Written by Eric Sperrazza, Photographed by Liv Foltiny

When I was in Junior High School, long before Wayne’s World had us headbanging along, I had discovered the band, Queen. At such a young age, the band’s music had me do an about face to new emotions I was sometimes ill-equipped to deal with. When the voice of legendary Freddie Mercury wanted the audience to feel sad, I was swimming in a sea of melancholy. Conversely, when the tone changed to a deep and overwhelming love for someone, my heart was engulfed in a wave of feelings that, although I was novice to, Queen were the right sherpas to speak the words I could not. Because of this pubescent love affair I had with the band, I was rightfully crushed when the music suddenly stopped. When Freddie Mercury died, I wept, not only because a venerable ventriloquist of my soul left the world for me to deal with life all on my own, but that I would never see the future incarnations of the band. That was the brilliance of Queen; their style, their themes and their topic matter changed with their age, the album & the times.

The year 2015… the first time I had heard the band, The Struts. Unlike any comparisons the general populace made between proverbial new-bands-on-the-block and Queen, prior, there was something different happening with The Struts. The music had all the quintessential Glam Rock elements found in bands like Sweet or The New York Dolls and Struts frontman Luke Spiller did have an amazing and somewhat familiar voice, but there was more. There was passion, theatrics, the marksman-use of musical inflection and, most of all, there was an insane amount of heart. My spirit was feeling and feeling hard in a way that took me right back to summers in Queens, New York, visiting my grandparents and staying up late to dissect mix tapes of B-Side Queen tracks my uncle would make for me, adding layers to my newly discovered fandom. But the biggest joy for me was The Struts had me wonder if their music would have been the modern incarnation of the British Classic Rock Royalty, I held such a deep appreciation for. 

On July 22nd, 2023; The Struts brought their Remember the Name 2023 Tour to Philadelphia’s Fillmore and I took this opportunity to see if the magic was something of a studio creation or if the spiritual baton truly had been passed to these four Derbyshire musicians. At 6pm, an hour before the doors ever opened at The Filmore in Philadelphia, the line for general admission attendees was already sprawling up two city blocks. The age group of ticket holders spanned from 7 to 70 years of age. From fans of vintage Glam all the way through The Struts discography tenure and even new listeners who had discovered the band via TikTok, they were all ravenous to get in and find their place in the crowd to take in the show. 

First on stage was the opening band, Mac Saturn. The six-piece band, made up of frontman Carson Macc, Angelo Coppola (Drums.), Mike Moody&Nick Barone (guitar), Jive Moses(Bass) and Evan Mercer (Piano.), have been a staple in the Detroit music scene for the last few years. They started releasing singles in 2022 and since have risen to a level of cult popularity rarely seen today with new rock & roll bands. Exploding into their first single, Diamonds, you could already hear some of the Gen-Xers in the audience compare Macc and his constant state of motion to that of a Mick Jagger…and the fans weren’t completely off the mark. However, as they continued with such formidable songs such as “Ain’t Like You, Mint Julep” and their second EP, Plain Clothes Gentleman, I could not only hear the Motown influence in their explosive brand of funk rock, but the very spirit of Detroit. There was something both fun, dangerous and poetic happening, all at once. The performance, and Macc in particular, was reminiscent of such Detroit Rock banner holders like The MC5 and The Stooges. In fact, that is what I saw, immediately, watching Macc, onstage, a young Iggy Pop. For me, and those around me, that was exhilarating. To the younger audience with no frame of reference, they appeared dumbfounded and wide-eyed with entertainment at the tour de force that was blowing through the stage, straight out of Motor City.

After a short intermission to redress the stage, the crowd tightened closer as the house lights dimmed, and out came Spiller along with bandmates, Gethin Davies (Drums.), Jed Elliott (Bass.), and Adam Slack (Guitar.). The band wasted zero time riling up the fans by ripping into their smash from their 2014 debut album, Everybody Wants, “Dirty Sexy Money.” From there, The Struts tore through a 20-song setlist that included previous hits like “Kiss This” and “In Love with a Camera” to new singles released this year like “Too Good at Raising Hell” and an electric version of “Pretty Vicious.”

