Personnel: Brian May (vocals, guitar, banjo, ukulele, piano, keyboards); Freddie Mercury (vocals, piano); Roger Taylor (vocals, drums, percussion); John Deacon (guitar, acoustic guitar, fiddle, double bass, bass guitar).

Recording information: 1974.

Queen II was a breakthrough in terms of power and ambition, but Queen's third album Sheer Heart Attack was where the band started to gel. It followed quickly on the heels of the second record -- just by a matter of months; it was the second album they released in 1974 -- but it feels like it had a longer incubation period, so great is the progress here. Which isn't quite to say that Sheer Heart Attack is flawless -- it still has a tendency to meander, sometimes within a song itself, as when the killer opening "Brighton Rock" suddenly veers into long stretches of Brian May solo guitar -- but all these detours do not distract from the overall album, they're in many ways the key to the record itself: it's the sound of Queen stretching their wings as they learn how to soar to the clouds. There's a genuine excitement in hearing all the elements to Queen's sound fall into place here, as the music grows grander and catchier without sacrificing their brutal, hard attack. One of the great strengths of the album is how all four members find their voices as songwriters, penning hooks that are big, bold, and insistent and crafting them in songs that work as cohesive entities instead of flourishes of ideas. This is evident not just in "Killer Queen" -- the first, best flourishing of Freddie Mercury's vaudevillian camp -- but also on the pummeling "Stone Cold Crazy," a frenzied piece of jagged metal that's all the more exciting because it has a real melodic hook. Those hooks are threaded throughout the record, on both the ballads and the other rockers, but it isn't just that this is poppier, it's that they're able to execute their drama with flair and style. There are still references to mystical worlds ("Lily of the Valley," "In the Lap of Gods") but the fantasy does not overwhelm as it did on the first two records; the theatricality is now wielded on everyday affairs, which ironically makes them sound larger than life. And this sense of scale, combined with the heavy guitars, pop hooks, and theatrical style, marks the true unveiling of Queen, making Sheer Heart Attack as the moment where they truly came into their own. ~ Stephen Thomas Erlewine

SHEER HEART ATTACK is widely considered Queen's best pre-"Bohemian Rhapsody" album. Containing their first global hit single, "Killer Queen," it certainly qualifies as one of Queen's best all-time releases. Just prior to the recording of the album, Queen was making very important inroads in America by opening a US tour for Mott the Hoople, but had to cut it short when guitarist Brian May became seriously ill. Instead of moping, the band immediately began writing and recording SHEER HEART ATTACK while May recovered. Upon its release, fans were pleasantly surprised to witness Queen's growth--although there were still plenty of hard rock numbers, other musical styles were tried and perfected, while the energy of their live show shined through in many of their new songs.

The album's other popular single, "Now I'm Here," would prove to be a concert staple for years to come, while the opening "Brighton Rock" is a superb showcase for the many talents of May. Perhaps most significantly, singer Freddie Mercury really came into his own on SHEER HEART ATTACK, having no problem handling ragtime tunes ("Bring Back That Leroy Brown"), sounds from the Caribbean ("Misfire"), unaccompanied piano ballads ("Dear Friends"), or raging heavy metal ("Stone Cold Crazy," "Flick Of The Wrist").

Queen II was a breakthrough in terms of power and ambition, but Queen's third album Sheer Heart Attack was where the band started to gel. It followed quickly on the heels of the second record -- just by a matter of months; it was the second album they released in 1974 -- but it feels like it had a longer incubation period, so great is the progress here. Which isn't quite to say that Sheer Heart Attack is flawless -- it still has a tendency to meander, sometimes within a song itself, as when the killer opening "Brighton Rock" suddenly veers into long stretches of Brian May solo guitar -- but all these detours do not distract from the overall album, they're in many ways the key to the record itself: it's the sound of Queen stretching their wings as they learn how to soar to the clouds. There's a genuine excitement in hearing all the elements to Queen's sound fall into place here, as the music grows grander and catchier without sacrificing their brutal, hard attack. One of the great strengths of the album is how all four members find their voices as songwriters, penning hooks that are big, bold, and insistent and crafting them in songs that work as cohesive entities instead of flourishes of ideas. This is evident not just in "Killer Queen" -- the first, best flourishing of Freddie Mercury's vaudevillian camp -- but also on the pummeling "Stone Cold Crazy," a frenzied piece of jagged metal that's all the more exciting because it has a real melodic hook. Those hooks are threaded throughout the record, on both the ballads and the other rockers, but it isn't just that this is poppier, it's that they're able to execute their drama with flair and style. There are still references to mystical worlds ("Lily of the Valley," "In the Lap of Gods") but the fantasy does not overwhelm as it did on the first two records; the theatricality is now wielded on everyday affairs, which ironically makes them sound larger than life. And this sense of scale, combined with the heavy guitars, pop hooks, and theatrical style, marks the true unveiling of Queen, making Sheer Heart Attack as the moment where they truly came into their own. [The CD was also released with a bonus track.] ~ Stephen Thomas Erlewine