When APRIL WINE split in 1984, following the Animal Grace album, and the One More For The Road tour across Canada, band members went off to do new things. First, there was the contractual obligation album Walking Through Fire in ’85, which was essentially a Myles Goodwyn solo project, which only featured Brian Greenway from the band’s last line-up. Soon after both Goodwyn and Greenway went off on solo ventures.
Brian Greenway’s solo album (released as GREENWAY) titled Serious Business came out in early 1988, produced by Marty Simon and Paul Northfield, and featured a number of guest players, including a few main players from Walking Through Fire (Daniel Barbe, Marty Simon). The single “In The Danger Zone” was the standout cut here, featuring Alex Lifeson performing a guitar solo, and was accompanied by a video – which wasn’t released until 6 months later!
For Serious Business, Greenway wrote (or co-wrote) every track; co-writers included Marty Simon (Mylon LeFevre, The Sharks) and Tracy Howe (Men Without Hats). There’s also a very 80s production/sound to this, with lots of keyboards played by Also Nova (this thing reminds me of Aldo’s Twitch album at times). Other favorite tracks here are “It’s Alright” and the upbeat “Right Track”, both of which would have made fine singles (if this album got more of a push). The title track is another gem here; the hardest rocker here.
Greenway went out and played live throughout Canada, In the summer of 1991 a show in Laval, Quebec was filmed and later was featured on TV in early 92 as Brian Greenway And Friends. His band, consisting of Jerry Mercer, Nanette Workman, Jeff Nystrom, Jimmy Tanaka, and Jeff Smallwood, performed songs from Serious Business, as well as a few he wrote for April Wine.
Serious Business was originally released on LP, cassette, and CD, but a remaster/reissue of it is long overdue! Could make a nice package with the original album and the live performance together (!?)
*Canadian band BEDROKK covered Greenway’s song “I Can’t Hold Back” on their 1996 album Undertow.
GREENWAY – In The Danger Zone (4:08) – Atlantic (7-89118) – Windfall Music-Roxamillion Music-Irrational Music-Sack Cymbal Music/BMI – B. Greenway-T. Howe – Producers: M. Simon-P. Northfield Former April Wine member Brian Greenway delivers a well designed and powerful cut from his Atlantic album Serious Business. Should do extremely well on AOR radio. (CashBox, 02-13-88)
A collection of favorite Canadian ‘live’ albums (ok, initially I meant to stop at 10…). I do realize there’s a lot more out there (and I have), so maybe a part 2 in the future (?). Feel free to drop omissions in the comments.
SAGA – In Transit
Released in August of 1982. My first and favorite SAGA album. I have a clear memory of buying this at the Eaton’s in the Rexdale Mall, not long after it came out. The mall was a few blocks from my grandmother’s house, so I’d go there when visiting. I bought it based on the 2 songs I’d heard on the radio – “On The Loose” and “Wind Him Up”. Loved this album – “Don’t Be Late”, “Humble Stance”, “Careful Where You Step”,… In Transit marked the end of the band’s best era (IMO). Still my favorite Canadian live album. Wish there was more from the shows tho’ to make an expanded reissue.
APRIL WINE – One For The Road
One of my first concerts was APRIL WINE at the Kingswood Music Theatre, at Canada’s Wonderland, just north of Toronto. What an amazing show! Too bad this was the band’s final tour, and more so a shame that this originally came out as a single LP. The 1985 release included 11 tracks, and really the band’s best-known songs, mainly from the 1978 onward era, though it only features 1 from the band’s final studio album Animal Grace (a shame they never played more from it). But “Anything You Want” was a killer opener, followed by classics like “I Like To Rock”, “All Over Town”, “Sign Of The Gypsy Queen”, and so on, plus a medley of ballads… But, there are a few glaring omissions with the original track listing, which was largely corrected years later with 4 songs added to CD and 2 LP reissues. All classic tunes and loads of energy capping off the band’s most successful era!
TEAZE – Live At Liege
In their day TEAZE only lasted about 5-6 years, 4 studio albums and their classic Live in Japan. But the band has reformed since 2019 to play a number of shows. This recent show (just released) captures the band, now pushing into their 70s, but you’d never know it from the energy and the lead vocals (Brian Danter). A dozen great rockers and anthems here, with favorites like “Back In Action”, “Touch The Wind”, “Heartless World” and “On The Loose” (which closes the set). If you don’t know anything about this band, this live disc is the place to start.
RUSH – Different Stages
There’s lots of RUSH live albums, but this is the one I play the most (from 1998)….and then maybe Rush In Rio (released 5 years later)…. But I like the sound of this one, and the set list, which features tracks from the band’s comeback pair of 90s albums – Counterparts and Test For Echo, as well as more from the band’s 80s (despite the glaring omission of “Subdivisions”). Love the inclusion of “Analog Kid” and “Big Money”, and newer favorites like “Driven” and “Animate”, plus the full 2112. Much prefer this to A Show Of Hands. it also came with a 3rd disc (bonus), of the band at London’s Hammersmith Odeon in 1978. Originally released on CD, but I see a 4-LP version was issued last year.
GODDO – Lighve: Best Seat In The House
Those first few GODDO albums were packed full of punchy, energetic rock tracks, and this 2 LP set was a bold move after just 3 albums, but it is a ‘must hear’, featuring all the band’s favorites (which, most of remained in the set forever). With what became their standard opening of “Anacana Panacana” (intro tape) and “So Walk On” and highlighted with best known favorites like “Sweet Thing”, “O Carole (Kiss My Whip)”, “Under My Hat”, and a 7+ minute performance of “Let That Lizard loose”. Years later the band repeated with 2nd Best Seat In The House, as well as an archived live release and a 35th Anniversary live set. I saw Goddo years ago in St Catharines, it was actually the first sit-down interview I ever did. Greg Godovitz recently put together a new version of the band to play shows to celebrate the band’s 50th Anniversary.
MOXY – Live In Toronto
Released in 2014 as Live In Toronto and also included as part of the band’s 40th Anniversary 2CD/DVD 40 Years And Still Riding High) release a year later (which I have). One of those ‘better late than never’ things, and with a new line up led by guitarist Earl Johnson and featuring lead vocals from Nick Walsh (Slik Toxic). 11 tracks (including the drum solo), taken from the band’s first 3 classic albums. Walsh was a great fit for the band as they went through favorites like “Out Of The Darkness”, “Nothing Comes Easy”, “Moon Rider”, “Sail On Sail Away”, and “Ridin’ High”. Johnson has a new version of the band currently playing shows, I believe.
LOVERBOY – Live In ’82
I was a fan, mainly of those first 3 LOVERBOY albums (and then someone brought In Mutt Lange (sigh). But Live In’82, (released last summer on CD & vinyl!) captures the band at their peak, playing songs from the first 2 albums (arguably their best). So you get high energy performances of their biggest hits like “Turn Me Loose”, “The Kid Is Hot Tonight”, and “Working For The Weekend”, as well as favorites from Get Lucky – “Jump”, “Lucky Ones” and “Take Me To The Top”.
FM- Retroactive: FM Archives Volume 1
Released in 1995, and I don’t ‘get’ the stupid title (as there was no further volumes), this was taken from the band’s 1994 short reunion tour to promote the CD release of their classic Black Noise album. I saw 2 of the 5 shows in small venues. The shows were awesome and captured well here. Don’t recall how many songs they played, but this includes 10 songs, notably their hit “Phasors On Stun”, and Black Noise favorite “Journey”, as well as best known songs like “This Lonely World” and “City Of Fear”, and their versions of “Shapes Of Things” and “Baba O’Riley”. A CD release only (included a retroactive CD-ROM track, don’t think I ever watched it), but would be nice if their was more from this little tour or the FM archives to hear some more.
