Canadian rock

REVIEW: Helix – Breaking Loose (1979 H&S)

Part one of a Helix three-fer!

IMG_20150605_184257HELIX – Breaking Loose (1979 H&S)

Long before they gave you an ‘R’, Helix earned a reputation as the hardest working band in Canada, year after year in the cold dirty clubs of the Great White North.  Formed in 1974, Helix had a number of lineup changes before they even recorded their debut.  If you want to get technical about it, even on their first album, Helix only had two remaining original members in singer Brian Vollmer and bassist Keith “Bert” Zurbrigg.  Helix really solidified when they eventually acquired guitarist Paul Hackman, and twin brothers Brent (guitar) and Brian Doerner (drums).

Manager Bill Seip, who eventually guided Helix to a major label deal with Capitol Records in the early 80’s, was an early believer.  Under his leadership, they managed to scrape together enough cash to record an independent album — something very few bands did back then.  They released it on their own “H&S Records”, for Helix & Seip.  What is remarkable about the album they created, Breaking Loose, is how great it still is today.  I know people, very respected in the local rock community, who will tell you this is Helix’s best album.

Breaking Loose isn’t metal, but what it lacks in firepower is made up for in class, ambition and natural talent.  Brian Doerner is one of the most respected drummers around, having acquired an extensive discography over the decades.  As for Brent Doener and Paul Hackman, together they forged a guitar partnership that would take them up to the big leagues.  They are not Downing & Tipton, nor are they Smith & Murray.  Doerner & Hackman (R.I.P.) were in a hard rocking bar band, and Helix were damn good for their demographic.  What they brought to the table was ability, but not flash.  Both were capable of writing songs on their own, as the writing credits on Breaking Loose attest to.

Having toured extensively, Helix worked up a number of originals.  The entire album is written by the trio of Doerner, Hackman and Vollmer, in various permutations.   Even then, Brian Vollmer had a remarkable voice: power with just a tiny bit of grit, but also the ability to sing clean.  The production on the album is flat by today’s standards, but perspective and context are everything.  For a self-financed album in 1979, it sounds incredible!  Though it lacks the oomph of Helix today, it’s perfectly listenable.

Starting with the mid-tempo “I Could Never Leave”, Helix right away hit you right off the bat with one of their catchiest tunes.  You’ll notice the nice backing vocals, Brent being particularly audible.  “Don’t Hide Your Love” has a similar vibe, that being hard rock with an emphasis on catchy melodies.  Maybe Helix were aiming for the radio, but the songs aren’t wimpy by any stretch.

“Down in the City” is a Vollmer ballad, and a pretty good one too.  The lyrics are cringe-worthy, but the music had ambition.  It starts as a pretty, folky acoustic song and eventually builds with more guitars into something different.  Plenty of guitars to go around.  Then like night and day it’s onto “Crazy Women”, written and vocalized by Brent, otherwise known as “The Doctor”.  Doerner has a quirkier writing style, which is a good thing, because it helped Helix stand out a little more from the pack.  “Crazy Women” has plenty of guitars of course, but also has a neat drunken stumble to it.

Brent closed side one, and opened side two with a legendary song that helped them get a following on the west coast: “Billy Oxygen”. It’s still a favourite to this day, a short fast rocker about a guy named Billy Oxygen, captain of a starship called an ES-335, looking to meet some aliens to party with. Out of this world? Wait until you hear the band playing the shit out of it! Brian’s drumming reminds me of a good jazz drummer — fast, accurate, and hard! Keith Zurbrigg throws down a little bass, playing off with Brent and Paul in a three-way solo for the ages.

If you don’t like “Billy Oxygen”, then I’m not sure if we can be friends. The impact this song had on me cannot really be measured, as I played it on repeat ad-nauseum. As I recounted in Record Store Tales Part 2 (!), this tune even inspired me to do some writing of my own:

When I was in University I tried my hand at bad, bad science fiction short stories. Suffice to say, none of it survives today with good reason. However, Helix had a little moment in my fiction: My spaceship was called an ES-335, named after Billy Oxygen’s ship in the song. And only a little while ago did I learn that ES-335 wasn’t the name of a spaceship at all. An ES-335 was a Gibson guitar.

“Here I Go Again” is not the Whitesnake song, but another one of those melodic rock songs that seemed a bit contrived to get some radio play.  That’s just speculation on my part, but I’m glad it was “Billy Oxygen” that did get the airplay.  That’s not to say anything negative about the fine “Here I Go Again”.  There isn’t a weak song on this album, but two other highlights are definitely “You’re A Woman Now”, featuring female backing vocals and a structure that builds into something dramatic, as if it’s Helix’s own “Stairway To Heaven”. “Wish I Could Be There” brings back the outer space theme, and has acoustic and heavy sections, sort of Helix’s foray into prog rock.

I should note that both “Wish I Could Be There” and “Billy Oxygen” made the Sausagefest countdown a few years ago, a lofty achievement indeed.  “Billy” even cracked the top five.  Musical scholar Scotty Geffros holds both songs in high esteem, and voted for them accordingly, as did I.  Our host, Iron Tom Sharpe also voted for “Billy”.

BREAKING LOOSE_0001

This lineup only lasted for one album, both Brian Doerner and Keith Zurbrigg departed shortly after this, leaving Vollmer the sole original member. Their legacy of the lineup is this debut album, something any band would be proud of.  Unfortunately, CDs are hard to find.  Capitol did a bare-bones but fine CD reissue in 1992, with both Breaking Loose and the second album White Lace & Black Leather, on one disc.  That release was called The Early Years, but it went out of print many years ago. Brian Vollmer did a CD reissue of each individually, but both are now sold out.

