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They were a working band. They opened for everyone from the original Allman Brothers to B.B. King.

Their studio records are vastly underrated—"Floyd's Hotel" from The Morning After, with its hapless narrator and a cast of characters straight out of Willie Dixon's "Wang Dang Doodle," never got anywhere near enough airplay—but the real thing was the live show, captured most brilliantly on Full House, which contains the definitive version of Magic Dick's perennial showstopper, "Whammer Jammer."

Their end-of-the-trail pop hits—"Centerfold," "Love Stinks," and the rest—were a nice reward they deserved for all the woodshedding they did, but never did define the best of them. As Tony Glover wrote in Rolling Stone:

http://www.esquire.com/news-politics/politics...s-obituary

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