CONEY HATCH – Live At The El Mocambo
The first of 2 live albums from CONEY HATCH, back-to-back. This one was recorded & video’d during CoVid, with a limited number of guests allowed in to see the show at Toronto’s legendary El Mocambo. A great mix, representing the band’s 4 studio albums, and long overdue. Not too long after came Postcard From Germany, which had been recorded in 2018. Hoping there’ll be more, as there’s a few good shows from the 80s (Cleveland 1982).
STREETHEART – Live After Dark
This 2 LP set was recorded following 6 albums from Winnipeg’s STREETHEART. Although I don’t think Streetheart’s albums were heavy, but more pop produced, Live After Dark showed the band rocked harder live. This features the band’s hits like “Action”, “What Kind Of Love Is This”, “Hollywood”, plus their excellent covers of “Tin Soldier”, and 12 & a half minute closing classic take of “Under My Thumb”! The band’s original line up would reunite and record 2014’s One Night One Take, but I’ve yet to hear that one. but Live After Dark is a pretty essential Canadian album.
THE GUESS WHO – Live At The Paramount
Another essential Canadian release, and better than simply picking up a ‘best of’ IMO. Live At the Paramount, from 1972, captured THE GUESS WHO in their prime; they had a ton of hits and some pretty cool album cuts, so this isn’t just a play through of the usual numbers. Only 7 tracks though on the original single LP (why!?), but there is favorites “Running Back To Saskatoon”, “Pain Train”, and the 16+ minute performance of “American Woman”! The CD version would thankfully add 6 more tracks and fix the running order.
Canadian Live Albums I’d Still Like to see…
A Foot In Coldwater – anything, be it from the early 70s or from one of the band’s reunion gigs over the years.
Santers – there is video of the band from Toronto, around 1982 or 83(?) Would be cool to master it for release.
Headpins – Saw the Headpins open for Loverboy in ’83, surely their must be a good live recording from that period(!?)
Harlequin – something from the band’s early 80s heyday, before they brought the guy from The Fixx in to produce!
Moxy – OK, something from the late 70s w/ Buzz Shearman.
Back in 2014 APRIL WINE founder Myles Goodwyn expressed his desire to retire from playing live with the band, but it would be over 8 years, in December of 2022 that Marc Parent was announced, having been chosen by Myles, to take over the band’s lead vocal and guitar duties (alongside Brian Greenway). Parent debuted with the band last April. Sadly Myles Goodwyn passed away December 3 of 2023. But choosing Parent was so that the songs (mostly written by Goodwyn) would carry on to be enjoyed by fans. April Wine has had a busy year playing live, and 2025 looks to busier and very interesting, with festival shows, as well as a UK tour as openers for Uriah Heep, followed by a Canadian tour opening for Randy Bachman’s BTO. In this interview Marc discussed his past, previous bands, influences, how he came to join April Wine, how things are working in the band, highlights, and a few surprises.
*Check out the links at the bottom of the page for more info, tour dates, etc…
Can you tell me a bit about your earlier stuff, your musical influences and some of the stuff you grew up on listening to?
I’m a total classic rock guy. first album I ever got; I traded a buddy of mine for a Playboy magazine. It was the first Boston album. He wanted the Playboy and I wanted his Boston album. So, we swapped.
So, I’m pretty much a classic rock guy; grew up listening to that and a lot of progressive rock and I got into, after Kiss, Styx and Boston, I got into Genesis and Gentle Giant and Yes.
And I was also studying to be a jazz guitar player, so I was interested in Pat Metheny, Larry Carlton, Lee Rittenour and Wes Montgomery and all those guitar gods.
In your early days what was the scene up there? Did you play in a lot of cover bands or beforehand, in the 80s and 90s?
No, actually, the first band I ever played in was like an original band out of high school. We were called ‘Sigma’. And, the first gig I ever did I was 17 years old and we were doing originals. We had an electric violinist, we had a girl on bass, we had a sax player, we did original tunes. At that point I had a music teacher, his name was Regean Gauvreau and he was very influential because he had a big band and he would work; every weekend he would book his big band at the Chateau Laurier Hotel, in Ottawa or at the Congress Center or he would do these corporate events, and he would hire me as the guitar player in this big band. So, I had to be able to read music and I had to wear a suit, and he really taught me a lot about the business of being a professional musician. This would be, like, early 80s.
So, then I was studying to be more like a jazz guitar player, and I ended up – my neighbor was going out with a bass player in a band called ‘Eight Seconds’ in Ottawa. And she would listen to me practice, in my bedroom and she said ‘You gotta come see my boyfriend’s band’. So I went to see Eight Seconds play and I said to myself ‘I could do better than that guitar player’. You know, just as a typical 20-year-old, watching the guy play with my arms crossed in front of the stage kind of deal. And, it’s very weird, at the same time I was working in a music store in Aylmer, Quebec, my hometown; and this guy walked in and gave me some business cards and said ‘I just opened up a local recording studio and if you know any musicians who want to do demos, I would appreciate it if you would hand them my card’. And I said ‘well, I’m a guitar player and I’ve never really recorded in the studio’; he said ‘well, come on over and you can play guitar on a couple of my songs’. I did that and at the same time, Eight Seconds were recording demos at his studio. And they, at the same time, decided they wanted to trade up, or change guitar players. So, this gentleman, Manfred Leidecker, said ‘well, listen to this kid I just recorded him’. And they gave me an audition and I got the gig with Eight Seconds. The band that my neighbor took me to go see, maybe a month before. Next thing I knew I was in that band, and I was 23 years old. And the first gig I ever did with them was opening up for ‘Luba’ at the Ottawa Congress Center. And they scored a number one hit in Canada with “Kiss You When It’s Dangerous”. We opened up for David Bowie and Wang Chung and Paul Young and we did a North American tour. The next thing I knew I was living the dream. From ’85 to ’87, it was unbelievable!
And how many albums did you guys do? Just a couple or…?
I was on Ottawa Rima, which is a self-produced first album. Then that generated the interest of Rupert Hine and Polygram Records. So, then we did Almacantar, which had the “Kiss You When It’s Dangerous” hit on it. And, and then they did a great album. I got the boot in ’87 and they decided to go without a guitar player. It was very support oriented, in those years. And they did another album, which is in my opinion, was their best album, which is called Big Houses. And they produced that one at Le Studio, in Morin Heights. I was not on that one, Bill Beaudoin played the guitar on that one. That was in 1990.
Were you a writer?
Yeah, I wrote some stuff on Almacantar. Not complete songs, but melodies and, certain choruses and stuff like that. I was just getting my feet wet, as the singer, guitar player, writer. That was basically my first attempt was with Eight Seconds.
Was there any other recording bands or did you, like, locally throughout the years before April Wine came along?
After Eight Seconds, I moved to Montreal in ’87 and did a bachelor’s degree in music at Concordia University, And realized that the scene in Montreal, there was a strong blues scene. A lot of clubs had bands that played blues. Three sets, four sets a night, four – 45-minute sets. So, I put together a band that still exists to this day. It’s called Wang Dang Doodle. I put that band together in 1989. And just learned the craft of playing live and singing and fronting a band, in the clubs in Quebec and Ontario. And I still play with that band once a month, just because it’s fun.
