A Night At The Opera [10/8] (Vinyl) ~ Queen (Artist) Cover Art

A Night At The Opera [10/8] (Vinyl)

By: Queen (Artist)

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Product Description

Track Listing

DISC 1 for A Night At The Opera [10/8] (Vinyl) Album By Queen (Artist)
1   Death on Two Legs (Dedicated to...)  
2   Lazing on a Sunday Afternoon  
3   I'm in Love With My Car  
4   You're My Best Friend  
5   '39  
6   Sweet Lady  
7   Seaside Rendezvous  
8   Prophet's Song, The  
9   Love of My Life  
10   Good Company  
11   Bohemian Rhapsody  
12   God Save the Queen  
 

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Review

Q (p.129) - Ranked #2 in Q Magazine's "10 Essential Reissues Of 2006."
Q (6/00, p.72) - Ranked #41 in Q's "100 Greatest British Albums"
Q (12/93, p.143) - 3 Stars - Good - "...Even 'Bohemian Rhapsody' pales into significance next to the epic eight-minute toss of 'The Prophet Song'..."
Uncut (p.85) - 3 stars out of 5 -- "[L]istening again to A NIGHT AT THE OPERA is a reminder of the extent of the band's barmy diversity."
Q (Magazine) (p.118) - "It's a record to which all four contributed fine songs, and one of extremes -- among the crashing rock and proggy wigouts were love songs, acoustic whimsy, a trad-jazz pastiche and a brace of vaudeville show tunes."
Mojo (Publisher) (7/02, p.27) - "...An imperial extravaganza, a cornucopia; a band of hungrily competitive individualists on a big roll of friendship and delight..."

Title Note

Queen: Freddie Mercury (vocals, piano); Brian May (guitar, harp, ukulele, background vocals); John Deacon (electric piano, acoustic & electric basses); Roger Taylor (percussion, background vocals).

Recorded at Sarm Studios, Roundhouse Studios, Olympic Studios, Scorpio Studios, Landsdowne Studios, London, England and Rockfield Studios, Wales.

Queen: Freddie Mercury (vocals, piano); Roger Taylor (vocals, drums, percussion, background vocals); Brian May (guitar, background vocals); John Deacon (keyboards, bass guitar).

Though they began their career practicing an artier, more theatrical variant on Led Zeppelin's heavy rock sound, Queen was always capable of much more. Ultimately, Freddie and the boys were popsters at heart, and capable ones to boot. A NIGHT AT THE OPERA is where they begin to show their eclecticism and compositional facility. The album title is probably a reference to the FM rock anthem "Bohemian Rhapsody," which begins as an existential ballad before moving into a mock-operatic section featuring scores of overdubbed Freddie Mercurys.

"Rhapsody" is just the tip of the iceberg here. "Lazing on a Sunday Afternoon" is a music-hall ditty that owes a debt to the Kinks. "'39" is a surprisingly poignant folk-rocker written and sung by Brian May. "You're My Best Friend" is pure '70s AM melodic pop. Queen even ventures into vaudeville territory (given Mercury's show-biz leanings, not as much of a stretch as one might think) on the fatalistic, old-timey "Good Company." There are several souped-up rockers here as well, but it's A NIGHT AT THE OPERA's winning stylistic experimentation that makes it a milestone in Queen history.

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