The Parachute Club
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The Parachute Club was a Canadian band formed in Toronto in 1982. They released three top 40 hits in Canada between 1983 and 1987, including "Rise Up",[1] "At the Feet of the Moon", and "Love Is Fire" (which featured guest duet vocals from John Oates). The band was known for being one of the first mainstream pop acts in Canada to integrate world music influences, particularly Caribbean styles such as reggae and soca, into their sound.

Key Information

"The Chutes", as they were known, broke up after touring to promote their third and final album, and played their final gig in the summer of 1988. A reconstituted version of the Parachute Club (including four of the earlier band members) played a number of live shows between 2005 and 2008. The band reunited again in 2011 and remained intermittently active through 2014.

History

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Formation and early years (1982–1983)

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The original Parachute Club band consisted of Lorraine Segato on vocals and guitar, Lauri Conger on keyboards and vocals, Billy Bryans on drums, Margo Davidson on saxophone and vocals, Julie Masi on percussion and vocals, Steve Webster on bass, and Dave Gray on guitar. Davidson at the time was one of very few female saxophonists playing professionally; Segato, Conger, and Bryans had previously been associated for several years as the nucleus of Mama Quilla II, a band that gained respect in Toronto in the late 1970s and early 1980s for their integrated musical and sexual politics—elements that would continue with The Parachute Club. Billy Bryans had also been a well-known percussionist and producer in Toronto since the early 1970s, primarily associated with the Downchild Blues Band during this period.

Segato and Bryans first met in 1979, and started to collaborate musically. By 1982, they were both members of the Toronto band V, which was formed while Mama Quilla II was then on hiatus. In the late summer of 1982, Bryans was offered a chance to play at Toronto's inaugural Festival of Festivals, which later evolved into the Toronto International Film Festival. With other members of V unavailable, Bryans approached Segato to form a new one-off band to play at the festival. They added Lauri Conger from Mama Quilla II, as well as local musicians Margo Davidson, Dave Gray and Steve Webster. The band was well received at the festival, and shortly thereafter received and accepted an offer for both a management and recording contract with Current Records. Adding Jule Masi to the ranks, The Parachute Club was thereby formed, while Mama Quilla II made their 'hiatus' permanent and disbanded.

Early success (1983–1984)

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The Parachute Club's eponymous first album, released in 1983, was produced by Daniel Lanois, who had previously been the recording engineer of Mama Quilla II's sole release, an EP released in 1982.[2] The group had to write material for the album rather quickly, and consequently recruited poet/artist Lynne Fernie to assist with some of the lyrics. Though Fernie would never be an official member of The Parachute Club, she would contribute lyrics to all their albums, and function as an unofficial honorary member of the group.

The song "Rise Up", from Parachute Club's first album, won a Canadian Juno Award in 1984 for Single of the Year, while the group won a Juno award for Most Promising Group of The Year.

During 1983, Steve Webster, a co-writer of Parachute Club's best known song, "Rise Up" left the band, to perform with Billy Idol. On their 1983/1984 touring dates, bassist Russ Boswell stepped in for Webster; he would then leave the band to join Corey Hart's backing band. Keir Brownstone, formerly with Bob Segarini, became the band's new permanent bassist in mid-1984.

The band's second album At the Feet of the Moon was released in October 1984, and the title track became the group's second Canadian Top 40 hit. This album (and single) was produced by Michael Beinhorn.

Later success (1985–1987)

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In 1985, the group received the Juno Award for Group of the Year, as well as the equivalent CASBY award.[3] An album of remixed tracks, Moving Thru The Moonlight, was also issued in late 1985.

In 1986, The Parachute Club released their third album, Small Victories. The album included the group's third and final top 40 hit, "Love is Fire", featuring Segato singing a duet with John Oates of Hall & Oates. Oates produced the single, as well as several other Small Victories tracks; The Parachute Club and Mike Jones were credited as producers on the remainder of the album. In 1987, the group's video of their single, "Love Is Fire" received the Juno Award for Video of the Year. Julie Masi left the band after their Canadian tour in support of the album, and was replaced on a session basis for live dates by singer Rebecca Jenkins.

In 1987, the group composed and performed four songs for the Canadian and U.S. versions of the anime series The Wonderful Wizard of Oz. During 1987, Lauri Conger also left the band, and Aaron Davis of Canadian jazz-fusion band Manteca was brought in as the group's new session keyboard player.

Winding down (1988–1989)

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The band (now officially a quintet of Segato, Bryans, Gray, Davidson, and Brownstone) recorded a final non-album single in 1988 ("Big Big World"). Bryans produced; guests included Aaron Davis (keyboards), and vocalists Rebecca Jenkins, Holly Cole, and Micah Davis. The band's final performances were in July 1988 at the Ontario Place Forum in Toronto,[1] where the remaining band members were rejoined by Lauri Conger, filling in for an ill Davis.

