Happy Japanese Queen Day! Following on from the wonderful variety of tracks on Side 1 that I reviewed previously, Side 2 of A Day At The Races continues to entertain with a mixture of offerings. It starts off with one of Queen’s most enduring and hugely popular hits, before taking us on a journey that ends up in Japan at the end of the album, which has important relevance to today, as explained for that particular track. So there’s plenty to cover as usual, and I hope you enjoy this latest set of reviews!
Congratulations. If you’re in the UK like me, you’ve made it through a whole year since we first went into lockdown. And for some of you it may be longer depending on where you live. It’s been tough for all of us, including optimistic folk like me. But we can all be proud of making it this far, especially thanks to all our families and friends, health and care staff, key workers, volunteers, scientists, etc, who have done so much for us in that time.
And as the days get brighter, so does the light at the end of the runnel, albeit with some flickering that means we still have to cautiously tread the path ahead. Many countries are still struggling with infections and vaccine rollouts for instance. But here in England at least, schools reopened on March 8th and outdoor meetups and sports were permitted from March 29th, as part of the roadmap for lifting lockdown. Other parts of the UK have been easing restrictions in similar ways at slightly different times. We’re by no means out of the woods yet and have to continue to be very careful indeed, but they’ve been very positive steps in the right direction.
The vaccines are helping significantly too, with over 30 million adults having received at least 1 jab, over 4 million of whom have had both, and my mother and I are patiently waiting to be invited for our second doses. There are a few ill-informed myths about the vaccines and false claims about lockdowns that are misleading some people of course, but the overwhelming majority understand why and how it’s important to protect themselves and others, and they trust the experts that the vaccines are safe.
Of course, being in lockdown means I still haven’t done an awful lot. I have been getting out for more walks recently though, now that the weather’s improving, so I’m very glad about that. And I’ve been enjoying plenty of comedy and music as usual, which is what most of this post and video will be about. Nothing is sponsored or gifted as per usual, and I hope you enjoy!
Hello again, hope you’re all continuing to keep safe and healthy. Welcome to another of my regular recaps, for a month that marks 5 years since I started blogging! Quite how I’ve managed to sustain a blog for that length of time, attracting and retaining a considerable number of regular followers along the way, I don’t know. But it’s led to so many exciting opportunities and enabled me to meet so many wonderful people already, and who knows what the next 5 years will bring? So many thanks to everyone who has followed, liked, shared, commented, etc, it means a lot and persuades me to keep doing it! 🙂
February was relatively quiet compared to the madness of the months preceding it, so this is going to be a relatively short post and video. But there are still various bits and bobs to mention, including some great vaccine news, and the entertainment I’ve been enjoying. And nothing here is sponsored or gifted as usual (apart from the audiobook I mention, which was a Christmas gift from my friend Claire). So I hope you enjoy!
Happy 50th Anniversary to Queen! Although they first performed under that name on 18 July 1970, it wasn’t until John Deacon joined on 1 March 1971 that the group had its final, official line-up, so the latter date is more appropriate. And as they’re my favourite band of all time, I started doing a special Queen At 50 series last year, reviewing each of their albums and songs in obsessive depth and excessive detail. So, if you haven’t already, do check out my first post about their debut album for a longer explanation of why I’m so into them.
For this post I’m moving on to their 5th album. The musical majesty and stellar success of A Night At The Opera was always going to be a tough act to follow, and impossible to beat. But Queen were up for the challenge, and set about making A Day At The Races between July and November 1976. They produced it entirely by themselves for the first time, now that they had sufficient experience and were keen to give it a go, instead of employing Roy Thomas Baker like they had before. They continued to use engineer Mike Stone though.
The album was designed to be a companion piece to its predecessor with a similar variety of music. So it was again named after a Marx Brothers film, and Groucho Marx sent a note to congratulate them on their success and their “sage choice of album titles”. It also had a similar cover design to the previous album, with the colourful Queen crest on the front, but everything was on a black background instead of white this time. Brian later expressed a wish that both Opera and Races had been released together, as “the material for both of them was written at the same time, so I regard the two albums as completely parallel.”
The band are also credited in fun ways in the sleeve notes – in addition to the usual mentions of vocals, piano, guitar, etc, Freddie is the “Choir Meister” and contributes “tantrums”, Brian is the “Leader of the Orchestra”, and Roger provides “Pandemonium”. John is merely credited as playing Fender Bass and doesn’t get anything extra, which is reflective of his nature as the quiet one in the group.
