Rock Music Groups from Toronto Codexery

Battered Wives

Canadian punk band known for loud music and controversy.

Battered Wives

Battered Wives, also called The Wives, was a Toronto-based Canadian punk band active in the late 1970s. The original lineup—guitarist and vocalist Toby Swann, American drummer Colin Fox, and bassist and vocalist Robert Stewart—formed on Queen Street West and deliberately played at maximum volume. After Fox was arrested on drug charges and deported, the band dissolved. Swann then assembled a new group with bassist and vocalist Larry "Jasper" Klassen, guitarist John Gibb, and drummer Cleave Anderson.

This reformed band released its debut album, *Battered Wives*, in 1978. It produced the singles "Daredevil," "Suicide," "Lover's Balls," and "Uganda Stomp (Bomp Idi Bomp)," a parody of Ugandan dictator Idi Amin. Despite protests from women's groups picketing concerts over the band's name, the album sold 50,000 copies in Canada. Anderson, uncomfortable with the negative attention, left and was replaced by drummer Patrick Mooney.

In 1979, the band released its second album, *Cigarettes*, under the name The Wives. Controversy had intensified around both the name and the logo—a clenched fist with a bleeding lipstick mouth. Women Against Violence Against Women had already picketed a record store selling the band's albums. When a 13-city tour with Elvis Costello and The Attractions was announced, the group organized a demonstration at Toronto's O'Keefe Centre, and the band's manager reported receiving death threats. The tour proceeded without incident under the adjusted name. The album's most notable track was "New Wave Robot." Designer Rodney Bowes was mistakenly credited with a Juno Award for Best Album Graphics for *Cigarettes*, but that award was not given until 1981 and went to a different artist.

The band released *Live On Mother's Day* in 1980, restoring the word "Battered" to their name. This album was plagued by lawsuits from multiple parties and saw limited release. The group then disbanded.

Anderson later became the drummer for Blue Rodeo. Swann pursued a solo career, releasing a cover of "Over the Rainbow" on his 1981 album *Lullabies in Razorland*. Klassen worked as a recording artist in Toronto and died on December 8, 2016, at age 63.

origin
Toronto, Ontario, Canada
active_years
late 1970s
genre
punk rock
notable_albums
Battered Wives (1978), Cigarettes (1980), Live On Mother's Day (1980)
hit_singles
Daredevil, Suicide, Lover's Balls, Uganda Stomp (Bomp Idi Bomp)
certification
none

Lore & Background

The original lineup consisted of Toby Swann (guitar, vocals), Colin Fox (drums), and Robert Stewart (bass, vocals). Fox, an American, was arrested on drug charges and deported, causing the band to fall apart. Swann reformed the group with Larry 'Jasper' Klassen (bass, vocals), John Gibb (guitar), and Cleave Anderson (drums). This lineup released the debut album Battered Wives in 1978, which included the singles 'Daredevil', 'Suicide', 'Lover's Balls', and 'Uganda Stomp (Bomp Idi Bomp)', a satire of Ugandan dictator Idi Amin. Despite picketing by women's groups, the album sold 50,000 copies in Canada.

Anderson left due to the negative attention and was replaced by Patrick Mooney. In 1979, the band released their second album, Cigarettes, under the name 'The Wives' due to ongoing protests. The claim that Rodney Bowes won a Juno for Best Album Graphics for this album is incorrect—the award category debuted in 1981 and went to another artist. There is also no credible record of the band organizing a 'Rock Against Repression' benefit concert in 1978.

Reader's Guide

Battered Wives were a notable act in the late-1970s Canadian punk scene, distinguished by their deliberately loud performances and provocative name and imagery. Their debut album achieved commercial success, going gold in Canada despite—or perhaps because of—controversy that included picketing by women's groups. The band's decision to temporarily rename themselves 'The Wives' for their second album reflects the real-world pressure they faced, including death threats and organized demonstrations. Their legacy includes a Juno Award for album design, a benefit concert for civil liberties, and later musical contributions by former members, such as Cleave Anderson's work with Blue Rodeo. The band's story illustrates the tensions between punk provocation and feminist activism in the late 1970s.

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