Some notable covers the band performed was Lorde’s “Royals,” which gave the song a much slicker and sexier vibe coming from the cacophony of the Glam Rock artists performing it, but the real treat felt like it almost happened by accident, ” Bohemian Rhapsody.” Well, the first stanza, anyway.  Spiller sat behind his Union Jack-draped piano and, before beginning the two encores, “Fire (Part One)” and “Could have been Me,” Spiller cheekily began to play the piano introduction of the epic Queen track from their album, A Night at the Opera. The crowd understood the assignment and began singing to the melody of the piano. And, before long, Spiller joined the crowd with their loving homage to Mercury and the band. To say this moment almost brought a tear to my eye is an understatement! It was a beautiful nod to the band’s vibe without completely claiming the song as their own, for the night. 

The aforementioned “Could Have Been Me” brought the night to a close as a swan song to all the feels the band exalted and, thus, invoked. The lyrics of the chorus belted out on all cylinders by everyone in the audience, “I wanna taste love and pain! Wanna feel pride and shame! I don’t wanna take my time! Don’t wanna waste one line! I wanna live better days! Never look back and say, it could have been me”  like a life’s vow and a call-to-action, there was a sense of purpose solidified for all in the room and a drive to live their best lives as the house light illuminated the Fillmore, once more.

I had seen Queen in concert, twice, with Paul Rogers during the Return of The Champions tour. Although I spent quite a pretty penny to be in the company of Roger Taylor and Brian May, it felt a lot like I was hearing Bad Company do Queen covers, to my ears. However, leaving The Filmore and thinking about the crowd work Spiller did, the insane guitar and drum solos and even the body movements of the band throughout the night, I felt as if I was at a vintage Queen concert at times and being introduced to new music, and yet without the band trying for that comparison. Even during Bohemian Rhapsody, it felt more of a singalong with Spiller and fellow Queen fans than a band trying to be Queen. And that was the beauty of the whole night. The show was both original and wildly entertaining but with a love letter to mutual fandom.

It is no wonder the band has had staying power and respect throughout the music industry from some of the biggest names for almost a decade. In no small amount of time, there will be a whole new generation comparing bands to the energy and creativity of The Struts.

The Remember the Name Tour ended in the city of Brotherly Love, but you can follow The Struts – 

Website 丨Facebook丨Instagram丨Twitter丨TikTok丨YouTube丨Spotify丨 Apple Music

photo credit: Foo Fighters

Written by Nick Hopton

The Foo Fighters and The Hawkins Family have announced the first wave of special guests that will take the stage with the band in honor of the late, great Taylor Hawkins. These two shows, taking place at Wembley Stadium in London on September 3rd and the Kia Forum in Los Angeles on September 27th, will feature the Foo Fighters returning to the stage for the first time since the untimely passing of Hawkins. The star-studded lineup features members of Queen, Rush, The Police, and Queens of The Stone Age, along with the likes of Liam Gallagher, Alanis Morissette, Miley Cyrus, and Joan Jett (amongst many others). Proceeds from these shows will go towards charities in both the US and UK, as the Hawkins Family chose.

Tickets for both shows go on sale on June 17th.

From the band:

“Taylor Hawkins joined Foo Fighters in 1997, first appearing with the band on the tour supporting sophomore album, The Colour & The Shape. He made his recorded debut with Foo Fighters with 1999’s There Is Nothing Left To Lose, playing on every subsequent FF album, including One By One, In Your Honor (the first FF album to feature him assuming lead vocal duties on his song, “Cold Day In The Sun”), Echoes, Silence, Patience & Grace, Wasting Light, Sonic Highways, Concrete & Gold (also featuring him as lead singer on “Sunday Rain”) and Medicine at Midnight. As a member of Foo Fighters, Taylor was a 15-time GRAMMY Award winner and member of the Rock & Roll Hall of Fame. He lived and loved music to an insatiable degree, with Foo Fighters as well as his numerous solo and side projects and collaborations.”

