“Tears Are Not Enough” by Northern Lights

Notable Canadian band manager Bruce Allen organized a project to record a charity single for African famine relief in response to Britain’s “Do They Know It’s Christmas?” Jim Vallance in an interview told the story of how things came together in writing and recording the song “Tears Are Not Enough” sung by a supergroup of Canadian artists called Northern Lights.

…in 1985, David [Foster] returned to Vancouver for a year. He and his wife Rebecca bought a house in the same neighbourhood where Bryan Adams and I lived, but we didn’t see much of them. One day I ran into David in the lobby of Little Mountain Sound Studio, where he was producing an album for Paul Hyde and Bob Rock’s group, The Payolas. He approached me in a panic and said, “You have a home studio, right?” I replied that I did.

Visibly excited, David told me he’d just got off the phone with Quincy Jones, who’d just finished recording a Michael Jackson / Lionel Ritchie song for African famine relief called “We Are The World”. Quincy played the song for David over the phone, and said he wanted David to record a Canadian song for Africa — and it had to be finished in the next week or two so it could be included on the U.S. album release!

“We Are The World” was written in response to Bob Geldoff’s “Do They Know It’s Christmas”, recorded and released the year before (1984). Geldoff’s song raised millions of dollars for Africa, and had already made a significant difference to those suffering from drought and famine. Quincy hoped that a Canadian song might help make a difference too.

David already had a melody, borrowed from a song he’d been working on, and he had a title, “Tears Are Not Enough”, which had been provided by Paul Hyde and Bob Rock. It was nearly twenty years later (2004) when I finally heard the story behind the “title”:

Paul and Bob had been in the studio with Foster on the day that Quincy Jones called. Several weeks earlier they’d written a song called “Tears Are Not Enough”, and after the call from Quincy they played their song for David, thinking it might be suitable for the Famine Relief recording. “So, what do you think?” they asked, when they’d finished presenting the song. “Nice title”, David replied.

The next morning (Friday, February 1, 1985) David arrived at my home studio. He played me his melody on the piano. It was a pretty ballad with an interesting, circular chord progression. He also mentioned Paul and Bob’s title, “Tears Are Not Enough”, which I thought was excellent.

With the melody and the title we had enough to get started, so began recording the track right away. Using his Emulator synthesizer David laid down a piano, followed by a Moog bass, then a bell sound. I added drums and percussion. An hour or two later we had a “basic track” (it was only intended to be a quick “demo” recording, but it worked so well we ended up using it for the final recording).

Then we started working on the lyrics:
We can close the distance
Only we can make the difference
Don’t you know that tears are not enough

It was a good start, but David had to rush away for a session with The Payolas, promising to return the following day. I continued work on the lyrics while my wife Rachel [Paiement] wrote a few lines in French — after all, it was a Canadian song for Africa!

The next day Bryan Adams arrived from Los Angeles and hurried over to help. He looked at the lyrics I’d written so far and immediately suggested an improvement. “How about ‘we can BRIDGE the distance’?”, he said. It was perfect, and with that we were off and running.

We finished the lyric later that evening, then Bryan and Rachel recorded the vocals. The demo was completed at 4:00 a.m. the next morning.

Meanwhile, David enlisted Bryan’s manager Bruce Allen to help assemble a roster of performers. Bruce was well-connected in the music industry, and in quick succession Joni Mitchell and Neil Young agreed to participate. Then Kim Mitchell and Gordon Lightfoot. Burton Cummings came on board, and so did Geddy Lee and Corey Hart.

Comedians John Candy and Catherine O’Hara offered their services, along with legendary jazz pianist Oscar Peterson and David Letterman sidekick Paul Shaffer. Dan Hill, Jane Sibbery, Sylvia Tyson, Robert Charlebois … the list of participants grew by the hour.

