THE FLOCK

The back cover of 'Inside Out' tells the story of a band that just couldn't stay down, one whose music was crying to get out and led to a metamorphosis of the group with the unknown Mike Zydowsky taking Goodman's place on violin and Mercury replacing Columbia as the bankroll behind the outfit. That's the story as the band told it anyway; the music on this third and final studio effort tells a slightly different story. There are minor flashes of the grand and progressive sound, particularly on the instrumental "Metamorphosis" that features plenty of bent and wandering violin work along with tempo shifts and driving percussion, albeit in a decidedly more rocking vein than their brass- driven earlier work. But that song seems to be the best they could muster on what is otherwise a fairly brief effort consisting of three pedestrian and indistinctive rockers in "Music for our Friends", "Hang On" and "Back to You", along with another violin-dominated number ("My O.K. Today") that tries too hard to be a sort of resurrection anthem for a group that has clearly lost its magic.

The album closes with "Straight Home", a wandering, mostly instrumental tune that displays the talents of the other new member, keyboardist James Hirsen. In fact, Hirsen's presence is felt much more on this record than any of the brass section or violin sounds that so defined the band's sound in their earlier lineup. The abrupt and unimaginative ending ("Music for our Friends" also faded out like a studio track that ran out of tape), showed that the band had little left in the tank as far as creative energy.

Other than "Metamorphosis" this is a forgettable album with little left that resembled the big, spacious brass-rock sound of the group's earlier work. Most of the members pretty much faded away after the record failed at launch to make any inroads into their former fanbase or attract any new interest. The group would reform with a couple different lineups over the years, but for the most part this was a weak swan song. The times were changing anyway, and even peers like Chicago and Steely Dan were adapting their sound into something more commercially appealing and decidedly less progressive than the more ambitious stuff that briefly filled the airwaves in the early seventies. This is easily the weakest of the three Flock albums, and one that only serious fans of the band would likely ever be interested in. Pick it up in a cutout bin if you're so inclined, but be prepared to be underwhelmed. Two stars and not recommended, except maybe for the minor bright spot "Metamorphosis".

peace

The opening "Green Slice" sounds like Steve Howe setting in on a session with Jerry Garcia, while "Big Bird" retains that country-fried rock sound but adds in the discordant brass that distinguished the middle part of their first album.

"Hornschmeyer's Island" would qualify these guys as a progressive band even if none of their other music had. The shifting tempos and moods along with a blast of vocals followed by a series of contrasting saxophones and trumpet make for a complex and engaging song all by themselves, but the shift midway to a torrid bass rhythm and dissonant violin solo is simply too cool for 1971, and something that impresses even today. Only a real turd of a filler track would have taken away from this, and fortunately the band managed to avoid including such a track which ultimately saves the record as a whole.

I think the oddest tune in the band's entire discography comes next on this record, a bluesy and driving version of James Taylor's laconic "Lighthouse" that apparently only salvages a few of the original lyrics and a heavily amped-up version of Taylor's guitar chord progression. Otherwise this is a heavy rock number that bears almost no resemblance to the original, but does trot out the same sort of harmonized vocals their debut album features, but that sound much better this time around thanks to the improved engineering.

"Crabfoot" is mostly an instrumental track with plenty of trumpet and saxophone (three of them if I hear correctly), a blazing number that shows the band members had managed to gel as a unit after a couple years of touring and studio work together. The scat-like vocals toward the end are unnecessary but don't take much away from the groove.

I'm not sure what the group was trying to accomplish with "Mermaid", a sort of British folk- sounding minstrelly thing that I probably would have appreciated more had it come out on a Dulcimer or Incredible String Album rather than a Flock record. Still, I like the song and give the group some credit for being willing to experiment.

Finally "Uranian Sircus" starts off sounding like something Principal Edward's Magic Theatre would have done, but morphs into a funky and almost psych number with a hippy version of white rap and a frenetic guitar riff that is as annoying as it is intriguing. A truly weird tune that could have only been recorded in 1971 or by Ozric Tentacles, and probably nowhere in between. Very cool.

I actually like this album better than the band's debut, although in the end I can't give it anymore than the three stars I gave that one simply because it is good but not outstanding. Three stars in a five star rating system is just too broad a range I guess. Anyway if you are curious at all about the band I would recommend this one first, followed by their debut record if you're still interested. And there's a CD reissue that combines both of them if you're feeling frisky and want to check them both out.

peace

This debut album is rather brief compared to some of the more grandiloquent and lengthy early releases by some of their peers, particularly Chicago and BS&T. And Goodman's electric violin overshadows most of the music, with the brass section playing a complementary role but not dominating as did the horns of the other brass-rock bands of the era. In fact, the first two tracks on this album ("Introduction" and "Clown") are virtually primers on how to employ a violin on a rock album, with "Introduction" being nearly a Goodman solo save for mellow percussion rhythm and a bit of guitar.

The other interesting tracks here are the pompous cover of the Kinks "Tired of Waiting" and the lengthy jam "Truth". "Tired of Waiting" is enhanced by significant fuzzed guitar and a fleshed out the bass line that far exceed the original, in addition to a brief but impressive appearance of Goodman's violin toward the end. "Truth" features the most brass on the album but the band still can't resist adding a lengthy and sometimes disjointed violin solo midway through before descending into a rather glorious brass/bass jam session. Despite the constant comparisons to Chicago, other than the violin this song sounds more like the first Chicago album than anything else on the record.

The only track that borders on filler is "Store Bought - Store Thought" with it's overemphasis of rather weak vocals and lack of general direction. A modestly decent tune but not on par with the rest of the record.