Happy New Year! Well, as happy as it can be in the circumstances. Let’s face it, 2020 is the year that nobody wants to look back at. Referring to perfect vision as 20/20 will forever carry a certain irony with it now. And if you were to try and sum up the year with a word or phrase, there isn’t much that’s family-friendly that truly does it justice – other than dumpster fire perhaps, which I’ve seen a lot of people use very accurately.
But I did manage to find plenty to keep me occupied, as you can see from my many Favourites posts during the year. The major highlights for me were definitely being interviewed on the BBC’s In Touch programme, taking part in the CXcon Accessibility Panel Discussion, and being able to see at least a couple of my friends after such a long period apart. I also started publishing my old journal posts to fill the gap left by my lack of activity, which have had a surprising amount of interest, and my very in-depth reviews of Queen’s albums for their 50th anniversary. Both of those projects will continue to keep me busy on my blog throughout 2021.
Granted, 2021 hasn’t started off any better, but that’s because we’re still experiencing the fallout from the damage caused by its unruly predecessor. 2021 has its work cut out trying to repair that, and it will undoubtedly require the assistance of 2022 and beyond to achieve it. However, 2021 is giving us a lot of reason to be hopeful, so there is definitely light at the end of this long, dark tunnel we’ve all been stuck in.
But I need to wrap up 2020 nevertheless. It was a strange and difficult Christmas without a doubt, not the sort any of us wanted, and it’s going to be a hard winter for many, especially now we’re in lockdown again. There’s a big ray of hope with the rollout of the vaccines though, so the future’s looking good, and many thanks to all the health workers who are doing their utmost to dish them out as quickly as possible.
My thoughts also go to everyone in America after the recent terror attack amid the fallout from Trump’s defeat. Biden’s inauguration on January 20th can’t come soon enough. Best wishes from across the pond, stay safe!
Those challenges aside, however, I hope you were able to find some enjoyment and comfort during the festive period, insofar as the rules allowed in your part of the world.
Mum and I are doing fine, I’m pleased to say. We’ve enjoyed lots of nice treats, and have had plenty of fun things to watch and listen to, all of which has been a welcome distraction from the news. I continued to have a few long walks around my local area during December as well, as that was the only way I could get out and about, so it was important to make the most of it. Mum’s had a bit of fresh air too of course, but doesn’t go on the long hikes like I do, and we’ve made sure she stays well away from other people apart from her sister (and even then they keep their distance at the front door, she hasn’t been in the house).
So we did pretty well this Christmas despite the limitations, and here’s my festive post and video to round things up. I’m not going to mention absolutely everything we filled our stomachs with, or every little bit of entertainment we watched or listened to. I’m just going mention my favourite things, as is the purpose of these posts. Nothing here is sponsored as usual, and any gifts are just from friends, not the people behind the products. So I hope you enjoy!
Back in September I spent a day walking around some of the Queen-related locations in Hammersmith & Kensington, following the Day 1 itinerary on the Queen Locations website. My intention was to find most of the locations listed on that website over a series of walks – i.e. those that still exist that I can get to reasonably easily. However, due to the weather and the toughening up of Covid restrictions, I haven’t yet had a safe chance to go hunting for any more.
So these are the locations I’ve found so far, including some key places where the band lived, recorded and performed. Check out Judit Castellà’s Queen Locations site, which inspired me to do this, for additional notes and photos, and also their Queen Online article about the site. Further notes and photos about these locations can be found on Queen Concerts, Mercury Paradise and the map on Shane’s Queen Site. I hope you enjoy walking in Queen’s footsteps with me!
As discussed in depth in my previous post, Queen’s Bohemian Rhapsody is an enduring classic that continues to increase in popularity 45 years on, as new generations of fans are introduced to it, most recently thanks to the movie of the same name and Queen’s tours with Adam Lambert. Freddie’s masterpiece, like his spirit and all of his music, will never die or be forgotten.
It is of no surprise, therefore, that it’s been covered in a myriad of styles by thousands of people, either tackling the full song or focusing on selected sections of it, despite the fact that it’s very brave of anyone to take on a song of such complexity that is so famous and well-loved.
