Here is this week's Luminate Data Market Watch report which features Canadian music stats for the current week and YTD with comparisons to last year. This chart is published every Tuesday.
By External Source
Here is this week's Luminate Data Market Watch report which features Canadian music stats for the current week and YTD with comparisons to last year. This chart is published every Tuesday. The abbreviation "TEA" is a term used to describe the sale of music downloads or singles. A track equivalent album is equal to 10 tracks, or 10 songs.
Terry Draper
This week we also acknowledge the passing of Toronto scene influencer Sandy Stagg, , Canadian country guitar ace Roy Penney and English keyboardist and producer Bob Andrews.
Terry (Edward) Draper, a Canadian drummer and singer-songwriter best known as a member of noted 1970s progressive rock band Klaatu, died on May 15, at the age of 73, of leukemia.
An official obituaryreports that "Born in Toronto, and raised in Weston, Ontario, Terry’s two passions growing up were hockey and music. But music scored the win when he turned down a chance to join an NHL team’s training camp as a goalie to play drums in a band. And did that ever turn out to be a wild ride."
"One of his first drumming gigs was in 1966 at his high school, Emery Collegiate Institute, in J.P. and The 5 Good Reasons with his life-long friend Virgil Scott. As a young musician in the late 1960s, Terry reveled in the Yorkville scene while studying his craft at York University, but left the music program to play in such bands as The Trax, Mudcow, Funn, and Klaatu.
"Never afraid of hard work and long hours, Terry supported his music career as a roofer by day and drummer by night. But work soon turned to creative play when he joined Toronto band Klaatu in 1974."
Klaatu was formed in 1973 by the duo of John Woloschuk and Dee Long. After recording two non-charting singles, the pair added Draper to the line-up, and this trio remained intact throughout the rest of the band's recording career.
When Klaatu decided to release their first album with no names or photos, a rumour started that the record was the work of a reunited Beatles. That spread like wildfire, and certainly helped the album grab attention.
Commercially, the highlight of Klaatu's career was the track "Calling Occupants of Interplanetary Craft," co-written by Terry Draper and John Woloschuk. Produced by Terry Brown at Toronto Sound studios and featuring mellotron and Moog Sonic V synthesizer, "Calling Occupants" was included on the album 3:47 EST (“Klaatu” in the U.S.) and released in September 1976. The song peaked at No. 45 in Canada and reaching Billboard’s No. 62.
Billboard noted its “spacey but lush sound texture” and commented on the song’s similarity to The Beatles’ "Day in the Life." That album sold to 50,000 copies at home and another half-million in the US.
"Calling Occupants .." then became a bigger hit for US pop duo The Carpenters in 1977. Canadian music publishing veteran Frank Davies worked that song, and he tells Billboard Canada that "the Carpenters version reached #1 in Japan and Ireland, Top 10 in the UK and Canada, and Top 30 in the U.S while the Carpenters album that featured the song went to #1 in many countries. As co-writer Terry enjoyed the Carpenters huge success with the song.
"I remember Terry being enthralled by the Carpenters cover version of his co-write - not only as a major production orchestrally (the L.A Philharmonic and a 60-voice choir) looking to match Klaatu's original keyboard-driven sound artistically, but moreso because it was a complete 180 in direction to the massive success the Carpenters had already achieved worldwide with their own beautifully crafted pop songs.
"I went to Las Vegas on the band's behalf as the Carpenters guest in order to meet with Karen and Richard and to hear their debut live performance of the song there. I called the band that night and Terry wanted to hear every nuance of the conversations I had had with them, which mostly revolved around the song's creation and the Klaatu production, which Richard, as the duo's producer, was genuinely in awe of. As songwriters, Terry and John were proud recipients of the song's induction into the Canadian Songwriters Hall of Fame in 2019."
Klaatu's s second album, Hope, released in 1977, included orchestral contributions by the London Symphony Orchestra, and was followed by a third full-length, Sir Army Suit. For both these releases, the band continued their policy of not including any individual names of band members in the credits, and they did not play any live shows to promote these albums.