Now, fair warning:  I have to disclose that I am biased when it comes to this band.  I’ve met them a number of times, and I have the phone numbers of two guys who played on this album. For another perspective, I asked Scotty Geffros, who has a Masters degree in Rockology, about his relationship with Breaking Loose:

After being handed this album, as a youngster of maybe 9 or 10, I remember examining the cover first…and seeing the photos of the band on the back, and wondering why the singer had a Blackhawks jersey on? I was told by my father to listen to “Billy Oxygen” and quickly went to the turntable to give it a spin. Low and behold, instant love. From catchy tunes like “Here I Go Again”, to more epic works like “Wish I Could Be There”, this album grabbed me and holds up today as a really good, albeit under-appreciated record.

[Note: I was wondering the same thing. Brian, why are you wearing a Blackhawks jersey?]

I’d go a step further than Scott and call it really great. Being completely honest though, the only complaint I have about this album would be that some of the lyrics were a little weak.  Young band…first album…I’ll forgive them.  If you can too, then I suggest you hear Breaking Loose at your earliest convenience.

5/5 stars

REVIEW: Kim Mitchell – Rockland (1989)

KIM MITCHELL – Rockland (1989 Alert)

This album was huuuuge in 1989. In Canada, summer time is Mitchell time. Cottages, brewskies, BBQ and Mitchell. That’s what it was all about! Shakin’ Like a Human Being was also a huge success for Kim, but he expressed a desire to use less keyboards and programming. Kim recorded in the US this time, and for budget reasons, did not bring along lyricist Pye Dubois with him. Pye had been in the studio with Kim for every album prior, and this caused a rift between the two that took years to heal. This was the last time they collaborated until 1994’s Itch.

The pseudo-title track, “Rocklandwonderland” refers to the “concert bowl” at Canada’s Wonderland.  “Listen to the music, listen to the voices, listen to my guitar,” sings Kim, although the song is a little light on guitar. “Rocklandwonderland” was a big hit for Kim, and although it’s not a heavy rock, his guitar playing on it is stellar. Perhaps he shouldn’t have followed a slow rock tune with a ballad, although “Lost Lovers Found” is a hell of a ballad, with just a hint of twang. Some felt that Rockland was too soft compared to Kim’s progressive rock past, but a Kim ballad has more integrity than most. Kim’s backup singer extraordinaire, Peter Fredette, is present here and he also serves to class up any song by several notches.

Other ballads on the record include “Tangle of Love”, which is quirky and experimental but not great. “O Mercy Louise”, which has a rocking chorus, is a fine song with cool lyrics. The “big one” however was the single “Expedition Sailor”. This introspective acoustic song is sparse and effective. Kim’s buddy Rik Emmett from Triumph drops by to play an excellent solo on classical guitar. “Expedition Sailor” is top drawer stuff.  (The music video received a remix, which you can get on Kim’s Greatest Hits album.)

The “big” song on the album, still getting airplay today, is the anthem “Rock N’ Roll Duty”.  The tougher direction of the song is exemplified by a “live” style music video in a seedy bar.  As a fan I really wanted Kim to come out with a tough rocking tune, with a killer chorus, and he did.

“I’m just doing my rock n’ roll duty,
Creating a buzz buzz buzz,
Some say I’m in it for the money,
Man, I’m in it for love love love!”

The phrase “I’m just doing my rock n’ roll duty,” is now commonly heard among music fans in Canada. The song just hits the spot, and the riff is now synonymous for summer in my mind.

Other highlights on Rockland include the joyful “The Crossroads” which opens side two. The guitar-heavy “This Dream” is another favourite. I could always identify with the lyrics. It’s just a stellar song, an also-ran that could have been a fourth single. The record is rounded out by “Moodstreet” and “The Great Escape”, two decent but unremarkable tunes.

MVP:  Drummer Lou Molino, a near legend in these parts.  Curiously, when you Google images of Lou Molino, you will also get hits for Lou Ferigno.

Overall I was pleased with the direction of Rockland, going a bit more raw and rocking. Unfortunately with the exception of a few tracks like “Rock N’ Roll Duty”, it feels very tame. Except for quirky moments within guitar solos, it doesn’t possess enough of Kim’s humour and idiosyncrasies. It feels as if it’s on a leash, but it’s also not straining to get off it. It feels like Rockland hits the mark in many respects, but plays it too safe.

3/5 stars

ROCKLAND_0004

REVIEW: The Glorious Sons – The Union (2014)

TGS_0001THE GLORIOUS SONS – The Union (2014 Canada Factor)

Kingston Ontario is home to several great Canadian rock artists:  The Tragically Hip, Hugh Dillon and the Headstones, Sarah Harmer and Weeping Tile, and many more.  I dated a girl from Kingston about 15 years ago and guess what!  She was a musician.  (I even reviewed her CD for her back in the day!)  The place is a musical hotbed and The Glorious Sons are my latest favourite band to hail from there.

The Sons have been earning a lot of radio play thanks to four great singles.  The one that first gained my attention last year was “White Noise”.  The way the singer (Brett Emmons) enunciates caught my ear.  He has a unique sort of drawl to accompany his powerful rasp.  The first two things that initially catch me about a band are usually the singer first and the song second.  Turns out the Glorious Sons have both on “White Noise”; a brilliant track with a dark celebratory vibe.  It sure sounds Canadian to me:  guitars, bass, drums, singer, song.  There’s a certain type of “Canadian Rawk” that the Glorious Sons inhabit a corner of, and I don’t mind at all.

