" Carnival Nature "

After his work with The Ruby Spirit was done, and after
taking part in the recording and launching of Uforia, Alex Pulec
got to work on his own music. With the assistance of members
of Uforia and other friends including Victor Ess, who would
go on to play a big role in the creation of The Nursery,
Alex made Carnival Nature to launch his own band.
The Nursery now also includes Jared Roth (keyboards)
and Josh English (drums). They played a smashing debut
in Spring 2013, with Uforia at The Drake,
and they've already got an audience that knows their
songs and sings along at their shows.

Like a ride through a fairground that ends somewhere
in another galaxy, this remarkable record must be absolutely unique
on the Canadian musical landscape. If I don't say so myself ...

Facebook / The Nursery

The Nursery Official Website

Released June 2013

photos: Nathan LaLonde (left) - Genevieve Blais (above)


" Imagining "

The highly gifted Michael Ursini and I began
working together in Feb 2011.
He was sent to me by Joao Carvalho, who mastered
The Ruby Spirit EP (below). Michael was joined almost
immediately by the amazing Sam Morton (bass).
To make our first recording,
special guests Lorenzo Castelli (drums), and Alex Pulec
(formerly of The Ruby Spirit - lead and slide guitars) were added to the lineup.

When the recording was done, Uforia attracted permanent
members Julien Bigras (drums) and Adam Brik (guitar).

They debuted live in August 2012. In March 2013 they won the
Canadian Hard Rock Cafe Battle of the Bands.
Uforia continues to build a fanbase at an amazing rate -
including an average of 200 listens a day on reverbnation,
and airplay on internet stations
from the USA to India and Germany!


facebook / uforia

reverbnation / uforianation

Released Sept 2012

photos Igor Vidyashev - artwork Danielle Procacci

" Born Under A Veil "

I met Alex Pulec in summer '09 when I was searching for musicians to play on my new work. Alex turned out to be a remarkable talent
(we've been working together ever since).
In Fall '09, he and his band (then known as Sadie May Crash)
asked me to produce a recording for them.
I saw their incredible potential, and we embarked on a production
together. The CD, "Born Under A Veil", has gotten nothing but raves
(and not a single bad review)
in blog and alternative music mag reviews.

We recorded from December 2009 until May 2010. Many experiments were done - it was a great adventure - and the band grew immensely during that time into a stunning live act, with great new songs and a rich, new sound. Hopefully, someday they will release another CD.
Meanwhile, check this one out.

Update August 2013:
The band did almost no recording after our CD.
Alex and The Ruby Spirit parted ways in Dec 2012.
The Ruby Spirit dissolved in Summer 2013.

Released Sept 2010

For the fun of the memories, here is a selection of antique tracks I produced in various situations. Preparing them for this site, I made every effort to make them sound as good as I could - many only survived on cassettes so no apologies will be made - for the most part they sound great - tape hiss and noise were generally left in for flavour - efforts were devoted to making the music sound as full as possible.

Tracks are being added as they are ready.

Use the little black scroll bar to see all the titles

Recordings were made in Toronto, NYC, Seattle & LA.

**** STUDIO PRODUCTION (all analogue studios with varying master tape sizes including: 1/4-inch 16-track; 1-inch 8-track; 2-inch 16-track; 2-inch 24-track)
Serious work with local artists in various studios.

*** THE 12-TRACK AKAI SEMI-DIGITAL RECORDING DECK My first Home Studio, started in NYC in '86, was named by How'rd Pope (RIP) "Japanese Monster & Two Small Children". The studio & name moved with me to Seattle and then to Toronto. The blasted thing broke down constantly from the VERY DAY I BOUGHT IT (fear Akai), and I finally got rid of it - but the original studio name still works even with the newest digital equipment! Most of these recordings survived only on cassettes - and can often be identified by an ancient Roland drum machine.

Done in the digital home studios of other musicians, who engineered while I produced.

In the '80s and early '90s everyone had one, and if you dropped by ANY musician's home you would find they were in the middle of some kind of recording plans. Each of these recordings was made fairly spontaneously ("Let's make a recording." "Okay.") We'd throw ourselves into it until we finished a track, usually in a session or two. These recordings only exist as original cassettes - they were one-off situations made without professional equipment and I usually walked away with one copy.