The band dropped this anonymity for their fourth album, 1980's Endangered Species, but a continued refusal to perform live hurt its commercial chances, and it flopped. That led Capitol Records in the U.S. to drop the band, which then signed to EMI Canada, and released a final album, Magentalane, in 1981.
Reportedly as a contractual obligation to Capitol-EMI, the band played their first-ever live dates and toured Canada to promote Magentalane. In April 1982, Dee Long quit the group, which officially disbanded in August of that year. The three former members of Klaatu reunited in May 2005 for a brief performance at Toronto's KlaatuKon.
Reissues of Klaatu material on CD followed, most notably by Toronto-based independent label Bullseye Records, run by Jaimie Vernon. Bullseye released all the albums in their original track listings, released a tribute album to Klaatu, Around the Universe in Eighty Minutes, and in 2005 put out a two-CD collection entitled Sun Set. It compiled a number of rarities, demos, rare early singles, and the original version of Hope which had been delivered to Capitol Records, including the complete contributions made by the London Symphony Orchestra. Bullseye Records of Canada also released a compilation entitled Raarities in 2005, first on vinyl, and later on CD.
In 2011, Klaatu announced the creation of their new record label, Klaatunes Records, alongside an official website. The label's premiere was a re-release of Solology, and the band remastered their first three albums 3:47 EST, Hope and Sir Army Suit.
After Klaatu's demise, Terry Draper returned to his roofing business and then developed a career as a restaurateur alongside his continued music work. He concentrated on releasing solo albums at a highly prolific rate, and that focus remained to the very end. His obituary notes that "only hours before he was taken, Terry’s sons sat beside him in the ICU working on the finishing touches to his 22nd solo album. It was his wish to finish it, as was one last gathering (the man did love a party) with family and friends to say goodbye. It was our love song to him."
Of note in terms of his solo work, his former Klaatu bandmates Dee Long and John Woloschuk made appearances on Draper's 1997 album Light Years Later. His most recent release, Life Is Strange, a collaboration with Jamie Grant, came out in March 2025.A list of his solo albums is featured here.
Draper's obituary stressed that He never stopped creating. Ever. He loved playing his newest compositions to anyone within earshot. Like adult show-and-tell, he wanted feedback. Music was always the beacon of his confidence, and he was damn proud of what he could produce single- handedly, and often in tandem with close musical allies in the studio. He wanted to let you into his heart, and show you how he interpreted the world through soundscapes so complex and immersive, it was overwhelmingly cinematic in scope."
"His trademark sound took us on a myriad of sonic adventures. Some recounted trips he'd taken in real life - from Mexico to Greece to the great Pyramids of Egypt. Or places he'd wanted to experience but had yet to travel. He'd often tell his wife Anna, 'This is a road we've never been on before.' The thrill was the great unknown. Only through Terry's music could you enjoy five-minute, or eight-minute, or ten-minute travelogues through both time and space. Three minutes just wasn't long enough to tell the stories he had to tell."
""Thank you, Terry, for wearing your heart on your sleeve and singing it to us in the form of ballads, and lullabies, and symphonic opuses. You've touched all of us in ways we can never repay, and will not soon forget. As a husband, as a father, as a troubadour to the world
Draper also played with numerous Toronto bands before and after Klaatu, and he listed all these on his website.
Colleagues and friends of Draper posted tributes on social media and to Billboard Canada. His longtime friend and bandmate, vocalist Virgil Scott, posted this homage on Facebook: "2 weeks ago my brother in music of 60 years passed away. Terry Draper and I met when we were 15, we were both on hockey teams... One day we were in his basement and I noticed a drum kit...Hey man, you play drums ?...Well, that was it we were connected for life...We were a force together with numerous bands including The Innocence Of Virgil Scott.
