Queen II

Untitled

Queen II is the second album by British rock group Queen, released in March 1974. It was recorded at Trident Studios, London in August 1973 with co-producers Roy Thomas Baker and Robin Cable, and engineered by Mike Stone. Released to an initially mixed critical reception, the album has since been cited by a number of music publications, fellow musicians and fans as one of the band's finest, and most underrated, works.

The two sides of the original LP were labelled "Side White" and "Side Black" (instead of the conventional sides "A" and "B"), with corresponding photos of the band dressed in white or in black on either side of the record's label face. It is also a concept album, with the white side having songs with a more emotional theme and the black side almost entirely about fantasy, often with quite dark themes. Mick Rock's album cover photograph was frequently re-used by the band throughout its career, most notably in the music video for the song "Bohemian Rhapsody" (1975).

Background and recording

After their debut album Queen was recorded and mixed by the end of November 1972, Queen set about touring and promoting it. Management problems forced the album to be released under the independent Trident label, but only after eight months had gone by since completion. During that time, Queen were writing new material and anxious to record it. Several new songs were written immediately after the first album, and some dated from even earlier. "See What A Fool I've Been" was left over from the Smile days. "Ogre Battle" was written during the debut album sessions, as was "Father To Son", but the band decided to wait on recording them until they had more ample studio time.

August 1973 found the band back in Trident, now allowed to book proper hours there, with an album under their belts. For what is generally considered a complex album (with layered vocals, harmonies and instruments), it took a very short time—only one month—to record Queen II. A full version of "Seven Seas of Rhye" was laid down, recorded with the specific intention of being the album's leading single. After the commercial failure of "Keep Yourself Alive", which was taken from the first album, Queen decided it needed a single that did not take "too long to happen" (without a lengthy guitar intro). So, Queen and Baker made sure that "Rhye" began in a way which would grab people. Mythology and art were passions of Mercury's, and Richard Dadd's painting "The Fairy Feller's Master-Stroke" (which currently hangs in the Tate Gallery) sparked his creativity. This scene from Dadd's imagination was inspired by characters from faery myths, which in the painting are gathered around the Feller of Trees to watch him crack a walnut for Queen Mab's new carriage.

Mick Rock was employed to do the photography for the album's artwork. This single picture of Queen, used on the Queen II album cover, would become one of the band's most iconic images, revisited and brought to life for the "Bohemian Rhapsody" promotional film. Robin Cable, with whom Mercury had worked during the "I Can Hear Music" session, was recruited to reproduce the Spector production sound for "Funny How Love Is".

The "White" side is very diverse: four of the five numbers were composed by Brian May, where one is instrumental, one is sung by Mercury and Taylor (with May at the piano), the next is sung by Mercury, and the last by May. The closing track of The "White" Side is Taylor's only composition in the album. John Deacon played acoustic guitar as well as bass on most of the album, except the songs "White Queen" and "Some Day One Day", which were performed by May—partly on an inexpensive Hairfred guitar that he had owned since his childhood.

Lead vocalist Freddie Mercury composed the entire "Black" side, contributing virtuosic piano and harpsichord pieces and a wide range of distinctive vocal performances.

Release and reception

After the album's completion in the end of August 1973, Queen added "Ogre Battle", "Procession" and "Father to Son" to their live setlists immediately and toured extensively. Once again, however, Trident delayed the record since Queen's first album had only just been released in the UK and had yet to be issued in the US. Numerous other problems beset the album's release, as well. Its completion coincided with the 1973 oil crisis and consequently, government-enforced measures for energy conservation delayed its manufacture by several months. Once the long-overdue first pressing arrived in record shops, the band noticed a spelling error on the sleeve, and had to complain persistently to correct it.

"Considering the abuse we've had lately, I’m surprised that the new album has done so well. I suppose it's basically that audiences like the band... we took so much trouble over that album, possibly too much, but when we finished we felt really proud. Immediately it got really bad reviews so I took it home to listen to again and thought 'Christ, are they right?' But after hearing it a few weeks later I still like it. I think it’s great. We’ll stick by it."