Connect with the Foo Fighters

Website | Facebook | Twitter | Instagram | YouTube | Spotify | Apple Music

The holiday season is ruled by nostalgia. The ubiquitous smells, decorations, and music all aim to transport you back to a more innocent time when the world was filled with magic and joy. But, just because we’re engrossed in the winter pageantry of it all, does not mean our music must be confined to Johnny Mathis and Andy Williams.

Here are 15 tracks to add to your holiday playlist when you want to stay in the spirit, but you crave more rock than what the original Rockin’ Around The Christmas Tree has to offer!

Chuck Berry – Run Rudolph Run (1958)

Many artists have covered Chuck Berry‘s “Run Rudolph Run” and, admittedly, I do enjoy the 2000 Lynyrd Skynyrd version when it plays on the radio. But nothing – and I mean nothing – ever comes close to the original!  That early rock guitar mastery and Chuck Berry‘s soulful vocals put this holiday classic in, both, the categories of essential and legendary. Chuck Berry is rock & roll and this version rocks.

The Ronettes – Frosty The Snowman (1963)

Bruce Springsteen & The E Street Band – Santa Claus Is Comin’ To Town (1975)

In 1975, as Bruce Springsteen and The E Street Band were climbing up the mountain of popularity from obscure bars in Asbury Park to mainstream radio, they recorded a version of “Santa Claus is Comin’ To Town” during a show at Long Island University, C.W. Post.  At that moment, with Clarence Clemons whaling on the saxophone and the audience singing along with Bruce‘s rustic Jersey voice, an instant classic was born.

Wildly considered one of the first punk rock bands, The Kinks wrote an anti-holiday song about poor children accosting a department store Santa for his money… not his toys. Other punk acts like Bad Religion, Green Day, and Save Ferris went on to cover this delinquent carol, but The Kinks got it right the first time, and it needs no reboot.

The Waitresses –  Christmas Wrapping (1981)

Hailing from the great state of Ohio, The Waitresses hit the radio in 1981 with “Christmas Wrapping,” although most people had mistakenly assumed it was a Blondie song. The following year, the band separated themselves from their mistaken identity by releasing “I Know What Boys Like.” To this day, “Christmas Wrapping” is still a staple in holiday movies and shopping malls, the world over, but I bet you can still find at least one person that still believes that it’s Debbie Harry on vocals!

Queen – Thank God It’s Christmas (1984)

U2 – Christmas (Baby Please Come Home) (1987)

Sometimes, lightning strikes twice. With a hit and with U2’s Christmas, Baby Please Come Home, that is exactly what happened. The original, a winter classic by Darlene Love, was once ranked by Rolling Stone magazine as the #1 Greatest Holiday Rock Song of all time. But in 1987, hot with popularity touring on their Joshua Tree album, U2 decided to cover this classic with Darlene Love on vocals. Today, U2‘s version is just as recognizable and enjoyable.

RUN DMC – Christmas In Hollis (1987)

Born on the same New York anti-establishment streets as the punk rock movement, rap was beginning to rise to Top 40 popularity in the ’80s. At the front of the line, fast becoming rap music stars were RUN DMC. In 1987, with the help of legendary producer, Rick Rubin, RUN DMC gave the world a peek into what made the holidays special in the rough-and-tumble neighborhood of Hollis, Queens.  With the help of MTV, this one-off song, meant for a compilation album with the likes of Whitney Houston, Bob Segar, and Sting, Christmas in Hollis continues to stand alone as a timeless holiday gem.

The Ramones – Merry Christmas (I Don’t Want To Fight Tonight) (1989)

In March of 1989, The Ramones released the album, Brain Drain, with the 12th track being an oddly-placed Christmas song called “Merry Christmas (I Don’t Want To Fight).” It had no rhyme or reason, as it was not released during the holidays and no other songs on the LP were holiday-themed and thus no real attention was given to it. But, that all changed when MTV released the video for the track the following holiday season.  Since then, “Merry Christmas (I Don’t Want To Fight)” is just as synonymous with the leather-clad punks from Queens as “I Wanna Be Sedated” and “Blitzkrieg Bop.”

