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Holly Woods fronted Toronto in the late 70s/early 80s, and went on to record a record shortly after with her former Toronto bandmate Scott Kreyer that was never released. A chance conversation between Scott and Brad Trew of Cyclone Records led to Holly and Scott releasing this record after 20 years!
Holly, Scotty and Brad all answered some questions about the project.
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The tracks on this release were originally recorded in 1985, what was behind the decision to put them out now?
Scott: Actually the decision was provided for us through pure happenstance. I had procured the master multi-track recordings of the sessions years ago and had them digitally copied for safe keeping. Since the project failed to find a home as was intended over the years I had sought interest from record companies or any possible opportunity for an outlet of the material, including seeking other artists to cover certain songs. This past winter, Brad Trew of Cyclone records happened to run across me on the internet. Brad and I have known each other since 1983 when I produced a demo for a band in which he was the drummer. When I asked the inevitable 'so...what are you doing these days?' and he told me he had established and was operating an independent record label, I asked him if he wanted a record. I explained the circumstances, we met, we put a plan together, and five months later: this CD. I believe that these recordings are something special for Holly and myself. Both of us have been through more then 23 years carrying the disappointment and frustration of how and why nothing had ever come of the project until now. I suppose we could conclude that things happen for a reason. With what seems like a resurgence in 80's music the timing for the 'Live It Up' CD, today, is better then ever.
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What, if anything, has been done to the tracks since they were recorded? Were they remastered?
Scott: This is a great question because typically one might presume that to work with raw off-the-floor track recordings from more then twenty years ago for the purpose of release to the public, often there is great evaluation and reconstruction of sounds and in some cases maybe even performances to bring the recordings 'up to date' so to speak. From the initial idea came to us to put this material out we all decided to deliberately not change a thing. Yes, Brad Trew and I did remix the tracks and we did add some reverb to Holly's vocals. Other then that, the instrumentation on every track is exactly as it stands on the original multi-track recordings. This includes some performance mistakes that were simply mixed lower to avoid any clash as well as deliberately including out takes and even some vocal takes that were never intended to be included in the finals. Holly and I wanted to offer something for the people who knew us from the old band more so then trying to launch something and compete with the general cluster of new releases. We wanted to deliver what we heard the way we heard it in the way it was put to tape at the time it was written. Not try to reinvent the project. The listener is hearing only what was performed on each song and not engineering production magic or band-aids. Maybe someday if it was warranted, we could go back and do some messing around with some of the tracks... I've always wanted a real church choir in 'Where Are We Now' or maybe dark cello lines to add to the bass in 'Until We Change'...tuff like that... maybe?
How is the process different this time around than the last release with Toronto?
Holly: The songs are all written by myself and Scott Kreyer. Every song was originally written, recorded, and produced in Atlanta, Georgia, 2 years after the demise of the TORONTO band, it being the 2nd Woods/Kreyer solo effort. 'Assault And Flatterya was Scott's and my first solo effort, but was pulled from the shelves because of record company bankruptcy, so it never had the chance to be released properly.
What were you up to between Toronto and now?
Holly: The short story is I've been living, singing, and recording in several cities in the U.S: Houston, Texas; Atlanta, GA; New Orleans; LA, plus I've been touring in Canada singing TORONTO songs, along with my own blues originals, twice a year in Canada since the band TORONTO disbanded in 1985. I now have a blues band here in my hometown of Durham, North Carolina, and continue to write songs and tour in Canada.
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Holly on Toronto
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'When I first moved to Toronto, the camaraderie between musicians was magical. We were all working towards a similar goal, and competition was stiff, but friendly and helpful. We weren't hesitant to help each other, and make guest appearances on each other's records, (with no accolades or big publicity I might add) and jam at everyone's house on days off. It was a time I will never forget.'
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Did you take time off from performing between Toronto and this solo release?
Holly: (See answer to question 4) Oh no, absolutely not, since then, I never stopped singing and recording my own material, and touring live.
What kind of promo are you up to for this record?
Scott: A lot of that is going to depend on what happens from here. Specifically, we have manufactured a relatively small number of these CDs and have a strategic plan that focuses on areas where the 'Toronto' band had some of its best market successes. Certainly, our plan includes any and all media attention, like this opportunity you are offering us. Cyclone is a small indeed label and like all indies there is not a lot of power in the mainstream music or news media so we are relying a lot on a one-step-at-a-time philosophy. In your question are you asking is there any chance of live performances of the material? The answer is yes, definitely. When? Again, that will depend on the right time. For now our attention is on getting the material to as many media vehicles, internet critique, interviews, magazines, newspapers, and radio as possible.
