Hot Space - Queen (1982 album) - review

Following on from my recent blog post about my attendance at Queen's 1982 show at Elland Road, Leeds,  I thought that I would take a look at the album which they had released shortly before that concert, Hot Space.

This was Queen's first "proper" studio album for two years, which in those days seemed (to me) like an eternity, but by modern standards this would be no big deal.

I can't really remember whether there were signals in advance of the musical direction which the record would signify, but in the end it turned out to be a mixture of decided funk and dance influences, with some more "traditional" Queen sounds alongside.  In some ways this was a more pronounced and decisive take on the blend which had been represented by 1980's The Game.

This album is sometimes seen as the album which triggered a period of uncertainty and soul-searching for the group. It met with a lukewarm critical (and in some territories, commercial) reception, and these factors may all have contributed to a crisis of confidence, and a lack of direction, which were not fully remedied until Live Aid in 1985.

Looking back now, to me the record stands up reasonably well. The sound, in its breeziness and exuberance, is very much "of its time", but the continuing excursions into more rhythmic styles met with mixed results. I think the inventiveness and stylishness of the production tend to obscure the lack of fresh and potent ideas in the songwriting department.

Of the "dance" orientated pieces, only "Back Chat" really works, not because it is an outstanding composition, but because of the atmospheric production, and the effort which was evidently expended on arriving at the finished article. "Staying Power" worked much better in concert, and "Body Language" remains as puzzling to me now as it was over thirty years ago.

The two Roger Taylor songs, "Action This Day" and "Calling All Girls" are likeable but minor.  "Life Is Real (Song For Lennon), has some intriguing lyrics, but comes across as rather "Queen by numbers".

"Put Out The Fire", a basic rocker, perhaps heralds the beginning of a shift in Brian May's songwriting efforts from the mainly introspective towards a greater emphasis on social commentary. The inclusion of "Under Pressure" almost occurred to me as a rather tired gesture, as it had always seemed to me as a "standalone" single, and putting it as the final track on Hot Space felt like an admission that the creative well was running somewhat dry.

So I would contend that Hot Space is greater than the sum of its individual parts. Although it is by common consent one of the weaker records released by the band, the freshness of its production, and the diversity of the material, make it an interesting listen to this day.

News Of The World - Queen - album review

This record, released in 1977, marked a transitional phase for Queen, the end of their "classic" period, and the dawn of a more uncertain time.

Less time was taken recording this album than had been occupied making some previous ones, and the finished product had less polish, and more grit, than people had become accustomed to. Some, but not all, of the songs exhibited a more stripped down feel.

News Of The World also saw Roger Taylor and John Deacon making further inroads into the songwriting dominance hitherto exerted by Freddie Mercury and Brian May. This factor affected the content of the album. Stylistic unity was diluted, but horizons were broadened.

The influence of punk on this record, in purely musical terms, is debatable. However, the energy and spontaneity possibly owe something, even subconsciously, to the shifts in the cultural climate. The album's flavour may simply have been born of a desire, unconnected with new movements, to go in a less complicated or grandiose direction.

Of course, by far the best known songs on the record are "We Will Rock You" and "We Are The Champions", opening the running order and tending to obscure and overshadow much of what follows. Like so many popular songs, these two anthemic tracks enjoy a prominence far out of proportion to their artistic merit.

One of the highlights for me is "All Dead, All Dead", a typically introspective and ethereal Brian May composition. It has a pleasing melody and an understated, enigmatic character. One of the most unjustly overlooked Queen album tracks, in my humble opinion.

"My Melancholy Blues" has received greater recognition, as one of Freddie Mercury's most likeable and dextrous piano ballads. The composer's vocal and piano talents are well projected here, and it was an inspired choice as the closing track.

So where on the record do we encounter the new rougher, leaner Queen? Well "Sheer Heart Attack" is an obvious place to look. Frantic and relentless, with lyrics which touch on sentiments being vented by the younger bands emerging at the time. Lacking the finesse which characterizes many Queen tracks, critics might charge that this was a clumsy attempt to appear "hip" and "relevant". I would disagree with such assertions, as this was no great departure for Roger Taylor, sonically or lyrically. "Fight From The Inside" covers similarly urgent and abrasive terrain.

"Get Down, Make Love" is an unusual track, and one which is in keeping with the disorientating nature of some of this record. It is difficult to know what the melodic or musical origins of this song were, and its structure and rhythmic patterns anticipate other Freddie songs such as "Bicycle Race".

The simple and immediate "Sleeping On The Sidewalk" is also in accord with the overall thrust of News Of The World. It was by all accounts recorded rapidly, and it benefits from the resulting lack of artifice. A chance to hear some bluesy Brian May guitar work, which was a rarity on Queen records. The lyrics' ambivalence about fame and fortune, and the vagaries of the music business, were a recurring theme in the band's catalogue.

Ironically it was John Deacon who contributed one of the most "Queen-like" items on the LP, "Spread Your Wings". In fairness, this may have something to do with the arrangement with which the song was furnished. John also supplies "Who Needs You", a composition more in line with his "pop" reputation.

