Cleveland garage rock legends’ stellar unreleased 1969 album

Many rock ‘n’ roll fans were introduced to The Choir through the appearance of their 1966 single “It’s Cold Outside” on Pebbles, Vol. 2. In those pre-Internet days, fans learned from the album’s liner notes of the band’s Cleveland roots (and teased Stiv Bators’ 1979 cover), but failed to learn of the connection between the Choir and Cleveland’s greatest-ever pop export, Raspberries. What many found out later is that the Choir’s Wally Bryson, Jim Bonfanti and Dave Smalley would join with Eric Carmen (who’d unsuccessfully auditioned to sing with the Choir) to form Raspberries. Even less known was that after the Choir initially disbanded in 1968, they reformed a few months later with three new members, including organist Phil Giallombardo, joining keyboard player Kenny Margolis and drummer Jim Bonfanti.

This latter lineup recorded ten tracks in 1969, unsuccessfully shopped the results to labels, released a cover of the Easybeats’ “Gonna Have a Good Time Tonight,” and broke up for good in 1970. Although the title track of this collection was included on a 1976 Bomp EP, and three more turned up on Sundazed’s 1994 collection Choir Practice, the rest of the 1969 project was only recently rediscovered by the studio owner’s son, and is issued here for the very first time. By this point in the Choir’s history their sound was heavier than the garage rock of 1966, anchored by Hammond organ and hard rock, psychedelic guitars. Touches of pop-jazz (ala BS&T) and progressive rock mingled in, but the band retained their melodic roots in the British Invasion, as evidenced here by a cover of the Kinks’ “David Watts.”

Phil Giallombardo cites Procol Harum as a primary influence, but you can also hear the Left Bank’s baroque pop in “Anyway I Can,” Steppenwolf’s roar in “If These Are Men,” Robin Gibb’s fragility in “Have I No Love to Offer,” Santana’s organ magic in the instrumental “For Eric,” and the Lovin’ Spoonful’s good-timey vibes in “Mummer Band.” What’s most bewitching about this material is that three years on from “It’s Cold Outside,” the new lineup touches on the band’s earlier pop roots while seamlessly transitioning to a new, heavier direction that includes explosive drumming, heavy organ and blistering guitar solos. These are finished stereo productions, packaged with a 12-page booklet that includes period photos and a band family tree. It’s hard to imagine how no one took a commercial interest in these tapes at the time, but it’s great to have them now! [©2018 Hyperbolium]