Liner Notes Episode 2: Mark Furukawa (Dr. Disc)

Mark: [00:00:00] Probably the first time you walk in, you don't know where to look because there's, there's posters on the wall and there's, there's bins or records, and then there's stereo equipment, and you're like, what the heck's going on here? So you kinda have to orient yourself. So I, I think it's fun if you're, um, once you sort of get the lay of the land or even getting the lay of the land, that process is fun.
Exploring a new environment and a new. Media if you haven't been into records and getting into that sort of groove. Pardon the pun of collecting. Yeah.
Meredith: Welcome to Gritty History, a podcast from the City of Hamilton and Hamilton Civic Museums, taking you beyond the physical museums and diving into fascinating stories from the city's past and present. In this audio series, we'll explore the people and places that make Hamilton Ontario so special. Our first series liner notes digs into the work of Hamilton Music. My name is Meredith Leonard, and I'm a senior curator at Hamilton Civic Museums. Joining me for this series is Russ Piva, AKA StereoRuss musician and host of Inside the Music with StereoRuss, thank you so much for joining us. Let's press play.[00:01:00]
So today we're entering the world of the local record shop, joined by Mark Furukawa, AKA DJ Mark, and founder of Dr. Disc Records in downtown Hamilton. Mark has been a central figure in a city's music scene since opening the record store in 1991. A seasoned DJ since his teens, Mark holds several DJ residencies across the city and has expanded his shop to include DJ focused AV gear rentals today.
He continues to be deeply involved in the music community, proudly serving as a cultural ambassador for Hamilton's vibrant music scene. Mark, thank you so much for joining us.
Mark: Oh, thank you.
Russ: To start off, mark, why don't you give us a brief history of Dr. Disc here at Hamilton?
Mark: Well, it's funny we're interviewing in the CFMU studios because I sort of, one of my launching points was, um, volunteering at Radio Western.
So I was, um, I came from Barrie, small town, pretty conservative, and, um, Discovered my love of music in high school, started DJing with friends, and, uh, I went to Western not for advocate. Academic [00:02:00] reasons, but just because my, all my friends were going there, that was my sort of career path. 'cause I didn't have one.
So all I knew is I had to keep going with my DJing and my love of music sort of as a side hustle, I guess you'd say. But it eventually turned into a full-time hustle when I was at, at, at, um, in London at Western. So I became immersed through CHRW and through DJing in the city into the music scene. And, uh, because I was DJing, um, I had to get the best.
Records and the newest records. And the best store for that was Dr. Disc, which originally was a small family owned chain, which started, um, just with one really tiny store. I think it was 1983 or 82 83. It started in London, Ontario. And then the business was so good due to the response of them having really unusual imported product.
They expanded to a larger location. And that's sort of when I came in. I remember first. Entering the store. I was introduced to it by a DJ who worked at Radio Western that I'd connected with, and um, he introduced me to the store and they were still [00:03:00] sort of like creating displays and getting product out.
It was that new it, it hadn't really fully moved over yet. And so that's when I sort of started hanging around there and I hung around there so long that they. Said, Hey, do you wanna help move these boxes? Do you want this, you know, work part-time? So I started part-time and I, I just loved the environment so much and the people I was meeting so much that it became more of a full-time job.
And along with DJing, I was, um, you know, DJing a couple nights a week and, um, my academics shrunk and. Portion to that. And I limped through my three year BA. Took me seven years to get, but I finally got it and that was my time spent in London. And then the family was expanding at the time. The son of the father who had founded it, his name was Andrew, decided to expand the business.
He was an accountant and he, he's like, okay, one location works, we can expand the business. And so he, we sort of, um. Picked, chose different cities with a good university or college demographic [00:04:00] and, uh, sort of surrounded Toronto. So we had, you know, there was Kitchener, Waterloo, Windsor, um, St. Catherine's and the, the last logical spot on the map.
Before Toronto was Hamilton and, um, just so it, it coincided in, in 1991 when I got my seven year special seven year BA that, um, they offered me the managership in, in Hamilton. And that's sort of where I came here. I'm just like a, you know, musical leaf on a, in a stream and I just kinda just kind of saw these opportunities as I was going, meandering down the stream and, and chose Hamilton.
And, uh, it's really funny because people, uh, in London, a lot of my friends were, I said, oh, I'm going to Hamilton to open a new Dr. Disc. And they're like, Hamilton. What, what the heck are you going? They didn't say, heck, what the heck are you going to, to Hamilton for from London? But, uh, when it came to Hamilton, it was, um, it, it was the best decision I've ever made in my life.
