William Eckstein

WILLIAM ECKSTEIN

Songwriter Inductee: Pioneer Era, Pre-1921
BIRTH: Pointe St-Charles (Montreal), Quebec, 6 Dec, 1888
DEATH: Montreal, Quebec, Sept 23, 1963

A pioneer of ragtime and jazz piano in Canada, William Eckstein was always on the cutting edge of popular dance music in the 1920s and 30s. While ragtime's original roots lie in European classical music, Eckstein specialized in 'novelty rag', which features flashy passages and a high technical difficulty. In 1919, Eckstein was one of the first Canadians to play live on radio, on Montreal's XWA (CFCF).

Eckstein was born in Pointe St-Charles (now Montreal) in 1888 and began studying classical piano at age 3. By the age of 4, he was performing live at churches and community center benefit concerts around the city. Eckstein was quickly recognized as a child prodigy and by age 12 was awarded a piano scholarship to McGill University. With 14 children, the family struggled, so Eckstein turned down the opportunity in order to become a paid performer on the vaudeville circuit. Throughout his vaudeville career Eckstein played piano on Broadway and on Canadian and US tours, being billed as the “The Boy Paderewski”, after famous Polish pianist Ignacy Jan Paderewski. His engagements were varied ranging from the Canadian National Exhibition to the White House, where he played for President Theodore Roosevelt.

In 1906, Eckstein quit the vaudeville circuit, returning to Montreal where he began working as a pianist for silent movies at The Strand Theater, being billed as “The World's Foremost Motion Picture Interpreter” and eventually earning the nickname “Mr. Fingers”. Eckstein was also establishing himself as a songwriter, composing the piano rags Delirious Rag and Perpetual Rag with his protégé Henry Thomas, which Thomas later recorded. Eckstein and Thomas collaborated on numerous other songs including You Are My All in All and Goodbye Sunshine, Hello Moon.

In 1920, Eckstein began branching out, creating and performing with one of the first live jazz bands in Montreal, lead by William's brother Jack entitled “Eckstein's Jazz Orchestra”. Eckstein was also a featured solo pianist on the Victor label, many times recording under the pseudonym 'Vi Palmer'. Perhaps the most significant of Eckstein's recordings was the 1923 Maple Leaf Rag, written by Scott Joplin, which was the first solo-piano 78-rpm.

In 1930, the invention of 'talkies' brought an end to silent films and with it came the end of Eckstein's career at The Strand Theater. This did not deter Eckstein, who moved on to cabaret, radio and television shows, eventually settling at the Château Ste. Rose night club in Montreal. His act involved piano-duets with notable jazz figures including Robert Langlois. In 1959, Eckstein solidified his place in Canadian jazz history when he composed and played the patriotic Queen of Canada in honour of Queen Elizabeth II's royal tour. This song received international praise and earned Eckstein letters of thanks from Buckingham Palace, the Governor General and Prime Minister John Diefenbaker.

In May, 1963 friends, family and fans of Eckstein hosted an evening of appreciation for his work. This would prove to be Eckstein's last public performance, suffering from a severe stroke later that night and eventually passing away four months later on September 23, 1963. William Eckstein devoted his life to mastering his chosen craft, inspiring and opening doors for Canadian jazz pianists including Oscar Peterson and Eckstein's own protégé Vera Guilaroff, who collaborated with Eckstein on numerous songs and radio performances. Eckstein's music has remained popular, being recorded by jazz singers Sarah Vaughn and French-Canadian pianist Mimi Blais.

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LEST YOU FORGET

Song Inductee: Pioneer Era, Pre-1921
YEAR: 1922
COMPOSER: William Eckstein (b. Point St-Charles, Dec 6, 1888. d. Montreal, Sept 23, 1963)
LYRICS: Sam Howard (1890-1941)

Written in collaboration with Montreal music publishing executive Sam Howard, Lest You Forget is a modern fox trot. Harold Harvey, who recorded it with an orchestra, originally released this popular song in November 1922. It was later released with great success by Joan Zafaro, who is credited on the original sheet music. 

Eckstein's recorded version was released in January 1923 on the Sam Howard Publishing Company label. Lest You Forget went on to be covered by Hector Pellerin, who translated the song into a French version N'oubliez pas, which was released later in 1923.

COVER ARTISTS INCLUDE: Russell Braun (baritone), Carolyn Maule (Piano), Harry Thomas Trio, and Ruthven McDonald

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S'Nice

S'NICE

Song Inductee: Pioneer Era, Pre-1921
YEAR: 1923
COMPOSER: William Eckstein (b. Point St-Charles, Dec 6, 1888. d. Montreal, Sept 23, 1963)
LYRICS: Sam Howard (1890-1941)

Written as a co-collaboration with Sam Howard, S'Nice was originally recorded by tenor Billy Jones and released on the Sam Howard Publishing Company in 1923.

Sam Howard worked with numerous other composers on songs such as Music Makes The World Go Round by The Melody Kings and Lonesome Rose recorded by Al Edwards in 1923.

There is no known recorded version of S'Nice by its original composer William Eckstein.

COVER ARTISTS INCLUDE: Sally Dibblee (Soprano)

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Farewell to Nova Scotia

FAREWELL TO NOVA SCOTIA

Song Inductee: Pioneer Era, Pre-1921
YEAR: Traditional (prior or during WWI)
COMPOSER: Unknown

The official song of Nova Scotia, Farewell to Nova Scotia, also known as ‘The Nova Scotia Song,is a favourite folk song of unknown authorship, believed to have been written shortly before or during World War I. Derived from 'The Soldier's Adieu', by Scottish poet Robert Tannahill, the song was changed to reflect a soldier's sorrow at leaving the hills behind as he heads out to sea.

Farewell to Nova Scotia gained popularity when it was recorded in 1964 by Catherine McKinnon to be used as the theme song of the Halifax CBC television show 'Singalong Jubilee'. The song has been published in numerous books including Helen Creighton's 'Traditional Songs from Nova Scotia' and Carrie B. Grover's 'A Heritage of Song'.

Farewell to Nova Scotia invokes images of a time when Nova Scotia was famed for wooden ships and iron men. Today, the song is used by many to reflect the sentiments of mass migrations of young people from Nova Scotia westward to Ontario and Alberta.

COVER ARTISTS INCLUDE: Anne Murray, Ian and Sylvia Tyson, Stompin' Tom Connors, Wild Mountain Thyme, Diane Oxner, Terry Kelly, and Stan Rogers

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Lionel Daunais

LIONEL DAUNAIS

Songwriter Inductee: Radio Era, 1921 to 1960
BIRTH: Montreal, December 31, 1901
DEATH: Ville SaintLaurent, July 18, 1982

As a baritone, composer and lyricist and, later, stage director, Lionel Daunais had an undeniable influence on the musical society of his time. For more than half a century, he was one of the chief artisans of the lyric scene and, as such, has helped many Quebec talents emerge.

After studying voice, performance, harmony and composition for many years, Lionel Daunais, in 1923, won first prize of the Montreal Musical Festival, organized by the Metropolitan Choral Society. Daunais made his opera debut in January 1926 in Mireille and, in March, gave his first recital at the RitzCarlton Hotel. The same year, Daunais received the Prix d'Europe to further his studies in Paris. In 1929, he began as first baritone of the Opera of Algiers. When he returned to Quebec in 1930, Daunais joined the Troubadours de Bytown quartet, took part in the 3rd Canadian Folk Song and Handicraft Festival in Quebec City and, a few months later, joined the Société canadienne d'opérette, where he sang numerous parts until 1935.

In 1932, with Anna Malenfant and Ludovic Huot, Daunais created the Trio lyrique, with which he performed until the early 1960s and whose repertory largely consisted in pop songs of his writing. Along with Madame Bolduc, Daunais was one of the first songwriters to find his inspiration in the Quebec reality. Halfway between folklore and lighthearted song, his art, with its irresistible humour, has helped change our repertoire. "I wanted to make Canadian Songs, not French songs," he once said.

However, lovers of the lyrical arts mostly remember Daunais as the cofounder, with Charles Goulet in 1936, of Variétés lyriques, an company which, during 19 consecutive seasons at the Monument National theatre, staged 102 operettas, 15 operas and one review for a total of 1,084 performances. Besides his functions as an administrator, Daunais sang in some 10 operas and more than 60 operettas while also directing many productions. The contribution of Variétés lyriques to the Montreal cultural life was considerable as, from the outset, the company used the best singers, actors, instrumentalists and conductors available in Quebec. It must also be noted that the company never applied for any private or public financial assistance, a remarkable feat at any period.

Daunais was interested in all areas of creativity. Besides writing words and music for some 100 melodies for voice and piano, he was equally at home writing children's songs (about 30) or composing religious or secular choral works (18 works). He also wrote five melodies on poems by Éloi de Grandmont and harmonized approximately 40 folk songs. Many of his compositions found favour with the general public in Canada and abroad and some received prestigious awards, as did Chanson du maître cordonnier, for which Daunais received the grand prize of the 1948 MarlyPolydor Competition in Montreal. Daunais sang his compositions on radio as part of programs such as Chansons populaires (SRC, 1950), Chansonniers canadiens (CKVL, 19511956) and Les benjamins de la chanson (CKAC, 1954).

