Showing posts with label Heat Exchange. Show all posts
Showing posts with label Heat Exchange. Show all posts

Monday, May 15, 2017

Heat Exchange & Squadran released at last!

This year, two bands that I have contacted for interviews on the blog in the past have released previously un-heard material. I'm very happy that the exposure they got here has contributed in some way and helped or encouraged them get their music out there! These bands are Heat Exchange from Toronto, and Squadran from New York.

[Buy LP/CD/Digital HERE]
Heat Exchange worked on an album in 1972 which was recorded by a major Canadian label but, apart from a few resulting singles, was never released. You can read the extensive story that band-leader Craig Carmody wrote for Volume 96 in this blog (link). Their music is fresh, progressive, frequently heavy and always catchy, and the belated release of the LP "Reminiscence" by Out-Sider (distributed by Guerssen Records) is a very satisfying end to the Heat Exchange story. It pulls together all the original masters that were intended for the album, four of which have never been heard, and all the singles.

[Buy: CD Baby, Amazon]
Squadran was featured in the US metal Volume 126 (link) and recorded an excellent single in 1979, on which "The Wall" was some of the fastest, most extreme metal I had ever heard from the 1970s. Drummer Mike Gandia has recently over-seen the release of their only recorded material from around the time of the single, on a new CD called "You Are Under Attack". This is four studio tracks and two live.

The music lives up to the promise shown by "The Wall", with obvious homage to Sabbath, but Mike also points out that Squadran were one of the first US bands to show appreciation for Judas Priest and were heavily influenced by them also.

Check out the previews below and support the bands at Heat Exchange Guerssen and Squadran Facebook. Cheers to Craig and Mike, and thanks for listening!

Further reading:
TDATS #96: Heat Exchange (with Craig Carmody)
TDATS #126: Into The Pit [US Metal 1976 - 79] (feat. Mike Gandia)

Heat Exchange


Monday, June 1, 2015

Heat Exchange news, re-issue fund raiser

For those that remember the Heat Exchange volume of tdats with a few singles from a great Canadian band that somewhat unfairly never got to see their album released (if you don't, read it here: there is now a fund raiser project to get the album remastered and issued in a high quality package. Band leader Craig Carmody has asked me to publicise it here and I'm very happy to do that. There are at least four further unheard tracks that will be revealed with the album, and according to Craig they are the longest, heaviest, least commercial ones. You can view the fund raiser project here:

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Sunday, March 1, 2015

Lucille DJ interviews The Day After The Sabbath

Download from: [mf] or [mg]
unzip password:  tdats

Interview by Lucille DJ

Many thanks to Lucille DJ (fb) at (web) for getting in touch and asking to conduct this interview, which was broadcast in instalments between the 5th of January 2015 and the 15th of February, on her weekly radio show based in Florence Italy.

"Bumping into 'The Day After The Sabbath' was like opening the door of a rusty archive of the most obscure and interesting hard rock bands that never really became famous. For me who is not only a collector but also the DJ of the radio program 'Lucyfer', having the chance to speak to Rich and getting to know how he started and built the blog was a real experience. His everlasting passion in researching long-time forgotten gems is contagious and reminds me how music still is the most universal language on earth and yet the most undiscovered one". - Lucille Mancini

Lucille DJ aka Lucille Mancini
You can hear 'Lucyfer' by Lucille DJ every Sunday from 9pm to 10.30pm C.E.T. streaming at, where it is also available as a podcast download.

Pt. 1
00.00 Introduction and TDATS backstory 1
04.32 Budgie "Crash Course In Brain Surgery" excerpt
05.31 backstory 2
10:23 Bang "Our Home" excerpt
11.06 Volume 111 - Cobra singles
13.36 Cobra "Midnight Walker"
16.54 Volume 76 Native American 1
19.14 Winterhawk "Selfish Man"
24.31 Volume 76 Native American 2
25.25 Buffy St. Marie "Keeper Of The Fire" excerpt
25.56 Volume 76 Native American 3
27.33 Jesse Ed Davis "Red Dirt Boogie Brother"
30.55 Volume 85 Ra'anan book 1
32.37 Rodriguez "Only Good for Conversation" excerpt
34.08 Volume 85 Ra'anan book 2
35.38 Morgen "Welcome to the Void"
40.18 Vol 105 Going Down 1
42.06 Moloch "Goin Down"  excerpt
43.26 Vol 105 Going Down 2
44.39 Booker T. & The M.G.'s - "Slim Jenkins' Place" excerpt
45.12 Vol 105 Going Down 3

00.00 Freedom "Going Down"
04.41 Red neck farmers rock idea
06.25 Wabash Resurrection - "In Heat"
11.11 Vol 17 first female collection 1
12.23 Linda Hoyle "Pieces of Me" excerpt
12.53 Vol 17 first female collection 2
13.55 Carman Maki & Blues Creation "Motherless Child"
20.45 Vol 109 Biker movie rock 1
22.04 Lenny Stack - The Duel (Part 1)
24.18 Vol 109 Biker movie rock 2
24.58 East-West Pipeline "You Could Be"
27.58 Vol 68 Neil Merryweather 1
28.53 Lita Ford "Ready, Willing & Able" excerpt
29.55 Vol 68 Neil Merryweather 2
31.11 Neal Merry Weather's Space Rangers "Escape" excerpt
31.36 Vol 68 Neil Merryweather 3
31.59 Heavy Cruiser "Wonder Wheel"
33.25 Heavy Cruiser "Super Girl"
37.07 Vol 96 Heat Exchange
38.59 Heat Exchange "Inferno"

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Thursday, December 19, 2013

TDATS #96: Heat Exchange (with Craig Carmody)

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TDATS 96: The Heat Exchange Story [heavy 70s progressive psych pop] by Rich Aftersabbath
Four years to the day since this blog started, I have endeavoured to make this post a special treat for those that appreciate the same amazing buried prog rock finds of yesteryear as myself. This volume is dedicated to a band that I came across via a few singles they made in the early '70s. The second I heard them I was blown away by their original, and often progressive sound, and have spent the last couple of years wondering about how such a fully-formed, talented group could have sunk without trace, without album release, and with barely a footnote in rock history.

Occasionally I get a lead from someone who has come across one of the bands I have posted on Youtube, and offers me the info that I've been looking this case the band is Heat Exchange, from Toronto, Canada. A son, and a grandchild, of a Heat Exchange member dropped me lines via a couple of tunes I posted. Eventually I was able to get in touch with Craig Carmody, the sax player, and by dint of age, unofficial band-leader of Heat Exchange.

Craig has stayed in music his whole life, starting a musical repair/retail business and is now happily retired, playing in a jazz/rock ensemble with some occasional session work. He has been more than helpful since I contacted him, and he set about writing this exclusive, detailed account of the rise and fall of Heat Exchange, giving me an insight into the trials and tribulations of a young struggling band. The story highlights bad management and the pitfalls and obstacles of the music business. The band was torn between the commercial expectations of a record label that did not seem to appreciate or know how to deal with Heat Exchange, and its own urge to innovate and rock out. This all-too often repeated scenario spelt the end of a band that deserved more. Some of the members went on to acclaim after Heat Exchange, notably drummer Marty Morrin, who was later in Canadian bands Truck, Goddo and Wireless, and many projects with which he is still involved. Guitarist Neil Chapman was also in Truck, and has continued with many more projects.

