November 27, 2024 • 13 mins
Join us on a musical journey as we drop the needle on some iconic vinyl hits and uncover the stories behind them. In this episode, we pay tribute to the late Myles Goodwyn of April Wine, who shares the inspiration behind "Rock and Roll is a Vicious Game". We'll also hear from Candi of Candi and the Backbeat about her hit "Under a Latin Moon," and dive into the bluesy pop-rock success of Colin James with "Five Long Years". Tune in to Behind the Vinyl for an insider's look at the music industry and the tales that shape the songs you love. Subscribe now for more unforgettable stories!See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Careful now, clock Clocker.
Speaker 2 (00:03):
So cool to be playing gun on just to wreck
it off the tire table.
Speaker 3 (00:07):
You ready for this?
Speaker 4 (00:11):
Welcome to Behind the Vinyl. Here's your host, Stu jet Breaks.
Speaker 3 (00:16):
Thanks for joining us. This is the podcast where our
musical guests play vinyl copies of their biggest hits and
give us the stories behind the music. In this episode,
we remember the late great Miles Goodwin of April Wine
as he shares the meaning behind rock and roll is
a vicious game.
Speaker 1 (00:29):
I was singing about rock and roll and how fortunate
I've been to do to make a living, keep the
lights on, food on the table. A lot of guys didn't.
Speaker 3 (00:39):
Miles will have more shortly. Meantime, we managed to track
down Candy of Candy and the backbeat to tell us
her story about under a Latin Moon.
Speaker 5 (00:47):
Here it is. That's the beginning of the song. Okay,
So this is Candy. I'm Candy, Hello, Hello, And these
are the backbeat. So that's Mina Mlatso and Richard and
Gronio and Mike Hobby, Paul Russo and that's me. And
I don't know why I pose like that. I look
like I'm scared and looking around the corner. But this
was an interesting thing that we did. They wanted me
(01:09):
to jump up and I did all these jumps, and
this one was the one that they liked. I wasn't
so crazy about it, but this is the one that
we went with. But yeah, this is a long time ago,
and this particular song, if I remember, it was brought
to us before we were with the record company. So
we had a man by the name of Mike McCarty
(01:32):
who worked at EMI, brought the song to our attention
and we listened to it. We did a demo of it,
and after we did the demo, it sort of created
some buzz and after that we got signed to IRS Records,
and then we did the actual album with David Shaw,
who was our producer at the time, and he did
(01:53):
a wonderful job. And then we re recorded it and
I have a memory actually being slightly sick when we
did it, so I think I had a bit of
a cold, so there's some lines that kind of when
I hear it, it sounds like a little bit of
a cold. But it was a fun song. We had
so much fun doing it. Then we did the video
(02:14):
for it, and my memory of the video is we
were in this warehouse, and in the warehouse they wanted
to make it look like a party atmosphere, so we
had everybody, people from the record company, friends of ours,
the whole band, everybody, and they had soot in the
air with like a wind machine, and what happens was
(02:35):
the created like a smokey ass atmosphere so that it
looked like you're in this club and all that, and
it was great. But then at the end of the
day we were all like breathing in this soot and
blowing it out, so that was not comfortable at the
end of the day. But the actual shoot was We
had such a great time. It was so much fun.
And we had these two dancers that were just amazing,
and I still remember the male dancer looked like lou
(02:58):
Diamond Phillips, so if you see the video you'll see
that he looks like him. And we just, you know,
we're bopping around and having a great time, and we
did I think twenty takes of just singing and dancing
and clowning around, and then at the end of the night, oh,
here's the little break here. Then at the end of
(03:19):
the night we did the walking down the street part
and that was done on Spadina Avenue at two o'clock
in the morning, so it was a little chilly, and
I kind of paid homage to two things that I
that were big to me. One was the Beatles. So
I wore this like little sailor hat, Greek sailor hat,
just like John Lennon wore when he came to the States.