A visionary, Lionel Daunais did not hesitate to use the media to promote the vocal arts. He directed two operetta series on RadioCanada Television in 1956 and 1957. Thanks to a Canada Council grant in 1959, he was able to complete a children's songbook and to study stage direction in Italy and Germany. Back in his country, he took part, with the Trio lyrique, in a series of 250 radio programs (RadioCanada, 19611962) and, in 1963, directed La mascotte, an operetta that enjoyed 31 performances at the Théâtre de Verdure in Montreal's Lafontaine Park. Daunais was later appointed Artistic Director for the shows produced at Place des Arts by the radio station CJMS (Montreal). From September to October 1971, Daunais performed 140 of his compositions as part of series of 13 recitals broadcast by the RadioCanada network. At the same time, RadioCanada devoted a series of programs to his vocal compositions.

In 1972, Lionel Daunais received the Canadian Music Council Medal from his peers and was invited to sit on the board of Opéra du Québec. In 1977, the Montreal SaintJeanBaptiste Society presented him with the Bene merenti de patria Silver Medal and he also received the Calixa Lavallée Award. He became an Officer of the Order of Canada the year after and posthumously received the Denise Pelletier Award in 1982. Lionel Daunais' archives were deposited at the Bibliothèque nationale du Québec.

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Carmen Lombardo

CARMEN LOMBARDO

Songwriter Inductee: Radio Era, 1921 To 1960
BIRTH: London, Ontario, 16 January 1903
DEATH: Miami, Florida, 17 April 1971

Although Canada's premiere dance band, the Royal Canadians, are most closely associated with Guy Lombardo, it was in fact his younger brother Carmen who was the true driving force behind the music group. Born in London, Ontario in 1903, the Lombardo brothers made their first debut together at a church function in 1914, starting what would end up to be a 55-year collaboration.

Both Carmen and Guy began taking music lessons at the same time, with Guy on violin and Carmen on flute. Over the years, Carmen would switch to saxophone while Guy would just pick up a conductor's baton. The Royal Canadians formed in 1916, with Carmen as singer, saxophone player and composer. Their first prominent performance occurred at a dance pavilion in Grand Bend, Ontario in 1919.

In 1923, The Royal Canadians moved to Cleveland, Ohio and quickly obtained a permanent gig at a nightclub called the Claremont Trent. The band was taken under the wing of club owner, Louis Bleet, and continued to play in the Cleveland area until 1927, when they moved to Chicago and began broadcasting live on the radio from the Granada Cafe. In 1928, two of Carmen's songs, Coquette and Sweethearts on Parade,became major hits for the group, attracting international attention. The Royal Canadians were known for 'the sweetest music this side of Heaven', a description coined by Ashton Stevens of the Chicago Tribune. In 1929, The Royal Canadians began their longest standing gig at the Roosevelt Grill in New York City, lasting 33 years. It was at the Roosevelt that The Royal Canadians began the annual tradition of a New Years Eve telecast on CBS.  The Royal Canadians sold at least 100 million records. Between 1929 and 1952 there wasn't a single year that a Guy Lombardo record didn't chart - 21 of them at number one, and many featuring songs by Carmen Lombardo.

Although Carmen continued to be the lead singer of The Royal Canadians, he never really enjoyed the job. In 1940, he replaced as the lead singer, allowing him to concentrate solely on songwriting. Among the hits that Carmen penned, made popular by the Guy Lombardo Orchestra, were Jungle Drums, Boo Hoo, It's Never Too Late, It's Easier Said than Done, Seems Like Old Times, Where Are You Gonna Be When the Moon Shines?, Get Out Those Old Records, How Long Has it Been?,and Marry the One You Love. On the novelty side, Carmen wrote quirky numbers like Play Ball with the New York Mets, an ode to the hapless baseball team of the early 1960s. He also penned the stage scores Arabian Nights, Paradise Island and Mardi Gras!

Over the course of half a century, Carmen collaborated with such great writers as John Jacob Loeb. Other creative partners included Charles Newman, Johnny Green, Jimmy Monaco, Cliff Friend, Gus Kahn, Gene Austin, Art Kassel, Sam Coslow, Irving Caeser and Roy Turk.

Carmen continued to play with the band on saxophone until 1970, when his failing health forced him to retire from the band. He continued to write until his death in 1971, and his final song was entitled What Have We Done to Our World?, a bleak tune incongruent with the rest of his work.  "They (the songs) kept him from thinking about the pain those last few months of his life," Carmen's widow explained. "… The songs kept him alive an extra four months."

Standing the test of time, Carmen's songs have appeared in such Woody Allen films as Annie Hall and Bullets Over Broadway and have been recorded by artists including Louis Armstrong, Bing Crosby and Dean Martin.

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BOO HOO

Song Inductee: Radio Era, 1921 To 1955
YEAR: 1937
COMPOSER: Carmen Lombardo (b. London, Ontario, 16 Jul, 1903. d. Miami, Florida, 17 Apr 1971)
co-written with Edward Heyman & John Jacob Loeb

Carmen Lombardo's Boo Hoo was The Royal Canadian's most successful recording, charting at #1 on the U.S. charts in 1937. The sheet music went on to have six printings, and Boo Hoo gained further popularity after being used in the 1937 movie Dead End

Originally The Royal Canadians' vocalist, featured on Boo Hoo, Carmen Lombardo's style was very distinct. Some said it was nervousness and was described as if he were "eating honey with chopsticks." Said Carmen, “It was a very awful, very nervous voice," Carmen laughed. When Carmen stepped down as vocalist to turn his attention more seriously to writing, others in The Royal Canadians took the bandstand like crooner-guitarist Don Rodney, Lombardo brother-in-law tenor, Kenny Gardener, and Carmen's sister Rosemarie.

Carmen Lombardo successfully collaborated with many US composers including Boo Hoo's Edward Heyman and John Jacob Loeb. Heyman was born and raised in New York City and began writing musicals at a young age. He eventually moved on to write the scores for Broadway classics such as Here Goes the Bride, Murder at the Vanities and Pardon our French. His most well known work remains the war musical At Your Service. John Jacob Loeb collaborated with Lombardo on numerous other songs, including It's Easier Said Than Done and Get Out Those Old Records.

COVER ARTISTS INCLUDE: Count Basie, Fats Waller and the Bell Sisters, Guy Lombardo, Russ Morgan and his Orchestra.

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A Guy Is A Guy

A GUY IS A GUY

Song Inductee: Radio Era, 1921 To 1955
YEAR: 1952
COMPOSER:
Oscar Brand (b. Winnipeg, Manitoba, 7 February 1920)

Oscar Brand is one of the greatest folksingers and songwriters of our time. Born in Winnipeg, Manitoba, Brand moved to the United States as a child, but was always aware of his Canadian roots, returning to Manitoba many times. An ambassador for folk music, Brand hosted the first Mariposa Festival and also hosted Let's Sing Out for CTV and CBC, welcoming such guests as Judy Collins, Arlo Guthrie, Joni Mitchell, Paul Simon and Gordon Lightfoot.

A Guy is a Guy is an adaptation of a Royal navy song entitled, A Gob Is a Slob, that Brand learned from some North Atlantic Royal Navy sailors in Montreal. It was originally based on a 1719 British tune entitled A Knave is a Knave.

A Guy is a Guy was written for and recorded by Doris Day in 1952, quickly going to the #1 spot on the Billboard charts, selling thousands sheet music copies, and giving Day her fourth million-selling record…and all from a song that was once a bawdy soldiers' tune.

A true journeyman, Brand has written over 1000 songs, recorded over 100 LPs and is the author of four best-selling books of folksong collections. He is credited with work on over 300 documentaries, and has won an Emmy Award for one of his NBC-TV shows, two Peabody Awards and one Lifetime Award, shared with Oprah Winfrey.

COVER ARTISTS INCLUDE: Ella Fitzgerald and Peggy Lee

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Félix Leclerc

LE TOUR DE L'ÎLE

Song inductee: Modern Era, 1961 to 1980
YEAR: 1976
LYRICS AND MUSIC: Félix Leclerc
(b. La Tuque, August 2, 1914. d. Island of Orleans, August 8, 1988)

The Island of Orleans, east of Quebec City, is accessed through a bridge built in 1935. In the vicinity of the bridge, on the island side, a guitar-wielding statue of Félix Leclerc by the sculptor Raoul Hunter immortalizes the artist whose life and death are forever linked to that corner of the world. Espace Félix-Leclerc was built some 600 metres away to preserve the memory of the man and his work.

During a writing retreat on the Island of Orleans from June to October 1946, Félix Leclerc completed his first novel, Le fou de l'île, dealing with life along the shores of the St. Lawrence River. Following a stint in Paris and Montreal, he returned to the island in 1970 and moved into a house that he had built with his own hands with the help of friends.

In 1975, the year the Montreal Saint-Jean-Baptiste Society presented him with its Calixa Lavallée Music Award, Félix Leclerc entered into a musical collaboration with the orchestrator François Dompierre that yielded, among others, a masterful production of Le tour de l'île, a song that expresses the poet's love for his adopted land and mirrors the island's tranquillity. The song also reflects the artist's sovereignist convictions and his indignation at the Canadian government's decision to invoke the War Measures Act during the October crisis in 1970.

In 1979, Félix Leclerc accepted to lend his name to the ADISQ (Association de l'industrie du disque et du spectacle québécois) statuettes, the Félix awards. ADISQ presented Leclerc with its Tribute Award in the very first annual awards ceremony.

Félix Leclerc lived on the Island of Orleans until his death on August 8, 1988.

COVER ARTISTS INCLUDE: Johanne Blouin, Bruno Pelletier and Marie-Élaine Thibert

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LES NUITS DE MONTRÉAL

Song inductee: Radio Era, 1921 to 1960
YEAR: 1949
LYRICS: Jean Rafa (b. France, May 21, 1910 d. Montreal, October 22, 1998)
MUSIC: Émile Prud'homme (France, 1913-1974)

Written during the golden era of Montreal nightclubs, Les nuits de Montréal combines the Quebec lyrics of Jean Rafa and the French traditional music of Émile Prud'homme. It was recorded by the Quebec artist Jacques Normand and frequently performed at the Faisan Doré, Montreal's first great Francophone cabaret.

