Posts Tagged ‘Roger Taylor’

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“Sheer Heart Attack” is the third studio album by the rock band Queen, released in November 1974 by EMI Records in the United Kingdom and by Elektra Records in the United States. Digressing from the prog rock themes featured on their first two albums, the album featured more pop-centric and conventional rock tracks and marked a step towards the “classic” Queen sound. It was produced by the band and Roy Thomas Baker and launched Queen to mainstream popularity in the UK and throughout the world. In the May of 1974, having completed their third concert at the Uris Theatre in New York City as support band for Mott the Hoople, Queen should have been moving on to the next of 20 additional dates booked on their first tour of the United States. But their guitarist Brian May had been diagnosed with hepatitis two weeks earlier, and his health was failing. (He  possibly contracted the disease from a contaminated needle when he received mandatory vaccinations before traveling for Queen’s one-off Australian festival date in January.) The American tour in support of their “Queen II” LP had been a rousing success, but all momentum had now ground to a halt.

Brian May say’s: “When I was in the hospital, I found plenty of time to read the press cuttings that some of friends of mine had been keeping for me, and that really depressed me,” he later told journalist Rosemary Horide. “It was about that time I began wondering whether it was worth going on with music and the group. The thing about hepatitis is that it takes away all your drive and I was left feeling as if I didn’t have anything to contribute, as if it just wasn’t worth it.”

Without May, singer/keyboardist Freddie Mercury, drummer Roger Taylor and bassist John Deacon prepared new songs for a third Queen album, with rehearsals and initial recording sessions at Trident Studios in London. Mercury told Melody Maker’s Caroline Coon about his grace under pressure, with a two-week deadline: “Well, ‘Killer Queen’ I wrote in one night. I’m not being conceited or anything, but it just fell into place. Certain songs do. Now, ‘March of the Black Queen’ [from Queen II], that took ages. I had to give it everything, to be self-indulgent or whatever. But with ‘Killer Queen,’ I scribbled down the words in the dark one Saturday night and the next morning I got them all together and I worked all day Sunday and that was it. I’d got it. Certain things just come together, but other things you have to work for.”

In July, May was feeling well enough to join them at Rockfield Studios in Wales, The band would record ten backing tracks at Rockfield Studios, finishing on 28th July, completing most of the  tracks with producer Roy Thomas Baker and engineer Mike Stone. But when they moved to Wessex Sound Studios in London, May was hospitalized again and required surgery, for yet another serious ailment: “When they found out I had a duodenal ulcer, I really thought that was the final straw. You see, instead of getting better after the hepatitis I just got sicker and sicker, and eventually they found out what was wrong. I was very down then.” But he came back to the group more committed than ever.

The resulting album “Sheet Heart Attack”, released November. 8th, 1974, by Elektra in the U.S. and EMI worldwide, was Queen’s commercial breakthrough. “Killer Queen” became a hit single. Wildly theatrical, straddling the worlds of hard rock, pop, prog and Broadway, the album was an eclectic triumph. May later said it was the first album on which Queen sounded like a true band rather than four individuals; he felt the experience gained on tour in America made the whole sound gel. He hadn’t been able to write as much as usual for the sessions, but that didn’t matter, because, as he said in a 1975 interview, “I play my best guitar on other people’s songs.”

The opener “Brighton Rock” had been written by May during the Queen II sessions. It opens with the sounds of the holiday pier in Brighton before the band enters at a frantic pace, and Mercury at the top of his range screams the lyrics: “Happy little day, Jimmy went away/Met his little Jenny on a public holiday/A happy pair they made, so decorously laid/’Neath the gay illuminations all along the promenade.” Mercury then does an impressive sweep down to a lower octave, a trick he returns to several times during the track. A section of stacked vocals looks forward to “Bohemian Rhapsody” before May leads Deacon and Taylor into a swirling collage of metal-like chord slams and psychedelic ambiance. (How Baker and Stone captured the detailed sonic mayhem of Queen throughout their years of work with the band is amazing.)

