Bach, Sebastian
Bachman & Turner
Bachman, Randy
Bachman, Tal
Bachman -Turner Overdrive
Bad Rabitz
Bailey, Jack
Baldry, Long John
Baloue, Lewis
Bambi Slam, The
Band of Armagh
Band, The
Banlieue Rouge
Barber, Jill
Barenaked Ladies
BarKing BOYS & Yes GIRLS
Baron Longfellow
Barra MacNeils
Barry Band, Stephen
Barry, Claudja
Barstool Prophets
Bartholomew Plus 3
Basic English
Basics, The
Bass Is Bass
Batah, Peter
Battered Wives
Battery, The
Beach Mutants
Beattie, Doran
Beau Dommage
Beau-Marks, The
Bedouin Soundclash
Bel Air, Les
Béliveau, Véronique
Bell, Jimmy
Bells, The
Bel-Vistas, The
Bendeth, David
Bennett, Doug
Bennett, Willie P.
Bent Wind
Bentall & the Legendary Hearts, Barney
Bentwood Rocker
Benzene Jag
Bergmann, Art
Bertucci, Jimi
Besnard Lakes
Beverly Sisters
Beyond Possession
Bieber, Justin
Big Bang
Big Black Puppets
Big Blue Bus
Big Bob & The Dollars
Big Dirty Band
Big Dog
Big Faith
Big House
Big Red
Big Rude Jake
Big Sugar
Big Town Boys
Bill and the Bills
Bill of Rights
Billy Butt & the Brats
Billy Talent
BIM (aka Roy Forbes)
Binder Brothers
Bishop, Arlene
Bishop, Heather
Bitter Reality
Black Knight
Black Labelled
Black Magic
Black, Jully
Black, Paris
Blackie & the Rodeo Kings
Blakewood Castle
Blank Generation
Blibber & The Rat Crushers
Blimkie and the Reason, Steve
Blind Vengeance
Blinker the Star
Blondahl, Omar
Blue Grass “4”
Blue Max
Blue Northern
Blue Oil
Blue Peter
Blue Rodeo
Blue Shadows, The (1)
Blue Shadows, The (2)
Blues Train, The
Bluesmen Revue, The
Blushing Brides, The
Bob’s Your Uncle
Bocan, Joe
Body Electric
Bohemians, The
Boinks, The
Bolero Lava
Boliska, Al
Bolt Upright
Bond, The
Bonfire, Mars
Bongo Fury
Bonus Boys, The
Bookmen, The
Bopcats, The
Born Yesterday
Boswell, John
Bottomley, Chris
Bottomley, John
Bourban Tabernacle Choir
Bourne & MacLeod
Bouvette, John
Bowser & Blue
Box, The
Boyd, Barry
Boys Brigade
Bradburn, Bob
Bradstreet, David
Bran Van 3000
Brandon Wolf
Brass Bikini
Bratty & the Babysitters
Brave Belt
Breau, Edgar
Breeding Ground
Breen, Michael
Breit Bros.
Brian’s Children
Bribosia, Gerry
Brighton Rock
Brilliant Orange
British Modbeats, The
British North American Act
Britt, Tommy
Britten, Dave
Brock & Friends
Broken Silence
Broken Social Scene
Brooks, Danny
Brooks, Dianne
Broomer & Mars
Brothers and One
Broughm, Ross
Brown, Carol
Brown, Charity
Brown, Linda
Brule, E.J.
Bruno Gerussi’s Medallion
Brunswick Playboys
Brussel Sprout
Bryant, Wiz
Bryden, Bob
Bryk, Dan
Bublé, Michael
Buck 65
Buck, Gary
Buckstone Hardware
Buena Vista
Bunny & the Lakers
Burchill, Bob
Bureaucrats, The
Burn, Malcolm
Butler, Edith
Butler, Marty
Buzz Neurolick
By Divine Right
Byrnes, Jim

BACH, Sebastian
Born:  Sebastian Philip Bierk on April 3, 1968 in Freeport, Bahamas
Bach grew up in Peterborough, Ontario and attended the private boarding school Lakefield College High. In his teenage years he formed the band Kidd Wikkid and performed for many years at most of the hard rock clubs like The Gasworks and Rock And Roll Heaven in Toronto, Ontario. The band managed to get their demo track “Take a Look at Me” on Attic Records’ ‘Maple Metal’ compilation. However, they were never able to parlay that exposure into a record deal. When lead singer Mike Fallon quit New Jersey metal band Skid Row in 1987, Bach was asked to join after they saw him at the wedding for rock photographer Matt Weiss. Bach turned them down until hearing their demo tape and soon was flown to New Jersey to start performing live with Skid Row. With the help of Jon Bon Jovi and Richie Sambora, who signed the band to a publishing deal, Skid Row managed to land a record deal with Atlantic Records. They would have international success with their albums ‘Skid Row’ (1989) and ‘Slave to the Grind’ (1991) on the back of the radio hit “18 and Life”, “I Remember You” and “Youth Gone Wild”. The band would play North America and Europe with Bon Jovi, Aerosmith and Mötley Crüe among others. As the hair-metal era gave way to grunge in the mid-90s, Skid Row was left struggling to stay relevant and following Bach’s negotiation with KISS for Skid Row to open for them on a tour, Bach was fired in 1996 for undermining the band’s headlining potential (imagined or otherwise). In 1996, Bach formed a new band called The Last Hard Men, with guitarist Jimmy Flemion (Frogs), lead guitarist Kelley Deal (Breeders), and drummer Jimmy Chamberlin (Smashing Pumpkins). The group recorded a full-length, self-titled album for Atlantic Records but wasn’t release. Deal managed to issue it on her own Nice Records in 1998.  In 2000, Bach made his Broadway debut in ‘Jekyll & Hyde’ from April 2000 through September 2000. Because of critical raves his run was extended until October that year.  He also appeared as Riff Raff in ‘The Rocky Horror Show’ in 2001 and at the ‘New York Steel’ benefit concert for victims of 9/11 on November 28, 2001. In October 2002 Bach performed in the national touring production of ‘Jesus Christ Superstar’ playing the title role. He also reprised a brief revival of ‘Jekyll and Hyde’ in 2004. After auditioning for Velvet Revolver (and losing out to Scott Weiland), Bach started a recurring role in the TV show Gilmore Girls as as lead guitarist in the fictitious band Hep Alien. In 2004 Bach was featured in the VH1 series ‘I Married…’ for the episodes ‘I Married Sebastian Bach’ where he also had a new act – Bach Tight Five – live with him and his family. The band was short-lived. Bach then appeared as lead singer on Henning Pauly’s Frameshift band LP entitled ‘An Absence of Empathy’ in 2005. In 2006 Bach was invited by Axl Rose to appear as a guest vocalist on several dates of Guns ‘N Roses’ tour stops that year. That same year Bach, Ted Nugent, Evan Seinfeld, Jason Bonham and Scott Ian starred in the VH1 reality TV show ‘Supergroup’ where the members had to live together as a band in a mansion in Las Vegas. They had 12 days to write and record music in a band called Damnocracy. Bach created his own record label in a deal with EMI Music which allowed him to record and release the solo album ‘Angel Down’ which was released in November 2007. The album just scraped the bottom of the Billboard Top200 album chart. He would also sing on the Guns ‘N Roses song “Sorry” for the 2008 GNR comeback album ‘Chinese Democracy’. Bach toured solo in the summer of 2008 opening for the likes of Poison and Dokken. He also did a solo tour of Australia. Bach also appeared in the 2nd season of the CMT Network’s reality competition show ‘Gone Country’ which he subsequently won. Bach was the opening act on Guns ‘N Roses’ 2009/2010 sporadic ‘Chinese Democracy’ Tour. In 2011 Sebastian Bach released the album ‘Kicking and Screaming’. [also see WINTER ROSE]

(Love Is) A Bitchslap (Caroline)
2011 Kicking & Screaming

18 & Life/Midnight (Atlantic) 7-88883
1989 I Remember You/Makin’ a Mess (Live) (Atlantic) 7-88886
1990 Youth Gone Wild/Sweet Little Sister (Atlantic)  7-88935
1991 C’mon and Love Me (Atlantic) SAM-880
1991 Get the Fuck Out (Atlantic)
1991 Slave to the Grind (Atlantic) A-7603
1991 Wasted Time/Holidays In the Sun (Atlantic) A-7570
1991 In a Darkened Room/Beggar’s Day (Atlantic) A-7612
1991 Monkey Business/Slave to the Grind (Atlantic)  A-7673
1992 Little Wing (Atlantic) PRCD-4777
1992 Quicksand Jesus (Atlantic) PRCD-4444
1993 Riot Act (Atlantic)
1995 My Enemy (Atlantic) PRCD-6113
1995 Breakin’ Down (Atlantic) PRCD-6210
1995 Into Another (Atlantic) AMCY-826

Bring ‘Em Bach Alive! (Atlantic) 80978
2001 Bach: 2 Basics
2005 Finding My Way [EP]
2007 Angel Down (Caroline)
2011 Kicking & Screaming (Frontiers – EU)

Basement Tapes [cassette]
1989 Skid Row (Atlantic) 81936
1991 Slave to the Grind (Atlantic) 82278
1992 B-side Ourselves [EP] (Atlantic) 82431
1995 Subhuman Race (Atlantic) 82730
1995 Subhuman Beings On Tour – Live [EP] AMCY-865
1998 40 Seasons: The Best of Skid Row (Atlantic) 83103

The Last Hard Men (unreleased)
2001 The Last Hard Men (Nice)

An Absence of Empathy (ProgRock) PRR-131

Born: September 27, 1943 in Winnipeg, Manitoba
Guitarist Randy Bachman was born and raised in Winnipeg and played with Chad Allan And The Silvertones in the late 1950’s with Garry Peterson (drums) and Jim Kale (bass). They played Top 40 material by American rock and roll acts. In 1962 they changed their name to Chad Allan And The Reflections and later as Chad Allan And The Expressions. It was this incarnation that landed a recording contract with Quality Records. Soon they released several singles, but it was difficult getting Canadian music onto Canadian radio. Quality, on the advice of Walt Grealis at RPM Magazine suggested they release the band’s next single, “Shakin’ All Over”, with a plain label that said ‘Guess Who?’. The single became a hit in 1965 and the band name stuck. Eventually members Bob Ashley and Chad Allan left the group and by 1966 a new hot-shot keyboardist/vocalist joined by the name of Burton Cummings joined the band. The band released many more singles for Quality between 1966 and 1967. After four poor selling albums for Quality Records, they sold the Guess Who’s contract to studio owner and producer Jack Richardson’s newly formed Nimbus 9 label for $1,000!  In early 1968, after recording 2 singles and half of a special Coca-Cola promotional LP (with The Staccatos on the flipside) called ‘A Wild Pair’, Nimbus 9 decided to release a full length album containing eight Bachman/Cummings originals called ‘Wheatfield Soul’. This tenacity by both Nimbus and RCA paid off as the first single, “These Eyes”, broke new ground in the US eventually reaching No.3 on the charts and selling 1,000,000 copies. Embarrassed Canadian broadcasters, who had followed American music trends to the letter, were soon forced to playlist the song. The doors were now open for a string of hits including the double-A sided “Laughing/Undun” and their biggest selling record of all time – “American Woman”.  Bachman had been slugging it out for 10 years by this point and decided to leave the group while they were on top. Upon leaving the band, he released a solo album called ‘Axe’ for RCA in 1970. The album did little and Bachman found himself yearning for the creativity of a collaborative atmosphere. He called his old Guess Who cohort Chad Allan and they decided to put a new band together. Allan would supply vocals, keyboard and rhythm guitar while Bachman’s younger brother, Robin, would handle drums. The trio became Brave Belt and headed into the studio to record their debut album with Bachman doing double duty on bass guitar. As fate would have it, they landed Fred Turner as bassist just as ‘Brave Belt’ was completed . By 1972’s ‘Brave Belt II’, the band was starting to show its heavier side particularly with Turner’s songwriting and gritty truck driver vocals which appeared to conflict with Chad Allan’s vision of the band. Allan’s contributions to the record were minimal and he quit before the record was released. With the limited success of the first two albums Randy Bachman began hunting for a better record deal which he found with Mercury/Polydor. At this point another Bachman brother, Tim, was added on guitar and the musical direction of the band became even heavier. By this time ‘Brave Belt III’ was the intended next record but with a new label and band direction the group changed gears, literally, and became ‘Bachman-Turner Overdrive’. ‘Bachman- Turner Overdrive’ was released in 1973 on Mercury Records and stayed in the charts for 68 weeks. After four tries, the only successful single from the record was “Blue Collar” which managed a reasonable position of No.68 on Billboard’s Hot 100. By year end they managed to pull out another album from their creative rebirth with ‘Bachman Tuner Overdrive II. The album was pushed all the way to Top10 by the driving force of the bubbling under “Let It Ride” and the monster hit “Takin’ Care of Business”. 1974’s album ‘Not Fragile’ gave the band the type of success that Randy Bachman had not scene since the Guess Who’s’ ‘American Woman’ in 1969. The album rode the charts at #1 from the success of the worldwide number one single “You Ain’t Seen Nothing Yet” and its seminal follow-up “Roll on Down the Highway”. Subsequently, the world took a backward glance at BTO and their first two albums became certified gold in 1974. Bachman recorded seven studio albums, a ‘best of’, and fifteen charting singles. His final release with BTO was 1977’s ‘BTO Japan Tour – Live’ at which time Bachman quit the band due to the typical ‘musical differences’ and recorded his second solo album, ‘Survivor’ (1978) . Internal upheavals at the record label caused Bachman to beg out of his deal and he instead approached friends of his, the Scotti Brothers, who had just formed their own label. They were interested more in rock bands than solo performers and Bachman made one to order called Ironhorse. He brought in guitarist/vocalist/songwriter Tom Sparks from Washington State and added Chris Leighton on drums. They released two singles from their debut album including “Sweet Lui Louise”, before the band saw the departure of Sparks and the addition of former Trooper keyboardist/vocalist Frank Ludwig. With the change in direction and failure of the 1980 follow-up album ‘Everything Is Grey’, the band parted ways with Scotti Brothers. Bachman called up his old BTO and Bravebelt buddy Fred Turner to augment the existing three piece of Bachman, Leighton and Ludwig under the new name Union. The band released one album, ‘On Strike’, which spawned two singles for the US-based Portrait label (Heart, Burton Cummings). The album sank like a stone and the band dissolved. By 1983 the original line up of BTO met to discuss a reunion. Randy Bachman wanted to include Tim Bachman as part of the reformation, while other brother Robbie had pushed for Blair Thornton who was considered a better musician. Randy Bachman made the final choice to include his brother Tim Bachman causing Robbie Bachman to bow out of the reunion citing irreconcilable differences. Instead, Garry Peterson from the Guess Who joined BTO as their new drummer. In between these events the Guess Who also reunited for a live outing and album. But, BTO would never rest as the classic version of the band reunited yet again as CF Turner, Randy Bachman, Blair Thornton and Robbie Bachman made a comeback in 1988. They were able to hold the band together to tour for three years before Randy Bachman decided he’d finally had enough and bailed out in 1991. Bachman returned to running his own Ranbach label where he has released rare material by the original Guess Who, Lenny Breau and other guitarists in the Guitarchives series. He has also written two books, hosts the ‘Vinyl Tap’ radio show, released several solo CDs, put the Guess Who back together  again from 1999-2003, toured and recorded with Cummings under the name Bachman-Cummings, and again in 2010 with CF Turner as Bachman & Turner. with notes from Randy Bachman and John Einarson. [see BACHMAN-CUMMING, BACHMAN-TURNER OVERDRIVE, BACHMAN & TURNER, BRAVE BELT, THE GUESS WHO, IRONHORSE, UNION]

Tally’s Tune/La Jolla (RCA/Victor) 75-1055
Is the Night Too Cold For Dancin’?/Maybe Again (Polydor)  PD-14478
Just a Kid/Survivor (Polydor – UK) 2066-954
1978 Survivor/Is the Night Too Cold For Dancing? (Polydor – MEXICO) 2066-955
1992 Prairie Town (Fast)/Prairie Town (Slow) (Ranbach) RBSK-1001
1996 Made In Canada (Single Edit)/Made In Canada (Album Version)/Takin’ Care Of Business (From Live in Bob’s Garage) (True North) PTN-002
1993 Overworked and Underpaid/It’s Only Money/American Woman (Guitar Recordings)  [no cat #]

Axe (RCA) LSP-4348
1975 Solo Album (RCA) ANL1-1130
1978 Survivor (Mercury/Polygram) PD-1-6141
1993 Any Road (Ranbach/BMG)
1993 Bob’s Garage – Live [5 song EP] (Ranbach)
1996 Merge (True North) TNSD-0117
1998 Song Book (Ranbach)
2002 Every Song Tells a Story (Ranbach/True North) TNSD-0291
2004 Jazz Thing (Maximum Jazz) MAX-14792
2006 Anthology (1965-2006) (Friday) FRM-1048
2007 Jazz Thing II: New Guitar Summit (Ranbach) RBFN-003
2008 Takin’ Care of Christmas (Avalon) 41516
2015 Heavy Blues (Linus) 270204
2018 By George – By Bachman: The Songs of George Harrison (Universal) 40959

Randy Bachman
(guitar, vocals)  / C.F. (“Fred”) Turner (lead vocals, bass, switched to guitar 1978 ) / Robin “Robbie” Bachman (drums) / Tim Bachman (guitar, vocals) / Blair Thornton (guitar; replaced Tim Bachman 1974)  / Jim Clench (bass; replaced Turner 1978) / Garry Peterson (drums; Robbie Bachman 1984) / Randy Murray (guitar, vocals; replaced Rany Bachman)  / Billy Chapman (keyboards; 1986) / John Cody (drums; replaced Peterson)
During the 1960’s Randy Bachman was a founding member of Chad Allan & The Expressions who would go on to fame and fortune as the Guess Who. Bachman had been slugging it out for 10 years by the time the band struck gold with No.1 hits like “These Eyes”, “Laughing” and “American Woman” and decided to leave the group while they were on top. Upon leaving the band, he released a solo album called ‘Axe’ for RCA in 1970. The album did little and Bachman found himself yearning for the creativity of a collaborative atmosphere. He called his old Guess Who cohort Chad Allen and they decided to put a new band together. Allen would supply vocals, keyboard and rhythm guitar while Bachman’s younger brother, Robin, would handle drums. The trio became Brave Belt and headed into the studio to record their debut album with Bachman doing double duty on bass guitar. As fate would have it, they landed Fred Turner as bassist just as Brave Belt’ was completed (Turner doesn’t appear on the album despite his picture on the jacket). The album was released Brave Belt in 1971 on Reprise Records. By 1972’s ‘Brave Belt II’, the band was starting to show its heavier side particularly with the new addition of C.F. Turner’s songwriting and gritty truck driver vocals which appeared to conflict with Chad Allen’s vision of the band. Allen’s contributions to the record were minimal and he quit before the record was released. (‘Brave Belt II’ would eventually be re-issued following the success of B.T.O under the auspicious handle of Bachman-Turner-Bachman as Brave Belt’) . With the limited success of the first two albums Randy Bachman began hunting for a better record deal which he found with Mercury/Polydor. By then, Chad Allen had been replaced by another Bachman brother, Tim, on guitar and the direction of the band slid into an even heavier mode. By this time, Brave Belt III’, was the intended next record but with a new label and band direction the group changed gears, literally, and became Bachman Turner Overdrive (or B.T.O. for short).  ‘Bachman Turner Overdrive’ was released in 1973 on Mercury Records and stayed in the charts for 68 weeks. After four tries, the only successful single from the record was “Blue Collar” which managed a reasonable position of #68 on Billboard’s Hot 100. By year end they managed to pull out another album from their creative rebirth with ‘Bachman Tuner Overdrive II. The album was pushed all the way to Top10 by the driving force of the bubbling under “Let It Ride” and the monster hit “Takin’ Care of Business”. With the departure of Tim Bachman and addition of Blair Thornton on guitar, BTO’s 1974 album ‘Not Fragile’ gave the band the type of success that Randy Bachman had not scene since the Guess Who’s’ ‘American Woman’ in 1969. The album rode the charts at No.1 from the success of the worldwide number one single “You Ain’t Seen Nothing Yet” and its seminal follow-up “Roll on Down the Highway”. Subsequently, the world took a backward glance at BTO and their first two albums became certified gold in 1974. By the fourth album, ‘Four Wheel Drive’ BTO were international superstars and this album too proved to be a monster, peaking at #5 on Billboard, becoming certified platinum, and providing another catchy radio anthem in “Hey You”. Tired of the same old chugging rhythms, BTO diversified for their 5th album and revisited their jazzy blues roots a la “Blue Collar” on ‘Head On’ in December 1975. The album produced the mellow and intricate “Looking Out For #1” and other tunes on the record flexed BTO’s stylistic muscle like the Little Richard assisted piano rocker “Take It Like a Man”. It became apparent that now the band was in the spotlight a power struggle over song representation was bubbling to the surface. While nagging personal conflicts plagued the ranks, Mercury rush released ‘The Best of BTO (So Far)’ during the summer of 1976 in anticipation of a new studio album. When the smoke cleared, Randy Bachman had wrestled controlling interest in the song writing duties from C.F. Turner on 1977’s ‘Freeways’. The internal conflicts showed as the first single, “My Wheels Won’t Turn”, died at radio. Mercury panicked while the album sank and rebounded with 1977’s ‘BTO Japan Tour – Live’ but the bloom was off the rose – Randy Bachman left BTO due to the typical ‘musical differences’ ploy and recorded his second solo album, ‘Survivor’ (1978) . BTO carried on with new recruit Jim Clench (April Wine) on bass. This freed Turner up to switch to guitar and resume lead vocals duties. The first release from the new line-up was ‘Street Action’ in February 1978 but failed to do anything to stem the tide of their lagging popularity. With the old college try and an attempted career make over manager Bruce Allen brought in some young songwriters who had a modicum of success with Prism — Bryan Adams and Jim Vallance. BTO pushed out one more release, ‘Rock’n’Roll Nights’, before calling it a day in 1979. Turner would later pop up as vocalist for Bachman’s 1981 project, Union, for one album ‘On Strike’ before that too disbanded. By 1983 the original line up met to discuss a BTO reunion. Randy Bachman wanted to include Tim Bachman as part of the reformation, while other brother Robbie had pushed for Thornton who was considered a better musician. Randy Bachman made the final choice of adding brother Tim and Robbie bowed out of the reunion citing irreconcilable differences. Instead Gary Peterson from the Guess Who joined BTO as their new drummer. 1984’s ‘BTO’ was the result of this reunion and inspired one lack lustre single “For the Weekend”. This line up managed to survive a tour, recording shows as they went along, and the album ‘Live Live Live’ materialized in 1986. The cards fell apart again and Tim Bachman carried on with a new set of musicians as BTO including second guitarist Randy Murray. But, BTO would never rest as the classic version of the band reunited yet again as CF Turner, Randy Bachman, Blair Thornton and Robbie Bachman made a comeback in 1988. They were able to hold the band together to tour for three years before Randy Bachman decided he’d finally had enough and bailed out in 1991. Randy Murray who had been part of  Tim Bachman’s BTO replaced Randy Bachman. A line-up consisting of Rob Bachman, CF Turner, Blair Thornton and Randy Murray still plays live, mostly in festival situations and the band finally made it back into the studio to record another album with 1996’s ‘Trial By Fire’, consisting of 5 new tracks and a handful of re-recorded BTO classics. The first single was a cover of the Animals’ “House of the Rising Sun”. Both Randy Bachman and Fred Turner reunited briefly for a February 2000 appearance on the animated TV show ‘The Simpsons’.  In 2010 they released a new album and toured under the name Bachman-Turner; Jim Clench died on November 3, 2010 after a battle with cancer. with notes from Randy Bachman and John Einarson.

1973 Gimme Your Money Please/Little Candy Dancer (Mercury) M-73383
1973 Blue Collar/Hold Back The Water (Mercury) M-73417
1974 Let It Ride/Tramp (Mercury) M-73457
1974 Takin’ Care Of Business/Stonegates (Mercury) M-73487
1974 You Ain’t Seen Nothin’ Yet/Free Wheelin’ (Mercury) M-73622
1975 Roll On Down The Highway/Sledgehammer (Mercury) M-73656
1975 Hey You/Flat Broke Love (Mercury) M-73686
1975 Quick Change Artist/She’s Keepin’ Time (Mercury) M-73710
1976 Down To The Line/She’s A Devil (Mercury) M-73724
1976 Four Wheel Drive/Gimme Your Money Please (Mercury)
1976 Take It Like A Man/Wontcha Take Me For Awhile (Mercury) M-73766
1976 Lookin’ Out For #1/Find Out About Love (Mercury) M-73784
1977 My Wheels Won’t Turn/Freeway (Mercury) M-73903
1977 Shotgun Rider/Down Down (Mercury) M-73926
1977 Life Still Goes On (I’m Lonely)/Just For You (Mercury) M-73951
1978 Down The Road/A Long Time For A Little While (Mercury) M-73987
1979 Heartaches/Heaven Tonight (Mercury) M-74046
1979 Jamaica/End of the Line (Mercury) M-74062
1984 For The Weekend/Just Look At Me Now (Curb) 127
1984 My Sugaree/Service With A Smile (Curb) 133
1986 Mississippi Queen (Curb)
1989 Woolly Bully (Curb)
1996 House Of The Rising Sun (Curb)

1973 Bachman Turner Overdrive (Mercury) SRM-1-673
1973 Bachman Turner Overdrive II (Mercury) SRM-1-696
1974 Not Fragile (Mercury) SRM-1-1004
1975 Four Wheel Drive (Mercury) SRM-1-1027
1976 Head On (Mercury) SRM-1-1067
1976 The Best of BTO (So Far) (Mercury) SRM-1-1101
1977 Freeways (Mercury) SRM-1-3700
1977 BTO Japan Tour Live (Mercury) SRM-1-3703
1978 Street Action (Mercury) SRM-1-3713
1979 Rock and Roll Nights (Mercury) SRM-1-3748
1984 BTO (CEC) CPL1-1010
1986 Live – Live – Live!!! (Curb/MCA) MCA-5760
1991Hard And Fast
1993 The Anthology (Mercury) 514902
1994 Best of Bachman Turner Overdrive Live (Curb/MCA) D2-77653
1994 Drive On (PolyTel) 830091
1996 Trial By Fire – Greatest & Latest (CMC) 5216112
1998 King Biscuit Presents BTO (King Biscuit) 88039
2000 20th Century Masters – The Millennium Collection: Bachman-Turner Overdrive (Universal) 548096
2001 The Universal Masters Collection: Classic Bachman-Turner Overdrive (Universal) 548436
2005 Bachman-Turner Overdrive: Gold (Mercury/Universal) 547542
2008 Bachman-Turner Overdrive: The Definitive Collection (Mercury/Universal)
2009 Green Series: The Best of Bachman-Turner Overdrive (Mercury/Universal)
2010 Icon (Mercury/Universal)  B001484702
2012 40th Anniversary – Deluxe Edition (Universal) 534-018
2016 Classic Album Set (Caroline – EUROPE) CAROLR036CD

Kevin Carlisle
(vocals) / John Escapa (guitars) / Craig Vasiloff (bass) / Garry Flint (drums)
After being fired from Bob Sylum’s band Sylum, Escapa and Flint formed BAD. “She Overheats” was the debut for this popular Toronto white funk/synth pop band with a hard dance oriented edge. Garry Flint went on to play in National Velvet. with notes from Craig Knight.


1984 She Overheats/Funkattack (KGB) CCR-9176

Born: April 26, 1938 in Peterborough, ON
Died: September 2, 1987
Jack Bailey was one of Canada’s premiere Rockabilly pioneers. His first record was “The Bad Apple” on Rodeo Records in February 1959 followed by one single with Mala, one with Chateau including “Oh, What Love Is” which led to a deal with Ford Records in New York where the song was re-issued and several others followed. By the early ’70s, Bailey re-invented himself as a middle of the road entertainer with many more singles on GRT Records; Bailey died from a heart attack on September 2, 1987.

1971 (The Whole World’s) Down On You/Here Comes The Rain (GRT) 1230-07
1972 On Your Way Out/Search With No Ease (GRT) 1230-12
1972 Charlie’s Picture/My Woman, My Woman, My Wife (GRT) 1230-24
1972 Darlin’/I’m Looking Through You (GRT) 1230-34
1972 Here’s To Lovin’ You (GRT) 1230-37
1972 I Can’t Look Sunday In The Eye/Molly Brown (GRT) 1230-44
1973 Aaron Brown/The Key to My Happiness (GRT) 1230-59


1959 The Bad Apple/What’s the Matter With Me (Rodeo) RO-206


1961 Life’s Like The River/Memories Of You (Mala) 432
1961 Oh What Love Is/Beneath The Moonlight (Chateau) C-125
1962 Tiger Lil/Your Magic Touch (Ford – US) 113
1962 I Cried/I Was A Fool To Care (Ford – US) 121
1963 Let’s Live A Little/With This Ring I Thee Wed (Ford – US) 12

196-  Jack Bailey Breaks Out (Dominion) LPS-21029
1971 Jack Bailey (GRT) 9230-1003
1972 Here’s To Lovin’ You (GRT) 9230-1017
1973 Keep Me (GRT) 9230-1038

BALDRY, Long John
Born: John William Baldry in Haddon, Derbyshire, UK on January 12, 1941
Died: July 21, 2005 in British Columbia
Long John Baldry is credited with being one of the fathers of the British blues scene of the 1960s.  At 20 years old he joined Alexis Korner’s Blues Incorporated as their lead singer in 1962 and appeared on one album entitled ‘R & B at the Marquee’ that year before moving on. The album is considered to be the first of its kind in England and is said to have inspired everyone from Mick Jagger to Keith Richards to Rod Stewart to Eric Clapton. Baldry would soon be signed to United Artists in 1964 and released the ‘Long John’s Blues’ album. He was then invited by the Beatles to perform “I Got My Mojo Workin’” on their world television debut broadcast ‘Around the World with The Beatles’ that year. He then joined Bluesology in Middlesex, England featuring a young piano player named Reginald Dwight (the future Sir Elton John) in 1965 where he recorded one single with them for Fontana called “Come Back, Baby” b/w “Time’s Getting Tougher than Tough”. From there he left to form his own group called Steampacket with Brian Auger later in 1965. The group also featured vocalists Rod Stewart and Julie Driscoll. But the group split up by 1966 with Baldry recording his second solo album for United Artists. Soon he would head to Pye Records for two albums and his first charting hit “Let the Heartaches Begin”. In early 1970 he tried his hand with another band called The Hoochie Coo Men who released one album for the Hallmark label before Baldry was scooped up by Warner Bros. The label was determined to break him internationally especially stateside and they released a new recording of “Let the Heartache Begin” in late 1970. But it was 1971’s “Don’t Try to Lay No Boogie-Woogie On the King of Rock and Roll” that give him his first real taste of international success and his biggest selling album ‘It Ain’t Easy’ – an album produced by Elton John and Rod Stewart. The trio would re-team for 1972’s ‘Everything Stops For Tea’ and featured a Baldry/Rod Stewart duet on the single “Mother Ain’t Dead.” He moved to Graff Management’s GM Record label in England bu they were unable to continue the push into North America. This led to signing on with Neil Bogart’s fledgling Casablanca Records where Baldry finally found popularity in North America on his successful ‘Good To Be Alive’ album – which GM had initially released in 1973 – but re-released on the back of  his Casablanca debut in 1975 entitled ‘Welcome to Club Casablanca’. However, the label’s direction changed to disco and Baldry found his blues being watered down by dance grooves. By the mid-70’s Baldry had moved to Vancouver, British Columbia teaming up with Kathi McDonald (former member of The Unusuals), performing as a middle of the road music duo. A move to Capitol in 1979 led to three successful albums with hit versions of “Come and Get Your Love” and “You’ve Lost That Loving Feeling” with McDonald. A new west coast label Music Line took Baldry on next and his ‘Silent Treatment’ album in 1986 spawned a minor radio hit revival of the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore”. Eager to get back to his traditional blues roots Stony Plain Records chief Holger Peterson encouraged Baldry to come over to the label in the ‘90s and follow his muse. Half a dozen albums followed including a live set as The Long John Baldry Trio in 2000 recorded at the Downtown Blues Club in Hamburg, Germany and the Tom Lavin (Powder Blues) produced solo disc ‘It Still Ain’t Easy’. Baldry died on July 21, 2005. with notes from Paul Myers.

1966 I’m On To You Baby/Goodbye Baby (United Artists) 1078
Cuckoo [4 song EP] (United Artists – France) 36-108
1967 Cuckoo/Bring My Baby Back To Me (Ascot – UK) 2229
1967 It’s Too Late Now/The Long and Lonely Night (Pye – France) PV-15039
1967 Let the Heartaches Begin/ Annabella (Who Flies To Me When She’s Lonely) (Pye – UK) 7N-17385
Underneath The Sun In Mexico/We’re Together (Pye – UK) 7N-17563
Wise To Know The Ways Of The World/When The Sun Comes Shining Through (Pye – UK) 7N-17593
1969 Wait For Me/Don’t Pity Me (Pye – UK) 7N-17815
1969 Setting Fire To The Tail of a Fox/Well I Did (Pye – UK) 7N-17921
1970 Let the Heartaches Begin/Hey Lord You Made The Night Too Long (Warner Bros.) 7098
1970 Since I Lost You Baby/Holdback the Daybreak (Warner Bros.) 7184
1971 Don’t Try To Lay No Boogie-Woogie On The King Of Rock And Roll/Mr. Rubin (Warner Bros.) 7506
1972 Mother Ain’t Dead/You Can’t Judge A Book By The Cover (Warner Bros.) 7617
1973 She/Song for Martin Luthor King (GM – UK) GM-5005
1973 Let Me Pass/Let’s Go (GM – UK) GM-5018
1975 Let Me Pass/High & Low (Casablanca) NB-600X
1977 This Boy’s In Love/Song for Martin Luther King (GM – UK) GMS-9043
1977 On Broadway/(Instrumental)  (GM – UK) GMS-9045
1979 Come And Get Your Love/[same] (Capitol) 72808
1979 You’ve Lost That Lovin’ Feeling/Baldry’s Out (Capitol) 72805
1979 A Thrill’s a Thrill/Find You (Capitol) 72815
1979 Any Day Now/Work For Me (Capitol) 72841
1980 I Want You, I Love You/Walk Me Out In the Morning Dew (EMI America – US) 686329
1982 Too Late For Crying/25 Years Of Pain (Capitol) 72874
1982 Stay The Way You Are/Midnight Show (Capitol) 72878
1986 Silent Treatment/Our Love Is In Limbo (Music Line) MLS-002
1986 Sun Ain’t Gonna Shine Anymore/Carnival (Music Line) MLS-003
1986 This Is Japan/When The World Doesn’t Love You (Music Line) MLS-005

1965 Come Back, Baby/Time’s Getting Tougher Than Tough (Fontana) TF-594

Long John’s Blues (United Artists) ULP-1081
Looking At Long John (United Artists) UAS-9013
Let The Heartaches Begin (Pye) NPL-18208
Wait For Me (Pye) NSPL-18366
It Ain’t Easy (Warner Bros.) WS-1921
1972 Everything Stops For Tea (Warner Bros.) WBS-2614
1973 Heartaches (Golden Hour) GH-572
Good to Be Alive (Casablanca)  NBLP-7012
Welcome to Club Casablanca (Casablanca)  NBLP-7035-V
Baldry’s Out! (Capitol) ST-6459
Long John Baldry (EMI America) SW-17038
1982 Rock With the Best (Capitol) ST-6490
1982 The Best of Long John Baldry (Capitol) SN-66124
Silent Treatment (Music Line) MLP-0001
1988 The Best of Long John Baldry: Let The Heartaches Begin (PRT – Greece) 11015
It Still Ain’t Easy (Stony Plain) SPCD-1163
Long John Baldry – On Stage Tonight (Stony Plain) SPCD-1192
1995 A Thrill’s a Thrill: The Canadian Years (EMI Music) Z-2960
Right To Sing The Blues (Stony Plain) SPCD-1232
1997 The Very Best of Long John Baldry: 20 of His Finest (Music Club – UK)
Remembering Leadbelly (Stony Plain) SPCD-1275
2006 Boogie Woogie: The Warner Bros. Recordings (Rhino Handmade – US) RHM2-7896
2006 Let the Heartaches Begin: The Pye Anthology (Sequel) NEE-CD-298
2006 Looking At Long John Baldry: The UA Years 1964-1966 (EMI Music) 50899
2007 Midnight In New Orleans (Black Box – EU)
Live – Iowa State University 1987 (Angel Air) SJP-CD310

1962 R & B at the Marquee (Ace of Clubs) ACL-1130
1981 Profile (Decca) 6-24476-AL

1971 Places & Faces
1972 Rod Stewart & Steampacket (Springboard International) SPB-4063
1974 Early (Music Metronome – Germany)  201.026
1977 The First Supergroup (Charly – UK) CR-300-020
1990 The Steampacket (Charly – UK) CDCD-1031

Long John Baldry & The Hoochie Coochie Men (Hallmark) 560

2000 Long John Baldry Trio – Live (Stony Plain) SPCD-1268

Born: Randall Aldon Wulff in Calgary, Alberta
Discovery of  an independent pressing of the 1983 Lewis album ‘L’Amour’ at an Edmonton Flea Market in the 2000s led to a detective search for the true identity of this unknown artist by record label Light In the Attic who hired a private detective to track down Wulff in an effort to get permission to re-release the album. Identified as Randall AldonWulff, the musician’s relatives were estranged but have revealed that Wulff was a stockbroker from Calgary who made enough money to dabble in his musical passion. He relocated in the 1980s to Hollywood where he recorded his debut. The photographer who took the cover photo, Ed Colver, was conned out of his $250 fee for the photos while Wulff ran to Las Vegas and later Hawaii never to be seen again. With the internet abuzz about this mystery artist a search by collectors has unearthed a second album, ‘Romantic Times’ under the name Lewis Baloue, recorded at Thunder Studios back in Calgary and released in 1985. Light In the Attic has also traced a studio where material was recorded under the name R.J. Duke in the 1990s. It is suspected that there maybe more albums under unrelated pseudonyms. Wulff has not come forward to clear up this mystery. with notes from Mike Bell.


1983 L’Amour (R.A.W. – US) RAW-1001

Romantic Times (R.A.W. – US) RAW-1002

Margaret Elizabeth
(vocals) / Angel Lopez (mini-moog)
Born to a musical family in Toronto, Margaret Elizabeth was in her teens when she was discovered by the Judy Welch Modeling Agency and International Top Models. She played piano and was enrolled in a Royal Academy of Dance program until popular music caught her ear and she formed her first band. Following high school she went to George Brown College and earned a diploma in Theatre Arts. Next, Elizabeth auditioned and was accepted into the Humber College jazz music program. It was at this point she connected with moog player Angel Lopez and together they formed minimalist punk duo Bambi. A cover version of David Essex’s “Rock On” became the title track to their 1986 seven song independent debut. The act made a big splash on CFNY-FM and MuchMusic which propelled off stage sales (and the few local retail outlets  such as Sam the Record Man who supported indie product) to the neighbourhood of 5,000 units. The sales figures alone attracted the attention of A & M Records who offered her a record deal. It was a new venture for her and a new name was chosen to represent the next chapter in her career. Margaret Elizabeth soon became hard rock artist Betty Moon. She now resides in California [also see BETTY MOON]

1986 Rock On [7 song 12”] (Azumuve)

Compilation Tracks
1989 “Master of Love” on ‘Indie-Can ‘89’ (Intrepid) CD-2

Roy Fielden (guitar, vocals) / Nick Maynard (drums) / Linda Miller (cello, bass)
Roy Fielden was a struggling Canadian musician from Pickering, Ontario who did roadie work with Nasty Habitz and occasionally jammed with Moving Targetz in the early ‘80s. Tired of getting nowhere in the Canadian music scene he headed to England and began networking and shopping his tunes. Through a series of 7” and 12” singles on the label Product Inc. in the UK, he eventually caught the attention of Blanco Y Negro Records who signed him in 1987 to a distribution deal with Warner Music. The self-titled debut album received rave reviews with its quirky Love & Rockets – meets – T.Rex minimalism. The album led to the 12” EP “Is…” on Rough Trade Records stateside. Some success with song placement on shows used by MTV has kept Fielden busy – including a 2007CD shout out to fans called ‘I’m Alive’. Fielden has lived in South Central Los Angeles for the better part of a decade. Many Bambi Slam songs were used as replacement incidental music when the TV show ‘Meet the Osbournes’ was put into syndication as the cost of Ozzy Osbourne’s original material was too expensive.

