Canadian rock

REVIEW: The Beaches – Blame My Ex (2024)

THE BEACHES – Blame My Ex (2024 FACTOR)

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:

  1. Difficulty to purchase.  The only way I could get this CD was at a show (sold out) or on their website ($15 shipping).
  2. 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.

4.5/5 stars

#1126: Mail Shenanigans & Look at the Arkells’ Disco Loadout SIGNED CLEAR SPLATTER VINYL with Peter Kerr/Rock Daydream Nation [VIDEO]

RECORD STORE TALES #1126: Mail Shenanigans
& Look at the Arkells’ Disco Loadout signed clear splatter vinyl
with Peter Kerr/Rock Daydream Nation

Supplementals:

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!

 

REVIEW: Arkells – Disco Loadout Volume 1 (2024)

ARKELLS – Disco Loadout Volume 1 (2024 Universal)

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!

4.5/5 stars

ARKELLS

  1. Jackson Square (2008)
  2. Michigan Left (2011)
  3. High Noon (2014)
  4. Morning Report (2017)
  5. Rally Cry (2018)
  6. Campfire Chords (2020)
  7. Blink Once (2021)
  8. Blink Twice (2022)
  9. Laundry Pile (2023)
  10. Disco Loadout Volume One (2024)

…and more to come

REVIEW: Kick Axe – “Piece of the Rock” / 2005 remaster of Rock the World (1986)

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.

4.5/5

Part One:  “Reality is the Nightmare”
Part Two:  “Weekend Ride”
Record Store Tales #773:  Rock Candy + Internet = Kick Axe!
Part Three:  Vices
Part Four:  The Transformers soundtrack (as Spectre General)
Part Five:  Welcome to the Club
Part Six:  Rock the World
Part Six-point-five:  “Piece of the Rock”
Part Seven:  IV
Part Eight: Career Retrospective on Grant’s Rock Warehaus
Part Nine: new album!

 

KICK AXE! Grant’s Rock Warehaus tackles one of the best Canadian bands with whom you’re not familiar enough! All albums ranked!

This weekend on Grant’s Rock Warehaus, we tackled a band that needs and deserves more attention:  Canada’s Kick Axe!

“Nobody’s talking about Kick Axe!” said Grant.  We aim to change that with this show.  Please give it a watch!  What are your favourite Kick Axe songs?

This show almost didn’t happen.  I wanted an expert on Kick Axe, so I asked Derek Williamson of Thunder Bay Ontario, who saw Kick Axe live back in the day and also interviewed the guitarist Larry Gillstrom.  He stonewalled me three times, so we decided to do it without him.

Show notes are below, if you want the Cole’s Notes version, but you’ll have to watch the video to get our album rankings.

Formed 1976, Regina Saskatchewan as “Hobbit”.

Original lineup:

  • Victor Langen, bass, vocals
  • Gary Langen, drums
  • Larry Gilstrom, guitar

Ray Harvey added on guitar.

Moved to Vancouver BC, Gary Langen leaves band replaced by Brian Gillstrom, Charles McNary hired as vocalist.

1981 – Playboy Street Rock – live track called “Reality is the Nightmare”.

1981 – Weekend Ride / One More Time (Harvey on vocals).

Produced by Bill Henderson and Brian Too Loud McLeod of Chilliwack.

Wrote “Heavy Metal Shuffle” which opened Vices later on.  Attempted to record an album but never released it.

McNary replaced by George Criston, who brought in power, range and soul as well as a unique sound.

1984 – Signed to CBS in Canada, approached Spencer Proffer to produce because they wanted the same sound as Metal Health by Quiet Riot.  Proffer liked the band personally and thought highly of their musicianship.  Album Vices released on Pasha in the US.

Recorded existing material (2 songs re-written with Proffer) in Hollywood at S.I.R.  30 Days in the Hole – a cover, like Cum On Feel the Noize, but not intended to be a hit, just a showcase for their talents.  Released on the soundtrack to Up the Creek.

