A collection of top songs featuring Queen.
Following the disappointing commercial performance of the dance-oriented Hot Space in 1982, Queen took 1983 off to get refocused and work on a follow-up that would put the band back on track. While the songwriting had definitely improved on the resulting The Works in 1984, the album sonically lacked the punch of such earlier releases as News of the World and The Game (strangely, Hot Space even had a better overall sound). Although the album only peaked at number 23 on the U.S. album charts, it was a Top Ten hit in just about every other area of the world, producing the huge single "Radio Ga Ga." Three other tracks were hits in Queen's native England -- the uplifting "I Want to Break Free," the love song "It's a Hard Life," and the politically conscious rocker "Hammer to Fall," which dealt with the danger of nuclear weapons. Other highlights included the '50s-sounding "Man on the Prowl," the electronic experiment "Machines," the thunderous "Tear It Up," and a touching acoustic ballad, "Is This the World We Created...?" Perhaps with a more straight-ahead production (and a U.S. tour), The Works would have landed Queen back on the top of the charts stateside. ~ Greg Prato, Rovi
Following their massive 1986 European stadium tour for the A Kind of Magic album, Queen took an extended break. Rumors swirled about an impending breakup, but it turned out the break was brought on by a painful marital divorce for guitarist Brian May (who subsequently battled depression and contemplated suicide), and Freddie Mercury being diagnosed with AIDS. Instead of sinking further into misery, the band regrouped, worked on each other's mental state, and recorded one of their most inspired albums, 1989's The Miracle. Lyrically, the songs tend to reflect on the band's past accomplishments ("Khashoggi's Ship," "Was It All Worth It") as well as the state of the world in the late '80s (the title track, "I Want It All"). Produced by the band and David Richards, The Miracle packs quite a sonic punch, recalling the rich sounds of their past classics (1976's A Day at the Races, etc.). Split 50/50 between pop ("Breakthru," "The Invisible Man," "Rain Must Fall") and heavy rock (the aforementioned "I Want It All," "Khashoggi's Ship," "Was It All Worth It"), the album was another global smash, even re-establishing the band stateside (going Top 30 and attaining gold status). Along with The Game, The Miracle is Queen's strongest album of the '80s. ~ Greg Prato, Rovi
By the release of 1986's A Kind of Magic, Queen's stature as a prominent rock band in the U.S. had slipped considerably, while in all other parts of the world (especially Europe), they remained superstar hitmakers. A Kind of Magic was their biggest album yet in England, where it reached number one, remained on the charts for 63 weeks, and spawned several hit singles -- the epic title track, the tuneful pop/rocker "Friends Will Be Friends," and one of their most haunting ballads, "Who Wants to Live Forever" (also included was the Live Aid-inspired hit anthem "One Vision," which was originally released as a single in 1985). Most of the songs were written for the movie Highlander -- "Gimme the Prize (Kurgan's Theme)," "Princes of the Universe," the aforementioned "Who Wants to Live Forever," etc. -- but instead of issuing just a movie soundtrack, the band added a few non-movie tracks and made an official Queen release out of it. It may not have been as cohesive as some of their other albums, but A Kind of Magic was their best work in some time. Queen would embark on a sold-out tour of outdoor stadiums in Europe upon the album's release, which would sadly turn out to be their final tour. ~ Greg Prato, Rovi
In every sense, A Day at the Races is an unapologetic sequel to A Night at the Opera, the 1975 breakthrough that established Queen as rock & roll royalty. The band never attempts to hide that the record is a sequel -- the two albums boast the same variation on the same cover art, the titles are both taken from old Marx Brothers films and serve as counterpoints to each other. But even though the two albums look the same, they don't quite sound the same, A Day at the Races is a bit tighter than its predecessor, yet tighter doesn't necessarily mean better for a band as extravagant as Queen. One of the great things about A Night at the Opera is that the lingering elements of early Queen -- the pastoral folk of "39," the metallic menace of "Death on Two Legs" -- dovetailed with an indulgence of camp and a truly, well, operatic scale. Here, the eccentricities are trimmed back somewhat -- they still bubble up on "The Millionaire Waltz," an example of the music hall pop that dominated Night, the pro-Native American saga "White Man" is undercut somewhat by the cowboys 'n' indians rhythms -- in favor of a driving, purposeful hard rock that still could have some slyly hidden perversities (or in the case of the opening "Tie Your Mother Down," some not-so-hidden perversity) but this is exquisitely detailed hard rock, dense with minutiae but never lush or fussy. In a sense, it could even function as the bridge between Sheer Heart Attack and Night at the Opera -- it's every bit as hard as the former and nearly as florid as the latter -- but its sleek, streamlined finish is the biggest indication that Queen has entered a new phase, where they're globe-conquering titans instead of underdogs on the make. ~ Stephen Thomas Erlewine, Rovi