“Lightning” is the current single I’m hearing on the airwaves.  It is a spiritual companion to “White Noise”.  It has a slow burn to it, and a killer vocal performance by Emmons.  Four of the five Sons are credited to backing vocals, and “Lightning” has those “ahh ahh’s” that help bump a chorus into the stratosphere.  For a harder rocking single, check out “Heavy”.  Better get your boots on because this one will get your ass swaying.  The fourth strong single I’ve been hearing is the southern flavoured “Mama”.  Sounding something like an undiscovered Skynyrd track via the Black Crowes’ By Your Side, it’s plenty fun and gets the hips movin’.

Thankfully, The Union is more than just a few good songs on the radio.  This is evident on the slow-building opener “Man Made Man” which sounds like good old 1980’s hard rock!  Once again the band cover the backing vocals, keeping everything sweet enough for hit potential.  “Hard Times” is another hard rock standout.  The cool thing about the Glorious Sons is that not only could they be very big now, but they could have been very big in 1989!  This kind of celebratory rock would have been right up my younger-self’s alley. “The Contender” covers the badass rock vibe, and what could be more Canadian than a song called “Gordie”? “I wanna be like Gord Downie!” sings Emmons, name-checking his home town hero on this campfire rock track. “The Union”, “Lover Under Fire” and “Amigo” round out the album, a strong collection of songs overall.  All these songs share strong hooks, great singing and a soulful rock sound.  “Amigo” is a nice mellow piano track to close the album.  Not a poor song in the bunch.

I’m very happy with my purchase of The Union by The Glorious Sons, an up and coming band for sure.  And for $12 on Amazon, the price sure was right!

4/5 stars

TGS_0002

REVIEW: I Mother Earth – Blue Green Orange (1999)

This one goes out to Patrick Dynamite!

I MOTHER EARTH – Blue Green Orange (1999 Mercury)

When Edwin left I Mother Earth for a solo career, many fans (myself included) were disappointed with his wishy-washy not-rock of his solo debut, Another Spin Around the Sun.  Sure the song “Alive” was incredible and epic, but the rest of the album was so middle-of-the-road and lukewarm.  It was with great relief that I Mother Earth only went from strength to strength by hiring on unknown singer Brian Byrne to replace him.

I Mother Earth didn’t scale the top of the charts with Blue Green Orange, but what an album it is!  Byrne has enough of the rasp and power that Edwin possesses, so he is a natural fit and the sound is pure IME.  The opener “Love Your Starfish” immediately proclaims that the band are back!  Back to playing longer, more complex song structures with interesting drum patterns, bellowing vocals, and riffs.

But it’s not all just hammering away.  “All Awake” brings back the spacey, quiet side of I Mother Earth.  The psychedelic textures and exotic percussion are reminiscent of a song like “So Gently We Go” from the first album.  Drummer Christian Tanna is joined by longtime I Mother Earth percussionist Daniel Mansilla, and Armando Borg on additional percussion.  Jagori Tanna remains one of the most underrated and interesting guitarists to come from the Great White North, and his work here is exemplary.  His willingness to explore reminds me of other progressive players such as Steve Rothery.

“Gargantua” is one of the shortest songs at 4:34.  Most of them are in the five to six minute range.  Appropriately “Gargantua” is the most radio-friendly.  Its pop melodies and straightforward beats make it the most immediate, all it lacks is a great chorus.  For that, go for the ballad “When Did You Get Back From Mars?”  I don’t know if we can call it a “ballad” but it’s a quieter acoustic tune with a plaintive chorus.


Video edit version of “Summertime in the Void”

You wouldn’t usually pick out a track that is seven minutes long for a first single, but that’s “Summertime in the Void”, one of the best tunes on the album.  It’s also one of the most rocking, though like all I Mother Earth tunes it’s full of twists and turns including loads of percussion.  I’m a big fan of Bruce Gordon’s intricate bass.  Even so, I do have a favourite bass player in the world, and that’s Geddy Lee.  And guess who turns up on the song “Good for Sule”?  Geddy frickin’ Lee!  (Alex Lifeson played on the previous IME album, Scenery & Fish.)  “Good for Sule” may well be the best tune on the album.  Gentle piano helps make it the most laid back track on the disc.

I’ll stop here — I don’t want to review Blue Green Orange song by song, because it’s all variations of “wicked guitars”, “awesome percussion”, and “challenging twists and turns”.  Blue Green Orange is not an instant pleasure, but one that reveals layers the more you listen.  As such it’s my second favourite I Mother Earth album, after Dig. Reception was mixed at the time however.  Some fans did not embrace the new album, others preferred the old singer.

The packaging for this CD is cool.  You could choose between blue, green or orange covers.  The inside booklet is layered with pages of different sizes and lyrics for all the songs.  Packaging like this on a standard edition CD is something we collectors appreciate.

4/5 stars

REVIEW: Danko Jones – Born a Lion (2002)

THE BEST FUCKING COLLABORATION WEEK EVER

My very first THREE-WAY (review)!  For today’s installment, Aaron AND James from the KMA and I are all reviewing the same disc.  Check out all three reviews!

