Jody Grind - One Step On TRA 120 UK LP 1st Press 1969

£ 52

$ 69

£ 52 Sold For

Nov 2, 2008 Sold Date

Oct 23, 2008 Start Date

13 Number Of Bids

Great Britain Country Of Seller

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Description

We have lots more 60's & 70's Psychedelic Vinyl in our Shop

Album Information

Artist Jody Grind Title One Step On Record Label Transatlantic Cat. number TRA 120 Mono/Stereo? S

Country

UK Recorded 1969 Matrix no. TRA 120 A1 TRA 120 B1 Please enquire if you need the matrix numbers

Album Condition

Disc

Marks

Side 1

Side 2 EX

Surface
Hairlines

Side 1

EX Side 2 VG Light surface hairline

Scratches

Side 1

EX Side 2 EX

Other Info.

Disc looks hardly played

Sound

Surface Noise

Side 1

Side 2 EX

Pops/Clicks

Side 1

EX Side 2 VG Light surface hairline - occasional light crackle

Scratches

Side 1

EX Side 2 EX Other Info.

Sleeve

Ring / Surface Wear

Front

EX Back EX Inside EX

Card Creases

Front

EX A few laminate creases Back EX A few laminate creases Inside EX

Shelf Wear

Edge

VG Light feathering at open edge Spine EX Corner EX Other Info.

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Background Information

Click on the link to find the original source of this information: - One Step On 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.

Jody Grind's debut album was early progressive rock with a somewhat jazzier orientation than most such bands, though the playing was a good sight more impressive than the singing and songwriting. There's a fairly grim tone to the original material, all (save a cover of the Rolling Stones' "Paint It Black") written by Tim Hinkley and Ivan Zagni, who wrench extended heavy blues-jazzy solos out of their organ and guitar respectively.

The showcase is an eighteen-minute, four-part suite, "One Step On," that like many long rock tracks of the time go on for way too long, incorporating horn fanfares, lurching tempos, and operatic vocals (and, yes, a drum solo). Hinkley's skilled Hammond organ work — shown to best advantage on "Little Message" and the most appealing song on the album, "Night Today" — stands up well to the keyboards of well-known early prog-rockers like Keith Emerson, Vincent Crane (of the Crazy World of Arthur Brown), and Brian Auger.

But he doesn't have material or singers on the same level as any of those more celebrated musicians did, nor did he establish as strikingly identifiable an instrumental style.

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