QUEEN II: Queen’s majestic second album, Queen II (1974), remixed, remastered and expanded in a lavish 5CD+2LP box Queen II Collector’s Edition for release on March 27th

Also released as 2xCD Deluxe Edition, Vinyl LP, Vinyl Picture Disc LP, 1xCD and cassette formats, all featuring a brand new 2026 mix

Click here to Pre-Order Queen II

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“This new stereo mix is quite adventurous — and, rendering the impossible complexity of these tracks, the new clarity is astounding. Because of the work of our sound team, this ancient work from when we were still just learning how to reach for the stars opens up a new world to many who care about these arcane dreams as much as we do." – Brian May.

“We all had our various influences, many of which are the same, and with our four personalities, that's what came out. Freddie was fairly dominant in his writing at this point. He was the one writing the very complicated stuff. It's just the way his brain worked. He was on fire, really.” - Roger Taylor.

“When Queen II came out, a lot of people thought we’d forsaken rock music. They said, ‘Why don’t you play things like Liar and Keep Yourself Alive?’ All we could say was, give it another listen, it’s there, but it’s all layered, it’s a new approach. Nowadays, people say, ‘Why don’t you play like Queen II?’ I like the album a lot. It’s not perfect, it has the imperfections and excesses of youth, but I think that was our biggest single step ever.” - Brian May

“On Queen II, there's a monumentally long and complicated track called March of the Black Queen, which involved a lot of rehearsal, a lot of singing, and it had so many different, little sections. It's a lot more complicated in many ways than Bohemian Rhapsody.  It had all the different ingredients that Bohemian Rhapsody had, really. It’s a track I like to listen to because of its complexity of it. I can't believe we learned it all. It was so bloody long and laborious, but satisfying, you know.” – Roger Taylor
 
“Yeah, I think Freddie's March of the Black Queen is very much a precursor of Bohemian Rhapsody. Its complexity is enormous. Its breadth of imagination is giant, and in the same way, you have little bits of drama, little bits of chorus, little bits of guitar, little bits of heaviness, little bits of tenderness. And it's all there. It's very similar, kind of palette that he's painting from, that we're painting from.” – Brian May

“The Fairy Feller’s Masterstroke is incredibly complex, and ought to be just as shocking to people as Bohemian Rhapsody, because it's unique. No one's ever done anything like that, and all these little pieces that come in and go out and tings and contrapuntal things, and he's doing something over here, I'm doing something over here. We just remixed it all, and it's fascinating to make it all work.” – Brian May
 
“It's incredibly complicated. There are sort of swooping, counter six- part harmonies here, there.  Coming like this and crossing. And it's very bloody complicated that song, although it's quite short and it's rather wonderful in its eccentricity, I think. It's a nice, interesting track. Didn't come across as big as we thought it would, but it's an interesting exercise in eccentric over-elaboration.” – Roger Taylor

Photo: Johnny Dewe Mathews