RECORD STORE TALES MkII:
Getting More Tale
Music, Movies, and more
GETTING MORE TALE #774: The Original Mustard Tiger
Gary was a customer of mine after I was transferred to a store on the shittier side of town. It’s not like where I worked before was high class. The new store was in a part of town that, frankly, I never went to when I wasn’t working. There was nothing in that part of town, just the same fast food joints as everywhere else. Not a lot of people with disposable income. The store recently came to an end, to no-one’s surprise. But that was the store that Gary frequented.
I inherited Gary from the previous manager. Since we started carrying DVDs, we acquired a brand new niche clientele: movie and TV fans. They rarely, if ever, bought music. It was a whole new market, and Gary was one of the guys who bought DVDs pretty much exclusively. In particular, he liked TV show season box sets. M*A*S*H*, Gilligan’s Island, the classics. He bought a lot — and returned a lot. He was high maintenance, so not the kind of guy I was really excited to see walk in at any given time. But that’s retail.
What was most memorable to me about Gary was his appearance. Large, bald, and…shall we say, unkempt. The shirt that disgusted me the most was the one that had mustard stains all over the front. Dried mustard on cloth isn’t my thing when it comes to fashion, I guess. And when he talked to me, trapped behind the counter, I could barely take my eyes off it. It was like a car accident — some people can’t help but look. That was me with Gary’s shirt, which didn’t seem to completely cover his skin, by the way. The easiest and most accurate comparison would be the character of Phil Collins on Trailer Park Boys. Gary was taller, but Phil was bald, had a protruding gut, and wore a shirt covered with mustard stains. Phil’s shirt had a picture of a tiger on it, hence his nickname: the Mustard Tiger. Well Gary was the original Mustard Tiger.
I quit the store a couple years later, but life is circular, and that was not the last of the Mustard Tiger. About a decade ago, Jen and I were obligated to go to a wedding. It was one of her bridesmaids tying the knot, the one we referred to as “bridesmaidzilla”. (You can read that story in #559: Hotel Hobbies.) I wasn’t thrilled to be going, and for Jen this was kind of a final obligation before she was able to put some distance between them. They were having a “Hillbilly Wedding”, I believe they billed it. And guess who the best man was?
It was Gary. He traded in the mustard shirt for something clean, with buttons. Adorned atop his bald pate was a 10 gallon cowboy hat. Upon his ample belly, a giant golden country & western belt buckle. It looked like the WCW Championship belt, so huge it seemed.
I’m sure that some of you, if you were in similar circumstances, would walk up to Gary and ask him how he’s been doing. If he even remembered you. I did not do that. When I quit the store, I was bitter and wanted to move on with my life. I didn’t want to talk to Gary and remember all the times he returned some shitty TV show box set. We all make choices, and I chose to pretend that I didn’t remember the Mustard Tiger.
Although the recordings were not released until 1986, it makes sense to talk about “Hunger” and “Nothing’s Gonna Stand In Our Way” now, in terms of storytelling. After the Vices album was completed in 1984, Kick Axe were tasked to contribute to another project. And it wasn’t a movie soundtrack.
Producer Spencer Proffer was scheduled to go into the studio with Black Sabbath — a Black Sabbath still fronted by Ian Gillan, though not for long. Proffer felt that Sabbath needed fresh ideas and recruited Kick Axe to write some. Though details are murky, we do know that Gillan left Black Sabbath abruptly to record Perfect Strangers with Deep Purple. Kick Axe frontman George Criston was one of the singers that Tony Iommi was interested in as his replacement. Whatever happened, no recordings of Sabbath with Criston have surfaced, but we do have the songs Kick Axe wrote for the sessions.
In a strange coincidence, they all first came out on November 9 1985, on two separate albums. W.A.S.P.’s The Last Command (produced by Proffer) featured the Quiet Riot-like “Running Wild in the Streets”, though without proper writing credit. Another album produced by Proffer was released the same day: Ready to Strike by King Kobra. “Piece of the Rock” and hit single “Hunger” were written by Kick Axe for the Sabbath project.