(03:42):
And I walked down the street like Mary Tethernmore. I
was thinking in my head, I'm Mary, and you know
who can.
Speaker 4 (03:48):
Turn the world on with them.
Speaker 5 (03:50):
I'm just walking down the street and pretending I'm Mary,
and I even threw my hat up and everything. But
it was cold, so I remember someone with the blown
it coming around us and warming us up and warm
with a drink, a warm drink, and then just being
exhausted from a long day. And then after they'd get
(04:13):
the shot ready and be like okay, Candy, We're ready,
let's go, and I'd be like, okay, no, and have
all this energy. You know, I think today I probably
wouldn't have the same energy, but back then I had
lots of energy. So it was we just had so
much fun, and I think we're coming to the ending
of the song, right here, Yeah, dancing after Latin and
(04:36):
the Latin move I am Latin technically I'm Italian, so
it makes sense.
Speaker 3 (04:41):
Singer songwriter currently a teacher that was Candy under a
Latin Moon on behind the vinyl of the podcast. My
name is Stuve Jefferies. Please allow me to be your
musical tour guide. Is we hear the stories behind the
songs you know love and find yourself wondering how or
where the ideas came from? How about Colin James, for example,
Who's a blues guy that struck gold years ago with
a pop rock ditty called five Long Years?
Speaker 2 (05:04):
All right, so five Long Years We first recorded with
Bob Rock in Vancouver and it was part of a
double sided EP with why July on one side in
five Long Years and the other five Longs. About the
first song I ever wrote, Yeah, pretty much. I wrote
it across from Joe's Cafe on Commercial Avenue in Vancouver
(05:25):
in about two in the afternoon. I wrote it pretty fast,
and it was supposed to be a country song, not
that I'm a country player, but it kind of came
out like a country song. By the time we finished
recording it, it was certainly not And this is the
first record. This record had five producers on it, ridiculous.
(05:45):
Tom Dowd was the first guy I went to Miami
to work with on the song, and I don't think
it made the record. Tom's version we ended up having
to go to La. Don't forget. We've already recorded this
with Bob Rock at this point, and Bob's version sounded
so good, but we couldn't use it because we've done
(06:06):
the whole rest of the record with Danny Korchmar. So
I recorded this with a mess, a boogie and a
strat in La, feeling kind of bad that I was
going over Bob's version, but we had to try to
match it to the rest of the record. And the
day I cut it, Watti Wattel was there because Watty
(06:27):
was working next door with somebody. So I met Wattie
became a lifelong friend on that thing. And then Bob
Seger was recording next door, and Bob Seger came in
and listened to the rough on the board and complimented
me on the song, which was cool. I was meeting
Bob Sigger that was amazing, and Watty, I met Wattie,
(06:48):
and I think Richie Hayward from Little Feet was there
that day too, If I'm not mistaken, And that was
the first day I met Richie Hayward. I think, I
mean Harris might have walked through the studio that day
and I'm a walking by her, just going like she
looked exactly. It was just beautiful and yeah, and the
(07:09):
song was written. It was actually written about a gal
I used to see before I decided I was going
to go off and start playing music. So the words
are you know your girl's half grown, she sees right
through my thin disguise kind of It's like, you know,
the path not taken kind of thing. And I wrote
it when I got back home at the park in Vancouver.
(07:33):
There you go, We've got Katarmini's going on and what else?
Speaker 1 (07:43):
What else about this song?
Speaker 2 (07:45):
I still played for this day and Bob helped with
the bridge, the little bridge section. Bob came up with
it if I'm not Mistaken, and we recorded that. The
original one was a Little Mountain. This was the version
that Bob recorded and we had to remix it, so correction,
(08:08):
this is the Bob Rock recording from Little Mountain, but
we had to remix it with Danny Kortchmark and Bob
was pissed. That's that's the that's it. Yeah, but I
think it's I wrote other songs before the song, but
this is the first song that I ever had any
you know, got a fair amount of radio point right
(08:29):
off the ball.
