Tag Archives: Paul McCartney

A Hobbit, Four Beatles, a Queen and a Led Zeppelin: How Tolkien Influenced British Music In The 1960s and 7os

Stew Fantasy Quote Meme

Allow me to elaborate on my quote, dear readers. In the Second World war, Britain and Germany were gleefully bombing each other’s major cities into oblivion day and night. In the myopia of war, they thought they were engaged in a conflict to strengthen themselves, but were, in fact, destroying each other as major world powers. This created a vacuum into which stepped the new superpowers – the United States and the Soviet Union.

In the aftermath of the war, Britain was devastated physically, financially and mentally. Rationing was still in force and luxuries were unheard of for a whole generation of children. The war was before their time but the impact and implications of it were a daily fact of life. Ruined areas called bomb sites still pockmarked the land and the new kids played on them, including a young David Bowie.

Bowie’s biographer Paul Trynka kicks off his excellent book Starman with this illustration of grim post-war austerity from Peter Prickett: “Everything seemed grey. We wore short grey flannel trousers of a thick and rough material, grey socks and grey shirts. The roads were grey, the prefabs were grey and the bomb sites seemed to be made of grey rubble.”

Behold the constraints of reality! Glam Rock in the 70s was going to be the antithesis of all that childhood drabness and deprivation. First though, Tolkien would unleash the beast that was The Lord of the Rings. Despite being written in stages between 1937 and 1949, three volumes were published over the course of a year between 1954 and 1955 (The Fellowship of the Ring, The Two Towers and the Return of the king). There was a sudden glut of Tolkien product in the marketplace at just the right time. The books were manna from Heaven for a generation starved of good food, new ideas and hope. For the first time, they had in their hands an affordable escape and a template for a way out of their difficult situations. It was like the scene in the Wizard of Oz where the world goes from monochrome to eye-popping technicolor as Dorothy reaches Oz. John Lennon was one of many British kids who became a fan of Tolkien’s.

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The Beatles turned everything on its head when they shot to fame in 1962. As well as topping the charts with monster hits on both sides of the Atlantic, they also made some remarkable films including A Hard Day’s Night, Help and the surreal, Pythonesque Magical Mystery Tour. Kicking around for ideas for a new Fab Four flick, John Lennon suggested an adaptation of Tolkien’s The Lord of the Rings.

Peter Jackson directed both The Hobbit and Lord of the Rings trilogies. In 2014, he said “The Beatles once approached Stanley Kubrick to do The Lord Of The Rings and he said no. I actually spoke about this with Paul McCartney. He confirmed it. I’d heard rumors that it was going to be their next film after Help.”

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It wasn’t just Kubrick who rejected The Beatles: “It was something John was driving, and J.R.R. Tolkien still had the film rights at that stage, but he didn’t like the idea of the Beatles doing it. So he killed it,” Jackson added.

Beatles LOTR Poster

Lennon had published two books himself, A Spaniard In The Works and In His Own Write, his love of wordplay being evident in the titles. Lennon was fan of Lewis Carroll as well as Tolkien and his writing has been compared to Carroll’s, particularly I Am The Walrus.

 

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It is arguable that many of the prog rock concept albums of the 70s were an attempt to transfer Tolkien’s epic fantasy imagery to the album format. Rick Wakeman played piano on Bowie’s Life On Mars and was the keyboard player with Yes. Wakeman did a 70s concert at an ice rink with skaters playing knights on horseback jousting to the music he was playing. He admitted recently that he had gone too far but it was excess-all-areas in the 70s.

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Lord of the Strings

Robert Plant of Led Zeppelin was a serious Tolkien nerd, liberally sprinkling references to the books in his songs. Take these lines from Zeppelin’s Ramble On: “Twas in the darkest depths of Mordor, I met a girl so fair. But Gollum and the evil one crept up and slipped away with her.”

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Queen, in turn, were big fans of Led Zeppelin. They played Zeppelin’s Immigrant Song during soundchecks and Plant turned up at The Freddie Mercury Tribute Concert in 1992 to perform Innuendo and Crazy Little Thing Called Love. It’s possible that Freddie and the boys imbibed some of Zeppelin’s Tolkien imagery by osmosis. Seven Seas of Rhye was Queen’s first hit. It came out in 1974 and was written by Freddie Mercury. Rhye was a fantasy world that Freddie had created with his sister Kashmira. Freddie sings of “the mighty Titan and his troubadours” in Seven Seas of Rhye. On other Queen albums there was “Ogre Battle” and “Fairy Feller’s Master-Stroke.” The imagery of Brian May’s The Prophet’s Song on A Night At The Opera is very Tolkienesque, although the images came to him in a dream. Queen would also go on to do the music for fantasy films like Highlander and Flash Gordon.

