Showing posts with label The Guess Who. Show all posts
Showing posts with label The Guess Who. Show all posts

Thursday, 17 September 2026

The Guess Who: "American Woman"


when: Summer 1987
why: Jealous of their culture, resentful of Reagan and how our PM sucked up to him/them.

Canada back in 1970 must've seemed like a pretty cool place to be for the most part. The Prime Minister was Pierre Elliot Trudeau, a wealthy intellectual playboy, who stood in stark contrast to the gremlin sitting in the White House — and Nixon was far closer to the norm in terms of quality of world leader at the time. Americans began flooding north in order to avoid and/or desert the Vietnam War draft and the majority of them remained. Culturally, we had an emerging, home-grown rock scene paced by The Guess Who, a group that would have its fourth and final number one hit just as almost everyone else was only getting started.

One the themes central to "American Woman" is that even when our collective self-esteem is registering well, we can't help but look south of the border. Many of the Canadians who are deemed national treasures reside in the States. (No judgement on my part since I don't live in Canada either) Some of the more renowned Canadians of the age were hockey players — Gordie Howe, Bobby Orr, Bobby Hull, Phil Esposito — who played for American teams while many of the leading voices in music — Neil Young, Joni Mitchell; Gordon Lightfoot tried it out but he swiftly moved back his homeland — had already sought out New York and/or Los Angeles in order to make make their fortunes. They became national heroes because they managed to hit it big down south.

I was ten years old back in '87. While I was interested in current events for a youngster, I found the Iran-Contra Affair coverage to be highly boring. Yet, I could tell that the US establishment was as corrupt as any of the countries they either propped up or tried to bring down. I watched Rocky IV that summer and had two big takeaways: (a) Apollo Creed getting beaten to death was highly traumatic and (b) the pro-American manipulation was staggering. Yet some in my homeland refused to see through this shit. Prime Minister Brian Mulroney spent the bulk of his nine years in power kissing US ass. He came by it so naturally that it was almost as if our PMs always bent the knee to their American counterparts. Yet, Trudeau butted heads with Nixon and Pearson and Johnson rarely saw eye-to-eye and Diefenbaker and Eisenhower must've made each other physically sick (because of course they did). That year or so in which Barack Obama and Justin Trudeau crossed paths as leaders was celebrated as one of the great bro-mances of our time but I'd rather they'd had more of a pleasant indifference to one another, as it should be.

when: 1988-89
why: I got sick to death of everyone in Britain going on about "Amer-eee-ca" and wondering if I was "Amer-eee-can".

The British certainly talk a good game when it comes to anti-Americanism but they can't quite commit to it. And you know something? I get it. Here I am listing off all the times I've been fed up with the US and their bullshit which only goes to show you that it hasn't been a constant. Still, we could use a lot more of their support on this one. I know it always comes back to music with me (this is a music blog so what do you expect?) but would it kill British pop stars to dial back on the North American tours with two dozen stops in various American cities plus an obligatory visit up to Toronto US tours? Would British podcasters and YouTubers care to acknowledge the presence of international audiences from outside the United bloody States?

"Sparkle someone else's eyes": an easy command to make. The British, for one, seem to be even bigger suckers for pro-US bullshit than the rest of us. I suppose if we as Canadians happen to be immune to their charms, there's always going to be others out there happy to lap it up. Still, it's the twenties and there's K-Pop and Netflix dramas from Norway and the appetite to adapt British sitcoms into toothless American remakes isn't really there anymore. We can easily opt out of the US and their cultural hegemony. Canada back in the seventies wasn't quite as fortunate.

I was baffled by the way Britons in the eighties seemed so in thrall to the US. (Of course, they'll deny this was ever the case but take no notice of these silly people) They had the best music, their TV wasn't as poor (I mean, the best American shows were pretty great but US TV is never short on dreck), their writers were generally of a higher caliber. More importantly, they didn't act like annoying Americans. British culture was far from perfect but I've never understood why the citizens of a country that has consistently punched above its weight would be so enamoured by that big uncouth monolith on the other side of the Atlantic.

when: 1993-1999
why: Incessant news coverage of freakshow shit about cutting off dicks, female teachers raping young students, the President getting a B.J., the Nancy Cerrigan-Tonya Harding incident and O.J. Simpson, all of which conspired to trivialize genuine tragedies that occurred during the same time.

The closest I ever got to becoming desensitized was during the Clinton years (I won't even bother trying to re-name them 'the Chretien era') when the news seemed jammed with all that crazy shit above and I began thinking of school shootings as more or less equal to all of them. The O.J. situation was a genuine tragedy but the media circus surrounding it drowned out any semblance of humanity. This may well have been the one bright spot surrounding 9/11 since it seemed to signal an end to this absurd period of time.