Actually. The, the people here, um, are the most genuine and, um, uh, [00:05:00] uh, you know, I can't say for across every vocation or every, um. Segment of the population. But as far as the music community goes, you know, 99.9% of the people, people I've met here, whether it's through music, retail, or creators or live venue owners or whatever, have been really.
The most active and inclusive musical community I've ever experienced anywhere. So I'm really, you know, I thank my lucky stars. I made that non-decision to come to Hamilton to open Dr. Disc. So that's where I ended up in 1991.
Meredith: Can confirm the music community here is just so lovely. It really is. We started this exhibition and we are not of the community, but everyone's been so welcoming and so generous and just so passionate, enthusiastic about what y'all do.
Mark: well.
You really jumped in like you were open-minded and eager, and I think with that open-mindedness and the. Willingness that the community to share not only contacts, but anecdotes, product, materials, that you just, you [00:06:00] approached it in really the right way as not like someone elitist, like, oh, we're putting together, uh, an exhibition.
It was more like, can you help us build this thing? And I think people will, you know, not, I'm not saying that the community's not generous and kind in nature, but they're just, the way you approached it to elicit. Aid was like just the perfect tone. And people want, you're, you're right. People want to help generally in this, in this city.
They really want to help someone, whether it's for information or getting a gig or what any other inquiry in the music industry, they just generally want to help. And I think maybe that's. Partial, partially because we've always been sort of the underdog and, and, and, and in the shadow of Toronto. And, uh, when I came here, it wasn't a great thing to be from Hamilton.
You know, a lot of, I, I knew a lot of musical artists personally, who in their bios, they wrote, oh, I'm from Toronto, rather than I'm from Hamilton. But, you know, I would, I would travel and I've always been. Inviting the conversation as to [00:07:00] what is Hamilton, you know, and where is it? What's it all about? So if I travel and people say, where are you from?
I wouldn't say I'm from Toronto. They'd go, oh, you know, you know, because they know what it is. I'd say from Hamilton, oh, where's that? You know? And so it would sort of invite a conversation. And I think Hamiltonians are like that. They, uh, recognize their own, and, and I'm not saying you have to be from Hamilton too.
Be included. Uh, I myself, like I said, I came from London by way of Berry, so I've been here since the life of the store, which is 1991, but I consider myself a Hamilton adopted son now. But, um, I think as long as you have the best interests of the city and the community in mind, you'll be accepted. It doesn't matter where you're from.
Meredith: We've been having these conversations, um, and doing research for this exhibition. And your name comes up all the time, like, you gotta talk to Mark. Oh yeah, yeah. Ask Mark about that. Um, so
Mark: just 'cause I'm a dinosaur, I've just been around so long.
Meredith: And you have all the knowledge. Um, so what, what do you see as your role in the Hamilton Music community?
I think like you're a connector, a facilitator, like just sort of this holder of knowledge. Like what,
Mark: how [00:08:00] do
Meredith: you feel about that? Think
Mark: I, I think both of those things. I'm a sharer. I, and I like to share information. I don't think, um, information that can help someone succeed is, should come at a price. I think it should be volunteered happily.
Um, so that's what I do. And you know, of course one of the. If not the prime topic I like to share about Hamilton. So it doesn't matter if you're just talking about music, you know, I'll share my Hamilton experiences positive and negative with, with people. Um, but uh, yeah, I would say that, um. Just a share of knowledge in general.
And, um, just because I've been slogging away in the downtown course since 1991, I've seen it change and, uh, made connections and you, you know, the connections that aren't reliable or. Let you down in some way. You just Discard and you kind of keep in your bag of tricks. People who have helped you or are helpful and honest and have integrity.
So over 30 years, I've got a pretty big bag of tricks and once again, I'm not afraid [00:09:00] to, to share that. You know, if someone has any kind of question that I can help with, I'll try and answer it. And if not, I'll, you know, my detective hat on and I'll do a little bit of research. So I, I think just a, maybe a facilitator is a.
Is a great word as well.
Russ: You mentioned, um, a couple times the, the, the year 1991.
Mark: Yeah.
Russ: Which is a mind blowing year.
Mark: Oh, it sure is.
Russ: And I just wanna know, um, you know, how Dr. Disc has evolved since then, and kind of how you've been able to kind of keep up with the times with the evolving changes in how people listen to media.
Oh, yeah. Uh, listen to music, um, and how, just how the community's changed in general.
Mark: Wow, that's a, that's a great question. That. You know, has a myriad of answers. Um, I'm gonna try and summarize, but as far as the shop went, um. We're considered, I think just because of time and the fact that we're embedded here and not going anywhere.
