Skip to main content

Stampeders - New Day

Stampeders - New Day

This was indeed a New Day, as right out of the gate the Stampeders were plugged in, turned up, and ready to rock. From the first track the guys were killing it. "Ramona" is a great song, and one I always liked as a kid. Ronnie, Rich and Kim were by this time a well oiled machine with New Day being their fifth release in a few short years.  

There were a few power trios in the '70s worth noting, Grand Funk being one, ZZ Top another. Some of of the others that pop to mind, like Triumph, and Rush were later, and Cream was earlier. Stampeders were good, really good and by any yardstick (this was before metric) should be considered one of the best of their era. Kim Berly was a master on a small kit, Ronnie looked like a little like Elvis mixed with Dan Blocker and even had the jumpsuit, and Rich played a wicked double necked FrankenFender. I mean these guys were cool. The cherry on top was all the guys could sing and write - seriously, how cool is that?

New Day, as with all of their releases, was produced by Mel Shaw, who also served as the band's manager. Even the weirdly indescribable "Marigold" works because it's woven into the experience. They were a band who didn't limit themselves to a particular style. They were adept at changing lanes between rock, country, and even the burgeoning glam scene with "Wild Eyes" a song so good it is mind boggling. The addition of the string arrangement puts it over the top. I mean, I'd have bought the album for this song alone ... honestly, O sort of did. Strange that when I bought a Best Of collection a while back, the version included did not have the strings - for shame. SHAME!

The second side opens with Rich Dodson's "In the Shadows" and the boys are keeping up the heat. The closing track "Brothers of the Universe" is a song that could have only been written in the early '70s, and the sci-fi lyrics and spacey moog effects only enhance the song. It's hard to categorize these guys because I was just an eleven year old kid at the time, and all I knew about the band were the songs on the radio, so sitting here listening to this new after almost fifty years is a little weird. I've already skipped ahead to the end of their career and know how things worked out and what was successful, and what wasn't. Still, when there were good, they were absolutely amazing, and the depth of their catalogue is pretty impressive.

It's strange the band isn't as well respected as I thought they were. These guys should be Canadian rock royalty. Through the '70s they were a big deal, and if you listed off the big Canadian bands, you'd end up with a list like B.T.O. the Guess Who, April Wine and Stampeders. Heck there's a great clip of Mike Meyers in character as Wayne where Terry David Mulligan (he of the caterpillar eyebrows) asks him to name the top three Canadian rock bands. Anne Murray gets an honorary spot, with the other two going to B.T.O. and Stampeders. 

Mic drop.

Rich, Kim, Ronnie
While their albums may have had one or two killer songs (or as I remember them, the singles on the radio) there weren't really any shitty songs that made you want to skip them either. Their output was prodigious, and the guys amassed a pretty impressive list of hit songs in less than a decade if you go as far as Ballsy. However for the classic line up it was eight albums between 1971 - 1975.

Maybe it was because they were too diverse and crossed too many lanes musically and people couldn't easily fit them into a box. I don't know. Heck, I'm as guilty as anyone in overlooking these guys, and only in the last year or three that I've picked up a few of their albums, and although I have a decent retrospective anthology I really only listened to get to the big songs from my youth, and I didn't actually take the time to listen. I'm trying to make amends.

The fact these guys aren't in the Canadian Music Hall of Fame is a mystery and kind of a kick below the belt to a band who paved the way for so many Canadian acts. I mean, I like Nickelback, I'll admit it, but what the actual heck (spell that with an F and sort of rhymes with gesundheit), the Stampeders aren't in and Nickelback got there first? Good lord, this is a travesty that needs to be addressed. It's not like the guys are getting any younger. The fact they're still out on the road having fun and packing the big rooms should be an indication these guys were the real deal. They're out there treat everyday like it's a New Day (okay, I know it was cheesy, but dagnabbit it was there, and sometimes you just have to do it. I don't want to live with regrets - even small ones).

Comments

Popular posts from this blog

Billy Rankin - Growin' Up Too Fast

Growin' Up Too Fast was never widely released on CD (if at all), and was one of the albums I really wanted to get back after a basement flood wiped out my vinyl collection in the 90s (when no one really gave a shit about records, and my insurance gave me a couple hundred bucks for an appraised $10,000 collection). Way back in 1984 my (dearly departed, and greatly missed) buddy Dave let me borrow his cassette copy that had a bonus track of " Get It On (Bang A Gong)" that when I bought the album didn't know it was a bonus track, or even what a bonus track was. If that sentence was hard to read just go back and skim it, I'm sure you'll get the gist. I'd find out later Billy was an off and on again member of Nazareth and wrote some absolutely killer songs for them. However, at the time all I knew was this guy laid it out cold with the first cut "Baby Come Back" and proceeded to lay down one killer tune after another and closed out the album (sans any...

Styx - Paradise Theater

Styx was hands down one of my favourite bands as a kid. They were a strange band, even back then. They were a hard rock, almost progressive at times who had a penchant for sucky ballads. I know there's a tendency for people to zero in on "Babe" as the song that killed the band's credibility. The roots go way back to almost the beginning when Styx released "Lady" on their second album. It showed a side to the band that needed to be kept in check, and for the most part the band kept things on a pretty tight leash. The band had been setting a gruelling pace, releasing an album a year (two in 1972) and by the time they released Paradise Theater (if I end up writing theatre later it's because that's how we spell it here) in 1981 they'd dropped ten albums in less than a decade. I snapped this up as soon as I saw it, and it became a fixture on my turntable. Like the band had announced on "Borrowed Time" from 1979's Cornerstone , "Don...

Gary Numan - The Pleasure Principle

"Cars" was really the only song I knew by Gary Numan. I knew the name of the album the song came from. Over the years bits and pieces of trivia are accumulated, but in terms of his music it was still distilled down to one song ...  It would be too easy to write Mr. Numan off as a one hit wonder, and I suppose in terms of actual chart hits this was his defining moment as a solo artist. Of course this really means nothing, as Gary Numan would drop an album a year pretty much through to the end of the '80s. He'd then slow down a little but continues to make music. While The Pleasure Principle was Gary Numan's debut solo release in '79, he actually cut his teeth on a couple of albums in a band called Tubeway Army, first with the band's self titled release in 1978, and then on Replicas that came out in April of '79. By the end of Tubeway Army's run most of the band would follow Gary into his solo career. Paul Gardiner who had been with Gary from the beg...