Liverpool Sound and Vision Rating 8.5/10

There should be no doubt that the period between the recording of the album Innuendo, and the passing of Freddie Mercury in the autumn of 1991, was for the three other members of Queen, tumultuous to say the least, unrestrained, a peaceful sense of chaos and satisfaction rolled up into one heavy ball that could not be allowed to settle until the exact moment when all three felt comfortable to do so.

If Freddie Mercury had his time in sun as a solo performer during the 80s, honing the extrovert persona on stage and on record, despite his shyness away from the camera and studio, then it was only natural that the other members of the band would find ways to express themselves naturally and professionally. Whilst John Deacon shied away from the limelight, making the decision to walk away from the music after Freddie’s death, and Roger perhaps arguably being unfairly criticised with his solo project of The Cross, it was to Brian May that the Queen fans looked to give some musical hope and the restoration, the continuance of the brand, of the sheer scale and beauty that was Queen.

Back To The Light was released in the U.K. just over a year after Freddie’s death, and was well received, spawning two top ten singles, and finding itself reaching the top ten in the album charts.

It could be argued that Time, despite the lengthy period in which the erstwhile guitarist took to bring the album to its overall conclusion, was steeped in the expectation of the fan’s wishes, the thought of the death of one of the greatest frontmen of Rock still too raw, the sheer passion that went into the group’s stunning performance at Live Aid still fresh in the memory, for the album to be fully appreciated for what is was; a moment of excellence, a cherished piece of catharsis, Brian May in full flight and unrestricted.

Thirty years on, Back To The Light fully deserves its re-release, its double CD and vinyl presence in the sun. An album that is not only honest in its delivery, but one that put any lingering doubt of what would happen post Innuendo and Made In Heaven to bed.

The album in retrospective, with the benefit of enough time now having passed since the maelstrom of emotions perhaps clouded many listeners full attention, is not only fist clenching full of rock and signature guitar sounds, but it an admission of love, of the fear of continuance, and a reminder, of any were needed, that at some point Queen would find a way to be part of the rock royalty once more.

Alongside tracks such as Resurrection, the haunting Too Much Love Will Kill You, I’m Scared, the thumping Driven By You, Let Your Heart Rule Your Head and Last Horizon, there is the offer of live tracks to remind the listener of Brian May’s presence on stage, and ’39, Tie Your Mother Down and We Will Rock You, the essence of memory is released, is given the freedom that the album richly justifies.

Back To The Light is more than a re-release, it is the backbone to which Queen continued, and with superb performances from the likes of Cozy Powell, Gary Tibbs, Neil Murray, Don Airey, and the rare appearance of the much loved John Deacon on the track Nothin’ But Blue, Back To The Light shines brightly, it refutes and admonishes the darkness of the time surrounding it, and in the end it is a piece of art that has stood the test of Time. 

Ian D. Hall