Originally from France, Jean Rafa, born Raphaël Jean Febbrari, immigrated to Quebec in 1948 and was readily adopted by his new fellow citizens. After starting his career singing at the Faisan Doré, he soon started touring the leading Quebec nightclubs of the 1950s and 1960s (including the famous La Porte St-Jean club in Quebec City). Rafa made his mark as a cabaret artist for his ability to improvize songs on the spot using lines suggested by members of his audience.

Besides his work as a performer, Rafa spent 17 years as the host of the daily show A et P vous appelle. He also took part in countless variety shows on radio (Chez Miville) and television (Du Coq à l'Âne) for Radio-Canada. He was the host of the very first variety show presented live in 1952 when Radio-Canada first went on air.

His interest in sports brought him to become a promoter of the game of petanque in Quebec and a commentator of cycling races. He was variously known as "the most Quebecois Frenchman" or "the eternal optimist."

Born in France, Émile Prud'homme started studying piano at his mother's prompting. Showing scant interest in piano, he turned to the accordion, his uncle's favourite instrument. During his career, Prud'homme recorded many accordion music albums and received his first gold record in 1955. With his typically Parisian music, Prud'homme continued to perform worldwide with his band until his death in 1974.

Les nuits de Montréal brings the memory back to the golden age of Montreal's nightclubs with singers like Pierre Roche, Charles Aznavour and Aglaé and a cast of stars that gravitated around the Faisan Doré, a leading meeting place for Montrealers at the time.

COVER ARTIST INCLUDE: Michèle Richard.

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Marius Delisle

À QUÉBEC AU CLAIR DE LUNE

Song inductee: Radio Era, 1921 to 1960
YEAR: 1959
LYRICS AND MUSIC: Marius Delisle (1922 - 1992)

From 1957 to 1968, Marius Delisle was at the forefront of the Quebec music scene. Although he only recorded one album (1965), he acquired a solid reputation in the Quebec City area through frequent contributions as a radio host or performer. In 1958, he hosted "Les Créations de Québec," a CHRC program devoted to emerging talents and their music. Delisle also played an important role in the creation of Association des AuteursCompositeurs du Québec.

Marius Delisle achieved popular success with a single song, À Québec au clair de lune, released in 1959. This song was incorporated in the soundtrack of Robert Lepage's 2003 film La face cachée de la lune.

COVER ARTISTS INCLUDE: Franco Elite, Jean Lapointe, Tohama, Roger de Gars and Carmen Genest.

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JeanPaul Filion

LA PARENTÉ

Song inductee: Radio Era, 1921 to 1960
YEAR: 1957
LYRICS AND MUSIC: JeanPaul Filion (NotreDamedelaPaix, February 24, 1927)

The poet, songwriter, short story writer and playwright JeanPaul Filion originally dreamed of becoming a painter. Penniless, he left his native village for Montreal in search of freedom and personal identity. He studied at École des BeauxArts de Montréal for three years and, in spite of an early success as a painter (he won second prize at the 68th Spring Exhibition of the Musée des BeauxArts de Montréal), he turned to poetry and writing as his favourite forms of self expression.

In 1955, Filion published his first book of poetry, Du Centre de l'eau, and decided to set his poems to music. In 1958, he won the Grand Prix de la Chanson Canadienne, recorded his first LP with PathéMarconi, Amour, humour et pissenlit, which included many songs inspired by the Quebec folkloric tradition. One such song, La Parenté, was later covered by the Quebec artist Jacques Labreque and became an enormous hit in 1958, selling more than 100,000 copies and making JeanPaul Filion a household name throughout the province.

On a Canada Council grant, Filion moved to Paris where he spent his time writing, participating in television shows and performing in a number of Left Bank clubs. Returning to Quebec two years later, he wrote music and song lyrics for NFB feature films and RadioCanada television series. He also wrote numerous radio and television drama series. In 1966, after working with Pierre Perrault on the radio series J'habite une ville, he recorded a second album of new pop or folk inspired songs.

JeanPaul Filion received the Prix littéraire du Québec for his first novel, Un homme en laisse, in 1963, the Choix du Libraire award for his book Les murs de Montréal in 1978, and the Prix de l'Outaouais for his novel À mes ordres mon colonel in 1983.

JeanPaul Filion was also a set decorator for RadioCanada in Montreal and Quebec City for many years. Now retired in SainteAnnedeBeaupré, east of Quebec City, he continues to paint and write, including song lyrics. He recently had a oneman show of 24 of his paintings at Espace Félix Leclerc, on the Island of Orleans (2004), and published his latest literary offering, Paroles du versant nord, with Éditions Écrits des Hautesterres (2005).

COVER ARTISTS INCLUDE: Yves Lambert, Jacques Labrecque, Angèle Arsenault, Monique Leyrac and Véronique Cloutier

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LE RÉVEIL DE LA NATURE

LE RÉVEIL DE LA NATURE

Song inductee: Radio Era, 1921 to 1960
YEAR: 1937
LYRICS: Alfred DesRochers (b. Saint-Élie d'Orford, October 4, 1901. d. October 12,1978)
MUSIC: Oscar O'Brien (b. Ottawa, September 7, 1892. d. Montreal, September 20, 1958)

Radio-Canada used an existing work, Le Réveil de la nature, as the theme song for "Le Réveil rural", one of the first programs to be devoted to agriculture, for three decades. Le Réveil de la nature was composed by Oscar O'Brien based on a poem by Alfred DesRochers.

Alfred DesRochers became interested in writing and the power of words during his secondary education with the Franciscan Fathers in Trois-Rivières. He was a contributor to the Sherbrooke newspaper La Tribune from 1925 to 1952 with a few interruptions. In 1927, he founded L'Étoile de l'Est, a weekly magazine of which he remained the editor until 1928, the year he published his first book of poetry. After a stint as a translator in Ottawa and as Secretary of the National Liberal Federation in 1945, he returned to La Tribune from 1946 to 1952. After working again as a translator in 1953, this time for The Canadian Press, he retired in 1964. Alfred DesRochers received the Governor General's Award in 1931 and the Athanase David Award in 1932 for his book of poetry À l'ombre de l'Orford. In 1964, the Saint-Jean-Baptiste Society presented him with the Duvernay Lifetime Achievement Award for his work as a poet. In October 1976, he received an honorary degree from the University of Sherbrooke. Often referred to as a "poet of the land" for his portrayals of everyday rural life, DesRochers' poetry describes the occupations of his time in the plain language of the period—hunting, harvesting, communal farm working, land clearing and field ploughing. In 1978, the Association des auteurs(es) des Cantons de l'Est created the Alfred DesRochers Award, presented each fall as part of the Eastern Township book fair. Alfred DesRochers is the father of the stand-up comedian, actor, singer-songwriter, television host and visual artist Clémence DesRochers.

At the age of 16, the organist and pianist Oscar O'Brien became a substitute for his master at the Notre-Dame Basilica in Montreal. In 1915, he embarked on a collaboration with folk artist Charles Marchand as an accompanying pianist and arranger. He also worked in Montreal as a teacher, an orchestra pianist and a back-up musician. Under Marchand's influence, folklore-inspired music was to remain at the core of his musical career. For 15 years (1930-1945), O'Brien was artistic director of Quatuor Alouette, for which he wrote many harmonizations. In 1945, he entered the Benedictine Monastery in Saint-Benoîtdu-Lac, Quebec, where he was ordained as a priest in 1952, assuming the name of Dom Oscar O'Brien.

The duration of the original version of Le Réveil de la nature used in Radio-Canada broadcasts was 2 min. 54 sec.

COVER ARTISTS INCLUDE: Jules Jacob and the La Bonne Chanson choir.

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Félix Leclerc

MOI, MES SOULIERS

Song inductee: Radio Era, 1921 to 1960
YEAR: 1951
LYRICS AND MUSIC: Félix Leclerc (b. La Tuque, August 2, 1914. d. Island of Orleans, August 8, 1988)

Initially a poet, an author and an actor, Félix Leclerc turned to song in the late 1940s for a relatively limited audience. In 1950, Jacques Normand introduced the French manager Jacques Canetti to Leclerc's Le train du Nord. Canetti immediately invited the artist to perform in France, where he met with meteoric success. The same year, Leclerc wrote Moi, mes souliers, for which he received the Grand Prix du Disque of the Charles Cros Academy, making him the first great Quebec chansonnier.

By giving the same title to his autobiography, initially published in 1955 in Paris and published in Canada by Fides in 1960, Félix Leclerc seemed to put his personal stamp of approval on Moi, mes souliers, a song that, half a century later, is still engraved in our collective unconscious.

COVER ARTISTS INCLUDE: Céline Dion, Tirelou, Daniel Lavoie, Hugues Aufray, Johanne Blouin and François Béranger.

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POWDER YOUR FACE WITH SUNSHINE

Songwriter Inductee: Radio Era, 1921 To 1955
YEAR: 1948
COMPOSER: Carmen Lombardo (b. London, Ontario, 16 Jul, 1903. d. Miami, Florida, 17 Apr 1971)
LYRICS: Stanley Rochinski

Powder Your Face With Sunshine, recorded by Evelyn Knight and The Stardusts, was released in 1949 and quickly rose to the top of the music charts, staying there for over five months. The song would be a second #1 hit for Knight over a six-month period. The sheet music for Powder Your Face With Sunshine had four printings.

