Yesterday’s successful landing of NASA’s robotic explorer Perseverance on Mars once again reminds us of humankind’s fascination with distant planets and what’s out there beyond our galaxy. Not surprisingly, many music artists have embraced the theme of space in their songs. The first who always comes to my mind in this context is David Bowie, who repeatedly wrote about the topic in tunes like Space Oddity, Starman, Life on Mars and Ashes to Ashes. There are plenty of additional examples. This playlist features some of these songs, ordered according to their release date.
The Byrds/Mr. Spaceman
While birds cannot fly in space, this didn’t prevent The Byrds from recording this happy-sounding tale about a kid who wakes up from the light of a flying saucer and cheerfully asks the ETs for a space ride. Mr. Spaceman, written by Roger McGuinn, appeared on the band’s third studio album Fifth Dimension from June 1966.
This Syd Barrett tune, an early example of space rock, was the opener of Pink Floyd’s debut studio album The Piper at the Gates of Dawn. Released in August 1967, this early phase Floyd gem also featured another track in the same genre: Interstellar Overdrive. I decided to go with the shorter tune! 🙂
The Rolling Stones/2000 Light Years From Home
2000 Light Years from Home is a song from Their Satanic Majesties Request, a lovely psychedelic album by The Rolling Stones, which appeared only a few months after Floyd’s debut in December 1967. Co-written by Mick Jagger and Keith Richards, the tune also became the B-side to the American single She’s a Rainbow that was released in November of the same year. Charmingly weird! 🙂
Steve Miller Band/Space Cowboy
Listening to Space Cowboy by Steve Miller Band was the tune that inspired this post, not the Mars rover, though I guess the timing worked out nicely. Co-written by Steve Miller and the band’s keyboarder at the time Ben Sidrin, the song was included on their third studio album Brave New World that came out in June 1969. The vibe of the main riff is a bit reminiscent of Peter Gunn, the theme music for the American detective TV show of the same name, composed by Henry Mancini in 1958. In 1979, Emerson, Lake & Palmer popularized that theme on their live album Emerson, Lake and Palmer in Concert.
Deep Purple/Space Truckin’
Time to go for some Space Truckin’ with Deep Purple. This track is the closer of the band’s sixth studio album Machine Head from March 1972, which to me remains their Mount Rushmore to this day. Like all remaining tracks on the record, Space Truckin’ was credited to all members of the band: Ritchie Blackmore (guitar), Ian Gillan (vocals, harmonica), Jon Lord (keyboards), Roger Glover (bass) and Ian Paice (drums, percussion).
Elton John/Rocket Man
One of my all-time favorites by Elton John happens to be related to space as well: Rocket Man, from his fifth studio album Honky Château that came out in May 1972. As usual, Sir Elton composed the music while Bernie Taupin provided the lyrics. Honky Château became John’s first no. 1 record in the U.S. He was literally flying on top of the word – six additional no. 1 albums in America would follow in a row!
I guess 1972 was a year, during which space themes were particularly popular in rock and pop music. In June 1972, only one and three months after Honky Château and Machine Head, respectively, David Bowie released his fifth studio album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. I have to say I tend to like him best during his glam rock period, and Ziggy Stardust is my favorite Bowie album. Like all except for one tune, Starman was written by Bowie.
Even soul great Stevie Wonder got into the “space business.” Saturn, co-written by Michael Sembello and Wonder, became a bonus track to Songs in the Key of Life, his magnum opus from September 1976.
The Police/Walking on the Moon
The year was 1979 when The Police released their sophomore album Reggatta de Blanc in October. Walking on the Moon, written by Sting, is the first track on the B-side. Yes, this was still pre-CDs, not to mention music streaming! I’ve always liked the reggae vibe of this tune.
R.E.M./Man on the Moon
Let’s wrap up this collection of space-themed songs with Man on the Moon by R.E.M. The tune, a tribute to American comedian and performer Andy Kaufman, was credited to the entire band: Michael Stipe (lead vocals), Peter Buck (guitar, mandolin, bass), Mike Mills (bass, keyboards, accordion, backing vocals) and Bill Berry (drums, percussion, keyboards, melodica, bass, backing vocals). It was recorded for R.E.M.’s eighth studio album Automatic for the People from October 1992. The album became their second major international success after Out of Time that had been released in March 1991.
