Winter 2010/11, Volume 103 Number 3

Commercial recordings of Newfoundland and Labrador music first hit the market in the early 1950s. Through the remainder of that decade and the next, recordings trickled to retailers’ shelves at the rate of a few per year. But in the 1970s, as Canadian Content Regulations took effect, local recording studios were established, and recording artists improved their musicianship and business skills, home-grown music poured into the record bins. This article chronicles the highlights of that decade.

1970

The Krystals, a rock group based in Labrador, released an album comprised of cover versions of obscure contemporary hits by groups like The Hollies, The Archies, and Simon and Garfunkel. Only a few thousand copies of the album were pressed, making it a rare find today. Also from the Big Land, Gerald Mitchell released The Hunt and other songs of Labrador, the first recording of Labrador folk songs written by native-born Labradorians. Mitchell had a lasting impact on the music scene in Labrador and helped clear a path for succeeding generations of performers. (In 2009, MusicNL presented him with an “Unsung Hero” award to recognize his achievements.)

The Du-Cats from Port aux Basques had pleased their teenage fans when they released an album of “hard and heavy” rock and roll in the mid-1960s. But as the group aged, their venues shifted from high schools to nightclubs, and their older patrons wanted to hear traditional jigs and reels, as well as country and western ballads, mixed with a little humour. So they became The Ducats Showband and their second album, released in 1970, abandoned rock and roll in favour of traditional and country music.

Country singer-songwriter Roy Payne’s debut album had the controversial title Goofie Newfie. The song attacked those who used the moniker, but to use Payne’s own words, the term “hung around my neck like a dead mackerel.” The album introduced the original recording of the self-penned Little Boats of Newfoundland, now a modern classic.

Dick Nolan released two albums of pure country music, including his only album of duets, sharing the microphone with Canadian songstress Marlene Beaudry. Twillingate’s Reg Watkins released his first recording, a rockabilly single titled Souped-Up Ford. He recorded it in Edmonton on his own label, Signal Sound. Joan Morrissey released her second album, At the Admiral’s Keg, recorded live at Hotel Newfoundland. It was the province’s first recording of a live performance. Harry Hibbs added two more bestsellers to his outstanding catalogue and continued to ride the wave of success in Toronto and the Atlantic provinces. (In 2001, The East Coast Music Association (ECMA) posthumously presented Hibbs with the Dr. Helen Creighton Award, honouring his lifetime of music achievement.) Accordionist Gerry Reeves released his second album, and Denis Parker, who was destined to make Newfoundland his home, recorded a single in the U.K. with the Panama Limited Band. American recording artist Bob Dylan included the song Belle Isle on his album Self-Portrait, sparking debate about whether the song originated in Newfoundland or Ireland.

1971

Bonnie Lou Nolan became the first NL child to sign with a major record company, RCA. At the time she was nine years old and within a few months she released Bonnie Lou Nolan, an album of contemporary country hits. Later that year she appeared in the first country music concert ever held at the St. John’s Arts and Culture Centre, as guest of Nashville star George Hamilton IV.

The province’s first singer-songwriter album was recorded by Payne, who released two full albums of his original country songs, titled Love and Hate and Women’s Lib, and Roy Payne’s Country. Ryan’s Fancy released An Irish Night At the Black Knight Lounge, recorded live in Halifax. Denis Ryan, Fergus O’Byrne and Dermot O’Reilly were three Irish immigrants who settled in Newfoundland and captured the hearts of music lovers with their foot stompin’, hand clappin’ renditions of Irish and folk songs, and they stimulated a young crop of local music lovers to discover their own musical heritage. (The ECMA honoured Ryan’s Fancy with the Dr. Helen Creighton Award in 2004.) The Newfoundland Showband kicked off their recording career in 1971 with their self-titled album, showcasing their popular mix of Irish, Newfoundland, and country music.

The Sanderlings, seven youths from St. John’s led by Beth Harrington, released an album of light and breezy pop tunes. The group toured Canada and made a highly acclaimed appearance on Tommy Hunter’s national TV show. Ward 6, the trio of Gordon Quinton, John Lacey, and Boyd Norman released an album of folk and country music. They were the back-up band on the TV series All Around the Circle when they were discovered by a record producer from Montreal. He recorded them in the gymnasium of a school in Kelligrews, exposing the guitar wizardry of Quinton to a wider audience. Although Ward 6 quickly disbanded, Quinton and Lacey later reunited and became long-time fixtures on the local bar circuit.

