Please join Jex and I today for a repeat of a personal favourite episode from both of us. This was our 2023 Canada Day celebration, which I am running again today at 1:00 PM EST (July 1, 2025). When Jex and I did this show originally, it happened to fall on June 30. I am happy to run it on the actual date of Canada Day in 2025!
If you missed this episode, it was a really special one. For Canada Day, Jex and I dug through our collections of physical media to present what we think are the Top 11 Canadian Bands that are less known outside Canada. It was a very popular episode and a great way to re-launch Grab A Stack of Rock list shows. (You can even see a remnant of the ill-advised “heels era” in Harrison’s art if you look closely!) Most importantly, this episode showcases a whole bunch of bands that you really need to check out.
Thanks Jex Rambo Russell for a terrific Canada Day celebration. We wanted to list 11 Canadian bands that we thought you should know. I think we did a sweet job of it, with plenty of really cool “Show & Tell” on vinyl, cassette and CD. Loads of rarities and obscurities here to check out, and a music video as well.
HAPPY CANADA DAY! Below you’ll also see a graph of the cities from which the listed bands originated. Hamilton won handily! Check out the show and see who, what, and where!
Tuesday July 1 at 1:00 PM EST, 2:00 PM Atlantic. Enjoy on YouTube. You can click the graphic below to jump to YouTube.
In 2025 we have seen spectacular new releases from The Darkness and Ghost, but have Harem Scarem topped them all? Chasing Euphoria could be the album of the year.
Harry Hess (vocals), Pete Lesperance (guitar/bass), Darren Smith (backing & lead vocals), and Creighton Doane (drums) have created a magnificent hard rock masterpiece in Chasing Euphoria, an album that sounds like a brother record to Mood Swings. A record we’ve been waiting for, for a long time. The logo and cover art match the Mood Swings era.
While it is a disappointment that Darren doesn’t play any drums on the album, you can’t really tell. (Bassist Mike Vassos is pictured in the booklet but does not appear on the album, while drummer Creighton Doane plays drums on every song but isn’t depicted inside.) Joining the band are ex-Honeymoon Suite keyboardist Ray Coburn, and Coney Hatch bassist Andy Curran (on “Better Than the Devil You Know”). The ten new songs here are among the best written by this band. The Japanese release includes four bonus acoustic renderings, plus a DVD with two music videos and an exclusive “Making Of” video. The album was, as usual, self produced by Harry and Pete.
One of Harem Scarem’s trademark sounds is the blend of Harry Hess’ vocals, layered in with Darren and the band. The opening title track is thick with that sound on the impactful chorus. Like classic Harem, this one boasts dark but still uplifting melodies with powerful hard rock. Importantly, Pete’s guitar tone is right in the pocket of what we loved about him back in 1993. His solo here could have fit on Mood Swings without a blink.
The upbeat “Better Than the Devil You Know” is a brighter song, with softer verses and a regal chorus. It brings warm feelings and nostalgia of happy days. Pete’s solo on this song is lyrical and dexterous. “Better the devil you know, than you angel you see,” advises Harry Hess.
Chunkier riffing characterizes the speedy “Slow Down”, but what I really like about it is the way Pete goes from rhythm guitar to tricky fills, seamlessly. This rocker is an album highlight, on a record filled with nothing but. The chorus is surprising when it hits, and catchy as the flu. Pete’s solo is an album highlight.
Darren Smith makes his only lead vocal on “Gotta Keep Your Head Up”, a mid-tempo groove with impact. Darren’s voice is a bit raspier than Harry’s, but they blend so well on the choruses. This is one of those inspirational rock songs about not giving up or backing down. The subtle backing keyboards really add texture. Another winner.
The first ballad of the album is “World On Fire”, which would be the side one closer in a vinyl world. This is a sentimental song very much like early Harem Scarem, possibly fitting best into the Voice of Reason era (1995). In a near-perfect album, this song ranks near the bottom, which isn’t really a bad thing on an album like this. The layers of backing vocals plus Pete’s solo adds some meat to the bones.
“In A Bad Way” returns the chunky Pete rhythm guitar to the forefront. The roaring chorus of “I’m in need of your love in a bad way,” is the song highlight. Pete’s solo is a little different, and a lot cool.
