Interview from November 15, 2018
by Dan Locke
COVER TEASER
“We’re coming to your town… we’ll help you party it down.”
Grand Funk Railroad’s Don Brewer looks back at fifty years on the road, anthems that shaped rock radio, battles behind the scenes, and why—after all this time—the music still hits just as hard.
THE HEARTBEAT OF AMERICAN ROCK: DON BREWER ON FIVE DECADES OF FUNK, FIRE & FM RADIO
There’s a certain rhythm that underpins American rock: a pulse equal parts grit, sweat, and rebellion. Few drummers personify that heartbeat more than Don Brewer, co‑founder and longtime rhythmic anchor of Grand Funk Railroad. With his unmistakable backbeat, powerhouse vocals, and songwriting chops, Brewer helped turn a blue‑collar trio from Flint, Michigan into one of the biggest arena‑filling acts of the 1970s.
From the early days of playing gymnasiums, to breaking the Beatles’ record by selling out Shea Stadium, to shifting gears in the era of FM hit radio, Brewer’s journey mirrors the evolution of American rock itself. In this expanded interview, he opens up about the music, the mayhem, the management battles, the fans, and the future.
Q&A WITH DON BREWER (EXTENDED EDITION)
EARLY DAYS — FROM GYM FLOORS TO FESTIVAL STAGES
Q: Grand Funk Railroad started in the late ’60s, right?
A: That’s right—1969. That was our first official show.
Q: Do you remember that show?
A: Vaguely. It was somewhere near Buffalo or across the border in Canada. Just a gymnasium dance, nothing glamorous. But it was new, exciting—we’d just taken on the name Grand Funk Railroad, and we were still figuring out who we were as a band.
Q: And pretty soon you were on massive stages.
A: The real turning point was the first Atlanta Pop Festival. We went down there as a favor for a friend and played for free. First day, 30,000 people. We finished our set and suddenly it was like, “Who are these guys?” The buzz was instant.
Q: That kind of exposure in 1969 was huge.
A: Massive. Back then, festivals were how you got discovered. No internet. No viral clips. You played your heart out and hoped people talked about you.
And they talked about us.
THE ROCKET RIDE — SHEA STADIUM & BEYOND
Q: Let’s talk Shea Stadium.
A: That was 1971. One of the wildest moments of our career. We were coming off our third album Closer to Home, which had “I’m Your Captain” on it. We’d built this insane fan base, and the Shea show sold out faster than the Beatles—a record at the time.
Q: Did you feel that momentum in the moment, or only in hindsight?
A: Both. You could feel the energy changing. We’d gone from being the underdogs the critics hated to this unstoppable live act fans adored. Shea was the confirmation.
THE BUSINESS BATTLES — “WE DISCOVERED THE TRUTH THE HARD WAY”
Q: You went through a major management dispute around then.
A: Yes. We found out our manager Terry Knight—and a couple attorneys working with him—had been taking our money. A huge chunk of it. We were young, hungry, and trusting. Bad combination.
Rock and roll isn’t just guitars and drums—it’s contracts, and not always good ones.
Q: That must have changed everything.
A: It forced us to grow up quickly. Suddenly we weren’t just musicians—we were a business fighting to survive.
FM RADIO CHANGES — ADAPTING OR DYING
Q: Around that time, FM radio was shifting too.
A: Oh, absolutely. FM underground radio used to play 7‑minute songs. Long arrangements. Experimental stuff. Then suddenly FM stations wanted tight, radio‑friendly, three‑minute singles. If you didn’t adapt, you disappeared.
Q: And that’s when Todd Rundgren entered the picture.
A: Exactly. We needed a new direction. Todd helped us craft a punchier, hit‑driven sound without losing who we were.
TODD RUNDGREN — “HE CHANGED HOW WE HEARD OURSELVES”
Q: What was working with Todd Rundgren like?
