Category: singles

Waterford: I talk a lot about Vinyl. The glory of the black plastic, spinning away at such or another speed, creating marvellous, analog music. Magic. But part of the fun of records was they didn’t have to be made of vinyl. You could, and they did, cut the grooves into a thick piece of paper, protect it with lacquer and it would work. It would suck, quality wise, but it worked. You could put a record in the cereal box, or McDonalds could give out Alf records on their happy meal box.

Waterford is in South-West Ontario, one of those towns that dots the area West of Brantford South of London between Lake Erie and Lake Michigan. It’s tiny with two beautiful old churches and a one block downtown. Alice Street runs off the downtown, along the waterfront, and in a big old warehouse on Alice is the Waterford Antique Market. It’s a standard antique market, with multiple vendors selling various pieces of old junk: furniture, phones, books &tc. Waterford Antique Market is actually fairly large for the size of the town it’s in. Of course, it’s got records.

LP’s there’s always LP‘s, and lots of them. But they also have a nice collection of 45’s. Among them, an odd shaped cardboard recording of The Greater Evangelistic Crusade of Toronto (from the Billy Graham team) from 1955. It appears to commemorate their CNE crusade from that year, including a picture of a packed grandstand. I have little interest in the music, but it’s a gem from a collectible standpoint. As well, there was a 45 of the National Anthem, an “extraordinary recording [that] was made especially for the 1976 Olympic Games and via satellite broadcast was heard by more than two billion people around the world.” Complete with gate-fold 45 cover and pull out picture collage. Again, a nice piece for a Canadian music collector. On top of those two, a few others were amongst the pieces: April Wine’s Just Between You and Me; Alannah Myles’ Love is; Rock and Hyde’s I Will.

Sadly, as happens at these stores, prices are affixed to the records with stickers. In some cases, right on the playable part of the record. Granted, the records were only $1.00, but slapping a sticker on them does harm. The stickering massacre includes the cardboard Greater Evangelistic Crusade recording and the sticker which is not coming off without damaging the record itself. Fortunately, everything was ½ off when I got to the counter, which means my $7.00 worth of records (I picked up a couple of non-Canadians) was obtained for $3.50.

On further review: the cardboard record works, but it is, in fact, a 78. I don’t have the capability (actually, not true. I have a new USB turntable that, supposedly, has the ability to record a 78 at 45RPM and speed it up. I have no idea how, though).

Oh Canada comes in Instrumental, English, French and Bilingual versions. It’s a pretty standard, end of the broadcast day version, and I have heard it innumerable times. If I ever get an ice rink in my back yard again, and get some hockey going, there is no need to invite The Nylons to sing - we have an anthem. Otherwise, this will likely sit in my collection unused.

Rock and Hyde were Bob Rock and Paul Hyde, the soul of the Payola$, post Payola$. One of my favourite albums of the time, the time being 1987. It’s easy to remember why. I Will is the second single on the album, the stunning Dirty Water being the first and better received. But this is good, up tempo pop song. Lots of 80’s style keyboards, but Bob Rock went on to be a metal producer, and it has that bit of an edge.

The b side, What Children Say, is different. Keyboard used to create a different sound, and typically bright lyrics, I like this a lot after not hearing it for years. Sadly, the record itself is not in good shape. It is warped heavily, causing the needle to wobble around. The sound however, does not seem affected, and it’s a wonderful listen.

I was a big April Wine fan in 1981 when Nature of the Beast came out. Just Between You and Me is very familiar to me as a song I heard a million times, but also as a song I heard on the radio yesterday. No surprise here. By 1981 April Wine had figured out their sound. It was layered, clean and polished. They were pros, and this is a good example of everything that was good, very good about April Wine, but also everything that was wrong with them. It’s a nice guitar ballad, with solid musicianship, good tune, nice lyrics, what can be wrong. Yet at the end of the day, it’s a little too polished. A mistake, a wrong note wouldn’t hurt.

Big City Girls is the other side of April Wine. An up tempo rocker with a boogie rhythm and lyrics suggest something or another of sex. I saw these guys live a number of times in this era, and they were always a fun band. This is one of those fun songs, and listening to it now I can see Brian Greenway and Jerry Moffat bouncing on the drum risers to it.

