Queen II

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==Reviews==
==Reviews==
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[[Image:rs163.jpg]]
'''Rolling Stone Issue 163'''
'''Rolling Stone Issue 163'''

Revision as of 18:15, 16 April 2007

Queen II, 1974

History of this album.

Vinyl

Side 1
01. Procession (May) - 1:13

02. Father To Son (May) - 6:14

03. White Queen (As It Began) (May) - 4:35

04. Some Day, One Day (May) - 4:22

05. The Loser In The End (Taylor) - 4:02

Side 2
01. Ogre Battle (Mercury) - 4:07

02. The Fairy Feller's Master-Stroke (Mercury) - 2:41

03. Nevermore (Mercury) - 1:18

04. The March Of The Black Queen (Mercury) - 6:33

05. Funny How Love Is (Mercury) - 2:50

06. Seven Seas Of Rhye (Mercury) - 2:49

1991 Hollywood Records CD

01. Procession (May) - 1:13

02. Father To Son (May) - 6:14

03. White Queen (As It Began) (May) - 4:35

04. Some Day, One Day (May) - 4:22

05. The Loser In The End (Taylor) - 4:02

06. Ogre Battle (Mercury) - 4:07

07. The Fairy Feller's Master-Stroke (Mercury) - 2:41

08. Nevermore (Mercury) - 1:18

09. The March Of The Black Queen (Mercury) - 6:33

10. Funny How Love Is (Mercury) - 2:50

11. Seven Seas Of Rhye (Mercury) - 2:49

12. See What A Fool I've Been (May) - 4:32

13. Ogre Battle (remix) (Mercury) - 3:29

14. Seven Seas Of Rhye (remix) (Mercury) - 6:32

Credits

  • Musicians:
Freddie Mercury - vocals, piano, harpsichord on The Fairy Feller's Master-Stroke
Brian May - guitars, vocals, piano on Father To Son, lead vocals on Some Day, One Day, bells on The March Of The Black Queen
John Deacon - bass guitar, acoustic guitar on Father To Son and Funny How Love Is
Roger Meddows-Taylor - drums, percussion, vocals, marimba and lead vocals on The Loser In The End
Roy Thomas Baker - virtuoso castanets on The March Of The Black Queen

Charts

  • #5 (UK), #49 (US).

Liner notes

  • Notes

Additional info

  • Info

Reviews

File:Rs163.jpg Rolling Stone Issue 163

Queen is a reasonably talented band who have chosen their models unwisely. On "Side Black," they venture into a lyrically muddled fairy-tale world with none of Genesis's wit or sophistication. They've also appropriated the most irritating elements of Yes's style — histrionic vocals, abrupt and pointless compositional complexity, and a dearth of melody. "Side White" is quite an improvement, containing many of the same muddled tendencies, but with the saving grace of timely and well-chosen power chords and some rather pretty tunes. But the album remains a floundering and sadly unoriginal affair.

Additional Reviews