Bamp-Bamp/Hit Me With Your Hairbrush [7” & 12”] (Product Inc. – UK)
1987 Happy Birthday (Yet Another)/Fun & Roses (Product Inc. – UK) 7PROD-13
1988 Don’t It Make You Feel… (Product Inc. – UK) 12PROD-08

1987 The Bambi Slam (Blanco Y Negro/Warner UK) 25852
1987 Is.. [5 song EP]  (Rough Trade – US) ROUGH-US-29
2007 I’m Alive (Corporate Risk) CORP-083

(vocals) / Alex Stangl (guitar) / Mike Ali (bass) / Kira Payne (saxophone)  / Gord Quakenbush (drums)
LINE-UP II:  Mike Langford (vocals) / Alex Stangl (guitar) / JC Smith (keyboards, bass) / Greg Heard (drums)
LINE-UP III:  Mike Langford (vocals) / Alex Stangl (guitar) / Matthew Gerrard (bass) / Phil Poppa (saxophone) / Max E. Drachenberg [aka Max Styles] (drums)
Bamboo was formed in late 1982. Songwriter Alex Stangl teamed up with singer Mike Langford (Heat Exchange, Wireless), another Peterborough native. The goal was to create a band, with a focus on “dancable pop & rock”, so that they would have an easy time getting gigs around the Peterborough area in the local taverns. They did play a lot of cover songs initially, but soon their repetoire included several original songs. In mid-1983, Bamboo recorded a three song demo at Quest Studio in Oshawa, Ontario. After much consideration, Mike and Alex disbanded the original lineup of the band, though oddly enough, they released an independent 45 rpm single, “Come Day O’ Night Eh!” b/w “In Your Plans”. The b-side from the single charted in the Top 10 on CKPT Radio thanks, in great part, to the efforts of music director Dan Gall. This created a lot of buzz and interest from the major record labels in Toronto. Mike and Alex decided to resurrect the band with a new lineup, which included JC Smith (keyboards, bass) and Greg Heard (drums). After playing a series of showcase dates and recording a 4 song demo with producer Brian Ainsworth, they signed a production/publishing deal with ATV Music and eventually landed a recording contract with Capitol/EMI of Canada in 1984. The album ‘Stop All Distractions’ was recorded between the fall of 1984 and early 1985 and was released in June 1985 on Capitol/EMI Canada. The album’s line-up consisted of Mike Langford, Alex Stangle, Phil Poppa (saxophone), Robert Steele (keyboards), Max E. Drachenberg aka Max Styles of The Kings (drums), and bassist Ken “Spider” Sinnaeve (Streetheart, Tom Cochrane). The single from the album was “Come Day O’ Night Eh!” featuring the non-album B-side “Laughing When We’re Young”. It had a short shelf life on the Top 100 Chart in Canada, peaking at No.91. The video for the single received a bit of airplay on Canada’s music video channel MuchMusic, but the album stiffed after generally receiving poor reviews. A second single, “Miles In My Hand” — featuring the non-album B-side “Nothing Left To Say” — was released in the summer of 1985, but there was very little excitement or enthusiasm for the band. One of the major problems was the turnover rate of their membership making it extremely difficult to maintain any kind of momentum. After Bamboo played their last gig in September 1985 at The Diamond Club in Toronto, Ontario, (which included at jam session with Supertramp) they recorded another two-song demo in January 1986 but these songs were rejected by Capitol Records. Mike and Alex folded the project and headed back to Peterborough. Mike and Alex still record together occasionally. “Come Day O’ Night Eh!” was released again in 1999 as part of a compilation CD series by Capitol/EMI Canada titled ‘Pure Canadian – Retro 80s’. with notes from Alex Stangl.

1983 Come Day O’ Night Eh!/In Your Plans (independent)  BAM-01
1985 Come Day O’ Night Eh!/Laughing When We’re Young (Capitol/EMI) 72967
1985 Come Day O’ Night Eh! [12″] (Capitol/EMI) 75101
1985 Miles In My Hand/Nothing Left To Say (Capitol/EMI) B-72984

1985 Stop All Distractions (Capitol/EMI) ST-6519

Jim Rafferty
(vocals, mandolin, guitar) / George Major (bass) / Dave Walker (vocals, piano, bass, strings) / Glenn Burrell (guitar) / Roy Sydhia (drums)  
Long before the Celtic/Irish folk revival became popular in the ’90’s these Irish musicians were already knee deep in tradition sandwiching Irish songs between sets of British rock and roll songs. The trio moved from their home town of Armagh, the spiritual centre of Ireland, to Saskatoon where they enjoyed some minimal success with the traditional Irish tune “Black Velvet Band” which which had been recorded in Winnipeg. with notes from Glenn Burrell.

1981 Black Velvet Band/Whiskey In The Jar (Sunshine) SS77

The Band of Armagh (Sunshine) SSLP-4018

ORIGINAL LINE-UP: Robbie Robertson
(guitar, vocals)  / Rick Danko (bass, vocals) / Levon Helm (drums, vocals)  / Garth Hudson (organ) / Richard Manuel (piano); 1990’s LINE-UP: Garth Hudson (organ) / Rick Danko (bass, vocals) / Levon Helm (drums, vocals) / Jim Weider (guitar) / Randy Ciarlante (guitar) / Richard Bell (keyboards)
Danko, Manuel and Hudson hailed from small Ontario towns while Robertson was born in Toronto. Levon Helm was raised in Marvell, Arkansas. All five had started playing young and were influenced by the sounds of the American south. Helm had been guitarist in the Jungle Bush Beaters before hooking up with Ronnie Hawkins, Jimmy Ray, “Luke” Paulman and Willard “Pop” Jones. It was during this period that Helm began playing drums. Ronnie Hawkins and the Hawks worked their way up to Canada a few times before Hawkins decided to make their home in 1958. As various members of The Hawks left due to homesickness, the individuals who would one day become The Band began to join. Robbie Robertson (Robbie And The Robots, Little Caesar And The Consuls) joined early in 1960, initially on bass but was groomed for Fred Carter Jr.’s guitar spot as Carter had decided he too was going to leave. Rick Danko, on the other hand, had been playing guitar in various Simcoe area acts since the age of 12 and saw Hawkins and band in 1960. Danko begged himself an opening slot during Hawkins’ return the following spring. This led to his enrolment as rhythm guitarist and then moving to bass after the departure of Rebel Paine. Richard Manuel (ex-Rockin’ Revols) joined later in the summer of 1961 as pianist and vocalist. The final recruit was Garth Hudson, during Christmas 1961, on piano and sax whose main claim to fame prior to joining the Hawks was as leader of Paul London And The Kapers. The members of The Hawks considered Hudson a career professional and the single most important addition to the group – he joined under the condition that he be paid for his performance time and as teacher for the other members of The Hawks. Ronnie Hawkins released 9 singles and several LPs from 1959 to 1963. Helm is on all of them while Robertson and Danko play on the last three singles, Manuel on the last two, and Hudson on the last. The five future members of The Band and Jerry Penfound (saxophone) plus singer Bruce Bruno left Hawkins early in 1964 because they were dissatisfied with the money being paid. They started out as the Levon Helm Sextet but soon switched to Levon And The Hawks and for a year and a half made their way through the American mid-West and Mississippi regions playing frat houses, college gigs and redneck bars. As the Canadian Squires they recorded “Leave Me Alone” and “Uh-Uh-Uh”, produced by Henry Glover for the New York-based Ware label in 1964. A second single, under the Levon And The Hawks banner was “The Stones I Throw” and “He Don’t Love You (And He’ll Break Your Heart)” for Atco, in the summer of 1965. By this time both Bruno and Penfound had left the fold. During this period, a secretary from Toronto named Mary Martin, who was working for Bob Dylan’s manager Albert Grossman, suggested to Dylan that the Hawks should be is backing band on his coming controversial ‘electric’ tour (Dylan had been playing only acoustic folk up to that point). Martin also worked for the Hawks’ and could introduce the two talents. While playing a four-month stand in Somers Point, New Jersey, Dylan saw them and hired Robertson first for two gigs, in late August at Forest Hills Tennis Stadium in New York and the Hollywood Bowl in Los Angeles. Robertson was unimpressed with Dylan’s choice of drummer and suggested his old team mate Helm whom Dylan hired for the second show. So Robertson, Helm, bassist Harvey Brooks and keyboardist Al Kooper gritted their teeth and accompanied Dylan on his next set of gigs to a wall of boos and jeering from folk purists who considered Dylan a sell-out. Dylan wanted Robertson and Helm to stay on for the remainder of an American tour and possibly Australia and Europe. The duo felt it would only work if they were a cohesive unit…and to do this they needed The Hawks. Following rehearsal in Toronto in September 1965, Bob Dylan and The Band took to the road. The quintet relocated to New York, where they could fly out on Dylan’s private plane, play several gigs a week to booing audiences (Dylan wasn’t winning any friends with his conversion to electric folk). Helm soon became discouraged and returned to his native south. Meanwhile, the Dylan experience was captured in a final show at London’s Royal Albert Hall for a future live LP by Columbia Records in May 1966. Following the tour Dylan ensconced himself in Woodstock, New York, to edit the film footage from the European leg of the tour. The documentary, ‘Eat the Document’ needed plenty of work and The Band was put on a weekly retainer where they began commuting regularly to Woodstock to help Dylan on the film. On the property there was a large pink house (affectionately called ‘Big Pink’) which gave The Band a place to retreat, write songs and jam with Dylan and as a band. By 1967 they were recording some of the sessions in the basement eventually resulting in Dylan’s ‘Basement Tapes’ album which was officially released in 1975 (thought bootlegs of the remaining unreleased material still make the rounds today). Before recording an official release could commence two elements needed to be in place. Levon Helm needed to be brought back which Danko managed to do by cutting him for a share of a record label advance. Secondly, they needed management and Dylan’s manager Albert Grossman fit the bill. He shopped some mediocre demos to Warner Bros but president Mo Ostin was unavailable and Grossman wanted The Band signed immediately so he went to Capitol Records who signed the act, as The Crackers, to a record deal. The same week Helm returned, the Band met producer John Simon through filmmaker Howard Alk. ‘Music From Big Pink’ was recorded in two separate locations — New York for the initial bedtracks and then in Los Angeles for completion. Upon release in 1968 ‘Music from Big Pink’ was a slow mover and the ambiguity of the name The Band only added to the confusion of the Dylan painting on the cover in place of an official band photo. The mystery of the band was exploited in the press and a devestating car accident for Danko made interviews with the band impossible until 1969. By this time they were already in California recording their eponymous follow-up. “Up On Cripple Creek” was their first and only Top 30 single, peaking at No.25 in late 1969. The album also featured FM radio staples such as “Rag Mama Rag” and “The Night They Drove Old Dixie Down” which went to No.3 on the Billboard charts for Joan Baez in 1971. ‘The Band’ LP was very successful, peaking at No.9 on Billboard’s LP charts, and they had started gigging regularly for the first time since 1966, playing both Woodstock and the Isle of Wight festivals (the latter with Dylan). The press hailed them as nothing short of the Second Coming. The group found that people started treating them differently and as result it had some slow, long reaching effect on each of the members. With Robbie Robertson doing the lion’s share of the writing and having all the praise heaped upon him, Richard Manuel retreated into his keyboards and all but stopped writing. For their next LP, ‘Stage Fright’, The Band returned to Woodstock with the hopes of recording live at the Woodstock Playhouse. The Woodstock Town Council was afraid the town would be overrun by hippies from New York as had happened at Max Yeager’s farm in the Summer of Love for The Woodstock Festival in 1969. Instead, the band brought in producer and Woodstock resident Todd Rundgren for a live-off-the-floor recording. The sessions were completed in two weeks having done pre-production ahead of time in anticipation of a live recording. Producer Glyn Johns also helped in the remixing stage and both Rundgren and John mixes appeared on the final release. The album was launched in September 1970 and featured perennial favourites such as “The Shape I’m In” and “Stage Fright” which would become staples in The Band’s live set until their demise. With “Stage Fright” put to bed, The Band spent the next year on road after which they returned once more to Woodstock to begin working on their fourth album, ‘Cahoots’, which was recorded at Albert Grossman’ Bearsville Studios, and released in October 1971. The album featured another Band favourite, “Life Is a Carnival”, which was given the New Orleans sleaze via Allan Toussaint. “4% Pantomime” also saw the guest appearance by co-writer Van Morrison. With Toussaint on board for “Life Is A Carnival”, they asked him to write arrangements for much of their repertoire, for three performances at the Academy of Music in New York, culminating New Year’s eve 1971 with a rare guest appearance by Bob Dylan. The three shows were recorded for the live double album ‘Rock of Ages’ in 1972. The album produced The Band’s second hit single, “Don’t Do It”, which went to No.34 on Billboard in 1972. Both ‘Stage Fright’ and ‘Cahoots’ were not critically well received and the Band was worn down. Following the final show on New Years Eve the band stopped playing live until their re-emergence 18 months later at the Watkins Glen Festival with the Allman Brothers and The Grateful Dead. The time between saw The Band coasting with ‘Rock Of Ages’ in the fall of 1972, an album of oldies, ‘Moondog Matinee’, in 1973, and the Bob Dylan/Band tour album from shows in early 1974 called ‘Before The Flood’ following their appearance on his studio album that same year called ‘Planet Waves’. In 1975 they picked up their boot heals and decided to record a new studio album of original material, ‘Northern Lights – Southern Cross’. Throughout 1976 Capitol released singles from the album getting major airplay for the first time in the Band’s history. An outtake from the album, “Twilight”, would appear on the year-end compilation ‘The Best of The Band’.  Unhappy with Capitol Records and hanging on a multi-million dollar deal from Warner Brothers, the group had a contractual obligation to deliver one more record to Capitol before they could leave the label. They had also decided to stop touring and following their 1976 summer they announced one last blow-out gig to be held Thanksgiving day at Winterland in San Francisco, the (home of their earliest gigs in 1969). The guest list would include a who’s who of the music world: Bob Dylan, Van Morrison, Neil Young, Joni Mitchell, Muddy Waters, Eric Clapton, Paul Butterfield, Bobby Charles, Dr. John, Ringo Starr, Ronnie Hawkins and Neil Diamond. A film, directed by Martin Scorsese, and a triple album called ‘The Last Waltz’ which was eventually released by Warner Brothers in April 1978. However, this was not The Band’s contractual obligation to Capitol. The 1977 album ‘Islands’ filled that bill instead. Merely a patch-work of leftover song pieces, the Band distanced itself from the album and did not promote it. Capitol tried to salvage the release by issuing the old chestnut “Georgia on My Mind”. The Band’s promise of renewed recording efforts on Warner Brothers went unanswered as the members drifted from months to years and eventually disbanded. The members all went on to release solo albums: Rick Danko released a self-titled LP on in 1977; Levon Helm, teamed up with the RCO All-Stars (featuring such luminaries as Paul Butterfield and Booker T.). Their only album was released in 1977. Helm released three more solo albums none of which charted. The Band reunited briefly in 1978 (without Robbie Robertson) at the Roxy in LA. It began as a Danko gig and ended with 4 of the 5 original members on stage. Interim gatherings of several members at a time led to the 1983 reformation of The Band – once again without Robertson. Robertson has maintained a path as a solo artist recording soundtracks for such movies as ‘The King of Comedy’ and ‘The Colour of Money’ plus his own solo albums. To augment the talent gap left by Robertson, The Band recruited members of the Cate Brothers Band. Later guitarist Jim Weider joined after the departure of the Cates. Following touring with the reunited Band for three years, Manuel was found hanged in a Florida motel room on March 4, 1986. The remaining members of The Band (Danko, Helm and Hudson) still performed together including prominent shows like Woodstock II, the Bob Dylan jubilee, and a European tour in 1994. They also returned to their old label and released the critically acclaimed ‘Jericho’ in 1993. The Band was the first Canadian act nominated into the Rock and Roll Hall of Fame in 1994; Levon Helm died from an extended battle with throat cancer on April 19, 2012. with notes from Jan Høiberg and Rob Bowman.[also see RONNIE HAWKINS]

1965  Leave Me Alone/Uh-Uh-Uh (Apex) 76794

1965 The Stones I Throw/He Don’t Love You (And He’ll Break Your Heart) (Atco) 6383
1968 Go-Go Liza Jane/He Don’t Love You (And He’ll Break Your Heart) (Atco) 6625

1968 The Weight/I Shall Be Released (Capitol) 2269
1969 Up On Cripple Creek/The Night They Drove Old Dixie Down (Capitol)  2635
1970 Rag Mama Rag/The Unfaithful Servant (Capitol)  2705
1970 Time To Kill/The Shape I’m In (Capitol) 2870
1971 The Shape I’m In/The Rumour (Capitol – UK) CL-15675 
1971 Life Is A Carnival/The Moon Struck One (Capitol) 3199
1971 When I Paint My Masterpiece/Where Do We Go From Here? (Capitol) 3249
1972 Don’t Do It (Live)/Rag Mama Rag (Live) (Capitol) 3433
1972 (I Don’t Want To) Hang Up My Rock & Roll Shoes (Live)/Caledonia Mission (Live) (Capitol) 3500
1973 Ain’t Got No Home/Get Up Jake (Live) (Capitol)  3758
1974 Third Man Theme/W.S. Walcott Medicine Show (Capitol) 3828
1976 Ophelia/Hobo Jungle (Capitol) 4230
1976 Acadian Driftwood/Twilight (Capitol) 4316
1976 Georgia On My Mind/The Night They Drove Old Dixie Down (Capitol) 4361
1976 Ring Your Bell/Forbidden Fruit (Capitol – UK) CL-15861
1977 Right As Rain/Georgia On My Mind (Capitol – UK) CL-15921
1978 Out Of The Blue/The Well (Warner Bros.) WBS-8592
1978 Theme From ‘The Last Waltz’/Out of the Blue (Live) (Warner Bros.) 17187
1993 Remedy/Caves of Jericho/Atlantic City (Pyramid)  BAND-CD-1
1993 Atlantic City (Pyramid) PR-7048
1994 Remedy (Live)/Blind Willie McTell (Live) (Rhino/Warner – US)
1996 Stand Up (Pyramid) PR-7172
1996 Free Your Mind (Pyramid) PR-7187

1965  Can You Please Crawl Out Your Window/Highway 61 Revisited (Columbia) 
1966  One of Us Must Know (Sooner Or Later)/Queen Jane Approximately (Columbia)
1966  I Want You/ Just Like Tom Thumb’s Blues (Columbia) 4-43683

1974 On a Night Like This/You Angel You (Asylum) 11033
1974 Something There is About You/Tough Mama (Asylum) 11035
1974 Most Likely You Go Your Way And I’ll Go Mine/Stage Fright (Asylum) 11043
1974 All Along the Watchtower/It Ain’t Me Babe (Asylum) 45212
1975 Million Dollar Bash/ Tears of Rage (CBS) 3665

1968 Music From Big Pink (Capitol) SKAO-2955
1969 The Band (Capitol)  STAO-132
1970 Stage Fright (Capitol)  SW-425
1971 Cahoots (Capitol)  SMAS-651
1972 Rock of Ages (Capitol)  SABB-11045
1973 Moondog Matinee (Capitol)  SW-11214
1976 Northern Lights – Southern Cross (Capitol)  ST-11440
1976 The Best Of The Band (Capitol)  ST-11553
1977 Islands (Capitol) SW-11602
1978 The Last Waltz (Warner Brothers) WBS-3146
1978 Anthology: Volume 1 (Capitol) SN-66099
1978 Anthology: Volume 2 (Capitol) SN-66100
1980 Rock of Ages Volume 2 (Capitol) SN-16009
1989 To Kingdom Come: The Definitive Collection (Capitol) CDP-592169
1993 Jericho (Pyramid) R2-71564
1994 Across The Great Divide (EMI Canada)  895692
1994 The Best of Across The Great Divide (EMI Canada)  831461
1996 High On The Hog (Pyramid/EMI Canada) 837382
1997 The Collection (EMI Canada)  855078
1998 Jubilation (River North) 416142
1998 The Band Live At Watkin’s Glen (EMI Canada)
1998 The Very Best of The Band: The Shape I’m In (EMI Canada)
1999 The Best of the Band – Volume II (EMI Canada)
2000 Greatest Hits (EMI Canada) 524941
2002 The Moon Struck One
2002 The Very Best The Band Album Ever
2005 A Musical History [6 CD Box Set] (EMI Canada) 577409
2007 The Best of A Musical History (EMI Canada)  388713
2008 Platinum (EMI Canada) 213484
2009 Ten Great Songs (EMI Gold)
2010 The Band with the Cate Brothers Band Live In Tokyo 1983

1966 Blonde On Blonde (Columbia) C2S-841

Self Portrait (Columbia) C2X-30050
1974 Planet Waves (Asylum) 7E-1003
1974 Before The Flood (Asylum) AB-201
1975 The Basement Tapes [2LP] (Columbia) 33682

Richard Chapman (vocals, mandolin, banjo, dulcimer, guitar) / Toby Cinnsealac (aka Kinsella) (tin flute, tin whistle, recorders, clarinet, tambourine) / Pierre Guerin (vocals, acoustic guitar, accordion, concertina, flute, recorder) / Chris  MacRaghallaigh [aka Chris Crilly] (vocals, violin, keyboards, bodhran, tambourine) / Elliot Selick (violin, tin flute, tin whistle, banjo) / Ed Moore (bodhran, tambourine, concertina, tin flute, tin whistle, glockenspiel) / Jacques Joubert (violin; 1983) / Richard Paquette (keyboards; 1983) / Jocelyn Therrien (bass; 1983)
This sextet from Montréal was formed in 1973 and found their brand of Acadian & Celtic reels and jigs popular around the Maritimes, Québec and overseas in Europe. The group was known for its utilization of a twin Celtic fiddle sound courtesy of Crilly and Selick. They signed to Polygram then to Direction Records, then to Flying Fish, and finally to Porte Parole. Their eponymous debut, Barde, was released in 1977. By their second album, ‘Images’, in 1978 Chris Crilly had introduced keyboards in the form of synths and pianos. By 1983’s ‘Voyage’ Selick had also left and the remaining members changed musical direction by incorporating keyboards bass and violin courtesy of studio musicians Jacques Joubert, Richard Paquette, and Jocelyn Therrien. Pierre Guerin led a revamped Barde at the 10th Annual Winnipeg Folk Festival. The band finally disbanded for good shortly thereafter with Guerin marrying and settling in the St. Boniface region of Winnipeg. He became a disc jockey before becoming Artistic Director of The Winnipeg Folk Festival; Crilly writes music scores for TV and film.
with notes from Pierre Guerin, Chris MacRaghallaigh and Richard Chapman.

Sleepy Southern Town/L’Chanterelle d’or (Port Parole/Direction/Polydor) PTS-100
Le Chevreau Sur La Falaise/Le Garcon Mariner (Port Parole/Direction/Polydor) 2065-408


1977 Barde (Port Parole/Direction/Polydor) 10006
1978 Images (Port Parole/Direction/Polydor) 2424-188
1983 Voyage (Tamanoir) WRC-12438

Mark Sutherland
(vocals) / Bill King (all instruments)
One-off project for poet Mark Sutherland featuring soundscapes created by Bill King. with notes from Bill King.

1985 Pop Pulp (BarKing Music) WRC1-5444


Stephen Barry
(vocals, bass) / Michael Brown (guitar) / Andrew Cowan (guitar, vocals) / John McColgan (drums) / Martin Boodman (harmonica) / Robert David (saxophone; 1990) / Jody Golick (saxophone)  / Ken Pearson (keys) / Paul Paquette (drums) / Jorn Reissner (guitar)
Bluesman Stephen Barry was born and raised in Lachine, Québec. He started his professional career in the mid-’70’s. Barry has performed over the last twenty years on almost every blues stage in Québec, Ontario and the Maritimes gaining him and the Stephen Barry Band a fine reputation that has led to performances with the likes of John Lee Hooker, Bo Diddley, Buddy Guy, Pinetop Perkins, Big Mama Thornton and Johnnie Johnson. In November 1995 the band released its fourth album “Happy Man” and sold almost 5,000 copies in six months. By 1996 the band had received two Jazz Report Magazine Awards for ‘Album of the Year’ (‘happy Man’) and ‘Blues Group of the Year’. The band’s “Blues Anthology” show traces the history of the blues from its acoustic turn-of-the-century roots, to its electric re-invention in the 1940’s and 1950’s.

1979 The Stephen Barry Band “Live” (Fix It In the Mix) FM-001
1990 Blues Under A Full Moon (Justin Time) JTR-8419
1994 Here On the Highway (Les Disques Bros) BROS-4001
1995 Happy Man (Les Disques Bros) BROS-5001
1998 The Gold Record (Les Disques Bros) BROS-7001
2015 Treat Her Right (Les Disques Bros) BROS-11502

BARRY, Claudja
Born: 1952 in Jamaica
After emigrating with her family to Canada at the age of six years old, Claudja Barry grew up in Scarborough, Ontario. Following graduation from high school she recorded for the Yorkville label after being noticed in the Toronto version of the musical ‘Hair’. Producers of the show recommended her for a run in the show’s New York Broadway production which she took. This was followed by performances in Broadway’s ‘Catch My Soul’. The play toured in Europe including West Germany where she was spotted by producer Frank Farian who added her to Euro-dance ensemble Boney M. She was in the band from 1975 through 1976 but grew tired of lip-synching performances of the group’s hits and decided to pursue a solo career. 1976’s single “Love For The Sake Of Love” was released from her debut album ‘Sweet Dynamite’ on the independent Lollipop label where it received modest airplay. She would eventually earn two Billboard Hot 100 charting singles – 1977’s “Dancin’ Fever” which peaked at No.72 from the album ‘The Girl Most Likely’ album and “(Boogie Woogie) Dancin’ Shoes” from the album ‘I Wanna Be Loved by You’ which charted on the pop and the dance charts in 1979. Both tracks topped the Canadian charts as well with “(Boogie Woogie) Dancin’ Shoes” peaking at No.7 on the RPM Top 100 singles national chart in April 1979 where it remained for 23 weeks. The follow-up single, “Boogie Tonight”, reached No.42 on the RPM Top100 in June 1979. She recorded two more albums for Lollipop – ‘Feel the Fire’ (1979) and ‘Made In Hong Kong’ (1981) – where her dance material embraced the new wave of synthesizer accompaniment. The 1981 track “Radio Action” became a dance club hit. In 1985 she made her acting debut in the Mario Van Peebles film ‘Rappin’’ and the song “Born To Love” became a Top20 hit peaking at No.14 on the Hot Dance Music/Club Play chart. It received limited exposure in the US because the track was from the UK-only release ‘If I Do It to You’. With a move to Epic Records in 1986, she scored three back-to-back dance club charting hits with “Down and Counting”, “Can’t You Feel My Heartbeat” and “Secret Affair” all from her album ‘I, Claudja’. In the 1990s songs like “Love Is An Island” and “Summer of Love” were highly regarded underground club tracks. Then she became the lead vocalist for a studio project out of Germany called General Base. The single “Poison” was quite successful overseas. In 1996 she had another successful Euro hit with “Brand New Day” and put out two albums for  German label Radikal Records – ‘Disco ‘Round The Christmas Tree’ and ‘Disco Mixes’ – before taking time off to spend with family back in Canada. In 1999, US R & B singer Montell Jordan sampled the rhythm track from Barry’s single “Love For the Sake of Love,” for his hit “Get It on Tonite” which peaked at No.4 on the Billboard Hot 100 chart. In May 2006, Claudja Barry returned after a decade to hit the Billboard charts once more with a single entitled “I Will Stand”. By July 2006 the track reached the Hot Dance Music/Club Play chart’s Top10 and ultimately peaked at No.4.

1972 We Got A Lovin’ To Do/Any Way That You Want Me (Yorkville)YVM-45058
1975 Nobody Loves Me Like You Do (Hotfoot/Philips – Germany) 6003-514
Reggae Bump/How Could You Do It Again (Hotfoot/Philips – Germany) 6003-757
1976 Sweet Dynamite/Love For The Sake of Love [12”] (Lollipop/London) L-04 
1976 Love For the Sake of Love/Why Must A Girl Lie (Lollipop/Philips/London)
Dancin’ Fever/Summertime (Lollipop/Philips) 6004-607
1977 Sweet Dynamite/This Taste of Love (Salsoul – US) 2023
1977 Dance, Dance, Dance/Why Must A Girl Like Me [7” & 12”] (Salsoul – US) 2046
1977 Johnny, Johnny, Please Come Home/Dancin’ Fever [12”] (Salsoul – US) 2050
1977 Take It Easy/Johnny, Johnny, Please Come Home (Salsoul – US) 2065
1977 Take Me in Your Arms/Wanna Win Your Love Back (Lollipop/London)
1978 Down By The Water/Forget About You (Lollipop/London)
1979 (Boogie Woogie) Dancin’ Shoes/Forget About You  (Lollipop/London) LG-2
1979 You Make Me Feel The Fire (Chrysalis) 2391
1979 Boogie Tonight (Lollipop)
1980 Banana Boat (Day-O)/Girl Crazy (Lollipop)
1980 Radio Action/I Got You (Lollipop/Polydor)
1980 Stop He’s A Love/Sweet Sensation (Lollipop/Polydor)
1981 Radio Action/Banana Boat (Day-O) [12”] (Lollipop/Polydor) PDS-2158
1982 Work Me Over/I Will Follow Him (Polydor)
1982 If I Do It To You/Up All Night (Mirage) 4050
1983 For Your Love/Beat My Drum
1984 Born To Love/Your Sweet Touch (Power) PXD-024
1984 Trippin’ On The Moon (F Beats)/Trippin’ On The Moon (T Beats)  [12”] (Unidisc) 12UNI-1118
1986 Down And Counting/Down And Counting (Emulator Dub) (Epic) 34-06308
1987 Can’t You Feel My Heartbeat/Can’t You Feel My Heartbeat (Percupella) (Epic) 34-06669
1987 Secret Affair/Dance For Your Life (Epic) 34-07198
1988 Dead Or Alive (I Don’t Know If You Are) [12”] (Blue Moon – UK) BLUM-1
1991 Love Is An Island (Hot Productions)
1991 Good Time [with S.I.N.] (Hot Productions)
1992 Summer of Love (Hot Productions)
1996 Brand New Day
2006 I Will Stand (Donna Jean)
2008 Down And Counting ’08 [DigiFile]
2009 Good Heart [DigiFile]

with BONEY M
Baby, Do You Wanna Bump (Part 1)/Baby, Do You Wanna Bump (Part 2) (Hansa – Germany) 13-834AT
1976 Daddy Cool/No Woman No Cry (Hansa – Germany) 16-959AT
1976 Sunny/New York City (Hansa – Germany) 17-459AT

The Two of Us/Take Me To the River (Polydor) PDS-2178

1993 Poison

1976 Sweet Dynamite (Lollipop/Philips/London) 9286-364
1977 The Girl Most Likely (Lollipop/London) 6306-201
1978 I Wanna Be Loved By You (Lollipop) LGR-1003
1979 Feel The Fire (Lollipop) LG-1006
1980 Greatest Hits (Lollipop) LOL-1-1001
1981 Made In Hong Kong (Lollipop/Polydor) PDS-1-6306
1983 No La De Da Part 2 [12” EP] (Personal) 59801
1985 If I Do It To You (Ensign – UK)
1987 I, Claudja (Epic) PEC-451045
1987 Hot To The Touch [5 song EP] 49-07496
1991 The Best of Claudja Barry (Hot Productions)
1995 Disco ‘Round The Christmas Tree (Radikal – Germany)
1996 Disco Mixes

with BONEY M
Take The Heat Off Me (Hansa – Germany) 27-563OT

courtesy David Sampson

Gary Ship (vocals, hammond organ) / George Gardos (bass) / Barry Albert (guitars) / Lawrence ‘Corky’ Laing (drums)
A pop/rock outfit from Montréal, Québec signed to Quality and Can-Am in Canada and eventually Atlantic Records in New York where Felix Pappalardi produced their single 1967 “When I Fall In Love”. Prior to the summer of 1968, Barry Albert left to continue working at a high paying job with Cyanamid of Canada. He would also finish a University degree in Business Management and Taxation. A few months later Albert joined a group called LIFE and made the RPM Magazine Top40 across Canada in 1969 with a single called “Hands of the Clock” – which also made the Top100 in Billboard USA. The remaining trio carried on under the name Energy. Following Energy’s demise, Corky Laing replaced Norman Smart in Leslie West’s band Mountain; Both Ship and Gardos co-wrote songs for Mountain’s ‘Climbing’ album; Gardos went on to join Charlee; Albert became the business manager for a top session singer in Québec and still continues to perform as well. with notes from Barry Albert and George Gardos.

1965 She’s Mine/You’re Not There (Quality) 1728X
1966 ‘Cause I’m Alone/On A Wintery Night (Quality) 1802X
1966 Taboo/Why, Oh Why (Can-Am) CA-200
1966 My Babe Before/Delilah (Can-Am) CA-205
1967 When I Fall In Love/I Can’t Go Back (Atlantic) 2439

Tim Armour (vocals, guitar) / Sean Ryan (bass, vocals) / Roger Whyte [aka Roger LeBlanc] (drums) / John Davis (guitar, vocal)
In 1986 Armour, Davis and Whyte formed a pick-up band in Moncton, New Brunswick before relocating to Halifax, Nova Scotia to play to bigger audiences. They decided if they were to make it big they needed to be where the action is and headed to Toronto. They picked up bassist Ryan (a London, Ontario native) and they went into the recording studio to prepare a song for the annual Q107 Homegrown competition. The band won the 1987 Homegrown contest and on the same weekend they won they found out they had also been awarded a CFNY-FM CASBY Award for ‘Best Non-Recording Act’. The Q107 contest brought them $12,000 in equipment, $5000 cash, a video shoot, and a single courtesy of Metalworks studio. They were signed to Blue Rodeo’s Risque Disque label in 1988 and Blue Rodeo keyboardist Bobby Wiseman produced a single, “Images of Love” at Metalworks using their lucrative Q107 prize to pay for the sessions. They toured the country several times and did an opening slot for Australia’s Weddings, Parties, Anything. The follow-up album in 1990 was ‘Sweet Panic’ also on Risque Disque and produced by Terry Brown. Ironically, the band couldn’t get Q107 or many other radio stations to play the record and it languished just long enough to get trapped in the Risque Disque bankruptcy that followed. Basic English broke up in 1991 but reformed as Messiah Inc. with Dino Naccarato on drums, focusing on a Goth sound. With the same line-up they then became Gran Torino during the late 90’s as a Hard Rock act. THEN they became Train Wreck, focusing on a country/roots sound. Tim Armour and John Davis revived Basic English for a reunion that occurred in 2010 as part of an ’80s retro night held by Sugar Moon Music to promote it’s compilation disc ‘Into The ’80’s: Great Toronto Bands’. Currently, the band is working on a new recording, with producer Michael Phillip Wojewoda (Barenaked Ladies, Great Big Sea). with notes from Margaret Dinsdale.

1988 Images of Love/Outside the Law (Risque Disque/WEA)  7CDN-55

Sweet Panic (Risque Disque/WEA) 25-71031


1995 Welcome To Messiah Inc.

1996 Transmission


2001 Big Smoke Saloon
2005 Emanations

Fergus Hambleton (guitar, vocals) / Bruce Mack (bass) / Ronnie Wiseman (keyboards) / Dave Norris (drums) / Gary Steed (drums; replaced Norris)
Following a long stint as a solo artist through the first half of the 1970s, Fergus Hambleton and Bruce Mack had a pick-up reggae, Meters style funk and instrumental rock act called Moonfood who played at Toronto clubs like the Beverly Tavern, The Black Bull between 1974 and 1976. When the punk scene exploded on Queen Street the two formed the The Basics in 1977 with Ronnie Wiseman (brother of Blue Rodeo’s Bob Wiseman) and Dave Norris. Norris left to join Tony Malone’s Drastic Measures and was replaced by the more funk-oriented Gary Steed which took the band away from a punk sound into a different musical direction. The band became part of the scene at a place called the Global Village on St. Nicholas Street in Toronto run Dishes manager Roy Fleming who later managed the Dishes. The Basics also frequented The Edge, The Cabana Room, The El Mocambo and others around Toronto performing with The Diodes and Drastic Measures among others. The Basics recorded one single entitled “I Can’t Help” in 1980. The band split up in 1981. Hambleton and Mack went on to form The Sattalites. with notes from Fergus Hambleton. [also see FERGUS HAMBLETON]

1980 I Can’t Help/Danger Zone (Axe) AX-58

Toby Swann (vocals, guitar) / John Gibb (vocals, guitar) / Cleave Anderson (drums) / Larry ‘Jasper’ Klassen (bass)  / Patrick Mooney (drums)
True to the punk rock ethos, Toronto’s The Battered Wives, like the Viletones and The Forgotten Rebels, were born into controversy. Formed in 1977 by British-born Toby Swann and Toronto natives Larry “Jasper” Klassen (formerly of the band Flight 505 with Rick Perreault and Warren Maracle) and Cleave Anderson, The Battered Wives gained a reputation on Queen Street as aggressive rabble rousers. Fellow Brit, John Gibb, a clothing boutique owner on Queen Street, had heard about the band through their reputation and managed to convince the members they needed him. Within a year they had signed with fledgling Bomb Records out of Toronto who released their first album, simply titled ‘The Battered Wives’, and they headed out on tour with Elvis Costello. But, it wasn’t long before women’s groups were down their backs for not only the name, but for their logo — a fist with lipstick smeared across the knuckles. The women’s groups began to picket every venue the band played and doing a set list featuring such tunes as “Uganda Stomp” (about Idi Amin) and “Lover’s Balls” didn’t sit well with the pre-PMRC parents groups either. Despite the controversy, or maybe because of it, the Battered Wives built up a huge following which managed to push the sales of the self-titled debut to gold status (50,000 copies) — an unprecedented event for a debut by a Canadian ‘New Wave’ group at the time. The continual upheaval and media spectacle was too much for Cleave Anderson and soon departed to beat the skins for The Sharks (with Sherry Kean). He was quickly replaced by Patrick Mooney. A second album was recorded, but Bomb Records had run out of money and the album sat for almost a year before they licensed it to Epic. However, Epic refused to release the disc unless the band changed their name to ‘The Wives’. Controversy or not, the album only sold 5,500 copies but still managed to win the band a JUNO Award (a Canadian version of The Grammy) for ‘Best Album Graphics’. The Wives had seen no promotion on the western leg of their 1979 tour and asked to be released from their deal with Epic Records citing breach of contract. Ready Records were quick to pick up the newsworthy band and let them return the ‘Battered’ to their names for their 1980 album ‘Live on Mothers’ Day’. Larry Klassen is currently holed-up in America as a successful songwriter in Nashville, Tennessee but his inability to leave the United States is a major crimp in any future Wives reunion; John Gibb is a formidable businessman in the metals industry north of Toronto; Cleave Anderson would go on to form Blue Rodeo until leaving it as well to maintain a day job working for Canada Post (a job he has since retired from) and drumming for the reformed Screaming Sam & The Problems, The Skrewed, The Beverley Brothers and Swindled among others; Patrick Mooney has been living in Guelph, Ontario since 1990 and works as a sound tech; he has also been seen still playing drums with groups like Benji and ex-Johnny & The G-Rays member Harri Palm around the Toronto area; Toby Swann moved on to both a solo career (he would have a seminal underground hit with ‘Lullabyes In Razorland’ and its slash-and-burn remake of the Judy Garland classic “Somewhere Over The Rainbow”) and as founder of Gamma Gamma. He currently lives in Antigua. with notes from Larry Klassen, Patrick Mooney, Cleave Anderson, Rick Perreault, Toby Swann, Peter Burnside. [also see TOBY SWANN]

Uganda Stomp/Giddy (Bomb) B-5016
1979 Daredevil/You Better Be Right (Line – Germany) LS-1006
1980 Keep A Knockin’/Daredevil (Ready) SGRR-007.5

1979 Pass Out/Sex & Drugs and Rock ‘n’ Roll [promo 7” w/’Cigarettes’ LP] (Bomb/Epic) 

1978 Battered Wives (Bomb) B-7028
1980 Live On Mothers’ Day (Ready) RR-007


1979 Cigarettes (Bomb/Epic) B-7031
1980 Live On Mother’s Day (Line – Germany) OLLP-5077HS

Colonel Xavier Jessome
(drums, vocals) / Ian Aker (saxophone, flute, vocals) / Jimmy Amason (guitar, vocals) / Ross Billard (keyboards, guitar) / Owen Hann (bass)
From Cape Breton, Nova Scotia.
From Cape Breton, Nova Scotia, initiallyThe 36th Street Battery was formed in the late ‘70s and  recruited to be Sam Moon’s back-up band. In 1980 they left Sam Moon and  initially struck out on their own as The Battery. They recorded one album, ‘Tomorrow,’ which was produced by Brian Ferriman. The band broke up in 1982. with notes from Stephen Marsh.

