Tuesday, August 31, 2010
Wednesday, August 25, 2010
Similar to an incident at the end of July, two CF-18 fighter planes shadowed the Russian TU-95 bombers within 55 kilometres of Canadian soil after they were first discovered approximately 220 kilometres north of Inuvik, N. W. T, said Harper's spokesman Dimitri Soudas in a statement.
Once the "Bear bombers" turned around, the Canadian jets, scrambled from 4 Wing Cold Lake, Alta., returned safely back to base.
Annually, U.S. and Canadian militaries monitor 12 to 18 of the Russian flights, but the Department of National Defence does not regularly release information on them.
In Wednesday morning's statement, Soudas said that the government "has ensured our Forces have the tools, the readiness and the personnel to continue to meet any challenges to Canadian sovereignty with a robust response."
He added that the CF-18 allows the military to "meet Russian challenges in our North," and that when the new F-35 replacement jets go into service, they will continue with a similar mission.
Soudas said the technologically advanced F-35 is the best plane the government could provide for the military and "when you are a pilot staring down Russian long-range bombers, that's an important fact to remember."
After the incident in July, the opposition claimed the government was using the routine Russian flyby to bolster support for the Harper government's plan to spend $16 billion on new stealth fighter jets.
Opposition Leader Michael Ignatieff told journalists at the time that the incident doesn't prove the case for buying new fighters.
"We're in the middle of a $54-billion deficit and we're just about to do $6 billion in corporate tax cuts," Ignatieff said. "So they're buying their joint strike fighter, or they want to buy it, on borrowed money. And we think that's crazy."
The House of Commons defence committee meets Wednesday at the request of opposition MPs to debate whether to hold hearings to study the government proposal to buy 65 F-35 fighter jets
Tuesday, August 24, 2010
New York County
New York, USA
Composer, Television Screenwriter. He shall be remembered for the song "It's Howdy Doody Time". Raised in New York City, he graduated from Columbia University and served in the US Navy during World War II. From 1947 until 1955, he wrote songs for television, and for RCA records. As the primary writer of NBC's popular children's TV program "The Howdy Doody Show" (1947 and 1960), he was credited with both the show's theme song and the coining of the expression "kowabunga", which was appropriated by California surfers of the 1960s and later by the cartoon character Bart Simpson. After 1958, Kean worked as a stockbroker. He died in a nursing facility of emphysema.
Lot's of kids watched this show, as for the cowabunga word I thought that was from Ninja Turtles ( things you learn while bringing up kids..lol) but i guess he coined the word way back in the Howdy Doody days,....also Bob Keeshan ( Captain Kangaroo,was on the original cast of Howdy Doodty Show)
I'll bet you can't sing the song in your heads right now can you ? or are you? hahahahah
Come on "It's ---------Howdy Doody Time , it's howdy...........now you've got it........lol
Monday, August 23, 2010
MONTREAL - Police were searching for a suspect seen fleeing the scene of a stabbing in Verdun Monday, after one man had his throat slashed and another man was stabbed in the back.
Police responded to 911 calls about 1:15 p.m. and one victim was found at the corner of Rielle and Wellington Sts.The other victim was found stabbed in the back at the corner of Verdun and Gordon Sts.
Both victims appear to be in their 20s, he said. They have not been identified.
Montreal police Constable Olivier Lapointe said both victims were rushed to hospital and were thought to be in critical condition. The suspect was seen fleeing on foot on Gordon, he added. Police have set up a large security perimeter in the area to look for the suspect, he said.
One woman who works in an insurance office in the neighbourhood said the area can be scary.
“I was always afraid. It’s not a safe corner,” said Melissa, who would give only her first name.
A young man, who also did not want to be named, said: “It’s not surprising. It’s more uncommon in the daytime.”
More details to come.
.....I hope it's noone weknow..................................................Cheers !! -HV&RV-
Saturday, August 21, 2010
A torch cast a flickering light on the crowd outside the New City Gas Company, an 1849 factory jammed up against a railway viaduct near the Bonaventure Expressway.
Steve Bates, who plays guitar and electronics with the band Lanterner, set up his equipment as audience members sprawled on the cracked asphalt or perched on the curb in the warm summer night.
The outdoor concert, organized by the Griffintown Cultural Corridor, was more than a free night of experimental music, with the Montreal skyline as a spectacular backdrop. The happening, Bates explained, was also a cri du coeur for a unique neighbourhood facing an uncertain future.
"This neighbourhood matters to me," said Bates, who does not live in Griffintown. "Acoustically, as a musician, I think this is an amazing sounding space," he added. "It starts to make people think about how cities could be designed so they sound more interesting. This doesn't exist anywhere else in Montreal except for this exact location."
Griffintown is a neighbourhood on the edge. It's a district on the edge of downtown and Old Montreal, a gateway to the city, a soulful working-class neighbourhood whose 200-year history owes much to the Lachine Canal, which borders it.
It is an area on the margins, populated by crumbling buildings with corrugated metal siding and poplars poking up through cracked asphalt.
And now, it is a neighbourhood poised on the verge of transformation, facing a future, critics say, that threatens to erase much of its storied past.
Harvey Lev's Belgian shepherd mix, Darwin, nosed
around the sculpture garden outside the New City Gas
building. It includes a recycled-metal structure by Lev's partner, Esther Hageman, and a totem fashioned from woodfoundnearthesiteof St. Ann'sChurch, torndown in 1970.
A large sign reads: "See other side of sign." The other side is blank.
The pony-tailed Lev runs a paper-manufacturing business in the heritage building, which once produced the coal gas that lit Montreal's streets and homes in the gaslight era.
The art display is a nod to Corridart, an eight-kilometre outdoor exhibition created for the 1976 Olympics. Mayor Jean Drapeau infamously had the artworks torn down two days before the games began because he considered some of them subversive.
"I wanted to create a little bit of an art space here," said Lev, 58.
"When the bulldozers come to make the bus corridor, I know I can't stop them but I can make a historical moment," he added.
An uneasy calm hangs over Griffintown -roughly defined as the area between McGill, Guy and Notre Dame Sts. and the Lachine Canal -something like the "phoney war" in the early days of the Second World War.
No construction cranes pierce the skyline -yet. But the lull won't last forever.
In October, developer Devimco plans to break ground for 1,375 high-rise condominiums south of Wellington St. along the Lachine Canal.
