RECORD STORE TALES #1174: Big Feelings & Why I’m Upset With the Arkells
I bought my first Arkells album High Noon back in 2017, but I really fell hard for the band in 2023. The Canadian pop rock quintet hadn’t put out any songs I disliked, but in 2023 a combination of personal drama and a need for Canadian tunes led me to dive into the band all the way. It was May, and in less than a year I had acquired all the albums. That is a short period of time to absorb so much new music, but I did, and I loved virtually all of it. There are actually few bands I love as much as the Arkells, and only a handful that I fell for so quickly.
I love their lyrics, from everyman tales of not being able to pay the rent, to social discourse and critique. Singer Max Kerman was a Poli-Sci major, and also has his finger on the pulse of the youth. This results in some pretty cool lyrics. As for the band, their musicianship is top notch. Drummer Tim Oxford is in my top Canadian drummers of all time, and you know that’s an elite list. I’m also a big fan of bassist Nick Dika, who always has deep tones and fabulous bass melodies.
Shortly after I went all-in, the band released a new album called Laundry Pile, an acoustic affair with melancholy feelings. A bit of a slow burner, but a brilliant album. This was followed by the 2024 all-covers LP, Disco Loadout. I enthusiastically went bonkers for it, and got it on CD and signed vinyl. Their eclectic set of tunes, from Abba to Whitney interpreted by the rock band, satisfied deeply. They threw in a couple rock tunes by Springsteen and Hall & Oates, and I just liked the whole album. Could I fall in love any more with the Arkells?
Full stop to the summer of 2024. So soon after the Disco Loadout album, Arkells announced the release of a new single called “Big Feelings”. “It came together quickly,” said the band. “It started with a bold drum loop that Tim made, and was quickly arranged when the band assembled for a session in February.”
A few weeks after Aaron and I visited Sonic Boom records in Toronto, the Arkells announced an appearance at the store. They brought with them 150 copies of “Big Feelings” on 180g clear vinyl, hand cut by Red Spade Records in Calgary, Alberta.
150 copies were all that were made. And they sold out that day. No copies have ever shown up on Discogs.
And this is why I’m upset with the Arkells. I had just been to Sonic Boom a few weeks earlier, and there was no way I could make it down for that store release. Trying to get there early enough to get one of the 150 copies…being in a crowd like that…no, no thanks.
I guess you could say, “Why are you upset, Mike? It’s on you that you didn’t go.”
Sure, that’s true. However, I think I’m on record for despising these kinds of releases that I’ll never get my hands on physically. Maybe I’m not mad at the band; maybe I’m mad at the practice. However it is the band that I have taken it out on. “Big Feelings” remains the only Arkells song I don’t have, because I refused to buy it on iTunes. I haven’t even put a “like” on the music video. Oh sure, I’ll probably give in eventually. It just really bugs me that a band of Arkells’ stature, with thousands of fans who value physical media, would only release 150 copies in such an exclusive way. Some might see that as indi-cool. I don’t. Arkells aren’t some garage band. They have fans, and I feel a real disservice by this release.
So here I am, sitting down to write my very first Paramore review, and this is what singer Hayley Williams has to say to me in the very first verse of the first song, “This Is Why”:
If you have an opinion, Maybe you should shove it, Or maybe you could scream it, Might be best to keep it to yourself.
Well, I already started writing to here goes. I don’t think Hayley will have an issue with my opinion in this instance. I’ve long been a distant observer of the band, so it was finally time to check out an album. This Is Why was the only one in stock at the local store, so this is why I bought This Is Why.
The title track demonstrates the immense talent of this trio, augmented by backing musicians. Brian Robert Jones, one of the band’s live guitarists, plays bass for example. Otherwise we have singer extraordinaire Hayley Williams, longtime guitarist Taylor York, and founding drummer Zac Farro. It is Farro who immediately grabs you on the song “This Is Why”, with his complex jazzy drum beat that the song is built on. Meanwhile, York slashes his guitar with echo, plink, and skwonk in tasty ways. Though the song is not straightforward in construction, the verses and chorus worm their way into your brain in short order. It’s hard to describe what is going on here, but I hear funk, psychedelia, power and pop.
