Kim Mitchell

KIM MITCHELL BIO
Kim Mitchell’s eighth solo album, Ain’t Life Amazing, on Alert/Koch, is the Canadian singer-guitarist’s first set of new material in eight years and it was made with a decidedly modern approach, by trading files back and forth on the Internet.
A stellar rock recording containing such songs as the vibrant first single, “Ain’t Life Amazing” to the fierce and igniting “Got A Line,” gorgeous acoustic ballad “Overtime” and pumping rocker “Killers Name,” Kim has written another collection of timeless rockers sure to join his classics, like “Go For A Soda” and “Patio Lanterns.”
Kim, a native of Sarnia, Ontario long based in Toronto, is a Canadian rock icon. Even he refers to himself as a “heritage artist,” but does so with a laugh. What that means is that his arsenal of songs — from the Max Webster days (1973 to 1981) to his 27-year solo career — have stood the test of time and enabled him to tour each year to a dedicated fanbase.
Happily working his first day job ever as the afternoon drive host at Toronto classic rock station Q107, Kim didn’t plan on doing any more song writing, as he watched the music business “crumbling.” He would still continue to play live, but was through with creating. “I thought, ‘What’s the point of making an album?’”
But he found he missed writing for the sake of writing.
“All of a sudden I thought, ‘Part of my life-force is creating music and the process of that is what’s important, and the fun of writing and the fun of making an album is the journey,’” Kim explains. “Once a record is done, it’s like taking it out back and shooting it. Your job as an artist is done.”
He began writing, excitedly getting home from Q to work on a guitar part. Readily admitting that lyrics are not his strong point (“I’m not very poetic,” he says), he contacted an old friend, Craig Baxter, a man who wasn’t a songwriter, but whose postings on Kim’s web site had intrigued the singer. “His postings were written so well, I knew he could write lyrics,” says Kim.
The two met regularly for a full year in Toronto and came up with 90 percent of the songs on Ain’t Life Amazing. He also wrote two songs with ex-Coney Hatch bassist/singer Andy Curran (“Space,” “Lick A Message”) and West Coast “hippie” Roxanne Hall (“In The Stars Tonite”).
“When the writing happened, it was like, ‘Well I should record this,’” recalls Kim.
He sent the demos to Joe Hardy, the legendary Nashville-based producer of albums by Tom Cochrane, ZZ Top, The Tragically Hip, Jeff Healey, and Kim’s 1994 Itch. Both computer savvy and accomplished musicians, they realized they didn’t need to be in the same city to pull off a great album.
“We uploaded; we downloaded,” says Kim. “I’d work at this studio down in Cherry Beach above the Canary restaurant. I did guitar tracks and uploaded to my idisc and, boom, Joe Hardy would have it.
“Joe also played bass on it, so he would rough in bass, get the tracks ready to send the drummer, Greg Morrow, a Nashville drummer. They’re buddies, so tracks went to him and he put his drums on, came back to Joe and Joe put his bass on, then came back to me and I put guitars on.
“It sounds like we’re all in a room together,” says Kim. Just note the cool “jam” at the end of the Spirit cover, “Got A Line.”
“The fun part of this whole album was the process of making it. It was done pretty casually over three years, until it got down to my vocals and then we just slammed right through.”
Even Kim was surprised to learn how some sounds were made. In “Bad Times,” he thought it was very cool the way the snare drum smacked out of time. Greg told him he was simply whacking on the thing trying to get the engineer’s attention to stop recording.
And in “Got A Line,” Joe messed with the ending to produce a “trance vocal” that Kim thought was just brilliant.
“Melodies and chord changes are the same as the demos. Everything else is fully different than what I imagined,” Kim says.
By the end of the three years, Kim had amassed enough songs for a double album — one of rock songs; another more mellow — but decided to pare it down and release just the one.
The first single and title-track is uncharacteristically half-full lyrically. “I’m usually half-empty,” he laughs. It’s a song that could well end up as a theme (like “Go For A Soda” did for drunk driving) for a goal-oriented team or product.
“It’s a good message; it’s an up-tune,” says Kim. “My favorite line in that tune is in the bridge: ‘Don’t get too down when those clouds come / Dark moments happen, then they’re gone.’”
Kim’s dark moment was just fleeting, down on the state of the music industry, but not on the music. With Ain’t Life Amazing, he returns with an album that will amaze other musicians and producers, and rock the life out of others. His guitar playing is strong and creative, his vocals strong and engaging, and the songs as muscular and hooky as anything he’s ever done.
A new Kim Mitchell album. Ain’t Life Amazing?
Kim Mitchell Albums & CDs
1984 – Akimbo Alogo (Alert) Platinum  
1986 – Shakin' Like A Human Being (Alert/Polygram) Triple Platinum 
1989 – Rockland (Alert) Double Platinum 
1990 – I Am A Wild Party (Alert) Platinum 
1992 – Aural Fixations (Alert) Gold
1994 – Itch (Alert)
1995 – Kim Mitchell Greatest Hits (Alert) Platinum 
1999 – Kimosabe (Chinook/Oasis)
2007 – Ain't Life Amazing (Alert/KOCH Entertainment)
Max Webster: Albums & CDs
1976 – Max Webster (Anthem Records) Gold
1977 – High Class In Borrowed Shoes (Anthem Records) Gold
1978 – Mutiny Up My Sleeve (Anthem Records) Gold
1979 – A Million Vacations (Anthem Records) Platinum
1979 – Live Magnetic Air (Anthem Records) Gold
1980 – Universal Juveniles (Anthem Records) Gold
Juno Awards
1983 – Juno Award For Most Promising Male Vocalist of the Year
1987 – Juno Award for Album of the Year – Shakin’ Like A Human Being
1990 – Juno Award For Male Vocalist of the Year
Management: W. Tom Berry/Alert Music Inc
Publicity: Eric Alper, KOCH Entertainment
Phone: 416 292 8111 ext 240
Fax: 416 292 8833
Email: [email protected]
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