"For a time they outsold Deep Purple, Black Sabbath and Led Zeppelin": The Grand Funk Railroad albums you should definitely listen to

Grand Funk Railroad sitting in woodland
(Image credit: Michael Ochs Archives/Getty Images)

“The wild shirtless lyrics of Mark Farner, the bong-rattling bass of Mel Schacher; the competent drum work of Don Brewer.” – Homer Simpson.

It’s difficult to believe today that, for a large part of the early 70s, Grand Funk were the biggest band in America; outselling Deep Purple, Black Sabbath and Led Zeppelin. They were Capitol Records’ second-highest-grossing band next to The Beatles, and were the first US act to have 10 consecutive platinum albums. Yet this success didn’t stop them being critically vilified (Rolling Stone called them “simplistic, talentless, one-dimensional, unmusical”), and today they are remembered only by the American blue-collar, middle-aged masses, and an overweight, simple-minded, hepatic-coloured cartoon character.

“Grand Funk were one of the most hardworking and professional Detroit bands,” noted Meat Loaf, a regular at the legendary Grande Ballroom. “All the other bands watched them in awe and respected them for putting Motor City back on the map.”

Coming from the resolutely working-class environs of Flint, Michigan, Grand Funk began life as an above-average bar band called The Pack, fronted by Terry Knight. When Knight left for New York, the band’s career rapidly went down the tubes. So remaining members Mark Farner and Don Brewer reached out to their old lead singer. Knight agreed to help, on condition that he was allowed complete control as “manager, producer, press spokesman and musical mentor”. So began one of the most successful – though fractious and volatile – careers in rock history.

Recruiting bassist Mel Schacher, they went on the road with a show that had the ferocious energy of a James Brown Revue mixed with raw hard rock. A series of shows at the Atlanta Pop Festival in July 1969 made their name. Knight’s marketing genius combined with relentless touring ensured that by the time they released their first album, On Time, in August ’69 they were well on their way to multi-platinum discs and sellout arenas. A chart phenomenon in America only, they played sold-out shows all over the world.

“Journalists couldn’t feel it, but there was a rawness that went right to our audience,” recalls Brewer. Hail Grand Funk Railroad: the original People’s Band.

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Grand Funk (Capitol, 1969)

Grand Funk (Capitol, 1969)

The ultimate GFR fan’s Desert Island Disc, this is a high-decibel riposte to the Woodstock generation. Everything about it is perfect, from the iconic cover to what lays within the grooves – a bludgeoning riff machine with soul, powered along by Farner’s unique fuzzed-up Messenger guitar sound. This was grassroots music for a new pissed-off generation who simply wanted to rock and enjoyed the fact that contemporary media didn’t care for their band.

As documentary-maker, Detroit native and bona fide Funk fan Michael Moore astutely put it: “Grand Funk were a hard-driving, industrial rock’n’roll band that related to the average hard-working American”.

Live Album (Capitol, 1970)

Live Album (Capitol, 1970)

In 1971, Grand Funk released their two most successful discs, Closer To Home and Live Album. Unhampered by any production values, Live Album is bootleg quality and all the better for it, because onstage is where their raw energy reached its peak.

One of many standout tracks is a cover of The Animals’ Inside Looking Out – a Detroit sound history lesson. And it’s still fun to hear Farner on Words Of Wisdom warning the audience not to accept illicit substances from ‘the brothers and sisters’ while obviously flambéd on THC himself. Fans of this album include Arch Druid Noisenik Julian Cope, who says GFR inspired his band Brain Donor.

Closer To Home (Capitol, 1970)

Closer To Home (Capitol, 1970)

“Three who belong to the New Culture setting foot on its final voyage through a dying world,” gushed Terry Knight in the liner notes, sounding like an adolescent schoolgirl/trekkie fan. Closer To Home captures GFR on a roll. With the first track, heavy metal blitzkrieg Sin’s A Good Man’s Brother, Farner’s political and religious leanings start to become clear on this album.

That may have pissed off the others, but musically it struck gold as demonstrated by I’m Your Captain (Closer To Home). At over ten minutes it was hardly an obvious single but, adopted by Vietnam vets as their anti-war anthem, it scored the band’s first top 40 hit

E Pluribus Funk (Capitol, 1971)

E Pluribus Funk (Capitol, 1971)

Housed in a garish silver sleeve depicting an American Dime, Pluribus was the band’s swansong with Terry Knight. Although they were burnt out by a ferocious work rate and battles with their former manager, this album gives no indication of the emotional alltime low.

In fact, opener Footstompin’ Music is probably the most joyous, positive piece the band ever recorded. Part gospel, part boogie shuffle, in later years it took the place of Are You Ready at the start of their live set. People Let’s Stop The War again voiced Farner’s political concerns, while the lush orchestration of Loneliness attempted to recapture the success of I’m Your Captain.

