Liverpool Sound and Vision Rating * * * *

The chance to reflect upon an offering by an artist years after it was first tentatively produced, after it had its velvet cover removed in a flurry of bright lights, headlines, and hoped for champagne corks popping in delight at the spirit of human conscious standing proudly on the pedestal, is one that arguably must be taken with great sincerity, and with pathos deeply prescribed; for few in time retain the idea of masterpiece, for as opinions change, shift, and alter, so too will the sound be revised, the story behind it taking on a less or more significance.

It is Another World in which we step when presented with a legend and their status; and perhaps none so more had to find another way to express themselves than the remaining members of Queen after their talismanic frontman’s untimely passing in late ’92.

Roger Taylor had already proved there was life beyond the Great British band, even before the band had their creative resurgence in the wake of Live Aid, with stunning solo recordings and as part of The Cross’ three album release. John Deacon arguably wisely stepped away from the stage, almost without fanfare, and that left Brian May, the guitar and its heartbeat that was so beloved, and has remained so as Queen moved on, as Queen progressed.

Whereas Brian’s first outing as a solo performer, Back To The Light, was enjoyed, indeed perhaps unnervingly a little fawned over by certain aspects of the media in the mood of what was to quickly follow, Another World was not afforded the same generosity as its predecessor, and yet it has to be mentioned in hindsight that the philosophies and concepts at the heart of it shine through with grace, persuasion, and faith, it may not be a perfect representation of what Brian May was about, but it was an album in which the fan could get behind, and in which had a quiet elegant style surrounding it.

Across tracks such as Why Don’t We Try Again, Cyborg, Wilderness, One Rainy Wish, All The Way From Memphis, and in the re-issues’ second act, live versions of Hammer To Fall and On My Way Up, and offcuts such as It’s Only Make Believe, Cyborg, The Business, and the rather scintillating cover of Richard O’ Brien’s Hot Patootie (Bless My Soul), Brian May frames what it meant to the members of Queen to embrace songs and ideas that might have been out of the comfort zone, and give them the chance to live, a reason to stand out; and that is exactly how Another World comes across, a fighter with belief, an observer with a mission, music made by statement.

Another World, another time perhaps, and the album would have been more generously received, and yet one that has a lure to it, a sense of deeper magic waiting to be explored, and for that, even for the naysayers who didn’t see the attraction in a post-Freddie world for the remaining Queen members, it is album well worth investigating.

Ian D. Hall