HOW HEART OVERCAME STORM OF CONTROVERSY TO RELEASE ‘LITTLE QUEEN’
Heart’s sophomore album, the mighty Little Queen, was released in May 1977. The record arrived in a storm of controversy -- or, more specifically, passive-aggression on the part of Heart’s former label, Mushroom Records. Unhappy that the band had defected to Portrait Records, Mushroom released the half-baked Magazine, which featured rough studio cuts and some live tracks, right around the time of Little Queen. But the sabotage attempt backfired: The latter reached No. 9 on the chart and helped Heart continue their ascent to superstardom.
Still, a legal fight with Mushroom hovered over the recording process for Little Queen. For starters, Heart had to make the album in just three weeks due to the looming court battles over their desire to dissolve the band's contract with its old record label
“When we went in to record Little Queen, the lawyer had sat us down and said, ‘There’s a hearing in three weeks, and at that hearing, we don’t know if you’re going to be stopped from completing Little Queen until the lawsuit is settled, or not,’” recalls the album’s producer, Mike Flicker, in Jake Brown’s book Heart: In the Studio.
“Mushroom was seeking a temporary restraining order to stop Heart from doing any more recording at all till the lawsuit was settled. So the lawyer said, ‘But, if you actually get the album on the streets before then, the chances are way, way In your favor that the judge is not going to stop it.’”
Remarkably, Little Queen reveals little about this behind-the-scenes stress. The LP underscores their dual strengths: ferocious rockers ("Kick It Out," "Barracuda") and delicate acoustic numbers ("Love Alive," "Cry to Me"). "Dream of the Archer," with its regal mandolin and harmonies, conjures the band’s idols, Led Zeppelin; the title track is a smoldering blues-rock lope; and "Kick It Out" is a feisty, Rolling Stones-esque strut.
Listen to Heart's Barracuda
Still, the album is more consistent than Heart’s debut, 1976's Dreamboat Annie -- and it feels rougher around the edges, albeit in subtle ways. For instance, "Go on Cry" is nearly six minutes long, and it’s a somber, almost hymn-like song buoyed by gospel-style choir harmonies, nimble bass and moody guitar.
And then there’s "Barracuda," which we described, in our look at the Top 100 Classic Rock Songs, as “Stacked, Zeppelin-esque riffs rumble with the power of a buffalo stampede in tandem with the galloping drumming and [Ann Wilson’s] powerhouse voice — an instrument that’s simultaneously operatic, twang-touched and blues-based.”
Wilson’s rage at the misogyny she’d already experienced in the music business informed the song’s poetic lyrics. The stance Heart took in the song crystallized a galvanizing, pro-women message Ann and her sister Nancy Wilson still speak out about today.
Little Queen often gets overshadowed by Magazine (especially since the latter was finished by the band and re-released in 1978). However, its lyrical grace and quietly rocking soul make it one of Heart’s best albums.
Listen to Heart's Barracuda
Still, the album is more consistent than Heart’s debut, 1976's Dreamboat Annie -- and it feels rougher around the edges, albeit in subtle ways. For instance, "Go on Cry" is nearly six minutes long, and it’s a somber, almost hymn-like song buoyed by gospel-style choir harmonies, nimble bass and moody guitar.
And then there’s "Barracuda," which we described, in our look at the Top 100 Classic Rock Songs, as “Stacked, Zeppelin-esque riffs rumble with the power of a buffalo stampede in tandem with the galloping drumming and [Ann Wilson’s] powerhouse voice — an instrument that’s simultaneously operatic, twang-touched and blues-based.”
Wilson’s rage at the misogyny she’d already experienced in the music business informed the song’s poetic lyrics. The stance Heart took in the song crystallized a galvanizing, pro-women message Ann and her sister Nancy Wilson still speak out about today.
Little Queen often gets overshadowed by Magazine (especially since the latter was finished by the band and re-released in 1978). However, its lyrical grace and quietly rocking soul make it one of Heart’s best albums.