Love Is was Alannah Myles first single of her debut album. I remember this album well, and even played this song in a band at one time. It is a good solid rocker, complete with great lick, thick bass drum driving the rhythm, and a chick that can flat our sing. The complaint stands that the album, and song, may be overproduced, but 21 years later, Love Is still sounds pretty good.

Another up-tempo number, Rock This Joint is weaker, but not a lot so. On an album that featured Love is, Lover of Mine, Still Got This Thing and the spine chilling Black Velvet, Rock This Joint suffers by comparison. But for a lot of other artists, a lot of other albums, this may have been a hit.

A guy walks into an antique warehouse in the middle of nowhere, and comes out the other end with 3 good rockers, that all have pretty good b sides, plus a national anthem and a Billy Graham cardboard 78 for less than 5 bucks. A good haul, a good day topped off with a good listen.

Freelton: Freelton sits on highway 6, approximately 6 KM south of Guelph. It is one of those “if you blink you miss it kind of towns,” particularly as the highway runs past the edge of it, not through it. But if you get off at Freelton Road, you quickly find yourself at a pair of old barns. Inside those barns: treasure.

The Freelton Antique Mall is one of those a little bit of everything places, and should really have the word “Collectibles” somewhere in it’s title. Today’s mission: find an antique rod iron lamp for the Mrs. and an old dial phone for my office. We had great success on the lamp, but I couldn’t find a phone in black at a price I like (now of I wanted a turquoise or avocado phone, those they have… cheap). Secondary to those silly trinkets, my eyes are always open for records, and of course, 45’s.

The Freelton Market has two barns. The main one if stuffed with goodies, separate vendors have booths and you pay at the main counter. The second barn is more open, has less vendors, and the vendors are right there taking you cash.  It is in this second barn that I find some old 45’s.

They have a few hundred - 60’s and 70’s mostly. After pulling through the top box, the vendor pointed out their was more below, but I had my haul. At 50c each, I grabbed eight records, four of which are Canadian: Prism’s Take Me Away; Loverboy’s The Kid is Hot Tonight; Ian Thomas’ Pilot and Dan Hill’s All I See is Your Face.

I’ve always liked Prism, ever since their first single, 1977’s Spaceship Superstar. Take Me Away is from a year later and Prisms second album, the always seemed to be there See Forever Eyes.  Prism rode the sweet pure voice of Ron Tabak and the keyboard/guitar pop sensibilities of Lindsay Mitchell and John Hall to worldwide acclaim with a series of radio friendly songs and albums. Four albums in three years to be exact. There fifth single, Take Me Away, comes in year two and is classic Prism. That soaring voice, clean sound and pop back beat (that’s  Bryan Adam’s writing foil Jim Vallance on drums) leave you feeling good and with the melody stuck in your head.

Local boy Ian Thomas, and brother of SCTV’s Dave Thomas, has a writing credit biography that would please the most ambitious of songwriters, including one of my all time favourites, Right Before Your Eyes.  With a discography that includes Painted Ladies, Coming Home and The Runner, Pilot, the opening song from 1979’s Glider is one of his weaker efforts.  Taken in isolation, however, Pilot is not a bad song. It has a disco, funk, jazzy groove that people like the Michael McDonald led Doobie Brothers were having success with at the time. It suffers from a weak keyboard sound, not unpopular at the time but is still a listenable and solid contribution to Thomas’ discography.

Loverboy is the official punchline to many Canadian music jokes these days, but people forget how they stormed onto the scene in the summer of 1980. Their debut self titled album was the hot album that year on the back of two huge singles, Turn Me Loose and The Kid is Hot Tonight.  The remarkable thing about this inaugural single is it has both songs on it. Keyboards were a hot item in 1980, and Loverboy brought it immediately with a keyboard introduction that segued into a great bass groove before Paul Dean’s guitar came in loud and heavy, in case anyone thought this was going to be another soft new wave band.  They weren’t and at seventeen, I never again roller skated without this song being played.

The flip side is single number two, The Kid is Hot Tonight. It’s hard to say why Loverboy became a punchline: it could be Mike Reno’s weight gain in the 90’s; possibly the red leather pants they became synonymous with; perhaps it’s the formulaic songs. As to the latter point, The Kid is Hot Tonight plays right onto the formula established in Turn Me Loose: heavy guitar, thick bass and lots of keyboards. Once again, it works, and works really well. Perhaps it’s because I was seventeen in the summer of 1980, but listening now I don’t hear the joke. This is solid, good rock ‘n’ roll and I have no complaints against it.

