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Mar 25, 2014 15:21:45 GMT -5
Post by Q3 on Mar 25, 2014 15:21:45 GMT -5
A Night at the Opera - The seminal album. The one they are most famous for - their Sgt. Peppers. The top of the line as far as studio work goes. Known songs; Bohemian Rhapsody, You're My Best Friend, Love Of My Life, I'm In Love With My Car, '39. Other great tracks: The Prophet's Song, Death On Two Legs.
Start to finish it is mesmerizing- not one bad note anywhere.
Seaside Rendezvous is my favorite but I am under no illusion that they would ever do it.
Still, it makes me ridiculously happy every single time I hear it.
This is probably most people's favorite Queen album. And was radical at the time. (Also considered to be a sign of Queen's excesses. It was the most expensive album ever recorded up to that time.)
And here is the RS Review -- no mention of BoRhap! Even though it was the lead single and was being played heavily on radio.
Queen
A Night At The Opera
By Kris Nicholson
April 8, 1976
In less than three years, with four albums, Queen has risen from the heavy-metal minor leagues to a position approaching that of Led Zeppelin and Deep Purple. But the group has some annoying weaknesses, notably a tendency toward lyrical abstraction. In addition, the imagination that inspired the slick ragtime jazz (with vaudeville overtones) of Sheer Heart Attack's "Bring Back That Leroy Brown" becomes obsessive on A Night at the Opera, where the same stylistic idea is reworked, into three songs. But ultimately, the group's willingness to experiment, even when they fail, makes them interesting.
They have the ability to write first-rate pop/rock songs. Guitarist Brian May's "39" is his best attempt yet at Paul McCartney-style crooning, but it's on side two that the vocals really take command. On "The Prophet's Song," the best track, May's powerful guitar perfectly complements the rich, multitracked harmonies of lead singer Freddie Mercury. Throughout the record, the group makes the most effective use of vocal rounds, choruses and harmonies in the heavy-rock genre since Argent's Ring of Hands.
Like all heavy-metal groups, Queen's most easily distinguished trait is a knack for manipulating dynamics. But what sets them apart is their selection of unlikely effects: acoustic piano, harp, acapella vocals, no synthesizers. Coupled with good songs. Queen's obviously the strongest contender in its field.
Read more: www.rollingstone.com/music/albumreviews/a-night-at-the-opera-19760408#ixzz2x0SKCBF6
Follow us: @rollingstone on Twitter | RollingStone on Facebook
A Night At The Opera
By Kris Nicholson
April 8, 1976
In less than three years, with four albums, Queen has risen from the heavy-metal minor leagues to a position approaching that of Led Zeppelin and Deep Purple. But the group has some annoying weaknesses, notably a tendency toward lyrical abstraction. In addition, the imagination that inspired the slick ragtime jazz (with vaudeville overtones) of Sheer Heart Attack's "Bring Back That Leroy Brown" becomes obsessive on A Night at the Opera, where the same stylistic idea is reworked, into three songs. But ultimately, the group's willingness to experiment, even when they fail, makes them interesting.
They have the ability to write first-rate pop/rock songs. Guitarist Brian May's "39" is his best attempt yet at Paul McCartney-style crooning, but it's on side two that the vocals really take command. On "The Prophet's Song," the best track, May's powerful guitar perfectly complements the rich, multitracked harmonies of lead singer Freddie Mercury. Throughout the record, the group makes the most effective use of vocal rounds, choruses and harmonies in the heavy-rock genre since Argent's Ring of Hands.
Like all heavy-metal groups, Queen's most easily distinguished trait is a knack for manipulating dynamics. But what sets them apart is their selection of unlikely effects: acoustic piano, harp, acapella vocals, no synthesizers. Coupled with good songs. Queen's obviously the strongest contender in its field.
Read more: www.rollingstone.com/music/albumreviews/a-night-at-the-opera-19760408#ixzz2x0SKCBF6
Follow us: @rollingstone on Twitter | RollingStone on Facebook
That above review was released after BoRhap was a Top 10 hit in the US, and after the album was a commercial success on both sides of the Atlantic. That commercial success was a negative in 1976 RS wor
And in one of the WORST GRAMMY DECISIONS EVER!! In 1977....
Best Arrangement For Voices
The nominees were:
Starland Vocal Band - Afternoon Delight
Quire - Ain't Misbehavin'
Queen - Bohemian Rhapsody
Earth Wind & Fire - Can't Hide Love
Singers Unlimited - I Get Along Without You Very Well
Winner: Starland Vocal Band - Afternoon Delight
(And yes, my #1 worst Grammy vote was picking autotuned Brunno Mars vocals over Adam in 2010 -- but that was not as insulting at this one. And Adam will win someday.
)
