Kaldor, Connie
Kane, Kevin
Kanterbury Tales
Kardinal Offishal
Karliski, Steve
Karrik, Les
Karroll Brothers
Kat Mandu
Kay, John
Kaye, Debbie Lori
Kean, Sherry
Kearney, Christopher
Keatniks, The
Keelaghan, James
Keelor, Greg
Kelch, Peter
Kelly, Tom
Kemp, Ian Fletcher
Kennedy, Harrison
Kenner, Roy
Kenney, Mart
Kensington Market
Kick Axe
Kidds, The
Kids, The (1)
Kids, The (2)
Killer Dwarfs
Killer Music
Killjoys, The
Kim, Andy
Kinetic Ideals
King Bees, The
King Biscuit Boy
King Cobb Steelie
King, Bill
Kings, The
Kingston, Jack
Kingston, Tony
Knight & the Mid-Knights, Richie
Knuckleheads, The
Kon Kan
Korven, Mark
Kosinec, Tony
Kowalek, Luann
Kreviazuk, Chantal
Kris & the Imperials, Bobby
Kroecker, Joel
Krystals, The
Kulas, Michael
&Kurt &Noah

KALDOR, Connie
Born: May 9, 1953 as Connie Isabelle Kaldor in Regina, Saskatchewan
Kaldor graduated from Campbell Collegiate in Regina in 1972 and from the University of Alberta with a BFA degree in theatre in 1976. She performed with various theatre groups, including Theatre Passe Muraille, The Mummers and 25th Street House Theatre until 1979 when she left the theatre for music in 1979, touring the prairies with Heather Bishop that year, singing at the Vancouver Folk Music Festival in 1980. She released her debut album, One of These Days’, in 1981 on her own Coyote Records label and kicked off her first national tour.  Her sophomore album, ‘Moonlight Grocery’ was released in 1984. Following work with Roy Forbes and Norm MacPherson (Poppy Family) on a Christmas album called New Songs for an Old Celebration’ in 1985 and toured in 1986 with Forbes (aka Bim) and even sold ‘Tour ’86’ pillow cases. In 1988 Kaldor teamed up with Carmen Champagne for the album Lullabye which had Kaldor singing on one side in English and Champagne on the flip-side singing in French. The duo shared a JUNO Award in 1989 for the album. She released her next solo album, Gentle of Heart’ in 1990 through Oak Street Records. She married Hart Rouge member and music producer Paul Campagne and gave birth to a son in 1991. Three months later Kaldor was on the road touring with the likes of Ferron, Stephen Fearing and James Keelaghan.  She released ‘Wood River’ in 1992 and a North American tour followed with dates in Germany, Austria, Switzerland and Denmark plus China where she headlined at the Beijing Arts Festival. The album track “Canoe Song” was picked up by the Waskesui National Park for their tourist slide presentation. ‘Out of the Blue’ and ‘Small Café’ followed before Kaldor started recording children’s albums as well. She has won the JUNO Award for ‘Best Children’s Album’ in 1989, 2004, and 2005. She also contributed music to the animated TV version of Lynn Anderson’s comic strip ‘For Better or For Worse’. Kaldor was featured on VisionTV in 2003 starring in her own music show ‘Wood River Hall’ to showcase the best in Canadian folk music. Connie Kaldor received the Order of Canada in 2006. She currently resides in Montréal, Quebéc. with notes from E.Bernhard.

1990 Wanderlust/Bird on a Wing (Coyote/Festival)

1981 One of These Days(Coyote) CR-1001
Moonlight Grocery (Coyote)  CR-1002
1990 Gentle of Heart (Oak Street)  OSL-019
1992 Wood River (Coyote/Festival)  910112
1994 Out of the Blue (Coyote)
1996 Small Café (Coyote) 310560
2000 Love is a Truck (Coyote)
2003 A Duck in New York (Coyote/Secret Mountain) 316305
2004 A Poodle in Paris (Coyote)
2005 Sky With Nothing to Get in the Way (Coyote) 910302
2005 Vinyl Songbook (Coyote) 516312
2009 Postcards from the Road (Coyote/Outside)

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


1988 Lullaby Berceuse: A Warm Summer Night (Oak Street/A & M) OSL-011

Rainer “Rhino” Wiechmann (guitars, keyboards, vocals) / Sandy Forbes (drums, vocals) / Bernie Brodrick (guitar) / Glen Party(bass) / Cindy “Sindi” Wiechmann (vocals) / Derek Joyce (guitars, vocals) / Mark Osmond (bass, vocals) / Dale Penney (drums; 1988-1990)
After moving from his native Bavaria to St. John’s, Newfoundland at a young age Wiechmann took up guitar to pass the time. In 1983 he formed KAOS with Forbes who performed their first show on a CBC TV talent show called ‘The Fame Game’. In 1985, after discovering CBC voice-over vocalist (and future wife) Cindy Wiechmann, they independently released the critically acclaimed ‘Total Kaos’ album. 1n 1986 they landed an opening slot on Helix’s ‘Long Way to Heaven’ tour. Then when the band’s video “Summer of Love” was featured on MuchMusic’s ‘Power Hour’ doors began to open and they ended up playing opening slots for such internationally recognized acts as Alice Cooper, Motorhead, Dio, Cheap Trick, and Canadian bands The Headpins, Sass Jordan, and Chilliwack. A six-song demo cassette called ‘TV Eye’ followed in 1987 and the band toured across Newfoundland. After the tour ended, The Weichmann’s moved to London, Ontario and worked in various bar acts for more than a decade. Following some Helix recording sessions at Rainer Wiechmann’s studio in London, both Wiechmann’s became members of Helix from 2004 to 2006. Aside from his gig with Helix, Rainer Wiechmann has also become a recognized music producer for the likes of Thine Eyes Bleed, Summertime Daises, Blood of Christ and London, Ontario’s Kittie. The Weichmann’s were occasionally performing in the Meat Loaf tribute act Bat Out of Hell but are currently in a new project called NAIL with  Kaos’ drummer Dale Penney.

1985 Total Kaos (independent)  
1987 TV Eye [cassette] (independent)

Born: Steve J. Karliski in 1940 in Winnipeg, Manitoba
Died: 2007 in Niagara Falls, Ontario]
Steve was the youngest son of five children born to Ukrainian immigrant parents. From a very early age he loved music and was giving recitals before the age of 10. In his teens Steve started composing songs, both lyrics and music. In the early 1960s after attending McGill University he headed for New York with his songs and became an instant success working with other songwriters Larry Kolbar, Barry Mann, Neil Sedaka and Carol King. After moving to Nashville his country songwriting credits and #1 hits included “Yes, Mr. Peters”, which was featured on the TV show ’60 Minutes’. “Molly” was written during the Vietnam War and was recognized in writing by Senator Bob Dole in the US. Bobby Goldsboro released it as a single. Many artists recorded Karliski’s songs including Billy Walker, Jack Greene, Freddie Hart, Norma Jean, Tommy Cash, Faron Young, Waylon Jennings, Wayne Newton, Teresa Brewer, Hank Williams Jr., Bobby Vinton, Tony Orlando, Patti Page, Tex Ritter, Frankie Lane, Gary Puckett and the Union Gap and many others. He also wrote the soundtrack for several movies including ‘A Time to Sing’, ‘Old Before My Time’, and ‘Money Can’t Buy Happiness’ among others. Karliski wrote or recorded more than two hundred songs but only ever recorded on album. He met fellow Canadian Ralph Murphy during his time in New York City and signed to Murphy’s Double M Records. Karliski wrote and produced 1973’s ‘Gotta Keep Movin’ LP. Steve Karliski passed away in 2007 in Niagara Falls, where he had been living for a decade.

1965 Yes Mrs. Peters/People Are Always Taking (Columbia) 4-43355
1966 Mind (Am I Losing You Too?)/Mrs. Tiddlebind (Epic) 5-10046

1972 Gotta Keep Movin’ (Double M/London) DMR-1001

Born: Caroline Vallée in 1946 in Sherbrooke, Quebéc.

French Canadian pop chanteuse Karo started her career in a folk duo with Denise Roy in 1963 and the folk trio BAK. In 1966-1967 she began recording cover songs for the Match label, a company that specialized in budget priced 7″ singles. She then won the first prize in the CFTM music jury show “Discoveries”. Later, she would record one of her biggest hits “A Boy In Mini-Skirt”. Karo then moved to Montréal and began performing in cabarets. In 1968, her singles “On My Bike” and “Le Bibite” landed on the charts and leading to her addition to the ‘Musicorama’ tour. She released her French-language self-titled debut album on Vedette Records in 1969. She represented Canada in the ‘World Popular Song Festival’ for 1971 in Tokyo, japan, where she placed in 19th place with her song “My My My”. A version of the song with Japanese lyrics translated by Hiroshi Kato was released on Overseas Records in Japan that year. On the strength of the song she was signed in Canada to Capitol for their French imprint and English language division in 1971 who released the song to radio without much fanfare. However, the single release, on Star/Vedettes Records, in Quebéc in early 1972 charted on RPM’s French Top10 chart and made it to No.1 by the end of March. In the summer of 1972, Capitol re-released the single to radio where it landed on the RPM Top100 Singles chart in August, peaking at #54 in September of that year and lasted on the chart until October. Capitol tried again with a second English language single in 1975 called “I Believe In You” with no chart success. Karo wrote songs for other artists such as Nicole Cloutier and Jacques Salvail. She made a slight comeback in 1991 recording a new single with collaborator Paolo Marcuzzi on Polygram Records.

1966 Bang Bang/Et maintenant (Match) 6017
1966 Il m’appelait Goguette/Le fer, le marbre et l’acier (Match) 6023
1966 Jimmy, attends-moi/La poupée qui fait non (Match) 6024
1966 Les boîtes à gogo/Pas une place pour me garer (Match) 6025
1966 Je serai là/Je croyais (Match) 6029
1967 Un jour, un jour/La terre promise (Match) 6031
1967 Petit homme/Cathédrale de Winchester (Match) 6035
1967 C’est ma chanson/Sous quelle étoile suis-je née(Match) 6047
1967 Un garçon en mini-jupe/Va-t-en (Star/Vedettes) VD-3050
1968 Rayonne sur moi/Neige folle (Star/Vedettes) VD-3066
1968 Sur ma moto/Je m’en vais en vacances (Star/Vedettes) VD 3071
1968 Les bibittes/Comme le gars (Star/Vedettes) VD-3080
1969 Une fille en monokini/Pompom (Star/Vedettes) VD-3092
1969 Guénillette/Ti-fils à papa (Star/Vedettes) VD-3098
1970 Oui c’est l’amour/Sur les nuages (Vedettes) VD-3104
1970 Des gens sympathiques/Les amoureux VD 3110
1971 Le feu de l’amour/Non non non non VD 3117
1971 Dans le ventre d’une énorme baleine/Il faut sourire VD 3121
1971 Mai Mai Ma/My My My (Overseas – Japan) UP-324-V
1971 My, My, My/World Of Make Believe (Capitol) 72672
1972 My, My, My/La plus belle des mères (Vedettes) VD-3123
1972 Fais ça/J’ai mal au monde (Vedettes) VD-3126
1972 Mon rayon de soleil/J’aime l’humanité (Capitol) 85087
1973 Mon ami Pierrot/Mes vacances (Capitol) 85094
1974 Je voudrais te connaître/Ce n’était pas le grand amour (Capitol) 85096
1974 Le roi de la patate/L’amour ça fait ça (Capitol) 85100
1975 I Believe In You/Sorry Guys (Capitol) 72744
1975 Au printemps de la vie/J’te laisserai pas tomber (Capitol) 85106
1991 Différence/Est-il Hic Blues? (Baxter Music/Polygram) 878.838-7

with BAK & KARO
1966 Les marionnettes/Un jeune homme bien (Match) 6011

1967 Hey Joe/La famille (with Donald Pascal) 6049

1969 Pauvre grand-maman/The Tangogo (Star/Vedettes) VD-3101

1969 Karo (Vedettes) VD-803
1971 Des gens sympathiques (Vedettes) VD-807
1972 Mon disque d’or (KARO) Karo-1
1999 A Boy In Mini Skirt (Drives Merit) 22-2403

Michael McLean
(vocals, guitar) / Claude LaFrance (vocals, guitar)
Also known as Les Karrick, this Lac St-Jean, Quebéc folk duo formed in 1968 This brought them to the attention of Robert Charlebois who took them on tour in and around Montréal and Quebéc City. Their debut album ‘Au chant de l’alouette’, featuring Pagliaro playing guitar on several tracks, was released on Zodiaque Records in November 1971 which gave them a sizable hit single in Quebéc with the French nursery rhyme title track. They would also get distribution in English Canada through Trans-World and in Europe via Vogue Records. It was Trans-World that helped them to skim the RPM Magazine French-Canadian Top10 with 1972’s “La fin du reve n’est pas pour demain” which reached #6 over a three week run. Following a tour as part of ‘Musicorama’, the duo split in 1972. LaFrance would tour with and write material for Louise Forrester and released one solo album in 1977 called ‘Une belle soirée’. McLean had intended to go solo but, instead, formed the short-lived Quebéc prog act band L’engoulevent [The Nighthawk] with Pierre Moreau, Françoise Turcotte, and Russell Gagnon. They released one album in 1977 entitled ‘L’Île où vivent les loups’. A children’s album was also issued called ‘Étoifilan’. McLean became part of the ‘Starmania’ musical in the 1980s and in the 2000s moved to France to further his career as a solo artist. On November 15, 2002, McLean and Lafrance played together for the first time in 30 years in Val David at an intimate 40-seater restaurant called The New World.

1972 Au chant de l’alouette/Quelle est la couleur de ma prison? (Zodiaque) ZO4-304
1971 Yes a pichou (version originale)/La chanson de l’Acadien (Zodiaque) ZO4-311
1971 La légende indienne/La première (Zodiaque) ZO4-315
1972 Mary Queen/Des mots pour ma musique (Vogue – EU) 27020
1972 La fin du reve n’est pas pour demain/Capitaine Capitaine (Zodiaque)  ZO4-321

1971 Au chant de l’alouette (Zodiaque) ZO-6904
1972 Karrik II (Zodiaque) ZOX-6006
1973 Collection les Karrik (Trans-World) 65-1920
1993 Retrospective (Merite) 22-1014

Peter Karroll
(vocals, guitar) / Paul Karroll (vocals, bass) / John Karroll (drums) / Steven Ballison (keyboards) / Frank Cooper (keyboards, 1980)
Formed in 1970 in Vancouver, British Columbia.

Magic Kingdom/White Line Fever (Top Hat) TH-101
1976 The Wizard/Going Downtown (Top Hat) TH-102
1978 Morning Light/Need Your Love (K.B.) KB-102
1978 Lovin’ You/Space Fighter (Vera Cruz) VCR-005
1978 Lovin’ You/Space Fighter [re-issue] (Vera Cruz) VCR-103
1978 Battlestar Dream/Taking Your Time (Vera Cruz) VCR-108
1980 Sweet Lorraine/Pushing So Hard (RIO) RIO-709

Karroll Brothers (K.B.) KB-1001
Baby Get Down (RIO) RIO-1005

Claude McKenzie
(guitar, vocals) / Florent Vollant (guitar, vocals)
Living approximately 800 km north of Montréal, Quebéc, friends Claude McKenzie and Florent Vollant turned to music to break the tedium of living on the Maliotenam reserve of Northern Quebéc. Vollant had spent 10 or 12 years playing area bars doing the material of everyone from the Beatles to Pink Floyd, throwing in old songs from their Montagnais native heritage. Recognizing the talent of McKenzie, whom he met in 1984 when McKenzie’s family moved to the reserve, they formed a band that they called Kashtin, which in their native Innu language means tornado. Playing local bars and festivals, the duo became celebrities in Northern Quebéc, but had not achieved recognition out of the area until a TV crew from a station in Montréal came north to film them at a festival for a documentary they were doing on the Montagnais natives. One person to be impressed with their television debut was Guy Trepanier, head of Montréal’s Groupe Concept Musique and Les Productions Avanti Plus. He brought them down to Montréal to record a demo and very quickly they were picked up by Trans Canada Disc, Canadian label for the Gypsy Kings. Their self-titled debut was released across the country and sold over 100,000 copies in Quebéc almost immediately. Produced by Trepanier, the album eventually went double platinum in Canada, surprising almost everyone because the entire album was in the duo’s native Innu language, which only about 12,000 people in the world speak and understand. They quickly became known for their spirited, exciting live shows as they toured across the country and back. In 1990 they made ten trips to Europe and went Top 10 in France; the musicians that played on the album also formed their band: Donald Meunier, Alan Cavallo, Serge Durocher, and Claude Guay. Returning to the studio after their extensive touring, the second album, ‘Innu’, was released in 1991, has gone platinum in Canada, and was picked up for US release on TriStar Music. Once again extensive touring at home and abroad drew overwhelming praise from fans and critics alike. For their third album, 1994’s ‘Akua Tuta’, Kashtin signed with Columbia Records, and the album was released simultaneously in the US with the Canadian release. Robbie Robertson included the title track on his album ‘The Native Americans’, and one of their songs was featured on the soundtrack to ‘Dance Me Outside’. The television show Northern Exposure also used some of their songs. The end of 1996 saw the release of a solo album by Claude McKenzie on Sky Dog Entertainment out of Minnesota, entitled ‘Innutown’. with notes from LeAnne Lis

1989 E Uassiuian
1989 Harricana
1989 Tipatshimun
1989 Tshinanu
1991 Ishkuess


1989 Kashtin (Group Concept) PPFL-2009
1991 Innu
1994 Akua Tuta (Group Concept) CCK-80209

Jimmy Ray
(guitar) / Joe LaGreca / Denis LePage
Jimmy Ray, from Guyana, South Africa started his music career in his local church and later studied guitar with childhood friend Jimmy Cannings. He was eventually recognized for his guitar talents and toured Europe, North America and the Caribbean as an opening act for such artists as Sam & Dave, Ben E. King, Carla Thomas and Dave Clark. Clark hired him for a two year tenure playing across Great Britain. After this job ended in the mid-1970’s, Ray left England and moved to New York to continue studying guitar. While in New York he became a session player and guitarist for hire and when Odyssey had their 1977 hit “Native New Yorker”, he was recruited as touring guitarist. Following performances in Canada he decided to stay in Montréal, Quebéc. Montréal allowed him the chance to become involved with the growing recording scene there. He was soon rubbing elbows with studio mainstays Joe LaGreca and Denis LePage. The three worked together on projects for Caroline Bernier, Melody Stewart and Linda DiFiore among others. In mid-1978 they collaborated under the pseudonym Kat Mandu for a disco album. The first single was an instrumental LePage had written and arranged called “The Break”. LaGreca co-produced and all three played the instruments. Unidisc in Montréal released the original 12″ single, but after a remix by Steve Thompson and Michael Arato for TK Disco Records in the USA, it topped the dance charts and became a certified gold record internationally. The song would continue to be remixed to squeeze out additional 12″ singles. “Don’t Stop, Keep On” written by Fitz Walton was also released from the album and received a 12″ remix from LaGreca and Gene Leone. Fitz Walton wrote five more songs for the 1980 follow-up album ‘Get Crackin’ on Unidisc. Ritchie Rome co-wrote, arranged, conducted and played all the keyboards on the record which spawned one single – the 12″ of “New World Break”. The final Kat Mandu release was a 12″ single in 1981 called “I Wanna Dance” on Brass Records which achieved gold record sales. One more album, ‘The Kat Is Back’, was released through a new label called Manhattan/Formula in 1982 but failed to meet the success of the releases before it. During Kat Mandu’s brief run they recorded with Kat Dyson and ‘Star Search’ TV show winners Tchukon and Cissy Houston. LeGreca went on to success with his recording act featuring singer Carol Jiani called Montréal Sound; LePage would take the Quebéc and European dance floors by storm with LIME featuring his wife Denyse LePage; Over the last 20 years Ray continued in the corporate music circuit including being cast in the Ontario Place musical review ‘Soul To Soul. He still performs and has released solo material from his current home in Florida.