Trans-Siberian Orchestra – Christmas Eve – Sarajevo 12/24 (1996)

For the fans of the rock-opera band, Savatage, you may remember a song of theirs called “Sarajevo” off their 1995 album, Dead Winter Dead. It is no accident that it sounds strikingly similar to the Trans-Siberian Orchestra‘s Christmas Eve – Sarajevo 12/24.  That is because Savatage songwriter, vocalist, keyboardist & producer, John Oliva, is one of the founding members of the Trans-Siberian Orchestra!  Along with fellow Savatage producer and songwriters, Paul O’Neill and Robert Kinkel, Trans-Siberian Orchestra rebooted “Sarajevo” with all the nooks and crannies that go into the spectacle that is their performances. In fact, it was a point of contention with Oliva that the same song would flop with one band and be a solid hit with another, thus proving that the brand of Savatage was just not marketable. Either way, the song thrashes you into the holiday spirit!

My Chemical Romance – All I Want For Christmas Is You (2004)

Whenever anything is gladly welcomed into the halls of mainstream pop culture fame, there is always a counter-culture movement that deems it passe’. That is exactly what we are witnessing, in real-time, with Mariah Carey’s “All I Want For Christmas is You.”  Just turn to social media to see the digital eye rolls people offer up whenever the song is brought up in conversation. But, Gerard Way and My Chemical Romance leaned in, hard, to this tune and released a cover that is one part ironic, one part fun, and two-parts everything you love about punk rock. Do you still want to sing along to your favorite holiday radio hit without looking like an old relic, void of any cool? You can feel confident in blaring this version out of your car!

Twisted Sister – Have Yourself a Merry Little Christmas (2006)

In 2006, hair metal fans rejoiced as Dee Snyder and the boys of Twisted Sister released a new album… a holiday album.  That’s right, with all the head-banging flair Twisted Sister is known for, they tackle such timeless classics as “Oh Come All Ye Faithful” and “Silver Bells.” But none greater than the opening track that sets the pace for the rest of the album, “Have Yourself a Merry Little Christmas.” Dee Snyder plus Christmas carols. Need I say more?!

Flyleaf – What’s This? (2008)

The Nightmare Before Christmas is a huge Disney hit that is both a Halloween horror tale with heart and a macabre Christmas rom-com, all at once. The soundtrack has stood the test of time in the Disney catalog. But, in 2008 various artists covered said soundtrack in their individual styles on an album called Nightmare Revisited. From Marilyn Manson to Korn, each track was a fantastic take from the world of Jack Skellington. In my humble opinion, the best track to transcend your Emo-Punk Spotify Playlist to a firm footing in your Holiday Sing-Alongs is none other than Flyleaf‘s cover of What’s This?

Dropkick Murphys – The Season’s Upon Us (2013)

Dropkick Murphys hit the scene with a boom, proving that you can be just as punk as anyone else, in Quincy, Massachusetts! Their songs have always had an Irish Pub feel with all the energy and pace of legendary punk acts like The Bad Brains & Black Flag.  So, to expect a wholesome holiday hit is an exercise in futility. Yet, with their song, “The Season’s Upon Us,” in a very dysfunctional way, you do get a snapshot into a family celebrating the season and the love they all have for each other, at the end of the day. Further, this song is probably more relatable to most of us than any Rockwellian imagery painted in traditional holiday songs. So grab a drunk uncle and a criminal sibling and have yourselves a nice sing-along, this December!

The Brian Setzer Orchestra  – Rockin’ Around the Christmas Tree (2015)

Brian Setzer arrived on the scene, fresh out of Long Island with a vintage rockabilly sound alongside the Stray Cats. With some radio attention in the ’80s, Setzer saw the second coming of his career, during the Ska Punk and Big Band boom of the late 1990s. the Brian Setzer Orchestra was responsible for swinging hits like “Jump, Jive & Wail” and even found itself in retail commercials in the early 2000s.  If you long for the days of your wallet chain and a bowling shirt, quoting the movie Swingers to all the beautiful babies this holiday season, the Brian Setzer Orchestra released a holiday album in 2015 that is, simply put, good-spirited fun! If I had to pick one track on that album that has both a BSO and a Stray Cats feel to it, it would surely be their ‘get up and dance’ version of “Rockin’ Around The Christmas Tree!”

