The announcement this morning from Michael Schumacher that he was retiring from Formula 1 was not entirely surprising, given recent developments in the driver's market for 2013, and the disappointments which he has endured this season. However, there were some intriguing and revealing morsels of information contained in the announcement itself.
Schumacher appears to have begun to doubt his motivation in recent times, and it was somewhat surprising to hear such a frank and honest assessment of his innermost thoughts and the reasons leading up to the move to quit. It is admirable, and also characteristic, of Schumacher to decide that if he cannot give a project 100% then he will not continue with it.
It was also significant that the German used the word "relief" to describe the emotions which he feels in making this momentous decision. Hinting perhaps that the last three seasons, or at least the latter portions of that period, have been a chore, an ordeal and a time of frustration, even if rewarding from some perspectives on a human level?
Another revealing detail is Schumacher's assertion that the signing by Mercedes of Lewis Hamilton for 2013 aided his decision to "re-retire". We can therefore assume that there was no genuine appetite for pursuing possible opportunities or options with other teams. Is this all consistent with the notion that the 2010 comeback was entirely "a Mercedes thing"?
So was it a mistake for Schumacher to return to F1? We can all pontificate and speculate, but none of the parties directly involved is likely to admit as such outright in the immediate future.
Concern has been expressed as to whether the less than sparkling results achieved during Michael's second F1 career will in some way tarnish his legacy. My own feeling is that the travails and setbacks experienced during his time with Mercedes will be placed in their right and proper perspective, and that he will be mainly remembered for his years of near hegemony with Ferrari, and his earlier feats with Benetton.
We now await news of what Schumacher intends to do with his time in the future. Some role within the Mercedes structure or, after a period of reflection, some racing activity in other, less exalted categories?
Thursday, 4 October 2012
Wednesday, 3 October 2012
Abbey Road - The Beatles - album review
By the time that recording sessions commenced for the Abbey Road album in 1969, the writing was on the wall as far as any future for the Beatles as a continuing entity was concerned. It is therefore common for the work released later that year to be lauded as a fitting and poignant parting shot (Let It Be was released later, but most of it was recorded in the early months of 1969). So, from the perspective of over four decades later, were the plaudits truly warranted, or just a case of respectful wishful thinking?
A "bittersweet" but defiant quality runs through Abbey Road, although whether this has been accrued with the passing of time is open to debate. I am in no real position to adjudicate, as the album was released shortly before I was born!
Certain aspects make this LP stand out from other albums released by the Fab Four. The production and sound quality are markedly more lavish and "polished" than their other works. They were now gaining access to more advanced recording technology. Whether this makes the album sound "better" is a matter of taste, and the sheen possessed by these recordings could give rise to an accusation that the sound is a touch clinical. In fairness to the Beatles, they did not hide behind their newly acquired gizmos and equipment, and instead relied primarily on their trademark melodic inventiveness and imagination and songwriting prowess.
The album also witnessed the true flowering of George Harrison as a songwriter, and his two songs, "Something" and "Here Comes The Sun", have been the most enduring of the tracks on the listing. The clarity and sincerity of Harrison's writing here contrasts with the contributions of both Lennon and McCartney which, whilst substantial and important to the album's overall appeal, are beginning to diverge and possibly presage their respective solo careers to come.
Notwithstanding the reverence expressed for Abbey Road, there is some undoubted filler, although this being the Beatles it is interesting and entertaining filler! It is a moot point whether the group members were holding some stronger material back for impending solo projects. We know from the Anthology 3 album that some impressive songs were floating around circa 1969.
Even much of the fabled "medley" on side 2 of the vinyl album could justly described as "filler", but the group, and in particular McCartney and George Martin, expertly pull together this mixture of minor gems, vignettes and fragments, and fuse it into something vibrant, moving and enthralling. A case of the whole being greater than the sum of the individual parts...
Partly because of the efficacy of the "medley", and also because of the diversity and quality of the other material, Abbey Road works better as an "album" in the truest sense than most of the Beatles' other work. Not quite as enigmatic and disparate as "The White Album", but much warmer and compact. The musical ingenuity conquers all, together with the group's uncanny knack of knowing what to do, when and how, rarely if ever sounding self-indulgent or pretentious.
