Johnny Nash born August 19, 1940

Johnny Nash (August 19, 1940 – October 6, 2020) was an American singer and songwriter, best known in the United States for his 1972 hit "I Can See Clearly Now". Primarily a reggae and pop singer, he was one of the first non-Jamaican artists to record reggae music in Kingston, Jamaica.

John Lester Nash Jr., was born in Houston, Texas, to Eliza (nee Armstrong) and her husband, John Nash, a chauffeur. A sweet-mannered, good-looking and well-behaved child, though a little shy, Johnny went to Jack Yates high school and was brought up on gospel music at the Progressive New Hope Baptist Church in the city, where he soon became renowned for his beautifully smooth voice, which also made an impact at talent shows. At 13, after Nash had been caddying at a golf course for a retired businessman, Frank Stockton, he was urged to get up and sing in the clubhouse. Stockton was so impressed that he arranged an audition for a local afternoon TV programme on KPRC-TV, and for the next three years the young Nash earned more money than his father by singing regularly on the show after school.

From 1956 he sang on Arthur Godfrey's radio and television programs for a seven-year period. Signing with ABC-Paramount, Nash made his major label debut in 1957 with the single "A Teenager Sings the Blues". Although it made little impact, his next single, A Very Special Love, made it to 23 in the US charts, his first album, Johnny Nash, was issued in 1958. Nash won a Silver Sail Award for his performance from the Locarno International Film Festival. Nash continued releasing singles on a variety of labels such as Groove, Chess, Argo, and Warner Bros. The song "The Teen Commandments" by Paul Anka, George Hamilton IV, and Johnny Nash reached #14 on Canada's CHUM Charts, December 15, 1958. Marketed as a rival to Johnny Mathis, he even began a film career at 18 years old with 1959's Take a Giant Step, also appearing in 1960's Key Witness before his career flagged with a series of little-noticed singles for Warner Bros., Groove, and Argo. As a church-going youth and former boy scout, he preferred to ignore rock’n’roll, which in any case did not suit his vocal style. But as a result his relevance and popularity began to wane, and in the years after his 1961 album, Let’s Get Lost, his impetus and direction foundered.

Bob Marley & Johnny Nash

In 1964, Nash and manager Danny Sims formed JoDa Records in New York. JoDa released The Cowsills' single "All I Really Want to Be Is Me". Although JoDa filed for bankruptcy after only two years. After selling off his old entertainment assets in New York, Sims opened a new music publishing business in Jamaica, Cayman Music. Nash planned to try breaking the local rocksteady sound in the United States. Around 1966 or 1967, Neville Willoughby took Nash to a Rastafarian party where Bob Marley & The Wailing Wailers were performing. Members Bob Marley, Bunny Wailer, Peter Tosh, and Rita Marley introduced Nash to the local music scene. Nash signed all four to an exclusive publishing contract with Cayman Music for J$50 a week. In 1967, Nash, Arthur Jenkins, and Sims collaborated to create a new label, JAD Records (after their first names Johnny, Arthur, and Danny), and recorded their albums at Federal Records in Kingston. 

                                  

Inspired by the new possibilities, in 1968 he wrote You Got Soul, a fine, fully-fledged rock-steady tune that was issued in the UK by Trojan Records and reached No 5 in the singles charts. Among the first of Trojan’s British reggae releases to experiment with the addition of pop instrumentation and strings, it helped to crystallise a winning formula in the UK that appealed to the masses and paved the way for Desmond Dekker’s Israelites to become the UK’s first reggae No 1 shortly afterwards. Later in the year Nash followed up with Hold Me Tight, in similarly rich rock-steady vein: it got to No 6 in the UK and was among the first Jamaican records to cause a stir in the US, making No 5.

In 1970 Nash was invited to Sweden to write the soundtrack for a film, Love is Not a Game, in which he also acted opposite Christina Schollin. Nash took Marley and Sims with him, and they were away from Jamaica for the best part of a year. The film was a damp squib – it had only a brief run in Sweden in 1971 and plans to release the soundtrack as an album were ditched. But the sojourn in Scandinavia brought Nash and Marley into a musical collaboration that bore fruits in Nash’s 1972 album I Can See Clearly Now, to which Marley contributed Stir it Up, Guava Jelly, Comma Comma and You Poured Sugar on Me, the last of which they jointly wrote. The album, and its title track in particular, established Nash as a household name. Marley was left in his friend’s professional wake, but the relationship had been useful for both, giving Nash a new direction and grooming Marley for his eventual hook-up with Island Records and superstardom.