Awards to recognize musical achievement were rare in this province in the early 70s, but the Government of Newfoundland and Labrador did honour Steve Foote, a musician from New Brunswick. Premier Joey Smallwood presented Foote, who was also known as Stevedore Steve, with a plaque that said his composition Newfie Screech had made a lasting contribution to Newfoundland music. The song was a regional hit and appeared on Foote’s album Hardworkin’ Men.

Broadcaster and journalist Ron Pumphrey released the first local comedy album, Voice of the Common Man – To All My Lovelies. Hibbs contributed two unique songs to the album and Pumphrey went on to record several more such albums through the decade.

1972

In 1972 the number of albums doubled. The Canadian Content Regulations for broadcasters had taken effect, local recording studios were set up, and Hibbs and Dick Nolan basked in regional and national success.

Nolan rode to fame on the back of Aunt Martha’s Sheep, the song which carried his Fisherman’s Boy album to gold status in just a few months. A Gold Record Night gala was held at the St. John’s Arts and Culture Centre to honour Nolan, and Premier Frank Moores presented the Gold Record. Before year’s end, Nolan had quickly chalked up his second gold record for the album Home Again This Year. Ryan’s Fancy released three albums and rocked The Strand Lounge in St. John’s whenever they took the stage. Hibbs continued to quench the expatriate Newfoundlanders thirst for downeast music, and Morrissey released Home Brew, a top-selling album of tunes from the theatre. Her album featured Tom Cahill originals like The Mobile Goat as well as updates and modernizations of items like the Thank God We’re Surrounded By Water. Lew Skinner led the newly renamed Country Ducats to Nashville to record You Can’t Take the Country From the Man. The album introduced lead vocalist Eddie Rowsell, who later went on to national fame as Eddie Eastman. (MusicNL and the ECMA have honoured the Ducats for their contributions to the province’s music scene.)

The rock group Borealis released Sons of the Sea, the first album of all original material by a Newfoundland music group. Another milestone was Ron Hynes’ first release, Discovery, an album of original compositions presented in an acoustic folk style. Another debut release in the folk genre was singer-songwriter Christopher Kearney’s self-titled album. Radio stations played his Rocking Chair Ride which charted nationally. Kearney’s future looked bright as he appeared on the cover of the national music trade magazine RPM Weekly, toured with Anne Murray, and represented Canada at a song festival in Brazil. He went on two release a few more albums but within a few years he had faded from the limelight.

Also notable in 1972 was the album Poster Girl which introduced Newfoundland’s Elvis, Gord Tracey. The recording mixed rock and roll standards with original compositions. Ray Johnson, “the accordion-playing fiddler,” also debuted with two albums in 1972. He became best known for his skills on the accordion and after a successful solo career teamed up with Kevin Blackmore and Wayne Chaulk to form Buddy Wasisname and The Other Fellers. Following two albums of accordion music, the multi-talented Gerry Reeves, whose birth name was Gerry Formanger, released an album of country-pop guitar instrumentals. Other notable debut albums in 1972 were released by George Grandy, Edison Williams, Derek Pilgrim, The Dorymen, Michael T. Wall, Kevin Jardine, and Winston Saunders.

1973

Overall album production increased again with the total number growing to approximately 40. The phenomenal success of Hibbs and Nolan inspired many musicians to see the potential for a full-time career while pursuing their musical passions. Hibbs and Nolan proved that Newfoundlanders and Labradorians ranked with the best Canadian artists and local musicians began to think of music as a business. This was a shift from the “music as a weekend hobby” mindset, which had prevailed, and issues such as the need for professionalism, and the pros and cons of unionizing, came to the fore. The print and electronic media provided increased exposure to local musicians and a talent agency was formed. Visionaries like musician and businessman Skinner, club owner Fred Walsh, and journalist and talent agent Bob Cousins, spear-headed an effort to set up a Newfoundland Music Industry Association. They even held a major convention, presented awards, and set up a steering committee in the hope of making the convention an annual event. But they were ahead of their time and twenty years passed before such an association became a reality.

The buying frenzy continued for Nolan as Happy Newfoundlanders went gold, giving him three gold records in one twelve month period (the ECMA has honoured Nolan for his lifetime of outstanding achievement). Ben Weatherby, a Maritimer who had produced the phenomenal Fisherman’s Boy album, went gold with his album You Can’t Fool A Newfoundlander. Word has it that Weatherby wrote the title song after feeling slighted because he wasn’t invited to the ceremony celebrating the success of Aunt Martha’s Sheep, so he found solace by penning a very successful sequel. Marathon records also awarded gold records that year to Morrissey and The Newfoundland Showband, who both released albums in 73.

