Queensrÿche Albums (14)
What The Critics Say
Queensrÿche always seem to work best in high concept. Who can argue that Operation: Mindcrime was one of the greatest metal concept albums of all time -- and arguably one of the finest that rock & roll in general ever produced. When they revisited it with OMII, in order to finish the story, they went back to use '80s production techniques to give the album a sense of continuity with its predecessor -- and it worked like a charm. Rather than conspiracy and control, this time out Queensrÿche -- vocalist Geoff Tate, guitarist Michael Wilton, bassist Ed Jackson, and drummer Scott Rockenfield -- turn their attention to another high concept setting: American soldiers in harm's way. But rather than simply politicizing their subject from an outsider's point of view, they place the stories firmly in the camp of the subjects. This set is a hard-rocking, loosely woven story about war from the point of view of those in the United States Armed Forces. The 12 songs on American Soldier reflect on every perception of war from the inside -- Tate read dozens if not hundreds of accounts of servicemen, from WWII through Vietnam and both Gulf Wars. Songs are interspersed with recorded voices of servicemen relating their stories in either brief samples or slightly longer interludes. Musically, the album is more melodic than any Queensrÿche set in recent memory. Tate channels his inner David Bowie to full effect -- but not affect. Tunes such as "At 30,000 Feet" walk a thin line between rock ballad and power-chord anthem. "Sliver," the set's opener, charges out of the gate but with one major difference: producers Jason Slater and Kelly Gray allow for a muddier sound here, even with the various atmospheric overdubs. "The Killer," in the middle of the disc, is written from the point of view of a returning Vietnam vet who is encountering cries of "baby killer" in the streets of his neighborhood. The chanted refrains, multi-layered guitars, and popping snares add anthemic weight in the chorus, but the rest of the track sprawls with haunted vocals by Tate. American Soldier is sometimes difficult to come to grips with musically. It's not a lack of focus per se, but more a purposely ambitious ambivalence on the part of the bandmembers trying to pack as much as they can in the mix, even when it's too much. Most cuts are equal parts hooks and heaviness, but quizzically, never at the same time. Each track functions as its own rock & roll puzzle that sprawls as much as its hones in. The one track that flat-out doesn't work is the album's only ballad, "Home Again." It begins with a reminiscence by a soldier trying to relate his experience, and gives way to Tate in Bowie storytelling mode with a duet vocal by Tate's daughter Emma. The tempo is pure drama, and with its reverb-heavy atmospherics, lilting acoustic guitars, and narrative structure that offers a series of exchanged letters, it falters under its weight. Ultimately, though, that's a small complaint for such an ambitious project. For the most part, these guys have a solid sense of their strengths as a band, and it must be said that Queensrÿche keep the preaching to a minimum while still managing to relate hard truth in a populist way. This is a very fine album that takes on a very hot and noteworthy -- as well as timeless -- topic that no one else has had the guts to take on in such a grand scale thus far. ~ Thom Jurek, All Music Guide
What The Critics Say
Now here's a weird one: Queensrÿche's covers album. Given their long run, and the rock & roll tradition the band's members have come from and indulged in as individual listeners, it shouldn't perhaps be a surprise that they'd be interested in everything from Pink Floyd to Crosby, Stills, Nash & Young, Queen, Black Sabbath, Gamble & Huff, the Police, U2, and Peter Gabriel (oh yeah, and the score of Jesus Christ Superstar). Appalled or intrigued yet? Both? Yeah. For fans of this mighty, conceptual prog metal unit, there is nothing to fear. The renaissance that Queensrÿche underwent when founding guitarist Chris DeGarmo left the band has been nothing short of astonishing. From Tribe to Operation: Mindcrime II to this, the results have been for the most part tremendously satisfying. The live records, which are really live, attest to that. While the opening version of Pink Floyd's "Welcome to the Machine" draws very natural comparisons to the paranoia and fear on the Mindcrime series, it does not prepare listeners for the reinvention of the Tim Rice-Andrew Lloyd Webber penned "Heaven on Their Minds," from J.C. Superstar, sung from the point of view of Judas Iscariot. Queensrÿche turn this baby into a first-rate metal tune, using its melody but changing its dynamic range and creating a tension that is both heavy and almost unbearably emotional at the same time (and vocalist Geoff Tate should be considered for the role when another touring production of the hard rock musical is assembled: he sings his ass off). The same goes for the C,S,N&Y covers "Almost Cut My Hair" and Stills' "For What It's Worth," as done by his preceding band with Young, the Buffalo Springfield. These are paranoid, overtly political songs, as were their originals, and the edge of paranoia coming from the twin guitars