Ultimately, “Hunger” by Kick Axe did finally come out in the summer of 1986. Too late, perhaps, considering people assumed it was a generic cover of a King Kobra song. Especially since no one had ever heard of…Spectre General?
Who the hell is Spectre General?!
For reasons unknown but said to be contractual, Kick Axe couldn’t release their own song under their own name, so Proffer invented Spectre General, and that’s how they’re credited in Transformers: The Movie. The band didn’t even know about it. They had two songs on the original 10 track album: “Hunger”, and a new song called “Nothing’s Gonna Stand In Our Way”, written for their next record Welcome to the Club.
Perhaps it’s the familiarity of the King Kobra recording, but this version of “Hunger” does stand in its shadow. Both Mark (Marcie) Free and George Criston are stellar vocalists, and the Free version just had more…weight. Kick Axe’s original is heavier and chunkier, so perhaps in that way it’s actually superior. “Nothing’s Gonna Stand in Our Way” is an upbeat number, hook-laden, with the trademark Kick Axe “chug” and backing vocals. It’s pretty essential to have both these tracks to augment a Kick Axe collection.
Besides not getting their real name in the album, other contributions by Weird Al Yankovic and Stan Bush were featured more prominently in the movie than the two “Spectre General” songs. The band Lion got to do the movie theme song. Those were some memorable movie moments to any kid in the theater, particularly the Stan Bush selections.
It’s pretty amazing that Kick Axe came up with “Hunger” but were never really recognized for it. It’s a great song and their original version of it is the proof. Also strong, “Nothing’s Gonna Stand in Our Way” would have made a fine addition to the next album. Clearly, the Canadian quintet had big league talent the whole time.
WTF SEARCH TERMS XLII: Snake the Tattoo Man edition
It has been six months since the last WTF Search Terms, and in that time, search terms have been dominated by the one and only Snake the Tattoo Man.
Snake is a character I encountered back in the Record Store days, as recounted in Record Store Tales Part 118: Famous Persons. There are three main things Snake is known for:
People have been doing as lot of searching for Snake in 2019. They don’t always get the video right (Helix), or the TV show (Donahue) or the city (London). But they sure do wanna do see the Snake! I’ve highlighted some of the funniest mistakes.
Learn more about Snake in the MuchMusic interview below, taken from my personal collection!
This year’s Sausagefest was close to perfect. I must be getting the hang on this camping stuff. There was just one hiccup: my chairs.
I wanted some new chairs this year. My dad said to me, “Don’t buy chairs, I have two brand new ones you can have. Just come over and get them.” So that’s what I did, and we were off to the races.
After we arrived, unpacked and set up, I realized the problem. My dad doesn’t read stuff when he buys it I guess, he just goes for the lowest prices. That’s how I ended up with two kiddie chairs. Large enough for a small child, and extremely painful for a fully grown adult.
See the picture below. That’s my teensy weensy fucking chair that I had to sit in for two nights. My ass is still recovering.
The loud Canadian quintet from Saskatchewan, Kick Axe, went from indi to major label in 1983 when they signed with CBS Canada. They also had a new singer in George Criston, a guy with incredible range and rock sensibilities. Everything was in place. With a couple solid metal releases already under their belts, they were about to go big league. The next step after the record deal was a hookup with the American producer behind Quiet Riot, Spencer Proffer. Spencer offered them the chance to write with him and record in his own studio, Pasha. They would have been foolish to turn down the opportunity considering what happened with Quiet Riot in similar circumstances.
In fact, Kick Axe’s debut album Vices is so similar to Metal Health, you probably could have heard it was Spender Proffer at the desk without reading the credits. The drum sound is exactly identical to that of Frankie Banali. The backing vocal arrangements are also very similar, even though the singers are different. The comparisons go further, but we’ll discuss them as we go.