Aaron:  DANKO JONES – Born a Lion
James:  DANKO JONES – Born a Lion

DANKO_0001DANKO JONES – Born a Lion (2002 Universal)

How fucking cool is Danko Jones?!  I love this Torontonian rock idol, just as much as Danko himself loves the Rock.  His enthusiasm for hard rock and heavy metal is contagious.  His music basks in it.  You can hear his passion for the Rock in the grooves.  He’s incredibly prolific, and monumentally talented as a writer, singer, and guitar player.  The band itself (also called Danko Jones) is just a trio, so he has a lot of bases to cover and he does it with aplomb out the wazoo.

I don’t own all the Danko records (and I don’t know anybody who does) but of the ones I have, the debut long-player Born a Lion is still my favourite.  It was a favourite back in the Record Store days too, receiving daily store play as a new release.  Joe “Big Nose” felt that Danko was as close as anybody had gotten to the vibe of Thin Lizzy since Phil Lynott.  I wouldn’t necessarily agree with that fully, but I see what he was getting at.

The swampy blues guitar that opens “Play the Blues” is just a feint.  This is a slamming, heavy rocking blaze.  “If you wanna know how to play the blues, get yourself a woman! YEAH!” howls Jones.  It’s an adrenaline shot to the heart, eyes ablaze as “Play the Blues” tears from the speakers.  “Pick it sweet! Slide it slow! WOO!” Jones unleashes a killer solo as you reach for your asthma inhaler!

If you’re not hooked by now, then you probably don’t like rock and roll.  “Lovercall” was the single, for which a killer video was made.  Getting into a groove this time, Jones instructs us on how to pick up a lady.

You see when I was growin’ up…
I got the inside scoop,
I used to watch all the older fellas work down the block,
that’s right when they used to work I used to watch,
and when I watched I learned…
The Lovercall, baby!

Danko Jones has a way of using his sassy spoken word verses to maximize the cool factor, before sliding into a chorus that you can sing along to. “Lovercall” is the best example of this.

So are you in or are you out?  That’s all Danko needs to know on “Sound of Love”.  Not as mindblowing as the first two, it’s still a swaggering confident rock song based on a solid groove.  “Every time you see her, she’ll get a little hotter,” whispers Jones, and you certainly believe him because he sure does sound like an expert in such matters.  “Now where the pretty girls at? ‘Cause I’m the man with the black hat.”  There you go.  Free advice from Danko – black hats are in, but he says it with so much swagger that you have to believe there are some serious mysteries of the universe opening up before us!

“Papa” is the song from which the title Born a Lion was derived.  “I was born a lion, and like a cat I’m gonna dance.”  Sure, Jones has only one thing on his mind, but who gives a fuck?  I ain’t leaving now; I’m sticking around for the Rock.  “Soul on Ice” has a mean AC/DC prowl that could have fit on an album such as Black Ice.

DANKO_0002“Word is Bond” is dynamite up the ass with no fuse!  The energy is unbelievable, and Danko’s swagger is always intact.  When he says “If you want it, I will do it — my word is my bond!” I believe him.  This is another AC/DC rocker, and it absolutely tears up the joint, leaving nothing but rubble and ashes.   But Danko Jones will survive like a cockroach and live on to meet more ladies, as he does on “Way to My Heart”.  Don’t let the title fool you, this ain’t no Warrant or Whitesnake ballad.  Nope, it’s all rock and groove and balls.  “Let’s go on the side of the road, I can be your Romeo.”  There’s no romance here, it’s sheer lust.

Racial diversity is the theme on “Caramel City”, the first time Danko’s not singing about girls on this record.  It’s kind of a weird chorus (spelling out the word “C-A-R-A-M-E-L”) but it’s good enough for me.  “Get Outta Town” is more fun, another blazing fast rock groove.  It’s infectious, but I don’t believe him when he sings, “All the girls got boyfriends, but man I don’t got a girl.”  Sorry Jones.  I’m not buying it.

More ass-kicking transpires via the speakers on the chugging “Suicide Woman”.  How much more ass-kicking?  A lot, as “Suicide Woman” follows the general template of smoking from start to finish.  Danko keeps the guitar solo to the basics because let’s face it, we just wanna rock at this point.  Concluding the proceedings is the incredible “Love is Unkind”, quite possibly the most smoking-est track on the record.

Let’s be blunt.  Danko Jones’ schtick can wear thin, but the album isn’t long. You either like this band or you don’t.  I like this band.  And I love Born a Lion.

5/5 stars

Final note — some editions have two bonus tracks.  I intend to find them.

Final final note — my copy came with a Danko Jones sticker that I still have.  I wonder if Aaron and James have theirs?

Monday: QUIET RIOT – Metal Health

REVIEWS: Russian Blue – Demo #1 and #2 (1990-91)

RUSSIAN BLUE – Russian Blue demo #1 (1990), demo #2 (1991)

Russian Blue were a Toronto hard rock act fronted by the talented Jo E. Donner who, in a perfect world, would have been signed to a major label deal had not the roof caved in when grunge arrived.  They first rose to national awareness as part of the legendary Raw M.E.A.T Vol 1 compilation of Canadian indi rockers.  Upon hearing that first song, “Once a Madman”, I was immediately hooked on this band!  Donner had the pipes (often compared to a young Robert Plant) and the looks (also Plant), and the band clearly had the writing chops to crank out at least one world class rock song.  Its slow build was unusual in hard rock at the time, as was the lack of an actual chorus.  I had to hear more, so I wrote the band and ordered a tape.

RUSSIAN BLUE_0004Demo #1 (1990)

The first self-titled tape came in a professionally printed three colour J-card, with printed stickers on a white cassette.  Pretty pro for the time.  The J-card itself is a three panel fold out, with a black and white photo of the band and lyrics too.  Four songs, same both sides.  Let’s give’r.

