Jody Grind - Discography (1969 - 1970)

British progressive rock band Jody Grind issued two obscure albums combining hard rock, jazz, blues, and classical influences with lineups emphasizing Hammond organ, guitar, and drums. Prone to long instrumental riffing and rather ponderous, stern original material, they were similar to other very early organ-oriented U.K. progressive rock acts. But they did not possess the originality, or songwriting or vocal talent, to match well-known exponents of the style such as the various groups in which organists Keith Emerson, Vincent Crane, and Brian Auger played.

The mainstay of Jody Grind was Hammond organist Tim Hinkley, who'd played in the Bo Street Runners (who for a time also included drummer Mick Fleetwood) and the Chicago Line Blues Band. Hinkley then formed a band to back British singer Elkie Brooks, but though they never ended up backing the vocalist, he and the two other musicians, guitarist Ivan Zagni and drummer Martin Harriman, decided to form a group of their own at the end of 1968. Initially called Nova, they changed their name to Jody Grind (after a song by jazzman Horace Silver). By the time they signed to Transatlantic in April 1969, Barry Wilson had replaced Harriman on drums. Renaissance bassist Louis Cennamo (previously in the Chicago Line Blues Band and later in Armageddon) was not a member, but helped out on their 1969 debut album, One Step On, which also included brass arrangements.

Shortly after its release, the band's personnel overturned with the departure of Zagni and Wilson. Hinkley kept the band going with new guitarist/singer Bernie Holland and drummer Pete Gavin, opting for a somewhat more eclectic and hard rock-oriented (and less jazz-influenced) approach on 1970's Far Canal. Neither album made a commercial impact, however, and they broke up around the time Far Canal was released. Hinkley later played in Vinegar Joe (who also included Elkie Brooks and Robert Palmer) before becoming a session musician.

~ Richie Unterberger, All Music Guide

JODY GRIND - английский коллектив прогрессивного рока. К огромному сожалению, этот ансамбль не достиг тех вершин, которых заслуживал и сейчас их диски являются украшением коллекции лишь истинных любителей британской сцены рубежа 60х 70х годов. И это несмотря на то, что почти все участники в дальнейшей карьере смогли принять участие во многих гораздо более известных группах.

Первый состав JODY GRIND был собран под руководством клавишника виртуоза Тима Хинкли (Tim Hinkley), пригласившего для записи альбома Айвана Загни (Ivan Zagni) и Барри Уилсона (Barry Wilson). Первоначально, не осмелившись исполнять партии бас гитары самостоятельно, к записи был подключен старый знакомый Тима Луис Ченнамо. Хотя имя последнего часто возникает в связи с этим коллективом, его роль была сведена к минимуму.

На "One step on", который вышел в конце 1969 года, главную роль на себя взял Хинкли. Возможно, из-за недостатка опыта, либо еще по каким причинам, но пластинка получилась очень не ровной. Занявшая целиком первую сторону четырех частная заглавная композиция (включающая в себя оригинальную обработку песни ROLLING STONES Paint it black) звучала довольно необычно и явно в духе тенденций того времени, хотя, на мой взгляд, была несколько затянута. Вторая сторона наглядно продемонстрировала, что музыканты еще совершенно не определились с направлением. Три из четырех композиций радикально отличались друг от друга (от джаз-рока до хард-блюза и рок'н'рола). Почти сразу после записи Загни и Уилсон покинули JODY GRIND.

Идея создания собственного коллектива все не покидала голову Хинкли, и к возрождению ансамбля он подошел гораздо профессиональнее. Состав дополнили великолепный гитарист Берни Холланд (Bernie Holland) и отменный барабанщик Пит Гавин (Pete Gavin). Второй альбом "Far canal" 1970 года, звучал совершенно не похоже на своего предшественника. Теперь орган Хинкли отошел на второй план, позволив в полной красе проявить себя Холланду. Именно благодаря его гитарным партиям каждая из композиций звучит непохоже на творения своих современников. Роль Тима сводилась к созданию отличного бэкграунда и не столь сильного, но подходящего вокала (кстати, он, наконец, полностью освоил бас на педалях своего хаммонда). Стилистически альбом можно охарактеризовать как мощный почти хардовый джаз-рок с легким оттенком тяжелого блюза. Но самое главное другое - музыканты, наконец, нашли свое лицо и определились с направлением. Каждая из композиций была на своем месте и не контрастировала с остальным материалом.

Отсутствие коммерческого успеха заставило музыкантов заняться сессионной работой и оставить коллектив без развития, что очень обидно, так как на вторых ролях им более не удалось раскрыть весь свой потенциал.

Гавин далее играл в группах Эла Стюарта (Al Stewart) и Алберта Ли (Albert Lee). Холланд входил в состав HUMMINGBIRD и STEALER's WHEEL. Но наибольший успех выпал на долю Хинкли. За свою более чем тридцатилетнюю карьеру он работал с такими музыкантами как Роджер Чепман (Roger Chapman), Девид Ковердейл (David Coverdale), Мик Патто (Mick Patto), Крис Фарлоу (Chris Farlowe). Ему выпала честь сотрудничать с такими коллективами как Dr. FEELGOOD, HUMBLE PIE, WHITESNAKE, THIN LIZZY, STREETWALKERS, SNAFU и многими другими. Но вот под его непосредственным руководством такого замечательного коллектива как JODY GRIND больше не было и, к сожалению, не будет.