Queen II was a breakthrough in terms of power and ambition, but Queen's third album Sheer Heart Attack was where the band started to gel. It followed quickly on the heels of the second record -- just by a matter of months; it was the second album they released in 1974 -- but it feels like it had a longer incubation period, so great is the progress here. Which isn't quite to say that Sheer Heart Attack is flawless -- it still has a tendency to meander, sometimes within a song itself, as when the killer opening "Brighton Rock" suddenly veers into long stretches of Brian May solo guitar -- but all these detours do not distract from the overall album, they're in many ways the key to the record itself: it's the sound of Queen stretching their wings as they learn how to soar to the clouds. There's a genuine excitement in hearing all the elements to Queen's sound fall into place here, as the music grows grander and catchier without sacrificing their brutal, hard attack. One of the great strengths of the album is how all four members find their voices as songwriters, penning hooks that are big, bold, and insistent and crafting them in songs that work as cohesive entities instead of flourishes of ideas. This is evident not just in "Killer Queen" -- the first, best flourishing of Freddie Mercury's vaudevillian camp -- but also on the pummeling "Stone Cold Crazy," a frenzied piece of jagged metal that's all the more exciting because it has a real melodic hook. Those hooks are threaded throughout the record, on both the ballads and the other rockers, but it isn't just that this is poppier, it's that they're able to execute their drama with flair and style. There are still references to mystical worlds ("Lily of the Valley," "In the Lap of Gods") but the fantasy does not overwhelm as it did on the first two records; the theatricality is now wielded on everyday affairs, which ironically makes them sound larger than life. And this sense of scale, combined with the heavy guitars, pop hooks, and theatrical style, marks the true unveiling of Queen, making Sheer Heart Attack as the moment where they truly came into their own. ~ Stephen Thomas Erlewine, Rovi
Like any patchy but promising debut from a classic rock group, it's often easy to underrate Queen's eponymous 1973 debut, since it has no more than one well-known anthem and plays more like a collection of ideas than a cohesive album. But what ideas! Almost every one of Queen's signatures are already present, from Freddie Mercury's operatic harmonies to Brian May's rich, orchestral guitar overdubs and the suite-like structures of "Great King Rat." That rich, florid feel could be characterized as glam, but even in these early days that appellation didn't quite fit Queen, since they were at once too heavy and arty to be glam and -- ironically enough, considering their legendary excess -- they were hardly trashy enough to be glam. But that only speaks to the originality of Queen: they may have traded in mystical sword 'n' sorcerers themes like so many '70s prog bands, and they may have hit as hard as Led Zeppelin (and Jimmy Page's guitar army certainly was a forefather to May's overdubs), but they didn't sound like anybody else, they were too odd in their theatricality to be mistaken for another band. That much was apparent on this debut, but one thing was crucially missing: songs that could coalesce their sound and present it in a memorable fashion. There is an exception to that rule -- the wild, rampaging opener "Keep Yourself Alive," one of their very best songs -- but too often the album plays like a succession of ideas instead of succinct songs, and the group's predilection for suites only highlights this, despite the occasional blast of fury like "Modern Times Rock & Roll." This can be quite appealing as sheer, visceral sound and, in that regard, Queen is kind of irresistible. It showcases the band in all their ornate splendor yet it's strangely lean and hard, revealing just how good the band was in their early days as a hard rock band. That might not quite make it an overlooked gem -- it remains patchy on a song for song basis -- but it sure makes for an interesting debut that provides a rough road map to their later work. ~ Stephen Thomas Erlewine, Rovi
