Made In Heaven (Limited Edition Replica Vinyl) [Remastered] - Queen

...Taylor and John Deacon released Made In Heaven, an album assembled from fragmentary demo recordings, reworked Mercury solo pieces and old studio rarities. Given the less-than-ideal source material, producing a workable album is an achievement in its own right. That the band managed to assemble one of the best Queen albums since The Works is phenomenal. It might seem a little tasteless, titling a posthumous album “Made In Heaven,” and ...
...Innuendo, there’s a Kashoggi’s Ship. Made In Heaven is a different kettle of fish; like A Kind Of Magic and A Night At The Opera, there’s a thematic unity running throughout the album; loss, mortality and regret, tempered with joy at a life well lived. It’s particularly surprising, given the wide range of sources from which the tracks were culled, and the timespan within which they were recorded. Moreover, the songs themselves ... more

Price (from amazon.co.uk): £11.99 (CD)

There was a cartoon produced around the time The Beatles released Free As A Bird, their posthumous reworking of a John Lennon demo. Paul, Ringo and George are giving a press conference, and one of them says, “We’d like to think John is with us in spirit.” A disembodied voice thunders, “What the hell do you think you’re doing with my song?”

It’s a valid point. Is there any artistic merit in record companies and the bandmates of deceased artists mining their back catalogues for old recordings to rework? Moreover, would Lennon, Cobain, Hendrix, Buckley, Tupac and the like appreciate their old material (much of it abandoned at the time it was recorded for very good reasons) being plundered to line the coffers of their record company?

Whatever the artistic and ethical arguments involved, one thing is clear. In the case of Freddie Mercury, there’s no question of consent to address. For Mercury, uniquely, knew he was going to die; from the late ’80s, he was aware that he had contracted the incurable fatal disease, AIDS, and was able to prepare for his passing. Part of this preparation involved giving his bandmates permission to use his recordings to construct a posthumous release; another part involved working – literally – until he dropped, in order to provide them with as much vocal material as possible. Four years after the final Queen studio album recorded as a four-piece, Brian May, Roger Taylor and John Deacon released Made In Heaven, an album assembled from fragmentary demo recordings, reworked Mercury solo pieces and old studio rarities. Given the less-than-ideal source material, producing a workable album is an achievement in its own right. That the band managed to assemble one of the best Queen albums since The Works is phenomenal. It might seem a little tasteless, titling a posthumous album “Made In Heaven,” and including tracks with titles such as “Let Me Live” and “Too Much Love Will Kill You.” Since it’s an exercise in catharsis for the band, and since Queen were never known for their subtlety, I’ll let them off. If nothing else, it’s in keeping with the rest of their oeuvre.

It’s often been said that Queen were a singles band, in that while their single releases account for some of the most famous and best-loved songs of all time (A Kind Of Magic, Hammer To Fall, Somebody To Love, The Show Must Go On, and of course, Bohemian Rhapsody), their albums rarely live up to the promise of the individual songs. For every Innuendo, there’s a Kashoggi’s Ship. Made In Heaven is a different kettle of fish; like A Kind Of Magic and A Night At The Opera, there’s a thematic unity running throughout the album; loss, mortality and regret, tempered with joy at a life well lived. It’s particularly surprising, given the wide range of sources from which the tracks were culled, and the timespan within which they were recorded. Moreover, the songs themselves are absolute belters. Perhaps it’s because they had a large amount of material from which they could cherry-pick songs, but the album is one of the most consistently impressive across the board. Certainly, it knocks the likes of The Miracle into a cocked hat, and even betters – in my opinion – Innuendo as the best late-period Queen album. It’s a pop album, make no mistake; those yearning for a return to the hard-rock ’70s period will be disappointed. However, a newcomer to Queen would do well to look at Made In Heaven; as a pop record, it’s perhaps more accessible than the early material from the band. As a pop record, the circumstances surrounding its production, and the sheer musicianship on display, lend it a far greater resonance and give it more lasting appeal than the average pop album.

The CD artwork depicts an evening view of Lac Leman, seen from Montreux in Switzerland, where Mercury recorded his last material (the vinyl version shows the same scene, photographed in the morning – a better and more uplifting image, in my opinion). Freddie Mercury is represented on the cover by a statue of him in an iconic pose from the Magic tour, probably the image by which he’s best remembered. Incidentally, although there is a similar full-size statue on the waterfront in Montreux, the one used on the album cover was a miniature. Taken on a track-by-track basis:

It's A Beautiful Day – the most obviously incomplete of the recordings, employed here as an album opener along the lines of “Sergeant Pepper’s Lonely Hearts Club Band” (and similarly reprised at the close of the album). It sets a worrying precedent for the rest of the album, suggesting that it’s going to be an exercise in scraping the bottom of the barrel for recordings. It does, however, admirably set up the album’s themes.

Made In Heaven – a reworked version of a song from Mercury’s 1982 solo album, “Mr. Bad Guy.” Listening to the two versions side-by-side, it seems clear that Queen’s production has added a great deal to the original, which seems somewhat lacking in comparison. In particular, May’s solo fits perfectly in the context in which it’s placed, and it’s impossible to imagine that the song was conceived of in any other form. It’s a punchy number, and, as one of the standout tracks on Mercury’s solo album, it reassures the listener that Made In Heaven isn’t going to be an exercise in maudlin sentimentality. In casting their net wider than the last few years of Mercury’s life, the remaining members of the band recapture some of the verve and vigour of earlier, happier times.