Um, I think the, that now we're looked at sort of this musical institution, but when we started in 91, um, the reason we chose the location we're in [00:10:00] now was that the founder of Dr. Disc was into mortgages That was a sort of side hustle before he kind of quasi retired. And, um, so he knew real estate, but the, the thing that, um, he really.
Championed. It's like he always said, you know, you want to be, become a habit in a sense that you want to be amongst other record stores. So because people are creatures of habit and they, they go to, you know, back in the day it was Sam's HMB or whatever, and then if Dr. Disc pops up, they'll go there with a, if it's in walking distance.
So at the beginning we were one of many downtown, I think there were seven or eight stores within a mile radius of us. Um, that's where we wanted to be. We wanted to be amongst the action and become an established point on that route, but it's not, um, nearly as, um, intensive as it was back in 1991 downtown.
So when we started out, like I said, there were, you know, it was the era of chain stores back then, and we were this little independent. There were a couple other independents around, uh, when we opened, [00:11:00] but basically we're like this punk rock outsider store. So it was word of mouth and. That was our big biggest advertiser and still is it's word of mouth that spread.
And we didn't do any like huge glitzy ad campaigns 'cause honestly we couldn't afford it. And it was just through goodwill. And you know, as we Discussed earlier, helping people that we started to grow, but at first we're like punk rock. We just didn't, you know, when you're just trying to get a leg up, you're, you don't really do anything.
By the book, per se. And I, I don't say think we like, I'm not saying we did anything illegal, like sell stolen goods or something. It was more like, okay, we wanna have a concert on our lower roof. What's a permit? I don't, I don't know what you're talking about. So we just have a concert on our lower roof, you know, and it was, um.
It was just to create sort of a, a buzz. It wasn't like we weren't making any money off it. The concerts were free when we started, but that was something a a, a young fledgling record store would do. That was our advertising in a sense, is to create some noise downtown for an hour and have a [00:12:00] band play local.
Of course, you know, we always promoted local talent and, uh, we'd have a rooftop concert. So that was, you know, but now, um, like you said, the um. It's, it's fast forward and now we're, you know, the Hamilton's longest running record store. So we're kind of like this anchor point now, which I'm, I'm so proud of.
And, um, the second part of your question is to how music's been consumed. It's like, it's just night and day. Just nobody could have predicted. The root it would've took, taken, um, to get to this point from the way it was back in the day. So, you know, we, vinyl is our trademark these days, you know, and. Thank God, like, you know, our, our founder chose Dr.
Disc because it went from vinyl Disc, which is what it was named for to CDs.
Russ: Yeah. If it was, was dr. If it was Dr. Cd Yeah. I don't think it would've,
Mark: yeah, we would've had to put a little star there and ask Yeah. And other
Russ: things.
Mark: Yeah. Yeah. Something like that. But, um, you know, it works for both. [00:13:00] So, um. Back in the day, you know, it was 91, I think CDs came out.
The first commercial CD was 83 or four. So CDs were taking over the marketplace and vinyl shrunk to, you know, 10% of our sales floor was just relegated to sort of a corner in the basement. As we, you know, seeing C CDs took up more and more real estate in the store, the retail space, and then technology comes around.
You had downloading and Napster and those were some lonely years because, you know, most of our, our clientele, I think is aged. The demographics moved up with people who are into music and gotten older and they understand vinyl and, and the joy of collecting a physical medium like records. But back then, I would say our, our 75% of our customers were like.
16 to 24, that kind of thing. So as soon as, um, downloading hit and they could sit at home and not go out and music was free, just download stuff. It was like, you know, took a big hit for a number of years there, so had to dip into [00:14:00] the. Inheritance to keep the store open, literally for the better part of 10 years.
It wasn't, it wasn't pretty. Um, but, you know, we got through that and then people realized, like to me, I, I understand that digital music and downloading is a convenience, and I don't behoove anybody who. Consumes their music that way because, you know, they're driving and they want, you know, they're streaming, they've got it on their phone.
But I I, I certainly do appreciate people who like and respect a physical medium. So it's like film, it's like, um, everything's digital these days, but you know, there's a resurgence in. Old style cameras developing film, and it's part of the process that makes music valuable as well as film. When you develop a picture of yourself, there's so much more invested in that finished photo.
And it's the same thing when you're listening to music on vinyl and so many people get this, that. It's an active pursuit. You're not, it's not just something streaming on your phone [00:15:00] endlessly. Um, and you, it kind of blends into the background. It's like you have to, if you're listening to on a vinyl format or a CD format, you have to put that record on when the side's over.