of Michael Wilton and Mike Stone push the former from being simply a rocker into an overdriven, riff-propelled jam. The latter doesn't work quite as well, but it's pleasant enough, even though the new twists on the melody sound forced. "For the Love of Money" transforms itself quite naturally from a funky, in the pocket groover to a tough metal tune. Ed Bass is having a ball with that riff, which is the root of the whole tune. There's no stretch involved with the Q-rÿche playing Queen's "Innuendo," or Black Sabbath's "Neon Nights"; these guys grew up with these tunes and have probably envisioned themselves recording them forever. These are solid, killer moments in the middle of the disc. While "Synchronicity II" rocks harder than the Police could have ever dreamed, Peter Gabriel's "Red Rain" feels strained because Tate is using inflections in his vocal that are not natural. That said, the bass in this tune is monstrously great. The set ends with U2's "Bullet the Blue Sky," done live. Over ten minutes long with plenty of feedback and bass throb, it's the best thing here. Not because it's a U2 cut, but because of what Queensrÿche do with it. They shift the rhythms, melody, and dramatic parts all around, turning it into a song in their own image. U2 should never play it again because this one is the jam. The guitar and bass lock in this thing is amazing. Nine winners, one loser, and one so-so track make this a covers record that has plenty of fire, plenty of innovation progressive moments, and some genuine inspiration. All of this said, now it's time for Queensrÿche to get back in the studio proper and write some new material and do a proper album of their own. ~ Thom Jurek, All Music Guide
'Operation: Mindcrime II'
Release Date 3/14/2006
Tracks 17
Label Rhino
See Album Tracklist and Review
What The Critics Say
Here it is, Queensrÿche have returned, 18 years later, to the scene of their greatest triumph commercially and critically, Operation: Mindcrime, with a sequel, appropriately monikered Operation: Mindcrime II. Queensrÿche still retains four of its five original members -- vocalist Geoff Tate, guitarist Michael Wilton, bassist Eddie Jackson, and drummer Scott Rockenfeld (guitarist Mike Stone joined as a permanent member in 2005). There are fine arguments on both sides of an issue like this -- messing with a bona fide rock classic by recording a sequel -- all of them are basically irrelevant once the project has been realized; but in this case, the debate will rage regardless. First there's the story: It picks up with junkie hitman Nikki, recently released from prison, haunted constantly by the death and memory of his lover, Mary, a former teenage prostitute turned nun, and this shadowy presence of Dr. X, Nikki's employer. The story of Operation: Mindcrime ended with "Who Killed Mary?" The story picks up with the identity of the killer revealed and Nikki's obsession with revenge on Operation: Mindcrime II. Cool eh? Maybe, maybe not; it depends on your point of view. In any case the most startling thing about II is its sound: pure 1980s heavy metal. The band went back to exploring the kinds of technology used on the first segment and basically revisited it, retuned the guitars to A., and let it rip. Shockingly, it doesn't sound cheesy at all. In fact, it's so balls-out crunchy and stacked -- especially the way those duplicate lead guitars sound on "The Hands" -- it sort of feels as if the records were recorded back to back; the intent and objective here has definitely been achieved. The argument is why you would want to create a second chapter of something and have it sound so much like the first. Okay, there's the music and the story. Tate and company are to be credited here; the story is seamless, though it's 20 years later. Tate looks at the current political and social landscape and can only say that "everything moves faster now/living at the speed of light," other than that, it's the same -- which is why a sequel was predicated in the first place. The band were still under the first Bush regime when the original was released. And despite eight years of Clinton, they find themselves under a Bush regime once more -- a regime perhaps more Draconian and certainly far more secretive than its predecessors. In any case, the historical reality reflects the aesthetic one for the purposes of Tate and company. There are some new factors on II: Michael Kamen is not on-board as the string arranger this time out; Ashif Hakik is. This set's producer is Jason Slater (who also produced hit records for Smash Mouth and Good Charlotte) who also recorded and mixed II with Hakik, Christina Wolfe, and Mitch Doran on-board for help. There are guests vocalists here, of course, including Pamela Moore, Miranda Tate, and the voice of Dr. X: Ronnie James Dio! Despite the sheer ambition and focus on the music and the story, here; despite the slamming, tough-minded metal and sheer rock dynamics at work, added to the enjoyment of listening to this all the way through as an album by Queensrÿche, the question must be asked: Does it measure up to the original? Not quite. However, the reasons for this have little to do with inspiration or execution; they have more to do with budget.. II is a fitting sequel musically -- and story-wise -- to as classic a work of popular art as you're likely to find, and it does wrap up the story tidily -- though some fans were content with the end left in question as it was originally. As a band, Queensrÿche rock harder now than they have in years; they are absolutely on fire here. Operation: Mindcrime II is a great step back in order to move things forward. ~ Thom Jurek, All Music Guide
