PRESS GUIDE

[published]: 2017, June 7
[in]: Le Deblocnot
[article]: KICK AXE "Welcome to the Club"
[by]: Bruno

Qui se souvient de Kick-Axe? Ou plutot qui connaitrait Kick Axe? En France, ceux qui ont connu leur poignee de disques ne doivent pas etre bien nombreux. En Europe guere plus. Pourtant, leur premier disque, sorti en 1984 sur le label Pasha de Spencer Proffer, en avait secoue plus d'un. Notamment avec son titre "Heavy Metal Shuffle". Veritable hymne au "Stadium Heavy-Metal" dote de la puissance d'un Hummer 6.6 en mode rouleau compresseur, ou plutot d'un char d'assaut M60 Patton. Absolument jouissif bien que gorge de stereotypes. Le son y est enorme, la production chirurgicale, et la musique est le cri de guerre d'une bande de vikings impatients d'en decoudre et assoiffes de decibels. "Vices", l'album, est l'ode d'une bande de barbares sanguinaires, essayant de prouver leur valeur de guerrier autrement que par de feroces conflits meurtriers. Essayer, autrement que par les armes, d'etre assez dignes pour etre accepte au Walhalla.

La naissance de ce groupe de Regina (Saskatchewan, Canada) remonte a l'annee 1976. Deja en quintet, avec un clavieriste a plein-temps, le collectif s'appelait Hobbit. De cette premiere mouture, seul Larry Gillstrom (guitare) et Victor Langen (basse) resistent aux dures epreuves qui jonchent le parcours des jeunes groupes. La formation a cinq membres ne tient que quelques mois avant de passer en trio. Et changer de nom pour Kick Axe.

Il faut attendre 1978 pour que la troupe se stabilise, temporairement, avec l'arrivee d'un second guitariste, Raymond Arthur Harvey. Le poste de clavieriste a temps plein est alors definitivement abandonne. L'annee suivante, le groupe entre en studio pour enregistrer son premier disque. Cependant, a ce jour, ces sessions n'ont toujours pas ete l'objet d'une publication. Il faut attendre 1979 pour avoir une premiere trace discographique sous la forme d'un humble 45 tours; puis 1981 pour un second (dont un "Weekend Ride" dans la continuite d'un Nugent).

En 1983, enfin, c'est le tournant. Ils signent avec Pasha Music Organization; le label desormais connu - et envie - pour avoir propulse un vieux groupe de Los Angeles, sur qui plus personne ne voulait investir un kopeck. En l'occurrence il s'agit de Quiet Riot dont le disque "Metal Health" en devenant no 1 aux USA avec plus de 6 millions d'albums vendus (merci Slade) a reveille et affole tous les cadres des maisons de disques d'Amerique du Nord.

En 1984, Kick Axe est a son tour, mais evidemment dans une bien moindre mesure, projete vers le succes. Ca commence doucement avec une version de "30 days in the Hole" d'Humble Pie pour la comedie "Up the Creek" de Roger Butler (en francais "Les branches du bahut" ...), et on enchaine dans la foulee l'attendu premier 33 tours.

C'est une surprise. D'abord la production, excellente, allie puissance et detail, le tout avec un equilibre souvent absent chez les jeunes pretendants de l'epoque qui n'ont que trop rarement droit au meme traitement. Meme la basse est parfaitement audible alors qu'en ce temps-la elle etait parfois etouffee par la batterie (cette derniere souvent trafiquee par la production). "Vices" projette l'auditeur dans un monde de Heavy-metal-glam de comics luxueux galvanisant. Voire rafraichissant par rapport a tous les grimaCants de l'epoque, obnubiles par la vitesse d'execution, la hauteur de leur mur d'amplis, la noirceur de leurs textes et leur look de barbare post-apocalyptique de serie Z. Kick Axe, lui, a un chanteur, un vrai, capable d'alterner entre la bete sauvage et le poete transi. Capable de rugir comme de s'epancher avec passion. Enfin ... bien majoritairement, Ca rugit. Ca module tout en rugissant, et sans froler l'apoplexie. Les guitares s'appliquent a imposer une ambiance avant de chercher a se faire valoir avec des soli exuberants. Fait rare a une epoque ou les soli massacres au Floyd-rose etaient un passage oblige. Souvent un supplice pour l'auditeur. Il n'y a d'ailleurs aucun solo demonstratif, aucune longueur solitaire ; c'est du concret. Mais, ce qui a probablement surpris le plus, c'est la dimension des chours qui sort des sempiternels chants guerriers et monocordes propres au genre. Grace a l'apport de quatre musiciens capable de chanter, et non de vociferer, on y trouve des nuances qui sont bien rares dans la sphere Heavy-Metal. C'est un peu comme si on avait repris l'heritage vocal des Beatles pour le transmuter en lui injectant de fortes doses de Metol.