The electro-mechanical keyboards are known for amazing sound capabilities and quirks
Yesterday, when all my troubles seemed so far away, I came across this YouTubedemo of the Mellotron. It reminded me what a cool musical instrument this type of keyboard is and that I hadn’t done a “hardware” post since this one about the Vox Continental from August 2018. Two great reasons for a new installment, don’t you agree? 🙂
I realize writing about musical gear can quickly get you into geeky territory. As a hobby musician, I can’t deny I get easily excited when it comes to instruments and their sounds and looks. I guess you could call that geeky. At the same time, I’m not exactly a tech wiz – in fact, far from it! As such, I mostly approach gear posts from the sound (and looks) side and keep the tech side relatively light.
Which brings me to the Mellotron. The first time I ever heard this marvelous keyboard in action, I didn’t realize I was listening to a Mellotron. Clever, huh? Well, it’s true. I suppose more frequent visitors of the blog may already have an idea where I’m going with this. I’ll give you a hint: Four lads from Liverpool…
Strawberry Fields Forever. Undoubtedly, my fellow Beatles fans already knew that! 🙂 This John Lennon gem from 1967, which was co-credited to him and Paul McCartney as usual, is perhaps the most famous example in pop rock of a Mellotron in action. I’m particularly referring to the beautiful flute sound intro, which was played by McCartney. According to The Beatles Bible, George Martin and Lennon also played two Mellotron parts, using the ‘swinging flutes’ and, towards the end of the song, ‘piano riff’ settings.
I could easily dedicate an entire post to Strawberry Fields Forever, which was one of the most complex tunes The Beatles ever recorded. Perhaps one day I will, but for now, let’s get back to the Mellotron and some history, as well as an attempt to explain how the mighty instrument works, based on my ingenious tech understanding. 🙂 And, of course, I’ll wrap things up with some examples that illustrate what Mellotron keyboards can do!
Let’s start with the technology. Fortunately, there’s Wikipedia! Basically, the Mellotron is what’s called a sampler, meaning it samples music instruments and other sounds, but instead of relying on digital sampling like the modern samplers do, it’s based on analogue samples recorded on audio tapes – essentially like an old-fashioned tape deck! When a player presses a key, a tape that’s connected to it gets pushed against a playback head, which in turn generates the sound. Once released, the tape moves back in its default position.
The tapes in a Mellotron include recordings of actual instruments, voices and other sounds, which is pretty neat when you think about it. Each tape recording lasts for about 8 seconds. This means a player cannot indefinitely hold down a key and get a sound – one of the instrument’s many quirks. There are others. As Sound on Soundexplains, the Mellotron had 35 tape heads and other interconnected hardware, which made it quite challenging to maintain from a mechanical perspective.
For example, if the springs that pull back the tapes to their start position malfunction, this could mean the sampled sound only starts in the middle of the tape, and a player would have even less than 8 seconds of sound; or I suppose no sound at all, if the spring gets stuck in a completely extended position. There are different Mellotron models, so I’m not sure they all have 35 tape heads. My point here is to illustrate the instrument’s delicacy!
As you’d expect, the Mellotron offers a variety of sounds. From Wikipedia: On earlier models, the instrument is split into “lead” and “rhythm” sections. There is a choice of six “stations” of rhythm sounds, each containing three rhythm tracks and three fill tracks. The fill tracks can also be mixed together.
Similarly, there is a choice of six lead stations, each containing three lead instruments which can be mixed. In the centre of the Mellotron, there is a tuning button that allows a variation in both pitch and tempo. Later models do not have the concept of stations and have a single knob to select a sound, along with the tuning control. However, the frame containing the tapes is designed to be removed, and replaced with one with different sounds.
Okay, I promised to keep it “light” on the technology, so the above shall be sufficient. Next, I’d like to touch on the Mellotron’s history. While tape samplers had been explored in research studios, it wasn’t until 1962 that the instrument’s commercial concept originated. And it took a little help not exactly from a friend, as would become clear later.