What The Critics Say
In what is becoming a pattern of operation, Seattle's proto-progressive metal band Queensrÿche is issuing a live recording to follow a studio release. In this case, The Art of Live follows Tribe, containing six live versions of cuts from that fine disc. This tour document comes after Chris DeGarmo's reunion tour and features original members Geoff Tate, Michael Wilton, and Scott Rockenfield with bassist Eddie Jackson and guest guitarist Mike Stone. The other tracks here are excellent performances from the catalog, including "Della Brown," "Best I Can," "The Needle Lies," "Sign of the Times," "Breaking the Silence," and "Anybody Listening." Sorry, no "Silent Lucidity" this time kids. ~ Thom Jurek, All Music Guide
What The Critics Say
Tribe is, in so many ways, a make or break album for Queensrÿche. While the Live Evolution set brought home 30 tracks of the Rÿche's concert material -- with or without founding guitarist Chris DeGarmo -- the band's studio output since Promised Land (and some would debate the validity of that album) has been inconsistent. For starters, there was the departure of DeGarmo after the disappointing Hear in the Now Frontier, and then the loss of another guitarist after the lackluster Q2k. Certainly there were moments of brilliance on both recordings, but the inspiration and fire that fueled earlier efforts were lurking behind the scenes somewhere. On Tribe, the band reunites with DeGarmo. The original lineup wrote and produced Tribe. Whether or not DeGarmo is returning to the band as a full-on member is not clear as of this writing. Tribe reflects a renewed vigor and vision in the Queensrÿche sound. This is prog metal at its best: knotty song structures, complex melodies, bruising guitars, and Geoff Tate's voice and lyrics asking all the tough questions. While this is not a concept album, the themes of tolerance, compassion, the environment, the simulacra at the heart of American society in particular and globalization in general, and the prospect of oblivion haunt this recording. There is a humanist-centered spirituality at the heart of these songs that already sets it apart from any metal record on the market. But this is no new age recording. Spiraling riffs and choruses are woven tightly in "Blood," while "Rhythm of Hope," with its gorgeous keyboard layers against DeGarmo's guitars, brings the trademark Queensrÿche atmospherics toward a new wall of noise edge. The riffing and vocal harmonies on "The Art of Life" are incendiary; this may be one of the finest tracks the band has ever recorded. Ultimately, the members of Queensrÿche prove they've been hearing the sounds of today's progressive metal à la Agalloch, Green Carnation, Anathema, Katatonia, and even Opeth, while remaining true to their own writing vision -- hooks, sprawling melodic architecture, and unflinchingly honest and even scathing lyrics rooted in an inclusive vision of empathy and compassion that would be unthinkable for any other band. Tribe is the sound of a band revitalized, growing with its fans and looking for new ones while remaining true to what made it so special in the first place. Tribe is Queensrÿche's finest recorded work since Empire, period. ~ Thom Jurek, All Music Guide
What The Critics Say
Concert records have lost their impact, but man, Live Evolution gives a lot of Queensryche for the money. This oh-so-dense double set resembles Space Ritual, All the World's a Stage, or some lost too-long prog tome you study until you die. Let's face facts: Only fans are gonna buy this, and they're gonna be happy. With Operation: Mindcrime, Queensryche proved it knew how to make studio albums; but being sandwiched on tour, with limited time before the influential Iron Maiden and after guru Halford (who dubbed his record Live Insurrection), made the quintet understand the dynamics of a live setting. Queensryche compresses its legacy into a sizzling set of 29 songs recorded over two nights at the Moore Theater in Seattle. Live Evolution also marks the first release under Queensryche's new contract with Sanctuary, and the band seems energized and ready for another 20 years. Live Evolution is divided into four chronological suites: the EP/Warning Suite (which actually includes Rage songs); the Rage/Mindcrime Suite (which actually only includes Operation:Mindcrime songs); the Empire/Promised Land Suite; and, finally, the HITNF/Q2K Suite. Of course the first section kicks. From the primo Judas Priest-isms of the mammoth "Queen of the Reich" (admit it, Tate's right up there with Dickinson and Halford) to the insanity of the blinding "Roads to Madness" (not to mention the unbelievable "Walk in the Shadows" and "Lady Wore Black"), these blistering early bits make you glad you came. And then the question that plagued Queensryche during the storied second phase of its career: What do you do when you make the perfect