LEATHER UPPERS (Hallamusic, Toronto 1992)
**** Carne Mysterioso

A dynamic duo of guitar and drums, I thought their songs were hilarious and brilliant. I produced their first two 45rpms. Carne Mysterioso, the A-side of their 2nd single, is about going out in the middle of the night to find food, and the only thing available is chili containing an unfamiliar meat.

(Hallamusic, Toronto 1992)
**** Mummy Your Daughter Is Plastic!

Wife of Peter Hudson (owner of Hallamusic), Louise was a great songwriter and singer in her own right. She was in two bands when I met her.
Louise heard a crazy lady screaming this statement on the street, and she wrote a poem about it. I worked with her on it and we came up with a screamable lyric. Peter played guitar and bass and I played drums (!), the only recording of me as a drummer, and we composed the music together. This was a fairly spontaneous effort - finished in 1 or 2 sessions - and it's a cool piece of noisy art.

No Laughing Matter
A more serious production - features Charlie Ringas (drums), Kevin Cooke (bass), Pete Hudson (guitar/engineer), Tony (keyboards / production / arrangement). Song and voices by Louise. We did a number of rehearsals to make the arrangement just right. Great recording. I always loved this one.

(NYC 1989)
**** Last Exit To Brooklyn

A friend of How'rd Pope's, and also a friend of Andy Warhol and other luminaries, Bernard Zette (pronounced zet) was trying to launch a musical career when I met him. I produced two sessions for him - one in NYC using his band (with a guest appearance by The Uptown Horns who had just performed on Tom Waits' Rain Dogs and toured with the Rolling Stones) - and a second session at my home studio in Toronto with musician friends of mine.

(Gary's home, Seattle 1988)
* Way of the World

A very dear, long-time friend, Gary of the Toronto-based Beatles Tribute band The Grottybeats, is now a producer in Seattle - I stayed at his place for a year and we did a bunch of projects together. This was done on his 4-track while my studio was in the shop for repair. Gary is a soulmate. I'm sure we knew each other in previous lifetimes, and will know each other in future ones too. Hi Gar...how's it going?

(Japanese Monster, Seattle 1988)
*** Blowin' the Roses Apart

A friend of Gary's, Ken had a great voice and wrote lovely songs.
Mix by Tony and Gary.
Ken: guitars, lead voice & authentic bird calls / Gary: bass /
Tony: keyboards & choir

KATIE LORAH (Japanese Monster, Seattle 1988)
*** Minnie's Yoo Hoo

While living in Seattle I worked part time in a daycare center. Kids are amazing and I met some great people through it all. I developed friendships with parents of some of the kids and I made a few recordings of the kids I was working with - most of it was lost - but Drastic measures' manager Headly Westerfield recently sent me this, having no idea that I didn't have it. So here is some archaeology - from an old cassette, I don't know who made it into an mp3 or when - but Headly saved it thank you Headly! I cleaned up the sound a bit, and this is one of my favorite recordings I've ever made. Little 5-year-old Katie I remember was a delight, very smart and funny and her singing voice is absolutely beautiful. The song was written by Carl Stalling who did the music for all the Warner Brothers Cartoons from 1936-1960.
Katie: all voices
Tony: all instruments

(Liz's home LA 1986)
* Light Up the Light
I was visiting friends in Santa Monica and a great musician named Liz lived next door. We recorded this together one afternoon at her home - Liz wrote the song, does all vocals and plays the piano-sounding keyboards.

(Wellesley Sound, Toronto 1983)
**** So Far Away & Crying Stairs

The first band that ever asked me to produce them. Greg and Jim are now known internationally as Blue Rodeo.

(Japanese Monster, NYC 1987)
*** Untitled

It's almost impossible to get a street musician to come indoors. It took months to talk Matthew into letting me record him - he wrote this beautiful song and I wanted to capture it. He hated all the recordings that people had made of him.
But he loved this one.
Odd fact: As we became friends I discovered that Matthew performed hammer dulcimer on John Lennon's Watching the Wheels! Even John dragged Matthew in off the street (they went out in a limousine searching for Matthew and whisked him off to a studio during the Double Fantasy sessions). But Matthew liked my recording of him better.

