Debbie Lori Kaye - Sweetheart Of The Sault

Debbie Lori Kaye — The Little Girl with the Big Voice
Sweetheart of the Sault
By Robert Williston
March 29, 2025

Deborah Kaye, known professionally as Debbie Lori Kaye, was a diminutive dynamo — a singer, guitarist, and songwriter whose soaring voice and magnetic charm made her a standout figure in 1960s Canadian pop and country music.

Born on May 6, 1950, in Auburn, New York, Debbie’s early life was shaped by music and media. Her father, Dave Carter, was a pioneering radio and television personality who worked at ZBM in her mother's homeland, Bermuda, where the family moved in 1958. There, he founded the D-D label to promote local talent, and a young Debbie recorded a single titled Songs My Daddy Taught Me. The family later moved to Thunder Bay, and then to Sault Ste. Marie, Ontario, where Dave’s show on CKCY made him a household name — and where Debbie’s musical career truly took root.

“I was a little girl with a big voice,” she recalled. “But it was my dad who started my singing venture.”

Debbie began performing with her father at community halls from St. Joseph Island to Blind River. During this period, she joined the local rock band (Those) Rogues as lead vocalist, fronting the group on a nearly year-long tour of Southern Ontario. It was an exceptional feat for a 14-year-old girl — singing rock and country standards in clubs and halls, building her chops as a true live performer.

At the same time, she worked weekends at CKCY while attending high school — already immersed in broadcasting and radio production well before any record deal (RPM, Vol. 2, No. 22 – January 25, 1965).

Breakthrough and Rise to Fame
In 1964, local songwriter Pat Bestall (son of CKCY manager Al Bestall) wrote a song for Debbie titled Picking Up My Hat. It was first recorded during a live mall show at Stedmans and sent by Al to Columbia Records in Nashville. The timing was ideal — producer Frank Jones invited Debbie to Nashville, and in early 1965, Columbia signed her to a seven-year recording contract.

Her debut single, Picking Up My Hat, entered the RPM Country Singles chart at #1 on February 8, 1965, and remained there through August — returning to the top spot again in December. Columbia promoted the release alongside major U.S. acts like Barbra Streisand and The Byrds in dealer sheets — a remarkable endorsement for a Canadian teenager.

In the summer of 1965, Debbie Lori Kaye made her national debut at the Canadian National Exhibition (CNE) Grandstand Show, performing in Sights and Sounds of the Sixties — a lavish musical revue produced by Jack Arthur and staged on the world’s largest moveable stage. Selected by Arthur as a rising young star whose record had already topped the charts, Debbie recalled: “My agent thought the CNE would be a great launch for me with Canadian audiences… Jack Arthur decided to take a chance on me.”

Debbie was billeted with dance instructor Doris Ross and her daughter Hillary, who helped her prepare choreography for a featured number in the show. “I had never danced before… I was scared silly,” she remembered. “They treated me like one of the family.”

Sharing the stage with international stars like Victor Borge, Bob Hope, Wes Harrison (“Mr. Sounds”), and the Beatles-style band The Liverpool Set, Debbie held her own at just 14 years old. She was featured in the show’s high-energy Discotheque segment, delivering her number backed by a full troupe of dancers and the prestigious Canadiana Symphony Orchestra, conducted by Howard Cable. A Toronto newspaper later ran a front-page headline in the arts section that read: “Hick from the Soo Boondocks on the CNE Stage.”

Following that breakthrough performance, Debbie recorded with the Howard Cable Orchestra and Chorus for Canada’s Centennial celebrations. The resulting track, “I Wanna Hear That New Sound” — written by Stan Daniels — appeared on From the CNE Grandstand Spectacular – Sights and Sounds of the Sixties, a split release showcasing Debbie’s vibrant pop vocals alongside Cable’s sweeping orchestration.

