Reviews

RE-REVIEW: Arkells – Morning Report (2017 vinyl deluxe edition + 4 bonus tracks)

ARKELLS – Morning Report (2017 Universal vinyl deluxe edition)

Last time I reviewed Morning Report, I mentioned that the first two songs, “Drake’s Dad” and “Private School” were my least favourites.  Ironically Morning Report became my favourite Arkells album despite this.  When I re-bought it on a vinyl reissue, I was surprised but pleased to see that the running order had been altered!  Now, a new single called “Knocking At the Door” was track #2, with “Private School” moving on to #3.  This really changes things and makes the album a much more consistent listen from the start.

Y’see, I’ve discovered that I don’t particularly like when the Arkells get too much into modern mainstream pop.   Despite its powerful soul chorus, “Drake’s Dad” falls into this category for me.  It really does have a great chorus, a powerful soul/gospel chant of “I just wanna hold you, so high!” that raises the roof.  It also has a lush arrangement with strings and samples.

“Knocking At the Door” has modern elements too, but my attention is drawn to the blast of the horn section, and the impressive and aggressive drumming from Tim Oxford.  The track is just a banger.  The chorus is as powerful as the Arkells get.  Never a dull moment in this song.  Listen to the horns and drums, trust me!  Like “Drake’s Dad”, this one also features soul/gospel vocals.

The forgettable drinking anthem “Private School” has a fun hook of “Ah, fuck off, don’t say I’d do the same!”  Silly fun.  It doesn’t overstay its welcome, and soon makes way for the incredible ballad “My Heart’s Always Yours”.  This suave pop rock heart-tugger just hits all the feels.  Max Kerman has a way with words and I’m certain that the ladies love him for it.  Though keyboards are the prominent hook-delivering instrument, the pure passion and panache of this song just elevates it to the clouds.  As you’ll see later on, it doesn’t need the keyboards.  A brilliant song, made indelible in the brain and heart!

Things get even better on “Savannah”, the fast acoustic-based song with killer lyrics.  “She was named after, she was named after her dad’s favourite city.  I was named after, I was named after the fact…”  How does Max come up with this stuff?!  He paints a picture of characters, often female, drifting in and out of his life.  He tells their stories, often depicting musty old apartments, messy beds, and empty refrigerators.  Musically, “Savannah” is even better than lyrically.  It’s powerful and it has a trumpet solo, so what more could you want?  The chorus is probably the most immediate one on the album.

Then…get ready for chills, for it is time for “Passenger Seat”, the most haunting song on the album and easily one of the most chill-inducing I’ve ever heard.   Then the chorus comes, with Max in a high falsetto, accompanied by sparse piano and keyboard effects.  “Driving on the highway home, this time alone, doesn’t mean the same without you.  I turn on the radio, to somethin’ slow, just to let it fuck with my mood…but songs don’t sound the same without you in the passenger seat.”  Who can’t relate to that?  (People without driver’s licenses I suppose.)

Brightness returns on “Making Due”, like the light peaking through the blinds after a long night.  The music is pure uplifting magic, and the lyrics cut clean through.  A sunny guitar hook opens the track, and then Max delivers some of his best melodies and words to date.  That falsetto really nails the hooks home.  Favourite lines:  “I thought we made a deal, you were crossin’ your fingers!”  Or  “Got a pulse, but there’s a few beats missin’.”

Acoustics come to the fore on “Round and Round”, a folksy number (at first) that serves to bridge two very upbeat pop songs.  The band comes in partway and it becomes a little more late Beatles-y in a weird way.  Horns come blastin’ through, then synth, and it grows into something else entirely: something birthed in the early 80s, but also talking about MuchMusic’s Electric Circus TV show circa 1999.  An interesting track that is more than meets the ear.

“Hung Up” is impossible not to dance to.  “The gatekeepers are keepin’ me out, let me in!  Who made you the president, well fucker?”  The horns also return, along with the synth, creating a modern pop rock classic.  And I just love Max Kerman’s trio of “Well fucker?” at the end of the song.  (Also listen carefully for a reference to “Fake Money” from the prior album High Noon.)  No folks, he may be no Axl Rose, but Max Kerman is not afraid of dropping F-bombs right and left.  Fortunately I’m easily entertained and I find his use of the word (usually) effective and not overdone.

