Posts Tagged Queen

Counter Culture – Midweek Song List (169)

October 14, 2026 at 4:03 pm · Filed under Midweek Song List, Music ·Tagged , , , , , , , , , , ,

One of the pleasures of putting together the Midweek Song List is never knowing quite where the music will take us. This week we’re travelling from the ancient landscapes of English folk mythology to the industrial might of German metal, with stops along the way for 1950s-inspired rockabilly, American punk, classical light music and some intriguing cover versions.

That’s quite a journey, but variety has always been the point. There’s no reason why someone who enjoys Queen shouldn’t also discover the unsettling world of Flipper, or why a fan of hard rock shouldn’t find something to appreciate in the gentle orchestral beauty of Ronald Binge’s Sailing By. Good music doesn’t recognise the artificial boundaries we sometimes impose upon it.

There are also some interesting stories behind this week’s selections. We’ve got a song that became world-famous only after another singer recorded it, a Motörhead classic performed by an unlikely collection of rock celebrities, and a Roy Orbison hit given a new interpretation more than half a century after its original release.

And for anyone who has wondered what Rammstein are actually singing about, we’ll attempt to shed a little light on that as well.

So put aside your musical prejudices, turn up the volume and see where this week’s selection takes you.

Albion – Witch of the Westmorland

We begin with a song steeped in mystery and folklore. The Witch of the Westmorland was written by Scottish singer-songwriter Archie Fisher and has been interpreted by numerous folk performers over the years.

The story concerns a wounded knight seeking the help of a mysterious woman whose supernatural powers offer the possibility of healing. It draws upon the atmosphere and imagery of traditional British balladry, even though the composition itself is comparatively modern.

Albion bring a heavier approach to the material, blending folk melodies with rock and metal instrumentation. The result has much of the atmosphere of an ancient tale being told around a fire, but with considerably more amplification.

It’s a good example of how traditional storytelling can survive quite happily within contemporary musical forms.

YouTube: https://www.youtube.com/watch?v=8PHiZnRI3Rk

Artillery – Turn Up the Rage

Denmark has produced some formidable heavy metal bands, and Artillery have been among its most enduring contributions to the genre.

Formed in the early 1980s, the group became associated with the European thrash metal movement, developing a style built around aggressive guitar riffs, rapid rhythms and technically demanding musicianship.

Turn Up the Rage comes from their 2021 album X, released in May that year. The title reflects the fact that it was their tenth studio album.

The track demonstrates that thrash doesn’t necessarily have to sacrifice melody in pursuit of speed. There’s precision behind the aggression, with tightly controlled guitar passages and a powerful rhythmic foundation.

Not exactly suitable for a quiet Sunday afternoon, perhaps, but there’s something refreshing about music that makes absolutely no apology for its intensity.

YouTube: https://www.youtube.com/watch?v=-1yVzWY4scY

Around About Dusk – Without You

Time for a change of pace.

Around About Dusk offer a very different musical atmosphere from the thunderous approach of Artillery. Without You takes us into a more intimate world, where melody, mood and musical texture matter more than volume.

What appeals here is the way the performance allows the song room to develop. Rather than relying on spectacular production or sheer force, the arrangement invites the listener to pay attention to the interplay between the instruments and the emotional quality of the delivery.

It’s also the sort of selection that illustrates why we try to feature less familiar performers alongside established names.

There is always something satisfying about discovering music without the baggage of reputation or commercial expectations. Sometimes the best approach is simply to listen and decide for yourself.

YouTube: https://www.youtube.com/watch?v=0k0bt_4WuxA

Ronald Binge – Sailing By

For many British listeners, this piece will be instantly familiar even if the composer’s name isn’t.

Ronald Binge composed Sailing By in 1963. The gentle orchestral waltz became closely associated with BBC Radio 4’s late-night Shipping Forecast, where it has provided an unmistakable musical introduction to reports of weather conditions around the British coastline.

Binge was an accomplished composer and arranger associated with the British light-music tradition. His best-known compositions also include Elizabethan Serenade.

There’s something peculiarly comforting about Sailing By. Its graceful melody and unhurried movement seem to belong to a world in which life proceeds at a more civilised pace.

For generations of listeners, its association with the Shipping Forecast has given it an almost ritual significance.

You don’t need any knowledge of classical music to appreciate it. Sometimes a beautiful tune is enough.

