Podcasts about hot space

Episode 3 of our sister podcast!Join Grae Tennick, Mikey Kay, Craig Houston & Mezza as they take a look at Queens 1982 album "Hot Space".An in-depth chat includes the origins of the album, a track by track review, artwork, tour information and a look at the legacy of this maligned album. What do you think of this album?Join the discussion in our Facebook group https://www.facebook.com/groups/651497387797567/Our next episode, in 2 weeks time, features Simple Minds "New Gold Dream (81, 82, 83, 84)"

*Ça s'est passé un 21 mai : la sortie de "Hot Space", de Queen en 1982. L'occasion de rediffuser mon épisode sur Cool Cat (diffusion initiale le 12/12/2023).* Encore une histoire de chats ! Place au “Cool Cat”, chanson méconnue de Queen (car issue d'un album fortement discuté, mais pas complètement discutable). Je vous parle aussi, pêle-mêle, de : Sardou, Eric Judor, Juliette Armanet, John Frusciante mais aussi et surtout d'une reprise dont je suis tombé totalement amoureux. La suite dans l'épisode ou dans les notes ci-dessous.

Gayle King is clapping back at the haters after her lady trip to space! Stormer's Dirt Alert has the latest on the passing of game show great Wink Martindale. The blinds are full of hot Britney Gossip. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Gayle King is clapping back at the haters after her lady trip to space! Stormer's Dirt Alert has the latest on the passing of game show great Wink Martindale. The blinds are full of hot Britney Gossip. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Au début des années 80, le succès démesuré de Queen conduit le groupe à prendre une seconde résidence à Los Angeles qui est devenue la capitale mondiale de l'industrie du disque. A part Freddie qui préfère loger à dans un célèbre hôtel d'Hollywood, c'est comme ça qu'il va faire la connaissance de  Michael Jackson. L'histoire est mal connue en dehors de deux trois phrases reprises en titre par la presse people, je vous raconte. Malgré les ventes phénoménales du single Another bites the dust et de ses petits frères, les rapports entre les membres de Queen sont devenus très compliqués. Roger Taylor, le batteur mais aussi chanteur, le beau mec du groupe, frustré par l'absorption de toute la lumière par Freddie, est le premier à sortir en 1981 un album solo sur lequel il joue de tous les instruments. Un bon disque mais quel échec à côté du triomphal Greatest Hits de Queen qui sort en même temps. Puis c'est Brian May qui y va de son disque de blues, il ne se sent pas du tout en phase avec le hip hop rapporté par Freddie de New York.Alors quand ce dernier reçoit l'invitation de Michael Jackson de le rejoindre en studio pour faire des essais ensemble en vue d'un disque, il accepte. Clairement, Mercury a décidé de prendre ses distances avec Queen : après dix années de disques et tournées, sans doute l'aventure est-elle arrivée à son terme ? Quand on regarde les Beatles, Deep Purple, dix ans, c'est un bail ! L'échec de leur nouvel album Hot Space ne serait-il pas un avertissement, celui d'arrêter tant qu'il en est encore temps, juste avant la chute. Et un duo avec Michael Jackson dont le Thriller est en tête des ventes mondiales, c'est le meilleur moyen de démarrer une carrière solo avec succès. Mais voilà, après quelques premières bonnes sessions, Freddie n'arrive plus à sortir Michael du ranch qu'il vient d'acheter et dans lequel il s'enferme au milieu de ses trophées. Et surtout de sa ménagerie et de sa collection d'art, comment dire, pour reprendre la phrase de Freddie : Avoir autant d'argent et aussi peu de goût, c'est inutile.Le temps passe, Freddie enregistre finalement son album solo qui ne rencontre pas le succès escompté, loin s'en faut, et de se rendre à l'évidence : Freddie Mercury sans Queen n'a pas la même saveur. Sans doute est-ce la raison pour laquelle Michael Jackson n'ira pas plus loin, enregistrant les deux titres sur lesquels ils ont travaillé avec Mick Jagger et encore, pas en solo mais pour les Jacksons. Il est alors question de collaborations entre Freddie et Rod Stewart, Freddie et Elton John, tous deux au sommet des classements mais là encore, rien ne sort. De toutes ces déceptions viendra le nouveau départ, inattendu et miraculeux, de Queen au Live Aid. La suite est connue, ils mettront leurs jalousies et carrières solos définitivement de côté et ils auront bien raison : ces quatre hommes étaient plus grands ensemble et le seront pour toujours dans l'Histoire et la nôtre.