At 2:40 of “Brighton Rock,” one of the greatest guitar solos ever recorded begins. May’s use of Echoplex delay and his alteration of light and heavy touch is jaw-dropping, and sets the template for every hard rock guitarist to come (listen to Eddie Van Halen’s “Eruption” for Exhibit A). When Mercury re-enters for the concluding verse, May sings with him, and the guitar pyrotechnics end it all with a thunderclap.

“Brighton Rock” was written by Brian May during the Queen II sessions, but was not recorded at that time as the group felt it would not fit with the rest of the album. Lyrically, it tells the story of two young lovers named Jenny and Jimmy meeting in Brighton on a public holiday.  Mods travelling to Brighton on bank holidays was a popular narrative at the time, such as The Who’s Quadrophenia.  Jenny cannot linger because she is afraid her mother will find out “how I spent my holiday”, but afterwards “writes a letter every day”; Jimmy, eager on the day, is not so happy with her “nothing can my love erase”: now he is the one afraid of discovery by “my lady”.

The song includes an unaccompanied guitar solo interlude, which makes extensive use of delay to build up guitar harmony and contrapuntal melodic lines. It grew out of May’s experimentation with an Echoplex unit, as he had been attempting to recreate his guitar orchestrations during live performances of “Son and Daughter”. He had made modifications to the original unit so that he could change the delay times, as he felt that it wasn’t the length he needed, and ran each echo through a separate amplifier to avoid interference. The studio version only contains one “main” guitar and one “echoed” guitar for a short section, but live, May would usually split his guitar signal into “main” and two “echoed”, with each going to a separate bank of amplifiers.

The guitar solo on this song has been performed live at most concerts by Queen or May, either as part of this song, in a medley with another, or as a standalone piece. May also performed some of the solo at the closing ceremony of the 2012 Summer Olympics in London.  It is considered to be one of Brian May’s finest solos,

The song was notably used in the 2017 film Baby Driver, being one of the favourite songs of the main character Baby and played during the film’s final action scene.

A bigger contrast to the next track, “Killer Queen,” can hardly be imagined. Finger-snapping and tack piano begin, with a stately mid-range Mercury vocal that owes its hybrid sangfroid to the British music hall and French chanson traditions. Expertly designed backing vocals swoop, “caviar and cigarettes/well-versed in etiquette/extraordinarily nice” is done in falsetto, and then the super-catchy chorus arrives.

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Mercury revels in his tale of a high-priced prostitute who is “dynamite with a laser beam,” throwing in fancy words that rarely make it into pop lyrics: insatiable, gelatine, baroness. There are occasional phasing effects on the vocals, and May tries out a half dozen different guitar tones, with a middle overdubbed section that is a marvel. This is where Mercury’s fascination with the “spirit of extravagance” that is “camp” blossoms. It is one of the few songs by him for which he wrote the lyrics first, which are about a high class prostitute. 

Another change of pace is Taylor’s folky “Tenement Funster,” which he sings very much in the style of Mott the Hoople’s Ian Hunter. Deacon played the acoustic guitars in May’s absence, but May added electric parts later. It segues into Mercury’s “Flick of the Wrist,” which perhaps echoes Alice Cooper in its opening bars, and has a wonderfully unhinged middle section where frenetic drumming, multiple guitars and stacked vocals collide.

The joyful over-the-top antics yield to the third part of the medley, “Lily of the Valley,” a short, tender Mercury ballad that he sings the hell out of. This is another example of Baker’s production expertise: listen how the “sound of the room” caresses May’s guitar lines and keeps Mercury’s piano in front of your ears. (Queen albums, like Pink Floyd’s, pay dividends with good headphones.)

