Lighthouse - One Fine Morning

Tracks

Side 1

		Track Name	Length
	1	Love of a Woman	05:53
	2	Little Kind Words	04:15
	3	Old Man	05:35
	4	Sing, Sing, Sing	03:21
	5	1849	06:13

Side 2

		Track Name	Length
	1	One Fine Morning	05:15
	2	Hats Off (To the Stranger)	03:36
	3	Show Me the Way	02:26
	4	Step Out on the Sea	05:04
	5	Sweet Lullabye	04:54

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Information/Write-up

I’M BEGINNING TO SEE THE LIGHT…HOUSE
Lighthouse is inseparable from its time and place of origin. Though not typically representative of the late-60's rock esthetic, the music of Lighthouse did partially represent the ethos of the times; free-wheeling, high-spirited, complex and inspired. More importantly, in their second iteration, they were able to find international success with their brand of "horn-rock." They rode the wave of new awareness in Canadian culture (namely music), buoyed by the CANCON regulations implemented in 1971. They released nine albums and nearly two dozen singles during their main run; many of which found varying degrees of chart success in Canada and abroad. They toured almost nonstop, playing in multiple countries, multiple times. Lighthouse was a group of top notch musicians who wrote great music that added variance to the rock genre. Endlessly compared to Chicago and Blood, Sweat & Tears (even being called a "poor man's" version of the former), Lighthouse consistently gave their American rivals a run for their money; sometimes triumphing.

Lighthouse was the brainchild of Skip Prokop; Canadian drummer, guitarist, singer and songwriter. He had an idea to combine a jazz-horn quartet, string quartet and rock rhythm section into one rock band. Skip was a co-founder and de facto leader of famed Toronto band "The Paupers." During their time together, the group garnered a devoted local following, had multiple hits in the challenging pre-CANCON market, and had a brief taste of the big-time before drugs and strained relations got in the way. While wrapping up the band's final U.S. tour, in New York, Skip met and befriended Paul Hoffert.

Paul was a New York born musician, composer, arranger, and play-write who moved to Toronto in 1956 with his family. He studied composition with Gordon Delamont and vibraphone briefly with Hagood Hardy in his teens. Soon after he'd start his own band and in 1961, at age 18, he released his debut studio album "The Jazz Roots Of Paul Hoffert." In the late 60's Paul studied mathematics and physics at the University of Toronto. He helped develop one of the first synthesizers at the National Research Council while finishing his degree at UofT.

Upon Skip and Paul's initial meeting, Paul was wrapping up work on his off-Broadway musical "Get Thee to Canterbury." As though fate brought them together, the day following this meeting, the pair was seated together on their flight back to Toronto. The two picked up where they left off the day prior; talking about favorite groups, genres, and music in general. Sometime during the journey, Skip told Paul about his idea. Intrigued, Paul asked Skip to contact him if he ended up going through with his vision.

Skip, now brimming with optimism and with Paul in tow, contacted and recruited Detroit guitarist Ralph Cole. During one of a few U.S. tours the Paupers had, the band was paired with Ralph's band, Detroit natives "Thyme" on their date at the Grande Ballroom. Through a miraculous feat of salesmanship, Skip managed to convince Ralph to pack up everything and move to Toronto to join the new (technically un-functioning) group. One crucial detail that Skip left out was that at this time, it was just him and Paul. Ralph arrived eager to play some dates and Skip promptly popped his bubble. With no money and no gigs to speak of, Ralph had to move in with Skip’s parents for several months before he could afford his own place.

It didn't take long for the trio to get to work and for the idea to begin taking shape. Skip and Paul called on a bevy of musical friends and colleagues to make up the lineup. Studio players and Toronto Symphony Orchestra members made up the initial ranks and with the group intact, the band developed a repertoire and planned a demo recording.

The band recorded their demo in Eastern Sound Studios Toronto, during 1968. After talking with friend and former label mate Richie Havens, Skip, on his advice, took the demo to MGM Records in New York City. The response when they played it for label brass was better than anyone could have hoped. By the end of the pitch meeting they had a record deal and a five-figure advance. Skip's former relationship with the label and one of their top executives Albert Grossman, resulted in much anticipation around their first release.