Softer is “Reliving History”, but it’s not a ballad. Even when Harem Scarem write a song that is a little more laid back, they manage to inject it with power. This is a Leppard-like song circa Adrenalize.
The heaviest song is “A Falling Knife”, a fast rocker with Harry giving it all vocally, sometimes breaking into a hoarse rasp, but without ever losing control. This is probably the only song that has a late-90s Harem Scarem vibe. It could fit on albums like Karma Cleansing or Big Bang Theory as well as this one. The lush backing vocals are a Harem Scarem trademark and the backing organ thickens the soup.
“Understand It All” dials the heaviness back a tad, and compensates with great verses and an absolutely killer chorus, dense with those Harem Scarem vocals. Pete’s guitars balance the rhythm parts with catchy fills in a tasty way, and his solo is killer as ever.
It’s all over before you know it. “Wasted Years” is the highspeed closer, an album highlight and an absolute smoker. It has the tension and the melodic power that classic Harem Scarem has always embodied. One of the best tracks, in an album with nothing but “best tracks”.
It’s all over before you know it, but Harem Scarem always give the Japanese releases a little extra. This release comes with four stripped back acoustic versions: “Better Than the Devil You Know”, “Slow Burn”, “In A Bad Way” and “Reliving History”. It has been said that if you want to know if you wrote a good song, play it acoustically and see. All these songs pass the acoustic test, though the album versions will remain the mainstays. These acoustic tracks are a nice coda. They give you a little extra, without compromising quality by including filler songs. It’s like a comedown after a wild ride, though Pete’s acoustic solos sure have spark.
The Japanese album also includes a brief DVD with videos for “Chasing Euphoria” and “Better The Devil You Know”. In an interesting twist, Darren Smith mimes the drums in these videos, even though Creighton Doane played them. Mike Vassos does appear on bass in these videos. There is also a “Making Of” feature that you will probably watch once. It’s nice to get these bonuses, but how often will you pop in this DVD? Rarely, because you need a multi-region player to see it.
Harem Scarem have made a lot of great albums over the years, that have been forgotten and swept under the carpet. This one deserves a better fate than that.
5/5 stars. Best album by Harem Scarem in a long time.
Like my previous review of Jim Cuddy’s “We Used to Be the Best of Friends“, this is more of a share than a review. Glass Tiger’s Alan Frew is voicing his love of Canada with his new song, “Free To Be Strong and Free”. Like Cuddy’s already-classic, this song evokes some of what we love about being Canadian. It is based on simple acoustic instrumentation, and features a nice middle section that you can’t call a guitar solo, but fills that gap.
As for Alan, he still sounds fabulous, even though it will soon be 40 years since hearing Glass Tiger’s debut. “This is Canada’s song, where my heart belongs,” he sings, and you can feel his passion. You will rarely find people who love their country so much as Canadians. Alan Frew was born in Scotland, and he has written songs about that, but make no mistake: he is Canadian.
RECORD STORE TALES #1174: Big Feelings & Why I’m Upset With the Arkells
I bought my first Arkells album High Noon back in 2017, but I really fell hard for the band in 2023. The Canadian pop rock quintet hadn’t put out any songs I disliked, but in 2023 a combination of personal drama and a need for Canadian tunes led me to dive into the band all the way. It was May, and in less than a year I had acquired all the albums. That is a short period of time to absorb so much new music, but I did, and I loved virtually all of it. There are actually few bands I love as much as the Arkells, and only a handful that I fell for so quickly.
I love their lyrics, from everyman tales of not being able to pay the rent, to social discourse and critique. Singer Max Kerman was a Poli-Sci major, and also has his finger on the pulse of the youth. This results in some pretty cool lyrics. As for the band, their musicianship is top notch. Drummer Tim Oxford is in my top Canadian drummers of all time, and you know that’s an elite list. I’m also a big fan of bassist Nick Dika, who always has deep tones and fabulous bass melodies.
Shortly after I went all-in, the band released a new album called Laundry Pile, an acoustic affair with melancholy feelings. A bit of a slow burner, but a brilliant album. This was followed by the 2024 all-covers LP, Disco Loadout. I enthusiastically went bonkers for it, and got it on CD and signed vinyl. Their eclectic set of tunes, from Abba to Whitney interpreted by the rock band, satisfied deeply. They threw in a couple rock tunes by Springsteen and Hall & Oates, and I just liked the whole album. Could I fall in love any more with the Arkells?