Dave Nicol emerged as a major pop-folk star in 1973, enjoying regional and national success with his album Goodbye Mama. Three singles from the album made the national RPM Charts. Nicol received four Juno Award nominations based on those recordings and he won the category Most Promising Folk Singer. This made Nicol the first Newfoundland recording artist to win a coveted Juno Award. Although he released several singles later in the 70s, he also faded from the scene.

Jean Pardy, who broadcaster Pumphrey affectionately named “The Mona Lisa of Bonavista”, kicked off her recording career with the Newfoundland-country album, Let’s Sing To Newfoundland. Pardy enjoyed enormous popularity through the 1970s and she outdrew Stompin’ Tom Connors during a tour of the Bonavista area. John Lane of Botwood released the country-gospel album, Gentle Mother, and followed it with All the World Is Lonely Now, an album of American country classics. Art Scammel who had written and recorded The Squid Jiggin’ Ground decades earlier, released My Newfoundland Home, a collection of his original yarns presented in a folksy-traditional style to the accompaniment of acoustic guitar.

Other artists to debut in 1973 were Albert Dean, Jerry Eli, Pierce Cull, Shirley Butt, and the Kitty Vitty Minstrels. Established artists who added to their recording catalogues included Bonnie Lou Nolan, Kearney, George Grandy, Johnson, Payne, Pumphrey, and The Dorymen.

1974

The output of the province’s recording industry leveled off with approximately 40 releases. Several artists celebrated the 25th anniversary of Confederation, including Nolan, who released Happy Anniversary Newfoundland. The Folk Arts Council of St. John’s produced the compilation Songs of Confederation Celebration, which featured songs that were written in 1974 as part of a contest to celebrate the silver anniversary. Harrington, formerly of The Sanderlings, won for her Confederation Celebration Song. Marathon Music also released a compilation album 25th Anniversary Musical Celebration, which showcased a variety of previously released Newfoundland-Country songs. The Newfoundland Brokerage Limited produced the album Songs and Stories of Newfoundland to celebrate the silver anniversary. It was the first recording to feature The Chronicles of Uncle Mose by Ted Russell. These were mixed with Lew Murphy’s renditions of popular old Newfoundland songs like The Star of Logy Bay. Accordionist Wilf Doyle and his family released the album Souvenirs and Memories to celebrate both the 25th anniversary of Confederation and his own 25th anniversary as a performing artist on radio.

Scott Rowsell and Aquarius released the album Draggerman in 1974. It mixed country, rock and roll, old standards, and original compositions. They were full-time musicians who became established as pillars on the local music scene throughout the early and mid 70s. J. Terry Hynes from Port au Port released the album Goodtime, which was also the name of his band. Hynes was an established performer, well known to expatriate Newfoundlanders in southern Ontario for his appearances on Hibbs’ TV series. Rowsell released his first solo recording, Close Up, which featured country classics and a few originals. Rowsell’s subsequent releases would be under the name Eddie Eastman. The popular duo first known as The Couriers, and later as Corey & Trina, released their debut album Songs of Newfoundland’s Corey & Trina’s Variety Show. It included the parody Cover of the Newfoundland Herald, which became a signature tune.

Another important debut in 1974 was that of the Codroy Valley’s Minnie White. The versatile “first lady of the accordion” released Newfoundland Accordion and Mandolin Favourites, backed by the Country Ducats. It included traditional Irish and Newfoundland tunes, along with one original composition. White was a beloved performer in her Codroy Valley home and through her recordings became popular throughout the province. 1974 also marked the recording debut of Botwood’s Rex Hemeon. Along with the Country Orbits he released Maritime Girl, an album of country music that included a few original compositions. Twillingate’s Reg Watkins, whom Hank Snow described as “a brilliant song-writer,” released his first album, Cam Canuck. It featured all original compositions done in a country-folk style. Watkins enjoyed national chart success with the tracks Cam Canuck and From A Manitoulin Mission, but found it difficult to penetrate local charts. Other notable debuts were made by transplanted Scotsman Little Johnny Cameron, Ray Broderick, Sam Rose, Steve Pardy and the Country Telstars, Walter MacIsaac, and the Grand Falls rock group Choice.

