A Day At The Races - Queen - album review

I find that train journeys are often a good time for reflection and re-evaluation.  The feelings of solitude and tranquility and the different surroundings all contribute to this. On one such recent journey I found myself listening to Queens' 1976 album A Day At The Races.  

The record is oft maligned as an exercise in water-treading, or at least a pale re-hash of the ground covered by A Night At The Opera. However, my view is that it has many and varied virtues.  So, I thought that I would indulge in a little revisionism!

The first observation I would make is that A Day At The Races is the most quintessentially "Queenesque" of all their albums, containing in distilled and condensed form all of the elements which informed their 1970s output in particular.     Compact, lithe, comprising ten songs of roughly equal length, discarding the vignettes, oddities and curiosities seen on earlier records.  Straight-ahead, well-crafted melodic rock music.

Another trait of A Night At The Opera absent from its "sequel" is the excessive perfectionism and "patchwork production".  This was the first album which the group in essence produced themselves.  In places the mix is somewhat "muddy", with Freddie Mercury's voice almost buried, and not captured with too much clarity.

The genre excursions on this album are more fully rounded and realised than on previous works, and not just perfunctory nods.

Belying its reputation with some people, there are some genuinely memorable songs on A Day At The Races, which have withstood the test of time. The sequencing of the tracks was well executed, instilling a sense of balance and contrast. A clever touch was to book-end the album with an affecting "staircase" motif, adding to the feeling of cohesion and continuity.

After the meteoric success enjoyed by A Night At The Opera, many might have felt that Queen were under pressure to improve on it, or subject to the temptation to change direction radically.  However, what they seem to have done is just gone ahead and recorded an album to the best of their ability.  So this can be regarded as a pause for breath, or consolidation, but entertaining and skillful consolidation all the same.  Some of the self-consciousness and excess of the previous LP disappeared as part of this process.

In the songwriting stakes, Mercury and Brian May were still dominant, with the breakthrough of Roger Taylor and John Deacon still just around the corner. It is arguable that a greater "democratization" of the songwriting duties diluted some of Queen's later records.

The album opens with "Tie Your Mother Down", one of the band's most enduring rockers. When performed live, the song could be frantic and breathless, but the studio rendition has a certain grandeur about it. When Brian May addresses such subject matter, there is an endearing coyness about his approach.  This, however, is a good, energetic beginning, if not truly representative of the record as a whole.

"You Take My Breath Away" is one of the most chillingly ethereal and beautiful of all Freddie Mercury's creations.  It is tempting to view this as a "sequel" to "Love of My Life".  To my ears, many of these piano ballads have aged better than most of Queen's output.

A typically introspective, enigmatic and reflective May song, "Long Away" is sonically at variance, because of the different guitar sounds employed.  The melody is, in truth, quite bland, but there are other things which hold the interest.  Possibly the weakest track on the album, though.

It is the likes of "Millionaire Waltz" which tend to give fuel to Queen's detractors, who accuse them of being too pompous and overblown.  This intricate and ambitious song has a distinct Gilbert and Sullivan flavour, and it is more convincing and likeable than some other similar excursions. In saying that, it will hardly have endeared Queen to 1976's nascent punk scene!

"You and I" is a typically straightforward melodic John Deacon love song, although here imbued with the traditional Queen trademarks of multitracked vocals and guitars.  There is something intangibly attractive about this song, which may be traceable to its deceptive melody and warm production.

The big single from the album was "Somebody To Love".  This original studio recording does lack a certain guile and suppleness in comparison to the later spectacular live versions, which afforded much scope for improvisation and ad-libbing. The production is a touch leaden, perhaps weighed down by the "gospel choir", and Freddie's voice is a little submerged.  There are many highlights and hooks to be relished, however.