I suggested we record the vocals at Manta Studios [in Toronto], where I’d recorded Bryan Adams’ first album (and also Barney Bentall, Lisa Dal Bello and Cano). The room was big enough to accommodate a large group, and I also knew that veteran engineer Hayward Parrott could handle the complex task of recording 30 soloists … plus a chorus of 50!

Michael Godin (A&M Records) contacted Manta owner Andy Hermant, who generously donated the studio. On Saturday (February 9, 1985) we flew to Toronto to prepare for the mammoth recording session planned for the following day.

During the flight we reviewed the lyric sheet and the list of artists and determined who would sing which line. We decided the song should begin with Canadian legend Gordon Lightfoot (“As everyday goes by …”), then move to Burton Cummings (“How can we close our eyes …”), then to Anne Murray, Joni Mitchell, and so on.

The session took place on Sunday, February 10, 1985. It was a bitter cold day, but hundreds of fans gathered outside Manta to watch the “stars” arrive. Gordon Lightfoot drove himself to the studio in a pick-up truck. Neil Young and Joni Mitchell arrived by taxi. Platinum Blonde arrived in a white stretch limo.

Just as Quincy Jones had done in Los Angeles, Foster taped a poster in the studio lobby that said, “Leave your egos at the door”. Everyone gave 200 percent, and at the end of the day we had the makings of a magical record.

One of the funniest moments happened during Neil Young’s performance. He’d sung his line once or twice already, but Foster still wasn’t happy and asked Neil to try again. When Neil asked why, David told him he was out of tune. “That’s my style, man”, Neil shot back.

For me, one of the highlights was sitting on the studio floor a few feet from Joni Mitchell while she carved graceful lines in the air with her hands as she sang. Another special moment was meeting Richard Manuel, singer and pianist for “The Band”. In fact, Joni Mitchell and “The Band” are two of my biggest musical influences. I was in “fan heaven”, meeting them and hearing them sing lyrics I’d written!

After completing the vocal session in Toronto, David and I returned to Vancouver and booked time at Pinewood Studios and Little Mountain Sound where more instruments were added to the track, including Loverboy’s Doug Johnson and Paul Dean, who contributed keyboards and guitar. Steven Denroche, a member of the Vancouver Symphony, was called in to play French Horn…

One important Canadian artist unable to attend the Toronto recording session was Bruce Cockburn, who was performing in Germany at the time. Cockburn ‘s manager, Bernie Finkelstein, wondered if there wasn’t a way Bruce could record his vocal at a studio in Germany and have it edited into the finished product at a later date. It was a nice idea, but to meet our deadline Bruce’s contribution would have to be filmed and recorded sometime in the next 48 hours. In a moment of weakness I volunteered to fly to Germany!

The good news is, Air Canada provided a free ticket. The bad news is, there were no direct fights — so I had to fly from Vancouver to Toronto, Toronto to London, London to Frankfurt, and Frankfurt to Hamburg … a 44-hour round-trip. I arrived in Hamburg just in time to catch Bruce’s performance at a club on Tuesday evening. I met him backstage, for the first time, after the show.

I’d brought a cassette tape of the song, which Bruce hadn’t heard yet. But before I could even play the tape, Bruce dropped a bomb. He said he hadn’t yet decided if he wanted to participate in the project!

Bernie had neglected to tell me that Bruce hadn’t made up his mind yet — and I’d just spent 22 hours on a #$&@ airplane! In my sleep-deprived, jet-lagged stupor my first reaction was to reach across the table and grab Bruce by the throat with both hands. Instead, I used every ounce of diplomacy I could muster. I told Bruce how magical the session in Toronto had been … how it was truly a special project, and that everyone was looking forward to his involvement, which was true!

Bruce eventually came around, and he agreed to meet me at a Hamburg recording studio the following morning. It took less than an hour to complete Bruce’s audio and video recording, then it was back to the airport for the 22-hour return flight to Vancouver (via Frankfurt, London and Toronto).

