Rick Keene Music Scene – Myles Goodwyn Has The Blues and That’s a Good Thing! Part One and Two

 April Wine are forever etched in the consciences of Canadian music fans.

When original bassist Jim Henman asked  his former band-mate from Woody’s Termites to join April Wine; everything changed. For the better.

What followed was one of the great success stories for a Canadian band. Hit after hit turned into one of the best live shows this Country has seen.

Principal singer, songwriter and leader Myles Goodwyn set the bar high for all Canadian songwriters in Rock n Roll. Goodwyn, also set the bar high for Rock ballads as well.

Fittingly, his autobiography is titled  “Just Between You and Me’,  a mirror  name for the video and song which superimposed April Wine onto stages South of the Border and worldwide. The song which made April Wine a household name in North America.

Myles traveled backwards to tell the tale of his years inside and outside of April Wine. Now he is travelling backwards once again.

The Blues were an essential part of Goodwyn’s musical fabric and the sixty-nine year old musician is paying homage to the genre which helped ‘sculpt’ him as a young man growing up in New Brunswick.

Please listen below to my chat with Myles as we touch on the early days of April Wine and Myles’ new disc;

Myles Goodwyn and Friends of the Blues.

The album is out March 2nd 

 

 

 

Visit Myles Here !

Buy the Book Here !

 

Montreal En Lumiere

 

 

 

Artist Example

 

 

 

 

 

 

Rick Keene Music Scene – Myles Goodwyn Has The Blues and That’s a Good Thing! Part One.

 

April Wine are forever etched in the consciences of Canadian music fans.

When original bassist Jim Henman asked  his former band-mate from Woody’s Termites to join April Wine; everything changed. For the better.

What followed was one of the great success stories for a Canadian band. Hit after hit turned into one of the best live shows this Country has seen.

Principal singer, songwriter and leader Myles Goodwyn set the bar high for all Canadian songwriters in Rock n Roll. Goodwyn, also set the bar high for Rock ballads as well.

Fittingly, his autobiography is titled  “Just Between You and Me’,  a mirror  name for the video and song which superimposed April Wine onto stages South of the Border and worldwide. The song which made April Wine a household name in North America.

Myles traveled backwards to tell the tale of his years inside and outside of April Wine. Now he is travelling backwards once again.

The Blues were an essential part of Goodwyn’s musical fabric and the sixty-nine year old musician is paying homage to the genre which helped ‘sculpt’ him as a young man growing up in New Brunswick.

Please listen below to Part One of my chat with Myles as we touch on the early days of April Wine and Myles’ new disc;

Myles Goodwyn and Friends of the Blues.

The album is out March 2nd 

 

 

Visit Myles Here !

Buy the Book Here !

 

 

 

Montreal En Lumiere

 

 

 

Artist Example

 

 

 

 

 

 

David Henman – ‘ Me and Cousin Jim Wrote Our First Song When We Were Twelve …’ Part Two

David, Jim and Ritchie Henman – along with Myles Goodwyn; formed April Wine.

 

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Following stints with bands such as Prism ,The Dudes, and The DebutantesDavid Henman has never stopped playing music.

Please listen below in Part Two as David speaks on many things.

Stay tuned for part three.

 

 

 

 

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David Henman – ‘ Me and Cousin Jim Wrote Our First Song When We Were Twelve …’

David, Jim and Ritchie Henman – along with Myles Goodwyn; formed April Wine.

Following stints with bands such as Prism ,The Dudes, and The DebutantesDavid Henman has never stopped playing music.

Please listen below as David speaks of his last two projects.

Stay tuned for part two.

 

 

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Click Here!
Click Here!

 

Click Here!
Click Here!

 

sceen card

 

wpid-wp-1427730487506.jpeg

 

 

 

 

Jim Henman; Co- Founder of April Wine Part Two

Mr. Henman – and that IS MR. Henman, recently toured for the first time in a long time …

Along the way, he played with his cousin David and hooked up with Myles Goodwyn for a listen to Myles’ soon-to-be-released C.D.

It has been a long journey for Jim, a musical man whose knowledge and love of ‘old school music’ – just may make the co-founder of April Wine, famous once more ….

Jim? What do you say …

Jim Henman – Co-Founder of April Wine. Part One

Jim Henman is very happy with the way his life turned out …

Considering some people would have regrets for leaving a rock band that would go on to become one of Canada’s largest, Mr. Henman went on to a very productive life with nothing but feelings of pride for his old mate; Myles Goodwyn.

A life that is more productive than ever. Musically and movie-wise. Say what?

Jim … Take it away …

Please visit Jim’s Site Here!

Pssst! April Wine Rocks! (Just Between You and Me)

The year was 1981 …

Hockey’s New York Islanders won their second of what would become four Stanley Cups. Actress Natalie Wood died in what was an ‘apparent’ and questionable drowning. The film ‘Cannonball Run‘ – starring Burt Reynolds, was enticing people everywhere to race the world disregarding rules and general etiquette.

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On the music front – MTV began its sucessful run giving music another medium to display its wares. ‘Video Killed the Radio Star‘ by The Buggles; credited as the first video on a show which was the pre-cursor to shows such as ‘Friday Night Videos‘ and ultimately; ‘American Idol’.  Among the hoopla, a huge fact in the immense history of Canadian music took place. An overlooked fact – which then, made perfect sense …

A Canadian group by the name Of April Wine were exploding all over the airwaves. Their album; Nature of the Beast – not only sending classic songs like ‘ Just between You and Me‘, ‘Sign of the Gypsy Queen’ and ‘ Wanna Rock’ into living rooms everywhere – the disc  was the first April Wine album to reach platinum status internationally and it set the stage for the band to embark on a mammoth tour. A tour which etched lasting memories into the minds of their fans …

“Just Between You and Me” was a Top 10 hit in Canada and reached No. 21 on the Billboard Hot 100. It also gained a line in music history. Becoming the first song by a Canadian artist ever played on MTV.  A simple fact which – simply, cannot be altered by the sands of time …

Thirty-two years later, in a history which includes a split up, a re – acquaintance, the loss of a bass player due to lung cancer, various personal changes including the loss of the extremely popular Jerry Mercer on drums – the band ( Myles Goodwyn and April Wine) returned to Montreal. For many – it was as if they never left …

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One thing remains constant with April Wine. The songs …

Goodwyn’s songwriting ability remains timeless. Starting with ‘Fast Train’ from 1971 and ending with ‘Just Between You and Me’ from 1981 – everything in between: ‘Electric Jewels‘. Electric guitar solos. Electric lyrics which everyone seemed to know at The Virgin Corona Theater on a rainy Saturday night.