“Heavy Metal Shuffle” sounds immediately like, who else, Quiet Riot! That is until George Criston starts croonin’. What a set of pipes on that man. He could scream with the best, but there’s more to Criston than just high notes. There’s a blue-eyed soulful trill in his screechin’, hard to pinpoint but there nonetheless. Another part of the Kick Axe sound is bassist Victor Langen, who has a solid metal chunk but with creative, busy melodic accents. Of course another major factor is the capable backing singers. Langen, Ray Harvey, and brothers Brian and Larry Gillstrom created an 80s tapestry of metal harmony. This is especially apparent on title track “Vices”. It’s a pretty irresistible song even if it sounds exactly like the year 1984. At least how I remember it sounding. Big, echoey, mushy, loud!
By the third track, “Stay On Top”, we’re really cookin’. You might cringe at the clichés, like the gang vocals or the big drum fills, or you could just chill out and rock with it. Ballad “Dreaming About You” pours on the rock standards, but the problem is…it’s good. It’s a great 80s ballad. Helix could have done it. Great White could have done it. Dozens of bands had songs like this, but at least Kick Axe wrote a good one. Up next, “Maneater” opens with some ferocious guitar wang-dang, although the song is more a slick rocker than a headbanger. It’s the chorus that differentiates it from the average.
When side two opens with the “big hit”, hopefully you’ll say “Oh yeah, I remember this one!” The memorable music video for “On the Road to Rock” introduced Kick Axe to a much larger audience. Listen to that chug! Langen had a killer sound, even with that huge axe bass that quickly became a symbol for the band. “On the Road to Rock” delivered an anthem the kids could get behind. The video also turned their cover art of the “Vices Guy” into a fully-fledged mascot.
My buddy Bob Schipper loved the music video. Especially when “Vices Guy” yells “Stop that you wimp!” at one of the legendary composers. Me, I liked that bass. I also liked that the drummer was a virtual hulk, who kicks down not one but two doors in the video. I didn’t understand why the singer was running around in bare feet. You’re gonna stub a toe, or step on some door shrapnel, guy.
Next up, “Cause For Alarm” sounds at first exactly like the song “We Were Born to Rock” by Quiet Riot. It soon becomes its own beast with a thunderous chorus. Yep, Kick Axe could write a chorus. They could also execute them via those thick backing vocals and the golden Criston pipes. The tempo takes a step back into the pocket on “Alive & Kickin'”. It’s another one of those choruses that the boys seemed to have an endless supply of, although a bit too heavy on the backing vocals this time. Langen really lets the bass groove on “All the Right Moves”, boasting one of those shout-choruses that are perfect for the live concert setting. It’s the kind of song Motley Crue would have given their nuts to be able to write at that time.
The final song on the standard album was a song with a certain epic “closing” quality. “Just Passing Through” makes it sound like the album just might have been a concept record on the theme of vices. Indeed, Spencer thought of it as such: “Living in our vices, we watch the rise and fall,” repeating some words from the title track. Regardless, it just sounds like an album closer. There’s a certain climactic quality to the melody and riff.
On CD (and strangely enough, also the original Canadian cassette) is the bonus track “30 Days in the Hole”, starting a custom of Kick Axe putting a cover song on every album. Spencer Proffer wanted to do it, since he had so much success with “Cum On Feel the Noize” earlier with Quiet Riot. It’s not the best version of “30 Days” that you’ve ever heard. It sure does sound like they’re playing the same amps as Carlos Cavazo, though.
As per usual, Rock Candy deserve extra thanks for the brilliant liner notes featuring interviews with Proffer and Langen. Also for including the bonus track, though we often take those for granted these days. Of course, Kick Axe deserve the lion’s share, for writing and performing a “kick ass” Kick Axe debut. Not an easy thing to accomplish, but with Proffer they had a good team. It shouldn’t overshadow their innate talents, of course.