Full stop to the summer of 2024. So soon after the Disco Loadout album, Arkells announced the release of a new single called “Big Feelings”. “It came together quickly,” said the band. “It started with a bold drum loop that Tim made, and was quickly arranged when the band assembled for a session in February.”
A few weeks after Aaron and I visited Sonic Boom records in Toronto, the Arkells announced an appearance at the store. They brought with them 150 copies of “Big Feelings” on 180g clear vinyl, hand cut by Red Spade Records in Calgary, Alberta.
150 copies were all that were made. And they sold out that day. No copies have ever shown up on Discogs.
And this is why I’m upset with the Arkells. I had just been to Sonic Boom a few weeks earlier, and there was no way I could make it down for that store release. Trying to get there early enough to get one of the 150 copies…being in a crowd like that…no, no thanks.
I guess you could say, “Why are you upset, Mike? It’s on you that you didn’t go.”
Sure, that’s true. However, I think I’m on record for despising these kinds of releases that I’ll never get my hands on physically. Maybe I’m not mad at the band; maybe I’m mad at the practice. However it is the band that I have taken it out on. “Big Feelings” remains the only Arkells song I don’t have, because I refused to buy it on iTunes. I haven’t even put a “like” on the music video. Oh sure, I’ll probably give in eventually. It just really bugs me that a band of Arkells’ stature, with thousands of fans who value physical media, would only release 150 copies in such an exclusive way. Some might see that as indi-cool. I don’t. Arkells aren’t some garage band. They have fans, and I feel a real disservice by this release.
STIR OF ECHOES – Stir of Echoes (2008 Stir Records)
When Hamilton’s near-legendary metal band Mystique broke up at the end of the 1980s, singer Ray D’Auria bounced back with the hard rocking Slam Glory. That is a story and album unto itself. D’Auria’s next major release was a full lengther with quartet Stir of Echoes. The band formed in 2006 with a self-titled CD release in 2008. According to a note from filmmaker Marco D’Auria, the album was engineered by Steve Negus of Saga fame. What musical avenues would Ray explore this time, two decades after the end of Mystique?
The answer is: if Mystique was metal, and Slam Glory was hard rock, then Stir of Echoes is good old rough n’ raw classic rock. A heavier Led Zeppelin, perhaps.
Ray’s voice has transitioned to a rougher, more raspy delivery though still with the power and range we expect. Opener “Sentimental” boasts some slippy-slidey guitar bits and bites, while a locked-in bass/drum groove keeps things moving. This bluesy rocker is world class. I like how the rhythm guitar part drops out when the solo comes in – very live sounding. That’s Marco Ciardullo on guitar.
Track two, “Alone” is an upbeat rocker with Ray shredding the vocal cords throughout. It’s actually a bit of a drum showcase on the side, with plenty of solos and fills by Darryl Brown. There’s a bit of Zeppelin in the vocal delivery when Ray sings, “I, I…” at the midway point. A brilliant track that smokes with a bass solo (by Carmine…just Carmine) and impressive musical exposition.
The groove of “Sold It All to Fame” recalls the classic British blues of bands like Humble Pie. It sounds like it was born from a jam. There’s a tasty guitar riff to bite into. Following this groove, they go heavier on “Bonefoot” which might recall a Sabbathy vibe, circa the first three or four albums, in the riff and looseness. “Lies, lies, lies!” screams Ray D’Auria like a man wronged.
Stir of Echoes slow things to a nocturnal crawl on the blues “In the Cold”. Many classic heavy rock bands boast a classic slow blues, and this sounds like Stir of Echoes’ stab at the genre. The band gets to stretch out musically while Ray focuses on the pain. “All of this time…alllll of this time…” Like a classic-era rock singer, Ray sounds out of another decade.
The burner gets turned up to 10, and things start smoking again on “Little Dog”, an absolute blitz. Then they go for a more fun vibe on “Shot Gun”, which has one riff that definitely reminds us of Zep’s “How Many More Times”. You have to question how Ray could sustain this kind is singing! It’s top level, at all times, with the rasp and high notes! At the end of the song, they ignite the afterburners and the whole thing goes stratospheric.
