519 Magazine - April 2019

SOUTHWESTERN ONTARIO’S ENTERTAINMENT NEWSPAPER 

519 

Where the Stars Hang Out in Southwestern Ontario 

Issue 10 - Apr. 2019 

FREE 

A Lifetime of Classic Rock 

Shannon Larkin: 

Lovin’ the New Godsmack 

Hard Rock Sound 

TEAZE | eONE Prez CHRIS TAYLOR | METRIC 

STEVEN PAGE | ENUFF Z’NUFF | LISA BROKOP 

Post Productions’ New Play | 10 Questions With The Tea Party

1950 

The Doo-Wop Heartbreakers 

1960 

British Beat 66 

1970 

J#Major 

1980 

The Mixx 

3:30 - 4:30 5:00 - 6:00 6:30 - 7:30 8:00 - 9:00 

2019 Rock and Roll Time Machine 

4:30 - 5:00 

6:00 - 6:30 

7:30 - 8:00 

Jake 

The Van Lares 

Crowbar Hotel 2.0 

for a CURE! 

4 bands rock from the 1950s to the 1980s! 

FOOD & DRINK! 

3 amazing acoustic acts in between bands! 

Silent Auction! 

with your master of ceremonies - dave gatt! 

100% of your (tax deductable) donations are being presented to the Essex-Kent chapter of the Cystic Fibrosis 

Foundation of Canada. CF is the most common fatal genetic disease affecting Canadians and at present there is no 

cure. Since 1960 the foundation has become one of the world’s top three charitable organizations committed 

to finding a cure or control for CF. Throughout the years they have invested more than $253 million into leading 

medical research, innovation and care! 

Sunday, May 5th, 3pm - 9pm 

Rockstar Music Hall 

2418 Central Ave, Windsor 

$20 ADMISSION 

(tax receipts available) 

Tickets available at the venue, from the bands and online at 

http://rockstarvenue.com 

Fun & GAMES! 

BAKE SALE! 

Lots of parking! 

Kids welcome!

PICK UP YOUR COPY EVERY 

MONTH AT NEARLY 400 

LOCATIONS INCLUDING: 

METRIC 11 

8 GODSMACK 

TEAZE 4 

Issue 10 

April 2019 

Dan Savoie 

Publisher / Editor 

dan@519magazine.com 

April Savoie 

Director of Sales 

april@519magazine.com 

Matt Cave 

Regional Sales Manager 

matt@519magazine.com 

Melissa Arditti 

Assistant Editor 

Kim Cushington 

Art Director 

Writers and Photographers 

Dan Boshart 

John Liviero 

Kirk Harris / Maureen Stewart 

341 Parent Ave. Windsor, ON N9A 2B7 

519magazine.com / YQGrocks.com 

Office: 519-974-6611 

Award of Excellence 2019/2018 

Canadian Web Awards 

519 Magazine is published monthly and available at various locations 

around the Southwestern Ontario region. 

Printed in Canada on recycled paper using vegetable oil-based inks. 

ISSN 2561-9640 (Print) 

ISSN 2561-9659 (Online) 

Richard 

Williams of 

KANSAS 

6 

Leamington 

CAA Store 

Comfort Inn & Suites 

Days Inn 

Leamington Library 

Visitor Information Centre 

London 

American Plaza Hotel 

Beacock Library 

Byron Library 

Carson Library 

Casa Blanca Motel 

Central Library 

Cherryhill Library 

Comfort Inn 

Comfort Inn & Suites 

Crouch Library 

Days Inn 

Delta London Armories 

East London Library 

Econo Lodge 

Fanshawe College 

Glanworth Library 

Holiday Inn Express 

Homewood Suites By Hilton 

Howard Johnson 

Jalna Library 

Knights Inn 

Lambeth Library 

Landon Library 

Lighthouse Inn 

London Convention Centre 

Masonville Library 

Marriott Residence Inn 

Motel 6 

Motor Court Motel 

Parkway Motel 

Pond Mills Library 

Quality Suites 

Staybridge Suites 

Stoney Creek Library 

Super 7 Motel 

Tourism London – Tourist Info Centre 

Tourism London – Downtown Info Centre 

VIA Rail Station 

Westmount Library 

Sarnia 

2 Complex (Bottoms Up Bar & Grill) 

Blue Water Hotel 

CAA Store 

Cheeky Monkey 

Drawbridge Inn & Suites 

Fauld’s Motel 

Harbourfront Inn 

Holiday Inn Sarnia / Point Edward Hotel & 

Conference Centre 

Mallroad Library 

Mystic Mind Corner 

Quality Inn 

Sarnia Children’s Library 

Sarnia Library 

Sarnia Tourism 

Super 8 

Tanglz Hair Salon 

Versatile Inn 

Sombra 

Sombra Library 

Springfield 

Springfield Library 3

Teaze Me, Pleaze Me: Windsor Rockers Return With Renewed Passion 

Story and Photo By 

Dan Boshart 

Windsor’s Olde Walkerville 

Theatre is a century old landmark that 

has been restored in the last few years 

to its former glory. It seems fitting that 

iconic Windsor rock band Teaze have 

decided to stage their first concert in 

almost 40 years in this beautifully 

restored venue, and it’s also here that 

they sat with 519 to talk about it. 

What was the impetus for this 

reunion after so many years? 

Brian Danter: Japan, for me is 

the carrot; it’s still out there. The 

possibility of going back to Japan to do 

benefit concerts, that really intrigued 

me. Marco tried for years to get the 

band back together. 

Mark Bradac: I’ve been trying since 

1981 to get the band back together; 

you can quote me on that. And when 

I almost gave up hope about a year 

ago, I even tried to replace them. I put 

out some auditions and there was just 

nobody that could do it. 

Mike Kozak: A Vancouver 

businessman whose wife is Japanese 

is a big fan of Canadian bands and he 

contacted Brian and Marco and he’s 

been approaching people in Japan but 

nothing’s caught yet. 

The show is a benefit for “Kids 

Beating Cancer”, tell me about that. 

Mike Kozak: We contacted our 

longtime friend, Lori Baldassi who 

worked with Blackburn for years. She 

gave us some different options and this 

one sounded cool. It’s not one that gets 

a lot of attention and the money stays 

local. 

Brian Danter: Initially a year ago 

what struck me as a plus was doing 

shows and wherever there was an 

opportunity to benefit, like going back 

to Japan. We’ve heard since then with 

other things that the Japanese are very 

slow at getting stuff together. It’s still 

on the table, this could help motivate 

it. 

Do you have interest outside of 

Canada for this reunion? 

Mike Kozak: I started getting 

messages years ago, in the 90’s. I 

was getting messages from people 

in Britain. Then I put the Facebook 

page up to have a presence for people 

that remember the band and I started 

getting comments from people in 

Spain, Italy, Sweden, Yugoslavia. 

Mark Bradac: We didn’t get to 

play a lot of these places and we had 

a couple of record deals in England. 

I’m sure we have a cult following and 

we could play small theatres and that’s 

kinda how I approached these guys 

about a reunion. “One Night Stands” 

was remastered and re-released in 

England about seven years ago and 

it hit the retro charts so someone is 

listening to us there. 

Would you work with Myles 

Goodwin of April Wine again? 

Mike Kozak: He drops me a line 

every so often. 

Mark Bradac : We asked to work 

together, we’re hoping to work together 

especially in a place like Montreal. We 

would like to work with April Wine, 

we think that would be a great package. 

We think that would be a good match 

for us, especially out east where we 

both had a good presence. 

Did moving to Montreal change 

the dynamics of the band? 

Mark Bradac: I think the opposite; 

I think we changed the dynamic of 

Montreal in a little small way. 

Mike Kozak: I think we learned 

a lot. We were working with Myles 

then and he was a great help as far as 

cleaning up the song writing and stuff 

like that. We kept our thing but we let 

it go on the last album. We threw the 

keys to the wrong producer and kinda 

changed things and that wasn’t a good 

idea. 

Brian, did your vocal issues factor 

in the end of the band? 

Brian Danter: One of the last tours 

we had gone around 30 days of not 

every night, but a very heavy schedule. 

Towards the end I thought I had a 

throat infection and the night before 

the big gig in Halifax I was spitting 

blood, I was straining. I pushed it the 

night before and I had no throat left 

and I was concerned about damage. 

Mark Bradac: I think it was just 

crazy produced records that we 

couldn’t live up to and the demand on 

Brian was too much. It was part of the 

house of cards falling, the record went 

bad then he got sick and we had to 

cancel a lot of important dates where 

we were supposed to make some good 

money. 

Your musical style is popular again, 

is that a factor with the reunion? 

Brian Danter: That’s what my 

older kids tell me. They say dad, in 

a different way, the 80’s style music 

is in. A lot of them now are tired of 

the synthesized and programmed 

music, because everybody’s into it, so 

this is what makes Teaze ripe for this 

reunion. 

Any thoughts of writing new music? 

Brian Danter: I love writing 

Mark Bradac: Yeah, of course, I 

think it’s a little early, we have to see 

what kind of a reception we get. If we 

go out and it’s pretty successful and 

we end up touring then of course that 

would be the next step. Why not? 