In early 1989, the original Parachute Club formally disbanded, with band members going their separate ways. Some members, such as Lorraine Segato and Billy Bryans, continued as professional musicians, while other members, such as Margo Davidson and Lauri Conger, substantially left the music business. Davidson, who died in 2008 at the age of 50, became a creative writer and community activist for the homeless,[4] serving as a director of St. Clare's Multifaith Housing Society and as an outreach worker at Eva's Phoenix.[5]

In 2005, critic Greg Quill wrote in the Toronto Star that "No musical collective bespoke this city during a specific period as powerfully as Parachute Club did in the 1980s. Their infectious, inclusive, soca-soaked dance music carried important messages about the social changes Toronto was experiencing at the time, about sexual and personal politics, about the need for hope and courage in an age of confusing, impersonal rhetoric from local policymakers and world leaders."[6]

Advertising controversy (1998)

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In 1998, the Parachute Club song "Rise Up" was licensed by EMI Music Canada to McCain Foods Limited for a television commercial for self-rising pizza dough. Members of Parachute Club publicly opposed this commercial use of the song.[7] In a news release issued at the commencement of litigation, band members stated that "(a)s a result of its use on the ad...the song, the people who believe in it and the reputation of its creators have suffered damage within the sphere of public credibility and our personal reputations."[8] A settlement resulted in the band members recovering their music rights from EMI.[9]

Reunion and band revival (2005–2008, 2011–2014)

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In 2005, a reconstituted Parachute Club commenced performing, co-headlining a reunion show with Martha and the Muffins and headlining at Toronto's City Roots Festival.[6] The reconstituted band included original members Segato, Bryans, and Gray, as well as Brownstone (who was a member of the band for their second and third albums). Masi, Conger, Steve Webster, and Davidson were not part of this revived line-up. New members of the revived line-up were Mystic Walsh and Miranda Walsh (daughters of Eric Walsh, lead singer of Toronto reggae band Messenjah) on vocals, and Ashley Wey on keyboards.[6] By 2008, these new members had been replaced by Chendy Leon Jr, Glenda del Monte and Rebecca Campbell (although Miranda Walsh subbed for an absent Campbell at one 2008 show).

In 2006, The Parachute Club was inducted into the Canadian Indies Hall of Fame. Founding member Margo Davidson died May 17, 2008, aged 50.

Through 2008, the reconstituted band performed on a regular basis, although they did not release any new material. The Parachute Club did not play any dates after August 2008, and the band's website was not updated after this time. "Rise Up" was given the SOCAN Classic Award in 2000.

Segato performed "Rise Up" at the state funeral of Jack Layton on August 27, 2011, with the choir of the Metropolitan Community Church of Toronto. The Parachute Club reunited again on September 30, 2011, for a free show in Toronto's David Pecaut Square to celebrate their induction to Canada's Walk of Fame.[10] The band line-up for the reunion consisted of original members Lorraine Segato (vocals), Dave Gray (guitar), and Steve Webster with new recruits Chris Brown (keyboards), Art Avalos (drums), and Vicki Randle (percussion, backing vocals). Billy Bryans, too ill to perform for the entire show, did join the band on drums for their last two numbers, including "Rise Up".[11] Bryans, one of three musicians to be part of every Parachute Club line-up, died April 23, 2012, at age 63, following a long battle with cancer.

Partly at Bryans' insistence that the group continue without him, The Parachute Club decided to stay together to perform gigs. During the 2012 Edmonton (Alberta) Folk Music Festival, the band performed on August 11, 2012, at the volunteer after party and at Stage 2 on August 12. They also played at the Niagara Co-op Expo on October 13, 2012, in St. Catharines, Ontario.[12] For these shows, the Parachute Club now included founding members Lorraine Segato, Dave Gray, Julie Masi, Lauri Conger and Steve Webster. Prior to this reunion, Steve Webster had not played with the group for 27 years, Masi for 25 years and Conger for 24 years.

In 2014, the surviving band members released a contemporary dance remix of "Rise Up", in conjunction with Toronto's hosting of the 2014 edition of WorldPride.[13]

Segato resumed her solo career with series of solo shows in 2014 and a new album in January 2015. Though the band has issued no formal announcement concerning their current status, The Parachute Club has been inactive since 2014. In 2018 and 2019, Segato produced two new supergroup versions of "Rise Up", one by various Canadian country musicians credited to The Common Cause Collective,[14] and a pop version credited to The New Parachute Collective.[15] In November 2019, the song "Rise Up" was inducted into the Canadian Songwriter's Hall of Fame. 2023 saw The Parachute Club inducted into Canada's Rock of Fame along with several other notable 1970s and 1980s bands.

