Another album from my early teenage years that had a big impact on me. After hearing the single, Seven Seas Of Rhye, I was hooked – mainly due to the amazing guitar of Brian May. I think you can trace back my infatuation with all things guitar, to Brian and Ritchie Blackmore – and a bit later on with Zal Cleminson. The pure majestic sounds that Brian coaxed out of his homemade guitar, was mind blowing to a young (and very impressionable) me. Of course, Freddie was this larger than life character with this incredible voice. Watching them on Top Of The Pops was life changing for me.
This album is split into Side White, which is predominantly all Brian songs, and Side Black, which is all Freddie. It’s very noticeable on this record that the pop leanings of future Queen releases had not yet made an appearance, and the overall vibe of this record is part Prog and part hard rock. The mix of the two is present in the opening track, Father To Son, which is perfect Queen for this time in their career (and Brian does let rip on this track). White Queen on the other hand is a very progressive sounding track, and you get the feel as though the original idea behind this album was for it to be a concept piece. Some Day One Day has the same feel, except it has an added folk medieval vibe. Loser In The End is Roger Taylor’s contribution to proceedings. It’s a very odd sounding piece, even though I do love Rogers voice.
Side Black is a much more heavy affair, and the opening track, Ogre Battle, is one of the best early Queen tracks. You get the first glimpse of those beautiful layered vocal harmonies that the band were famous for, plus this is a showcase for Brian. The brilliance of producer Roy Thomas Baker is at its best on The Fairy Feller’s Master Stroke, as the band were using everything in this track – he did well to keep it all together. The rather short piece, Nevermore, follows and is just basically Freddie and a piano. My favourite track on the album, The March Of The Black Queen, follows and is as epic as the band get. The delicious over the top vocal harmonies lead into a very dramatic song, with some great playing from Brian and the WEM Copycat was in full use. One of those tracks that only Queen could get away with is next with Funny How Love Is. It has the full Phil Spector treatment. Seven Seas Of Rhye closes out the record, and to me, is just awesome!
I lost interest after A Night At The Opera as it all became a bit too soap opera and cheesy for me.
8.5/10 from The Grooveman.