"I could write a book, but what I will say is that we always loved each other and had each other's back...I performed for 50 years, he recorded for 50 years, 21 albums and I sang some BG vocals for him and he would come and see me perform...That's a wonderful, fantastic, life long ride...Thank you Terry my brother , you have always been an inspiration to me."
Frank Davies recalled to Billboard Canada that "It's been over 50 years since I signed Terry Draper and his bandmates, John Woloschuk and Dee Long - aka KLAATU - to my Daffodil Records label through the auspices and mentorship of their 4th wheel at the time, my friend, record producer Terry Brown. My relationship with Klaatu, first as their label, then 'manager', and later as their publishing administrator continued on in one way or another despite their having stopped recording as a band.
"If John was the art and pop aficianado of the group and Dee the progressive, inventive genius, Terry Draper was surely, first and foremost, their longterm engine, pilot and the driving force behind maintaining their presence - not to mention the author of his own prolific body of solo work ever since.
"Terry was vocal, outgoing, brand-conscious and protective and, like his bandmates, he was genuine, sincere and all about the music. As the co-writer and singer on the band's biggest hit 'Calling Occupants of Interplanetary Craft' he became the band's marketeer after Dee left to work with George Martin at the AIR London studios and John pursued his accounting career."
Draper's official obituary states that "A celebration of life for Terry will be held at a later date. In lieu of flowers, please make a difference in someone’s life: whether that be donating to a children’s music program, supporting live (and recorded) music, or helping Princess Margaret Hospital with its Quest to Conquer Cancer. Terry would approve."
Andrew Matheson, a Juno-nominated Canadian rock singer-songwriter and author who made a splash on the '70s English rock scene, died in London, on May 31. His age has not been reported.
Raised in Canada, Matheson moved to England and, in 1971, while still a teenager, he co-founded the glam rock band the Hollywood Brats. Commercial success eluded them, and the group released just one self-titled album, which originally only ever came out in Norway, and barely sold 500 copies. The band broke up in 1975.
In a 2016 feature profile of Matheson, English publication The Independentwrote that "Formed in 1971, the Brats lasted but four years, during which time few even knew of their existence, though Matheson does like to point out that The Who’s Keith Moon considered them the greatest band he had ever seen. Their music was full of sneer and lippy self-loathing, and a sense of palpable violence that projected itself on to anyone that did happen to catch them live."
The Independent feature recalled Matheson as a real hellraiser in those Bratty days. "Matheson hobnobbed with (and stole from) Cliff Richard, punched a young Freddie Mercury in the mouth for having the temerity to call his band Queen (before renaming themselves, The Hollywood Brats were The Queen), and managed to alienate every record company that came sniffing," they wrote.
"Even when his band was thrown a lifeline, Matheson managed to torpedo it. In 1974, Mick Jones, not yet of The Clash, introduced him to an eager Malcolm McLaren, convinced the Brats might just be on to something. Matheson considered McLaren a man of no substance, and sent him packing. McLaren had to settle for signing The Sex Pistols instead."
The work of the Hollywood Brats was later hailed as proto-punk and gained a cult following. They influenced many members of bands who became prominent in the punk scene, and Hollywood Brats guitarist Casino Steel would later go on to play in The Boys, a still active punk band..
In 2015, Matheson published a strong-selling memoir of those days, Sick On You: The Disastrous Story of Britain's Great Lost Punk Band. Published in North America via the famed publishing house Penguin/Random House, it garnered excellent reviews. Highly respected U.K. music monthly Mojo named it Best Music Book of 2015 and The Independent stated "it might just be the most entertaining music memoir ever written."
When Matheson's memoir was published, his first Canadian interview to promote it was with this writer, for FYI,just after he'd done extensive radio interviews for U.S. outlets and received a rave review of Sick On You in The Washington Post.
He recounted his day of radio with typical colour. “It incorporated a full bottle of Jameson’s whiskey. There were calls from across the U.S. ‘Hey its Rusty Baxter here from KLA in Des Moines.’ Half were live and half taped. I’m a dangerous cannon when it comes to live, but we pressed on and created some trouble. Bring on the lawsuits!”