And playing the Quebec blues circuit, I met Richard Lanthier, who was playing bass in that same circuit. And I hired Richard a few times to play in my band. And he hired me to play with Carl Tremblay’s band. We basically knew each other. When Myles Goodwyn’s health issues got a little worse about eight years ago, Richard recommended me. And I auditioned for Myles on the phone. He liked what he heard and offered me the gig. And I, you know, I just had my first child, and I had a pretty good day job. Unfortunately, I had to refuse. So, I actually said no to April Wine eight years ago. And I couldn’t believe it. I was telling all my friends; I can’t believe I just said no to April Wine.
And they kept going. Myles hung in there for another eight years. Luckily for me, they didn’t find a replacement for Myles. And then Myles’ issue post-COVID, became worse. And then he said, ‘how about that Marc guy that we auditioned eight years ago?’ At that point my girls were more grown up. And I had returned to being a full-time musician. So, the timing was just right. I didn’t say no the second time around.
That’s interesting, because I remember that post going up years ago that he wanted to step back. And people flooded the April Wine groups with names and stuff and suggestions. And then there was nothing said for years.
I think a couple of guys, Myles was very, very picky in what he wanted. And I think he put a couple of guys through the ringer there, they auditioned for him, and I think it was pretty tough. I was just in the right place at the right time. Like, lucky for me, he didn’t find his guy. You know, and he liked, and he liked me. So, my voice naturally sounds like his. I don’t try to imitate Myles when I sing. I just respect the melody of the song as close as I can to the record. And I just put my own energy into it, my own vocal style. And I respect Myles’ vocal style. I try to be as close to the original as possible. But I don’t imitate. I’m not an impersonator. I don’t do that.
And he had a pretty recognizable, distinctive voice.
Absolutely! All the great singers do.
Do you remember what you were required to learn to audition with?
Well, I did “Roller” and “Gypsy Queen” for him, on the phone eight years ago. And then this time around, when I got the call the second time, I took out my iPhone and an acoustic guitar, and I just did a rough demo. And I sent it to him, and I said ‘listen, this is as rough as it gets’. It’s my friggin’ phone and an acoustic guitar. Nothing else. ‘And if you like the tone of the voice and you like what you hear, then maybe we’re onto something here.’
And he was listening to it in his studio and a friend of his called him on the phone and he asks his friend ‘What do you think of this?’, and his friend says ‘Well, what? That’s just you singing and playing guitar’. And Myles said ‘Okay. That’s the guy!’ And so, whoever that guy is, I have no idea who that guy is, but that guy got me the gig.
That’s funny.
The guy thought it was Myles.
I’ve watched the live clips on YouTube and obviously nobody can sound like Myles, but you’re close enough that the sound, the songs aren’t losing anything, you know?
Yeah. It’s all about the song, right!? It’s all about the memories that we, that the songs evoke in us. So, my, my job is to serve the song and make sure that when you come see the show, you hear that song the way you remember it and you get all those nice, warm, fuzzy feelings that you had when you were 16 years old. You know what I mean!? That’s my job.
I think for Canadians; I think April Wine is a special band because guys in our age group kind of grew up with them and they had so many hits, so many radio hits. We know all those songs, so just still getting to hear them is great.
I think so too. That’s my approach. When you come and hear the show, you want to hear the song, then we are, our mantra is to play the song as close as possible to the record. That’s what we said we were going to do and that’s what we’re doing and making sure you have a really good time. Yeah. So, you come out, you hear the songs as you remember them, you have tons of energy on stage – Brian Greenway is 72 years old, he’s still kicking ass. And Richard Lanthier and Roy Nichol have been there for like 12 and 14 years. They’re a powerhouse rhythm section. We’re a really tight band. And we’ve got great songs, great hits to play. It’s fun for us too!
It’s a huge catalog. I’m curious how familiar were you with the entire catalog before all this?
Oh, not that familiar. I was familiar with the same songs you were familiar with. I grew up listening to April Wine on the radio. So, I mean, at one point I’d learned maybe 30 songs, and then Brian comes up with the list, he says ‘Okay, here’s seven more songs, these are the American hits’. And I go ‘Excuse me?’ He goes ‘Yeah, these songs were big in the States.’ I go ‘Oh my God.’
I have the entire catalog, so like I’ve followed them since the early 80s, there’s so much to it, right? You have kind of have three phases of the band, the early band until the mid 70s, and then when Brian joined, and then the post reunion stuff. So, how much of that catalog do you guys play? Do you change it up a lot, or are you, is there a set list that you gotta keep to?
When we’re headlining, we have an hour and a half Canadian set, we have an American set, which has different songs, not all different, but there’s a few more American hit songs that are in there that are not in the Canadian set.
We have an opening act set, so, you know, we’re going to England and we’re going to be playing pretty much just the hits, because we have 45 minutes. And then we’re doing the Bachman Turner Overdrive tour in April, I believe that’s a 45 or a 60-minute set, so, again, and that’s a Canadian tour, so that’ll be just the hits, because that’s what people want to hear.
And even though I say just the hits, there’s a couple of deep tracks in there as well. Just so, you know, for the connoisseurs, there are some deep tracks in there as well. But when you have 45 minutes and you have as many hits as April Wine has, you got to pick and choose. It’s a good problem to have.
Now that you’ve been in the band for a while, have you had a chance to go back through the catalog, and listen to everything and kind of put in ideas that may be things you want to try or things that aren’t in the setlist?
Oh, yeah. Absolutely. Brian came up with a bunch of songs the other day and sometimes he brings out tunes and I go ‘Man, I haven’t heard that one yet!’ It’s such a huge catalog. I’ll go back and listen to the albums, listen to a bunch of stuff and I’ll come up with a suggestion, and he might say ‘That one didn’t really stick with the public…’, and he knows; he’s been there since ’77, so he knows what was popular, and what wasn’t.
When Myles was still with you guys, you guys had gone into the studio at one point. Was there anything finished or kind of any plans to finish any of that stuff?
I had the honor of writing a song with Myles. He had this song lying around and he and I worked on it and then when he did his last show in Nova Scotia, he brought the guys in and they recorded it and I put some vocals on it, played some guitar. So, there’s a song out there. It’ll probably end up on a live album.
There’s a live recording of Myles’ last show. So that’s in the works right now. I can’t say more because I don’t know where we’re at in that process. Where the powers that be are at in the process. But I’m pretty sure that we’re going to have a bonus track on that album and it’ll be, you know, Myles’ last song.
And you’re on it!?
Yeah.
Have you done any recordings with you in the band? Taped any live shows or anything or any live video professionally that can be used for promotion or for release?
If you go on the website, there’s a video that hits you as soon as you open the website. That’s a promo video that was professionally done. They just took a clip of “Roller” and put it on there as an audio track. So that video, we’re really proud of it. It gives you an idea of the energy of the show live. But there’s no audio yet. There’s no audio that I know of anyways, no professional live recording.
I think that would be a cool idea kind of to reintroduce the band that this is what we sound like now.
Totally agree. I think that even when Myles’ last live show, you could have a package in there where there’s some live songs of us now, so you get a bit of everything. I think that’s what they’re working on. Maybe that’s why it’s not out yet.
Has there been any discussion of eventually recording some new material?
Well, that’s a tricky situation because I think Myles was the main songwriter and Kim, who is Myles’ widow, her job is to really preserve Myles’ legacy.
So, to bring out new songs, they would have to be things that Myles has had a hand in. And he’s got a bunch of snippets on his phone. So, I think one of these days we’re going to have to go through all those snippets and see if there’s good ideas in there, which I’m sure there are, that we could potentially turn into songs.
The other option is, I know when the Thin Lizzy guys wanted to record without Phil Lynott, they ended up finding a new name. Not that you guys need to find a new name, but even… alter the name a bit or ‘featuring’…. But it’d be cool to hear the band, something live and in the studio, as is.