Dan Hill seems to be getting a fair shake on this blog lately. This is not intentional, sometimes things just run in streaks. All I See is Your Face had the impossible task of following up Hill’s greatest hit, Sometimes When We Touch. Off the follow up album Frozen in the Night, All I See is Your Face is another pretty song that is recognizably Hill, without being a copycat of it’s predecessor. Surprisingly, the b/ side is, again, a future single - with Hill’s second biggest hit, Let The Song Last Forever, sandwiched in between them.  Dark Side of Atlanta is a more poignantly personal piece that is familiar to Hill fans. Told in story form, it captures Hill at his songwriting, if not his commercial best. Less familiar, a harder song than All I See is Your Face, it is, however, more worthwhile. Another single I’m glad I bought, but really for the b/ side.

No surprises today, I grew up with all these songs and they all hold up in my memory. Nothing here is outstanding, but if your a pop music fan, or a fan of the late 70’s early 80’s music, then four good singles. If only I could have found that 70’s phone to go along  with them.

St. Jacobs: St. Jacobs is one of those little towns that have gone tourist by offering a supposed unchanged in 100 years world. The downtown offers everything from an old mill that’s been renovated into a shopping outlet to a century house B&B. The perfect place to find something like old records. Sadly, I have never had luck in St. Jacobs proper.

Outside of town is a farmers market/outlet centre. A great place to shop, buy fresh produce and meats, or get a cheap pair of jeans or watch strap. Beside this, there is an Antique Market, the Waterloo County Antique Warehouse. It seems like it might have records.

It is one of those place that have become so familiar, with many vendors selling their wares by way of stalls. You take merchandise from many stalls to a cash, and the guys who operate the Warehouse pays the vendors. It seems like a good business plan, but alas, they are going out of business in a month, and the last chance sale is on. Too bad too, because it does have records, and there’s no hunting and pecking to find them either. The first couple of stalls have a box or two of albums, probably the fifth has a small box of singles. Lots here, but not much of interest: Glenn Miller, Pat Boone, Bobby Goldsboro. More my speed, Huey Lewis and Harry Chapin. There’s even Tears Are Not Enough, the last Singles Scene I did. Other than that the Canadiana is limited to a David Foster song and Hagood Hardy’s The Homecoming. I grab The Homecoming and move on, hoping I don’t have to come back for the David Foster.

I don’t. A couple of stalls along I find “The Record Stall,” one of three spread around the place. I don’t need the other two as it turns out. They have stacks and stacks of albums, and a wall, A WALL of 45’s. Mostly country, this discourages me, but it shouldn’t. I’m here for Canadian music, not Canadian music that I like. They even have a section of Canadian country that must be 500 strong. Problem is, I’m not a big country fan, and don’t have any clue who I should be looking for. I take the cowards way and look for Showdown’s Rodeo Song without success. There’s lots, and I do mean lots of Hank Snow, so I grab one that sounds interesting, The Wreck of the Old 97. I otherwise settle on Murray McLaughlan’s The Farmer’s Song.

Three songs, that’s my usual haul, but this time I have gotten lucky: really lucky. Right beside the Country Canadian section is a rock section. Half the size of Canadian country, it yields a treasure of great memories.

Who remembers Shooter? I do, and I love the song I Can Dance. The Stampeders, another classic band, BTO’s first single and Dan Hill with a b/side titled Canada. Great haul, and at the exit I discover the going out of business sale has me paying about half of the $2.00/record.

So I leave the Waterloo County Antique Warehouse with my greatest haul yet, seven singles and two LPS, including a Canadian entry, The Payola$ No Stranger to Danger, a really worthwhile trip.

On listening I start with the first song picked up, Hagood Hardy’s The Homecoming. At 2: 29, this comes in fairly short and easy to listen to. A simple, mostly piano piece it reminds me that I haven’t had a cup of tea yet today (and haven’t had Red Rose in years). The Homecoming is an alright easy listening piece that inspires neither devotion or revulsion, which I guess is good when you are writing a song for a commercial.