Carmen Lombardo wrote the music to Powder Your Face With Sunshine, while the lyrics were penned by Stanley Rochinski, who sadly became a paraplegic during World War II. Lombardo received a certificate from the Disabled American Veterans of the World War in 1949 for meritorious and exceptional service in enriching the life of disabled veteran Stanley Rochinski, by co-authoring the popular hit song.

The songs popularity was revived in 1990 when it was used in the film LA Confidential.

COVER ARTISTS INCLUDE: Dean Martin, Sammy Kaye, Doris Day & Buddy Clark, Guy Lombardo, Kay Starr, Frank Sinatra, and Donald Peers

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SWEETHEARTS ON PARADE

Song Inductee: Radio Era, 1921 To 1955
YEAR: 1929
COMPOSER: Carmen Lombardo (b. London, Ontario, 16 Jul, 1903. d. Miami, Florida, 17 Apr 1971)
LYRICS: Charles Newman

Penned by Carmen Lombardo, with Charles Newman as the lyricist, Sweethearts on Parade was released in 1928 by Guy Lombardo and quickly reached #1 on the U.S. charts. The venerable foxtrot was recorded and released the following year by Abe Lyman & His California Orchestra, reaching #8 on the charts and in 1932 Louis Armstrong covered the song, achieving a #6 position. The song would go on to inspire the title of the 1930 movie of the same name, which also featured numerous other Lombardo songs.

COVER ARTISTS INCLUDE: Abe Lyman & His California Orchestra, Guy Lombardo, Louis Armstrong, Tommy Makem, Rita MacNeil, and Bill Jones.

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Leonard Cohen

LEONARD COHEN

Songwriter Inductee: Modern Era, 1956 to 25 Years Prior to Present
BIRTH: Montreal, Quebec, 21 September, 1934

With an extraordinary career spanning more than forty years, Canadian musical icon Leonard Cohen has earned the distinction as one of the most influential artists of his generation. A legendary songwriter, Cohen has brought honesty and artistry in a way few others have. His stark images of love, beauty and despair have touched fans and inspired writers and musicians the world over.

Throughout his storied lifetime, Cohen has succeeded as both poet and pop star. Inspired by his own history and romantic experiences, his intelligent musings and musical gifts have endured no matter where he resides - be it the urban chaos of LA and Montreal, the domestic comfort of a Greek island or monastic isolation of a Zen Buddhist Monastery.

His intense lyrics, spiritual observations and deft humour weave throughout his impressive body of work. Cohen's extraordinary writing and musical talents have gained him numerous accolades, among them: the Governor General's Award for poetry in 1969 which he declined, stating, "the poems themselves forbid it absolutely," followed by several Juno Awards, honorary degrees, and in 2003, the Companion of the Order of Canada, Canada's highest civil honor for achievement in the arts.

Leonard Norman Cohen was born in Montreal on September 21, 1934. He attended McGill University, where at 17, he formed a countrywestern trio called the Buckskin Boys. While still an undergraduate, Leonard became part of Montreal's burgeoning Bohemian scene and published his first collection of poetry (Let Us Compare Mythologies) in 1956. The Spice Box of Earth (1961), his second collection of poems, catapulted Cohen to international recognition.

After a brief stint at Columbia University in New York, Cohen traveled throughout Europe and settled on the Greek island of Hydra where he wrote another collection of poetry (Flowers for Hitler, 1964) and two highly acclaimed novels (The Favourite Game, 1963 and Beautiful Losers, 1966). The books have been translated into many languages including Chinese and Japanese.

After seven years on Hydra, Cohen's restless spirit led him to the United States where he pursued his career as a songwriter. Championed by singer/songwriter Judy Collins, Cohen appeared at the Newport Folk Festival in 1967 where he caught the eye - and ear - of legendary Columbia A&R man John Hammond (who also recruited Billie Holiday, Bob Dylan and Bruce Springsteen to the label) and by Christmas of that year, Columbia released his signature debut album, The Songs of Leonard Cohen.

Songs like the enduringly popular Suzanne, and Hey, That's No Way to Say Goodbye, So Long, Marianne, and Sisters of Mercy propelled Cohen to the top of the pop music pantheon. The songs had such power that Robert Altman's 1971 film, McCabe and Mrs. Miller became, in effect, the first longform video for Cohen's soundtrack.

Songs From a Room (1969), his second album, and Songs of Love and Hate (1971) further reinforced Cohen's standing as a sentry of solitude. With Bird On a Wire, The Story of Isaac, Joan of Arc, and Famous Blue Raincoat, he continued to stretch the borders of the lyrical landscape of the times.

Recent Songs (1979), coproduced with Henry Lewy (who had previously worked with Joni Mitchell), continued Cohen's dissection of the male female union, but also reflected his many explorations into the religious sphere. Various Positions (1984) marked the full flowering of these religious journeys. Songs like Hallelujah, The Law, Heart With No Companion, and If It Be Your Will, are contemporary psalms, born of an undoubtedly long and difficult spiritual odyssey, so difficult that its conclusion left Cohen - in his words " wiped out." I'm Your Man (1988) was the culmination of Cohen's professional and personal reintegration, a beautifully crafted work that speaks eloquently to his experience as a musical elder. Buoyed by nowclassic songs like First We Take Manhattan, Tower of Song, and Ain't No Cure For Love, the album went to #1 in several countries.

Despite many long passages of time between albums, Cohen's music has been kept on the airwaves through interpretations by artists as diverse as Neil Diamond, Nick Cave, Diana Ross, Joan Baez, Rita Coolidge, and Joe Cocker. Longtime musical colleague Jennifer Warnes released the critically acclaimed Famous Blue Raincoat in 1986, an entire album of Cohen's work.

In 1992, a number of contemporary recording artists collaborated on a tribute to Leonard Cohen. I'm Your Fan (1991) was the brainchild of Christian Fevret, editor of French rock magazine, Les Inrockuptibles. Originally intended for release on the magazine's small offshoot label Oscar, the project mushroomed into an 18 song cover collection released by Atlantic, featuring such prominent musicians as REM, John Cale, Nick Cave, lan McCulloch, The Pixies, House of Love and Lloyd Cole. Tower of Song (1995) featured interpretations of Cohen songs by more mainstream artists such as Billy Joel, Sting, Elton John, Willie Nelson and Bono.

1992 saw the release of his eleventh album, The Future, an amazingly aural documentation befitting a cultural malaise. It was following the 1993 "Future" tour that Leonard Cohen retreated from public life and lived several years at the Zen Center on Mount Baldy in Southern California.

In January 1999, Cohen came down from the mountain armed with hundreds of new lyrics and poems. He settled in Los Angeles where he released two records, first another live album entitled Field Commander Cohen Tour of 1979 and in October, after nine years, the entrancing collection, Ten New Songs. After such a long silence, the power of this new studio album lay in its singleness, its unity of tone, songs flowing one into the other with a grave, contained intensity. In 2002, many of his best known songs were digitally remastered and released on the double CD The Essential Leonard Cohen.

In 2004, Cohen returned with Dear Heather, produced with collaborators and singers, Sharon Robinson and Anjani Thomas. This musically diverse collection of songs seemed to celebrate the beauty of the world he had returned to with soaring lyrical styles and musical arrangements. Cohen's supporters and the sizeable online community of newsgroups and chat lines continually dissecting his creations anxiously await his next release. He is now working on new songs for his next album for a possible mid-2006 release. He is also working on new songs for Anjani Thomas' forthcoming album Blue Alert, to be released in Spring 2006.

A lyrical icon whose musical trials and travails have led him through an odyssey of hope, conflict and love, Leonard Cohen has taken us to that place by the harbor and our world has become much richer for the journey.

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GILLES VIGNEAULT

GILLES VIGNEAULT

SONGWRITER INDUCTEE: Modern Era, 1961 to 25 Years Prior to Present
BIRTH: Natashquan, October 27, 1928

A figurehead of the Quebec national identity, Gilles Vigneault grew up between the sea and an evergreen forest in a remote Lower North Shore community whose people, infinite landscape and merciless climate remained an everlasting source of inspiration in his works. Also a poet, a publisher and a stage and film actor, Vigneault's claim to fame in the Frenchspeaking world is based primarily on his work as a singersongwriter.

Following classical studies in the Rimouski minor seminary, Vigneault studied in the French Department of Laval University, where he started the poetry magazine Émourie. After completing a licence in French literature in 1953, he performed with Laval University's Troupe des Treize, an actors' group that went on to win the Calvert Trophy of the Eastern Quebec Drama Festival five years later. Vigneault remained with the company until 1960 as a director.

December 1958 marked a turning point in Vigneault's career when he was discovered by the folk artist Jacques Labrecque during an evening of poetry held at the Arlequin, a Quebec City "boîte à chanson." Labrecque later recorded the artist's early "character" songs, Jos Hébert, TiPaul la Pitoune and Jos Montferrand, with instant success. A few years later on a Quebec tour, the French popular singer Gilbert Bécaud added Natashquan, the poet's ode to his native village, to his international repertoire.

In 1959, a banner year in his career, Vignault wrote more songs for Labrecque, created Éditions de l'Arc, where his first book of poetry, Étraves, was published, played the central character of filmmaker Fernand Dansereau's La canne à pêche (NFB, 1959) and wrote the children's series Le grand duc (RadioCanada, 1959-1963).

