Well, if you are still scratching your head over this, then just sit back and get schooled, son. Those of you in the know, congrats, and enjoy this flashback:
High Class in Borrowed Shoes was, I believe, the second Max album that I ever bought. Way back in the late 70's. The band had played at my high school one Friday night in 1978. Suitably blown away by their music, I snapped up their existing albums in short order. The first one I picked up was Mutiny Up My Sleeve, Max's newest release at the time. After immersing myself in that record for a few weeks, I then bought High Class in Borrowed Shoes, which had come out the year before. That album cover... whoa! That dude in the purple shorts and platform shoes... wait, is that a dude? Well, that was ol' (young, actually) Kim Mitchell, rock'n'roll circus party ringmaster.
High Class contains several Webster standards: Diamonds Diamonds, Oh War!, Gravity, On the Road, and of course, the title track. Bitten by the Max bug, I had a tough time putting down this album. I had the pleasure of enjoying these early Webster albums on vinyl, back in those glory days of snap, crackle, pop, and hiss. When everyone owned a record player. No CDs, tapes, or MP3s... or streaming audio.
The album kicks off with High Class in Borrowed Shoes, which roars to life via Mitchell's thick, metallic guitar grinding away like a chainsaw. Energetic, riffy, and resplendent in wacky lyrics (courtesy of band collaborator Pye Dubois). Terry Watkinson's trademark keyboard sound adds the final touch to this classic Max tune.
The second song, Diamonds Diamonds, is a pretty little ballad - Max style. Light, breezy synthetic keys dominate for much of the song, then the rest of the band joins in... but only in a supporting role. Kim wrote the perfect three-minute song here, a mature love song delivered barely above a whisper, yet so intricate in its simplicity.
Next up, the mad scientist on keyboards introduction to one of my favourites, Gravity. Mitchell's vocals sound pained, kind of worried... but I think that was the point. Something about a guy who's having trouble functioning in the world, stressing over every little thing. Then an (inner?) voice of positivity, urging the worrier to forget those troubles and "get a little savagery in your life". Gravity really seems to sum up the Max essence... the lyrical oddness, the angular musical approach, the perfect blend of keys and guitar.
Words to Words begins even lighter than Diamonds Diamonds, the tasteful poetry of its lyrics most evident. There's almost a Supertramp vibe as the song picks up, but the quartet can't help but betray its Canuck roots. A beauty.
The machine-like guitar chops of America's Veins take us into heavier territory. Bizarre lyrics bounce off the inventive keyboard riffs, which in turn carom off Mitchell's axe attack. A weird and wonderful rocker unlike any other.
Max's first album, plus my ticket stub from a show I saw in the 90's
Oh War! remains among Max Webster's heaviest songs. The staccato intro, often repeated throughout the song, is suggestive of machine gun fire, or maybe even heavier artillery. The air raid siren keyboard solo is almost bone-chilling. I love the glistening screeches as Mitchell strafes his guitar during his solo.
On the Road is an uptempo song, sort of folky in a way. The lyrics reflect on the life of a rock'n'roll band travelling from gig to gig. Here, Kim Mitchell really shines as a vocalist... more than just a guitar man.
Funny how an album so loaded with party tunes also boasts several very light spots. Words to Words begins softly, with a slow build to gentle soft rock. Tasty textural rhythm guitar fits nicely with keyboardist Watkinson's ethereal washes. Amongst the wonky lyrics of other songs, we occasionally get very introspective, rather emotional words on tracks like this one.
The dramatic Rainchild features Terry Watkinson on vocals. Not too adventurous, this mainstream rock tune does bear signature Max guitar hooks and Terry's always pristine keyboard playing.
Now on to part two of the Moon series, In Context of the Moon, a challenging exercise in progressive rock. Sort of a sequel to Coming Off the Moon from Max's first album, Context would be followed by more instalments on subsequent records. Musically, this track is all over the place, and the musicians really get to stretch out and show their chops. I particularly enjoy the melodic bass of Mike Tilka and his rhythmic interaction with drummer Gary McCracken. Thematically, I can see how Webster was influenced by the likes of record label mates Rush. Same with the musical approach. Mind you, here the science-fiction-y lyrics lean toward the abstract, with jelly rolls and comet kites in the mix. Funny and exciting all at once.
I challenge anyone to listen to High Class and not love something about it. There is such a range of sounds and styles, from clean to crunch, and soft to shattering. High Class in Borrowed Shoes is the perfect package of Max Webster music, my recommended starter kit for Max beginners.
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Search the site for more posts about Max Webster and Kim Mitchell... here are a few to start:
Madcap Scene With the Mighty Max Webstser
My Big Best Summer With Kim Mitchell
Distressed... About Kim Mitchell
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