A beauty called “Come Back Home” is a quieter, slow ballad, with a thrumming bassline that provides a dreamy foundation, like a pillow.  “All would be forgiven if you’d come back home,” begs Max.  “‘Cause I just wanna be yours again.”  Filled with regret, Max is looking for reconciliation.  Morning Report could in fact be a concept album about shattered relationships and our reactions to them.  “And I thought about all the ways I could hurt you, to even the score of feelin’ deserted.”

The upbeat moods return on “A Little Rain (A Song for Pete)”.  Max has indicated he’s probably an atheist in past lyrics, but here he says “I stumbled in St. Peter’s Cathedral, there I was.  I never tried religion but man, I’ll try anything once.”  I can’t tell if this song is about someone name Pete, or if Max is singing as if he’s having conversations with St. Pete himself.  It means whatever you want it to!  This incredibly catchy tune has a fun, bouncy beat and a suitable synth riff to go with it.  Drummer Tim Oxford is definitely an underrated percussionist who doesn’t play it simple and always has catchy fills.

A slower but powerful song called “And Then Some”  is next to last.  This romantic dreamer is so good!  “And I love every inch of you, and then some and then some.”  Beautiful song and I can’t help but think of Tom Cochrane on the chorus.  Something about Max’s delivery sounds like the Red Rider frontman.

Strangely, after all this power, all these hooks, and thick arrangements, the final song is very different from anything else.  Quiet, understated and short, “Hangs the Moon” is like a coda.  The arrangement is very bare, and Max’s voice is the main feature.  The Arkells occasionally choose interesting, unconventional closing songs, and this is one.  It works, but it’s not among my favourite songs on the album, and besides, it’s only the closer on the original 12 track album.  We still have three more to go, all acoustic versions of previous songs.

“My Heart’s Always Yours” has a completely different feel as a piano and vocal arrangement.  Guitar and percussion come in later.  The vocal melody is identical, but the mood hits differently.  It’s more sombre, though still mesmerising.  For the softer arrangement, Max resorts to falsetto for some of the power-vocal moments.  The wonderful “And Then Some” sounds more like the album version, though stripped back to basics.  It’s still every bit as beautiful as the record, with a few little surprises.  The best of the bonus tracks.  The last bonus track is an unplugged version “Knocking At the Door”.  This version sounds akin to an earlier album like Michigan Left.   Similar vibe.  There’s a cool bit at the end where the band sings together that just demonstrates their talent and soul.  Great tune, cool bonus.  All these bonus tracks serve to enhance an already excellent album.

To go with the new tracks, the gatefold double LP set comes with new cover art.  It’s similar, but has a woman’s face sketched instead of a man’s.  I love when different editions get similar, but different art!  I didn’t even notice at first.

Morning Report is an album that I have listened to intensely for the last couple months, and has made a permanent impression on my soul.  With Max’s lyrics tattooed on my heart, I’m already terribly biased towards love.  The improved track list here corrects any flaws with the earlier version and renders it obsolete.

5/5 stars

 

REVIEW: The Forrest Williams Democracy – “Halos” (2023 single)

THE FORREST WILLIAMS DEMOCRACY – “Halos” (2023 single)

I said it last year, and I’ll say it again:  Anybody who ever dug Big Wreck (and there are lots of you) should be checking out The Forrest Williams Democracy.  Their debut track “In Service of the Greater Good” made us happy last year, but this time we’re smiling ear to ear at the sound of the new song “Halos”!  It was hard to pigeonhole the Forrest Williams Democracy last time, but we bandied about words such as “Sabbath” and “Zeppelin”.  Not this time.  This time I might use words such as “Rush” or “Foo”!  Whether these were influences in any way, I have no way of knowing, but it’s not bad company to be compared to.

“Halos” is upbeat and irresistible!  There are verses that sound like they could have come from the 80s, but then in crashes a killer chorus with distorted vocals a-la your favourite 90s hits.  I find myself listening on repeat, it’s just that good.  Vocally and rhythmically, this is an outstanding track.  Though it is shorter and more to the point than their previous song, it still has a variety of different sections with different feels.  It all works together to make one concise, killer tune that will sound great with the windows down this summer.