That’s all for my winter soundtrack essentials. See if you can find a home, amongst your Bing Crosby classics, for one or all of these tracks around your roaring fire, this holiday. Feel free to add to this list in the comments, below!

Most importantly, have a happy and healthy New Year out there in Music Land.

Ladies and Gentlemen, what the fuck even is this year? It has gotten to the point where we’ve gone from “Ok, it can’t possibly get any worse” to saying “Ok, what’s next?” It’s a year of fear. A year of uncertainty. Every day we walk into a new unknown, wondering what the hell is coming.

BUT… I’m here to say, I have hope. We, as one people, have made incredible strides in the few months since we last spoke. A full-blown uprising is going on in our streets right now. And as scary as the news might make it, in reality, it is a beautiful thing. It’s an attack on the old ways that have held us back as human beings. Voices are FINALLY being heard.

We are changing the world.

With that said, I felt compelled to compile my own soundtrack to this new beginning. The songs that I can always rely upon to bring me out of any hole I might be in. EVERYONE is going to have a different list and that’s what is beautiful about music. Every song hits everyone a different way, but we all use it to resonate with our current emotions. This is just mine. And I can’t wait to inevitably hear yours in the comment section.

So, here goes my best John Cusack impersonation…

The Rolling Stones: You Can’t Always Get What You Want

How could you not begin a list with this? An opening choir straight from the heavens. That instant boost. You know everything is going to be alright immediately after you hear it. The subtle Keith Richards guitar sits behind Mick Jagger’s story for the ages. The build is perfect…and by the end of the song we’ve been shot into the sky. Its the perfect embodiment of 2020. This might not be the year that we want, but it’s the year that we need.

Queen: Don’t Stop Me Now

I dare you to name one song that can take you from 0-100 as this one can. An absolute classic. A speeding limousine ride to a glamorous evening full of, as I like to call it, “fuck it.” Mr. Fahrenheit himself, Freddie Mercury, the greatest singer of all time, takes us on a journey through his mind and into the feeling of what it’s like to be on top of the world.

Elton John: Saturday Night’s Alright For Fighting

Ok. If there is ONE song that matches up to the aforementioned Queen escapade, surely Elton John’s classic romper is up to the challenge. We’re able to reminisce of the nights tearing a town up with our friends, something that comes as a rarity now given the current situations. But a Saturday night out with the ones you love, laughing, dancing, forgetting about life for a while; those are the nights you remember forever. Speaking of which, this is the single greatest soundtrack to a bar fight ever made. Fight me.

New Radicals: You Get What You Give

Is this one ringing a bell? Listen to it for less than 15 seconds and you’ll remember it. My 90’s brothers and sisters, this was that anthem. A totally jived up, let loose tune that still strikes true today. We might not have the world, but we got the music. It’s all about what we can do for each other to better ourselves. A much needed positive outlook that we must remember to adopt every day we are here. Don’t give up.

Kendrick Lamar: i

A funked-up, riptide that perfectly sums up the movement going on outside your windows right now. I DARE you to not dance. I DARE you to not listen to what King Kendrick says and have it not resonate with your soul. While the beat and crazy good guitar work might draw you in…Kendrick’s lyrics will rip into you like the hand of God. And if they don’t, then you’re really not listening to anything going on. Also, I state this here and now: Kendrick Lamar is the greatest rapper alive.

Faces: Ooh La La

Let’s bring it down a bit. Hit those heartstrings. There’s never been a more reminiscent song created than what Faces made with this one. ‘I wish that I knew what I know now when I was younger.’ If that doesn’t sum up how we all feel right now than I don’t know what will. Would you have done things differently knowing where we are right now? I certainly would. But, we learn from our past in order to make our future a better place.

Bruce Springsteen: Thunder Road

In my opinion, the most beautiful song ever made. There’s no better storyteller than Bruce Springsteen. No one. It’s a story of love, hope, and faith. All three of which we need more than ever right now. It’s a landscape painting on tape. It’s the life a lot of us want. The one without turmoil, without hate. The simple. The beautiful.