As it turned out, Nash had essentially begun to abandon the music business by the time Marley came to global attention. He decided to move back to Houston in 1974 for a quieter life, buying a ranch there and embarking on his third marriage, to Carlie Collins. Meanwhile in the UK, his biggest hit was with the song "Tears on My Pillow" which reached number one in the UK Singles Chart in July 1975 for one week. The album Tears on My Pillow came out later in the year. After a cover of Sam Cooke's "Wonderful World" in 1976 and "Let's Go Dancing" in 1979, for many years Nash seemed to have dropped out of sight. By 1980, though he was still only 40, his recording activity had ground to a halt, and though there was one more album, Here Again, in 1986,which included the minor UK hit, "Rock Me Baby".

Much of his attention was by then focused on family life, church activities and helping local causes. A keen horse rider since his youth, in 1993 he set up the Johnny Nash Indoor Arena in Houston, where he financed weekly rodeos for youngsters who otherwise wouldn’t be able to afford to get on a horse. For many years he politely refused all interview requests. Younger audiences were introduced to Nash's music with the appearance of Jimmy Cliff's cover of "I Can See Clearly Now" in Disney's 1993 film Cool Runnings. Nash's version of the song appeared over the opening scene of John Cusack's 1997 film, Grosse Point Blank. In May 2006, Nash worked with SugarHill Recording Studios chief engineer Andy Bradley and Tierra Studios' Randy Miller to transfer analogue tapes of his songs from the 1970s and 1980s to Pro Tools digital format at Tierra Studios in his native Houston. Intensely private, he stayed out of the public eye except for occasional tours as the 21st century deepened.

After a period of declining health Johnny Nash died of natural causes at his home in Houston, Texas, on October 6, 2020; he was 80 years old.

(Edited from The Guardian, Wikipedia & AllMusic) 

Sonny Til born August 18, 1925

 Sonny Til (August 18, 1925 – December 9, 1981), was  the lead singer of The Orioles, a vocal group from Baltimore, Maryland, inducted into the Rock and Roll Hall of Fame in 1995. By 1960 Til was the only original member left. He led the Orioles from its establishment until his death in 1981.

Sonny Til was born Earlington Carl Tilghman, in Baltimore, Maryland. He picked up the nickname "Sonny" from his favourite record as a child: Al Jolson's "Sonny Boy". From the start, Sonny knew he wanted to be an entertainer. During the War, Sonny enlisted on October 29, 1943, two months after his eighteenth birthday. He did a lot of Special Services work: singing and entertaining. But when he was with his combat unit overseas he was  a smoke layer in the Chemical Corps. He was discharged on April 4, 1946. After working in a rubber heel factory then as delivery truck driver he began to sing  regularly in amateur shows billed at clubs with every possible variant of "Sonny", "Earl", "Til", and "Tilghman" until 1947 at the Avenue Cafe in Baltimore, where he met George Nelson, Alexander Sharp and guitarist Tommy Gaither. 

They decided to form a group, calling themselves The Vibra-Naires. They came to the attention of Deborah Chessler, a local merchant who also wrote songs; she would write some of the group's subsequent hits. Chessler became the band's manager and she was able to get the Vibra-Naires a spot on Arthur Godfrey's Talent Scouts television show in April 1948. Although the group lost to pianist George Shearing, they caught the eye of Jerry Blaine, a New York record company executive, while they were in town for the program.

                                  

Blaine signed the group to his newly created It's a Natural record label and changed their name to the Orioles, in honour of the state bird of Maryland and in emulation of another popular group, The Ravens. The band cut "It's Too Soon to Know," a ballad written by Chessler, with Sonny Til taking lead vocals. In the late summer of 1948, But shortly after the single's release, National Records complained about the name of Blaine's new label, so he re-released the song on Jubilee Records. "It's Too Soon to Know" became a number one R&B hit and crossed over to number 13 on the pop charts. At the time of its release, no Black group had managed to cross over to the pop charts with what was then known as a "race" record. The Orioles immediately followed the success of their debut single with the seasonal "(It's Gonna Be A) Lonely Christmas," which reached the R&B Top Ten at the end of 1948.

