A recent internet discussion has rekindled memories of my most memorable concert-going experience, when I saw Queen perform live at Elland Road stadium in Leeds in May 1982.
In all honesty, although I am a massive music lover, I have never been one for attending big concerts in person. I have seen dozens, if not hundreds of bands in pubs and clubs over the years, but bigger venues have seldom had the pleasure of my attendance.
The first thing to mention is that we didn't even have tickets for the Queen gig beforehand. We travelled to the venue on the day, primarily with the intention of soaking up the atmosphere, and possibly standing outside the stadium to hear the music.
Anyway, partly by bus, and partly on foot, we made our way to Elland Road, and kind of mingled with the crowds. I recall that it was a bright and sunny day. Memories are naturally rather hazy, but I guess that the support acts (Heart, Joan Jett and the Blackhearts, Teardrop Explodes) must have started playing around late afternoon, with Queen planning to make their appearance once the sun began to go down.
I was with my older brother and a friend, and we spent much of the afternoon and early evening standing outside the gates of the stadium, hoping to catch a glimpse of band members or assorted hangers-on. We were eventually rewarded when none other than Freddie Mercury walked past, literally feet away from us, although we were standing on the other side of some metal railings at the time!
Eventually the time came for Queen to go on stage, and at this point we were still standing outside, although as their performance got under way, we could hear the music pretty clearly. Imagine our delight when, after the first couple of numbers, the security guys allowed some of those standing outside to enter the ground. I'm not sure who authorised this, but I've always liked to think that Queen (or their management) had something to do with it.
I can't even remember whether our friend was still was with us at this stage, but my brother and I were very lucky to be standing quite close to the front left of the stage, so we had a splendid view. This was my first experience of any kind of live rock or pop concert, and initially the sheer spectacle, and the attendant assault on the senses, rather blew me away. Gradually, though, I began to appreciate the sheer brilliance of the performance. At the time Queen were at, or near, their peak as a live band, and there were very few acts anywhere who could rival them at the time.
The major documents of the 1982 UK/European tour are the audio and video recordings of the later Milton Keynes show. However, I think that Brian May for one has gone on record as saying that the Elland Road show was superior. Queen's act in the early 1980s was characterized by abundant energy and the tightness of the ensemble, and these elements were very much to the fore that night in Leeds.
I was quite young at the time, and some of the musical and artistic nuances are therefore lost in the mists of time. I recall clapping and waving my arms quite a bit, in addition to singing along enthusiastically with most of the songs. All too soon, the concert was over, and we joined the thousands filing out of the stadium. I remember that local residents were still standing on the pavement outside, soaking up the sights and sounds.
From memory, I think that the last bus had already gone by the time we emerged, so we walked the several miles home, still in a state of euphoria and well-being because of what we had just witnessed.
Showing posts with label heart. Show all posts
Showing posts with label heart. Show all posts
Wednesday, 15 February 2017
Thursday, 8 December 2011
Dreamboat Annie - Heart - album review
For most people the mention of the North American rock group Heart conjures up images of 80s big hair, slickly produced power-ballads, and extravagant promotional videos.
Indeed, until a couple of years ago that was also my conception of Heart. I was aware of their previous "incarnation" in the 1970s, but had not taken the trouble to explore that period of their career in any major depth.
When I heard Dreamboat Annie, their 1976 debut album, I was completely taken aback by its level of quality and invention. At the time, Ann and Nancy Wilson were hailed as the "female Led Zeppelin", but there is much more to them than that.
Dreamboat Annie could be justly described as a concept album of sorts, with common threads being provided by the vibe and mood (and delicate instrumentation) of the acoustic numbers and the three versions of the title track which span the song list.
The overall feel is one of "light and shade", with the subtler and quieter acoustic moments interspersed with rockier, grittier sections. That said, my abiding feeling about the album is that it is a series of "mood pieces" rather than a straight-ahead rock album.
In terms of influences, yes there are echoes of Zeppelin in there, but also nods to Californian rock, particularly Neil Young, and even psychedelic bands such as Jefferson Airplane.
The album opens with "Magic Man", which would be categorised as mainstream rock, but is tuneful and immaculately crafted, in keeping with the rest of Dreamboat Annie. Indeed, it is the imaginative arrangements and production which make this such an unusual album.
Next, we are treated to a first taste of the title track, and perhaps the first indication of the purity of Ann Wilson's voice, which is a hallmark throughout.
"Crazy On You" is one of the standout tracks, with its distinctive acoustic guitar introduction, and its deceptively complex tune. The song is also a showcase for Ann Wilson's vocal versatility and range, as she alternates between delicacy in the verses and more power in the choruses. There is also pleasing interplay between acoustic and electric guitars, another feature of this whole LP.
The fourth track, "Soul Of The Sea", is perhaps the most affecting of the mood-pieces. Nautical references and atmospheres are another thread in some of the songs. The middle-section contains the most overtly Led Zeppelin-esque sequence on the entire album, reminiscent of the folky songs on Zep's third and fourth albums. Ann's vocal phrasing is also strikingly similar to that of Robert Plant, but this is not necessarily a criticism! The carefully layered backing tracks on this song are beautifully done, and never cloy.