Abbey Road represents a brave, unapologetic and proud farewell, if it can be accurately described as a "farewell". Bittersweet in tone, but captivating and, and one of those albums which demands to be listened to from start to finish, in order for the full effect to be absorbed. For this listener at least, there is never the temptation to skip tracks...
Throughout the record, there are hints and indications of what direction the Beatles would have travelled in musically, had they remained together during the 1970s. Multi-tracked vocals and guitars, increasing use of synthesizers, more elaborate and ambitious arrangements, and of course the blossoming input of George Harrison.
On a sonic level, Ringo Starr's drumming is a revelation, sounding confident, idiosyncratic and "three dimensional". Another hallmark of the album is the "trebly" and chiming guitar sound. Both of these elements were doubtless accentuated by the better recording technology at the band's disposal, but as common threads they help to hold the record together.
I try not to categorise or rank Beatles albums in particular, because of the leap in musical sophistication and philosophical outlook which they made in such a short time during the 1960s, but Abbey Road is without doubt one of their most enjoyable and cohesive creations.
A "bittersweet" but defiant quality runs through Abbey Road, although whether this has been accrued with the passing of time is open to debate. I am in no real position to adjudicate, as the album was released shortly before I was born!
Certain aspects make this LP stand out from other albums released by the Fab Four. The production and sound quality are markedly more lavish and "polished" than their other works. They were now gaining access to more advanced recording technology. Whether this makes the album sound "better" is a matter of taste, and the sheen possessed by these recordings could give rise to an accusation that the sound is a touch clinical. In fairness to the Beatles, they did not hide behind their newly acquired gizmos and equipment, and instead relied primarily on their trademark melodic inventiveness and imagination and songwriting prowess.
The album also witnessed the true flowering of George Harrison as a songwriter, and his two songs, "Something" and "Here Comes The Sun", have been the most enduring of the tracks on the listing. The clarity and sincerity of Harrison's writing here contrasts with the contributions of both Lennon and McCartney which, whilst substantial and important to the album's overall appeal, are beginning to diverge and possibly presage their respective solo careers to come.
Notwithstanding the reverence expressed for Abbey Road, there is some undoubted filler, although this being the Beatles it is interesting and entertaining filler! It is a moot point whether the group members were holding some stronger material back for impending solo projects. We know from the Anthology 3 album that some impressive songs were floating around circa 1969.
Even much of the fabled "medley" on side 2 of the vinyl album could justly described as "filler", but the group, and in particular McCartney and George Martin, expertly pull together this mixture of minor gems, vignettes and fragments, and fuse it into something vibrant, moving and enthralling. A case of the whole being greater than the sum of the individual parts...
Partly because of the efficacy of the "medley", and also because of the diversity and quality of the other material, Abbey Road works better as an "album" in the truest sense than most of the Beatles' other work. Not quite as enigmatic and disparate as "The White Album", but much warmer and compact. The musical ingenuity conquers all, together with the group's uncanny knack of knowing what to do, when and how, rarely if ever sounding self-indulgent or pretentious.
Abbey Road represents a brave, unapologetic and proud farewell, if it can be accurately described as a "farewell". Bittersweet in tone, but captivating and, and one of those albums which demands to be listened to from start to finish, in order for the full effect to be absorbed. For this listener at least, there is never the temptation to skip tracks...
Throughout the record, there are hints and indications of what direction the Beatles would have travelled in musically, had they remained together during the 1970s. Multi-tracked vocals and guitars, increasing use of synthesizers, more elaborate and ambitious arrangements, and of course the blossoming input of George Harrison.
On a sonic level, Ringo Starr's drumming is a revelation, sounding confident, idiosyncratic and "three dimensional". Another hallmark of the album is the "trebly" and chiming guitar sound. Both of these elements were doubtless accentuated by the better recording technology at the band's disposal, but as common threads they help to hold the record together.
I try not to categorise or rank Beatles albums in particular, because of the leap in musical sophistication and philosophical outlook which they made in such a short time during the 1960s, but Abbey Road is without doubt one of their most enjoyable and cohesive creations.
