Queen LL CD

Queen: Freddie Mercury (keyboards); John Deacon (bass instrument); Roger Taylor , Brian May (background vocals).
Personnel: Brian May (vocals, guitar, piano, bells); Freddie Mercury (vocals, piano, harpsichord); Roger Taylor (vocals, percussion); John Deacon (guitar, acoustic guitar, bass guitar); Roy Thomas Baker (castanets).
Audio Remixers: Freddy Bastone; Nick Sansano .
Recording information: Trident Studios, London, England (1974).
Photographer: Mick Rock .
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
Although QUEEN II borders on heavy metal (it wasn't until their next release, SHEER HEART ATTACK, that they began experimenting with other musical forms), the songwriting and playing is still top-notch. Queen was criticized by some in the press upon the release of QUEEN II, since there was simply nothing to compare it to--it encompassed glam, progressive, and metal, with a healthy dose of studio wizardry.
QUEEN II contained the band's first official UK hit--the mystical "Seven Seas of Rhye"--and, as on their debut a year prior, the lesser-known material is just as delightful. Singer Freddie Mercury and guitarist Brian May contribute one lovely ballad each--"White Queen (As It Began)" and "Some Day One Day." The latter does a splendid job of breaking up this otherwise continuously hard-rocking album. Other intriguing titles include "Ogre Battle," "The March of the Black Queen," and a strong bonus b-side--the bluesy "See What a Fool I've Been."
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 elliptQ (Magazine) (p.119) - "[W]ith operatic vocals and multitracked guitars crashing about the place, and a handful of soaring songs popping up among them -- not least 'Seven Seas Of Rhye,' their first real hit."