Static on the FM Dial

A face only a mummy could love....

It might be best for you to read (or re-read) my little blurb on FM at The Canuck Connection before proceeding. Just skip down to the second last paragraph of the post. Then join me back here.

Even though I'm not crazy about absolutely everything that Canadian progressive rock group FM recorded, I still cite them as among my favourite music artists of all time. Their Black Noise album is among the best I've ever heard. Ground-breaking, thrilling, eerie, brilliant. When I listen to Black Noise, I see the future. 

The 70's were fertile ground for progressive music, springing out of the late 60's experimental work of bands like Yes and Pink Floyd. Those bands, plus others (mostly British, by the way) like Jethro Tull, Genesis, and King Crimson, created and developed a genre that was often perceived as snobbish and was often looked upon with disdain by many critics. And that only strengthened the bands' resolve to produce more and more challenging music for their audiences. Not Top 10 material (very often).

Psychedelic and folk rock of the 60's formed the roots of prog and I suppose we can thank artists like The Beatles and The Byrds for that early influence. Floyd, Yes, and others pulled heavily from the jazz and classical forms as they noodled on their instruments and composed more intelligent and virtuosic music. 

After the European explosion of the style, curious and able musicians in pockets around the world began to dabble in progressive music. In 1976, FM formed - as a duo. Cameron Hawkins stood at the microphone while Nash the Slash lurked mysteriously in the shadows, both handling several electronic instruments (including electric violin and mandolin) during their performances. One rule, though: No guitars.

The line-up grew when Martin Deller joined the band in early '77. An accomplished drummer, he brought a highly technical jazz style to the mix, a perfect complement to the otherworldly sounds of FM. Nash didn't much like this change in sound, though, so he hit the road. His replacement was one Ben Mink, who shared Nash's penchant for odd instrumentation, including the electric violin and mandolin. 

Even though FM did enter the studio, it took them a couple of years to land a proper record contract. And finally, their first album Black Noise was released to the public through stores (previously - and strangely - only available via mail order, thanks to CBC's oddball marketing and sales decision).The album sales reached gold status, thanks in part to the success of single Phasors on Stun. 

1978's Direct to Disc was exactly that, an album that totally bypassed the recording tape medium, instead requiring live performance and mixing as the sound is transferred to the master disc - no overdubs! This sort of process dictated that only a limited run of records could be pressed from that master, so Direct to Disc was only released as a limited edition. The music is mostly instrumental, very challenging and forward-thinking, along the lines of Yes and King Crimson, though heavy on jazz in parts.

In '79, FM released Surveillance, and though it didn't exactly bowl me over like their debut, I did enjoy bits and pieces, including the cover of Shapes of Things by the Yardbirds. The band suffered through some record label woes, which resulted in album release delays and so on. 

1980 brought us City of Fear, comprised of an inconsistent set of songs. Some I liked, some I didn't so much, but I did absolutely love Surface to Air, which I consider one of their best songs ever. Too bad it fell in the midst of a lot of average music. 

The '85 album Con-Test saw the re-formation of the original band line-up of Hawkins, Deller, and Nash the Slash. This disc felt completely at home in the era of new wave music. All FM had to do was write simpler, shorter songs and suddenly they were "in vogue". Lead single Just Like You is a prime example. I can't remember if there was a TV music video for it, but I can totally picture a bandaged Nash twisting to this bouncy song. Just Like You even cracked the Canadian Top 50 charts. But that sort of success is one thing.... and what I valued from artists like FM was something else. Hit singles were not important to me. I wanted a lot of substance, beauty, and integrity here... not run-of-the-mill pop hits. For a band that was capable of so much more, this album disappointed me.

By the time 1987's Tonight hit the stores, I had forgotten about FM. Or at least I didn't care to follow their ongoing career anymore. Their music had become too bland and it was virtually indistinguishable from the other new wave-y pop out at the time. For me, they no longer sounded like the FM I knew and loved. And that was the end of the band's recording career, though they did a sort of live hits package in '95. They re-formed briefly in 2006.

I really missed the boat and never saw FM in concert. I'm positive it would have been an amazing experience, somewhere along the lines of Yes or Saga. I did, however, catch Nash the Slash playing at Toronto's outdoor amphitheatre Ontario Place sometime back in the mid-80's. I have no memory of the show, though... that time of my life was a bit of a blur, if you know what I mean. I was in my late teens at the time, living the dream. 

