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.
The first group Wiffen sang with was the Kingston upon Thames, U.K.-based Black Cat Skiffle group. Upon returning to Canada, he became lead singer of B.C. pop-rock act The Pacers and then participated in the Toronto folk scene. According to The Globe, "he hitchhiked from Toronto to Alberta, where he managed Calgary’s Depression Coffee House for nine months. A year earlier, a young Joni Mitchell (then Joni Anderson) took a $15-a-week gig there, 'singing long tragic songs in a minor key,' she later recalled."
Wiffen recorded his first album in Vancouver in 1965: David Wiffen Live At The Bunkhouse as a limited pressing of just 100 copies. This was initially intended as a live ensemble album on the Universal International label, but became a solo release when the other invited musicians failed to show up.
His fortunes improved when he moved to Ottawa, then home to a thriving folk scene, and connected with other up and coming folk artists. He joined Bruce Cockburn, poet William Hawkins, Sneezy Waters, Richard Patterson and others in a short-lived group termed the Children.
He subsequently joined another combo, 3's a Crowd, whose initial members included Brent Titcomb, Donna Warner, Trevor Veitch and Richard Patterson. Wiffen was featured on that group's 1968 album, Christopher's Movie Matinée, released on ABC Dunhill. During this period, Wiffen also co-hosted a television variety series on Ottawa station CJOH with Ann Mortifee, produced for a period by William Hawkins.
In his obituary in The Globe and Mail, music journalist and author Nicholas Jennings calls Wiffen one of the brightest stars of the '60s Canadian folk scene. "A dashing British émigré, Mr. Wiffen possessed all the qualities needed for fame and fortune," Jennings observes. "Tall, handsome, nattily attired and blessed with a captivating stage presence and a deep, stop-you-dead-in-your-tracks voice, he also had the songs – rich, blues-based confessionals about loss and longing that he sang with a bracing conviction."
Wiffen subsequently signed to Fantasy Records as a solo artist and, in 1971, he released a solo album, David Wiffen, and had moderate hit singles with "One Step" and "More Often Than Not." The album also contained what has become his most widely covered song, "Driving Wheel."
Such peers as Harry Belafonte, Anne Murray and Tom Rush were quick to recognize Wiffen's songwriting skills by covering his material early on.
In a quote provided to Billboard Canada by Wiffen's friend and bandmate Frank Koller, popular American folk artist Tom Rush recalls that "I was the first ever to record Joni Mitchell and Murray McLauchlan and have recorded songs by such other Canadian greats as Bill Hawkins, Brent Titcomb and Bruce Cockburn. David's song 'Driving Wheel' was recorded on my first album for Columbia in 1970 and to this day remains one of the high points of my live stage shows. And 'More Often Than Not' is a standard. One of the best writers of the early folk generation."
Now recognized as a true classic and Wiffen's signature song, "Driving Wheel" (sometimes called "Lost My Driving Wheel") was covered by Roger McGuinn in 1973 on his self-titled first solo album, Greg Harris (1982), Matt Minglewood (Drivin' Wheel, 1999), The Jayhawks (Live From The Women's Club, Vol. 1, 2002), Ray Wylie Hubbard (Rounder/Philo, 2005), British singer-songwriter Rumer (for a BBC live session in 2011) and by Cowboy Junkies, in multiple versions.
In a quote provided by Frank Koller, Michael Timmins recalls that "Tom Rush introduced us to 'Driving Wheel' and we never looked back. We decided to record the song, and its grace and beauty guided us deep into the world of the singer songwriter: it is an area of music that we have never really left behind. 'Driving Wheel' still has an honoured place in our live set. It is the last song that we play on the last night of every tour that we do. There are not too many others who can match David Wiffen's influence and the power of his voice and words."
Chris and Rich Robinson of the Black Crowes featured the song on Brothers of a Feather: Live at the Roxy, 2007 and the Chris Robinson Brotherhood included it on live performances throughout 2011 & 2012.
"More Often Than Not" has been covered by Jerry Jeff Walker in 1970 on his Bein' Free album, Ian & Sylvia and Eric Andersen on his 1972 Blue River album. "Mr. Wiffen (Is Incommunicado Today)" was covered by Harry Belafonte on his 1973 album Play Me and "Skybound Station", from Coast to Coast Fever, was covered by Canadian roots-rock supertrio Blackie and the Rodeo Kings on their Kings of Love album (1999).