You have to turn it over so you're actively paying attention to what you're doing and paying attention to when you're listening or not a term. I like consuming music. Um, but that's part of the reason that people have understood. The, the importance, it's, the sound quality's different too. I'll give it that.
Um, whether it's better or worse is, is up for debate. I think it's personal preference, but it's a more active pursuit to, and a more valued pursuit. It creates a value when you listen to a. Records and it's a social thing. Rather than having music streaming in your phone, in your headphones, it's a social thing.
You tend to share music on vinyl with friends who come over. If you're having a party and you put a vinyl on, you know, we had a big sort of spike when you're, just remember of turntables selling after. Christmas, [00:16:00] new Year's. I'm like, well, why? All these people, all of a sudden Biden turn, it was not Christmas anymore.
And they're like, oh, we were just at a New Year's Eve party and this a, I think there were two or three people within a couple of days who said, I don't think they're there at the same party, but they said the host had a turntable and we all took turns picking out records from his collection and putting them on the turntable and that.
You know, that wasn't the fact that mu music sounds better on vinyl or I, I prefer vinyl. I'm a vinyl collector. It was the fact that socially it was this inclusive, fun thing to share music with each other that propelled these people to, to buy turntables. So that's kind of neat. So that has sort of brought us back in a sense.
Um, n nobody anticipated vinyl coming back to the extent it has. Um, or, and, and to be quite honest, a lot of, um. Corporate people didn't want it to come back. They would much rather have no middleman, which were technically a middleman between the music creator and then the end user. So [00:17:00] we're a middleman in the sense that they, the record companies have to make this product.
You know, they have to spend money, labor to make it, ship it to a distributor. The distributor sends it to us and then we retail it to the customer. They would much rather eliminate all those steps, have the creator give them, dig digital files than just. Then they're out on the internet. They don't have to deal with anything.
Just raking the profits of people who download that item or access that item. So, I mean, we're not supposed to be here anymore in the scheme of record or music, corporate, uh, things. But once again, whatever sells, they'll. Capitalize on it. So I mean, they're like, okay, I guess people want records now. So we'll sell records, which is sort of the tail wagging the dog in a, in a weird way,
Meredith: if you're enjoying this conversation, you might wanna check out the punching in exhibition, which explores the work of Hamilton's music scene on display at the Visitor Experience Center, located at 28 James Street North throughout [00:18:00] 2026.
Now back to our conversation. My favourite part of coming to Dr. Disc was to, you get a turntable repaired. Yeah. But there's also a conversation. Yes. And then you also get to look through music and like flip through, flip through the records. And it's just, it's sort of like this wonderful, like, this is like a choose your own adventure.
This is not the algorithm telling me I like, yes. This, this is me. Like getting to like see what's out there.
Mark: Yeah. It definitely is.
Meredith: And so is there, it's sort of having that physical space Yep. To like talk about Yes. And, and think about music in like a. It's a consumer way, but there's also like a real community connection
Mark: to it.
Yeah, it's a human contact. So you know, you can get any algorithm suggesting something you might like off a playlist, but sometimes you go in a store and you're like, it's not, it has nothing to do with what you listen to the music that's on and you're like, what is this? This is amazing. So I mean, in a sense, the staff, whoever's putting on the music sort of.
You're almost like you're coming into our rec room or, or living room to listen to music that someone else is putting on for [00:19:00] you. You don't have the choice of listening to what you want in the store. And, and sometimes that's a good thing because it, it makes you go in a different direction. Totally. And, uh, you're right about the store is multifaceted and, and over the years, the staff, myself and the staff, um, you know, I, the two.
Main staff members I have on have been with me for decades now. And, uh, so they not only know the ins and outs of the store, but they, their knowledge base has grown, um, along with their tenure at the store. So, you know, they can suggest things, whether it's, um, you know, what stylish should I buy from my turntable, or what turntable should I buy?
They're educated and they want to help. They're not just there to sell a turntable. They're, they're. They're to get you the right turntable for your situation. You know, they, they, there's that level of integrity and knowledge sort of combined, which is great. So, yeah, you're right. No matter what you come in for, I mean, there's eye candy, there's all kinds of different formats.
There's like, um, you know, we still sell cassettes and CDs and [00:20:00] DVDs, so product-wise, yes. That way we sell equipment, we rent equipment. So there's all these different facets to the store that people may not. Know about, but once they get to know the store, um, you know, and we act as educators too. Before it was like, it, it was, it's interesting that customers shift in a sense.