What can people expect at the show 

April 6? 

Mark Bradac: We’ve been 

practicing really hard for nine months 

now and these guys are at the top of 

their game, they’re second to none. 

Brian Danter : We have three female 

vocalists who add a lot to some of the 

songs and we’re going to be playing 

a great selection of our music, I think 

people are really going to like it. 

The Teaze legaacy continues nearly 

40 years later in the city where it began 

all those years ago. Their journey 

brought them around the world and 

back in a whirlwind of emotion. They 

reunite for one night at Walkerville 

Theatre in Windsor on April 6. The 

show is SOLD OUT.

Enuff Z’Nuff Still Carrying The Rock Torch After 30 Years 

By Dan and April Savoie 

Hard rock connoisseurs have fond 

memories of American glam band 

Enuff Z’Nuff. Founded by singer 

Donnie Vie and bassist Chip Z’Nuff, 

this Chicago area unit tore up the late 

90s with their psychedelic-flavored 

singles “Fly High Michelle” and “New 

Thing”, both which surfaced from the 

band’s debut album in 1989. 

Now here we are 30 years later and 

the band is still on the road and still 

recording. Their latest and 14th album 

Diamond Boy was released last year. 

It’s the first recording without Donnie 

on lead vocals, who left the band in 

2013 and was never replaced. Chip 

now carries the torch on his own. 

Enuff Z’Nuff head to Westland’s 

Token Lounge on Friday, April 12 

for an all out psychedelic rock attack. 

Chip checked in with 519 and not only 

looked back at that first album, but also 

looked ahead to a band without Donnie 

at the helm. 

“On that first album, we certainly 

weren’t trying to pillage off of anybody, 

but you are what you eat,” Chip told us. 

“Our parents turned us onto bands like 

The Beatles, Pink Floyd, Sweet, Led 

Zeppelin and Queen - all the different 

bands from that era. It was over the top 

and that’s what tripped our trigger. So 

we made the record and we just wrote 

the stuff that we enjoyed playing and 

we weren’t thinking of trying to sound 

or emulate anybody. We’re just trying 

to make a great record and those were 

the bands that we were competing 

against. We did record those songs in 

the bedroom and in the bathroom at 

the house, but when it came to making 

the record, we were in a fully fledged 

studio with a great vibe. There was 

no pressure on us. It was just the four 

guys in the band and the engineers. 

We didn’t have Pro Tools where bands 

could go in and fix everything. It was 

real performances where we worked 

on our craft and were serious about 

laying down some good tracks.” 

In an interesting twist, the new 

album Diamond Boy was recorded 

exactly the same way, directly to tape 

without Pro Tools. It was also the 

first time Chip headed into the studio 

to make an album as the band’s lead 

singer. 

“I never wanted this job after 

Donnie left in 2013,” Chip explained. 

“My guitar player Johnny Monaco 

took over singing for a couple years 

and then one day I couldn’t get a 

hold of them – I couldn’t find him 

anywhere. You can’t be in a band with 

me, if I can’t talk to you. He told me 

through a text that he needed a break 

and couldn’t do it anymore. I sat at 

the kitchen table for a day and then my 

wife says ‘Why don’t you do it?’ She’s 

a singer too. So I decided to listen to 

my better half. The next day I got on 

the phone and started calling people 

that she’s recommended. Low and 

behold everybody loved the legacy of 

Enuff Z’Nuff and we formed a touring 

band. It was quite a challenge - I’d 

have seven or eight sets of lyrics on 

stage - and I wasn’t sure. I just had 

to build my confidence up, but after 

about a month of shows, I started 

hearing great reviews. Then when 

we played on the KISS Kruise, Paul 

Stanley and Doc McGhee came to me 

after the show and told me the band 

sounded terrific and that I should have 

been doing this 10 years ago. Bang. I 

was right back in the game. 

Chip wants to continue the Enuff 

Z’Nuff legacy and shows no signs of 

slowing down, even at the age of 50. 

“I don’t want to give up right 

now,” he said. “I still have stuff to 

say and I think most of the fans out 

there will be happy that there are two 

original members of Enuff Z’Nuff 

still touring out there. Most bands out 

there are either a tribute band or there 

is maybe one guy left, so let’s count 

our blessings because when all these 

bands are gone - when the Aerosmith’s 

and the Cheap Trick’s and all these 

cats are gone - who’s going to lead? 

Who’s going to keep going and 

peddling this bicycle? There are not 

many cats out there anymore, so 

support your favorite bands, because 

the run doesn’t last forever.” 

Catch Chip and Enuff Z’Nuff in 

action in Westland on April 12. 

Lisa Brokop Bringing Legendary Ladies of Country to the 519 

By April Savoie 

Country music is known for its 

legendary ladies. Icons like Loretta 

Lynn, Tammy Wynette, Tanya Tucker 

and Emmylou Harris. Icons that 

Canadian country singer Lisa Brokop 

is looking forward to recreating in her 

new Legendary Ladies of Country tour, 

which stops in Highgate, Ontario on 

April 6. 

Having already toured with a 

critically acclaimed Patsy Cline 

tribute, Brokop is excited to bring 

these legendary ladies to life on stages 

across Ontario this month. 

She called in to give 519 the details 

of the new show. 

The Legendary Ladies of Country 

sounds like a great show. Can you 

tell me about it? 

I’ve been doing the show for about 

year and it’s a follow-up to my first 

show The Patsy Cline Project, which 

was a show of Patsy’s classics and 

this one will be kind of along the 

same theme, but will also include a 

few legendary ladies of country, like 

Patsy, Tammy Wynette, Loretta Lynn, 

Emmylou Harris and all of those great 

ladies. I’m focusing on the ones that 

were my favorites. 

How did you go about selecting 

which ladies you’re going to 

perform? 

Well, that was not easy actually. It 

was a harder process than I originally 

thought. I always forget just how many 

great songs there are and I just can’t do 

a six-hour show, so I wrote down all 

my favorites without thinking about 

it – I just made a big long list. And of 

course, I had way too many songs. I 

just narrowed it down from there and 

some of the artists were specific ones 

that I remember listening to when I was 

younger - before I was even a teenager 

- great singers like Barbara Mandrell. 

Then there were certain songs that I 

have stories to go with and other ones 

that I just really love to sing. 

I finally narrowed it down; trying to 

include songs that I think other people 

would want to hear as well. There are 

a couple of Patsy’s in there as well, 

because she’s obviously one of the 

legendary ladies. 

Was it the song or the lady that 

you chose first? 

I did actually start by writing down 

the ladies names, because I thought 

that’ll be a shorter list with just the 

ladies and then kind of go in and go 

through the songs of each one and go 

from there. With Tammy Wynette, 

I have to do a couple of her songs, 

because there’s just too many to choose 

from. After a while I realized I’m not 

going to get all my favourites in and 

just let it go. 

Is there a personal favourite lady? 

I think Patsy Cline and maybe Dottie 

West. I really have fond memories of 

listening to Dottie. I used to have this 

little cassette player and my cassettes. 

I loved the rich tone in Dottie’s voice. 

She had this lower range and I kind of 

have that in my voice, so that could be 

why I was drawn to it. She sang a lot of 

duets with Kenny Rogers, who I also 

really loved. It’s a connection with the 

memories of going back to that time 

when I was just first getting into music, 

learning how to play guitar and trying 

to find myself in music. These ladies 

were so influential in that. 

You’re bringing the Ladies tour 

to Highgate, Ontario. That’s not a 

normal concert stop. 

I actually enjoy those kinds of stops. 

I love the small towns. I don’t know 

exactly how big it is, but I’m guessing 

it’s a small town. I find those are some 

of the best concerts because not a lot 

of music comes through and people are 

very excited. They are very attentive. I 

am actually pretty excited about that. 

I just love that community feel as it’s 

pretty neat. 

5

KANSAS 

With a legendary career spanning more than four 

decades, Kansas has firmly established itself as 

one of America’s iconic classic rock bands. 

A Lifetime of Classic Rock 

with Richard Williams 


The band is currently comprised of original 

drummer Phil Ehart, keyboardist bassist/vocalist 

Billy Greer, keyboardist Tom Brislin, vocalist/ 

keyboardist Ronnie Platt, violinist/guitarist David 

Ragsdale, guitarist Zak Rizvi and original guitarist 

Richard Williams. 

Ahead of their Caesars Windsor show on May 5, 

Richard checked in with 519 from the road, in of 

all places, Salina, Kansas. This stop in his original 

home state brought out the memories, including 

the recording of the band’s debut album 45 years 

ago. 

Mark Schierholz


You’re actually in Kansas today. Are 

those Kansas namesake shows a little 

more wild and special than other shows? 

I don’t know if it’s wilder, that’s yet to 

be seen. These are my people and coming 

back here to play is always something 

special for all the obvious reasons. Playing 

in this state is like a homecoming for me, 

I’ve been based out of Atlanta, Georgia for 

most of the time since the later 70s, but I 

still have friends here and I still come back 

whenever I can. My North Star is always 

here and my compass always leads me 

back here no matter where I live. Kansas 

will always be home. 

