SHEER HEART ATTACK

Among the sounds of an amusement park - a sort of progression of the last track on the previous album - comes a fast guitar, which grows to form a compelling riff, before facing a drum set the entry of the vocals, and here is Freddie Mercury an interesting duet, where in your normal tone of voice he is Jimmy and in falsetto he´s Jenny. But before you understand it the vocals leave the scene of the protagonist here is Brian, guitarist.

Holy God, that guitar solo. May is a genius. How can you doubt your abilities? Look at Brighton Rock. For just over two minutes it offers a range of effects on his guitar and surprise, surprise a little more, and continues to strum ... the end, when the vocals return and the music is moving toward its end, I'm still with his head in everything he did before, because I'll be honest - never in my life I had seen a brilliant guitar work so that as song!

Well then, welcome to Sheer Heart Attack.

Queen's third album marks a kind of rupture with the two predecessors of the self-styled band, starting with the fact that he has proper title. And it is "less" progressive, in the general sense of the word. But neither is it less attractive. What marked Queen and Queen II esa still there: the mixture of sounds, the stunning vocal harmonies, the group cohesion.

And in the department of letters, fantasy gives way to luxury whores. But who knew it would leverage the success the band? Killer Queen is proof that three minutes are enough to make a good song, and what you see here is a delightfully simple song. The band's first singles, Keep Yourself Alive, Liar fantastic songs were breathtaking, but did not reach the expected success, while Seven Seas of Rhye ue has reached a prominent moderate. But it was with Killer Queen that they were raised to stardom, and deservedly so.

Following we have the first set of songs on the album. Starting at Tenement Funster, the moment Roger Taylor here. And wow, what a moment. Symbolizing the typical rebellious youth achievement with him in his deep voice and aggressive (seriously: I can not associate with Taylor's voice with the face of it). The music flows seamlessly to the sensational Flick of the Wrist, whose vocals are really opposites: the verse is something kind of scary, dark, but the chorus is really enlightening - and in the middle of May we are giving her a show again. And finally there is the beautiful Lily of the Valley, one of those ballads that were short constant presence in their first albums, characterized by harmonais piano and vocals (though here too there are guitars and drums support). Closing side A is one of the most beloved songs from the band: an exceptional Now I'm Here. Man, they are fabulous! May once again surprising and delighting me with his style, and the rest of the band does not lack!

Side B begins, mincing no words: In the Laps of Gods explodes in your ears, operatic vocals led by Taylor pitched voice and does so (that part makes me think of home as the Queen inspired Symphony X), evolving into a slow love song and where the vocals seem metal Mercury. After the eloquent chorus (composed of voices singing "In the Lap of the Gods ..." and Taylor doing some vocalizations) the song ends with piano and guitar - but for some reason I do not like May a lot here.

Stone Cold Crazy is a song that was quick and violent thrash metal thrash metal before they come into existence (along with Ogre Battle's previous album), and is followed by short Dear Friends, another piano ballad with a minute long - is a Too bad she is not efficient with Lily of the Valley or Nevermore, and I would not mind seeing her being cut or having its duration applied to another song on the album, for example Misfire, which follows, is the first song composed by John Deacon and is extremely pleasant. And Bring Back That Leroy Brown is a typical song of the band that should not be taken seriously - when I hear it I feel like I'm in America in 30´s in a jazz club. It is extremely carefree and fun.

She Makes Me (Stormtrooper in Stilettoes) Brian May is the time of the album. This is an acoustic ballad, where he does the lead vocals. the song ends with the sounds of sirens, street noises and deep breathing. The album ends with In the Laps of Gods Revisited, which is different from the first radicalmene: Opening with a section a little blues, it grows and gives us a powerful chorus that is repeated several times until it culminates in the sound of an explosion. needless to say that the chorus for his character sports (ie: perfect to be sung in stadiums) is a kind of proto-We Will Rock You

And then? Here, a superb album, surprising and shows the intelligence of the Queen. Although it seems a bit out of place standing between the two most progressive albums of the band is still worthy to hear, I guarantee you will not regret it. A masterpiece of rock music in general.

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