1979 The Break/There’s Only Been A Few [12″] (Unidisc) UNI-1018
1979 The Break/There’s Only Been A Few (remix) [12″] (TK Disco – US) TKD-155
1979 The Break [7″] (Unidisc) UN-119
1979 Don’t Stop, Keep On [12″] (Unidisc) UNI-1026
1980 The Break (remix) [12″] (Unidisc) UNI-1041
1980 Get Crackin’/Time To Get Down [12″] W-12047
1981 I Wanna Dance [12″] (Unidisc) SPEC-1501
1981 I Wanna Dance (Special Remix) [12″] (Formula) FD-002
1981 I Wanna Dance [7″] (Formula) FS-003
1981 I Wanna Dance [12″](Brass/EMI-Barclay – US) BRDS-2520
1981 Hot Wax [12″] (Brass/EMI-Barclay)
1981 New World Break [12″] (Uniwave) W-12068
1982 Super Lady/(Instrumental) [12″] (Manhattan-Formula) MX-006
1982 The Kat Is Back (Let’s Dance)/(Instrumental) [12″] (Manhattan-Formula) MXS-014
1982 We Can’t Be Apart/(Instrumental) [12″] (Formula) FD-012
1984 We Got Your Groove (Special R.E.M.I.X.E.D Disco Version)/Imagination [12″] (Rams Horn – Netherlands) RHR-3317
1986 Theme From Dynasty/Power (Dance Version)//The Break/Wanna Get To Know You Well [12″] (Matra) 12MA-054
1987 Hooked On Voices//Sport/The Break (Remix) [12″] (Matra) MM-023

1978 Kat Mandu (Unidisc) ULP-09
1980 Get Crackin’ (Unidisc/Uniwave) WLP-1017
1982 The Kat Is Back (Manhattan-Formula) MLP-004

KAY, John
Born: Joachim Fritz Krauledat on April 12, 1944, in Sovetsk, Kaliningrad Oblast, Russian Federation
Kay grew up in East Germany, fueled by a steady diet of Armed Forces Radio. Little Richard and Chuck Berry was a couple of his earliest influences. At 14, he and his mother left the country, and moved to Toronto. He learned English by listening to radio disc jockeys and music from the artists of the day. By his mid-teens, he was performing on amateur radio shows. After high school, John roamed North America, performing acoustic blues in coffee houses and bars. He joined The Sparrow while playing Toronto’s Yorkville in 1965.  They had been home to Jack London and were his backing band on several of his Canadian hits. In 1965 they recorded an album with London on Columbia Records before leaving him to pursue their own, only official single “Hard Time with the Law”. With John Kay’s growing popularity in Yorkville, it was only a matter of time before he connected with the band in May of 1966. They would record several singles and one album as John Kay And Sparrow helping solidify their popularity as a touring act in the US. Less than a year later Sparrow broke up and John Kay, Jerry Edmonton, Goldy McJohn and Nick St. Nicholas re-emerged as Steppenwolf. Dennis Edmonton – now known as Mars Bonfire – went off to pursue a solo career. The band relocated to San Francisco via New York and became part of the Bay Area music scene, then moved on to L.A. where it broke up in 1967. Shortly after, John formed Steppenwolf and the group’s debut was released in 1968. “Born to Be Wild” was on that album and other classic tracks followed, such as “Magic Carpet Ride,” “Rock Me,” “Monster,” “Sookie, Sookie” and “The Pusher.” The original version of Steppenwolf split up in 1972. With Steppenwolf’s contract still needing to be fulfilled with ABC-Dunhill, Kay recorded his first solo album instead entitled ‘Forgotten Songs And Unsung Heroes’. He followed that with ‘My Sportin’ Life’ in 1974. With his obligations fulfilled to ABC-Dunhill, key decided to hit the road as John Kay and Steppenwolf featuring a new line-up. With their new found popularity the band was signed to Mum Records with distribution through Epic. John Kay and Steppenwolf would go on to release more than a dozen albums, including 1996’s live double CD, ‘Live at 25’. The most recent band line-up consisted of Kay, his long time writing partner keyboardist and co-producer Michael Wilk, drummer/vocalist Ron Hurst and lead guitarist/vocalist Steve Fister. Total album sales are in excess of 20 million units world-wide, and the group continues to tour annually. The last few years have featured some benchmark accomplishments and recognition for Kay. His autobiography, ‘Magic Carpet Ride’, was published in 1994. In 1996 the Rock and Roll Hall of Fame Museum in Cleveland, Ohio, installed a memorabilia display devoted to the group. [see SPARROWS, STEPPENWOLF]

I’m Movin’ On/Walk Beside Me (ABC-Dunhill) D-4309
1972 Somebody/You Win Again (ABC-Dunhill) D-4319
1973 Moonshine (Friend of Mine)/Nobody Lives Here Anymore (ABC-Dunhill) D-4351
1973 Easy Evil/Dance To My Song (ABC-Dunhill) D-4360
1973 She Said The Same Things To Me (ABC-Dunhill)
1978 Give Me Some News I Can Use/Say You Will (Mercury) 74-004


1972 Forgotten Songs and Unsung Heroes (ABC-Dunhill) 50120
My Sportin’ Life(ABC-Dunhill)
1978 All In Good Time (Mercury) SRM-1-3715
1997 The Lost Heritage Tapes[circa 1976] (CMC – Europe) 823941
2001 Heretics & Privateers (CrossCut – Germany) CCD-12004

KAYE,  Debbie Lori
Born: May 6, 1950 in New York, NY, USA
Debbie Lori Kaye was a diminutive singer and guitarist with a large voice who was born in New York, but grew up in Sault Ste. Marie, Ontario. Her father was a disc jockey at CKCY and asked a local group, (Those) Rogues, to allow her to sing in the band. She and the band toured around Southern Ontario for nearly a year until she left to appear on the Tommy Hunter Show.  Columbia Records took notice and signed the teenager to a long term deal. The country vocalist made her first showing on Canadian RPM Magazine charts with “Picking Up My Hat” in February 1965. It entered the Country singles chart at #1 on February 8 and stayed there until the week of August 23, 1965. It returned to number in December of that year until Columbia released her next single – a remake of The Shirelles’ 1962 hit “Soldier Boy” – at Christmas time. She rode the RPM Top singles chart to the Top20 with the song in 1966 and the song remained in the Top 40 for 10 months.  In 1966 Columbia released “Baby, What I Mean”, “Playground” and “Ride Ride Ride” (a Lynn Anderson song), none of which charted. But, she would return to the country charts in June 1968 with her next single “Come On Home” which made it to #12. “Baby’s Come Home” was released in May 1969 and managed to hit #13 on the RPM country singles chart. She switched to the SSS International label in 1970 and entered the Canadian RPM chart in October that year with “Taste of Tears” which got to #16. Kaye was nominated twice for a Juno Award in 1971 as ‘Best Female Vocalist’ and ‘Best Counry Female Artist’. Another label change found her on Polydor for her final chart action with “God Bless The Child” in January 1973 on the RPM Adult Contemporary chart. The song climbed to #15 by March 1973.  Kaye would make periodic appearances on CBC television variety shows including ‘Tommy Common’s It’s A Musical World’ (1975/76 season), ‘The Tommmy Banks Show’ and ‘The Tommy Hunter Show’ (1967-1969). She also appeared on the Willburn Brothers Show in 1966 and ‘Music City USA’ in the United States. Kaye would later have her own one hour CBC variety show ‘The Debbie Lori Kaye Show’ featuring guitarist Frank Kitching as music arranger. Kitching was also guitarist in the band Parade with Kaye in the early 1970s that toured the US after her solo career had faded.  In 1994, RPM magazine ran a list of the Top Canadian Country artists to have charting hits that made it to #1. Debbie Lori Kaye ranked #22 on the list. She was inducted into the Ontario Country Music Hall of Fame in 2005. Kaye now lives in Seattle, Washington and has spent many years rehabilitating after a bad car accident in 2006. with notes from Frank Kitching and Stan Maupin.


1965 Picking Up My Hat/What Makes You Do Me Like You Do (Columbia) C4-43295
1965 Soldier Boy/Could That Be (Columbia) C4-43454
1965 Every Song You Sing/You’re Not There (Columbia) C4-43591
1966 Baby, What I Mean/The Iron Cross (Columbia) C4-43730
1966 The Playground/Lonely Clown (Columbia) C4-43999
1966 A Legend In My Time/Sweet Georgia Brown (Columbia) C4-44142
1966 Ride Ride Ride/Break My Mind (Columbia) C4-44311
1967 Battle Hymn Of The Republic/Green (Columbia) C4-44394
1968 Come On Home/Help Me Love You (Columbia) C4-44538
1969 Baby’s Come Home/It’s Only A Daydream (Columbia) C4-44815
1970 Taste of Tears/No Brass Band (SSS International) 810-M
1973 God Bless The Child (Polydor) 2065-157

1966 Hey Little One (Columbia) ELS-329

KEAN, Sherry
Born: Sherri Huffman
Sherry Kean was originally known as Sherri Huffman, vocalist for The Sharks who were a steady fixture on the Toronto Queen Street bar circuit in the late 1970’s/early ’80s. Though an appearance on a Chameleon Records compilation called ‘No Pedestrians’ gave the act a solid profile, the band’s more popular live configuration consisted of the rhythm section of Basil Donovan (bass) and Cleave Anderson (drums) and David Baxter (guitar). The band recorded a full album at McClear Place with engineer David Balan for Edge Records that, unfortunately, was never released. Kean and Baxter would continue on together as co-writers (and Baxter producing) with a vision to launch Kean as a solo artist. Donovan and Anderson teamed up with former Hi-Fi’s members Jim Cuddy and Greg Keelor to form Blue Rodeo. Kean soon signed a deal with Capitol-EMI. Recording for her debut LP began in the Spring of 1983 with producer Mike Thorne at Media Sound, NYC. Her backing band in the studio was J.T. Lewis (drums), Fernando Sanders (bass), and Pat Irwin and David Baxter (guitars, keyboards).  Five of these songs were released as an EP in the summer of 1983 under the title ‘Mixed Emotions’ and recording continued during December back in Toronto at Manta Sound in hopes of building an even stronger debut LP release. Kean’s Toronto studio band consisted of Terry Martel (drums), Ian De Souza (bass), Scott Davey (guitar), David Baxter (guitars, keyboards), Mike Thorne and Tommy Mandel (keyboards). In early 1984 “I Want You Back” was lifted as a single from the ‘Mixed Emotions’ EP and launched Kean as a serious radio contender. The B-side to the 12″ single, called “Universe of Two”, was an extended mix done at ESP Studios in Buttonville, Ontario by Dee Long and John Jones. Finally, the debut LP, ‘People Talk’, was released in mid-1984. It contained three songs from the ‘Mixed Emotions’ EP (including ‘I Want You Back’), two other tracks from that release were abandoned in favour of “Be Mine” and “Stop This Sorrow” from the 1983 New York sessions, while the album was fleshed out with five new songs from the December 1983 Toronto sessions – including the title track. Kean won a 1984 JUNO Award for ‘Most Promising Female Vocalist of the Year’; she was also nominated for ‘Female Vocal of the Year’at the 1985 CFNY-FM U-Knows. However, her time with Capitol was short lived and Kean found herself recording her sophomore album for A & M Records. The LP was self-produced with the assistance of David Baxter and Bob Doidge both of whom contributed musically to the recording along with Ian De Souza (bass), Kevin Breit (guitar), Garth Breit (drums), Mike Heffernan (keyboards), Ben Mink (violin), Bill Dillon (violin, guitar), the late Roman Zak (accordion) and Tom Cochrane singing on “I Believe In You” and dueting with Kean on “Baby Talk”. with notes from David Baxter, David Balan, Peter Hudston, Michael Ustick.

1983 Mixed Emotions/Stop This Sorrow (Capitol-EMI) 72923
1984 I Want You Back/Sever The Ties (Capitol-EMI) 72937
1984 I Want You Back/Universe of Two (Extended Version) [12″] (Capitol-EMI) V-75051
1984 Would You Miss Me?/You’re So Minor (Capitol-EMI) 72941
1984 Get Away From That Girl/Universe Of Two (Capitol-EMI) 72948
1987 Why You Wanna Break My Heart?/Chain Reaction (A & M) AM-739
1987 Diamonds & Pearls/State of ohe Heart (A & M) AM-748

1983 Mixed Emotions (Capitol-EMI) MLP-15010
1984 People Talk (Capitol-EMI) ST-12328
1987 Maverick Heart (A & M) SP-9140

KEARNEY, Christopher
Born: 1947 in Toronto, Ontario
Toronto-born Christopher Kearney moved to the cottage area of Lindsay, Ontario at age 4. He became serious about music in the mid-60’s after relocating to the US West coast where he met Gordon Lightfoot who put up the money for his first demo recordings. In 1970, Apex Records released Kearney’s first single “Theme For Jody”. He returned to Toronto in 1971 and used his Lightfoot connection to land a publishing deal with Early Morning Music and an album deal with Sun Dog Productions who signed him to Capitol Records. His first self-titled album was released in 1972 and spawned the single “Loosen Up”. His career became a whirlwind of touring throughout the US in folk clubs and festivals with opening slots next to the likes of Anne Murray. Kearney went to Brazil in 1972 with The Stampeders to represent Canada at the Seventh Rio International Song Festival held in Rio de Janeiro. A follow-up LP, ‘Pemmican Stash’, was released in 1973 and Kearney’s career slowly faded shortly after 1975’s ‘Sweetwater’. In the early ‘80s Kearney joined China with fellow Canadians Bill King and Danny McBride for one album on CBS Records. Kearney returned to the spotlight briefly in 1993 when he wrote “A Letter From Sarajevo” with Scott Lane and Neil Dobson that accompanied a star-studded public service video about the plight of children in the war-torn city of Sarajevo in Bosnia. Kearney is currently living in Mexico, and released a new album in 2008 called ‘Just A Step Away.’ [also see CHINA]

1970 Theme For Jody/ (Apex) 77113
1971 Let It Be Gone/Loosen Up (Capitol) 72664
1971 Rocking Chair Ride/Country Lady (Capitol) 72675
1972 One Helluva A Rock & Roll Band/Youngblood (Capitol) 72691
1975 Steady Ground/Runnin’ Child (Capitol) 72742
1993 A Letter From Sarajevo


1972 Christopher Kearney (Capitol) ST-6732
1973 Pemmican Stash (Capitol) ST-6392
1975 Sweetwater (Capitol) ST-6424
2008 Just A Step Away (independent)

with CHINA
1981 China (Epic/CBS) FE-37633

Williams “Bill” Keating
(lead guitar) /  Maurice “Mo” Caines (vocals, rhythm guitar) / Basil Haire (drums)  / Pierre LaJeunesse (piano)
A typical early 1960s Merseybeat sounding act from Labrador City, Newfoundland, who entertained regularly at the Iron Ore Company of Canada’s Ashuanipi Social Club. All the members of the band, except Haire, had day jobs at the Iron Ore Company. Keating had previously been in Wilf Doyle’s orchestra. Caines worked in radio in Stephenville and LaJeunesse studied at the Quebéc Conservatory of Music. Haire was a teacher at Wabush College in Labrador. Their lone, self-titled album recorded in Montréal 1965 is considered the first full-length by a band from Newfoundland. The group split up in 1966. Caines formed The Krystals with Dutch musician Stan Erbrink (ex-The Black Knights). They released one album in 1968; Haire now works for the Government of Prince Edward Island. A re-issue of the band’s material has been promised for many years but the disc has yet to materialize.with notes from Art Rockwood.

