GROUNDHOGS Thank Christ For The Bomb LP LIBERTY 1970 ITALY orig+foc TONY McPHEE
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GROUNDHOGS TONY McPHEE, PETE CRUICKSHANK, KEN PUSTELNIK
British blues band that backed John Lee Hooker in the mid-'60s, and went on to explor acid rock and prog during the '70s
"THANK CHRIST FOR BOMB"
Produced by Tony (T.S.) McPhee
1970 LP LIBERTY RECORDS STEREO LIB / LP / 935
MADE IN ITALY ORIGINAL PRESSING PROMOTIONAL COPY
LAMINATED GATEFOLD SLEEVE
HEAVY CARDBOARD COVER
This version: With promotional cut-hole (a shaped triangle passing thru cover, labels and original plastic inner)
Barcode and Other Identifiers
Barcode: none
LABEL: LIBERTY - BLACK LABEL w/RAINBOW LOGO on LEFT- SILVER TEXT
Catalog on cover: (spine & rear) LIB / LP / 935 Catalog on labels: LIB-LPS 935 A / LIB-LPS 935 B
Matrix / Runout (Side A, Stamped): LIB LP 935 A Matrix / Runout (Side B, Stamped): LIB LP 935 B
On labels: LIBERTY RECORDS, INC. LOS ANGELES, CALIFORNIA STEREO ? 1970 SIAE Composed and produced by Tony McPhee for Zak Prod.
Rights Society: SIAE
On Inside Sleeve: All compositions written and arranged by Tony (T.S.) McPhee Published by United Artists Music Ltd. Zak Production Clearwater Conceptions On Back Sleeve: A Product of Liberty/U.A. Records Ltd. London, England
tracklisting Side 1: STRANGE TOWN - DARKNESS IS NO FRIEND SOLDIER - THANK CHRIST FOR BOMB
Side 2: SHIP ON THE OCEAN - GARDEN STATUS PEOPLE - RICH MAN, POOR MAN - ECCENTRIC MAN grading RECORD EX but (please, read above description) SLEEVE NEAR EX but (please, see pictures and read above description)
Thank Christ for the Bomb was the first Groundhogs album to indicate that the group had a lifespan longer than the already-fading British blues boom suggested. It was also the first in the sequence of semi-conceptual masterpieces that the group cut following their decision to abandon the mellow blues of their earlier works and pursue the socially aware, prog-inflected bent that culminated with 1972's seminal Who Will Save the World? album. They were rewarded with their first ever Top Ten hit and purchasers were rewarded with an album that still packs a visceral punch in and around Tony McPhee's dark, doom-laden lyrics. With the exception of the truly magisterial title track, the nine tracks err on the side of brevity. Only one song, the semi-acoustic "Garden," strays over the five-minute mark, while four more barely touch three-and-one-half minutes. Yet the overall sense of the album is almost bulldozing, and it is surely no coincidence that, engineering alongside McPhee's self-production...(AllMusic)
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