From the Stirling (Ont.) Community Press:
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Serendipity - Part One
by Terry Vollum 12.10.04
As I reminisced with an old friend last weekend, it occurred to me that many of my extraordinary career experiences would never have happened had it not been for one lucky break. Serendipity. With your indulgence, gentle reader, here’s my story.
In June of 1965, I was a high-school graduate, two-months away from enrolling in the Radio and Television Arts program at Ryerson Polytechnical Institute in Toronto. I would spend July and August employed as a “go-fer”—my summer job at Hallmark Recording Studios. Today I would be classified as an intern. Forty years ago “intern” was the name given to a hospital’s newly minted doctor-in-training. But you get the picture.
My cousin Bob was Hallmark’s chief recording engineer/producer and had recommended me as the ideal summer assistant (translation: an enthusiastic kid who would do anything he was told to do in exchange for the handsome weekly wage of $75 regardless of the number of hours worked). The salary was meaningless as I was thrilled to be there.
The very first day on the job, I witnessed three unique recording sessions. The morning produced a radio spot for Wrigley's Spearmint gum. At noon, work began on a jingle for Seaboard Finance. Finally, a sixty-second music track for Labatts 50—“Enjoy yourself, move with the Fifty-crowd ...” Two days later I actually saw the Labatt’s commercial on television. Incredible. I couldn’t believe my good fortune. It would be a truly magical summer.
Whenever a pop-music act booked the studio, I would be first to volunteer as assistant (cable-moving guy) engineer. I sat in on sessions with David Clayton Thomas, Ronnie Hawkins, Ian and Sylvia (ask your parents), the Guess Who, and a young “folkie” named Gordon Lightfoot.
CBC television would book Hallmark to pre-record music for their many summer music specials. There were memorable day-long sessions with Glenn Gould, Duke Ellington, Harry Belafonte, Peggy Lee, Count Basie, Oscar Peterson, Hank Snow and George Burns.
In 1967 we recorded Bobby Gimby’s unforgettable (try as we might) little tune celebrating our country’s Centennial; “Ca-na-da - one little-two little-three-Canadians …”
That same year, Delores Clayman produced and recorded two memorable pieces of music at Hallmark. In addition to the immortal Hockey Night in Canada theme song, Delores composed the entire musical score for the Ontario Pavilion at Expo 67. Surely you remember, “Give us a place to stand - and a place to grow …”
Again, you might want to check with your parents.
But at the end of August, 1965, one week before I was to report to Ryerson, Hallmark manager Doug Sanderson made me an offer I couldn’t refuse. “We have been impressed with your work ethic,” he said, adding, “not to mention your passion for the recording business. If you’ll consider a full-time position with us, we’ll start you at $125 a week plus overtime.”
Ryerson would have to wait. I had discovered a profession I was truly excited about with a once-in-a- lifetime opportunity to work alongside some of the best “ears” in the business.
Next week - part two.
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