“Halos” is out August 1, 2023.  Keep ’em coming, guys….

5/5 stars

REVIEW: KISS Starchild “BlownUps!” review with laser light show (Paul Stanley Weeble Wobble)

From the  Dressed To Kill line by Jabberwocky Toys

5/5 star(child)s

REVIEW: Arkells – Morning Report (2016 CD)

“Hey, Nurse Kat!” I asked on Twitter one summery afternoon. “I already have and love High Noon and Michigan Left by the Arkells. What album should I buy next?”

“Morning Report,” answered Nurse Kat.

“Morning Report,” answered Nurse Kat’s friend.

“Ordered!” I responded.

In sum:  Nurse Kat and her friend were right.

4.5/5 stars

Wait wait wait…that’s not how we do reviews around here!  OK folks, let’s get ready to dive deep.  Coffee:  heated.  Let’s go.

ARKELLS – Morning Report (2016 Last Gang)

First of all I will preface all of this by saying that this album and this band has recently helped me get through a rough patch, so there is a certain attachment that I have made with Morning Report that colours everything I will say about it.  The fact that it made that connection is the important part.  An album that connects, that’s special.  That’s for life!

Here’s the interesting thing.  For an album I love so much, I don’t particularly care for the first two tracks!  I also find the closer underwhelming, but that leaves nine tracks of pure awesome to gush over.  But first, let’s get the opening pair out of the way.

I don’t particularly like when the Arkells get too much into modern mainstream pop, because I do not care for modern mainstream pop.  The opening pair “Drake’s Dad” and “Private School” would fall in this category for me.  Having said this, both songs have awesome choruses.  “Drake’s Dad” has a powerful soul/gospel chorus of “I just wanna hold you, so high!” that raises the roof.  It also has a lush arrangement with strings and samples.  “Private School” has a fun hook of “Ah, fuck off, don’t say I’d do the same!”  Silly fun.

The serious stuff starts with track #3, “My Heart’s Always Yours”.  This suave pop rock ballad just hits all the feels.  Max Kerman has a way with words and I’m certain that the ladies love him for it.  Though keyboards are the prominent hook-delivering instrument, the pure passion and panache of this song just elevates it to the clouds.  A brilliant song, made indelible in the brain and heart!

Things get even better on “Savannah”, the fast acoustic-based song with killer lyrics.  “She was named after, she was named after her dad’s favourite city.  I was named after, I was named after the fact…”  How does Max come up with this stuff?!  He paints a picture of characters, often female, coming in and our his life.  He tells their stories, often depicting musty old apartments, messy beds, and empty refrigerators.  Musically, “Savannah” is even better.  It’s powerful and it has a trumpet solo, so what more could you want?  The chorus is probably the most immediate one on the album.

Then…get ready for chills, for it is time for “Passenger Seat”, the most haunting song on the album and easily one of the most chill-inducing I’ve ever heard.   But then the chorus comes, with Max in a high falsetto, accompanied by sparse piano and keyboard effects.  “Driving on the highway home, this time alone, doesn’t mean the same without you.  I turn on the radio, to something slow, just to let it fuck with my mood…but songs don’t sound the same without you in the passenger seat.”  Who can’t relate to that?  (People without driver’s licenses I suppose.)

Brightness returns on “Making Due”, the song that really means something to Nurse Kat.  I can see why.  The music is pure uplifting magic, and the lyrics cut clean through.  A sunny guitar hook opens the track, and then Max delivers some of his best melodies and words to date.  That falsetto really nails the hooks home.  Favourite lines:  “I thought we made a deal, you were crossin’ your fingers!”  Or  “Got a pulse, but there’s a few beats missin’.”

Acoustics come to the fore on “Round and Round”, a folksy number (at first) that serves to bridge two very upbeat pop songs.  The band comes in partway and it becomes a little more late Beatles-y in a weird way.  Horns come blastin’ through, then synth, and it becomes something else entirely: something birthed in the early 80s, but talking about MuchMusic’s Electric Circus TV show circa 1999.  An interesting track that is more than meets the ear.

