Monocled Alchemist

The Magic People

Exploring The Paupers: Canada’s Rock Legends | For those close to Canada’s Eastern fringes, Toronto provided a natural musical magnet. Its Yorkville district had the same bohemian atmosphere as New York’s Greenwich Village and itinerant folkies seemed to gravitate there. Joni Mitchell, Gordon Lightfoot, Ian and Sylvia and Neil Young all worked the bars and basket houses, even if few were born in the city.

The Band’s Robbie Robertson was, as too was Zal Yanovsky of the Lovin’ Spoonful, both of whom showed that traditional styles were not Toronto’s only fascination. The city was also the home of the Ugly Ducklings, Mandala and the Paupers, the last of which would evolve into a truly eclectic, experimental group.

The Paupers originally came together sometime around 1964 and quickly established themselves within Toronto’s rock circuit. Drummer Skip Prokop emerged as leader and guiding light, with Chuck Beal on lead guitar, Bill Marion on rhythm and vocal and Denny Gerrard on bass.

Legends evolved about their rigorous rehearsal schedules – 40 hours a week, sometimes on a 13 hour a day shift – but out of this came an absolute empathy and real originality. The Paupers seemed to clean up the local opposition and soon established themselves as Toronto’s premier attraction.

Exploring The Paupers: Canada’s Rock Legends

Their popularity demanded records, and the group proceeded to cut several sides for local, independent labels. ‘Never Send You Flowers’ b/w ‘Sooner Than Soon’ appeared on Red Leaf, while the same outlet issued ‘If I Told My Baby’ b/w ‘Like You Like Me’.

The Paupers then switched to Roman Records for a further two releases: ‘For What I Am’ b/w ‘Free As A Bird’ followed by ‘Long Tall Sally’ b/w ‘Sooner Than Soon’ (again). This period also saw a brief flirtation with a major company, Columbia, and a lone 45, ‘Heart Walking Blues’, was cut, although just how much distribution it received seems open to question.

The singles were naturally a local success, but the Paupers realised that moves were necessary in order to break new ground. One change was in personnel; late in 1966 Bill Marion was replaced by Adam Mitchell, who stepped in, the story goes, on only an hour and a hairs notice. Mitchell, born in Glasgow, brought the group a distinctive voice and presence.

Exploring The Paupers: Canada’s Rock Legends

The faltering deal with Columbia may well have been the stepping-stone to the group’s next deal. It may also have been through a contact with Rick Shorter, a producer for the New York based Verve Folkways/Forecast label. However the link was forged, the Paupers next single, ‘If I Call You By Some Name’ b/w ‘Copper Penny’ duly appeared on that label, and became a sizeable Canadian hit.

Its success paved the way for the group’s assault on America and the respect afforded their record company in New York helped pave the way for their debut gigs there. Opening at the Cafe Au Go Go in Greenwich Village, they supported the Jefferson Airplane on what may well have been the San Francisco band’s first foray East. The Paupers proceeded to tear them apart; well, that’s what their fans claimed, although critics too, such as Paul Williams, were also impressed.

The Paupers remained in New York to record their debut album, ‘Magic People’, which also took stabs at contrasting styles . The record was well received in both New York and Canada, ‘Crawdaddy’ and ‘Hit Parader’ ran positive reviews of the group who were, by now, rebooked at the Cafe Au Go Go.

Several singles were lifted from the album, ‘Simple Deed’ the title cut and ‘Think I Care’ which, in many ways, was the early group’s definitive song. Backed by the (excellent) non-LP ‘White Song’, ‘Think I Care’ even secured a British release, although in a stripped down, edited form.

Exploring The Paupers: Canada’s Rock Legends

The most crucial change in the Paupers’ fortunes came via management when Albert Grossman, of Dylan, Paul Butterfield, Mike Bloomfield fame, began representing them. His influence doubtlessly found them their slot on the Monterey Pop Festival bill, and sharp-eyed Paupers afficionados can spot their cameo role in the resultant movie, discussing claim checks for luggage upon leaving their aeroplane, and (I’m sure) applauding Ravi Shankar.

The group then gigged on the West Coast as well as in other centres such as Detroit, and introduced a new member in Brad Campbell, who had replaced Dennis Gerrard on bass. Campbell had previously been a member of another Toronto band, the Last Words which also included, at some point, the Paupers previous guitarist Bill Marion.

The Last Words had actually cut three singles, ‘The Laugh’s On Me’ for RCA, and two for Columbia ‘I Symbolise You’ and ‘Give Me Time’, the last of which was coupled with the splendidly titled ‘Drive A Mini-Minor’.

Maybe it was Denny’s 10-minute bass solo, or maybe his line in cloth caps, but by the time the Paupers returned to the studio to record their second album, Campbell was firmly in place.

Exploring The Paupers: Canada’s Rock Legends

‘Ellis Island’ was duly released in 1968 and was an even more mature offering than their debut. Where ‘Magic People’ had transferred a live sound to the studio, and offered variations on art-rock, folk-rock and experimentation, the new LP harnessed a battery of recording techniques and developed all the facets which made the Paupers so special.

Two tracks, ‘Cairo Hotel’ and ‘Julliana’ were almost commercial, while the tongue-in-cheek Country of ‘Another Man’s Hair On My Razor’ offered a contrasting alternative. But it was on the second side that the Paupers’ talent truly blossomed with one classic performance following on from another.

Skip Prokop’s flirtation with Japanese music comes through strongly on ‘Ask Me Again’ and ‘Oh That She Might’, two beautifully textured songs which feature kotos, while the brooding ‘Yes I Know’ is little short of an emotional masterpiece. By comparison, the rocked-out ‘Numbers’ breaks free of such tension; its extended mini-workout couples the group with Al Kooper, then divorcing himself from fellow Forecast artists, the Blues Project, who adds some distinctive keyboard fills.

Exploring The Paupers: Canada’s Rock Legends

“Ellis Island” was indeed a strong release, but somehow it struggled to find an audience. Perhaps it was too eclectic, or too demanding; sadly, it wasn’t a success. The album was, however, issued in Britain, as was a second single, where cut-down versions of both ‘Southdown Road’ and ‘Numbers’ were coupled together.

Both Skip Prokop and Brad Campbell were finding work without the group, Skip played on two Ritchie Havens‘ albums, ‘Something Else Again’ and ‘1983’, the latter of which also featured Campbell. (Coincidentally, Dennis Gerrard also reappeared on a Richie Havens release, adding bass on parts of ‘Stonehenge’.)

It was also clear that Prokop had struck up a rapport with Al Kooper. When the Paupers’ career was finally counted out, Skip was asked to drum on ‘The Live Adventures of Al Kooper and Mike Bloomfield’, the follow-up to the hugely successful ‘Supersession’ album. Doubtless Bloomfield knew him too as they shared the same manager, and Michael was also instrumental in giving another ex-Pauper a role in another project.

When Janis Joplin left Big Brother and the Holding Company in November 1968, work immediately began on finding a suitable backing group. Janis too was managed by Albert Grossman and the task of assembling hopefuls and possibilities was mainly given to Bloomfield. Brad Campbell became the first bassist for the Kozmic Blues Band and remained with the group throughout its brief lifespan.

Brad was the only original member to move on into Joplin’s next (and last) group, the Full Tilt Boogie Band, one who’s potential was cut short by the singer’s tragic death in October 1970. The band did continue awhile as King Biscuit’s Boys, and according to Pete Frame’s relevant Family Tree, Campbell then also worked under a ‘Keith Cherry’ pseudonym.