Thanks Jex Rambo Russell for a terrific Canada Day celebration. Yes we celebrated early, but now you can watch what we did!
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. We also played some video clips when we could to give you a taste of the music!
Below you’ll also see my photos of the lists, and a graph of the cities from which the bands originated. Hamilton won handily!
Thanks for watching! No show next week as I’m doing a super secret taping with Tim’s Vinyl Confessions!
GRAB A STACK OF ROCK With Mike and Professor Jexcalibur
Episode 27: Nigel Tufnel Top Ten Canadian Bands (Unknown Outside Canada)
It’s Canada Day Weekend, and let’s celebrate at a special time! The 3:00 timeslot has been a tremendous success for us here at Grab A Stack of Rock. Top Canadian Bands unknown outside Canada? A full Nigel Tufnel Top Ten? Don’t mind if we do!
This topic comes courtesy of the Jexciter. Back in the LeBrain Train days, we covered Canadian bands, but that was a long time ago and a fresh perspective is due. Expect the usual trademark “Grab A Stack Show & Tell” and lots of shenanigans. And remember: Even though it’s Friday at 3:00 PM, shirts are compulsory!
Friday June 30 at 3:00 P.M. E.S.T. / 4:00 P.M. Atlantic. Enjoy on YouTube or on Facebook!
The Arkells smashed the radiowaves on their excellent second album, Michigan Left. “Whistleblower” raged, with that guitar riff and cutting vocals, cementing the band into the minds of Canadians from coast to coast. Aggressive and intelligent, it’s a tune that can’t be topped. “Just a little bit of faith is what I want, it’s what I need in my institutions.” Singer Max Kerman, a B.A. in Political Science, pours on all the passion that he is known for on this excellent track. And that’s just one of ten excellent tracks.
Dig deeper into the album and you’ll find many tracks just as great as “Whistleblower”.
One of the band’s many strengths are the backing vocals. Opening track “Book Club” has rich backing shouts, helping Max focus on the main message. What a track! The band’s home town of Hamilton is mentioned, and turns up elsewhere on the album. The upbeat “Where U Goin” has plenty of the pop goodness that would increase on the band’s next album High Noon. This is followed by the title track, a brilliant rock tune with unbeatable melodies. The chorus soars overhead while the band jams and “whoah-ohs!” along. Cool percussion and accoutrements on this amazing tune.
“Coffee” is a great Canadian song title, don’t you think? “No no really, this one’s on me, I’ll let you get the next time we go out for coffee.” Mixing acoustics with electric, Arkells make things a little more contemplative, and it works. Certain lines here really hit home. Specifically: “Does he hit you?” Sadly I think many of us know someone like the person who is the subject of this song. Things get slamming again with “On Paper”, a fast tune with a punk-like energy to the choruses, even though it’s just radio rock. There’s a brilliant riff change and a “Woo!” at about 2:25 that just kills!
The band slow it down a bit for “Kiss Cam”, a romantic single you can dance to. And the lyrics? “This campfire won’t last forever, the Hip have only wrote so many songs.” How’s that for you? These guys know how to write unforgettable words. Always have.
“One Foot Out the Door” is different, quiet and tense. The plucking of an electric guitar becomes the pulse of the song, but as always Kerman is the focus. A false ending gives way to a deliciously chaotic blast of piano and guitars. Awesome song. A poppy riff then introduces “Bloodlines”, the one with the reference to the escarpment in Hamilton. It’s about walking on eggshells in a relationship, something we can all relate to.
Album closer “Agent Zero” is hard to categorise. It doesn’t feel like an album closer, but it does manage the job by ending it abruptly. Perhaps another song would have ended the record with more drama, but “Agent Zero” isn’t a bad song at all.
You could tell these guys were only going up. And go up they did! One of Canada’s most popular bands today.
George Criston is one heck of a talented singer. Always had a lot of power, and range. However, his heart no longer appears to be with the rock, but with country and gospel. There’s nothing wrong with that, but when Kick Axe needed to reunite and put out a new album, a new singer was required. They didn’t have to look far! Original drummer and brother of bassist Victor Langen, Gary, stepped up to the microphone to sing. And what a voice! The rest of the classic lineup was intact: Victor Langen, Ray Harvey, and Larry & Brian Gillstrom. On the road to rock!