1975

Album production dropped dramatically in 1975, plummeting to approximately two dozen. St. John’s humourist Al Clouston released the first of his comedy albums, Spinnin’ Yarns. The group Heritage, made up of three medical students from Memorial University, released an album featuring Rub-A-Dub Dub, a catchy ditty that enjoyed considerable radio airplay. Glovertown native George Rowsell teamed up with Prince Edward Islander Billy Roy to release the country music album Thunder Country. His track The Hooker did well on the RPM Charts, peaking at No. 13. Brian “Too Loud” MacLeod released a 45 rpm single Come By Chance which was popular locally. MacLeod when on to national stardom with the rock groups Chilliwack and The Headpins. A Toronto men’s choir, The Carl Tapscott Singers, released Songs of Newfoundland, which included fresh choral arrangements of standard folk songs. Nolan released his fifth album for RCA and was nominated for a Juno Award in the category of Top Male Country Vocalist. Experienced recording artists like John White, Ray Walsh, Payne, Ryan’s Fancy, Pumphrey, The Sons of Erin, Gord Tracey, Pardy, and Pierce Cull all released albums in 1975.

1976

In 1976, Stompin’ Tom Connors’ Boot Records emerged as a label of choice for many recording artists. Nolan returned to his country roots on Boot with A Country Song and his guitarist, Charlie Crocker, cut his first album at the same time. Rookie recording artists John Boland and Beothuck also recorded a country album on Boot. Most members from that group were from Bell Island but they formed in Galt, Ontario in 1974 to perform at dances. Their original name was the Five and Dimers but they were often mistakenly called The Five of Diamonds, which they didn’t like, so they changed it. Another rookie recording artist, Burin’s Phil Bond, also recorded an album of country music for Boot. The band Scrunchi’ns, which evolved from the group Goodtime, recorded a self-titled album of pop and country songs. The group, which introduced upcoming music industry stalwart Glen Tilley, enjoyed outstanding success both at home and in Ontario. The songs You’re Still Gone and Rainy Night in Georgia did especially well. Hare Bay’s A. Frank Willis also made his recording debut in 1976 with the album Any Kinda Music on the Periwinkle label. Willis went on to become one of the province’s hardest working and most popular entertainers, and continues to perform today, mostly in Alberta. Folklorist Peter Narvaez produced a recording of historical significance, Come Hell Or High Water – Songs of the Buchans Miners, featuring militant union songs written and sung by the miners.

1977

By 1977, the number of album releases had dwindled to a dozen or so, a return to the output of the early 70s. A highlight was the debut of Eddie Coffey who enjoyed enormous success with his rendition of the traditional My Sweet Forget-Me-Not. Coffey went on to release many albums and his original composition Grey Foggy Day, which he recorded in the mid 1990s, has become a modern classic. Coffey continues to perform throughout Canada and the United States.

Jeff White of Corner Brook released his superb spiritual album, Grey Lord. White wrote all the material, which was influenced by his Bahai Faith, and he set a high standard of production and musicianship. Breakwater Recordings released Rufus Guinchard – Newfoundland Fiddler. The album captured the 77-yearold belting out traditional jigs that he inherited from previous generations, and was the first of a string of releases that helped preserve the province’s traditional musical heritage for the benefit of posterity. Also debuting in 1977 was accordionist and vocalist Norman Rice with Newfoundland’s Own Fisherman’s Boy.

Corner Brook’s Lloyd Bartlett released his first record, a 45 rpm single of his original composition, Maybe You Can Dance. It was the first single that Clode Sound Studios in Stephenville released on its Quay label. They filled a void by providing a quality studio with competent back-up musicians so that local recording artists could produce recordings without leaving the Island. Although Bartlett sang on his single, he became best know for his mastery of the guitar and he continues to be a pillar of the province’s music scene. Payne’s career continued in full swing as his songs were used in the soundtrack of Dan Ackroyd’s movie, Love At First Sight. (Payne was honoured in 2010 by MusicNL with a Lifetime Achievement Award.)

1978

Willis’ career took off with his hit Take Me As I Am, which he co-wrote with Wayne Rostad. I’m My Own Grandpa and Grandpa’s Motor Boat, from his second album, Getting Myself Together, which was recorded in Nashville, were also popular.

The rock group TNT, which evolved from the group Pinnacle, released their self-titled album. Musicians included luminaries such as Denis Parker, Neil Bishop, Claude Caines, and the album introduced American Elaine Kilpatrick. Their album was the first local rock recording in several years and the song Once Around the Harbour garnered substantial airplay.

Trad-rock was introduced to the province with a wallop in 1978. Both Red Island and The Wonderful Grand Band released “rock and reel” albums on the Quay label. Both records featured traditional music played to a rock beat with electric guitars, bass, and drums. The albums received rave reviews and helped to expose traditional music to a wider audience. But Red Island split quickly after the release of In Pursuit of the Wild Bologna, and their first record was also their last.

