What a weird, strange trip it’s been for Canada’s The Hunt. Born out of the ashes of progressive hard rock outfit Dillinger, they seemingly got everything together for some streamlined AOR on their self titled debut, but founders Jacques Harrison and Paul Cockburn left shortly after, leaving new lead singer Brian Gagnon and drummer Paul Kersey to forge ahead. Three years later the band, now a trio completed by guitarist Paul Dickinson (these guys know ALL the Pauls), came back with Back On The Hunt, featuring killer album art and a set of songs that rely too much on cowbell and a soft production that almost but not completely leaves the songs defanged of any real attack.

With only two tracks breaking the four-minute mark, Back On The Hunt is even more streamlined and processed than the debut, but at this point rock was exploding in a lot of different directions, and the lack of a real identity seems to be getting to the band. “If Only We Had Tried” is a fine opener, making the most of the production to beef up the guitars. Gagnon doubles on bass and the chorus has a bit of menace that gives the song some personality. From there though it’s back to covers, with “Standing In The Road” coming off like a wooden Think Lizzy in the guitar department and Kersey’s drums thinking with almost no flair. It’s not good news when you’ve never even heard of the original track but when you check it out (It’s from Blackfoot Sue, released as a single in 1972) it’s immediately more engaging.

The cowbell comes out for the good-old boy rock “Little Bit Of Love” but it’s “She Flew Freely” that has the spark off the band’s best work. Gagnon’s voice is deeper than the debut – the Plant and Lee-isms are gone, replaced by a reedy, think lead voice that doesn’t have the same presence. It still works, though, and honestly might be the best thing on Back On The Hunt. Paul Dickinson’s guitar work is fine, but I guess in 1980 those sweet solos Cockburn would pull off weren’t so much in vogue so we’re left with some typical AOR riffing on the songs that lack any bite. If we’re taking Canadian rock alone, this is the time Rush was moving into their classic 80s phase with the incredible Permanent Waves, Loverboy was just kicking off with their self-titled debut that had the powerful “Turn Me Loose” and even my beloved Triumph, a year away from the massive Allied Forces was still rocking harder with “I Live For The Weekend” on Progressions Of Power. My point being bands were still bringing the rock in new and interesting ways, something The Hunt was definitely having trouble doing on their sophomore release.

I think the second half of the album (at least on the CD sequence) works a little better. “What Good Is Love” has a suitably massive sound, and some ominous background vocals and synths that lend a threatening air to the song. I’d be lying though if I said I didn’t miss Harrison’s keyboards and flutes. The title track is pretty savage as well, with some phased out guitar leads that flesh it out beyond its simple trio sound. Finally there’s the requisite closing ballad, a theme with these guys. “Tell Me Why” opens with some really sweet Dickinson acoustic guitar before getting grand and sweeping with the orchestral flush in the chorus. ¹

I wish I had more love for this album, especially after really digging the debut and the quirks of their Dillinger incarnation. We’ve got one more to go, and surprise: it’s another big lineup change and a new, heavier direction. Will it play? We’ll see.

¹ On the CD reissues there’s an entire album’s worth of unreleased material, some of which is better than what they put on the actual album. I really don’t get these guys…