The proof of Kick Axe’s talent was their progression, album to album. There were also some misadventures with Black Sabbath and giant transforming robots, but we’ll get there. Vices would be a fine Kick Axe album to satisfy your curiosity, but be prepared to get hooked and want to go deeper.
GETTING MORE TALE #773: Rock Candy + Internet = Kick Axe!
Like many things, it started with a story.
I have liked the music of Kick Axe since I first heard them back in 1984. “On the Road to Rock” was a Power Hour (not yet the Pepsi Power Hour) staple. I knew the video off by heart. A Vices button was among the first handful I owned. I think it was a birthday gift from my best friend Bob. As it turns out, I never got the album, or any Kick Axe for that matter, until now. So how did it turn out that I’m doing this Kick Axe review series?
In July, I scored two Kick Axe remastered CDs by Rock Candy records. This occurred at the best Record Store in town, Encore, who had both Vices and Welcome to the Club in stock. I had been looking for these in Toronto (“Taranna”) for years. No luck. The Encore visit was my first time finding them in store. Vices has a bonus track. I always intended to get the Rock Candy version for that reason. Aaron and I found Kick Axe vinyl in Taranna before, but I was holding out. The bonus track made the Rock Candy reissue my preferred version.
II. ROCK CANDY
Another thing about Rock Candy: the liner are, shall we say, goddamn essential. Featuring original interviews, untold stories, and assorted documented details, you will absolutely learn something from the liner notes in a Rock Candy CD. One thing I learned before even opening the booklet was that the third Kick Axe album was also available from Rock Candy. Already having the first two, it seemed dumb not to get the third. Especially since the liner notes said that Rock the World was, in some regards, their strongest album. As I read the notes, I recalled they did two songs for The Transformers soundtrack under the name Spectre General. The notes confirmed that Spectre General was Kick Axe, not some side project.
Thanks to Rock Candy, light was shed on early Kick Axe history previously unknown to me. I discovered they had an early 7″ single called “Weekend Ride”, with a singer earlier than George Criston. They also had a live track on a compilation called Playboy Street Rock. When Bob and I were kids, we used to be fascinated by the early history of bands. Like finding out White Lion had an album before Pride, or that Iron Maiden had something called The Soundhouse Tapes before their first album. I wanted to get the early Kick Axe stuff I just found out existed!
III. AMAZON and DISCOGS
If I knew about those early Kick Axe songs as a kid, it would have taken me decades to find them. Today, I had most of them within a week.
Amazon had Rock the World in stock, and it was at the house two days later. Discogs had “Weekend Ride”, The Transformers, and Playboy Street Rock from different sellers. I hesitated on Transformers but pulled the trigger on the other two. I would have preferred a remastered Transformers CD with bonus tracks. They were way too rich for me. I couldn’t get one for much less than $50. Even the reissued vinyl without the bonus tracks was pricey. Ultimately, I settled on an original CD, which was still not cheap.
“Weekend Ride” and Playboy Street Rock arrived within a few days. Wonders of the modern world. What would have taken years before happened in under a week.
IV. KICK AXE
Fortunately, it turns out that I quite like my Kick Axe purchases. So much so, that I was inspired to do a Kick Axe review series.
Kick Axe have a fourth album (Kick Axe IV) from a Criston-less reunion. I’m undecided if I’ll go that far, but in the mean time you can look forward to learning more about Canada’s own metal proponents. I’m delighted to discover a band that could really sing, and play like big leaguers. I hope you’ll enjoy them too.
What is a “CHR edit”? It’s a special single edit of a song specifically intended for “contemporary hit radio”. In other words, Top 40. So, when “Stand” by Poison was selected to be the first single from 1993’s brand new Native Tongue album, it had to be trimmed for length. Getting Poison on the radio was going to prove to be an impossible task, so why make it harder by giving them a 5:16 long track that they definitely wouldn’t touch? “Stand” was shortened to 4:21, with much of Richie Kotzen’s delightfully idiosyncratic guitar licks getting the axe, along with some of the choir.