YouTube: https://www.youtube.com/watch?v=9Nea287VfmU

Flipper – Ha Ha Ha

And now we abandon tranquillity altogether.

Flipper emerged from San Francisco’s punk underground around 1979 and developed a sound that was deliberately awkward, abrasive and resistant to the conventions of mainstream rock.

Where many punk bands relied upon speed, Flipper often favoured repetitive bass lines, discordant guitars and a slow, grinding intensity.

Ha Ha Ha captures their confrontational spirit particularly well. The humour is bitter, the sound deliberately rough and the performance seems almost designed to irritate anyone expecting conventional musical entertainment.

Yet Flipper’s influence extended well beyond their original underground audience. Their unconventional approach helped shape elements of American alternative rock, and Kurt Cobain was famously photographed wearing a homemade Flipper T-shirt.

This is music that challenges rather than reassures. Whether you love it or hate it, indifference seems an unlikely response.

YouTube: https://www.youtube.com/watch?v=E6PNmvio1GM

Hollywood Vampires – Ace of Spades

Few rock songs announce themselves quite as dramatically as Motörhead’s Ace of Spades.

Originally released in 1980, it became the group’s defining anthem, driven by Lemmy Kilmister’s unmistakable vocals, Phil Taylor’s relentless drumming and Eddie Clarke’s ferocious guitar work.

Hollywood Vampires approach the song as a tribute to Lemmy and his contribution to rock music.

The supergroup features Alice Cooper, Johnny Depp, Joe Perry and Tommy Henriksen. This performance was recorded at the Montreux Jazz Festival in 2018, with bassist Chris Wyse handling lead vocals, and was released in 2026 as part of the group’s live-album project.

Covering something so closely identified with its original performer is always risky. Fortunately, Hollywood Vampires understand that the answer isn’t to imitate Lemmy.

Instead, they celebrate the sheer excitement of the song.

There’s no attempt to reinvent the wheel. Just loud guitars, tremendous energy and an affectionate salute to one of rock’s great characters.

YouTube: https://www.youtube.com/watch?v=YIJth479y4w

Mark James – Suspicious Minds

Here’s a reminder that a great song doesn’t always become a hit the first time somebody records it.

Most people associate Suspicious Minds with Elvis Presley, whose 1969 recording became one of his greatest successes. But the song was written and originally recorded by American singer-songwriter Mark James in 1968.

James, whose real name was Francis Rodney Zambon, recorded the song at Chips Moman’s American Sound Studio in Memphis. His version was released on the Scepter label but failed to make a commercial impact.

Elvis recorded it the following year, using many of the same studio musicians and retaining much of the original arrangement. His performance transformed the song into a major international hit and gave him his first American number one single in seven years.

There’s an interesting story behind the recording, too. Producer Chips Moman resisted attempts by Elvis’s management to claim a share of the publishing rights, and the dispute nearly prevented the record from being completed.

Listening to the Mark James original is a fascinating experience. You can hear just how much of the famous arrangement was already there. What Elvis brought was a particular vocal intensity and dramatic authority.

It raises a question worth considering: how many other brilliant songs were originally recorded by someone other than the performer who made them famous?

YouTube: https://www.youtube.com/watch?v=mFP0EP-Oi2I

John Mayer – Free Fallin’

Originally written by Tom Petty and Jeff Lynne, Free Fallin’ appeared on Petty’s enormously successful 1989 solo album Full Moon Fever.

The original recording is one of those deceptively simple songs that seems effortless, although its combination of melody, atmosphere and carefully judged production reveals considerable craftsmanship.

John Mayer’s interpretation takes a different approach.

His acoustic performance, recorded at the Nokia Theatre in Los Angeles in December 2007 and released on the 2008 concert album Where the Light Is, strips the song back to its essentials. Accompanied by fellow guitarists, Mayer allows the melody and lyrics to carry the emotional weight.

There’s a vulnerability in this version that contrasts with the expansive, radio-friendly sound of Petty’s recording.

A good cover version should bring something new to the material without losing what made the original special. Mayer manages that rather well.

YouTube: https://www.youtube.com/watch?v=vLihs7GFSP4

Morrissey – It’s Over

Roy Orbison possessed one of the most remarkable voices in popular music. His ability to move from restrained melancholy to soaring emotional intensity was almost unmatched.

It’s Over, written by Orbison and Bill Dees, was released in 1964 and reached number one in Britain.