Last year, Devimco scaled back a controversial $1.3-billion scheme for Griffintown announced in November 2007. The original plan approved by the city called for condo towers of up to 24 storeys with nearly 4,000 units, two big box stores, two hotels and a 2,000-seat theatre.
The recession put the project on the back burner. Devimco now plans a $475-million development, to be built in four phases. Company spokesman Andre Bouthillier refused an interview with The Gazette.
The start of construction will usher in a new era in a neighbourhood that has surmounted Industrial Revolution-era capitalism, epidemics and the wholesale demolition over its 200-year history.
Lev's heritage property is a mecca for urban planning students and professors eager to study the fabled neighbourhood.
"This area has so much history," said Lev said. "Why not make it work for us?"
Griffintown owes its name to Mary Griffin, a businesswoman who subdivided the former farmland around 1800. It later emerged that the land was not Griffin's to sell.
The real owner, Thomas McCord, had been away in Britain when an associate fraudulently sold it to Griffin. In 1805, McCord returned and launched a successful lawsuit to reclaim his property. But Griffin's name stuck.
In the 19th century, Griffintown was Canada's industrial heartland, strategically positioned beside the Lachine Canal, railways, the Victoria Bridge and the port. Workers there unloaded the coal that fed Montreal's industries and homes, forged iron and brewed ale.
But Dickensian conditions prevailed in the district, where Irish canal labourers staged Canada's first strike in 1843. In 1897, shoe manufacturer and philanthropist Herbert Ames studied the living conditions of Griffintown's working poor and found that half of homes lacked indoor plumbing.
By the 1960s, Griffintown was in a downward spiral. The opening of theSt. LawrenceSeawayin1959 made the Lachine Canal redundant. And in 1963, Mayor Jean Drapeau drove a stake into the heart of the once close-knit community by rezoning it industrial.
That was the year Lev's father, Iser, a Holocaust survivor, bought a former dairy on Peel St. (then called Colborne), where he opened a printing business. Eleven-year-old Harvey would tag along with his father on Saturdays. "He used to keep a bar of bittersweet chocolate in the glove box and a good chunk of speck (smoked pork). That was our treat," he recalled.
"The neighbourhood was full of what we would call slums. At least half the windows were Steinberg's paper bags," Lev said.
But colourful characters abounded at haunts like the Coffee Pot. "Doors on an angle with a 'Buvez Kik Cola sign. Seven old locals dis-sing and telling jokes," Lev reminisced.
Iser was enthusiastic about Griffintown's prospects. "He saw that if the city were going to grow, it would have to grow this way," said Lev.
But Iser was about half a century ahead of his time. Residents were fleeing as homes, schools and churches fell to the wrecking ball.
"People didn't fix their buildings," Lev said. "If the roof leaked, they didn't fix it. When the roof caved in, they called in the bulldozer."
But Lev stayed on.
"It was really a wonderful place," he said. "The canal was ever changing. When the water was low, you'd see the tail end of cars. Real urban grunge. I'm a 10-minute walk from Chinatown and downtown. I have my own playground, where there's not a soul."
The Notre Dame St. sales office for the Lowney condo development in Griffintown is humming.
A poster lists local services like sushi bars, coffee shops and video stores. A widescreen video monitor slowly pans over a condo tower: window, balcony, strip of bricks, window, balcony ... Couples in their 30s pore over samples of ceramic tiles and engineered wood.
While Devimco's mega-project stalled, Prevel, a smaller developer with a track record of renovating former industrial buildings, has forged ahead. "We were the first ones to believe in housing in Griffintown," said co-owner Jacques Vincent.
"Griffintown is an attractive neighbourhood because of its proximity to downtown," he said. "If you go to London, there is the Docklands. If you go to New York, it is Tribeca. In Toronto, it is King St. In Vancouver, it's False Creek and Yaletown."
Vincent, 60, cut his teeth building suburban homes in Repentigny. In 1995, the company broke into the downtown condo market with a successful renovation of a former industrial building on the Old Port.
It has tapped into a young clientele attracted by 500-square-foot condos starting at $139,000.
The company's first foray into Griffintown was the renovation of two former Lowney's chocolate factories. Brand new neighbouring buildings followed.
"My formula is disarmingly simple," Vincent said. "Give the customer what he wants."
The formula appealed to Jeff Dungan, 29, a computer engineer who moved into a unit in the original Lowney's building in 2007 and has since become a leading figure in the Committee for the Sustainable Redevelopment of Griffintown.
"I kind of wanted to live somewhere edgy," said Dungan. "There's a lot of development that seems cold, heartless and unoriginal. This was edgy in the sense that you didn't know which way it was going to go."
Dungan is not too happy with the direction Griffintown has taken. The Devimco project galvanized residents, he said.
"The fact that they proposed something so revolting to the people in the neighbourhood got everyone together," Dungan said.
The committee is also fighting a proposal to route South Shore buses through the neighbourhood, along Dalhousie St. The plan is the brainchild of the Societe du Havre de Montreal (SHM), a paramunicipal agency in charge of a $260-million plan to replace the elevated Bonaventure Expressway with a ground-level boulevard touted as Montreal's future Champs Elysees.
The original version of the plan would have routed 1,900 buses a day past the former gas works, requiring construction of a retaining wall that would have covered up the 1849 stone facade, probably designed by John Ostell, the city's leading architect of the day.
Last week, the city agreed to cut the number of buses by half and change the route to avoid destroying the heritage building.
The concession came after the Office de consultation publique de Montreal harshly criticized the bus plan in a report.
Another big player in Griffintown's future is the Ecole de technologie superieure at Peel and Notre Dame Sts. The engineering school affiliated with the Universite du Quebec has plans to revamp the neighbourhood as the "Quartier de l'innovation," a high-tech business district.
The struggle to give residents a voice on the neighbourhood's future has succeeded in one important way, Dungan said: turning Griffintown back into a community.
"At that time, we didn't decide what we wanted the neighbourhood to be but we did decide what we wanted the neighbourhood not to be. That's what Devimco did," said Dungan, who maintains the committee's bilingual website ( http://csrgriffintown.wordpress.com/).
At Wednesday night meetings, a core of a dozen local residents hash out their vision for the district.
That includes development that takes a cue from Griffintown's 200-year history, said Dungan. "You're not going to create what was here before but we can take inspiration from it."
Dungan's suggestions for Griffintown include holding a lottery for development contracts where both small and large developers could submit proposals.