In my previous reviews of Queen’s albums, I’ve always included cover versions as part of those posts. But such is the significance of Bo Rhap and the huge number of covers it’s had, coupled with the fact that it’s always nice to do some kind of special post at Christmas, that I’ve decided to give these interpretations of the track a space of their own.
Of course, it goes without saying that nobody can come close to Queen when reproducing any of their songs, especially this one. And there are plenty of covers out there that range from the decidedly average and uninspiring to the downright bizarre and awful. But there are also lots of beautifully arranged, excellently performed and cleverly interpreted versions too.
So in this post I wanted to share a long list of cover versions that I’ve found, divided into rough subsections to keep similar types together. I’ve compiled them into a big Youtube playlist as well (ending with a few minor covers of the album’s closing track, God Save The Queen).
Some are great in my view, some are not, and the rest are somewhere in between. But everyone’s opinions will differ. All I’ve tried to do is present a wide variety that I feel are of interest and worth exploring out of curiosity. It’s not every cover that exists by any means, but I feel it’s a very comprehensive and fair representation of what’s out there, listing most of the major versions and lots of hidden gems.
So buckle in for a long selection, and see which versions you like best!
This is the final instalment of my deep dive into Queen’s epic 1975 LP, following on from Part 1 and Part 2. There is also a bonus post about Bohemian Rhapsody cover versions, but this post explores the rest of the main material.
The album of course finishes in style, courtesy of their biggest hit of all time, followed by a patriotic instrumental at the end. So let’s get straight on with it, as there’s plenty to discuss. I hope you enjoy!
The first side of Queen’s hugely successful and perennially popular 1975 album, which I reviewed last week, is in itself quite a stunning collection of assorted treasures.
But those tracks were also paving the way for even more incredible delights on the flip side, for which there is a great deal to talk about. So much so, in fact, that I’ve had to split my reviews for the second side into 2 parts.
In this post, therefore, I’m going to take a close look at the next 3 tracks, then I’ll conclude the album in Part 3. The first track in this post is their longest song and one of their most complex, while the second is their most popular sing-along acoustic number that’s spawned a ton of live performances and covers, and the third is a delightful Dixieland tune. So I hope you enjoy!
This is the big one, the album that launched Queen into the stratosphere. The previous release, Sheer Heart Attack, was already a joyous collection of majestic variety that sounded like perfection to many, and its predecessor Queen II was also (and still is) held in very high regard. And yet the band still felt they were learning and developing, and they were keen to push things further still for their next album.
They were also having a fresh start, having moved to EMI Records and recruited new manager John Reid (who also managed Elton John), after ending their contract with Trident Studios under a dark cloud. Queen hadn’t been getting paid fairly for the success of their previous work, due to the contract they’d signed up to, and that contract was very expensive to get out of. So they were broke, which placed considerable pressure on them. It was now all or nothing. Their next release had to be a big success, otherwise that would be it, Queen would be no more.
But they were up for the challenge, and determined to show the world what they were capable of. They had also been told by their new manager to make the best album they’ve ever done, with complete freedom to do whatever they wanted. So they made the most of the opportunity.
They incorporated everything they’d learned and played around with up to that point (clear influences can be heard on their earlier albums, e.g. songs on Queen II like My Fairy King), and took full advantage of the studio technology available to them (using 7 studios altogether). They had carefully written lyrics and distinctive melodies (with all 4 band members writing at least one track each), a range of simple to complicated song structures, multi-tracked harmonies (now working with 24-track tapes instead of 16), a myriad of musical styles and instruments (using what felt best for each song rather than sticking to a particular genre), and big production values. It was the most expensive album ever made at the time. And they named the album after a Marx Brothers film, even becoming good friends with Groucho Marx as a result.
Their incredible efforts gave us their first and most successful number 1 single, plus the first chart hit to be written by their bass player, and many other beautiful songs. It held the number 1 spot on 4 of its first 7 weeks in the chart (held off on the other 3 occasions by Perry Como’s 40 Greatest Hits, a very different record entirely!). It stayed in the top 40 for 34 weeks (including 12 weeks in the top 10 & 16 in the top 20), and as recently as last year it was still poking its head into the lower end of the Top 100 every so often, which it will continue to do now and again in the future, each time a new generation is introduced to the band in some way. Inevitably the most famous track on this album is the one that regularly draws people to it time and time again.