Soon, however, career objectives within the act lead Rose to leave in pursuit of a solo career; the Perfect Affair album was re-issued with Lennex-related bonus tracks by Pacemaker Entertainment in After it fell apart inthey formed Rhythm Method. She is now based in Calgary, Alberta; Zealley followed a more experimental path under the pseudonyms GC and Eden More singles followed and his audience grew. With notes from Michel Charbonneau. After the album the band split up leaving Cedric Smith to carry on.
Following her stint with the band inshe worked with two other acts — Five D and St. For 4 years they toured North America before Peterson decided to go solo and did some touring of her own with the likes of Waylon Jennings, Roger Miller and Charlie Daniels.
She moved to Nashville and continued a long string of hit singles and recorded several duets with French rocker Gilles Godard. Colleen Peterson died of cancer in October He had been a member of The Shriek and The Sexbeat. Albums Wheels and Other Guitar Hits! After doing the usual Queen Street grind in Toronto briefly, the band was picked as one of the first new Canadian signings by the re-grouped Sony Music Corporation.
Both songs also charted well in Canada. While on tour, the band was threatened at knife-point by a female hitchhiker who was talked into abandoning her quest to hijack their tour bus and instead sold T-shirts for them during the remainder of the tour. Sean Dean went on to join The Sadies.
A proper studio album was recorded later that year with the addition of Dallas Good on guitar and Beverly Breckenridge of Fifth Column. A name change to The Elevators did nothing to change their status, but in they managed to land a record deal with Capitol Records at which time they changed their name to Photograph. Three successful singles were released from their self-titled debut produced by Stacy Hayden and Gene Martynec in He would go on to work at a number of Canadian record labels and management companies and now heads PopGuru Sound and Vision; Proulx would go on to work for Nettwerk Records and is currently a music supervisor for film and television.
With notes from Michel Charbonneau and Serge Gingras. Albums Ooh! Reel Cod COD The Rest Vol. The band split up shortly after. The band put their self-titled album in before promply splitting up. Plaskett decided at this point to focus on a solo career. The album was released in Australia in April allowing Plaskett to tour Australia east coast for the first time. The song would then be used in a Zellers television commercial campaign. On the back of an Australian-only compilation album of material from their previous releases including the DVDthe band toured that country from March through April doing an opening slot with Australian act Augie March.
The album was shortlisted for the Polaris Music Prize. The triple album package was shortlisted for the Polaris Music Prize short list. Cohen was also added on percussion. This line-up produced a self-titled 4 song E. The EP enjoyed some critical success in addition to widespread college airplay while selling out its initial pressing of copies. The band played the usual Queen Street venues as well as the Ontario College and university circuit.
Due to various tensions, the band broke up circa ; Salmon went on with a solo project, One of One, while Stewart played in Rongwrong with Christie and Marc DeGuerre. Major label indifference and internal pressures caused the band to split, for good, in late ; Cavin went on to play with The Mistle Birds, Fiberglass Granny, Station Twang and others while producing interesting recordings in his home studio; Salmon played with 5th Column among others; Stewart played with The Mistle Birds and Sleeps Six; Charlie Salmon fought a long battle with leukemia which he beat but his quality of life suffered and he committed suicide November 20, As they graduated high school and continued growing musically with the times, they changed their name to Plastic Cloud —adapting a mysterious blend of psychedelia and Tolkien mythology.
The band played the same clubs and dance halls in Durham, Ontario as Reign Ghost and both acts were signed to Allied Records. There have been several re-issues of their material on CD.
He had agent Bruce Barrow line up several university engagements, including a showcase at a downtown Toronto nightclub, owned by Tony Tsavdaris. Both Barrow and Tsavdaris who later became management company TBA would begin the process of getting Holmes to where he wanted to go with his career. Holmes fired his band, dumped the cover tunes and placed advertisements for new musicians.
Drummer Chris Steffler ex-The Next, Suspects was the first to answer, followed by mutual friend and architecture student Sergio Gali, who was also a guitarist.
Within a week they stepped on stage as the new Platinum Blonde. On the following Monday, David Tickle flew to Toronto to begin recording. The project immediately gained the commitment of CBS Records. The band became cover-story material and led a fashion revolution. They also expanded the line-up from a three-piece to a four-piece with the addition of transplanted Scottish musician Kenny MacLean The Deserters.
This freed up Holmes to focus on lead vocals. The album went on to sellcopies. After the mania of touring to thousands of screaming teenage girls, LP) band wished to get away from their teeny-bopper roots.
The departure of Steffler precipitated a change. It soon became apparent, however, that Platinum Blonde was in contractual and financial trouble from its label and management.
He formed the band Breed in and went on to a new band, Vertigo, then later No. The classic version of the band reunited in for a charity event and then again in at a tribute following the death of member Kenny MacLean. One was Sierra Blue, the other was The Play. They initially recorded for Paragon under their own name.
Both their albums were then re-released anonymously on Arc Records. The album, featuring guitar work by future famed producer Stacy Heydon, became popular and notorious in Canada, Sweden, Germany, South Africa, and England, where it was promptly banned, then reinstated. Noted Juno Award winning graphic designer Dean Motter supplied the new cover art. College radio gave the album a great reception. Plumtree set about recording their sophomore album at Idea of East studios in Halifax with producer Laurie Currie.