Friday, 28 September 2012
Sergio Perez to McLaren
Dovetailing with the announcement that Lewis Hamilton would be joining Mercedes, came the news that Mexico's Sergio Perez would be replacing the Englishman in the McLaren team.
Some have argued that Perez is largely untested and unproven, and there are still a few rough edges to be smoothed out. However, there is persuasive evidence indicating that he is not just a raw youngster being promoted over his head. There have been glimpses, particularly during the 2012 season, of real nous and maturity, things which separate the potentially great from the merely good. These things do not go un-noticed by team managers, however much we may like to denigrate their judgement at times!
It does seem that Perez brings with him some lavish financial backing, and though it is hard to believe that this was anything like a decisive factor, it doesn't exactly hurt either, with the current economic climate ensuring that uncertainty and instability are never too far away, even for an organisation such as McLaren.
The effect on the driver politics at McLaren is also fascinating to speculate upon. It can be argued that the departure of Hamilton, and the signing of Perez, leaves the driving strength at Woking temporarily weakened. It is possible, but not certain, that Perez will take a little time to find his feet, and during that time it may feel like a void has been left by the loss of the outright speed and talent of Hamilton. However, once Perez has acclimatised to life in a front-running team, the driving line-up should be well-balanced, the youthful exuberance and elan of the Mexican complementing the solidity, experience and methodical approach of Jenson Button. In this respect, does Jenson represent some kind of "insurance policy" for McLaren?
So how is Perez likely to fare at McLaren? The odds are that he will flourish given time, but at the same time there are numerous examples of promising drivers who looked like world-beaters in middling teams, but whose careers soon assumed a plateau upon being promoted to a car running at the front. Young drivers in teams such as Sauber are allowed the occasional aberration or off-day, but this is less likely to be tolerated or indulged in a top team. Part of Perez's task will be to bridge that gap.
Much has been made of the cooling of Ferrari's interest in signing Perez to their race team, if indeed there was genuine interest in the first place. Granted, the Ferrari management was reputed to have cast doubt on Perez's suitability on the grounds of experience, but what effect will today's developments have on the careers of both Felipe Massa and, for the sake of argument, Sebastian Vettel? Only time will tell....
Some have argued that Perez is largely untested and unproven, and there are still a few rough edges to be smoothed out. However, there is persuasive evidence indicating that he is not just a raw youngster being promoted over his head. There have been glimpses, particularly during the 2012 season, of real nous and maturity, things which separate the potentially great from the merely good. These things do not go un-noticed by team managers, however much we may like to denigrate their judgement at times!
It does seem that Perez brings with him some lavish financial backing, and though it is hard to believe that this was anything like a decisive factor, it doesn't exactly hurt either, with the current economic climate ensuring that uncertainty and instability are never too far away, even for an organisation such as McLaren.
The effect on the driver politics at McLaren is also fascinating to speculate upon. It can be argued that the departure of Hamilton, and the signing of Perez, leaves the driving strength at Woking temporarily weakened. It is possible, but not certain, that Perez will take a little time to find his feet, and during that time it may feel like a void has been left by the loss of the outright speed and talent of Hamilton. However, once Perez has acclimatised to life in a front-running team, the driving line-up should be well-balanced, the youthful exuberance and elan of the Mexican complementing the solidity, experience and methodical approach of Jenson Button. In this respect, does Jenson represent some kind of "insurance policy" for McLaren?
So how is Perez likely to fare at McLaren? The odds are that he will flourish given time, but at the same time there are numerous examples of promising drivers who looked like world-beaters in middling teams, but whose careers soon assumed a plateau upon being promoted to a car running at the front. Young drivers in teams such as Sauber are allowed the occasional aberration or off-day, but this is less likely to be tolerated or indulged in a top team. Part of Perez's task will be to bridge that gap.
Much has been made of the cooling of Ferrari's interest in signing Perez to their race team, if indeed there was genuine interest in the first place. Granted, the Ferrari management was reputed to have cast doubt on Perez's suitability on the grounds of experience, but what effect will today's developments have on the careers of both Felipe Massa and, for the sake of argument, Sebastian Vettel? Only time will tell....
