ARKELLS – “Ticats are Hummin'” (2012 iTunes single)
Disclaimer #1: I hate all sports.
Disclaimer #2: Of all the sports, I hate football the most.
I do love the Arkells, and for them, I’ll download a song about football, and dang it, I’ll even enjoy it.
“Ticats are Hummin'” is a tribute to the Arkells home team, the Hamilton Tiger-Cats. They have a rivalry with the Toronto Argonauts. And that’s about all I can tell you about the Ticats. I do like this song. Alot! It is a bright, boppy and upbeat tune with a guitar and piano delivering the main musical hooks. Of course, there are plenty of those patented “woah, oh oh!” vocals that Arkells fans adore.
Saw some old friends, From down in T.O., But old Queen Lizzy, Will take them back home!
They look so sad, At the end of the night, Blown out like Pink Floyd back in ’75!
“Queen Lizzy” refers to the Q.E.W. – the Queen Elizabeth Way, a major highway connecting Toronto and Hamilton. I sometimes wonder if the Arkells staunch commitment to local references in their lyrics has held them back from international success. I think these references only enrich the music and add to their down-home vibe.
“Ticats are Hummin'” would have been one of the band’s first recordings with new keyboardist Anthony Carone. It preceded their excellent High Noon album by a couple years, but you can hear elements of where they were going, with the indelible pop melodies.
This track was released to iTunes with proceeds going to the Boys and Girls Club of Hamilton. It also received a physical release, on a rare 2 CD compilation called Everybody Dance Now – Songs From Hamilton, Volume 8. Be on the hunt.
Last time I reviewed Morning Report, I mentioned that the first two songs, “Drake’s Dad” and “Private School” were my least favourites. Ironically Morning Report became my favourite Arkells album despite this. When I re-bought it on a vinyl reissue, I was surprised but pleased to see that the running order had been altered! Now, a new single called “Knocking At the Door” was track #2, with “Private School” moving on to #3. This really changes things and makes the album a much more consistent listen from the start.
Y’see, I’ve discovered that I don’t particularly like when the Arkells get too much into modern mainstream pop. Despite its powerful soul chorus, “Drake’s Dad” falls into this category for me. It really does have a great chorus, a powerful soul/gospel chant of “I just wanna hold you, so high!” that raises the roof. It also has a lush arrangement with strings and samples.
“Knocking At the Door” has modern elements too, but my attention is drawn to the blast of the horn section, and the impressive and aggressive drumming from Tim Oxford. The track is just a banger. The chorus is as powerful as the Arkells get. Never a dull moment in this song. Listen to the horns and drums, trust me! Like “Drake’s Dad”, this one also features soul/gospel vocals.
The forgettable drinking anthem “Private School” has a fun hook of “Ah, fuck off, don’t say I’d do the same!” Silly fun. It doesn’t overstay its welcome, and soon makes way for the incredible ballad “My Heart’s Always Yours”. This suave pop rock heart-tugger just hits all the feels. Max Kerman has a way with words and I’m certain that the ladies love him for it. Though keyboards are the prominent hook-delivering instrument, the pure passion and panache of this song just elevates it to the clouds. As you’ll see later on, it doesn’t need the keyboards. A brilliant song, made indelible in the brain and heart!
Things get even better on “Savannah”, the fast acoustic-based song with killer lyrics. “She was named after, she was named after her dad’s favourite city. I was named after, I was named after the fact…” How does Max come up with this stuff?! He paints a picture of characters, often female, drifting in and out of his life. He tells their stories, often depicting musty old apartments, messy beds, and empty refrigerators. Musically, “Savannah” is even better than lyrically. It’s powerful and it has a trumpet solo, so what more could you want? The chorus is probably the most immediate one on the album.
Then…get ready for chills, for it is time for “Passenger Seat”, the most haunting song on the album and easily one of the most chill-inducing I’ve ever heard. Then the chorus comes, with Max in a high falsetto, accompanied by sparse piano and keyboard effects. “Driving on the highway home, this time alone, doesn’t mean the same without you. I turn on the radio, to somethin’ slow, just to let it fuck with my mood…but songs don’t sound the same without you in the passenger seat.” Who can’t relate to that? (People without driver’s licenses I suppose.)