The familiar tamborine and guitar licks of “Once a Madman” open the first tape.  M.E.A.T editor Drew Masters always advised bands submitting demo tapes to keep it short (three to five songs), professional looking, and top-loaded with the best songs.  Someone listening to a tape was likely to hit eject after the first half of the first song if they weren’t feeling it.  Russian Blue must have been paying attention because they hit all three marks.  (Masters’ other major beef with bands was not listing the song titles, the name of the band, or any contact info on a demo tape!)  The second strongest song “Likkin’ Dog” (ugh, come on, spelling) is suitably next in line.  Digging into a heavy groove and solid riff, I’m reminded of early Skid Row or Guns N’ Roses.  Donner truly had the voice of a rock star.  The other members (guitarist Richard Gauci, drummer Mike Willerding and bassist “Robo”) are also up to the task.  Gauci in particular boasts an impressive arsenal of tricks and licks for a guy you’ve never heard of before.

“Miss Precocious” enters with the same drum drum hook as “Dirty Weapons” by Killer Dwarfs which came out earlier that year.  Coincidence or inspiration aside, it’s a demo so it’s not a big deal.  “Miss Precocious” is an OK sleaze rocker that David Coverdale would have been comfortable taking a spin with.  This could have been on Slip of the Tongue as one of David’s randy odes to young ladies.  The generic “Had Enough” is the weakest of the four tracks, and is last on the tape for that reason.


A brief history of M.E.A.T Magazine

RUSSIAN BLUE_0005Demo #2 (1991)

Russian Blue added me to their mailing list and sent updates as to their current goings-on.  A second demo tape with four all-new songs was put up for sale and I ordered mine forthwith.  I was disappointed that the second demo didn’t come as professionally packaged as the first, but I suspect that the band spent all their money on that first tape and the spot on Raw M.E.A.T Vol 1.  The second tape came in a hand-made J-card with a photocopied band photo on the front and a sticker with the song titles inside.  Unfortunately the second song is misspelled “Balck” (“Black”) and this carried over to the sticker on the cassette shell as well.  The tape, a TDK D50 (50 minutes was a specialized length) was of good quality and has the same songs on both sides.  The tape also came with a little Russian Blue paper logo.  At least they tried.

The second demo showed the creeping influence of darker alternative tendencies.  “Mama’s Love” was different from anything on the first demo, taking a swampy minimalist approach to the verses.  When Donner rips out some rock shrieks, things kick up on a notch or two on the chorus.  The song is almost equal to “Once a Madman” in terms of quality, but traversing a different more menacing direction.  Keeping the stronger tunes up front, “Balck”…err, I mean “Black” is second in quality.  It opens with a psychedelic lullaby-like opening, before creeping into another swampy groove.  The vibe is nastier, including the first “F-bomb” of the album: “Nothing lasts forever, except the words to this fuckin’ song.”  It’s a good track and though it didn’t really last forever, it did get re-worked into “All”, a song on Russian Blue’s only full length CD, after they changed their name to Feel.  The album was called This (1994).

sam_1568“Child of the Ocean” has a drony, spare riff and a cool exotic sounding guitar solo by Richard Gauci.  It continues Russian Blue’s journey into less mainstream sounds, as this is a dreamy rocker.  The final song, which is the F-bomb  laden “Bleed”, is the most old school.  This one is basically a Guns N’ Roses B-side wannabe, but who gives an F-bomb?  Russian Blue had ability to pull of a ballsy song like “Bleed”, false ending and all, without sounding like douchebags.  Good on them.

In closing

A few years back, I posted a chapter of Record Store Tales (Part 146) about my cassette collection called Cassettes Part II – The Indi Years.  I showed off these old Russian Blue tapes, and less than a month later, a fellow enthusiast found the post and contacted me.  He was really excited about this second demo, because he had never seen it nor even heard of it before.  He didn’t know that Russian Blue had anything out between the first demo tape, and Raw M.E.A.T Vol 3 (1992), to which they contributed “Mama’s Love”.  It’s always a pleasure to be able to bring content like this to the internet, finally shedding light on the dark crevasses of rock and roll that were previously obscure.  The reader told me, “I was really into these guys back in high school. I pretty much bought a cowbell because of ‘Once A Madman'”.  How awesome is that?

Given that you have to allow for certain deficiencies in demos, especially from the cassette era, I am giving Russian Blue a grade based on the reasonable expectations from the period.  That considered, the Russian Blue demos come in at:

4/5 stars each.

REVIEW: Kim Mitchell – Itch (1994)

ITCH_0001KIM MITCHELL – Itch (1994 Alert)

I used to get so excited back in the Record Store days, checking the purchase logs from the day before. Many times, people logged KIM MITCHELL – ST (self-titled) in the books, immediately catching my attention. The self titled Kim Mitchell EP, after all, was and remains a true rarity. CD copies go today for up to $120.  When I would check the purchase logs against the physical CDs, I was always disappointed that the Kim Mitchell EP didn’t come in; rather his 1994 album Itch did.  The graphics are laid out in such a way that a part-time employee who didn’t know better couldn’t see that the album was called Itch, within the name Kim Mitchell.  Truth be told, I couldn’t figure out what it was called when I first started at the store in ’94 either!  I was working the week it came out.  “I didn’t know Kim Mitchell had a new album out!”  Staring at the cover…”What’s it called?”  I bought it on cassette initially.

