It’s a classic guitar-driven album, but one complemented with several instruments not very typically used in rock music like flute and mandolin. Little Queen’s ten songs had the folk elements of Dreamboat Annie along with the band’s trademark hard edge. The band was really becoming masters at merging their two styles of music. Its success also showed their consistency as a rock powerhouse fronted by two women…a rarity for the times. The finished product would cement the band’s unconventional songwriting and melodic rock grooves. Until then, the band recorded Little Queen rather quickly in 1977. Afterward, the courts ruled Heart could release Little Queen if they still re-record and remixed Magazine at a later date for Mushroom. Later, the Mushroom label would release an unauthorized version of Magazine with half-finished songs and live recordings. In true rock spirit, Heart and their manager broke for Seattle to record Little Queen.īut there was still the issue of the legally hung-up second album. According to their producer at the time, Mike Flicker, from a 1999 interview with Blair Jackson, “The short version of a very long and dirty story is that we ended up in the position of losing the four songs that had been the start of the second album, and we found ourselves having to start over again, and that became the birth of the second album, Little Queen, which was on Portrait/CBS. But record label and contract issues plagued its release. Howard Leese – guitars, synthesizer, pianoĪfter the success of Dreamboat Annie, the band started working on their next album for the Mushroom Label, titled Magazine. Nancy Wilson - acoustic and electric guitars, autoharp, mandolin, piano From the full barrel charge of “Barracuda,” to the instrumental mystique of “Sylvan Song,” the band took creative license to experimentally rock. The album was not only an important one for the band but a milestone in music history, as well. And it was just the beginning of a very long and storied career for the sisters. By the time Little Queen was released, Heart was a premier live act known for their versatile stage show and Zeppelin-inspired sound. In his 1977 Rolling Stone review of Little Queen, Billy Altman wrote: “Lord knows we need many more women in rock and roll.”įour decades later, of course, many more women are rocking, but Lord knows Heart led the way. Get ready for “Kick it Out,” “Love Alive,” guitars, mandolins, chimes, outdoor effects, Nancy’s Ovation, Roger Fisher’s double neck, and, oh, that ferocious “Barracuda”… „Everybody’s Somebody’s Fool“ (1960) was a #1 hit and million seller for Connie in the US and a worldwide hit.It was the first of her hits she had translated into other languages, German in this instance and the result, „Die Liebe ist ein seltsames Spiel“ was a big hit in Germany, Austria, Switzerland and The Netherlands.This week GGM is celebrating Heart’s groundbreaking third album, Little Queen, which came out on May 14, 1977. „Stupid Cupid“ was also a big hit in many other countries. It only reached #14 in Billboard, but went to the #1 spot in England, where it remained for six weeks. „Stupid Cupid“, recorded in 1958, was the first composition of two aspiring young songwriters by the names of Neil Sedaka and Howard Greenfield and is one of Connie’s best remembered Rock ´n Roll songs ever. „Jealous Of You“ from 1960, was Connie’s first #1 in Italy which was sung in the native language in the US, it was the flipside to Connie’s 1960 million seller „Everybody’s Somebody’s Fool“ and charted independently of the #1- A-Side, at #19 in Billboard. „I’ll Get By“ originates from Connie’s first US album, „Who’s Sorry Now“, recorded in 1958, and was released as a single in England, where it charted at # 19. „Plenty Good Lovin‘ (written by one Connie Francis and recorded in 1959) and „Fallin‘“, from 1958, were successes in the US charts and those of many other countries. „Do You Love Me Like You Kiss Me“ originates from Connie’s most successful US album, „Connie Francis Sings Italian Favorites“ MGM E/SE 3791, recorded in 1959. „Robot Man“ from 1960, was another European hit and was particularly big in England, where it reached the #2 position. The song originates from the 1940‘s and was first made pupular by Beniamino Gigli. In Connie’s own words, it is a song „I never grow tired of singing“. „Mama“, recorded in 1959, is one of Connie’s million sellers and was popular all over the world. It also exists as a single-tracked version. „Valentino“, recorded in 1960, was confined to an album release in the US, but was a hit in many European countries, such as Belgium, England, Germany, Italy and The Netherlands. Originally issued in The Netherlands in 1960 on MGM F5-101, this was a local print of a French 10“/25 cm album, plainly entitled „Connie Francis“ on MGM F5-101, but retitled and supplied with a different sleeve.
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