I have little enough to say about Hank Snow, as it’s not my kind of music. On Oh Brother Where Art Thou they would have called this old timey music. Wreck of the Old 97 is plain, straight forward acoustic country blues. A guitar, peddle steel and fiddle song about a train. The b/side, Hobo Bill’s Last Ride is the same, if not even more of a country music cliche than the first. Not bad music, mark you, just a classic hobo riding the rails that someone mocking a country song write.

The Murray McLauchlan single Lose We b/w The Farmer’s Song is more interesting. The Farmer’s Song is one of McLauchlan’s more famous pieces, but on this single, it’s listed as the b side. A quick look around the internet, and it appears that Lose Me was released as a single before The Farmer’s Song. So Lose Me gets listened to first. It’s easy to understand why the record company thought this was the single: uptempo, more folk than country, very much of a style that people where having hits with at the time. Furthermore, McLauchlan is a quality writer, singer, musician, above many others. This song easily could have been a hit. The Farmer’s Song, on the other hand, is drearier, more ballad tempo than Lose Me. It is a good song, probably a better song than Lose Me, but it’s not an obvious hit. McLauchlan’s ability to have a hit with such a song is a testament to his quality mentioned above.

Hold On is pre-Sometimes When We Touch Dan Hill, the first single off the album of the same name. A nice example of Hill the songwriter/guitar player, this song could be very good, but production and arrangement get in the way. One of those guys who’s best when he just plays and sings, Hill lets whomever produced this mess to add far to much harmony vocals and assorted background noise. The b/side, Canada, is more along the lines. One guitar, one voice, one poignant, pretty song with no added production except a haunting background vocal on the fade out. I would take this song over the “hit” on the other side every time.

While I like Murray McLauchlan and Dan Hill, we now move on to the portion of the days find that I am looking forward to. We start the rock portion of this review with where I started as a music fan - BTO. It is not intentional that I haven’t found a BTO single before now, in fact, I’ve been quite surprised not to find them up to now. Not just my beginning either, their beginning. Blue Collar was their first, and only single off their first album. It got the ball rolling, but it was not until their second album, released the same year, with Takin’ Care of Business and Let It Ride that BTO became big. For now though, they were just another new band, with an album and a single.

Blue Collar is a curious choice for a single too. Soft, slow and jazzy, it’s not an obvious hit, not in 1973, not now. That doesn’t mean it’s not a great song, truly a high quality musical piece that indicates this isn’t just another band. But a single? If in charge, admittedly with the full perspective of hindsight, I would have chosen Give Me Your Money Please off of this album. But I wasn’t, and they chose a four-and-a-half minute jazzy piece as their lead off single. A fine song that never had a chance.

I actually saw BTO twice in their heyday. One of the time I saw them, good time party band Shooter opened for them. They arrived at the outdoor CNE stage in old limo, dressed like gangsters and firing off Tommy guns. A great intro and I have remembered Shooter like I have remembered no other minor opening act through the years. So it was a treat to find their one hit, Leo Sayer’s I Can Dance (Long Tall Glasses). In Leo Sayer’s hands it is a Vaudeville song, lacking seriousness or masculinity. Shooter take the Boogie Woogie piano, pairs it with a banjo, and turn this into a fun romp. A great little number about a traveller who happens upon a feats to find he can’t eat until he dances. As the title suggests, he can’t dance. He does, however, to discover he can dance, and it beats eating. Good fun, good music, good buy.

I finish off the days shopping with The Stampeder’s 1974 hit, Ramona. Those un-familiar with The Stampeders and who know them only from their mega-hit Sweet City Women would be surprised by this song. A hard 70’s guitar rocker, this was The Stampeders in their element. Sweet City Woman was the hit, Ramona is what they did, their day in day out music. They were, furthermore, good at it and a significant band who never made the final jump to stars. Why is anyones guess, and listening to all these years later, I have no more of an answer than before.

I leave the Waterloo County Antique Warehouse with seven Canadian singles in arguably four, maybe five different styles. My original intent of this site was to find the heart of Canadian music in the old single bins wherever they are, and what a joy to find it beating in the middle of Mennonite country.

