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