Discography

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Albums

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  • 1983: The Parachute Club Current/RCA - #23 Canada[16]
  • 1984: At the Feet of the Moon Current/RCA - #14 Canada[17] / #98 1984 Year End[18] / #54 1985 Year End[19]
  • 1985: Moving Thru the Moonlight Current/RCA; remixes
  • 1986: Small Victories Current/RCA - #33 Canada[20]
  • 1992: Wild Zone: The Essential Parachute Club - BMG; reissued 2006 by EMI International
  • 2023: Big World - Sony Music; double vinyl LP compilation[21]

Singles

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Release date Title Chart peak Album
Canada
RPM
July 1983 "Rise Up" 9 The Parachute Club
1983 "Alienation"
1984 "Boy's Club"
October 1984 "At the Feet of the Moon" 11 At the Feet of the Moon
February 1985 "Act of an Innocent" 61
June 1985 "Sexual Intelligence"
October 1986 "Love Is Fire" 23 Small Victories
February 1987 "Love and Compassion" 81
May 1987 "Walk to the Rhythm" 90
January 1988 "Big Big World" 88 Non-album single

Compilation appearances

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References

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The Parachute Club

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The Parachute Club was a Canadian rock band formed in Toronto in 1982 by vocalist Lorraine Segato and percussionist Billy Bryans, emerging from the city's Queen Street West music scene.[1][2] The group blended pop, reggae, and soca influences in their music, often incorporating themes of social justice and activism.[3] Their self-titled debut album, produced by Daniel Lanois and released in 1983, featured the hit single "Rise Up," which debuted at a Toronto Pride event and topped Canadian charts, earning a Juno Award for Single of the Year in 1984.[1][4][5] Subsequent releases like At the Feet of the Moon (1984) produced additional hits such as the title track and "Love Has No Boundaries," contributing to multiple Juno wins and over 100,000 album sales in Canada.[1][6] The band toured extensively in Canada, the United States, and Europe before disbanding in 1988, though "Rise Up" was later inducted into the Canadian Songwriters Hall of Fame in 2019, cementing their legacy in Canadian music and cultural activism.[1][7][2]

History

Formation and Early Influences (1982)

The Parachute Club was formed in Toronto during the summer of 1982 when percussionist Billy Bryans received an invitation to perform at a party during the city's inaugural Festival of Festivals.[8][9] Bryans collaborated with singer and guitarist Lorraine Segato to assemble a temporary ensemble for the event, which included additional percussionist Greg Couillard, resulting in an enthusiastic audience response that prompted further performances.[8] This one-off gig evolved into the band's permanent formation later that year, marking the transition from ad hoc assembly to a committed collective rooted in Toronto's alternative music community.[10][9] Segato and Bryans served as the core founders, drawing from Segato's prior involvement in the all-female rock band Mama Quilla II, where she had performed alongside keyboardist Lauri Conger, both of whom carried over influences into the new group.[9] Mama Quilla II, active in Toronto's mid-1970s club circuit, had released a three-track EP produced by Daniel Lanois and emphasized political messaging in its music, providing a foundational activist ethos.[9] Bryans contributed experience from earlier stints in blues and reggae outfits such as the Downchild Blues Band, adding rhythmic diversity to the lineup, which initially expanded to include Conger on keyboards and vocals.[10][9] The band's early sound was shaped by the vibrant Queen Street West scene in Toronto, a nexus of art galleries, fringe clubs, and experimental music that fostered fusion of socio-political lyrics with global rhythms during the early 1980s.[1] Influences included Segato's feminist rock background and Bryans' immersion in blues and reggae, reflecting the area's exposure to Third World percussion and Caribbean styles prevalent in North Toronto's soca and dub poetry circles.[10][1] This context emphasized causal links between local cultural activism and musical experimentation, prioritizing rhythmic complexity and thematic engagement over conventional pop structures from the outset.[9]

Breakthrough and Initial Success (1983–1984)

The Parachute Club achieved their breakthrough with the release of their self-titled debut album in 1983 on the Current label. Produced by Daniel Lanois, the album featured the lead single "Rise Up," which debuted live at the 1983 Toronto Pride event and quickly gained traction through grassroots support in activist communities.[5][7] The track peaked at number 9 on RPM's Top Singles chart in October 1983 and reached number 26 on Billboard's Dance chart, marking a commercial milestone for reggae-soca influences in Canadian pop music.[7][5] By December 1983, the album had achieved gold certification in Canada for sales exceeding 50,000 units.[7] In 1984, the band received recognition at the Juno Awards, winning Single of the Year for "Rise Up" and Most Promising Group of the Year, affirming their rapid ascent.[1][5] Building on this momentum, they released their second album, At the Feet of the Moon, on RCA Records, which included the title track single that charted regionally, peaking at number 5 in Ottawa and number 8 in Toronto.[1] The album surpassed 100,000 units in Canadian sales, earning platinum status and solidifying the group's initial commercial success amid their focus on socio-political themes.[11]

Expansion and Peak Commercial Years (1985–1987)

