4 Daves
409, Les
45’s, The
49th Parallel
4th Floor
5 A.M. Event
Faber Drive
Fabian, Lara
Fable Manor
Fachin, Eria
Fair Warning
Fallen Leaves
Fanatics, Les
Faro’s Schmaltz Band, Wayne
Faryna, Emily
Fast Eddy
Fat Chance
Fat Man Waving
Faucon, Les
Faulds & the Strangers, Bobby
Favourite Swing Orchestra, Johnny
Fearing, Stephen
Feehan, Tim
Female Hands
Fentons, The
Ferland, J.P.
Ferraris of Canada
Ferrier, Garry
Fictions, The
Fifth Column
Fifth, The
Figgy Duff
Figures at Dawn
Filters, The
Finger Eleven
Fins, The
First Time, The
Fish in C, A
Fish in the Attic
Fits, The
Five D, The
Five Guys Named Moe
Five Man Electrical Band
Five Rising Sons
Five Shy, The
Five Sounds
Flaming O’s
Flashing Lights, The
Fleaux, Les
Fléchettes, Les
Flegmatiques, Les
Fleming Band, Mike
Fleming, Debbie
Flesh Columns
Fletcher, Lois
Florida Razors
Flower Garden
Flying Circus
Flying Colours, The
Flying Mountain
Flynn, Pierre
Foldy, Peter
Folklords, The
Foot in Coldwater, A
Footprints, The
Forbes, Roy (aka BIM)
Forbidden Beat
Forbidden Dimension
Ford, Dwayne
Foreign Exchange
Foreign World
Forestier, Louise
Forgotten Rebels
For Keeps
Forrester, Scott
Fortiches, Les
Fortune, J.D.
Foster, David
Foster, Jim
Four Lads, The
Four the Moment
Fourth Wall
Frank, Stanley
Fraser & DeBolt
Frantiks, The
Fray, Ronnie
Fredette, Peter
Free Rose Corporation
Free Thinkers
Freedom (North)
Free-For-All, The
French Revolution
Frew, Alan
Frigidaires, The
Fringe, The
Front Line Assembly
Front, The
Frozen Ghost
Fullerton Dam
Fullerton, Grant
Furtado, Nelly
Fury, Johnny Dee
Fussy Cussy

409, Les
Pierre Choquette
(bass) / Normand Boucher (lead guitar, vocals) / Robert Bertrand (rhythm guitar) / Claude Payette (drums) / Claude Levesque (rhythm guitar; replaced Bertrand 1964)
Pont-Viau, Laval, Québec’s Les 409 – named after the Beach Boys song – was formed by three high school students in September 1963 initially as a trio of Coquette, Boucher and Payette. Bertrand came along soon after on rhythm guitar. They fancied themselves a surf-guitar act in the model of the Ventures and eventually evolved to include Beach Boys material with vocals with Bertrand being replaced by Claude Levesque. After doing a three-day stint in the parking lot of a Pont-Viau supermarket to entertain shoppers, they were encouraged to get more serious. They managed one 7″ single in English called “They Said”. with notes from Andre Gibeault and Leo Roy.


1966 They Said/Born In Chicago (Teledisc) 43

Dan Lowe (guitar) / Hal Whitford (vocals) / Roydon Morice (bass; replaced Walker) / Jim Clench (bass; replaced Morice) / Brad Steckler (guitar, vocals; replaced Barre & Whitford) / Steve Nelson (drums)
Following the evolution of Calgary band Shades Of Blond into 49th Parallel and then into Painter, a number of line-up changes and an aborted album on Randy Bachman’s Molten Records led members Dorn Beattie and Dan Lowe to reform the act as Hammersmith. Hammersmith managed two albums for Mercury – ‘Hammersmith’ (1974) and ‘It’s For You’ (1976). Mercury dropped the band in 1977 but, Hammersmith stayed together until the end of 1977. In 1978 Lowe and Whitford went to Edmonton and recorded five tracks at Sundown Recorders with hired guns Bob Walker (bass), Bob Ego (drums), and Norman Durkee (Bette Midler) on piano and Martin Barre (Jethro Tull) on guitar. Two of the tracks made it onto an eponymous LP under the name 451° which also contained more tracks from an entirely different version of the band including Hammersmith’s Roydon Morice. Morice didn’t stay long and was replaced by April Wine bassist Jim Clench (via BTO). Hal Whitford was also replaced by former Whitewolf vocalist/guitarist Brad Steckler whom Lowe had worked with as a producer. After the failure of the album to gain any traction, Lowe and Steckel would form Prototype featuring Doug Riley on lead vocals.
with notes from Bill Munson, Dave Buerster, and Bob Walker.

1980 China/Santa Ana Wind (Intercan/Pickwick) CAN-10012
1980 I’ve Got The Power/It’s Alright (Intercan/Pickwick) CAN-10020
1980 Don’t Walk/Fastest Gun In Town (Intercan/Pickwick) CAN-10023

1980 451° (Intercan/Pickwick)  ICI-009

Dennis Abbott
(vocals) / Dan Lowe (guitar) / Bob Carlson (guitar) / Dave Petch (organ) / Mick Woodhouse (bass) / Terry Bare (drums) / Dave Downey (bass; replaced Woodhouse)  / Jack Velker (organ; replaced Petch) / Alf Cook (bass; replaced Downey) / Dennis Mundy (organ; replaced Velker) / Dorn (Doran) Beattie (vocals; replaced Abbott)  / Cecil Semenoff
Calgary, Alberta’s 49th Parallel were originally known in the mid-60’s as a popular bar band by the name of The Shades Of Blond. With a stifling and musically limiting Calgary club scene they were never able to get farther than having one single – 1966’s “All Your Love”. The tune would eventually pop up on a (now rare) 4 song EP next to an early incarnation of The Stampeders. As members came and went a name change was introduced as 49th Parallel and over the course of a year a solid line-up developed featuring Abbott, Lowe, Carlson, Petch, Woodhouse and Bare. The group released three singles on Gaeity Records between mid-1967 and late spring of 1968 which were all licensed to other labels for wider distribution, at which time Petch and Woodhouse left and Dave Downey was added as bassist and Velker was added on organ to replace Petch. Throughout 1968 and parts of 1969 they toured throughout North America with an ever fluctuating roster. Despite these shake ups, they did hit and run recording sessions which bore several singles for Venture Records including “Twilight Woman” that managed seven weeks on the CHUM charts with a peak position of #16 in April 1969, and its follow-up, “Now That I’m A Man”, in September 1969 which managed a modest 3 week ride on the CHUM charts and a peak position of  No.22. Velker left shortly thereafter to go to Hollywood. A full-length album was hastily assembled from singles and studio outtakes because the line-up was continually fluctuating and new recordings were impossible to conduct. This would be compounded by the immediate departure of singer Dennis Abbott following the album’s release. Enter Dorn Beattie, who, along with Lowe, and Petch’s replacement Dennis Mundy, Downey and Bare began working on another album in 1970 which was never completed, though the single, “I Need You”, did surface (and failed to chart). Eventually the band changed its name to Painter and released one album before mutating into the hard rock act Hammersmith who would finally succumb in the late ’70’s after two albums on Mercury Records. Beattie went on to create All The Rage In Paris, but that too faltered when co-founding keyboardist Doug Johnson quit to form Loverboy. Beattie, in recent years, is now a successful country singer; Lowe continued on with a new version of Painter, 451 Degrees, and Prototype (who also recorded an album). He produced albums by Qwest, Whitewolf, George Fox, Amin Bhatia, and would also be responsible for the invention of the studio production technique called Q-Sound (used by such luminaries as Pink Floyd and Madonna) . 49th Parallel found a mild revival in the mid-90’s on classic rock radio in the prairies, prompting Pacemaker Records to issue a ‘best of’ collection’. with notes from Bill Munson, Jack Velker.

1967 Labourer/You Do Things (RCA Victor Canada International) 57-3428
1968 She Says/Citizen Freak (RCA Victor Canada International) 57-3447
1968 You Do Things/ (RCA Victor – US) 47-9293
1968 Blue Bonnie Blue/Missouri (Gaiety) 612X
1969 Twilight Woman/Close The Barn Door (Venture/Quality) 1004X
1969 Now That I’m A Man/ (Maverick/Venture/Quality) 1011X
1970 I Need You/Goodtime Baby (Barry/Quality) 3518X


1969 49th Parallel (Maverick/Venture/Quality) MAS-7001
1995 The Best of 49th Parallel (Pacemaker) PACE-019

Jimmy Kwan
(synths) / James Maxwell (drums) / Tim Graham (bass) / Stephen Maxwell (guitar)
Young Vancouver band who performed electro dance with gothic pop overtones. Their single, “Black And White”, was produced by Joe Vizvary of Images In Vogue and co-produced by Dave Ogilvie (54.40). They toured with Platinum Blonde in 1986.  with notes from Maxwell Stephens.

1986 Black And White/Follow In Stride [12″] (Zesty Pete) ZP-001

Vance Master
From Winnipeg, Manitoba the band was originally called The Crescendos. The band moved to England where they were signed to Pye Records but never achieved the success they’d hoped for. Master would perform with a later version of The Guess Who.

1965 Hungry/Muddy Water (Pye – UK)

Neil Osborne
(guitar, vocals) / Brad Merritt (bass, vocals) / Ian Franey (drums; 1981-1983) / Phil Comparelli (2nd guitar) / Darryl Neudorf (drums; replaced Franey 1983) / Matt Johnson (drums; replaced Neudorf 1986) / David Osborne (keyboards; live band 1988) / Mark Olexson (keys; live band 2000) / Dave Genn (guitar; replaced Comparelli) / Tom Hooper (keys, guitar, vocals; live band 2009)
Neil Osborne met Brad Merritt in 1978 while the two were attending high school together in British Columbia. Out of high school, Neil headed off to the Berklee School of Music in Boston, while Merritt was busy applying his punk sensibilities to a home-spun band. He talked Osborne into quitting school and joining the underground movement that was now enveloping Vancouver. Osborne and, brother, David formed their first band The Loud Rangers and appeared at Brad’s family busy to 12 people. The ‘scene’ was off limits to these suburbanites and discouraged Neil Osborne folded the act and joined Merritt in England where they watched the final glory days of the active UK punk scene. Upon returning, they were energized and hooked up with drummer Ian Franey and after a few jam sessions called themselves 54.40. Merritt, the history buff, took the name from US President James Polks’ campaign cry “54.50 Or Fight” which Polk had hoped would stir the American people into pushing the border of the union up to the 54th parallel (40th minute) to the southern tip of Alaska. The pretense of this political stance would become the rallying cry of 54.40 as they made their debut on New Year’s Eve 1980 at The Smilin’ Buddha Cabaret going head-to-toe with a sold out show in town by the Godfathers of Canadian punk – DOA. Despite the competition, 54.40 charged $1.00 at the door and managed to suitably impress 100 people. The band’s aggressive stage act and Osborne’s confrontational presence attracted the attention of fellow musician/idealist Allen Moy (Popular Front) who was involved with a non-profit record collective called Mo=Da=Mu that produced and distributed their own musicians’ products. He introduced 54.40 to the collective and it was agreed that a release was in order. In the Fall of 1981, 54.40 managed to get four of their original tunes on the ‘Things Are Still Coming Ashore’ compilation. However, the band seemed to be getting the cold shoulder in Vancouver for their in-your-face approach and spent much of their time touring the US west coast attracting fans, promoters and record labels along the way. In early ’82 Mark H. Smith, a musician from Seattle, took the band into a studio and emerged with the 6 song EP ‘Selection’ which was released that summer on Mo=Da=Mu. This was followed in 1983 by a full length album produced by Allen Moy with new member Phil Comparelli (2nd guitar, trumpet) and drummer Darryl Neudorf. The album was ‘Set The Fire’ and would be their last for Mo=Da=Mu. The label was getting into financial difficulties as 54.40 were their only profitable act so Moy and partner Keith Porteous decided to become the band’s managers instead. ‘Set The Fire’ roared up the west coast through San Francisco and LA and topped college radio charts and pushed some favourable buttons in the press. Though they weren’t chasing a major label deal, they didn’t discourage being courted by the likes of CBS Records and when Kevin Laffey and Felix Chamberlain of Warner music were denied access to a sold out gig 54.40 knew their time had come. The A & R reps from Warner were very impressed with a band that could sell out a show so significantly that even the guest list wasn’t being honoured that they actively pursued the band. The band had been scraping together all available cash to continue recording at Mushroom Studios with producer Dave Ogilvie and it was a demo of these songs that sealed the deal with Warner. Engineer Dave Jerden remixed the material and the results were released in early 1986 on Warner as simply ‘54.40’ (affectionately known as The Green Album). The first single was “Baby Ran, a college radio favourite that broke ground on the Modern Rock stations in the US. The band could now tour Canada and levelled the jaded Toronto press at their Diamond Club debut in June 1986. “I Go Blind” was the next single and solidified 54.40 as a commercially viable political rock act. After the heavy touring schedule, 54.40 found their way into a Los Angeles recording studio in 1987 to hammer out the Dave Jerden produced ‘Show Me’. With this effort they achieved a slick production with keyboards augmenting their familiar buzzsaw guitar sound which yielded two more successful singles – “One Day In Your Life” and “One Gun”. Still, high profile opening slots in the US with the BoDeans and Bob Mould did nothing to increase sales and Warner began to give the band less attention in America. The band decided to reconvene on home turf and returned to Vancouver to record with Dave Ogilvie on ‘Fight For Love’ in 1989. Immediately they launched into another tour which was highlighted by a well publicized appearance in Moscow at a music festival. On their way back to tour Canada they brought back Estonian rock act Ultima Thule to open their shows – the first appearance of an Eastern Block band ever in Canada. To keep with the homegrown aspects of their idealistic belief system 54.40 decided to shop at home when their deal with Warner Brothers expired in 1990. Warner Music was still on their side (releasing a ‘best of’ called ‘Sweeter Thing’) but 54.40 wanted a record company as committed to their music as the band was. In January 1991 54.40 found a home at Sony Canada who were restructuring and looking to establish long-term relationships and cultivating their acts. A year was spent re-defining the band’s sound and stance and the result was ‘Dear Dear’ released in May 1992. The album was a monster success with four radio charting singles – “She La”, “Nice to Luv You”, “Music Man” and “You Don’t Get Away (That Easy)”. Just to show that 54.40 hadn’t gone soft, Osborne went head to head with Bryan Adams and his manager Bruce Allen over Adams’ criticism of Canadian Content regulations in an open letter to the Canadian media. Allen responded with volatile and unrelenting attacks on Osborne’s character and helped spur open debate about the issue in the Canadian music industry. Despite this supposed backlash, 54.40 were declared ‘Canadian Cultural Champions’ on the cover of a national magazine. During this entire debacle, the band toured endlessly and jumped back and forth between recording sessions in a dingy Vancouver warehouse, finishing an entire album at the end of a 6 week, 11 country European tour with Midnight Oil in the Fall of 1993. The result was ‘Smilin’ Buddha Cabaret’ named after that first club they played at in their salad days. Once again 54.40 challenged themselves and the listeners by re-inventing themselves in the wake of the post-grunge generation (a scene that they have been credited with spearheading). The album spawned another handful of radio/video hit singles – “Blame Your Parents”, “Assoholic”, and “Ocean Pearl”. The band mounted another massive Canadian tour through 1993 and 1994 and hauled around the 800 pound neon sign that they were able to acquire from the original, demolished ‘Smilin Buddha Cabaret”.  In 1995 54.40 rode the crest of a wave as Hootie & The Blowfish hit pay dirt with 54.40’s “I Go Blind”. The band were huge 54.40 fans in their early days and often played several songs by the Canadians in their set as well as driving up from South Carolina at every chance to see 54.40 play live. “I Go Blind” was originally slated for Hootie’s debut album but was bumped and ended up as the b-side to their “Hold My Hand” single. The record came to be played on the TV show ‘Friends’ and landed on its soundtrack drawing major radio play. During a summer concert in 1995 in Vancouver, Hootie and the Blowfish had Neil Osborne come on stage for an encore rendition of the song during a break in 54.40’s recording schedule at Mushroom Studios. The result of the recording sessions was 1996’s ‘Trusted By Millions’ which failed to light the world on fire but did reasonable sales. In June 1998, 54.40 released “Since When,” featuring the title track as the first single. It was produced by GGGarth Richardson (son of Canadian producer Jack Richardson). The band returned the following year with the double-CD live set, “Heavy Mellow”, and followed up in August 2000 with the new studio album, “Casual Viewin'” which drew from 60’s soul and hip-hop grooves. With the singles from all the Columbia/Sony releases the band picked the most catchy singles for the compilation ‘Radio Love Songs: The Singles Collection’ released in April 2002. The CD also included two new tracks.  With their Sony deal behind them 54.40 released their tenth studio album ‘Goodbye Flatland’ in the spring of 2003 on their management’s label Divine. In 2004 Dave Genn (Matthew Good/Bif Naked) replaced long-time member Phil Comparelli for the 2005 album ‘Yes to Everything’. Their long-standing contract with Sony/BMG came to an end in 2006 and the band was soon signed to True North via Universal Music for ‘Northern Soul’ in 2009. The live tour for the album found them performing in soft-seater theatres and featured Grapes of Wrath’s Tom Hooper accompanying them as guitarist, keyboard player and backing vocalist. 2011’s ‘Lost In the City’ recorded throughout 2010 with long-time friend to the band, producer Dave Oglivie.The band worked in a variety of studios to produce the record, including Hipposonic (formerly Mushroom Studios) as well as 604 Studios and the band’s very own studio space known as the Smiling Buddha Enjoyment Complex.

1984 What To Do Now (Mo=Da=Mu)
1984 The Sound of Truth (Mo=Da=Mu)
1984 Christmas Time (Mo=Da=Mu)
1986 I Wanna Know  (Edit)/Baby Ran (Warner/Reprise) 92-85487
1986 Baby Ran/[same] (WEA) PRO-5440
1986 I Go Blind/Me Island (Warner/Reprise) 92-86967
1987 One Day In Your Life/Because of You (Warner) WB-2912
1987 One Gun/[same] (Warner) PRO-825
1989 Walk In Line (Edit)/Walk In Line (LP Version) [12”] (Reprise/Warner) PRO-A-2850
1989 2000 Years of Love (Reprise/Warner)
1989 Miss You (Reprise/Warner) PRO-CD-3827
1989 Fight For Love (Reprise/Warner)
1990 Baby, Have Some Faith (Reprise/Warner)
1992 She La/You Don’t Get Away That Easy/Book (Columbia/Sony) CDNK-714
1992 Nice to Luv You (Sony)
1992 Music Man [4 mixes] (Sony) 44K-3188
1992 You Don’t Get Away (That Easy) (Sony)
1993 Blame Your Parents [4 song CD] (Revolver – UK) REV-CDS-5440
1993 We Are, We Pretend (Sony)
1994 Assoholic (Sony) CDNK-971
1994 Train of Dreams (Sony)
1994 Ocean Pearl (Sony)
1994 Lucy (Columbia/Sony) CDNK-1063
1996 Love You All (Radio Edit)/Love You All (Album Version) (Columbia/Sony) CDNK-1148
1997 Crossing A Canyon (Columbia/Sony) CDNK-1201
1997 Ocean Pearl/Lies To Me (Divine) CDNK-1255
1997 Lies to Me [4 song EP] (Revolve – UK) REV-XD-214
1998 Since When (Columbia/Sony)
2000 Casual Viewin’ (Columbia/Sony) CDNK-1505
2000 Unbend (Columbia/Sony)
2001 Blue Skies (Columbia/Sony)
2002 Love Rush (Columbia/Sony)
2003 Animal in Pain (Divine/Red) DIPR-0372
2003 Ride (Divide/Red)
2003 Wish I Knew (Divide/Red)

1982 Selection [EP] (Mo=Da=Mu) MDM-5
1984 Set The Fire (Mo=Da=Mu) MDM-8
1986 54.40 [aka The Green Album] (Reprise/Warner) 25440
1987 Show Me (Reprise/Warner) 25572
1988 Set The Fire [re-mixed LP re-issue] (Reprise/Warner) 25436
1989 Fight For Love (Reprise/Warner) 25961
1991 Sweeter Things – A Compilation (Warner) 30857
1992 Dear Dear (Sony) CK-5440
1994 Smilin’ Buddha Cabaret (Columbia/Sony)  CK-80190
1994 Steal This CD [6 song EP] CDNK-1017
Trusted By Millions (Columbia/Sony) CK-80231
Sound of Truth: The Independent Collection (Columbia/Sony)
Lies To Me EP – Volume 1 (Revolver – UK) REVXD-241
Lies To Me EP – Volume 2 (Revolver)
Since When (Columbia/Sony)  CK-80336
Heavy Mellow [2CD Live Set] (Columbia/Sony)  C2K-80461
Casual Viewin’ (Columbia/Sony)  CK-80540
2001 Casual Viewin’ U.S.A. (Nettwerk) 30224
Radio Love Songs: The Singles Collection (Columbia/Sony)  CK-80763
Goodbye Flatland (Divine/Red) 10301
Yes To Everything (True North/Universal) TND-365
2005 The Essentials (Warner) 62516
2006 This Is Here, This Is Now (True North/Universal) TND-467
2006 Hi-Five EP (Rhino/Warner)
2009 Northern Soul (True North/Universal) TND-517
2009 Casual Viewin’ USA (Nettwerk)
2011 Lost In the City (Smilin’ Buddha) SBEC-11082
2016 La Difference – A History Unplugged (Smilin’ Buddha) SBEC-16063
2018 Keep On Walking (El Mocambo)

Grant Fullerton (guitar) / Pat Little (drums) / Joe Agnello (bass)
The Fullerton Little Agnello Group was a short-lived Toronto, Ontario act. Their one and only release, “Do Do”, was the debut single for Ray Danniels’ Taurus Records.  The song managed to reach No.83 on the RPM Top100 singles chart in November 1973. with notes from Sebastian Agnello. [also see FLUDD, GRANT FULLERTON, SEBASTIAN]

1973 Do Do/I’ve Been Waiting (Taurus) TR-001

Born: Lara Sophie Katy Crokaert in 1970 in Brussels, Belgium
Fabian moved to Quebéc in 1991 with Rick Allison, her producer, songwriting partner and former fiancé, seeking a successful career in music. Fabian’s self-titled debut sold 100,000 copies while her 1994 follow-up, ‘Carpe Diem’, sold more than 240,000 copies. Over the course of a few years, she was nominated for several JUNO Awards and won a number of Felix Awards in Quebéc. Fabian also was chosen by Walt Disney Studios to voice the lead role of Esmeralda in the French-Canadian version of ‘The Hunchback of Notre Dame’ animated movie. In addition, her rendition of the song “Que dieu aide les exclus” (God Help the Outcasts) was included on the English soundtrack along with Bette Midler’s version. However, it was in 1996 that music fans outside of Quebéc first noticed Fabian. In October of that year, SoundScan, the retail music tracking firm, introduced its new system of compiling charts. As a result of the new methodology, Fabian’s third release, ‘Pure’, caught the attention of English Canada when it suddenly vaulted into the Top10 album charts. ‘Pure’ sold more than 100,000 copies within two weeks of its release. Fabian was finally picked up by Sony Records for her English language self-titled debut in 1999. She has continued releasing French language and English language releases. Fabian now lives in Crossville, Tennessee, USA.

Croire/Trust (Trema) 410436
1989 Je sais
1996 Tout/Les amoureux de l’an deux mille (Polydor) 573 884-2
1997 Humana
1997 Je t’aime (Polydor) 571760-2
1997 La difference
1998 Je m’arrêterai pas de t’aimer
1998 Si tu m’aimes
1999 Adagio
1999 Laisse-moi rêver
2000 Otro amor vendrá (Baladas) (Epic/Sony) SAMP-8815
2000 I Will Love Again (Columbia/Sony) 44K-79375
2000 I Am Who I Am (Epic/Sony) SAMPS-8672
2001 J’y crois encore
2001 Love By Grace/Will Love Again/To Love Again
2001 The Dream Within
2002 Immortelle
2002 Aimer Déjà
2004 The Last Goodbye
2005 La letter
2006 Aime
2009 Soleil soleil (Polydor) 12321
2009 Toutes les femmes en moi (Polydor) 12739
2010 On s’aimerait tout bas


1991 Lara Fabian (Arpège) AMCD-900
1994 Carpe Diem (Arpège) AMCD-902
1996 Pure (Arpège) AMCD-905
1999 Lara Fabian (Epic/Sony) EK-69053
2001 Nue
2002 Lara Fabian Live
2003 En toute intimate
2004 A Wonderful Life
2005 9 (Musicor) MQMCD-2353
2006 Un regard “9” Live
2009 Every Woman In Me
2009 Toutes le femme en moi

Cary Markowitz (bass) / Larry Nusbaum (guitar) / Richard Geary (keyboards) / Rick Appleton (drums)
Scooped up in their early teens by manager Wayne Thompson (who later managed The Nylons) to be groomed as a bubble-gum pop act, Fable Manor were a staple on the Canadian club circuit in the mid-70s. The band regularly played six nights a week and needed letters of consent from their parents as the band members were between the ages of fourteen and fifteen. The band was chauffered around by hired drivers because none of the band members had their driver’s licenses yet. The act was signed to Polydor Records worldwide at the ripe ages of sixteen and were handed the largest royalty rate to a Canadian act at that time. Fable Manor recorded at RCA Studios and released three singles for Polydor – “Oh Me Oh My”, “I Think We’re Alone Now” and “Saturday Night’s Alright For A Party” – produced by Harry Hinde. The initial hype led to headlining shows at the Canadian National Exhibition and Ontario Place Forums in Toronto utilizing stage sets that were part of a co-production deal for a pop-styled variety show with Global Television (a la “The Monkees”). The stage set-up alone took two 24′ trucks with hydraulic lifts to transport. Their logo was created with 200 lights and was 12 feet by 6 feet wide. They were featured heart-throbs in ’16’ Magazine out of the US and managed to appear on the Canadian TV show ‘Catch A Rising Star’ and did musical accompaniment for the Alan Thicke game show called ‘Face the Music’. As a footnote, Markowitz’s managerial brothers, Riff and Mitch Markowitz, successfully managed 1960’s Toronto band The Mandala. with notes from Steven Markowitz.

