Blue Feeling - The Story Of Snakeye

Snakeye was formed in August of 1971 out of the remnants of multiple local Halifax, Nova Scotia, groups: Langley Beach Crowd, Pepper Tree, and Melody Fair. The original members consisted of Allard Barkhouse (drums/lead vocals), Jim White (guitar), Tony Argent (guitar), and Kenny Umphrey (bass/backing vocals). The leader of the group (as well as the main songwriter and lead singer) was Allard Barkhouse. He also acted as de facto management during the early days.

During 1971 and early 1972, Snakeye performed around Nova Scotia and garnered a small but devoted following. They began a management arrangement with H.P. & Bell, who also managed Lighthouse at that time. H.P. & Bell arranged a central Canadian tour (Ontario/Montreal) for Snakeye during the summer of 1972 in an attempt to bolster their popularity. They played the regular circuit for bands of the time: high schools, colleges/universities, coffee bars/clubs, bars, etc.

While in Toronto during their summer 1972 tour, Snakeye recorded their debut album at Toronto's famous Thunder Sound Studios. Producer and multi-instrumentalist Keith Jollimore partnered with them to produce the sessions. This was something of a reunion, as Keith was also from Halifax and had previously played in Central Nervous System with Snakeye guitarist Jim White. Keith Jollimore was a reeds player in multiple Halifax bands, including the house band of Frank's Bandstand, The Offbeats. In addition to this, Keith was a singer, songwriter, arranger, and in-demand session musician before relocating to Toronto.

The material recorded for Snakeye's debut album was wholly original. Bandleader Allard Barkhouse co-wrote every song with various members of the band, with the exception of "Blue Feelin'" and "Choked Up," which were credited to the whole band. Producer Keith Jollimore added flute and saxophone to some songs. He also hired Paul Hoffert (Lighthouse) to be executive producer on the sessions, brought in Dianne Brooks for backing vocals, and current bandmate (Dr. Music) Doug Riley to add piano/keyboards. This clearly affected the band, as they would eventually add a keyboardist to the lineup.

 A total of ten songs were chosen for the album, but it's possible that more songs were recorded during the June/July Thunder Sound sessions. Two songs were chosen for a debut single, and the band was excited to begin shopping their demos around to record labels. They hit the road and continued their tour before returning to Halifax in the fall of 1972. Upon their return, the gigging continued, but Snakeye struggled with finding a label for their album.

In early 1973, Snakeye's luck changed when they managed to secure a contract with the Canadian brand of the United States record label United Artists Records. Though the album was still shelved, the band was able to test the waters with their lead single, "Blue Feelin'/Choked Up." The only condition, was that they had to add horns, which makes the single recordings unique to the album versions. Released in the spring of 1973 internationally, the A-side managed to reach #51 on the RPM Hot 100 Singles Chart, which gave the band another shot at Toronto. They were invited to open a series of high-profile gigs with A Foot In Cold Water and April Wine. The band graciously accepted, but after all was said and done, they had to quickly return to the Maritimes, where another high-profile opening slot awaited, this time for Blood, Sweat & Tears on nearly a half dozen East Coast dates.

From the outside, things were looking up for Snakeye: chart success, touring, and opening for big Canadian acts. But unfortunately, behind the scenes, lineup changes were on the horizon. First, bassist Kenny Umphrey left the band in late 1973 and was replaced by Gordon Tucker (Double Blind). This lineup solidified through early 1974 when Snakeye was touring with Ocean and The Bells, two other Canadian mega-acts. Then, after contract disputes with their management (mostly due to H.P. & Bell losing Lighthouse as a client) again delayed the release of their album, guitarists Jim White and Tony Argent left the band. They were replaced by Steve Brown and Cedric Upshaw. 

Throughout the remainder of 1974, Snakeye coasted on existing gigs, and leader Allard Barkhouse returned to management duties temporarily. Bassist Gordon Tucker left the group, and former bassist Kenny Umphrey was asked to rejoin the band, which he accepted. The band signed a management contract with Hudson Productions and continued to search for new recording/record release opportunities as the months progressed. 

Near the end of 1974, Snakeye was contacted by Halifax record label owner Harold Langille. He had recently launched a new label called Big Harold's Records, and though it only had two releases on its roster (a single by Blakeney Still and an album by The Festival Family), Harold felt Snakeye's album would be a perfect addition to the label. Plans were made, and the album (entitled Blue Feelin') finally saw release in early 1975. New members and old members were credited on the album jacket, but none of the new members performed on any of the tracks. The album is a phenomenal ten-song platter of pure original blues rock magic. Standout tracks include "I'm Coming Home", co-written by Allard Barkhouse and bassist Kenny Umphrey. 

