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George Olliver
FYI
Obituaries: Tributes to Toronto Soul Star George Olliver, Blondie Drummer Clem Burke
This week we also acknowledge the passing of Toronto blues and rock 'n roll keyboardist Ray Harrison and Marc Nathan, an American A&R exec who boosted the careers of multiple Canadian artists including Barenaked Ladies.
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George Olliver, a Toronto soul singer and keyboardist best known for his work in the Mandala and Gangbuster, died on April 6, after a stroke, at age 79.
Born and raised in Toronto, Olliver sang in an Anglican church choir and studied classical piano. As a Globe & Mail obituary by Nicholas Jennings noted, "He then fell for the rock ‘n’ roll sound of Bill Haley & His Comets. While attending Northview Heights Collegiate in Willowdale, he and schoolmate Pentti (Whitey) Glan, formed a series of rock bands like the Cool Cats, with Mr. Glan on drums and young George on organ."
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"As Whitey & the Roulettes, Mr. Glan and Mr. Olliver became the house band at an after-hours venue on Yonge Street called Club Bluenote, which billed itself as the place 'where R&B is king.' Mr. Olliver fell under the spell of James Brown after seeing the 'Please Please Please' singer at a concert in Newark, N.J. Soon, he was channelling Mr. Brown’s dynamic performance style as his own."
After adding ace guitarist Domenic Troiano (later a member of The Guess Who and The James Gang), this house band evolved into the Five Rogues. They became popular locally, even opening for the Rolling Stones.
At the urging of manager Randy Martin, the group became the Mandala, and their high-energy polished R&B sound saw this popularity soar. Record label interest followed, and the Mandala signed to U.S. label Chess Records. The Troiano-penned single "Opportunity" became a hit and the group became rather a sensation on the L.A. scene, packing out venues like the Hullabaloo and the Whiskey a Go Go. In 2019, "Opportunity" was inducted into the Canadian Songwriters Hall of Fame and, in 1996, Troiano, Olliver and their band performed the song at Troiano’s induction to the Canadian Music Hall of Fame.
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Catching their show at the Hullabaloo Club in Nov. 1966 was noted Toronto pianist, composer and author, Bill King. Many decades later, in Billboard Canada FYI, King recalled the gig: "I didn’t know what to expect so when the band started playing a high-energy hybrid of soul and blues; I found myself consumed by the moment. Then all hell bust loose. Lead singer George Olliver starts spinning and twirling doing a blue-eyed soul imitation of James Brown. Then the strobe lights kick in, and the crowd revels in the unexpected frenzy."
In March 1967, the Mandala travelled to New York City for a month of shows at Steve Paul's The Scene, plus participation in the star-studded Murray the K's Easter Rock Extravaganza, alongside acts like the Blues Project, Cream, The Who, Wilson Pickett and Mitch Ryder & the Detroit Wheels.
Differences over musical direction led Olliver to quit the band then, just prior to the Mandala scoring a deal with Atlantic Records. Fronted by Roy Kenner, the band released their Soul Crusade album. Under Troiano's leadership, the Mandala continued until 1969. It landed a deal with Atlantic Records and scored a hit with the cut "Love It-is," which reached #9 on the CHUM chart when it was released in July 1968. High hopes for greater success came to naught and sales for the Soul Crusade album were disappointing.
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After Olliver left the Mandala, he formed George Olliver and His (Soul) Children, which evolved into Natural Gas in 1969, a group that drew comparisons with such jazz-rock outfits as Lighthouse, Chicago and Blood Sweat & Tears. They had a moderate hit with "All Powerful Man," which peaked at No. 76 on May 9, 1970, and spent a total of 7 weeks in the Canadian charts. It made the Canadian Top 10, and the Top 50 in the U.S.
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The band in those days toured Ontario and Quebec constantly but was home based at The Commodore in Kingston. "It was a real nice spot," said Olliver in one interview. "And when I made the Natural Gas album many musicians from the area were covering the songs from it."
Following a stint as George Olliver and Friends, he wrote, recorded and released a solo single, "I May Never Get to See You Again," on Much Records, produced by the label's A&R man, Bill Hill. In 1976, he released another single, "Don't Let the Green Grass Fool You," with Dianne Brooks on background vocals.
