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Authors: Georg Purvis
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some of the vocals at Trident, thus justifying its appearance as a truly rough mix as part of the bonus disc.
“ Queen sold really well over a longish period and coincided with our breaking ground, concert-wise,” Brian said in 1977. “So we really had matured as a group and had our audience before the press caught on to us. I think that actually gave us a better start because we were better prepared.” The album finally entered the UK charts on 30 March 1974, mere days before their second album was released, but would peak at only No. 32 during its initial five-week run. It re-entered in January 1975, shortly after the success of Sheer Heart Attack and ‘Killer Queen’, this time reaching No. 49, but its second re-entry the following January would bring it to its top position of No. 24, assisted by ‘Bohemian Rhapsody’.
In the US, the album had a much more turbulent run, landing in the charts at No. 195 before finally peaking at No. 83 in its fourteenth week; considering that the band wouldn’t tour America until April 1974, its chart placement was a surprise. The success of the album, though, was not the band’s primary concern.In addition to touring endlessly in the autumn of 1973, Queen also recorded their second album; the song ideas were flowing in quick succession.
“From the beginning the group has kept its original concept,” Brian explained to Melody Maker shortly after the release of Queen . “This album is a way of getting all our frustrations out of our system which we have built up over the years. We were into glam rock before groups like The Sweet and [David] Bowie and we’re worried now, because we might have come too late.” If they were concerned they couldn’t out-glam the original glam rockers, they didn’t let it show on their next release.
QUEEN II
EMI EMA 767, March 1974 [5]
Elektra EKS 75082, April 1974 [49]
EMI CDP 7 46205 2, December 1986
Hollywood HR-61232-2, November 1991
Parlophone CDPCSD 140, 1994
Island Remasters 276 425 0, March 2011 [92]
‘Procession’ (1’13), ‘Father To Son’ (6’14), ‘White Queen (As It Began)’ (4’35), ‘Some Day, One Day’ (4’22), ‘The Loser In The End’ (4’02), ‘Ogre Battle’ (4’07), ‘The Fairy Feller’s Master-Stroke’ (2’41), ‘Nevermore’ (1’18), ‘The March Of The Black Queen’ (6’33), ‘Funny How Love Is’ (2’50), ‘Seven Seas Of Rhye’ (2’49)
Bonus tracks on 1991 Hollywood Records reissue : ‘See What A Fool I’ve Been’ (4’32), ‘Ogre Battle’ ( remix by Nicholas Sansano ) (3’29), ‘Seven Seas Of Rhye’ ( remix by Freddy Bastone ) (6’32)
Bonus tracks on 2011 Universal Records deluxe reissue : ‘See What A Fool I’ve Been’ ( BBC version, July 1973 – 2011 remix ) (4’22), ‘White Queen (As It Began)’ ( live version, Hammersmith Odeon, December 1975 ) (5’34), ‘Seven Seas Of Rhye’ ( instrumental mix ) (3’10), ‘Nevermore’ ( BBC version, April 1974 ) (1’29), ‘See What A Fool I’ve Been’ (4’31)
Bonus videos, 2011 iTunes-only editions : ‘White Queen (As It Began)’ ( live version, Rainbow Theatre, November 1974 ), ‘Seven Seas Of Rhye’ ( live version, Wembley Stadium, July 1986 ), ‘Ogre Battle’ ( live version, Hammersmith Odeon, December 1975 )
Musicians : John Deacon ( bass guitar, acoustic guitar on ‘Father To Son’ ), Brian May ( guitars, piano on ‘Father To Son’, vocals, lead vocals on ‘Some Day, One Day’, tubular bells on ‘The March Of The Black Queen’ ), Freddie Mercury ( vocals, piano, harpsichord on ‘The Fairy Feller’s Master-Stroke’ ), Roger Taylor ( drums, percussion, vocals, lead vocals and marimba on ‘The Loser In The End’ ), Roy Thomas Baker ( virtuoso castanets on ‘The March Of The Black Queen’ )
Recorded : August 1973 at Trident Studios, London
Producers : Queen and Robin Geoffrey Cable ( ‘Nevermore’ and ‘Funny How Love Is’ ), Queen, Robin Geoffrey Cable, and Roy Thomas Baker ( ‘The
“ Queen sold really well over a longish period and coincided with our breaking ground, concert-wise,” Brian said in 1977. “So we really had matured as a group and had our audience before the press caught on to us. I think that actually gave us a better start because we were better prepared.” The album finally entered the UK charts on 30 March 1974, mere days before their second album was released, but would peak at only No. 32 during its initial five-week run. It re-entered in January 1975, shortly after the success of Sheer Heart Attack and ‘Killer Queen’, this time reaching No. 49, but its second re-entry the following January would bring it to its top position of No. 24, assisted by ‘Bohemian Rhapsody’.