Lewis Hamilton to Mercedes
So, after protracted and sometimes tiresome speculation, it has been announced that Lewis Hamilton will depart McLaren, after signing a three year contract with Mercedes. This has triggered in earnest the annual game of musical chairs in Formula 1.
So, what factors lie behind Hamilton's decision to opt for the Three-Pointed-Star, apart from his longstanding links with the carmaker?
It is tempting to be cynical and attribute it solely to financial incentive, but to me that is a major over-simplification. Mercedes offers resources, potential and facilities. Despite indications that he will nominally have equal status with Nico Rosberg, there is little doubt that everyone, including many in the team itself, will regard Lewis as the number one driver from the outset.
One thing which has perhaps been overlooked is the likely impact of the move on Hamilton himself. A fresh start, a change of scenery and the dawning of new pastures may reinvigorate and re-motivate the driver, freed from the tensions of his latter days at McLaren.
Hamilton may feel that this is a "gamble" worth taking at this stage of his career, if indeed it can be viewed as a gamble. If the Mercedes team can be lifted above its current relative mediocrity and inspired to genuine success, there would be enormous kudos to be reaped, as well as a great feeling of personal and professional satisfaction.
In assessing Hamilton's reasons and motives, many observers are overlooking the fact that he is already a World Champion, with multiple victories under his belt. In addition, he is still young enough to re-establish himself with other teams should his stay at Mercedes go awry or prove less than fruitful. The age issue may also have persuaded him that it is worth "sacrificing" one or two relatively lean or fallow years for the prospect of long-term success. The looming regulation changes may also have played on his mind, although the "reshuffling" properties of those changes are probably over-estimated.
The arrival of Hamilton will needless to say have major repercussions for the Mercedes team itself. The jury is still very much out on the outfit in its post-2009 guise, the win in China this year notwithstanding. There are still inconsistencies and weaknesses to be resolved and addressed.
I think it is less a case of Hamilton inspiring a revival or breakthrough through his own actions or pro-active measures, than his arrival heightening the commercial and political ante generally, and forcing the organisation to get its act together, and make necessary changes. The era of drivers carrying teams through their own personality or charisma may well have passed with Michael Schumacher's exit from Ferrari.
Whatever the theories concerning Hamilton's move, it has certainly added considerable spice to the driver market, and the prospects for the 2013 season!
So, what factors lie behind Hamilton's decision to opt for the Three-Pointed-Star, apart from his longstanding links with the carmaker?
It is tempting to be cynical and attribute it solely to financial incentive, but to me that is a major over-simplification. Mercedes offers resources, potential and facilities. Despite indications that he will nominally have equal status with Nico Rosberg, there is little doubt that everyone, including many in the team itself, will regard Lewis as the number one driver from the outset.
One thing which has perhaps been overlooked is the likely impact of the move on Hamilton himself. A fresh start, a change of scenery and the dawning of new pastures may reinvigorate and re-motivate the driver, freed from the tensions of his latter days at McLaren.
Hamilton may feel that this is a "gamble" worth taking at this stage of his career, if indeed it can be viewed as a gamble. If the Mercedes team can be lifted above its current relative mediocrity and inspired to genuine success, there would be enormous kudos to be reaped, as well as a great feeling of personal and professional satisfaction.
In assessing Hamilton's reasons and motives, many observers are overlooking the fact that he is already a World Champion, with multiple victories under his belt. In addition, he is still young enough to re-establish himself with other teams should his stay at Mercedes go awry or prove less than fruitful. The age issue may also have persuaded him that it is worth "sacrificing" one or two relatively lean or fallow years for the prospect of long-term success. The looming regulation changes may also have played on his mind, although the "reshuffling" properties of those changes are probably over-estimated.
The arrival of Hamilton will needless to say have major repercussions for the Mercedes team itself. The jury is still very much out on the outfit in its post-2009 guise, the win in China this year notwithstanding. There are still inconsistencies and weaknesses to be resolved and addressed.
I think it is less a case of Hamilton inspiring a revival or breakthrough through his own actions or pro-active measures, than his arrival heightening the commercial and political ante generally, and forcing the organisation to get its act together, and make necessary changes. The era of drivers carrying teams through their own personality or charisma may well have passed with Michael Schumacher's exit from Ferrari.
