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Posts from the ‘Queen’ Category

8
Jul

Queen – The Game (1980) – Lp

Queen are a British rock band that formed in London in 1970. Their classic line-up was Freddie Mercury (lead vocals, piano), Brian May (lead guitar, vocals), Roger Taylor (drums, vocals), and John Deacon (bass guitar). Queen’s earliest works were influenced by progressive rock, hard rock and heavy metal, but the band gradually ventured into more conventional and radio-friendly works by incorporating further styles, such as arena rock and pop rock, into their music.

 

 

 

 

 

 

 

 

 

 

 

Artist:  Queen
Title:  The Game
Year:  1980
Format:  LP
Label:  EMI Records
Catalog# 1A 062-63923

Queen had long been one of the biggest bands in the world by 1980’s The Game, but this album was the first time they made a glossy, unabashed pop album, one that was designed to sound exactly like its time. They might be posed in leather jackets on the cover, but they hardly sound tough or menacing — they rarely rock, at least not in the gonzo fashion that’s long been their trademark. Gone are the bombastic orchestras of guitars and with them the charging, relentless rhythms that kept Queen grounded even at their grandest moments. Now, when they rock, they’ll haul out a clever rockabilly pastiche, as they do on the tremendous “Crazy Little Thing Called Love,” a sly revival of old-time rock & roll that never sounds moldy, thanks in large part to Freddie Mercury‘s panache. But even that is an exception to the rule on The Game. Usually, when they want to rock here, they wind up sounding like Boston, as they do on John Deacon‘s “Need Your Loving Tonight,” or they sound a bit like a new wave-conscious rocker like Billy Squier, as they do on the propulsive “Coming Soon.” But even those are exceptions to the overall rule on The Game, since most of the album is devoted to disco-rock blends — best heard on the globe-conquering “Another One Bites the Dust,” but also present in the unintentionally kitschy positivity anthem “Don’t Try Suicide” — and the majestic power ballads that became their calling card in the ’80s, as they reworked the surging “Save Me” and the elegant “Play the Game” numerous times, often with lesser results. So, The Game winds up as a mixed bag, as many Queen albums often do, but again the striking difference with this album is that it finds Queen turning decidedly, decisively pop, and it’s a grand, state-of-the-art circa 1980 pop album that still stands as one of the band’s most enjoyable records. But the very fact that it does showcase a band that’s turned away from rock and toward pop means that for some Queen fans, it marks the end of the road, and despite the album’s charms, it’s easy to see why.

 

Side one
1.  Play the Game  (3:30)
2.  Dragon Attack  (4:18)
3.  Another One Bites the Dust  (3:35)
4.  Need Your Loving Tonight  (2:50)
5.  Crazy Little Thing Called Love  (2:44)

Side two
1.  Rock It (Prime Jive)  (4:33)
2.  Don’t Try Suicide  (3:52)
3.  Sail Away Sweet Sister  (3:33)
4.  Coming Soon  (2:51)
5.  Save Me  (3:50)

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25
Jan

Queen – Flash Gordon (OST) (1980) – Lp

Queen are a British rock band that formed in London in 1970. Their classic line-up was Freddie Mercury (lead vocals, piano), Brian May (lead guitar, vocals), Roger Taylor (drums, vocals), and John Deacon (bass guitar). Queen’s earliest works were influenced by progressive rock, hard rock and heavy metal, but the band gradually ventured into more conventional and radio-friendly works by incorporating further styles, such as arena rock and pop rock, into their music.

queen-flash-gordon

 

 

 

 

 

 

 

 

 

 

 

Artist:  Queen
Title:  Flash Gordon (OST)
Year:  1980
Format:  LP
Label:  EMI Records
Catalog#  1A 062-64203

Flash Gordon is the ninth studio album, and first soundtrack album by the British rock band Queen, and is one of the two film soundtracks they produced, along with Highlander. It is the album to the science fiction film Flash Gordon, and features lyrics on only two tracks. “Flash’s Theme” was the only single to be released from the album, under the title “Flash“.
While writing and recording The Game, Queen were asked by renowned movie director Dino DeLaurentis to provide the soundtrack for his upcoming sci-fi epic Flash Gordon. The band accepted and promptly began working on both albums simultaneously. Although at first many fans criticized Flash Gordon since it was issued as an official Queen release rather than a motion picture soundtrack, it has proven to be one of rock’s better motion picture soundtracks over the years. The majority of the music is instrumental, with dialogue from the movie in place of Freddie Mercury‘s singing (only two tracks contain lyrics), but the songwriting is still unmistakably Queen. Highlights abound, such as “Football Fight,” “Vultan’s Theme (Attack of the Hawkmen),” “The Wedding March,” and the heavy metal roar of “Battle Theme.” But it was the two more conventional songs that were the album’s two best tracks — the anthemic U.K. Top Ten hit “Flash’s Theme” and the woefully underrated rocker “The Hero.” With Queen involved, Flash Gordon is certainly not your average, predictable soundtrack.