In the decades since, Olliver may have been largely absent from the charts and recording studios, but his prowess as a riveting and soulful performer meant he remained a popular club attraction. His dynamic onstage presence was captured on the 1983 release of Live at the Bluenote, recorded at the legendary Toronto club with his band Gangbuster and featuring Canadian R&B legends Shawne Jackson and Roy Kenner.
Olliver had a deep connection with Club Bluenote, co-owning and serving as its musical director from 1982-1993. The venue was renowned as the hub of soul/R&B in Toronto, and Olliver imported such major U.S. stars as Sam and Dave, Solomon Burke, Martha Reeves, Wilson Pickett, Etta James, Mary Wells and more to perform there.
His 1987 solo album, Dream Girl, earned Olliver his only Juno nomination.
In later years, Olliver, a man of faith, also frequently performed and recorded gospel music with his group Caught Away, releasing a 2008 gospel album, George Olliver's Gospel Soul.
In 2018 George Oliver received the Cashbox Canada Legacy Award, and he continued performing until very recently.
An extensive interview of George Olliver conducted by Bill King for Billboard Canada FYI provides fascinating insight into his career. Read it here.
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Proof of the major impact Olliver had on Canadian music, especially on the Toronto scene, came with the huge outpouring of tributes from his musical peers and music industry types as word of his passing spread. Here is a selection of those tributes.
Legendary radio broadcaster and consultant Dave Charles offered this tribute to Billboard Canada: "George Olliver, ‘Canada’s prince of blue eyed soul,’ has passed. George’s dynamic voice and stage presence always distinguished his musical diversity and true showmanship. He had the tightest horn section anywhere in music, competing with groups like Blood, Sweat & Tears and Chicago and the Godfather of Soul, James Brown.
"I will remember George as one of the most professional musicians ever who inspired our Canadian music industry to greater heights. As an aside, George could do the splits like nobody else….I marveled at his athleticism and showmanship on stage. You gave me and others SO many great memories and musical inspiration! You will be missed my friend! Love you brother."
Toronto musician and radio host Danny Marks wrote a tribute for the Toronto Sound website that he offered to Billboard Canada: "In the late 1960s, 'Blue Eyed Soul' was a thing, even including the Young Rascals who were mostly Brown Eyed. Mandala were a pillar of the Toronto Sound, they were Musician's Musicians and George was their front person and spokesman.
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"He was a down to earth guy in many ways. His stagecraft knew no bounds or equal. The original stunts Mandala played might have owed a lot to their charismatic manager but it was the most charismatic Olliver who pulled it off night after night with full powers and belief. George Olliver's conviction to their Soul Crusade was beyond question and made believers of all of us. May his memory be a blessing and their music live on."
Noted Toronto live audio engineer Doug McClement (on Facebook): :"R.I.P. to the great George Olliver. One of the architects of The Toronto Sound. The Rogues, The Mandala, The Children, Natural Gas, The Royals, Gangbuster. What a musical history! He always delivered 150%, whether there were 5 people or 5000 people in the audience.
"Way back in 1971 he actually opened for Rockin' Randy and the Deltones at The Warehouse in Kingston, and I remember one of our vocalists, SJ Lawrence, felt that it wasn't right that HE was opening for US and almost refused to go onstage. He was absolutely correct. I was fortunate to work with George later in his career, and he was always such a gentleman. When I asked him what sort of sound he wanted for his vocal track, he said 'Doug, you're an old soul man, you know what to do.' One of the greatest compliments I ever received. Safe travels to The All Powerful Man. An irreplaceable hole in the Toronto Music scene."
Veteran Toronto guitarist Bernie LaBarge offered this tribute to Billboard Canada: "Anyone who ever had the chance to work with George learned a big lesson in work ethics. He brought his game to every gig, whether there were six or six thousand people in the crowd.
"George was kind, sincere, always soulful, and introspective offstage. On the other hand, he was the most ferocious driver I've ever travelled with. He was fearless behind the wheel! I honestly believe that the mailmen got their slogan from George. I'm going to miss my friend and mentor. I am blessed to have known him."
Frank Troiano (brother of Domenic) on Facebook: "He was an integral part of the Five Rogues and the Mandala. I especially loved his song 'Lost Love' and his vocal on 'Opportunity.' I will never forget his amazing performances with the Mandala. He truly was one of the 'hardest working' performers in the music business! RIP George."