Whatever the theories concerning Hamilton's move, it has certainly added considerable spice to the driver market, and the prospects for the 2013 season!
Sunday, 23 September 2012
Schumacher Handed Grid Penalty
There is a postscript to my earlier blog post about today's Singapore Grand Prix:
Singapore Grand Prix
After initially suspecting that a mechanical problem had led to his crash with the Toro Rosso of Jean-Eric Vergne, Michael Schumacher has now acknowledged, when questioned by the race stewards, that he was at fault. He has therefore been given a ten-position grid penalty for the upcoming Japanese Grand Prix at Suzuka.
Singapore Grand Prix
After initially suspecting that a mechanical problem had led to his crash with the Toro Rosso of Jean-Eric Vergne, Michael Schumacher has now acknowledged, when questioned by the race stewards, that he was at fault. He has therefore been given a ten-position grid penalty for the upcoming Japanese Grand Prix at Suzuka.
2012 Singapore Grand Prix
All in all, quite an unsatisfying race at the Marina Bay circuit. Lewis Hamilton had been leading handily if not comfortably, and in the aftermath of his retirement there was a slight air of unreality about proceedings, with "entertainment" and "excitement" provided by several incidents. The resultant safety car periods led to the race feeling disjointed, and contrary to expectation they did not lead to the race at the front becoming any more genuinely exciting.
The form in Singapore largely accorded with the predictions of the pundits and experts. McLaren maintaining their "post-break" ascendancy, and Red Bull's car and chassis proving more suited to this track than on some preceding circuits. Other outfits which had been prominent in 2012 found Marina Bay less suited to their machinery, and struggled accordingly.
The gearbox maladies which ended Hamilton's involvement will have come as a major frustration to a driver and team who had mustered real impetus in recent races. Not quite a case of "one step forward, two steps back", but an irritation considering how authoritatively, confidently and decisively the Englishman had performed all weekend. Hamilton's philosophical demeanour after the race was symptomatic of a driver who knew that he himself could have done no more, and who once again had proved a few points.
Sebastian Vettel's fleet practice pace had argued persuasively for him to be considered a potential victor, and Adrian Newey exuded quiet confidence. Sure enough, during the race Vettel showed signs of threatening Hamilton's lead, but even so his victory was mildly anti-climactic, a case of "what might have been" for neutrals.
Once again, Fernando Alonso displayed that uncanny knack of installing himself there or thereabouts, evading trouble and ably exploiting the machinery at his disposal and any good fortune which came his way. He concentrated on doing his job, whilst watching others encounter drama and disappointment, and the erosion of his championship points lead was less than he might have feared at one stage of the race.
One of the major incidents of the race was Michael Schumacher's collision with Jean-Eric Vergne. The seven-times champion hinted at a mechanical failure, and looking at the replays, this would seem plausible. My over-riding emotion was one of relief that nobody was injured, as well as admiration for the dignified and restrained reaction of the young Frenchman.
Unhappily, but also quite predictably, the Sauber team struggled in Singapore. Much of their potency during this season has stemmed from their straightline speed, and this was negated on a more "technical" circuit such as this. The car also exhibited an aversion to the bumps, and the team appeared at sea on set-up during practice and qualifying. The remaining races may be more profitable, if offering mixed prospects.
Force India enjoyed a more fruitful meeting, with Paul di Resta delivering a very timely fourth place, a reminder of his qualities.
For once, Pastor Maldonado's detractors were neutralised when the Venezuelan driver was eliminated by hydraulics problems when well-placed in the order. I still think that his superb achievement in putting the Williams on the front row was not sufficiently heralded, with most people more intent on pondering the potential for fireworks at the first corner in the race itself. Needless to say, said fireworks failed to materialise.
Looking at the points table, it is now tempting to envisage matters distilling to a straight contest between Vettel and Alonso. Hamilton probably possesses the quickest car, but the arithmetic is unlikely to work in his favour. Raikkonen, although currently third, looks less likely to win Grands Prix than he did a few races ago, and does not really have much momentum. Alonso may be content to sit back and watch McLaren and Red Bull share the wins, but take points off each other....