Williams is one to the best singers in any genre today, and you won’t find anyone fronting a band like she does. She possesses not only unusual power and control, but also a knack for unique expression. “The News” exemplifies these qualities, while also giving us another crazy Zac Farro drum part. The angry chorus seethes but also soothes. Hayley throws everything she has into these verses. The lyrics also resonate with this anxious age in which we live. “Turn on, turn off the news!” she exhorts. “But I worry, and I give money, and I feel useless behind this computer,” she shares. The chorus is the main thing though. It scorches.
A light but bouncy and dexterous bassline grounds the third track, “Running Out of Time”. There’s a hint of funkiness in the chorus. This song sounds like it came from a strange era from another dimension: the early 70s crossed with the early 80s. You can really move to it. I also love the call and answer vocals: “I’m always running out of time!” “She’s always running out of time!”
“Ç’est Comme Ça” is a fun track with spoken word verses and a bouncy chorus. Farro keeps the beat dancy. York uses layers of guitar to add texture. It’s a short song and over before you know it. The final song on side one is “Big Man, Little Dignity” which is catchier than its title. For those who like guitar hooks, this song has a nice one with a solid bassline that rolls through. The delicate chorus is immanently catchy, because it contrasts with the rest of song. The whole thing is great. A 1970s sound comes through, and the clarinets and flutes are a nice touch. Bass clarinet too! Unique, smooth, melodic in every direction.
“You First” brings the hard edge back. The dissonant guitar line quickly falls into place within the ears. It has a Cars-like vibe, but heavier. The bass is no longer funky, but thumpy. Always interesting though; the basslines on this album are all worth listening to. The chorus on this song is explosive. The combination of Hayley’s lungs and Farro’s snare drum just doubles the power.
Vibraphone opens up “Figure 8” with a bass clarinet. It’s not a softy though. Hayley offers biting verses, but once again when things come to the chorus, it tends to get explosive. It’s at that point that Farro channels his clever drum parts into sheer power, and Williams pushes the limits of the mixing board with her voice. It’s always melodic though, with the song never losing sight of itself.
“Liar” offers a respite, with delicately picked guitar lines backed by understated (but not uninteresting) drums. Hayley’s vocals here are delicate and demonstrate her versatility. Following this, “Crave” amps it up slightly, but also turns up the “melody” knob. The chorus doesn’t disappoint. What surprises is the closer “Thick Skull”, which is one of the softer songs. Musically only, not lyrically! “Only I know where all the bodies are buried, thought by now I’d find ’em just a little less scary.” This song is loaded with texture: different guitar effects, piano, percussion and of course Hayley’s diverse singing styles.
Of note, all songs are credited to the three members of Paramore, and there is no long list of high priced producers. Paramore is a band.
This Is Why is a pretty great rock album with a foot in pop. It works best when the band is playing it upbeat, though the slower songs may prove to be dark horses as time goes by. The album is deceptively busy: the hookiness makes it feel straightforward, but when you listen to the musicianship, they are not playing down to anyone. Farro and York deserve credit for exploring non-mainstream styles in a mainstream band, while Hayley must always be commended for her excellent lyrics and absolutely stunning voice. There are few singers like her, and that’s why she’s the focus of Paramore. However, as stated above, Paramore is a band, and the writing and playing of everyone involved must be addressed in any review. There’s cool stuff in these grooves.
“If you have an opinion, Maybe you should shove it?” I don’t think I’ll keep this opinion to myself. I think Paramore are tremendous.
By now, everyone has heard the anthem “Blame Brett”, a song named for Jordan Miller’s ex, Brett Emmons of the Glorious Sons. While we don’t have Brett’s side of the story, from Jordan’s POV, the relationship is to blame for the following “wild” phase. “So sorry in advance, before you take off you pants, I wouldn’t let me near your friends, I wouldn’t let me near your dad.” This exceptional single has been an earworm all year, and the band are now reaping the rewards with international touring and an appearance on Kimmel. “Don’t blame me, blame Brett!” has become a rally cry.