Kenny Umphrey's second phase with the band came to an end in early 1975, shortly after the release of the band's debut album. He was replaced by Allard Barkhouse's former bandmate from Langley Beach Crowd, bassist Steve Russell. After getting Steve up to speed on the band's repertoire, Snakeye embarked on their third Ontario tour, which was followed up with an opening slot on April Wine's Maritimes tour to close out 1975.                                                    

                                                                                            UNDER CONSTRUCTION - CHECK BACK SOON

                                              

Migration - The Story Of Three To One & Raja

                                 INFORMATION HERE IS CURRENTLY BEING REVISED - STAY TUNED FOR THE UPDATED ARTICLE

Three to One's short but influential run began in Vancouver during late 1966. The band consisted of Brian Russell (guitar/vocals), Claudette Skrypnyk (drums), Derek "Derry" Norris (bass/vocals), and John Renton (guitar/keyboards/vocals). Brian, Claudette, and Derek were established members of the Vancouver music scene, while John Renton was a newcomer. Below is the story of how these four musicians came together.

Claudette Skrypnyk (often miscredited as 'Scritnik') was a singer/drummer born in Saskatchewan before moving to British Columbia, where her first band was the Kelowna-to-Vancouver R&B band The Shadracks, a quintet that also featured Craig McCaw (later of Poppy Family fame). Claudette set herself apart both by being the only female drummer on the scene and by drumming barefoot, the latter garnering quite the fan base. The Shadracks began in 1962 with a different lineup: Glenn Chilow (rhythm guitar), Craig McCaw (guitar,) Rick Mussellam (vocals), Warren Dunnaway (drums), and Bob Verge (bass). Drummer Joe Stolz replaced Warren Dunnaway for a few gigs before Claudette joined. The Shadracks toured British Columbia and managed to secure a recording contract with Toronto's ARC Records. Their lone single, "Call Up The Man/Midnight Blues," was released during August of 1966. "Call Up The Man" received modest chart success around British Columbia and Toronto and eventually made it onto the Rob Frith/Neptoon Records compilation called The History Of Vancouver Rock And Roll Volume 2.

John "Bernard" Renton was a singer-songwriter/multi-instrumentalist born in India. John's family moved to England early on in his childhood, where he fell in love with music. During his teen years, John played in multiple English bands and befriended a pre-fame Jeff Beck. According to John, the pair briefly played in a band together [NAME UNKNOWN] before the Renton family moved to Vancouver. "Jeff Beck went on to success with The Yardbirds shortly after I left England, but we kept in touch and got together for meals when his band came to town," says John. Upon arrival in Canada, John used his previous education in England to secure a job in the Vancouver Technologies space, computers specifically. Although he took a brief break from music, it wasn't long before he met Derek Norris, who helped draw him back in. John and Derek began living together in an apartment off Broadview in Vancouver. Just down an alleyway by their place was a little recording studio called Vancouver Recording Services, operated by legendary producer Robin Spurgin. John and Derek began doing sessions at the studio, and these activities led to meeting Tom Baird, keyboardist/arranger of The Classics, who was also producing the Vancouver leg of CBC's Let's Go television show. Tom then hired John Renton to make solo singing appearances on the Let's Go program, but unfortunately no tapes of these performances are known to exist.

Derek "Derry" Norris was a singer/bassist/guitarist born in British Columbia, where he quickly became enamored with music before moving to Vancouver's thriving downtown area in his teenage years. Derek got involved in the music scene early as both a singer and musician. During 1963, Derek (as bassist) co-founded his first band, The Roving Three, alongside guitarist Mike Buckley (older brother of The Villains/Spring multi-instrumentalist Bob Buckley) and guitarist Steve Miller (not that one). The Roving Three performed on the Vancouver folk circuit during 1963 and 1964 before adding female vocalist/percussionist Phyllis Surges and morphing into The New Wave Singers in early 1965. Derek, dissatisfied with the band's new direction, decided to leave, and Vancouver bass legend Rick Enns took his place. He decided to focus on promoting at a local coffeehouse [NAME UNKNOWN], where he managed to book big acts like Sonny Terry, Jose Feliciano, Brownie McGhee, and others throughout 1965. Derek Norris met and befriended John Renton along the way, and the pair began jamming and living together at John's Broadview apartment in Vancouver. Derek and John then began doing musical sessions at Robin Spurgin's nearby studio.

Brian "Winston" Russell was a singer/guitarist born in Calcutta, India. He came from a musical family, with his sister Gillian Russell also pursuing music in her teenage years. Brian shared a similar early story with John Renton as the Russell family traveled to England from India in Brian's youth. During his mid-teens, Brian and his family moved from England to the Okanogan Valley region of central British Columbia. And by 1959, the family had relocated to Vancouver. Brian Russell was a founding member of The Classics (later The Collectors and eventually Chilliwack) in 1961, alongside Howie Vickers (vocals), Claire Lawrence (sax), Glenn Miller (bass), Tom Baird (piano), and Gary Taylor (drums). The group also performed under the alias C.F.U.N. Classics as part of a promotional deal with a local Vancouver radio station, CFUN-AM. Tom Baird composed the majority of The Classics' four singles (three of which charted locally) between 1963 and 1966. Brian was guitarist and backing vocalist on all of them. The Classics were the house band for the Vancouver leg of CBC's Let's Go musical variety program (1964-1966). After two seasons of the grueling television recording schedule, The Classics quit the show and split up. Some members wanted to continue doing the show, so they joined the replacement band Probably Us for the third season. 

