DANNY MARKS RELEASES TWO-SIDED ANTHEM “ONE WAY TICKET HOME” AND “PLEASE MISTER CONDUCTOR”
Toronto-born musician, broadcaster, and storyteller Danny Marks releases his new double-sided single “One Way Ticket Home” b/w “Please Mister Conductor”, out now through Cabbagetunes Records. The release unites Marks’ authentic voice and masterful guitar work in a celebration of homecoming, resilience, and the spirit of the Blues.
A lifelong pillar of Canadian music, Marks began playing guitar at age 11, later co-founding Edward Bear, who opened for Paul Butterfield, Led Zeppelin, The Byrds, Badfinger and Humble Pie. His collaborations include Bo Diddley, Rita Coolidge, and Rick James, and his award-winning solo career spans acclaimed albums like ‘Guitarchaeology’ and ‘Cities in Blue’. Since 1997, Danny has hosted BLUZ FM on JAZZ FM91, cementing his reputation as a trusted voice of Blues culture.
Winner of the ‘Blues with a Feeling’ Lifetime Achievement Award, Marks’ career continues to bridge the gap between legacy and innovation. His recent singles “Man on the Radio” and “I’m Ready” reflect his growth as a songwriter and guitarist with an unmistakable sense of storytelling and tone.
The A-side, “One Way Ticket Home”, was born from a personal chapter of resilience following a devastating house fire. In its soaring chorus, Marks sings ‘Home is where the heart is” capturing a universal truth about belonging, recovery, and the pull of familiar ground. It’s a pledge of hope set to a driving Americana rhythm, shaped by a twelve-string Rickenbacker that channels the classic spirit of the Traveling Wilburys.
The B-side, “Please Mister Conductor”, turns up the heat with raw, unfiltered Blues energy. Based on a true story of jumping aboard a train to Hamilton to sing with Lori Yates, Marks transforms the tale into a soulful plea – “Please Mister Conductor, won’t you let me ride your train.” The song carries humor, humility, and redemption all in one groove.
Reflecting on the songs, Marks says,
“I got down to the station a little bit late and jumped on board without proper fare. Blues is truth. Every song is a story, and these two are pages from my life.”
Truth-telling is the heart of Marks’ songwriting: real experiences turned into musical allegories that anyone can feel.
Marks adds,
“’One Way Ticket Home’ is more of a pledge than a plea. It’s about gratitude, about returning to what matters. Music has always been my home.”
With his trademark warmth, Marks delivers performances that feel both intimate and timeless.
Both tracks feature an all-star lineup: Alec Fraser Jr. on bass, Jonathan Goldsmith on piano, Robert Piltch on guitar, Barry Keane and Chuck D Keeping on drums, and Gene Hardy on saxophone. The songs were produced by Marks and Fraser Jr., mixed and mastered by Jeff Wolpert, with the memory of Peter J. Moore honored throughout the project.
The recording brings together Country Rock and Blues in a modern yet classic fusion. From the twang of the A-side to the grit of the B-side, Marks’ guitar tone anchors the emotional journey. Each side stands strong on its own, but together they form a portrait of an artist deeply in tune with his craft and community.
“One Way Ticket Home” and “Please Mister Conductor” mark a new chapter for a Canadian icon whose storytelling continues to define authenticity in music. As radio DJs and fans prepare to ‘flip the record’, both sides promise connection, comfort, and the kind of musical honesty only Danny Marks can deliver.
Hi, Danny! Good to see you again! Care to introduce yourself to the readers for those not familiar with your music?
It’s great to grace the virtual pages of Canadian Beats. You folks do good work. I’m a long time Canadian musician and broadcaster. As a kid I took drama with Dora Mavor Moore, namesake of the Dora Awards, and guitar lessons from Tony Bradan, the man who taught Toronto guitar. I got my first break in the band Edward Bear, recording with Capitol Records. We opened for Led Zeppelin, Badfinger, Humble Pie, The Byrds, Paul Butterfield and more. In the early days, Edward Bear was a heavy rock trio, but that didn’t last. After leaving the band in 1972, I became a guitarist for hire with folks like Ken Tobias, Bill Amesbury, Rick James and Malcolm Tomlinson. Touring Canada was demanding, plus it kept me away from studio work. Eventually, I hung my hat in Toronto and played all the bars you can name. I came to co-host and musically direct The Hum Line on CBC Radio, Stormy Monday on Rogers Cable 10 and Cities in Blue for BBC First TV. Jazz FM.91 picked me up in 1997. Saturday nights, I’m the man on the radio. Recording and releasing original music is the penultimate, even if for love more than money.
“One Way Ticket Home” came from a fire and a rebuild. How did that experience reshape what “home” means to you?
My hope is that anyone might hear “One Way Ticket Home” and reconsider. When you’re out on a ledge, it could be time to turn around and reset. I realized through this song that we aren’t our possessions or even our bodies. We are soul and spirit. The idea of home is universal, where the heart is. Having said that, my house in Toronto is where my body resides. My mate and I have put heart and soul into it. We will rebuild and return.
“Please Mister Conductor” came from a real train ride to Hamilton. Do you remember the moment that story turned into a song?
Yes I do! I scribbled the lyrics down on the GO Train somewhere west of Mimico. It happened just like this. Unfamiliar with the new layout of Union Station and running late, I ran right up to the platform and jumped onto the train. I had needed a shot of steroids earlier that day to keep moving. I knew if the fare checkers came I’d throw myself on their mercy. That’s the true story. My last two releases were not straight blues and blues radio can be fussy. Give the people what they want. Life put to music, “Please Mister Conductor” is authentic blues, three guitar solos, live off the floor.
You’ve shared stages with everyone from Bo Diddley to Led Zeppelin. What did those early days teach you about resilience and longevity?
It’s a confidence builder. I looked for their strengths, the keys to their success. Bo Diddley was both proud and modest. He was an original. Robert Plant was cocky. That’s what it takes to be a rock star. Rita Collidge taught me that a warm word goes a long way on a shared stage, Ronnie Hawkins exemplified the value of eye contact while singing together, Shelagh Rogers, how to share a smile on radio, Omar Sharif showed that on camera, small inner thoughts are magnified into charisma, Johnny Bower was humble yet had a rec room crammed with trophies, Rick James was selfish. That super freak is well remembered but mostly unloved, Tiny Tim treated everyone like gold. Mostly I learned from brushes with greatness how to recognize what we can do best and do it the best we can. Treat others as you’d like to be treated. Quincy Jones said that a career in music is like a wave that crests and falls and rises again. Surf’s up!
Hosting BLUZ FM for nearly three decades, how has being behind the mic influenced the way you write and play music now?
I let it wash over me. I don’t listen as a musician. Imagine being an actor and all you see is actors in every movie or film. Believe in magic. I’ve always enjoyed broad strokes and minimalism. Now I enjoy it more, deleting the extraneous. The more I program radio, the better I am creating stories and songs that resonate. On Saturday nights, I listen to the program without a list in front of me to enjoy the flow and element of surprise. Making music and radio are among things we can always get better at. I still get as emotional hearing and playing as when I started out. This keeps us young at heart.