It’s a really interesting time for you 

guys. There always seems to be an 

anniversary to look back on now. So this 

year’s your 45th for the first album, it’s 

the 40th for Monolith and you’re touring 

the 40th of Point Of Know Return. So, 

you know, you’ve had a great career 

when milestones like that keep coming. 

That’s the truth. These last five years 

have been with another building process 

for us. It’s been going better than the last 

20 or 30 years. It’s been a lot of fun to 

be in this band playing a lot of material 

we haven’t played in a very long time. 

The Leftoverture 40th anniversary tour 

went so much better than anticipated. We 

planned on doing 15 shows, but we did 

over 80 for that particular show. That why 

we’re doing the Point Of Know Return 

40th anniversary show. It started last year 

but is going through this year and it’s also 

going into next year. It’s just been booked 

a lot, but that’s not the only thing - we’re 

also doing just regular 90 minute shows 

too, which is what we’ll be doing up there. 

So it’s a really good time to be in Kansas 

with a lot going on. We’re working on new 

album to be released next year. We’re going 

to be recorded that throughout the summer 

this year. 

It’s almost been 40 years since you 

guys sold out to Madison Square Garden 

- that must have been a thrill. 

Well you would think, but we were on 

a progression. We’re opening for certain 

bands and then we finally broke the door 

down for our first album. The shows were 

gradually getting better and finally we 

were at the Garden. Our manager at the 

time, Budd Carr, was in the limousine on 

the way to the show and he was just beside 

himself. “I can’t believe Madison Square 

Garden sold-out, this is incredible”, we 

were like “whatever, anybody want to go 

do something to eat when we’re done.” 

We were a bit naive when we were 

young. We were just so caught up in it that 

we didn’t really realize the milestones that 

we were crossing at the time - to look back 

on this, yeah, that’s really amazing. But 

we were a bit to green and immature to 

appreciate it at the time. Now, with 45 years 

on the road with this band, I can appreciate 

that moment very easily, but back then 

we were green didn’t know who we were 

really as individuals. 

What do you remember recording 

that first album 45 years ago? 

Not so much in the recording of it. In the 

studio it was always rush, rush, rush. We 

didn’t have a lot of time to record it, mix 

it and be done with it because everything 

was pushed along. We didn’t even use 

our own equipment. Oh, no, you never 

use those kind of amps in the studio they 

told us. We didn’t know, so we kind of 

got pushed around a bit by the engineers 

and production team. But still it was all 

very exciting. We learned a lot after that. 

As for the recording process, at that time 

we’ve never done that before, so we just 

didn’t know, but the atmosphere around the 

studio was some of the most memorable, 

because of all the other people that were. 

John Lennon had just been in the studio; 

B.J. Thomas was in one of the studios 

while we’re working there. There was a 

common area where you sit around where 

everybody would hang out. Rick Derringer 

was in there, he was producing a Johnny 

Winter album, and we talked with him and 

some of the guys from his band. The Alice 

Cooper guys were hanging around there 

and so you had this organic roundtable of 

these guys telling their experiences and we 

were brand new to all of this, so it was a 

great education 

I remember that part of it a lot and I 

remember “the walk” from the studio back 

to our hotel. This is in New York City and 

that terrible time on 42nd Street where it 

was all drugs, hookers, and x-rated movie 

theaters. It was a terrible area at that 

time and we had to walk from the studio 

through that. Coming from Topeka, 

Kansas, to that, was two different worlds. 

But you’re young and invincible. 

Do you think there are similarities 

to who you are now compared to the 

young guy when you were recording 

that first big album? 

There are some similarities sure. I 

remember why I started doing this and 

that feeling is all still there. That feeling 

of wanting to be in a band and wanting 

to be with bunch of guys that want create 

things will always be there. I still love to 

go out on the road and perform. 

Long before I even had an instrument, 

I came to the understanding that I wanted 

to do something just like this. It was very 

natural for me to do. This is just what 

Mark Schierholz 

I was made for - to be in a band with 

friends and make music. 

The wide-eyed wonder of it all is not 

there anymore after you’ve seen what’s 

behind the curtain enough times. You 

can’t look at the stage with the same 

wonder. I mean the first time you went to 

the circus as a little boy was something, 

but once you’ve been travelling with the 

circus for 30 years and working backstage 

shoveling elephant shit all day, you have 

a different perspective. 

For me, I can’t ever be a civilian again; 

this is the only life I know. I enlisted into 

this life a long time ago and to go to a 

party with a bunch of people is so strange 

to me, because conversations are different 

and I don’t like talking about me. I guess 

it’s fascinating for them because life can 

become humdrum, but it’s not for me. 

I know people want to know 

everything, but I get tired of talking 

about it. That’s why other musicians 

really connect with each other because 

we all have the same story, it’s the same 

but different. It’s like with alcoholics 

anonymous you can go in there and 

everyone has the same story with a 

different twist and you get to have a 

good laugh about it. Being a musician in 

a band is very similar. 

So they say that the first album is 

the lifetime to you have a lifetime to 

make that first album. Did it really 

feel like that? 

I don’t really think so. Topeka Kansas 

was not a big town, but everybody I 

knew played an instrument because 

of the British Invasion. When that 

happened, there suddenly was a garage 

band on every block and everybody 

wanted to be in a band, so that was kind 

of normal. I’ve played in other bands 

with Dave Hope, the original bass player 

for Kansas. The first band I was ever 

in was with Phil Ehart, who is still our 

drummer today. So for six months you 

would be in this band and then some 

EMily Butler Photography 

of the same people would be in it and 

you would get some new guys and then 

some of these new guys would get with 

others. It was a constant evolution of 

people going in and out of different but 

similar bands. But as we got a little bit 

older, there’s kind of a weaning process 

where some people they were pretty 

good at what they did, but they really 

didn’t want to travel, so they liked that 

Holiday Inn gig on the weekends - that 

wasn’t for us. 

By the time this bunch of guys got 

together, some of us had played in bands 

together, but the writing of that first 

album really occurred in a brief period 

before we record it. It wasn’t like we’d 

written for 20 years and finally got an 

offer. Before Kerry Livgren was in the 

band we had recorded six songs on a 

tape and sent it to differential record 

companies. One of them landed on Don 

Kirshner’s desk, and he only heard one 

side of it - he never knew there was 

two sides to those reel to reel tapes, 

so because of that one song we wound 

up with the record deal. Then Kerry 

Livgren joined and we had a lot more 

material. Most of the stuff was pretty 

fresh, but you’re on the road touring, 

then they want another record and then 

another and it became quite the grind of 

touring, writing and recording. Every 

year something new would come out. 

And it’s great to see you guys 

putting out new material because 

there’s a lot of bands and artists 

from the 70s that are doing a 

farewell tour now. 

We’re not finsihed yet and you 

know how farewell tours go; just ask 

the Eagles. How many farewell tours 

have The Who had? It started back in 

the 80’s. I don’t put a lot of stock in 

farewell tours. It seems like a ploy to 

just raise the ticket prices. Give it about 

three years and if they don’t reappear, 

it might have been the farewell tour.

With 

over 50 

million 

albums 

s o l d , 

Stone 

Temple 

Pilots 

roared 

on to the scene in 1992 with their 

raucous debut, Core. A breakout 

success, the album peaked #3 on the 

Billboard 200 chart, and dominated 

Shannon Larkin: 

Lovin’ the New Godsmack 

Hard Rock Sound 

radio waves with 

hits like “Sex Type After about a year of silence, 

Thing,” “Wicked Jeff officially joined the band in 

Garden,” and the Story November by Dan and 2017 April Savoie and played his 

Grammy-Award first concert with the band at the 

winning, “Plush.” infamous Troudabour in Los Angeles. 

STP founding During the year prior to his debut, Jeff 

members Dean was spending time getting to know 

DeLeo, Robert his new role in the band and to write 

DeLeo, Eric Kretz, along with new 

lead vocalist, Detroit singer Jeff Gutt, 

released their seventh studio album, 

Stone Temple Pilots this year. 

and record songs for the new album. 

Jeff is no stranger to the 519, having 

spent some time on the other side of 

Detroit in Windsor and around the 

Photo byJohn Liviero 

88

Metal band Godsmack hit the road 

across Canada and the US this month 

with a stop in the 519 at London’s 

Budweiser Gardens on May 9. The 

tour, with Danish band Volbeat, starts 

in BC and makes its way across the 

country to Quebec. 

Godsmack is running high with 

its latest album When Legends Rise, 

hitting the Top 10 on the Billboard 

charts in Canada. It’s a departure for the 

band, sounding more like a hard rock 

album than a metal release - in much 

the same way the self-titled Metallica 

black album was for that band. 

Fans are loving the new sound and 

drummer Shannon Larkin couldn;t be 

happier. We spooke with him on the 

phone while on tour in Germany. 

Later this year you’re doing a 

few gigs in Russia and the Czech 

Republic. Touring places like 

Russia still isn’t quite everyday 

commonplace, but it seems like it’s 

getting easier than it used to be. 

