Lighthouse -

Lighthouse was a Canadian brass-rock big band that released three albums on RCA Victor between 1968 and 1970, followed by six further titles on GRT between 1971 and 1974.

Members: Skip Prokop (drums), Paul Hoffert (keyboards), Ralph Cole (guitar), Bob McBride (vocals), Russ Little (horns), Arnie Chycoski (horns), Freddy Stone (horns), Howard Shore (saxophone, flute), Dale Hillary (horns), Keith Jollimore (saxophone, flute), Larry Smith (trombone, keyboards), Mike Malone (horns), Bruce Cassidy (horns), Paul Adamson (horns), Pete Pantaluk (trumpet), Rick Stepton (horns), Don Englert (horns), Joe Ambrosia (horns), John Capon (horns), John Naslen (horns), Dave Tanner (horns), Sam Alongi (horns), Rick Waychesko (horns), Simon Wallis (horns), Steve Kennedy (horns), Dick Armin (cello), Paul Armin (strings), Don Dinovo (violin), Myron Moskalyk (strings), Ian Guenther (strings), Leslie Snider (strings), Don Whitton (strings), Howie Wiseman (strings), John Ogilvie (strings), Billy King (drums, percussion), Tom Wells (drums, percussion), John Dell (drums, percussion), Pinky Dauvin (vocals), Billy Ledster (vocals), Doug Billard (vocals), Allan Stanniforth (vocals), Grant Fullerton (bass), Louie Yacknin (bass), Al Wilmot (bass), Terry Wilkins (bass), Dennis Pendrith (bass), Doug Moore (bass), Sam See (keyboards), Don Paulton (keyboards), Trevor Veitch (guitar), Dan Clancy (vocals), Chris Howells (trumpet)

Background

Lighthouse was formed in 1968 in Toronto by ex-Paupers drummer/singer Skip Prokop (b. 1943, Hamilton, Ontario – d. 2017) and keyboardist Paul Hoffert (b. 1943, Brooklyn, NY). They met on a flight between NYC and Toronto and discussed forming a rock big-band with a jazz brass section and classical string section.

Their first recruit was guitarist Ralph Cole, formerly of Kalamazoo rockers The Thyme, which Prokop caught live during their residency at Detroit’s Grande Ballroom, where they opened for the day’s leading rock acts (Jimi Hendrix, Cream). Prokop and Hoffert hired the remaining band from local studios and the Toronto Symphony Orchestra.

Prokop and Hoffert pitched a Lighthouse demo to MGM, which signed the band. Two days later, they signed a management deal with Vinnie Fusco, who annulled the MGM contract and signed them to RCA Victor. Lighthouse performed its first concert on May 14, 1969 at Toronto’s Rock Pile (now the Masonic Temple), where they were MC’d by Duke Ellington with the opening salvo “I’m beginning to see the Light… house.”

In addition to Prokop, Hoffert, and Cole, the lineup that night consisted of bassist Grant Fullerton, singer/percussionist Vic “Pinky” Dauvin, violinist Ian Guenther, violist Don Dinovo, cellists Don Whitton and Leslie Schneider, trumpeters Freddy Stone and Arnie Chycoski, saxophonist Howard Shore, and trombonist Russ Little.

Lighthouse

Lighthouse released their self-titled debut album in May 1969 on RCA Victor.

The eleven-piece ensemble frames amplified rock rhythm parts with a large brass and string complement that moves between clipped, staccato horn figures and denser ensemble voicings. Guitar, fuzz bass, and vibraphone sit against alto sax, trumpet, flugelhorn, trombone, violin, viola, and cello, giving the album its darker, indoor ambience compared with their later, brighter work.

Drummer–vocalist Skip Prokop wrote five songs and co-wrote three with guitarist Ralph Cole, bassist Grant Fullerton, and keyboardist–vibraphonist Paul Hoffert, who wrote one song with his brother Ben. They also interpret Richie Havens’ “No Opportunity Necessary” and The Byrds’ “Eight Miles High.”