Critics termed her “a standout” and compared her style to that of Theresa Brewer when she appeared with Bob Hope in the CNE’s grandstand show.
“When she opens her mouth she could rattle the farthermost rafters in the barn without benefit of amplifiers.”

Radio DJs across Canada were unanimous in their praise:

“At last — you people have sent me a disc I can rave about! This girl is terrific... CAN’T MISS. SURE.” — Larry Snelgrove, CKYL Peace River
“One of the best outings we’ve heard in a long time... Without question, a big thing. SURE.” — Bill Payton, CFOM Québec

She was described in RPM as:

“Only 4’2”, with a mischievous manner… reminiscent of Italy’s Rita Pavone.”
“A tiny package of dynamite with a voice as big as Texas.”

Debbie’s entry to The Tommy Hunter Show came by way of a timely audition arranged by Saul Holiff, then-manager of Johnny Cash and The Statler Brothers. A producer who had seen her perform at a U.S. state fair urged her father to drive to London, Ontario, for a meeting. That audition proved successful—just as regular cast member Pat Hervey was stepping back due to pregnancy, Debbie stepped into the spotlight.

“Funny,” she noted later, “when I got pregnant in 1970, I was boosted from the show. Women on TV couldn’t be visibly pregnant.”

Her next single, a cover of The Shirelles’ Soldier Boy, was released at Christmas and became a crossover hit, remaining in the RPM Top 40 for nearly ten months in 1966. During a Columbia Records showcase in Nashville, Debbie performed at the Country Music Convention, where she was said to have “broken up the audience.” One U.S. reviewer raved:

“She makes Brenda Lee sound like a soprano.”

This was followed by strong regional support for her single Half a World in early 1966, bolstered by appearances with CKCY’s Scott Alexander around the Sault.

That same year, Debbie released her only LP, Hey Little One!, a genre-blending mix of country, folk, and pop, including the psychedelic-tinged track The Playground. The album was supported by CAPAC and the CAB, and marked the first Canadian commercial package of its kind to be sent intact to U.S. affiliates.

National Exposure and U.S. Touring
Debbie also appeared in national advertising campaigns, most notably the Bikini Beat jingle for Cutex Lipstick, produced by Stan Klees and backed by The Big Town Boys — another Canadian first that gave her cross-border radio exposure.

In May 1966, she joined a Columbia-sponsored U.S. tour with Kitty Wells, Johnny Wright, Loretta Lynn, and Stonewall Jackson, opening to a crowd of 10,000 in Knoxville, Tennessee. Her father Dave Carter accompanied her as mentor and manager.

She continued releasing singles into the early 1970s, including The Iron Cross (1966), Every Song You Sing (1967), and Taste of Tears (1970). In 1968, she worked with producer Billy Sherrill — famed for his work with Tammy Wynette and George Jones — on the single Come On Home / Help Me Love You, which RPM called:

“The strongest side Debbie has put out.”

Although a second LP never materialized, her continued presence on Columbia through the late 1960s affirmed the label’s long-term confidence in her.

In 1969, Debbie starred in her own CBC-TV special titled Hey Little One, featuring pop arrangements of songs like Scarborough Fair and Beautiful Things. Supporting artists included Al Cherny and Vancouver’s Mike Campbell (later Michal Vincent). Columbia released a companion LP (ELS 329), and plans were announced for Debbie to record sessions in German and Hebrew — furthering her international appeal.

Later that year, she was voted Top Female Vocalist in the RPM Annual Music Poll, beating out Catherine McKinnon and Colleen Peterson — a crowning achievement of national recognition.

In the early 1970s, Debbie mounted a comeback with her band Parade, performing in lounges and nightclubs across the United States. A standout residency at the Ramada Inn in Charlottesville, Virginia, left a lasting impression on local audiences. One admirer recalled:

“She was about 4 feet 11 inches tall, cute as a button, and had a voice unlike any we had ever heard in person… a pixie, a vamp, and had a wall-to-wall smile.”