The band's next move was to consolidate their line-up and coordinate their material for a live debut back in Toronto. The line-up settled on Howard Shore (Alto Sax), Grant Fullerton (Bass/Vocals), Don Whitton and Leslie Schneider (Cello), Ralph Cole (Guitar/Vocals) Paul Hoffert (Keyboard/Vibraphone/Arranger/Musical Director), Skip Prokop (Drums/Vocals), Pinky Dauvin (Lead Vocals/Percussion), Russ Little (Trombone), Arnie Chycoski and Freddy Stone (Trumpet/Flugelhorn), Ian Guenther (Violin) and Don Dinovo (Violin/Viola).

After a few weeks rehearsing, they had a set list, and a debut headlining spot at the Rockpile East. The band made their debut live performance at the venue on May 14, 1969, introduced by none other than Duke Ellington. Their next gig was at New York's Carnegie Hall and would coincide with the recording of their debut studio album. Their manager, Vinnie Fusco, booked them into famed Electric Ladyland Studios. Sometime during these recordings, their manager came into the studio, excitedly explaining how he had just re-negotiated their contract with MGM. Although initially shocked, the band relented.

June of 1969 saw the release of Lighthouse' self-titled debut album as well as their first single "If There Ever Was A Time/Eight Miles High." With their contract re-negotiation, the band was now signed to RCA Victor. This saw the debut album and single released in Canada, The United States, France, Germany, New Zealand and Australia. The album featured ten interesting and varied songs. Lush strings, jazzy horn lines and four-part vocal harmonies added to wailing guitar, funky B3 organ and finely tuned psychedelic energy made up their early sound. Interesting as well, this album features mostly original material; seven songs were co-written by Skip Prokop and various other members of the group, one by Paul Hoffert and his wife Brenda and two covers. The album did well nationally and in the U.S. while the single managed to chart in Toronto (# 24 CHUM).

Over the next year, the band evolved at a rapid pace and so did their reputation. They had played a number of high profile gigs in Canada and the U.S, catching the attention of many. They were invited to play the famed Woodstock festival in August of 1969; the band turned it down (hindsight bit them on that one). They’d conduct a brief tour and upon their return got to work on their second album. Suite Feeling was released in November 1969, recorded at Toronto Eastern Sound Studio. It again featured primarily original material, with only two covers. The first single “Feel So Good/Places On Faces Four Blue Carpet Traces" was a hit in Canada peaking at #5 on the RPM charts and #55 on The Canadian Top 100.

1970 saw the band really trying to consolidate their U.S. standing. The band’s live reputation was huge at this time, but they were struggling to get their songs on the radio. AM Radio didn’t take kindly to Jazz-Rock in those days, especially when songs typically range from 4-8 minutes, and feature string and brass solos. The band was frustrated by poor album sales in Canada and abroad. In January the band booked time in RCA’s New York studio to record their third and final album for RCA (and with the original line-up).

February saw the release of the album “Peacing It All Together” alongside a promotional 45 from it “The Chant/Could You Be Concerned.” The album again dealt with poor sales and the single unfortunately only managed to chart on the RPM Charts; reaching #39. The band, frustrated at this point, had no choice but to go back on the road and try to make something of their new release. Their efforts paid off with a number of high-profile gigs that summer.

Around this time, singer Pinky Dauvin and bassist Grant Fullerton left the band due to frustration at lack of success. Both would embark on solo careers in the coming years. Louis Yacknin replaced Grant on bass guitar, and after extensive auditioning Bob McBride was brought in to replace Pinky Dauvin on vocals.

The McBride family has been one associated with musical greatness since the late 1960's. Reared in the heart of Toronto, the McBride boys fostered a love of music early on. Both Bob and his younger brother Danny took to the guitar at an early age. Bob (born November 17th, 1946) began playing with Ronnie Hawkins' band around the age of twenty. This continued until 1969 after which, a year long hiatus ensued. In June-July of 1970, Bob saw an advertisement that Lighthouse was auditioning for a new singer. He knew that this was his shot. When he auditioned for Lighthouse he was hired on the spot.

Little did the band know at the time, that Bob was the evolution in sound and image they needed. The change, relative charisma and vocal prowess of Bob would catapult Lighthouse to international success in the coming years.