Following the momentum from their debut, The Parachute Club achieved greater commercial recognition in 1985 with the Juno Award for Group of the Year, affirming their status as a leading Canadian act.[1] That year, the title track from their 1984 album At the Feet of the Moon climbed to number 11 on Canada's RPM 100 singles chart, while the album itself surpassed 100,000 units in domestic sales.[12][6] The band also expanded internationally by performing in the United States for the first time.[1] In late 1985, they issued Moving Thru the Moonlight, a collection of remixed tracks from prior releases, which sustained their visibility amid ongoing Canadian tours.[9] The following year brought their third studio album, Small Victories, co-produced by the band and John Oates of Hall & Oates, earning positive critical reception for its polished sound.[2] The lead single "Love Is Fire," featuring a duet vocal by Oates, peaked at number 23 on the RPM chart, marking their third top-40 hit in Canada.[11] This track's music video, directed by Ron Berti, secured the band a Juno Award for Video of the Year in 1986.[1] By 1987, The Parachute Club further broadened their reach with a tour of West Germany, alongside contributions of four original songs to the soundtracks of the Canadian and U.S. versions of the anime series The Wonderful Wizard of Oz.[1][13] These efforts represented the apex of their commercial phase, blending domestic chart success, awards, and tentative international steps before lineup changes began to erode cohesion.[14]

Decline and Dissolution (1988–1989)

The Parachute Club's third studio album, Tearing the Veil, released in 1987, marked a shift toward more experimental and world music-influenced sounds but achieved limited commercial success compared to prior releases.[4] Following its release, the band embarked on a promotional tour, during which the logistical challenges of maintaining a seven-piece ensemble— including extensive travel, coordination among rotating members, and financial strains—exacerbated internal fatigue.[9] These rigors, combined with the core members' sense that their primary artistic objectives had been fulfilled after years of intense activity, prompted discussions of winding down operations.[9] In early 1987, the group issued a non-album single, "Big Big World," which served as one of their final original recordings before the tour concluded.[13] By mid-1988, the band performed what would become their last shows on July 20 and 21 at Ontario Place in Toronto, featuring an expanded lineup of a dozen musicians to deliver a comprehensive retrospective set.[6] These concerts effectively signaled the end of the group's original run, with members pursuing individual paths thereafter; the collective was inactive by late 1988, though some sources note formal dissolution extending into 1989.[1][9] No single acrimonious event drove the split, but rather the cumulative toll of sustained high-output touring and creative saturation in a pre-digital era of music production and promotion.[9]

Reunions and Later Activity (2005–present)

In 2005, a reconstituted Parachute Club featuring original members Lorraine Segato on vocals, Billy Bryans on drums, Dave Gray on guitar, and Keir Brownstone, alongside additional performers Mystic Walsh and Miranda Walsh on vocals and Ashley Wey on keyboards, staged reunion performances.[4] On May 14, they co-headlined a show in Toronto with Martha and the Muffins.[4] The group followed with an appearance at Toronto's City Roots music festival on September 3.[4] The band maintained activity through 2008, delivering multiple live shows including slots at Toronto's Luminato arts festival and pride events in Toronto and Hamilton during the summer.[4] [13] Plans for an Eastern Canada tour were discussed but unconfirmed in available records.[13] In 2006, the Parachute Club received induction into the Canadian Indies Hall of Fame, recognizing their contributions to independent music.[4] Post-2008 engagements have been sporadic, primarily driven by frontwoman Lorraine Segato representing the band's legacy through select performances of signature tracks like "Rise Up." These include festival appearances and collaborative events, such as a 2024 show alongside Alan Frew and a Foot in Coldwater reunion.[15] No new studio recordings or full tours have materialized, with activity centering on nostalgic revivals rather than sustained operations.[4]

Band Members and Lineup Changes

Core Founding Members

The Parachute Club was founded in Toronto in the fall of 1982 by singer-songwriter and guitarist Lorraine Segato and percussionist Billy Bryans, emerging from the city's Queen Street West music scene.[1][10] Segato, born June 17, 1956, in Hamilton, Ontario, brought experience from the feminist rock band Mama Quilla II, where she performed as a vocalist and guitarist.[5] Bryans, known for his innovative drumming and production work, co-led the group's formation alongside Segato, contributing to its rhythmic foundation and early creative direction.[1] Keyboardist and vocalist Lauri Conger, originally from Thunder Bay, Ontario, joined as a core founding member, having previously collaborated with Segato in Mama Quilla II.[9] Conger's contributions included keyboards, backing vocals, and co-writing key tracks like "Rise Up," which helped define the band's activist-oriented sound.[4] Together, these three members shaped the band's initial lineup and ethos, blending rock, funk, and world music influences with social commentary.[1] Their collaboration laid the groundwork for the debut album released in 1983 on RCA Records.[10]