The Beatles: Hey Jude

Naaaaaaaa na na NA NA NA NAAAAAAAAA.

Enough said.

The Struts: Could Have Been Me

The newcomers on the list. The next rock and roll legends. You might not know a whole lot about them yet, but you will. They’re destined to become one of the greatest bands of all time and this was the song that started it all. It holds a special place in my heart forever, as it got me through the toughest point of my entire life. Hopefully, if needed, it can do the same for you.

My Chemical Romance: Welcome To The Black Parade

I saved the best for last. If you thought there’s no way a band like My Chemical Romance can make this list, honey you were wrong. One of the most epic songs in the history of music. A marching band blasting straight out of the afterlife leading you right back into it. And while it might seem like we’re reaching the end of our time here, just remember, we’ll carry on.

Artist: Queen

Album: Hot Space

Year: 1982

When most people think of their favorite Queen albums, they typically choose classics like News of the World, Night At the Opera, or Day at the Races. However, Hot Space, released in 1982, is often overlooked, despite having “Under Pressure.” It is just one of those albums that only have a few songs that people know while the others get lost in space (pun intended).

The album art of “Hot Space” is more colorful than their other covers. It features a contemporary feel with pictures of the four members of the band overlayed with colors that resemble a modern art painting. This contemporary feel also translates to subjects in songs, from cursing to breastfeeding.

“Staying Power” is the perfect start to the album. It is catchy and upbeat, making the listener want to stay for the rest of the album. For those who are fans of Broadway musicals, this song has a strikingly similar feel to “Land Of Lola” from Kinky Boots. “Back Chat” has a similar feel, though not as pronounced,

“Body Language” is one of the few songs on the album that ever became popular. It has a jazz feel and is provocative, more so than any other Queen song. It was a song that was ahead of its time, having come out in the early 80s. It is discretely sexy at a time when such things were not openly discussed.

Despite being overlooked, this album addresses issues that are still relevant. “Calling All Girls” just so happens to be this year’s theme for Mercury Phoenix Trust theme for this year. They are getting young people involved in raising awareness of HIV and AIDS, the disease that Freddie himself suffered from and ultimately died of.

Another powerful song that speaks volumes into contemporary times is “Life Is Real (Song for Lennon).” The line talks about Freddie breastfeeding himself. This topic is still so controversial, yet the song was released in an earlier era. The song also states that “Life is a bitch,” which is a huge deal where cursing in songs or any public art was not the norm.

Overall, this album is vastly underrated as it still pertains to relevant issues while having interludes of songs that are less serious. The contemporary issues within the songs are still as relevant and controversial today as they were when the album was released in 1982. This only proves that Queen’s music is timeless and that Freddie’s legacy will never die.

Are you a fan of soul, R&B or any of the similar sub-genres?  Hate paying high-ticket prices to see major names, but love the hits?  Want to know about the most talented artists in the Philadelphia soul scene?  Well you can start by getting over to World Café Live in Delaware (The Queen) tonight for the Soulidified showcase.

For the past three years the Soulidified brand has been growing from tribute event to full fledged career-launching platform for artists like Jesse Boykins (playing Union Transfer May 24^th), Kimberly Nicole, Nicole Hurst, Nicholas Ryan Grant, AAries and Anhayla, and others to come and show their ability.  Each artist is asked to perform three tracks in tribute to the night’s artist as well as three originals, all with a live band.  Now, with a three-city tour under their belt for Mara Hruby, the brand grows.

“The goal has been to give a platform to new soul artists, while paying homage to the artists that paved the way,” says David Reynolds, partner in the Soulidified Showcases.  He, along with Kayode “Ambush” Balogun, Malika Bethea, and Richie Thomas, have opened up a brilliant marketing strategy to give fans what they want and artists the opportunities they deserve.

