Queen – A Night At The Opera (Album Review)

Queen's fourth studio album, A Night At The Opera, is a masterpiece that solidified the band's place in rock history. Released in 1975, it's a tour de force of genre-blending innovation and extravagant theatricality. With an eclectic style, ranging from hard rock anthems to operatic ballads, with Freddie Mercury's flamboyant vocals soaring above intricate instrumental arrangements, you’d be hard-pressed to find a more coherent album from these British rockers.

While there’s no shortage of amazing artwork designs for Queen’s illustrious back catalogue, A Night At The Opera is stunning and if you have a chance to pick it up on vinyl, you’ll be in awe holding the cover as the record spins for its captivating nature will draw you in immediately. However, fans of this album are spoilt for choice as there is no shortage of reissues (almost 600 different editions); each of which proclaims to offer fans a far more complete musical experience than the reissue before it. I, myself, have been fortunate to have owned several different versions and what I can say is that while the core of the album is maintained throughout, each version offers a unique perspective; but I’ve yet to come across an edition that I didn’t thoroughly enjoy.

The consistent quality is a testament to not only the songwriting and performances, but the mix, mastering, and overall production of the album; all of which are second to none. While I adored the 2015 vinyl reissue from the Studio Collection, the 2013 High Fidelity Pure Audio (HFPA) Blu-ray release also included the magnificent surround sound mix that immerses you in what is best described as an experience. The 2011 CD remaster was similarly spectacular, even if it was the runt of the litter in comparison to the aforementioned releases.

As for streaming, Apple Music delivers the album as a lossless Apple Digital Master and I find it positions itself as a worthy counterpart to the physical releases. It’s sonically smooth, with adequate definition and separation between all elements, but it lacks weight and subsequently reminds me a little of the 2011 CD reissue. That isn’t bad, not by any stretch of the imagination, but if you are looking for recommendations as to which version will give you the best bang for your buck, some of the physical reissues are hard to beat, even if the streaming version is an ideal counterpart.

Death On Two Legs (Dedicated To…) is a song of hatred, for Queen’s original manager Norman Sheffield. While I don’t generally appreciate music for its literal intent, one thing is for certain, lyricism is a perfect creative outlet for one’s pent-up frustrations. Aside from that, however, the song is an explosive opener that’s perfectly suited to the album’s overall style with its piano introduction, biting lyrics, and intense guitar riffs. While it may be controversial, Mercury's venomous delivery and the band's dynamic arrangement make Death On Two Legs (Dedicated To…) a standout track.

Lazing On A Sunday Afternoon is a whimsical tune, that despite being brief, is charming. It showcases Queen's playful side, drawing on vaudeville influences with a jaunty piano and a distinctive "megaphone" vocal effect that gives it a nostalgic, old-time feel.

I'm In Love With My Car is a quirky Roger Taylor composition that adds a playful touch to the album's overall grandiose style and flows seamlessly from Lazing On A Sunday Afternoon. The song's heavy guitar riffs and powerful drumming underscore Taylor's gritty vocals and will appeal to those infatuated with their automobiles. More importantly, however, it’s just a solid rock tune and one that any rocker will thoroughly enjoy.

You're My Best Friend is a catchy pop-rock anthem penned by bassist John Deacon. It also happens to be one of the album's most accessible and radio-friendly tracks and Mercury's warm vocal delivery, along with the song's lush harmonies, highlight Queen's ability to craft timeless, feel-good hits.

’39 is a folk-inspired song written and sung by Brian May and is one of the greatest songs released by Queen throughout their illustrious career. It won’t be to everyone’s liking, but the musical bed, overall rhythm, and May’s unique vocal style make it a standout.

Sweet Lady with its heavy guitar riffs and driving rhythm showcases Queen’s heavier side; an aspect of their musicality that was much more prominent early in their career. Still, the raw sound of Sweet Lady takes a little getting used to and as often as I have listened to this masterpiece of an album, over the years, Sweet Lady would still be the one track, other than God Save The Queen, that I don’t often connect with. It isn’t fundamentally bad, it just isn’t as spectacular as the other songs from A Night At The Opera.