Matheson commented then that he expected the book to travel well. “It is not a parochial story. I don’t think the Hollywood Brats story can be compared to any other story. It is unique and insane. It was a tragic failure but a glamorous failure, which is good. I think it is being perceived exactly as intended on the printed page. If I can be completely candid, I did think the piece would be well-reviewed, but perhaps not quite this well! It has gone off the scale in terms of reviews. That is very heartening but I did think it was a worthwhile piece. But getting Mojo’s Book of the Year? Things like that are unpredictable. I expected to get a trophy but I got six pints instead. That’ll do."
He added that “whenever I read biographies, my favourite part is always the struggle. Once they’ve made it and they’re playing Madison Square Garden, it ceases to be of interest. I love the squalor, the struggle, and the heartache. The Hollywood Brats story was nothing but that!” Read that full feature here.
Matheson released a debut solo album Monterey Shoes in 1979, out on the Ariola label in Europe and the U.K. and Quality Records in Canada. Then with Quality, Toronto label executive Larry Macrae worked that album. He recalled to FYIthat Monterey Shoes was “a great alt-pop album. Not only was Andrew the most handsome artist I had ever worked with at the time, he already had some interesting talking points. We got a bit of press when he came to Toronto on a junket but we never got any radio interest.”
Befriending Matheson at this time was another veteran Toronto record label exec Cameron Carpenter. He told FYI that "I first met Andrew in 1979 shortly after Monterey Shoes came out. His fashion sense, love of rock'n'roll and hockey knowledge soon made us fast friends. When he moved back to Canada in the early nineties I was in the position to help him out and as Director of A&R for MCA I signed Andrew and then proceeded to head to Oslo with former Hollywood Brat Casino Steele to record Night of The Bastard Moon."
A catalyst for the release of that second solo album was legendary Canadian music publisher Frank Davies. He informs Billboard Canada that "I signed Andrew to my company TMP-The Music Publisher in the early 1990s, which included publishing all the songs on Night of the Bastard Moon on MCA Records and in his accompanying book of words of the same name."
Released in 1994,Night of the Bastard Moon earned Matheson a nomination for Best New Solo Artist at the Junos in 1995. Commercial success again proved elusive, and he returned to London in 1995. Cam Carpenter notes that "although the album was not the success we both dreamed of, it is one of those special records that I still listen to and am honoured to have my name attached to." Check a video from that album here.
While residing in Toronto in the early '90s, Matheson became aware of interest in his Hollywood Brats material. Canadian music journalist Christopher Duda informs Billboard Canada that "Matheson even began performing with a local backup band- Slash Puppet thus reviving some Hollywood Brats songs."
Frank Davies tells Billboard Canada that "Andrew had been planning a third solo album but the recording was beset by his illness at every turn. More's the pity for all of us."
Davies also reports that "I continued to work with Andrew on and off since that time, right up to publishing his more recent works like 'Blame It On Me' on Bonnie Raitt's 3x Grammy-winning album, 2022's Just Like That."
In his FYI interview, Matheson reflected upon his compulsive love of writing. "Writing is a life sentence with no chance of parole. You just keep writing, you can’t help it. You come up with a good sentence, you write it down. Rhyming couplet, here I go. In the middle of the night, rolling out of bed and mumbling things into the tape machine, that is the curse of my life and I doubt it’ll stop soon. "
Once news of Matheson's passing spread on social media, fellow musicians, industry types and fans posted tribute.
On Facebook, Louder Than War posted this: "Sorry to hear of the passing of Andrew Matheson from the Hollywood Brats. The perfect bridge between glam and punk never got the success they deserved but Andrew wrote a great book about it. RIP."
Matheson's close friend and colleague Frank Davies offered a tribute to Billboard Canada that reads, in part: " To put it as succintly as I can, Andrew was one of the greatest lyricists and purveyors of words I have ever had the good fortune to work with. Whether in song, prose, as an author, or as a man of letters, literally and figuratively, I've constantly marveled at his lyricism.
