no thanks: machines or back to humans

 

purchase [ The Works ]

Freddie Mercury? Yes, please.

There's much about him that I don't really approve of, but he was amazing in many ways. Alas, I do not profess to be well-versed about the man or Queen- I think I'm moderately informed (and despite the previous remark - don't consider myself biased. I like what I like. Period.)

So .. a search for songs about <no thanks> turned up a Queen song that I wasn't aware of. Perhaps - if I had purchased their 1984 <The Works> album, I would have been informed. After all, that's the album with "Radio Ga Ga" and "I Want to Break Free". Very muchly my bad for this ignorance. But that ignorance is in the past and it is not the fırst tıme I have ignored some great music that I shoud not have. Do it again? No, thanks. But that's easier said than done, isn't it? There are so many factors that bias us before we even give things a chance.

1984 is officially history. Sadly, Freddy Mercury is, too. One apsect of a historical perspective look back at the 1980s is the main stream adoption of digital [synthesized] sound. Sure .. we had "Switched On Bach" at the end of the 60s, but here ... we're moving to rock bands doing "fake" sound  live - it's gone commercial/practical. Beyond  this point, all "sound" is potentially an invention * to the extent that digital is manıpulated. This song is one of those inflection points.

The first part of the song is "machine" dominated. (Remember that the Apple Mac (ad) came out that same year). Make of it what you will in terms of techno-message, it's the music that matters. When the technobabble (yes, homage to  Alan Parsons) dies down a bit, we are left with a song almost as pwerful as the tracks from this album that did make it to the charts.

No place. No soul. No regard. No conception. (But no <no thanks> except for the main message: machines? No, thanks.)

Queen & Adam Lambert 2019

Great: The Great Pretender

purchase [ Platters version]
purchase [The Band version ]
purchase [ Freddy Mercury version ]

There are many notable version of The Great Pretender and it is no surprise that it was voted one of the greatest songs of all time by Rolling Stone magazine back in 2004 (Yeah, OK, in @ #360, but still...) But the song also carries on our previous mask theme, where the protagonist puts on a public face/performance that just aint true. And it would appear that this is something you just about have to do when you get up on a stage, be you Dolly Parton, Elvis, Freddy Mercury, Roy Orbison or Sam Cooke.

Way  back in  the year I was born, the story goes, a music producer named Buck Ram wrote this song in 20 minutes in a Vegas hotel washroom. At the time, he was the manager for the Platters, who recorded the song as a follow up to their first hit, Only You. When Mercury records signed them in a two-fer deal on the coat-tails of The Penguins (who, unlike the mostly unknown Platters, had a charting hit called Earth Angel), it wasn't at all clear that The Platters would go down in history. But they did- for a number of reasons - and the Penguins mostly did not. They went on to have many hits (something like 40 of them in about a 10 year span), they were like the first cross-overs from doo wop R&B to rock, they included a female in the line-up, and then they rapidly fell out of favor after they were busted.

Sam Cooke did a  version on his 1960 album Hits of the 50's

Dolly Parton covered it in 1984. Now there's someone who was well aware of the need for pretense as part of her show/pesona. Says Michelle Lindsey [link], "‘The Great Pretender’ is what she set out to be as a poor kid playing dress up, writing songs and hoping to become a star. ...  [Parton] admitted, ‘I do it because I’m a show person.’ To drop the pretence, the persona and age like a normal human being is not an option. You see this now in almost every famous person, trickling right down even to the average person in the street."

The most familiar to me is the version from the Band. I guess by that time I was consuming most of the music that was being produced and The Band, as J David recently noted was [link] hot. J David references the Stage Fright album. How appropriate! The best way to get over your stage fright? Pretend.

The version by Freddy Mercury in 1987 has a certain poignance to it in that it immediately predates his HIV public announcement, and most research indicates that he must have been aware of his health issues well before the song came out. That said, there isnt much debate about his sexual orientation at that time, and that, too, could certainly entail an element of pretense. These factors may be part of the strength of his commanding performance of the song. About Bohemian Rhapsody, Freddy's lover, Jim Hutton said "Freddie was never going to admit it publicly, because he had to carry on the charade about being straight, for his family. But we discussed it many times."

