Welcome to the semi-regular feature where I reveal stunningly weird search terms that led people to mikeladano.com For the last installment, Heavy Porn Metal edition, click here!
WTF SEARCH TERMS XX: Questions & Comments edition
1.is john norum bald and wears awig(ask Jon Wilmenius, he knows everything about bald Swedish rockers!)
2.did pete woodroffe play in led zepplin (I sincerely hope nobody over the age of 15 needs to ask who was in Led Zeppelin.)
3.chad kroeger douche (yes.)
4.dave donato sucks(meh.)
5.styx goofy keyboard player (Lawrence Gowan is goofy?)
6.what would a record store smell like (as I said in Part 57, farts.)
KIM MITCHELL – I Am A Wild Party (Live) (1990 Alert)
Kim Mitchell’s solo career has been pretty spotty, but I think most fans own this live album. Personally, I would rank it as a must-have. If only it wasn’t so damn brief! What is this, an EP? Even by 1990 standards, when cassette was a primary format, 38 minutes for a live album from a musician with a career as rich as Kim’s…?
I Am A Wild Party (Live) kicks off with the title track, which was one of two “new” songs recorded at rehearsal. It’s actually an older song from the sessions of his 1986 album; the chorus ends with the line “I’m shakin’ like a human being.” This is now a Kim klassic, the kind of fun summer party rocker that he is known for. The other new song is “Deep Dive”, a good hard tune with some greasy guitar groove.
Live highlights include the old Max Webster classic “Battle Scar”. As you may remember, that was Max Webster’s team-up with Rush. Here, bassist Peter Fredette (a great singer in his own right) takes Geddy Lee’s vocal. He does it extremely well, too. Elsewhere on this album, Fredette sings the high parts on the ballad “All We Are”, which many fans consider better than the original studio version from Akimbo Alogo.
“That’s the Hold”, “Lager and Ale”, “Rock & Roll Duty” all rock harder than their album versions, let loose from the sterility of a studio, with Fredette wailing away in the background. These are great live versions, with not a lot of crowd noise to distract from the actual musicianship and volume!
I think the album could have been 10 or 11 songs. When the party sounds this good, you don’t want to leave.
Late weekend night and I’m at the Bojar Grill,
I got decisions to be made between lager and ale
KIM MITCHELL – Akimbo Alogo (Alert, 1984)
Some Max Webster fans were disappointed in this, Kim Mitchell’s first full-length solo album. I guess I could see why, because Akimbo Alogo is pretty straight-forward rock. There’s not a trace of that prog or experimentation that made Max Webster such a unique creature. However, those fans were too quick to judge, as this is simply a great sincere album loaded with stellar playing and hooky songs.
Akimbo Alogo(great title) still stands up on its own as Kim’s finest solo album. Back in that hazy summer of 1984 it spawned four hit videos: “Lager & Ale”, “That’s A Man”, the fantastic ballad “All We Are” and of course, the immortal “Go For Soda”. Although the album cut “Rumour Has It” is no slouch, “Lager & Ale” is one of the hardest driving tunes Kim’s done. The video was one of those great 80’s ones that was just a live performance — but then that live performance becomes so ingrained into your head, that it’s your default version!
But Kim’s always been tender too, and his excellent feel on the six string assures us that the few ballads are still memorable. There’s the hit “All We Are” (still gets airplay today!), but “Caroline” and “Called Off” are both excellent songs. “Called Off” in fact scorches with Kim’s fiery guitar work.
The only holdover from the Max days is lyricist Pye Dubois, spinning words as only he could, with humour and poetry. “All We Are” was written during the tail end of Max, but Kim knew nobody in that band could sing the high notes in the chorus. Along comes Peter Fredette, a talented musician and singer in his own right. His vocal made this song something truly special. (Live, Fredette also sings Geddy Lee’s high part in “Battle Scar” as well as “All We Are”.)
Of course, Kim’s guitar playing is among some of the best he’s ever laid down on vinyl, and that includes the Max stuff. His soloing here is vibrant and warm, loaded with feeling. Kim makes it sound easy — if only!
There’s also a minimum of synth programming going on here, compared to the albums that followed. I think Kim got a little too carried away with it on Shakin’ Like A Human Being. I’m not sure why Kim thought it was a good idea to start doing stuff like that anyway, but at this point he hadn’t gotten too carried away with it…yet. There’s a little programmed percussion in “Love Ties” and elsewhere.
I wish the CD had been digitally remastered. My vinyl sounds better than the CD. The only B-side I’m aware of is the “Syphon Remix” of “Go For Soda”.
It is difficult to recall a better debut album than this 1976 masterpiece by the four-headed enigma known as Max Webster. Kim Mitchell (vocals/guitars), Mike Tilka (bass), Terry Watkinson (keys) and short-tenured drummer Paul Kersey, along with lyricist Pye Dubois, seemingly emerged fully-formed with this immortal classic. Right from the feedback kicking off “Hangover”, this album feels like it was custom designed for awesome sauce.
When I first heard it, I recall finding the album artwork mildly disturbing and the music jittery and off-putting. That was first listen. Then, Trevor bought it (and numerous others) for me for my birthday one year. THANKS T-REV!
It only took two more listens to appreciate this album for what it is: A paradoxically funny yet progressive masterpiece that runs the gamut from bizarre to blues to rock to country to campfire,with poetic lyrics to match. From the seemingly out-of-control “Hangover” to the mournful “Lily”, this album really does have it all.
Of note: This album was produced with Terry Brown, who helmed many Rush classics.
Like Frank Zappa’s bastard children, Max Webster emerged from Sarnia Ontario, perplexing and rocking audiences from coast to coast. Despite the diversity in sounds and challenging arrangements, this band was not short on melody and managed to create catchy songs out of the most absurd material, such as “Toronto Tontos”. Yet this is balanced by songs like the groovy “Here Among the Cats”. Regardless, it’s impossible to get either song out of your head. Mitchell’s soloing on “Here Among the Cats” is stunning, by the way.
You can’t understate how important, groundbreaking, and fantastic this album is. Just listen to the upbeat “Blowing The Blues Away”, or “Only Your Nose Knows” for a taste of the best music that Canada has ever put up for offer. “Summer’s Up”…”Coming Off the Moon”…not a bad song in the bunch. I understand that there are deluxe Max editions available now. I think I might pick one up and see how they are.
I think I’ll start with Max Webster! (Note: Don’t tell Mrs. LeBrain, but I did order it from Amazon a few moments ago.)
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