What truly encapsulates the sound of the 1960s? It’s a decade brimming with musical innovation, a melting pot where rock and roll branched out, soul and funk took root, Latin and Caribbean rhythms pulsed into the mainstream, and psychedelia painted vibrant sonic landscapes. Pinpointing one song to represent such a diverse era seems impossible, yet there’s a track that masterfully blends these elements, embodying the spirit of the 60s in its sublime grooves: “Grazing in the Grass” by the Friends of Distinction.
Before diving into the sonic tapestry that makes this recording so distinctly 60s, it’s essential to trace the fascinating journey of “Grazing in the Grass.” Its story spans continents, beginning in Zambia, a nation in the heart of south-central Africa. Here, under the moniker “Mr. Bull,” musician Freddie Gumbi laid down a track titled “Mr. Bull No. 4.” Until recently, this foundational piece remained largely unheard by many, including myself before researching this article. However, listening to the sole surviving video of “Mr. Bull No. 4” online, the nascent melody of “Grazing in the Grass” is undeniably present. It’s a testament to the power of music that even a single online video can preserve and share such a crucial piece of musical history.
This Zambian tune crossed paths with South African jazz trumpeter Hugh Masekela. Finding his album The Promise of a Future slightly short on time, Masekela drew inspiration from “Mr. Bull No. 4.” Collaborating with Philemon Hou, he reimagined the track, enriching its melodic contours and weaving in a new trumpet response line echoing the original guitar riffs. The result was “Grazing in the Grass,” released on The Promise of a Future in 1968. Masekela’s rendition achieved a remarkable feat, topping the Billboard Hot 100 chart as an instrumental. In the vast history of Hot 100 number-ones, instrumental tracks remain a rarity, comprising only a tiny fraction of chart-toppers – approximately 0.018% at the time of writing. A year later, the Los Angeles-based vocal group, the Friends of Distinction – notably managed by football icon Jim Brown – put their own spin on the hit, creating a vocal version of “Grazing in the Grass”.
Transforming an instrumental piece into a vocal song is a gamble, often yielding less-than-stellar results. Examples abound where lyrical additions to iconic instrumentals feel forced and detract from the original brilliance. Consider the attempts to add lyrics to John Coltrane’s jazz masterpiece “Giant Steps,” – the vocal versions often feel unnecessary and pale in comparison to the instrumental original. However, with “Grazing in the Grass,” frontman Harry Elston’s lyrics are a revelation. Inspired by the serene landscapes of grazing cows observed from tour buses, Elston crafted words that seamlessly meld with the melody and capture its laid-back essence. The backing vocals and instrumental additions are tastefully restrained, respecting the harmonic and rhythmic framework established by Masekela’s instrumental version.
Now, having explored the song’s origins, we can delve into the elements that solidify its status as a quintessential 60s anthem. The Friends of Distinction’s masterful orchestration immediately sets the mood. The opening riff, delivered by a quartet of trumpets, is instantly captivating. While horns would become even more prominent in the funk and soul of the 70s, their presence in the 60s, particularly in a mellow context, was already a defining characteristic. In “Grazing in the Grass,” even during more accented moments, the trumpets never overpower the beat or vocals, maintaining a smooth, sophisticated feel. Max Bennett’s bass line is subtly melodic, opting for a gentle tone that emphasizes the higher frequencies, allowing it to blend seamlessly with the other backing instruments. The rhythm guitar provides a consistent chordal foundation, echoing the spirit of Mr. Bull’s original track while accentuating the backbeat alongside Johnny Guthrie’s drums. Guthrie’s snare hits and fills, especially in the chorus, inject vital rhythmic intrigue. Adding further texture to the percussion is King Errisson’s conga work, lending a slightly sharper edge to the overall rhythmic tapestry.
While each instrument contributes to the song’s texture, the strings and piccolo truly elevate its 60s vibe throughout the verses. A standard string quartet – two violins, a viola, and a cello – moves in octaves alongside the piccolo, creating a lush, layered sound. These instruments weave lines and flourishes that respond to nearly every phrase of Harry Elston’s vocals, acting as a melodic conversation that propels the song forward. When the piccolo diverges from the strings, its bright, airy tone subtly shifts the sonic landscape while maintaining the overall gentle and lyrical mood. In the energetic chorus, the trumpets’ octave backing temporarily take center stage, only to be passed to the electric guitar during the vocal break. A brief, yet electrifying, guitar solo injects a hint of Hendrix-esque psychedelic rock, further solidifying the song’s 60s credentials and adding another layer to its sonic palette.
Above the instrumentation, the Friends of Distinction’s lyrics perfectly marry psychedelic imagery with soulful melodies and phrasing. Harry Elston’s smooth, melodic delivery immediately establishes the song’s mellow vibe: “It sure is mellow grazing in the grass.” The iconic backing vocals – “Grazing in the grass is a gas, baby, can you dig it” – echo Masekela’s instrumental response line while injecting a touch of urgency with their faster pace in this vocal rendition. The piccolo line beautifully underscores the lyric “The sun beating down beneath the trees,” creating a vivid, image-rich moment. The overall feeling is effortlessly cool, groovy, and “outta sight,” as Elston himself sings, embodying the optimistic and serene visions associated with the psychedelic movement.
However, the song’s most exhilarating moments lie in its R&B and funk undercurrents. The “so real” section opens up for a rocking vocal counter-line, brilliantly delivered by Jessica Cleaves with a clear nod to Aretha Franklin in her “rock it to me, sock it to me” phrasing. Then comes the infectious “dig it” section, which arguably functions as the song’s true chorus. In this high-energy vocal explosion, the recurring “diggin’ it” motif culminates in an expression of unity and pure joy:
I can dig it, he can dig it
She can dig it, we can dig it
They can dig it, you can dig it
Ohh, let’s dig it
Can you dig it, baby?
Few lyrical moments from the entire decade can match the sheer exuberance and communal spirit captured in these lines.
“Grazing in the Grass” truly embodies everything one could desire in a 60s track, and more. Its instrumental foundation is rooted in classic soul, infused with hints of R&B, funk, and psychedelic rock, and the lyrics only amplify these sonic footprints. It’s fitting that a song released towards the end of the decade (March 1969) so perfectly encapsulates its sound. “Grazing in the Grass” remains timeless, even if the Friends of Distinction themselves didn’t achieve lasting mainstream fame. In this single, brilliant moment, they distilled the essence of their era into a three-minute gem of bright, soulful pop.