The other number in the patented Queen mould is Brian May's "It's Late", but even here we discern less emphasis on the perfectionism and layered approach of earlier times. The earthy guitars and the muscular rhythm section are testimony to this. As elsewhere on the set, Freddie's full vocal range is subordinated to a more raspy, throaty sound. That said, the song has a strong and affecting melodic appeal.

Despite new areas being explored, even casual observers would be able to identify this as Queen. In contrast to its predecessor, A Day At The Races, this record at least shows the band evolving. It may not be their best achievement, but the "attitude" and sporadic directness makes it an intriguing and enjoyable listen. It still sounds fresh, partly because it exudes some belief and conviction.

In its eclecticism and nods to "modernity", this record also set the group on the path towards what would start to crystallize on 1980's The Game. It was an uneven and patchy road, but the modern Queen sound began to emerge here.

Queen II (the second album) - review

Following the recent release of "Let Me In Your Heart Again", I have been listening to Queen intensively, and realised that I had not committed my thoughts on their second album to blog.

I have grown to see "Queen II" as a reaction to the circumstances under which the debut record was pieced together, and it is important to bear that in mind when placing it in the context of their discography. The first album was quite a frustrating affair, and the follow-up reflects the relief of a group given a bit more freedom and time. The entire "package", right down to the sleeve and the artwork, is more coherent and focussed.

It is often remarked that the most distinguishing feature of Queen's music is the multi-layered sound. I would contend that this is an over-simplification; to me, the "trademark" multi-tracking is less important than the individual instrumental and vocal sounds, and the keys in which many of the songs are written. I am insufficiently qualified to comment with great authority on the latter, but suffice to say that, in contrast to some people, I don't regard "Queen II" as the quintessential Queen album. It has a distinctive sound and feel of its own, more ethereal and elaborate in nature than the majority of their other work.

Going back to the peculiar circumstances under which the album was recorded, it has always seemed to me that the band compensated for the lack of time and continuity allowed on their first effort, and went all-out to produce an extravagant LP, getting much of the multi-tracking thing out of their collective systems In Roy Thomas Baker and Robin Cable, they had producers who were only too willing and able to help them accomplish this. The juxtaposition of band and producers' intent helped to bring about the finished product. The assertion that this record signified a "purging" is lent credence by the more stripped down and succinct musical statements which pervaded the next album "Sheer Heart Attack".

The "Side White/Side Black" idea on the original vinyl LP was another case of Queen flirting with the notion of concept albums without ever fully committing themselves to it.  It is an area of Queen's potential, like film soundtrack music, which they never fully explored. That said, the "white/black" theme helps to imbue the album with a kind of unity, the sort based on "duality"?

The songwriting duties continue to be dominated by Freddie Mercury and Brian May, although Roger Taylor chips in with "Loser In The End" (which admittedly is a touch out of place here).  Freddie's later signature style is continuing to evolve, whilst Brian is still exploring what on the surface appear to be philosophical and quasi-mystical themes.

A major pointer to the future was in the adroit use of "light and shade" - moments of chaos and intensity, followed by passages of delicacy and subtlety.  This is most evident on "Father To Son" and "March of The Black Queen".  The former betrays influences, both sonically and melodically, which are hardly difficult to discern, but both songs show the band learning how to construct music combining complexity with affecting hooks and chord changes.

"White Queen (As It Began)" has an eerie and esoteric flavour, accentuated by the acoustic and semi-acoustic guitar parts and the vocal "choir".  Although the song arguably worked better in the concert setting, the studio original has a charm all of its own. "Someday One Day" is another one of Brian May's poignant and reflective acoustic folk-inflected compositions, which he continued to contribute to the Queen canon until the early 1980s.

The "Freddie half" of "Queen II" commences with "Ogre Battle", a track which manages to combine real incisiveness and bite with an affecting melodic base. The two verses in the early stages are classic Queen. As with several other numbers on this record, there is a slightly nebulous middle section, which builds up tension for the final phase of the song. Some pleasing guitar riffery from Mr May here, too.

"The Fairy Feller's Masterstroke" is an intricate and appealing piece of work, with fine harmony vocals and the nice touch of the harpsichord.  The lyrics were seemingly inspired by a painting which Freddie saw, but the imagery is vaguely in keeping with the content of other songs at this stage of the group's career.  This song does not appear to have been played live that often, presumably because of its demanding technical nature, but evidently the boys made a fine job of it when they did.

"Nevermore" is a stylish vignette, containing those dreamy vocal textures which, for me anyway, scream "1974!". The piano also sounds great on this song. "Funny How Love Is" sounds a touch like a Phil Spector pastiche, perhaps hinting that Queen owed a debt to this other side of the pop music tradition, in addition to the "usual" influences (Hendrix, The Who, The Beatles etc). The song possibly stretches the boundaries of multi-tracking and overdubbing more than any other track on the album.

