So, some 6 months after my original post we're getting down to the nitty gritty of it all. Players being talked out of international retirement, uncapped previously badly regarded players making late runs for the final squad, and even a player who at the time of my last post was playing Championship football has, in some commentators' eyes, done enough to go to South Africa. Tomorrow Fabio names his 30 man squad to be reduced to 23 after the 2 friendlies later this month. For me the 30 isn't that interesting, but the 23 is, and so I will continue to focus on the final squad.
Firstly some acknowledgements resulting from November's pseudo-prediction. Upson has lost form completely, so much so that the sublime but physically flawed Ledley King seems a certainty to go whether Upson does or not. In honesty I was too quick to write Ledley off and while he's not exactly reliable fitness wise he's probably in the best shape he's been in all season, and a fit & on form King is a hell of a prospect. We need our best players. I'm converted.
James Milner is a genuine contender and me saying it was 'too soon' was itself 'too soon'. Especially now with Barry doubtful, his flexibility, and even more so his ability, makes Milner a serious player, and thus a serious contender. I can't now see any reason to take David James. I'll stick by Robbo as the experienced option, but James's confidence can't be too high and I couldn't make him number 1 on form or ability I feel. Joe Hart is a must-take and despite his solitary cap may even be the man for the first team. It would be a massive call but his form is outstanding, confidence sparkling and the nominal number 1 Robert Green could be affected by a relegation battle playing behind a dodgy defence.
Walcott is another one that is, at least, far from certain as things stand. The most competitive position for England seems to be wide, especially right, midfield, and Theo for all his endeavour hasn't quite settled this season into any kind of consistent devastating form. That, and the meteoric rise of the impressive Adam Johnson means he's certainly not a certainty. We will see...
There have also been injuries. Beckham, Gibbs, Barry (probably), Woodgate (who was never fit to be fair!), Brown all appear to have been ruled out of contention by injury. Owen Hargreaves has had next to no game time for Man Utd (a deliberate ploy by Sir Alex??), Joe Cole hasn't broken back into Chelsea's first team straight away since his comeback, various others have struggled with form, fitness and personal lives since November. Heskey has done little at Villa Park due to fitness issues as well as form. All unforeseeable back then.
What was also unforeseeable to me is the apparent determination to persuade Jamie Carragher to return for the tournament. Regardless of any other non-footballing reasons, surely anyone who has witnessed the steady decline of Carragher over the last 2 years at Anfield can't really put their faith in a player who even at his best was nothing more than a determined trier making the most of modest ability for his club badge? There are far more deserved recipients of a ticket to South Africa.
OK, so on the back of all that and more, my 23 to take to South Africa are as follows:
GK: Hart, Green, Robinson
DF: Terry, Ferdinand, King, Johnson, A Cole, Baines, Jagielka, Dawson
MF: Lampard, Gerrard, Lennon, Milner, A Johnson, J Cole, Huddlestone, Walcott
FW: Rooney, Defoe, Crouch, Zamora
To elaborate on one or 2 more of these that I haven't mentioned before: Firstly 3 new defenders I had previously not alluded to. Injury and adultery have taken away 2 reserve left back options. Baines is simply the next in line and while one would hope he isn't required if he is he can provide doggedness to the left flank, and a splendid crossing left foot. Jagielka may have benefited from getting his injury in while others were playing themselves out of form plus his flexibility to cover right back and defensive midfield as well as centre half makes him a good, if unproven, squad player. Michael Dawson has improved without measure this season for Spurs and I believe can actually get better still. He'd be 4th choice centre back but I feel he would be more trustworthy than Upson or Lescott.
Huddlestone gets in due to Barry's injury. It's a massive call (and no, I'm not a Spurs fan, heaven forbid!) but the other options to cover holding midfield aren't great. Carrick is well out of favour at Old Trafford and Hargreaves has played about 30 seconds in the last 18 months. Phil Neville lacks the character at international level. I can think of no other serious contenders. The Hud is another to have improved hugely this season and while I wouldn't pick him in the first eleven he could have a big part to play. Adam Johnson is a great wildcard. Fresh, new, quick, tricky, exciting. He doesn't have it all, but he has quite a lot. Potentially game-changing impact sub material. I understand Joe Cole is struggling to make the 30 (although perhaps his persistence in assisting Chelsea's 8th yesterday will count towards him) but for me he's at most ease on the international stage and thrives in such situations. He'd have to play himself into the first XI during the group stage but potentially a key creative influence late in games. And yes, I've taken Walcott, purely based on his pace. He is electric and that will scare the best defenders. One dimensional as he may be the fact remains that defenders hate playing against outstanding pace. Theo has it.