(Rogue Studio, Toronto 1993)
**** Speeding Train

Monkey Trial had won the CFNY/Edge102 indie band competition the year before, so they couldn't win this year (contest rules: no band can have the prize two years in a row). But I told them that CFNY was always the biggest supporter of Drastic Measures' music, and if they saw my name on the recording they would probably be interested. So Monkey Trial sent it in and CFNY liked it so much they included it on the '93 compilation with a special mention - this band can't enter this year, but we really like this song!
In 2009, when I was writing my new song The World's A Speeding Train (find it in this site on the New Music page), I had completely forgotten that I'd produced a song with a nearly identical name. Don't worry Gord, I didn't steal anything else.

(Chemical Sound, Toronto 1994)
**** My Blanket

I really believed in this band. Their potential was gigantic. I mixed a number of shows and recorded them 3 times. The first was a live recording at The Cabana Room in Toronto. Then we did a 2-song session at Rogue Studio. Then we embarked on a whole CD at Chemical Sound. But unfortunately, as they had all grown up together and were best boyhood buds starting their first band together, they were also starting to grow apart and have different plans for their futures. The band broke up a year after our recording. Some of them tried to put together another project, but it was short-lived. It was a great time we spent together and I really liked those guys.

(Toronto, home studio of Jeff Beardall 2003)
** Steel Jungle

Larry is an accomplished lead guitarist and pedal-steel guitarist. When I met him, he had just started using a brand new tuning for his pedal-steel. Only a handful of people in the world have switched to this new tuning; it will revolutionize the steel guitar by transforming it from an instrument confined to playing in set musical-keys (for instance, most blues and country/western songs are in the key of E), to an instrument that can play Bach. The new tuning allows the steel-guitarist to read regular musical notation, like all other instruments in an orchestra. Larry wanted to test his abilities on the new steel, so I composed and produced this piece for him. He plays all the acoustic and steel guitars. Jeff Beardall, of Guilt Parade and The Satanatras, engineered in his home studio.

(Rogue Studio, Toronto 1993)
**** Cannibal Girls

Hilarious Toronto punk band. I mixed some of their live shows and recorded them twice.

(Rogue Studio, Toronto 1993)
**** Fall To Fade

A mind-blowing band from the shoe-gazer era, lovely 18-year-old Elizabeth had the sweetest Welsh-girl folk voice I ever heard. Placed on top of the din of A Tuesday Weld, the contrast was incredible. The band were heavily influenced by The Catherine Wheel and other alternative acts, and they wanted Elizabeth's voice buried in a wall of reverb. We reached a compromise; the voice is still not as loud as I wanted it, but I refused to cover it with echo. This was my favorite song in their set, written by Jonathan (bass) and Elizabeth (voice, guitar).

(Toronto, home studio of Dave Matheson 2001)
** Hey Bulldog

Eight-year-old Jonah sings his favorite John Lennon song. His dad Dr. Dave plays guitar. Matt Ronson from Basketcase plays bass. Dave Matheson of Moxy Fruvous engineered in his home studio. Tony Malone of Drastic Measures played piano, arranged and produced the session (four songs). Who is this kid, that all these talented people came together to help him make a fabulous record?

(Japanese Monster, Seattle 1988)
*** Untitled

Another musician I met on the street (this time in Seattle), it was equally hard to convince Rick that I could record him properly. He wanted his guitar to sound "swampy" - everyone who'd recorded him made him sound cheap and folky. He loved the sound I got out of his guitar - the buzzing, noise and intensity are all part of his music and I captured it totally.
He had no title for this amazing song he wrote. I never saw him again.


Use the little black scroll bar to see all the titles

O I Just Burned the Kettle
Knife & Fork
Sing A Little Song
Mama Cries

recorded at How'rd Pope's NYC apt 1985 on his 4-track while he was out at work (bartending). Music / lyrics / voices / instruments by Tony.

Woodstock / Morning Morgantown: DEMO
is a demo made with Charlie Ringas (drums) Kevin Cooke (bass) and Peter Hudson (engineer) on a Saturday morning in 1991 at Hallamusic. It was an audition for the coming Joni Mitchell Tribute CD that a local record company was putting out. They rejected the song because someone else was going to do Woodstock.