Bill Fransen, a sales agent for the California-based maker of the Chamberlin electro-mechanical keyboards, took two Chamberlin Musicmaster 600 instruments to England to find a suitable manufacturer that could make tape heads for future Chamberlin keyboards. He met Frank Bradley, Norman Bradley and Les Bradley of tape engineering company Bradmatic Ltd. in Birmingham. The Bradleys told him they could advance the original instrument design, and keyboard history started to change.
The Bradleys subsequently teamed up with BBC music conductor Eric Robinson, who not only agreed to arrange the recording of the necessary instruments and sounds for the tapes but also to help finance the effort. They also pulled in English magician and TV personality David Nixon and formed Mellotronics, a company to produce and market the Mellotron.
In 1963, Mellotronics started making the Mk I, the first commercially manufactured model of the Mellotron. The following year, the company introduced the Mk II, an updated version featuring the full set of sounds selectable by banks and stations. There are multiple other models that were developed thereafter, including the M400, which is pictured on top of this post and became a particular popular version.
There was only one hiccup. Fransen had never told the Bradleys that he wasn’t the original owner of the Chamberlin concept. Suffice to say the California company wasn’t exactly pleased that a British competitor essentially had copied their technology. After some back and forth, the two companies eventually agreed that each would be allowed to continue manufacture instruments independently.
In the ’70s, the Mellotron name was acquired by American company Sound Sales. After 1976, Bradmatic that had renamed themselves Streetly Electronics in 1970, manufactured and sold Mellotron type keyboards under the Novatron brand name. But eventually, the advent of modern electronic samplers caught up with both companies. As a result, they found themselves in dire financial straits by the mid ’80s. In 1986, Streetly folded altogether.
In 1989, Les Bradley’s son John Bradley and Martin Smith, who had built Mellotron keyboards for the Bradleys at the original factory in Birmingham, England, revived Streetly Electronics as a Mellotron support and refurbishment business. The company exists to this day. In 2007, they also developed a new model that became the M4000. It combined features of several previous models with the layout and chassis of the popular M400 but with a digital bank selector that emulated the mechanical original in the Mk II.
If you’re still with me, let’s now move on to the post’s final and actual fun section: Seeing and hearing Mellotron keyboards in action. And while many things in pop music start with The Beatles, the Mellotron is one of the exceptions that prove the rule! Apparently, in the mid ’60s, English multi-instrumentalist Graham Bond became the first rock artist to record with a Mellotron. He also was an early user of the legendary Hammond organ and Leslie speaker combination. Here’s Baby Can It Be True from The Graham Bond Organization’s 1965 sophomore album There’s a Bond Between Us. Per Wikipedia, the tune was the first hit song to feature a Mellotron Mk II.
Another early adopter of the Mellotron was Mike Pinder, who had worked as a tester at Streetly Electronics (then still called Bradmatic) for 18 months in the early 1960s and became the keyboarder and co-founder of The Moody Blues in 1964. Pinder started using the Mellotron extensively on each of the band’s albums from Days of Future Passed (1967) to Octave (1978). Here’s one of the former record’s absolute gems written by Justin Hayward: Tuesday Afternoon (Forever Afternoon). In addition to Mellotron, the album used plenty of actual orchestration.
And since it was Pinder who introduced The Beatles to the Mellotron, now it’s time to come back to Strawberry Fields Forever. Notably, George Martin was less than excited about the Mellotron, reportedly describing it “as if a Neanderthal piano had impregnated a primitive electronic keyboard” – ouch! Probably, he was referring to some of the instrument’s quirks I mentioned above! The Beatles still ended up using various Mellotron keyboards on their albums Magical Mystery Tour and The White Album.
Another well-known user of the Mellotron was Rick Wakeman. Before joining Yes in 1971, Wakeman was a full-time session musician. Among others, this included work with David Bowie on his second eponymous studio album and the mighty Space Oddity. As reported by Ultimate Classic Rock, the initial idea was for Wakeman to play a guide track with the Mellotron that would be replaced by an actual orchestra. But producer Tony Visconti decided to keep Wakeman’s Mellotron part.
