{"id":3085,"date":"2015-07-20T00:19:02","date_gmt":"2015-07-20T00:19:02","guid":{"rendered":"https:\/\/arpjournal.com\/?p=3085"},"modified":"2015-07-20T04:15:54","modified_gmt":"2015-07-20T04:15:54","slug":"the-development-of-the-epic-queen-sound","status":"publish","type":"post","link":"https:\/\/www.arpjournal.com\/asarpwp\/the-development-of-the-epic-queen-sound\/","title":{"rendered":"The Development of the \u2018Epic\u2019 Queen Sound"},"content":{"rendered":"

Introduction and Methodology<\/strong><\/h3>\n

This paper derives from a wider study of British rock band Queen, with a particular focus on their songs written and released between 1973 and 1980 on the albums Queen<\/em> through to The Game<\/em>. The aim of the wider study is to identify and analyse Queen\u2019s musical idiolect. This term refers to the musical characteristics or \u2018fingerprints\u2019 that mark and define an individual artist\u2019s recorded output (Moore: 2012, 166). Past idiolect analyses have demonstrated that a \u2018fingerprint\u2019 may comprise any number and type of musical details, ranging from the textural juxtapositions of Jethro Tull (Moore: 2003), to the idiosyncratic harmonic progressions of the Beatles (Pedler: 2010), to the instrumental techniques of the Police band members (Spicer: 2010), to the common formal structures of Radiohead\u2019s songs (Moore and Ibrahim: 2009). In the case of Queen, one of the key components of the group\u2019s idiolect was the so-called \u2018Queen sound\u2019 (de Boer: 1999, 84; Serpick). I have taken this to refer to musical features that are concerned with primarily the performance- and recording-based elements of Queen\u2019s songs, such as texture and instrumentation, recording techniques, and the manipulation of the sound-box[1]<\/sup>.<\/p>\n

Queen\u2019s practices in the studio have been addressed on a number of prior occasions, notably in a handful of documentaries and articles that involve interviews with producers Roy Thomas Baker, Reinhold Mack and the group members (Cunningham: 1995; Longfellow: 2005; O’Casey: 2011; Promane: 2009). Despite the rich detail one can glean from these sources, they are focused, above all, on the unusual and extraordinary feats of the group, such as Brian May\u2019s imitation of a Dixieland orchestra on his Red Special guitar on \u2018Good Company\u2019 (1975), or Freddie Mercury\u2019s \u2018megaphone\u2019 voice on \u2018Lazing on a Sunday Afternoon\u2019 (1975). There has been much less consideration of the normative elements of the group\u2019s studio practices\u2014what comprises their overall \u2018sound\u2019\u2014and thus this paper brings some balance to the Queen-related literature. There is a broader disciplinary aim also. Zagorski-Thomas has recently expounded the need to bring the study of record production and traditional musicology into contact with one another (Zagorski-Thomas: 2014, 1ff). This paper offers a humble realisation of this idea\u2014that is, idiolect analysis (from the musicological side of the equation) can be a useful focal point for discussions of record production; equally, this paper demonstrates that an understanding of Queen\u2019s idiolect is enhanced significantly by documenting some of their studio processes and techniques.<\/p>\n

Within this framework, I wish to narrow the study one step further. Rather than simply document the traits of the \u2018Queen sound\u2019, this paper will consider how the components of the group\u2019s sonic fingerprint may be understood as \u2018epic\u2019. This adjective derives, in the first instance, from Zak\u2019s study of 1970s songs that extended beyond the formal conventions of pop and rock music (Zak: 2008); further, it has been employed in various appraisals of the group in music magazines and critical writing (Barrow and Newby: 1994, p. 91; Gilmore: 2014; Promane: 2009, p. 79). For Zak, the term \u2018epic\u2019 has a temporal basis; discussing Led Zeppelin\u2019s output, he argues, \u2018the expanded dimensions [of each song] allow time for musical ideas to spin forth, and narrative space for contrasting sections to interact\u2019 (Zak: 2008, p. 348). The Queen-related sources are much less helpful in prescribing the meaning of the adjective. While there are elements of Queen\u2019s songs that could be discussed fruitfully in terms of musical narratives, as per Zak\u2019s work, I am going to use \u2018epic\u2019 in an altogether more straightforward manner in relation to the \u2018Queen sound\u2019. Specifically, I will argue that the \u2018Queen sound\u2019 was built around a number of arrangement and production techniques that fostered an extravagant and grand sense of size in the group\u2019s songs. The first section of the analysis below considers how Queen\u2019s performance and studio techniques encouraged such a reading; the second section of the analysis offers some insight into how these particular traits developed and changed through the early stages of Queen\u2019s career.<\/p>\n

