Jody Grind's debut album was early progressive rock with a somewhat jazzier orientation than most such bands, though the playing was a good sight more impressive than the singing and songwriting. There's a fairly grim tone to the original material, all (save a cover of the Rolling Stones' "Paint It Black") written by Tim Hinkley and Ivan Zagni, who wrench extended heavy blues and jazzy solos out of their organ and guitar, respectively. The showcase is an 18-minute, four-part suite, "One Step On," that – like many long rock tracks of the time – goes on for way too long, incorporating horn fanfares, lurching tempos, and operatic vocals (and, yes, a drum solo).

Jody Grind's personnel changed substantially between the recording of their first album, 1969's One Step On, and their second and final one, 1970s Far Canal. Tim Hinkley was still on keyboards, but there was a new guitarist, Bernie Holland (who also did some singing), as well as a new drummer to complete the trio, Pete Gavin. As expected, the sound of the group, while still in the early British serious progressive rock bag, changed as well - sometimes for the good, sometimes for the worse. The jazzy inclinations of the debut were mostly gone, save the atypically tasteful instrumental "Ballad for Bridget." On "We've Had It" and parts of "Vegetable Oblivion," there was a classical melodic influence that was more accessible than anything on the first album, as well as somewhat more in line with what groups such as Yes were doing, though Jody Grind were far less cheerful…

Jody Grind's debut album was early progressive rock with a somewhat jazzier orientation than most such bands, though the playing was a good sight more impressive than the singing and songwriting. There's a fairly grim tone to the original material, all (save a cover of the Rolling Stones' "Paint It Black") written by Tim Hinkley and Ivan Zagni, who wrench extended heavy blues and jazzy solos out of their organ and guitar, respectively. The showcase is an 18-minute, four-part suite, "One Step On," that - like many long rock tracks of the time - goes on for way too long, incorporating horn fanfares, lurching tempos, and operatic vocals (and, yes, a drum solo). Shown to best advantage on "Little Message" and the most appealing song on the album, "Night Today," Hinkley's skilled Hammond organ work stands up well to the keyboards of well-known early prog rockers like Keith Emerson…