Tomorrow/Thoughts of Yesterday (Rio) RIO-727

1981 Tomorrow (Rio) RIO-1019

Bill Cooper
(drums) / Sorrell / Easton
3-piece from Kitchener, Ontario who released one album on the fledgling Freedom label in 1980.

Life-Size American Heroes/Rest My Case (Freedom/RCA) FR-45-001
1981 Bobby Soxer/No One’s Man (Freedom/RCA) FR-45-014

BBC (Freedom/RCA) FR-001

Pete McCormick
(vocals, guitar) / Paul Williamson (vocals) / Brad Johnston (guitar) / Mike Stevens (drums) / Garth Johnson (drums; substitute) / Bennie (bass) / Wycliff Hartwig (bass; replaced Bennie)
Played many punk gigs in Winnipeg area in the mid-80s. Covered The Who’s “My Generation”, re-written as “My Masturbation.” Their ‘Polka Dot Pajamas’ EP sold over 200 copies. The band also made a movie called ‘The Pizza Guy’ starring Jason Cherepak and Paul Williamson. The Beach Mutants opened for Grapes Of Wrath on their Canadian tour in 1985. The group disbanded in late 1986/early 1987. with notes from Paul Williamson.

1986 Polka Dot Pyjamas [4 song EP] (Snippy Guy) [no. cat.#]

Dwayne Ford
(keyboards, flute, guitar, vocals) / Hugh Brockie (lead and rhythm guitar, banjo) / Terry Danko (bass; later switched to guitar) / Jim Atkinson (vocals, guitar) / Brian Hilton (drums) / Mal Turner (drums; replaced Hilton) / Malcolm Tomlinson (percussion, guitar, vocals) / Penti ‘Whitey’ Glan (percussion) / Chris Vickery (bass; replaced Danko) / Marty Coudrey (drums; replaced Mal Turner)
Hugh Brockie (guitar) and Dwayne Ford (piano), from Edmonton, were originally part of Ronnie Hawkins’ Rock And Roll Revival And Travelling Medicine Show. One night while playing the upstairs lounge of the Graham Bell Hotel in Brantford, Ontario Hawkins spotted two other hotshot musicians in the group Tin Pan Alley downstairs – Terry Danko (brother of The Band’s Rick Danko) and Jim Atkinson – and a new band was born. Hawkins, like he had done with so many versions of The Hawks, who would become The Band and Crowbar before them, taught the guys the ropes about professional showmanship and playing abilities. And like The Hawks, this group of musicians decided that Hawkins’ straight-ahead rock and roll was creatively stifling. Danko left first, then Atkinson and briefly became a duo before forming Atkinson, Danko, and Ford (with the addition of Brockie & Hilton). The act soon signed to Columbia Records and their 1972 debut LP spawned the single “Right On”. Hilton would leave as drummer and they added Mal Turner but felt their moniker sounded more like a law firm than a musical group and changed it to Bearfoot. In June of 1973, under the new Bearfoot name Columbia Records resigned the group by offering them a $15,000 cash advance. The label then spent $60,000 recording the album ‘Friends With Bearfoot’, mixed it twice, packaged it twice, distributed it, recalled it and re-distributed it. Atkinson and Danko left for Hollywood and were replaced by Malcolm Tomlinson and Chris Vickery at which time a second album – ‘Passing Time’ was released under the name Dwayne Ford and Bearfoot; Danko played in Gary Bussey’s “Buddy Holly Story” in 1978 and later returned to Canada in 1985 to reform Bearfoot with Jim Atkinson and Gerry Baird; Ford was married to Patsy Gallant for many years and has had a successful solo career as well; Chris Vickery is now a solo artist as is Terry Danko. with notes from Hugh Brockie, Terry Danko, Dwayne Ford and L.Danko. [also see ATKINSON DANKO & FORD, TERRY DANKO, DWAYNE FORD]

1973 Only A Soldier/Life Goes Too Fast (Columbia) C4-3106
1973 Molly/St. Augustine (Columbia) C4-4027


1974 Passing Time/She Comes To Me (CBS/Columbia) C4-4065
1975 Cable To Carol/Lecher’s Reign (CBS/Columbia) C4-4081


1973 Friends With Bearfoot (Columbia) KE-32653

1975 Passing Time (CBS/Columbia) KE-33530

Hélène Duguay (bass) / Mimi Jourdan (drums) / Claire Fugère (guitar) / Claudette Faubert (lead guitar) / Denise Payette (vocals) / Micheline Desanre (drums; replaced Jourdan)
Formed in Montreal in 1964. The group split up after the tragic deaths of Faubert and Desanre died in a car accident while the band was heading to the Brass Rail in London, Ontario for a show in May 1965. With notes from William Cole.

Ce n’est plus qu’un reve/Reste encore (Jeunesse Franco) JF-4024
1968 C’est grace a toi/Une fille sans un garçon (Première) PR-903

In the band 49th Parallel, Danny Lowe saw the band he founded with Dennis Abbott lose momentum after Abbott’s departure following the release of its one and only album in 1969. Doran Beattie replaced Abbott and with a new line-up of Beattie, Lowe, Jack Velker, Dave Downey and Terry Bare, they began working on another album which was never completed but the single “I Need You” did surface in 1970. Eventually the band changed its name to Painter and signed on with Randy Bachman’s Molten Records. Painter managed an LP and at least one successful single “West Coast Woman” on Elekrta in 1973 after which Beattie and Lowe renamed the group Hammersmith.  Hammersmith managed two albums for Mercury – ‘Hammersmith’ (1974) and ‘It’s For You’ (1976). Those claiming to have been members of Hammersmith include Mike Reno (nee Rynoski), Jim Clench, Hal Whitford, Craig Blair, Jeff Boyne, Brian Ojay, Dale Buchner, Randy McCann, Bobby Vice, Jim Lewellyn, Al Gibson, and Bill Kempster.  Mercury dropped the band in 1977 and Beattie quit and joined the band All The Rage In Paris (1978), but that too faltered when co-founding keyboardist Doug Johnson quit to form Loverboy. After taking a few years off from touring the stadiums of North America (opening for acts like Jethro Tull and Kiss) he decided to raise a family, mellow and go country. Beattie knocked audiences out in 1992 and 1993 at the Merritt Mountain Music Festival, with his eight piece band. 1994 saw the release of ‘Second Chance’, produced by Rolf Henneman, and featuring a number of songs co-written by Susan Jacks. Beattie also does a cover of Michel Pagliaro’s “What the Hell I Got”. Canadian country radio heavy rotated the 2nd single, “Fear of Flying”, and Country Music News listed the tune as No.46 for 1994 on the Top 100 Canadian country singles chart. with notes from Bill Munson. [also see HAMMERSMITH, PAINTER]

1994 Fear of Flying (Q-West)

1994 Second Chance (Q-West)

Pierre Bertrand
(vocals, bass) / Marie-Michele Desrosiers (vocals, piano) / Real Desrosiers (drums) / Robert Leger (keyboards) / Michel Rivard (vocals, guitar) / Michael Hinton (keyboards; replaced Leger 1976)  / Pierre Huet (songwriter)
Beau Dommage had its earliest roots as Quenonuille Bleue, in 1970, when Michel Rivard and Pierre Huet attended the University Of Québec. The duo played at small intimate setting and with the addition of Robert Leger, they changed their name to Theatre Sainfoin to reflect their new chosen venue. With the addition of Marie-Michele Desrosiers in 1973, Beau Dommage was formed. They were at once part of a new generation (or ‘La Releve’) of Québec groups who tried to spread the word about the life and times of Québec’s people. The band’s first, self-titled album in 1974 made them an instant success with 250,000 copies sold and their second would ship platinum (100,000) – a first for any Canadian act at that time. 1977 saw some disharmony among the members which led Rivard to record a solo album which led to a mutiny of sorts and the act dissolved in the late ’70’s. Marie-Michele Desrosiers would also go solo around 1981 as would Robert Leger who had great success on a side project in 1982 with a punk rock musical entitled ‘Pied de Poule’ (Chicken Foot), with the play continually selling out and the title track selling 75,000 copies in Québec. In the summer of 1984 the group reunited for the 450th anniversary celebration of Jacques Cartier’s discovery of Québec and the year was capped by two live performances in October at the Forum de Montréal. A double live album resulted in 1985 and EMI Canada re-issued a live album/concert video called ‘Live-ism’ in 1992. with notes from Glen Bourgeois

1975 Une amie d’enfance/Fin de soiree
1975 Le picbois/A toutes les fois (Capitol-EMI) 85102
1975 Tous les palmiers/Le geant Beaupre (Capitol-EMI) 85105
1975 Harmonies du soir à Châteauguay/La Complainte du phoque en Alaska (Capitol-EMI) 85109
1975 Le blues d’la metropole/Assis dans cuisine (Capitol-EMI) 85113
1976 Motel Man repos/J’ai oublie le jour (Capitol-EMI) 85118
1976 Heureusement quil y a la nuit/Bon debarras (Capitol-EMI) 85122
1976 Montréal/Amene pas ta gang (Capitol-EMI) 85124
1977 Gisèle en automne (du film: Le soleil se lève en retard) /Générique; Son ancien chum (du film: Le soleil se lève en retard) (Capitol-EMI) 85131
1977 Seize ans en ‘76/Contre lui (Capitol-EMI) 85134
1977 Tour va bein/ Marie-Chantale (Capitol-EMI) 85136
1977 Rouler la nuit/Le passager de l’heure de pointe (Capitol-EMI) 85140
1978 Le coeur endormi/Le hockey (Capitol-EMI) 85144
1978 C’est samedi soir/La complainte du phoque en Alaska (Capitol-EMI) 85151
1984 Tellement on s’aimait (Polydor)
1985 Le Rapide-blanc (Polydor)
1994 Echappe Belle (Audiogram)
1995 Rive-Sud (Audiogram)
1996 Tout Simplement Jaloux (Audiogram)


1974 Beau Dommage (Capitol-EMI) ST-70.034
1975 Où est passée la noce? (Capitol-EMI) ST-70.037
1976 Un autre jour arrive en ville… (Capitol-EMI) ST-70.048
1977 Passagers (Capitol-EMI) ST-70.055
1978 Les Grands Succès de Beau Dommage (Capitol-EMI)
1985 au Forum de Montréal (Polydor) 2424-250
1985 au Forum de Montréal, Vol. 2 (Polydor) 2424-253
1985 26 et 27 Octobre 1984 au Forum de Montréal (Capitol-EMI)
1987 Plus de 60 Minutes avec Beau Dommage (Capitol-EMI) 48843
1988 Leurs plus grands succès en spectacle – Au Forum (Polydor) 835-126-2
1991 L’integrale [3CD] (EMI)
1991 La complainte du phoque en Alaska (EMI)
1992 Live-ism [re-issue of 26 Et 27 Octobre 1984 Au Forum De Montréal] (EMI)
1994 Beau Dommage (Audiogram) ADCD-10081
1995 Rideau (Audiogram) ADCD-10089
1999 Anthologie (EMI Canada) 523940
2009 L’album de famille [5CD + 2DVD] (EMI Canada)  265811

Joey Frechette (piano) / Mike Robitaille (bass) / Ray Hutchinson (lead guitar, vocals) / Gilles Tailleur (drums)
Formed in 1958, this Montréal based quartet financed their own recordings and used local studios – a very rare occurrence in the early ’60’s. They were fairly restricted at the time to playing American standards under the name The Del Tones, but they would make forays into recording studios to try out their original material as often as possible. A copyright hassle from a US act forced the band to change their name to Beau-Marks which came from, of all things, the BOMARC missile. One of their first efforts was the 1959 hit “Moonlight Party” which started getting airplay in Ontario and Québec from on-air requests. The band headed back into the studio and cut their next side – “Clap Your Hands” which got national airplay and sold well. The band began taking performance offers across the country and Shad Records in the US released the single to rave response. The single made the Billboard Top100 and stayed there for 14 weeks with a peak position of No. 45 leading to appearances at The Peppermint Lounge, Carnegie Hall and on Dick Clark’s ‘American Bandstand’. “Clap Your Hands” eventually made No.1 in the Commonwealth and had top charting success in Europe. Follow-up records like “Classmate” (1961) and “Little Miss Lady” (1962) were released but none seemed to live up to the immediate hit potential of “Clap Your Hands” which was re-released in 1968 by Quality Records and became a hit all over again. The Beau-marks split up in 1963 at which time Ray Hutchinson joined Dave Nicholl And The Coins before settling in as a North American lounge act (including nightly appearances at his own Montréal restaurant Le Sentiment) but had to retire from music after sustaining serious injuries in a 1988 car accident; Mike Robitaille became successful in video production; Gilles Tailleur died of a cerebral hemorrhage at age 35; and Joey Frechette was the head of April Blackwood publishing, a program director at CHOO radio, and re-recorded his own version of “Clap Your Hands” in 1987 as Joey Conrad.

1960 Clap Your Hands/Daddy Said (Quality) K-1966
1960 Billy, Billy, Went A Walking/’Cause We’re In Love (Quality) 1219X
1961 Oh Joan/Baby Face (Quality) 1259X
1961 Classmate/School Is Out (Quality) 1315X
1961 I Used To Love You/Yours (Quality) 1337X
1961 Little Miss Twist/Lovely Little Lady (Quality) 1361X
1962 Clap Your Hands Once Again/Summertime (Quality) 1404X
1962 The Tender Years/I’ll Never Be The Same (Quality) 1423X
1962 Dark Is The Night/Stay With Me (Quality) 1493X
1963 Give Me One More Chance/Now She’s Gone (Quality) 1532X
1965 Be Bop A Lula/So Fine (Quality) 1766X
1968 Daddy Said/’Cause We’re In Love (Quality) 1926X
1968 Clap Your Hands/Billy, Billy Went A Walking [re-issue] (Quality) QGT-014X

Moonlight Party/Rockin’ Blues (Quality) 1881X

1960 The High Flying Beau-Marks (Quality) V-1656
1961 n Person! Recorded On Location At Le Coq D’or (Quality) V-1683
1961 One by One! Rock and Roll Has Got a Beat [re-issue of In Person!]  (Quality) V-1683
1962 The Beau-Marks (Quality) V-1711
1994 Hits & Rarities (Sparkletone – GERMANY) SPCD-99019
2001 The Tender Years (Unidisc)
2001 The Best of (Unidisc) AGEK-2023
2002 The Quality Years – By Special Request (Unidisc) AGEK-2100

André “Eddy” Roy (vocals, guitar) / André Rhéaume (guitars, vocals) / Jean Allen (drums) / Benoît Guimonds (drums; replaced Allen 1968) / Bernard Valleé (bass)
Formed in 1964, Les Bel Air hailed from Québec City and after years of releasing albums and  singles with very little commercial success, had 15 minutes of fame in 1970 with the Yeh Yeh styled garage single “Caroline”. Later that year they changed their name to Canadian Pea Soup before splitting up in 1971.

1965 Tant des Choses a Dire (Premiere)
Betty/ Ils Parlaient Dans Mon Dos (Premiere) PRE813
Restons Ainsi/Maman (Télédisc) TD-27
Mille Danses/L’école (Télédisc) TD-42
Morgen/Blanc sur noir (Télédisc) TD-50
Marchant dans la plaine/Merveilleuse nuit d’amour  (Citation)  CN-9027
Suzie Darling/Le Coin de Amours (Citation) CN-9038
1968 Mary Lou/Tout Ca/ Ma guitare pour un cheval blanc (Citation)  CN-9051
1968 Bon vivant/N’essayez pas les filles (DSP) DSP-8633
Cupidon/Quand le jour Viendra(Bel-Air) BA-101
Je n’entrerai pas ces soir/La legende de Xanadu (Bel-Air) BA-104
1969 Plus fort chaque jour/Tant de choses a dire (Bel-Air) BA-105
1969 Caroline/Dong Dong Diki Di Ki Dong (Bel-Air) BA-111
Les Dégonflés/[split w/unknown] (Bel-Air) BA-112
1970 Galaxie/[split w/Kyrie Eleison] (Bel-Air) BA-113
197-  N’Essayez-pas les Filles (DSP) DSP-8633
Marchant dans la plaine/Maman (Millionnaires) MG-100105
1974 Ils parlaient dans mon dos/Tant de choses à dire (Millionnaires) MG- 100106
1974 Cupidon/Le coins des amours (Millionnaires) MG-100107

Les Bel Air (Télédisc)TD-362
1968 Marchant dans la plaine (le Group le plus recherché) (Citation)  CN-16017
1969 Les Bel-Air Jouent (Bel-Air) BA-1001
1969 Pour faire changement (Disco Bel-Air) DBA-1001
1969 21 Disques D’or (Archives du Disque) AQ-21018
1971 Les Bel Air (Trans-World) TWF-9015
1972 Ouest-Ern (DSP) TR-25929
1973 Les 16 Super Succès (DSP)  INT-416
1974 21 Disques D’or (Les Archives Du Disque Québécois) AQ-21018
2007 Les grand succès Country (Merite) 22-945
2007 Volume 2 (Merite)

BÉLIVEAU, Véronique
Véronique Béliveau is a Québec recording star long before her splash into English Canada in 1987. She started with the dream of becoming a ballerina, but rheumatic fever at a young age made her too weak to endure the rigorous exercises. Instead she too up singing and began performing professionally at age 16 doing the soft-chanteuse lounge approach only to be discovered by Francois Bernard, a well connected man in the music industry who took her into a recording studio for the first time. Several independent singles were produced for the Laureat and Nobel labels. As she matured and began moving towards pop music, she landed a deal with RCA in 1977 and released two French language albums with them before moving to A & M for 1983’s ‘Transit’ album. This record was named Pop Album Of The Year at the l’ADISQ Awards and led to a 1984 Most Promising Female Vocalist JUNO nomination and a performance, in a gossip inducing black rubber dress, on the nation wide telecast of the awards show. English Canada got their first taste of the singer. With 1985’s ‘Cover Girl’, Véronique was still singing in French, and had won a coveted place on the “Tears Are Not Enough” Ethiopian Famine Relief record singing alongside Richard Séguin. She would perform for the Prince and Princess of Wales at EXPO ’86 and appear on a Frank Mills TV special. 1987’s ‘Borderline’ finally broke Beliveau in the English speaking market under her unique first name. The first single “Make a Move On Me” became a national hit and led to appearances on Canada’s most prestigious TV shows (and even the comic ‘Super Dave Osbourne Show’).

1976 S’il y avait un jour des jeux/ On n’a pas parle d’amour (Tangerine) TAN-31
1976 J’ai vingt ans/J’ai vingt ans (Instrumental) (Tembo) STM-1004
1976 Prends-moi comme je suis/Nous partirons en univers (Tembo) KB-50296
1977 Qu’est-ce que tu me chantes de bon/J’ai besoin (Tembo) KB-50343
1977 J’t’aime bien quand même/J’savais pas (Tembo) KB-50395
1978 L’été/Il Me Reste (Tembo) KB-50456
1980 Si je m’ennuie de mon pays/Relaxe toi (RCA Victor) PB-50578
1980 Je vis beaucoup mieux/Jet Set (RCA Victor) PB-50629
1980 Aimer/[same] (RCA Victor) JB-50596
1982 Ordinateurs/De la musique (Paroles & Musique/Trans-Canada) PM-006
1983 Je suis fidèle/(instrumental) (A & M) AM-606
1983 Je suis fidèle/En transit (A & M – FRANCE) AMS-9780
C’est un Reveur/(instrumental)  (A & M) AM-616
1983 That Boy/Nuit d’aout (A & M) AM-631
1984 Please (dis-moi)/Contact (A & M) AM-641
1984 Transit/Ah qu’ t’es doux (A & M) AM-658
1984 Le Rock/ Ah qu’ t’es doux (A & M) AM-673
1985 (Cache Ton Coeur) Cover Girl/Lady Illusion (A & M) AM-678
1985 Je suis comme je suis/ (A & M) AM-686
1985 Toujours l’amour/Camouflage (A & M) AM-691

1973 Je voudrais/Oui, je chante (Lauréat) LT. 7
1973 Montre moi/ Rêve d’amour (Lauréat) LT.4
1974 Melancolie/L’amour au diapason (Nobel) NL-5686
1974 J’ai envie de toi/Ceux qui t’aiment (Nobel) NL-5699
1986 Make A Move On Me/Toute la nuit (A & M) AM-715
1987 I Can’t Help It/Make A Move On Me (A & M)  AM-729
1987 Ce Noir/Toute la nuit (A & M) AM-730
1987 Love You Like A Fire/I Can’t Hold Back (A & M) AM-735
1988 Borderline/Avec de la Tendresse (A & M) AM-754
Jérusalem [duet with Marc Gabriel] /(instrumental) (A & M) STA-003
1989 House of Love/All Those Years Ago (A & M) AM-791
1989 I’m Gonna Make You Love Me [12”] (A & M) SP-23065

1977 Prends-moi comme je suis (Tembo) TMT-1014
1981 Véronique Béliveau (RCA Victor) KKL1-0387
1983 Transit (A & M) SP-9097
1985 Cover Girl (A & M) SP-9112
1986 I Can’t Help It (A & M) SP-9125

1987 Borderline (A & M) SP-9135
1989 Véronique  (A & M) SP-9154


Ann Ralph
(lead vocals) / Jacki Ralph (lead vocals) / Cliff Edwards (guitar, vocals) / Doug Gravelle (drums, vocals) / Gordie McLeod (organ, vocals) / Charlie Clark (guitar, vocals) / Michael Waye (bass, vocals) / Frank Mills (keyboards; replaced McLeod 1968-1970) / Dennis Will (keyboards; replaced Mills) / Mickey Ottier (keyboards; replaced Will) / Skip Layton (drums; replaced Gravelle) / Will “Wayne” Cardinal (bass; replaced Waye)
As the Five Bells, this Montréal band formed in 1965 with sisters Ann and Jacki Ralph, Cliff Edwards, Doug Gravelle and Gordie McLeod. The band’s rock-of-all-ages appeal took them from dates in Canadian small towns to 11 weeks at New York City’s Copacabana night club, and then to multi-million dollar resort hotels throughought the US and world-famous vacation spots in Bermuda and the Bahamas. Adding keyboardist Mickey Ottier, they cut their first single in 1969, “Moody Manitoba Morning” written by Rick Neufeld. The song earned them two Moffatt Awards that year. This was followed by a full-blown album called ‘Dimensions’ on Polydor Records. With the departure of Ann Ralph (then married to Cliff Edwards) in 1970 to become a full-time Mom, the band adjusted its line-up and renamed themselves The Bells. The reconstituted line-up consisted of Jacki Ralphs, Cliff Edwards, Doug Gravelle and new members Charlie Clark, Michael Waye – both from The Maritimes – and Frank Mills who had been working with the Sirocco Sisters. While recording their true debut album, ‘Fly, Little White Dove’, Fly Frank Mills left to pursue a very successful solo career and was replaced by Montréal keyboardist Dennis Will though Mills was credited with all the keyboards on the record. The title track, written by Marty Butler and Bob Bilyk, landed the band in the Top10 on the Canadian charts in December 1970.  The 1971 follow-up single “Stay Awhile”, however, would proved to be a monster hit – going to No. 1 in Canada and No. 7 in the US on the Billboard Top100 in March 1971. This led to successful appearances in the US including TV shows like Johnny Carson’s ‘Tonight Show’, Merv Griffin, and Guy Lombardo’s annual New Years Eve telecast. The single would go on to sell four million copies worldwide. They rapidly climbed the ladder of success, touring Canada and the United States to great critical acclaim on the heels of 1972’s ‘Studio A’. A few years later, drummer Skip Layton and bassist Will “Wayne” Cardinal (ex-Satan And The D-Men, Ronnie Hawkins & The Hawks) joined the group following the departure of Doug Gravelle, Cliff Edwards (who had a solo career to nurture) and Michael Waye for 1973’s ‘Pisces Rising’. Dennis Will eventually left to form his own showband leaving Jacki Ralph and The Bells to continue touring until the mid-80s. At this point Will Cardinal also left to join Mashmakhan’s Rayburn Blake in the Lisa Hartt Band. At the turn of the millennium, the entourage frequently re-united for one-off shows including three reunion concerts in 2003 (Port Hope, Brockville and Kingston). Interest has been so strong in the act that Universal Music finally fashioned a ‘best of’ package in 2005 under the supervision of the band. McLeod became a policeman in Westmount, Québec; Will has been performing in the Toronto area for over 20 years, including nightly at Hy’s Restaurant and Piano Bar in downtown Toronto; The band was managed from the very beginning by Montréaler Kevin Hunter who went on to manage Natalie Cole and Peter, Paul and Mary among others; Will Cardinal rejoined Skip Layton as a member of Ocean before settling in Nanaimo, British Columbia where he plays more casual gigs, repairs speakers and helps build PA systems for the pleasure of better sound; Layton would join Stingaree with Jeff Jones (Ocean), Bernie LaBarge and Brian “Too Loud” MacLeod in the 1970s. When MacLeod got a gig with Chilliwack and moved to Vancouver, Layton went with him. He enjoyed success in country band Ambush in the 1990s. notes from Ann Ralph-Edwards, Jacki Ralph Jamieson, Juleen Will, Diane Will, Bruce Cairns, Dave Normandale, Rick Neufeld, Kevin Hunter, Skip Layton and Will Cardinal.


1970 Fly, Little White Dove, Fly/Follow The Sun (Polydor) 2065-040
1971 Stay Awhile/Sing A Song of Freedom (Polydor) 2065-046
1971 Rain/Lady Dawn (Polydor) 2065-064
1971 Sweet Sounds Of Music/She’s a Lady (Polydor) 2065-077
1971 For Better or For Worse/Homeland Bound (Polydor) 2065-093
1972 Oh My Love/You You You (Polydor) 2065-107
1972 Lord Don’t You Think It’s Time/Easier Said Than Done (Polydor) 2065-124
1972 Maxwell’s Silver Hammer (Polydor) 2065-144
1973 He Was Me, He Was You/Child Of Mine (Polydor) 2065-188
1973 The Singer/Love Once Removed (Polydor) 2065-196
1973 Hey, My Love/Baby I Love You (Polydor) 2065-214


1969 Moody Manitoba Morning/Big City (Polydor) 540-007

1971 Fly, Little White Dove, Fly (Polydor) 2424-022
1971 Stay Awhile (Polydor/Columbia House) 2424-022
1971 Love, Luck ‘n Lollipops (Polydor) 2424-035
1972 Studio “A” (Polydor) 2424-049
1973 Pisces Rising (Polydor) 2424-080
1974 The Best of The Bells (Polydor) 2424-093
2004 The Best of The Bells (Universal) 0249815244


1969 Dimensions (Polydor) 542-004

Born: June 17, 1954 in Stoke Newington, Hackney, London, England
Singer, songwriter, multi-instrumentalist and producer David Bendeth moved to Toronto when he was a teenager and found his way into Toronto area bands and appearing on recording sessions for Bob Segarini (‘Gotta Have Pop’) and B.B. Gabor (‘B.B. Gabor’). With his own material he managed to bridge the gap between jazz, rock and funk in the late ‘70s and was signed to Epic Records.  Bendeth released the album ‘Adrenalin’ in 1979 and had a No. 44 hit with “Feel the Real” on the UK Singles Chart and went to No.1 on the soul and dance charts. In the mid-80s Bendeth worked for CBS Records and either produced or performed on records by Teenage Head, Wrabit, Tu, Billy Newton-Davis, Harlequin, Platinum Blonde, Cats Can Fly, Erroll Starr, Eye Eye, Regatta, Sheree Jeacocke, Love & Sas. He also filled in as guitarist for Teenage Head briefly after a near fatal car accident involving the band’s Gord Lewis. In the late ’80s he was Vice-president of A & R at BMG Music Canada, where he signed hard rock bands Varga and Sven Gali, as well as the Crash Test Dummies. During this period he was a staff songwriter for Chrysalis Music Publishing and wrote songs for the likes of Jeff Beck and Joe Cocker. In 1994 Bendeth became the senior vice-president of A & R for RCA Records in the US. One of his first signings was Canada’s treble charger. He was instrumental in producing the 2002 chart topping Elvis Presley album ‘ELV1S 30 #1 Hits’ which featured the Junkie XL modern remix of Presley’s “A Little Less Conversation”. The album was the first Elvis album to debut at No.1 on the Billboard Top200 album chart and debuted in 17 other territories at No.1. It eventually sold five times platinum. In 2006 Bendeth produced hit records for Breaking Benjamin and Hawthorne Heights. He has also produced Hedley, Red Jumpsuit Apparatus, SR-71, Vertical Horizon (2x platinum). Acts such as Kaiser Chiefs, Cavo, Paramore, Papa Roach, Bring Me The Horizon, and Asking Alexandria have also been given Bendeth’s magic touch as a mixer. David Bendeth won the SOCAN 2011 ‘Songwriting Award for Airplay’ in the rock/pop category for co-writing the Hedley song “Perfect”. with notes from David Bendeth.

Feel the Real (Special Disco Remix)//Breakdown/Feel the Real [12”] (Inter-Global/Epic) 12E4-9326
1981 Love Collect/Goldmine (Ensign – UK) ENY-203
1981 Feel the Real Again/Make It Pop (Ensign – UK) ENY-210
1982 I Was There/Rollin’ (RCA) JD-13048
2000 Feel the Real [3 song 12” remix] (Audio Deluxe – UK) DELX-005

Adrenalin (Inter-Global/Epic) PEC-90535
1981 Just Desserts (Envy – UK) ENY-502
1982 The David Bendeth Band (RCA) BXL1-4133

Born:  Douglas Craig Bennett on October 31, 1951 in Toronto, Ontario
Died: October 16, 2004 in Calgary, Alberta
Actor/singer Doug Bennett was born in Toronto and  as a graphic designer moved to Vancouver in the mid-1970s. He co-founded Doug & The Slugs in 1977. As the band gained popularity on the British Columbia coast they added several members to make the act a light-hearted R & B revue (a style that Heuy Lewis & The News would use to great success). Bennett’s own independent label, Ritdong, secured major label distribution through RCA so the band could finally release its own material. 1980’s ‘Cognac and Bologna’ provided their first hit and the album sold nearly 100,000 copies. But it wasn’t until 1983’s “Making It Work” single that Canada and the US really got to hear Doug & The Slugs. Their perennial good natural pursuit of good times and fun gigs lasted straight through the 80’s with distribution being handled by A & M. In 1986 Doug Bennett released his own solo album called ‘Animato!’ and he moonlighted in the stage play ‘Rock And Roll’ before returning for another handful of Slugs albums. Bennett was admitted to hospital in Calgary, Alberta on October 9th, 2004 suffering acute symptoms from what his former band member, Simon Kendall, called a long-standing illness. He lost consciousness soon after his arrival and died on Saturday, October 16, 2004. [also see DOUG & THE SLUGS]

1986 It’s Got To Be Monday/Love Another Day (Ritdong/A & M) AMS-108
1986 One Two Three/A Million Ways (Ritdong/A & M) AMS-109
1986 Turn Away/Wait For Me (Ritdong/A & M) AMS-110

1986 Animato! (Ritdong/A & M) AMD-1005

BENNETT, Willie P.
Born: William Patrick Bennett on October 26, 1951 in Toronto, Ontario
Died: February 15, 2008 in Peterborough, Ontario
Peterborough-based folk guitarist Bennett started writing songs in 1966 but he didn’t play professionally until 1972. He cut his teeth professionally as a member of London, Ontario’s Dixie Flyers shortly after their inception in 1974. But his yearning to have his own quirky songs be heard led to a moonlighting job as a solo artist. His debut album was a collection of his coffee house favourites in 1975 called ‘Tryin’ to Start out Clean’. His 1977 follow-up, ‘Hobo’s Taunt’, was produced by David Essig and engineered by a young Daniel Lanois. By 1979 he’d found his calling as a solo act and decided to leave the Dixie Flyers having had his greatest artistic success with the solo LP ‘Blackie And The Rodeo King’. In 1989, after a ten year recording hiatus, Bennett released his major label debut — ‘The Lucky Ones’ – on Duke Street Records. Bennett was signed to Dark Light in 1991 and after receiving many requests for the revival of his old repertoire, decided to release a collection of the best of his back catalogue on ‘Collectibles’. In 1993 he released his first new album for Dark Light, ‘Take My Own Advice’, featuring musical contributions by Colleen Peterson and Colin Linden. In 1994, Bennett took time out from his solo career to become mandolin player for Fred Eaglesmith. In 1999 he returned to the solo front with his JUNO Award winning Dark Light CD called ‘Heartstrings’ which was produced by Tony Quarrington. His original songs have been recorded by the likes of Bill Hughes, Colleen Peterson, David Wiffen, Sneezy Waters, and Pure Prairie League. In the late ’90s the folk trio of Tom Wilson, Colin Linden and Stephen Fearing found great critical success using the name of one of Bennett’s most revered albums – Blackie & the Rodeo Kings. He was also a member of Fred Eaglesmith’s Flying Squirrels band. Bennet died of a heart attack at his home in Peterborough on February 15, 2008. with notes from Jeff Kinsella and Greg Simpson.

The Lucky Ones/Ain’t Got No Notion (Duke Street) 71059
1989 Goodbye So Long Hello/Train Tracks (Duke Street) 81059

1975 Tryin’ To Start Out Clean (Woodshed) PWS-004
1977 Hobo’s Taunt (Woodshed)  WS-007
1979 Blackie And The Rodeo King (Woodshed) PWS-013
1989 The Lucky Ones (Duke Street) DSR-31059
1992 Collectibles (Dark Light/Denon)  DL-12001
1993 Take My Own Advice (Dark Light/Denon) DL-12003
1999 Heartstrings (independent) 0998

1975 Light – Medium – Heavy (Boot) BBG-6000
1976 Cheaper To Lease (Boot) BBG-6002
1977 Just Pickin’ (Boot) BBG-6004
1978 For Our Friends (Boot) BBG-6007
1979 Five By Five (Boot) BBG-6017

1969 LINE-UP:
Gerry Gibas (guitar, vocals) / Marty Roth (rhythm guitar, vocals) / Sebastian Pelaia (bass) / Eddie Thomas (drums);
1996 LINE-UP: Marty Roth (lead vocals, acoustic guitar) / Bill Miller (bass guitar, lead vocals) / Michael George Jones (lead guitar) / Wilson Laurencin (drums)
Bent Wind was formed in Toronto, Ontario in 1969 and managed, in short order, to record and release the LP ‘Sussex’ that year on Merv Buchanan’s Trend label in Canada. With a limited pressing during its original run, the vinyl LP has since become a rarity in the Canadian music Collector’s market. In 1989 the band, under the control of Marty Roth, reformed with new members and recorded their sophomore follow-up – 20 years later – called ‘The Fourth Line Is…You Will’. The band moved to CD with the release of their third album in 1996 entitled ‘Shadows on the Wall’. Roth once again altered the band line-up and was also supported by a host of other musicians including Glen Jessamy, Stefan Janicki, Laura Dunn, Leslie Harwood-Jones, Chantal Legault, Cody Blacksky, Colleen Allen, Tortoise Blue, Mark Bajona, Robert Brockie, Roy Kenner and Maddie Willis. Roth has most recently uncovered live recordings of the original Bent Wind from Ryerson Polytechnical in 1969 and is currently restoring them for a future release. with notes from Marty Roth.

1969 Sacred Cows/Castles Made of Men (Trend) T-1008

1969 Sussex Drive (Trend) T-1015
1989 The Fourth Line Is…”You Will” (independent)
1996 Shadows On The Wall (independent)
2005 The Lost Ryerson Tapes (Psychedome)  160ZZINALB-A

Barney Bentall
(vocals, guitar) / Doug McFetridge (lead guitar; BRANDON WOLF) / Brad Kilburn (bass; BRANDON WOLF) / Jack Guppy (drums) / Will Froese (keyboards) / Kevin Swain (bass) / Barry Muir (bass; replaced Swain) / Cam Bowman (keyboards; replaced Froese) / Colin Nairne (guitar)
Barney Bentall (aka Franklin) spent his teenage years holed up on Keat Island, British Columbia with songwriter Gary Fraser. By the late ’70’s Bentall was fronting a band under his new pseudonym Brandon Wolf doing slashing satire and throwing in healthy doses of the Fraser/Franklin originals. With quirky tunes like the Dylan send-up “Blonde on Blonde on Blonde” Brandon Wolf was signed to A & M Records. They issued a 4 song EP on A & M’s short-lived Debut Series which suffered at retail because retailers were charging full album prices for these mini albums. Bentall went back to the drawing board with Nairne and Guppy to form the trio The Legendary Hearts (a name taken from a Lou Reed album title) in 1983. As time passed the band added Bowman and Muir. Soon Bruce Allen’s management company was handling the case but they intended the Hearts material to go straight into the hands of slick production whizzes Bruce Fairbairn or Bob Rock. And despite caving into releasing a much ignored indie album with Bob Rock, Bentall wanted the material to mature and waited until Jehanne Languedoc at Finklestein Management approached with Finklestein and CBS Records fully behind them before committing any more material to tape. In under a year the band’s eponymous debut was out and burning up the charts with the first hit “Something to Live For”. A succession of albums, tours and rave reviews finally landed Bentall some US exposure.  Several albums followed, but as many acts in the early ’90s discovered, Grunge’s impact on the music world made home-spun singer-songwriter styled music nearly-extinct. The band struggled along during the mid-90s before finally calling it quits in 1998. After a quiet life of farming over the last decade, Bentall has returned to live performing and recording as a solo artist. with notes from Barb Kilburn.