I totally agree.
We’ll have to see. Right now, there’s a lot happening right now just for us, playing live. So, it’d be nice. We’re going to be touring a lot, so it’d be nice to set something up where we could record the shows. We always want to be better musicians. We always want to get better and make the show better. So, there’s nothing like recording video and audio to listen to yourself and to watch yourself. That’s the best way to critique and get better.
It’s interesting because Myles, for years, was very dead set against people recording at shows and taking pictures. So there was a scarcity of stuff out there for a long time.
I think he was a little… I didn’t know the man as well as the other guys. I didn’t get to spend much time with him, unfortunately. But I think he was a little resistant of the new technology until he wrapped his head around it, then he really embraced it. You know!? Even just GPS. I mean, he still liked using maps until he understood it more and then he loved it. Maybe that’s why he didn’t like people taking pictures and shooting video because he was afraid, they would use it in a context that he didn’t approve of.
Do you have any favorite albums in the catalog now that you’ve gone through it all?
Harder, Faster – for sure. Live stuff is always great. There’s great energy. I love the ’81 show in London, they’re really firing on all cylinders. There’s so much out there. Now that I get to sing it, it’s like I like them all. I like them all and I hear them in a different way now.
Do you have any other plans to do anything… Recording-wise – outside of the band?
I had to keep busy during COVID. So, I did like 50 videos of other people’s material. It’s started out as just an I-Phone and a guitar and ended up being productions that would take 3-4 months. it was really fun. So, I’m always interested in recording and getting back to that. I’m always coming up with ideas and putting them on my phone. I just have to take the time to elaborate on them, writing songs. Now that I’m going to be touring a bit more, I have 2 young daughters, so me to take time off, I have to spend as much time with them as I can, so right now I’m more in to ‘papa’ mode because I know I’m going to be leaving soon. So, I’m taking care of my daughters, and spending as much as time as I can with them before I take off.
To answer your question, there’s always songs in my head, and I’m always interested in recording and putting ideas down. I can’t wait to get back to that. I was really into it during COVID when I had more time on my hands. But now, it’s really fun to concentrate on making the April Wine show as good as possible and making it the best people have ever seen. April Wine were a powerhouse in the 70s when there were 5 people in it, and a lot of people were blown away by that show, and our idea is to bring it in to today and still give it that great energy, playing those great songs.
Has there been any talk over time about adding a 3rd guitarist back?
At first, Myles’ idea was to do exactly that. And what happened was, logistically, nowadays it costs so much to be on the road, so expensive to fly to a gig, and fly equipment around, stuff like that. So, it just turned out that was easier logistically for 4 guys (instead of 5) in terms of transportation, in terms of everybody flying out of Montreal. Gary Borden, who is Sass Jordan’s guitar player, had the gig, and at the last minute we had to pull the plug on Gary, unfortunately. And it had nothing to do with him or his playing, anything like that – he’s great! It’s just that it didn’t make sense to bring in a guy from Niagara Falls compared to guys flying out of Montreal. So that’s why it’s a 4 piece, because it’s just too damn expensive to be on the road today, and bring a show to people, and keep shows at a reasonable price. So, maybe one day we’ll get back to that idea of the 5 piece like the early 80s.
That’d be cool! have you had a chance to meet any of the band alumni, like Gary Moffett, Jerry Mercer, and some of those guys?
Well not Gary Moffett, not yet – but I can’t wait! But Jerry Mercer came and kicked our ass in Montreal. He’s 84 years old. Have you seen the video of him playing with us? (Yes). And he said ‘I want to play “Roller”‘, and I thought ‘oh boy it’s going to be like geriatric Roller tempo or something. and Holy Shit (!), man, he came out and kicked our ass! Wow! i want to be like Jerry Mercer at 84, I want to have that energy. He was just amazing!
I saw them in ’84 on the farewell tour, and then a number times in the ’90s when they came back. And Jerry’s solo was always a highlight of the show. It wasn’t like any other drum solo (where you might run to the bathroom), it was pretty intense, and you stuck around and watched it.
Well, if you’re a drum solo fan, you’re going to love Roy Nichols’ solo, it’s really cool; it’s very original. It’s one of the highlights of the show. There might not be time for it when we’re the opening act, but when we’re the headliner we have a drum solo and a bass solo, and we stretch out a little more, which is fun.
Roy sings as well!?
Oh, Roy’s a great singer, a great producer. He’s got his own studio. He’s a super-talented guy!
I’ve seen clips of him online doing Journey.
Yeah, he’s got a Journey tribute band. And Richard Lanthier has a Harmonium tribute band, and a Deep Purple tribute band. I had a Steely Dan tribute band before getting this gig. As musicians we have to have a lot of projects on the go to stay busy; and that’s the nature of the beast (haha).
Do you listen to a lot of music, whether on Spotify or buy anything?
I tend to listen to a lot of blues-oriented stuff, a lot of new stuff – Spotify’s throwing stuff at me all the time. I have all kinds of different tastes – Kasey Musgraves, and I like Blackberry Smoke, and Joe Bonamassa’s band with Glenn Hughes (Black Country Communion). I like Slash’s stuff. I like all kinds of new stuff too. Kasey Musgraves is a great singer-songwriter, who I listen to all the time with my daughters. And my daughters like all kinds of new stuff, so they’re keeping me hip to newer stuff. (lol) And every so often I’ll get sick of it and say ‘OK, sit down, these are The Beatles, these are the Stones, and this is Led Zeppelin.’
Did you have a big record collection, growing up?
Yeah. I had a good vinyl collection, and then it turned into cassettes, because we would do these cassette recording blitzes because we could listen to cassettes in our cars. We would get together on Sundays and spend the whole day just recording albums on to cassettes.
URIAH HEEP kick off their Magician’s Farewell’ Tour in the UK in February. Supporting Heep will be Canada’s APRIL WINE and US band TYKETTO. (*Added updated dates for Europe below).
As a fan of both Uriah Heep and April Wine, I see this as an exciting bill, and Hope that April Wine is on the tour when Heep comes to Canada and the US. Both bands, in very different incarnations each time shared the stage in the early 70s when April Wine opened for Uriah Heep in Ontario, in 1972 and then years later when it was the other way around for a few US shows.
I belong to a few groups online of band, and actually (but not unbelievably) see fans of one or the other who has little to know knowledge of the other band, so I wanted to give a wee bit of background, as well as the current line ups, and 5 recommended (starting point) albums from each….
Both bands formed in 69, but really got going in 1970. UH’s debut album came out in 1970, while AW’s came out in 71. While UH took a few albums before they had a hit single, AW had one (“Fast Train”) off their debut album and would continue to have hit singles off every subsequent album here in Canada, while UH didn’t rack up the hit singles, but became an international concert draw with a number of big selling albums from 72-75. AW pretty much stayed in Canada, with limited releases outside the country, before they had a big radio hit in the US in 78 (“Roller”) and went on to huge international success from then til about 82. While AW’s most successful period ended with the 3 guitar line up breaking up in 84, UH’s comeback lineup split in 85, with a new line up soon coming about. AW returned with a new line up in 92, and have carried on since, releasing 4 studio albums up until 2006, and continuing to tour, now as a 4-piece, with a few line-up changes along the way, most notably with singer/guitarist Marc Parent taking over for founder Myles Goodwyn in 2023 before Goodwyn passed away last year.
April Wine consists of Brian Greenway (since 1978’s First Glance album, when the band took off as a 3 guitar act). Richard Lanthier (bass, since 2011), Roy ‘Nip’ Nichols (drums, since 2012) and Marc Parent (lead vocals, guitar, hand picked by Myles Goodwyn).
