Canadian rock

REVIEW: April Wine – Animal Grace (1984)

APRIL WINE – Animal Grace (1984 Capitol/EMI)

11 albums in, and April Wine were riding high!  Myles Goodwyn, Brian Greenway, Steve Lang, Gary Moffet, and Jerry Mercer bunkered down in Morin Heights with Mike Stone co-producing, and emerged with some true grace…Animal Grace.  Let’s take a dive into the nine new songs they emerged with in 1984, all but one written by Myles.

 

 

 

 

THIS COULD BE THE RIGHT ONE.

Lead track and lead single.  Great riff, accompanied by melodic keyboards.  Myles’ impassioned vocals make for a great chorus, but the lush backing vocals really sell it.  There are some cringe lyrics though –  “I just wanna please you.  To give you pleasure is a pleasure for me.”  There is a superb double-tracked guitar solo, and nice thuddy 80s drums with that processed sound that went in and out of style.

SONS OF THE PIONEERS

Second single.  It has an interesting, jagged kind of riff.  It’s an an unusual song, a little proggy in vibe.  A little spacey in atmosphere.  More cringey lyrics – “Men not afraid of fear”.  “Sons of the Pioneers” is definitely one of the most interesting songs because it’s a bit different.  There is an absolutely smashing guitar solo.  Melodic and memorable, with a lot of fun hooks and some whammy work.

WITHOUT YOUR LOVE

This killer not-ballad sounds very much like a Journey outtake from 1983’s Frontiers.  Nice keys open the track, but it does sound like a Jon Cain backing a Neal Schon riff.  Not that this is a bad thing.  Even the drum patterns remind of Steve Smith in Journey.  One of the top tracks.  Almost haunting chorus with those keyboards.  Three in a row great guitar solos with memorable hooks, this one being particularly catchy.

ROCK TONITE

Just a good time, party song with a simple sentiment:  “Let’s rock tonight!”  It is the hardest rocking song so far, with basic lyrics about letting go and rocking tonight.  Don’t want no revolution, let’s rock tonight.  It’s feels so good.  Simple message.  First song on the album without a dominant keyboard, though you can still hear them.  This song is simply based on the riff.  The guitar solo this time is less full of “grace”, and more rock and roll energy.

HARD ROCK KID (Tom Lang cover)

Shades of “I Got Your Rock” by Frehley’s Comet.  Nice low-key chugging going on in the verses, with some wah-wah guitar accents.  Sounds very typical of the era with that chorus echo – “Hard rock kid…kid…kid!”

MONEY TALKS

Very sweet saccharine chorus, again with the great backing vocals.  The song itself is a bit janky, but the chorus really knocks it out.  Again, it’s something that Frehley could have done with the Comet, but the backing vocals are more from the oldies era of the early 60s.  Not among the top tracks on an album stacked with them, but the chorus is one of the best on the album.

GIMME THAT THING CALLED LOVE

This atmospheric song features keyboards of two types:  eerie opening keys, and different eerie ones on the chorus!  It’s a really interesting and unique slow-paced song.  Maybe Alice Cooper could have recorded it on one of his 80s blackout albums?  If he has, it would be a classic today.

TOO HOT TO HANDLE

A bit Rainbow, circa “Danger Zone” from Down to Earth.  The keyboards and guitars combine into one nice, smooth opening riff combo.  The chorus features great harmonies once again, but this song isn’t a standout.

LAST TIME I’LL EVER SING THE BLUES

Here we go with the classic blues groove.  Myles’ approach to the blues here is like Kim Mitchell’s, or Van Hagar’s.  The blues is the basis, but it’s a far more fun version of the blues.  The kind of blues to dance to.  The April Wine lush harmonies don’t quite meld with the blues, but maybe that’s what makes it unique.

With Animal Grace, April Wine concocted a strong collection of songs with 80s production values perfectly in synch with what was happening at the time.  A strong album, and still enjoyable for those who miss that sound.

3.5/5 stars

Tim’s Vinyl Confessions Ep. 858: April Wine Deep Dive #11 (Animal Grace)

A few weeks ago, we interviewed Tim Durling on his new book On Record: The April Wine Album Review.  Tim has also been doing Deep Dives on each album with guests from his book.  On the episode for Animal Grace, Tim recruited both myself and Robert Lawson.  It’s a great chat so have a watch – I will be posting my written review of the album tomorrow!