Rotating and Session Contributors

The Parachute Club's lineup featured rotations primarily in bass and percussion roles during its primary active period from 1982 to 1989, with session musicians filling gaps for recordings and live dates. Bassist Steve Webster, an early contributor on the debut album, exited during the 1983 tour, prompting temporary replacement by Russ Boswell before Keir Brownstone assumed the role for the 1985 album At the Feet of the Moon and subsequent releases through 1989.[9][4] Percussionist Julie Masi departed in mid-1987, after which Rebecca Jenkins handled those duties for live performances. Keyboardist Lauri Conger's similar exit that year led to Aaron Davis serving as a session player for keyboards thereafter.[9] Notable session contributions included producer and guest vocalist John Oates on the duet "Love is Fire" from the 1986 album Small Victories, as well as Michael Beinhorn on synthesizer percussion for At the Feet of the Moon. The band's final 1988 concerts at Ontario Place involved up to a dozen musicians, underscoring the fluid personnel.[4][1] Reunions from 2005 onward incorporated additional rotating members such as vocalists Mystic Walsh and Miranda Walsh, plus keyboardist Ashley Wey, for select performances alongside surviving core alumni.[9][4]

Musical Style and Themes

Genre Fusion and Influences

The Parachute Club's sound fused new wave and synth-pop foundations with Caribbean rhythms, notably reggae and soca, yielding a danceable, groove-oriented style atypical for mainstream Canadian pop acts of the era. This integration stemmed from the band's engagement with Toronto's burgeoning reggae and West Indian soca scenes in the early 1980s, where members encountered vibrant multicultural influences that shaped their rhythmic backbone.[2] Drummer Billy Bryans' eclectic background, including prior work in funk and dub-infused projects, further propelled this hybrid approach, allowing the group to layer percussive complexity over electronic and guitar-driven elements.[16] Key tracks exemplified this blend, such as "Rise Up" from their 1983 debut album, which combined synth-pop hooks with soca-like beats and call-and-response vocals evoking Caribbean party anthems.[11] Similarly, songs like "Tobago Style" incorporated dub reggae echoes and island percussion, reflecting exposure to Latin, African, and West Indian grooves that informed the band's overall aesthetic.[2] Vocalist Lorraine Segato's commanding delivery, often paired with group harmonies, bridged these worlds, infusing pop accessibility with activist energy rooted in global musical traditions.[17] Later works evolved the fusion toward slicker production while retaining rhythmic diversity, as seen in the 1984 album At the Feet of the Moon, where funk undertones and world music motifs persisted amid commercial polish. This genre experimentation distinguished the Parachute Club as pioneers in adapting non-Western influences into Canadian rock and pop frameworks, predating broader mainstream adoption of such elements.[18]

Lyrical Content and Activism

The Parachute Club's lyrics frequently incorporated socio-political themes, emphasizing empowerment, collective resistance to oppression, and calls for equality, often blended with upbeat, rhythmic structures to make political messages accessible and danceable.[1] Their debut single "Rise Up," released in 1983 with lyrics co-written by poet Lynne Fernie and lead singer Lorraine Segato, exemplifies this approach, urging listeners to "rise up" in solidarity for peace, love, justice, and the freedom "to love who we please," reflecting broader struggles against systemic barriers in 1980s Canada.[5] Other tracks, such as "Sexual Intelligence" from their 1984 album At the Feet of the Moon, critiqued gender roles and sexism through lines contrasting learned behaviors like fighting for men and smiling submissively for women, drawing from Segato's prior experience in Toronto's first feminist rock band, Mama Quilla II.[10] The band's activism was intertwined with their music, as they publicly advocated for women's rights, racial equality, and nuclear disarmament, influences that shaped their debut album's focus on social oppression and contributed to its rapid sales exceeding 50,000 copies in five months following release.[10] "Rise Up" debuted at the 1983 Toronto Pride event and gained traction among grassroots gay, lesbian, and feminist communities, with Segato noting the song's impetus stemmed from these groups amid ongoing LGBTQ+ rights battles.[5] Segato described the band's intent as breaking new ground by proving "politics could be danceable," aligning with their role in queer liberation efforts; the track later served as an anthem at Pride celebrations, political funerals like that of NDP leader Jack Layton in 2011, and various social justice campaigns.[5] Lorraine Segato, a longtime social justice activist, continued this commitment post-band, directing projects highlighting marginalized voices and earning recognition for advancing arts and culture tied to equity causes.[19][20] Despite lacking Black members, the group received the fifth annual Canadian Black Music Award in March 1984 for their Caribbean-influenced sound, underscoring their cross-racial solidarity.[10]

Discography

Studio Albums

The Parachute Club released three studio albums during their original run from 1983 to 1986, all issued by RCA Records in Canada. These recordings showcased the band's evolution from new wave-infused pop to broader rock explorations, with production credits including Daniel Lanois on the debut.[21][1] The self-titled debut album, The Parachute Club, arrived on March 13, 1983, via Current Records (distributed by RCA). It peaked at number 13 on the RPM 100 Albums chart in Canada and included the breakthrough single "Rise Up," which reached number 5 on the RPM Top Singles chart and earned the 1984 Juno Award for Single of the Year.[1][22][21] At the Feet of the Moon, the follow-up, was released in 1984 on RCA (catalog KKL1-0553). The album achieved sales exceeding 100,000 units in Canada and peaked at number 17 on the RPM chart, featuring the title track single that highlighted the band's thematic focus on social issues.[1][23][24] The third and final studio album, Small Victories, came out in 1986 on RCA (catalog KKL1-0573). It included "Love is Fire," a duet with John Oates that won the 1986 Juno for Video of the Year, though the album received mixed reception for its more commercial polish compared to earlier works.[1][4]

