Harry Hess

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

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

In 2025 we have seen spectacular new releases from The Darkness and Ghost, but have Harem Scarem topped them all?  Chasing Euphoria could be the album of the year.

Harry Hess (vocals), Pete Lesperance (guitar/bass), Darren Smith (backing & lead vocals), and Creighton Doane (drums) have created a magnificent hard rock masterpiece in Chasing Euphoria, an album that sounds like a brother record to Mood Swings.  A record we’ve been waiting for, for a long time.  The logo and cover art match the Mood Swings era.

While it is a disappointment that Darren doesn’t play any drums on the album, you can’t really tell.  (Bassist Mike Vassos is pictured in the booklet but does not appear on the album, while drummer Creighton Doane plays drums on every song but isn’t depicted inside.)  Joining the band are ex-Honeymoon Suite keyboardist Ray Coburn, and Coney Hatch bassist Andy Curran (on “Better Than the Devil You Know”).  The ten new songs here are among the best written by this band.  The Japanese release includes four bonus acoustic renderings, plus a DVD with two music videos and an exclusive “Making Of” video.  The album was, as usual, self produced by Harry and Pete.

One of Harem Scarem’s trademark sounds is the blend of Harry Hess’ vocals, layered in with Darren and the band.  The opening title track is thick with that sound on the impactful chorus.  Like classic Harem, this one boasts dark but still uplifting melodies with powerful hard rock.  Importantly, Pete’s guitar tone is right in the pocket of what we loved about him back in 1993.  His solo here could have fit on Mood Swings without a blink.

The upbeat “Better Than the Devil You Know” is a brighter song, with softer verses and a regal chorus.  It brings warm feelings and nostalgia of happy days.  Pete’s solo on this song is lyrical and dexterous.  “Better the devil you know, than you angel you see,” advises Harry Hess.

Chunkier riffing characterizes the speedy “Slow Down”, but what I really like about it is the way Pete goes from rhythm guitar to tricky fills, seamlessly.  This rocker is an album highlight, on a record filled with nothing but.  The chorus is surprising when it hits, and catchy as the flu.  Pete’s solo is an album highlight.

Darren Smith makes his only lead vocal on “Gotta Keep Your Head Up”, a mid-tempo groove with impact.  Darren’s voice is a bit raspier than Harry’s, but they blend so well on the choruses.  This is one of those inspirational rock songs about not giving up or backing down.  The subtle backing keyboards really add texture.  Another winner.

The first ballad of the album is “World On Fire”, which would be the side one closer in a vinyl world.  This is a sentimental song very much like early Harem Scarem, possibly fitting best into the Voice of Reason era (1995).  In a near-perfect album, this song ranks near the bottom, which isn’t really a bad thing on an album like this.  The layers of backing vocals plus Pete’s solo adds some meat to the bones.

“In A Bad Way” returns the chunky Pete rhythm guitar to the forefront.  The roaring chorus of “I’m in need of your love in a bad way,” is the song highlight.  Pete’s solo is a little different, and a lot cool.

Softer is “Reliving History”, but it’s not a ballad.  Even when Harem Scarem write a song that is a little more laid back, they manage to inject it with power.  This is a Leppard-like song circa Adrenalize.

The heaviest song is “A Falling Knife”, a fast rocker with Harry giving it all vocally, sometimes breaking into a hoarse rasp, but without ever losing control.  This is probably the only song that has a late-90s Harem Scarem vibe.  It could fit on albums like Karma Cleansing or Big Bang Theory as well as this one.  The lush backing vocals are a Harem Scarem trademark and the backing organ thickens the soup.

“Understand It All” dials the heaviness back a tad, and compensates with great verses and an absolutely killer chorus, dense with those Harem Scarem vocals.  Pete’s guitars balance the rhythm parts with catchy fills in a tasty way, and his solo is killer as ever.

It’s all over before you know it.  “Wasted Years” is the highspeed closer, an album highlight and an absolute smoker.  It has the tension and the melodic power that classic Harem Scarem has always embodied.  One of the best tracks, in an album with nothing but “best tracks”.