Delivery: The good thing about writing about finding records is people know I’m looking. When somebody is getting rid of records, they think of me (my wife would say this is the bad thing about writing about finding records…). So it was a few months ago that my buddy Ron showed up with a stack from a friend of his, who was cleaning out a closet and found…45’s. (Philistines didn’t have their own record player).

The stack started with a little book, the kind that you use to get to hold 78’s, except it’s full of 45’s: Frankie Laine with the Ray Conniff orchestra; The McGuire Sisters; Eydie Gorme: interesting all, but of no use for our purposes. These are all older, unfamiliar records and there’s nothing Canadian.

After the book-thingy I dive into the little stack of records, hoping for some gold. There are 36 records in the pile (yes, I counted), and when I started this exercise I would have considered 1 CanCon out of 36 a small ratio but now it seems about right. There’s a big differential here, 50’s to 80’s: Elvis to Wet Willy. Kung Fu Fighting and My Ding-A-Ling. The Platters, Janis Joplin, Village People and Robert Palmer. It’s a wonderful cornucopia of good, and not so good, hits from AM radio from when AM radio mattered.

For all that there’s one Canadian single, and not a favourite at that. In 1984 Some British singers, cajoled together by not yet Sir Bob Geldof sang a song about an African famine: Do They Know it’s Christmas. It was a worldwide #1 hit, causing the American musical hierarchy to jump into the fray with the un-ironic We Are the World. The Canadian cultural elite of musical inclination took some time out from complaining about how much government revenue they receive (yes, some things never change) to say “hey, a bandwagon! Lets jump on.” So Bryan Adams, Canada’s biggest star of the day, wrote a song and David Foster, Canada’s premier producer/arranger/behind the scenes guy produced it and they come up with Tears Are Not Enough.

Somewhere I already have this, although I can’t find it. But I remember it, and I remember the cover: this is a different cover. This cover has signatures of everybody involved: Salome Bey, Eugene Levy, Lorraine Segato, Anne Murray, Mike Reno and &tc. From a condition standpoint, it’s in good shape, and even if it wasn’t, at the price who can complain. But it makes sense that the condition is good. This is one of those records everybody bought but nobody really listened to. The one I hold in my hand looks like a fine example of that.

Listening to all three Africa famine songs now it’s clear that Tears are Not Enough falls in the middle of the two, Do They Know It’s Christmas being a pretty good example of these kind of group pieces. The American We Are The World being a truly awful example of any kind of music - all 7 minutes and fifteen seconds of it. But none the less, it needs to be said: All of these song are loaded with real talent, and none of them are really very good.

Funny though, when I listen to this song now, I can’t help but enjoy it. Bryan Adams, Jim Vallance and David Foster wrote a decent ditty and pulled together a lot of talent. The problem, really, is too much talent, not enough air time for each. But it was the fashion of the time, and it was a done well. I enjoyed remembering the time, remembering the song, remembering the hair.

But it must be said, I doubt I’ll listen to it again any time soon.

Parry Sound: my wife’s maternal home, although it should be said Parry Sound is not her childhood home. My mother-in-law moved up there about ten years ago. In a large log cabin overlooking a lake she has maintained a modern day settlers lifestyle: chopping wood and watching CNN; clearing a woodlot and planting daisies; wood burning stove and flush toilets. In short, the perfect getaway.

In one corner is one of those modern touches we all have: the entertainment centre. A corner cabinet within which sits a 27 inch TV, a small stereo, a VCR and DVD player and a pile of CD’s/DVD’s. Buried in the back of the bottom shelf is a gorgeous carved wooden box that’s about 7″ x 7″: single sized. It’s full of singles from just about every generation of singles, good stuff too: Elvis, The Beatles, Dave Clarke 5, The Police. Seventy-five or so singles from the 50’s, 60’s, 70’s and 80’s. Unfortunately none of them have protective sleeves, which means that even if some of those Elvis or Beatles one’s may have some value (I repeat, may), that value is eliminated by the small surface scratches on everyone of them.

My mother-in-law cites herself as a great fan of Canadiana. She watches CBC, reads Margaret Atwood, listens to Gordon Lightfoot because it’s what good Canadians do. So how come all these singles and there’s only one Canadian one? Another question: how am I supposed to listen to any of them? Seventy-five or a hundred records and no turntable. Their turntable is, in fact, hooked up a pre-amp and then the surround sound system in my basement 300KM away.