A l'inverse du premier opus qui ne fait pas dans la demi-mesure en tentant de passer en force, tels les geants de Jotunheim deferlant en cohue colossale et bruyante sur l'ennemi, ce second essai ferait plutot dans la dentelle. De la dentelle d'acier, forgee par les elfes noirs, les dokkalfars, raffinee mais indestructible, souple et inusable.

Alors que le premier opus debutait dans une avalanche de guitares saturees, de hurlements de berserkers, de martelements de Mjollnir, celui-ci s'ouvre sur un monde nettement plus eduque, civilise, aristocrate. Un changement radical d'apparence qui avait fait fuir bon nombre de fans de la premiere heure. Et pourtant, cet album n'en est que meilleur. Le premier, "Vices", est un produit Heavy-Metal (a 89 %), tandis que "Welcome to the Club" renoue avec ses racines Heavy-rock. Un Heavy-rock fringant, elegant et riche, qui evite de se compromettre avec le Hard-FM. Contrairement a ce qui a parfois ete ecrit a sa sortie. Une qualification bien hasardeuse et precipitee qui doit s'expliquer par le choc genere par le fosse separant les deux 33 tours. En fait, c'est toujours du costaud, du robuste, du Kick Axe! Ces gars-la ont du faire des immersions en tant que bucheron dans les sombres et denses forets eloignees du Nord de la province d'Alberta. Avec pour seule compagnie des gros barbus, des ours et des carcajous (la difference entre les trois especes etant souvent tenue). Ou alors ils sont la reincarnation d'antiques vikings. Peut-etre les deux.

Rien que cette pochette. A l'epoque ou l'imagerie du Heavy-Metal et du Hard-rock pechait par un exces de caricatures de l'heroic-fantasy, de monstres de "series B" divers, et de navrantes compositions erotiques de bas etage. Une illustration atypique, mysterieuse et de caractere, qui aurait pu etre l'oeuvre d'Hipgnosis (Genesis, Pink Floyd, Led Zeppelin, Wishbone Ash, Bad Company, UFO, Electric Light Orchestra, Black Sabbath, Rainbow, Scorpions, 10cc, Pretty Thing, Renaissance). Une presentation faite pour attirer l'oil et surtout se demarquer du tout venant du moment (presentation souvent rebutante, honteuse, proche d'un irrespect absolu envers le groupe et ses fans). Rien qui se rapporte a l'imagerie stereotypee et souvent sans imagination, essayant bien maladroitement de copier celles servant d'ecrin aux gros succes. Et puis que vient donc faire au milieu cet innocent bambin a l'air angelique? Toutefois, le "Hellraisers - Fan Club" inscrit sur la porte entrouverte indique que l'on ne s'est peut-etre pas trompe d'adresse.

A l'image de sa pochette, ce "Welcome to the Club" s'illustre par une volonte de se differencier de la scene Heavy, de proposer autre chose.

Ce qui est evident des les premiers instants, quand surgit le riff principal du titre eponyme, tranchant comme un scalpel. Comment donner tant de puissance et de consistance a un son clean ? Ca sent a plein nez la guitare stratoide (une Charvel ? Ou simplement une Strato a l'electronique revisee) qui a du corps et du cour (et certainement saupoudree d'un pudique phaser). Derriere, la section rythmique semble ronger son frein, pret a tout moment a lacher les gaz. Le chant de George Criston est robuste, hargneux, sans perdre le sens de la melodie. On a meme droit a une chorale aux sonorites paroissiales.

