Plain Brown Wrapper from Lansing, MI (1966-1973).

During their 7- year existence the band grew into a massive stage show.

Including screaming guitars and horns and soaring vocal harmonies.
(Courtesy Posted Thursday, February 4, 2021)

From the article: "A Look Back at Plain Brown Wrapper" - by Rich Tupica

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Aside from a small batch of limited-run singles, "Plain Brown Wrapper" is now cemented deep within Lansing’s murky ’60s and ‘70s rock folklore. Those who were around to experience the band live on stage have hazy memories of the stage-filling ensemble cast of local musicians that made up Plain Brown Wrapper (PBW). From scorching guitars, to jazzy horns, the group slowly evolved from primitive arrangements into a colossally progressive wall of sound. When a group rolls up on stage with two trumpets, a trombone, plus 4 standard electric rock instruments and (sometimes)... 2 percussionists, you know it’s not your typical band.

Built from the garage-rock ashes of "The Plagues" (another legendary Lansing band), PBW took shape in 1966, after Plagues frontman and main song writer, Bill Malone, left the group and headed to Hollywood. 

But back home in Michigan, Bill's bandmates Van Decker (guitar/keys), Phil Nobach (drums) and Jim “Hoz” Hosley (guitar/bass) joined up with Scott Durbin (and temporarily, Steve Allen) to form The Plain Brown Wrapper. The group, which fully embraced the new psychedelic sounds of the late-’60s, saw many lineup changes until its 1973 breakup. But, at its core the outfit followed a basic equation, creativity.

“The Wrapper was influenced by American groups like the Beach Boys, Motown, Frank Zappa and some jazz artists.” Decker said. “(The sound) had a lot to do with Scott Durbin, who was an experienced jazz musician. Scott’s trumpet playing and piano talents made it possible to explore a much wider variety of styles, which carried over into our original material.”

Hosley confirms, The Wrapper preferred to test the creative limits, and each other, every time they performed together at venues like Grand Mother's, The Brewery, The Dells, MSU Shaw Hall, The Stables and Club Roma, along with dozens of "teen clubs" across the state of Michigan.

“The band loved to jam, as in jazz improvisation, or blues riffing, and that showed-up often, as the band would stretch-out and allow a soloist to play-on, or, there might be a dueling 8-bar jam, one soloist trying to stump the other or just put down a good lick”, Hosley said.    

In the Spring of '68 a new drummer, with a more jazz-influenced feel, joined The Wrapper. Rick Kalb ("Soaky Patato Funbath") was also a jazz DJ at MSU (Michigan State University), and his influence was noticed when he first auditioned,..he was "in". The Wrapper's original material soon began to flow and stretch-out, with creativity as a goal. This group signed a management contract and played in multiple Chicago clubs and a 5-week New Year's 1968-69 gig in Aspen, Colorado. But, all things come to an end. Kalb left The Wrapper to join Green Light Sunday, an even more jazz aimed band.

In January 1970, Gary Story replaced "Soaky" as the drummer. Gary's strong voice and song writing ability were immediately attractive, and his fat-back drumming pushed the band away from jazz towards a bluesey, R&B, pop-rock sound. In the Spring of 1971, Van and Jim left the band, but the group continued as a quartet for two more years.

Today, some of the band’s catalog is streamed on YouTube, like the soulful “Real Person” and “You’ll Pay” (an early, stripped-down single). And, check out their website and listen to the traces of sonic brilliance these local cats left behind.