1987 Something To Live For/Black Clouds (Epic/CBS) E4-3050
1988 Come Back To Me/Pale Blue Eyes (Epic/CBS) E4-3064
1988 The House Of Love (Is Haunted)/Josephine (Epic/CBS) E4-3075
1988 Something To Live For [re-issue] (Epic/CBS)
1989 She’s My Inspiration/Somewhere There’s An Angel (Epic/CBS)
1990 Crime Against Love (Epic/CBS)
1991 Life Could Be Worse (Sony)
1991 I Gotta Go (Sony)
1991 Nothing Hurts Like The Words (Sony)
1992 Livin’ In The ’90s (Sony)
1992 Doin’ Fine (Sony)
1993 If This Is Love (Sony)
1993 Belly Of The Sun (Sony)
1993 Family Man (Sony)
1995 Do Ya (Sony)
1995 I’m Shattered (Sony)

1979 Excerpts From The Montmartre Letters [4 song EP] (Possible Worlds)  [no cat#]


1988 Barney Bentall And The Legendary Hearts (Epic/CBS) BEK-80131
1990 Lonely Avenue (Epic/CBS) EK-80148
1992 Ain’t Life Strange (Sony) CEK-80173
1995 Gin Palace (Sony) CEK-80224
1996 Greatest Hits 1986-1996 (Sony)
1997 Till Tomorrow (Sony) CK80292
2009 Unsung (Golden Cage) GCR-7410

1979 Not Guilty (A & M) SP-23501
1980 Losing Control (independent) PWR-7862

Gift Horse (True North/Universal) TN-0415
2009 The Inside Passage (True North) TND-0530
2010 The Grand Cariboo Opry (True North)
2015 The Drifter & The Preacher (True North) TND-615

Eric Baragar
(guitar, keyboards, vocals) / Steve Smith (drums, vocals) / Mike Goettler (bass, vocals) / Dan Thompson (lead vocals, guitar) / Tim Campbell (lead guitar, vocals) / Barry Haggarty (lead guitar, vocals; replaced Campbell)
Originally from the Belleville, Ontario area, Bentwood Rocker began as The Sands Of Time 1966. They performed at Expo ’67 and were recognized for being the youngest act to ever tour the east coast. By 1969 they toured the west coast and even swung back through Toronto to play the Canadian National Exhibition. They released one single, “I’ve Got a Feeling”, which charted at No.2 before they abandoned ship in the early 1970’s; Eric Baragar briefly entertained a solo career but was a postal worker by day; Goettler, Baragar and Campbell ran a music retail store called Centre Stage Music; and Steve Smith was a social worker before the band reformed with musician-turned-lawyer Dan Thompson (Westbury Union, Boojum, Noah) in 1978 for some Belleville-area gigs. The reformation led to the building of a home recording studio where they re-christened themselves Bentwood Rocker and released an independent album – ‘Not Taken’. They sold several thousand copies from the stage which impressed Quality Records’ John Driscoll to the point of signing the band and giving them the opportunity to record in Florida. It was at this time that Barry Haggarty joined the band part way through the recording of the ‘Take Me to Heaven’ album. After the initial hype wore off the band was still clinging to their day jobs and they changed their name one more time to The Press. Ian Thomas would produce one single, “Second Wind”, and the group continued demoing and performing throughout the late ’80’s and continue to perform on the local concert circuit as Bentwood Rocker. In 1986 the band came full circle and renamed itself The Sands Of Time once more for the single “Danger of Remembering”. Currently the band still performs in the Belleville area and has released a retrospective CD package including all the band’s various incarnations. The ‘Take Me to Heaven’ album was re-issued on CD with a number of re-recorded bonus tracks in 2009. with notes from Eric Baragar. [also see SANDS OF TIME]

1980 Forgive And Forget/Get It On The Run (Quality)  Q-2386X
1980 It Won’t Be Long/Eloise (Quality) Q-2387X
1982 Taken Me To Heaven/Best Man (Quality) Q-2408X
1982 Heart Says Go/Rock ‘N’ Roll Overload (Quality) Q-2419X
1983 Throw Away Love/Turning All Heads
1996 What Are We Doing Here? (Skyhawk)
1996 Moving Target (Skyhawk)

1984 Second Wind/Actions Speak Louder Than Words (Aquarius) AQ-6013

1979 Not Taken (Skyhawk) BW-1001
1982 Take Me To Heaven (Quality) SV-2094
1996 Bentwood Rocker (Skyhawk) CMDC-9563
2000 The Works [boxed set] (Skyhawk) BWCD2000-W
2017 Take One (Skyhawk) BWCD17T1
2017 Take Two (Skyhawk) BWCD17T2
2017 Take Three (Skyhawk) BWCD17T3†

Bob Bryden
(vocals, lead guitar) / Ken Blair (bass) / Dave Jones [aka Michael Allen Guild] (drums) / Rob Fisher (guitar, vocals) / Richard Keelan (1982 – 1983) / Rick Crowley (lead guitar; 1983)
After the destruction of the band Spirit Of Christmas (aka Christmas), Oshawa’s Bob Bryden took the opportunity to run a franchised store of record chain Star Records in Hamilton Ontario starting around 1978. After successfully releasing a solo album in 1981, Bryden decided to get back into the recording business and formed Benzene Jag in 1982 with Blair, Jones, Fisher and Perth County Conspiracy’s Richard Keelan. They demoed a lot of songs – releasing three indie cassettes that year – and several members fled. They finally released one highly controversial single, “Fuck Off 1984”. Due to the poor response to the single and despite incessant touring, a six-song EP called “Catch a Yes Horse” was scrapped. Around this time Bryden also handled the production chores for a number of Canada’s most outrageous and dynamic “punk” bands (most notably The Forgotten Rebels). Benzene Jag’s hybrid music was too progressive for the punks and too punk for the progressives and in 1985, Benzene Jag gave way to yet another band – the striking “progressive-Euro-pop” group, Age Of Mirrors. Under the pseudonym Simon De Beaupre, Bryden and former Jag’s drummer Michael Allen Guild released the ‘Mirage’ LP. with notes from Bob Bryden.

1983 Fuck Off 1984/Love Recession (Star) SRS-002


1983 The January ’83 demo [cassette] (Open Heart)
1983 Live At Larry’s/Odds… [cassette] (Open Heart)
1983 Catch A Yes Horse [cassette] (Open Heart)

Born: February 8, 1953  in Vancouver, British Columbia
A pioneer of Vancouver’s punk scene, songwriter/guitarist Bergmann has always walked on the edge and a volatile personality and drug addiction has kept him from reaping the benefits of his on-again off-again solo career. Growing up in Surrey, Bergmann, son of Mennenite parents, would sing along to Beatles songs with a broomstick for a guitar. He joined his first band, The Shmorgs, in 1977 and with a crudely made 1978 debut LP. Later, in 1978, he joined the K-Tels who would release two EPs – ‘Hawaii’ (1979) and ‘This Is Your Life’ (1980) before a well known record label threatened copyright infringement action against them and so they became the X-Tels and eventually The Young Canadians.  In 1981 he joined Los Popularos where a drug addict with some extra cash invested $10,000 in the band’s recording efforts in an attempt to launder the money. When the band wasn’t able to repay the man immediately he grew impatient and threatened the members with a gun. The situation rectified itself when the investor went to jail for first degree murder. However, the record was finished – a four song EP called ‘Born Free’. In 1984 came Poisoned, whose material was produced by future stars Paul Hyde & Bob Rock, and the resulting two demo tapes and a full 6 song EP ‘Poisoned’ brought the band to the attention of Canada. But with the rising popularity of LA hairband Poison, they dropped the name and put Bergmann in the spotlight as frontman. The re-formatted band worked with Vancouver producer Bob Rock (Payolas, Metallica, Aerosmith) on a collection of songs. They went to Toronto on tour to work the new material. At the very moment that Duke Street’s Adrian Heaps was holding a pen and record contract, the band was getting ejected from Toronto’s Rivoli club for being drunk and disorderly. The Rock album was scrapped and all the songs would be re-recorded with a name producer. Velvet Underground co-founder John Cale, who had produced both Patti Smith’s and the Stooges’ debuts was brought in to smooth out Bergmann’s sound sans backing band. Bergmann hated the new version of the ‘Crawl with Me’ album. Still ‘Crawl With Me’ would go gold (50,000) without advantage of much radio airplay. Next, Bergmann received a 1989 JUNO Award nomination for ‘Most Promising Male Vocalist’ based on his ‘Sexual Roulette’ album . His touring band, The Showdogs, featured Poisoned’s Taylor Nelson Little (drums), Ray Fulber (bass), Susann Richter (keyboards) and Mick Joy (guitar). In 1990, he made a small appearance in director Bruce McDonald’s ‘Highway 61’. Despite critical acclaim and significant airplay of the single “Faithlessly Yours”, the ‘Art Bergmann’  album (produced by Chris Wardman) only managed to sell 7,500 albums and Bergmann was ditched by his label Polygram in May 1992. At issue was lack of funding to launch a national tour which Bergmann ended up not being able to do because the label offered him half of an estimated tour budget. Many trial shows cost Bergmann money out of pocket, but nevertheless, he was out pounding away, sans band, on the Lollapahoser Tour with the likes of Bootsauce, Pure and Sons Of Freedom. In 1993 he decided to finally kick his heroin addiction and that experience translated into his 1995 album ‘What Fresh Hell Is This?’ He has since maintained a live presence with a newer backing band featuring members of Stigmata and Dead Surf Kiss. He moved to Toronto and did a series of stand-up comedy/solo performance nights at The Generator before recording an ‘unplugged’ best-of called ‘Design Flaw’ with Chris Spedding before stepping out of music for nearly two years. With the help of Chris Houston (Forgotten Rebels), dusted off his first 10 solo demos recorded between February and April of 1984 and released them as digital downloads entitled ‘Vultura Freeway’ in 2000. with notes from Joel Anderson, Gabe Sawhney, Bill Reynolds. [also see LOS POPULAROS, POISONED, K-TELS/YOUNG CANADIANS]

1988 Our Little Secret/Charity (Duke Street/MCA) 71046
1989 The Final Cliché/Don’t Be Late (Duke Street/MCA)  91046
1990 The Hospital Song/Dirge No.1 (Duke Street/MCA) DSRD-9040
1990 Bound For Vegas (Duke Street/MCA)
1991 Faithlessly Yours (Polygram) CDP-552
1991 If She Could Sing (Polygram)
1992 Message From Paul (Polygram) PCD-168
1995 Contract (Epic/Sony) CDNK-1038
1995 Buried Alive [Radio Edit]/Buried Alive [Album Version] (Epic/Sony) CDNK-1062

1988 Crawl With Me (Duke Street/MCA)  DSR-31046
1989 Sexual Roulette (Duke Street/MCA)  DSR-31062
1991 Art Bergmann (Polydor/Polygram) 511067
1995 What Fresh Hell Is This? (Epic/Sony) EK-80208
1998 Design Flaw (OPM) OPM-2121
2000 Vultura Freeway (AudioMonster) AM-0001
2009 Lost Art Bergmann (Bearwood) BM-0109
2014 Songs For the Underclass [EP] (weewerk) 045
2016 The Apostate (weewerk) 046
2017 Remember Her Name (Paper Bag)  PBV-005

1978 Shmorgs (Shmorgs) S-101

BERTUCCI, Jimi (aka JIMI B.)
Jimi Bertucci’s high school band was called Just Us with Ron Bartley. Bertucci’s first serious band was Manna with Bruce Palait (guitar) and Chet Paszkowski (drums) who were fortunate enough to play around Toronto’s Yorkville Village scene at the ripe old age of 16. Following Manna he teamed up with Bartley (vocals, guitar) once more to form Captain Midnite’s Dirty Feet which also included Bob McPherson (keyboards) and Brian Cotterill (percussion). They landed a deal with GAS Records in 1971, and the single “Hot Love” was released prior to a concert on Toronto’s Centre Island, but gained much more attention after the concert where a picture sleeve was added that claimed “30,000 people on Toronto’s Centre Island can’t be wrong.” However, because Captain Midnight was the name of an American comic strip, the creators of the comic would not allow the band use of the name stateside. Not wanting to limit any future success across the border, the band went with a biblical subtext in Abraham’s Children and re-released “Hot Love” with “Goodbye Farewell” as the flip-side. “Goodbye Farewell” turned into a top ten hit across Canada and was released in Italian as “Bye Bye Bambina Occhi Blue” which also received plenty of attention on some of the ethnic stations across Canada. The band was able to parlay these and a handful of other singles into a full album, ‘Time’, which was released in 1973 and featured the addition of second guitarist Shawn O’Shea. The album spawned the band’s first successfully charting pop single, “Gypsy”, and legitimate international hit just narrowly missing the Canadian Top10. An outside track from the same album, “Goddess of Nature” was scooped up by United Artists which became one of their biggest singles. Abraham’s Children would enjoy more chart action through the end of 1974. Before the summer of 1974 Bertucci quit the band and signed a solo deal with United Artists. Abraham’s Children would continue without him, changing their name to The Children in 1975. Bertucci’s first project was a band called Angel (a production act unrelated to the Casablanca band by the same name). The first single for Angel was “Winning Side” which received heavy airplay in Toronto by only a couple of radio stations due to the controversial lyrics “Can’t understand why people call him queer”. Following Angel, Bertucci formed Space Patrol with Peter Verity, Glen Wilson and “Ruddy Fab” to continue his deal with United Artists. The members had very little recording experience but they managed to record four songs at Eastern Sound, Toronto. The single “Burning Love in My Heart” b/w “We Can Fly” was released and the band headed out on live dates around Ontario and Eastern Canada. However, Bertucci had other projects on the go and didn’t want to tour or travel. Space Patrol found a vocalist/bassist to replace him and they continued to tour. By the late ’70s, Bertucci had formed a band called The Police featuring Ron Bartley plus Laurie Del Grande (guitar, keyboards) and Danny Smith (drums) both formerly of Brutus. The group never recorded but did manage to confuse audiences as England’s soon-to-be famous Police played in Toronto on their first tour at the same time. Bertucci eventually ended his deal with United Artists when they moved their offices from Toronto back to New York. He was signed to A & M Records in 1981 and proceeded to record his first true solo album ‘JIMI B.’ which spawned two singles, including a remake of the Angel track “All American Boy”. In 1998 Jimi B. returned to the studio and released ‘Through the Eyes of Vincenzo’ in 1999. Abraham’s Children reunited several times in the the next decade and released a CD called ‘Abraham’s Children 30’. with notes from Jim Bertucci [also see ABRAHAM’S CHILDREN]

as JIMI B.
1982 Wickless Dynamite/Touch Me (A & M) AM-562
1982 All American Boy/Strange Feeling (A & M) AM-573

with ANGEL
1975 Winning Side/All American Boy (United Artists) UAXW-605X
1976 It’s Good It’s Funky But It’s White/(instrumental) (United Artists)  UAXW-664


1977 Burning Love In My Heart/We Can Fly (United Artists)  UAXW-755


as JIMI B.
1982 Jimi B. (A & M) SP-9069
1984 The Best of Jimi B. – Volume 1
1999 Through The Eyes of Vincenzo
2000 Xenophobia

1985 Transition [US/Japan only]

6-piece band from Vancouver, British Columbia featuring Don Jones. with notes from Don Jones

The Beverly Sisters [12” EP] (Dada Dog) SRBS-1984-7

Compilation Tracks
“The Wait” on ‘Open Your Heart – West Coast Musicains Aid for Africa (OXFAM) OXFAM-002

Xenia Splawinski
(rhythm guitar) / Cynthia Ross (bass) / Locasta Ross (vocals) / Reneé Chetsky (lead guitar/vox) / Marcy Saddy (drums)
Formed in 1977 after the main members met in a washroom after a Thin Lizzy concert. Toronto’s B-Girls were a cross between pre-Riot Grrrls punk and 50’s/60’s style girl group pop a la the Shangri-Las. The group was a fixture on both the Toronto Queen Street and the New York CBGB/Max’s Kansas City punk scenes. They slit up in 1981. The re-issued CD ‘Who Said Girls Can’t Rock’ contains live material and remixed 7″ versions of many of the songs previously unreleased. Saddy is an esoteric visual artist and plays percussion often working in London, Ontario’s Wortley Village; Cynthia Ross works for the City of Toronto; Lucasta Ross administers her late father Mort Ross’s recordings from his label Revolver Records. With a full-blown reunion of the band in 2017, the B-Girls released a new album and  toured Japan in October 2018. with notes from Greg Shaw, Marcy Saddy, Greg Simpson, Bob Segarini and Cynthia Ross.

1979 Fun at the Beach/’B’-Side (Bomp!)  123

1980 B-Day (GNP/Bomp!)
1997 Who Says Girls Can’t Rock? (Other People’s Music) OPC-2111
2017 Bad Not Evil (Bomp!) BLP-4105


1979 Stiv Bators & The Dead Boys (Bomp!)
1981 Disconnected (Bomp!) BLP-4015 [B-Girls supply backing vocals & hand clapping]

1980 Autoamerican (Chrysalis) CHR-1290 [B-Girls supply backing vocals]

Paul McCann
(guitar, vocals)  / Marc Lindeman (bass)  / Steve Turner (drums)
Big Bang formed in Scarborough, Ontario in 1983 when Turner met songwriting team McCann and Lindeman (who had met in 1980) at a Bill Bruford drum clinic. McCann and Lindeman would run their own industrial painting company by day and record demos at night with engineer Mark Stafford. McCann took their demo around to the record companies and offered each recipient the chance to make millions off of Big Bang . A brash statement, but former Current Records owner Gerry Young took the bait. He traveled to the band’s rehearsal spot, heard them live and suggested a meeting with his new record company partners. The band was the first signing for S.P.Y. Records (Jim Skarratt, Steve Propas, Gerry Young) in 1988. Their debut album, ‘Big Bang’, was released around Christmas-time and yielded the band’s first hit “Into The Night” which became instantly recognizable due to its uncanny similarity to a certain Irish pop quartet making the rounds at the same time. The record drew interest south of the border and the album was released in the US on Atlantic Records. However, Big Bang waited until the beginning of 1989 before touring – allowing plenty of time for momentum to build on the album. Following heated battles with their managers/record label over musical direction, Big Bang were forced to sit out their recording contract and attempted to make a comeback in 1991 which was short-lived. with notes from Paul McCann.

1988 Into The Night/Sweet Emotions (S.P.Y./A & M)  SPY-700
1988 It Hurts So Much/Bad Dream (S.P.Y./A & M) SPY-701

1988 Big Bang (S.P.Y./A & M) SPY-1000

Paul Reda (bass) / Ernie Guidoccio (guitar, vocals) / Augie Guidoccio (guitar, vocals) / Jaro (accordion) / Steve Klodt (keys) / Glen Martin (drums)
Toronto’s Big Blue Bus was the brainchild of brothers Augie and Ernie Guidoccio, former Prairie-ites who originally found 15 minutes of fame in the band Manteye. Following their creation in 1993, the band stepped into the recording studio. In January 1994 they released their debut, ‘Art’s Jukebox’, which was home to three singles that received some national attention on college radio. In 1995, Big Blue Bus recorded a remake ’50’s doo-wop song “Blue Moon” for the ‘Blood & Donuts’soundtrack  and would also offer up their own “Gonna Live Long” as the theme to CHUM-FM’s ‘Sunday Night Funnies’ comedy program.

1994 Waiting For More (3B)
1994 Broken Tree (3B)
1994 Fragile (3B)


1994 Art’s Jukebox (3B)

Bob Davies
(vocals, guitar) / Dorothy Dodd (backing vocals) / Danny Smith (drums) / Hugh Dixon (guitar) / Norm “Curly” Robertson (bass)Verdun, Québec’s Bob Davies was a bandleader from the time he was a teenager. His band, the Rhythm Jesters, had been scouted and booked to open a 1957 Australian tour for Frank Sinatra which never materialized. As part of American DJ and emcee Alan Freed’s live Rock ‘n’ Roll shows, Davies played the Apollo Theatre in Harlem, New York in November 1956 and in May 1957. He would play on bills with such legends as Bo Diddley, The Cleftones, and The Pretenders to name a few. In 1959 he wrote the song “Gordie Howe” and performed it every night for nearly 5 years as an Elvis-like performer known affectionately as Canadian Jelly Hips during his shows at the sports bar Cavendish Café. He would initiallyrecord the song for Trans-World Records but it was shelved. It was polished up with the help of Davies’ friend Moe Chapman and re-recorded for Globe Records in 1963. Davies took an acetate of the song and a record player to Howe’s hotel room during his team, The Detroit Red Wings’ visit to play The Montreal Canadiens. Howe was taken aback by Davies’ use of the term “the greatest” but gave Davies his blessing to release the song as is. Getting airplay, however, was another story. In Montreal where Rocket Richard was the face of the Montreal Canadiens, stations would not play it. After asking Canadiens general manager Frank Selke Sr. to air it during a Hockey Night In Canada Broadcast where Howe was guest, Selke refused. Selke’s son Frank Jr., however, was in charge of the interview and Davies ran the song by him where he added it to the telecast. In March of 1963 Davies got the track to CHUM in Toronto where it received airplay on limited rotation at 5 a.m. Audience reaction was overwhelming and would chart for three weeks in April 1963 peaking at No. 35. CKGM followed suit as well as stations in all six hockey cities on both sides of the border. Davies continued writing songs with a sports theme. Later in 1963 he released “Big John Béliveau”, tackled football with “The Mighty Als of Montreal”, then returned to hockey with “Here’s To Bobby Hull” and “Has Anybody Here Seen Frank Mahovlich?” In the summer of 1964 he emceed a Country and Western at the Montreal Forum for CFOX featuring the biggest names from Nashville, Tennessee’s Grand Ole Opry. That fall he would return to the Forum to play the opening night of British Invasion act the Dave Clark Five’s Canadian tour. “Gordie Howe” had a half-life in French when it was covered by Québec’s Les Baladins. Davies would re-record a new interpretation of the song in 1975 after Howe was traded to the WHA to play for the Houston Aeros. This time the song was released on Broadland Records where the instrumental B-side was used in one of the earliest examples of lounge karaoke where people would sing Davies’ words along to the backing track. Davies and former drummer Danny Smith later formed a nightclub comedy act under the name The Bobsmiths. Davies and his wife left Québec and moved to Stouffville, Ontario where he sold cars until a bad fall on a patch of ice left him unable to play guitar; Davies passed away in 2011. [Also see BOB DAVIES] with notes from Marc Coulavin

1963 Gordie Howe/You (Globe) G-400

Calgary’s Big Dog were satirical, funny avant garde pop act. Their lone 7″ project featured them sharing opposite sides of a record with the Ripchords who also help out on the Big Dog side).

1984 Second Coming/[split w/RIPCORDS] [6 song EP]

courtesy David Sampson

Toronto singer Tommy Graham joined his first band in 1958 and managed to work his way through the Toronto club scene with Kay Taylor And The Regents at the legendary Club Bluenote. Following this, he took one year away from the business, traveled to Los Angeles to hone his musical skills and developed contacts there. Returning to Canada he, and some others, formed the group Big Town Boys. The group gained prominence as backing musicians for vocalist Shirley Matthews on Tamarac Records with such songs as “Big Town Boy” (1963) and “Private Property” (1964). The band broke out on its own with after being signed to RCA/Victor under the name Tommy Graham & The Big Town Boys for one single called “Put You Down” in 1965. They were scooped up by Capitol Records for several more singles through 1965 and 1966 before moving to Yorkville reocords as Big Town Boys 4. The group toured across Canada many times and for over a year were the host band on CTV’s ‘After Four’ television show. Also during that time they made sojourns to New York City where they became favourites in several clubs, playing with some soon-to-be giants in the business such as Jimi Hendrix. By 1968 The Big Town Boys (also known as BTB4) had run its course. Graham would find success as a solo artist back on Capitol Records.
with notes from Tommy Graham. [also see TOMMY GRAHAM, SHIRLEY MATTHEWS]


1964 Private Property/Wise Guys (Tamarac) TTM-603

1965 Put You Down/Forget About You (RCA/Victor) 57-3339

1965 I Love Her So/I Wonder (Capitol) 72252
1965 It Was I/Paul at the Pass (Capitol) 72284
1966 Hey Girl, Go It Alone/One For Me (Capitol) 72327
1966 My Babe/August 32nd (Capitol) 72398


1967 Do It To ‘Em/Sparrows & Daisies (Yorkville) YV-45007
1967 Jack Rabbit/Tell Me (Yorkville) YV-45010

Big Town Boys (Capitol) KAO-6168

Bill Iveniuk
(vocals) / Garry Nichol (guitars) / Danny Casavant (guitars) / Gary Stefaniuk (bass) / Gordon Osland (drums) / Mike Rheault (piano) / Bob Fuhr (synthesizer) / Brad Wilkinson (keyboards)
Northern Québec’s original Eskimo/Inuit rockers, Bill & The Bills were parts pub rock and comedy act. Wilkinson would go on to play keyboards for Lisa Dalbello. He passed away March 16, 2011; Casavant has pursued a solo career. with notes from Tim Thorney and Jef Leeson.

1980 The Hurt Will Last/Sometimes (El Mocambo) ESMO-503
1980 Speed of Light/Modern Kitchen (El Mocambo) ESMO-509
1981 I’ve Got a Little Bit of Rhythm/Life Is a Knife (El Mocambo) ESMO-514

1980 Bills, Bills, Bills (El Mocambo) ELMO-755

Mike Raphone [aka Mike Dennis aka Mick Tupelo] (bass) / Dave DeMenthe [aka Rick Knott] (guitar) / Dave Chrispie (drums) / Stuart Temple (drums; replaced Chrispie)
Surrey, British Columbia based hardcore outfit.

No Rights, No Chance (No Rights)
1985 Meltdown ’85 [6 song EP] (No Rights) WRC5-3705

Billy Butt
(vocals) / Rob Pratt (guitar) / Scott McCann (drums) / Bob Pointer (bass) / Dave Ballantyne (keyboards) / Tony Rumolo (keyboards; replaced Ballantyne 1982) / Roberts (drums; replaced McCann 1982)
Performed in Toronto clubs and at Universities in Southern Ontario from 1980 – 1984. Band name was changed to Paradox in 1982 (not to be confused with Sylvain Cossette’s major label act of the same name). Band dissolved in 1984. with notes from Robert Pointer.

1980 No I Can’t Say No (independent)


BISHOP, Heather
Heather Bishop celebrated her 10 years in the music business with album #6 LP A Taste Of The Blues and a 16 city cross Canada tour featuring local back-up musicians Sherry Shute, Marilyn Lerner, Kris Purdy and was sponsored by Womynly Way. She often tours as part of benefit concerts for gay and lesbian awareness and equality. She also records children’s albums. with notes from E. Bernhard.

Grandmother’s Song (Mother of Pearl) MP-001
1981 Celebration (Mother of Pearl) MP-002
1982 Belly Button: A Collection of Songs For Children (Mother of Pearl) MP-003
1983 I Love Women…Who Laugh (Mother of Pearl) MP-004
1985 Purple Peope Eater (Mother of Pearl) MP-005
1987 A Taste of Blues (Mother of Pearl) MP-006
1989 Walk That Edge (Mother of Pearl) MP-007
1990 A Duck In New York City (Mother of Pearl) MP-008
1995 Old New Borrowed Blue (Mother of Pearl) MPCD-009
1997 Daydream Me Home (Mother of Pearl) MOP-10.2
1998 Chickee’s Run (Mother of Pearl) MOP-011
Live (Mother of Pearl) MPCD-012
2005 A Taste of the Blues (Mother of Pearl)
2008 Tribute to Peggy Lee (Mother of Pearl)
2009 My Face Is a Map of My Time Here (Mother of Pearl) MOP-14.2

Lori “The Scream Queen” Wilde
(vocals) / Chris Hopkinson (vocals) / Gary Quaye (lead guitars) / Glenn “The Hammer” Hoffman (bass) / Mick Dianno (lead guitars) / Glen Richards (drums) / Ken Beckthold (drums) / Stuart Duffie (drums)
Black Knight formed in Vancouver, British Columbia in 1981. Their came from the title of  a Deep Purple song.

1983 Master of Disaster [5 song EP] (independent)

Carol Deary (keyboards, vocals) / Martin Deary (bass, guitar, harmonica, vocals) / Gary Murphy (lead guitar, vocals) / Bill Thompson (percussion)
From Omemee, Ontario

Black Labelled (independent) WRC1-4281

Novelty pop/rock by Toronto sex kitten/stripper turned singer named Ida Claire. ‘Spellbound’ features a special limited edition US pressed picture disc with revealing photos. The three songs were produced by Bob Connelly.

1986 Good Ol’ Boys (independent)

1983 Spellbound [3 song 12″ single-sided picture disc] (Visual Vinyl) VV-1002

BLACK, Paris
Toronto’s Paris Black became a teen sensation in the early ’80’s as crooner and heart throb. His adult contemporary love songs drew him to the younger pre-puberty crowd and a featured face in Québec teen magazine ‘Fan Club’. His 1988 debut album, ‘Secret Seduction’, featured guest musicians Howard Ayee (bass), Graham Lear (drums), Doug McKaskill (guitar), Steve Sexton (keyboards) and the sister team TU (backing vocals). Songwriting assists were courtesy of Gerry Mosby (The Hunt, Rhinegold), Terry Crawford and Steve Sexton. Three singles/videos gained regular rotation on MuchMusic/MusiquePlus. His follow-up, self-titled album was released in 1991. Despite a huge marketing and promotional push, he was never able to gain commercial acceptance. Paris continues to perform, model and has been acting in low budget feature films. He finally released a comeback record in 2010 entitled ‘I’m Not Jesus’.

1988 Lover (Trend)
1987 Buried Alive/What’s Come Over You (Karrera/Trend) KIC-8701
1988 Better Get Ready/Barely (Trend) KIC-8801
1991 Conspiracy [12”] (ISBA) 571


1988 Secret Seduction (Karrera/Trend) KIC-8701
1990 Paris Black (ISBA) 2019
2010 I’m Not Jesus (Universal) BLAT-007

BLACK, Terry [Born: February 3, 1949 in Vancouver, British Columbia; Died: June 28, 2009 in Kamloops, British Columbia]
Terry Black, originally from North Vancouver, began his professional career crooning on a local Vancouver music show. Black’s fan mail was so impressive that Bill Gilliland of ARC Records signed him. With his first single for ARC, the P.F. Sloan/Steve Berri penned “Unless You Care” in 1964 riding up the charts (featuring soon to be legendary performers Glen Campbell, Hal Blaine and Leon Russell), Black managed to land himself on an opening bill with Lonnie Mack, Billy J. Kramer & The Dakotas, and Gerry & The Pacemakers. This overnight success led to winning ‘Male Vocalist of the Year’ in the 1964 Maple Music Awards. With a handful of successful singles to follow into 1965, Black quickly became Canada’s newest teen sensation. Due to a job transfer, Black’s father moved the whole family to Hollywood in January 1966 which put Black in the heart of the entertainment world. Soon a movie script was written casting Black as Elvis Presley’s brother with the hope of making him the next Fabian or Frankie Avalon. The movie did not come to pass and Black’s family soon tired of the seedy side of the entertainment world and decided to return to Canada on the urging of Gilliland. Black started on a path to gain some true musical chops on the one-nighter club circuit starting in 1968. At the end of the 1960s Black  attempted to shake his pop idol reputation and move into the contemporary adult market. Under the name TERENCE, his album ‘An Eye For An Ear’ on Decca was produced by Yorkville Records president Bill Gilliland, Pat Riccio II, and Richard Gael.  The album, and a subsequent single on Yorkville, failed to launch Black’s new career so he reverted back to his real name. He joined the Toronto musical production of ‘Hair’ where he would meet his future wife Laurel Ward. The two would join Doug Riley’s ensemble act Dr. Music where they stayed for several singles, including the Top-40 hit “Sun Goes By”, before branching off as a duo in 1972. The two would have a minor Canadian hit with the song “Goin’ Down (On the Road to L.A.)”. Throughout the 1980’s Black did jingles for beer and car advertisements and frequently teamed with his wife on reviving his career as a country artist. In 1995 Varese Sarabande Records in Los Angeles were considering releasing a Terry Black “Anthology” consisting of his 1960s material and some current recordings including a new P.F. Sloan song. The CD was never released. In 2000 both of Black’s 1960’s solo albums were re-issued on CD by Unidisc Records in Canada. Black would then host ‘The Sixties at Six’ on Radio ’NL in British Columbia for several years but by 2009 had been phoning in his participation because of Multiple Sclerosis which had affected his mobility. Sadly, Black died of complications from MS on June 28, 2009. with notes from John Rowlands, Geoff Gibbons. [also see DR. MUSIC]

1964 Sinner Man/Dry Bones (ARC) A-1063
1964 Unless You Care/Can’t We Go Somewhere? (ARC) A-1074
1964 Say It Again/Everyone Can Tell (ARC) A-1080
1965 Little Liar/Ordinary Girl (ARC) A-1090
1965 Only Sixteen/How Many Guys (ARC) A-1103
1965 Poor Little Fool/Kisses For My Baby (ARC) A-1117
1966 Only Sixteen/Home From The Forest (ARC) A-1120
1966 Rainbow/There’s Something About You (ARC)  A-1125
1966 Baby’s Gone/Ordinary Girl [Version 2] (ARC)  A-1149
1966 I (Who Have Nothing)/Baby’s Gone (ARC) A-1154
1967 Wishing Star/Kick Me Charlie (ARC) A-1173
1972 Ridin’ A Daydream/Boutique (GRT) 1230-14

Father, Dear Father/Different World (Yorkville) YV-45022

1972 Goin’ Down (On the Road to L.A.)/Oh Babe (Yorkville) YVS-45038
1972 Warm Days And Warm Nights/Love Is Gone (Yorkville) YVS-45065
1973 Love Is The Feeling/[same] (Yorkville/Arc) YS-45085
1973 Love Is The Feeling/Now Is The Time (Yorkville/ARC) YVS-45101
1975 Back Up (Against Your Persuasion)/This Is My Confusion (RCA)  PB-50053
1976 Long Time/Restless (RCA) PB-50137
1982 Waves Of Emotion/Wild Out (Duke Street)

1964 The Black Plague (ARC) ACM-5001
1965 Only Sixteen (ARC) ACM-5002

An Eye For An Ear (Decca) DL-75137


1981 All Night Long [EP] (Duke Street) DSR-10981

John Finley
(vocals) / Michael Fonfara (piano, organ)  / Danny Weis (guitar) / Larry Leishman (lead guitar) /Peter Hodgson (bass) / Richard Steinberg (drums)  / Frank ‘Zeke’ Sheppard (harmonica, vocals)  / Mike Stull (vocals; replaced Finley; 1973)  / Prakash John (bass; replaced Hodgson)  / Penti ‘Whitey’ Glan (drums; replaced Steinberg; 1973)
Following the demise of Rhinoceros in the Fall of 1971, in July 1972 former Rhinoceros members John Finley, Michael Fonfara, Danny Weis, Larry Leishman and Peter Hodgson reunited with the help of Frazier Mohawk and his business partner Gary Howsam as a new act calling themselves The Blackstone Rangers. The line-up would be rounded out with new drummer, Richard Steinberg, and ex-McKenna Mendelsohn Mainline member Frank ‘Zeke’ Sheppard . Not long after, the band shortened its name to Blackstone after being threatened by the Southside Chicago Black Panthers’ motorcycle gang for using their name. Within a year former Rhinoceros’ producer/creator Paul Rothchild traveled to Toronto and recorded the group’s debut album called ‘On The Line’ for GRT Records. Unfortunately, with the album attracting poor critical reviews and sales, by March 1973, various members began leaving. Fonfara and Weis carried on briefly with new singer Mike Stull (ex-Wackers) and ex-Bush bassist Prakash John and drummer Penti ‘Whitey’ Glan, but the band ultimately stalled out in Los Angeles. John and Glan would go on to join Lou Reed’s touring band (and eventually Alice Cooper) while Fonfara and Weis become top session musicians; Steinberg and Sheppard are both now deceased.

1972 On the Line (GRT) 9230-1025

Derek Bilyk [aka Derek Blake]
(guitar) / Lonnie Pannell (vocals) / John Einarson (guitar) / Bryan McDowell (bass) / Dave Mann (drums)
Winnipeg act named after founding member Derrik Blake who released several popular singles on Franklin. Blake works for the Winnipeg postal service; Einarson has become a successful music biography writer.

1970 Lynnie, Lynnie/Going Back (Franklin) 641
1971 Gimme Little Lovin’/Sweet Lovin’ (Franklin) 644
1972 Farmer’s Daughter/Why (Franklin) 645
1972 Scarecrow/Face In The Crowd (Franklin) 648

1969 Blakewood Castle (Franklin) 1000

Steve Blimkie (vocals)  / Doug Ruston (bass, vocals) / Angus MacKay (guitar, vocals)  / Dave Betts (drums) / Derry Grehan (guitar; replaced MacKay )
Steve Blimkie And The Reason formed in Toronto in 1979 and were one of the first acts signed to the fledgling Ready Records label. Their single “I Got This Feeling” was quick to radio on the heels of fellow label mates The Demics (“New York City”). The record caused a buzz but received little recognition on radio. Despite this, the band carried on undaunted. Their debut album, ‘Blimkie’, was engineered by relative new comer Kevin Doyle (Harem Scarem, Alannah Myles) and produced by Andrew Crosbie and guitarist Angus MacKay — who was filling in on the album until a permanent guitarist could be found. That guitarist would be St. Catherines native Derry Grehan and the band set off to record a follow-up single, “You Can’t Hold Me Anymore”, in the summer of 1980 with Guess Who producer Jack Richardson. The band did opening slots for XTC and The Ramones which paved the way for the more critically acclaimed 1981 album ‘Chasing Paper Tigers’ which was released as a Steve Blimkie record due to the near collapse of the band during recording. Doug Ruston left before the album was finished and so the original ‘The Reason’ was practically gone. Ready eventually dropped Blimkie from the label. Grehan and Betts would form Honeymoon Suite in 1983 with Johnny Dee (Lennex); MacKay, who was the founder and co-owner of Ready Records, died in 2010.

1979 I Got This Feeling/All I Want Is You Alone (Ready)  RR-002
1980 Can’t Say I’m Sorry/Break My Heart Tomorrow (Ready)  SGRR-005/6
1980 You Can’t Hold Me Anymore/Freaks On The Tube (Ready)  SGRR-008

1981 Riding Into The Night/Gimme A Taste (Ready)  SR-0151
Here Today, Gone Tomorrow/I Don’t Want To Know (Ready)  SR-0152

1980 Blimkie (Ready)  RR-006


1981 Chasing Paper Tigers (Ready) LR-015

Harold Hess
(lead vocals) / Cam Goudy (drums) / Darren Smith (drums; replaced Goudy) / Darryl Fraturra (guitar) / Bill Brough (bass)
With their original metal parody band called Black Cabbage not quite making the grade, Oshawa, Ontario’s Darryl Fraturra (guitars) and Cam Goudy (drums)  recruited vocalist/bassist Harold Hess in 1982 to complete a new line-up under the name Blind Vengeance. But Hess preferred to sing and bass duties were taken over by Bill Brough. But by the Spring of 1984, Goudy had been replaced Durango 95 drummer Darren Smith. Elizabeth Casselman and partner Rick Warner of Warner-Casselman Music signed the act to a management deal, paid for the recording of their self-titled independent album on Ricker Records in 1984 and helped spearhead the eventual signing to Attic Records’ distributed Viper label in 1985.  The self-titled album featuring all-original songs was remixed by Bob Gallo whereby he added one additional song – “Night Music”. The album was renamed ‘Taste Of Sin’ and  re-released in September 1985. Following the band’s demise, the duo of Smith and Hess met up with fellow Oshawa natives Pete Lesperance (guitar) from the band Minotaur and Mike Gionet (bass) to form Harem Scarem. with notes from Tommy Saunders and Elizabeth Casselman. [also see HAREM SCAREM]

1984 Blind Vengeance (Ricker)                                                                                       1985 Taste of Sin (Viper/Attic) VPR-110

Born: February 6, 1923 in Wynyard, Saskatchewan
Died: December 11, 1993 in Vancouver, British Columbia
Folksinger born in Wynyard, Saskatchewan – east of Saskatoon – to Icelandic parents. Studied piano and violin as a child and later studied voice in Winnipeg. After singing country music on radio in Edmonton and in California (as Sagebrush Sam), he moved to Newfoundland in 1955 developing a repertoire of local folk music, some of which he had collected himself. He adopted a Newfie accent, played a non-traditional style of simplified guitar accompaniment and preferred to sing for local rather than national audiences. However, radio and TV appearances helped popularize Newfoundland songs throughout Canada. His output of Newfie music spanned 8 albums from 1955-1967 and he edited ‘Newfoundlanders Sing! A Collection Of Favourite Newfoundland Folk Songs’ in 1964.