Acts have paid their respects to legends like Marvin Gaye, Prince, Isley Brothers, D’Angelo, Mary J. Blige among others.  Tomorrow night, newcomers Milton and Briana Devoue have the great task of taking on the collection of Musiq Soulchild. Hosted by Toby Vent and DJ Ambush on the 1’s and 2’s, come see if these two can handle the Soulidified tribute.

It’s Axl Rose’s favorite Queen album. Billy Corgan has gone on record as saying it was an album that changed his life. Steve Vai once stated that it was one of those pivotal moments in terms of influence on his guitar playing. It’s listed in the book 1,001 Albums You Must Hear Before You Die.

Yet, for all this praise from well known musicians, Queen II, Queen’s second (obviously) album continues to be one of their lesser known works, seeming to remain on the outer fringes of their body of work, even 40 years after the initial release. To this writer, who didn’t even discover it until the 90s as a teenager, it’s one of the bigger travesties in rock music.

In a way. it’s easy to see why it “slipped through the cracks”, so to speak. The first album didn’t sell so well, with Queen not having yet developed their sound into what it would eventually become. Their third album, Sheer Heart Attack, would gain them worldwide recognition, thanks to “Killer Queen” landing in the top 10 here in the USA. With these two factors, their second album would end up lost in the shuffle (the fact that Sheer Heart Attack was released the very same year didn’t help any).

So, just what do we have here then? Well, basically you have an album that is a straight up hard rock album, almost metal on some songs, with a prog leaning thanks to being overblown and bombastic at times. “How is that different from a lot of the stuff Queen has put out?”, you may ask. The answer is not quite obvious and yet sticks out all the same time; the sound, while quite familiar, had yet to be tempered with the arena-ready, sometimes pop sensibilities that the band would bring to the fore on their next album. This is Queen at their heaviest and darkest here, folks. Yes, they would have even heavier and darker moments, but those moments would be spread out, not contained on just one album.

When first released, rather than use the normal “Side One” and “Side Two” labeling, they instead went with the titles of “White Side” and “Black Side”. The “White Side” was composed of separate songs, mostly dealing with themes of an emotional nature. These songs include “Father To Son” (hands down one of the best known tracks not familiar to casual Queen listeners), “Some Day One Day” (Brian May’s first lead vocal on a Queen album), and “The Loser In The End” (sung by Roger Taylor, and featuring some insane drumming during the fadeout that needs to be heard to be believed).

Meanwhile, the “Black Side” runs almost as an entire medley, having dark medieval themes throughout. “Ogre Battle”, with backwards opening and pummeling guitar and drum sound, is a perfect example of this, while songs such as “The Fairy Feller’s Master-Stroke” (itself being based on an actual painting of the same name) and “The March of the Black Queen” (a complex song featuring different time signatures) speak for themselves. The combination of heavy music, complex rhythms, and fantasy themes would go on to be an influence on many heavy metal bands in the 70s and 80s.

Then there’s the final song on the album, “Seven Seas Of Rhye”. While still containing the fantasy themes of the songs before it, this track would be a true defining moment for the band. The album’s lone single (released in the U.K. only), it would give them their first genuine hit there, as well as their first Top of the Pops appearance. It would also be the song that would foreshadow the things to come, showcasing their ability to combine complex piano playing, signature harmonies, and instantly recognizable guitar sound with their pop sensibilities, all within three minutes. The groundwork was officially laid, and would be followed through on their next album.

Before ending this article, a special mention should be made of the album cover. It would go on to be one of their most defining images, when, a couple years later, it was re-created for the opening of their video for “Bohemian Rhapsody”, as well as being updated in their video for “One Vision”.

When it comes down to it, this is an album that, despite its status as being a cult album, really deserves more notice now than it’s ever had, especially 40 years later. For anyone with even a passing interest in the band, it’s highly recommended. It may not have any familiar tracks, but give it a chance and you’ll find that it’s an amazing rock album, with “Seven Seas of Rhye”, “Ogre Battle”, “The Loser in the End”, and the truly brilliant and underrated “Father to Son” being some of the best tracks the band has ever released.

Not many albums tend to have an important place in a band’s history and growth while also being forgotten. This is one of those, though…and it’s time to change that.