The download included here is six tracks in chronological order, as they appeared on three singles, released on the Yorkville label between 1972 and 1973. There is an obvious dichotomy in these songs, between the heavy prog elements shown in b-sides like Inferno, Reminiscence and Philosophy, and the accessible, funky pop fun of the a-sides. I really think the band's versatility could have propelled them to a level of fame which they unfortunately never reached. They did however record an album's worth of material, let's hope we get to hear all of it one day. If you would like me to pass any questions on to Craig, drop me a line at the usual email address or post them in comments. Following is what Craig wrote especially for TDATS.

Track list
01. Can You Tell Me (a-side)
02. Inferno  (b-side)
7" 45rpm single, Yorkville / YVM 45052 (1972)

03. Scorpio Lady (a-side)
04. Reminiscence  (b-side)
7" 45rpm single, Yorkville / YVM 45063 (1973)

05. She Made Me All Alone (a-side)
06. Philosophy  (b-side)
7" 45rpm single, Yorkville / YVM 45069 (1973)

Craig Carmody’s Origins
Craig Carmody
Craig Carmody
"I grew up in Scarborough, a suburb of eastern Toronto. My youth was filled with sports, particularly ice hockey. Like many young boys in Canada, I hoped to become a professional hockey player. Through elementary school I developed a strong friendship with Don Horsburgh, who had taken piano lessons for several years and had become a well-known performer playing at school assemblies and the like.

One Christmas I received a harmonica in my stocking and was soon playing songs on it. This was perhaps the first indicator of any musical ability. I’m not sure what motivated me, but I ordered a guitar from a catalogue and began to plunk away on it, figuring things out by ear. Leaving elementary school and preparing for high school, my friend Don suggested that I sign up for band and that saxophone would be a good instrument play, so that’s exactly what I did.

I guess I made some notable progress my first year studying the sax because (and I can't recall exactly how) I was invited to join a fledgling rock band called The Sessions. Even though my playing skills were limited, I figured out parts in the songs we performed and I had so much fun in that band that my interest in performing quickly superseded my interest in hockey, I was hooked!

My high school years were totally immersed in my new passion for music. I played in the school concert band, the school jazz band and various jazz ensembles including a group called the Studio 9 Jazz Quartet with my friend Don. I took every other opportunity to play that presented itself.

The Beginnings of the Band
I continued to study guitar and sax, and worked in a music store part time. When I left high school my guitar playing had progressed enough that I was hired to teach guitar lessons at a local music store. This was a great gig for me as I was making decent money, still living at home, and had lots of time to practice sax. Meanwhile, at my high school, a group of musicians two or three years younger than me had put together a band called 'Cloud'.

Cloud was a much better than average high school band and was quickly developing notoriety. They played mostly blues covers, but did so very well. At that point the band consisted of Neil Chapman on guitar, Gord McKinnon on keyboards and harmonica, Ralph Smith on bass and Marty Morin on drums. Ralph was dating my younger sister and therefore heard me practising at home, one day he came over to the house and told me that Cloud was considering adding horns to the band. He asked if I’d be interested in trying out. Though the members of Cloud were younger than me, I was impressed with their skills and I agreed to attend the audition. I remember the audition vividly. There was also a trumpet player there and when all was said and done I was invited to join the band; one sax, rather than a horn section. This group was the genesis of Heat Exchange.

Cloud continued to practice and scuffle about for the occasional gig while the boys finished up high school and I continued to teach guitar lessons. Our drummer Marty had been doing most of the vocals for the band and we decided that adding a dedicated singer would free him up a to concentrate on drumming. We auditioned several vocalists and chose the talents of an amazing young singer named Mike Langford.

    Craig                    Ralph                      Mike                    Neil                     Marty                  Gord   

Mike became our sixth member. Finding places to practice and opportunities to play was always a challenge, but we stuck to it. Being the eldest member, I was appointed leader of the band. In due course we signed with an agency and joined the musician’s union. We played the usual high school dances and whatever other gigs were offered to us.

Rock Hill poster 1969
Discovered While Rocking on a Hill
Our music continued to evolve and we started to introduce original songs. One of the gigs we played was a three-day outdoor music festival called Rock Hill, where we were ‘discovered’. [A lot of Rock Hill history can be read here] A few days after our performance on the big stage at Rock Hill, I received a phone call from Blaine Pritchett, who had been allowing us to rehearse in the basement of his small music store and acting as our road manager and supplier of our p.a. system.

Blaine told me that a gentleman named Roland Paquin, who managed several of the top bands in the Toronto area, had heard us play and was interested in managing Cloud. He said that if we took Roland on, the first thing he would do was find us a recording contract. A couple of days later we met Roland, he officially became the band's manager and the record deal search commenced. Cloud moved its rehearsal space to the basement of my parents’ home. Within a short time, true to his word, Roland began bringing over executives from record labels.

Rock Hill poster 1971
Rock Hill poster 1971
He would say something like "O.K. guys, tonight I am bringing over so-and-so from R.C.A. I want you to play through a few songs", he would recommend 3 or 4 tunes that he felt might impress the visitors. After we performed, Roland and the record company execs would go off for a meeting.

These were very exciting times for the band! After several of these sessions with different labels, Roland told us that he had a “pretty good offer from R.C.A." but that he wanted to bring down one more record label exec, from the Yorkville label (a small local label). We figured that having had an offer from a major label like R.C.A., Yorkville would be a let-down, but Roland insisted that we play for them. That evening Bill Gilliland and Richard Gael came to listen to the band. After our performance, Roland disappeared with the executives. Several hours later, he came back and wanted to talk to me outside.

We Had Made It!!!
With a very straight face he told me that we would not be doing any more gigs. I was, of course, dismayed. Then he laid out the details of the Yorkville offer. The offer included the following highlights, Cloud was to stop playing live gigs and to focus entirely on working on the tunes for our album. They wanted to give us the use of their recording studio to practice, to have a full-time producer work with us every day, pay us a salary to provide money to live, and give us a large sum of money upon release of our album. It was a phenomenal offer.