“Hung Up” is impossible not to dance to.  “The gatekeepers are keepin’ me out, let me in!  Who made you the president, well fucker?”  The horns also return, along with the synth, creating a modern pop rock classic.  And I just love Max Kerman’s trio of “Well fucker?” at the end of the song.  (Also listen carefully for a reference to “Fake Money” from the prior album High Noon.)  No folks, he may be no Axl Rose, but Max Kerman is not afraid of dropping F-bombs right and left.  Fortunately I’m easily entertained and I find his use of the word (usually) effective and not overdone.

The beautiful “Come Back Home” is a quieter, slow ballad, with a thrumming bassline that provides a dreamy foundation, like a pillow.  “All would be forgiven if you’d come back home,” begs Max.  “‘Cause I just wanna be yours again.”  Filled with regret, Max is looking for reconciliation.  Morning Report could in fact be a concept album about shattered relationships and our reactions to them.  “And I thought about all the ways I could hurt you, to even the score of feelin’ deserted.”

The upbeat moods return on “A Little Rain (A Song for Pete)”.  Max has indicated he’s probably an atheist in past lyrics, but here he says “I stumbled in St. Peter’s Cathedral, there I was.  I never tried religion but man, I’ll try anything once.”  I can’t tell if this song is about someone name Pete, or if Max is singing as if he’s having conversations with St. Pete himself.  It means whatever you want it to!  This incredibly catchy tune has a fun, bouncy beat and a suitable synth riff to go with it.  Drummer Tim Oxford is definitely an underrated percussionist who doesn’t play it simple and always has catchy fills.

A slower but powerful song called “And Then Some”  is next to last.  The romantic dreamer is so good!  “And I love every inch of you, and then some and then some.”  Beautiful song and I can’t help but think of Tom Cochrane on the chorus.  Something about Max’s delivery sounds like the Red Rider frontman.

Strangely, after all this power, all these hooks, and thick arrangements, the final song is very different from anything else.  Quiet, understated and short, “Hangs the Moon” is like a coda.  The arrangement is very bare, and Max’s voice is the main feature.  The Arkells occasionally choose interesting, unconventional closing songs, and this is one.  It works, but it’s not among my favourite songs on the album.

For me, Morning Report is 9/12 awesome songs, with 3 that are not bad but not my bag.

Morning Report is an album that I have listened to intensely for the last couple months, and has made a permanent impression on my soul.  With Max’s lyrics tattooed on my heart, my score will come as no surprise.

4.5/5 stars

Thanks Nurse Kat and friend for the recommend.

 

CONCERT REVIEW: Glass Tiger – Private Concert: Greystone Racquet Club Waterloo, Ontario July 13, 2023 by Dr. Kathryn Ladano

GLASS TIGER – Private Concert: Greystone Racquet Club Waterloo, Ontario July 13, 2023

Photos and review by Dr. Kathryn Ladano

About a month ago, I saw a social media post on Glass Tiger’s Instagram page that was announcing a very special private, acoustic concert, with only 50 tickets available to the public. I immediately thought, “well that sure is cool, but I’m sure it won’t be happening anywhere near me”. To my surprise, that event was happening in Waterloo, 15 minutes from my home. The ticket price was steep – $199 plus tax for one ticket. However, I knew that this was a once in a lifetime experience to see the band that was my absolute favourite growing up. I hesitated at the price for about 2 minutes and then reserved a ticket to ensure I got one before they sold out. I only bought one because I didn’t think I’d be able to convince anyone to pay that price. So, I opted to go to the show alone. This would be my third time seeing Glass Tiger live. The first time was when they opened for Roxette in 2012 at the Budweiser Stage in Toronto. The second time was five days before this concert – at the Kincardine Scottish Festival (a very large, outdoor event with thousands of people in attendance). I’d like to say that I saw them in their heyday in the 80’s and early 90’s, but I was a child living at home then, and my mom wouldn’t let me go!