Tolkien was probably horrified by the bands and music he inspired but that would have been a typical reaction from his generation. None of it was intended for him. He was unable to foresee the consequences of publishing his books but it is interesting to see how one creative act can inspire many similar and dissimilar ones, spreading out like ripples in a pond. We pass the torch of inspiration down the generations, it is not ours to keep but ours to maintain and pass on.

© Stewart Stafford, 2016. All rights reserved.

If you’re a generous person who believes this writer should be paid for his hard work, you may donate here.

To read more of this author’s work, check out his short story Nightfall and novel The Vorbing.

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The Power of Dreams, The Richness of Nightmares

Dreams have inspired thinkers of all kinds to come up with great works throughout history. Author Salman Rushdie referred to it earlier this week as “the world of imagination and dream, the irrational world which is not subject to logic.”

The theory of relativity is alleged to have come to Albert Einstein in a dream. The genre of science fiction owes its existence to the nightmare Mary Shelley had that inspired her to write the novel Frankenstein in 1816. Bram Stoker had an erotic dream about female vampires ravishing him after a crab supper one night. That surreal spark lit the touchpaper of his classic vampire novel Dracula and became the “brides of Dracula” sequence.

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A nightmare inspired Stephen King to write The Shining:

“In late September of 1974, Tabby and I spent a night at a grand old hotel in Estes Park, the Stanley. We were the only guests as it turned out, the following day they were going to close the place down for the winter. Wandering through its corridors, I thought that it seemed the perfect – maybe the archetypal – setting for a ghost story. That night I dreamed of my three-year-old son running through the corridors, looking back over his over shoulder, eyes wide, screaming. He was being chased by a fire-hose. I woke up with a tremendous jerk, sweating all over, within an inch of falling out of the bed. I got up, lit a cigarette, sat in the chair looking out the window at the Rockies, and by the time the cigarette was done, I had the bones of the book firmly set in my mind.”

Misery

A nightmare also inspired King to write Misery:

“I was on Concorde, flying over here, to Brown’s. I fell asleep on the plane, and dreamt about a woman who held a writer prisoner and killed him, skinned him, fed the remains to her pig and bound his novel in human skin. His skin, the writer’s skin. I said to myself, ‘I have to write this story.’ Of course, the plot changed quite a bit in the telling. But I wrote the first forty or fifty pages right on the landing here, between the ground floor and the first floor of the hotel.”

James Cameron was in Rome in the early 1980s. The production company behind his directorial debut Pirahna II: Flying Killers (you’re not missing much, folks) fired him. He was starving and penniless. In his hotel room, he had the “fever dream” that would lead to his big breakthrough – The Terminator:

“I was sick at the time. I had a high fever. I was just lying on the bed thinking and came up with all this bizarre imagery … I think also the idea that because I was in a foreign city by myself and I felt very dissociated from humanity in general, it was very easy to project myself into these two characters from the future who were out of sync, out of time, out of place.”

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Dreams can even inspire musical compositions. Singer/songwriter Sting keeps a diary of his dreams and he named his 1985 album “The Dream of the Blue Turtles” after one of them.

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Queen guitarist Brian May on how he wrote the classic track We Will Rock You:

“Queen played a gig at Bingley Hall near Birmingham. It was a popular venue at the time. It was a big sweaty barn and that night it was packed with a particularly vocal crowd. They were definitely drowning us out with their enthusiasm. I remember that even after we left the stage they didn’t stop singing – loudly. They sang You’ll Never Walk Alone, which is very emotional. Quite a choking thing really. I certainly found it inspirational. Later that night back at our hotel I said to the others, “That was great. So what should we do to continue generating that kind of energetic response?” I woke up with the We Will Rock You lyrics in my head and had it written in about 10 minutes.”

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A similar thing happened to Paul McCartney when he wrote The Beatles classic Yesterday:

“I just fell out of bed and it was there. I have a piano by the side of my bed and just got up and played the chords. I thought I must have heard it the night before or something, and spent about three weeks asking all the music people I knew, ‘What is this song?’ I couldn’t believe I’d written it.”

The idea for my first book The Vorbing also came to me through a dream. I’m not for one minute comparing myself or my book to the aforementioned works of genius. Their reputations are set in stone, mine has yet to begin. I am merely stating that the process was the same for me. It was in June 1996 that I had a nightmare, a fragment of a dream really about vampires. They were coming out of the sky and flattening people around me. I woke up and ran downstairs to type it up before I forgot it. I wrote a short story that would become the first chapter of The Vorbing. From there, I kept working on it every day that summer. I was not on the internet then, so there were no distractions. I recreated the world of my dream on the page and then expanded it to see where it would take me. I was about to start the second year of my acting course and was so lucky to continue being paid during the summer recess. I could put 100% into seeing if I could write a book for the first time. Somehow I did and it felt like climbing a mountain.

