BLOODROCK: BLOODROCK (1970)
1) Gotta Find A Way; 2) Castle
Of Thoughts; 3) Fatback; 4) Double Cross; 5) Timepiece; 6) Wicked Truth; 7)
Gimme Your Head; 8) Fantastic Piece Of Architecture; 9) Melvin Laid An Egg.
What kind of an association would you have with
the word bloodrock? Any band that
calls itself that should probably be imagined as some sort of particularly
gory, trashy younger brother of Black Sabbath. There's even a couple horror
flicks out there called Bloodstone,
but, of course, the «stone» part should be swapped for a «rock» part — the band
is American, after all. Actually, not just American, but Texan, which would
naturally spruce up further associations with Texas Chain Saw Massacre, and when you look at the album cover,
there's, like, blood on it, plenty of
it, and even a rock for good measure.
In reality, though, the boys from Bloodrock
were nowhere near that creepy. A bunch of honest rock'n'rollers from Fort
Worth, they spent three years playing as «The Naturals» (indeed) and then three
more years playing as «Crowd + 1» (because if you just call yourself «Crowd»,
people might suspect you of arrogant minimalism), before teaming up with Terry
Knight, the producer of Grand Funk Railroad, who came up with the «Bloodrock» moniker
for them. Knight, not fully satisfied by already having one big fat ass hard
rock ensemble under his belt, decided to procure himself a Southern (Texan)
counterpart to the Northern (Michigan) brand of GFR, took Bloodrock under his
wing, secured them a contract with Capitol, and produced their first LP.
Testosterone-driven, sweaty, radio-friendly
American hard rock is generally not my cup of tea at all — I can cope with the
macho attitude, and I can cope with the family-friendly attitude, but combining
them is bad for spiritual digestion. Fortunately, Bloodrock, especially on
their first albums, went beyond that. They had a fairly
testosterone-respecting lead singer, Jim Rutledge, with one of those grizzly
voices that suggests pumping iron, and a crunchy guitar player, Lee Pickens, a
big fan of thick, grumbly guitar riffs, of which he'd written a fair share for
this album (more, I think, than Steppenwolf in their entire career). But they
also had a streak of darkness and psychedelic escapism to their craft — Bloodrock is not any less inspired by
the Doors and Hendrix than it is by Steppenwolf and GFR.
I think that nothing better illustrates this
idea than the start of the album — ʽGotta Find A Wayʼ begins with a low, heavy,
«macho» rhythm pattern, but five seconds later is complemented by a
high-pitched, fuzzy, psycho-wailing «siren», and more space is given to the
battling guitar and organ solos than to the vocal sections. Then ʽCastle Of
Thoughtsʼ is the album's most directly Hendrix-inspired track, its rhythm being
almost directly lifted off ʽStone Freeʼ, but Stephen Hill's keyboards add an
extra layer of complexity, and the guitar/organ interplay part at the end is
exciting in a purely «musical» way, putting the emphasis on melody rather than
«power».
There may not be anything on Bloodrock that pushes it over the top:
although the complete combination of ingredients is somewhat unique, it is not
unique enough to turn them into prime league members overnight. But on a song
by song basis, Bloodrock is
intelligently written and effervescently well performed hard rock. The riffs on
ʽDouble Crossʼ, ʽWicked Truthʼ, and particularly ʽMelvin Laid An Eggʼ are all
perfectly respectable even for the highest standards of 1970; the lyrics,
fluctuating between absurdist, idealistic, and morbid, are unpredictable and
not always laughable (ʽTimepieceʼ, after all, is about a prisoner's last
minutes before the gallows); and the lengthy songs have enough of dynamics to
them, including softer interludes and jammy bits. Towards the end, they even
try to boldly overstep the boundaries by offering a little Gothic art-rock
suite — ʽFantastic Piece Of Architectureʼ is a Poe-worthy tale of
disillusionment and «time-conquers-all» sentiment, ceremoniously dressed up in
solemn organs, Bach-inspired piano lines and echoey guitar tinkles, and it
works surprisingly better than one could expect from a bunch of down-to-earth
Texan rockers (although I can't help wondering how much better still it would
have sounded in the hands of an Alan Parsons).
In fact, on a song-by-song basis there are
simply no bad tracks on Bloodrock at all, which ultimately makes their
debut record their greatest one (as it happens much too often with second-rate
bands). I even like ʽFatbackʼ, despite its lack of a great riff (the song is
cleverly driven by piano chords, giving it a little whiff of modern jazz), and
ʽGimme Your Headʼ, despite the fact that its own riff deserved a thicker sound
and a more prominent position in the mix. Even so, these two minor creations are
actually the shortest ones on the
album, meaning that Bloodrock were never above stretching out a good idea when
the good idea deserved to be stretched out.
Do not expect a jaw-dropping masterpiece, but do expect an interesting combination of
ideas. Turning on the «grumbly old-timer» mode, I will say that, had these guys
come together forty years later, Bloodrock
would almost certainly be a completely one-dimensional creation; back in 1970,
though, being one-dimensional was a rather embarrassing perspective, so they
gave us this rather oddball take on Texan rock instead. Thumbs up.
These guys truly disappeared without trace. Even in the stoner/doom metal underground that cherishes the memories of Blue Cheer, Atomic Rooster, High Tide, etc., no one ever speaks well (or ill) of them. It's not hard to see why. They don't swing like the Stooges or even Grand Funk. They don't have the heavy weight crush of Black Sabbath, or the wit of Deep Purple. The closest analogy in British terms would actually be Uriah Heep, except Heep had pop smarts, which these guys don't. I don't know why Mark Prindle chose to attempt to rehabilitate this group but, trust me, it didn't take.
ReplyDeleteIndeed, when I listend to Melvin laid an Egg (again) I was reminded of I'll keep on Trying. Melvin actually has the better riff, but the acoustic bits are generic and the the melody of I'll keep on Trying is way catchier.
DeleteAnd Melvin is the best song of the album.
I won't write that this is a bad album or that Bloodrock is a bad band. But like Cactus Bloodrock shows how far behind American rock was around 1970. It would take the USA several years to catch up.