Old and In the Way also cover the song in a wonderful country style, this recording without Garcia unfortunately.

None of the above will be confused with the Foo Fighters' song similarly named The Pretender, which is a great song but doesn't pass our theme test for "great" unless you force a match like this :

Wine: Killer Queen

Queen: Killer Queen [purchase]

Like many people, A Night At The Opera, and particularly, “Bohemian Rhapsody” was my gateway to Queen. That album came out in 1975, when I was in high school, and it really was not like anything else I (or most people) had heard. My love for that album led me to look at their prior albums, which at that point consisted of their self-titled debut from 1973, and Queen II and Sheer Heart Attack, both (!) released in 1974.

What made Queen so fascinating was that they were one part heavy metal, one part prog, one part vaudeville and music hall, and one part pop, but elevated above the pack by Freddy Mercury’s other worldly voice, Brian May’s distinctive guitars, and a strong rhythm section. Mercury, who has been scientifically proven (!) to have been the world’s greatest singer, would have turned 72 today, had he not died in 1991.

While Queen’s debut may have tilted toward metal, and their second, filled with tales of fairies and black and white queens, might have been more proggy, Sheer Heart Attack, was, as its title hinted, more straightforward hard rock. But not completely.

In fact, the big hit single from the album—their first international hit that made it to No. 2 on the UK charts and No. 12 on the US charts, was “Killer Queen,” a song that Mercury stated was not the hard rock that people expected from Queen, but was more like a song that Noel Coward might have sung. In addition to using a grand piano, Mercury overdubbed it with an upright, to give it a vaudeville feel. And May’s multitracked guitar solo is excellent (and one of his favorites)—he added it late in the recording process because he had been in the hospital with hepatitis and a stomach ulcer.

“Killer Queen” is a song about a high class call girl, and the lyrics set this up by informing us, at the song’s very start:

She keeps Moët et Chandon
In her pretty cabinet.

Moët et Chandon, is, of course, a famous maker of champagne, whose history goes back to 1743, and its prestige made it a perfect signifier for the expensive (if not quite Dom Pérignon-level) tastes of the person who Mercury was describing in the song.

One problem, though—he pronounced it wrong.

The Other Guy: Brian May

Queen: 39
[purchase]

As much as Mick is associated with the Stones, Freddie Mercury’s soaring vocals are synonymous with Queen. And yet, most Queen albums included at least one, sometimes more, songs sung by the other members of the band, typically guitarist Brian May and bassist Roger Taylor. Both men could certainly sing, but neither had a voice with the distinctive qualities of Mercury. Of course, few vocalists do, so that is not really a criticism.

I’ve been a fan of Queen since high school, and like many my age listened to their classic A Night at the Opera many, many times. As much as “Bohemian Rhapsody” blew my teenage mind, and the rest of the album was enjoyable (including the Taylor-sung “I’m in Love with my Car,”) something about "’39," sung by May, has stuck with me through the years.

Until I started researching this post, I was under the apparently common mistaken impression that the song was about 1939 and the start of World War II. The wistful tone of the song fit with my belief that it was about someone looking back to the simpler times before the war, which devastated England beyond what we here in the States experienced.

Turns out, the song is about space travel.

The song, which May has described as “sci-fi skiffle,” tells the story of space explorers who head off on a journey and return a year later, only to find that a hundred years have passed, and everyone they knew is dead. Thus, the wistfulness.

In addition to being one of the greatest and most distinctive guitarists in rock music, Brian May is an astrophysicist. He was studying for his Ph.D when he decided to take a break to become a rock star. But he was no slacker, and in 2007, he finally completed his degree. Shortly thereafter, he was appointed Chancellor of Liverpool John Moores University, a mostly ceremonial position, allowing him to continue to tour and make guest appearances, including at the London Olympics. May has also co-written books on astrophysics and has an asteroid named after him. So, if he wants to write a song about space travel and “time dilation,” he has the musical and intellectual chops to pull it off.

Interestingly, although May sings the song on the album, in concert Mercury usually sang the lead.