When Uriah Heep added Phil Lanzon (keyboards, songwriter) in mid 1986, and Canadian singer Bernie Shaw (end of 86) the band found some long-term stability, and from 1988 ’til last year Heep has released 9 studio albums and numerous live albums. The band lead by founder Mick Box (guitar), Lanzon, Shaw, Russell Gilbrook (drums, since 2007) and Dave Rimmer (bass, since 2013).
For my fellow fans of each band I’ve selected 5 recommended studio albums + 1 live album – should you want to check out either band you’re not familiar with.
APRIL WINE
Stand Back
The band’s 1975 album that was full of hits, and arguably their most popular amongst longtime fans. “Oohwatanite”, “I Wouldn’t Want To Lose Your Love”, “Victim Of Love”, “Come Hear The Band”….There was 5 hit singles off this album, and every song is memorable.
Harder… Faster
It was a tough choice between this and the previous album First Glance, but this one features the hit “Say Hello”, as well as favorite AW rocker “I Like To Rock”, “Before The Dawn” (from by Brian Greenway), and the band’s killer rendition of King Crimson’s “21st Century Schizoid Man”.
Nature Of The Beast
The band’s biggest commercial success, and height of their popularity. From 1981, with “Just Between You And Me”, “All Over Town”, and their heavy remake of (and hit) Lorence Hud’s “Sign Of The Gypsy Queen”, and heavy album cuts like “Future Tense” and “Crash And Burn”. Much of this album featured in the live set for years, and a number from it still do.
Back To The Mansion
The overlooked gem in the AW catalogue. From 2001, BTTM saw the band recording as a 4 piece again, and taking a less heavier direction. But plenty of good songs here like ‘I’ll Give You That”, the ballad “Paradise”, Brian Greenway’s excellent “Holiday”, and an interesting version of Simon & Garfunkel’s “I Am A Rock”.
Greatest Hits Live 2003
Recorded on the BTTM tour, w/ Carl Dixon added for keyboard & guitar. Sure, One For The Road from 1984s Farewell tour sounds heavier and features the classic 5-man line up, but Greatest Hits Live 2003 (what a lame title) covers more hits, and is a bit more representative of what AW sounds like in later years. Features 21 live tunes, plus 2 studio cuts.
URIAH HEEP
Look At Yourself
Heep’s 3rd album and the one that got the ball rolling, defining their heavy prog sound, and loaded with classics like the title track, “July Morning”, “Shadows of Grief” and “Love Machine”. The last to feature founding bass player Paul Newton.
Demons And Wizards
The band’s commercial breakthrough and most successful album. Features 2 of Heep’s Best known tracks, the hit “Easy Livin”, and the single “The Wizard”, along with huge fan favorites “Circle Of Hands” and “Rainbow Demon”. The first to feature the ‘classic’ line-up of Mick Box, David Byron, Ken Hensley, Lee Kerslake and Gary Thain, as well as Roger Dean artwork.
Abominog
Fast forward 10 years, and the band’s brand new line-up, and new sound for the 80s. Abominog featured a more American sound (aka Foreigner) with new singer Peter Goalby, as well as the hit “That’s The Way That It Is”. Killer album, despite a lot of covers, but everything going together so well. Favorites be “Too Scared To Run”, “Sell Your Soul”, “Chasing Shadows”, and a cover of Russ Ballard’s “On The Rebound”. Also included bob Daisley (Rainbow, Ozzy) on bass, and keyboard player John Sinclair (Heavy Metal Kids).
Sea Of Light
After more line-up changes, a few bum record deals, and less than stellar releases Heep returned to their ’70s style in a way. The 3rd to feature Canadian singer Bernie Shaw and keyboard player Phil Lanzon (by now a major writer in Heep). Tho modern sounding, SOL featured more variety, a mix of acoustics, different keyboards, more progressive tracks, and a few big riff driven rockers. This album brought a lot of old Heep fans back with tracks like “Against The Odds”, “Logical Progression”, “Words In The Distance” and “Love In Silence”.
Chaos And Colors
Heep’s latest from 2023. The band has been on a roll since 2007 when drummer Russell Gilbrook joined (bassist Dave Rimmer a few years later). This is the band’s 5th studio album of new material since then, and arguably their best. More progressive, more varied, still heavy, with favorites like “Age Of Change”, “Hurricane”, “Golden Light”, the single “Save Me Tonight”, and epic “You’ll Never Be Alone”!
*Future Echoes Of The Past : Live
So many great UH live albums (like the classic Live: January, 1973)…but I’m going with this from 2000, from the band’s tour in support of 1998s Sonic Origami. A huge mix of classic Heep and gems from the band’s 2 latest at the time. Sounds amazing.
Three big names in Canadian rock will tour coast to coast in the spring. BTO – featuring Randy Bachman headlines the Back In Overdrive tour, along with APRIL WINE and The HEADPINS.
April Wine’s 1984 album Animal Grace was the band’s final album as the ‘classic’ 5-piece line-up. The band broke up after a farewell tour following Animal Grace’s release. The album saw a couple of singles, but clearly the band was not supporting it, playing only 1 song from it in their live set. Animal Grace would also be the first April Wine album cover not to be designed by Aquarius Records’ Bob Lemm – who had designed pretty much every cover since 1973, nor would it feature the band’s logo that had been used on every release since 1978. Instead American designer John O’Brien was given the task to create the follow up to 1982’s Powerplay. Like every April Wine cover, it was a completely new design, and new look, suitable for the times.. John O’Brien has done numerous album covers throughout his career, notably for Tina Turner, Billy Squier, and Great White’s 2 biggest releases. In this exchange John details coming up with and creating the cover for Animal Grace, as well as his background, and touches on a few other covers he did. I’ve included a few of John’s other covers, as well as links to his work at the end.
How did you get in to album cover art design? Can you give a bit of your background?
Growing up I always had a love for Album Cover art and music, it seemed to be the perfect creative vehicle – visual and sonic delivery, it stimulated my senses. I graduated from Cal State Fullerton in 1981 with a Masters in Art, with Design focus. I freelanced at various design studios that specialized in entertainment in Los Angles my last year of school, and continued up to1983 after graduation. After working and showing my portfolio for 2 years, I received a call from the Creative Director at EMI Records, Bill Burks that there was an opening at Capitol Records for a designer. He recommended me, I interviewed with the Art Director, Roy Kohara and received the position. From 1983-1989 I worked in the Art Department on all aspects of an assigned project, from Cover Deign, Advertising, Marketing to Promotional Materials. Depending on the specific project I was responsible for concepts, logo design, hiring outside illustrators, typographers and building the final mechanicals, as in those days they were built by hand.
Am I correct to assume you worked for Capitol Records (seeing most of your credits on Capitol), and is that how the April Wine cover came about?
Yes, from 1983-1989 as stated I worked on staff. After 1989 work with various labels. Being a staff designer projects required different approaches. Some had art attached, logos and cover art concepts supplied by the artist and management, others needed a full exploration. I was assigned the project which needed a cover concept for April Wine with the title Animal Grace. From this point I was responsible for coming up with ideas to represent the concept for presentation to artists, management and marketing.
Were you familiar with the band and/or their music?
I had not previously followed the band but was aware of their music.
You are credited with design, and there are (2) art directors credited – Can you tell me how much of the whole album package was your design – back, front, lettering…?
I cannot recall what transpired at the time that 2 Art Directors were credited, perhaps one was on vacation and the other filled in for presentations and sign off of final art approval and budget as that was the process. As the designer on this specific project I was responsible for the creative, but I did not have direct contact with the band or management.