1976 Oh Me, Oh My/You’re So Fine (Polydor) 2065-327
1976 I Think We’re Alone Now/Lovely Lady (Polydor) 2121-331
1976 Saturday Night’s Alright For a Party (Polydor)

(vocals, bass) / Ian (guitar) / “Puffy” Brad (drums)
Facepuller was formed  in Vancouver, British Columbia in late 1990. They wasted no time releasing their first independent 7” single ‘Pull This’ in March 1991 on their own Temple North label. The songs were remixed, along with their second single for the 1992 ‘Cranial Expansion Device’ CD which was distributed in Eastern Canada on Bullseye Records. They signed to Bang On Records for their full-length sophomore release ‘Auditory Surgical Technicians’ in 1993. In 1995 they returned to the studio with Ken “HiWatt” Marshall who produced ‘Unauthorized Volume Dealers’ at Mushroom Studio in Vancouver in 1995. The record peaked at No.5 on the Canadian College radio charts. Facepuller have kept busy recording tunes for various EA (Electronic Arts) home video games.

1991 Pull This [2 song 7″] (Temple North) 001
1991 Reduction Box/Bored With Beauty [7”] (Temple North)

1991 Cranial Expansion Device (Temple North) SA-92086
1993 Auditory Surgical Technicians (BangON) BANG-1001-2
1995 Unauthorized Volume Dealers (BangON) BANG-1012

Born: April 20, 1960 in Hamilton, Ontario
Died  May 9, 1996
Hamilton dance singer/songwriter Eria Fachin enjoyed a promising career starting with a seven week run on Canadian charts in June 1988 with “Savin’ Myself” from her album ‘My Name Is Eria Fachin’. She also dabbled in film, playing a French maid in the movie ‘Heart Sounds’ with James Garner and Mary Tyler Moore. Most notibly she sang the title track for the Keifer Sutherland movie ‘Woman Wanted’ and it was her last recording before passing away from cancer in 1996. He second album was never completed. with notes from Patty (flamoe), Patricia D’Angelo, Nanda Lwin,  Lou Bartolomucci.

1988 Your Love Just Came Too Late (Power) PXC-101
I Hear a Symphony/Eria’s Aria (Power) PXD-110
1988 Savin’ Myself/(Instrumental) (Power) PXX-200
1988 Savin’ Myself [12”] (Power) NIGHTMARE-1
I Hear a Symphony//Eria Aria/You’re So Sexy [12”] (Power) PXY-211


1988 My Name Is Eria Fachin (Power) PXH-2000

Rick Gauthier (bass) / Chris Smith (guitar)/ Mike Weaver (drums)
This three-piece from Welland, Ontario formed in 1967 as The Factory when Weaver and Gauthier left their band The Mood and Smith left his band 13th Floor and joined forces. A disc jockey friend, Pete Borbolli, had relocated to Timmins, Ontario and asked the band to travel their where he recorded four songs in his radio station’s studio. From those sessions the band got a demo audition with RCA Records who released one single on their Sparton Records imprint in 1968 called “Kaleidoscope” under the band’s new name Factree. By 1969 they’d abbreviated the name, yet again, to Tree and released a remake of Electric Flag’s “See to Your Neighbor” (sic) on Canland Records. By 1970 the band was moving away from teen dances and moved to clubs and so Smith left the group. They carried on with a new guitarist when Weaver had a heart attack. After some down time they returned to playing but Weaver died from a second heart attack, ending the band. with notes from Chas Kit, Chris Smith.

Kaleidoscope/Something Called Love (Sparton) P-1695

See to Your Neighbor/Suzie Q (Canland) CL-0026

Sylvan Fournier
(vocals) / Stephane Demers (drums) / Clank  (bass) / Mark Dembinski (lead guitar) / John Robusto (rhythm guitar)
Popular Montréal hardcore/punk band who formed in 1983. They released one album called ‘You Are the Scene’ in 1985 and appeared on at least two compilation albums including the successful ‘Primitive Air Raid’ album. They split up in 1987 but reunited in 2004 after Sonik’s Chicken Shrimp Records re-issued their album on CD.

1985 You Are The Scene (Fair Warning) FW-001
2004 You Are The Scene [CD re-issue] (Sonik’s Chicken Shrimp)

Bob Francis [aka Mr. Vegas]
(vocals) / Dan Crocini / Ray Fournier / Barry  Lewis / Jim Parres / Dave Van Leeuwen (drums) / Mike Wilkinson
From Timmins, Ontario.

Little Liar/Time is Everything (Dominion) 84
1966 Show Me How to Love/Baby You’re a Fool (Dominion) 85

Vancouver, British Columbia’s Wayne Faro cut his guitar-playing teeth as a teen performer in the  bottle cabarets  such as the Smilin’ Buddha Cabaret, the New Deli, and the Kubai Khan. His first professional road gig was with T-Bone Walker (“Stormy Monday”) in Fairbanks, Alaska. Faro worked his way eastward and for several years with his band the Wayne Faro Schmaltz Band was one of the top drawing Toronto lounge bands. He was a staple at the Coq d’Or on Yonge Street along with Ronnie Hawkins, King Curtis and Bo Diddley. The band recorded one single on London Records in 1968 called “There’s Still Time”. In 1969 he found himself in the Toronto production of “HAIR” and after a year with the production company decided to pass on rock and roll and stayed working in theatre.  In 2006 he came out of music retirement and he recorded a full-album soundtrack for the show ‘Rock It Till the End of Time’.

There’s Still Time/Give It Time (London) M-17365

Born: Emily K. Faryna
As a former member of Vancouver act, Plaything, Emily established herself with a unique blend of new wave and rhythmic minimal synth music. Signed to Vancouver’s MoDaMu Records she carved out a niche in the Vancouver electronic music scene. In 1991 a 10-song collection of re-recorded 1985-1990 works done at Whipping Post Studio in Vancouver appeared on CD as ‘Some of Emily’ which was produced by Faryna and Rod Nattrass on Spiral Records. with notes from Lee Beauvais.

1984 I’ve Got a Steel Bar in My Head [cassette] (MoDaMu) MDM-10
1985 Neat And Tidy In Your Mind (MoDaMu) MDM-15
1991 Some Of Emily (Spiral)

Ian Weir
(vocals) / Anne Bridgeford (vocals)Toronto’s Ian Weir was discovered and signed to Frank Davies’ Love Productions (and it’s publishing arm Love-Lies-Bleeding Music) in 1970.  Davies soon managed to negotiate a record deal with Capitol Records in Canada to release their lone single “Every Single Day” in September of 1970.

Every Single Day/You Know I Love You (Capitol) 72629

Andrée Roy
(vocals) / Roger Roy (guitar) / Marcel Veilleux (guitar) / Claude Nadeau (organ) / Denis Rodrigues (drums)
Les Faucons formed in the community of  La Guadelupe in Beauce, Quebéc in 1962. With the British Invasion sweeping North America by 1964 the band found a comfortable home in the Yé Yé movement (French impersonators of British music). Andrée Roy left the band in 1965. In 1966 the group competed in a Battle of the Bands in Sherbrooke, Quebéc and participated in the finals which were held in Quebéc. They won a recording prize which resulted in the 1967 recording deal with Chance Records and their debut single “Je ne peux pas rien. “ The success of the record allowed them to perform in Starovan and Musicorama tours in Quebéc. The group disbanded in 1972. with notes from Serge Gingras.

Je ne peux pas rien/Sans toi Renée (Chance) 602

Bobby Faulds
(lead vocals) / Wes Chambers (sax) / Barry Casson (drums) / Doug Edwards (guitar)  / Brian Newcombe (bass) / Bill Stewart (trumpet)
Formed in Victoria, British Columbia in 1964, Bobby Faulds & The Strangers were so popular they were able to record a single for RCA Records in 1965 called “Walk Away”. The band split up in 1966. Edwards would go to join Skylark; Newcombe would go on to play with The Collectors, Jayson Hoover ‘n Stuff, Canada, and Body Electric in the 1980s; Bobby Faulds changed his name to Bobby Hannah. After 42 years the band reunited in 2008 at the Victoria Rock & Roll Hall of Fame induction ceremonies. The band won ‘Most Influential Group 1960-1965’ and Edwards won ‘Most Influential Musician 1960-1965’.

Walking Away/When My Baby Says Goodbye (RCA Victor International Canada)

(bass) / Stan Smith (drums)
Toronto, Ontario’s Fear was one of the first management projects by Ray Danniels (Rush). The band’s first single on Barry Records, “Young Boppers” b/w “Bubblefunk” was produced by Terry McManus. Their follow-up release, “Wild Woodin’”, was an instrumental version of “Young Boppers”; Shelson would got on to play in Mornington Drive, Hott Roxx, and The Teddy Boys. He died of cancer in August 2018 at the age of 68. with notes from Terry Blersh.

Young Boppers/Bubblefunk (Barry)  B-3516X                                           
1971 Wild Woodin’/Ace (Concept/Rada)  45-6170

FEARING, Stephen
Born: 1963 in Vancouver, British Columbia
Fearing was born in Vancouver in 1963 spent most of his formative years in Dublin, Ireland. While living there he picked up the guitar and absorbed traces of the Irish and English musical traditions that have informed his roots and Celtic folk style ever since. After a short stint in the United States Midwest, he returned to Canada in 1981 where he began recording his original material. Over the course of his career, Fearing has been able to work with the genre’s most esteemed producers. English folk star Clive Gregson (Any Trouble, Gregson and Collister) produced his acclaimed 1989 album ‘Blue Line’; Steve Berlin (Los Lobos) produced 1994’s ‘The Assassin’s Apprentice’ which also featured guest stars Sarah McLachlan and Richard Thompson). In 1996 Fearing became a founding member of Blackie & the Rodeo Kings with Colin Linden and Tom Wilson (Junkhouse).  They have recorded seven albums to date. Linden would produce three solo albums for Fearing: 1997’s ‘Industrial Lullaby’ featuring Margo Timmins (Cowboy Junkies), Richard Bell (The Band) and Tom Wilson, 2000’s ‘So Many Miles – LIVE’ and co-produced 2002’s ‘That’s How I Walk’ with Fearing. The album featured special guests Richard Bell, Ian Thornley (Big Wreck) and Shawn Colvin. In 1999 Fearing appeared on the album ‘Dirt’ by the Arrogant Worms. 2006’s ‘Yellowjacket’ was produced by Fearing but engineered by Scott Merritt. Fearing also wrote a majority of the songs on the album with The Skydiggers’ Josh Finlayson. Fearing has been nominated for four JUNO Awards related to his solo works. In 2011, Fearing teamed up with guitarist Andy White for the album ‘Fearing & White’ which was recorded in Guelph and mixed by Scott Merritt. [also see BLACKIE & THE RODEO KINGS]

Race of Fractions (True North) CDNK-650
The Longest Road (True North) CDNK-960
Expectations (True North)
1997 Anything You Want (True North)
1998 The Upside Down (True North)
1998 Home (True North)
2002 The Finest Kind (True North)
2006 One Flat Tire (True North)

1986 Stephen Fearing [aka The Yellow Tape] (independent)
Out to Sea (Aural Tradition) ATR-301
1991 Blue Line (True North) TN-76
1992 Out to Sea [re-issue] (True North) TN-80
1993 Assassin’s Apprentice (True North) TN-84
1997 Industrial Lullaby (True North) TN-151
2000 So Many Times – Live (True North) TN-215
2002 That’s How I Walk (True North) TN-266
2006 Yellowjacket (True North) TN-410
2009 The Man Who Married Music: The Best of Stephen Fearing (True North) TND-527
2010 No Dress Rehearsal: Live and Otherwise (LowdenProud) LOWD-20101
2013 Between Hurricanes (LowdenProud) LOWD-20131
2017 Every Soul’s a Sailor (LowdenProud) LOWD-20161
2018 The Secret of Climbing (Rega) ENS-004

Fearing & White (LowdenProud) LOWD-2011

Born: April 27, 1957 in Edmonton, Alberta
Edmonton, Alberta native Feehan perfected his musical skills by writing songs and recording demos while getting his BA in sociology at the University of Alberta. Feehan began in bands early on but it wasn’t until 1979 when of his college bands, Footloose, started making waves on the Western dance scene that things began to take off. In 1980 their debut album yielded the hit “Leaving For Maui” which went Top-10 for several weeks in Canada. The band released several more singles over 1980 and 1981 with Feehan leaving shortly thereafter to pursue a solo career.  He continued his tenure as a solo artist with Mustard Records but it wasn’t until 1983’s duet with Vikki Moss on “Never Say Die” that he managed a No.1 hit single on Adult Contemporary radio. He also won the Alberta Recording Association Songwriting competition. The prize was a recording session with producer David Foster. In 1984, Feehan recorded a single, “Read Between the Lines” that was recorded by David Foster with Steve Lukather on guitar and Fee Waybill doing backing vocals. Feehan then went to Los Angeles hot on the heals of winning the David Foster Songwriting Competition for the song “Where’s The Fire?”. Los Angeles music types seemed unimpressed, but in 1986 he convinced Scotti Bros. Records his value as a songwriter/performer. Foster produced Feehan’s self-titled debut and then decided to use him as the lead singer for a David Foster World Tour ’87 because Peter Cetera was unavailable. The tour included a 5-date tour Japan where Feehan was mobbed by fans because his solo videos were being aired on Japanese TV as part of the promotion of Foster’s tour and Scotti Bros. push for Feehan’s solo album. He moved to LA and soon attracted the attention of producers of the Charlie Sheen movie ‘The Wraith’ and they loved his song “Where’s The Fire?” so much it became the title theme of the movie in 1987. Meanwhile Feehan continued his own tour opening shows for Larry Gowan and sang in front of 60,000 people in Vancouver during a celebration for athlete Rick Hanson. He did the same for the unveiling of a bronze statue in honour of Wayne Gretzky in 1989 and sang an original song, “The Memories Will Last Forever”, just for the occasion. By 1990 he had switched to MCA Records and released ‘Full Contact’ with producer Brian “Too Loud” McLeod (Headpins, Chilliwack). The single “Heart In Pieces” featured The Tubes’ Prairie Prince on drums and a Richard Marx on backing vocals. Tim has spent the last 12 years in Los Angeles running a production company that has produced former teen idol singer Tiffany among other acts. with notes from Tim Feehan, Terry Medd, Jeroen Bakker, Don Palmer and Michael Gabriel. [also see FOOTLOOSE]

1981 Backseat, Backbeat/Tell Us Your Name (Mustard/RCA) M-134
1981 Go Ahead And Break My Heart/Sneak Preview (Mustard/RCA) M-137
1981 Try Harder/Friday Night (Mustard/RCA) M-140
1983 Never Say Die [w/Vikki Moss] (Mustard/RCA)
1984 Read Between The Lines
1986 Stop The Madness (Mustard/RCA)
1987 Where’s The Fire? (Scotti Bros./CBS) 650320-7
1987 Listen For the Heartbeat/Isolation (Scotti Bros./CBS) ZS4-06693
1987 Mean Streak/Vanna (Scotti Bros./CBS) E4-3012
1990 Heart In Pieces (MCA) 89053

1981 Sneak Preview (Mustard/RCA) M-1004
1983 Carmalita (Mustard/RCA)  M-1011
1987 Tim Feehan (Scotti Bros./CBS) 40592
1990 Full Contact (MCA) 10069
1999 Pray For Rain (MTM – Germany)
2003 Tracks I Forgot About (MTM – Germany) 4001617595428

Alan Moy
/ Doug Cass (guitar)
Vancouver act featuring future music manager Alan Moy (54.40, Tom Wilson).

1978 Female Hands [6 song 12” EP] (Quintessence) QEP-1203


Born: Jean-Pierre Ferland on June 24, 1934 in Montreal, Quebéc
Ferland started as a clerk working for CBC Montréalfrom 1954-1958. He loved to sing and was encouraged by his co-workers to pursue a career in music. He would leave the CBC in 1959 to form the band Les Bozos featuring other up-and-coming French-Canadian artists such as André Gagnon, Clémence DesRochers, and Claude Léveillée among others. They held residency at the Chez Bozo club on Crescent Street in Montreal.  He was a charismatic and charming frontman and M.C. which led to his TV debut on the show ‘Music Hall’. From there he took on a year-long residency at Anjou Theatre with Clémence DesRochers. In 1962 he co-wrote ‘Feuilles de gui’ with Pierre Brabant which won the CBC competition ‘Chansons sur mesure’ and the grand prize at ‘Gala Internationale de la Chanson’ in Brussels. That year Ferland sang at the Cabaret La Tête de l’art in Paris, France. He also hosted the CBC special ‘L’Été des Bozos’. In 1963 he represented Canada at the 3rd annual ‘International Son Festival’ in Sopot, Poland and won the prestigious ‘Best Singer’ prize. He starred in the CBC TV show ‘Jeuness Oblige’ and toured Quebéc in 1964. In 1965 he won the grand prize in the ‘Festival du Disque de Montreal’. In 1966 Ferland toured Ontario, Quebéc and the Maritimes and also did a month long set of dates in Paris, France. In 1967 Ferland recorded “Le chemin du Roy” to commemorate the visit to Quebéc by General Charles de Gaulle from France. His 1968 self-titled album on Barclay Records won the Grand Prix du Disque de l’Académie Charles-Cros. He also won the grand prize in the ‘Festival du Disque de Montreal’ for the second time. Ferland also released a book in 1969 featuring his song lyrics entitled ‘Chansons’. Ferland sang at the International Exposition at Expo ’70 in Osaka, Japan. Also that year, he released ‘Jaune’ which was produced by Andre Perry at Le Studio in Montreal. The album sold 6 times platinum that year alone.  In 1974 he had chart success with a Ginette Reno duet entitled ‘T’es mon amour, t’es ma maîtresse. In 1976 Ferland wrote, starred in and performed the music in the film ‘Chanson pour Julie’. After touring Quebéc, he taped four episodes for the CBC TV series ‘Faut voir ça’ in 1978 as part of a bigger national TV special entitled ‘Between Chopin and William Tell’. In the 1980s Ferland hosted several TV shows between recording projects: ‘Station Soleil’ from 1981 to 1987, ‘Tapis Rouge’ in 1986, ‘L’autobus du showbusiness’ in 1987, and ‘Ferland/Nadeau’ in 1990. Ferland launched the opera ‘Gala’ in 1989 but it closed within days after poor ticket sales.

1962 Ton visage [4 song EP] (Pacific) 91-503
1962 Ça fait longtemps déjà [EP] (Pacific) 91-505
1963 Haute de pochette terni-tros[4 song EP] (Pacific) 91-536
1963 Apres/Lise(Sélect) S-7052
1964 Je te Cherche/M’aimeras-tu ou Ne m’aimeras-tu pas (Sélect) S-7068
1966 Stade 2 [6 song EP] (Sélect) SMM-733-010
1966 Envoie La Musique (Vedettes) 45-4030
1967 Le chemin du Roy/[same] (Riviera) R-500
1967 À la santé de ceux qui restent [EP] (Barclay) 71-125
1968 Je le sais/La grande melodie (Barclay) B-60014
1968 Je reviens chez mous/Marie Claire (Barclay) B-60018
1968 Ste-Adèle P.Q./Je t’aime (Barclay) B-60085
1968 Mon ami/T’appelles ca vivre (Barclay) B-60107
1968 Je le sais [EP] (Barclay) 71-251
1969 Je reviens chez nous [EP] (Barclay) 71-379
1974 T’es mon amour, t’es ma maîtresse /Qu’est-ce que ça peut ben t’faire [w/Ginette Reno] (Jaune) JF9-4
1975 La soucoupe volanté/Une peine d’amour (Barclay) B-60305
1975 Swingnez votre vompagnie/Le showbusiness (Barclay) B-60317
1976 Thrilladelphia/Pas maintenant (Barclay)  B-60351
1976 Vivre a deux/[same] (Barclay)  B-60361
1977 Maudit Blues/Sur le quai de Mirabel (Telson) AE-124
1977 La vie est longue/Les jambes (Telson) AEX-148
1980 Chanson pour felix/Les courtisanes (Telson) LPAE-1524
1982 Le cœur est tendre (version longue)/Le cœur est tendre (version courte) (Pro-Culture) PPC-2010
1982 Le doux billet-doux/Y’a pas deux chansons pareilles (Pro-Culture) PPC-2011
1982 Pour faire de la Musique/La chanson de ma Grand-mere (Pro-Culture) PPC-2050
1984 Androgyne/Les masochistes (Jaune) PJ-201
1984 L’amour m’adore/Du pianiste a Marie (Jaune) PJ-202

Jean-Pierre (Music Hall) 33-106
1961 Rendez-vous à la Coda (Sélect) SSP-24-085
1962 J’estime, j’aime, j’amoure (Sélect) SP-24-090
1962 Jean-Pierre Ferland (Pacific) LDPA-1326
1964 M’aimeras-tu ou ne m’aimeras-tu pas (Sélect) SSP-24-106
1966 Le disque d’or
1966 Jean-Pierre Ferland (Barclay) 80329
1966 Jean-Pierre Ferland Vol. 5 (Sélect) SSP-24-149
1968 Jean-Pierre Ferland (Barclay) 80364
1969 Un peu plus loin (Barclay) 80050
1970 Jaune (Barclay) 80090
1971 Soleil (Barclay) 80114/5
1974 Le showbusiness (Barclay) 80208
1974 Les vierges du Québec (Jaune) JF-7300
1975 Quand on aime on a toujours 20 ans (Barclay) 80228
1977 La pleine lune (Telson) AE-1510
1980 Jean-Pierre Ferland  (Telson) AE-1524
1981 Dix ans trop tôt (Pro-Culture) PPC-6001
1981 Y’a pas deux chansons pareilles (Pro-Culture) PPC-6011
1984 Androgyne (Jaune) PJ-1001
1988 Master Serie (Barclay) 83967
1992 Bleu, blanc, blues (Jaune) PJC-1004
1992 Master Serie Volume 2 (Polygram) P2-11558
1995 Écoute pas ça (Jaune) PJC-1008
1998 Québec – Jean-Pierre Ferland
2005 Jaune 2005 (Jaune) PJC-1135
2005 Coffret Jaune (Jaune) PJC3-1134
2009 Bijoux de famille (Tandem.mu) TMUCD581

George Martinelli
(lead vocals) / Ralph Martinelli (lead guitar) / Carl Doucette (bass) / Edgar Fevens (guitar, horns) / Harvey Deveau (drums) / Terry Ryan (MC, horns)
From Yarmouth, Nova Scotia released one single for REO in 1963 before relocating to Boston, Massachusetts for their follow-up records in 1965 and 1966.

1963 Irene Goodnight/Little Pineapple (REO) 8750
1965 (All I Ever Want Is) Girls/Please Tell Her (DCP) DCP-1110
1966 He’s Just a Little Boy/Tennessee Waltz (DCP) DCP-1140

Garry Ferrier was one of Toronto radio station CHUM-AM’s top daytime disc jockeys. As a means of promoting the radio station, it would release novelty records featuring CHUM personalities. Ferrier had written a spoof of the “Battle of New Orleans” called “The Battle of Queenston Heights” which was released in 1959 by Mike Darow & The CHUMS. Ferrier’s smooth voice made him the perfect choice as frontman. His first charting single (only on CHUM affiliated stations, of course) was “President’s Canada Conference” which cracked the Top 30 in 1963. In March 1964 CHUM gathered their top on-air personalities – Garry Ferrier, Bob McAdorey, Mike Darow and John Spragge – and released the Ferrier penned “Brotherhood Of Man” on Quality Records. It too made the CHUM Top-30. Due to the success of Ferrier’s second solo single, “Ringo-Deer”, which went Top-10 in December 1964, Ferrier was also part of the monster publicity and promotion campaign by CHUM when the Beatles came to Toronto in 1964 and 1965.  CHUM’s distribution deal with Capitol made their access to the Beatles easier via Capitol’s A & R chief Paul White who actually signed The Beatles to their Canadian record deal in 1963.  In the Fall of 1965 Ferrier and CHUM personality Brian Skinner released a Halloween-based record on Arc Records called “Do The Frankie” under the name Brian & Garry And The Chain Rattlers. The song didn’t chart. The same year Ferrier was used to front the imaginary Race Marbles band on the hit “Like A Dribbling Fram” which broke the Top-40. Ferrier would later go on to write television incidental music for the CBC shows ‘Check It Out’ and ‘King of Kensington’ with Aubrey Tadman. They were also instrumental in writing for the revived version of CBC’s ‘Keith Hampshire’s Music Machine’ with music director Doug Riley.

1963 President’s Canada Conference (Pt.1)/President’s Canada Conference (Pt.II) (Astral) AS-1014
1964 Ringo-Deer/Just My Luck (Capitol) 72202

1964 Brotherhood of Man/My Mother (Quality) 1600X


1965 Do The Frankie (Arc) A-1105

1965 Like a Dribbling Fram/Someday (Capitol) 72312

Born: Debbie Foisy on June 1, 1952 in Saturna Island, British Columbia
British Columbia native Canadian Debbie Foisy learned to play guitar and started writing her own songs at age 10. At age 15 she had scraped enough money together doing odd jobs to leave home. She didn’t get her first guitar until she was 18 and decided. Ferron made her professional debut in 1975 at a benefit for the Women’s Press Gang with the song “Who Loves”. The next year she started a regular residency at a small coffeehouse. After the line-ups to see her started circling the block, she moved over to the larger Soft Rock Café. With the help of manager Gayle Scott they established a vanity record label, Lucy Records. With Tom Lavin (Powder Blues) producing, Ferron released her eponymous debut album in 1977. Her second release was a showcase of tunes she’d penned prior to her first release called ‘Ferron Backed Up’. It was 1980’s ‘Testimony’ that gave the folk guitarist some credible headway in feminist and Women’s circles who used the title track as a battle cry. Following 1984’s ‘Shadows on a Dime’ she toured extensively falling into the role of singer/songwriter and self-promoter which sat uncomfortably with her. She took 6 years off to re-focus and re-evaluate her role as an artist outside the glamour and autographs. She moved to the US in 1987 and began working on a new album without having to squeeze it in-between live performances. 1990’s ‘Phantom Center’ on Chameleon Records was produced by Joe Chiccarelli. Ferron dedicated a full year of touring ‘electric’ as Dylan had in the ’60’s for the first time with a four piece band behind her. A new deal with American label Cherrywood Station helped her release three albums that turned into a co-distribution deal with Earthbeat/Warner Music in the US. Following a new Warner album – Still Riot (1996) – proved to be more trouble than it was worth and she lost the rights to the new record and the previous three. 1999’s inside out was a collection of cover tunes that had inspired Ferron in her youth. This was followed by an anthology called ‘Impressionistic’ in 2000 which she toured extensively. In 2005 she assembled players from her previous album and put recording equipment in an old barn near her home on Saturna Island, British Columbia where they spent time with a mobile recording unit capturing ‘Turning in Beautiful.’