Like when I started, everybody knew what a record player was. Everybody had a record collection or a CD collection. But now it's like, you know, the younger generation or even older. Slightly older people who have never owned a turntable. It's more of an educational thing. So once again, it's a sharing of knowledge where, oh, how do I storm our records?
Should I clean them? You know, how do I set up my turntable? Is this a good turntable? Is that a bad turntable? So now it's a more of an educational process too, where you have to get to know the customer in a sense that of their level of experience with the music and the format, and then guide them, you know, as best as she can to.
Make their, I guess, listening experience, the maximum amount of enjoyment they can get out of [00:21:00] it. So it's, it's, it's, it's changed. It's definitely more intensive rather than everybody knows what a record store is. You just go in, you do this, you do that, you buy a record, you go so more, oh, we get a lot of people and you, they're kind of like.
You know, just like you were probably the first time you walk in, you don't know where to look because there's, there's posters on the wall and there's these bins or records, and then there's stereo equipment, and you're like, what the heck's going on here? So you kinda have to orient yourself. So I, I think it's fun if you're, um, once you sort of get the lay of the land or even getting the lay of the land, that process is fun.
Exploring a new environment and a new media if you haven't been into records and getting into that sort of groove. Pardon the pun of collecting. Yeah. So it, that's, that's, that's another way that the store has changed too. And it's, it is, is a really fun place to, to come into and shop.
Russ: It's a really inviting way of describing it.
Yeah. Because, um, I know if, even for myself it was like a, you know, big music fan musician, et cetera, it's like even I feel that. Overwhelmed. Like a Yeah. Oh
Mark: yeah.
Russ: And, and so, so [00:22:00] for anyone listening out there who hasn't been to a record shop, maybe feels intimidated like that, you know, that that's a part of the experience and, and the fun and it's like, it, it's a, it's a welcomed um, feeling, I
Mark: guess.
It is. It, we've always prided ourself as the Switzerland record stores. So, and, and what I mean by that, like, ethically we'll sell anything, any kind of music, um, as long as it's not. Hate-filled, violent, you know, violence enticing or incentivizing. We don't carry your religion, gender, height, color, you know, where you're from.
Anything. Music is sort of like the common denominator of the store. And as long as you're a music lover, um, or appreciate music, you're, you're more than welcome to come in the store. And, um, it's funny you say like the, the cool store or whatever, uh, I'm paraphrasing you, but, um. People are intimidated by independent music stores in a sense.
So when we started out as being this kind of like this ethic, ethically sort of a punk rock, you know, I. Store that wasn't super clean, like an HMV and blah, blah [00:23:00] blah, and sort of homemade and slapped together. Well, you know, there was one artist who's a folk artist, and we take local music on consignment, and we always welcome any kind of music as long as it's a physical medium to bring it in the store and we'll try and sell it for you.
So this one artist, we, it was based on a customer demand. Do you have, do you have this artist? I'm not gonna name her to, you know, in case she's embarrassed or something. But, um, they, they said, oh, do you have this artist, a folk artist, the local artist? And no, we're not so. Researched her, found out, contacted her, got her to bring in stuff, and she said when she was dropping it off for consignment, she said, I didn't think you guys would take my, my, my music, because you're such a cool store.
And I'm like, it's has nothing to do with the cool factor. I mean, if it's Hamilton Music, you're automatically cool. Right? Like bring it in. Um, so that was a funny exchange and I, we'd never tried to give that sort of like. I don't know, empire records vibe, like exclusivity vibe to, to anything where the opposite.
Um, where if you come in, you know, hopefully we're [00:24:00] welcoming if you catch us on a good day. I'm just kidding. But, um, you know, we'll, the conversation doesn't have to be about music. We, we don't even care if you come in and don't buy anything. I mean, that's the ultimate goal to help us survive. But if you come in and you're just walking by just for a browse or something, you're just.
Chat about the last concert you're in. It doesn't, it doesn't matter. Like, I mean that the key is that you appreciate music and appreciate that we're there at the same time, hopefully. And that's the kind of customer we, we court. So, yeah.
Meredith: Yeah. I did not feel cool enough to come into store, but, but when I see I did
Mark: See now you're all welcome.
Right?
Meredith: I, and it's so fun and I've told everyone, like, it's just, it's such a fun experience. Great. Yeah. It's, and it's such a great conversation and it's at Hamilton Institution.
Mark: Oh, thank you so much. Too dumb to quit is what you say.
Russ: Yeah. And a quick plug for you local musicians out there to, to drop your stuff off.
