The boys had officially decided to call themselves Queen (under the forceful persuasion of Freddie Mercury) by 1971, after finally choosing the bassist they wanted (John Deacon), and come 1972, they had completed and recorded most of the tracks to this album (though the album wouldn't initially be released until 1973.) Musically speaking, the unique characteristics of (70s) Queen (a/k/a "The Queen sound") that many came to know (e.g. the opera-rock, the outlandish whimsy, the strange juxtapositions of gender-bending/vaudeville/opera/metal) CAN be heard here, just in rawer, unpolished and underdeveloped terms. But other than that, the album is mostly a smorgasbord of classic heavy metal, psychedelia and progressive rock.

But, despite it being a work in progress (for Queen, anyway), the album is strong and solid on it's own. That's probably one of the most [standard] statements ever made, but for the first time, I'm tempted to apply it here. I really think if Queen were not to evolve or make another album after this, they still would have been recognized as having sophisticated musical talent - whether by critics (puh!) or by other musicians. Ironically, that's one of the few 'gifts' I noticed Queen to possess: not totally reaching their peak in a certain setting, yet what they come up with, seems to be strong in character and golden on it's own. "Keep Yourself Alive" was the 'somewhat' popular track on here, as Brian May in particular is playing some crunchy, yet sophisticated licks on his self-made guitar. I agree with some of the reviewers below who said that after listening to this (as well as the rest of the album), one gets a sense that Queen possessed a certain overwhelming, indescribable intensity and talent that was WAY ahead of it's time - and this was only their debut - an album that only gave hints of what would blossom on later efforts. Freddie Mercury (unsurprisingly) gave a wonderfully forceful vocal performance on here. "Doing All Right" was originally co-written by then vocalist Tim Staffel (Note: during that time, the band was called Smile, not Queen.) Anyway, the song progresses nicely from soft, wistful guitar passage-filled verses, which feature ethereal and angelic falsettos from Freddie Mercury, leading into the chorus' featuring summery vocal harmonies, which are then later followed by unexpected guitar blasts from Brian May.

Elsewhere, "Great King Rat" opens up with Brian May's trademark snaky guitar overdubs. The track features some pretty bold and daring lyrics (which were not uncommon with Queen) revolving around [explicit] metaphors, while "My Fairy King" gives subtle glimpses of the bizarreness that would be found in progressive rock tracks such as "The March Of The Black Queen," and later "Bohemian Rhapsody." Features some pretty bizarre, and arty lyrics, which feature many references to astrology and mythology, and delivered in Freddie Mercury's trademark seductive, gender-bending, Divaesque vocals.

"Liar" seems to get much praise by many of the reviewers here, and it's hard for me to disagree. A theatrical, almost operatic track, it manages to combine convincing, thought-provoking lyrics, intelligent dynamics and shifting in musical atmospherics, and Freddie Mercury in particular is raving it up on his vocals - shifting effortlessly from plaintive stylings, to genre-bending, oversexed moans, to forceful, passionate pleading and everything else, which I found highly impressive. There's also a section in the middle which features some exotic percussion, vocal chants and other atmospherics which seem utterly spiritual. Moving along to "Modern Times Rock N' Roll." This to me reminds me not of Led Zeppelin, but of some of the music that was labeled as proto-punk back in the 70s. In fact, to bring some attention to the former, I really don't think Queen has much in common with Led Zeppelin as many others seem to claim (I was particularly offended and infuriated by comments made by some of those half-witted critics for the Rolling Stone regarding Queen.) The many years I've been listening to Queen, I was never once reminded of Zeppelin. I would encourage many other reviewers not to buy too much into those comparisons, as to compare one band to the other is like comparing apples and oranges. "Son & Daughter" has a sinister glam-metal feel to it, especially in the slow, seductive heavy blasts from Brian's guitar, fronted by Freddie's venomous vocals. "Jesus" is the religious-infused closer to the album, which features some clomping chords from Brian (mostly minor chords), while Freddie gives a passionate vocal performance full of conviction. The track also sounds like it could have come from a Broadway musical. "Seven Seas Of Rhye" is a short, instrumental and somewhat alternate version of the full track found on the following album _Queen II_. The bonus cut called "Mad The Swine" is a keeper. I'm surprised this didn't make the original cut. A percussion-heavy track which also features some religious lyrics.

An excellent, prestigious and often overlooked debut. It's probably not best recommended for the uninitiated Queen fan to start out with, but for the Queen fan who owns a few of their albums (especially their more essential ones), and has interest in experiencing the roots of the band. Conversely, it's also recommended for the listener who appreciates quality rock music, added with some bizarre and sophisticated elements.

Queen's first album, and one of their finest. The opening "Keep Yourself Alive" track is absolutely one of the most powerful (and empowering!) tunes I have ever heard; great to wake up to, great to work out to. Of all the songs on this album, "Keep Yourself Alive" seems to have gotten the most radio play on the classic rock stations, and rightfully so.

That is not to say that whole album isn't solid; the entire CD is one of the best debut albums ever. That 70s "progressive rock" aura really shines in songs like "My Fairy King" and "Liar."

Other underrated gems include "King Rat," a thundering cynical ode, yet bearing the same energy as "Keep Yourself Alive," and the instrumental "Seven Seas of Rhye," which is a hint of a more thorough and satisfying version of the tune that winds up on their following album "Queen II."

Queen was such an impressive group that you owe it to yourself not to settle for any of their "Greatest Hits" compilations. Every album up to their 1978 release "Jazz" are excellent. This is a good pick to start the collection.

