The Cavern
Rock & Words
SHEER HEART ATTACK (Queen, 1974)
Artist: Queen (C+)
Recording Dates: Jul – Sep ‘74
Release Date: November 1st, 1974. UK
Record Label: EMI / Elektra
Producer: Roy Thomas Baker y Queen
Rating: 9
Era: The Great Transition (1970-1980+)
Subgenre: Art Rock
Best Song: Killer Queen or Now I’m here
Tracklist: 1) Brighton Rock; 2) Killer Queen; 3) Tenement Funster; 4) Flick Of The Wrist; 5) Lily Of The Valley; 6) Now I'm Here; 7) In The Lap Of The Gods; 8) Stone Cold Crazy; 9) Dear Friends; 10) Misfire; 11) Bring Back That Leroy Brown; 12) She Makes Me; 13) In The Lap Of The Gods...Revisited.
This is where Queen's astonishing transformation begins. Of course, they're not yet at their peak, but they're close, without going to extremes. A greater balance and maturity compared to their previous two albums is readily apparent. I have absolutely nothing against the almost metal power of Queen I, nor the tremendous, almost progressive pretension of II, surpassed by the operatic pretension of the masterful Night at the Opera. But here there's greater sanity and balance in that mix of power, art rock, ballads, opera, jazz, music hall, and fabulous pop hooks. All with a certain more theatrical, more Broadway-esque tendency , so to speak, which will culminate with the next two albums. In fact, it's possibly the band's most balanced album, and it encompasses so many genres that many call it Queen's "White Album ," and not without some justification.
The point is that on Sheer Heart Attack , the band showcases most of its strengths and minimal weaknesses. There are no synthesizers yet, they haven't fully embraced pop , but there are already well-crafted glimpses of it. Brian May is at his peak, delivering guitar work that still gives many guitarists headaches. There's hard rock and power , but it's not excessive or tiresome like on the earlier albums. The vocal harmonies are already incredibly complex and exquisite, Mercury reaches his vocal peak, there are two or three classics… In short. Perhaps the only flaw is that there's still some filler, which isn't too offensive, but it keeps the album from being perfect. Otherwise, it's a huge step forward for the band. And it's worth noting that they reach the level and style we know them for, at least up until The Game . While the first two albums still sound somewhat strange, this is the Queen that everyone loves and recognizes. What's more, even Roger Taylor sounds decent singing!
By '74 Queen was already gaining considerable fame in their native United Kingdom and in Japan, especially thanks to "Keep Yourself Alive" and "Seven Seas of Rhye". The United States, as usual, continued to triumphantly ignore them, unaware that it would soon surrender to Queen's Arena Rock, which would become a true juggernaut after this album. Truly, after this album, Queen would fully define their style, perfect those songs created specifically to sing along with the crowds, and mesmerize the world with their best tracks and with Mercury's enormous, immense personality as a frontman in charge of entire stadiums.
When the band began recording sessions in mid-1974, Brian May was bedridden with hepatitis. The band didn't stop, and they already had several songs recorded when May rejoined. On some tracks, his contribution wasn't even necessary ("Dear Friends"), but on others, his guitar work is so seamless that it's completely undetectable. The album quickly achieved success in Europe, propelling Queen out of the underground scene they had been operating in. "Killer Queen" became the first single, reaching a more than respectable #12 in the US and #2 in the UK, which boosted album sales. While it lacks the obsessive perfection of "A Night at the Opera" or "A Day at the Races ," it comes close. In my opinion, it was the album that paved the way for the world to appreciate those two gems, and particularly " Bohemian Rhapsody," the following year.
The album opens with “Brighton Rock”, a tremendous song that gives us that carnivalesque or circus-like introduction, setting the stage for the album's more artificial atmosphere. Freddie sings in a falsetto that, frankly, doesn't convince me, with a soft, overly fast, and rather forgettable vocal line. Perhaps the curious thing is that he impersonates both Jimmy and Jenny, making octave changes in his voice. But it's Brian May's guitar playing that you have to follow. If anyone ever doubts May's technique, ability, and imagination; If anyone's still wondering why he's considered one of the best guitarists in the world, they only need to listen to "Brighton Rock," where he unleashes his full arsenal of tricks, from the typical three-finger licks and the sheer number of riffs (like the one at 1:35), to the chugga-chuggas (2:40), solos like the one starting at the 2-minute mark, the tremendous coda at 4:55… and well, practically half the song is his alone. Literally. Deacon and Taylor also sound impressive, with incredible speed, but frankly, they're overshadowed by the magic on the six strings, and it's so impressive that it reminds me of the school of experimentation with gadgets, pedals, and technique used by Hendrix on Electric Ladyland . Who cares about melody? This is a true guitar symphony!