Singles and Compilations

The Parachute Club released a series of singles primarily in Canada between 1983 and 1988, drawn from their studio albums and issued on labels including Current and RCA. These singles encompassed new wave, pop, and dance-oriented tracks, with "Rise Up" achieving the band's greatest commercial success by reaching number one on the Canadian charts in 1983.[25] Other notable releases like "At the Feet of the Moon" and "Love Is Fire" entered the Canadian top 40 during the mid-1980s.[25]
TitleB-side(s)Release DateLabel/Catalog
Rise Up / Tobago Style-1983Current (WAKE 3)[26]
Boy's Club / Hot In Pursuit-1983Current (WAKE-6)[26]
Alienation / Are You Hungry-January 1984Current (WAKE-5)[26]
At The Feet Of The Moon (Edit) / Walls And Laws-October 1984RCA (PB-50801)[26]
Act Of An Innocent (Edit) / Rise Up (Remix)-February 1985Current (PB-50814)[26]
Sexual Intelligence / Equal / Equally-May 1985Current (PB-50820)[26]
Innuendo / Freedom Song-August 1985RCA (PB-50839)[26]
Love Is Fire / Waves-October 1986Current (PB-50890)[26]
Love And Compassion (Edit) / Secret Heart (Wild Zone)-March 1987Current (PB-50912)[26]
Walk To The Rhythm (Of Your Heartbeat) (Remix Edit) / The Journey-May 1987Current (PB-50927)[26]
Big Big World (EP, including Introduction To The Big World and Big Big World Edit)-January 1988Current (PB-50978)[26]
The band's tracks also appeared on various multi-artist compilations, such as "Rise Up" on Self Control and Other Smash Club Hits in 1984.[1] Their primary solo compilation, Wild Zone: The Essential Parachute Club, was issued in 1992 by BMG Canada, compiling 15 tracks spanning their career, including "Rise Up," "Slip Away," and selections from all three studio albums.[27]

Reception and Critical Assessment

Commercial Performance

The Parachute Club achieved commercial success primarily within Canada, with their albums attaining gold certification status based on sales thresholds of 50,000 units at the time. Their self-titled debut album, released in 1983, sold over 50,000 copies within five months, qualifying for gold status and marking their breakthrough.[10][28] The follow-up album At the Feet of the Moon (1984) exceeded 100,000 units sold in Canada, earning platinum certification and representing their commercial peak.[1] Their third album, Small Victories (1986), also surpassed 50,000 sales, securing another gold certification and completing a run of three consecutive domestically successful releases.[8] Singles performance mirrored this domestic focus, with "Rise Up" peaking at number 9 on the RPM Top Singles chart in 1983 and reaching number 26 on the US Billboard Dance Music/Club Play Singles chart, though it garnered limited broader international airplay. The band released three top 40 hits in Canada between 1983 and 1987, but sales and charting outside North America remained negligible, with tours in the US (1985) and West Germany (1987) failing to translate into significant revenue or sustained popularity.[1]

Awards and Industry Recognition

The Parachute Club garnered multiple Juno Awards during their peak commercial years. In 1984, the band won for Single of the Year ("Rise Up") and Most Promising Group of the Year.[29][5] In 1985, they received Group of the Year.[29] The following year, 1986, brought a win for Best Video ("Love Has No Boundaries").[29]
YearAward CategoryWinner Details
1984Single of the Year"Rise Up"
1984Most Promising GroupThe Parachute Club
1985Group of the YearThe Parachute Club
1986Best Video"Love Has No Boundaries"
The group also earned CASBY Awards, including Group of the Year in 1985, reflecting recognition from Toronto's alternative radio scene. In 2006, The Parachute Club was inducted into Canada's Walk of Fame for their contributions to Canadian music and culture.[2] Additional honors included U-Know Awards in 1984 and Black Music Association awards, underscoring their influence in activist and diverse music circles.[10][2]

