Not to be mistaken for the Christian band of the same name, these guys hailed from Sacramento, Calif. Glad are primarily remembered today as a group that featured bassist Timothy B. Schmit, who went onto acquire a higher profile with Poco and the Eagles. The other members were guitarists Thomas Phillips and Ronald Floegel, and drummer George Hullin.
Glad came together in 1963, and were initially called the New Breed. They encountered a great deal of local attention and delivered a series of singles that neatly charted their evolution from surf rockers to neo-psychedelic popsters. In 1967, the quartet changed their moniker to Glad, and issued Feelin’ Glad (ABC Records) the following year.
The album begins on a relatively grand scale with “A New Tomorrow,” which sparkles with valiant vocals, complemented by majestic melodies and sleek orchestral arrangements. The subsequent track, “Say What You Mean,” favors a parallel approach, fostering images of harmony pop acts like the Association and the Millennium. But neither song truly illustrates a set identity, as the remainder of the album views Glad playing musical hopscotch.
Most of the material contained on Feelin’ Glad are group compositions, showcasing an awareness for writing and performing varied styles to the best of their abilities.
Glad gets rocking on “Johnny Silver’s Ride,” which gallops with snarling rhythms, propelling licks and a piercing break. The song is about a pop star, and is no doubt based on John Lennon, evidenced by lyrics referencing a psychedelic Rolls Royce and screaming teenage girls that want to hold Johnny Silver’s hand.
Glad’s version of “Shape of Things to Come” serves as another hard-hitting number on the album. Tinged with a spooky acid-stained air, the song was authored by Barry Mann and Cynthia Weil, originally recorded by Max Frost and the Troopers and appeared in the “Wild In the Streets” movie. Then there’s “Pickin’ Up the Pieces,” with its bouncy beat, a clasping hook and an energetic chorus.
Owing a debt to the funky country-rock of Buffalo Springfield and Moby Grape, the Schmit-sung “Sweet Melinda” punches in as a spunky toe-tapper, where “No, Ma, It Can’t Be” and “Let’s Play Make Believe” are carved of standard country blueprints.
“Love Needs the World,” penned by Feelin’ Glad producer Erik Wangberg, is a moody presentation beaded with weeping violins. “Silly Girl” brings to mind the kind of charming early ’60s pop-rock ditty folks such as Bobby Vee and Tommy Roe were known for.
Although Feelin’ Glad blazed no new trails and slipped through the cracks, the album still offers enough catchy songs to hunt down and add to your collection.
Not long after the disc was released, Glad morphed into Redwing and cut a brace of critically-acclaimed albums. Aside from his legendary work with Poco and the Eagles, Timothy B. Schmit has enjoyed a successful solo career and has also held membership in Ringo Starr’s All-Starr Band.
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