Let’s do a few more Mellotron examples from the ’70s. These selections are taken from the previously noted Ultimate Classic Rock piece. First up: And You And I, a tune from Close to the Edge, the fifth studio album by Yes released in September 1972. The more than 10-minute track was co-written by Jon Anderson, Steve Howe (except the Eclipse section), Chris Squire and Bill Bruford. Wakeman used the Mellotron to capture stings, brass and flutes sounds, especially during the tune’s Eclipse section.
One month later, in October 1972, Genesis released their fourth studio album Foxtrot. Here’s the opener Watcher of the Skies, which like all of the record’s tracks was credited to all members of the band. Ultimate Classic Rock notes the sound of the Mellotron created by Tony Banks turned out to be so popular that the manufacturer introduced a “Watcher Mix” sound on the next version of the keyboard – pretty cool in my book!
Since all things must pass including epic gear blog posts, let’s wrap up things with one final – and I might add particularly mighty – example of Mellotron use: Kashmir, from Led Zeppelin’s sixth studio album Physical Graffiti, which came out in February 1975. Credited to Jimmy Page, Robert Plant and John Bonham, the closer of Side 2 of the double LP features plenty of orchestration arranged by John Paul Jones. This includes both Mellotron strings and an actual string and brass section. While this makes it tricky to distinguish between the Mellotron and “real instruments”, Ultimate Classic Rock notes, The consensus is that Jones’s fake strings are heard during the “All I see turns to brown…” bridge (starting around 3:25) and join up with the actual strings in the tune’s closing minutes, adding a weird and wonderful effect.
This post focused on the use of the Mellotron during its most popular period from the mid ’60s to the second half of the ’70s. One can also find occasional examples thereafter like Orchestral Maneuvers in the Dark and XTC on albums they released during the first half of the ’80s, as well as Oasis and Radiohead on recordings made during the second half of the ’90s. I think it’s safe to assume some keyboarders continue to use Mellotrons to this day, though with the modern digital samplers, it has to be a niche product.
Sources: Wikipedia; The Beatles Bible; Sound on Sound; Streetly Electronics website; Ultimate Classic Rock; YouTube
While I wouldn’t call myself an all-out science enthusiast, I just can’t help but feeling a sense of excitement about the 50th anniversary of Apollo 11. Since the moon landing happened on July 20 five decades ago, which is kind of mind-boggling, it felt appropriate to post a clip that is related to space and space exploration. The first music artist coming to mind in this context is David Bowie, who clearly seemed to be fascinated by space.
Written by Bowie, Space Oddity was first released as a single on July 11, 1969, i.e., nine days prior to the moon landing. It also became the opening track of Bowie’s eponymous sophomore album that appeared in November of the same year. In 1972, it was reissued by RCA Records as Space Oddity – presumably after some clever marketing person there decided the new title would fuel sales, given the success of the song. Reissues in 2009 and 2015 reverted to the original title David Bowie.
Based on the chiron in the beginning of the clip, the above footage was taken from a live appearance of Bowie and his band on the American late-night TV music variety show The Midnight Special. The show premiered in August 1972 as a special on NBC and ran as a regular series from February 1973 until May 1981. Given Bowie’s looks, it’s safe to assume he was an early guest on the program.
Space Oddity, by the way, had nothing to do with the moon landing but instead was inspired by the 1968 Stanley Kubrick picture 2001: A Space Odyssey. Songfacts quotes Bowie from a 2003 interview with Performing Songwriter magazine: “In England, it was always presumed that it was written about the space landing, because it kind of came to prominence around the same time. But it actually wasn’t. It was written because of going to see the film 2001, which I found amazing. I was out of my gourd anyway, I was very stoned when I went to see it, several times, and it was really a revelation to me. It got the song flowing. ”
Bowie added, “It was picked up by the British television, and used as the background music for the landing itself. I’m sure they really weren’t listening to the lyric at all (laughs). It wasn’t a pleasant thing to juxtapose against a moon landing. Of course, I was overjoyed that they did. Obviously, some BBC official said, ‘Oh, right then, that space song, Major Tom, blah blah blah, that’ll be great.’ ‘Um, but he gets stranded in space, sir.’ Nobody had the heart to tell the producer that.” You just gotta love Bowie’s wit.
