Obituaries: Tributes Pour in For Sass Jordan, David Marsden and Andrea Warner

Sass (Sarah) Jordan, a platinum-selling, Juno-winning Canadian blues-rock singer-songwriter, actor and judge on Canadian Idol, died on Oct. 2, at age 65. A cause of death has not been reported, but Jordan had cancelled tour dates last month, citing health concerns.

An official statement from her family reads, in part: ''Her family remembers her as an inimitable force of nature and an irreplaceable being of light and joy, a woman whose generosity and fire touched everyone who shared a stage, a studio or a kitchen table with her. Over four decades, she gave Canadian rock one of its most recognizable voices, carved out space for women in a genre long dominated by men, and opened doors for the young musicians who came through her band.''

Read the Billboard Canada obituary here.

The response to Jordan's passing has revealed that she was not just respected by her musical peers and admired by her fans but was genuinely loved by all those who entered her orbit.

Here is a selection of tributes to Jordan offered to Billboard Canada or posted on social media.

Jeff Healey Band bassist Joe Rockman, to Billboard Canada: ''My heart is stunned by such a huge loss. Sass was featured on the Jeff Healey Band’s second multi-platinum record Hell To Pay after being recommended by our producer Ed Stasium who worked with her previously. Her powerful passionate voice had just the right spirit and versatility for our project, and we loved her captivating presence on her own recordings.

''While taking a break from the Le Studio north of Montreal she easily hit the stage and sang with a rock band at the club Bourbon St. North. This was 1990 and few female blues rockers existed in such a male dominated genre. It struck me how the male musicians accepted and gathered around her on stage, as if saying, 'One of Us!' I can’t say it better than that. She was.''

Canadian roots music artist and producer Colin Linden, to Billboard Canada. ''Sass Jordan was like champagne. Bubbly and intoxicating. She made you feel like you were enjoying the greatest of indulgences by just being around her. I was honored to have worked with her, producing, writing and playing on her album, Get What You Give.

''She and Derek were extremely gracious to work with. When I went to their home to write and do pre-production for the album, Derek made me the greatest cup of hot chocolate I have ever tasted. Sass sang with such passion. Pain, pleasure, humor and a great empathy poured out of her. Her love of music and humanity was contagious and all of the musicians -- including legends such as Bob Babbitt, Richard Bell and Garry Tallent -- all were enchanted by her. It was a wonderful experience that I will always be grateful for.''

Veteran music publicist Nanci Malek (Bentertainment) worked extensively with Sass Jordan when she was vice president of English Canada at Aquarius Records. She told Billboard Canada that ''Sass was a spiritual woman of immense talent. Having the chance to work alongside such passion for life was a career high. I loved her spirit and her attitude towards others as she made people feel special and noticed. She was curious about others and always found common ground with them. She charmed people with her realness.

''Whether it was a media interview, photoshoot, shooting a video or just hanging out, the positive energy she brought made the experience special. I love her and [husband] Derek and [daughter] Stella and my heart is with them. What an incredible legacy Sass has left and she will be so missed by those that were lucky enough to know her.''

David Hazan, drummer and bandleader for Montreal new-wave covers band The Pinups and later a noted music marketing executive, sent Billboard Canada this tribute: ''I knew Sass a bit from Westmount High in Montreal as a great singer and asked her to join our new band, The Pinups. Problem was we already had one songwriter/frontman, David McNally and only needed a bassist, an instrument she'd never touched. Fearless and eternally confident, Sass would simply hit a note, any note, whenever my right foot hit the kick drum on the Cheap Trick covers we started with. It worked.

''By our third gig, we were already setting records at many of Montreal’s biggest rock venues, still in our late teens. Beyond her spectacular voice, blinding charisma, outrageous sense of humour and contagious laugh, Sass was a great friend, who always asked about your family and never forgot a birthday.

''Sass was the greatest rock singer and most radiant performer I ever had the privilege of sharing a stage with. She gave me some of my life's most unforgettable moments: catching that electrifying smile between verses during our touring years, opening for The Pretenders, and playing 'In My Life' together at my wedding years later. Every room, every stage and every life she entered was better for it. I will miss her forever.''

Toronto musician, songwriter and producer Derek Downham played drums for Sass Jordan last December at Andy Kim’s annual holiday charity concert in Montreal. He told Canadian Press that “She was a ray of light and a really hilarious person. The biggest heartbreak for me is that I won’t get to see that laugh again. Also, I hope that people remember her for leading the way [and] that she led with love every time.”

