Grand Funk Railroad
Grand Funk

THE REVIEW

In the wake of the famous Rock power trios that emerged between the late Sixties and early Seventies like Cream and The Jimi Hendrix Experience, more than something in this sense was also stirring in the star-spangled Rock world of the late Sixties. And so, also and above all as a "counter-response" to the strong British Hard Rock wave (and not only) represented by Led Zeppelin and company, a band destined to be the absolute main protagonist of the U.S. (and world) Rock scene throughout almost the entire Seventies was born around the figures of guitarist/singer/songwriter/multi-instrumentalist Mark Farner, the versatile drummer/singer/songwriter Don Brewer, and the seismic bassist Mel Schacher: Grand Funk Railroad.

Originating from Flint, a medium-sized town located in the state of Michigan and not too far from the industrial metropolis of Detroit (the latter also being a homeland of Blues and Soul, since at the time it was home to the well-known "Motown"), the three made themselves known around the beginning of 1969 with the release of the surprising album "On Time" with songs such as "Are You Ready," "T.N.U.C.," and "Heartbreaker" (nothing to do, however, with the homonymous masterpiece by Zeppelin!), which was closely followed, in the autumn of that year, by this second work of theirs called, depending on convenience, simply "Grand Funk" or, in an even more picturesque way, "Red Album" due to the almost entirely fire-red cover with the three prominent members of the band in the foreground (including the decidedly characteristic Schacher with his immortal Fender Jazz in hand, dressed in a curious yet very stylish polka dot shirt).

The album, recorded curiously in its entirety between the 20th and 21st of October 1969, represents the ideal continuation of their excellent debut, and its stylistic hallmark is the usual one: full-throated singing, dirty, aggressive, and very Blues-laden guitar by Farner, and a first-rate rhythmic base with Schacher's thundering bass standing out, along with a drum played powerfully yet technically impeccably by the excellent Brewer.

The debut kicks off with the wildly energetic "Got This Thing On The Move" with a pressing rhythmic pace that closely recalls the sound of any Hendrix piece, followed by the equally valid "Please Don't Worry," co-written by Farner and Brewer, where rhythms are temporarily lowered but without losing quality.

With "High Falootin' Woman," the Grand Funk engine decisively revs up to a thousand, while "Mr. Limousine Man" is a beautiful raw Rock/Blues with a couple of remarkable solos by the excellent Farner in the middle and towards the end of the piece.

"In Need" is the piece in which Schacher's earthquake-like bass emerges in its fullness, rivaling equally with Farner's multi-instrumental prowess, here dealing with a guitar (played with various, very pleasant Funk accents) and a harmonica. This particular piece is also noteworthy in the adrenaline-charged version contained in the equally fundamental "Live Album" of the following year: a must-listen!

"Winter And My Soul" is a good level Rock/Blues song and is decidedly appreciated, although it perhaps represents the somewhat more "weak" point, let’s say, of the album.

But the main course is served in the final combo, represented by the neurotic "Paranoid" (having nothing to do, however, with the homonymous masterpiece by Black Sabbath) in which Farner goes wild with a series of insane solos, and especially with "Inside Looking Out," the famous cover by The Animals of historic bassist Chas Chandler (of which the band declared to be fans), here reproduced with incisive sounds, also thanks to the excellent rhythmic work of Mel & Don and the favored guitar (called "Messenger") always very magmatic and rattling of a Farner definitely in great shape.

Fifty years after its release, this work by Flint's people's band (so nicknamed by the famous director Michael Moore, a fellow citizen just like the band members), hence, maintains its remarkable expressive power, yes still raw compared to the (overly) polished sounds they would have the chance to experiment with from the mid-Seventies onward, but absolutely to be rediscovered and fully relished with heart, mind, and...ears decidedly connected to each other!