Zagorski-Thomas\u2019 notion of \u2018sonic cartoons\u2019 provides a useful backdrop for the discussion of Queen\u2019s \u2018epic\u2019 sound. He defines a sonic cartoon thus: \u2018the idea that a recording provides a schematic representation of a performance, with certain aspects of the reality removed, inhibited, highlighted or distorted\u2019 (Zagorski-Thomas: 2013). He cites Max Martin\u2019s treatment of Britney Spears\u2019 vocal on \u2018Hit Me Baby One More Time\u2019 as exemplary of this idea; the producer mixed a guiro scrape into her vocal track in order to give her voice an exaggerated creak, which in turn, would encourage a listener to hear the heightened emotional content of the song (Zagorski-Thomas: 2014, p. 49). As conveyed by Zagorski-Thomas, it is not relevant so much if Spears\u2019 delivery was or was not emotionally rich; the importance lies in the various means through which this idea is conveyed to the listener. Waksman raises similar issues when questioning the nature of Grand Funk Railroad\u2019s Live Album<\/em>: \u2018can one truly capture loudness on record? Or, can one merely simulate the effect<\/em> of loudness on record?\u2019 (Waksman: 2013). The analytical implication from these remarks is that the overriding question is, how did Queen convey and represent the notion of an \u2018epic\u2019 sound on their recordings? Or, how did Queen create the impression of size? At the heart of the answer lies the further idea that size itself is a relative concept. Accordingly, Queen conveyed the sense of an \u2018epic\u2019 sound on their recordings by creating \u2018epic\u2019 relationships between the components of their \u2018sound\u2019 relative<\/em> to their surrounding musical and spatial contexts.<\/p>\n

Before proceeding to the analysis, it is necessary to make a final qualification. The analytical and interpretative findings were developed through close listening to the Queen tracks through headphones. Given the focus on the spatial dimensions of the songs, it is highly likely that changes to the methodological approach (i.e. listening through speakers) may bring about similar findings, but with different nuances. This is particularly the case with respect to the apparent performance environment, which is shaped almost exclusively by the recording when listening through headphones, but which will be shaped by the listener\u2019s environment too when listening through speakers. Findings pertaining to texture and stereo spread, on the other hand, may be more consistent across the different listening contexts. The overall conclusions should, therefore, be understood as resulting from a specific, but consistent methodological approach.<\/p>\n

Instrumental and Vocal Arrangements<\/strong><\/h3>\n

Queen\u2019s \u2018epic\u2019 sound is evident in five main ways. The first concerns the group\u2019s production and treatment of instrumental and vocal textures. Queen was renowned for the consistent presence of three- and four-part backing vocal sections in their songs, sometimes with two separate three-part arrangements layered on top of each other. As is well told in the Queen-related literature, it was the group\u2019s recording techniques that gave the vocal arrangements their distinct sonic appearance (see, for instance, O’Casey: 2011). Three of the band members\u2014Freddie Mercury, guitarist Brian May, and drummer Roger Taylor\u2014were singers; the three of them would sing each note of each chord into the microphone at the same time. Thus, a three-note chord would be sung by nine voices. Each chord would then be recorded up to four times, with the total arrangement either being spread across the centre of the stereo image or split for the left and right channels[2]<\/sup>. Accordingly, a three-part vocal arrangement could feature up to 36 voices in the mix. Brian May\u2019s guitar arrangements further added to this equation; he consistently layered multiple electric lines into close position harmonies, which would serve to fill out the harmonic layers of the songs.<\/p>\n

The foundation of Queen\u2019s \u2018epic\u2019 sound lies in these arrangement techniques. It is not simply a case of there often being a large quantity of instruments and voices in the group\u2019s songs, but the rich spectral profile of these parts. This is particularly the case in terms of the vocal arrangements. As can be heard on different recordings, each singer had a different vocal tone: May\u2019s was mellow, Mercury\u2019s was powerful through the middle register, while Taylor\u2019s was thinner and had a piercing quality. Such differences can be heard on, for instance, \u2018Leaving Home Ain\u2019t Easy\u2019 (1978), \u2018Bohemian Rhapsody\u2019 (1975), and \u2018Tenement Funster\u2019 (1974b), respectively. The combination of the voices thus covered the different segments of the frequency spectrum. Accordingly, by multitracking each part of the arrangement, the group amplified not just one particular sound, but rather a spectrally rich timbre, which could only have been created through this particular recording process. The same kind of idea applies to May\u2019s guitar layering, which resulted in rich overtone structures from three or four separate guitars, as opposed to the same notes being played on one guitar (i.e. as a chord).<\/p>\n

What was also crucial was the way in which Queen deployed these rich sonic forces within songs. \u2018We are the Champions\u2019 (1977), highlights the group\u2019s typical approach[3]<\/sup>.\u00a0\u00a0<\/em><\/strong>Between the end of the main verse phrase and the start of the chorus, there is a five-bar pre-chorus, during which the textural density increases significantly. This increase is evident in multiple ways: Brian May switches from \u2018clean\u2019 to overdriven electric guitars; Roger Taylor uses the full range of the drum kit, John Deacon moves into the lower register of the bass guitar; and a multitracked four-part vocal choir enters the mix. Furthermore, the textural expansion is not gradual, with the overdriven guitars, crash cymbals, and the low bass guitar notes being heard immediately on the first downbeat of the pre-chorus; the multi-tracked vocals and the floor toms are heard on the downbeat three bars later. Accordingly, there is a sharp juxtaposition between the verse and pre-chorus textures of the song. This idea of juxtaposition is, in turn, important because it provides the first schematic representation of size in the \u2018Queen sound\u2019. That is, while the typical Queen texture may be sizable in force and rich in textural density, it is partly perceived as such because the instrumental and vocal parts are placed next to textures that are much less sizable and rich in density. The textures of the \u2018Queen sound\u2019, in this context, are thus \u2018epic\u2019 in relation to the surrounding textures.<\/p>\n