16: 'Private Audition' (1982)
Heart's sixth studio album, 1982's moody 'Private Audition,' is the first time the group felt fallible. Besides some overlooked standouts—the R&B-inspired Top 40 hit "This Man Is Mine" and the fuzzed-out "The Situation"—the record was the sound of uncertainty, and a band trying to navigate an increasingly slick musical environment.
Heart's sixth studio album, 1982's moody 'Private Audition,' is the first time the group felt fallible. Besides some overlooked standouts—the R&B-inspired Top 40 hit "This Man Is Mine" and the fuzzed-out "The Situation"—the record was the sound of uncertainty, and a band trying to navigate an increasingly slick musical environment.
15: 'Heart Presents a Lovemongers' Christmas' (1998 / 2001)
This 2001 album was originally released in 1998 as a Lovemongers record, under the name 'Here Is Christmas.' This straight reissue, while a lovely representation of the group's acoustic compositions and bewitching harmonies, is one of the least essential releases in Heart's catalog.
This 2001 album was originally released in 1998 as a Lovemongers record, under the name 'Here Is Christmas.' This straight reissue, while a lovely representation of the group's acoustic compositions and bewitching harmonies, is one of the least essential releases in Heart's catalog.
14: 'Magazine' (1977 / 1978)
Heart's second LP emerged in a storm of controversy; in fact, a half-finished, rough version of the album was initially released by Mushroom Records in 1977 without the band's consent after their relationship with the label soured. The distractions had a deleterious effect on 'Magazine,' even after it was reissued in 1978. Although the funky "Heartless" remains a setlist staple to this day, and both a live version of "I've Got The Music In Me" and the Badfinger cover "Without You" are sublime, the record ended up as a weak sophomore effort.
Heart's second LP emerged in a storm of controversy; in fact, a half-finished, rough version of the album was initially released by Mushroom Records in 1977 without the band's consent after their relationship with the label soured. The distractions had a deleterious effect on 'Magazine,' even after it was reissued in 1978. Although the funky "Heartless" remains a setlist staple to this day, and both a live version of "I've Got The Music In Me" and the Badfinger cover "Without You" are sublime, the record ended up as a weak sophomore effort.
13: 'Desire Walks On' (1993)
This arrived in the midst of grunge's domination, which perhaps explains why Alice In Chains' Layne Staley pops up on backing vocals on the Bob Dylan cover "Ring Them Bells." Yet the record's production has an unfortunate '80s hangover, which mars the otherwise-impeccable Led Zeppelin nod "Rage," majestic "In Walks The Night" and the earnest hard rocker "My Crazy Head."
This arrived in the midst of grunge's domination, which perhaps explains why Alice In Chains' Layne Staley pops up on backing vocals on the Bob Dylan cover "Ring Them Bells." Yet the record's production has an unfortunate '80s hangover, which mars the otherwise-impeccable Led Zeppelin nod "Rage," majestic "In Walks The Night" and the earnest hard rocker "My Crazy Head."
12: 'Passionworks' (1983)
Although Heart's 1985 self-titled album is generally considered to be the band's foray into contemporary-sounding hard rock, 'Passionworks' actually marks the band's biggest sonic shift to date. Produced by Keith Olsen, who had also worked with Fleetwood Mac and Rick Springfield, the LP adds studio slickness atop the band's heartfelt songs. The resulting collection is underrated, from the urgent, percussion-heavy AOR shoulda-been "Sleep Alone" to the scrappy power-pop of "How Can I Refuse."
Although Heart's 1985 self-titled album is generally considered to be the band's foray into contemporary-sounding hard rock, 'Passionworks' actually marks the band's biggest sonic shift to date. Produced by Keith Olsen, who had also worked with Fleetwood Mac and Rick Springfield, the LP adds studio slickness atop the band's heartfelt songs. The resulting collection is underrated, from the urgent, percussion-heavy AOR shoulda-been "Sleep Alone" to the scrappy power-pop of "How Can I Refuse."