Ran into Tony Iommi and Geezer Butler – supposedly approached Criston to replace Ian Gillan in Black Sabbath.  Proffer was working with both bands.

Vices is their best album.  Proffer intended it to be a concept album about vices.  Not a bad song.  Bangin’ backing vocals.  Music video for On the Road to Rock made major impact in Canada, with the comedic video attracting attention.  The Vices mascot was one of my first “rock buttons”.

Vices did not perform to expectations, but Kick Axe wrote three songs for the next Black Sabbath album:  “Wild in the Streets”, “Hunger”, and “Piece of the Rock”, later recorded by W.A.S.P. and King Kobra.  Kick Axe did not want to lose Criston to Sabbath.  “Piece of the Rock” is one of the rarest Kick Axe tracks, only released on a 2005 issue of Rock the World.

1985 – Second album – Pasha wants band more streamlined for radio.  Brought in Pasha staffer Randy Bishop to help on lyrics.  Co-wrote 5 songs and co-produced Welcome to the Club.  Some of the heaviness is blunted, in favour of better song structure and melodies.  Recorded at Metalworks in Toronto.  Cover art by Hugh Syme, which the band never understood the meaning of.

Band brought in cover of Joe Cocker’s version of “With A Little Help From My Friends”.  Rik Emmett, Lee Aaron, Andy Curran, Alfie Zappacosta and more on backing vocals.  Very cool music video made of the recording session.

Pretty solid album, though not as banging throughout as the original.  The cover tune is completely different, but really excellent.

The band and Proffer blame lack of sales on parent label Epic.  No support.  Toured with Autograph, Krokus, Night Ranger, Helix and Triumph.

1986 – Ray Harvey returns home to deal with family matters.  Joins Rock & Hyde as touring guitarist (Bob Rock & Paul Hyde).

The Transformers soundtrack released.  Hunger, and Nothing’s Gonna Stand In Our Way released as Spectre General.  All done by Proffer, without knowledge of the band.  Due to pseudonym used, no benefit to band happened.

Still signed to CBS in Canada.  Next album picked up by Roadrunner in US.

Rock the World (initially “Fuck the World”) recorded as four piece.  Self-produced primarily by Larry due to lack of funds provided by CBS.  Recorded at Right Trak in Vancouver.  Also forced to mix the album themselves.  The cover tune this time is The Chain by Fleetwood Mac.

Band breaks up – sherrifs seize equipment due to unpaid debts.  Later immortalized in the song Rocking Daze on Kick Axe IV.

2002 – Kick Axe reunite with Gary Langen returning, this time on lead vocals.  George Criston remains active in country and more soulful music.  Has expressed no interest in returning to rock.  Has not participated with reissues.  Has worked as a guitar tech for Sarah McLachlan, Dido, Avril Lavigne, and k.d. lang.

2004 – Kick Axe IV self produced.  Best song Rockin Daze written by Brian Gillstrom.  Decent album but not memorable long-term except for Rockin Daze.  Gary Langen has a style of voice reminiscent of Phil Naro.

2008 – Gary Langen leaves band, replaced by Daniel Nargang.

2023 – Run to the Thunder, first new song in decades, to be followed by new album.

 

 

 

 

 

NEWS: Arkells announce new covers album Disco Loadout Volume 1 – pre-order now for May 17 release

The Arkells are not slowing down!  With last year’s surprise release of the unplanned acoustic album Laundry Pile, not to mention the two Blink albums, the band are back in 2024 with their first full covers album!  Of note, this album includes Abba’s “Gimme Gimme Gimme (A Man After Midnight)”, previously only available on an iTunes EP.  This is its first physical release.

Signed “ultra clear” vinyl with blue and purple splatter available, as well as unsigned vinyl and CDs.