Finally, Bobby Zamora. Call me a bandwagon-jumper if you must (I have been called worse) but hell, he has come through exceptionally well this season. While Carlton Cole faded badly (partly to do with injury) Bobby has played, scored and generally excelled against some of the finest sides in Europe and at home. He may be a one season wonder but hell, what are the alternatives? Heskey surely can't have done enough now (fingers crossed), Bent has been excellent all season by I stand by my previous comment that he doesn't have the bottle for international football, Agbonlahor needs to work on the physical side of his game. I'm not a fan of the 'big man in front of Rooney' theory and so he would only be a sub but he could have a tangible impact. So there you go.
For what it's worth, my team against Brazil in the Quarters would be:
Hart
Johnson
A Cole
Ferdinand
King
Gerrard
Lampard
Milner
Lennon
J Cole
Rooney
I've always maintained the Gerrard/Lampard issue was a case of poor management, and I'm sure Fabio can make it work. I've dropped Terry for King purely on my own preference.
Anyway, you probably think I'm wrong on all counts. Who wants to fight about it?
Monday, 10 May 2010
Thursday, 4 February 2010
Airport 85 - Album Review of 'Too Soon'
I was until recently unaware of the work of Airport 85. Probably because this is their 1st released work, at least as far as I can discern. One of their number, a man (I believe it is a male anyway, certainly looks so in the photo) whom I follow on my adjoining Twitter profile asked for people to do a review on said social networking website. I have in the past reviewed music, although more gigs than recorded material, and rather enjoying it I put my hand up. I have no major affiliation, friendship or kin with he or any of his number although his Twitterings do suggest he is a decent enough fellow, if slightly accident prone.
Anyway, the album. It opens with 'Knockout', which reminds me a little of Smash Mouth's All Star for some reason. It's a persistent little tune which wouldn't be out of place backing a credits reel at the end of a feel good film about Sandra Bullock's fear of knowing the truth, or some such (sorry, I'll try to keep the crappy 'wouldn't be out of place' shit to a minimum if I can). The guitar sound & harmonised backing vocals are tightly knit and its an enjoyable opener.
'Fifteen Certificates' is a bit more up my street, with a sweet little backing riff with some funky electric tricks & wistful vocals. There is a persistent feeling that this is a rejected latter day Stereophonics track, however one rejected because it showed a little too much creativity for Kelly's liking. The slightly paranoid ghostly lyrics near the end conjure up memories of some late 90s indie which is no bad thing either.
Next comes 'All The Answers' which again wouldn't have sounded out of place on a 'Shine' album, although it would be one of those severely indebted to the 80s like Electronic or the Boo Radleys. I can imagine this would be a great live track with its atmospheric atmospheric chorus and again a strong guitar, although the ending that I expected it to build up to didn't quite happen.
There's been a lot songs about Japan, and unsurprisingly, 'Japanese Movies' is no different. Well, I think so anyway... Some nice changes of heaviness of sound and what sounds like a dual vocal work well, & with a very danceable electric instrumental section that sounds ripe for remix this could well be a popular song. It took me the whole song to work out that it reminded of New Order's Regret, which is probably no bad thing.
I'm unsure if 'Fox' is specifically about an animal fox or a hot female humanoid. I'm assuming the latter unless the band are mates with Otis Ferry and the fox has a lot of problems. A lovely guitar solo in the midst of it gives it some real feeling, as the verses were in danger of boring me slightly. As with the other songs it feels very tight and hasn't been overproduced where it matters. A good sign.
'Cleveland' alas probably isn't about everyone's favourite Family Guy character. The tremoloing sound which probably isn't a banjo or mandolin (or is it...?) gives this song a haunting quality, while the xylophonic sound misfits in a good way, keeping one on one's toes. If I was sat at a party on my own, and drifted off into my own thoughts as I watched others enjoy themselves, I'd expect this to be playing in my minds ear. Well, it would anyway, if I wasn't such a damn party animal. But I digress... My favourite song so far.
