Mark Farner Comments on Grand Funk Railroad Critics

Stand down, soldier. I wore out a copy of Caught In The Act as a kid. Have a look at the thread title. Nickelback takes a slagging from critics for the same reasons GFR did - accusations of lowbrow, primitive cave-rock aimed at the lowest common denominator. Uncool. Short-bus music. Nickelback, love 'em or loathe 'em, sells a ton of music and tickets to a large and faithful following despite said slagging. Just like GFR did. The parallel is clear, at least in my mind. It's just musical snobbery and piling on to build critical credibility isn't a phenomemon that was designed originally for Nickelback haters to wield like a club. It was trendy among critics to diss GFR then like it is to dump on Nickelback now. Try being a Pearl Jam fan - same deal but not quite as amped up.

D.D.

 

"Who can dislike a success story? Grand Funk Railroad is the biggest American rock group in history. In less than two years they have made five albums, each of which has sold over a million copies –— the last two on the day of their release. "
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"At 9:50 PM they uncorked "I'm Your Captain," from the Closer to Homealbum. It's one of their best songs, with words effective enough to enable a non-fan to listen to it straight through without getting a headache or nodding off. "
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"On it went. I ran into David Silver, a peyote scholar from London, who was disgusted with the whole thing. "These men are not musicians —– they're musical storm troopers," he fumed. "You play music to display something elusive; you don't play music to show something obvious."....

"When the cheers died down, they did "Gimme Shelter," in which Funk displays its sensitivity to other people's songs –— approximately the sensitivity of Vandals gazing at the statuary of ancient Rome. "

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"If the Beatles represented the baroque rock development of the music, Grand Funk is rococo,"

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Grand Funk Railroad: Is This Band Terrible? »

 

Yes, I have just provided all sorts of examples of the critics going after GFR, some of it very funny. (And I don't know anything about Nickelback, other than they get dumped on all the time.)

 

The Nickelback comparison, in my opinion, is only plausible when compared against the AM Radio Hits portion of GFR's run. I would concede that We're An American Band could be a 1973 version of Nickelback or 3 Doors Down. In fact, for better or worse, it might be the first "Corporate Rock" song to reach the charts. I am actually very disappointed that this turned into their most remembered song, even though I am not an anti "Corporate Rock" snob.

But I can't see the Nickelback comparison when you listen to songs like Paranoid, Into The Sun, Winter and My Soul, Freedom is for Children or most of the 1969-1971 material. Maybe someone does, but they would be wrong.

 

There has been so much written about GFR ...from critics and fans, from the press to contemporaries in the business... that it's exceedingly difficult to separate fact from fiction or legend derived from myth. My opinions shouldn't be given more weight than anyone else's, but my views are informed by reported interviews and a reasonably objective analysis of the group's rise and decline in popularity.

In another thread quite awhile back I made some relevant observations of the group based on quotes from the original members and their original manager (Terry Knight) and articles written about them during and after their heyday. Without covering too much old ground, let me just say that I'm inclined to give much more credit to Terry Knight for the group's success than those who feel the group suffered gravely from his abuse.

Managers of aspiring groups back in the 60's & 70's had a difficult job of keeping musicians happy while selling their talents to record companies along with a vision for profitability that would satisfy a corporate bottom line. GFR's success on a national level was entirely the brainstorm of Terry Knight. Everything folks have said about Terry's greed and iron fisted control of Mark, Don & Mel is based in fact, but so were his promises. TK made the deal with Capitol Records and he had the vision that brought the group fame. Money was less of an issue for the group at the time.

Without Terry Knight, it's debatable whether GFR would be known today, ...and not because they lacked talent. A lot of musicians have talent who never break out as recording artists. In those days, you either snagged a recording contract by having the kind of management that could open doors, or you played covers in clubs while trying to compose an original song worthy of air play while hoping to be discovered.

Eventually the realities of life usually caught up with struggling musicians and a job at a local car dealership or department store became the more achievable ambition. But for struggling musicians desperate to break into the business, promoters like Terry Knight with music biz connections and a savvy awareness that songwriting skills were less important to getting attention than having the right sound and style to connect with contemporary audiences could make the difference. Terry Knght had the smarts to make it happen for GFR.

So, without rehashing the history of GFR's success with albums and audiences from '69-'72, let's look at the decisions made by the group after the unharmonious dissolution of their relationship with Terry Knight. BTW, I'll skip around the lawsuit Knight filed after Mark broke their contract, issues with the group name ownership and income tax issues that Mark failed to grasp when severing ties with TK.

One of the first things GFR did ...now helmed by Mark Farner and general consensus of other members... was to hire Craig Frost as a full participating member. On the surface, this seems like a reasonable idea to add more keyboard depth to the sounds and musical direction Mark wanted for the group, but Mark already played keyboards as well as guitar so the addition seems perfunctory at best. Also, there is little indication that Craig added much in the songwriting department, so the decision ends up being a headscratcher.

The success of GFR had been built on strong albums with long soulful blues-based anthems, great hooks, powerful vocals and simplicity. After E. Pluribus Funk (Terry Knight's last with the group) ...which had a minor Top 40 radio friendly hit with Footstompin' Music... the new Grand Funk under Mark's leadership would focus more on cranking out hit singles and less on harder edged, album oriented rock, moving more toward a funkier sound in keeping with their group name.