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How did you hook up with Cyclone Records?
Scott: Well, again, Brad literally fell across my name and email address and thought enough to contact me to wish me a Happy Holiday Season via a little flashback. That led to sharing a phone conversation to catch up and when we discovered what each other had it seemed totally logical that we should put both elements together and see what happens. And I am happy to say that so far we both are quite enthused over the reaction we're getting to the project.
What is it that keeps the passion alive all this time?
Holly: Music is my life's work, I've been writing and singing live since I was 15 years old here in North Carolina, so performing is like breathing to me, it's a life necessity.
What is your favorite gem of Toronto, the city (either when you first moved here or now)?
Holly: When I first moved to Toronto, the camaraderie between musicians was magical. We were all working towards a similar goal, and competition was stiff, but friendly and helpful. We weren't hesitant to help each other, and make guest appearances on each other's records, (with no accolades or big publicity I might add) and jam at everyone's house on days off. It was a time I will never forget. Just hanging out with Bryan Adams, Kim Mitchell, all the guys in Rush, and so many more musicians that went on to international stardom, was almost an every night event back in those days.
What are some of your favorite local venues to play?
Holly: Any place that has a good blues jam and long hours!!
Do you have any favorite local bands to play shows with?
Holly: All of them.
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What first attracted you to this project?
Brad: I was a huge fan of Toronto when I first became a musician myself. I had the entire Toronto discography on vinyl. I then met Scott Kreyer through a close friend of mine back in the early 80's and Scott taught me so much about the realities of the business that I still use as a benchmark today. When Scott and I reconnected last winter and I learned of this project, I knew I wanted to be part of it. Then I heard samples of the tracks in a rough unmixed format and knew I had to be part of it. This music is Holly Woods at the peak of her success at a time when, unfortunately, Toronto was unable to continue. It is essentially a time capsule of that time period. I felt that this was music that needed to be heard, not only because of my friendship with Scott, but because this is an unheard part of Canada’s music heritage.
What was your role in putting this project together?
Brad: Well, initially, the usual record label kind of stuff that no one really likes but is unfortunately part of the business: negotiations, meetings, contracts, etc. As I got deeper into the project, it was decided that we would enhance the quality of album to current standards through a new remix while retaining its original magic. I undertook the mix with regular input from Scott and also mastered the album. I also did the graphic work that appears in the final package. Cyclone is also doing the promotion and distribution of the album through stores in Canada, the UK and Europe and digitally through online retailers such as iTunes, Napster, etc.
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What are the challenges of releasing a project like this?
Brad: There are three distinct considerations, all of which have their unique challenges and benefits. Firstly, this is music from a Canadian icon that has helped define and set the bar for other female vocalists. Her Juno nomination for Female Vocalist of the Year in 1984 legitimizes that claim. The music has to be at least as good as the Toronto catalogue to have any credibility and life of its own. Secondly, the music will not only be compared against everything that has come before, but everything that has come after it – twenty years of music history, in fact – and does not benefit nor is it influenced by current trends. This is also a time of a retro resurgence with a comeback of music from the 70's and 80's. Lastly, Cyclone is a small indie label whose only currency is our passion for the music we support. We do not have budgets that rival major labels and we aren't interested in buying success. Our success is built on our passion and from building relationships one step at a time, nurturing the opportunities that benefit the artists.
How has the project been received so far?
Brad: The one thing that I noticed immediately was the outpouring of support from Holly's fans from the past. I receive emails on a regular basis from people saying that Toronto was the first concert they ever saw, or that Holly was their inspiration to get into music themselves. Clearly Holly's influence went beyond just providing great music…she also provided some real memories, experiences and life changing moments for fans. Holly embraces her relationship with her fans and makes herself accessible to them. That in itself is huge. We have seen CD sales from fans (some of whom bought multiple copies) from all over the world, predominantly from Canada but also from all through the US, the UK and Europe. From the industry's perspective, we have also had opportunities come our way from the UK, Germany and here at home based on the strength of the music and Holly's history. All of this reaffirms that this project was clearly worthy of releasing and a good choice for Cyclone.
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The Playlist
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Holly's Playlist
1. Rehab - Amy Winehouse
2. Royal Blue - Koko Taylor (entire CD)
3. All MY Relations - ULALI
4. Under Pressure - Joss Stone
5. The Best Of Rough Trade - Carole Pope (entire CD)
I am very old school when it comes to what I listen to on a daily basis!!!!
(Honorable mention: Maroon 5 and The Gossip are also in my CD player.
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