“What Doesn’t Kill You Makes You Paranoid” boasts a strong chorus, wicked fuzzy guitars and delectable melodies served on a plate of a great beat and fun lyrics. “I think I’m becoming a conspiracy theorist…everyone says that love exists, but I think that it’s a myth.” A great song that screams hit potential.
“Me & Me” plays with tempo, and goes for the accelerator with an 80s sound, and great shouted backing vocals. One of the strengths of this band is the vocalizing by the band, making it a party atmosphere. The party continues with “Everything is Boring” and its “ah, ah” vocals. “Doctor please, just pill me,” sings Jordan Miller to the ADD generation. The pace slows down on “My Body Ft. Your Lips”, a playful title. This is a duet with an American band called Beach Weather, and the female/male vocal lines work really well. Though it takes a minute to catch, this is a great soft, slow burner.
“Kismet” has a speak-sing style on the verses, before the chorus bursts out in exuberant upbeat excitement. The choruses are great, with a disco flavour and a quick beat, but the verses take some getting used to. Moving on, “Shower Beer” is a great title. You may have heard of the concept of drinking a beer in the shower. “I’ve got fear of missing out, I wanna get drunk and sit up, I need to be talked about,” sings Jordan Miller.
“Edge of the Earth” has proven to be a success for the band, and you can hear why. This ballad with a beat has passionate vocals, amazing melodies and harmonies, and the right vibe for a summer cruising hit. That’s followed by a mid-tempo number with acoustic undertones called “If A Tree Falls”, which has nothing to do with the Bruce Cockburn song of the same name. This is a really pretty pop rocker with a nice little guitar solo that is played for vibe. The album goes back to high-speed pop rock on the closer “Cigarette”. “I wanna be your cigarette,” squeals Jordan Miller, on one of the album’s most fun tunes.
Here’s the big problem with this CD. Two, in fact:
Difficulty to purchase. The only way I could get this CD was at a show (sold out) or on their website ($15 shipping).
No booklet, no credits, no nothing. Only the song titles are listed on the back, not even the band members!
This album should be in every store. It’s a hit waiting to happen.
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!
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!
ARKELLS – Apple Music Home Session (2022 iTunes EP)
The Arkells have a number of download-only live EPs on iTunes. The most recent one is 2022’s Apple Music Home Session which boasts three tunes: Two from their Blink Twice album, and one exclusive cover. And damn, you won’t believe what they covered!
The EP opens with a laid back, horn-laden “Reckoning” from Blink Twice. The horns on this song are the real candy. Rolling low and punching high, Arkells usage of horns is very effective. And the chorus kick! “Blink twice! There’s gonna be a reckoning!” croons Max Kerman on this irresistible hit. Drummer Tim Oxford thunders out a smooth groove punctuated by his unusual kick drum pattern. This is how pop rock should be – musically inventive with impressive playing. This is how the Arkells do it.
Track two is “Past Life” performed just by the Arkells, and not with the Cold War Kids as on the Blink Twice album. It’s a little tougher in this guise, with a lot more texture, dynamics and unexpected instrumentation. Mike DeAngelis’ guitar break is tasty as hell and Max Kerman handles all the lead vocals himself. This could end up being your preferred version of the song.
The big surprise is the cover: “Gimme Gimme Gimme (A Man After Midnight)” by ABBA! Max doesn’t swap genders for the lyrics, just as it should be! The horn section delivers a good chunk of the melodies, but Anthony Carone perfectly duplicates the main keyboard hook. Meanwhile, bassist Nick Dika lays down the funk in a flawless groove. Dika gets a cool groovin’ spotlight moment just before the understated sax solo. That leaves Kerman to deliver the indelible chorus, which he unflinchingly succeeds at. Let’s face it, ABBA were extraordinary songwriters and “Gimme Gimme Gimme” is one of their all-time best. The Arkells version is an undisputed triumph.