Squid Jiggin’ Ground/Old Polina [10” 78 RPM] (Rodeo) RO-147
1956 The Wild Colonial Boy/The Kelligrews Soiree [10” 78 RPM] (Rodeo) RO-156
1956 The Badger Drive/The Business of Making the Paper [10” 78 RPM] (Rodeo)
1957 The Blackflies of Ontario/Waltzing Matilda (Rodeo) RO-179

1955 Trade Winds: Omar Blondahl presents The Saga of Newfoundland in Song (Rodeo) RLP 5
1956 Down to the Sea Again: A Selection of Folk Songs of Newfoundland (Rodeo) RLP-7
1958 A Visit to Newfoundland with Omar Blondahl (Rodeo) RLP-34
1959 Favourite Folk Songs (Rodeo) RLP-76
1960 Sealer Songs (Rodeo) RLP-80
1960 Songs of Sea and Shore (Arc) A-537
1961 Favourite Folk Songs (Arc) A-567
1962 Folk Songs From Around the World (Arc) A-591
1964 Once Again for Newfoundland (Melbourne) AMLP-4007
1964 The Roving Newfoundlander (Banff) RBS-1142
1965 Omar’s Favourite Folk Songs (Banff) RBS-1172
1966 The Great Seal Hunt of Newfoundland (Banff) RBS-1173
1967 16 Songs of Newfoundland (Banff) RBS-1231
1978 Famous Songs of Newfoundland (Canadian Cavalcade) CCLP-2001
unk. Sings of Newfoundland (Continental Maple Leaf) CML-1016


1957 Songs Children Will Love (Rodeo) RLP-23

Fred Coutts
(vocals)  / Dee Long (guitar; keyboards) / Dave Martin (bass) / John Judge (drums) / Dave Darch (guitar) / Vic King (drums) / Val Mancuso (guitar) / Leo Genova (organ; added) / Paul DeLong (drums; replaced Vic King) / Mark Lambs (keyboards)
RH King Collegiate school mates Dee Long, Fred Coutts, John Judge, Clifford Maynes and Dave Darch originally formed as Black Market in Toronto in 1966. The band played school dances and battle of the band contests throughout Toronto and eventually changed their name to The Polychromatic Experiment culminating in an opening slot for Nucleus. After Polychromatic Experiment wound down in 1968, Long and Coutts recruited Val Mancuso (guitar), Vic King (drums) and Dave Martin (bass) to form Bloodstone. Having maintained their connection to Nucleus’s Greg Fitzpatrick, they were able to land a production deal with producer Shel Sefran for a 7″ single released on Bent/Quality Records called “Toronto” and backed with “I’m Your Man” in 1970. Alas, the record’s lack of commercial or radio success led to the departure of Long, and King. They were replaced by Paul DeLong (drums) and Mark Lambs (guitar); Long would join Terry Draper, John Woloschuk and Jamie Bridgman as a member of Mudcow in 1971. Following the collapse of Mudcow, Long and Woloschuk created Klaatu. Long is now a solo artist; Fred Coutts would drift in and out of a number of Toronto bands and would eventually re-team with former Bloodstone bandmate Dee Long in late ’70s cover band FUNN alongside Klaatu member Terry Draper and brothers Gerald & Terry O’Brien among others. Fred Coutts died of natural causes in 1999; Dave Darch made several recording guest appearances in the ’70s including work on Klaatu’s “California Jam” single in 1974 and would maintain his connection with former Bloodstone bandmate Dee Long with a non-Klaatu side-project called The Burgerheads. Darch now lives in western Canada; DeLong and Lambs would go on to play in the Chris Matthews Band; The Bloodstone single was re-issued on CD as part of a Dee Long anthology in 2009 entitled ‘LONGevity: 1, 2, 3, 5″. with notes from Dee Long, Clifford Maynes, Paul DeLong, and Pat Blythe [also see DEE LONG]

1970 Toronto/I’m Your Man (Bent/Quality) 1997X

Compilation Tracks
“Toronto” and “I’m Your Man” on ‘LONGevity 4: 1, 2, 3, 5’ by DEE LONG (Bullseye) BOD-002

Eddie Poirier
(banjo, fiddle, vocals) / Emile Robichaud  (guitar, mandolin, vocals) / Louis Arsenault (mandolin, banjo, vocals)  / Fern Maillet (bass)
From New Brunswick. The group reunited in 2009 to perform at the Rogersville Bluegrass Festival in 2009 and again in 2011.


1980 Love Please Come Home (Boot) BBG-6011

Robert Graves
(lead vocals, guitar) / Andrew Douglas (bass) / George Douglas (drums)
Blue Max were three high school musicians from Amherst, Nova Scotia that played teen dances and high schools in the Maritimes and Québec. Their only album, ‘Limited Edition’, was re-issued by Gear Fab in 2003 on CD.

1976 Limited Edition (Solar) SAR-2011                                                              
2003 Limited Edition [CD re-issue] (Gear Fab) GF-203

Billy Cowsill
(vocals, guitar) / Garry Comeau (fiddle, vocals) / Jim Wilson (guitar) / Ray O’Toole (vocals, lead guitar) / Lee Stephens (bass, vocals) / Brady Gustafson (drums)
Following the demise of Billy Cowsill’s American pop success with his family The Cowsills in the late 1960’s/early 1970s, he found himself touring Canada as a solo act. Eventually his pick-up band of Canadian sidemen from Vancouver became permanent in 1977 and they named themselves Blue Northern. They would release an EP in 1980 on Vancouver label Quintessence before eventually landing a distribution deal with Polydor Records who released two singles from the EP – “Can’t Make No Sense” and “Too Late To Turn Back.  Their full-length, self-titled major label album was released in 1981 and spawned the singles “Can’t Stop”, “You’re Not the Same Girl” and “100%”. Lack of any significant success with the album led to the band’s demise. Cowsill led a country act with members of the Bonus Boys before mutating into alt-country act The Blue Shadows in the early 1990s and The Co-Dependents in the early 2000s. Cowsill died on February 17, 2006.

Can’t Make No Sense/Live…Dance (Quintessence/Polydor) 2065-433
1980 Took Late to Turn Back/Half As Much (Quintessence/Polydor) 2065-438
1981 You’re Not the Same Girl/You Got Me Where You Want Me (Polydor) PDS-2170
1981 100%/Vagabond (Polydor) PDS-2178
1981 Can’t Make No Sense/Be My Girl (Polydor) PDS-2179

Blue [12” EP] (Quintessence) QEP-1206
1981 Blue Northern (Polydor) PDS-1-6318

Nelissa NoName [aka Manon Asselin] (vocals) / Chris InVitro [aka Marie-Christine Thibotot] (bass) / Manon Fatter (drums) / Cari Jones (keyboards)
All female band from Montreal, Québec.

Money/Living For the Time (Blue Oil) BO-001/002
1988 I Blow You A Kiss/[same] (Alert) BDS-532

Blue Oil [5 song EP] (Alert) Z80021

Paul Humphrey
(vocals, keyboards) / Geoff  McOuat (bass) / Chris Wardman (guitar) / Ron Tomlinson (drums) / Mike Bambrick (drums; replaced Tomlinson 1980) / Rick Joudrey (bass; replaced McOuat in 1982) / Jason Sniderman (keyboards; 1983) / Owen Tennyson (drums; replaced Bambrick 1983)
The Blue Peter story started in the mid-to-late 70’s when Chris Wardman and Paul Humphrey, who became the nucleus of the band, began practising and writing material in the Wardman’s basement in Markham, Ontario. Initially the aband had trouble finding gigs but once the Toronto club scene began accepting punk and new wave as the next insurgence, Blue Peter were a seminal face on the Toronto Queen Street circuit. They were also one of the first acts signed to fledging Ready Records in 1979. Their updated synth style made them New Wave heirs to the Roxy Music thrown with Paul Humphrey’s distinctive vocal style. Their debut EP, ‘Test Patterns for Living’ (featuring all songs by Chris Wardman), helped establish them with independent radio upstarts CFNY. By the time 1980’s full-length ‘Radio Silence’ came out, the band was a bona fide sensation with radio play for the title track and the poppy ‘Video Verite’. Line-up changes ensued and the band managed to eek out another EP in 1982 with ‘Up To You’ featuring the radio hit “Chinese Graffiti”. By the release of the 1983 Steve Nye produced ‘Falling’ LP, the line-up had stabilized with the addition of Jason Sniderman on keyboards and Owen Tennyson on drums. The band would score a Top40 hit with “Don’t Walk Past”. The song won two important awards in Canada in 1983: ‘Best Video of 1983’ from the Canadian Film and Television Association; and ‘Most Popular Video’ at Sony’s Video Culture Festival. It also received airplay at various U.S. outlets including MTV. The band also performed at the ‘Police Picnic’ at the CNE in 1983. Other gig highlights include performances with The Boomtown Rats, The Jam and Simple Minds. Blue Peter split up in 1985. The band released their greatest hits package, ‘All Through the Night’, in 1997 which featured the previously unfinished 1985 track “Equalizer” with new parts added by Paul Humphrey and Rick Joudrey in 1996. Wardman went on to work as a celebrated producer with acts like Chalk Circle and Soho 69 among others and became the A & R director of a large Canadian major label. He currently does webdesign; Tennyson and Joudrey did a brief stint as the rhythm section for Tracy Howe’s Rational Youth. Joudrey has been seen in recent years jamming with Dr. Lotech & The Minimal Man combo and records alternative rock acts; Tennyson would later join the Jeff Healey Band and has his own pick-up band Owen Sound; Jason Sniderman returned to his family business helping to run his father’s legendary Sam The Record Man music franchise; Humphrey’s has been working as key singer/songwriter in a band called Broken Arrow. They released at least one CD entitled ‘Bend’; Blue Peter reunited once more in March 2015 to perform a show with Midge Ure (Ultravox) at the Phoenix Concert Theatre in Toronto. with notes from Chris Wardman.

1980 Video Verité/Radio Silence (Ready)  SGRR-009.5
1981 Chinese Grafitti (3:48)/Chinese Grafitti (4:58) (AWOL) AWOL-001
1982 Around You/The World Stops Here (Ready) SR-251
1982 Don’t Walk Past/Newsreel (Ready) SR-331
1982 All Your Time/Right Stuff (Ready) SR-342
1983 Unchained Heart/Newsreel (Ready) SR-401


1979 Test Patterns For The Living [12″ EP] (Ready) RR-005
1980 Radio Silence/Video Verité (Ready) LPRR-009
1982 Up To You [12″ EP] (Ready) ER-025
1983 Falling (Ready) LR-034
1983 Don’t Walk Past (4:28)/Don’t Walk Past (French Version) [12″] (Ready) SRB-033
1983 Version [12″ 4-song EP] (Ready) ER-040
1997 Re/load [CD-EP] (Universal) UMDM-81064
1997 All Through The Night (Universal)
2001 20th Century Masters: The Millennium Collection – The Best of Blue Peter (Universal)
2007 Burning Bridges [Remixed] (Universal)

Jim Cuddy (lead vocals, guitar, piano) / Greg Keelor (lead vocals, guitar) / Cleave Anderson (drums) / Bazil Donovan (bass) / Bob Wiseman (keyboards) / Mark French (drums; replaced Anderson 1989)  / Glenn Milchem (drums replaced French 1991)  / Kim Deschamps (pedal steel, mandolin, banjo; added 1992)  / James Gray (keyboards;  replaced Wiseman 1992)  /  Bob Egan (steel guitar; added 2000)
The two founding members and principal songwriters of Toronto’s Blue Rodeo, Jim Cuddy and Greg Keelor, met in high school but didn’t get together to form a band until they were done university; their first combined musical effort was the Hi Fi’s in 1977. They started writing original material immediately and had an independent single out within six months. Nothing much was happening for them, however, so in 1981 they moved to New York City, as much for a change of pace as for the music scene there. They put together a band called Fly To France by putting ads in the Village Voice, and played all types of music everywhere they could. Their manager didn’t quite seem to know what he was doing and then disappeared, they sent out endless packages to record labels, and pestered every promo rep they could get a lead to but again nothing much happened. They decided to sit down and record a bunch of songs from beginning to end. They got New Zealand band the Drongoes to help them, recorded four songs, then returned to Toronto in 1984 and began shopping the demo. While looking for a deal they had a band name already picked out and decided to put that band together. They bumped into their friend Cleave Anderson (Battered Wives, The Sharks), who agreed to join; Anderson suggested that his friend Bazil Donovan complete the lineup and Blue Rodeo was born. Their first gig was at the Rivoli on Queen Street in Toronto in February of 1985. Prairie Oyster manager and owner of the Risque Disque label, John Caton, became interested in the band and they struck a management/ recording deal with him. He introduced Blue Rodeo to his friend, producer Terry Brown (Rush, Klaatu, Cutting Crew), who agreed to work with the band. Recording with Brown over a year and a half, his production of their first album seemed only natural, and in January of 1987 they struck a worldwide label/production deal with WEA Music of Canada. ‘Outskirts’ was released later that year and produced a country-wide hit with “Try”. The album eventually went on to sell well over double platinum in Canada (200,000 copies). Touring the clubs across Canada and opening for the likes of k.d. lang, they quickly became known for their lively and entertaining stage manner and their quirky brand of countrified rock. Their second album, ‘Diamond Mine’, released in 1989 and produced by Malcolm Burn, sold quickly, and Blue Rodeo were well on their way to becoming a real Canadian success story. They began receiving JUNOs that year, and have continued to do so consistently ever since. Anderson, however, decided to retire from the business and return to his day job as a letter carrier (but is currently still playing in various bands including a variation of The Viletones), so Mark French was brought on board. A U.S. break of sorts came when Meryl Streep’s chauffeur played the band’s music for her while driving her to New England to shoot a movie; the result of this fortuitous incident was Blue Rodeo’s appearance in the hit movie Postcards From The Edge, which they filmed in late 1989 in L.A. They returned home, however, to find that health and financial problems forced Caton’s retirement from the business and the closure of Risque Disque. Forced to regroup, Warner Music Canada took over the band’s contract and they signed with Los Angeles manager Danny Goldberg (Bonnie Raitt, Alannah Myles). For their third album, Cuddy and Keelor recruited the talents of American producer Pete Anderson (Dwight Yoakam, Michelle Shocked), and the results were ‘Casino’ in 1990. Touted to be the album to break the band south of the border, the album received strong critical praise in the US but they still had trouble reaching the American audiences. They had no trouble in Canada, however, with sales quickly reaching platinum in no time. In 1991 they returned to the studio, beefing up their sound and style to reflect more of the noisier music that was popular at the time, and ‘Lost Together’ (1992) shows a tougher, harder sound for them. Self-produced, it received some of their strongest critical acclaim, and earned yet more JUNOs for them. It was around this time that Wiseman decided to pursue a solo career, so Kim Deschamps (Cowboy Junkies) and James Gray (Cowboy Junkies, Vital Sines) were recruited to fill his prodigious shoes. French also left the fold, so Glenn Milchem (Vital Sines, Soho 69) came on board. Tours of the North American continent established them as household names in Canada, and yet they still had trouble breaking into the United States. Changing tactics completely, the band went to Keelor’s farm with a mobile recording studio in the summer of 1993, and had the entire band record at the same time. Stripping down to a more acoustic sound, ‘Five Days In July’ started out as a special for the CBC’s Ear To The Ground television show, and quickly became a full-fledged album. Although receiving some of their most rave reviews in Canada, and despite selling out venue after venue on their cross country tours, success in the US continued to elude them, and a label change was made there. ‘Nowhere To Here’, released in 1995, saw another different side of Blue Rodeo emerge. Again receiving strong critical praise, the band went into a more eclectic, semi-psychedelic direction. Consistent touring in Canada in 1996 helped to keep their name in the collective conscience. The reviews for 1997’s ‘Tremolo’ were mixed at best, and although not touring as much as they used to, their occasional gigs are still filled with their loud, loyal fans.  Greg Keelor and Jim Cuddy have both had successful solo careers while still maintaining Blue Rodeo as a priority. In 2011 the band was named to the Canadian Music Hall of Fame.

1987 Outskirts of Life (Edit)/5’ll Get You Six (Risque Disque/Warner)  25-83637
Try/Piranha Pool (Risque Disque/Warner) 25-82917
1988 Day After Day (Rose Coloured Glasses)/Floating (Risque Disque/Warner)
1988 Rebel/Joker’s Wild (Risque Disque/Warner) 25-80107
1989 Diamond Mine/Fall In Line (Risque Disque/Warner) 25-76267
1989 How Long/Nice Try (Risque Disque/Warner) 25-75307
1989 House Of Dreams (Risque Disque/Warner)
1990 Love And Understanding (Warner)
1991 Trust Yourself (Warner)
1991 Till I Am Myself Again/What Am I Doing Here (Warner) 25-73968
1991 Till I Am Myself Again/3 Day Disaster [cassette]
1991 What Am I Doin’ Here (Warner)
1991 After The Rain (Warner)
1992 Lost Together (Warner )
1992 Rain Down On Me (Warner)
1993 Angels (Warner)
1993 Flying (Warner)
1993 Already Gone (Warner)
1993 Five Days In May (Warner)
1994 Hasn’t Hit Me Yet (Warner)
1994 Bad Timing (Warner)
1995 Save Myself (Warner)
1995 Side of the Road (Warner) CDN-51
1997 It Could Happen To You (Warner)
1998 Shed My Skin (Warner)
1998 Falling Down Blue (Warner)
1999 Somebody Waits (Warner)
2000 Always Getting Better (Warner)
2000 The Days In Between (Warner) CDN-175
2001 Sad Nights (Warner)
2002 Bulletproof (Warner)
2002 Walk Like You Don’t Mind (Warner)
2003 Stage Door (Warner)
2003 Palace of Gold (Warner)
2005 Rena (Warner)
2005 Are You Ready (Warner)
2005 Can’t Help Wondering Why (Warner)
2007 Four Strong Winds (Warner)
2007 C’mon (Warner)
2007 3 Hours Away (Warner)
2008 This Town (Warner)
2008 Losin’ You (Warner)
2009 All The Things That Are Left Behind (Warner)
2010 Never Look Back (Warner)
2010 One Light Left in Heaven (Warner)


1987 Outskirts (Risque Disque/Warner) W2-54718
1989 Diamond Mine (Risque Disque/Warner)  W2-56268
1989 Diamonds in the Rough/Demos and Other Stuff (Risque Disque/Warner) PR-2710
1990 Casino (Warner) W2-72770
1992 Lost Together (Warner) W2-77633
1993 Five Days In July (Warner) W2-93846
1995 Nowhere To Here (Warner) W2-10617
1997 Tremolo (Warner) W2-19253
1999 Just Like A Vacation (live) (Warner)
2000 The Days In Between (Warner) W2-80936
2001 Greatest Hits (Warner) 2-40932
2002 Palace Of Gold (Warner) 2-44915
2005 Are You Ready (Warner) 13251
2006 Blue Rodeo Live In Stratford (Warner)
2007 Small Miracles (Warner)
2008 Blue Road (Warner)
2009 The Things We Left Behind (Warner) 1-856107
2013 In Our Nature (Warner) 1-41146
2015 Live At Massey Hall (Warner) 2-052349
2016 1000 Arms (Warner) 2-995897

George Wood
(bass, backing vox) / Peter Wong (vocals, rhythm guitar) / Dave Kindred (lead guitar, backing vox) / Earl Hawton (drums)
The band was formed in Saint John, New Brunswick in 1962. They played many venues around the province and a few in the state of Maine. Their one and only single was recorded at local Radio Station CHSJ as the band was a regular feature on that station’s TV show ‘House Party’. Their main weekly gig was at Rockwood Park called the Lily Lake Pavilion. They also had weekly radio show sponsored by G.B. Murphy Jewelers. The group split up in 1966.

Strange Strings/Question Mark (Future)

Like their label mates, The Crazy People, it is believed that this Condor Records recording act was an amalgam of British Columbia based musicians under the tutelage of eccentric British band-leader and producer Johnny Kitchen. Blues Train’s self-titled album in 1970 featured songs written by Kitchen, Eric Lord and Joe Sanchez with a helping of cover tunes. Gear Fab Records in the US re-issued their Condor LP in the early on CD in the early 2000s.

Blues Train (Condor) CST-2465

Kenn Allison
(vocals)  / Dave Partridge (guitar) / Jim Chapman (bass) / Dave Baker (keyboards)  / Paul Kersey (drums)
London, Ontario’s Sally And The Bluesmen was formed in the mid-60’s and got their moniker from Paul Kersey’s nickname, “Sally”, which he was saddled with due to his long hair. They would later change their name to The Bluesmen Revue after the members saw acts like The Majestics and their flashy stage personas. With a win in a London battle of the bands in 1966 the soul group began playing the southern Ontario club circuit. By 1968 they managed to release a single, “Spin the Bottle”, which had a modicum of success in their hometown. From there they parlayed opening slots for the likes of Sly And The Family Stone on tours that took them down the eastern seaboard into Florida. They split up after all the members became involved in other life pursuits; Chapman went on to join Leather And Lace but quit before they changed their name to Ocean and achieved world fame with “Put Your Hand In The Hand”; Kersey joined Max Webster, and later, formed The Hunt with Brian Gagnon and Gerry Mosby (and members of Dillinger);Allison played with Juggernaut in London.

1968 Spin The Bottle/Dorian’s Dance (Columbia)  4-44495

Maurice Raymond (vocals) / Paul Martin (guitar) / Martin Van Dijk (bass) / Richard ‘Ricco’ Berthiaume (drums)  / James ‘DB’ Green (guitar) / Richard Diamond (guitar) / Sascha (drums; 1995) / Desmond Leahy (guitar; 1995) / Glen Olive (bass; 1995)  / Dylan Heming (keys; 1995)  / Doug Inglis (drums)
In early 1979 two Kingston, Ontario musicians, Maurice Raymond (vocals) and Paul Martin (guitar) decided to fill the musical gap left with the absence of a tour every 4 or 5 years by their mutually favourite band The Rolling Stones. Soon they laid down the groundwork for a tribute band called, simply, The Blushing Brides. They hooked up with bassist Van Dijk, drummer Berthiaume and second guitarist Green and began their odyssey of imitating one of the most enduring bands in rock and roll while peppering their set list with original materials as their popularity increased. The group provided a perfect outlet for Stones craving fans during a period in the ’70’s when ‘tribute bands’ didn’t exist. The only source of competition in the clone field was American band Crystal Ship doing Doors impersonations and Toronto’s Liverpool who found their niche with the Beatles. Critics were even quick to praise the act as being a roll model for what the ‘real’ Rolling Stones should sound like. The Blushing Brides’ popularity grew so quickly they soon were playing at amusement parks where attendance could get over 10,000 people. A major label bidding war began and in 1980 RCA Records offered the group a five-year recording contract. Their 1981 debut album called ‘Unveiled’ produced a bona fide Stones-ish hit single with “What You Talkin’ About”. To capitalize on their popularity in the Québec market they even re-dubbed 4 songs in French and issued an EP there. The band thought it would be a better idea to drop the Stones’ schtick and focus on the original side of their material if they hoped to sell the album. A tour with Chilliwack proved so disastrous that after finishing the gigs they returned home in debt, and without a record deal. Raymond headed stateside for an ill-advised solo career but returned soon after. The Blushing Brides regrouped in 1983 and tried to make a comeback as a recording unit but were unsuccessful at attracting label interest. They returned to their Rolling Stones roots and continued wowing them on the live scene. As the years passed, guitarist Richard Diamond decided to strike out on his own as a solo artist but lacked the proper frontman persona to pull off the songs convincingly. Raymond was soon brought in and in no time the record was soon dubbed a Blushing Brides project. Re-christened The Brides, they signed to Toronto-based Strawberry Records (distributed by A & M), and their self-titled debut was recorded by Mike (Spike) Barlow with additional tracks recorded at Phase One and Arnyard Studios in Toronto. A single, “Feel like a Man”, was soon released and the band hit the clubs with a combination of their original material and Stones cover tunes. The Brides’ lineup became Raymond, Diamond, drummer Sascha (ex-Platinum Blonde), Desmond Leahy on guitar, bassist Glen Olive and keyboardist Dylan Heming. In recent years the band has been doing select gigs in New York, Boston and Baltimore with Raymond and Martin re-teaming for the ‘classic’ version of the Brides that has included Goddo’s Doug Inglis on drums. with notes from Maurice Raymond. 

What You Talkin’ Bout?/Foreign Supplement (RCA) PB-50697
1982 Got To Like Yourself/Run and Hide (RCA) PB-50717

1995 Feel Like a Man (Strawberry/A & M)

1982 Unveiled (RCA) NKL1-0475
1982 Blushing Brides [4 song EP] (RCA)  KFL1-9000


1995 The Brides (Strawberry/A & M)  55001

BOB’S YOUR UNCLE Jamie Junger (guitar) / Sook-Yin Lee (vocals, guitar) / Bernie Radelfinger (bass) / Peter Lizotte (harmonica)  / John Rule (drums) / Karl Cardosa (drums)
From Vancouver, British Columbia. Junger went on to found the band Wingnut, toured with Holly McNarland and released several solo projects; Sook-Yin Lee became a popular VJ for MuchMusic and later hosted the CBC show ‘Definitely Not The Opera’ before branching out into film including a role in the controversial film “Shortbus”.

Talk to the Birds


1987 Bob’s Your Uncle (Criminal) CRLP/1
Tale of Two Legs (Doctor Dream) DDCD-9035
1993 Cages (Zulu) ZULU-9-2

Born: Johanne Beauchamp on September 8, 1957 in Québec, Canada
Female artist from Québec who is a singer and an actress. She released three solo albums and appeared in the films ‘Meutre en musique’ (1994), ‘L’Homme idéal (1996), and ‘Idole instantanée’ (2005) among others.

Beach/Beach (instrumentale)  (Disques Palmiers/Trans-Canada Disques)
1986 Aeroport/Aeroport (instrumentale)  (Disques Palmiers/Trans-Canada Disques)
1986 Repartir a zero/ Repartir a zero (instrumental) (Disques Palmiers/Trans-Canada Disques) PA-1005
1987 On parle de yeux/ On parle de yeux (instrumentale) (Disques Palmiers/Trans-Canada Disques) PA-1006
1987 Vadou/Vadou (instrumentale) (Disques Palmiers/Trans-Canada Disques) PA-1007
1987 Les femmes voilees/Les femmes voilees (instrumentale) (Disques Palmiers/Trans-Canada Disques) PA-1008
1988 Deranger/Deranger (instrumentale)  (Disques Palmiers/Trans-Canada Disques) PA-1009
1994 Des fleur sur Mars (Musi Art) 58029

1987 Joe Bocan (Disques Palmiers/Trans-Canada Disques) PA-101
1991 Les Desordres (Disques Palmiers) PACD-102
1994 Le Baiser (Musi Art) 5808

Bob Buckley
(keyboards, sax)  / David Sinclair (guitar, lead vocals)  / Ross Friesen (drums, vocals)  / Frank Ludwig (keyboards, lead vocals)  / Kelly Cook (bass; 1984)  / Brian Newcombe (bass; 1985)
The duo of Buckley and Sinclair were a rare coupling whose songs were powerful enough to land them record deals in several different incarnations. As seasoned studio musicians the Vancouver duo originally gained popularity as Dogstar and attracted the attention of CBS Records in Toronto. They loved the band but didn’t like the name so it was changed to Straight Lines who released two albums and spawning several hit singles like “Heads Are Gonna Roll” and “Letting Go”. In 1982 the duo was nominated as ‘Composers of the Year’ at the JUNO Awards. But even their significant Bruce Allen management team couldn’t generate sufficient international interest and CBS dropped the group resulting in Straight Lines disbanding. They managed to bump into Frank Ludwig who was out of music and doing social work with juvenile delinquents in Vancouver. Ludwig had quit his high profile gig as keyboardist with Trooper to put Union together with Randy Bachman. After one album the arrangement soured and Ludwig was effectively discouraged. Buckley and Sinclair asked him to join as lead vocalist and keyboard player and they shopped a deal with Attic Records. Their first self-titled album produced by Ron Obvious for Attic Records did little to impress anyone, even with substantial airplay on the single “Stop the Music” (and featured Moev member Kelly Cook on bass for the video). The act re-thought their strategy and Sinclair switched to lead vocals and added drummer Friesen for the 1985 ‘Two Worlds’ EP produced by Bill Henderson (of Chilliwack) and engineered by Bob Rock. But Ludwig was unhappy with his role as mere keyboard player and quit the band just before they landed an opening slot on Corey Hart’s ‘Boy in the Box’ tour. They realized new management might help them build on the tour’s momentum and hired Scott Andrews and Gordon Sinclair who were managing JATO at the time and also ran Parallel One Records. They signed to the label /management company and released  the ‘Walking Through Walls’ album produced by Buckley/Sinclair but the label eventually folded and the band split up shortly after. notes from Ross Friesen and Mark Olexson.

1984 Don’t Take Me For A Fool/One Step Back (Attic) AT-310
1984 Somewhere In Time/Midnight Madness (Attic) AT-316
1984 Stop The Music/Living Two Lives (Attic) AT-322
1985 Do You Think They Can Tell?/Two Worlds (Attic) AT-333
1985 All Through The Night/Don’t Look Back (Attic) AT-336
1986 Strangers In Love/Strangers In Love (Long Version) (Parallel One) POR-0145-BE
1987 I Don’t Know Why/Lines Are Breaking Down (Parallel One) POR-0245-BE
1987 Out Of The Blue/Fire And Ice (Parallel One) POR-0345-BE


1984 Body Electric (Attic) LAT-1194
1985 Two Worlds [5 song EP] (Attic) MIN-101
1987 Walking Through Walls (Parallel One) POR-0133-BE

Johnny Monk
(lead vocals) / Nick Farlowe [aka Saraceno] (drums) / Ron Gerard (keyboards)  / Kevin Miller (guitar) / Gary Pover (lead guitar) / Peter Rochman (bass) / Denis DeCarie (guitar; replaced Miller)
Late ’60’s indie act out of Montréal featuring members of The Haunted and Our Generation who released only one single. with notes from Andre Gibeault.

1967 I Need You Baby/Say It Again (Blue Jean) BJ-2810

Bongo Herbert [aka Eric Rosser]
(vocals, piano)  / Robert Priest (vocals, trumpet)  / Neil Chapman (guitar) / Ben Cleveland-Hayes (drums) / David Thompson (synthesizer, piano)  / David Woodhead (bass)  / Rudi McToots (VJ)
Entertaining hip children’s recording act featuring CBC radio’s Robert Priest and Eric Rosser from ‘Is Anybody Home?’. The duo collected the songs they’d written for the show and compiled them into an album called ‘Summerlong’ in 1984. The album features third member Rudi McToots and special guest Neil Chapman (Pukka Orchestra).

1984 Summerlong (G’tel) GTL-1001
1989 Playsongs and Lullabies
1992 Winterlong

Vanessa Richards (lead vocals)  / Lorraine Tetrault (keys)  / Laurel Thackray (bass, vocals)  / Phaedra Struss (guitar, vocals)  / Barbara Bernath (drums) / Linda McCrae (bass; replaced Thackeray) / Andy Graffiti (drums; replaced Bernath 1988) / Sherri Leigh Iwaschuk (drums; replaced Graffiti 1989) / Jeff Sawatzky (bass; replaced McCrae 1989) / Mallory Temple (drums; replaced Iwaschuk 1990)
Bolero Lava was a street-smart 5-piece Bananarama/Bangles/Belle Stars styled all woman band from Vancouver. They began their career by winning Vancouver’s Battle of the Bands in July 1983, which led them to record the college-radio, hit-single “Inevitable” for Alan Moy’s Vancouver label Mo=Da=Mu in 1984.  In 1986 they recorded the “Move a Groove” 12” on their own Lava Rock imprint. They toured across Canada as well as headlined at major venues around Vancouver. Show highlights included double-billing with The Red Hot Chili Peppers, The Cramps, and Taj Mahal. “Move a Groove” was produced by 54.40 engineer Dave Ogilvie. After Bernath and Thackeray left the band in 1988 to pursue other interests and were replaced by Linda McRae (Spirit of the West) and Andy Graffiti. In 1989 Bolvero Lava then hired Sarah McLachlan’s rhythm section of Jeff Sawatzky (bass) and Sherri Leigh Iwaschuk (drums). Iwaschuk was then replaced by Mallory Temple. The group disbanded in 1991.with notes from Heidi Mo Hawkins,  Barbara Bernath, and Jeff Sawatzky.

1984 Inevitable/Click of  the Clock [12″] (Mo=Da=Mu) MDM-12
1986 Dance and Be Happy/Move a Groove (Lava Rock) WRC3-4564

Born: April 8, 1932
Died: April 7, 1972
Al Boliska was a popular CHUM-AM radio personality. During their heyday, CHUM constantly promoted themselves through schemes like novelty records featuring their disc jockeys. Boliska released the third in a long line of CHUM DJ charting singles called “The Ballad of a Dying Cowboy” with The Rhythm Pals as his backing band. The song spent 5 weeks on the CHUM charts (and those of affiliated stations) and reached No.18 in March 1960. In the very early 1960’s CBC asked him to host a weekly local TV show in Toronto (CBLT) called ‘On the Scene’. The program utilized the then new medium of video tape, traveling to various locations around town from The Royal Winter Fair to a hootenanny at Maple Leaf Gardens. Boliska gradually adapted for TV and became one of the show’s likable main hosts. He also made a living syndicating his books ‘The World’s Worst Jokes.” with notes from Don Adams.

1960 The Ballad of a Dying Cowboy/What D’ya Mean Ya Lost Yer Dog (Sparton)

The World’s Worst Jokes (ARC) 607

Mike O’Reilly
Originally known as Bolt Upright & The Erections, this 8-piece Doo Wop/1950’s greaser act from Ottawa, Ontario had a brief run on the RPM chart in 1974 their cover version of Freddy Weller’s “Love You Back To Georgia” which peaked at No.82 on September 7, 1974; in March 1977 Mike O’Reilly became the morning show host on Ottawa’s CHEZ radio; They reunited in 1986 for a Children’s Wish Fundraiser alongside Five Man Electrical Band; O’Reilly was last seen performing with Richard Patterson (Esquires, 3’s A Crowd) in the band The Radio Kings.

Love You Back To Georgia/Love, Love (A & M) AM-369

LINE-UP 1: Ted Trenholm (vocals, keyboards) / Bill Dunn (vocals, bass)  / Barry Cobus (lead guitar) / John Roles (bass; switched to lead & acoustic guitar) / Alex MacDougall (lead, rhythm, slide guitar) / Jeff Hamilton (drums, vocals, percussion); LINE-UP 2: Ted Trenholm (vocals, keyboards)  / Bill Dunn (vocals, bass)  / John Roles (lead & acoustic guitar) / Gerry Mosby (keyboards, vocals; 1975-1976)  / Kim Hunt (drums, vocals; 1975-1976) ;
LINE-UP 3: Ted Trenholm (vocals, keyboards)  / Bill Dunn (vocals, bass)  / Colin Walker (drums) / John Jones (keyboards 1977-1978) / John Roles (lead & acoustic guitar);
LINE-UP 4: Brian Mitchell (vocals) / Bill Dunn (vocals, bass) / Jim Lamarche (guitar, vocals; 1978-1979)  / Colin Walker (drums) / Mitch Lewis (keys)  / Chris Livingston (keyboards; replaced Lewis)
Originally named “Common Bond” the band name was reduced to Bond in 1970, shortly after Pickering, Ontario native John Roles joined the band as the bass player. Soon after, the lead guitar player Barry Cobus suggested that Roles take over lead guitar (as that was actually his main instrument) and Cobus became their manager.  They did the usual Southern Ontario club circuit with a focus on British rock and a few original tunes. Their line-up changed over the years, but the most successful was Dunn, Roles, Hamilton, Trenholm, and MacDougall. Eventually, they signed with CBS in 1974 and in 1975 released their Bob Gallo produced eponymous debut album which was recorded at Manta Sound. The lead-off single “Dancin’ (On A Saturday Night)”, was a surprise hit that made the Top-20 in Canada. They did an Eastern Canadian tour with The Stampeders and a short lived cross Canada tour. And yet, the record unfortunately left many radio programmers with the image that Bond was a bubblegum act and follow-up singles, including “When You’re Up, You’re Up”, were virtually ignored. Gerry Mosby and Kim Hunt left in 1977 and were replaced by John Jones and Colin Walker respectively. They released one more song called “I Can’t Help It” for CBS in 1978 which failed to chart. CBS dropped Bond’s recording deal, but John Jones was retained by CBS Songs where he recorded a demo called “Everyday and Everynight” with Klaatu’s Dee Long and Terry Draper. Producer Terry Brown heard the demo and had Jones signed to ATV Publishing. After backing Eddie Schwartz on his demo for “Hit Me with Your Best Shot” Schwartz was signed to ATV and Jones was dropped. John Jones would then join Gary O’Connor’s solo band. Meanwhile, Bond had several major line-up changes after losing their own deal, with Bill Dunn the only remaining original member. The band finally called it quits in 1979.  Roles left in 1976 and would go on to play and record with Chilliwack and Jerry Doucette in the ’80’s; MacDougall went on to play with Crowbar and King Biscuit Boy from 1981 to 1989. His current band is Groove Corporation out of Hamilton; Kim Hunt left Bond to co-found Zon; Gerry Mosby went on to be in Dillinger, The Hunt, Rhinegold and The Ian Thomas Band; Chris Livingston joined The Payola$; Jim Lamarche was a solo artist on A & M Records before becoming a successful studio engineer in Toronto; John Jones went on to be co-owner of ESP Recording Studio with Dee Long (ex-Klaatu). The duo moved to England to work at George Martin’s AIR Studio in England for 7 years.  He would go on to produce Duran Duran and Celine Dion for whom he won a Grammy Award. with notes from John Roles, John Jones, Alex MacDougall, Gerry Mosby, and Jim Lamarche.

1975 Dancin’ On A Saturday Night/Mardi-Gras (Columbia/CBS) C4-4061
1975 When You’re Up, You’re Up/Come On Home (Columbia/CBS) C4-4083
1975 Hold On/[same] (Columbia/CBS) C4-4103
1976 Back Seat Driver/We Are Not Fee(Columbia/CBS) C4-4117
1976 One Lives In My Life (One Lives In My Heart)/Don’t You Love to Dance (Columbia/CBS) C4-4137
1978 I Can’t Help It/[same] (Columbia/CBS) DJE4-4180

1975 Bond (Columbia/CBS) ES-90301†

Born: Dennis Eugene McCrohan on April 21, 1943 in Oshawa, Ontario
McCrohan changed his name to Dennis Edmonton as did his brother Jerry, who were original members of Jack London And The Sparrows. The act recorded one album in 1965 on Capitol Records which spawned several singles before the group left London to release their only official single “Hard Time With the Law”. Another singer, John Kay, had a growing popularity in Yorkville, and it was only a matter of time before he connected with the band in May of 1966. They would record several singles and one album as John Kay & Sparrow helping solidify their popularity as a touring act in the US. With the dissolution of The Sparrows in 1967, Edmonton changed his name once more – this time to Mars Bonfire — and took a shot at a solo career often writing with Kim Fowley. Bonfire wrote several songs for Steppenwolf including their biggest hit “Born to Be Wild”. with notes from Jim Magnes and Phil Townshend . [also see JACK LONDON & THE SPARROWS, THE SPARROW]

1968 Ride With Me Baby/Tenderness (Uni/Compo/MCA)  55081
1969 Faster Than the Speed of Life/She (Columbia) 4-44772
1969 Lady Moonwalker/In Christina’s Arms (Columbia) 4-44888

Mars Bonfire(Uni/Compo/MCA) UNI-73027
1969 Faster Than The Speed of Life (Columbia) CS-9834

Billy Wade
(vocals; drums) / Gino Scarpelli (guitar) / Buddy Caine (guitar) / Terry McKeown (bass)
Bongo Fury – named after the 1975 Frank Zappa album – was a short-lived Ontario hard rock supergroup featuring ex-members of Moxy and Goddo. Their lone, self-titled, album was produced by Paul LaChappelle (Coney Hatch, Kim Mitchell, Goddo) at Quest Studio in Oshawa. [also see GODDO MOXY]

1980 Bongo Fury (Pure Noise) WRC1-1015

Kim Clarke
(guitar, vocals) / J.B.Jay” Johnson (drums) / Jack Matthews (guitar) / Elmar Spanier (bass)
The Bonus Boys were formed in 1979 by singer/songwriter Kim Clarke, aided and abetted by lead guitarist, Jack Matthews. Matthews knew drummer Johnson from previous musical encounters and Spanier was a mutual connection from the Vancouver music scene. They recorded their first 45rpm single, “Wasting Our Time” and “Everytime I See a Car Like Yours Go By” in the later part of 1979 and released it on their own Tsunami label. Their manager, Adrian D. did a remarkable job promoting the band, eventually securing shows in local clubs when clubs realized that there was actually an audience for new music. After winning a battle of the bands at a local strip/rock club the band were afforded the opportunity to record their second single “I Want To Work In A Bank” and “Confusing Ourselves”. This quirky single went on to receive good air play on some of the local commercial radio stations. Following the recording of their proposed third single, “So Sad” and “Head For the Hills” the band fractured into other projects and eventually disbanded. Clarke would go on to record a College hit with his song “It’s A Grey Day” in 1986; in the ’90s he played with successful touring act The Falcons. He also played with acts The Way Outs and Tokyo Joe among others. Clarke also taught for many years at Bill Lewis music in Vancouver, BC. More recently he was pursuing solo and collaborative work with a number of players before dying after a long private battle with cancer on December 30, 2010 in London, Ontario; Johnson and Spanier would join Billy Cowsill’s band The Blues Shadows in the 1990’s. with notes from Kim Clarke  and Jay Johnson.