1965 That’s My Girl/Three Long Days And Nights (Melbourne/London) WG-3216
Here She Comes/Everywhere (Melbourne/London) WG-3218

1965 Keatniks (Melbourne/London) AM-4011

Born: Calgary, Alberta
A native of Calgary, Keelaghan studied history at the University of Calgary where he began playing coffeehouses in the mid-’80’s. Part of his understudy work involved performing with Margaret Crystal and a stint in acoustic/punk folk act Ernie The Band. In 1985 folk singer Garnet Rodgers heard him play and gave Keelaghan encouragement to pursue his original music. His musical themes developed from the rich history of Canadian folklore and heritage. Keelaghan began to merge his musical and historical interests together on his first independent cassette release “Timelines” in 1987. By his second cassette in 1990, ‘Small Rebellions’, Keelaghan’s notoriety was becoming well established as his style and songwriting talents matured. He made the rounds of all the national folk festivals throughout the early ‘80’s with his backing band of Bill Eaglesham (bass, vocals), and Gary Bird (six string and steel guitar). By 1993 he was touring as a duo with Oscar Lopez. For his third album, ‘My Skies’, Keelaghan signed to the Green Linnet label in the US. He was the winner of a JUNO award in the ‘Roots & Traditional’ category in 1994. Keelaghan’s fourth album was ‘A Recent Future’ in 1995.

1987 Timelines (Tranquilla/Dirty Linen)
1990 Small Rebellions (Tranquilla)
1993 My Skies (Green Linnet)
1995 A Recent Future (Green Linnet)

KELCH, Peter
As a native of Victoria, British Columbia, Kelch set up his own independent record label as an outlet for his Rockabilly songs called Terra to release two singles in 1963. He enlisted the help of Victoria instrumental act The Pharaohs as his back-up band. The Pharaohs and Kelch had already worked together on their own singles – Kelch wrote their song “The Friendly Martian”. Kelch found himself in Hollywood and released one record for R.R.E. Records with the Journeymen as his backing band. He also released several singles on the Chalice label stateside.

1964 Silly One/Too Late For Cryin’ (Chalice)
1964 My Angel (Chalice)
1964 Just A Little More/Johnny Take Care (Chalice)


1963 Silly Girl/Cry On My Shoulder (Terra) 45-TR-369
1963 River of Tears/ (Terra)

196-  Little Clown/Lonely Wanderer (R.R.E. – US) RRE-1017

Kelly was signed to CHUM’s record label MUCH and hit the RPM Top 100 chart with “Freedom Song” in May 1973 reaching a peak of  No.60. “Jennifer” was released in December of 1973 and peaked at No.77 in the winter of 1974.

1973 Freedom Song/Song For Shelan (Much) CH-1022
1973 Jennifer  (Much) CH-1026
1974 I Can Show You the Morning/If Ladies Were Only Songs (Much) CH-1030

Any Kind of Man (MWC) 9001

KEMP, Ian Fletcher
Guitarist/singer Ian Fletcher Kemp recorded for Myles Cohen’s Change label. His debut album for the label entitled ‘(Writer)’ featured the cream of Canadian session players including Mike Francis, Bob Mann, Brian Leonard, Eric Robertson, Dick Smith, and Tom Szczesniak and was produced by John James Stewart. Capitol Records artist Dean Dillon recorded Kemp’s “Station To Station” on 1988’s ‘Slick Nickel’ LP.

1978 Love Catch Fire/Saving Of A Heart (Change/MCA) CH-45009
1979 J & D Railroad Line/Pilgrims (Change/MCA) CH-45020
1979 Bethy (In The Gulf Of Mexico)/Singin’ All The Blues Away (Change/MCA) CH-45029
198-  Railway Widows Song (CBS Songs) AB-01
198-  Whisky/Boys Best Company (CBS Songs) AB-02


1979 (‘Writer’) (Change/MCA) CLP-8006

KENNEDY, Harrison
Harrison Kennedy was born and raised into the blues in Hamilton, Ontario as his family members were already entertainers in the local scene. Billie Holiday and John Lee Hooker were among those who would come to town and visit his house or his aunt’s house. By age 15, Kennedy sang in a church and in a blues band. As a college freshman, Kennedy received a phone call in 1968 from Motown songwriter-producer Eddie Holland who invited him to travel to Detroit and audition for a spot in a vocal super group that Holland, his brother Brian Holland and friend Lamont Dozier were forming as the first act on their post-Motown record label Invictus. Kennedy became the lead singer for The Chairmen of the Board alongside General Johnson, Danny Woods, and Eddie Curtis for a three year run as an internationally renowned soul act. With their hit single “Give Me Just a Little More Time” they would perform at all the top venues including several appearances at the Apollo Theatre in New York and made TV appearances on ‘The Tonight Show’, ‘Soul Train’, ‘American Bandstand’ and on the BBC’s “Top Of The Pops’. They would also share stages with B.B. King, James Brown, Smokey Robinson, Stevie Wonder, Funkadelic and more. After the Chairmen of the Board folded in 1975, Kennedy returned to Hamilton and split his time between working in a chemical factory and playing blues in clubs. He formed the band Harrison Kennedy And The Rockin’ Hurricanes featuring Alex MacDougal (guitar), Jan Reimers (bass), Doug Bowman (bass) and Alex Karza (drums). His first solo blues album, ‘Sweet Taste’, was nominated for a JUNO Award as ‘Best Blues Album’ in 2004. His second JUNO nomination followed on the heels of his sophomore release ‘Voice & Story’ in 2006.  In 2008 he released ‘High Country Blues’and ‘Shame the Devil’ in 2011. He again received JUNO Award nominations for ‘Best Blues Album’ for both releases. Kennedy has received 15 Maple Blues Award nominations. His latest album is ‘One Dog Barking’. with notes from Harrison Kennedy.

Come Together/Sunday Morning People (Invictus) IS-9119
Give Me Just a Little More Time/Flaming Embers (Roto Noto) RN-1033
Lovin’ Ways/Give Me Just a Little More Time (Roto Noto) RN-1039
Many Moons Ago/[same] (Roto Noto) RN-1054

1970 Give Me Just a Little More Time/Since the Days of Pigtails (And Fairy Tales) (Invictus) INV-501
1970 (You’ve Got Me) Dangling On a String/Patches (Invictus) INV-504
1970 Everything’s Tuesday/Bless You (Invictus) INV-507
1971 Working On a Building of Love/Try On My Love For Size (Invictus) INV-519
1971 (You’ve Got Me) Dangling On a String/ I’ll Come Crawling  (Invictus) IS-9078
1971 Pay to the Piper/Bless You (Invictus)  IS-9081
1971 Chairmen of the Board/When Will She Tell Me She Needs Me (Invictus) IS-9086
1972 Tricked & Trapped/Hanging On (To a Memory) (Invictus) IS-9089
Bittersweet/Elmo James (Invictus) INV-524
1972 I’m On My Way To a Better Place/So Glad You’re Mine (Invictus) INV-527
1972 Men Are Getting Scarce/Bravo, Hurray (Invictus) IS-9103
1973 I Can’t Find Myself/Let Me Down Easy (Invictus) IS-9126
1973 Finders Keepers/Finders Keepers (Instrumental) (Invictus) INV-530
1974 Everybody Party All Night/Morning Glory (Invictus) INV-2523
1974 Lfe & Death/Live With Me, Love With Me (Invictus) ZS8-1263
1975 Someone Just Like You/You’ve Got Extra Added Power (Invictus) ZS8-1278

Hypnotic Music (Invictus)ST-9806
Sweet Taste
2005 Voice & Story (Black And Tan)  B&T-025
2007 High Country Blues
2010 Shame the Devil
2011 One Dog Barking (Electro-Fi)

Give Me Just a Little More Time (Invictus)  ST-7300
1970 In Session (Invictus) ST-7304
1972 Bittersweet (Invictus) ST-9801
1974 Skin I’m In (Invictus) KZ-32526

Live In the Eye [cassette] (Independence)

Born: January 14, 1948 in Toronto, Ontario
In the 1960s the Toronto music scene was exploding with hungry young R & B bands fresh out of school. Singer Roy Kenner led Roy Kenner & The Associates which featured Henry Babraj (keyboards), Tom Beavis (guitar), Greg Carducci (bass) and Ray Rychlewski (drums). They released one single on the Trend Records label. Kenner and Babraj would then go on to join Domenic Troiano’s band The Mandala in 1968. They released their debut album, ‘Soul Crusade’, on Atlantic Records in 1968 and had a Top10 hit with “Love-Itis” in Canada. The Mandala played their final gig at The Hawk’s Nest in January 1969, after which Troiano, drummer Whitey Glan and Kenner made a musical shift. They added Prakash John on bass and Hugh Sullivan on keyboards and changed their name to Bush. The band released their self-titled album in 1970 on RCA in Canada and Dunhill in the USA. They toured with label mates Steppenwolf and Three Dog Night leading to Three Dog Night’s recording of “I Can Hear You Calling” as the B-side of their successful single “Joy to the World”. The song was co-written by Troiano, Kenner, Glan and Sullivan. Following the break-up of Bush, Kenner and Troiano joined The James Gang as a means to replace Joe Walsh. They performed together on the albums ‘Passin’ Thru’ and ‘Straight Shooter’, after which Troiano left to join The Guess Who. Kenner stayed with The James Gang for two further albums: ‘Bang’ and ‘Miami’. When The James Gang had run its course, Kenner formed the band LAW who were signed to MCA and released two unsuccessful albums. At this time he also began writing and producing for others. He wrote “(I Don’t Want To) Stand in Your Way”, the first single from Lisa Dal Bello’s debut album in 1977. Kenner then resumed his professional work with Domenic Troiano, co-writing and singing on Troiano’s 1979 album ‘Fret Fever’. The two would also co-write on TV soundtracks such as the Canadian TV drama ‘Night Heat’. In 1982, he released three songs on an EP for Black Market Records billed as ‘Roy Kenner/The Royals’. Kenner’s songs were co-written with and produced by Domenic Troiano. Kenner got into the jingle business and still does voice-over work. He still performs around Toronto including the ‘We All Need Love’ tribute concerts for the late Domenic Troiano. with notes from Merv Buchanan. [also see BUSH, MANDALA]

Transparent Love/The Way To Paradise (Anthem) ANS-026
1982 Transparent Love/[split w/THE ROYALS] (Black Market/Freedom) FR-DJ-45-5

Without My Baby/Baby You’re What I Need (Trend) T-1000

1972 Looking For My Lady/Hairy Hypocondriac (ABC) 11325
1972 Had Enough/Kick Back Man (ABC) 11336
1973 Got No Time For Trouble/Must Be Love (ATCO) 45-6953
1973 From Another Time/Standing In The Rain (ATCO) 45-6966
1974 Cruisin’ Down The Highway/Miami Two-Step (ATCO) 45-7006

with LAW
1976 Be My Woman/Layin’ Down The Law (MCA) 40656
1977 Fairweather Friends/Shelter of Your Arms (MCA) 40694
1977 Hold On To It/Sun Won’t Shine (MCA) 40807

1982 Roy Kenner/[split w/THE ROYALS] (Black Market/Freedom) FR-DJ-45-5


1972 Straight Shooter (ABC) 741
1972 Passin’ Thru (ABC) 760
1973 Bang (ATCO) SW-99573
1973 16 Greatest Hits (ABC) 801
1974 Miami (ATCO) SD-36102

with LAW
1976 Breakin’ It (MCA) 2240
1977 Hold On To It (MCA) 2306

Born: Herbert Martin Kenney, March 7, 1910 in Toronto, Ontario|
Died: Ferbruary 8, 2006]
“Canada’s Big Band King”, alto and baritone saxophonist and clarinetist Mart Kenney began his career in the late 1920’s with the CJOR Radio Orchestra and with Len Chamberlain at the Hotel Vancouver.  Kenney formed Mart And The Western Gentlemen in 1931 for a one-off engagement at the Alexandria Ballroom in Vancouver. They became the first Canadian band to broadcast on Canadian, American and International radio networks making their first appearance live from the Alexandria Ballroom in 1934 on CJOR. For three successive seasons Mart Kenney And The Western Gentlemen appeared at the Waterton Glacier International Peace Park in Alberta. They also debuted in 1934 from this location on CRBC with their program ‘Rocky Mountain Melody Time’. From 1934 through 1937 the band performed a succession of dates at CPR Hotels nationwide including stints at the Hotel Vancouver where the CRBC/CBC show ‘Sweet And Low’ began in 1935; and a summer tour of eastern Canada which led them to the first of many appearances at Toronto’s Royal York Hotel starting in 1937.  They began their recording career with RCA Victor in 1938 (and by 1951 would have released 25 78RPM records). They were the only band to tour Canada regularly and during the war years, entertained Canadian Forces and war workers in 200 Victory performances as well as continuing radio broadcasts piped into factories during wartime by the CBC. From 1943 to 1945, the Coca Cola Victory Parade of Spotlight Bands in Canada featured only one band, Mart Kenney. In 1946, he composed the patriotic “We’re Proud Of Canada”.  In 1949 Mart created an open-air nightclub near Woodbridge, Ontario called The Ranch with its well-loved Stampede Room which was a favourite hang-out for Toronto dancers. Over many years the band would routinely spend 6 months at The Ranch and 6 months on the road — at which time other acts would be featured performers at The Ranch in their absence.  In 1968 Kenney and his wife, Norma Locke (also band vocalist), tried to retire from the music business after relocating back to Kenney’s native Vancouver. The Ranch was closed and The Western Gentlemen which, over the course of 30 years had featured the likes of Bobby Gimby, Wally Koster and singer Veronica Foster, disbanded.  After much pressure from his loyal fan base, Kenney and his West Coast Orchestra took to special events on the convention circuit and maintained steady club dates in the Vancouver area as well as regular tours throughout western Canada during the 70’s and 80’s. The Mart Kenney Big Band was featured at Expo ’86 for the Air Canada 50th Anniversary Celebrations and continued through that summer with performances at the Toronto Board of Trade, Jasper Park Lodge, the Canadian National Exhibition and the Pacific National Exhibition. In 1993 Kenney was honoured by the Toronto Musicians’ Association with the “Musician Of Distinction” Award and has been inducted into British Columbia’s Entertainment Hall of Fame. In 1995 he appeared with the Winnipeg Symphony Orchestra and 1998 engagements included The St. Lawrence Centre for the Arts, a week long internship at the Royal York Hotel, The Boris Brott Summer Music Festival in Hamilton, Ontario, a special reunion at The Kee To Bala, and “Proud of Canada” Big Band Showcase. Kenney community spirit has brought many honours over the years including the Queen’s Silver Jubilee Medal and in recognition of his contribution to music and his country, he received The Order of Canada in 1980. As part of his 90th birthday celebration Kenney released a new CD of original music in March 2000 called ‘Celebration: Swinging Musical Showcase’ to mark his nearly 70 years in showbiz. The release featured some of the West Coast’s finest musicians plus an appearance by Toronto vocalist Priscilla Wright on three original Kenney composition arranged by Eddie Graf. Kenney passed away on February 8, 2006 in his 96th year. with notes from Dee Haisell.

I’d Love to Live in Loveland/I’ll See You Again (Bluebird/RCA) B-4679
1941 French Minuet/Danube Waves (Bluebird/RCA) B-4681
We’re Proud of Canada/Get Your Wings (Fox Trot) (Bluebird/RCA) B-4683
1941 Ramona/I Wonder What’s Become of Sally (Bluebird/RCA) B-4690
1942 Captains of the Clouds/Waltzing Matilda (Bluebird/RCA) B-4730
1943 I’m Sorry I Made You Cry/When You’re Smiling (Bluebird/RCA) B-4731
1947 A Little On the Lonely Side/Waiting (RCA Victor) 56-0000
Gee, It’s Good to Hold You/Cuddles (RCA Victor) 56-0008
The First Time I Kissed You//Who Killed ‘Er (Who Killed the Black Widder) (RCA Victor) 56-0027
1949 College Medley Part. 1/College Medley Part 2 (RCA Victor) 56-0049
1950 Surrender/Something Old, Something New (RCA Victor)
The West, A Nest, And You, Dear (RCA Victor) 57-5038
195? Live! The Swinging Orchestra of  Mart Kenney (Nomadic) NR-7502

The West, A Nest, And You, Dear/Sometime (RCA Victor) 21-6593
Beloved (Waltz)/A Shady Tree (Waltz) (RCA Victor) 21-6598
1936 We’re in the King’s Navy (Fox-trot)/Smiles (Fox-trot) (RCA Victor) 21-6601
Sailing At Midnight/When The Moon Bids The Night Goodbye (Bluebird/RCA) B-7871

1964 Mart Kenney And His Orchestra (CTL) M-1053
1982 50th Anniversary Musical Tribute (World) WRS1-101
2000 Celebration: Swinging Musical Showcase (independent)

