Queen
Produced by: John Anthony , Roy Baker, and Queen
Recorded at: Trident Studios
UK EMI LP: 13 July 1973 EMC 3006 / UK Chart #24
USA Elektra LP: 4 September 1973 EKS-75064 / Billboard #83
Side One
1. Keep Yourself Alive (May) 3:47
2. Doing All Right (May/Staffell) 4:09
3. Great King Rat (Mercury) 5:43
4. My Fairy King (Mercury) 4:08
| |
Side Two
1. Liar (Mercury) 6:25
2. The Night Comes Down (May) 4:23
3. Modern Times Rock 'N' Roll (Taylor) 1:48
4. Son And Daughter (May) 3:20
5. Jesus (Mercury) 3:44
6. Seven Seas Of Rhye (Mercury) 1:15
|
Related Songs
Mad The Swine (Mercury), Polar Bear (May), Silver Salmon (Staffell), Hangman
(Mercury/May/Taylor/Deacon), See What A Fool I've Been (May), I'm A Man
(McDaniel)
Singles
UK Singles
Keep Yourself Alive c/w Son And Daughter / Did Not Chart
The Night Comes Down (2024 Mix - Single Version) c/w The Night Comes Down
(Backing Track) / UK Chart #40
US Singles
Keep Yourself Alive c/w Son And Daughter / Did Not Chart
Liar c/w Doing All Right / Did Not Chart
Keep Yourself Alive c/w Lily Of The Valley / God Save The Queen / Did
Not Chart
Album Info
Queen's debut album, simply called 'Queen' is described
in the liner notes as "representing at last something of what Queen music
has been over the last three years". Recorded during downtime at Trident
Studios in the Soho district of London, the album captures the band in their
early, raw form. Released on July 13, 1973 in the UK by EMI, it initially
failed to make an impact on the charts. The American audience would have
to wait almost two months for the album to appear before it was released
on September 4, 1973 by Elektra Records. The album peaked at #83 in the
US and by 1975 reached a respectable #24 on the UK chart. Queen achieved
Gold sales status in both territories. The US and Japanese editions feature
a different sleeve, with early American versions sporting a gold foil Queen
logo.
Released a week before the album debuted, Keep Yourself Alive was the lone
single in the UK and did not chart. In the US, Keep Yourself Alive was released
in October 1973 to no acclaim. The follow-up single, an edited version of
Liar, came in February 1974. Keep Yourself Alive was re-released in 1975
in the US in edited form.
The band recorded five demo tracks at De Lane Lea Studios in 1971 that caught
the attention of Trident Productions and eventually led to their signing.
Four of those songs would be re-recorded for the album while The Night Comes
Down was remixed from the De Lane Lea sessions. All of the De Lane Lea demos
would later be made available in 2011 as a bonus EP CD. Hangman originates
from this period and was played regularly by the band live; however, there
is debate on whether a studio version ever existed or survives to this day.
Mad The Swine, from these sessions, was newly mixed by David Richards and
appeared as a B-Side to Headlong in 1991, some 19 years after it was recorded.
Seven Seas Of Rhye is not the top 10 hit that appeared later on Queen II.
Rather, the version that appears on Queen is a short instrumental of the
yet-to-be-finsihed track.
The album was remixed and rebranded as 'Queen I' for release on 25 October
2024. Mad The Swine was added as the album's fourth track, where it was
initially intended. Remixes were produced in-house by Justin Shirley-Smith,
Joshua J. Macrae and Kris Fredriksson. An expanded super deluxe "Collector's
Edition" box set included previously unreleased sessions, live tracks
and a remixed version of the band's original De Lane Lea demos. This new
version peaked at #10 on the UK album chart.
...and nobody played synthesizer.
Keep Yourself Alive
Keep Yourself Alive (Album Version)
3:47
Appears on: Queen,
Track 1
Keep Yourself Alive (2024 Mix) 3:46
Appears on: Queen
I, Queen
I Collector's Edition Box Set
Right out of the gate the guitars and drums feel richer in this updated
mix, benefiting as all of the 2024 Mixes do from having room to really breathe.
This allows a lot of details in each part to shine for the first time throughout
the track, little moments that color the performance and really bring it
to life. The drum solo sounds more dynamic across the stereo channels and
the wailing "choral" guitar in the finale now stays right to the end, similar
to the 1975 Long Lost Re- Take, with the revelation being that it was always
there as part of the arrangement, we just didn't get to hear it until now.
Keep Yourself Alive (US Single Edit - Stereo) 3:29
Appears on: US
Keep Yourself Alive 7" vinyl (1973), US
Keep Yourself Alive 7" vinyl (1975), US
Greatest Hits vinyl (Elektra 1981), Another
One Bites The Dust (Spun Gold) 7" vinyl
In 1975, Keep Yourself Alive was re-recorded during the A Night At The Opera
sessions for a potential US release. The new version, since known as the
'Long Lost Re-Take', was discarded in favor of an edit of the original album
version. The single was released in August, 1975 and is highly sought after
because it contains three unique single versions (this edit of Keep Yourself
Alive, the US single version of Lily Of The Valley, and the US single version
of God Save The Queen). This edited version fades early, removing the last
17 secords at the end.
Keep Yourself Alive (US Single Edit - Mono) 3:29
Appears on: US
Greatest Hits CD (Elektra 1983), US
Keep Yourself Alive 7" vinyl promo (1975), US
Greatest Hits vinyl (Elektra 1981)
The US Single Edit of Keep Yourself Alive was included on the original US
version of Greatest Hits. Both the CD and vinyl, however, have this song
in mono instread of stereo. This is the only time this edit was released
in a digital format.
Keep Yourself Alive (Video Version) 3:43
Appears on: Greatest
Video Hits 1, Classic
Queen VHS, Greatest Flix I & II Laserdisc, UK Box Of Flix VHS
The video version of Keep Yourself Alive fades four seconds early to accompany
the footage.
Keep Yourself Alive (1998 Karaoke Version) 3:15
Appears on: 1998
Greatest Karaoke Hits
The 1998 Karaoke Version of Keep Yourself Alive unfortunately cuts about
10 seconds off the beginning by omitting the guitar intro. The track fades
out short of the proper end. There is no click track at the beginning.
Keep Yourself Alive (2004 Karaoke Version) 3:36
Appears on: 2004
Greatest Karaoke Hits
The 2004 Karaoke Version of Keep Yourself Alive is much more complete than
the earlier 1998 karaoke release. The song starts properly, keeping the
guitar intro. This version fades out early, just like the 1998 version.
There is also no click track at the beginning.
Keep Yourself Alive (Karaoke Video Version) 3:20
Appears on: Greatest
Karaoke Hits DVD
The Karaoke Video Version of Keep Yourself Alive begins with a fade-in deep
into the song, which cuts off much of the guitar intro. The track fades
out at the same point as the CD Karaoke Version.
Keep Yourself Alive (2024 Mix - Instrumental) 3:46
Appears on: Queen
I Collector's Edition Box Set
This is the full instrumental backing track of the 2024 Mix, with no backing
vocals at all, unlike the 1992 Karaoke Mix, which was both edited down and
had the backing vocals.
Keep Yourself Alive (BBC Session 1) 3:49
Appears on: At
The Beeb, On
Air
Queen's first BBC Radio session was recorded on February 5, 1973 at Langham
1 Studio in London. The session was produced by Bernie Andrews and engineered
by John Etchells. BBC Radio 1 broadcast the session on John Peel's Sounds
Of The 70s on February 15, 1974. This first BBC session was organized by
Trident productions to promote the band a full five months before the release
of their first album. All of the songs on BBC Session 1 started with the
backing tracks that were in progress for the album. New lead vocals were
overdubbed onto these backing tracks along with some guitar here and there.