The first respite on the album lies within the acoustic intro of “Burning in the Rain”, the closest thing they offer to a power ballad. Emphasis on the power. Really, it’s more of a bluesy showcase for Ray to offer up some of his most passionate singing. “Shake” takes things back to boogie, and the mid-tempo groove really allows the bassline to breathe. This is a great song to dance or drink to.
The only song you might consider “soft” would be the acoustic closer “Too Late”. Very Zeppelin III in feel. The lack of volume allows Ray to lay back a bit and really just sing. It’s just him and some acoustics, so the spotlight is on, and he uses it well. Brilliant performance.
Except “Too Late” isn’t the closer! There is an unlisted bonus track called “Wild Eye” which may be the best of the bunch! It’s certainly one of the most memorable. The stuttery opening riff is just a little different from the pack.
Stir of Echoes aren’t as diverse as Mystique, and the subject matter is more grounded. Stir of Echoes is more laser-focused on a specific kind of rock, and they go all-in. They do what they do very well. The last band that attempted this kind of sound and did it this well was called Badlands. If you know, you know. Get it.
LAWRENCE GOWAN – …but you can call me Larry (1993 Anthem/Columbia)
Lawrence Gowan was clearly making changes for his first album since 1990’s Lost Brotherhood. He was now going by his full name, Lawrence Gowan, though long-timers had a hard time not just calling him Gowan. He assembled an ace crew of musicians including Robert Fripp and Tony Levin from King Crimson, Ken Greer from Red Rider, Jann Arden, and drummer/producer Jerry Marotta, who goes back with Levin. The result is a more organic album playfully called …but you can call me Larry. The sound is pure 1993, in the best possible way.
Tinkling acoustics open “Soul’s Road”, a far cry from from the synthesizers of a decade ago. This great song soon kicks into gear on the chorus with the crackling electric guitars and the cry of a pedal steel (by Greer). It reverts back to acoustics and piano on the verses. Gowan employs just a touch of rasp in his voice for an earthy vibe. It has just the right balance between hard and soft. Great opening track, and should have been a hit.
“When There’s Time (For Love)” features Colin Linden on guitar, and stays in the acoustic zone. This slow song is loaded with melody and passion, and once again really comes to life on the excellent chorus. This is a ballad for a quiet night in, but it isn’t lifeless at all. The drums keep it moving, and the musicianship on all instruments is absolutely stunning. Such a full, rich mix. You can really feel the bass. That’s Paul Northfield’s mixing work, done at Morin Heights in Quebec, where the album was recorded.
Co-written with Jim Vallance, “Innocence” goes for a different vibe, with a tense little piano line soon giving way to a powerful chorus. Tony Levin shares bass duties with Terry Gowan, who is currently touring with his brother in Styx. This rocker still maintains a touch of acoustic guitar in the background, but this is a rock song with just a hint of nocturnal menace.
Back to ballad territory, “Your Stone Walls” has a folksy sound, beginning with minimal instrumentation and letting the acoustic guitar carry the weight. It gradually builds, adding organ and drums, but the folksy sound remains. It’s an exceptionally beautiful song, especially as it continues to grow into something more epic, with soulful backing vocals and keyboards.
Things really pick up on the moving “Dancing On My Own Ground”. Levin’s bass has a lot to do with why this one moves with such an incredible pulse. Upbeat and bright, this acoustic rocker is probably the album highlight for those who like feel-good music. There’s a violin solo to boot. Gowan’s music always includes outstanding musicians, often from the progressive rock genre. It’s no wonder he ended up in Styx with that kind of experience.
By contrast, “Cry On My Shoulder” is the opposite; a somber piano ballad. (Was the idea of having two “On My…” song titles in a row a coincidence?) This one features ample cello parts, and a stunning slide guitar part by Ken Greer.
Things go suddenly retro on “Moonchild’s Psychedelic Holiday”. Using sitar became more common in the early 9os, and of course that combined with the word “psychedelic” means we’re going back to the era of free love. There are only slight Beatles-isms incorporated, but Jim, both Hendrix and Morrison, are cited in the lyrics. It feels a little corny and contrived, but others may think it’s the best thing on the album. Enjoy some purple haze and see what you think.