Elton John’s ‘Bad Side of the Moon’ and the group Hot Chocolate’s ‘ You Could Have Been a Lady’ ( two staples which helped to propel Wine into the upper levels of fame in the 70s ), commenced the party. Compared to new songs from bands such as The Sheepdogs and The Lumineers (songs which either distort melodies or lull the listener to sleep), April Wine reminded the audience what Rock n Roll is supposed to sound like. What Rock n Roll does sound like …

Myles Goodwyn and Brian Greenway‘s guitars, primed with oil from a different time. Juiced with the energy of a twenty-something version of themselves. Trading solos in 21st Century Schizoid Man, trading licks in ‘I like to Rock’ and trading smiles all night. Two partners in crime ensuring last night was ‘A Wonderful Time to Fall in Love’ with April Wine once more.

After all – how many bands, Canadian bands – especially in the 1970s, have been aw2asked to open for The Rolling Stones? Something which April Wine accomplished in 1977 following hits such as ‘Weeping Widow’, ‘Lady Run Lady Hide’ and ‘ Oowatanite”. The former a composition by the late Jimmy Clench and the latter – an encore staple for many years  – including last night.

A look around the Corona, a glance into the past. Seldom now – in an era where the youth have ‘seen everything and done that’ via the internet, do ‘air guitars’ and ‘air drums’ dominate the panoramic musical landscape. The crowd, predominantly of the Montreal Forum days and dotted with the Bell Center crowd, rockin’ in their seats. Singin’ and pounding their imaginary drums into submission.

Myles Goodwyn – Canadian Rock n Roll’s most underrated songwriter, vocally still in his early twenties. Astounding given his age and recent health issues a few years back. His appearance has changed – the voice as identifiable as ever. Greenway – the same bounce in his step as the days when he entertained Montreal with a band called The Dudes just prior to joining April Wine in the mid -seventies. The hair may be grayer for these two, the wrinkles as ordinary for anyone their age but there exists no wrinkles in the playing or the energy.

The year is 2013 ….

Jim Henman Still Has That ‘Same Old Feeling ‘ …

It has been a long time since Jim Henman recruited Myles Goodwyn to play in a band which became known as April Wine

new_cover_All these years later, Mr. Henman – a pioneer in Canadian music, has a new album and it is a return to his roots. All the music he loved growing up – returns to haunt the musician along with his many fans. Thank the Lord – Henman has a great memory.

The Singing Brakeman”, Jimmie Rodgers and ragtime guitarist/singer Blind Blake layered the roots for Jim Henman.

‘Same Old Feeling’ was released in 2012. A  collection of his many loves. It is a treasure of tunes which makes every listener  feel at home …

Track One; ‘ Slow Down’ – is a song Jim loved as a kid but always enjoyed playing more as  a country blues tune. Originally written by Larry Williams and recorded by The Beatles among many others, the opening chords of Jim’s version, all of three seconds, proves Henman is a likeable fellow. This song and this type of music can do that to a fellow or woman. The chorus sets the hay straight in the back of the truck and Henman, as the driver, ensures just the proper amount of bumps are hit at the beginning of this joyous ride. Country blues are not meant to sound smooth – live or recorded. Henman’s lifetime experience is aware and delivers it on cue.

‘You Can Have My Heart‘ – the second song, delivers Henman’s heart right on a golden platter via Hank Williams. “This is my Hank song.” says Henman. “Not to sound vain but I can picture Hank singing this.”

The song is a gentle introduction to Henman’s songwriting prowess that commenced along with Myles Goodwyn’s back in the mid – sixties with Woodie’s Termites. “It feels good and it’s a true story for me.” Admits Henman. In this day and age where television shows, movies and music seem to pump out hatred by the minute, it is easy to forget that great songs contain stories. Great songs contain melodies which provoke whistling. This Henman gem does just that …

The title track; ‘Same Old Feeling’ is a remarkable song and a play on words … or feelings. Henman has carried this song with him for forty years. He started writing it in a cottage, completed the process many years later in a cottage and guess what? The song is about a cottage … go figure? Henman finds the finished product happy and laid – back. He had a good time writing it and hopes a listener will as well. No doubt as once more Jim provides comfort. Jim enables us to ‘walk in the warm, warm rain’ and not get wet.

‘Could be Heaven’ – according to David and Ritchie Henman’s cousin – brings out his ‘old rock n roll’ self. Written in ten minutes – Jim loves the solo and the end of the song which bookends the fifties – style guitar riff to start the song. Reminiscent of  old April Wine songs … Coincidence? Nothing complicated – just old-time rock n roll. The kind of stuff that got the Silver Beatles hoppin’!

‘Thats The Way It Goes’ is a tune about a beach.  A sandy piece of land which is close to where Henman resides. Martinique  is the name of the beach and ‘Baboo’ is the name of the cat. A combination which makes a great tune.   A tasteful, delightful romp led by John Appleby’s mandolin playing and followed by Jim’s next – door – neighbor – style vocals. Great songs lead to whistling. This song includes whistling. A great song to listen to by the water while your feet dangle in nostalgia.

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Ritchie, David and Jim Henman

‘That’s All I Got’ is Jim Henman’s autobiographical song. It is important to listen to the words on this song which could have been easily recorded by The Band. It reels the details of Henman’s rise to fame with April Wine and his ‘would be ‘ demise if he had stuck around to watch it destroy him. A musical sense throughout the song dictates happiness yet a skylight remains open for a feeling of doom to chase the Halifax native along.

‘Walk Right In’
“It feels like this song has always been in my head.” says Henman of the Gus Cannon tune “I have played it for years at home .. I like this feel and what Charlie Phillips did in the solos … Love it! Chuck Buckett on drums really did it for me when he added his  drum ideas!”

‘I Don’t Have No Blues’ was written 15 years ago by Henman and wrote itself according to Jim. His appreciation of John Sebastian‘s songwriting comes out in this tune. Jim is telling us “I don’t have no blues’ and we kinda believe him. “It’s a blues tune that is not a blues tune ..” Says Henman. Whatever it is – it is a toe tapping acoustic number ripe with a century of artists’ souls and acoustic playing which gently stokes a flame long ago extinguished by hip hop and rap.

The last track is not final.

‘Shame Shame Boogie’ is a fictitious song about a guy in Waverly where Jim lived as a teen. A small town story and a tale which could be about ‘many people’ concludes Henman. The club they ( many people) went to was named Creeque Alley in Dartmouth, N.S . “For anyone who knows what I mean by Shame Shame Boogie …. they get it!” Adds Jim. ” The audience loved to sing along with the chorus .. I love it when that happens!’