I was responsible for completing all packaging for the project (logo, cover, back cover, insert) as well as any campaign ads for marketing and poster. All layouts and final mechanicals were done by me in house at Capitol.
As almost all previous April Wine covers were designed by Aquarius’ Bob Lemm – who also designed their logo, is that why the logo (from the band’s previous 4 albums was not used?
There was no mandatory that a previous logo be utilized. I selected a bold font and introduced a fine line to reflect the nature of the art, without competing with the art. The cleaner logo created did not battle the art work and maximized the visual impact of the artwork illustration.
Did you have much contact / input from the band (or specific members) management? and did you ever listen to the album?
On this project, I had no direct contact from the band or management. Communications filtered internally down from the Creative Director to Art Director to Designer.
Can you tell me a bit what inspired / influenced this cover piece, and how it was achieved?
While coming up with concepts I searched various illustration promotional pieces and periodicals as well, and found a captivating image by Marshall Arisman that fit the title with perfection. Bold and powerful, elegant and graceful, the image was compelling. At this point it was comped up with a few other ideas, but this was the strongest image.
You also did Billy Squier’s Hear & Now album. Recall much from creating that?
In this case, I was assigned the project and it had very definitive parameters. Art elements were supplied specifically and indicated for the cover. Billy and the Art Director, Tommy Steele had a very clear concept of the desired look. The cover was built to specifications and I designed the rest of the package reflecting the look of the cover to follow the feel.
Any favorites and/or most successful album covers you’ve designed?
My favorite project was ‘Private Dancer’, by Tina Turner. I was going on vacation but cancelled it when the opportunity came up to work on this release. In this case I was involved with the Producer, John Carter and Management, Roger Davies on all aspects of the release. From coming up with the logo, all packaging including the double cover release – they needed one layout that worked with 2 separate cover images. I designed all domestic singles, advertising, marketing elements, standees, promotional items for over a year. A fantastic opportunity, amazing people… and Tina who had an undeniable presence that filled anywhere she was with the brightest light.
Another was the Great White project, ‘Once Bitten Twice Shy’ with Alan Niven. Another long inclusive creative project with many singles and advertising elements. A lot of fun with compelling visual elements with Alans inspiration.
Are you still creating any album covers? If not, what else have you been up to in the art world?
A few elaborate CD/DVD projects done for Alan Niven’s Tru-B-Dor Management a few years back, Storm of Perception and Chris Buck and The Big Horns. An album project for John Klages, Fabulous Twilight on Danbury Fair Records. A recently completed project for Felix Cavaliere (The Rascals), ‘Then And Now’. A fun project with a great musician and great management team. Hopefully a new one for Mark Farner’s American Band upcoming.
A sad day for Canadian music with the passing of APRIL WINE founding member, guitarist, singer, and songwriter – Myles Goodwyn. This one hits hard because being Canadian, April Wine was one of the first bands I ever saw live, and the band was a regular on Canadian radio. The band was formed out east in 1969, relocated to Montreal and signed to Aquarius Records, where they would go on to be the label’s biggest band. By the time of the band’s third studio album, Electric Jewels, Goodwyn would be the sole remaining founding member, and would go on to guide the band to huge success, particularly in the early late 70s -80s with the albums First Glance, Harder…Faster, Nature Of The Beast and Powerplay. Throughout the 70s and 80s, Goodwyn wrote, sang, and produced a steady string of singles and hits for the band, even before the band became a hit in the US. Anyone growing up in Canada could not turn on the radio here without hearing an April Wine song at some point. Many of the band’s favorites still feature on FM radio here, whether it’s the early ones like “You Could Have Been A Lady” or late 70s-80s classics like “Say Hello”, “Just Between You And Me”, or the band’s epic take on Lorence Hud’s “Sign Of The Gypsy Queen”. Not to mention “Roller” , the band’s breakthrough US hit, which can still be heard not only on radio, but at arenas during hockey games (Junior & pro…). Being Canadian, if you grew up in the 70s or 80s — you had heard Myles with April Wine; the band played high schools and arenas across the country in the 70s, and was a staple of Canadian radio.
Earlier this year Myles announced his retirement from touring with the band and selected his own replacement (Marc Parent). In the last few years, Goodwyn recorded and released his own solo albums Myles Goodwyn and Friends Of The Blues (1 & 2) , as well as his 2016 autobiography Just Between You and Me. RIP Myles, a Canadian rock n roll legend.
Below are 10 classics April Wine tracks written and sang by Myles Goodwyn.
Roller
from the band’s 1978 breakthrough (US) single and album (First Glance).
Rock N Roll Is A Vicious Game
Also from First Glance. A classic April Wine number, once tributed to Bon Scott (AC/DC) ; nicely covered by Sebastien Bach of Skid Row.
Comin’ Right Down On Top Of Me – also fromFirst Glance
Say Hello – from 1979’sHarder…Faster
Also from Harder…Faster
Just Between You And Me
From the band’s biggest album Nature Of The Beast
Sign Of The Gypsy Queen
Enough Is Enough
The first single from 1982’s Powerplay
Anything You Want You Want It
Also from Powerplay, a great opening number.
This Could Be The Right One
The first single and only track play played live from 1984’s Animal Grace.
Sons Of The Pioneers
Another single and great track from the underrated Animal Grace album. This would mark the end of the band’s most successful line-up and era.
Love Has Remembered Me
the hit single from the 1985 album Walking Through Fire
If You Believe In Me
In 1993 April Wine returned with the album Attitude, which was ful of Myles Goodwyn gems, and April Wine favorites.
Also from Attitude
Look Into The Sun
From 1994’s Frigate album. Perhaps the heaviest thing Myles and AW ever recorded. The best track on the album!
For many rock fans familiar with Canadian band APRIL WINE, the band made it big internationally between the late ’70s and early ’80s, with such albums as Harder…Faster, Nature Of The Beast, and Powerplay. But prior to the addition of 3rd guitarist Brian Greenway, and the band’s US breakthrough hit “Roller” from First Glance, the band had already released 6 studio albums and 2 live albums. The band’s US and UK releases of some of these albums were through smaller labels like Big Tree , then London Records. The band, originally from Nova Scotia included Myles Goodwyn, Ritchie Henman, (brother)David Henman, and (cousin) Jim Henman, and got started in 1969, after the Henmans had a band named ‘Prism’, and later regrouped and added Goodwyn to form a new band. Upon misinterpreting a polite rejection letter to their demo submitted to Aquarius Records, the band packed up and relocated to Montreal on April 1st, 1970, and eventually wound up being one of the first band’s signed to the newly independent label. Although they would have a hit single on their debut album, it was 2 covers they recorded for their 2nd album that gave the band a bigger breakthrough in Canada and a foot in the US – with Hot Chocolate’s “You Could Have Been A Lady” and Elton John’s “Bad Side of The Moon”; both were big hits in Canada. These songs saw the band on TV, and are still featured on Canadian classic rock radio, and are performed by the band live. My list below features the band’s own songs from the band’s ’70s period prior to changing to the ‘classic’ 5-man line-up . I am pretty sure albums like Stand Back and Electric Jewels rank highly among April Wine fans. *Feel free to add in your own comments and choices in the comments.
Fast Train
April Wine’s first album, self-titled, was released in the fall of 1971. It was a Canadian-only release (or so I thought), until I saw a release in Brazil (on Discogs) in ’72, and a mention in Billboard of the single getting an Australian issue (on Festival Records) . Anyway, April Wine was far from the sound that they’d later become a huge success for, and with all band-members contributing to the songwriting and vocals. “Fast Train”, penned solely by Myles Goodwyn is the obvious standout track, and closest thing to what the band’s more commercial pop-rock sound would evolve into. The single charted in Canada, in the summer of ’71, at #38 (RPM charts). A follow up single “Listen Mister” (also penned by Goodwyn) was issued as a follow up single, but didn’t chart or have the lasting impact that “Fast Train” did.