Speaker 1 (08:31):
And it amazing, And it was Bob.
Speaker 2 (08:34):
Bob wasn't even doing I think it was like really
early almost early production days of Bob too. But I
don't think he had done the Molly Cruz and I
don't think so. I saw Bob recently and he lives
in the valley. Then it like.
Speaker 4 (08:59):
I love it.
Speaker 3 (09:00):
Yes, I was on like a child.
Speaker 2 (09:05):
Man.
Speaker 3 (09:05):
That's a long list of who's who in the music
industry is he recorded this song in La That was
calling James five long years. You're listening to behind the
Vinyl of the podcast, with one more song to go.
In this episode, it was December third of twenty twenty
three when we all heard the sad news of the
passing of Miles Goodwin from April Wine. So many great songs,
rollers Sign of the Gypsy Queen, I like to rock
just between you and me, so many more. Here we
(09:28):
hear about how the music industry can be a cruel
beast if you're not careful. The late Miles Goodwin with
rock and roll, it's abitious game.
Speaker 1 (09:44):
First thing I think of when I hear this is
the harmonica player. His name is Jimmy's Zellar. He's from Montreal.
He's a bit of a legend in the province of.
Speaker 2 (09:54):
Go back to Montreal in particular.
Speaker 1 (09:55):
I don't know what everywhere else. But he's just a
great character. He's a real character. He looks Eith Richards
had a brother. It's Jimmy. He's a great player. Anyway,
I wrote this song for a few reasons. I mean,
we had songwriters. We start off with a blank piece
(10:15):
of paper, there's nothing there often and an instrument of
some kind, and you go. In this one, I was
singing about rock and roll and how fortunate I've been
to do to make a living, keep the lights on,
food on the table. A lot of guys didn't succeed
(10:36):
even then, back at that time when we still hadn't
really broken well, we were just started to break into
the rest of the world. But as a Canadian successful
band of candidate, I was very appreciative of what we
had done, and I wrote about the fact that I
was you know that that it's it's a very difficult business.
And and the obvious cases of tragedy around the industry
(10:57):
is the Janice, Jimmy and and Morrison's stories. They just
burn up, you know, they too much. The lifestyle kills them.
And so I wrote about that in this song. That's
what it might in the back of my mind without
naming them. And the biggest, one of the very big
ones was Elvis Presley. What happened to Elvis?
Speaker 4 (11:16):
King of rock and roll?
Speaker 1 (11:21):
So in the verses, when you listen to the song,
you listen to the verses, it kind of covers all
those things you can imagine then talking to somebody is
not just successful, but extremely successful and self destructs right
before our eyes. And the sadness around you.
Speaker 4 (11:39):
Gave this what good?
Speaker 2 (11:42):
We said, the harm in our house?
Speaker 1 (11:46):
Yeah, you see, it's all feel good. But things can change.
Time passes by, and songs that moved us so easily
no longer make us cry. Time goes on, and those
arts that we forget about and whatever else. But this
is what I wrote. But back then, the Canadian music
industry was very tough on this band, April one. A
(12:10):
lot of critics and they said it was all sour grapes.
Miles is all upset those rogue in the States. This
was on first glance, I think, which include a little
tune called Roller. We were records sold a couple of million,
but before it even had a chance out of the gate,
it was Miles sour grapes. So when I hear this,
I'm very proud of the song, and people love to
(12:31):
hear it live, and I like to play it live.
We get it rocking. But you know, I like the song.
I'm glad I wrote it, and there's no sour grapes,
no regrets with that one at all.
Speaker 3 (12:42):
Rock and roll is a vicious game. Miles Goodwin of
April Wine on BTV. I'm Stu Jeffries. Thanks for listening,
and please do us a favor. Check out some of
our previous episodes and make sure you subscribe to our
channel for more. I promise you you'll find some great stuff.
See you next time.