I was led to believe that the deal represented the largest and most lucrative recording contract that any Canadian rock band had ever signed up to that point in time. We were over the moon. The next evening we were picked up by fancy cars from the record company, taken out to dinner, then back to the offices where we all sat around a huge table in the board room and signed our recording contract!! *We had made it!!!!*

After Being Signed
Bill Gilliland was the executive producer of Arc Sound, the parent company that owned the Yorkville label. Richard Gael became producer for the band. It was his job to work with us to perfect the tunes that were going to be on our album. Arc Sound operated out of a sprawling building in a light industrial area of Toronto. Their complex included business offices at the front, a large factory area where vinyl albums and singles were pressed and a generous sized recording studio which became the band's home. [This is the same complex where Neil Merryweather recorded in early bands of his, The Just Us and The Tripp - see Vol68]

The factory part of the operation was fascinating. Many people were employed at huge machines manned 24 hours a day, pressing vinyl. It seems that they pressed records (probably under contract) for many major labels (probably supplying product for the Canadian market). They also manufactured records which were recorded in their own studio. Most of the records under their own labels were unusual things - instrumental covers of pop tunes, local country artists, small time dance bands etc.

The Ugly Ducklings - Yorkville promo shot
The Ugly Ducklings - Yorkville promo shot
The Yorkville label was reserved for their ‘rock artists’ and had their share of successful ‘hits’. The Ugly Ducklings had a monster hit with the tune ‘Gaslight’ several years before and just before we came along the band Ocean had a similar success with ‘Put Your Hand in the Hand’. The company was proud of their successes and perhaps a bit "cocky", they were convinced that Cloud would provide their next huge windfall.

For the next several months we worked on material for the album.  Every day we met at the studio in the back of the Arc Sound facility at 10:00 a.m. to practice continuously until 6:00 p.m. It was like a day job - except that we were doing what we loved to do - making music. Every Friday afternoon I'd go down to the office and pick up cheques for each of us. Our producer Richard Gael was there every day keeping us focused and making suggestions to refine the music. We were paid a meagre salary but most of us were still living at home, we were having the time of our lives. We were given a key to the studio and most evenings we were back at the studio partying and working on new music. Could life have been any better?

Cloud had an interesting way of writing new material. One of us would play a riff - an idea that person had been working on - the rest of the band would pick up on that idea and expand on it. We continued to add to the idea, each contributing an idea for the verse or the chorus, often taking the song in entirely different directions. Our music became more complex. My background in jazz surfaced through my contributions, Gord (a classically trained pianist) would often introduce classical or baroque figures. Our singer Mike would find melody lines that suited the tune and eventually come up with lyrics. It was truly a collective exercise with all of us having input. I honestly cannot remember a single time when an entire song was brought forward by one band member to be learned by the rest of the band, each song was created by the band as a whole and bore the influence of each player.

An Exchange of Names
We spent so much time playing and creating together that our individual musicianship moved ahead in leaps and bounds.  As we got closer to recording our songs, we received word that the band's name 'Cloud' might have to be changed. Apparently another band had released an album under the name 'The Clouds' and it was thought that our name was too close and could draw legal action. The search for a new name began. We were allowed to make suggestions but the record company insisted on having the final say. Heat Exchange was one of the leading contenders, we still didn't know our new name as we went in to record the album.

Recording the Album
When we were ready to start laying down the album tracks, we moved into Manta Sound which was considered the most up to date facility in Toronto at the time. The engineer/owner was David Green, he had a great reputation as an audio engineer. We later found out that much of his notoriety came from jazz and classical recordings and not so much from rock music. All of the recording/mixing time was paid for by Yorkville. They were extremely generous, allowing us to eat up hours of expensive recording time, in order to get each track just the way we wanted it. They also picked up the tab for things like renting a set of tympani because we thought it would sound neat in one of our tunes.

All the tracks were recorded and a 'rough mix' was done. As I understand it, at that time it was necessary for Canadian rock records to obtain an American label to handle U.S. sales, distribution and promotion. We were told that the rough mix had been played for the execs of several big American labels and that they were very interested in the album. However, they had some reservations and wanted to know a few things such as: How did the band go over live (we hadn't played live for probably a year) and did we have a hit AM single to generate interest in the album? So it was decided that we should release the most commercial song on the album as a single, 'Can You Tell Me' was the obvious choice.

The Heat Exchange Sound and the Singles
I'll explain a bit about the rock music scene in Canada in the early '70s. A lot of the music getting airplay on the major radio stations was very commercial (bopperish). FM stations were starting to play some 'artsy' and experimental rock music, but there was a real divide between FM and AM rock. Cloud's music was decidedly FM in style. We were influenced by bands like Emerson Lake and Palmer, King Crimson, Jethro Tull and we were doing our version of 'theatre rock', we hadn't been focusing at all on 'commercial' potential. There also existed (and still does) the C.R.T.C. which was a government initiated program designed to assist Canadian recording acts to get airplay in Canada. Essentially the C.R.T.C. mandated that Canadian radio stations HAD to include a certain percentage of Canadian produced records in their programming. To further help the fledgling Canadian rock music scene a single new release Canadian record was picked each month and guaranteed airplay on every major radio station across the country.

Heat Exchange first single - 'Can You Tell Me' (1972)
Heat Exchange first single - 'Can You Tell Me' (1972)
The day that 'Can You Tell Me' was released, the band was called into the record company offices. We saw the first real tangible results of our efforts and learned the band's new name...'Heat Exchange'. A short time later, we learned that 'Can You Tell Me' had been picked as the single guaranteed to get national airplay. We were elated and all ran home to listen to our pop radio station (CHUM) to hear our song. We listened all evening and finally around 10:00 p.m. we heard it. There we were on the radio. It was one of the most exciting moments in my life.  Over the next few days however we began to see a pattern developing. CHUM was playing our record the required 6 times a day but always in the dead of night - never during prime time. It quickly became apparent that the radio stations hated being told that they HAD to play that (or any other) song. So the initiative designed to help us and other Canadian rock bands get airplay was actually working against us.

We had decided to put the song 'Inferno' on the B side of the single. We hoped that its harder edge would better represent the band's real style and perhaps find some favour among the more alternative record buyers. Can You Tell Me/Inferno made it into the record stores and even got more attention in select cities. We heard that it made the top 10 in at least one centre. It appeared on juke boxes and probably sold some copies, but the record company was not at all impressed. They had invested many thousands of dollars in Heat Exchange and had very little to show for it. We didn't have an American label distribution agreement, nor did we have the elusive hit single.

Scorpio Lady single
Scorpio Lady single (1972)
showing typical Arc Sound logo/sleeve
Getting a hit commercial AM single became the record company’s focus. Our record contract was revised and we gave up the large amount of money that was supposed to come to us upon release of the album in favour of the right to record and release singles until we found the formula for one that was a hit. Our course had been altered considerably, now we were trying to come up with this commercial hit which really wasn't where our hearts were. We reworked one of the tunes we had written (not from the album) and our producer Richard Gael wrote a set of lyrics with a 'popier' slant and we went into a different studio with a different  engineer (hoping to get a more 'pop' sound) and recorded 'Scorpio Lady'. We needed something to put on the B side and so stuck 'Reminiscence', a track from the album, into that position. I really don't know if Scorpio Lady received any airplay but it was available in the major record shops. It's too bad, because I always really liked the song and the way it was recorded.