!!Warning!! This episode contains some outrageous Afrikaans euphemisms! Paulo and Dori are joined by Noel Opperman, The Curator Supreme of the Pretoria Retro Fair for a deep dive into Liewe Heksie, among other puppet related things. We dispute the denials about a Goonies sequel - we just think they don't want Corey Feldman to show up. Jon Bon Jovi saves someone who was living on a prayer, Dori tries to hurry love fro the sake of finishing a Plex movie and Paulo has the Munchies. Finally, we reopen Wham! corner and we're glad to report that it's held its moistness. Here are the mentions with timestamps arranged by topic: Tools, Websites, and Links Mixcloud**: "00:04:13" That 80s Show Facebook**: "00:07:16" KTV**: "00:18:13" Liewe Heksie**: "00:23:50" SABC**: "00:34:04" Plex**: "00:39:12" Netflix**: "00:52:08" Pretoria Retro Thursday**: "01:06:45" Yellow Pages**: "01:06:51" Books and Videos Bon Jovi Documentary**: "00:12:56" Books related to Lever Hexi**: "00:23:54" Songs and Albums "Body Language" by Queen**: "00:03:32" "Under Pressure" by Queen**: "00:06:14" "Hot Space" by Queen**: "00:07:03" "Living on a Prayer" by Bon Jovi**: "00:11:51" "You Give Love a Bad Name" by Bon Jovi**: "00:11:51" "Girl I'm Gonna Miss You"**: "00:52:40" "Blame It on the Rain"**: "00:52:54" "Ice Ice Baby"**: "00:53:30" "Don't Dream It's Over" by Crowded House**: "00:53:35" Movies You Can't Hurry Love**: "00:42:20" Munchies**: "00:55:13" Notable Mentions Kasper de Vries**: "00:36:22" Milli Vanilli**: "00:51:49" Roger Corman**: "00:54:11" #Dori, #Noel Opperman, #That 80s Show, #Pretoria Retrofit, #podcast, #grooming, #nose hair waxing, #80s pop culture, #butlers, #Alfred, #Geoffrey, #Mr. Belvedere, #Queen, #Body Language, #music, #Goonies sequel, #Corey Feldman, #Jon Bon Jovi, #nostalgia, #humor, #personal anecdotes, #pop culture references, #KTV, #South Africa, #Freddie Mercury, #Hot Space, #Under Pressure, #rock star, #music video, #childhood memories, #iconic characters, #social media, #retro culture, #laughter, #camaraderie, #entertainment, #storytelling.

Ro, Paul & Sam continue our deep dive into Hot Space as we crack on with Side B of Queen's controversial funk album, tackling the big questions like: How did the collaboration with David Bowie come together? Is Hot Space actually Queen's weakest album? And how exactly does one breast feed themselves? Hosted by Rohan Acharya, Paul Bradbury & Sam EastonProduced & Edited by Sam EastonMusic by Holy GoatsDiscover more music from the amazing Holy Goats on their Bandcamp - https://holygoats.bandcamp.com/Have a game for us to play? Send us your questions and comments to radiopodpod@gmail.com and send it to us as an audio note for the chance to hear yourself on the pod!Follow us on social media!Facebook - https://www.facebook.com/profile.php?id=61561062531521Twitter/X - https://x.com/radiopodpod Hosted on Acast. See acast.com/privacy for more information.