The form in Singapore largely accorded with the predictions of the pundits and experts. McLaren maintaining their "post-break" ascendancy, and Red Bull's car and chassis proving more suited to this track than on some preceding circuits. Other outfits which had been prominent in 2012 found Marina Bay less suited to their machinery, and struggled accordingly.
The gearbox maladies which ended Hamilton's involvement will have come as a major frustration to a driver and team who had mustered real impetus in recent races. Not quite a case of "one step forward, two steps back", but an irritation considering how authoritatively, confidently and decisively the Englishman had performed all weekend. Hamilton's philosophical demeanour after the race was symptomatic of a driver who knew that he himself could have done no more, and who once again had proved a few points.
Sebastian Vettel's fleet practice pace had argued persuasively for him to be considered a potential victor, and Adrian Newey exuded quiet confidence. Sure enough, during the race Vettel showed signs of threatening Hamilton's lead, but even so his victory was mildly anti-climactic, a case of "what might have been" for neutrals.
Once again, Fernando Alonso displayed that uncanny knack of installing himself there or thereabouts, evading trouble and ably exploiting the machinery at his disposal and any good fortune which came his way. He concentrated on doing his job, whilst watching others encounter drama and disappointment, and the erosion of his championship points lead was less than he might have feared at one stage of the race.
One of the major incidents of the race was Michael Schumacher's collision with Jean-Eric Vergne. The seven-times champion hinted at a mechanical failure, and looking at the replays, this would seem plausible. My over-riding emotion was one of relief that nobody was injured, as well as admiration for the dignified and restrained reaction of the young Frenchman.
Unhappily, but also quite predictably, the Sauber team struggled in Singapore. Much of their potency during this season has stemmed from their straightline speed, and this was negated on a more "technical" circuit such as this. The car also exhibited an aversion to the bumps, and the team appeared at sea on set-up during practice and qualifying. The remaining races may be more profitable, if offering mixed prospects.
Force India enjoyed a more fruitful meeting, with Paul di Resta delivering a very timely fourth place, a reminder of his qualities.
For once, Pastor Maldonado's detractors were neutralised when the Venezuelan driver was eliminated by hydraulics problems when well-placed in the order. I still think that his superb achievement in putting the Williams on the front row was not sufficiently heralded, with most people more intent on pondering the potential for fireworks at the first corner in the race itself. Needless to say, said fireworks failed to materialise.
Looking at the points table, it is now tempting to envisage matters distilling to a straight contest between Vettel and Alonso. Hamilton probably possesses the quickest car, but the arithmetic is unlikely to work in his favour. Raikkonen, although currently third, looks less likely to win Grands Prix than he did a few races ago, and does not really have much momentum. Alonso may be content to sit back and watch McLaren and Red Bull share the wins, but take points off each other....
Friday, 21 September 2012
A Day At The Races - Queen - album review
I find that train journeys are often a good time for reflection and re-evaluation. The feelings of solitude and tranquility and the different surroundings all contribute to this. On one such recent journey I found myself listening to Queens' 1976 album A Day At The Races.
The record is oft maligned as an exercise in water-treading, or at least a pale re-hash of the ground covered by A Night At The Opera. However, my view is that it has many and varied virtues. So, I thought that I would indulge in a little revisionism!
The first observation I would make is that A Day At The Races is the most quintessentially "Queenesque" of all their albums, containing in distilled and condensed form all of the elements which informed their 1970s output in particular. Compact, lithe, comprising ten songs of roughly equal length, discarding the vignettes, oddities and curiosities seen on earlier records. Straight-ahead, well-crafted melodic rock music.
Another trait of A Night At The Opera absent from its "sequel" is the excessive perfectionism and "patchwork production". This was the first album which the group in essence produced themselves. In places the mix is somewhat "muddy", with Freddie Mercury's voice almost buried, and not captured with too much clarity.
The genre excursions on this album are more fully rounded and realised than on previous works, and not just perfunctory nods.
Belying its reputation with some people, there are some genuinely memorable songs on A Day At The Races, which have withstood the test of time. The sequencing of the tracks was well executed, instilling a sense of balance and contrast. A clever touch was to book-end the album with an affecting "staircase" motif, adding to the feeling of cohesion and continuity.