Une basse elastique qui claque un rythme funky, des bruits de verres brises, des rires, un chanteur extraverti, un riff lourd se calant sur la basse: tout Ca c'est "Feels Good - Don't Stop". Dans la lignee d'un Van-Halen funky (entre "Fair Warning" et "1984"), la guitare pyrotechnique en moins et "Another bit the Dust" de ... de ... de qui deja?

"Comin' After You" aurait pu faire fondre le cour des midinettes si ... au bout d'une minute et des poussieres, les guitares ne revenaient en force avec un riff carre et sauvage, avanCant d'un pas decide, fracassant les portes et bousculant tout sous leur passage. Des couplets etheres viennent casser le rythme, mais en rehaussant la teneur melodique, avant de reprendre de plus belle.

Heavy-rock plus conventionnel avec "Make Your Move" qui se s'embarrasse pas d'un riff marquant. Cela aurait pu etre redondant s'il n'y avait ce chant convaincant et ce refrain qui invite a etre repris. "It's time to make your move ! Prove, what you've gotta prove ! Make no excuse ! Take your place in the race. If you don't step on it, it'll be a waste" (ce n'est pas de la poesie non plus).

Apres le faux espoir de "Comin' After You", les jeunes filles sensibles peuvent enfin vraiment s'emouvoir sur le delicat et seraphique "Never Let Go", ou Criston se prend pour un ange (pour ceux qui auraient deja ecoute un ange chanter). Mais quel dommage d'y avoir greffe cette batterie demesuree, gauche, qui semble ne pas trop savoir comment evoluer dans un contexte plus calme et pose. Tel un elephant dans un magasin de porcelaine. Finalement, Ca part en sucette. On y rajoute un infatigable chorus de guitare et quelques notes de claviers fantomatiques pour rattraper le coup, mais Ca ne fait qu'empirer. On sent la volonte de suivre le sillon creuse par "Dreamin' About You" (meilleur moment du precedent vinyl) mais le combo s'emmele les pinceaux et se vautre lamentablement. Dommage car il y a pourtant de la matiere.

La seconde face, marque un retour vers des terres plus rudes, prises dans la tourmente d'esprits se delectant de decibels et de grosses guitares. On y frole parfois le Heavy-Metal et l'atmosphere du precedent, "Vices". Ainsi, "Hellraisers", en depit du renfort d'un clavier (qui ne doit se contenter ici que de deux ou trois accords) s'y adonne sans retenu. Cela sans pour autant faire appel a du gros saturax de l'enfer, Ca reste largement dans le raisonnable (du genre une simple Boss D-1).

Retour cyclopeen de la batterie, mais cette fois-ci a bon escient pour "Can't Take it With You", qui s'appuie sur une rythmique ou une gratte envoie un riff carre, primaire, tandis que l'autre, plus ou moins en roue libre, s'excite sur une wah-wah gazouillante (proche du style de Mick Box). Solo a deux guitares sur deux tonalites distinctes de wah-wah, procurant une sensation de doux vertige (avec des bends, ou des tires de vibrato, a faire peter les cordes).

Retour au Heavy-Metal avec "Too Loud ... Too Old", que l'on croirait issu de la B.O. du film d'animation "Heavy-Metal" (de 1981), avec ce "je-ne-sais-quoi" du "I Must Be Dreamin'" de Cheap-Trick. Mais ici steroide. La basse est meme habillee d'une fuzz pour rajouter en lourdeur. Composition et paroles forts simples; un hymne au metal lourd. "If it's too loud, you're too old" est evidemment la vieille maxime de Ted Nugent.

"Well this ain't Heaven and this ain't Hell. Just somewhere in between. An awesome sight, it's dynamite like nothing that you're ever seen... I rip another note from my throat. A screaming guitar wails. Ears will bleed, it's guaranteed. We deal in volume sale".

Bien que sur un tempo plus tempere, "Feel the Power" suit le meme ordre d'idees. "Feel the vibration so electric. It can really shake you down. This current flows inside of me. It's like a shock wave underground. I feel my blood surge, I feel my primal urge, I feel the Power... Etc, etc...". En comparaison, ces deux dernieres pieces, plus conventionnelles, sont plus ternes.