NOW on TVC!

REVIEW: Helix – Scrap Metal (2026)

HELIX – Scrap Metal (2026 Perris)

I don’t know what changed, but buying the new Helix album in 2026 was a headache.  For a Canadian fan of a Canadian band, all I wanted to do was hop on my Amazon and buy it with Prime.  Even though it was reportedly charting on Amazon in Canada, I could not find the CD for sale.  Not wanting to deal with the problems I had with Helix 50, I was determined to get it through one of my usual channels.  Our local store didn’t have it.  I saw a reviewer in New York received a review copy, but I discovered that physical review copies were not available to Canadians.   (I was offered the files to review, but we only review physical product, and you’ll see why this is important as we go through the songs.)  In the end, a viewer gifted me a copy that he bought himself, and sent it to me free of charge.  The album is finally available on Amazon, but only about six weeks after I had been trying to buy one.   Why is it so hard for Canadian fans of a Canadian band to just buy the album through their usual channels?  At least it didn’t hinder sales, as the new Helix album Scrap Metal reportedly did very well.

What exactly is the Scrap Metal album anyway?  Think of it as a new mini-album, with bonus tracks!  Eight songs, plus four tracks that were previously released on the albums below:

  • “Jaws of the Tiger” (re-recorded version):  On B-Sides, Best Of 1983-2012, and Never Trust Anyone Over 30.  Original version on Over 60 Minutes With…
  • “Danger Zone”:  On B-Sides, and Best Of 1983-2012.
  • “The Same Room”:  This is the full-length track, not the rarer CD single edit version.  On half-ALIVE and Best Of 1983-2012.
  • “The Pusher” (Steppenwolf cover):  On half-ALIVE.

The other eight songs on the album are either new ones written with Sean Kelly, or unfinished old songs, re-worked for release in 2026.  This is similar to the tactic used on the excellent Old School album.  Some of these tracks feature the late Greg “Fritz” Hinz.  Many were co-written by the beloved and much missed Paul Hackman.

What’s remarkable is how cohesive Scrap Metal sounds.  Regardless of the differing origins of the songs, it plays like an album.  You can hear some stylistic differences over time, particularly with the addition of shredder Sean Kelly on guitar, but it feels like an album.  You can’t necessarily tell that 30 or 40 years have elapsed between some songs.  Let’s run through them track by track.

The lead track “Stuck in the 80’s” has been well received by fans.  Musically it is sharp, riff-oriented mid-tempo rock.  Impeccable backing vocals on the verses, with trademark Helix shouts on the chorus.  The lyrics will resonate with many, though on a personal level I can’t relate.  I enjoyed the music of the 80s, but I would not want my tastes or style to be stuck in that decade.  Helix actually did some of their best stuff in the 70s, 90s, and 2000s!

“Fast & Furious” is far better than any movie with that name.  Fritz Hinz on drums, written with the late Paul Hackman.  This thrashy winner has singer Brian Vollmer singer in a distorted 90s voice, which is an interesting choice that the first three songs all feature to some degree.  The guitar solos have a Judas Priest dual solo vibe, very impressive and very much a welcome sound.  After all, Paul Hackman and Brent Doerner were a formidable guitar duo in the 80s.  That same vibe continues here, in shred town!  Stuck in the 80s indeed?  This kind of guitar work puts Helix in the world-class category.  Absolutely incredible.

“Pretty Poison”, written by Hackman and Vollmer with Sean Kelly coming in to help finish it, is a dirty mid-tempo rocker.  Once again the riffing is intact.  The chorus has excellent atmosphere.  Aaron Murray plays drums on this (and the previous “Stuck in the 80’s”.  The backing vocals on this have the traditional Helix vibe, and the guitar solo is melodic greatness.

The entire classic lineup (plus Sean Kelly) receive writing credits on “Hot Heavy & Wild” which sounds like a Judas Priest title circa Turbo.  Great chorus on this slower, grinding rocker.  The backing vocals stand out once again.

Helix have a penchant for typos and misprints (see:  Helix 50 and Gimme An R!) and I’m not sure what the next song is called.  If you look at the back cover and CD, it’s called “Money (Goes With Everything)”.  If you look at the lyric sheet, it’s just “Money!” with an exclamation point.  This is a Vollmer/Hackman song, resurrected with Sean Kelly shred.  It absolutely has the classic Helix vibe.