Well, I suppose most folks tend to pay more attention to the music than the lyrics. Perhaps the best example I can think of is Bruce Springsteen’sBorn In The U.S.A., which was widely misunderstood as being an anthem and shamelessly misused by a politician. In reality, of course, it was highly critical of the treatment of veterans returning home from war, which sadly remains a serious issue to this day.
I can’t believe almost three months have passed since my last installment in this long-running recurring feature. For some reason, at times, I need to convince myself to start digging through music history for a specific date yet again, though once I do so, I’m usually intrigued with what comes up. Of course, there are occasions where what I find only mildly excites me. When that happens, I tend to refrain from writing a post. Anyway, April 14 turned out to be an interesting date.
1945: Richard Hugh Blackmore, better known as Ritchie Blackmore, was born in the southwestern English seaside town of Weston-super-Mare. This means the guitarist and songwriter is turning 73 years old today. Blackmore is best known as one of the founding members of Deep Purple, which is still my favorite hard rock band to this day. Yes, there are other great hard rock bands, first and foremost Led Zeppelin, but if I had to choose one, it would still be Deep Purple. Blackmore also founded Rainbow in 1975 and revived the band as Ritchie Blackmore’s Rainbow in 2015. In 1997, he kissed rock music goodbye and established Blackmore’s Night, a British-American traditional folk-rock band with then-girlfriend Candice Night, who became his wife in 2008 – I suppose he carefully listened to what many parents tell their kids about getting engaged or married: Don’t rush it! 🙂 In 2016, Blackmore was inducted into the Rock & Roll Hall of Fame as a member of Deep Purple. Here’s Blackmore in action with a cool high-speed guitar solo: Highway Star, from my favorite 1972 Deep Purple album Machine Head. Happy birthday!
1963: The Beatles saw The Rolling Stones perform for the first time at The Crawdaddy Club in Richmond, a suburban town in southwest London. “They were still on the club scene, stomping about, doing R&B tunes,” recalled George Harrison, according to The Beatles Bible. “The music they were playing was more like we’d been doing before we’d got out of our leather suits to try and get onto record labels and television.” Added Paul McCartney: “Mick tells the tale of seeing us there with long suede coats that we’d picked up in Hamburg, coats that no one could get in England. He thought, ‘Right – I want to be in the music business; I want one of those coats.'” And what did Ringo Starr have to say? “I knew then that the Stones were great. They just had presence. And, of course, we could tell – we’d had five weeks in the business; we knew all about it!” Last but not least, here’s some of John Lennon’s recollection: “They [The Stones] were run by a different guy then, Giorgio Gomelsky. When we started hanging around London, the Stones were up and coming in the clubs, and we knew Giorgio through Epstein. We went down and saw them and became good friends.”
1966: The Spencer Davis Group was on top of the U.K. Singles Chart with Somebody Help Me, scoring their second no. 1 single in the U.K. Like their first chart-topper Keep On Running, the tune was written by Jackie Edwards, a Jamaican musician and songwriter. The song was also included on the band’s third studio album Autumn ’66 released in August 1966. If my math is correct, Steve Winwood, who sang lead and played keyboards, was all of 17 years when they recorded the single. He was still known as Stevie Winwood at the time – what an amazing talent!
1967: The Bee Gees released their debut single in the U.S., New York Mining Disaster 1941. Co-written by Barry Gibb and Robin Gibb, it became the band’s first international single release and their first song to chart in the U.S. and the U.K., peaking at no. 14 on the Billboard Hot 100 and no. 12 on the U.K. Singles Chart, respectively. When the tune was released, there were rumors the Bee Gees actually were The Beatles recording under a pseudonym. “If you sounded like the Beatles and also could write a hit single, then the hype of the machine would go into action, and your company would make sure people thought you sounded like the Beatles or thought you were the Beatles,” recalled Barry Gibb, according to the 2012 biography The Bee Gees – Tales of the Brothers Gibb, by Hector Cook, Melinda Bilyeu and Andrew Mon Hughes. “And that sold you, attracted attention to you. It was good for us because everyone thought it was the Beatles under a different name.” While it’s safe to assume opinions about the Bee Gees are divided among readers of the blog, I’ve actually always thought they were pretty talented vocalists and songwriters.