I met one of the film people at the airport in Toronto during my two-hour lay-over, and I handed him the Cockburn footage to edit into the video. After spending a much-needed night in my own bed in Vancouver, I flew to Los Angeles the next morning to deliver Bruce’s audio track. Foster and his assistant Chris Earthy met me at the airport, and we rushed over to Kenny Roger’s “Lion’s Share” studio where Cockburn’s vocal was edited into the audio mix that engineer Humberto Gatica had nearly completed.

“Tears Are Not Enough” reached #1 on the Canadian charts and helped raise more than $3-million for African Famine Relief.

Lyrics and Vocalists

As every day goes by, how can we close our eyes (Gordon Lightfoot)
Until we open up our hearts (Burton Cummings)

We can learn to share and show how much we care (Anne Murray)
Right from the moment that we start (Joni Mitchell)

Seems like overnight, we see the world in a different light (Dan Hill)
Somehow our innocence is lost (Neil Young)

How can we look away, ’cause every single day (Bryan Adams)
We’ve got to help at any cost (Liberty Silver and Loverboy’s Mike Reno)

Chorus (sung by the nine singers above):

We can bridge the distance
Only we can make the difference
Don’t ya know that tears are not enough

If we can pull together
We could change the world forever
Heaven knows that tears are not enough

It’s up to me and you to make the dream come true (Carroll Baker, Ronnie Hawkins, and Murray McLauchlan)
It’s time to take our message everywhere (Corey Hart)

C’est l’amour qui nous rassemble
d’ici a l’autre bout du monde (Véronique Béliveau, Robert Charlebois, and Claude Dubois)

Let’s show them Canada still cares (Bruce Cockburn)
You know that we’ll be there (Rush’s Geddy Lee)

(Chorus – all 18 singers above)

And if we could try (Bryan Adams and Don Gerrard)
Together you and I (All 44 Singers)
Maybe we could understand the reasons why (Zappacosta and Dalbello)
If we take a stand (Rough Trade’s Carole Pope and The Payola$ Paul Hyde)
Every woman, child and man (Salome Bey, Platinum Blonde’s Mark Holmes, and The Parachute Club’s Lorraine Segato)
We can make it work for God’s sake lend a hand (Loverboy’s Mike Reno)

(Chorus – all the above singers plus Paul Anka, Liona Boyd, actor John Candy, Tom Cochrane, Tommy Hunter, Martha Johnson (M+M), actor Eugene Levy, pop pianist Frank Mills, Kim Mitchell, jazz pianist Oscar Peterson, David Letterman sidekick Paul Shaffer, Jane Siberry, Sylvia Tyson (Ian & Sylvia), dj Barry Harris, actress Catherine O’Hara, and Wayne St. John)

The “Tears Are Not Enough” project was one of the finest moments in Canadian music history.

Les Yeux de la Faim

It didn’t receive much attention outside of Quebec but Francophone artists banded together to record an additional charity single for African famine relief. Celine Dion, Rene & Nathalie Simard and others lent their voices to the beautiful “Les Yeux de la Faim“.

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Véronique Béliveau

Born: Montréal, 1955
Debut: 1972
Breakthrough: 1980
Genre: Pop

Some Hits

“Aimer” 1980
“Je suis fidèle” 1983
“C’est un rêveur” 1983
“That Boy” 1983
“Please (Dis-moi c’que tu as)” 1983
“Le Rock” 1983
“(Cache ton coeur) Cover Girl” 1984
Je suis comme je suis” 1984
“Toute la nuit” 1984
Make a Move on Me” 1986
“Jérusalem” (with Marc Gabriel) 1988
“House of Love” 1989