May closes out the first LP side with the massive “Now I’m Here,” which he wrote in the hospital. His chunky guitar riff is worthy of Led Zeppelin, even if it yields to a chugging feel that owes something (again) to Mott the Hoople. Mercury really sells it, and at 3:15 Deacon, Taylor and May give a master class in how to lock in a groove and wail. As it ends, May goes into a fervid Chuck Berry-style solo, which Mercury verifies by singing “go, go, go little Queenie” before the fade.

The second side of Sheer Heart Attack is a mixed bag with some real clunkers. “In the Lap of the Gods” starts it off with an operatic scream, stacked guitars and heaps of harmony vocals (by Taylor and Mercury) sputtering in the mix before a very arch, highly-processed Mercury lead vocal emerges. He absolutely revels in the nuttiness, while May again pulls out a wide variety of sonic colours and combinations.

“Stone Cold Crazy” was one of the earliest tracks that Queen performed live, and had several different arrangements before being recorded for “Sheer Heart Attack”. No band member was able to remember who had written the lyrics when the album was released, hence they shared writing credit, the first of their songs to do so. The lyrics themselves deal with gangsters, making a reference to Al Capone. The track has a fast tempo and heavy distortion, presaging speed metal. Music magazine Q described “Stone Cold Crazy” as “thrash metal even before the term was invented”. The song was played live at almost every Queen concert between 1974 and 1978

The two-minute blast of “Stone Cold Crazy” is next, sounding like the bastard child of Deep Purple’s “Highway Star” and Golden Earring’s “Radar Love.” The song had been kicking around the band for years, in various arrangements, and nobody could remember who wrote the lyrics by the time they tried it again for Sheer Heart Attack, It was also the first album in which all four band members contributed songs; “Stone Cold Crazy” was the first song in which all four band members would receive a writing credit. It’s magnificently goofy. (A cover by Metallica won a Grammy Award for Best Metal Performance in 1991.)

May’s short ballad “Dear Friends” is beautifully sung by Mercury and leads into Deacon’s only solo writing credit, “Misfire,” which seems to have escaped from a Doobie Brothers album, “Misfire” was John Deacon’s first individual composition for the band, and featured him playing most guitars.

“Bring Back That Leroy Brown” had 70 vocal tracks and had to the mixed down to accommodate with the 24-track mixer. Deacon’s on double bass and May strums a banjo-ukulele, an instrument popular in the 1920s that fits Mercury’s retro lyrics and rhythm. In concert, the tune was most often treated as a throwaway instrumental; maybe it ultimately exceeded Mercury’s quotient for silliness. 

“Bring Back That Leroy Brown” is a Charleston that was written by Mercury and features him playing grand piano and jangle piano, as well as multiple vocal overdubs. May played a short section on ukulele-banjo and Deacon played a line on the double bass. DRUM! Magazine commends Taylor’s drum work, calling it a good example of his versatility. “It really shows off Taylor’s versatility. He nails dozens of kicks throughout this fast and tricky song and proves that he could’ve been a big band drummer or ably fit into any theatrical pit band if Queen hadn’t worked out so well for him. Honky-tonk piano, upright bass, ukulele-banjo, and a smokin’ drummer all add up to a rollicking good time.” The song’s title alludes to the then-recent hit “Bad Bad Leroy Brown” by American singer-songwriter Jim Croce who had died in a plane crash the previous year. The song was played live in an arrangement that shortened the song and was, except for the very end and one other line, purely instrumental. May’s ukulele-banjo was brought onstage especially for this song. An a cappella version was released as part of the 2011 remaster of the album.

“She Makes Me (Stormtrooper in Stilettos)” is written and sung by May, with Deacon on acoustic guitar along with him. There are echoes of the Who, the Association and the Eagles, and not a lot of Queen. There’s not much of interest here; the tempo drags, and the track really overstays its welcome at 4:08. There are some “New York nightmare” sounds, sirens and heavy breathing, that are just weird. Thankfully, “In the Lap of the Gods…Revisited” concludes the album in high style, a fantastic showcase for Mercury and May. It was Mercury’s first try at writing a melody line that audiences would enthusiastically sing along to, and he placed it as a show closer for many gigs in the next three years. Its role as a sing-along eventually was supplanted by a little ditty called “We Are the Champions.”