The somber acoustics of “You Never Let Go” feels like we’re back on track. Yet, it’s poweful. The lyrics tell a tale of a friend, a bad seed, that Gowan can see the other side of. Even though it is mostly a quieter song, there is an undercurrent. A drive. A power. A tension. It’s all released at the halfway point when the electric guitars kick in. One of the more impressive songs on the album.
Larry goes upbeat again on “(In The) Wild Summer Night”. It never goes too hard or heavy, but this rocker has some rhythmic piano, great drums, and a bouncing chorus to keep the party going. If you can criticise …but you can call me Larry for anything, it would be that the album gets burning too rarely. There is nothing here as bouncing as “Strange Animal” obviously, but “(In The) Wild Summer Night” gets the blood flowing. The soul singing comes back for the outro, as the drums just light it up. Get out of your chair!
“Last Laugh” features Jann Arden, slide guitar, dobro, and hand percussion. This laid back acoustic song really breathes when Jann joins Lawrence on the second verse. Most songs on this album seem to have a feature or two that makes them stand out from the others. In this case it’s Jann Arden. Though it is not a loud song, it’s very powerful. “We’ll have the last laugh, now…” they sing.
Album closer “Little Face” is the one with Robert Fripp. Even so, I would have held this song for last anyway. It is meant to be a closer, with a tension that builds and builds as the song goes on. Impressive drums here, and a dark powerful vibe with exceptional guitar work by the King Crimson mastermind. A burning closer with a great chorus. “Little Face” is the cherry on top of an impressive record.
One look at the covers, front and back, and you know immediately that the design is by Hugh Syme. Hugh did a number of albums in 1993 with similar fonts and marble designs: Rush, Coverdale-Page, and Def Leppard too. In fact this CD layout is virtually identical to Retro-Active by Def Leppard. Hey, if it works…
By now, everyone has heard the anthem “Blame Brett”, a song named for Jordan Miller’s ex, Brett Emmons of the Glorious Sons. While we don’t have Brett’s side of the story, from Jordan’s POV, the relationship is to blame for the following “wild” phase. “So sorry in advance, before you take off you pants, I wouldn’t let me near your friends, I wouldn’t let me near your dad.” This exceptional single has been an earworm all year, and the band are now reaping the rewards with international touring and an appearance on Kimmel. “Don’t blame me, blame Brett!” has become a rally cry.
“What Doesn’t Kill You Makes You Paranoid” boasts a strong chorus, wicked fuzzy guitars and delectable melodies served on a plate of a great beat and fun lyrics. “I think I’m becoming a conspiracy theorist…everyone says that love exists, but I think that it’s a myth.” A great song that screams hit potential.
“Me & Me” plays with tempo, and goes for the accelerator with an 80s sound, and great shouted backing vocals. One of the strengths of this band is the vocalizing by the band, making it a party atmosphere. The party continues with “Everything is Boring” and its “ah, ah” vocals. “Doctor please, just pill me,” sings Jordan Miller to the ADD generation. The pace slows down on “My Body Ft. Your Lips”, a playful title. This is a duet with an American band called Beach Weather, and the female/male vocal lines work really well. Though it takes a minute to catch, this is a great soft, slow burner.
“Kismet” has a speak-sing style on the verses, before the chorus bursts out in exuberant upbeat excitement. The choruses are great, with a disco flavour and a quick beat, but the verses take some getting used to. Moving on, “Shower Beer” is a great title. You may have heard of the concept of drinking a beer in the shower. “I’ve got fear of missing out, I wanna get drunk and sit up, I need to be talked about,” sings Jordan Miller.
“Edge of the Earth” has proven to be a success for the band, and you can hear why. This ballad with a beat has passionate vocals, amazing melodies and harmonies, and the right vibe for a summer cruising hit. That’s followed by a mid-tempo number with acoustic undertones called “If A Tree Falls”, which has nothing to do with the Bruce Cockburn song of the same name. This is a really pretty pop rocker with a nice little guitar solo that is played for vibe. The album goes back to high-speed pop rock on the closer “Cigarette”. “I wanna be your cigarette,” squeals Jordan Miller, on one of the album’s most fun tunes.
Here’s the big problem with this CD. Two, in fact:
Difficulty to purchase. The only way I could get this CD was at a show (sold out) or on their website ($15 shipping).
