It is said that, when the piano was invented, Johann Sebastian Bach hated the newfangled contraption and continued to compose and perform on the harpsichord. Imagine if Bach had lived to see Bob Moog’s invention in 1963—the synthesizer. For centuries, we were accustomed to hearing the same old musical sounds produced by the ancient instruments; in fact, the only new acoustic instrument invented in the entire 20th century was the steel drum. The synthesizer created brand new sounds through electronics, adding a whole new dimension to music.
Through the 70s, a number of Canadian artists, like Ian Thomas and Rush, used synthesizers to add extra colour to rock music. The idea of creating music that was predominantly or entirely electronic was first inspired by the German band Kraftwerk.
In the late 70s, in the United Kingdom, several artists living in different cities were creating electronic rock music in isolation from one another. Each wanted to be the first one to make a breakthrough and they were all oblivious to one another. Such artists included The Human League, Cabaret Voltaire, Orchestral Manoeuvres in the Dark (OMD), and John Foxx’s Ultravox.
Ultimately, it was London’s Gary Numan and the Tubeway Army who became the first artist to top the charts with an electronic rock piece, called “Are Friends Electric?” in 1979. Some of the aforementioned acts were initially resentful and envious of Numan’s breakthrough but later appreciated the fact that he had effectively opened the door to their success, as electronic rock was now popular and trendy.
A number of electronic rock artists emerged in Canada as well: The Spoons, Images in Vogue, Moev, Trans X, and Strange Advance. But the grandfather of all these acts was an outfit from Toronto, called FM, who was making such music way back in 1976, even before the Brits. Fittingly, FM’s Nash the Slash ended up working with Gary Numan.
Initially the band was a duo, consisting of Cameron Hawkins and Nash the Slash. Hawkins played synthesizers, bass guitar, and sang, while Nash played electric violin, electric mandolin, sang backing vocals, and operated a drum machine.
FM first recorded in July 1976 during a live studio performance of three of their songs, including “Phasors on Stun” (the title obviously inspired by the famous line from TV series Star Trek), that was aired on television. In November, they made their first public performance. The following year, drummer Martin Dellar was added to the lineup. After appearing on a CBC variety show, they were asked to make an album of their songs which was titled Black Noise and released in 1977.
“Phasors on Stun” by FM is our 23rd favourite Canadian song of all-time.
Lyrics
Hold fast, hold on
Nothing is a dream,
Yet in changing faster
It never seems to be here long
Move on, turn around
Just can’t seem to find it,
Try and reach out
And hold out
I cannot touch the wind
I touch you, yeah
Reach out, hold out
Nothing here is real,
Yet in searching farther
It almost seems to live until it
Moves on or turns ’round
Just can’t seem to lose it
Try and hold fast
And hold on
I cannot ride the wind
I ride you, yeah
Hold fast, hold on
Nothing is a dream
Until you wake up, cry out
Now it isn’t real, now you
Hold fast
Nothing is a dream
Hold on
Just can’t lose it now
Move on
Turning round
Wake up
You cannot ride the wind
Hold fast
Nothing is a dream
Hold on
Just can’t lose it now
Move on
Turning round and round
Wake up
You cannot ride the wind
Summary
Song: “Phasors on Stun”
Album: Black Noise
Year: 1977
Artist: FM
Origin: Toronto
To view other songs in the Top 50, click on 50 Favourite Songs in the Categories menu on the right-hand column.