The album shot up College charts where they hit No. The album was nominated for an East Coast Music Award. Album No. After a west coast tour with The Salteens in the spring of the band finally called it quits that summer. In the film and comic book, Scott Pilgrim wears a Plumtree t-shirt. The label also re-released their Mint Records debut album inthis time with a bigger radio push.
Pocket Dwellers split in The band then signed to British label Stiff Records at the same time as Madness, and recorded an album with Police producer Nigel Gray.
Instead, they recorded Perfect Youth for Quintessence. The band reunited after the re-issues began selling extremely well in Japan leading to the five original members performing in Japan in July Two shows in Vancouver occurred in January and others are planned.
The band self-destructed in and Bergmann would embark on a solo career. The CD and the single would chart on Canadian campus radio charts. They found themselves following whales while being followed by polar bears and it was a matter of survival for all.
Poetry turned to singing and a pop punk band was born. After leaving the spotlight when her daughter was born, Michaele re-emerged a few years later with a series of television documentaries. Pollen released one, self-titled, album in before splitting up; Coutu went on to join Uzeb; Lemay went on to join Maneige; Rivest enjoyed a solo career into the early s. With ALP going bankrupt in late the band tried another residency in Rome before splitting up in The act released several singles on Quality Records.
He now lives off the grid in a cabin in Colorado, where he writes his own prose, poems, and songs. A rare combination of scholarship and street smarts. This book is indispensable for any ethnomusicology of contemporary pop music. Stith Bennett brings the resources of phenomenology to the sociology of pop and rock music, meaning not only fieldwork but method. A genuine pop culture phenomenon, Irwin conquered the legitimate stage, composed song lyrics, and parlayed her celebrity into success as a cookbook author, suffragette, and real estate mogul.
She also delves into Irwin's hands-on management of her image and career, revealing how Irwin carefully built a public persona as a nurturing housewife whose maternal skills and performing acumen reinforced one another. Irwin's act, soaked in racist song and humor, built a fortune she never relinquished.
Exhaustively researched and rich with fresh insights, Love for Sale is unbound by the usual tropes of pop music history. And there is Jimmie Rodgers, a former blackface minstrel performer, who created country music from the songs of rural white and blacks.
At every turn, Hajdu surprises and challenges readers to think about our most familiar art in unexpected ways. Masterly and impassioned, authoritative and at times deeply personal, Love for Sale is a book of critical history informed by its writer's own unique history as a besotted fan and lifelong student of pop. Educational and entertaining.
The book is built around primary interviews with prominent American and international performing artists ranging from Rock and Roll Hall of Fame inductees and Grammy winners to regional and local musicians. The interviews include leading industry people, management, journalists, heads of non-profits, and activists. The book concludes with a look at how musical artists have defined the American experience and what that has meant for the world.
In this magnificent cultural study, Wolff braids three disparate strands—Calumet, Guthrie, and Dylan—together to create a devastating revisionist history of twentieth-century America. Grown-Up Anger chronicles the struggles between the haves and have-nots, the impact changing labor relations had on industrial America, and the way two musicians used their fury to illuminate economic injustice and inspire change. With fascinating insight, McCarron reveals how a common script undergirds Dylan's self-explanations of these changes; and, at the heart of this script, illuminates a fascinating story of spiritual death and rebirth that has captivated us all for generations.
Instead, Kutulas argues that the experiences and attitudes that were radical in the s were becoming part of mainstream culture in the s, as sexual freedom, gender equality, and more complex notions of identity, work, and family were normalized through popular culture--television, movies, music, political causes, and the emergence of new communities.
Seemingly mundane things like watching The Mary Tyler Moore Show, listening to Carole King songs, donning Birkenstock sandals, or reading Roots were actually critical in shaping Americans' perceptions of themselves, their families, and their relation to authority.
Even as these cultural shifts eventually gave way to a backlash of political and economic conservatism, Kutulas shows that what critics perceive as the narcissism of the s was actually the next logical step in a longer process of assimilating s values like individuality and diversity into everyday life. Exploring such issues as feminism, sexuality, and race, Kutulas demonstrates how popular culture helped many Americans make sense of key transformations in U. While some consider her an icon of female empowerment, others see her as detrimental to feminism and representing a negative image of women of color.
Her music has a decidedly pop aesthetic, yet her power-house vocals and lyrics focused on issues like feminine independence, healthy sexuality and post-partum depression give her songs dimension and substance beyond typical pop fare. Some of the material becomes a little repetitive, as inevitably the different contributors draw on some of the same examples, but this does not detract from an impressive cultural critique.
Joseph C. Ewoodzie Jr. But Joseph C. In vibrant prose, he combines never-before-used archival material with searching questions about the symbolic boundaries that have divided our understanding of the music. In Break Beats in the Bronx, Ewoodzie portrays the creative process that brought about what we now know as hip-hop and shows that the art form was a result of serendipitous events, accidents, calculated successes, and failures that, almost magically, came together.
