Misener, Billy - Me Without You

Tracks

Side 1

		Track Name	Length
	1	Since I Fell For You	03:11
	2	I Can't Afford That Feeling Anymore	03:59
	3	What'll I Do	02:50
	4	Me Without You	03:04
	5	For Love Alone	04:09

Side 2

		Track Name	Length
	1	25 Words Or Less	02:49
	2	I Feel It All	03:21
	3	When I Still Had You	02:13
	4	It's Gotta Be Magic	02:52
	5	Turn The Lights Down Low	03:19

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Information/Write-up

Bill Misener: A Quiet Architect of Canadian Rock and Studio Sound

William “Bill” Misener (December 4, 1946 – June 26, 2014) was a Canadian singer, songwriter, guitarist, arranger, and producer whose career spanned multiple facets of the country’s evolving music industry—from 1960s garage rock and psych-pop to studio session work and national broadcast productions. Though never a household name, Misener left an indelible mark on the fabric of Canadian popular music through his early work with The Paupers, his studio mastery at RCA’s Mutual Street studios, and his soulful solo recordings issued under the name Billy Misener.

Early Life and Formation of The Paupers
Born in Hamilton, Ontario, Misener grew up in a musically rich environment. Encouraged by his parents Roy and Marjorie Misener, he studied classical music and theory at Toronto’s prestigious Royal Conservatory of Music. But it was the wave of British Invasion bands and the raw urgency of American R&B that ultimately steered his passion toward rock and roll.

By 1964, Misener had moved to Toronto and was fronting a new band originally known as The Spats—soon to be renamed The Paupers. With Skip Prokop (drums), Denny Gerrard (bass), and Chuck Beal (lead guitar), Misener became co-lead vocalist, rhythm guitarist, and principal songwriter. Early on, he adopted the stage name “Bill Marion,” under which he co-wrote a string of garage rock singles such as “Never Send You Flowers” and “For What I Am” for Red Leaf and Roman Records.

The Paupers’ sharp image and clean harmonies caught the attention of Duff Roman, who was instrumental in shaping their first recordings. However, internal creative tensions arose—Misener favored a move toward soul and R&B, while the rest of the band leaned into more psychedelic rock. He left the group in mid-1966, months before The Paupers signed to Verve Forecast and played Monterey Pop under Adam Mitchell’s leadership.

The "Bill Marion" Era and Nimbus Records
In 1967, Misener was signed by Canadian composer Ben McPeek to Nimbus 9, the label that would soon gain fame for producing The Guess Who. His lone single for the label, “Flower Girl” b/w “Give Me More Love,” featured orchestral pop arrangements that reflected the era’s experimentation. Though the single peaked modestly at #91 on RPM’s national chart, it signaled Misener’s depth as a vocalist and arranger.

He briefly joined a touring band fronted by Canadian dancer and entertainer Joey Hollingsworth, alongside future studio greats like Denis Keldie (organist) and Dave Brown (drummer for Edward Bear). This period honed Misener’s musical flexibility and led to increasing demand for his skills as a sideman and producer.

Producer, Studio Hand, and Jingle Maestro
Throughout the early 1970s, Misener became a quiet force within RCA Canada’s in-house Sunbar Productions team, working at RCA’s Mutual Street studios in Toronto. There, he collaborated with prominent engineers like George Semkiw and Mark Smith, producing and arranging for a range of Canadian artists including Keith Hampshire, Morse Code Transmission, and cult psych-rock band It’s All Meat.

Misener was also an in-demand session vocalist, frequently contributing to The Laurie Bower Singers’ lush choral arrangements. He performed on their LP Take Me Home, Country Roads (1972) and sang on Rick Neufeld’s Hiway Child (1973). His credits also include backing vocals on Alice Cooper’s concept album Goes to Hell (1976)—a rare intersection between Canadian session players and major-label American rock.

He lent his voice to dozens of jingles, television themes, and national commercials during this period, becoming a go-to singer in Toronto's lucrative jingle circuit.

Solo Success and "Night Fire"
In 1971, under his own name, Misener released “Lil’ Ol’ Rock 'n Roll Band” on Astra Records. It became his most successful single, peaking at #27 on the RPM Top 100 in November 1971 and earning him national airplay. This encouraged RCA to sign him for several singles in the early 1970s, though none matched the success of “Lil’ Ol’ Rock 'n Roll Band.”

His most complete artistic statement came in 1978 with Night Fire, issued under the name Billy Misener by Polydor Canada. Blending smooth rock, soul-tinged balladry, and polished adult contemporary pop, the album featured standout tracks like “Maybe You Better Run,” which charted on CHUM FM’s playlist. Though not a blockbuster, the album was critically well-regarded and has since gained cult status among collectors of 1970s Canadian AOR and soft rock.

Later Work and National Legacy
In 1979, Misener arranged strings for Max Webster’s A Million Vacations, adding symphonic texture to one of the band’s most accessible albums. Two years later, in 1981, he was featured as a vocalist on the Canada Council-sponsored LP In the Dawning: A Story of Canada, a patriotic multimedia project that featured narration by Christopher Plummer and performances by Marc Jordan, Connie Kaldor, and Kate & Anna McGarrigle with the London Symphony Orchestra.

One of Misener’s last widely known vocal appearances was on “Come On Let’s Play,” the official anthem of the 1976 Canada Cup hockey tournament, produced by Terry Bush. The track aired widely on Canadian radio and television and remains a nostalgic memory for sports and music fans alike.

Death and Posthumous Recognition
Bill Misener passed away suddenly on June 26, 2014, at the age of 67. Though he never achieved the fame of some of his contemporaries, Misener’s wide-ranging influence—as a singer, writer, arranger, and producer—was deeply felt across the Canadian music landscape. He was a connector of scenes, a craftsman behind the curtain, and a rare voice whose contributions span the transition from Canadian beat music to sophisticated studio production.

In recent years, collectors and historians have begun to re-evaluate Misener’s work, particularly his rare solo recordings and behind-the-scenes production work. He remains one of the under-recognized architects of Canadian popular music in the 1960s and ’70s—a career built not on flash, but on finesse.
-Robert Williston

Arranged by Jim Pirie
Produced by Jackie Rae
Engineered by Peter Mann, assisted by Don Dickson
Recorded and mixed at Eastern Sound, Toronto, Ontario

Sound files and scans courtesy of Canadian Cult Classics (https://youtube.com/@Canadian_Cult_Classics)

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