5/5 stars
Reckoning (4:22)
Past Life (3:55)
Gimme Gimme Gimme (A Man After Midnight) (4:06) Arkells, the Beaches & July Talk
Blink Once was a surprising pleasure. Given how far the Arkells have sailed through the seas of rock, pop and blues, they seemed to be content circling ’round various genres of pop now. Experimenting with hip-hop vibes, soulful backing vocals, dance beats and loops, the Arkells still managed to keep catchy guitar hooks as part of the mix thanks to Mike DeAngelis. The bass thump of Nick Dika is still there, while Tim Oxford refuses to play anything simple on the drums. Max Kerman’s lyrics still bite, but Anthony Carone’s keyboards now make up a large share of the hooks. It’s still rock, but definitely far removed from their first track on their first album. Blink Twice is largely composed of short songs, none reaching four minutes, and over half featuring guest performers from the world of pop.
Blink Twice opens seamlessly, exactly where Blink Once left off: “Last Night I Heard ‘Em Sing” closed the former, a brief snippet of the latter’s opener “Reckoning”.
“Blink twice!” announces Max. “There’s gonna be a reckoning!”
Strings, horns and thick backing vocals adorn this soulful rock song. An instant classic. Though far more vague than past political songs, it’s clear that Max is taking shots at the upper crust. “It’s a drop drop in the bucket for you, becomes a knock knock on your ocean view.”
Though Max warns of a reckoning, track two brings this back home to more personal topics. “Past Life” is a duet with Nathan Willett of California’s Cold War Kids, a band I’ve never heard of before. The two work well together with distinctly different voices and styles, singing the same melody. Mike DeAngelis provides a nice thick guitar hook that the song orbits, but this is upper echelon pop rock. One lyric that sticks out is when Nathan sings “Feel like Bob Dylan’s son, always in the shadows.” Elsewhere, Max proclaims “I’m a little Wallflower, singing ‘One Headlight’.” Jakob Dylan did deserve stardom, but the line “I’ve gotta find my own way to write a song,” seems misplaced. The Arkells sound like they’ve mastered that already.
“Take Back Everything” has an older-school Arkells sound. This brings us back to the Morning Report days, perhaps the band’s finest hour. It’s important to listen to all the instruments and hear what each member of the band brings to the table. From day one, the bass has provided interesting textures and it’s still doing that here, while Mike DeAngelis explores his fretboard for new melodic compliments.
Hip-hop rears its head a lil’, on “Human Being”, a duet with Canadian electronica star Lights. Her vocals are sublime, but the chorus of “I’m just a fuckin’ human being,” doesn’t quite hit the spot. The song has its moments, including a catchy keyboard melody by Anthony Carone. It’s a shorty, over in just 2:34. We know the Arkells love Drake and that whole genre, but if I am going to have rap in my musical diet, “Human Being” isn’t so bad.
For duets, the high point of this album is the ballad “Teenage Tears” featuring Tegan and Sara. Not a duo I have heard before, but of course every Canadian knows who Tegan and Sara are. The twins sing as one here on a delicate ballad that boils tension and exhaustion together into a nourishing audio broth. Too much metaphor? Well you describe it, then. All I can tell you is that “Teenage Tears” is a classic; it hits you fast and doesn’t let go. You feel its familiar warmth immediately. It’s a “greatest hit” if you ever wanna compile one. The haunting music video is filmed in an empty mall, which certainly reminds of the pandemic days.
“Miracle” marks the midpoint of the album and the last song on side one. It blends the bluesy bent of their early albums with modern production. There’s guitar crunch but also the loopy melodic plinky bits that are popular in music today. Pretty good song, but it ends abruptly, and is surrounded by superior material.
“Nowhere to Go” crashes the party, opening side two with an upbeat pop rocker like the Arkells are prone to do. Wesley Schultz is the singer from the Lumineers dueting with Max, and their voices just add a little texture and variety to a song that otherwise might have got lost in the shuffle of similar bangers. However, the sax solo by Jake Clemons is a jumper! Nephew of Clarence, and member of the E-Street Band today, you know what you are in for. Just hit the “back” button a little bit and play that sax solo one more time! It has the exact same energy as classic Springsteen.