Phoenix was intended to be the new improved GFR breakout rising from the ashes of an old dysfunctional management relationship. Alas, Phoenix didn't exactly bomb, but it was a mixed bag. More slick studio production got them a few good tunes and minor hits, but nothing earth shattering and mostly forgettable filler. The group still had the Grand Funk sound, but the "people's band" seemed to be searching for another sound, trying to change direction to keep up with perceived changes in popular music trends.

To make a long story a little shorter, the new four piece Grand Funk did manage to hit Top 40 pay dirt with Don Brewer's best songwriting effort We're An American Band. That said, their albums were now hit and miss, with frequent changing of producers and fewer consistent albums than their prior incarnation as a revered power trio that could blow the lid off of any stadium. At least under Terry Knight's stewardship GFR had strong filler that made fans want to listen to an entire album at a sitting. Even the group's often audacious album cover art demanded attention.

After this lengthy analysis of GFR, I'm not sure that there is a point to be made. Maybe it's that some fans of their music will look at the group with less jaundiced eyes. Mistakes were made, costly mistakes, that may have been unavoidable. In retrospect, it seems clear that stubbornness and inflated egos played a part in GFR splitting from Terry Knight too soon and that Mark's redirection of the group and tax frustrations would eventually lead to a breakup of the group coinciding with weaker singles and declining album sales.


Cat

 

Not comparing the actual bands or their musical output - that's nuts & gum. Just drawing a parallel between two "heartland bands" and the critical reaction to them despite a generation or more between them. You're missing the point.

D.D.

 

The only critics at the time who had anything good to say about them were Lenny Kaye and the folks at CREEM. That whole "people's band" thing didn't sit well with a lot of critics. They weren't revolutionaries (like the MC5) or purveyors of whatever the hell it was The Stooges were doing back then. But their very work-a-day hard rock stance reached more people than either of those bands. Kids connected with them on a visceral level that had nothing to do with politics. I was one of them, saw them at the Fillmore and the first MSG show they did and they had it. Farner even said something back then along the lines of "I felt like if I told them to tear it all down, they would." History doesn't remember them fondly I guess, but if you were a teenager back then they were just as important as any other band you care to mention.

 

Very envious right now...
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Point taken, you are talking about similarities in critical reaction. Given that, I think that what you point out is an illustration of the mindset of the myopic groupthink of the prototypical rock critic who of course would not comprehend the differences regarding their musical output, or the context of the times in which each band respectively became popular.

 

Yeah. But they use Nickelback tunes as punishment for prisoners. GFR rules!

 

You wouldn't happen to remember the thread title, by happenstance? (Yes, I'd be interested in reading that old post.)

 

Search Results for Query: GRAND FUNK | Steve Hoffman Music Forums »[node]=2&c[user][0]=136

 

I know how to do that! I don't know which one has the particular post.

 

Then scan each one, there's only 27 posts. If you're that interested, you'll likely like what else he has to say.
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Thanks, it has been quite awhile, long enough that I don't recall the thread title or specific topic. You might do a search of "Terry Knight" or look through other threads discussing "Grand Funk". As time allows I'll try to locate it and if I manage to find it I'll send you a message.

As a fan of early GFR it seems a real pity that the group couldn't have extended their partnership with Terry Knight for another album, at least until the contract was up for renegotiation. IMO, Mark Farner really dropped the ball on this one.


Cat

 

I think I found it. Thanks.

 

Canadian police were originally going to use the drum solo from Caught In The Act but the UN stepped in.... Don Brewer could have ended up in front of the World Court in Le Hague. This would have pleased some here but in the end, it's Chad Kroeger's burden to bear. It's a mean ol' world...

D.D.

 

Wait. Did a gay marriage take place, perhaps ?

 

If so, I feel terrible. I didn't even send a card.

D.D.

 

Ah, yes, the "Reunion" thread. You found it quicker than I did!

Yeah, that mell would'a been a real Schacher!


Cat

 

Thanks to this thread I've gone back and listened to E Pluribus Funk and Phoenix. I had always considered We're An American Band to be the first album that started the decline but am now ready for a personal reappraisal!

It's Phoenix. Which probably means it all comes down to the firing of Terry Knight.

 

My biggest criticism of Grand Funk Railroad is that the mixes on their first few albums are completely AWFUL. Move Mel's bong rattling bass parts from the center to where Brewer's competent drum work is, and put Brewer in the center at least!

 

Best part of the red album is the KILLER BASS.

 

Well...I guess I wish I didn't know what I know now!

Skimmed through the tracks I was drawing a blank on from 30 Years of Funk 1969-1999.

Hooray, The End, To Get Back In, Destitute and Losin' and Take Me....if you don't know what these are you're in luck. Keep an uncluttered mind and stay as far away as possible!

Sally and Can You Do It: ha ha ha. If I had an inkling that GFR could stoop to this...I'm just speechless. Who produced this again? (!!)

And then they still managed Queen Bee. Helps just a bit.

 

Became a huge fan when Live Album was released! Only listen to it and the first 3 studio albums anymore. Still love those.

Saw them in Albuquerque in 1973 and it was an awesome show!!!