And word has it that a newly remastered special edition of FM's debut Black Noise will be released in October. I'm salivating as I think about it. 

Rest in peace, Nash (1948 - 2014)

Today's Secret Word....

.... is Pee-wee! 

Herman, that is. Some people cringe when they hear that name, after the 1991 "lewd incident" involving Paul Reubens. But I don't want to talk about that. Prior to that mess, Reubens was responsible for the imaginative character Pee-wee Herman, who will likely live on for generations. 

The coolest nerd ever. 

Paul Reubens created the Pee-wee character in the early 80's, gradually developing the man-child persona and then bringing it to full realization in a successful run as a stage show. An HBO special about this curiosity helped launched the phenomenon.... Reubens went on to become Pee-wee for a full decade -  in the Tim Burton cult movie Pee-wee's Big Adventure, its sequel Big Top Pee-wee, and then in the Emmy Award winning kids' TV show Pee-wee's Playhouse. 

Based largely on wacky 50's kids' show host Pinky Lee (but I see a Jerry Lewis influence, too), Reubens/Pee-wee went on to influence comedians, actors, and characters, including Jim Carrey and ....

The look, the persona... remind you of anyone?

I think that it was the Saturday morning TV show that first caught my attention. This was back at a time when I was working in the film business, animation to be exact, so part of my "homework" was to check out cartoons. And the Pee-wee show dropped quite neatly into my viewing schedule. What a blast! The show was silly, irreverent, highly imaginative, and clever in its appeal to both children and adults. Twice, Pee-wee's Playhouse made TV Guide's Top Cult Shows Ever, rolling in at #10 and #12.

Just plain fun. If you didn't like the show, then I guess you were never a kid or at least didn't enjoy being a kid. Pee-wee was for the kid in all of us, no matter our age. 

Some old Playhouse VHS tapes that

are still hanging around my place

Reubens had a career outside of the Pee-wee world, though sometimes there was a weird overlap, where he was asked to play the character in others' TV programs and movies. His gigs (before, during, and after the Pee-Wee era) included a 1981 episode of Mork & Mindy (Robin Williams' hit TV show), The Blues Brothers, two Cheech and Chong movies (very much as a Pee-wee-like character), Back to the Beach (as Pee-wee), SNL (hosting as Pee-wee),  Sesame Street (again as his alter ego), and as the weirdest character ever played by anyone on my favourite all-time TV show 30 Rock. Plus tons more appearances, and even voice acting, in both film and television. And a star on the Hollywood Walk of Fame. Quite the resume.

I don't often care about the personal lives of entertainers, certainly not to the extent that their off-screen actions affect my opinion of their work. And with Reubens.... he didn't hurt anyone at all. I can easily ignore his transgression and simply admire his impressive body of work as an actor - especially his Pee-wee character. And I'm sure that if anyone heckles him with remarks about being a "perv", he replies with:

I know you are, but what am I?

I think Jerry Lewis must have had something

to do with the invention of Pee-wee.... just

look at that clown!

Mega-Metal

Dave Mustaine helped

set the thrash movement

on fire

In the mid-to-late 80's, I discovered this little band called Megadeth that really tore up the metal scene. Lead singer, guitarist, and founder of the band Dave Mustaine had been a member of Metallica previously, but because of differences in that camp, he packed up and set up a new and highly successful career with his new band. I had the Peace Sells and So Far, So Good albums back in the day, and though I wasn't sure about all of their music, I did find nuggets of gold in those recordings. A friend who had their first release, Killing is My Business... and Business is Good, let me sample that now and then. Very raw and aggressive stuff. 

What appealed to me on this material was the highly technical playing of the band members, especially Dave himself. I really latched onto the Rust in Peace album, thanks to the magnificent guitar interplay between Mustaine and his fellow axe man Marty Friedman. Friedman was a freakin' maniac on the guitar, a perfect complement to Mustaine's heavy yet melodic playing style. 

I've come to believe that Rust in Peace is among the very best metal albums ever recorded. Yes, I rank it right up there with Black Sabbath, Heaven and Hell (a personal fave), Sad Wings of Destiny, Master of Puppets, Ride the Lightning, Reign in Blood, and Number of the Beast. In fact, I just might place Rust in Peace in my top three of all-time metal. 

