The Concert for Life Chapters 15 - 18
The meat of the show.
Chapter 15
Annie Lennox & David Bowie
Under Pressure
Finally. The concert becomes the festival we knew it would and could be. But, not before we realize that not even Annie Lennox can imitate Freddie without sounding pretentious and, kind of ridiculous.
But, Bowie is an old stage hand. He knows what to do with this crowd. This is his milieu. This is his history as well. After all, it's well known that he co-wrote this song in Switzerland with Queen in a jam they had one cold, blustery winter afternoon (it might not have been cold, it may not have even been winter, but we can all dream).
Annie is so beautiful DESPITE the bjorklike metallic top and raccoon eye makeup. And this song is an anthem. Really the last breath for Queen. So important that they had to put it on "Hot Space" because that album was so bad it couldn't have sold 10 copies to non queen fans without it.
And remember that video? Just clips? That crazy girl behind the chain link fence in the halter top wriggling to the (completely different) beat? Where is she now? Do you think she pulls out that video and shows it to her children or friends? I hope so.
There is something about Bowie in this concert. He completely usurps the stage for the better part of a half hour. But, it's all with an air of respect. He is the only one who knows how to ride the fine line of sentimentality and pomposity. And the director knows how to shoot him from just the waist up while Dave's doing that ridiculous finger snap dance we all remember from the "Dancing in the Streets" video with Mick Jagger.
Everything was amateur hour until this. NOW it's a tribute concert.
Chapter 16
David Bowie/Mick Ronson/Queen & Ian Hunter
All the Young Dudes
"This is where the fun stops!", Bowie exclaims, putting on his saxophone (Which we can never hear in the mix and I'm not sure that's a bad thing.) I have tried to use that line over and over on stage and to be sure, it only sounds like I am, not self deprecating, but, rather, lacking in self esteem and humor. But, Bowie pulls it off.
"At the end of the 60's we were left with the legacy of quite wonderful bands like Zeppelin, The Beatles, Rolling Stones. And then came the 70's with it's new, unstoppable crop; T-Rex, Roxy Music, Queen, Spiders from Mars (nice plug, Dave) and the Rolling Stones. We all used to play the same dance halls, theaters, play the same clubs, try not to wear the same clothes. We slept with a lot of the same people, I think. But, uh, one of the major rockingest bands of that time was called Mott the Hoople."
And with that, Bowie encapsulated the entire history of glam rock.
See, Bowie wrote All The Young Dudes for Mott; their supporting tour of Mott was Queen's first foray into arena rock and big tours, it was all very incestuous and it seemed to have it's ignition with that band.
I've never cared for Mott the Hoople. I enjoyed that Queen name dropped them in their song "Now I'm Here" ("down in the city just Hoople and me").I never listened to their albums all the way through. I probably should have. I think I would like them.
But this is a momentous moment the history of was probably lost on the MTV "intelligentsia".
When Ian Hunter comes out to sing and play (with Mick Ronson, apparently patching up whatever bad vibes he and Bowie had up to that time), it's a weird piece of rock and roll history. I doubt anyone programming any other concert would have booked this act. They wouldn't know about it. It was so underground. "All the Young Dudes" doesn't get a lot of airplay, who plays Mott the Hoople? If you mention their name now (or 14 years ago) you're still met with a quizzical stare from most people.
And this song....well, today's programmers would definitely cut away from this. It's not well known enough.
This is an All-Star jam of misfits and they bring it. Even Joe Elliot and Phil Collen on backups add the perfect amount of respect to a bunch of guys who were responsible for so much and went down anonymously in history's record books.
Chapter 17
David Bowie
Heroes
So, with some brief words that seem to be a short hand of some language, an e-bow and a good time party feel, it's time for "Heroes".
"Heroes" is the perfect anthem for this show. The concert is about Aids. It's about gays (even though that word is NEVER mentioned). This is a show paying tribute to a hero of the Glam Rock era and this is one of the best glam songs of all time.
And, somehow, somehow, Bowie manages to do one of his own songs, and never make the show about him.
Does it matter that the e-bow playing kind of sucks? That the backups are mediocre? No. Because it's about more than the musicianship here. No one is selling records. They have something to say.
This is also the last time the three remaining members of Queen will ever play together on a stage like this and you know what? They know it. And they are playing like they know it.
It's a grand song.
Chapter 18
David Bowie
The Lord's Prayer
Not letting "Heroes" resolve, Bowie reminds us just why we are watching this concert. Without reprimanding us, without scaring us, he offers us the best he can come up with. He gets on one knee. The stadium gets quiet. And he recites the Lord's Prayer. And I get chills EVERY. FUCKING. TIME. I. SEE. IT.
Amen.
"God Bless Queen. God Bless You."
Well done, Dave.