'Night Crossing' starts like it might be a bit more, well, Kings of Leony, but the understated vocal tears that illusion apart. There is an anthemic quality (a description I loathe, I'll try and find a better one sometime) to this, and its another welcome return to that early-mid 90s feel. It feels good, radiates positivity, even when the singer declares "I'm hopeless, & I'm falling". I do abhor excessive use of the 'La' in lyrics, so marked down for that I'm afraid. Possible single/indie club material.
And next... 'Always Breathe' starts with a chilled electric sound, it could almost be from Cafe Del Mar. The intro dragged somewhat for me as on the basis of the other songs so far Airport 85 don't fail to get involved early. As the song went on I started to realise that this was probably all there was to it. Sounded ok, but a bit lazy in my honest although not well respected opinion.
However, then comes the spiky riff & sly bass playing at the start of 'River's Edge' to get things going again. Solid verse, and the well constructed bridge vocal harmony almost echoes The Animal Collective. It fires into a chorus at the end in which nothing is resolved (and why should it be?) before crashing to a finish. Good stuff.
A quiet start to 'Persona' moves into a whimsical verse which I'm sure promises "I'll stay till the badgers die", which is an admirable promise to anyone. Is there a woodland creature theme to this album? A little jangly guitar builds into a chunkier if not heavier sound, and another stubborn riff leads us into a chorus that could have been Bernard Butler playing for Damon Albarn. The ending builds up to a fiery final chorus before breaking back down to a slightly overdrawn coda. Another strong song that I thought would befitting to end the album. However 'tis a mere precursor to the finale.
'Saboteurs' starts off feeling like another Cafe Del Mar floaty number but we get some vocals that make it sound like its on a stage at a festival, but not the one your currently standing 3 foot deep in mud next to. Dare I say it sounds like Thom Yorke got some happy pills & some funky synth noises? There, I did. Certainly echoes of some Stone Roses tracks I enjoyed but have forgotten the name of too. Again, another one for the DJs to make a bit of merry hell with.
Overall I've enjoyed Airport 85's debut, and while I listened to it through the player on their site, I will be bookmarking it to buy & download when my next salary comes through (I only buy music/films/books in 1st few days of pay month, rest of excess cash goes on beer for rest of month). There's a few tracks that really stand out for me - 'Persona', 'River's Edge', 'Cleveland' and 'Japanese Movies', and overall I'd say that while there's not a huge legitimately original sound on the album, the way it and most of the songs have been put together shows a genuine musical intelligence and love of their at-times obvious influences, which I can respect. In these changing times I think many would find something to enjoy within these online walls.
I don't do marks, but I'll assign a number anyway:
34
Anyway, the album. It opens with 'Knockout', which reminds me a little of Smash Mouth's All Star for some reason. It's a persistent little tune which wouldn't be out of place backing a credits reel at the end of a feel good film about Sandra Bullock's fear of knowing the truth, or some such (sorry, I'll try to keep the crappy 'wouldn't be out of place' shit to a minimum if I can). The guitar sound & harmonised backing vocals are tightly knit and its an enjoyable opener.
'Fifteen Certificates' is a bit more up my street, with a sweet little backing riff with some funky electric tricks & wistful vocals. There is a persistent feeling that this is a rejected latter day Stereophonics track, however one rejected because it showed a little too much creativity for Kelly's liking. The slightly paranoid ghostly lyrics near the end conjure up memories of some late 90s indie which is no bad thing either.
Next comes 'All The Answers' which again wouldn't have sounded out of place on a 'Shine' album, although it would be one of those severely indebted to the 80s like Electronic or the Boo Radleys. I can imagine this would be a great live track with its atmospheric atmospheric chorus and again a strong guitar, although the ending that I expected it to build up to didn't quite happen.
There's been a lot songs about Japan, and unsurprisingly, 'Japanese Movies' is no different. Well, I think so anyway... Some nice changes of heaviness of sound and what sounds like a dual vocal work well, & with a very danceable electric instrumental section that sounds ripe for remix this could well be a popular song. It took me the whole song to work out that it reminded of New Order's Regret, which is probably no bad thing.
I'm unsure if 'Fox' is specifically about an animal fox or a hot female humanoid. I'm assuming the latter unless the band are mates with Otis Ferry and the fox has a lot of problems. A lovely guitar solo in the midst of it gives it some real feeling, as the verses were in danger of boring me slightly. As with the other songs it feels very tight and hasn't been overproduced where it matters. A good sign.