Every single song on Rust in Peace is perfection. Each has its own mood and story, yet they all tie together almost like a concept album.... linked thematically perhaps, though not always obviously. More instrumentally than lyrically. There is that flow from song to song that brings to mind the Beatles' Abbey Road album.... not the music itself, but the seamless and natural progression from track to track. 

Though Mustaine had his personal issues, like battling substance abuse, he was a primo musician and entertainer. He expressed himself honestly through his music and it really showed. Songs like Peace Sells, Holy Wars, and Symphony of Destruction were emblematic of Dave's stance on world issues, where his lyrical and vocal talents met and spewed out angry, bitter commentary. Something substantial for the metalhead who wants a little more from his or her music.

I never saw Megadeth headline but I did see them open for Heaven and Hell (really just Black Sabbath with Dio on the mic) in 2007. That was a total blast since I was and still am a major fan of Dio's work with Sab, plus I've long been an admirer of Mustaine's music. A loud and glorious evening that was.

Megadeth was one of metal's esteemed "big four", which included Metallica, Anthrax and Slayer. These giants of the genre were key in the development and popularization of American thrash metal. 

For me, there was something more to Megadeth.... though I could wrap my fingers around some Metallica songs on guitar, I just couldn't manage Megadeth's speedy and complex arrangements. But hey, that was just me.... a worse than average guitarist at the time. The music was often challenging and the lyrics thoughtful if blunt.

The band has dealt with a lot of controversy over the years, facing album and music video bans, cancelled concerts, and criticism of their lyrics. Megadeth's image may not please the masses but the metal community embraces them for their honesty and integrity. Very in your face and uncensored, but then again, this sort of music has always addressed dark issues that make some people uncomfortable. But isn't this a sort of therapy?

Megadeth's first release featured band mascot Vic Rattlehead,

who would go on to adorn many of the later album covers

Testing For Echoes

They've got the look

As big a Rush fan as I was, I felt there was a stretch of time during the late 80's and early 90's when I had mixed feelings about the band's music. Albums like Hold Your Fire, Presto, and Roll the Bones were highly anticipated, yet there was an element of disappointment associated with each. All three releases had their high points and certainly satisfied a need. But Hold Your Fire felt lightweight in both sound mixing and in the music itself; there was a sameness of tempo and guitar approach from track to track on Presto; and Roll the Bones contained too many "disposable" songs - just weaker songwriting in general. 

1993's Counterparts was a welcome return to form with a heavier sound and catchier, stronger songs. Some might argue this, but I believe that 96's Test for Echo was an extension of Counterparts, maintaining the harder rock feel coupled with fresh new musical hooks. While my hopes were high for Test for Echo, I was wary of just how well it would measure up to the standard set by Counterparts. But my fears were for nothing - Test was a fun and invigorating album. 

On June 28, 1997 I found myself clamped in my concert chair at the Montreal Forum, cheering on my favourite Canuck rockers. The boys in the band cranked out a powerful and energetic set, leaving the crowd happy and pumped. But my friends and I were ready for more. Though I wasn't prepared to shell out for another concert ticket, a very good friend offered me a free ticket to come with him and the gang to see Rush again, when they swung by our local arena just days later - the very last concert of the Test for Echo tour. 

By my poor memory, I can't recall if there were many, if any, differences between the two shows. What I do remember is that there were some very special treats in Rush's setlist on this tour. For one thing, I got to hear the 2112 suite in its glorious entirety. Then there was Natural Science, which I don't think I'd ever seen live before... and that was a stunning display. And.... the grand finale of the concert's encore (both times) was a chunk of their prog-metal classic Cygnus X-1. The audience (including me) went wild when we heard those opening staccato notes ringing throughout the rafters. Magical.

The Test for Echo tour program plus ticket stubs from

the two shows I saw within one dreamy week in '97

Call for the Priest on Line One

When we were rather fab.....

It wasn't until high school that I discovered rock radio. The local station was pathetic, or at least little more than a primer with light pop and rock like ELO, Donna Summer and Billy Joel. I was leaning toward something heavier by then. Through one friend, I latched onto Rush and Supertramp; another guy got me listening to Pink Floyd and The Eagles; and yet another prompted me to try out Led Zeppelin. So I was on my way.

But tuning in to major rock music stations from Toronto (the nearest big centre to me) was the next logical step. Here, a whole new world opened up to me. And it was where I first heard artists like Thin Lizzy, Iron Maiden, Motorhead, Black Sabbath, Blue Oyster Cult, Def Leppard, Ted Nugent, Van Halen and Aerosmith.