A rare reel-to-reel recording from this period captured Debbie’s dynamic interpretations of songs like “Sweet Georgia Brown” and “Sam, You Made My Pants Too Long” — showcasing her vibrant stage presence and musical versatility. These performances, treasured by longtime fans, later played a role in her legal case following her 2006 accident, serving as evidence of her vibrant pre-injury persona.

Second Act and Reinvention
Debbie continued her television presence into the 1970s, producing and hosting specials while maintaining a full touring schedule. In 1976, she was featured on CHEK-TV’s Daybreak and in 1977 headlined a second national CBC special, A Very Special Debbie Lori Kaye, with guests David Clayton-Thomas, Marek Norman, and Jeff Hyslop.

From Chicago and Atlanta nightclubs to back-of-house production on the Tommy Banks Show, she remained a vital and versatile force in Canadian entertainment. After touring for decades with her husband — and later on her own — Debbie pivoted into television production full-time. She served as associate producer on The Alan Thicke Show before relocating to Seattle.

“When the show ended, I looked for work in TV. Not finding any, I decided to reinvent myself.”

She went back to school and began a new career as a clinical hypnotherapist, working with survivors of severe trauma. She later transitioned into the veterinary field for a less stressful path, all while staying connected to music — performing with big bands like Top Brass in the Pacific Northwest.

Despite her achievements, Debbie later reflected on the emotional toll of entering the entertainment world so young:

“I was a child within an adult world, with adult responsibilities and an adult contract and time schedule,” she said in a 1993 interview. “But I was a kid. And there was a lot of trash going on, and I had nowhere to take the trash… I learned to play cards and drink scotch with the adults. And the child died.”

In 2001, she returned to Sault Ste. Marie for a Great Northern Opry performance, and again in 2002 for Bon Soo, where she reflected:

“To me it’s like a chance to get back together with all the neighbours and the people I grew up with… I feel more like one of the kids coming home.”

Following the events of 9/11, Debbie wrote a public letter titled “We must dig deep and start rebuilding our lives,” offering comfort and clarity:

“We can make peace or war, hell or heaven, love or hate... Take walks, read a good book, hug your kids… that’s all we can do right now.”

Life Today
In 2006, Debbie’s journey was interrupted when she was struck by a truck in a parking lot accident. She suffered severe physical and cognitive trauma, lost the ability to sing, and spent years recovering.

“It ended everything. I couldn’t walk, couldn’t speak without stuttering, had severe memory problems. It took many years to recover. I never sang again.”

In 2021, after the passing of her spouse, she returned home to Sault Ste. Marie. Now retired, she volunteers as a palliative caregiver at ARCH Hospice — offering compassion and presence, just as she did throughout her career.

Since returning to Sault Ste. Marie, Debbie has sought to reinstate her Canadian permanent resident status, which lapsed during her years working and performing in the United States. While waiting for a resolution, she continues to volunteer and contribute to her community.

“I have paddled out and caught many waves in my life. Some were big and gave me the ride of my life. Some were small and I had a ball.”
“The theme of my life has always been picking up my hat and starting all over again.”

Legacy
Debbie Lori Kaye remains a trailblazing figure in Canadian music — a rare example of a teenage girl who not only topped national charts but did so with grace, grit, and unforgettable talent. Her journey — from Bermuda to Nashville, CBC studios to country fairgrounds, and from hit records to healing others — reminds us of the golden age of Canadian pop, when a big voice from a small town could take center stage.

Debbie’s fans never forgot her. A live cassette recorded in 1973 became a cherished keepsake among admirers, passed down and replayed for decades — a personal soundtrack to friendships, parties, and fond memories. After her accident in 2006, the rediscovery of this tape and the fans’ testimonials became part of her recovery story, illustrating the profound and lasting impression she left on those who encountered her voice and spirit.

“Thanks again for making me part of history.”
— Debbie Lori Kaye, in a personal note to the Museum of Canadian Music

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