'Cleveland' alas probably isn't about everyone's favourite Family Guy character. The tremoloing sound which probably isn't a banjo or mandolin (or is it...?) gives this song a haunting quality, while the xylophonic sound misfits in a good way, keeping one on one's toes. If I was sat at a party on my own, and drifted off into my own thoughts as I watched others enjoy themselves, I'd expect this to be playing in my minds ear. Well, it would anyway, if I wasn't such a damn party animal. But I digress... My favourite song so far.
'Night Crossing' starts like it might be a bit more, well, Kings of Leony, but the understated vocal tears that illusion apart. There is an anthemic quality (a description I loathe, I'll try and find a better one sometime) to this, and its another welcome return to that early-mid 90s feel. It feels good, radiates positivity, even when the singer declares "I'm hopeless, & I'm falling". I do abhor excessive use of the 'La' in lyrics, so marked down for that I'm afraid. Possible single/indie club material.
And next... 'Always Breathe' starts with a chilled electric sound, it could almost be from Cafe Del Mar. The intro dragged somewhat for me as on the basis of the other songs so far Airport 85 don't fail to get involved early. As the song went on I started to realise that this was probably all there was to it. Sounded ok, but a bit lazy in my honest although not well respected opinion.
However, then comes the spiky riff & sly bass playing at the start of 'River's Edge' to get things going again. Solid verse, and the well constructed bridge vocal harmony almost echoes The Animal Collective. It fires into a chorus at the end in which nothing is resolved (and why should it be?) before crashing to a finish. Good stuff.
A quiet start to 'Persona' moves into a whimsical verse which I'm sure promises "I'll stay till the badgers die", which is an admirable promise to anyone. Is there a woodland creature theme to this album? A little jangly guitar builds into a chunkier if not heavier sound, and another stubborn riff leads us into a chorus that could have been Bernard Butler playing for Damon Albarn. The ending builds up to a fiery final chorus before breaking back down to a slightly overdrawn coda. Another strong song that I thought would befitting to end the album. However 'tis a mere precursor to the finale.
'Saboteurs' starts off feeling like another Cafe Del Mar floaty number but we get some vocals that make it sound like its on a stage at a festival, but not the one your currently standing 3 foot deep in mud next to. Dare I say it sounds like Thom Yorke got some happy pills & some funky synth noises? There, I did. Certainly echoes of some Stone Roses tracks I enjoyed but have forgotten the name of too. Again, another one for the DJs to make a bit of merry hell with.
Overall I've enjoyed Airport 85's debut, and while I listened to it through the player on their site, I will be bookmarking it to buy & download when my next salary comes through (I only buy music/films/books in 1st few days of pay month, rest of excess cash goes on beer for rest of month). There's a few tracks that really stand out for me - 'Persona', 'River's Edge', 'Cleveland' and 'Japanese Movies', and overall I'd say that while there's not a huge legitimately original sound on the album, the way it and most of the songs have been put together shows a genuine musical intelligence and love of their at-times obvious influences, which I can respect. In these changing times I think many would find something to enjoy within these online walls.
I don't do marks, but I'll assign a number anyway:
34
Monday, 4 January 2010
Queen - Greatest Hits 20 & counting....
I was reasonably lucky as child, growing up with parents with passable record collections (Pink Floyd, Clapton, Eagles, Kinks, Dire Straits), but there were quite a few aberrations interspersed amongst them (Meatloaf, Chris de Burgh, Phil Collins). One band I think both (long-time divorced) parents, plus my step mother also, would probably agree with is Queen, and as a result my mid-late teens were spent obsessing about this quite frankly preposterously over the top and loud bunch of posers, and ensuring that I had some copy whether on tape, CD or LP of their every work.
This is something I can no longer maintain is the case as I have no desire to listen to whatever it was they released with some guy who isn't Freddie singing and so didn't buy into all that 'Queen +' crap, and my musical tastes have developed a wanting for something with, dare I say it, a little more depth and consideration to it. However, Freddie, Brian, John and Roger will always hold a special place in my heart, and as I once saw Roger Taylor say in some Queen Doc or another, Queen are like "...coming back to mother." That is assuming your mother is hairy, rather loud and fond of skin tight leather clothing. Which she is. Yours, that is...