Brightness returns on “Making Due”, like the light peaking through the blinds after a long night. The music is pure uplifting magic, and the lyrics cut clean through. A sunny guitar hook opens the track, and then Max delivers some of his best melodies and words to date. That falsetto really nails the hooks home. Favourite lines: “I thought we made a deal, you were crossin’ your fingers!” Or “Got a pulse, but there’s a few beats missin’.”
Acoustics come to the fore on “Round and Round”, a folksy number (at first) that serves to bridge two very upbeat pop songs. The band comes in partway and it becomes a little more late Beatles-y in a weird way. Horns come blastin’ through, then synth, and it grows into something else entirely: something birthed in the early 80s, but also talking about MuchMusic’s Electric Circus TV show circa 1999. An interesting track that is more than meets the ear.
“Hung Up” is impossible not to dance to. “The gatekeepers are keepin’ me out, let me in! Who made you the president, well fucker?” The horns also return, along with the synth, creating a modern pop rock classic. And I just love Max Kerman’s trio of “Well fucker?” at the end of the song. (Also listen carefully for a reference to “Fake Money” from the prior album High Noon.) No folks, he may be no Axl Rose, but Max Kerman is not afraid of dropping F-bombs right and left. Fortunately I’m easily entertained and I find his use of the word (usually) effective and not overdone.
A beauty called “Come Back Home” is a quieter, slow ballad, with a thrumming bassline that provides a dreamy foundation, like a pillow. “All would be forgiven if you’d come back home,” begs Max. “‘Cause I just wanna be yours again.” Filled with regret, Max is looking for reconciliation. Morning Report could in fact be a concept album about shattered relationships and our reactions to them. “And I thought about all the ways I could hurt you, to even the score of feelin’ deserted.”
The upbeat moods return on “A Little Rain (A Song for Pete)”. Max has indicated he’s probably an atheist in past lyrics, but here he says “I stumbled in St. Peter’s Cathedral, there I was. I never tried religion but man, I’ll try anything once.” I can’t tell if this song is about someone name Pete, or if Max is singing as if he’s having conversations with St. Pete himself. It means whatever you want it to! This incredibly catchy tune has a fun, bouncy beat and a suitable synth riff to go with it. Drummer Tim Oxford is definitely an underrated percussionist who doesn’t play it simple and always has catchy fills.
A slower but powerful song called “And Then Some” is next to last. This romantic dreamer is so good! “And I love every inch of you, and then some and then some.” Beautiful song and I can’t help but think of Tom Cochrane on the chorus. Something about Max’s delivery sounds like the Red Rider frontman.
Strangely, after all this power, all these hooks, and thick arrangements, the final song is very different from anything else. Quiet, understated and short, “Hangs the Moon” is like a coda. The arrangement is very bare, and Max’s voice is the main feature. The Arkells occasionally choose interesting, unconventional closing songs, and this is one. It works, but it’s not among my favourite songs on the album, and besides, it’s only the closer on the original 12 track album. We still have three more to go, all acoustic versions of previous songs.
“My Heart’s Always Yours” has a completely different feel as a piano and vocal arrangement. Guitar and percussion come in later. The vocal melody is identical, but the mood hits differently. It’s more sombre, though still mesmerising. For the softer arrangement, Max resorts to falsetto for some of the power-vocal moments. The wonderful “And Then Some” sounds more like the album version, though stripped back to basics. It’s still every bit as beautiful as the record, with a few little surprises. The best of the bonus tracks. The last bonus track is an unplugged version “Knocking At the Door”. This version sounds akin to an earlier album like Michigan Left. Similar vibe. There’s a cool bit at the end where the band sings together that just demonstrates their talent and soul. Great tune, cool bonus. All these bonus tracks serve to enhance an already excellent album.
To go with the new tracks, the gatefold double LP set comes with new cover art. It’s similar, but has a woman’s face sketched instead of a man’s. I love when different editions get similar, but different art! I didn’t even notice at first.
Morning Report is an album that I have listened to intensely for the last couple months, and has made a permanent impression on my soul. With Max’s lyrics tattooed on my heart, I’m already terribly biased towards love. The improved track list here corrects any flaws with the earlier version and renders it obsolete.
“Hey, Nurse Kat!” I asked on Twitter one summery afternoon. “I already have and love High Noon and Michigan Left by the Arkells. What album should I buy next?”
“Morning Report,” answered Nurse Kat.
“Morning Report,” answered Nurse Kat’s friend.
“Ordered!” I responded.
In sum: Nurse Kat and her friend were right.
