Queen - News of the World

Queen - News of the World
EMI/Elektra, 1977
Recorded at Sarm West Studios and Wessex Studios, London
Produced by Queen and Mike Stone

Queen's sixth album News of The World is comparatively stripped down and back-to-basics record after its ambitious and elaborate predecessor, A Day At the Races. Despite being released at the height of punk in 1977, News of the World was a major success selling over 6 million copies worldwide and spawning the mega hits 'We Will Rock You' and 'We Are the Champions'. As News of the World features two of the most iconic (and arguably best) Queen songs, the rest of the album tracks are often overlooked and indeed, forgotten about. The neglect the rest of the album receives upsets me as it is one of the more satisfyingly varied, consistent, and accomplished Queen records. News of the World shows all four members songwriting skills and their unique ability to incorporate many different styles and sounds, without losing their identity and is a must have for all rock music fans.

The album opens with the infectious and anthemic, 'We Will Rock You' - one of the bands most recognizable and enduring songs. 'We Will Rock You' has become a rock standard and is a feature at sporting events around the world. Written by Brian May, who made a conscious to compose a stripped back song in which an audience could contribute to. A simple 4/4 song which consists of a 'stomp stomp clap' motif,  repeated throughout the duration of the tune.  The simple percussive beat is complemented by Freddie Mercury's rhythmical, almost proto-type rap vocal take. Easily the highlight of the song is Brian May's killer guitar solo towards the end, which is actually the only electric instrument to feature. 'We Will Rock You' is followed by the equally recognizable 'We are the Champions' making for and exhilarating, and admittedly exhausting album opening. A Mercury penned power ballad, 'We Are the Champions' was released as double A side along with 'Rock You reaching number two in the UK and number four in US Billboard charts. Like its' fellow A Side, it has became a feature at sporting events around the world with its sing-a-long and crowd motivating chorus. Both songs are so iconic and instantly recognizable and are arguably two of the most effective crowd participation songs in popular music. The immensity of these two songs unfortunately and understandably overshadows the remaining album tracks, something I hope to remedy here.

Back cover

'Shear Hear Attack', written by Roger Taylor is one of the most ferocious songs in Queens back catologue. A clear nod to the punk groups at the time, Queen have never sounded so intense and aggressive It is notable for being of the only Queen songs that does not feature John Deacon on bass guitar, as Taylor played rhythm guitar and bass. interestingly, the song was intended for inclusion on the 1974 album of the same name, however, it was not completed in time and was shelved. A remarkable speed-rock song and a fantastic example of the bands ability to completely let loose.
'Shear Heart Attack' is followed by the beautifully somber May ballad 'All Dead. All Dead'. Written about the passing of his childhood cat and the lasting effect that its' death had on him. Sung by May himself, 'All Dead, All Dead', is a nice mellow relief from the full throttle intensity of the opening three songs.

One of the highlights on Side A is 'Spread Your Wings', considered by many to be the ultimate forgotten Queen hit. Released as a UK only single and stalled at number 34 in the charts. Written by John Deacon who, since the surprise success of 'You're My Best Friend', was now considered an equal songwriter in the band. Interestingly, it was the first Queen single released without the inclusion of backing vocals. Closing Side A is the rocking 'Fight From the Inside', another Taylor penned number. Like 'Shear Heart Attack'. It is one of the few songs in the Queen catologue that is recorded almost entirely by Roger Taylor. 'Fight From the Inside' goes from one awesome riff to another, highlighting Taylor's innate ability to write some of the most bad-ass rock tunes in seventies.

Inside gatefold sleeve

Side B begins with raunchy psychedelic funk rock of 'Get Down Make Love' and the sloppy blues of 'Sleeping on the Sidewalk', with the latter being apparently recorded in one take. Both great rocking tunes, which would have been excellent in a live setting. Deacon comes up trump again with the lovely, jazzy, and indeed very catchy, 'Who Needs You', which features some nice Spanish guitar work from Brian May. Arguably though, the highlight from the second half of News of the World is the epic stadium-sized, 'It's Late'. Along with a powerful riff, epic sing-along chorus, and an excellent vocal take, 'It's Late' also makes use of the guitar tapping technique - which May helped to innovate in the mid-seventies. May's lyrics concern a love affair that is on the verge of ending and are sung with such passion and power by Mercury, you would easily think that it was his composition. A truly awesome piece of rock music - a Queen classic!  