— Roger Taylor on the critical reaction to Queen II

Queen II received a mixed critical reaction from the contemporary music press. Disc praised the record, writing: "The material, performance, recording and even artwork standards are very high." Sounds were also appreciative, writing: "Simply titled Queen II, this album captures them in their finest hours." Rolling Stone awarded the album two-and-a-half stars out of five. While the magazine had little enthusiasm for "Side Black", they applauded "Side White", writing that it featured the "saving grace of timely and well-chosen power chords and some rather pretty tunes."

Melody Maker had little praise for the record, writing: "It's reputed Queen have enjoyed some success in the States, it's currently in the balance whether they'll really break through here. If they do, then I'll have to eat my hat or something. Maybe Queen try too hard, there's no depth of sound or feeling." Record Mirror were also unamused: "This is it, the dregs of glam rock. Weak and over-produced, if this band are our brightest hope for the future, then we are committing rock and roll suicide." Robert Christgau gave the album a "C−" rating, describing it as "Wimpoid royaloid heavoid android void".

Queen II entered stores in the UK on 8 March 1974. The album enjoyed chart success in the UK, peaking at number five. It peaked at number 49 in the US, improving on debut album Queen, which peaked at number 83. The only single taken from Queen II, "Seven Seas of Rhye"—released in February 1974—peaked at number 10 on the UK Singles Chart, giving the band their first chart hit.

Legacy

As 1974 drew to a close, public reaction to Queen II had been enthusiastic. The album was also ranked by Disc as the 5th best of the year. The album retained a cult following and has in recent years been cited by a number of music publications, fellow artists and fans as one of Queen's finest works. In 2006, the album was featured in Classic Rock and Metal Hammer's "The 200 Greatest Albums of the 70s," being listed as one of the 20 greatest albums of 1974. In 2008, IGN Music named Queen II as one of their "10 Classic Glam Rock Albums", writing: "Queen gave glam a bigger, more anthemic sound with this glittery opus. Combined with Freddie Mercury's underrated keyboard work, Brian May's ringing leads and pristine riffs created a backdrop for songs that were by turns ferocious and elegant." Although it missed out on inclusion in Q's "The 50 Best British Albums Ever" in 2003, Queen II garnered enough public votes for inclusion in a supplemental list of fifty essential albums, where it was described as "Queen's most underappreciated album." Allmusic said of the record: "Queen is coiled, tense, and vicious here, delivering on their inherent sense of drama, and that gives Queen II real power as music, as well as a true cohesion... Queen II is one of the favorites of their hardcore fans." In 2009, The Quietus ran an article highlighting Queen's lesser-known work to coincide with the release of that year's Absolute Greatest compilation, describing Queen II as "an absolute scorcher of an album." Along with the Queen albums Sheer Heart Attack and A Night at the Opera, Queen II is featured in the book 1001 Albums You Must Hear Before You Die.

Endorsements from younger recording artists have introduced the album to a new generation of fans. In a 1989 Rolling Stone interview, Guns N' Roses lead singer Axl Rose said of the record: "With Queen, I have my favorite: Queen II. Whenever their newest record would come out and have all these other kinds of music on it, at first I'd only like this song or that song. But after a period of time listening to it, it would open my mind up to so many different styles. I really appreciate them for that. That's something I've always wanted to be able to achieve". Smashing Pumpkins frontman Billy Corgan spoke to Melody Maker in August 1993 about "the records which changed his life," stating: "I worked at this record store where we had lots of old records, and I found Queen II, probably their least popular album. It's so over the top, so many vocal and guitar track overdubs - total Queen overload. I loved it. I loved the cool, weird, ambiguous songs about Freddie’s sexuality and the way it shifts from heavy to beautiful ballads."

In a 1999 Channel 4 production, archive interview footage of Brian May was played, where he asserted that he considered Queen II to be perhaps the band's finest album. He also opined that negative reviews at the time of its release were largely based on a dislike of the band's image and ideals rather than an impartial analysis of the record and concluded that, considering the popularity and positive press that the album gained in subsequent years, it was simply "a case of the critics getting it wrong."

Track listing

Side White

All songs written by Brian May, unless noted otherwise.

1. "Procession" – 1:12
2. "Father to Son" – 6:12
3. "White Queen (As It Began)" – 4:33
4. "Some Day One Day" – 4:21
5. "The Loser in the End" (Roger Taylor) – 4:01

Side Black

All songs written by Freddie Mercury.