And one band I particularly liked at the time was Birmingham, England's pioneers of heavy metal, Judas Priest. Priest early on borrowed some of the sound and style of Black Sabbath (also from Birmingham, an iron and steel town - funny how many metal bands hail from there) and added a twist.... something bleaker and even more despairing. I won't say it was heavier than Sabbath, but there was an ingredient that set Priest apart. Perhaps in part it was the recording methods and the end result on their records. Something more steeped in doom and gloom, if that makes sense. More grim and disturbing, and definitely freakier with singer Rob Halford's frightening command of his vocal cords. Halford delivered piercing high notes (listen to The Ripper) that sent shivers up my spine. 

Certainly, Priest's double whammy of impressive guitarists (Glen Tipton and K.K. Downing both stuck around for all or nearly all of the band's lengthy career) gave them a melodic edge over rivals. Those two traded searing solos seamlessly, each more than capable of blistering leads as well as locking into solid rhythms to complement his counterpart.

Cheater and Rocka Rolla were early tracks that stunned me with a lean and mean approach. With slightly later songs Victim of Changes and Tyrant, the sound was more expansive, and dripping with gothic overtones. Real horrorshow. Those two tracks plus the rest of the Sad Wings of Destiny album pushed the band into their very own genre. What Sabbath invented, Priest re-worked into their distinctive style - twin guitar attack plus Halford's superior vocal abilities. Old Rob's singing was often like a heavy metal version of Freddie Mercury, if you will. His wide vocal range allowed him to reach high-pitched, operatic notes, and he could just as easily drop down to the lower registers. All to chilling effect... kind of psychotic at times, just perfect for Priest's brand of music. 

My ancient Hero Hero cassette tape, probably

now unplayable but still cool to look at

Breaking the Law and Living After Midnight were big hits off 1980's British Steel album, and that pretty much launched them into super-stardom. The albums Point of Entry, Screaming for Vengeance, and Defenders of the Faith took Priest to the next level, if they weren't already there. These discs of more sophisticated modern metal cemented Priest's place not only on 80's album charts but also in the entire realm of metal music. Their importance to the genre cannot be overemphasized. 

For a period of time during the 80's I lived and breathed the Screaming for Vengeance album... The Hellion, Electric Eye, the title track, and You've Got Another Thing Comin' were all aggressive and progressive in their scope, far beyond their relatively primitive early efforts. Though I was impressed with that stuff at the time, I now look back, acknowledge its merits, but pay more attention to the band's formative years. Oldies like Rocka Rolla, Sin After Sin, and Sad Wings are the albums that display more staying power for me. 

Priest was important to the genre in more ways than one. First, they did borrow a little from Sabbath initially, but with the Priest treatment, a more refined definition of heavy metal emerged. Sabbath created metal but they were never just a metal band; they were also interested in lighter, more melodic pieces that ranged from folky-classical to jazz-swing. More well-rounded perhaps. But Priest had their own vision: build a metal music machine like no other and thereby dominate and influence the entire genre... over and over again. The distinct phases of Priest's career signalled growth in the band's songwriting and technical proficiency. They truly embraced what was metal and sought to redefine it in every way possible. Not just musically, but also visually... the band took the leather and studs look to the extreme, and that became their trademark, plus it influenced every metal band that came after. Without the leather, you were light as a feather! That's my line, by the way...

Priest, through their live shows, showed the world a thing or two about spectacle and showmanship. From Halford's famous stage entrance on a motorcycle to the pyrotechnics and light-show to the choreographed moves... like that famous swinging the guitars in unison on chugging anthems like Breaking the Law. The over-the-top presentation was part of the job... these guys took their work seriously and gave the fans what they wanted, and then some. 

Now gimme one for the road....

That Rabbit's Dynamite!

The Pythons are at it again...

I don't really remember how I first came upon the Monty Python comedy troupe. I have memories of watching their Flying Circus TV show occasionally - in reruns, for this was well into the 70's, though in my location, this was not a regularly scheduled program.... just a randomly placed filler. So it was usually just by coincidence that I stumbled upon it.

