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	'''Rolling Stone Issue 163'''		'''Rolling Stone Issue 163'''

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Revision as of 18:16, 16 April 2007

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

• Produced by: Queen and Roy Thomas Baker. Nevermore and Funny How Love Is produced by Queen and Robin Geoffrey Cable. The March Of The Black Queen produced by Queen, Roy Thomas Baker, and Robin Geoffrey Cable.

• Recorded: August 1973 at Trident Studios, London.

Charts

• #5 (UK), #49 (US).

Liner notes

• Notes

Additional info

• Info

Reviews

|valign="top"|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

• Winnipeg Free Press