I own many Queen cd's, and this was probably the one I appreciated the least out of my Queen collection. But some 2 years later, I started listening to it more after wearing out Q2, Sheer Heart Attack and A Night at the Opera. It started growing on me big time. "Keep Yourself Alive", was the hit of the album, but honestly is my least favorite of the disc. "Doing All Right", is soft/heavy, and beautiful. "Great King Rat", is regal Queen at their finest. "My Fairy King", is probably my favorite or second favorite on here, as it shows Queen at the progressive rock leanings, as they began to develop and mature as the years went on. It mixes Hard Rock, Classical, and Opera like influences and you can hear Freddie's flamboyance throughout. "Liar", another great track and as well as "fairy king", is more like a complex epic. "The Night Comes Down", is soft. "Modern Times...", is a 2-minute fast paced heavy rocker sung by Roger Taylor. "Son & Daughter", is a glam-heavy metal song with Freddie's androgynous and venomous vocals. Great stuff. "Jesus". Great Tune. It sounds theatrical and as if it came from a broadway musical.

Overall, this was a great start for Queen, and it gave hints at what the band would become later on.

thanks.

Queen's debut is one of those truly original recordings that can never be duplicated. Even for Queen, this is truly original, as they quickly departed this unique sound for bigger and better things. Don't let this fool you, though. For 1973, this is a wonderful CD with excellent songs and musicianship. Looking at the opening track, Keep Yourself Alive, we have a guitar driven tune (with a very unique strumming sound) that rocks all the way through the end--including a keep-up-the-tempo drum solo from Roger Taylor that quickly solidifies him as one of rock's foremost drummers. The songs are exquisite: Doin All Right, a cover of the original Smile song that Brian May recorded along with Taylor and bandmate Tim Staffell. The Night Comes Down, and Jesus, are both heavy rockers that unfortunately were left off Queen sets after the album was released, never to be played again. Liar, a staple for many years for Queen, is a 6-minute operatic rocker that paved the way for the Bohemian Rhapsodies of the future. My Fairy Queen is perhaps the most interesting song on the CD, a piano-vocal driven operatic tune that is simply good fun to listen to. We also have a snippet of Seven Seas Of Rhye, a song that eventually appears on their second release, Queen 2. Modern Times Rock and Roll is a Roger Taylor penned fast rocker that lived in their sets for a few years, and Son and Daughter, another constant in the early Queen sets, gave home to Brian May's guitar solo until Brighton Rock appeared on their third album. The best song here, however, is Great King Rat, which is the most progressive song on the CD, and actually appeared on and off in Queen sets through the 80's.

Queen's debut is a must for all Queen fans, plus fans of early Queen when they were still trying to decide which direction to take their music.

I have been a Queen fan since 1984 (i was born in 1976)

It took awhile for me to discover this album. (my first few were the works and greatest hits 1, US VERSION) Keep Yourself Alive was on that hits record, so i bought its originating place. Queen 1. Here is a song run down from one of their biggest fans

Keep Yourself Alive: This was their first single and the first track on the album. A KILLER guitar solo and a drum solo compliment Freddie Mercurys vocals very well. I was blown away the first time i heard it. ANY song released as a single with this much energy should be a number one hit, but it failed to chart.

Doin Alright: This was also on the flip of the 45 of Liar. This one starts quiet and gets VERY LOUD towards the end. This is one of their better songs, very thoughtful lyrics.

Great King Rat: An epic song which amusingly the chorus goes to the tune of Old King Cole. The guitar solos demonstrate why Brian May was THE greatest guitarist to ever live.

My Fairy King: This is one of the precursors to Bohemian Rhapsody. Very similar sounding. The last minute or so is basically a musical orgasm. One of the standout tracks on this album.

Liar: A 6 and a half minute opus. Lots of epic guitarwork. This song kicks [...]. This was released in edited form in the USA and failed to chart. (I think the truncated version is why, this song can't be enjoyed at anything less than the full song. Hell, it takes them a minute and a half just to get to the vocals!)

The Night Comes Down: This is the original demo version. They didn't like the subsequent versions they recorded, so they fell back on the demo version. Some nice harmonizing vocals. One of the better songs on the album. (although the whole album is good)

Modern times Rock N Roll: A short, less than 2 minute heavy rock and roll song. Sung by drummer Roger Taylor, there is some killer guitarwork in this song too!

Son & Daughter: One of their gayest lyrics: "I want you to be a woman" Either that or they want to screw a minor and wish she'd age fast. I am proud to say that even though it sounds "gay" Freddie didn't write it, Brian May did. When it was performed live it had Brian May's echoplex solo attached to it. (Later put onto record as a part of Brighton Rock) This was also released on 45 as the flip side to Keep Yourself Alive) Not as good on the album but a fine song anyways.

Jesus: Early songs made me think they were a religious band. Not the best song they ever did, but the guitar break at the end has one of their heaviest solos on any of their songs.

Seven Seas Of Rhye: This is a short about 90 second instrumental "teaser" for Queen II. Not worth too much, they'd have been better off putting the next song on the original album....

BONUS TRACKS:

Mad The Swine: Another of the "Jesus" songs. Apparently they didnt agree with the original mixing of the song so left it off the album.

Keep Yourself Alive (Long Lost Retake): This and the last track, the Liar remix are poor excuses for bonus tracks. They would have been better off remastering live recordings or rare studio stuff. (Silver Salmon, Hangman, Polar Bear) Than making almost clone remixes of the original version. Later remixes are good (bicycle Race, We Will Rock You & Flash) but this is just space filler.

Other than the last 2 bonus tracks, this album is PERFECT!