With his Lee Harvey Osmond project, BARK member Tom Wilson covered Wiffen's "Lucifer Blues," Anne Murray covered "I Don't Want To Drive You Away" as "David's Song" and "Smoke Rings" was featured by Hiss Golden Messenger on a 2015 Parallelogram album.
Wiffen's second solo studio album, Coast to Coast Fever (United Artists, 1973), was produced by his former bandmate Bruce Cockburn and also received critical praise, plus a nomination for a Juno Award in the folk album category in 1974 (Gordon Lightfoot won that year)..
Wiffen continued to perform regularly in the 1970s, but reportedly became disenchanted over his comparative lack of commercial success. Substance abuse issues also surfaced and Nicholas Jennings reports that Wiffen was later diagnosed with bipolar disorder.
In the '80s, Wiffen chose to leave music for a long period. He made a rare performance at the first Ottawa Folk Festival in 1994, but primarily worked as a limousine driver and then as a publicly funded driver for disabled persons in Ottawa. A serious back injury suffered on that job required corrective surgery and impeded any return to performing.
After a decade of sobriety, David Wiffen returned with a third album, South of Somewhere, in 1999, 26 years after Coast to Coast Fever. Released on famed roots music label True North, this album combined reworkings of some of his older material plus some new songs, was recorded with Ottawa-based musician and recording engineer Philip Shaw Bova.
To Billboard Canada, Bova recalls that "In the late '60s, long before I knew David personally, I was playing in local Ottawa bands. We would often play David’s songs at rehearsal just for the sheer pleasure. Around 1994, [industry legend] Harvey Glatt encouraged me to motivate David off the couch. I started going to his house with my bass guitar every Wed afternoon. It didn’t take long to see the Wiffen musical juices heating up.
"The suggestion of recording again came up and soon we started going through old cassette demos of old and much to my surprise … new songs! In time, David was actually excited to play and sing and so we called upon some dear friends and session players and I produced what was to become the full length record, South of Somewhere. We started recording in Raven Street Studio in Ottawa and eventually finished in our lovely studio on McGregor Lake near Val des Monts, Quebec."
Wiffen returned briefly to performing, principally as a weekly performer and performance host at Irene's Pub in Ottawa, then another long absence from the stage followed.
In 2015, Songs From the Lost and Found was released on True North Records. It contained material written and recorded between 1973 and the early 1980s, following the release of Coast to Coast Fever. The master tapes were thought lost for many years, but surfaced among the effects of former bandmate Richard Patterson. In 2024, a compilation of these recordings appeared as Timeless Songs.
The respect in which Wiffen remained held by other artists was shown in 2015, when he was celebrated at the Toronto folk club Hugh’s Room by admirers including Tom Wilson, Lynn Miles and Murray McLauchlan.
On Sept. 14, 2019, a City of Ottawa proclamation declared the day to be David Wiffen Day, and Mark Monahan (Ottawa Bluesfest) presented Wiffen with the Helen Verger Award for his significant, sustained contributions to folk/roots music in Canada.
The concert was organized by Chris White and Ray Harris and White posted on Facebook that "it featured performances of David's songs by Lynn Miles, Tom Wilson, Ray Harris, Sandy Crawley, Sneezy Waters, Julie Corrigan, Neville Wells, Don Marcotte and Frank Koller. David attended the concert with his wife Joanne, as well as his brother and sister-in-law, who happened to be visiting from England. In the middle of the concert, the audience was so overwhelmed at hearing one beautiful David Wiffen song after another that everyone spontaneously rose to their feet and gave him a long standing ovation."
Summing up Wiffen's career as a songwriter, Nicholas Jennings observes that "Although the volume of his compositional output never rivalled that of his contemporaries, the 46 published and recorded songs in his slim catalogue rank among the best ever to come out of Canada."
As news of Wiffen's passing spread, tributes on social media quickly appeared and they testified to the respect the artistry of this songsmith has earned. Billboard Canada also reached out to former musical colleagues of Wiffen as well as to other songwriters who loved his work. Here is a selection of those responses.
His former bandmate and record producer, Bruce Cockburn, to Billboard Canada: "Quite a few years have passed since I last saw David. I think the last time was the Children’s reunion performance at the Ottawa Folk Festival. We had all aged some, but David’s golden voice and presence were strong and graceful.
"Lots of good memories remain from when we were all trying to get something going, from crazy road travel to Coast to Coast Fever, the album of his that I had the privilege of producing. A good man, a good songwriter, a beautiful singer. Walked a hard road and can now be at peace. Hats off and glasses raised to an old comrade!"