“Sheer Heart Attack” established Queen as a major force in most parts of the world and Mercury as one of rock’s most flamboyant frontmen. They did a world tour of 77 dates, and audiences loved them, from Manchester to Munich, Trenton to Tokyo. Most critics praised the album’s recording dynamics and the audacity of the conception, and admitted no matter how pretentious or bombastic, Queen were consummate entertainers. The triumphs of A Day at the Races and A Night at the Opera were still to come, but they have their roots in Sheer Heart Attack’s total bravado.

NME wrote, ‘A feast. No duffers, and four songs that will just run and run: “Killer Queen”, “Flick of the Wrist”, “Now I’m Here”, and “In the Lap of the Gods…Revisited”. The Winnipeg Free Press commended ‘Brian May’s multi-tracked guitar, Freddie Mercury’s stunning vocalising and Roy Thomas Baker’s dynamic production work’, calling the album ‘a no-holds barred, full-scale attack on the senses’. Circus Magazine referred to the album as ‘perhaps the heaviest, rocking-est assault on these shores we’ve enjoyed in some time’. Rolling Stone wrote, ‘If it’s hard to love, it’s hard not to admire: this band is skilled, after all, and it dares.’  As 1974 drew to a close, the album was ranked by Disc as the third best album of the year. 

From 30th October 1974 to 1st May 1975, the album was promoted on tour. The tour consisted of three legs and 77 individual shows, and was the band’s first world tour.

Released November 1974

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Queen and Adam Lambert have shared a live performance video of “Somebody To Love” from Isle of Wight Festival at Seaclose Park on June 12th, 2016. The performance initially appeared on the collaborator’s first live album and concert film, “Live Around the World”, which saw worldwide release on October 2nd.

While Queen has rocked festivals for decades, this 2016 performance marked the first time the band had played with Adam Lambert in such a setting, and the vastness of the crowd cannot be understated. Sitting at the midpoint of their set, between “Don’t Stop Me Now” and “Love of My Life”, this high-energy rendition of “Somebody To Love” was impressive. Though nobody can compete with the raw showmanship of Queen’s original frontman Freddie Mercury, Lamberts stage presence is notable in this performance. He worked the crowd well, even having fun with a brief call-and-response section, while also proving his vocal prowess on some of the more difficult sections of the song.

Adam has the ability to sing anything and everything we throw at him,” said drummer Roger Taylor in a press statement, “There’s nothing he can’t handle. Our songs are big and theatrical and Adam fits that easily. I think he’s the best singer around. His range is staggering.” Explained Lambert , “Some of Queen’s songs are just so vocally athletic and physically demanding. For example, ‘The Show Must Go On’ is certainly demanding, ‘Who Wants To Live Forever’ goes from zero to 99. ‘Somebody to Love’ is really intense and big.

Their first ever Live album; Queen + Adam Lambert , ‘Live Around The World’

Queen A Night At The Opera album cover with border web optimised 820

As the 1970s became the 1980s and all four members of the rock band Queen blossomed as songwriters, their albums started to sound like musical tugs-of-war. In fact, Freddie Mercury compared the group’s competitive streak and overall dynamic to “four cocks fighting”. However, the feathers were already flying on 1975’s ground-breaking, six million-plus selling fourth album, “A Night At The Opera”.

The UK tour to support the release of Sheer Heart Attack got underway during the autumn of 1974, and after taking in Europe and America, it finished at the Budokan in Tokyo, Japan, on 1st May 1975. Between the band’s return and the start of another UK tour on 14 November 1975, Queen recorded the album that would turn them from big stars to superstars. Work on Queen’s fourth album, another co-produced by the band along with Roy Thomas Baker, began in August 1975, and it was only finished shortly before the opening date of their tour at Liverpool’s Empire Theatre on 14th November. A Night At The Opera, as we all now know, is a masterpiece.

