Music

Queen Queen [hollywood Records] [eac flac] [repopo]

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                            Queen - Queen I (1973)

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In 1993, Hollywood Records released the Queen studio albums in USA, including

exclusive bonus tracks on each album.  This rip comes from that batch.





CD: Queen - Queen



01. Keep Yourself Alive    [0:03:46.70]

02. Doing All Right    [0:04:09.40]

03. Great King Rat    [0:05:41.62]

04. My Fairy King    [0:04:08.45]

05. Liar    [0:06:26.40]

06. The Night Comes Down    [0:04:23.30]

07. Modern Times Of Rock 'N' Roll    [0:01:48.28]

08. Son & Daughter    [0:03:21.15]

09. Jesus    [0:03:44.25]

10. Seven Seas Of Rhye    [0:01:15.45]



Bonus tracks:



11. Mad the Swine [Previously Unreleased]    [0:03:21.25]

12. Keep Yourself Alive [Long Lost Retake]    [0:04:04.42]

13. Liar [remix by John Luongo and Gary Hellman]    [0:06:26.50]





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                              THE ALLMUSIC REVIEW

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Review	by Stephen Thomas Erlewine



Like any patchy but promising debut from a classic rock group, it's often easy 

to underrate Queen's eponymous 1973 debut, since it has no more than one well-

known anthem and plays more like a collection of ideas than a cohesive album. 

But what ideas! Almost every one of Queen's signatures are already present, from 

Freddie Mercury's operatic harmonies to Brian May's rich, orchestral guitar 

overdubs and the suite-like structures of "Great King Rat." That rich, florid 

feel could be characterized as glam, but even in these early days that 

appellation didn't quite fit Queen, since they were at once too heavy and arty 

to be glam and — ironically enough, considering their legendary excess — they 

were hardly trashy enough to be glam. But that only speaks to the originality of 

Queen: they may have traded in mystical sword 'n' sorcerers themes like so many 

'70s prog bands, and they may have hit as hard as Led Zeppelin (and Jimmy Page's 

guitar army certainly was a forefather to May's overdubs), but they didn't sound 

like anybody else, they were too odd in their theatricality to be mistaken for 

another band. That much was apparent on this debut, but one thing was crucially 

missing: songs that could coalesce their sound and present it in a memorable 

fashion. There is an exception to that rule — the wild, rampaging opener "Keep 

Yourself Alive," one of their very best songs — but too often the album plays 

like a succession of ideas instead of succinct songs, and the group's 

predilection for suites only highlights this, despite the occasional blast of 

fury like "Modern Times Rock & Roll." This can be quite appealing as sheer, 

visceral sound and, in that regard, Queen is kind of irresistible. It showcases 

the band in all their ornate splendor yet it's strangely lean and hard, 

revealing just how good the band was in their early days as a hard rock band. 

That might not quite make it an overlooked gem — it remains patchy on a song for 

song basis — but it sure makes for an interesting debut that provides a rough 

road map to their later work. 





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                        SOME SONGS REVIEWED BY ALLMUSIC

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KEEP YOURSELF ALIVE



Song Review	by Ed Rivadavia



After nearly two years honing their ambitious sound (part embryonic heavy metal, 

part grandiose opera) through constant rehearsals, Queen was given their first 

lucky break in mid-1972, when newly founded Trident Studios offered them free 

recording time in exchange for testing their equipment. Such unusual access to 

top-notch recording equipment (even if during studio down-time) allowed the band 

ample time to craft their eponymous debut, an album which, thanks to this rare 

privilege, was technically superior to most first efforts. And no track better 

represented Queen's studio savvy and facility with technology than eventual 

album opener and first single "Keep Yourself Alive." Coined by guitarist Brian 

May, whose uncanny talent for manipulating his instrument's tone and texture 

were already remarkably well developed at this early stage, the song's lyrics 

would seem, on the surface, to describe a complacent band satisfied with their 

current lot. But even if his performance is not quite as commanding as on 

subsequent albums, just one listen to Freddie Mercury's spitting, rapid-fire 

delivery reveals that the song is, in truth, an irrepressible ode to sheer 

ambition, and reveals all of Queen's desire to achieve rock stardom no matter 

the cost. Still, when it was released as a single in July 1973 (backed with 

another May composition, "Son & Daughter"), "Keep Yourself Alive" was given 

mixed reviews and received little to no radio airplay. In fact, like the first 

album, it failed to chart on either side of the Atlantic and was considered 

quite a disappointment, leaving the band facing an uncertain future for the six 

months which preceded their successful third single "Seven Seas of Rhye," after 

which their fortunes finally began to rise. 







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LIAR



Song Review	by Donald A. Guarisco



This epic rocker was the centerpiece of Queen’s debut album. The verses take the 

form of a dialogue between the protagonist (represented in the verses) and the 

forces against him (represented by the chorus) as they presented a tormented 

soul who yearns for religious guidance but is shunned as a "liar." By the end, 

the lyrics spurn organized religion altogether: "Liar, liar, they never ever let 

you win/Liar, liar, everything you do is sin/Liar, nobody believes you/Liar, 

they bring you down before you begin." The operatic style of these lyrics is 

fully supported by the music, which goes through many tempo changes and 

different sections as it combines folky, ascending verses and a stomping chorus 

with instrumental and vocal bridges that pull the song in other directions. 