In doing so, he questions the unexamined assumptions about hip-hop's beginnings, including why there are just four traditional elements—DJing, MCing, breaking, and graffiti writing—and not others, why the South Bronx and not any other borough or city is considered the cradle of the form, and which artists besides Kool Herc, Afrika Bambaataa, and Grandmaster Flash founded the genre. Ewoodzie answers these and many other questions about hip-hop's beginnings.
Unearthing new evidence, he shows what occurred during the crucial but surprisingly underexamined years between and and argues that it was during this period that the internal logic and conventions of the scene were formed.
With zeal, rigor, and no small amount of style, Joseph Ewoodzie illuminates the defining moments and key personalities of hip-hop's early years before they recede into shadow.
He contends that biblical traditions and hip-hop emerged out of experiences of dispossession and oppression. Whether born in the ghettos of America or of the Roman Empire, hip-hop and Christianity have endured by giving voice to the persecuted. This book offers a view of soul in living color, as a breathing, suffering, dreaming thing.
It excavates the vast territory of soul as a concept both in theology and in culture, spanning sacred and profane expressions in literature and music. Nava writes with easy erudition, equally at home in the pages of Nietzsche as in the phrases of Nas. He does all this with assurance and acumen, which allows him to achieve his goals handsomely.
Frankly, I am not only grateful but jealous—I wish I had written it myself. David L. Owned and operated by civilian activists, GI coffeehouses served as off-base refuges for the growing number of active-duty soldiers resisting the war. In the first history of this network, David L. Parsons shows how antiwar GIs and civilians united to battle local authorities, vigilante groups, and the military establishment itself by building a dynamic peace movement within the armed forces.
Peopled with lively characters and set in the tense environs of base towns around the country, this book complicates the often misunderstood relationship between the civilian antiwar movement, U. Using a broad set of primary and secondary sources, Parsons shows us a critical moment in the history of the Vietnam-era antiwar movement, when a chain of counterculture coffeehouses brought the war's turbulent politics directly to the American military's doorstep.
A book of wonderful insights, this fine history of the GI coffeehouse movement has great relevance in our current epoch of endless war. Drawing on a range of archival materials and oral interviews, Kane also shows how and why punk musicians drew on and resisted French Symbolist writing, the vatic resonance of the Beat chant, and, most surprisingly and complexly, the New York Schools of poetry. When were we ever so free to incubate our wild desires in language and sound? Current and next generations of artists, rockers, scholars, and fans will love this book.
Why then are timeless evocations of the Rimbaudian maudit all we ever hear about their interest in poetry? Photographs, notes, index. He follows the narrative into the s, when an alternative press re-emerged as commercial publishers curbed progressive journalism in the face of Cold War repression.
Yet, as Carroll shows, journalists achieved significant editorial independence, and continued to do so as national newspapers modernized into the s. Alternative writers' politics seeped into commercial papers via journalists who wrote for both presses and through professional friendships that ignored political boundaries.
Compelling and incisive, Race News reports the dramatic history of how black press culture evolved in the twentieth centuryOnce distinct, the commercial and alternative black press began to crossover with one another in the s.
The porous press culture that emerged shifted the political and economic motivations shaping African American journalism.
It also sparked disputes over radical politics that altered news coverage of some of the most momentous events in African American history. Race News is a sympathetic and politically astute analysis of the paths navigated by black journalists, and the role played by them, in many of the key struggles for racial justice in U. Retelling the story of the s and s across the United States—and focusing on New York, Atlanta, and Los Angeles—this book reveals how the War on Poverty cultivated black self-determination politics and demonstrates that federal, state, and local policies during this period bolstered economic, social, and educational institutions for black control.
Mainstreaming Black Power shows more convincingly than ever before that white power structures did engage with Black Power in specific ways that tended ultimately to reinforce rather than challenge existing racial, class, and gender hierarchies. Davies builds upon an already firm foundation of histories produced in the last ten years, ultimately producing the most substantive and significant study of the impact of Black Power on the American political mainstream.
He demonstrates hard-thinking that brings together often-discrete historiographies behind an overarching interpretation. His case studies highlight the tension between social justice and technocratic solutions to urban poverty. Ashley D. Complicating the Mrs Robinson - Moe Koffman - Turned On (Vinyl that sexism relegated black women to the margins of Mrs Robinson - Moe Koffman - Turned On (Vinyl movement, Farmer demonstrates how female activists fought for more inclusive understandings of Black Power and social justice by developing new ideas about black womanhood.
Making use of a vast and untapped array of black women's artwork, political cartoons, manifestos, and political essays that they produced as members of groups such as the Black Panther Party and the Congress of African People, Farmer reveals how black women activists reimagined black womanhood, challenged sexism, and redefined the meaning of race, gender, and identity in American life. She specializes in women's and gender history, radical politics, intellectual history, and black feminism.
Farmer is the author of eight articles and book chapters, as well as a pieces for popular outlets like The Independent and Black Perspectives. Farmer earned her undergraduate degree from Spelman College and her doctorate from Harvard University. Emblematic of the ongoing tensions between America's expansive democratic promises and its enduring racial realities, Washington often has served as a national battleground for contentious issues, including slavery, segregation, civil rights, the drug war, and gentrification.