Tracklist
01)  Dancing On My Own
02)  I Want You Back
03)  You Make My Dreams
04)  As It Was
05)  Sledgehammer
06)  Gimme! Gimme! Gimme!
07)  9 to 5
08)  I Wanna Dance With Somebody
09)  Dancing in the Dark
10)  The Power Of Love
11)  Dancing Queen

WHY DISCO LOADOUT?

A disco loadout is a term in our industry that describes a very humbling act. Many bands have experienced this, and we certainly have. Sometimes when you’re on tour you might pull up to a venue to find there is a later show happening the same night. The promoter, looking at his spreadsheet, has decided that it makes financial sense to book two separate shows on the same night. Your band is playing the early show, and when you are finished, you must load your gear down the stairs and out the door while a lineup of people waits to get into the venue for the next show. The later show is usually a cover band, performing songs that everyone knows and likes.

We have been humbled by this in the past and instead of living with the embarrassment, we have performed and recorded those songs for you. We’re taking the term back.

Disco Loadout Vol 1. Songs Arkells like to play when we need to party like it’s a late show.

REVIEW: Glass Tiger – Diamond Sun (1988)

GLASS TIGER – Diamond Sun (1988 Capitol Records)

Produced by mainstay Jim Vallance and recorded at Le Studio with Paul Northfield, Glass Tiger’s Diamond Sun is generally considered the best of their studio albums. What you may not know is that the Canadian pop band’s second album also really rocks.  Diamond Sun was their last album featuring the co-writing skills of drummer Michael Hanson, and his absence would be felt in the future.  For 1988, Glass Tiger were running on a high, and hit after hit.

The band had the courage to open the album with a soft one, the title track.  This was the second of five singles, and a powerful ballad it is.  The keyboard chimes work in tandem with drums, samples and singer Alan Frew’s impassioned vocals.  The lyrics circle around the still-topical subject of colonialism.  “When they came to this land, we gave our friendship, gave them our hands.”  The music has the appropriate feel, but listen carefully and enjoy the lyrical bass work of Wayne Parker, who has often gone unnoticed in this band.  Check that false ending!

“Far Away From Here”, the second song, is single worthy in itself but remains a nice deeper cut.  This time the guitar work of Al Connelly rises at the start, setting up an awesome mid-tempo rocker.  The chorus is among one of Glass Tiger’s best, accented by catchy acoustic guitar bits hanging lower in the mix.  Connelly’s riff is very much akin to 80s Rush, but encased within a simpler, more direct kind of song.  Alan Frew’s voice has a smooth, deep kind of power.

Personal favourite “I’m Still Searching” is a fast electro-acoustic rocker.  This song lit our VCR on fire back in 1988 when it was released as the first single/video.  Nobody expected such an upbeat rocker from the Newmarket quintet!  It’s an immediate singalong with a campfire quality, despite the electric shimmer of guitar, and organ by Sam Reid.  Once again Al Connelly has come up with some cool, catchy guitar parts.

“A Lifetime of Moments” is a lesser known ballad, well-rounded with keyboards and guitars as the main features.  The lyrics are about a lost love and rebounding, and Frew sells it.  This song is unique because of the sax solo, something simply not utilised enough in ballads or rockers!

The best of the deep cuts is the awesome side one closer, “It’s Love U Feel”, which is right out of the 80s Rush playbook.  From the echoing guitar jingle to the bouncing basswork, this song easily could have been a hit for Rush on Power Windows.  A duet with Lisa Dalbello on the chorus, this song kicks hard.  How this isn’t one of the Tiger’s biggest hits is unknown.  Perhaps it was just too advanced for an 80s pop video audience.  This sounds more like the kind of thing that would have been big on rock radio.  It is one of Glass Tiger’s greatest songs, featuring some stinging, smoking guitar work.  It could be Keith Scott from Bryan Adams’ band, as he is credited with additional guitar on the album, along with Michael Hanson.

