Tag Archive: album

Copyright 2014, Art Katalyst

Copyright 2014, Art Katalyst


I write a piece on Queen’s recent release of their collection Queen Forever, a set which featured three newly released tracks from the band along with a mix of classic hits and deep cut album tracks.

Pick up your issue today to read the whole thing!



[The following is an article I wrote for Queen’s Official Website, www.queenonline.com. It ran there in two parts, on June 20th and June 25th, 2012. Thanks to Queen’s site administrator Nick Weymouth. Here are Parts I and II together, annotated with images and links to the songs referenced, so you can hear what the article is discussing.]

Queen, in a pre-show promo shoot for Live Aid (copyright unknown, 1985)

A Chronicle of Magic – The Making of an Album (Part I)

July 13, 1985.

Live Aid.

By all accounts, Queen stole the show at Wembley Stadium. They had taken their duty seriously and put together a set for their allotted 18 minutes of stage time which cleverly exploited their strengths as a live act. The band had rehearsed and refined the performance at the Shaw Theatre in London and when they finally stood on the Live Aid stage, they gave it everything they had. Each member of the band was indelibly marked by the experience and would embark on one of their most ambitious and productive years as a result.

Queen, taking their bow after their 18-minute Live Aid set. (copyright unknown, 1985)

August, 1985.

Their 1981 Greatest Hits collection and their recent 1984 studio album, The Works, were seeing chart success again. Discussions arose for a new boxed set which would contain all of their studio albums, their live album and their handful of non-album tracks. It was all enough for Queen, at singer Freddie Mercury’s insistence, to return to the Musicland Studio in Munich to record again.

Bassist John Deacon admits he was on holiday when work began. Drummer Roger Taylor brought to the band a song he said later was “half-nicked from Martin Luther King.” He would describe it as a single page poem, “all about ‘One This’ and ‘One That’.” By August, this poem would become a demo known now as “A Kind Of Vision.”

September, 1985 to January, 1986

For 14 days in September, Queen allowed Rudi Dolezal and Hannes Rossacher, the “Torpedo Twins,” to film the band as they worked on the song which would become “One Vision,” the successor to “A Kind Of Vision.” John Deacon returned by this point and joined the band in Munich. Despite later claiming limited involvement in writing the song, he is seen in the documentary footage to be present in discussions and offering input.

During the filming of the “One Vision” documentary, guitarist Brian May worked on an instrumental piano piece he later identified as “Butterfly.” Comparisons have been drawn between it and the later Brian-penned “Some Thing That Glitter” (aka “I Loved A Butterfly”). It’s possible that the latter grew out of the former, as Brian has throughout his career drawn on songs written much earlier.

Queen in Musicland Studios, Munich, recording “One Vision,” September, 1985. (copyright unknown, 1985)

“One Vision” was completed and a remixed B-side was created, “Blurred Vision,” as well as a 12” version, “Extended Vision.” Both “One Vision” and “One Vision (Extended Vision)” were provided videos which accompany the documentary footage made that month. During the filming of the “One Vision” music video, John Deacon recalls, an argument broke out between Freddie and Roger about whether the single’s A and B side tracks should appear on the forthcoming boxed set, which would be only a month or so after the single’s release. John’s own position was that since fewer people would be buying the box, it wouldn’t affect the single’s sales. Ultimately, it was ruled that they should include it; otherwise, it was felt, the set would not represent the complete catalogue of Queen’s releases as planned.

Meanwhile, principal photography on the film Highlander was finished. In London, director Russell Mulcahy had 20 minutes of footage edited together with the expressed purpose of showing it to the band and their manager, Jim Beach. They had been asked to contribute a song to the film.

The band’s initial reply was “no.” The reason being they wanted a rest.

However, they were inspired by what they saw in the footage Mulcahy showed them. This event has been well-documented, as was guitarist Brian May’s drive home with Jim Beach where he started writing “Who Wants To Live Forever.”