Frank Koller, a musician turned journalist (CBC Radio News) and author, to Billboard Canada: "I made my living as a session musician here in Ottawa from roughly 1970 to 1985 before moving to Asia and drifting into journalism. As his guitarist, I played across Canada with David .. as a duo, a 4 or 5 piece band, even a big band ... for more than 10 years, the '70s into the '80s. Coast to coast, big festivals, concerts, small clubs, TV, radio, universities. It was an absolute blast. I had known David from the mid '60s when he started performing with 3's a Crowd and The Children in Ottawa at the famed Le Hibou coffee house. We became and remained close friends ever since and with his wife Joanne."
"David's songs were about personal pain and struggling to overcome it. Night after night, performing across Canada with him for a decade, it was rare to ever see an audience without tear-stained faces singing along. He was magical. He was my pal, my musical mentor and a lovely guy."
Tom Wilson (Junkhouse, Blackie and The Rodeo Kings, Lee Harvey Osmond) on Facebook: "Rave On David Wiffen. I loved David. He processed all the steel nerved coolness and drama of a gunslinger. He walked in shadows, a loner with his madness and his poetry and his songs. He was a small man but his presence moved every room he entered. He was a quiet man but his powerful voice filled concert halls.
"He taught me about the great underdogs who stood beside and shaped the landscape that iconic heart throbs and heroes occupied. He talked to me about Sal Mineo, Montgomery Clift, Bill Evans and Fred Neil. The characters who haunted him. The ones who cut a valley of pain into his writers heart. He bled daily to honour them. When I was 16 he lent me an ear and gave me a chance to be heard when no one else would. He was good to me when I was just a kid. I honoured him and called him a friend right to the end. David Wiffen passed away in Ottawa on Sunday morning with his true Joanne by his side."
In a further comment forwarded to Billboard, Wilson notes that "David's writing opened the doors of possibilities to so many of us. He inspired and comforted me as an artist ... and I still look for inspiration from deep down in his well. One of the greatest pens to come out of Canada."
A longtime close friend of Wiffen, Sandy Crawley offers this colourful anecdote to Billboard Canada: "Circa 1969, before we changed our ways, in our youthful folly, David was visiting me on Queen West in Toronto. At the time I was babysitting for an amateur chemist (who shall remain nameless) and we were in possession of a quantity of his latest experimental recreational substance that he eventually perfected and purveyed as MDA (the precursor to Molly). David had a fine automotive steed, a 1956 Cadillac convertible.
"We were en route to Ottawa with about 60 doses of the new drug in an elegant cigarette case (Mr. Wiffen always had a fine sense of style in both clothing and accessories). We were just motoring past Napanee when the car broke down. I mean, it seriously broke down (think 'Driving Wheel'). Having ingested a sample of our cargo we were perhaps too inebriated to think twice about the gelatin caps that had spilled all over the back seat of the Caddy when the helpful constable arrives to supervise us being towed to in for repairs . Lucky for us, the young cop took no notice as she was already a fan of Mr. Wiffen and they prattled on all the way to Kingston where we took a cab to Ottawa at great expense. David never reclaimed that car.
Crawley also adds that "By way of tribute and at the risk of offending some dear friends who are in the game, I will testify that in my opinion, as a Canadian songwriter, David takes a back seat only perhaps to Joni Mitchell and Leonard. Cohen. Tom Wlson told me again this morning that he intends to record a Wiffen album. Something for us all to look forward to."
Joanne Smale, a veteran Toronto music publicist and a longtime friend of Wiffen, to Billboard Canada: "Decades fly by and many of them ago, a multi-talented Mr. Wiffen entered my life — through my husband John at that time, who owned a club, Smales Pace in London.
"As years flew by, David and I remained in touch still to this day as a friend, along with his beautiful wife Joanne. We worked together in the capacities of public relations, booking agent, promoter and consultant with marketing and promotional opportunities. David had a natural talent as a songwriter, translating his thoughts and feelings into song, into a musical narrative that converts people into devoted fans. Many other songwriters’ covered his songs, although one can’t forget his salute to master songwriter Willie P. Bennett of his 'White Lines,' interpreted by David on his Coast to Coast Fever album.
"David was a well-respected and skilled performer and singer with a baritone voice that is distinctively ‘Wiffen’. 'More Often Than Not' — many will miss not being a part of his audience. Thanks for the memories — be at peace."