\u2018Epic\u2019 Lateral and Vertical Relationships<\/strong><\/h3>\n

One can observe similar proportionate relationships between the \u2018Queen sound\u2019 and the spatial contexts in which it is heard; namely, how the components of the group\u2019s tracks are arranged in the sound-box. Starting with the lateral dimensions of the sound-box, individual sounds tended to be spaced evenly across the stereo image. The final chorus of \u2018It\u2019s Late\u2019 (1977) showcases Queen\u2019s typical lateral setup in their songs with rhythm guitar parts[4]<\/sup>. \u00a0The multitracked rhythm guitars provide a frame to the sound-box, with the separate parts of the vocal arrangements and the tom drums filling in the space towards the central axis of the stereo image. Figure 1 [Image]<\/em> <\/strong>shows the sound-box arrangement from the final chorus of \u2018Millionaire Waltz\u2019 (1976), the texture of which lacks full rhythm guitar or drum parts\u2014here, the extra vocal and harmonised guitar lines fill the space from the centre the sound-box\u2019s outer perimeters. The schematic representation of size in these instances is straightforward: the individual sounds of Queen\u2019s songs appear to leave little lateral space for other sounds, and are thus perceived as big relative to the horizontal dimensions of the sound-box. The examples discussed thus far also provide some insight into Queen\u2019s treatment of vertical height in their recordings, with respect to the stratification of the pitch space (see Moore: 2012, pp. 31-2). Unlike the lateral spacing, one could not claim that there is no vertical space remaining, for this would suggest (somewhat facetiously) the presence of pitches at the limits of auditory perception. Instead, as can be seen in Figure 1<\/em>, it may be more accurate to suggest that the different layers of Queen\u2019s typical arrangements leave little empty space between the lowest and highest components of the sound-box. Accordingly, within the context of individual songs, a listener may get the impression that Queen has filled in the vertical dimension of that particular moment.<\/p>\n

\"Fig1<\/a><\/p>\n

Figure 1.<\/strong> ‘Millionaire Waltz’ (1976), Sound-box of the final section.<\/p>\n

\u2018Epic\u2019 Performance Environments<\/strong><\/h3>\n

The fourth and fifth pieces of the puzzle concern Queen\u2019s treatment of depth within the three-dimensional space of their songs; to a certain extent, these elements tie together the components of Queen\u2019s sound, an idea I will pursue further below. Discussing the concept of space in recordings, Moylan has argued that the sounds of a track may be considered smaller than, compatible with, or larger than the space, or \u2018perceived performance environment\u2019, in which they are heard (Moylan: 2012, pp. 179-80). In this corpus of Queen\u2019s tracks, one consistently finds that the songs may be considered compatible with, or larger than their respective performance environments. Accordingly, one can observe much the same schematic representation of size as per above: the sounds of Queen\u2019s songs are of equal or greater proportions to the surrounding space.<\/p>\n

The example of \u2018It\u2019s Late\u2019 again offers a good demonstration. As already noted, the components of the song\u2019s final chorus fill out the lateral and vertical space of the sound-box; they also fill up the three-dimensional space with ease. There is a degree of depth in the mix\u2014the drums are positioned towards the back of the sound-box, the crash cymbals are further in the background, and the backing vocal arrangements sit behind the rhythm guitars and lead vocal at the front of the mix. But, overall, the three-dimensional scope of the sound-box is constrained. Mynett has observed that reverb is used sparingly when recording the quad-tracked, distorted guitars of contemporary metal, in order to maintain their sonic \u2018intelligibility\u2019 in the mix (Mynett: 2012). Although operating in a different musical style, it is not implausible to suggest that similar aesthetics are at play in Queen\u2019s tracks. That is, the vocal and guitar parts are treated with minimal amounts of reverb in order to retain a sense of clarity, which, in turn, allows the richness of Queen\u2019s layered arrangements to shine through. The upshot of this approach is that it further conveys the \u2018epic\u2019 sense of size, given that the numerous sounds of Queen\u2019s songs tend to be positioned in reasonably close proximity to the listener: thus, one gets the impression of large amounts of musical activity unfolding in a relatively small environment.<\/p>\n