Gary Langen strikes a tone similar to the late great Phil Naro of Talas, especially on the track “Rockin Daze”. More than enough to kick all the axes in the room. Gary also participates in the songwriting on several songs, and providing the slinky tune “Slip Inside My Dream” himself. Not at all like the one-of-a-kind Criston, but still more than capable.
The best track is, by far, the aforementioned “Rockin Daze” surprisingly written by drummer Brian Gillstrom. The cool descending riff, the gritty vocals, and especially the killer chorus, make this one the obvious standout. “The show is over, your rockin’ daze are done!” Not by far! There’s a story in the lyrics, so pay attention, but especially listen to the impassioned vocal and stunning guitar solo work.
While “Rockin Daze” is a high water mark, there aren’t any particularly bad songs. The rest of them are on the same level. Solid, enjoyable, well recorded heavy rock with the expected impressive musicianship. Long bomber “City Lights” is pretty epic. From heavy rockers like “Right Now” to slow, bluesy ballads like “Consolation”, there is a good cross section of songs. At an hour long, and with 14 songs in total, it’s a long ride and perhaps could have been trimmed down to 10 songs. On the other hand there’s an argument for value, especially when it’s a band’s only album in so many years. There are plenty of good songs here, and nothing to make you jump for the “skip” button. It’s a modern rock album, not as “metal” as the golden days. A slight progressive edge, with keyboards and acoustics in strategic locations. Still plenty of guitars, drums, and wicked singing! The lead solo work on this album is top drawer. Don’t expect Vices II, though there’s still a common thread here that confirms it’s the same band.
Nothing lasts forever in rock and roll, and while this lineup of Kick Axe survived five years, in 2008 Gary Langen left and was replaced by Into Infinity singer Daniel Nargang. The band continue to rock and roll, though IV remains their last album.
When I reviewed this album six years ago, I rated it 4.5/5 stars. For whatever reason, I’ve been playing this a lot over the last two weeks. Like a lot lot. Today I’d give it a solid 5/5. High Noon by the Arkells has reached that upper echelon of albums that somehow, someway, have become so important to me that losing this album would be like losing an arm. It’s in my soul now. It’s part of me. That’s not easy to do, especially for newer music.
I love the spirit. The defiance. The anger! “Oh you’re just a boy, a little banker boy, everything’s a game and everyone’s your toy…” A pretty scathing indictment of the wealthy who prey on the vulnerable, a practice which singer Max Kerman refers to as “Fake Money”. It’s so upbeat that you don’t pick up on the anger until you actually listen to the words. But when you do? Hooboy! Though the song sounds like a celebration, the lyrics cut like razors.
Then there’s the very-80’s “Come To Light”, a brilliant rock song with a Bowie beat. There’s a tension built from synth and drums. Then the piano delivers those hooks! Kerman’s vocals are as impassioned as ever (“Impassioned” being his middle name, according to some reports). Virtually every song could be a single, and this one was the first of four. Another simply superior upbeat celebration follows, called “Cynical Bastards”. You have to love that title! Once again the keys are the dominant hook-deliverer, though the chorus itself is pretty damn awesome. Even the lyrics are catchy! “If the 80s were tough, the 90s were mean!”
Another serious favourite is track #4: “11:11”. You ever heard about that superstition that you’re supposed to make a wish when the clock shows 11:11? A slower, more contemplative song, this beauty is all about meeting a sweetie at a bar. “You made a wish at 11:11, I held your hips at 12:34,” goes the fabulous chorus. “There was a kiss just waiting to happen, a cab was waiting just outside the door.” A slower but still bright number called “Never Thought That This Would Happen” is one of most poetic yet colloquial songs about a one-nighter that I’ve ever heard. “And I never thought that this would happen, and you got all weird after the weekend. Sometimes you make out with an old friend, and I’m rounding first and I’m sliding into second…” It’s also the only song on the album that exceeds four minutes.