So I grab a few that strike my fancy to take home and listen too: Hermen’s Hermits I’m Into Something Good, Bonnie Tyler’s Total Eclipse of the Heart, Boney M’s Rasputin and the lone Canadian single, The Guess Who’s These Eye’s. These Eye’s was originally released in 1968. This single is the original, with Lightfoot on the b side.

I’ve heard this so many times through the years there’s no surprise in it. As I noted back in June, I saw Bachman Cummings sing this song this summer. It was, I remember thinking at the time, a simple but brilliant song, the reason these two are still successful all these years later. The elegant intro chords were originally a non piano playing Randy Bachman composition. Burton Cummings has since said they were so simple that no self-respecting piano player would ever come up with such a thing (I could be paraphrasing here). It’s true. The whole song is simple, pretty, and good.

The b side, Lightfoot, another song from the Wheatfield Soul album is a country-ish acoustic piece. The single is too scratchy to enjoy it, but it was not a hit and it probably doesn’t deserve to be one. An alright song, but an add-on none the less.

A couple of days in Parry Sound of R & R and the best I can do is one Canadian single. It’s too bad, but at least it’s a classic of the genre, one of the best Canadian songs. A pretty good find all in all.

London: A record show. What better place to find records than a record show? I go to 2 or 3 shows a year and always seem to make the 2 London ones, even though London’s an hour from my house. Guelph, Hamilton, Mississauga all have good shows and all closer to home. But London it is.

If you’ve never been to a record show it’s like a Star Trek convention without the Klingons: everybody here is a music geek. Nobody here enjoys music, they are passionate about music and, more significantly, passionate about owning music. It is loaded with albums, in good shape or bad , videos, bootleg records, CDs and DVDs, posters and assorted memorablia. Ever wanted a Beatles Lunch Box? I saw one yesterday! Autographed Picture of Jimmy Page (with bow in hand)? I know where to get one! 1969 Grateful Dead concert poster, with Janis and the Airplane on the bill? Yup!

I usually hit these shows looking for albums: my ongoing list of half dozen albums I missed when they mattered gets whittled down by 1 or 2 at each show. Sometimes I grab a bootleg video, like the SARSfest DVD I got last time out. This time, however, it is 45’s I am on the prowl for. Unlike other places I have searched for 45’s, there is no question of finding what I am looking for here, it is a question of which singles I will find.

I know the set up here well, as it doesn’t change much year to year - the same vendors sell the same general wares. Immediately upon walking in the door I see the usual singles guy, and head straight for him. He has a huge selection, in the thousands. Thankfully, he has row entitled ‘Canadian.’ This shouldn’t be too hard!

It isn’t. Easily a few hundred Canadian singles, most priced in the $2 - 4 range, although some rarer stuff is higher priced. The records aren’t cheap, but at these shows you get very good quality records. First real find is one I have had in the back of my mind since I started this project: The Jitters The Last Of The Red Hot Fools. I then find an bit of a gem, something I had never heard of before: the Sinners Go Go Trudeau. An historically interesting novelty piece from 1968, that (apparently) reached 48 on the Chum chart. After picking through them all, I decided one more was needed but nothing stood out as obvious the way the other 2 did. I finally settled on Glass Tiger’s Don’t Forget Me (When I’m Gone). I choose the last one not so much because I love the song, but because a) they were a big band at the time b) it has an original picture cover & c) The record itself is transparent! For $3.00, I’m feeling lucky and at $2.00 a piece for the other 2 there is enough change from a 10 to buy my little guy (who’s trailing along with me) a kiss pin. Not a bad day, especially when you add in that I found a great condition LP of “London Calling” before heading home.

First on the turntable is the Hooters Last Of The Red Hot Fools. I picked this one because I saw this band once in one of Mississauga’s larger bars, and they where good. I also remember, mostly from this night I suppose, that this was a pretty cool song. Of course, the Mullet was a cool haircut in 1987, so I my read on this could be wrong.

It is, but it’s still not a bad song. It starts with the chorus, a Nylons sounding vocal part with little instrumentation:

I’ve been a fool, to play it dumb
should have played it smart
used my head, but not my heart
Must have been crazy to play it hot
should have played it cool
now I’m just the last of the red hot fools.