The album was released to expected lukewarm critical reaction (as all Queen's albums at the time were). The varied nature of the music is one of the reasons it is a personal favourite of mine. There is far more to this album than 'We Will Rock You' and 'We Are the Champions'. News of the World ranges from hard rock to soft rock, and even dabbles in punk, blues and jazz. Queens ability to pull off each style with such conviction and make it sound their own is truly awe-inspiring. They are one of the only bands that have the ability to play numerous styles, yet still manage to sound uniquely like themselves. There are no other bands like Queen, making them one of the most successful outsiders in popular music. News of the World is one of my favourite Queen albums, and arguably one of the archetypal stadium rock records.

Key Tracks:

Spread Your Wings
Fight From the Inside
Who Needs You
It's Late

If you enjoy this album, Check out:

Aerosmith - Rocks   1976
Bad Company - Straight Shooter  1975
Thin Lizzy - Bad Reputation   1978

Paul McCartney and Wings - Venus and Mars

Paul McCartney and Wings - Venus and Mars
Capitol Records, May 1975
Recorded at Abbey Road Studios, London, Sea Saint Studio, New Orleans and Wally Heider Studios, LA
Produced by Paul McCartney

The follow-up to the world conquering Band on the Run was always going to be a tall order for Paul McCartney's post-Beatles group, Wings. Indeed, Venus and Mars from 1975 was, albeit commercially successful, but was deemed as a disappointing successor. However, I feel it is on par with Band on the Run and is an excellent album and needs to be reevaluated as one of his greatest post-Beatle triumphs!

Formed in 1971, Wings were back-to-basics group in which McCartney aimed to start in a humble fashion and grow organically, rather than riding on the success of The Beatles. In order to achieve this he recruited ex Moody Blues and Ginger Baker's Air Force guitarist Denny Laine, the unknown american drummer Denny Seiwell; and his wife Linda McCartney whom was a musical novice. Wings were a very amateur pub group that the record buying public were not expecting A scruffy, homespun group - a complete contrast from the bombastic and pretentious later day Beatles. Wings played early rock n' roll music mixed with simple folksy compositions which purposely lacked the wide appeal of McCartney's earlier music. Their first record Wild Life, released in 1971,  was a commercial and critical disappointment. It produced no hit singles and failed to spark the imagination of the record buying public as Paul's name was purposely left of the record sleeve.

Later on in 1972, the band added Northern Irish guitarist Henry McCullough and released a few singles, Including the banned 'Give Ireland Back to the Irish and the bizarre kids' song 'Mary Had a Little Lamb'. A followup record Red Rose Speedway was, however, a more commercial release, and ultimately more successful. The LP  spawned the smash hit ballad 'My Love', which has become one of McCartney's enduring post-Beatle hits. However, like Wild Life, Red Rose Speedway was critically destroyed as being lightweight and inferior in comparison to the other Beatles post 1970 releases.

It wasn't until the epic James Bond theme 'Live and Let Die' and the mega-selling Band on the Run LP in 1973, that McCartney arrived commercially and critically. With the departure of Seiwell and McCullough, Band on the Run was written and recorded with core lineup of the McCartney's and Laine and produced a string of successful singles. Band on the Run is widely viewed as McCartney's greatest post-Beatle triumph, however, the follow-up LP Venus and Mars is an album that interests me far more and deserves a lot more respect than it currently receives.

Venus and Mars/Rock Show 45 Cover

Following Band on the Run, Wings recruited Glaswegian blues-man, Jimmy McCulloch, formerly of Thunderclap Newman and Stone the Crows, and the little know American drummer Joe English. This lineup proved to be the most consistent and arguably the strongest in terms of live performances and longevity. The first recordings made by the new lineup was the tremendous power pop tune 'Junior's Farm', a top-five US hit in 1974. The success of 'Junior's Farm' kick started the lineups chemistry and they soon found themselves in New Orleans recording the follow-up to Band on the Run. 

Venus and Mars was released in 1975 and reached the number one position on both sides of the Atlantic. The album opens with the epic, Abbey Road-like suite 'Venus and Mars/Rock Show'. A US top-twenty hit, the song surprisingly failed to chart in the UK. 'Venus and Mars' is a short folky tune sung in the perspective of an excited concert going, anticipating the beginning of a rock concert. The songs morphs seamlessly into anthemic 'Rock Show'. An upbeat pop-rock song with lyrics concerning the wonders of a live concert. 'Rock Show' references everything from the Hollywood Bowl, Jimmy Page, to the fictional Silly Willy with the Philly Band. It is a fun and memorable song with some excellent slide guitar from work from Jimmy McCullough. Interestingly, one of my favourite singers Allen Toussaint is also credited with the Piano, something I did not realize until recently. 'Venus and Mars/Rock Show' is an excellent opener to the album and went on to became a live staple for the band during their epic Wings Over America tour in 1976.