Sometimes I wonder if these girls that Kerman is singing about know the songs are about them.
“Dirty Blonde” is another very 80s upbeat rocker, very much like 80s Elton John, but harder. Just as many hooks though! “What Are You Holding On To?” has a completely different vibe, happy and danceable. This is followed by the uber-catchy “Hey Kids!” and the single “Leather Jacket”. “Leather Jacket” is one that strikes home lyrically in many ways. “You call me up from a pay phone, I say hang tight I can drive you home.” Been there done that! But my favourite line? “You call me up from a pay phone, and I said, ‘Who the fuck uses a pay phone?'” Regardless, “Leather Jacket” is instantaneous, flawless and passionate.
Just two more songs remain in this journey. “Crawling Through the Window” slows things down to a strong digital pulse, with dark chords backing it. Brilliant lyrics here describing a shitty old apartment. “There were carpets in the bathroom, man, what the fuck’s a vacuum?” Again it sounds like there’s a real story here. Finally the dance rock of “Systematic” ends the album on a surprising, but no less catchy note.
Mastering engineer – Harry Hess! By all means, get this album. Get it. Play it. Play it again. Fall in love. I did.
GORDON LIGHTFOOT – Summertime Dream (1976 Reprise)
Immediately after Gord’s Gold provided Lightfoot fans with a collection of old and re-recorded hits, Gord made another one: “The Wreck of the Edmund Fitzgerald“. This mighty song dominated the radiowaves for years over all over the Great White North, arguably granting Lightfoot his most memorable song in his history. His earlier material from Gord’s Gold and before might be considered the pinnacle of his album-making career, but Summertime Dream isn’t too shabby.
Opening with the musically upbeat “Race Among the Ruins”, but lyrically there is warning here. “If you plan to face tomorrow, do it soon.” Don’t let time pass you by.
The nautical disaster song “Edmund Fitzgerald” is second, a mostly historically accurate accounting (within reason) of a great lakes shipwreck. The great lakes shipwreck. The stinging guitar lick repeats while the harrowing lyrics induce chills. Guitarist Terry Clements performed that unmistakable, haunting guitar part, the one that little Canadian kids were dying to learn how to play in their youths. Did they have any idea they were recording such a timeless song when they were laying down the tracks? Every feeling, every emotion, every creak of steel and wood can be absorbed through the grooves. The way Lightfoot paints a picture with words, you feel as if were there. Gene Martynec, who played synth on Lou Reed’s Berlin album, provided light keyboard accents here. You’d miss them if they were gone.
A tender ballad, “I’m Not Supposed to Care”, gently caresses the soul with its light backdrop of pedal steel guitar. Then, edgier electric guitars back up “I’d Do It Again”, a laid back groove with a country foundation and a rock veneer. “Never Too Close” also shines with shimmery guitar melodies and a stunning chorus. Then the somber “Protocol” is a war ballad ranging from days past to the Vietnam War. “The House You Live In” showcases more pedal steel tones with a warm tune and laid back tempo. The single “Summertime Dream” is upbeat and bright, recalling hot happy youthful days. “Spanish Moss” is another lovely song, painting pictures of landscapes we’d like to see. Finally, “Too Many Clues In This Room” closes the album on a dark note, with lyrics aluding to both space and sea exploration.
Not Gordon’s most captivating album, but one without any skips, and one absolute monster of a song.
TRIUMPH – Just A Game (1979 MCA/2003 Round Hill Records remaster)
Landmark album, solid front to back, and a sign of growth for the Canadian trio. Arguably their greatest song, “Lay It On the Line” has the biggest presence here, from soft intro to bangin’ chorus. Highlights include the rocking opener “Movin’ On”, the blues “Young Enough to Cry”, the boogieing “American Girls”, the folksy power ballad “Hold On” and the progressive title track.
BLUE RODEO – Daze In America (1995 Discovery Records promo CD)
Blue Rodeo have a number of promo-only releases of great value to fans. There’s the The Live CFNY Concert for one. “Diamonds in the Rough” / Demos and Other Stuff….. is another. Perhaps the most superb of them was 1995’s Daze In America CD, including five live songs but never released to retail on any Blue Rodeo album or single.