On August 5, 1960, Gilles Vigneault gave his first public concert as a performer from the stage of Quebec City's Boîte à chansons. It was an instant triumph. 1960 also marked the beginning of his collaboration with his lifelong friend, the pianist Gaston Rochon. The following year, Vigneault met French singers Georges Brassens and Catherine Sauvage, who became the first female singer to add his songs to her repertoire. In April 1961, following a Quebec tour, Vigneault played the Chat Noir in Montreal, initiating a fruitful collaboration with the club's artistic director, the singersongwriter Claude Léveillée. In early 1962, Vigneault released his first album, for which he won the Montreal radio station CKAC's Grand Prix du disque canadien.

In August of the following year, as part of the Superfrancofête Gilles Vigneault received the Grand Prix of the 3rd Congrès du spectacle in 1963. In early November of that year, he gave his first oneman show at the Comédie Canadienne. In May 1964, he took part in the Independence Gala at the Montreal Forum. In a performance by Pauline Julien, his song Jack Monoloy won second prize at the International Song Festival in Sopot, Poland. Vigneault's song for filmmaker Arthur Lamothe's Il a neigé sur la Manicouagan, the historic Mon Pays, received first prize at the same festival in 1965 in a performance by Monique Leyrac; the song was also brought Vigneault an award from the Ostend Festival in Belgium and, in Quebec the Festival du Disque's Félix Leclerc Award. That same year, Vigneault wrote the theme for Lamothe's Poussière sur la ville and was awarded the Governor General's Award for his book of poetry Quand les bateaux s'en vont.

In 1966, the SaintJeanBaptiste Society presented Gilles Vigneault with its Calixa Lavallée Award and dedicated a float in that year's SaintJeanBaptiste Day parade to him and Monique Leyrac and Félix Leclerc. The same year, Vigneault wrote the song Chanson des enfants for Gratien Gélinas' play Hier les enfants dansaient and, in September, his song Jack Monoloy was the subject of a ballet by Georges Reich at the Comédie Canadienne. After recording an album in Paris, Vigneault made his debut at that city's Bobino Theatre with Pauline Julien.

Vigneault's album La Manikoutai was released in Montreal in 1967. In September, in the wake of General de Gaulle's historic Quebec visit, the Paris Olympia Theatre devoted three consecutive evening programs to new Francophone talents from across the Atlantic, Vigneault's first opportunity to perform in that prestigious venue. Returning to France the following year, he was an opening act for French singer Serge Reggiani as part of a tour of 30 European cities. After creating Le vent qui vire for the publication of his songs and lyrics, Vigneault created the L'Escargot label for the release of his recordings in France. In July 1969, he took part in the Mariposa Folk Festival and played Massey Hall in Toronto.

This brings us to 1970, the year Vigneault won the Grand Prix of the Charles Cros Academy for his European album Du milieu du pont (1969) and took part in the Osaka World Exposition. The breaking out of the Quebec October Crisis shortly thereafter had a profound effect on his career. His political engagement deepening, Vigneault took part in many independence events such as the Poèmes et chants de la résistance concert, staged at the Gesù Theatre in 1971. He also recorded Lettre de Ticul Lachance à son premier sousministre, a work in the form of a letter that was openly critical of the then Quebec premier.

Concerts and tours followed one another relentlessly. In 1973, Vigneault took his show Le temps qu'il (album: J'ai vu le loup, le renard, le lion), Vigneault famously shared the stage with Robert Charlebois and Félix Leclerc in front of 130,000 people gathered on the Plains of Abraham in Quebec City. 1974 also saw him perform in a number of Canadian cities including Ottawa, Edmonton, Winnipeg and Toronto. Tam Ti Delam, a ballet based on several of his songs, was choreographed by Brian Macdonald and danced by Les Grands Ballets Canadiens in a new orchestral version by Edmund Assaly in November 1974.

Vigneault emerged from a sabbatical in 1975 in time for the official Quebec holiday celebrations on Montreal's Mount Royal where he premiered the immortal Gens du pays, an instant hit that is commonly used by Quebecers to this day as a birthday song. That same year, Vigneault received an honorary degree from Trent University in Peterborough, Ontario. In 1976, he was part of the Une fois cinq show with Robert Charlebois, Yvon Deschamps, JeanPierre Ferland and Claude Léveillée. The live album of the same title received an award from the Charles Cros Academy the following year.

At the height of his fame, Gilles Vigneault performed 50 shows at the Bobino Theatre in Paris and gave nearly as many concerts at Théâtre du Nouveau Monde in Montreal. European tours ensued. The singer was made a Knight of the Parliamentary Assembly of Francophonie's Order of Pleiade, of which he was to be elevated to the grade of Officer in 2005. Back home, he won the Denise Pelletier Quebec Award (a feast he repeated in 1983) and, in 1979, an honorary degree from the Quebec University in Rimouski.

From 1978, Vigneault turned his talents to writing stories for a younger audience, releasing, among other albums, Les quatre saisons de Piquot and Quelques pas dans l'univers d'Éva.

In 1980, Vigneault actively worked as a militant for the Yes camp during the Quebec referendum on constitution. In September, he was the focus of a vibrant tribute, Je vous entends chanter, performed by a number of artists in Montreal's Place des Nation in front of an audience of 12,000. The same year, Robert Bibeau replaced Gaston Rochon, his musical director of the past 20 years. In 1981, Vigneault received an honorary degree from the University of Montreal and, the following year, the Canada Council's Molson Prize for the Arts in recognition for his lifetime achievements.

Two of his children's album, Quelques pas dans l'univers d'Éva (1981) and Les quatre saisons de Piquot (1979), won the In Honorem Award of the Charles Cros Academy in 1984.

Vigneault continued writing, performing, recording and touring while accolades kept coming in. In 1985, René Lévesque made him a Knight of the Quebec National Order, France presented him with its Legion of Honour, ADISQ gave him its Tribute Award and York University, in Ontario, presented him with an honorary degree.

The following year in Paris, Vigneault premiered his show Le temps de dire, which was to enjoy 250 performances on its European tour before being presented at Théâtre du Nouveau Monde in Montreal. In 1987, Vigneault received the Jacques Blanchet medal for the quality of his work, a Genie Award for his song Les îles de l'enfance, written for the film Équinoxe, and starred in the film Tinamer. Mon pays was the winner the best Quebec song contest held by the RadioMutuel network.

Additional honours came to Vigneault in 1988 with the French Henri Jousselin Award for his lifetime achievements and Laval University's Gloire de l'Escolle Award. In 1989, a 4,000 member choir of singers attending the French choral festival Choralies de VaisonlaRomaine backed him up as he performed a series of his songs. In April 1990, on the occasion of the 30th anniversary of his career, the City of Paris organized a weeklong tribute to Vigneault, presenting him with the insignia of Arts and Letters Officer and the Vermeil Medal Award of the City of Paris. This was followed by a further Charles Cros Award for his record set of 101 songs (a reference to Bill 101 making French Quebec's official language) and an honorary degree from the Lumière University in Lyon, France.

In 1991, Gilles Vigneault cowrote, with Marcel Sabourin, the children's play Titom, presented in Place des Arts in December. His new song Un monde finit was a triumph at the Québec City Summer Festival, where he was awarded the festival's Tribute Award in recognition for his lifetime achievements. A few days later, he worked his magic as part of Montréal, ville francophone, a megaconcert presented in front of an audience of 70,000 in Montreal's Parc des Îles to mark the city's 350 anniversary. The following year, he received the Special Award of Union des Artistes, a second Governor General Award and SOCAN's Wm. Harold Moon Award, the organization's highest award honouring a Canadian songwriter. The year 1988 ended with Au doux milieu de vous, an overview of his 40year songwriting career, and the release of Le Cirque, an album of JeanPaul Riopelle engravings with unpublished Vigneault texts. A limited edition of 108 copies of this art book were published, including 75 copies numbered from 1/75 to 75/75.

When Au bout du coeur was released in 2003, Gilles Vigneault wondered if that might not be his last conventional album, given the new methods of distribution made possible by the Internet. In March 2004, he embarked on yet another French tour with a brand new show and received an honorary degree from the Quebec University in Montreal later that year. In the fall, he published the book of poetry Les chemins de pieds. Un dimanche à Kyoto, an illustrated talking book for children, was also published while the artist toured Quebec with Au bout du coeur, a show that he also presented in Europe in 2005.

An emeritus songwriter celebrated on the world's leading stages, Gilles Vigneault is a prolific and virtually tireless creator. He is beyond any doubt a legendary figure on the Quebec scene while remaining his countrymen's beloved child.

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AIN'T NO CURE FOR LOVE

Song Inductee: Modern Era, 1956 To 25 Years Prior To Present
YEAR: 1988 (I'm Your Man)
LYRICS & COMPOSER: Leonard Cohen (b. Montreal, Quebec, 21 September, 1934)

Many of Cohen's songs have a recurring theme of love. According to Cohen, Ain't No Cure For Love addressed the idea that it "doesn't matter whether we found ourselves in the loneliness of separation or the vertigo of union, everyone finally learns there ain't no cure for love."

Released by Jennifer Warnes on her brilliant 1986 Leonard Cohen tribute album Famous Blue Raincoat, Ain't No Cure For Love was later released by Cohen in 1988 on his I'm Your Man album. Considered by many to be his comeback album, I'm Your Man reached #1 in several European countries, earning Cohen a CBC Crystal Globe Award, reserved for artists who sell more than 5 million copies of an album in foreign territories.

Cohen's version of Ain't No Cure For Love was used in the 1990 movie Love at Large. The song was also recorded by Aaron Neville and was featured on the all-star Cohen Tribute album Tower of Song.