After the meteoric success enjoyed by A Night At The Opera, many might have felt that Queen were under pressure to improve on it, or subject to the temptation to change direction radically. However, what they seem to have done is just gone ahead and recorded an album to the best of their ability. So this can be regarded as a pause for breath, or consolidation, but entertaining and skillful consolidation all the same. Some of the self-consciousness and excess of the previous LP disappeared as part of this process.
In the songwriting stakes, Mercury and Brian May were still dominant, with the breakthrough of Roger Taylor and John Deacon still just around the corner. It is arguable that a greater "democratization" of the songwriting duties diluted some of Queen's later records.
The album opens with "Tie Your Mother Down", one of the band's most enduring rockers. When performed live, the song could be frantic and breathless, but the studio rendition has a certain grandeur about it. When Brian May addresses such subject matter, there is an endearing coyness about his approach. This, however, is a good, energetic beginning, if not truly representative of the record as a whole.
"You Take My Breath Away" is one of the most chillingly ethereal and beautiful of all Freddie Mercury's creations. It is tempting to view this as a "sequel" to "Love of My Life". To my ears, many of these piano ballads have aged better than most of Queen's output.
A typically introspective, enigmatic and reflective May song, "Long Away" is sonically at variance, because of the different guitar sounds employed. The melody is, in truth, quite bland, but there are other things which hold the interest. Possibly the weakest track on the album, though.
It is the likes of "Millionaire Waltz" which tend to give fuel to Queen's detractors, who accuse them of being too pompous and overblown. This intricate and ambitious song has a distinct Gilbert and Sullivan flavour, and it is more convincing and likeable than some other similar excursions. In saying that, it will hardly have endeared Queen to 1976's nascent punk scene!
"You and I" is a typically straightforward melodic John Deacon love song, although here imbued with the traditional Queen trademarks of multitracked vocals and guitars. There is something intangibly attractive about this song, which may be traceable to its deceptive melody and warm production.
The big single from the album was "Somebody To Love". This original studio recording does lack a certain guile and suppleness in comparison to the later spectacular live versions, which afforded much scope for improvisation and ad-libbing. The production is a touch leaden, perhaps weighed down by the "gospel choir", and Freddie's voice is a little submerged. There are many highlights and hooks to be relished, however.
A protest song of sorts, "White Man" follows. I have never been able to fully reconcile in my mind whether this track is clumsy or subtle. It was rare in those days for Queen to engage in socio-political commentary; this not becoming a more regular feature of their music until the 1980s. Brian May always seemed to have it in him, as has been displayed in recent times, but back then he was more reticent. Light and shade are used to good effect here, and the lyrics are quite strident at times.
Another pleasing if ultimately lightweight effort, "Good Old Fashioned Loverboy" works well in the context of leavening things. An inventive and punchy arrangement lifts it above the mediocre.
An intriguing song, Roger Taylor's "Drowse" seems to allude to the composer's upbringing, and his attempts to rebel and transcend his sleepy and conservative environs. The arrangement, dominated by Brian May's slide guitar, perfectly befits the soporific backdrop to the story. Taylor's vocal is delivered in a more deadpan style than most of his other performances.
The closer, "Teo Torriatte", seems to have been conceived as some form of tribute to Japan and its people, after Queen developed a real affinity with the country on their early tours there. Quite a mood piece, featuring some pleasing vocals from Freddie in the verses and haunting keyboard work by May.
So to conclude A Day At The Races is a solid effort, with some strong songs, and common strands holding things together, so that there is a real sense of having listened to an album. Listen, and enjoy!
The record is oft maligned as an exercise in water-treading, or at least a pale re-hash of the ground covered by A Night At The Opera. However, my view is that it has many and varied virtues. So, I thought that I would indulge in a little revisionism!
The first observation I would make is that A Day At The Races is the most quintessentially "Queenesque" of all their albums, containing in distilled and condensed form all of the elements which informed their 1970s output in particular. Compact, lithe, comprising ten songs of roughly equal length, discarding the vignettes, oddities and curiosities seen on earlier records. Straight-ahead, well-crafted melodic rock music.