Cooling Off
By this time we were no longer collecting any money from the record company and were forced to go back out and play as many gigs as we could to try to keep bread on the table. We were travelling all over Ontario and parts of Quebec doing little gigs that hardly paid enough to cover our expenses. It was frustrating and when we weren't on the road we were being hassled by the record company to come up with a hit single. Several of us in the band were getting frustrated. One of the final straws came when the record company tried to talk us into rerecording The Ugly Duckling's song 'Gaslight'. It was a great song but it wasn't our song. We were not impressed!

We eventually settled on a tune to record and apparently went into a different studio again with a different engineer again, and the result was 'She Made Me All Alone'. I actually do not remember the recording session. I don't know if I blanked it out of my mind or what but it was probably 30 years before I heard that recording and I honestly had forgotten entirely ever having made the record. It's definitely me playing sax but I have no recollection of the song or the session.  One of life's little mysteries.  It must have been pressed into a single because one of the other guys in the band found a copy 30 years  later when we were trying to gather all of our recordings and have them put on to a CD.

I guess that at the time I was seriously considering leaving the band and probably did so right after we recorded the song. I needed to make some money. I was about to get married...

The End of Heat Exchange
I was getting near a decision to leave the band. I had met Laurie, my future wife, during the period of time in which we were rehearsing and recording the material for our album. She was getting tired of me being on the road and not having a reliable income and I was disenchanted with what was going on with the band so the decision to leave, while difficult, seemed logical. Laurie and I made plans to move west to Edmonton where we were married and would, in a few years, begin raising a family. I believe that Ralph Smith (bass) left the band at around the same time. He too had a girl friend who was not at all impressed with the rock and roll lifestyle.

In a rather odd twist, the rest of the band was hired to replace some of the guys in a band called Truck and did quite a bit of touring with that group. I'm not actually certain whether Gord McKinnon (Keyboards) did those tours with them or not.

Where are they now?
I guess that within the next while the rest of the guys drifted apart:

Gord McKinnon
Gord McKinnon
Gord McKinnon returned to the classical music world from which he had come. He eventually became an examiner for The Royal Conservatory of Music then went on to obtain the title Dr. McKinnon and now teaches piano at the university level. "Mr. McKinnon is a former faculty member of The Royal Conservatory of Music and is currently Professor of Music at Canada Christian College in Toronto where he teaches harmony, counterpoint and analysis for the Bachelor of Sacred Music Program. He has composed many piano pieces for various RCM publications as well as contemporary gospel songs".

Ralph Smith
Ralph Smith
Ralph Smith (bass) hung up his axe and as far as I know, never went back to it. He entered the business world and didn't seem to look back. He and his family relocated to Edmonton where I was living so we saw each other from time to time and stayed friends. Ralph now lives in Nanaimo on Vancouver Island.

Mike Langford
Mike Langford (vocals) seemed to disappear for quite a while. I do know that he continued to perform with some other bands and eventually settled in the small community of Peterborough, Ontario. I managed to track him down seven or eight years ago and he was working in a cabinet shop and doing the occasional gig. [A google search found that Mike has sung along-side a Peterborough blues band called The Channel Cats:]

Neil Chapman
Neil Chapman
Neil Chapman (guitar) never gave up on being a rock star. Neil was a prodigal guitar player even before the Heat Exchange days and, of course, continued to make music his career. He went on to play with many bands (again, I certainly can't account for all of his endeavours) but one band I know he had great success with was called The Pukka Orchestra. I managed to touch bases with Neil four or five years ago when he came through Vernon, B.C. (where I now live) with Buffy St. Marie [see Vol76]. Neil also became a sought-after studio musician and continues to perform and record to this day.

Marty Morin performing Supertramp's 'Breakfast In America' with Classic Albums Live
Marty Morin performing Supertramp's
'Breakfast In America' with Classic Albums Live
Marty Morin (drums) similarly went on to bigger and better things. While I was living in Edmonton Marty came through performing with the band Toronto (with Holly Woods) A coliseum type tour. I caught Marty again just a few years ago when he came through Vernon with a show [Classic Albums Live] that duplicates note for note various famous albums (this particular show was The Beatles Abbey Road album) an amazing show. As far as I know, Marty is still doing those tours from time to time and also has a band that is dedicated to performing the music of Tom Waits.
Marty Morin in Wireless (1978)
Marty Morin in Wireless (1978)

Craig on stage in recent times
Craig on stage in recent times
Craig's Final Words
As for myself, after separating from Heat Exchange I moved to Edmonton, married and began raising a family. I established what turned out to be a successful music repair and retail business and learned to repair all manner of band instruments. I probably took a 5 year hiatus from playing but then drifted back into it. I played with a several bands in Edmonton including a large jazz band and an R&B showband called Cold Sweat which recorded one single (Betty Lou). In 1994 Laurie and I and our three sons moved further west to Vernon B.C. where I once again took a lengthy break from playing while concentrating on business and family interests. Eventually I was drawn back into performing and have continued to do so ever since. I currently play with a small rock/jazz group called Kath and the Tomkats as well as a large 11 piece showband called The Legendary Lake Monsters. I am happily retired from any day jobs now and only play music. My wife Laurie passed away in 2010 from cancer, but I have been blessed with a new lady (Arleen) and she has become the love of my life. I also do "casual" gigs and the occasional recording session as a studio player.

A few Final thoughts on the music of Heat Exchange. Because our album was never released, approximately half of our music has never been heard by anyone outside of our own families and friends.

From the tunes recorded for our album, the ones that made it into general distribution were:
Can You Tell Me
Inferno (B side for Can You Tell Me)
Reminiscence (the B side for Scorpio Lady)
Philosophy (the B side of She Made Me All Alone)

Remember that both Scorpio Lady and She Made Me All Alone were recorded later and thus were not a part of our album. Unfortunately, this means that some of our most interesting work has had next to no exposure. The songs that were chosen as singles or the B sides of later singles were the only songs on the album that were both short enough to put on a 45 single and (maybe) approachable enough to have some potential mass appeal. The rest of the songs on the album were much more "theatrical" and intense. The titles from the album that people have not heard are: 'Scat' , 'For Those Who Listen', 'Stopwatch' and 'Four to Open the Door'. “Four to Open the Door” is actually a suite with 4 distinct movements. So there you have a condensed story of the birth, rise and fall of Heat Exchange.

It has always been my hope to write a book about the Heat Exchange experience. I am now 64 years old and have health issues that mean I may never get around to writing that book in this lifetime. So getting at least a condensed version of the story out at this time seems appropriate."

Craig playing sax

Thanks Craig, and thanks for listening/reading. Drop me a line if you have any questions to forward to Craig.

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Saturday, October 5, 2013

The Day After The Sabbath 92: Pick Up Is Illegal on 401 [Canada pt.3]

Download from : [mf] or [mg]
Unzip password:  tdats
Here's my third Canadian collection after Vol23 and Vol58. I make plenty of discoveries from the land of the maple leaf and this one is an eclectic bunch from the golden period of '69 to '75 (maybe the best years in rock history?). Dripping with early 70's rock goodness, this set features a few album cuts, two tracks from recently-released retrospective ep's (Ax via Rise Above Relics & Twitch via Supreme Echo) and a load of great obscure singles that I mostly found on the gold-mine (if you look hard enough) site Museum Of Canadian Music.