1974 Who Loves (Lucy)
1981 Loses (Country)/Misty Mountain (Stony Plain) SPS-1017
1991 Stand Up (Love In the Corners)/The Cart (Chameleon) K-10432
1994 Right Now (Bellaphon – GERMANY)

1977 Ferron (Lucy) [no cat.#]
1978 Ferron Backed Up (Lucy) 3106
1980 Testimony (Lucy) LR-003
1984 Shadows On a Dime (Lucy) LR-004
1990 Phantom Center (Chameleon)
1992 Not a Still Life: Live at the American Music Hall (Cherrywood Station – US)
1992 Resting With the Question (Cherrywood Station – US)
1994 Driver (Cherrywood Station – US)
1996 Still Riot (Warner)
1999 Inside Out: The IMA Sessions (IMA) IMA-0001
2000 Impressionistic (Nemesis)
2005 Turning Into Beautiful (Fair And Loving)
2008 Boulder (Nemesis

Vince Huecking
(drums, vocals) / Greg Stephens (bass, vocals) / Vince Kavcic (lead guitar) / Simon Stone (saxophone) / W.S. Sherman (guitar, vocals) / Tom Treumuth (keyboards)
Short lived Toroto act featuring guest appearance by producer Tom Treumuth on keyboards. The Fictions self-titled debut album was the first release on Treumuth’s fledgling Hypnotic Records label. Greg Stephens would go on to join The Deserters.

1980 Better/Snob Appeal (Hypnotic/Intercan/Pickwick) CAN-10017
1980 I Let Go/Won’t Wash Away (Hypnotic/Intercan/Pickwick) CAN-10019

1980 Fictions (Hypnotic/Intercan/Pickwick) IC-1012

Caroline Azar
(vocals, organ, guitar) / G.B. Jones (drums, guitar) / Janet M. / Kathleen Robertson / Anita S. (bass; 1985) / Charlotte B. (guitar; 1985) / Joel Wasson (drums; 1990) / Beverley Breckenridge (bass; 1992) / Michelle Breslin (guitar; 1994)
This Toronto ‘no boy’ collective was originally called Second Unit and took their new name from the 1938 play by Ernest Hemingway, started in 1981 and contributed almost immediately to the ‘Urban Scorch’ compilation for Some Records. Their public persona was one of first names only with no credit given to their fathers’ surnames – merely an initial. They would tread the Queen Street circuit with their blend of ’60’s kitsch and ? And The Mysterians verve – the music industry would call it the Riot Grrrl sound in the ’90’s. They released several songs through their own feminist magazine ‘Hide’ and issued a 7″ single in 1984.  They made the leap to full album with the anti-Sidney Poitier shot ‘To Sir With Hate’ produced by Michael Phillip Wojewoda. The act was comprised of talented multi-media individuals who also produced their own videos. Their live show regularly featured 16mm films by John Porter and male Go-Go dancers. with notes from Fifth Column.

1984 Boy,Girl/Monsieur Beauchamps/The Legionnaires (Hide)
1992 All Women Are Bitches; Repeat/Donna (K) IPU-33
1993 Don’t/[split w/God Is My Co-Pilot] (Outpunk) OUT-9
1994 I Love You, But…(Ain’t Gonna Be Your Fool)/[split w/TRAILER QUEEN] (Dark Beloved Cloud) DBC-019

1986 To Sir With Hate (Hide) .006 1/2
1988 Work [cassette] (Hide) HIDE SIX
1990 All-Time Queen of The World (Hide) HIDE-009
1994 36C (K, Denon) 9015

Ron Schmidt
(vocals) / Jim Grabowski (keys) / Melvyn C. Ksionzek (lead guitar, bass) / Barry Zabiak (drums) / Richard Gwizdak (bass) / Doug Love (lead guitar) / Craig Hamblin (drums; replaced Zabiak) / Kurt Winter (guitar) / Ralph Watts (guitar; replaced Winter) / Ron Rene (vocals; replaced Schmidt) / Vance Master (drums) / George Belanger (vocals; replaced Rene) / Brian Sellar (bass; replaced Ksionzek) / Al Johnson (drums; replaced Master)
The Fifth formed in Gimli, Manitoba. The band moved to Winnipeg and eventually signed with London Records. Their first single, “Yesterday’s Today” became a regional hit and received the Lloyd C. Moffat Award for Best Canadian Produced Rock Recording in 1968 and managed to place No.93 on the charts. At the time of the award the band was flying high on their second legitimate hit “Tears” which placed even higher at No. 64 on the charts. Rene had played with The Quid; Winter had been in Gettysbyrg Address; Master had played in 5 A.M. Event who tried unsuccessfully to conquer the UK with a failed single on Pye before returning to Winnipeg; Belanger was recruited from Chopping Block. After the band split up Belanger, Grabowski, Watts, Johnson and Sellar formed Next… They later added Ksionzek on bass. Winter joined The Guess Who as did Master, though, in a later Jim Kale incarnation; Belanger later joined Harlequin; Rene joined Minneapolis band The Litter; Watts passed away. with notes from Vic Giggani, Colvin Don, Doug Donahue and Rick Smith.

1967 Yesterday’s Today/Something You’ve Got (London) M-17355
1967 Tears/Wild Things (London) M-17358
1967 Caprice/All I Want Is Love (London) M-17362
1968 Sunshine People/Don’t Worry About Me Baby (London) M-17366
1970 Tobacco Road/You Don’t Seem To Care (Franklin) 635
1970 Gotta Get Up/Really Doesn’t Matter (Franklin) 637

Pamela Morgan
(vocals) / Noel Dinn (keys, drums, bodhran) / Dave Panting / Kelly Russell / Philip Dinn / Bruce Crumell / Frank Maher / Art Stoyles
Formed in Newfoundland in 1976 by Noel Dinn, Figgy Duff (a traditional Newfoundland white pudding) were the progenitors of the Celtic maritime sound – a folk/rock hybrid incorporating traditional jigs and reels. In the early years, Figgy Duff criss-crossed the island seeking the songs and music of the people, learning in the oral tradition as generations did before – gauging their success by the joy it brought to those who taught them the songs. In a short time Figgy Duff became famous for their folk/rock fusion and original arrangements and it was not long after that those outside of Newfoundland discovered the band as something new and exotic. Despite an early deal with Island Records that resulted in as-yet unreleased album, and an early indie album called ‘After The Tempest’ in 1984 (featuring two original songs), their eponymous debut, featuring a 4-member raw ensemble, was produced by Tom Treumuth and Gary Furniss and released through Phonodisc in 1981. For the next 12 years Noel Dinn and singer/songwriter/producer Pamela Morgan led Figgy Duff (in its several incarnations) through the production of three more studio albums and countless tours of North America and Europe; taking the band from local innovators to a powerful and critically lauded international presence in the burgeoning worldwide Folk/Celtic scene. 1990’s ‘Weather Out the Storm’ was again produced by Tom Tremeuth and Gary Furniss as the first act on Tremeuth’s newly resurrected Hypnotic Records. The writing skills become more evident, yet rooted in the band’s traditional background. It featured five highly original songs, and the traditional music sparkles with even more innovative arrangements. With a reconfigured line-up, Figgy Duff embarked on a full-scale tour of Canada in the winter of 1991. The album itself was nominated for a JUNO Award 1991. 1993’s ‘Downstream’ became their first all original offering with songs by band leaders Noel Dinn and Pamela Morgan and featured special guest appearance by guitarist Ken Greer (Red Rider, Gowan). Shortly after the completion of the album, ‘Downstream’, bandleader Noel Dinn died of cancer at the age of 45 on June 26, 1993. Pamela Morgan disbanded Figgy Duff shortly thereafter and would compile a “best of” called ‘A Retrospective: 1974-1993’ in 1995. The single “Inside a Circle – 1999”, from the ‘Weather the Storm’ album, was released in June 1999 to coincide with the 25th Anniversary Reunion tour. notes from Francis Fagan.

1990 Heart of a Gypsy (Hypnotic/A & M)
1990 Weather Out The Storm (Hypnotic/A & M)
1990 Woman of Labrador (Hypnotic/A & M)
1993 Freedom (Hypnotic/A & M)
1993 Downstream (Hypnotic/A & M)
1993 Sweet Temptation (Hypnotic/A & M)
1999 Inside A Circle (Amber Music)


1981 Figgy Duff (Hagdown/Posterity) PTR-13014
1983 After The Tempest (Boot) BOS-7243
1990 Weather Out the Storm (Hypnotic) 1000
1993 Downstream (Hypnotic/A & M) 1009
1995 A Retrospective: 1974-1993 (Amber Music/EMI) SG2-7205
2008 Live Silver Reunion [DigiFile] (Amber) 74329

Suzanne Palmer (vocals) / Aaron Allan (guitar) / Ray Walsh (keyboards) / Paul Caspar (bass) / Larry Bodner (sax)
In mid-1984, a demo tape by Toronto-based independent band Figures At Dawn made the rounds to the local and national media of the time. Instant praise from national magazines like the trade magazine The Record and Music Express, as well as the Toronto Sun and the alternative weekly magazine NOW, prompted guitarist/songwriter Aaron Allan and classically trained vocalist Suzanne Palmer to record a full vinyl album’s worth of songs. Enter Paul Caspar (bass), Larry Bodner (sax) and Allan’s former Rave Revue’s bandmate Ray Walsh (keyboards) in 1985 and a full-fledged Figures At Dawn band and album was born. FAD toured their self-titled record in the Toronto area for the next year or so, and CSCR at the University Of Toronto Scarborough campus endorsed the record with a lot of airplay support. Initial support from modern rock radio station CFNY-FM (now Edge 102) through regular play on Liz Janik and Peter Goodwin’s show “The Independent Network” brought national attention to Figures At Dawn, and particularly to Palmer. By then CFNY had begun an annual “anti-awards” show in the early 80’s called the U-KNOWS which evolved into the CASBYs (Canadian Artists Selected By You) by 1985. Phenomenally, Palmer was nominated for a CASBY for Most Promising Female Vocalist on the basis of the independent album and a single not included on the album called “My Summer Love” (featuring Allan, Palmer and keyboardist Gerald O’Brien only). Videos for “My Summer Love” and “Falling” aired nationally. Figures At Dawn ultimately ran out of time, money, and eventually the initial support they received from the music industry, which made it impossible to release a full-fledged follow up to their album. The band faded into the background as the members focused on working at “real” jobs, starting families, and developing other interests. Figures At Dawn’s “In From The Cold” from that 1985 debut album was featured on a 1997 episode of Beverly Hills 90210 called “My Funny Valentine”. Guitarist/songwriter Aaron Allan, married with two children, subsequently co-wrote several songs with Toronto R & B singer and JUNO double nominee George St. Kitts. He has continued to produce instrumental and film music, independent music videos, and has written several novels including two first round book contest finalists. Suzanne Palmer, a married mother, has never been too far away from singing and performing and listening to new songs; Keyboardist Ray Walsh was also in the Toronto indie band Rave Revues at the same time as Figures At Dawn, and is now a member of the Zydeco band The Crocodiles; Bassist Paul Caspar has also been busy raising a family and has recently returned to the music industry, with a futuristic project called Sonic Assault Orchestra; Saxophonist Larry Bodner continues to enjoy lots of session work. The best material from Figures At Dawn’s short-lived indie career was released on Bullseye Records in 2000. The band briefly reunited in 2003 to record a version of “A Day in the Life” for Bullseye’s ‘It Was 40 Years Ago Today: A Tribute To The Beatles’ 3CD set but failed to make the final cut. with notes from William C. Smith, Aaron Allan.

1986 My Summer Love/Falling (FAD) WRC3-4656

1985 Figures At Dawn (FAD) CCR-9084
2000 In From The Cold: The Best of Figures At Dawn (Bullseye) BLR-CD-4023

Gene Goral
  (vocals, keyboards)  / Jeff Danna (guitar) / Dave Massey (drums) / Doug Barlett (bass)
Burlington’s The Filters released one punk single recorded by Danna’s brother Mike at Sounds Interchange in Toronto.

1981 NFG/I Don’t Know (Mannequin) MAN-005

Bruce Morrison
(bass) / George Capone / Dave Chisholm / Chris Meister (drums) / Matt Steffich (guitar) / Elio Martelli (guitar)
From British Columbia. Steffich is an art dealer and has a CFSI-FM radio show called ‘Speakeasy’ which broadcasts from his current home town of Salt Spring Island, British Columbia.; Martelli joined the band Doug And The Slugs and is still currently playing around Vancouver; Morrison and Meister are both current members of Rick Tippe & The Kings of Cool in Vancouver.

1986 The Fins [3 song EP] (Otis)

Lori  Shaw
(vocals) / Deane Hughes (guitar) / Paul Guilbert (bass) / Rob MacLeod (drums)
Ottawa’s A Fish In C made the finals of the ShareChez ’87 talent search held by CHEZ 106FM, packed their bags and moved to Toronto where they plied their trade on the Queen Street circuit. They released one single later that year. The band split up in 1988 and Shaw re-invented herself as a dark Goth diva.

In Transit/Touch (Spectre)  CCR-9273

Compilation Tracks
“In Transit” on ‘ShareChez ‘87’ (CHEZ) 106/87

Dale Codlings (guitar) / Gary Alexander (guitar) / John Ashley (bass) / Mike Poliwada (drums) / Dave McKay (vocals) / Joel Birnboum (saxophone)
Toronto band Fish In The Attic was formed in early 1984 by John Ashley, Gary Alexander and Dale Codlings. The band played extensively around Toronto in all the usual indie clubs like Silver Dollar, Rivoli, The Edge, Cabana Room and Cameron House and was occasionally joined by other musicians, primarily percussionists, who worked quite well within their groove based R&B sound. They recorded one LP in 1985 and the title track, ‘Don’t Fish In My Attic’ received moderate airplay on CFNY. By late 1987, Poliwada left the band to join Groovy Religion (as Glenn Milchem’s replacement) and Alexander left to join Vital Sines; McKay was killed in a tragic accident in 1989; Ashley moved from Toronto to pursue other interests; Poliwada now lives in Ottawa; Codling has continued performing and recording around Toronto including work with Celestial Harp Band. with notes from Gary Alexander.


1985 Fish In the Attic (independent)

Ron Chenier
(vocals, guitar) / Laurie Curry (keyboards, vocals) / Jason MacDonald (bass) / John Chenier (drums) / Bob Patterson (drums; replaced John Chenier) / Jeff Stephen (drums; replaced Patterson) / Ed Eagan (keyboards; replaced Curry) / Jeff Nystrom (bass; replaced MacDonald) / Ivan Tessier (keyboards; replaced Eagan) / Dave MacDonald (vocals; added)
Formed in Ottawa in 1979, the band released their independent album ‘Round One’ which brought them to the attention of  A & M Records. The label released ‘Hot Spikes’ in 1980 and ‘Fleet Street’ in 1981. John Chenier died of a bloodclot in the brain during open heart surgery in 1981. In an effort to get international distribution for the albums, A & M re-issued ‘Fleet Street’ as ‘Thunder in Rock’ with new artwork for the USA. To gain traction in Europe, however, both ‘Hot Spikes’ and ‘Thunder In Rock’ were released under the name Myofist so as to not be confused with an existing Newcastle, UK band called Fist on MCA Records. Ron Chenier has managed to keep a version of the band working on and off for over 30 years.

Fall/Who Did You Love (Ixtlan) WRC3-656
1980 Never Come Back/It’s a Sin (A & M) AM-507
1980 Hot Spikes/Lord I Miss You (A & M) AM-516
1980 Are You Crying/It’s a Sin (A & M) AM-522
1981 Thunder In Rock/Evil Cold (A & M) AM-558
1981 Leather & Lace/On the Radio (A & M) AM-565
1982 Fist/On the Radio (A & M) AM-574
1983 Over the Line/Rock Ride (A & M) AM-607
1983 Gimme Love/If I’m Not Loved (A & M) AM-615

Round One (Fist) FIST-1
1980 Hot Spikes (A & M) SP-4823
1981 Thunder In Rock (A & M) SP-4893
1981 Fleet Street (A & M) SP-9068
1983 In the Red (A & M) SP-9089
1985 Danger Zone (Cobra) CL-1003
1993 Reign of Terror (MaGaDa) MAGCD-3
1995 Loud Loud Loud (MaGaDa) MAGCD-29
2001 Fleet Street Revival [bootleg]
2006 Bolted Door (Ronch) 303206
2014 Under the Radar [2CD]

Wayne Brown
(vocals) / Terry Webber (bass) / Art Davis (guitar) / Dave Rage Trudell (drums) / Paul S. Bonk (vocals, replaced Brown) / Claude Kent (drums; replaced Trudell) / Mike Allen (vocals, guitar; replaced Bonk)
Formed by Webber and Davis during the summer of 1977 when the soon-to-be band members started seeing bands at the Crash ‘n’ Burn club in Toronto. Alas, they really didn’t know how to play and so enlisted help to get instruments and rudimentary lessons. By the fall of 1977 they finally found a drummer in Trudell. They also added Brown on vocals. In 1979 The Fits, with Paul Bonk now on vocals, went into Cottingham Sound with engineer Tom Atom and producer Evan Adelman and cut the three song EP “Bored of Education”. Eventually, the band mutated into a more post-punk sound that they dubbed The Wanderers. This band won a place on the 1981 Q107 Homegrown album Volume 3 with a song called “Do It Right”; Kent would go on to be in the Rockin’ Alligators in the ’90s and Clockwise in the 2000s.

1979 Bored of Education [3 song EP] (Stage Fright) WRC3-674

courtesy David Sampson

Jack Arsenault (rhythm guitar, vocals) / Brian Bradfield (drums) / Brad Campbell (bass, vocals) / Dave Poulin (lead vocals) / John Miron (vocals, guitar) / Keith Richardson (vocals, guitar) / Colleen Peterson (vocals, guitar) / Mark Corbin (bass) / Jim Pagliaro (drums) / Mel O’Brien (bass; replaced Corbin)
The various members of the group started playing together in 1963. After The Beatles made their first appearance on ‘The Ed Sullivan Show’ in February 1964, the guys knew what direction they wanted to go. They put together a few bands in the beginning with names like The Decades, B.C. And The Cavemen, and The Quotations. With a member or two from another local band called The Rising Suns, they became The Fifth Dimension. The first lineup was Bradfield, Arsenault, Campbell, Poulin and Miron. After some memorable experiences in Kazabazua and beyond, Keith Richardson came in to replace Miron. Richardson had originally been with The Crescents and then Terry Webb And The Spyders before joining. On the eve of releasing their first single in 1967, “Baby Boy”, on Sir John A. Records, a US band called The Fifth Dimension released the hit song “Up, Up and Away”. And so, the group shortened its name to The Five D. That same year Corbin and Pagliaro would join before the release of their second single – “Runnin’ Round In Circles” – which went to No.1 in Ottawa and  No.3 in Regina. The band was part of the televised 1967 Centennial Celebrations on Parliament Hill where Queen Elizabeth and Prince Philip were in attendance. They toured opening for the likes of The Who, The Troggs, Wilson Pickett and Ohio Express among many others. The band auditioned to be the house band for CFTO’s ‘It’s Happening’ with Robbie Lane, but lost out to another act. They did manage to make several appearances on the show as well as CFTO’s ‘After Four’. Sir John A. Records released one more single in 1968 called “She Can’t Be My Girl”. Their final concert in July 1968 was as opening act for The Who and The Troggs at the Ottawa Civic Centre. A TV special was taped by CFTO at which time Mel O’Brien was added on bass, but the show never aired after lead vocalist Poulin got married, moved to Vancouver and took a job as a used car salesman. In 1970 Richardson joined The Playdates and spent four years with them playing at the Glenlea Club playing 6 nights a week. He would appear on records by Bobby Vee, Rough Trade, and Frank Mills among others. Richardson and Poulin were signed to Warner Brothers as songwriters. The duo and Campbell would also play in several cover bands in the ’70s & ’80s. Richardson would work for Roland Canada as a sales rep in the ’80s; Campbell would go on to write songs for The Carpenters, The Osmonds, Wayne Newton and Little Feat among others; Poulin also went on to join The Playdates, Skyhound, Foxfire, The Rhythmaires, Fowler Street, Bolt Upright and The Erections, Springwell, Fizz, Up All Nite, The Dennis Whitty Band, and Reg Carkner and The Terrence Christopher Band. In March 1991 The Five D reunited for a CHEO radio benefit concert and CJOH’s 25th Anniversary party.  In 2004 Bradfield, Campbell, Richardson and Poulin reformed to jam in Poulin’s studio but not without purpose. Each brough original material to the sessions and over time 20 songs were culled to 12 under the name The Yohawks and were released on a new CD in 2008. with notes from Marc Coulavin, Alexander J. Taylor, Jim Magnes, Keith Richardson, Mel O’Brien, and Janet Buchan.

1967 Baby Boy/Good Time Music (Sir John A./RCA) RG-1017
1967 Get Out Of My Life Woman/Running ‘Round In Circles (Sir John A./RCA) SJA-1
1968 She Can’t Be My Girl/Freeloader (Sir John A./RCA) SJA-5

Ted Gerow
(keyboards) / Brian Rading (bass) / Rick ‘Bell’ Belanger (drums) / Les Emmerson (vocals, guitar) / Mike Belanger (2nd drums)  / Steve Hollingsworth (drums; replaced Belanger) / Ross McCrae (lead guitar; added )
The Staccatos had emerged from the Ottawa scene in the mid-’60’s with financial backing from journalist Sandy Gardiner. He helped launch their first release to gain any prominence called “Moved to California”. They began to receive more notice with gigs in Toronto’s Yorkville Village after the release of “Half Past Midnight” (1967) which became a national hit. Around this time they hooked up with Coca-Cola Company to share half an LP recorded at Hallmark Studios with The Guess Who called ‘A Wild Pair’ on Jack Richardson’s Nimbus Records. The album was a big seller prompting the band’s U.S. label to release “Half Past Midnight” along with a commitment to record new material in L.A. Though they received a lot of hype in California from the record label, the group was seen as being ‘too Beach Boy sounding’ and The Staccatos records failed. Taking a cue from its own 1968 2nd album, they soon changed their name to The Five Man Electrical Band in 1969 and commuted back and forth to Los Angeles recording sides for Capitol Records. The first single from this batch was “It Never Rains on Maple Lane”. When their deal with Capitol ended they went to the US in 1971 and got a new deal with a little label owned by writer Jimmy Webb and producer Dallas Smith called Lionel Records who released “Hello Melinda Goodbye” instead of the song they’d designated as the B-side, “Signs”, which was completely against the advice of their manager, Sandy Gardiner. Gardiner, instead, took the song to Bobby Vee (“Take Good Care Of My Baby”) who had a minor hit with it in the southern US.  With pressure from Gardiner, they re-issued “Signs” from the ‘Goodbyes & Butterflies’ album (with a cover art switch due to a questionable marijuana-looking plant on the original jacket) and the single went to No.3 in the U.S. and No.4 in Canada selling more than 2 million copies worldwide. Later in 1971 they released “Absolutely Right” which went to No.3 in Canada and Top-20 in the U.S. By 1973 they were exhausted and called it quits, though Emmerson continued recording as Five Man Electrical Band until 1975. After this, he remained in California and started a faltering label called Perfect Records. Following this he returned to Ottawa, resumed a solo career (with a brief stint in The Cooper Brothers). In 1986 the band reformed for a one-off benefit concert which has lead into a fun Eastern Canada tour every year with no business pressures. The song “Signs” was even revived by hair metal band Tesla in 1990. Emmerson would later buy back the rights to the entire Five Man Electrical Band catalogue (having invested wisely in computer technology) and issued a ‘best of’ CD in the ’90’s. Emmerson had a heart attack the day after his 56th birthday. A STENT procedure was performed on him in Ottawa in September 2000 to repair the heart problem. He currently plays in a revived version of the band and occasionally in the Cooper Brothers; Brian Rading passed away in June 2016 with notes from Sandy Gardiner, Greg Simpson, Brenda Mongeau and Fred Hinnegan. [also see LES EMMERSON, THE STACCATOS]

1969 It Never Rains On Maple Lane/Private Train (Capitol) 2368
1969 Baby/Lovin’ Look (Capitol) 2517
1969 Sunrise To Sunset/Little Bit of Love (Capitol) 2562
1969 Riverboat/Good (Capitol) 2628
1970 Hello Melinda Goodbye/Signs (Lionel/MGM) L-3213
1970 Moonshine (Friend Of Mine)/Forever Together (MGM) 14149
1971 Signs/Hello Melinda (MGM/Polydor) 2065-042
1971 Absolutely Right/(You & I) Butterfly (MGM/Polydor) 2065-089
1971 Absolutely Right/Signs (MGM/Polydor) MGC-5024
1972 Julianna/Friends & Family (Polydor) 2065-103
1972 Devil And Miss Lucy (Lion/Polydor) LN-112
1972 Money Back Guarantee/Find The One (Polydor) 2065-142
1973 I’m A Stranger Here/Doin’ The Best We Can Rag (Lion/Polydor)  LN-149
1973 Baby Wanna Boogie/Sweet Paradise (Lion/Polydor) LN-160
1974 Werewolf/Country Angel (Polydor) PD-14221
1975 Johnny Get A Gun/And the World Goes Round (Polydor)  PD-14263

1968 The Five Man Electrical Band (Capitol) ST-165
1971 Goodbyes And Butterflies (MGM/Polydor) 24-2402
1972 Coming Of Age (Lionel/Polydor) LRS-1101
1973 Sweet Paradise (Lion/MGM/Polydor) LN-1009
1974 The Power Of The Five Man Electrical Band (Polydor) PD-6029
1995 Absolutely Right – The Best of… (Universal) 3145233312
2009 First Sparks: The Anthology (1965-1969)  [Staccatos/Five Man Electrical Band split release] (Mouse Hole/Pacemaker/EMI) PACE-076


Bill Amesbury
(vocals) / Ken Carty (guitar) / Jack Flynn (drums) / John Kimmel (vocals; replaced Amesbury) / Mel O’Brien (bass) / Dennis Pinhorn (bass; replaced O’Brien)
The Five Shy were signed to Columbia Records by winning the 1968 CNE ‘Battle Of The Bands. They released two singles during which time Pinhorn replaced O’Brien. Amesbury would go on to a short-lived solo career; O’Brien was briefly in The Paupers, then Chester, before reteaming with Amesbury to record Amesbury’s debut album in 1974, working with Deja Vu and now lives in Ireland; Flynn, Kimmel and Carty formed Manchild; Carty now performs with the TorontoSoul Revival; Kimmel became a flower shop owner; Pinhorn would join Brutus and Downchild Blues Band.  with notes from Mel O’Brien.[also see BILL AMESBURY, MANCHILD]


1968 Freeloader/The Windmill (Columbia) C4-2798
1968 Saints And Angels/Try To Be Happy (Columbia) C4-2818


FLEAUX, Les (aka Les Flo)
/ Alain / Richard / Maurice
From Lachute, Quebéc. While passing through Lachute, Quebéc music producer Tony Roman discovered the four teenaged brothers who were playing covers of British Invasion and American garage pop songs. He would produce their only single – a French cover version of Them’s “Gloria” – in July 1966.