July saw them represent Canada and Ontario at Japan’s Expo ’70. Later in August they appeared at Oshawa’s now famous Strawberry Fields Pop Festival. This was followed by an iconic appearance at the Isle of Wight Festival; where alongside Jimi Hendrix, the band was so well received, that they were asked to perform a second night. Given the competition (The Doors, Joni Mitchell, Chicago, Miles Davis, and The Who among others), this was an especially impressive feat and really makes one wonder how they would have been received at Woodstock a year prior.

One interesting side project that also took place that summer and resulted in a few months of tours for the group, was the creation of Ballet High, the world's first rock ballet. It was a collaboration between Lighthouse and the Royal Winnipeg Ballet, which debuted in Ottawa, at the National Arts Centre in July of 1970. Critical and public reception was high and after little urging, the group embarked on a country wide promotional tour. This ended around November-December of 1970; coinciding with some troubling news on the home front.

At the beginning of 1971, due to less than expected sales, Lighthouse was dropped from RCA. The sting of this was compounded by the label releasing a single from their third album, nearly a year after its release, without consulting the band.

The staggered group signed with Evolution in the U.S. and GRT in Canada, recording mostly in Toronto going forward. The band had now dropped from 13 to 11 members. It should also be mentioned that over their roughly two years together, some of the string and brass players were replaced, resulting in the only original members still in the band at the dawn of 1971 being Prokop, Hoffert, Cole, Dinovo, and Shore.

The band was ready to begin their next phase. Jimmy Ienner (later known for his work with Three Dog Night, The Raspberries and The Bay City Rollers) signed on as producer, honing the band’s new commercial sound. Skip Prokop took over the majority of the song writing chores, simplifying the sound and making the songs more radio friendly. This paired with the addition of and vocal talent of Bob McBride was exactly the change the group needed.

February of 1971 saw the group full of hope and optimism, enter the studio in Toronto, to record their fourth album (first with Bob singing). The first single was readied for release March of 1971 in the U.S. and April 1971 in Canada. “Hats Off To The Stranger/ Sing Sing Sing” failed to chart in the U.S. but managed to reach #9 on the RPM charts in Canada. The gigs picked up around this time and the band was all too happy to promote their new material. The album titled “One Fine Morning” was released in July, with a promotional single readied for August. This is where things changed for the band.

Both the album and its subsequent promotional single had great success upon release, not just in the U.S. and Canada. The album reached #14 on Canada’s RPM album chart, #80 on the U.S. top 200, #48 on U.S. Cash Box and #58 on the U.S. “Record World” chart. The single (which featured different sides) had greater success, thanks to the power of “One Fine Morning.” The song reached #2 on the RPM charts, #24 on The U.S. BB charts, #16 on the U.S. CB Charts and #30 on the U.S. AC charts. Lighthouse’s popularity continued to grow at home and abroad and they toured endlessly to meet the demand. Lighthouse was on a roll, releasing more than a dozen charting singles over the next four years.

Upon their return to Toronto in November 1971, they got ready to record their next album, hoping to catch lightning in a bottle once again. The album was released later that same month and featured a number of songs written by Howard Shore and Bob McBride.

The album did a little better in Canada (Reaching #11 on the RPM Charts) than its predecessor but did worse in the U.S. scrapping into the mid-100s. Three singles were released from the album in an eight month period. First out of the gate was “Take It Slow (Out In The Country/Sweet Lullabye” in November. This managed to reach #12 on the RPM charts, but in the States couldn’t crack the top 60. This was followed by “I Just Wanna Be Your Friend/1849” in March 1972 and “I’d Be So Happy/Old Man” in May. The pair of single performed poorly compared to the first two. Interestingly, all three of the previously mentioned singles featured B-Sides culled from the “One Fine Morning” album.

1972 began with a bang! Riding high off their successful tour and charting singles, the group was asked to return to Carnegie Hall in February. This was something of a triumphant return for the band as when they first played there back in May 1969, they received a “less-than-stellar” response. The audience was electric from the moment they took the stage and the band was in top form, performing all original material with the exception of their 18-minute rendition of The Byrds “Eight Miles High.” The album saw release in February/March on Evolution (U.S.)/GRT (Canada), and represented the first time a Canadian album sold over one million copies.

During this time, the band could be seen everywhere! Television, in newspapers and magazines, even on Coca Cola bottle caps. After the success of their live album, the band hurried back into the studio to record their follow-up that August. Released in September, Sunny Days (both the album and single) were chart successes for the group. As with their 1971 studio album, three singles were released to promote the album. The first was also the most popular; representing their second top 5 hit. “Sunny Days/Lonely Places” was released in September and reached #4 on the RPM charts, as well as cracking the top 40 in the U.S.