The biggest left turn is “Dance With You”, a pure disco song with lots of guests. American pop duo Aly and AJ provide the backing vocals. Surprisingly, the song is bilingual: half in French! Max sings in both English and French, while Québecois crooner Cœur de Pirate (Béatrice Martin) provides a breathy French counterpart. Her vocals stand out for being so different. By all means, give it a listen. The Arkells have never been afraid of taking a step too far, and for some this may be it, while others may joyfully embrace every beat. La plus grande surprise s’agit de “Dance With You”, une chanson disco pure avec de nombreux invités. Le duo pop américain Aly et AJ assurent les chœurs. Étonnamment, la chanson est bilingue: la moitié est en français! Max chante en anglais et en français, tandis que la crooner Québecoise Cœur de Pirate (Béatrice Martin) fournit un homologue français époustouflant. Sa voix se distingue par sa différence. Bien sûr, écoutez-le. Les Arkells n’ont jamais eu peur d’aller trop loin, et pour certains c’est peut-être le cas, tandis que d’autres peuvent embrasser avec joie chaque battement.*
There is even a dance remix called “Danser avec toi” available on an iTunes single, with more lyrics in French and more instrumental grooves.
“Running Scared” is another ballad, but completely different from “Teenage Tears”. Laid back sax and an easy tempo render a song for the night time. It’s immediately followed by an upbeat pop rocker: “Something’s Gotta Give” featuring Joel Plasket. As we race towards the close, this catchy singalong serves as one last blast-off before we face the end. “Blink once!” announces Joel. “Then I black out! Blink twice, ’til we cash out.” It’s just a party tune. But something’s gotta give…
“Lost my guitar, lost my keys, lost my favourite pair of jeans…” The finale “Floating Like” is about all those things that bring us down…but then that upbeat soul chorus hits and it’s like, “who cares!” There’s a cool “These Eyes” kind of vibe coming from the piano, but the chorus is pure soul. Sunshine and breezy days in the form of song. “Now I’m feeling weightless, like I’m gonna make it!” says Max. This is a song to help get you there.
Blink Twice is another triumph. Completing the Blink duology with an album full of duets seemed uneven considering the first album only had one. Instead, both albums do sound cohesive when played together, but the duets on Blink Twice seem to allow the album to build towards something. Towards a conclusion. A hopeful conclusion. After the pandemic weighed so heavily on us all, music was (and still is) a reflection on what we endured. Blink Once and Twice might be played together as a soundtrack from those days. While both albums are strong, diverse, pop-centric and experimental, Blink Twice is the climax.
“Blink Once is about resilience. It’s about grieving with loss and fall outs and finding your way back. The making of the album began before the pandemic, but the material seems to hit harder after everything we’ve been through over the past 18 months. These songs are about finding comfort in your family, community and music.”– Arkells
ARKELLS – Blink Once (2021 Universal)
Blink Once is the album on which you can definitively say the Arkells transitioned from a rock band to a pop band. Historically this is the kind of move that earned my wrath, but I’m a lot more chill about it now. Opening your ears to new kinds of music can’t hurt you, and you may in fact find that you like what your eardrums are beating into you. When you already love the singer, the drummer, and the other musicians, it’s a lot easier to make that leap.
And Max Kerman is one hell of a singer.
Rather than review in track order, I thought I’d start with what I think is the best song and the clear highlight of Blink Once. The single “All Roads” is stunning. Just have a look at its music video, shot by drone over a local landmark: the Devil’s Punchbowl in Hamilton Ontario. The band members all make appearances as the drone flies overhead and then zooms down for their closeups. It’s a remarkable video fitting a very special song. (I forgive Max Kerman for being in his shorts-and-gym-socks phase.)
You couldn’t name a price, You couldn’t buy me off, Don’t need to read my mind, There’s only one thing that I want, All roads will lead me to back you.