After Brian Russell's departure from The Classics in the summer of 1966, he began jamming with Derek Norris and John Renton. "During the process of finding a drummer, Claudette's name came up," says John Renton. "We all knew who she was, and when we auditioned her, she blew us away!" As a result, the original trio became a quartet. An early observation by a friend regarding the gender dynamics of the band yielded their band name, 'Three To One.'

From the onset, Three To One knew they had something special, and with Brian's connections from CBC's Let's Go program, they quickly found a manager in Burt Napier. Burt saw the potential that Three To One possessed, both musically and from a unique marketing standpoint. The consensus among the band and management was that Vancouver was not where they needed to be. Although each of Canada's main cities had thriving music scenes at the time, the crown of opportunity unequivocally rested with Toronto.

Three To One settled on Jameson Avenue in Toronto, with Brian, John, and Derek rooming together in the unit of one apartment building, while Claudette found a room with female roommates at a building further down the street. The group proceeded to rent a rehearsal space at Yonge & Bloor, "right above the subway station," says John. "The room next door to us was rented out by Ian & Sylvia, and the room next to that was rented by a brother and sister musical act who had a dance show on CTV. It may have been Shawne & Jay Jackson, but I can't remember." In addition to the star-studded musical neighbors, another tenant on the floor did photography [John—Aryss last name unknown], and the band hired them to be their regular photographer.

After taking some promo photos, Three To One began gigging around Toronto, becoming regulars at Le Coq d'Or, The Hawk's Nest, Broom & Stone, and The Brown Derby, among other local venues. "We made friends with a few bands around town, but we were closest with Bobby Kris & The Imperials," says John. From their first show, the racial/gender dynamic of Three To One was apparent. It was jarring for some and enthralling for others, simply because very few (if any) bands on the local/national music scenes of the day had female drummers, and fewer still had South Asian frontmen and a band who wholly embraced those cultural themes musically and in dress. 

A big early gig for Three To One was as part of an outdoor showcase at Scarborough Arena Gardens. The event took place on June 10th and featured Roy Kenner & The Associates, The Magic Circus, Eddie Spencer & The Mission, The Jackdaws, Lords Of London, The Counts, Bobby Kris & The Imperials, The Tripp, and Grant Smith & The Power. 

The Scarborough Arena show for Three To One was well received. Roy Kenner & The Associates approached Burt Napier, asking if Three To One could open for them on two of their late June dates. They agreed, and the next show was at Scarborough's Broom & Stone club on June 20th alongside The Associates and The Symbol. The Associates then embarked on a road gig to Bramalea, Ontario, at Bramalea Arena on June 23rd.

Three To One declined to go with Roy Kenner & The Associates on their July/August northern Ontario tour, opting to return to Toronto. This decision proved wise, as The Associates imploded near the end of the tour in August, with singer Roy Kenner and keyboardist Henry Babraj joining Mandala to replace their recently departed singer George Olliver and keyboardist Joey Chriwoski.

The remainder of the summer was busy for Three to One. They performed local shows at clubs like The Hawks Nest, Club 888, El Patio, and The Flick, among others. They rubbed shoulders with local bands and began making a reputation for themselves. In addition to this, they played around the GTA (greater Toronto area) and even traveled to Orillia to play at The Pavilion's famous Teen Club.

ARC Records came calling during July of 1967, specifically producer Tony DiMaria, who was managing the roster of ARC publishing arm Canint. Tony signed the band to a two-single deal, with the condition that the A-side of their first would be a cover of Pink Floyd's recent June 16th release, "See Emily Play," and the flip could be whatever the band wanted. Three To One entered ARC's home recording space, Bay Studios, during July/August of 1967 with producer Tony DiMaria and engineer Gary Starr. What started as filling a single turned into nearly an album's worth of mostly original material written by John and Brian, with occasional writing contributions from Derek.

"See Emily Play/Give Me Love" was released in early September of 1967 on the ARC Records label. The B-side is a band original written by John Renton and Brian Russell, featuring a strong lead fuzz guitar. Though the A-side was long considered the 'first ever' cover of "See Emily Play," recent discoveries show that is not the case. It turns out there was some trickery afoot. In typical ARC Records fashion, the label purchased the bed track for the song from England, where Ben Cash and The Cashtons had recently recorded what is widely considered to be the ACTUAL first cover version. As a means to differentiate their version from the UK version, ARC had Three To One's John Renton put his vocals on the track and then added some remix elements like children's dialogue and space sound effects. 

Though the single was poised for success, Three To One's cover of "See Emily Play" only met with minor regional interest upon release. The group did manage to perform on CBC's Let's Go program in late 1967 as well as CTV's After Four program, but tapes/footage from either program have yet to surface. It's likely that both sides of "See Emily Play/Give Me Love" were performed. Three To One's version of "See Emily Play" also saw a 1968 reissue on ARC's subsidiary Yorkville Records. This was as part of a compilation album called "CTV's After Four," which featured a selection of ARC and Yorkville Records releases. 