Luke Gibson
(vocals; 1967)  / Keith McKie (guitar, vocals) / Alex Darou (bass) / Eugene Martynec (piano, guitar) / John Mills-Cockell (keyboards; 1969) / Jimmy Watson (drums)
Alex Darou and Keith McKie had drifted down to Toronto from their home in Sault Ste. Marie as part of the band The Vendettas. But after that band’s Bob Yeomans and Bob Yurich left to join The Amen in the Spring of 1967, The Vendettas crashed and burned leaving the pair without a band. They began hanging out in the musically growing Yorkville Village and eventually formed a new group with Martynec and Watson they called Kensington Market (after a community just off Spadina Avenue in Toronto where the band rehearsed). They were discovered later in 1967 playing the clubs in the Village by musical entrepreneur Bernie Finkelstein (who would later help The Paupers and Bruce Cockburn among others). After the dissolution of Luke And The Apostles, the Market recruited Luke Gibson in the latter part of 1967 by which time they had already released two singles for Stone Records. These singles achieved minimal success but Finkelstein was able to wave them at the brass of Warner Brothers in New York City to land the band a major record deal. In 1968 Kensington Market did the soundtrack to the NFB film ‘The Ernie Game’ which was considered a real coupe for a Canadian act. That same year they released their debut album ‘Avenue Road’ – named after a street that intersects Yorkville Avenue. Keyboardist John Mills-Cockell joined in 1969 and their follow-up, ‘Aardvark’, was released, but not in enough time to save the splintering band who split that same year. Following the band’s demise Watson had retired; Darou died in 1970; McKie was invited to join Lighthouse but went solo instead and eventually wound up playing with The Village Band and Heartbeat, took odd jobs to make ends meet and recorded a solo album in the ’80’s. He’s been dabbling in Country music over the last decade; John Mills-Cockell went on to record with synth-prog band Syrinx before trying his own solo career both projects for Finkelstein’s True North Records; Luke Gibson also went the solo route and still occasionally makes the rounds in Toronto clubs – having reformed Luke & The Apostles in the early 2000s and currently performing with former Apostles guitarist Mike McKenna as the McKenna-Gibson Band; Martynec became a notable session player and producer for acts such as Bruce Cockburn and Ray Materick). with notes from Garwood Wallace. [also see LUKE GIBSON, KEITH McKIE]

1967 Mr. John/Kensington Market (Stone) SX-714
1967 I Would Be The One/Bobby’s Birthday (Stone) SX-721
1967 Help Me/Half Closed Eyes (Warner Bros.) 6061
1968 Witch’s Stone/Side I Am (Warner Bros.) 7265
1968 I Would Be The One/Speaking of Dreams (Warner Bros.) 7222

1968 Avenue Road (Warner Bros.) WS-1754/1764
1969 Aardvark (Warner Bros.) WS-1780

Charles McNary (vocals; 1981)  / Larry Gillstrom (guitar, vocals) / Victor Langen (bass, vocals) / Gary Langen (drums)  / Raymond Arthur Harvey (guitar, vocals) / Brian Gillstrom (drums, vocals; replaced G.Langen 1978) / George Criston (vocals; 1983)
Kick Axe was formed in 1976 by Regina, Saskatchewan natives Larry Gillstrom and Victor Langen along with Langen’s brother Gary. As a three-piece called Hobbit they played mostly bars for bike gangs doing Led Zeppelin, The Who and Pink Floyd covers as a means to not be assaulted by the bikers. By 1978 they added second guitarist Raymond Arthur Harvey and relocated to Vancouver. Unwilling to make the permanent move with the band, Gary Langen remained in Regina and Gillstrom recruited his brother Brian to fill in on drums. In 1979 the 4-piece decided to begin recording an album at 24-track Sculptures & Sounds studio with Bill Snow. It became clear in time that the band needed a frontman, a unifying voice to define Kick Axe’s sound and the sessions were scrapped (to this day, these sessions have not been released). A search began for a vocalist, which led to the inclusion of Charles McNary in 1981. Meanwhile, unknown to the band, a radio survey by Playboy magazine in their annual ‘Music Poll’, led to the inclusion of Kick Axe’s “Reality Is The Nightmare” on the Nightflite/Nardem compilation disc ‘Playboy: Street Rock’.  McNary left as the band’s prospects stalled and it would be several years and over 200 audition tapes later that Kick Axe would hook up with Milwaukee, Wisconsin vocalist George Criston who was, at the time, fronting the band Tripper. With a vocalist in place, in 1983 they were able to attract the attention of future manager Gary Stratychuk who, in turn, put them together with Pasha Records guru Spencer Proffer — better known as the man that produced Quiet Riot’s first album. With a co-operative deal between Pasha in the US and Epic/CBS in Canada the band recorded their debut album (and, interestingly, 7 songs for Black Sabbath) and released their debut album ‘Vices’ in May 1984. With the release of the first single “On the Road to Rock”, the band began touring with the likes of Judas Priest, Whitesnake, Quiet Riot, The Scorpions, Helix and Ratt. While on tour the second single, “Heavy Metal Shuffle”, became a legit radio hit and gave Kick Axe a high profile. As luck would have it, a cover version of Humble Pie’s “30 Days In The Hole” which was only available on the cassette version of ‘Vices’, landed the song on the soundtrack to the box-office flop, but soundtrack rich ‘Up The Creek’. Following their return from their various tours in the US, Kick Axe returned to the studio with all new material and recorded ‘Welcome To The Club’ featuring a remake of the anthemic Joe Cocker arrangement of “With A Little Help From My Friends” with an ensemble chorus featuring Lee Aaron & John Albani (Lee Aaron Band), Rik Emmett, Brian Allen & Sheron Alton (Toronto), Bob Segarini, Alfie Zappacosta, Cameron Hawkins (FM), Cindy Valentine, Andy Curran (Soho 69) and others to give the band their first cross-over radio hit…and it was back on the road again.  By January 1986 the album was #2 in their hometown of Regina and Kick Axe was getting known for their less edgy rock anthems and the album hit the ground running at No.176 on the Billboard charts. The softening of the band and excessive road work led to the departure of Harvey who would go on to be the touring guitarist with Rock ‘N Hyde in 1987/88. Kick Axe also found themselves popping up under a pseudonym (due to record label legalities in the US) as Spectre General on the “Transformers: The Movie” soundtrack. The album featured their self-penned “Hunger” and the Proffer/Bishop written “Nothin’s Gonna Stand in Our Way”. The tunes were produced by Pasha Records honcho Spencer Proffer with Randy Bishop for the movie’s soundtrack in 1986 on Scotti Brothers Records. Harvey was not replaced and the band forged on as a four piece and decided to abide by fan wishes that they put the crunch back into their approach. The result was 1987’s ‘Rock the World’ on Mercenary/Epic. But, by 1988, metal was beginning to die as an art form and the band found themselves without a record deal or a direction. Kick Axe languished and it eventually mutated into a Vancouver bar band called Lions Gate featuring the Gillstrom Brothers, Victor Langen and Barry Reich. George Christou has been most recently fronting Project X who released an album called ‘Blueprint For Xcess’. The album was mixed by Loverboy’s Paul Dean and mastered by Kick Axe guitarist Raymond Arthur Harvey. Songhaus Music in the US has actively remastered the band’s first two albums on CD in 2000. with notes from Victor Langen, Dan Brisebois, and Darren Galbraith.

1981 Weekend Ride/One More Time (SSG) SSG-2001
On the Road To Rock/Stay On Top (Pasha/Epic/CBS) IE4-7039
1984 Heavy Metal Shuffle (Pasha/Epic/CBS)
1984 30 Days In the Hole (Pasha/Epic/CBS)
1985 With a Little Help From My Friends/Can’t Take It With You (Pasha/Epic/CBS)
1985 Comin’ After You/Feel the Power (Pasha/Epic/CBS) E4-7136


1984 Vices (Pasha/Epic/CBS)  EPC-26051
1985 Welcome To the Club (Pasha/Epic/CBS)  FZ-40095
1987 Rock the World (Mercenary/Epic) PK-7777
2004 IV (MTM – EU) 0681-108

Compilation Tracks
1986 “Hunger” and “Nothin’s Gonna Stand In Our Way” on ‘Transformers: The Movie [O.S.T.]’ (Scotti Bros.)
1997 “Hunger” and “Nothin’s Gonna Stand In Our Way” on ‘Til All Are One’ (Botcon)

Roy Dickinson (vocals) / Mark Campbell (lead guitar) / Wayne Lawryk (bass) / Henry “Hank” Zablocki (rhythm guitar) / Glen Grotto (drums) / Gary Storin (drums; replaced Grotto 1967) / Rick “Zak” Rochon (bass; replaced Lawryk 1969) / Omer “Paul” Langlois (lead guitar; replaced Campbell 1967)
St. Catharines, Ontario’s The Kidds were roadies for 1960s band The British Modbeats and, at the time, were just youngsters – The Modbeats’ Fraser Loveman and the band used to refer to them as the kids and when they formed their own group that became their name. They were all in attendance at St. Catharines Collegiate Institute high school where they played dances through 1966/1967.  The Kidds’ manager was Jack Nestor who started his own record label just to release the band’s first single. The A-side “You Were Wrong” was written by Hank Zablocki and the B-side, “Children In Love”, was written by Paul Langlois. It was produced by Staccatos/Esquires manager Sandy Gardiner and released in December 1967. Drummer Glen Gratto would end up playing in the second incarnation of the Fraser Loveman Group, Doc Savage (1970-1971), Demian (1971-1972) and replaced Neil Peart in Paul Dickinson’s band JR Flood (1971). JR Flood evolved into Bullrush with the addition of Brian Gagnon. Gratto would eventually end up as the drummer for Alannah Myles; Lawryk joined Waterhole Number 4 with Ed Zalski of The Evil; Rochon was in an early version of St. Catharines band Hush (1970) while Storin was in a later version (1972) and eventually replaced by Neil Peart in 1973; Campbell joined The Torquays who evolved into The 18th Century Drawing Room. He would also play in The Movement; Langlois returned to an evolved version of his early high school band The Born Losers after changing their name to Black Lens. In the ’70s he ended up in Thee Unkind (1970), The Lost Marbles Boogies Band (1971) and Deep Water Billy (1972) all with former Kidds member Rochon. with notes from John Mars and Fraser Loveman.


1967 Children In Love/You Were Wrong (Nestor/Stone) JN-0100


KIDS, The (2)
Michael P. Boge (vocals, guitar) / RobertBobbie” Robertson (vocals, bass) / Derek S. Bullen (keyboards) / Rob W.Monty (drums)
First called the Kids, then Generra, and in 1986 became The Kids Are Back.

1982 Too Many Days/Your Eyes (Heart) HRT-8201
1983 He’s No. 1/Victim of Hypocracy (Heart) HRT-8303

1982 The Kids (Heart) HRT-823301

Russell Graham (lead vocals) / Bryce Trewin (guitar) / Darrell Millar (drums, vocals) / Angelo “Ange” Fodero (bass) / “Bad” Ronald Mayer (bass, vocals; replaced Fodero 1985) / Mike Hall (guitar, vocals; replaced Trewin 1985) / Gerry Finn (guitar; replaced Hall in 1992)
Conceived as a Black Sabbath/Ozzy Osbourne tribute act, management labeled them the Killer Dwarfs [from a description in Tolkien’s “The Hobbit”] in 1982 as a gimmick to capitalize on the band’s general diminutive size. With only three original tunes in their repertoire, Tom Williams of Attic Records signed the band because he liked their lighthearted attitude. The band demoed material with Chris Tsangarides, but after a falling out between Attic Records and the producer on an Anvil project, the Killer Dwarfs’ self-titled debut was produced by relative unknown Doug Hill in 1983. The Killer Dwarfs toured from the album’s release in the Fall of 1983 until the summer of 1984. When it came time to go back in to do a follow-up, the label insisted the band record some cover tunes – notably a remake of Nick Gilder’s “Hot Child In the City”. The band refused and asked to be released from their record deal. Attic obliged. But the uncertainty of the band’s future led to the departure of Fodero and Trewin in early 1985. The two musicians were replaced by Mayer (bass) and Hall (guitar) and the Killer Dwarfs decided to record their next album independently with money that lead vocalist Russell Graham had borrowed from his family. The resulting album, ‘Stand Tall’, was recorded at Comfort Sound in Toronto between October 1985 and April 1986 for a cost of $6000. The results were released on the Maze Records imprint in Canada. While management shopped the album around for US distribution, the band headed to the hot-bed of the Canadian hard rock music scene – San Antonio, Texas to play some dates with Accept and Saxon. Soon, they found themselves headlining major clubs all across the US and by the time ‘Stand Tall’ was released on Grudge Records in the US in December of 1986, they had developed a huge following. MTV soon put the band’s videos for “Keep the Spirit Alive” and “Stand Tall” on a 13 week rotation allowing the album to sell an unprecedented 80,000 copies. The exposure led to Russell hosting the MTV “Headbanger’s Ball” with Rob Halford in 1987. All the attention brought Epic Records to their door and when it came time to sign their contract, management made the negotiation process one of the longest in music industry history — over 180 changes were made to the band’s contract before they agreed to sign in 1988.  The ‘Big Deal’ album was released that year and was produced in Toronto by Simon Hanhart (Marillion, Saxon, Waysted). The band landed a fateful opening slot with Iron Maiden after the promoters of the Monsters Of Rock left most promoters unwilling to launch any competing mid-sized tours. The Dwarfs played 7 shows with Maiden in North America in late 1988 and then several more shows in November and December at Donnington, Wembley and other large venues in the UK. The band spent 1989 writing and recording ‘Dirty Weapons’ in a bunker-styled recording facility in the US desert with mad-cap producer Andy Johns. With the album’s release in early 1990, the band hit the road for another lengthy tour. In August 1990 they played to a virtual empty house of 5,000 at the Canadian National Exhibition in Toronto with Yngwie Malmsteen and Ronnie James Dio. Only a month later they played Jack Wade’s Bandstand in Anaheim, California to a sold-out performance. The record produced a sizeable radio hit with ‘It Doesn’t Matter’, but Epic’s promo team dropped the ball. The band tried to keep the momentum rolling by extending their tour right into the summer of 1991 and played their last show of the tour at Toronto’s Opera House in August of that year. The 1992 release of ‘Method to the Madness’ included the previously overlooked ‘It Doesn’t Matter’ in an effort to break the song stateside. With the triple bill of Pantera, Skid Row and The Killer Dwarfs, the CD was able to sell 25,000 right out of the box. The single for “It Doesn’t Matter” gained massive radio play and a JUNO for the band – without benefit of a video which the label would not finance. Eventually, the label pulled all support for the act and Killer Dwarfs were left in massive debt and unable to sustain themselves. In the 1990s Graham fronted several classic rock cover bands – The Shakers and The Richmond Hillbillies (with ex-members of Moving Targetz), and recorded new material for his original act, Penny Black, featuring members of Goddo and The Wannabes. Bullseye Records Of Canada released the band’s 2001 reunion shows on CD and DVD in 2002. The long sought-after ‘Stand Tall’ album was finally re-issued as a digitally remastered CD in 2003. The band did a small tour of Canadian dates and a jaunt stateside after which Mayer returned to his day job in New York State. Stan Miczek was brought in to continue with local dates in Canada. The band split for good in 2004. Mike Hall continued on with Helix and occasionally substituted as guitarist in The Carpet Frogs before relocating out west; Darrell Millar has found success with his original project Automan; Russell Graham became the new lead vocalist for Moxy and a supergroup called Hard Road with Moxy’s Earl Johnson. In 2013 he released his first solo album, ‘Wireless’, under the name Russell Dwarf; in July 2013 the final version of the Dwarfs (with Gerry Finn on guitar) reunited to tour the band’s newly restored previously unreleased 1993 album ‘Start@One’. A tour of the United States was cut short when the band wasinvolved in a five vehicle pile-up in Terra Haute, Indiana on May 27, 2014. Russell Graham was hospitalized briefly before returning to Canada. with notes from Russell Graham, Michael Hall, and Darrell Millar.

1983 Heavy Mental Breakdown (Attic)
1986 Keep The Spirit Alive (Maze)
1986 Stand Tall (Maze)
1988 We Stand Alone [12″] (Epic/CBS) 12CDN-424
1990 Dirty Weapons (Epic/Sony)
1990 Coming Through (Epic/Sony)
1990 It Doesn’t Matter (Epic/Sony) PR-2052
1992 Hard Luck Town (Epic/Sony) ESK-4608
1992 Driftin’ Back (Epic/Sony) ESK-4797
2002 It Doesn’t Matter (Live) (Bullseye)


1983 Killer Dwarfs (Attic) LAT-1178
1986 Stand Tall (Maze) GR-0954
1988 Big Deal (Epic/CBS) EK-44098
1990 Dirty Weapons (Epic/Sony) EK-45139
1992 Method To The Madness (Epic/Sony) EK-47322
2002 Reunion of Scribes Live – 2001 [CD/DVD] (Bullseye) BLR-CD-4067

Killer Music was from Kapuskasing, Ontario and was signed to Periwinkle Records in September 1973 on the strength of their hard rock version of Elvis Presley’s “All Shook Up”. It is speculated that they changed their name to Jackal and released a full-length album on Periwinkle the same year.

1973 All Shook Up/Deadman (Periwinkle) 3709

Greg Leskiw
(guitar) / Bill Wallace (bass) / Bob Brett (drums) / Steve Hegyi (guitar) / Gary Craig (drums; replaced Brett)
Following Burton Cummings’ departure from The Guess Who in 1976 to pursue a solo career, fellow band mates Bill Wallace and Greg Leskiw returned to Winnipeg where they formed Mood Jga Jga in 1977 and had moderate success with several radio singles. They were both lured over to be part of the band Crowcuss. Leskiw left in the midst of a tour in 1978. Wallace stayed on until Crowcuss finally collapsed. Wallace hooked up once more with Greg Leskiw who had formed his own namesake act – Les-Q. They toured between Winnipeg and Ontario for more than a year and as the band evolved with contributions from Steve Hegyi (guitar) and Bob Brett (drums), they became Kilowatt. The change in sound and image landed them a deal with the newly formed Dallcorte Records (The Drivers, Tic Toc) in early 1982. Their self-titled debut album was recorded at Toronto’s Phase One Studios and was produced by another Guess Who member Domenic Troiano. They toured extensively throughout the mid-west on the heels of the first single, “Lovers On the Run”, and then out east to Ontario and beyond. Following the national tour they took time out to write the next batch of songs for the follow album in Toronto in the summer of 1983. Troiano was called again to produce the album at Sounds Interchange. The album featured a number of session players, new drummer Gary Craig and Troiano himself adding signature guitar parts to compliment Leskiw and Hegyi. The completed album was called ‘Currents’ and the first single was “I’m Not a Kid Anymore”. Another national tour followed but as they were promoting the album and the single “It’s So Easy”, Dallcorte Records collapsed in 1984, leaving the band album-less and label-less. Dedicated to their place on the road, and to their fans, they kept the group working with hopes of finding another label to help with a third release. Eventually, the band folded and the members pursued solo and outside interests. Wallace connected with Donnie McDougall (Mother Tucker’s Yellow Duck) as part of a touring act called The Best Of The Guess Who. In 2000, Wallace replaced original Guess Who bassist Jim Kale for the band’s official reunion along with McDougall. Since their demise, there have been two Kilowatt rarities collections to emerge – 1999’s ‘Headquarters’ which were the demos for the debut album, and ‘The Jam Factory Sessions’ which were the demos that got them their deal with Dallcorte initially.