HOT SPACE LET'S GO! Join Ro, Paul & Sam as we get stuck in to Side A of Queen's controversial funk album Hot Space. It's a jam-packed episode full of amazing analysis, fascinating facts and interesting insights into the band and their music, as the trio discuss why the album got the response it did when it was released, how their relationship with the songs has changed over time, and whatever the hell Body Language is. It's time to #playqueenloudHosted by Rohan Acharya, Paul Bradbury & Sam Easton.Produced & Edited by Sam EastonMusic by Holy GoatsDiscover more music from the amazing Holy Goats on their Bandcamp - https://holygoats.bandcamp.com/Have a game for us to play? Send us your questions and comments to radiopodpod@gmail.comSend it to us as an audio note for the chance to hear yourself on the pod!Follow us on social media!Facebook - https://www.facebook.com/profile.php?id=61561062531521Twitter/X - https://x.com/radiopodpod Hosted on Acast. See acast.com/privacy for more information.

In materials science, quenching is the rapid cooling of a workpiece in water, gas, oil, polymer, air, or other fluids to obtain certain material properties. A type of heat treating, quenching prevents undesired low-temperature processes, such as phase transformations, from occurring. It does this by reducing the window of time during which these undesired reactions are both thermodynamically favorable and kinetically accessible; for instance, quenching can reduce the crystal grain size of both metallic and plastic materials, increasing their hardness. All that has fuck all to do with this week's episode.If Randy were to title this episode, he'd probably call it "There's nothing burning!" or possibly "Why didn't Rog' put gong on this track?"Today's episode covers the side two opener to Hot Space, Brian's gun-law-hoo-haw, "Put Out the Fire"NOTE: Skip forward to 11:58 if wanna get straight into the manifestations and wheel spin. The song featured at the end of this week's episode is Bode's Galaxy, by Randy's former band, Absofunkinlutely. Check it out here: https://youtu.be/lB7iaAnZOZcThanks to everyone who tuned in to the last episode and left us some comments on Twitter, Facebook, and BlueSky! Also, come join us on our Discord server, we'd be glad to have you! We'll always try to answer any questions you have and seriously appreciate any corrections you make to anything we get wrong. And thanks so much for all your support as usual. We're loving diving into the Queen fandom as much as we're enjoying recording the podcasts!Huge thanks to Corey Morrissette and Mark Camire for letting us copy and paste the format from their gold-standard podcast; And the Podcast Will Rock. You can find them at @PodcastWillRock on Twitter. Also, make sure you go check out our beautiful brothers and sisters over on the Deep Dive Podcast Network!Follow us onTwitter: @queenseasideFacebook: @seasidepodreviewBluesky: @seasidepodreview.bsky.socialAlso, check out Kev's other podcastsThe Tom Petty Project: https://tompettyproject.comThe Ultimate Catalogue Clash: https://podcasters.spotify.com/pod/show/ultimate-catalogue-clashAnd if you want to check out Randy's music, you can find it here:https://randywoodsband.com Hosted on Acast. See acast.com/privacy for more information.

Queen hevði slept rótleysa elektroniska átakinum í Hot Space í 1982, sum vit lurtarar heldur ikki tímdu. Vit vildu hava Queen sum vit kendu tað aftur, so tær meira discokendu arrangementini vórðu fyri tað mesta goymd til fyrru soloútgávuna hjá Freddie Mercury í '85. Tó er hetta albumið ikki heilt 70?ini aftur, og tað hevði eisini verið løgið. Árið er jú 1984 og ljóðførismenningin gav nýggjar møguleikar í tónleikinum. Á The Works verða synteseisarar nýttur á seks av níggju løgum. The Works er eisini eitt prógv um, at Queen var annað enn Freddie Mercury.