4.5/5 stars
Wait wait wait…that’s not how we do reviews around here! OK folks, let’s get ready to dive deep. Coffee: heated. Let’s go.
ARKELLS – Morning Report (2016 Last Gang)
First of all I will preface all of this by saying that this album and this band has recently helped me get through a rough patch, so there is a certain attachment that I have made with Morning Report that colours everything I will say about it. The fact that it made that connection is the important part. An album that connects, that’s special. That’s for life!
Here’s the interesting thing. For an album I love so much, I don’t particularly care for the first two tracks! I also find the closer underwhelming, but that leaves nine tracks of pure awesome to gush over. But first, let’s get the opening pair out of the way.
I don’t particularly like when the Arkells get too much into modern mainstream pop, because I do not care for modern mainstream pop. The opening pair “Drake’s Dad” and “Private School” would fall in this category for me. Having said this, both songs have awesome choruses. “Drake’s Dad” has a powerful soul/gospel chorus of “I just wanna hold you, so high!” that raises the roof. It also has a lush arrangement with strings and samples. “Private School” has a fun hook of “Ah, fuck off, don’t say I’d do the same!” Silly fun.
The serious stuff starts with track #3, “My Heart’s Always Yours”. This suave pop rock ballad just hits all the feels. Max Kerman has a way with words and I’m certain that the ladies love him for it. Though keyboards are the prominent hook-delivering instrument, the pure passion and panache of this song just elevates it to the clouds. A brilliant song, made indelible in the brain and heart!
Things get even better on “Savannah”, the fast acoustic-based song with killer lyrics. “She was named after, she was named after her dad’s favourite city. I was named after, I was named after the fact…” How does Max come up with this stuff?! He paints a picture of characters, often female, coming in and our his life. He tells their stories, often depicting musty old apartments, messy beds, and empty refrigerators. Musically, “Savannah” is even better. It’s powerful and it has a trumpet solo, so what more could you want? The chorus is probably the most immediate one on the album.
Then…get ready for chills, for it is time for “Passenger Seat”, the most haunting song on the album and easily one of the most chill-inducing I’ve ever heard. But then the chorus comes, with Max in a high falsetto, accompanied by sparse piano and keyboard effects. “Driving on the highway home, this time alone, doesn’t mean the same without you. I turn on the radio, to something slow, just to let it fuck with my mood…but songs don’t sound the same without you in the passenger seat.” Who can’t relate to that? (People without driver’s licenses I suppose.)
Brightness returns on “Making Due”, the song that really means something to Nurse Kat. I can see why. The music is pure uplifting magic, and the lyrics cut clean through. A sunny guitar hook opens the track, and then Max delivers some of his best melodies and words to date. That falsetto really nails the hooks home. Favourite lines: “I thought we made a deal, you were crossin’ your fingers!” Or “Got a pulse, but there’s a few beats missin’.”
Acoustics come to the fore on “Round and Round”, a folksy number (at first) that serves to bridge two very upbeat pop songs. The band comes in partway and it becomes a little more late Beatles-y in a weird way. Horns come blastin’ through, then synth, and it becomes something else entirely: something birthed in the early 80s, but talking about MuchMusic’s Electric Circus TV show circa 1999. An interesting track that is more than meets the ear.
“Hung Up” is impossible not to dance to. “The gatekeepers are keepin’ me out, let me in! Who made you the president, well fucker?” The horns also return, along with the synth, creating a modern pop rock classic. And I just love Max Kerman’s trio of “Well fucker?” at the end of the song. (Also listen carefully for a reference to “Fake Money” from the prior album High Noon.) No folks, he may be no Axl Rose, but Max Kerman is not afraid of dropping F-bombs right and left. Fortunately I’m easily entertained and I find his use of the word (usually) effective and not overdone.
The beautiful “Come Back Home” is a quieter, slow ballad, with a thrumming bassline that provides a dreamy foundation, like a pillow. “All would be forgiven if you’d come back home,” begs Max. “‘Cause I just wanna be yours again.” Filled with regret, Max is looking for reconciliation. Morning Report could in fact be a concept album about shattered relationships and our reactions to them. “And I thought about all the ways I could hurt you, to even the score of feelin’ deserted.”