1972: David Bowie released Starman as a single in the U.K., which became his second major hit there since Space Oddity from July 1969, peaking at no. 10 on the singles chart. In the U.S., the single performed more moderately, reaching no. 65 on the Billboard Hot 100. Written by Bowie, the tune was a late addition to his fifth and, in my opinion, best studio album The Rise And Fall Of Ziggy Stardust And The Spiders From Mars released in June 1972. It also happens to be one of my favorite Bowie tunes.
Sources: Wikipedia, This Day In Music, This Day In Rock, The Beatles Bible, YouTube
Almost Queen couldn’t have come up with a better a name. These four guys from New York really make you feel like you’re watching Freddie Mercury, Brian May, John Deacon and Roger Taylor. While unfortunately this is no longer possible and, as such, they are almost Queen, this band is doing a true killer job. I caught their show last night at The Stone Pony in Asbury, N.J. They really blew the frigging roof off the place!
Queen has been on my radar screen on and off since the late ’70s/early ’80s. While I wouldn’t call myself a die-hard fan, I’m well familiar with their better known songs and like many of them. In fact, I had contemplated doing a post on the English rock band a couple of times before. Then I spotted a notification on Facebook about Almost Queen’s gig last night and watched a few YouTube clips. Since yours truly has been called the King Of The Tribute Bands, of course, I had to continue performing my duties to continue living up to the title. 🙂
Before getting to last night’s gig and of course some clips, a few words about the band. There isn’t a lot of public background information out there, so I’m quoting from their website: Almost Queen delivers a live performance showcasing signature four part harmonies and intricate musical interludes. Donning genuine costumes, Almost Queen captures the live energy and precision that is the penultimate Queen experience. Okay, you simply could have said they are a kick-ass tribute that sounds and looks pretty darn close to the real deal!
Almost Queen are Joseph Russo as Freddie Mercury, Steve Leonard as Brian May, Randy Gregg as John Deacon and John Cappadona as Roger Taylor. While I couldn’t find any bios on these guys, it’s pretty clear to me that Almost Queen isn’t their first trip to the rodeo – there’s simply too much serious musician craftsmanship going on here! Take it from a guitarist and former bassist, who may have been only moderately capable but who sure as heck knows skill when he sees or hears it! Okay, let’s get to some killer clips before we all get a sheer heart attack!
After the great opener Tie Your Mother Down, one of my favorite Queen tunes I unfortunately missed to capture, Leonard rhetorically asked, are you ready to get crazy?When the crowd unambiguously expressed their sentiments, the band appropriately kept their foot on the gas pedal with Stone Cold Crazy. The tune first appeared on Queen’s third studio album Sheer Heart Attack from November 1974 and was credited to all four members of the band. The track was also released separately as a single and became a staple of Queen’s live shows thereafter.
Next up: Killer Queen, another track from Sheer Heart Attack. Written by Freddie Mercury, the tune also became the album’s lead single in October 1974. Almost Queen did a great job with the harmony vocals here. These guys definitely can do both play and sing!
Another One Bites The Dust is from Queen’s eighth studio record The Game, released in June 1980. The funky tune was written by John Deacon and also came out separately as the album’s fourth single. Ever since I’ve heard the hilarious version by “Weird Al” Yankovic, who turned it into Another One Writes The Bus, his take is in my ears.
By the time Almost Queen got to Don’t Stop Me Now, there was absolutely no chance anything could get in their way. The crowd had fully embraced them right from the get-go of the show, and the room was cooking, fueled by the pulsating drums and pumping bass! Written by Freddie Mercury, Queen first recorded Don’t Stop Me Now for their seventh studio album Jazz from November 1978. It also became the record’s second single released in January the following year.