This was an interesting debut by a band that showed considerable talent and promise as the seventies dawned. Unfortunately they were unable to capitalize and despite a couple more records the Flock would disintegrate before the decade reached its midpoint. A good though not great album, but mildly recommended to anyone who has ever been a fan of jam-length, brassy music in the vein of Chicago and the like. Three stars.

peace

Then pacing through a big part of Dinosaur Swamps, the group's follow-up album, some of the most- representative tracks. The last four tracks of this compilation album being from a Dec 70 session that was to be the group's third album, which would never see the day until this "best of". But if these previously unreleased tracks are to be representative of their third album, then it's a real shame TF broke up, because they were finally about to make a real worthy album for its PA inclusion. Most likely this would've been a live album, named Flock Rock, the name of this compilation and the recordings do not have the same quality as the studio stuff, these being slightly muddy. The short Chanja seems to be an outtake from a killer blues track and features some excellent jazzy jammy moments. Atlantians Trucking Home has the same jam feeling, this time the group having a slight Allman Bros Band, especially on the double guitars (Goodman and Glickstein) with Webb's flute getting some cool licks in. Afrika is yet another jam good jam where the brass section pulls some excellent call and responses. Closing up this "third album" session is the superb Just Do It, with a Coltrane swing, mostly induced by Glichstein's piano, evidently inspired on the awesome McCoy Tyner and as you could guess Canoff and Gerber's sax lines.

With this album being a sort of "best of" with some unreleased live material, Flock rock might just be the only album you'll need from them. Indeed, I'm not that much a fan of TF's two studio albums ((there is nothing that's not done better by Chicago or UK groups like Warm Dust or Galliard) and the choice of this album to omit the debut's two of three longer tracks is a wise one, the selection from DS being a tad more disputable.

The music here is less jazz oriented than on their first two albums and there are some very good tracks in here. Still, jazz is very much present during the longest song from this album : "Back To You". It goes along with the poorest : "Hang On" which is a funky / soul song which is best avoided, believe me.

The best number out of this album is "Metamorphosis". Fantastic violin play from Mike and wonderful beat. If only they would have produced more of these. The closing part is simply gorgeous. Full of classicism. Vibrant, poignant, emotional : you name it. THE highlight of course.

Frank Pappalardi (from "Mountain") produced the album which was recorded during a short reunion. Unlike some purists (not on this site), I can't write that this album is bad. It holds several very good violin breaks, nice compositions ("My OK Today" is another one). The closing number is also very intense : powerful drumming, impressive keys and great bass play. Another highlight.

This is a good album after all. But there is no trace of this work on their official website as if the band would like to hide this release.

Three stars.

More jazz-oriented ("Green Slice"° or a combo country-jazz ("Big Bird"° which is excessively poor are not the best start I could have imagined. But things do improve with the subtle "Hornschmeyer's Island". The great Jerry Goodman performs an excellent violin part and vocals are sweet and emotional. Wind instruments not being too present is also a plus as far as I am concerned. The highlight of this album.

The same feeling prevails during "Mermaid". The least jazzy tune form this album. Again Jerry shows all his talent during his violin play which is definitely the highlight of this song (and album). Vocal harmonies are also well balanced.

If you are into jazz-rock, this album deserves your attention. If not, you might be disappointed by the little progressiveness you will discover.

I have a special tenderness for this band, although they don't really play the type of music I am found of, they are so closely related to my early teens with their first album that I'm going to rate this one with two stars. There are no such tracks as "Clown" or I Am The Tall Tree. If ever you would like to discover this band, you should stick to their debut album.

Actually, I first came in contact with The Flock in 1971. I got a CBS sampler album on loan ("Fill Your Head With Rock") and one of the tracks featured was "Tired Of Waiting" which is featured here as well. I liked it and while I was lying in my bed in 1972 (the whole year actually), I used my mail order system to buy this album.

Since my eldest cousin was doing his military service in Germany, he could purchase record at half price. Needless to say that I used this option substantially during this year.

So, the first time I listened to this album, I was a bit disappointed since there was a lot of sax and an overall jazzy mood. But I kept on listening to it (I had basically nothing else to do since I couldn't walk for more than ten months) and I managed to even like this album (although moderately).

Music here is diverse : the great violin play especially during "Introduction" but not only is definitely a highlight of this album. The great jamming capabilities of this band being another one (the instrumental section of "Clown" for instance). Subtle music and beautiful vocal ("I Am The Tall Tree") adds another string to their bow; that's a given.

Their style is very unique. Remember, this was recorded in 1969. To have a full time violinist was not common in those days. And this introduction was rather successful. But to be honest, I had not listened to this album for a very, very long time. I did it some three years ago as well as today for the purpose of this review.

I have to say that my opinion about "Tired of Waiting" has changed a bit. Not as great as I thought. Vocals are excellent and as usual, Jerry Goodman is fabulous. Not bad a track at the end of the day. And the same impression prevails about S"tore Bought.". Even if there is a good guitar section, the brass parts are too much in here.

This album closes on "Truth", the epic track of the album. Over fifteen minutes of a heavy bluesy mood. This one has always been difficult to listen to. Even if there are some cues, this seems widely improvised style; brass being over dominating. Great violin solo again, but you have been used to this by now. It ends up as a complete chaos.

I have been brought back some thirty-six years ago. A souvenir of my youth. I guess that it is always nice (even if '72 was rather painful for me as far as health is concerned). I will rate this work with three stars, sentimentally. An original and different album.