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Queen
Oct 9, 2019 14:37:53 GMT
Post by kds on Oct 9, 2019 14:37:53 GMT
Coming back to the underratedness of Queen II for a sec - it really is underrated considering how influential it has clearly been. Listening to White Queen, it almost sounds as if it alone is responsible for a lot of Metallica’s sound. I’m not a Metallica superfan by any stretch of the imagination (though I do like them) so I don’t know a ton about their history, but it’s impossible not to draw connections between them and early Queen albums (I know we’re not quite talking about Sheer Heart Attack and Stone Cold Crazy just yet). I've read interviews of a lot of metal artists openly praising the first two Queen albums. I know Dee Snider, Rob Halford, and Axl Rose have talked about their love of Queen II. There's a lot on Queen II that can be heard in the sounds of Judas Priest, Iron Maiden, Metallica, etc. And just like the debut, it's a Queen album you can listen to from start to finish without hearing a song that's been played to death on classic rock radio. That's another reason I gravitate to the first two albums.
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Queen
Oct 9, 2019 17:09:00 GMT
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Post by Kapitan on Oct 9, 2019 17:09:00 GMT
One more point on this album, I love the use of piano. Along with four songwriters and three singers, I think the instrumental arrangement versatility that Freddie’s piano brought was one of their strengths. It’s not unique to this album, but it is prominent...and sadly less so as the band’s career continued.
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Queen
Oct 9, 2019 17:40:33 GMT
Post by kds on Oct 9, 2019 17:40:33 GMT
One more point on this album, I love the use of piano. Along with four songwriters and three singers, I think the instrumental arrangement versatility that Freddie’s piano brought was one of their strengths. It’s not unique to this album, but it is prominent...and sadly less so as the band’s career continued. That's another mistake they made into the second half of their career. Freddie's piano on songs like March of the Black Queen probably influenced Savatage, who featured piano prominently in their prog metal material, and even more so when they evolved into the Trans Siberian Orchestra.
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Queen
Oct 9, 2019 18:12:08 GMT
via mobile
Post by Kapitan on Oct 9, 2019 18:12:08 GMT
I would imagine the trend away from piano had a lot to do with their live shows, as they increasingly realized how dynamic Freddie was as a frontman. Obviously it isn’t in their best interest in that scenario to have a master showman seated behind a piano when he could be strutting, preening, and posing to the delight of thousands (or tens of thousands) of people instead. Spike Edney was along to handle those chores from the mid-80s onward, but that was awfully late in the game (considering they only toured a couple more years). It’s a shame they didn’t decide to use auxiliary musicians (or one, anyway) from the mid-70s onward to help flesh out the song and—assuming my theory is correct, anyway—the writing and arrangements might not have moved away from piano. To play devil’s advocate against myself, it might just be that Freddie in particular lost interest in writing that style, especially as dance and funk music became a bigger influence on him. So maybe he would have gravitated more toward synths, drums, and bass sounds either way, at least by the early ‘80s if not during the later-mid ‘70s.
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Queen
Oct 9, 2019 18:44:19 GMT
Post by kds on Oct 9, 2019 18:44:19 GMT
I would imagine the trend away from piano had a lot to do with their live shows, as they increasingly realized how dynamic Freddie was as a frontman. Obviously it isn’t in their best interest in that scenario to have a master showman seated behind a piano when he could be strutting, preening, and posing to the delight of thousands (or tens of thousands) of people instead. Spike Edney was along to handle those chores from the mid-80s onward, but that was awfully late in the game (considering they only toured a couple more years). It’s a shame they didn’t decide to use auxiliary musicians (or one, anyway) from the mid-70s onward to help flesh out the song and—assuming my theory is correct, anyway—the writing and arrangements might not have moved away from piano. To play devil’s advocate against myself, it might just be that Freddie in particular lost interest in writing that style, especially as dance and funk music became a bigger influence on him. So maybe he would have gravitated more toward synths, drums, and bass sounds either way, at least by the early ‘80s if not during the later-mid ‘70s. I think your later theory is more likely. Queen was still writing songs with piano through The Game, and Freddie was still playing piano quite a bit onstage. They added Fred Mandel, then Spike Edney to the live band starting in 1982, so in theory they could've kept pianos in the new songs and just had Fred / Spike play them onstage. Although, they typically played synth parts and still left piano to Freddie in those later touring years. It just seemed Freddie's preferences went away from piano for the most part.
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Queen
Oct 9, 2019 21:21:48 GMT
Post by B.E. on Oct 9, 2019 21:21:48 GMT
The album closes with it's most well known song, Seven Seas of Rhye, which appeared as a minute long instrumental on the debut. Here, it's easily the song which more than any other on the album offers a glimpse into the future. It's a much more compact and accessible song than songs like Father to Son and Black Queen, which is likely why it's really the only song from Queen II to have any longevity. While your point about it being more compact and accessible is well taken, I gotta say, I was surprised to learn its the most well known song from the album. Maybe it'll be a grower, but "Seven Seas Of Rhye" doesn't excite me. As an instrumental, it did nothing for me. As a complete song, it felt mediocre compared to much of the rest of Queen II. I'll say this, though, I love the ending. How it dissolved into a sea shanty. That was really cool. Who knows? Maybe I just need to give it more listens.