Comme deja mentionne plus haut, il ne faut pas chercher quoi que ce soit de poetique, ou d'un tant soit peu fouille dans les textes de Kick Axe. Encore moins un regard critique sur la societe. On ne tient pas a se creuser les meninges. Generalement, tout est dit en trois-quatre couplets maximum, et Ca tourne autour de la vie trepignante du rocker; et de ses fabulations.

"... Like demons running wild, we're born to be Hellraisers. Like every mother's child born to be Hellraisers, born to be Hellraiseeerrs!!! ... I feel the heat, I got fever, this fire's outta control. That's what I like, that's what I am! I'm a Rock'n'Roll!!" Hellraisers. C'est profond non?

Un final un peu surprenant avec le celebrissime "With a Little Help From my Friends" . L'occasion de rameuter tout le gotha du Heavy-rock canadien. Enfin, n'exagerons rien, juste une partie constituee de Lee Aaron, Andy Curran (Coney Hatch), Rick Emmett (Triumph), John Albani (Lee Aaron), Alfie Zappacosta, Bob Segarini (The Wackers, Segarini), Cindy Valentine (sous-Pat Benatar), Sheron Alton et Brian Allen (Toronto), Ava Cherry (ex-copine du White Thin Duke). Un choix qui demontre bien que l'affiliation avec les Beatles - mentionnee plus haut, troisieme porte a gauche - n'est pas totalement une coincidence.

"Welcome to the Club" - 4:47
"Feels Good - Don't Stop" (Kick Axe, Randy Bishop) - 3:22
"Comin' After You" (Kick Axe, Bishop) - 4:56
"Make Your Move" (Kick Axe, Bishop) - 3:51
"Never Let Go" - 5:13
"Hellraisers" - 4:17
"Can't Take It with You" (Kick Axe, Bishop) - 3:42
"Too Loud... Too Old" - 2:51
"Feel the Power" (Kick Axe, Bishop) - 3:47
"With a Little Help From my Friends" (Lennon - McCartney) - 4:19

George Criston - lead vocals
Larry Gillstrom - guitars, keyboards, backing vocals
Raymond Arthur Harvey - guitars, backing vocals
Victor Langen - bass guitar, keyboards, backing vocals
Brian Gillstrom - drums, backing vocals

4/6

La meme annee, le groupe de Carmine Appice, King Kobra, egalement produit par Spencer Proffer, reprend a son compte deux compositions du groupe: "Hunger" et "Piece of the Rock".

Malheureusement, "Welcome to the Club" ne rencontre par le succes du precedent.

Raymond Arthur Harvey quitte le groupe en 1986, laissant la troupe continuer en quatuor. L'annee suivante, c'est une relegation sur un petit et modeste label independant (Mercenary Records). A savoir que passe 1986, Pasha n'a apparemment plus rien produit d'apparente au Hard-Rock; son activite semble etre mise en sommeil en 1987 et s'arrete en 1988 apres deux dernieres productions. Abandonne par le staff de Proffer, le groupe se retrouve livre a lui-meme et la production en patit. Il manque ainsi a "Rock the World" l'eclat de ses predecesseurs. De plus, l'inspiration n'est plus la. Tout comme la foi et l'envi. Ce n'est plus qu'une caricature de ses aines, essayant maladroitement de recycler le materiel precedent. La pertinence des melodies en moins (probablement l'absence d'Harvey). C'est un flop. Le groupe patauge et split en 1988.

Reformation en 2003, avec le chanteur originel, Gary Langen (frere de Victor). Au fil des concerts, on constate qu'en depit des annees d'inactivites, il subsiste encore des fans, des amateurs. Rasserene par l'accueil du public, Kick Axe enregistre un quatrieme disque en 2004, "Kick Axe IV" qui, s'il n'a pas la pertinence de "Welcome to the Club", a tout de meme le merite de retrouver un certain succes. Un album plus sage, plus conventionnel, mais non denue d'interets. Aujourd'hui, le groupe tourne encore. Certainement occasionnellement.