Todd Kerns (Age of Electric, Slash), on Facebook: ''Absolutely gutted about losing the great Sass Jordan. She took The Age Of Electric on our first grown up tour opening for her in the early 90s. Up until then we had been everyone’s favourite, or maybe 3rd favourite, bar band. She took us to that next level and set us on the right path. Her drummer, Taylor Hawkins, was young like us and would jam with us every day. We knew he was destined for great things. Sadly we lost him too.

''Today I’m going to crank up a song we recorded together called 'Redeem Me.' Legendary Ozzy Osbourne guitarist Jake E Lee decided to come out of retirement and gathered up a bunch of friends to rock together under the moniker Red Dragon Cartel. On this song I am blessed to have been able to stand behind Sass one last time. Crank all of Sass’ music today. It is all magical. She was a bright shining light of power and talent and kindness. We are all blessed to have been around while she was making her magic. Love you, Sass.''

American record producer and songwriter Rick Neigher (Alanis Morissette, The Go-Go's), on Facebook: ''My time writing and producing Sass’ records involved more laughing (and other bodily sounds) than I’ve ever experienced. An absolutely miraculously powerful vocalist and wonderful writer. We’d just recently uncovered some old song demos that I’d started to freshen up in hopes of getting them out. I hope you have found the peace and joy you’ve given so many of your fans finally for yourself. Farewell, old friend.''

Keith Brown, former president of Sass Jordan's first record label, Aquarius Records, on Facebook: ''Anyone could appreciate her talent and admire her beauty. For those who knew her well there was so much more. Her intelligence, her sense of humour and, most of all, her heart made Sass Jordan a very special person.

''It’s not easy to be even semi-famous. Celebrity can wreck you. P.R. can paint a false picture of a charmed existence. Sass had more than her share of setbacks. For instance when her manager, Bruce Bird, suddenly died in 1992.

''After Impact Records virtually folded and Sass’s contract was consigned to an indifferent A&R department at MCA her valid chance of conquering the U.S. market quickly faded. In this dark period she wrote an entire album about the disappointment of betrayal. The radio single on the Rats album was ‘Sun’s Gonna Rise Again’. It wasn’t a cheerful song.''

''But Sass wasn’t bitter. What I remember most vividly about Sass was the sound of her laughter. My condolences to all those who remember that wonderful sound.''

Juno-winning Toronto recording engineer musician and songwriter Hill Kourkoutis, posted a tribute to her close friend on Instagram that reads, in part: ''There is a massive Sass-shaped hole in my heart. There is a giant Sass-shaped hole in this terrestrial plane. This one hurts, deeply. She is a force, a trailblazing and enigmatically gifted singer, songwriter and prolific artist, but for me she is and always will be one of my favourite souls in this multi-verse.''

Audio engineer Adam Fair, on Facebook: ''Just a few weeks after the passing of my Villa Sound studio partner Tim Thorney, I got a phone call asking if I was available to record Sass Jordan’s new album. I was still adjusting to a new normal, feeling a little lost, and then boom, the tornado that is Sass came into my life.

''In August 2021, I recorded Sass’s album Bitches Blues in my house with Derek and the band. It was such a fun and memorable experience, and something I’ll always hold close.Clearly, Sass was loved by so many, as has been so evident over the last 24 hours. I really felt a connection to her, and I’m grateful to have called her a friend.Thank you, Sass, for bringing me some light in the dark. Wherever you are now, it’s no doubt a little brighter.''

Artist manager Todd Littlefield, on Facebook: '''This one hit me hard. I'd worked with her many times over the years and we became fast friends. She was a beacon of light and positivity and had a huge heart. Sass was always there with a helping hand if you needed one. I remember a few years back, we were talking about some things I was going through and she was telling me about some things that she thought would help. A few hours later, I got a few e-mail from her with links for me to check out, and sure enough they were helpful.

''Sass was such a spiritual person, whose passion for life and laughter filled the room. I remember her telling me all about her interest in astrology and we got into this deep conversation. You can't talk about Sass without talking about her incredible voice. She rocked and brought depth, passion and soulfulness to every note she wrapped her voice around. As soon as you heard her sing, you knew it was her and you'd never forget it.So many great memories and ones I will cherish.''

