Editing Queen (band) (section)

===1971–1974: ''Queen'' and ''Queen II''===
In February 1971, [[John Deacon]] joined Queen. In addition to being an experienced bassist, his quiet demeanour complemented the band, and he was skilled in electronics.{{sfn|Blake|2010|p=107}} On 2 July, Queen played their first show with the classic line-up of Mercury, May, Taylor and Deacon at a Surrey college outside London.{{sfn|Sutcliffe|2009|p=26}} May called Terry Yeadon, an engineer at Pye Studios where Smile had recorded, to see if he knew anywhere where Queen could go. Yeadon had since moved to [[De Lane Lea Studios]]' new premises in [[Wembley]], and they needed a group to test out the equipment and recording rooms. He tried asking [[the Kinks]] but couldn't get hold of them. Therefore, he told Queen they could record some demos in exchange for the studio's acoustic tests.{{sfn|Blake|2010|pp=112–113}} They recorded five of their own songs, "[[Liar (Queen song)|Liar]]", "[[Keep Yourself Alive]]", "[[Queen (Queen album)#"Great King Rat"|Great King Rat]]", "[[Queen (Queen album)#"The Night Comes Down"|The Night Comes Down]]" and "[[Queen (Queen album)#"Jesus"|Jesus]]". During the recording, producers John Anthony and [[Roy Thomas Baker]] visited the band. The two were taken with "Keep Yourself Alive" and began promoting the band to several record companies.{{sfn|Blake|2010|p=114}}

[[File:The Cavern Club, exhibited signed guitars for memorable performances - The Rolling Stones (5th November 1963) - Crescent Stratocaster, Queen (31st October 1970) - Squier Stratocaster (2016-09-04 20.44.17 by NH53).jpg|thumb|left|upright|Queen guitar (right, next to a Rolling Stones guitar) at the [[The Cavern Club|Cavern Club]] in Liverpool, marking a 31 October 1970 Queen concert at the venue]]
Promoter Ken Testi managed to attract the interest of [[Charisma Records]], who offered Queen an advance of around £25,000, but the group turned them down as they realised the label would promote [[Genesis (band)|Genesis]] as a priority. Testi then entered discussions with [[Trident Studios]]' [[Norman Sheffield]], who offered the band a management deal under Neptune Productions, a subsidiary of Trident, to manage the band and enable them to use their facilities, while the management searched for a deal. This suited both parties, as Trident were expanding into management, and under the deal, Queen were able to make use of the hi-tech recording facilities used by signed musicians.{{sfn|Blake|2010|pp=117–118}} Taylor later described these early off-peak studio hours as "gold dust".<ref name=":0">{{Cite web|url=https://www.bbc.co.uk/programmes/b06s76l4|title=Queen: From Rags to Rhapsody – BBC Four|website=BBC|language=en-GB|access-date=9 May 2018|archive-date=7 February 2018|archive-url=https://web.archive.org/web/20180207023709/http://www.bbc.co.uk/programmes/b06s76l4|url-status=live}}</ref>

Queen began 1972 with a gig at [[Bedford College, London|Bedford College]], London where only six people turned up. After a few more shows, they stopped live performances for eight months to work on the album with Anthony and Baker.{{sfn|Blake|2010|pp=117–118}} During the sessions at Trident, they saw [[David Bowie]] with [[the Spiders from Mars]] live and realised they needed to make an impact with the album, otherwise they would be left behind.{{sfn|Blake|2010|pp=119–120}} Co-producers Anthony and Baker initially clashed with the band (May in particular) on the direction of the album, bringing the band's inexperience in the studio to bear.{{sfn|Doherty|2011|p=8}} The band's fighting centered around their efforts to integrate technical perfection with the reality of live performances, leading to what Baker referred to as "kitchen sink overproduction".<ref>{{cite book|last=Baker|first=J.I.|year=2019|title=The Music. The Life. The Rhapsody|page=31|publisher=LIFE Magazine}}</ref> The resulting album was a mix of [[heavy metal music|heavy metal]] and [[progressive rock]].{{sfn|Doherty|2011|p=8}} The group were unhappy with the re-recording of "The Night Comes Down", so the finished album uses the De Lane Lea demo. Another track, "[[Headlong (song)#B-sides|Mad the Swine]]" was dropped from the running order after the band and Baker could not agree on a mix.{{sfn|Blake|2010|p=121}} [[Mike Stone (record producer)|Mike Stone]] created the final mix for "Keep Yourself Alive", and he went on to work on several other Queen albums.{{sfn|Blake|2010|p=122}} By January 1972, the band finished recording their debut album, but had yet to secure a record contract.{{sfn|Doherty|2011|p=8}} In order to attract record company interest, Trident booked a "showcase" gig on 6 November at [[The Pheasantry]], followed by a show at the [[Marquee Club]] on 20 December.{{sfn|Dean|1986|p=17}}

