Information/Write-up
The Quiet Jungle were a Toronto, Ontario group who evolved out of Doug Rankine and the Secrets, one of the sharper beat bands on the mid 1960s Yorkville scene. The original line up featured Doug Rankine on vocals and rhythm guitar, Bob Mark on lead guitar, Henry S. Thaler (later credited as Henry Taylor) on keyboards, Mike Woodroffe on bass, and Rick Felstead on drums. Working first as the Secrets, they held a residency at the Pressmen’s Club and quickly became a popular draw around southern Ontario.
In early 1966 Hockey Night in Canada announcer Brian McFarlane asked the Secrets to record a novelty song he had written for Toronto Maple Leafs fan favourite Eddie Shack. Issued on Canada International as Clear The Track, Here Comes Shack, backed with Warming The Bench, the record shot to number one on Toronto’s 1050 CHUM chart and stayed there for two weeks, remaining on the list for nine weeks in total. The song gave the band national exposure, but it also branded them as a novelty act at a time when they were aiming for something tougher and more contemporary.
Away from the hockey anthem, the Secrets showed a much deeper side on their Arc Records single Cryin’ Over Her backed with He Treats You Bad, both written by Bob Mark. Driven by sharp guitar work and Rankine’s urgent vocal, Cryin’ Over Her became a favourite on the local scene and confirmed Mark as the group’s principal songwriter. Even so, the shadow of Clear The Track, Here Comes Shack was hard to shake, and by early 1967 the band and their new label Yorkville decided to relaunch the group under a new name, the Quiet Jungle.
As the Quiet Jungle they moved decisively into garage and early psychedelic territory. Their debut Yorkville single Ship Of Dreams backed with Everything appeared in early 1967 and reached number 31 on the CHUM chart and number 43 nationally on RPM. Ship Of Dreams opened with an eerie guitar figure and featured swirling organ and tight harmonies, while the flip side Everything, written by Bob Mark and Henry Taylor, pushed the fuzz guitar and rhythm section to the front and has since become a cult favourite on international garage compilations.
The follow up single Too Much In Love backed with Make Up Your Mind, again written by Bob Mark and produced by Brian Ahern, appeared later in 1967. Although it did not match the chart action of Ship Of Dreams, it is now one of the most sought after Canadian 45s of the era and shows the band refining their mix of melodic pop writing and tougher garage attack.
At the same time, the Quiet Jungle found steady work as session players for Toronto budget imprint Arc Sound. Under various guises they cut an entire LP of Monkees covers, A Little Bit Me, I’m A Believer, She Hangs Out plus 9 other Tail Hanger Favorites, and the Christmas album The Story Of Snoopy’s Christmas And Other Favourite Children’s Songs, the latter finally crediting the Quiet Jungle by name and listing Rankine, Mark, Felstead and Henry Taylor among the performers. They also appeared on the CTV teen show After Four, contributing the song Four In The Morning to the associated Yorkville compilation under the name Scarlet Ribbon. A Rolling Stones tribute LP on Arc, Let’s Spend The Night Together, famously used a photo of Rankine on the cover, although he later clarified that the Quiet Jungle did not play on that particular session.
Constant touring across Canada and the ongoing expectation that they would still perform Clear The Track, Here Comes Shack eventually took its toll. Bassist Mike Woodroffe left first, and by 1968 Doug Rankine had also stepped away, feeling he could not compete with the powerful voices he was hearing on the road, including a young Burton Cummings. Bob Mark, Henry Taylor and Rick Felstead kept the band going for a short period with a new singer and additional guitarist Ron Canning from the Rising Sons before quietly folding.
Although their recording career was brief, the Quiet Jungle have come to be regarded as one of the most interesting Toronto bands of the 1960s, bridging Merseybeat pop, garage punk and early psychedelia. Ship Of Dreams, Everything and Too Much In Love remain staples of Canadian garage rock reissues, while their Monkees and Snoopy albums, once anonymous budget releases, have become beloved cult items for listeners who grew up with those records on family turntables every Christmas and after school.
-Robert Williston
Doug Rankin: vocal, guitar
Henry Taylor: percussion
Bob Mark: guitar
Hugh Telford: drums
Produced by Gigantic Christmas Production In association with Gary "Santa" Starr
Recorded at Bay Studios, Toronto, Ontario
Liner notes:
It’s no wonder Snoopy has become the most popular dog in the world. He’s so sure he’s just like one of us—if not a little smarter—we’re ready to believe him.
He’s often stubborn, occasionally he shows off, and sometimes he’s a little selfish, just how grown-ups think kids are, and of course, just how kids think grown-ups are. But he can be a good-sport, too, and he is a good dancer. Not only that he tries very hard at everything he does just like most kids and most grown-ups.
At Christmas, Snoopy is especially well-behaved and very happy. Not because he expects to be rewarded but because, as it does most of us, Christmas makes him feel good all over. He begins looking forward to it upon seeing the first fluffy snowflake of winter.
This recording is a great holiday bundle of Snoopy favourites. Beginning with the story of his very own Christmas, it offers a high-spirited “Sleigh Ride”, the joy of a “Marshmallow World”, a beautiful “White Christmas” and many more exciting things to be found in a “Winter Wonderland”.
“Frosty The Snowman” is there as is “Rudolph The Red-Nosed Reindeer” and when they are around you can be sure that very soon “Santa Claus Is Coming To Town”.
Let Snoopy help you get ready for the big event . . . It’ll double your fun.
Good evening, My name is Keatley Christensen. My family has a long-standing tradition of listening to The Story of Snoopy’s Christmas every year on Christmas morning, and it has become a cherished part of our holiday. I am reaching out to ask whether there has ever been any consideration given to releasing a CD or digital version or new vinyl of this classic album. We are fortunate to own a vinyl copy, but having a modern format would mean a great deal to my dad and grandmother, who treasure this tradition deeply. Thank you very much for your time, and for any information you may be able to provide. Sincerely, Keatley Christensen