There are some great interviews out there of the band in regards to the inspiration and collaboration that went into creating this album, and incorporating the story that it eventually portrays.
In essence, lead vocalist Geoff Tate formed the idea of the story, basing it on the ideas being formed by a group that he had been hanging around when he first moved to Canada, a militant movement that had been involved in bombings. From here he had begun forming the story of Nikki, a man who had been corrupted and drawn into a similar group to be used as a ‘one man death machine’. When he pitched the idea to the band, there was less than consensual agreement. However, guitarist Chris De Garmo liked the idea and began to collaborate with Tate on the storyline and begin composing songs as a result. Tate has said in interviews that he had to work on the other three members of the band – guitarist Michael Wilton, bassist Eddie Jackson and drummer Scott Rockenfield – in one-on-one conversations to bring them around to the idea. Eventually, the band warmed to the proposal, most likely after hearing the initial compositions that Tate and De Garmo had come up with.
The album was another step away from the band’s initial hair metal glam image, and into the more progressive metal that they had matured into on their previous album. Even though the album was not written or recorded in the same order as appears on the final album, it was important each piece showcased the mood of the story as it came, and that they were then able to sew all of the pieces together, not only in the order of the story from start to finish, but to do so without feeling clunky and without losing the flow of the album as a result. And the story had to be compelling, without letting the controversy of the topics covered throughout – an assassin, part of an organisation deliberately planning chaos, the political motivation behind it all, and the consequences (or not) suffered as a result - from taking over the focus of the album. Because the story had to be captivating, and the music was a massive part of that. Bringing all of that together in order to create a masterpiece or a dud was where the band was with this album. The end result could be the making of the band or the breaking of them.
“Operation: Mindcrime” can be considered a concept album, but also in its own way a rock opera. The story plays out in the songs, easily discerned even for the listener who isn’t interested in reading about it, but just as importantly, the album can be enjoyed even without wanting to know the story it is telling, because the song writing and musicianship throughout is next level. And that is very important to understand, because the flow of the album, with songs segueing from one to the next is particularly brilliant, with almost no interruption. And yet, each song is unique, it is not a copy of what comes before or after it. It is easy to discern the amazing amount of work that must have gone in to creating this album through the music, and making the story truly come to life.
The story of Nikki being coerced into becoming a hired killer comes through the opening tracks. The opening of “I Remember Now”, with Nikki at the end of his story, held in a hospital at the end of his rampage, then breaks into the power of the instrumental opening of “Anarchy X” which segues straight into “Revolution Calling”, setting the scene of the tale. From here the title track explains what is expected of Nikki from the nefarious Doctor X, and then into his job with “Speak”. The introduction of Mary through “Spreading the Disease”, “The Mission” and “Suite Sister Mary” explains her relationship with Nikki and how it ties into Dr X’s plans. The back half of the album then relates how Nikki wants to escape his life, but Dr X is having none of it, and how the story ends in tragedy and loss.
Beyond that of course the songs stand on their own. That opening salvo of “Anarchy X”, “Revolution Calling”, “Operation: Mindcrime”, “Speak” and “Spreading the Disease” is absolutely brilliant, led by the amazing drum work of Scott Rockenfield, who is precision perfect throughout the album. His drive on this album is magnificent to listen to. The twin guitar attack of Wilton and De Garmo fills each song with riffs aplenty, all held together with Eddie Jackson’s sublime bass work, and of course perfectly topped off by the amazing vocals of Geoff Tate.
Now, if I was to just be listening to songs for songs sake, I am happy to take or leave both “The Mission” and “Suite Sister Mary”. Both are an essential part of the story and the album, but because of their length and orchestration within, given the wonderful heaviness of the tracks that precede them, I can move on without them.
Beyond that the album heats up again, with the brilliant “The Needle Lies” which riffs up the pace and energy again. The three short joining tracks apart, the album concludes with the same energy if not speed of “Breaking the Silence”, “I Don’t Believe in Love” and “Eyes of a Stranger”, a brilliant way to bring the album to a close.
This album is probably the luckiest and most significant album purchase of my life. I happened to be in Kiama and walked into my local record store Kiama Sight and Sound, and started digging through the shelves, not really expecting to find anything outstanding to buy that I didn’t already own. Then I came across this album. At the time, my entire knowledge of Queensryche was their song “Queen of the Reich” and the film clip that accompanied it. I loved that song, and on the strength simply of that, I bought this album that day, took it home, immediately went to my parents' stereo and put it on. And was completely – blown – away. I listened to it three times, back to back. I pieced together the fact it was a concept album, and the story that was being told. It had me from the very beginning. But it isn’t just the story, because the music itself is what is the starring role here. Each song has its emotion and mood perfectly examined and performed by the music for each track. Both “The Mission” and “Suite Sister Mary”, being the epic track through the middle of the album, perform that task magnificently, while the anger in Nicky in tracks like “Revolution Calling”, “Speak”, “Spreading the Disease” and “The Needle Lies” is where Rockenfield, Wilton and De Garmo shine to their peak.
So I didn’t get this on its release, it was a number of months later before I came across it that fateful morning. But it didn’t take long to go to number one on my hit parade. I taped it to a blank cassette and put it in the car, and it was there... for years really. Wherever I was going, this album often got a hammering. At home, once I had purchased my own stereo system for my bedroom, this continued to get played over and over.
I have never gotten sick of this album. Never. Having it on again over the last month to consider for this review, it has been joyous to listen to it at least once every day. It never gets tired, the magnificence of its scope, and the grandeur of its sound. And perhaps, through this, it has become the rod of Queensryche’s back. Because as much as their following album “Empire” is, in its own way, just as amazing, and eventually sold more copies than “Operation: Mindcrime”, it is THIS album that every following Queensryche album has been judged on, and none can hold a candle to it.
“Operation: Mindcrime” remains as one of my favourite ten albums of all time. If you make a list, of ten albums, that are the only ones you can listen to for the remainder of your life, this for me would be one of them. As a concept album, nothing matches it. As a metal album, few can get close. As an experience, it is one everyone should take.
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