U.S. guitarist Steve Conte (New York Dolls, Michael Monroe) on Facebook: ''Gutted about the passing of my friend Sass Jordan. Back in the 90s we became kindred spirits around a certain style of rock ‘n soul singing…her voice will be missed. Fly on sister Sass.''

Noted American rocker Ian Moore on Facebook: ''We met early in our careers and became fast friends. She was an amazing performer, but evenmoreso, a beautiful and caring human who loved her people. We kept in touch over the years, always grateful when our paths crossed. My heart goes out especially to Derek and the rest of her family, but also to all those who knew her through her powerful music. An absolute legend with the rarest of hearts.''

Mike Wyman, on Facebook: ''I road managed The Pinups, the first band she played in, for about six months. High schools, local clubs and the occasional jaunt out of town. A very determined kid at the time with a powerful voice. Almost always 'on.'.Best time I spent in her company was an afternoon at a laundromat in Ontario. Had to lie about her age when we played in Ontario since she wasn't 19 yet.''

Musician Emm Gryner, on Facebook: ''Growing up near Sarnia, life was made more joyful, more rock 'n roll when I discovered the powerhouse that was Sass Jordan. Her album, Racine, gave me a portal to another world and showed me that women can sing rock unabashedly and with incredible power and style.

When it came time to record Gem and I, an album I had decided would be a duets record, Sass generously said she would sing on one of my songs. She invited me to her home - I was 7 months pregnant - and she made me feel so welcome and effortlessly added her incredible vocals to 'Sunrise, Sometime.' I could hardly believe I got to spend the day with her let alone have her legendary voice on one of my songs.

''And then there was the time I invited myself into Sass’ band. I just had to make this dream come true and Sass made it happen for me. Just being around her for a few shows showed me the true meaning of rock n roll, of light, love and female power. Of what it means to really sing, to open up your voice, your spirit and to feel the music. Sassyj… thank you for your voice and your music … For your generous spirit, your big sisterly advice.''

Veteran Montreal music critic Brendan Kelly on Facebook: '''She was one of Canada's great femme rockers and there was a time when she just dominated the rock world in this country with her gritty down-home bluesy fare.

''I'm especially thinking this morning of when I first saw Sass as the singer and bassist in the fabulous Montreal band The Pinups. Man, that band kicked ass. They perfected power pop like no one else. Also interviewed Sass many times and she was the no-bs real deal.''

Montreal musician and music publicist Glenda Rush (Vivo Musique) on Facebook: ''I had the loveliest opportunity to portray the bassist in Sass’s Double Trouble video. Bass is an instrument I actually play, so this was really so cool. There were only a handful of us female bass players around Montréal that I knew of at the time, so it was such a thrill to be asked, and hopefully, in some small way, to inspire more young women to take up this fabulous instrument.

''Since then, it was always so exciting to watch Sass’s career soar, and I’ll always cherish my own small moment along the way.''

On his Substack, Toronto author and musician Bill King reprinted two of his earlier interviews with Sass Jordan. Read those here.

Irish rock and soul star vocalist Andrew Strong (The Commitments), on Facebook: ''I shared the bill with Sass on a few festivals around Europe in the early ’90s. I got to know her guitarist Stevie Salas around that time, and Taylor Hawkins was playing drums with her.

''Sass was an incredible live performer — a true force of nature.I loved her 1994 album Rats, which featured Brian Tichy on drums. That record actually led me to Brian, who went on to play on my second album, so Sass had a real and lasting influence on my musical journey.

''I once wrote Sass an email telling her how much I loved the record and admired her voice. She wrote me back with such a beautiful, gracious message that I never forgot. My heart is heavy today. My deepest condolences to her family, friends, and everyone who loved her and her music. Rest in peace, Sass. Thank you for the music and the memories.''

Hamilton keyboardist Jesse O'Brien (Junkhouse, Colin James), to Billboard Canada: ''The first time my father pulled out the record 'Tell Somebody' by Sass Jordan, we both knew we were listening to something beyond special. Sass had an amazing sense of humour, an incredible voice, and I feel very fortunate to have joined in on her final 2 albums thanks to Chris Caddell and her husband Derek Sharp. We will all miss her so much. My heart goes out to Derek, the entire family and extended musical family.''

Former president of Sony Music Canada and vice president and general manager of MuchMusic personality Denise Donlon, on Facebook: ''Her spirit and energy and just a pure joy was always a delight to encounter. Hard to believe her light is gone from this earth. Sending strength and peace and love to her family, friends and fans and hopefully moments of light as they honour her many contributions. RIP Sass, light up the next world.''