The LymeNoah, Sun Band and Brave Belt have connection to Bachman Turner Overdrive, mainly through Randy Bachman who seems to have been an active guy in the early days, his first notoriety of course gained in The Guess Who, while playing with and producing many bands, on to Brave Belt and then some world-wide acclaim in BTO. Three of the included bands have appeared before on TDATS; Rose on the AOR special Vol91Heat Exchange back on the flute special Vol78 and Sex who were on the 2nd Canada special and appear again because I found this track on their second album, 'The End Of My Life', that is a blues rock groovathon.
Museum Of Canadian Music | Supreme Echo | Rise Above | Prog Quebec
Canadian | The Canadian Pop Encyclopedia | All

01. The Village S.T.O.P. - Vibration (1969)
02. The Lyme - Measles (1969)
03. Sex - I'm Starting My Life Today (1971)
04. Bush - The Grand Commander (1970)
       from album 'bush'
05. Ax - Babies Falling From The Sky (1970)
       from retrospective ep 'you've been so bad'
06. Morse Code Transmission - Never Ever Easy To Do (1971)
       from album 'morse code transmission'
07. Noah - Something's In My Way (1972)
       from album 'peaceman's farm'
08. Brave Belt - Waterloo Country (1972)
       from album 'brave belt II'
09. Long Time Comin' - Part of the Season (1972)
10. Ronnie and Natalie - 6 Times (1975)
11. Sun Band - Good Feeling (1972)
12. Rose - Ride The Subway (1973)
       from album 'hooked on a rose'
13. Heat Exchange - Philosophy (1973)
14. Twitch - Pick Up Is Illegal on 401 (1973)
       from retrospective ep 'things'

The Village S.T.O.P.
(l-r) Paul Marcoux,
Steve Urech, Fraser Loveman
So to begin, 'The Village S.T.O.P.' single is a heavily Hendrix-influenced fuzzy a-side from 68-69 and according to Museum Of Canadian Music the band was Fraser Loveman, Paul Marcoux, Nick Urech, Steve Urech and Jim Hall. It's stated in a couple of places including MOCM that UK-born singer Fraser Loveman was previously a member of The British Modbeats, later on he starred in theater shows of  "Hair" and "Annie Get Your Gun". There is more info on that site relaying stories of The Village S.T.O.P. performing a revolutionary 'freak out' section of their live set where the lights would go out and the band would whip their clothes off to reveal luminously-painted bodies (sometimes naked apparently) and do crazy dances.

The Village S.T.O.P. in body paints
The Village S.T.O.P. in body paints
Here's a quote from Fraser, found at MOCM: "Niagara bands were so overlooked and underproduced Ha! Ha! We appeared naked with just flourescent body paint (black light). We were huge on the eastern seaboard. Then Alice Cooper stole our act. But I'll tell ya one thing - The Village STOP outplayed anybody and put on a show like you wouldn't believe. We played gigs where major acts refused to go after us. The sheer force, colour, acrobatics and staging was unparralled at the time. The pix speak for themselves!" There is more information and photos with comments by Fraser here at MOCM.

The Lyme 1969
The Lyme 45 (1969)

Here is some information on The Lyme, courtesy of the MOCM, including a mention of Randy Bachman's 'additional guitars': "The Lyme`s only release, the superb double-sider ‘I’m Only Dreaming’ b/w ‘Measles’, was purportedly the first stereo 45 released in Canada. And the record might even have scaled some local charts had it not been overshadowed by the Guess Who’s massive top-ten hit ‘These Eyes’, which was released just several months before. In fact, both bands were managed by the Quasimodo Agency, led by Don Hunter and Ray White. What’s more, these Lyme sides were produced by a young Randy Bachman (who also played guitar on both tracks), himself just months away from superstardom south of the border. 

The short-lived band came to be after the leader Terry Read had come back to Winnipeg from Burlington with Rick Keens to join up with Wade George and the rest of the band. However, Rick left the band shortly thereafter before the band recorded any material. Mark Thiessen replaced Keens as the bassist for all of the recordings including a demo version of "Morning Dew".  The Lyme debuted on National TV on the weekly afternoon CBC show that Chad Allen hosted along with the Guess Who. 

Both tracks on this single (along with two more unreleased tracks, one which was co-written by Randy Bachman) were recorded at the Peg’s Century 21 studios. The languid, organ-led ‘I’m Only Dreaming’ no doubt had its eyes on the AM charts, while the more-electric b-side features trippy, double-tracked vocals and a moody, downer vibe.  Both ‘I’m Only Dreaming’ and ‘Measles’ would find their way onto the excellent 2-CD set Buried Treasures, Winnipeg Rock Gems 1958-1974, issued back in 2009 by the venerable Super Oldies Record label. 
-Robert Williston 

All members were from Winnipeg, Manitoba; George Crakewich : lead vocals, Gary Sherbanow : guitar, Terry Read : keyboards, Wade Gargan : drums, Rick Keens : bass guitar (replaced by Mark Thiessen), Mark Thiessen : bass guitar (replaced Rick Keens), Randy Bachman : additional guitars"