11: 'Jupiters Darling' (2004)
One of the lesser-known parts of Heart's catalog, 'Jupiters Darling,' is also one of its most underrated albums. The first record to be mostly co-written by the Wilsons in several decades, the LP is a raw, organic-sounding collection that boasts solid songwriting; check out the slithering, grungy "Move On" and brisk, acoustic riff-driven "Make Me."
One of the lesser-known parts of Heart's catalog, 'Jupiters Darling,' is also one of its most underrated albums. The first record to be mostly co-written by the Wilsons in several decades, the LP is a raw, organic-sounding collection that boasts solid songwriting; check out the slithering, grungy "Move On" and brisk, acoustic riff-driven "Make Me."
10: 'Bad Animals' (1987)
Although there's no messing with the soaring "Who Will You Run To" and the dynamic "Alone," 'Bad Animals' is an ever-so-slightly inferior version of the modern-sounding hard rock on 1985's 'Heart.' Still, the Nancy Wilson co-written "There's the Girl," which the band has revived on more recent tours, and the Bangles-esque Wilson-Sue Ennis composition "Easy Target," stand tall against any classic Heart tunes.
Although there's no messing with the soaring "Who Will You Run To" and the dynamic "Alone," 'Bad Animals' is an ever-so-slightly inferior version of the modern-sounding hard rock on 1985's 'Heart.' Still, the Nancy Wilson co-written "There's the Girl," which the band has revived on more recent tours, and the Bangles-esque Wilson-Sue Ennis composition "Easy Target," stand tall against any classic Heart tunes.
9: 'Beautiful Broken' (2016)
For seven of the 10 tracks on'Beautiful Broken,' Heart revisit songs they feel were done right the first time around. The new arrangements and performances put the focus back on the quality of those songs, especially "Down on Me" and "Sweet Darlin'" Of the newer material, "Heaven" shows off their debt Led Zeppelin, while the title track is a blistering duet with Metallica's James Hetfield.
For seven of the 10 tracks on'Beautiful Broken,' Heart revisit songs they feel were done right the first time around. The new arrangements and performances put the focus back on the quality of those songs, especially "Down on Me" and "Sweet Darlin'" Of the newer material, "Heaven" shows off their debt Led Zeppelin, while the title track is a blistering duet with Metallica's James Hetfield.
8: 'Brigade' (1990)
Heart took steps to shed the too-glossy rock & roll image into which they had been forced, as underscored by the folk-leaning "Under The Sky," horn-peppered "Tall, Dark Handsome Stranger" and the snarling, Sammy Hagar co-write "The Night." In fact, save for the wince-inducing "All I Wanna Do Is Make Love To You," 'Brigade' is a step in the right direction, one where the Wilsons were back doing Heart on their own terms.
Heart took steps to shed the too-glossy rock & roll image into which they had been forced, as underscored by the folk-leaning "Under The Sky," horn-peppered "Tall, Dark Handsome Stranger" and the snarling, Sammy Hagar co-write "The Night." In fact, save for the wince-inducing "All I Wanna Do Is Make Love To You," 'Brigade' is a step in the right direction, one where the Wilsons were back doing Heart on their own terms.
7: 'Red Velvet Car' (2010)
This fantastic release contains down-and-dirty rock jams ("WTF," "Death Valley"), tender acoustic ballads ("Hey You") and sunburned psych-pop ("Sunflower"). It also features some of the band's strongest, most poignant lyrics to date.
This fantastic release contains down-and-dirty rock jams ("WTF," "Death Valley"), tender acoustic ballads ("Hey You") and sunburned psych-pop ("Sunflower"). It also features some of the band's strongest, most poignant lyrics to date.
6: 'Heart' (1985)
This was the band's commercial breakthrough, a collection of songs steered by glittering keyboards, crisp pop hooks and (at least on the squealing hard rocker "If Looks Could Kill" and power ballads "What About Love" and "These Dreams") outside songwriters. Although Ann and Nancy Wilson look back at this time with mixed feelings, the former's vocal performance on "Never" and the latter's lead vocal on "These Dreams" are exemplary – and, for as dated as the production sounds today, it's a remarkably cohesive record. Plus, the second side's "What He Don't Know," a classic Wilsons-Sue Ennis composition, is quite underrated.