Speaker 4 (12:56):
This has been Behind the Vine Older podcast hosted by
du Jeffaries. Audio production courtesy of Doug Morehouse, Derrick Welsman
and Troy McCallum. Thanks for listening.
Careful now, clock Clocker.
Speaker 2 (00:03):
So cool to be playing gun on just to wreck
it off the tire table.
Speaker 3 (00:07):
You ready for this?
Speaker 4 (00:11):
Welcome to Behind the Vinyl. Here's your host, Stu jet Breaks.
Speaker 3 (00:16):
Thanks for joining us. This is the podcast where our
musical guests play vinyl copies of their biggest hits and
give us the stories behind the music. In this episode,
we remember the late great Miles Goodwin of April Wine
as he shares the meaning behind rock and roll is
a vicious game.
Speaker 1 (00:29):
I was singing about rock and roll and how fortunate
I've been to do to make a living, keep the
lights on, food on the table. A lot of guys didn't.
Speaker 3 (00:39):
Miles will have more shortly. Meantime, we managed to track
down Candy of Candy and the backbeat to tell us
her story about under a Latin Moon.
Speaker 5 (00:47):
Here it is. That's the beginning of the song. Okay,
So this is Candy. I'm Candy, Hello, Hello, And these
are the backbeat. So that's Mina Mlatso and Richard and
Gronio and Mike Hobby, Paul Russo and that's me. And
I don't know why I pose like that. I look
like I'm scared and looking around the corner. But this
was an interesting thing that we did. They wanted me
(01:09):
to jump up and I did all these jumps, and
this one was the one that they liked. I wasn't
so crazy about it, but this is the one that
we went with. But yeah, this is a long time ago,
and this particular song, if I remember, it was brought
to us before we were with the record company. So
we had a man by the name of Mike McCarty
(01:32):
who worked at EMI, brought the song to our attention
and we listened to it. We did a demo of it,
and after we did the demo, it sort of created
some buzz and after that we got signed to IRS Records,
and then we did the actual album with David Shaw,
who was our producer at the time, and he did
(01:53):
a wonderful job. And then we re recorded it and
I have a memory actually being slightly sick when we
did it, so I think I had a bit of
a cold, so there's some lines that kind of when
I hear it, it sounds like a little bit of
a cold. But it was a fun song. We had
so much fun doing it. Then we did the video
(02:14):
for it, and my memory of the video is we
were in this warehouse, and in the warehouse they wanted
to make it look like a party atmosphere, so we
had everybody, people from the record company, friends of ours,
the whole band, everybody, and they had soot in the
air with like a wind machine, and what happens was
(02:35):
the created like a smokey ass atmosphere so that it
looked like you're in this club and all that, and
it was great. But then at the end of the
day we were all like breathing in this soot and
blowing it out, so that was not comfortable at the
end of the day. But the actual shoot was We
had such a great time. It was so much fun.
And we had these two dancers that were just amazing,
and I still remember the male dancer looked like lou
(02:58):
Diamond Phillips, so if you see the video you'll see
that he looks like him. And we just, you know,
we're bopping around and having a great time, and we
did I think twenty takes of just singing and dancing
and clowning around, and then at the end of the night, oh,
here's the little break here. Then at the end of
(03:19):
the night we did the walking down the street part
and that was done on Spadina Avenue at two o'clock
in the morning, so it was a little chilly, and
I kind of paid homage to two things that I
that were big to me. One was the Beatles. So
I wore this like little sailor hat, Greek sailor hat,
just like John Lennon wore when he came to the States.
(03:42):
And I walked down the street like Mary Tethernmore. I
was thinking in my head, I'm Mary, and you know
who can.
Speaker 4 (03:48):
Turn the world on with them.
