Gordon Lightfoot Book, Music and More!

In the world of Top 40 radio, Rosalie Trombley was a trailblazer – one of the few women to hold a broadcast executive position in an industry that was essentially a boys-only club. Blessed with an innate sense of music, she could pick out a good song from a pile of duds and help to make it a hit, earning her the nickname “the girl with the golden ear.” Ms. Trombley made her mark as music director at Windsor, Ont.’s powerful CKLW, known as “the Big 8,” whose 50,000-watt signal could be heard widely in the United States as well as across southwestern Ontario. Her influence in choosing what music to play was equally far-reaching: when she put a song into rotation, other stations followed suit. ...

Reggae artists seem to have a knack for taking well-known pop songs, transforming them with reggae’s distinctive, loping rhythm—what Bob Marley called “the one drop”—and creating new, sure-fire hits for themselves. Think of Toots and the Maytals’ reggae-fied remake of John Denver’s “Take Me Home, Country Roads,” Peter Tosh’s Rasta variation on Chuck Berry’s “Johnny B. Goode” or UB40’s version of Sonny and Cher’s “I Got You Babe.” Reggae crooner Dennis Brown is no exception. Brown’s two current albums, Victory is Mine (on RAS Records) and Over Proof (Shanachie), each takes a North American hit and puts an unmistakable Jamaican spin on it. The former features a bubbly versi...

He has been called the godfather of rap, but Gil Scott-Heron steadfastly refuses to bask in any hip-hop glory. It isn’t that the writer of such classics as “The Revolution Will Not Be Televised” doesn’t see any relationship between his jazz-poetry and today’s rap music. Nor is it that the 44-year-old artist isn’t flattered by all the attention from the hip-hop generation. It’s just that Scott-Heron—who performs at the Phoenix Concert Theatre with local rappers Nu Black Nation opening—wants people to make other connections. With his music, for one thing. “I was a pianist before I was a poet,” says Scott-Heron, “and music is as much a part of what I do as poetry. “Rappers seem to be more rhyth...

One of the most beguiling albums of the summer of 1994 is Sheila Chandra's The Zen Kiss (Real World/Virgin). Like Chandra’s previous Weaving My Ancestors' Voices, it's a recording of solo voice with simple drone-note accompaniment. But the songs are so rich and the vocal techniques so entrancing that the album comes across as a deep, full-bodied work. The Zen Kiss draws on influences as diverse as Islamic, Andalusian, Bulgarian and Celtic musics. And, of course, being of East Indian heritage, Chandra also employs ragas and classical Indian musical ornamentations—always anchored by the incessant drone. As she writes in the liner notes: "The concept of drone has been important in bringing thes...

Pigeonholing is an act of laziness, while stereotyping stems from ignorance and prejudice. Either way, for those targeted, it’s a cultural straitjacket—something that Kevin Brereton knows all too well. Growing up black in middle-class Whitby, Ontario, Brereton discovered that corner-store owners only suspected him of shoplifting, never his white friends. As k-os, Brereton learned that narrow musical definitions would restrict him from singing as well as rapping, and from adding acoustic guitar and piano to hip-hop’s usual soundscape. But he did it anyway. “It’s just how I express myself,” says Brereton modestly. “It doesn’t make me a revolutionary.” Modesty aside, k-os is in the vanguard of ...

Smooth, slow and seductive, Glenn Lewis’ debut album, World Outside My Window, was the musical equivalent of a candlelight dinner. Packed with power ballads and laced with Lewis’ soulful, Stevie Wonder-like vocals, it was also a commercial smash, reaching # 4 on Billboard’s Top 200 and featuring the Top 10 hit “Don’t You Forget It.” The Toronto-born singer suddenly found himself in the vanguard of the neo-soul revolution, alongside the likes of Macy Gray and Alicia Keys. So why has Lewis opted for a rougher, more uptempo and decidedly sexier sound on his second album, Back for More? "I’m in a good place right now and the album reflects that,” says the coolly confident Lewis, w...

If you were a musician on Yonge Street in the 1960s, chances are, you had your suits made by Lou Myles and your hair cut by Sandy Bozzo. Together with his brother Frank, Sandy began cutting hair not long after arriving in Toronto as a 14-year-old from Cosenza, in Calabria, Italy. Born Santino and Ignazio, the brothers set up shop in 1958 at 413 Yonge. For the next 63 years, Frank and Sandy cut hair, always on Yonge Street—and, for 40 of those years, always on the east side of Yonge, between Gerrard and College.  Sandy’s first experience with show business was the day two boys from Arkansas sauntered in, looking to get a wash and a haircut. “We told them, ‘We can cut, but we can’t afford...

Of all the great old-time calypsonians, few could match Trinidad and Tobago’s Roaring Lion for witty wordplay and mellifluous melodies. With his rapid-fire delivery, he could easily out-duel contemporaries like Tiger, Atilla the Hun and Lord Executor with wickedly sharp metaphors, alliteration and insults. And he didn’t shy away from tackling the most risqué subjects.  One of Roaring Lion’s most famous recorded songs, “Netty Netty,” about a prostitute who leaves town to have an abortion, was banned in parts of the Caribbean. “Dorothy Went to Bathe” tells of a girl who lost her virginity to a catfish, while “The Lost Watch (Tik, Tik, Tik)” deals with a woman who steals a watch and h...

The story of rock and roll’s arrival in Canada has often been reduced to this: a good ol’ boy from Arkansas named Rompin’ Ronnie Hawkins blew into Toronto with his Hawks in 1958 and cast a hypnotic spell on unsuspecting Canadian audiences.  While it’s true that Hawkins did much to popularize rock music north of the 49th parallel, there were other, often unsung pioneers here already laying the groundwork. And that’s the strength of Greig Stewart’s new book Hawkins, Hound Dog, Elvis and Red: How Rock and Roll Invaded Canada. Stewart pays tribute to performers like Bobby Dean (Blackburn) and the Gems, Frank Motley and his Motley Crew, Little Caesar and the Consuls, Les Vogt and t...

Sixty years ago this week, an estimated 5,000 people flooded into tiny Orillia, Ontario to attend the first Mariposa Folk Festival. Here is an excerpt from Before the Gold Rush about that historic inaugural event: Sitting in neatly arranged rows of canvas chairs, a buttoned-down crowd of 2,000 watched the inaugural Mariposa unfold one August weekend in 1961. The audience, mostly university students from Toronto, had travelled to Orillia on the shores of Lake Couchiching to hear an all-Canadian line-up headed by Sylvia Fricker and Ian Tyson, whoʼd also donated his artistic skills to create the stylized orange sun that dominated the festivalʼs poster. On the opening Friday night, fol...