Chapter 15
Annie Lennox & David Bowie
Under Pressure
Finally. The concert becomes the festival we knew it would and could be. But, not before we realize that not even Annie Lennox can imitate Freddie without sounding pretentious and, kind of ridiculous.
But, Bowie is an old stage hand. He knows what to do with this crowd. This is his milieu. This is his history as well. After all, it's well known that he co-wrote this song in Switzerland with Queen in a jam they had one cold, blustery winter afternoon (it might not have been cold, it may not have even been winter, but we can all dream).
Annie is so beautiful DESPITE the bjorklike metallic top and raccoon eye makeup. And this song is an anthem. Really the last breath for Queen. So important that they had to put it on "Hot Space" because that album was so bad it couldn't have sold 10 copies to non queen fans without it.
And remember that video? Just clips? That crazy girl behind the chain link fence in the halter top wriggling to the (completely different) beat? Where is she now? Do you think she pulls out that video and shows it to her children or friends? I hope so.
There is something about Bowie in this concert. He completely usurps the stage for the better part of a half hour. But, it's all with an air of respect. He is the only one who knows how to ride the fine line of sentimentality and pomposity. And the director knows how to shoot him from just the waist up while Dave's doing that ridiculous finger snap dance we all remember from the "Dancing in the Streets" video with Mick Jagger.
Everything was amateur hour until this. NOW it's a tribute concert.
Chapter 16
David Bowie/Mick Ronson/Queen & Ian Hunter
All the Young Dudes
"This is where the fun stops!", Bowie exclaims, putting on his saxophone (Which we can never hear in the mix and I'm not sure that's a bad thing.) I have tried to use that line over and over on stage and to be sure, it only sounds like I am, not self deprecating, but, rather, lacking in self esteem and humor. But, Bowie pulls it off.
"At the end of the 60's we were left with the legacy of quite wonderful bands like Zeppelin, The Beatles, Rolling Stones. And then came the 70's with it's new, unstoppable crop; T-Rex, Roxy Music, Queen, Spiders from Mars (nice plug, Dave) and the Rolling Stones. We all used to play the same dance halls, theaters, play the same clubs, try not to wear the same clothes. We slept with a lot of the same people, I think. But, uh, one of the major rockingest bands of that time was called Mott the Hoople."
And with that, Bowie encapsulated the entire history of glam rock.
See, Bowie wrote All The Young Dudes for Mott; their supporting tour of Mott was Queen's first foray into arena rock and big tours, it was all very incestuous and it seemed to have it's ignition with that band.
I've never cared for Mott the Hoople. I enjoyed that Queen name dropped them in their song "Now I'm Here" ("down in the city just Hoople and me").I never listened to their albums all the way through. I probably should have. I think I would like them.
But this is a momentous moment the history of was probably lost on the MTV "intelligentsia".
When Ian Hunter comes out to sing and play (with Mick Ronson, apparently patching up whatever bad vibes he and Bowie had up to that time), it's a weird piece of rock and roll history. I doubt anyone programming any other concert would have booked this act. They wouldn't know about it. It was so underground. "All the Young Dudes" doesn't get a lot of airplay, who plays Mott the Hoople? If you mention their name now (or 14 years ago) you're still met with a quizzical stare from most people.
And this song....well, today's programmers would definitely cut away from this. It's not well known enough.
This is an All-Star jam of misfits and they bring it. Even Joe Elliot and Phil Collen on backups add the perfect amount of respect to a bunch of guys who were responsible for so much and went down anonymously in history's record books.
Chapter 17
David Bowie
Heroes
So, with some brief words that seem to be a short hand of some language, an e-bow and a good time party feel, it's time for "Heroes".
"Heroes" is the perfect anthem for this show. The concert is about Aids. It's about gays (even though that word is NEVER mentioned). This is a show paying tribute to a hero of the Glam Rock era and this is one of the best glam songs of all time.
And, somehow, somehow, Bowie manages to do one of his own songs, and never make the show about him.
Does it matter that the e-bow playing kind of sucks? That the backups are mediocre? No. Because it's about more than the musicianship here. No one is selling records. They have something to say.
This is also the last time the three remaining members of Queen will ever play together on a stage like this and you know what? They know it. And they are playing like they know it.
It's a grand song.
Chapter 18
David Bowie
The Lord's Prayer
Not letting "Heroes" resolve, Bowie reminds us just why we are watching this concert. Without reprimanding us, without scaring us, he offers us the best he can come up with. He gets on one knee. The stadium gets quiet. And he recites the Lord's Prayer. And I get chills EVERY. FUCKING. TIME. I. SEE. IT.
Amen.
"God Bless Queen. God Bless You."
Well done, Dave.
posted by Allen Lulu | 3:17 PM
0 Comments:
Post a Comment
<< Home