So, the final broadcasted product was a mixture of Trident Studios and Langham
1 recordings. Freddie's lead vocal performance is similar to the delivery
used on the final version. This session saw its first official release in
1989 on "At The Beeb" from the Band Of Joy label.
Keep Yourself Alive (BBC Session 1 with DJ Chatter)
3:53
Appears on: On
Air - Deluxe Edition, Queen
I Collector's Edition Box Set
The deluxe 6 CD edition of 2016's "On Air" includes additional
dialogue from the various radio presenters on most BBC session songs. At
the end of the song John Peel comments that the song was written by guitarist
Brian May, who also contributed some nice noises to the track.
Keep Yourself Alive (BBC Session 1 - 1995 Stereo
Swap) 3:48
Appears on: At
The BBC
To capitalize on the success of The Beatles Live At The BBC, Hollywood Records
released "At The BBC". Previously available in the UK as "At
The Beeb", this release features recordings from Queen's first and
third sessions at Lanham 1 Studio in London. On this CD release, the left
and right stereo channels have been accidentally swapped.
Keep Yourself Alive (BBC Session 2) 3:50
Appears on: On
Air
Queen's second BBC Radio session was recorded on July 23, 1973 at Langham
1 Studio in London. The session was produced by Jeff Griffin and engineered
by Chris Lycett and John Etchells. BBC Radio 1 broadcast the session on
Alan Black's Sounds Of The 70s on August 13, 1973. As with Session 1, Queen's
second session used the album's backing track for this song and a new lead
vocal recorded by Freddie. Again, like Session 1, this version is not much
of a departure from the album version.
Keep Yourself Alive (BBC Session 2 with DJ Chatter)
3:56
Appears on: On
Air - Deluxe Edition, Queen
I Collector's Edition Box Set
The deluxe 6 CD edition of 2016's "On Air" includes additional
dialogue from the various radio presenters on most BBC session songs. At
the end of the song Alan Black comments that Queen's session is excellent
and there are fine writers in the band. He gives Brian credit for writing
Keep Yourself Alive and mentions their new album is out now.
Keep Yourself Alive (De Lane Lea Demo) 3:51
Appears on: UK/US
2011 Queen Deluxe CD, De
Lane Lea Demos acetate
Recorded during studio downtime in December 1971, the De Lane Lea Demos
are the first Queen studio recordings. The only known original source is
Brian May's own 12" acetate. The De Lane Lea Demo of Keep Yourself
Alive begins with the needle hitting the acetate; giving it an authentic
and special feel. The intro is on acoustic guitar before the Red Special
takes over. The fade-out ending is similar to the album version.
Keep Yourself Alive (De Lane Lea Demo - 2024 Mix)
3:50
Appears on: Queen
I Collector's Edition Box Set
For the 2024 Mixes, Queen went right back to the original master tapes,
including for De Lane Lea demos, where the previous 2011 release sourced
Brian May's own acetate pressing. This remix allowed for more of the original
performance to come through. The track starts with Brian's acoustic guitar
at full volume, where the acetate faded in, and the rest of the track stays
close to the original mix. The clarity of this mix, though, really highlights
the energy of the song and the fun they had recording it, so it's not surprising
that the band held this recording as the standard when working on the debut
album.
Keep Yourself Alive (Trident Take 13 - Unused Master)
4:20
Appears on: Queen
I Collector's Edition Box Set
A leaked version of this take has been floating around , commonly titled
'Early Trident Version,' taken from an acetate pressing of the album. That
version is a slightly different mix and includes fades at the beginning
and end, whereas this version released in 2024 is the full, uncut take.
The band, and Brian in particular, ultimately never liked this version and
later convinced producer Roy Thomas Baker to redo the track yet again (and
that later Trident attempt would result in the final album version). The
track starts with some tape winding to cue up the backing track, as well
as some studio banter and Roger marking time for Brian's opening acoustic
guitar part. This is the final take, intended for the album (before the
band objected), complete with lead guitar, lead vocal and backing vocals.
At the end of of the take, Fredde sighs, "Deary me," perhaps prophetically,
considering the fate of this master was to be shelved.
Keep Yourself Alive (Trident Studios Early Version)
3:51
Appears on: Unreleased
This alternative take of Keep Yourself Alive originated from a 12"
acetate of the first Queen album. The orange album sleeve that encases the
acetate is plain, but does have "Queen" written on it in ink and
the Trident logo in the top left-hand corner. This early version shows the
progression from the De Lane Lea version towards the final album version.
Brian May described this version as "awful" in a BBC Radio One
1983 interview. Produced by Roy Thomas Baker, this shelved version is a
bit over-produced but is still a nice alternative.
Keep Yourself Alive (Withdrawn UK 7'' Promo Mix)
3:49
Appears on: UK
Keep Yourself Alive 7" promo vinyl (withdrawn)
In the UK, Keep Yourself Alive was originally to be released on June 15,
1973 and 7" promo vinyl copies were pressed for demonstration purposes.
What was discovered on these promo copies however, was the wrong mix of
the song was used. All incorrect pressings were taken back from DJs and
presumably destroyed. A new release date was given for Keep Yourself Alive
of July 6, 1973 and correct promo vinyl discs were pressed and distributed.
John Ingham, a former EMI Press officer, kept 14 copies, the only known
copies to exist. So, how do you spot one of these rare copies? The label
is dated 15.6.73 directly above the large letter A for A-side. For more
information, check out the excellent article at
QueenMuseum.com.
Keep Yourself Alive (Long Lost Re-take) 4:04
Appears on: Queen
Hollywood Remaster (1991), UK
Keep Yourself Alive 7" acetate vinyl, US
Keep Yourself Alive 25th Anniversary promo CD, UK/US
2011 A Night At The Opera Deluxe CD
The Long Lost Re-take is a completely different take than the album version,
recorded in 1975 for a possible US single release. As it turns out, an edit
of the regular album version was released instead. This reworked version
was first released on the Queen I remaster by Hollywood Records in 1991
and has been recently discovered on an acetate record. Recommended just
for the sake of hearing something different.
Keep Yourself Alive (Short Lost Re-take) 3:29
Appears on: UK
Keep Yourself Alive 7" acetate vinyl
Coming from the same acetate as the "Long Lost Re-take," this
edit remains unreleased. Thirty seconds have been taken off the full version
by means of an earlier fade-out, the intro being cut, and bits around the
drum solo being edited.
Doing All Right
Doing All Right (Album Version)
4:09
Appears on: Queen,
Track 2
Doing All Right (2024 Mix) 4:10
Appears on: Queen
I, Queen
I Collector's Edition Box Set
One of the song from the album that really showcased Freddie's piano and
Brian's acoustic guitar playing, both really get their due in the new mix
of the softer movements of the track. The stereo channels are a bit better
balanced in terms of the placement of the instruments, also, and the harder
rock sections really do fill the room.
Doing All Right (2024 Mix - Backing Track) 4:10
Appears on: Queen
I Collector's Edition Box Set
This version is mostly instrumental track that retains the backing vocals,
which works well, particularly at the end.