Toronto musician Mike McKenna: "RIP George Olliver ..I have to say thank u for those early days of playing and learning from u... i was lucky enough to play with George, Whitey Glan and Don Elliott in a group called Whitey and The Roulettes. George had us learn many songs from James Brown, Garnett Mims, and many more wonderful artists."
"He played great keyboards - Organ and piano.- and he taught us that discipline and hard work make a great band. Of course, we eventually did go our separate roads, but I have to say those were the best days ever...incredible memories, forever."
Artist manager and record label head (True North) Bernie Finkelstein: "The Mandala were amazing and George was out of this world. I didn't know him well but knew him a bit from hanging around Yorkville. One of the great artists to come out of Toronto during the '60s. RIP George."
Paul Shaffer, long-time bandleader on David Letterman’s TV show, to Nicholas Jennings: "George Olliver was the epitome of Toronto soul. He was a showman and vocalist worthy of the world stage, but chose to favour Canada with his immense talent.”
Former Blood, Sweat & Tears front man David Clayton-Thomas (to Jennings): "George was a gentleman, a complete pro who worked the stage just like James Brown and always stayed true to his R&B roots.”
Noted soul singer Shawne Jackson (to Jennings): "I met George at the Bluenote in 1965 and thought he had a marvellous voice and sang just like a black guy. And his stage show was amazing too. He thought he was James Brown – he really did. He was a whirling dervish. I’d never seen anyone like him.”
Ray ('Rabbit') Harrison, a veteran Toronto rock 'n roll and blues keyboardist who played in Crowbar, The Cameo Blues Band, and many more, diedon April 10, at age 77.
At age five, the Toronto-born Harrison moved with his family to Woodstock, enrolled in piano lessons at the Royal Conservatory of Music and began his musical journey. The Crowbar website reports that "by 1960 he was playing with U.S. star Del Shannon (Runaway, Hats off to Larry) In 1961 joined the Kudlets circuit (a prominent booking agent of the day) for the rest of the decade.
"From 1970 to 1973 he played with the successful rock band Greaseball Boogie, later renamed Shooter as the image of the band changed. They were nominated for a Juno award based on their popular version of the Leo Sayer tune 'Long Tall Glasses (You Know I Can Dance),' losing out to Rush.
"Harrison left Shooter in 1977 and joined Crowbar. They toured across Canada until in 1978 the band was forced to part after an unfortunate accident involving their tour truck and all their instruments."
After a stint in the band of Hock Walsh (Downchild), regulars at Toronto's Hotel Isabella, Harrison helped found the popular Cameo Blues Band at that venue. Other initial band members included Billy Bryans, later of the Parachute Club, on drums, and Bob 'Omar' Tunnoch, later of Fathead, on bass.
Longtime Downchild bassist Gary Kendall told Billboard Canada that "Ray formed The Cameo Blues to hold down a residency in the Cameo Lounge at The Isabella Hotel. Chuck Jackson was the singer in that band and that`s when I got to know them. They had a really good band and I would go to their gig on nights off or after a Downchild show finished early. Downchild and Cameo did a lot of double bill shows back in those days."
The list of famous artists who sat in with the Cameo Blues Band at the Isabella included Roy Buchanan, Elvin Bishop, Lowell Fulsom, Etta James, Otis Rush, Albert King, Spencer Davis, Dan Ackroyd, Georgie Fame, Richard Berry and Big Joe Turner. The Cameo Blues Band is still plays occasional gigs to this day.
Harrison did record briefly with the famed Downchild Blues Band. Kendall explains that "Ray was never an official member of Downchild, but was always a great friend to the band. He played organ on two tracks on the 1981 recording, Blood Run Hot. When Jane Vasey needed some time off that year to deal with health issues Ray did a short northern Ontario tour with the band filling in for her."
After the Hotel Isabella residency finished, Harrison and The Cameo Blues Band regularly gigged at other Toronto club venues.
In 2002, thanks to producer and independent label owner Lance Anderson, the group recorded its first album, All Play and No Work, on Make It Real Records. Its lineup then comprised Ray Harrison (piano and Hammond B3), John Bride (guitar), Tom Griffiths (bass) and Michael Sloski (drums), with guest vocalists Vocals were contributed by four previous lead singers of the band contributing vocals: John Dickie, Chuck Jackson, Malcolm Tomlinson and Walter Zwol. In 2012, the band released its second album, 10,000 Hours, also on Make It Real Records.