The mid-90’s were a confusing time to be a Kim Mitchell fan. His 1992 record, Aural Fixations, was pretty straightforward and for the first time lacked lyrics written by Pye Dubois. When 1994 kicked off, the new Kim single “Acrimony” featured Kim rapping. Yes, rapping. Inappropriate comparisons to the Red Hot Chili Peppers were bandied about in the press.  I did not like “Acrimony”.  Some people do; in fact some people think Itch is Kim’s best CD.  I am not one of those people.

So how good is Itch? Well, it’s OK. It’s not great, not like Kim’s past work with the near-legendary Max Webster, though it does return Kim to some mild musical experimentations. There are standard Kim rockers like “Wonder Where & Why” and some great grooves like “Lick Yer Finger”. “Stand” is one of those classic Kim anthems that are perfect for the car in the summer time.  There are also just just plain weird moments that just don’t work. “Acrimony” is one of them, and “Lemon Wedge” is another. “Lemon Wedge” is a cool funk tune with horns, but is ruined by some guy (possibly Peter Fredette?) screaming out the chorus in a weird falsetto. Strangely though, those two songs made onto Kim’s first solo Greatest Hits CD, so maybe I’m the one who’s just not getting it.

In general Itch is a more somber album from Kim than the good time rock he produced in the 80’s.  It was also bluesier (“U.S. of Ache” for example) and harder edged, but I don’t think it had the songs to back it up.  Kim’s playing is fantastic of course, but you can say that about any of his albums.  Kim can play circles around most rock and blues players in his sleep.  He also has a crack band, featuring Ken “Spider” Sinnaeve on bass who did time in a couple legendary Canadian bands such as Loverboy and Tom Cochrane & Red Rider. Notably, Pye Dubois returned to pen the lyrics, the last time he would do so.  I think the main problem with Itch comes down to the songs.

The best tune on this CD is the last one, “Cheer Us On”, a great campfire song that should have been a single. However, it wasn’t, so it’ll just have to remain one of those little-known album songs with a few diehard fans.  I wouldn’t hesitate to put it on a greatest hits CD, even though it has never been used on a greatest hits CD.

As it stands, Itch was a commercial flop.  It has its staunch defenders, and maybe you are one of them.  Who’s right?

2.5/5 stars

Footnote: Eagle-eyed readers will recall seeing Itch in Record Store Tales Part 187; a video called “A Day in the Life at a Record Store”. Yes, a customer really did bring this album to the counter and inform me that someone had ruined the cover art with crayon. I had to tell them that it WAS the cover art!

REVIEW: Kim Mitchell – Kimosabe (1999) / “Sudbury Saturday Night” (1998)

Here’s a Kim Mitchell two-fer for ya!  Once again it’s Epic Review Time!

KIMOSABE_0006KIM MITCHELL – “Sudbury Saturday Night” (from Summer Dock Party, 1998 EMI)

‘Twas Thomas who alerted me to the existence of Kim Mitchell’s cover of “Sudbury Satuday Night”.  He had heard about it from one of his customers, when Tom owned his own record store.  Somebody came in and said to him, “I heard a new Kim Mitchell song on the radio.  I don’t know what it’s called or where it’s from, all I remember are the opening words.  ‘The girls are out to Bingo, and the boys are gettin’ stinko,'” he recited.

Tom immediately recognized that as the opening line to Stompin’ Tom Connors‘ classic song, “Sudbury Saturday Night”.  He called me at my store to ask what Kim album it was on.  I didn’t have a clue.  I didn’t know he had recorded anything since 1994’s Itch.

He had.  This cover appeared on the Canadian compilation CD Summer Dock Party.  And what of it?  How does one cover Stompin’ Tom?  Well, for Kim Mitchell, it’s a harder rockin’ version of KIMOSABE_0007the song, complete with accordion and an electric guitar solo.  I’ve grown to like it more over the years.  It’s hard to overlook the sheer joy in Kim’s vocal.  No matter how you feel about the sanctity of covering Stompin’ Tom, I think Kim’s version has plenty of merit.

Great cover…not-so-great CD cover though! What would Irish Jim O’Connel and Scotty Jack Macdonald say about that front cover? That sure doesn’t depict gettin’ stinko, or represent “Cause everything is wonderful, tonight we had a good fight,” to me!

3.5/5 stars

*I was surprised to find a completely different studio recording of this same song on Youtube.  Further investigation is required.

 

KIM MITCHELL – Kimosabe (1999 Chinook)

I think Kimosabe is about separation.  I read that Kim was going through a divorce around this time, and perhaps the lyrics reflect that.  Additionally, there was another separation, as once again Kim parted with his long time writing partner Pye Dubois.  The two had a falling out after 1989’s Rockland, due to Kim’s decision to record in Los Angeles, without Pye present, as he had been for all of Kim’s previous albums.  The two reconciled for 1994’s Itch, but appear to have separated once again, because Kimosabe was written with Andy Curran (Coney Hatch) handling the lyrics rather than Pye.  I don’t know what happened.

Nothing against Andy Curran, but without Pye Dubois, lyrics lose some of their poetry.  That’s Pye, that’s what he brings to the table.  Having said that, I think by now, most Kim Mitchell fans are looking for a catchy song to sing along to.  Curran does fine.  Kim himself wrote two of the lyrics himself (“Cold Reality” and “Over Me”, two of the best songs).

The opening duo, “Monkey Shine” and “Stickin’ My Heart” are both rockers.  “Monkey Shine” is très bien; they’re not trying to re-invent the wheel on any of these songs. They’re just doing what they do well, and that’s providing some good Canadian party rock. These are “stock” kind of songs. Reliable, not particularly possessing personality, but getting the job done. TCB, baby.