It’s all over before you know it, but Harem Scarem always give the Japanese releases a little extra.  This release comes with four stripped back acoustic versions:  “Better Than the Devil You Know”, “Slow Burn”, “In A Bad Way” and “Reliving History”.  It has been said that if you want to know if you wrote a good song, play it acoustically and see.  All these songs pass the acoustic test, though the album versions will remain the mainstays.  These acoustic tracks are a nice coda.  They give you a little extra, without compromising quality by including filler songs.  It’s like a comedown after a wild ride, though Pete’s acoustic solos sure have spark.

The Japanese album also includes a brief DVD with videos for “Chasing Euphoria” and “Better The Devil You Know”.  In an interesting twist, Darren Smith mimes the drums in these videos, even though Creighton Doane played them.  Mike Vassos does appear on bass in these videos.  There is also a “Making Of” feature that you will probably watch once.  It’s nice to get these bonuses, but how often will you pop in this DVD?  Rarely, because you need a multi-region player to see it.

Harem Scarem have made a lot of great albums over the years, that have been forgotten and swept under the carpet.  This one deserves a better fate than that.

5/5 stars.  Best album by Harem Scarem in a long time.

#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

Just Listening to…Arkells – High Noon (2014)

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.

 

REVIEW: Hess – Just Another Day (2003 Japanese import)

HESS – Just Another Day (2003 Marquee Japanese import)

Harry Hess of Harem Scarem focused on the softer side of his core sound on this excellent solo album, featuring his bandmates Pete Lesperance and Creighton Doane.  Just Another Day is a bit softer than Harem Scarem, but is not just a collection of ballads.  It’s a slice of the same pie, with more of an acoustic lean.

Just Another Day features nine new songs (ten in Japan) and one Harem Scarem cover.  And that’s for good reason!  Originally, “Sentimental Blvd.” was ably sung by drummer Darren Smith.  If you’ve ever wanted to know what this classic would have sounded like with Hess singing lead, now you can.  It’s very similar indeed, with Harry throwing a little extra rasp on top.  This remake might be better, if you happen to prefer the sound of Harry.  Smith even sings backing vocals on this track, and with four Harem members appearing on it, it very well could be called Harem Scarem.

As for the original tunes, Harry opens with a poppy upbeat number called “Look Right Through Me”, featuring a nice tasty guitar lick as the introductory hook.  Sounds like a slide.  On backing vocals?  Eric Martin of Mr. Big!  The chorus hits all the bases – off to a great start!  “Wasted Away” is a nice sounding acoustic ballad with a stepped-up chorus.  Lush backing vocals here too.  Joining Harry on electric guitar is Mike Turner formerly of Our Lady Peace!

“Everybody” is pure pop joy.  There’s a Beatles-y vibe to the acoustic bop.  But then the passionate title ballad “Just Another Day” might take things a step too far by employing trendy drum programming in the verses.  The song is fine but the programming is dated.  Redemption comes on “Two Ways”, another acoustic tune with a serious case of melody!  Harry sings his ass off.

The electric guitars come out for “Undone”, another fine pop rock tune with a Beatle-bent.  Big Harem-style chorus though.  By contrast, “My Way” has a pop-punk vibe circa the start of the millennium.  In a good way.  There were a lot of good pop-punk songs and Harem were not afraid of that sound.  Simply put, Harry doesn’t get enough credit for his songwriting chops.  He’s well versed in melody, guitar hooks, and even progressive facets.  “Miles Away” is a fantastic ballad, touching all those bases.  The verses and chorus are top notch.

The Japanese bonus track “Up Hill Climb” is one of the most mellow of the songs.  Once again the vocals (lead and backing) are outstanding.

Harem Scarem fans already like ballads and don’t mind a little bit of pop in their rock.  They’ll dig this solo album too.  It is a pleasant, but not bland, record of largely songs that might have been too soft for Harem.  Definitely worth a listen if you can find one at a decent price.