1979 Wasting Our Time/Everytime I See A Car Like Yours Go By (Tsunami)  
1980 I Want To Work In A Bank/Confusing Ourselves (Tsunami)

Dave Bookman
(vocals) / Tim Mech (electric guitar)
Ottawa based duo who toured across Canada I na beat-up Mazda. Managed to released one album on Oshawa’s Star Records in 1987. Mech would later form Peep Show in Toronto and became a roadie for The Rheostatics, The Tragically Hip, and guitar tech for Elvis Costello; Bookmen, a renowned music critic, booking agent, and radio DJ in Toronto, died unexpectedly May 20, 2019. with notes from Tim Mech.

1987 Volume 1: Delicatessen (Chapter/Star) CR-001

Ron Irving
(guitar, vocals) / Gerry King (guitar, vocals) / Bryan Nelson (guitar, keyboards)  / Dan Proulx (drums) / Peter Morris (keyboards; 1986)
Formed in Vancouver in the late ’70’s, the band recorded one single for the ill-fated Heart Records label and struggled to find their country niche until changing keyboard players, hooking up with Rana Records and releasing their first single “Weekend Country”. The follow-up, “In My Arms Tonight” (1986), was a Top20 hit. Bootleg continued releasing singles into the ’90’s.

1979 Queen Of Hearts (Heart) HRT-7901
Weekend Country (Rana)
In My Arms Tonight/What I Want (Rana)
Ordinary People/Pass Me By (Rana)  8
Mama/You’ll Be So Proud Of Me (Rana)  13
Taste Of Romance (Rana)
Keep It Up (Rana)
The Cowboy Thing To Do (Rana)
You’ve Got Me Hurtin’ (Rana)
Bluebird Lullabye (Rana)
Champagne And Roses (Rana)

Alan Baculis
(bass) / Drew Ling (vocals) / Pere Fume [aka Perry Johnson] (guitar) / Marc Villeneuve (drums) / Sonny Greenwich Jr. (guitar) / Rob Kazenel (drums; replaced Villeneuve 1991)  / John ‘Fatboy’ Lalley (drums; replaced Kazenel)  / Fraser Rosetti (guitar; replaced Pere Fume)
Bootsauce was conceived in 1989 when Drew Ling and Pere Fume hooked up with Sonny Greenwich, Jr. after they all met by chance in future manager Steven Shipp’s office. The first album called ‘The Brown Album’ spawned two hits in “Play With Me” and the remake of Hot Chocolate’s “Everyone’s A Winner”. The first tune won a MuchMusic Video Award and the second won them a JUNO. Ian Astbury of The Cult saw them and was so impressed, they were asked to tour England with The Cult. Unlike the first album and their second – ‘Bull’ – album No. 3, ‘Sleeping Bootie’, didn’t reach the gold sales mark like the first two mostly do to the label’s under-promotion in light of managerial and band member problems.  During the recording of ‘Bootsauce’, founding member Pere Fume left in a dispute with the handling of the band’s career by the record label. Fume returned to his given name and formed Toronto band Fonzi. During the recording of the album they picked up Exploited guitarist Fraser Rosetti who were recording at the same studio in England. Polygram released a greatest hits album shortly after the band’s demise in 1996. with notes from Marc Villeneuve.

1990 Masterstroke (Vertigo/Polygram)
1990 Scratching The Whole (Vertigo/Polygram)
1991 Everyone’s A Winner (Vertigo/Polygram)
1991 Play With Me (Vertigo/Polygram)
1992 Whatcha Need (Vertigo/Polygram)
1992 Big, Bad & Groovy (Vertigo/Polygram)
1992 Love Monkey #9 (Vertigo/Polygram)
1992 Rollercoaster’s Child (Vertigo/Polygram)
1993 Sorry Whole (Vertigo/Polygram)
1994 Moanie (Vertigo/Polygram)
1994 Caught Looking At You (Vertigo/Polygram)
1995 Hey Baby (Mercury/Polydor)
1995 Each Morning After (Mercury/Polydor)

1990 The Brown Album (Vertigo/Polygram)
1990 Re-Boot (Vertigo/Polygram)
1991 Bull (Vertigo/Polygram)
1993 Sleeping Bootie (Vertigo/Polygram)
1995 Bootsauce (Mercury/Polydor)
1996 Bootism: The Best Of Bootsauce (Mercury/Polydor)

Sonny Baker (vocals) / Teddy Fury (drums, vocals) / Duane Wayne [aka Jim McTaggart] (guitar) / Pat Flynn (bass) / Jack de Keyzer (guitar, vocals; replaced McTaggert 1980)  / Zeke Rivers (bass, vocals; replaced Flynn 1980)
Toronto’s original rockabilly outfit, formed by Baker, Fury and McTaggart in 1979, were the creators of the Toronto country-billy hybrid scene that became popular in the early ’80’s with bands like The Razorbacks. The Bopcats’ rockabilly sound in Canada predated the Stray Cats signature style by six months.  The Bopcats’ debut was a self-titled EP on Showtime Records produced by Rough Trade/Flying Circus bassist Terry Wilkins (and engineered by Doug McClement) which contained a radio single called “Ride a Rocket” reached No.2 in England. The EP was followed shortly by a 7″ single featuring an original tune called “Caroline” backed with a cover version of the Bing Day song called “I Can’t Help It”. The EP, the single, and word-of-mouth about their kinetic live shows helped them secure a deal with Attic Records in 1980. Just prior to signing the deal, Duane Wayne quit and was replaced by Jack de Keyzer on guitar and vocals. Soon after, Zeke Rivers left the Toronto New Wave band Willie English to join the Bopcats as their bassist. The band released two albums – ‘Bopcats’ (1981) and ‘Wild Jungle Rock’ (1982). During these years, the Bopcats were well known for the outstanding music they could create in any live setting, from coast to coast, in both Canada and the USA including the band’s ‘Whip Skull Tour’ of 1982. Sonny Baker left the Bopcats in early 1983 and formed his own soul/R&B band called Ten To Midnight. de Keyzer, Fury and Rivers carried on as The Bopcats for a short while before re-thinking their music, changing their style to harder-edged rock and roll, re-naming themselves Rock Angels and recording an EP on Attic Records. The Rock Angels eventually split up and the members continued with their own pursuits. Jack de Keyzer would go on to be a much respected blues guitarist, session man, and producer with several solo CDs under his belt in the 1990s and awards in the early 2000s; Teddy Fury would play in several bands (most notably The Royal Crowns) and has spent many years tending bar at The Horseshoe Tavern in Toronto; Sonny Baker works for Sunrise Records in Toronto; Zeke Rivers earned his PhD in 1994 and teaches Sociology and Criminal Justice in a college in Massachusetts. with notes from Tim (Sonny) Baker, Jim McTaggart, Jack de Keyzer, Zeke Rivers. [also see JACK de KEYZER]

1979 Extended Play [4 song EP] (Showtime) STEP-001
Caroline/I Can’t Help It (Showtime) SHOW-002
1981 Buddy This Is It (The Stand)/Rainbow Girl//[split w/SHAKIN’ STEVENS] (Epic/CBS) DJE4-8457
1981 Kiss Goodbye//Cool Off Baby/Train Kept A Rollin’ (Attic) HEP-001
1982 Stop Breakin’ Up My Heart/Last Hurtin’ Song (Attic) AT-269

1981 The Bopcats (Attic) LAT-1113
1982 Wild Jungle Rock (Attic) LAT-1139

1983 Rock Angels (Attic) ATT 1231

Paul Bradbury
(vocals, organ) / Wayne Sturge (guitar, vocals) / Mark Bradbury (bass, vocals) / David Hillier (drums)
Formed in Toronto, Ontario in 1970, Borealis was signed to Audat Records in 1972 and released their only LP, ‘Sons of the Sea’, that year; in 1973 Paul Bradbury would go on to be in Professor Fuddle’s Fantastic Fairy Tale Machine.

Sons of the Sea (Audat) 477-9025

Born: September 17, 1960 in Toronto, Ontario
Died: April 6, 2011 in Brackendale, British Columbia
Bottomley was born in Toronto. As the son of a Canadian Air Force officer, he traveled frequently, setting up brief homesteads in Ottawa, London (England), Cold Lake (Alberta), Lahr (Germany) and back to Toronto by the time he was 20. In England he studied classical piano and sang in the school Choir. Later, in Germany, he bought his first guitar. At age 16 he started playing in bands and played the Black Forest region of Southern Germany. Back in Toronto, Bottomley cut his teeth alongside his brother Chris with a band called Tulpa who were part of the 2nd wave of punk/new wave on the Queen Street circuit in the mid-80s. Originally called Private Lives in 1984, they changed their name to Tulpa and released their first album ‘Mosaic Fish’ on England’s Midnight Music label in 1985. They toured extensively between Toronto, London and New York City. By 1986 they had become fixtures at the legendary CBGB’s in New York City. Hilly Krystal, the owner, managed them for a while and signed Tulpa to his Off The Board record label and released a live album. Tulpa also received a mention in Krystal’s book called “This Ain’t No Disco: The Story of CBGB’s”. Following the demise of Tulpa, Bottomley struck out as a solo singer-songwriter and released the album ‘Library of the Sun’ independently. It won ‘Record of the Year’ at Ottawa’s college radio station CKCU (Carleton University). The Cowboy Junkies’ Latent Records signed him which would lead to a direct deal with BMG. In 1992 he released ‘Songs with the Ornamental Hermits’ that won Bottomley a Canadian JUNO Award for ‘Male Artist of the Year’ and the single “Bell Tower Radio” made Top30 at Adult Contemporary radio. In 1995 he released ‘Blackberry’ which spawned several Canadian Top10 hits. The song “You Lose and You Gain” went to No.3 on the Canadian ‘The Record’ chart and No. 6 on RPM’s chart. It won a SOCAN Award as one of the top songs of 1995. The second single, “Long Way To Go”, just missed the Top50. In 1998 came the album “Raggle Taggle” featuring numerous players from Sarah McLachlan’s band, self-produced by Bottomley and mixed by internationally renowned producer David Kershenbaum. It was nominated for ‘Male Vocalist of the Year’ at the West Coast Music Awards. With a move to Bowen Island in 2000 he released ‘The Crown of Life’ and in 2004 ‘Star in the Singing Grove’ both independently on his own Crane/Bag label. He moved again into the Rocky Mountains and released 2007’s ‘Songpoet’ that featured “I Drifted By the Creek” – a semi-finalist in the International Songwriting Contest in the USA. Mountain life seemed to agree with him and led to two new albums in 2009. Bottomley died unexpectedly on April 6, 2011. [also see TULPÄ]

She Lay Down By The Water (Crane/Bag)
1991 Barkeeper (Pour Me a Drink) (Crane/Bag)
1992 Bell Tower Radio (Latent/BMG)
1995 You Lose And You Gain (BMG)
1995 Long Way To Go (BMG)
1995 Bringing Down The Moon (BMG) 51125
1995 Brother To The Sea (BMG) 51314
1998 Take You Higher (True North)
1998 Oh My Love (True North)

1990 Library of the Sun (Crane/Bag)
1992 Songs With the Ornamental Hermits (Latent/BMG) 11635
1995 Blackberry (BMG)
1998 Raggle Taggle (True North)
2000 The Crown of Life (Crane/Bag)
2004 Star In the Singing Grove (Crane/Bag)
2007 Songpoet (Crane/Bag) 710136045
2009 The Mountain Hammered – Vol. 1 (Crane/Bag)
2009 The Mountain Hammered – Vol. 2 (Crane/Bag)
2010 The Healing Dream (Crane/Bag)

David Forbes
(lead vocals)  / Randy Burgess (bass)  / Mark Holden (saxophone, vocals)  / Andrew Johns (keyboards)  / Randy Gould (guitar) / Randall Stoll (drums)  / Tom Christianson (bass; replaced Burgess)
Holden had been working in a recording studio in Frankfurt, Germany and an offer to open a new, multi-million dollar recording studio in Calgary, Albert gave him reason to return to Canada. While working there, he and Gould formed BLVD with American violinist/vocalist David Forbes (who had recorded a beer jingle which Holden engineered). They recorded continuously and released several singles on CBS Germany, one which charted, but it wasn’t practical to tour there or to obtain a reciprocal deal in North America. When the studio finally closed in 1985, the band relocated to Vancouver. John Alexander at MCA Records expressed interest at the time and encouraged them to keep improving their demos and helped cultivate the act. They soon signed on with Rock Headquarters Management (Bruce Allen, Lou Blair, Cliff Jones) and a record deal was secured with MCA in 1987. Producer Pierre Bazinet (Luba, Sass Jordan) was brought in to record the debut album, but the group had no ‘sound’; they hadn’t even performed together as a band or road tested any of the songs. The record was mixed by Mike Fraser, Bob Rock and Humberto Gatica.  In 1988 MCA released the band’s eponymous debut and their first single, “In the Twilight”, followed as did three other singles. BLVD headed out on the road opening first for Glass Tiger and then with Boston. As crowds began to warm to the band, especially in Québec City and Windsor, the album had sold 45,000 copies. By writing while on the road, they were able to return to the studio with John Punter (Roxy Music, Spoons) and lay down the ‘live’ feeling ‘In the Streets’ album. The record was released in 1990 under the full-blown Boulevard name because the band had been getting complaints that they didn’t understand the abbreviation. In 1990 Randall Stoll quit the band, but the group disbanded shortly after the release of the “Crazy Life” single. Holden co-owns HipDigital with Dan Lowe (Hammersmith) and former UMG/EMI label executive Peter Diemer.

as BLVD.
In The Twilight (Short Version)/(LP version) (MCA) MCA-8849
1988 Far From Over/Missing Persons (MCA)  MCA-53268
1988 Never Give Up/When The Lights Go Down (MCA) MCA-53279
1988 Dream On/Western Skies (MCA) MCA-53395
1988 Dream On [3 song 12”] (MCA – UK)  MCAT-1308

1984 Rainy Day In London/Willie (CBS – Germany) A-4277
Far From Over/High Road (CBS – Germany) A-4730
Lead Me On (Edit) (MCA) CD45-18145
1990 Crazy Life (MCA)

as BLVD.
Blvd (MCA) MCAD-42111

Into The Street (MCA) MCAD-42317

Alberta country a la George Jones/Merle Haggard. He uses some of the industry’s best side men including Bob Dylan graduates.

1982 Red Hot Steel/Summertime Love (Circa) CS-1322
1987 Country Singers & Cowboys (Comstock – US) COM-1845

1982 Country (Circa) CSLP-8201
1986 Country Singers & Cowboys (Circa) CDLP-12211

George Bowser
(guitar, vocals) / Ricky Blue (guitar, harmonica, vocals)
This duo from Montréal teamed up after a trip to Toronto in 1981. They perform “bedroom ballads and toilet humour”. Their single “Polka Dot Undies” was picked up by Toronto’s Q107 and the band opened for Katrina And The Waves’ Canadian tour in 1986. The duo, who claim “we started at the bottom and liked it so much we stayed there”, gave up their penchant for ’60’s pop songs to do more arousing “parodies and rude songs”. with notes from Ken Frederick.

1986 Polka Dot Undies/It Ain’t Easy Being White (Justin Time) JUST-4503
1986 Gimme the Bottle/Rappin’ Rambo (Justin Time) JUST-4504
1988 Rappin’ Rambo/Writing My Name In the Snow (Horus – Spain)


1986 Bowser & Blue (Justin Time) JUST-9
1987 Is It In Yet? (Justin Time) JUST20-1
1989 The Lovely & Talented Bowser & Blue (Justin Time) JUST32-2
1990 Westmount Rhodesians (Justin Time) JUST37-2
1992 Live (You Guys) YGCD-1
1994 Montréal Souvenirs (You Guys) YGCD-3
1996 Crackpots (You Guys) YGCD-5
2001 Humour for Boomers (You Guys) YGCD-9
2003 The Illustrated Canadian Songbook (You Guys) YGCD-10
2005 Pull My Finger (You Guys) YGCD-11
2008 No Ordinary Dummies

BOX, The
Jean-Marc Pisapia (vocals, keyboards)  / Guido Pisapia (keyboards)  / Jean-Pierre Brie (bass)  / Guy Florent (guitar; 1984)  / Luc Papineau (electronics)  / Claude Thibault (guitar; replaced Florent) / Sylvain Coutu (drums; 1984-85 tour only) / Philippe Bernard (drums; replaced Coutu)
In 1981, Montréal keyboardist Jean-Marc Pisapia was a member of Men Without Hats. After a short period (and prior to their world success), he left the band to write tunes with fellow electronics whiz Luc Papineau (who had been lighting man for Men Without Hats). Several months later, Jean-Pierre Brie and Guy Florent were recruited. For a period they called themselves Checkpoint Charlie before Florent suggested the name The Box. Meanwhile, Men Without Hats producer Marc Durand had established his own record label with former Anthem Records man Tom Berry called Alert Records. After Durand produced The Box’s winning entry in 1983’s CKOI-FM Homegrown contest, The Box became Alert’s first signing and Jean-Marc’s brother Guy Pisapia was added to take over the main keyboard chores while Jean-Marc focused on vocals. Their debut album, a mostly English language ‘The Box’, was released in 1984 and spawned two singles, “Walk Away” and “Must I Always Remembers”, helping to push sales of the album to a modest 10,000 copies. When recording the second album ‘All the Time, All the Time, All The Time Guy’ Florent had left and was replaced by Claude Thibault. Two new elements were added to the Box’s sound: female backing vocals by a very young Sass Jordan, and permanent drummer Philippe Bernard who was assigned the task of replacing the drum machines. The Box were nominated for a ‘Most Promising Group’ JUNO Award and received a 1985 Felix Award for ‘Group Of The Year’ mainly due to their single/video for the French-meets-English language cross-over hit “L’Affaire Dumoutier (Say To Me)”. 1987’s ‘Closer Together’ went platinum on the strength of three hit singles. Along with the single/video for the title track, the band created a 22 minute charity video of the song for Leukemia Canada featuring members of the Montréal Canadiens hockey franchise. After touring ‘Closer Together’ for more than 18 months, the band took 6 months off to recover before coming back with 1990’s ‘The Pleasure And The Pain’ which had been recorded in England with Martin Rushent (Human League, The Go-Gos). Wiht a new American deal with Capitol-EMI in Losa Angelese there were great expectations but the album failed to make significant in-roads on radio and at retail in the United States. After 10 years and 400,000 copies of their albums having sold worldwide, The Box disbanded in 1992. Jean-Marc re-emerged in 1995 with a solo album ‘John of Mark’ on Alert Records. Several years ago Jean-Marc Pisapia was approached to do some Box reunion shows, but none of the original members were keen on returning to the music business, and so, the vocalist forged ahead with a new line-up and The Box returned with a new CD in 2005 called ‘Black Dog There’

1984 Walk Away/War Going On (Alert) BDS-500
1984 Must I Always Remember/The Great Summer Fair (Alert) BDS-501
1984 Dancing On The Grave/Live On T.V. (Alert) BDS-504
1984 Dancing On The Grave/Live On T.V. [12″] (Alert) CMBD-004
1985 With All This Cash/For The First And Very Last (Alert) BDS-507
1985 L’Affaire Dumoutier (Say To Me)/Remnants (Alert) BDS-510
1985 My Dreams Of You/To What We Shall Believe (Alert) BDS-512
1985 My Dream Of You [12″] (Alert) MBD-009
1987 Closer Together/Without Love (Alert) BDS-519
1987 Closer Together (54th Street Mix) [12″ 4 song EP] (Alert) MBD-010
1987 Ordinary People/Front Cover Lovers (Alert) BDS-522
1987 Ordinary People [12″] Alert SBD-018
1987 Crying Out Loud For Love/Tell Me A Story (Alert) BDS-524
1987 Crying Out Loud For Love/Tell Me A Story [12″](Alert) SBD-020
1988 I’m Back/Under My Skin (Alert) BDS-528
1989 Inside My Heart (Alert/Capitol-EMI) 79652
1990 Carry On/Living On Borrowed Time (Alert/Capitol-EMI) BDS-544
1990 Temptation (Alert/Capitol-EMI)

1984 The Box (Alert) BD-1000
1985 All The Time, All The Time, All The Time (Alert) BD-1003
1987 Closer Together (Alert) BD-1005
1990 The Pleasure And The Pain (Alert/Capitol-EMI) 7949532
1992 A Decade Of Box Music (Alert)
2003 Always In Touch With You: The Best Of The Box (Konfit) 5205
2005 Black Dog There (Komfy/Universal) KOMFY-1

BOYD, Barry
Born: Vancouver, British Columbia
Died: 2001

Wishing/Who You Been Lovin’ (Donna) DO-1363
1962 You’re For Me/The Price of Love (Barry) B-3092X

Goin’ Home To Memphis/Walk With Me (Barry) B-3075X

Malcolm Burn
(vocals, keyboards)  / Tony Lester (guitar, backing vocals, guitar synth)  / David Porter (percussion, backing vocals)  / Jeff Packer (percussion, backing vocals)  / Wayne Lorenz (bass) / Billie “Bucko” Brock (drums, backing vocals)
Formed in 1981 in Toronto where they began as a pick-up act doing speak easies and underground clubs before debuting on Queen Street. Early exposure with their song “Mannequin” on Q107’s annual Homegrown contest/album led to exposure on Toronto radio. Toronto band Rush’s light designer, Howard Ungerleider, took the band on as manager thereby putting them in direct contact with Rush’s label, Anthem. Rush bassist, Geddy Lee, took an interest in the band and subsequently produced their debut album in 1983. The album spawned two hit singles “Melody” and “The Passion of Love”. Their song “Into the Flow” was also in the film and soundtrack album to the Canadian flick ‘Heavenly Bodies’ starring Cynthia Dale. Critics predicted a long and prosperous career for the group but alas, their sheer size (three percussionists) and conflicting personalities led to a meltdown; Burn would release one critically acclaimed solo album and became a producer/engineer originally under the tutelage of Daniel Lanois and then on his own; Brock went on to Lemmings Go Here; Lester records under the nameTones.; David Porter works at Red Rock Studios. with notes from Billie Brock and Tony lester. [also see MALCOLM BURN]

1983 Melody/Africa (Anthem/Capitol-EMI)  ANS-056
1983 Melody (Special Remix)/Africa (Capitol – EUROPE) 1C-006-2000537
1983 Melody (Special Remix)/[same] [12”] (Capitol – US) SPRO-9066
1983 The Passion of Love/Exodus (Anthem/Capitol-EMI) ANS-053
1983 The Passion of Love [12″] (Anthem/Capitol-EMI – UK) 12CLJD-324
1983 Into the Flow/The Passion of Love [12″] (Anthem/Capitol-EMI) SPE-015


1983 Boys Brigade (Anthem/Capitol-EMI) ANR-1-1040
Boys Brigade [5 song EP] (Capitol – UK) 12CL-324

Bob Bradburn was a Winnipeg, Manitoba disc jockey for CKRC-AM in the early 1960s. He recorded a number of novelty songs but is best remembered as the producer of Neil Young’s first band The Squires’ single “The Sultan” b/w “Aurora” in 1963. By the late 1960s Bradburn was working at Edmonton’s CJCA. With a move to Edmonton’s CHQT in 1970 Bradburn had the first single released on GRT Records when the label launched its satellite office in Toronto that year. The single, “Tiny Tony”, was recorded with the Jasper Place High School Stage Band and later released on a compilation album called “Happy Holidays” in 1976.  As recently as 2000 Bradburn was still working at CHQT.

Saskatoon/[FRANK CALLAGHAN] (independent) 45-Q-6694
1963 Golden Boy/The Happy Bear (PEG) CKRC-63
1970 Tiny Tony/Count Your Blessings (GRT) 1230-01
1971 Bob Bradburn’s Review (vocal)/Bob Bradburn’s Review (instrumental) (BB) BB-1

Folk artist David Bradstreet was born in England but raised in Oakville, Ontario at an early age. He studied architecture after High School, but was a follower of the burgeoning Folk music movement and so began a career as a musician. Beginning in New York City in 1968 he set about performing his folk material in coffeehouses and clubs across America. He settled down in London, Ontario in 1971, where he was able to continue his art on the folk festival/university coffeehouse circuit. Television was also a steady form of work both in front of the camera (with appearances on Ian Tyson’s Nashville North show) and behind the scenes (as the vocalist heard in a series of ‘Life Saver’ commercials). He paid his dues over the next three years with hundreds of live performances as an addition to the Texas soft-rock trio Lazarus who were a pet project of Peter, Paul & Mary’s Peter Yarrow and managed by Albert Grossman. Bradstreet would hone his songwriting skills with Lazarus’ Bill Hughes and he would form a life-long musical relationship with the band’s Carl Keesee. So it was in 1974 that Bradstreet returned to Canada and solo pursuits. Bradstreet was getting placement for his songs with various recording artists and soon Valdy had a sizable radio hit with one of Bradstreet’s most memorable tunes called “Renaissance”. Valdy’s professional association to A & M Records led to a recording deal on that label for Bradstreet himself. In 1977 Bradstreet released his self-titled debut for A & M earning him critical acclaim and a JUNO Award for ‘Best New Male Vocalist’ in 1977.  The 1978 follow-up, ‘Dreaming In Colour’, was well received though sold poorly, but Bradstreet carried on undaunted. He left A & M to form his own Street Records label to maintain control of his writing and recording output. The first release was 1980’s ‘Black & White’ but by 1982 his production work in film and television led him to suspend his live performances. Bradstreet worked with other notable artists on their recordings including those of Dan Gibson (the ‘Solitudes’ series), Bill Hughes and Jane Siberry’s debut. During the intervening years Bradstreet has been heavily involved in writing and recording soundtracks for TV and movies and providing ambient music CD releases for the ‘Solitudes’ record label. He also does collaborative instrumental work for Avalon, TheraMusic and Fisher-Price. Bradstreet returned as a performing and solo recording artist in 1999 with the ‘Renaissance’ CD – featuring guest appearances by Alan Cross, Carl Keesee of the Florida Razors, Jane Siberry and Rebecca Campbell – for which he received a JUNO Award nomination. In 2010 Bradstreet and and Carl Keesee released an album together called ‘08.20.10’. with notes from Greg Campbell, Aaron Badgley, and Brenda Bradstreet.


1977 Long, Long Road/Main Street (A & M) AM-437
1977 One Way or Another/Renaissance (A & M) AM-447
1978 This Ringing In My Ear (Midnight Song)/Ballerina (A & M) AM-459
1978 Thirty Years/Dreaming In Colour (A & M) AM-463
1981 Torpedoes In The Mainstream (Street)


1977 David Bradstreet (A & M) SP-9026
1978 Dreaming In Colour (A & M) SP-9032
1980 Black & White (Street) SR-001
1999 Renaissance (Street) SR-004
2006 Lifelines (Street) SR-005

2010 08.20.10 (Street) SR-006

Jim Cummins 
/ Trevor Jones / Stevie LaViolette
From Vancouver, British Columbia. The 1979 ‘Braineaters’ EP was a punk manifesto and featured guest appearances by Buck Cherry (Modernettes) and “Art Bormann” (aka Art Bergmann) of K-Tels/Young Canadians fame. Cummins later changed the name to I, Braineater and did experimental electronic material. [also see I, BRAINEATER]

1979 Braineaters [5 song EP] (Wrong World)
1980 Planet X [7 song 10″ Flexi-Disc] (independent)
1981 Hyde Park/School Girl (independent)
1996 Braineaters [5 song EP re-issue] (Wrong World)

“Bran Man” DiSalvio (DJ) / E.P. Bergen / Stephane Moraille (vocals) / MC Liquid (vocals) / Jayne Hill (vocals) / John Kastner (guitar)
Montréal’s Bran Van 3000, lead by mastermind DJ James DiSalvio, was formed in 1996. DiSalvio was a disc jockey, with a background in film and video (Branford Marsalis, Celine Dion, Sarah McLachlan), came up with Bran Van 3000 concept while working in New York City. As a studio project, DiSalvio called in favours from Montréal area musicians (including The Doughboys’ John Kastner) and the ‘band’ (featuring a collective of nearly 30 musicians) released ‘Glee’ in 1997 on Audiogram. The album would eventually go gold in Canada (with sales of 50,000 copies) and the “Drinking In LA” video won ‘Best Dance Video’ and the Videofact Award at the 1997 MuchMusic Canadian Music Video Awards. After impressing Capitol Records’ Gary Gersh at the South By Southwest conference in the summer of 1997, Capitol US signed the band to a worldwide deal in October. In November and December DiSalvio returned to the studio to record additional material for the re-issue of ‘Glee’. They did a North American tour starting in January 1998 and were unable to attend the JUNO Awards in Vancouver in March 1998 to pick up their prize. They played a series of European dates with Massive Attack and Bjork as well as the Beastie Boys’ ‘Tibetan Freedom Concert’ in Washington. The U.S. caught first sight of the band with an appearance on ‘Late Night with Conan O’Brien’. In the fall of 1999, “Drinking in L.A.” was featured in a British TV commercial. The song’s re-release was a big hit, settling into the Top 5 on the U.K. charts in August 1999. In 2000 Bergen took time out to record a solo album but Bran Van 3000 resumed in 2001 by releasing the album ‘Discosis’ featuring the single “Astounded” – the final recording of guest singer Curtis Mayfield before he died. A long hiatus followed and E.P. Bergen contacted Audiogram in 2006 to see if the label was interested in financing a third full-length album. After recording sessions at both Depeche Mode and Steve Vai’s recording studios, the album ‘Rosé’ was released in October 2007. A proper reunion happened at the Montreal International Jazz Festival in 2008 where the group performed tracks from the new release. In 2010 they released their fourth studio album entitled ‘The Garden’.

1997 Drinking In L.A. (Audiogram)
1997 Couch Surfer (Audiogram)
1998 Drinking In LA/Couch Surfer [6 song EP] (Capitol)
1998 Everywhere (Audiogram)
1999 Afrodiziak (Audiogram)
2001 Astounded (Audiogram)
2001 Love Cliché (Audiogram)
2007 Call Me (I’ll Be Around) (Audiogram/Universal)
2010 Grace (Love On the Block) (Audiogram)
2010 Jahrusalem (Audiogram)


1997 Glee (Audiogram)
1998 Glee [re-issue] (Capitol)
2000 Discosis (Grand Royal/Virgin)
2007 Rosé (Audiogram/Universal) CDSDLP-1133
2010 The Garden (Audiogram)


Beverly Bratty
(vocals) / Rebecca Jenkins (backing vocals; 1986) / Gina Stepaniuk (backing vocals; 1986) / Evelyne Datl (keyboards; 1988) / Ken Mhyr (guitar) / John Switzer (bass) / Al Cross (drums) / Jim Gelcer (keyboards)  / Colleen Allen (saxophone, vocals)  / Bryant Didier (bass; replaced Switzer 1986)  / Margo Davidson (saxophone, percussion; replaced Allen 1988)  / Kim Albrecht (guitar; replaced Mhyr 1988)  / Tom Griffiths (bass; 1988)
Bratty & The Babysitters mixed liberal doses of rock, reggae calypso, soca, pop and other musical genres to create a unique rhythmic experience on Toronto’s Queen Street. 1987’s ‘In A State’ was produced by John Switzer (Jane Siberry) and Jeff Wolpert. That same year the band did opening slots for comedienne Sandra Bernhard. In 1988 Beverly Bratty released a solo cassette featuring acoustic material from one of her many appearances at Toronto’s Cameron House called ‘Bratty Live at the Cameron Matinee’. Beverly Bratty is also known to moonlight as a member of the Matriphiles, and the Nancy Sinatras which also had its own spin-off act called Urge To Purge.

1987 In A State [5 song EP] (World)

Chad Allan
(vocals, guitar)  / Randy Bachman (guitar) / Robin Bachman (drums) / C.F. Turner (vocals, bass)
During the 1960’s Randy Bachman was a founding member of Chad Allan & The Expressions who would go on to fame and fortune as the Guess Who. Bachman had been slugging it out for 10 years by the time the band struck gold with No.1 hits like “These Eyes”, “Laughing” and “American Woman” and decided to leave the group while they were on top. Upon leaving the band, he released a solo album called ‘Axe’ for RCA in 1970. The album did little and Bachman found himself yearning for the creativity of a collaborative atmosphere. He called his old Guess Who cohort Chad Allan and they decided to put a new band together. Allen would supply vocals, keyboard and rhythm guitar while Bachman’s younger brother, Robin, would handle drums. The trio became Brave Belt and headed into the studio to record their debut album with Bachman doing double duty on bass guitar. As fate would have it, they landed C.F “Fred” Turner as bassist just as ‘Brave Belt’ was completed (Turner doesn’t appear on the album). The album was released in 1971 on Reprise Records. By 1972’s ‘Brave Belt II’, the band was starting to show its heavier side particularly with the new addition of C.F. Turner’s songwriting and gritty truck driver vocals which appeared to conflict with Chad Allan’s vision of the band. Allen contributions to the record were minimal and he quit before the record was released. (‘Brave Belt II’ would eventually be re-issued following the success of B.T.O under the auspicious handle of ‘Bachman-Turner-Bachman As Brave Belt’). With the limited success of the first two albums Randy Bachman began hunting for a better record deal which he found with Mercury/Polydor. By then, Chad Allan had been replaced by another Bachman brother, Tim, on guitar and the direction of the band became heavier. By this time, ‘Brave Belt III’, was the intended next record but with a new label and band direction the group changed gears, literally, and became ‘Bachman-Turner Overdrive’. with notes from Randy Bachman, Gord “Lightning” Smith. [also see CHAD ALLAN, RANDY BACHMAN, BACHMAN TURNER OVERDRIVE]

1971 Rock And Roll Band/Anyday Means Tomorrow (Reprise) REP-1023
1971 Crazy Arms, Crazy Eyes/ (Reprise) REP-1039
1972 Never Comin’ Home/Can You Feel It (Reprise) REP-1061
1972 Dunrobin’s Gone/Another Way Out (Reprise) REP-1083
1972 Another Way Out/Can You Feel It (Reprise – US) 3659
2001 Shakin’ All Over/Dunrobin’s Gone [CD single] (Bullseye)  BEP-012


1971 Brave Belt (Reprise) RS-6447
1972 Brave Belt II (Reprise/Kinney/Warner) MS-2057
2001 Brave Belt I & II [CD re-issue] (Bullseye) BLR-CD-4054

Nash the Slash
(guitar) / Michael Waite (vocals) / Percy Adler / Sandy
From Toronto, Ontario [also see NASH THE SLASH, MICHAEL WAITE]

Compilation Tracks
“Slasher” on ‘Concept’ [Gold] (Concept 376/Arc) PRP-208

John Shirreff
(vocals) / Hugh Gladish (guitar) / Jonathan Strayer (bass)  / Ken Jones (drums)  / Jonathan Davies (drums; replaced Jones 1983)  / Kevin Hunter (drums; replaced Davies) / Gary Quinn (bass; replaced Strayer) / Chris Wardman (guitar)
Breeding Ground was formed in Toronto in 1980. Their first release was an untitled 4 song 12″ single in 1982 on Mannequin Records and featured original drummer Ken Jones. They would receive notoriety with the independent 12″ single “Reunion”/”Slaughter”, produced by Jones’s drumming replacement Davies (Kinetic Ideals) in 1983 on Fringe. It was quite successful at college radio stations and ended up selling out three pressings. Davies would leave in November 1984 to complete his degree at the University of Toronto. He was replaced by Hunter. The follow-up EP, 1985’s ‘Tales Of Adventure’, was produced by ex-Blue Peter guitarist Chris Wardman (who later joined the band) and enlisted the help of Alta Moda singer Molly Johnson and Jason Sniderman on keyboards. The record made it to No.1 on the campus charts and No.60 on CFNY’s “Best 86 of ’86” based on the success of the single and video for “Happy Now I Know”. After the release of the EP, bassist Jonathan Strayer quit and the band effectively disbanded. However, Wardman and Shirreff continued writing material in Wardman’s basement along with bassist Gary Quinn and before long, the remainder of Breeding Ground was recruited back to the band for the 1986 line-up of Shirreff, Gladish, Quinn, Hunter and Wardman. Three years passed before Breeding Ground’s next release, ‘Obscurity and Flair’, which once again featured Molly Johnson and Chalk Circle’s Tad Winklarz adding saxophone. Their version of David Essex’s “Rock On” has never been released due to the flooding of the market with cover versions by Michael Damien, Bambi, and The Dave Howard Singers. Wardman claims that their arrangement of the song, played by disc jockeys at the Silver Crown Tavern, was adapted by Bambi who also frequented the club; Davies is now a writer/producer for The Great Adventure Motion Picture Co; Quinn died in 2009; Davies died June 24, 2016. with notes from John Gladish and Jonathan Davies.

1983 Reunion/Slaughter [12″] (Fringe Product) FPS-3011
1986 Happy Now I Know [w/Molly Johnson]/This Time Tomorrow (Fringe Product)
1987 Reunion/Slaughter [re-issue] (Fringe)
1989 Ceremony Of Love (Fringe)

1982 Breeding Ground [EP] (Mannequin) MANEP-3
1986 Tales of Adventure [6 song EP] [cassette contains bonus track] (Fringe Product) FPL-3022
1989 Obscurity And Flair (Fringe Product) FPL-3088
1994 Revisited (Fringe Product) FPD-3132

BREEN, Michael Born: 1960 in Nicolet, Québec]
Michael Breen grew up near Trois Rivieres, Québec and left home at 23 to pursue music after teaching himself to play keyboards. Breen soon joined a band called Concert who released one album in 1982 called ‘Vitamin’ on CBS Records. He wanted to pursue a solo career and had found a songwriting partner in Bill Sweetman, but knew that he needed English lyrics for his pop songs to have a universal appeal. After contacting Luba/Frank Marino manager Paul Levesque for leads, Levesque suggested Warner Recording artist Geoff Hughes (“Happy Birthday Kid”). The three pronged songwriting assault worked after their first collaboration, “Face To Face”, placed 2nd in the 1985 Music Express/MuchMusic National Talent Search behind East Coast act The Sailcats. Breen soon came to the attention of Alert Records owner Tom Berry who signed him to the label. Berry would executive produce and Pierre Bazinet produce Breen’s self-titled debut album in 1987. The first single from the album was “Rain” with English lyrics by the soon-to-be-famous Sass Jordan. [also see CONCERT]

1987 Rain/All the Way (Alert) BDS-523
1987 How Will I Know/Do It (Alert) BDS-525
1987 Face to Face/So Long (Alert) BDS-527


1987 Michael Breen (Alert) BD-1007

Gary Breit
(guitar) / Garth Breit (bass) / Kevin Breit (guitar) / Ian DeSouza (drums)The Breit Brothers were signed to RCA Records in 1987. Their self-titled debut album was recorded sporadically in Toronto, England, New York and at Bob & Daniel Lanois’ Grant Ave. Studio in Hamilton. It was produced by Tom Treumuth and spawned the singles “Going Down” and “Slow Train”. Gary Breit and Kevin Breit would go on to be a successful session musicians for the likes of Norah Jones, Marc Jordan, Natalie MacMaster, Lou Reed, k.d. lang, Rosanne Cash, Ian Tyson, Celine Dion, Cassandra Wilson, and Bryan Adams among others. Kevin Breit has also had a lengthy solo career and has been a member of The Sisters Euclid since the late 1990’s. The band reconvened in 1997 as The Breits and released an eponymous album that year on Alert Records.