Veronique Beliveau, who was born Nicole Monique, wanted to become a ballerina but rheumatic fever weakened her ability to endure the rigorous exercises. She turned to singing the soft-chanteuse lounge approach and was discovered by Francois Bernard who helped her record the single “Rêve d’amour” in 1972. She toured Quebec with René Simard the following year. She began voice lessons with Laurette Bailly and, in-between her releases of a few more singles, hosted TV shows and took up acting. In 1977, she released her first album Prends-moi come je suis. But her first real hit, “Aimer” appeared on her second, self-titled album in 1980 after she switched to RCA and crossed over from adult contemporary to pop / rock. In 1983, having signed onto A&M, Beliveau released a huge hit album called Transit. Her French cover of Sheena Easton’s “She’s in Love (with her Radio)”, “Je suis fidèle”, topped the charts in Quebec. “C’est un rêveur” was also popular. The album received the Félix Award for pop album of the year and spawned a number of further hits. “Please (Dis-moi c’que tu as)” was written by the Bee Gees as “Heart (Stop Beating in Time)”. Veronique was nominated for the Most Promising Female Artist of the Year at the English-dominated Juno Awards.

In 1984, she released the album Cover Girl, responsible for three hit singles. And her fame began to spread to France. She was invited to participate as one of only three French Canadian artists on the “Tears Are Not Enough” charity single for African famine relief. She performed for Prince Charles and Lady Diana at Expo ’86 in Vancouver and decided to release her first English album, Borderline. English cross-over albums for francophone artists were rarely successful, but she managed a minor hit with “Make a Move on Me”. She was nominated for Female Artist of the Year at the Junos in 1987 and recorded a duet with Marc Gabriel the following year. In 1989, Beliveau released her second English album, Véronique, her last.

Veronique Beliveau retired from the music scene at the close of the ’80s but resurfaced in support of new singer Isabelle Boulay, singing backing vocals. Her boyfriend Josélito Michaud managed Boulay’s career.

New Wave and Electronic Rock (1980-84)

In the early 80s, dance music became less popular in the English-speaking world. It was to be reborn several years later. Punk rock whose appeal was confined for the most part to the United Kingdom morphed into new wave. The synthesizer, Bob Moog’s 1963 invention, had made appearances in rock throughout the 70s, but a number of British artists began experimenting with using the synthesizer as the lead and sometimes only instrument. This new electronic rock helped spawn a second British Invasion. Arguably, with acts like Images in Vogue, Strange Advance, Rational Youth, Blue Peter, Moev, The Spoons, and Rough Trade, Canada was more keen on developing synthesizer-driven pop than the United States. The most popular new wave act was perhaps Vancouver-based The Payola$.

With the new styles in music, radio was friendlier to some artists than to others. The so-called underground music scene became exceptionally popular as did college radio which picked up the slack. In order to help promote and recognize more experimental music, the CASBY awards were established in 1981 to honour excellence in independent or “alternative” music and artists.

Guitar-oriented new wave group Corbeau was somewhat successful in Québec. When it disbanded in 1984, female singer Marjo embarked on a solo career. Québec never grew tired of dance music. With the new interest in synthesizers, electronics were added to the genre care of acts like Trans X and the hugely successful Men Without Hats. English Canada experimented with dancier new wave and came up with male/female combo outfits like The Parachute Club and Martha and the Muffins, which later became known as M+M.

After new wave, the second most popular genre in the early 80s, which did not receive as much radio airplay, was heavy metal. A few artists in Canada dabbled in this, like Helix, Toronto, and Chilliwack spin-off The Headpins, and some combined electronics with hard rock, like Aldo Nova and supergroup Loverboy.

Curiously, a backlash against this new-fangled music emerged in parallel. A number of groups performing more traditional blues rose to prominence, the most notable of which were The Powder Blues Band, Doug and the Slugs, and a cappella group The Nylons. Medicine Hat (Alberta) risqué country band Showdown debuted in 1980 and Montréal fusion-jazz outfit UZEB in 1981. Scottish import Eric Robertson, a composer, pianist and organist scored a multi-platinum album entitled Magic Melodies.