Henman is doing a full band version of this song with a certain Myles Goodwyn on electric guitar. It will be released as a single. It is due out in a few months.

Hmmm … Myles and Henman playing together once again! I bet they get that “Same old feeling!’

http://jimhenman.com/

©rickkeene

Ritchie Henman – The Beginning of April Wine

Ritchie Henman along with his brother David and cousin Jim, were the founding members of April Wine.

According to Ritchie who currently resides in Dorval,Qc – Wine was created to ‘not be a cover band’ any longer.

” When we disbanded our group Prism in the fall of ’69, I was in engineering at St. Mary’s University in Halifax as was cousin Jim. He and David had tired of playing covers at teen dances and felt the time had come to do something with their songwriting. Despite David’s claim that AW began as a cover band, it was actually formed specifically to cease playing covers once and for all.”

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Jim and Dave Henman;Prism

Myles had become the principal songwriter of the band because he wrote the most commercial music but according to drummer Ritchie – the original group was always a democracy and David was the unofficial leader for business purposes

” I didn’t write at all back then except for a minor contribution to “Wench” on the first LP. AW hardly played at all around Halifax before moving to Montreal to try our luck at getting a record deal.”

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April Wine; Looking for a record contract in Montreal

The brothers’ and cousin’s plan was to form a band with a “neutral” name which would provide a platform for songwriting. To allow a situation that would enable the writers to move on to personal projects within three to four years.

Within a few weeks of arriving in Montreal, the band recieved the attention of DKD, which at that time was still a booking agency. Their first big gig was Canada Day ’70 – three months to the day since leaving home. April Wine played with groups from each of the other nine provinces and performed before 20,000 screaming fans at Place Des Nations. The group representing Nova Scotia.

The headliners were the Guess Who.

DKD was part of a group of companies that included Aquarius Records and Terry Flood Management. By August the group had signed contracts with both of those companies.

Says Ritchie; “We had accomplished what we had set out to do by ’73. By that time the live performances had begun to suffer as a result of lackluster attitudes and it was time for me to move on. David was also keen for a change.”

By ’73, April Wine had established themselves as a successful enough outfit to go to the next step. In September of that year, the members simultaneously quit the band.Two months later Myles and Jim Clench decided to form a new band and asked David and Ritchie if they intended to keep the name; April Wine. The brothers replied; “take it and good luck.”

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Myles Goodwyn and Future Mrs. Ritchie Henman backstage Montreal Forum 72'

The original April Wine’s final meeting took place at The Maidenhead Pub in Alexis Nihon Plaza.

“It was a very amicable separation.” Says Ritchie.. “Lots of laughs and good memories. I came to enjoy the band a lot more after I left and we always remained friends”.

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April Wine - Backstage 72' Tour

Myles and Jim would go to watch David and Ritchie in their new band ‘the Dudes’ and also jam with the band.

“Later on, when I was in a group called Cruiser, Myles called to congratulate me on our ’80 release, “Rollin’ With The Times”. An album which Myles felt was one of the finest ever Canadian LPs at that time.

Ritchie Henman lives in Dorval ,Qc.and reminisces of his early days as a drummer.

“My first favourite drummers were the drummer for The Ventures and,locally (Halifax) Tim Garigan, who at that time (’62) was the drummer for a local band – The Esquires. They went on to become The Great Scots and Tim went on to play with Pepper Tree who released one Lp in ’71.”

By the late sixties, Henman had graduated to Joe Morello (Dave Brubeck) and his first pro drum kit was ordered to be identical to his set. It was a ’68 Ludwig Silver Sparkle.

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68' LUDWIG Silver Sparkle

And the beat goes on …

Photos courtesy of Ritchie Henman.

Frank Marino; Anti -Establishment 101

He was once and still is referred to as the white Jimi Hendrix. Something which Frank Marino disperses as something he never attempted to be …

It is also something the Montreal – born drummer turned guitarist extraordinaire cannot figure out.

Even after all these years …

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” It all started with a journalist who wrote that I was visited by Hendrix’s spirit and he reincarnated himself through me.” Marino says. ” What’s funny is that Hendrix was still alive at the time. I mean … really!”

Although Frank Marino may not have been the second- coming of Mr. Hendrix physically, the now fifty- eight- year-old is a throwback to the love generation. An integrity of love and peace which has been his best companion through four decades.

“During my time ( seven albums ) with Columbia records, I was always arguing with ‘the corporation ‘ over things – petty things. Details such as album art, length of songs. It was an ongoing battle.” Laughs Frank.

A battle which started the very first day he signed his first contract with the company.

” We were all in a meeting. All the bigwigs, myself, friends, family and members of the band. All set to sign this huge contract” Marino explains.” All of a sudden, this guy points to my friend who had been acting as the band’s manager and says – he has to go! I was floored!”

Marino told the executive that if his friend goes – he goes too. The ‘suits’ would not budge so Marino walked out and went home. A record deal and all that money left sitting on the table.

” Did they think I was fucking joking?” Asks Marino. ” They soon found out I was not …!”

Six weeks went by and Columbia called back. Your friend stays they told him. Frank Marino -1, Corporation – 0.

“Thats the problem with life and the way it is in the music business. A marketer figured out if you take ten bands which sound alike, put them together and give the tour a name, some sorta theme – money can be made. What happened to the music?”Asks Frank.

Marino comes from the ‘hippie generation’, Woodstock and music were his classroom as Marino spent a grand total of sixty- nine days in high school.

“I come from a family with older siblings and the whole peace and love era. I started experimenting with LSD at a young age. Unfortunately, I took too much too often and was ‘ trapped’ in a different world. I was hospitalized for a long time at the age of thirteen and when I came out, music was my life.”

While in the hospital, Marino …, out of sheer boredom, learned to play the guitar. An instrument which was lying around for kids to play with.

“It was a small guitar and I thought, why not? It was after all, the instrument of the sixties !”

Following his release, Marino discovered himself, along with some musical buddies ( some of whom would become Mahogany Rush ), would soon pay $1.00 to jam in a room at 2424 Ste. Catherine St. in Montreal. A house which is currently an old folks home. Instruments were not provided yet it was a place to hang out with people who shared the same interests. Similar to kids of today bringing their Xbox to a place where others share their games. A place where Marino plied his craft and made friends who are still in his life today.

What a life it has been …

“Imagine, I was a seventeen year old kid who had signed a huge record contract at a time when kids- especially not Canadian kids, made it big in music and the United States. I was a pioneer who used distortion to the max. At one time, my guitar was hooked up to twenty- two pedals. Only Hendrix had done it before and that is probably where the Hendrix references commenced. Add all this to the fact I just came from a major acid trip – who else was I going play like? Pat Boone?”