I received an email two days before show advising us that for general admission ticket holders (me), the doors would open at 6:30pm, we could enjoy a cash bar and free appetizers, and the show would start at 8:30pm. The email mentioned there were also VIP tickets, and those people got to come earlier, receive several free drinks, and were able to access a private reception after the concert. I honestly have no idea how one could get those tickets. They were not advertised on any posting I saw. Because I was going alone and had no one to talk to, I decided to leave my house around 7:30pm, arriving around 7:45pm. As soon as I got there, I bought a beer (Waterloo Amber) and then claimed my spot at the very front of the stage right in the centre. To my surprise no one had staked out their spots to the concert! Everyone else was socializing and hanging out farther away from the stage. I’m sure I looked like a bit of an idiot, standing in front of the stage all by myself for so long. However, I wanted the best possible experience, and I didn’t want a little bit of social discomfort to ruin that. People could think whatever they wanted!

To my surprise, Glass Tiger emerged and came on stage at 8:15pm (not the 8:30pm that we were told). The entire band had to walk right beside and in front of me to get on stage. I was inches away from all of them! Glass Tiger still has three original members that perform in all of the live shows: singer Alan Frew, keyboardist Sam Reid, and guitarist Al Connelly. Their bassist, Wayne Parker, is still a member of the band but he no longer performs live with them due to his wife contracting Lyme disease several years ago. He’s opted to stay at home and care for her, which he can’t do when he’s on the road with the band. Alan Frew has a really great recurring Insagram live show called “Frew the Looking Glass”, where he talks to fans and often has special guests. I tuned in when Wayne was the special guest two years ago, which is where I learned all about this. Glass Tiger now has a different bassist when they perform live. Last week, at the Kincardine Scottish Festival, Tom Lewis filled that role. Last night though, because it was an acoustic show, they had a second acoustic guitar player and I unfortunately do not remember his name. The band was also joined by back-up singer Carmela Long and long-time drummer Chris McNeill.

Every other time I’ve seen Glass Tiger live I’ve been nowhere near the front – always pretty far away from the stage. This concert was the exact opposite. At various points in the show, I was able to make eye contact with every member of the band and I was always met with a big smile (probably because I had a huge smile on my face the entire night). Right from the start of the show, Alan Frew informed us that he was sick, and I noticed that he was sipping tea (rather than beer) during the show. Despite this, you couldn’t tell by hearing his voice. Where you could tell was in his energy – he was definitely lower energy than the previous week. However, it was clear that he still wanted to put on a great show, and he did. The show began with the relatively new song, “Fire it Up”, which absolutely fired up the audience. They played 13 songs in total for the main set, and then two more songs in their encore. The show lasted about an hour and a half in total. I could see the setlist from where I was watching the show, so I was never surprised about what was coming next. For some reason though, they switched up the last song and the second last song. On the setlist, the final song was supposed to be “Animal Heart”, but they went with “Thin Red Line” instead (which ultimately, I think was a better choice). The setlist (as played in the concert) was as follows:

  1.             “Fire it Up
  2.             “You’re What I Look For”
  3.             “I’m Still Searching”
  4.             “My Town” (Alan Frew told us Rod Stewart was invited to sing, but just hadn’t shown up to the venue yet!)
  5.             “This is Your Life”
  6.             “Healing Hands” (from Alan Frew’s first solo album)
  7.             “Right Here Right Now” (a cover of the Jesus Jones hit)
  8.             “My Song”
  9.             “Someday”
  10.             “Diamond Sun”
  11.             “I Will Be There”
  12.             “Animal Heart”
  13.             “Thin Red Line”

Encore:

  1.             “Heroes” (cover of the David Bowie song)
  2.             “Don’t Forget Me When I’m Gone”

 

The setlist was almost identical to the one I heard in Kincardine. There were only two differences: Instead of “Healing Hands” and “This is Your Life”, they played “Rhythm of Your Love” and “Ecstasy”.

While most of the audience was pretty dressed up, I opted to wear my Glass Tiger t-shirt that my mom got me for Christmas in 1988. For some reason, she got me an XXXL shirt – and I’m still swimming in it. The shirt (pictured) is from the album/song “Diamond Sun” and includes the song lyrics, “Love Gives Live” (which in the song is followed by the words, “and life is love”). When the band started playing Diamond Sun, and those lyrics came up, keyboardist Sam Reid looked at Alan Frew and pointed at my t-shirt. Alan then knowingly nodded his head. At another point in the song, Alan Frew also pointed to my shirt when singing those lyrics. The song has a new memory associated with it for me, and I’ll never forget that! Much to my surprise, I only saw one other person wearing a Glass Tiger shirt that night, and it was a significantly newer one. There were literally people of all ages at the show. The youngest was a child – maybe around 10 years old (I have a very hard time knowing what age children are, so I could be way off on that). There were also several seniors there – and many of them were right out front dancing beside me!