In the US, the album had a much more turbulent run, landing in the charts at No. 195 before finally peaking at No. 83 in its fourteenth week; considering that the band wouldn’t tour America until April 1974, its chart placement was a surprise. The success of the album, though, was not the band’s primary concern.In addition to touring endlessly in the autumn of 1973, Queen also recorded their second album; the song ideas were flowing in quick succession.
“From the beginning the group has kept its original concept,” Brian explained to Melody Maker shortly after the release of Queen . “This album is a way of getting all our frustrations out of our system which we have built up over the years. We were into glam rock before groups like The Sweet and [David] Bowie and we’re worried now, because we might have come too late.” If they were concerned they couldn’t out-glam the original glam rockers, they didn’t let it show on their next release.
QUEEN II
EMI EMA 767, March 1974 [5]
Elektra EKS 75082, April 1974 [49]
EMI CDP 7 46205 2, December 1986
Hollywood HR-61232-2, November 1991
Parlophone CDPCSD 140, 1994
Island Remasters 276 425 0, March 2011 [92]
‘Procession’ (1’13), ‘Father To Son’ (6’14), ‘White Queen (As It Began)’ (4’35), ‘Some Day, One Day’ (4’22), ‘The Loser In The End’ (4’02), ‘Ogre Battle’ (4’07), ‘The Fairy Feller’s Master-Stroke’ (2’41), ‘Nevermore’ (1’18), ‘The March Of The Black Queen’ (6’33), ‘Funny How Love Is’ (2’50), ‘Seven Seas Of Rhye’ (2’49)
Bonus tracks on 1991 Hollywood Records reissue : ‘See What A Fool I’ve Been’ (4’32), ‘Ogre Battle’ ( remix by Nicholas Sansano ) (3’29), ‘Seven Seas Of Rhye’ ( remix by Freddy Bastone ) (6’32)
Bonus tracks on 2011 Universal Records deluxe reissue : ‘See What A Fool I’ve Been’ ( BBC version, July 1973 – 2011 remix ) (4’22), ‘White Queen (As It Began)’ ( live version, Hammersmith Odeon, December 1975 ) (5’34), ‘Seven Seas Of Rhye’ ( instrumental mix ) (3’10), ‘Nevermore’ ( BBC version, April 1974 ) (1’29), ‘See What A Fool I’ve Been’ (4’31)
Bonus videos, 2011 iTunes-only editions : ‘White Queen (As It Began)’ ( live version, Rainbow Theatre, November 1974 ), ‘Seven Seas Of Rhye’ ( live version, Wembley Stadium, July 1986 ), ‘Ogre Battle’ ( live version, Hammersmith Odeon, December 1975 )
Musicians : John Deacon ( bass guitar, acoustic guitar on ‘Father To Son’ ), Brian May ( guitars, piano on ‘Father To Son’, vocals, lead vocals on ‘Some Day, One Day’, tubular bells on ‘The March Of The Black Queen’ ), Freddie Mercury ( vocals, piano, harpsichord on ‘The Fairy Feller’s Master-Stroke’ ), Roger Taylor ( drums, percussion, vocals, lead vocals and marimba on ‘The Loser In The End’ ), Roy Thomas Baker ( virtuoso castanets on ‘The March Of The Black Queen’ )
Recorded : August 1973 at Trident Studios, London
Producers : Queen and Robin Geoffrey Cable ( ‘Nevermore’ and ‘Funny How Love Is’ ), Queen, Robin Geoffrey Cable, and Roy Thomas Baker ( ‘The
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