WGB’s self-titled album featured singer-songwriter Ron Hynes. It included the first recording of his modern classic Sonny’s Dream along with another Hynes’ favourite, Home On the Island. WGB later enjoyed enormous success both regionally and nationally with their TV series, and Hynes continues his outstanding solo career today.

Also in 1978, Chris Hennessey, formerly of the Sons of Erin, released his first solo album, Ballad Of A Sad Café. Hennessey is a survivor and he continues to perform in nightclubs throughout St. John’s. Fabian James enjoyed considerable success with his single Music Is My Life on the RCA label. The song charted nationally but the talented James found the markets hard to crack and major chart success eluded him. The disco craze penetrated the province and David Michael embraced the idiom with his single Back In Your Arms. Other album releases that year came from Reg Watkins, Corey and Trina, Coffey, White, and Michael T. Wall.

1979

In 1979 there was a surge of first-time recording artists. Bob (Knobby) Lambert laid down his hockey stick and cast away his tough guy image with his release Knobby’s Lament. Denny Doherty, formerly of the Mamas & Papas, sang on the album and did a promotional tour with Lambert throughout the province. One critic hailed the album as one of the province’s “best in production, performance and content.” But sales fell short of expectations and Lambert was unable to get it released nationally or achieve the level of success he craved. Peter Francis Quinlan also released his inaugural album, Shock Absorber. The record was a mix of classic rock hits and original tunes ranging from the humourous The Night the Ladies Dart League Had the Fight to the tender ballad Newfoundland. Labrador’s Dick Gardiner entered the scene with his first effort, Where the Churchill River Flows. The tracks St. Lawrence Tragedy, Carol Lake Strikers, and the title song were all popular. He would go on to release several more albums and penned the modern classic, Labrador Rose, in 1980. Shea Heights’ native Paddy Gearin released his first album, My Home In St. John’s, which featured several original compositions including the popular Take Me Home William Carson.

Black Duck Brook’s Emile Benoit released an album of original fiddle tunes entitled Emile’s Dream. It was produced by Kelly Russell’s Pigeon Inlet Productions, which went on to release several albums of traditional Newfoundland music, thereby helping to preserve it. Pigeon Inlet also released Chronicles of Uncle Mose, a collection of original stories by Kelly’s father, Ted Russell. The group Tickle Harbour released an album of traditional music plus a few originals on Hare’s Ears. Quinton released his first solo album titled Guitar Songs. He arranged Newfoundland jigs and reels for acoustic guitar and threw in a few original compositions, assisted by his long-time colleagues Lacey and Norman. Former premier Joey Smallwood got into the act with A Living Legend, backed by musicians Mac Barfoot and accordionist Geoff Butler (Harry Frump). The recitation Like Ya Would (Kelly’s Dream) received extensive airplay. Eastman released the album Easy, which led to a Juno nomination for Country Male Vocalist Of the Year. Eastman went on to win two Juno Awards in the ‘80s. Clouston was also nominated for a Juno for his third comedy album, Cinderelly, and The Memorial University Chamber Choir conducted by D. F. Cook released an album entitled Winter’s Gone and Past and Other Songs of Newfoundland.

A number of 45 rpm singles were noteworthy as well. Bruce Moss debuted with The Way I Feel. Iceberg Alley featuring Parker released a single from their hit musical, Some Slick. (The musical examined potential impacts of the offshore oil industry on the province.) Pat Sulley also achieved wide popularity for both sides of his single, You Are My Destiny and Cameron Avenue.

Conclusion

Through the succeeding decades, recording facilities and technologies improved and became more accessible. The level of musicianship increased and musicians expanded their interests to include blues, jazz, the classics, and choral music in addition to the ever popular country, pop, and rock genres. This progress was reflected in the quantity and quality of local recordings, and the successes of artists like Figgy Duff, Eastman, Jeff Johnston, Johnny Favourite, The Cormiers, and Ron Hynes, to name a few. The industry has also benefited from the efforts of the province’s Music Industry Association, now know as MusicNL, and the East Coast Music Association, which have worked towards building a strong foundation for continued success.

Wayne Tucker is working on a biography of Newfoundland musician Dick Nolan. He produces and hosts The NewFound Records Radio Hour, CHMR 93.5 FM, from Memorial University, St. John’s.

Author’s note: I’ve tried to document accurate highlights of the recordings made by Newfoundlanders and Labradorians during the 1970s. I encourage readers to report errors or submit comments.

wayne@newfoundrecords.ca

www.newfoundrecords.ca

www.dicknolan.com