By the 2000s, most band members were involved in other projects, but the group still played a few times per year. In late 2009, the band reunited for a 30th anniversary concert, at the Lighthouse Festival Theatre in Port Dover, Ontario. Appearing at the reunion concert were Ray Harrison, John Dickie, Freddie Keeler, Mike Sloski, John Bride, Wayne Mills and Travis Harrison (Ray's son), plus guests.
Harrison remained active as a player until shortly before his death. His peers on the Toronto scene were quick to pay tribute on social media and to Billboard Canada.
Former Cameo Blues Band vocalist John Dickie offered this tribute to Billboard Canada: "If you knew Ray Harrison you would have known that there was no one like him and if you didn’t know him, know that there was no one like him. As a keyboard player (piano and Hammond B-3 ) he was a force of nature on piano. He had a rhythmic left hand that was reminiscent of a steam locomotive and a right hand that was constantly constantly exploring new ideas. He was equally imaginative with the Hammond organ and his creative use with the draw bars defied description.
"One of Ray’s favourite pastimes was his weekly searching yard sales buying stuff and re- selling it, Ray knew the value of everything. Funny thing though, in all the time I knew Ray we never discussed music and it was like that with everybody. Ray never talked about music. I would like to add that Ray was one of the funniest, most original people I have ever met, I will miss him forever, he can never be replaced. Sincerest condolences to his family and friends."
Toronto scene veteran Danny Marks often played with Harrison and called him "the greatest rock 'n roll pianist in Canada." He posted this tribute on Facebook: "There's no time like now to be aware of our mortality. Ray Harrison was a couple of years older than I. He was a Greaser, I was a Hippie. But we related through love of Rock n Roll and Blues. His playing was official. The man brought it. Ray could play a lot of other stuff on the piano. He just chose not too. His was pure Rock n Roll. When Ray sang it was real as Ronnie Hawkins. He could channel Jerry Lee, Little Richards, Fats or Floyd Cramer at the drop of a hat.
"Ray and I were friends. I know because he said so and that was a proud moment for me. The kind of man Ray was to friends he was loyal to, like Freddie Keeler, Pete Traynor, John Dickie, Wayne Mills and a handful of others in his inner circle. He loved to be surrounded by friends, flashing that megawatt of his."
"Ray Harrison had a special place in his heart for some of his best people. The day that he brought Kelly Jay [Crowbar] to sit in with us at The Rex that love was front and centre. Kelly was in need of a strong shoulder to lean on and he found it in Ray Harrison, under whose watchful eye he took centre stage to feel the full embrace of a crowd and the fans. A day to remember."
Gary Kendall, to Billboard Canada: "Ray Harrison was a great musician, a larger than life guy and a barrel of laughs. In recent years he and John Dickie would guest with The Mighty Duck Blues Band in St. Catharines at our annual Mardi Gras Party. My last gig with Ray was on March 1st this year with that band. He was in fine form that day and the news of his passing was a shock."
Chuck Jackson sent this tribute to Billboard Canada: " Ray was a big man with a big heart!! One of the Premier B3 and Rock and Roll Blues Piano Players. It was a highlight of my 50-year career sharing the stage and good times with Ray and the rest of the Cameo Blues Band. He always made me laugh!! The Jackie Gleason of the Blues. Rest in Peace my Friend."
Canadian blues star Al Lerman (Fathead) on Facebook: "I just heard the sad news. Not only was 'Rabbit' Ray a fantastic pianist and organ player, he was a larger than life character who leaves behind a huge void. He had a great ear and he knew how to rock 'n roll. He was one of those guys that never seemed to practice, yet was absolutely killer on his instrument. We were on countless gigs together and the hang between sets was always as much fun as the playing.. perhaps even more. Endless stories full of laughs."
"He'd collect old things and give them to friends he knew would appreciate them, like when he gave me an old Roy Rogers harmonica. We laughed a lot. Something tells me the stories and anecdotes will go on and on. Rest in peace my friend."
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Clem Burke (born Clement Anthony Bozewski), an in-demand drummer who was a member of Blondie throughout their career, died on April 6, at age 70. The group announced his passing, writing, “It is with profound sadness that we relay the news of the passing of our beloved friend and bandmate Clem Burke following a private battle with cancer.”