The upbeat moods return on “A Little Rain (A Song for Pete)”. Max has indicated he’s probably an atheist in past lyrics, but here he says “I stumbled in St. Peter’s Cathedral, there I was. I never tried religion but man, I’ll try anything once.” I can’t tell if this song is about someone name Pete, or if Max is singing as if he’s having conversations with St. Pete himself. It means whatever you want it to! This incredibly catchy tune has a fun, bouncy beat and a suitable synth riff to go with it. Drummer Tim Oxford is definitely an underrated percussionist who doesn’t play it simple and always has catchy fills.
A slower but powerful song called “And Then Some” is next to last. The romantic dreamer is so good! “And I love every inch of you, and then some and then some.” Beautiful song and I can’t help but think of Tom Cochrane on the chorus. Something about Max’s delivery sounds like the Red Rider frontman.
Strangely, after all this power, all these hooks, and thick arrangements, the final song is very different from anything else. Quiet, understated and short, “Hangs the Moon” is like a coda. The arrangement is very bare, and Max’s voice is the main feature. The Arkells occasionally choose interesting, unconventional closing songs, and this is one. It works, but it’s not among my favourite songs on the album.
For me, Morning Report is 9/12 awesome songs, with 3 that are not bad but not my bag.
Morning Report is an album that I have listened to intensely for the last couple months, and has made a permanent impression on my soul. With Max’s lyrics tattooed on my heart, my score will come as no surprise.
GLASS TIGER – Private Concert: Greystone Racquet Club Waterloo, Ontario July 13, 2023
Photos and review by Dr. Kathryn Ladano
About a month ago, I saw a social media post on Glass Tiger’s Instagram page that was announcing a very special private, acoustic concert, with only 50 tickets available to the public. I immediately thought, “well that sure is cool, but I’m sure it won’t be happening anywhere near me”. To my surprise, that event was happening in Waterloo, 15 minutes from my home. The ticket price was steep – $199 plus tax for one ticket. However, I knew that this was a once in a lifetime experience to see the band that was my absolute favourite growing up. I hesitated at the price for about 2 minutes and then reserved a ticket to ensure I got one before they sold out. I only bought one because I didn’t think I’d be able to convince anyone to pay that price. So, I opted to go to the show alone. This would be my third time seeing Glass Tiger live. The first time was when they opened for Roxette in 2012 at the Budweiser Stage in Toronto. The second time was five days before this concert – at the Kincardine Scottish Festival (a very large, outdoor event with thousands of people in attendance). I’d like to say that I saw them in their heyday in the 80’s and early 90’s, but I was a child living at home then, and my mom wouldn’t let me go!
I received an email two days before show advising us that for general admission ticket holders (me), the doors would open at 6:30pm, we could enjoy a cash bar and free appetizers, and the show would start at 8:30pm. The email mentioned there were also VIP tickets, and those people got to come earlier, receive several free drinks, and were able to access a private reception after the concert. I honestly have no idea how one could get those tickets. They were not advertised on any posting I saw. Because I was going alone and had no one to talk to, I decided to leave my house around 7:30pm, arriving around 7:45pm. As soon as I got there, I bought a beer (Waterloo Amber) and then claimed my spot at the very front of the stage right in the centre. To my surprise no one had staked out their spots to the concert! Everyone else was socializing and hanging out farther away from the stage. I’m sure I looked like a bit of an idiot, standing in front of the stage all by myself for so long. However, I wanted the best possible experience, and I didn’t want a little bit of social discomfort to ruin that. People could think whatever they wanted!
To my surprise, Glass Tiger emerged and came on stage at 8:15pm (not the 8:30pm that we were told). The entire band had to walk right beside and in front of me to get on stage. I was inches away from all of them! Glass Tiger still has three original members that perform in all of the live shows: singer Alan Frew, keyboardist Sam Reid, and guitarist Al Connelly. Their bassist, Wayne Parker, is still a member of the band but he no longer performs live with them due to his wife contracting Lyme disease several years ago. He’s opted to stay at home and care for her, which he can’t do when he’s on the road with the band. Alan Frew has a really great recurring Insagram live show called “Frew the Looking Glass”, where he talks to fans and often has special guests. I tuned in when Wayne was the special guest two years ago, which is where I learned all about this. Glass Tiger now has a different bassist when they perform live. Last week, at the Kincardine Scottish Festival, Tom Lewis filled that role. Last night though, because it was an acoustic show, they had a second acoustic guitar player and I unfortunately do not remember his name. The band was also joined by back-up singer Carmela Long and long-time drummer Chris McNeill.