1982 Lovers On The Run/Don’t Stop Waiting (Dallcorte/RCA) D-0101
1982 Kids Are Krazy/Step Aside (Dallcorte/RCA) DCS-0102
1982 No Return/Loneliness (Dallcorte/RCA) DCS-0104
1983 I’m Not A Kid Anymore/Change Of Heart (Dallcorte/RCA) DCS-0111
1984 It’s So Easy/Voices (Dallcorte/RCA) DCS-0115

1982 Kilowatt (Dallcorte/RCA) DLP-0701
1982 Two Sides of Kilowatt – Radio Sampler [12″] (Dallcorte/RCA) DLP-0701
1983 Currents (Dallcorte/RCA) DLP-0706
1999 Headquarters
1999 The Jam Factory Sessions

KIM, Andy
Born: December 5, 1952 as Andrew Youakim in Montréal, Quebéc
Andy Kim came from a hard working Montréal household where the family was involved in the grocery business (and Kim’s three brothers still are). After shortening his last name to Kim, he attracted the attention of United Artists who released the single “I Loved You Once” in 1963. With a performance on the Dick Clark Caravan of Stars in Ottawa with The Esquires as his backing act in June 1963, Kim had become an Eastern Canada sensation. With ambition and encouragement of his successful songwriting cousin, Paul Anka, he began writing songs and started commuting to New York City, doing odd jobs and earning money to make demos. He continued to pay for recording time from the money he was making around New York State performing live. 20th Century Fox/Hallmark released his song “Give Me Your Love” in 1964. And in 1965 he was able to release “I Hear You Say” on Red Bird Records which was also picked up in Canada on Barry/Quality Records. In the fall of 1967 he met producer Jeff Barry and after some intense persuasion, Kim finally got to record the song “How’d We Ever Get This Way?” in December 1967 which led to a full album on Steed/DOT Records. It was released in April 1968 and made the Canadian and US Top 20 charts. It sold 800,000 copies which confirmed his potential. The next single was “Shoot ‘Em Up Baby” which, despite being banned by certain stations that worried that it was either a drug song, or a song about guns (this was the year that Robert F. Kennedy and Martin Luther King Jr. were both assassinated, and sensitivities in the U.S. were high), managed to still sell 1/2 a million copies. A succeeding single, “Rainbow Ride”, hit the U.S. Top-20. It was followed by “Baby, I Love You”, which hit the Top-5 and earned Kim his first Gold Record selling in excess of 1.5 million copies. This was acknowledged back home in Canada where he won the Top Male Vocalist JUNO for 1968. Kim followed up with another hit called “So Good Together”. In spite of the fact that his solo career had taken off Kim continued to work as a songwriter with Jeff Barry and Ellie Greenwich. Barry and Greenwich were hired to write songs for Don Kirschner’s post-Monkees new pre-fabricated TV cartoon show ‘band’ called “The Archies”. Along with vocalist Ron Dante, the team co-wrote the show’s episodic theme songs. A number of Barry/Kim compositions jumped from the television to the charts including “Jingle Jangle”. But neither writer was prepared for the success of the catchy pop song “Sugar Sugar”. The song shot to the top of the charts in 1969 for 8 weeks, was the ‘Record of the Year’ in Billboard magazine, and sold a remarkable 13 million copies. It is still one of the best selling records of all time. Less successful was The Ringling Bros. attempt to capitalize on the teen pop fad by launching their own pre-Fab band called The Klowns who also relied heavily on Kim/Berry compositions for a lackluster result in 1970. Meanwhile, in 1969 Kim won a second JUNO as ‘Top Male Vocalist’ for his own solo work. Kim’s next triumph would be his biggest – his solo hit “Rock Me Gently” in 1974, which he wrote, produced and released on his own ICE Records label. The song charted for a staggering 4 months and went No.1 globally. In total, Andy Kim had 19 nationally charting singles under his belt – a dozen in the US alone. But the pressures were straining his personal life and he was growing increasingly uncomfortable with his new image as teenage pop idol so he bowed out of the spotlight after several low-profile releases in 1975/76. In the late 70s, Kim was signed by super manager Gordon Mills, who also managed Englebert Humperdinck and Tom Jones. Kim would marry Sandra Drummond (aka Crosby) in Los Angeles on August 14, 1977. Under the direction of Mills, Kim changed his name to Baron Longfellow in 1980. He recorded and released two albums on his own ICE Records which gained national distribution in Canada through PolyGram Records. His first single, “Amour”, was a national hit and was nominated for a JUNO Award in the ‘Song of the Year’ category. Kim continued to record and push himself creatively throughout the ’80s. In 1991 he released an independent single called “Powerdrive” under the contracted name Longfellow. The song was played across Canada by campus and progressive rock stations. In 1995, one of Kim’s last live performances was at the Kumbaya Festival at Ontario Place in Toronto. In 2000, The Barenaked Ladies’ Ed Robertson talked Kim into coming out of retirement and co-wrote/produced the song “I Forgot to Mention” with him which was put out as part of a 5-song CD-EP in 2004. In March 2005, Kim received the annual “Indie Award” for ‘Favorite Solo Artist’ at the annual Canadian Music Week convention in Toronto. The music video for another track called “Love Is…”, reached No.1 on culture network BRAVO! Also in 2005, on the heels of a successful Christmas song at radio called “What Ever Happened To Christmas” (co-written with Ron Sexsmith), Kim began what would become an annual charity fundraiser: the Andy Kim Christmas Show – a live variety show featuring artists hand-picked by Kim. 2009 saw Kim’s “Rock Me Gently” was used in a Jeep Liberty TV commercial. In 2010 Kim was nominated into the “Hit Parade Hall of Fame” and the “Songwriters Hall of Fame.” and he released his first new full-length album of material in 20 years called ‘Happen Again’. with notes from David Bash, Matt Greenberg, Billy G. Spradlin, Don Wayne Patterson, Richard Patterson, Gary Comeau, and Shari Morasch.

1963 I Loved You Once/Love Me, Love Me (United Artists) 591
1964 Give Me Your Love/That Girl (Twentieth Century Fox/Hall – US) 5
1965 I Hear You Say (I Love You Baby)/Falling In Love (Barry/Quality) 3381X
1968 How’d We Ever Get This Way/Are You (Steed/DOT) 707X
1968 Shoot’em Up Baby/Ordinary Kind Of Girl (Steed/DOT) 710X
1968 Rainbow Ride/Resurrection (Steed/DOT) 711X
1969 Tricia Tell Your Daddy/Foundation Of My Soul (Steed/DOT) 715X
1969 Baby, I Love You/Gee Girl (Steed/DOT) 716X
1969 So Good Together/I Got To Know (Steed/DOT) 720X
1970 Friend In The City/You (Steed/DOT) 723X
1970 It’s Your Life/To Be Continued (Steed/DOT) 727X
1970 Be My Baby/Love That Little Woman (Steed/DOT) 729
1971 I Wish I Were/Walkin’ My La De Da (Steed) 731X
1971 I Been Moved/If I Had You Here (Steed/DOT) 734X
1972 Shady Hollow Dreamer/Who Has The Answers (MCA/Universal) UNI-55332
1972 Love The Poor Boy/A Love Song (MCA/Universal) UNI-55353
1973 Oh, What A Day!/Sunshine (MCA/Universal) UNI-55356
1974 Rock Me Gently – Part 1/Rock Me Gently – Part II (ICE/London/Capitol) ICE-1
1974 Fire, Baby I’m On Fire/Here Comes The Mornin’ (ICE/London/Capitol) ICE-2
1975 The Essence Of Joan/Hang Up Those Rock And Roll Shoes (ICE/London/Capitol) ICE-3
1975 Mary Ann/You Are My Everything (ICE/London/Capitol) ICE-4
1975 Baby You’re All I Got/Dancin’ (ICE/London/Capitol) ICE-5
1976 Give Me Your Love/That Girl [re-issue] (20th Century Fox – US) 45-6709
2004 I Forgot To Mention (Iceworks)
2005 Love Is… (Iceworks)
2009 Whatever Happened To Christmas
2010 Happen Again (Iceworks/E1)

1976 Oh, Pretty Woman/Baby You’re All I Got (ICE) IC-6
1976 Harlem/Harlem 10027 (ICE) IC-7
1976 I See The Light/[same] (ICE) IC-8

1978 Harlem/It’s Got To Be Love (MAM – UK) MAM-176
1978 Shady Hollow Dreamer/[same] (ICE) IC-15
1980 Go It Slow/Harlem (ICE/PolyGram) ICR-001
1980 Amour/Harlem (ICE/PolyGram) ICR-002
1981 Couch/Sugar Sugar (ICE/PolyGram) ICR-003
1981 I’m Gonna Need A Miracle Tonight/Living Outside Of You (ICE/PolyGram) ICR-004
1981 Hold Me/Years From Now (ICE/PolyGram) ICR-005
1985 In The Night Machine/Living Outside of You (ICE/PolyGram) ICR-006

1991 Powerdrive (ICE)

1968 How’d We Ever Get This Way (Steed/DOT) ST-37001
1969 Rainbow Ride (Steed) ST-37002
1969 Baby, I Love You (Steed/Quality) ST-37004
1974 Andy Kim’s Greatest Hits (Steed/ABC-Dunhill) ST-37008
1974 Andy Kim (ICE/London) ICE-100
1996 Baby I Love You – Greatest Hits (EMI – Germany) 8382-582
2004 I Forgot To Mention [5-song EP] (Iceworks)
2010 Happen Again (Iceworks/E1)

1980 Baron Longfellow (ICE/PolyGram) IC-1001
1984 Prisoner By Design (ICE/PolyGram) IC-1002

J.C. Chambers (guitar) / Mike Rullman (lead vocals) / Alan Murrell (bass) / Jonathan Davies (drums) / Oberheim DMX (drum machine) / Pete Duffy (drums; replaced Oberheim 1986)
This Mississauga, Ontario band released several records on Mannequin Records including 3 EP’s and a single starting in 1980. Following the second EP, ‘Angular Sky’ in 1982, the band was asked to be part of the Hardcore Rebel Tour with the B-Girls, Dick Duck & The Dorks, and The UK Subs. By 1983 they had lost drummer Jon Davies and opted to move into the beat-box rhythms of an Oberheim DMX for their EP ‘A Personal View’. After firing vocalist Mike Rullman, they changed their name to First Man Over in 1986; the band had a vinyl resurgence in 2013 with a re-issue of some of their material; Davies died June 24, 2016. with notes from Len Marry.

1980 Maze of Ways/Life In The Shadows (Mannequin) MAN-02

1981 Reason [5 song EP] (Mannequin) MAN-EP1
1982 Angular Sky/Fade Away [12″] (Mannequin) MAN-EP2
1983 A Personal View [3 song EP] (Mannequin) MAN-EP4

Dave Beckett (vocals) / Gary Weeks (vocals) / G.Latimer / G. Knight
Before striking gold in the early 1970s as the duo Gary & Dave, Beckett and Weeks fronted this 5-piece mid-60s act called King Bees (not to be confused with the King-Beezz or the 1980s new wave act). They managed one single in 1966 on RCA that was produced by Martin Shapiro called “Little Girl” before changing musical direction and heading off to stardom. [also see GARY & DAVE]

Little Girl/What’s Your Name (RCA Victor International Canada) 57-3414

Born: March 9, 1944 as Richard Newell in Hamilton, Ontario
Died: January 5, 2003 in Hamilton, Ontario
Blues great Richard Newell was born in Hamilton, Ontario and began playing blues harp in 1961. His first band was The Barons who released a single called “Bottleneck” in 1963. Their blues influence attracted a steady following even after they changed their name to The Chessmen featuring Son Richard. They added some rock ‘n’ roll to the R & B as they played gigs in Ontario in 1963 and Michigan in 1964. Another name change came in 1965 with Son Richard And The Gooduns as the band headed to Germany, England and other parts of Europe to play U.S. Army bases and night clubs. They received raves wherever they went but the business side began to fall out. They were abandoned by their manager and a record deal fell through as did a tour with The Rolling Stones. When Newell returned to Toronto in 1966 he replaced Richie Knight in Richie Knight and the Mid-Knights and recorded one single with them – a cover of the Sam & Dave tune “Soul Man” – before leaving in 1968. The Midknights’ ex-piano player, Richard Bell, was no in Ronnie Hawkins’ band and recruited Newell as harmonica player in 1968 where the Hawk rechristened him King Biscuit Boy (after the KFFA Arkansas radio program “King Biscuit Boy Flour Hour”). For two years Newell played with Hawkins and when it came time for Hawkins to assemble (which he did regularly) he asked Newell to do the picking. So he grabbed the New Ascots (Rheal Lanthier, Kelly Jay, Roly Greenway) plus existing Hawkins’ sidemen Richard Bell (keyboards), John Gibbard (guitar) and Larry Atamaniuk (drums) to create the latest version of Hawkins’ band And Many Others. Hawkins took the band to some of the most prestigious venues in rock including the Filmore East with the likes of Joe Cocker, Johnny Winter, and Mountain. However, as was Hawkins’ unpredictability, in 1970 while at the Grange Tavern in Hamilton, Hawkins came into the bar and fired the whole band exclaiming: “You guys are so crazy you could fuck up a crowbar in three seconds!”; a band, and a band name, was born. The act resumed with a slight personnel change – Sonnie Bernardi replaced Atamaniuk on drums and Jozef Chirowski replaced Bell on keyboards. Along with King Biscuit Boy, Crowbar cut the “Official Music” album as the first Daffodil Records release in 1970. Critics were unanimous in their appraisal of the band. The ensemble toured with their most memorable performance at the Strawberry Fields Rock Festival near Toronto in the summer of 1970. A few weeks later, King Biscuit Boy and Crowbar parted ways. Riding high on the success of “Official Music”, Newell re-assembled The Gooduns – Doug Carter (bass), Earl Johnson (guitar) and Babe Myles (drums) to tour the US and record a new album simply titled ‘Gooduns’ in 1971. However, the band quickly disbanded after the album and Earl Johnson would go on to form Moxy. Newell decided to promote the ‘Gooduns’ album in the UK, where it had been released on EMI with a touring band of all British musicians in early 1972. The highlight of the tour was an appearance at the Newport Music Festival in Wales where Jeff Lynne’s former band Idle Race backed him up. 1974’s self-titled album on Epic was produced by Allen Toussaint in New Orleans with the Meters as a backing band. Doctor John also plays guitar on one tune. Only two songs were written by Biscuit and the remainder by Toussaint. Newell died January 5, 2003 in Hamilton, Ontario. with notes from Francis W. Davies, Dylan Fuhr and Richard Jordan. [also see CROWBAR]

1970 Corrina, Corrina/Cookin’ Little Baby (Daffodil) DFS-1001


1971 Biscuit’s Boogie/Badly Bent (Daffodil) DFS-1005
1971 Georgia Rag/Lord Pity Us All (Daffodil) DFS-1013
1971 29 Ways/Boom Boom (Out Goes the Lights) (Daffodil) DFS-1015
1972 Boogie Walk Part 1/You Done Tore Your Playhouse Down Again (Daffodil)
1972 Barefoot Rock/Bald Head Rhumba Boogie (Daffodil) DFS-1030
1975 New Orleans/[same] (Epic) DJ8-50129

1963 Bottleneck

1968 Soul Man/Everybody Somewhere Needs You (Warner) 7180

1970 Official Music (Daffodil) DS-1000001

1971 Gooduns (Daffodil) SBA-16006
1974 King Biscuit Boy (Epic/CBS) KE-32891
1982 Badly Bent – The Best of King Biscuit Boy (Daffodil) DFN-667
1982 Mouth Of Steel (Stony Plain) SPL-1076
1988 Richard Newell aka King Biscuit Boy (Stony Plain) SPL-1120
1995 Urban Blues Re: Newell (Blue Wave – US)