So anyway, my problem right now is the classifying of Queen's 'Greatest' music. A band unafraid of accusations of cynically exploiting a festive buying period with a 'brand new' Greatest Hits-type album release, Queen have many combinations of what they or more probably their record company deem to be their best work. While Greatest Hits 1 & 2 to some, including me, will have been a classic route into the band's work both have some serious music quality issues. This is especially true of 1, which from their earliest albums completely ignores the well constructed and far easier on the ear tracks such as 'Keep Yourself Alive' and 'Liar' and instead runs with the cringeworthily anthemic 'We Are The Champions' and 'We Will Rock You'. Heresy.
With the advent of the 'Absolute Greatest' compilation currently spamming our TV ad breaks, I've decided that enough is enough, and have decided to put together my own definitive selection of the 20 truly great Queen songs. Criteria is solely personal taste (mine), and while I'm sure many will recognise the vast proportion of these songs I hope that some will discover a gem they were hitherto unaware of. Thus I give you Queen - A Subjective Greatest Hits:
1) Keep Yourself Alive - As soon as that "chigchiggachigchigachigachigachig" guitar starts off, and Roger starts pounding out the beat the hairs on my spine, if it has any, tingle with anticipation. Possibly their best ever song, and hardly anyone's ever heard of it. Scandalous.
2)Innuendo - An epic. Better than Bohemian Rhapsody in my opinion as it doesn't now represent a clichéd or novelty song, but one that tells of a personal struggle, and sounds like it too. A great deal of fun, too, and alongside the cover of 'These Are The Days Of Our Lives' a fitting end to Freddies' living output.
3) Hammer To Fall - For a long time my all time favourite Queen track, this is perfect stadium rock. Punchy solos, definitive vocals. Oh, and some poundingly fiery rhythm work from Messrs Deacon and Taylor. Tight as fuck. Damn they were good.
4) Seven Seas Of Rhye - Talk of privy counsellors, nudism and thunder-fire has never been better placed. Ridiculous lyrics, the drama of the piano-to-drumroll at the start and some good ol' fashioned Freddie screaminess in harmony with the guitar.
5) Stone Cold Crazy - Cracking riff, tick tocking verses and a live essential. Yet more nonsense lyrics (Slide Trombone?) but lets not get too deep about this. Some lovely layered guitar from Brian at the bridge lead into its dramatic conclusion!
6) You're My Best Friend - I don't know, it's a bit soppy but there's something about the 'bdow bow bow bow' and a cracking sentimental performance from Mercury that makes me a bit warm inside.
7) Tie Your Mother Down - Possibly the ultimate Queen live rocker (wait, did I say that before?) the kick-ass riff and over the top performance screams party. I've used this song too many times to get myself in the mood for a night out. And now resolve to go back to this ritual. Its perfect for the purpose.
8) Good Old Fashioned Lover Boy - It's a bit silly but nicely constructed and I think the lyrics paint a picture of that suave sophisticated type of chap who knows all the right things to say that we'd all like to be. And I do enjoy that comical little solo from May at the bridge.
9) Get Down Make Love - The suspense at the start of this would be perfect in an intro to some sort of sexy spy noir thriller. It's some classic seedy Queen focussing on ambivalent sexual themes ("You suck my mind, I blow your head", for example). Naughty.
10) Bicycle Race - And yet more silliness. But it's a bit more - it's a family friendly song that mentions Cocaine, which is a dubious achievement and come on, 100s of naked models riding bikes? I should have just left it at that...
11) Put Out The Fire - Bit more of cock rocky riff here, and some husky lyrics from Fred. To be honest, it's not a great song by any means, but as teenager in front of the mirror with my Lynx can microphone it was a joy to sing along to. And it's anti-guns (I THINK?) so that's all good.
12) Radio Ga Ga - Inspired by Roger's baby child, or so he says, Radio GaGa is a genuine Queen classic that appeals to most fans. Its sentiment while eventually proven not to be a pressing matter, although it was close there for a moment, is worthy and its a classic Queen anthemic chorus without getting annoying. Just.
13) Tear It Up - Maybe their last true rocking song, it has all the key ingredients. Pounding rhythm, guitar genius and some definitive if somewhat nonsensical lyrics. I understand what he wants to do, but can't quite get my around why...
14) Friends Will Be Friends - Again a bit soppy & sentimental, but hey this is Queen. Another one which I can't find too much reason to recommend it, other than it's a well written song beautifully performed. If it hasn't been used in some form of 'friendship' montage in a film it's a travesty.
15) The Invisible Man - Oh yes, now this is Queen at their most ridiculous. The concept of a song about the Invisible Man seems so obvious though, and John Deacon's bass line really gets to the bottom of the subject matter. Ghoulish....