Every other time I’ve seen Glass Tiger live I’ve been nowhere near the front – always pretty far away from the stage. This concert was the exact opposite. At various points in the show, I was able to make eye contact with every member of the band and I was always met with a big smile (probably because I had a huge smile on my face the entire night). Right from the start of the show, Alan Frew informed us that he was sick, and I noticed that he was sipping tea (rather than beer) during the show. Despite this, you couldn’t tell by hearing his voice. Where you could tell was in his energy – he was definitely lower energy than the previous week. However, it was clear that he still wanted to put on a great show, and he did. The show began with the relatively new song, “Fire it Up”, which absolutely fired up the audience. They played 13 songs in total for the main set, and then two more songs in their encore. The show lasted about an hour and a half in total. I could see the setlist from where I was watching the show, so I was never surprised about what was coming next. For some reason though, they switched up the last song and the second last song. On the setlist, the final song was supposed to be “Animal Heart”, but they went with “Thin Red Line” instead (which ultimately, I think was a better choice). The setlist (as played in the concert) was as follows:
“Fire it Up
“You’re What I Look For”
“I’m Still Searching”
“My Town” (Alan Frew told us Rod Stewart was invited to sing, but just hadn’t shown up to the venue yet!)
“This is Your Life”
“Healing Hands” (from Alan Frew’s first solo album)
“Right Here Right Now” (a cover of the Jesus Jones hit)
“My Song”
“Someday”
“Diamond Sun”
“I Will Be There”
“Animal Heart”
“Thin Red Line”
Encore:
“Heroes” (cover of the David Bowie song)
“Don’t Forget Me When I’m Gone”
The setlist was almost identical to the one I heard in Kincardine. There were only two differences: Instead of “Healing Hands” and “This is Your Life”, they played “Rhythm of Your Love” and “Ecstasy”.
While most of the audience was pretty dressed up, I opted to wear my Glass Tiger t-shirt that my mom got me for Christmas in 1988. For some reason, she got me an XXXL shirt – and I’m still swimming in it. The shirt (pictured) is from the album/song “Diamond Sun” and includes the song lyrics, “Love Gives Live” (which in the song is followed by the words, “and life is love”). When the band started playing Diamond Sun, and those lyrics came up, keyboardist Sam Reid looked at Alan Frew and pointed at my t-shirt. Alan then knowingly nodded his head. At another point in the song, Alan Frew also pointed to my shirt when singing those lyrics. The song has a new memory associated with it for me, and I’ll never forget that! Much to my surprise, I only saw one other person wearing a Glass Tiger shirt that night, and it was a significantly newer one. There were literally people of all ages at the show. The youngest was a child – maybe around 10 years old (I have a very hard time knowing what age children are, so I could be way off on that). There were also several seniors there – and many of them were right out front dancing beside me!
When the concert ended, I stuck around for a while on the off chance that I could get an autograph (I brought my CD copy of the “Thin Red Line” special edition, released in 2012). Because there was a VIP ticket option, the staff were clearly trying to ensure that only the people with those tickets had access to the band. I thought I’d wait anyway, just to see. To my surprise, guitarist Al Connelly came out by himself to grab some of his gear on the stage. A security guard was standing right in front of the stage, so I asked him if it would be okay if I asked Al for an autograph. He said absolutely, as long as I didn’t go onto the stage myself. I got Al’s attention and he said he’d come right back to sign my CD because his hands were full. True to his word, Al grabbed a beer and then came right back to where I was waiting and signed my album. Shortly after that, the security crew were telling us “regular” ticket holders that we had to move out of the space to make room for the VIP reception. I figured I would have no other opportunities to get more signatures, so I left the concert.
All in all, a fantastic show. It was a night I’ll never forget and I’m glad that I went ahead and got a ticket even with the higher price tag. While there were some songs I would have loved to hear live and didn’t (such as “Watching World’s Crumble”, “Far Away From Here”, “After the Dance”, and “Stand or Fall”), I still immensely enjoyed the experience and I would do it again in a heartbeat if such an opportunity ever came up again (and I’d have to figure out how to get a VIP ticket!). It was just announced that Glass Tiger will be inducted into Canada’s Walk of Fame – the crowd gave them a lot of cheers to recognize that accomplishment.
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.
ARKELLS – “Ticats are Hummin'” (2012 iTunes single)
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