It did become an obsession. I had not chosen to write a book about vampires, they had chosen me to write about them for some reason and I couldn’t stop. Now, 19 years later, the book is nearly ready for release. It is a time of great excitement but also great uncertainty as I push my baby chick out of the nest to see if it can fly. Some will try to shoot it down, no doubt, but some will also give my baby a chance and nurture it. Vampires should fly at Halloween and this year, The Vorbing takes flight.

“I, being poor, have only my dreams; I have spread my dreams under your feet; Tread softly because you tread on my dreams” – William Butler Yeats

© Stewart Stafford, 2015. All rights reserved.

If you’re a generous person who believes this writer should be paid for his hard work, you may donate here.

To read more of this author’s work, check out his short story Nightfall and novel The Vorbing.

A Night At The Opera: A Peek Behind The Curtain

ANATOQueen’s 1975 album “A Night At The Opera” begins with Freddie Mercury’s flowery piano-playing drifting in out of nowhere. It’s lulling you into a false sense of security, however, as Brian May’s angry guitar riff kicks in with a siren for backing. It builds to a crescendo of stabbing, Psycho-esque licks before a sudden Exorcist-like scream cuts across it and we cut to silence before Freddie’s teasing piano comes in again. The late DJ Gerry Ryan once said this album was “the most over-produced record of all-time.” Look at all the sounds we’ve already had in the opening seconds and he may have had a point. He may also have been a tad unfair. As Brian May said, Queen had more tools to play with in the studio by the mid-70s than the The Beatles had enjoyed back in the 60s and they were determined to take full advantage of them.

Those opening sounds are the intro to a song written by Freddie called “Death On Two Legs” tantalisingly sub-titled “Dedicated to…” It’s Freddie at his most vitriolic recalling John Lennon’s goading of Paul McCartney in his “nasty” song “How Do You Sleep.” “Death On Two Legs” was rumoured to be about Queen’s first managers, the Sheffield brothers, they certainly thought it was about them as they sued Queen (even though they nor anyone else is mentioned by name in the song). What were they so annoyed about? Check out some of the lines Freddie wrote: “Dog with disease/You’re the king of the sleaze/Put your money where your mouth is Mr Know All/Was the fin on your back part of the deal?…SHARK!” Even Brian May asked Freddie if he was sure he wanted to be so full-on but Freddie was insistent. On their live album “Live Killers” four years later, “Death On Two Legs” was described as “the source of many tedious legal battles.” Freddie’s introduction to the song on stage has to be bleeped out three times, I’ll leave it up to you to decide what he said, he was clearly unrepentant. It does end on a positive note: “Make me feel good/I feel good.”

It’s straight into the Noel Coward-esque “Lazing On A Sunday Afternoon” and we’re back to the Music Hall (the British version of American vaudeville and something Paul McCartney was constantly accused of writing for). Freddie’s muffled vocals were achieved by feeding them into a tin can and re-recording them on a microphone. A simple trick that pays off brilliantly. Whimsical again, the media never got the humour in Queen’s songs and videos and always tore them to shreds.

Next, we’re piling into Roger Taylor’s “I’m In Love WIth My Car.” Freddie and Brian were the Lennon and McCartney of Queen writing most of the early albums between them with Roger Taylor struggling to get any of his early songs into the mix, this being one of them. Brian May couldn’t believe Roger was serious submitting a song with that title for consideration and took offence to it. It’s got this rolling waltz-time beat to it and showcases Roger’s astonishingly high vocals (“the dog whistle voice” Freddie accurately called it). The track became a live favourite in later years and Roger arguably saved Queen in the 80s with his songwriting on huge hits like “Radio Ga Ga” and “A Kind of Magic” when Freddie was more interested in partying than writing lyrics. Here, like the car engines at the end, he was just revving up.

“You’re My Best Friend,” John Deacon’s gorgeous ode to the usually unspoken love of friendship (it was about his wife, actually) is next. Freddie puts in a great vocal on a song that isn’t his.

“’39”, a Brian May composition, is next and it starts out with some folky guitar before a jaunty, country-and-western-style sing-along rolls out before us. The song is about exploration. With its “milky sea” and “new world” references, I always thought it was about The Pilgrim Fathers sailing from Plymouth, England to the New World on The Mayflower. Turns out it was about space travel.

