Bohemian Rhapsody

Visited the bomb site that is currently Cineworld's take over of the Gate's cinema complex. If it wasn't for the cheap day tariff, I would have preferred the Tyneside but Tuesday had come with no little expenditure. My original seat was amongst a couple, who when I challenged the coke carton in an empty seat said "It's my fiance's!" (wow was he proud or threatened) and a family of popcorn and mobile users. Luckily seats in front weren't taken up and I homed in on an aisle seat (he shoot's, he scores!) Before I finish, just have to comment on the tedious marketting sound and vision prior to the trailers, uggh! must bring ear plugs or some form of distraction next time.

Anyhoo, I like Queen, I don't love Queen, but I like them, so I was looking for those small details of their beginnings that makes sense of their performance and growth. The one that now sticks in my mind is Freddie's debut in the band and his awkwardness which resulted in him detaching the top half of the microphone stand; something of a trademark. Brian May suddenly went all corkscrew hair, Roger Taylor was a magnet for the women and plenty of friction with Freddie's personna. John Deacon was known as Deaks - and I've yet to come across a more anonymous member of a successful band.

The film started just as they were about to reunite at Live Aid on July 13th 1985, which just happened to be my brother's 21st birthday so I didn't see much of the day in question for comparison. Suddenly, back to 1970 and the band Smile with Brian May and Roger Taylor and the cliche of the leaving vocalist and the meeting of club regular Farouk Bulsara, zoroastrian of this parish, taking his opportunity to join the band. Nice dialogue.....and No, he didn't play bass.

The film goes on to flirt with it's title as it is neither the Queen story or Freddie Mercury story or even the song itself in any real depth, but it's a good ride on the carousel. It's aided and abetted by a good cast, led by Rami Malek, Lucy Boynton as Mary Austin and Gwilym Lee, fresh from all that murdering in Midsommer. Oh and look out for a cameo by Mike Myers as the record executive with a reluctance to commit to the band's choice of single . Didn't know that Bohemian Rhapsody was held in such disdain when it originally came out in 75 on a Night at The Opera which, back in the day, I took to be a tribute to the Marx Bros when they subsequently released a Day at the Races (more fool me)  

I felt that they could have made a little more of Freddie's struggles and his Munich excesses and more character portrayal of the band members. Maybe that will be addressed in future years, but not before the timely tale of Rocketman (The Elton John story) early next year I believe. The trailer indicates singing by the actor playing Elton but I hope they do what they did here and maintain the original voices. Enjoyable afternoon.

PS The Live Aid sequence was very well constructed with what I assume was original Wembley material and the actors seemlessly superimposed. You couldn't help but be moved by it all. We will most definately rock you!     

Hackett Philharmonia

Sunday the 7th of October was supposed to be a fairly non eventful day of mid afternoon rest followed by a trip to Gateshead's Sage in the evening.
A Steve Hackett gig was rapidly becoming a staple with my cousin, a chance to catch up on events and have our usual daft repartee.

All that having been said, we found ourselves on the balcony of level 2 close to the first time we ever saw Steve at the Sage. Shortly after 7.30, the 30-40 piece orchestra apppeared followed by the band and straight into Dance on a Volcano. 
Frankly I wasn't all that impressed at the interraction, maybe I had been expecting more strings and less brass - yes brass, trombone in Dance on a Volcano, really? 

From here on in though everything picked up, a shuffling of Genesis and solo material were, almost without exception, enhanced by strings and the gravitas of the brass section. Can never remember the setlist and would direct you to 'setlist' website for the breakdown but as I recall, we had Firth of Fifth - as good as ever I've heard it and probably now my favourite Genesis track, Serpentine Song (unheard before by me) Dancing with the Moonlit Knight..in that quiet earth/Afterglow, El Nino and the mighty Supper's Ready.

The band was made up of regulars, Roger King, reliably good on keyboards, Gary O'Toole, brilliantly effortless in his compact drum kit area, Nad Sylvan on vocals and seeming to stamp his own authority on each track. Rob Townsend is the multi instrumentalist, filling in on keys and showcasing the flute and finally Jonas Rheingold on bass who was new to me and did a fine job. Steve, well he's Steve and he's ageing very gracefully with his dry wit and fine performance on his gold Les Paul. 

Stand out moments....oh easy, Firth of Fifth and several passages of Supper's Ready which got me to my feet and I was surprised at how much of the lyrics I recalled. Cousin sat tapping away on his thighs like all good drummers, whistling at the end of a particularly good track and accompanying me at the top of our voices near the end, shouting 'More' before they finally returned to finish with Musical Box. Great night, one of the best.