QUEEN SURVIVOR: Results - Innuendo wins!
- Thread starter Mosh
- Start date
Deus_Adrian
Prince of the Final Frontier
RIP Tenement /Lily. I love that sequence.
Deus_Adrian
Prince of the Final Frontier
How can Brighton Rock be losing here?
SixesAlltheway
Ancient Mariner
I'm late to this. But I'll be joining!
SixesAlltheway
Ancient Mariner
March of the Black Queen (needs more direction I feel)
Flick (not very memorable)
Now I'm Here (starts off great but loses ground)
'39 (done better by a million folk bands)
Flick (not very memorable)
Now I'm Here (starts off great but loses ground)
'39 (done better by a million folk bands)
Forostar
Ancient Mariner
SixesAlltheway
Ancient Mariner
There's already some very good songs that were eliminated....Love of My Life, In Love With My Car before 39? Wow.
Black Bart
Ancient Mariner
"You're My Best Friend"
"You and I"
"Drowse"
"Long Away"
"Teo Torriate"
Any other leaving will be a heartbreak!
"You and I"
"Drowse"
"Long Away"
"Teo Torriate"
Any other leaving will be a heartbreak!
Better than I remembered but still one of the blander Queen albums. They are moving into a more commercial band, but the songwriting isn't there yet. It is also much less varied than the previous album, which is disappointing since the similar title suggested a similar type of album to me. There are basically 2 different songs on this album.
SixesAlltheway
Ancient Mariner
The names of this and the previous album were taken from two Marx Brothers movies with those exact titles. A Night at The Opera and A Day at the Races. Not sure if there's any connection between the music in these albums and the Marx Brothers movies since I haven't seen any of them.
Just heard the album and yeah it's not fantastic but not bad either. My faves are probably Tie Your Mother, Somebody To Love, White Man and Drowse.
Just heard the album and yeah it's not fantastic but not bad either. My faves are probably Tie Your Mother, Somebody To Love, White Man and Drowse.
Well it's funny because A Night At the Opera is arguably the best Marx movie (although I personally prefer Duck Soup) just like the Queen album is also considered their best by many. A Day At the Races isn't nearly as good of a movie, just like the album.
The decision to call the album A Night At the Opera was because they watched the movie while making the album and thought it was a good title. I suppose they decided that it was only logical to name the followup album after A Day At the Races. The music isn't related as far as I know. It's a very different album, but not in a good way. Transitional for sure though.
The decision to call the album A Night At the Opera was because they watched the movie while making the album and thought it was a good title. I suppose they decided that it was only logical to name the followup album after A Day At the Races. The music isn't related as far as I know. It's a very different album, but not in a good way. Transitional for sure though.
There are more than a few who consider Day at the Races to be one of the band's best. I don't get it. If you told me it was mostly Opera leftovers with a fresh single or two, I'd believe you.
It lacks the adventurousness and variety of what came before and there just aren't enough of the undeniable hooks that speckle even their weakest albums. The band clearly needed someone to slap them with a stick of self-awareness, but it didn't happen.
Tie Your Mother Down is a good, fun hard rock song. But considering that from this point forward Brian May seemed capable of churning this type of stuff out in his sleep, it still doesn't stack up with his very best.
It's obvious Freddy is giving it his all in You Take My Breath Away, but it falls into an awkward space where he trades too much of his winking I-don't-give-a-fuck camp for some honest vulnerability. Instead of resonating with me, it just makes me want to tell him to give his head a shake. And I find myself feeling a touch embarrassed for him.
Bland and inoffensive are the words I would choose to best describe Long Away.
You've got to respect the ambition and creativity of Millionaire's Waltz. But unlike Queen's finest, instead of self-assurance it's more of an exercise in self-absorbtion. And there aren't enough hooks to forgive that.
I'd like to describe You and I as You're My Best Friend's plain young sister. You wouldn't notice her at a crowded party, but on this album of awkward interactions, I find myself grabbing on to her a little harder than I might at this point as a bit of a port in the storm.
Finally, something to love! Someone to Love is everything Queen offers at its finest — musical originality and creativity, exquisite sound and performance, and unforgettable hooks.
I find the lyrical content and too-serious tone of White Man has not well-stood the test of time, treading well into Spinal Tap territory. But pushing that aside, I do like its grittiness and its slow-burn heaviness.
On the negative side, Good Old Fashioned Lover Boy doesn't offer much new to anyone who's heard Seaside Rendezvous or Lazing On a Sunday Afternoon. On the positive side, it's got earwormy hooks and is great fun. May's clarinet-favoured solo is a beauty.
There are probably times when I might appreciate the easy feel of Drowse, but this relisten wasn't one of them. It simply doesn't stick.
The criticisms I made about You Take My Breath apply equally well to Teo Torriatte. Like a lot of this album, the band sounds like the pompous twats the Motorheads and Sex Pistols of the world made them out to be.
It lacks the adventurousness and variety of what came before and there just aren't enough of the undeniable hooks that speckle even their weakest albums. The band clearly needed someone to slap them with a stick of self-awareness, but it didn't happen.
Tie Your Mother Down is a good, fun hard rock song. But considering that from this point forward Brian May seemed capable of churning this type of stuff out in his sleep, it still doesn't stack up with his very best.
It's obvious Freddy is giving it his all in You Take My Breath Away, but it falls into an awkward space where he trades too much of his winking I-don't-give-a-fuck camp for some honest vulnerability. Instead of resonating with me, it just makes me want to tell him to give his head a shake. And I find myself feeling a touch embarrassed for him.
Bland and inoffensive are the words I would choose to best describe Long Away.
You've got to respect the ambition and creativity of Millionaire's Waltz. But unlike Queen's finest, instead of self-assurance it's more of an exercise in self-absorbtion. And there aren't enough hooks to forgive that.
I'd like to describe You and I as You're My Best Friend's plain young sister. You wouldn't notice her at a crowded party, but on this album of awkward interactions, I find myself grabbing on to her a little harder than I might at this point as a bit of a port in the storm.
Finally, something to love! Someone to Love is everything Queen offers at its finest — musical originality and creativity, exquisite sound and performance, and unforgettable hooks.
I find the lyrical content and too-serious tone of White Man has not well-stood the test of time, treading well into Spinal Tap territory. But pushing that aside, I do like its grittiness and its slow-burn heaviness.
On the negative side, Good Old Fashioned Lover Boy doesn't offer much new to anyone who's heard Seaside Rendezvous or Lazing On a Sunday Afternoon. On the positive side, it's got earwormy hooks and is great fun. May's clarinet-favoured solo is a beauty.
There are probably times when I might appreciate the easy feel of Drowse, but this relisten wasn't one of them. It simply doesn't stick.
The criticisms I made about You Take My Breath apply equally well to Teo Torriatte. Like a lot of this album, the band sounds like the pompous twats the Motorheads and Sex Pistols of the world made them out to be.