Gloria/Ma Lili Hello (Canusa/Laval) C-305

Martine Lejeune
(vocals) / Francine Chabot (vocals) / Catherine Bonnevay (vocals) / Dominique Bonnevay (vocals)
Les Flechettes – featuring two sisters and two cousins – were backing vocalists for Claude François. He named them in 1968 after the moniker of his record label Disques Flèche. They toured and recorded with François and eventually began releasing their own records in 1969. Their single “Une fille est toujours belle” was a French version of the Turtles’ “Elenore”. The follow-up single “Je vends du rêve” was a French version of Lou Christie’s “She Sold Me Magic”.

Une fille est toujours belle/Les gens (Flèche) CF-07
1969 Les heures/Je vends du rêve  (Flèche) CF-12

Born: Debbie Duncan in Ottawa, Ontario
Debbie Fleming grew up in Ottawa, Canada as the daughter of a military man (and government employee) and a homemaker mother.  The family moved to the newly developing Toronto suburb of Etobicoke in the 1960s where Fleming attended Sunnylea and Parklawn elementary schools after which she attended Royal York Collegiate (now known as The Etobicoke School For the Performing Arts). It was at Royal York that she discovered her voice and wrote her first songs. Her first band was The Starfires. She attended McMaster University, and earned her Honours degree in Psychology. She was hired by the London Psychiatric Hospital after graduation, where she worked as a Psychometrist, administering psychological tests to patients. It was in London, Ontario where she met Ian Tyson’s keyboardist Gord Fleming whom she married and soon Debbie Fleming traded her psychology career for music. Fleming began gaining recognition for work in the Toronto recording studio scene when she was asked by producer Andrew Melzer to sing on some existing instrumental tracks in 1974. Melzer presented the finished tracks to Al Mair and Tom Williams of the newly formed Attic Records where a deal was struck to release a single. “Long Gone” was released in October 1974 and received very positive radio response that year peaking at #18 on the RPM Top Singles chart. It also became a minor dance hit in the UK through the Bradleys label in early 1975. Fleming was nominated for a JUNO Award in 1975 as ‘Most Promising Female Vocalist’. Having worked with Elaine Overholt and Doug Mallory, among others, Flemin was confident enough to release another single called “Let Me In” on Intercan Records which gave her some radio play in November and December 1978. By 1979 she had come to the attention of the Canadian Talent Library. Soon she recorded a solo album of original compositions (and two songs written by Fleming’s composer friend Lynne Deragon) with musical arrangements by Tom Szczesniak and Doug Riley. The ‘Let Me In’ album was released in 1980 and gained her more attention with Adult Contemporary radio. As the ’80s wore on, Fleming returned to her country roots and began recording her own tunes and releasing them as singles on her own Riverdale Records label. Produced by pedal steel player Ron Dann, “What’ve They Got For a Heartache” and “After The Afterglow” received a lot of airplay in Canada. “Heartache” managed to stay on the RPM Country singles charts for more than 20 weeks in 1989. With singles now a dying format at radio Fleming compiled all the country songs she had recorded onto her second solo album entitled ‘Nothin’ In The World (That This Old Girl Can’t Do!)’ in 1994. Nashville, home of the contemporary country music industry, beckoned, but Fleming loved her hometown and elected to remain in Toronto. Instead she began working on material she’d been working on in an R & B vein and had her midi and computer demos polished up by engineers Rob Rettberg and Ray Parker who added additional for a new album. The CD was released under the pseudonym – A.C. Kurett – so as not to confuse radio stations who knew Debbie Fleming as a country artist. During her career as a session singer, Debbie was hired to sing and arrange backup vocals for hundreds of artists – some of the most notable being Frank Mills, Ronnie Prophet, Hagood Hardy, David Clayton Thomas, Rob McConnell, Oscar Peterson, Anne Murray, the ‘Strange Brew’ album and movie soundtrack, Carroll Baker, Liona Boyd, Rik Emmett, Rita MacNeil, Susan Aglukark, Ronnie Hawkins, Jason McCoy, country superstar Alan Jackson, and many many others. Throughout the 80’s and 90’s Fleming was involved with all recordings done by the Mendelssohn Choir including Handel’s “Messiah” which was recorded in 1986 at The Kitchener Centre for the Arts with Elmer Iseler, Andrew Davis and the Toronto Symphony Orchestra featuring Kathleen Battle. In 1996 Fleming received an Ontario Arts Council recording grant for her jazz vocal group Hampton Avenue who released a Christmas album which Fleming also produced. By 1999 Hampton Avenue became an octet. Fleming and Hampton Avenue member Larry Folk co-produced this project their sophomore album – ‘Everybody Sing’ – leading to the Jazz Report naming them ‘Vocal Group of the Year’ and awarding them ‘Best Jazz Song’ for their recording of “In A Mellow Tone”. After Hampton Avenue disbanded, Fleming had more original jazz material she wanted to record so she recruited Hampton Avenue core members – Suba Sankaran, Dylan Bell and Tom Lillington (now known as Hampton Avenue 4) to lay day arrangements which were produced, arranged and recorded engineer by Fleming at her Toronto recording studio. A CD of these sessions was released in 2002 entitled ‘Gift of Harmony Featuring Voices of Hampton Avenue’. Fleming still had her jones for country music and so, in 2001, formed a trio with two other singer-songwriters she knew from the Mendelssohn Choir – Dorothy McDonall and Mary Ellen Moore. The trio became the ChoirGirlz, and under Fleming’s guidance as a producer, arranger, recording engineer, singer and newly learned guitarist, they released their CD entitled ‘Angel Wings’ in the fall of 2003. ChoirGirlz have released two more CDs since with ‘Girl Time’ and ‘Livin’ It’. After the breakup of Hampton Avenue, Fleming began performing as a solo artist with her jazz accompanists – Bruce Harvey and Jack McFadden – whom she had known since her McMaster University days. After her debut at the MontréalBistro, with the addition of Don Vickery on drums, and John Johnson on sax, it was clear from the positive audience response that a recording had to be made. In the summer of 2004, she arranged 11 of her original tunes for the quintet and recorded at them at Acrobat Music Studios. The ‘Steppin’ Out’ CD was released later that year. with notes from Debbie Fleming.

1974 Long Gone/All About You (Attic) AT-102
1978 Let Me In/Easy Street (Intercan) 1001
1981 Let Me In/Easy Street [re-release] (Intercan) 1001
1989 What’ve They Got For A Heartache (Riverdale) DF-001
1989 After The Afterglow (Riverdale) RDR7-56

1980 Let Me In (CTL/Intercan) IC-1011
1994 Nothin’ In The World (That This Old Girl Can’t Do!) (Riverdale) 747
2002 Gift Of Harmony Featuring Voices Of Hampton Avenue (Riverdale) 30610
2004 Steppin’ Out (Riverdale)


1996 All I Want For Christmas (Riverdale) 30610
1999 Everybody Sing


2003 Angel Wings (Riverdale)
2006 Girl Time (Riverdale)
2007 Livin’ It (Riverdale) 7248418

Born: Hamilton, Ontario]
Hamilton native Lois Fletcher began her love of singing in school and church choirs. She also would teach folk songs to children. She was soon appearing on Canadian television and then joined a folk group. The act appeared in New York City and after watching a performance of the The New Christy Minstrels Minstrels, Fletcher met group founder Randy Sparks. Much later, when Sparks decided to form another group to serve as a “farm team” for the New Christy Minstrels’ ever-changing roster, The Back Porch Majority was born. In 1963 Fletcher, and Chatham native Dan Dalton, became members of the ensemble. The act was considered one of the “big band” folk music ensembles from the period and performed for Lyndon B. Johnson at the White House in 1965. They were signed to Columbia Records’ imprint Epic Records where they released five LPs, including a live album recorded at Ledbetters – a bar owned by Randy Sparks. Following the band’s break-up, Fletcher was kept on at Columbia and  released the single “Winken Blinken and Nod”  in 1966. She signed to Playboy Records in 1973 and the single “I Am What I Am” was recorded at Studio 3 in Vancouver, British Columbia. The song managed a respectable Top20 chart position of  No.7 in June 1974. The song even landed on a K-Tel album entitled ‘Canadian Mint’. The follow-up single “Man Smart, Woman Smarter” failed to chart. She moved to Quality Records in 1975 for the single “Liza”.

Winken Blinken and Nod/Until I Get Over You (Columbia) 4-43633
1973 We’re Getting Stronger (Playboy)
I Am What I Am/One More Time (Playboy) P-50049
1974 Man Smart, Woman Smarter/[same] (Playboy) P-6003
1975 Liza/Rock ‘n Rollin’ Star (Quality) 2128X

Friends/Hand-Me-Down Things (Epic/Columbia) 5-9689
Hey Nelly Nelly/Ol’ Dan Tucker (Epic/Columbia) 5-9754
1964 Jack O’ Diamonds/Smash Flops (Epic/Columbia) 5-9769
1965 Good-time Joe/Ramblin’ Man (Epic/Columbia) 5-9809
1965 Mighty Mississippi/A Song of Hope (Epic/Columbia) 5-9850
Second-Hand Man/That’s the Way It’s Gonna Be (Epic/Columbia) 5-9879
1967 Brother John/Honey and Wine (Epic/Columbia) 5-10036
1967 Once Again/Slippery Sal and Dirty Dan the Oyster Man (Epic/Columbia) 5-10079
1967 Southtown USA/This Little Light (Epic/Columbia) 5-10129

The Back Porch Majority (Epic/Columbia) LN-24123
1965 Live At Ledbetter’s (Epic/Columbia) LN-24134
1965 Randy Sparks Presents: Riverboat Days (Epic/Columbia) LN-24149
1966 That’s the Way It’s Gonna Be (Epic/Columbia) LN-24184
1967 Willy Nilly Wonder of Illusion (Epic/Columbia) LN-24319
2004 The Best of The Back Porch Majority (Collectors’ Choice) 420246

Michael Brook
(guitar) / Phil Schreibman (vocals)
While administering the video lab for A Space (a Toronto government-funded arts centre) through the early 1980s, Michael Brook managed to get his act Flivva to play a gig there. Brook’s brother played bass, his girlfriend at the time played a snare drum and the songs were written and sung by Phil Schreibman. Toronto local video artists Andrew Paterson (and later of the band The Government) and Marien Lewis (the head of A Space) play live with them. This line-up would record one album – ‘The Name Is Schreibman’ – on its own indie label in 1977. After being discovered by Steven Davey of The Dishes, Brook would join Davey’s next band, The Everglades, who would play over 50 gigs around Toronto and appeared on the 1978 ‘Last Pogo’ soundtrack album. Brook would go on to record and tour with Brian Eno and Daniel Lanois among others; Shreibman would create a new musical identity under the name Big Red. with notes from Michael Brook and Steven Davey.

1977 The Name Is Schreibman (Flivva)

Tom Wilson
(lead vocals, guitar) / Jason Avery (guitar) / Greg Cannon (drums) / Carl Keesee (bass)
American bass player Carl Keesee had been in Texas soft-rock trio Lazarus in the early ’70s. When the band folded, the band’s touring Canadian guitarist David Bradstreet convinced him to settle in Canada where he worked on Bradstreet’s solo material from a base in Oakville, Ontario. Oakville’s proximity to Hamilton led Keesee to meet Wilson, Avery and Cannon who formed the The Florida Razors in 1981 marrying ’50s styled Rock & Roll, country, punk and pop influences. Early on they recorded two 7″ singles under the moniker Tom Wilson And The Florida Razors. They then pressed a novelty EP entitled ‘Half a Rock & Roll Record’ (one side of the vinyl was etched with ‘More Or Less’ written in it by hand). 1986 saw the release of their full-length album ‘Beat Music’. The A-side was recorded by Bob Lanois at the famous Grant Avenue Studio in Hamilton. The B-side was a live recording made on a tape from a performance at the Prince George Hotel in Kingston in 1982. Daniel Lanois and Bob Lanois created a special device called the “Bobometer” which separated and cleaned the tracks for use on the LP. After touring Canada extensively for more than 6 years and receiving accolades, but little success in landing a major record deal, the band split up in 1987. Leader Tom Wilson went on to form Junkhouse and then Blackie & The Rodeo Kings with Colin Linden and Stephen Fearing and is currently in the act Lee Harvey Osmond; Jason Avery is a graphic designer whose work has graced many Canada Post postage stamps; Carl Keesee returned to Texas and is currently part of the Austin music scene. The best of the group’s output, ‘Beat Music: The Essential Collection’, was released in August 2000 on Bullseye Records and the band reunited for several fundraisers in Hamilton. with notes from Jason Avery, Gary Pig Gold, Tom Wilson.

1982 Tom Wilson And The Florida Razors [EP] (Warpt)  WRC3-1717
1984 Break Down Your Door/She’s a Real Nice Girl (But She Can’t Rock ‘n’ Roll) (Warpt) WRC3-2140
1986 King of Clang/Oh Linda (Warpt)


1985 Half a Rock ‘N’ Roll Record (Razor/WARPT) FR2-86
1986 Beat Music (Razor/Warpt) WRC1-3301
2000 Beat Music: The Essential Collection (Bullseye) BLR-CD-4040

Flower Garden was from Montreal, Quebéc and signed to Don Wayne Patterson’s Jet Records.

I Ain’t Gonna Eat My Heart Anymore/Understanding (Jet) 4005

Edmund “Ed” Pilling
(vocals)  / Brian Pilling (guitar) / Mick Walsh (guitar) / Greg Godovitz (bass) / Jorn (JJ) Andersen [aka John Andersen] (drums)  / Mick Hopkins (guitar; replaced Walsh) / Peter Csanky (piano, mellotron; replaced Hopkins) / Gord Waszek (guitar) / Peter Rochon (keyboards; replaced Csanky)  / Doni Underhill (bass; replaced Godovitz) / Pat Little (drums; subbed for Andersen) / Jim Crichton (bass; replaced Underhill) / Ian McCorkle (drums; replaced Andersen) / Steve Negus (drums; replaced McCorkle) 
The roots of Fludd extend as far back as the mid-1960’s in Toronto where guitarists Brian Pilling and Greg Godovitz met in high school and shared the same passion for the music of The Beatles. With the obligatory garage band on their individual resumes, Pilling, Godovitz and Pilling’s drumming brother, Ed would form The Pretty Ones in mid-1965. With a short and unexceptional run in Yorkville Village and at high schools around Toronto, the members went their separate ways. The brothers thought a fresh start would be the best approach and followed their English heritage back to Birmingham, England where they formed a new act called Wages Of Sin – with Ed now on lead vocals, Mick Hopkins and Tony Clarkson (both of The Nicky James Movement/The Way of Life) and Jimmy Skidmore on drums. After signing with John Singer’s Agency in February 1967, the band is sent to Germany for a month to play at the Palleten Club in Fulda, playing mainly for American G.I.’s stationed nearby. During their residency they recorded a single for the Palleten label (“Hey Joe” b/w “N.S.U.”) which was only released in Germany. Upon returning to the West Midlands in March the band begin playing around the local area, appearing regularly at top venues like the Morgue, the Carlton Club (aka Carlton Ballroom) and the Cedar Club. In June 1967 they return to the Palleten Club in Germany. At the beginning of July they bring their new harder, more aggressive psychedelic sound back to England. By month’s end they change their name to Yellow Rainbow (which is used later as the title of a song by Roy Wood for his band The Move). The band waffles between band names as they complete contracted gigs around Birmingham through August and September. In early October 1967 folk singer Cat Stevens’s brother and manager, David Gordon, invites the band to London to be Cat Stevens’ backing band. The band accepts and is placed on a retainer. They complete a number of local gigs, and cancel the remainder of their shows for the year before heading to London where Stevens immediately renames the band to Zeus. To get a feel for London audiences, Zeus does a warm up show at Middle Earth with The Soft Machine and Sensory Armada in early November 1967. They then spend their time rehearsing with Stevens at the Marquee for their debut in France at the Palais de Sports in Paris on a bill that includes The Spencer Davis Group, The Soft Machine, Dantalion’s Chariot, Keith West and Tomorrow. The November 17 show is recorded and broadcast on French television. In December Stevens takes the band to Pye Studios in London to produce the band covering two of his compositions. The songs are never released. Later in the month Zeus appears at the Marquee in London, doing an opening slot for The Nice. In the middle of January, 1968 Cat Stevens and Zeus appear at the Winter Gardens Weston-Super-Mare but several weeks later Stevens contracts tuberculosis and is forced into bed rest. Despite being on retainer, the band sits idle with little prospect of gigs and so, in February 1968 the Pilling brothers return to Toronto. Invigorated by the post-psychedelic British pop sound via acts like The Move, Small Faces and Rod Stewart the brothers are inspired to introduce the sand and to Canadian audiences. With a call to their former Pretty Ones bandmate Greg Godovitz who, in turn, recruits drummer John Andersen and guitarist Mick Walsh, the form Fludd. Fludd became a staple on the Toronto club scene mixing Anglocentric originals with cover tunes and soon attracted the attention of Warner Brothers Records. Recording on their debut album commenced at Pacific Sound, San Mateo, California with producer and fellow Canadian Adam Mitchell (The Paupers). The single “Turned 21” was released in late 1971 and rode the Canadian charts for 5 weeks, peaking at No.16 nationally. But, the album stalled out and rather than trying to work a follow-up single from the album, Fludd returned to Manta Sound in Toronto with Adam Mitchell to record some fresh ideas in early 1972. During the interim, Mick Walsh left the band and was replaced by former Wages Of Sin guitarist Mick Hopkins. The band carried on by releasing the single “Get Up, Get Out, Move On” which peaked on the CHUM Chart at No.18 in April of ’72. The band was soon dropped by Warner Brothers and Hopkins returned to England to form hard rock act Quartz (they would go on to release half a dozen albums). It became obvious to The Pillings that their guitar-oriented pop and so Fludd turned its watchful eye to England who was always on the cutting edge of musical style and fashion. To that end, they changed their sound drastically with the addition of keyboard player, Peter Csanky. Meanwhile, Welsh music executive Frank Davies became interested in the group for his own newly expanding Canadian Daffodil label — home of Crowbar, King Biscuit Boy, et al. Fludd’s style worked well with the Small Faces and other Immediate Records acts in their UK catalogue which Davies had licenced around the same time. Production began at Manta Sound Studio in mid-1972 with producer Lee DeCarlo on the band’s follow-up LP, entitled ‘Cock On!’. Fludd was determined to be noticed and to be as cocky as their pseudo-British heritage. The title was interpreted literally and the band members posed for what would become a very controversial gatefold photograph — naked but for the coats they wore. Davies had a hardtime selling the concept to his distributor, Capitol Records, causing the photo to be scrapped and the album title to be reduced to the unimaginative ‘…On!’ It’s interesting to note that Godovitz would have the final say years later by writing the song “Cock On” and releasing it with his successful follow-up act Goddo. Daffodil took the album to heart and launched three singles — “Always Be Thinking of You”, “Yes” and “C’mon, C’mon” – none of which were significant hits other than “Always…”. And yet, the exposure from moderate airplay on FM stations was satisfactory enough to Daffodil who approved the recording of another full-length LP. It was suggested that if the band wanted to absorb a British feel then they needed to record in England. So in the Spring of 1973 Fludd went off to Oxfordshire, England and Mike Oldfield’s Manor Studios which had been host to a previous Daffodil project — Crowbar’s ‘Bad Manors’ LP. But recording an album in a cavernous castle was a foreign concept to Fludd’s members and homesickness led to the departure of Csanky who was replaced by Ottawan Peter Rochon (Mythical Meadow). Oldfield’s own project, ‘Tubular Bells’, was finishing up and interfered with Fludd’s plans in fits and starts. Before the album could be completed, Daffodil scrapped the project due to its escalating costs and brought Fludd home (the tapes remaining in the posession of the studio for some years later). Daffodil had not released a Fludd recording for nearly 18 months and momentum would soon be lost, so a mad dash back to the previous album for a single yielded an unlikely hit through the final weeks of 1973 with “Cousin Mary”. The song breached the Top-20 nationally in Canada. Inspired by their new-found popularity, Fludd attempted to focus on recording again with a return to Manta Sound in Toronto during Spring 1974. The sessions were produced by Lee DeCarlo and member Brian Pilling and three songs — “I Held Out”, “Brother And Me” and “Dance Gypsy Dance” — were recorded. Daffodil committed to releasing “I Held Out” which failed to break the Top20 in Canada and the label dropped the group. With their spirits shattered from the continuous setbacks, Godovitz jumped ship to front his own power-trio group, Goddo. He was replaced by veteran Toronto bassist Doni Underhill (Leigh Ashford, Fingers). Underhill brought with him bandmate Gord Waszek directly from Leigh Ashford. Brian Pilling had been diagnosed with leukaemia and with his unpredictable reaction to treatments and day-to-day health, Waszek could take up any slack during live gigs and to help the Pillings co-write in the studio. Meanwhile, during this period of flux, Andersen left briefly to be subbed-in by Pat Little (Chimo, Luke & The Apostles), before returning anew with a change of name — his birthname Jorn. Still, Fludd wasn’t out of the game yet as the band was being wooed by an old ally — former Warner Brothers promotions man Tom Williams who, with business partner Alexander Mair, had formed a new label in Toronto called Attic. Fludd would become the first act signed to Attic and with the three completed songs purchased from Daffodil, proceeded to issue the band’s newest single, “Brother And Me”, in June 1974. The single was launched with a free concert at Toronto City Hall to 50,000 fans. Williams and Mair even hired a plane to drag a banner over the site and the Mariposa Festival site nearby proclaiming “Fludd Wishes You A Happy Summer”. “Brother And Me” broke the Canadian Top-30, which was considered a success by all parties involved, and so Attic followed that with the single “Dance Gypsy Dance” which failed to chart at all. With Attic focused on getting recognition for themselves and the band, Fludd, meanwhile had returned to the studio, this time at Sound Quebéc in Montreal, for the long anticipated follow-up to 1972’s ‘…On!’. The band emerged with a new line-up and a new Adam Mitchell produced album called ‘Great Expectations’ in early 1975. The more aggressively styled single “What an Animal” helped the band achieve their first Top10 in Canada. Some of this was due to the controversial album cover featuring a very pregnant and semi-clad woman on the cover. A media storm brewed calling the cover obscene (it was Pilling’s pregnant sister-in-law). Eaton’s and Sam The Record Man wouldn’t stock or promote the album. Unfortunately, the band’s new-found infamy could not be bolstered by touring due to the deteriorating health of Brian Pilling. The Pillings agreed to continue the band as a recording project provided Brian was healthy enough. Other members of Fludd needed to make a living and so Waszek, Underhill and Andersen left to reform Fingers. Ed and Brian Pilling rallied on with bassist Jim Crichton and drummer Ian McCorkle (Lynx) and set up shop at Thunder Sound in Toronto with co-producer Adam Mitchell in 1975. The sessions produced one single for Attic in 1976 caleed “I’m On My Way”. Despite the failure of the song to chart, Fludd was encouraged by Attic’s continued committment to the on-going determination of the band. Steve Negus replaced McCorkle and another version of Fludd continued to record at Phase One Studio in Scarborough, Ontario in 1976 with Brian Pilling producing. The sessions produced two useable tracks — “Help Me Back” and, the band’s final Attic single, “With You”. By this point Brian Pilling was unable to continue and the group disbanded. Attic released a fitting tribute to the band with a powerful ‘best of’ package in 1977 called ‘From the Attic: ’71 To ’77’. Brian Pilling finally succumbed to cancer on June 28, 1978 at the age of 29 and is survived by a wife and two children. Crichton, Negus and Rochon would go on to form Saga in 1977; Waszek went on to join several Toronto bands, including reformed versions of Leigh Ashford and Motherlode, and a steady gig for most of the 1990’s as guitarist for The Eagles tribute band Desperado; Jorn Andersen became a successful sideman/session player with the likes of Murray McLauchlan & Honeymoon Suite among others; Doni Underhill went on to join the very successful West Coast outfit Trooper. Godovitz had great success in the ’70’s and early ’80’s with Goddo (who also did a stint with Attic Records). As a tribute to his best friend Brian Pilling, Godovitz entered Studio 306 on June 11, 1980 with Goddo, Bob Segarini and several other Toronto musicians to record the Pilling/Godovitz song “Fortune In Men’s Eyes” and a remake of the Fludd song “Homemade Lady”. The songs were released as a benefit single on El Mocambo records and the proceeds donated to a fund for Pillings’ children. Ed Pilling had also continued recording over the years intermittently between his day job as a home renovator in Pickering, Ontario. Following his stint with Goddo, Godovitz joined power-pop combo the Carpet Frogs in 1994. Not long after the release of their debut CD, ‘Frog Curry’, he left the band. He re-teamed with his old bandmate Ed Pilling in 1997 under the handle No Flies On Frank. Goddo would later resurface in 2000 for their 25th anniversary, have their back-catalogue re-issued by Bullseye Records and Godovitz would release his autobiography “Travels With My Amp” and a solo DVD ‘Up Close & Uncomfortable’. Fludd continues to this day with Ed Pilling and his younger brother Steve. A new CD of material called ‘Fludd Lights’ was released in 2006 but was never sold commercially.  with notes from Greg Godovitz, Nick Warburton, Ed Pilling, Kevin Shea, and Frank Davies. [also see GODDO, SAGA]