"If parcels of land are small enough, you get human scale," he said. "It puts development over a longer period. You want organic growth that suits the needs of the neighbourhood. You want to have continuous regeneration."
"This has given birth to a community," Lev agreed. "It's been really delightful. Somebody brings a pizza, my partner makes cake and cookies. Someone opens a bottle of wine."
Lev's suggestions for the neighbourhood are simple, like having a horse-drawn trolley ferry passengers alongside the Lachine Canal on weekends or removing the asphalt from century-old cobblestones that still lie under Griffintown's streets.
Local resident Judith Bauer's contributions include setting up a foundation that hopes to buy the Griffintown Horse Palace to preserve it from demolition.
Bauer is a prime organizer of the cultural corridor and helped create a community garden alongside the CN viaduct where nasturtiums, tomatoes and zucchini flourish. "Don't eat the vegetables -this is where the Industrial Revolution happened!" she warns.
In 2004, Bauer and her partner bought an 1857 house next to the Griffintown Horse Palace, a dilapidated building that stables caleche horses.
"I was going to do a master's in mycology," said Bauer, 42, who has dark hair and a 100-watt smile.
But the Devimco project spurred her to drop plans to study mushrooms in favour of activism.
"I got interested in heritage and making sure I didn't get expropriated."
As a mushroom expert, she often interprets urban issues in the light of forest ecosystems.
A mega-project approach to planning eliminates the diversity and small details that make older neighbourhoods interesting, she says. "It's like loggers who clear-cut a forest."
The community garden, ironically dubbed the Parc de la concertation et consultation Hudon-Tremblay, after SHM chief Isabelle Hudon and Mayor Gerald Tremblay, is an example of how small things humanize a neighbourhood, Bauer said.
"I'd like to see caleche routes and artists' spaces. The more that's preserved, the more there's a connection to the place. If it's all new development, it's like being anyplace," she said, "with towers and Starbucks------------------------HF&RV---------------------
Friday, August 20, 2010
I bet there aren't many people who know or remember this talented young singer who was raised in Verdun, sang on local radio stations and went on tour in Canada and in Europe, starred in a Canadian film at the age of 14, became a priest at 24 and died 2 months later in 1960. More details in my Album no. 53.
Saw this post on a Montreal blogger's site - bummer:
"FROSTY - Verdun, specifically East Verdun. poorly run, poorly planned, gas stations everywhere, indifference to democracy, desperate place full of folksy liars, hookers and crackheads."
Here is the permalink: http://coolopolis.blogspot.com/2010/08/coolopolis-summer-2010-sizzlin-and.html
Thursday, August 19, 2010
Née à Verdun (Québec) en 1949, elle a seize ans quand elle entre au Conservatoire de musique de Montréal dans la classe d'orgue de Bernard Lagacé. Sept ans plus tard, en 1972, elle y obtient un "Premier Prix avec très grande distinction" et se perfectionne ensuite en France (Michel Chapuis), au Conservatoire de musique de Genève (Lionel Rogg) et en Italie (Luigi Ferdinando Tagliavini), grâce à l'appui du Ministère des Affaires culturelles du Québec et du Conseil des Arts du Canada.
À vingt et un ans, Hélène Dugal est déjà lauréate de quatre concours internationaux d'orgue: 2e Prix de Vancouver (Canada, 1969), 3e Prix de Bruges (Belgique, 1970), 2e Prix de Genève (Suisse, 1970) et 2e Prix de St-Albans (Angleterre, 1971). Par la suite, elle se méritera un Diploma d'Onore à Bologne (Italie, 1973) et un 2e Prix à Innsbruck (Autriche, 1977).
En 1974, elle fonde la Studio de musique ancienne de Montréal avec ses collègues Réjean Poirier et Christopher Jackson. Elle participera à la consolidation de cette société musicale jusqu'en 1977.
En 1975, elle est nommé titulaire du grand orgue de la basilique-cathédrale Marie-Reine-du-Monde à Montréal (Québec). Tout en menant une carrière active de concertiste, elle s'intéresse à l'organisation de projets culturels et liturgiques à la basilique-cathédrale. De 1975 à 1981, elle y organise plus d'une centaine de récitals d'orgue. En 1987 et 1988, elle introduit, à la cathédrale, la célébration solennelle des vêpres dans le cadre de Orgues, Paroles et Vêpres, une série de récitals d'orgue commentés. À cette époque, elle s'emploie également à permettre que soit déposé au département des Archives historiques de l'Université de Montréal le patrimoine musical de la basilique, une imposante bibliothèque musicale édifiée par Guillaume Couture et Arthur Laurendeau durant la première moitié du XXe siècle. En 1991, elle publie son premier disque compactCathédrales où elle interprète des œuvres de Vierne, de Franck et de Boëllmann. En 1996, au terme d'une importante restauration du grand orgue de la basilique, réalisée par la maison Guilbault-Thérien, elle inaugure son nouvel instrument devant plus de 1500 personnes. Le critique Claude Gingras, du quotidien La Presse, qualifiera l'événement de "magistrale inauguration par Hélène Dugal".
Depuis 1989, Hélène Dugal est responsable de la musique à l'Office national de liturgie, un organisme de la Conférence des évêques catholiques du Canada. De 1990 à 1996, elle y coordonnera, avec la collaboration de plus de 25 musiciens et compositeurs canadiens, le projet de création musicales Psaumes et Acclamations, une collection de 7 volumes publiés chez Novalis et regroupant les psaumes de la messe et les acclamations à l'Évangile des dimanches et des fêtes des trois années liturgiques. Depuis juin 1997, elle travaille à l'élaboration d'un manuel francophone de chants liturgiques au sein d'un comité international regroupant la Belgique, la France, la Suisse et le Canada.
En 1990, Hélène Dugal a par ailleurs fondé LAUDEM l'Association des organistes du diocèse de Montréal qui deviendra, en 1992, l'Association des organistes liturgiques du Canada: un mouvement réunissant plus d'une centaine d'organistes liturgiques de vingt diocèses francophones du Canada pour la promotion et le développement de leur ministère dans l'Église catholique romaine. Sous l'impulsion de sa présidente fondatrice, LAUDEM favorise la recherche sur la musique dans la liturgie (Bulletin de Laudem) et la création d'œuvres musicales pour la liturgie (Éditions Laudem).
Au cours de l'été 1998, Hélène Dugal a été l'invitée de la Semaine Romande de Musique et Liturgie à l'abbaye de Saint-Maurice (Valais, Suisse), une prestigieuse session annuelle sur la musique et la liturgie dans l'Église.