Doing All Right (BBC Session 1) 4:13
Appears on: At
The Beeb, On
Air
Queen's first BBC Radio session was recorded on February 5, 1973 at Langham
1 Studio in London. The session was produced by Bernie Andrews and engineered
by John Etchells. BBC Radio 1 broadcast the session on John Peel's Sounds
Of The 70s on February 15, 1974. This first BBC session was organized by
Trident productions to promote the band a full five months before the release
of their first album. All of the songs on BBC Session 1 started with the
backing tracks that were in progress for the album. New lead vocals were
overdubbed onto these backing tracks along with some guitar here and there.
So, the final broadcasted product was a mixture of Trident Studios and Langham
1 recordings. Freddie's lead vocal performance is done in a style similar
to the final album version. Unlike the album version, Roger sings lead vocals
on the final verse. This session saw its first official release in 1989
on "At The Beeb" from the Band Of Joy label.
Doing All Right (BBC Session 1 with DJ Chatter)
4:17
Appears on: On
Air - Deluxe Edition, Queen
I Collector's Edition Box Set
The deluxe 6 CD edition of 2016's "On Air" includes additional
dialogue from the various radio presenters on most BBC session songs. At
the end of the song John Peel comments that he's seen the photos and this
was Queen with Doing All Right.
Doing All Right (BBC Session 1 - 1995 Stereo Swap)
4:10
Appears on: At
The BBC, UK
Let Me Live CD single - Part 2
To capitalize on the success of The Beatles Live At The BBC, Hollywood Records
released "At The BBC". Previously available in the UK as "At
The Beeb", this release features recordings from Queen's first and
third sessions at Lanham 1 Studio in London. On this CD release, the left
and right stereo channels have been accidentally swapped. This version was
later used for the second CD single release of Let Me Live in the UK.
Doing All Right (Trident Take 1 - with Guide Vocal)
4:25
Appears on: Queen
I Collector's Edition Box Set
Take 1 is the band's first attempt at the bed track for the drum and bass
parts. Freddie sings a very light, almost ethereal guide vocal and Brian
plays acoustic guitar in the place of what would become the piano part on
the final album, much like the earlier Smile version. It's hard to say whether
any of this take made it into the final version, but it's great to hear
this earliest Queen version, as it was one of the oldest songs in their
repertoire and they seemed to know what direction they were going to take
it beyond the Smile cut.
Doing All Right (Live In San Diego - March 1976)
5:31
Appears on: Queen
I Collector's Edition Box Set
Continuing the nostalgic journey that night in San Diego, Queen performed
this deep cut on the Opera tour. This is a great performance and another
jewel on the 2024 Queen boxed set. The band don't hold back and the track
shines as a result. Done live, it also retains more of its raw Smile feel
in places, which is really nice to hear.
Great King Rat
Great King Rat (Album Version) 5:43
Appears on: Queen,
Track 3
Great King Rat (2024 Mix) 5:45
Appears on: Queen
I, Queen
I Collector's Edition Box Set
The original album mix of this track was one of the ones which suffered
the most from the flat Trident drum sound. In this re-mix, they are resurrected
and now sound crisp and sharp. They are also no longer hard-panned to the
far left and right in the mix, but eventy spaced toward the centre of the
mix. The guitar layers are more nuanced and Freddie's vocals also sound
much clearer, so we get to hear more of the grit and edge in his delivery.
You also may not have caught Freddie singing "Dirty old man...Dirty only
man" at the start of the guitar solo in the original mix, but you can't
miss it here. A final treat in this version is the closing drum part. Instead
of fading out, we get to hear Roger's complete performance at full volume
right to the end.
Great King Rat (Preliminary Mix) 5:43
Appears on: Queen
Hollywood Remaster (1991), Queen
EMI Remaster (1994)
For any new release, the best available source is preferable. EMI did not
know where the first generation stereo master tapes were stored, so the
1986 and 1988 CD releases of Queen CD's used production masters for their
source. The production masters were stored at Abbey Road and easily obtainable.
Production masters were tapes created for the cutting of the original vinyl
records. The process, as Brian May explained in an issue of the Fan Club
Magazine, is as follows; the stereo master tapes of each track were taped
together and all recorded onto one long production master tape. That production
master tape would be the easiest way to cut to vinyl. The quality, however,
would be one generation removed from the stereo master of each individual
track. These production masters were used for the very first Queen CD releases,
which explains their "hissy" sound. In 1990, Queen retrieved their original
stereo master tapes and found some had been lost or damaged over time. Some
tracks from Queen I, Flash Gordon, and Live Killers had some damage. When
it came time for Eddy Schreyer to remaster the album for Hollywood Records'
1991 release, the best source was preferable. Great King Rat from the first
generation stereo master-mix had a tape dropout three minutes into the song,
which would have been very noticable. Since the first generation master-mix
of Great King Rat was not available, the next best thing was used; a first
generation source from a mix close to the final version. As a result, a
preliminary mix of Great King Rat was used for Schreyer's Queen remaster.
The performance is the same as the album version, but the mix is different.
This preliminary mix is unbalanced; there are silences in the left channel
on half of the guitar intro and in the right channel during the acoustic
break in the middle. Also of note, later releases of Queen do have the real
album version of Great King Rat from the "best available sources." The real
album version that appears on the 2001 and 2011 remasters is from a safety
copy, which is not ideal, but is cleaned up using current noise reduction
technology. Also of note, Schreyer's remaster was also used for the 1994
Digital Master Series.
Great King Rat (2024 Mix - Backing Track) 5:45
Appears on: Queen
I Collector's Edition Box Set
Not only does this mix retain the backing vocals, but also some of Freddie's
multitracked vocal parts, so we get to hear some of the things he was singing
underneath lead vocal.
Great King Rat (BBC Session 3) 5:57
Appears on: At
The Beeb, On
Air
Queen's third BBC Radio session was recorded on December 3, 1973 at Langham
1 Studio in London. The session was produced by Bernie Andrews and engineered
by Nick Griffiths. BBC Radio 1 broadcast the session on John Peel's Sounds
Of The 70s on December 6, 1973. Unlike some of their other sessions the
band did not use any existing backing tracks, instead they opted to record
all new versions in Langham 1. The Session 3 version starts with great heavy
guitar effects. The drum sound is very tight with no echo or reverb. The
middle drum part is a bit more colorful in this version than any other.
Freddie's vocal delivery is good, but not as strong as the album version.
Great King Rat (BBC Session 3 with DJ Chatter) 5:57
Appears on: On
Air - Deluxe Edition, Queen
I Collector's Edition Box Set
The deluxe 6 CD edition of 2016's "On Air" includes additional
dialogue from the various radio presenters on most BBC session songs. At
the end of the song John Peel says that was Great King Rat by Queen.
Great King Rat (BBC Session 3 - 1995 Stereo Swap)
5:56
Appears on: At
The BBC
To capitalize on the success of The Beatles Live At The BBC, Hollywood Records
released "At The BBC". Previously available in the UK as "At
The Beeb", this release features recordings from Queen's first and
third sessions at Lanham 1 Studio in London. On this CD release, the left
and right stereo channels have been accidentally swapped.
Great King Rat (De Lane Lea Demo) 6:09
Appears on: UK/US
2011 Queen Deluxe CD, De
Lane Lea Demos acetate
Recorded during studio downtime in December 1971, the De Lane Lea Demos
are the first Queen studio recordings. The only known original source is
Brian May's own 12" acetate. Like the other De Lane Lea Demos, this
version is a bit less produced and more raw than the album take. The middle
drum part (at around 2:40) is a bit different to the final version. Freddie's
vocals are good, but not as impressive as the final version. The track ends
with the drum roll.
