Montréal, Canada, 1969. As the psychedelic wave of the late 1960s began to recede, giving way to the more complex and ambitious structures of Progressive Rock, Canada produced one of the most talented — yet today largely forgotten — formations in its musical history: Mashmakhan. Hailing from Montréal, these musicians were among the first to bring Canadian Progressive Rock to international prominence, reaching heights of popularity that were almost unimaginable, especially in the East, before vanishing within a few years and leaving behind a sonic legacy that deserves careful rediscovery.
— The Origins: From the Phantoms to The Triangle —
The story of Mashmakhan does not begin in 1969 — it reaches back to 1960 in Montréal, when young Pierre Sénécal (vocals, keyboards, flute), Brian Edwards (bass), Jim Nuchter, and Rayburn Blake (guitar) began playing together in the city’s dance halls. When their original drummer failed to show up for a gig, Jerry Mercer was recruited as a replacement — and quickly became a permanent member of the lineup.
For nearly a decade, the core of the group operated in Montréal’s musical underground under various aliases: The Phantoms, Ray Blake’s Combo, and The Dominoes. In 1965, consolidated as The Triangle, they became the backing band for R&B singer Trevor Payne. For four years they honed their craft on the local circuit, until they were discovered by producer Bob Hahn in March 1969. Payne, uninterested in a record deal, declined the offer — but Sénécal, Blake, and Mercer relocated to Toronto to sign with Columbia Records. There, following Brian Edwards‘ return on bass, the group adopted the name Mashmakhan, inspired by a variety of hashish sold by a local dealer — a choice designed to appeal to the era’s youth culture.
— 1970: International Explosion and the Self-Titled Debut —
The year 1970 marked the band’s meteoric rise. Under the production of Billy Jackson, Mashmakhan recorded their self-titled debut album at Columbia B Studios in New York. The record — described as a blend of Psychedelic Rock and Rock Fusion — showcased the compositional talent of Pierre Sénécal, who authored every track.
The album is defined by an innovative use of woodwinds, Hammond organs, and carefully crafted vocal harmonies. Tracks such as “Days When We Are Free” open the record with a soft Psychedelic atmosphere — distorted guitars, a brooding organ, and a languid rhythm reminiscent of the American West Coast scene of the 1960s. “Gladwin” highlights Sénécal‘s flute work, an instrument still relatively new to rock at the time, while “Letter From Zambia” closes the album with an experimental foray into ethnic percussion and an instrumental break that foreshadowed the group’s Prog Rock ambitions.
Yet the band’s fate was sealed by the overwhelming success of the single “As The Years Go By.” Written by Sénécal as something close to a novelty piece with little expectation, the song became a worldwide hit. The single sold 100,000 copies in Canada, over 400,000 in the United States (reaching the Billboard Top 40), and — remarkably — exceeded one million copies in Japan, where it became the third best-selling international single of all time at that point, triggering a form of collective hysteria comparable to Beatlemania when the band toured there.
— The Festival Express and the Screen —
During the summer of 1970, Mashmakhan took part in the legendary Festival Express railway tour (initially known as the Transcontinental Pop Festival), sharing the stage and the train with icons such as the Grateful Dead, Janis Joplin, and The Band. Live footage of their performances of “Comin’ Home Baby” and their signature hit — included in the 2003 documentary and DVD — helped revive interest in the band in later years, revealing a technically solid and visually charismatic group, dominated by the bearded figure of drummer Jerry Mercer.
During the same period, the group contributed to the soundtrack of the National Film Board of Canada film Epilogue/Fièvre, directed by William Pettigrew, with the track “Children Of The Sun.”
— 1971: The Family and the Progressive Turn —
In 1971, Mashmakhan released their second and final studio album, “The Family.” Compared to the debut, this work is considered decidedly more Proggier — featuring longer tracks and a greater emphasis on instrumental interplay over the Pop-Rock structures of the first record.
The opening is entrusted to the already-mentioned “Children Of The Sun,” where Sénécal‘s organ and flute dominate the scene. The title track and “The Prince” — inspired by Saint-Exupéry‘s “The Little Prince” — show a band seeking to expand its musical horizons, fusing soul, R&B, and Psychedelia. Particular mention goes to “Mr. Tree” (or “The Tree”), a ten-minute dreamlike epic representing one of the group’s most ambitious moments, though often omitted from CD reissues due to space constraints.
Despite solid success in Japan and Canada with the single “Start All Over,” the album failed to replicate its commercial impact in the United States. Critics of the era noted a certain lack of cohesion and occasionally redundant production, while Brian Edwards’ vocals were sometimes cited as the weak link in the new sonic direction.
— The Decline and Dissolution —
After an extensive North American tour, the band entered a period of stagnation. The absence of a follow-up to “As The Years Go By” and mounting internal fatigue led to several lineup changes. Pierre Sénécal eventually departed, and the group continued until late 1973 with various members — among them Brian Greenway, Steve Lang (both future members of April Wine), and Allan Nicholls.
Despite a move to Aquarius Records and the release of singles such as “Ride Johnny Ride” and “Dance A Little Step,” radio interest faded, leading to the final dissolution. Jerry Mercer joined April Wine in the mid-1970s, while Rayburn Blake and Brian Edwards formed Riverson, who recorded a single album before Blake pursued a solo career and joined the Lisa Hartt Band.
— Legacy and Rediscovery —
Though often classified as a one-hit wonder due to the enormous success of a single track, Mashmakhan represent a fundamental piece of the Canadian Rock puzzle. They were among the pioneers in blending Pop sensibility, Psychedelic energy, and Progressive ambition — bringing Canada’s name to the world’s charts well before bands like Rush came to define the scene.
For those approaching their music today, the 1999 Collectables reissue — which compiles both albums into a single set — remains the ideal starting point, offering a complete panorama of the brief but intense arc of this Secret Giant of musical North Central America.
— Discography —
(1970) — Mashmakhan — Columbia/Epic
(1971) — The Family — Columbia/Epic
(1995/1999) — Mashmakhan / The Family — Collectables (reissue)
— Historic Lineup —
Pierre Sénécal / Vocals, Keyboards, Flute, Saxophone
Rayburn Blake / Guitar
Jerry Mercer / Drums
Brian Edwards / Bass, Vocals