THE FLOCK

I played in a neighourhood band from 1966 to 1971 in Oakville, Ontario, and we played all of the public schools, high schools, frat and sorority parties in the pre-GTA. We started with The Rascals, Ther Grass Roots (pre-CTA), converted to R & B (Wilson Pickett, Booker T., et al ) then discoverd B. S. & T., Chicago Transit Autority (cover band for albumn I)., and then we heard 'The Flock', and Brian Auger and the Trinity.

In 1970, we actually realised they recorde multi-intrunent jams we had been trying to do. Hey, we could write our own stuff, but we stuck with the gods of free-form...CTA wit Terry Kath, and The Flock. We had horns for a long time, and then the B-3 with Cris Budd took up more than enough slack for the strings and the horns.

We honestly did perform "Clown" and "Tired of Waiting" in front many Friday and Sturday night dances across the northewest shore of Lake Ontario in late 1969 and 1970. Up until "The Ides of March" smoothed out format, refined production, (Wooden Ships), and defined horns as integral in whatever tunes were coming.

The Flock were not ahead of their time...they helped push peripheral appreciation and style, and empowered a lot of R&R players to try ours, AND include jamming with any and every instrument player's, and freedom and anticipatory respect in the room...until it sounded really good...or not.