Great King Rat (De Lane Lea Demo - 2024 Mix) 6:13
Appears on: Queen
I Collector's Edition Box Set
Similar to the "Keep Yourself Alive" demo, this mix does not fade in as
it does on the original acetate, so we get to hear the full opening guitar.
Likewise, the track does not fade out at the end, so we hear the complete
flanged drum roll outro. This also adds a few extra seconds to the track.
Great King Rat (De Lane Lea Take 1 - with Guide
Vocal) 5:48
Appears on: Queen
I Collector's Edition Box Set
This first take of the song sees the band laying down a bed track of drums,
bass and acoustic guitar, with Freddie singing a rough guide vocal to keep
the band in sync, so that everyone knows where they are in the song (so
what sound like him messing up the lyrics is more accurately him just focusing
on marking time for the benefit of Roger, John and Brian's playing. Hence
it being just a guide vocal. It's neat to hear count the different parts
along and sing the electric guitar parts, which haven't been recorded yet.
The backing track itself sounds close to the finished De Lane Lea Demo version,
but there are some differences, like the longer acoustic and electric guitar
solo parts in the final cut compared to this take, so it's possible some
of this take was preserved in the final mix.
Great King Rat (Take 1) 3:48
Appears on: Unreleased
This track premiered at the 19th International Fan Club Convention in Prestatyn.
Freddie Mercury counts-in to begin the take. The lyrics are not finished,
but are beginning to develop The track goes up to the bridge when Freddie
counts-out.
Great King Rat (Take 4) 6:29
Appears on: Unreleased
This track premiered at the 20th International Fan Club Convention in Prestatyn.
From the Queen sessions, Trident Studios, 1973. This take is fairly different
but similar to the album version. The track is developed more fully than
on Take 1. It doesn't appear than any of the bits from this take survived
to the final version.
My Fairy King
My Fairy King (Album Version) 4:08
Appears on: Queen,
Track 4
My Fairy King (2024 Mix) 4:11
Appears on: Queen
I, Queen
I Collector's Edition Box Set
Being the album's most studio-experimental track in terms of layered vocals
and instrumentation, "My Fairy King" gets a lot out of its new mix. The
lead and backing vocal spread allows them to be much clearer, especially
in the parts where they really overtap each other. The previously flat drums
in the original mix now pop and feel more alive, the different layers of
guitar better play off each other and the piano has much more richness to
it.
My Fairy King (2024 Mix - Backing Track) 4:11
Appears on: Queen
I Collector's Edition Box Set
Moreso than any other song on the album, "My Fairy King" made extensive
use of layered backing vocals and harmonies. From Roger's screams throughout
to the whispery voices and haunting multitracked parts, this mix is a feast
for the ears.
My Fairy King (BBC Session 1) 4:09
Appears on: At
The Beeb, On
Air
Queen's first BBC Radio session was recorded on February 5, 1973 at Langham
1 Studio in London. The session was produced by Bernie Andrews and engineered
by John Etchells. BBC Radio 1 broadcast the session on John Peel's Sounds
Of The 70s on February 15, 1974. This first BBC session was organized by
Trident productions to promote the band a full five months before the release
of their first album. All of the songs on BBC Session 1 started with the
backing tracks that were in progress for the album. New lead vocals were
overdubbed onto these backing tracks along with some guitar here and there.
So, the final broadcasted product was a mixture of Trident Studios and Langham
1 recordings. Freddie's vocal performance is unique enough to differentiate
this version from the final album release. This session saw its first official
release in 1989 on "At The Beeb" from the Band Of Joy label.
My Fairy King (BBC Session 1 with DJ Chatter) 4:17
Appears on: On
Air - Deluxe Edition, Queen
I Collector's Edition Box Set
The deluxe 6 CD edition of 2016's "On Air" includes additional
dialogue from the various radio presenters on most BBC session songs. At
the end of the song John Peel comments this is the group's first broadcast
as he announces the song title. John Peel was correct in his statement,
this broadcast of My Fairy King is the first Queen song ever to be broadcast.
My Fairy King (BBC Session 1 - 1995 Stereo Swap)
4:06
Appears on: At
The BBC, UK
Let Me Live CD single - Part 2
To capitalize on the success of The Beatles Live At The BBC, Hollywood Records
released "At The BBC". Previously available in the UK as "At
The Beeb", this release features recordings from Queen's first and
third sessions at Lanham 1 Studio in London. On this CD release, the left
and right stereo channels have been accidentally swapped. This version was
later used for the second CD single release of Let Me Live in the UK.
My Fairy King (BBC Session 1 - Acetate Edit) 3:52
Appears on: My
Fairy King acetate
This acetate pressing of the My Fairy King BBC Session 1 take fades in roughly
16 seconds into the beginning of the track.
My Fairy King (Trident Backing Track In Development)
6:03
Appears on: Queen
I Collector's Edition Box Set
This song wasn't part of Queen's live set, so here we find the band putting
together the backing track seemingly through some trial and error, fine
tuning each section as they go. They work through the first two thirds,
with the slow "mother Mercury" section yet to emerge, at least in this set
of takes. There are some false starts, but also some very strong parts in
each of the takes, some of which sound close or identical to the final version.
Liar
Liar (Album Version) 6:25
Appears on: Queen,
Track 5
Liar (2024 Mix) 6:26
Appears on: Queen
I, Queen
I Collector's Edition Box Set
The 2024 Mix goes big with "Liar," giving the song the grand scale it deserves.
The drums are no longer dulled down and each tom, snare and bass hit is
distinctive and powerful alongside the wide multitracked guitars. The lead
vocals get a push upwards, sitting higher in the mix so that we feel every
snarl and sneer from Freddie. The restored bongos during the "All day long!"
section may sound familiar. In the original mix they are quite low, almost
inaudible, but they previously made a full appearance in in 1991 Luongo
& Hellman bonus remix for the Holywood Records re-issue. It's great to hear
them again in this mix.
Liar (US Single Edit) 3:03
Appears on: US
Liar 7" vinyl, US
Liar 7" vinyl promo, US
Killer Queen (Spun Gold) 7" vinyl
This is edit of Liar may possibly be the worst Queen edit. Most of the Elektra
edits were not sanctioned by Queen and this one in particular has been mentioned
in interviews as a big disappointment. A butchering would be a more appropriate
description. The edit begins at 1:13 into the song, cuts from 2:14 through
3:27, picks up 3:28 through 3:44, cuts 3:45 through 4:17, plays 4:18 through
about 4:57, cuts 4:58 through 5:31, and plays the rest of the song from
that point onward. The 7" promo vinyl is hard to find and has become
a collector's item.
Liar (2024 Mix - Backing Track) 6:26
Appears on: Queen
I Collector's Edition Box Set
With no backing vocals at all, the track works amazingly well as a pure
instrumental number. And some of the parts, like the "All day long" section,
take on a bit of a different character now completely stripped down.
Liar (BBC Session 1) 6:30
Appears on: At
The Beeb, On
Air
Queen's first BBC Radio session was recorded on February 5, 1973 at Langham
1 Studio in London. The session was produced by Bernie Andrews and engineered
by John Etchells. BBC Radio 1 broadcast the session on John Peel's Sounds
Of The 70s on February 15, 1974. This first BBC session was organized by
Trident productions to promote the band a full five months before the release
of their first album. All of the songs on BBC Session 1 started with the
backing tracks that were in progress for the album. New lead vocals were
overdubbed onto these backing tracks along with some guitar here and there.
