pretazzo

I've always had a soft spot for this album. I've always considered it one of the best by the band. It’s one of the few records that I've always found "perfect": 10 beautiful songs in 35 engaging minutes of music. It’s also one of those albums that marks the transition from one era to another, because while the sound is still very guitar-oriented, the use of synths is minimal, and Crazy Little Thing Called Love is pure revival, it’s also true that tracks like Dragon Attack and Another One Bites the Dust, built on funky bass lines, already belong to the 80s. It's impossible to rank the best songs; they are all stunning. Finally, it’s the best-produced album of their entire career.

I also own the entire discography of Queen. Can you believe that when I was in my junior year of high school, I only listened to them! Now it's been ages since I last listened to them, but they still hold a special place in my heart. The best for me is still A Night at the Opera, but the most original, the most outrageous, the most imaginative remains the second one, in my opinion. Now I'm taking a nice tour on Debaser to comment on the (many) reviews about the Queen! ;-)

Yes, but how do you explain the fact that his style is recognizable in all his entries? And anyway, the entries made by collaborators are indicated (usually they are the ones for Italian groups). My idea is that he may have polished off the entire discography of many groups in one morning, only to write a hasty and approximate entry in the afternoon (just to say…). As for Nunziata being Scaruffi's "pupil," it’s probably just the usual joke… :-D

NOOOOOOOOOOOOOOOO!!! Festwka, do you really not like the second album by Queen??!! It's one of my favorites, definitely the most creative record of the entire Queen career... Fairy Feller is amazing, but the best is The March of the Black Queen!

Discontinuous. Half hit and half fillers. Obscenely 80s production. The best: Hard Life. The gem: Keep Passing. The synth-hits: Radio and Break Free. The duds: Prowl and Machines. The obligatory hard-rock tracks: Tear it Up and Hammer to Fall. The acoustic ballad: Is this... Heterogeneous as always, maybe even too much.

With affection, I give a nice one to the most useless album in the history of rock. The movie is unwatchable (just to say that one of the characters is "Dr. Zarro").

One of the best albums by Queen. Mature and balanced, it features the first composition by the legendary John Deacon, my teenage idol: Misfire, a sunny electro-acoustic pop-rock track. Then there's Taylor's bluesy Tenement Funster, the magical Lily of the Valley (80 seconds of poetry and intense lyricism, a link to the previous album), the jaw-dropping Stone Cold Crazy (ahead of its time by about a decade in the hard 'n' heavy scene, for its power, speed, and executive skill), the captivating In the Lap of the Gods... revisited (arena rock three years before We Are the Champions), the venomous Flick of the Wrist (a rehearsal for the masterpiece Death on Two Legs, from ANATO), the grand guignolesque Lap of the Gods, the wild Bring Back (one of their peaks), the exhilarating Brighton Rock (where May proves to be one of the most creative guitarists ever, with a three-minute solo as intense as few others, perhaps rivaling Blackmore's in Child in Time). Killer Queen then speaks for itself, an exemplary piece of the Queen style. Urgent instead is She Makes Me. Bland is Dear Friends. What’s missing? Oh, Now I'm Here, weak on the album, devastating live.

Ribasisco: Magic Oil, years ago, was the Italian David Bowie! The review is really too long! Cool, you're wordy!!! A bit of conciseness, for God's sake...

Damn Aniel, if you give 5 to the first Queen album, what do you give to "A Night at the Opera"????!!!! 182?! :-D

Discreet debut for the Queen. Dirty sound, poor production, but some interesting compositional ideas. Strong debts to Led Zeppelin and Genesis, for a band caught between the various musical currents of the time (hard-rock, prog, glam, the last remnants of psychedelia), waiting to coin a tasty and eccentric baroque form of pop/rock music. The most original tracks are those signed by Mercury: the epic ride "Great King Rat"; the evanescent "My Fairy King" and the intricate "Liar" (the masterpiece of the album). But the rest of the band was already elbowing for attention: Taylor sharpens his claws in "Modern Tomes RNR", while May showcases his intricate guitar overdubbing technique in the opener "Keep Yourself Alive."