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 Murray McLauchlan moved downtown and never looked back. Armed with a guitar and a backpack, he ran away from home at the age of 17 and headed straight to Yorkville. He wound up crashing at the Village Corner coffeehouse, sleeping on a mattress in the basement and soaking up the sounds of guitarists like Amos Garrett and Jim McCarthy and folksingers including Al Cromwell and Elyse Weinberg. The Village Corner had been the place where artists like Ian & Sylvia, Gordon Lightfoot, David Wiffen and Bonnie Dobson all got their start.   The son of a trade unionist, McLauchlan developed an artistic flair while attending Central Technical School, where he took classes from renowned Can...

John Kay was a German-born singer who was playing folk-blues guitar and harmonica at Yorkville’s Half Beat and crashing above the Night Owl in an apartment belonging to Vicky Taylor, Joni Mitchellʼs ex-room-mate. One night in 1965, during an after-hours jam session above the Half Beat, some of the Sparrows came up, heard Kay and joined in. They loved Kayʼs bluesy edge and later suggested he drop by the Devilʼs Den and play some harmonica. The Sparrows then asked Kay to join—but not without a makeover.  According to Jerry Edmonton, Kayʼs hair, for one thing, didnʼt look right. “It was all slicked back. He looked more like James Dean, black hair, greasy and combed back. He was a bit pudgy...

Starting in the mid-1960s, Luke & the Apostles—a quintet fronted by the Mick Jagger-like Luke Gibson—were packing Yorkville’s Purple Onion night after night. Although guys were drawn to the Apostlesʼ raw covers of songs like “Crossroads,” “Good Morning Little Schoolgirl” and “You Canʼt Judge a Book,” girls were drooling over the sight of Gibson. Off-stage, Gibson was shy and quiet, but on-stage, he was transformed into a writhing, shaking, screaming package of pure sexual energy. With his curly hair and boyish good looks, Gibson was the bandʼs biggest asset. But the Apostles—guitarist Mike McKenna, keyboardist Peter Jermyn, bassist Jim Jones and drummer Rich McMurray—sounded good enough ...

By the end of the 1960s, the psychedelic-rock revolution was peaking. Dream-laced lyrics and trippy effects, including distortion, tape-loops, echoes, delays and phase shifting, were rampant. Adventurous musicians were busy employing a new array of instruments to conjure up kaleidoscopic sounds. The Beatles, leaders in the new music, had already introduced the sitar on Sgt. Pepper’s and the Mellotron on “Strawberry Fields Forever.” The year 1969 saw numerous bands tripping out with delightfully freaky albums, including Skip Spence’s Oar, Jefferson Airplane’s Volunteers and The Moody Blues’ On the Threshold of a Dream. During the winter of ’68, the members of Toronto’s Kensington Market were ...

Long before the term “world music” became a popular catch-all for sounds from around the globe, Malka & Joso were singing songs in Spanish, Italian, Hebrew, Creole French, Macedonian and Russian. During the mid-1960s, the handsome folk duo brought a distinctly international flavour to the Canadian folk scene, performing in coffeehouses and concert halls, at folk festivals and on television with their own weekly CBC program. Malka & Joso’s three albums for Capitol Records were the unlikely hits of the decade, outselling many of the label’s English-language albums. Malka Marom was born in Israel, the daughter of a cantor. Joso Spralja was born in the former Yugoslavia, the son of a fis...