The Orioles then began touring widely. "Tell Me So" became the Orioles' second number one R&B hit in the spring of 1949, beginning a streak of six R&B hit singles that year. In addition to "Tell Me So," the group charted with "A Kiss and a Rose" (number 12, late summer), "I Challenge Your Kiss" (number 11, fall), "Forgive and Forget" (number five, fall), a re-released "(It's Gonna Be A) Lonely Christmas" (number five, winter), and the B-side of "Lonely Christmas," "What Are You Doing New Year's Eve" (number nine, winter). In performance, The Orioles were a phenomenon, with girls in the audiences screaming, fainting, and attempting to reach their idol Sonny Til in particular. They differed from groups like the Mills Brothers and the Delta Rhythm Boys in that they made vocal music with limited orchestration and accompanied only with the guitar of Tommy Gaither and the bass Johnny Reed. From 1948 to 1954, they cut over 120 sides for the Natural and Jubilee labels. By late 1950 they were major stars, although their supply of hit records had dried up.

Following their peak year of 1949, the group ran into tragedy. In 1950, Gaither, Nelson, and Reed suffered an automobile accident that killed Gaither and severely injured the other two members; Nelson quit the group later in the year. As Reed recovered, the group found replacements for Gaither and Nelson, finally settling on guitarist Ralph Williams and vocalist Gregory Carroll. The new lineup of the band had its first hit in 1952, when "Baby Please Don't Go" reached number eight on the R&B charts. The following year, the group had their biggest hit with "Crying in the Chapel." Released in the summer of 1953, "Crying in the Chapel" spent five weeks on the R&B charts and reached number 11 on the pop charts, eventually going gold; Elvis Presley had a hit with the song 12 years later. Toward the end of the year, the group had another Top Ten R&B hit with "In the Mission of St. Augustine." The single would turn out to be their last hit.

In 1954, the Orioles began to splinter, as Sharp and Reed left to join the Ink Spots. Til assembled a new lineup, but the group didn't get much attention. In spite of his involvement with a group, Sonny started recording as a soloist in 1969 for RCA. Five singles (including two one-sided DJ discs) resulted over the next couple of years, and an album ("Sonny Til Returns") in 1970. Sonny continued to lead many different incarnations of the Orioles, performing concerts and re-recording the group's old hits.

During the final years of his life, Sonny was plagued with health problems. In 1980, diabetes caused him to have part of his left foot amputated. In spite of this, he continued to perform, on crutches, and as  leader of his sixth group of Orioles he released an album on Ivory in 1981 that had the strange title "Sonny Til And The Orioles Visit Manhattan Circa 1950's." The songs included many 1940s and 1950s standards. This was his last recording. He died from  a massive heart attack, in Washington, D.C., on December 9, 1981. He was 56. 

In 1995, 40 years after the original line-up of the group disbanded, the Orioles were inducted into the Rock & Roll Hall of Fame.

(Edited from AllMusic, Wikipedia &  Marv Goldberg's R&B Notebooks) (also thanks to Marv for the loan of most of the photographs.)

Luther Allison born August 17, 1939

Luther Sylvester Allison (August 17, 1939 – August 12, 1997) was an American blues singer-songwriter and guitarist.

Luther Sylvester Allison was born on August 18, 1939, in Widener, Arkansas, the fourteenth of 15 children. He was the 14th of 15 children and his father and brothers worked in the cottonfields. Allison was interested in music as a child and during the late 1940s he and several of his siblings sang and toured in a family gospel group called The Southern Travellers. He moved with his family to Chicago in 1951 and attended Farragut High School where he was classmates with Muddy Waters' son. He taught himself guitar and began listening to blues extensively. Three years later he dropped out of school and began hanging around outside blues nightclubs with the hopes of being invited to perform. One of his older brothers, Ollie, soon began working as a guitarist on Chicago's booming South Side blues scene. By the middle of his teens, Allison was good enough to sit in with his brother's band on club dates.