The song’s dramatic structure is particularly interesting. Rather than relying on a conventional upbeat chorus, it builds gradually towards a devastating emotional climax.

Morrissey’s interpretation appeared on his 2019 covers album California Son, which featured songs originally associated with performers including Bob Dylan, Joni Mitchell and Phil Ochs. His recording of It’s Over also features guest vocals from American singer LP.

Morrissey has never made a secret of his admiration for Orbison, and this version makes that affection apparent.

His distinctive vocal style brings a different kind of melancholy to the song. Where Orbison sounds almost operatic in his despair, Morrissey gives the material a more theatrical and sometimes fragile quality.

Whether it improves upon the original is another matter. Orbison set an extraordinarily high standard.

But it’s certainly worth hearing.

YouTube: https://www.youtube.com/watch?v=q3yNAg67u_c

Queen – Seven Seas of Rhye

Before Bohemian Rhapsody, before the stadium anthems and before Queen became one of the biggest bands in the world, there was Seven Seas of Rhye.

Written principally by Freddie Mercury, the song first appeared as a short instrumental on Queen’s self-titled debut album in 1973.

The fully developed version appeared on Queen II the following year and became the band’s first British Top Ten single, reaching number ten.

It also helped establish Queen’s extraordinary musical ambition. The combination of Mercury’s commanding vocals, Brian May’s layered guitars and the group’s elaborate harmonies gave the song a theatrical quality that distinguished them from many contemporary rock acts.

The mysterious kingdom of Rhye was part of Mercury’s imaginative fantasy world, which also influenced other early Queen compositions.

There’s something wonderfully extravagant about the whole enterprise. Even at this early stage, Queen were clearly uninterested in doing things by halves.

The song also provided an early indication of Mercury’s extraordinary ability to make the fantastic sound completely convincing.

YouTube: https://www.youtube.com/watch?v=prIK-inpWGk

Rammstein – Was Ich Liebe

German industrial metal band Rammstein have built an international reputation on thunderous music, provocative imagery and spectacular stage performances.

Their concerts are famous for elaborate theatrical effects, particularly their extensive use of fire and pyrotechnics.

Was Ich Liebe, which translates as What I Love, appeared on the band’s untitled 2019 album.

The song explores a distinctly unsettling idea: that love and happiness contain the seeds of suffering, and that attachment inevitably creates the possibility of loss.

In other words, this is not exactly a cheerful romantic ballad.

Musically, however, it is magnificent.

Rammstein’s combination of crushing guitar riffs, controlled rhythms and Till Lindemann’s distinctive baritone creates an atmosphere that is both threatening and strangely majestic.

There’s an almost ceremonial quality to the performance. The music builds with deliberate precision, producing something closer to industrial theatre than conventional heavy metal.

And perhaps that’s part of the fascination of Rammstein. Even listeners who understand little German can appreciate the drama, power and extraordinary attention to presentation.

As for the lyrics, they’re considerably more philosophical than an homage to chocolate teapots.

YouTube: https://www.youtube.com/watch?v=iI-fPa4jwRc

Stray Cats – Rock This Town

We’ll finish with something guaranteed to get your feet moving.

The Stray Cats emerged from New York at the end of the 1970s, but it was in Britain that they first achieved major commercial success.

The trio consisted of Brian Setzer on guitar and vocals, Lee Rocker on double bass and Slim Jim Phantom on drums.

Inspired by the rockabilly music of the 1950s, they combined the energy of early rock ‘n’ roll with the attitude and visual style of the punk era.

Rock This Town, written by Setzer and produced by Dave Edmunds, became a British hit in 1981, reaching number nine. It subsequently enjoyed similar success in America in 1982.

The song is a joyous celebration of rock ‘n’ roll.

Setzer’s lightning-fast guitar playing is particularly impressive, drawing upon the influence of performers such as Eddie Cochran and Gene Vincent without sounding like a museum-piece imitation.

The rhythm section is equally important. Rocker’s slap-bass technique and Phantom’s stripped-down drumming give the performance its infectious momentum.

It’s a splendid reminder that musical revivalism doesn’t have to mean simply copying the past. The Stray Cats took an established style and made it exciting for a new generation.

And what better way to finish this week’s selection?

YouTube: https://youtu.be/QCK0N-kkDrU?si=IwXVwGpxxEc3lP-s

A final thought

One of the recurring themes this week has been the relationship between original recordings and cover versions.