So, the final broadcasted product was a mixture of Trident Studios and Langham
1 recordings. Freddie's lead vocal performance deviates in quite a few places
from the final album version, making this recording an interesting alternative.
This session saw its first official release in 1989 on "At The Beeb"
from the Band Of Joy label.
Liar (BBC Session 1 with DJ Chatter) 6:38
Appears on: On
Air - Deluxe Edition, Queen
I Collector's Edition Box Set
The deluxe 6 CD edition of 2016's "On Air" includes additional
dialogue from the various radio presenters on most BBC session songs. At
the end of the song John Peel comments that Queen have an LP coming out
soon and this was the last track, Liar.
Liar (BBC Session 1 - 1995 Stereo Swap) 6:28
Appears on: At
The BBC, UK
Let Me Live CD single - Part 2
To capitalize on the success of The Beatles Live At The BBC, Hollywood Records
released "At The BBC". Previously available in the UK as "At
The Beeb", this release features recordings from Queen's first and
third sessions at Lanham 1 Studio in London. On this CD release, the left
and right stereo channels have been accidentally swapped. This version was
later used for the second CD single release of Let Me Live in the UK.
Liar (BBC Session 1 - Acetate Edit) 5:09
Appears on: Liar
acetate
This acetate pressing of the Liar BBC Session 1 take fades in roughly 1:19
into the beginning of the track, which removes the entire guitar intro.
Liar (BBC Session 2) 6:29
Appears on: On
Air
Queen's second BBC Radio session was recorded on July 23, 1973 at Langham
1 Studio in London. The session was produced by Jeff Griffin and engineered
by Chris Lycett and John Etchells. BBC Radio 1 broadcast the session on
Alan Black's Sounds Of The 70s on August 13, 1973. As with Session 1, Queen's
second session used the album's backing track for this song and a new lead
vocal recorded by Freddie. Again, like Session 1, this version is not much
of a departure from the album version but a good alternative.
Liar (BBC Session 2 w/ DJ Chatter) 6:37
Appears on: On
Air - Deluxe Edition, Queen
I Collector's Edition Box Set
The deluxe 6 CD edition of 2016's "On Air" includes additional
dialogue from the various radio presenters on most BBC session songs. At
the end of the song Alan Black comments there are not many bands as strong
vocally and musically as Queen.
Liar (De Lane Lea Demo) 7:54
Appears on: UK/US
2011 Queen Deluxe CD, De
Lane Lea Demos acetate
Recorded during studio downtime in December 1971, the De Lane Lea Demos
are the first Queen studio recordings. The only known original source is
Brian May's own 12" acetate. The track starts with an awesome opening
drum part, sounding much more full than the album cut. Features great extra
guitar work by Brian, including guitar solos that later appear in Great
King Rat and Brighton Rock (that solo seems to show up everywhere). Backing
vocals are a bit flat, although Freddie's vocals sound good. A nice extended
version of the track and worth finding for the guitars alone.
Liar (De Lane Lea Demo - 2024 Mix) 8:00
Appears on: Queen
I Collector's Edition Box Set
Like the "Keep Yourself Alive" and "Great King Rat" 2024 demo mixes, "Liar"
starts at full volume, rather than the fade in heard on the acetate, so
we get to hear all of Roger's performance. And like "Jesus," this track
also benefits a lot from the new mix, as there's just so much going on that
we didn't get to hear properly before now. One the best things, too, is
that John's bass run during the "All day long!" jam is given more of a spotlight,
which it definitely deserves.
Liar (Trident Take 1 - Unused Master) 6:49
Appears on: Queen
I Collector's Edition Box Set
Another unexpected treat from the 2024 Queen I release is this Unused Master
of "Liar." This a completed recording, with the backing vocals, multitracked
Freddie vocals and all, but is very much not the final album cut. Instead,
it's an entirely different performance, one the band would ultimately abandon
in favour of re-recording the song from scratch, it seems, much like they
did with "Keep Yourself Alive." And like the first Trident attempt at "Keep
Yourself Alive, this version of "Liar" is a lot more playful, downright
jaunty at times, and lacking the harder edge and more serious tone of the
final album version. It's an interesting alternative, though, and a fascinating
glimpse into the band's first foray into making an album.
Liar (John Luongo and Gary Hellman Remix) 6:26
Appears on: Queen
Hollywood Remaster (1991)
Hollywood Records commissioned various producers and engineers to remix
songs from the Queen catalog for their 1991 re-release campaign. John Luongo
(producer, remixer) and Gary Hellman (Engineer) were asked to remix Liar
as a bonus track for the Queen I album. The 1991 bonus remix of Liar is
one of the better Hollywood Records remixes. The track is not much different
than the album version, but does feature some extra procussion.
Liar (The eYe Version)
Appears on: Queen:
The eYe
From the Electronic Arts videogame, Queen: The eYe. An edit of the album
version, simply consisting of the first minute and a half of the song. Note
that this version appears twice in The eYe.
Official Queen Archivist Greg Brooks on the Liar
sessions: There are few takes in the archive and those which
have survived are only marginally different to the familiar cut. Nothing
survives from the early demo period, or with alternative lyrics - which
is more or less true of the whole album. What did emerge, during the research
for the forthcoming Queen rarities collection was that 'Liar', without lead
and backing vocals, is an extraordinarily different beast. This is true
of most Queen material, but most noticeably here. There's a great deal going
on behind which cannot properly be heard in the master mix, particularly
in the regard of the lead and bass guitars - but then Deacon's innovative
bass was always largely overlooked. - Record Collector, June 2002
The Night Comes Down
The Night Comes Down (Album Version)
4:23
Appears on: Queen,
Track 6
The Night Comes Down (2024 Mix) 4:21
Appears on: Queen
I, Queen
I Collector's Edition Box Set
The first track released in advance of the Queen I 2024 Mix gave fans a
taste of what to expect from that release. As described in the press material,
this and the rest of the album was a "complete rebuild" from the original
master tapes. In this case, that would be the 1971 De Lane Lea Demo session
tracks, making this a bold choice for lead single, being one of their oldest
studio recordings. And because it dates so far back, the rebuilding and
remixing work is probably the most striking of the Queen I tracks compared
to its original De Lane Lea acetate and the standard album version. This
made fans sit up and take notice, for sure. The clarity of each instrument
and the breadth of space really grabs you with this mix. And because this
song wasn't recorded at Trident Studios, the drum already had a sharp presence,
but the track goes further still to separate their placement around you.
It's especially noticeable when those first beats come in after the opening
guitar intro.
The Night Comes Down (2024 Mix - Single Version)
3:28
Appears on: The
Night Comes Down 7" single (2024)
The new mix of The Night Comes Down was released on October 4, 2024 in advance
of the Queen I release. The single version of the 2024 Mix is an edit of
the full track. It removes the long intro, so the song starts with the first
drum hits. A bit more acoustic guitar is then removed from the opening,
so Freddie comes in a bar sooner. After that, the track continues as normal
through to the end. This version was also used for the music video.
The Night Comes Down (2024 Mix - Backing Track)
4:21
Appears on: Queen
I Collector's Edition Box Set
This is the full backing track, which is mostly instrumental, but also includes
the backing vocals. This track also first appeared on the 7" single preceding
the 2024 Queen I release, giving fans another glimpse at what was to come
in the boxed set.
The Night Comes Down (De Lea Lane Demo) 4:23
Appears on: UK/US
2011 Queen Deluxe CD, De
Lane Lea Demos acetate
Recorded during studio downtime in December 1971, the De Lane Lea Demos
are the first Queen studio recordings. The only known original source is
Brian May's own 12" acetate. The De Lane Lea performance of The Night
Comes Down was later mixed again at Trident for use as the final album version.