No booklet, no credits, no nothing. Only the song titles are listed on the back, not even the band members!
This album should be in every store. It’s a hit waiting to happen.
It has been a hell of a week. There’s an untold story here; one that I have elected not to tell. Let’s just say I’m out a lot of money, and other setbacks have caused me to take a step back from social media for a few days. Just too much going on for me to deal with in a calm and cool manner. Better to retreat into the shadows a bit.
As always, the Show Must Go On, and so I was determined to do my best on Friday May 17’s Arkells special on Grab A Stack of Rock. It was the first show I’d done without a co-host (just a special guest) in a long while. I felt unprepared despite a whole week of listening. Things came together at the last minute, and all I needed was the new Arkells album, Disco Loadout Volume One, for the show to go right. I planned to spend the afternoon listening to the CD and hoped to open up the autographed clear splatter vinyl live on the show.
The thing about going live is that it’s a double-edged sword. The plus is you get the rush of live viewer feedback, and that sparks the show to be so much more exciting. The negative is that when things go wrong, there’s nothing you can do about it. That’s live for you.
My record was supposed to arrive on May 15. It didn’t. May 16 came and went. Surely, it would be in my mailbox by May 17, the release date. It had to be.
I arrived home from work early on Friday. I raced with my heart pounding to the mailbox. “It’ll be in there,” I reasoned to myself. “Why wouldn’t it be? It has to be.”
It wasn’t.
Furious, I went right to my computer and called up the tracking.
“Good news!” said Canada Post. “Your parcel was delivered to your locked condo mailbox on May 16!”
Umm, no it wasn’t! I picked up the phone. I searched for a phone number. Do you know how hard it is to call Canada Post on the phone and get a human being on the phone? I was completely unsuccessful.
I went ’round and ’round on phone menus for half an hour. I called my local post office, only to go to voicemail after an agonisingly long wait. I swore up and down, and let out a primal yell that would have frightened the upstairs neighbour, had he been home.
I called Encore Records, and fortunately they had CD copies of the album in stock. I ran downtown, grabbed the album from them (and a few other discs as well). I was greeted there by old pal Chris, and I want to thank Encore for saving the day. Once home, I immediately played the album once-and-a-half times, and began my show prep. (I also picked up three other discs – a 4 CD Faster Pussycast set, the new Beatles single “Now and Then“, and the new Ace Frehley 10,000 Volts.)
I wouldn’t be able to open the signed splatter vinyl live on the show, but I filed a report with Canada Post. It was all I could do. There were no other options available. Showing a CD copy wouldn’t be as exciting, but at least I had it in hand and could read the credits while listening.
The show went incredibly well; far better than I expected. This was due to special guest Nurse Kat and her enthusiasm, and to some excellent notes from D’Arcy Briggs. I’m really happy and proud of the show we did together. I’d never attempted to do a show on a new album, on the day of release before. We were treading new ground in multiple ways, and while it almost didn’t work, it ended up being one of the best shows to date. The passion for the music came through.
Two days later, there was a knock on the door. A tall gentleman from down the hall had a parcel for me. It had been delivered to his unit.
How this happened, I’ll never understand but someone at Canada Post wrote the number “103” on the parcel. Even though my correct unit number was written clearly on the parcel where the address was, this scribbled “103” put my parcel in the tall man’s mailbox. Fortunately he is one of the good ones, and not all of them are. Just this week, an upstairs neighbour had an expensive Amazon parcel opened and stolen. It’s not a good feeling to have mail thieves in our building, but I have been victim twice before. I’m glad this wasn’t the third time.
Even though I didn’t get to unbox it live, Peter Kerr from Rock Daydream Nation was kind enough to join me for a quick look at a beautiful record. It looks as great as it sounds.
And so the week of stress comes to a happy ending. The other bit of good news is that the social media hiatus was a good idea. I went on a writing bender like never before. Expect loads of reviews this spring and summer.
Thank you to the guy down the hall, to Peter Kerr, to D’Arcy Briggs, and to Nurse Kat for turning this potential disaster story into one of triumph!
Five albums in five years. Album #10! First covers album. The Arkells show no signs of slowing down!