Sex - The End Of My Life LP (1971)
Sex - The End Of My Life LP (1971)
Quebec's Sex appeared on TDATS before with their controversially-lyricised song 'I Had To Rape Her'. Here I am using a much less shocking track that was a single of theirs taken from the second album. It's a wicked slab of groovy blues rock. I found some information on the band on the Prog Quebec site and here it is: "Sex  was formed by Yves Rousseau (guitar), Robert Trepanier (vocals, bass, flute, harmonica), and Serge Gratton (drums). They released a self-titled album in 1970. The LP features rudimentary hard rock tracks based on heavy blues, a style prevalent in Britain at the time. (In fact, one could describe the album as a cross between Budgie and Black Sabbath.) This strong blues influence could explain it being labeled as "psychedelic" by some. Lyrics are sung in English with a heavy French accent, which was still mostly the case in Quebec, until Dionysos, who played many shows with Sex, broke the trend by singing all in French. Song titles and lyrics are consistent with the group's name, and contain some disturbing themes. Highlights on the album include 'Come Wake Up' and 'Not Yet', both of which were released as a single.
Sex - The End Of My Life LP (1971)
Sex - The End Of My Life LP (1971)
1971 saw the release of a second LP entitled 'The End Of My Life'. Their obsession with the group's name returned with a vengeance, this time producing tracks like 'Syphilissia' and an overall concept concerning a young man whose sexual "coming of age" involves heartbreak followed by promiscuity, then terminal infection, and ultimately imminent death. The band added Pierre (Pedro) Ouellette on sax and flute, lending a little more variety to the music. The album opener, 'Born To Love', starts off as psych-blues for the first minute, embarking suddenly on a jazz-rock penchant for the next, and bringing in a prog twist for its conclusion. "I'm Starting My Life Today" is an interesting blues-rock venture that was chosen as album single. 'Emotions' is not so successful, initially bordering on prog-rock with a frantic sax-and-xylophone intro that recalls Frank Zappa and the Mothers of Invention, but settling immediately thereafter into a rudimentary (though adequately performed) blues. Some tracks can find a distant comparison to post-psych group Blue Öyster Cult. Only the 8-minute title track that closes off the album succeeds in completely breaking past the psychedelic/blues barrier into the realm of the progressive, with enjoyable stylings resembling early  Jethro Tull. Like label-mates W.D. Fisher, Sex was managed by Pierre Gravel out of Granby, and both bands' vocals (sung in broken English) detract the listener somewhat from the now dated sounding music. Also, like W.D. Fisher, Sex failed to bridge the gap from the psychedelic 1960's into the progressive realm of the 70's, when true inspiration, originality and musicianship finally exploded in Quebec music."
Toronto's Bush pedaled a particularly funky brand of hard rock. They only released one album, from which I have used the track "The Grand Commander". The band were Roy Kenner (vocals), Domenic Troiano (guitar), Penti "Whitey" Glan (drums), Hugh Sullivan (keyboards) and Prakash John (bass). Following is their article over at Canadian : "Also an alumni of Robbie Lane & The Disciples, when Dominic Troiano left Mandala in 1969, he was looking for a change from the high class big band r&b rhythms. Along with Mandala-mates vocalist Roy Kenner and Pentti 'Whitey' Glan on drums, they moved to Arizona early the next year to get different musical vibes and a fresh start. They recruited bassist Parkash John and began playing the circuit, cutting their teeth on the harder blues based riffs and less sophisticated material they were trying out on a hungry market looking for something different to wet their appetite.
They caught the attention of Reb Foster, an LA disc jockey while he was in Arizona. Foster ran a management company through his Cuordoroy Records that was affiliated with ABC/Dunhill Records. He agreed to manage the band and had them signed to Dunhill in early 1970. Bush in fact was the first band to sign with Cuordoroy. They got bigger gigs, opening for the likes of Steppenwolf and Three Dog Night, but found themselves in the middle of a nightmarish R&R political BS situation as they prepared to release their first lp. ABC/Dunhill sued Cuordoroy, and Bush became the football, punted back and forth with no one ever scoring. Their first and only lp was self-titled and like the band's name, straight forward, simple, catchy and easy. Tracks like the lead off "Back Stage Girl, "Got To Leave The City," "Messin' Around With Boxes" and their only single "I Can Hear You Calling" all showed Troiano and company were looking for a different direction, straight to the bones driving rhythms. The reminiscent "Yonge St. Patty" paid homage to 'the girls from home,' not far from where Troiano grew up.

They carried along the dusty trails but by early the next year, they were broke. The band packed it in, but Troiano and Kenner weren't out of work for long. The James Gang came knocking on Troiano's door to fill Joe Walsh's guitar duties, and he convinced them Kenner would be the perfect vocalist for them. Troiano then would go on to join The Guess Who and cut several solo albums, as well as form his Black Market project before becoming immersed in production and behind the scenes work, scoring a number of soundtracks for film and television. Kenner would also appear on again off again in Troiano's solo projects, as well as in Black Market, as did John, who also went on to record with Alice Cooper, along with Glan.

The album was re-released in 1995, but not without controversy. Around the same time that Troiano was remastering the album, a band came out of Britain with the same name. To avoid legal hassles, they changed their name to Bush X for their Canadian release. The original Bush did indeed re-release their only lp, but oddly - with a different cover. Also included were four live tracks from the last show they ever performed at LA's Bitter End club with Three Dog Night.

Two years later, Troiano and Gavin Rossdale, leader of the British band held a press conference in Toronto to announce they'd been given permission to use the 'Bush' name on recordings. Troiano succumbed to prostate cancer in 2005."
In 2010 Rise Above Relics released "AX - You've Been So Bad" a limited edition 10" ep of 600 copies. Amazingly the master tapes of these three killer tracks, recorded in 1970, were salvaged by baking and mastered for the first time ever. This obscure 70's Canadian hard psych band from Kitchener, Ontario were around since the late 60's and the members were John Frederiksen, Jack Smith, Gary Gross (vocals) and Brian Shearer.

Despite being a popular draw in their local area, these guys sadly faded into obscurity without ever releasing anything... until now that is.

Morse Code Transmission - debut LP (1971)
Morse Code Transmission - debut LP (1971)
Morse Code Transmission were from Quebec and the song I have used is taken from their debut s/t 1971 album. Following is a small bio taken from The Canadian Pop Encyclopedia. They comprised Christian Simard (keyboards, vocals), Michel Vallee (guitar), Jocelyn Julien (guitar) and Raymond Roy (drums). If you'd like to read further there's a more extensive history here at Canadian

Morse Code Transmission (Quebec)
Morse Code Transmission (Quebec)
"Quebec's Morse Code Transmission had its roots in 1967 as Les Maitres which was founded by Vallee and Roy. They became quite popular playing cover tunes in both French (Robert Charlebois, Claude Leveillee) and English (Bee Gees, Tom Jones, Peter And Gordon). They recorded three unsuccessful singles before changing their name to Morse Code Transmission in the early '70's after signing a recording contract with RCA Records. Their self-titled debut, featuring phonetically learned songs in English by the likes of Stan Rogers, Bill Misener and others, was released in 1971 and had success with the single "Oh Lord". The band performed and recorded intermittently throughout the 1970's and 1980's and even managed a few gigs into the '90's before finally calling it quits in October 1990."
Ontario's Noah appear at the midway point. Like a few bands on here, they had support from Randy Bachman who occasionally played 2nd guitar with them live and, along with production duties, allegedly played on parts of the the bands second (and final) album 'Peaceman's Farm' (1972). The album is a mix of rural sounding rock which is perfectly complemented by Paul Clapper's husky vocals as you can hear on 'Something's In the Way'. It is less pop-orientated then their debut, which is still a pretty good record but quite different to Peacaman's Farm, closer to what they recorded under their previous moniker 'Tyme And A Half'. Other band members included Barry "Buzz" Vandersel (lead vocals, bass), Marinus Vandertogt (lead & rhythm guitar, vocals), Peter Vandertogt (drums, percussion, vocals), Ron Neilson (lead guitar; replaced Clapper) and Al Manning (guitar; replaced Neilson). My gripe with this album is that while it's all of good quality, it's weighted a bit to too much towards balladeering, the four or so 'rocking' tracks on it are brilliant and I would have more of them!