From 1954, Allison jammed with his brother's band, the Ollie Lee Allison Band. In 1957 a blues group was formed to play the Bungalow Club in Chicago. The line-up included Luther and his brothers Grant and Ollie, and they called themselves the Rolling Stones, after a Muddy Waters' song. They soon tired of the name and became the Four Jivers. Allison was becoming a skilled guitarist, influenced by B. B. King and Otis Rush. Allison's big break came in 1957, when Howlin' Wolf invited him to the stage. The same year he worked briefly with Jimmy Dawkins, playing in local clubs. Freddie King took Allison under his wing, and after King got a record deal, Allison took over his gig in the house band of a club on Chicago's West Side. He worked the club circuit in the late 1950s and early 1960s, with Little Richard, Magic Slim and Muddy Waters.

                                  

He recorded his first single in 1965. In 1967 he achieved some national recognition through the compilation album Sweet Home Chicago, for Delmark Records. This prompted Delmark to record an album, Love Me Mama, with him and his then group, the Blue Nebulae, in 1969. The label's manager, Bob Koester, said that he believed Allison to be "one of the most original exponents of the modern blues". The same year he appeared at the Ann Arbor Blues Festival and played on the albums Further On Up The Road by Shakey Jake Harris and Slim's Got This Thing Goin' On by Sunnyland Slim. 

He performed a well-received set at the 1969 Ann Arbor Blues Festival and as a result was asked to perform there in each of the next three years. He toured nationwide. Solo success seemed possible when he became the first and, in the event, the only blues performer to sign with the Tamla-Motown label, but the organisation did not know how to promote the three albums he made for their subsidiary, Gordy: Bad News is Coming (1972), Luther's Blues (1974) and Night Life (1976) are now collectors' items.

In 1976 Allison came to Europe for the first time. He was disillusioned by the commercial failure of his Gordy albums and he noted that Memphis Slim and Champion Jack Dupree had settled with considerable success in Europe. He moved to France in 1977 and he told audiences, "I don't speak French but my guitar does". Allison was known for his powerful concert performances, lengthy soulful guitar solos and crowd walking with his Gibson Les Paul. He lived briefly during this period in Peoria, Illinois, where he signed with Rumble Records, releasing two live recordings, Gonna Be a Live One in Here Tonight!, produced by Bill Knight, and Power Wire Blues, produced by George Faber and Jeffrey P. Hess. Allison played the bar circuit in the United States during this period and spent eight months of the year in Europe at high-profile venues, including the Montreux Jazz Festival. In 1992, he performed with the French rock and roll star Johnny Hallyday in 18 shows in Paris, also playing during the intermission.

In order to appeal to a wide following, Allison included some rock numbers by Jimi Hendrix and the Rolling Stones in his repertoire. On being told that he played like the Stones, he said, "That's a no-no. As far as I'm concerned they play like me." He worked with his son, Bernard, a singer/guitarist who has released his own albums with his father playing harmonica. In 1988 Allison returned to his blues roots with the highly-acclaimed album, Serious. This obtained recognition in the United States and he was signed to the Chicago-based Alligator Records with Soul Fixin' Man (1993) being his first American album in 17 years. The magazine Guitar Player thought it combined "the wisdom of a master storyteller with the elegance of B. B. King, the elasticity of Buddy Guy and the big sting of Albert King". Allison toured the United States and Canada. Acknowledging the applause at the Chicago Blues Festival, he shouted, "I'm not only back. I'm unstoppable." He won four W. C. Handy Awards in 1994. With the James Solberg Band backing him, nonstop touring and the release of Blue Streak (featuring the song "Cherry Red Wine"), Allison earned more Handy Awards and gained wider recognition. He won several Living Blues Awards and was featured on the covers of blues publications.

During his tour on 10 July while performing on stage, Luther Allison felt dizzy and lost co-ordination. He was taken to hospital where it was discovered that he had a tumour on his lung that had metastasized to his brain. He cancelled appearances and in order to help with medical bills, a fund-raising night at the 100 Club in London was arranged. He began radiation therapy on July 16, which lasted until August 1. In and out of a coma, Allison died on August 12, 1997, five days before his 58th birthday, in Madison, Wisconsin. He is buried at Washington Memory Gardens Cemetery in Homewood, Illinois. His final album, Reckless, had just been released five months prior.

Luther & Bernard Allison

His son Bernard Allison, at one time a member of his band, is now a solo recording artist. Bernard, the youngest of nine siblings, was exposed to all kinds of music by his father. The younger Allison made his first venture into the music business at age 13, when he performed on a live album with his father.