Seaside Rendezvous is another playful, vaudeville-inspired number that is nothing short of a pleasure to listen to. Its lighthearted lyrics and theatrical presentation make it a delightfully entertaining piece that will bring a smile to even the most anhedonic amongst us.

The Prophet's Song, composed by Brian May is a progressive rock masterpiece with intricate vocal harmonies and soaring guitar solos. While everyone points to Bohemian Rhapsody as being Queen’s greatest song from the album, those of us who listen to albums, rather than songs and playlists, will likely point to The Prophet's Song as Queen’s most underrated masterpiece for it is, creatively, every bit Bohemian Rhapsody’s counterpart.

Love Of My Life is a heartfelt ballad that, if you had any doubts, further showcases Freddie Mercury’s exceptional vocal prowess. Flowing seamlessly from The Prophet's Song, this tender ballad, with the emotive piano playing and Brian May’s delicate guitar arrangement, is another of Queen’s most beautiful tunes that will leave you speechless for the composition is simply stunning.

Good Company is a jaunty, Dixieland jazz-inspired number. It’s a great song but is often overshadowed by Bohemian Rhapsody as when Good Company comes on, you’re reminded that Bohemian Rhapsody is the very next song. It is, perhaps, wrong to suggest that Good Company is a pallet cleanser, but that is how I experience the song when playing the album in its intended linear structure.

Bohemian Rhapsody defies categorisation for it is more than a mini-opera, with operatic and hard rock sections, along with a tender balladry that has made it not only a groundbreaking and iconic tune but one of Queen’s most popular songs. While one could harp on about this tune, it is best recommended to simply play the song, turn the volume up, and personally experience one of the most celebrated songs in all of rock music history.

God Save The Queen is an instrumental rendition of the British national anthem, serving as a fitting finale to this opulent musical journey. While it works well within the album’s context, and it would be sorely missed if it were to be removed, I dare say that I’m not alone in my love/hate relationship for this tune as it’s corny and cliché.

A Night At The Opera, ultimately, is more than just an album; it's a testament to Queen's artistic vision and musical prowess. Its blend of rock, opera, pop, and vaudeville influences showcases the band's willingness to push boundaries and defy conventions. From its elaborate arrangements to its thought-provoking lyrics, every aspect of the album exudes creativity and passion. The result is an album that is a timeless classic and one that continues to captivate listeners decades after its release.

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Queen – The Game (Album Review)

It isn’t erroneous to consider Queen as an artist better known for their hits than their albums, but as it pertains to their 1980 release, The Game, it’s all killer, no filler. Naturally, the songs are the key element here as there is more cohesion between chosen tracks, but the shorter runtime also assists with the tightness of the album; one that you’ll find yourself compelled to put on repeat. Yes, it’s an up-and-down motion for those amongst us who appreciate vinyl, but when the music is this good, it’s worth the trouble. 

While I consider myself incredibly fortunate to own the superb Queen Studio Collection vinyl box set, the lossless Apple Music stream, an Apple Digital Master, is the perfect counterpart. Yes, the vinyl reproduction, a half-speed master out of Abbey Road Studios by Miles Showell, is the pinnacle as it relates to sonic reproduction, but it would be shortsighted to ignore the streaming digital counterpart. Let’s just put it this way, Queen’s albums were not only recorded and mixed with kid gloves but they’ve been mastered to the very highest standards. Subsequently, as much as I appreciate the vinyl re-issue of The Game, I don’t miss it when playing the stream, thereby further validating just how exceptional the stream is. 