COVER ARTISTS INCLUDE: Grassland Boys, Aaron Neville, Northwood, and Jennifer Warnes

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BIRD ON THE WIRE

Song Inductee: Modern Era, 1956 To 25 Years Prior to Present
YEAR: 1969 (Songs from a Room)
LYRICS & COMPOSER: Leonard Cohen (b. Montreal, Quebec, 21 September, 1934)

On a small Greek island, Leonard Cohen moved into an old seaman's house. There were no telephone poles or wires, but electricity finally came and with it wires that stretched across his windows. Watching them with a sense of disappointment and annoyance, Cohen noticed a bird on one of the wires : this was the genesis of the famous and much loved song. As with most of his work, it took many years to revise it and bring it to some acceptable version.

Bird on the Wire reached #2 on the U.S. Billboard music chart, #31 on Billboard Hot Adult Contemporary chart, and was used as the inspiration for a 1990 movie staring Mel Gibson, in which Aaron Neville sang the title song.

COVER ARTISTS INCLUDE: Willie Nelson, Joe Cocker, k.d. lang, Jennifer Warnes, Neville Brothers, Johnny Cash, Tom Cochrane, Judy Collins, Rita Coolidge, Buffy Sainte-Marie, Soul Asylum, and Blackeyed Susans

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EVERYBODY KNOWS

Song Inductee: Modern Era, 1956 To 25 Years Prior to Present
YEAR: 1988 (I'm Your Man)
LYRICS & COMPOSER: Leonard Cohen (b. Montreal, Quebec, 21 September, 1934) co-wrote with Sharon Robinson

Featured on the album I'm Your Man, the moody song Everybody Knows was one of the Leonard Cohen's first collaborations with American songwriter and vocalist Sharon Robinson.

Everybody Knows gained mainstream popularity when a cover version by Concrete Blonde was used in the 1990 soundtrack for Pump Up the Volume which reached #20 on American charts. The original song also appeared in the popular Atom Egoyan film, Exotica, and was covered by Don Henley on a Leonard Cohen tribute album in 1995.

COVER ARTISTS INCLUDE: Concrete Blonde, Dark Gift, Keith Hancock, Don Henley, Dayna Kurtz, Mean Larry & Friends, Jean-Claude Toran, Florent Vollant, and The Washington Squares

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GENS DU PAYS

Song inducted: Modern Era, 1961 to 25 Years Prior to Present
YEAR: 1975
LYRICS AND MUSIC: Gilles Vigneault (Natashquan, October 27, 1928)
ARRANGEMENTS: Gaston Rochon (Quebec City, April 8, 1932 - November 3, 1999)

Gilles Vigneault, Louise Forestier and Yvon Deschamps famously sang Gens du pays in harmony on June 24, 1975 on Montreal's Mount Royal. It was SaintJeanBaptiste Day and the song's first public appearance.

Vigneault apparently wrote Gens du pays after the singer Louise Forestier and the comedian Yvon Deschamps challenged him to write a song to supplant Happy Birthday. In rapid order, the new song was part of all family, social and political events in Quebec. When the casket of former Quebec premier René Lévesque was carried out of the church where his funeral had just been held, the crowd waiting outside spontaneously broke into Gens du pays, which is linked to the Quebec sovereignty option and has become a rallying cry. It is Quebec's unofficial national anthem.

According to René Lévesque, Gens du pays remains "the most beautiful Quebec song in the minds of all Quebecers."

COVERED BY: Everybody.

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HALLELUJAH

Song Inductee: Modern Era, 1956 To 25 Years Prior To Present
YEAR: 1984 (Various Positions)
LYRICS & COMPOSER: Leonard Cohen (b. Montreal, Quebec, 21 September, 1934)

Hallelujah is considered by many to be one of the most beautiful musical pieces ever written.

Yeah but I remember, yeah when I moved in you
And the holy dove, she was moving too
And every breath we drew was Hallelujah.

Although Hallelujah never neared the top of the charts or received significant airplay, it has become a favorite of both fans and artists, including Jeff Buckley and Bob Dylan, both of whom recorded cover versions. Buckley's 1994 version is considered by many to be the most dramatic and striking version, helping to launch the song into mainstream popularity. Most recently, Rufus Wainwright's cover, following Buckley's style, appeared on the soundtrack of the blockbuster hit, Shrek.

COVER ARTISTS INCLUDE: Bono, Jeff Buckley, John Cale, Alison Krauss Bob Dylan, k.d. lang, Patricia O'Callaghan, Rufus Wainwright, and India Arie

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LA MANIC

LA MANIC

Song inductee: Modern Era, 1961 to 25 Years Prior to Present
YEAR: 1966
LYRICS & COMPOSER: Georges Dor(b. Drummondville, March 10, 1931. d. July 25, 2001)

La Manic, a song in the form of a letter by a young man telling his girlfriend back home of the loneliness of workers building dams up north on the Manicouagan River, sold more than 150,000 copies at the time of its initial release. It was later released as part of Georges Dor's debut album, which remains one of the most popular collections ever produced by a Quebec songwriter.

Georges Dor began his career working for a number of private radio stations where he wrote his first radio sketches before joining Radio-Canada in Montreal (1957-1967) as an announcer, news writer and producer. On the prompting of the poet Gaston Miron, Dor turned to songwriting. Initially powered by La Manic, his new career as a popular singer began in 1966. Soon invited on a European tour by the French impresario Jacques Canetti, Dor took his songs to the Trois Baudets in Paris and the Palais des festivals in Cannes. He went to perform at the Comédie Canadienne (1969), Place des Arts' Port-Royal Theatre, the Butte à Mathieu club in Val-David, north of Montreal, and Centre d'art de Percé in the Gaspé region. Soon after, Dor quit performing while continuing to record songs and beginning to write lyrics on music by the pianist Robert Séguin.

Dor had a profound impact on Quebec popular music in his too short career. His songs paint a mythical portrait of women and of the daily lives of ordinary people. He also wrote a few comedies and two popular television series, "Les Moineau et les Pinson" and "L'âme-soeur".

In 1972, the Montreal radio station CKAC named La Manic, also known as La Complainte de la Manic, the most popular song of the past 50 years. Who would have thought that a love letter written by an ordinary worker would inspire a song forever engraved in our collective memory?

COVER ARTISTS INCLUDE: Bruno Pelletier and Jean-Marie Vivier

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MON PAYS

Song inductee: Modern Era, 1961 to 25 Years Prior to Present
YEAR: 1964
LYRICS & COMPOSER: Gilles Vigneault (b. Natashquan, October 27, 1928)

Although Arthur Lamothe's film La neige a fondu sur la Manicouagan (1965) may have escaped our collective memory, its theme song, commissioned by the National Film Board of Canada, remains one of the most popular songs ever to have graced the Quebec music landscape. An ode to the bareness of the windswept, ice-covered wilderness of Quebec's North and to the solidarity of the Québécois spirit, the political underpinnings of Mon Pays brought many to regard this song as a true "Quebec anthem" in spite of the songwriter's protests that he had never out to compose a national anthem.

In 1965, Mon Pays won the Félix Leclerc Award of Festival du disque in Montreal, and one of its early performers, Monique Leyrac, was presented with the Grand Prix of International Day at the International Song Festival in Sopot, Poland. Mon Pays was also a winner at a festival held in Ostend, Belgium. In 1987, Mon Pays was voted best Quebec song as part of a competition held by Radio-Mutuel network. The pianist and composer André Gagnon quoted the theme of Mon Pays in the first movement of the fourth concerto of his Mes Quatre Saisons series.

The song's tremendous success at home and abroad inspired Vigneault to pen a sequel, Mon Pays II.

COVER ARTISTS INCLUDE: Salome Bey, Roger Doucet, Ensemble Claude Gervaise, Judy Lander, Danielle Licari, Monique Leyrac, Ginette Reno, Gaston Rochon, Catherine Sauvage, Frida Boccara, Michel Louvain, Michèle Richard and René Simard

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PENDANT QUE

Song inducted: Modern Era, 1961 to 25 Years Prior to Present
YEAR: 1963
WORDS & COMPOSER: Gilles Vigneault (b, Natashquan, October 27, 1928)

For a songwriter, being born in a small village (population 300) facing the endless sea and carved on the edge of a forest that spreads throughout the Northern region can be an inspiration to write songs in which the "big blue sea" is a recurring presence. Vigneault's Pendant que is one such ballad.

Written in 1962, this song was included in Vigneault's second album a year later. It became an instant hit with the Quebec public and can be found on many of the prolific singersongwriter's recordings. More than 40 years later, this song is an integral part of the public's collective memory. Beside Vigneault himself, Pendant que was most importantly covered by the great Monique Leyrac who, along with Pauline Julien and Catherine Sauvage, brought to life many of the Natashquan poet's creations.

With Pendant que, Vigneault reveals the true nature of Quebec music and manages to make it universal.

SONG COVERED BY: Louise Portal, Fabienne Thibault, Christine Chartrand, Renée Claude, Les Compagnons de la Chanson, Danièle Darrieux, André Gagnon, Jacques Marchais, Cornéliu, Nicole Croisille, Moniqe Leyrac and MarieClaire Séguin.

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PUT YOUR HAND IN THE HAND

Song Inductee: Modern Era 1956 To 25 Years Prior To Present
YEAR: 1970
LYRICS & COMPOSER: Gene MacLellan (b. Vald'Or, Quebec, 1939. d. Summerside, PEI, 19 Jan 1995)

The road to success is not always easy. In 1970, Gene MacLellan was performing with the popular rock band Little Ceasar and the Consults. MacLellan however wanted more. In an uncharacteristically brave move, MacLellan went to the home of Don Messner, hoping to impress him with a song. The strategy worked and MacLellan became a regular on CBC Halifax's "Singalong Jubilee". It was on this show that MacLellan met a young singer by the name of Anne Murray and his professional songwriting career began.