The statement continued: “Clem was not just a drummer; he was the heartbeat of Blondie. His talent, energy, and passion for music was unmatched, and his contributions to our sound and success are immeasurable. Beyond his musicianship, Clem was a source of inspiration both on and off the stage. His vibrant spirit, infectious enthusiasm and rock solid work ethic touched everyone who had the privilege of knowing him.”
In its obituary, Billboardreported that "Burke joined punk/new wave pioneers Blondie in 1975, not long after the group was formed by singer Debbie Harry and guitarist Chris Stein.
"Burke performed on all of Blondie’s albums, from their 1976 self-titled debut, to their breakthrough 1978 LP Parallel Lines (which featured their Billboard Hot 100 No. 1 hit 'Heart of Glass'), 1979’s Eat to the Beat and 1980’s Autoamerican. He was behind the kit during a pivotal, world-changing time in mid-1970s New York when Blondie, along with The Ramones, Patti Smith, Talking Heads and Television, were regularly playing in such legendary bars as CBGB and Max’s Kansas City, setting the stage for the punk revolution in America, and across the world." The final Blondie album featuring Burke was 2017’s Pollinator.
After Blondie’s initial split in 1982, Burke recorded and performed with a highly diverse grouping of artists, including the Romantics, Pete Townshend, Iggy Pop, Plimsouls, Bob Dylan, the Eurythmics, Joan Jett, Wanda Jackson, Dramarama, Nancy Sinatra, High Cornwell, the Ramones, The Adult Net, The Split Squad, The Go-Go's, The Fleshtones, Johnny Thunders and more. During his eight-year (1980-1988) run with the Eurythmics, Burke performed on three albums with the group. He was also a member of punk rock supergroups Chequered Past and the International Swingers.
Burke is featured on all of the Blondie’s No. 1 hits, which also included “Call Me,” “The Tide Is High” and “Rapture,” providing whatever the songs needed, from funky disco-leaning rhythms to reggae, funk and pop beats. He was inducted into the Rock and Roll Hall of Fame in 2006 alongside bandmates Harry, Stein, founding keyboardist Jimmy Destri and bassist Gary Valentine and guitarist Frank Infante.
Over his long career, Clem Burke frequently played in Canada, befriending many Canadian musicians and industry types in the process. Here are some of their anecdotes and tributes.
Veteran Hamilton concert promoter Lou Molinaro, on Facebook. "I first met Clem Burke on Tuesday Jan 28, 2008. I hosted a Magic Christian show at the original Absinthe [a Hamilton rock club]. Clem was playing drums in this quartet. During the day, Magic Christian went into Grant Avenue Studio to cut two songs with Gordie Lewis.
"It was an idea that Chris Houston and I had before their show @ the Absinthe. During our small talk, Clem and I started chatting about music of course. [English pub rockers] Dr. Feelgood came up in the conversation. That was our spark. Clem told me that back in the mid 70's, he went to the UK for a trip and brought back their Down By The Jetty album. He introduced that record to all the main NYC Max's / CBGB players. He was very proud of that accomplishment."
"Years later, Clem and I would connect a few more times, via shows at This Ain't Hollywood, with Hugh Cornwell and the Split Squad. He loved the club. One of the most rewarding paybacks about promoting music is having great experiences with musicians like Clem. Such a really sweet guy who never let his popularity stand in the way of getting to know a fan. Thank you for your music, beats and great chats."
Hamilton rock artist and producer Chris Houston recalled on Facebook that "I recorded Clem Burke for a Magic Christian single featuring Gord Lewis of Teenage Head and Michael Fonfara. Clem was a real dream in the studio, so fast, so good. A wonderful gentleman at dinner. A rock band is only as good as it's drummer, and Clem was one of my role models. A major drummer and greater Human being. RIP Clem Burke."
Veteran Toronto record label exec and music publicist Cameron Carpenter recalled to Billboard Canada that "when Blondie played Massey Hall in 1999 and was staying at the Westin, Clem was having fun at the lobby bar during Canadian Music Week and decided to stay for an extra day so we showed him the town. A very nice person and a great drummer."
Hamilton drummer Pete Lambert (Kensington Hillbillies) on Facebook: "Shocked to hear about one of my favorite drummers passing away. I never saw Blondie, but I did see him in Waterloo in 1980 with Iggy. Also saw him with Hugh Cornwell in Hamilton at This Ain't Hollywood where we chatted Last time I saw him was at the Horseshoe when he played with Split Squad before COVID and we talked about the Waterloo show. A truly wild one for the books. RIP Clem. You were an inspiration!"