Queen’s recording of "Liar" wraps this complex tale in a grand, bombastic 

arrangement that alternates delicate acoustic touches on the verses with surging 

waves of power chords during the instrumental bridges and the chorus. It also 

works in a cowbell-driven percussive breakdown for the song’s penultimate vocal 

bridge that pushes the drama to a frantic peak. Freddie Mercury tops it off with 

a suitably dramatic vocal that ranges from a falsetto whisper to a baritone roar 

and his impressive efforts are cushioned by operatic harmonies from Brian May 

and Roger Taylor. It all added up to an artsy but powerful rocker that became a 

backbone of Queen’s early live shows and became a cult favorite with the group’s 

fans. More importantly, its grandiosity a solid prototype for later, even more 

ambitious pomp-rockers like "Brighton Rock" and "Bohemian Rhapsody." 







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THE NIGHT COMES DOWN



Song Review	by Donald A. Guarisco



Queen’s first album differs from many debut albums because it shows an unusually 

high level of technical polish in its songwriting and arrangements. A good 

example of this advanced craftsmanship is "The Night Comes Down," an ambitious 

song that combines a delicate melody with a hard-driving arrangement to create 

an intriguing fusion of ballad and rocker. The lyrics seem to chronicle the 

disillusion that many people felt when the late 1960's gave way to the early 

1970's as they portray a distraught soul lamenting the magic he can no longer 

feel in life: "Once I believed in everyone/Everyone and anyone can see/Oh, the 

night comes down/And I get afraid of losing my way." The melody contrasts 

gentle, yearning verses with a rousing chorus that adds an earthy element of 

heaviness into the mix. Queen’s recording of "The Night Comes Down" gives the 

song a complex arrangement that shows off Brian May’s considerable guitar 

skills: gently, chiming acoustic guitar textures underpin the verses while 

heavier, electric slide guitar textures support the chorus. Also, this recording 

alternates the vocalized parts of the song with instrumental sections that build 

up a tapestry of fast-moving acoustic and electric guitar riffs over a steady 

beat. The end result transforms what could have been a simple ballad into the 

kind of complex, multi-tiered rock epic that Queen has become known for. 







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SEVEN SEAS OF RHYE



Song Review	by Ed Rivadavia



Though it had failed to chart, Queen's eponymous 1973 debut album had generated 

enough of a buzz to secure them a support slot on Mott the Hoople's U.K. tour. 

This, in turn, served to introduce the band's bombastic stage show to large 

audiences and earned them quite a reputation, leading to their being voted 

Britain's "third most promising act" in the January 1974 by the respected music 

weekly Sounds ( Nazareth and Blue took the top spots). Interest in the band was 

clearly building, but they still needed one more stroke of luck to break 

through. Then, shortly after returning from a dismal visit to Australia (and 

being met at the airport by hordes of confused press agents mistakenly expecting 

her majesty, the Queen), the band was offered a last minute replacement slot on 

Top of the Pops. Understandably, they jumped at the opportunity, premiering 

"Seven Seas of Rhye" from their as yet unreleased second album Queen II on 

February 21st. Once little more than an instrumental musical sketch closing 

their first album, the track had been properly fleshed out for Queen II, and was 

rush-released as a single (backed with a non-album track, "See What a Fool I've 

Been") a mere two days later. A short, compact slice of Queen's "anything goes" 

creative mentality, the song combined majestically chorused vocals with an 

energetic Freddie Mercury piano figure and Brian May's soon-to-be trademark 

guitar orchestrations, before concluding with a sea chantey of sorts. And while 

it is now one of Queen's least remembered singles, "Seven Seas of Rhye" became 

their first chart entry after being accepted for airplay by BBC's Radio One -- a 

landmark event for Queen which persuaded Mercury to finally quit his day job 

working at his clothes stall at Kensington Market. 







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                                EAC LOG EXTRACT

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Exact Audio Copy V0.99 prebeta 4 from 23. January 2008



EAC extraction logfile from 19. June 2009, 14:28



Queen / Queen



Used drive  : HL-DT-STDVD-RAM GSA-H55N   Adapter: 0  ID: 0



Read mode               : Secure

Utilize accurate stream : Yes

Defeat audio cache      : Yes

Make use of C2 pointers : No



Read offset correction                      : 102

Overread into Lead-In and Lead-Out          : No

Fill up missing offset samples with silence : Yes

Delete leading and trailing silent blocks   : No

Null samples used in CRC calculations       : Yes

Used interface                              : Installed external ASPI interface

Gap handling                                : Appended to previous track



Used output format              : User Defined Encoder

Selected bitrate                : 1024 kBit/s

Quality                         : High

Add ID3 tag                     : No

Command line compressor         : F:Archivos de programaExact Audio 

CopyFLACFLAC.EXE

Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T 

"ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o 

%d



...





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                      IMPORTANT: PLEASE READ (A REQUEST)

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It's usual to post comments only to complain about a torrent which doesn't work 

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expecting a release, to feel deceived if it doesn't work properly, and 

expressing this is legitimate.



I've often found one comment (negative) on a movie/CD downloaded by 2000+ 

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free.



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