When the concert ended, I stuck around for a while on the off chance that I could get an autograph (I brought my CD copy of the “Thin Red Line” special edition, released in 2012). Because there was a VIP ticket option, the staff were clearly trying to ensure that only the people with those tickets had access to the band. I thought I’d wait anyway, just to see. To my surprise, guitarist Al Connelly came out by himself to grab some of his gear on the stage. A security guard was standing right in front of the stage, so I asked him if it would be okay if I asked Al for an autograph. He said absolutely, as long as I didn’t go onto the stage myself. I got Al’s attention and he said he’d come right back to sign my CD because his hands were full. True to his word, Al grabbed a beer and then came right back to where I was waiting and signed my album. Shortly after that, the security crew were telling us “regular” ticket holders that we had to move out of the space to make room for the VIP reception. I figured I would have no other opportunities to get more signatures, so I left the concert.

All in all, a fantastic show. It was a night I’ll never forget and I’m glad that I went ahead and got a ticket even with the higher price tag. While there were some songs I would have loved to hear live and didn’t (such as “Watching World’s Crumble”, “Far Away From Here”, “After the Dance”, and “Stand or Fall”), I still immensely enjoyed the experience and I would do it again in a heartbeat if such an opportunity ever came up again (and I’d have to figure out how to get a VIP ticket!). It was just announced that Glass Tiger will be inducted into Canada’s Walk of Fame – the crowd gave them a lot of cheers to recognize that accomplishment.

5/5 stars

REVIEW: Lego Ideas Jazz Quartet 21334 Toy Building Kit (1606 Pieces)

LEGO Ideas Jazz Quartet 21334 Toy Building Kit (2022)

$130 Canadian (18+)

It took me two leisurely days to assemble this kit.   I must be getting better at this, or this kit isn’t as hard as some of the Speed Champions car kits (9+).   It consists of four classic era jazz musicians, assembled in four stages from smallest to largest.

Each musician is built in conjunction with his or her base.  The bases were fun in their own right, recalling classic childhood Lego building experiences of the 70’s.  The trumpet player was first, a splindly and fragile figure that you’ll want to pose correctly and leave alone.  His red tie, slightly askew between his suspenders, is really cool.  Each of the three male musicians has a unique tie.

The upright bassist is second.  His deep brown instrument has a real Lego string piece for added effect.  The bass itself looks really cool, while the player is skinny and delicate.  His bowtie is made from a Lego video game controller.

The drum kit was one of the most fun steps.  The bass drum building technique features studs on five sides.  There are no stickers, only printed graphics on the sides.  The snare drum, two toms, and floor tom are all slightly unique from each other.  Likewise the crash, hi-hat and ride cymbals.   They come in a shimmery golden colour, but if you like gold, you’ll love the pianist!   Meanwhile, the drummer has a beard and hat, and an undone bowtie.  His stool is actually built upside down.  Very cool design.

Check out the drum kit below, as it is assembled.

The piano player has a lovely orange dress that was fun to build.  Her gold earrings are old-fashioned chromed design, the same as the One Ring from the recent Rivendell set.  Her piano was one of the most complex sections.  It is very curvy, with shapes that would have been impossible without these newer rounded Lego plates.  For authenticity, inside there are 31 little pieces assembled in a row that resemble that piano’s hammers.  The keys themselves are very nice prints.  There are pedals, and the top can be opened up for you to admire the details inside.

The full stage (including stylin’ looking front steps) measure almost three feet in width.  It’s huge, but fits exactly the space of our old VCR in the entertainment stand.  Fear not though — each musician’s stand / stage section is removable, and you can display them any way you like, even on separate shelves.  They certainly look best all together in the order designed.  My bassist’s head is slightly tilted towards the drums so he can hear them clearly.  The pianist is gesturing to her band, conducting their jam session.  The little posability you get is often limited to shoulders and elbows when you get any at all.  All four musicians have ball-jointed necks.