 Luther Allison was posthumously inducted into the Blues Hall of Fame in 1998. In 2000, the Chicago Sun-Times called him "the Bruce Springsteen of the blues". He was a strong influence on many young blues guitarists, such as Chris Beard and Reggie Sears.

(Edited from Wikipedia and The Independent) 

Buddy Lucas born August 16, 1914

Buddy Lucas (August 16, 1914 – March 18, 1983) was an American jazz saxophonist and bandleader, who is possibly more famous for his session work on harmonica. From the late 1940s onwards, Buddy Lucas was a much-in-demand session saxophonist on the East Coast, who also recorded quite a few vocal sides. Like Big Al Sears, Warren Luckey, Willis Jackson and various other New York saxophonists, he played his part in the growth of rhythm and blues, without garnering much acclaim. As a bandleader, he led bands such as Buddy Lucas & His Band of Tomorrow, the Gone All Stars, and Buddy Lucas & His Shouters, and he also went under the stage name of "Big" Buddy Lucas.

Born Alonza Westbrook  Lucas in Rockville, Alabama, Buddy moved to Stamford, Connecticut, at the age of three. When he was around eleven years, a neighbour noticed his interest in music and gave him a clarinet. At 19 he bought a saxophone and began playing in the Stamford night clubs and taverns. In the late 1940s he went to New York City, where he met drummer Herman Bradley, who helped him get his gigs and record dates. A booking agent, Jimmy Evans, got Buddy to form a band, and this, tied in with a 15 minute radio show hosted by Alan Freed on which he was a regular, helped to spread the word.

                                    

Lucas made his first (vocal) recordings in 1951, for Jerry Blaine's Jubilee label, where he also became leader of the house band. After the first release, "Soppin' Molasses", Buddy renamed the combo "The Band Of Tomorrow". His second disc, a revival of the 1927 standard "Diane", went to # 2 on the R&B charts in April 1952, but the flip, an instrumental version of "Undecided", was much more interesting. Dave Penny has called it "a marvellously anarchic slab of proto rock n roll". This set the pattern for most of his following Jubilee singles : a lush ballad on the A-side and an R&B sax led instrumental on the flip. "Laura"/ "Organ Grinder's Swing" even had a UK release on London L 1181 in June 1953. Apart from "Diane", Lucas had one other hit in 1952 on Jubilee, "Heavenly Father", sung by Edna McGriff, "with Buddy Lucas & His Band of Tomorrow" .

In 1953 Buddy moved to RCA, where he had two singles released on the parent label and three on its subsidiary Groove. He was also a songwriter, his most successful composition being "Steamboat", which the Drifters recorded in Hollywood in September 1955, produced by Nesuhi Ertegun. It went to # 5 on the R&B charts, while the other side, "Adorable", did even better and topped the R&B lists for one week. After a 1956 single for Savoy, Buddy had six 45s released on Bell Records, a budget label specializing in covers of the big hits of the day. They're not bad, but no match for the originals. Next came a short period with George Goldner's Gone label, where Buddy became the nucleus of the Gone All Stars. This session band had two instrumental singles released in 1958, the first of which, " 7-11" (a rock version of Perez Prado's "Mambo # 5"), went to # 30 on the Billboard pop charts. In 1959 he worked with Dave "Baby" Cortez on the Clock sessions that produced "The Happy Organ".

Until 1964, Lucas went on to record for a host of other labels, but also worked as a session musician. The list of artists on whose records he has played is very long and includes the Orioles, the Chantels ("Maybe"), Nappy Brown, Big Joe Turner, Frankie Lymon ( "Why Do Fools Fall In Love"), LaVern Baker, Paul Anka, Mickey and Sylvia, Little Anthony and the Imperials ("Tears On My Pillow"), Big Maybelle, Bill Doggett, Al Caiola, Little Willie John, and, in the sixties, Dion ("The Wanderer") Ray Charles ("Busted") and Aretha Franklin, among many others. Buddy is best known as a sax player, but his second instrument was the harmonica, a somewhat unusual combination. His excellent harmonica playing can be heard on "If You Gotta Make A Fool Of Somebody" (James Ray), "Bell Bottom Slacks And A Chinese Kimono" (The Coasters) and "Camp Meeting" (King Curtis), to name just a few. Three Buddy Lucas LP's were released in the 1960s, one on Tru-Sound (a Prestige subsidiary, 1962), one on United Artists (1963, a harmonica album) and one on RCA Camden ("Honkin' Sax", 1967).