Hamilton Ontario’s Arkells are the kind of band that clearly love music. You get this feeling from certain bands, such as Foo Fighters, or Weezer: that the members just love playing music, and sometimes want to bust out a favourite song for fun. Many of the songs here are tracks that the band have played live. Disco Loadout exudes fun from every groove (or 1’s and 0’s if you listen digitally), and yes, it does include some disco (Abba)! 11 tracks: the perfect length. Genres range from modern pop (Robyn, Harry Styles) to classic rock (Bruce Springsteen, Hall & Oates, Huey Lewis & the News) and pop (Whitney Houston, The Jackson 5).
Robyn’s “Dancing On My Own” has a chugging “Eye of the Tiger” kind of riff, paired with a rich horn section. Drummer Tim Oxford opts for a big beat on this one, with his usual swing. Singer Max Kerman pours it all in, and delivers big hooks on the chorus. Check out that bassline by Nick Dika, a thrumming pulse that gets the blood pumping. “Dancing On My Own” gets the album off to a fast paced start, upbeat and celebratory.
Keyboardist Anthony Carone takes the Jackson 5’s “I Want You Back” to the right place from the start, but it’s those big thick horns that really nail the authenticity factor. This is not a song for the meek to cover. The Arkells have had a soulful side that really came to the fore starting with Morning Report. This track allows them to really let it out. Without a bump, Hall & Oates’ “You Make My Dreams Come True” continue the blue-eyed soul vibe. A favourite song of any Toronto Maples Leafs fan, this song is sure to be a popular one in Canada. The Arkells do a wonderful version, and though it’s hard to top Darryl Hall’s vocals, Max does an admirable job.
Harry Styles’ “As It Was” has a keyboard line similar to “Take On Me” by A-Ha. It has a nice retro vibe and a taut bassline by Nick Dika. I like when they change the lyric “Harry, you’re no good alone,” to “Maxie, you’re no good alone.” It has a beat and you can dance to it, but it’s not as classic as the other tracks on this album.
Guitarist Mike DeAngelis gets to sing co-lead vocals on Peter Gabriel’s “Sledgehammer”, and it’s a delight. His voice is more similar to Peter’s, so when his lines kick in, it really adds to the authenticity (there’s that word again). Speaking of authenticity, “Sledgehammer” lays on the horn section heavy once again. This is a really fun cover. Anthony Carone has the right 80s keyboard tons, and Oxford plays it for the beat, but not without throwing in some cool rhythmic tricks. The saxophones are nice and thick, and you could swear it was 1986 all over again.
The first of two ABBA covers is a re-recording of “Gimme Gimme Gimme (A Man After Midnight)”. An earlier version was on 2022’s Apple Music Home Session. In both versions, Nick Dika shows an expert level knack for danceable but powerful bass. Meanwhile, Tim Oxford is absolutely killing it on the drums, nailing both the groove and a hard-hitting power. This song is a showcase for the upper echelon rhythm section of the Arkells. There’s even a bass solo.
Speaking of bass, it’s prominent on Dolly Parton’s “9 to 5”. Dolly is having a moment again, so the timing is right to cover a Parton hit. It’s just pure fun, and not too serious. The horns are back to thicken things up with sass and melody. Lyrically, the song actually fits in well with some of the Arkells’ earlier hits like “Oh, The Boss Is Coming!” as a protest over the big guys in the expensive suits. Stay tuned for a great sax solo, followed by a rowdy trumpet solo, and completed by a trombone showcase! As if that wasn’t enough, Tim Oxford gets a drum solo, before Max orders that they go “New Orleans”! What a trip!
“I Wanna Dance With Somebody” by Whitney Houston might be the most unlikely song on this album, but of course no pressure. The Arkells have it covered. Once again the bass is up front in the mix, really allowing the groove to come through.
Album highlight: “Dancing In The Dark” by Bruce Springsteen. The Arkells have gone with a Springsteen sound before (“Nowhere to Go” featuring Jake Clemons) so they clearly know what they’re doing. This song drives harder than Bruce’s version, while retaining all the hooks. Some may think Max Kerman is ill-suited to sing a song by a guy with a raspy voice like Bruce Springsteen, but no issue. Awesome track, and hopefully a future live staple.