Unfortunately, while the reissue was well-intentioned, Yorkville forgot to check if Three To One was still together at the time (early 1968) and, additionally, mislabeled the entry as "Bob Francis—I’ve Been a Bad, Bad Boy." This comedy of errors was of little consequence to the band during that period. This was because they had already moved on to using another band name and were preparing to record. 

To that end, the remainder of 1967 was uneventful for Three to One. They played Stratford (Club 42), Barrie (The Pavilion) and a few other locales in an attempt to grow their audience. But unfortunately, their lack of success saw Burt Napier bow out of band operations, and he was soon replaced by Ron Scribner, who signed the band to his RSA (Ron Scribner Agency) management company and its stable of artists. By 1968, however, the band would re-emerge as The Raja. They donned South Asian attire (Nehru shirts, etc.) on stage and in promotional photos. The Raja also leaned into the eastern influences of its principal songwriters (John Renton and Brian Russell) through writing and instrumentation. 

The Raja performed extensively around Toronto and the G.T.A. (Greater Toronto Area) throughout the early months of 1968. Additionally, they played another show at Orillia's Pavilion, Sudbury's Club 42, etc. One of the band's career highlights was opening for The Who, The Troggs, and MC5 at CNE Coliseum on April 7th. This was truly a testament to the band's skill, appeal, and managerial connections.

During May of 1968, the Raja were given the opportunity to record for a new record label. ARC Records had just launched Goodgroove Records, a subsidiary label originally for American soul/R&B imports from the M.S. Records label (Louis Curry, The Buena Vistas, and Lonette McKee). Tony DiMaria was put in charge of finding Canadian talent to bolster the roster of Goodgroove. His first choice was Toronto R&B band The Majestics with a pair of tracks from their fourth ARC studio album, Funky Broadway ("Tell Mama/Hey Joe"). Tony's second choice for inclusion was Raja. 

The Raja entered Bay Studios during May/June of 1968 to record their debut single. Technically, the Raja were still under contract with ARC from the Three To One days. This meant that they owed ARC Records a second release. Thankfully, this second release didn't have a mandated material requirement, as their Three To One single did ("See Emily Play").

August of 1968 was a busy month for the Raja. First, their debut single, "Realize/Drifting In The Wind," was released and promoted in RPM Magazine. Both sides were written by Brian Russell. The Raja also had a number of high-profile gigs lined up, which included appearing at the Flick in Yorkville Village (August 19th-21st), The Scene in the North Toronto Memorial Arena, and at the CNE's Time Being festival (August 23rd-29th).

The Time Being festival was a two-week event (August 15th-September 2nd) held at the CNE, which featured a massive assortment of Canadian talent and international artists appearing daily. From the Canadian roster, you had acts like Kensington Market, Magic Cycle, Tyme & A Half, Lords Of London, The Staccattos, Cat (formerly The Spastiks), The Yeomen, and many more. On the international side you had Buddy Guy, Moby Grape, Valentine Kelly Explosion, and others. It was truly a fantastic assortment, and the Raja appeared for seven consecutive days. 

During September, the Raja's single entered the RPM charts, but not the A-side "Realize." The B-side "Drifting In The Wind" began charting around Ontario, and the song managed to climb to #89 on RPM's Hot 100 Singles Chart by September 16th, as well as reaching #8 on the Cancon Top 20 Charts. The band was invited to perform their songs live on CBC television, but the footage has not surfaced since. They were also signed for the CFOX Spectacular to be held at the Dorval Arena in Montreal on August 24th. This was a showcase of Toronto talent, which featured The Raja and The Mandala. 

Though the high-profile gigs were nice, the lack of sustainable chart success and album reco  rding opportunities took its toll on the band's members. By November of 1968, the Raja were no more. They left behind them a short but compelling legacy under both of their chosen names. Though Three To One is immortalized due to "See Emily Play," The Raja were a fascinating Canadian musical footnote that deserves more attention. 

Brian Russell got involved in Toronto session work as well as the production side of things at ARC Records. He recorded many guitar sessions during the 1970s with Heads of Our Time, Anne Murray, Roger Whittaker, J. Vincent Edwards, King Biscuit Boy, and more before heading out on tour with international superstars during the 1980s.

John Renton also got involved with session work in Toronto before briefly replacing Gregory Lee in Yorkville psych/prog band Nucleus. "I gave him my Coral Electric Sitar as a goodwill gesture," says Gregory. John was later replaced by Ronald Corrigan, at which point he got back into session work. John Renton was discovered and signed by Reprise Records in 1974. He then set to work on his debut solo album, Half In, Half Out. 

Claudette Skrypnyk and Derek Norris returned to Vancouver soon after the demise of The Raja, where they reinvolved themselves in the local music scene and session work. Derek joined a cover band called Owl alongside Dave Sinclair, Jimm Taylor, and Frank Ludwig. 