This is a fragile set and not for play.  Be careful dusting!  But have fun building.

4.5/5 stars

REVIEW: Ghost – Phantomime (2023)

GHOST – Phantomime (2023 Loma Vista)

As they often do, Ghost have followed last year’s excellent Impera album with an underwhelming covers EP.  Fear not, there’s a deluxe version of Impera coming for those who needed more, but in the meantime, the five song EP Phantomime had better tide us over.

Ghost have diverse taste in covers, as past EPs have demonstrated.  This time, they’re taking on 80’s New Wave, 80’s Metal, 70’s Rock, and 90’s Prog.  Let’s see how it shapes up.  The band are still sounding very much like an 80’s hard rock band on this EP, much as they did on Impera.

Television’s “See No Evil” strikes as an appropriate title to cover.  Ghost do a fine job of it, turning it into a Ghost-like hard rock anthem.  The opening bassline really jumps out, and strikes as something Duff McKagan may have been inspired by early in his career.  Smokin’ guitar solo here.  It’ll sound great blasting from the car this summer.  But something about Ghost doing covers…why are they never as great as their originals?  Papa Emeritus just sounds better singing about Satan, perhaps?

A sped-up “Jesus He Knows Me” is another great title to see on a Ghost record.  There’s nothing of Genesis here, really!  If you played this for anyone who didn’t know the original song, you’d assume it was a metal original.  Lyrically perfect for Ghost, though!

The Strangler’s “Hanging Around” is centred on a big fat organ part that sounds great and beefy on this CD.  Very different from the original, but like the previous songs, it’s Ghost-ified by Papa and the Nameless Ghouls.  For better or for worse!  It is not especially memorable as a cover.

The controversial “Phantom of the Opera” by Iron Maiden is fourth.  Why controversial?  Maiden vocalist Paul Di’Anno didn’t particular care for it.  I disagree with Paul and think it’s the best thing here.  If Maiden wrote the song today, with their current affectation towards keyboards, it might sound a little bit more polished like Ghost’s version.  Ghost maintain the speed, the riffs, the solos, and all the essential ingredients.  It’s just Maiden, but covered by Ghost, and as such it seems to work better than the other tunes.

Finally we have the Mad Max Beyond Thunderdome theme song “We Don’t Need Another Hero” by the late great Tina Turner.  An interesting and surprising choice even for Ghost.  Jury’s still out on this one.  Nerves might still be a little too raw after Tina’s unfortunate passing.  The Ghost version was released just before, but now…let’s just say jury’s still out and leave it at that.

Casual fans, stick to Ghost’s original albums.

3/5 stars

REVIEW: Arkells – Michigan Left (2011)

ARKELLS – Michigan Left (2011 Universal)

The Arkells smashed the radiowaves on their excellent second album, Michigan Left.  “Whistleblower” raged, with that guitar riff and cutting vocals, cementing the band into the minds of Canadians from coast to coast.  Aggressive and intelligent, it’s a tune that can’t be topped.  “Just a little bit of faith is what I want, it’s what I need in my institutions.”   Singer Max Kerman, a B.A. in Political Science, pours on all the passion that he is known for on this excellent track.  And that’s just one of ten excellent tracks.

Dig deeper into the album and you’ll find many tracks just as great as “Whistleblower”.

One of the band’s many strengths are the backing vocals.  Opening track “Book Club” has rich backing shouts, helping Max focus on the main message.  What a track!  The band’s home town of Hamilton is mentioned, and turns up elsewhere on the album.  The upbeat “Where U Goin” has plenty of the pop goodness that would increase on the band’s next album High Noon.  This is followed by the title track, a brilliant rock tune with unbeatable melodies.  The chorus soars overhead while the band jams and “whoah-ohs!” along.  Cool percussion and accoutrements on this amazing tune.

“Coffee” is a great Canadian song title, don’t you think?  “No no really, this one’s on me, I’ll let you get the next time we go out for coffee.”  Mixing acoustics with electric, Arkells make things a little more contemplative, and it works.  Certain lines here really hit home.  Specifically:  “Does he hit you?”  Sadly I think many of us know someone like the person who is the subject of this song.  Things get slamming again with “On Paper”, a fast tune with a punk-like energy to the choruses, even though it’s just radio rock.  There’s a brilliant riff change and a “Woo!” at about 2:25 that just kills!