1971 Turned 21/Easy Being No One (Warner Music) WB-7531
1972 Get Up, Get Out And Move On/A Man Like You (Warner Music)  WB-7576
1972 Always Be Thinking Of You/Can You Be Easy (Daffodil) DAF-1025
1973 Yes/Down Down Down (Daffodil) DFS-1032
1973 Cousin Mary/C’Mon, C’Mon (Daffodil – UK) DDK-5219
1973 Cousin Mary/Home-Made Lady (Daffodil) DFS-1042
1974 I Held Out/All Sing Together (Daffodil) DFS-1047
1974 Brother & Me/Piece of Alright (Attic) AT-100
1974 Dance Gypsy Dance/Boarding School (Attic) AT-103
1975 What An Animal/Boarding School (Attic) AT-107
1976 I’m On My Way/Great Expectations (Attic) AT-114
1976 Help Me Back/Way You Get Around Me (Attic) AT-134
1977 With You/How’s Life Breaking? (Attic) AT-164

1971 Fludd (Warner Brothers) BS-2578
1972 …On! (Daffodil) SBA-16020
1975 Great Expectations (Attic) LAT-1001
1977 From The Attic ’71 to ’77 (Attic) LAT-1027
1994 Greatest Expectations (Pacemaker)
2001 Cock On! [re-issue] (Unidisc) AGEK-2157
2006 Fludd Lights (independent)

Doug Rowe (vocals, guitar) / Bob Hughes (vocals, bass) / Red McKelvie (guitar, mandolin) / James Wynne (guitar) / Warren Ward (bass; replaced Hughes) / Terry Wilkins (vocals, bass; replaced Ward) / Colin Walker (vocals, drums) / Greg Grace (vocals, guitar; 1968-1969,  1971-1973) / Sam See (vocals, guitar, keyboards; 1970-1974 except 1972)
Not to be confused with the late ‘60s Bruce Cockburn/Neil Merryweather band of the same name,The Flying Circus formed in Australia in August of 1968 as a country folk-rock band. New Zealander Rowe had been a member of The Castaways and The Saints before settling in Australia. Original vocalist and bassist Hughes left in early 1969 and was replaced by Ward (Nutwood Rug, Stonehenge, A Love Supreme, Quill). Flying Circus signed to EMI/Columbia in late 1968 and their first major concert was in Sydney’s Domain on Australia Day 1969. They had a national Top 40 hit (No. 26) in March of ’69 with the single “Hayride”. The song was an innocent pop ditty but created an airwaves controversy in New Zealand, over the lyrics “…making love in the hay”. The song wasn’t banned but was delayed for release in New Zealand until May of that year. The song gained exposure for the band outside their New South Wales stomping ground thanks to a promo film which was rotated on national TV shows like ‘Uptight!’ in Australia. The band’s second single was “La La” and became a bigger hit making the Sydney and national Top10 in June of 1969. The band soon suffered an identity crisis as their chart success made them out to be bubblegum pop artists while their live shows were a serious mix of progressive rock and country rock elements making them a hard sell for the record label. This led to personnel changes over the next few months: Grace left in June ’69 (to form Hot Cottage) and Ward left in September (and later joined Blackfeather). Terry Wilkins (ex-Quill) replaced Ward. Meanwhile, Rowe and Wynne suffered rounds of poor health which sabotaged their tour schedule later that year. It was at this time the group recorded their eponymous debut album featuring their previous pop singles, some original country rock numbers and a medley from the musical ‘Hair’. The next single was “Run Run Run” released in late 1969 and reaching No. 19 in January of 1970. In April of ’70 they McKelvie (ex-Starving Wild Dogs, Quill). With McKelvie’s notable pedal steel sound the group decided to hammer home the idea that they were a country rock act as heard on their 7″ ‘Frontier’ EP, which included Bob Dylan’s “I’ll Be Your Baby Tonight” and Merle Haggard’s “The Day The Rains Came” plus two others. In July 1970 came the band’s follow-up album, ‘Prepared In Peace’, now a full-blown country-rock transitional record featuring all original tunes save for the cover of Leadbelly’s “Goodnight, Irene”. That same month they won the Hoadleys National Battle of The Sounds. The first single was McKelvie’s original song “Israel” released in October of 1970. McKelvie would not enjoy the fruits of the release as he was fired shortly thereafter.  After adding keyboardist Sam See (ex-Clapham Junction, Sherbet) the band ditched their country leanings and recorded a straight-ahead rock LP in 1971 called ‘Bonza, Beaut & Boom Boom Boom’. The album housed two singles – “Turn Away” and “It Couldn’t Happen Here” neither of which charted.  The Hoadley’s prize win included a trip to North America so Flying Circus headed to Canada and settled in Toronto without Jim Wynne. The trip went well, and they secured a deal for a $10,000, two-month tour of Canada from American music agency Music Factory. The band returned to Australia briefly in July 1971. Another single was released (“The Ballad of Sacred Falls”) in September of 1971. The “Turn Away” single was re-released in the US but did poorly there as well. At this time Sam See left to join the band Fraternity, and Greg Grace returned to the group. The Flying Circus headed back to Canada in late 1971 and found steady work for most of 1972 at which time they landed a reputed million-dollar contract with Capitol Records. They would soon record another album, called ‘Gypsy Road’, featuring the single – “Maple Lady” which scraped the bottom of the US Top 100 and “Old Enough (To Break My Heart)” which reached No. 8 on the Canadian charts. Flying Circus returned to Australia for the second ‘Sunbury Festival’ in January 1973, but was greeted with a lukewarm reception. Feeling more at home in Canada they soon returned where Capitol decided to hedge their bets on the huge investment they had made in the band and re-issued ‘Gypsy Road’ as resequenced self-titled release with ‘Jabber Jabber’ as the next single in 1973. It was at this point that Sam See rejoined the group and Grace quit permanently. Flying Circus recorded one more album, ‘Last Laugh’, in 1973 and released the non-charting single “Morning Sets You Free”. The band toured the record but by 1974 had called it quits. Sam See and Terry Wilkins later joined Lighthouse; Doug Rowe set up his own studio in Toronto before eventually returning to Australia; See joined Greg Quill’s Southern Cross, and later formed Stockley, See & Mason; Bob Hughes became a very successful actor best known for his lead role in the long-running Australian series ‘Hey! Dad!’ and ‘The Abba Movie’; McKelvie moved on to solo career and later formed the country-rock groups Chant, Powderhorn and Third Union Band; Grace would go on to roadie for semi-Australian-turned-Canadian rock outfit Wireless; Wilkins is a reknowned session bassist on many of Canada’s top recordings including those by Colin Linden, Big Sugar, among others; Walker joined Bond and later Cyril Way & ‘Round Midnight; Rowe died in July 2015. with notes from Mike Kras, Bob Segarini, Craig Smith, Greg Quill and Milesago.

1969 Hayride/Early Morning (Columbia – AUS) DO-8617
1969 La La/The Last Train (Columbia – AUS) DO-8775
1969 Run Run Run/All Fall Down (Columbia – AUS) DO-8989
1969 Frontier [7″ 4-song EP] (Columbia – AUS) SEGO-70187
1970 Israel/Giselle (Columbia – AUS) DO-9254
1971 Turn Away/Longest Day (EMI/Harvest – AUS) HAR-9321
1971 It Couldn’t Happen Here/Somerville (EMI/Harvest – AUS) HAR-9546
1971 Finding My Way/Ballad Of Sacred Falls (HMV – AUS) EA-9608
1971 Run Run Run/Silvertown (Capitol) 72652
1972 Maple Lady/Green Patch (Capitol) 72676
1973 Old Enough (To Break My Heart)/Train Ride (Capitol) 72688
1973 Jabber Jabber/Gypsy Road (Capitol) 72711
1973 Morning Sets You Free/Wake Up Wake Up (Capitol) 72724

1969 Flying Circus (Columbia – AUS) SCXO-7907
1970 Prepared In Peace (Columbia – AUS) SCXO-7925
1971 Bonza, Beaut & Boom Boom (EMI/Harvest – AUS) SHVL-604
1971 Prepared In Peace [re-issue] (Capitol) ST-6365
1972 Gypsy Road (Capitol) SKAO-6383
1973 Flying Circus [re-issue of ‘Gypsy Road’] (Capitol) ST-6391
1973 Last Laugh (Capitol) ST-6400
1977 Steam Trains & Country Lanes (EMI – AUS) EMA-326
1995 Flying Circus 1969-71 [CD] (EMI – AUS) EMI-814170

Dan Rubin
(vocals, fiddle, mandolin, bouzouki, guitar) / Satoru Suttles (vocals, guitar, keyboard, saxophone) / Rawn Mongovius (vocals, electric bass, pedal steel, harmonica, flute) / Ferguson Neville (vocals, congas, bells, gongs, dulcimer, trombone) / Drew Neville (piano, replaced Rubin 1979)
Flying Mountain was considered one of Vancouver’s most eclectic folk fusion groups. Formed in 1976 when musician Dan Rubin returned to Vancouver from living on the Gulf Islands. With guitarist Satoru Suttles, bass player Rawn Mongovius and drummer Ferguson Neville, Rubin originally called group “Dan Rubin And The Flying Mountain.” Rubin’s training as a classical composer was complemented by years of playing with Vancouver musicians who included Rick Scott, Joe Mock and Shari Ulrich (with whom he played in the group Amazing Grease, before they went on to become Pied Pumkin), as well as Jack Smith, Bruce Miller and Rick Van Krugel from whom he learned about traditional fiddle tunes; Suttles was a rock musician, who played with several bands in Canada and who had toured Europe in his teens; Mongovius was a die-hard bluegrass bass player, while Neville was a graduate of Vancouver’s Beefeater Marching Band. Early gigs in Vancouver clubs included appearances at the Classical Joint coffee house and a residency at Sophia’s Folk Dance restaurant, which led to the group establishing its identity as The Flying Mountain known for its enthusiastic use of improvisation onstage, as well as for combining traditional instruments in unusual ways. Although characterized by Jim Brown in his book on West Coast Music as “the crown princes of granola music” Flying Mountain was actually an early example of world fusion music. The musical styles which Flying Mountain explored during its five year career included traditional fiddle tunes, Celtic roots, Oriental and South Pacific traditions, First Nations drumming, bluegrass, ballads, blues and more. The name Flying Mountain was derived from a drawing of a mountain with wings first scrawled on a napkin in a diner, by Ferguson. Flying Mountain toured the province of BC, making occassional forays into Alberta, and the Yukon, gathering audiences as it went. The 1977 ‘Earth and Sky’, featuring artwork by artist Andrew Pratt, was produced by Simon Garber in his basement between bursts of heater fan noise from his furnace. The band mailing list announced the release of “Earth and Sky” in the summer of 1977, and the original album was paid for by subscribers before it went to pressing. It was a local hit, and established Flying Mountain as one of BC’s most adventurous musical groups, with a growing following. Along with Pied Pumkin and a number of other folk ensembles, Flying Mountain soon joined the folk festival circuit. With the support of a new manager, Nora Specht, Flying Mountain appeared at festivals in Blackfalds, Alberta, Calgary, Nelson, Kaslo, Courtenay, Whitehorse and Faro in the Yukon, Skagway Alaska and even smaller centres, before being invited to appear at the Winnipeg folk festival. Their appearance at the first Vancouver folk festival was a real highlight. In the last slot on the first night the four appeared in the rain, playing to hundreds of happy, mud-coated dancers in Stanley Park. Also during 1977 and 1978 Flying Mountain teamed up with the Brass Tacks Choir to create two conceptual theatre pieces. The first was “Voices of a Winter’s Night” and was performed in Vancouver and toured to Saltspring Island and Victoria; The second, which was mounted with funding from the Touring Office of the Canada Council, was “Celebrations Of the Sun” which toured the BC interior and then returned to a final sold-out final performance at the Vancouver East Cultural Centre. The release of the second album, 1979’s ‘Mountain’s Dream’, featuring a colour painting by guitarist Satoru Suttles, was once again recorded by Simon Garber (at Goldrush Studios in Kitsilano) on the heels of their first Canadian tour.  Due to disagreements over artistic and business business differences, Dan Rubin left the group in 1979 to record his solo album ‘Solitudes’. Flying Mountain continued to perform, and even toured in Europe, with the addition of Drew Neville on piano, and then with occassional appearances by other musicians, but it never regained its original intensity. Flying Mountain disbanded following Suttles’ departure in 1980. The band managed to record a third album that has never been released. Toward the end of their joint career as a band, Flying Mountain was offered the possibility of representation and promotion by Graeme Waymark, who had been financial manager for the Irish Rovers. However, the requirement that the group reduce their spontaneous combustion onstage to a carefully staged act for the television cameras was unworkable, which made it difficult for Graeme to find the television coverage he had proposed. Flying Mountain eventually did some film work, in the pilot for a children’s series produced by Leon Bibb, but this showed even more clearly that mixing magic with the technical demands of film was like mixing oil and water. Rubin’s later solo career included appearances with Leon Bibb and Ferron followed by a five year stint with the Victoria World Music group New Earth. His solo albums include ‘Solitudes’ (1980) and ‘Magic Garden’ (1986) and also the New Earth release 1992; Mongovius works in marketing of electronics; Ferguson Neville is a Bio-Medical Illustrator; Two members of the group still live in BC while Suttles is now based in Alberta and Rubin makes his home in Pouch Cove, Newfoundland. In 2006 the band started to receive new requests for theor recorded music. After the producer for CBC Radio’s ‘Sounds Like Canada’ said that ‘Earth and Sky’ was the only album that he had saved when he threw his cassette collection away, they realized it was time to re-issue their recordings. In 2007, the group remastered and re-released its recorded material on a new CD “The Zest of Flying Mountain”. The group reformed for a reunion concert in April 2008. with additional notes from Ferguson Neville and Dan Rubin.

1977 Earth & Sky (Golden Age) GAS-102
1979 Mountain’s Dream (Golden Age) GAS-104
2008 The Zest of Flying Mountain (Blue Island)

FLYNN, Pierre
Born: May 17, 1954 in Quebéc City, Quebéc
Pierre Flynn started his career as the singer and keyboardist for the French band Octobre. Following the break up of the group in 1982, Flynn wrote for Louise Forestier, Pauline Julien and Joe Bocan. He also found behind-the-scenes work writing for film and theatre. He dipped his toes into solo work with the release of a single entitled “Possession” and his first solo shows in May 1984. He began playing intimate rooms and after adding guitarist Réjean Bouchard, he was making waves by the fall of 1985. His first solo album was 1987’s ‘Le Parfum du hasard’ on Quebéc’s Audiogram label. The album won him a 1988 Félix Award for ‘Rock Album of the Year’. The singles “Sur la route” and “Marcher tout seul” reached No.1 on the Radio-Activité chart in 1988. Flynn also wrote the soundtrack to Nathalie Petrowski’s documentary ‘Un cirque en Amérique’ that year as well. In 1989, he wrote Johanne Blouin’s hit single “Dors Caroline”. Octobre also reunited and were the final act FIJM’s final broadcast. Flynn’s sophomore album was ‘Jardins de Babylone’ and produced the singles “Extrait”, “Savior aimer”, and “En cavale” in 1991. It took him a decade before he released his third album, ‘Mirador’, featuring the singles “Ma priere” and “N’attends pas”. A tour followed which produced the 2006 live album ‘Vol Solo’.

Sur la route(Audiogram/Select) AD-5033
Marcher tout seul/Marcher tout seul (Instrumentale)(Audiogram/Select) AD-5055
Catalina/Catalina (Instrumentale)(Audiogram/Select) AD-5065
1991 Extrait/Extrait  (Instrumentale) (Audiogram/Select) AD-5079
1991 Savior aimer/ (Instrumentale)  (Audiogram/Select)  AD-5134
1991 En cavale (Remix) (Audiogram/Select) AD-5176
2001 Ma priere (Audiogram/Select) AD-5335
2001 N’attends pas (Audiogram/Select) AD-5344
2002 Sauver ma vie (Audiogram/Select) AD-5357

Le parfum du hasard (Audiogram/Select) AD-10014
1991 Jardins de Babylone (Audiogram/Select) ADCD-10057
2001 Mirador (Audiogram/Select) ADCD-10134
2006 Vol Solo (Audiogram/Select) ADCD-10197

Cameron Hawkin
s (keyboards, bass, vocals) / Nash The Slash [aka Jeff Plewman] (electric mandolin, violin, vocals) / Martin Deller (drums) /  Ben Mink (electric mandolin, electric violin; replaced Nash) / Simon Brierley (guitar) / Greg Critchley (drums; replaced Deller) / Randy Cooke (drums; replaced Critchley)  / Claudio Vena (electric violin; 2006) / Paul DeLong (drums; 2011) / Aaron Solomon (electric violin; 2011)
Cameron Hawkins (bass) and Jeff Plewman (violin) formed a rock act in the mid-1970s called Clear with Ken-Isaac Worth (guitar) and Tony Mendez (drums) who were produced under the experienced ears of Jack Richardson at Nimbus 9 studio in Toronto. The band’s recordings were unable to attract a record label and by 1976 they had gone their separate ways. However, with Hawkins switching to keyboards and Plewman adding electric mandolin to his repertoire (and a name change to Nash the Slash) a new direction as a duo under the name FM was born in late 1976. Their debut concert was at the “A Space” art gallery in November of that year. As their live shows increased, they decided to add drummer Martin Deller. Soon they began appearing as a fixture in the Toronto music scene at rock clubs and outdoor festivals. They would also do an award-winning live performance on TV Ontario’s reformatted ‘Nightmusic Concert’ featuring three original tunes: “Phasors On Stun”, “One O’Clock Tomorrow”, and “Black Noise”. They then appeared on CBC’s “Who’s New” TV variety program and were offered a deal to record an album through its Broadcast Recording division. Their first foray into the studio was recorded and mixed in 12 days at Sounds Interchange in Toronto with CBC producer Keith Whiting. The CBC pressed 500 copies of ‘Black Noise’ and sent them to its affiliates (and through mail-order). Nash The Slash left soon after and FM, a duo once more, hooked up with Toronto indie label Labyrinth who were experimenting with direct-to-disc mastering techniques and released FM’s 1978 ‘Direct-To-Disc’ album which was a suite of tunes by Deller on one side and by Hawkins on the other. They brought in Toronto music fixture Ben Mink (Murray McLaughlin’s Silver Tractors) days before completion of the album to augment some of the tracks with mandolin and electric violin. By this time JEM Records’  Marty Scott licensed ‘Black Noise’ for release on VISA Records in the US and on Passport/GRT in Canada. The single “Phasors on Stun” soon became an FM radio staple. The album went gold and the band was awarded a gold record at their Ontario Place Forum gig in August of 1978 as part of their extensive tour that year. In 1979 work began on a follow-up LP and ‘Surveillance’ was recorded with Ben Mink as the full time electric violin player. One week before the album’s release their Canadian distributor, GRT, declared bankruptcy and Visa Records filed a claim that it, and FM, never received royalties due from Canadian sales of ‘Black Noise’. Meanwhile, Capitol Records moved quickly to license and distribute ‘Surveillance’ and its predecessor ‘Black Noise’. The band had already moved on and through Passport Records (now distributed by A & M Records) they released ‘City Of Fear’ before that label, too, went bankrupt. Between these legal issues in the 1980s the trio recorded a three song 12” EP of Ben Mink instrumental tracks entitled ‘Foreign Exchange’ as a Ben Mink solo album. With three albums of progressive, which had become unfashionable in the New Wave 1980s, FM put the breaks on and abandoned ship in 1983. Ben Mink left and would eventually become k.d. lang’s musical partner and Deller & Hawkins returned to civilian life. But it was the success of Nash The Slash’s 1984 album ‘American Bandages’ that ended up rejuvenating FM as a band. Slash needed to tour the album but double bills with The Spoons seemed ill-suited for the bandaged one’s eclectic mandolin eccentricities so FM hit the road doing their old standards and Nash’s proven solo material. Nash’s distributor, Quality, were impressed enough to offer FM the ability to record a reunion album and so ‘CON-TEST’ was released in 1985 with a promising single/video “Just Like You”. Alas, as was FM’s karma, Quality decided to eliminate its recording division just as ‘CON-TEST’ was gaining momentum and the album dangled in limbo. MCA records jumped in to save the day and re-issued the album without missing a beat leading to another single, “She Does What She Wants”, but the momentum had been lost. Deller had decided he’d had enough and left the band to spend more time composing and being with his family. Undaunted, the nominal success of their comeback record led to FM’s signing to Duke Street Records who were, coincidentally, distributed by MCA. Having utilized actual guitars for the first time on ‘CON-TEST’, the band decided to inject new blood and hire Simon Brierley (Lee Aaron/Strange Advance) and drummer Greg Critchley (Partland Bros./Spoons) for the next album ‘Tonight’. ‘Tonight’ was poorly received despite a handful of singles/videos and almost two years of non-stop touring (with Randy Cooke replacing Critchley on drums). FM once again called it a day by the end of 1989. Fast forward to the CD revolution of 1994 and Hawkins, now running his own multi-media company in Toronto, decided it was time to re-issue their critically acclaimed ‘Black Noise’ album on CD. With Passport’s demise a decade earlier the master tapes had long disappeared. A new technology employed by CBC radio allowed Hawkins to remaster from near-mint copies of the album on vinyl. His own label, Now See Hear, put the disc out with such success that it sparked another revitalized interest in FM. Reformed once more, the band – Martin Deller, Cameron Hawkins and Nash The Slash – toured throughout 1994/95 recapturing their progressive stage impressions on the CDRom enhanced “Retro-Active” live album recorded at RPM Warehouse in Toronto on November 19, 1994 and produced by Terry Brown (Rush, Klaatu). Hawkins and Deller, once retired from the spotlight, announced in early 2006 that they were reforming FM to play NEARFest in Pennsylvania with Italian electric violin player Claudio Pena. In 2011 a second incarnation played live featuring Paul DeLong on drums and Aaron Solomon on electric violin; Hawkins is diligently working on re-issuing the two Ben Mink era FM albums ‘Survelliance’ and ‘City Of Fear’ for digital download. He is now part of the corporate technology world and is a partner in a software company specializing in Internet B2B applications; While composition takes up a lot of his time these days, Martin Deller is still very active as a drummer and finds time to perform live with a number of different groups. In 2015 Deller relocated to Denmark. Nash The Though his music revenue stream was severely hampered due to illegal downloading in the 2000s, Slash’s solo career continued to flourish with his commissioned soundtrack work on old silent Hollywood films, and working with painter Robert Vanderhorst. Nash The Slash – Jeff Plewman – died unexpectedly on May 10, 2014; Cameron Hawkins announced in early 2015 that a revived version of FM would take the stage soon to promote a new studio album. with notes from Bob Reid, Nash The Slash and Martin Deller. [also see BEN MINK, NASH THE SLASH]

1977 Phasors On Stun/Dialing For Dharma (Visa/Passport)
1978 Phasors On Stun/Slaughter In Robot Village (Passport) 1167-7916
1978 Journey/Hours (Passport) 1167-7918
1979 Shape Of Things/Sofa Back (Passport/Capitol-EMI) PS-701
1979 Rocket Roll/Seventh Heaven (Passport/Capitol-EMI) PS-703
1980 Power/Riding The Thunder (Passport/Capitol-EMI) PS-705
1980 It’s Up To You/ (Passport/Capitol-EMI) PS-707
1980 Surface To Air/Silence (Passport/Capitol-EMI) PS-708
1985 Just Like You/The Only Way To Win (Quality) Q-2463
1985 Just Like You [Fun Mix]/Just Like You [Few Words Mix] [12″] (Quality) EPQ-7
1985 All of the Dreams/Friends And Neighbours (Quality) Q-2469
1985 Until the Night is Over/The Only Way to Win (MCA) FM-555
1985 Why Don’t You Take It? [Radio Edit]/Why Don’t You Take It? [Special 7″ version] (Quality/MCA) 52840
1986 Why Don’t You Take It? [Flight Mix]/Just Like You [Fun Mix] [12″] (Quality/MCA) MCA-23634
1986 She Does What She Wants [7″ version]/She Does What She Wants [Front & Main Mix] (Duke Street/MCA) 10042
1986 I’m Not  Mad (Ready For the World)/Alone Together (Duke Street) 11042
1987 Good Vibrations/Good Vibrations (instrumental)(Duke Street) 71042
1987 Dream Girl/The Real Thing (Duke Street) 81042
1987 Magic (In Your Eyes)/I’m Not Mad (Ready For The World) (Duke Street) 91042


1977 Black Noise (CBC/VISA) VISA-7007
1978 Direct-To-Disc: Headroom (Kiras/Labyrinth) LBR-1001
1978 Black Noise [re-issue] (Visa/Passport/GRT) 9167-9831
1979 Surveillance (Passport/Capitol) PB-2001
1980 City of Fear (Passport/A & M) PB-2028
1980 Black Noise [re-issue] (Passport/A & M)
1985 CON-TEST [WHITE COVER] (Quality) SV-2138
1986 CON-TEST [re-issue; BLUE COVER] (Quality/MCA) MCA-5771
1987 Tonight [ltd. edition Green vinyl] (Duke Street) DSR-31042
1987 Tonight [w/ bonus tracks from ‘CON-TEST’] (Duke Street) DSR-31042
1994 Black Noise [CD re-issue] (Now See Hear) NSH-D7007
1995 Retro-Active (Now See Hear/MCA)
2001 Lost In Space: Reel-To-Reel Obscurities by Nash The Slash, Cameron Hawkins and Martin Deller (Cut-Throat) CUT6-CD

FOLDY, Peter
Peter Foldy was born in Budapest, Hungary and raised in Sydney, Australia where he forged a strong friendship with the young Gibb Bothers who would later find worldwide success as The Bee Gees.After a family move to Toronto, Foldy enrolled in film school at York University, also playing in various rock bands and finding work as an extra in productions being filmed around Toronto. He broke onto the music scene with his 1973 single, “Bondi Junction” on the indie label Kanata Records. The record reached number one on RPM’s Adult Contemporary Chart, received two JUNO Award nominations and was a legitimate hit across Canada, also penetrating the US, Australia and the Uinited Kingdom. An album entitled ‘Peter Foldy’ soon followed on Kanata Records. In 1975 Foldy was signed by Paul White at Capitol-EMI of Canada (and had a concurrent deal with Polydor in the US). His follow up recordings “Roxanne” and “Julie-Ann” also reached Top-10 status on many charts across the country (as well as in the US). On the bad advice of his manager Foldy left his deal with Capitol with promise of bigger things in the United States which, unfortunately, failed to materialize. However, Roger Davies, a friend of Foldy’s from Australia (and later Tina Turner’s manager) helped him land a contract with Free Flight Records, a pop label started by RCA Records in Los Angeles a couple of years later. A move to LA allowed Foldy to continue his momentum with the singles, “Love City” and “School Of Love”, songs he both wrote and co-produced. When Free Flight abruptly closed its doors, Foldy turned his attention to film, quickly selling his first screenplay, “Hot Moves”, which became a considerable theatrical and a major video hit in the mid-80’s. More screenplays followed and in the early ’90’s Foldy started directing. His initial project starred a young Paul Rudd in his first film acting role. Foldy’s feature film credits include “Midnight Witness” starring Jan-Michael Vincent and Maxwell Caulfield; “Tryst” with Barbara Carrera and Academy Award winner, Louise Fletcher; “Widow’s Kiss” with former Foldy background singer, Beverly D’Angelo; and “Seeds Of Doubt” with Peter Coyote, (filmed in Toronto). Another Canadian feature directed by Foldy, “Silver Man”, starred Eugene Levy, Joe Pantoliano and Daniel Baldwin. It was the winner of numerous awards including ‘Best Film’ and ‘Best Director’ at Planet Indie in Toronto, and the Jury Prize for ‘Best Feature’ at the Tambay Film Festival in Tampa Bay, Florida. Foldy also wrote and directed an award winning short film entitled, “Head, Heart and Balls… or Why I Gave Up Smoking Pot” starring TV and radio personality Adam Carolla. His television credits include, “US Customs-Classified” for Steven J. Cannell productions and the TV series ‘My First Time’ on Showtime in the US on which Foldy was a co-creator. A successful off-Broadway stage production of ‘My First Time’ ran from 2007 to 2009 and continues to be produced world-wide in cities such as Sydney, Paris, Rome and Madrid. An avid photographer, Foldy has exhibited his black and white photographs at a galleries in Toronto and Los Angeles. In 2005, Toronto based Pacemaker Entertainment approached Foldy about putting together a compilation CD. “Bondi Junction And Other Hits” was released in Canada through Pacemaker in May, 2007. The album contains Foldy’s past hits, some never released tracks as well as two brand new songs he recorded especially for the CD produced with Blair Packham (Jitters). Foldy has had his songs covered by various artists, among them disco diva Samantha Sang (“Let’s Start Again”). He also wrote and produced music with the late Dee Murray (Elton John Band). In the new millennium, Foldy continued to focus on his music and in 2014 he completed ‘Nine Lives’ at Melrose Music Studios in Los Angeles. The record contains 9 original songs as well as a re-working of his 1976 hit “Roxanne”. with notes from Peter Foldy.