Even still, Americans like to make everything about themselves. A thousand people may lose their lives in Bangladesh but if a housewife drowns her children, which one do you think makes the headlines? The Clash put it best when they went right out and proclaimed "I'm So Bored with the USA" but The Guess Who said much the same thing seven years earlier on their most famous song. Speaking of which, it's pretty amazing that "American Woman" managed to top the Billboard Hot 100 when it was so brazenly anti-American. It's almost as if there are people in the States who are able to think for themselves and don't need right wing media to hold their hands and reassure them that their country is the greatest. That said, morons who figured it was all about American women being too much for foreigners to handle couldn't have hurt sales either. It's always a bonus when you can appeal to both enlightened Americans who know something's wrong while failing to turn off the idiots.

when: 2003
why: Their POS president and his godawful war in Iraq.

What was Lenny Kravitz thinking? Or that's what you typically hear nowadays. I think he deserves the benefit of the doubt on this one though. An African-American rock star who arrived at a time when he would've been expected to go into either rap or R&B set him apart. He has resided abroad for much of his adult life and many of his romantic relationships have been with women who come from other countries. Kravitz isn't Ted Nugent or Kid Rock. He isn't even Bruce Springsteen or Tom Petty. I think he hears "American Woman" and finds himself in agreement with much of it.

That said, his cover isn't in the same league as The Guess Who's original. While many interpretations of classic rock and pop songs are notable for how bloodless they are, his has energy and guts to spare but nevertheless fails due to it being no better than a competent but unremarkable band you might see at a local pub. You might find yourself singing along with it — as well as covers of "Sunshine of Your Love" and "All Right Now" — and their show might liven up your night of drinking with your significant other or group of friends but that's as far as it goes. While the original is a great song, there's surprisingly little too it. The chords don't change, the riff repeats itself, Burton Cummings doesn't veer off of 'spitting out bile' mode. You might think that such simplicity would've given Kravitz room to improvise and/or add a few touches of his own but, if anything, he only manages to reduce its complexities, if such a thing is even possible.

Americans and their nauseating apologists north of the border wondered where all this anti-Americanism came from but it has always been there in one form or other. There was resentment when the US stayed out of the two World Wars until they made their belated appearances in both. Canadians have used the old 'we don't want to be just like the Americans' excuse in order to justify keeping the royal family and for why Quebec's status is so important. We define ourselves in part based on how un-American we are. Wishing to have nothing to do with George W. Bush was reason enough to stay out of the war in Iraq.

when: 2016-present
why: Somehow the Americans elected and even bigger POS, one who also happens to be highly grotesque and a bully.

Trump is all of the above rolled into one. The blatant corruption, the upsetting way that people bow to the US even when we should all be united in opposition to them, the ghastly way a reality TV star conducts himself as leader of the free world, his unjustified, immoral war. It's remarkable it has come to this but perhaps it had been inevitable ever since American exceptionalism became normalized.

I don't know whether Cummings or Randy Bachman would agree but there is responsibility on the part of Canadians in all of this too. We can opt out. We don't owe them a goddamn thing. And Canadians who advocate "giving Trump the win" (yes, he's definitely the type of individual who is satisfied with winning just the once) or appeasing his increasingly deranged demands are perhaps worse than all the MAGA dimwits put together. What they do with their country is their business but keep it the hell out of ours. And this is what makes "American Woman" is even more relevant today.

Score: 9

Wednesday, 9 September 2026

The Guess Who: "No Time"


"The Guess Who were very much still a work in progress".

So concluded my review of their previous chart topper, the forgettable "Laughing" from September, 1969. As if in full knowledge of this, The Guess Who took the opening track from Canned Wheat — which is probably their finest album — and kept at it. The LP version opens with a needless bit of instrumental doodling which they wisely excised. In addition, they cut it down to a more manageable three minutes and forty-five seconds. Finally, they decided to fully lean into the influence of fellow Canadian Neil Young and his longtime frienemy Stephen Stills.

Such is the debt owed to the two former members of Buffalo Springfield that you might even think they had been liberally cribbing from the then hugely popular quartet of Crosby, Stills, Nash and Young as well. And while it's almost certain that Burton Cummings and Randy Bachman were familiar with the popular '69 album Crosby, Stills and Nash, the pair seemed much more interested in mixing those patented crystal clear folk rock harmonies (likely the preserve of the vocally rich Cummings) with the harder rock edge favoured by the Stills-Young faction (Bachman being no stranger to shredding himself). In any case, Young had only just become a member of CS&N, with the newly rechristened quartet's strength-to-strength album Déjà Vu still a couple weeks away from release.

"No Time" wasn't simply remade for the singles charts but it then ended up appearing on American Woman, the Guess Who's most popular album. Compared to the consistency of Canned Wheat it falls a bit short. Nevertheless, its high spots (the title track — which, spoilers, we're just about to get to — "No Sugar Tonight", "No Time" itself) are some of their greatest and most memorable moments. If the peak of their creativity had occurred a year earlier, now they appeared to be at the peak of their powers.