Who remembers Kick-Axe? Or who would know Kick Axe? In France, those who have known their handful of records must not be very numerous. In Europe hardly more. However, their first record, released in 1984 on the Pasha label of Spencer Proffer, had shaken more than one. Notably with its title "Heavy Metal Shuffle". True hymn to the "Stadium Heavy-Metal" with the power of a Hummer 6.6 in the roller-coaster mode, or rather a M60 Patton tank. Absolutely enjoyable although full of stereotypes. The sound is there, the surgical production, and the music is the war cry of a gang of vikings eager to fight and thirsty for decibels. "Vices", the album, is the ode of a gang of bloodthirsty barbarians, trying to prove their value as a warrior other than by ferocious deadly conflicts. Try, otherwise than by arms, to be worthy enough to be accepted at Walhalla.

The birth of this group from Regina (Saskatchewan, Canada) dates back to 1976. Already in quintet, with a full-time keyboardist, the collective was called Hobbit. From this first version, only Larry Gillstrom (guitar) and Victor Langen (bass) resist the hardships that plague the course of young bands. The five-member training only takes a few months before moving into a trio. And change your name to Kick Axe.

It was not until 1978 that the troupe stabilized, temporarily, with the arrival of a second guitarist, Raymond Arthur Harvey. The position of full-time keyboardist is then definitely abandoned. The following year, the band enters the studio to record their first record. However, to date, these sessions have still not been published. It was not until 1979 to have a first record in the form of a humble single; then 1981 for a second (including a "Weekend Ride" in the continuity of a Nugent).

In 1983, finally, it's the turning point. They sign with Pasha Music Organization; the label now known - and envied - for propelling an old Los Angeles band, about which no one wanted to invest a kopeck. In this case it is Quiet Riot whose disc "Metal Health" by becoming # 1 in the US with more than 6 million albums sold (thank you Slade) woke up and panic all the executives of record labels of North America.

In 1984, Kick Axe is in turn, but obviously to a much lesser extent, projected to success. It starts slowly with a version of "30 days in the Hole" of Humble Pie for the comedy "Up the Creek" by Roger Butler (in French "The branches of the chest"...), and we follow in stride of expected first 33 rpm.

It is a surprise. First of all, the production, excellent, combines power and detail, all with a balance often absent among the young contenders of the time who are too rarely entitled to the same treatment. Even the bass is perfectly audible while at that time it was sometimes suffocated by the battery (the latter often trafficked by the production). "Vices" projects the listener into a world of heavy-metal-glam of luxurious comics galvanizing. Even refreshing compared to all the grimaces of the time, obsessed by the speed of execution, the height of their wall of amps, the darkness of their texts and their post-apocalyptic barbaric Z. Kick Axe, it has a singer, a real one, capable of alternating between the wild beast and the transient poet. Able to roar as to pour out with passion. Well ... most of the time, it roars. It modulates while roaring, and without grazing apoplexy. The guitars apply to impose an atmosphere before seeking to be asserted with exuberant solos. Rare fact at a time when the soli massacred Floyd-rose were a must. Often a torture for the listener. There is no demonstrative solo, no solitary length; it's concrete. But, what probably surprised the most, is the dimension of the choruses that comes out of the eternal war songs and singlecharges specific to the genre. Thanks to the contribution of four musicians able to sing, and not to vociferate, we find nuances that are very rare in the sphere of Heavy-Metal. It's a bit like taking over the Beatles' vocal heritage to transmute it by injecting them with large doses of Metol.

In contrast to the first opus that does not make the half-measure by trying to pass in force, like the giants of Jotunheim breaking into colossal rush and noisy on the enemy, this second test would rather in the lace. Steel lace, forged by black elves, dökkalfars, refined but indestructible, flexible and indestructible.

While the first album began in an avalanche of saturated guitars, screams of berserkers, hammering Mjollnir, it opens on a world much more educated, civilized, aristocrat. A radical change in appearance that had driven many fans from the first hour. And yet, this album is only better. The first, "Vices", is a Heavy-Metal product (89%), while "Welcome to the Club" returns to its Heavy-rock roots. A dashing, elegant and rich Heavy-Rock, which avoids compromising with Hard-FM. Contrary to what has sometimes been written at its release. A risky and hasty qualification that must be explained by the shock generated by the gap separating the two 33 laps. In fact, it's still beefy, robust, Kick Axe! These guys had to do dives as lumberjacks in the dark, dense forests of northern Alberta. With the only company of big beards, bears and wolverines (the difference between the three species being often tenuous). Or they are the reincarnation of ancient Vikings. Maybe both.