Campus Carousal - The Story Of Circle Widens

 

The Circle Widens band is nothing but a footnote in Canadian music history these days, often only known by serious collectors or Edmonton residents of a certain vintage. In the late 1960s, however, they were one of the top folk-rock groups in Edmonton, packing venues each and every night regardless of where they played. The Circle Widens were as beloved for their original material as they were for their covers. Their lone release (which today fetches four-figure sums on the secondhand market) is a dual-sided original and a strong example of both Canadian folk and Canadian garage rock. Here is the story of The Circle Widens. 

The Circle Widens, originally formed in Edmonton as a brother and sister folk duo, started by Susan and John Lent. They began performing during 1965 under a different (currently unknown) name. At the time of conception, Susan and John were still in high school, which limited their potential for growth. Upon beginning their post-secondary education at the University of Alberta in 1967, Susan and John began performing on campus and added their younger brother Harry to the lineup. The new trio rebranded as "The Kinfolk" and quickly garnered a reputation for their tight, high-quality performances. Unfortunately, the music tastes of the youth were changing drastically in 1968, which affected the draw of the group on campus. "There wasn't a high demand for folk groups during that time, but the university provided a fair amount of work," says Susan. In addition to their gigs at the University of Alberta, The Circle Widens regularly played at youth/community centers, high schools, coffeehouses, and Giuseppi's Pizza (8223-109 Street, Edmonton).

1968 brought about a few changes for The Circle Widens. During March, the trio added neighborhood friend Greg Vetsch (lead guitar) to the lineup, adding a new electric dimension to their formerly acoustic sound. "We were a solid electric folk-rock group," says John Lent. The new quartet gigged frequently throughout the summer, developing a small, devoted following. Greg coincidentally had a cousin named Wayne Vetsch, who played drums. They spent the better part of the summer convincing Wayne to join the band. By October, he finally gave in. Shortly afterwards, they rebranded as "The Circle Widens."

The new additions brought The Circle Widens lineup to: Susan Lent (vocals/guitar), John Lent (vocals/guitar), Harry Lent (vocals/bass), Greg Vetsch (lead guitar), and Wayne Vetsch (drums). The sound of the newly named quintet was comparable to that of fellow West Coast folkies "Three's A Crowd," with the main difference being an emphasis on covers rather than originals. They also tended toward folk-rock rather than straight-ahead folk. Susan Lent expressed her feelings on the matter in an old interview: "There are so many folk songs—but it's so much fun to do folk-rock." The band didn't want to be hampered by the old folk songbook, not to say they didn't draw from it from time to time. When deciding on a song, they chose what appealed to them. Susan says, "We don't particularly look for a message." She adds, "The boys are really fast at picking up the music." They enjoyed the challenge of adapting a song directly from the radio, learning it by ear, and putting their own spin on it.

With their line-up fully assembled, the remainder of 1968 would see The Circle Widens begin to perform more frequently, continuing to build a loyal following around Edmonton at many high schools and universities. Bob Hunka, who worked on the University of Alberta Activities Board, began helping to manage the group alongside John Lent, who previously was responsible for all managerial duties. It was through the Students' Union at U of A and Jerry Slavick that The Circle Widens was asked to perform with Harper's Bizarre. This was their biggest gig yet! "We were really excited about it. It was a real opportunity to be appearing with a professional group," says Susan. From there, the band's reputation continued to grow. They had a chance to briefly tour outside of Edmonton, appearing in Leduc, Red Deer, Saskatoon, and Blaine Lake, Saskatchewan.

The Circle Widens was busy during the final months of 1968. Between their studies and gigs around Edmonton, the group managed to record an album's worth of material. Through word of mouth, the band caught the attention of producer Joe Kozack at Edmonton's Coral Sound Studios. Joe was attempting to launch a new record label called KORLAND Records. The Circle Widens were given studio recording time at Coral Sound during November of 1968. This is where they cut the bulk of the songs, with the exception of a recording session at the University of Alberta radio studios over the Christmas holidays.

The array of 1968 recording sessions only yielded one officially released single. "See About Dreamin'/Weird Understanding" was put out on KORLAND Records during early-to-mid-1969 in limited quantities and had minor local success in Edmonton. The single is a dual-sided original with both sides having a distinct sound; the A-side (written by Harry Lent) is a moody folk-psych dirge, while the B-side (written by the whole band) is an up-tempo garage rocker. It's unknown where exactly the songs were recorded. The publishing rights for the two songs are registered with Dick Damron's "Chinook Music" (BMI), and it was manufactured in Vancouver by Imperial Record Corp. Ltd.

The Circle Widens broke up in the spring of 1970, citing a few reasons for the split. Some of the band members got out of the music business altogether after university, while others continued on. Near the end of the band's lifespan, a guitar player named Brian Logan joined, as well as a harp player named Al (last name unknown). 