I remember doing some fun hand movements that went with it. Let’s see:

Must have been Crazy circle temple with index finger
playin’ it hot wipe imaginary sweat off brow,
Should have played it cool Cross arms in front of self as if cold
Now I’m just the last of the red hot fools bob index finger in front of you as if pointing at rest of table.

Did I mention it was in a bar? None the less this isn’t a bad song, just not a great one. The instrumentation is simple, even basic, too basic. And other than the chorus, the words are OK, but forgettable. The last problem here is tempo, this song is neither fast, nor slow. It’s not a ballad, it’s not a Thorogoodian rocker, as it could be. Not so bad for drinking to, I guess, but no George Thorogood in that regard either.

The b side is a piece called Hard as Nails, which is again strongly in the camp of the Plain Jane of songs: you might date it, but you’ll never fall head over heels for it. Tempo is again neither fast nor slow (actually, this song should be a whole lot quicker) I wonder if I went through the late 80’s music if I’d find this tempo a lot. I’m guessing I would, and the Hooters are no worse a representation of the period as any other band, save for U2.

Speaking of Mullets, check out the cover of the Glass Tiger single! And the long coat!! I actually wore one of those when I played in a band in ‘89. Guess what tempo Don’t Forget Me is. Hooters speed! Why did I never notice this before? What makes this different is the players, especially the bass. Amongst musicians of the time funky slappy bass was very in, and this song is a great example of it. Still a forgettable song, but one with some good performances in it.

The b side is, simply put, abysmal. I have never had time for Duran Duran and somehow they are performing on the b side of a Glass Tiger single. Music went, at times, very very astray in the latter part of the 80’s. I now present exhibit A in defense of that statement: Ancient Evenings, by Glass Tiger. Deciding to sound like Duran Duran is one of those things I’ll never understand, like all those female singers who want to sound like Madonna. There’s a reason Paula Abdul is Schlepping American Idol contestants, and it’s the same reason Glass Tiger is not with us anymore. Ms. Abdul decided a good career move would be to sound like Madonna, Glass Tiger went for the Duran Duran sound. Both deserve the fates that have befallen them.

If you aren’t overly interested on my views on Duran Duran and Madonna I recommend you don’t get me started on Pierre Trudeau. However, I picked up Go Go Trudeau by the Sinners not because I want to hear someone singing Go Go Trudeau to bad surf music. It’s more an interest in what they thought of PET in 1968. Can you imagine any of today’s leaders, of any political stripe, of any of the major countries, inspiring a song of any kind (I fought the law jokes notwithstanding). PET was, they thought in 1968, our JFK (whether he was or not, or whether that was a good thing or not, I’ll leave you to decide for yourself). This song reflects that feeling.

Lyrically they based this song on a bunch of old folk songs which they have parodied:

Hang down your head Bob Stansfield,
hang down your head and cry.
Parliament must stand this way
and you still don’t know why”.

Or how about “Farewell Pearson” to Farewell Eileen. And how about this for a chorus:

Go Go Trudeau don’t be afraid to take your stand.
You got the nation right behind, go right ahead and blow their mind.

It’s no one little, two little three Canadians I grant you, but it must have been embarrassing to sing. Interestingly, it’s not nearly as bad in French. This may well be because I can’t understand how bad the lyrics are.

So my trip to London netted me an interesting re-look at 1968 and 20 years later. Somehow I’m not too fussy on either right now.

Fergus: This month I go on another road trip. A friend in Owen Sound has just had a baby so we pack the kids into the Caravan and head for a fall colours tour of the Beaver Valley, before settling in Owen Sound for the evening. Fortunately, we haven’t had time to pick up a baby gift; that means a stop at the Fergus Market is in order.

I say fortunately for a couple of reasons: First, it’s a long trip and the kids are sure to get restless. One or two stops along the way would be a good thing. Second, because the Fergus Market is a great place to continue my search. If you have never been, it’s a fairly large market with 20 or so stalls and a few small cave-like stores. You can get both new goods and used junk, as well as fresh fruit, ripe cheese and baked goods. There’s a small stall that sells new baby stuff: clothes, blankets and the like. The Missus grabs a diaper bag while I buy some strawberry tarts and lemon squares. The lady at the tart stall tells me how wonderful my kids are and entertains me with stories of her own five grown children. I nibble away on a tart thinking, “five kids and she still doesn’t have a clue how to bake.” You can taste the dough over the berries and later I discover to my dismay that the lemon squares are also doughy.