2004 Two Hounds Blues (independent)

KING, Bill
Born: William Morgan King on June 22, 1946 in Jeffersonville, Indiana, USA
While growing up in Jeffersonville, Indiana, King devoted much of his time as a youth to studies with W.C. Handy’s former pianist Eva Smith, the Louisville Academy of music’s Don Murray, and Indiana University saxophonist/educator Jamey Aebersold. As a teenager he had won sixteen first place awards in classical piano and clarinet competitions. In 1963 he won a scholarship to Oscar Peterson’s Advanced School of Contemporary Music and in 1964 another scholarship to Berklee School of Music in Boston, Massachusetts. By 1966, King had relocated to New York and began performing with local community orchestras and big bands. He was a member of The Shadows in 1966 when they hit the Billboard Top 50 with ‘Moanin’. This led to work encounters with The Shangri-Las, Dick and Dee Dee, Freddy Cannon, The Dovells, and Ronnie Dove. He opened for The Beach Boys on three occasions, and appeared with the Dick Clark Caravan of Stars. He then met  Kent & The Candidates on the union floor of Musician’s Union Local 47 AFM Los Angeles. They were looking for a keyboard player and so King toured with up and down the California coast.  He then headed  to New York for a house piano gig at Louis Jordan’s club in Greenwich Village. Later in 1968 he returned to Los Angeles where he became Linda Ronstadt’s Music Director and pianist. A year later, he joined Janis Joplin’s Kozmic Blues Band. King relocated to Toronto for the first time in 1969, signing a recording contract with Capitol Records who would release two albums over the next few years (‘Goodbye Superdad’ and ‘Dixie Peach’) with King as leader. The song “Goodbye Superdad” was the first of many charting hit singles for him which peaked at No. 39 in June 1973. He returned to Los Angeles in 1976 as Music Director for vocalist Martha Reeves. While on a European tour with Reeves, he was persuaded to join The Pointer Sisters and spent the next year touring Japan and the USA as their Music Director. He moved back to Toronto permanently in the late ‘70s to form the rock group Kearney, King, and McBride who re-christened themselves China for their self-titled album on Epic Records. Mark Sutherland approached King about doing an experimental poetry project set to music in 1985. The result was a cassette and an LP under the name The BarKING Boys & Yes Girls. In 1987, he focused on more jazz oriented pursuits, establishing a publishing and record company – Night Passage Records – to release recordings of the Bill King Quartet and Quintet respectively. He also started a syndicated radio show called ‘The Jazz Report’ which ran from 1989 through 1991. With partner Greg Sutherland they founded ‘The Jazz Report‘ Magazine and began the Radioland Record label in 1992, signing a major manufacturing/distribution deal with Verve/Polygram Canada in 1993. He also created the The Jazz Report All-Stars showcasing some of Toronto’s top jazz musicians. King now runs the Beaches Jazz Festival in Toronto and his photo collection graces the walls of Toronto’s Rex Hotel. [also see BARKING BOYS & YES GIRLS, HOMESTEAD]

1973 Goodbye Superdad/Give Me Love (Capitol – US) P-3791
1973 Goodbye Superdad/Buckle My Blues (Capitol) 72694
1974 Canada/Give Me Love (Capitol) 72712
1974 Wheel Of Good Fortune/Lady Be Good (Capitol) 72720
1974 Blue Skies, Blue Skies/Sinner Lady (Capitol) 72732
1974 Top Dollar Man/Muskoka Sunset (Capitol) 72745
1976 Streetwalker/Stolen Moments (Raunch) R-76001
1979 Love And Affection/Summer Heat (Symphonis Reggae) (Change) 45027
1987 I’ve Been Loving You/Magnolia Nights (EMC) 8701
198-  Amerasia/[same] (Gimesushi) GP-00003
1983  Stranger/Festival Of Life (Freedom) FR-45-031

with CHINA
You Can’t Treat Love That Way/Roll Me Over (Epic/CBS) 14-02611


1973 Goodbye Superdad (Capitol) ST-6398
1974 Dixie Peach (Capitol) ST-6422
1989 Magnolia Nights (Gaia – US) 13-90231

with CHINA

1981 China (Epic/CBS) FE-37633

1984 Avenue B (Night Passage) NP-2
1985 City Of Dreams (Night Passage) NP-3

2011 Five Aces (independent)

courtesy Mike Daley

KING, Vanda
Born: 1943, Scarborough, Ontario
Vanda King was a successful Canadian singer in the late 1950s  and 1960s. After being signed to Apex Records in Canada and Glory Records in the USA she appeared on the Ed Sullivan Show when she was 14 which led to a movie role. She would make frequent appearances on CBC television’s “Wayne & Shuster Comedy Special,” “Nightcap,” and “The Barbara McNair Show,” among others. In 1969 she starred in her own variety show called Diamond Lil’s (which only lasted one season).. In the 1970s she was the house artist at Toronto’s Skyline Hotel. She started her own piano restoration business called Piano Showcase in Etobicoke which is still a success business today.

Ooh, Whatcha Do/Randy (Apex) 9-76264
1958 Baby Don’tcha Leave-a-Me/Kiss After Kiss (Apex) 9-76296
1972 In a Long White Room/Papa Won’t You Let Me Do To Town (CBC Radio Canada) LM-130

CTV’s Diamond Lil’s Starring Vanda King (Monique) MS-69002

Carl Peterson (lead vocals, harmonica) / Ron McLachlan (drums) / Alan Cramsie (rhythm guitar) / Bob Richardson (lead guitar) / Ray Carson (bass) / Don McLean (bass; replaced Carson) / Danny McCoy (drums; replaced McLachlan) / Derry Stuart (lead guitar; replaced Richardson)
Formed in 1965, the group consisted of three Scots (McLachlan, Cramsie, Peterson) and two Canadians (Richardson, Carson) from Edmonton allowing them the luxury of being included in the wave of British Invasion bands storming North America following The Beatles touchdown in 1964. They made friends with CJCA disc jockey Hal Weaver who hosted a popular new Saturday night show called “The Liverpool Hour” and called into the show pretending to be a British Invasion act. After several months of these antics, a fan club sprung up and so, The King-Beezz were officially born (the name taken from a Rolling Stone album). But Weaver was fired from CJCA in May 1965 leaving the band worried that their sole avenue of promotion would be cut off. They attempted to win the admiration of Weaver’s replacement, Chuck Camroux (aka Bob Stagg), but he was less than impressed with their playing and stage presence. By the summer, after much rehearsing, Camroux began booking them at high school gigs. Soon he decided the time was right to record their sound. They recorded the Van Morrison & Them cover tune, “Gloria” along with Bob Dylan’s “She Belongs to Me, in Edmonton radio station CJCA’s Studio ‘C’ after which Camroux got the songs pressed into a single on small indie label Pace Records.”Gloria” began to get airplay on CJCA in November 1965. Due to the success of the single The King-Beezz were signed by Quality Records in Toronto who immediately flipped the single with “She Belongs To Me” on the A side as Dylan had released his version as the B-Side to “Subterranean Homesick Blues”. The King-Beezz version reached No.14 in February, 1966 on the RPM ‘Chart Action’ survey. As fate would have it, the American act Shadows Of Night released their version of “Gloria” to great success in the US and so, radio stations contrary to management policy began to flip the King-Beezz record over and “Gloria” would soon chart and the band embarked on a two year tour, mostly on the high school circuit, appeared on the TV show “It’s Happening” and performed to a large crowd at Expo ’67. Before recording their second single – “Can’t Explain” b/w “Gotta Move – Carson left the group and was replaced by McLean, from Edmonton. The group’s third record contained two songs written by McLachlan entitled “Now” and “Found and Lost”. By the time the King-Beezz went to record their fourth single, in 1967, they’d been through some shake-ups. McLean left the group and Cramsie took over on bass guitar. Richardson left the group and was replaced by Stuart on lead guitar. McLachlam left the group and was replaced by McCoy on drums. The group’s last single – “Sean’s Song” b/w “The Wine If Fine” – was released by Montréal’s Jet Records. The band split up in 1968 as the members decided to all pursue other careers; Carl Peterson has gone on to have a long, illustrious career recording Celtic music. with notes from Mike Grant, Alex Taylor and Carl Peterson.

1965 Gloria/She Belongs To Me (Pace) A-27965
1966 She Belongs To Me/Gloria (Quality) 1790X
1966 I Can’t Explain/Gotta Move (Quality) 1817X
1966 Now/Found And Lost (Quality) 1860X
1967 Sean’s Song/The Wine Is Fine (Jet) JET-4008


2003 G-L-O-R-I-A!: The Singles Collection (independent)

David Diamond (vocals, bass) / Mister Zero (guitar, vocals) / Sonny Keyes (keyboards) / Max Styles (drums)
The Kings were formed in Vancouver, British Columbia and Oakville, Ontario, Canada. The original line-up consisted of David Diamond, Sonny Keyes, Max Styles, and Mister Zero. They were originally known as WhistleKing rehearsing, writing and gigging around for three years before shortening their name to The Kings and going into Nimbus 9 Studio in Toronto to record their first album. While recording, world famous producer Bob Ezrin (hot off the success of Pink Floyd’s “The Wall”), dropped by Nimbus 9 where he happened to catch the band in session. He liked what he heard and agreed to mix the tracks that had already been recorded, but soon discovered that the recordings weren’t up to snuff and needed to be re-done. He approached Elektra Records in Los Angeles with The Kings’ tapes and the unknown band was signed to a world-wide deal on The Kings’ imprint Extreme Records. The Kings re-recorded the early tracks and cut additional songs which would be released as the band’s debut album ‘The Kings Are Here’. The first single, “Switchin’ to Glide” – the early version of which had been mixed by Ezrin and released independently by the band — received moderate attention. The problem was that the track was part of two linked songs. So when the full segue “This Beat Goes On/Switchin’ to Glide” was released radio latched on to the summertime feel good track(s). Even at over five minutes in length, the songs become a back-to-back sensation across the USA and Canada, remaining on the Billboard Hot 100 for over six months. It was named one of the Top 100 U.S. Radio Programmers Picks of the Decade by Album Network Magazine and The Kings were named most promising group by Cashbox Magazine. A 1980 appearance on Dick Clark’s ‘American Bandstand’ helped cement The Kings’ place in pop music history. The album ‘The Kings Are Here’ went gold in Canada, and since being re-released on CD as ‘The Kings Are Here and More’, combined sales have passed platinum status. Two other singles followed and the band began touring extensively with the likes of Bob Seger, Jeff Beck, The Beach Boys and Eric Clapton. Their follow-up was ‘Amazon Beach’, also produced by Bob Ezrin, which had little commercial success allowing the band to extract themselves from their deal and, instead, sign with Capitol-EMI. The result was the band controlled Dizzy Records release ‘R.S.V.P.’ featuring the perennial radio Christmas tune “This Christmas”. Before people could say “Whatever happened to…”, out of nowhere they re-emerged in the ’90s with a new song, “Parting Of The Ways”, on the Bullseye Records compilation ‘Unsigned, Sealed & Delivered – Volume One’ in 1991. This resurgence led to the 1993 independent comeback effort ‘Unstoppable’ which was produced by Mister Zero with two songs produced by John Punter. The CD spawned several hit singles including “If We Don’t Belong Together” and the title track which went Top 10 at Canadian radio. The band were able to sell out the first pressing of the disc and when they re-issued the CD in 1994, were able to add their original version of “Switchin’ to Glide” as a bonus track. The Kings also issued a live album called “Party Live In ’85” in preparation for a return to the recording studio. In 2002 the band recorded a new Dave Diamond and Zero produced studio album, ‘Because Of You’, with engineer Harry Hess (Harem Scarem). In 2008 The Kings released a documentary/video clip DVD called ‘Anatomy Of A One-Hit Wonder’ which follows the gestation and release of the band’s biggest hit “This Beat Goes On/Switchin’ To Glide’ including a newly edited video of the song and all of the band’s other fan favourite videos. The Kings have logged over 2000 gigs in their career and have been exploiting the technologies available to them to make their catalog available on platforms like iTunes including ‘Anthology One’ which is a collection of early rarities. with notes from Mister Zero.

1980 This Beat Goes On-Switchin’ To Glide/My Habit (Extreme/WEA)
1980 Switchin’ To Glide/My Habit [re-issue] (Extreme/WEA) E-47006
1981 Don’t Let Me Know/Partyitis (Extreme/WEA) E-47110
1981 Partyitis/It’s O.K. (Extreme/WEA)
1981 All The Way/The Loading Zone (Extreme/WEA) E-47213
1982 The Fools Are In Love/Amazon Beach (Extreme/WEA) EF-90388
1982 As If I Cared/The Chance (Dizzy/Capitol-EMI) DZ-72903
1983 This Christmas (Dizzy/Capitol-EMI)
1987 If We Don’t Belong Together (Dizzy) WRC3-5389
1988 Right Beside You/If We Don’t Belong Together (Dizzy) DZ-4753
1993 Unstoppable (Dizzy)
1993 Lesson To Learn (Dizzy)
1993 Shoulda Been Me (Dizzy)
1994 Tonight I Got You (Dizzy)
2004 It’s Up To You (Dizzy/Bullseye) BLR-CD-0064
2004 Because of You (Dizzy/Bullseye) BLR-CD-0164


1980 The Kings Are Here (Extreme/Elektra/Asylum) X6E-274
1981 Amazon Beach (Extreme/Elektra/Asylum) X5E-543
1983 R.S.V.P. (Dizzy/Capitol-EMI)
1993 Unstoppable (Dizzy)
1995 Party Live In ’85 (Griffin – US) GCD-773-2
1999 The Kings Are Here…And More (WEA) CD-37375
2002 Because Of You (Dizzy/Bullseye) BLR-CD-4064
2009 Anthology One (Dizzy)

2013 The Lost Tapes of a Seventies Bar Band: Whistleking Live at The Flamingo Lounge (Dizzy)

Born: October 4, 1925 in St. Catharines, Ontario;

Died in 1996.
Kingston began his love for music while singing in the church choir in St. Catharines. He appeared on radio at the first time at the age of six when he sang the song “Springtime in the Rockies” on CKTB. In 1945, he formed The Kingston Brothers with Jack Kingston on vocals/guitar, his brother Alex Kingston on stand-up bass and Alex Dalgleish on steel guitar and fiddle. The group fell apart in 1946 after Dalgleish’s unexpected death. Having won a talent contest, Kingston joined the Wingham, Ontario’s CKNX ‘Traveling Barn Dance’ as vocalist and bass player in 1949 and was featured as their ‘Yodeling Cowboy.’ In 1950 he became the first Canadian country artist signed to Capitol Records. In 1951 he released two singles – “Yodeling Cowboy” and “A Love That’s True”. In 1952, Kingston was renamed ‘The Canadian Playboy’ and landed on CHML 900 AM in Hamilton where he starred in a new radio show called ‘Main Street Jamboree’, which was broadcast across the country. Kingston was vocalist, ad-libber, and square dance caller. He also took the show on the road throughout Ontario sharing stages with many other country artists. The radio show eventually moved to Hamilton’s CHCH-TV in 1954. In 1958 he switched to the Canadian Sparton Records label with singles. He moved to Nashville in 1959 to further his career by appearing at the Grand Ole Opry with fellow Canadian Hank Snow. He would also appear on other American shows such as ‘Louisiana Hayride’ and the ‘Big D Jamboree’  in Dallas, Texas.  Kingston returned to Canada in 1963 where he formed a trio with Jimmy King and Les Wamboldt. Kingston spent the remainder of his career working in TV and  radio. He died in 1996.

1951 A Love That’s True/There’s No Room In My Heart (Capitol) C-653
How Far Is She Now?/Mama Don’t Cry At My Wedding (Sparton) 4-107R
1955 If You Ain’t Lovin’, You Ain’t Livin’/I’m Just A Fool (Sparton) 4-128R
1955 Alabama Jubilee/Unwanted And Unclaimed (Sparton) 4-145R
1956 A Pickin’ and a Singin’/I Got The Blues (Quality) K-1491
1956 Yodeling Cowboy/Castle of Cards (Quality) K-1496
1956 Springhill Mine Explosion/Singin’ The Blues (Quality) K-1574
1957 A Dream Of The Miner’s Child/Bye Bye Love (Quality) K-1596
1957 Letter Edged In Black/Snug As A Bug/ (Quality) K-1597
1957 Hey There Baby/Tell Me Darling (Quality) K-1655
1958 Dear Mother/In Daddy’s Footsteps (Arrow/Sparton) 4-589R
1958 Road Of Broken Hearts/Picture Of You (Arrow/Sparton) 4-590R
1958 C.N.R. Special/Yodelling Cowboy No. 2 (Arrow/Sparton) 4-591R
1958 Go Away (And Leave Me)/When Bright Lights Grow Dim (Sparton) 4-644R
1959 Don’t Trade/You (Sparton) 4-708R
1960 It Never Rains/There’s A Rose (Sparton) 4-920R
1962 Cajun Cutie/Maple Sugar Sweetheart (Quality) 1428X
1966 There Goes My Everything/Always Alone (Quality) 1861X
1967 Freight Train Blues/Always Alone (Quality) 1878X
1973 There Goes My Everything/I Always Will Love You//Always Alone/Freight Train Blues (Arrow) QC-682

1971 The Springhill Mine Explosion (Birchmount) BM-578
1974 Happy Birthday Darling (Marathon) MMS-76025

1962 With His Main Street Jamboree (Canada Custom)  QC-117
1966 Main Street Jamboree Song Hits (Quality) V1716

British singer Tony Kingston had a brief deal with Decca Records in England in the late 1960’s with a single called “Mama Come on Home” released in April that year. The record is now considered a Northern Soul classic. After relocating to Canada In the early ’70s he was signed to Yorkville in Toronto and his 1972 single “I Am a Preacher” managed to reach No.65 on the RPM Top Singles chart in February that year but having a significantly better showing on the national CHUM Chart with a peak performance of  No.15.