Side two opens with two more singles.  “My Song” was a big hit with a Celtic feel, performed with the legendary Chieftains themselves.  They were recorded separately in Ireland, with Sam Neil producing their session.  Tin whistle dominates, with bodhrán, fiddles and other instruments lower in the mix.  For anyone with a taste for Celtic pop rock (think Marillion “80 Days”), this will hit the spot.  A huge hit in Canada because of its unforgettable, timeless chorus.  They tried to repeat this trick with Rod Stewart on the next album, with less success.

The most powerful song on the album is, paradoxically, the softest.  The piano ballad “(Watching) Worlds Crumble” absolutely explodes on the chorus, while the verses feature Alan Frew singing in a soft falsetto.  The music video, recorded live on stage, was the first not to feature Michael Hanson.  He left the band mid-tour to be replaced by Randall Coryell from Tom Cochrane’s band.  It was one of those sad instances of the new guy never becoming “official”.  Glass Tiger remained, on paper at least, a four-piece after the departure of Hanson.  “(Watching) Worlds Crumble” is one of the few without his writing.  It was written by Frew, Reid and Vallance, and features another really nicely written Connelly guitar solo.  The drums are absolutely epic too.

Back to a rocker, “Send Your Love” has an upbeat stuttery guitar part and a slamming chorus.  Another winning deep cut.  The warm ballad “Suffer in Silence” and another sax solo take us out to the closer, “This Island Earth”.   Diamond Sun ends in epic fashion, with this slow burning number and a social message.  Again, Rush comes to mind, with a slight progressive sound and keyboards.  In the end it’s Alan Frew who sells it.

Diamond Sun sold 200,000 copies in Canada, an astronomical amount for this country.  It is an album with broad appeal, spanning a variety of styles but all somehow sounding like Glass Tiger.  It’s a cohesive album with no weak tracks, and only highlights to be found.

5/5 stars

REVIEW: Brighton Rock – “Can’t Wait For the Night” (Remix) (1986 single)

BRIGHTON ROCK – “Can’t Wait for the Night” (Remix) / “We Came To Rock” (1986 WEA single)

Niagara Falls’ Brighton Rock had a knack for rockers and ballads in equal measure.  Though “ballad” was often whispered as if it were a dirty word, Brighton Rock released a couple as singles over their career.  “Can’t Wait For the Night” was the first.  With a soft keyboard backing, the guitar melody by Greg Fraser sketches out the hook of the song.  Gerry McGhee shows a tender side to his voice, while unleashing the scream on the chorus.  His voice takes on a third texture as the chorus goes out, a grittier version.

On the 7″ vinyl format, the song was given a remix and an edit.  It was taken down from 4:25 to 3:56, and labelled as the “single mix with guitar solo”.  Presumably all that means is that the guitar solo wasn’t chopped for the edit, since the album version seems to have the same solo.  The edited music is mostly outro, and it’s hard to discern exactly what the remix adds.  Keyboards and guitars seem to be the same.  Vocal is the same.  But here it is; the “single remix with guitar solo”!

On the B-side is the rocker “We Came to Rock”, which to me was always the “first single” because of the great music video they used to play on Much.  This dramatic little number mesmerized us as kid.  It began soft and ballady, with keyboards and the sound of violins seemingly being plucked on the verses.  Then, Gerry McGhee released the beast that was his scream on the captivating chorus.  McGhee’s voice had tremendous diversity within single songs, and this is a prime example.  Finally you get to Greg Fraser’s solo, which as always was a composition unto itself.  This is the standard album version.  Simply awesome as-is!  It is one of those rare songs that is a treat to play on repeat.

This awesome little picture sleeve single isn’t hard to find nor expensive to buy.  Highly recommended.

4.5/5 stars

Tomorrow on a Grab A Stack Special Edition, new co-host Len Labelle and I go through our entire Brighton Rock collections. Don’t miss this!