1973 Bondi Junction/Alice Mary Jane MacPherson (Kanata/Quality)  KAN-1015
1973 I’ll Never Know/Yes, Operator (Kanata/Quality) KAN-1019
1974 When I Am So In Love/Remember (Kanata/Quality) KAN-1020
1974 Christmas Eve With You/Spanky (Kanata/Quality) KAN-1022
1975 Hollywood/Paris Bound (Capitol/EMI) 72755
1976 Roxanne/Funny (Capitol/EMI) 72775
1977 Julie Ann/Paris Bound (Capitol/EMI) 72783
1979 Love City/Turn It Up (Free Flight/RCA – US)  PB-11692
1982 School of Love/Love City (Rio) RIO-737
1982 My Christmas Wish For You/[Instrumental] (Nightflite) 108
1988 Desperately [duet w/Mona Lisa Young]/[Instrumental] (Filmstreet – US) FILM-002
1988 Is There Love In Your Heart/Desperately (Southside) 8812
2003 All I Want For Christmas Is You (Pacemaker)
2009 Change Your World [w/Robert Gulya] (Pacemaker) PACE-082


1974 Peter Foldy (Kanata) KAN-12
2007 Bondi Junction and Other Hits (Pacemaker/EMI) PACE-045
2014 Nine Lives (Bronte Road) 12006

Martha Johnson
(vocals) / Tom Martin [aka Tom Waschkowski] (guitar, vocals) / Paul Seip (bass, vocals) / Craig Boswell (drums)Toronto, Ontario act The Folklords came together following the Summer of Love and recorded one single on their management company’s Cob Records in 1968. The band was signed to Allied for their debut album ‘Release the Sunshine’ and allowed the band to re-record the songs from the single. Following the band’s split in 1970, Tony Martin went solo.

Forty Second River/Unspoken In Love (Cob) MS-105
1969 Jennifer Lee/Pardon My Judas (Allied) 6358

Release the Sunshine (Allied) 11

Alex Machin (vocals) / Hughie Leggat (bass, acoustic guitar, vocals) / Paul Naumann (guitar, vocals) / Bob Horne (keys) / Danny Taylor (drums)
Former late 1960’s prog-rock act, Nucleus, failed to break the American market with their 1969 debut LP and so, by 1970 found themselves in a state of flux. Founding members John Richardson and Greg Fitzpatrick took off for the sunny climes of California while Horne, Leggatt and Taylor attempted to pick up the pieces as a distilled version of Nucleus. In 1971 Alex Machin and Paul Naumann of the Toronto band Leather were struggling along with a new act called Island (which also included Ed Clemens and future Zon drummer Kim Hunt). The members of Nucleus heard about Machin and Naumann, auditioned them at their farm in Pickering and soon the new five-piece were searching for a record deal. They soon signed with Frank Davies’ Daffodil Records who rechristened the group A Foot In Coldwater — which is an old English term meaning ‘bad luck’. They recorded their self-titled debut in 1972 and the band’s first single “(Make Me Do) Anything You Want” reached the Canadian charts as Top25. Later came other moderately successful singles such as “Isn’t Love Unkind (In My Life)”, and “Love Is Coming” which were both released in 1972 and would end up on the band’s sophomore release ‘The Second Foot In Coldwater’ LP in 1973. The disappointment in what should have been initial success was re-thought and the band proceeded with a third album, 1974’s ‘All Around Us’, which was padded with their three charting singles — “Isn’t Love Unkind (In My Life)”, “Love Is Coming” and a shortened version of “(Make Me Do) Anything You Want”. The latter tune was re-issued as a single and climbed to Canada’s Top10. Despite the revived success of the band, Daffodil was in financial trouble and AFIC only managed one more single, “Midnight Lady” b/w “All Around Us”, in 1975 before Daffodil went bankrupt and the band were searching for a new label. It would be nearly a year of internal band turmoil (resulting in Bob Horne’s departure in the summer of 1976) before A Foot In Coldwater would land back on deck again. Rush’s Anthem label grabbed the new four-piece unit for the Paul Naumann produced ‘Breaking Through’ LP in 1977. A single release of the title track did nothing as Anthem focused on its marquee act, Rush, and the band soon folded. Hughie Leggat formed Thunderoad and then Private Eye with brother Gord, who released a self-titled album in 1981. Private Eye evolved into the eponymous Leggat, featuring the Leggat Brothers and associate Danny Taylor for their 1982 Capitol Records double LP ‘Illuminations’. Alex Machin did some songwriting in L.A. as well as solo singing projects and jingles for television. He attempted a solo comeback of sorts with a project called Champion who released one album on Solid Gold/CBS. By the late 1980’s he had moved to a quiet retreat in the Canadian Rocky Mountains. Most recently he appeared on Capitol Hill in Ottawa during Canada Day 2000 celebrations performing “(Make Me Do) Anything You Want” as part of a Canadian classic rock revue with Keith Hampshire, The Stampeders, Ian Thomas and others. Danny Taylor did session work and also owned a furniture/carpet-cleaning business; Paul Naumann, who has lived in Texas and Toronto, continues playing and producing music in his own company Best Foot Forward from Santa Fe, New Mexico; Bob Horne moved to Las Vegas and is an award winning pool designer and builder. The band reunited in 1988 for a southern Ontario tour, featuring Taylor, Machin, Naumann, and Leggat. They took a break in the fall of that year but continued doing short tours thereafter with keyboardist Rick Lamb (ex-Hellfield) who unfortunately died of cancer in 2004; singer Alex Machin became the new lead vocalist for fellow classic rock act Moxy; the Leggat Brothers now play in a new act called The Mississippi Hippies. Paul Naumann died unexpectedly October 20, 2009. with notes from Paul Leask, Doug Lippay, Cam Atkinson, Peter Akerboom, Chris Bodegraven, Paul Naumann, Danny Taylor, Gord Leggat, and Francis W. Davies. [also see CHAMPION, LEGGAT, LORDS OF LONDON, NUCLEUS]

1972 (Make Me Do) Anything You Want [3:47]/(Make Me Do) Anything You Want [5:05] (Daffodil/Capitol) DFX-1017
1972 (Make Me Do) Anything You Want/Alone Together (Daffodil/A & M) DFS-1017
1972 (Isn’t Love Unkind) In My Life/Deep Freeze (Daffodil/Capitol) DFS-1028
1972 Lady True/In Heat (Daffodil/Capitol) DFS-1033
1973 Love Is Coming/How Much Love Can You Take (Daffodil/Capitol) DFS-1040
1973 So Long / Who Can Stop Us Now (Daffodil/Capitol) DFS-1046
1974 Para-dice/(Make Me Do) Anything You Want [2:59] (Daffodil/A & M) DIL-1058
1974 I Know What You Need/He’s Always There (Watching You) (Daffodil/A & M)
1975 Midnight Lady/All Around Us (Daffodil) 1216-1068
1976 Keep the Candle Burning / It’s Only Love (Daffodil) DFS-1087
1977 Breaking Through/Play My Guitar (Anthem/Polydor) ANS-002

1972 A Foot In Coldwater (Daffodil/Capitol) SBA-16012
1973 A Second Foot In Coldwater (Daffodil) SBA-16028
1974 All Around Us (Daffodil) DAF-10048
1977 Breaking Through (Anthem/Polydor) ANR-1-1008
1983 Footprints Vol.1 (Daffodil/Capitol) DFN-665
1984 Footprints Vol.2 (Daffodil/Capitol) DFN-666
1991 Footprints Vol.1 [CD re-issue] (BEI/MCA) BEIBD-25
1991 Footprints Vol.2 [CD re-issue] (BEI/MCA) BEIBD-26
1998 A Foot In Coldwater [CD re-issue] (Unidisc) AGEK-2158
1998 A Second Foot In Coldwater [CD re-issue] (Unidisc) AGEK-2159
1998 All Around Us [CD re-issue] (Unidisc) AGEK-2160
1998 The Very Best Of A Foot In Coldwater [2 CDs] (Unidisc) AGEK2-2161

Tim Feehan
(vocals) / Dwayne Feland (drums) / George Goodall (bass) / Terry Medd (guitar) / Curt Smith (keys) / Rick Smart (keys; replaced Smith)
Formed in 1979, this Edmonton band came out of the cabaret dance scene as evidenced by their groove-oriented, hook-laden recordings. Footloose released one album and several singles, which were recorded at Damon Studios for independent Mustard Records. The group scored a Top10 hit in Canada with the ballad “Leaving For Maui”. Follow-up singles kept the band busy but Feehan left to pursue a solo career in 1982 and Footloose eventually split up that year. Tim Feehan would go on to a successful three albums solo career and is now a producer for the likes of 1980’s teen idol, Tiffany, in Los Angeles; Feland passed away July 27, 2012. with notes from Tim Feehan, Dwayne Osepchuk, and B.Coombs. [also see TIM FEEHAN]

1979 Leavin’ For Maui/Dancin’ Feeling (Mustard/RCA) M-123
1980 Time Is Right (Mustard/RCA)
1980 Jamie (Mustard/RCA)
1981 Who’s Lovin Her Now/Betty-Lou (Mustard/RCA)  M-144

1980 Footloose (Mustard/RCA) M-1003

Gerald Barry Falovitch
(vocals, bass) / Tommy Ford (organ) / Sonny Hains (guitar) / Jason Paris (drums)
One of many musical projects in the 1960s by Montrealer Gerald “Yank” Barry featuring Sonny Hains formerly Joey Dee & The Starlighters. Barry would go on to be an industry innovator under the name Yank Barry (he produced the world’s first Quadrophonic recording), wrote jingles, soundtracks and has done award winning philanthropist work around the world including feeding starving children through a company co-created with Mohammed Ali.

1966 The Only Way/The Sea Rushes To The Shore (Columbia) C4-2689
1967 Never Say Die/Mama’s Rand (Capitol) 2052
1968 Ticket For a Mobile/Just Lazy (Capitol) 2215

FORBES, Roy (aka BIM)
Born: Roy Henry Charles Forbes, February 15, 1952 in Dawson Creek, British Columbia
Guitar slinger Roy Forbes was born in Dawson Creek, British Columbia as the only boy in a family of six sisters, and was given the nickname Bim. He performed locally in a band called Crystal Ship with Richard Dixon (guitar), Ed Hanrahan (bass), Brian Rushfeldt (vocals), Terry Emslie (drums). Forbes and Emslie wrote a rock opera called ‘Jools’ which helped them win the Northern Alberta Battle of the bands. In 1971 Forbers moved to Vancouver with no more than a voice, a pocket full of songs and his guitar. Forbes struggled for two years in British Columbia before moving to Edmonton to perform in the club scene there and started doing session work with producer Terry McManus. Under his nickname Bim he released albums like ‘Kid Full of Dreams” and  ‘Raincheck on Misery’ turning a local buzz into a national one. He lived in Los Angeles for a year from 1977 to 1978 while he recorded the album ‘Thistles’. Forbes then returned to Vancouver for the acoustic ‘Anything You Want’ LP in 1981. By the mid-’80’s Roy Forbes had grown up and dropped his childhood moniker and released projects like the Christmas album ‘New Songs for an Old Celebration’ with Connie Kaldor and Norm MacPherson, his rootsy/rock record ‘Love Turns To Ice’ and, in the 1992, the country album ‘The Human Kind’.  In 1995 a stripped down revisit to the Bim years was incorporated into ‘Almost Overnight’. Forbes also managed to squeeze in two collaborative CDs as part of the trio UHF with Shari Ulrich and Bill Henderson (Chilliwack). In recent years Forbes has been in the producer’s seat helping Connie Kaldor, Mark Perry, Faith Nolan, and Rob Widdowson. His songs are also featured on Sesame Street and he’s done soundtracks for Nettie Wild’s ‘Blockade’ and the six part TV mini-series ‘Eye Level’. Forbes is also much in demand as a songwriter and has had many others artists record his songs such as Cindy Church, Sylvia Tyson, Montreal’s Hart Rouge, children’s entertainer Norman Foote, and popular blue grass artists Kathy Kallick and Laurie Lewis. Roy also hosts the occasional ‘Snap, Crackle, Pop’ CBC radio program playing material from his own record collection. with notes from Ed Hanrahan. [also see UHF]

as BIM
Me and My Baby/[same] (Casino)  C7-104
1975 Can’t Catch Me/Morning Mail (Casino)
1975 Don’t Try To Get To Sleep/[same] C7-111
1976 Fly Back North/Right After My Heart (Casino) C7-117
1976 So Close To Home/Right After My Heart (Casino) C7-122
1977 Tender Lullaby/[same] (Casino) C7-138
1982 Anything You Want/Tough Times (Stony Plain) SPS-1022

Away From Me (AKA)

as BIM
1975 Kid Full of Dreams (Casino) CA-1007
1976 Raincheck On Misery (Casino) CA-1009
1978 Thistles (Casino) CA-1010
1981 Christmas Jam (RCI) RCI-511
1982 Anything You Want (RCI) RCI-517

1987 Love Turns To Ice (AKA) AKA-1001
1992 The Human Kind (AKA) AKA-1002
1995 Almost Overnight (AKA) AKA-1003
1998 Crazy Old Moon (AKA) AKA-1004
2006 Some Tunes For That Mother of Mine (AKA) AKA-1005

New Songs for an Old Celebration (Aural Tradition/Festival)

Mike Dennis / Neil Embo / Stuart Temple

A virtual punk super-group from Vancouver featuring Dennis from Bill Of Rights, Embo from House Of Commons and Temple from Bill Of Rights and Celebrity Drunks.

1986 Driving You Insane [4 song EP] (Boogaloo/Undergrowth) UG-1306

Jackson Phibes [aka Tom Bagley]
(all instruments and vocals)  One man group from Calgary, Alberta.

1988 Into The… [4 song EP] (Raging) RAGE-001
1989 Creepsville [5 song EP] (Raging) RAGE-003
1993 Dial M for Monster/Hand of Glory

Sin Gallery (Cargo) CAR-1019
1995 Somebody Down there Likes Me (Cargo) CAR-1030
1997 Window’s Walk (Cargo) CAR-1040
2000 A Coffinful of Crows (Renimator – US) HWR-015
2007 A Cool Sound Outta Hell (Saved by Vinyl) SBVFD-0

FORD, Dwayne
Vocalist, guitarist, keyboardist and drummer, Dwayne Ford, originally from Edmonton, got his major start in a group called The Nomads. Ronnie Hawkins convinced him at age 20 to go on the road as one of his many backing musicians (which included future Skylark members David Foster and B.J. Cook). During a stint with Hugh Brockie, as part of Ronnie Hawkins’ Rock And Roll Revival And Travelling Medicine Show, the band was playing the upstairs lounge of the Graham Bell Hotel in Brantford, Ontario when 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 so they left to form Atkinson, Danko, and Ford (with the caveat 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 re-signed 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. Turner and Danko left for other pursuits 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. Following the breakup of Bearfoot, Ford was in demand as a session player and a stage performer for the likes of Michel Pagliaro, Donovan and Patricia Dahlquist and has written and produced material for many artists including Carroll Baker. In 1977 he formed Dogs Of War with Jack August (bass & vocals), Hovaness “John” Hagopian (guitars), Derek Kendrick (drums & percussion) who released a self-titled album on GEN Records. Ford is married to Patsy Gallant and would often perform duets with his wife. He has managed a successful solo career as well, recording his debut album with three members of Toto. with notes from Hugh Brockie, John Hart and Don Palmer. [also see ATKINSON DANKO AND FORD, BEARFOOT]

1976 Let It Burn/Justine (Columbia) C4-4113
1980 Seven Men From Texas/Darlin’ It’s You (Hot Vinyl) HV-1006
1981 Stranger In Paradise (Sefel/Epic)
1981 Lovin’ and Losin’ You/The Best Will Surive  (Sefel/Epic) 45-007
1982 The Hurricane/Lovin’ aand Losin’ You (Sefel/Epic)  E4-8471

We’ll Find A Way/Love Affair (Attic) AT-208
1980 Roll Me Away/Everlasting Love(Theme From Deadline) [w/Patsy Gallant]/Roll Me Away (Hot Vinyl/Sefel/Epic) HV-1001


1981 Needless Freaking (Sefel/Epic) NPEC-90668
1997 Another Way To Fly (independent) DFCD-9701
2007 Some Day (independent)
2009 On the Other Side (independent) DFCD-1009

1977 Dogs of War (Gen) GLP-65001

Metal band from Toronto that also performed live as a tribute to Cream, Mountain, and Jimi Hendrix.

Foreign Exchange (Target)

Electronic, experimental ambient music under an alias of Montreal’s Robert Vigneault. Vigneault would later record under the names Catharsist, Convulsive Trance and, eventually, his own name.

1983 Primitive Music From Another Place [cassette] (Foreign) FW -121904-01
1984 Foreign World (Foreign)  FR-001

Born: Louise Belhumeur on August 10, 1942 in Shawinigan, Quebéc
Forestier graduated from the National Theatre School Montréal before coming to public attention in 1966 after receiving the Renee-Claude Trophy from ‘La Patriote’ as well as being named ‘Discovery of the Year’ on the TV show ‘Jeunesse Oblige’. Forestier hooked up with fellow National Theatre School alumni, Robert Charlebois, and his circle of musicians, actors and poets in 1967. The duo recorded an album together and had massive success with the Charlebois/Claude Peloquin “Lindbergh”. The success of the song internationally allowed the duo to tour France in 1969. Forestier appeared in two music revues with Charlebois, Mouffe and Yvon Deschamps: ‘L’Osstidcho’ (1968) and ‘L’Osstidchomeurt’ (1969).  She would then work with pianist Jacques Perron to investigate musical composition outside the rock genre. In April 1970 she starred in the musical ‘Demain matin Montréalm’attend’ and had a hit single with the title song. In 1971 she performed with Robert Charlebois and the Montréal Symphony Orchestra. In 1972 she appeared in the movie ‘IXE-13’. The soundtrack was issued on Gamma Records with Forestier singing the title track with Les Cyniques. In 1973 she had another hit single with “Dans la prison de Londres”. In 1974 she would appear in the film ‘Les Ordres’. Forestier toured France twice in 1976 and won the ‘Manteau d’arlequin’ critics prize. In 1978 she began working with Charles ‘Charlot’ Barbeau. She also appeared in the ‘Festival de la chanson Francophone’ in Bourges, France. She also appeared in the ‘International Song Festival’ in Sopot, Poland. In 1980 she appeared in Luc Plamondon’s ‘Starmania’ in Montreal. In 1982 she mounted another Plamondon show ‘Je suis au Rendez-vous’. She co-hosted the Radio-Quebéc show ‘Station Soleil’ with J.P. Ferland in 1984. In 1986 she did a Jacques Brel revue in the USSR with the Belgian Troupe of the Theatre de L’esprit Frappeur. That fall she presented ‘La Passion Selon Louise’ which won the 1987 Félix Award for writer. Her show was revived the following year in Paris, France at the Bataclan. She then appeared in the CBC-TV show ‘Des dames de cœur’. In 1989 she appeared with Belgium’s Maurane as part of the ‘Francofolies de Montreal’. In 1990 she appeared in the Michel Tremblay/André Gagnon opera ‘Nelligan’.

1966 [split w/Claude Léeveillée]/Au temps d’hier (Gamma) AA-1005
1966 La Boulee/Montréaldepuis (Gamma) AA-1009
1967 Lindbergh/Californie [w/Robert Charlebois] (Gamma) AA-1026
Demain matin, Montréal m’attend/Merci Lucille (Gamma) AA-1089
1970 Tzagadou/La berceuse en l’air
1970 California/ Le temps des enzymes (Vogue) 45V-1791
1971 IXE 13/La chanson très vulgaire [w/Les Cyniques] (Gamma) AA-1131
1973 Dans la prison de Londres/Appel (Vogue) 45G-4143
1973 Les bûcherons/J’pense que c’est l’temps (Gamma)
1973 Les Montrealais/L’hirondelle (Gamma) AA-1199
1974 Il était une fois dans l’est/Intermède (Gamma)
1974 Le reel à ti-Guy/Ballade en sac d’école (Gamma) AA-1221
1974 Le reel du matin/Le p’tit derangement (Gamma) AA-1258
1975 Aime mon cœur/Oscar de Limoilou (Gamma) AA-1285
1975 Faut fêter ça/On est bien mieux chez nous (Gamma)
1975 L’amante et l’épouse/Donnons-nous le temps (Gamma)
1975 Tout l’monde est malheureux/Au bord de la mer (Gamma)
1976 Ti-Mé Gigoton/Val d’espoir (Gamma)
1977 Tourlou, goodbye, adieu/Mamaison (Gamma) AA-1663
1978 Gisèle/Le reel à ti-Guy (Gamma)
1978 La saisie/Radio (Gamma) AA-1681
1979 From Santa to America (Gamma)
1981 Les uns contre les autres/Un garçon pas comme les autres  (Beaubec) BB-10
1983 Junkie Lady/[same] (Kébec-Disc) KD-9189
1983 Alerte/[same] (Kébec-Disc) KD-9203
1987 Il m’appelle je t’aime/La valise oubliée (Audiogram) AD-5010
1987 La Valise Oubliee/Le Diable Avait Ses Yeux (Audiogram) AD-5017
1988 Metropolis/La saisie (Audiogram) AD-5038

Louise Forestier (Gamma)GS-109
Louise Forestier (Gamma) GS-121
1970 Avec enzymes (Gamma) GS-139
1973 Louise Forestier (Gamma) GS-167
1973 Les grands success (Gamma) G2-1004
1974 Louise Forestier (Gamma) GS-186
1975 Louise Forestier (Gamma) GS-203
1975 Louis Forestier au Théatre Outremont
1976 On est bien mieux chez-vous (Gamma) GS-230
1977 L’accroche-coeur
1977 L’histoire de Louise Forestier (Gamma) G3-602
1983 Louise Forestier (Kébec-Disc) 
1987 La passion selon Louise (Audiogram) AD-10008
1991 De bouche à oreille
1997 Forestier chante Louise (Star) STR-CD-8087
1998 Best of Louise Forestier
1999 Quebéc Love
2005 Lumiéres
2007 Éphémère

Mickey DeSadist
[aka Michael Gerlecki] (vocals) / Dave McGhire (drums, 1977-2003) / Tony Maddelena (guitar) / Angelo Maddelena (drums) / Pete Latimer (drums) / Carl Johnson (bass) / Alan Smolak (guitar) / Chris Houston (bass) / Larry Electrician (drums) / Mike Mirabella (guitar) / John Welton (bass) / Robert Allan (drums) / Mike Lumen (bass) / Jeffery Dee Campbell (guitar) / Chaz Butcher (bass)
The Forgotten Rebels hail from Hamilton, Canada. The group got its start with a 1977 demo entitled ‘Burning the Flag’, which was followed with an independent EP 1978, ‘Tomorrow Belongs to Us’ (both were later collected on a 1997 reissue titled after the latter). The original lineup featured vocalist Mickey DeSadist (b. Mickey Gerlecki), guitarist Tony Madelina, drummer Angela Madelina, and bassist Carl “Chris Suicide” Johnson, and like most of the Forgotten Rebels’ lineups, it was short-lived, as new drummer Pete “Treason” Latimer joined in between recordings and left just as quickly. For the band’s 1979 debut album, ‘In Love With the System’, a new lineup coalesced around DeSadist: guitarist Alan “Al McCombo” Smolak, bassist Chris “Pogo Au Go Go” Houston, and drummer Larry Electrician. ‘In Love…’ sported a harder-edged punk sound than either previous records; following its release, Houston left to form the band the Sex Machine (and eventually went solo), the remainder of the band left as well, leaving DeSadist to recruit an all-new lineup of Mike “Taster” Mirabella (guitar), John Welton (bass), and Robert Allan (drums). This unit recorded the glammed-up ‘This Ain’t Hollywood… (1981), which featured covers of “Save The Last Dance For Me,” “Eve Of Destruction,” and Gary Glitter’s “Hello Hello (I’m Back Again),” plus one of the group’s signature songs, “Surfin’ On Heroin”.  In 1985 the band released an independent 4 song EP called ‘Boys Will Be Boys’ with a more polished Pop sound with Desadist, Mirabella and Dave Mcghire. 1986’s ‘The Pride And The Disgrace’ found DeSadist and Mirabella matched with a new/old rhythm section of bassist Mike “Spike” Lumen and drummer Dave McGhire whom actually joined before the release of ‘This Ain’t Hollywood…’ in 1981 and would remain a constant with DeSadist for all future releases. 1988’s ‘Surfin’ On Heroin’ was mostly a collection of newly recorded versions of previously released songs for American and world release. 1989’s ‘The Forgotten Rebels’ (also known as ‘Untitled’), which also featured McGhire, new guitarist Jeffrey Dee Campbell, and an inexplicable new spelling for DeSadest’s last name. A long hiatus ensued, but the Rebels regrouped in 1994 with a surprisingly similar lineup — DeSadest, Campbell, McGhire, and bassist Chaz Butcher – and a new LP, ‘Criminal Zero’. In addition to the ‘Tomorrow Belongs To Us’ compilation, 1997 also saw the release of many previously released albums on CD and many compilations and sound tracks except ‘This Ain’t Hollywood’. Butcher soon left the group in favor of Steve Mahon (from Teenage Head). The Rebels have also played/toured with The Clash, Ramones, Iggy Pop, The Cramps, Ian Hunter & Mick Ronson and many others. After extensive American and European touring in 1998-99 the Rebels returned to the studio and a album ,‘Nobody’s Heroes,’ was released in 2000. notes from Dave McGhie. [also see CHRIS HOUSTON]

1981 Rhona Barrett (Re-mix)/Tell Me You Love Me (Star) SRS-001
1986 Surfin’ On Heroin/Bomb Khadafy Now (OPM)  FR-008

1978 Burn the Flag [6 song cassette] (independent)
1979 Tomorrow Belongs To Us [4 song 12″] (S & M) SMUT-003
1979 In Love With The System (Star) SR-001
1981 This Ain’t Hollywood…This Is Rock And Roll (Star) SR-002
1985 Boys Will Be Boys [4 song EP] (Arc) FR-007
1986 The Pride And The Disgrace (OPM) FNR-5
1989 Surfin’ On Heroin (Restless/Enigma – US)
1990 The Forgotten Rebels (Enigma/Capitol – US) 772357-1
1994 Criminal Zero (Magnetic Air/A & M – US) 1-44008 2
1997 The Pride and the Disgrace [CD re-issue] (OPM) OPM-2105
1997 Tomorrow Belongs To Us [CD re-issue w/bonus tracks] (OPM) OPM-2115
1998 Executive Outcomes (Bacchus) BA-1120
2000 Nobody’s Heroes (OPM) OPM-2122
2000 Brief Anthology (independent)

Toronto’s Scott Forrester is a self-taught musician with uptempo folk-rock leanings. The single “In the Northland” features the playing of former North American banjo champion Sally Shortt.