“Cellophane” is a funky blues. At this point I’ll point out the groove of drummer Randy Cooke, one of my Canadian favourites. You may have heard him with Rik Emmett or the Four Horsemen among others.  Kim’s very slick and lyrical guitar playing is in the spotlight of this outstanding track.

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Things start to cloudy with “Two Steps Home”.  Not that it’s a bad song, quite the contrary.  But this is where the party stops.  There’s a lot of feeling in this quiet ballad.  As far as sheer songwriting goes, Kim should be proud of this one.  Still, I feel the playing really shines brightly, guitar and drums both.

After a tune like that, I need a rocker, and Kim delivers with the title track, “Kimosabe”, a pun on the phrase “ke-mo sah-bee”, popularized in the 1930’s by The Lone Ranger.  Strangely enough the lyrics also contain the German phrase “auf Wiedersehen”, proving Andy Curran doesn’t mind putting three languages together in one song.

My favourite song is “Blow Me A Kiss”.  This outstanding track begins as a melancholy piano ballad, but transforms by the chorus into a bright, light rocker.  I would rank this track among Kim Mitchell’s best solo songs, without a doubt.  Randy Cooke really kicks this one in the ass.

“Cold Reality” also has a melancholy character to it.  This one starts a ballad and stays a ballad, and speaks of getting over the end of a relationship. “Halleluiah baby, I am healing. This pain and rage I felt for years is finally leaving.” This is one that Kim wrote the lyrics for himself, and as I said earlier, it’s not poetry, but when he sings it, I can feel something, you know?

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Back to something a little more upbeat, “Over Me” has a modern funky vibe to it, of the light-rock variety. Divorce seems to be the theme again, so we’re not hanging out in party rock land, but it’s musically upbeat and catchy. By the chorus, Kim’s singing, “One thing’s for sure, I’m going to get over you, just like you got over me,” and who can’t relate to that?

My least favourite song is the slinky blues, “Get Back What’s Gone”, featuring the great Canadian singer Lisa DalBello. In think this is a case of, “It’s not you, it’s me.” There’s nothing wrong with this well-executed blues, it’s just not clicking with me. It may with you, especially if you want to hear DalBello just sing some blues.

Album close “Skinny Buddah” is one of those lyrics where I just shrug and say, “OK, guys, whatever!” I have no idea what it’s about, but it’s a good solid rock song on which to close an album that I would consider to be a bit of a comeback.

Except it wasn’t. Kimosabe didn’t sell, and it would be eight whole years before Kim would release another album (2007’s Ain’t Life Amazing). That’s too bad. Given the chance, I think that this album could have introduced a new, “more mature” Kim, still fun, but now with a more serious side.  The album could have delivered a couple of hits. Too bad that isn’t the way it turned out. Bummer.

4/5 stars

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REVIEW: Kim Mitchell – Kim Mitchell (1982 EP)

“Looking for the good life, in between all the clatter
Tonight I’m at the Bojar Grill, and they’re serving up only Tennessee water.”

KIM MITCHELL – Kim Mitchell (1982 Anthem)

This is an incredibly difficult review to write. How? How can words do justice to this magnificent 5-song EP of rock perfection? Am I supposed to somehow relay in English how this album makes me, and many other Max Webster fans feel? I don’t think it too crazy to suggest that the self-titled Kim Mitchell EP is the greatest EP our country has produced. As far as rock music goes in general, you will find very few Canadian releases as solidly untouchable as Kim Mitchell.  To say this is an intimidating review to attempt is an understatement.  There will be some reading this whose knowledge of Kim and Max vastly exceeds mine, and even though I have played this EP hundreds upon hundreds of times, I still need to actually play it again in order to convey to you how excellent it truly is.

KIM_0004Kim Mitchell burned out on Max Webster.   There were numerous lineup changes towards the end, and Kim walked out.   He was quick to bounce back with some new band members (Peter Fredette, Robert Sinclair Wilson, Paul DeLong) and some new songs.  Still with Kim through the breakup was Max Webster lyricist Pye Dubois, the only holdover from that band.  (Ex-Max bassist Mike Tilka was also an executive producer, as he was on the Max albums after he left.)  Kim settled into a recording studio in Oshawa Ontario (!) with the legendary Jack Richardson.

The guitar blasts of “Kids In Action” are sometimes included on Max Webster hits albums, but it was originally released as the opening track on Kim Mitchell.  “I guess we’re just gonna have to be the best bonfire in town,” sings Kim, and I think he succeeded.  “We want modern thrills, we want rock n’ roll that kills,” sing the backing band.  I think we got it.

IMG_20141002_180602“Kids In Action” is the perfect storm of Max’s harder side, with Kim’s newly found-melodic sensibilities.  That guitar is hard (though just as finger-lickin’-good) but the choruses have a new harmonic sheen.  Peter Fredette provided backing vocals to the record, and Kim fans know how awesome and integral he is to Kim’s solo sound.  Meanwhile DeLong can’t resist throwing in some Max-worthy drum fills that shake the cranium.  (I read somewhere that David Lee Roth’s band had worked on a cover of “Kids In Action” for Diamond Dave’s first solo album.)

What a killer opener.  Yet “Miss Demeanor” may be the best tune on the record.  This one has always sort of reminded me of “Beast of Burden” by the Stones, and I often sequenced them together on mix CDs.  It’s harder than “Beast of Burden”, but has irresistible “ooh ooh” backing vocals.   Everything about this song is perfect from the simple riff to the amazing rhythm section.  Kim unexpectedly throws on an acoustic solo, just as terrific as any electric solo would be.  The song is also supersaturated with nice little electric guitar licks.