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Post by B.E. on Oct 9, 2019 21:34:23 GMT
Queen II is fantastic. One of the things I love about early Queen albums is just how well sequenced they are and I think this one is perfect for just sitting back and listening to as a whole, especially the way a lot of the songs meld into one another. I completely agree. The transition from "Father To Son" into "White Queen (As It Began)" is my favorite transition on Queen II. It caught my ear on first listen, and on second listen reminded me of the white noise at the end of The Beatles "I Want You (She's So Heavy)". I will say that while I appreciate the Spectorian wall-of-sound production on Funny How Love Is, I find the difference in the sound from the rest of the album kind of irks me just the slightest, tiny little bit. I think it’s a wonderful song though. My thoughts as well. It was quite jarring on first listen, but I find myself getting used to it pretty quickly. I agree, it's a wonderful song.
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Queen
Oct 9, 2019 21:57:15 GMT
Post by B.E. on Oct 9, 2019 21:57:15 GMT
This is just an early impression on my part, but I'm not sold on Roger Taylor as a lead rock vocalist. "Modern Times Rock 'N' Roll" was serviceable, but there was a ton of echo on his vocal. Now, with, "The Loser In The End", I'm particularly unconvinced on lines like "misuse her and you'll lose her as a friend". I had similar feelings about Randy Meisner of the Eagles. Great harmony singers, but not as convincing when they try to get tough.
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Queen
Oct 9, 2019 22:08:33 GMT
via mobile
Post by Kapitan on Oct 9, 2019 22:08:33 GMT
Agree 100%. His grit (and range) made him invaluable in the harmonies, but I’m just not a fan of his voice as a lead for the most part.
But to give credit where it’s due, that style of voice is a good complement to the uber-mellow May. (Mercury is almost his own complement: he had several approaches with that miracle voice of his.)
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Queen
Oct 9, 2019 22:22:14 GMT
Post by B.E. on Oct 9, 2019 22:22:14 GMT
I was pleasantly surprised by May's lead on "Some Day One Day". Between the arrangement and his vocal delivery, it's a very soothing track.
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Queen
Oct 9, 2019 22:23:05 GMT
Post by B.E. on Oct 9, 2019 22:23:05 GMT
Queen II - 8/10
Most to least favorite...
1. The March Of The Black Queen 2. Nevermore 3. Ogre Battle 4. White Queen (As It Began) 5. Funny How Love Is 6. Father To Son 7. Some Day One Day
8. The Fairy Feller's Master-Stroke 9. Seven Seas Of Rhye 10. The Loser In The End
11. Procession
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Post by Sheriff John Stone on Oct 9, 2019 22:34:26 GMT
In the summer of 1974, my album rotation consisted of Secret Treaties by Blue Oyster Cult, KISS by KISS, The Golden Scarab by Ray Manzarek, Butts Band by Butts Band, and...Queen II including my all-time favorite Queen song:
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bellbottoms
Pacific Coast Highway
Posts: 727
Likes: 201
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Post by bellbottoms on Oct 9, 2019 22:38:11 GMT
Roger’s voice is a crucial component of the Queen harmony blend, for sure. It wouldn't be that Queen blend without him.
Initially I wasn’t a fan of his lead vocals but they’ve definitely grown on me. The more I listen to his leads, the more I enjoy them, and I've come around to the opinion that he's actually quite a good singer. I’ve even been listening to his solo stuff (I love his first two albums. After those, he lost me). A lot of what might have turned me around on his leads is the live albums and concert videos – he has a lot of power live, both on the lead and on the backing vocals.
Roger’s lyrics are hit and miss (I think they generally improve from Sheer Heart Attack onward). The early adult angst of the Loser in the End isn’t exactly poetry, but the song is saved by being so musically good.
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Post by B.E. on Oct 9, 2019 22:45:05 GMT
The early adult angst of the Loser in the End isn’t exactly poetry, but the song is saved by being so musically good. The musicianship over the outro is fantastic!
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Queen
Oct 10, 2019 12:09:47 GMT
Post by kds on Oct 10, 2019 12:09:47 GMT
This is just an early impression on my part, but I'm not sold on Roger Taylor as a lead rock vocalist. "Modern Times Rock 'N' Roll" was serviceable, but there was a ton of echo on his vocal. Now, with, "The Loser In The End", I'm particularly unconvinced on lines like "misuse her and you'll lose her as a friend". I had similar feelings about Randy Meisner of the Eagles. Great harmony singers, but not as convincing when they try to get tough. I've always like his token leads on the 70s Queen albums. I'm not sure if I'd want to listen to a full album of Roger vocals, but I love all of the Queen songs on which he sings lead.
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