A protest song of sorts, "White Man" follows. I have never been able to fully reconcile in my mind whether this track is clumsy or subtle.  It was rare in those days for Queen to engage in socio-political commentary; this not becoming a more regular feature of their music until the 1980s. Brian May always seemed to have it in him, as has been displayed in recent times, but back then he was more reticent.  Light and shade are used to good effect here, and the lyrics are quite strident at times.

Another pleasing if ultimately lightweight effort, "Good Old Fashioned Loverboy" works well in the context of leavening things. An inventive and punchy arrangement lifts it above the mediocre.

An intriguing song, Roger Taylor's "Drowse" seems to allude to the composer's upbringing, and his attempts to rebel and transcend his sleepy and conservative environs.  The arrangement, dominated by Brian May's slide guitar, perfectly befits the soporific backdrop to the story. Taylor's vocal is delivered in a more deadpan style than most of his other performances.

The closer, "Teo Torriatte", seems to have been conceived as some form of tribute to Japan and its people, after Queen developed a real affinity with the country on their early tours there. Quite a mood piece, featuring some pleasing vocals from Freddie in the verses and haunting keyboard work by May.

So to conclude A Day At The Races is a solid effort, with some strong songs, and common strands holding things together, so that there is a real sense of having listened to an album.  Listen, and enjoy!

A Night At the Opera - Queen - album review

When people discuss the greatest album of Queen's distinguished recording career, A Night At The Opera more often than not is at the top of the list.  Whilst I agree that it is a fine piece work, I would also venture to suggest that it is not without its flaws, however minor.  As time has moved on, the more certain characteristics of the album have occurred to me. 

The album was recorded at a time when Queen had just achieved their first major international success, via the single "Killer Queen", and the album Sheer Heart Attack.  They entered the recording studio in the summer of 1975 flushed with this success, and perhaps conscious that they were under pressure to improve upon their efforts from the previous year......

Some of the avenues consciously, or subsconsciously, pursued by the band in order to achieve "perfection" end up creating the facets of the album which most grate, if only slightly, to the ears in 2012. The overdubs, whilst nominally adding depth and gravitas to some of the tracks, also lend it a  kind of "patchwork" effect in places, a trend perhaps exacerbated by the use of various different studios to record the album? This all makes A Night At The Opera sound very mildly contrived, calculated and ponderous, at variance with the freshness and spontaneity of Sheer Heart Attack. A case of trying too hard? These issues do not ruin the album, but it could have been even greater if they hadn't been present....

So, those are some of the criticisms of A Night At The Opera. What about the album's many undoubted strengths?  Well, one of the things which makes it distinctive is the trouble clearly taken to experiment with "unusual" instruments and techniques in order to achieve the desired soundscape or feel. Koto, ukelele, double bass, harp and electric piano are all employed at various points. Whilst this makes "Opera" seem more disparate and fragmented than some other Queen records, it does signify a laudable willingness to push boundaries and defy convention.

Some of the songs on A Night At The Opera have aged better than others.  To me, "Love of My Life", more and more sounds like the highlight of the entire album, "Bohemian Rhapsody" aside. Simple, heartfelt, sincere and free of artifice.  One of Freddie Mercury's finest songs, one of his most exquisite vocal performances, and containing some glorious piano playing from the great man.

"Death On Two Legs" was an inspired choice to begin the running order. One of Queen's most incisive and powerful tracks, with lyrics possessed of some vitriol.  The middle of the album is bookmarked by "The Prophet's Song", a ambitious track which finds favour with Queen fans, but which I suspect divides opinion amongst "neutrals".  Much multi-tracking of guitars and vocals here, with the recording technology of the day doubtless being stretched to its outer limits.  Pushing the envelope, I think it's referred to as these days...

The genre exercises on the album meet with variable success.  Looking dispassionately these days, "Lazing on A Sunday Afternoon" and "Seaside Rendezvous" sound a bit too similar, leading to a charge of "filler", even if both do exude a kind of lightweight, frothy charm.  "Good Company", on the other hand, still feels like a gem, a genuine showcase for the many talents of Brian May, and displaying bounteous ingenuity.