Cultural Impact and Legacy

Role of "Rise Up" as an Anthem

"Rise Up," released in 1983, initially gained traction within Toronto's activist communities following its debut performance at a Pride event at the University of Toronto, where it resonated with audiences advocating for gay rights amid a period of heightened visibility for such causes.[7] The song's lyrics, emphasizing freedom "to love who we please" and collective rising against oppression, aligned closely with emerging demands for sexual equality and social justice, leading to its rapid adoption as a rallying cry in queer liberation efforts.[5] This early embrace by the gay and lesbian communities in Canada marked the beginning of its transformation into a broader emblem of resistance, distinct from the band's initial intent to address multiracial and feminist solidarity in Toronto's diverse neighborhoods.[30] Over subsequent decades, "Rise Up" expanded beyond queer contexts to serve as an anthem for varied progressive movements, including feminism, anti-racism, and labor rights, reflecting its versatile call for empowerment and unity.[31] Political figures, such as New Democratic Party leader Jack Layton, incorporated it into campaign rallies, with band frontwoman Lorraine Segato performing it at Layton's state funeral in 2011 to honor his activist legacy.[32] In 2014, a remix version was released to align with WorldPride Toronto's theme, reinforcing its enduring association with LGBTQ+ events while underscoring the band's willingness to adapt the track for contemporary advocacy.[33] The song's anthemic status was formalized through institutional recognition, including its 2019 induction into the Canadian Songwriters Hall of Fame, where it was celebrated for inspiring activists across margins of society with its uplifting rhythm and message of justice.[7] Despite commercial success as a top-40 Canadian hit, its cultural weight stems primarily from grassroots usage in protests and celebrations, rather than chart dominance, highlighting how organic community adoption propelled it beyond typical pop constraints.[34] This multifaceted role illustrates the track's causal link to real-world mobilization, where its performance at events like Pride rallies directly energized participants facing systemic barriers, rather than mere symbolic endorsement.[35]

Broader Influence and Adaptations

The Parachute Club's innovative fusion of pop, reggae, soca, and new wave elements contributed to a diversification of Canadian mainstream music in the 1980s, paving the way for later artists to incorporate global rhythms and multicultural influences into accessible formats.[10] Their emphasis on collective performance and social messaging also resonated in Toronto's vibrant music scene, inspiring bands to prioritize thematic depth alongside rhythmic experimentation.[8] This legacy was formally recognized with the band's induction into Canada's Walk of Fame for advancing Canadian music and culture, and into the Canadian Rock of Fame in 2023 alongside other era-defining acts.[2] The band's signature track "Rise Up" saw various adaptations, including an a cappella rendition by The Nylons on their 1989 album Rockapella, which highlighted the song's lyrical resilience through vocal harmony.[36] Multiple remixes extended its reach, such as the 1992 Wild Zone Remix released on compilation albums and a 35th-anniversary Redux edition in 2018 featuring updated production while preserving the original's activist spirit.[37] In 2019, a contemporary pop version by the New Parachute Collective incorporated diesel mix elements to refresh the anthem for modern audiences.[38] Media usages further amplified the band's influence, with "Rise Up" appearing in the 2011 film Take This Waltz directed by Sarah Polley, where it underscored themes of personal awakening.[39] The original recording served as the opening theme for the 2013 CBC Television biopic Jack, chronicling NDP leader Jack Layton's life and aligning the song's empowerment motifs with political resilience.[40] Additionally, the track featured in the 1985 concert film Tears Are Not Enough, a Canadian response to Live Aid, embedding the band's work within global humanitarian efforts.[41] These adaptations underscore the enduring adaptability of their sound across visual and performative contexts.

Controversies

Advertising Licensing Dispute (1998)

In 1998, EMI Music Canada, the publisher holding rights to "Rise Up," licensed the song to McCain Foods Limited for use in a television commercial promoting its frozen rising-crust pizza line, without obtaining consent from the song's creators in The Parachute Club.[42][9] The band, viewing the track as an anthem of social resistance and collective action against injustice—with lyrics invoking historical uprisings like the Warsaw Ghetto Uprising—publicly condemned the decision, asserting that pairing it with a consumer product undermined its activist message.[43] Lead singer Lorraine Segato and other members emphasized the song's roots in Toronto's queer and activist communities during the 1980s AIDS crisis and anti-apartheid movements, arguing the commercial adaptation trivialized its purpose.[43][9] The Parachute Club retained legal counsel to challenge the licensing, filing action against both McCain Foods and EMI Music Canada on grounds of unauthorized commercial exploitation.[42] Although EMI claimed authority under its publishing agreement to grant such licenses, the band contended this violated their moral rights and intent under Canadian copyright law, which protects against uses distorting the work's integrity.[43] Public pressure from the band, including statements in music industry publications, contributed to halting the advertisement's airing before widespread broadcast.[43] The dispute settled out of court in the band's favor for $700,000, affirming their position against the commercial use and highlighting ongoing tensions in the music industry over publishers' licensing autonomy versus artists' veto power.[42] This outcome set a precedent for Canadian performers seeking control over sync licenses that conflict with a song's thematic core, though it did not alter EMI's broader publishing rights.[44] The episode strained relations between The Parachute Club and their former label, echoing earlier frictions during the band's active years.[9]