Speaker 5 (03:50):
I'm just walking down the street and pretending I'm Mary,
and I even threw my hat up and everything. But
it was cold, so I remember someone with the blown
it coming around us and warming us up and warm
with a drink, a warm drink, and then just being
exhausted from a long day. And then after they'd get
(04:13):
the shot ready and be like okay, Candy, We're ready,
let's go, and I'd be like, okay, no, and have
all this energy. You know, I think today I probably
wouldn't have the same energy, but back then I had
lots of energy. So it was we just had so
much fun, and I think we're coming to the ending
of the song, right here, Yeah, dancing after Latin and
(04:36):
the Latin move I am Latin technically I'm Italian, so
it makes sense.
Speaker 3 (04:41):
Singer songwriter currently a teacher that was Candy under a
Latin Moon on behind the vinyl of the podcast. My
name is Stuve Jefferies. Please allow me to be your
musical tour guide. Is we hear the stories behind the
songs you know love and find yourself wondering how or
where the ideas came from? How about Colin James, for example,
Who's a blues guy that struck gold years ago with
a pop rock ditty called five Long Years?
Speaker 2 (05:04):
All right, so five Long Years We first recorded with
Bob Rock in Vancouver and it was part of a
double sided EP with why July on one side in
five Long Years and the other five Longs. About the
first song I ever wrote, Yeah, pretty much. I wrote
it across from Joe's Cafe on Commercial Avenue in Vancouver
(05:25):
in about two in the afternoon. I wrote it pretty fast,
and it was supposed to be a country song, not
that I'm a country player, but it kind of came
out like a country song. By the time we finished
recording it, it was certainly not And this is the
first record. This record had five producers on it, ridiculous.
(05:45):
Tom Dowd was the first guy I went to Miami
to work with on the song, and I don't think
it made the record. Tom's version we ended up having
to go to La. Don't forget. We've already recorded this
with Bob Rock at this point, and Bob's version sounded
so good, but we couldn't use it because we've done
(06:06):
the whole rest of the record with Danny Korchmar. So
I recorded this with a mess, a boogie and a
strat in La, feeling kind of bad that I was
going over Bob's version, but we had to try to
match it to the rest of the record. And the
day I cut it, Watti Wattel was there because Watty
(06:27):
was working next door with somebody. So I met Wattie
became a lifelong friend on that thing. And then Bob
Seger was recording next door, and Bob Seger came in
and listened to the rough on the board and complimented
me on the song, which was cool. I was meeting
Bob Sigger that was amazing, and Watty, I met Wattie,
(06:48):
and I think Richie Hayward from Little Feet was there
that day too, If I'm not mistaken, And that was
the first day I met Richie Hayward. I think, I
mean Harris might have walked through the studio that day
and I'm a walking by her, just going like she
looked exactly. It was just beautiful and yeah, and the
(07:09):
song was written. It was actually written about a gal
I used to see before I decided I was going
to go off and start playing music. So the words
are you know your girl's half grown, she sees right
through my thin disguise kind of It's like, you know,
the path not taken kind of thing. And I wrote
it when I got back home at the park in Vancouver.
(07:33):
There you go, We've got Katarmini's going on and what else?
Speaker 1 (07:43):
What else about this song?
Speaker 2 (07:45):
I still played for this day and Bob helped with
the bridge, the little bridge section. Bob came up with
it if I'm not Mistaken, and we recorded that. The
original one was a Little Mountain. This was the version
that Bob recorded and we had to remix it, so correction,
(08:08):
this is the Bob Rock recording from Little Mountain, but
we had to remix it with Danny Kortchmark and Bob
was pissed. That's that's the that's it. Yeah, but I
think it's I wrote other songs before the song, but
this is the first song that I ever had any
you know, got a fair amount of radio point right
(08:29):
off the ball.
Speaker 1 (08:31):
And it amazing, And it was Bob.
Speaker 2 (08:34):
Bob wasn't even doing I think it was like really
early almost early production days of Bob too. But I
don't think he had done the Molly Cruz and I
don't think so. I saw Bob recently and he lives
in the valley. Then it like.