Just this pouch. At the time when the imagery of Heavy-Metal and Hard-rock was fishing with an excess of heroic-fantasy cartoons, various "B-series" monsters, and heartbreaking low-level erotic compositions. An atypical, mysterious and characterful illustration that could have been the work of Hipgnosis (Genesis, Pink Floyd, Led Zeppelin, Ash Wishbone, Bad Company, UFO, Electric Light Orchestra, Black Sabbath, Rainbow, Scorpions, 10cc, Pretty Thing, Renaissance). A presentation made to attract the eye and especially to stand out from the moment (presentation often repulsive, shameful, close to an absolute disrespect towards the group and its fans). Nothing that relates to stereotyped and often unimaginative imagery, trying clumsily to copy those serving as box for big hits. And then what comes to do in the middle this innocent toddler with angelic air? However, the "Hellraisers - Fan Club" listed on the door ajar indicates that we may not be mistaken address.

Like its cover, this "Welcome to the Club" is illustrated by a desire to differentiate itself from the scene Heavy, to propose something else.

This is evident from the first moments, when the main riff of the title of the same name emerges, cutting like a scalpel. How to give so much power and consistency to a clean sound? It smacks of stratospheric guitar (a Charvel or simply a strato with revised electronics) that has body and heart (and certainly sprinkled with a modest phaser). Behind, the rhythm section seems to gnaw its brake, ready at any time to release the gas. The song of George Criston is robust, surly, without losing the sense of melody. We are even entitled to a choir with parochial sounds.

A low elastic band that slaps a funky rhythm, sounds of broken glasses, laughter, an extroverted singer, a heavy riff stalling on the bass: all that is "Feels Good - Do not Stop". In the tradition of a funky Van-Halen (between "Fair Warning" and "1984"), the pyrotechnic guitar in less and "Another bit the Dust" of ... of ... who already?

"Comin 'After You" could have melted the heart of the midinettes if ... after a minute and dust, the guitars did not come back with a riff square and wild, advancing with a decided step, shattering the doors and jostling everything under their path. Etheric couplets break the rhythm, but enhance the melodic content before starting again.

Heavy-rock more conventional with "Make Your Move" that does not bother with a scoring riff. It could have been redundant if there was this convincing song and this refrain that invites to be taken again. "It's time to make your move!" "Take your place in the race." If you do not step on it, it'll be a waste. (poetry either).

After the false hope of "Comin 'After You", sensitive girls can finally get really emotional about the delicate and seraphic "Never Let Go", where Criston thinks he's an angel (for those who have already listened to an angel singing). But what a pity to have grafted this disproportionate battery, left, which seems not to know how to evolve in a more calm and calm context. Like an elephant in a porcelain store. Finally, it goes in lollipop. We add an indefatigable guitar chorus and some ghostly keyboards to catch up, but it gets worse. We feel the will to follow the path dug by "Dreamin 'About You" (best moment of the previous vinyl) but the combo is entangled brushes and wallows miserably. Too bad because there is yet matter.

The second side, marks a return to harsher land, caught in the storm of spirits reveling in decibels and big guitars. It is sometimes close to the Heavy-Metal and the atmosphere of the precedent, "Vices". Thus, "Hellraisers", despite the reinforcement of a keyboard (which should be satisfied here only two or three chords) indulges without restraint. This without using the fat saturax of hell, it remains largely in the reasonable (like a simple Boss D-1).

Return cyclopean battery, but this time wisely for "Can not Take It With You", which relies on a rhythmic where a guitar sends a riff square, primary, while the other, more or less freewheeling, excited about a chirping wah-wah (close to the style of Mick Box). Solo with two guitars on two distinct tones of wah-wah, providing a sensation of gentle vertigo (with bends, or pulled vibrato, to fart the strings).

