BLOODWYN PIG: "Getting To This"

Original released on LP A&M SP 4243

(US 1970, April 10)

This is the second excellent album by Blodwyn Pig; had it come 1-2 years earlier, it could have been more successful. Compositionally and with instrumental chops, the chaps are in the top league of blues-rock. Ambitions beyond blues-rock are still apparent as featured on the masterpiece "San Francisco Sketches". Excellent dynamic drumming and guitar-saxophone tandem will immediately catch listener's attention. Busy bass guitar offers very good elasticity to the sound, listen to the instrumental "The Squirelling Must Go On" or "Variations on Nainos" where bass guitar can also play the lead melody. Flute is a welcome addition to a couple of songs and might be a Jethro Tull reference. Abrahams is a brilliant blues-rock guitar player but has no hesitation to dabble in jazz world with jazzy chords. "See My Way" is a great example of a tight bass/drum collaboration, one that others could envy. The most sophistication comes with with a strong and ambitious tandem of "The Squirelling Must Go On" and "San Francisco Sketches", the latter cone composed of multiple sections. A quiet flute-led folk part followed by jazz-prog part, then comes a short hippie-vocal inspired moment that turns into a jazz saxophone soloing. Incredible piece of music. On another hand, having "Toys" as a intimate guitar-vocal piece and fitting Abrahams vocal. "Send Your Son to Die" has vocals that remind me of Cream.  (Stanley Sgtpepper in AllMusic)

BLOODWYN PIG Debut Album + Bonus Tracks

Original released on LP A&M SP 4210

(US, June 1969)

None of Jethro Tull's progressive rock tendencies or classical influences followed Mick Abrahams into his creation of Blodwyn Pig, even with the inclusion Jack Lancaster's sax- and flute-playing prowess. Instead, Abrahams built up a sturdy British blues-rock sound and used Lancaster's horn work to add some fire to the band's jazzy repertoire. "Ahead Rings Out" is a stellar concoction of gritty yet flamboyant blues-rock tunes and open-ended jazz centered around Mick Abrahams' cool-handed guitar playing, but it's the nonstop infusion of the other styles that makes the album such a solid listen. After only one album with Jethro Tull, Abrahams left to form this band, and it's evident that he had a lot of pent-up energy inside him when he recorded each of the album's tracks. With a barrage of electrifying rhythms and fleeting saxophone and woodwind excursions, cuts like "Sing Me a Song That I Know," "Up and Coming," and "Backwash" whip up highly energetic sprees of rock and blues. Most of the tracks have a hearty shot of rock up the middle, but in cuts like "The Change Song" and "Backwash," the explosive riffs are accompanied by a big band style of enthusiasm, adding even more depth to the material. Andy Pyle's bass playing is definitely distinct throughout each track and is used for anything but a steady background, while labeling Ron Berg's drumming as freewheeling and intemperate would be an understatement. It's apparent that Blodwyn Pig's style is indeed distinct, releasing a liberated and devil-may-care intensity while still managing to stay on track, but the fact that each cut convokes a different type of instrumental spiritedness is where the album really gains its reputation. Wonderfully busy and even a tad motley in some places, "Ahead Rings Out" shows off the power and vitality that can be channeled by combining a number of classic styles without sounding pretentious or overly inflated. A year later, Blodwyn Pig recorded "Getting to This" before Abrahams left the band, and although it's a solid effort, it falls just a smidgen short of "Ahead Rings Out"'s bluesy dynamism. (Mike DeGagne in AllMusic)