“Killer Queen”, possibly Queen’s best song. Just kidding, of course, Queen’s best song is “Bohemian Rhapsody”, but you get the idea. “Killer Queen” is possibly the first song Queen composed with the express intention of making it a worldwide hit and a classic sing- along for concerts. This was one of the songs Mercury composed, and they started recording it without Brian, leaving space for when he returned. That’s why it’s based on the piano as the lead instrument, carrying the rest of the song. On top of the “normal” piano, they added another with a certain harpsichord effect, although without such a heavy echo. When Brian recovered, he was able to add his phenomenal guitar, which sounds almost subdued compared to the initial track . But listening to it separately, May’s guitar is tremendous, with embellishments in the verses complementing the vocals and a great solo at 1:25, less explosive, but definitely catchier without sacrificing quality. It also adds several guitar tracks with different effects, from a clean one, one with more echo, and a third with phasing , which it alternates between. Mercury sounds gigantic and captivating, and delivers unforgettable vocal melodies, full of hooks, that you could hum for weeks. The backing vocals had to be recorded on four tracks to achieve that choir effect, and they used May's phasing effect to create that boomerang -like quality in each phrase. The attention to detail in the song is truly impressive, and it's really a rehearsal for the more polished "Bohemian Rhapsody". It would have been impossible for Queen to achieve such perfection without this slightly lighter rehearsal. May himself even said that this song was the turning point for the band, and that it completely encapsulates Queen's style. Undoubtedly the group's most perfect song. Except for "Rhapsody," did I mention that?
Next up we have “Tenement Funster", the song written and sung by Roger Taylor that's always on every album. The truth is, it's a stunning improvement over his earlier songs, where he seemed to be desperately pleading for relief from his gunshot wounds. Here, the song suits his voice well; it's not exactly beautiful, but it doesn't sound too bad. The main riff has a certain Black Sabbath "After Forever" feel to it, but it's not a blatant rip-off, and at times it sounds more like a T. Rex tribute. The intro is dark, with a dramatic arpeggio; after half a minute, the bass and drums join in at a medium tempo, then the song starts to build in intensity. By the one-minute mark, we have that aggressive riff, and the song already has a certain wild feel, which is amplified by the beastly, echo-laden guitar solo. The song isn't a masterpiece, and I still think it's a waste that Taylor sings it when he has the best vocalist in history by his side, but it's possibly the best thing Taylor ever composed (and sang), so... Let's give it credit. Besides, it's less than 3 minutes long. At the end, it segues into the next song, which is…
“Flick Of The Wrist”, which is a very strange song, goes through a lot of moods. It begins with the final notes that come from “ Tenment. ” "Funster " begins with a playful piano intro , followed by a guitar arrangement, and after a drum roll, we enter a kind of dark and eerie march that reminds me of the somber and schizophrenic atmosphere of "The Wall" six years earlier. At 48, the beat accelerates and the song takes on a more menacing tone, with those spectacular backing vocals responding to Freddie, speeding up at times and then returning to calm. Then we return to that dark, Wall- esque riff, which leads into Brian's solo (it's said he recorded it without having heard the song, after leaving the hospital), and a frenetic , high-energy ending that links this mini-suite to…
“Lily of the Valley”, a charming little piano ballad, features Mercury creating the entire atmosphere with his exceptional voice. Freddie himself doubled his backing vocals countless times. The song explodes briefly after the one-minute mark, when the rest of the instrumentation joins in, but overall it maintains an intimate, simple, and fantastic atmosphere (forget the lyrics; they transport us back to Rhye), finally concluding with this sort of suite of three linked songs. None of the three pieces are particularly remarkable, but they are well-crafted. I don't know if they can be considered filler; even “Lily” has its charm, though they aren't the band's strong points. Interestingly, Dream Theater covered the entire mini-suite as a bonus track on some editions of Black Clouds & Silver Linings .
Then there's "Now I'm Here", another of this album's huge classics, and in the same vein as the pre-arena rock of later albums. The pair of main riffs are very basic, but effective. The first is that plucked, somewhat muffled guitar that opens the song. Freddie sounds masterful, almost intimate, and the effects of the different Mercurys that come in bursts are exquisite. At :35, that kind of tension breaks with Freddie shouting " I'm "Just a…" and the show begins with Roger turning all his thumps upside down , John riffing to build the tension to the maximum, and Brian making his guitar screech in a spectacular siren effect that he somehow manages to achieve. Then finally comes the second riff, very rock and roll, which barely lasts one full measure, after which everyone settles in for the verses. The song is spectacular and full of tricks, eventually repeating the siren effect and, for the coda, repeating the intro with the whole bunch of Freddies, and an unusually rock and roll solo without May's typical three-finger sound. Brian wrote this song while he was in the hospital, and it was one of the last songs of the recording sessions. The little piano you hear in some parts was played by May himself instead of Freddie. A great song, full of energy, and a lot of fun.