concept record? Not a very common problem in this day and age, more of a quandary for the likes of Pink Floyd, who made albums so cohesive, ingenious, and intertwined that each record had to be performed all the way through at shows. In 1988, Queensryche amazed the world by accomplishing the same feat with Operation: Mindcrime. For several years, the boys kept the teeming masses happy by tearing through Mindcrime front to back. Here, of course, Queensryche has to trim some tracks, but the Mindcrime segment remains incredible. The prefacing hospital sounds of "I Remember Now" still bring chills to the spine (Those same snippets open Mötley Crüe's Dr. Feelgood. The Crüe knew.). The initial guitar chords sound a bit different, but the words are still the same. Sure, everyone misses DeGarmo, but no true fan can ignore this swirling cyclone of intensity. And if you're not a fan, why are you reading? Seriously, it does not get any better than "Spreading the Disease" (except for "Speak," erroneously not included here). Given Mindcrime's familiarity though, it's almost refreshing to get to the underexposed stuff on the second disc. The confines of metal still limit Queensryche's later material, but through consistent dedication to quality, the quintet gets away with experimentation. Thus, long workouts like "Falling Down" and "Breakdown" (another concept?) remain cool and mix things up for variety's sake. Plus, the majestic "Silent Lucidity" actually provides a cool breather from the show's intensity. The flailing but tight stick-work of Scott Rockenfield anchors the entire bone-crushing masterwork. Queensryche survives because the band is comprised of true believers, headbanging for a cause. Take hold of the flame. ~ Doug Stone, All Music Guide
What The Critics Say
One of the great unknown facts of '90s metal was Queensryche's consistently intriguing, satisfying output. Although the mainstream left them behind after grunge, they never totally revamped their sound, in hopes of regaining a wide audience. They kept on with their ambitious, layered fusion of metal and prog rock, turning in albums that were distinctly different from each other yet tied together by a signature sound. Their decade-capping Q2K is no different. Yes, it does suffer from their worst title ever, but this, their first effort for Atlantic Records, is an assured effort that trims away some of their excesses, replacing it with a slightly heavier, harder approach. As a matter of fact, the album feels like a concept album but appears not to be one, which is unusual for Queensryche. But by concentrating on just the music, it becomes apparent how subtle and nuanced their interplay has become, and how their musicality keeps growing stronger with each year. ~ Stephen Thomas Erlewine, All Music Guide
'Hear in the Now Frontier'
Release Date 3/25/1997
Tracks 14
Label EMI America
See Album Tracklist and Review
What The Critics Say
This disc opens with screaming guitars that lead listeners to expect another strong Queensrÿche release. In fact, the opening cut, "Sign of the Times," feels a bit like the fine Rÿche rarity "Last Time in Paris," found only on The Adventures of Ford Fairlane soundtrack LP. However, as it carries on, it becomes clear that, like this album as a whole, the song has a tendency to lose its way, and consistency suffers as a result. There are definitely strong points present on Hear in the Now Frontier, but in general it is portions of songs that stand out rather than entire pieces. "Cuckoo's Nest," a hard-rocking piece, is an exception to that rule, though, being one of the most consistent compositions on display here. On the plus side, the album seems a bit harder edged than its predecessor, Promised Land, and that is definitely good for the older fans of the band. ~ Gary Hill, All Music Guide
What The Critics Say
Queensrÿche returned from a four-year absence with Promised Land only to find the hard rock landscape very different than the one they left in 1990. But Queensrÿche did something smart. Instead of trying to adjust themselves to fit into the world that their Seattle brethren had created, they simply stayed the same. Not only was the record a commercial success -- it went gold in four months -- but it was also an engaging album. Promised Land lacks the conceptual unity and consistent songwriting of Operation: Mindcrime, but it makes it clear that the band hasn't run out of ideas yet. ~ Stephen Thomas Erlewine, All Music Guide
'Operation: LIVEcrime'
Release Date 10/28/1991
Tracks 17
Label EMI America
See Album Tracklist and Review
What The Critics Say
When Queensrÿche toured in 1991 in support of Empire, EMI released Operation: LIVEcrime, a limited-edition set containing both a videocassette and a CD of live performances. Interestingly, nothing from Empire is included on this hour-long CD, which instead focuses strictly (and obviously, from the title) on material from the acclaimed Operation: Mindcrime. While EMI would have done better to release an official live album (perhaps a two-CD set?) that also contained some of the songs from Empire, inspired live performances of such gems as "The Needle Lies," "Eyes of a Stranger," "Anarchy-X," and "Electric Requiem" are nothing to complain about. ~ Alex Henderson, All Music Guide