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Born in Verdun (Quebec) in 1949, she is sixteen years old when she was accepted at the Montreal Music Conservatory inBernard Lagacé's organ class. Seven years later, in 1972, she is awarded a "First Prize with very high distinction" and goes to study in France (Michel Chapuis), at the Geneva Music Conservatory (Lionel Rogg) and in Italy (Luigi Ferdinando Tavigliani) thanks to grants obtained from the Quebec Ministry of Cultural Affairs and the Canadian Arts Council.
At twenty one, Hélène Dugal is already a prize winner of four international organ competitions: 2nd Prize in Vancouver (Canada, 1969), 3rd Prize in Bruges (Belgium, 1970), 2nd Prize in Geneva (Switzerland, 1970) and 2nd Prize in St. Albans (England, 1971). Afterwards, she is awarded a Diploma d'Onore in Bologna (Italy, 1973) and a 2nd Prize in Innsbruck (Austria, 1977).
In 1974, she founded, with colleagues Réjean Poirier and Christopher Jackson, the Studio de musique ancienne de Montréal(Montreal Ancient Music Studio). She would be active in that group until 1977.
In 1975, she is appointed titular organist at the Marie-Reine-du-Monde Cathedral-Basilica in Montreal (Quebec). While pursuing a career as concert organist, she became involved in cultural and liturgical projects at the Cathedral-Basilica. From 1975 to 1981, she organized more than a hundred organ recitals. In 1987 and 1988, she introduced, at the Cathedral-Basilica, the solemn celebration of Vespers as part of Organs, Word and Vespers, a series of commented organ recitals. During the same time, she initiated a project which would allow the imposing musical library built by Guillaume Couture and Arthur Laurendeau during the first half of the 20th century at the Cathedral-Basilica to be transferred to the Historical Archives Department at the University of Montreal. In 1991, she recorded works from Vierne, Franck and Boëllmann on her first CDCathédrales. In 1996, after a major restoration, by Guilbault-Thérien, of the organ at the Cathedral-Basilica, she inaugurated her new instrument before 1500 persons. The daily newspaper La Presse music critic, Claude Gingras, would describe the event as "magnificent inauguration by Hélène Dugal".
Since 1989, Hélène Dugal is responsible for musical affairs at the National Liturgy Office, a body of the Canadian Conference of Catholic Bishops. From 1990 to 1996, she co-ordinated, with the help of more than 25 Canadian musicians and composers, the Psalms and Acclamations musical creation project, a 7-volume collection, published by Novalis, which contains psalms for the mass and Gospel acclamations for all Sundays and feasts during three liturgical years. Since June 1997, she is working on a French manual of liturgical hymns within an international committee regrouping Belgium, France, Switzerland and Canada.
In 1990, Hélène Dugal founded LAUDEM, Diocese of Montreal Association of Organists, which would become, in 1992, the Canadian Association of Liturgical Organists: a group of more than a hundred liturgical organists coming from twenty French-speaking dioceses in Canada working on the promotion and the development of the music ministry within the Roman Catholic Church. Through the impetus given by their founding president, LAUDEM supports research on liturgical music (Laudem Bulletin) and creation of musical works for the liturgy (Lauden Editions).
During the summer of 1998, Hélène Dugal was a guest at the Music and Liturgy Conference in St. Maurice Abbey (Valais, Switzerland), a prestigious annual conference on music and liturgy within the Roman Catholic Church.
Wednesday, August 18, 2010
Monday, August 16, 2010
ROCK TO THE MUSIC: THE STORY OF BOB DAVIES AND THE RHYTHM JESTERS, 1996, by Marc Coulavin. For many years, Canadian musicians have had to find fame abroad before being acknowledged at home. Quite a few of Canada's most famous performers have had to head South in order to get any kind of recognition. Bob Davies is no exception. Accordingly, he went to New York City to make his first recordings and had a brief brush with notoriety. When he returned home, however, he faded into relative obscurity until a few years ago, when some of his early material was compiled for a reissue album. Bob Davies was born in Montreal, Quebec, on May 3, 1937, and grew up in the Verdun neibourhood. He was the only child of Mildred and Cyril Davies (not the famous British blues musician). Although his father came over from England and his mother up from the United States, both lived the rest of their lives in the Montreal area. Cyril Davies worked for the Canadian Army, as a purchasing agent for the hospital in his later years, while his wife worked for the Bank of Montreal.
Davies's father played the harmonica and would quiz young Bob on the tunes he was playing, but that was the extent of his musical upbringing. The boy showed an early interest in music and entertaining, singing at Cubs and Life Boy camps. Unlike many musicians of his generation, he never got involved with the school band at the high schools he attended, Woodland and Verdun High. Instead, he was prompted to get his own guitar, at the age of fourteen, when a friend showed him his new guitar. Davies convinced his parents to let him acquire an instrument from Peate's Music Store on an installment plan. In the early stages, the money from his paper route went towards payments, but his parents soon had to assume them. The youngster taught himself to play through numerous hours spent practising at home, strumming along to the record player.
Davies left school after grade ten and got a job at the stock market working as a marker-board boy. In 1953, he formed his first group, The Down Yonder Boys: Brian Kempster on Hawaiian (lap steel) guitar, Fred Curry on lead guitar and himself on rhythm guitar and vocals. Davies then teamed up with Norm "Curly" Robertson, who, according to Davies, just materialised one day: "When you're playing guitar on the porch, kids walk by. Curly was French-Canadian and spoke broken English. He said he had an accordion and could he get his accordion." Davies replied that he didn't like accordion, and that he wanted a bass player. "A week later he showed up with a bass. He had traded his accordion in. So we started practising together. He played slap bass and before long we were singing harmony and auditioning for shows." They joined an amateur troupe called The Blue Sky Revue, as a country and western musical comedy duo, under the name Slim and Curly (Davies being "Slim," of course). As part of that outfit they garnered some attention: "When I was seventeen, in 1954, we had the opportunity to audition for a night club called the Hale Hakala and we got the job. We started playing weekends at the Hale Hakala and then touring through Quebec." They entertained at such local venues as the Siscoe Club, t he CafÇ Domino, and the Morocco Club in Val d'Or, Quebec. Their hillbilly repertoire included songs like The Browns' "Looking Back To See," and Webb Pierce's "More And More" and "He's In The Jailhouse Now," as well as songs that Davies had written. Slim and Curly got on Opportunity Knocks - a radio talent show that catered mostly to highbrow classical acts, opera singers and the like. Nonetheless, they came in second place. Davies took that (and the fact that he was making a month's salary in one night) as a sign that he should pursue a career in entertainment.