Queen promoted the unreleased album in February 1973 on [[BBC Radio 1]], still unsigned. The following month, Trident managed to strike a deal with [[EMI Records]]. "Keep Yourself Alive" was released as a single on 6 July, with the album ''[[Queen (Queen album)|Queen]]'' appearing a week later. The front cover showed a shot of Mercury live on stage taken by Taylor's friend Douglass Puddifoot. Deacon was credited as "Deacon John" while Taylor used his full name, Roger Meddows-Taylor.{{sfn|Blake|2010|pp=126–127}} The album was received well by critics; Gordon Fletcher of ''[[Rolling Stone]]'' called it "superb",<ref name=RS1 /> and Chicago's ''[[Daily Herald (Arlington Heights)|Daily Herald]]'' called it an "above-average debut".<ref>{{Cite news|title=''Queen''|date=7 December 1973|periodical=Daily Herald|location=Chicago, IL|url=http://queenarchives.com/index.php?title=Queen_-_12-07-1973_-_Queen_-_The_Herald%2C_Chicago%2C_IL|access-date=7 July 2008|archive-date=10 July 2017|archive-url=https://web.archive.org/web/20170710142019/http://queenarchives.com/index.php?title=Queen_-_12-07-1973_-_Queen_-_The_Herald%2C_Chicago%2C_IL|url-status=dead}}</ref> However, it drew little mainstream attention, and "Keep Yourself Alive" sold poorly. Retrospectively, it is cited as the album's highlight, and in 2008 ''Rolling Stone'' ranked it 31st in the "100 Greatest Guitar Songs of All Time", describing it as "an entire album's worth of riffs crammed into a single song".<ref>{{cite magazine|url=http://www.rocklistmusic.co.uk/rstone.html|title=100 Greatest Guitar Songs of All Time|magazine=[[Rolling Stone]]|date=June 2008|access-date=16 June 2011|archive-date=18 July 2011|archive-url=https://web.archive.org/web/20110718180414/http://www.rocklistmusic.co.uk/rstone.html|url-status=usurped}}</ref> The album was certified gold in the UK and the US.<ref name="bhsa" /><ref name="RIAAC" />

{{Listen
|filename =TheMarchOfTheBlackQueen.ogg
|title ="The March of the Black Queen"
|description =A sample of "[[The March of the Black Queen]]" from ''[[Queen II]]'' (1974). The band's earlier songs (such as this) leaned more towards progressive rock and heavy metal compared to their later work.
}}
The group began to record their second album, ''[[Queen II]]'' in August 1973. Now able to use regular studio time, they decided to make full use of the facilities available. May created a multi-layer guitar introduction "Procession", while Mercury wrote "The Fairy Feller's Master Stroke" based on [[The Fairy Feller's Master-Stroke|the painting of the same name]] by [[Richard Dadd]].{{sfn|Blake|2010|pp=131–132}} The group spent the remainder of the year touring the UK, supporting [[Mott The Hoople|Mott the Hoople]], and began to attract an audience.{{sfn|Dean|1986|p=19}} The tour ended with two shows at the [[Hammersmith Odeon]] on 14 December, playing to 7,000 people.{{sfn|Blake|2010|pp=136–137}}