Mark James wrote and recorded Suspicious Minds before Elvis Presley turned it into a worldwide hit. John Mayer brought a new intimacy to Tom Petty’s Free Fallin’, while Morrissey tackled the considerable challenge of interpreting a Roy Orbison classic.

Then there’s Hollywood Vampires paying tribute to Motörhead.

All of which raises an interesting question.

Can you think of a song that became much more successful in someone else’s hands than it was for the original performer?

One example that immediately springs to mind is I Love Rock ‘n’ Roll. Originally recorded by the Arrows in 1975, it became an enormous hit for Joan Jett and the Blackhearts in 1982.

There must be plenty more.

Let us know your suggestions, along with your favourites from this week’s selection.

 

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30/09/26 – Counter Culture – Midweek Song List (167)

October 2, 2026 at 5:32 am · Filed under Midweek Song List, Music ·Tagged , , , , , , , , , , ,

We’ve recently  been looking at how our ancestors fought to secure the various civil and religious liberties that we enjoy today. We’ve noted that freedom should never be taken for granted and that we should be extremely wary of those, from both the left and the right, who would happily take such liberties away.

From a cultural perspective, artistic freedom must be defended at all costs. Art exists to challenge, provoke, entertain and inspire. The moment we start deciding what people are allowed to create, read, hear or perform, we begin travelling down a very dangerous road indeed.

Every Wednesday the Midweek Song List first appears on our Facebook page before making its way here to the Counter Culture website a little later. As always, we’ve cast our net far and wide. Punk sits alongside country. Glam rock rubs shoulders with indie. Established classics share space with newer discoveries. That’s exactly how we like it. Music should be an adventure rather than a comfort blanket.

This week’s selection includes songs about identity, celebration, perseverance and sheer theatricality. As ever, we hope something here sends you down a musical rabbit hole.

Cock Sparrer – England Belongs To Me

YouTube: Cock Sparrer – England Belongs To Me

Originally released in 1982 on the album Shock Troops, “England Belongs To Me” remains the song most closely associated with East London’s Cock Sparrer. Formed in 1972, the band predated the first wave of UK punk but found their audience when punk exploded later in the decade. Although frequently misunderstood by those unfamiliar with the lyrics, the song is less about exclusion and more about belonging, community and affection for one’s homeland.

The track has become one of the great football terrace anthems and is a fixture at Cock Sparrer concerts. It possesses that rare quality of sounding both intimate and communal. The audience invariably ends up singing as loudly as the band. Few songs invite participation as naturally as this one.

Several bands from the punk and Oi! scenes have covered or paid tribute to the song, but the original remains untouchable. Listening to it today, we’re reminded of a quote by George Lansbury, Labour Party leader from 1932 to 1935: “I love England more than I can say. As the years pass, my love has grown stronger. I think of this island as a jewel set in the sea.” Whatever your politics, there’s something undeniably human in that sentiment.

Billy Ray Cyrus – Achy Breaky Heart

YouTube: Billy Ray Cyrus – Achy Breaky Heart

Few songs have divided opinion as dramatically as “Achy Breaky Heart”. Released in 1992, it transformed Billy Ray Cyrus into an overnight superstar and helped ignite a worldwide line-dancing craze. Yet many of the people who claim to dislike it somehow know every word.

Interestingly, Cyrus didn’t write the song. It was penned by Don Von Tress and originally recorded as “Don’t Tell My Heart” by the Marcy Brothers. Billy Ray’s version became a global phenomenon, reaching the Top 10 in numerous countries and shifting millions of copies. At a time when country music was making major inroads into the mainstream, it arrived at precisely the right moment.

The song has been covered, parodied and referenced countless times over the last three decades. Weird Al Yankovic famously borrowed its melody for “Achy Breaky Song”, while everyone from country acts to novelty performers has taken a swing at it. Love it or loathe it, it remains one of the most recognisable country-pop recordings ever made. Not every song can claim to have entered popular culture to quite this extent.

Elbow – One Day Like This

YouTube: Elbow – One Day Like This (Abbey Road)

When Elbow released “One Day Like This” in 2008, few could have predicted the extraordinary journey that lay ahead. Appearing on the Mercury Prize-winning album The Seldom Seen Kid, it steadily evolved from a well-received single into one of Britain’s most beloved modern anthems.