A: Fantastic. Todd recorded things the way he wanted them to sound in the end—effects, EQ, everything—right into the headphones. So while you’re performing, you’re already hearing the final product. That changes how you play. Most engineers kept everything dry until the mix stage. Todd blew that up.
Q: Did that affect your performances?
A: Completely. When you hear the real tone and texture in your headphones, you play differently—more confidently, more musically.
LYNN GOLDSMITH — PHOTOGRAPHY, IMAGE & THE POP SHIFT
Q: Lynn Goldsmith worked with you creatively as well.
A: She did. She added a poppier, more visual approach. Album photography, publicity strategy—she had a strong vision. At the time, FM radio was heading more toward mainstream pop, and what she brought fit that.
ROCK LORE — SWEET CONNIE, THE ROAD & “AMERICAN BAND”
Q: In “We’re an American Band,” you mention Sweet Connie.
A: Sweet Connie—Connie Hamzy—was introduced to us in Little Rock. She was legendary among musicians. I wrote the lyrics from real moments on the road. Connie, the “four young Chiquitas,” Freddie King, all those snapshots became part of the story.
Q: Did you ever meet Pamela Des Barres?
A: Not that I know of.
ZAPPA, SEGER & NEW CREATIVE WORLDS
Q: Frank Zappa produced one of your albums.
A: Yes, Good Singin’, Good Playin’. We’d seen 200 Motels, where he jokingly took a shot at Grand Funk. We thought it was hilarious and said, “Why not get Frank to produce us?” He loved the idea.
Working with him was incredible—funny, smart, sharp as a razor.
Q: And you’ve worked with Bob Seger for decades.
A: I’ve been his touring drummer on and off for forty years. Bob runs a tight ship, and the band is always top‑notch. Playing with him keeps you sharp.
THE FANS — FOUR GENERATIONS STRONG
Q: How has the fan base changed since the ’60s?
A: The same fans—just older and grayer!
But now they bring their kids and grandkids. Seeing four generations sing “Some Kind of Wonderful” or “We’re an American Band” together… that’s something special.
Q: That must be surreal.
A: It is. That’s when it hits you—you’ve become part of people’s lives.
DRUMS, TECHNOLOGY & THE MODERN STAGE
Q: How has drum technology changed for you?
A: The drums themselves? Not by much. They’re still acoustic instruments. But drumheads, sticks, hardware—they’re better than ever.
The real leap is the technology around the music: soundboards, PA systems, lighting, amplification. I wish we had today’s gear back in the 70s.
Q: Do you think musicians rely too heavily on tech today?
A: Sometimes, yeah. Technology is great, but it can overshadow the basics. A great song and a great performance—that’s what matters.
Q: Your drum heroes?
A: Mitch Mitchell, Ginger Baker, Dino Danelli… and older legends like Louie Bellson and Buddy Rich. Those guys were powerhouses.
OFF THE STAGE — LIFE, CARS & RADIO
Q: What’s on your phone musically?
A: I don’t listen to much music on my phone. Mostly talk radio. Satellite stations tend to repeat the same playlist over and over.
Q: First big purchase after your first gold record?
A: A 1974 Midnight Blue Thunderbird. Gorgeous car.
Q: When did you start playing drums?
A: Around 13 or 14. I hated clarinet, the band needed someone in the drum section, the drumline had girls in it, and my dad—who was a drummer—taught me. Easy decision.
THE ROAD TODAY — STILL ROLLING
Q: Your 2018 tour kicked off recently.
A: Yep, two shows so far. One in Delaware, another sold‑out show near Cleveland.
We stay busy. Grand Funk never really stopped touring.
Q: Favorite city from the early days?
A: I loved New York in the ’60s and ’70s. Now? Sedona, Arizona. Great energy, breathtaking scenery.
CLOSING THOUGHTS — “WE’RE STILL HAVING THE TIME OF OUR LIVES.”
Q: Any final message for fans?
A: This lineup has been together since 2000—18 years, which is rare. The last two years have been our best in decades.
We’re excited for another great year.
We’re coming to your town—come out and see us.