I know that I caught the first two Python feature length films on TV in the late 70's or thereabouts. Those were And Now For Something Completely Different and Monty Python and the Holy Grail. The first flick, released in '71, was totally random silliness, laid out in sketch format, mainly because it was cobbled together with the short vignettes from the TV series. I have always loved the Self Defense Against Fruit sketch and the Nudge Nudge bit. This film was nonsensical to say the least, but at the time, it made me laugh my arse off. Still a hoot, I suppose, though it's been a long time.

The Holy Grail on the other hand was a comedy masterpiece. This 1975 revamped telling of the ancient legend of King Arthur's quest for the Holy Grail is peppered with limbless black knights, killer rabbits, and cows in catapults. My friends and I rented Holy Grail often and memorized the dialogue from front to back. I can still recite way too much of that movie. Way too much.

Life of Brian script, wrapped up in a

nice large format book - on my shelf

Monty Python's Life of Brian caused a big ruckus with religious groups and anyone who gave a darn about that dusty old book called The Bible. This 1979 film told the story of Brian, whose adventures paralleled those of Jesus Christ, the protagonist of the best-selling aforementioned novel. Though surrounded with controversy at the time, Life of Brian went on to earn accolades as one of the best, if not the best, comedies of all time. Certain scenes stick in my mind, like the speech impeded Pilate at the Forum, and of course, the big singalong crucifixion at the end. 

Then in 1983 came the final feature from the group, Monty Python's Meaning of Life. This movie harked back to the troupe's very first film with its series of segments, all thematically linked, but all quite different from each other. Some were light-hearted while others were downright disgusting and shocking.... the Pythons even admitted that they were out to offend "absolutely everyone" with this picture. For example, the liver extraction from a living man under no anaesthesia. And the restaurant scene with a whole lot of projectile hurling, topped off with a morbidly obese man exploding after eating a monstrously-sized meal. A whole lot of fun!

A couple of my Python collectibles: a Python

Scrapbook and the Meaning of Life script

The Pythons were a comedic force to be reckoned with during the 70's. The British group set new standards for the medium, in their stage and TV shows, films, and on recorded albums. Their world of the absurd found its audience, and the few who didn't "get it" were really of no consequence. The troupe became wildly successful, and inspired and spawned other comics to stretch the boundaries of their imaginations in their acts, shows and films. 

Terry Gilliam, who wrote, directed, acted, and/or produced everything Monty Python, also developed works not starring the entire troupe but often some of its members. Like 1977's fantasy Jabberwocky, starring Michael Palin of the gang. Later on came Time Bandits (with John Cleese and Palin) and Brazil (Palin again), plus several others that were praised for their creativity and intelligent satire. Quite the cinematic genius. 

The Holy Grail soundtrack, dialogue

straight from the movie... I studied this

more than I studied for school tests

I was pleased while working at a large corporation during the 90's to see some training videos featuring none other than John Cleese. Nothing like some nutty humour to help educate. 

But getting back to the Monty Python group themselves, they've had an enormous influence on the world through the many media avenues at their disposal. My friends and I grew up on that stuff, and even as I moved cities and new jobs, there were always fellow Python fans to bond with. Internationally adored and revered, Monty Python will forever be associated with the 70's shift to bizarre, daring, and nonsensical comedy. Not at all dull, tedious, drab and awful.

At rear: Graham Chapman, Eric Idle, Terry Gilliam

In front: Terry Jones, John Cleese, Michael Palin

The Canuck Connection

I'd like to ramble a bit today about some Canadian rock bands of the 70's. Why? Because many of them are still grinding away at it, playing county fairs and other small gigs, some supporting or even headlining on large venue tours. A lot of these artists' careers stalled somewhere along the way (often the 80's), only to fade from the public eye, but they all re-emerged for a few special appearances or a few comeback tours decades later. In other words, when the money ran out. But I still marvel at the longevity of the many bands who have truly made a career out of their music.

Triumph comes to mind first. I used to love those guys back when they wrote catchy, heavy tunes that rocked the airwaves. Their best albums were released in the 70's, with a couple of pretty good efforts in the early 80's. But they fizzled out by the early 90's, unable to compete with the youngsters. The band sort of limped along for a while, minus the guitar and voice of Rik Emmett, and though the Triumph of old is still highly regarded by their peers, it seems the original line-up will never reassemble. Emmett continues to tour and record, though he concentrates on acoustic music now. I witnessed the magic power of Triumph live back in the 80's... read more here. 