Select tracks feature heavy fuzz textures offset by brass punctuation, while others emphasize piano- and vibraphone-led passages under tight rhythmic pacing. The longer pieces stretch out with slower builds where horns thicken the harmonic space before the band shifts into quicker, forceful sections. The string parts deepen the album’s dim, enclosed tone, especially on the closing number.

A1. “Mountain Man” (4:18)
A2. “If There Ever Was a Time” (5:01)
A3. “No Opportunity Necessary” (3:00) — originated as a 1967 Richie Havens recording; written by Richie Havens with arrangements here by Freddy Stone
A4. “Never Say Goodbye” (3:00)
A5. “Follow the Stars” (4:00) — arranged by Freddy Stone

B1. “Whatever Forever” (4:59)
B2. “Eight Miles High” (5:08) — 1966 single by The Byrds; written by Gene Clark, Jim McGuinn, and David Crosby
B3. “Marsha, Marsha” (3:22)
B4. “Ah I Can Feel It” (4:49)
B5. “Life Can Be So Simple” (4:57)

Sessions occurred at Eastern Sound in Toronto with recording engineers Peter Houston and Ron Johnsen.

The album features a black-and-white cover design by Robert Burns. RCA issued “Mountain Man” as the album’s lead single.

Suite Feeling

Lighthouse released their second album, Suite Feeling, in November 1969 on RCA Victor.

The band expands its early amplified brass–rock formula with denser ensemble voicings and extended sections where strings, brass, and a sharpened rhythm axis converge in long, sectional movements. The album balances shorter, tight-paced numbers with two extended pieces that contrast clipped horn patterns with drawn-out instrumental themes.

Drummer–vocalist Skip Prokop and keyboardist–vibraphonist Paul Hoffert wrote seven songs and co-wrote two with guitarist Ralph Cole and bassist Grant Fullerton. They also cut a version of The Band’s “Chest Fever” and close with a reading of The Beatles’ “A Day in the Life.”

Select pieces move between mid-paced vocal passages and larger tutti hits from the horn and string bloc, while the long instrumental thread in “Places on Faces Four Blue Carpet Traces” unfolds through gradual tempo shifts and alternating violin, brass, and organ figures. Shorter tracks emphasize tight, clipped rhythms with bright horn punctuation, and one mid-length piece turns on piano-led patterns that thicken as the ensemble enters.

A1. “Chest Fever” (5:02) — originated on The Band’s 1968 album Music from Big Pink, written by Robbie Robertson
A2. “Feel So Good” (2:59)
A3. “Places on Faces Four Blue Carpet Traces” (10:51)
A4. “Could You Be Concerned” (4:16)

B1. “Presents of Presence” (3:52)
B2. “Taking a Walk” (4:37)
B3. “Eight Loaves of Bread” (3:31)
B4. “What Sense” (3:31)
B5. “A Day in the Life” (6:19) — originated on The Beatles’ 1967 album Sgt. Pepper’s Lonely Hearts Club Band, written by John Lennon and Paul McCartney

Sessions occurred in 1969 at Eastern Sound in Toronto and RCA’s Music Center of the World in Hollywood with producers Paul Hoffert and Skip Prokop and recording engineers Bill Seddon, Hank McGill, and Phil Sheridan.

RCA promoted Suite Feeling with “Feel So Good” (b/w “Eight Loaves of Bread”), which reached No. 55 in Canada. “Could You Be Concerned” followed as a second single (b/w “Presents of Presence”).

Peacing It All Together

Lighthouse released their third album, Peacing It All Together, in 1970 on RCA Victor.

The band shifts toward shorter, lighter songs with reduced ensemble density, placing voice, piano, and mid-level brass parts over steady, uncluttered rhythms. The extended instrumental interplay of the prior album recedes in favor of compact arrangements with open textures and a recurring chant motif that frames the sides.