David Marsden, a legendary Canadian DJ and broadcaster whose work had a huge impact on Canadian music, died on Sept. 28, at age 85.

An official press release and obituary from NYthespirit.com, the subscription radio streaming service founded by Marsden, called him ''a brilliant, innovative broadcaster and steadfast champion of new and independent Canadian music.''

His importance to the Canadian music industry is reflected in his membership of the Canadian Association of Broadcasters Hall of Fame and the fact that he is one of only two Canadians in the 'Dear Mr. DJ' exhibit at the Rock n’ Roll Hall of Fame in Cleveland, Ohio. You can read the full Billboard Canada obituary here and a Globe and Mail obituary written by Nicholas Jennings here.

The news of his passing elicited a huge response on social media from fellow broadcasters, artists he championed, music industry types whose taste was heavily influenced by Marsden's work and regular listeners. Here is just a small selection of those tributes, all taken from Facebook unless otherwise stated.

Veteran radio host and consultant Liz Janik, a key figure at CFNY during its heyday: ''David Marsden changed my life. First heard about him when I was 14, 12 years later I was working with him. ‘The Spirit of Radio’ was more than a ‘radio station’. It was a community of people gathered by their love of music and the fellowship of likeminded people. Tastemakers, creators, dreamers, free-thinkers. Real people. A radio station that people still talk about today - decades later.

"David was ‘The Spirit of Radio’ and I carried his approach to radio and music and the people who share that bond throughout my career. Had the joy of working with other amazing stations across, always with David’s leadership and creativity in mind.''

Radio and record label veteran Ivar Hamilton worked alongside Marsden at CFNY as import music director and served as one of the executive producers on the recent CFNY: The Spirit of Radio documentary. He told Broadcast Dialogue that “David was an incredible visionary broadcaster who let the DJs play what they wanted in a library with 20,000 songs that extended to jazz, blues, folk, classical, imports and local independent music. David also encouraged the team at CFNY to be themselves and take chances and be creative, not only with the music but with all specialty programming.”

Former president of Warner Music Canada Steve Kane was a huge Marsden fan. ''Like so many folk I was saddened to hear that David Marsden had passed. David had a huge impact on my musical tastes and journey. As a teenager in Oshawa I was one of those kids that hung an antenna out of bedroom window, positioned my radio just so to pick up NY’s signal.''

''The signal was better at the local Becker's Milk store where I worked after school and evenings. Marsden was a constant companion and every night I was introduced to something new and exciting and was blown away by his eclectic mix.

''He was a swell egg and I’m still grateful that there was a voice out there in radio land that didn’t feed us pablum. It was also helpful that I could wander into Star Records and utter the phrase 'Marsden played this song last night…'and walk out with the record. That combo saved my musical ass. So long Marsden and thank you.''

Legendary Toronto concert promoter Gary Topp: ''David Marsden, what can I say about you and me. You were one of my mentors. I loved listening to radio and it significantly changed when you came to CKEY AM during my teenage years. I listened to Dave Mickie rabidly. He was my revolutionary hero on the airways.

''When I founded my first business venture in 1970, Topsoil Films, you had just moved from Montreal and was sent by CHUM FM to host the premiere of MILLHOUSE; A WHITE COMEDY. That's when we met in person. We formed a friendship that lasted forever.

''From ‘72, you came to see movies at the Original 99-cent Roxy, you'd show up after your DJ shift. We always had two seats waiting for you, mid-auditorium on the right aisle, you, Eddy and your dog on the floor in the aisle.

''Then came CFNY and along with you and Ivar and the early crew, we had many years of fun concert promotion. You told me more than once that my dj-mixes before the shows often influenced what you played on 'NY. One can’t buy compliments like that. My two books featured your contributions to my life, Toronto and international radio broadcasting. I will never forget you, you’ll always be a legend in my memory. God bless you.''''

Toronto music video pioneer Don Allan: ''He was truly a legend! From Mickey Marsden at CHUM AM to David Marsden at CHUM FM and this leading to the formation of CFNY. He was also involved with us in the start of The StereoVison Network in 1980 when we shot Iggy Pop, The Ramones, The Clash, Teenage Head and many more for simulcast concerts. The loss of a true icon, Godspeed David.''

