Queen - Live at the Rainbow 74 (2014)

Queen Live at the Rainbow 74 is a newly released live album of Queen’s two 1974 shows at the famous Rainbow theatre in London, shows which took place during the bands Queen II tour in March which forms the basis of disc one, and the Sheer Heart Attack tour in November which features on disc two. The recordings capture the band at their hard rocking and theatrical best, when they were really just unknown novices and before they had broken through into the mainstream. The concerts were originally supposed to be released as a live album at the time but instead were put on the backburner with the band deciding to focus instead on the recording of their seminal album A Night at the Opera. Now forty years later, the original tapes have been re-mastered and polished up and boy oh boy do they sound good, with a crystal clear sound and fantastic mix which means you can actually here the individual instruments. This is something you don’t always get with live albums where often the sound is a bit muddled and not always the best. I am sure some pitch correction and other such things have gone on to get the sound up to a modern standard, but this is all in the name of getting a great sounding modern day historical release.

As for the material on this album, well the focus is the band’s first three albums Queen, Queen II, and Sheer Heart Attack, albums which if you know anything about early Queen are very heavy and quite progressive, something which may surprise people who only know Queen through their big late-70s and 80s hits. There are big vocals a-plenty as Mercury flexes is range, theatrics and banter with the crowd, something that occurs between each song and is a pleasure to listen to, heavy guitars, and a thunderous rhythm section courtesy of John Deacon and Roger Taylor, a somewhat underrated pairing. Song-wise, the highlights are for me mostly on disc one, the March concert with the band playing some stellar versions of tracks from their first two albums. There is the anthemic “Father To Son”, the early metal of “Ogre Battle”, the Sabbath-esque sounding “Son And Daughter”, along with two great versions of “Seven Seas Of Rhye”, “Liar” and a fantastic rollicking cover of rock and roll classic “Jailhouse Rock”. Disc two for me is the lesser of the two discs, but still captures great versions of the likes of “Keep Yourself Alive”, “Stone Cold Crazy” and “In The Lap of The Gods Revisited”. What is amazing about the material overall is how heavy Queen sounded in their early years, a sound far removed from what they became most-famous for later on. I would go as far in saying as a new band on the scene in 1974 following in the footsteps of the likes of Led Zeppelin, Deep Purple, The Who and Black Sabbath, they certainly were footing it with the big boys of British heavy rock that had come before.

In conclusion, Live at the Rainbow 74 is a fantastic sounding record and offers up a great insight into early-Queen, a period in their career which has not really received much attention, especially in terms of re-releases. People forget Queen started as a hard rock band and this album does a great job in capturing their early sound. For people not familiar with the early part of the bands career, some of the material might fall a bit flat at times just because of their often theatrical and progressive nature both lyrically and musically, but this does not get in the way of what is a great 70s rock and roll show, featuring a band throwing everything they had in their arsenal out there on the stage. Little did they know that this was just the start of something much, much bigger to come, but as this albums shows, the marker was being laid down in a big way. 

A

- Sam 

T Rex - The Slider (1972)

The Slider was the seventh studio album released by 70s UK glam rockers T Rex. Released in 1972, it was the second of their releases which showcased their new found glam sound, after releasing their first few albums as a folk outfit in the late-60s. The timing was perfect for the band to completely change their image and sound, with Britain in the midst of a glam rock revolution in the early-70s with artists such as David Bowie, Slade, and Roxy Music tearing up the charts. But aside from Bowie, it would was Marc Bolan and his merry men who would blow all others out of the water with their often hard-edged and incredibly catchy pop/rock style.

Sound-wise, well The Slider tends to follow on from the bands previous effort, the very successful Electric Warrior album in what is a mixture of anthemic bubble-gum rock, downer folk, and glam ballads. Vocally there is plenty of high-pitched falsettos, while lyrically the songs move from sort of mystical folk themes to often overtly sexual lyrics. The songs are held down by a very sturdy rhythm section of Steve Currie on bass, Mickey Finn on percussion, and Bill Legend on drums, but it is clear from the outset that Bolan is the star attraction out front and centre with his vocals, guitar playing, and overall theatrical take on pretty much everything. It is also pretty clear throughout the album that Bolan loves a good groove as there are plenty on here, with the guitar and bass providing the impetus on many of the tracks with some great rock and roll riffs.