Going Down [12”] (RCA) 8692-1-RDAA
1988 Going Down/Run From the Fire (RCA) PB-51017
1988 Slow Train/Feel My Body Shakin’ (RCA) PB-51023
1988 Wide World/Worldwide (RCA) PB-51033
1988 One Man’s Climate/Run From the Fire (RCA – US) 8773

The Breit Bros. (RCA-BMG) 8410-1-R

The Breits (Alert) Z2-81032

John Mars
(vocals) / Todd “Teddy” Fury (drums, back-up vocals)  / Temp’s [aka Dave M. Templeton] (guitar, bass, back-up vocals)  / Eddy Scuffle (bass)  / Aurelio Lanzalone (guitar, vocals; replaced Temp’s 1986)  / Mark Sinkowski (bass, vocals; replaced Scuffle 1986)  / Richard Tremblay (drums; replaced Fury 1986)
During a break in his regular role as percussionist in jazz trio Broomer, Mars & Smith, John Mars created a rock outlet for his vocal attributes in 1979 called Brian’s Children – a snide little aside in reference to the dearly departed Rolling Stones member Brian Jones. With a visit to Grant Avenue studios in Hamilton, Ontario under the engineering scrutiny of a very green Daniel Lanois, the Brantford area band released a single, “Cut Her Hair”, on Mars’ Ugly Dog Records. The single received plenty of rotation across Canada and parts of New York State. The band was subsequently joined by bassist Eddy Scuffle in the fall of that year. Mars soon returned to working in his jazz act, Stuart Broomer & John Mars, and all was quiet for Brian’s Children until the duo split up in 1986. At this time Mars decided to reform Brian’s Children with a new line-up and they released a second single, “(This Time) Take Me All The Way” in 1986. John Mars went on to record a solo cassette in 1992 called “Hay Waggon Inn” and is set to released a solo CD in October 1999 with help from Jack DeKeyzer. Teddy Fury went on to form The Bopcats and is his most recent act – The Royal Crowns – as well as running the bar at the legendary Horseshoe Tavern in Toronto. He also appears on Mars’ solo CD. with notes from John Mars.

1979 Cut Her Hair/Oh Yeah (Ugly Dog) 45-URD1


1986 (This Time) Take Me All The Way/Sixty Seconds (Ugly Dog)

1989 Electric Playground [cassette] (Ugly Dog)

Born: September 21, 1946 in Belgium
Bribosia is a Québec multi-instrumentalist and notable session musician for the likes of Carolyn Jomphe. He released a number of novelty records in the ‘70s and ‘80s as a soloist and with his acts Les Red Hots, Smash and Montréal Sound. He currently has a production facility for songwriters and recording artists called Studio BL in Deux Montagnes, Québec.

Dracula Disco (Vocal)/Dracula Disco (Instrumental) (Polydor)

Free Move/[same] [12”] (Totem/Trans-Canada)  30C-4727
1978 International Disco [Special Disco Mix – 3:20]/International Disco [4:56] (Smash Disco) SS-9702


1981 Le Reflet De Ma Vie/I Really Miss You (CIEL)

Western Union/Tu Peux Partir (Jupiter) JP-1091

Star Odyssey/Wipe Out (Totem/Trans-Canada) TO-4743
Chicken Stomp/[same] [12”] (Totem/Trans-Canada) 30C-4745
1978 Dance to the Music/My Kind of Women (Smash Disco) SS-9707

Music (Vocal/Express) (Smash Disco) SS-9700
1979 One More Time/One More Time (LP Version) (Totem/Trans-Canada) 30C-4765

Dance to the Music (Smash Disco) DS-6701

One More Time (Totem/Trans-Canada)  TO-9250
1980 Christmas Disco Party (N.S.B.) NSB-103

1998 De l’Acadie la Cute Nord [Bribosia plays piano and bass on this CD]

Gerry McGhee
(vocals)  / Mark Cavarzan (drums) / Stevie Skreebs (bass)  / Greg Fraser (guitar) / Johnny Rogers (keyboards)  / Martin Victor (keyboards; replaced Rogers 1989)  / Greg Bioleau (additional touring guitarist; 1991)
Scottish born Gerry McGhee started his rock singing career fronting Niagara, Ontario regional band The Rockers playing the usual Southern Ontario bar circuit gigs as most acts attempting to break out. ‘Kerrang! Magazine’ writer Paul Suter convinced him to go to England to front an ill-fated project that died within four months of McGhee’s arrival. He returned to Canada determined, more than ever, to make a go of things so he hooked up with musicians from all over the Golden Horseshoe as Heart Attack. They would come in third place behind The Vigilants and Eye Eye in the 1984 Q107 Homegrown contest with the song “(Breaking Down The) Barricade”. They were spotted by Honeymoon Suite manager Stephen Prendergast and under his guidance they changed their name to Brighton Rock (urban legend says the name came from a Queen song and/or from a character in a Graham Greene novel) and headed into the studio in September 1985 with producer Michael Wagener. The result was an EP called ‘Young, Wild and Free’ which sold well in England, Ireland, France and Germany. This effort didn’t go unnoticed by WEA Canada A & R rep Bob Roper who signed the band in Canada (and the label’s affiliate Atco Records picked them up for the US). In 1986 the follow-up, full-length album, also called ‘Young, Wild and Free’ produced two singles – “We Came To Rock” and “Can’t Wait For The Night” (which went Top10). The band followed up the enthusiastic response with a sold-out four show tour including the infamous Marquee Club in England. They returned to Canada as opening act on a Triumph tour in January 1987. By mid-87 the band was being featured on MuchMusic and opening for Lee Aaron on tour. The album sold upwards of 200,000 copies worldwide. 1988’s ‘Take A Deep Breath’ was produced by Jack Richardson (Guess Who). The lead off single/video was a ballad called “One More Try”. The song’s video featured Scarborough, Ontario super model Monica Schnarre. The second single, “Hangin’ High’N’Dry” was overlooked by MuchMusic for objectionable content (though Video Hits did play it). The third single, “Can’t Stop the Earth From Shaking”, met with total indifference. And though the record failed to find a distribution outlet in the US, the album sold a respectable 70,000 copies in Canada. The band went through a series of changes including ousting their manager, letting keyboardist, Johnny Rogers go and a change in musical direction for 1991’s ‘Love Machine’ toward heavier, guitar driven rock. Production chores were handled by Toby Wright. A small dispute with WEA ensued at the end of the recording sessions after the label pulled the plug on one track called “Gang Bang” which was deemed ‘too heavy’ for Canadian audiences. The single “Hollywood Shuffle” helped push the album to Gold status and Brighton Rock were nominated for a JUNO Award in 1992. On tour Brighton Rock added former The Rockers guitarist Greg Bioleau. The band eventually fell out of favour in the prevailing Grunge movement during the early ’90s. The band fell apart shortly thereafter. Fraser joined Helix as their guitarist briefly; McGhee started a very successful export business. In 2001 the classic line-up of the band reunited and played throughout Southern Ontario. A new live ‘best of’ was released in 2002 called ‘A Room for Five – Live’. The band would reunite again in 2008 to play a benefit show to help Coney Hatch member Carl Dixon who was seriously injured in a car accident. Fraser & Skreebs are currently members of Fraze Gang. with notes from Gerry McGhee and Stevie Skreebs.

1986 Can’t Wait For the Night/Jack Is Back (Flying Fist/Head Office)
1986 Can’t Wait For the Night [single mix w/guitar solo]/We Came to Rock (WEA)
1986 Can’t Wait For the Night/Can’t Wait For the Night (Remix)  [12”] (WEA) PRO-551
1986 Change of Heart/[same/ [12”] (WEA) PRO-558
1987 We Came To Rock/Young, Wild, and Free (WEA – JAPAN) P-2210
1988 One More Try (Remix)/One More Try (Single Edit) (WEA) PRO-643
1988 One More Try/Shootin’ For Love (WEA) 25-76657
1988 We Came To Rock [12”]  (WEA) PRO-650
1989 Hangin’ High and Dry/Power Overload (WEA)  25-75267
1989 Hangin’ High and Dry [12” – 4 mixes] (WEA) PRO-656
1989 Can’t Stop The Earth From Shaking (Bigger Business/WEA)
1991 Hollywood Shuffle (WEA)


1985 Brighton Rock [EP] (Flying Fist/Head Office) FFEJ-11001
1985 Brighton Rock [EP] [re-issue] (WEA) 25-29341
1986 Young, Wild And Free (Atco/Atlantic/WEA) 25-30551
1989 Take A Deep Breath (Bigger Business/WEA) 25-59691
1991 Love Machine (WEA) CD-74987
2002 A Room For Five – Live (Z – Europe) ZR-1997-066
2006 Essentials (Warner Music) 262476

Graham Brown
(guitar) / Mark Findler (guitar) / David Glenn (bass) / Rick Vee (drums)
This 4-man line-up from Vancouver, British Columbia was formed in 1985 and dished out power pop with enthusiasm. They centred their sound on acoustic guitars, solid rhythms and good vocals enhanced with harmony lines. After only 4 months together, Brown and Findler released ‘Happy Man’ in 1985 on cassette which subsequently went to No.1 on College Radio stations nationally.  Zulu Records scooped the act up and re-issued the material as a proper 12” EP.

1985 Happy Man [cassette] (independent)
1986 Happy Man [4 song 12″ EP] (Zulu) ZULU-3
1986 Shotguns, Cacti & Vengeance [cassette] (independent)

Fraser Loveman
(vocals)  / Joe Colonna (bass)  / Robbie Jeffrey (drums)  / Greig Foster (guitar) / Mike Gorgichuk (guitar)
With the invasion of the Beatles in 1964 and the subsequent British Invasion later that year, the North American music industry was turned upside down trying to compete and capitalize on the new music explosion. In 1963, a St. Catharines Ventures-styled band called The Lintels were already aware of the British turmoil before it ever made it to Atlantic shores and so in late-’64/early ’65 The British Modbeats were born. They were quick to jump on the craze and were the first to wear paisley, bell bottoms and shaggy hair which worked in driving Ontario teens out of their minds. The band performed a lot of cover tunes, but the fans didn’t care. They couldn’t get enough and so, to fill the demand, the British Modbeats released the Doris Troy song “Whatcha Gonna Do About It” in 1966 followed by their debut album ‘Mod Is The British Modbeats’ in 1967. The album spawned a hit single in “Somebody Help Me” followed by two others. The group would rise to the occasion with opening slots for The Rascals, The Byrds, The McCoys and play Expo ’67 plus a pit stop at The Scene in New York City. But with the change in attitudes during the Beatles evolution on ‘Sgt. Pepper’ and ‘The White Album’, the hippie movement had taken hold and the British Modbeats split up in September  1967. They subsequently turned down an offer to record with Phil Spector in Detroit feeling that the US was not a particular avenue they cared to pursue. Some of the members joined Looking Glass (different than the US band who had the hit “Brandy”). Fraser Loveman seemed to have the most success with appearances in theatre starring in “Hair” and “Annie Get Your Gun”. He formed the Fraser Loveman Group with David Burt in October 1968.  He also had a 1920’s styled dance act before playing in the band The Village S.T.O.P. from 1968-1970 and the Yenmor Blues Band from 1972 to 1973. He went on to work in a paper mill for 17 years and owned the St. Catharines concert hall Rock III. The British Modbeats reunited in 1988 for some one-off nostalgia revues focusing on original material that showcased at Lulu’s in Kitchener and Prudhommes. Loveman would move on to Cafe Bizarre and continued writing new material with Modbeats member Joe Colonna in a 8-piece band called Modbeats – Black, White & Blue; Fraser Loveman died from complications of pneumonia April 6. 2018. with notes from Fraser Loveman, John Mars, Jennifer Marcoux.

Whatcha Gonna Do About It/Price of Love (Red Leaf)  TTM620
Love’s Just A Broken Heart/You’re My World (Red Leaf)  TTM-625
Somebody Help Me/Ain’t Nobody Home But Me (Red Leaf)  TTM-632
Try To Understand/Sorrow (Red Leaf) TTM-636
Frustration/Love of the Loved (independent)

Mod Is (Red Leaf)RED-1002
1998 Mod Is [CD re-issue] (Flash – Germany)

Rick Elger
(vocals, rhythm guitar) / Bob Allen (guitar) / Kirk Armstrong (bass) / Andy Bator (organ, piano)  / Dave McCall (drums)
The British North American Act was a 1960’s psychedelic band based out of Montréal, Québec featuring an international line-up who originated in Hungary, England and Canada. Their only album, ‘In the Beginning’, was released in 1968.

1968 Joe Cool/The World Will Understand (Now) 600

1968 In the Beginning (Now) RSS-6700

BRITT, Tommy
Tommy Britt found a small amount of success with the single “Lonesome Heart” which peaked at No.41 on the CHUM Chart on September 30, 1957. However, he found a nominal amount of success in Canada and the US with “Ella, A Fella and A Striped Umbrella” reaching No.31 on the CHUM Chart in August 1962 and No.32 in the US. Tommy Britt now lives in New York, and sings with a popular Big Band. with notes from Tommy Britt, Ron Hall.

1957 Lonesome Heart/Dear Love (London)  M-17017
1959 Fabulous Fantastic and Fifteen/The Same Girl (Unison) 45-201
1959 You Know How Things Get Around/Girl Crazy Guy (Unison) 45-202
1962 Ella, A Fella And A Striped Umbrella/Two Blocks Down, Turn To The Right (Arc) 1012

Nova Scotian native Dave Britten was managed by Sandy Gardiner of Dasanda Productions in Ottawa and was groomed to be the next teen crooner a la Terry Black. He was backed by Ottawa band The Characters before getting signed to Capitol Records in 1965 as a solo act. Britten had a minor hit with the song “Falling Tears” in the Fall of 1965. Winnipeg’s The Eternals would cover the tune as a 1968 single. with additional notes from Bruce Ireland.

Falling Tears/But Then (Capitol) 72290

I Want to Tell You/Loneliness (T.M.A.) TMA-001

Brock & Friends was a communal project with various artists led by Brock Tully who released one album called ‘Coffeehouse’. The record featured a cult hit in the song “Gentle Jonathon” through airplay in the British Columbia interior. Tully would go on to write eight books and became an internationally recognized motivational speaker. He’s the co-founder of ‘Clam Chowder For the Soul’ and ‘Porridge For the Soul’ events as well as the Founder of Vancouver’s Greenhouse Books and a co-founder of KindActs Non-Profit Society. His CV includes being a counselor and psychologist as well volunteer at crisis centers and aids in drug rehabilitation in the Vancouver area. He’s also a survivor of two epic 10,000 mile bicycle tours. His musical contributions include being originator of ‘Music on the Beach’. with notes from Steve Hesketh.

197- Coffeehouse

Edward Kay
(vocals, synth, guitar, percussion) / Jim Lysowycz (guitar, synth, vocals, percussion)
Toronto duo that played  cold wave/pop in the vein of Gary Numan. Their only single was co-produced by Andrew St. George.

1984 Nightstalking/Through the Glass (Apperception) APR-001

Danny Middlebrook (he shortened his name to Brooks in the ’80s) was born and raised by a God-fearing father in Toronto, Canada. After a fight with his father over the evils of music, he left home at fifteen and moved into an apartment around the corner from the Colonial Tavern. The management allowed Brooks to watch Taj Majal, Muddy Waters, Otis Rush, Howlin’ Wolf, John Lee Hooker and many more blues legends from the upper balcony — just so long as he promised not to drink. Brooks’ family attended a predominately white church “with a black attitude,” while he was growing up in Toronto, where he was encouraged musically by a lady at church that was the pianist. She took him under her wing and allowed Brooks to bring his guitar to church where she would teach, and encourage him. Brooks’ older brother, Greg, turned him onto Solomon Burke, Joe Tex, and Bobby Blue Bland, and that laid the bedrock for his future writing and vocal stylings. After years of struggle in the Rock n’ Roll trenches of Toronto, Nashville and Los Angeles, addiction to alcohol, speed and heroin, as well as a monstrous spiritual and physical breakdown in the mid-1980s and a life-changing rehabilitation at Toronto’s Donwood Institute, Brooks has emerged as a new star in contemporary Gospel music.

Anaheim Blues/Texas Ain’t Got… (Cabbage Town) CT-002


1990 …After the Storm (Duke Street) DSR-31064
199-  It’s A Southern Thing (HIS House)
2000 Righteous (HIS House)
200-  Soulsville (HIS House)
200-  Rock This House (HIS House)
2007  No Easy Way Out (Rockin’ Camel)

BROOKS, Dianne
Born: Gwendolyn Dianne Brooks on January 3, 1939 in New Jersey, USA
Died: April 29, 2005 in Toronto, Ontario
US born Dianne Brooks began singing in church as a young child. She joined the New Jersey act The Three Playmates who released three singles in the summer of 1957 including the radio hit “Sugah Wooga” on Savoy Records and managed to tour with Little Richard. Following the pregnancy of one of the group members, their manager dropped them and the act soon found themselves without a recording contract as well. Brooks would join another R & B act and while making trips to Southern Ontario to perform in the late 1950s, Big Band leader Billy O’Connor became her agent. O’Connor was soon busy getting her work at clubs, benefits and on the road throughout Ontario, Québec and New York State. Her first Canadian record was a novelty single promoting a toy entitled “The Orbiteer Twist” on RCA Records with Billy O’Connor and His Orbiteersmen (whose guitarist was a young Robbie Robertson on his first recording session). She kept busy with appearances on the Tommy Ambrose hosted ‘While We’re Young’ TV show. In 1966 she was signed to Verve-Folkways and returned to New York that fall to record with bassist/producer Harvey Brooks. Two singles were released in 1967 – “In My Heart” and “Picture Me Gone” (two additional songs recorded in November 1966 remain unreleased).  She would also do a stint with Count Basie and then join Toronto’s The Soul Searchers before taking another stab at solo work when she was signed to Mort Ross’s Revolver Records. She released the “Walking On My Mind” b/w “Need To Belong” single in 1969. Both songs would subsequently be released on compilations by Pink Elephant Records in The Netherlands. A full album followed in 1970 entitled ‘Some Other Kind of Soul’ which featured the guitar work of Lenny Breau. Also that year she’d lend her vocal abilities to Dr. Music’s debut single on GRT Records called “Try a Little Harder”. A three year run at George’s Spaghetti Factory in Toronto saw Brooks as featured vocalist for The Canadian Boss Brass. She made appearances on Kenny Rogers’ ‘Rollin’’ TV show as well as ‘The Midnight Special’, ‘The Dick Clark Show’, and ‘The Lou Rawls Special’. Session and live work as a backing singer seemed to suit her talents and she would sing for Bette Midler, Boz Scaggs and The Boss Brass and appeared on recordings by Funkadelic, Herb Alpert, Dusty Springfield, Emmylou Harris, Gino Vannelli, and Anne Murray. In 1974 she released a CBC Radio demo production  singing songs co-written with John Capek. In 1976 she toured her own nightclub act and landed a new record deal with Reprise in the United States. The resulting album was ‘Back Stairs of My Life’ featuring help from top names like Bonnie Raitt, Amos Garrett, Anne Murray, plus members of Motherlode, Little Feat, and The Soul Searchers. One single was released – “Kinky Love” – and despite her 1978 appearances as Laverne Baker in the movie ‘American Hot Wax’ and singing the title track to the movie ‘Thank God Its Friday’ (with the fictitious group Love & Kisses) her career failed to take off  stateside. Brooks changed management and did manage to tour Australia in 1979. She moved to Los Angeles in the early 1980s to perform with the group Kitchen and would then transition into dance music after a move back to New York. She had a minor dance club hit with the 12” single “Drums” in 1981. Brooks died on April 29, 2005 due to complications from C.O.P.D.  with notes from Nicholas Jennings, Bill Munson [also see DR. MUSIC]

The Orbiteer Twist/My Orbiteer Will Come (RCA/Victor) 57-3292
In My Heart/I Just Don’t Know What To Do With Myself (Verve-Folkways)
1967 Picture Me Gone/Sometimes I Wonder (Verve-Folkways) KFS-5055
Walkin’ On My Mind/Need to Belong (Revolver) REVS-001
1970 Show Him (He’s Not Alone)/Show Me (Revolver) REVS-003
1976 Kinky Love/Brown Skin Rose (Reprise) 1366
1981 Drums/Go Away [12”] (Town House) 7561

Giddy-up-a-ding-dong/It Must Be Love (Savoy) 45-1523
1957 Sugah Wooga/Lovey Dovey Pair (Savoy)  45-1528
1957 Give Your Love to Me/(Do-oo, Do-oo) I Dreamed (Savoy) 45-1537

Some Other Kind of Soul (Revolver) RLPS-503
1975 Dianne Brooks [5 song EP] (CBC Radio Canada) LM-404
Back Stairs of My Life (Reprise) R-2244

Stuart Broomer
(piano)  / John Mars (drums, digital & analog synths)
Formed originally in 1973 as a trio called Broomer, Mars & Smith, Stuart Broomer and John Mars became a duo in 1979 (after Mars did a brief stint in Brian’s Children) and frequented Universities and community theatre throughout Ontario, Québec, Michigan and New York. Their lone album was ‘Annihilated Surprise’ in 1983 on John Mars’ Ugly Dog Records. Although neither musician sang in the act, their concerts often featured the services of guest soloists such as Michael Snow (trumpet & piano), the late Graham Coughtry (trombone), Doug Wilson (flugelhorn), and Lloyd Garber. Occasionally the duo incorporated the poetic prose of Vic d’Or (aka Victor Coleman).  In March of 1986 they retired their duo and the two pianists delved deeper into playing progressive oriented music with an experimental edge which gained them some successful public and college radio play. Move Records signed them in Edinburgh, Scotland to release Stuart Broomer & John Mars recordings in the UK. But with their live act retired, the recording partners had no outlet to promote their recording effort and parted company. Stuart Broomer can often be seen in various magazines and newspapers reviewing jazz & blues recordings; John Mars revived Brian’s Children as ‘The Children’ and released a single in 1986 and a cassette-only album in 1989 (‘Electric Playground’). He went solo in 1992 at which time he released a cassette-only album, ‘Hay Waggon Inn’. This was followed by his first CD release called ‘Whasup?’ in October 1999 on Blue Star Records with help from Jack DeKeyzer (ex-Bopcats), Teddy Fury (ex-Bopcats), and Gord Lewis (Teenage Head) among others. with notes from John Mars.

1983 Annihilated Surprise (Ugly Dog) 33UDR2

Bill Wallace
(bass) / Kurt Winter (guitar) / Vance Masters (drums)
Brother featured three future members of the Guess Who. [also see THE GUESS WHO]


1970 Second Time Around The Woodpile/Spending Money (Nimbus) 9-9014

Anthony Feltrin
(vocals) / Kenny MacDonald (organ) / Kirk MacDonald (sax, vocals) / Robert MacKinnon (drums) / Richard MacKinnon (bass, vocals) / Gary White (guitar, vocals)
This band, featuring two sets of teenaged brothers, were from New Waterford, Cape Breton. They recorded a full-length LP in 1973 for Audat Records. A subsequent independent single called “Hard On Me” garnered them hit radio airplay nationally. Aquarius Records, searching for the next April Wine, traveled to Port Hawkesbury to see them perform which led to a recording contract. The group was sent to Toronto record a single but the band was uncertain about the financial future of the music industry (and their place in it) and, instead, disbanded to allow various members to go to university. Richard MacKinnon teaches folklore at Cape Breton University, and still occasionally plays on the weekends; Robert MacKinnon is now vice president of the University of New Brunswick (including the Saint John campus); Kirk MacDonald teaches music at Humber College in Toronto, Ontario and tours the world as an award-winning, renowned musician; Kenny MacDonald has won awards for his audio engineering work at CBC Halifax for shows such as ‘This Hour Has 22 Minutes’ and Rick Mercer’s ‘The Mercer Report’. with notes from Glen Bourgeois and Richard MacKinnon.

1974 Hard On Me/You’re So Afraid (B.One) C-1507

1973 Brothers and One (Audat) 477-9038

Alec Somerville (banjo)  / Howard Duffy (guitar 1963-1966)  / Larry Reaume (guitar) / Ken Clarke (bass 1963-1965)  / Bob Lee (bass; 1965)
Satirical singing group formed in Windsor, Ontario in 1963 by four policemen who were inspired by the Kingston Trio. They gave their first appearance November 22, 1963 at a police banquet in Sandwich West, Windsor. Their popularity grew with Alec Somerville’s satirical lyrics added to Howard Duffy’s music (and later Bob Lee’s) or to traditional and classical melodies. Subjects ranged from North American cultural and political institutions to sexual mores. And despite receiving little airplay (only the CBC would take on their controversial topics), their first and most successful LP ‘Oh! Oh! Canada’ sold more than 275,000 copies and was followed by 5 others for ARC Sound. Even with their success, the group maintained their full-time jobs and only performed 12 to 20 concerts per year (mostly in Ontario). The group disbanded in the early 1970’s. Somerville recorded the solo album ‘Total Nudity’ for ARC. He moved to Ireland in 1998 and recorded an independent CD called ‘North Meets South: Old-Time Appalachian Songs And Tunes’ which he released in 2004. He also the single “The Beach of Dieppe” as a tribute to the Essex Scottish Regiment of Windsor in 2005; Lee has since passed away. with notes from Alec Somerville. [also see ALEC SOMERVILLE]


1966 The Pill/K-K-Klansman (ARC) 1132
1966 Can You Say You Didn’t Know/The Carl D. Bradley (ARC) 1142
1966 Come Up to Canada/Hockey Night In Canada (ARC) 1162
1967 Christmas Madrigal/Liberal Christmas (ARC) 1194
1967 Nashville, Tennessee/Buy Now, Pay Later (ARC) 1204
1968 Pollution/100 Millimetre Blues (ARC) 1245


1965 Oh! Oh! Canada (ARC)  AS-636
1966 The Brothers-In-Law Strike Again (ARC)  AS-684
1967 Expose ’67 (ARC)  AS-257
1969 Onward The Establishment (ARC)  AC-267
1970 The Pill (ARC) ACS-5007

Born: Lockeport, Nova Scotia
Ross began playing guitar at the age of nine and soon played at social functions including dances and garden parties. As he became more popular through Nova Scotia he stretched musically from country into other genres which made him an in-demand accompanist for many bands and solo singers. He sould found a calling to appear on radio through Nova Scotia, New Brunswick, and Ontario – which gained him notoriety that led to work opening concerts for larger American acts on tour through Canada. Following several appearances on television with legendary band leader Don Messer, he joined the staff at CJCH-TV in Halifax. He would soon appear on TV again with The Bluenose Boys on the show “Cross Canada Barn Dance.” Between these appearances he also played guitar with The Countrymen. Later he would be invited to supply music for Montreal station CHAU-TV where he was able to spread his musical arrangements and guitar playing to a French audience. Aside from being as session musician for many artists on the Banff  Records labels in 1963, he recorded a solo album and a single.

Bridgewater Boogie/Rustic Dance (Citadel)  CT-3150

The Magic Fingers of Ross Broughm (Banff) RBS-1118

BROWN, Carol
Toronto R & B/Soul singer Carol Brown’s 12″ single “Come Love Me” was produced by Leroy Sibbles. Brown was also one of the first acts signed to indie label Hardrock Records.

1986 Come Love (Cause I Need Love)/Version Love (Hardrock) HR-002

BROWN, Charity
Born: Phyllis Boltz on May 18, 1951 in Kitchener, Ontario
Charity Brown grew up in Kitchener, Ontario and her teenage years, during the ’60’s, saw her singing in several bands including Landslide Mushroom. She finally connected with Rain and stayed with them for 5 years, one album and a fistful of singles, including the Canadian Top-10 hit ‘Out Of My Mind’. After leaving Rain she hooked up with producer Harry Hinde in 1973 and he landed her an audition with A & M Records – eventually getting signed to the label. Her first releases were several singles under the name Phyllis Brown which became Charity shortly thereafter. A & M groomed Brown as a Motown stylist and she charted with remakes of “Jimmy Mack” and “You Beat Me to the Punch”. Her next single, “Take Me In Your Arms”, was cut off at the knees when The Doobie Brothers released a version at the same time and Helen Reddy managed to release a song called “Ain’t No Way To Treat A Lady” which became a hit at the same time as a similarly titled song by Brown was about to hit the racks. Despite the lousy timing, 1976 saw Brown’s “Anyway You Want”, written by Chicago’s Peter Cetera, hit paydirt. A ‘Best Of’ was released in 1977 and Brown toured extensively on the nightclub circuit for the next three years. Brown’s failure to break out of the club scene caused friction between her and management and she finally retired in 1980. Her and husband Ted Purdy (Mainline) set up a recording studio in the late ’80’s after Brown tried other jobs as a florist, a grocery store clerk and a costume designer. [also see RAIN]

1974 Jimmy Mack/Elijah Stone (A & M) AM-371
1974 You Beat Me To The Punch/Jimmy Mack (A & M) AM-375
1975 Take Me In Your Arms/Our Day Will Come (A & M) AM-391
1975 No Way To Treat A Lady/Touch Me Babe (A & M) Am-397
1976 Saving All My Love/Family Man (A & M) AM-403
1976 Anyway You Want It/Rock Me Sweet (A & M) AM-410
1976 Stay With Me/Dancing With The Soul of My Feet (A & M) AM-421
1976 Ain’t No Hurt Love Can’t Heal/Ben (A & M) AM-425
1976 Forecast (Heartbreak, Rain And Tears)/Rock Me Sweet (A & M) AM-439
1977 Hold On Baby/Ben (A & M) AM-445
1977 All The Things You Told Me [stereo]/All The Things You Told Me [mono] (A & M) AM-453
2007 No Talk Talkin’/Guardian Song (Charity Brown)


1973 Elijah Stone/More Than Missing You (A & M) AMX-357

1975 Charity Brown [aka Rock Me] (A & M) SP-9019
1976 Stay With Me (A & M) SP-9022
1977 The Best Of Charity Brown (A & M) SP-9029
199-  Lost Tapes of ’79 (Sweet Home)

BROWN, Linda
Kingston, Ontario singer-songwriter Linda Brown was signed to Irving Music Publishing in the early 1970s who helped secure her a record deal with A & M Records of Canada in 1973. Her first single, “Empty Closets”, peaked on the RPM Country Singles chart at #25 in December 1973. Her next single, “Sing-A-Long With Me”, from the album of the same name, peaked at #14 on the RPM Country Singles chart in September 1974. A third single, “Roll It On Homeward” peaked at #16 on the RPM Country Singles chart in January 1975 while a fourth single, “More and More” peaked at #25 in May of 1975. Her debut album was recorded at RCA Studios and featured backing musicians John Arpin, the Laurie Bower Singers, Al Cherney, and Larry Good among others.

1973 Empty Closets/Country Blue (A & M) AMX-350
1974 Sing-A-Long With Me/Second Hand Kisses (A & M) AM-367
1974 Roll It On Homeward (My Truck Driving Man)/Mirror, Mirror, On The Wall (A & M)
1974 More And More/I’m Crying In My Coffee (A & M) AM-383
1979 Love Don’t Grow In A One Man Show/[same] (Earth Star) ESR-001
1981 Don’t You Know I’ve Been Crying?/[same] (Earth Star) ES-322

Sing-A-long With Me (A & M) SP-9012

Born: Stephen Burns on December 27, 1956 in Richmond, Quebéc
A self-proclaimed Alternative Scat Singer, E.J. Brule from Montréal treads the line between music and comedy making the sounds of trumpet, bass, and drums all with his mouth. He does this with the aid of one microphone hanging from his glasses, another shoved two inches up the end of a stethoscope and a pre-amp strapped to his body giving him the look of “an overweight air traffic controller”. Brule’s ‘big break’ came opening for Vomit And The Zits in 1983 when he went to Montréal for the Jazz Festival. Montréal band Déja Voodoo included his tracks on their long-running Og Records ‘It Came from Canada’ compilations Volumes 2, 3 and 4. Brule independantly released a 3-song 7″ single that included “I Love Laurie” – the tale of a Saskatchewan farmer and his obsession with Laurie Anderson. In 1987, Brule had a part-time job at the famous St. Viateur Bagel Shop. A local rabbi would come in every week for 10 dozen bagels on his way to his NY State chaplaincy gigs at the Clarke Airbase and the Ogdensburg Correctional Facility on the St. Lawrence River opposite Prescott, Ontario. He got off a bus and walked over the bridge and the border to perform inside the New York State Prison. In 1988, he released a cassette called ‘Freedom of Speech’ featuring six studio songs with multi-tracked instruments and seven that were recorded live in front of 30 people in Morris Applebaum’s living room. In 1990, he performed at the Fringe Festival Circuit out West, the last of five tours that way. A combination of health and financial issues became career setbacks and instead he started writing things that required collaborators.

1986 Alternative Scat-Singer (Transmission) FL-001
Strange Consolation//My Baby Ran Off With a Carrot/My Asshole Hurts
(Og Music)

1988 Freedom of Speech [cassette] (independent)

Tom Harrison (vocals, percussion) / Grenville Newton (bass) / Don Harrison (rhythm guitar) / Bruce Faulkner (drums) / Ron Scott (rhythm guitar; replaced Don Harrison) / Ron Hyslop (rhythm guitar; replaced Scott) / Jim Elliott (bass; replaced Newton) / Jimmy Walker (bass, then lead guitar)
Formed in 1987 in Vancouver, British Columbia by Georgia Straight newspaper journalist Tom Harrison (ex-The Potatoes) as a pick-up band with his friends. When they’d finally booked their first gig, they still had no name and it was original bassist Grenville Newton who suggested Bruno Gerussi’s Medallion named after the audacious jewellery worn by ‘The Beachcombers’ TV show actor of the same on his second show ‘Celebrity Chefs’. They were initially a parody act doing 1960s garage-rock before working through original songs written, mostly, by Tom Harrison. Over time they recorded on three separate occasions with an ever revolving line-up of musicians – including Harrison’s brother, Don, who went on to form Sons of Freedom. In 1988 a finished album was in hand and Tom Harrison convinced Dave Tollington of Warner Music that with a finished master in hand, Bruno Gerussi’s Medallion was a low risk investment and were soon signed to the label. The debut album, 1989’ ‘In Search of the Fourth Chord’ was released and spawned the single “Who’s Behind the Wheel?” which managed to place on Billboard’s specialty chart. The band even performed at the TV show’s wrap party on August 4, 1990. However, with few of their albums showing up on the East Coast in retail stores and the failure to spark radio play on the back of two more singles, Bruno Gerussi’s Medallion was dropped amidst Warners’ internal staff re-assignments. As a means to make a fresh start and distance themselves from the Canadiana ‘in-joke’ of their name, the band became the less whimsical Little Games and released another album entitled ‘Guitar Damage’ before disbanding. They reunited in 1998 and recorded a live album which has never been released. Harrison, Faulkner and Hyslop would reconvene in the band Lumpy. with notes from Tom Harrison.

Who’s Behind the Wheel?/[same] (WEA)  PRO-659

Bruno Gerussi’s Medallion [12” EP] (WEA) PRO-658
In Search of the Fourth Chord (Warner) 25-64421
2004 In Search of the Fourth Chord [re-issue] (Bullseye) BLR-CD-4052

Guitar Damage

Gerry Holley (vocals) / Roger Cormier (bass) / George Hebert (guitar) / Bob Bourgeois (drums)
From Monction, New Brunswick, the Brunswick Playboys found an audience first with a TV appearance on “Frank’s Bandstand” on CBC-TV in Moncton. After making in roads in Québec they were picked up by Arc Records in 1965 where they released three singles including the French language “Trop Occupe”. Upon returning home they appeared on the Moncton CKCW-TV show ‘Pop Performance’ where Ottawa’s Excellent Records executive Alex Sherman saw them and offered them a recording contract. Their debut album, ‘Looking In On the Brunswick Playboys’, was released in 1966. It spawned one single called “Heart.”

Summer Breeze/Too Blind To See (Arc) A-1084
1965 Trop Occupe/Vent d’efe (Arc) A-1104
1965 My Heart Is An Open Book/Just Call On Me (Arc) A-1106
1966 Heart/On the Outside Looking In (Excellent) E-5004

Looking In On the Brunswick Playboys (Arc) ESP-109

Tom Treece (lead vocals, rhythm guitar)  / Roger Manning (vocals, harp)  / Don Perrish (vocals, lead guitar) / Ken Lush (keyboards, flute)  /  Jeff Benjamin (bass)  / Denny Moses (drums, vocals, congas, fiddle)  / John Vass (guitar, drums, vocals)
Allen Park, Michigan school chums Perrish and Lush were in a band called Old Friend and began jamming with ex-members of Custer’s Last Band Manning, Treece and Vass in 1972. They got together with Denny Mosese on a farm in Monroe, Michigan, where most of the members were from, and started making home demos. They performed one gig as The Amazing Vibrasonics and then changed their name to Brussel Sprout following the departure of their bass player. Benjamin was added at the point of the name change. While playing a gig in Essex, Ontario near Windsor, they were noticed by a booking agent who lined up gigs for them in Niagara Falls and Toronto allowing the band to temporarily relocate to Jordan, Ontario. A show at the El Mocombo in Toronto brought them to the attention of Hilly Leopold of Eastern Sound Studio’s A440 Productions. Gordon Lightfoot was recording the album ‘Summertime Dream’ while the band was there and they soon met him. Brussel Sprout signed a production deal with A440 and recorded three demo songs. Hilly Leopold decided to pursue a recording deal and after getting them signed to MCA, produced their self-titled album in 1975. To test the waters “Dance She Said” was released to radio as Canadian content as the production and recordings were done in Canada. The all-American group qualified as Canadian on the radio charts. With the release of the album in 1976, the second single, “High in the Rockies” followed. Alas, fame and fortune eluded them, the band split up and the members returned to the US. Perrish lives in Michigan, owns and operates construction company and continues to write and play music; Lush lives in Nashville, has continued to play music professionally and has toured with several bands; Manning lives in Michigan, teaches 5th grade and continues to write and play music; Treece lives in Michigan, worked as general manager at radio station in Monroe, Michigan and now works at radio station in Toledo, Ohio; Vass lives in Michigan, and plays in Christian band; Benjamin lives in Los Angelese and served as Controller of the 1984 L.A. Summer Olympic Organizing Committee, is Treasurer and on the Board of Directors of the Live Aid Foundation, is Director of Sony Music’s video game division, Sony Imagesoft, in Los Angeles, and manages singer/songwriter Kenny Rankin. with notes from Roger Manning and Jeff Benjamin.