Put Your Hand in the Hand was originally written for Anne Murray but was not released as a single. It wasn't until the group Ocean released the song as their first single that it became a hit. The single skyrocketed to #2 on the Billboard Charts with the album reaching #1 in Canada and #2 in the USA, selling over 2 million copies.

MacLellan used the publicity gained from Ocean to release three of his own LPs, all of which enjoyed modest success. MacLellan, however, did not enjoy the public spotlight and retreated from the music scene, returning in the 80's to perform at churches and penitentiaries throughout Canada.

Considered by many to be the unsung hero of Canadian music, in 1987 McLellan received PRO Canada's William Harold Moon Award for international achievement. He was posthumously inducted into the Canadian Country Music Associations Hall of Honour in 1995 and awarded the East Coast Music Association's Helen Cheighton Lifetime Achievement Award in 1996. Put Your Hand in the Hand was declared a Canadian classic by SOCAN and is a standard in any gospel repertoire, having been recorded in 25 countries by over 100 different artists.

COVER ARTISTS INCLUDE: Elvis Presley, Joan Baez, Rita Marley, The Platters, Ray Conniff, Donny Hathaway, Engelbert Humperdink, and Loretta Lynn.

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SI LES BATEAUX

Song inducted: Modern Era, 1961 to 25 Years Prior to Present
YEAR: 1963
LYRICS & COMPOSER: Gilles Vigneault (b. Natashquan, October 27, 1928)

Gilles Vigneault hails from Natashquan, a tiny North Shore community sandwiched between the sea and the Boreal forest. This hunting and fishing territory has inspired a great number of Vigneault's songs. Written in 1962, Si les bateaux became part of the Gilles Vigneault chante et récite album (1963), and can be found on many of the songwriter's other recordings.

Inspired by Si les bateaux's tremendous popularity, Canadian dancer and choreographer Margie Gillis turned it into a 25 minute solo where she danced to excerpts alternating with wave sounds.

In spite of its age, this 40year old song remains one of Vigneault's most beautiful compositions and one of Québec's favourite tunes.

SONG COVERED BY: Monique Leyrac, Marie Denise Pelletier, Bryan Adams, Nicole Croisille, Pauline Julien, Catherine Sauvage and Renée Claude.

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Andy Kim

SUGAR SUGAR

Song Inductee: Modern Era, 1956 To 25 Years Prior To Present
YEAR: 1969
LYRICS & COMPOSER:  Andy Kim - Jeff Barry (Andy Kim, b. Montreal, Quebec, 5 Dec. 1952)

It was such a pleasure to write and produce a song with Andy Kim.  He believes in the power of music, he loves songs, and he is SO Rock and Roll.  Beyond the massive hits, and the multi-decade career, there is a wonderful man who I'm proud to call my friend.   - Ed Robertson, Barenaked Ladies

"Whenever I hear an Andy Kim song I can't help but be transported back in time. So many of my childhood memories are hinged upon these classic pop songs such as "Sugar Sugar". "It feels like some kind of surreal dream to be able to call him a friend.” - Ron Sexsmith

In 1967, at the tender age of 15, Andy Kim left Montreal for New York City with $40 in his pocket and a Billboard Magazine under his arm earmarked to the page listing the addresses of record labels. His search led him to the Brill Building and the office of Jeff Barry, the man who penned such hits as Be My Baby, Then He Kissed Me and Chapel of Love. Kim was later signed to Barry's new label, Steed Records, and the pair would go on to become an incredible songwriting team.
One of their most successful collaborations, Sugar Sugar, was written for Don Kirshner's new CBS cartoon television series The Archies that featured a manufactured pop band with the same name. The animation took the once one-dimensional characters from between the pages of comic books and brought them to life on the small screen with vocalists Ron Dante, Toni Wine and Andy Kim lending their voices to the cartoon band. While Kim and Barry had already enjoyed success with previous compositions written for the cartoon series, the pair could not have foreseen the heights to which the song would soar.

In 1969, the year of Woodstock, Easy Rider and the Underground Movement, Sugar Sugar not only climbed to the top of the charts but would go on to become both Song of the Year and Record of the Year; eventually selling 13 million copies worldwide. The single has also been heard in another popular animated television series, The Simpsons, and on the big screen featuring another manufactured band, The Brady Bunch, in the 1996 film A Very Brady Sequel Sugar Sugar was used in Oliver Stone's Heaven and Earth, (also known as Entre ciel et terre) about the American-Vietnam War, its aftermath and reconstruction. In 2005, Sugar Sugar made an appearance in the Shrek II DVD and continues to be heard in countless commercials around the world.

COVER ARTISTS INCLUDE: Bob Marley & the Wailers, Big Youth, Celia Cruz, Gladys Knight & the Pips, Ike and Tina Turner, Tom Jones and Wilson Pickett.

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SUZANNE

Song Inductee: Modern Era, 1956 To 25 Years Prior to Present
YEAR: 1967
LYRICS AND MUSIC: Leonard Cohen (Leonard Norman Cohen, b. Montreal, Quebec, 21 Sept. 1934)

In 1966, Leonard Cohen penned Suzanne with the landscape of the Old Port in Montreal in mind. Leonard Cohen revealed, "the song was begun, and the chord pattern was developed, before a woman's name entered the song. And I knew it was a song about Montreal..."

The beautiful poem and love song was originally inspired by the view of the Montreal harbour from the observation tower of the Notre-Dame-de-Bon-Secours chapel, known as the Sailors' Church. Remnants of the chapel are found in the lines, "And the sun pours down like honey/ On our lady of the harbour" which are in reference to the Our Lady of the Harbour statue that stands, with arms outstretched, towards the St. Lawrence river.

It was after Cohen's chance meeting with Suzanne, the wife of sculptor Armand Vaillancourt, that life was breathed into the piece. She invited him to her home located near the river where the pair shared a cup of tea. "Suzanne takes you down to her place near the river," begins the beautiful and descriptive narrative of the woman who "feeds you tea and oranges that come all the way from China."

Suzanne is poetry set to music. The beautiful and descriptive narrative was published in Selected Poems 1956-1968 (Toronto 1968) and later released on his debut LP, Songs of Leonard Cohen, in 1967. Judy Collins would be the first to record the song after having heard it sung to her over the telephone by Cohen, himself, and Noel Harrison would take the single to Number 56 on the pop charts. The song would go on to become one of Cohen's most covered singles with over 100 versions to its credit.

COVER ARTISTS INCLUDE: Judy Collins, Nina Simone, Neil Diamond, Peter Gabriel, Françoise Hardy, Noel Harrison, Pauline Julien, Harry Belafonte, Roberta Flack, Graeme Allwright, Catherine McKinnon, Chad Mitchell, Tom Northcott, Joan Baez, and Genesis

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The Stampeders

SWEET CITY WOMAN

Song Inductee: Modern Era, 1956 to 25 Years Prior to Present
YEAR OF RELEASE: 1971 ( LP: The Stampeders - Against The Grain)
LYRICS & COMPOSER: Rich Dodson ( guitarist, b. Sudbury Ontario July 1 1947)

Until December 1976, Rich Dodson was lead guitarist, vocalist and a major force behind the success of the Calgary rock trio, The Stampeders.

In 1971, the release of his composition "Sweet City Woman" propelled the Stampeders to the top of the charts and on their way to becoming a household name in Canada. News of heavy airplay and vibrant record sales soon reached U.S. record label Bell Records, who immediately signed the band and released their single in America. The songs overwhelming success prompted the label to rename their U.S. LP "Sweet City Woman". Soon "Sweet City Woman" went on to sell in excess of 3 million copies worldwide reaching number one in Canada and garnering a top #5 position on the U.S. Billboard chart.

In the same year, The Stampeders would go on to win four Juno Awards with the "Composer Of The Year " going to Rich Dodson for "Sweet City Woman". Little did The Stampeders know that their Top 10 classic would soon become one of the most recognizable songs of the 70's.

Soon their international hit would make The Stampeders top concert draw in Canada and take them around the world playing to enthusiastic crowds in the U.S., South America and Europe, making them one of the first Canadian bands to tour extensively overseas.

Soon their international hit would make The Stampeders top concert draw in Canada and take them around the world playing to enthusiastic crowds in the U.S., South America and Europe, making them one of the first Canadian bands to tour extensively overseas.

In 1992, to the delight of their fans, the original Stampeders, Rich Dodson - guitar, Kim Berly drums and Ronnie King bass reunited and began touring.

In 1993, Rich Dodson had the honor of being inducted into the Socan Hall Of Fame.

Also, along with fellow band members Kim Berly and Ronnie King, Rich was inducted into the Western Canada Hall of Fame, The Alberta Recording Association Hall of Fame and a winner of the prestigious Edison Award in Holland.

Today, Rich Dodson still tours with The Stampeders and remains active as a songwriter, producer and recording engineer at his recording studio/ record label Marigold Productions.

Cover Artists Include: The Dave Clark Five, Lawrence Welk, Taxi, Johnny Carver, and Tompall and The Glazer brothers...

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HERBERT SAMUEL BERLINER

2006 LEGACY AWARD
BIRTH: Cambridge, Mass., September 13, 1882
DEATH: Montreal, Qc., August 9, 1966

Herbert S. Berliner revolutionized the sound recording industry in Canada, making it possible for Canadian artists to produce and record albums in their own country. An innovator throughout his life, he was determined to always release the best possible quality audio recordings and worked tirelessley to develop unique methods of record pressing.