Carey / Morning Morgantown: by Doc Satan's Orchestra
(this is the band I assembled when I worked with Nash the Slash on the Highway 61 soundtrack in 1990 - he gave us our name)
I did a new version for the tribute CD that replaced Woodstock with Carey, and we kept the medley with Morning Morgantown intact. So it was Carey/Morning Morgantown. We did a full production with a horn section and a vocal trio. Still it was rejected. If you listen to their "Tribute CD" you'll see why. My versions just weren't mediocre or depressing enough to fit with the rest of the tracks. I felt bad for Joni. But I loved my track so it went out on a Drastic Measures compilation in 1992. I sent a copy to Joni herself, and told her (through her assistant) that a mediocre tribute to her was being planned. She sent word to me (through her assistant) that she loved my version, and she called the record company to ask why they had rejected it. They told her someone else was already doing those songs. That someone else turned out to be the engineer on the session!
Charlie and Kevin also played on the produced track - Pete Hudson played rhythm guitar and Cam MacInnes (of Drastic Measures) played dobro. Guest vocalists were Gord Shawcross (of Monkey Trial) and Geoff Marshall (of Anti-Matter). Horns played by Stu Elliot (saxes) Joe Allen (cornets) and Steve Donald (trombones). I played piano, lead vox, arrangement & production.
This version mysteriously found its way from my CD into the hands of several groups of Joni fans. One group in the US regularly compiled (for awhile) collections of Joni cover versions, with their own reviews, and shared them on the net. At the bottom of this page you'll see the track list for the compilation I'm on.
Other places it found its way to: here & here
(do a "Find" search for Drastic Measures or Tony Malone on these pages)

I Only Have Eyes For You / All The Things That You Are
recorded at Sean Richards's home, Toronto 1991 on his 4-track.
When Sean was just 22 we started hanging out. I produced a few tracks for his band Crancky Tom, and we did lots of home recording together. His girlfriend (at the time) even sang on one. I sing on I Only Have Eyes For You. Sean sings the other track All the Things That You Are, and it's the greatest version ever made of that song. Sean never sings, but he sang for me, and this is one of my favorite recordings I've ever made.
Tony: vocal, organs & keyboard bass / Sean: vocal & guitars / percussion was played by everyone who happened to be in Sean's house that afternoon (at the end of the track, you can hear stuff falling off the mantle in the room where we were banging things). Sean went on to lead the popular ska band Skanksters, and then he toured the world mixing live sound for Metric, Ron Sexsmith, Shonen Knife, Black Eyed Peas, Goo Goo Dolls, John Legend, Boredoms, and many others - and still managed to engineer a recording I made in '99, and mixed a Basketcase show or two! He's married, lives in the UK, and spends his time in his English garden, gardening, and goes out regularly to mix gigantic events - including coming back to Toronto every summer to run the technical side of NXNE.


BoilingFrog is an organization in Canada that promotes awareness of various conspiracy theories. They do regular tours to show films and sell books - all fascinating reports and theories about the New World Order, the coming police state, chemtrails, Monsanto, Big Pharma, and everything else that we should be concerned about but which our leaders and media don't talk about. The two founders of Boiling Frog, Kelly Reinhardt and Bridget Haworth, decided they wanted to create a radio show that would present bits of various exposes they are presenting at their showings.

This radio production, called Reclaiming Independence, was the result of our collaboration. I was in charge of all technical production (recording, editing) and assisted in directing the whole performance. The script is written and narrated by Kelly and Bridget. The entire show was created and assembled in my home studio, using hundreds of sound clips from the various films BoilingFrog presents - a kind of Conspiracy Sampler. Though Kelly has extensive background in sound editing and other technical stuff, this was BoilingFrog's first venture into audio production of their own work, so the tech work was placed in my hands and Kelly worked as scriptwriter/director/performer. It was an excellent collaboration - none of us had ever done anything quite like it before and we were very proud of it - and it started BoilingFrog down the road to regular sound and film production.

Most of the music used is mine - a few bits are taken from other sources. The "Trailer" was my idea - I made a William Burroughs-style cut up of audio clips from the show, to be a show-ender summary (as Burroughs did in his later books at the end of each chapter). But Kelly and Bridget liked it so much they use it as a "Trailer" to preview the show.

Listen to the entire radio production "RECLAIMING INDEPENDENCE" - playing time app 70 minutes

Check out BoilingFrog at rabble

pic: Tony w/ Anya Varda of Land of Giants
taken 1978 by: a real mall photobooth
I never worked with Anya's band - I just like the pic, and the fact that we spent an hour at her house getting dressed for it

and putting on makeup, to go to a photobooth - a specific one that was her favorite - at the Dundas St subway!