(Redoing older songs for future albums and/or singles releases wasn't especially new for The Guess Who. Minor 1968 singles "Of a Pin Dropping" and "When Friends Fall Out" would receive second chances on Canned Wheat and American Woman, the latter of which would become an all too on-the-nose addition to the album that marked the group's most lasting schism)

The song's Wikipedia entry notes that "No Time" operates as a "reverse Dear John Letter" with a man explaining to his girl why they're relationship is coming to an end. For the most part this tracks but there is one bit that makes me wonder if something more relevant to the world is involved as well. In the midst of listing of some of the many things he has "no time" for — "a gentle rain", "my watch and chain", "revolving doors" — he suddenly reveals that there is also no time for "the killing floor". While it is always possible that he's referring to toiling in a slaughterhouse, I have to wonder if this line has more to do with Vietnam and protest movements going on around the world. Perhaps he's a Yippie who is transitioning into a Yuppie, a Jerry Rubin-type figure who can no longer prioritize world peace because he has a living to make. "Seasons change and so do I": we may not think that our young, idealistic selves will change over time but it typically happens whether we want it to or not.

The timing couldn't have been more appropriate since it marked the end of Cummings-Bachman relationship. The pair had no time left for each other but fortunately they were able to squeeze out one more album and one more huge hit before this particular iteration of The Guess Who crumbled. As proud Canadians they were happy to stand together against a bully from down south whatever the differences between them.

Score: 9

Sunday, 19 July 2026

The Guess Who: "Laughing"

September 6, 1969 (1 week)

It had been over four years since the group that had now fully committed to their alter ego last appeared at the top of the Canadian pop charts. Back then they were officially known as Chad Allan and the Expressions but their quaint name no longer meant much since all but guitarist Randy Bachman had left just a year after their eye-popping version of "Shakin' All Over" hit the top. The novelty of having everyone try to guess who they were then turned into a permanent name, one that would completely overtake their previous monkier. Guess Who? No, now they were The Guess Who.

While it took them a while to return to the top of the RPM hit parade, The Guess Who were chart regulars throughout the mid to late sixties. They would have nine further Top 40 entries following "Shakin' All Over", with "Tossin' and Turnin'", "Hey Ho, What You Do to Me" and "Believe Me" all reaching the Top 10. The former is most significant as it was Bachman's first self-composed hit. Though still featuring Chad Allan on vocals, it marked the entry point for a young Burton Cummings who filled in on piano. An invigorating single, "Believe Me" mixed British Invasion hooks with American garage rock sass. As if auditioning for a spot, Cummings' keyboard solo is incredible and invites speculation as to how they would've turned out had Allan remained behind the mic. (I say they would've been more accomplished musically even though their records wouldn't have been as good)

Despite the continuing hits there were signs that diminishing returns were setting in. After the single "His Girl" peaked at number nineteen, they would would struggle to make much of an impact on the upper section of the charts. The group still relied on outside composers and cover versions but the Bachman/Cummings team were beginning to write together. Little of quality resulted at first but then in 1969 "These Eyes" returned them to relevance.

It's actually surprising that I am reviewing the relatively forgettable "Laughing" rather than its predecessor. "These Eyes" has Cummings' soulful, laid back vocals and has a middle-of-the-road quality to it that ought to have put it over the top. Sure, its chart placings — number seven in Canada, six down in the States, their highest placement on the Hot 100 to date — were encouraging but they seem a little harsh in retrospect. For one thing, it is sometimes credited as being the catalyst for the Canadian Invasion of the United States which would make more sense had it gone all the way to number one. Up in Canada "These Eyes" would end up walking so that "Laughing" could run.

I did wonder if perhaps "Laughing" benefited from a lull in the quality of singles as Canadian kids were heading back to school that September but it faced respectable competition (The Rolling Stones' "Honky Tonk Women", Johnny Cash's "A Boy Named Sue", Motherlode's "When I Die" and The Archies' "Sugar, Sugar" made up the rest of the Top 5 that week). Hot on the heels of a pair of Canadians who'd had the previous two number ones, it's possible there was a push to complete the trio — although I have to say this seems pretty unlikely. For whatever reason, a passable rocker managed to return the Winnipeg foursome to the top when a much better single had failed to do so. Them's the breaks, I guess.