Don’t let the opening bloops and blips of programmed music fool you. Once the guitars kick in, the song takes off just like the drone in the video. Soaring through the clouds on muscular wings of melody, “All Roads” is nothing short of a masterpiece. “All Roads” sounds like a #1 pop hit from 1988, with the production values of today. Those “huh!” backing vocals are absolutely from the 80s. It’s cinematic, as if it came from one of the great romance movies of the decade. This song is huge and impossible to forget.
Incidentally, I like the production on the lead vocals. It’s as if you can hear the room that Max is singing in, instead of being uber-bright and clean.
Fortunately, the album is stacked with memorable material. The opener “Liberation” boasts catchy verses over programmed beats and synths, but then breaks into a chorus that sounds Caribbean in original. After this, a massive drum beat maintains a tenuous link with rock music.
One of the big singles was “You Can Get It” with American Doc-boot-stompin’ singer and rapper K.Flay (Kristine Flaherty). She has an interesting breathy style, but this is the song that requires the biggest listener adjustment. The horn section helps, as does the entertaining “Wheel of Fortune” music video. Really, it’s all about the horn section. Live, I’m sure that “I don’t give a fuck, tell me what you want, you can get it!” part is fun to sing along to. On album, it’s all the horns!
One of my complaints about the prior album Rally Cry was that didn’t have any truly sad tear jerkers, emotional songs that just make you break down. Blink Once returns to that territory with “Strong”. This is a song I can relate to — staying strong for members of your family. “Here’s the rules: stay strong for me, and I’ll stay strong for you.” Most poignantly, as I remember the summer of 2018 (that summer that never was): “Summer is here but it’s sleeping away, why would we want to miss a good day?” Chills, tears, you name it: they’re all here.
A short acoustic interlude of “Liberation” called “Little Moments” makes you wish for a full-on acoustic version. This transitions to a necessary party song called “One Thing I Know”. A good time piano bopper with samples and loops, like many Arkells songs, the chorus is as big as the sky is wide. A more beat-driven song called “Truce” follows, with slinky horns again delivering the hooks. The lyrics are as relatable as always: “We both say that we fucked up, can we call a truce?”
One of the more interesting songs is “Nobody Gets Me Like You Do”, which seems to relate lyrically to other songs. The line “I’ll follow you down any road” recalls “All roads will lead be back to you”. The words “But you’d tell me straight if I fucked up,” bring us back to the previous song. Most importantly, it’s another melodic summer champion, gliding on mighty wings of pop music. The saxophone solo is right out of 1985. You can almost visualise the sunglasses, colourful tee-shirts under white suits, and deck shoes (no socks). Another album highlight.
“Swing Swing Swing” is one of the only album mis-steps. It starts with what sounds like studio outtake chatter: “OK I wanna try to do one of these kinds of songs where people are like, happy and dancing, but everyone’s like really fuckin’ sad when they listen to the lyrics.” That they accomplished, with the line “a long winter learning how to be alone again” giving you an idea. Musically it’s another horn-driven R&B style pop song, but not one of their best. The awkward reference to the Beatles’ “Let It Be” seems forced in an attempt to seem cool.
Fortunately, “No Regrets” puts the album back on track. A dance beat is accompanied by synth and, yes indeed, more unforgettable Arkells melodies. The chorus is huge, and just enough to remind you that this album has some great pop songs on it. Brilliant disco-like strings add to the whole and bring it up to another level.
“Years In the Making” was previously heard on 2020’s Campfire Chords, the acoustic “lockdown” album. Here is it fully dressed with horns and programming. The acoustic version might the superior one for purists but there is little wrong with the Blink Once recording. The choice is yours.
Another brief interlude called “What the Feeling Was Like” talks of hardships, but the closing song “Arm In Arm” is all about overcoming them. “Not gonna lie I’ve been fucked up. Not gonna lie it’s been a long year,” sings Max. And indeed, 2020 was a little fucked up, and it was a numbingly long year. The music is bright, with those necessary “woah-oh-oh” Arkells backing vocals. It feels like triumph.
That’s not the actual closer: An outro sample of a string section from “Reckoning” alludes to the next album, when Max says “Blink Twice…” Truly, it’s a two-album set, but we’ll get there next time.