Frontman Guy Garvey has often spoken about creating a song that celebrated optimism and possibility. The result was a soaring piece of songwriting built around a memorable string arrangement and a chorus that practically demands to be sung by thousands of voices simultaneously. Following its use during the London 2012 Olympics, the song became even more deeply embedded in the national consciousness.

The Corrs, who featured recently on the Song List, have produced a fine interpretation, while numerous orchestras, choirs and community groups have adopted the piece. This performance from Abbey Road captures all the qualities that made the song endure. Sometimes a record arrives at precisely the point people need it. “One Day Like This” feels very much like one of those records.

The Filthy Animals – Fox On The Run

YouTube: The Filthy Animals – Fox On The Run

Readers of this page will know we’re never far away from a discussion about glam rock. The Sweet remain one of the greatest singles bands Britain has ever produced and “Fox On The Run” stands among their finest achievements. Released in 1975, it was written by band members Brian Connolly, Steve Priest, Andy Scott and Mick Tucker, an important milestone as the group increasingly sought creative independence.

The original became an international hit and remains instantly recognisable thanks to its distinctive opening synthesiser riff. While many glam-era records are firmly tied to their period, “Fox On The Run” seems immune to ageing. It still sounds fresh, energetic and gloriously mischievous.

Over the years the song has been covered by numerous artists, ranging from Scorpions to country and hard rock acts. The Filthy Animals remain reasonably faithful to the spirit of the original while adding enough of their own character to justify the exercise. That balance is harder to achieve than many people realise.

Queen – Lap Of The Gods

YouTube: Queen – Lap Of The Gods (Live)

Before Queen conquered stadiums and became one of the biggest bands on the planet, they were already experimenting with ambitious arrangements and grand ideas. “Lap Of The Gods” appeared on the 1974 album Sheer Heart Attack, a record many fans consider the bridge between the band’s early work and the global success that followed.

The song is notable for Freddie Mercury’s remarkable vocal performance. Producer Roy Thomas Baker heavily manipulated parts of the original recording, creating an almost otherworldly sound. Even within Queen’s catalogue, it remains an unusual track. Its companion piece, “Lap Of The Gods… Revisited”, would later become a regular live showstopper.

Queen songs have been covered by hundreds of artists across every conceivable genre, from Metallica and Def Leppard to Elaine Paige and George Michael. Yet watching this early live footage reminds us why Queen became Queen. Long before the stadium spectacle, the moustaches and the mythology, there was simply a band overflowing with talent. Mercury’s range, confidence and stage presence were already there for all to see.

Until next week, keep listening widely, questioning freely and defending artistic freedom wherever you find it. The world would be a far poorer place without it.

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The Legend of Queen: Capturing Freddie Mercury’s Spirit at the Fringe

August 20, 2025 at 1:19 pm · Filed under Uncategorized ·Tagged , , , , , ,

Five black stars on a white background, symbolizing a five-star rating.

The Legend of Queen – Edinburgh Fringe 2025

For me, Queen has never just been a band. Their music was part of the fabric of my upbringing, something I shared with my late mother, who loved them as much as I do. So when The Legend of Queen was announced for this year’s Fringe, I knew I had to be there. It wasn’t simply about nostalgia—it was about measuring whether this show could capture even a fraction of what made Queen so extraordinary. My favourite track, Killer Queen, sums up their appeal: clever, witty lyrics, bound to a melody that still sparkles fifty years on. But behind that style was Freddie Mercury, a frontman whose vocal range and theatricality were unmatched. He sang like an opera star, commanding power one moment and tenderness the next. Any tribute, to succeed, has to reckon with that legacy.

A performer singing passionately on stage, wearing a red jacket with white details, surrounded by band members playing instruments in a vibrant concert setting, with a backdrop featuring 'The Legend of Queen' on the screen.
Peter Marchant radiated charisma

Peter Marchant, leading the Night Owl Band, stepped into that daunting role and didn’t disappoint. His voice carried the weight of expectation and delivered—clear, strong, flexible enough to soar and twist across the songs without ever straining. But just as important, he radiated charisma. Freddie was never only about technique; he was about presence, energy, and generosity to his audience. Marchant channelled that same generosity. He didn’t mimic Mercury so much as embody a spirit of joy in performance. The Night Owl Band were tight and versatile, taking us on a journey through Queen’s different musical phases—from the raw power of early rock, through their disco-inflected experiments, to the anthems that can still fill a stadium.