“Jaws of the Tiger” falls here, the version from the B-Sides album.  Much like “Fast & Furious”, this has a fast thrash-like tempo.  This helps keep the album cohesive.  The lineup here is in question.  The liner notes credit Brent Doerner on lead guitar.  He was not credited on B-Sides.

Up next, “Coming Back With Bigger Guns”.  Once again the classic Helix sound is present, especially with the backing vocal arrangements.  Pristine and perfect.  This album is exceptionally well recorded.  This is a Hackman/Vollmer co-write, the same team that produced so many Helix classics of the past.

Moving on to “Danger Zone”, this has always been one of the best songs from B-Sides.  It too is a Hackman/Vollmer co-write.  It grooves.  The groove is infectious.

A change of pace is due;  Helix have never “just” been a rock band.  The ballad “Tie Me Down”, recorded in 2019, features Fritz Hinz on drums.  This nice song could easily have been included on an album like Back For Another Taste.  If it had, MuchMusic airplay would have been guaranteed!  Brian is singing great on this one, but the “Ooh, ooh” backing vocals are sublime.

Hackman/Vollmer return for “Closer”, the last of the new songs.  Also recorded in 2019, bassist Daryl Gray sounds great on this, and all the tracks he appears on.  He also plays guitar, along with once-and-present Helix guitarist Kaleb Duck, and current guitarist Chris Julke.  “Closer” has the quality we’ve come to expect from this band’s music.

The album closes with two more tracks from the studio side of half-ALIVE:  single “The Same Room” and Steppenwolf cover “The Pusher”.  It’s amazing how good “The Pusher” sounds, something that may have slipped between the cracks before.  Interestingly, new Helix drummer Jamie Constant is credited on “The Same Room” .  He played on this Helix track three decades ago.

Frustratingly though, even though this album includes songs written and performed with Sean Kelly, other newer tracks like “Not My Circus, Not My Clowns” and “Brother From A Different Mother” remain physically unavailable.  This would have been the perfect CD to release them on, even as bonus tracks.

Scrap Metal is a solid Helix “mini-album with bonus tracks”.  I would have chosen different material from albums past, but as an album this plays consistently well.

4/5 stars

 

 

 

 

 

 

 

REVIEW: Helix – 50: The Best Of (2025 LP + CD set)

HELIX – 50: The Best Of (2025 Crown X CD/LP)

In 2024, Helix celebrated their 50th anniversary as a band.  In 2025, they marked it with a new compilation album, at least their 11th to date.  Much like the legendary Rush, they went with a simple title for this milestone:  Helix 50.

This was a frustrating set to finally buy.  All I wanted was the CD, which has three extra tracks on top of what the vinyl has.  I don’t know if the CD was ever available separately but I never found one.  Then I waited and waited for the CD/LP combo set to show up at one of my preferred retailers and it never did.  I decided to order it from the Helix store with some Christmas money, and it took a month to arrive.  Weirdly, it was “in stock” when I ordered it, but when I emailed to ask about my order after almost a month, I was told they were awaiting more signed stock.  Then, it arrived three days later at my house.  Brian Vollmer’s autograph is in silver pen on top.  (Gold pen would have looked amazing!)

This CD/LP combo of Helix 50 has a gorgeous looking record inside, but is bare-bones packaging-wise.  The set came with a Helix guitar pick and a turntable mat, but lacks the booklet and liner notes that a 50th anniversary compilation deserves.  (I’m always available to write guest liner notes, boys!)  It comes housed in a gatefold sleeve, with the CD tucked inside the front cover.  There are roughly 45 monochromatic photos in the inner sleeve, celebrating the classic era of the band.  The album itself consists of 11 tracks, plus three bonus from the 1993 It’s A Business Doing Pleasure album.  (The first of several mistakes on the liner notes:  the songs are credited to ‘It’s A Pleasure Doing Business (1993)’, but that re-issued title actually came out in 2024, while the original It’s A Business Doing Pleasure was 1993.)  Of the songs, here is how they break down:

  • Seven are re-recordings of classic hits from the EMI years 1983-1987.  Two of these are unplugged re-recordings.  Only “Rock You” is new.
  • One track is from 1990’s Back For Another Taste unaltered.
  • Another track is a single mix from Back For Another Taste, previously released on other compilations.
  • One song is from 2009’s Vagabond Bones, unaltered.
  • Four are from 1993’s It’s A Business Doing Pleasure.
  • One is a “Radio Remix” of 2025’s download-only single “Stand Up”.  (At least we think so – on the back cover it says “Radio Remix”, but in a misprint, on the label it simply says “Remastered”, not “Remix”.)