John, Roger, Brian and Freddie took much needed holidays before work on the new project began in earnest with a three-week writing and playing session in a rented Herefordshire house. They then decamped over the Welsh Marches once more to Rockfield Studio. The band later worked in five more studios (Roundhouse, Sarm East, Scorpio, Lansdowne, and Olympic) in their pursuit of perfection, and in so doing, their own self-belief was fully justified.

Everything about Queen’s fourth LP sounds big. The production. The performances. The sheer scope of the songs. You can boil it all down to the hit “Bohemian Rhapsody” if you want, but all of ‘A Night at the Opera’ is on this scale. It was their fourth studio album, and almost 45 years later the iconic “A Night At The Opera” is still one of the most talked about albums of all time. Queen’s discography spans over two decades, with 15 albums total, but “A Night At The Opera” is the masterpiece that made the band legendary.

“A Night At The Opera” set the forefront for rock albums to come. With its intricacies and surprising twists and turns, this album is anything but boring. And there is never a wrong time to review and talk about it.

The timeless and beloved hit song “Bohemian Rhapsody” changed how we listen to music today. With praise from big names from the ‘60s (The Beach Boys) and names from today (Panic! At The Disco), this song still is relentlessly covered, loud and relevant. Featured in movies like the famous scene in “Wayne’s World” and still one of the most played songs of all time, “Bohemian Rhapsody” isn’t your average album single. It’s what made Queen one of the most famous bands of all time.

“Bohemian Rhapsody” challenged all preconceived notions of what it meant to record a rock song. The song itself was never made for radio, clocking in at nearly six minutes long. It’s filled with obscure allusions and an inconsistent pace that should’ve sent fans running, but instead sent them to No#1 in the charts.

Though “A Night At The Opera” has one of the famous songs of all time, the album, overall, is full of incredibly organized chaos. Kicking off with a sneering “Death On Two Legs (Dedicated To…)” that’s followed by a less serious “Lazing On A Sunday Afternoon.”

The album isn’t complete without Roger Taylor’s tongue-in-cheek “I’m In Love With My Car,” a rock song that Taylor felt was more important and better quality than Mercury’s “Bohemian Rhapsody.”

“A Night At The Opera” explores various genres within itself. From the ragtime “Seaside Rendezvous” to the folky “‘39,” there is everything in the nearly 45-minute long, showcasing Queen’s ability to explore various genres, emotions and stories.

The ballad “Love Of My Life” was written by Mercury for his ex-fiance and close friend, Mary Austin. Mercury pleads in the song for his love to not leave him, a very different feeling than the seeming indifference he showcases at the beginning of the album. An orchestral feel with strings, piano and Mercury’s poignant vocals, that later progresses into a rock song with a brief Brian May solo, “Love Of My Life” reinforces Mercury’s lyrical vulnerability and songwriting expertise.

“A Night At The Opera” is a complete collection of everything good that’s ever come out of Queen’s songwriting. It’s intricate, in-depth, it has multiple layers. It’s to be taken very seriously and not seriously at all somehow at the same time. It’s incredibly detailed and has somehow managed to land among the greats. It is Queen’s career-defining LP, and to be taken seriously by many more generations to come.

The 12 tracks that make up A Night At The Opera comfortably broke the 43-minute mark, and like its predecessor, the sequencing of this record creates its own dynamic. This is an album that should be listened to in its entirety.

12) Lazing On A Sunday Afternoon

Rock, pop and vaudeville – it was all fair game to Freddie Mercury. As fun as it is, the trouble with Lazing On A Sunday Afternoon is that Mercury had already written one vaudeville pastiche, Bring Back That Leroy Brown on Queen’s Sheer Heart Attack album. The world didn’t need another. Freddie’s ‘Lazing On A Sunday Afternoon’ continued to showcase his piano playing skills and his growing confidence on keyboards helped to make the whole album so much better.