What struck me most was the atmosphere in the room. I’ve attended other Night Owl shows at the Fringe and enjoyed them, but the crowd here was far more alive. It was as if Queen’s music unlocked something in everyone. People were singing at the top of their lungs, clapping in time, stomping their feet, and before long the floor was shaking with dancing. I joined in too—I couldn’t help it. It was infectious. Looking around, I noticed the mix of people: older fans reliving their youth, teenagers discovering the music as if it were brand new, families sharing a common soundtrack. That, to me, is Queen’s true legacy. They never belonged to a single time or generation. Their songs still speak across age and background, uniting people in pure, unguarded enjoyment.

There’s also something to be said about Queen’s cultural role. At a time when rock was often macho and narrow, Freddie Mercury embodied flamboyance and theatricality. He brought camp, opera, and drama into the mainstream, unapologetically. Songs like Radio Gaga or Bohemian Rhapsody didn’t just push musical boundaries; they expanded ideas of what performance could be. Seeing a tribute show in 2025 that can still spark such joy suggests that Queen’s boldness remains relevant. In a festival full of new writing and experimental theatre, The Legend of Queen reminds us that art also survives by being passed on, reinterpreted, and celebrated anew.

By the end of the night, I felt both exhilarated and oddly moved. I had gone in with scepticism—could anyone really take on Mercury’s voice?—and left convinced that while no one can ever replace Freddie, the spirit of his music can still be shared in ways that feel vital and alive. Marchant and his band offered not just a tribute, but a communal act of remembrance and renewal. My mother would have loved it. And I walked out into the Edinburgh night with our favourite songs in my head, grateful that some legends never fade.

Reviewed by Pat Harrington

More information and tickets here

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 Bohemian Rhapsody (2018)

November 8, 2018 at 12:00 pm · Filed under Film & DVD Reviews, LGBT+interest, Music ·Tagged , , , , , , , , , ,

Freddie_Mercury_performing_in_New_Haven,_CT,_November_1977

Freddie Mercury:  a skilled performer with flair

PG-13 | 2h 14min | 2 November 2018 (USA)
Director: Bryan Singer
Writers: Anthony McCarten (story by), Peter Morgan (story by) | 1 more credit »
Stars: Rami Malek, Lucy Boynton, Gwilym Lee

Wow! I loved this film. It transported me back to the 80s and reminded me what a great group Queen were and of the power of Rock music. 

The film tells us the story of Farrokh Bulsara (played superbly by Rami Malek) as he becomes Freddie Mercury. Bulsara is the son of immigrants from Zanzibar (now in Tanzania) who were Parsees, Zoroastrians who fled to India from Muslim persecution in Persia during the 7th–8th centuries. His family had moved to Zanzibar so that his father could continue his job as a cashier at the British Colonial Office. At the age of 17, Mercury and his family fled from Zanzibar because of the 1964 Zanzibar Revolution, in which thousands of Arabs and Indians were killed. To the credit of the film this is made clear (though not explained or emphasised).

I was intrigued by his family relationships. His father Bomi Bulsara (Ace Bhatti) was a conservative figure who had a portrait of our Queen on his wall and emphasised the three commandments preached by Zoroaster: good thoughts, good words and good actions repeatedly and sometimes critically to Freddie! His relationship with his Father, thankfully, improved over time. It can’t have been easy for either of them given their different natures. Brian May noted in 2016, “It’s probably true to say that Freddie’s father, strongly committed to the Parsee faith, didn’t find it easy that Freddie took the path he did, as a rock musician, and a fairly irreverent one, at that. Nevertheless the support was always there.”It’s one of the joys of this film that we see their understanding and acceptance of each other develop. His mother Jer Bulsara (Meneka Das) was more directly supportive.

We also see a young Freddie working as a baggage handler at Heathrow Airport and experiencing the casual racism that was sadly the norm for many back then, there and on the street. Music was another side to his life. He was writing songs and watching local bands at small clubs. We see how Freddie first meets Brian May (Gwilym Lee) and drummer Roger Taylor (Ben Hardy). Bohemian Rhapsody leads us through the history from the origins of Queen right up to Freddie’s tragic death (he died from AIDS-related pneumonia in 1991).