Drummer–vocalist Skip Prokop and keyboardist–vibraphonist Paul Hoffert wrote ten of the album’s twelve movements and co-wrote one with guitarist Ralph Cole. Bassist Grant Fullerton contributes one standalone piece. The album contains no outside covers.

The two-part opener sets the album’s tone with chant phrases that return at mid- and end-point. Several tracks emphasize light, mid-paced movement with piano-led patterns and brass in reserve, while one piece shifts to a rustic feel with strummed guitar and sparer accompaniment. A later track pivots on a brighter tempo with angled vocal lines before the reprise closes the set.

A1a. “Nam Myoho Renge’ Kyo” (4:04)
A1b. “Let the Happiness Begin” — this sequence functions as the album’s conceptual introduction
A2. “Every Day I Am Reminded” (4:12) — credits list Beethoven; annotation reflects a thematic or motif reference rather than a direct cover
A3. “The Country Song” (2:26)
A4. “Sausalito” (3:02)
A5. “The Fiction of Twenty-Six Million” (2:28)
A6. “The Chant (Nam Myoho Renge’ Kyo)” (2:27)

B1. “Mr. Candleman” (3:12)
B2. “On My Way to L.A.” (4:25)
B3. “Daughters and Sons” (3:12)
B4. “Just a Little More Time” (2:16)
B5a. “Little People” (3:58)
B5b. “Nam Myoho Renge’ Kyo” — closing reprise

Sessions occurred in 1970 with producers Paul Hoffert, Skip Prokop, and Mike Lipskin and recording engineer Mike Moran.

RCA promoted the album with “The Chant (Nam Myoho Renge’ Kyo)” (b/w “Sausalito”), which reached No. 39 on Canada’s Top 100 and No. 30 on the Canadian Adult Contemporary chart.

One Fine Morning

Lighthouse released their fourth album, One Fine Morning, in June 1971 on GRT.

The band sharpens its brass–rock framework with tighter pacing, brighter horn voicings, and a pronounced role for their three-part vocal front line, which anchors the album’s mix of mid-tempo anthems, slower ballads, and one extended narrative piece. Strings thicken select passages, but the set leans on a more streamlined rhythm axis than the prior album.

One Fine Morning moves between taut brass pieces, quieter piano-led songs, and one extended track that shifts its frame as it unfolds. The two side openers set different tensions: the first fires short brass bursts over clipped motion, while the second tightens its pace under sharper vocal turns. Elsewhere, one mid-length cut places chiming guitar upfront before the horns expand the line, and another centers on a repeated phrase that cues the group to widen the volume and density. The final two tracks pull back with slower pace, layered voices, and restrained instrumental lines.

A1. “Love of a Woman” (5:47) — written by Cole and Prokop; lyrics address unstable devotion and repeated attempts to steady a faltering bond.
A2. “Little Kind Words” (4:11) — written by Prokop; a slower piece centered on conciliatory lines about restraint and emotional patience.
A3. “Old Man” (5:35) — written by Smith; a character study that frames aging and resignation through sparse verses.
A4. “Sing, Sing, Sing” (3:19) — written by Cole and Prokop; a bright, fast piece that turns on repeated choral lines.
A5. “1849” (6:12) — written by Cole and Prokop; a frontier narrative that follows a westbound trek ending in hardship.

B1. “One Fine Morning” (5:11) — written by Prokop; a rising-tempo anthem built on forward-looking declarations.
B2. “Hats Off (to the Stranger)” (3:37) — written by B. McBride, McGraw, and Prokop; an upbeat number centered on gratitude toward an unnamed benefactor.
B3. “Show Me the Way” (2:25) — written by Prokop; a short, direct plea for clarity.
B4. “Step Out on the Sea” (5:04) — written by Prokop; uses maritime imagery for renewal and risk-taking.
B5. “Sweet Lullabye” (4:53) — written by Prokop; closes the album with soft, choral reassurance.