In 1955, Davies's friend Danny Smith introduced the pair to Rick Munro, from Ahuntsic (a northern neighbourhood of Montreal). Munro initially joined them on lead guitar for a weekend gig in the Laurentians, but fit in so well that they decided to continue as a trio. Montreal photographer Johnny O'Neil was about to print up a batch of promo photos for the group and was going to put their name at the bottom, so they had to come up with one on the spot. The idea came from a newspaper article which had called them "full of rhythm and energy" and from the fact that Robertson did a lot of comedy, bringing to mind the word "jester." Thus, they became The Rhythm Jesters. The Rhythm Jesters were doing quite well in night clubs in the Montreal area, where they were sometimes billed as "The Rock'n'Roll Kids." One of the local newspapers inevitably pegged Davies as "our town's answer to Alvis [sic] Presley" on account of their set, which included covers of Presley's versions of "Baby Let's Play House," "That's Alright, Mama" and "Blue Moon Of Kentucky," as well as current favourites by other artists such as "Tutti Frutti," "Be Bop A Lula" and "Shake, Rattle And Roll." The Rhythm Jesters also appeared regularly on a Friday night show, The Hometown Jamboree on CFCF radio, whipping the studio audience of - mostly female - fans into such a frenzy that, the first time, they had to be escorted away by Montreal's finest. About that time, CKAC producer Lucien St Amand tried unsuccessfully to pitch some of their demo tapes to Montreal-based Canadian RCA Victor, then a major country label in Canada, whose roster included both Wilf Carter (Montana Slim) and Hank Snow.
In the summer of 1956 they ran into Emmett McGoogan, who played drums and acted as a tutor for a child singer named Little Billy Mason, also originally from Verdun. Mason didn't have a band at the time so they all joined forces. George Goldner of Rama Records, in New York, had spotted the Frankie Lymon-soundalike Mason on a talent show and wanted him to cut some records. Initially, Goldner took them into the RCA Victor studios in Montreal, but he didn't like the sound. So they packed all their equipment into a rented trailer, hitched it to Munro's convertible and headed for New York City. Goldner booked them into Bell Sound studios, which he used for many of his acts. Davies remembers Frankie Lymon and The Teenagers coming in right after them. The three or four hour session yielded four sides. "I Love My Baby" and "Make Me Your Own," both written and later recorded by Davies, were issued as by "Little Billie Mason" (perhaps mimicking the "ie" in Frankie). Goldner, hedging his bets, pulled the classic move of also putting out a single by the group at the same time. It paired a Bob Davies/Rick Munro collaboration called "Rock To The Music" with The Rhythm Jesters' version of the New Orleans classic "My Bucket's Got A Hole In It" (via the Hank Williams interpretation), retitled "Hole In The Bucket" for the occasion. Interestingly, the label on this record would have you believe that these are instrumentals, which they are most definitely not! Both discs were on the market by November 1956, just in time for the Christmas rush. Billy Mason's was also issued in Canada by the Compo Company on its Apex label, while The Rhythm Jesters did not get the benefit of a domestic release.
Immediately following their initial singles, Little Billy Mason and the Rhythm Jesters were featured, both as a solo artist and as a group, in an Alan Freed Rock & Roll Revue at The Apollo Theatre (a year before Buddy Holly made his famous appearance), along with The Moonglows, The Cleftones, The Harptones, Eddie Cooley and His Dimples, The Pretenders, The Angels, The Lanes, The Joytones and Sonny Knight. On many shows, Mason would perform as a separate act backed by the Rhythm Jesters, who would also play under their own name. Around this time, the Rhythm Jesters also appeared on Paul Winchell's nationwide ABC TV show Circus Time, where they were spotted by Frank Sinatra's agent. He decided that they would be the perfect warm-up act for his artist's tour "down under." The Rhythm Jesters were working at the Holiday Tavern in Toronto, Ontario, when they got the news. "It was kind of a grungy little place, but they featured rock'n'roll acts like Bo Diddley and others, and they payed well. We got the call from our agent, Paul Kalet, late at night and we were pretty excited." remembers Davies. The ads for the February 1957 Australian shows, produced by Lee Gordon, billed them as "America's newest rock'n'roll sensation." The only other artist on the bill was American singer Patti Jerome. The Rhythm Jesters arrived in Sydney, via Chicago and Honolulu, and waited for Sinatra to appear. While they waited, they played on the radio, and received many offers from local clubs. Unfortunately, due to the terms of their visas, they were unable to accept them. In the end, Sinatra never showed up and the tour had to be cancelled.
Shortly after their return to North America, the Rhythm Jesters and Billy Mason headed back to the Bell Sound studios for their second session and cut four more sides. The top side of Billy Mason's single was another Bob Davies-penned tune: "Thinking Of You," which Davies also later recorded himself and Mason re-recorded (for Barry Records). The flip was a version of the old Jimmy Davis chestnut "You Are My Sunshine," set to a calypso beat. The other disc came out as by "Bob Davies and The Rhythm Jesters" and featured two originals: a slow burner with an infectious guitar riff called "She'll Never Know," and a steady medium tempo rocker with a hypnotizing beat, emphasized by the crack of McGoogan's snare drum, titled "Never Anymore." Both records were released on Rama in the U.S. and Apex in Canada. Following the release of their second efforts, Mason and the Rhythm Jesters appeared on Alan Freed's Easter Jubilee of Stars at the Brooklyn Paramount on the same bill as Charlie Gracie, Buddy Knox and Jimmy Bowen and The Rhythm Orchids, The Cellos, The Cleftones, Bo Diddley and His Band, Anita Ellis, The G Clefs, The Pearls, The Heartbreakers, The Harptones, Bobby Marchan, The Rosebuds, The Solitaires, The Dell Vikings and Alan Freed's Rock'n Roll Band with Sam "The Man" Taylor, Big Al Sears, Panama Francis and Freddie Mitchell: quite a bill! There is a picture of the marquee for this show in Norm N. Nite's Rock'n'Roll Yearbook. The Rhythm Orchids and The Rhythm Jesters, attracted to each other by the similarity in their names, became fast friends at this show. Davies recalls jamming with them and Bo Diddley in their dressing room, and going to parties with Jimmy Bowen and Buddy Knox.