The Night Comes Down (De Lane Lea Demo - 2024 Mix)
4:23
Appears on: Queen
I Collector's Edition Box Set
Having chosen not to re-record this song for the debut album, the band instead
re-mixed the De Lane Lea demo recording. Likewise, for the 2024 Mix, the
new album version was again mixed to fit the scale of the other tracks.
Here, however, they stay true to the original demo mix while allowing the
different elements to stand out more than they could on the acetate.
The Night Comes Down (De Lane Lea Takes 1 &
2 - with Guide Vocal) 5:33
Appears on: Queen
I Collector's Edition Box Set
Take 1 is a false start, as Brian stops during the opening acoustic guitar,
having hit a wrong note. The band chat about it and each practice a few
bits before starting Take 2, which is full run through. Freddie's guide
vocal is the complete song, though sung much differently in places. It ends
with the band preparing for Take 3 and Freddie yelling to Brian to "Shut
up" as the guitarist noodles away on the strings. Interestingly, because
the Queen Collector's Edition includes the instrumental of the 2024 Mix
of the song, we can compare the final backing track to these takes. It sounds
an awful lot like a few elements from Takes 1 and 2 survived into the final
version, particularly the opening drum part from Roger (Take 1), some of
Brian's acoustic guitar from both takes, and possibly some of Roger's drum
parts from the body of the song (Take 2).
The Night Comes Down (The eYe Version) 0:48
Appears on: Queen:
The eYe
From the Electronic Arts videogame, Queen: The eYe. An edit of the album
version, using the instrumental opening part of the song (before the first
verses begin).
Modern Times Rock 'n' Roll
Modern Times Rock 'n' Roll (Album
Version) 1:48
Appears on: Queen,
Track 7
Modern Times Rock 'n' Roll (2024 Mix) 1:48
Appears on: Queen
I, Queen
I Collector's Edition Box Set
The second track issued prior to the Queen I release was Roger Taylor's
first songwriting venture with the band. The new mix brightens up the sound
overall and broadens the sonic field for the instruments, as well as making
background elements like the piano glissando at the second verse more present
(and the previously unheard wail after the chorus is a great touch).
Modern Times Rock 'n' Roll (2024 Mix - Backing Track)
1:48
Appears on: Queen
I Collector's Edition Box Set
The "Modern Times!" backing vocals remain, as does John Anthony's "Look
out!" at the end. The version that appeared on The eye video game in 1997
was the full instrumental mix, so the 2024 Mix gives us something different.
Modern Times Rock 'n' Roll (BBC Session 3) 2:02
Appears on: At
The Beeb, On
Air
Queen's third BBC Radio session was recorded on December 3, 1973 at Langham
1 Studio in London. The session was produced by Bernie Andrews and engineered
by Nick Griffiths. BBC Radio 1 broadcast the session on John Peel's Sounds
Of The 70s on December 6, 1973. Unlike some of their other sessions the
band did not use any existing backing tracks, instead they opted to record
all new versions in Langham 1. Roger handles lead vocals on this one, just
like the album version. The tempo is a bit more frenetic, featuring faster
drumming and heavier guitar.
Modern Times Rock 'n' Roll (BBC Session 3 with DJ
Chatter) 2:06
Appears on: On
Air - Deluxe Edition, Queen
I Collector's Edition Box Set
The deluxe 6 CD edition of 2016's "On Air" includes additional
dialogue from the various radio presenters on most BBC session songs. At
the end of the song John Peel comments that he's never seen Queen live but
would like to.
Modern Times Rock 'n' Roll (BBC Session 3 - 1995
Stereo Swap) 2:00
Appears on: At
The BBC
To capitalize on the success of The Beatles Live At The BBC, Hollywood Records
released "At The BBC". Previously available in the UK as "At
The Beeb", this release features recordings from Queen's first and
third sessions at Lanham 1 Studio in London. On this CD release, the left
and right stereo channels have been accidentally swapped.
Modern Times Rock 'n' Roll (BBC Session 4) 2:47
Appears on: On
Air
Queen's fourth BBC Radio session was recorded on April 3, 1974 at Langham
1 Studio in London. The session was produced by Pete Ritzema and engineered
by John Sparrow. BBC Radio 1 broadcast the session on Bob Harris' Sounds
Of The 70s on April 15, 1974. This take may be the best officially released
studio performance of Modern Times Rock 'n' Roll. Overall, the song's tempo
is slower and more deliberate. Brian does some excellent guitar work throughout
the track. Roger's lead vocal performance is in fine form, rivaling the
album version. Freddie even comes in to add some surprise backing vocals
at around the 2 minute mark.
Modern Times Rock 'n' Roll (BBC Session 4 with DJ
Chatter) 2:53
Appears on: On
Air - Deluxe Edition, Queen
I Collector's Edition Box Set
The deluxe 6 CD edition of 2016's "On Air" includes additional
dialogue from the various radio presenters on most BBC session songs. Bob
Harris introduces the song at the beginning of the track. At the end of
the song, Bob Harris comments this is the first of three songs on that evening's
program. It is interesting that he comments that this is the first of three,
not four songs for the evening. The March Of The Black Queen was played
that evening, but was not recorded during the BBC Sessions, rather the album
version was played with a fade-out.
Modern Times Rock 'n' Roll (Trident Takes 8 &
9) 2:51
Appears on: Queen
I Collector's Edition Box Set
Take 8 is a false start, followed by some studio banter as the band and
Trident crew fix Roger's bass drum monitor levels. Baker calls for another
take "straight away" (which could be partly because these sessions were
taking place during the studio's off-hours and time was very limited for
each session). Take 9 is a full run through of the bed track (drums, bass
amd rhythm guitar), which sounds pretty similar to the final album version.
Neither Roger or Freddie sing a guide vocal, so this is a mostly instrumental
take (though Freddie does mark the musical break for the chorus in the middle).
Modern Times Rock 'n' Roll (The eYe Version) 1:44
Appears on: Queen:
The eYe
From the Electronic Arts videogame, Queen: The eYe. A full instrumental
version of the album version. Slightly repetitive, but neat to hear.
Son And Daughter
Son And Daughter (Album Version)
3:20
Appears on: Queen,
Track 8
Son And Daughter (2024 Mix) 3:23
Appears on: Queen
I, Queen
I Collector's Edition Box Set
Always a heavy blues rocker, this mix absolutely growls with intensity,
Brian's guitars and Freddie's vocals especially. As with some of the other
tracks on the 2024 Mix, a few strategically placed echoes on his voice drive
the point home.
Son And Daughter (Australian Censored Single Version)
3:12
Appears on: Australian
Keep Yourself Alive 7" vinyl
From a 1974, this Australian censored version of Son And Daughter appeared
on the first Keep Yourself Alive 7" available in the country. Because
of the use of the word "shit", two verses were completely edited
out of the song. The lines "the world expects a man to buckle down
and shovel shit" have been edited out.
Son And Daughter (2024 Mix - Backing Track) 3:23
Appears on: Queen
I Collector's Edition Box Set
Like "Liar" and "Keep Youself Alive," this is the full instrumental backing
track. It retains all of the intensity and power of the 2024 album mix,
and the tension in the break at the 2:13 mark is palpable.