Toronto independent record label head Graham Stairs (Popguru) posted this tribute on Facebook: "This one hurts. The great drummer Clem Burke has passed away. Decades ago, my band Popular Spies released an independent single called 'Chinatown' that Trouser Press voted the 7th best of 1980. As a result, the late great Ruth Polsky booked us a show at the legendary Hurrah in New York opening for The Know. Gary Valentine had recently left Blondie and The Know was his new band. Our set went over well with the audience and we returned to the dressing room we shared with The Know.
"To our surprise, some members of Blondie including Clem were waiting for us and were very complimentary about our music. Clem even offered to produce a single for us! Blondie are still one of my favourite all time bands. Being a drummer myself, I loved his flamboyant Keith Moon style drumming. Both Blondie and Clem covered a lot of ground musically, from the hip hop-influenced 'Rapture' to the disco beat of 'Heart of Glass' to the reggae groove of 'The Tide Is High.' He will be greatly missed."
Ontario concert promoter Tom Dertinger, on Facebook: "Clem is 100% top 3 nicest musicians I have ever had the pleasure of working with. He toured with Iggy Pop. I met him again on the road a few years ago in Austin and caught up with him. Sad news, R.I.P. Clem."
Marc Nathan, a U.S. record label veteran who worked with such acts as Barenaked Ladies, 3 Doors Down and Kon Kan, has died at age 70. A cause of death has not been reported.
At the start of his career, in the early '70s, Nathan worked in radio promotion for such labels as Bearsville, Casablanca, Playboy/Beserkley, Mushroom, Sire, I.R.S. and Modern Records before joining Atlantic/Atco in mid-1983.
He then moved into A&R in the late 1980s. Over his career, he had some notable successes with Canadian artists, beginning with Kon Kan. In an interview with Playlist Research, Nathan recalled that "In late 88 I was in Toronto and met a club DJ named Barry Harris. He had made a record ("I Beg Your Pardon") and released it in Toronto. I thought it was a smash, so I bought all the copies I could find and brought them back to NY, sent it to some radio people and gave a copy to the A&R department at Atlantic. We signed the song, it became a hit, and I changed offices and became an A&R man."
Nathan is also credited as a crucial figure in getting Barenaked Ladies signed to a U.S. record deal. In a lengthy Facebook tribute, original Barenaked Ladies frontman Steven Page recalls that "In 1991, at the New Music Seminar in New York, Marc attended a Canadian music panel where people were buzzing about several rising Canadian artists, including Meryn Cadell (who Marc soon managed) and Barenaked Ladies.
"He came to see us play at our showcase at the Limelight, and fell head over heels in love with our band. Marc was a guy who loved big, emotional music and also too-smart-for-its-own-good pop, and had a huge soft spot for silly novelty songs too. Marc took our demo tape to Seymour Stein at Sire records, and, thankfully, Seymour got it. While everyone else was calling us a throwaway, Seymour looked at Marc and said 'they’re a Simon and Garfunkel for the 90s.' Our then-manager, Nigel Best, was also instrumental in getting us signed to Sire Records, but Marc was always especially proud of his involvement, and I’m eternally grateful to him for it."
To Billboard Canada, Meryn Cadell explains that "Marc was central to my musical momentum in the U.S. He introduced my first album to Seymour Stein, and I was subsequently signed to Sire Records, a literal dream come true for me. With his deep roots in radio promotion, Marc helped get 'The Sweater' heard on U.S. Top 40 radio stations (not bad for a Canadian performance artist)."
In his Playlist Research interview, Nathan recalled this period. "It was an interesting time for me. I actually got 'sent home' (read: fired) by Atlantic, when I tried to sign The Cowsills, who had hits in the 60s and here it was the '90s and people were not signing 40 and 50-year-old acts. While 'on vacation' (read: unemployment) I went to a Canadian music panel at the New Music Seminar and heard about an act called Barenaked Ladies that were causing a lot of excitement in Canada.
"I also met Meryn Cadell, who had a song called 'The Sweater' getting played on CFNY in Toronto. One thing led to another, I ended up managing Meryn and getting both her and Barenaked Ladies signed to Seymour Stein and Sire Records."
