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Origin | Woodstock, Ontario, Canada |
---|---|
Genres | Hard rock, progressive rock, psychedelic rock, heavy metal |
Years active | 1968–1975, 2004–present |
Labels | Relapse, London, Fonthill |
Members | Rick Donmoyer Dana Snitch Terry Hook Terry Brett |
Warpig is a Canadian rock band. They gained a fan following in the Ontario club circuit in the 1970s and performed shows with Wishbone Ash, Savoy Brown, Manfred Mann, Quicksilver Messenger Service, and Mahogany Rush.[1]
History[edit]
Formation and album release (1968–1973)[edit]
Before forming Warpig in 1968, band members Rick Donmoyer, Dana Snitch, Terry Hook, and Terry Brett had played and toured in several other Canadian rock groups, including Mass Destruction, Wot and The Kingbees.[1] They signed with independent label Fonthill Records and at Sound Canada studios recorded their debut album in 1970, engineered by Ken Friesan.[2] In 1973, London Records re-released the Warpig album with new cover art and two tracks re-recorded at Toronto Sound with Terry Brown, producer for Canadian rock icons Rush.[3] Later, between June and July of that year, the re-recorded version of Warpig's single 'Rock Star' made the RPM charts for 7 seven weeks peaking at 52.[4]
Breakup and reunion (1974–1975, 2004–present)[edit]
When Egypt and Jordan banned the Lebanese indie rock band Mashrou' Leila a few years ago because of its openly gay frontman and its.
Members Terry Hook and Dana Snitch left the band between 1974 and 1975; the group eventually disbanded. Rick Donmoyer later toured with the band Ash Mountain. Warpig reunited in 2004 after copies of their debut album starting attracting high prices on eBay. Their self-titled album was officially reissued in 2006 on Relapse Records,[2] though many bootlegged versions on CD and vinyl continued to show up. The album was digitally re-mastered by Peter Moore (Cowboy Junkies), and featured a new artwork layout created by artist Orion Landau. The CD version of Warpig was released by Relapse in October 2006.
Discography[edit]
- Warpig (originally released by Fonthill Records in 1970; re-released by London Records in 1973, and then re-released in 2006 on Relapse)[5][6]
References[edit]
- Citations
- ^ ab'Warpig'. AllMusic biography by Eduardo Rivadavia
- ^ ab'CANOE -- JAM! Music - Pop Encyclopedia - Warpig'. JAM!. Retrieved 7 January 2010.
- ^'New Music', Winnipeg Free Press, September 15, 1973 - Page 99. by Andy Mellon.
- ^'Top Singles'. RPM Magazine, Volume 19, No. 23. Jul 21, 1973
- ^Eduardo Rivadavia. 'Warpig Warpig'. AllMusic. Retrieved 7 January 2010.
- ^'Warpig Warpig'. Exclaim!, Sean Palmerston Oct 01, 2006
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Warpig_(band)&oldid=857074360'
The Band, Canadian-American that began as the backing group for both Ronnie Hawkins and and branched out on its own in 1968. The Band’s pioneering blend of traditional, old-time string band, and brought them critical acclaim in the late 1960s and ’70s and served as a template for Americana, the movement of hybrid, roots-oriented music that emerged in the late 1990s. The members were (b. July 5, 1944, Canada), (b.
May 26, 1940, Elaine, U.S.—d. April 19, 2012, New York), (b. December 29, 1942, Simcoe, Ontario, Canada—d.
December 10, 1999, Marbletown, New York, U.S.), (b. April 3, 1945, Stratford, Ontario, Canada—d. March 4, 1986, Florida, U.S.), and (b. 2, 1937, London, Ontario, Canada). The Band (left to right): Garth Hudson, Jaime (“Robbie”) Robertson, Levon Helm, Richard Manuel, and Rick Danko.
Hannekroot—Sunshine/Retna Ltd.Robertson, Helm, Danko, Manuel, and Hudson were five self-effacing sidemen pushed into becoming a self-contained group by Dylan, the star in whose shadow they grew. Robertson was the group’s principal writer and guitarist. Drummer Helm was a “good old boy” from Arkansas, the sole American in a lineup of displaced Canadians. Danko was the hayseed on bass and occasional fiddle. Pianist Manuel sang blues in a wrenching baritone. And Hudson’s otherworldly keyboard doodles were the glue that held the whole operation together. At their peak, from 1968 to 1973, the quintet embodied better than any other group the sense of the American past that came to haunt pop after the hippie ideals of the 1960s had crashed to the ground.The real midwife to the Band’s birth was Hawkins, a diehard from Arkansas who ventured up to in the spring of 1958.
As Hawkins’s lieutenant, Helm, still a teenager, helped recruit the young Ontarians—Robertson, Danko, Manuel, and Hudson—who replaced the original members of Hawkins’s backing band, the Hawks. At a point when Fabian ruled the pop airwaves, the razorback of the new Hawks was welcome only in the scuzziest roadhouses. During these years on the road, Robertson absorbed much of the flavour of life below the that would permeate Band songs like “ ” (1969).
When Helm returned to the fold, Dylan began urging “the Band”—as they were now known locally—to go it alone. The immediate result of this separation was Music from Big Pink (1968), a wholly original fusion of country, rock, and that, more than any other album of the period, signaled rock’s retreat from excess and blues bombast into something more soulful, rural, and reflective. Yet it was The Band (1969) that really defined the group’s grainy character. Recorded in a makeshift studio in in early 1969, the album was a timeless distillation of American experience from the to the 1960s.After the many years spent backing Hawkins and Dylan, the Band was ill-prepared for the vulnerability they felt singing their own songs onstage. After a disastrous debut at, they played to the massed tribes of the 1969.
“We felt like a bunch of preacher boys looking into purgatory,” recalled Robertson. This sense of alienation from the spirit of rock was reflected in Stage Fright (1970), an album full of foreboding and depression. Ironically, the record preceded the Band’s most intensive period of touring, during which they became the live unit of the magnificent Rock of Ages (1972).The Band’s experience on the road seemed to affect their confidence—particularly that of Robertson in his role as chief songwriter. Whereas The Band had sounded fresh and intuitive, Cahoots (1971) was laboured. After a mostly lost year in 1972, when Manuel’s alcoholism became chronic, they trod water with Moondog Matinee (1973), an album of fine cover versions, then hitched their wagon once again to Dylan for the highly successful tour that produced (1974).Just as they had followed Dylan to Woodstock, so the Band now decamped to southern.
The move suited Robertson, who quickly to the lifestyle, but the others felt like fish out of water. Northern Lights—Southern Cross (1975) at least proved that the Band had not lost its keen musical, but, when Robertson suggested dissolving the group after a final show at Winterland, he encountered little resistance.Staged on (November 25), 1976, this “Band and friends” finale was immortalized by ’s film (1978), with guest appearances by Dylan, and others. With only the lacklustre Islands (1977) as a last, contract-honouring memento of their career, the Band quickly fragmented. In 1983, sans Robertson, the group re-formed and played a less-than-spectacular tour. Three years later, Manuel was found hanging from a shower curtain in a Florida motel room.Helm, Hudson, and Danko, who moved back to Woodstock, continued to operate as the Band and released three indifferent albums in the 1990s.
Robertson remained in Los Angeles, where he made several solo albums and created film soundtracks. The Band was inducted into the Rock and Roll Hall of Fame in 1994.