The impression of size is not dependent, however, on dense instrumental and vocal textures. The fifth factor that contributes to the group\u2019s \u2018epic\u2019 sound is the \u2018staging\u2019 of Freddie Mercury\u2019s voice; Lacasse\u2019s term refers to the \u2018manipulation\u2019 of a sound or voice, either timbrally or in terms of presenting it with a given \u2018spatial and\/or temporal configuration\u2019 (Lacasse: 2000, 4). The opening verse of \u2018You Take My Breath Away\u2019 (1976) provides a common \u2018staging\u2019 of Mercury\u2019s voice[5]<\/sup>. \u00a0While there is much to interpret about the lead singer\u2019s vocal techniques, in this regard, two features are notable. First, Mercury\u2019s voice has been treated with reverb with a long tail. This effect gives the impression that Mercury is singing in a moderately large overall environment, such as a concert chamber; further, his voice is heard to occupy this space comfortably[6]<\/sup>. Mercury\u2019s voice is thus perceived as big enough to be compatible with a large space. At the same, the short pre-delay on the reverb maintains the presence of his voice in the mix; indeed, we hear the subtle nuances in Mercury\u2019s singing, as well as his breaths, and we can make out that he is singing at a reasonably low volume. On these counts, one may suggest that Mercury occupies an \u2018intimate\u2019 space in relation to the listener (see Moore, Schmidt and Dockwray: 2009). These two \u2018staging\u2019 effects foster a dual impression of size: on the one hand, the evocation of a large environment is important in augmenting the apparent scope of Mercury\u2019s voice; on the other hand, the minimal distance between his voice and the listener acts like a magnifying glass or zoom lens insofar as we perceive this vocal force as situated directly in front of us. Mercury\u2019s voice is thus \u2018epic\u2019 in relation to both the space around him, and concurrently in relation to the listener\u2019s perspective.<\/p>\n

Contextualising Queen\u2019s \u2018Epic\u2019 Sound<\/strong><\/h3>\n

One can thus note a number of techniques that foster the illusion of size in Queen\u2019s tracks. The five primary techniques include: the juxtaposition of thin and rich textures, wide lateral spread of parts across the sound-box, dense vertical layering of sounds, the presence of multiple sounds in a relatively small performance environment, and the apparent augmentation of Freddie Mercury\u2019s voice. These all revolve around creating \u2018epic\u2019 proportionate relationships between the sounds of tracks and their musical and spatial surroundings.<\/p>\n

It is important to note that these techniques, in and of themselves, are not unique to the British rock group. Indeed, it is easy to find many comparable examples for each particular trait. The sharp textural juxtapositions betray the influence of Led Zeppelin (e.g. \u2018What Is And Never Should Be\u2019) and the Who (e.g. \u2018Baba O\u2019Reilly\u2019) on Queen. The layering of identical vocals had been explored as far back as Patti Page\u2019s 1950-single \u2018With My Eyes Wide Open, I\u2019m Dreaming\u2019; and the matching and blending of vocal timbres to produce a richer sound is the basic tenet of barbershop singing. Further to this, the staging of Mercury\u2019s voice is typical of balladeers, from Frank Sinatra (e.g. \u2018One for my Baby\u2019) to Karen Carpenter (e.g. \u2018Goodbye to Love\u2019). And, it is not difficult to find contemporaneous examples of dense arrangements unfolding in a moderately-sized performance environment, from ABBA (e.g. \u2018Ring Ring\u2019) to Bruce Springsteen (e.g. \u2018Thunder Road\u2019) to Fleetwood Mac (e.g. \u2018Don\u2019t Stop\u2019). Thus, all the ingredients of Queen\u2019s \u2018epic\u2019 sound can be found elsewhere in popular recordings of the 1970s and earlier.<\/p>\n

While further comparative research would be needed to substantiate this point, I would tentatively suggest that what is distinct to Queen is the combination of these ingredients; in a number of Queen\u2019s songs, one can observe many of the traits coalescing in a single demonstration of Queen\u2019s \u2018epic\u2019 sound. The end of the chorus section of \u2018Play the Game\u2019 (1980) highlights this point[7]<\/sup>.\u00a0 Although the full vocal arrangement is in the mix already, the texture thickens suddenly with entrance of May\u2019s overdriven rhythm guitars at the end of this section. The lateral dimensions of the sound-box also widen at this point; the vocals, drums, bass guitar and piano are positioned in the centre of the stereo image, and thus May\u2019s guitars bringing the outer points of the sound-box into focus. Here, we have a sense of Queen expanding the boundaries of the sound-box, as if the initial space was not big enough to hold the group. Furthermore, the light reverberant qualities of the mix suggest the band is playing in a medium sized space, which Mercury\u2019s voice, the vocal arrangement, and twin rhythm guitars are heard as easily filling. Finally, it is also worth noting the way in which the melodic and harmonic elements expand in shape through this phrase. The penultimate phrase showcases a large upwards leap in the vocal melody; this is matched by the vocal harmonies expanding from a three- to a five-part chord on the word \u2018game\u2019. In terms of harmony, melody, arrangement and production techniques, then, Queen conveys a sense of \u2018epic\u2019 size, in relation to other sounds of the song, and in relation to the space the group\u2019s music inhabits.<\/p>\n