Although "Seven Seas of Rhye" was Queen's first hit single in many territories, in the context of this album it feels almost like an afterthought. I must admit that I have never particularly warmed to the track, for reasons which I find difficult to pin down. Although exhibiting some of the traits which permeate the whole set, the song is a little uninspired compared with what went before. 

"Queen II" is an uncompromising album in some ways, embracing excess and charm is equal measure, and it has inspired and influenced some unlikely people down the years. This wasn't the "finished article", as far as the definitive "Queen sound" was concerned, as there was some additional polishing and fine-tuning still to take place.  However, as both a staging post, and as a fine rock album in its own right, it is well worth a listen.

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.

Queen - In Concert

During the latter portion of their career, Queen had a reputation as being one of the most exciting and accomplished live bands around. But to what extent what this true, and how did they develop and progress during that period? 

There is plenty of evidence around on which to base our judgements, in the form of concert footage and sound recordings, and recollections from those who were there in person. Some of my own opinions on this subject may not necessarily correspond with those of the majority of Queen fans!

From what I have seen, heard and read, Queen truly started to blossom as a live band around 1977. Prior to that, they appeared slightly hesitant and restrained. However, in '77 the band began to flourish, learning how to project themselves and their music, and how to develop a rapport with the audience. Anybody who has seen footage of the Earls Court concerts of this period will know what I mean. From then on, Queen seemed to possess a whole new aura of cohesion and dynamism.

This new focus and efficiency was honed in the "white heat" of the gruelling and challenging American tours of the time. As Queen's appeal broadened, they had to develop new skills in order to impress new, more discerning and demanding audiences. Much of the enhanced energy was refracted through the person of Freddie Mercury, whose powers of showmanship developed markedly around this time.

As the 1970s drew to a close, Queen continued to thrive, and it seemed like a good time to release a live album. Live Killers, recorded on the 1979 European tour and released later that year, is an adequate document, but perhaps does not fully capture the excitement of Queen's performances of that era.  Whilst there are some fine moments, the intensity and quality does seem a touch uneven, possibly reflecting the stage of the tour at which the recordings were made, and the effects of an arduous schedule.

When I first heard Live Killers, I was very enthusiastic, but as the years have passed, and as more concert material from the 1977-82 period has surfaced, its lustre has diminished.  The "acoustic" section of the album, and the performances of Now I'm Here and Keep Yourself Alive are superb, but in other parts the group sounds slightly listless, almost as if they were going through the motions.

My own view is that Queen peaked as a live act in 1981/82. It is true that the set list was less interesting and diverse than in previous years, but several strands came together to make the band a formidable force in the early 1980s. Freddie's voice had reached new heights of power, flexibility and versatility. Years of touring had schooled them in the art of performance and showmanship, instilling a tightness and vigour.  By now they were more acutely aware of what worked, and what didn't. The diverse musical influences of the band members also added to this appealing mixture.

Fortunately, there is plenty of visual and audio evidence of just how powerful Queen were live around that time. The footage from Montreal 1981 and Milton Keynes 1982, for example. The latter especially could be shown to aspiring bands as a tutorial on how to "work a crowd". I myself was fortunate enough to witness the 1982 version of Queen, at Elland Road in Leeds. As a youngster, I was absolutely transfixed.

Is it significant that as Queen's live shows reached new heights of excellence, their albums became less ambitious, and arguably less substantial?  Some of this may be coincidence, but the albums in the late 70s and early 80s had a more "stripped down" feel, and the songs being recorded were therefore easier to reproduce on stage than some of the elaborate earlier efforts. Also, the move towards a less complex sound may have enabled Queen to imbue their older songs with a new energy and immediacy in the concert setting. Another factor may have been that as Queen expended less time and emotional energy on the studio, more was left over to devote to honing their stagecraft...

Following the dizzy heights of the early 1980s, Queen's powers began to wane, the triumphant Live Aid appearance notwithstanding . Several things may have contributed to this. A fall-off in energy levels was perhaps inevitable. The band members became involved in side projects, and this may have prompted a reduction in focus. Indeed, it is known that there were major tensions within the group around 1984/85. Added to all this was a noticeable decline in Freddie's overall vocal powers on stage.

I know that many Queen fans assert that 1986 was the zenith of their touring career, but this is not something that I readily concur with. Admittedly, a lot of this comes down to personal taste.  However, I think that some people are swayed by sentiment in this case, and confuse what the tour represented with the substance of the performances. The venues were larger than any which Queen had previously played in Europe, but the recordings which I have heard reveal a slightly soulless sound, with some of the intimacy and technical punch of previous tours sacrificed for sheer spectacle and scale.  Having said all this, Queen's shows were still emotionally affecting, and the 1986 tour certainly scored high on the "goosebumps" scale!

It is fascinating to speculate how matters would have evolved later in the 1980s, but alas we will never know....

All fans will have their own views on when Queen were at their best as a live band.  My own ideal situation, for what it's worth, would have been the 1982 version of the band playing the 1977 set-list at Wembley Stadium.  That would have covered all the bases!