Son And Daughter (BBC Session 2) 6:03
Appears on: On
Air
Queen's second BBC Radio session was recorded on July 23, 1973 at Langham
1 Studio in London. The session was produced by Jeff Griffin and engineered
by Chris Lycett and John Etchells. BBC Radio 1 broadcast the session on
Alan Black's Sounds Of The 70s on August 13, 1973. This is a very strong
version of the track, featuring great, heavy performances from everyone
in the band. Instead of the "shovel shit" lyric, Freddie sings
"shovel shhhh...". Not surprisingly, a bit of the Brighton Rock
guitar solo appears during Brian's guitar bit with some additional guitar
effects. Roger provides a spoken interlude partway through the instrumental
solo, saying "steel yourself, this is valid".
Son And Daughter (BBC Session 2 with DJ Chatter)
6:14
Appears on: On
Air - Deluxe Edition, Queen
I Collector's Edition Box Set
The deluxe 6 CD edition of 2016's "On Air" includes additional
dialogue from the various radio presenters on most BBC session songs. At
the end of the song Alan Black comments that the song is high energy and
the band has been holding back until they feel they are ready and that time
has arrived.
Son And Daughter (BBC Session 3) 7:13
Appears on: At
The Beeb, On
Air
Queen's third BBC Radio session was recorded on December 3, 1973 at Langham
1 Studio in London. The session was produced by Bernie Andrews and engineered
by Nick Griffiths. BBC Radio 1 broadcast the session on John Peel's Sounds
Of The 70s on December 6, 1973. Unlike some of their other sessions the
band did not use any existing backing tracks, instead they opted to record
all new versions in Langham 1. Freddie's vocals aren't as dynamic here as
in other versions. Instead of the "shovel shit" lyric, Freddie
sings "shovel shhhh..." and "shovel it" respectively.
Like the BBC Session 2 version the Brighton Rock solo appears during Brian's
much extended guitar bit.
Son And Daughter (BBC Session 3 with DJ Chatter)
7:17
Appears on: On
Air - Deluxe Edition, Queen
I Collector's Edition Box Set
The deluxe 6 CD edition of 2016's "On Air" includes additional
dialogue from the various radio presenters on most BBC session songs. At
the end of the song John Peel comments that's the last song from Queen and
they sound nutters.
Son And Daughter (BBC Session 3 - 1995 Stereo Swap)
7:08
Appears on: At
The BBC
To capitalize on the success of The Beatles Live At The BBC, Hollywood Records
released "At The BBC". Previously available in the UK as "At
The Beeb", this release features recordings from Queen's first and
third sessions at Lanham 1 Studio in London. On this CD release, the left
and right stereo channels have been accidentally swapped.
Son And Daughter (Trident Takes 1 & 2 - with
Guide Vocal) 4:22
Appears on: Queen
I Collector's Edition Box Set
There are a few interesting things to note in this track. Take 1 is false
start, but Take 2 is a run through of the bed track (drums, bass and guitar).
Freddie sings a guide vocal and the second verse is almost entirely different.
As this song had been in Queen's set list for a while by this point, it's
hard to know if these are original, early lyrics, or if Freddie simply forgot
the standard lyrics and made something up on the spot. Another interesting
thing to hear is the extended outro. By the time of the second BBC session
a year later, "Son And Daughter" would house Brian's guitar solo, pre-"Brighton
Rock." The final album version doesn't contain it, with the outro fading
out, but this take has the band playing on much as they did live, but ending
just about where you'd expect the solo to kick in.
Jesus
Jesus (Album Version) 3:44
Appears on: Queen,
Track 9
Jesus (2024 Mix) 3:42
Appears on: Queen
I, Queen
I Collector's Edition Box Set
From the opening drum roll (not heard in the original mix), to the layered
guitar extravaganza in the second half, to the cleaner lead and backing
vocal mix, the top-to-bottom overhaul of this track completely elevates
it.
Jesus (2024 Mix - Backing Track) 3:42
Appears on: Queen
I Collector's Edition Box Set
A mostly insrumental track, this version retains the backing vocals for
the chorus, which works well, especially for the end, where the druma, bass
and guitar each drop away under the last "All going down."
Jesus (De Lane Lea Demo) 5:06
Appears on: UK/US
2011 Queen Deluxe CD, De
Lane Lea Demos acetate
Recorded during studio downtime in December 1971, the De Lane Lea Demos
are the first Queen studio recordings. The only known original source is
Brian May's own 12" acetate. The De Lane Lea demo of Jesus is longer
and arguably a suppier performance to the album version. The guitars are
much heavier and a long guitar solo is added. After being bootlegged for
years, this performance finally was released on 2011's deluxe edition of
Queen.
Jesus (De Lane Lea Demo - 2024 Mix) 5:06
Appears on: Queen
I Collector's Edition Box Set
This is one of the demos that benefits the most from its new mix. While
the placement of the instruments and vocals stays close to the original
mix, they are also given a bit more room here. That better separation allows
us to catch more of Freddie's ad libs during the choruses and appreciate
details like the piano that comes in on the third verse and during the guitar
solo, which get buried in the acetate pressing. The final, "All going down"
also does not fade out, so we get the complete vocal at the end.
Jesus (De Lane Lea Take 2 - with Guide Vocal) 5:38
Appears on: Queen
I Collector's Edition Box Set
This is the band's first attempt at recording their demo version of the
song. The track opens with no slate number and a false start (Take 12).
The band regroup and start Take 2's attempt at a bed track, featuring drums,
bass and electric guitar, with Freddie singing a rough guide vocal for them.
He accidentally sings the third verse in place of the second verse and humorously
catches himself halfway through. This take is noticeably heavier than the
final De Lane Lea Demo, which they'd record next on the same day (December
16), but on a fresh reel-to-reel tape.
Jesus (Live At Imperial College - August 1970) 5:41
Appears on: Queen
I Collector's Edition Box Set
Queen's very first performance in London took place at Imperial College
on August 23, 1970 in lecture theatre A, level 5. The performance was captured
on cassette and represent the earliest Queen recording in existance; pre-dating
John Deacon's arrival in the band. Bass duties instead are handled by Barry
Mitchell. This performance of Jesus doesn't deviate really from the familiar
studio recordings. When discussing the then-newly rediscovered tape in his
collection with Classic Rock magazine (March 2021), Brian May noted that
the band's performance was "very rough," which is unsurprising, as Queen
had only existed for around five months by this point, had only been playing
live for two months, and Mitchell had only just replaced Mike Grose. To
hear Queen at this early point at all, still finding their footing so to
speak, is frankly amazing!
Seven Seas Of Rhye
Seven Seas Of Rhye (Album Version)
1:15
Appears on: Queen,
Track 10
Seven Seas Of Rhye (2024 Mix) 1:19
Appears on: Queen
I, Queen
I Collector's Edition Box Set
For a short teaser of things to come for the next album, it might surprise
the listener exactly how much is going on in the second half of this track.
As with the other 2024 Mixes, the layers of guitar have clearer separation,
allowing us to hear better what each part is doing. And being an instrumental
this track this also appears twice on the Queen boxed set, also closing
out the Backing Tracks disc, which is much appreciated.
Seven Seas Of Rhye (Trident Take 3) 1:38
Appears on: Queen
I Collector's Edition Box Set
As Freddie Mercury had not yet finished the song, only a short version is
recorded for the album. Brian May says in a BBC Radio One group interview
in 1977 that a lot of Queen Il material was written during the making of
the debut album, though held back until they could record it properly. In
the same interview, Roger Taylor says that the full version of the song,
when recorded for Queen II, was intended to lead the second album off. Take
3 sees the band run through the bed track (piano, drums, bass and acoustic
guitar) after some studio banter. The tempo here is littler faster than
the final album take and Freddie's opening piano is a bit off. At the end,
Freddie says he likes an earlier take better and Baker advises them to do
another take straight away, much to Freddie's protestation.
