Max Webster, in its heyday during the mid-to-late 1970s, was a sight to behold. The wildly attired foursome led by singer-guitarist Kim Mitchell, a hyperactive beanpole who regularly drew comparisons to crazed animals and aliens, looked more like a futuristic circus act than a rock band. Merry minstrels with a mutant twist. The sound of the band was equally impressive. An anarchic blend of heavy metal and progressive rock, featuring both piercing guitar solos and dreamy keyboard sequences, it was party music for thinking people. Rather than clichés for drunks, the band’s lyrics—written by the group’s offstage conceptualist, Pye Dubois—dealt with themes of tortured anxiety and sensual escape....
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