Saga, masters of progressive rock, did their best work in the late 70's and early 80's, but forged on, recording and touring over the decades. They are one hard-working band, they've still got the chops to knock your socks off with multiple keyboard solos, and I've had the pleasure to see Saga live a couple of times over the years. 

Bachman-Turner-Overdrive (aka BTO) were a major force for much of the 70's with their distinctly Canadian hard rock, but they barely lasted a decade. The boys reunited for a few special appearances in more recent years, including the 2010 halftime show at the CFL Grey Cup. Still takin' care of business.

BTO in all their glory

Rush, of course, can't be forgotten in this discussion. This prog-rock trio continued to dominate the music scene in many respects ever since their first album in '74. Though Rush's best work remains in the 70's and 80's, and following slight lulls in quality since then, the band has proven again and again that they can still flex their creative muscles. All three of them are still highly regarded as world class musicians. Working men, through and through. Browse the site for more Rush stories.

Max Webster, too, earned their stripes in that decade of choice. Led by Kim Mitchell (who'd later embark on a successful solo career), Max Webster churned out a gloriously weird concoction of heavy and light and progressive rock. Their small handful of albums are classics, every one of them, and 'ought to be required listening for every Canadian citizen. Max called it quits in 1981 for various muddy reasons, but their legacy lives on. Kim Mitchell, after several hit solo albums, called the Max band back together now and then for nostalgic tours. I was lucky enough to see Max Webster play at my high school in the 70's, then a few more times in night clubs during the 90's. More details are here. 

April Wine was a favourite group of mine during the 70's and 80's. The Wine sputtered during the late 80's and only a few studio efforts came our way after that. But they have been pretty active on the county fair circuit over the years since their heyday. I saw them back somewhere in the early to mid-90's, and though the band was greyer on top and thicker around their middles, they could still rock harder and faster than you'd expect. 

Prism was an act that I only had a little exposure to, yet my memories of some of their songs linger. Spaceship Superstar was particularly cool for a singalong, wasn't it? These guys were in their prime for about seven years, re-formed a little while later for touring, and even popped out a few albums, mostly greatest hits rehashes.... 'cuz they didn't exactly have a whole lot of hits anyway, did they? But.... some of their members went on to illustrious careers in record producing and songwriting. Look 'em up... you'll be surprised.

Chilliwack recorded a lot more albums than I ever knew about until now... just about an album per year during the 70's. Quite the output, though since I heard very little of it, I can't really comment on the consistency of the music. These guys wrote radio-friendly songs in the pop/rock vein, most notably My Girl and Whatcha Gonna Do, but I never knew more than the selection of tracks on their greatest hits package. Chilliwack never really stopped touring in at least some incarnation, and played a 2005 Mattawa festival with a horde of other Canadian artists. 

Though Neil Young got his start with some hippy stuff in the 60's, he pretty much owned the Canadian music scene in the 70's. His critically acclaimed folk-rock garnered him praise from all corners back then... and now, though during the 80's and beyond, Neil experimented with other musical styles that sometimes shocked fans and critics alike. He certainly must be lauded for his songwriting ability, even if his singing leaves some folks cringing. Sort of like that Bob Dylan guy, you know? Hey, I was never a huge fan of either one of them, though I have always admired a large handful of Young's songs and I don't think his singing is half bad. He's still an active force in the music scene, recording and touring and whatnot. Especially the whatnot. Look it up.

Nobody takes Neil seriously unless he looks uncomfortable

FM were a jazz-rock fusion band that gave new meaning to "progressive music". I don't think it was common knowledge that Canada had such gifted musicians playing in their backyard - then or now. But when I noticed a friend's FM album way back when, I was intrigued... and when I heard it, I knew I'd tapped into something special. That album was Black Noise, and man, I still love that disc! Often dissonant and chaotic, Black Noise sounds like a soundtrack for a futuristic world or even universe. I mean, songs like Phasors on Stun and Slaughter in Robot Village give you a fair idea of where these guys' minds were at.... but add in the highly technical mix of traditional rock instruments with a whole of electronics, plus weird stuff like the mandolin. These guys hung in there from '76 to '96, though I only really knew their 70's and (vaguely) their 80's music. After that, they split and re-formed often, never really gelling again. I believe one original member fronts a new FM, but who knows what planet they are playing on now?

That'll do it for today. I think I've covered the Canadian bands that meant the most to me back in the 70's. And it's interesting to see these legendary rockers show such stamina as they keep on doing their rock'n'roll duty. Salut!