Mark: Yeah, we take up to three. Um. Pieces of any kind of format of what you have. So if you have an album that's released on CD and, and vinyl, bring it on in any kind of physical format. Uh, [00:25:00] cassettes, we take seven inches. Um, if you're making your own CDs, we've had people make their own CDs. Just try and make it sort of look professionally done, rather than just like handing us some CDRs or kind, you know, try and do some artwork or something.
But we take, um, any kind of consignment for especially local product. You know, if you're from Toronto or Detroit or whatever, it doesn't matter. We can, you can drop it off up to three copies of each. We'll rack it for you and try and sell it for you in our local section. If you're from Hamilton, and we always feature, um, for any local artist, we do a standalone post across our social media platforms to promote that.
Specific release just, and, and put you in our, we do every Friday we do sort of, um, new release roundup videos. And, uh, we'll put you in that as well to try and give you maximum exposure. And then, you know, we'll write a little blurb for you, or if you read a little blurb for us, we'll post it along with the image and we'll try and get, sell some, uh.
Some music for you.
Meredith: We're starting to plan the opening event for our [00:26:00] exhibition, and we sort of were survey people for inspiration. Oh, okay. And they're like, we should do something like Dr. Disc's, midnight release parties. And so like, that is, that is a vibe that is out there in, um, in sort of like an event style.
Um, could you tell us a little bit about those? Like, that's, see
Mark: some
Meredith: people.
Mark: So back in the day, um, how it used to work, um, in industry was that new releases would come out every Tuesday. Um, now it's shifted to Friday just because, well. Let's take it from the start where the Tuesday was technically a, the slowest day in, in the retail week for, for music retailers.
Um, so they said, okay, well have the new releases come out on Tuesday, which kind of forces somebody before downloading was a thing. It would force people to come and buy the physical product, which is the only way you could consume or, or access your. The new band's release that you wanted to, to get. So it shifted to Friday and what they, what we used to do back in the day for major releases, I remember we did like Rush Tragically, hip Wu-Tang clan, [00:27:00] that kind of thing.
If there was this big album dropping, you're technically allowed to only sell releases on what's called the street date or release date. So if the release date was a Tuesday, technically the Tuesday comes at midnight, the night before. Plus one second. So we used to do midnight release parties for major, major releases, and now that's kind of happening again with support from the labels.
So what they're doing is some, um, times they give it, they allow you to sell it. Thursday night, which is great because we can do a listening party after we close, we close at six. So we'd have a listening party from like six 30 to however long the album was. So sometimes you could just do a listening party, um, but you weren't able to sell the product till the next day.
So, um, but what's happening more and more is they're doing for. Independent, mostly independent stores that participate in the listening parties. They're allowing you, the labels are allowing you to sell it when you have your [00:28:00] listening party, which is doubly exciting. So not only do you get a special advance link to um, or a record send ahead to play at the listening party, but you also get to sell it in advance of.
Other stores who aren't doing a listening party. You know, there've been a couple of times the latest release and, uh, latest Ethel Kane come to mind where the store's been just packed full of people, you know, and they, they'll come down on a Thursday night and then listen to the album. And it's great because it's sort of the same vibe that you get when you go to see your favourite performer live.
Everybody in the room is into that performer just as much or more as you are. And so it's like this. Room full of like-minded people, all sort of the same vibe. And that's what the listening parties have been like. So we've got a small store, we can fit, you know, maybe 40 people in there maximum, but sometimes it's been rammed.
Um, and it's really fun. And, and I love it because even if we can't sell the product, you get people down, we'll do giveaways and things like [00:29:00] that. So they'll, they'll have what's called value added stuff like posters, key chains, branded. Stuff for that artist. So people will come down prepay for that, even we can't sell it or they can't pick it up till the next day, but at least they get the posters and things like that.
So it's, and sometimes it's just like this, you know, not to sound cliche, but there's so much love in the room. It's just like, everybody's just like listening and whispering amongst each other. 'cause they don't wanna, you know, if something's playing and we set up extra speakers and things like that. So it's almost like a mini.
House concert in a sense. And it's really, really fun.
Meredith: It's so fun to sort of experience music as a community and maybe it don't have the money to go to a concert, but like, that's a really lovely way to like, experience and listen to music with other like-minded people and just yeah, have a, have a good night.
Mark: Well, you know, flipping it back on, on you guys, like, just the fact that I, I don't know if it was your brainchild or whatever, but to have a, a year long, uh, exhibit promoting music, you know, I, and I understand that it was in. Um, it was coincidental to the gen was happening and, and, and other things happening next year, but it's just [00:30:00] like the sustained, um, visibility and accessibility to a really well curated exhibit featuring music.