3.5/5 stars

REVIEW: Harem Scarem – Rubber (Domestic and Japanese versions)

HAREM SCAREM – Rubber (1999 Warner Japan)
RUBBER – Rubber (2000 Warner Canada)

Time hasn’t been too unkind to Rubber, the experimental Harem Scarem album where they actually changed the band’s name to match.  Except in Japan where Harem Scarem were huge, a strange album by a band called Rubber emerged in the summer of 2000.  A generic, low budget rubber duckie adorned its cover.  No picture of the band on the back, but the mixing credits of Harry Hess and Pete Lesperance revealed the connection.  In Japan, the album was released in 1999 as a full-on Harem Scarem album, with all four band members depicted on the back, including Barry Donaghy and Darren Smith.  (Notably, Smith is not pictured nor listed as a band member on the domestic CD, as by the time it was released, he had left the band.)

What’s the fuss, then?  Harem Scarem had released a series of excellent albums with rarely a dud, but little impact in Canada or the United States.  Their albums had been skewing progressively more pop as the 1990s wore on.  By Rubber, it could almost have been considered a complete re-invention to a pop rock sound, heavily influenced by the simplicity of 90s pop-punk bands.  So the band was relaunched in hopes that some people thought they were a new hot group on the scene with a sizzling debut.

The Japanese and domestic CDs had different running orders, but since it was released in Japan first that’s the track list we’ll be following, including exclusive bonus song “Enemy”.  To its merit, the domestic CD includes an exclusive remix of “Sunshine” by noted producer Arnold Lanni.

“It’s Gotta Be” opens the album with a very 90s-sounding simple descending guitar riff.  It stands upon a catchy chorus, which Harry Hess delivers with the usual melodic expertise.  There are stronger tunes on the album, but “It’s Gotta Be” sounds very much like what was on the radio and video at the time.  Bands like Marvelous 3.

The oddly titled “Who-Buddy” is more like it!  Fast-paced (again, think pop-punk), with twang and candy-coated melody.  The build-up to the chorus can’t be resisted.  So very different from Harem Scarem of old, but the same four guys do it well.  Hess and Lesperance have always had a foot in pop, as demonstrated on the very mainstream Harem Scarem debut.  Pop changed quite a bit from 1990 to 2000, and “Who-Buddy” is a reflection of that evolution.

“Coming Down” is a different kind of pop, more lush with Spanish-influenced guitar twang.  Slower paced, but just as focused on melody, “Coming Down” is a lovely song that reminds of the melancholy music of the time.  “Didn’t know the grass is always greener, and then those blades cut my own hands.”

Thing really go pop-punk on the outstanding single “Stuck With You”.  As Hess sings, “There couldn’t be anymore anarchy if we tried,” you believe he’s 22 years old.  Smith’s busy drumming is on the mark, and the chorus just soaks into you until it’s just…stuck with you!  On the cover for the CD single, the three remaining guys are depicted with contemporary short spiky hair.  If not for the lack of neck tattoos they could have been Blink 192.  There’s even a reference to the current events of the time.  “The killer bees, casualties, everybody’s paying a price.”  Remember the killer bee scare of the late 90s?  The bees never came.

Unfortunately the hit never came either.  Though a brilliant song, it was impaired by a truly terrible music video about a kid who eats a variety of objects including a rubber duckie (seemingly containing the band), a doll and his little sister.  Somebody should have deep-sixed that idea.

“Sunshine” opens with typically late-90s skippy sound effects and adornments.  The Japanese version is 4:56 in length; Arnold Lanni trimmed his mix down to 3:54.  A slow pop song with distorted watery vocals on the Japanese mix, it’s a unique sounding track that fit into the alterna-flavours of the era.  Motley Crue made a whole album mixed like this, except it was shit and called Generation Swine.  The Lanni mix on the domestic CD retains the sound effects but ditches the vocal distortion, in favour of a clean mix that is easier on the ears, including additional backing harmonies.  Both versions have their merits, with the Japanese as a more spacey, experimental track and the Lanni version more aimed at radio.

