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 1975 Jim 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).
LINKS:
https://www.aprilwine.ca/thebuerstercollection/
https://www.ritchiehenman.com/
https://www.ritchiehenman.com/
Outsider Rock 