The "rockier" numbers, "I'm In Love With My Car" and "Sweet Lady" might seem incongruous in this company, but they have stood the test of time, the former in particular, with its numerous hooks, guitar histrionics and lyrics which are quintessentially Roger Taylor!  The power chords on "Sweet Lady" still have the power to move and satisfy.

In the past, "39" was possibly under-estimated by all and sundry.  However, it now emerges as one of the album's strongest suits, another one of Brian May's esoteric and thoughtful compositions.  For this particular writer, much of the residual appeal of the song rests in its Hermann Hesse-inspired lyrics.  I think that "Siddhartha" may be the novel in question.

"You're My Best Friend" remains one of the Queen songs most often played on the radio, and although a great pop song, it feels mildly out of place on this album, but does inject some valuable levity and spontaneity.

You may have noticed that this review contains relatively little mention of the epic "Bohemian Rhapsody".  Well, I do like to be different, and in any event everything which there is to be said about the song has already been committed to paper (or screen)!

Having commenced with some misgivings, I think that they have been more than balanced out by praise and extolling of virtues. 

For the record, I still prefer Sheer Heart Attack, just!

Sheer Heart Attack - Queen - album review

It seems to be a common trait amongst music pundits to eulogise about a so-called "classic" album, whilst overlooking the claims of a previous release to be regarded as the seminal work by an artist.

Such is the case with Queen's catalogue.  A Night At The Opera is habitually cited as their zenith, when in fact their previous effort, 1974's Sheer Heart Attack, has equal if not greater claims, which I will now expound upon!

Most of my esteem for Sheer Heart Attack is founded in its musical and artistic merit, but I must admit that I have some emotional attachment to it too, as it was one of the first albums which I purchased, when I was about eleven years old, and on vinyl!  Even back in those days I detected a certain mystique within those grooves.

The album's content and flavour were certainly affected by circumstance.  Before and during the recording sessions, Brian May was afflicted by illness, and this may have dictated the modus operandi in the studio.  The backing tracks were assembled differently, with acoustic guitar and piano more to the fore.  I have heard Brian acknowledge in interviews that the unusual feel detectable on Sheer Heart Attack was partially down to these factors.

So, if Brian had not been incapacitated at times, would the LP have more mirrored the multi-tracked excesses of Queen II?  It is difficult to judge.  My hunch has generally been that on their second album,Queen got much of the extravagance and experimentation out of their system, and that they were destined to move in a more pop-orientated direction, anyway.  The musical style and songwriting were not massively influenced by the peculiar circumstances, but more its freshness, energy and atmosphere.

So, "Heart Attack"  lacked some of the layered opulence of the sophomore album, but equally it has a bounce and suppleness largely absent from its successor.  For all its gravitas, A Night At The Opera occurs to me as a classic case of "trying too hard" to make a career-defining album.  There is a certain over-earnestness to it all, and over-production leads to some of the songs sounding stale and ponderous.


By contrast, Sheer Heart Attack flows naturally, as if the band was just in the studio to cut some new tracks, as opposed to subconsciously seeking to cement their place in the rock pantheon. It is also diverse in its scope, encompassing hard rock, Tin Pan Alley pop, jazz/ragtime, glam rock and psychedelic influences.  Again possibly because of the improvised nature of the recording schedule, it sounds different from other Queen albums, the drums being captured with great clarity and punch, and the piano appealingly airy and treble-heavy.

Whether by accident or design, the sequencing and running order of the tracks works very effectively, perfectly alternating light and shade, and showing off the group's stylistic versatility. 

The album opens with "Brighton Rock", a showcase for Brian May's virtuosity and the properties of his renowned homemade guitar.  This version is condensed in comparison with those subsequently performed on stage, and this is no bad thing.  This track also features the clear but earthy drum sound which is a feature of Sheer Heart Attack.  The hi-hat in particular seems to be intensively employed.

