Mock Duck ‎– Test Record

Gear Fab Records ‎– GFC 407/2
2 × Vinyl, LP, Album


A1 Home Made Jam/Introduction 12:44
A2 Groundhog 4:58
B1 Hurt On Me 2:47
B2 Sitting On Top Of The World 4:14
B3 My Time 6:39
B4 Fat Man 4:48
C1 Crosscut Saw 3:45
C2 Easter Dog 2:54
C3 Funky Song 4:43
C4 Do Re Mi 3:02
C5 Playing Games 3:04
D1 Jazz Mock 19:08


Tri-gatefold. 180 gram vinyl.

Other Versions (3 of 3) View All

Cat# Artist Title (Format) Label Cat# Country Year
none Mock Duck Test Record(Acetate, LP, Album, Promo, TP) Not On Label (Mock Duck Self-released) none Canada 1968 Sell This Version
GF 154 Mock Duck Test Record(CD, Album) Gear Fab Records GF 154 US 2000 Sell This Version
GFC 407/2 Mock Duck Test Record(2xLP, Album) Akarma GFC 407/2 Italy Unknown Sell This Version


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June 21, 2013
During the mid- to late '60s, Mock Duck emerged as one of the most popular rock bands on the burgeoning music scene of Vancouver, BC. They were one of a plethora of Canadian bands (alongside peers such as Spring, Papa Bear's Medicine Show, the Seeds of Time, and Hydroelectric Streetcar) who packed local psychedelic ballrooms such as the Village Bistro, Retinal Circus, and Big Mothers in emulation of the San Francisco and Seattle scenes to the south. Although they never made much of an impression outside their local region, they were good enough to support visiting names of the day like Fleetwood Mac, B.B. King, Country Joe & the Fish, and the Steve Miller Band.
Like a whole generation of youngsters, Joe Mock picked up the guitar in the early '60s, spurred on by rock & roll. By 1966 he was good enough to play live, and subsequently formed the first incarnation of Mock Duck with Steve Barrett (drums), Spense Sutton (vibes), Tom Hazelitt (bass), and David Sinclair (guitar). At the time they were calling themselves Joe Mock & No Commercial Potential and were chiefly enamored of folk-rock, particularly Bob Dylan. The band played at the Afterthought, a venue where Jefferson Airplane and Country Joe would sometimes perform. They eventually changed their name to Mock Duck when Sutton's girlfriend, unhappy with yet another band practice, appended a frustrated, four-letter epithet to bandleader Mock's surname.
By the beginning of 1967, the first lineup dissolved and a second version of the band was formed when drummer Glen Hendrickson witnessed Mock performing a solo set and approached him with the possibility of starting a new band. With the addition of bassist Lee Stevens, Mock Duck became a trio and began making the rounds of the local psychedelic scene, which was significant enough by this time to lure artists such as the Doors and Mad River from the States. The trio worked into the next year before Stevens was replaced by Rick Enns and Ross Barrett was brought in on saxophone, flute, and keyboards. They began recording at the nascent R&D Studios, releasing two singles in 1968. The second, "Do Re Mi," received substantial airplay at regional radio stations, although not enough to make any inroads in America. By the end of 1969, this version Mock Duck also dissipated, and Mock formed one more band under the moniker, moving into a psychedelic R&B realm before calling it quits in 1970.