“In The Lap Of The Gods” is one of the tracks that slightly mars the album, and I was tempted to highlight it. The lavish intro is possibly the band's most pretentious thing up to that point. Freddie Mercury demonstrates that he has a vocal range capable of shattering glass on Pluto . No one disputes his talent as a vocalist. He is THE vocalist, and I think there are few people in the world who would disagree, but those excesses at the beginning and end of the song are truly unnecessary. Then he goes to the opposite extreme when the "ballad" itself begins, with very low tones that frankly don't suit him at all. He sounds uncomfortable. On the other hand, the piano intro with a breakneck arpeggio (this is where you notice a certain Muse influence), the spectacular interplay of multiplied voices, creating an ethereal, circular mass that swirls and comes and goes in the headphones… I don't understand what it's for. Or what they're trying to prove. They'd say it was a rehearsal for " Bohemian Rhapsody," but I find both the excessive intro and the forgettable ballad to be its opposite. It's a song where the ideas never quite took shape, and the result exceeded what they were actually aiming for. Perhaps the best part is the dramatic change of pace starting at the three-minute mark, but it only lasts a few moments.
Then comes the dizzying “Stone Cold “ Crazy”. In Queen II, I mentioned that I had my doubts about whether “Oggre Battle” had inspired Metallica to create Thrash. Well, it could have been, but the song that had the most impact, and which Hetfield himself has confirmed, is precisely “Stone Cold Crazy", and they even did a cover of it. The song is incredibly fast, with a monstrous riff and a vocal melody so rapid it's almost indecipherable. But it's also incredibly powerful. For 1974, it was perhaps the heaviest song released, at a time when "Whole Lotta Love" was considered the most tremendous. It features a tremendous solo, where May even indulges in three-finger flourishes, then adds chainsaw-like effects, before abruptly cutting the song off, leaving only Mercury's meteoric phrasing and Taylor's counterpoint, and then making it explode again out of nowhere. It's not Queen's best, but it's truly impressive for the time. And it's only two minutes long, so it doesn't feel excessive at all.
From this point on, the album doesn't offer much that's good, but it's not bad either. It's no longer truly surprising. "Dear Friends" is a lovely ballad, in which Mercury does all the work, creating a delicate atmosphere with his voice. May plays a very nice piano piece and also doubles all the background vocals for velvety, almost Christmassy harmonies. But they already did a piano ballad with "Lily," with better results. So it feels unnecessary and forgettable. It's not offensive, either, but it's a kind of unremarkable, one-minute filler track.
“Misfire” is slightly better, with a more festive and relaxed spirit, without being as solemn as the rest of the songs. That acoustic guitar and rhythm always transport me to a sunny beach. The riff works at first, but after a while it becomes too repetitive. Perhaps the most interesting thing is the lyrics, where Mercury begins to make some allusions to his homosexuality, which was still a taboo subject in the 70s. On the other hand, it lasts less than 2 minutes.
Then there's "Bring Back That Leroy Brown", a very silly song, paying tribute to the music hall of the '30s or '40s. It features mandolins, ukuleles, pianos, double bass, and so on. It also includes some studio tricks, as the very deep voice that eventually comes through is Freddie, but with the track slowed down to achieve that effect. Some of the guitar solos were sped up to make them higher. The song is fun for a while, but then it gets a bit tiresome… I don't know, I've always felt it was a failed version of "Martha My Dear," but without the charm of the Beatles' song in its simplicity.
“She Makes Me” is one of the best tracks on the album's closing, a hidden gem and an underrated gem. The other side of “Leroy Brown.” The band slows down and gets serious for a beautiful, more rhythmic ballad, with an excellent acoustic riff that underpins the entire song. This time it's Brian May singing (for a long time I was fooled into thinking it was Freddie), while John Deacon delivers that delicate, crystalline guitar work with a very pronounced rhythm, demonstrating that you don't need to create monstrous or complex riffs for them to be memorable. Towards the end, the sounds of New York City police cars begin. The song is simple, but very beautiful, delicate, and with a perfect, almost ethereal atmosphere.
The album closes with “In The Lap Of The Gods … Revisited”, which isn’t really the same song. In fact, the harmony is much more polished and straightforward, without the complexity of the first version. Almost in a waltz rhythm (I can imagine Freddie dancing while he sings), this time they do the opposite of the first track, building to a very pleasant slow crescendo. It’s somewhat mellow, but it still rocks , and towards the end it has those “ Ohh”s. "Woh La-LALA!! " which is impossible to miss without singing along to. It's not a monumental song, but like some of the other tracks, it's not a dud or something to be dismissed. It's a great closing number, with that literally explosive and unexpected ending.
A good album, any way you look at it. Unfortunately, it has a couple of problems. One, it contains some filler, which isn't particularly offensive or hurtful, but it's still filler. Many unremarkable songs that contribute little or nothing, some even less than a minute long. And two, it's an album that has always been overshadowed by the magnificent A Night At The Opera. It's not on the same level, obviously, although it comes very close. For this reason, it's impossible for me to give it a perfect score. Even so, it's a great album, one of Queen's best, where that sound we know and love is already present, very close to their peak, and already featuring the spectacular harmonies that would allow them to conquer the world the following year. If you like the style of Greatest Hits I, you'll surely love this album, as it's the seed of that spectacular sound.
By Corvan
Mar/4/2011