Sessions occurred in early 1971 at Thunder Sound in Toronto with producer Jimmy Ienner and engineers at Thunder Sound, O.D.O. Studios (mixing), and Mercury Sound Studios (mastering).

One Fine Morning features cover design by Brad Johannsen. UK copies sport alternate artwork by Roger Dean, famed for his fantasy-word illustrations for Yes, Uriah Heep, and Osibisa.

GRT promoted the album with “One Fine Morning” (b/w “Little Kind Words”), which became the band’s signature hit. “Hats Off (to the Stranger)” followed as the second single (b/w “1849”).

Thoughts of Movin’ On

Lighthouse released their fifth album, Thoughts of Movin’ On, in December 1971 on GRT.

The band scales back the extended forms of the prior album for shorter, verse-centered pieces that favor mid-tempo pacing, brighter horn punctuation, and a more even balance between Bob McBride’s lead vocals and the ensemble’s stacked backing lines. The brass section functions as a secondary rhythmic driver rather than a featured solo unit, and the string players add light color to select passages.

Thoughts of Movin’ On runs through brisk horn parts, slower material shaped by calm phrasing, and several songs that hinge on short repeating figures. “Take It Slow” keeps a light push, and the next two drift on an easy sway with horn lines that rise without strain. “Fly My Airplane” cuts between sections with sharper turns, and the side closes on a piece grounded by a steady, low-set pulse. The second half alternates pace: a few tracks carry a brighter lift, others draw inward, and the closer unfolds around compact phrases that rise and fall in measured cycles.

A1. “Take It Slow (Out in the Country)” (3:07) — written by Jollimore, Smith, and Cole.
A2. “What Gives You the Right” (3:19) — written by Shore.
A3. “You and Me” (4:47) — written by Shore.
A4. “Fly My Airplane” (3:42) — written by B. Hoffert and P. Hoffert.
A5. “I’d Be So Happy” (4:01) — written by Prokop.

B1. “I Just Wanna Be Your Friend” (3:07) — written by McBride and Prokop; lyrics trace unreciprocated affection and resignation.
B2. “I’m Gonna Try to Make It” (3:52) — written by Jollimore and Smith.
B3. “Rockin’ Chair” (3:35) — written by Cole and Prokop.
B4. “Walk Me Down” (3:49) — written by McBride.
B5. “Insane” (3:53) — written by McBride and Prokop.

Sessions occurred in 1971 at Thunder Sound in Toronto with producer Jimmy Ienner and recording engineer Phil Sheridan. Ienner oversaw mixing at O.D.O. Studios in New York City, and engineers at Mercury Sound Studios mastered the album.

Thoughts of Movin’ On features cover design by Brad Johannsen. GRT promoted the album with “Take It Slow (Out in the Country)” (b/w “Fly My Airplane”).

Lighthouse Live!

In July 1972, GRT issued Lighthouse Live!, a document of their February 9 showcase at Manhattan’s Carnegie Hall.

Spread across four sides, it captures their recent setlist, drawn from their two 1971 albums. The lineup features drummer Skip Prokop, guitarist Ralph Cole, singer/percussionist Bob McBride, bassist Louis Yacknin, keyboardist/vibraphonist Paul Hoffert, cellist Richard Armin, violinist Don DiNovo, trombonist Larry Smith, trumpeters John Nasslen and Mike Malone, and reedists Keith Jollimore and Howard Shore. The performance blends rock, jazz, and orchestral textures, highlighting the band’s capacity for improvisation.

Lighthouse Live! balances intricate, progressive explorations with more structured rock numbers. “Eight Miles High” extends into free-flowing solos from flute, guitar, and strings. “Old Man” and “You and Me” feature layered orchestral textures, while “One Fine Morning” and “Take It Slow (Out in the Country)” retain recognizable arrangements from the studio. Improvised passages allow each member to showcase their instrument, giving the electric cello, violin, and horns prominent moments within the live mix.

