Toronto - 1982 Get It On Credit

richardbrichardb Poole, Dorset


ARTIST: Toronto
ALBUM: Get It On Credit
LABEL: Solid Gold (Canada), Network (USA)
SERIAL: SGR 1011, 60153-1
YEAR: 1982
CD REISSUE: 2002, Solid Gold, 71003-2


LINEUP: Holly Woods - vocals * Brian Allen - guitars * Sheron Alton - guitars * Scott Kreyer - keyboards * Gary Lalonde - bass * Barry Connors - drums

TRACK LISTING: 01 Break Down The Barricades * 02 Your Daddy Don't Know * 03 Start Tellin' The Truth * 04 You're A Mystery To Me * 05 Don't Walk Away * 06 Get It On Credit * 07 Sick And Tired * 08 Ya Love To Love * 09 Why Can't We Talk * 10 Run For Your Life * 11 What About Love * 12 Across The Border


After the disappointing 'Head On', Toronto put their account firmly back in the black with Get It On Credit'.

However the recording of the album was not without its problems. Internal divisions within the band had led to the departure of their rhythm section - Jimmy Fox and Nick Costello.

Fortunately their successors, bassist Gary Lalonde (Rose, Honeymoon Suite) and drummer Barry Connors (Coney Hatch), proved more than adequate replacements.

They were also under pressure from a heavy North American touring schedule, leaving them with very little time to compose new material. Lastly, the choice of Steve Smith as producer (Robert Palmer) was surprising, especially given that he didn't have a proven track record with hard rock bands.

The band were looking for a creative foil for their ideas, an ethos totally at odds with their producer's hands off attitude. Inevitably this lead to conflict in the studio. In spite of, or perhaps because of these factors, the release of 'Get It On Credit' was a triumph of adversity.

Their saviour appeared in the form of Jim Vallance (Bryan Adams) who proved to be the vital catalyst Toronto needed. He assisted with the band's arrangements and co-wrote several songs on the lp. He managed to harness the band's not inconsiderable talents, particularly Holly Woods who has never sounded better.

In fact, Jim Vallance has gone on record as saying that to this day Holly is one of the finest singers he ever worked with, a glowing compliment considering his glittering track record.

'Get It On Credit' exudes the kind of quality songwriting that went AWOL on 'Head On', in other words not a filler in sight. Keyboard player Scott Kreyer also plays a far more prominent role than he did on 'Head On', where in my opinion he was a peripheral figure.

The Songs

Opener 'Breakdown Down The Barricades' epitomises Toronto's infectious brand of AOR ear candy, crisp rhythm section, solid guitars, a smattering of keyboards, and all smothered in Holly's delicious honeyed vocals.

The Vallance effect is apparent on 'Your Daddy Don't Know', a straight down the line hard rockin' tune similar in structure to those which Bryan Adams would achieve considerable success with in the mid 1980's.

Conversely, the atomspheric keyboard fuelled ballad 'Start Tellin' The Truth' gives the band a slightly pompous edge.

'You're A Mystery To Me' was also covered by Fast Forward on their 'Living In Fiction' lp, no doubt due to the Vallance/Adams connection. Once again keyboards are perfectly counter-balanced by just the right amount of guitar.

The albums high point has to be the title track, where Toronto, up the tempo. The frenetic riffing from guitarists Brian Allen and Sheron Alton, together with Holly's slightly demented vocals and quirky theme make them sound similar to the legendary Storm. The subject matter is still relevant today, as mounting UK personal debt soars to record levels (I'd better stop as I'm sounding like BBC TV's economic correspondent!).

The album eases back into the mainstream with 'Sick And Tired'. More solid riffing, and unforgettable melodies ensue on 'Ya Love To Love' and 'Run For Your Life'.

In Summary

Thanks to the good people over at Solid Gold records 'Get It On Credit' has secured a CD re-release with the inclusion of several bonus tracks.

One of them being the original version of 'What About Love' (later covered by Heart). This, therefore makes it doubly worthy as a mainstay in any serious AOR fan's collection.

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