THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,839) Hyde — “Exit Hero Number One”
Here is the hilarious Dylanesque lament of a put-upon Canadian farmer. “I’ve got the lower 40 left that I’ve gotta plow and I’m stuck behind a sacred cow.” Canadian Cult Classics (the blog of a Canadian music historian from Toronto) states that it is from an an album of “amazing original songs with . . . sparse arrangements [that] weave a delicate, urgent musical web . . . in part thanks to the consummate musicianship of [the backing band] Rockadrome. Each song in this ten-song cycle creates a unique mood spun by [the] music and words.” (https://canadiancultclassics.blogspot.com/2024/12/yorkvilles-forgotten-poet-origins-of.html?m=1)
The Museum of Canadian Music tells us that “[t]he story behind Hyde, a self-titled 1969 album, is one of the most intriguing and mysterious chapters in Canadian music history. For decades, the man behind this masterpiece remained unknown to most, shrouded in secrecy by close friends and family.” (https://citizenfreak.com/artists/96823-hyde)
Here is the story, as told by the MCM:
Brian Victor Alexander, the creative force behind the Hyde alias, was a Toronto-based singer-songwriter whose talent, determination, and artistry made a lasting impression on those lucky enough to witness his rise. . . . [He] was born . . . in Toronto . . . . excelled in sports like baseball and hockey . . . . Brian’s fascination with R&B and blues ignited during his childhood. By the age of ten, he was immersing himself in records and eventually became a DJ for neighborhood dances. At fifteen, Brian picked up a guitar and harmonica, teaching himself to play and pouring countless hours into practicing. When he discovered Bob Dylan’s [see # ] debut album in 1962, it was a revelation. Inspired by Dylan’s ability to blend poetic lyrics with folk melodies, Brian began writing his own songs, embracing the singer-songwriter path and dreaming of making his mark in Toronto’s burgeoning folk music scene. . . . During the 1960s, Yorkville in Toronto was the epicenter of Canada’s counterculture and music scene. Brian, captivated by the talent and energy of the area, became a regular at venues like the Riverboat and the Mynah Bird coffeehouse. In December 1965, he approached Colin Kerr, the owner of the Mynah Bird, for a chance to perform. After a brief audition, he secured a regular spot, earning recognition for his introspective lyrics and Dylan-inspired vocal delivery. Brian’s formative experiences in Yorkville, including seeing Bob Dylan’s controversial 1965 concert at Massey Hall, inspired him to stay true to his art. Performing in Yorkville’s iconic venues alongside emerging musicians helped him refine his craft and develop his signature sound. . . . By 1969, Brian had adopted the alias Hyde, a persona he used to distance himself from his personal struggles and focus entirely on his music. He caught the attention of Art Snider, a prominent figure in Toronto’s music industry, who signed him to record an album. Backed by the talented Toronto psych-rock band Rockadrome, Hyde recorded his self-titled album . . . . The album, featuring nine original songs and a heartfelt cover of Bob Dylan’s “I Threw It All Away”, showcased Brian’s lyrical depth and haunting melodies. With sparse yet evocative arrangements, it was a unique blend of folk and psych influences. Released in August 1969, Hyde received limited promotion, including a few spins on CHUM Radio and a live performance at Toronto’s underground club, Global Village. Despite its critical potential, the album faded into obscurity . . . . After the release of Hyde, Brian faced the harsh realities of the music industry. Opportunities dwindled, and personal struggles took their toll. By the early 1970s, he relocated to Calgary, stepping away from the music scene to focus on a more stable career. For nearly a decade, Brian put his guitar aside, distancing himself from the creative pursuit that had defined much of his youth. In the 1980s, he returned to Toronto and gradually reconnected with music. By the late 1990s, after retiring to Wasaga Beach, Brian rediscovered his passion for songwriting. He built a home studio and began recording and jamming with friends, reigniting the spark that had driven him decades earlier. . . . Though Brian Victor Alexander never achieved widespread fame, his album . . . remains a testament to his talent and artistry. . . . [S]teeped in introspection and poetic lyricism, [it] is a gem of Canada’s 1960s music scene . . . .
Canadian Cult Classics, responsible for seeking out Hyde’s true identity and telling the world, tells us that:
[H]earing Bob Dylan’s debut album in 1962 blew [Brian] away . . . . Bob was his sole inspiration thereafter to pursue folk music, learn to sing, and soon, learn how to write songs of his own. He fashioned himself after the American folk troubadour in many respects, but his songwriting grew to be wholly unique. . . . A formative musical experience for Brian was seeing . . . Dylan perform at Massey Hall during late 1965 . . . . during Bob Dylan’s highly contentious “electric” period, backed by local Toronto R&B act Levon & The Hawks . . . . As with many shows along their tour, Bob Dylan was arguing with hostile fans over their dislike of his new sound. . . . Paired with Brian’s constant intake of top-tier folk talent in Yorkville, the Bob Dylan event inspired Brian to stand by his music, stand up for his art, and, most importantly, develop the courage to sing.
https://canadiancultclassics.blogspot.com/2024/12/yorkvilles-forgotten-poet-origins-of.html?m=1
You might get a kick out of the LP’s original liner notes by Bill Shelson:
In a drawing, delving manner does he cross the borders of his place and let some of his soul be known. The rise and fall of his pulsing rhythms and trying words bring to the foreground almost-forgotten or not-yet-found insights. Don’t skip lightly over the images and parallels of this offering. Let your consciousness catch itself in Hyde’s stream. Its a cool brook compared to the murky esoterics of others. Toronto’s stature as a breeding place of Free Music is increased even, more with this chance to try on Hyde’s speed for the learning. His songs leave the ordinary, trite conformities of many of his peers. The mystique of introspection, The fires of passion, and all the nuances in between are explored by Hyde in his work. This is an artist of dedication with the scars to prove it. Think about your own dreams and what you’re on to as you listen (and maybe hear) Hyde. If you’ve put half as much of yourself into your thing as Hyde has his, you deserve this collection of truths.
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