In the late 1960s Buddy slowed down on studio work and concentrated on TV and radio commercials. Starting in 1972, he played in the band in the Broadway musical "Purlie" for almost two years, but that was to be his last big job. In 1976 his diabetes began to take its toll. He came back to Stamford and began to work with his old friend Herman Bradley in a trio at the Catch 22, a local club. In 1980 his right lung was removed after cancer was discovered, but he was still able to play a little sax and harmonica in Bradley's group. But in December 1982 he finally had to give up due to ill-health and he passed away in Stamford, Connecticut on March 18th, 1983, aged 68.

(Edited from This Is My Story & Wikipedia)

Willie Dunn born August 14, 1941

Willie Dunn (August 14, 1941 – August 5, 2013) was a Canadian singer-songwriter, film director and politician. Born in Montreal, he was of mixed Mi'kmaq and Scottish/Irish background. Dunn often highlighted indigenous issues in his work.

Born to a Mi’gmaq mother and father of Scottish / Irish descent, William Lawrence “Willie” Dunn was raised in Montreal with six sisters and a brother. He was also known as Roha’tiio, meaning “his voice is beautiful”. At eleven, Dunn discovered the music of Hank Williams and started playing the country’s greatest songs with a guitar given to him by his brother-in-law and sister at Christmas. As a teenager, Dunn spent hours listening to his musical hero and tried his best to pick apart Williams’ compositions. Dunn was a natural and started writing his own tunes within no time. He attended Montreal’s Rosemount High School in the 1950s, but dropped out after Grade 10 and enrolled in the Canadian Armed Forces (1960 - 1963)and received the UN Congo medal.

After basic training at CFB Borden in the province of Ontario, Dunn was sent to Africa in support of the United Nations peacekeeping initiative in the Congo region. Upon his return, Dunn left the army and picked up his dusty guitar. He also started writing poetry (as did Dunn’s father, a one time hobo, and poet in his own right, as well as a friend of notable writer and humourist Stephen Leacock).

Another spark for Dunn was a reverberating question from a Congolese teacher that Willie had met in Africa. The teacher expressed curiosity about the current status of Canada’s Indigenous peoples, eventually inspiring the burgeoning songwriter to learn more about his Native heritage. Dunn returned to Restigouche to visit his extended family and establish a stronger connection with his Mi’gmaq roots. Though a city boy at heart, Dunn felt loved and welcome in the community and visited whenever possible.

At the dawn of the 1960s, Dunn became active in the North American folk music scene, which provided him with an opportunity to further practice his craft and network with peers at hot spots like Montreal’s Fifth Dimension coffeehouse and later, the seminal Caffè Lena in Saratoga Springs, New York, whose stage was graced by the likes of Pete Seeger and a young Bob Dylan.In the mid-1960s, Dunn helped to open a coffeehouse of his own in Montreal called The Totem Pole on Rue Stanley. Still, the beckoning road, travel, and a desire for new experiences meant that Dunn didn’t stay settled in any one place for too long. Trekking across Turtle Island with an open mind and talent to burn, the roaming singer-songwriter lived the life of an old-time troubadour and grassroots radical. 

He relocated to New York City for a short spell, performing in Greenwich Village. Dunn then headed west, spending time on the Canadian Prairies as well as enjoying a yearlong stay in Vancouver, British Columbia, where he helped to form the Native Alliance for Red Power. He also contributed a selection of original music to George Ryga’s acclaimed 1967 play, The Ecstasy of Rita Joe. Throughout his journey, Dunn connected with a diverse selection of Indigenous people from all walks of life, observing, learning, and interacting with their traditions, vibrancy, rights, and struggles. In addition to his being, such gleanings would become a central focus of his creative output.