Acclaimed rootsy singer-songwriter Scott Bradshaw (aka Scott B. Sympathy), to Billboard Canada: "The man had a golden voice and was an astute songwriter. I saw him play in London, ON, at the legendary Smales Pace coffee house about 1976. I knew all his songs and learned a few. His version of Willie P. Bennett's 'White Lines' still makes me cry. Beautiful! He shared a real gift."
Ottawa-based musician and songwriter Frank Smith (Halcyon Phase), to Billboard Canada: “David Wiffen was one of Canada’s greatest songwriters. His deep baritone demanded your attention. So many amazing songs, but 'Skybound Station' is the one that’s most memorable for me.”
Musician, songwriter and producer Terry Tompkins (Lost and Profound), on Facebook: "It hurts. He was a folk hero to me. It was an honour to play for him at his album release! Thanks for inviting us. And remember, David Wiffen is a god!"
Acclaimed singer-songwriter Stephen Fearing, to Billboard Canada: " I first came across David Wiffen’s music through Tom Wilson and the Blackie & The Rodeo Kings' recording session for 'Skybound Station'. I loved the tune and it led me to the album and that voice. Oh man, that voice. Young, agile and effortlessly beautiful."
Douglas Carter, a Hamilton bassist, songwriter, author and artist, died on April 6, at age 82.
The Hamilton music history Facebook group Steelore posted that "From the early 1960s to the late 1990s, Doug Carter was a large part of The Hamilton Music Scene. In 1961 he joined one of Canada's best blues bands, Son Richard and the Chessmen [formerly The Barons], featuring famed singer/harmonica player Richard 'King Biscuit Boy' Newell. They would play various local clubs and high schools in Hamilton, going on to tour England in 1965 and through northern Europe and eventually touring across Canada and the United States."
Carter and Newell wrote many songs together. By 1974, some of these songs, like “Caledonia River” and “Deaf, Dumb, Crippled And Blind,'” would be produced by [New Orleans legend] Allen Toussaint for Richard Newell. The latter song would later be re-recorded by Tinsley Ellis for Alligator Records. in 1990, Carter contributed to Guitar Mikey’s album Caught Between The Squeeze and, in 2012, the Guitar Mikey album Out Of The Box."
On Facebook, Guitar Mikey (Mike McMillan) posted that "I was very fortunate to have worked with Doug. He made significant contributions to my albums, Caught Between The Squeeze and Out Of The Box. I always considered him a modern day Chuck Berry, because of his prolific lyrical prowess."
Notable Canadian blues artists Carter played with included Morgan Davis, Teddy Leonard, Downchild's Donny Walsh, Jack De Keyzer, Harrison Kennedy, Rita Chiarelli, Mike Oddie and Naomi Taylor as well as rockers Tim Gibbons, Fraser Loveman, Michael O'Brien and Tom Wilson (Junkhouse).
An accomplished visual artist active since 1976, Carter created assemblage, drawings, prints and paintings and participated in exhibitions in Brantford, Burlington, Hamilton and Niagara area art galleries. Carter worked with The Carnegie Gallery in Dundas from 1994 to 2004, curating some acclaimed exhibitions. Read more about his art work here.
Carter moved to Port Colborne in 2005 and 2010 he published (on Seraphim Editions) Cool Fool: Blues Rockin' in the Hammer, a history of the Hamilton music scene that had a major impact locally.
Veteran Hamilton music promoter and club owner Lou Molinaro tells Billboard Canada that "Chris Houston [of Forgotten Rebels infamy] insisted that I get myself a copy when it first came out. Cool Fool is the best explanation of why Hamilton is where it is right now musically. The book connects all the dots by his comprehensive narrative of Hamilton's musical evolution from the 1960s, referencing the blues, soul and garage scene. You can't profess to say you're a fan of Hamilton music without reading Doug's book. Mr. Carter was definitely a quiet hero with his humble contributions."
On Facebook, Houston commented that "Cool Fool is the bible of Hamilton Rock 'n Roll music. We were very lucky to have him part of our community."
Afrika Bambaataa ((born Lance Taylor), a pioneering DJ considered an architect of hip-hop but whose reputation would be sullied by accusations of being a sexual predator, died on April 9, at age 68, from complications due to cancer.
A Billboard obituary reports that the Bronx-born Bambaataa "began DJing block parties in the South Bronx in the early ’70s, which led to him being credited as an originator of breakbeat DJing and one of the influential architects of hip-hop culture alongside founding father DJ Kool Herc.
"As a teenager, Bambaataa traded his Black Spades gang ties to form the Universal Zulu Nation following a trip to Africa. He went on to found rap groups like Jazzy 5 and the Soulsonic Force, and brought rap to the masses with his first tour in 1982."