Because Queen took the better part of 1981 off to work on the follow-up to their big 1980 hit The Game, fans were confident that the band's next release would follow in their winning tradition of classic albums. Unfortunately, this would not be the case. Unlike its predecessor, Hot Space was an inconsistent effort, marred by unfocused songwriting and material that was simply not as strong as their earlier work. Since they had just previously enjoyed a massive hit with the disco-fied "Another One Bites the Dust," Queen decided to dedicate the entire first side of the album to dance music, something that alienated their longtime rock fans. And while the single "Body Language" nearly cracked the U.S. Top Ten, the rest of the dance material was easily forgettable -- "Back Chat," "Staying Power," "Action This Day," and so on -- however, the album was not a total washout. The more rock-oriented second side did contain some great tracks, such as "Put Out the Fire," "Calling All Girls," "Las Palabras de Amor," and the David Bowie collaboration "Under Pressure." But it was not enough to save Hot Space from a cruel critical and commercial fate, as its ensuing world tour marked the last time Queen would perform in the U.S. ~ Greg Prato, Rovi
Classic Queen was released as a companion to Queen's other 1992 home video, Greatest Hits. Whereas Greatest Hits contained clips for all of their best known U.S. hits, Classic Queen assembled all of the band's overlooked tracks that were big hits in other countries. While some of the songs/videos will be familiar to many (the Wayne's World version of "Bohemian Rhapsody," "Under Pressure," "Radio Ga Ga," etc.), most are latter day vids that were rarely seen in the states -- "Hammer to Fall," "The Miracle," "A Kind of Magic," and others. Also included are a couple of classic tracks whose videos were especially assembled for this compilation: "Stone Cold Crazy" and "Keep Yourself Alive." While some of the videos are rather bland and pointless ("One Year of Love"), most are striking and memorable ("Who Wants to Live Forever," "I'm Going Slightly Mad," "These Are the Days of Our Lives"). And fans of Queen's harder rocking material will definitely be pleased with the clips for "One Vision," "Headlong," "I Want It All," and "Tie Your Mother Down." ~ Greg Prato, Rovi
In one regard, Queen II does indeed provide more of the same thing as on the band's debut. Certainly, of all the other albums in Queen's catalog it bears the closest resemblance to its immediate predecessor, particularly in its lean, hard attack and in how it has only one song that is well-known to listeners outside of their hardcore cult: in this case, it's "Seven Seas of Rhye," which is itself more elliptical than "Keep Yourself Alive," the big song from the debut. But these similarities are superficial and Queen II is a very different beast than its predecessor, an album that is richer, darker, and weirder, an album that finds Queen growing as a band by leaps and bounds. There is still a surplus of ideas, but their energies are better focused this time around, channeled into a over-inflated, pompous rock that could be called prog if it wasn't so heavy. Even with all the queens and ogres that populate Queen II, this never feels as fantastical as Genesis or Uriah Heep, and that's because Queen hits hard as a rock band here, where even the blasts of vocal harmonies feel like power chords, no matter how florid they are. Besides, these grandiose harmonies, along with the handful of wistful ballads here, are overshadowed by the onslaught of guitars and pummeling rhythms that give Queen II majesty and menace. 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. The one thing that is missing is any semblance of a pop sensibility, even when they flirt with a mock Phil Spector production on "Funny How Love Is." This hits like heavy metal but has an art-rock sensibility through and through, which also means that it has no true hook in for those who don't want to succumb to Queen's world. But that kind of insular drama is quite alluring in its own right, which is why Queen II is one of the favorites of their hardcore fans. At the very least, it illustrates that Queen is starting to pull all their ambitions and influences into a signature sound, and it's quite powerful in that regard. ~ Stephen Thomas Erlewine, Rovi
During the 1980s, Queen ceased to be a big record seller in the U.S., but maintained its superstar status at home. In the '90s, following the death of Freddie Mercury, there was a brief resurgence of interest in America triggered by the inclusion of "Bohemian Rhapsody" in the movie Wayne's World. But in 1995, when the surviving members got around to releasing the final recordings done with Mercury in the form of Made in Heaven, the status quo had returned. The album topped the charts in Western Europe, with its single, "Heaven for Everyone," reaching the Top Ten, while in the U.S. it was on and off the charts within weeks. Musically, Made in Heaven harked back to Queen's 1970s heyday with its strong melodies and hard rock guitar playing, topped by Mercury's bravura singing and some of the massed choir effects familiar from "Bohemian Rhapsody." Even if one did not know that these songs were sung in the shadow of death, that subject would be obvious. The lyrics were imbued with life-and-death issues, from the titles -- "Let Me Live," "My Life Has Been Saved," and "Too Much Love Will Kill You" -- to lines like "It's hopeless -- so hopeless to even try" ("It's a Beautiful Day"), "Waiting for possibilities/Don't see too many around" ("Made in Heaven"), and "I long for peace before I die" ("Mother Love"). The odd thing about this was that Mercury's over-the-top singing had always contained a hint of camp humor, and it continued to here, even when the sentiments clearly were as heartfelt as they were theatrically overstated. Maybe Mercury was determined to go out the same way he had come in, as a diva. If so, he succeeded. ~ William Ruhlmann, Rovi