1985 In the Northland (EMC)

A Montreal, Quebéc act that was part of the French Yé Yé movement.

À chacun son tour/Si l’amour (Tournesol) TL-49
1966 Je suis celui/Ils iront sur la lune (Tournesol) TL-64
1966 Advienne que pourra/Pourquoi tant de chagrin (Tournesol) TL-81

Born: November 1, 1949 in Victoria, British Columbia
David Foster is one of Canada’s premiere songwriters, producers, arrangers and multi-instrumentalist. His formative years began in a British Columbia band called Skylark who had formed from the ashes of one of Ronnie Hawkins’ many back-up groups. Foster and vocalist BJ Cook took the initiative and the band was soon signed to Capitol Records. They recorded one self-titled album in 1972 and disbanded the following year. They released three singles from the album, the biggest of which was 1973’s “Wildflower”. The song went to number one in Canada and made Billboard magazine’s Top-10. The single would go on to sell over 1 million copies. Foster went on to work with Quincy Jones and record movie soundtracks such as ‘St. Elmo’s Fire’, producing others (Celine Dion, Barbra Streisand, Chicago, Paul Hyde & The Payolas, Kenny Rogers, Lionel Richie), and his own solo recordings with guest vocalists such as Olivia Newton-John and Tim Feehan. His most prestigious moment came when he was asked to produce the Bryan Adams/Jim Vallance Canadian relief record for Ethiopia “Tears Are Not Enough” with an ensemble cast of musicians called Northern Lights in 1985. In recent years Foster had his own reality show based on his family’s life in Beverley Hills, California. Foster is also the founder of 143 Records. with notes from BJ Cook and Don Palmer. [also see SKYLARK]

1975 Gonna Do It Anyway/Yesterday’s Morning (Ariola) 16343-AT
1984 Night Music/Heart Strings (Sound Design – Japan) 1142-6
1984 Rendez-vous (Love Lights the World/Flight of the Snowbirds (Atlantic) 7-89323
Love Theme From St. Elmo’s Fire (Instrumental)/Georgetown (Instrumental)  (Atlantic) 7-89528
1985 One Love/[split w/John Parr]  (Atlantic) 7-89541
1986 The Best Of Me/Saje [w/Olivia Newton-John] (Atlantic) 78-94207
1986 Who’s Gonna Love You Tonight/Playing With Fire (Atlantic) 78-93767
1987 Winter Games/Piano Concerto in G (Atlantic) 78-91402
1988 Firedance (Edit)/Time Passing (Edit) (Atlantic) 78-90877
1988 And When She Danced/Katie’s Theme (Atlantic) 78-90297
1990 Freedom/Grown Up Christmas List (Atlantic) 7-87788

O Canada

1972 What Would I Do Without You/Suites For My Lady (Capitol) 3378
1973 Wildflower/The Writing’s On The Wall (Capitol) 3511
1973 I’ll Have To Go Away/Twenty-Six Years (Capitol) 3661
1973 If That’s The Way You Want It/Virgin Green (Capitol) 3773


1980 Airplay
1983 The Best of Me (Phantom)
1986 David Foster (Atlantic) 81642
1988 The Symphony Sessions (Atlantic) 81799
1990 River of Love (Atlantic) 82166
1991 Rechordings (WEA – Japan)  7410117
1993 The David Foster Christmas Album (Atlantic) 92295
1994 Love Lights the World (143) AMCY-667
1995 A Touch of David Foster (WEA) 831491
1998 A Touch of China [w/Tony Smith] (Form)
2001 Selecciones Latinas (Peer Music)
2002 Love Stories (143)
2008 Hit Man: David Foster & Friends (143) 511933
2011 Hit Man Returns: David Foster & Friends (143) 526188

1972 Skylark (Capitol) ST-11048
1974 2 (Capitol/EMI) ST-11256
1996 Wildflower: Golden Classics Edition (Collectibles)

Vancouver singer/songwriter Jim Foster broke into the music business with his band Fosterchild. Foster and Calgary’s Vern Wills first met when the bands they were playing in played together at Calgary’s The Haunted House. However, Wills was frustrated working in bar bands and headed to New York to join The Walkers. When Wills’ work visa couldn’t be renewed he hooked up with Jim Foster to form Fosterchild in 1976. It would be several band member changes later before Fosterchild signed a record deal with CBS Records for two albums and Vera Cruz for one. None of these records were very successful. After Fosterchild, Foster released a few unsuccessful singles on United Artists before having his biggest success on RCA with the album ‘Powerlines’ in 1986. The album contained the hit single “X-Ray Eyes” which subsequently won him a ‘Best Song’, ‘Best Songwriter’ and ‘Best Video’ award at the West Coast Music Awards in Vancouver. Foster went on to become the lead guitar player for country act One Horse Blue in 1993. He has penned songs for Doug & The Slugs, One Horse Blue and Patricia Conroy. He has also co-written tunes with Murray McLaughlin, Rocko Vaugeois and Lyndia Scott. In 2009 Foster released the CD ‘Lone Bird’ which included the single “Fifties Wreck”. with notes from Mark Fancher[also see FOSTERCHILD, ONE HORSE BLUE]

1981 Don’t Call Me/[same] (United Artists) UA-844
1981 My Friend Jack/[same] (United Artists) UA-905
1986 X-Ray Eyes/You’ve Got My Number (Call It Up) (RCA) PB-14271
1986 Quicker Than The Eye/Saved By Night (RCA)  PB-50871
1986 Do It To Me/Maggie (RCA) PB-50893
2009 Fifties Wreck (Quest)

1986 Power Lines (RCA) NFL1-8056
2009 Lone Bird (Quest)

Jim Foster (guitar, vocals) / Vern Wills (guitar) / Barry Boothman (bass) / Peter Sweetzir (keys) / Gerry Wand (drums) / Doug Johnson (keyboards)
Vancouver’s Jim Foster and Calgary’s Vern Wills first met when the bands they were playing in played together at Calgary’s The Haunted House. However, Wills was frustrated working in bar bands and headed to New York to join The Walkers. When Wills’ work visa couldn’t be renewed he hooked up with Jim Foster to form Fosterchild in 1976. It would be several band member changes later before Fosterchild signed a record deal with CBS Records where they released two moderate selling albums.  Their third record was on the Vera Cruz label but the band called it quits in 1980 having never had a true hit record. Jim Foster went on to become a member of One Horse Blue in the 1990’s; Barry Boothman passed away in December 2015.

1976 Let Me Down Easy (Or Don’t Let Me Down at All)/Hero of the West (Columbia/CBS) C4-4147
1977 Magic Is In The Air/Think It All Over Again (Columbia/CBS) C4-4163
1978 Until We Meet Again/[same](Columbia/CBS) C4-4171
1978 I Need Somebody Tonight/Hero of the West (Columbia/CBS)  C4-4174
1978 It’s Too Late Now/Here Comes That Heartache (Columbia/CBS) C4-4195
1978 Behind The Eight Ball/[same] (Columbia/CBS) C4-4202
1978 Trouble Child/Cut Like A Razor (Columbia/CBS) C4-4213
1980 Helpless/Hideaway (Vera Cruz) VCR-128


1977 Fosterchild (Epic/Columbia/CBS) PES-90382
1978 Troubled Child (Columbia/CBS) PCC-80003
On The Prowl (Vera Cruz) VCR-1008

Glen Smith
(piano, vocals) / Jimmy Fraser (vocals, guitar, saxophone) / Jimmy Seed (drums) / Kerry Crossman (bass, vocals)

The Fabulous Sound of The Four Fables (Continental Maple-Leaf) CML-1001

James Arnold
(first tenor) / Bernie Toorish (second tenor) / Frank Busseri (baritone) / Corrado Codarini (bass)
Led by tenor Bernie Toorish, The Four Lads formed in Toronto, Ontario, in 1950 as The Four Dukes but had to change it after an act from Detroit laid claim to the moniker. All the members were former St. Michael’s Choir Boys making honest effort of their stock in trade four-part harmonies which they were able to parlay into a string of pop hits during the pre-rock era. The Four Lads were signed to Columbia Records in 1950 as backing vocalists after being spotted on the ‘Ransom Sherman Show’. They began doing harmony work behind other artists such as Johnnie Ray on his 1951 smashes “Cry”, “Little White Cloud Cried”, “Brokenhearted”, and “Please Mister Sun” before breaking out on their own with “The Mocking Bird” in 1952 for Okeh Records. They continued racking up hits for Columbia, including “Istanbul” (1953), “Skokiaan” (1954), “Moments To Remember” (1955) – the same year they appeared on the CBS TV show ‘Upbeat; “No, Not Much!” and “Standing On The Corner” (both in 1956). The Four Lads continued to chart right through 1959. In 1959 they also appeared on ‘The Pat Boone-Chevy Showroom’ show and ‘Perry Presents’. With their Columbia Records deal over in 1960, the Four Lads spent time on Kapp Records, Reprise, Dot, and finally United Artists through their final recordings in 1969. By the late ’80’s Busseri, who was living in Greenwich, Connecticut was still performing using the name The Four Lads. He now lives in Thousand Palms, CA. and his quartet is still performing regularly; Arnold died on June 15, 2004 of this year.  The group was inducted into the JUNO Hall of Fame in the 1990’s. with notes from Don Farrar.

1952 Tired of Loving You/Turn Back (Okeh) 46860
The Mocking Bird/I May Hate Myself In the Morning (Okeh) 46885
1952 Somebody Loves Me/Thanks To You (Columbia) 4-39865
1953 Blackberry Boogie/The Girl On the Shore (Columbia) 4-39902
1953 He Who Has Love/I Wonder, I Wonder, I Wonder (Columbia) 4-39958
1953 Down By The Riverside/Take Me Back (Columbia) 4-40005
1953 Istanbul (Not Constantinople)/I Should Have Told You Long Ago (Columbia)
1954 Gotta Go To the Fais Do Do/Harmony Brown (Columbia) 4-40140
1954 Cleo and Meo/Do You Know What Lips Are For [w/Jill Corey] (Columbia) 4-40177
1954 Long John/The Place Where I Worship (Is the Wide Open Spaces) (Columbia)
1954 Oh, That’ll Be Joyful/What Can I Lose (By Letting You Know I Love You) (Columbia) 4-40220
1954 Gilly Gilly Ossenfeffer Katenellen Bogen By the Sea (Columbia) 4-40234
1954 Skokiaan (South African Song)/Why Should I Love You (Columbia) 4-40306
1954 Two Ladies in de Shade of de Banana Tree/Dance Calinda (Columbia) 4-40402
1954 On Stage [EP] (Columbia) B-462
1955 I’ve Been Thinking/Pledge My Love (Columbia) 4-40436
1955 Average Giraffe/Too Much! Baby! Baby (Columbia) 4-40490
1955 Little Bit/[split w/Cathy Johnson] (Columbia) 4-40532
1955 Moments to Remember/Dream On My Love Dream On (Columbia) 4-40539
1956 Stage Show (Volume 1) [EP] (Coronet) KEP-019
1956 Stage Show (Volume 2) [EP] (Coronet) KEP-026
1956 No, Not Much/I’ll Never Know (Columbia) 4-40629
1956 Standing On the Corner/My Little Angel (Columbia) 4-40674
1956 The Bus Stop Song (A Paper of Pins)/A House With Love In It (Columbia) 4-40736
1956 Mary’s Little Boy Chile/The Stingiest Man In Town (Columbia) 4-40788
1957 Round and Round/I’m Sticking With You (Coronet) KS-144
1957 Gone/Ring-A-Ding-Ding (Coronet) KS-147
1957 Golly/Put a Light In the Window (Coronet) KS-210
1957 Who Needs You/It’s So Easy To Forget (Columbia) 4-40811
1957 I Just Don’t Know/Golly (Columbia) 4-40914
1957 The Eyes of God/His Invisible Hand (Columbia) 4-40971
1957 Put A Light In the Window/The Things We Did Last Summer (Columbia) 4-41058
1958 There’s Only One of You/Blue Tattoo (Columbia) 4-41136
1958 Enchanted Island/Guess What the Neighbors’ll Say (Columbia)  4-41194
1958 Skokiaan [4 song EP] (Philips) 429-037-BE
1958 The Loudenboomer Bird/ Won’cha (Gimme Something In Return) (Philips) PB-868
1958 The Mockingbird/Won’cha (Gimme Something In Return) (Columbia) 4-41266
1959 Side by Side (Philips) 429-274-BE
1959 The Girl On Page 44/Sunday (Columbia) 4-41310
1959 The Fountain of Youth/Meet Me Tonight In Dreamland (Columbia) 4-41365
1959 The Chosen Few/Together Wherever We Go (Columbia) 4-41409
1959 Got a Locket In My Pocket/The Real Thing (Columbia) 4-41443
1959 Four Lads – Sing Four Hits [4 song EP] (Philips) 429-318-BE
1959 Happy Anniversary/Who Do You Think You Are? (Columbia) 4-41497
1959 Moments To Remember  [EP] (Columbia) B-2538
1960 You’re Nobody Until Somebody Loves You/Goona Goona (Columbia)  4-41629
1960 Our Lady of Fatima (Vocal)/ Our Lady of Fatima (Recitation)  (Columbia) 4-41682
1960 Two Other People/The Sheik of Chicago (Mustafa) (Columbia)  4-41733
1960 Haz sonar las campanas (Philips) 429-861-BE
1960 Just Young/Goodbye Mr. Love (Kapp) K-359X
1961 555 Times/I Should Know Better (Kapp) K-404X
1961 Giuggiola/Oceans of Love (Kapp) K-412X
1962 Don’t Fly Away, Flamingo/Winter Snow (Dot) D45-16328
1962 Never On Sunday/The Exodus Song (Dot) D45-16373
1962 That’s What I Like/Sweet Mama Tree Top Tall (Dot) D45-16390
1962 Beyond My Heart/Not That I Care (Dot) D45-16412
1963 My Home Town/Cornflower Blue (Reprise) R-20163
1963 It’s A Mad Mad Mad Mad World/The Stolen Hours (United Artists) UA-653
1964 The Love Song of Tom Jones/Theme From Lillies of the Field (United Artists) UA-702
1964 Memories of You/Always Thinking of The Roses (United Artists) UA-760
1964 Barabanchik/Thanks Mr. Florist (United Artists) UA-852
1964 I’m Not A Run Around/With My Eyes Wide Open I’m Dreaming (United Artists)
1965 All the Winds/Give Her My Love (United Artists) UA-962
1968 No, Not Much/Standing on the Corner (United Artists) UA-50006
1968 A Woman/Where Do I Go (United Artists) UA-50339
1969 My Heart’s Symphony/Pardon Me Miss (United Artists) US-50517
1969 Free Again/Moments to Remember (United Artists) UA-50585

1957 Hits From “Where’s Charley” And Hans Christian Anderson (Philips)

Mountains in the Moonlight/What’s the Use? (Columbia) 4-39698

Frankie Laine [4 song EP; Four Lads on “Rain, Rain, Rain” only] (Philips) BBE-12005
1957 Juba-Juba-Jubalee [4 song EP] (Philips) BBE-12103


1954 Stage Show (Columbia) CL-6329
1956 On the Sunny Side (Columbia) CL-912
1957 The Four Lads Sing Frank Loesser (Columbia) CL-1045
1958 Four On the Aisle (Columbia) CL-1111
1958 Breezin’ Along (Columbia) CL-1223
1958 The Four Lads’ Greatest Hits (Columbia) CL-1235
1959 Swing Along (Columbia) CL-1299
1960 High Spirits (Columbia) CL-1407
1960 Love Affair (Columbia) CL-1502
1960 Everything Goes! (Columbia) CL-1550
1962 Dixieland’s Doin’ (London) HAR-2413
1964 Oh Happy Day! (London) HAD-8137
1977 The Four Lads (Fona) 67231
1977 Moments To Remember (Columbia) P-13833
1991 Sixteen Most Requested Songs (Columbia) CK-46158
2005 The Singles Collection (SONY)

Delvina Bernard (vocals) / Kim Bernard (vocals) / Jackie Barkley (vocals) / Deanna Sparks (vocals) / Andrea Currie (vocals; replaced Barkley) / Debby Jones (vocals; replaced Sparks) / Anne-Marie Woods (vocals; replaced Jones)
A cappella group formed in Halifax, Nova Scotia in 1981 who modeled their sound on US act Sweet Honey In the Rock. They made their debut an anti-Ku Klux Klan rally and would become fixtures at Folk Festivals, Women’s events, and Black Cultural celebrations. As their popularity grew they were also invited to perform at Expo 86, The 1988 Olympic Arts Festival, and the Ottawa International Jazz Festival in 1989; They performed in Germany at the Women In E Motion Festival, they sang for Desmond Tutu at the Metro Centre in Halifax; Four The Moment performed at the Free Nelson Mandela Rally in Toronto at the Royal Alex Theatre, and opened up for Dr. Maya Angelou at Roy Thompson Hall in 1996. They released their debut album, ‘We’re Still Standing’, in 1987 and the following year appeared on Reggae Beat Poet Lillian Allen’s ‘Condition Critical’. They would also perform in the National Film Board of Canada movies ‘Black Mother, Black Daughter’ and ‘Them That’s Not’. Their follow-up release, ‘In My Soul’, was co-produced by Parachute Club’s Billy Bryans. The group parted ways in October 2000 but were invited asked by Maya Angelou to reunite for her appearance at Toronto’s Sky Dome in 2003.

We’re Still Standing (Jam) FTM-1987                                  
1991 In My Soul [EP] (Jam)

FRANK, Stanley
Montréal native Stanley Frank began writing songs soon after joining his first band at the age of fourteen. Though he managed to get his 1975 solo recording ‘S’cool Days’ released as a single on Attic Records in 1976, Frank had to go to England to find fame at the hands of Power Exchange Records in 1977. The label released the song in the midst of the British punk outbreak. Many reviewers, like NME magazine, bemoaned it not being punk enough, but the track pre-dated the scene by nearly a year. The record made him a popular performer in both England and Europe allowing him to take up temporary residence in London in 1978. Back in Canada he was signed to A & M Records and completed his debut album ‘Play It Till It Hurts’ there. In 1981 he returned overseas, completing a 42-city tour of Europe to promote the album. Over the years, Stanley has collaborated in the studio with such pop luminaries as Mick Ronson (David Bowie’s guitarist) and producer/engineer Robin Geoffrey Cable, who has worked with the likes of Queen, Elton John, and Chris de Burgh among others.

1977 S’cool Days/On A Line (Attic) AT-130
1977 S’Cool Days/On A Line//[2 tracks by The Saints] (Power Exchange – UK) PXE-101
1978 Cold Turkey/Hey Stupid (Polydor) 2121-351
1980 Good Lovin’/Dying to Live (A & M) AM-515
1980 Rock Crazy/Nylon Meat Dreams (A & M) AM-523

1977 Rejected [EP] (Polydor) 2230-105
1980 Play It Till It Hurts (A & M) SP-4828

Allan Fraser
(vocals, guitar) / Daisy DeBolt (vocals, guitar)
Allan Fraser and Daisy DeBolt met at a Mariposa folk workshop in 1968. After striking up a friendship the two began commuting back and forth from their respective homes in Toronto and Hamilton to work on original songs. In 1969 the officially became Fraser & DeBolt. In 1970 they began travelling the coffee house circuit in the United States. While in upper New York State in February 1970, they received a message from Ravi Shankar’s manager, Jay K. Hoffman who soon signed them to a management contract. On April 5, 1970, they opened for Tom Paxton at Fillmore East in New York City. The showcase led to two record deal offers but the duo decided to sign with Columbia Records. Work began in Toronto on their self-titled debut album with production by Craig Allen and featuring violinist Ian Guenther (who would later go on to be a powerful Canadian music producer in his own right). With a release in 1971 and the single “Don’t Let Me Down” garnered the duo reviews in ‘The New York Times’, ‘The Los Angeles Free Press’ and other reputable music publications. Recording commenced in late 1971 for the follow-up album, ‘With Pleasure’, which featured musicians from the Canadian band, Simon Caine. The duo continued touring and performing across Canada and the United States and, in 1974, they represented North America at the ‘International Song Festival’ held in Sopot, Poland. Fraser & DeBolt broke up not long after, except for a few reunion appearances. In November 1994, their story was told in an episode of ‘Adrienne Clarkson Presents’ on CBC-TV. Debolt succumbed to cancer on October 4, 2011; Fraser has continued writing and recording and has had his songs covered by the likes of The Duhks, Leo Kotke and, most recently, John Oates on a 2011 solo album.  [also see DAISY DeBOLT]

Don’t Let Me Down/[same] (Columbia) 4-45349
I Want to Dance With You/Why-Kiki (Columbia) 4-45850
1973 Broad Daylight Woman/Why-Kiki (Columbia) C4-3104

Fraser & DeBolt (with Ian Guenther) (Columbia) KC-30381
1973 With Pleasure (Columbia) KC-32130

Allan Ropchan / Ralph Blunt / Jack Williams / Johnny Robertson (drums) / Lee Greenwood (drums; replaced Robertson)
The Frantiks were an Edmonton, Alberta act modeled on The Fireballs in the Spring of 1961 that was drafted into service to back CJCA disc jockey Barry Boyd on two novelty singles for the Barry label. This led the group to shows opening for Bobby Curtola across Canada.The band split up in January 1961; Blunt would change his name to Vic Miller and was one third of Vic, Paul & Bruce  – better known as The Canadian Beadles. with notes from Mark Coulavin.

1961 Goin’ Home To Memphis/Walk With Me (Barry) 3075X
1961 The Price of Love/You’re For Me (Barry) 3092X

From Vancouver, British Columbia. Fratricide’s first single in 1987 was shared with Victoria, British Columbia, band Mission Of Christ; their 1988 US album was shared with Holland’s Neuroot.

1987 Razor Piss/Our Circled Adventure/[split w/ MISSION OF CHRIST] (Final Notice) 7001
1991 Scream Bloody Vengeance//Poison Control/Beaten Senseless/Final Solution (Heart First – GER) BEAT-007


1988 Fratricide [split w/NEUROOT] (Pusmort – US) 0012-12
2010 Fratricide [12”] (Schizophrenic/Ugly Pop) SCHIZ #54/UP-21

FRAY, Ronnie
Born: Ronald Fradgley in London, Ontario
London, Ontario’s Ronnie Fray made a name for himself around Southern Ontario in the 1960s fronting R & B/Soul band The Capers (often referred to as The Versatile Capers) alongside Tommy Dean (bass), Jerry Penn (piano), and Clay Highley (drums). They began to find success in Michigan and recorded at United Sound for their first two albums – both released by Sparton Records in Canada. After several band  member changes they became Ronnie Fray & The Capers. In 1968 Ronnie Fray toured live with a three piece called Ronnie Fray Capers featuring Clay Highley on drums and Alan Clark on guitar. They were signed to Detroit Record label Sound Records where they released the album “Why Not?” Fray also continued as a solo artist recording for Cinema Sound out of  Grand Rapids, Michigan with songs licensed to Quality Records in Canada. In the mid-70s he was signed to Kalamazoo, Michigan record label Eastown Wreckerds where he released the album “Put This In Your Ear” in 1977. Fray put together a new three piece called The Ronnie Fray Reptile with his long-time drummer Clay Highley and bassist Hal “Flash” Beveridge and released an album on Cinema Sound (formerly Cineman Records). Fray has continued writing, recording, and performing including material with The Panama Bandits Band (featuring Max Webster drummer Gary McCracken).