Noah - Peaceman's Farm LP (1972)
Noah - Peaceman's Farm LP (1972)
Here is some more information from the Canadian Pop Encyclopedia: "The band started originally playing local clubs around Trenton, Ontario in 1964-65 as Buzzy And The Belvederes. The band featured 'Buzzy' Vandersel’s (who was 14 at the time of the band's inception), his older cousins Peter & Marinus Vandertogt and finally, lead singer Paul Clapper. The band was re-christened Tyme And A Half by Nimbus 9 Productions' manager Al MacMillan during the recording of their first single "It's Been A Long Time". They would release the song and a second single in 1969. The group landed a deal with RCA-Victor through their Nimbus 9 producer Jack Richardson, and with a final name change to NOAH, released their eponymous debut in 1970. 

Paul Clapper, unhappy with the direction the band was taking under the leadership of Al McMillan, left and was replaced by Ron Neilson as they toured the debut album. However, Neilson also left and Noah carried on as a three piece. Moving to ABC/Dunhill their 1972 album 'Peaceman's Farm' was produced by Randy Bachman. Bachman also wrote the song "Sussex" for the record and played guitar on several tracks as did keyboardist Jim Morgan. The song "World Band" would later be covered by US group GRIFFIN. 

The album not only recieved great reviews in RPM, Cashbox and Billboard magazines, but increased their profile as one of the featured acts in the Canadian music industry's summer Maple Music Junket. Noah began extensive touring in the USA to promote the album in the Spring of 1972 and Bachman toured with them. One stint included a live broadcast on radio station WCMF in Rochester, New York. Al Manning joined the group at this time as well. 

With the group on it’s way to big success, it was back into the studio for production of their third album 'California Man'. During the recording of a re-working of Bachman's "Sussex", Vandersel took ill and was rushed to the hospital. Recording was completed in mid-1973 but shortly thereafter Vandersel was rushed to the cancer ward of Kingston General Hospital in Kingston, Ontario for examination which confirmed the growth of a malignant brain tumor. After two years of chemotherapy treatments (and a temporary remission) Vandersel succumbed to his illness in the fall of 1975 at the age of 23. The group disbanded following his death and the 'California Man' album remains unreleased to this day. - with notes from Ron Neilson and Keven Rector." After Noah, At least one member (Al Manning) went on to Coyote, which is mentioned in this article.
Brave Belt - s/t debut LP (1971)
Brave Belt - s/t debut LP (1971)
with Randy Bachman (left)
Not an obscure artist I know, but one that seems to have been involved in the industry at the time and many of the bands in this comp, Randy Bachman re-appears for track 8. Brave Belt were a transitional band for him, moving from the pop/commercial rock of The Guess Who and other acts he was involved with in the 60's/early 70's, towards the tough rural rock sound that Bachman Turner Over drive is known for. The transition is displayed perfectly by comparing the first two Brave Belt records, the fist having a psychedelic pop sound with some great tracks like Wandering Fantasy Girl and the second having rockers like the song I am using here, 'Waterloo Country', which established the BTO sound. Following is some background found at Canadian Pop Encyclopedia, and there's more here at Canadian "[Brace Belt were] Chad Allan (vocals, rhythm guitar, keyboards), Randy Bachman (guitar), Robin Bachman (drums) and C.F. Turner (vocals, bass). During the 1960's Randy Bachman was a founding member of Chad Allan & The Expressions who would go on to fame and fortune as the Guess Who. Bachman had been slugging it out for 10 years by the time the band struck gold with #1 hits like "These Eyes", "Laughing" and "American Woman" and decided to leave the group while they were on top. Upon leaving the band, he released a solo album called 'Axe' for RCA in 1970. The album did little and Bachman found himself yearning for the creativity of a collaborative atmosphere. He called his old Guess Who cohort Chad Allan and they decided to put a new band together. Allen would supply vocals, keyboard and rhythm guitar while Bachman's younger brother, Robin, would handle drums. 

Brave Belt - II (1972)
Brave Belt - II (1972)
The trio became Brave Belt and headed into the studio to record their debut album with Bachman doing double duty on bass guitar. As fate would have it, they landed C.F "Fred" Turner as bassist just as 'Brave Belt' was completed (Turner doesn't appear on the album). The album was released in 1971 on Reprise Records. By 1972's 'Brave Belt II', the band was starting to show its heavier side particularly with the new addition of C.F. Turner's songwriting and gritty truck driver vocals which appeared to conflict with Chad Allan's vision of the band. Allen contributions to the record were minimal and he quit before the record was released. ('Brave Belt II' would eventually be re-issued following the success of B.T.O under the auspicious handle of 'Bachman-Turner-Bachman As Brave Belt')

With the limited success of the first two albums Randy Bachman began hunting for a better record deal which he found with Mercury/Polydor. By then, Chad Allan had been replaced by another Bachman brother, Tim, on guitar and the direction of the band slid into an even heavier mode. By this time, 'Brave Belt III', was the intended next record but with a new label and band direction the group changed gears, literally, and became 'Bachman Turner Overdrive' or B.T.O. for short."
Long Time Comin'
Long Time Comin' label
Long Time Comin' have been hard to find to find information on. I have found mention that they were from Vancouver and they recorded three singles (according to MOCM), of which 'Part Of The Season' was one. It's a catchy tune with great phased fuzz guitar and Mike Bosley is credited as writer, as with most of their songs. Here is what has to say: "Artist Biography by Stansted Montfichet. An obscure footnote from Vancouver, BC's early 70's music roster, this foursome included Mike Bosley (songwriter and lead guitarist); Gary Webstad (bass); Jerry Lipinski (rhythm guitar); and Howie Atherton (drums). The band cut "Paper Rose" (1970) and "Part Of The Season" (1972) as singles for the local S.G.M. label; other self-penned repertoire included "Funny" and "Downhill Slope." In its folky California guitar stylings, "Paper Rose" hearkens back to Spirit and Moby Grape; while "Part Of The Season" is fuzz-funk with a more contemporary seventies feel. Like many of their contemporaries, the group vanished without a trace. Their two-single legacy resurfaced, however, on the History Of Vancouver Rock, Volume 4 (Vancouver Record Collectors' Association VRCA 004, 1991)."
Ronnie and Natalie Pollock - Winnipeg Tribune
Ronnie and Natalie Pollock
- "Winnipeg Tribune"
Facts on Winnipeg's 'Ronnie and Natalie' are sketchy and confusing too, but their song here is a winner, high-octane rock n roll with a punky performance from the female singer in her call and response vocals. Their surname in production credits is Pollock, so I can only guess that they were married, or brother and sister. It seems that they are fundamentally connected with a band called Stumpwater, who I used before with a brilliant heavy track 'Turn Me On Woman' on Vol70. Stumpwater may have been the backing band on the track included here; '6 times', which was the b-side to Turn Me On Woman on a single that is stated to have been released in 1972 (though elsewhere it says 1975). MOCM also atributes Ronnie and Natalie to two other singles, both of which are pop music. Here is some information on the single at MOCM that makes a connection to 'Guess Who' through guitarist Steve Heghi, though I have not yet found mention of that name being a Guess Who guitarist. It also says that Dave Chapman was the arranger and performer of 6 Times, though I can only guess that the female vocals are those of Natalie Pollock.
"heavy sounds from north of the border. Little-known in collectors circles outside of Winnipeg. Low down and dirty. .... 
Stumpwater / Ronnie and Natalie Split
Stumpwater /
Ronnie and Natalie Split 45
Steve Heghi (Kilowatt, Guess Who): guitars on "6 Times" 
Siggs & Johnson: vocals 
Rick Shmylkowski 
Lorne Tummon 
"Turn me On Woman" writen by Lorne Tumman 
"6 Times" arranged and performed by Dave Chapman 
Additional vocals by Stiggs & Johnson
Produced by Natalie and Ronnie Pollock 
Golden Boy Music 
Firehead Productions 
Recorded in Winnipeg at Century 21 Studios 
"Nifty" Natalie Pollock co-hosts The Pollock and Pollock Gossip Show".