But D. Tracing D. Essential American history, deeply researched and written with verve and passion. Herb Boyd moved to Detroit inas race riots were engulfing the city. Though he did not grasp their full significance at the time, this critical moment would be one of many he witnessed that would mold his political activism and exposed a city restless for change.
In Black Detroit, he reflects on his life and this landmark place, in search of understanding why Detroit is a special place for black people.
Well paying jobs on assembly lines allowed working class Black Detroiters to ascend to the middle class and achieve financial stability, an accomplishment not often attainable in other industries.
Boyd makes clear that while many of these middle-class jobs have disappeared, decimating the population and hitting blacks hardest, Detroit survives thanks to the emergence of companies such as Shinola—which represent the strength of the Motor City and and its continued importance to the country.
With a stunning eye for detail and passion for Detroit, Boyd celebrates the music, manufacturing, politics, and culture that make it an American original. Black Detroit is a powerful, timely, and important history of an iconic city whose hopes and dreams, triumphs and tragedies, continue to both challenge and shape the African American experience and American democracy. This brilliant history is a must read for students, scholars, and all those interested in the history of the civil rights movement and black freedom struggle.
Bringing black activism into conversation with the foreign policy of both the U. Instead, by tracing the considerable amount of time, money, and effort the state invested into responding to black international criticism, Grant outlines the extent to which the U. This study shows how African Americans and black South Africans navigated transnationally organized state repression in ways that challenged white supremacy on both sides of the Atlantic.
The political and cultural ties that they forged during the s and s are testament to the insistence of black activists in both countries that the struggle against apartheid and Jim Crow were intimately interconnected. Around every corner, there are valuable arguments and interesting insights into the linkages between these movements. Conceptually innovative and deeply grounded in archival work across multiple continents, this study weaves a fascinating story that will be a valuable resource for present and future scholars.
As the second largest tribe in the United States, the Navajo have often been portrayed as a singular and monolithic entity. Using her experience as a singer, lap steel player, and Navajo language learner, Jacobsen challenges this notion, showing the ways Navajos distinguish themselves from one another through musical taste, linguistic abilities, geographic location, physical appearance, degree of Navajo or Indian blood, and class affiliations.
By linking cultural anthropology to ethnomusicology, linguistic anthropology, and critical Indigenous studies, Jacobsen shows how Navajo poetics and politics offer important insights into the politics of Indigeneity in Native North America, highlighting the complex ways that identities are negotiated in multiple, often contradictory, spheres.
Full of examples and stories that will be familiar to many, this book is a pleasure to read. He reports carefully, researches exhaustively, cares deeply, and writes beautifully. Emerging in the s, elocutionists recited poetry or drama with music to create a new type of performance. The genre—dominated by women—achieved remarkable popularity. Yet the elocutionists and their art fell into total obscurity during the twentieth century. Gazing through the lenses of gender and genre, Wilson Kimber argues that these female artists transgressed the previous boundaries between private and public domains.
Their performances advocated for female agency while also contributing to a new social construction of gender. As Wilson Kimber shows, their influence far outlived their heyday. Women, the primary composers of melodramatic compositions, did nothing less than create a tradition that helped shape the history of American music.
In so doing, she helps to recover an elusive but crucial element of cultural history: the sound of women's lives. While revealing the huge variety of music used to accompany spoken narration, Wilson Kimber brings alive again the forgotten art of elocution through a close examination of the 'sentimental keepsakes' and pedagogical traditions it sought to preserve. Pisani, Vassar College Photographs, illustrations, notes, index. Though Murray and other black elite of his time were primed to assimilate into the cultural fabric as Americans first and people of color second, their prospects were crushed by Jim Crow segregation and the capitulation to white supremacist groups by the government, which turned a blind eye to their unlawful—often murderous—acts.
Elizabeth Dowling Taylor traces the rise, fall, and disillusionment of upper-class African Americans, revealing that they were a representation not of hypothetical achievement but what could be realized by African Americans through education and equal opportunities.
As she makes clear, these well-educated and wealthy elite were living proof that African Americans did not lack ability to fully participate in the social contract as white supremacists claimed, making their subsequent fall when Reconstruction was prematurely abandoned all the more tragic. Illuminating and powerful, her magnificent work brings to life a dark chapter of American history that too many Americans have yet to recognize.
Photographs, illustrations, notes, index. In this book, Tim Rutherford-Johnson considers musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media.
Drawing connections with the other arts, in particular visual art and architecture, he expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall. Each chapter is a critical consideration of a wide range of composers, performers, works, and institutions, and develops a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from electroacoustic music studios in South America to ruined pianos in the Australian outback.
Rutherford-Johnson puts forth a new approach to the study of contemporary music that relies less on taxonomies of style and technique than on the comparison of different responses to common themes of permission, fluidity, excess, and loss. He is a rigorous thinker, yet he avoids dogma and shows unexpected sympathies.
What results is an indispensable work of intellectual passion. John Zarobell explores the economic and social transformations in the cultural sphere, the results of greater access to information about art, exhibitions, and markets around the world, as well as the increasing interpenetration of formerly distinct geographical domains. By considering a variety of locations—both long-standing art capitals and up-and-coming centers of the future—Art and the Global Economy facilitates a deeper understanding of how globalization affects the domain of the visual arts in the twenty-first century.