Back to the Heavy-Metal with "Too Loud ... Too Old", that one would believe coming from the BO of the animated film "Heavy-Metal" (of 1981), with this "je-ne-sais-quoi" "from the" I Must Be Dreamin '"from Cheap-Trick. But here steroid. The bass is even dressed with a fuzz to add heaviness. Simple composition and strong words; a hymn to heavy metal. "If it's too loud, you're too old" is obviously the old maxim of Ted Nugent.

"Well this is not Heaven and this is not Hell." It's a hell of a sight. We will guarantee, we are guaranteed.

Although on a more temperate tempo, "Feel the Power" follows the same line of ideas. "Feel the vibration so electric." I feel my blood surge, I feel my primal urge, I feel the Power ... Etc, etc. ... " In comparison, these last two pieces, more conventional, are duller.

As already mentioned above, we must not look for anything poetic, or a little bit searched in the texts of Kick Ax. Even less a critical look at society. We do not want to rack our brains. Generally, everything is said in three to four couplets maximum, and it revolves around the rocking life of the rocker; and his fabrications.

"... Like demons running wild, we're born to be Hellraisers. Like every mother's child born to be Hellraisers, born to be Hellraiseeerrs !!! ... I feel the heat, I got fever, this fire's outta control. That's what I like, that's what I am ! I'm a Rock'n'Roll !!" Hellraisers. It's deep right?

A final a little surprising with the famous "With a Little Help From My Friends". The opportunity to rally all the Canadian heavy-rock elite. Finally, let's not exaggerate, just a part consisting of Lee Aaron, Andy Curran (Coney Hatch), Rick Emmett (Triumph), John Albani (Lee Aaron), Alfie Zappacosta, Bob Segarini (The Wackers, Segarini), Cindy Valentine (under Pat Benatar), Sheron Alton and Brian Allen (Toronto), Ava Cherry (ex-girlfriend of White Thin Duke). A choice that demonstrates that the affiliation with the Beatles - mentioned above, third door on the left - is not totally a coincidence.

"Welcome to the Club" - 4:47
"Feels Good - Don't Stop" (Kick Axe, Randy Bishop) - 3:22
"Comin' After You" (Kick Axe, Bishop) - 4:56
"Make Your Move" (Kick Axe, Bishop) - 3:51
"Never Let Go" - 5:13
"Hellraisers" - 4:17
"Can't Take It with You" (Kick Axe, Bishop) - 3:42
"Too Loud... Too Old" - 2:51
"Feel the Power" (Kick Axe, Bishop) - 3:47
"With a Little Help From my Friends" (Lennon - McCartney) - 4:19

George Criston - lead vocals
Larry Gillstrom - guitars, keyboards, backing vocals
Raymond Arthur Harvey - guitars, backing vocals
Victor Langen - bass guitar, keyboards, backing vocals
Brian Gillstrom - drums, backing vocals

4/6

The same year, the group of Carmine Appice, King Kobra, also produced by Spencer Proffer, takes over two compositions of the group: "Hunger" and "Piece of the Rock".

Unfortunately, "Welcome to the Club" does not meet the success of the precedent.

Raymond Arthur Harvey left the group in 1986, leaving the troupe to continue as a quartet. The following year, it is a relegation on a small and modest independent label (Mercenary Records). Namely that past 1986, Pasha has apparently not produced anything related to Hard Rock; its activity seems to be dormant in 1987 and stops in 1988 after two last productions. Abandoned by the staff of Proffer, the group finds itself delivered to itself and the production suffers. "Rock the World" lacks the brilliance of his predecessors. In addition, the inspiration is no longer there. Just like faith and envy. It's just a caricature of his elders, clumsily trying to recycle the previous material. The relevance of melodies in less (probably the absence of Harvey). It's a flop. The group wades and split in 1988.

Reformation in 2003, with the original singer, Gary Langen (brother of Victor). Over the concerts, we see that despite the years of inactivity, there are still fans, amateurs. Reassured by the reception of the public, Kick Axe records a fourth disc in 2004, "Kick Axe IV" which, if it does not have the relevance of "Welcome to the Club", still has the merit to find a certain success. A wiser album, more conventional, but not devoid of interests.

Today, the band is still running. Certainly occasionally.