Next up is the rockabilly “Face It”, continuing the twang of previous songs.  Unfortunate album filler compared to the others.  Smith’s drumming up a storm though!  “Trip” is more fun with a bendy 90s riff, and lead vocals by Pete Lesperance.   The chorus is suitably snotty.  Another odd title, “Pool Party” conceals an interesting if not quite memorable enough song.  The music is a little off-kilter, hinting at the band’s truly excellent schooled musicianship that was largely simplified for this album.

Back to the upbeat, “Headache” is pure bangin’ fun, with influences from rock to punk to ska.  Then an understated ballad called “Everybody Else” sits in the penultimate slot, building tension with a stealthy backdrop of strings.  Similar to past dark Harem Scarem ballads though wildly different in production.  Then we close on the Japanese exclusive “Enemy”, an upbeat track with a big chorus.

Harem Scarem continued with the dual identity for a few more albums before reverting back to their original sound and name.  As Rubber, they next released Ultra Feel, Weight of the World and Live at the Gods.  Weight of the World was a return to their classic, slightly progressive hard rock sound and so the name change back to Harem Scarem was sure to follow.  By 2003 the Rubber experiment was fully exhausted and the album Higher was the first to have no connection to that name.  From the Rubber era, only Weight of the World was included in the expansive Harem Scarem box set.

Rubber the album isn’t bad though.  It’s better than the followup Ultra Feel, and though dated, still contains a number of good songs that are fully enjoyable today.  The best track is clearly “Stuck With You”, despite the atrocious music video.

3.5/5 stars

REVIEW: Harem Scarem – Change the World (2020 Japanese import)

HAREM SCAREM – Change the World (2020 Frontiers Japanese import)

One of the greatest melodic rock bands in the world is Canadian and 30 years since their inception, they still got what it takes.  Pete Lesperance, Harry Hess, Creighton Doane and Darren Smith can be counted on to deliver some great professional singalong tuneage every time.  Not every album has been brilliant (some people don’t like the Rubber era, I’m not big on Voice of Reason) but with their latest Change the World, Harem Scarem is back on top.

The upbeat title track opens the celebration with chiming guitar notes wrung from the neck.  “You and I are gonna change the world,” sings Harry with an uplifting melody.  Pete’s got his back with hooky guitar fills.  A track like this could have easily come from peak period HS, like 93’s Mood Swings.  “Aftershock” has a little more bite, but the same kind of killer chorus.  For those unfamiliar, expect thick, heavily layered choruses with all four guys singing multitracked backing vocals.  It’s like Def Leppard with more balls.  Yet it’s also their own song because Harry Hess’ voice has not changed one iota.  It’s just as powerful as it was on 1985’s Blind Vengeance debut, only better!  “Searching For Meaning” hearkens back to the pop sensibilities of Rubber, but richer in tone and with a heavier slam.

Things go darker on “The Death of Me” without losing the edge.  It’s not about defeat, it’s about keeping up the fight.  “I know you won’t be the death of me!”  An apt tune for 2020.  “Hit the panic override!” urges Harry.  Keep calm and carry on!

The piano comes out for the first ballad “Mother of Invention”.  The vocal arrangement here is quite nice though the song isn’t all that memorable.  The bass-driven “No Man’s Land” is more unique, and has one of those choruses that is so hard for forget.  Then head for space on “In the Unknown”, a softer burner of a track that launches into the stratosphere, fuelled by killer hooks.  This is Harem Scarem’s bread and butter.

If you think a song with a title like “Riot In My Head” should be faster and more intense, then you got your wish.  The riff sounds as if lifted from a classic 80s racing song.  Great track, as is the ballad “No Me Without You”, with its slight nods to the Beatles.  It’s back to the racetrack with “Fire & Gasoline”, an absolute smoker of a song.  There’s a classic Lesperance guitar solo to savour and a bangin’ beat to bash your head to.  The standard album then concludes on “Swallowed By the Machine”, another defiant fist pumping rocker.  Get psyched with lyrics such as “We all have dreams, we all have doubts, be careful which you feed, and don’t get swallowed by the machine.”  A rip-roaring guitar workout a-la Nuno Bettencourt takes it to another level.  Talk about ending the album on an up!