Have you ever played a show when 

you felt uncomfortable? 

I’ve done shows where I had cracked 

ribs and that felt really uncomfortable, 

but as far as crowds go, no. I’ve never 

done any show with any band where I 

felt uncomfortable with the crowd. 

There were a couple times in my 

early years when my metal band was 

opening for a punk band, so the crowd 

booed us off the stage, but those are 

trials and tribulations that one must 

go through when you’re a lifelong 

musician. 

As far as Godsmack, I’ve never felt 

uncomfortable, except for one time in 

LA. The radio station there had said 

that we would play our new single 

if we close the show at this Festival 

in the city and that meant going on 

after the Foo Fighters. If you know 

anything about the LA concerts, that’s 

called the clean-up act, so basically the 

Foo Fighters are headlining, but they 

needed a clean-up act to go on after 

that. Of course we said “Hell No”, 

because everyone knows there are 

certain bands that you can’t go on after, 

like the Red Hot Chili Peppers, the Foo 

Fighters and Metallica. So we said no, 

but management and all the powers 

that be forced it. So we go on and it 

was fucking uncomfortable having to 

play for all the Foo Fighters fans in 

LA. They were walking out as we were 

still playing. That’s the only show that 

I’ve ever felt uncomfortable at in the 

Godsmack world. 

You’re going to be back in North 

America in April with a pretty goodsized 

tour in Canada. Do you have 

any fun memories of Canada from 

previous tours? 

I do. I feel that every time we 

go to Canada it’s always been 

special because the crowds up there, 

particularly in the places that aren’t the 

major cities, are awesome. They don’t 

get many American bands that come 

and play for them, so all my memories 

are of the crowds and just feeling this 

amazing energy coming from them, 

like a freshness that’s not jaded. 

When you play in the major cities 

in America, even though they’re great 

shows, you come through it’s not 

really anything that super special, but 

in Canada, man, every show just feels 

super special and the people seem 

super appreciative of us. As musicians 

and fans of music, that feels so good. 

We’re experiencing that here in Europe 

in the smaller towns we played like 

Malmö, Sweden. 

You’ve been in Godsmack for 16 

years. Does it feel like it’s been that 

long? 

No it doesn’t. I think the reason for 

that is because we put records out four 

years apart. I joined in late 2002 and 

then the record “Faceless” came out the 

next year. If you look at it, every single 

record has been a four-year space in 

between. Three of those four years 

are writing, recording and touring our 

asses off. And hat time just flies. So 

that breather time, which is that one 

year of the four, we’re able to take that 

and slows things right down a little bit. 

Do you like the slower times where 

you can relax a little bit? 

I do, but I don’t particularly relax 

because Tony and I have a blues band 

together. I tell all my musician friends 

and people that care to ask about 

that. I’ve always had side projects 

and in every band, I’ve always had a 

side project in which I can play with 

different musicians, in different genres 

explore and experiment. When I do 

come back to the big drum set and rock 

hard, I appreciate the genre that I am in 

much more. 

I know you’ve been playing since 

the late seventies when you were just 

a wee little guy. And I bet that little 

guy had a few dreams that’s you 

have met over the years. 

Oh my God, I’m that dude. I 

started playing clubs when I was 13 

and I always had the dream. I’m not 

bullshitting here, but I have never 

worked a regular job. My work has 

always been playing drums. From 

the time I started playing in clubs at 

13, I just never looked back and have 

been paid for it along the way. The 

week I turned 18, I moved out from 

my parents and I was paying my own 

way. From then on my musical dreams 

have gone far and beyond. I got the 

play with Black Sabbath this one time 

when Michael Bordin couldn’t do the 

gig. I got the call and somehow I’m 

walking on stage with Tony Iommi, 

Ozzy Osbourne and Geezer Butler and 

that was something that even that little 

version of me never dreamed of. 

Godsmack took a twist with the 

music on When Legends Rise. That 

new hard rock sound is a big change. 

Why change at this point? 

We all crossed that threshold of 

being 50. Sully was the last one to turn 

50 years old. He had originally come in 

with the idea eight years ago because 

all of his favorite bands worked with 

outside writers and they never made 

the same record over and over and over 

again. Our records come four years 

apart and we don’t want to continue 

making the same sounding records 

forever, so for eight years he’d thrown 

the idea at us and it just never came 

to be. However, once every one of us 

turned 50, he really felt that a change 

of maturity needed to happen. He came 

to us and said he wanted to work with 

some different writers for the first time 

and we’re all for it. So he came back 

and played us the first song which 

was Bulletproof that he wrote with 

Eric Ron, who was also producing our 

record. We heard it and it still sounds 

like Godsmack, we feel that it still has 

our sound, but was more mature. 

It’s less aggressive and the production 

is a complete 180. We’ve always been 

old school, trying to record just the 

four of us on analog. We embraced 

this new production using outside 

sounds and outside writers. We’re not 

faking it on this record. We’re not 

young and angry and pumped full of 

piss and vinegar like we were 16 years 

ago when I joined, so it’s a reflection 

of that. Sully writes mainly about his 

personal life. If you look at his lyrics, 

it’s the story of his life on every record 

- from the first one all the way up to the 

new one. It’s always been his band and 

the lyrics have always been about him 

and I feel that that’s why the band is so 

successful. We’re really happy at this 

point and we all have children. While 

we’re not these super rich rocks stars, 

at least we don’t have to worry about 

a mortgage or car payments. The last 

thing I want to do is stand on the stage 

at 50 years old and pretend I’m 30 and 

still angry and pissed off at the world. 

I’m not. People can say what they want 

about how we changed the sound of the 

band, but we’re trying to be real with 

ourselves. 

Canadian fans really embraced 

the new album - you rose to the top 

10 here. 

Hell yeah man, we hit another 

milestone. I mean we had two number 

ones in a row, both Bulletproof and 

When Legends Rise went number 

one not only on active radio, but at 

mainstream, which we’ve never done 

before. That proves, at least to the four 

of us, that it works and there are people 

out there that that can see through the 

bullshit and can tell what it’s worth. 

This is not a sell-out for some money - 

we have the money. We sold 20 million 

records; we don’t need to sell-out for 

money or something stupid like that. 

I can speak for me as a drummer. 

It’s a physical gig and one of the things 

that I fell in love with about playing the 

blues was that it doesn’t kill my body 

like Godsmack does. And so when we 

got this new set of music, I noticed that 

it doesn’t beat my muscles and bones 

up as much but yet I can still express 

myself and feel real about it. 

Bulletproof and When Legends 

Rise are real rock anthems. Do you 

find that songs like that make the 

audience a little more like a giant fist 

pounding rock crowd than a mosh 

pit thrasher show? 

Anybody who has been in a pit or 

that is a little older like me that went 

through the era of thrash metal and 

jumped into a pit knows that you can’t 

really watch the band when you’re 

in that pit. You have to keep your 

head up and watch your back when 

you’re thrashing around. It’s a way of 

releasing aggression and it’s very busy 

and I got many bloody noses coming 

out of the pit. So you keep your head 

up and you watch your back. The 

attention is on your ears. The band 

is making the aggression and you’re 

letting it out with the fans. When I’m 

looking out there and I’m seeing a big 

mosh pit I know all those people are 

getting off and they’re there for that 

reason - to release that energy - but 

they’re not really watching the band 

or listening to what we’re playing. 

They’re not hanging on every word 

of the singer or feeling every note that 

the guitar player is putting out. They’re 

there for a different reason. 

Now when we play big shows and 

the mosh pit doesn’t break out, I can 

see that everybody’s got their fists in 

the air and I look out and all the eyes 

are on us. It feels more like we are one 

with the crowd. I love the black metal, 

death metal and thrash metal. I was in 

that era when it was off being invented, 

I love it so much. But now, I also find 

myself listening to a lot of classic rock 

and blues for enjoyment. My personal 

tastes have changed, but I can still 

go back and throw on Slayer “Hell 

Awaits” and it takes me right back to 

that time, but I just can’t take as much 

of it now. I’ll listen to three or four of 

my favorite songs and then I’m back to 

listening to Oasis. 

Does it still feel like Godsmack? 

I know you guys were ready for 

this change when Sully presented it 

to you. But when you went into the 

recording session for When Legends 

Rise is still feel like Godsmack? 

What helped was that we did it at 

our own recording studio. We made 

the last three records there, so even 

though it was a brand new producer, 

brand new songs, a whole new fresher 

sound and a different way of recording, 

we felt at home. Everybody was super 

comfortable and there was no red light 

fever or fear in there. It still felt like a 

Godsmack recording and Eric Ron fit 

right in with us personality-wise. He’s 

such a cool guy and a great producer. 

What else is ahead for you guys 

this year? 

That’s an easy answer - touring, 

touring, touring. When we fly home 

from this five week European run, 

we’ll have two days at our houses and 

then we fly over to start the next leg. 

It’s like that until later in 2020.