IMG_20141002_180616If you title a song “Big Best Summer” then it had better sound like it.  Kim’s “Big Best Summer” is as gleeful as you want it to be, with most of the joy coming across in the guitar licks.  Once again the rhythm section has it laid down perfect, leaving Kim plenty of space to splash down tons of little guitar bits and pieces.   “Sometimes we thought we were the only ones under the sun.”  Yeah, I think I’ve had those summers too.

If “Miss Demeanor” wasn’t the best tune on the album, then “Tennessee Water” has to be.  This one blows the doors off, with a slippery southern guitar lick and relentless groove that keeps cooking and won’t stop.  This is also Pye’s first lyrical mention of the Bojar Grill, that I am aware of.  It’s good time rock n’ roll, performed by guys who really know they’re doing.  Incredible stuff.  I definitely gotta hit up this Bojar Grill.

The slow rock of “Chain of Events” was chosen to close the record.  There are a couple slight dissonant chords that keep the song on the experimental side.  It also has a strange rhythmic quality, and quirky Pye lyrics.  Kim’s guitar solo is bizarre and Zappa-esque.  This song would have satisfied any Max fans who worried that some of the other tunes were too straightforward.  And that’s the EP.

It’s worth noting that unlike Kim’s later albums, and also unlike Max Webster, this EP has no keyboards.  This allows the bass guitar to breath, and leaves Kim plenty of space for guitar fun.  As such, this is the toughest Kim solo release by far.  As good as Akimbo Alogo was, this is undeniably even better.

6/5 stars


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REVIEW: Kim Mitchell – Shakin’ Like A Human Being (1986)

KIM MITCHELL – Shakin’ Like A Human Being (1986 Alert)

Kim Mitchell really seemed to soften up on 1986’s Shakin’ Like A Human Being.  It’s Mitchell’s most successful album, featuring the massive hit single “Patio Lanterns”.  A lot of people are very fond of Shakin’ Like A Human Being, but I for one find it inferior to Akimbo Alogo in almost every way, especially production. Still, I haven’t played Shakin’ in a couple years, so let’s have a listen and try to be fair.

KIM_0004There’s certainly nothin’ wrong with the opener, “Get Lucky (Boys and Girls)”.  Kim wisely commenced the party with a rocker similar to Akimbo Alogo.  Synths are kept to a minimum, and a shout-along chorus that’s easy to remember is always a plus on a Kim Mitchell album.  Pye’s lyrics are as cool as ever.  “The more moral you get the more oral we get.”  I love that.  Kim tops the cake with a fun melodic guitar solo which is like the cherry on top — uber sweet.

Paul Delong is a fantastic drummer, and he gets a nice long (but clanky) intro on “In My Shoes”.   Unfortunately the song itself suffers from too much synth and programming.  It does have a nice little guitar lick to it and a great chorus, but the song is just too middle of the road.  “Alana Loves Me”, though a ballad, is better.  The chorus, featuring Peter Fredette, is stellar.  Too bad that synth is back.

“Patio Lanterns” sure does bring on the nostalgia.  The lyrics are so pure and perfect.  Even though it’s one of Kim’s softest moments, there is an integrity here in its earnest honesty.  Although Max Webster were a progressive rock band, as a solo artist Kim Mitchell definitely evolved into cottage rock.  This kind is song is the type that we hosers play on those warm July evenings on the cottage patio, outside speakers and beer at the ready.  It’s the kind of song everybody seems to like.

Side closer “That’s the Hold” is the hardest rock moment on the album.  It’s one of my favourite 80’s Kim rockers, and if didn’t have so much damn synth on it, it would be a classic.  The live version on I Am A Wild Party is much better.  Too bad.

The second side commences limply with “In Your Arms”.  This is just synthetic syrup.  This is the only song that isn’t written by the duo of Mitchell and Dubois: keyboardist Todd Booth co-wrote it, which might explain why I cannot discern any guitars until the song is half done.  But it gets worse:  I cannot stand “City Girl”.  There is no redeeming value to this steaming pile of synth and bad lyrics.

The fine country twang of the hit “Easy to Tame” is unfortunately tempered by…grrrr!…too much damn synth!  I should be able to hear Kim’s Fender clear and true, but it is buried beneath keys.  It’s still a great song, but all I really want is to hear what it would sound like without the keys. The music video, vocals and guitar solo are all great at least.  Incidentally, the music video is a completely different mix of the song.

“Cameo Spirit” is pretty cool, although it’s another slow keyboard song.  This is the kind of sentimental ballad that Kim became very adept at writing, post-Max.  His spare guitars are delightful, but I only wish for more of them.  The final track “Hitting the Ground” is equally good, but also equally drenched in keys.  The chorus is stellar, as are Pye’s lyrics.  Fortunately there are some guitars to sink your teeth in.  At least you end the album on an up note.

Sadly, Shakin’ Like A Human Being is the last Kim Mitchell album to feature his legendary O.P.P. (Ontario Provincial Police) baseball hat on the cover.  Shakin’ could have been a great album, equal or superior to Akimbo.  I place blame fully on the production.  Kim Mitchell self produced this album, so if anyone is to blame for all the synth and keyboards, it’s gotta be him.  Of note, Kim produced it at Le Studio, the same place Rush recorded Moving Pictures.  Too bad.  Oh what might have been.

2.5/5 stars