Page Five
Although the band’s first album has become largely overlooked, save for “Fast Train”, by older fans, and those curious about the feet on the cover, it does feature some other interesting songs, and songs that were of the time, sound-wise, mixing acoustic and heavier guitars, backing vocals, kinda psychedelic in places, and some fine guitar solos. Bandmembers had a vast range of influences, notably Led Zeppelin and Frank Zappa. In some ways the mix of all those things mentioned and unclear direction of all this kinda reminds me of those first 2 Alice Cooper albums (particularly Easy Action). But tracks like “Wench” and “Time” (which I almost picked here) feature some heavy guitar solos). “Page Five”, one of 2 tracks written by guitarist David Henman is pretty cool mid range rock track for the time, with plenty of changes, drum fills from brother Ritchie, and a big guitar solo. It’s also the longest track on the album. Following this album Jim Henman left the band to return home, not being keen on what the rock n roll lifestyle might bring. He did contribute 3 songs to the debut, notably “Time” and the acoustic ballad “Song For Mary”. In later years Jim Henman has been doing acoustic shows with Myles Goodwyn on occasion.
Drop Your Guns
Th band followed up with On Record, which saw the debut of Jim Clench on bass (ex Allison Gross). On Record also featured a number of good bandmember penned songs, such as Jim Clench’s ballad “Didn’t You”, Myles Goodwyn’s “Refuge”, and “Drop Your Guns” – the 3rd single (in Canada) written by David Henman, but sang Myles Goodwyn. A good rocker, and an early April Wine classic, “Drop Your Guns” would hit #34 in Canada, but wouldn’t be released (as a single) anywhere else. Driven by one of the band’s more memorable riffs. “Drop Your Guns” came out in a picture-sleeve, originally, as well the album would be released as the band’s ‘debut’ in the US with a different cover (featuring the bandmember photos from the inner gatefold)
Work All Day
Also from On Record. Written and sang by Myles Goodwyn. The album’s heaviest track; one of the band’s underrated gems from this period, and cool opening riffs. Interesting thing about this album is all those strings that linked the songs together would make tracks, aside from the singles, too difficult for album formatted radio stations to play cuts like this. “Work All Day” would make for an interesting live cut for the current touring band.
Electric Jewels
April Wine’s third album would take longer, and include 2 versions of the band, as the band essentially broke up while making this one. The title track was written by Goodwyn and Clench (as most of this album is credited to) about frustrations with the record companies and the business at the time “electric jewels in the hands of fools” – with the jewels being the artists and the fools being record company execs. It featured a number of changes, along with keyboards and acoustic guitars, a pretty progressive number for the band at the time, and one of my favorite ‘Wine songs. It is during a change in the song, to the 2nd movement that band changes from the Henmans to new members Gary Moffett (guitar) and Jerry Mercer (drums, ex Mashmakhan, Roy Buchanan). Also released as a single, edited down severely. David & Ritchie Henman would be listed among the ‘additional personnel’ in the credits, which also include Pierre Senecal on organ, also from Mashmakhan. The album was fully recorded with the Henmans, but once David and Ritchie were no longer in the band the 2 songs that David Henman had contributed to the album were removed and replaced. David & Ritchie went on to record under the band name SILVER (https://www.discogs.com/release/6358635-Silver-Serpent-In-The-Street)
Cat’s Claw
Electric Jewels included 9 tracks, side 2 containing 5, and well, I prefer this side, just a great run of songs. “Cat’s Claw”, sang by Jim Clench is a favorite here, a good mix of acoustic and heavy lead guitar. As much as I like the song and Clench’s vocals here it is the heavy guitar solo and extended guitar outro that really make this one stand out.
Come On Along
As Electric Jewels and Stand Back would be in my top 3 or 4 AW albums, it is a challenge to pick just a few from each. After the Henman’s split and before Moffett and Mercer joined Goodwyn and Clench, the latter went to England for a short time to try and do some writing there. Goodwyn & Clench would share lead vocals on a few songs. “Come On Along”, which opens side 2 is a great example of how well this shared vocals worked. Good tune, excellent production. There are a number of good songs on this album that I am sure others will feel should be included here, notably Robert Wright’s “Weeping Widow” (sang by Jim Clench), and “Lady Run, Lady Hide”, written about the environment (Mother Nature) – both singles. Following Electric Jewels the band released their first ‘Live’ album, with the set including a few songs that were originally only released as A & B-side singles – notably a cover of David Elliot’s “I’m On Fire For You Baby” , which was a minor hit. Both the single and the Live album were produced by The Rascals Dino Danelli and Gene Cornish.
Oohwatanite
One of the band’s trademark songs. Penned and sang by Jim Clench from the Stand Back album, which would be produced by the band. Unlike Electric Jewels – Stand Back saw Myles Goodwyn and Jim Clench credited on their own to the songs, and featured a much more polished sound and direction. “Oohwatanite” was 1 of 2 solely credited to Clench (and sang by), and his greatest contribution to the band. “Oowatanite” has always remained a highpoint of the band’s live set, set off by the train-crossing bell and light. Clench’s replacement (Steve Lang) would later sing the song (as credited) for Live At The El Mocambo, and Goodwyn would sing it for years after that.
Victim Of Your Love
Stand Back featured 11 tracks, and seems to have been penned with singles in mind, because almost every track sounds like they would’ve made for fine single releases. So, picking just a few from this album was pretty difficult. “Victim Of Your Love” is one of a few outstanding guitar driven rockers, memorable riff, the solo, the harmonies and lead vocal all make for a great production. I wondered if the song’s title was originally incorrect, as the line being sung is “victim for your love”, but I see it was listed as “Victim For Your Love” on the Greatest Hits Love 2003 release. Also, the only song that’s over 4 minutes long on this album.
Highway Hard Run
Another Myles Goodwyn track from Stand Back. interesting story in the tune (I often wonder who might be the band in the song’s tale?). Also, the B-side to “Oowatanite”. Perhaps my favorite (non-A side single) album rocker from this era, love the performances and changes in this one.
Gimme Love
In 1975Jim Clench left the band and would go on to record 2 albums with BTO, as well as 451 (Degrees), and rejoined April Wine in the early ’90s. Clench was replaced by Steve Lang (ex Devotion, Mashmakhan). The Whole World’s Goin’ Crazy was another solid album, tho’ not quite as loaded with potential hit singles as Stand Back. It was produced by Myles Goodwyn and would feature a few guests, as well as co-writes. “Gimme Love” was a strong opening track, a good upbeat rock tune, with a few nice changes, co-written with Havoness Hagopian (of Moonquake). Another from the band’s vast catalogue that might be cool to hear in the live show again. Strangely this was also released as a B-side to a non-LP A single. The album featured the Mad Hatter on the cover, one of the band’s most memorable album covers from Aquarius in-house artist Bob Lemm.
So Bad
Also from The Whole World’s Goin’ Crazy. Probably the heaviest track the band did during this period, with the legendary Frank Marino guesting on guitar. The Canadian and American versions of this album would differ in track selections, with the US having an extra track, and including a couple more ballads – songs that would appear on the band’s next release. ” 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 …!” (Frank M. – https://rickkeenemusicscene.com/2012/09/03/frank-marino-anti-establishment-101/ ) Other favorites on this album include “Rock n Roll Woman” (which I almost picked here), and “Wings Of Love”.