Canadian radio legend and Broadcast Hall of Famer Dave Charles: ''I met Davie Mickie in 1962 when he was a DJ at CHAM Radio Hamilton. He was a Top 40 wizard before he evolved into David Marsden 'The Spirit of Radio legend.' What a brilliant radio life. So many great memories. Thank you Mars Bar...you were very special and much loved!''

Former record label executive and artist manager turned art gallery owner Ralph Alfonso: ''Every musician in Canada breaking new ground owes their career to David Marsden. He broke all the barriers and taboos from the '60s onwards, opening up the airwaves to the freaks, geeks, and everything that went against the norm.

''He got fired, re-hired, influenced a generation with CFNY and then did the same at COAST 1040 Vancouver before the CRTC refused their FM licence. We had lots of FB conversations over the years. He was always supportive and encouraging. I suggest everyone watch the CFNY documentary on YouTube to get a grasp on the cultural shift he ushered in for alternative music in Canada.

''In 1964, Marsden was a topic of discussion in Marshall McLuhan’s book, Understanding Media, as an example of the future of auditory experience. 1964! God bless, David. Safe journey. You’re welcome to come haunt us anytime.''

Toronto music publisher, SPIN Canada editor-in-chief and NXNE co-founder Michael Hollett: ''David Marsden helped me make my dreams come true. He was incredibly supportive when we launched NOW, so kind and respectful to the kid that I was at the time. He did so much for me and I will be forever grateful. Heaven just got an awesome DJ. Goodbye legend , RIP my friend, and thank you.''

Veteran Toronto music publicist Jane Harbury: ''He was one of the kindest, most creative and one of the most eclectic music champions. We were so lucky to know David.''

Toronto musician and visual artist Kurt Swinghammer: ''David Marsden was the hippest DJ I’d ever heard when he was on CHUM FM and I listened as much for his raps as his choices of tracks. A memorable moment was when he interviewed Frank Zappa promoting the phenomenally funny Overnight Sensation album in '73. Mars Bar was in great form but Zappa was incensed to see a piece of tape on the record itself which prevented the DJs from airing a particular cut.

''The conversation awkwardly focused on censorship which became Zappa’s crusade a dozen years later over the 'Parental Advisory' sticker issue. The subject surely resonated with Marsden as he left the station a couple years later due to an imposed and limited playlist. His cred was solid and CHUM was square and I’ve never tuned in since.

''Dodgy reception of a cool underground station in Brampton started happening in 76 and Marsden joined the groundbreaking CFNY the following year. His stint there is absolute legend and once again he knew when to abandon ship before it became too mainstream. R.I.P to a great Canadian.''

Canadian radio pioneer Chuck McCoy: ''Such very sad news. What an enormously talented man who became a friend for life. I met him when we were both in Vancouver but I had followed his career from TV ( Who remembers the 'Platinum Pad'?). We both had something in common-CHLO.

''He was a pioneer, an innovator and such a very kind man. His leadership at CFNY is legendary. I watched him perform before the CRTC, standing with Fred Sherratt. David did a brilliant soliloquy as only David could , and Fred looked at me and said, 'That was so brilliant they should just give them the license renewal on the spot.'''

''I was always amazed that he wasn’t one of the first inductees in the CMW Hall of Fame. I lobbied for it for several years and Neill Dixon responded. I was thrilled and even more honoured when I was given the job of inducting him, one of the highlights of my career. Such a great talent. Such a decent man. Farewell my friend.''

Moe Berg (The Pursuit of Happiness): ''This is such sad news. David was a huge supporter of us and an incredible music person. He was also an amazing guy.''

Toronto music company head Graham Stairs: ''This is a devastating loss. David was a huge supporter of Canadian music, independent music, new music and just great music in general. The community he built at CFNY ripples down the years and continues to influence those of us who came under its spell. He was a true music man.''

Toronto broadcaster, author and entrepreneur Jaymz Bee: ''I just got to sit down with David last March, it had been ages. We talked about health and being grateful. He was the first guy to "get" my first band, Look People. What he did for music in this country is hard to put in words. I'm trying to write about him now for my substack post tomorrow. So much to say - what a life! Condolences to all his fans, friends, family and co-workers. His celebration of life will be huge!'' Read the Jaymz Bee substack entry here.

Bill King, a Toronto writer, musician and composer, also wrote a substantial Substack tribute to Marsden. Read that here.