The Development of Queen\u2019s \u2018Epic\u2019 Sound<\/strong><\/h3>\n

The analysis thus far has demonstrated that it is important to document several of Queen\u2019s studio and production practices in order to understand the \u2018Queen sound\u2019 as part of the group\u2019s overall idiolect. In the final section of this paper, I wish to pursue this approach a little further, for it is clear that an even richer understanding of Queen\u2019s studio practices results in a deeper understanding of the group\u2019s idiolect over time. Sharp observers may have noted that all of the examples mentioned thus far were recorded from 1975 onwards; the same observers may also be aware that Queen began their recording career in 1973. By 1975, when Queen made A Night at the Opera<\/em>, the group had already recorded Queen <\/em>(1973), Queen II <\/em>(1974a), and Sheer Heart Attack<\/em> (1974b). What is interesting about these initial albums in this particular context is that they largely present a different sound, and one that is, arguably, less \u2018epic\u2019. In closing stages of this paper, I will therefore consider the \u2018Queen sound\u2019 from a diachronic perspective, and offer several ideas on how and why the group developed their particular sonic fingerprint.<\/p>\n

\u2018White Queen (As It Began)\u2019 (1974a), from Queen II<\/em>, is typical of the sound that dominated the group\u2019s second album, specifically, but is also representative of the group\u2019s approach through much of their first two albums, and parts of their third album.\u00a0 The instrumental verse and chorus sections are useful for understanding the changes in the \u2018Queen sound\u2019[8]<\/sup>. From these sections of the track, one can actually note a number of similar traits to what one encounters in later Queen albums. Specifically, there are sudden changes between highly contrasting textures; and, the sounds of the track are spread evenly across the vertical and lateral dimensions of the stereo image. There is a further sense of expansion and growth at key structural moments (like \u2018Play the Game\u2019) with the crescendo in the vocal arrangement (leading into the power chords), and the ascending guitar fanfare figuration (after the power chords). Even from early on, then, Queen was employing arrangement and production techniques that fostered an \u2018epic\u2019 sonic style. What, then, was the difference between Queen\u2019s songs in 1974 and Queen\u2019s songs in 1975?<\/p>\n

Arguably the most obvious difference is that the later songs showcase a more precise use of reverb on the guitar and vocal tracks. The early Queen arrangements tended to showcase a comparatively lush and washed sound, that reduced both the presence and clarity of the individual components of their arrangements. John Deacon spoke in the 1970s about the group learning about studio processes and techniques\u2014\u2018[we were] always\u2026very interested in working in the studio, how to get the best out of them\u2019 (Purvis: 2011, p. 47). Although his comments were of a general nature, it is tempting to hear these production changes as reflective of this idea. That is, the group may have developed a better understanding after several albums of how best to use the studio to realise their particular musical arrangements. This idea resonates with Brian May\u2019s comments on \u2018Killer Queen\u2019 from 1974, which he regarded as something of a breakthrough, not just commercially, but production-wise as well, due to the clarity of the arrangement (O’Casey: 2011). A primary difference between \u2018Killer Queen\u2019 and its predecessors in Queen\u2019s output is that reverb is used sparingly on the guitar and vocal parts of the arrangement, a feature of later Queen tracks also; accordingly, we can view this song as something of a turning-point in the development of the \u2018Queen sound\u2019.<\/p>\n

The second main difference also concerns the relationship between the sounds of Queen\u2019s songs and their surrounding spatial context; specifically, there is a change in the sonic environment between 1973\/74 songs and post-1975 songs. This shift can be understood as a change from a \u2018surreal\u2019 setting to a schematic representation of a \u2018natural\u2019 setting, to borrow from Br\u00f8vig-Hannsen and Danielsen (Br\u00f8vig-Hanssen and Danielsen: 2013). In a similar vein to Zagorski-Thomas\u2019 arguments regarding sonic cartoons, the authors make clear that any distinction between these settings is context-dependent and is based on how a listener hears a particular piece of music. Nonetheless, their \u2018surreal\u2019 examples tend to highlight instances in which the individual sounds of a song occupy different spatial and acoustic environments; a comparison can be drawn with a \u2018natural\u2019 setting in which the sounds appear to be located in a single space. This distinction is useful for understanding the changes in sonic qualities of Queen\u2019s songs. In the early years (1973-1974), Queen\u2019s tracks tend to occupy spaces that may be regarded as \u2018surreal\u2019, insofar as the spaces have unclear dimensions and designs, and insofar as the various sounds of a track do not cohere in a unified sonic environment. From the example of \u2018White Queen\u2019, one can note that the tom and snare drums have a dead sound connoting a small, dry acoustic environment. In contrast, the ride cymbals and backing vocals have a washed sound that connotes a large, reverberant space. It is seemingly impossible, therefore, that the drum kit, let alone the full band, could be perceived as playing together in a \u2018natural\u2019 setting.<\/p>\n