On we move to "Dreamboat Annie" itself. The group employs some unusual (for rock music) instruments on this cut, including banjo, and what sounds to me like a glockenspiel. Just another instance of a diverse palette being used to enrich the sonic landscape, and one of the virtues of this album as a whole.
"White Lightning and Wine" is another of the heavier items on Dreamboat Annie, although it has a more rootsy guitar sound than the others. In different circumstances this could have been a "meat and potatoes" track, but the talent and personality of Ann Wilson elevate it above the merely ordinary.
Perhaps the prettiest of all the tracks is "(Love Me Like Music) I'll Be Your Song", which has a lovely tune, and beautifully soothing vocals and harmonies. Once again, the finesse of the backing track, and the understated production, work superbly.
By contrast, "Sing Child" possesses the most outlandish guitar effects on the album, and a strikingly effective flute part. Of all the songs, this contains the most deviations and stylistic shifts, and is a good counterpoint to the many gentler moments. Yet another indication of the care lavished on the production.
"How Deep It Goes" features more intricate acoustic picking, and crystalline vocals. This is a song which exemplifies the vaguely ethereal and dreamy ambience of the whole album, with some unexpected melodic turns, and hooks.
And so we finish with the Reprise of "Dreamboat Annie". Again, a variation from the other two versions, with a slightly different tempo, and more piano-intensive. The classically tinged parts are almost baroque in flavour.
There we have it, then, for my money one of the most under-rated albums of its era. Even more impressive when one realises that it was their debut effort. I would recommend it to pop/rock music-lovers across the board. It is one of those records which, once listened to properly, commands instant admiration and respect.
Indeed, until a couple of years ago that was also my conception of Heart. I was aware of their previous "incarnation" in the 1970s, but had not taken the trouble to explore that period of their career in any major depth.
When I heard Dreamboat Annie, their 1976 debut album, I was completely taken aback by its level of quality and invention. At the time, Ann and Nancy Wilson were hailed as the "female Led Zeppelin", but there is much more to them than that.
Dreamboat Annie could be justly described as a concept album of sorts, with common threads being provided by the vibe and mood (and delicate instrumentation) of the acoustic numbers and the three versions of the title track which span the song list.
The overall feel is one of "light and shade", with the subtler and quieter acoustic moments interspersed with rockier, grittier sections. That said, my abiding feeling about the album is that it is a series of "mood pieces" rather than a straight-ahead rock album.
In terms of influences, yes there are echoes of Zeppelin in there, but also nods to Californian rock, particularly Neil Young, and even psychedelic bands such as Jefferson Airplane.
The album opens with "Magic Man", which would be categorised as mainstream rock, but is tuneful and immaculately crafted, in keeping with the rest of Dreamboat Annie. Indeed, it is the imaginative arrangements and production which make this such an unusual album.
Next, we are treated to a first taste of the title track, and perhaps the first indication of the purity of Ann Wilson's voice, which is a hallmark throughout.
"Crazy On You" is one of the standout tracks, with its distinctive acoustic guitar introduction, and its deceptively complex tune. The song is also a showcase for Ann Wilson's vocal versatility and range, as she alternates between delicacy in the verses and more power in the choruses. There is also pleasing interplay between acoustic and electric guitars, another feature of this whole LP.
The fourth track, "Soul Of The Sea", is perhaps the most affecting of the mood-pieces. Nautical references and atmospheres are another thread in some of the songs. The middle-section contains the most overtly Led Zeppelin-esque sequence on the entire album, reminiscent of the folky songs on Zep's third and fourth albums. Ann's vocal phrasing is also strikingly similar to that of Robert Plant, but this is not necessarily a criticism! The carefully layered backing tracks on this song are beautifully done, and never cloy.
On we move to "Dreamboat Annie" itself. The group employs some unusual (for rock music) instruments on this cut, including banjo, and what sounds to me like a glockenspiel. Just another instance of a diverse palette being used to enrich the sonic landscape, and one of the virtues of this album as a whole.
"White Lightning and Wine" is another of the heavier items on Dreamboat Annie, although it has a more rootsy guitar sound than the others. In different circumstances this could have been a "meat and potatoes" track, but the talent and personality of Ann Wilson elevate it above the merely ordinary.
Perhaps the prettiest of all the tracks is "(Love Me Like Music) I'll Be Your Song", which has a lovely tune, and beautifully soothing vocals and harmonies. Once again, the finesse of the backing track, and the understated production, work superbly.
By contrast, "Sing Child" possesses the most outlandish guitar effects on the album, and a strikingly effective flute part. Of all the songs, this contains the most deviations and stylistic shifts, and is a good counterpoint to the many gentler moments. Yet another indication of the care lavished on the production.
"How Deep It Goes" features more intricate acoustic picking, and crystalline vocals. This is a song which exemplifies the vaguely ethereal and dreamy ambience of the whole album, with some unexpected melodic turns, and hooks.
And so we finish with the Reprise of "Dreamboat Annie". Again, a variation from the other two versions, with a slightly different tempo, and more piano-intensive. The classically tinged parts are almost baroque in flavour.
There we have it, then, for my money one of the most under-rated albums of its era. Even more impressive when one realises that it was their debut effort. I would recommend it to pop/rock music-lovers across the board. It is one of those records which, once listened to properly, commands instant admiration and respect.
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