11) Good Company

Brian May has always been a one-man guitar orchestra, and rarely more so on this homage to Dixieland jazz, in which he sang a charming When I’m 64-style lyric while his guitar mimicked a ukulele-banjo and a clarinet. Once heard, rarely played again, though (unless it comes up unexpectedly on iPod shuffle and you can’t forward it quickly enough). Brian’s ‘Good Company’ is one of his wise family pieces – a song full of sound values and mature reflection. Recorded with the ukulele and his trusty Red Special to hand, their overlapping mimics a traditional Dixieland jazz band feel; the poignant narrative has a twist in the tale.

10) God Save The Queen

Queen’s version of the National Anthem closes A Night At The Opera album – and quite rightly so. Where else should it go? Still a testament to Brian May’s regal guitar skills, the most surprising thing about God Save The Queen is that it took the band four albums to get around to recording it.

9) Seaside Rendezvous

More old-time musical japes from Freddie. But preferable to Lazing On A Sunday Afternoon thanks to Mercury and Roger Taylor’s pin-sharp harmonies, some imaginative use of kazoo and the singer’s final payoff ‘Give us a kiss!’ which, unusually for Freddie, is delivered with all the grace and panache of driver Stan Butler leering at a buxom ‘clippie’ in the 70s TV comedy On The Buses.

8) Sweet Lady

Even Brian May’s tidy Zep-meets-Free riff can’t save Sweet Lady from obscurity. True, there’s a nice Communication Breakdown-style guitar dust-up at the end, but May would do it better in the years ahead (see: Tie Your Mother Down, Hammer To Fall…). Also contains one of the worst Queen lyrics ever: ‘You call me sweet, like I’m some kind of cheese…’ Brian’s ‘Sweet Lady’ accentuated the almost wilful diversity of Queen at this point in their career, with its live rhythm section and heavily distorted rock thrash in ¾ time. Mercury’s ‘Seaside Rendezvous’ is another track that shows the band’s inventiveness, since Freddie and Roger provide a woodwind section performed by just their voices, along with a tap dancing sequence they performed on the mixing desk with thimbles over their fingers.

7) The Prophet’s Song

On paper this Brian May-composed pomp epic should be one of Queen’s finest hard rock moments. But it struggles to match past gems such as Brighton Rock and Father To Son. Instead, it’s an oddly sluggish affair – like Jethro Tull on Night Nurse – but salvaged by that insane a cappella vocal mid-section. Brian’s lengthy, ‘The Prophet’s Song’, that was inspired, if that is the right word, when he was feverish with hepatitis during the Sheer Heart Attack sessions. A heavy, moody piece, ‘The Prophet’s Song’ was the ideal centrepiece for the forthcoming tour. Its Biblical atmosphere being accentuated by the guitarist’s use of the toy koto, a traditional Japanese stringed instrument more usually associated with experimental classical music.

6) ‘39

Brian May once described 39 as “sci-fi skiffle”. But while he does set a Robert Heinlein-inspired lyric to a Lonnie Donegan guitar thrashalong, its sing-song campfire melody and simple charm make it May’s best song on A Night At The Opera. Brian May’s ‘39’ is his first composition to appear on this album and it is a science fiction come space travel number that is a reminder of his learned interest in astrophysics and astronomy in general. Given the song’s weird skiffle arrangement, Brian asked Deacon to play double bass, and the number was included in Queen’s set-list by 1976, becoming an instant crowd favourite.

5) I’m In Love With My Car

Some would give Roger Taylor points on his licence for I’m In Love With My Car, the B-side to Bohemian Rhapsody. But why? The 1975-vintage Taylor, with his blonde girl’s hair and fine line in self-aggrandising, laddish rock songs (see also: Tenement Funster), captures the essence of Queen’s barefaced cheek and grandeur. Plus, any song that rhymes ‘forget her’ with ‘carburettor’ can’t be all bad, can it?