Let Me Live – A gospel number, similar to Somebody To Love, this was originally the result of a jam session with Rod Stewart (of all people). Mercury shares the lead vocal with Taylor and May, giving the song a wider range of vocal textures than the average Queen number (and also, incidentally, highlighting the fragmentary nature of the recording). The backing singers come across as a little intrusive – Queen usually multi-tracked the band members to provide backing vocals – but otherwise, this is a fine song.

Mother Love – The last song Mercury recorded, this is an unusually (if understandably) downbeat number. Slickly produced, you’d never believe that it was assembled from individual lines hastily written and recorded in the studio. I defy anyone not to feel a lump in their throat when May lends his vocals to the final verse (presumably because Mercury was unable to complete the song). The “sonic journey back through time” that wraps the song up is a bit much, however, though it’s a nice whistle-stop tour of Queen’s defining moments.

My Life Has Been Saved – The weakest number on the album, this is a remixed b-side, and it shows. Presumably, the band wanted to include an uplifting late-period Queen song, but I usually find myself skipping over this track.

I Was Born To Love You – Another track culled from “Mr. Bad Guy,” this also (paradoxically) seems to have required the most effort to produce. There are occasions where it’s clear that Mercury’s voice has been electronically pitch-shifted (though if he’d lived, he might have experimented with the technique, so I’ll let it slide). The band’s stated aim when creating the album was to make it sound as if the four of them had recorded it in-studio, and it comes across particularly well in the outro of this track, where they drop in a series of vocal ad-libs from Mercury, some familiar from other songs, others less so.

Heaven For Everyone – This is a reworked version of a song from Taylor’s side project, The Cross. Mercury contributed vocals to this track, and the backing track has been reworked by Queen. Perhaps because it was originally a collaborative effort between Mercury and Taylor (and thus, comes across as though the whole band had participated in the original recording), this is one of the standout tracks on the album. A well-placed burst of May’s trademark harmony guitar pads out one of the noticeable omissions from the original version.

Too Much Love Will Kill You – Probably my favourite song on the album, this was recorded during the Miracle sessions (and, bizarrely, was left off that album). May later performed it solo at the Mercury Tribute Concert, and a version of it found its way onto his solo album, so it’s probably one of the more familiar tracks on Made In Heaven. This version, with Mercury’s vocals, drums, and heavier guitar, comes across as more bombastic, and hence less subtle, than May’s solo version. Personally, I prefer it that way; it’s got a sense of defiance to it, and its anthemic tone places it in the same area as standout Queen numbers like The Show Must Go On. Plus it has my favourite guitar solo of all time; certainly not the most technically accomplished, but with every note in exactly the right place, and played with such feeling that it brings a tear to my eye and makes me want to punch the air at the same time.

You Don't Fool Me – With all the introspection, and the spookily prescient lyrics of the previous songs, this track is a welcome respite (in the same vein as I Was Born To Love You) before heading into the final stretch. It recalls the earlier experiments in funk and disco that characterised the 1982 album Hot Space, with its pumping Deacon bass line. It also showcases yet another fantastic May solo. If there’s one criticism of this track, it’s that it would’ve been nice to retain Taylor’s gravelly backing vocals, which appeared on some of the many remixes.

A Winter's Tale – This, the last complete song on the album, is the final song written by Freddie Mercury. It’s a love song to Montreux; perhaps a little saccharine (it was released as a Christmas single), one can forgive Mercury for sentimentality. It’s a great closing number for the album, so it seems a little odd that

It's A Beautiful Day (reprise) ramps up the tempo again. Perhaps noticing that the album lacks a standout rock track in the Hammer To Fall/Tie Your Mother Down mould, the vocal reprise of the opening track segues into an up-tempo, thumping instrumental (taking in the famous piano riff from Seven Seas Of Rhye along the way). It’s a fitting end to the album, subtly revisiting the first Queen single; a shame that it’s followed by a twenty minute instrumental track that (apparently) represents Mercury’s ascent into heaven. A strange combination of serenity and high camp at its finest, but on balance, I’d have left A Winter’s Tale to sound the final notes of the album.

Given that the band weren’t afraid to mine the past for Mercury recordings, there are a few surprising omissions; earlier Mercury vocals such as Mad The Swine and Love Kills could have been reworked into the rock track that’s the only glaring omission from this album. Perhaps May, Taylor and Deacon wanted to keep the focus on Mercury’s final years, or perhaps they thought a heavy number would be out of place with the generally meditative themes of the album. The only other (minor) criicism is that there's no information on the making of the album; where the tracks were sourced from, the process of reworking them, and so forth. I appreciate, however, that this would be at odds with the concept behind the album, which was to create the impression that the band recorded it as a four-piece.

As well as sadness, the overwhelming feeling when listening to this album is one of creeping frustration. Somewhere, between Mercury’s final sessions for Innuendo and Made In Heaven, and May’s solo album Back To The Light, is a hypothetical Queen album that could have bettered even their 1970s opus, A Night At The Opera. The loss of Freddie Mercury is a tragedy and while Made In Heaven makes the best of what little material is available, the fact that it’s a very good album only serves to highlight what the world of music has lost.
 

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