The cassette you see here contains two edited versions of “Stand”: the 4:21 “CHR edit” and another at 4:30 simply called “edit”. The differences are in the guitar solo which starts to deviate at the 2:28 mark. It’s in interesting curiosity, a peak inside the minutia of thinking that goes into marketing a song. “Hey, this format needs another nine seconds of song, leave in some guitar solo.” Is that how it worked?
The tape has both edit versions on both sides…twice. 2x2x2=8 times total, that you will hear “Stand” by Poison, if you play it all the way through. Call the CIA and let ’em know I have this cassette; they can use it with their enhanced interrogation techniques. I’ll sell.
On that note I can all but guarantee this cassette has never been played through, ever. It was sent to the Record Store about a year and a half before I started working there. The owner hated Poison. Hated — with a passion. There is no way he played this tape in store, ever. I rescued it from a giant, forgotten stack of promos that were stuffed into a bin. All garbage. “Don’t take any of those,” said the owner. Eventually all that junk was slated to be thrown out when the only location that sold tapes changed formats at the end of 1996.
This tape is valuable for one thing: it reveals the true North American release date for Native Tongue. Currently (August 2019), Wikipedia claims Native Tongue was released on February 8, 1993. That’s impossible because the 8th was a Monday. New releases came out on Tuesdays. This promo cassette clearly states on the back that the forthcoming album Native Tongue was retailing on February 16 — a Tuesday. You’re welcome, internet.
Otherwise, this cassette is fairly useless.
GETTING MORE TALE #772: The Phantom Menace (20 Years On)
If you can believe it, Star Wars Episode I: The Phantom Menace is 20 years old this year. 2019 is a significant year in the history of Star Wars. It is the 20th anniversary of its return with the prequels, and it will also witness the final movie of the Skywalker saga in Episode IX: The Rise of Skywalker. Back in Record Store Tales Part 209: The Phantom Menace, I said I wasn’t “interested in contributing to the background noise” regarding the movie, but I’ve since changed my mind. Now that George Lucas is out of the picture and J.J. Abrams is helming the finale of the sequel trilogy, it’s hard not to get a little nostalgic for 1999, when things were…simpler.
Netflix has different movies available in different countries, but you can sidestep this with some VPN software. Some countries have no Star Wars, but between them, all of the films are available. Bahamas is the only territory I’ve discovered so far with the first two trilogies, so I’ve been re-watching from I to VIII. And for all its flaws, with the benefit of hindsight, The Phantom Menace is still quite enjoyable.
George Lucas had his own ideas about where to take Star Wars, but the fan hate that Phantom Menace (and the other prequels) received took the wind out of his sails. He laid the groundwork in Phantom Menace, with that talk about the highly maligned midichlorians. Now, midichlorians were an awful idea. J.J. Abrams is right to leave them out of the sequel trilogy. The idea of little microscopic organelles in your blood giving you the ability to tap into the Force? It creates so many problems. Like, if you have more midichlorians in your blood than someone else, does that automatically make you more powerful? Can we therefore rank numerically every character by midichlorian count and deduce who the most powerful is? Can you get a blood transfusion from a Jedi and steal his or her Jedi powers? That’s the kind of shit that fans hate on. Why couldn’t Lucas leave the Force alone with all its mystery intact?
Because he was going somewhere with that. Lucas came up with the name and concept of midichlorians back in 1977; the idea is very old. Now we understand why. George was also setting up the final trilogy, the one that J.J. is currently finishing. Episodes VII through IX “were going to get into a microbiotic world,” George Lucas told James Cameron. So, like Ant-Man? “There’s this world of creatures that operate differently than we do. I call them the Whills. And the Whills are the ones who actually control the universe. They feed off the Force.” Fans recall that “Whills” is an old word. The first Star Wars novelization refers to the entire saga as The Journal of the Whills. In Lucas’ own sequel trilogy, Jedi were to be merely “vehicles for the Whills to travel around in…And the conduit is the midichlorians. The midichlorians are the ones that communicate with the Whills. The Whills, in a general sense, they are the Force.”