                                    

In the late 1960s, it appeared that Willie Dunn was everywhere. Back home in Montreal, he performed at Expo 67 where he met Samson Cree First Nation hoop dancer and musician Jerry Saddleback. Dunn also joined forces with Ojibway dancer, actor, media personality, and prominent Native advocate Johnny Yesno, who helped him achieve an extensive song writing commission from the Canadian Broadcasting Corporation’s (CBC) Indian Magazine, later known as Our Native Land, a national half-hour news and cultural events radio program centred on Indigenous life in Canada.Dunn was already a CBC veteran at this point, having sung two songs on the national broadcaster’s Songs of Man television show in 1965. It was during this busy period that Dunn penned the bulk of his most well-known honouring songs: “The Ballad of Crowfoot,” “Crazy Horse,” “Louis Riel,” and “Charlie.”

Willie also became involved with the National Film Board of Canada (NFB) through their Challenge For Change program, an initiative that used film production to spotlight pertinent social issues among various communities across the country. The NFB’s “Indian Film Crew” was spawned from this project and taught Dunn the basics needed to shoot and edit his own celluloid visions. At the NFB, Dunn wrote a song entitled "The Ballad of Crowfoot" and directed a ten-minute National Film Board of Canada film of the same name in 1968. It was the first NFB film directed by an Indigenous person, about Siksika chief Isapo-muxika (Crowfoot); These Are My People (1969), the first NFB film made by an all-Indigenous crew. Both the song and video are about inhumane and unjust colonial treatment of indigenous Canadians, as well as their taking charge of their destiny and becoming politically active. The film received several awards including a Gold Hugo for best short film at the 1969 Chicago International Film Festival. The Ballad of Crowfoot has sometimes been credited as the first known Canadian music video. His other films include The Eagle Project, The Voice of the Land and Self-Government, and The Other Side of the Ledger: An Indian View of the Hudson's Bay Company. His music was also used for the films Incident at Restigouche (1984), about a 1981 police raid on the Listuguj Mi'gmaq First Nation, and Okanada, about the 1990 standoff in Oka, Quebec between police and native protesters.

He released several full-length albums of recorded music including Willie Dunn (1971), The Pacific (1980) and Metallic (1999). Metallic reprises material from both earlier releases. Dunn's most famous song, "I Pity the Country", was a critique of colonialism and anti-indigenous racism. In 2004 Dunn released the album Son of the Sun with sixteen songs (including three live recordings). Not willing to simply be labelled a protest singer, however, the actively touring performer and recording artist released music in different genres (including country and traditional aboriginal) and even set the words of William Shakespeare and T.S. Eliot to native drumming and chants. Dunn also wrote and performed music for theatre and radio and published several poems and song texts.

A long-time member of the New Democratic Party, Dunn defeated Mohamed Bassuny to win the party's federal nomination for Ottawa—Vanier in the 1993 federal election. He received 3,155 votes (6.50%), finishing fourth against Liberal incumbent Jean-Robert Gauthier. He participated in the Culturally Diverse First Peoples Arts Showcase tour in 1998, and the Nations in a Circle spotlight of 2002. He was inducted into the Aboriginal Walk of Honour in 2005 in Edmonton and received a lifetime achievement award at the Canadian Aboriginal Music Awards (now the Indigenous Music Awards).

While his once-constant touring schedule had somewhat slowed down by the 2000s, he continued to perform until his passing at his home in Ottawa on August 5, 2013. He had been suffering from a variety of health complications for some time, according to his son, Lawrence Dunn. In 2020 the Prism Prize, Canada's annual award for innovations in music video, introduced a lifetime achievement award named in Dunn's memory, with choreographer and video director Laurieann Gibson named as the first winner of the award.

(Edited from Light In The Attic bio, The Canadian Encyclopedia, CBC News & Pitchfork) 

Priscilla Wright born August 14, 1940

Priscilla Wright (born August 14, 1940) is a Canadian singer most famous for the song "The Man in the Raincoat", which she first released in 1955, and re-recorded in 1988.

Don Wright

Priscilla Wright was born in London, Ontario. Her father was choir conductor and composer Don Wright, and her maternal grandfather was Canadian Prime Minister Arthur Meighen. When little Priscilla Wright was in school, a teacher instructed her to sing soprano in the school choir. At home, her father, a choral leader, thought her voice sounded strained. He had a suggestion. "I put it down a half-octave," she said, "and this other voice came out." In the 1950s, her father began writing the catchy, irresistible and, it must be said, sometimes annoying (but always unforgettable) tunes that would earn him the nickname Canada's Jingle King. He immortalized the attributes of soap, gas stations, chocolate bars and Carling's Red Cap ale. 