1. "Ogre Battle" – 4:08
2. "The Fairy Feller's Master-Stroke" – 2:39
3. "Nevermore" – 1:17
4. "The March of the Black Queen" – 6:03
5. "Funny How Love Is" – 3:14
6. "Seven Seas of Rhye" – 2:48

Song information

Procession

"Procession" is a short instrumental piece performed by Brian May on multi-tracked guitar. He recorded it by playing overlapping parts on the Red Special through John Deacon's custom-made amplifier (the Deacy Amp).

Father to Son

"Father to Son" was written by May and features heavy metal sections as well as a quiet piano part, which May played. Like the preceding number, "Father to Son" has parts with May on multi-tracked guitar, played through John Deacon's custom-made amplifier (the Deacy Amp). It is written in the father's perspective when talking or thinking about his son. Queen added "Father to Son" to their live setlists immediately and toured extensively, but the song was dropped from the setlists in 1975.

White Queen (As It Began)

"White Queen (As It Began)" was composed by May.

Some Day One Day

This is the first song sung entirely by May on lead vocals. It features May on acoustic guitar and electric guitar and the last guitar solo (during the fade-out) features three solo guitars. This kind of complex guitar arrangement is typical of May, however, usually the guitars are harmonious, but in this case all the guitars are all playing different parts.

The Loser in the End

"The Loser in the End" was Taylor's sole contribution on the album both as a songwriter and lead singer.

Ogre Battle

Mercury wrote "Ogre Battle" on guitar (as confirmed by May in several interviews) in 1972. The band didn't want to record it for their first album, but rather waited until they could have more studio freedom to do it properly.

The ogre-like screams in the middle are Mercury's, and the high harmonies at the end of the chorus hook are sung by Taylor. As the title suggests, it tells the story of a battle between ogres, and features a May guitar solo and sound effects to simulate the sound of a battle. The beginning of the song is the end of the song played backwards including the final gong which when played backwards at the start of the song creates the building wave sound.

The song is one of Queen's heaviest works. The guitar riff along with Roger Taylor's drumming give it a very "thrash" sound. It was a longtime live favourite, although on stage Queen played it slower than in the studio. They stopped playing the song somewhere around 1977-1978, playing it on almost every concert up until then.

A different version of "Ogre Battle" exists, recorded in December 1973 for the BBC Radio 1 "Sound of the 70s" programme. This version starts right away with its riff (without any long intro), doesn't have any effects that the version on "Queen II" has and sounds much less polished. The BBC version of "Ogre Battle" did originally have a long intro featuring a grand guitar build up; it was not used for this release, allegedly because the original tape was damaged.

The Fairy Feller's Master-Stroke

The Fairy Feller's Master-Stroke by Richard Dadd.

Mercury was inspired to write "The Fairy Feller's Master-Stroke" after seeing Richard Dadd's painting The Fairy Feller's Master-Stroke. For the intricately-arranged studio recording, Mercury played harpsichord as well as piano, and Roy Thomas Baker played the castanets. Taylor called this song Queen's "biggest stereo experiment", referring to the intricate use of panning in the mix.

The song, like most of the songs on the album, features medieval fantasy-based lyrics, and makes direct reference to the painting's characters as detailed in Dadd's poem, such as Queen Mab, Waggoner Will, the Tatterdemalion, and others. Apparently whenever Queen had spare time, Mercury would drag them to the London's Tate Gallery, where the painting was, and still is today.

The complex arrangements are based around a backing track of piano, bass guitar and drums, but also included harpsichord, multiple vocal overdubs, and overdubbed guitar parts. The lyrics follow the claustrophobic atmosphere of the painting, and each of the scenes are described. The use of the word "Quaere" has no reference to Mercury's sexuality, according to Taylor. The band never performed this song live.

Nevermore

The previous track ends with a three-part vocal harmony from May, Mercury, and Taylor which flows into Mercury playing the piano on this track. All the vocal parts were by Mercury, who added some contemporary piano 'ring' effects as well. These effects were widely suspected to be synthesizers, however they were created by someone plucking the piano strings while Mercury played the notes. Nevermore is quite a short ballad about the feelings after a heartbreak.