Despite the cohesive nature of the music presented on The Game, this release is a shift of form for the band that heralded “…and nobody played synthesiser…(again)”,  “No synths!”, and “No Synthesisers!” with pride on prior albums. I don’t know about you, but I’ve never been too concerned with the specific techniques or instruments used, for change isn’t always a bad thing, especially if handled with respect. The Game subsequently changes the rules by allowing synthetic instrumentation; to great effect, I might add. Queen, however, didn’t hide this inclusion touting instead that “This album includes the first appearance of a Synthesizer (an Oberheim OBX) on a Queen album.”

Play The Game doesn’t have the greatest opening, but it’s classic Queen! As soon as the introduction subsides, however, the song comes into its own with some gorgeous guitar work by Brian May, but it’s the rock meets pop styling, as well as Freddie Mercury’s piano backdrop and the additional synthetic elements that take Play The Game to another level perhaps best described as prog rock in style.

The music video is about as corny as music videos can get. Of course, at the time they were revolutionary and weren’t considered with such disdain, but if anyone was seeing the music video for Play The Game for the first time, in the modern era, they’d likely run for the hills and never give it a second thought as it does nothing to amplify the song or stature of Queen. It’s so bad that it undermines their musical talents. 

Dragon Attack is a bass lover’s dream come true; thank you, John Deacon! Dragon Attack has such an addictive funk-driven groove that it hooks you from the very first note. An exceptional tune and one of Queen’s most underrated with some stunning guitar and drumming mixed in.

Another One Bites The Dust continues the funky bass-driven sound. There’s so much that could be said about Another One Bites The Dust but nothing really needs to be said for it’s one of those songs that when you hear it, you get it! That said, it is one of those 70s tunes with suspected backmasking. Truth be told, I’m not going to play my record backwards just to see if I can confirm this and it befuddles me as to who, in their right mind, would listen to records backwards. Yes, our inquisitive nature finds it appealing, but I like to listen to and experience music, not find hidden elements that may or may not have been intentionally placed there. 

Need Your Loving Tonight is simply a killer rock and roll tune. It was never going to be a hit, but it’s barebones, thereby lacking the usual fanfare of later Queen records and somewhat harking back to their origins.

Crazy Little Thing Called Love is part rock and roll, part rockabilly, and undoubtedly inspired by Elvis Presley. What a great little tune!

The music video for Crazy Little Thing Called Love is a hoot. Seriously, it’s cringeworthy, but it’s so much so that if you can watch it, without bursting into laughter, you’re much more in control of your emotions than I am. 

Rock It (Prime Jive) has one of my favourite Queen openings, ever. The mix and otherworldly spaciousness, particularly in the vocal, is magical. Roger Taylor does a solid performance on lead vocals, but it is Mercury’s introduction that is the real drawcard here. That shouldn’t take anything away from Taylor, for it’s a great song as it is, it’s just that Mercury is one of the, if not the greatest, vocalists of all time. Hence, he’s hard to beat! 

Don’t Try Suicide is an odd little song. As you may imagine, it’s very literal as there’s little need to interpret meaning, but I’d argue that as well as it works within the album’s sequencing, it is one song that wouldn’t have been missed had it been omitted. 

Sail Away Sweet Sister is an unsung masterpiece! Brian May knocked it out of the park from both a composer’s standpoint and that of a lead vocalist.

Coming Soon has an interesting flat backbeat that I remain, to this day, unsure of. It’s as if my mind doesn’t know which element of the rhythm it should attach itself to and I, therefore, consider it more as a transitional tune than a song in and of itself and in that role, it perfectly aligns with the album structure. 

Save Me is the perfect closing track and while it isn’t the greatest ballad I’ve ever heard, it’s perfect for Queen and compels me to play the album again.

The music video for Save Me is far better than those for Play The Game and Crazy Little Thing Called Love and is truly worthy of Queen and their legacy. 

Overall, The Game is one of Queen’s greatest and most coherent album experiences and is rightly shortlisted as one of the best albums released in 1980. If you don’t have this album in your collection, give it a listen and reflect as to why for it’s worthy of the aforementioned accolades. 

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