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(* * * * *) A DAY AT THE RACES -QUEEN ‘ I (ELECKTRA‘RECORDS), .

Queen established them— ‘

selves as one of the.world's three major.bands with their Night At The Opera effort of 1975. follow-up, Day At The Races, makes it evident that Queen are willing to stick with what sells. After a couple of listens, Races does sound like a copy of Opera. By

the third and fourth _ listens, though, the dif—‘ ferences do start appear— ing. * ' .

"Tie Your Mother Down"

is the first song on four albums that returns to

the hard and fast-rocking style found on Queen I still my favourite. It is also the only song Races

that features Brian May . with some straight-ahead unadorned guitar solos in it. The rest of his guitar work on the album is as distorted-as a , Right Honorable Brian , :\ Walsh argument.

In contrast to the hard—hitting opener, the second track is "You,

The cover of their3,

Take My Breath Away", _a Freddie Mercury song all the way.} Besides being: ” blessed with one of ' ‘ vMercury's best Vocal pre- formances,'it'also.points gout his capabilities on the piano. This is def— initely the ultimate bal- lad from-Merbury and Queen. Although bpth of these

‘songs could be singles, I'm putting my money on either "Long Away" or . "Good Old-Fashioned Lover -Boy". The former would m .be the first hit single written by Brian May if it was released. May's

- material tends to be more in the rock format, giving 'Queen albums their heavy

\ edge. 'Mercury continues

' his obsession with the 1920's and 1930's with "Somebody To Love", "The Millionaire Waltz" and , the foreementioned "Good Old Fashioned Lover Boy". ' "Lover Boy" is the fastest. of these, propelled by

a steady beat and high—,

_lighted by Mercury's out— rageous Vocals. John Deacon bassist, says writing comes hard for him, but he wrote the ultimate AM hit of the 70's, "You're My Best 7 Friend". His offering on ‘ Races is "You And I", which also has possibilities as

a single. ‘

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YO K Faculty of Administrative Studies . 4700 Keele Street, Downsview, Ontario

U N l" E R5" TV M3J 2R6 (416) 667-2532 ‘ J ' 'EfésXs'éééRé'éé iAREQtiéKilit'éi'v'ér'k'é'MEA'éiééiérﬁRéf ' ' ' " é Name [Graduating Year Street 5 City " Province g E University Programme .5

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Tsingles, you get the im— gpresSion the album is com-' ?pletely dedicated to the AM market. This 81 not 'which'are as varied as you can get. '"White Man" is Queen's answer to zeppelin's "The Immigrant Song", both lyrically and to a certain ' extent, musically. "Drowse" ‘“is drummer Roger Taylor's effort, with very_peaceful moods created by the down- tempo beat. "Teo Torriatte" is a sentimental Brian 'May singing about parting with his lady while at the same time telling the world to "cling together" and not follow his example on a global scale. May even throws in a Japanese verse, from which the title is extracted. This album, as a whole is much more rounded music- ally than their first three albums, features improve— ments of the songs on Night At The Opera. Queen, with . Races, proves once and for all they are the rulers when it comes to combining rock ("White Man", "Tie YOur Mother Down") and AM classics ("Long Away", "Good Old—Fashioned Lover Boy"). A Day At The Races has given us just enough prbgression to keep us, interested in the Queen sound. V ‘ (* * * * *) FREEWAYS; BACHMAN-TURNER OVERDRIVE "(MERCURY RECORDS) ' Most critics find it

easy to criticize BTO, usually harping on the fact that BTO's sound never changes, the music— ianship is terrible, and they alwaysgwrite about the music industry. For once, the critics will be totally wrong if they

try to use these reasons on Freeways.

The album opens with"Can We All Come Together", a

' raggae music and it is well in evidence on this cut. It'll be a great dance number even if it isn't released as a single. Thus right from the start, “94.81.3195 , notic.e.ﬁtlzat they are capable of changing theirpmusicalgstyle‘and changing it.with finesse.

The following song, "Life Still Goes On (Ifm Lonely)" is more in the usual BTO vein, although it doesn't have that ultra loud, sharp guitar worklthat got Not Fragile and Four Wheel Drive brand- ed as noise. All ’of Freeways rock songs are in this more mellow frame- work that was first evidenced

- on ‘he preceeding elpee, Head

nges enough?

93. "Lonely" is also the only tune written by C.F. Turner and only one of the two he sings; AsJa result, Randy Bachmani wrote the rest of thef

of the album and sings lead on all the others.

The third cut, "Shot-7 gun Rider", is my early favourite of the album. It is a mini-ballad re— counting the tale of a iguy "riding Shotgun" over a whole town. This type of song is also a' new format for BTO, who have'never touched upon ballads before. For' the first time in a BTO album, the lyrics have been about the fierce- ness of the music in- dustry, the down—heart- ening job of touring, or the shortcomings of stardom ("Lookin' Out For #1", "Take It Like A Man", and "Average Man" respectively from Head On).

The other song Free— ways that is a completely new approach for BTO is called "Easy Groové?. featuring for the first time, strings in the background. The strings arranged by Ben McPeek,- add a classy touch to a song that is a slow disco love ballad, if there's such a thing. Actually BTO has created a whole new form of song with this one. ‘ ‘

The typical but toned down BTO pressics on A this alﬂhm.are'"My. jWheels.FOn't*Turn", "Downgboﬁﬁﬁg and "Free— ways"§rﬁhe'musicianship is shove anything they have previously done, making for some great rocking.

lHTO has obviously tried to broaden their musical spectrum. With— out a doubt, they have done this. As a result, they have turned out an excel- lent album. It remains to be seen how it sells and whether the changes have beenieffective.

(* * *) LEAVE HOME— RAMONES (SIRE RECORDS)

I was playing a re- cord on the turntalbe when a guy walks in and asks me what I'm playing.

"Ramones' new album,

.Leave Home? I said.

"I kinda like that guitar part. Can I hear it again?" _

I replied, "Don't have to play it agian, You'll hear it again in the ne’, song, and the next, _and the next . . . . . . . .."