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Marino also says the guys who followed him, guys like Robin Trower – never claimed the Hendrix influence even though it was so obvious.

“I always said I was influenced by Jimi. My first album was dedicated to him and the song ‘Buddy’ was about him. I think guys like Trower and Stevie Ray Vaughn did not pump the Hendrix influence because they saw what happened to me and all the negatives it had.”

Marino also never wanted to be a star. The only reason he agreed to his first record contract was for the access to equipment.

“Robert Nickford had a company named Ko tai Records and he says here! Make a record and you can use this amp and these peddles. What kid do you know would say no …?”

Nickford then made a deal to merge his company with a record company in Detroit. The company was named Nine Records. Marino then became part of Twentieth Century Fox until joining Colombia in 1974.

Even now, Frank does not understand how musicians are considered some sort of gods.

” I felt uncomfortable getting In limos …” Adds Frank. ” I would rent a car and drive to the next gig. To me – Jesus is the only God I know …!” He also does not understand when musicians say their lives are hard.

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” You get free food and free booze. If you are young you have girlfriends everywhere. If you think getting on a plane a few times a week is tough, try packing boxes for some asshole every morning at six. That’s tough!”

What amazed Frank and continues to amaze him, is how he was always left out of the Canadian music scene. A factor which the guitarist attributes to his fame in the U.S. and being a native Quebecer.

” Whenever there was a Canadian ‘We are the World’ or something like that, I was never called and asked to participate. One – people assumed I was American and two; the Quebec music scene was like a seperate entity.Especially in the seventies.”

Montreal was rocking during that decade with artists such as April Wine, The Dudes, Nannette Workman, Offenbach and many others lighting up the city’s nightlife. Marino is good friends with many of them including Myles Goodwyn – which led to Frank playing on the April Wine song; ‘So Bad’ off of the album ‘The Whole World is going Crazy.’

” When April Wine was hitting it big, their manager – Terry Flood, came and asked me how to penetrate the American border and make it big. Terry and other Canadian bands came to me because I was huge in the States. In fact, to this day, aside from Montreal, I have still not played very many gigs in my own country. I told them – don’t ask me! I just stumbled into this …!”

Bands like Supertramp, Genesis and The Police are great examples of the type of love affairs nestled between French- Quebecers and musicians’ pillows. An amorous connection which made these bands more popular in Quebec than anywhere else. Frank Marino is part of that list.

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“If not for the support of the French-Quebecers, I don’t think I would have gotten so big.” Says Marino.” To be able to sell out the Montreal Forum three times you have to be good and at the same time – have loyal followers.”

One of the reasons Francesco Marino did not gather a flock of English Quebec fans was the lack of support from the English media. Notably the radio stations …

“If I had a cover song, like Purple Haze for instance, places like Chom – fm would play it. Aside from one original song; Dragonfly, the English radio stations would not play my tunes. I think its because they wanted to be ‘safe ‘. Another reason was my music was not vocally pleasing. In a five minute song, I would sing for a minute.”

Marino had many loyal fans in the States and his popularity happened so fast, Marino admits his career went backwards.

“Most bands play bars and clubs when they start out. Work their way up. In my life, it wasn’t until a good thirteen years later that I saw the inside of a club. Up until that point, I had been doing arenas and open air festivals. I had a billboard on Sunset Strip before I was twenty…”

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It was backstage at these festivals where the reality of the music business set in. Marino encountered many musicians who would talk of money only. Marino’s visions of a Woodstock setting, a situation where music would be the topic of conversation, were shattered. It was at this point he realized be was not in Kansas anymore. According to Marino, it was more like ‘Oz’.

“I was and continue to be anti – establishment.” Says Frank. ” For me, there is no room for business in the music business.”

He continues.” If you think about it, the music business is the only business where people suceed because others fail. Musicians want other musicians to fail. This is the mentality. You can always pick out a musician at a concert. Everyone is dancing and boppin’ and having fun. Not the musicians. They are usually in the back row, arms crossed and thinking; lets see what you got Marino or whoever happens to be on stage.”

Marino’s battles with Columbia continued over artistic ideas. Culminating with the album Juggernaut. According to Marino, halfway through their deal, Columbia had chosen the album cover art for his record; ‘The Power Of Rock And Roll ‘ – which seemed to be straight out of Playboy. When they started to play games during the next one, Juggernaut, Marino decided that enough was enough. Frank ended their partnership after seven albums in an eight album deal. A stipulation in Marino’s contract allowing him to do so.

Frank Marino then began the happiest period of his life. After a brief sojourn into the music business in the mid- eighties, a period which brought the same b.s. , Frank finally said ‘screw it!’ Starting in 1993, he fathered three lovely ladies with his partner of thirty- three years. According to Marino – there has not been one day since, they have not made him smile.

“Go figure?!” Says Marino. “All three of them are musical!”

Frank’s eldest daughter (19) is a classically trained soprano vocalist and the two youngest ones – (16 and 13) both play acoustic guitar. It is no wonder as Frank brought the kids on every tour since the day they were born.

Marino, always a technological ‘geek’ – started to run a small business on the side helping people to program and fix their computers. Sometimes people would recognize him and freak out but for the most part, Marino was just another dude fixing computers.

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One day, Frank ventured onto the Web and came across a fansite for Mahogany Rush. He did not realize there were so many fans talking about him and his guitar playing. Marino soon joined ‘the chats’ as himself. It took a while for people to believe it was him and it made him want to play music again. For the music …

“Now – we go on the road for thirty gigs or less when we feel like it. When we are fed up – we go home. There is nobody telling me do this – do that. No record company telling me I have to make a record. It is freedom …”

Just like Woodstock …

Jim Henman – The Man who Placed Myles Goodwyn in April Wine

If you want to make it as a Canadian rock star – Upper Canada Village is the place to be …

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At least that was what April Wine co – founder Jim Henman thought in 1969.

” I do recall wanting to quit university and approaching my cousin David with the idea of starting a band and try to make it.” Says Jim from his home in Nova Scotia.” David came up with the name and asked me to try to bring Myles Goodwyn on board.”

He continues.

“I went to Antigonish where Myles was living at that time and told him our plan. I thought he might want to join but I was not sure until about a week or so later.”

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Seven days later, Myles did join and April Wine was born. It marked the second time Jim Henman and Goodwyn played together. The duo were once part of a group named Woodies Termites between the years 1965 – 67. It was in that band, Jim and Myles wrote  songs together for the first time. It was not the first time for Jim however.