16) I Can't Live With You (Queen Rocks version) - the original was a bit wet so for the (yes, compilation) Queen Rocks they rocked it up a bit. May gets going on his axe and it pumps more than an Arabian desert.
17) Heaven For Everyone - Posthumous release which was the 1st Queen release I definitely remember coming out. I wish I could find the video featuring a Fritz Lang type film as that pretty much made the song. Interestingly (probably for Queen nuts only) done by Roger Taylor's own band The Cross many years earlier.
18) One Vision - Done for some forgotten US war-glorifying film, I believe, another classic riff that stands the test of time. I have to say the lyrics almost border on the Bone-like, which is unforgivable, but I'll let it be as Brian May's guitar work is sublime. And they say 'Fried Chicken' right at the end.
19) Headlong - There's nothing you can, nothing you can, nothing you can do about it. But seriously, it's another pounding rhythm suggesting train travel or similar, and also reminds a little of 70s bands like Black Sabbath. For about 5 seconds. And another great solo.
20) Killer Queen - Camp, silly, & sounds beautiful. Contains possibly the campest solo in British rock, at least. Something about eating cake, China, and a word that sounds like 'beastimulous' which can't be right. But sod it, it's Queen. Enjoy.
OK, that took a while (I actually got about half way about 3 weeks ago and then lost focus, Christmas came & went, and I only remembered again today), but for me at least its been worth it. I've rediscovered a band I truly worshipped as an impressionable teenager, and I think realised why I always liked them in the first place - simply because they are fun. Whether it's rocking socks, getting a bit silly or simply exploring a seedier, dirtier side of life, it's all done in a happy & honest way.
Forget the cheese, try some of these!
Enjoy the 'cliché' anthems if you will, but I reckon given a bit of searching you'll find what Queen were really about right here.
This is something I can no longer maintain is the case as I have no desire to listen to whatever it was they released with some guy who isn't Freddie singing and so didn't buy into all that 'Queen +' crap, and my musical tastes have developed a wanting for something with, dare I say it, a little more depth and consideration to it. However, Freddie, Brian, John and Roger will always hold a special place in my heart, and as I once saw Roger Taylor say in some Queen Doc or another, Queen are like "...coming back to mother." That is assuming your mother is hairy, rather loud and fond of skin tight leather clothing. Which she is. Yours, that is...
So anyway, my problem right now is the classifying of Queen's 'Greatest' music. A band unafraid of accusations of cynically exploiting a festive buying period with a 'brand new' Greatest Hits-type album release, Queen have many combinations of what they or more probably their record company deem to be their best work. While Greatest Hits 1 & 2 to some, including me, will have been a classic route into the band's work both have some serious music quality issues. This is especially true of 1, which from their earliest albums completely ignores the well constructed and far easier on the ear tracks such as 'Keep Yourself Alive' and 'Liar' and instead runs with the cringeworthily anthemic 'We Are The Champions' and 'We Will Rock You'. Heresy.
With the advent of the 'Absolute Greatest' compilation currently spamming our TV ad breaks, I've decided that enough is enough, and have decided to put together my own definitive selection of the 20 truly great Queen songs. Criteria is solely personal taste (mine), and while I'm sure many will recognise the vast proportion of these songs I hope that some will discover a gem they were hitherto unaware of. Thus I give you Queen - A Subjective Greatest Hits:
1) Keep Yourself Alive - As soon as that "chigchiggachigchigachigachigachig" guitar starts off, and Roger starts pounding out the beat the hairs on my spine, if it has any, tingle with anticipation. Possibly their best ever song, and hardly anyone's ever heard of it. Scandalous.
2)Innuendo - An epic. Better than Bohemian Rhapsody in my opinion as it doesn't now represent a clichéd or novelty song, but one that tells of a personal struggle, and sounds like it too. A great deal of fun, too, and alongside the cover of 'These Are The Days Of Our Lives' a fitting end to Freddies' living output.
3) Hammer To Fall - For a long time my all time favourite Queen track, this is perfect stadium rock. Punchy solos, definitive vocals. Oh, and some poundingly fiery rhythm work from Messrs Deacon and Taylor. Tight as fuck. Damn they were good.
4) Seven Seas Of Rhye - Talk of privy counsellors, nudism and thunder-fire has never been better placed. Ridiculous lyrics, the drama of the piano-to-drumroll at the start and some good ol' fashioned Freddie screaminess in harmony with the guitar.