Relying on primary sources that include court decisions, contemporary periodicals, state censorship ordinances, and studio production codes, Jeremy Geltzer offers a comprehensive and fascinating history of cinema and free speech, from the earliest films of Thomas Edison to the impact of pornography and the Internet.
Starring screen legend Gary Cooper and Grace Kelly in her first significant film role, High Noon was shot on a lean budget over just thirty-two days but achieved instant box-office and critical success. It won four Academy Awards inincluding a best actor win for Cooper. And it became a cultural touchstone, often cited by politicians as a favorite film, celebrating moral fortitude. Yet what has been often overlooked is that High Noon was made during the height of the Hollywood blacklist, a time of political inquisition and personal betrayal.
In the middle of the film shoot, screenwriter Carl Foreman was forced to testify before the House Committee on Un-American Activities about his former membership in the Communist Party.
Refusing to name names, he was eventually blacklisted and fled the United States. His co-authored screenplay for another classic, The Bridge on the River Kwaiwent uncredited in Examined in light of Foreman's testimony, High Noon's emphasis on courage and loyalty takes on deeper meaning and importance.
In this book, Pulitzer Prize-winning journalist Glenn Frankel tells the story of the making of a great American Western, exploring how Carl Foreman's concept of High Noon evolved from idea to first draft to final script, taking on allegorical weight. Both the classic film and its turbulent political times emerge newly illuminated. Frankel narrates this story well. He has a sure ear for the telling anecdote, and a good eye for detail. Its complex plots and sensational visuals both inspired and alienated audiences.
After 25 years, the cult classic is being revived. This collection of new essays explores its filmic influences, its genre-bending innovations and its use of horror and science fiction conventions, from the original series through the earlier film prequel Twin Peaks: Fire Walk with Me and subsequent video releases.
Foreword by David Bordwell. Stretching from the dramatic rise of rebel Hollywood and the heyday of the auteur to the triumph of blockbuster films such as Star Wars and Raiders of the Lost Ark, to the indie revolution that is still with us today, Awake in the Dark reveals a writer whose exceptional intelligence and daily bursts of insight and enthusiasm helped shape the way we think about the movies.
This is cultural criticism from an enthusiast's point of view—taking sitcoms and dramedies and very special episodes seriously, not because they're art, but because they matter to us. Really, this collection will interest anyone who has ever been captivated by a fictional world flickering on the small screen. Each young woman combats her dark side and emerges stronger. This quest is also a staple of American comic books. Wonder Woman with semi-divine powers gives us a new female-centered creation story.
Batgirl, Batwoman and Black Widow discover their enemy is the dark mother or shadow twin, with the savagery they've rejected in themselves. Supergirl similarly struggles but keeps harmony with her sister. From Jessica Jones and Catwoman to the new superwomen of cutting-edge webcomics, each heroine must go into the dark, to become not a warrior but a savior.
The band was best remembered for their phenomenal vocal abilities and often performed with the Edmonton Symphony and The Hamilton Philharmonic. Ian Thomas would go on to have a lucrative solo career and become a prominent songwriter for such acts a Santana, America, and Manfred Mann. His brother is actor and comedian Dave Thomas, a. With a noteworthy live show and popular early demos the band attracted ViK Recordings who signed them that year.
An EP was released in and a self-titled full-length album followed in The group disbanded in With notes from Sean Kelly. The founding members were originally singers in the United Jewish Peoples Order and were encouraged to become a folk act by the legendary Pete Seeger himself.
A tour also followed with a Royal Command Performance in Charlottetown. The British Royalty visiting were so impressed that the UK had them go over in In Aileen Ahearn sister of Brian and Nancyjoined the group to replace Pam Fernie and the act has remained unchanged since that time with the occasional return of Sid Dolgay on mandocello.
His stay was short-lived, however, as Polydor Records in London, England noticed his talents and signed him to a solo recording deal. With a North American co-headlining tour featuring Rainbow the record managed to peak at No. However, Polydor Records cited poor sales and dropped Travers. Travers, in turn, sued the label based on a contractual obligation for two more albums and won. InTravers went back on tour with Rush. Polydor issued a greatest package that year and then parted company with Travers.
By Travers was without a record contract and returned to playing nightclubs to earn a living. ByTravers had dissolved the band and began touring as a solo act using local musicians in various cities to back him including gigs around Southern Ontario with The Carpet Frogs in By the turn of the century Travers was still plying his trade doing regular tours in the US and has ventured to Europe on short club tours.
The duo has released three albums to date. The CDRom track was a helping hand to some 30 acts whom treble charge admired with its complete discographies, biographies and pictures of all the acts included.
Bytheir own label had been absorbed by their distribution label, Sonic Unyon, and the band made its leap to the big leagues with BMG Canada. Drummer Michael Levesque was brought in to finish the sessions and a replacement drummer, Calgarian Trevor MacGregor ex-Wagbeardwas located after placing an ad in an alternative music magazine. Again, the lads looked to St. For the better part of a year, the band composed several originals while learning covers — ranging from Bauhaus to Cream to The Jam to Pink Floyd — to fill out their set.