This was the band's commercial breakthrough, a collection of songs steered by glittering keyboards, crisp pop hooks and (at least on the squealing hard rocker "If Looks Could Kill" and power ballads "What About Love" and "These Dreams") outside songwriters. Although Ann and Nancy Wilson look back at this time with mixed feelings, the former's vocal performance on "Never" and the latter's lead vocal on "These Dreams" are exemplary – and, for as dated as the production sounds today, it's a remarkably cohesive record. Plus, the second side's "What He Don't Know," a classic Wilsons-Sue Ennis composition, is quite underrated.
5: 'Fanatic' (2012)
This album is arguably heavier than 'Red Velvet Car'; check out the string-laced rocker "Dear Old America," distorted blues stomp "Skin And Bones," the Led Zeppelin-esque title track and howling "Mashalla." Like 'Red Velvet Car,' however, the album contains forceful, thoughtful lyrics that cut to the quick and linger well beyond the record's end.
This album is arguably heavier than 'Red Velvet Car'; check out the string-laced rocker "Dear Old America," distorted blues stomp "Skin And Bones," the Led Zeppelin-esque title track and howling "Mashalla." Like 'Red Velvet Car,' however, the album contains forceful, thoughtful lyrics that cut to the quick and linger well beyond the record's end.
4: 'Bebe Le Strange' (1980)
This was the first Heart LP without Michael and Roger Fisher, which is perhaps why Ann and Nancy Wilson's songwriting feels so unconstrained by expectations. Highlights of the hard-rocking' album include the ferocious bar-band piano driving "Raised On You" and the crisp Tower Of Power horn sizzle on "Even It Up."
This was the first Heart LP without Michael and Roger Fisher, which is perhaps why Ann and Nancy Wilson's songwriting feels so unconstrained by expectations. Highlights of the hard-rocking' album include the ferocious bar-band piano driving "Raised On You" and the crisp Tower Of Power horn sizzle on "Even It Up."
3: 'Dreamboat Annie' (1976)
Few first albums are as fully formed (and confident-sounding) as Heart's debut. Come for the classic singles "Crazy On You" and "Magic Man"; stay for the blues-country boogie "White Lightning & Wine," poetic gem "Soul Of The Sea" and the gentle, acoustic guitar-ruffled title track.
Few first albums are as fully formed (and confident-sounding) as Heart's debut. Come for the classic singles "Crazy On You" and "Magic Man"; stay for the blues-country boogie "White Lightning & Wine," poetic gem "Soul Of The Sea" and the gentle, acoustic guitar-ruffled title track.
2: 'Dog and Butterfly' (1978)
Cut from the same cloth as 1977's 'Little Queen,' this album alternates between dreamy folk passages and nervy classic rock grooves. Still, the title track may contain some of the band's finest lyrics, while the laid-back "Straight On" embodies Heart's ability to move fluidly between genres, all in one song.
Cut from the same cloth as 1977's 'Little Queen,' this album alternates between dreamy folk passages and nervy classic rock grooves. Still, the title track may contain some of the band's finest lyrics, while the laid-back "Straight On" embodies Heart's ability to move fluidly between genres, all in one song.
1: 'Little Queen' (1977)
In hindsight, Heart's third LP felt much more like the proper follow-up to 'Dreamboat Annie.' The band's inimitable combination of rock and folk—which was already sharply defined on their debut—feels even more in focus. "Barracuda" is the monstrous song here, but the rowdy "Kick It Out," the blues-grooved title track and the mandolin-driven, misty folk tune "Dream of the Archer" are also standouts.
In hindsight, Heart's third LP felt much more like the proper follow-up to 'Dreamboat Annie.' The band's inimitable combination of rock and folk—which was already sharply defined on their debut—feels even more in focus. "Barracuda" is the monstrous song here, but the rowdy "Kick It Out," the blues-grooved title track and the mandolin-driven, misty folk tune "Dream of the Archer" are also standouts.
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