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.
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