1975 Dance She Said/Feeling Right Down Home (MCA) MCA-40360
1976 High In The Rockies/In The Long Run (MCA) MCA-40503
1976 Follow Me Down/Dance She Said (MCA) MCA-40638


1976 Brussel Sprout (MCA) MCA-2211

Wally Zwolinski
(lead vocals, organ, synths)  / Tom Wilson (bass) / Sandy White (bass; replaced Wilson)  /  EldonSonny’ Wingay (guitar) / Bill Robb (sax, trombone)  /  Michael Magann (trumpet)  / Lance Wright (drums; 1969-1970; 1972-1973)  / Len Sembaluk (drums; 1971)  / Bruce Gordon (trumpet, organ, guitar, bass; replaced Magann)  / Danny Smith (drums; replaced Sembaluk 1973-1978)  / John Bride (guitar, banjo ukelele) / Frank Ludwig (keyboards; 1975)  / Dennis Pinhorn (bass; 1975)  / Doni Underhill (bass; replaced Pinhorn 1975-1976)  / Chris Brockway (bass; replaced Underhill 1976-1977)  / Woody West (guitars) / Laurie Del Grande (piano, organ, synths) / Dave Breckles (drums)  / Breen LeBoeuf (bass, vocals)  / Paul Dean (guitar) / Bill Wade (drums)  / Gino Scarpelli (guitar) / Jerry Doucette (guitar)
Formed in April 1969 by Walter “Zwol” Zwolinski and former Little Caesar And The Consuls bassist/agent Tom Wilson (historically Brutus was to have stabbed Caesar – hence the new band name). Zwol ran into Sandy White, and was asked to join this new group at Tom Wilson’s request. White, in turn, brought in the son of his former music teacher – Michael Magann – on trumpet (who also knew White from their days at Thistletown High School). The original line-up also consisted of Lance Wright (drums), Sonny Wingay (guitar), and Bill Robb (sax, trombone).  Tom Wilson was able to pre-book Brutus for six months in advance on the cottage club circuit which typically had the band working weekends at The Key to Bala, The Pav, Peterborough, Sauble Beach and as far away as Ottawa. The band struggled to establish an identity and often opened for Canadian ‘name’ acts like The Guess Who and would also team up with A-level club acts from the US including a soon-to-be-famous Chicago Transit Authority (aka Chicago) who opened a show for Brutus at the University of Waterloo. Around Christmas of 1969, shortly after the recording of the single “Funky Roller Skates” for Quality Records, Michael Magann left to finish University and was replaced by Bruce Gordon (trumpet, organ, guitar, bass) who would emerge on follow-up singles like “Help Me, Free Me” for Yorkville. This first revised incarnation of Brutus split in 1971 after Zwol pushed for the band to perform full-time. In 1973, the new and improved Brutus took a page out of Britain’s glam scene and incorporated facial make-up and bizarre stage antics. Using stage props and explosive devices (and the occasional troupe of midgets) Brutus wrapped a rock show into a molten package of sexual innuendo and, of course, they would find themselves frequently in trouble for their stunts including being banned from high schools in Toronto; Walter Zwol was arrested at one gig in North Bay (which led to a ‘devil worshipping’ charge in the local papers the next day), and gigs were shutdown mid-show in many cases for Zwol’s over-the-top stage behaviour. In 1975 Brutus landed a new recording deal with GRT Records in Canada and with legendary Guess Who producer Jack Richardson, the single “(Let Me Down) Slow And Easy” was released to test the commercial waters. From there plans were put in motion to record a full-length album but immediately there was tension between Zwol and Richardson over direction of the material. Despite a full album’s worth of material being recorded in 1975 the entire session was abandoned save for “Oh, Mama Mama” which GRT released as the follow-up to “Slow and Easy” in September 1975. “Oh, Mama Mama” would reach the Top 10 at most Canadian radio stations and managed to claw its way up to No.3 on AM Radio (only being stopped from the No.1 slot by The Bee Gees’ “Nights On Broadway” and The Eagles’ “One Of These Nights”). The tune was chosen as the No.1 Canadian single in a year-end poll by the Montréal Star with nods to Zwol as the third best male vocalist behind Michel Pagliaro and Myles Goodwin (April Wine). By mid-1976 the band was teamed with producer Ralph Murphy (producer on April Wine’s early ’70s output) to try and salvage the band’s long overdue debut album. Following a regular gig at Montréal’s Cirque Electrique (Friday thru Sunday; 4 sets each night) Brutus received word that recording was to start that Monday! The band raced back to Toronto to begin recording with Murphy at Tempo Studios and with little budget to speak of, he had to make the best of a short studio session schedule. The core line-up of Walter Zwol (vocals, keys), Danny Smith (drums), Laurie Del Grande (keys), Woody West (guitar) and Doni Underhill (bass) was under the gun and worked quickly laying down the material they had been road-testing for what may have been years. In three 18-hour days, beginning on that Monday and finishing up on Wednesday, they polished off an entire album’s worth of material (and some bonus material like “King of The World”) on nearly zero sleep – just in time for a showcase gig Thursday night at the Gasworks in Toronto! “Who Wants To Buy A Song” was released as the next single and helped pave the way for the self-titled album which followed during the first week of November 1976. Immediately the album took radio programmers and critics by surprise as it was devoid of any of Brutus’ legendary insanity. In fact, the album was a balanced mixture of straight-ahead rock and melodic pop wrapped in quaint four minute packages or occasionally stretched into subdued progressive opuses. “Sailing” was released as the third, and final, single which helped cement a solid critically acclaimed album behind Brutus’ long suffering reputation as stage maniacs. The record popped up on critics choice Year-End Polls at the end of 1976;Walter Zwol would go on to record several solo records first with EMI-America and then with A & M as part of his new band The Rage; He would also work briefly as A & R man for Attic Records. Zwol continues a full-time career with his act Naked Brunch; Wingay now performs in the Toronto Soul Revival. with notes from Walter Zwol, Danny Smith, Ralph Murphy, Breen LeBoeuf and Michael Magann.

1970 Funky Roller Skates/Flyer (Quality) 1953
1970 Gimme Rock/Duck Pond (Quality) 1971
1971 Help Me, Free Me/Mistakes Friend (Yorkville)  YV-45034
1975 (Let Me Down) Slow And Easy/Tonight, Tonight (GRT) 1230-96
1975 Ooh Mama Mama/Ride Cowboy Ride (GRT) 1230-104
1976 Who Wants To Buy A Song/King Of The World (GRT)  1230-114
Sailing/Search For Tomorrow (GRT) 1230-127


1976 Brutus (GRT) 9230-1057
2000 For The People (Bullseye)  BLP-CD-4021

Wiz Bryant, “Canada’s Balladeer”, is from Penticton, British Columbia. He takes his inspiration from the countryside and from current events and considers it his duty to document the past and present day Canada as living history of Canada.

1979 Bluenose/The Gift of Peace (Berandol) BER-9072
Hinton Train Disaster (Boot)  BTX-375

1979 Ballads of Canada (Berandol) BER-9071
1981 Timberline (TMC) TMC-8002
1986 Spirit Of The North (Boot) 5BOS-7250
1989 Blue Collar Heroes (Trilogy/Electric) TR-891
1994 Earth Circle (IDAC) 1873 †

Born: April 26, 1951 in Ottawa, Ontario
Ottawa born Bob Bryden was transplanted to Oshawa, Ontario where he was a member of such bands as The Outcasts and The Christopher Columbus Discovery of New Lands Band. With much original material under his belt the Christopher Columbus band – featuring Helge ‘Rich’ Richter and Lynda Squires – became Reign Ghost who released an eponymous debut to no effect in 1968. In 1969 they recorded a second LP which was held back until 1970 and released simultaneously with the debut album of the band they mutated into – Christmas. From 1970 to 1974 Christmas (later dubbed Spirit Of Christmas) saw Bryden write and record two more LP’s – ‘Heritage’ and ‘Lies To Live By’. Both of these albums were received very well by the critical community but were considered too eclectic even for Canadian FM radio and so Spirit Of Chistmas disbanded in 1975. In 1978 Bryden was offered the job of managing a franchise store of the Star Records chain and headed up their independent record label as well. Through the label he was able to produce material for the likes of The Forgotten Rebels and Durango ’95. In 1981 Bryden returned to his own recordings and ‘See This Brick’, a self-produced solo LP, was released on his own Limited Availability label. Out of the broken pieces of ‘See This Brick’ sessions came a new band called Benzene Jag.  Together for over 4 years, Benzene Jag released one highly controversial single, recorded a six-song EP and toured southern Ontario. In 1985, Benzene Jag gave way to yet another band – the “progressive-Euro-pop” group, Age Of Mirrors. Singing and writing under the pseudonym Simon De Beaupre, Bryden released the ‘Mirage’ LP and found himself playlisted, incognito, on some of Toronto’s major radio stations. Reaction to the LP was unanimously good – but independent distribution slowed momentum. Meanwhile, Bryden began taking his religion a little more seriously and ended up recording with a fellow church goer – Belma (Diana) Vardy – and together they released ‘In One Spirit’. Age Of Mirrors went on to release a second album called ‘Screenplay’ in 1987 before Bryden decided to once again focus on his own material. Ten years after his first solo release Bryden released ‘Theatre Like This’. He has also supervised the CD re-issues of both Reign Ghost albums and two Christmas records by Laser’s Edge in New Jersey and the release of a Christmas live album through Zapp Records in Hamilton. Bryden’s third solo album, ‘Polaroid Verite’, was released in 2007. Bryden’s next album was 2014’s ‘Yorkville Days’.with notes from Bob Bryden. [also see AGE OF MIRRORS, BENZENE JAG, CHRISTMAS, REIGN GHOST]

1981 See This Brick (Limited Availability) LA-1
1987 Ditties For Kiddies [cassette] (independent)
1991 Theatre Like This [cassette] (independent) LA-2
2007 Polaroid Verite (independent) LA-007
2014 Yorkville Days (independent)  LA-008

1987 In One Spirit [cassette] (independent)

BUCK, Gary
Born: Gary Ralph Buck on March 21, 1940 in Thessalon, Ontario
Died: October 14, 2003 in Didsbury, Alberta
Though born in Thessalon, Ontario Buck grew up in Sault Ste. Marie where his music career began as singer with Ray Kovisto’s The Country Caravan on CKCY. Buck played semi-pro baseball before turning his eye to a full-time singing and recording career after signing with Toronto label Canatal Records. He released his first album on that label 1959 entitled ‘Sings Country Goodies’. Success was elusive, initially, but after signing a deal with Petal Records in the US his recording of Bobby Bare’s “Happy to Be Unhappy” reached No. 1 on Cashbox magazine’s Country Chart in 1963. He then did the same on Billboard country chart, putting him in the company with the only two other Canadians to achieve that distinction: Hank Snow and Myrna Lorrie. Buck would be voted ‘Newcomer of the Year’ by Cashbox in 1964. A string of additional hits followed in the mid-1960s including his second US hit, “The Wheel Song” in 1964), and several others that reached No. 1 on Canada’s RPM Magazine country chart. By this time Buck relocated to Kitchener, Ontario, and hosted his own TV show on CKCO-TV’s ‘The Gary Buck Show from 1967 through 1969. He also appeared on US television and would be a guest at the Grand Ole Opry in Nashville, Tennessee. Buck would sign to Capitol Canada for most of his 1970s output as he was general manager of Capitol’s publishing arm, Beechwood Music. This was followed by a stint of country hit singles on RCA. His own songs have been recorded by such pop and country artists as Bobby Curtola, Donna Darlene, Hunter, the Mercey Brothers and Orval Prophet, among many others. In 1976, he co-founded the Academy of Country Music Entertainment which later became the Canadian Country Music Association. He also administered his own Broadland Music label and GB Records. He wrote and recorded jingles and was a highly respected record producer for such acts as George Hamilton IV, Dallas Harms, Dick Damron, the Family Brown, Tommy Hunter, the Mercey Brothers, Al Cherny, Wayne Rostad, Billie Jo Spears, Johnny Duncan, Gene Watson and others. Buck served as international director of the Country Music Association in Nashville five times. He also founded the Canadian Country Music Hall of Fame. Buck continued to produce albums for George Hamilton IV and many Canadian musicians from Broadland’s Nashville and Calgary offices until succumbing to cancer October 14, 2003.

Happy To Be Unhappy/Savin’ All My Love For You (Petal – US) 1011
1963 As Close As We’ll Ever Be/Leave My Baby Alone (Petal – US) PT-1310
1963 The Wheel Song/Suit Of Sorrow (Petal – US) PT-1500
1963 I’ll Furnish The Shoulder You Cry On/Where Did You Go (Canatal) CT-602
1964 You’re Welcome To the Club/I’ve Fouled Up Again (Petal -US) PT-1740
1964 Break The News To Lisa/Just Look Behind You (Sparton) 4-1364-R
1965 Night Hawk/Back Streets Of Life (Sparton) 4-1323-R
1966 Stepping Out of the Picture/Before You Die (Tower – US) 252
1966 The Weather Man/Whatever’s Right (Tower – US) 292
1966 Elrod/If That’s All You’re Given (Capitol) 72339
1966 Sorry About That Chief/Stepping Out Of The Picture (Capitol) 72370
1967 Once Upon A Sunday/Love’s Gonna Come Back (Capitol) 72487
1968 Calgary, Alberta/Honey (Capitol) 72539
1968 Mr. Brown/Winds Don’t Blow That Strong (Capitol) 72556
1969 Little White Picket Fence/Love Away My Lonely (Capitol) 72579
1970 Wayward Women Of The World/Wild Flower (Capitol) 72598
1970 Don’t Hate – Communicate/It Ain’t No Big Thing (Capitol) 72618
1971 It Takes Time/I Saw the Light (RCA Victor – US) 74-0479
1972 When the Final Change Is Made/RR #2 (RCA Victor – US) 74-0720
1972 If I’m A Fool For Leaving/The Fool (RCA Victor – US) 74-0826
1972 Saunder’s Ferry/RR #2 (RCA Victor) 75-1062
1972 National Pastime/Sandy’s Gonna Stay (RCA Victor) 75-1128
1972 Love Away My Lonely/Don’t It Make You Wanna Go Home (Joe Brown Presents – NZ) JB-147
1972 Pokarekare/[split w/EDDIE LOW] (Joe Brown Presents – NZ) JB-148
1973 Knowing That She’s Leaving/She Needs Someone To Hold Her (When She Cries) (RCA Victor Canada International) KPB0-0026
1973 National Pastime/Sandy’s Gonna Stay (RCA Victor – US) APBO-0151
1974 What’ll I Do/Knowing That She’s Leaving (RCA Victor) PB-50028
1975 Victims/The Bad Times Were So Easy (GRT) 1230-062
1976 Summer Wages/The Bad Times Were So Easy (RCA Victor) PB-50092
1977 How Can We Divide All Our Memories [split w/AUDIE HENRY] (Broadland)
1977 A Restless Wind/Road Of No Returning Yesterdays (RCA Victor) PB-50141
1978 Bright Morning Light/Don’t The Good Times Make It All Worthwhile (GB) GBP-1003
1978 When I Want To Love A Lady (I Go Home)/Pokarekare Ana (GB) GBP-1004
1979 Wasn’t That A Party/I Wish That I Could Learn To Love Me (GB) GBP-1006
1979 I’m Glad You Finally Got Around To Me/I Wish That You Could Learn To Love Me (British Airways/Canada West) GBP-1007
1980 Alberta Bound/Calgary, Alberta (GB) GBP-1008
1982 Midnight Magic/Kentucky Lady (Dimension – US) DS-1029
1987 Blossom/I’m Glad You Finally Got Around To Me (Tembo) TS-8703
1989 Champagne And Roses/Family Bible (Tembo) TS-8901
1990 Adam And The Slogans Of Life/How Do You Feel About Making Love (To A Married Man) (GB) GBP-1090
1990 One Step Of A Two Step/One Step Of A Two Step (GB) GBP-1091

Don’t The Good Times Make It All Worthwhile/Bottles And Boxes (RCA) PB-50318

E.T. Still Means Ernest Tubb To Me/Fiddlizin’ (Quality) Q-2458

Sings Country Goodies (Canatal) CTLP-4005
1964 Sings For Everybody (Sparton) SP-222
1966 Stepping Into the Picture (Capitol) ST-6177
1969 Tomorrow Today (Capitol) ST-6283
1970 Wayward Woman of the World (Capitol) ST-6347
1971 Sings (RCA Camden) CASX-2557
1972 Cold Wind On the Mountain (RCA Camden) CAS-2617
1977 Greatest Hits Volume 1 (GB) GBP-1002
1998 Western Swing & Country

Ralph Wiber / Russell Franklin
(drums) / Charlie “Jake” Thomas (lead guitar)
North Bay act who started life in 1967 as a four-piece called The Riffkin. They added a fifth member, moved to Toronto to tap into the Yorkville music scene and changed their name to Buckstone Hardware in early 1969. They released one single called “Pack It In” on Apex. The band started touring on bills with shared management acts like Manchild and Brutus from Detroit to Montréal. In 1969 Buckstone Hardware would open a show at the Wonderland Pavillion in London, Ontario for Muddy Waters. In June 1970 they were on a bill at the CNE in Toronto called The Transcontinental Pop Festival (aka Festival Express) with Janis Joplin, The Band, Grateful Dead, Tom Rush, Delaney & Bonnie, Buddy Guy, Ian & Sylvia, Eric Anderson, Traffic, Ten Years After, James And The Good Brothers, Cat, and Sha Na Na among others. Wiber now has a family real estate business in Red Deer, Alberta; Franklin and Thomas both live in North Bay; Thomas was also in Truck and is currently leader of Jake And The Fundamentals. with notes from Ralph Wiber and Jake Thomas.

1969 Pack It In/You’re Still Feelin’ Better (Apex) 77098

Brian Gagnon
(bass, vocals; guitar 1974)  / Glen Gratto (drums)  / Paul Dickinson (guitar) / Bob Morrison (keyboards)  /  Randy Scott (keyboards; replaced Morrison) / Paul Clark (bass; added 1974)
Gagnon had been in the St. Catharines band Out of Order circa 1966-1968. He would later move on to One Lane Bridge from 1969-1971 with Pete Dowan (later a writer for Gary & Dave). Paul Dickinson had been in dozens of acts during this same period including The Serfs and Bare Necessity with keyboardist Morrison. They would eventually end up in JR Flood along with Neil Peart. When Peart left to go to Europe and then join Rush, Gratto (Kidds, Fraser Loveman Group, Doc Savage, Demian) took his place and with the departure of singer RC Skinner, the band recruited Gagnon as the new frontman and they changed their name to Bullrush in 1972. They released one single shortly after called “I Want to Be Set Free” and spent the next few years playing the Southern Ontario bar circuit. Morrison left in 1974 and was replaced by Clark. They added Clark as the new bassist and Gagnon switched to second guitar. Eventually, Gagnon, Dickinson and Gerry Mosby (from an area band out of Grimsby) were recruited to join members of Daffodil Records act Dillinger to create a supergroup called The Hunt who would record three albums. The Bullrush single was rescued and re-issued as a bonus track on The Hunt’s greatest hits package in 1995. with notes from Brian Gagnon and Gerry Mosby.

1972 I Want To Be Set Free/You’ve Sent Me Away (Vintage) 1187

Compilation Tracks
1995 “I Want To Be Set Free” on ‘Tracked Down: The Best Of The Hunt’ (Pacemaker) PACE-006

Danny L’Heureux
(guitar, vocals)  / Brian Smith (bass, vocals) / Owen Tennyson (drums, percussion) / Paul Weston (guitar, vocals)
Bully hailed from a small town north of Ganonoque, Ontario called Springfield; Tennyson would go on to play with Blue Peter and The Infidels.

Feel Much Better/Kinky Queen (House of Lords) HOL-2011

1981 To Ya (House of Lords/RCA) HLR-10005

‘Crazy’ Steve Goof 7:06AM
(vocals) / Bambi (guitar) / Mad Dawg (drums)  / Scrag (bass) / Godzilla (guitar; replaced Bambi 1985)  / Merrick “Scumbag” Atkinson (bass; replaced Scrag) / Stompin’ Al Miller (guitar; replaced Godzilla 1995)  / Baron Wasteland (second guitar added)  / Thor (bass; replaced Scumbag) / KingKonGoof (bass; replaced Thor) / Airock Shin (guitar; replaced Stompin’ Al) / John “Yngwie Grovestein” Grove (guitar, bass)  / al-Qaetor (bass) / Fetus (guitar, backing vocals) / Hardcore Dave (guitar) / Mike Anus Jack (guitar) / Gregoose (drums) / Terry Rubberstone (guitar) / Steds Dead (guitar) / T-Bag (guitar) / Mike Murderio (guitar)
The Bunchofuckingoofs “coagulated” on November 26, 1983 at the late, lamented Larry’s Hideaway in Toronto on a dare from Ruth Taylor of the band United States. The BFG’s aren’t just a band, but a communal way of life that has the band’s membership shifting as fast as its music. Vocalist ‘Crazy’ Steve, a former real-estate salesman and frequent political incumbent in Toronto’s Ward 5 Spadina Riding, keeps the faith with his band of anti-drug crusading community activated neighbourhood police force-cum-punk band. They do business of righting wrongs – like discouraging Nazi skinheads and drug dealers – from their self-made fortress of solitude called the Goofort (a punk rock version of the Warhol Factory) in what has been dubbed Goof World, better known as Toronto’s Kensington Market. The police see them as a gang and the remainder of the world sees them as one of the most aggressive hardcore acts in the world. They’ve become their own lucrative community with band members appearing in US TV shows like ‘Amerika’, ‘War of the Worlds’ and movies like ‘Short Circuit II’. They’ve built a video editing suite, band rehearsal rooms, a tattoo parlour and Canadian chapter of SHARP (Skinheads Against Racial Prejudice). They even run their own club out of various condemned buildings around Toronto called The DMZ. 1991 saw the band in it first full-fledged national tour called “Flush The Toilet 1991 Western Canadian Tour”. The band finally made a leap to compact disc with 1992’s ‘Carnival Of Chaos + Carnage’ on Fringe which was 16 tunes spanning their entire career. Bambi Goof passed away in early 2012. with notes from ‘Crazy’ Steve Goof 7:06AM.

1986 There’s No Solution…So There’s No Problem [2 x 7″ singles] (Back Alley)

1988 Drunk? Destroyed? Demolished! The Demo [7 song cassette] (Back Alley)
1992 Carnival Of Chaos + Carnage (Fringe)
1997 Totallyunfuckingmarketable (Back Alley)
1999 Barrage of Battery and Brutality (God + Back Alley)

Pierre Bundock
(lead vocals, sax)  / Martin Plante (keyboards)  / Alain Roussel (drums) / Marc Gendron (bass)  / Dominique Lanois (guitar, vocals)
The name Bündock comes from a French mythological sailor named Bündock who left his wife and child to sail the seven seas. When the child fell into the sea and drowned one day, the boy returned as an eagle and vowed to return the sailor to his wife so she would not be lonely the rest of eternity. Bündock gathered up the lost sailor souls and gave them his name, like a saviour. Similarly, in true Ramones style Bündock, the band, used this surname for all its members. The roots of Bündock date back to their high school days when they decided to move out of their respective small towns in Québec for the big time Montréal music scene. Lanois played in a band called W, while Bundock and Gendron were in a band called Wwindo. After both acts lost a talent contest in 1985, they decided to form Bündock. With the assistance of manager/producer Marc Durand (Rational Youth, The Box), helped Bündock break out of Québec with their first single/video – the English language “American Singer”. Their EP, ‘Mauve’, also got some attention outside of Québec and they toured with labelmates The Box. Other prominent acts like Gowan, Glass Tiger and Chalk Circle in Toronto helped them immensely. Their first full length album in 1988, ‘Societe Anonyme’, failed to move them any further along  a successful career path bu they tried again with 1989’s ‘Cinema’ which featured a guest appearance by France’s Celtic rockers Soldat Louis. Bündock split up shortly thereafter. The band reunited for a new album in 2009.

1987 American Singer/American Singer (instrumental) (Alert) BDS-517
1987 American Singer/ American Singer (instrumental) [purple vinyl] (Alert) BDS-018
1987 Le Corbeau/Come On Baby Tonight [12″] (Alert) BDS-521
1987 Come On Baby Tonight/Le Corbeau [12”] (Alert) BDS-017
Pris par le temps/Hello, I Love You (Alert) BDS-526
1988 Tied For Time/Forbidden Zone (Alert) BDS-529
1988 Tied For Time/[same] [12”] (Alert) BDS-022
1988 Season for Love/El Salvador (the Beat of) (Alert) BDS-530
1988 Fa La La/Fa La La (Instrumental Version) (Alert) BDS-533
1988 Never Trust (Alert) BDS-534
1989 Radio/Guillotine (Alert) BDS-541

1992 C’est L’ete (Musi-Art/MCA) MCAD-58002


1986 Mauve (Alert) BDEP-001
1988 Societe Anonyme (Alert) BD-1008
1989 Cinéma (Alert) Z1-81013

Bundock & Lanoie (Musi-Art/MCA)

Bunny Day / How’rd Pope (guitar) / Peter Morgan (vocals, keys, synths, drums) / G.B. Jones (vocals) / Wendy King (piano) / Debbie Selenger (vocals) / Leah Perlmutter (vocals)
Bunny & The Lakers were a short-lived experimental synth band from Toronto that only played live once. Jones went on to be in Fifth Column and publish several Toronto ‘zines. She later became an underground filmmaker who directed and appeared in several movies, including Bruce LaBruce’s 1991’s ‘No Skin Off My Ass’ and 1992’s ‘The Yo-Yo Gang’. She now performs with Opera Arcana; How’rd Pope was also in the Biffs and did a short run with Drastic Measures. He died in 1996.

1979 Numbers (Belsize/Caplan/Wymark) T-243330

In the early 70s, Burchill was a singer/songwriter/guitarist/fiddler with Perth County Conspiracy [Does Not Exist] and toured across Canada several times. He has recorded more than 60 original songs on five albums, first with Rumour Records, and then on his own label Will O’Wind Productions. He operated Stonetown Music Centre, his stringed instrument shop in St. Marys, Ontario, from 1989 to 2001, where he restored violins and taught guitar and fiddle lessons. Burchill released a new CD of original material in 2002 called ‘It’s A Grand Garden’ allowing him to hit the performance trail again at the Mitchell Fall Fair, St. Mary’s Harvest Festival, The Festival of Stories in Sutton and the Hamilton Festival of Friends. He was also the master of ceremonies at the Mitchell Fiddlers’ Jamboree and the Earth Day Café in pring 2003. One of his specialties is his Historical show developed for the local school board, in which he performs songs and tells stories about leaving Ireland and settling the Huron Tract in the 1840s. He uses eight instruments in the presentation. Burchill has recently made available, on CD, three previous albums: ‘Cabin Fever’, ‘Will I Ever Get To Heaven’ and ‘Hugs…Bob Burchill’. [also see PERTHY COUNTY CONSPIRACY]

1980 Four Seasons/Oh Annie (Will O’Wind) WOW-002


1977 Will I Ever Get To Heaven (Rumour)
1980 Hugs…Bob Burchill (Will O’Wind)
1983 Two Blue (Rumour)
2002 It’s A Grand Garden (Will O’Wind)

Cabin Fever (Rumour) KC-1013

Gary “Gaz” Sidwell
(vocals) / Mitch Sidwell (rhythm guitar, vocals) / Joe Frey (lead guitar) / Grant Bucowsky (bass) / Wayne Johnson (drums)
Punk band formed in 1978 in Ottawa, Ontario.

1980 Feel The Pain/Grown Up Age (MP) CCL45-553
2012 Feel The Pain/Grown Up Age [re-issue] (Ugly Pop)

Bureaucrats (independent)  [no cat.#]

BURN, Malcolm
Born: October 4, 1960 in Cornwall, Ontario
Former Boys Brigade vocalist and keyboard player Malcolm Burn found his way into engineering and production in the mid-80s through his wife Jocelyne Lanois and her producer brothers Bob and Daniel Lanois. Burn would work on sessions at Grant Ave. as cover for Daniel Lanois who was producing Peter Gabrial and U2. Eventually, Daniel moved to New Orleans and set up a new studio there with Burn as assistant engineer. Together they worked on Bob Dylan, Robbie Robertson and Neville Brothers recordings as well as fledgling songwriter Tom Wilson’s initial recordings that became the basis for the first and second Junkhouse albums (which Burn also produced). In 1988 Burn tried his hand at a solo release entitled ‘Redemption’ on Rush’s Anthem Records. The album met with critical acclaim but Burn returned to producing which he continues to do to this day. In 2001 he won a Grammy Award for his work on Emmylou Harris’s album ‘Red Dirt Girl’. In 2004 he was nominated for a ‘Producer of the Year’ JUNO Award on another Emmylou Harris project. [also see BOYS BRIGADE]

Walk Don’t Run/Josephine the Singer (Anthem) ANS-078
1988 Walk Don’t Run [12”] (Anthem) SPE-043

Redemption (Anthem) ANR-1-1053

Roy Kenner
(vocals) / Domenic Troiano (guitar) / Penti “Whitey” Glan (drums) / Hugh Sullivan (keyboards)  / Prakash John (bass)
From the ashes of Toronto’s Mandala – who formally broke up in June 1969 – Kenner, Troiano, Glan and Sullivan formed a new band with the addition of bassist John called, simply, Bush. They were working on material from a relaxed location in Arizona and eventually caught the attention of LA disc jockey Reb Foster who was visiting Arizona. Foster ran a management company and independent label called Corduroy with distribution through Dunhill/ABC Records. He agreed to management them and had a deal in place with ABC for Bush by early 1970. The band released their self-titled album in 1970 on RCA in Canada and Dunhill in the USA. The single “I Can Hear You Calling” reached No.12 in the RPM Canadian content chart, reached #80 on the Top 100 singles chart, and the album reached #69 on the Top100 albums chart. They toured large venues with label mates Steppenwolf and Three Dog Night leading to Three Dog Night’s recording of “I Can Hear You Calling” as the B-side of their successful single “Joy to the World”. The song was co-written by Troiano, Kenner, Glan and Sullivan. However, in the midst of all this ABC sued Corduroy and money wasn’t being directed to the band. Soon they were broke and the band needed to split up so they could try and find alternate work. They officially disbanded in 1971. Through their affiliation with the ABC label, Troiano and Kenner moved on to replace Joe Walsh in The James Gang who were still signed to the label; Glan and John would both become tour and recording session players with the likes of Lou Reed and Alice Cooper among others; Sullivan died in 1978. When the 1990s British alternative band Bush attempted to release records and perform in North America, Domenic Troiano (who still owned the rights to the Canadian band name) had them change their name for the North American market to Bush X.  To emphasis the original Bush’s historic place in music, Troiano remastered and re-released their album to renew the copyright on both the music and the name. In April 1997, in a well publicized press conference it was announced that Troiano had agreed to let the British band use the name Bush in Canada without the suffix ‘X’, in exchange for donating $20,000 each to the Starlight Children’s Foundation and the Canadian Music Therapy Trust Fund. Troiano died of prostate cancer in 2005; Kenner has continued in the jingle business; Glan still does session work; John has led his band the Lincolns for nearly 30 years and went on tour in 2011 with Alice Cooper guitarist Dick Wagner.

1970 I Can Hear You Calling/The Grand Commander (ABC-Dunhill) D-4252


1970 Bush (RCA) D5-50086
1981 Bush [re-issue] (Freedom) FR-009

Randy Dawdy
(drums, congas, vocals, percussion, timpani) / Steve McCann (keyboards, bass, guitar, vocals, percussion)London, Ontario’s Busker is a two-man band featuring Dawdy and McCann who first collaborated in a high school revue of the musical ‘Hair’. On Labour Day 1973, they decided to form Busker. Their debut album, ‘On Any Street Corner’ was recorded in 1975 and released on Looney Bird Records in 1976. Though their earliest leanings featured Prog Rock motifs they would delve into jazz and electronic music and toured tirelessly through 1984 when they released their last LP ‘Blitzkrieg’; McCann earned degrees in music theory and composition and won an Ontario Arts Council songwriting competition and would become a bar owner before returning to music to record a trilogy of solo albums; Dawdy would play, briefly, in a version of Max Webster, Whitehorse, David Hoy, The King Street Daddies, and Wrif Wraf. The duo returned to the studio for 2007’s ‘Northern Fantasies’ and additional albums have appeared since. with notes from H.T. Riekels and Dave Harris.

Sleigh Ride/Winter Whispers [no label] BK-004

On Any Street Corner (Looney Bird) BU-1004
Impressions of a City [no label] BK-002
1981 Shakin’ All Over [no label] BK-003
Summernightmusic [no label]
Blitzkrieg [no label]
Northern Fantasies [no label]
Travels With Anna Logue [no label]
1973 to 1983 [no label]

Paul Butler
(guitars, vox) / Dave Kiswiney (bass) / Peter Fredette (bass, lead vocals) / Steve Hollingworth (drums) / Derek O’Neill (touring guitarist) / John Findlay (keyboards)
Ottawa act featuring former Canada Goose member O’Neill and future Kim Mitchell Band member Fredette. Hollingworth had been a drummer for The Cooper Brothers and Pat Travers before joining Butler. The band signed to Polygram Records where they toured extensively with artists like Rush, Max Webster and Ian Thomas. In recent years Hollingsworth has played with Fist, The Five Man Electrical Band as well as Les Emmerson’s Ottawa Valley bar band The Hitmen as well as backing artists like Celine Dion, Alanis Morissette, Ray Charles, Whitney Houston and Bette Midler; O’Neill is now living and playing in Los Angeles; Fredette runs a jingle-house/production company in Toronto and has a side project with singer/songwriter Stan Meissner called Metropolis. with notes from Richard Patterson and Steve Hollingworth.

1982 Prisoner/Down & Out [12″] (Vertigo/Polygram) SOVX-2305


1982 Butler (Vertigo/Polygram) VOG-3307

Born: Marie Nicole Butler on July 27, 1942 in Paquetville, New Brunswick.

New Brunswick native Butler became a country music fan at an early age while listening to the radio growing up. After leaving home to attend Notre-Dame-de-l’Acadie her brother gave her a guitar and she began playing for boarders in her convent. It was there that she also educated herself about her Acadian heritage and began writing music based on Acadian lore. To make ends meet while pursuing her musical vocation she would teach at various New Brunswick schools. In 1964 she made her television debut on CBC-TV’s ‘Singalong Jubilee’ performing in both official languages. She also had a leading role in the National Film Board production of Les Acadiens de la dispersion (1964). Following two years of teaching, she went to Laval University to pursue a Master of Arts degree. Her first album, ‘Chansons D’acadie’, came out in 1969 and led to her featured performance at the Canadian Pavilion at Expo 70 in Osaka, Japan. After which she continued her educational studies before delving into her music career full-time with 1973’s ‘Avant D’etre Depaysee’ LP. In 1975, following her album ‘L’acadie S’marie’, she was made an Officer of the Order of Canada. Thoughout the ’80’s she continued releasing albums and upgraded her folk stylings to include contemporary sounds including dance material. She guest starred in the CBC series The Jubilee Years in the fall of 1992. Butler was one of four artists pictured on the second Canada Post stamp series of Canadian Recording Artists in July 2, 2009. Also that year, she received the Governor General’s Performing Arts Award for ‘Lifetime Artistic Achievement’.

1969 Chansons d’Acadie (RCI) 390
1973 Avant d’être dépaysée (Columbia) FS-90156
1974 L’Acadie s’marie (Columbia) FS-90274
1976 Edith Butler (SPPS) PS-19909
1978 L’Espoir (SPPS) PS-19904
1979 Asteur qu’on est là (SPPS) PS-19905
1980 Edith Butler à Paquetville (SPPS) PS-19911
1981 Je m’appelle Edith (SPPS) PS-19916
1983 De Paquetville à Paris (Kappa) KPL-1111
1984 Un million de fois je t’aime (Kappa) KPL-1112
1985 Le Party d’Edith (Vamp) PAR-7007
1986 12 Grands succès d’Édith Butler (Vamp) PAR-7008
1986 …et le party continue! (Star) PAR-7009
1987 Party pour danser (Star) STR-8003
1990 Edith Butler (Kappa) KA-1990
1992 Ça swingue (Kappa) KA-2525
1995 Edith à l’année longue (Kappa) KA-2526
2003 Madame Butlerfly (Kappa) KA-2729

1977 C’est la récréation (SPPS) XPS-19906

Barbichon, barbiché (SPPS) PS-19914

Born: July 10, 1943
Died: February 10, 1995
Marty Butler started as a member of The Scepters in the mid-60’s. After three years with the group he grew tired of playing cover tunes and decided to strike out on his own as a songwriter with partner Bob Bilyk. Soon the duo were writing songs for the like of Les Sceptres (a different act than the one Butler was in), Trini Lopez, Ginette Reno, Tommy Hunter, and The Bells whose version of their song “Fly Little White Dove Fly” became a Canadian national hit. Butler won $10,000 in the Hear Canada Singing contest for the tune “Can You Hear The Music” which soon led to a recording contract with Columbia Records. His home base was in Montréal, but he frequently worked in Toronto to be nearer Bilyk. He went to WAM Records in the late ’70’s where he released several singles with arranger/producer Leon Aronson (also the label owner). By the 1980’s he’d moved onto RCA Records for his eponymous debut album in 1982.  Butler died February 10, 1995.

1971 To A Place Near The River/Love While You’re Livin’ (Columbia)  C4-2988
1972 We Gotta Make It Together/Evergreen Winter (Columbia) C4-3025
1972 Time/With All The Love In My Heart (Columbia) C4-3054
1972 Can’t You Hear The Music/Pillow For My Mind (Columbia)  C4-3081
1973 Once-Loved Woman, Once-Loved Man/Love Vibrations  (Columbia)  C4-3105
1973 If You Wanna Go To New York City/A Petal From Her Hair (Columbia) C4-4020
1974 Fly Little White Dove, Fly/Watchin’ the Rain (Columbia) C4-4047
1976 I Wasn’t Gonna Fall In Love/Never Been In Love This Way (Contact) 2901
1977 Lie To Myself/But For Love (WAM – US) WAM-100
1979 Never Been In Love This Way/One More Time (For Old Times Sake)  (WAM – US)
1980 Saving It Up (WAM – US) WAM-120
1981 Looks Like Love This Time/Save A Little Love For Me (RCA) PB-50701
1982 I’ll Cry Like A Man In Love/I’ll Still Love You (RCA) PB-50734
1982 Take Another Look/Sayin’ Goodbye To My Heart (RCA) PB-50716
Here We Are Again/Looks Like Love This Time (RCA) PB-50750
1983 The Morning After You/Paperback Man (RCA) PB-50775
1985 Christmas Prayer (EARWHACKS) 1-0001

1972 We Gotta Make It Together (Columbia)  ES-90092
1973 Love Vibrations (Columbia)  ES-90158
1982 Mary Butler (RCA) KKL1-0478

LINE-UP 1: Jack Pedler (drums) / Bob Johnston (Hammond B3, rhythm guitar) / Rick McIsaac (bass) / Russ McAllister (lead guitar) / David Kastle (electric piano)  / Jerry Doucette [aka J. Buxton] (lead vocal, guitar);
LINE-UP 2: Jack Pedler (drums) / Bob Johnston (guitar) / David Kastle (Hammond B3)  / Don Rowan (bass, lead vocalist)
David Kastle had been in The Mingels while Russ McCallister owned/managed a music store on Hamilton’s King St. E. and was involved in the band as a player and supplier of some of their instruments when they decided to form in Hamilton around September of 1970. The band scored several singles (at least one of which was engineered by a very young Daniel Lanois) on both RCA and then Reprise following their line-up change. Rumour has it that while performing someone from Super K Productions spotted Jerry Doucette and he was drafted into the bubble-gum hit machine stateside known as The Kasenetz-Katz Super Cirkus in 1970. The group lasted until April 1970 after which time the group mutated into The Terra Nye Project. Jack Pedler would go on to be in Hamilton punk act Teenage Head and has had a lengthy solo career as well; Jerry Doucette joined Ralph Murphy’s Roadhouse project before eventually striking out on a successful solo career. with notes from Paul Morris

1969 Kagie/Riverside Girl (RCA Victor) 75-1041
1972 Red, Red, The Rocking Horse/Lovin’ Games (Reprise) CR-4009
1972 Short McKenna/Love Is Life (Reprise) CR-4014


Born: James Thomas Kevin Byrnes on September 22, 1948 in St. Louis, Missouri , USA
Musician and actor Jim Byrnes grew up in Missouri near the Mississippi River. He took piano lessons starting at age 5 and taught himself guitar by age 13. He also began his acting career at this time with jobs doing Shakespeare In The Park which inspired him to study theatre at Boston University. But an acting career in New York was short lived after being drafted into the US Army and serving a tour of duty in Vietnam. He made Toronto his new home in 1969, got married in 1970 and then moved to British Columbia in 1971. At this time he resumed his acting career but in February 1972 was in a debilitating car accident that left him unable to act. Instead he returned to his music and toured the west coast to support himself. In 1976 he settled in Vancouver permanently and with a solid home base formed the Foreman-Byrnes Band in 1979 and placed a song on the CFOX-FM talent contest album ‘Vancouver Seeds’. Byrnes released his debut album on The Powder Blues Band label (Blue Wave) called ‘Burning’ in 1981. The album featured members of the Powder Blues Band and netted Byrnes a JUNO award for ‘Most Promising Male Vocalist’ in 1982. The following year he married again and settled into a new domestic life. In 1987, he landed a starring role as Dan “Lifeguard” Burroughs on the hit TV show “Wiseguy” which ran for 3 1/2 years. Byrnes’ band still managed to tour during this period and released the 1987 Stony Plain disc ‘I Turned My Nights Into Days’. He’s also appeared in six theatrical movies, including Patrick Stewart’s ‘Masterminds’, eight TV movies, TV guest appearances (including commercial voice-overs), and occasionally returns to the stage in British Columbia.  Byrnes was inducted into the British Columbia Entertainment Hall of Fame in 1995. His most recognizable TV role was as ‘Joe Dawson’ on the syndicated TV show “Highlander” — for which he won a Leo Award as ‘Best Supporting Actor’. He also voiced the animated character ‘Inferno’ on the animated TV series ‘Beast Wars’. 1996 saw the release of the Stony Plain album ‘That River’ and a his second JUNO Award for ‘Best Blues/Gospel Recording’.

Hands of Time/Hidden Charms (Polydor) PDS-2177


1981 Burning (Blue Wave/Polydor) PDS-6321
1987 I Turned My Nights Into Days (Stony Plain)
1995 That River (Stony Plain)
2001 Love Is A Gamble (One Coyote)
2004 Fresh Horses (Black Hen/Universal) BHMCD-475
2006 House of Refuge (Black Hen/Universal) BHMCD-932
2009 My Walking Stick (Black Hen/Universal) BHCD-0054
2011 Everywhere West (Black Hen/Universal) BHCD-0067

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