“I had been writing songs since I was 12 or 13.” Says Jim. “I don’t know when Myles started but we both wrote for our old band and we collaborated with one of the other members … ” He continues. “I still have that tune on tape. It reminds me of the Animals’ sound.”

It was around that same time when Myles wrote “You Won’t Dance With Me” – a hit for April Wine later on.

Jim Henman grew up a bIg fan of country music and the blues. All types of blues …

“In the 50s, I was listening to country on the radio. Jimmy Rogers and the Singing Brakeman, which was white country blues from the 20’s and early 30’s. In the 60’s – I was mystified by the McCartney / Lennon and Richards / Jagger compositions. I lalso enjoyed the Loving Spoonful and especially John Sebastian’s writing.”

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As the 70’s commenced, Jim discovered the likes of Bob Dylan, James Taylor, Neil Young and Arlo Guthrie. He also uncovered some real blues from the 20s and 30s. As the 70’s commenced, Jim also discovered the bad side of music …

” I was very attracted to the dark side of rock and roll life … the destructive side. It was dangerous for me and I developed problems very young. I really was not serious about having a “career” as a working musician nor did I have the first clue on how to do it. The party side and a poor work ethic worked well together. After 2 years of that I was lost, depressed and confused. The only way to fix everything was a job and geographical change.”

After stints playing in three bands – Prism, Termites and Wine, Jim left the music business and went into Medical Laboratory work, the furthest thing from songwriting. After all these years, he holds Myles Goodwyn in very high esteem.

“I respect what Myles has done with his talent.” Says the father of two full grown children. “He lived his dream and did it well. If I had stayed I would have died. I have no regrets about leaving.”

Jim Henman married in 1977 and has lived near Martinique Beach on the Eastern Shore of Nova Scotia since 2001. He is very close to his cousins David and Ritchie. He also was close to the late Jimmy Clench, the bass player who took his place in April Wine. Wine’s former drummer, Jerry Mercer, is also a close friend since 1970 and Jim has known Brian Greenway since 1977.

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Henman, since 1990 – has stayed with old blues as his music of choice. The Delta and Piedmont styles mostly. He played bass out of necessity in the old days and was a self- taught and simple player. Over the years, he has played bass in studio sessions and with a few small dance bands but sees the acoustic guitar as his instrument now.

Henman’s proudest musical moments have come more in the past twenty years. More specifically – his proudest songwriting moments.

I wrote a song called “I Will Get Over You” for Jeannie Beks CD “More Than My Share ” in 1992. “Journey”, a tune from the Musical I co-wrote in 1999 called “Death The Musical ” which has gone on to take on a life of it’s own.”Down’s Really Up” which I co-wrote for the Special Olympics, and “Starting Today ” a tune that was a single released in 2008 for a local band here in Halifax. I have a few of my own compositions on my new CD which are simple but I like them melodically and lyrically.”

“Say Hello” and “Just Between You And Me” are two of Jim’s favourite Myles Goodwyn songs and he is very good friends with Myles. The two are close to being the Canadian version of Jagger and Richards in terms of longevity. Myles and Jim met at the age of fifteen. The only other Canadian artists with a long span are Geddy Lee and Alex Lifeson of Rush along with Randy Bachman and Burton Cummings from the Guess Who.

“I once challenged Burton Cummings to an arm wrestle while I was drunk.” Adds Jim. ” I lost …”

Myles, according to Jim was supposed to play on his recent cd; “Same old Feeling”.Unfortunately, things did not work out as planned. The pair of “Woodies Termites” exchange emails, phonecalls and visit after shows whenever they can.

If only they could meet in Upper Canada Village. That would be poetic, just like writing a song.

“Just between Jim and Myles” …

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Please visit Jim’s site. jimhenman.com

The CD; Same Old Feeling is available at iTunes and through Busted Flat Records

Photos courtesy of Jim and David Henman

David Henman; The Man behind the Wine – Part Two

David Henman, despite having a non – household name and not being known as a ‘star’ in the music world; is a very prolific  songwriter.

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David - Age 12

Commencing with April Wine, where all of the members ( except Ritchie ) were excited about the songwriting process, David has been penning tunes for over four decades.

‘Drop your Guns’ was his first commercially successful song. It was included on April Wine’s second disc; On Record. That song remains a staple to this day during an April Wine concert. A song which remains close to Henman’s heart.

“As a victim of bullying when I was very young, I came to abhor all forms of violence at an early age. “Drop your guns” was an expression of that anti-violence mentality, which has become a huge part of my philosophy. I wrote both the music, which was inspired by a band called Humble Pie, and the lyrics. The song was a top forty hit in Canada, but wasn’t released in the USA for fear that it might be perceived as an anti-Vietnam war protest song. Duh! The song seems to have a message that resonates with people and continues to resonate decade after decade. I know this because, roughly six months after events like Columbine, 9-11 and the war on Iraq, my royalties for the song take a sharp spike upwards.”

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April Wine

Another song Henman wrote with April Wine which instills pride in the songwriter is also included on Wine’s second album. The track was inspired by a book Henman read at the time. Herman Hesse’s novel Steppenwolf and particularly the line ‘ for madmen only’ is the reason for the song ‘Refuge.’

“Songwriting is a curse.” Says David attempting to explain a life- long habit. “It’s an addiction. An obsession going back to the early days of April Wine. I was very anti-commercial. I thought pop music was all bubblegum, the lowest common denominator and all that. When Myles wrote “Fast Train” and it became a hit, I thought;’Hey! I can do that!’ Now – it is forty plus years later and I am still trying.”

Henman’s artillery of tunes is vast. The guitarist has or continues to write in many different genres …

“Over the years, my influences have accumulated, so you will hear elements of old rock, classic rock, heavy rock, country, folk, celtic, latin, world and even dance in my writing.”

Henman may have referred to Goodwyn’s ‘Fast Train’ as a symbol for something he attempted to strive for yet that does not mean the Nova Scotia – born singer has ever written for the FM or AM airwaves …

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“I don’t consciously write for radio. Every song I write starts out innocently enough yet if a song I write does seem to me to be radio-friendly, I try to at least not get in it’s way.” David continues. “I have written a lot of songs. Some great. Some not so great. The proof is in the recording in regards to it’s commercial potential.”

In addition to writing songs, a huge part of David’s focus is on recording them in a way that make people want to listen.

Listening is what people from David’s generation did well. He was a young man at the start of the 1960’s, an era which introduced the world to the British Invasion and the birth of one of the most enduring periods in rock n roll …

Although Henman realizes he grew up in a wonderful time – music wise, he does not agree the music today is not as good as his generation.