The March of the Black Queen

Mercury composed it at the piano in 1973, and the song is the only Queen song containing polyrhythm/polymeter (two different time signatures simultaneously 8/8 and 12/8), which is very rare for popular music.

The full piece was too complicated to perform live by the band, however the uptempo section containing the lines (sung by Taylor) "My life is in your hands, I'll foe and I'll fie..." etc was sometimes included in a live medley during the 1970s.

The song segues into the next track, "Funny How Love Is". This song ends with an ascending note progression, which climaxes in the first second of the following track.

Funny How Love Is

"Funny How Love Is" was born in the studio. Mercury wrote it and played the piano while Robin Cable produced. It was produced using the "wall of sound" technique. The song was never performed live, largely due to the demanding high-register vocals from Mercury throughout the song.

Seven Seas of Rhye

Main article: Seven Seas of Rhye

"Seven Seas of Rhye" had been half-written at the time of recording for Queen's first album, so a short clip of it was included there. However, when Queen finished the song, it ended up being much different from what they'd first envisioned. It was the band's first hit single, peaking at #10 in the UK charts.

The song, like many of the songs on the album, and on Queen and Sheer Heart Attack, is about a fantasy world named Rhye. The song became a live favourite throughout Queen's existence. It features a distinctive arpeggiated piano introduction — on the Queen II recording, the arpeggios are played with both the right and left hands, an octave apart, whereas on the Queen recording, and most live performances, Mercury played the simpler one-handed version of these arpeggios. The theme also appears at the end of "It's a Beautiful Day". This version ends with a cross fade, instruments blending into a "singsong"-style rendition of "I Do Like to Be Beside the Seaside".

The Seven Seas of Rhye are also mentioned in another Queen song, "Lily of the Valley" from Sheer Heart Attack; in the lyric "Messenger from Seven Seas has flown/To tell the king of Rhye he's lost his throne".

Queen about the record

For some strange reason, we seemed to get a rather different feel on the album because of the way we were forced to record it, and even allowing for the problems we had, none of us were really displeased with the result. Led Zeppelin and The Who are probably in there somewhere, because they were among our favourite groups, but what we are trying to do differently from either of those groups [is] this sort of layered sound. The Who had the open chord guitar sound, and there's a bit of that in "Father To Son", but our sound is more based on the overdriven guitar sound, which is used for the main bulk of the song... but I also wanted to build up textures behind the main melody lines. To me, Queen II was the sort of emotional music we'd always wanted to be able to play, although we couldn't play most of it onstage because it was too complicated. We were trying to push studio techniques to a new limit for rock groups — it was fulfilling all our dreams, because we didn't have much opportunity for that on the first album. It went through our minds to call the album Over the Top.

— Brian May

Well... that was a concept that we develop in that time was... it doesn't have, any special meaning. But we were fascinated with this type of things... the wardrobe that we used at the time described it perfectly well...

— Freddie Mercury

Personnel

• Freddie Mercury: Lead vocals, background vocals, piano, harpsichord
• Brian May: Guitars, bells on "The March of the Black Queen", lead vocals on "Some Day One Day", background vocals, piano and organ on "Father to Son."
• Roger Taylor: Drums, gong, marimba, background vocals, Additional Vocalist "The March of The Black Queen", lead vocals and rhythm guitar on "The Loser in the End"
• John Deacon: Bass guitar, acoustic guitar
• Roy Thomas Baker: Castanets on "The Fairy Feller's Master-Stroke.", Stylophone on "Seven Seas Of Rhye".
• Robin Cable: Piano effects (with Freddie Mercury) on "Nevermore."
• All songs produced by Queen and Roy Thomas Baker excluding:
  • "Nevermore" and "Funny How Love Is": Robin Cable and Queen.
  • "The March of the Black Queen": Roy Thomas Baker, Robin Cable and Queen.

Charts

	Charts		Sales
Country	Peak position	Weeks	Certification	Sales
Canada	40	7		50,000
Japan	26			50,000
Norway	19	2		75,000
United Kingdom	5	29	Platinum	400,000
United States	49	13	Gold	850,000

External links

• Queen II at Queen Online, the band's official website.
• Tate Gallery: Richard Dadd's "The Fairy Feller's Master-Stroke"
• Queen II at Queenpedia