Vamos con una historia a la que siempre se regresa: Queen y David Bowie. Y por supuesto hablamos del tema colaborativo Under Pressure, hit indiscutible de Queen en su fase Hot Space. Presenta Ricardo Portman. Si os gusta el programa podéis apoyar Ecos del Vinilo Radio siendo patrocinadores ¡por lo que vale un café al mes! desde el botón azul de iVoox. Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Distancia Radio (Córdoba) jueves y sábados 19:00 Radio Free Rock (Cartagena) viernes 18:00. Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú)

Randy and Kev hit upon a phenomenal business idea after identifying a serious gap in the market where banjo players are concerned. The accordian is selected rather than a kazoo, we find that Arpeggio isn't the current AC Milan left back (who knew!), and Randy called his shot; well, on the album front at least! It's all going down on this week's episode and we'd like to drag you into the insane muck with us!If Randy were to title this episode, he'd probably call it "I love Queen, just not all their songs" or possibly, "Buena banda, mala canción"Today's episode covers Brian's synthy track from side two of "Hot Space", the soaring "Las Palabras De Amor (The Words of Love)"NOTE: If you want to skip ahead to Randy and Kev's manifestations and the wheel spin, that happens at 35:49!If you want to check out the Absofunkinlutely track that we used in the episode, "Soul Sucker", which was written by the Cardinal and included the album "Blues Kid City", you can check that out here. It's a vibe! https://youtu.be/dDaByP0nXWsThanks to everyone who tuned in to the last episode and left us some comments on Twitter, Facebook, and BlueSky! We'll always try to answer any questions you have and seriously appreciate any corrections you make to anything we get wrong. And thanks so much for all your support as usual. We're loving diving into the Queen fandom a little more deeply as much as we're enjoying recording the podcasts!Huge thanks to Corey Morrissette and Mark Camire for letting us copy and paste the format from their gold-standard podcast; And the Podcast Will Rock. You can find them at @PodcastWillRock on Twitter. Also, make sure you go check out our beautiful brothers and sisters over on the Deep Dive Podcast Network!Follow us onTwitter: @queenseasideFacebook: @seasidepodreviewBluesky: @seasidepodreview.bsky.socialAlso, check out Kev's other podcastsThe Tom Petty Project: https://tompettyproject.comThe Ultimate Catalogue Clash: https://podcasters.spotify.com/pod/show/ultimate-catalogue-clashAnd if you want to check out Randy's music, you can find it here:https://randywoodsband.com Hosted on Acast. See acast.com/privacy for more information.

https://www.virginradio.it/audio/long-playing-stories/1360612/long-playing-stories-queen-hot-space.htmlhttps://www.virginradio.it/audio/long-playing-stories/1360612/long-playing-stories-queen-hot-space.htmlWed, 06 Dec 2023 15:41:00 +0100Virgin RadioVirgin Radiono0

It's Christmas time, so naturally we spend about an hour talking about going to For The Love of Horror, the UK's premier horror convention. If you want to hear us going on and on about The Lost Boys you're in the right place! Otherwise it's business as usual as we delve into a festive edition of Kerrang from 1983. The stars of Metal are asked what they want for Christmas and most of their answers are variations on the same theme. Shout at the Devil era Mötley Crüe are on the cover and give us some extremely on brand quotes, and reveal their inconsistent scoring system. ZZ Top are compared to Status Quo but don't rise to it. We sing the praises of some of Ozzy Osbourne's lesser known hits (but not the version of Changes he did with Kelly). Brian May of Queen is ready to launch his Star Fleet project and we ponder whether Hot Space was all that bad. We get confused as to when Dragon Attack came out, but the movie had them recording We Will Rock You in the 80s, so get off our dick. Hawkwind's Sonic Attack is recalled, as is Hard Rock Zombies and we consider whether it's even possible to dislike Genesis.   Recommended Insta follows:  @ftlohorror (For The Love of Horror, obv) @the_lost_frogs_comics (for God's sake try and identify those mystery publications) @jamisonnewlander (actual Frog brother!) @the.evil.shed (amazing monster builds) Recorded 22 November 2023   Check out pics from the issue on our Instagram:  https://www.instagram.com/podwithmadness/   YouTube playlist: https://youtube.com/playlist?list=PL6jGszBq8BFEar9KpzMsYn1vnP7gS-87k&si=yzsPAq8F0A-DMq5I   Tip us on ko-fi: https://ko-fi.com/podwithmadness   CAN I POD WITH MADNESS THEME by Oliver Gardiner  @revilorenidrag #Podcast #Metal #HeavyMetal #Kerrang #80s #MetalHammer #ClassicRock    #motleycrue #zztop VinceNeil #Queen #starfleet #fortheloveofhorror #hardrockzombies #BrianMay #OzzyOsbourne #Hawkwind #Genesis #TheLostBoys #Christmas #krampus #HiBilly