1967 Mama Come On Home/Agony And Ecstasy (Decca) F12601
1972 What We Need/Faith, Hope And Charity (Yorkville) YVS-45042
1972 I Am A Preacher/What We Need (Yorkville) YVS-45047
1972 Faith, Hope And Charity/What We Need (Yorkville) YVS-45055
1973 What Did You Say/[same] (Sweet Plum) 9915
1973 Who’s Gonna Sing My Rock And Roll Song/Mysterious People (Sweet Plum) 9920
1973 Too Heavy To Carry/Worst That Could Happen (Sweet Plum) 9927

1973 Tongue Tied (Marathon) ALS-330

John Woloschuk (bass, guitar, keyboards, lead vocals) / Dee Long (guitar, bass, lead vocals) / Terry Draper (drums, percussion, vocals)
In the late ’60’s during a high school battle of the bands in Toronto, Terry Draper and John Woloschuk met Dee Long who was in the band the Polychromatic Experience as their keyboardist. Long went on to join Bloodstone, while Draper and Woloschuk released one un-promoted single as Whitemail and when that band self-destructed, they remembered Long and invited him and another musician, Jamie Bridgman, to convene as Mudcow in 1971. The band lasted for about a year before exploding in late 1972 and the members went their separate ways. Long and Woloschuk continued to work together at Long’s father’s electronics factory where they hatched the idea of Klaatu. Woloschuk had been working sessions at Toronto Sound for Terry Brown and he managed to convince Brown to produce Klaatu. The plan was to be a recording unit only and the duo was given carte blanche to record during the studio’s downtime. Brown would develop the project, along with partner Doug Riley, and act as unofficial additional member of the band. Klaatu recorded its first song starting January 1st, 1973 with Long’s rocking “Hanus of Uranus”. Over the months a second track was completed, “Sub Rosa Subway”, and Brown managed to get a 7″ single released through GRT Records in December 1973. A second single recorded in early 1974 called “Dr. Marvello” was also picked up by GRT and released in July 1974. Long and Woloschuk had been using a session drummer, Whitey Glan, and soon realized that a permanent percussionist was needed if they were going to record any further, and in late 1974, Terry Draper was brought in and made his debut on the single “California Jam” through a new deal with Daffodil Records. Through the connection of Terry Brown’s partner Doug Riley (Dr. Music), the band landed a TV appearance and mimed to “California Jam” and a new song, “True Life Hero”, on Keith Hampshire’s ‘Music Machine’ in November 1974. The actual single of “True Life Hero” would follow in the summer of 1975. Meanwhile, Daffodil president Frank Davies was spending his time trying to land the band a major label deal. There was only one problem – Klaatu had decided they didn’t want to appear in public, put their name or photos on their records, play live or give interviews to support their productions. Anonymity was a very tall order indeed, but eventually Capitol Records USA signed the band, having never met any of the members, and their eponymous debut (‘3:47 EST’ in Canada) was released in August 1976. The reaction was one of mild curiosity, but it did not fair well in the sales department. By the end of the year the band had resigned itself to the fate of the first album and pressed on with recording a follow-up. They decided on a weighty space concept album called ‘Hope’ and proceeded to England at the beginning of 1977 to have the London Symphony add their orchestrations to Doug Riley’s orchestral arrangements. By March, Klaatu were to deliver the finished album to Capitol Records, despite Klaatu not being entirely happy with the final product. They turned over the record but not before insanity had begun sweeping over the US radio waves. Steve Smith of the ‘Providence Rhode Island Journal’ had hypothetically wondered if Klaatu weren’t a reunited Beatles or a side project from one of its members.  Suddenly, the first album started gaining national interest with DJs and listeners wondering who the mystery band was. A virtual mania ensued as the original ‘Klaatu’ sold out pressing after pressing…the hysteria gave Capitol moment to pause and officially ordered the release of ‘Hope’ be put on hold. The furor over Klaatu’s  identity died down by the summer of 1977 when a disc jockey surmised their true identities through the Library of Congress. However, Klaatu once again became the subject of much discussion as adult pop duo The Carpenters remade Klaatu’s Sci-Fi opus “Calling Occupants of Interplanetary Craft”. Within weeks, the Carpenters album ‘Passages’ featuring the song, and Klaatu’s ‘Hope’ LP, was riding the same charts. ‘Hope’ gained critical acclaim, but, alas the record sold poorly. Klaatu wanted to maintain a living as songwriter/performers so the third album was designated a proper pop record. During the recording process, Terry Brown and Klaatu had a dispute and the partnership dissolved. The pressure of producing an opus as grandiose as ‘Hope’ had exhausted Woloschuk and so, he gave Long a free reign to have more songs on ‘Sir Army Suit’. Long found himself not only a songwriter/guitarist but also producer, engineer on nearly half the album’s tracks. Meanwhile, an animation company in Toronto thought they had the solution to Klaatu’s lack of visibility and offered to create a full-length movie of the ‘Hope’ album. Capitol and the band found this impractical and instead agreed to let Shadow Productions produce an animated TV special featuring 4 songs from the upcoming album and two Klaatu classics: “Calling Occupants” and “Sub Rosa Subway”. 1978’s ‘Sir Army Suit’ was delayed nearly 9 months and despite having 3 singles released from it, including “A Routine Day” with its Shadow Productions animated video (a Canadian first), the album did not sell well. Radio wanted Klaatu as allies but Klaatu wasn’t budging – interviews were grudgingly granted in anonymity by John Woloschuk himself. Alas, the album didn’t even chart in Canada. Capitol Records grew restless and wanted hit singles. Barely able to afford to make demos, Klaatu were handed over to producer Christopher Bond who picked the Klaatu songs to be recorded and flew them to LA for 4 months at the end of 1979 to start the next album. Hired studio musicians like Lee Sklar and Ed Greene replaced not only Draper in the recording process but, on many of the overdubs of Woloschuk and Long, Bond himself played guitar. While in LA, Klaatu tracked down Shadow Productions to see how the full-length animation special was coming and it was hopelessly incomplete due to lack of funds. Several deadlines for airing it on television had come and gone and the timeliness of the material seemed outdated. To this day “Happy New Year, Planet Earth” remains unreleased. Klaatu’s 4th album, ‘Endangered Species’, was released in 1980 and deleted almost immediately due to the administrative changes going on at the time within Capitol Records Los Angeles. Klaatu’s record deal expired shortly thereafter. While in contractual limbo, Draper and Long formed a touring Top40 cover band called FUNN which featured Gerald O’Brien (Nightwinds, Surrender, The Hunt) and, briefly, Lawrence Gowan. Not willing to throw in the towel on a bad note Klaatu negotiated a new deal with Capitol’s field office in Canada. They would agree to finance and release a 5th LP on the condition that the band reveal their secret identities and go on tour. Klaatu reluctantly agreed, but only under the condition that it be recorded and produced by the band. Long had opened ESP Studio in Buttonville, Ontario with John Jones (Duran Duran, Alan Frew, Fleetwood Mac). ‘Magentalane’ was Klaatu’s swan song and was released in late 1981 to coincide with the band’s first and only tour. They rehearsed for 6 weeks in a Toronto office building and hired keyboardist Gerald O’Brien (Surrender, The Hunt, Nightwinds), bassist Mike Gingrich (Toronto), and drummer Gary McCracken (Max Webster) to augment their own trio – Draper acted as ringer leader/keyboardist to Woloschuk’s lead vocal/piano/guitar while Long doubled on guitar and keyboards as well. The tour began in Saskatoon in November 1981 opening for Prism. After the initial arena and soft-seater shows were completed, Klaatu carried on as headliners doing club dates. They criss-crossed the province throughout 1982 with occasional jaunts into Quebéc, New Brunswick and Nova Scotia. In April 1982 Long quit the band which started a chain reaction of touring replacement musicians. Long was replaced by Dave Cooper (Ian Thomas), O’Brien was replaced by Terry Watkinson (Max Webster), and McCracken would leave to join Wrabit in the summer time to be was replaced by drummer Marty Morin (Goddo, Wireless,Truck). Alas, the cost of keeping 6 musicians on the road, the lack of high profile shows, and the withdrawal of promotional supprt from Capitol Records led Klaatu to abandon ship in August 1982. Watkinson, McCracken and Cooper would become studio players on the successful Bob & Doug McKenzie ‘Great White North’ album. Woloschuk and Draper kept Klaatu going in name only through the fall of 1982 before finally calling it quits. A posthumous ‘best of’ release was issued that Christmas entitled ‘Klaasic Klaatu’ as the final album released by the folding Daffodil Records. Woloschuk briefly worked with touring keyboardist Terry Watkinson on songs that never reached fruition. He did successfully work on the production of a children’s album called ‘Robotman’ with producer Pete Shelley. Woloschuk stopped working in music in 1984 and went back to school to become a successful music industry accountant. Dee Long and John Jones picked up their successful ESP studios and moved to London, England to work in the midi division of Sir George Martin’s AIR Studios. There, the two would get the chance to engineer albums by Britain’s rock and roll elite including Paul McCartney, David Gilmour, Mark Knopfler and had a hand in Duran Duran’s 1989 comeback release ‘Ordinary World’. Terry Draper formed a lounge duo with singer Jacqui Kroft before hanging up his keyboard to work steady as a roofer. In 1987 a TV production company in Germany required some work done on its hit soap opera, ‘Tatort’, and the producer had just the song. Long thought it would be an easy project for Klaatu to knock off…and the money would help relieve some outstanding debts. The band briefly reunited in January 1988 to record “Woman” which was released as a single, but the song was a disappointing comeback and the band returned to their lives as before. 1991 found Long packing up his gear and heading back to Canada for a proposed Klaatu ‘best of’ package to feature new songs. The stars did not align properly for the reunion and ‘Peaks’ was issued as a straight-up ‘best of’. A full blown Klaatu revival began in 1995 as Permanent Press Recordings in the US was the first American label to issue ‘Magentalane’ anywhere other than Canada. Korea followed suit and the CD began climbing the charts from the active resuscitation of progressive music in the Pacific Rim; Starting in 2001 band’s entire catalogue was digitally remastered and re-issued in Canada on Bullseye Records. Both Draper and Long would have lengthy solo careers with the label as well. On May 7, 2005 Klaatu’s three original members appeared at the Fans First Inc. organized fan gathering called ‘Klaatu*Kon 2005: World Contact Day’ and performed six songs with the assistance of backing vocalist Maureen Leeson. The event was created to celebrate the band’s long history and promote the release of the 2CD anthology ‘Sun Set: 1973-1981’ and the sister vinyl project entitled ‘Raarities’. In 2009, ‘Raarities’ and six tracks from the reunion show were issued as ‘Solology’ on Bullseye Records. In 2010 the band parted company with Bullseye and launched their own online store and Klaatunes Record label. In 2011 they reunited with producer Terry Brown to remaster the 35th anniversary edition of ‘3:47 EST’ which was released for Christmas that year.  notes from Terry Draper, Dee Long, John Woloschuk, Frank Watt, Frank Davies, Rupert Perry, John Jones, Dave Cooper, David Bradley and Mark Hershberger. [also see BLOODSTONE, TERRY DRAPER, DEE LONG, WHITEMAIL]

1973 Hanus of Uranus/Sub-Rosa Subway (GRT) 1233-18
1974 Doctor Marvello/For You Girl (GRT) 1233-20
1974 California Jam/Doctor Marvello (Daffodil/A & M) DIL-1057
1975 True Life Hero/Hanus Of Uranus (Daffodil/A & M) DIL-1066
1976 Calling Occupants/Sir Bodsworth Rugglesby III (Daffodil/GRT/Capitol) 1216-1073
1977 Calling Occupants/Sub-Rosa Subway (Daffodil/GRT/Capitol) 1216-1075
1977 We’re Off You Know/Around The Universe In 80 Days (Daffodil/GRT/Capitol)
1978 Dear Christine/Older (Daffodil/Capitol) DFS-1079
1979 Juicy Luicy/Perpetual Motion Machine (Daffodil/Capitol) DFS-1080
1979 A Routine Day/Silly Boys (Daffodil/Capitol) DFS-1081
1980 Knee Deep In Love/Dog Star (Daffodil/Capitol) DFS-1083
1980 I Can’t Help It/Sell Out Sell Out (Daffodil/Capitol) DFS-1085
1981 The Love Of A Woman/At The End Of The Rainbow (Daffodil/Capitol) 72865
1982 A Million Miles Away/I Don’t Wanna Go Home (Daffodil/Capitol) 72876
1982 December Dream/Maybe I’ll Move To Mars (Daffodil/Capitol) B-72871
1988 Woman/Woman (Instrumental) (Polydor – Germany) 887-899-Y


1976 3:47 EST (Daffodil/GRT/Capitol) 9216-10054
1977 Hope (Daffodil/GRT/Capitol) 9216-10057
1978 Sir Army Suit (Daffodil/Capitol) SBA-16059
1980 Endangered Species (Daffodil/Capitol) SBA-16060
1981 Magentalane (Daffodil/Capitol) ST-6487
1982 Klaasic Klaatu (Daffodil/Capitol) DFN-664
1993 Peaks [CD] (Attic/MCA) ACD-1374
2005 Sun Set: 1973-1981 [2CD] (Bullseye) BLR-CD-2515
2005 Raarities [12″] (Bullseye) BLP-2515
2009 Solology (Bullseye) BLR-CD-2517

Short-lived art rock act from Toronto who had nominal success with their ‘So Baby’ album in 1984. They received substantial airplay in Canada and in the US from places such as Seattle and Greensboro, North Carolina.

1979 No Money/Parking Lot Song (Pattern)
1983 Fun/Weirdo (101 International) INTER-1

1980 KLO [cassette]
1984 So Baby (101 International) KDBF-001

[aka Richie Knight] (vocals) / Barry Lloyd (piano, organ) / John McCanliss (guitar) / George Semkiw (guitar) / Jim Gwilliams (drums) / Leo Donoghue (saxophone) / Roger Woods (bass) / Doug Chappell (bass; replaced Woods) / Barry Stein (drums; replaced Gwilliams) / Mike Brough (saxophone) / Ray Reeves (keyboards; replaced Lloyd) ;
as MID-KNIGHTS BLUES BAND: Richard Newell (vocals, harmonica; replaced Hubbard) / George Semkiw (guitar) / Doug Chappell (bass) / Barry Stein (drums) / Mike Brough (saxophone) / Ray Reeves (Hammond organ) / Richard Bell (piano) ;
as THE MID-KNIGHTS REVUE: Richard Newell (vocals, harmonica) / George Semkiw (guitar) / Barry Stein (drums) / Ray Reeves (Hammond organ) / Doug Chappell (bass) / Bill Pinkerton (2nd drummer) / Dave Stilwell (trumpet) / Rick Cairns (trumpet) / Jerry Shymansky (saxophone) / Mark Smith (trombone) / Frank Querci (vocals; replaced Newell) / Karen Titko (vocals; added)
In the late ’50s friends George Semkiw (guitar) and Leo Donaghue (sax) started the band with fellow members John McCanliss (guitar) and Jim Gwilliams (drums). The band started playing some dates in the area around Toronto. The band decided it needed a bass player so Roger Woods was brought into the unit. Also joining was Barry Lloyd on piano along with vocalist Rich Hubbard, but by 1961 the band lost all but Semkiw, Lloyd and Hubbard. Unfazed they go about the business of recruiting new players that will eventually become Richie Knight and The Mid-Knights. In 1961 Semkiw, Lloyd and Hubbard added new players Barry Stein (drums), Mike Brough (sax), Doug Chappell (bass). At this time Barry Lloyd switched from piano to Hammond organ. The band began playing dances around Southern Ontario quickly becoming one of the circuit’s favourite groups. By the summer of 1962 the group was playing bars on the famed Yonge Street strip. It was at one of these venues that a promotional man at Arc Records saw the band playing. He thought one specific song the band was performing could be a hit record and brought it to the attention of Bill Gilliland. The song was called “Charlena” and the group had learned it from a record released by a Los Angeles group called The Sevilles. Finally in early 1963, Gilliland got the band into ARC’s studio on Raleigh Avenue in Scarborough, Ontario (with house engineer/producer Ben Weatherby) which was actually just the label’s office and storage during the day while doubling as the studio at night. With metal garbage pails lifted off the floor and stuffed with rags to stifle any sound, the band started the recording process. There were to be no overdubs, vocals and instruments were to be laid down live off the floor on a mono tape recorder. The process took a few hours stopping each time there was any error or to move microphones and even one time due to a train passing behind the building which had no sound proofing. Four hours later “Charlena” and its B-side, James Brown’s “You Got the Power”, were completed. ARC Records approached the band with the idea of not using just the name The Mid-knights on the record label since most artists of the day were featuring the name of the singer. After much discussion the name Richie Knight was arrived at and the birth of the new name “Richie Knight and The Mid-Knights”. “Charlena” was presented to radio in the spring of 1963, a local radio station CKEY was first to play the record but the powerhouse station was CHUM who took a ‘wait and see’ attitude. Eventually, due to fan demand, CHUM began playing the song and it quickly became a listener favourite. With “Charlena’s” infectious beat, it rose to Number 1 on the CHUM Chart (a first for a Toronto Rock ‘n’ Roll act) — a position it held for 2 weeks. The single went on to sell in excess of 100,000 units (platinum). Every dance wanted the band because, with a hit record, the teens flocked to wherever the band played. Richie Knight & The Mid-Knights played virtually every dance hall in Southern Ontario including The Balmy Beach Canoe Club, Crang Plaza, The Met, Mazaryk Hall, The Jubilee Pavilion in Oshawa, and The Pav in Orillia. With “Charlena” on the CHUM chart, the radio station presented a Dick Clark Caravan of Stars show at Maple Leaf Gardens which included the band not only as the sole Canadian act on the bill, but as the highest charting act at the time. Others on the bill included The Dovels, Dick & DeeDee and Gene Pitney. In late 1963/early 1964 the band recorded “The Joke” and soon afterwards organist Barry Lloyd departed the band. His replacement was Ray Reeves. On April 25, 1965 Richie Knight & The Mid-Knights would return to Maple Leaf Gardens as opening act for The Rolling Stones. 1966 saw Brough (sax) pack it in to move to Oklahoma for his regular day job. Richard Bell was brought in on piano as a replacement. Then with the departure of Hubbard later that year to study Finance and Marketing at Ryerson Polytechnical Institute in Toronto, the band took a different direction with the addition of Richard Newell on vocals and mouth harp. This was the era of The Mid-Knights Blues Band. Eventually, Ronnie Hawkins cherry picked Bell to join his band The Hawks, and so, the Mid-Knights in true chameleon fashion, changed yet again. The new result was The Mid-Knights Revue, a soul-charged R&B unit. Added to the core of Semkiw (guitar), Stein (drums), Reeves (Hammond organ) and Chappell (bass) were Bill Pinkerton (drums, yes 2 drummers, both had double bass drums!), Dave Stilwell (trumpet), Rick Cairns (trumpet), Jerry Shymansky (sax), Mark Smith (trombone) and Newell on vocals. One single, Sam & Dave’s “Soul Man”, was recorded for Warner Brothers. Soon Ronnie Hawkins came back into the picture grabbing Newell and renaming him “King Biscuit Boy” to join former Mid-Knights bandmate Richard Bell in The Hawks. The band rebounded quickly adding vocalists Frank Querci (formerly Robert E. Lee) and Karen Titko. This version of the band created a huge wall of sound playing mainly Stax/Volt R & B standards. In 1968 Hubbard went on to manage Yorkville Records and Yorkville talent management, headquartered in Yorkville Village, which was a part of Arc Records, the Mid-Knights’ original record label; he now owns his own magazine publishing company in Toronto; Stein runs own accounting firm; Lloyd retired from the insurance industry and now resides in Calgary and winters in Mazatlan where he occasionally plays keyboards in a local bar called The Canucks; After many years in men’s apparel industry, Brough now teaches business at Seneca College in Toronto; Chappell retired after years in the music industry (A & M Records, Island Records, Virgin Records, Mercury Records); Reeves settled in Atlanta, Georgia; Semkiw is still a record producer, musician, recording and live event engineer; Newell passed away January 5, 2003 in Hamilton; Bell continued an illustrious career as keyboardist for the likes of Janis Joplin, The Band and Blue Rodeo among others. He died of cancer in 2007; Donoghue now lives in Australia writes and creates short films/documentaries. His poem “Celebration” appears in the anthology ‘Childhood And Youth In Canadian Literature’; this book was used as a resource text in the final year of literature studies in Canadian high schools in the 1980’s; Pinkerton lives in Pembroke, Ontario where he is still playing; George Semkiw died in 2018. with notes from Doug Chappell, Richard Hubbard, Bill Pinkerton, Leo Donoghue and Ted Cockett.