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Silver

“I steadfastly refuse to fall into that idiotic trap of claiming that the music of my generation is superior to the music of the current generation. This happens in virtually every generation. I clearly recall my parents’ generation, back in the fifties, whining that the music I loved was garbage.”

Henman continues.

“That’s not music, that’s just noise!’ Then they would say the music of THEIR generation was all about quality; melody, lyrics, proper singing etc.”

“Before I was a teenager, I vowed I would never be that ignorant, that closed-minded.” Henman goes on.” Yet, that is precisely what happend to my own generation. I find myself virtually inundated by people my age, and younger – much younger, whining about ‘kids today’ and the music they listen to. I have only one thing to say to those people: get over yourself!”

David also realizes the record business is no longer what it once was. He believes there is ‘good and bad’ in the changes.

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The David Henman Band

“The music industry I once knew and loved seems to have choked on its own greed. On the downside, music – especially live music, has been devalued. People no longer believe they should have to pay to own it. On the plus side, with no music industry to speak of and the advent of the global internet, we now have the potential to reach millions of people on our own initiative.”

David has released two CDs lately to ‘reach people’ and believes all his previous records with his older bands have been discontinued ( April Wine excluded) The two current ones are titled; The David Henman Band and Long Ride Home. The single ‘ Long Ride Home’ will be distributed to country radio in September.

David Henman is not playing live very much these days yet when he does – it is usually with his partner Rose. Instead, his concentration lies on writing and recording new material.

In search of his very own; ‘Fast Train’ …

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*Ritchie Henman lives in Dorval,Qc with his wife and is not currently active in music.

*Jim Henman resides in Nova Scotia and has just released a new cd titled ‘Same Old Feeling’ . A cd which David Henman believes will be a classic.

*Jim Clench passed away in 2010 from lung cancer.

*Brian Greenway resides in St.Lazare is still playing guitar for April Wine.

*Myles Goodwyn remains the leader of April Wine and resides in St.Lazare as well.

David Henman can be reached through his website; http://www.davidhenman.com/

Photos courtesy of David Henman

David Henman; The Man Behind the Wine – Part One

Once upon a time …

In a galaxy far, far away from iPods.

Two cousins sat down in the Old Mill Tavern in Dartmouth, Nova Scotia. The year was 1969. They ordered a pitcher of beer and complained of the lack of momentum their music had gathered.

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They thought of putting a new group together. A band which would consist of the brother of one of the beer drinkers on drums and the other; a former member of the other ale quaffer’s band.

They ‘stole’ the singer / guitarist away from his band in Cape Breton, started rehearsing in one of their parents’ basements in Sackville and – just like that, one of Canada’s most successful rock bands were born …

The men in question were David Henman on guitars and vocals, Ritchie Henman on drums, Jim Henman on bass and Myles Goodwyn on vocals and guitars. The name of the band …?

April Wine

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” Myles agreed to join us, and we had planned to start out as a cover band. That all changed the moment Myles played us a couple of songs he wrote.” Says David Henman. “All of us have slightly different memories of how we formed but these are the basic facts.”

According to David ; Myles, long known as the leader and principle songwriter of April Wine, took control from the beginning in the songwriting department.

“He very quickly established himself as the most gifted and most driven musician and songwriter in the group. No one questioned that fact.”

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April Wine hosted a lot of their own shows in the early days and one of the very first gigs Henman remembers was for a theatre group. The band had became involved with the actors at the Neptune Theatre and wrote music for a 13th (?) century play called; “The Lion in Winter.”

Aside from particular items like the above, Henman’s memories of the first four years of the group are vague. He does remember being obsessed with writing songs and recalls why he and Myles were worlds apart in their songwriting ideas.

” Myles was more commercially – oriented and I was more experimental.” States Henman on the two very different approaches to songwriting.”I was also into music like Captain Beefheart and Frank Zappa while Myles was into r and b and blues.”

Goodwyn’s technique is apparent from the start of Wine’s career. ‘Fast Train‘ was one of the first songs Myles wrote and evolved into the band’s first hit. A song which to this date – remains David’s all time favourite April Wine song.

A fast train was what April Wine was now on in the music business. The year was 1970 and things were going quicky …

“We signed with Terry Flood management and Aquarius records.” Says David . “We recorded our first album; ‘April Wine’, with Bill Hill producing. The second one – ‘On Record’, was produced by Ralph Murphy and it marked the first without my cousin.”

Jim Henman, one of the founding members – left and was replaced by Jim Clench.

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As the band were recording their third album; ‘Electric Jewels‘ – David and Ritchie left the band in a mutually – decided split.Myles was now the last original member when he and Clench decided to keep the band going …

“I was invited to join a reformed April Wine but my brother wasn’t.” Says David . “Ritchie and I have always been pretty loyal to each other, so I decided to abstain”. All these years later, David Henman has no regrets for his decision to not rejoin the band just before they hit it big.

“No. No regrets. I was young and given to temptation. My sense is that I ‘d have ended up a casualty ( of rock ).” Declares David.

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Despite the split, David and Ritchie have kept in touch over the years with Myles. David says they are, in many respects – a family.

” I have been a fan and an admirer of Myles Goodwyn from day one. We often run into each other and these past couple of years he has invited me to join the band on stage.” An offer which Henman took with a smile.

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Ritchie and David Henman’s departure from one of the-soon-to-be iconic Canadian Rock Bands did not dissuade the duo from carrying on.

The brothers formed a band named ‘Silver’ following their departure and the band played constantly for a couple of years. The music was a mixture of covers and David Henman originals. Once that music formation ran it’s course, the brothers discovered themselves playing with a familiar name to April Wine fans;

‘All the Young Dudes’, the brother’s new band which performed all originals during it’s year of existence, featured Bob Segarini and a young guitar player named Brian Greenway ( Brian eventually landed with April Wine in 1977 and remains to this day).

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In 1976, David then struck out on his own with ‘The Debutantes’.

Between then and now – bands with names like; ‘Sensible Shoes’,’ Dancer’ and ‘The Business’ came and went.

Finally, in 2003, David Henman starting recording and playing under his own name. Something he continues to do in his basement studio in Bolton, Ontario.

In a galaxy far,far away from turntables!

Please stay tuned for part two and more of Henman’s story ….

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Photos courtesy of David Henman

Just Between Jerry Mercer and Me – Part Three

The saga of April Wine commenced with great songwriting.

Something that sets Myles Goodwyn apart from most of his Canadian contemporaries except for The Guess Who, Neil Young and Rush.

