In 1999 three things happened that would shake the foundations of my world: my own personal (and, admittedly, late) discovery of Thrush Hermit, the release of their album Clayton Park, followed almost immediately by the near-simultaneous and heartbreaking announcement of the band’s dissolution.
Thrush Hermit’s final album, Clayton Park, was nominated for the JUNO Alternative Album of the Year Award the following year, and Bob Mersereau has since gone as far as listing it as one of the Top 100 Canadian Albums in his 2007 book of the same name.
Aside from those particular accolades, the band represented something arguably more important: the potential for an east coast band to properly represent the east coast on the big stage without succumbing to the tropes of sea shanties or songs about coal miners. Where artists like Great Big Sea and Anne Murray had risen to the top via niche genres, and Sloan (who paved the way for Thrush Hermit, and gave them a home on the band’s label, Murderecords) had a sound that always seemed pre-destined for the Big Smoke, Thrush Hermit could hold their own in a way that felt distinctly Halifax.
From the first moment of “The Day We Hit The Coast,” with its punchy classic rock-inspired guitar riffs, I was hooked. The energy was there, with a scrappy bravado that fomented the more rebellious lobes of my adolescent brain, and convinced me that more music videos should feature bands in the rudimentary garb of half feral explorers. The cocky, near-absurdist lyrics of “From The Back of The Film” – “You look so good with a gun, but your hat doesn’t suit you,” Plaskett offers in retort to a would-be theatre-going assailant – only cemented the band’s place in my heart.
It all came together at a time when Canada was killing it in the alt-rock department during the ’90s. For myself and many others, it was cause for a musical awakening and a source of pride to see someone from our corner of the world making it in the mainstream music industry.
But it didn’t last long. Just as the band peaked, albeit after a seven-year crescendo, it all came crumbling down within 11 months of releasing their final, and best album.
A lacklustre deal with US-based label Elektra on their 1997 full-length debut Sweet Homewrecker, proved to be a bit lacklustre for Thrush Hermit. With insufficient promotion, it ultimately yielded in the band’s lucrative departure from the label.
Rather than leaving in defeat, the band seemed ready to move on in a hurry. They funneled that energy into bigger, wilder performances, flexing some creative muscle and cultivating the already sprouted seeds for what would later become McGettigan and Plaskett’s careers as producers and Plaskett’s Dartmouth-based studio, New Scotland Yard.
When Thrush Hermit approached Dale Morningstar in 1998 to record at his Gas Station studio outside of Toronto the band were already more than prepared to record Clayton Park.
“It’s a bit of a blur,” says Plaskett. “We had fun at the Gas Station with Dale Morningstar. We were loose and experimenting a lot with sounds and arrangements. We’d put in many, many hours on the road touring and we were confident in our abilities. We were a heavy band when we were in full flight and I think Clayton Park captures that.”
Despite a growing following, and a great reputation for stage antics, a massive tour with The Flashing Lights and Local Rabbits, the band suffered from internal tensions, growing dissatisfaction over the band’s future. Their manager, Angie Fenwick, resigned over health complications. Benn Ross replaced Cliff Gibb as drummer. Plaskett’s doctor warned him that a tour could literally kill him.
It was a lot to pile on a band that was already in the midst of the complicated task of releasing and touring an album. The band reversed course and instead laid out a cross-Canada farewell tour.
It might be said that when the band released Clayton Park, wrapping up their seven year stint with a masterpiece, regardless of the circumstances, that they were going out on a high note. In December of 1999, Thrush Hermit had effectively pulled the plug.
When the time came to move on, Plaskett had already begun recording more material on his own with himself squarely as front man. Rob Benevie went on to join The Dears and Ian McGettigan settled into the role of producer, also becoming a member of The Joel Plaskett Emergency, and both would join Camouflage Nights.
“Clayton Park had me step into the front man position more and as a result Rob’s enthusiasm for the band was understandably waning,” explains Plaskett. “We decided to end it after Rob told us he wanted to leave in mid-99 as we were looking at songs for another record.
“The couple years of the Hermit was a transitional time for everyone. Everyone was working on side projects and solo recordings. I had finished In Need of Medical Attention in 98 and started gigging occasionally with a 5 piece version of the Emergency.
“I also started playing drums in Neuseiland. Ian and Rob were recording with Rick of the Skins and other folks. Our manager Angie stepped away for health reasons and her husband/our drummer Cliff Gibb left the band after recording Clayton Park. Benn Ross joined for the tour cycle and he was fantastic but it was definitely a more uncertain time creatively and personally.
“It was strange, as we’d all grown up together playing and I knew nothing else. Having said that, I choose to think things happen for a reason and the Hermit’s end meant I had to step up into my own thing with the Emergency. Things were challenging at the time as there was some tension but I’m happy the band ended on a high note, before making records we were less invested in.”
Plaskett, of course, has famously gone on to win ECMAs, CFMAs and JUNOs by the boatload (seriously, there are quite a lot to tally up and we would put money on there being a Joel Plaskett Memorial Award someday) but every now and then Thrush Hermit have convened for the occasional reunion show. The band has obviously retained much of their residual popularity.
Now, with the 20th anniversary of Clayton Park approaching, Thrush Hermit have lined up a series of cross-Canada dates, beginning with a show at Fredericton’s Playhouse Theatre. To say that the tour has been greatly anticipated would be an understatement.
“We get still along, call and text each other now and then and I get the sense we are all looking forward to this fall run. I think that speaks for itself,” says Plaskett.
“It’s really nice to know our music still means something to people. Having a laugh was paramount but we cared deeply about the songs and the sound. It was a weird, awkward balance of reverence for some things and irreverence for others. It took us a while to capture what we wanted but the process was as much of the joy as the end result. It’s satisfying to know our efforts to be a good band still resonates for some folks.
Hanging out with all the guys together in one place will be great. If Ian can still balance the headstock of the bass in his mouth then I’ll be impressed. Regardless, when Rob and I lay into the riff on ‘Uneventful’ we will have earned our keep.”
As for how well has Clayton Park has held up over the past two decades Plaskett says he feels unqualified to put an answer to that, “I can say the houses in the suburb still look to be in pretty good shape.”
Tour Dates:
09.25.19 – Fredericton, NB @ The Fredericton Playhouse
09.26.19 – Moncton, NB @ Tide & Boar Ballroom
09.28.19 – Halifax, NS @ The Marquee Ballroom
10.02.19 – Ottawa, ON @ The 27 Club
10.03.19 – London, ON @ London Music Hall
10.04.19 – Toronto, ON Danforth Music Hall
10.09.19 – Winnipeg, MB @ The Garrick Centre
10.10.19 – Saskatoon, SK @ Amigos Cantina
10.11.19 – Edmonton, AB @ That Starlite
10.12.19 – Calgary, AB @ The Palace Theatre
10.14.19 – Vancouver, BC @ Imperial Vancouver
10.15.19 – Victoria, BC @ Capital Ballroom