It's like it only helps the community and, and you know, of course the store as a result, you know, just having the music and people's consciousness and recognizing not just generic music, you know, recognizing the local community's musical talents past. Present and future is like just a remarkable undertaking.
And so
Meredith: yay,
Mark: Claude, whoever
Meredith: figure that out. Credit our, our colleagues in tourism events. Oh, that's great. And tourism and culture for the city. Um, they've been great,
Mark: great
Meredith: supporters.
Mark: Oh, it's great. It's like a, it's the special event and everybody's taking their part in their, and having their own little say in the curating of it and building this thing.
And I think it's, I think it's fantastic.
Meredith: And I mean, we, we couldn't do this without the music community. Yeah, of course. The fact that it exists at all is, is a testament to everybody's enthusiasm and dedication and generosity.
Mark: I, I think you're right. There's no database you can just access and just like, tell me everything about Hamilton Music.
You have to rely on sort of the [00:31:00] oral history of people and. You know, people are naturally collectors of things, so I know you're in contact with a few people who have old gig posters and stuff. You know, that stuff would be lost to just a time. You know, word of mouth. But to actually have access people who have physical gig posters from, you know, 20, 30 years ago is just amazing.
So, I mean, that's part of it. Like I think it's visually and physically bringing that historical aspect into plain view of people. They can just walk in and sort of see and, and, and access all of this information in music that might be lost to space and time and never be seen again. So I think it's.
Kudos. That's great. Great.
Russ: You've mentioned quite a few people, um, already
Mark: in
Russ: this podcast, but, but a question that we've been asking to all of our guests is
Mark: this is like, what's your favourite food time? Right?
Russ: It is actually. But replace food with, um, uh, Hamilton musical artists.
Mark: Yeah, that's a toughie.
Russ: Or maybe some [00:32:00] that have been notable, um, that have stayed out over the years.
Mark: I guess to properly answer your question, there have been certain Hamilton artists that, um. I've come across and for, uh, different reasons that I respect just for their integrity and just for always ham, having that Hamilton, uh, essence and be proud. They've been proud to, to, to share with everybody that they are from Hamilton.
So, you know, the top one for me, uh, just as far as longevity and going down the dark tunnel and coming out the other end is Tom Wilson. And so as far as a, a contemporary. Music figure who has this historical weight. And um, you know, he just recently found out that he's indigenous and, um, he actually got bestowed a, a native indigenous name.
Um, he's really embraced that. He didn't. No, he just knew, you know, if you read some of his memoirs, he, he knew that was, was, there was some sort of [00:33:00] hidden things in his past, but when he Discovered he was of indigenous origin, he's just embraced it. And so along with this and it's affected his music. So, I mean, along, he started out basically as a punk rocker.
For lack of a better term. And now he's doing this, not only he's doing some really ambient stuff to accompany, he's a multi-talented artist, um, to accompany artist exhibitions that he's done for his painting. And he's collaborating with his son and he's done some really beautiful, um, soundscapes to accompany that.
But his music's also very roots oriented. He's delving into his indigenous roots through, um, his music, and he's got sort of, you know, the, uh, blues rock. Kind of jammy stuff of like, uh, blocking the rodeo Kings, for example. So multi-faceted artists, but with music at, at its core and. He's a lifer here. Like he's been, you know, doing music since, man, mid seventies or something.
So late seventies. [00:34:00] So you're, you're talking about, you know, it's just one individual who's invested not only in the city, but in his art for the last basically half a decade. Like, that's, that's insane. That's crazy. You know, like the store's 30 something years old and we're just like. Not that we don't play as active a function as Tom.
We're a facilitator too, but we're not like a creator. We don't create the music in the store. We're just, we get music that people want, but Tom actually is this creator and he's never wavered on coming from, or living in, or being part of Hamilton. So that's, that's sort of the top of my list for, I guess, the Hamilton, Hamilton music Renaissance man, I guess you'd say.
But, um, you know, there are a couple other bands. I, I really love the raw energy of the dirty nil. And I've known those guys since they were, you know, snotty faced kids coming in, uh, the record are, you know, 17, 18. And, uh, you know, they've grown to be a sort of this. Worldwide. They've toured the world over, you know, a number of times and they just [00:35:00] keep grinding away.