Music journalist Karen Bliss: ''I'm so sad to learn about the passing of the legendary and inimitable David Marsden, best known for his time at CFNY, where he was PD and helped build the 'spirit of radio,' a major influence on my early years as a music fan in Toronto.

''He was one of a kind. He and Don Berns hired me to host a music interview show at Canada's first legit Internet radio station, where Strombo and Jeff Marek also had shows. After it was sold and they got rid of the hosts, I only bumped into him every few years but loved doing so. He was kind, enthusiastic, had great stories, a radio Personality with a capital P. RIP Marsbar.''

Hamilton rock n roller Tim Gibbons, on FB: ''Rest in Peace Dave. Mickey Au Go Go was a great early CHCH dance show, never missed it. He often would drop by my blues gigs at the Gown & Gavel in the Nineties in Hamilton. Sure liked to party. A true original for sure.'

Indie 88 Toronto: ''David Marsden was a pioneer of free-form and alternative radio in Toronto, most famously as program director at CFNY in its prime Spirit of Radio years, inspiring the Rush song of bearing that title.''

Andrea Warner, a Vancouver-based music critic, author, podcaster and writer-producer for CBC Music, died on Sept. 27, at age 47. A tribute on CBC Music's Instagram reported that ''she had been living with cancer for nearly three years.''

The CBC Music Instagram tribute to her reads, in part: ''Andrea joined the team in April 2012, when CBC Music was in its infancy. And what a stroke of luck it was that CBC scooped her up. Before she published award-winning books, recorded hundreds of podcast episodes and became a celebrated feminist pop-culture writer and producer, she first was the loudest voice for justice and the fiercest friend to a group of us who are reeling at never again hearing that beautiful laugh after any one of her absurd and delightful phrases. We love her. We miss her. We won’t be the same without her.''

Warner was the author of multiple well-received music books, including 2015's We Oughta Know: How Celine, Shania, Alanis And Sarah Ruled The '90s, Rise Up And Sing: Power, Protest and Activism in Music and, in 2018, the best-selling Buffy Sainte-Marie: The Authorized Biography, published prior to the revelations about Sainte-Marie's ancestry. In 2024, ECW Press published Warner's The Time of My Life: Dirty Dancing. Warner also co-wrote Susan Aglukark's autobiography, Kihiani: A Memoir of Healing.

Warner was an associate producer at CBC Music and co-hosted the weekly podcast, Pop This! Her radio work included weekly music columns on CBC's Radio One's All Points West and Radio West, and she was also part of CBC Radio's Day 6 music panel.

She freelanced for six years as a theatre critic for the Georgia Straight and her writing on music, arts, pop culture, and feminism has appeared in such publications as Pitchfork, Bitch, Exclaim!, The Literary Review of Canada, Maclean’s and The Globe and Mail, among others.

Warner also served on the jury for the Polaris Music Prize. After learning of her passing, her friend and Polaris Jury foreperson Erin MacLeod issued this tribute: "It is hard to overstate how wonderful Andrea Warner was as a writer, journalist, podcaster, thinker, and human being. Her ability to make connections and describe music, art and culture in ways that linked them to politics, justice, meaning, and more was as glorious as her joyous laugh and incredible generosity.

''It is a blessing that she was so prolific and we have access to her opinions and ideas shared through her many books, articles, and episodes. But this is not enough. She is gone far too soon and will be missed by anyone who has the opportunity to know, read, or listen to her. Andrea Warner was awesome. This might be the perfect statement, if only it were in the present tense.''

Many artists added tributes to the CBC Music IG post.

iskwē: ''Oh how heartbreaking! I’m so sorry to hear this news. All my love to Andreas family and to those who love her.''

William Prince: ''A kind, loving soul to everyone she encountered. Love to Andrea and her family.''

Tara MacLean: ''What an incredible woman and bright light. So lucky to have known her. My heart breaks for her circle. Safe passage, dear one.''

Louise Burns: ''I feel so lucky to have known and worked with such an inspiring human being. Andrea you are so loved and missed.''

Tanya Tagaq: ''She is a fantastic person and born kind. We will miss her. RIP. ''

Toronto music journalist and author Michael Barclay sent Billboard Canada this tribute: ''Andrea Warner filled a room with her voice and the world with her words. She always had the most interesting take on any seemingly overexposed subject, while also wanting to champion new artists she thought were doing the most interesting work and deserved wider celebration.