Work began in earnest. As the director explains in a recent interview with Den Of Geeks.com, “They came in early on the film and the composer was a guy called Michael Kamen…He also had a rock and roll background.” He goes on to say, “Queen came on board, they wrote some songs and then he would then take some of them and at the end, or halfway through [the piece], intercut the score. It wasn’t just like we finished the film and asked for a song. They were very much involved in edit and during the months of post-production.”

Brian confirms Mulcahy’s statements about their involvement in a 1986 interview, where he said the band “spent three or four months just working on passages from the film.” He also said the process “was complicated by the fact that they kept changing the film while we were doing it.” Mulcahy, in the Highlander DVD commentary, talks about the various cuts and reshoots which occurred during the film’s post-production stage, though there appears to have been no significant set-back or delay as the film was cut together.

Brian May worked closely with composer Michael Kamen, integrating Kamen’s orchestral score into “Who Wants To Live Forever” even as Kamen wove Brian’s love theme into the film. Roger re-visted the “A Kind Of Vision” demo and worked it into a new song, based on a line from the film he felt was powerful, “A Kind Of Magic.” Freddie penned the song “Princes Of The Universe,” a track based on the immortal characters in the film. The band, says Roger, “sort of made [Princes] up in bits.” Brian confirms this, noting, “A lot of interaction went into the creation of it.”

A Roger Taylor instrumental track written for the film, later known as “A Dozen Red Roses For My Darling,” features in it twice, most significantly at length near the end. It should be noted here that the music and songs the band wrote for Highlander were intended as soundtrack material, to be grafted into the film and to work as a part of it, rather than to be stand-alone tracks as they might appear on an album. By the time Queen was well into working on the Highlander material, though, they knew there would be an album at the end of it. Discussions arose toward the end of the year about what to call the eventual album, but it would take a while to decide.

Highlander was not the only project Freddie Mercury was involved with in October. He had previously agreed to record a song for his friend Dave Clark, who was putting together a rock musical titled Time. Freddie recorded the track “In My Defence” for the soundtrack album at Abbey Road Studios. According to the 2000 Freddie Mercury – The Solo Collection boxed set, Freddie originally insisted that the rest of Queen (Brian, Roger and John) back his performance on this track, which, aside from not having written it, would effectively have made it a Queen or Queen-collaboration recording. Instead, though, the track uses the original session musicians brought in by Dave Clark.

“One Vision” single, using a negative and reversed image of the original Live Aid pre-show photo seen above. (copyright Queen Productions, 1985)

November 4th saw the release of the “One Vision” single and it reached #7 in the UK. In December, the band released The Complete Works, the boxed set of their eleven studio albums (Queen through to The Works) and their live album, Live Killers. An extra LP was included, collecting their seven non-album tracks, including “One Vision” and “Blurred Vision,” titled Complete Vision.

Seemingly late in the Highlander sessions, at least according to the film’s director, Brian writes the “Kurgan’s Theme.” It turns out to be the director’s least favourite of Queen’s tracks for the movie, because of the heavy metal style. Mulcahy had visited the band regularly in Munich while they worked on demos for the film and was directly involved with them, including, as Brian put it, arguing with them and getting drunk with them. Mulcahy would share the sentiment years later, saying one of his fondest memories of the Highlander project was “working with Queen and becoming very good friends with everyone.”

The band was back in London by January, working on a John Deacon composition, “One Year Of Love.” A demo exists from Townhouse Studios, dated January 25th. This looks to be a later addition to the Highlander tracks, or at least a later-completed track, as work on the film was drawing to a close at this point, both in the film’s post-production process and in the studio for Queen. The film’s director, Russell Mulcahy, would comment that John was not happy about “One Year Of Love” being placed in a bar scene, on the radio, in the background, which Mulcahy would explain as being a traditionally bad place to put a song, but that with the abundance of material Queen recorded, finding homes for all of it was a challenge.

Around this time, in addition to “Who Wants To Live Forever,” Brian also put to tape a piano instrumental based on the theme, simply titled “Forever.”