In January 1974, Queen played the [[Sunbury Pop Festival]] in Australia. They arrived late, and were jeered and taunted by the audience who expected to see home grown acts. Before leaving, Mercury announced, "when we come back to Australia, Queen will be the biggest band in the world!"{{sfn|Blake|2010|p=138-139}}{{sfn|Dean|1986|p=21}} ''Queen II'' was released in March, and features [[Mick Rock]]'s iconic [[Marlene Dietrich|Dietrich]]-inspired image of the band on the cover.{{sfn|Blake|2010|pp=137,142}} This image would later be used as the basis for "Bohemian Rhapsody" music video production.<ref name="cover">{{cite news | url = http://news.bbc.co.uk/2/hi/entertainment/6613107.stm | title = Photographer lives the Rock dream | last = Pryor | first = Fiona | work = BBC News | date = 10 May 2007 | access-date = 25 May 2011 | archive-date = 24 February 2021 | archive-url = https://web.archive.org/web/20210224113639/http://news.bbc.co.uk/2/hi/entertainment/6613107.stm | url-status = live }}</ref>{{refn|name="history"}} The album reached number five on the [[UK Album Chart|British album chart]] and became the first Queen album to chart in the UK. The Mercury-written lead single "[[Seven Seas of Rhye]]" reached number 10 in the UK, giving the band their first hit.{{sfn|Blake|2010|p=148}} The album featured a 'layered' sound which would become their signature, and features long complex instrumental passages, fantasy-themed lyrics, and instrumental virtuosity.{{sfn|Hodkinson|2004|p=127}}<ref name="Erlewine Queen II">{{cite web|author=Stephen Thomas Erlewine|title=Queen II|website=AllMusic|url=https://www.allmusic.com/album/r687302|date=November 2019|access-date=28 February 2021|archive-date=2 May 2012|archive-url=https://web.archive.org/web/20120502200119/http://www.allmusic.com/album/r687302|url-status=live}}</ref> Aside from its only single, the album also included the song "[[The March of the Black Queen]]", a six-minute epic which lacks a chorus.<ref>{{Cite web|last=Rusk|first=Bruce|date=12 October 2004|title=Review: ''Queen II''|work=Daily Vault|url=http://www.queenarchives.com/index.php?title=Queen_-_10-12-2004_-_Queen_II_-_Daily_Vault|via=Queen Archives|url-status=dead|archive-url=https://web.archive.org/web/20101128150116/http://www.queenarchives.com/index.php?title=Queen_-_10-12-2004_-_Queen_II_-_Daily_Vault|archive-date=28 November 2010}}</ref> Critical reaction was mixed; the ''[[Winnipeg Free Press]]'', while praising the band's debut album, described ''Queen II'' as an "over-produced monstrosity".<ref>{{Cite web|title=Review: ''Queen II''|work=Winnipeg Free Press|url=http://www.queenarchives.com/index.php?title=Queen_-_06-08-1974_-_Queen_II_-_Winnipeg_Free_Press|via=Queen Archives|url-status=dead|archive-url=https://web.archive.org/web/20101128144712/http://www.queenarchives.com/index.php?title=Queen_-_06-08-1974_-_Queen_II_-_Winnipeg_Free_Press|archive-date=28 November 2010}}</ref> [[AllMusic]] has described the album as a favourite among the band's hardcore fans,<ref>{{cite web |last=Thomas |first=Stephen |url=https://www.allmusic.com/album/r687302 |title=link Queen II: Allmusic review |website=AllMusic |date=9 April 1974 |access-date=2 June 2010 |archive-date=2 May 2012 |archive-url=https://web.archive.org/web/20120502200119/http://www.allmusic.com/album/r687302 |url-status=dead }}</ref> and it is the first of three Queen albums to feature in the book ''[[1001 Albums You Must Hear Before You Die]]''.<ref name="1001albums"/> The group ended their early 1974 UK tour with a show at the [[Rainbow Theatre]] on 31 March. Mercury chose to a wear a [[Zandra Rhodes]]-designed tunic for the gig, changing into a slashed black top midway through the show.{{sfn|Blake|2010|p=147}}