''In a Canadian publishing industry that isn't exactly clamoring to read critical takes on our domestic music, she wrote You Oughta Know independently and first published it with a tiny outlet. That book championed Alanis Morissette, Céline Dion, Shania Twain and Sarah McLachlan in ways that she didn't feel they were recognized in the larger critical sphere -- dominated as it is, or least was, by men. She saw a gap and she filled it.

''We both loved the Tragically Hip and Buffy Sainte-Marie, and we were working on our biographies at the same time: hers authorized, mine unauthorized. She was a great sounding board during that time, and I was delighted to see her Buffy book become a bestseller. Andrea and I didn't always agree, far from it, but I always learned so much from her when we didn't. This is a big loss for Canadian music writing.''

Novelist and podcaster Kerry Clare posted a tribute on the Good Reads blog that reads, in part: ''Andrea Warner was oh so cool, and even more kind. We only met once in person, but over the past decade, I came to adore her, and was so grateful for (and quite chuffed by!) her support of my work, and also for the force of her own work, which was feminist and fabulous and truly made the world a better place.

''She took cues from nobody about what was cool and what was important, her takes and criticism unabashed and straight from the heart. She wore her heart on her sleeve, was true blue, and earnest. Andrea was a remarkable critic because she knew how to appreciate things, not just how to pick them apart. She was an example of the kind of writer who stayed curious always, asked tough questions of the art she loved, and respected such art enough to know that it was tough enough to take those questions.''

Donations can be made in Andrea’ Warner's name to two organizations she supported regularly: Battered Women’s Support Services and Urban Native Youth Association.

Victor Davies, a Winnipeg-born composer, pianist and conductor of international renown, has died, at age 87.

His passing was announced in an Oct. 2 press release issued by SOCAN, the Canadian performing rights org of which Davies was a longtime board member.

The release reads, in part: ''Canada’s music community mourns the passing of Victor Davies, C.M., the celebrated composer, pianist and conductor whose imagination enriched Canadian culture and whose advocacy strengthened the rights of music creators. Across more than six decades, Davies brought Canadian music to audiences worldwide while helping build a stronger community for those who create it.

Born in Winnipeg, Davies studied at the University of Manitoba before earning a Bachelor of Music in composition from Indiana University in 1964. He later studied conducting with Pierre Boulez in Switzerland. He built relationships with Manitoba’s leading arts organizations, including the Winnipeg Symphony Orchestra, Royal Winnipeg Ballet, Manitoba Theatre Centre and Contemporary Dancers.

He was organist-choirmaster in 1959 at Wesley United Church, Winnipeg, music director in 1964 of the Manitoba Theatre Centre, and composer, arranger, and conductor 1966-70 for CBC radio and TV. He composed and performed live and on television with his own third stream jazz ensemble and in 1970 he began to work as a freelance composer and arranger. In 1977 Davies moved to Toronto, while maintaining enduring connections to Manitoba.

Davies worked in many different areas, including opera, musical theatre, ballet, orchestral and chamber music, choral works, and music for children. His compositions were featured in performances, recordings, broadcasts and television internationally. He also wrote scores for productions associated with CBC, CTV, the National Film Board of Canada, PBS, 20th Century Fox and Warner Bros.

SOCAN reports that ''His music resisted boundaries between the concert hall and popular culture. Melodic invention, rhythmic energy and colourful orchestration allowed classical forms, jazz and popular idioms to coexist in his work. From intimate chamber pieces to large theatrical productions, he sought a direct connection with listeners.''

His best-known work is arguably The Mennonite Piano Concerto, commissioned by Manitoba’s Fast Foundation and recorded by pianist Irmgard Baerg with the London Symphony Orchestra under Boris Brott. This work (coupled with Good Times: Suite for Orchestra, also with the London Symphony Orchestra) was released on CD and has been performed live in the US, Canada, Europe and China, broadcast many times on National and American Public Radio, the CBC, Australian Broadcasting Network, the BBC and was #8 in sales on Classic FM the largest classical music broadcaster in Britain in 1995.

Following the success of this CD The Music Of Victor Davies was released in Britain, Europe, North America and Japan on the Campion label. Other recordings feature Festival Players Canada performing his Silhouettes (Piano Trio No. 1), Yukon Scenes (for Flute and Piano) and Fun For Four (String Quartet No.1).