"Those words of his included many postcards and emails sent to me from around the globe - always mini masterpieces of brilliant, insightful, witty commentary - his UK bestselling book Sick On You - the ridiculously funny, graphic story of his early 70s UK glam-punk band the Hollywood Brats - and to his many songs - gems of precise, lyrically-sublime visual and musical 'poetry'. The word ' formula' was not in Andrew's vocabulary.
"'Eighteen Straight Whiskeys' was Andrew's paean to his idol Dylan Thomas but I should also mention songwise, Ray Davies of the Kinks, whose pure songwriting Andrew admired hugely. His popular music taste and interest in artists and songs was limited by his critical eye lyrically. I see the quality of Andrew's lyric writing in the same light as I see the works of the other Dylan (Bob), Tom Waits, Canadians Ron Hynes and Leonard Cohen, and like Andrew, another Scottish-Canadian, Graeme Williamson [Pukka Orchestra]."
"Extremely gregarious among friends while extremely private otherwise, Andrew was truly an exceptional 'original'. I will miss him, his missives and his words. My thoughts go to his wife Kerry and his family."
Cameron Carpenter offered Billboard Canada this tribute: "Since my first listen to Monterey Shoes in 1979 to our last pint (or 2) together on a patio in The Beach it was an honour and a pleasure to know, work with, and be a friend of Andrew Matheson. He was an artist who was always true to himself and his prowess with a pen could both cut deeply or embrace you like a warm blanket. My thoughts go out to his family and his fans around the world."
Canadian music journalist Christopher Duda was a longtime fan of the Hollywood Brats and an enthusiast of Matheson's memoir, Sick On you. He recalls to FYIMusicNews that "after reading the book I e-mailed Andrew, boldly asking if there was an interest in doing a book tour of Toronto and possibly other cities. At that point, I even suggested that I could procure a backup band so he could perform some of the Hollywood Brats classics. Mission accomplished there was interest on Matheson's part. I made contact with interested parties on this side of the pond. However, it became apparent that logistically the excursion into the world of a book tour was most likely not going to happen for various reasons.
"I enjoyed my brief exchanges with Andrew and his witty humour and that I was able to get to know him briefly on some level. At this point, I hope others can expose themselves to this bright burning light known as the Hollywood Brats. Sadly, the music business can devour and spit out the bones like a rapid machine gun. However bands that were advanced in the continuum of time get recognized years later or posthumously. Seek out a copy of Andrew Matheson's book and explore the music he released in his lifetime. R.I.P Andrew Matheson. You will live on in our memories and your body of work."
Sandy Stagg (born Sandra Penelope Newton), an English-Canadian fashion entrepreneur and restaurateur who had a major impact on the Toronto scene in the '70s and '80s, died on May 28, at age 84.
Raised in London, Stagg moved to Toronto in 1968 with her second husband, a Canadian. She soon made a mark with her vintage fashion boutiques and then as co-owner of the Peter Pan restaurant in the heart of the burgeoning Queen Street West scene. She was a key player in that scene's fashion, art and music communities, and that continued when she relocated to the Yorkville area with the very hip Fiesta restaurant.
As an extensive obituary in The Globe and Mail reported, she dated members of top local bands The Diodes and The Viletones, and her restaurants were often patronized by musicians and scenesters. Those coming into her orbit via her art world connections included the Talking Heads. Frontman David Byrne told the Globe that “Sandy took us under her wing and made us feel part of that world – a crazy and wonderful world that sadly no longer exists. A reminder that a person, or just a handful of people, can be a catalyst that enables all sorts of people to come together and interact − at least for a while. What she did was special."
In 1988, Stagg returned to London to look after her mother, and soon became prominent in the fashion world there, via boutiques that attracted such celebrities as Maggie Smith, John Galliano, Jean Paul Gaultier, Stella McCartney, Alexander McQueen and Kate Moss. Stagg returned to Toronto to live in 2008, remaining there for the rest of her life.