If you’re into iTunes, check out a completely different version of “All Roads” called the “Night Drive” version. They even made a music video for it. It’s not a remix, but a completely different recording. A completely different mood. It doesn’t have the impact of the original, but it is a very cool supplemental.
Blink Once seems split between three directions: Extremely upbeat happy pop songs, kinda corny and semi-successful R&B forays, and a really sad ballad. At times it feels like these directions don’t mesh. It was a weird time. We needed upbeat music like this at that time. We were all dealing with a lot of shit. This is an album to pick you up on a bad day. Mostly, anyway.
ARKELLS – “The Last Christmas (We Ever Spend Apart)” / “Pub Crawl” (2021 single)
I usually prefer an original Christmas song to a traditional one. We’ve all heard those standards a million times. How about something new? For Christmas of ’21, the Arkells put out a single with two originals: “The Last Christmas (We Ever Spend Apart)” and fan favourite “Pub Crawl” (from 2020).
The Christmas tune doesn’t particular sound like a Christmas tune. It sounds like an Arkells song. The synth strings and Beatles-y guitar solo dominate the music. It’s upbeat with singalong qualities, but the lyrics kind of nail the Christmas vibe of the last few years. Reflecting on the pandemic and the holidays we didn’t spend together: “Last Christmas, I didn’t get to hug you, last Christmas, it almost broke my heart.” I really like this verse: “Are we Catholic, are we Protestant? Jewish somewhere down the line? Got a cousin who’s Republican, I promise I won’t pick a fight.” Once again, the Arkells tap into those real feelings. It’s a good song, though it probably won’t usurp anything from your favourite seasonal playlist.
“Pub Crawl” sounds a lot more Christmas-y though the lyrics are only vaguely so. “Maria’s dancin’ around, and she’s singing Mariah,” is a reference to Mariah Carey’s ever-popular Christmas album. Instead of 12 days of Christmas, they have 12 pubs to crawl through. It starts as a piano ballad, and then kicks up into a rocker complete with guitar solo and handclaps. Max even references himself in the lyrics by name: “And Max is about to cry (I’m about to cry)”.
March, 2020: the world came to a sudden halt as the Covid-19 pandemic spread from city to city, nation to nation. We isolated in our homes and offices to keep our loved ones safe, and we waited it out. For bands, everything stopped. Gigs were cancelled, and recordings had to be done remotely from home. On the bright side, this resulted in some brilliant music from legacy bands. For the Arkells, it meant stopping all work on the next studio album (Blink Once) and separating for four months. At the encouragement of bassist Nick Dika, the band got down to their singer-songwriter basics with a series of stripped-down versions of the “greatest hits” (so to speak). Keyboardist Anthony Carone assembled the individual pieces into something cohesive, and Campfire Chords was born! The title refers to the “campfire test”: if a song sounds good done acoustically around a campfire, then it’s a good song. Bon Jovi have a similar philosophy.
Campfire Chords opens with a surprisingly somber “Knockin’ At Your Door”, which was more of an anthem in its single release. Souful backing vocals and pedal steel guitar gives it an entirely new feel. Although everything about the melody is the same, it feels like a new song.
Following this is a brand new song: “Quitting You”. This lovely acoustic country ballad is just a beautiful love song. Fiddles and acoustic guitars ring clean, while tambourines jangle in the background. “I thought of maybe quittin’…but there’s no quittin’ you.” Because it’s the Arkells, there are some cool “woah-oh-oh” singalongs too, because what’s a campfire without a singalong? An Arkells classic.
A second new song, “Years in the Making” opens with harmonica and a strong Max Kerman melody. This track later appeared on Blink Once in a vastly different arrangement. A true Arkells anthem, you can hear it on this stripped down version. It’s all about the melody, and then the hit of the chorus. The piano break in the middle is really nice.