Next up: Fat Bottomed Girls, another track from Jazz, written by Mercury. The tune also became the B-side to the album’s lead single Bicycle Race. Almost Queen made it another vocal gem.
Crazy Little Thing Called Love is not an Elvis Presley song, as Russo reminded the crowd, but yet another great Freddie Mercury composition from The Game. The cool rockabilly tune also became the album’s lead single in October 1979.
And then the time had come for Almost Queen to pay tribute to David Bowie with Under Pressure. The collaboration with The Thin White Duke was included on Queen’s 10th studio release Hot Space from May 1982. It also appeared as the album’s lead single in October the previous year and became Queen’s second no. 1 hit in the U.K. after Bohemian Rhapsody, topping the Official Singles Chart for nine week. For Bowie it was his third no. 1 on that chart, following Ashes To Ashes and the 1975 reissue of Space Oddity. The track is credited to all members of Queen and David Bowie.
No Queen tribute show would be complete without the above mentioned Bohemian Rhapsody. In my humble opinion, it is one of the weirdest and the same time most brilliant rock songs I know. The epic track was first recorded by Queen for A Night At The Opera, their fourth studio album from November 1975. Written by Mercury and also released separately as the record’s lead single in October that year, the tune should have laid to rest any doubts anyone might ever have had that he could have been an opera singer as well. There aren’t many rock vocalists with that quality – the only other one that comes to my mind spontaneously is Roy Orbison.
And since all things must pass, including great rock & roll shows, the time had finally come for Almost Queen to wrap things up. And what better songs to choose than We Will Rock You and We Are The Champions, just like Queen did traditionally. Both songs appeared back to back as the openers on Queen’s sixth studio album News Of The World. Perhaps not surprisingly, the guitar rocker We Will Rock You was penned by Brian May, while We Are The Champions is yet another Freddie Mercury composition.
So here we are, nine clips later – can you tell somebody got a little bit excited here? I just wish the sound quality of the footage would be better, since I feel it doesn’t do full justice to the band. The audience’s ability to sing, on the other hand, is captured accurately, I’m afraid! 🙂 Oh well, ultimately live music should be about having a great time, and I highly doubt there was anyone last night walking out of the place and being disappointed.
While I obviously recorded a good deal of the show, obviously, there were many things I left out, including pretty impressive drum and guitar solos by Leonard and Cappadona, respectively. Each of the band’s guys is massively talented.
According to the tour schedule on their website, upcoming Almost Queen shows include Brooklyn, N.Y. (Sep 8), Beverly, Mass. (Sep 21) and Plymouth, N.H. (Sep 22). If you like Queen and these guys come to your neck of the woods, you should seriously consider them. Tickets are quite affordable. Take it from the King Of The Tribute Bands – Almost Queen truly is almost Queen! 🙂
When it comes to David Bowie, I’ve always felt more drawn to his early years. Space Oddity, The Man Who Sold The World and Changes are among my favorite tunes. Ditto for Starman, Ziggy Stardust and Suffragette City. I was less fond of his Tin Machine venture and didn’t pay much attention to music he released thereafter. The Rise And Fall Of Ziggy Stardust And The Spiders From Mars is Bowie at his best, in my opinion. So guess what happened when I recently spotted a used audiophile vinyl copy of this gem at a small record store close to my house? Yep, I just couldn’t resist taking it home!
Often simply called Ziggy Stardurst, the record is Bowie’s fifth studio release and appeared in June 1972. Wikipedia characterizes it as a “loose concept album” revolving around a bi-sexual alien rock musician who becomes widely popular among teenagers before his fame ultimately kills him. Ziggy Stardust also became Bowie’s most notorious alter-ego during the massive tour that supported both this record and the follow-on Aladdin Sane from April 1973. Spanning the U.K., North America and Japan, the extended tour lasted from late January 1972 until early July 1973. One of the U.S. gigs, performed for radio broadcast in Santa Monica, Calif., became a fantastic bootleg. Since 2008 it’s been available officially as Live Santa Monica ’72.