A1. “I Just Wanna Be Your Friend” (3:05) – from Thoughts of Movin’ On
A2. “Old Man” (7:45) – from One Fine Morning
A3. “Rockin’ Chair” (3:44) – from Thoughts of Movin’ On

B1. “Sweet Lullaby” (5:03) – from One Fine Morning
B2. “Eight Miles High” (13:40) – from Lighthouse

C1. “1849” (6:30) – from One Fine Morning
C2. “You and Me” (8:55) – from Thoughts of Movin’ On

D1. “Take It Slow (Out in the Country)” (3:20) – from Thoughts of Movin’ On
D2. “One Fine Morning” (5:07) – from One Fine Morning
D3. “Insane” (4:29) – from Thoughts of Movin’ On

Sessions occurred live on February 9, 1972, at Carnegie Hall, New York City, with recording handled by Location Recorders and mixing completed at O.D.O. Studios, New York City. Jimmy Ienner produced, with G. Kong cutting the lacquer.

Photography for the album was handled by John Rowlands, with cover photography and design concept by Jeff Mayer.

GRT promotion included the band’s rendition of “Eight Miles High” and live singles highlighting extended arrangements, though none achieved significant chart placement.

The live album preserves the band’s expansive arrangements, improvisational energy, and integration of strings and horns, providing a document of Lighthouse at the height of their early 1970s stage presence.

Sunny Days

Lighthouse released their sixth studio album, Sunny Days, in November 1972 on GRT.

The album emphasizes concise, polished arrangements that blend jazz-rock elements with pop-rock accessibility. Horns and strings continue to color the ensemble sound, with percussionist–vocalist Skip Prokop and guitarist Ralph Cole maintaining the group’s driving energy, while the band balances mid-tempo songs with occasional slower, reflective passages.

Sunny Days alternates between bright horn pieces, string-tinted mid-tempo tracks, and softer ballads shaped by contoured vocals. Side A favors punchier songs with firm rhythms and close-set harmonies. Side B stretches out with longer, soul-leaning numbers and tighter rock passages; it ends on “Lonely Places,” a mid-tempo track that pairs inward lyrics with sustained instrumental color. “You Give to Me” stands out for its shifting textures, where brass lines, organ runs, and active bass threads move in and out of each other.

A1. “Silver Bird” (3:02) — written by Cole.
A2. “Sunny Days” (4:13) — written by Prokop.
A3. “You Girl” (3:56) — written by Prokop.
A4. “Beneath My Woman” (6:57) — written by Prokop.
A5. “Merlin” (4:15) — written by McBride and Prokop.

B1. “Broken Guitar Blues” (4:25) — written by Cole.
B2. “Letter Home” (4:07) — written by Shore.
B3. “You Give to Me” (7:16) — written by Smith.
B4. “Lonely Places” (3:21) — written by B. Hoffert and P. Hoffert.

Sessions occurred in 1972 at Thunder Sound Studios in Toronto with producers Jimmy Ienner, Skip Prokop, and Paul Hoffert, and recording engineer Phil Sheridan. Jack Sherdel mixed the album at O.D.O. Studios in New York City, and mastering took place at Sterling Sound. Sunny Days features photography by David Street.

GRT promoted the album with “Sunny Days” (b/w “You Girl”), which reached No. 34 on the Canadian Top 40.

Can You Feel It

Lighthouse released their seventh studio album, Can You Feel It, in 1973 on GRT.

The album maintains the band’s jazz-rock foundation, combining horn-driven arrangements with string textures and layered vocals. While mid-tempo pop-rock dominates, select tracks explore psych-tinged motifs and soulful, bouncy rhythms, showcasing the versatility of the ensemble.