Later on in the '90s, Nathan got involved with hip hop and brought the successful label Cash Money to Universal, with whom Nathan had a stint, doing A&R. He later had periods working A&R at Capitol, Sony and others, as well as working as
an independent A&R research consultant. He moved to Nashville in the 2010s.
In 2015, he explained to Playlist Research that "my personal typical day involves sitting in front of a computer with multiple windows open to YouTube, Soundscan, Mediabase, Next Big Sound, Hits, Facebook and wherever else the internet takes me to find some great sounding music."
Over his long career, Nathan befriended many Canadian musicians and industry types, and they paid tribute on Facebook and to Billboard Canada.
Steven Page's heartfelt tribute on Facebook reads, in part: "My good friend Marc passed away last night and I’m still trying to get my head around it. He had an almost uncountable number of health struggles over the thirty-four years that I’ve known him, and each time he pulled through, sometimes against all odds. I think I just assumed he’d do the same this time, too.
"Marc was a Record Person of the highest order. He was absolutely passionately obsessed with music and amassed an encyclopedic memory for songs, charts and artists. He started in the record business by working for his favourite artist, Todd Rundgren, when he was still a teenager. He worked for just about every legendary record label of the golden age: Sire, Casablanca, MCA, Atlantic and more, under all the bigwigs we’ve all read about.
He played a huge role in my career and in my life - a role that arced across our entire shared timeline. In 2005, while I was still in Barenaked Ladies, I recorded my first solo record, The Vanity Project, with Stephen Duffy. Marc was such a huge believer in me and in the album that he started his own record label, Flagship Recordings, just to release it.
"We travelled all over the United States, playing the AAA radio conference in Boulder, and doing live sessions at every radio station and record shop that we could get to. The record didn’t become the hit that we both hoped it would be, and I think he lost a lot of money on it. He took a huge risk because he believed in me and my music, when so many others wouldn’t. It’s a record we both remained proud of.
"When my life started to take a dramatic turn, in 2008 and 2009, he was among the first and most persistent of my friends to lend me support, advice, and solidarity. There were many, many people in his life that he would counsel and coach and cajole and mentor through their darkest hours - he’d been there and back several times himself - and I’m proud and grateful to be one of those friends."
"Two weeks ago, he stopped responding, after five years of almost-daily contact. I knew he was in the hospital, and when the texts stopped saying 'delivered,' I knew things had taken a turn. But I wasn’t ready for him to not pull through. That was unlike Marc. He was always there for me - a survivor.
"I’m lucky to have known him. He was always sure to tell me, lest my head got too big, that I was only his second favourite Canadian singer, behind Burton Cummings, but I’ll be singing his favourite song of mine, 'What A Good Boy,' in Marc’s honour at my show tonight in Portland, Oregon. Rest in peace, Marc Nathan."
Meryn Cadell offered Billboard Canada this tribute: "Though always vocal with his opinions - about everything - he never questioned my instincts about what made sense for me to write or record, and was supportive of my eclectic live performance and recording methods. Marc was "so Marc" and such a force of nature, it felt like he'd always be around - so much so that I'm truly having trouble accepting the idea that he is no longer among us."
On Facebook, veteran Canadian label exec, indie label head Brian Hetherman (Curve, Sonic Envy) and NXNE exec posted this salute: "We lost a legendary record man the other day… Marc Nathan was a music man of the highest order, funny and a good soul. I worked with Marc in A&R during my time at Universal, him in the US and me in Canada. We lost touch for a number of years but reconnected occasionally at Predators games in Nashville in the last 10 years. Marc signed (or helped sign) many Canadian acts in his day and was a friend to many…rest easy Pal."
Nigel Best sent Billboard Canada this reminiscence and tribute: "I really only met him a few years after I was working on behalf of artists signed to Sire Records. We attended hockey games in New York, and, of course, talked a lot about music. He would ask my advice on artists he was working with, specifically Meryn Cadell.
"I did not meet him at the New Music Seminar at the Limelight showcase in New York as I spent the evening with Sean Lennon. Post my tenure in the music business, Marc and I had stayed in touch through Facebook; His health issues being of concern, and the discussions we would have surrounding mutual old acquaintances. He truly had a remarkable life from the stories he imparted, and I know a lot of people will miss his insight as well as his colourful stories. A very gracious gentleman, if I were to sum up a way to describe him."
In 2023, radio podcaster Toronto Mike interviewed Nathan. Check that episode out here.
Read a full Billboard obituary here.
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