1963 Charlena/You’ve Got The Power (ARC) 1028
1964 The Joke/My Kind Of Love (ARC) 1037
1964 Homework/Come Back – Try Me (ARC) 1047
1964 Think It Over/You Hurt Me (ARC) 1076
1964 Packin’ Up/I’ll Go Crazy (ARC) 1078
1965 One Good Reason/My Kind Of Love (ARC) 1110
1965 Charlena/The Joke [re-issue] (RCA Victor)
1966 That’s Alright/Work Song (RCA Victor International Canada) 57-3392


1968 Soul Man/Everybody Somewhere Needs You (Warner) 7180

Bernie LeBarge (guitars) / Roy Kenner (vocals)  / Lou Pomanti (keyboards) / Jörn Andersen (drums) / Howard Ayee (bass)
An anonymous studio act created to capitalize on the U.S. success of the novelty song “The Curly Shuffle. “ original recorded and released by Jumpin’ the Saddle Band shortly after the Three Stooges received their star on the Hollywood Walk of Fame in 1983. Attic Records licensed the song and subsequently built a full album around  the hit song which was produced by Jack Richardson at Phase One Studio.

The Curly Shuffle/Positive Attitude (Attic) AT-302

The Knuckleheads (Attic) LAT-1185

Barry Harris
(vocals, keyboard, guitar) / Kevin Wynne (vocals)
Kon Kan (which was a wordplay on the term CanCon – a short form term for Canadian radio’s description of Canadian Content) were one of he first electronic dance acts out of Canada. They were signed to Atlantic Records in 1988.  Their debut album was ‘Move to Move’ in 1989, which sold well based on the 1988 success of the advance single “I Beg Your Pardon (I Never Promised You a Rose Garden)”, which was most noticeable for sampling Lynn Anderson’s 1971 country hit “Rose Garden”, Silver Convention’s 1976 hit “Get Up and Boogie (That’s Right)”, Spagna’s 1987 hit “Call Me”, as well as the opening bars from the theme music from the movie ‘The Magnificent Seven (and familiar to TV viewers as commercial theme music for Marlboro cigarettes in the 1960s). The second single, “Harry Houdini” peaked at No.39 on the Canadian Singles chart and No.88 on the UK Singles chart. In the US, the song managed to peak at No.33 on Billboard’s Hot Dance Music/Maxi-Singles Sales chart. The third single was “Puss N’ Boots” which also borrowed samples liberally from Led Zeppelin’s “Immigrant Song” and Nancy Sinatra’s “These Boots Are Made for Walkin'”. The song peaked at No. 61 on the Canadian Singles chart and No. 58 on the Billboard Hot 100 and No.14 on Billboard’s Hot Dance Music/Maxi-Singles Sales chart in the US. The fourth and final single – the title track “Move to Move” – managed to reach No.84 on the Canadian Singles chart, but did not chart internationally.  Wynne, who sang on all but two tracks from ‘Move to Move’, left after the release of the album in 1989. Harris continued on under the Kon Kan name and released two more albums: 1990’s ‘Syntonic’ but failed to garner a hit from either of its singles two singles “Liberty” and “Could’ve Said I Told You So”. Floundering under the A &R tutelage of Atlantic Records, Harris’s project was dropped in 1993. Undaunted, he continued on for album number three called ‘Vida!’ with Tom Treumuth’s Hypnotic Records label. This time the album was collaboration between Harris and songwriter Bob Mitchell. Alongside original songs such as the album’s lead single, “Sinful Wishes”, was a remake of Kon Kan’s “Move To Move” and a cover of David Bowie’s “Moonage Daydream”.  Following the logical end to Kon Kan, Harris formed Outta Control with Kimberley Wetmore and Rachid Webbi. Their self-titled album in 1996 featured cover versions of Kon Kan’s “Sinful Wishes” and Joan Osborne’s “One of Us”. The album also featured a version of Giorgio Moroder and Philip Oakey’s “Together in Electric Dreams” sung by Harris (still using the pseudonym Kon Kan). Harris gained his greatest post-Kon Kan popularity as half of the mixing production team Thunderpuss (aka Thunderpuss 2000) with DJ Chris Cox (who contributed to the Outta Control album), producing and remixing dozens of dance hits for major artists like Britney Spears, Christina Aguilera, Kelly Clarkson, Hannah Montana (Miley Cyrus), Rihanna, Stacie Orrico, Janet Jackson, Donna Summer, Cooler Kids, and Annie Lennox. Harris has also produced acts on his own including singer Kim Esty (who sang backup on Kon Kan’s “I Beg Your Pardon”), Top Kat, and Killer Bunnies. Harris has also recorded under his own name releasing the Billboard Top 40 Dance Chart hit “Funk Like Dat,” in the Spring of 1997 and “Why’d Ya Let Her” in 1998 follow-up to last years; Kevin Wynne was briefly a professional video golf player but in recent years has returned to the music business through production, publishing, licensing and distribution. Wynne was last known as the owner and operator of CD-Rep.com.

1988 I Beg Your Pardon (I Never Promised You a Rose Garden) (Revolving) 12REV-003
1988 Harry Houdini (Atlantic) 86416
1989 Puss n’ Boots/These Boots (Are Made for Walking) (Atlantic)
1990 Liberty! (Atlantic) 86121
1989 Move to Move (Atlantic) 86259
1990 Could’ve Said I Told You So (Atlantic)
1993 Better Day (Hypnotic)
1993 Sinful Wishes (Hypnotic) AMDJ-050493
1993 S.O.L. (Hypnotic)
1994 I Beg Your Pardon (I Never Promised You a Rose Garden) [re-release] (Atlantic)
2007 I Beg Your Pardon (I Never Promised You a Rose Garden) (digital remix) (Atlantic)


1989 Move to Move (Atlantic) 81984
1990 Syntonic (Atlantic) 82163
1993 Vida! (Hypnotic) 356101

Edmonton singer/songwriter, multi-instrumentalist and film maker Mark Korven was raised in Winnipeg and began playing guitar at the age of 12 eventually graduating to loud bar bands at by the age of 17. He soon grew tired of playing as loud as possible and discovered other forms of expression, first delving into progressive rock groups such as Genesis & King Crimson, then into 70’s jazz fusion groups such as Return To Forever and The Mahavishnu Orchestra. He relocated to Edmonton in 1977 to begin formal music education at Grant MacEwan College in Edmonton where he studied jazz arranging and composition, with guitar as principal instrument. It was around this time period that he began writing original, jazz fusion-based material. After completing music studies in the early 1980’s, he became a “hired gun” guitarist freelancing around Edmonton for rock bands, wedding bands, country bands, avante guarde jazz groups, lounge acts, and an electrified Indian fusion group called the Kirana Orchestra with bassist George Koller. He co-produced his debut album, ‘Passengers’, in 1984 for the Rave label. In 1985 Korven was co-winner of the annual David Foster songwriting contest with his song “Be Bop Tonight”. 1986 saw his song “Clock On the Wall” make the finals in the annual K-97 Homegrown contest. The win and the song led to a deal with Stony Plain Records and the tune was released as a single. After relocating to Toronto, Korven signed his eclectic brand of eccentric pop to the more suitable Duke Street Records and co-producer John Switzer (Jane Siberry) helped Korven shape his 1987 album ‘Ordinary Man’. The album led to a ‘Most Promising Male Vocalist of the Year’ JUNO nomination. Through Switzer, Korven moved away from solo performing and began scoring movie soundtracks beginning with Patricia Rozema’s ‘I Heard the Mermaids Singing’ in 1989. Korven then scored three documentaries followed by Rozema’s ‘White Room’ in 1990 and ‘Sam & Me’. In 1991 he completed work on the Sunrise Films feature ‘New Man In’ and John Pozer’s ‘The Grocer’s Wife’ which led to his experimenting with stop-motion animation. His first experiment was the 1992 four minute segment for his tune ‘Madman on a Rooftop’ which was the first single released from his own Radar Records album ‘This Must Be the Place’. The video received a Golden Sheaf award nomination at the Yorkton Film Festival. In 1993 Korven was nominated for ‘Best Score’ Genie Award for his work on ‘The Grocer’s Wife’. 1998 saw Korven scoring the critically acclaimed Canadian film ‘Cube’. Today Korven lives with his girlfriend, also a composer, in the Beaches area of Toronto. When he’s not writing music he practices violin, Esraj (an Indian bowed instrument) and Erhu (a Chinese violin). with notes from Mark Korven and Riccardo Iancer.

1986 Clock On The Wall/Be Bop Tonight (Stony Plain/RCA)
1987 Ordinary Man (Duke Street/MCA)
1992 Madman On A Rooftop (Radar)

1984 Passengers (Rave)
1987 Ordinary Man (Duke Street) DSR-31033
1992 This Must Be The Place (Radar)

Born in Leeds, England, Toronto singer/songwriter Tony Kosinec was one of the rare ’60’s artists to live out his musical career in the footlights of American stages. Though he performed quite often, his most prevalent work occurred in New York. He spent the ’60’s and ’70’s doing opening slots for folk acts like Seals And Croft, Laura Nyro, Poco and moved into the R & B limelight with Procal Harum and Blood, Sweat & Tears. His first two releases, ‘Processes’ and ‘Bad Girl Songs’ for Columbia, were produced by Peter Asher (Peter & Gordon) and produced his first semi-successful single “48 DeSoto” in 1971. By 1972 he had moved back to Toronto and signed to Dave Coutts’ indie label, Smile Records, to release his most acclaimed album ‘Consider rhe Heart’ and its bona fide hit “All Things Come From God”. By 1976 he had switched labels again, this time to GRT, and released several singles including “Love Hurts” and “So Long”. Kosinec also dabbled in acting and his career stalled out as his focus became geared toward radio commercials and jingles. He recorded the album ‘Almost Pretty’ for Mercury in 1980, but the label opted not to release it. In 2003 it finally made an appearance on CD in Japan. Kosinec decided to take control of the management of his output and released one more album which he licenced to True North called ‘The Passerby’ in 1985. These days, Kosinec is best known for the Toronto Blue Jays theme song that is played at every game and his award-winning ‘Radio Heartbeat’ segments – a slice of life anecdotal sound bite of people talking about their lives – which was syndicated to 75 radio stations nationally. He recently scored the historical epic CBS mini-series “Joan of Arc” starring Peter O’Toole, Shirley MacLean, and Olympia Dukakis…120 minutes of symphonic music. Kosinec’s ‘Bad Girl Songs’ has met with a new wave of enthusiasm as a CD re-issue through Sony Japan. Kosinec still does music production work in Toronto and has been planning a ‘best of’ CD.
with notes from Larry Saidman, David Bash, Tony Kosinec, and James Collins.

1969 Simple Emotion (Columbia)
1969 Processes (Images of a Girl)/You Got Me Crazy (Columbia) 4-44942
1970 48 DeSoto/World Still (Columbia) 4-45313
1971 Me and My Friends (Columbia)
1972 All Things Come From God/Banging On a Nail (Smile) SLE-102
1974 Love Hurts (CBC)
1974 A Little Road and a Stone To Roll (CBC)
1974 So Long (CBC)
1985 Who’s Love (True North/CBS)
1985 Listen To the Hukilau/King’s Song (True North/CBS) TN4-203

My City Toronto/[same] (A & M) MC-02


1969 Processes (Columbia/CBS – US) CS-9832
1970 Bad Girl Songs (Columbia/CBS) CS-30277
1973 Consider The Heart (Smile/London) SMS-1
1976 Hometown Boy (CBC)
1980 Almost Pretty [unreleased] (Mercury – US)
1985 The Passerby (True North/CBS) TN-62

Bobby Kris (vocals) / John Crone (saxophone) / Rick Dutt (bass) / Martin Fisher (keyboards) / Gordon MacBain (drums) / Gene Martynec (guitar) / Pat Riccio Jr. (percussion) / Jerry Shymanski (sax; replaced Crone) / Wayne Davis (bass; replaced Dutt) / Dave Konvalinka (guitar) / Larry Leishman (guitar)
Originally called J.S. And The Imperials, they changed their name in early 1965 when singer Bobby Kris (aka Bob Burrows) became their lead singer. Martin Fisher, who replaced original keyboard player Jim Snowden during the original J.S. And The Imperials line-up, led the R & B band throughout its short run. The group’s debut single, a cover of the Bacharach/David standard “Walk On By” was released in November 1965 and spent four weeks in the Top40 eventually reaching No. 8 in early 1966. Their follow-up single in 1966 was a cover of Dylan’s “She Belongs to Me” but barely charted. Meanwhile, the band landed the opening slot for a gig with The Lovin’ Spoonful at Toronto’s Massey Hall. Shortly afterwards, Dutt left to play bass for Gordon Lightfoot and was replaced by ex-Just Us member Wayne Davis. The new line-up continued to play extensively in the Toronto area. With no new recording prospects, they still managed to become one of fourteen acts to play at a 14-hour pop festival at Toronto’s Maple Leaf Gardens September 24th, 1966. By the spring of 1967 the band started to fall apart. Martynec left to form Kensington Market and Crone joined The Majestics. Though most of the others carried on for a while by November 1967, Fisher and MacBain had left to join Bruce Cockburn’s Flying Circus, Kris had jumped ship to replace Jimmy Livingston in Livingston’s Journey, and Davis joined 3’s A Crowd in December 1967. A final line-up featuring Leishman (Jon And Lee And The Checkmates) played together briefly in mid-1968. Leishman joined The Duke Edwards Cycle and Rhinoceros with his former Checkmates bandmates. with notes from Gordon MacBain.


1965 Travellin’ Bag/Walk On By (Columbia) C4-2672                                        
1966 She Belongs to Me/A Year From Today (Columbia) C4-2687

Line-Up 1 (1966-70): Maurice (Moe) Caines
(vocals, guitar) / Stan Erbrink (vocals, bass, guitar) / Tommy Hynes / Cecil Lucas;
Line-Up 2 (1970-71): Stan Erbrink (vocals, bass, guitar) / Roland Gaudet (drums, percussion, keyboards) / Ray March (keyboards) / Lloyd Thornhill (vocals, guitar, bass)
When Stan Erbrink of early ’60s Dutch act The Black Knights finished his engineering studies and went to Newfoundland in search of work in 1966 it was the end of his band. It was in Labrador City where he met Maurice Caines who had just left The Keatniks and they formed The Krystals in November 1966 with Hynes and Lucas. After beating around Newfoundland and the East coast of Canada for several years, Erbrink was left rebuilding a new version of the band in 1970. Their self-titled, self-finance debut album was recorded at R.C.A. studios in Montréal in November, 1970 in one continuous 18-hour session. 2000 copies of the album were released on their own Fourmost Records imprint in January 1971. In October 1971 Erbrink left for South Africa effectively ending the band. with notes from Stanislaus (Stan) J. Th. Erbrink.


1971 The Krystals (Fourmost) MS-8943

Art Bergmann / Jim Bescott / Barry Taylor

Short lived punk act from Vancouver, BC. The 1979 Quintessence single was included with the first 500 Young Canadians 12″ singles called ‘Hawaii’. Due to legal action by K-Tel Records, the band changed their name to The Young Canadians. with notes from Pierre Ferland .[also see ART BERGMANN]

1979 Automan//Don’t Tell Me/Where Are You? (Quintessence)

1979 Hawaii [4 song 12”] EP (Quintessence)

&Kurt &Noah formed in the summer of 1970. Canadian indie label Astra Records signed them as their first act in late 1970. The label released the self-titled debut album in May of 1971. The first single, “These Are Things”, landed on RPM’s Top35 MOR chart in June 1971 and peaked at No.10 for two weeks. The song also peaked on the Top100 singles chart at No.76. The follow-up single, “When I Was Young”, made RPM’s Top35 MOR chart in September 1971 and peaked at No.13.

These Are Things/Memories (Astra/Polydor) 45301
1971 When I Was Young/Like A Rolling Stone (Astra/Polydor) 45312
1971 You Can’t Do That/Tonite I’ll Be Stayin’ (Astra/Polydor) 45318

&Kurt &Noah (Astra/Polydor) 1000

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