Of course, those who go the extra mile and purchase the Japanese CD get the extra track, an acoustic recording of “No Man’s Land”.  It’s an interesting alternative though not as impressive as the original.  Still a cool little coda, and still ending the album on an up note.

For a humble band from Canada that a lot of people aren’t even aware of, Harem Scarem have a remarkably huge discography.  There are more peaks than valleys, but Change the World is definitely evidence that this band has more to give.  One of the finer rock records of 2020.

4.5/5 stars

REVIEW: Harem Scarem – Big Bang Theory (1998)

scan_20170218HAREM SCAREM – Big Bang Theory (1998 Warner)

Never give up, never surrender!  That should be Harem Scarem’s motto.

As big-time success continued to elude them despite some great albums and singles, they evolved for the times.  1998’s Big Bang Theory is the first major step in a more commercial direction.  This meant incorporating popular pop-punk sounds:  short, fast simple melodic songs with minimal soloing.  “Turn Around” is a perfect example of this new direction.  There is a guitar solo, albeit brief.  These qualities don’t have to be a bad thing if they’re done right, and Harem Scarem did them exceptionally well.

“Wasted Time” sounds more like Karma Cleansing material from the last album, which is nice as an anchor.  “So Blind” combines the two worlds.  It has the speedy pop-punk vibe but with a traditional sounding Harem Scarem song.  “So Blind” is the first slam dunk of the CD, its irresistible verses nailing it straight to your head.  Peter Lesperance’s solo is short and to the point, yet still tasty.  Time for a ballad?  Check out “Without You”, a terrific and sweet little number with irresistible “bop bop bop bop” backup harmonies.

The second bonafide home run on Big Bang Theory is “Climb the Gate”. It’s in the same mold as the single “Die Off Hard” from the prior album, but brand new. The stuttery hook in the riff slays it. “Climb the Gate” is an essential song for any Harem Scarem collection. It is one of their catalog gems. It doesn’t get much better than “Climb the Gate” for these guys. If you don’t like this tune, you won’t like this album.

There’s a natural break for a side change here.  “What I Do” brings the focus back to the added 90s-isms.  Programmed percussion sounded modern at the time, mixed in with the real drums.  Decent song, but the next one up “Sometimes I Wish” is notable as being the lead vocal debut of bassist Barry Donaghy.  Its pop-punk chorus keeps it in synch with the album, and if you didn’t know it was someone else singing, you might never have noticed.

“New Religion” is the final power play goal of the album.  Another powerful little riff backs up one of Harry Hess’ strongest choruses.  He’s going to start his own religion, demi-gods, there’ll be none.  This unforgettable number ranks among their catchiest, but Pete Lesperance’s speedy picking gives it an aggression you don’t get otherwise.  But wait!  “Lying” keeps the speedometer in the red, with another power-pop killer.  Like the direction or not, at least Harem Scarem did it well.  It’s also notable that Big Bang Theory has only one ballad, which is the closer “In My State of Mind”.   This gentle track is just Harry Hess and a piano.  Ending an album with a ballad is a gamble, but not when you have the goods.

Big Bang Theory maintained the Harem Scarem momentum.  It delivered three standout must-haves and an album’s worth of good material.  It began to move Harem Scarem into a direction that some fans didn’t quite get.  More changes were ahead, some more drastic.  Big Bang Theory is a grey area between the future and the past, but important to the journey.

4/5 stars

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REVIEW: Harem Scarem – Live in Japan (1996)

scan_20170221HAREM SCAREM – Live in Japan (1996 WEA)

Three albums seems to be the industry standard before you can release a live one.  Harem Scarem followed suit and issued Live in Japan right after their third LP, Voice of Reason.  It was their first with new bassist Barry Donaghy, replacing Mike Gionet.

Live in Japan is a safe, fairly compact selection of tunes from the first three.  It could use less Voice of Reason, an album which never boasted the killer tunage from the first two.  In fact if one edited out “Blue”, “Candle”, “Breathing Sand”, and “Paint Thins”, you could make a pretty tight set.  Leave in “Warming a Frozen Rose” though; it was always the best of the Voice of Reason tracks.  You can also leave in the title track as it’s pretty heavy.  Most of the real firepower comes from Mood Swings.  The opening salvo of “Change Comes Around” and “Saviours Never Cry” are a rousing start to the proceedings.