Kim Glad Wagner er en erfaren herre på den danske musikscene, der netop har udgivet sit debutalbum under navnet Fantasillion. Et alias, der er synonym med stærkt iørefaldende popmusik et farverigt sted mellem retro og nutidighed og med sans for den gode melodi. I Kims musikalske inspirationskasse er Queen altid at finde. Og særligt David Bowie-samarbejdet "Under Pressure" (1982) har han et nært forhold til. Sangen er et verdenshit, og millioner af mennesker har forhold til den. Alligevel føler Kim, at "Under Pressure" er "hans sang". Fantasillions debutalbum Attention Junkie Monkey (https://open.spotify.com/album/1G5EuPhdN5zevM8KwZo9XZ?si=PjQVXLxUSGCAoOejfA3JYA) byder på 10 yderst velkomponerede og -arrangerede sange, heriblandt den musikalske love story "Century" (https://www.youtube.com/watch?v=tPWmeCR7BAo). Varighed: 5:06 Foto: Daniel Buchwald

While we are on hiatus, we thought we'd put together a compilation of our studio album podcasts, cutting together our overviews of each album. These episodes are released at the time of our three year anniversary. This is part 2: Hot Space to Made in Heaven. Hosted on Acast. See acast.com/privacy for more information.

If we were to title this episode we'd call it "Freddie does funk"Cardinal Woods wants you to all stop fiddling with your EQs, Kev is adamant about the cheese and pickle sandwiches, and the boys are once again aligned in their appraisal of this track. A nod to Joe from in the Lap of the Pods - for his rocked up cover of this one. The boys also debated the merits of synth bass, Kev's eagle ear (is that a thing?) picked up something Randy didn't catch the first time through, but to counteract this moment of genius, he also let the song run too long a few times too so there are some breaks in the music here and there - do not adjust your sets!Today's episode covers Staying Power, the opening track from 1982's Hot Space. It's only a bloody record. People get so excited about these things.Thanks to everyone who tuned in to the last episode and left us some comments on Twitter and Facebook! We'll always try to answer any questions you have and seriously appreciate any corrections you make to anything we get wrong. And thanks so much for all your support as usual. We're loving diving into the Queen fandom a little more deeply as much as we're enjoying recording the podcasts!Huge thanks to Corey Morrissette and Mark Camire for letting us copy and paste the format from their gold-standard podcast; And the Podcast Will Rock. You can find them at @PodcastWillRock on Twitter. Follow us onTwitter: @queenseasideFacebook: @seasidepodreview Hosted on Acast. See acast.com/privacy for more information.

If we were to title this episode we'd call it "Brian May got his way!" I Go Crazy is a discarded idea from the Hot Space sessions that Brian revamped for The Works, but alas, John, Freddie, and Roger simply we're crazy about it (you see what I did there?) and consigned it to the B-side of Radio Gaga. The Cardinal of the Church of Go Fuck Yourself delivers a sermon in his church, Metallica make a shocking appearance, and the boys talk about Mary Austin selling Freddie's possessions at auction. It's another very silly hour and we hope you enjoy it.Thanks to everyone who tuned in to the last episode and left us some comments on Twitter and Facebook! We'll always try to answer any questions you have and seriously appreciate any corrections you make to anything we get wrong. And thanks so much for all your support as usual. We're loving diving into the Queen fandom a little more deeply as much as we're enjoying recording the podcasts!Huge thanks to Corey Morrissette and Mark Camire for letting us copy and paste the format from their gold-standard podcast; And the Podcast Will Rock. You can find them at @PodcastWillRock on Twitter. Follow us onTwitter: @queenseasideFacebook: @seasidepodreview Hosted on Acast. See acast.com/privacy for more information.

