Alrighty... strap yourselves in, Max fans. Today I will talk about the series of moon-related songs that spanned the band's discography. Was it all planned or just an in-joke that wouldn't go away? Whatever the case, these four tunes all rock, and in that trademark wonky, proggy Max Webster way. Let's get started...
First up is Coming Off the Moon, which appears on the debut self-titled album. Kim Mitchells's fuzzed-out guitar riff announces the track, with laser-light keyboards kicking in, and drums'n'bass propelling the song upward and onward. Bizarro lyrics and vocal harmonies counter the heavy-ish rock sound. Lots of cool and fun guitar licks take this beyond your standard bar band rock. The cryptic words are beyond my comprehension, and yet they perfectly fit the Max musical context. There is mention of "lady luck" and "sky father" and even "wedding bells", so maybe this is in reference to a marriage of some kind, perhaps not of matrimony but of the union of the moon, the skies, and Earth, or some such thing. Your guess is as good as mine. Anyway, a tidy and rockin' tune which is always a pleasure to hear.
Next song please.... In Context of the Moon, from the follow-up album High Class in Borrowed Shoes. This is the quintessential Max album, containing many of the band's best-loved songs. They had worked out the few kinks that might have existed on their first platter, and here we get the songwriting, performance, and production quality all ratcheted up a notch or two. The title track, plus Gravity, Diamonds Diamonds, Oh War!... not to mention the "filler" (no, it ain't filler at all), they all add up to a near-perfect album. In Context of the Moon is no exception. The drumming stands out here, with new guy Mr. McCracken adding urgent creativity to the band's already souped up keys and geetar sound. A chunky riff defines the structure of the song, while keys provide atmosphere and added melody to the proceedings. Wicked guitar solos (yes, more than one!) soar into the stratosphere. The progressive nature of Max emerges strong, with softer passages expertly merged with the heavier components. Lyrics are typically strange, but perhaps there's a romantic angle there, telling a girl she's out of this world. Or maybe it's all just trippy rambling, which may very well have been the case. Puffin'....
Now on to Beyond the Moon, which appears on Max's third album, Mutiny Up My Sleeve. This one approaches epic proportions in its 6:31 runtime, with a suitably progressive bent right out of the gate. Lyrics are weirder than ever, but they're beautiful in their cosmic madness. I think there may be meaning behind the freaked-out words, but I'll be damned if I can figure it out. Just laff and enjoy the ride. The music ranges from soft and ethereal to powerful, searing and heavy, and everything in between. Tempos are all over the place, too. I guess Max thanked label-mates Rush for the influence there. Or Mr. Zappa. Whatever. Musically, this is an experiential journey replete with strung-out solos galore. Whew... I don't think Kim wailed so hard before or after this tune (or album) - ever. A singular occurrence is the fade-out ending that, if you turn up the volume LOUD, reveals the song actually reaching a concluding note. Into the void...
Finally, there is the lyric-less Moon Voices off the A Million Vacations album. Synth-heavy with guitars relegated to supporting role, this, too, is a night flight off-world expedition. Keyboardist Terry Watkinson truly shines on the track, injecting spacey effects into his electro-synthetic mix of melody and broad sound washes. Wordless choral sections build and soar, fueling the mission into the heavens. The song is an instrumental story, effectively shifting from mood to mood, as it jettisons stages to lighten the interspatial payload. Moon Voices is the most compact of the moon song quartet at barely over three minutes. A glorious conclusion.
Houston... we have achieved lunar landing.
No comments:
Post a Comment