5) Stone Cold Crazy - Cracking riff, tick tocking verses and a live essential. Yet more nonsense lyrics (Slide Trombone?) but lets not get too deep about this. Some lovely layered guitar from Brian at the bridge lead into its dramatic conclusion!
6) You're My Best Friend - I don't know, it's a bit soppy but there's something about the 'bdow bow bow bow' and a cracking sentimental performance from Mercury that makes me a bit warm inside.
7) Tie Your Mother Down - Possibly the ultimate Queen live rocker (wait, did I say that before?) the kick-ass riff and over the top performance screams party. I've used this song too many times to get myself in the mood for a night out. And now resolve to go back to this ritual. Its perfect for the purpose.
8) Good Old Fashioned Lover Boy - It's a bit silly but nicely constructed and I think the lyrics paint a picture of that suave sophisticated type of chap who knows all the right things to say that we'd all like to be. And I do enjoy that comical little solo from May at the bridge.
9) Get Down Make Love - The suspense at the start of this would be perfect in an intro to some sort of sexy spy noir thriller. It's some classic seedy Queen focussing on ambivalent sexual themes ("You suck my mind, I blow your head", for example). Naughty.
10) Bicycle Race - And yet more silliness. But it's a bit more - it's a family friendly song that mentions Cocaine, which is a dubious achievement and come on, 100s of naked models riding bikes? I should have just left it at that...
11) Put Out The Fire - Bit more of cock rocky riff here, and some husky lyrics from Fred. To be honest, it's not a great song by any means, but as teenager in front of the mirror with my Lynx can microphone it was a joy to sing along to. And it's anti-guns (I THINK?) so that's all good.
12) Radio Ga Ga - Inspired by Roger's baby child, or so he says, Radio GaGa is a genuine Queen classic that appeals to most fans. Its sentiment while eventually proven not to be a pressing matter, although it was close there for a moment, is worthy and its a classic Queen anthemic chorus without getting annoying. Just.
13) Tear It Up - Maybe their last true rocking song, it has all the key ingredients. Pounding rhythm, guitar genius and some definitive if somewhat nonsensical lyrics. I understand what he wants to do, but can't quite get my around why...
14) Friends Will Be Friends - Again a bit soppy & sentimental, but hey this is Queen. Another one which I can't find too much reason to recommend it, other than it's a well written song beautifully performed. If it hasn't been used in some form of 'friendship' montage in a film it's a travesty.
15) The Invisible Man - Oh yes, now this is Queen at their most ridiculous. The concept of a song about the Invisible Man seems so obvious though, and John Deacon's bass line really gets to the bottom of the subject matter. Ghoulish....
16) I Can't Live With You (Queen Rocks version) - the original was a bit wet so for the (yes, compilation) Queen Rocks they rocked it up a bit. May gets going on his axe and it pumps more than an Arabian desert.
17) Heaven For Everyone - Posthumous release which was the 1st Queen release I definitely remember coming out. I wish I could find the video featuring a Fritz Lang type film as that pretty much made the song. Interestingly (probably for Queen nuts only) done by Roger Taylor's own band The Cross many years earlier.
18) One Vision - Done for some forgotten US war-glorifying film, I believe, another classic riff that stands the test of time. I have to say the lyrics almost border on the Bone-like, which is unforgivable, but I'll let it be as Brian May's guitar work is sublime. And they say 'Fried Chicken' right at the end.
19) Headlong - There's nothing you can, nothing you can, nothing you can do about it. But seriously, it's another pounding rhythm suggesting train travel or similar, and also reminds a little of 70s bands like Black Sabbath. For about 5 seconds. And another great solo.
20) Killer Queen - Camp, silly, & sounds beautiful. Contains possibly the campest solo in British rock, at least. Something about eating cake, China, and a word that sounds like 'beastimulous' which can't be right. But sod it, it's Queen. Enjoy.
OK, that took a while (I actually got about half way about 3 weeks ago and then lost focus, Christmas came & went, and I only remembered again today), but for me at least its been worth it. I've rediscovered a band I truly worshipped as an impressionable teenager, and I think realised why I always liked them in the first place - simply because they are fun. Whether it's rocking socks, getting a bit silly or simply exploring a seedier, dirtier side of life, it's all done in a happy & honest way.
Enjoy the 'cliché' anthems if you will, but I reckon given a bit of searching you'll find what Queen were really about right here.
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