By Ann Walton
Recently, I’ve started to view Stan Rogers through a different prism.
Listen to the late folk singer’s music and you’ll discover not only a stunning songwriter, but a passionate historian whose work was inseparable from the history of his country.
Throughout the 1970s and early 1980s two young brothers from Hamilton toured Canada and the United States, singing songs like Northwest Passage and Fogarty’s Cove in every kind of venue imaginable. When I listen to the recordings now, it’s hard to imagine that life on the road was anything but lively gigs in theatres and bars all bursting at the seams with joyful spectators. But back then, long before Stan Rogers’ tragic death transformed him into the “voice of Canada,” and then the “legend” that he is today, he was, in every way, a working-class musician, often horrendously represented by some incompetent publicist, playing to half-empty rooms with his younger brother Garnet, and just hoping to make enough money to fill the tank.
“It wasn’t like today, where there is some little room in nearly every town,” Garnet Rogers explains in his wonderful memoir, Night Drive: Travels with my Brother (2016). The folk revival of another decade was all but a memory, and there simply were no gigs. “If you presented yourself as a songwriter,” he recalls, “you were met with puzzled silence.” There were only a handful of places to play, and only rumours here and there of others, though they didn’t pay well, if anything at all. “You watched and you waited,” writes Garnet, “and you played where you could, and you tried to make it count.”[1] Night after night with their instruments, the two brothers and their bassist climbed into their van, playing shows for over a decade together.
But just why did they stick with it for so long? Why didn’t they just go back to Hamilton, and throw in the towel already? Get ‘real’ jobs and lead ‘normal’ lives? Continue reading