4) Love Of My Life

It says much about Queen’s embarrassment of riches that this romantic ballad (reputedly written for Mercury’s soon-to-be- ex-girlfriend Mary Austin) was dropped from the set in the mid-80s despite becoming an audience singalong at shows in the late ‘70s. Other, lesser bands would have clung on to it for dear life – and forever.

3) You’re My Best Friend

Freddie Mercury nicknamed Queen bassist John Deacon “the ostrich”. Deacon’s songwriting moments were rare, but he laid some golden eggs (the most golden being Another One Bites The Dust). However, You’re My Best Friend, a slightly twee pop song dedicated to Deacon’s missus Veronica, came first. Not that his bandmates liked it: Taylor thought the lyrics too soft and Mercury refused to play electric piano, making The Ostrich play it instead. But what did they know?. More new ground is broken by John Deacon’s ‘You’re My Best Friend’, which in 1976 became the eminent bass man’s first composition to be released as a Queen single, and a hit at that. Very much John’s baby, he even supplies the Wurlitzer organ.

2) Death On Two Legs

For all his charm and wit, Freddie Mercury could be a vicious sod. And the opening track on A Night At The Opera, apart from being close to its best, is certainly its most vicious. Lyrics such as ‘You suck my blood like a leech’ were aimed at Queen’s ex-co-manager Norman Sheffield, and were so vituperative the now late Sheffield threatened Queen with a lawsuit. From its Hammer Horror movie intro through May’s scything guitar solo and Mercury’s impassioned ‘You’re tearing me a-p-a-r-t’, this is Queen at their rococo rock finest.

1) Bohemian Rhapsody

Over-familiarity, over-exposure and hearing that terrible version in a recent TV ad for a well-known holiday company, has truly taken the shine off Bohemian Rhapsody. Yet to put Queen’s mini-symphony anywhere other than at number one seems churlish and, worse still, fake. More than 40 years on, its daring fusion of heavy metal, show-tune balladry and light opera remains the high watermark on A Night At The Opera, and a tribute to 70s Queen’s collective imagination and sheer bravado. Composed in six sections, mostly by Mercury in his Holland Park home, this was the song that divided opinion even within the ranks. Surely they couldn’t expect to get away with this? Mercury was certain of its merits, but seldom gave much away concerning the lyrical structure and the references to classic opera, Old Testament seers and the principal characters Scaramouche and Galileo.

Ironically, prior to releasing it as a single, one senior EMI executive was convinced that it was too long and he tried to convince the band that it needed to be edited if it was to stand any chance of getting any radio plays.

Mixing the gloriously bombastic with the sweetly simple, May’s guitar solo is bang on the money. ‘Bohemian Rhapsody’ was very much “Freddie’s thing” and also his tour de force, containing as it did elements of works in progress from earlier ventures.

As if the song wasn’t visual enough, it was accompanied by a ground-breaking video, and while it was said to be the most expensively constructed single made to that point in time,

And that wasn’t the end of the affair, and there was only one way to follow it. A revisit to May’s arrangement of the National Anthem, ‘God Save The Queen’ (surely that didn’t go unnoticed in Sex Pistols circles either); it was something they’d been using as a tour finale for some time. Instrumental, multi-layered and strangely affecting, May would achieve a kind of lifetime ambition many years later when he performed it from the roof of Buckingham Palace for the Queen’s Golden Jubilee in 2002; it was also a kind of homage to Jimi Hendrix’s Woodstock version of ‘The Star-Spangled Banner’.

And so the album was released on 21st November 1975 and as a result, that Christmas belonged to Queen. The sold-out tour that had begun a week before the album’s release culminated with a Christmas Eve concert at Hammersmith Odeon that was videotaped and broadcast by the BBC on The Old Grey Whistle Test.

Queen - A Night At The Opera

A Night At The Opera, as we all now know, is a masterpiece. Everything from its title (borrowed from The Marx Brothers 1935 movie) to the music, the album’s artwork and the whole pomp and circumstance of the entire package is majestic.