As for the tracks themselves, well the album kicks off with the Bowie-esque glam anthem “Metal Guru”, the albums single which ended up topping the charts in the UK at the time. Although it’s a nice rousing sing-a-long start to the album, musically speaking it is nothing special and tends to be a wee bit repetitive, but hell, at least it gets you in the mood for what’s to come. “Mystic Lady” is next, a slow folk ballad which again fails to capture my imagination, while “Rock On” ends what is a very slow and un-exciting start to the record. However, thankfully things being to pick up from here starting with the slow riff rocker “The Slider” and the catchy bubble gum rock and roller “Baby Boomerang” with its 50s guitar and falsetto-laden vocals. After another blip on the radar with “Spaceball Ricochet” the band turn things up a notch again with heavy rocker “Buick Mackane”, a stomping guitar track which would notably be covered by Guns n’ Roses years later. Then there is perhaps the album standout “Telegram Sam”, a song that epitomises glam rock with its riffs, falsettos, elicit lyrics and even some cheeky sax thrown in for good measure. “Rabbit Fighter” is another ballad, but this time the band do a better job with a song that also showcases Bolan’s rough and ready guitar playing, proving that he was also a pretty good guitarist in his own right despite being not technically great. Things move along with more riffage on “Baby Strange” with its somewhat playful and explicit lyrics “I want to call you, I want to ball you”, I guess it is glam after all? And the album finally winds down with the best of the folk ballads on the album “Ballrooms of Mars”, “Chariot Choogle” and the double-tracked falsetto album closer “Main Man”.

In conclusion, The Slider is probably T Rex’s most complete album considering they were on the most part a singles band, with there being plenty of standout tracks mixed in with some lesser moments to. It’s the folk ballads where the album tends to fall a bit on the way side, with these tracks not really living up to the more up-tempo rockers in intensity and what I would describe as overall zing. Despite containing mixed results there is still plenty of good material on here to remind that Bolan was a star lyricist, vocalist and overall showman, and as an album certainly The Slider ranks well within the glam rock canon. Definitely worth a listen if anything as an example of early-70s glam rock in the UK, and also in hearing how T Rex could marry the folk of their early career with the glam rock which they became more well known for. 

B 

- Sam 

Lou Reed - Transformer (1972)

Transformer was the second student album Lou Reed released as a solo artist coming on the back of his work in the late 60s with the highly influential band the Velvet Underground. Released in 1972, Transformer was produced by David Bowie and Mick Ronson and saw Reed become very much associated with the burgeoning glam rock scene of the mid-70s both visually and musically. Reeds work with the Velvet Underground had been a strong musical influence on many of the acts within this scene including Bowie himself, Iggy Pop, and the New York Dolls therefore it wasn’t much of a surprise that one of the scenes leading lights got involved in the making of this record.  

Musically, Transformer contains a mixture of mid and up-tempo rockers with driving Chuck Berry-like guitar, and slower songs that focus more on the subject matter of the lyrics rather than melody, or musicianship. Some examples of the heavier rock tracks include the guitar driven “Hangin Round” and album opener “Vicious” that was influenced by Andy Warhol, while the slower more lyrically focussed songs include “Make Up” which is a mini-commentary on the glam scene itself and album closer “Goodnight Ladies” which is a sleazy jazz influenced track. The album also contains some of Reeds most well known songs, notably the slow ballad “Perfect Day”, “Walk on the Wild Side” which touches on subjects such as trans-sexuality, male prostitution and drugs, and “Satellite of Love” which features Bowie himself on backing vocals.

At first glance Transformer appears very much like a standard glam rock album, but in certain areas things stand out which set the album apart from some of the other stuff from the period. Notably for me the use of a tuba on several songs, a quite brilliant jazz arrangement complete with sax and tuba on “Goodnight Ladies”, and the appearance throughout the album of female singing trio The Thunderthighs. The structure and arrangement of signature tune “Walk on the Wild Side” is also quite interesting and appears quite experimental and different from anything else on the album. Reed mixes things up on this track by including everything from a driving double bass line, quietly played acoustic guitar, subtle strings, and a sexy sax solo for good measure. This harks back to his Velvet days, in particular how Reed was very much an experimenter with music, a musician who was willing to try different sounds and play around with arrangements on tracks.

Transformer is considered to be Reeds greatest solo album and a 70s classic, while Rolling Stone Magazine ranked it 194 on their list of the 500 greatest albums. It was the moment when Reed broke away from his Velvet Underground roots and went out on a limb musically to establish himself as his own musician and as a solo artist, a move which would hold him in good stead for the rest of the decade at least. Yes Lou Reed will always be remembered for his work with the Velvets, but this album is testament to his credentials as a solo artist and is definitely up there with the work he had done previously in the confines of a group. A fun listen all and all, with some very interesting musical moments.

 

A very high A-

 

- Sam