By Carl Begai
In 2016, Canada’s former Metal Queen turned rock icon Lee Aaron released what was viewed by many as her comeback album, Fire And Gasoline. Not particularly accurate in that she’s been releasing music and touring ever since she went “away” in 1996 – more on that later – but the album was in fact her first full-on rock release since 1994. Whether it was as strong as her work from the ’80s and early ’90s is a matter of taste, but Fire And Gasoline laid the groundwork and kicked open a few doors to allow for renewed interest in her career and an impressive follow-up album, Diamond Baby Blues. It’s a record that serves up no-nonsense blues-heavy rock n’ roll and shows off yet another side of Lee Aaron’s musical personality. It’s also a message that says she’s still in it for the long haul thanks to Fire And Gasoline, ready to take another bold step forward.
“It feels fantastic because I’m making records that I really love and really want to make,” Lee says of Diamond Baby Blues. “There’s no record company pressure like there used to be to create art that fits into a mold. I’m able to create art that I like and I love, and work with the people I want to work with. The biggest stressors for me these days are balancing family, my children, because they’re still in school and they need a lot of support. And not only are the navigating academia, they’re dealing with social dynamics and hormones so they really need their parents to be around. I strive to keep a balance between my personal life and music. It’s always a delicate dance. It certainly keeps your feet on the ground, it keeps you humble because just when you think you’re pretty special, you’re not (laughs).”
It turns out that Fire And Gasoline was the jump-off point for the creation of Diamond Baby Blues, but not in the traditional sense of album release / feedback / tour / feedback = renewed energy and inspiration.
“Believe it or not, this album was already recorded and mostly finished when we went on tour last summer,” Lee reveals. “We recorded it on Spring Break because everyone had some time; we went out to the studio and laid down all the bedtracks, and I had most of the vocals done before the tour. From there it was just some small things to fix up like backing vocals and extra keyboard parts. We were just so excited from the response we got for Fire And Gasoline, so I just booked some studio time and said ‘Okay, we’re going in on March Break…’ but we didn’t know what we were going to do (laughs). I talked about doing some covers that I always wanted to record, and the suggestion of doing an album of half covers, half originals came up. Then came the question of how we wanted to approach that. Some people do covers records that are an homage to a certain artist, like doing all David Bowie songs or all Led Zeppelin songs, but our idea was to take these songs we’d chosen, deconstruct them and make them our own, and we made that the template for the (original) songs we wanted to write. But, we knew we were going in more of a rootsy, hard blues direction before we even wrote the material.” Continue Reading
By Carl Begai
Over the course of her 30+ year career vocalist Lee Aaron has been known as the Metal Queen, a rock goddess, a jazz singer, and now she’s hailed as a Canadian music icon. There are also a couple people that call her Mom. All of these elements led to the making of her new album, Fire And Gasoline, erroneously called a comeback by some people even though she’s been active on the live front both as a rock singer and jazz artist for years. It’s a record that hints at the bulletpoints in Lee Aaron’s career but isn’t a rehash of her glory days, much to the admiration of some fans and the chagrin of others, which is the only way she knows how to fly.
During the press junket for Fire And Gasoline, Lee addressed her Metal Queen days (1984) saying in an interview that she equated the era with theater, much the same way Vincent Furnier masquerades as Alice Cooper. It’s a title she’s proud to wear even though the new album isn’t even close to being metal. Back in 2009, however, Lee expressed her disdain in a Metal Hammer interview at having been stereotyped as “metal forever” thanks to the Metal Queen image because it was “definitely a barrier to being able to move forward musically.” She’s since come to terms with that part of her career.
“I think it’s far less true now than it was back then,” says Lee. “I think now that I’ve come full circle, I’ve ventured into make sort of an alternative rock album in the ’90s – a couple of them, actually – and I went on from there to make a jazz record in 2000. Now that I’ve done other things I think it’s changed public perception to some degree, so I no longer look at the Metal Queen image as an albatross. Nowadays I hear people calling me Canada’s Queen Of Rock or Canada’s Reigning Metal Queen, it’s more a title of honour. I feel more comfortable with it now, and I think my fans have grown up, too.” Continue Reading
By Carl Begai
Sean Kelly’s career as a professional musician is “only” 13 years young in 2016. In that time he’s made a mark on the Canadian rock scene not only with his own band, Crash Kelly, but as a solo act and as a player/collaborator with artists including Helix, Nelly Furtado, Gilby Clarke and Carol Pope. An additional feather in his cap is his Metal On Ice book published in 2013, which takes a look back at the Canadian rock and metal scene of the ’80s. During the making of the book, which was followed-up by a CD and a live show featuring the musicians that recorded it, Kelly connected with Canada’s metal queen and rock icon, Lee Aaron. The interview for the book and Kelly’s request that she re-record her legendary ‘Metal Queen’ for the Metal On Ice album eventually led to the duo working on new song material for what has become Lee Aaron’s return to the spotlight, Fire And Gasoline. No big deal on the one hand for a guy that has worked with a wide variety of artists in the years up to this point, but also a “pinch me” wish come true for someone who is a fan first and foremost.
“It’s such an honour and blessing to be working with Lee, and an even greater honour to call her my friend,” says Kelly. “I was absolutely a Lee Aaron fan and remain so to this day. She’s one of the finest musicians I’ve ever worked with, and I thank my lucky stars for every opportunity we get to hang out and make music together.”
“I co-wrote five songs on the new album, and our collaboration was done long distance; I would send her demos via email. Sometimes there were fully formed musical arrangements, and sometimes just iPhone memos of riffs and ideas. We would go back and forth once she picked up on ideas she liked, and I have to tell you that I was blown away with the results. I live in Toronto, and she’s out in BC, so sitting in a room together is a luxury we don’t have – aside from when we’re on the road doing concerts – so we made the best out of the technological advancements of our current age. Most of the material I sent was brand new, but one song I actually wrote with Gilby Clarke in mind when we were writing together a few years ago. It was a Badfinger-esque track that he dug, but was not quite right at the time. What Lee did to it was breathtaking, and that became the song ‘Nothing Says Everything’.” Continue Reading
By Carl Begai
Best known as the voice and attitude of full-on traditional metal bashers Benedictum, Veronica Freeman has traded in the leather, chains and knee-high bitch boots for a romp with presumably tamer melodic rock/metal. Teaming up with a host of accomplished musicians / songwriters including Pete Wells (Benedictum), Jeff Pilson (Foreigner, ex-Dokken), Michael Sweet (Stryper) and Mike Lepond (Symphony X) to name a few, Freeman has put out a genuinely strong first solo effort boasting the ’70s / ’80s vibes and flavours of classic KISS, Dokken, a bit of AC/DC, and even present day Stryper. The 12-track album features Freeman pulling back on her raging Ronnie James Dio-esque voice just enough for a more soulful delivery suited for this type of rawk, but by no means does it soften any of the blows delivered. Think a pissed off Anastacia backed by walls of distortion and guitar shred, which is a very good thing. But, her familiar in-your-face roar is most certainly part of this production, unleashed as needed.
Now Or Never features two songs co-written with Michael Sweet, with ‘Again’ kicking things off and ‘Love Should Be To Blame’ surfacing mid-album; both could have made the cut for Stryper’s recent No More Hell To Pay record. ‘Roller Coaster’ is reminiscent of classic Destroyer-era KISS, ‘Kiss My Lips’ (featuring Chastain singer Leather Leone guesting) has more groove than every track on the new AC/DC record, and the (real) album-closing salvo of ‘Ready To Run’ is reminiscent of early, early Dokken’s classic ‘Live To Rock (Rock To Live)’. Continue Reading