The LaSalle Boy Who Grew Up to Become The President of eOne Music 


We’ve interviewed several international 

superstars and famous musicians from every 

corner of the world, but none of them was as 

fascinating as our conversation with Chris 

Taylor, the LaSalle boy who grew up to 

became the Global President of the world’s 

leading independent record label and music 

distributor - eOne Music. 

From his humble beginnings at Sandwich 

Secondary School to his time at the University 

of Windsor, Talyor always felt his future was 

going to be one of music advocay, 

Throughout the 90s, Taylor fronted the 

rock/reggae group One, which was signed to 

Virgin Records and toured North America for 

five years. 

But that wasn’t enough. Taylor founded 

Last Gang, an idie music label, publishing 

and management company that propelled 

artists such as Metric, 1979 and Arkells to 

international succecss. And at the same time 

founded the law firm Taylor Mitsopulos Klein 

Oballa, which represented artists like Drake, 

Avril Lavigne, Billy Talent, Three Days Grace 

and Gordon Lightfoot. 

In 2016 Last Gang merged into eOne and he 

became the Global President of eOne Music. 

We sat down with him to chat about 

Windsor, entertainment law and of course, his 

“tingle” for music. 

How do you think Windsor and Detroit 

shaped you personally and musically? 

Living in Windsor is almost like living in a 

suburb of Detroit. So you really are inundated 

with US media, newspapers, radio and 

television. Culturally you end up listening to 

a lot less Canadian music then you might if 

you lived in Toronto, Montreal, Chilliwack 

or something like that. Windsor is a border 

town in every sense of the word. I can get to 

the heart of downtown Detroit in about 15 

minutes from my parents house, growing up. 

I think I made it in about 11 minutes one time. 

You’re a lawyer by trade. When did you 

realize that’s what you wanted to do? 

Even in high school, I can remember 

wanting to be a lawyer. I remember my 

guidance counselor recommending against 

it because I didn’t have very good marks. 

What really changed it for me was when I 

went to University and not really knowing 

what I wanted to do. Part of me thought 

maybe I’d want to be the Prime Minister of 

Canada, because most of the Prime Ministers 

were former lawyers. I was part of the NDP 

youth on campus at. I ended up taking a job 

one summer working at the General Motors 

transmission plant and it really it struck me 

at that point that I was going to need to get 

serious about school if I was ever going to 

go to law school. Following the first year of 

University, I spent a lot of time in the library. 

I really got focused on school work and 

ended up getting into law school. I think I 

realized at some point if I wanted to be Prime 

Minister, I was going to have to learn French 

and that wasn’t going to happen anytime 

soon. 

I fell in love with music and I played in 

bands all through high school, University and 

even through law school. We ended up putting 

a band together that had a number of Windsor 

guys in the group: Rob DeMarco and Tim 

Lane for example. We started playing shows 

up and down the 401, so we played Windsor, 

London, Toronto and by the time law school 

finished we had a pretty sizable following. 

Instead of practicing, we actually went on the 

road for pretty much five years straight 

with that band from 90 to 

95 touring 

all over 

N o r t h 

America, 

making records and videos and everything 

else. 

Do you ever get the desire to get back on 

stage? 

Not really. I’m a bit of a perfectionist. So 

if I was to do that, I want to rehearse for a 

month and I don’t have the time for that at 

this point. Really my job at eOne is a 24/7 gig 

and I’m very dedicated to that. I am passionate 

about helping the artists that we represent as 

opposed to building my own musical career. I 

gave it a really good run and we did it full time 

for five years, but its part of my past. I might 

get up for karaoke every once in awhile, but 

there’s no desire to put the band back together. 

You’ve worked with some pretty big 

names on the legal side, Does it get more 

complicated the bigger they get? 

Somewhat. There is more to do. Someone 

like Drake is getting multiple phone calls 

and multiple offers every day that you have 

to weed through and explain to him and his 

management, but those are good problems to 

have. The phone is always ringing. One part 

of my job that is somewhat unique and pretty 

proactive is about helping people actually find 

record deals. So if you are an artist and you 

had amazing demo recordings I would work 

with that. Nelly Furtado came to me with four 

songs. I was friends with her manager, but she 

didn’t have a record label and she didn’t have 

a publishing deal. She didn’t have that sort 

of infrastructure around her. A regular part of 

my routine was going to New York and Los 

Angeles and shopping for record deals. So 

that was a whole other part of it. And once 

you’re able to set that up, then 

that it does get busy and it does 

get complicated, but that’s 

really the fun part. 

In the music world, do you 

think you’ve contributed 

to bettering the music 

industry in some way? 

That’s a good question. 

I do think so. I think I did 

play a small part in helping 

to introduce Canadian 

artists to the world. 

Historically, I think a lot 

of great talent in Canada 

has gotten shipwrecked 

particularly before the rise of the digital 

world, the internet and everything else. 

If you were an artist in Lethbridge, Alberta 

and you wanted someone in Australia to hear 

your music, you really did need a record 

company to help you bridge that gap and 

that was a big part of my job - taking really 

promising artists from Canada, mainly to the 

US market, and trying to get US recording 

companies interested in investing in their 

careers. We did that with Three Days Grace, 

Sum 41, Nelly Furtado, Drake and a whole 

bunch over the years. 

Now it’s a different dynamic. Someone 

like Shawn Mendes or Justin Bieber might 

be doing YouTube videos and someone’s 

discovering them in the US and contacting 

them directly. So lawyers aren’t as much of 

a catalyst as they once were. Kids are now 

recording in their bedrooms and putting songs 

up on SoundCloud, and the second they start 

to get a positive reaction, it’s almost like the 

whole world knows about them overnight. I 

think I played a small part in some of those 

artists careers that I mentioned, helping 

introduce them to global audiences. 

You started Last Gang, which saw careers 

of Metric and the Arkells and others rise to 

fame. That’s a big transition from law to 

record label, publishing and management. 

There are some different skills involved for 

sure, but there was some crossover as well. It 

really stems from my desire and my passion 

for artist advocacy. I want to help artists 

achieve their dreams and doing that as an 

attorney was one way to do that. The impetus 

for the label and everything we’ve done there 

was to help Metric, that was another group 

that I was shopping. I shopped them to dozens 

of record labels and couldn’t find anyone to 

help us and after about four or five years of 

trying to get Metric to second base, I decided 

to start the record label myself. 

I was going to spend some of my own 

money that I’m making on the law firm side 

and start a little record label to try and help 

this band and that went fairly well and that led 

to other signings. There really wasn’t a master 

plan, it was almost like a hobby that kind of 

got out of control a little bit. Before we knew 

it, we had 10 staff and distribution all over the 

world. It became its own business onto itself. 

You have an eye for talent. Not many 

have that ability to see the bigger picture. 

So what are some of the things that you 

look for when you are scouting? 

You know what; it’s changed over the 

years. You used to sit in your office with a 

150 CDs and listen to them and all the songs. 

I’ll listen for melody and lyrics and a point 

of view that is distinctive and special. My 

old business partner Donald Carlton used 

to call it “the tingle” and it really is. It’s 

almost instinctive. If I really love something 

and respond to something, chances are the 

rest of the world is going to love it as well. 

Today, there’s a little bit more data analysis 

that kicks into it. You are able to see in real 

time what the rest of the world is tuned into 

and cares about. You try to combine that with 

an instinctive eye, in a similar way to “the 

tingle”. It’s like a combination of “the tingle” 

and the data and helping someone run the next 

three laps around the track with the resources 

in the platform that we have here. That’s it in 

a nutshell I think. 

Do the musicians need to do anything 

to grab your attention for you to get that 

tingle? 

It helps if the music comes in the door with 

a good team. So, if there’s an established 

manager that we’ve had some success with 

before that we like working with, that could 

be helpful. You’re getting up on the radar 

by sort of proving your concept a little bit 

independently. It could be a video that’s done 

well or some SoundCloud activity or even 

songs that people are releasing independently 

on Spotify. Everyone is chasing after the 

same thing and there’s a new artist exploding 

almost every single day, but you tried to be 

selectively from that list and pick the ones that 

you think are going to have some longevity 

and be great to work with.

Metric Members Still Maintain Strong Friendship 20 Years In 


Metric will be touring Canada in 

2019 with July Talk. The 12-date 

arena tour will span most of Canada 

and run through April and early 

May, with one lone stop in the 519 

at London’s Budweiser Gardens on 

April 28. 

The four-time Juno Award winners 

broke out in America when they coscored 

the Hollywood blockbuster 

Twilight Saga: Eclipse with legendary 

composer Howard Shore, for which 

the soundtrack was nominated for 

both a Grammy and an American 

Music Award. 

With the release of their chart 

topping new single Dark Saturday, 

Metric broke the record for the artist 

with both the most #1 singles and the 

most weeks spent at #1 at Canadian 

alternative radio. 

Despite being a unit for 20 years, 

the band still finds a strong kinship 

within the band and maintains an 

amazing relationship with their fans. 

Guitarist James Shaw called the 

519 office to check in before coming 

to London. 

You’re back in Canada in April 

for a good-sized tour. It’s been a 

while for an in-depth tour like this 

- visiting places like Saskatchewan 

and Manitoba. 