The sextet were riding high with the triumphant Five Days In July album, a surprise hit recorded spontaneously in…well, five days. An utter masterpiece, Five Days in July produced numerous classics that endured in setlists for decades. “Head Over Heels” was one such track, an upbeat Jim Cuddy stomper with harmonica, mandolin, and the kitchen sink. It’s the kind of Blue Rodeo track that gets people off their seats. The version here is the studio cut, which is logical since it was one of the big singles they were promoting at the time.
“Hasn’t Hit Me Yet” is live in Omaha, and it emanates energy from the crowd. “This ain’t nothing new to me, it’s just like going home,” sings Greg Keelor. “It’s kinda like those sunsets that leave you feeling so stoned…” Crowd roars. Live, Jim Cuddy’s harmony line is more prominent. Blue Rodeo’s best song, hands down. And check out Bazil Donovan’s lyrical walking basslines and tell me he isn’t one of the best bass players in this great nation of ours! Yes, “Hasn’t Hit Me Yet” is a freakin’ gem, where every facet matters, and elevates the song further.
Jim’s bluest ballad, “Bad Timing” is received by quiet punctuated with screams. If you see Blue Rodeo live, then you know this is a common reaction to Cuddy’s crooning, a country heartthrob if there ever was one. “Bad Timing” is sentimental, beautiful, and soothing in its own pain. The ultimate breakup song. It’s just bad timing, that’s all.
Casino‘s “Til I Am Myself Again” brings us back to one of those upbeat Jim songs that people love to dance to. Being seated during this song at a Blue Rodeo concert is not optional. Often a set opener, this one kicks! Laying back a bit, “Rain Down on Me” was another big hit, this time from Lost Together. The size of the chorus, a big huge cumulus, is one reason why it is so beloved. The pedal steel guitar solo by Kim Deschamps is outstanding. Then “Last To Know” is another Jim ballad, but with a monolithic chorus.
Ex-Andy Curran drummer Glenn Milchem is all over “Trust Yourself”, a real bolder-buster of a tune. It was always a bit of a jam, but live it just explodes from all its bounds. Then it descends in a two minute outro of solos and jamming. Blue Rodeo are one of the best live bands you’ll ever see, and this track shows why.
A great promo EP, somewhat rare, but worth the extra few bucks for these rare recordings.
This my friends is a Japanese A5 wagyu. The most highly prized steak in the world. This will be going on the plate July 1. It will be my first time cooking it. Wish me luck! I definitely will not be overcooking it. Chefs recommend rare or medium rare. I’ll aim for medium. Chefs also tend to season simply with salt and pepper and little else, to let the beef flavour dominate.
So now that we have the food settled, we just need some fireworks and music. What Canadian songs are your favourites? Comment below.
There’s a certain amount of pride that one takes in being a Helix fan. Helix the band are almost as old as I am! They formed in 1974 and put out their first independent album Breaking Loose in 1979. And what a debut it was! With a handful of road-tested songs, the band plied the waters of guitar rock, with a foot in sci-fi prog and another in boogie-woogie. Just check out their first minor hit “Billy Oxygen” if you don’t believe me. They’ve been releasing music steadily ever since, with Capitol Records and others, with only a minor five year gap between It’s a Business Doing Pleasure (1993) and half-ALIVE (1998).
In 2022, Helix are back with a new single called “Not My Circus, Not My Clowns”. They’re getting ready to start gigging again after two years of Covid-induced hibernation. The current lineup consists of founder Brian Vollmer, classic members Daryl Gray and Greg “Fritz” Hinz, and guitarists Chris Julke and Mark Chichkan. Julke has already been in the band eight years, and Chichkan had countless gigs with Helix in the mid-90s. These veterans absolutely know how to give ’em an R. Then we have Sean Kelly helping out in the studio to boot, adding some nitro to the mix. In other words: Helix are still potent.
