For casual fans and classic rock stations, the history of Grand Funk pretty much ends in 1975, but the trio actually soldiered on for two more albums before splitting for solo projects. In 1981, drummer Don Brewer and guitarist/singer/songwriter Mark Farner reunited and put out Grand Funk Lives to a musical world that had long since moved on to new wave, alternative, corporate arena rock, punk and the first stirrings of hip hop.
In keeping with the times, Grand Funk followed the format of many ‘70s bands by shortening and simplifying the songs and modernizing the production. There are times where this barely sounds like the same band that recorded “We’re An American Band,” and there is nothing here in common with the band’s early power-trio output. Part of that could be because keyboard player Craig Frost and original bassist Mel Schacher are missing, the latter replaced by Dennis Bellinger, but most of it is a desire to return to the band’s brief pop-rock hitmaking period of 1973-75.
This means no extended jams via Grand Funk, no wallowing in the bluesy murk via On Time, no overt preaching or padding via Survival, but rather a logical successor to All The Girls In The World Beware! and Shinin’ On. As far as comeback albums go, it is quite good, way more fun than Born To Die and probably underrated by even longtime Grand Funk fans. It sounds like a debut record, actually, with a cover song, easily-heard influences and a lively, if dated, spark.
“Testify” and “Queen Bee” rank up there with any other late-period GF song; the latter has mid-‘70s Black Sabbath influences and was featured in the Heavy Metal movie. “Can’t Be With You Tonight” tries for a “Mean Mistreater” feel but sounds instead like a Hall & Oates song by way of Heart, while “Stuck in the Middle” is a cheesy uptempo pop rocker that recalls 10cc’s “Things We Do For Love,” which is kind of depressing when you consider Grand Funk’s storied discography. “Y.O.U.” and “Good Times” are serviceable filler cuts, at least.
One of Farner’s strengths that he doesn’t get much credit for is adding an element of drama into his songwriting, such as the bridge to “Closer To Home,” the closing section of “Loneliness,” and songs like “Take Me,” “The Railroad” and “Loneliest Rider,” all of which casual observers may have missed while listening to “The Locomotion.” In that vein, “No Reason Why” is the best song here, a minor-key piece with a fine verse/chorus and an even better middle section, the only time Farner allows himself a solo that cries as much as his voice does. The song sounds like it influenced a number of mid-‘90s post-alternative bands like Candlebox and Live; it’s not the kind of song Farner could have written in 1972.
The cover here is an energetic take on the Animals’ “We Gotta Get Out Of This Place,” adding an element of desperation missing from the original and staking claim as the band’s best cover version (no, it’s not “Gimme Shelter” or “The Locomotion,” and you hush). “Greed Of Man” is a good ol’ fashioned Farner lecture, but ignore the words and a pretty good rock song is underneath, while “Wait For Me” ends things on a shrug.
The best thing I can say about Grand Funk Lives is that it does not attempt to recreate its arena rock past or ape the current arena rockers of 1981 (Styx, REO Speedwagon, Kansas, Journey, etc.), but goes its own route. For a band that did its own thing and never gave two shits about critics, this is perfectly in line. The problem is that the random early ‘80s influences and the lack of truly great songs (outside of “No Reason Why,” “We Gotta Get Out of This Place” and maybe “Queen Bee”) keeps this from rising above. But as comeback and 1981 rock albums go, it’s pretty good, and Grand Funk fans who forgot about this one would do well to rediscover it.