Amidst the Highlander sessions, Mulcahy asked Freddie to record the “Theme from ‘New York, New York,’” the 1977 film whose title track was performed by Liza Minelli. Freddie was adamantly against it, but relented when Mulcahy played him the Minelli recording.

January also saw Freddie record two more tracks for Dave Clark’s Time: The Musical. Freddie completed the title track, “Time,” and a demo for “Born To Rock ‘n’ Roll.” The demo, sadly, was lost over the years, following the decision to not have Freddie record the finished version for the musical’s soundtrack.

Roger also kept busy co-producing the band Magnum, at Mountain Studios in Montreux, Switzerland, with David Richards. Richards, the house engineer and producer at Mountain Studios, was also working with Queen on the Highlander tracks when the band was in Switzerland. They owned the studio at the time and would use it when other acts were not booked in. Magnum was working on their album Vigilante and Roger also provided backing vocals on the songs “When The World Comes Down” and “Sometimes Love.”

Though not written for the film, “One Vision” was licensed for the movie Iron Eagle, released in the US on January 18th. It appeared prominently throughout and on the soundtrack album.

Soundtrack album for the film Iron Eagle, which featured “One Vision” as the lead-off track. (copyright EMI/Capitol Records, 1985)

Six months had passed since Live Aid and Queen were again busy, now dividing their time between recording for a motion picture and their various solo outings. 1986 would shape up to be no less productive, as a milestone year awaited the band…

A Chronicle of Magic – The Making of an Album (Part II)

February, 1986.

When the Highlander tracks were completed, Queen had to decide how next to proceed. They were in the midst of a creative period and had a lot of material on tape from the film. The question was whether the album was to be a Highlander soundtrack or a straightforward Queen album. Brian would fall on the side of preferring a soundtrack approach. Roger, however, thought the idea of a soundtrack would put people off.  The question may have gone unanswered by Queen for some time as they began worked on the Highlander tracks with the intent of creating finished songs.

It was at this point that Freddie famously began work re-tooling Roger Taylor’s song “A Kind Of Magic.” Freddie knew Roger would be away for a week in Los Angeles, so he set about adapting the song to what he felt would be a more commercial piece. When Roger returned, he liked what Freddie had done and the two finished off the remix in the lighter style. Not only that, an extended version of the remix was created for the future single. That this track was a contender for the follow-up single to “One Vision” would soon become a point of contention as the band worked on other Highlander tracks and the film itself neared its theatrical release.

“Princes Of The Universe,” completed from the elements composed for the film, was another contender for the single spot sought by “A Kind Of Magic.” The film’s release in the US was set for March 7th, however it would not land in the UK until August 29th, so Queen was left with a dilemma. “Princes Of The Universe” seems to have been the stronger contender, as it directly corresponded with the film. For its video, they had enlisted Highlander’s director, Russell Mulcahy, and the film’s star, Christopher Lambert, to help them recreate portions of the film in addition to including clips from it. This would be all well and good for the US market, which would see the film in March, but, as Freddie said in 1986, “…they’re not going to see the film here [in the UK] till about July [actually, it turned out to be late-August]. And they’re not going to know what it means.”

So, the only resolution was that two singles would go out simultaneously in different territories. The North American audience would get “Princes Of The Universe,” to tie in with the film, and the European market would get the more stand-alone remix of “A Kind Of Magic.” A video for “Magic” was prepared, as well. And again, Russell Mulcahy was brought onboard to direct it. Unlike the “Princes” video, this one would contain do direct visual tie to Highlander, allowing it to be viewed without having seen the movie.

Among the other pieces worked on during this period was Roger’s “A Dozen Red Roses For My Darling.” Taylor seems to have begun reworking the Highlander instrumental into a song at this point, “Don’t Lose Your Head,” evidenced by the somewhat mis-attributed title given to “Red Roses” on the 12” “A Kind Of Magic” Picture Disc single B-side as “Don’t Lose Your Head (Instrumental Version).” As both “Don’t Lose Your Head” and “A Dozen Red Roses” stem from the same instrumental material, it may be hair-splitting to worry about which developed first. We do know which was ultimately released first.