Like Ant-Man meets Dr. Strange meets The Fantastic Voyage, maybe. With lightsabers? Terrible; undoubtedly awful. I can’t even fathom how he would have executed this idea. The fans would have rioted. You think the hate that fandom gives Disney today is intense? Imagine if George’s microscopic version got made.
But at least George had a vision.
Lucas wasn’t about making the trilogies the same. Having watched both The Force Awakens and Phantom Menace recently on Netflix, it’s clear that J.J. made a better movie that feels more like Star Wars. Flawed, yes, but it seemed to be setting up some pretty epic storytelling (until Rian Johnson took a shit all over it with his left turn Last Jedi.) J.J.’s Star Wars is better acted, paced and edited. The dialogue is far less stiff. But George’s Phantom Menace has something that J.J.’s Force Awakens does not: daring imagination.
One of the most successful sequences in Episode I is the pod race. It’s completely irrelevant to the story, which is one of the many problems, but on its own, it is a glistening example of George’s unfettered imagination. In 1999, this race was unimaginably new. The only thing that came close was the speeder bike chase in 1983’s Return of the Jedi, primitive as it was. Lucas broke new ground in multiple ways with his prequels, whether you like his innovations or not, and primitive CG characters aside. People complain that J.J.’s Star Wars is just a soft reboot. Well, watch Phantom Menace if that’s not your cup of tea. The pod race, at least. Lucas combined his love of race cars with science fiction and directed one of the best race sequences in the genre. In any genre. Even little Jake Lloyd shone in that cockpit, confidently flying himself to victory.
It’s a shame that pod race sequence was completely unnecessary. I mean, you’re telling me Liam Neeson couldn’t figure out any other way to get off that planet, other than a complicated scheme of betting; gambling on a child pod racer? Liam was supposed to be a goddamned Jedi master. They keep talking about how much time they’re wasting on the planet, but they wait to see how this damned race plays out? A race that could have killed a little kid! Weird choices. If you were a Jedi, you could have figured out dozens of faster and safer ways to get off that planet, right?
Once they do finally get off that planet, the Jedi arrive home on the capitol world Coruscant. This was a bit of fan service, something that they wanted to see more of, since it had been such an important part of comics, novels and production artwork. Cloud City aside, it was the first real time we saw an urban city environment on Star Wars. True to form, Lucas made the whole planet one environment, in this case a city. It was also some of the most brilliant visual designs on the prequel trilogy, one which would set the tone for the two movies that followed.
For better or for worse, Lucas spent much of the prequel trilogy defining who the Jedi were. What they could do, what they couldn’t, and what they believed in. We learned of the “living Force”, and oodles of Jedi wisdom about attachment and fear. Jedi couldn’t marry, which was surprising, considering the Skywalker bloodline is the entire focus of the saga. Yet George was throwing tons of ideas at us. Stuff that he had been keeping in dusty old notebooks for years. Nothing in the sequel trilogy comes close to revealing as much about the Star Wars universe as the prequels do.
Though Phantom Menace is the movie with the most cringe-worthy moments, wooden dialogue and shitty acting, there are the odd scenes that George did artistically and perfect. Take the moment that Anakin and friends arrive on Coruscant, an overwhelming moment for the little boy. George shot some of the footage from kid-height, allowing us to experience Anakin’s anxiety without clumsy dialogue. The aforementioned pod race sequence is brilliant, and so is the final lightsaber duel. For the first time, serious acrobatics and martial arts moves were incorporated into the laser sword battles. This went on to define how the Jedi normally fought throughout all the prequels: with a lot of jumping, leaping, and somersaulting. For all the epic duels in the saga, one of the greatest (if not number one) is Kenobi and Jinn vs. Darth Maul. From John Williams’ score (“Duel of the Fates”) to the choreography by Nick Gillard, it was focused through George Lucas’ lens into something absolutely brain-melting. Until Darth Maul lost like a chump. No excusing that; although remember that George did something similar to Boba Fett in Episode VI.