Early songs such as `You Won`t Dance with Me` and `Bad Side of the Moon` led to bigger hits such as `Roller`,  Ì Like to Rock` and `Just Between You and Me`.  A legacy of linguistic and musical prowess to be left behind for generations to come.

According to Mercer, although Myles wrote the songs and the majority of lyrics – it was a group effort yet Myles always had the final word. Sometimes, it was not pretty …

” We were in the studio recording Nature of the Beast. We decided to cover the song `Sign of the Gypsy Queen`. I played the beat the way I thought it should go and Myles`vision was completely different. Usually we could come to a halfway point yet not this time. It was the only occasion I can recall when we almost came to blows! I was passionate and so was Myles! We ending up with a little of my idea and a lot of his!”

All the ideas led to a breakout album and suddenly the band was famous in Canada and the United States. They were `true`rock stars and that led to the inevitable `sex, drugs and rock n`roll` lifestyle.

Mercer was married and had two young children at home – a son and a daughter. His wife was supportive of his music yet the lifestyle was tough on the relationship. Jerry stayed true to his wife and stayed away from the groupies – the drugs did catch up to him and almost ruined him.

” I started experimenting with cocaine. A little at first and like most people that get addicted – it started to take over my life.” He shakes his head. ” The reason I stopped cocaine was because it was interfering with my abilty to play the drums. Drumming was always my passion and love – when it ( cocaine ) started to destroy that; it was time to stop!”

April Wine continued it`s rock ways but were never able to dupilcate the sucess of 1983`s Nature of the Beast album. By 1987 – the band was finished and the members went their seperate ways.

Mercer hooked up with former Offenbach members  John McGale and Breen LeBoeuf. The Buzz Band played in small local clubs in Montreal and gave fans an opportunity to witness Mercer`s drum solo close up. A drum solo which not only rests in people`s memories – a watermark moment for Mercer in the future.

Now What ?

One day, Jerry Mercer found himself above  Decarie Blvd. in Montreal. He was spiritually drained. He had an empty feeling inside and felt void. His marriage was ending, April Wine was not close to re-grouping and the Buzz Band was no longer playing very often.

” I was thinking of jumping!” States Mercer as if someone else was saying the words. ” I had all these questions in my head and there was no one with any answers for me. I really, sincerely, was just lost!”

It was then Mercer heard a voice in his head. The voice told the drummer to go and see an old friend named Bevin. An ally that Mercer had not spoken to in many years.

” I just started walking toward the last address I had for him. I did not think he would be there but the voice kept telling me to go!” 

Mercer found the house and knocked on the door. Bevin opened it up and knew right away something was wrong. He took Jerry in and after renewing acquaintances – the two spoke of life and death. Bevin convinced Jerry to join him in his Bible classes and the pair started to take  courses together.

Bevin and Mercer became closer than ever as the pair commenced recording a gospel C.D.  Bevin travelling from the city to Mercer`s home and the studio that lay in the bowels of April Wine`s ex-drummer`s home. Then, `like a shot through the soul` – Bevin was killed one day in a traffic crash on the way to Mercer`s.

” If it were not for the lessons that Bevin taught me and the ones we learned together, I would not have been able to handle his death. It was an ironic twist of fate. He saved my life and then his was taken away coming to visit me.  I do not know why – there is a reason that happened.”

Perhaps that reason was instilling strength in Mercer. Not long following Bevin`s untimely death, Mercer discoverd he had prostate cancer. A killer of many men around his age at that time. Jerry went for chemotherapy treatments and was drumming once more with the newly  re – formed April Wine.

This time it was Jimmy Clench back on bass, along with Myles and Brian. Mercer only missed one show due to his cancer.

” I played a few gigs standing up but because of the chemo, I was too tired. It was the only time in thirty years I did not play with Wine.”

When I`m Sixty – Four … ?

At sixty  years of age, Mercer and his bandmates started a new chapter in their lives. A chapter that was not filled with arena tours nor gold records. It was a section of their lives that gave the fans a chance to show their appreciation for a Canadian institution. The band – touring non-stop across Canada playing in small clubs …

An appreciation witnessed first hand on a couple of occasions …

To be Continued … 

Jerry Mercer and the Buzz Band will be playing May 18th at Calistoga Grill in Pointe Claire. Don`t miss it …!

Just Between You and Me

 Le ‘Set – Up ‘

Toting a box of beer up a flight of stairs on a Saturday morning led to an encounter that would shape the rest of my life. Who knew?

 

Ste Anne de Bellevue – In the Summertime…

I was toiling as a waiter in a restaurant named Cajun Blues. The establishment was the ‘outcast ‘among the several bars and restaurants situated in the picturesque town of Ste. Anne de Bellevue, QC. The reason for the leper – like treatment? The business did not possess a terrace on the waterfront and that absence left a void in the town’s visitors as they arrived to eat.

Ste. Anne be Bellevue is a community that thrives on the promise of the summer sun. The view of the sun’s rays reflecting off waves rooted by the variations of ships and boats is an integral part of the town’s survival. The countless photo -ops are a welcome sight for the lunch and supper crowd that flock to the boardwalk. A ‘luxurious dock ‘ that lays nestled on the western – most tip of the Island of Montreal and remains an attractive location for families , lovers and loners. For some – a mixture of all three. If Mama Nature cooperates, the customers grin while money rains directly into the pocket books of the establishments’ owners. If the matriarch of green decides otherwise – the terraces are as vacant as the property owners’ gas tanks.

            Regardless of the Cajun Blues’lack of such a beautiful image, Saturday night at the eatery was jumping.  Aside from Cajun food staples such as

All Night Long …

Louisiana Mud Pie, Chicken Creole and Jambalaya – the singular item that enticed visitors to fill the clubs’ cozy atmosphere was an eclectic selection of live music.

As the stars and the moon danced high in the darkened sky – invited musicians orchestrated the pairs’ celestial moves with a catalogue of grooves both real and imagined.  Blues was on the dessert menu one evening while an additional soiree wound up crammed with the crisp sounds of a drummer – a ‘ cat ‘ as cool as a northern breeze keeping time among a trio of Jazz musicians as they delivered ‘ last  call ‘ to welcoming applause.

The subsequent week – Reggae was the ‘le soup du jour ‘. The clubs’ patrons would drain their ‘bowls ‘and in the process, fill up their palates with love and joy. Once the main course of unity was completed, the partiers made love to their drinks while the sweet sounds of Marley and Tosh provided a message of hope. The sort of memo that passed spontaneously throughout the crowd and a post – it note Mr.Marley would have permitted.