With the “Princes Of The Universe” and “A Kind Of Magic” singles sorted out, they were sent to be pressed and delivered to retailers. The videos were completed and sent to TV media outlets and the launch of Queen-related Highlander music was set.

March, 1986, to April, 1986.

On March the 7th, Highlander was released in the North America.

Highlander quad poster (copyright The Cannon Group Inc., 1986)

On March the 17th, in the UK, the remix of “A Kind Of Magic” was issued as the single, paired with the B-side “A Dozen Red Roses For My Darling” and its own video. It was a #3 UK hit single.

“A Kind Of Magic” 12″ Single sleeve (copyright Queen Productions Ltd., 1986)

On April 7th, in North America, “Princes Of The Universe” was released as a single, backed with “A Dozen Red Roses For My Darling,” The “Princes” video aired on TV alongside it. Ultimately, the single would not chart very well.

All the while, Queen worked on the album, completing Highlander tracks into songs and writing new material. There is substantial evidence that, by March, the band had not yet agreed upon a title for the album. None of the singles released this month mention the name of the album the band was working on, but rather boldly proclaim they are from the film Highlander. The film itself, at the end of the final credits, carries the much-discussed tag: Soundtrack Album Available On EMI Records And Tapes. This could even mean that the band had not decided yet whether the album was a soundtrack or not, or it’s equally plausible that the producers were considering a soundtrack album of composer Michael Kamen’s score without any of the Queen music in it. So far, aside from “One Vision” (whose release predated Highlander) all the released songs were connected to the film. In interviews at the time, it’s referred to by the band simply as the “the album.”

John Deacon soon found himself focused on a second film project. He had been asked to contribute a track to a film adaptation of the popular World War 1 book series Biggles. John formed the band The Immortals, with Robert Ahwai and Lenny Zakatek, for this one-off track. It’s no coincidence that John chose that as the band’s name, as immortals are the central characters in Highlander. This track remains one of the few projects John would undertake outside of Queen. Not being a singer, he felt limited in his ability to ever create a solo album.

“Princes Of The Universe” singles, released in North America (copyright Queen Productions Ltd., 1986)

Back on the Highlander front, “Who Wants To Live Forever” was completed as an album track, as was the “Kurgan’s Theme” track from the film as “Gimme The Prize,” with Brian lacing it with audio clips from the film. John’s “One Year Of Love” and Roger’s “Don’t Lose Your Head” round out the last of the original Highlander material. Joan Armatrading recorded incidental vocals for “Don’t Lose Your Head” and her involvement might have lead to Roger Taylor writing “Heaven For Everyone” around this time. The word is he might have written it for her. “Heaven” would be finished and recorded by Roger’s band, The Cross, the following year. The “Theme from ‘New York, New York’” would seem to not get any further than the take used in the film.

At this stage, only two new songs would be completed for the album, both unrelated to Highlander. One, “Friends Will Be Friends,” was started by Freddie before it became a collaborative effort with John Deacon. The two would also work on “Pain Is So Close To Pleasure,” this one begun by John.

With both the Highlander and non-Highlander songs completed, various alternate mixes were prepared for use as future singles and album bonus tracks. “One Vision,” recorded months earlier, would get a re-mixing for the album also. The single remix of “A Kind Of Magic” would stand now as the album version. Its extended 12” mix would be edited as a bonus track, “A Kind Of ‘A Kind Of Magic’.” As well, the title of the album was decided on, A Kind Of Magic, as was the track listing:

Side One:

A Kind Of Magic album (copyright Queen Productions Ltd., 1986)

One Vision

A Kind Of Magic

One Year Of Love

Pain Is So Close To Pleasure

Friends Will Be Friends

Side Two:

Who Wants To Live Forever

Gimme The Prize (Kugan’s Theme)

Don’t Lose Your Head

Princes Of The Universe

CD Extra Magical Ingredients:

A Kind Of ‘A Kind Of Magic’

Friends Will Be Friends Will Be Friends…


Left off the album entirely would be “Blurred Vision” and “A Dozen Red Roses For My Darling,” both of which would become collectable B-sides.