Susan Lent seemingly got out of the music business after university, as did the Vetsch brothers. John Lent began to take songwriting much more seriously in 1969, and the fruits of that labor came to bear around the demise of The Circle Widens. "I performed those songs as a single folksinger in Edmonton until 1971," says John. During 1971, John was signed by Tom Northcott and Mushroom Records in Vancouver to a songwriting contract, after which point he went to Toronto and began working with Michael Baker as "Baker & Lent" for three years. Henry Lent, on the other hand, returned home and formed a new group with the remaining Lent siblings: Frank, Mike, and Tim. The Lent Brothers (as they would later bill themselves) went on to work briefly with Alberta band "Red Wyng" (Laura Vinson's backing band) during 1977, writing 3 songs for their debut album "First Flight." 

Though they were only together for four years, The Circle Widens had a quick and exciting brush with local prominence. They left behind them stories of their live shows, and their lone single release, "See About Dreamin'/Weird Understanding," has gone on to garner an international cult following in garage/psych rock collectors' circles, now fetching four-figure sums due to the scant few copies left available. "I can't believe people still have copies of that single all these years later," says John Lent. "None of the members, including myself, have a copy." Disbelief chased by a sobering sense of accomplishment; that is the feeling many musicians have when discovering an old recording of theirs has become a beloved collector's item. The Circle Widens was no different. 

Yorkville's Forgotten Poet - The Origins Of Hyde

The story of Hyde and his 1969 singer-songwriter masterwork is one of Canadian music's ongoing mysteries. For decades, the identity of this powerful poet has gone unknown to those outside of a select few. Friends and family kept his real name hidden while people who saw him perform in his pre-alias days in Yorkville seemingly forgot him altogether.

During the mid-to-late 1960s, Toronto was a highly competitive music city in multiple genres. So Hyde's fate is one experienced by many who stepped on Toronto’s smaller stages during that period. The sheer abundance of clubs and coffeehouses in the city meant that artists who couldn’t distinguish themselves against the tidal wave of similarly passionate individuals and bands would be forgotten.

Hyde’s self-titled album stands as a testament to the talent of Yorkville’s songwriters. With the exception of one Bob Dylan cover, the Hyde album is a varied batch of original songs that hints at his influences while displaying his unique talent for lyrics. Another point in its favor is the connection to Toronto psychsters Rockadrome, who provided musical backing throughout.

To collectors, the above attributes paired with an unfortunate rarity (for a Quality Records release) further drive the want and cost of this album into the stratosphere. It stands as a brick wall of rarity, ever elusive, especially in good condition. Though large, the hunt for a copy of his album pales in comparison to the hunger for information on the man behind the music. Today, the story of Hyde will finally be told.

Hyde was the eventual alias and secret project of Toronto-based singer-songwriter Brian Victor Alexander. Brian was born on March 7th, 1946, to Alice and Victor Alexander. He was raised in the west end of the city, quickly developing a love for baseball and hockey. Brian was extremely athletic, and he received the constant approval of his doting father. He attended Harwood Public School in Toronto’s west end before attending York Memorial High School.

Brian didn’t come from a musical home, but the dawning musical revolution of the mid-1960s would take residence in his mind at an early age, as it did for so many others. He developed a love of music, specifically R&B, around the age of ten. His knowledge of music grew fast, and it wasn’t long before he was the D.J. at neighborhood weekend dances.

Brian began playing guitar and harmonica around the age of fifteen. He spent countless hours enjoying the records of some of his favorite blues and R&B artists and constantly begged his parents for a guitar. They relented, and Brian began a lifelong relationship with his instrument. An “A” student and all-around intelligent boy, Brian learned fast and showed himself to have quite the way with words. He started with R&B music, but hearing Bob Dylan’s debut album in 1962 blew him away; he was an instant, lifelong fan, even considering naming his daughter Dylan. Bob was his sole inspiration thereafter to pursue folk music, learn to sing, and soon, learn how to write songs of his own. He fashioned himself after the American folk troubadour in many respects, but his songwriting grew to be wholly unique.

Newfound folk fascination aside, Brian still enjoyed listening to and dancing along to hits of the day. He was a regular teen in many regards; fascinated with pop culture, dramatic about the trivial, and, of course, enamored with the opposite sex. Sixteen-year-old Brian, at one particular dance taking place at Fairbanks dancehall (in the Fairbanks Park just south of Eglinton Avenue), met his first love. The two instantly hit it off and, with time, began dating. She was smitten by Brian’s creative side and the fact that he was then starting his musical journey. Brian was smitten by her kindness and intellect, ultimately trusting her as the sole critic of his original music and poetry.

Brian’s deep dive into folk music began in the early 1960s, first as an observer, then as a performer. He was awestruck by the amazing talent springing up in Yorkville, Toronto’s musical mecca. He began attending concerts regularly at the Riverboat coffeehouse and various other folk-oriented venues on the avenue.