<i>Bohemian Rhapsody</i> Soundtrack to Feature Four Previously Unreleased Queen Recordings

Those waiting with baited breath for the premiere of forthcoming Queen biopic Bohemian Rhapsody have something else to look forward to as of Wednesday, with the unveiling, perfectly timed with what would have been Freddie Mercury’s 72nd birthday—of the film’s original soundtrack.

The soundtrack, produced by Queen members Brian May and Roger Taylor, is set for release on October. 19th on Hollywood Records. The team behind the soundtrack said in a statement that they intended to create an album that stands “on its own merits,” living alongside key moments of the film rather than just existing as a “greatest hits playlist package,” and one look at the 22-track lineup suggests the album has potential to live up to this standard.

Audio from career-spanning live performances was tapped for use in the film, from “Fat Bottomed Girls” recorded at the band’s 1979 shows in Paris to the version of “Love of My Life,” the duet between Mercury and May, recorded at Rock in Rio in 1985. Some of the Queen classics were re-created for the film, such as one of the two occurrences of “We Will Rock You” that begins as the studio version many are familiar with before transitioning into one of the band’s many live performances of the hit. Further Smile, Queen’s predecessor band before Mercury joined the mix, reunited for the occasion and re-recorded “Doing All Right” for the film’s use.

However, most exciting is the inclusion of four recordings from Queen’s legendary 1985 performance at Live Aid. Audio recordings from the show have never been released prior, and the performances of “Bohemian Rhapsody,” “Radio Ga Ga,” “Hammer to Fall” and “We Are The Champions” will be available in this format to Queen fans for the very first time.


watch the film’s latest trailer,

The soundtrack is set for release just weeks before the film, which opens on November. 2nd. Anticipation for the film has grown since its announcement due to its unprecedented look behind the scenes of the band, its music and its ever-enigmatic frontman Mercury, is to be played by Rami Malek.

In early March of 1974, Queen did something that they’ve now done 54 times to date. They made the UK singles chart for the very first time, as ‘Seven Seas Of Rhye’ took its bow at a modest chart place No. 45. It was the first of what currently stands at 440 weeks overall on the British bestsellers or, to put it another way, nearly eight and a half years.

The song has, of course, taken its rightful place in Queen history, both for being their chart breakthrough and for representing the band at the height of their rocking powers. But when Roger Taylor spoke to Record Mirror in 1975, he revealed that he hadn’t expected it to do well, and that he had thought their earlier, debut single, which wasn’t a chart item, would perform better.

“Apart from ‘Killer Queen” he said, “which was obviously catchy, I don’t think of our singles as being immediately commercial. For instance, when ‘Seven Seas of Rhye’ was a hit, I was very surprised. It was only intended really to draw attention to the album. I thought that ‘Keep Yourself Alive’ was a much more commercial song. I think it is probably an advantage not to know exactly what will sell, “because then you are not inhibited in your choice of a single.”

As ‘Rhye’ made its chart debut, the album it was on, Queen IIwas new in the shops, and the single and LP would climb the UK charts in tandem. After that No. 45 entry, ‘Seven Seas’ climbed to No. 30 and then No. 15, where it seemed to have stalled before it rose again, peaking at No. 10 in mid-April. Queen II would within two weeks it was in the top ten, for a No. 5 peak. Queen’s sales momentum was now well and truly under way.

Seven Seas of Rhye” was primarily written by Freddie Mercury, with Brian May contributing the second middle-eight. The song is officially credited to Mercury only. A rudimentary instrumental version appears as the final track on the group’s debut album Queen with the final version on the follow-up Queen II , The completed version served as the band’s third single, It was publicly premiered when Queen were offered a sudden chance to appear on Top of the Pops in February 1974, and was rushed to vinyl two days later in February. It became their first chart entry after gaining airtime on BBC Radio 1.