May, 1986.

With A Kind Of Magic completed, the band started rehearsing for the upcoming European tour. In record stores, the soundtrack LP for Dave Clark’s Time: The Musical hit the shelf, partnered with Freddie Mercury’s related solo single for “Time,” off the album. John Deacon’s single, “No Turning Back,” with The Immortals was also released (the Biggles soundtrack album would be released in June).

At Sarm East Studios in London, when not rehearsing for the tour, Freddie could be found working with Billy Squier, a friend of the band (with whom Freddie, Roger and Brian had worked previously). They completed two tracks for Squier’s forthcoming album, Enough Is Enough: “Love Is The Hero” and “Lady With A Tenor Sax.” The album and the “Love Is The Hero” single later came out in September.

June, 1986.

A Kind Of Magic was released on June 2nd and went gold in its first week, reaching #1 on the UK Album charts, despite mixed press reviews. Some of the reviewers failed to grasp that much of the album was related to Highlander and it had a tough time cracking the US charts in 1986. Queen chose not to tour in North America for the new album, but played to sell-out crowds in Europe.

July 11th and 12th, 1986.

In the middle of the Magic Tour, Queen performed live at Wembley Stadium. It had been a year since they played there as part of Live Aid. The shows were both recorded and their later release shows the band at the top of their live game. Much has been made of Freddie’s seemingly prophetic statement about false rumours of the band’s break up and that they would stay together until they died. While at home in London that week, Freddie gave an interview to David Wigg, where he said, “I’ve got a new-found force that there’s more left in Queen. I may change my mind at the end of the tour and that say that’s it, but I think we really want to stay together.”

Queen, Live at Wembley Stadium, July 12th, 1986. (copyright Queen Productions Ltd., 1986)

August, 1986, and beyond…

The final concert of the Magic Tour was at Knebworth, England, on August 9th, and would be the last for Queen’s classic line up. Freddie Mercury’s health rendered touring for the next two albums impossible. Still, A Kind Of Magic had four successful UK singles:

One Vision (UK #7)

A Kind Of Magic (UK #3)

Friends Will Be Friends (UK #14)

Who Wants To Live Forever (UK #24)

Queen chose to ultimately develop the project not as a soundtrack, but as a Queen album. However, they did not shy away from maintaining its relationship with the movie. Included in the liner notes was the claim that “Some songs on this album appear in different form in the film ‘Highlander’.” It was inescapable, really, with some singles emblazoned with the Highlander title on the sleeve and one of the videos connected directly to it. The album’s liner notes would not specifically distinguish between which track was from the film and which was not, but it would do something else altogether curious.

As noted earlier, “One Vision” was included in the film, and soundtrack album for, Iron Eagle, despite not having been written for that movie. The album’s liner notes beneath “One Vision” advertise it as “From the motion picture ‘Iron Eagle’.” The later live album from the Magic Tour, titled Live Magic, would do the same for the song. This credit would seem counter to the idea of presenting the album as a whole, rather than as a collection of movie songs.

Highlander would go on become a cult classic and spawn a franchise in which some instalments made significant use of the songs Queen wrote for the movie, though the band themselves were not involved in those projects. Freddie, John, Roger and Brian would take a break from Queen after the Magic Tour. However, the time spent on solo projects over the next two years would see them return to the studio as a band and embark on a particularly creative period leading to the next album, The Miracle.

No official soundtrack album was released at the time for Highlander. A Kind Of Magic was closest they got, a Queen album with six of its nine songs (or eight of its twelve on the 1986 CD) coming from the movie. A collection of highlights from the first three Highlander film scores was released in 1995, containing some of Michael Kamen’s music, but no tracks performed by Queen. Brian May, on the 2003 Greatest Video Hits DVD commentary for “Friends Will Be Friends,” said that he’d like to go back and produce a proper soundtrack album, including Kamen’s score and pieces like the “Theme from New York, New York.”  Sadly, that same year, Michael Kamen died of a heart attack, seeming to put an end to the idea for the time being.