Rock – a – Bye – Muddy …

It was a unique three months for me as I spent evenings creating new friends and  mornings producing friendship with my two small children .Francesca Emerald Amanda and Owen David Randall remain the beneficiaries of a Father completed by his love for music. Not a day passed without their Dad cooing them to sleep. Lyrics penned by Muddy Waters, Willie Dixon and Louis Armstrong became our lullabies as the virgin eyes on their softened faces closed into dreams of innocence.

These are the memories that stay firmly planted as seeds in the lawn of my soul .Landscaping created for a new generation. Seeds that will spread from my kids – to their very own.

–  Le ‘Show ‘-

        As my head ached and my ears called for silence, I carried the bottles of beer from the basement and placed the crate upon the bar. Standing there, I recalled the previous evenings’ adventures with a smile. This made my head hurt even more …

I had attended a concert by the Canadian rock band AprilWine. A friend and fellow journalist had invited me to join him. ‘ Tagging ‘  along meant the opportunity to not only see the show – a backstage visit was part of the itinerary as my friend was concocting an interview with lead songwriter and singer  – Myles Goodwyn.

The group was one of my many favorites as the suburbs of Montreal nurtured me from adolescence to teen. You Won’t Dance with Me, Oowatanite , Roller , Rock n Roll is a Vicious Game and Just Between You and Me were staples of my teen years and just a few of the hits by the legendary rock band.

April Wine – Then …

I had seen them live a handful of times between the ages of fifteen and twenty and once – I was fortunate enough to enjoy their arena show three times in one-week Toronto on Saturday, Peterborough on Wednesday and Montreal once more on the following Saturday. It was a threesome of the non – sexual type yet sensually pleasing.

The trio of shows wrought envy from the mouths of all my male fellow rock n rollers in the late seventies and for a brief moment in time – I was the coolest person amongst my peers. The boys were jealous yet the ‘chicks ‘dug me. Rock N Roll may be a vicious game but sex is the ultimate trophy to the victors!

So here I was – all these years later, with an opportunity to sing along to the tunes of my youth in the small confines of Le Spectrum .It was an exit on the highway of music I would notbe missing.

An Intimate Engagement

Wine – circa 2001

Time had passed since the days of the band selling out the Montreal Forum. The group had actually broken up for a few years in the late eighties only to re-form in the nineties. They continue touring on a smaller level as they play their music to loyal fans in Canada and the United States. The hits are no longer written by the formerly – proficient Goodwyn yet an arsenal containing songs such as Say Hello , I Like to Rock , Sign of the Gypsy Queen and Weepin Widow were more than enough to carry these former teenagers into the twi –light of their lives and career.

The show and tunes that evening were what I had come to expect from the foursome. High-octane rock performed with conviction at decibels alarming to some. Hit after hit brought grown men and women to their feet. Powerful anthems punctuated by tearful ballads lay witness to a new generation as they writhed in appreciation of the band’s efforts. The line – up consisting of Myles on guitar and vocals , Brian Greenway  on guitar , the late Jim Clench on bass and the powerful Jerry Mercer on drums – did not disappoint the most cynical concert go – er. It was a wonderful summer evening under a cloud of nostalgia.

‘ A High Roller Baby …!’

The show ended with an exclamation point. The song Roller, arguably the band’s biggest hit, was the encore and it whipped the predominant forty – something crowd into frenzy. Everyone it seemed knew the song and there was not a quiet voice in the house as the band elongated the distance of their watermark tune.

The song finished and the group exited the stage to deafening applause. The words; ‘She’s a high roller baby ‘were sung in unison as the throng of people made their way past the exits and onto the streets of downtown Montréal. The lyrics’ High roller baby ‘continued as they echoed through vacant buildings and began eking out a new found existence in a city they once owned.

It was now the time for me to get excited.

A behind – the – curtains visit was not only exciting for the privilege of meeting rock icons, the rendez- vous was also an opportunity for me to discover a few words from the men that had met my idols – the Rolling Stones.

“Going back stage is exciting. Regardless of how many times it has happened. “Annie Liebowitz

 

The entrance alone is usually long and dark followed by a door or curtain guarded closely by a security guard or personnel. A flash of a pass, a nod of a head and suddenly you have elapsed into unknown territory. You are privileged. Depending on the star or stars, thousands and sometimes millions of people are separated from you .Physically and emotionally you have obtained a realm that some may only dream of reaching in their paramount fantasies.

Once, twice or a hundred times – the heart always beats a little faster when a crowd is left behind the curtain at a Rock n Roll show.  Terrence Mann may have had the same awareness as he approached the cornfields in the movie adaptation of the novel Shoeless Joe. Field of Dreams is the name of the film and is there a better way to identify the feelings of disappearing back – stage? Not quite …

Behind the Scenes …

On this evening – a curtain in lieu of a door was my gateway to knowledge and (if lucky) – a few beers. As my partner and I navigated the maze of rooms and people, we remained on the look – out for the subject of my colleague’s interrogation. We discovered Mr.Goodwynin a concrete room conspicuous with its absence of color. He was speaking to a couple of young women as he rested alongside a table outfitted with food. My friend introduced himself and promptly thanked Myles for the opportunity given to not only him – myself as well.

Just Between Myles and Me …

Myles Goodwyn

Myles was aloof and maintained a tone of aristocracy as I extended my hand to his. Habitually, I own the ability to garner good judgment of people. I did not like Myles in the first minute of our meeting and if my children and dog were by my side – I remain confident they would have had the very same feeling. Regardless if Mr.Goodwyn had shaken my hand – my feelings would not have changed.

Arrangements between my friend and Goodwyn to disappear into an atmosphere more fitting for a one – on – one discussion were completed. The lead vocalist informed me to help myself to whatever beverages and food I discovered. Since he made no mention of the women – I assumed they were also ‘up for grabs ‘!

I  asked him where I could unearth the remaining members of the band and he pointed down the hall, toward the loud noise. The ‘ noise ‘was the sound of the many ‘back stagers ‘who seemed to be enjoying themselves a lot more than I was. The fact that I was soon to be part of their ruckus –  made the departure from my friend much more tolerable.

The 1970’s – Comfortably Numb

As I watched the two disappear, I understood – from this point forward, the evening could possibly conclude in many variations. It depended on which choices I would make in the ensuing couple of hours and just how much I wanted to re – live the late seventies. Since I do not recall much of the late seventies, I walked down the hall with an ear toward a sinful evening.  The ‘good angel ‘and the ‘bad angel ‘had quite the ‘heated discussion’ as they sat opposite one another on each of my shoulders . I entered a room and approached the walls of people …

To be continued …