Not so much a welcome return as a minor let down, "Laughing" is the only one of a quartet of Guess Who chart toppers that really didn't need to peak that high. They did far better way back when they were still known as Chad Allan and the Expressions, they did far better with their previous single and they would have far better to come. With changes in lineup and yo-yoing popularity, The Guess Who were still very much a work in progress.

~~~~~

As I mention above, "Laughing" was the third straight RPM number one by a Canadian group or artist. Considering the scarcity of domestic chart toppers up until this point, this is a considerable achievement. Whatsmore, all three — Andy KIm's "Baby, I Love You", Motherlode's aforementioned hit and The Guess Who themsevles — managed to make it into the Top 20 of the Hot 100 as well. Even with Canadian pop reaching its zenith, three homegrown number ones on the bounce isn't something that will happen for a long time. I haven't looked it up specifically though I do think it will occur again in 1996. Can it happen between now and then? Only time will tell. (But no, it almost certainly won't)

Score: 5

Saturday, 31 May 2025

Guess Who? (aka Chad Allan and the Expressions): "Shakin' All Over"


Up to this point there have been just four Canadian number ones on either the CHUM or RPM charts: Paul Anka's "Diana", Jack Scott's "My True Love", Richie Knight and the Mid-Nights' "Charlena" and Lorne Greene's "Ringo". Not exactly a murder's row of quality singles, is it? "Charlena" is probably the best of the lot and even it's just decent if rather forgettable. There had been a national chart in Canada for almost eight years but contributions from native acts were either ignored or weren't all that great to begin with (and, to be sure, quite a few ticked boxes under both column A and column B).

But things were slowly changing. A greater number of Canadian acts began appearing on the charts and a handful even managed to work their way into the Top 10. The changeover from the Toronto-centric CHUM to the much more national RPM also may have played a long-term role giving homegrown acts a much needed boost - though in the short-term it likely held some Ontario-based groups back. In theory, bands from, say, Charlottetown, Laval, Thunder Bay, Lethbridge and Penticton stood a chance of gaining a national following. In practice, it was mainly the bands that hailed from Montreal, Toronto and Vancouver — and Winnipeg — that stood much of a chance. (Even Calgary and Edmonton would have to wait a bit)

Coming out of Manitoba's capital was Chad Allan and the Expressions. Settling on a name would prove to be difficult - though, as it would turn out, their indecisiveness would soon prove advantageous - as they had previously been known as both Al and the Silvertones and Chad Allan and the Reflections. Previous singles released under the former failed to catch on nationally but they did well in western Canada. Then, someone had the clever idea to take their name off their latest release, mysteriously crediting it to 'Guess Who?'. The implication being that it might be The Beatles! The only problem was no one could've possibly mistaken this quintet with the Fab Four. (It was left to fellow Canadians Klaatu to be the group people supposedly mistook for the Fabs) But they could've plausibly been confused for one of those tough, bluesy Brit rock groups not unlike The Animals or The Rolling Stones

Originally a UK number one hit for Johnny Kidd and the Pirates back in 1960, "Shakin' All Over" could never quite find an audience in North America, even though its mix of blues rock and garage rock sounds about as authentically American as you can get. (No doubt a victim of American record labels not wanting to have anything to do with British bands) While Cliff Richard's "Move It" is often credited as being the first true rock and roll hit to emerge from England, "Shakin' All Over" proved to be equally important while also being a vastly superior single. That riff is still a thing to behold (it's actually astonishing to think that it came along all the way back in 1960) while Johnny Kidd's bellowing vocal has been often imitated but rarely bettered.

Yeah, about that. This cover version by Chad Allan and the Expressions is better in just about every respect. Allan's throat-shredding performance is at least the equal of Kidd's while Randy Bachman's guitar part is studied but has a rougher edge to it with a few inspired fills here and there. But the thing that really makes this one the "Shakin'..." of choice is the twinkling piano notes which you'd never think to add on to the Kidd recording but which are so essential to Allan's. Both are thrilling records but the Expressions have the upper hand in this regard too: while hearing Kidd's rendition just once would have been enough to prompt many kids to go out and buy the single, Allan's recording is effectively an advertisement for what a stunning live act they must have been. 

I often look down upon music critics and fans who wax about influential albums and bands. Sure, it's interesting but it doesn't make much of a difference in the scheme of things. I'm well-aware that The Velvet Underground remain deeply influential but how does that impact my appreciation of their music? Whether it's The Velvet Underground and Nico only selling 10,000 copies but everyone who bought it formed a band or Brothers in Arms shifting 10,000,000 copies and no one who bought it formed a band is irrelevant either way. The best thing an important work can do is inspire others by being so utterly fabulous that there's no turning back. Johnny Kidd and the Pirates did so in helping to spur British pop and then Chad Allan and the Expressions pulled off the exact same trick in Canada five years later. Canadian pop and rock would be kick started by this incredible single. Many would come along in the years ahead but bettering it would prove damn-near impossible.

Score: 10

Edwin Starr: "War"

September 19, 1970 (1 week) Muhammad Ali's exile from boxing amounted to three-and-a-half-years of raising a family, court appeals, mone...