And yet, it could still happen. Queen fans are known for their desire to hear what’s in the vaults. The alternate mixes, takes, and unreleased material, such as the “Theme from ‘New York, New York’,” would certainly please many listeners. For now, they can still watch Highlander and experience the differences in the music compared to the finished product on the album, not to mention the various single and extended mixes which accompanied it.

26 years later, if you’ll forgive the word play, there is still magic in the music.

“Pain Is So Close To Pleasure” North American single. (copyright Queen Productions Ltd., 1986)

Sketches made March 1st, 2012. I’d revisit these ideas for “Rebound.” Copyright 2012 Patrick Lemieux

“I’ve got a new song title for you: Rebound!”

Standing in my apartment, phone to my ear in one hand and pencil in the other hand, talking to Scott [Brown, So9’s singer and chief songwriter], I scribbled the notes he gave about the song.

I’d been monitoring the band’s progress on this new track via their Twitter feeds. Bed tracks were being laid one day. A working title developed another (“Dirty Synth”). Now, the call came. The song was done and it was “Rebound!” It needed artwork. The band knew I was ready to go, having called them a few weeks before when I sent the previous piece of album art over to them for approval. The email with the attachment included my observation that of the 8 song titles and descriptions I’d previously been given, I’d just sent them number 8. I was out of titles until new songs were written.

I had plenty to keep me busy, with material not related to So9. I finished writing and sketching the end of the Horizon Line comic I’d left dangling in 2000. I plan to commit to producing this last chapter in ink hopefully this summer. I did another non-So9 painting and in doing so, I learned two things: the theme for my next, post-So9 series; and that 12″x 12″ canvases don’t agree with me. I used to prefer small, which is no surprise given most panels of the comic were no more than a few inches in rectangle. I guess the different media require different parameters from me. Pen & ink can happily be rendered smaller than when I move the paint around the canvas.

Awaiting Her Cue, 12″ x 12″ Acrylic on Canvas, Copyright 2012 Patrick Lemieux

I forget whether I’ve talked about this before, but in school, when I learned how to paint, I never took to it. I’ve come to realize there were probably a few reasons for this. First, setting up the easel, getting the paint ready and having to take it down and clean your brushes takes some time, particular when there’s one sink and 25 students in the class. So an 80 minute class gets pared down to a productive 50 minutes, which isn’t a lot of time. That’s about as long as it takes for me to get into the zone. Then, once you’re packed, you have to carry that work home to get maybe a few hours in there, if you were so inclined. I’m not speaking for every artist out there. Many made it work for the sake of their creative expression and to get art assignments done in their preferred medium. Those factors were what drew me to the more immediately gratifying, easily transportable Pen & Ink.

Now, with painting, I can devote 8, 10, 12, 14 or more hours a day to it. There are breaks, of course, but I let the rhythm of working dictate them most of the time. Paint has to dry, so time for lunch. The Blue Jays are on in 45 minutes? Perfect! Time for dinner and a few innings before I get back at the canvas. I still work in my apartment. I’m not the artist you see carrying their easel down the street and setting it up the park. Way too exposed for me, both in allowing spectators and opening myself to distractions. No, like my writing, it’s a private thing, because I not only need to focus, I love being in the zone when I am focused. Words flow freely, textures rise up from the paper with ease and the brush-strokes are at their most confident.

I kept busy awaiting the completion of So9’s new song and when the call came, I thought, “Great! Time to brainstorm!” I flipped through my sketchbook, I doodled a little and I mulled over the ideas. A few days later was my birthday, attended by, among many others, were Scott, Radek [Smaczny, lead guitar] and Taylor [Brown, drums]. Scott announced that “Rebound” was to be the next video and single. As I hadn’t started this piece beyond the idea stage, I thought this was perfect to tie my piece into the video directly. Scott concurred.

