Not Only Prog: Blues Obituary by Groundhogs

Tony McPhee, the frontman, had realized that European audiences were starting to tire of classic blues.  That’s why he chose such a strong title for the album: Blues Obituary, a real “Blues Obituary”.  

With this title, he meant it was time to say goodbye to old blues and to experiment with new sounds, heavier and more hypnotic, close to proto-heavy rock and psychedelic rock.

This album marks the Groundhogs’ break from more orthodox blues, embracing proto-heavy metal, heavy blues-rock and psychedelic rock with open arms.  The tracks are deliberately deconstructed, abandoning the classic 12-bar form in favor of obsessive, dark and distorted guitar riffs. Tony McPhee’s guitar pushes experimentation to the limit, playing with feedback, extreme distortion and an innovative use of wah-wah, all supported by a powerful, precise rhythm section that anticipates the sounds of Black Sabbath and the rawer side of progressive rock.

Among the most important tracks on the record stands out “B.D.D. (Blind Deaf Dumb)”, built on an energetic, memorable riff that makes it the album’s most accessible track, so much so that it was released as a single.  Unexpectedly, it reached number one in Lebanon, an incredible success. “Mistreated”, on the other hand, is a slow, visceral piece, dominated by an acidic, cutting lead guitar that winds through an atmosphere loaded with tension and drama. “Express Man” features a driving, syncopated rhythm, highlighting the extraordinary technical chemistry between Pustelnik’s drums and Cruickshank’s bass.

 “Light Was the Day” is one of the finest tracks and the most distinctive.  This instrumental piece is stylistically inspired by the legendary bluesman Blind Willie Johnson. McPhee’s slide guitar dominates the scene with a masterful performance, rich in delay and echo, creating a ghostly, hypnotic and almost otherworldly atmosphere.  “Light Was the Day” completely breaks the rules of traditional blues, turning into an avant-garde psychedelic suite that projects the band toward the artistic maturity that will explode on later records.

The cover, with an illustration in dark, surreal strokes, depicts the three members of the Groundhogs dressed as undertakers. They are carrying a coffin, symbol of the blues genre, in front of a haunted castle. The image conveys a simple but powerful message: the “burial of the blues”.

The original 1969 album contained seven tracks. My beautiful FIRELP506 reissue enriches side B with two bonus tracks: the Mono mix version of B.D.D. and the track Gasoline, which was the B-side of the original single. The vinyl has been fully remastered from the original analog tapes, offering a wider, cleaner, more defined soundstage than the original mix. In addition, the reissue definitively corrects all the old graphic typos and timings printed on the vinyl’s center labels.

Blues Obituary, a key transitional record and cult classic of late-’60s proto-heavy rock, bears witness to the evolution of British rock in 1969.  Tony McPhee’s courage in embracing a saturated, dark, pioneering sound is remarkable. The rhythm section, a primitive but highly effective war machine, and the lead-guitar experiments are among the best in the underground of the time.

Despite not achieving commercial success, “Blues Obituary” remains a hidden milestone. It’s essential listening for anyone who wants to understand the crucial shift from the more acid blues-rock to the birth of heavy, primal hard rock. 

An absolutely recommended record, especially in this version. Excellent!

My Version

Label: Fire Records – FIRELP506
Format: Vinyl, LP, Album, Reissue, Repress, Gold
Released: 2024
Genre: Rock, Blues

Tracklst

A1        B.D.D.
A2        Daze Of The Week
A3        Times
A4        Mistreated
B1        Express Man
B2        Natchez Burning
B3        Light Was The Day
B4        B.D.D. (Mono)
B5        Gasoline

Lineup

Tony "T.S." McPhee: Vocals, guitar
Pete Cruikshank: Bass
Ken Pustelnik: Drums