 

Side one
1.   Flash’s Theme   (3:22)
2.   In The Space Capsule (The Love Theme)   (2:21)
3.   Ming’s Theme (In The Court Of Ming The Merciless)   (2:53)
4.   The Ring (Hypnotic Seduction Of Dale)   (1:15)
5.   Football Fight   (1:29)
6.   In The Death Cell (Love Theme Reprise)   (2:26)
7.   Execution Of Flash   (0:43)
8.   The Kiss (Aura Resurrects Flash)   (2:11)

Side two
1.   Arboria (Planet Of The Tree Men)   (1:41)
2.   Escape From The Swamp   (1:37)
3.   Flash To The Rescue   (2:47)
4.   Vultan’s Theme (Attack Of The Hawk Men)   (1:15)
5.   Battle Theme   (2:20)
6.   The Wedding March   (0:56)
7.   Marriage Of Dale And Ming (And Flash Approaching)   (2:04)
8.   Crash Dive On Mingo City   (0:46)
9.   Flash’s Theme Reprise (Victory Celebrations)   (1:39)
10.   The Hero   (3:31)

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21
Dec

Queen – A Day At The Races (1976) – Lp

Queen are a British rock band that formed in London in 1970. Their classic line-up was Freddie Mercury (lead vocals, piano), Brian May (lead guitar, vocals), Roger Taylor (drums, vocals), and John Deacon (bass guitar). Queen’s earliest works were influenced by progressive rock, hard rock and heavy metal, but the band gradually ventured into more conventional and radio-friendly works by incorporating further styles, such as arena rock and pop rock, into their music.

queen-a-day-at-the-races

 

 

 

 

 

 

 

 

 

 

 

Artist:  Queen
Title:  A Day At The Races
Year:  1976
Format:  LP
Label:  EMI Records
Catalog#  5C 062-98485

A Day at the Races is the fifth studio album by the British rock band Queen, released on 10 December 1976. It was the band’s first completely self-produced album, and the first not to feature producer Roy Thomas Baker. Recorded at Sarm East, The Manor and Wessex Studios in England, A Day at the Races was engineered by Mike Stone. The title of the album followed suit with its predecessor A Night at the Opera, taking its name from the subsequent film by the Marx Brothers.
In every sense, A Day at the Races is an unapologetic sequel to A Night at the Opera, the 1975 breakthrough that established Queen as rock & roll royalty. The band never attempts to hide that the record is a sequel — the two albums boast the same variation on the same cover art, the titles are both taken from old Marx Brothers films and serve as counterpoints to each other. But even though the two albums look the same, they don’t quite sound the same, A Day at the Races is a bit tighter than its predecessor, yet tighter doesn’t necessarily mean better for a band as extravagant as Queen. One of the great things about A Night at the Opera is that the lingering elements of early Queen — the pastoral folk of “39,” the metallic menace of “Death on Two Legs” — dovetailed with an indulgence of camp and a truly, well, operatic scale. Here, the eccentricities are trimmed back somewhat — they still bubble up on “The Millionaire Waltz,” an example of the music hall pop that dominated Night, the pro-Native American saga “White Man” is undercut somewhat by the cowboys ‘n’ indians rhythms — in favor of a driving, purposeful hard rock that still could have some slyly hidden perversities (or in the case of the opening “Tie Your Mother Down,” some not-so-hidden perversity) but this is exquisitely detailed hard rock, dense with minutiae but never lush or fussy. In a sense, it could even function as the bridge between Sheer Heart Attack and Night at the Opera — it’s every bit as hard as the former and nearly as florid as the latter — but its sleek, streamlined finish is the biggest indication that Queen has entered a new phase, where they’re globe-conquering titans instead of underdogs on the make.

 

Side one
1.  Tie Your Mother Down  (4:48)
2.  You Take My Breath Away  (5:09)
3.  Long Away  (3:34)
4.  The Millionaire Waltz  (4:54)
5.  You and I  (3:25)

Side two
1.  Somebody to Love  (4:56)
2.  White Man  (4:59)
3.  Good Old-Fashioned Lover Boy  (2:54)
4.  Drowse  (3:45)
5.  Teo Torriatte (Let Us Cling Together)  (5:50)

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