Herbert S. Berliner began his career working for his father, gramophone inventor Emile Berliner, in the family run buisness, the Berliner Gramophone Company. In 1909, he was appointed VicePresident and General Manager of the family company and in 1916, through the company's subsidiary His Master's Voice, he released an Anglophone record series, HMV 216000, soon followed by a Francophone series, HMV 263000, promoting Canadian artists. In April 1921, Herbert left the Berliner GramoPhone Company and, along with several of his colleagues, began working as President of Compo, a company he founded in 1918. Compo went on to become Canada's premier independent record pressing company, rivalling the Berliner Gramophone Company.

The history of Compo is, above all, that of Herbert Samuel Berliner. He had been interested in electric recording since the beginning of the 1920s and was the first in Canada to launch records recorded with this system, even before the American industry leaders, Columbia and Victor. From 1929, he produced experimental recordings at 33 1/3 RPM.

Berliner's fasciation with radio broadcasting of recorded sound, when other record labels shunned it, resulted in his producing not only transcriptions for broadcast but also single records, made in a plastic substance instead of breakable shellac, long before the American labels did so. These 1924 recordings were electrical using microphones, far superior to the accoustic sounds used since the days of his father's invention in 1887. Compo was also one of only two Canadian recording companies to survive the 1929 economic crash, thanks to its President's foresight in diversifying the company business to include the making of dictaphone cylinders and the distribution of radio broadcast transcriptions.

The list of Compo's Canadian performers, many of whom went on to become Canadian idols, included Rex Battle, J.R. Dubois, Paul Dufault and Ruthven H. McDonald. Artists recording with Apex included Willie Eckstein, Vera Guilaroff, Léo Le Sieur, Don Messer and His Islanders and the Andy Tripaldi Orchestra, to name only a few.

Herbert Berliner was almost 70 years old when he sold Compo to Decca in 1951. He remained President of the Compo Company under the Decca label until his death in 1966.

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Lucille Dumont

LUCILLE DUMONT

2006 LEGACY AWARD
BIRTH: Montreal, January 20, 1919

As a pioneer, a performer, a radio and television host and artist, Lucille Dumont has served and personified Quebec popular music throughout her long career. With integrity and passion, she has lent her voice to countless emerging Quebec songwriters, often being the first to sing their songs.

Before embarking on a musical career, Lucille Dumont worked under pianistorganistcomposer Léo Le Sieur, making her professional debut on October 16, 1935 on Sweet Caporal, a radio show he was then producing. She was 16. The same year, she became host of Linger Awhile, and then of Two Messengers of Melody with her mentor playing the great organ of James S. Ogilvy's Tudor Hall, a remarkable instrument that sounded at its very best when Le Sieur broke into jazz.

Then came the CKAC period with Chantons en Choeur, which she cohosted with Jean Lalonde; Paris Swing, where she explored jazz; and the long lived Sans cérémonie, Café Concert Kraft and Qui aura le dernier mot. RadioCanada soon followed suit, inviting her to participate in, and frequently to host, variety shows such as Variétés Françaises, Rêverie, Sur les boulevards, Le moulin qui jazze, Le p'tit bal des copains, Connaissezvous la musique, Tambour Battant and Hier, aujourd'hui.

Gifted with a warm and caressing voice, Madame Dumont turned to the French repertoire from her early professional years. In April 1945, as part of a War Loan Drive concert, she gave the Quebec premiere of Insensiblement, written and composed by the renowned French songwriter Paul Misraki, under guest conductor Ray Ventura. Insensiblement met with astounding success. Ventura, who was not only a major musical star in France, but also a producer, expressed interest in taking the young performer on a French tour, but Dumont had to decline the invitation as it came only two months before her planned wedding to RadioCanada sports commentator JeanMaurice Bailly.

In 1947, the readers of Radiomonde elected Lucille Dumont "Miss Radio," making her the first singer to carry that title. In 1950, on the occasion of the 15th anniversary of her musical career, she was named "Grande Dame de la Chanson" by CKVL Jean Baulu. The title stuck with her audience although the artist herself never acknowledged it in spite of the fact that she symbolized an entire era of Quebec song.

A subtle performer and always a class act, Lucille Dumont was at the birth of Quebec television, being part of RadioCanada's first Variété, Café des Artistes in 1952, followed by Feux de joie, Frères d'Armes and À la romance through three consecutive hockey seasons.

The twentieth, fortieth and fiftieth anniversaries of her career were marked in Quebec media by special programs highlighting her enduring career.

In 1957, Dumont won RadioCanada's National Canadian Song Competition for Le Ciel se marie avec la mer, written by the underrated singersongwriter Jacques Blanchet. In 1962, with another Blanchet song, Tête heureuse, she won second prize at a competition sponsored by the Brussels program Chansons sur mesure. From then on, Dumont continued to promote the Quebec songwriters she strongly believed in and to perform their songs with unshakeable faith and conviction.

From 1961 to 1974, Dumont hosted Intimité, Entre nous et moi and Histoire d'une étoile, where she welcomed French luminaries such as Charles Aznavour, Jacques Brel, Gilbert Bécaud and Charles Trenet, to name only a few. Her next show, Le temps d'aimer, was a meeting place for actors, singers and variety artists who provided a wide range of entertainment for a diversified audience.

In 1968, Dumont turned to a new passion—teaching. At Atelier de la Chanson, a school she created, she began teaching the essential arts of voice, elocution, performance, gestures and positioning, a role she continues to play with unabated interest 37 years later.

Through her career, Lucille Dumont played Comédie Canadienne, Place des Arts, the "boîte à chanson" music clubs and selected cabarets while being a frequent guest artist in various Maisons de la Culture.

Dumont wound down her career in 1999 without regret or bitterness, thanking her lucky stars for having been born under the Capricorn sign.

Lucille Dumont was made an Officer of the Order of Canada in 1999 and an Officer of the National Order of Quebec in 2001.

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Anne Murray

ANNE MURRAY

2006 LEGACY AWARD RECIPIENT
BIRTH: Springhill, Nova Scotia, 20 June, 1945

Anne Murray is truly Canada's original Diva. The integrity of her career speaks volumes for the consistent quality of her music decade after decade. I could only dream of having a career like hers. Congratulations Anne! - Jann Arden

I know two things about Canada hockey and Anne Murray. - Elton John

For over thirtyfive years, her unique voice and heartwarming style have made her a household name. She has led the way for a generation of Canadian artists who have also made their mark on the world stage Celine Dion, Shania Twain, k.d. lang, Jann Arden, Alanis Morissette and Sarah McLachlan - all following in her footsteps. Anne Murray has continually championed Canadian songwriters, introducing them to a global audience. She has recorded over 400 songs, many composed by Canadian songwriters including: What Would It Take (Bryan Adams), Missing You (Jann Arden), Let There Be Love (Amy Sky), Both Sides Now (Joni Mitchell), It Takes Time (Shirley Eikhard), Cotton Jenny (Gordon Lightfoot) Now and Forever (You and Me) (David Foster & Jim Vallance) and Song of Bernadette (Leonard Cohen). She has sold close to fifty million albums and has won countless awards. Anne Murray is more than just a Canadian icon: she is an ambassador of Canadian song.

Born in Springhill, Nova Scotia in 1945, Murray was raised as the only girl in a family of five boys. Growing up, Murray was always surrounded by music and at a young age began studying piano and eventually moved on to voice lessons. While attending the University of New Brunswick, where she began pursuing her goal of becoming a physical education teacher, friends convinced her to audition for the local Singalong Jubilee. When Murray was not offered the job, she continued her studies until two years later when she received a call from Jubilee cohost and associate producer, Bill Langstroth, asking her to return for a second audition. In 1966, Murray landed her first singing job. Soon after, Murray was offered a role on the TV show "Let's Go", eventually returning to Singalong Jubilee during the summer as a soloist.

Singalong Jubilee's musical director, Brian Ahern, convinced Anne to record a solo album and in 1968 Murray released What About Me. Her follow up album This Is My Way was released in 1969, giving Murray her first hit Snowbird, penned by Canadian Gene MacLellan. This Is My Way went on to become the first time in history that an American gold record was awarded to a solo Canadian female performer.

In 1974, Murray received her first Grammy award for 'Best Female Country Vocal Performance' for Love Song. By this time, Murray's life had become a hectic schedule of TV appearances and concerts, both in Canada and internationally. In 1975, Anne took a break from music to marry Bill Langstroth, her producer from Singalong Jubilee. Their first child, William, was born in 1976 and three years later, baby girl Dawn was born. Wanting to continue on with her singing career, Murray worked long term engagements in Vegas in order to bring some measure of stability to her children's life.

Anne Murray has received four Grammy awards, three American Music Awards, three Country Music Association Awards and 31 Juno Awards. She was the first Canadian singer to reach #1 on US charts, with 11 #1 country hits and 25 of her albums have reached multiplatinum, platinum or gold in the US alone. Murray was inducted into the Juno Hall of Fame and the Canadian Music Hall of Fame in 1993 and into the Canadian Country Music Hall of Fame in 2002. She received the Companion of the Order of Canada, which is the highest award given to a Canadian citizen in 1984. Murray was awarded the East Coast Music Association Directors' Special Achievement Award in 2001 and was a recipient of the Order to Nova Scotia in 2002. Murray received her own star at Hollywood and Vine in 1980 and was in the inaugural group of Canada's Walk of Fame in Toronto. As her accolades and legacy attests, Anne Murray's contribution to Canadian song is unparalleled.