A formative musical experience for Brian was seeing Bob Dylan perform at Massey Hall during late 1965, where the singer-songwriter was doing a pair of shows. This double night event took place during Bob Dylan’s highly contentious “electric” period, backed by local Toronto R&B act Levon & The Hawks (formerly Ronnie Hawkins' backing band). As with many shows along their tour, Bob Dylan was arguing with hostile fans over their dislike of his new sound. This event emboldened Brian as an artist. Paired with Brian's constant intake of top-tier folk talent in Yorkville, the Bob Dylan event inspired Brian to stand by his music, stand up for his art, and, most importantly, develop the courage to sing. He set his sights on Yorkville and, in time, became a regular performer.

During December of 1965, Brian approached the owner of the famous Mynah Bird coffeehouse, Colin Kerr, to see if he could perform there. Colin hired Brian right away, after an extremely brief audition, and booked him for the first weekend of January (7th-9th) 1966, alongside R&B band Bobby Lee & The Sceptres. The Mynah Bird had two levels and two stages; bands played on the first level, while solo acts played on the second level. “He sat on a stool on the second-floor stage, belting out his songs to an audience drinking coffee and juice drinks; dry ice filled the air while go-go girls danced in the window," says Diane. "We were young, dressed as beatniks and experiencing a new age of music and culture.”

Brian became a regular performer at the Mynah Bird coffeehouse through 1966, playing most weekends. He befriended some of the performers and patrons along the way, forming friendships and partnerships, many of which lasted over the years. A lifelong bond Brian made during this period was with bassist and singer Neil Merryweather, who was playing in Yorkville with his band Just Us (also known as The Ookpiks and The Sikusi's). Brian was known for his distinct, Dylan-esque tone and introspective original songs. He soon began performing regularly on Monday nights at the famed Riverboat coffeehouse, first as a sign-up, then as a featured performer. 

1966 was an important year for Brian's development, both musically and in his personal life. In addition to his musical trappings, he got married, and the couple had a child. This prompted Brian to get a day job in addition to his frequent live performances as a means of making ends meet. Despite their best efforts, the couple ended up separating in mid-1968. Brian moved to an apartment on Carlton Street, where he continued to work and eventually began dating again. 

Brian went through a bit of a slump, as many men/women in his situation would. He lost his wife and child and was living alone. Brian continued to perform, albeit sporadically. He soon threw himself into writing new songs and reworking old ones. By November of 1968, Brian had roughly ten songs written, including one cover. This was a dedication to his wife and child; the aptly titled “I Threw It All Away” by Bob Dylan.

With the dawn of 1969, Brian found renewed purpose in his music through a new alias: Hyde. He had a goal: to record his own songs. He continued to gig through the winter and early spring under his new Hyde alias. In June of 1969, a few months after his twenty-third birthday, Brian came to the attention of famed Toronto music mogul Art Snider. He had caught one of Brian’s shows at the Riverboat via a word-of-mouth recommendation and was so impressed that he invited him to his office the following day. Art at this time had helmed the creation of multiple record labels, with the sole goal of achieving success while promoting Canadian talent. After learning of Brian’s desire to record an album, paired with hearing a summation of his multiple original songs, Art booked him into Sound Canada Recording Studios, backed by his house group, Rockadrome.

Rockadrome was a local group of musicians assembled in the summer of 1968 by guitarists Mike Clancy (also piano and occasional drums) and Ron Dove. The pair was musically associated for most of the 1960s and played with Ronnie Hawkins’ "Hawks" before forming their own group called "The Outlaws” during 1965. The addition of drummer Rick Vallieres and bassist Paul LaChapelle was the birth of Rockadrome. Rick drummed on a 45 session for Ron Dove in 1967 while Paul was relatively new to the fold but gelled well with the guys. Rockadrome was a band for three years, releasing their own extremely rare album on Art Snider’s “Sound Canada” label in February of 1969 and an EP in 1971 (featuring Ron Dove's 1967 recordings). Art Snider kept the band busy later that year, employing them as session musicians on a couple of equally rare albums. Of course they backed Hyde, but they also backed The Allan Sisters on their debut studio album for Sound Canada.

Art Snider had faith in Brian’s songs from the start. He gave producers Ernie Lyons and Larry Malone free rein to follow the project in whatever direction it may lead. This resulted in what many consider one of Toronto’s best singer-songwriter pieces. Brian’s amazing original songs with their sparse arrangements weave a delicate, urgent musical web; this is in part thanks to the consummate musicianship of Rockadrome. Each song in this ten-song cycle creates a unique mood spun by Brian’s music and words. The only outlier is a cover of the aptly titled Bob Dylan song “I Threw It All Away.”

Thanks to his clout in the local music industry, Art Snider managed to get Brian’s album (released under the Hyde alias) a couple of spins on CHUM Radio after its release in August 1969. Through this radio promotion, Brian landed a gig promoting his new album at a secret new Toronto club known as Global Village. It was an after-hours hangout for “in the know” local musicians, many of whom had just finished sets at various Yorkville or Yonge Street clubs. The club was known as The Global Village Theatre to some, and during the 1970s, it would put on plays, including Spring Thaw (featuring Norm Amadio and Salome Bey). Primarily, though, Global Village was a secret hangout and jam spot for some of Toronto’s best and brightest talent. Early frequenters included Bruce Cockburn, Neil Young (on his brief returns to the city), and McKenna Mendelson Mainline. The venue was an important link between the incubated culture of Yorkville, which was slowly coming to an end, and the soon-to-reign Queen St. West scene of the late 1970s.