A number of acts did not deviate from straight-forward pop: The Kings, Teenage Head, Straight Lines, Sheriff, and Red Rider (whom we’ll feature later in conjunction with front man Tom Cochrane’s solo career). But it was primarily the solo artists who performed mainstream pop and a few of them were to become the biggest names in Canadian music history.

Diane Tell (who also performed with aforementioned UZEB), Véronique Béliveau, and Martine Saint-Clair made headways in French Canada. René‘s little sister Nathalie Simard became a child star in the early 80s. In 1983, Céline Dion emerged and blew everyone in the province away. We’ll talk about her later when she achieved international superstardom.

In English Canada, debuts from women were notably absent during this period. For the men, however, it was a very different story. From Montréal, an English singer who liked to wear sunglasses at night released a sleeper hit album in 1983. No one knew just how popular he was to become by the middle of the decade. His name was Corey Hart. An ex-Sweeney Todd Vancouverite singer got some attention with his “Let Me Take You Dancing” in 1979. But, frustrated with his lack of big success, he teamed up with songwriter Jim Vallance, changed his singing style from smooth to gravelly, and released Cuts Like a Knife in early 1983. For Bryan Adams all hell broke loose, and he captivated the nation eventually becoming the most successful Canadian artist of all-time. The biggest male name in French songs was perhaps Manitoba-born Daniel Lavoie. Although he started out in the 70s, his popularity skyrocketed in the early 80s, and he garnered a few Félix Awards. In 1998, he teamed up with two other singers and released the third best-selling single of all time in France.

The best-selling albums during the period were those from Anne Murray, Loverboy, Ginette Reno, and the aforementioned Eric Robertson. Another big-seller was the novelty comedy record Bob & Doug McKenzie‘s Great White North responsible for a couple of hit songs, including the Geddy Lee (Rush) led “Take Off”.

It is also worth noting that, outside of Québec, which had a very productive year, significant Canadian music was practically non-existent in 1984. Sherry Kean scored a Top 20 hit with “I Want You Back” and Italy-born Zappacosta became known in some circles with his debut release. But no Canadian song made the weekly Top 10 in the RPM charts throughout the entire year. Furthermore, no Canadian song made the year-end CHUM chart, and the Juno Awards were delayed. What happened in 1985, however, was to more than make up for it.

With the ever-increasing popularity of music videos, Canada launched a national channel called MuchMusic at the end of August in 1984. Although criticized for focussing too much on music from and that appealed to Torontonians (where the station was based), and showcasing too much American-style black and Spanish music, it enabled a number of Canadian artists to gain exposure and make breakthroughs. Two years later, a French language version was aired called MusiquePlus.

MuchMusic was also criticized for airing too many movies, game and reality shows when most people tuned in to see the MVs. The channel responded to all the criticism by launching MuchMoreMusic in 1998 which played more MVs and music that appealed more to adult Canadians.

Eventually, MuchMusic replaced CBC’s Good Rockin’ Tonite which was broadcast from Vancouver.

Coming up, we’ll provide a list of significant Canadian songs in the early 80s, followed by a special feature on Bob & Doug McKenzie’s The Great White North album, and then mini-profiles on semi-major acts Martha and the Muffins, The Parachute Club, Martine St-Clair, and Toronto, and finally individual profiles on major artists Men Without Hats, The Payola$, Loverboy, Diane Tell, Véronique Béliveau, Corey Hart, Daniel Lavoie, and Bryan Adams.

Crossroads and Consolidation (1976-79)

While the early to mid 70s were bustling with popular Canadian acts, things had slowed down by the late-70s. There were perhaps three reasons for this. The first was that, while the rest of the world became swept up in disco fever, Canadian artists remained aloof from this genre of music with the odd exception like Patsy Gallant or the T.H.P. Orchestra. Coinciding with this was the decline in popularity of folk music, the style that had been Canada’s specialty. Furthermore, the big names in music were sliding into retirement. Things were to pick up and surpass previous prominence of Canuck music, however, in the 1980s, which saw the first Canadian album to be certified diamond.