In October 1972, while still a member of Lighthouse, McBride embarked on a solo career, signing a record deal with Capitol and releasing his debut album Butterfly Days. The album was both a critical and commercial success, going gold in Canada (selling over 50,000 copies) and spawning the hit singles "Pretty City Lady", "Treasure Song", and the title track.

For all intents and purposes, 1973 is where things started falling apart for the group. Personnel changes were frequent but the core original group was still intact. Life had become an endless cycle of performing, recording and promoting one album after the other. It was starting to wear on everyone and Paul Hoffert would be the first of the founding members to leave. He negotiated that he no longer wanted to tour or write, but would continue to act as the band’s executive producer.

This was followed by an M.I.A. Bob McBride. In summer 1973, McBride officially parted ways with the band, some of whom were upset after he failed to appear for a New York recording session for the album Can You Feel It. Bob had become increasingly erratic over the past two years. Stardom had ramped up his already sizable cocaine habit and accelerated his deep depression. It was later found out that he was officially fired after attempting suicide.

Skip and Ralph considered scrapping the sessions for the upcoming album but they were convinced otherwise by their producer. The pair ended up doing all the vocals themselves. The result was a fairly stilted album, but what was undeniable was that amongst the lukewarm material, was one of their biggest, best hits ever! “Pretty Lady” was released in September 1973 and managed to reach #9 in Canada, and managed to chart on multiple American boards (#53 on BB, #31 on CB and #38 on the AC charts). It also was #1 in Hawaii for six consecutive weeks.

The band’s pace picked up thereafter as they’d tour parts of America three times in the next four months. Each tour saw several personnel changes as the band criss-crossed the continent but the biggest shift occurred when Skip decided to step away from his drum kit and join the front line on guitar and vocals. He was replaced on drums by Billy King, and this change would be reflected in 1974, when they recorded their final studio album in the main run of the band.

During 1974 the members of Lighthouse were wary about the future. The hit singles were few and far between and their albums were only able to maintain popularity in Canada. At this point the band was viewed by a lot of Americans as “sub-par” when compared to bands like Chicago or BS&T.

Their final album Good Day was one of their lowest charting on the Canadian album charts at #40. Interestingly, the album did not enter the Billboard Top 200 in the U.S. but rather, peaked at #23 on Billboard’s FM Action Airplay Charts. Unfortunately none of the singles from this album charted.

The band went on tour to support the album that year. Unfortunately this was the end for Skip. He’d had enough of the road, the general incompetence of the Canadian industry, and the general shunning felt by the band from the American industry. Skip went on to a solo career of his own releasing two albums.

After Skip’s departure, Ralph Cole (the only original member left) embarked on a few small scale tours with the Lighthouse name but in 1976 the band came off the road and returned home for good.

The band would reunite many times over the years, often to great fanfare; like their reunion at Ontario Place for the tenth anniversary where over 30000 people attended. One thing that is certain of their legacy is, many love them, many miss them, and undoubtedly their name will be remembered alongside some of Canada’s musical greats in the annals of Canadian history.
WRITTEN & RESEARCHED BY: AARON LUSCH

Bob McBride: lead vocals, percussion
Skip Prokop: drums, percussion; arrangements (tracks: A2, A4 to B1, B3 to B5); wrote tracks A1, A2, A4 to B5
Kevin Jollimore: saxophone, flute, vocals; arrangements (tracks A2, A4 to B1, B3, B4)
Larry Smith: trombone, vocals; arrangements (tracks A3, A4, B4)
Ralph Cole: guitar, vocals; (wrote tracks A1, A4, A5)
Louie Yacknin: bass
Dick Armin: cello
Paul Hoffert: piano, vibraphone
Howard Shore: saxophone
Pete Pantaluk: trumpet
Don Dinovo: viola
The Edmonton Hawks: percussion (added)
The Maltese Moon: percussion (added)

Produced by Jimmy Lenner
Recorded at Thunder Sound Recording Studios, Toronto, Ontario
Mixed at O.D.O. Recording Studios, N.Y.C., USA
Mastered at Mercury Sound Studios, N.Y.C., USA

Artwork by Brad Johannsen

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