Art Snider hired Rockadrome to rehearse with Brian and back him up during his Global Village set (possibly the only live performance he did with a band). The performance went extremely well, receiving a standing ovation, with Brian and the band playing the album song by song. Brian began mingling with the crowd, where he met local guitarist Danny McBride (younger brother of Bob McBride).

Danny McBride was an in-demand young guitarist in Toronto during the latter half of the 1960s. As an active member of Toronto’s music scene from his early teens onward, Danny formed or joined multiple bands with other members who’d reach major success in the years that followed. His first teenage band was The Edgar Allen Poes with Gary Weeks and Dave Beckett (later of Gary & Dave fame), followed by an R&B outfit of his brother’s known as The Shades; he then reformed another R&B band of his brothers known as The Diplomats (previously featuring Johnny Brower singing). This was followed by a brief stint in Abernathy Shagnaster Wash and Wear Band with drummer Gil Moore (later of Triumph fame), before teaming up with Don Walsh in the pre-Downchild Blues Band “Leather.” This was short-lived, and by 1969, Danny was looking for other outlets.

To Danny, other outlets meant more challenging, unique material, so naturally he was drawn to Brian's music. Danny's favorite band thus far was Bob McBride & The Breath. This was a Jimi Hendrix cover band his brother started, on the cusp of Jimi's meteoric rise to fame. As one of the group's guitarists, Danny had to learn some of Hendrix's challenging riffs and solos. He yearned for more of that and, in the wake of "The Breath," got more involved with Eastern scales and psychedelic music. This brief foray into eastern exploration is heard in Danny's lead guitar on "Revelation (I Fell In Love)". This was a song Danny recorded with Jay Telfer in April of 1969 for Jay's unreleased "Perch" album; Danny was only eighteen.

Brian and Danny agreed to meet up a few days after Brian's Global Village show. They hung out, got high, talked music, and jammed for hours. This, of course, caused the pair to develop a quick friendship, bonding over shared musical interests and general outlook on life. Brian and Danny began work on a follow-up to Brian’s debut studio album. They both contributed songs, with Danny taking lead guitar duties and Brian on acoustic. Danny would spend time at Brian's apartment frequently while the duo worked on the new songs. Somewhere during the writing process, however, there was a falling out between the two musicians, and the concept was scrapped before anything could be recorded.

After the demise of his new writing partnership, Brian was offered a job by Tommy Hunter to write for The Allan Sisters on his program, “The Tommy Hunter Show.” It seems Art Snider really liked Brian’s writing style and passed his name on to others. The music on Tommy’s show was definitively characterized by a “Country & Western” flavor, and this turned Brian off to the opportunity. Although he was encouraged by friends and family, he ultimately declined Tommy’s offer.

With the Tommy Hunter offer no longer on the horizon, Brian’s music career waned. This caused him to move out west to Calgary in the early 1970s. After settling in Calgary, Brian quickly found a job in manufacturing, making good money and finding himself a decent apartment. He decided to hang up his guitar for many years after the move, but he did eventually pick it up again. 

After nearly a decade away, Brian returned to Toronto at the dawn of the 1980s. Perhaps this was homesickness, but nobody is really sure what prompted the move. He quickly found himself a job and an apartment, though being back in Toronto didn’t inspire him to get back into music right away.

After over a decade working in various fields, Brian retired and moved to Wasaga Beach in the late 1990s. He kept in touch with family, as well as musical friends from over the years, such as Neil Merryweather. Slowly, he rediscovered his love of music and playing instruments after he settled in his new home. Throughout his later years, Brian built a recording studio in his home. He would write and play music (he had many guitars, a keyboard, speakers, etc.), jamming with other musical friends he made from around the area, as well as visiting friends from Toronto. 

As with the fate of many of Canada’s mid-to-late 20^th century performers, larger success (if any) eluded Brian [Hyde]. The Canadian music industry was infantile when compared to its contemporaries abroad, offering little in the way of beneficial options for artists prior to the mid-1970s. Brian Alexander’s music fills a particular niche: that of a talented singer-songwriter, penning introspective lyrics and sparse, moody arrangements (usually in a folk-tinged psych-rock style). In the intervening decades, audiences for artists like this have cropped up across the globe, appreciating the musicianship and fawning over the rarity of many of these artists’ works. In Canadian terms, Brian is in a sparsely populated class of psych-folkie songwriters that have achieved some level of cult success. His contemporaries include Stefan Gnys, Winston George, Gordon Lowe, and Phillip Lewin, among others.

                                               THANKS TO THE FAMILY OF BRIAN [HYDE] FOR THEIR PHOTO/HISTORICAL CONTRIBUTIONS