I love that. Um, one band that just comes to mind that really, um, I, I watched them grow from, um, just when they were really, really young. They're defunct now, but there's a band called New Hands and they took their inspiration from sort of eighties and unknowingly. I, um. It's, it's funny, they're much younger than I am, so their influences were influenced by eighties.
So they didn't really, they weren't familiar with the core original music that influenced them through their artists that they liked, that influenced them, if you know what I mean. It was, they were, it's kind of like one step away, arms length away from the actual music that. They drew a lot from, but, um, these guys were independent.
And, um, Brody from Casbah, who used to own the Casbah venue, turned me onto them, and I've, I, I love them. They released a full album and 1 1 7 inch single. But, um, and then they just, you know, started [00:36:00] going to post-secondary stuff and just. Got their own lives going. Um, one's still in town. Gord Bond, he's a really well known Hamilton artist, um, painter, and he's still in town.
But, um, you know, it's like, it happens with a lot of Hamilton bands. They're, and that's the reason for your curated exhibition is sometimes they just release one great album and they're gone. Or not even an album, they produce some great music and they're gone. So, uh, circling back to the, um. Punching an exhibition that you've got come up or exhibit, um, is super important to, um, curate and retain, um, information or the actual music of a certain band that may otherwise be forgotten.
And then as far as other Hamilton artists into the most accomplished pop pop act, you're looking at Arkells, who just their blend of soul and pop. It's a really unique voice and. Not only is the band named after a Hamilton [00:37:00] Street, but they never forget their roots. You know, they play the uk, they play wherever, and they're always, one of their trademarks is, is, is being from Hamilton and, and they don't do it in a way to exploit the city.
They're just so proud of it and the success they come, they totally realize that the success that. Um, they've achieved is because of the Hamilton community. There's just the, I mean, you get a band that is so exciting in their home city. Sometimes it doesn't translate to other cities, but they've made it so that they're, I guess, infectious energy and love of the city translates somehow.
You know, and even when they go abroad, they're always about Hamilton and you know, whether they're wearing tie cats jerseys or whatever, um, they always promote. So I I and the longevity, you know, they started as, uh, you know, sort of a no-name band at Casbah two and came up to the ranks and just got bigger and [00:38:00] bigger and bigger.
But they've never forgotten their roots. So I respect a lot of artists, not only for their music, but recognizing that the music, the things that have shaped their music are. Weirdly uniquely Hamiltonian in a lot of instances. So I guess my love of certain artists also hinges on their love and representation of the city in a weird way.
And you can't get around punk rock if you, if you don't mention teenage head, who are just like this iconic band who are on the verge except for their name. They didn't, the major labels did not like their name back in the day. And then, uh, there was a terrible accident when one of the members broke their back, uh, when they're there.
Basically days away from like a showcase in New York. I think the story goes, uh, for like these label heads and um, you know, it was at the time where, you know, Ramones and that kind of stuff was hitting and teenage head were. Collectively one of the best punk bands out there, and unlike other punk bands, they could really play.
The songwriting was great. The [00:39:00] guitar playing was fantastic. They're such a tight unit, but uniquely Hamilton, you know, with a Hamilton voice. So, you know, I guess those are my sort of tops that come to mind. But then again, you know, I listen to a Jesse Lanza album or something like that. I'm like, oh my God.
Or Junior Boys or something. Like a lot of the, there's some really. Unique electronic stuff that's, that's out that is, and, and not that they're not Hamilton, but that style of music is, um, a lot more appreciated in Europe, I find overseas. And it is in Canada. Maybe it's because of lack of airplay or accessibility or promotion.
I'm not sure. But, um, yeah, there's so much great music coming outta Hamilton and, and that has come outta Hamilton.
Russ: Mark, thank you so much for joining us today.
Mark: Oh, totally. My pleasure.
Russ: And just, you know, keep on being DJ Mark at Dr. Disc.
Mark: Always, always. I really appreciate you guys and, um, anything else you need, you know, music related or not.
Just get in touch and, um. [00:40:00] Hopefully we'll see you both in the store sometime. Thank you so much. Thank you
Meredith: so much, mark. That was great. Thank you for listening to the Gritty History podcast, brought to you by the City of Hamilton and Hamilton Civic Museums. This episode was hosted by Meredith Leonard and Russ Piva, produced and edited by StereoRuss Media. This series episodes were recorded at CFMU Studios, McMaster University, Catherine North Studios, and Bridgeworks. If you enjoyed listening to this podcast, please share it with someone who also loves all things Hamilton and history. If you'd like to explore more, you can visit us online at hamiltoncivicmuseums.ca. Please give us a like, comment and subscribe. Thank you for listening.