In August of that year Jarovi and Lusk, who had grown up in Toronto, convinced the others to move to the Toronto suburb of Scarborough, Ontario; an earlier plan to emigrate to Boston was scuttled by visa troubles. Once in Toronto, the band played the Queen Street West circuit through the rest of and into during which time they found time to record 3 more songs with Jamie Stanley at Umbrella Sound.
It remains the only Treehouse Beggars track to be officially released. In Februarythe band called it quits. The band regrouped once in to play a benefit show in Amherstburg and again in to perform sans Beneteau at the wedding of Bullseye Records president Jaimie Vernon; As ofHulse and Beneteau are working outside of music in the Windsor area; Jamie Jarovi continues to play guitar in and around Toronto; Terry Lusk has been playing drums in Windsor band WakerGlass since their formation in With notes from Terry Lusk.
Their self-titled debut album was released in To date they are two-time Canadian Folk Music Award nominees. By mid Murphy had been replaced by Ramsey Clark on drums. Not long after, the band shortened its name to just Trouser but found out another band already existed with that moniker, so they changed it again, this time to the Trews the Anglicized spelling of the Scottish Gaelic word for tartan trousers.
Clark was replaced by Sean Dalton on drums in the spring of The band soon realized, though, that if they really wanted to succeed, they had to head west to the Southern Ontario region, and try their luck there. The band relocated to Niagara Falls, Ontario in and moved into a band house together. Catharines, Ontario, radio station It was also certified gold and was also released in the US and the UK in and respectively.
In Mrs Robinson - Moe Koffman - Turned On (Vinyl fall of they toured for six weeks in Europe opening for British stalwarts Status Quo, earning rave reviews everywhere they went. They then took a break in the fall to visit Australia for a couple weeks, then a return trip in February to do a six-week residency at several clubs in Sidney. It was released in March of Best of the Year…So Far! They then added second guitarist Popovich to the line-up.
Popovich left the band in They released one album. But, byDickson, Popovich and Larock had reunited and brought along new drummer Pat Sayers to do an impromptu cross-Canada tour. The band then launched its own imprint, Sonic Unyon Records, to release its own product and that of other like-minded local acts.
The label would grow to be one of the largest independenet labels in Canada. The band split up shortly thereafter when McIntosh returned to school to become an architect. They approached Al Mair at Attic Records and told him that if they had a record deal they could successfully lure guitarist Rik Emmett away from his regular music gig as part of the Justin Paige sextet.
With contract in hand, Emmett jumped ship and the group Triumph became official in Inthey signed with Virgin Records for one album, and now Triumph has their own record label which has also re-released the entire back catalogue with original artwork and liner notes. Triumph hit the road and quickly gained a reputation for being a tight bunch of musicians with a pyrotechnic light show that rivaled anything else on the road in those days.
After the second album, Triumph had a string of successful releases, all of which went at least platinum in Canada and gold in the US. They continued to tour and sell out everywhere they went, and were one of the featured artists on the US Festival bill in in the US from which a commercial video package was released.
Into help beef up the sound both on studio releases and in concert, the trio added a fourth hired hand in veteran Toronto guitarist Rick Santers who filled in on guitar and keyboards. Inhowever, internal differences of opinion resulted in Emmett opting to leave the band to pursue a solo career. Around the same time that Emmett chose to depart, the band invested in the building of a state-of-the-art recording facility in Mississauga, Ontario, a suburb of Toronto; called the Metalworks, they recorded all subsequent studio albums there and today it is one of the most widely respected and busiest studios in Canada.
As it turned out, this was a particularly smart move on their part as X fit right in with what they were trying to accomplish. The original line-up of Emmett, Levine and Moore attempted a reconciliation — even going as far as playing two shows at the Oklahoma Music Festival and the Sweden Rock Festival in Europe which featured second guitarist Dave Dunlop.
The crash of the world economy put a crimp in their plans to lunch a full-fledged North American tour and the band returned to their previous commitments. By they had imploded. The band posted a video of the song — featuring the members playing an old table-top hockey game — on YouTube in January The video went viral and within a month the video had 50, views. The band played several reunion shows in February of and donated the money to a charity called Spread the Net — which buys protective mosquito nets to prevent malaria for children in Africa.
With notes from Kim Lombard and Robert Craymer. Growing up in East York, Ontario and began playing guitar at age The song was co-written by Troiano, Kenner, Glan and Sullivan.
He soon moved behind the scenes as both a session player and producer. He was inducted into the Canadian Music Hall of Fame in Domenic Troiano died of prostate cancer in Inthe Domenic Troiano Guitar Scholarship was founded and offers financial aid to young musicians. An evolved line-up was re-named Applejack in Later that year, drummer Tommy Stewart made it a trio, and in bassist Harry Kalensky was added.
In September Randy Bachman asked the band to play at a dance at the Mormon Church where he was a youth coordinator. He was impressed by their sound and signed them to his Legend label, distributed by MCA.
The album spawned four singles but failed to catch fire and the band was soon without a recording contract. The also retired from touring and recording for five years.
Trooper had not split up, but McGuire and Smith spent the time writing and assessing the future. In they returned to a small club in Victoria, BC to overwhelming approval and it led to the band hitting the road again where the majority of a new album would be written. Trooper is still touring across Canada every year.