Survival (Capitol, 1971)

Survival (Capitol, 1971)

Their fourth album and, recorded in a relatively luxurious six weeks, probably the best produced – by their primitive standards. From chugging Country Road’s descending chords onwards, song arrangements feel more structured and thought out. Farner’s religious zeal surfaces in Comfort and I Can Feel Him In The Morning. All You’ve Got Is Money is a fairly blatant dig at Terry Knight; the hysterical female screaming over the solo giving it an ominous edge.

One review understandably wondered whether the band’s choice of covers – Traffic’s Feelin’ Alright and the Stones’ Gimme Shelter – indicated good taste or shortage of material.

We’re An American Band (Capitol, 1973)

We’re An American Band (Capitol, 1973)

In parting with Terry Knight, Grand Funk lost not only most of their money but the right to use their full name. Still, they had a new manager, Andy Cavaliere, new keyboard player – former Bob Seger member Craig Frost – and a new producer, Todd Rundgren, who gave the band a more polished, commercial sound.

This was proven when the title track became their first number one single. This tale of a lively evening with legendary blues guitarist Freddie King and über groupie Little Connie from Little Rock later attracted covers by Bon Jovi, Kid Rock, Poison, Phish and… the Village People?

Good Singin’, Good Playin’ (MCA, 1976)

Good Singin’, Good Playin’ (MCA, 1976)

One of rock history’s least likely alliances came about when, in a last-ditch attempt to save their declining career, and inspired by Frank Zappa opus One Size Fits All, they decided to call the maestro. It was love at first sight. “They’re great fucking singers and the only rock’n’roll people I enjoy hanging out with,” Zappa explained when bemused reporters asked about the collaboration.

Apart from adding outstanding production, he also laid down some eviscerating heavy-metal licks on Out To Get You and backing vocals on Rubberneck. A worthy effort, unfortunately it didn’t do any chart damage and the band split up shortly after its release.

Bosnia (Capitol, 1997)

Bosnia (Capitol, 1997)

In 1996 the original line-up reunited and took to the heritage trail with a sold-out tour, culminating a year later in their hometown of Detroit with three benefit concerts for Bosnia.

Featuring a full symphony orchestra conducted by musical director Paul Schaffer, these shows gave the band a chance to relive their glory days in a more sophisticated environment with a spectacular version of Closer To Home, sans Terry Knight’s garage production. Peter Frampton makes a welcome guest appearance on Time Machine, transforming it into a guitar workout shuffle. Sadly, this was the last time the triumvirate would play together.

On Time (Capitol, 1969)

On Time (Capitol, 1969)

Recorded in three days and on sale almost before the ink on their Capitol contract had dried, On Time was a mishmash of reworked Pack material and a few new songs whacked out on the spot during a period when drummer Don Brewer admitted that studio recordings were not a priority.

Produced by Terry Knight and engineered by Kenneth Hamann, the team who worked on their first six albums, it’s a technical disaster, a fog of crass, rank amateurism, through which Grand Funk somehow sound exciting, intriguing and new. More R&B than metal, they were a welcome antidote to the self-indulgent prog noodlings and bubblegum pop of the era.

...and one to avoid

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What’s Funk (Warner Brothers, 1983)

What’s Funk (Warner Brothers, 1983)

Leave aside Good Playin’ and Bosnia and you could pretty much throw a dart at anything GFR recorded after 1974 and nail a prime turkey, as exemplified by What’s Funk. The title sucks, the cover (woman in a swimsuit wielding jump leads) is a sub-Hipgnosis attempt at cool, and the music, produced by late, great Nugent drummer Cliff Davies and Gary Lyons (Aerosmith/UFO), stabs desperately at contemporaneity.

Only Farner’s fiery political rant, El Salvador, and a passable cover of It’s A Man’s World alleviate a motley song selection. Featuring just two original members, What’s Funk sorely misses is the ‘bongrattling bass of Mel Schacher’.

Peter Makowski

Pete Makowski joined Sounds music weekly aged 15 as a messenger boy, and was soon reviewing albums. When no-one at the paper wanted to review Deep Purple's Made In Japan in December 1972, Makowski did the honours. The following week the phone rang in the Sounds office. It was Purple guitarist Ritchie Blackmore. "Thanks for the review," said Blackmore. "How would you like to come on tour with us in Europe?" He also wrote for Street Life, New Music News, Kerrang!, Soundcheck, Metal Hammer and This Is Rock, and was a press officer for Black SabbathHawkwindMotörhead, the New York Dolls and more. Sounds Editor Geoff Barton introduced Makowski to photographer Ross Halfin with the words, “You’ll be bad for each other,” creating a partnership that spanned three decades. Halfin and Makowski worked on dozens of articles for Classic Rock in the 00-10s, bringing back stories that crackled with humour and insight. Pete died in November 2021.