There is so much of interest in Bohemian Rhapsody that it is only possible to mention some of it in any review. I loved to see Freddie’s relationship with his cats, his love of opera and his interest in fashion. His personal relationships with Kenny Everett and his manager (a devil figure in the film) and record companies are worthy of separate consideration. The effects of addiction to alcohol and drugs on his health and music and personal relationships are a darker theme.

The film doesn’t shy away from looking at Freddie’s sexuality. Freddie married Mary Austin (Lucy Boynton). In one scene Freddie tells Mary “I think I’m bisexual.” She says: “No, Freddie. You’re gay.”

Some have called the film out on this. Billboard said: “For many out there, this particular moment almost rang too true to real life. Bisexual people face the reality of bi-erasure on a near-daily basis, being told that they’re either “too gay” or “not gay enough,” with little to no attention paid to their actual sexual identity. So it’s natural that many critics and Twitter users would call Bohemian Rhapsody out for attempting to erase Mercury’s bisexuality in this scene, especially in a film meant to celebrate him.”

I’m not sure about that. Freddie wanted his private life to be private. He wanted his fans and the press to focus on his music. He never publicly identified his sexuality. Should he have had to? Should anyone have to define their sexuality publicly? At the time Freddie was pressured by the media to do so, now some LGBT people take the view that he somehow let the side down. Freddie saw himself first and foremost as a performer who was there to entertain the public with great shows and music. That was his choice.

There is a harrowing press conference in the film where we see the gutter press try to pressure him to answer questions on his sexuality in the style of a baying mob.

This wasn’t a case of exaggeration the press had no shame. In December 1974, the New Musical Express asked him, “So how about being bent?”. Even his illness was seen as ‘fair play’ by the irresponsible media. In October 1986, the British press reported that Mercury had his blood tested for HIV/AIDS at a Harley Street clinic. A reporter for The Sun, Hugh Whittow, questioned him intrusively about this. Anyone whoever read the late and unlamented News of the World will know full well how the gutter press hypocrites tried to trash people. Yet who now remembers the low-lives of the British gutter press? Yet Freddie Mercury left a legacy of great shows and music behind him. His music continues to uplift people.

Bohemian Rhapsody ends with Queen’s performance at Live Aid in 1985. I remember watching this at the time. To be frank to that point Live Aid wasn’t matching the hype. The performance from Queen changed that. It was electric. It’s given an incredible poignancy in the film by the knowledge that Freddie is doomed. Bittersweet and emotionally moving. Freddie knew how to deliver to his audience. He went out on a high note with a strutting, high energy and also nuanced performance as he was determined to do. True to his art and his fans to the very end.

Reviewed by Pat Harrington

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Harry Hamilton and his Swing Band – The American Songbook

November 10, 2014 at 9:03 pm · Filed under Culture, Music ·Tagged , , , , , , , , , , , , , , , , , , , , , ,

Harry Hamilton and his Swing Band – The American Songbook

I CAN’T SING, dance or play any type of musical instrument. Indeed, when I try to sing most people think that I’m mucking about and don’t believe me when I say that I’m actually trying to hit a note! If I tried to dance I’d end up in my local Accident and Emergency – assuming it hasn’t already been closed by government cuts. And when it comes to playing anything all I can do is make a bit of a racket with a couple of spoons or a comb and some tissue paper.

However, I’m not too sure if spoons, a comb and tissue paper actually qualify as musical instruments. Indeed, if my life depended on singing, dancing or playing anything I’d have been dead and buried many years ago!

Despite all of this, I really love music. Living without a TV wouldn’t really be a problem for me, but I just couldn’t imagine living without music. I think that, to some degree, all of us associate particular songs with memories of family and friends. Maybe that’s one reason why music stirs the sole and certain songs really do get under the skin.

I’m also a bit of a geek when it comes to learning about different genres of music. I love to discover how one form of music is linked to another – particularly how and when they developed. The same goes for individual songs. I always want to know who wrote what, when it was written and what the inspiration was.

With all this in mind I was really looking forward to seeing the excellent Harry Hamilton and his Swing Band (a brilliant eight-piece band known as the Birdland Big Band) performing a show called The American Songbook. The show was being held in the equally excellent Courtyard Theatre in Newtownabbey, Co. Antrim.

I was looking forward to the gig for two main reasons. Firstly, Harry Hamilton has successfully carved out a name for himself as the lead singer of Flash Harry. My wife and I have seen them several times and they’re probably one of the best Queen tribute bands you’re ever likely to see. However, I’ve always wanted to see and hear how he’d perform – not as Freddie Mercury but as himself.