In some more mis-prints, on the back cover “Heavy Metal Love”, “Deep Cuts the Knife”, “Wild in the Streets” “Make Me Do Anything You Want”, “Dream On” and “The Kids Are All Shakin'” are listed as “2025” versions, but these appear to be the previously released 2006, 2010 and 2011 recordings.  Only “Rock You” appears to be a new 2025 version.  The other versions were only “remastered” in 2025.  Some of the remasters leave something to be desired.  “Good to the Last Drop” sounds blunted compared to other offerings of it.

According to the internet, “Rock You” includes three special guests: Phil X (Bon Jovi) on guitar, Todd Kerns (Slash) on guitar and Brent Fitz (Slash) on drums.  In a tragic omission, none of this information is included in the Helix 50 package.  The only way you’d know is by Googling it.

The acoustic songs have been released before.  Of these re-recordings, it is the power ballad “Deep Cuts The Knife” that packs the most punch.  They went to great effort to replicate the keyboards and backing vocals of the original.  The songs also stay faithful to the original Doerner/Hackman solos.  This acoustic version of “(Make You Do) Anything You Want” is breezy and lighter, and Brian Vollmer absolutely nails everything about the vocals.  It’s a different, slightly softer take on the old classic.  It must also be pointed out that bassist Daryl Gray is an articulate musician with chops, who always finds the right notes.  An under-appreciated bassist.

The remix of “Stand Up” is the first physical release of this standalone download-only single.  The new mix sounds muffled compared to the 2024 version, which is still unreleased on CD or vinyl.  It’s a good song with blazing guitars and a melodic chorus.

Standouts include “The Animal Inside” from Vagabond Bones, which snarls out of the gates.  The acoustic numbers offer subtlety, but there are too many soft moments that don’t really reflect the full gestault of 50 years of Helix.

There are no songs representing the legendary first two albums (Breaking Loose and White Lace & Black Leather) which really takes the bite out of the Helix 50 concept.  “Billy Oxygen” would have been more than welcome.  Only two songs come from the last 30 years of the band, a period in which Helix released plenty of great unrepresented albums and singles.  Notably missing from this period:  Standalone download singles “Brother From A Different Mother” and “Not My Circus, Not My Clowns” which should have been included as bonus tracks.  As of 2025, there is no physical release with those two songs.  Helix 50 easily could have been a double!

One final mis-print:  “The Kids Are All Shakin’ Unplugged (2025 Unplugged)”.  Not only is it actually the 2010 version, but “Unplugged” is printed twice.  Not quite a misprint, but it is weird that guest players Lee Aaron and Kim Mitchell are not credited on the back cover.  (A booklet with credits would fix this issue.)

The classy cover art, with the Helix 50 logo and sparks, is perfect to represent this golden anniversary.  The track listing offers less value to the fans who have been here for 50 years.  The band is limited by what versions of what songs they have access to, and vinyl is limited by run time, but the CD has room for at least five more songs.  Had the full length of the disc been utilized, a more well-rounded representation of the last 50 years of Helix could have been realized.  Ultimately, Helix 50 will please most casual fans who don’t have any Helix on vinyl (which is stunningly gorgeous in black and gold), but leaves a taste of disappointment for those of us who have been here the whole time.

3/5 stars

HAPPY CANADA DAY! Top 11 Canadian Bands (Unknown Outside Canada)

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.

 

Album of the year? REVIEW: Harem Scarem – Chasing Euphoria (2025 2 CD/DVD)

HAREM SCAREM – Chasing Euphoria (2025 Frontiers 2 CD/DVD)

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.

REVIEW: Alan Frew – “Free To Be Strong and Free” (2025)

ALAN FREW – “Free To Be Strong and Free” (2025)

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.

5/5 stars

 

 

#1174: Big Feelings & Why I’m Upset With the Arkells

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.

Call me a curmudgeon, but that’s how I feel.

REVIEW: Stir of Echoes – Stir of Echoes (2008)

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.

4/5 stars

REVIEW: Lawrence Gowan – …but you can call me Larry (1993)

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…

4.5/5 stars

Thank you Aaron for this copy!