"Killer Queen" was the big hit single from the album, and is a prime candidate for Queen's first truly catchy pop song. With evocative lyrics, and pleasing but sparingly and tastefully applied harmonies and guitar licks, this is a very difficult song to allocate to any particular genre, and this is part of its charm.

We then move on to "Tenement Funster", a quintessential Roger Taylor composition, with its uncomplicated, raw melody and "blue collar" lyrical concerns.  As with many of the numbers here, the backing track is solid and distinctive, augmenting but not suffocating the overall effect, and the subject matter adds welcome variety and levity.

"Levity" is not a word that could be used to describe "Flick of The Wrist", in which Freddie Mercury appears to vent his anger at some of the nefarious practices in the music industry.  Freddie manages to focus his emotions, though, and there are some memorable and impactful lines.  Brian May's guitar parts here are suitably intricate and sinister-sounding.  One of the most under-rated and powerful items in the Queen catalogue.

By way of relief, we then segue into "Lily of Valley", a fine example of a Mercury piano-based ballad. Brief, but effortlessly tuneful.

"Now I'm Here", upon close observation, can be said to be heavily influenced by the Who's music of the "Quadrophenia" era, particularly its vocal harmonies and guitar riff.  The words are said to concern Brian May's ruminations on his life around that time, including Queen's first tour of the USA. Although grandiose and pugnacious, "Now I'm Here" has not aged as well as some of Queen's other singles, now sounding quite bland and lumbering.  There are some nice Chuck Berry-esque guitar licks in the fade, though!

"In The Lap of The Gods" starts in dramatic fashion, with one of Roger Taylor's trademark screams, but then becomes another melodic and charismatic song, underpinned by one of those piano/acoustic guitar/bass/drums backing tracks which are emblematic of this album.

Another shift in tempo and atmosphere then occurs, as we are treated to "Stone Cold Crazy", an energetic and frenetic rocker, with an infectious guitar riff, and clever use of percussion and drum fills.  Who could have predicted that this song would become influential and revered by the groups of future decades?  Also unusual for that time in being credited to all four members of Queen in the songwriting stakes.

"Dear Friends" is a vignette, very characteristic of Queen's mid-70s output.  In many ways one of Brian May's most quietly touching lyrics, and a healthy counterpoint to the more elaborate material elsewhere on Sheer Heart Attack. 

I suppose that the next two songs could also fall under the description of "vignette", representing a pause for breath before the climax. "Misfire" was the first John Deacon song to be included on a Queen album, and fits in perfectly here, with its ornate but joyful guitar sound and melodic verses. "Bring Back That Leroy Brown" is the kind of number which has invited comparisons with the eclectic nature of some Beatles albums, the delving back in time to styles favoured by the writer's parents or grandparents.  Beautifully constructed, and with semi-humorous, tongue-in-cheek lyrics, this song also features "non-rock" instruments such as double-bass and ukelele.

"She Makes Me" is one of the most impenetrable and enigmatic songs ever recorded by Queen, and I wouldn't really like to speculate on what Brian's lyrics are alluding to.  Largely constructed around acoustic guitars, and a futuristic drum sound,  with Brian on lead vocal, this track has a haunting quality all of its own.

The album finishes with "In The Lap of The Gods... revisited", which became the concert closer for a time. One could dismiss this as a typical Queen "anthem", but the verses are beautiful, and Freddie's piano very prominent.  I think that the closing repititions of the chorus are overdone, though, and by the end one has almost forgotten the finesse and spring of the verses. 

So there we have it, an enjoyable and exquisitely paced album, which in some respects is greater than the sum of its parts.  It still sounds fresh and vibrant to me after all these years, predominantly because the melodic nuances and personalities of the individual songs are given, and allowed, space to breathe and flourish.

I know that after a while, a large proportion of devoted fans gravitate to this one as their favourite Queen album.