Days later, I was still wrestling with how exactly to go about this. Do I paint a scene from the video? Do I let them shoot some of it, see what they’ve done and take inspiration from that? Should the painting be IN the video? I couldn’t crack this conundrum (which came first the painting or the video? The chicken or the egg?). I was going in circles. If only I could see the future, to see the finished video, or at least read the tea leaves of Scott’s notes to me on the song…tea leaves…predictions…

The answer hit me not like a ton of bricks, but like a whisper in the dark. It was a simple solution and I was so in awe of it I kept going over it, looking for flaws. It would present a few technical challenges, but nothing insurmountable. Some straightforward planning would be enough. I email Scott and he liked it. He was scouting locations and it seemed we were on the same wavelength. I made some notes and then returned my attention to sketching out the painting. I knew what I needed in the painting and what I needed as I painted. I’d solved a riddle and all I had to do next was paint the darn thing.

Sketch from April 26th, Copyright 2012 Patrick Lemieux

Here’s where I disappoint many of you by not sharing the idea I had. At least, not yet. I hear you crying “Foul,” “Let Down,” and probably other four letter words, but know that when the time comes you will have your answer. As of this writing, the video has not been shot, so details must remain a mystery in order to preserve its integrity. You don’t want to know whodunnit at the start of an Agatha Christie novel, do you? If you answered yes, shame on you!

The video, we hope, will answer some of these questions. I might answer the rest. The clever among might figure it out at that point without help from me.

I’m probably making more of this than it deserves, but I’m here to share with you now some insight in to my workings as an artist. The artwork for “Rebound” was finished last week and the single was released this past Monday. Below is the final version of the single sleeve and a link to download the single from CDbaby.com. iTunes will surely follow soon.

“Rebound” as the paint dries, nearing completion May 2nd. 24″ x 30″ Acrylic on Canvas, Copyright 2012 Patrick Lemeiux

Symphony Of Nine’s ‘Rebound’ single sleeve, Copyright 2012 Glenmore Records, used with permission. Original Artwork Copyright 2012 Patrick Lemieux

Download “Rebound” here: http://www.cdbaby.com/cd/symphonyofnine3

The link above will take you to YouTube, where you’ll see the evolution of the piece seen below.

I’m friends with the local Toronto band Symphony Of Nine, who are now writing and recording their third album. This piece was done for the forthcoming album, tying into their song “Change”.

As I told Scott, the singer and songwriter in the band, I don’t believe in matching images (be it in music videos or album art) too literally with the song or songs. When you do, I think you limit the imagery the audience associates with the song. The audience should be allowed to create their own video in their head when the song plays and to conjure up imagery. Good album artwork, a dying art form in my humble opinion, will meet the audience halfway. It will suggest ideas and images, perhaps linking themes in the lyrics. No rule is absolute and so-called tombstone covers, with little to no imagery (such The Beatles “White Album” and Metallica’s “Black Album”), can be inspired approaches that elevate an extreme.

What you don’t want to do either is bore the audience. How many great album have a simple publicity still of the artist(s) on the cover? A lot of these in popular music are boring as hell. Some can look good, if stylized or artfully set up, but most are just bland. I see these and wonder if the record company could not afford a decent art director.

My approach with this piece was to evoke a simple, but elegant scene while referencing the song laterally. It helped that I created piece while only knowing the title and that style of the song. I also wanted to draw visual parallels to an earlier piece I did for the album called “Stage Door.” Not having heard the song could have been a hindrance, but since I wasn’t seeking a literal interpretation even if I had heard it, I felt free to suggest the song in the album art instead, with the posters on the wall. The details on the poster in the piece sneak in allusions to the band and the music, as they do in “Stage Door.” I won’t explain every detail, but a familiarity with Symphony Of Nine and their previous albums, as well as the band themselves, will reveal some of the more oblique nods.

Here are two of the songs from the album so far:



And here are “Change” and “Stage Door”…

(copyright Patrick Lemieux, 2012)



Stage Door (copyright Patrick Lemieux, 2011)