MOCM also provides a link to a cryptic website that claims Natalie was co-host on "The Pollock and Pollock Gossip Show" which looks like it was a public access TV show.

NEW UPDATE: I have found some revealing information on Wikipedia here: "Natalie Pollock is a former musician and talk show host, and has campaigned for Mayor of Winnipeg three times. She attended Grant Park and Kelvin high schools in Winnipeg, and audited courses in Political Science at the University of Manitoba. She and her brother Ron Pollock worked as musicians in the 1960s and 1970s, under the names "Ron and Natalie O'Hara". Dionne Warwick produced one of their songs in 1968, and three of their songs hit Billboard Magazine's easy-listening charts in the early 1970s. Pollock later ran her father's podiatrist office, and unsuccessfully sought a Liberal Party nomination in the buildup to the 1984 federal election. In the late 1980s, she and her brother hosted a cable-access television program called "The Pollock and Pollock Gossip Hour". A report in the Winnipeg Free Press asserts that the program featured "off-beat political interviews" and "often-provocative dancing by Natalie". The show was canceled in 1990."
'You Know There’s Nothing To It / Good Feeling' 45 (1972)
'You Know There’s Nothing To It /
Good Feeling' 45 (Sun Band - 1972)
Sun Band (formed Saskatoon, SK) was Wayne Rollack (drums), Brian Will (bass), Gerry Bowers (guitar), and Rod Salloum (keyboards). The track I chose, 'Good Feeling', is a b-side to 'You Know There’s Nothing To It'. Here is the bio at RYM:  "Sun Band was formed by Rollack, Will, and Bowers, shortly after leaving high school. Six singles were produced around 1972 by Randy Bachman: “Where Have You Been”, “Fixing My Ways”, “Thinking of the Days”, “Mr. Stevens”, “You Know There’s Nothing To It”, and “Good Feeling.” Salloum joined shortly after. The band played mostly in Saskatchewan, Alberta, Manitoba, and North Dakota. 

In 1974, they went into the Tommy Banks studio, but never produced an album. The next year, A&M records contacted the band, wanting to hear more, but the band folded in 1975. Rollack is now a music teacher with the Saskatoon Public School Division. Will plays with the Paul Tobin Band and C95 Magic Band. Salloum works with independent artists, splitting his time between Saskatoon and Vancouver. Bowers has not played for some time."

Rose - Hooked on a Rose LP (1973)
Rose - Hooked on a Rose LP (1973)
On to track 12, Rose started in the very early 70s and released their debut 'Hooked on a Rose' in 1973. At this point they were nearer the sound of Deep Purple on their heavy tracks (exemplified by the track I use here; "Ride the Subway") which is understandable as the LP was produced by John Stewart who had reportedly worked with Deep Purple & Jon Lord (though I have been unable to deduce which records as yet). They adapted early on to the production and sound of AOR and you can them in this later phaze on Vol91.


Heat Exchange
Heat Exchange
The next track is from a Canadian group called Heat Exchange. This Toronto-based 5 piece were clearly very talented and showed great musical versatility. Unfortunately they did not make an album, though they earned a recording contract to do so, and the scant information available so far on the series of singles they made does not reveal what happened to them. 'Philosophy' is some frenetic prog which is quite heavy but accessible too, they could have been huge. 

Heat Exchange -
Philosophy 45 (1973)
I found a guy on YouTube who is the son of Flute player Graig Carmody, so I asked him for information on the band and this was his reply: "If I recall my dad's story correctly, they struggled to find a strong commercial hit--they landed a recording contract and Scorpio Lady was their first attempt at a commercial hit. It did pretty well in Toronto, landing in the top 40 countdown for some time. But the rest of their stuff was really creative and unusual, and I think they didn't want to veer too far away from that. A year later their momentum faded, and things just fell apart from there. My dad still plays after many years of repairing instruments as his profession, just in a couple local bands. If you're curious, here's a video of him in recent days."

Twitch - s/t 7
Twitch - s/t 7" EP (1973)
Twitch finishes up this volume, here is the intro to the recent retropsective EP released by Supreme Echo: "Canada's long lost doom/proto-punk legends finally unleashed! Distancing themselves from the bustling local psych scene, they formed in 1971 on the rural outskirts of Vancouver becoming a hard rock trio unlike any other local group. Band leader Ian prompted the guys to wear bloody horror-fantasy make-up and bizarre outfits, becoming the first (and only) in Vancouver to do so (also believed to be first to use smoke & fog) packing full house night after night. Late March / early April they did two recording sessions documenting the entirety of original compositions - a mere four songs resulting in two 45 singles. The first 45 was issued in May and the second in August, both pressed in roughly 100 copies. Comparable to early Pentagram, Crushed Butler, Edgar Broughton Band, Stone Bunny, Troyka, early Alice Cooper, Wicked Lady, Bang, Dust, and others. Brace yourselves folks, Twitch's story will rewrite Canadian underground history! A true bone-cruncher! Now compiled onto one EP with orange repro labels, deluxe picture sleeve (not fold-over), and 16 page booklet with detailed history & tons of photos. Fully authorized, limited edition of only 600 copies. (Supreme Echo, 2012)

Twitch - 'Pick Up Is Illegal on 401' 45 (1973)
Twitch -'Pick Up Is Illegal on 401' 
demo (1973)
Reviews: "...looking like Norwegian Death Metallers twenty years ahead of their time...obscuro 1973 Vancouver rockers who graduated from the Sixties teen garage scene, compiling their first two 45s over two sides. “Things” is the centerpiece, a brooding bad-trip sounding proto-punker that bridges the gap between Sixties garage and psych (even if the band held the burgeoning “psych” movement in disdain) which was backed with the biker-rock “Pickup Is Illegal on 401 (Hitchhiker’s Blues)”..." - RK / Terminal Boredom, June 2012

"Glam-rooted hard rock from Vancouver circa 1973, with the morbid death wish of Alice Cooper folded in as a last-ditch attempt for notoriety... a band that was musically ahead of its time, and was likely pushing things along to some degree...menacing, brooding, simple yet memorable downers, with a penchant for mean riffs and body paint...strange, but effective, and interesting enough to merit closer inspection by aficionados of both the era and the underground rock history of western Canada..." - Doug Mosurock / Still Single, July 2012".

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