He now plays in the Hellbent Rockers. His first band was The Rock Creatures in where he began writing original songs. This was sometime in Kramer and The Dakotas at the Edmonton Garden. The opening act was a local group called The Strangers. Some time later The Strangers were playing at a small club and Richards went to see them. Richards met their drummer and him his desire to form a group that played original material. With their sights set on landing a major US record deal they headed to Montreal.
While there they recorded with Teddy Randazzo and rubbed elbows with industry heavies but they were never able to attract the attention of a label. The band decided to head back to Edmonton at the end of After losing their drummer, Richards decided to play drums and they changed their name to Troyka. Inthe re-invigorated trio began recording new demos.
The material was met with positive reviews but no record deal was forthcoming. By they were able to start recording new material. With a full album complete, Richards went back to New York in August and began making the rounds at the various labels. After a short meeting Kagan announced he wanted to sign the band. The self-titled debut album was finally released at the beginning of While Troyka was in Toronto Edwards announced he was leaving the band. Without missing a beat they grabbed guitar player Bob Styrna in Toronto and accompanied them back to Edmonton where they headlined a major concert with the new line-up.
By then the band already had a second album in the can but Atlantic passed on the option to release it. Styrna and Richards headed to Los Angeles in the summer of to shop the album. However, they returned from L. Undaunted, they recorded a new album with the new line-up. In January of Richards took another shot at L. Duke Robillard - Stretchin' out-live.
Dunya - bibi Tanga and the selenites. Earl Zinger - Speaker Stack Commandments. Earthquake Pills - General Happiness. Easterhouse - Waiting for the Redbird. Edge, the, with Sinead O'Connor - Heroine.
Edward Ratliff - Those Moments Before. Ekko - Ekkocentric- the ekko remixes. Eleazar vs. John - Pits in the sandblaster. The Electric Cows - Wheatfield Fuzz.
Elephant Band - Lessons in Songwriting. Elevator Action - Its just Addiction. Elio Villafranca - The source in between. Elizabeth Bruce - as we sadden each other to sleep. Ellen Burr. Elli Fordyce - Something Still Cool. Elmer Iseler Singers - Sing all ye joyful. Elvis Costello - Rock and Roll Music. Elvis Costello and the Attractions - Armed Forces. Emma Hill and her gentlemen callers - Meet Me at the Moon. End Game - Here is where Tomorrow starts. Engelbert Humperdinck - His Greatest Hits.
England New Order - World in Motion Ensemble Contemporain de Montreal - Nouveaux Territoires. Eric Glick Rieman - Ten to the Googolplex. Eric St-Laurent - Dimensions d'Istanbul. Erin Sudbury Benjamin - Erin Benjamin. Ethan Daniel Davidson - Alaske 11 North. Etienne De Crecy - Super Discount 2. Evan Symons - Ten Year Obsession cassette. Evaporators, The - United Empire Loyalists. Evil Survives - Metal Vengeance - Cassette. Evil Survives - Powerkiller - Cassette. Ex-Boyfriends, The - Painless Bleeding.
Eyes for Telescopes - Sounds Around Us. The Fabulous Kildonans - Bottle Rocket. Fake Cops - Absolutely Falkner Evans - The Point of the Moon.
Fall Silent - No Strength to Suffer. Famines - Free Love is a Sales Technique. Fatal Flying Guilloteens - Quantum Fucking. A Faulty Chromosome - As an ex- anorexic's six sicks exit.
Felix Da Housecat - Transmissions volume Feminists - Can't Scream Loud Enough. Fife n' Drum - the Rythm and Truth brass band. Fiftywatthead - Fiftywatthead Vol. Final Fantasy - Specturn 14th Century. Fisheye Lens - I like this older stuff.
Five Minute Miracle - Universal Groove. Flashing Lights, The - Sweet Release. Flashlight Brown - Flashlight Brown. Flock of Seagulls - Dream Come True. Flourescent Pea Pod - Don't Panic It's Organic!
Floy Joy - Weak in the Presence of Beauty. Fond Of Tigers - A thing to live with. Fool's Crow - Balancing on a Shadow. Foonyap and the Roar - Foonyap and the Roar. For the Mathematics - The New Science.
The Forbidden Dimension - Widow's Walk. Fortner Anderson - Sometimes I think. Four Tet - my angel rocks back and forth.
A weekend at centre St. Francois Bourassa Quartet - Rasstones. Francois Theberge Group - Soliloque. Frank Bennett - Five O'clock Shadow. Frank Soda - Saturday Night Getaway. Frankie Goes to Hollywood - Rage Hard. FrankySelector - Under the midnight sun Fredric Gary Comeau - Hungry Ghosts.
Friendlyness and the Human Rights - One Thing. Friesen and Johnson - The moral universe within. From the ladle, to the Gravy - Covers Compilation. Fuck the Facts - Promo Winter Furnaceface - And the days are short again. Fusion Jones - Another Nuclear Family. Future Sound of London - My Kingdom. Gael Mevel Trio - Danses Paralleles. Garry and the kids - I've been waiting for christmas. Gary Ferguson and Friends - Live at podunk. Gary Numan - The Pleasure Principle.
