What does /mu/ think of Heart?
>>66101750
Two bimbos who got mad that Sarah Palin used one of their songs.
Other than that, not much.
>>66101750
Dreamboat Annie and Little Queen are fantastic mid/late 70s pop rock albums. Everything after is a slow descent in to shit. 80s Heart is cringe. Ann can really belt it out.
Ann Wilson>Janis Joplin
They're ok if you were a white trash 14 year old girl in the late 70s.
>>66102152
>tfw I'll never be a white trash 14 year old trailer park girl
>>66102152
The modern variant of that generally listens to Ke$ha.
https://www.youtube.com/watch?v=VC8UzkRMdFM
>>66101750
Way more talented than people give them credit for. Reminds me of early tull or soft zeppelin. Even when the 80s hit they still could rock, but later on it got a little eh.
>80s Heart is cringe. Ann can really belt it out.
"Heart" is a great album start to finish but it got pretty bad after yea
>Ann Wilson>Janis Joplin
deffo
>>66101750
Barracuda is a cool song
"In the early 70s, Led Zeppelin took the rock world by storm. Three generations of rock groups were influenced by Page's guitar and Plant's falsetto croon. In this climate, it was possibly inevitable that a female-fronted hard rock act would come along. The problem with women in hard rock has always been the difficulty of disassociating them from their sexual appeal. Female rockers who sold their sexuality would logically find it hard for male listeners to take them seriously or see them as a symbol of rebellion. The hard fact is, most 70s rock was known for its misogyny. Going across the spectrum from the Rolling Stones to Aerosmith to Kiss to the Eagles, rockers seldom depicted women as anything other than cruel witches out to ruin their life or else submissive fucktoys."
"Enter Heart. With the Wilson sisters making their 1975 debut, Dreamboat Annie, on Vancouver-based Mushroom Records, there stood for the first time a uniquely female form of cockrock. The album produced two major singles, Crazy on You and Magic Man, which became rock radio staples and showcased a grooving, gyrating sexuality that was never anti-male, but rather a craving for a big, strapping hunk to come and pleasure Anne Wilson. Dreamboat Annie had novelty, energy, and poise, and made for a unique feminist statement. Heart thus looked to a very promising career ahead. In truth, Heart owed as much or more to Aerosmith as they did Led Zeppelin, and the favor would be repaid when they proved pathfinders for Aerosmith's late 80s comeback as revolting Top 40 balladeers."
"It didn't last. Heart quickly fell into a dispute with Mushroom Records over a print advertisement for Dreamboat Annie they considered offensive and then switched to Portrait Records, an Epic affilate. Shortly afterwards, Mushroom released several outtakes and unused songs from Dreamboat Annie as a record titled 'Magazine', leading to a lawsuit from the Wilson sisters. Unfortunately, the label switch proved highly detrimental to their creativity as a band. From that point onward, Heart's output would assume the worst forms of corporate rock from paint-by-numbers rockers to ho-hum ballads and occasional pseudo-medieval flourishes such as the Gypsy outfits Ann and Nancy Wilson donned for the cover of their next album, Little Queen. This album spawned the hit single Barracuda, written by an outraged Ann Wilson when a concert venue owner implied that she was a lesbian, and along with Crazy on You and Magic Man, completed Heart's trio of blockbuster singles. Unfortunately, the rest of the album was less inspired."
"On the band's third record, Dog & Butterfly, their formula became steadily more congealed, the music even less interesting sonically or lyrically, and the also somewhat gratuitous decision to place the rockers on side A and the ballads on side B. Nancy's guitar comprises little more than one uninspired 70s boogie riff per song and Ann continues to sing with great fervor, but says nothing."
"Punk rock took longer to catch on in the US than the UK and in 1977-78, the established 70s arena giants still dominated the US rock scene. By 1980 however, a new decade had begun and New Wave was dominating. The response of established artists varied. Some such as Fleetwood Mac and Billy Joel responded brilliantly to New Wave. Many others such as Alice Cooper, Kiss, and Iggy Pop simply failed to adapt to the changing music landscape and dropped off the radar. Heart were among the many 70s rock acts caught in the crossfire. In their attempt to remake themselves for the '80s, they fired guitarist Roger Fisher and released their fourth album, Bebe Le Strange. Like D&B, this album attempts to be a 50/50 mix of crunchy rockers and soft love songs. There's still obvious filler here such as the now obligatory Nancy instrumental Silver Wheels, but the overall result feels slightly more well thought out and detailed than D&B. Nancy and Howard Leese trade off solos, some of which are melodic, others atonal whammy bar screeching. Ann's vocals sound comparatively confident, if a bit overwrought throughout the record."
"Unfortunately, Heart could not escape their established status as 70s corporate rock and in the New Wave-dominated early 80s, they came off as outdated as a leisure suit. For over five years, the band wandered the desert, releasing albums that only sold a handful of copies, before being rediscovered by Desmond Child along with fellow 70s has-beens Aerosmith and Alice Cooper, when the late 80s brought about a resurgence of corporate rock excess, now fueled by 24/7 MTV video rotation. The Wilson sisters found their way back to the airwaves with new banal hits made by the best song doctors in the business and all the spandex and massive hair that was fit to display in an overdone music video."