The band slow it down a bit for “Kiss Cam”, a romantic single you can dance to.  And the lyrics?  “This campfire won’t last forever, the Hip have only wrote so many songs.”  How’s that for you?  These guys know how to write unforgettable words.  Always have.

“One Foot Out the Door” is different, quiet and tense.  The plucking of an electric guitar becomes the pulse of the song, but as always Kerman is the focus.  A false ending gives way to a deliciously chaotic blast of piano and guitars.  Awesome song.  A poppy riff then introduces “Bloodlines”, the one with the reference to the escarpment in Hamilton.  It’s about walking on eggshells in a relationship, something we can all relate to.

Album closer “Agent Zero” is hard to categorise.   It doesn’t feel like an album closer, but it does manage the job by ending it abruptly.  Perhaps another song would have ended the record with more drama, but “Agent Zero” isn’t a bad song at all.

You could tell these guys were only going up.  And go up they did!  One of Canada’s most popular bands today.

4/5 stars

 

Tune in this Friday for Arkells talk on Grab A Stack of Rock!

REVIEW: Kick Axe – IV (2004)

Part Seven of a series on KICK AXE!

KICK AXE – IV (2004 Elfin Stone)

George Criston is one heck of a talented singer.  Always had a lot of power, and range.  However, his heart no longer appears to be with the rock, but with country and gospel.  There’s nothing wrong with that, but when Kick Axe needed to reunite and put out a new album, a new singer was required.  They didn’t have to look far!  Original drummer and brother of bassist Victor Langen, Gary, stepped up to the microphone to sing.  And what a voice!  The rest of the classic lineup was intact:  Victor Langen, Ray Harvey, and Larry & Brian Gillstrom.  On the road to rock!

Gary Langen strikes a tone similar to the late great Phil Naro of Talas, especially on the track “Rockin Daze”.  More than enough to kick all the axes in the room.  Gary also participates in the songwriting on several songs, and providing the slinky tune “Slip Inside My Dream” himself.  Not at all like the one-of-a-kind Criston, but still more than capable.

The best track is, by far, the aforementioned “Rockin Daze” surprisingly written by drummer Brian Gillstrom.  The cool descending riff, the gritty vocals, and especially the killer chorus, make this one the obvious standout.  “The show is over, your rockin’ daze are done!”  Not by far!  There’s a story in the lyrics, so pay attention, but especially listen to the impassioned vocal and stunning guitar solo work.

While “Rockin Daze” is a high water mark, there aren’t any particularly bad songs.  The rest of them are on the same level.  Solid, enjoyable, well recorded heavy rock with the expected impressive musicianship.  Long bomber “City Lights” is pretty epic.  From heavy rockers like “Right Now” to slow, bluesy ballads like “Consolation”, there is a good cross section of songs.  At an hour long, and with 14 songs in total, it’s a long ride and perhaps could have been trimmed down to 10 songs.  On the other hand there’s an argument for value, especially when it’s a band’s only album in so many years.  There are plenty of good songs here, and nothing to make you jump for the “skip” button.  It’s a modern rock album, not as “metal” as the golden days.  A slight progressive edge, with keyboards and acoustics in strategic locations.  Still plenty of guitars, drums, and wicked singing!  The lead solo work on this album is top drawer.  Don’t expect Vices II, though there’s still a common thread here that confirms it’s the same band.

Nothing lasts forever in rock and roll, and while this lineup of Kick Axe survived five years, in 2008 Gary Langen left and was replaced by Into Infinity singer Daniel Nargang.  The band continue to rock and roll, though IV remains their last album.

3.5/5 stars

Part One:  “Reality is the Nightmare”
Part Two:  “Weekend Ride”
Record Store Tales #773:  Rock Candy + Internet = Kick Axe!
Part Three:  Vices
Part Four:  The Transformers soundtrack (as Spectre General)
Part Five:  Welcome to the Club
Part Six:  Rock the World
Part Seven:  IV