Secondly, whilst I’m not fantastically into every artist who comes under the umbrella of the ‘American Songbook’, I recognise the importance of this musical genre. The advertising material accompanying the gig put this into perspective noting:

“Join Harry Hamilton and his swing band as they take you on a musical journey through a century of American music. This innovative collection of popular music showcases the many “Great” Songs from the soundtrack of the 20th Century. From the classics of the Great American masters like Gershwin or Cole Porter, via the ’50’s most popular hits, to Motown and the newest chapter with songs from recent hit-makes, including Michael Bublé, Ray Charles and Billy Joel.”

The gig was in two parts (and started bang on time – surely a first for Ulster!) with the first half being slightly more formal than the second. This was subtly reflected in the way Harry Hamilton presented himself. In the first half he wore a dark suit, tuxedo shirt with wing tip collar and dickie bow and in the second half he’d changed into double denim.

I loved the way he set the scene for the whole gig by explaining that ‘The American Songbook’ (sometimes called the ‘Great American Songbook’) generally refers to a collection of the most important and influential American popular songs of the 20th century. They can be found in theatre and film and were written from the 1920s through the 1950s.

Harry Hamilton also gave a brief insight into his childhood. He noted that his father was in a Showband and that he grew up in a house full of music, all of which made a great impression. Given this background it’s probably no surprise that he also turned towards music in such a way.

This laid back approach to explaining his musical influences – and the information that he provided about each song – meant that he had the packed audience hanging on to his every word. I particularly liked the way he used humour to introduce some of the songs. I’ve found some music ‘experts’ come across as bores who look down on those who aren’t as informed about a particular song or artist as they are.

But what about the songs themselves?

To be honest, Harry Hamilton sang that many both my wife and I lost count of what we’d heard! The whole gig simply consisted of hit after hit after hit. And all were pulled off to a tee. However, we were able to agree on some of the highlights of the evening. These included Frank Sinatra’s classic Fly Me To The Moon, American Trilogy made famous by Elvis Presley (and a song that always makes us both cry – and many others judging by the sniffing and wiping of eyes from other members of the audience!)

Other highlights included Georgia On My Mind made famous by Ray Charles, I’m A Believer which was written and originally recorded by Neil Diamond but effectively ‘owned’ by the Monkees. Also in there were Superstition and Sir Duke written and performed by Stevie Wonder – the latter as a tribute to the legendary composer, pianist and bandleader, Duke Ellington.

We also loved his take on one of Don McLean’s most famous songs, American Pie. Recorded in1971, it commemorates the deaths of Buddy Holly, Ritchie Valens and J. P. Richardson (aka ‘The Big Bopper’) in a plane crash in early 1953. Harry Hamilton’s vocal range was also given a great workout when he sang Roy Orbison’s operatic ballad, In Dreams. He explained the complexity of the Big O’s song which – according to Wikipedia – “has a unique structure in seven musical movements in which Orbison sings through two octaves, beyond the range of most rock and roll singers.”

One real stand out moment of the evening came towards the end of the first half of the gig. Here Harry Hamilton’s father joined him in a duet. As noted earlier, his father had been in a Showband and still had a great voice plus a mischevious twinkle in his eye – something that has been passed onto his son. Together they performed a brilliant version of Mac the Knife (which started life as Die Moritat von Mackie Messer, composed by Kurt Weill) made famous by Bobby Darin.

As well as talking about – and performing – the American Songbook, Harry Hamilton enjoyed some great banter with both the audience and his band. The three piece brass section – as well as being excellent musicians – seemed to be having a whale of a time. They seemed to spend half their time laughing and joking. At times they were in absolute stiches – so much so that I wondered how they would be able to stop laughing in time to play their instruments or provide backing vocals.

If you’d like a couple of hours of top notch entertainment and would like to learn a lot about music at the same time, check out Harry Hamilton and his Swing Band. They’re still on tour throughout Ulster. Catch him if you can.

O CHECK OUT this promotional video for Harry Hamilton and his Swing Band – The American Songbook https://www.youtube.com/watch?v=BjpTU-s4ZSE

O CHECK OUT Flash Harry’s Facebook page which also provides some information on Harry Hamilton’s American Songbook show

Reviewed by John Field

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