Driven by his fondness for acting, Bowie liked to create on-stage personas for his music and totally immersed himself into the characters. In the case of Ziggy Stardust things got so intense that eventually he could no longer distinguish between himself and his alter-ego. Wikipedia quotes him from the biography Bowie: Loving The Alien (Christopher Sanford, Da Capo Press, Cambridge, Massachusetts, 1997): Stardust “wouldn’t leave me alone for years. That was when it all started to go sour … My whole personality was affected. It became very dangerous. I really did have doubts about my sanity.” Time for a another cheerful topic – music about earth’s demise! 🙂
The album opens with Five Years, which like all other tunes except one was penned by Bowie. Telling about the planet’s upcoming destruction, musically, the song is a great built. Generally speaking, when it comes to music, to me the lyrics tend to be second to the melody and musical arrangement – in other words, usually, it takes the two latter for a song to grab me.
Next up: The excellent Soul Love, a tune with a distinct cool groove. In addition to singing lead and backing vocals, Bowie is also playing acoustic rhythm guitar and alto saxophone. I admire people who can master various instruments and always wanted to be a multi-instrumentalist myself. I only managed to learn the acoustic guitar and electric bass, each with moderate success, but I’m getting off topic here!
Starman was the last song Bowie wrote for the album, after RCA had noted it was lacking a single. Really? How about the catchy rocker Suffragette City? In any case, I’m glad Bowie obliged, since the result was one of his all-time greatest tunes: Starman. It ended up replacing a take of Chuck Berry’sAround And Around, simply called Round And Round. That cover eventually became the B-side to Drive-In Saturday, an April 1973 single from the Aladdin Sane album. BTW, Suffragette City ended up as the B-side to Starman – I think it should have been it’s own (A-side) single!
The record’s title track is another highlight. I’ve always loved the guitar riff – simple yet effective! Plus, it’s about a guy playing guitar. Did I mention guitarists are cool dudes? 🙂
The last tune I’d like to highlight, perhaps you guessed it, is Suffragette City, the tune on the I album I like best and perhaps my favorite Bowie song overall. It’s simply a kick-ass rocker – ahhh, wham bam, thank ya man! (taking some creative license here). Initially, Bowie had offered the song to then-struggling Mott the Hoople. His condition: Don’t break up, guys! While the band declined that tune, they went with Bowie’s All The Young Dudes instead, another catchy song. Oh, and it became their biggest hit in the U.K. and extended their career for more than five years (until 1980) – not a bad outcome!
The album’s music arrangements are credited to Bowie and Mick Ronson (guitar, piano, vocals), who was part his excellent backing band The Spiders From Mars. The other members included Trevor Bolder (bass) and Mick Woodmansey (drums). I need to check out whatever happened to these guys after their last performance with Bowie. That show at the Hammersmith Odeon in London on July 3, 1973 was captured in the 1973 documentary Ziggy Stardust And The Spiders From Mars by D.A. Pennemaker, a film I’ve also yet to watch!
The Ziggy Stardust album was recorded at Trident Studios in London, U.K., and co-produced by Bowie and Ken Scott, one of the five main recording engineers for The Beatles. That in and of itself is already pretty cool, but there’s more: Scott has also worked with other big names, such as Elton John, Pink Floyd, Mahavishnu Orchestra, Jeff Beck and Kansas. And he co-produced additional Bowie albums, including Hunky Dory (December 1971), Aladdin Sane and Pin Ups (October 1973).
Ziggy Stardust has been called Bowie’s breakthrough album. It peaked at no. 5 on the British Official Albums Chart and no. 75 on the Billboard Top LPs & Tape chart (now called the Billboard 200). The album has received numerous accolades over the years. It is ranked no. 35 in Rolling Stone magazine’s 2013 list of the 500 Greatest Albums of All Time. In 1997, it was named the 20th greatest album of all time in a Music of the Millennium poll in the U.K. In 2017, the U.S. Library of Congress selected the record for preservation in the National Recording Registry, deeming it “culturally, historically, or artistically significant.”