Other well-received works by Davies include the oratorio Revelation, the opera Transit of Venus, commissioned by Manitoba Opera and The Big Top, created for the Royal Winnipeg Ballet. His screen work included The Nutcracker Prince and For the Moment, while his score for Honour Before Glory earned a Gemini Award in 2002. He also wrote music and lyrics for more than 600 songs for the children’s television series Let’s Go! and The Rockets. Read a list of his selected compositions in this Canadian Encyclopedia entry.

Other ensembles and organizations he was commissioned to write for included the Famous People Players, the Orford String Quartet, The Calgary International Organ Festival, the North American Welsh Choir, Young Peoples Theatre, Soundstage Canada '81 and many more. Davies composed, oversaw and produced the music for the Pan American Games in 1999.

Davies conducted his music and that of others with the Winnipeg, Edmonton and Kitchener-Waterloo symphonies, the Hamilton Philharmonic and more. He spent two years as a musical director of CBC-TV’s Ninety Minutes Live, working with and writing for a variety of pop, rock, opera, jazz, folk and country artists.

He also wrote extensively for the stage, television and film including The Last Winter (1990), The Nutcracker Prince (1991), The Nature of Things (2002), For the Moment (1994), and a workshop of his musical The Importance of Being Ernest was performed for the Stratford Festival in 2005.

Davies served as president of the Canadian League of Composers, was an associate of the Canadian Music Centre, served on the board of the Canadian Music Centre, and as Vice-Chair of SOCAN and was a longtime board member of both SOCAN and the SOCAN Foundation, he combined artistic experience with a commitment to service, mentorship and his fellow creators.

In 2014, Davies was appointed a Member of the Order of Canada for broadening the appeal of contemporary Canadian music and supporting composers’ legal rights. His citation described him as “a fierce supporter of Canada’s creative music community and one of our most beloved composers.” The University of Manitoba awarded him an honorary Doctor of Laws in 2007.

To honour Victor Davies’ legacy and support the Victor Davies Award, family, friends and members of the music community are invited to contribute to SOCAN Foundation’s donor-advised fund at Charitable Impact. Donations can be made here.

International

Conrad “Cronos” Lant, the lead singer and bassist for pioneering English black metal band Venom, has died at age 63.

The group announced the news in an Instagram post on Oct. 1, writing, “It is with profound sadness and broken hearts that we share the news that Conrad ‘Cronos’ Lant has passed away. For more than four decades, Conrad’s voice, bass and vision were at the heart of VENOM. From the first dark rumblings of Welcome to Hell, through Black Metal, At War With Satan, Possessed and beyond, he created something that changed heavy music forever.”

Billboard's obituary reports that ''Formed in Newcastle upon Tyne, England in 1978, the band settled on their forever name a year later when the members also adopted their dark stage alter egos. Former Dwarfstar member Lant initially played rhythm guitar, then moved over to bass duties while adopting the stage moniker 'Cronos.'''

''The band’s initial run of albums, including their 1981 debut Welcome to Hell, 1982’s Black Metal and 1984’s At War with Satan, helped supercharge the rise of the grim black metal genre in the 1980s and 1990s amid the rise of a wave of British metal that included bands such as Iron Maiden, Judas Priest and Motörhead.''

Billboard notes that ''after 1985’s Possessed, the band pivoted a bit away from their underworld fixation into a more straightforward hard rock attack on 1987’s Calm Before the Storm, before Lant briefly left the group and was replaced by Atomkraft bassist/vocalist Tony 'Demolition Man' Dolan on 1989’s Prime Evil album.''

Following a decade-plus gap, the original group, including Lant, reformed to record their ninth album, 1997’s Cast in Stone, which continued their association with dark arts on such tracks as “The Evil One,” “Raised in Hell,” “All Devils Eve” and “God’s Forsaken.”

Lant briefly fronted his own band, Cronus, but continued to lead the charge for Venom through the return-to-form 2006 LP Metal Black, as well as 2008’s Hell, 2011’s Fallen Angels, 2015’s From the Depths and 2018’s Storm the Gates.

He also collaborated with Cradle of Filth and appeared on the 2004 one-off album by Foo Fighters leader Dave Grohl’s metal side project, Probot on the opening track 'Centuries of Sin.' Venom released their first album in eight years, and final one with Lant, Into Oblivion, earlier this year.

In its obituary, The Guardian writes that ''As frontman of Venom, Conrad Lant made an impact on metal to rival Black Sabbath, inspiring a whole new subgenre with his diabolical grandstanding, unruly spirit and heretic noise.''