Album review: Coney Hatch, Outa Hand (1983)

ORIGINALLY PUBLISHED IN THE GEORGIA STRAIGHT, SEPT. 2, 1983 By Steve Newton The opening track, "Don't' Say Make Me", comes off nice 'n' raunchy, with a heavy British sound and a screaming Steve Shelski solo that just fits. But things go sour quick on Coney Hatch's second album. The repetition and limpness of the second … Continue reading Album review: Coney Hatch, Outa Hand (1983)

Coney Hatch’s Andy Curran on the benefits of working with Kim Mitchell and the challenges of opening for Judas Priest

ORIGINALLY PUBLISHED IN THE GEORGIA STRAIGHT, NOV. 19, 1982 By Steve Newton Things were a little tense backstage in the Coney Hatch dressing room after last week's Pacific Coliseum gig with Judas Priest. A relatively mild crowd response coupled with technical problems and the fact of no soundcheck had the boys from Toronto "bummed out", … Continue reading Coney Hatch’s Andy Curran on the benefits of working with Kim Mitchell and the challenges of opening for Judas Priest

Lawrence Gowan admired Alex Lifeson’s six-string generosity on Lost Brotherhood

ORIGINALLY PUBLISHED IN THE GEORGIA STRAIGHT, NOV. 22, 1990 By Steve Newton Lawrence Gowan has one heck of an ear when it comes to creating melodies. His forte is coming up with infectious, hummable little lines like the ones that snake through his 1985 hit “Criminal Mind” and his recent single, “All the Lovers in … Continue reading Lawrence Gowan admired Alex Lifeson’s six-string generosity on Lost Brotherhood