It is important to note that the stagings of Queen\u2019s songs post-1975 are no less \u2018surreal\u2019 given that the specific sonic constructions of these songs remain acoustically impossible. There is no way, for instance, that a listener could be situated in the apparently medium-sized room of \u2018It\u2019s Late\u2019 and hear precisely, if at all, the backing vocal arrangement over the two rhythm guitars and drum kit. What is important, however, is not whether this perceived environment is or is not \u2018real\u2019, but the fact that one gets the impression of the entire group situated in a single space. This idea is key to the \u2018Queen sound\u2019, more or less, from \u2018Killer Queen\u2019 onwards\u2014the fact that the group present a schematic representation of performing in a natural setting, with all the sounds of a song collectively located in that single space. This comes about primarily from two production techniques: the first is the minimal reverb, as noted above, which allows the rich arrangements to retain a clear presence in the mix. The second is the live sound of the drum kit, which in turn creates the \u2018natural\u2019 setting in which the other sounds are located. Again, \u2018It\u2019s Late\u2019 offers an excellent demonstration of this process in action: other good examples include \u2018Death on Two Legs\u2019 (1975), \u2018The Prophets Song\u2019 (1975), \u2018Tie Your Mother Down\u2019 (1976), \u2018Good Old Fashioned Lover Boy\u2019 (1976), \u2018It\u2019s Late\u2019 (1977), \u2018Jealousy\u2019 (1978), and \u2018Play the Game\u2019 (1980), to select a handful of songs from different albums and different styles.<\/p>\n

To tie the previous paragraphs together, the changing treatment of these components of Queen\u2019s song was important in the complete realisation of the \u2018Queen sound\u2019 and, furthermore, was crucial in bringing the \u2018epic\u2019 qualities to fruition. As outlined above, the sense of size in Queen\u2019s song stemmed from the proportionate relationship between the group\u2019s sounds and their spatial contexts. With the \u2018natural\u2019 sound of the drums in place, it became possible to perceive Queen\u2019s songs as unfolding within a unified environment, as if the band were playing in the same room together. This provided the spatial context against which the size of the group\u2019s dense and rich textures could be measured. When the spatial dimensions were unclear or ambiguous, the impression of size was thus diminished; it was the \u2018natural\u2019 setting, therefore, that allowed for the \u2018epic\u2019 qualities of the \u2018Queen sound\u2019 to be fully realised.<\/p>\n

This raises a final question as to why one can observe a developmental process in the \u2018Queen sound\u2019. As mentioned above, the idea of the group learning may be important, but such an idea is rather general. Brian May has offered a more specific explanation (interview with author, 4 September 2014). He noted that the early albums, Queen <\/em>and Queen II <\/em>especially, were made to reflect the \u2018Trident\u2019 sound\u2014\u2018the Trident sound was based on everything being damped down, so nothing interfered with anything else…so you had the drums in a little booth all covered in bits of tape so they don\u2019t ring too much\u2026and the guitars, they would put the amp in some place that was very absorbent\u2026the engineers would say, \u201cdon\u2019t worry, we\u2019ll put the reverb on afterwards\u201d\u2019. While this particular sound was famous in the early 1970s courtesy of records by David Bowie (e.g. Hunky Dory<\/em>) and Elton John (e.g. Goodbye Yellow Brick Road<\/em>), amongst others, it ran contrary to Queen\u2019s desired sound. This was something closer to what Zagorski-Thomas has tentatively identified as the 1970s \u2018UK Sound\u2019 (Zagorski-Thomas: 2012); in May\u2019s words, \u2018That was completely not what we were about. We wanted to have the natural sounds and ambience. The whole thing about playing as a group is that everything does interfere with everything else\u2019 (interview with author). May further recalled the group having to \u2018fight to get their own way\u2019; only in fragments of Sheer Heart Attack<\/em> and then from A Night at the Opera <\/em>onwards did the group succeed in \u2018getting the drums to be ambient and ringing and getting the live sound to the backing track\u2019 (interview with author). These observations correspond with, initially, the artificial reverb of \u2018White Queen\u2019, followed by the precision of \u2018Killer Queen\u2019 (a \u2018fragment\u2019 of Sheer Heart Attack<\/em>), followed by the apparent \u2018naturalness\u2019 and the consistency of the \u2018Queen sound\u2019 from 1975 onwards.<\/p>\n

To conclude, it is worth noting that this analysis produces a narrative that is reasonably familiar from the record production discourse, whereby the artist\u2019s increasing control in the studio is a necessary step in being able to realise their musical visions (see, for example, Butler: 2012; Carlin: 2012, pp. 186-203). But what is perhaps notable and important in the story of Queen, and what may be an area of exploration for future analysts, is that these changes in the production of their songs had a significant impact on the group\u2019s idiolect, or signature musical style. And, perhaps, one might argue that this was an important factor in taking the group to the top of the rock world.<\/p>\n

Acknowledgements<\/strong><\/h3>\n

I would like to thank Jeff Wragg, who read through an earlier version of this paper, as well as audience members and fellow presenters at the Art of Record Production Conference for making insightful comments and suggestions.<\/p>\n

Notes<\/strong><\/h3>\n

[1]<\/sup> Following Gracyk (1996) there is an implicit distinction here between the features of the \u2018Queen sound\u2019 and the structures of Queen\u2019s songs, which may account for harmony, melodic structure, rhythm, and form. It is important to note that such a distinction exists primarily for methodological purposes\u2014in practice, structural elements cannot exist with sound, and sounds must convey some structural idea.<\/p>\n

[2]<\/sup> \u2018We are the Champions\u2019 (1977) is a good example of the former spatial arrangement of voices; \u2018Good Old Fashioned Lover Boy\u2019 (1976) is a good example of the latter spatial arrangement.<\/p>\n