MOVIE REVIEW: Mystique – Standing On the Firing Line (2022)

Note:  This review is of the new 96 minute cut of Mystique – Standing On the Firing Line. 

A collaboration with Jex!  For Jex Russell’s review, click here!

MYSTIQUE: STANDING ON THE FIRING LINE (2022, 2023 edition)

Directed by Marco D’Auria

“EPIC METAL” – Martin Popoff

They had the raw talent to make it.  They just needed a break.  They didn’t get it, but what they achieved instead was a legendary status with a handful of priceless releases left behind.  They were Mystique, a progressive heavy metal band from Hamilton Ontario.

Standing On the Firing Line is a 2022 documentary film by Marco D’Auria, finally shedding light on the history and music of this lesser-known band.  They always deserved more attention, and hopefully the film brings them that.  From the first shots of the band, the music of “No Return” assaults the senses with chopping riffs and unholy screams.  Why didn’t they make it?

The main driving force of Mystique from their beginnings to their demise were opera-trained singer Ray D’Auria (originally from Naples Italy), and perfectionist drummer John Davies, who had spent time in a few hard rock bands before Mystique.  Many other talented members joined and enhanced them along the way, but it was Ray and John who were there ’til the end.  The two met up when John auditioned for Ray’s band, Orion.  A friendship was formed, but the band wasn’t paying them the money they were owed.  They split as a pair and didn’t waste time starting their own thing.  15 year old Dave Dragos was a shredder – rated 2nd best in Canada at the time – and was first on board.  He introduced them to bassist Mark Arbour (a mixture of Geddy Lee and Chris Squire), and a solid band was formed.  A 1984 basement tape of “Black Rider” shows the nameless band had the goods.  It was Ray who blurted out “Mystique”, which felt right.

They found a rehearsal space, and added keyboardist Victor Barreiro.  The band practiced hard, and pushed each other to improve as musicians.  Davies tended to handle the business side, but they were attracting attention to themselves.  They found a manager (Ted Smirnios), money was borrowed, and songs were improved upon, until they were finally in shape to record.  Primitive but technically inventive tracks were recorded on 1/2″ tape, on a 16-track desk.  Not the best for sound quality, but good enough to get the songs down.  They went as far as to butcher a classic Leslie speaker to get a driving keyboard sound.

A stoned viewing of the animated Lord of the Rings movie captured John Davies, and inspired the song “Black Rider”.  The band had a sort of gothic bent in the mid-80s, but Ray D’Auria’s voice was appropriate for this progressive style of metal.  Journalist Martin Popoff remarks that the keyboards brought them into that progressive world.  Melodic guitar/keyboard solos took time to work out.  They were unafraid to play ballads, which Martin compares to a vintage Judas Priest dirge.  Mystique were a serious band!  The Black Rider EP impressed their peers for the playing if not the sound.  Popoff heard a strong Maiden influence, but compares more to Armored Saint and Odin with elements of power metal.  1000 copies were sold, an impressive amount.  Their manager got it as far away as Greece, and even accidentally set himself on fire as part of their stage show!

The band were doing well but dreams were not exceeded, and eventually members left for greener pastures, leaving Ray and John to rebuild.  Bizarrely, they met a talented French guitarist named Eric Nicolas in Jackson Square, and went to France to record their next demo:  1987’s I Am the King.  They struggled with the language barrier, and were recording digitally for the first time.  Ray blew everyone away with the “God note” that he held in “I Am the King”.  They were offered a record contract with Elektra in France, which didn’t pan out.  They brought the tapes home to Canada for release.