The late-70s were in fact a crossroads of artists retiring and new ones emerging who didn’t skyrocket to prominence until the following decade. One of these was the rock band Rush. Though their debut came in 1974, they didn’t score a major hit until 1978′s “Closer to the Heart” and steadily rose to notoriety in the early 80s. Rush is one of the longest-lived and most popular Canadian rock bands. Though never scoring a lot of radio-played hit singles, they have remained a highly successful album-oriented act, as 13 of their studio albums have gone platinum. They are considered the fifth best-selling rock band in history internationally after The Beatles, Rolling Stones, KISS, and Aeorsmith respectively.

A band that often worked and co-wrote songs with Rush was Max Webster. They managed a Platinum album in 1979. In the 80s, member Kim Mitchell embarked on a solo career and did much better.

In terms of bands that scored hits, Vancouver’s Trooper was king in this period with ten Top 40 hits (3 more after 1979). Their album Hot Shots was the first Canadian album to go 4x Platinum in Canada. Toronto’s Triumph didn’t do as well, as their popularity remained mostly in eastern Canada where they scored the 1979 hit “Hold On” and “Magic Power” in 1981. But, unlike Trooper, they have managed to become inducted into the Canadian Music Hall of Fame. Prism arguably faired better than Triumph with six platinum albums, two major hits (“Night to Remember” and “Young & Restless”), and Juno Award for Group of the Year in 1981. Regina’s Streetheart rose to fame with their cover of The Rolling Stones’ “Under My Thumb”. Randy Bachman, after his departure from B.T.O., formed a new band, Ironhorse. They released only two albums and scored one Top 30 hit: “Sweet Lui Louise”.

Other bands in this period were Harlequin and the new wave outfit Saga who managed several minor radio hits. Canada was heading into more progressive electronic rock thanks to Nash the Slash and FM.

Because they started out in Canada, it is worth mentioning the American band Heart. Sweeney Todd released the huge hit “Roxy Roller” but disbanded quickly, two of their members going solo. The first, Nick Gilder, scored a couple of huge hits, one being the biggest of the late-70s, but faded into obscurity after. The second, Bryan Adams, did not see success come as easily, but once he found his signature formula, he became the biggest Canadian solo artist of all-time. We will profile him in the 80s.

The biggest solo artist of the late-70s was former Guess Who front man Burton Cummings. His first hit was “Stand Tall” in 1976. Success came for Angèle Arsenault in 1977 with the multi-platinum album, Libre.

Though he debuted in 1970, folk-pop singer-songwriter Bruce Cockburn‘s big breakthrough came in 1979 thanks to “Wondering Where the Lions Are”. Paul Piché‘s solo album went platinum the same year. Martin Stevens’ single “Love is in the Air” went gold while Claudja Barry‘s “Boogie Woogie Dancing Shoes” went Platinum. Respected guitarist Pat Travers churned out some his best material during the late 70s. (Jerry) Doucette‘s debut release, Mama Let Him Play, earned platinum status. Bells’ former pianist Frank Mills released his “Music Box Dancer” instrumental, the sheet music of which has sold in excess of 3 million copies. Diane Tell and Véronique Béliveau both released debut albums in 1977. They became highly successful in the 80s, and we will take a look at them later.

Number One singles in the late 70s were Gordon Lightfoot’s “Wreck of the Edmund Fitzgerald”, Burton Cummings’ “Stand Tall”, Dan Hill’s “Sometimes When We Touch”, Anne Murray’s “You Needed Me” and “I Just Fall in Love Again”, and Gino Vannelli’s “I Just Wanna Stop”. Nick Gilder departed from Sweeny Todd after their Number One smash “Roxy Roller”, and came out with the biggest Canadian song of the late-70s: “Hot Child in the City”, 7th biggest song of the year 1978 according to CHUM FM. “The Theme from S.W.A.T.” by the T.H.P. Orchestra, which earned them the Most Promising Group of the Year Juno in 1977, was also a number one single. Patsy Gallant’s “Sugar Daddy” won the Song of the Year Juno in 1978. Pianist André Gagnon took home the Album of the Year Juno in 1978 for his Neiges, breaking B.T.O.’s three-year streak in the category.