Live, Harem Scarem were tight.  Their harmonies are handled easily by the four guys, all capable singers.  Harry Hess’ roar is not lessened by the road nor jet lag.  He’s as powerful here as he is on record.  This is necessary for amped rockers like “Had Enough” and “Empty Promises” from Mood Swings, both very strong.  There is only one song from the 1991 debut album Harem Scarem. Representing Harem’s early pop rock roots is “Slowly Slipping Away”; call it a power ballad or just call it a song.  It feels like it has too much guitar to be a ballad, so call it what you want: it’s great.  You can clearly hear Barry Donaghy’s contributions on backing vocals, an essential part of the song’s hookiness.  The live set closes on “No Justice”, the best known track from Mood Swings and an obvious crowd favourite.  The vocals are just outstanding from the whole band.

There are two bonus studio tracks on this album, a nice little unexpected treat.  The first, “Pardon My Zinger” is a peppy instrumental the likes of which you expect from guys like Joe Satriani.  Not so much for guitar trickery, just in terms of composition and hooks.  The last track is a new ballad called “More Than You’ll Ever Know”.  It has since been reissued on Japanese compilations such as Ballads and B-Side Collection, but this live album is the easiest place to get a copy.  As far as ballads go, this one’s not bad.

For fans who didn’t get into Voice of Reason the way they did the first two, Live in Japan offers a bumpy ride.   There is little question that the recorded performance is freaking amazing.  It just comes down to the songs and personal taste.

3/5 stars

REVIEW: Harem Scarem – Live and Acoustic (1994 EP)

Part 1 of a Harem Scarem triple play!

live-and-acousticHAREM SCAREM – Live and Acoustic (1994 Warner EP, autographed cover pictured above)

Nothing wrong with releasing an EP in between albums, right?  Certainly not.  In Harem Scarem’s case, they collected some rare stuff and released it as an EP to tide fans over until album #3.  A strong album like Mood Swings deserved a little follow-up, to present some of its material live.  Recorded in Toronto, “No Justice”, “Hard to Love” and the instrumental “Mandy” kick it hard.  Here is the proof that Harem Scarem could pull of their thick harmonies live.  Having four singers in the band didn’t hurt, and Pete Lesperance’s guitar flourishes add the necessary pyrotechnics.  His solo spot on “Mandy” is a nice moment to spotlight a very under appreciated player.  Accompanied by drummer Darren Smith, “Mandy” is transformed live into something a little bigger.  “Hard to Love” is beefier than the version from the band’s first album, thanks in no small part to Smith’s ample backup singing.

The three live tracks and the included single edit of the ballad “If There Was a Time” are all taken from the CD single for that song.  “If There Was a Time” is one of the band’s most complex ballads, so an edit probably made it a bit more digestible to the masses.  For added value, two acoustic versions and one more single edit “Something to Say” from the first album) are also included.  The single for “If There Was a Time” is much rarer, so it was nice of Warner to release these things on something with better distribution, according to the back cover, this seems to have been done in collaboration with Warner Music Japan, which would explain why the it looks like a Japanese import from the side.

The acoustic tracks are fantastic:  “Jealousy” always seemed like it would be great in the fully-acoustic format.  It’s a great little acoustic jam, with Harry Hess showing off his impressive pipes much more so than the album version.  The other acoustic version is “Honestly”, which is cool, because that hit ballad was original arranged for piano and keyboards.  This version is done for acoustic guitars, which makes it less lush but more (pardon the pun) honest.

Looking back to 1994, it was reassuring to see new Harem Scarem product on the shelves at a time when there was no certainty for bands of their ilk.  Live and Acoustic was no exploit EP, as was unfortunately common.  It presented a smattering of rarities collected together in one easy package.  The single edits are not crucial, but it’s a seven song EP so it’s easy to look at these as just an added bonus.

4/5 stars