Can You Feel It mixes brassy rock pieces, soul-shaded mid-tempo songs, and several tracks colored by psych touches. Side A tilts toward motion, from the pace shifts in “Set the Stage” to the altered contours of the psych-leaning “Same Train.” The second side folds reflective ballads into louder horn arrangements. “Pretty Lady” centers the sequence with bright layers and close harmonies. “Magic’s in the Dancing” opens space for viola and drum solos, and “No More Searching” turns to a country-tinged style with a subdued vocal line.

A1. “Set the Stage” (4:56) — written by Cole.
A2. “Same Train” (6:03) — written by Prokop.
A3. “Magic’s in the Dancing” (4:04) — written by Cole.
A4. “Pretty Lady” (3:57) — written by Prokop.
A5. “Disagreeable Man” (5:29) — written by Prokop.

B1. “Can You Feel It” (4:36) — written by Prokop.
B2. “Is Love the Answer” (3:14) — written by Cole.
B3. “Lonely Hours” (6:25) — written by Prokop.
B4. “No More Searching” (4:04) — written by Dale Hillary.
B5. “Bright Side” (4:26) — written by Cole.

Sessions occurred in 1973 at Record Plant, New York City, with producers Jimmy Ienner and Skip Prokop, and engineer Shelly Yakus. Dennis Ferrante assisted on engineering. The album was lacquer cut at Phonodisc GmbH.

Can You Feel It features photography by Joel Brodsky and art direction by Davis Fried Krieger.

GRT promoted the album with “Pretty Lady” (b/w “Magic’s in the Dancing”), which became a major Canadian hit and the band’s last U.S. single to chart.

Good Day

Lighthouse released their eighth studio album, Good Day, in 1974 on GRT.

The album pares the lineup to nine members, scaling back the horn section to saxophonist Dale Hillary and trombonist Rick Stepton, and expanding the role of strings with Don DiNovo on viola and Dick Armin on cello. This shift gives the music a more progressive edge, though conventional pop-rock numbers remain alongside adventurous tracks. New keyboardist Sam See introduces synthesizer textures for the first time on a Lighthouse album.

The material ranges from large-scale pieces to tighter pop-rock and blues-leaning tracks. “White Buffalo” and the closing “Reincarnate Nation” mark the widest span, each built around strings and shifting dynamics. “Wide-Eyed Lady” threads string colors through a core band sound and serves as Bob McBride’s final writing credit. “Going Downtown” steps into blues-rock, while shorter cuts such as “Be Here Now” and “Man, Woman, Child” keep to a simpler pop-rock frame. Synth elements surface throughout, adding another layer to the mid-tempo and more expansive passages.

A1. “White Buffalo” (5:35) — written by Prokop.
A2. “Wide-Eyed Lady” (5:09) — written by McBride, DiNovo, Prokop.
A3. “Got a Feeling” (3:47) — written by Cole.
A4. “Be Here Now” (3:26) — written by L.J. Reid, Sam See.
A5. “Good Day” (4:43) — written by Cole.

B1. “Man, Woman, Child” (3:14) — written by Prokop.
B2. “Mighty Waters” (5:05) — written by Cole.
B3. “Going Downtown” (6:52) — written by Prokop.
B4. “Reincarnate Nation” (7:04) — written by Prokop.

Sessions occurred in 1974 at Thunder Sound, Toronto, with producers Jimmy Ienner and Skip Prokop. The album was mixed at Record Plant, New York City, and mastered at Master Cutting Room by Greg Calbi and Tom Rabstenek, with Bill Seddon and Shelly Yakus engineering. Jimmy “Shoes” Iovine and Richie Apuzzo assisted.

Good Day features alternate textile cover artwork by Margaret Cusack, preferred to the original GRT release.

GRT promoted the album with “Man, Woman, Child” (b/w “Mighty Waters”), their last attempt at a hit single, which received Canadian airplay.

Discography: