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Forum Forum.Queen.PL (tylko do odczytu) Strona Główna
Użytkownikami tego forum nie są wyłącznie (i w większości) członkowie Polskiego Fanklubu Queen, dlatego ogółu opinii prezentowanych na forum nie można traktować jako opinii Fanklubu, w tym jego Zarządu i innych organów nadzoru.
Polski Fanklub Queen

Czat.Queen.PL!
Troche Hardcore'u dla Hardcorowych Queenowcow :)

 
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Autor Wiadomość
Tlenaque



Dołączył: 31 Lip 2006
Posty: 9
Skąd: Wrocław

PostWysłany: Pon Lip 31, 2006 7:44 pm    Temat postu: Troche Hardcore'u dla Hardcorowych Queenowcow :) Odpowiedz z cytatem

Swego czasu mialem przyjemnosc pisac recenzje plyt Queen dla Fan Clubu Queen prowadzonego przez Tadka Wocha w Opolu. Bylem wtedy malym szczylem (byl to chyba koniec podstawowki, albo poczatek liceum, nie pamietam dokladnie) i poziom literacki tych tekstow z biezacej perspektywy zostawia wiele do zyczenia, ale byly to moje pierwsze kroki jako quasi-dziennikarza / recenzenta muzycznego... Jakies dziesiec lat pozniej Wink pojawil sie pomysl serii "Favourites From The Vaults" dla pewnego ogolnorockowego forum...

Oto wiec, zgodnie z zasada wyznawana przez Freddiego - "the bigger, the better" - pozwole sobie uczynic swoja inicjacje na forum nieco ciezsza gatunkowo, z malutka nutka dekadencji i megalomanii. Zapraszam do lektury.

PS. Fakt, ze tekst jest po angielsku nie wynika z checi dyskryminowania osob nie znajacych angielskiego - po prostu nie udaje mi sie zdyscyplinowac na tyle, by dokonac tlumaczenia. Mysle jednak, ze wiele osob z Was wlada angielskim i bedziecie w stanie sie jakos do tekstu ustosunkowac.

Setlisty odpowiadaja mojemu postowi w temacie "Wasze Greatest Hits". Jest tez druga czesc tego eseju (odpowiadajaca drugiemu CD skladanki), lecz te umieszcze na zyczenie jesli ktos uzna, ze ma to sens.

Pozdrawiam, Tlenaque

THE SERIES: FAVOURITES FROM THE VAULTS

CHAPTER ONE: QUEEN

Intro:
Queen was the firs SERIOUS musical love of my life - the first band whom music I got to know inside and outside in every possible aspect. Actually - they were my first Dino Camp band. And what's probably the most significant - it's Brian May - who was my mind opener. Though I liked efforts of all the members of the quartett - it was his stuff that turned me on the most. Could make me jump on my bed with a stick in my hand long enough to imitate the guitar. Brian woke up the rockman in me and up to now I'm thankful to him for the gift. I give him every credit and all honours for starting me up as a rock listener. Nowdays - from the view of many years exploring rock the range of May as a player in my rankings had decreased, but in terms of compositional skills and sentiments he's still unbeaten - the First Axe Master.

So... just push play!

[ 01 ] TIE YOUR MOTHER DOWN [LIVE in MONTREAL 1981]
One needs a firecracker to start the CD and there's barely a better one. The Royal Truck was rumbling on that night. Fred was vile and vicious. Actually his vocals are so damn sharp and clear that I wonder if he did overdubs in the studio for the film soundtrack. Even to his incredible standards - it's madness what he does here. The tune is devilishly uptempoed (at least half speed up to the studio origin), May has got a real trouble with hitting the solo notes on time. Jungle scream of Mr Taylor drives the song to the final chorus, before the typical low chords mayhem and a drum bonanza during the close. 'Gimmie all- your - love- tonite...' Oh yes, I gladly wil, Your Majesty. Anytime.

[ 02 ] SPRAED YOUR WINGS [JOHN PEEL BBC 1977]
Probably late but at last the first time where John Deacon shows a true rock claw as the composer. Starts like a typical ballad, but before the first (and easily memorable) chorus breaks - you can hear that it would be a mean rocker. And Fred does not sing about the daisies too, he's got a story to tell about the boy sweeping in the bar, hoping to start a better life. He is definite in it and very convincing, the vocals carry a strong edge. But the real treat (and a justification of this particular version) is at the end where May is supposed to solo. Instead the whole band speeds up the tempo twice and plays pure rocking speeder. Brings all the wimpy noisemakers of 1977 to the knees, begging for mercy. Queen was a rock band, a fact that some people still doubt. And they could kick ass in such memorable cuts as this one.

[ 03 ] WHITE QUEEN [ QUEEN II,1974]
There is irresistible feel of magic in the the first side of 'Queen II' album. It's still mystic to me, always was since a first listen. This composition is very likely to be one of the most underrated ballads in Royal Career. Mimose light start, notes are flowing into beatiful sad stream. The sequence of chords is surely of the sort that my ears like the most. Breathtaking invitation to the first chorus, where we have amazing vocal harmonies (that's one of many reasons for liking Uriah Heep too) and finaly an explosion of rock for a moment. On and again - I think it's the power of the contrast - that catches and floors me totally. Second verse leads to the guitar solo - I think it's accoustic slide, but very sitar-ous in the feel - which has a lovely effect.In the background you can almost hear the storm arising-feel the monumentum. And with the entry of the electric part the hell breaks - May's multilayered backing give a dense fundament for a crafty, well edged-solo. Mercury's voice reaches these magical registers available only to the masters, the backing choir builds up the storm sending chills to the spine. The storm fades, leaving you high and dry and wanting more...

[ 04 ] IT'S LATE [ NEWS OF THE WORLD, 1977]
This tune is what I'd call the ultimate Queen's hard rock statement. It's an higher art to make a 6+ minutes rock track fuelled well in every second with in-your-face punch. Intro is delicate, but May's sound is dirty, unsorted. It sort of signalises that the song will be nasty, fuelled with anger, scratching with claws. An' it rocking is! Cannonal Taylor's bashes measure the tempo of the slower parts, and the uptempoed middle closes with Freds voice sirening yell and boiling drum break. The speed will come back at the end - a true sound tank. In the lyirics layer there is a drama going on too - the relationship breaks and you can feel it on the spine - that it's too damn late to solve things up. So where's the shitick? Messers had pretty some rippy rockers over the years. True. The point is that with every other one they had to work in studio to drag its power out. Overdubs, harmonies, layers. Not here - this one sounds definitely fierce but as it was done on one direct take. Has an ultimate live feel to it - this bites deep. Could have been a monsterous vehicle for impovisation live, but Queen wasn't ever really up to it, which is a shame. To even more of surprise - it didn't last long in the live set and sounded like they did not have an brillant idea of how to use its powers to make it a milestone. To me its into the space blaster.

[ 05 ] LEAVING HOME AIN'T EASY [ JAZZ, 1978]
Some tunes are just catchy. The way the sounds compose gets your intuitial immediate approval. That's how it was with this 'Jazz' cut. Gentle, basing on accoustic guitar, a little beatleasque in the distorted vocals middle break and the violin-like warm coloured layer Brian puts to paint the song up. Chorus appeals to me. Finally Brian's voice appeals to me, which people sometimes don't get - how come etc. It just does - warm voice with a nice colour. Just fits me. And the tune was always deep in my head ever since I've heard 'Jazz' first.

[ 06 ] SOME DAY ONE DAY [ QUEEN II, 1974]
This tune is surely responsible for my becoming a May-freak. The amount of guitar work he has put in this moody tune feels irresistible. Backbone from intensive accoustic stringing, plus three or four completely separate electric soundtracks, which - a paradox - at the first take seem to exclude themselves completely. The however result is that they cooperate ideally. The amount of guitar paths even arises in the second solo part background - wonder if some of the layers are inversed or not. The structure extends with multivoiced backing vocal, untypical drum metrum filled with tiny bits and breaks.The listener gets a very warm, dense net of lovely sound which carries up Brian's soothing voice and impresive solos where delicacy is mastered with melody. Astonishing musical tapestry to me. A true letdown here is only that the fade out lasts for a half a minute-taking away a lot of explorational pleasure carried by exploring this impressive sound-juntcion. Thank God we have the utilities to repair such sound-engineers fakes.

[ 07 ] WAS IT ALL WORTH IT [1989]
Hearing Queen back in 1989 was enjoyable, though 'The Mircale' brought in mixed feelings.Looked ike they still wanted to hold on to that poppier side of their career, but the the rocking spirit was more irresistable than on 'A Kind Of Magic'. And the LP closeing track is a standout. The vocal intro isn't really that interesting, but when the riff breaks you know you'll enjoy a mean kicker. The structure of the song is nicely interluded with orchestral bits and guitar little adlibs (a very film soundtrack-like middle brings glimpses of Flash-The Hero times), but when they rock, they mean it. Well accenting riffs mark the verses, the vocals are engaged and aggressive - well raising the title question. May puts out an enjoyable solo with bits of tremolo and quite impressive run out figure. The closing section is wonderful. After Fred concludes with manic laugh that it was worth living breathing rock'n'roll, the quartet blasts out a sabbathal close to the song, thundering like tornado. Only the keyboards survive to fade out the tune with all honours (wonder if they could not work the keys sound better - they seem a bit too synthy).

[ 08 ] I GO CRAZY [1984]
A B-side of "Radio Gaga" single.What!!?? B-side!?? It's better than half of the material on the pathetic 'Works' album. Crafty rumbling rocker, with decent riffing and nifty chorus, rythm section pumping and grooving on fat tyres. May's guitar is unusually edged with some effect I can't name professionally. All I know is that Mr Page used it much all the way down giggin' live with Coverdale. Sort of a flanging one, though. Witty lirycs, slagging off some unfaithful bitch. Drivy solo with Brian having a bit of slide fun. Taylor and Mercury go nuts vocally at the end. Whole lotta fun and a lot of energy in this one. Well combined trademarks of May-Taylor duett as the authors of the cut. Extends the list of unjustified choices for album outtakes visible in many performers catalogues.

[ 09 ] SAVE ME [1979]
My God, how much do I love this one! Moving, beatiful verses contradited with sharp aggresive chorus Freddie needing iron throat to make thru the vocal, thank Lord he has one! Love the accoustic backing line and the first part of the guitar solo, but guitar climax in the rock part is even more mind blowing. This solo is a blast! Phenomenally painted scream of loneliness. The song carries probably one of the best closings in Queen's career - seven or eight piano chords underline the vision of the kneeling lonely man. Brings a chill to th spine an a tear to an eye. Always. Top of the tops.

[ 10 ] HAMMER TO FALL [LIVE WEMBLEY 1986]
I don't endorse the studio version of this track much, though it's a big favourite. Just like Purple's 'Highway Star' on 'Made In Japan' - Wembley has expirienced once-in-a-lifetime performance. The rythm pattern is slightly changed to the studio take, tempo is a bit faster, and the playing is practicly flawless. Fred's voice onlycarries signs of hour and a half ass worked show. But it's Brian here who is a true hero. The riff backed with furious Taylor's bashes blasts the venue to bits. Soloing is crisp and tight. May has never been an impressive improvisator but here in the free-ride part he plays the solo of his life. Precision and feel combined with excitement and full flow. Love that. In the end Mr Taylor lets the wrists go, and after the final wham! you know well what a worthy rocker means to the ears and soul.

[ 11 ] '39 [LIVE EUROPE 1979]
Mercury's voice doesn't fit this song as well as May's does, but when he get's backed by Taylor - the mixture gets interesting. This performance has an enormous vibe, thanks to the crowd enthusiasm, which pushes the Messers doing accoustic bit to explore the limits. The three vocals excursion in the middle, edged by Taylor's high-pitched Byronesque scream is lovely. And the song turns out from the sentimental ballad to a fabulous stomper. Catches tight and doesn't let go easily.

[ 12 ] LOVE OF MY LIFE [LIVE MONTREAL 1981]
Unusulal choice of the unusual performance. Freddie is pissed off with the Montreal crowd's lack of rythm sense (very audible thing during a "Now I'm Here" master-slave dialogue). He doesn't want to hear them people sing even a line of this song. He pays a feelfull tribute to the crowd teaser he barely gets to sing otherwise. Brian as usual on the accoustic 12-string, struggling through couple of notes to make them clear. Lovely, though introvertic take of this evergreen.

[ 13 ] KEEP YOURSELF ALIVE [LIVE MONTREAL 1981 / EUROPE 1979]
Stomping drum intro brings to a start an unusual improv of May-Deacon-Mercury trio here. Launching into the tune they get into a dangerous speeder. This reendition blasts with high voltage. After first chorus May lets himself go, blows with river o notes. Pity that this classic was by 1981 only an introduction to the drum solo. I decided to take definite steps to makeit up and I add-mixed the second half of the track from 'Live Killers'. After the hugely applauded accoustic part of the show there was no mercy for the audience. The band soared on vocally and instrumentally. A real headlong here - Brian barely makes it in-tempo with the solo chords (well crafted in is the sound repetition phaser, don't know the exact name of that effect in English), the choruses are blasting with vocal engagement. Pure energy and brillance.

[ 14 ] NEED YOUR LOVING TONIGHT [1980]
'The Game' imho was one of the most confusing affairs that have happened to Queen (which basically is a base for another text), but thanks to the fate - there were couple of really fabulous tunes. Here ye got one. Starts a bit typically for Deacon - well measured mixture of pop & rock - sounding thight bass though, and a fierce accoustic guitar backing. Got a match anyone? In the middle things get damn serious. So lovely heavy. Brian lets the Fireplace thunder through with an aggresive edgy solo. The drum-bass duo lets rip fabulously too. Won't let you sit still.