Huey Lewis’ “The Power of Love” is a definitive 80s anthem. Of course, the Arkells are all over it. Anthony Carone’s keyboards are particularly noticeable, while the rest of the guys just sit back and let it groove. Mike DeAngelis has a fun guitar solo, and the reliable horns deliver those familiar hooks that you remember so well. Every base is covered. A perfect version.
The album closes, as it should, on the last ABBA cover, “Dancing Queen”! What can one say about “Dancing Queen”? It is one of the world’s most perfect songs, but also, be wary: to cover a song this familiar and this classic is to frolic on thin ice. Yet the Arkells, with the combination of ace rhythm section, the essential keyboards, and horns, manage to pull it off. Max Kerman’s delivery is pure love and enjoyment of singing a classic song.
Engineered by Harem Scarem’s Harry Hess, this album sounds absolutely fantastic, with highs and lows coming through loud and clear. Hopes are high that a Volume Two will eventually follow!
Part Six-point-five of a series on KICK AXE!
Thank you to JEX RUSSELL for donating this to the collection.
KICK AXE – “Piece of the Rock” (from Rock the World – 2005 remaster) (2005 Amber Interactive)
The Kick Axe discography, though small, is difficult to complete! There are the first two albums released on Pasha in the US, and the third album on Roadrunner in the US. Rock Candy reissued the first two albums with bonus tracks, and the third without, so they’re fairly easy to get. Then we also have a fourth independent album, an early independent single, a live track released by Playboy, and two songs on the original 1986 Transformers soundtrack (under a different name). That’s about it, right?
Nope!
One important song almost slipped through the cracks. When Kick Axe were working on Vices with Spencer Proffer, the producer was considering using the band to help write the next Black Sabbath album. Additionally, Ian Gillan was out of the band, and they needed a singer. Kick Axe’s George Criston was one of the singers considered, though Kick Axe didn’t want to lose their main man. “Piece of the Rock” was one of the songs written for the Sabbath project. Though Sabbath didn’t use it, like “Hunger”, it was recorded and released by King Kobra on their debut Ready to Strike. As a result, the Kick Axe version went unheard for almost two decades.
That version, harder than King Kobra’s, is actually available on an obscure Kick Axe remaster that pre-dates the Rock Candy versions. Strangely enough, it ended up on a reissue of Rock the World, an album it had nothing to do with.
The plot thickens. Rock the World was remastered by Kick Axe’s Ray Harvey…who was not in the band when it was recorded, and is not on the album aside from the bonus track!
Kick Axe Career Retrospective
Things get crazier still – and this is something that isn’t documented anywhere, even on Discogs. Upon listening, some songs are actually longer! “Rock the World”, for example, opens with two seconds of pick-handling that is not on the original album. The Fleetwood Mac cover “The Chain” has a much longer intro (almost double its original length), with a short section restored. “Red Line” is also significantly longer. Considering the Rock Candy release has no bonus tracks, this version might reign superior. Ray Harvey clearly decided to re-edit some of these tunes as well as remaster. There does not seem to be a remix. The remastering isn’t as loud as the Rock Candy version, though it still sounds fabulous.
Where Rock Candy exceeds is in liner notes and packaging. The Amber Interactive version doesn’t have the original artwork, and actually looks really cringe! The back cover is a computer generated sword handle with a metal “X”. Need I remind you, an axe is not a sword! The front cover artwork is atrocious, even compared to the low budget looking original. It does have the lyrics to “We Still Remember”, which is interesting in itself. See how many references to other bands you can find. “In the days of the haze, the colour was deep purple.” “We ride the killing machine.” “And the wind it cries Mary.” “We won’t get fooled by helter skelter.” References within references.
“Piece of the Rock” should have been released by Kick Axe back in the day, but here it stands on an album! It sounds completely finished for release, with the lush backing vocals fully overdubbed and ready for radio. The other nice thing is that it gives you an old school Kick Axe song on an album that was largely more complex and less instantly accessible. That’s not to say that Rock the World is weak album. Our review will attest to that (links at bottom).
This version of Rock the World deserves an extra half-point for the bonus track and lengthier versions of existing songs. Extra unadvertised value is always good. Shame they couldn’t use the original art (licensing issues), but small gripe.
Part Six-point-five of a series on KICK AXE!
mikeladano.com 