Path: Queen - Royal Legend - Facts: Queen II

Facts: Queen II

Father To Son

recording: Brian played piano. <true>

Brian (2003): "For the record as far as I remember, I played piano on Doin' All Right, Father To Son, Dear Friends, Now I'm Here, Teo Torriate and All Dead All Dead."


Funny How Love Is

writting: Basically written and arranged in the studio. <true>

John (1974): "A very studio track and at the time we felt it was one number we couldn't make work on stage".


March Of The Black Queen

general: The idea of black and white sides of the album came after Freddie wrote this song. <true>

Freddie (1974): "There's no deep meaning or concept in the album. At the time of recording, we conceived it impulsively. I wrote this song, March Of The Black Queen, for the album. That's when we got the idea of having white and black sides reflecting white and black moods. It became a good contrast."



recording: The strange sound at the end of the first verse and at some point during the second are a piano. <true>

Brian Wilson (about the piano "ring"): "To get the unique sound one of us had to get inside the piano to pluck the strings while the other guy had to be at the keyboard pushing the notes so that they would ring".

Note: That effect is part of Phil Spector's trademarks. 'Nevermore' was produced by Robin G. Cable who followed the Spector line very much. This piano "ring" is the first major contemporary experiment made in a Queen song.


Ogre Battle

writting: Freddie wrote it in the guitar. <true>

Brian (1998): "Freddie also wrote Ogre Battle which is a very heavy metal guitar riff. It's strange that he should have done that. But when Freddie used to pick up a guitar he'd have a great frenetic energy. It was kind of like a very nervy animal playing the guitar. He was a very impatient person and was very impatient with his own technique. He didn't have a great technical ability on the guitar but had it in his head. And you could feel this stuff bursting to get out. His right hand would move incredibly fast. He wrote a lot of good stuff for the guitar. A lot of it was stuff which I would not have thought of, because it would be in weird keys. He had this penchant for playing in E flat and A flat and F. And these are not places that your hand naturally falls on when playing the guitar. So he forced me into finding ways of doing things which made unusual sounds. It was really good."


The Fairy Fellers Master Stroke

writting: It was inspired by a painting. <true>

Freddie (1977): "It was thoroughly inspired by a painting by Richard Dadd which is in the Tate Gallery. I thought, I did a lot of research on it and it inspired me to write a song about the painting. Depicting what I thought I saw in it. It was just because I'd come through art collage and I basically like the artist and I like the painting, so I thought I'd like to write a song about it."

recording: The harpsichord was part of the studio equipment. <true>

Brian (2003): "The harpsichord for Fairy Feller's Master Stroke, amazingly enough, was just laying around in the studio, and Freddie enjoyed tinkling on it. Of course it was a short step from there to trying it out on the track - it suited perfectly the fragile manic style of the song (and even the period that it related to, inspired by that Richard Dadd painting of the same name which still hangs out in the Tate Gallery to this day)."



White Queen (As It Began)

live performance: Smile used to do this song. <false>

Tim Staffell (2000): "No, Smile never performed it."


recording: Brian played Hairfred acoustic guitar. <true>

Brian (1982): "I have a very old, cheap Hairfred which makes that buzzy sound that's on Jealousy and White Queen. I've never seen another one like it. I made it sound like a sitar by taking off the original bridge and putting a hardwood bridge on. I chiseled away at it until it was flat and stuck little piece of fretwire material underneath. The strings just very gently lay on the fretwire, and it makes that sitar-like sound."