[3]<\/sup> I will direct listeners to YouTube recordings of each song and the appropriate timings for each example; the pre-chorus of \u2018We are the Champions\u2019 can be heard between 0\u201928\u201d-0\u201940\u201d at\u00a0https:\/\/www.youtube.com\/watch?v=04854XqcfCY<\/a>.<\/p>\n

[4]<\/sup> \u2018It\u2019s Late\u2019\u2014https:\/\/www.youtube.com\/watch?v=0PItMuGp39Q<\/a>, 5\u201920\u201d-5\u201942\u201d. Readers may watch also video representations of the sound-boxes for \u2018It\u2019s Late\u2019, \u2018Play the Game\u2019, and \u2018White Queen (As It Began)\u2019 at\u00a0http:\/\/nickbraaemusic.wordpress.com<\/a>.<\/p>\n

[5]<\/sup> \u2018You Take My Breath Away\u2019\u2014\u00a0https:\/\/www.youtube.com\/watch?v=v_wLNqUz7pM<\/a>, 1\u201915\u201d-1\u201933\u201d.<\/p>\n

[6]<\/sup> Liu-Rosenbaum makes a similar point with respect to John Bonham’s drumming in ‘When the Levee Breaks’ (Liu-Rosenbaum: 2012).<\/p>\n

[7]<\/sup> \u2018Play the Game\u2019\u2014\u00a0https:\/\/www.youtube.com\/watch?v=v_wLNqUz7pM<\/a>, 0\u201946\u201d-1\u201903\u201d.<\/p>\n

[8]<\/sup> \u2018White Queen (As It Began)\u2019\u2014\u00a0https:\/\/www.youtube.com\/watch?v=Nx_SVPiXnWM<\/a>, 2\u201955\u201d-3\u201945\u201d.<\/p>\n

Bibliography<\/strong><\/h3>\n

Barrow, T. and Newby, J. (1994) Inside the Music Business<\/em>. London: Routledge.<\/p>\n

Br\u00f8vig-Hanssen, R. and Danielsen, A. (2013) ‘The Naturalised and the Surreal: changes in the perception of popular music sound’. In: Organised Sound<\/em>. 18, 1, pp. 71-80. doi: 10.1017\/S1355771812000258.<\/p>\n

Butler, J. (2012) ‘The Beach Boys’ Pet Sounds <\/em>and the Musicology of Record Production’. In: Frith, S. and Zagorski-Thomas, S. (eds.) The Art of Record Production: An Introductory Reader for a New Academic Field<\/em>. Farnham, Surrey: Ashgate, pp. 223-33.<\/p>\n

Carlin, P. A. (2012) Bruce<\/em>. London: Simon & Schuster.<\/p>\n

Cunningham, M. (1995) ‘Roy Thomas Baker & Gary Langan: The Making Of Queen’s ‘Bohemian Rhapsody”. In: Sound on Sound<\/em>. [Online]. Available at: http:\/\/www.soundonsound.com\/sos\/1995_articles\/oct95\/queen.html<\/a> (Accessed: 20 June 2014).<\/p>\n

Gilmore, M. (2014) ‘Queen’s Tragic Rhapsody’. In: Rolling Stone<\/em>. [Online]. Available at: http:\/\/www.rollingstone.com\/music\/news\/queens-tragic-rhapsody-20140707<\/a> (Accessed: 18 November 2014).<\/p>\n

Gracyk, T. (1996) Rhythm and Noise<\/em>. Durham, NC: Duke University Press.<\/p>\n

Liu-Rosenbaum, A. (2012) ‘The Meaning In The Mix: Tracing A Sonic Narrative In \u2018When The Levee Breaks\u2019’. In: Journal on the Art of Record Production<\/em>. [Online] 7. Available at: https:\/\/arpjournal.com\/the-meaning-in-the-mix-tracing-a-sonic-narrative-in-\u2018when-the-levee-breaks\u2019\/<\/a> (Accessed: 21 November 2014).<\/p>\n

Moore, A. F. (2003) ‘Jethro Tull and the case for modernism in mass music’. In: Moore, A. F. (ed.) Analyzing Popular Music<\/em>. Cambridge: Cambridge University Press, pp. 158-72.<\/p>\n

Moore, A. F. (2012) Song Means: Analysing and Interpreting Recorded Popular Song<\/em>. Farnham, Surrey: Ashgate.<\/p>\n

Moore, A. F. and Ibrahim, A. (2009) ‘Sounds like Teen Spirit; identifying Radiohead’s idiolect’. In: Tate, J. (ed.) Strobe-Lights and Blown Speakers: Essays on the Music and Art of Radiohead<\/em>. Aldershot: Ashgate, pp. 139-58.<\/p>\n

Moore, A. F., Schmidt, P. and Dockwray, R. (2009) ‘A Hermeneutics of Spatialization for Recorded Song A Hermeneutics of Spatialization for Recorded Song’. In: twentieth-century music<\/em>. 6, 1, pp. 83-114. doi: 10.1017\/S1478572210000071.<\/p>\n

