So I seem to remember a song I used to hear that my dad played when I was younger and all I rememberis that it was by the collectors and I believe the name of it was "The Long Rain". I cant seem to find any information on them or lyrics anywhere:huh: So I'm just wondering if anyone would have some information about them, the album this song's on, their bio or something. Any help would be awesome All I know is I used to love 'em Thanks!
I don't know if it's the same song, but there is a song called Long Rain by Johnsmith(I think that's his name).
Biography by Stansted Montfichet Originally formed in 1964 as the Classics (adopting the name CFUN Classics when they gigged to promote local Vancouver, BC radio station CFUN-AM), the group were featured as the house band on Let's Go, a weekly TV show. In 1965, they released two singles as the Canadian Classics — "Til I Met You" (Jaguar 2002A) and "I Don't Know" (Valiant 723). The band reinvented themselves as the Collectors in 1966. With former horn player Howie Vickers handling lead vocals, they cut "Eyes" and "Don't Feel Bad" — both of which later appeared on the History of Vancouver Rock and Roll, Volume 4 (VRCA 004; 1991.) "Eyes" — a fine folk tune seasoned with tasty guitar and just a dash of psychedelia — is easily the better track. "Don't Feel Bad" has a vague "On Broadway" feel. More elaborately produced, it also seems a less genuine effort. By 1967, in addition to lead singer Howie Vickers, the Collectors included Claire Lawrence (tenor sax, organ, recorder, flute), Bill Henderson (lead guitar), Glenn Miller (bass) and Ross Turney (drums) — the band's "classic" line-up. Recordings from this period include the Vancouver smash hit "Lookin' at a Baby" (New Syndrome 16, 1967, subsequently reissued on the History of Vancouver Rock, Volume 3 VRCA 001, 1983) and two other 45s, "Fisherwoman" and "Fat Bird." "Lookin' at a Baby" is MOR flute-pop floating amidst heady clouds of psychedelia. Vickers' departure from the Collectors in 1969 necessitated Henderson's promotion to lead vocalist. Eventually, the band rechristened themselves Chilliwack. The Collectors(1967) Listening to this trippy psychedelic effort, one can't help but feel a certain sense of irony. Barclay James Harvest were known as a "poor man's Moody Blues," but the Collectors could just as easily have qualified for the label — their attempts at serious (or pretentious, in the case of "Howard Christman's Older") composition, the soaring choruses, the flute noodling in the background, will all recall the English group. What's more, the two bands have surprisingly similar backgrounds, having evolved (or devolved) from R&B inspiration to art rock and progressive rock. Howie Vickers isn't half the ballad singer that Justin Hayward is, but this band does play hard, especially Bill Henderson's lead guitar, which tries hard for some engaging pyrotechnics. That would matter more if some of the music here were a bit more original — "Lydia Purple" is such an "Eleanor Rigby"-influenced piece that you can practically predict the lyrics the first time around. The album's finale, "What Love (Suite)," is a rambling 19-minute piece marred by pseudo-Gregorian chant filler for several minutes of its opening, some vigorous playing (especially the guitar), and a cool tenor sax break about 14 minutes in that comes too late to save anything. It's all pompous and overblown enough to make "Legend of a Mind" sound like "Roll Over Beethoven," although these guys at least had the sense to play hard rather than pretty, which makes it a little more diverting than it might otherwise have been. Dave Hassinger produced, so it's not like the band didn't get every break making this record. What is Love? (3:51) She (Will-O-the-Wind) (3:51) Howard Christman’s Older (5:08) Lydia Purple (2:47) One Act Play (3:42) What Love (Suite) (19:06) Grass & Wild Strawberries (1969) This is a strange album, from that brief moment when it looked like rock and theater could merge productively and profitably. The band hooked up with poet-playwright George Ryga and the result was a stage work called Grass and Wild Strawberries — there's no telling if it was ever produced, or what the reaction was if it did make it to a theater (though one can guess, from the fact that nobody has ever heard of it, what any audiences and critics must've thought). And then there's this album of the score. All of the music was written by the band, and the lyrics by Ryga, and the funny thing is, it's not half bad. They still fall back a little too much on the pseudo-Gregorian sound, which only the Yardbirds really pulled off successfully in a rock context ("Still I'm Sad"), but for a good part of this album, their sound is lyrical, enthusiastic, unforced, and rather pleasing, and creative — at least, they abandoned their Moody Blues pretensions in favor of a bit more of a roots rock sound. "Don't Turn Away (From Me)" might've made the charts in some circumstances, and it plays even better if you ignore the description of the scene for which it was written, something to do about the hero discovering that asparagus is a desert vegetable and encountering falling trees and whispering waves before going to touch his girlfriend's body — this writer didn't want to know and didn't ask any more questions. Half the tracks are still tuneless filler, but the other half pass muster, and the sound on this album is a lot crisper than their debut, with the drums and bass nice and clear and the guitar well delineated. Prelude (4:46) Grass & Wild Strawberries (2:08) Things I Remember (2:46) Don’t Turn Away (from Me) (3:09) Teletype Click (2:55) Seventeenth Summer (3:28) The Long Rain (2:56) My Love Delights Me (2:23) Dream of Desolation (2:34) Rainbow of Fire (2:52) Early Morning (3:32) Sheep On the Hillside (4:16) I really like this band
Thank you soooo much... I was hoping I wasn't just imagining the name haha it's been such a long time since ive heard it. Ill have to try and find the album now.
