several false starts, they signed with Liberty/United Artists in the spring of 1969, and in April 1969 recorded a best-selling album, Stink. It was subsequently reissued on CD. Back to Canada Homesickness, dissension in the ranks, and the vagaries of youth facilitated a return to Canada in June 1969. Shortly after the July 1969 release of Stink, Allied Records released the demos recorded in September 1968 as McKenna Mendelson Blues. MMM thus became Canada's first "major label" act to be the victim of a bootlegged album. However, while in Europe and England selections from the Stink album appeared on various blues samplers and compilations, notably Liberty's Gutbucket (1969), subtitled 'An Underworld Eruption', and Son of Gutbucket (1969). GRT Signing and 1971 Album Following "Stink", and a brief hiatus resulting from the internal dissension, the band reformed with Zeke Sheppard on bass and was signed in Canada by GRT Records. In 1971 Mainline recorded a second studio album, "Canada Our Home and Native Land" in San Francisco. The album featured horn arrangements on some tracks and was engineered by Fred Catero, who worked on many albums by top artists, including Bob Dylan, Al Kooper and Santana. The album had more of a production sheen than the "Stink" album, owing perhaps to the California influence and that of its producer Adam Mitchell, formerly of the Paupers. The subsequent supporting tour included dates in Australia. The Mainline Bump n Grind Revue In late 1971, Zeke Sheppard moved on to other things and the band, again by newspaper advertisement, hired Ted Purdy to take over the mantle of bass player for the otherwise intact band. In February 1972, the band recorded a live album featuring striptease artists at the run-down Victory Theatre, a vintage Toronto burlesque venue. The resulting album, "The Mainline Bump and Grind Review" was mixed at Moses Znaimer's Thunder Sound studios, long before Znaimer gained notoriety as the founder of CITY-TV. The album was recorded by Jay Messina and Jack Douglas on the Record Plant mobile studio out of New York City. Messina and Douglas later engineered the likes of John Lennon, Aerosmith and Lou Reed. The Record Plant mobile encountered difficulties crossing the border due to customs officers' unfamiliarity with high-tech equipment of such nature being packed into a truck, with the result that there were only a couple of hours to do a complete sound check prior to the