Moylan, W. (2012) ‘Considering Space in Recorded Music’. In: Frith, S. and Zagorski-Thomas, S. (eds.) The Art of Record Production: An Introductory Reader for a New Academic Field<\/em>. Farnham: Ashgate, pp. 163-88.<\/p>\n

Mynett, M. (2012) ‘Achieving Intelligibility whilst Maintaining Heaviness when Producing Contemporary Metal Music’. In: Journal on the Art of Record Production<\/em>. [Online] 6. Available at: https:\/\/arpjournal.com\/1858\/achieving-intelligibility-whilst-maintaining-heaviness-when-producing-contemporary-metal-music\/<\/a> (Accessed: 21 October 2014).<\/p>\n

Purvis, G. (2011) Queen: Complete Works<\/em>. London: Titan Books.<\/p>\n

Serpick, E. ‘Queen Biography’. In: Rolling Stone<\/em>. [Online]. Available at: http:\/\/www.rollingstone.com\/music\/artists\/queen\/biography<\/a> (Accessed: 12 February 2014).<\/p>\n

Spicer, M. (2010) ‘”Reggatta de Blanc”: Analyzing Style in the Music of the Police’. In: Spicer, M. and Covach, J. (eds.) Sounding Out Pop: Analytical Essays in Popular Music<\/em>. United States of America: The University of Michigan Press, pp. 124-153.<\/p>\n

Waksman, S. (2013) ‘Is it live? Does it matter?’. Performance in the Studio Online Conference<\/em>, Live versus studio, 30 April. http:\/\/artofrecordproduction.com\/index.php\/aesthetics\/live-versus-studio\/entry\/is-it-live-does-it-matter<\/a> (Accessed: 10 February 2015)<\/p>\n

Zagorski-Thomas, S. (2012) ‘The US vs the UK Sound: Meaning in Music Production in the 1970s’. In: Frith, S. and Zagorski-Thomas, S. (eds.) The Art of Record Production: An Introductory Reader for a New Academic Field<\/em>. Farnham, Surrey: Ashgate, pp. 57-75.<\/p>\n

Zagorski-Thomas, S. (2013) ‘When is a performance not a performance?’. Performance in the Studio Online Conference<\/em>, Live versus studio, 1 May. http:\/\/artofrecordproduction.com\/index.php\/aesthetics\/live-versus-studio\/categories\/listings\/live-versus-studio<\/a> (Accessed: 9 November 2014)<\/p>\n

Zagorski-Thomas, S. (2014) The Musicology of Record Production<\/em>. Cambridge: Cambridge University Press.<\/p>\n

Zak, A. (2008) ‘Rock and Roll Rhapsody: Pop Epics of the 1970s’. In: Everett, W. (ed.) Expression in Pop-Rock Music: A Collection of Critical and Analytical Essays<\/em>. New York: Routledge, pp. 345-60.<\/p>\n

Discography<\/strong><\/h3>\n

Queen. Queen<\/em>. [CD] EMI, 1973.<\/p>\n

\u2014\u2014\u2014\u2014. Queen II<\/em>. [CD] EMI, 1974a.<\/p>\n

\u2014\u2014\u2014\u2014. Sheer Heart Attack<\/em>. [CD] EMI, 1974b.<\/p>\n

\u2014\u2014\u2014\u2014. A Night at the Opera<\/em>. [CD] EMI, 1975.<\/p>\n

\u2014\u2014\u2014\u2014. A Day at the Races<\/em>. [CD] EMI, 1976.<\/p>\n

\u2014\u2014\u2014\u2014. News of the World<\/em>. [CD] EMI, 1977.<\/p>\n

\u2014\u2014\u2014\u2014. Jazz<\/em>. [CD] EMI, 1978.<\/p>\n

\u2014\u2014\u2014\u2014. The Game<\/em>. [CD] EMI, 1980.<\/p>\n

\u00a0<\/b><\/p>\n","protected":false},"excerpt":{"rendered":"

One of the defining features of Queen\u2019s output in the 1970s was the group\u2019s signature \u2018sound\u2019. This paper documents four studio-related techniques that contributed to the \u2018Queen sound\u2019, with a particular focus on how these traits conveyed a sense of \u2018epic\u2019 size in the group\u2019s songs. The second section of this paper examines the \u2018Queen sound\u2019 from a diachronic perspective, demonstrating how the group\u2019s changing studio practices between 1974 and 1975 resulted in the complete realisation of the \u2018Queen sound\u2019.<\/p>\n","protected":false},"author":8,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[60],"tags":[317,318,315,316,314],"class_list":["post-3085","post","type-post","status-publish","format-standard","hentry","category-articles-editorials-provocations","tag-analysis","tag-development","tag-rock","tag-space","tag-style","author-nick-braae"],"_links":{"self":[{"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/posts\/3085","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/comments?post=3085"}],"version-history":[{"count":17,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/posts\/3085\/revisions"}],"predecessor-version":[{"id":3330,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/posts\/3085\/revisions\/3330"}],"wp:attachment":[{"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/media?parent=3085"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/categories?post=3085"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/tags?post=3085"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}