The baked goods are, however, the only disappointment on this stop. After spending far too long at the used tool guy’s stall we buy the kids a few small toys. A sword for the boy, his second in as many months, and some Indian figures for the wee miss. As soon as they are quiet, I stumble upon my treasure. A music stall: records, CD’s, bootleg videos and . . . 45’s. A big pile of 45’s! 3 for $1.00!! In alphabetical order!!! Of all the places I’ve stumbled across in the last six months, this is the first to bother putting the singles in alphabetical order. And 33 cents apiece is dirt-cheap. The Missus wants to walk ahead and I yell for her to leave me a couple of loony’s. She leaves me the kids and I think, what the hell, I should get one or two records out of the guy for them.

There are four piles of records here, 50 maybe 75 records per pile; it’s hard to tell as small piles hold a deceptively large number of singles. I quickly find a Paul Anka section and toss the idea of tossing this idea. After (Your) Havin’ my Baby I am not sure I ever want to hear Paul Anka again. But a gig is a gig and he is Canadian. None the less I decide on one I have never heard before, As Long As We Keep Believing, thinking maybe it won’t be so bad. Next up is Blood Sweat and Tears, again a song I never heard of: You’re The One. The choice here is fairly good, but I’m in a gambling mood so I decide to risk it all on these two songs I don’t know. Of course the price is three for a buck, and my last one is an old favorite from my very early youth, Edward Bear’s Last Song. I’m in and out in about three minutes with a dollars worth of Canadiana. Nope, nothing disappointing but the baked goods.

The rest of the day and evening is nice if uneventful. We picked the perfect weekend for fall colours and the Beaver Valley is stunning. The kids and I drop a fishing line in the water at Meaford, then we pick up Chinese take out before visiting the new Mom and Dad. The baby is a beauty, as all baby’s invariably are, and the missus is all a glow from holding her. By midnight we are back on highway 6, this time heading south; her grinning away and me nervously quizzing her about whether she is serious in wanting another one. We arrive home too late to worry about my new found Canadian gold, and I put them away until tomorrow.

Next day, first thing (as early as a wife and two kids allow first thing to mean) I begin. Somewhere I Heard that Paul Anka has done some Albums in Italian; Listening to As Long As We Keep Believing I wish he would take out citizenship, then I wouldn’t have to listen to this crap ever again. Truly horrible music, and believe me it hurts me to call it music. If Air Supply was boring, they wouldn’t be this bad. One thing I have learnt, My Way was not an accident. It’s like an industry with this guy!

Next up is Blood Sweat and Tears You’re The One. One of the most respected bands in Canadian Music, loved by the critics, tolerated by the fans, Blood Sweat and Tears is one of those bands that did everything with an eye towards quality instead of the charts. David Clayton Thomas is one of those high end Canadian art types that the CBC love. I am not sure which side is really the A side, but it turns out I know this song. Quality soft rock, nice jazzy backbone to it this is, none the less, not to my taste. Not a bad song, mind you, just not what I listen to. Soft slow and comfortable; a man could screw to this song.

We end where my music memories begin, with Edward Bear’s Last Song. Ahhh. Canada. The Canada I knew and was a pre-teen in. On Friday nights in grade 8 a group of us got together at one house or another and had little parties. This was always the song at the end of the night, the song you broke up to, or got together to. We played spin the bottle and basically had a life like we would never know again. In the next year our social circles would grow so large, and never again would we all get together again, in some cases I never really socialized at all with a lot of these people. Yet here they are, so up front in my memory.

That said, it’s amazing what perspective brings to the table. This really is one of those horrible bits of tripe that I so rail against, yet I can’t hear it enough. To me it’s a gem, the creme de la creme of tripe, if you will. Like a cold day reminds me of Christmas, I swear I am 12 and falling in and out of love again when I hear this song. I want to say it’s beautiful, but a modicum of objectivity won’t let me; it is the memories that are beautiful. This is just the one recollection in the soundtrack of my puberty, but I’ll take it.