[ 15 ] KILLER QUEEN [1974]
It's a debacle whether Mercury's pastiches were daub or a higher form of rock art. Still some of these remain warmy sweet to the ears and their charm is timeless. 'KQ' is one of these. Nifty chorus and Brian shines again. Ocassionallt hhe more he arranges his solos-the better results he gets. I disilike a bit the very falsetto vocal verses, but the voices arrangement and the compositional skill with the tinniest detail worked out take over. Drive you wiiiiiild.... wiiiiild...' (wah-wah). Quite so.

[ 16 ] THE MILLIONAIRE WALTZ [1976]
Another gem that could easily get up the noses of rock purists and traditionals. A true Wienner waltz this is indeed! Driven by bass and piano, backed with army of voices and Mercury's theatrical manner reaching irresistble highs at times. And what a treat in the middle there is. Almost metallic mid-break, could easily be a headbanging piece of music. But Fred is only having fun with all of us. That's just a blinky tease of what combining the styles can do. Brian's solo is nothing but a master Strauss lesson recieving. The final round gets more lively, with the orchestral multi-layered guitar on fire again, and a close that reminds us that it's Queen, doing a rock album actually.

[ 17 ] DREAMER'S BALL [LIVE EUROPE 1979]
It was a dangerous idea to record such a swingy crawler on the 'Jazz' album, especially using the traditional rock instrumentation. With May's skills in overdubs and filtering his axe however, he scored a good result. Putting this sort of the tune to a live set seems like a suicidal idea. So what do they do? They play it accoustic and immitate the swingy horns with their very own voices. Remains a mistery to me how the hell they exactly make it. I'm voting for Taylor doing the trumpet (without the help of hands?) and May doing the trombone (hard to define Mercury's part as he's adlibbing something loosily every second). Still, I could be as well so God damn wrong about that puzzle. Call it what you want - whether it's courageousness or just the unstopable need to play balls with the audience, just for fun. What a hell of a performance! Note: it's a May's tune though it could be as well another from Freddie's vast archieve of pastiches.

[ 18 ] BRIAN MAY - TOO MUCH LOVE WILL KILL YOU [LIVE BRIXTON ACADEMY 1993]
When the song surfaced in 1992 I though it's the most moving possible tribute to Freddie and a story of him as well. Couple of years later it showed up that this is a sort of Brian's own look back on his life and one of the most desirable and difficult feelings in life. I got to say however - I don't like Queen's take of this song. It doesn't have this specific context that May's takes bring in, plus the production is pretty well spoiled. In the Brixton gig circumstances it sounded like a lament after Mercury's untimely passing away and that was the strength of it. Apart from the fact that it's one of the most moving songs Bri has ever written. The emotions are clearly audible here, the breaking of May's voice, when the throat just tights up and refuses to release a high sound. (I'm glad it wasn't overdubbed). But the true monumentum builds up, when the band fires the engines on, with Brian turning on the Fireplace. The solo screams with anger, bitterness and saddness, while Murray-Powell section in the back whams the backing out. A moving close with a pause and the dramaticly voiced out title makes it clear. You can feel that too much love can kill, pillage, destroy - it's not only words. And that's what puts live The BM Band reendition of this song beyond any other. Always seriously moving.

[ 19 ] DON'T TRY SO HARD [1991]
'Innuendo' as an album always deserves a listen as a whole. The tracks on it (maybe with the exception of two) are standouts - every on its own rights. So it was a bit of a dillema what to include among the evergreens. And again th choice is probably purely unusual but intuitial as well. I think that there are two issues in 'Don't try so hard' that completely wear me out. As far as the song is ascethic in the arrangement, it boosts the effect of vocals and guitar beyond any limits. Freddie - in late 1990 already a shadow of a man - comes out with a vocal line including phrases sounding almost impossible to sing. The tension and bringing the lungs and heart out is audible well. It must be given every credit. The song also introduces one of the finest May's solos of the period. While listening my mind insistively makes me feel like the Fireplace is crying after someone. "I guess I'm learning - I must be warmer now / I'll soon be turnin' round the corner now..." The evidence of the sad fact that they all were getting ready for the last farewell and expressed it via the music they made.

*****************************************************************************************************************************

The Royal Four has actually scored two CDs with the faves here - so that's only a half of stuff.

It might be a bit difficult to be more compact (regarding the article length).

With greetings (and (C) & (P) Smile )
Tlenaque
_________________
Was it all worth it
Giving all my heart and soul staying up all night
Living breathing rock'n'roll this never ending fight
Was it all worth it
Yes it was a worthwhile experience
Ha ha ha ha HAAA!!
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