They added a new bassist, Les Wheeler, and evolved from metal to “hair”.  “The explosion in the costume factory look,” as described by Popoff, of their new extreme look that didn’t match their music.  “It looked good, from a distance,” jokes Ray.  Teenage girls loved their posters though!  Unfortunately having a guitar playing living in France was a barrier.  Wheeler broke his wrist in an accident.  A new lineup formed.  They felt forced to go more commercial, which resulted in the 1988 Poison-esque single “Rock and Roll Party Tonight”.  It was vastly different from “Black Rider”, but they went straight from that to recording a proper album, funded by EMI.  They taped 11 to 12 songs…but the album was never released and is partly lost today.  The masters tapes were sold and erased.  There were some good songs on that tape.  Ray, however, looks back at their change of direction as a mistake.  More shuffles in band members caused long breaks in activity, and the writing was on the wall.  Ray no longer identified with the music, and was the one to leave.  By 1989, their music was out of date anyway.

Manager Ted Smirnios is given a tremendous amount of credit for making Mystique happen.  It’s a touching part of the film.  The band members went their separate and sometimes surprising ways, but the story never really ends so long as people keep discovering the music.  Their releases are now valuable collectables today, worth a small fortune on the second-hand market.

Rare live clips and candid photos really bring an intimate look at Mystique.  You feel like you get to know the personalities.  This new edit of the film cut a substantial amount of footage, mostly interview footage with people who were there at the time.  The movie gains better pacing from this, as it just flies by in no time.  A new ending to the film brings us to the present day, and the movie’s theatrical premiere in front of a cheering audience.  The original cut might be considered for more hard-core viewers who want that “feels like being there” experience, but the current 96 minute edit is better for the enjoyment of Mystique.  It’s a much tighter and more direct story.  There is still plenty of unreleased music and vintage images.

Stay tuned for the mid-credit scene!

4.5/5 stars

REVIEW: Arkells – Apple Music Home Session (2022 EP)

ARKELLS – Apple Music Home Session (2022 iTunes EP)

The Arkells have a number of download-only live EPs on iTunes.  The most recent one is 2022’s Apple Music Home Session which boasts three tunes:  Two from their Blink Twice album, and one exclusive cover.  And damn, you won’t believe what they covered!

The EP opens with a laid back, horn-laden “Reckoning” from Blink Twice.  The horns on this song are the real candy.  Rolling low and punching high, Arkells usage of horns is very effective.  And the chorus kick!  “Blink twice! There’s gonna be a reckoning!” croons Max Kerman on this irresistible hit.  Drummer Tim Oxford thunders out a smooth groove punctuated by his unusual kick drum pattern.  This is how pop rock should be – musically inventive with impressive playing.  This is how the Arkells do it.

Track two is “Past Life” performed just by the Arkells, and not with the Cold War Kids as on the Blink Twice album.  It’s a little tougher in this guise, with a lot more texture, dynamics and unexpected instrumentation.  Mike DeAngelis’ guitar break is tasty as hell and Max Kerman handles all the lead vocals himself.  This could end up being your preferred version of the song.

The big surprise is the cover:  “Gimme Gimme Gimme (A Man After Midnight)” by ABBA!  Max doesn’t swap genders for the lyrics, just as it should be!   The horn section delivers a good chunk of the melodies, but Anthony Carone perfectly duplicates the main keyboard hook.  Meanwhile, bassist Nick Dika lays down the funk in a flawless groove.  Dika gets a cool groovin’ spotlight moment just before the understated sax solo.  That leaves Kerman to deliver the indelible chorus, which he unflinchingly succeeds at.  Let’s face it, ABBA were extraordinary songwriters and “Gimme Gimme Gimme” is one of their all-time best.  The Arkells version is an undisputed triumph.

5/5 stars

  1. Reckoning (4:22)
  2. Past Life (3:55)
  3. Gimme Gimme Gimme (A Man After Midnight) (4:06)
    Arkells, the Beaches & July Talk

ARKELLS

  1. Jackson Square (2008)
  2. Michigan Left (2011)
  3. High Noon (2014)
  4. Morning Report (2017)
  5. Rally Cry (2018)
  6. Campfire Chords (2020)
  7. Blink Once (2021)
  8. Blink Twice (2022)
  9. Laundry Pile (2023)

…and more to come