On account of legislation designed to protect children, Billy Mason could only perform in theatres and similar venues. The Rhythm Jesters, however, were not fettered by such limitations, and Paul Kalet booked them on a twenty date tour across the United States, hitting places like The Canyon Lake Club in Rapid City, South Dakota - where Davies was billed as "Canada's own Elvis Presley" - The Crossroads Inn, The El Capitan Club in Hawthorne, Nevada, and Wally Jacobs' Desert Inn in Tucson, Arizona. After the tour, the Rhythm Jesters returned to their home base and continued to play at various clubs around Montreal: the El Morocco, the Top Hat CafÇ, the Hale Hakala, the Bellevue, the Beaver Club and Vic's CafÇ, as well as the Bal Tabarin and Chez êmile in Quebec City. They shared the bill with Mel TormÇ and Sarah Vaughn when these artists appeared at the El Morocco. A review of one of their many return engagements at the Top Hat CafÇ in Montreal, in early November 1957, describes their act this way: "They electrify their audiences with wild rock'n'roll songs, leaving the younger ones screaming in a high pitched frenzy. One of the best features of the act is a hilarious Elvis Presley impersonation handled very capably by Bob Davies, who looks and acts more like Elvis than Elvis does."
In 1958, the three original Rhythm Jesters split from Billy Mason and Emmett McGoogan, who was replaced by Dave Holtzman for another tour across the United States. They hit many of the same spots their previous tours had taken them to and appeared on KOTA-TV in Rapid City, South Dakota. After the tour, Holtzman surrendered his drum stool to Dick Grant. A little later that year, Curly Robertson joined the U.S. Air Force and was replaced by Lloyd Hiscock, who in addition to bass, also played trumpet and piano. This lineup played a lot around Quebec - including the Musicians' Union Labour Day Festival at the Montreal Forum - as well as in Ontario and throughout the United States, but they never recorded. In 1959, while they were playing at a club in Hawthorne, Nevada, the Rhythm Jesters received a call from Billy Ward - who managed The Dominoes, of course, but also The Champs, riding high in the charts with "Tequila" at the time. He had heard about them through a mutual friend. It was arranged for Ward to see the group perform at the Heralds Club in Reno. Having witnessed their show, he offered to take them back to California with him, produce them and get them into the movies. But Davies had been planning to get married after the tour, so they turned Ward down and went home to Montreal instead. As it turns out, the group disbanded shortly after anyway. Davies pursued his career as a solo act, taking part that year in Talent Caravan, a national show on CBC TV.
Davies married Celina on July 11th and took up a residency as the Master of Ceremonies at the Cavendish CafÇ, a job he would keep until 1964. Also in 1959, he wrote "Come On Don't Be Mean", with his friend Bob Ouimet from Verdun, and recorded the song as a duo with Joyce Germain, a friend of Ouimet's (Germain later went on to make several singles of her own, including one backed by The Beau-Marks and a Beatles novelty). This song, which includes both frantic Elvis-influenced sections and contrasting slower parts, was recorded at the RCA Victor studios in Montreal, with former Rhythm Jester Rick Munro on bass, and the guitarist and drummer from another local outfit - The T-Birds. The flip side is a nice ballad titled "That's How Young Love Should Be." The record was released on the local Zirkon label. The ballad side made the local charts besides tunes such as "Clap Your Hands" by fellow Montrealers The Beau-Marks, "Muleskinner Blues" by The Fendermen, " Only The Lonely" by Roy Orbison, and "Because They're Young" by Duane Eddy. Later that year, Davies was featured on many of the vocals for a budget album of country covers recorded by local outfit Wayne King and his Country Boys (Rod Gordon, Pee Wee Lafleur, Geri O'Brien and Bruce Applebee). Meanwhile, Davies was still appearing nightly at the Cavendish CafÇ, where he was billed as "The Canadian Jellyhips," in a lighthearted reference to Elvis. During his years there he had the opportunity to hire an old country artist, who had fallen out of favour. This person turned out to be none other than Zeb Turner, of "Chew Tobacco Rag" fame. Davies would also occasionally go on short tours of Quebec and Ontario, or play out-of-town dates. He appeared regularly on the Jimmy Tapp and Like Young TV shows, and he would sometimes drop by The Monterrey or The Blue Angel taverns, on his night off, to do Elvis covers with the Stoltz Brothers ("Rock'n Roll Riot"), Scotty Stevenson ("Red Hot Boogie") or the Hachey Brothers.
Davies' next recording venture - and biggest hit - was a tribute to hockey star Gordie Howe. The song came about as Davies was sitting around with some friends watching a game on TV. "That Howe's great." someone said. "The greatest of them all" Davies added, and he had the chorus for his song. He went over to his neighbour Moe Chapman's apartment, where they finished off the lyrics. Davies recorded the tune for Globe, who released as by Big Bob & The Dollars in 1963; its flip side was a fast pop-rocker titled "You." The record was a sizeable hit in Montreal, Toronto, Detroit and other hockey towns, where it was sometimes played in arenas before games (indeed, I have heard it a couple of times on the radio in Toronto, in recent years!). There was a French language cover by Les Baladins around the same time (London FC 598) and Davies himself re-recorded it at least once. The song didn't make Davies any wealthier, because the label owners apparently absconded with the money. It did, however, gain him quite a lot of publicity, and a certain amount of fame. This single was also the first record to feature The Dollars, who would back Davies on many of his future recordings. The Dollars comprised Hugh Dixon on guitar, ex-Rhythm Jester "Curly" Robertson on bass and the previously mentioned friend Danny Smith on drums. Davies had first met Dixon in Quebec City, while on tour with the Rhythm Jesters. He was a young radio announcer, who had come down to see their show. After the show, he invited the Rhythm Jesters back to the radio station where they jammed and made tapes. They became friends and when Davies was about to cut his record he called on Dixon, who, by then, had moved to Montreal. Dixon is an accomplished guitarist and has had several albums and singles issued under his own name.