The droid designs were also pretty cool. As iconic as a stormtrooper? No. But sleek, interesting, new and believable? Absolutely. This helped shape the visually stunning Naboo land battle scenes. J.J. didn’t introduce any new infantry troops in his movie, he just updated the existing ones.
There was one thing that The Force Awakens and The Phantom Menace did equally well. One very important thing that neither gets enough credit for: they made us anticipate the next film in the trilogies with hunger. (Until Rian Johnson pissed all over J.J.’s ending, that is.) Both films’ endings felt like the setup for events we couldn’t wait to see on screen. The training of Anakin/Rey, for example. A clue to the truth about the big bad guys (Sidious/Snoke). The next meeting between good and evil. J.J. and George both succeeded in creating this feeling of heavy anticipation.
By the time all three prequel movies played out, each problematic with wooden acting and stiff stories, fans were burned out on prequel-era Star Wars. The Clone Wars TV show did a better job of living in that universe, but fans longed for the old familiar again. X-Wings and Han Solo and the Empire and all of it. So that’s what J.J. delivered. And J.J. Abrams learned what we all know: there is no pleasing Star Wars fans.
We fans take this stuff too seriously sometimes. You’ve just read 1500 words, comparing Star Wars movies’ strengths and flaws. That’s excessive, for both the reader and the writer! We take this too seriously, friend. Sure, we don’t go and harass the actors on Twitter like some juvenile delinquents do, but we’ve invested so much time and thought into a goddamn space movie series. Too late to turn back now. I think it’s important to take a break, step back and appreciate the movies from a different perspective. Having done that with Phantom Menace, I can see it has its mitigating traits that still make me smile 20 years later.
When we last met Kick Axe, it was on the surprisingly great live track “Reality is the Nightmare“, from a very obscure compilation by Playboy magazine. It seems the guys at Playboy thought they should get into the music business too. They put out an album featuring recordings by unsigned bands, and among them was Kick Axe. At roughly the same time the live track was recorded, Kick Axe were also working independently on a single.
This early Kick Axe lineup still featured Charles McNary on lead vocals, a capable singer. The rest of the classic band was set: Victor Langen (bass), brothers Larry (guitar) and Brian (drums) Gillstrom, and guitarist Raymond Harvey. Recording in Vancouver, they managed to get the late Brian “Too Loud” MacLeod to co-produce, he of Headpins and Chilliwack fame.
“Weekend Ride” was the A-side, a slick track that already had the trademark Kick Axe rhythm. It’s largely based on Victor Langen’s thrumming bass. Solid chorus, interesting guitar hooks, and a screamin’ lead vocal — the essential stuff — are all present. There’s even some wild, prototypical metal soloing. The band were also fortunate enough to have capable backing vocalists, not fully exploited until their major label debut. On “Weekend Ride”, you can hear the start of that.
The interesting thing is the B-side, “One More Time”, a song written by Ray Harvey. This sounds like a different singer from the A-side, and it’s probably Harvey. It also features extensive keyboard solos, something they never did again. It sounds like a different band. Suffice to say, Kick Axe pursued the sound of the A-side when they made an album. “One More Time” sounds like a poor man’s Styx!
A few more years of hard work and a critical lineup change would prove to be the key for Kick Axe. Spencer Proffer of Pasha records was about to change their fortunes in a big way.
If not for this small handful of early Kick Axe recordings, we’d have no record of what they sounded like before Spencer stepped in and added his own ingredients to the stew. As it turns out, they were already good. They didn’t need a big namer to write good songs. They even had a good singer, before the lineup change that would bring George Criston’s golden pipes to the fore. They were on their way…for a “Weekend Ride”.
Spotted in Kitchener. Who do you think this guy’s favourite wrestler is?
Bonus points: note that he is also a “panties bandit”. How many panties do you think this car got him?