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[[Image:queen_anato.jpg|thumb|175px|right|A Night At The Opera, 1975]] | [[Image:queen_anato.jpg|thumb|175px|right|A Night At The Opera, 1975]] | ||
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==Tracklists== | ==Tracklists== | ||
Revision as of 12:15, 6 August 2007
Contents |
Tracklists
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Vinyl version
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1991 Hollywood Records CD |
Credits
- Musicians:
- Freddie Mercury - vocals, vocals, Bechstein Debauchery, and more vocals, vocal orchestration of woodwinds on Seaside Rendezvous, operatic vocals on Bohemian Rhapsody
- Brian May - guitars, orchestral backdrops, vocals, lead vocals on '39 and Good Company, toy koto on The Prophets Song, orchestral harp on Love Of My Life, genuine 'aloha' ukulele (made in Japan) and guitar jazz band on Good Company, operatic vocals on Bohemian Rhapsody
- Roger Taylor - drums, percussion, vocals, lead vocals on I'm In Love With My Car, bass drum and tambourine on '39, vocal orchestrations of brass on Seaside Rendezvous, operatic vocals on Bohemian Rhapsody, timpani on Bohemian Rhapsody and God Save The Queen, orchestral cymbals on God Save The Queen
- John Deacon - bass guitar, electric piano on You're My Best Friend, double bass on '39
- Produced by: Queen and Roy Thomas Baker.
- Recorded: August - November 1975 at Sarm East Studios, Aldgate; Olympic Studios, Barnes; Rockfield Studios, Monmouth; Scorpio Studios, Lansdowne Studios, Roundhouse Studios, London.
Charts
| Country | Release date | First appearance in charts | Peak position | Chart run | Weeks in chart | Additional comments |
| UK | 21 November 1975 | 13 December 1975 | 1 | 2-2-1-1-2-1-1-2-4-7-6-11-10-11-13-17-26-21-37-47-39-33-42-45-0-
52-0-55-47-38-46-35-26-25-23-25-22-38-39-39-39-51-50-44-43-57 | 44 weeks, 12 weeks in Top Ten, and 4 weeks at #1 | First run in UK charts |
| UK | - | 8 January 1977 | 40 | 53-44-40-53 | 4 weeks, 48 weeks so far | Second run in UK charts |
| UK | - | 22 September 1984 | 85 | 85-0-100 | 2 weeks, 50 weeks so far | Third and final run in UK charts |
| USA | 2 December 1975 | 27 December 1975 | 4 | 116-67-57-48-39-35-28-26-24-23-21-11-9-8-7-6-4-4-4-13-14-14-16-18-18-19-
29-29-37-43-66-66-64-66-28-28-38-41-72-69-76-100-100-126-126-124-166 | 47 weeks, 7 weeks in Top Ten | First run in US charts |
| USA | - | 22 January 1977 | 119 | 162-151-125-122-119-119-180-180-180 | 9 weeks, 56 weeks so far | Second and final run in US charts |
Information supplied by Fedepeti, 24 August 2004
- Japan: #9, 52 weeks in chart.
- Holland: #1.
- Italy: did not chart.
Liner notes
- Notes
Additional info
- Info
Reviews
Winnipeg Free Press, 1976
Queen,' an increasingly popular British quartet which has displayed a wealth of playing and composing talent on its previous three albums, continues to hone and refine its craft on its latest effort, the aptly titled A Night At The Opera.
'There are few instruments capable of matching the potentialities of the human voice, as the band has demonstrated to great advanlage on many occasions in the past. A Night At The Opera marks a conscious attempt of the part of the group to increase its following in North America by way of a more commercially-oriented, almost-poppish musical approach which accentuates all four band member's impressive vocal abilities more pronouncedly than its fiery instrumental work.
Don't get the idea that A Night At The Opera constitutes Queen's attempt at light opera. There's still plenty of the familiar firepower which fans have come to expect from the group, although the over-all emphasis is on the quieter, more subdued side of the group's diverse musical framework? Aided by Roy Thomas Baker's always superb production work (he should also be behind the controls for Be- Bop Deluxe's forthcoming Sunburst Finish LP after doing such a magnificent job on Futurama, lead singer extraordinaire Freddie Mercury — along with guitar whiz Brian May, drummer Roger Taylor and bassist John Deacon — serve up a number of exquisite vocal passages.
The group's tremendous singing is especially evident on a totally acapella section of The Prophet's Song and a lovely acoustic ballad entitled '39. Although the boys display a few excessive tendencies in this area (there are a couple of spots on the record where I find myself echoing the group's plea of "Ooh, give me a good guitar" from its Sheer Heart Attack set), there's no denying that Queen definitely has set its sights on becoming a lot more than just another flashy, English, hard-rock band.
The album also reflects the group's continuing fascination with whimsical 1920's and '30's influenced tunes like the catchy Seaside Rendezvous. Although A Night At The Opera lacks some of the initial impact of the group's earlier work, it more than compensates for that with a more well-rounded, consistently listenable set which should definitely serve to broaden the group's appeal.
Combined with the group's exceptional songwriting abilities (save for a brief rendition of God Save The Queen which closes out side two, all 11 tracks are group originals) which blend clever, often poignant lyrics with attractively-arranged melodies, Queen has an enviable arsenal of musical weapons at its disposal.
After conquering ils native England (A Night At The Opera shot to the No. 1 slot on the British album charts within weeks of its release, and all three of the group's previous efforts currently occupy positions in the Top 50), Queen appears ready to make its mark in North America, The group's potential is practically limitless, indicating that Queen is destined to finally take its place among the small handful of truly major acts working in rock today.
Additional Reviews
Sleeves
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