It’s fair to say we all miss Paul Hackman. I never met Paul though I’ve met most of the others. He sure was a talented writer, and many of his songs like “Heavy Metal Love” are beloved classics today. Fritz Hinz has been through hell and back, making a stunning recovery after a coma-inducing fall from a roof. In recent years we also lost original guitarist Ron Watson, keyboardist Don Simmons, and road warrior Brian Knight. Brian Knight was a kid from our neighborhood, who went to do road work with Helix for many years. We lost him in 2021. Yet Helix keep on going, and going, and going. Even former guitarist Brent “the Doctor” Doerner has a new album coming out called The Ashtray Sonatas.
Speaking of the good Doctor, I first befriended the guitarist in 2006 at a Helix gig. I knew a guy named Shane Schedler, who was in his new solo band, and this led to an interview with Brent at his home. It was the first of several visits. A few months later, with a few gigs under his belt, Brent screened some live footage of the band and had some friends over to celebrate. It was that night that I wrote up the official bios for his band. I remember telling Brent I wanted to write the band member bios for his website and then running around the room getting quotes from all the members. It was a lot of fun. Definitely a personal highlight.
So for the first time since the first time, here are the Brent Doerner’s Decibel bios that I wrote.
Thanks to everyone who’s ever been in Helix for rocking us.
BRENT DOERNER’S DECIBEL
Band Bios and Fascinating Factoids
BRENT DOERNER (Lead Vocals, Lead & Rhythm Guitars)
“What’s right is what’s left after you’ve done everything else wrong.”
Not just every guitar slinger out there can claim to be a part of a Canadian rock institution. Brent Doerner can: He spent over 15 years in Helix playing guitar, writing, singing, blowing minds and winning fans the world over. He has the battle scars and the gold records to prove it, but that’s not the end of the story. A new chapter has just begun with Decibel, a new rock band of good-time tunes and unique lyrics that continues his legacy with pride and vision for the future.
CHICK (Rhythm Guitars)
“If you don’t have rhythm, stay at home.”
Ralph “Chick” Schumilas has been around the block once or thrice. He has 40 years experience as a musician. In the beginning, he was a drummer which gives him a rhythmic edge that’s tough to beat. Formerly, he was the co-owner of Buzz Marshall studios, and has played and written with such luminaries as Cheryl Lescom, Rob Juneau, and Keith Gallagher among others. He brings his immense songwriting experience to Decibel’s solid live repertoire.
HILLS WALTER (Bass, Lead & Backing Vocals)
“I’m not working for road rash.”
Hilliard Walter’s résumé is impressive in its diversity and scope. He’s been paying his dues in the clubs across Ontario for the better part of 30 years. Rock, however, is only one part of Hills’ musical makeup: He’s done punk, new wave, funk, soul, and every combination and isotope of those styles that is currently known to modern science. He’s played with Soul Circus, Sthil, Dezmanhall, Ed Bertoli, and lots more. He saw Helix make their big break and said, “I can do that too.” Now, Decibel is the main focus of this talented bass player with the soulful voice. When he sings, you listen.
SHANE SCHEDLER (Lead guitars, Lead & Backing Vocals)
“They tried to bury the double lead, but we’re going to rectify that.”
Shane’s history as a recording artist goes back to the mid-90’s when he was a member of the guitar-driven trio Martyrs of Melody. With the Martyrs, he released two independent CDs and began honing his songwriting craft. He’s been grinding his axe for “seven point something Olympic years” (you do the math). He now writes, sings and plays for Decibel, a band that makes him beam with pride. Shane is also proud that he hasn’t cut his hair since grade nine.
BRIAN DOERNER (Drums, Vocals)
“Some drummers think ‘time’ is a magazine, but they don’t have a subscription!”
Brent’s twin brother Brian Doerner is legend on the skins. His discography reads like a “who’s-who” of rock: Helix, Saga, Brian Vollmer, Ray Lyell, Refugee, Myles Hunter, and more. He first picked up the sticks after seeing the Beatles on TV in ’65, and it’s been a love affair with music ever since. A respected session man and teacher, Brian has inspired the others to new levels in their playing. Now that the twins are back together, the chemistry onstage is infectious.
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