It’s true. You gotta’ do it every 

three years or so and certainly once an 

album cycling. There’s not really any 

other way to do. Once you get to the 

arena level you have to stay there or 

else it looks like you’re taking some 

weird dip or whatever. We just like 

being able to do what we want to do 

and not really care what the industry 

thinks and just keep it cool, keep it 

fun and keep it interesting for us. It’s 

been a while since the last time we 

did the arena thing. This will be arena 

tour number three and maybe we’ll 

do something weird and different. 

On this tour you’re heading to 

London, which is the area of we’re 

chatting about today. You were 

here with the Smashing Pumpkins 

last year. Do you have any good 

memories of London from that to 

tour? 

I have some great memories of 

London. I don’t know if they really 

came from that tour. That tour was 

long and extensive and because 

London is so close to my home in 

Toronto, I literally, I was home the 

night before I drove myself to that 

show. I walked on stage play for 45 

minutes and then got back in my car 

and drove home. So my only memory 

of London was in a giant dark 

room playing my instrument which 

basically could be swapped with 40 

other places on that tour and it would 

be hard to tell the difference. I have 

many good memories of London 

though. One of them one involves the 

guy who built our studio with us. His 

name is Tim Glasgow - he’s a sort of 

London underground legend of the 

tech world. I learned a lot talking 

with him and hanging with him. It’s 

definitely part of our past and history. 

This tour you’re playing with a 

bigger set list than you did with the 

Smashing Pumpkins. So you get to 

pull up some good nuggets for the 

diehard fans? 

Sure, the Pumpkins set list was 

about as small as it could possibly be. 

They decided that a three hour plus 

set was going to be the best thing 

for their life. That gave us virtually 

nothing and no time. But, it’s really 

nice for us to do this kind of tour 

where we can pull out whatever song 

feels right. We have lots of time, 

space and stage and we can bring a 

whole package with us. It’s a very 

different thing and we’re always 

honoured to tour with a band of their 

stature, but at the same time it’s much 

more artistically friendly for us to be 

able to do our thing - play whatever 

songs we want, the length that we 

want. For a Metric fan, it’s probably 

a much more rewarding experience. 

It’s definitely more rewarding for me. 

Are you guys still friends after 

all this time? 

Oh, yeah, absolutely. The four 

of us hang out constantly when on 

tour. We go for dinner together every 

night that we can. It’s almost like 

impenetrable. It’s kind of a wonder 

of nature, I think. I don’t think any of 

us thought it would last this amount 

of time, let alone the four of us being 

so close. Having seen so many bands 

become dysfunctional and not be able 

to really do it anymore because of 

personal stuff or still be able to do it 

despite the fact that there’s not a lot 

of personal relationship happening 

anymore. For the four of us it’s really 

the opposite - the personal stuff just 

keeps growing stronger than ever. 

It’s quite fascinating to us as well as 

anybody else. 

You can sense that vibe of 

closeness because you give the song 

writing credits to the band rather 

than the individual. Once Queen 

did that they became a closer unit. 

That unity doesn’t happen too often 

with bands. 

It just always felt like the four of us 

are here and roles are indefinable a lot 

of the time. Sometimes one person has 

the steering wheel, while one is fixing 

the carburetor and another is making 

a sandwich. It doesn’t really matter 

who’s doing what, it’s just that we’re all 

taking part of it and we’re all playing 

the roles that have sort of has been so 

slowly defined overtime. We are very 

interchangeable and also malleable. 

It’s funny, we’re on tour with July 

Talk and they’re on quite an amazing 

journey, but they haven’t been 

around anywhere near as long as we 

have. We’ve had a lot of parking lot 

conversations about this and that and 

one of the things that I really love 

about Peter and Leah is that they’re so 

inquisitive - they’re hungry to know 

whatever they possibly can. 

One of the things that we have been 

talking about is that a successful group 

happens when everyone knows what 

their role is and being aware that the 

roll often shifts and changes. It’s just 

being aware what your role is today 

and filling it perfectly without trying 

to overfill it or under fill it, but at the 

same time knowing that tomorrow 

might be different. That can really lead 

to a group that can tackle anything, be 

successful and deal with whatever it is 

in front of you. 

In this musical life, it’s like getting 

to a city and you don’t know what the 

temperature is - you don’t know if it’s 

sunny, you don’t know which way is 

north, you don’t know where to eat, you 

don’t know anything, Being malleable 

is kind of like the trick of the whole 

game and when the whole group can 

do that together, I think you’re setting 

yourself up to succeed. 

Justin Broadbent

Former Barenaked Ladies Frontman Steven Page Visiting Windsor to Chat About Mental Health 

By April Savoie 

Steven Page is best known as the 

fun comedic frontman of Canada’s 

Barenaked Ladies, but the singer, 

who’s spent the last 10 years on a 

noteable solo career, still has a lot 

more to say. 

In 2011 he revealed that he suffers 

from bipolar disorder and that he 

has gone through periods of selfmedicating 

in order to relieve the 

symptoms. 

Since leaving Barenaked Ladies in 

2009, he has been able to focus more 

on managing and treating his illness 

and has cited his sons as being his 

source of strength for keeping 

healthy and continuing treatment. 

His latest album Discipline: Heal 

Thyself, Pt. II was released last 

year with the lead off single White 

Noise and he’s been speaking openly 

about mental health at speaking 

engagements. 

He’ll be speaking, and performing, 

at The Canadian Mental Health 

Association Windsor-Essex County 

Breakfast of Champions on May 7. 

He spoke with 519 about mental 

health and how music has helped 

him through his journey. 

Does speaking about your own 

issues help you in some way? 

I guess it does in some ways. I 

usually go into some of these events 

thinking ‘who am I to be talking to 

people about my story, what does it 

matter and is this something that just 

I’m just doing this for my own sense 

or my own mental wellness,’ but at 

the end of the day I do these events 

and the just feed off the feeling in 

the room. It makes it all worth it. 

The fact that you can open yourself 

up and be vulnerable around people 

who are also either experiencing 

those same kinds of issues, have a 

past issue themselves or they have 

family members or co-workers and 

they just don’t know how to talk to 

them about it. Those are huge issues 

to have and open up about. 

They say that one in five people 

suffer from mental health struggles 

and that’s just the one in five who 

actually admits it. We all deal with 

it because we are surrounded by it. 

We live a normal life with people 

who are struggling, whether it’s with 

very serious problems and mental 

health struggles like schizophrenia 

or there are the very common ones 

of depression and anxiety. Every 

one of those mental health condition 

can kill. When people take their 

own lives or make horrible lifeending 

decisions when they’re 

suffering from the same depression 

and anxiety that everybody else 

sometimes suffers from, I’ve learned 

to take it seriously. I think some of 

that rubs off on other people and it 

gives other people the opportunity to 

speak out about their own struggles 

and I’m happy to be able to do that. 

That’s a gift that has been given to me 

to be able to help other people with 

that. 

When did you first discover you 

had a mental health issue? 

I guess I was in my early 20s when 

I was diagnosed first, but apart from 

taking medications on and off, I really 

didn’t take it particularly seriously 

until I was in my 30s. I think one 

of the things that made me look the 

wrong way at my depression was 

that I saw it as almost like a badge of 

honor, like I was the tortured artist. It 

was somehow, something romantic 

and if I took too much medication, I 

might lose what made me special as 

an artist. It’s all rubbish, but it took 

me a long time to come to terms with 

that and it’s time I wasted. Then I 

realized it’s not because of my mental 

health issues that I am an artist. I’m 

an artist because that was what I came 

up with to combat my mental health 

struggles. Looking back, I realize 

now that music has been the thing 

that kept me going. I seek appropriate 

treatment and take care of myself 

better now and I’m more productive 

than I ever was. 

Do you think that it was hard for 

you in the position that you’re in 

for people to believe that you had a 

mental health issue? 

I bet you’re right. I bet people 

David Bergman 

did think it was some kind of a 

curtain. You might be okay with 

showing some symptoms in front of 

other people, but sometimes those 

symptoms might make people find 

you unreliable and that is terrifying. 

Whether you’re running a business 

like the Barenaked Ladies or a 

bank, if your mental health issues 

are getting in the way or people are 

afraid that those mental health issues 

might get in the way of other people’s 

livelihoods, safety or security, then 

you’re going to want to hide it. That’s 

where stigma comes in and that’s 

what we’re in the process now trying 

to shift the perceptions about. We can 

live productive, satisfying lives and 

we are learning to get through those 

issues. They’re always fixed - people 

always expect a quick fix. People who 

aren’t suffering with mental health 

issues tell you to go get some help 

and then come back once you’re on 

your medication or whatever else and 

pick up where we left off. That’s not 

always how it goes. It really is up to 

the person who is suffering to learn 

their own boundaries and that can 

be a difficult thing for the rest of the 

world to catch up with. 

I know my husband had that 

really bad bout of depression. He 

was medicated to a point where 

I really didn’t recognize him 

anymore. Did you ever struggle 

with medication like that? 