Through Dixon, Davies met Roger Miron, who ran Rusticana and Click Records. His Bob Davies sings Bob Davies LP appeared on Rusticana in 1963. For this release, Danny Smith's brother Billy took over on drums and Davies's old band mate Rick Munro joined The Dollars on bass, replacing Robertson. In spite of the late recording date, the songs on this album are surprisingly good rockers. Cashbox reviewed "Rock'n Roll Show" and "With You Tonight" (album tracks issued as a single on Click), giving both cuts the nod with a B+ (their highest grade). London Records expressed some interest in releasing this record in the States, but, unfortunately, Miron apparently never pursued it. It was, however, released on that label in the United Kingdom. Other tunes off the album also made Montreal radio station CKGM's Super Six charts. During this time, Davies continued to play clubs around Quebec, including Le Baril d'Huitres, Le Bal Tabarin and Chez êmile in Quebec City, as well as Ottawa and Toronto, also doing the occasional TV show. In 1964, Davies re-formed The Bobsmiths. He and Danny Smith had performed briefly under that name for about a year, in 1961 and 1962. The reunited duo toured a lot, doing Beatles take-offs and hockey and boxing skits, as well as playing Davies' compositions and hits of the day. They were extremely popular in clubs, so Davies assembled an album with songs culled from his Bob Davies sings Bob Davies LP and some new material he had written. This "new" album was also issued on Rusticana and titled, with a tip of the hat to the mop tops, Meet The Bobsmiths. The new songs were cut with backing provided by The Dollars. Davies and Smith moved to Ontario in the late sixties and carried on with their club work in much the same fashion. They put out an album in 1971 - the same year they split. Recorded live at The Derby (a club in Toronto) it is an accurate reflection of what their shows were like then. After that, Davies continued performing on his own. In 1977, he took a year off to recuperate from the toll taken by his many years on the club circuit. These days he is still entertaining, occasionally playing at charity events and sometimes in lounges, on the weekend.
Davies' great recordings have languished in obscurity for far too long. Fortunately, a few years ago Redita Records of The Netherlands (P.O. Box 23812, 2502 GV Den Haag) released a full album of his best rockers titled - appropriately enough - Rock To The Music. With acknowledgements and thanks to Bob Davies. -THE BOB DAVIES / RHYTHM JESTERS DISCOGRAPHY, 1 996, by Marc Coulavin.----------------HF&RV-----------------------
Saturday, August 14, 2010
In this photo this guy looks like Ralph Lockwood (the morning radio man on both CFOX then CKGM, a little bit , However he is a piano player from Montreal , born in Verdun, studied music at McGill.& has had some success in the Music World -Congrats to him-Frank Mills
Do any of you remember him ( I didn't) but I will post two of his songs & you will most likely remember them immediately: Cheers !! HF&RV
Thursday, August 12, 2010
Remember going to your favourite record store to either buy a new 45rpm (ask your kids if they know what that means.......lol) We went to Buckley's , there was also one record store on church Av just up from Wellington too ( I forget the name) also a couple of others in Verdun (Blue Note ?? or something like that) ...but we would also go there even to just get the 'list of the top 40' Remember those......here's one :August 1967 ..................Only 43 years ago.........hahahahaha that's right ,just yesterday.
maybe I'll post some of these playlists every so often, & if anyone wants to select a song off of the list,we can try to find it & post the song here.....It might bring back some memory prompts from Summers way back when....
Wednesday, August 4, 2010
|Little Tony and his Brothers||Too Good||19|
|Lance Fortune||Be Mine||4|
|Percy Faith||Theme From "A Summer Place"||2|
|Bryan Johnson||Looking High High High||20|
|Connie Stevens / Don Ralke||Sixteen Reasons||9|
|Billy Bland||Let The Little Girl Dance||15|
|Tommy Bruce and the Bruisers||Ain't Misbehavin'||3|
|Michael Cox||Angela Jones||7|
|Garry Mills||Look For A Star||7|
|Ricky Valance||Tell Laura I Love Her||1|
|Bob Luman||Let's Think About Living||6|
|Peter Sellers and Sophia Loren||Goodness Gracious Me||4|
|Max Harris||Gurney Slade||11|
|Johnny Tillotson||Poetry In Motion||1|
|Nina and Frederick||Little Donkey||3|
|Maurice Williams and the Zodiacs||Stay||14|
|Shirelles||Will You Love Me Tomorrow||4|
|Jess Conrad||Mystery Girl||18|
|Ramrods||Riders In The Sky||8|
|String A Longs||Wheels||8|
|The Allisons||Are You Sure||2|
|Buzz Clifford||Baby Sittin' Boogie||17|
|Ferrante and Teicher||Theme From "Exodus"||6|
|Floyd Cramer||On The Rebound||1|
|Linda Scott||I've Told Every Little Star||7|
|Don Gibson||Sea Of Heartbreak||14|
|Cleo Laine||You'll Answer To Me||5|
|Laurie Johnson Orchestra||Sucu Sucu||9|
|Tony Orlando||Bless You||5|
|Hayley Mills||Let's Get Together||17|
|Jimmy Dean||Big Bad John||2|
|G-Clefs||I Understand (Just How You Feel)||17|
|Dorothy Provine||Don't Bring Lulu||17|
|Mrs Mills||Mrs Mills Medley||18|
|Tokens||The Lion Sleeps Tonight (Wimoweh)||11|
|John D Loudermilk||The Language Of Love||13|
|Leroy Van Dyke||Walk On By||5|
|Burl Ives||A Little Bitty Tear||9|
|Miki And Griff||Little Bitty Tear||16|
|Johnny Keating||Z Cars (Johnny Todd)||8|