Speaker 4 (08:59):
I love it.
Speaker 3 (09:00):
Yes, I was on like a child.
Speaker 2 (09:05):
Man.
Speaker 3 (09:05):
That's a long list of who's who in the music
industry is he recorded this song in La That was
calling James five long years. You're listening to behind the
Vinyl of the podcast, with one more song to go.
In this episode, it was December third of twenty twenty
three when we all heard the sad news of the
passing of Miles Goodwin from April Wine. So many great songs,
rollers Sign of the Gypsy Queen, I like to rock
just between you and me, so many more. Here we
(09:28):
hear about how the music industry can be a cruel
beast if you're not careful. The late Miles Goodwin with
rock and roll, it's abitious game.
Speaker 1 (09:44):
First thing I think of when I hear this is
the harmonica player. His name is Jimmy's Zellar. He's from Montreal.
He's a bit of a legend in the province of.
Speaker 2 (09:54):
Go back to Montreal in particular.
Speaker 1 (09:55):
I don't know what everywhere else. But he's just a
great character. He's a real character. He looks Eith Richards
had a brother. It's Jimmy. He's a great player. Anyway,
I wrote this song for a few reasons. I mean,
we had songwriters. We start off with a blank piece
(10:15):
of paper, there's nothing there often and an instrument of
some kind, and you go. In this one, I was
singing about rock and roll and how fortunate I've been
to do to make a living, keep the lights on,
food on the table. A lot of guys didn't succeed
(10:36):
even then, back at that time when we still hadn't
really broken well, we were just started to break into
the rest of the world. But as a Canadian successful
band of candidate, I was very appreciative of what we
had done, and I wrote about the fact that I
was you know that that it's it's a very difficult business.
And and the obvious cases of tragedy around the industry
(10:57):
is the Janice, Jimmy and and Morrison's stories. They just
burn up, you know, they too much. The lifestyle kills them.
And so I wrote about that in this song. That's
what it might in the back of my mind without
naming them. And the biggest, one of the very big
ones was Elvis Presley. What happened to Elvis?
Speaker 4 (11:16):
King of rock and roll?
Speaker 1 (11:21):
So in the verses, when you listen to the song,
you listen to the verses, it kind of covers all
those things you can imagine then talking to somebody is
not just successful, but extremely successful and self destructs right
before our eyes. And the sadness around you.
Speaker 4 (11:39):
Gave this what good?
Speaker 2 (11:42):
We said, the harm in our house?
Speaker 1 (11:46):
Yeah, you see, it's all feel good. But things can change.
Time passes by, and songs that moved us so easily
no longer make us cry. Time goes on, and those
arts that we forget about and whatever else. But this
is what I wrote. But back then, the Canadian music
industry was very tough on this band, April one. A
(12:10):
lot of critics and they said it was all sour grapes.
Miles is all upset those rogue in the States. This
was on first glance, I think, which include a little
tune called Roller. We were records sold a couple of million,
but before it even had a chance out of the gate,
it was Miles sour grapes. So when I hear this,
I'm very proud of the song, and people love to
(12:31):
hear it live, and I like to play it live.
We get it rocking. But you know, I like the song.
I'm glad I wrote it, and there's no sour grapes,
no regrets with that one at all.
Speaker 3 (12:42):
Rock and roll is a vicious game. Miles Goodwin of
April Wine on BTV. I'm Stu Jeffries. Thanks for listening,
and please do us a favor. Check out some of
our previous episodes and make sure you subscribe to our
channel for more. I promise you you'll find some great stuff.
See you next time.
Speaker 4 (12:56):
This has been Behind the Vine Older podcast hosted by
du Jeffaries. Audio production courtesy of Doug Morehouse, Derrick Welsman
and Troy McCallum. Thanks for listening.
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
The Herd with Colin Cowherd
The Herd with Colin Cowherd is a thought-provoking, opinionated, and topic-driven journey through the top sports stories of the day.