Another trait of A Night At The Opera absent from its "sequel" is the excessive perfectionism and "patchwork production". This was the first album which the group in essence produced themselves. In places the mix is somewhat "muddy", with Freddie Mercury's voice almost buried, and not captured with too much clarity.
The genre excursions on this album are more fully rounded and realised than on previous works, and not just perfunctory nods.
Belying its reputation with some people, there are some genuinely memorable songs on A Day At The Races, which have withstood the test of time. The sequencing of the tracks was well executed, instilling a sense of balance and contrast. A clever touch was to book-end the album with an affecting "staircase" motif, adding to the feeling of cohesion and continuity.
After the meteoric success enjoyed by A Night At The Opera, many might have felt that Queen were under pressure to improve on it, or subject to the temptation to change direction radically. However, what they seem to have done is just gone ahead and recorded an album to the best of their ability. So this can be regarded as a pause for breath, or consolidation, but entertaining and skillful consolidation all the same. Some of the self-consciousness and excess of the previous LP disappeared as part of this process.
In the songwriting stakes, Mercury and Brian May were still dominant, with the breakthrough of Roger Taylor and John Deacon still just around the corner. It is arguable that a greater "democratization" of the songwriting duties diluted some of Queen's later records.
The album opens with "Tie Your Mother Down", one of the band's most enduring rockers. When performed live, the song could be frantic and breathless, but the studio rendition has a certain grandeur about it. When Brian May addresses such subject matter, there is an endearing coyness about his approach. This, however, is a good, energetic beginning, if not truly representative of the record as a whole.
"You Take My Breath Away" is one of the most chillingly ethereal and beautiful of all Freddie Mercury's creations. It is tempting to view this as a "sequel" to "Love of My Life". To my ears, many of these piano ballads have aged better than most of Queen's output.
A typically introspective, enigmatic and reflective May song, "Long Away" is sonically at variance, because of the different guitar sounds employed. The melody is, in truth, quite bland, but there are other things which hold the interest. Possibly the weakest track on the album, though.
It is the likes of "Millionaire Waltz" which tend to give fuel to Queen's detractors, who accuse them of being too pompous and overblown. This intricate and ambitious song has a distinct Gilbert and Sullivan flavour, and it is more convincing and likeable than some other similar excursions. In saying that, it will hardly have endeared Queen to 1976's nascent punk scene!
"You and I" is a typically straightforward melodic John Deacon love song, although here imbued with the traditional Queen trademarks of multitracked vocals and guitars. There is something intangibly attractive about this song, which may be traceable to its deceptive melody and warm production.
The big single from the album was "Somebody To Love". This original studio recording does lack a certain guile and suppleness in comparison to the later spectacular live versions, which afforded much scope for improvisation and ad-libbing. The production is a touch leaden, perhaps weighed down by the "gospel choir", and Freddie's voice is a little submerged. There are many highlights and hooks to be relished, however.
A protest song of sorts, "White Man" follows. I have never been able to fully reconcile in my mind whether this track is clumsy or subtle. It was rare in those days for Queen to engage in socio-political commentary; this not becoming a more regular feature of their music until the 1980s. Brian May always seemed to have it in him, as has been displayed in recent times, but back then he was more reticent. Light and shade are used to good effect here, and the lyrics are quite strident at times.
Another pleasing if ultimately lightweight effort, "Good Old Fashioned Loverboy" works well in the context of leavening things. An inventive and punchy arrangement lifts it above the mediocre.
An intriguing song, Roger Taylor's "Drowse" seems to allude to the composer's upbringing, and his attempts to rebel and transcend his sleepy and conservative environs. The arrangement, dominated by Brian May's slide guitar, perfectly befits the soporific backdrop to the story. Taylor's vocal is delivered in a more deadpan style than most of his other performances.
The closer, "Teo Torriatte", seems to have been conceived as some form of tribute to Japan and its people, after Queen developed a real affinity with the country on their early tours there. Quite a mood piece, featuring some pleasing vocals from Freddie in the verses and haunting keyboard work by May.
So to conclude A Day At The Races is a solid effort, with some strong songs, and common strands holding things together, so that there is a real sense of having listened to an album. Listen, and enjoy!
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