Holly Would
OK, so now I am at #13. And honestly I am not a big fan of Forever For Now, not for lack of good songs, just not much in the way of rockers here. But, I believe this album did start out as a Myles Goodwyn solo album, with the band brought in to complete it and use the band name (record company decision?). There;s a lot of (good) ballads here, and a few different things, but the title track is a good upbeat rock track, and this one would be my favorite here, “Holly Would” – a neat wording. Asides from Canada, Forever For Now only got released in Greece. Following this album April Wine would famously open for The Rolling Stones (ie The Cockroaches) and release Live At The El Mocambo from it, which (again) featured a number of non-LP songs, notably 2 tracks from Bob Segarini (The Wackers).
Originally released as a B-side single, “Bad Side Of The Moon” would gain a life as one of Elton’s most covered songs. First released as the B-side to “Border Song” in March of 1970, before appearing on the live album 17-11-70, and years later as a bonus track to a few expanded reissues, and other live albums . Written by Elton John, with lyricist Bernie Taupin. This song was covered by a number of artists in the year that Elton John released it as well. It may not have been a hit for Elton , but it was a single for a few others, notably a big hit for April Wine. Aside from the list featured here, there are also a couple of versions in Italian by Giovanna and I Dik Dik – bother released in 1973. There are also a few more modern covers on Youtube, but I’ve only included those that were recorded in studio and/or released on vinyl. If I’m missing any of note, please leave it in the comments!
Birds Of A Feather (1970)
Birds of A Feather featured the Chanter Sisters (Doris and Irene), who would, following this – record under that name. Their version of “Bad Side Of The Moon” was included on their self-titled LP from October, 1970. The songs were arranged by Caleb Quaye (who played guitar with Elton in the early days), and with Elton, himself, playing piano on the album. It included 5 songs credited to Sasha Alexandro (aka Doreen Chanter on the CD release), and 7 covers – 4 of which were penned by Elton John & Bernie Taupin. As the Chanter Sisters they’d record a few LPs and a number of singles in the ’70s, as well as guest on numerous albums, notably by David Byron, Manfred Mann’s Earth Band, and David Essex. The album was reissued on CD (w/ bonus tracks) in 2017.
Kubla Kahn (1970)
From Corpus Christi, Texas, Kubla Khan (as press items from the era spell it, but the record label spells as above) was a 5-piece band who signed to the small Texas label Spearway Records, and released this lone single. No idea how it did. In 1995 an 11-song CD was released of the band’s material recorded in 1970 (including “Bad Side Of The Moon” and the B-side “Out In The Country”)
Steve Lonsdale (1970)
Released as a single by Steve Lonsdale in South Africa. Not too much info about Steve Lonsdale out there, but he was formerly of a band named The Staccatos, who’d released a few albums and several single in their home country. The singer would release a number of singles in the ’70s, including a somewhat reggae version of The Eagles “Hotel California”. Not sure if this single was commercially released as I only see a promo copy of it online, but it was one of a few he recorded for Polydor US in 1970. After his time in the US, he relocated to London, England. From Billboard (70-07-18) – Lonsdale in U.S. – Polydor Records has brought Steve Lonsdale, South African recording artist, to the U.S. to record and prepare for concert and TV appearances. Polydor Inc. is conducting a full national promotion campaign for the artist...
STEVE LONSDALE-Polydor 2-24050 BAD SIDE OF THE MOON (Dick James, BMI) (TO LOVE YOU) BALLERINA (W.P.N., ASCAP) Everybody is picking up on Elton John and Bernie Taupin’s songs. An obscure flip side is brought to life by Lonsdale and friends. – Record World (70-12-17)
TOE FAT (1970)
Fronted by British soul/rock singer Cliff Bennett, Toe Fat also included ex Gods members Ken Hensley, John Glasscock, and Lee Kerslake. Their version of “Bad Side Of The Moon” featured on their debut LP, as well as issued as a single in various countries in 1970. The LP coming out in the UK in May, and in the US in July. But by then Hensley had left and joined Spice (who became Uriah Heep), with Kerslake leaving shortly after (joining Heep later), and Glasscock later joining Jethro Tull. The single was released in a number of countries, but I don’t think it charted anywhere. Band’s records were also known for those bizarre Hipgnosis covers.
Toe Fat – Rare Earth RS 511. Hard rock with heavy accent on the twang of guitars from these four guys. Just about any of the sides could step out as singles, but “Bad Side of the Moon” might just have the edge. No question that these guys are here for a while.
Toe Fat is a group which Robert Stigwood predicts great things for in 1970. Like a lot of his other groups, Toe Fat are ex -members of a well known group and make their new name -music debut on EMI with “Bad Side of The Moon.” Toe Fat have also signed a contract for their disks to be issued on Tamla Motown in the States.
Bo Diddley (1971)
From Bo Diddley’s Another Dimension album, released in April of 1971. Diddley was one of the greatest early rock n rollers, had a sound and style all his own. He did an outstanding take on this one. Another Dimension also featured songs by The Band, CCR (3), and Al Kooper (who also plays some guitar and keyboards on it). Diddley recorded over 25 albums (including a few collaborations).
April Wine (1972)
Released as the 2nd single from Canada’s April Wine, on their 2nd album On Record (released as their self-titled debut in the US). This gave the band their 3rd hit single in Canada, #16, and ‘bubbled under’ Billboards Top 100 in the US at #106. It also saw release in the UK, Australia, New Zealand and Brazil. This would be the most successful version of “Bad Side Of The Moon”, still features on Canadian radio and in the band’s live set.
APRIL WINE, “BAD SIDE OF THE MOON” (Dick James, BMI). Group that came out of nowhere to score with “You Could Have Been A Lady” follow-up with an Elton John -Bernie Taupin song that’s perfectly suited to their sound. Looks like another hit. Big Tree 142 (Bell) – Record World (72, 06-17)
APRIL WINE (Big Tree 142) Bad Side Of The Moon (3:00) (Dick James, BMI—E. John, B. Taupin) Tune from Elton John’s first British LP is a catchy rocker, following the flow of their “You Should Have Been A Lady” success. Flip: “Believe In Me” (4:12) (Belwin-Mills, ASCAP—M. Goodwyn) – Cashbox (72,06-17)
Ritchie Henman was a founding member of legendary Canadian band April Wine. Formed in 1969 by Ritchie (drums), brother David (guitar, vocals), cousin Jim Henman (bass), and Myles Goodwyn (guitar, vocals). The band moved from Nova Scotia to Montreal early on with the hopes of landing gigs and a record deal, on the basis of a misunderstood response from a well known promoter. Ritchie and David Henman wrote and played on the first 3 albums, before leaving the band and moving on to other projects. In that time April Wine made an impact on the Canadian charts with such hits as “Fast Train”, “Could Have Been A Lady”, “Bad Side Of The Moon”, and “Drop Your Guns”. Ritchie also played on the excellent album by Cruiser – Rollin’ With The Times, from 1980.
Anyway, after all these years Ritchie Henman has written his own story in the newly released – High Adventure – Tales Of Canadian Rock & Roll Survival, which details his earliest days in Novav Scotia to his days as the original drummer in April Wine as the band was gaining popularity early on. On to the band The Dudes, Cruiser, and others, on to (presumably) his post-rock days.
High Adventure – Tales Of Canadian Rock & Roll Survival is available on Amazon, as well as the publisher’s site. For more info check out the links below.
*There will be a book launch for High Adventure, with Ritchie, at the Dorval Library on May 17. Go to http://www.ritchiehenman.com for more info and to register.
Outsider Rock 