonymity, accelerated by the arrival of punk in 1976 in Great Britain. Stray, Groundhogs, Chicken Shack and Savoy Brown still disappear into the limbo of oblivion general.
In terms of the band Tony McPhee, the struggle continues, putting everything he has in him to demonstrate the strength of his group.
This disc is a storm of fury and despair, where McPhee's guitar reaches heights rarely achieved. He is assisted by Dave Wellbove impressive unchecking some solos absolutely unstoppable.
The sequence of the first four titles is already an odyssey. The opening is on "Boogie Withus, snarling boogie in propelling Wall listener unwise. It follows the beautiful and desperate "Pormiscuity", also of "Crosscut Saw." McPhee's voice is hoarse, raspy. It is reminiscent of Lemmy Kilminster few years later in Motorhead. His guitar playing is absolutely stunning in any case. Then he cleared horizons hendrix much to early 70s, the notes here are tighter, the game less aggressive but more vicious. They are superb musical flights, pinnacles of each piece in terms of emotion.
"Corn Cob", excerpted from "Solid" is a false boogie ballad, and a real torrent of melancholy. It is one of those songs you whistle when things go wrong, just to restore some capacity in the mess. McPhee's solo is again superb, fluid.
One of the great peaks of this disc is undoubtedly the majestic "Eleventh Hour." Already prodigious in its studio version on "Crosscut Saw" by the Groundhogs cross the Rubicon of despair. From the first chords, the melody in the gut. The chorus of guitars are just terrifying sobs and cries of rage that is suffocating itself in order not to scream. Choking with grief, "Eleventh Hour" touch the stars with his solo and hooting electric larsen angry. McPhee's voice is dark, rough, ever more raucous, like a man one earth. The atmosphere lightens
just because "Crosscut Saw" with a melody lighter, more ethereal. But this is an illusion to the content of the lyrics. And the truce was short-lived, with diving into the depths of rage that are "fullfilment" and the terrifying "Light My Light". Their web forms a new high magic is not clear which one intact. McPhee is prodigious inventiveness, mastery of swirling, supported by a group square and powerful powerhouse.
order to meet the older The concert ends with two old saws that are antediluvian "Split Part 2" and "Cherry Red". Reworked, tortured, extended the urge, the juice that comes out is stiff, bitter, and sends to hell the previous versions.
This album has become for me a complete reference. She confirmed all the good that I thought of "Crosscut Saw" and its predecessor "Solid". I remained as to whether the Groundhogs were able to get the most lethal venom. This live album is brilliant proof, and will no doubt drive the bedside of your darkest nights. All Rights
Reserved
The Groundhogs "UK Tour 76" 2004 I enjoy listening this disc when I have the balls. There are two reasons. First, because nobody knows the Groundhogs, let alone their album of 1975, "Crosscut Saw." Then because it is clear that Tony Mc Phee, guitarist-singer-composer-band leader and also the balls.
Yet when the group reformed in 1975 after only a few months of separation, McPhee feels it is because a new opportunity to develop his new music within a group, which is more again. Summarize a bit. Between 1970 and 1972, the class group of three magnificent albums heavy-blues tortured in the top 10 English. With "Hogwash," published in late 1972, the group's success declined. The solo album in 1973 McPhee knows little success, and therefore sees the man take the reins of his trio. "Solid", published in 1974, is one of the most depressing albums of rock history alongside the best recordings of Joy Division (not their official albums). The tour that followed saw McPhee spray Hate the band's repertoire of moves to guitar murders. The man, weakened by a difficult family situation, can take no more and decides to stop spending in early 1975. But concerts Groundhogs leave traces, and the public, charred by both artistic brilliance, wanting more. Or almost. 1975 was a turning point: The punk edge gently dominates the glam, progressive s'ampoule, and hard-rock reigns supreme Loved giant concerts. It smells so fir for Groundhogs, group attached to the roots blues, and fragile to compete in never having imposed in the U.S.. Linkages become Stray ties.
Yet since the start of the "Thanks Christ For The Bomb" in 1970, McPhee merges blues and progressive rock. Since 1972, the Mellotron made its debut in the musical horizons of the group. Yet, the blues is there, and most importantly, modesty and sobriety of soul gray any English because the group can take off to megalomaniacal delusions of his contemporaries.
