Information/Write-up
The Stitch In Tyme came together not as a planned project, but as a survival instinct. In the mid-1960s, two struggling bands from Amherst, Nova Scotia—The Continentals and The Untouchables—found themselves at a crossroads. Rather than fade away in small-town obscurity, the members merged and took a leap of faith, relocating to Toronto in late 1965. With little more than raw ambition and a handful of original songs, they stepped into a city that was on the edge of a cultural explosion.
Soon after arriving, the group—Donnie Morris, Pinky Dauvin, Grant Fullerton, Bob Murphy, and John Yorke—landed a deal with ARC Records through its vice president, Bill Gilliland. It was Gilliland who gave them a name: The Stitch In Tyme. Though the label’s first order of business was having the band play under a different moniker to promote an unrelated single, it wasn’t long before the Stitch were given space to record their own material. Their debut single, “Dry Your Eyes” backed with “Point of View,” showcased their knack for pop hooks and vocal harmony, though it gained only modest attention in a crowded market.
What set the band apart wasn’t just their records—it was their presence. Stitch In Tyme quickly became a fixture in Toronto’s Yorkville scene, drawing crowds with their tight performances, melodic sensibilities, and a blend of British Invasion polish and garage grit. They earned regular TV slots, including appearances on CTV’s After 4, and were soon known as one of the city’s most reliable live draws.
The lineup shifted in late 1966 when Yorke departed and was replaced by Bruce Wheaton, a former Continental who had left music briefly to serve in the Canadian Air Force. With Wheaton onboard, the band gained a sharper edge and renewed energy. Around the same time, Gilliland launched his own imprint, Yorkville Records, and brought the Stitch with him.
In November 1966, the band recorded a bold cover of The Beatles’ “Got to Get You Into My Life,” paired once again with “Dry Your Eyes.” Released through Yorkville, the single struck a chord. By early 1967, it had broken into the RPM Top 40 nationally, while landing in the Top 20 on major stations in Toronto and Vancouver. Suddenly, the Stitch had their moment.
The success opened new doors. They hit the road across Eastern Canada, landed a spot at the opening of Expo ’67 in Montreal, and took the stage at landmark venues like La Ronde and the Ontario Pavilion. That summer, they recorded a follow-up single in New York—“New Dawn” backed with “Don’t Make Promises”—a more adventurous, psychedelic-tinged release that reflected the shifting sound of the times, even if it didn’t replicate the commercial success of its predecessor.
Rather than chase the industry machine, the band decided to build something of their own. In late 1967, they opened a venue in Yorkville called The Flick—a coffeehouse that served as a headquarters, performance space, and a magnet for other young bands. The Flick became as much a part of their identity as their music, and in early 1968, the group took the next step, launching Flick Entertainment Corporation, their own label and publishing company.
But independence came at a cost. When they attempted to release the single “Stop Wastin’ Time” without clearance from Yorkville/ARC, they were met with legal threats. The single was pulled before it reached stores, and the fallout shattered the group’s relationship with their former allies. By fall 1968, the band dissolved. The Flick closed soon after.
Though short-lived, The Stitch In Tyme’s story didn’t end there. Grant Fullerton and Pinky Dauvin joined the original lineup of Lighthouse, helping launch one of Canada’s most successful rock acts of the early 1970s. Bob Murphy returned to Nova Scotia and formed the country-rock band SOMA with Wheaton and Morris, followed by later projects including Big Buffalo and Everyday People. Wheaton, always restless, continued recording and performing well into the next decade, including time with Molly Oliver.
The Stitch In Tyme never released an album, but their legacy endures. Their Beatles cover remains a cult favorite on Canadian rock compilations, and their attempt to own both their music and their venue positioned them—perhaps unknowingly—as forerunners to the modern indie model. In the volatile, fast-moving landscape of 1960s Canadian rock, they managed something rare: they built their own world. And for a time, it worked.
-Robert Williston
John Yorke: vocals
Bruce Wheaton: guitar, vocals (replaced Yorke in late 1966)
Grant Fullerton: guitar, vocals
Bob Murphy: keyboards, vocals
Donnie Morris: bass, vocals
Pinky Dauvin: drums, vocals
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