“Sweet Lady” is the closest thing the album comes to filler but is a good rock song that kicks off with Freddie going “Ooh, I like it!”, so he’s clearly into it. The repetition of “Sweet Lady” does get on your nerves a bit but “Seaside Rendezvous” is straight around the corner. It’s okay, again a little bit fillerish for my liking, slight and forgettable.

Brian May’s “The Prophet’s Song” is next and probably the best Queen song you’ve never heard. It’s Queen at their scariest with this apocalyptic epic. Look at the use of words “warning” “storm” “bone-white haze” “Hell” “death” “madman” and you can see where they are going. It’s dark stuff with some absolutely glorious soaring harmonies from the band and a middle section where Freddie repeatedly sings “now I know” in multi-tracked a cappella that just builds and builds and is quite eerie when he starts singing “death all around” like a mantra. Brian said that when Freddie sang backing vocals to his lead vocals, the takes were so similar that the sound phased together. That is a mark of how accurate Freddie was as a singer and how much concentration he put into recording.

From the Book of Revelations to the Book of Love with Love Of My Life. It’s got Brian May on harp but was stripped back to just guitar and vocals more effectively for live performances. Freddie always got the crowd to sing along during it, occasionally standing back and letting the crowd sing it back to him while he stood and applauded their efforts. Even audiences that didn’t speak English knew the words. YouTube it, it’s quite an uplifting experience, spellbinding.

Brian May takes over vocals for his own composition “Good Company” and it’s hard not to hear an echo of The Beatles “When I’m 64” in there, from the cheerful tone of the song with its underlying theme of a despondent man ageing to the use of ukulele (George Formby, a famous British comedian and ukulele player was one of The Beatles favourites)  May has admitted that Beatles records, especially The White Album, were The Bible for Queen. All writers have to work out their influences through imitation before they find their own voice.

The second last song on the album is Bohemian Rhapsody, unquestionably one of the greatest songs ever written. A very strange magnum opus with many different parts (ballad, opera, heavy rock), it was actually three songs Freddie had written that he threw together with spectacular results. Freddie never explained what that song was about. If anyone put any theories to him about what they thought the song meant, Freddie just stared at them for a moment and then laughed. He gave nothing away about his songs or himself. The name Freddie Mercury comes from a line in the song My Fairy King on Queen’s self-titled first album from 1973. The line was “Mother Mercury, look what they’ve done to me.” So Freddie Mercury is the “Mama” of Bohemian Rhapsody. “Freddie Mercury just killed a man.” Who is the man? Freddie Mercury was born Farookh Bulsara, could his alter-ego Freddie be the one “killing” him? What sort of death is it? The next line is “Put a gun against his head/Pulled my trigger now he’s dead.” The gun, of course, is a phallic symbol and the use of “my trigger” is significant. Normally you would write “THE trigger”, why is the “my” so important? So Freddie Mercury is “killing” the old Farookh Bulsara by pulling “his” (Farookh’s) trigger (an orgasm? It’s all very Freudian.). It was around 1975 that Freddie Mercury became gay. He was leaving the old him behind, was he worried about having “gone and thrown it all away” meaning a possible negative reaction from family, friends, the media and the public? I’m sure it was on his mind, he’d put everything he had into music and becoming a star and he had a lot riding on this album. Queen were not just poor, they were in debt and needed a smash hit album. Although Bohemian Rhapsody is a very intense, heartfelt song, there is that intentional, overarching preposterousness that means it’s not entirely meant to be taken seriously.

The curtain comes royally down on the album with Queen’s version of the British national anthem “God Save The Queen.” Jimi Hendrix was clearly the influence here with his rock version of America’s national anthem “The Star-Spangled Banner” still fresh in the memory from a few years before. Freddie Mercury was obsessed with Hendrix and once saw him 14 nights in a row in various pubs and clubs around London.

“A Night At The Opera” is widely regarded as Queen’s best-ever album. Some of their later albums had big hits with some filler on them, particularly “News Of The World” and “Jazz.” It’s my favourite Queen album and one that I never get tired of listening to. The songs are so varied and timeless and universal like all great albums should be. With each passing year, the death of Freddie Mercury is felt more and more sharply. There never has been another one of him in the years since he died and there never will be. This album will be listened to for as long as music is played and that must make old Fred smile wherever he is.

Album produced by Roy Thomas Baker and Queen.

© 2014, Stewart Stafford. All rights reserved.

If you’re a generous person who believes this writer should be paid for his hard work, you may donate here.

To read more of this author’s work, check out his short story Nightfall and novel The Vorbing.