News of her passing was greeted with warm tributes from many notable Torontonians, all affirming that she added to the city's cool factor.
On Facebook, NXNE head and NOW magazine co-founder Michael Hollett posted that "When I was working at Yonge and Bloor in the 80s, I think I was initially intimidated about going into Sandy's Fiesta Restaurant. Once I did, I was blown away by how cool it was, cooler than I thought Toronto was at the time. It was another thing that got me thinking this city needed something like NOW. That and eating lunch in the Fiesta by myself with nothing to read."
Hollett's current publication, NEXT, published an obituary of Stagg written by her friend Paul Oberst.
Diodes guitarist John Catto posted on Facebook that "I’m sad to say that I’ve just heard that our most lovely and fabulous friend Sandy Stagg passed away last night. This IS the end of an amazing era. RIP. Sandy was our friend in London as she was in Canada and it was a bit sad to see her go back."
Toronto artist Erella Ganon, a close friend of Stagg, posted a Facebook tribute that reads, in part: "I can't possibly contain the feelings and admiration I have for the magnificent Sandy. I have been on more road trips with her than anyone. In recent years and months we spent much time together."
"She died peacefully last night in hospital. What a force. At the hospital, we whispered names of loved ones far and away and close to her as she was resting. Her life-force was strong. That woman was never the first to leave a party. It was significant that in recent weeks and months she was effusive in her expressions of appreciation and love she carried for the team of us that were around her. We will all remember her for her ability to make magnificent moments happen. Good night my dear."
Juliette Powell, a former Miss Canada who went on to become a popular MuchMusic VJ, died on June 3, at age 54, of bacterial meningitis.
The Manhattan-born Powell moved to Montreal with her mother when she was eight. A Toronto CityNews obituary reported that "In 1989 she became the first Black Canadian to be crowned Miss Canada and later represented Canada at the Miss Universe pageant. Her official obituary stated that she entered the Miss Canada competition because she was 'motivated by a desire to challenge racial biases in beauty pageants.'"
Her broadcasting career, began as a VJ at MusiquePlus, and four year later she joined MuchMusic in Toronto as a VJ. Her roles including hosting the highly popular live dance music show Electric Circus, as well as French Kiss, while simultaneously studying economics at the University of Toronto. She later became a business reporter for CablePulse24, later known as CP24, also in Toronto.
Powell then returned to Manhattan to live and work. She founded Powell International Entertainment Inc., where she produced segments with the likes of Nelson Mandela and Steven Spielberg, co-authored a section of the UN Plan of Action at the World Conference against Racism, co-authored books, delivered a TEDx talk and founded a New York City-based consultancy advising on responsible technology and business strategy. Powell also earned a BA in Sociology from Columbia University.
In 2021, Powell joined the faculty of New York University's Interactive Telecommunications Program, teaching courses at the intersection of media, technology, and ethics. In August 2023, she co-authored The AI Dilemma: 7 Principles for Responsible Technology with Art Kleiner, integrating perspectives from engineering, business, government, and social justice to address issues like unconscious bias, data ownership, and accountability in AI systems.
Juliette Powell's multifaceted career had a consistent focus on promoting responsible innovation and challenging systemic biases. Her work continues to influence discussions on the ethical implications of emerging technologies.
Read a full official obituary here.
Roy Penney, a notable Canadian country music guitarist, died on June 6, at age 89.
Country music authority Larry Delaney (Cancountry) reports to Billboard Canada that "Roy Penney was born in 1935 in Corner Brook, NL. He met with Dick Nolan and the pair made their way to Toronto during the mid- 1960’s, where they teamed-up with fellow Maritimers Johnny Burke and Bunty Petrie to form The Blue Valley Boys.
