PLANTING A MUSICAL FLAG
Industry experts discuss the artists who define Canada
Editor’s note: This is the second in a two-part series. Part 1, covering artists from Eastern and Central Canada, appeared last Tuesday. O Canada, we stand in ovation for thee.
As the nation turns 150, we asked Canadian music industry experts — from musicians and label executives to major event organizers — to discuss the artists who planted their own flags in Canada’s key cultural communities. We offer a snapshot of the musicians they feel have defined and inspired each city. In our second edition, we look at the West and the North.
WINNIPEG
Allan Reid, president and CEO, CARAS, the Juno Awards and MusiCounts: Burton Cummings — “Undeniably had an incredible career here at home and abroad. From The Guess Who, to a solo career, to even having a theatre in Winnipeg named after him.” Fred Penner, children’s music performer and Winnipeg native:
“Winnipeg is the city of great beginnings. An amazing range of musical talent grew up in this vibrant prairie city.”
The Guess Who — “From Friday night gigs at community centres to the international market, The Guess Who made a lasting mark in the world of music. Songs that captured the energy and imagination of the ’60s generation and have stood the test of time. The band gave dozens of prairie musicians the opportunity to hone their skills.”
Lenny Breau — “One of most incredible guitarists on the planet. A unique style that set him apart from guitarists around the world. Revered by musicians from Chet Atkins to Pat Metheny.”
Loreena McKennitt — “(She) followed her intuition in a very competitive business and built Quinlan Road, an independent record label, a direction that few other musicians have attempted. Her sensitive music touched a global audience.” Robyn Stewart, executive director of western Canadian Music Alliance, which runs BreakOut West: Canadian Music Festival & Conference and music awards: Randy Bachman, BachmanTurner Overdrive — “pioneers and one of the early ones to breakout internationally.”
Neil Young — “There’s a certain pride that he was here, even if only for a certain time.”
The Weakerthans and John K. Samson — “Current and still having a major (influence).” Alan Cross, Canadian music historian and radio host: Burton Cummings, Streetheart (two members went on to become Loverboy) and Harlequin.
SASKATOON
Stewart: The Northern Pikes — “They fell at a time when there were a couple artists along a similar vein, but they built their career there and never left … and (are) always incredibly humble.”
The Sheepdogs — “An image for the future of music (because) they hit it big in unique ways … showing you don’t have to be from Toronto or New York to have career, and make it on the cover of the Rolling Stone.”
REGINA
Stewart: Buffy Sainte-Marie — “She was a pillar for a lot of the indigenous artists we see today and a lot of the recognitions for indigenous (music).”
CALGARY
Reid: Jann Arden — “She has been making successful music for over 25 years and she still lives in the city that she was born in.” Jack Ross, CEO, United Talent
Agency: Paul Brandt — “Canada’s most successful male country artist started his Hall of Fame career at the city’s famed Calgary Stampede and then sold millions of records across North America. Paul’s mega-hit Alberta Bound has become the unofficial provincial anthem.”
Stewart: Nickelback — “They are the band everyone loves to hate, but it is hard not to recognize them as influencers.”
Others: Paul Brandt, Ian Tyson, Joni Mitchell (born in Fort Macleod, went to post-secondary school in Calgary and got her start in the local folk scene)
Cross: Loverboy, Jann Arden, Feist, Tegan and Sara
EDMONTON
Stewart: k.d. lang — “A massive effect on the careers of so many artists”
Other: Captain Tractor (folkrock) Cross: SNFU (hardcore punk band) VICTORIA, B.C. Leeroy Stagger, alt-country musician and Vancouver Island native: Hot Hot Heat — “These guys deserve so much more credit for kick-starting the indie rock craze that started in the early 2000s. Listen to records from the Bravery, Interpol and so many more hop bands from this era who have so obviously been influenced by Hot Hot Heat. They inspired me to learn the credit of song writing and performing — sometimes what not to do too! Ha.”
The Dayglo Abortions — “Easily one of the greatest contributions to Canadian punk rock. They pushed envelopes and stood up to censorship in this country early on so that we don’t have to do. Dayglos were and still are some of the heaviest and hardest bands going, they are still out there challenging the norms of society.”
No Means No — “One of the hardest touring and interesting bands to come off the island. They’ve just called it quits last year, decades after they began. There’s something about growing up on an island that makes you want to leave and see the world; No Means No is a testament to that ideal.”
Stewart: D.O.A. and No Means No — “Influenced artists across the country in the punk era.”
VANCOUVER
Stewart: Dan Mangan — Top of mind when thinking about “artists that have made the biggest impact (on the) future of (western Canadian) music” and has been a “difference maker” in the careers of musicians around him.
Other: 54-40
Cross: Trooper — “Say what you want about them, but they are one of the longest lasting of Canadian rock bands.”
Other: New Pornographers, 54-40
Reid: Bryan Adams — “While he moves around the country, his success is synonymous with Vancouver.”
THE NORTH
Eric Alper, publicist and music
commentator: Tanya Tagaq (Cambridge Bay, Iqaluktuutiaq, Nunavut) — “After hinting at things to come with three accomplished albums, she followed up Animism with Retribution, an even more musically aggressive, more aggressively political, more challenging, more spine tingling, more powerful masterpiece. When critics around the world talk about the successful Canadian sound, I don’t think of Drake, Justin Bieber or The Weeknd, I think of Tanya Tagaq.”
Stewart: Tagaq — “She is claimed by two provinces and two territories … has had a massive career trajectory, won the Polaris Prize … and is a beacon for indigenous genres.”