"Afrika Bambaataa teamed up with Soulsonic Force for 1982’s 'Planet Rock.' The electronic-fused track gave Bambaataa his lone Billboard Hot 100 entry, with the song peaking at No. 48 in September 1982, and later appeared in NBA 2K7 in 2006. The 'Planet Rock' remixes also reached No. 4 on the Hot R&B/Hip-Hop Songs chart in July 1982."
During his career, Bambaataa collaborated with such stars as George Clinton, James Brown and John Lydon. His James Brown collab “Unity” hit No. 87 on the Hot R&B/Hip-Hop Songs chart in 1984, the same year Bambaataa and Lydon collaborated as Time Zone on the well-received track "World Destruction."
He was part of the Artists United Against Apartheid initiative and contributed to the 1985 album Sun City, which peaked at No. 31 on the Billboard 200. He also made the Dance Club Songs chart, notching a top five hit on the chart in 1991 with “Just Get Up and Dance” (peak No. 4).
The Hip Hop Alliance issued this statement of tribute: “As the founder of the Universal Zulu Nation, Afrika Bambaataa helped shape the early identity of Hip Hop as a global movement rooted in peace, unity, love, and having fun. His vision transformed the Bronx into the birthplace of a culture that now reaches every corner of the world,” said executive director Rev. Dr. Kurtis Blow Walker.
The artist leaves behind a complicated legacy as an undeniably influential architect of hip-hop and an allegedly toxic figure in its culture.
Billboard reports that "Afrika Bambaataa’s legacy was muddied in recent years by a series of sexual abuse allegations against minors. He resigned from his position as head of the Universal Zulu Nation in 2016 following abuse allegations from activist Ronald Savage, who accused Bambaataa of molesting him when he was 15, and later recanted on his claims.
"The Assassin Collective’s Solo accused Bambaataa of sexual abuse when the French rapper was 15. Bambaataa was also accused of sexually abusing and trafficking a minor, who remained anonymous as John Doe, in a civil lawsuit, which Bambaataa lost in 2025 due to a default judgment."
Wayne Perkins, an American guitarist who played on seminal albums by Joni Mitchell and The Wailers, died on March 16, at age 74, after a stroke.
In its obituary, Rolling Stone reports that Perkins also "came within an inch of joining both the Rolling Stones and Lynyrd Skynyrd. Perkins was a revered figure in guitar circles, but he nearly became a rock icon in 1975 when Eric Clapton recommended him to the Rolling Stones as a replacement for Mick Taylor. He flew out to Munich as the group was working up songs for its 1976 album Black and Blue."
Perkins' contributions to the tracks “Fool to Cry,” “Memory Motel” and “Hand of Fate” made the cut, but the Stones chose Ronnie Wood as their new guitarist. A guitar solo laid down by Perkins on “Worried About You" appeared on 1981’s Tattoo You album. A year after his Stones encounter, Perkins turned down the chance to join Lynyrd Skynyrd.
Rolling Stone states that "Perkins grew up in Birmingham, Alabama, and began playing guitar when he was 12, drawing inspiration from James Burton and Chet Atkins. Not long after dropping out of high school to commit himself full-time to music, he found regular work at Muscle Shoals Sound studio, playing with everyone from Joe Cocker and Leon Russell to Jimmy Cliff, as part of the sessionmen termed The Swampers."
In 1973, Island Records founder Chris Blackwell invited Perkins into the studio with Bob Marley and the Wailers during the Catch a Fire sessions. Perkins wound up playing on “Concrete Jungle,” “Baby We’ve Got a Date (Rock It Baby),” and “Stir It Up,” even though he wasn’t initially credited. The guitarist was also featured on classic Joni Mitchell album Court and Spark and recorded with Joe Cocker, Steve Winwood, Leon Russell and many more.
In its obituary, The New York Times notes that "Mr. Perkins was a laconic, self-effacing musician rooted in the Southern twang of country and blues. But he could adapt to a wide range of styles, including the melancholy pop of Joni Mitchell’s 'Car on a Hill' and Mr. Marley’s swaying 'Concrete Jungle.'"
"Mr. Perkins recorded and toured — mostly in the 1970s and ’80s, his most productive decades — with A-list artists like Joe Cocker, Leon Russell, Percy Sledge, John Prine, Roger McGuinn, Jerry Jeff Walker and Bobby Womack."
Perkins also released two solo albums, 1995's Mendo Hotel and 2005's Ramblin' Heart.