Mad The Swine
Mad The Swine 3:23
Appears on: Queen
Hollywood Remaster (1991), UK
Headlong CD Single, UK
Headlong 12" vinyl, UK/US
2011 Queen Deluxe CD
This track from the Queen I sessions was recorded in June 1972 and remained
unreleased until 1991. The track was rejected from the first Queen album
but was later reproduced by Innuendo producer David Richards. What is the
difference between the Richards mix and the Roy Thomas Baker mix? Apparently
just minor changes in drum volume. This track is easily found on the US
Hollywood Remaster of Queen, the UK Headlong CD single, and wonderfully
remastered by Adam Ayan on the 2011 UK Deluxe CD release of Queen.
Mad The Swine (2024 Mix) 3:20
Appears on: Queen
I, Queen
I Collector's Edition Box Set
The 2024 Mix of the album restores ths track to its original planned position
between "Great King Rat" and "My Fairy King." As with the rest of the album,
"Mad The Swine" was completely re-mixed from the original master tapes and
the result is a very lush spread of Freddie's multitracked lead vocals,
and more prominent and wider bass parts from John. Brian's acoustic guitar
is also brighter, and Roger's drums are punchier. This once-forgotten track
really has had quite the journey.
Mad The Swine (2024 Mix - Backing Track) 3:20
Appears on: Queen
I Collector's Edition Box Set
Similar to "Great King Rat," the backing vocals and Freddie's multitracked
vocals remain in this mix.
Mad The Swine (Trident Take 3 - with Guide Vocal)
4:21
Appears on: Queen
I Collector's Edition Box Set
Take 3 starts with the band warming up and some studio banter, where Brian
calls out Freddie for singing along as he's trying to play acoustic guitar.
It's interesting to note that Brian says, "It's you, Bulsaral," indicating
that Freddie hadn't adopt Mercury as a last name by this point (or the band
simply weren't using it yet). The band run through the backing track (drums,
bass and acoustic guitar) and Freddie sings the vocal melody and the occasional
chorus bits to keep time. At the end, Freddie says the take "wasn't very
good" and that he wants to do another take "right away." There's more playful
banter at the end.
Hangman
Hangman (Live Versions)
Appears on: Unreleased
Hangman was featured regularly as part of the band's early live sets; a
curiousity for sure, an original Queen song that never appeared on any studio
album. The song can be found on bootlegs of the band's early concerts in
1973 and 1974 (Bristol, Oxford, etc.). Hangman is a heavy, bluesy track,
similar in vain to songs by Free and See What A Fool I've Been. For the
most part, with a few exceptions, the song disappeared from setlists after
1975.
Hangman (Live In San Diego - March 1976) 6:36
Appears on: Queen
I Collector's Edition Box Set
On the last night of the North American A Night Of The Opera Tour, Queen
decided to pull out this rare gem. An early staple of the band dating back
at least as far as 1970, "Hangman" would take on a certain mythic status
amongst fans as a song for which only live bootleg recordings existed, and
in varying quality. Rumours floated around of there being a studio recording,
tucked away in the band's archive, from the debut album sessions. As it
would turn out, Queen never did record this song in the studio, but in 2024
the band at last officially released this excellent quality live recording
from 1976 on their Queen I boxed set for fans to enjoy. Being a live-only
song, both the known bootlegs and this official release have a very rough
and ready feel to them, lacking the polish a studio version would likely
have. As early era Queen rockers go, this fits a similar mold as "Son And
Daughter," "Jesus," "See What A Fool I've Been" and, towards the end, even
"Stone Cold Crazy" when the song hits the high-speed finale. After the song
ends, Freddie teases that they could maybe record it for their next album.
On the boxed set, the intro to the next track, "Doing All Right," ends this
one, so the track itself inevitably cuts off suddenly after that.
Hangman (Studio Demo)
Appears on: Trident Studios Hangman 10" Acetate (rumored)
Queen Productions claims there are no studio recordings of Hangman in their
archive. Queen collector John S. Stuart claimed to own a 10" acetate
containing a studio version of Hangman. John Stuart passed away and the
supposed acetate never surfaced.
I'm A Man
I'm A Man (Live At Imperial College
- August 1970) 4:42
Appears on: Queen
I Collector's Edition Box Set
Queen's very first performance in London took place at Imperial College
on August 23, 1970 in lecture theatre A, level 5. The performance was
captured on cassette and represents the earliest Queen recording in existance;
pre-dating John Deacon's arrival in the band. Bass duties instead are
handled by Barry Mitchell. This cover of the 1955 Bo Diddley song was
previously unknown to have been in the band's repertoire, or even those
of the pre-Queen bands such as Wreckage or Smile, so its inclusion in
the 2024 Queen I boxed set was a fun reveal. The song fits the mold of
the other blues standards Freddie enjoyed, and Queen give the song an
even grittier blues rock treatment than the famous Yardbirds' cover. They
slow the song right down for the first half, making it closer to the original
Muddy Waters riff for "Hootchie Kootchie Man" (the song which inspired
Bo Diddley), while the second. half picks up the pace to the familiar
tempo, allowing the band to let loose. Despite the lower quality than
a modern live recording, this recording is priceless, holding a spot in
the band's rare live canon.
Silver Salmon
Silver Salmon (Take 4) 3:10
Appears on: Unreleased
Silver Salmon is a song, like Doing All Right and Polar Bear, that dates
back to the Smile days. The song was written by Tim Staffell and was originally
more of a sci-fi themed folk song. The track was never properly recorded
by Smile, but several Queen studio versions of the song were found in 1990.
Silver Salmon (Take 4) was played at several Queen Fan Club Conventions
by official archivist Greg Brooks. This version was traded amongst collectors
and was later leaked in good quality onto the internet. Take 4 starts with
studio banter from Freddie before it breaks out into heavy guitar and drums.
There is also much speculation on when this particular version was recorded.
Even though the song dates back to Smile, there is some evidence that this
take was recorded much later, perhaps during the News Of The World sessions.
Gary Taylor, who is a Queen expert and assisted writing the 2011 remaster
liner notes, revealed this information on queenzone.com:
"the band would very often play around in the studio to new songs and
even old songs before they would get down to actually recording new tracks
for an album. Tracks like Feelings and Silver Salmon were often played in
a band jam and they would even play other artists songs as part of this
warm up."
Polar Bear
Polar Bear (Take 2) 4:33
Appears on: Unreleased
A holdover from the Smile days, like Doing All Right, Polar Bear was recorded
by Queen early in their career. It has been assumed that this take was recorded
during sessions for the first album, however, since it was not included
in the 'Queen I' box set, it may have been recorded during sessions for
another early album. The track starts with 38 seconds of studio banter between
Roger and the rest of the band, all the while Freddie is trying to start
the take. Track starts at 0:39 with Freddie finally saying "Right,
take two." There are some minor lyrical differences between the Queen
and Smile version as well. It is unknown if further takes were attempted.
Feelings
Feelings 2:08
Appears on: Unreleased
This demo, which has been dubbed "Feelings" premired at the 2000
UK Fan Club Convention. This is a bluesy jam that sounds inspired by Led
Zeppelin. There are some similarities to the 1977 track Feelings Feelings;
it is possible this track evolved into that song.