Outside the realm of pop, some big names at this time: celebrated jazz trombonist Rob McConnell, classical pianist and composer André Gagnon, Nova Scotian female country singer Carroll Baker, earthy folk singer Stan Rogers, and hugely successful children’s music trio Sharon, Lois & Bram.

In 1979, due to the Juno Awards’ lack of attention to fracophone artists, Quebec launched the Felix Awards. For more on this, click HERE.

Below are mini-profiles on Heart, Streetheart, Sweeney Todd, and Nick Gilder.

Heart

Sisters Ann and Nancy Wilson who have hitherto sold over 30 million albums worldwide, started out in Vancouver, Canada, so we will take a brief look at them here.

In 1967, Roger Fisher formed a Seattle-based band called The Army that went through a number of personnel and name changes. In late-1970, Ann Wilson joined. Roger’s brother, Mike, was set to be recruited, against his will, into the army to fight in Vietnam. When he failed to show up for duty, American authorities raided his home. He jumped out of a rear window and escaped to freedom in Canada. The Americans labeled him a “Vietnam War Draft Dodger”.

One day in 1971, Mike snuck across the border back to the U.S. to visit family. There he met Ann Wilson and the two fell in love. This prompted Ann to follow Mike back into Canada. This led other band members to follow suit. They reformed in Vancouver, and changed their name to Heart. Ann’s sister Nancy joined in 1974 and began a love affair with Roger.

The band, augmented by some Canadian studio musicians (one of whom permanently joined the band as their drummer) released Dreamboat Annie on Vancouver’s Mushroom Records label. Singles “Crazy on You” and “Magic Man” helped the album to eventually sell over a million copies.

In 1977, The American government returned to policies more in keeping with democracy and granted amnesty to Vietnam draft evaders. This led the band to break its contract with Mushroom and move back to Seattle.

Streetheart

This band from Regina, formed in 1977, is best known for their cover of The Rolling Stones’ “Under My Thumb” as well as “Action”, “What Kind of Love is This”, and “One More Time”. Four of their albums attained platinum status, one going multi-platinum. In 1980, they received the Juno Award for Most Promising Group of the Year. They disbanded in 1983.

Sweeney Todd / Nick Gilder

This glam rock band that formed in Vancouver in 1975, with Nick Gilder on vocals, scored the #1 hit “Roxy Roller” winning them a Juno Award for Best Single in 1977. Gilder quickly left the band after its success to pursue a solo career. He was replaced by Clark Perry, an arrangement that was short-lived, and Bryan Adams, then only 15 years old, took over on vocals. The band’s second album was finally released but was unsuccessful, resulting in Adams’ departure. Chris Booth took over on vocals but Sweeney Todd had, by then, run out of steam and disbanded before recording any further albums.

In the meantime, Nick Gilder, born in London, England in 1951, was enjoying a hugely successful solo career. His “Hot Child in the City” topped the charts for weeks and won the 1979 Juno for Single of the Year. It was the 7th biggest song of 1978 according to Toronto’s CHUM Radio. It performed equally well in the American Charts. Gilder’s “Here Comes the Night” made the Top 30 and “You Really Rock Me” the Top 40. In 1980, “Wild Ones (Feeling Electric)” and “Catch 22″ made the Top 30, but further success proved unattainable. He began composing for other artists, most notably Patty Smyth, Bette Midler, Joe Cocker, and Pat Benatar. In 1984, he co-wrote the song “The Warrior” for the band Scandal, which made the Top 10 in the U.S.