Gen Ken Montgomery - Pondfloorsample. General Public - Too Much or Nothing. Genesis Gennady Rozhdestvensky - Shoshtakovich. Gentleman Reg - The Theoretical Girl. Gentlemen Without Weapons - transmissions.
Geoff Berner - Light Enough to Travel. Geoffrey Wickham - Geoffrey Wickham cassette. George Brooks Summit - Spirit and Spice. George Koufogiannakis - Explorations in Improvised Music. George Nyman - Treasure Called Love. Germaine Thyssens-Valentin - Testament. Gerry Barnum - Pickin' Up the Pieces. Ghislan Poirier - Beats As Polictics. Ghostkeeper - and the Children of the Great Northern Muskeg. Gianluca Petrella Tubolibre - Slaves.
Gladys Knight and the Pips - Pipedreams Soundtrack. Glen Campbell - Christmas with Glen Campbell. Golden Seals, The - Storybook Endings. Gomorrah - Reflections of Inanimate Matter. Gordon Grdina's Box Cutter - Unlearn. Gossip Music for man - Gossip Music for man.
Gotan Project - Inspiracion-Espiracion. Grames Brothers - Strange Beautiful. Grant-Lee Phillips - Virginia Creeper. Grappelli and Thielemans - Bring It Together. Graveface Artists - Graveface Sampler. The Gravytrain Robbers - 4 Generals and 3 Stars. The Great Sabatini - Godstopper Split.
Greenfield Main - Hunting Tips for Everyone. Greg Lowe - Guitar and Bass Sessions. Greg Lowe - Thrilled Against my Will. Greg MacPherson - Balanced on a pin. Gregory Isaacs - Private Beach Party. Greyhound Tragedy - Myself is my Favorite. Grievous Angels - Waiting For the Cage. Grip Weeds, The - Giant on the Beach. Groove Corporation - Record Prophets. Ground Zero Movement - M. Grover Washington, Jr. The Gruesomes - Tyrants of Teen Trash. The Guest Bedroom - We like accidents!
Moskoff - Global Villages featuring the music of H. Haeresiarchs of Dis - Denuntiatus Cinis. Hammock - raising your voice The hanuman sextet - 9 meals from anarchy.
Harry Belafonte - Paradise in Gazankulu. Harry Chapin - Verities and Balderdash. Harry Connick Jr. Harvey Fierstein - This is not going to be pretty. Haunted Hearts - Thank You, Goodnight. Hazel Motes - Hazel Motes cassette. Heather D. Friesen - The Heather D. Friesen Collection Vol. Heavy - Great Vengence and Furious Fire. Heavy Eric - She's got my heart behind the 8 ball.
Helen White - No more dinosaur bones. Helicopter Crashes - Unaudible Explosions. Hello Beautiful - Sountrack For Scenario. Hennie Bekker - Africn Tapestries Collection. Henri Duparc - L'Invitation au Voyage. Henry and the Folk - Bus Trip Songbook. Henry Livingstone - The Curtains are drawn on Closing night and the cast goes out for LP) drink. Hey Ocean! High Watt Electrocutions - Desert Opuses. High Watt Electrocutions - Desert Opvses.
High Watt Electrocutions - Night Songs. Highway Freak Ticket - Obviously Obvious. Hissy Fit - Rude Like Me cassette. HMFist - Demonstration Extended-play. Holding Pattern - Small M Manifesto. Holiday Snaps, The - Neuken in de Keuken.
Hollowmen - Pink Quartz Sun Blasting. The Great Vinyl Meltdown. For the background on this blog series, see this post. A sort of backwards cover debuts this week on the Best Sellers.
Not much else is going on with the short charts. This week, it is re-added after dropping off for a week. It did enter the Top at 72 that week, but its Top 40 debuts occur this week on the Top and the Disc Jockey charts, and later on the other two charts.
This, after the Patti Page version has climbed to 11 on the Top this week. Fortunately, Kitty and Georgie will get just this week to bask in their glory, tying for the bottom spot at
Paper Angels - Mostly Autumn - Glass Shadows (CD, Album), In Your Company - A Loss For Words - Crises (CD, Album), Zen Is When - The Dave Brubeck Quartet - Jazz Impressions Of Japan (Vinyl, LP, Album), Gaz - Vèrmyapre Kommando - Crache-la-Mört (Cassette), Allegro - Franz Schubert, Robert Schumann, Maria Kliegel, Kristin Merscher - Arpeggione Sonata, D.82, Jig - The New York Pro Musica Antiqua*, Henry Purcell, Russell Oberlin - Songs Of Henry Purcell (Vin, Romance Guerilla - Various - Noise Kills Punk Dead (CD), Things That Resonate Even After A Moment (instrumental) - Ikuko Harada - Solo Trilogy Box Set (CD), Nightmare Continues - Hater (5) - Nightmare Continues...With Your Haterizer (CD, Album), Prison - Richard Pryor - ... And Its Deep Too!: The Complete Warner Bros. Recordings (1968-1992) (CD, Sick Of You - Various - Oh No Its More From Raw (Vinyl, LP), Youre Dying - Sad Chasey - Caller Number 9 (File, Album), Harlem Air-Shaft, Mystic (Lenk Mix) - Stefan ZMK - Repetitive Strain 005 (CDr)