Not so much a traditional greatest-hits album, Queen's Greatest Hits III is a collection of rarities, remixes, and album tracks. There's only one actual chart hit in these 17 cuts, the version of "Somebody to Love" recorded at the Freddie Mercury tribute concert with George Michael on lead vocals. Other songs with guest singers include Elton John's take on "The Show Must Go On" and an interesting remix of "Another One Bites the Dust," with guest raps by Wyclef Jean. Besides that, there are three solo tracks by Mercury and one by Brian May, plus about a third of the final Queen album, Made in Heaven. Highlights include Queen's final recording, the tribute "No One But You (Only the Good Die Young)," recorded for a charity single in the wake of Princess Diana's death. ~ Charity Stafford, Rovi
Queen's The Platinum Collection places the group's three previously released Greatest Hits albums into one box set -- colored platinum, of course. Although this doesn't serve much use for fans who already have all three collections -- or all of the albums, for that matter -- it is useful for listeners who want to get all three discs in one fell swoop, and it's not a bad item for collectors to pick up (the kind of collectors who collect items and product, not the ones who just need the music). ~ Stephen Thomas Erlewine, Rovi
The posthumously released two-disc Live at Wembley '86 proves once and for all that Queen was a superior live band, and like the Beatles, the Rolling Stones, and others, had far too many hits to fit into a two-hour show. Recorded in the band's native England at the gigantic Wembley Stadium on the A Kind of Magic tour, the group was at their peak of popularity back home. This would unfortunately turn out to be the band's last tour, and it showed the group including old rock & roll covers, classics, then-current songs, improv, and overlooked album tracks. Queen opens up the show with the near-heavy-metal roar of "One Vision," and adds lively renditions of the well-known "Tie Your Mother Down," the David Bowie collaboration "Under Pressure," and the band's very first hit, "Seven Seas of Rhye." Also included on disc one is the early, forgotten show-closer "In the Lap of the Gods," the beautiful (and sadly prophetic) ballad "Who Wants to Live Forever," and a downright funky version of "Another One Bites the Dust." Disc two opens with a pair of acoustic numbers, including the perennial crowd fave "Love of My Life," but soon switches gears to some good old rock & roll covers. Spirited and fun versions of "You're So Square (Baby I Don't Care)" and "Tutti Frutti" expose Queen's roots, while the band's own "Crazy Little Thing Called Love" fits in perfectly with all the '50s hoopla. Casual fans will recognize "Bohemian Rhapsody," "Radio Ga Ga," and "We Will Rock You/We Are the Champions." Although most Queen fans prefer the unfairly criticized 1979 concert album Live Killers, Live at Wembley '86 does a good job of balancing the well-known for the uninitiated and the lesser-known for the hard-core fan. Live at Wembley '86 should not to be confused with the double album/single-disc Live Magic, which was released in 1986 in England and 1996 in the U.S. [The album was also released with four bonus tracks.] ~ Greg Prato, Rovi
In the wake of Freddie Mercury's death in 1991, countless Queen compilations have appeared, most of which contain pretty much the same expected hits (or with very slight variations). However, the 19-track Grand Collection is one of the few Queen collections that balances renowned classics with strong album tracks. If you're looking for a hefty portion of early Queen, you're out of luck here, as only six tracks from the group's '70s output are included (heck, there's not even a single bloody tune from anything pre-Night at the Opera). Still, Grand Collection does a pretty impressive job of representing all the various styles that Queen perfected so well -- ballads ("Who Wants to Live Forever," "Jealousy"), quirky synth dance ("Invisible Man"), arena anthems ("We Will Rock You," "Radio Gaga"), new wave ("Under Pressure," "Rock It (Prime Jive)"), pop ("I Want to Break Free"), and tracks that include a bit of everything ("Bohemian Rhapsody," "Mustapha"). Again, if it's a straight best-of Queen that you're after, either Greatest Hits or Classic Queen will do. But, if you're looking to dig a bit deeper than just the radio standards, Grand Collection won't let you down. ~ Greg Prato, Rovi
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