Absolutely! That the thing really. 

Not every medication works the 

same way for every person and 

that’s exactly what happened to 

me. When I first was diagnosed, I 

went to the doctor and he gave me a 

prescription and I took it for a while 

and felt kind of numb. I didn’t feel 

like myself and eventually I stopped 

taking them, or I took them long 

enough to feel like okay now I feel 

better, and I stopped taking them 

without working with a doctor’s help. 

They either taper you off or find a 

different medication, but there are 

lots of different treatments out there. 

For some people, medication isn’t 

the answer. Sometimes medication is 

something to help you to just get out 

of bed. You can couple it with other 

practices, whether it’s therapeutic, 

talk therapies or just diet and exercise 

or whatever else works, but work 

with professionals. Also if the 

professional you’re working with - 

whether it’s your family doctor or it’s 

a psycho therapist or a psychiatrist 

- and if they’re not listening to you, 

go find somebody else. You have the 

right as a patient to find the care that 

you need, and what happens so often, 

and I could speak to this personally, 

is that you take medications that 

doesn’t work or make you feel worse 

in a certain way and It turns you off 

of taking care of yourself. What you 

end up doing is just kind of playing 

Russian roulette. 

We’ve had the same thing 

happen to us. We’re actually leery 

about seeing doctors because 

we’ve had so many negative or bad 

experiences with them not listening 

to what’s happening. 

It’s really frustrating and I think it’s 

really hard to see a psychiatrist. But 

if you’re looking to get medication, 

you need to get it from a psychiatrist 

or you can get it from your family 

doctor. Your family doctor is dealing 

with a million other conditions from 

a lot of other patients too, so they 

may not be as up-to-date or have 

antidotal evidence as someone who 

works strictly with mental health 

issues. With a psychiatrist, sometime 

you have to wait eight to 10 months 

to be able to see one and then it kind 

of feels like you’re going to audition 

for them and show them if you’re sick 

enough for their time. It shouldn’t be 

like that. 

I spoke with Brian Wilson a 

couple months back and it was 

a pretty obvious that he was still 

having a hard time with the issues 

that he has, but you guys are 

connected by that song. 

I wrote that song when I was 19 or 

20. It was not really about depression 

at the time because I hadn’t been 

diagnosed yet. I didn’t fully realize 

that the song truly is about depression. 

It was about the power of music to 

help lift you out of that. I have since 

had the opportunity several times to 

get to meet Brian and even sing with 

him, which has been a huge thrill, but 

there is a connection for sure. I have 

always felt connected to his story in 

a way. That’s really what the song is 

about. 

“Discipline: Heal Thyself, Pt. 

II” has a lot to say. Your lyrics are 

still – and will always be witty, but 

this time you have an edge to what 

you’re saying. 

I think that edge has always been 

there, but I got angry when I see 

people who are being victimized and 

that’s the thing that bothers me that 

most. That’s how you get a song like 

White Noise or I get angry at myself 

for things which has always been a 

theme in my songs, but I think that’s 

something people can relate to: your 

frustration with not living up to your 

expectations of yourself. 

I don’t feel half as angry as I used 

to when I was a younger man, that’s 

for sure. Life has been pretty good to 

me. 

Tickets to the Breakfast of 

Champions are $50 each and are 

available at windsoressex.cmha.ca.

Trauma and Empathy Collide in New Play ‘Nothing But The Truth’ 

By Michael K. Potter 

Trauma affects people in diverse ways – 

sometimes unpredictably, and at unexpected times. 

A traumatized person can seek meaning, hope, 

intimacy, acceptance and peace by doing things that 

might seem unreasonable, even crazy, to others. 

So what can happen when two traumatized 

people end up in a relationship together? And what 

if that relationship has well-known professional 

boundaries, in which one person clearly has more 

power than the other? And what can happen when 

those boundaries are crossed? 

In the explosive new play, Nothing But The Truth, 

by up-and-coming playwright Eve Lederman, we 

get to see just how this sort of situation can become 

toxic in a relationship between a therapist and her 

patient. Even though the patient, Rachel Klein 

(played by Jessie Gurniak), and the therapist, Dr. 

Marilyn Morgenstern (played by Michele Legere), 

are sincere people who act with good intentions 

(from their points of view), and even though they 

develop a close relationship, they end up locked in 

a legal battle that plays out three years later. What 

went wrong? Why? 

As in Diana Son’s Stop Kiss, Lederman’s play 

moves back and forth between two different points 

of time, as we learn the causes and consequences of 

the incident. In the therapy sessions, we see Rachel 

begin to open up to this new therapist, learn to trust 

her, even come to see her as a substitute mother. In 

the deposition room three years later, we discover 

that each of them is confused and frustrated about 

how things fell apart. 

We also get to experience the perspectives of 

other characters in their orbit. Marilyn’s lawyer, 

Stan Goldman (played by Paul Salmon), is an oldschool 

gentleman who’s been at this game for a long 

time. Over the years he’s developed a cynicism that 

suggests he doesn’t believe either woman’s story – 

and may not care what really happened. Rachel’s 

lawyer, Carmen Garcia (played by Shayna Reiss), 

is young and green, but on the ascent, having fought 

the sexism of her profession time and time again. 

She may believe her client’s story – but should she? 

Finally, there’s Dr. Jerry Adler (played by Joey 

Ouellette), Marilyn’s supervisor who, like Stan, 

has been around long enough that he’s naturally 

suspicious. But he’s known Marilyn longer 

than anyone else involved. Is what he’s hearing 

consistent with the woman he knows? 

Trauma is terrible to bear by yourself; finding 

someone who can truly empathize with you can 

seem like a gift, almost a miracle. But empathy 

without judgment, without wisdom, can be 

dangerous. We can become lost in each other, 

prone to fantasy, unable to see when the boundaries 

that protect us have fallen. And when they fall, the 

damage may be irreparable. 

Post Productions will present Eve Lederman’s 

Nothing But The Truth at The Shadowbox Theatre 

on April 19, 20, 25, 26, and 27. Doors open at 7:30 

PM for an 8:00 show. Tickets are $20 in advance 

at postproductionswindsor.ca – or at the door, if 

available. 

The Headshot Company and Kieran Potter 

APRIL EVENTS IN THE 519 

Brantford 

April 15 - JIM Clayton Quartet & Sonja Gustafson, 

Sanderson Centre (8pm) 

April 17 - Ashley MacIsaac & Fiddler Extraordinaire, 

Sanderson Centre (8pm) 

April 17 - Chubby Checker, Sanderson Centre (2pm) 

April 18 - The Ultimate Garth Brooks Tribute, Sanderson 

Centre (7:30pm) 

April 25 - Classic Albums Live & CCR Chronicle Vol. 

1, Sanderson Centre (8pm) 

Chatham 

April 12, 13, 14 - En Pointe & Just Dance, Chatham 

Capitol Theatre (8am , 12pm) 

April 19, May 04 - 80s GONE WILD: Hair Metal 

Tribut, Fortresss Tavern (10pm) 

April 27 - Simply Queen, Chatham Capitol Theatre 

(8pm) 

Kitchener-Waterloo 

April 05 - Memphis and The King, Schwaben Club 

(7:30pm) 

April 05 - Stephen Fearing, The Registry Theatre 

(8pm) 

April 05, 06 - Classical and Beyond, Centre In The 

Square (8pm) 

April 06, 13, 20 - Parent V Wood Matinees, Rhapsody 

Barrel Bar (1pm, 2pm) 

April 06 - Jesse Pitcher, Strykerz Kitchen & Bar (6pm) 

April 06 - Dwayne Gretzky, Maxwell’s Concerts & 

Events (7:30pm) 

April 07 - Vintage Flight, Rhapsody Barrel Bar (4pm) 

April 08 - Piano Battle, Centre In The Square (7:30pm) 

April 09 - PJ Masks Live! Save the Day, Centre In The 

Square (6pm) 

April 11 - Dave Menard, Strykerz (6pm) 

April 12 - Phil Naro Band, Rhapsody Barrel Bar (9pm) 

April 12 - My Son The Hurricane, Maxwell’s Concerts 

& Events (7:30pm) 

April 13 – KFUN’s 10th Anniversary Video Dance 

Party, Maxwell’s Concerts & Events (8pm) 

April 13 - Ones The Beatles #1 Hits, Centre In The 

Square (8pm) 

April 14 - Rob Aitkin, TWB Co-operative Brewing 

(2pm) 

April 19 – Soulstack, Rhapsody Barrel Bar (9pm) 

April 19 - Bach St. Matthew Passion, Centre In The 

Square (7:30pm) 

April 19 - Kitchener Show, Hack’s Taps & Grill (9pm) 

April 20 - LoFi Mind 45 Vinyl Release Party, Rhapsody 

Barrel Bar (4pm) 

April 20 - Fog Blues & Brass Band, Rhapsody Barrel 

Bar (9:30pm) 

April 21 - Jamie Warren CD Release Party: All of the 

Above, Rhapsody Barrel Bar (2pm) 

April 24 - Tokyo Police Club, Maxwell’s Concerts & 

Events (7:30pm) 