|Johnnie Spence||Theme From Dr Kildare||15|
|Ketty Lester||Love Letters||4|
|B Bumble and the Stingers||Nut Rocker||1|
|Vernons Girls||Lover Please||16|
|Louise Cordet||I'm Just A Baby||13|
|Jet Harris||Man With The Golden Arm||12|
|Susan Maughn||Bobby's Girl||3|
|Maureen Evans||Like I Do||3|
|Rooftop Singers||Walk Right In||10|
|Ned Miller||From A Jack To A King||2|
|Cascades||Rhythm Of The Rain||5|
|Billy Davis||Tell Him||10|
|Skeeter Davis||The End Of The World||18|
|Dakotas||The Cruel Sea||18|
|Ken Thorne||Theme From The Film "The Legion's Last Patrol" (Concerto Disperato)||4|
|Caravelles||You Don't Have To Be A Baby To Cry||6|
|Heinz||Just Like Eddie||5|
|Alan Sherman||Hello Muddah Hello Faddah (A Letter From Camp)||14|
|Trini Lopez||If I Had A Hammer||4|
|Los Indios Tabajaras||Maria Elena||5|
|Big Dee Irwin||Swinging On A Star||7|
|The Singing Nun||Dominique||7|
|Dora Bryan||All I Want For Christmas Is A Beatle||20|
|Chris Sandford||Not Too Little Not Too Much||17|
|Millie (Small)||My Boy Lollipop||2|
|Migil Five||Mockingbird Hill||10|
|Mojos||Everything's All Right||9|
|Mary Wells||My Guy||5|
|The Zombies||She's Not There||12|
|Julie Rogers||The Wedding||3|
|Henry Mancini||How Soon||10|
|Helmut Zacharias||Tokyo Melody||9|
|Sounds Orchestral||Cast Your Fate To The Wind||5|
|Keely Smith||You're Breakin' My Heart||14|
|Francoise Hardy||All Over The World||16|
|Jackie Trent||Where Are You Now (My Love)||1|
|Burt Bacharach||Trains and Boats and Planes||4|
|Sir Douglas Quintet||She's About A Mover||15|
|Peter Cook and Dudley Moore||Goodbye-ee||18|
|Sam The Sham and the Pharaohs||Wooly Bully||11|
|Marcello Minerebi||Zorba's Dance||6|
|Horst Jankowski||A Walk In The Black Forest (Eine Schwartzwaldfahrt)||3|
|Sonny||Laugh At Me||9|
|Barry McGuire||Eve Of Destruction||3|
|Hedgehoppers Anonymous||It's Good News Week||5|
|Toys||A Lover's Concerto||5|
|Fontella Bass||Rescue Me||11|
|Pinkerton's Assorted Colours||Mirror Mirror||9|
|St Louis Union||Girl||11|
|Eddy Arnold||Make The World Go Away||8|
|Bob Lind||Elusive Butterfly||5|
|Neil Christian||That's Nice||14|
|Roy C||Shotgun Wedding||6|
|Percy Sledge||When A Man Loves A Woman||4|
|Chris Farlowe||Out Of Time||1|
|Napoleon XIV||They're Coming To Take Me Away Ha-Haaa!||4|
|Sandy Posey||Single Girl||15|
|Royal Guardsmen||Snoopy Vs The Red Baron||8|
|Whistling Jack Smith||I Was Kaiser Bills' Batman||5|
|Eddie Floyd||Knock On Wood||19|
|Topol||If I Were A Rich Man||9|
|Arthur Conley||Sweet Soul Music||7|
|PP Arnold||First Cut Is The Deepest||18|
|Vicki Carr||It Must Be Him||2|
|Young Idea||With A Little Help From My Friends||10|
|Anita Harris||Just Loving You||6|
|Scott McKenzie||San Francisco (Be Sure To Wear Some Flowers In Your Hair)||1|
|Johnny Mann Singers||Up Up And Away||6|
|Mike Sammes Singers||Somewhere My Love (Lara's Theme)||14|
|Marvelettes||When You're Young And In Love||13|
|Vanilla Fudge||You Keep Me Hangin' On||18|
|Keith West||Excerpt From A Teenage Opera||2|
|Frankie McBride||Five Little Fingers||19|
|Flowerpot Men||Let's Go To San Francisco||4|
|Felice Taylor||I Feel Love Comin' On||11|
|Simon Dupree and the Big Sound||Kites||9|
|Brenton Wood||Gimme Little Sign||8|
|John Fred and the Playboy Band||Judy In Disguise (With Glasses)||3|
|Plastic Penny||Everything I Am||6|
|Solomon King||She Wears My Ring||3|
|Lemon Pipers||Green Tambourine||7|
|Paul Mauriat||Love Is Blue (L'Amour Est Bleu)||12|
|Paper Dolls||Something Here In My Heart (Keeps A-Tellin' Me No)||11|
|Showstoppers||Ain't Nothing But A Houseparty||11|
|Honeybus||I Can't Let Maggie Go||8|
|1910 Fruitgum Company||Simon Says||2|
|Reparata and the Delrons||Captain Of Your Ship||13|
|Julie Driscoll, Brian Auger and the Trinity||This Wheel's On Fire||5|
|OC Smith||Son Of Hickory Holler's Tramp||2|
|Tommy James and the Shondells||Mony Mony||1|
|Ohio Express||Yummy Yummy Yummy||5|
|Cupid's Inspiration||Yesterday Has Gone||4|
|Crazy World Of Arthur Brown||Fire||1|
|Richard Harris||MacArthur Park||4|
|Sue Nicholls||Where Will You Be||17|
|Pigmeat Markham||Here Comes The Judge||19|
|Leapy lee||Little Arrows||2|
|Mason Williams||Classical Gas||9|
|Hugo Montenegro||The Good The Bad And The Ugly||1|
|Jose Feliciano||Light My Fire||6|
|Marbles||Only One Woman||5|
|Jeannie C Riley||Harper Valley PTA||12|
|Bonzo Dog Doo-Dah Band||I'm The Urban Spaceman||5|
|Gun||Race With the Devil||8|
|Love Sculpture||Sabre Dance||5|
|Kasenetz-Katz Singing Orchestral Circus||Quick Joey Small||19|
|Donald Peers||Please Don't Go||3|
|Sam And Dave||Soul Sister Brown Sugar||15|
|Noel Harrison||Windmills Of Your Mind||8|
|Joe South||Games People Play||6|
|Bob And Earl||Harlem Shuffle||7|
|Chicken Shack||I'd Rather Go Blind||14|
|Crazy Elephant||Gimme Gimme Good Lovin'||12|
|Edwin Hawkins||Oh Happy Day||2|
|Max Romeo||Wet Dream||10|
|Thunderclap Newman||Something In The Air||1|
|Robin Gibb||Saved By the Bell||2|
|Dells||I Can Sing A Rainbow - Love Is Blue [medley]||15|
|Jane Birkin and Serge Gainsbourg||Je T'aime... Moi Non Plus||1|
|Oliver||Good Morning Starshine||6|
|Zager and Evans||In The Year 2525||1|
|Crosby Stills & Nash||Marrakesh Express||17|
|Humble Pie||Natural Born Bugie||4|
|Sounds Nice||Love At First Sight||18|
|Karen Young||Nobody's Child||6|
|Radha Krishna Temple||Hare Krishna Mantra||12|
|Upsetters||Return Of Django / Dollar In The Teeth||5|
|The Archies||Sugar Sugar||1|
|Harry J All Stars||Liquidator||9|
|Delaney & Bonnie and Friends||Comin' Home||16|