And then in 1974, is the rupture. "Solid" is published this year, and disc is a wild, violent, harsh. It is propelled into a masterpiece and a complete break with the music business. The disc is already making many in terms of sensations, but that's not enough. "Crosscut Saw" goes even further, and brings new comets Blues-Rock Night. The lineup consisted of McPhee on guitar and vocals, Martin Kent on bass, Dave Wellbove on guitar and Mick Cook on drums. John Cruishank, bassist survivor of the era "Thanks Christ ..." is more of the game.
Commercial success is gone. "Solid" is the latest record of Groundhogs ranked in the UK charts. The album also copiously murdered by the critics, could not bury the remains a group in trouble in his attempt to accept his choice of music against the winds of the sensation of the moment (Bowie, Roxy Music, ELP ....). It then remains
Groundhogs to the stage to demonstrate the power of his music on stage. Admirer indescribable "Solid" and "Crosscut Saw", I have long dreamed of a witness in a concert tour by the magic synthesis of these two albums. This disc brought it to me.
was often reduced to a group of Groundhogs Blues-Rock rough and rustic, light years away from the ambitions of the giants of progressive rock, from Led Zeppelin to Black Sabbath by way of Jethro Tull. Even Bowie is put it is you say. Tony McPhee played the Blues forever. But he managed to inject a rare stroke of genius among the groups exceed the original composition to extract the absolute essence. Like Led Zeppelin. Like Deep Purple. Except that the Groundhogs always knew to stop before the megalomaniacal delusions that affected the two mentioned above. Here, no delusions solo ten minutes. Improvisation fetches the piece of tripe, it brings power, texture, emotion.
And it is here for all songs. Undoubtedly, the new Groundhogs are very high quality. Everything here is unsurpassed rage, darkness, anger, damnation. We are at Kings Hall Derby March 24, 1976. Groundhogs are the new tour to promote the album released late 1975: "Crosscut Saw." Sales were modest, and the rooms also respects far experienced in 1971, the group's commercial heyday.
. Despite a large core of fans, the quartet must face the indifference of the English music press. It's probably a good, saw the outburst of bitterness which she showed to the release of "Solid". Sure, the Groundhogs began their slow decline into anonymity, accelerated by the arrival of punk in 1976 in Great Britain. Stray, Groundhogs, Chicken Shack and Savoy Brown still disappear into the limbo of oblivion general.
In terms of the band Tony McPhee, the struggle continues, putting everything he has in him to demonstrate the strength of his group.
This disc is a storm of fury and despair, where McPhee's guitar reaches heights rarely achieved. He is assisted by Dave Wellbove impressive unchecking some solos absolutely unstoppable. The sequence of the first four titles is already an odyssey. The opening is on "Boogie Withus, snarling boogie in propelling Wall listener unwise. It follows the beautiful and desperate "Pormiscuity", also of "Crosscut Saw." McPhee's voice is hoarse, raspy. It is reminiscent of Lemmy Kilminster few years later in Motorhead. His guitar playing is absolutely stunning in any case. Then he cleared horizons hendrix much to early 70s, the notes here are tighter, the game less aggressive but more vicious. They are superb musical flights, pinnacles of each piece in terms of emotion.
"Corn Cob", excerpted from "Solid" is a false boogie ballad, and a real torrent of melancholy. It is one of those songs you whistle when things go wrong, just to restore some capacity in the mess. McPhee's solo is again superb, fluid.
One of the great peaks of this disc is undoubtedly the majestic "Eleventh Hour." Already prodigious in its studio version on "Crosscut Saw" by the Groundhogs cross the Rubicon of despair. From the first chords, the melody in the gut. The chorus of guitars are just terrifying sobs and cries of rage that is suffocating itself in order not to scream. Choking with grief, "Eleventh Hour" touch the stars with his solo and hooting electric larsen angry. McPhee's voice is dark, rough, ever more raucous, like a man one earth. The atmosphere lightens just because "Crosscut Saw" with a melody lighter, more ethereal. But this is an illusion to the content of the lyrics. And the truce was short-lived, with diving into the depths of rage that are "fullfilment" and the terrifying "Light My Light". Their web forms a new high magic is not clear which one intact. McPhee is prodigious inventiveness, mastery of swirling, supported by a group square and powerful powerhouse.
order to meet the older The concert ends with two old saws that are antediluvian "Split Part 2" and "Cherry Red". Reworked, tortured, extended the urge, the juice that comes out is stiff, bitter, and sends to hell the previous versions.
This album has become for me a complete reference. She confirmed all the good that I thought of "Crosscut Saw" and its predecessor "Solid". I remained as to whether the Groundhogs were able to get the most lethal venom. This live album is brilliant proof, and will no doubt drive the bedside of your darkest nights. All Rights
Reserved 
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