Critiques of Artistic Integrity and Commercialization

In 1998, the licensing of "Rise Up" by EMI Music Canada to McCain Foods for a television advertisement promoting frozen pizza elicited accusations from fans that The Parachute Club had compromised its artistic integrity by associating with corporate interests, despite the band's explicit opposition to the usage.[9] The song's lyrics, emphasizing collective resistance against systemic oppression, clashed with the ad's commercial context, leading to public perceptions of "selling out" that temporarily tarnished the group's image as politically uncompromising artists.[44] Lead vocalist Lorraine Segato articulated that the incident "destroyed the group's integrity," reflecting internal distress over how such commercialization diluted the track's subversive intent.[45] The Parachute Club responded by initiating legal action against EMI for breach of copyright, ultimately prevailing in court and securing a ruling that limited the label's authority to license the song without band approval.[44] [42] This dispute highlighted broader critiques within music circles that major labels often prioritize revenue over artists' visions, potentially eroding the authenticity of socially conscious works like those of The Parachute Club.[9] Members publicly reaffirmed their stance against advertising exploitation, with Segato emphasizing in interviews that the song's ethos rejected commodification of dissent.[46] Subsequent reflections on the band's career have included commentary on how commercial pressures in the 1980s music industry tested the balance between mainstream success and ideological consistency, though The Parachute Club's fusion of worldbeat influences with activism drew limited direct artistic rebukes beyond the licensing fallout.[10] Critics occasionally noted that albums like At the Feet of the Moon (1984), which achieved greater chart performance through polished production, risked softening the raw edge of their debut's experimental sound, yet such observations focused more on stylistic evolution than outright betrayal of principles.[47] The episode reinforced Segato's long-standing advocacy against the co-optation of protest music, influencing her later work in opposing similar encroachments on creative autonomy.[48]

References

  1. Parachute Club - The Canadian Encyclopedia
  2. The Parachute Club - Canada's Walk of Fame
  3. Parachute Club's “Rise Up” Inducted into Canadian Songwriters Hall ...
  4. The Parachute Club
  5. "Rise Up": How One Song Became an Iconic Anthem for the ...
  6. The Parachute Club | TheAudioDB.com
  7. Rise Up - Canadian Songwriters Hall of Fame
  8. A Short History Of The Parachute Club (til 2005) - PClubBlog
  9. Parachute Club - CanadianBands.com
  10. The Parachute Club - Rising up to stardom
  11. Parachute Club | Canadian Music Blog
  12. Parachute Club Canadian Band Discussion - Facebook
  13. Parachute Club, The - Tootoot
  14. At The Feet Of The Moon by The Parachute Club - 1985 Hit Song
  15. Alan Frew and Friends - A Foot in Coldwater reunion + Parachute Club
  16. Billy Bryans' eclectic musical tastes took him far - The Globe and Mail
  17. Lorraine Segato: Artist | Singer
  18. The Parachute Club Songs, Albums, Reviews, Bio... - AllMusic
  19. She Is The Music
  20. Hamilton is home again for Lorraine Segato
  21. https://www.allmusic.com/artist/the-parachute-club-mn0000746896/discography
  22. The Parachute Club Albums and Discography - Genius
  23. https://www.discogs.com/release/1588168-The-Parachute-Club-At-The-Feet-Of-The-Moon
  24. At the Feet of the Moon - The Parachute Club |... - AllMusic
  25. https://www.musicvf.com/The+Parachute+Club.songs
  26. The Parachute Club Discography - Canada - 45cat
  27. https://www.discogs.com/release/3657361-The-Parachute-Club-Wild-Zone-The-Essential-Parachute-Club
  28. THE PARACHUTE CLUB certifications and sales
  29. Parachute Club - The Canadian Encyclopedia
  30. "Rise Up" - The Parachute Club - Anthems for a New Generation
  31. The 50 best Canadian songs of the '80s | CBC Music Read
  32. Should a song by Tragically Hip played at Pierre Poilievre event?
  33. The Parachute Club releases remix version of 'Rise Up' - Toronto Star
  34. 6 Canadian songs about resilience and resistance that we need to ...
  35. A brief history of queer music in Toronto - blogTO
  36. Performance: Rise Up by Parachute Club | SecondHandSongs
  37. Rise Up - song and lyrics by The Parachute Club - Spotify
  38. Rise Up - New Parachute Collective (Diesel Mix) - YouTube
  39. Feist, Micah P. Hinson, Leonard Cohen & The Buggles - IndieWire
  40. Parachute Club's iconic song, Rise Up | Watch News Videos Online
  41. The Parachute Club - IMDb
  42. Representative Work | Kevin E Kemp
  43. [PDF] Parachute Club Rise Up against EMI Publishing - World Radio History
  44. UPDATE: 'Rise Up' composer would welcome partnership with ...
  45. Rise Up: You know who else likes gay protest anthems?
  46. Pledge Of Dis-Allegiance: When Music And Politics Collide
  47. Parachute Club - Trouser Press
  48. Music and political campaigns: A question of rights | Queen's Gazette
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