"The act became a popular country club fixture in Toronto, with their music captured on the album On Stage At The Drake. During the 1970’s the group moved on to become the house band at the famous Horseshoe Tavern, where they backed the hot touring acts of the time. Many mainstream acts from Nashville left their tour bands at home thanks to the reputation the Blue Valley Boys had with their Nashville counterparts, in particular the guitar work of Roy Penney.
"Penney also spent time performing with a group headed-up by Wayne King; and he was also featured in the 'house band' for Carl Smith's Country Music Hall TV Show; and toured as a member of Myrna Lorrie's back-up band Rawhide, as well as performing as part of The June Pasher Band and the group Country Sunshine, which featured his then wife Rebecca Mae (Penney).
Penney was also a member of the showband at the Country Gold club in Toronto during the late 1980’s, again backing all of the top touring acts of the day. Later, while a member of the Oshawa-based group Shotgun, Roy collaborated with the band’s steel player the late Rusty Walker, in composing the group’s identity theme song, “Shotgun.”
In the mid-1960's, recorded his now highly collectible album, Twistin' The Pick, which soon became a "learning tool" for aspiring guitar players of the time. The album was an instrumental mix of Country and Pop standards. The title track was released as a single and reached #8 on the RPM Charts in 1965, one of the rare instrumental recordings to achieve Top 10 success on the RPM Country charts.
Penney later recorded the solo album Boss Guitar In Teensville, also highly acclaimed. During the late 1960’s Roy Penney topped RPM’s annual Reader’s Poll as Best Guitar Playeron three occasions. Penney’s in-demand guitar work was also featured on numerous recordings, ranging from Bernie Early’s Country/Rock ‘n Roll sessions in the 1960’s through many of the recordings by Arc Records artists including Shirley Mae Carr, Bunty Petrie, George & June Pasher, Chef Adams, and later with the group "Shotgun", among many others.
Bob (Robert Charles) Andrews, an English keyboardist and record producer best known for work with Graham Parker and The Rumour and The Las, died on June 5, at the age of 75. Showbiz 411 reported cancer as the cause of death.
Andrews first made a mark in the London band Brinsley Schwarz. Together from 1969-75 and featuring Nick Lowe, they were key players on the English pub rock scene. When that band split, Andrews, Schwarz and guitarist Martin Belmont from the recently defunct Ducks Deluxe decided to form a new band.
Along with the rhythm section of Andrew Bodnar and Steve Goulding, they called themselves The Rumour. Dave Robinson, soon to launch Stiff Records and the former Brinsleys manager, introduced them to Graham Parker and Parker also started rehearsing with them at the Tavern. A decision was made to keep the two acts separate for contractual purposes - publishing and record deals - and the band recorded a live record at Marble Arch and the first Graham Parker record, Howling Wind, at the end of 1975, and, at the beginning of 1976, the combo hit the road.
When Parker rose to prominence in 1979 with his album Squeezing Out Sparks, The Rumour had their own release on Stiff Records with such moderate hits as “Emotional Traffic” and “Frozen Years.” .
Andrews started producing, and gained real success. In 1978, he co-produced with Brinsley Schwarz the first album from American country artist Carlene Carter. In 1979, Dave Robinson enlisted Andrews as producer for Stiff artist Jona Lewie. This partnership produced the hit single "Stop the Cavalry", which reached the No. 3 position in the UK Singles Chart in December 1980. and charted in twelve other countries.
Andrews also produced Tenpole Tudor. Between 1984 and 1986, together with new production partner Colin Fairley and manager Jake Riviera, Andrews worked on several top twenty singles including “Young at Heart”, by Scotland's The Bluebells, a top ten and eventual number one U.K. smash.
In 1988, Andrews was recruited for production work with Lee Mavers and his band, The La's. His production of their song "There She Goes" cracked the Billboard top fifty, has been featured in innumerable films, and is considered a jangle pop classic.
During this time, Andrews also produced tracks for artists like Katrina and the Waves and Helen Watson. As a session player, he was featured on hits by the likes of Nick Lowe, Maxine Nightingale and Sam Brown.