It can be a real enigma sometimes how some groups make it and others do not. For no apparent reason, a band who have originality, energy and some fine musicians manage to completely bypass any form of recognition or success. Jody Grind are a classic example. Formed in late 1968 by band leader and keyboard player Tim Hinkley, they released two classic albums which immediately sank without trace. Fortunately, today they are belatedly beginning to receive the recognition they deserve.

The music of Jody Grind is a sort of melting pot of Deep Purple, Chicago, Uriah Heep, Vanilla Fudge, The Nice and many others. It should be remembered though that Jody Grind are more leaders than followers, their albums predating many of the best known releases of those great bands.

The album opens with a stunning 18 minute suite bearing the album's title. This four part epic includes a wonderful cover of the Rolling Stones Paint it black, the other three sections being self composed. The driving brass and superb guitar work remind me a little of Uriah Heep's great Salisbury suite. The track oozes energy and originality, especially when you remember it dates from 1969. The brass sections were actually added after completion of the recording of the album, being arranged by David Palmer (later of Jethro Tull). My only minor gripe is the inclusion of a drum solo, but thankfully it is kept brief.

The following Little message continues the magic, the track once again focusing on the instrumental prowess of the band. Night today finally sees the band taking a breather, the song being a softer piece featuring more in the way of vocals. While it is a pleasant listen, it lacks the dynamics of those which precede it, and is very much of its time. Anyone who enjoys the obscure one album band Aquila will also enjoy this and the following track USA. The latter is a straight blues rock number featuring some good guitar work.

The album closes with a Chuck Berry tribute Rock'n'roll man, a thinly disguised cover of Johnny B. Goode. Once again some good if predictable guitar work, but the track is by and large the definition of filler.

In all, a tremendously exciting album which loses its way slightly in the latter part. The first 20+ minutes though are as good as anything you will hear from the period.

Incidentally, the band's name does not reflect that of any of their members, simply being the name of a jazz number by Horace Silver.

Review by Easy Livin, Progarchives

JD's second album is a fairly different affair compared with their debut: gone are the heavy brass arrangements, leaving the group with a much sober (less jam-oriented) songwriting and a harder sound. The group will suffer two major line-up changes and by late 69, only Hinkley was left from the original group. Holland and Gavin were asked to join up.
Surprisingly enough, the opening We've Had It starts on a classical guitar, but soon veers towards a more realistic form of proto- prog. Bath Sister starts on a blues-rock guitar riff, and while foraying a little, it remains close to the starting motif. Much more enthralling is the 7-min Jumb Bed Jed where past the hard-riffing guitar intro; the track veers very elegantly towards a demonstration of superb interplay and soloing. However the side closer Paradiso is marred by a lengthy drum solo taking up half the track, and it is too bad, because the other half is quite pleasant.

The flipside starts with the live-recorded Plastic Shit, which is understandably rougher and rawer than the rest of the album. Vegetable Oblivion is bit of a short instrumental interlude, very pleasant with the guitar gently dominating but has an overall feel of one of those power ballads of the 80's, but much better. Red Worm And Lice is clearly the album's highlight is JD's best track, with its seven minutes of excellent instrumental interplay where Holland's doubled guitars soars like an eagle in the sky. The closing Ballad For Bridget is a short jazz-inflicted ballad that doesn't find its place easily in this album.

Both albums differing enough, it is difficult to find one superior to the other (most opt for FC over OSO, but this writer prefers the debut because it communicates its enthusiasm better. While both albums are anything but essential to progheads, they are both worth the occasional spin and will certainly add depth to their shelves.

Review by Sean Trane, Progarchives

Interaction is by far the best way to discover the hidden talents of this obscure band from 1969/70 (unless of course you prefer to pay vast sums of money for the rare original vinyl albums). This collection brings together the band's only two albums plus a trio of bonus tracks. There is nothing rare as such in the bonus tracks, two simply being single edits and the third an alternative version. With the absence of unreleased material, this double CD release is relatively brief, the first disc containing only the first album and thus coming in at under 40 minutes.

The music, especially on the first album One step on is refreshingly original and dynamic, especially the two opening tracks. If ever a band placed their best number right up front, it is here on the 18+ minute title track. The combination of organ, lead guitar and brass arrangement all contribute to an immensely powerful sound which drives along with energy and enthusiasm.

The second album saw a complete change in the line up, with the exception of band leader Tim Hinkley. Hinkley pulled the band is a more orthodox rock direction, the numerous tracks around 7 minutes being more straightforward in structure and devoid of the brass arrangements which distinguished the first album. The music remains well performed and accomplished, but in general it lacks the spark which propelled the magnificent debut.

In all, a great way to discover this sadly forgotten band from the early days of prog.

Review by Easy Livin, Progarchives