Wastin’ Your Time/I Am No One (Cineman) 1635
1970 Wasting Your Time/Wind Song (Quality) 1967X
1972 “Little Jimmy Jones” Was A Funky Little Cat Who Played Drums In A Three Piece Band/Where Do You Go? (Quality) Q2040X

1965 You’ll Never Walk Alone/I’m Walkin’ The Dog (Sparton) 4-1394R
1965 Iced Tea/No Peace of Mind (WAM – US) 5002

Put This In Your Ear (Eastown Wreckerds) 771150

Introducing…The Versatile Capers (Sparton) SP-224
1966 Get Caperized  (Sparton) SP-232

Why Not? (Sound – US) SI-1017

Almost Live At the Bavarian Inn (Cinema Sound – US) No.001

Progressively Basic (Bandit) BP-001

Franki Hart
(vocals) / Bill Hill (lead guitar) / Eddie Kaye (drums) / Rick St. Jean (rhythm guitar) / Rene Boileau (keyboards) / Del Desrosiers (bass) / Les Leroux (bass; replaced Desrosier) / Graham Lear (drums; replaced Kaye) / Bob Burgess (bass; replaced Leroux)
In 1969, Donald K. Donald introduced Franki Hart (The Sirocco Singers, Riverson) to Bill Hill (J.B. and the Playboys) and suggested they join forces with members of Montréalband The Munks (Rick St. Jean, Rene Boileau, Del Desrosiers and Eddie Kaye) to form a new group called Freedom. In 1970, Freedom went into the studio to record an album for Aquarius Records. The line up was Bill Hill (lead guitar), Franki Hart (vocals/piano), Rick St. Jean (vocals/guitar), Les Leroux (bass) and Eddie Kaye (drums). Ron Dann added pedal steel guitar, and Rayburn Blake (Mashmakhan) guested on the song “Doctor Tom” on acoustic guitar. The album was released on Aquarius under the name Freedom North and was produced by Bill Hill. From Montreal, Quebéc, Freedom’s “Doctor Tom” was released on Aquarius in May 1970 and peaked at #17 on the RPM Top Singles chart in August of that year. The song was released in the US on the Wand label under the name Freedom of Choice. Freedom North toured extensively in Eastern Canada, often with other Montréalbands such as Mashmakhan and April Wine and, as well, performed in concert in Montreal, Toronto and New England. This line-up would include Graham Lear (drums) and Bob Burgess (bass). After the band split up Kaye, St. Jean and Leroux all ended up as part of Don Graham’s band Graham County in 1971; Franki Hart would perform solo in Quebéc throughout the 1970s under the name Frankie Hart and was the backing vocalist on The Wackers’ 1973 LP ‘Shredder’. She also made a guest appearance as part of the Wackers’ 40th anniversary reunion in Toronto in 2011. with notes from Frankie Hart and Don Graham.

1970 Doctor Tom/Fat (Aquarius) AQS-5005


1970 Losing You/Gone Forever (Aquarius) AQS-5006
1971 Ordinary Man/Sorry (Aquarius) AQS-5008
1971 Gone Forever/Frankie’s Song (Aquarius) AQS-5015


1970 Freedom North (Aquarius) AQR-501


FRENCH REVOLUTION, The (aka La Révolution Française)
François Guy / Jean-Guy Cossette / Richard Tate / George Marchand / Louis Parizeau / Angelo Finaldi / Louis Saint-Antoine
A Montréalside project by former Les Sinners member Francois Guy. After leaving Les Sinnners, he released a version of Ohio Express’s “Yummy, Yummy, Yummy” backed with Simon & Garfunkel’s “Mrs. Robinson” which received moderate attention under the name Francois Le Sinner. He then formed French Revolution [aka La Révolution Française] in 1968. After one album and a 1968 single called ‘Americas’ which was produced by Tony Roman they returned to a revamped version of Les Sinners. Francois Guy re-assembled French Revolution in 1969, where they adapted ‘Americas’ into French as “Québécois”. The song was a pro-independent Quebéc anthem. It was not only a hit but a Quebéc cultural milestone. The single reportedly sold over 100,000 copies throughout the province. Never ones to miss out on an opportunity, Capitol Records who had distributed the original English version, ‘Americas’ in 1968 asked Francois Guy to changed the band name (which became The Kids) for the single release in English Canada in 1969.  Alas, the nationalistic fever did not translate to English or in celebrating Canada’s neighbours to the south. La Revolution Francaise resumed their musical course in the confines of Quebéc once more. [also see FRANCOIS GUY, LES SINNERS]

1968 Americas/Shoo-Doo-Be-Do (Tower/Capitol) 504
1969 Et la terre tournera/C-Cool (Révolution) R-2003
1969 Québécois/Shoo-Doo-Bee-Do Chantons L’été (Révolution) R-2010
1969 Y mouille à scieaux/J’aime une fille aux yeux d’or (Révolution) R-2022

Québécois//Shoo-Doo-Be-Do/Chanton l’ete (Révolution)
1969 Nine Till Five/Why (Decca – UK) F-22898

America/Shoo-Doo-Bee-Do (Capitol) 72580

1968 C-Cool (Canusa) 33-112
1969 Quebéc (Trans-Canada) TFS-769

Chuck Cadman (guitar) / Doug Daniel / John Murkin / Chris Thomas
Toronto’s The Fringe were managed by Bill Riley who thought the best impact the band could make out of the gate was releasing a single, an EP and an album simultaneously – effectively barnstorming radio and retail in a barrage of promotion. They entered Sound Canada Studios and cut 11 original songs with producer Greg Hambleton. Riley used the songs to land the band a distribution deal with Quality Records. On the cheap Quality pressed 100 white label promo EPs on used vinyl which was released in 1967 under the title ‘Canada’s Next Number One Recording Group’. The songs included were “Flower Generation”, “Token For My Mind”, “Executive Dream”, “I Don’t Want To Live” and “Inside Looking Out”which was shopped as promo to radio and retailers. Quality then released a legitimate  single for “Flower Generation” b/w “Token For My Mind” in 1968. The song managed to crack the Top100 reaching No.74 on the RPM Top Singles chart in the summer that year. The follow-up single on Quality was called “Plastic People” b/w “Nancy Brown” which did not chart; Chadman relocated to Surrey, British Columbia where he was elected asFederal MP for the Canadian Reform Party in 1997. He moved over to the Canadian Alliance Party in 2000. Following an operation to remove a tumour in 2004 he won a seat as an Independent in Parliament in that year’s Federal Election. Cadman died of melanoma in 2005. with notes from Bill Riley.

1968 Flower Generation/Token for My Mind (Quality) 1899X 
1968 Plastic People/Nancy Brown (Quality) 1908X

Bill Leeb (1986-present) / Michael Balch (1986-1990) / Rhys Fulber (Part-time member/Full time from 1990) / Greg Reely / Chris Peterson / Jeremy Inkel (2006 – present) / Jared Slingerland / Adrian White (2006-2008)
Bill Leeb was a tentative member of Skinny Puppy in 1985 and was credited under the pseudonym Wilhelm Schroeder but he had his own plans and formed Front Line Assembly after completing a tour with Skinny Puppy that year. Leeb produced a limited edition demo cassette entitled ‘Nerve War’ late that year. Around this time Rhys Fulber (Download) became friends with Leeb through their mutual love of underground music. Fulber helped Leeb during the recording of the ‘Total Terror’ demo release in 1986. Front Line Assembly’s true debut album was ‘The Initial Command’ in 1987 featuring Leeb, Fulber and Michael Balch. Under the auspices of a formal band, the sophomore album ‘State of Mind’ was released in 1988. With Balch contributing to the songwriting the group was able to release two more EPs that year – ‘Corrosion’ and ‘Disorder’- before both discs worth of songs were assembled with additional tracks as the full-length ‘Convergence’ at year’s end.‘Gashed Senses and Crossfire’ followed in 1989 on the heels of their first official single “Digital Tension Dementia”.  Underground and industrial music fans and DJs gravitated to the track and the band saw the beginnings of a cult following. Balch soon left the group to join the band Ministry and Fulber stepped in to help Leeb continue the momentum. Together the duo produced 1990’s ‘Caustic Grip’. Two singles from the album – “Iceolate” and “Provision” were greeted with enthusiasm by fans but it was the non-album single and video of “Virus” that put them on the radar at dance clubs internationally. Leeb and Fulber continued a steady regime of albums and tours – treading commercial boundaries between Skinny Puppy and Nine Inch Nails accessibility. Fulber left the band in 1997 to form Fear Factory and was replaced by touring band member Chris Peterson. Not long after Fulber’s departure Front Line Assembly released ‘Flavour of the Weak’. The album ‘Implode’ followed in 1999, ‘Epitaph’ in 2001, as well as portions of the soundtrack music for the video game ‘Quake III Arena’ in 1999. Peterson left the group in 2002 and rumours circulated that Front Line Assembly had split up. However, in 2003 Rhys Fulber returned to partner with Leeb and they set the rumours to rest immediately with the next single “Maniacal”. In 2004 the team released ‘Civilization’ and by 2006 Peterson had returned for the album ‘Artificial Soldier’. The band returned to touring but failed to complete the North American leg due to transportation issues in Canada. Instead, they managed an 18 date tour in Europe during the summer of 2006. In 2007 they released a collaborative remix album featuring previously unreleased track and several of their songs in the hands of other industrial remixers entitled ‘Fallout’. A tour of North America and Europe followed. Several years passed before Front Line Assembly returned with the album ‘Improvised Electronic Device’ featuring the single “Shifting Through the Lens” in 2010. Recently Chris Peterson has been producing the band Die Rostinger; Leeb and Fulber continue alternating with their other side project Delerium. There are plans for a Front Line Assembly European tour in 2012. [also see DELERIUM]


1988 Digital Tension Dementia (Wax Trax!) WAXCD-060
1989 No Limit/Damaged Goods Remix (Wax Trax!) WAXCD-9087
1990 Iceolate (WaxTrax!) WAXCDS-9137
1990 Provision (WaxTrax!) WAXCDS-9145
1990 Virus (WaxTrax!) WAXCDS-8647
1992 Mindphaser (Third Mind) TM-2402-3
1992 The Blade (Third Mind) TM-9119-2
1994 Millennium (Roadrunner/Attic/Universal)
1995 Circuitry (Metropolis)
1995 Surface Patterns (Roadrunner/Attic/Universal) RR-2349-2
1996 Plasticity (Metropolis) MET-020
1997 Columbian Necktie (Metropolis)
1997 Comatose (Metropolis)
1997 Re-wind (Metropolis)
2003 Maniacal
2010 Shifting through the Lens (Dependent)
2015 Circuitry [12” remixes] (Artoffact) AOF-196
2015 Comatose [12” re-issue] (Artoffact) AOF-208
2015 Plasticity [10” re-issue] (Artoffact) AOF-217

1985 Nerve War [cassette] (independent)
Total Terror [cassette] (independent)
The Initial Command (Third Mind) TMD-9175
1988 State of Mind (Third Mind) TMD-9176
1988 Corrosion (Wax Trax!) WAX-038
1988 Disorder EP [4 song EP] (Wax Trax!) WAX-041
1988 Disorder EP [6 song EP] (Third Mind) TMLP-24
1988 Convergence (Wax Trax!) WAX-048
1989 Gashed Senses and Crossfire (Wax Trax!) WAX-7075
1990 Caustic Grip (Wax Trax!) WAXCD-7146)
1992 Tactical Neural Implant (Third Mind) TMD-9188-2
1993 Total Terror I (Cleopatra) CLEO-9410-2
1993 Total Terror II (Cleopatra)  CLEO-9411-2
1994 Millennium (Roadrunner/Attic/Universal) RR-9019-2
1995 Hard Wired (Metropolis) MET-015
1996 Live Wired [2CD] (Metropolis) MET-027
1997 (FLA)vour of the Weak (Metropolis) MET-077
1998 Monument (Roadrunner/Attic/Universal)
1999 Implode (Metropolis) MET-136
2001 Epitaph (Metropolis) MET-224
2004 Civilization (Metropolis) MET-303
2006 Artificial Soldier (Metropolis) MET-431
2007 Fallout (Metropolis) MET-483
2010 Improvised Electronic Device (Metropolis) MET-660
2014 Echoes [2LP] (Artoffact) AOF-170
2015 Hard Wired re[2LP  re-issue] (Artoffact – GERMANY) AOF-194
2015 Live Wired [3LP re-issue] (Artoffact) AOF-195
2015 Epitaph [2LP re-issue] (Artoffact) AOF-200
2015 Civilization [3LP re-issue] (Artoffact) AOF-201
2015 (FLA)vour of the Weak [2LP re-issue] (Artoffact) AOF-201
2016 Artificial Soldier [2LP re-issue] (Artoffact) AOF-223
2016 Re-Wind [2LP] (Artoffact) AOF-240
2016 Fallout [2LP re-issu] (Artoffact) AOF-241
2017 WarMech [2LP] (Artoffact) AOF-333

Joel Feeney
(vocals, guitar) / Tim Thorney (keyboards, vocals) / Paul Henderson (vocals) / Mike Konn (bass) / Paul Hannah (drums) / Dave Parasz (sax) / Gary Nichol (guitar) / Dominic Troiano (guitar) / Ray Parker (keyboards) / Tom Szczeniak (piano)
Studio project The Front found its roots on Lisa Dalbello’s 1981 album ‘Drastic Measures’ where Thorney had co-written most of the album with her, Nichol played guitar and Hannah engineered the sessions. They did the bulk of their work doing radio and TV jingles and when time allowed, Thorney, Henderson, Konn, Hannah, Parasz and Nichole started recording tracks for what would be the album ‘Gina’s at a Party’. With some initial tracks laid down, it led to a signing with Duke Street Records. From there they went in to Toronto’s Manta Sound with producer Hayward Parrot at which time they met singer Feeney. His voice was a great fit for what they were trying to achieve, so he joined the band. They recorded for a year at which time the album’s advance single, “The Haunting (Jimmy Loves Mary-Ann)”, became a minor hit. They continued recording and started the second album – this time utilizing the services of Troiano, Parker and Szceniak to augment parts laid down by Konn, Hanna and Parasz. Thorney relinquished some of the lead vocals to Feeney and they finished the ‘Underworld’. Following the breakup of The Front, Thorney, Feeney and Henderson continued in music. Thorney continues to write jingles and has produced many rising stars including Alanis Morissette. He also owns a recording studio and has released several solo projects; Feeney went solo with Joel Feeney and The Western Front in 1991 and has had two more solo albums. He is record producer and an award-winning songwriter including co-writing LeAnn Rimes’ 2005 hit Nothin’ ‘Bout Love Makes Sense”, which reached No.1 in Canada and  No. 5 in the United States. Feeney also provided voice characterization in the animated TV show ‘Sailor Moon’. with notes from Tim Thorney. [also see TIM THORNEY]

1983 The Haunting/The Haunting (Duke Street) DSR-S02/01-83
1983 Truth Hurts/Looking For You (Duke Street) DSS-02
1984 Who Your Friends Are/Simple Dreams (Duke Street) DSR-03
1984 Your Street/Same Girl (Duke Street/A & M) AMS-101
1984 Underworld/The Moon Is A Stranger (Duke Street/A & M) AMS-103

1983 Gina’s At a Party (Duke Street) DSA-01
1984 Underworld (Duke Street) DS-1002

Wolf Hassel
(bass, vocals) / Arnold Lanni (vocals, guitar, keyboards)  / Phil X (vocals, lead guitar; 1991-1993) / John Bouvette (drums, percussion; 1991-1993) / Pierre Bordeleau (rhythm guitar; 1991)
As musical friends since 1974, and 1/2 of flagging formula-rock band Sheriff, Lanni and Hassel formed Frozen Ghost in 1985 as a studio project to launch Lanni’s recording studio – Arnyard. The project caught the ear of WEA A & R man Bob Roper in 1986 and their self-titled debut, recorded with the aid of remix man Stephen Taylor (Rupert Hine’s assistant) was launched in 1987 featuring the video/hit “Should I See”. They won a 1987 JUNO Award for ‘Most Promising Act’. The success of “Should I See” in the US allowed the band to tour in the States opening for Howard Jones and The Thompson Twins with touring band with John McCarthy (keyboards), John Bouvette (drums), Phil X (guitars), and Pierre Bordeleau (second guitar). They hit back immediately with their follow-up, ‘Nice Place to Visit’, which featured the hits “Pauper In Paradise” and the perennial wedding favourite “Dream Come True”. Then the unthinkable happened. A disc jockey in the United States, in an attempt to prop up an otherwise dull playlist, dug out Sheriff’s 1983 ballad “When I’m With You” and played it enough times to pique the curiosity of listeners. Interest turned to telephone requests and Capitol Records were inundated with requests to re-release the song – which they did to the tune of a million sales worldwide. Capitol also re-issued the Sheriff debut album which caused direct competition for Frozen Ghost. To make matters worse, remaining Sheriff members Freddie Curci and Steve DeMarchi had formed a band of their own with 3 ex-members of Heart under the banner Alias. Frozen Ghost found itself competing with a real ghost, but Lanni wasn’t concerned. He owned the band name Sheriff and the song publishing on “When I’m With You” and found his fortune expanding. Frozen Ghost may have suffered in the marketing confusion of the Sheriff/Alias releases and Lanni decided to take time off to enjoy his new found fortune. In the meantime he produced the debut album, ‘Love Crazy’, for Wild T. And The Spirit. Frozen Ghost’s next album took 18 months to record and culminating in 1991’s with ‘Shake Your Spirit’ featuring special guest appearances by Canadian guitar heroes Colin Linden and Tony “Wild T” Springer. The album saw the release of three less than successful singles. The band made the decision not to release a video from the album due to the anonymous success of Sheriff’s “When I’m With You”. Frozen Ghost split in 1993 and Arnold Lanni has gone on to produce other acts like Wild T And The Spirit and JUNO Award winning albums by Our Lady Peace. [also see SHERIFF]

1987 Should I See/Suspended Humanation (WEA) 25-89279
1987 End of The Line (Edit)/Truth In Lies (WEA) 25-82847
1987 Promises, Promises/Beware the Masque (WEA) 25-82147
1988 Yum Bai Ya/Love Lie a Fire (WEA) 25-80927
1988 Round and Round/Suspended Humanation (WEA) 25-78547
1988 Pauper In Paradise (Edit)/Selling Salvation (WEA) 7-88986
1989 Dream Come True (Edit)/Perfect World (WEA) 25-76357
1991 Head Over Heels (WEA) PRCD-4422
1992 Shake Your Spirit (WEA)
1992 Shine On Me (WEA)

1987 Frozen Ghost (WEA) 254565
1988 Nice Place To Visit (WEA) 255705
1991 Shake Your Spirit (WEA) 782363
2005 Essentials (Warner) 604894

Grant Fullerton (guitar, vocals) / Larry Brohman (bass, vocals) / Brad MacDonald (keyboards, vox) / Steve Negus (drums)
After leaving the confines of one moderately successful psychedelic act (The Stitch In Tyme) and the highly successful but chaotic Lighthouse, Grant Fullerton struggled in the mid-70’s to find a new home for his crunchy blues guitar stylings. After drifting about with the unsuccessful Mudflats and Friends, he formed the Fullerton Dam in September 1974 with Brohman, MacDonald and Negus. They signed with Polydor Records and released two Canadian radio charting singles – “Didn’t Break My Heart” and “Tobacco”. Condor Records signed the band in 1976. They released ‘Breaks’ that same year, but the breaks didn’t come their way. The band split up and Fullerton and MacDonald tried it again as The Madcats; Negus would join the final line-up of Fludd which would eventually become Saga. with notes from Brad MacDonald and Grant Fullerton. [also see GRANT FULLERTON]

1974 You Didn’t Break My Heart/Bad News (Polydor) 2065-261
1975 Tobacco/Cars Rolling Down (Polydor) 2065-276

1976 Breaks (Condor) 977-1901

Born: Parsboro, Nova Scotia
One of Canada’s premiere guitarists, Grant Fullerton began his professional career in the late ’60’s as a member of The Untouchables (which was half of another band – The Continentals) in Halifax, Nova Scotia. When Yorkville Records president Bill Gilliland discovered them in Halifax, he was so impressed with their original songs he signed them to the label and brought them to Toronto. He re-christened them The Stitch In Tyme and the members began living in and among the flourishing Yorkville Village scene and within a year the band was one of the most popular acts in Toronto. However, the drug influence and laid-back lifestyle of Yorkville wasn’t conducive to songwriting. In order to fulfill at least part of their recording agreement with Yorkville, who was footing the bill for a full-length album in progress, the band hastily slapped together a cover version of The Beatles’ “Got To Get You Into My Life”. Gilliland wasn’t pleased, but the label was losing money and this was at least an attempt to recover some expenses. The record hit the charts, but the band was quickly falling apart. The band split up and The Stitch In Tyme was effectively dropped from the Yorkville release schedule. In December 1969 Grant Fullerton and Pinky Dauvin joined Skip Prokop and Paul Hoffert in Lighthouse, a 13-piece rock group combining horns, violins, cellos and vibes with the traditional rock and roll instruments of guitar, bass and drums. The band debuted at the Rockpile in Toronto on May 14, 1969. They signed a contract with RCA Victor shortly thereafter, released three albums on Victor before moving onto GRT. Fullerton left amidst their biggest hit period. Fullerton would also go on to play in such low-key acts as Mudflat and Friends before putting together Fullerton Dam with drummer Steve Negus (who would to on to gave fame with Saga) and who released one album on Condor Records called ‘Breaks’ before disbanding. He also tried his hand with The Madcats who released several records in the late ’70’s before going solo as Grant Fullerton. The solo stint led to the release of the single “Lenny” and Fullerton put a backing band behind him to tour. The Grant Fullerton band would later get signed to Freedom Records and release several singles from the EP ‘Killers!’.By the late ’80’s Fullerton had been recruited to play the lead in the First Choice/CBC movie ‘The Vacant Lot’ as guitarist and lead vocalist in a fictitious band. By the time the ’90’s rolled around Fullerton had become tired of the club grind and opened his own bar in Stouffville, Ontario called, simply, Fullerton’s. There he has been holding regular jam nights for nearly 10 years. One of these multiple sessions was committed to tape in 1994 and released as an album produced with Klaatu’s Terry Draper and Dee Long called ‘Fullerton’s Celebrity Jam, Volume One’. The sessions featured the contributions of such notable Canadian blues talents as Rick Washbrook (guitar, vocals), Doug Pypher (saxophone), John Dickie (harmonica), and Fullerton Dam member Brad MacDonald (organ & piano). Fullerton’s closed in 2003 and Grant now does solo work. with notes from Linda Cosman, William C. Smith. [also see FULLERTON DAM, LIGHTHOUSE, LYNX, MADCATS, STITCH IN TYME]

1986 Lenny/I Just Gotta Surive (Freedom) FR45-038

1981 Let Her Go/Let Her Go (Freedom) FR-001
1981 Fear In The Night (Freedom) FR-002

2009 Lotta Miles On Me (independent)


1994 Fullerton’s Celebrity Jam – Volume One (Second Sun)

1981 Killers! [EP] (Freedom) FREP-001

FURY, Johnny Dee
Campbellford, Ontario singer-songwriter Johnny Douglas, was an established recording artist stateside (Rowan Brothers, Dancer, John Stewart) when he moved to Toronto and signed a solo deal with Orient Records/RCA. After his debut album ‘Shakedown’ in 1981, he continued on with Orient through 1982 under the name Johnny Dee Fury, as a rockabilly artist. His band included Kit Johnson (bass) and Bodan Hlusko (drums).  Through the years of extensive touring, other musicians performing with Johnny Dee Fury included Randy Coryell, Al Cross, Ed White, Wally Cameron, Dave Bowes, and Mean Steve Piano on keyboards. They toured from Newfoundland to Victoria and back several times. They also played The Danceteria in New York City during it’s heyday in the 80’s and opened shows for acts like The Stray Cats, Carl Perkins, The Romantics and The Blasters. Johnny Dee Fury, Jack deKeyser, and Mean Steve Piano, along with Kit Johnson and Randall Coryell, also performed as the Toronto Rockabilly All-Stars, packing many nights at The Horseshoe Tavern. In addition to coast to coast airplay, the Roger Corman movie, ‘Screwballs’, featured nine songs off Johnny’s debut album. In recent years he’s been living in Brentwood, Tennessee near Nashville writing and recording music for TV and film in his home studio. with notes from John Douglas. [also see JOHNNY DOUGLAS]

Can’t Stop The Bop/Wildcat (Orient) 045-014
1982 This Heart’s On Fire/Coyote (Orient) 045-015
1982 Knock Knock/Come Back Baby (Orient) 045-016
1982 Rockabilly Rooster/Coyote (Orient/RCA) 045-017

Born To Bop (Orient/RCA) OLP-005

Constanzo Nicodemo
Montréal disco act masterminded by Nicodemo and a number of session players including his two brothers.

La Vita/La Vita (Aquarius) AQ-5047
1976 Disco Kings/ Disco Kings (Disco Version) (Aquarius) AQ-5055
1976 Disco Kings/La Vita [12″] (Aquarius) AQ-1701
1977 Like Lovers Do/Like Lovers Do (Extended Mix) [12″] (Scorpio) SC-12-001
1981 Don’t Stop The Music/Don’t Stop The Music (Instrumental) [12″] (Uniwave)
1982 You’ve Got The Motion (Vocal)/You’ve Got The Motion (Instrumental) [12″] (TGO) TGO-106
1982 La Vita/Amalia [12″] (Rams Horn – Netherlands) RAMSH 12-3081
1991 La Fiesta//La Fiesta (Radio Version)/La Fiesta (Under Ground Mix) [12″] (BGM)
1993 Got The Motion [3 versions]/[split with Black Bizarre] [12″] (Dance Plant/ISBA – US) DP-12-1018
1994 Every Body Needs Some Loving [4 Versions] [12″] (Dance Plant)

Flash…The Beat Goes On (ISBA) ISCD-2056

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