April 26, 27 - Live By Request: Vol. 2: Music From the 

Stage & Screen, Centre In The Square (8pm) 

April 27 - Ginger St James & Dylan Wickens, Rhapsody 

Barrel Bar (9:30pm) 

April 27 - The Divines 5 Year Anniversary Show, 

Rhapsody Barrel Bar (3pm) 

April 29 - The Slackers, Maxwell’s Concerts & Events 

(7:30pm) 

April 30 – Giselle, Centre In The Square (8pm) 

London 

April 04 - Robbie G, Old East 765 (8pm) 

April 04 - Dead Tired: Full Vol Release Tour, Rum 

Runners (8pm) 

April 04 - Mike Edel, London Music Club (7:30pm) 

April 04 - Marc Jordan, The Aeolian (7pm) 

April 04, 05, 06, 07 - 1949 by David French, Palace 

Theatre (2pm , 8pm) 

April 05 – Ookay, London Music Hall (10pm) 

April 05 - Handsome Scoundrels/Hometown/Sweater 

Puppies, Call The Office (9pm) 

April 05 - Vienna Boys Choir, The Aeolian (7pm) 

April 06 - Allison Au Jazz Quartet, The Aeolian (7pm) 

April 06 - Ramon Tapia(say what, Octopus) Eddie 

Santini, Rum Runners (10pm) 

April 06 - Nimway / Suburbs / Fat Robots, Call The 

Office (9pm) 

April 06 - The Firehall Reunion 2019, London Music 

Hall (6:30pm) 

April 07 - The Music of G.I. Gurdjieff and Thomas de 

Hartmann, Wolf Performance Hall (2pm) 

April 07 - Tiny Moving Parts w/ Free Throw, Worlds 

Greatest Dad & Certainty, Rum Runners (7pm) 

April 08 - Colin James, Budweiser Gardens (7:30pm) 

April 09 - Lennie Gallant , The Aeolian (7pm) 

April 10 - The Ennis Sisters, The Aeolian (7pm) 

April 11 - YBN Nahmir, London Music Halln(7pm) 

April 11 - Jenn Grant LIVE, The Aeolian (7pm) 

April 11 - Jerry Seinfeld, Budweiser Gardens (7:30pm) 

April 12 – OSSTF, District 11 (7pm) 

April 12 - Stephane Wrembel Trio, London Music 

Club (7pm) 

April 12, 13, 14- Mirror Mirror, Wolf Performance Hall 

(2pm, 6pm, 7pm) 

April 13 - Harlem Globetrotters, Budweiser Gardens 

(2pm) 

April 17 - Beartooth & The Disease Tour Canada, 

London Music Hall (6pm) 

April 19 - What A Drag [The Glitter Ball], Old East 

765 (8pm) 

April 19 - Homesick: Emo Night London at Rum 

Runners Rum Runners (10pm) 

April 19 - Life In Vacuum, Call The Office (9pm) 

April 19 - Sabrina Benaim’s Slumber Party Tour w/ 

Clementine Von Radics, Rum Runners (7pm) 

April 20 - The Matadors, Old East 765 (7pm) 

April 20 - JVST SAY YES at System Saturdays, Rum 

Runners (10pm) 

April 21 - Neko Case, London Music Hall (7pm) 

April 23 - Alice In Chains, Budweiser Gardens (8pm) 

April 25, 26, 27, 28, May 01, 02, 03, 04 - Painting 

Churches by Tina Howe, Palace Theatre (2pm, 8pm) 

April 26 - Painting Churches by Tina Howe, Palace 

SUBMIT YOUR EVENTS AT 519MAGAZINE.COM 

Theatre (8pm) 

April 27 - Pride Men’s Chorus London presents Divas!, 

The Aeolian (7pm) 

April 27 - Thomas Rhett w/ Dustin Lynch, Budweiser 

Gardens (7:30pm) 

April 28 - FCLMA Jazz, World & Classical Music 

Awards Gala, The Aeolian (6pm) 

Thomas Rhett headlines Budwesier Gardens on 

April 27 with guest Dustin Lynch. 

April 28 - Necronomicon wsg Blood of Christ and 

Talbotville Gore Rocks, Old East 765 (7pm) 

April 28 - Metric with July Talk, Budweiser Gardens 

(6:50pm) 

April 30 - Royal Wood, London Music Hall (6:30pm) 

April 30, May 03 - Raine Hamilton, The Aeolian (7pm) 

Sarnia 

April 05 - Brother Leeds, Cheeky Monkey (7pm) 

April 12, 13 - Cabaret 42: A Trip to the Library, Theatre 

Forty Two (7:30pm) 

April 27 - Name that Tune 2.0, Bottoms Up Bar & 

Grill (7pm) 

April 30, May 01, 02, 03 - The Cake, Theatre Forty 

Two (7:30pm) 

Windsor 

April 05, 06, 07, 11, 12, 13, 14, 18, 19, 20 - Girl in the 

Goldfish Bowl, Kordazone Theatre (2pm, 8pm) 

April 06 - Six Degrees, The Thirsty Butler (9pm) 

April 06 - Fiddlin Around, Capitol Theatre Windsor 

(8pm) 

April 06 - TEAZE Resurrection 2019 w/ Dusty D’Annunzio, 

Olde Walkerville Theatre (8pm) 

April 06 - Memphis Jones & The King, The Chrysler 

Theatre (7:30pm) 

April 07 - University Wind Ensemble Concert, Capitol 

Theatre Windsor (7:30pm) 

April 11 - Haydn The Hooch, Capitol Theatre Windsor 

(7pm) 

April 12 - Burton Cummings and Band, Caesars 

Windsor (9pm) 

April 13 - Windsor Choral Festival 2019 United In 

Song, Capitol Theatre Windsor (7:30pm) 

April 14 - Border City Brass, The Thirsty Butler (2pm) 

April 14 - The Golden Hands Before God 10 Year 

Reunion, Phog Lounge (4pm) 

April 17 - Theresa Caputo, Caesars Windsor (8pm) 

April 18 - Max Marshall // Kylie Fox // Karen Morand, 

Phog Lounge (8pm) 

April 18 - Cancer Bats, Dom Polski Club (8pm) 

April 19 - League of Wolves / F.Scott & The Nighthawks 

Take Ontario Tour, Phog Lounge (9pm) 

April 19 - Allison Brown & The Assembly Line , 

Green Bean Cafe (8pm) 

April 25 - Aziz Ansari: Road To Nowhere, Caesars 

Windsor (8pm) 

April 26 - Saint Lo., Phog Lounge (10pm) 

April 27 - Brad Paisley, Caesars Windsor (9pm) 

April 29 - Giselle, Capitol Theatre Windsor (7:30pm) 

April 30 - 2019 Windsor-Essex Playwriting Contest, 

The Shadowbox Theatre (8am)

10 FUN QUESTIONs with STUART CHATWOOD from 

the TEA PARTY... 

1. Without using the word fun, what is your 

definition of fun? 

Smiles. 

2. What’s the most fun you’ve had in the 

last 24 hours? 

Guess! 

3. What is more fun, chocolate or whipped 

cream? 

Chocolate. 

4. What was the most fun you’ve had 

watching a movie? 

A Drive-In theatre. 

5. When was the last time you were made 

fun of? 

Last night. 

6. Have you ever had fun in church? 

No. 

7. What is more fun, a mother-in-law or 

going to the dentist? 

A mother-in-law for sure. 

8.What is the most fun you’ve had with 

your clothes on? 

Undressing 

9. Not including anything too risky, what is 

the most fun you’ve had with your clothes 

off? 

Skinny dipping 

10. Has being in musician made you a more 

fun person? 

Yes 

Stuart and The Tea Party return to their hometown of Windsor for a megashow 

at Caesars Windsor on April 18. With more than 40-dates, the Black 

River Tour started three sold-out shows in Toronto and Kitchener in 

December and resumed in mid-March with many sold out dates from New 

Brunswick to British Columbia. 

For more on The Tea Party, visit: teaparty.com 

Dan Boshart, 27th Floor Photography 

THE TEA PARTY 

The River 

Save Me 

Fire in the Head 

Temptation 

Stuart Chatwood 

Touch 

Walking Wounded 

Soulbreaking 

Oceans 

Seven Circles 

Jeff Martin 

Splendor Solis 

Bazaar 

Babylon 

Psychopomp 

These Living Arms 

Lullaby 

The Black Sea 

Tryptych 

Edges of Twilight 

Sister Awake 

Release 

Messenger 

Gone 

Jeff Burrows 

Angels 

Stargazer

2019 

Friday July 5 

Saturday July 6 

dJ scorPion 

GrEatEst hits livE 

Friday July 12 Saturday July 13 

EiGht-tiME 

GraMMy award winnEr 

Eric GalEs 

Celebration of Prince 

Morris day & thE tiME 

PurPlE rEiGn Band 

Plus KathlEEn Murray & 

thE GroovE council 

south rivEr sliM 

scott holt wsg hurricanE ruth 

suGaray rayford

519 Magazine - April 2019

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