One of their earliest hits, “Whistleblower”, is slowed down and intensified with soulful backing vocals and steel guitars. This one simmers, compared to the manic original. It has a different kind of intensity, but the tension is there. Another early hit, “Michigan Left” from the same album comes across really well acoustically. The “woah-oh!” chorus is intact, and though it’s slower, it’s just as uplifting. An even earlier song, from their debut album Jackson Square, called “I’m Not the Sun” comes next. It’s gentle and floaty, though the lyrics are dark. “So don’t let me be your guiding light, ’cause I’ll get you lost in the dark, I’m not the sun, there’s no guarantee, ’cause I burn out hard like a spark.” Returning to the present day, “Don’t Be A Stranger” from the Rally Cry album is a song that might be an improvement. Taking off the layers of polish, but leaving the string section in, it just breathes really smoothly now. It’s the same song, but it hits differently.
An absolute highlight of this album is the new version of “Comes to Light” from their best album High Noon. There’s a Bruce Cockburn feel to the guitars; quintessentially Canadian. This one just cuts clean through. The steel guitar is featured again, and the melodies shine. “And with my headphones on, as I fall asleep, you’re my barricade from intruding dreams.” While the original is hard to top, this one has magic to it that can’t be defined. A masterclass in re-imagining.
Another Arkells classic, “A Little Rain (A Song For Pete)” takes us to church! The Arkells go gospel, and do it like it’s second nature! The rich choir-like backing vocals lend it an undeniable authenticity, but Max Kerman absolutely nails it too. Not bad for a guy who, by the lyrics, “never tried religion”. A little rain ain’t bringing him down goes the chorus, and that feeling is washed upon the listener like a baptism. Pay attention to Nick Dika’s expressive and lyrical bass work.
Back to Rally Cry, the anthem “Eyes on the Prize” is stripped down to just acoustic and voice. Though it was written pre-pandemic, one lyric rings way more true from the perspective of 2020: “I think I’m done with the motherfuckin’ hiatus”! The choir returns with Max on the chorus, and a harmony chimes in, but the music remains mostly simple acoustic guitars and soulful singing.
Revisiting the early years again, the light and airy “Book Club” is a delight. The backing vocalists enhance its soulful feel, which was always there on the album version. Following this is the slow and moving “And Then Some” from Morning Report. One of the Arkells most beautiful love songs, it falls in the category of “personal favourite”. The original has a real pulse to it, and this one is quite different in that way, but there’s also a newly acquired softness to it. “Kiss Cam” from Michigan Left works well, given the lyrics. “This campfire won’t last forever, the Hip have only wrote so many songs.” Sadly true. “We can’t stay up north for the summer, head back to the city, find a job.” Can relate! Speaking of personal favourites, Jen loves “My Heart’s Always Yours” in particular. This acoustic version is transformed into much softer fare, like a dreamy morning anthem.
A steel guitar-laden version of the anthem “Hand Me Downs” is a back-end highlight. Then “11:11”, already a brilliant single in its own right, is enhanced by the acoustic treatment. This is another one that may in fact surpass the original. At the end of the day, it all comes down to personal taste. If you have more attachment to one version of another, that’ll colour what you prefer.
Finishing out the CD are the anthem “Relentless”, which always had a soul/R&B flavour. Here it simmers intensely like hot pavement. The closing track is the immortal “Leather Jacket” from High Noon, known to laymen as the “pay phone song”. Steel guitars take us out to the country and that’s where the album goes as it rides off in the sunset like some kind of Canadian cowboy driving a dusty pickup truck through the gravel. This is tagged by a lovely singalong (with horns) of the main hook, “You call me up from a pay phone, and I said who the fuck uses a pay phone! There’s a crazy New Orleans outro like you’ve never heard, and that’s it!
These kind of “re-imagining” albums (if you will) can be so hit and miss. I mentioned Bon Jovi earlier. Remember that atrocity they did, This Left Feels Right? It was so, so wrong. The Arkells made no such mis-step here. They key is…they didn’t have to take a left turn. They just needed to turn to a different side of their sound, and focus in like that for a whole album. The result is an acoustic album that has depth, variety, and in some cases, some versions that could top the originals.
You can’t get “Quitting You” anywhere else; to date this is its only release.
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