LP inside cover - Picture taken in Mojave Desert 

'Venus and Mars/Rock Show' is followed by the melancholic and vaguely Psychedelic ballad 'Love in Song'. A tender tune that runs perfectly after the pomposity of 'Rock Show' and flows seamlessly into the music hall bounce of the preceding 'You Give Me the Answer'. A fun vaudeville styled, almost  like Queen in style, 'You Gave Me the Answer' could be seen as an easy target for McCartney detractors because of its jointy and light-weight lyrics. However, I think it is a terrific song and, like most solo McCartney songs,  if released during The Beatles heyday, would have been applauded by the music press. One of the highlights on side A of Venus and Mars is the ridiculously poppy, 'Magneto and Titanium Man'. A marvel comics inspired tune with a terrific electric piano groove and three-part harmonies. Another possible target for detractors for it's lightweight subject and overtly catchy melody. I find the tune of 'Magneto' just simply irresistible and I am totally obsessed with it.  Indeed, 'Magneto and Titanium Man' is very much of a song of its era, it is a bit naff and dated, but it is just so dam infectious! Side A ends with the bluesy, 'Letting Go'. A tad lyrically predictable, but it does showcase the immense musicianship of this lineup of Wings. The guitar interplay between Laine and McCulloch is unprecedented and McCartney's bass line is so solid and pumping that gives 'Letting Go' an r'n'b groove. It really frustrates me how little respect Wings got during this period. Wings were as good, if not better, than many of the more critically acclaimed groups in the 1970s.

Single cover of the US number 1 hit, 'Listen to What the Man Said'

Side B opens with cosmic-rock of 'Spirits of Ancient Egypt' and the bluesy 'Medicine Jar', both sung by Denny Laine and Jimmy McCullough respectively. Both great album tracks in their own right, and it is great to see McCartney's respect and encouragement for other members to contribute to the album. Call Me Back Again' is a heart-wrenching gospel-inspired song, which is one of the strongest tracks on the album. McCartney sings his heart out, with a gritty vocal take, not dissimilar from 'Oh Darling!' from Abbey Road or the vocal refrains towards the end of 'Hey Jude'. Often listed as one of the top Wings' songs in various list, indeed 'Call Me Back Again' is a firm reminder that McCartney was still one of the best singers and songwriters at the time. The albums biggest success was the slick pop tune, Listen to What the Man Said' which topped the US Billboard charts. The song features ex Traffic man Dave Mason on guitar and oozes with some slightly suspect saxophone licks, hinting at the Wings to come. A great pop song, and a showcase of McCartney's ability to pump out commercial music with such ease and skill. Venus and Mars closes with the pretty and slightly forgettable, 'Treat Her Gently/Lonely Old People' and the slightly unnecessary instrumental 'Crossroads Theme', Wings interpretation of the them from a British Soap Opera of the time.

Venus and Mars is on par with any record Paul McCartney has ever done. Its a worthy successor to Band on the Run as it continues the seventies pop rock sound they perfected and more. It is also a great album in its' own right. It is colorful, varied and has a fantastic flow and feel to it. The album has been expertly sequenced to create a complete piece of work. Yes the album isn't perfect, but there aren't many McCartney albums that are. I wouldn't remove the weaker songs like 'Treat Her Gently/Lonely Old People' or 'Crossroads Theme' even if i could. For me, the flaws actually make the album and is a snapshot of mid-70's pop music - a period of in which music was notoriously hit and miss. Like Band on the Run, Venus and Mars still sounds good today, but I wish it would receive a bit more positive press and reviewed as a stand alone LP rather than comparing to it to Band on the Run or The Beatles music.

Key Tracks;

Venus and Mars/Rock Show
Magneto and Titanium Man
Call Me Back Again

If you enjoy this album, Check out:

Paul McCartney and Wings - Band on the Run    1973
Elton John - Caribou    1974
Rod Stewart - Atlantic Crossing   1975
Queen - A Night at the Opera   1975