One of his earliest efforts was a ditty for Bromo-Seltzer for which he pressed his daughter into service. "Lum-dum-da-dum da-dum da-dum," she sang, "I'll take Bromo for fast relief." The jingle was a huge success, the singer sounding carefree and sophisticated. Record companies and talent agencies came looking for the unknown vocalist, only to discover she was a schoolgirl with braces on her teeth. Mr. Wright signed an agreement with Sparton, a local label, which in 1955 released a platter recorded at radio station CFPL, where Mr. Wright was manager.

                                      

Please Have Mercy was the song designed to launch the girl's career. Instead, it was the record's flip side that took off. "My little soul just went into it," she said. Her lovely contralto became a celebrated voice. At the age of 14 years old, her rendition of Man in a Raincoat made her a cross-border sensation. The sheet music, which included a photograph of her cuddling a kitten, sold in the hundreds of thousands. The 78-rpm record climbed to the top of the hit parade in Canada and It sold over half a million copies in the U.S. and hit No. 16 on Billboard's chart of "Most Played by Jockeys". No less a vocalist than Ella Fitzgerald encouraged her to "keep singing, honey." 

Her maternal grandfather, Arthur Meighen, the former Conservative prime minister, told Maclean's magazine he was proud of his only granddaughter. "I don't know the first thing about music," he said, "but I know Priscilla is a success, so she must have worked hard and have talent." In the fall, Miss Wright was invited to join a road show emceed by disc jockey Bill Randle. On Oct. 20, the line-up for a daytime concert at Brooklyn High School in a Cleveland suburb included Pat Boone, the Four Lads, Bill Haley and His Comets, and a young man making his first performance north of the Mason-Dixon Line.

Miss Wright took the stage just before Mr. Presley. "He was kind of shy. Quiet. Polite. He was different backstage than he was on stage. As soon as his name was called, his lip would droop. The public Elvis was different than the real one." She played several shows with Mr. Presley, who would not make his debut on Mr. Sullivan's television program until the following year.

Her label sought to cash in on her unexpected success, although other releases failed to capture the public's imagination. (Among them was I Wanna Dance to a Mambo Combo, a novelty song written by comedian Johnny Wayne and Bobby Gimby) A second hit proved elusive. Still, a long and spectacular career seemed possible for the little lady from a small farm outside London, Ontario. Instead, on the cusp of stardom, she watched her parents reject contract offers from Hollywood and record companies, insisting she complete her education. She would graduate from the University of Toronto and continue to sing, although the momentum of her career had been lost.

She later married the broadcast journalist Geoff Scott, whom she helped win five consecutive elections as a Progressive Conservative member of Parliament. (They have since divorced.) In Ottawa, she revived her career as a pop and jazz vocalist, enjoying a long tenure at the Chateau Laurier Hotel with band leader Moxie Whitney. She returned to the Canadian charts in 1985 with a Michael Bolton song. Three years later, she issued a re-recording of the song that made her famous, which again placed high on the Canadian charts. She also enjoyed sold-out symphony performances in Toronto and Hamilton. In 1992, she released her first album. When You Love Somebody earned her a Juno nomination the following year as most promising female vocalist. The honour came 38 years after she had her first hit. She performed at theatres, conventions and jazz festivals, including the main stage of the Montreal Jazz Festival and with top bands such as Peter Appleyard and his Swing Fever Band.

She released her album "The Singer and the Song" in 2002, which gained coast to coast U.S. airplay and rave reviews. In 2000, Priscilla was chosen as vocalist for a new Mart Kenney Big Band CD, recorded in Vancouver with the finest musicians. Rave reviews included such comments as: "The sultry, yet coy vocals of Priscilla Wright add a complex elegance making this a magical event for player and listener alike." In 2005, the Rock and Roll Hall of Fame in Cleveland invited her to perform to mark the 50th anniversary of the Brooklyn High show she did with Elvis Presley. In 2012, Priscilla was invited back to the Rock and Roll Hall of Fame for a book launch. In 2016, in her hometown, Priscilla was inducted into the London Music Hall of Fame. While she no longer tours extensively, her official website highlights her recent band projects and ongoing musical legacy.

(Edited from "The Globe & Mail" & Wikipedia)