Since we found this on 8-track, we might as well include the first LP from hometown heroes the Stampeders. As the record - and especially their career-defining single, "Sweet City Woman," was moving up the charts, RPM Magazine waxed poetic about the lack of attention given to local bands that find national success. [center][img width=523px]//7ca49eb9f67ba1319ef136f9d52cd8b8.cdn.bubble.io/f1756176197656x604728581397070500/richtext_content.png[/img][/center] [b]How Now Cowtown?[/b] The other Sunday morning we had the privilege of travelling west by air with RPM publisher, Walt Grealis. We were all bound for Calgary, where the city's most famous show business celebrities, the Stampeders, were due to make their first local appearance in some five years. It was also the suitable occasion for the presentation of an RPM Gold Leaf Award to the group by Mr. Grealis, and the distribution of various gold discs, handed out by the controversial Canadian rock journalist, Ritchie Yorke. We watched the ceremonies with more than usual interest. It's not often that one gets the chance of seeing a band of returning heroes hitting home soil after a long absence (or, for that matter, of seeing Messrs. Grealis and Yorke together on stage). The Stampeders played a great show, and the only matter to cause concern was the disappointing attendance of local people. Mr. Grealis has written extensively on that topic in last week's issue, so we won't dwell on it. But we do believe it is a common malady of the Canadian consciousness that you should stay put, no matter what the consequences. It also appeared that Calgarians (at least the ones who stayed away from the concert) had never forgiven the Stampeders for leaving the Prairies. Yet the straight facts of the matter are that the Stampeders would never have found their Sweet City Woman if they'd remained in sight of the Eastern edge of the Rockies. Much as we enjoy Calgary, we are obliged to reveal that the city doesn't even have a recording studio. What chance does a rock group have in reaching the world without the electronic apparatus involved in making records? The Stampeders left Calgary because they had to. But they didn't have to come back. They did, and Calgary is much the better for it. Their performance is not likely to be forgotten for many Prairie moons. Throughout Canada, there is a sad lack of support for local groups. Being from Toronto means little when you're trying to get your record on CHUM. Likewise in Montreal. Or Winnipeg. Even worse, the city fathers in these regions are the last to support or even applaud the international acceptance of their acts. In Calgary, we wondered why the Mayor wasn't out to present gold records to the Stampeders, or at least to make a congratulatory speech. After all, we suspect that the Stampeders are going to do more, in the long haul, for the global recognition of Calgary than a dozen Stampedes. Rodeos are, without a doubt, one of the most savage and cruel spectator sports remaining in North America. There's nothing magnificient, or even half intelligent, about some fool trying to remain seated on the back of a wild horse. We wouldn't be at all unhappy to see the Calgary Stampede go down the drain. Calgary has more than enough to interest the tourist without perpetrating some of the muck-ridden myths of the settling of this nation. On the brighter side, however there have been signs of improvement in the Eastern area of Canada. Several politicians have at least indicated that they are aware of the booming Canadian music scene. Lighthouse were presented with an RPM Gold Record recently by Ontario premier, William Davis. And Crowbar did their number with the Trudeaus, and before that Nova Scotia's Hatfield. It's coming. Slowly. But there's a lot of room for improvement. At least we have come a long way from the summer of '69, when Toronto Mayor Dennison wouldn't even issue a token welcoming letter to the Toronto Pop Festival. And they wondered than about the generation gap? In 1971, we'd like to know what Vancouver is doing to recognize the Poppy Family's international success, what Winnipeg has done for the Guess Who (apart from throw them out of the bar at the Winnipeg Inn last Christmas, for not wearing jackets and talking loudly). What is Ottawa doing for the Five Man Electrical Band (CFRA probably isn't even playing their record, since it reportedly views all local talent with indecent suspicion). What is Montreal doing for the Bells and Mashmakhan? What is Toronto doing for Doctor Music, Ocean and Gordon Lightfoot? It's the age old problem of Establishment suspicion of long hair and rock music. It's an explanation of why you saw Anne Murray splashed across the front pages of newspapers coast to coast when she received a gold disc for Snow Bird, while the Guess Who get nothing. Miss Murray, bless her dear heart, is what the Establishment desperately likes its heroes to look like. You can be a vicious hockey player breaking heads open on ice and they love you - but let your hair grow down over your collar and you've attained a stigma that small minds cannot overlook. We'd like to believe that things will keep getting better. In some cities, they no doubt will. But can you really imagine the Mayor of Vancouver ever shaking the hand of Terry Jacks or Tom Northcott? Somehow we think not. So much for provincialism. Be it in Hogtown, Cowtown, or Pigtown. We've got a long way to go. E. K. ROY RICHARD