Mají se revivaly a tribute bandy brát vážně? Netradičním hostem Honzy Vedrala v podcastu Headliner CZ byl tentokrát Michael Kluch, frontman kapely Queenie, která letos odehraje dva velké halové koncerty 18. a 19. května v pražské O2 aréně. Jaké to je prožít sedmnáct let v kůži Freddieho Mercuryho? "Vždycky jsme se snažili dělat jinak, než ostatní podobné kapely. Začali jsme v roce 2005 a byli jsme na stejné úrovni jako řada ostatních tribute bandů. Možná jsme na tom byli i hůř, protože oni měli náskok," vypráví Kluch. "My jsme si ale řekli, že nechceme pořád dokola hrát jenom We Will Rock You a I Want to Break Free. Chtěli jsme hrát  i věci, které byly pro publikum nevšední. A tak jsme třeba udělali půlku alba Hot Space a mysleli si, jak jsme skvělí a co všechno fanouškům nenabídneme..." popisuje cestu k jedné ze světově nejúspěšnějších koncertních show na motivy Queen. "Řekl bych, že dneska už škatulku tribute překračujeme. Říkáme tomu koncertní divadlo. Všichni jsme v rolích, všichni jsme na jevišti, musíme být dobří hudebníci, protože ta muzika není jednoduchá. A i když ta hudba není autorská v tom smyslu, že bychom tvořili vlastní muziku, ale protože se snažíme posouvat hranice žánru tribute, tak v tom satisfakci cítíme," vysvětluje Kluch, který ještě v roce 2011 pracoval jako úvěrový specialista v bance. "Ucházel jsem se o místo ředitele pobočky. Řekl jsem si: Když mě vezmou, budu dělat ředitele v bance. A když ne, tak se zkusím naplno věnovat kapele. Nevzali mě a utvořili tak moji historii," vypráví o začátcích kapely, která se svou show sklízí úspěch po celém světě. A jak se dívá na různorodé reakce, které i díky svému pěstěnému kníru vzbuzuje, i když si jde třeba jen koupit rohlíky? "Spousta lidí mi řekne: Ty šašku, na co si to hraješ. A já si na to odpovídám: Já si na nic nehraju, já hraju toho Mercuryho hraju. A jestli se vám to nelíbí, tak na to přeci chodit nemusíte," vypráví. "Jenže pak za vámi přijdou lidi, kteří se rozbrečí, když se s nimi vyfotíte. Freddie Mercury byl nesmírně charismatický a mají s ním podivné spojení, které vzniká mezi jevištěm a hledištěm a kterému sám moc nerozumím. Tím, že se do Mercuryho stylizuji dávám některým lidem naději, že se ho můžou alespoň trochu dotknout. Já si to na zeď nepověsím, ale těším mě, že i tímhle způsobem můžu někomu zpříjemnit den nebo týden."  Co obnáší dělat tribute band na světové úrovni? A co nabídnou koncerty 18. a 19. května v O2 aréně? A jak se na činnost Queenie tváří samotná kapela Queen?

Ian tackles Roger Taylor's  "Action This Day."  off of the "Hot Space" Album.  In this episode, we explore the song's new wave influences, unique structure, and the powerful duet between Roger Taylor and Freddie Mercury.  We'll discuss the saxophone solo, the live performances during the Hot Space Tour, and how the song represents Queen's ability to experiment with different styles. Finally, stay tuned until the end as we reveal our scores for this remarkable track. Join us for an engaging and informative journey through this unforgettable Queen song.Don't forget to check out more Recovering Queen on linktr.ee/queenpodcast where you will find our Scorecard and our Karaoke videos on Youtube and much more

Don't talk back! Don't talk back! Don't talk back! LEAVE US ALONE! Jesus Murphy, what do you people want from us? Another season of the highly acclaimed (in Kev's mind) and award-winning (in Randy's delusional fantasies) Queen podcast? We gotcha back Jack. And speaking of Backs, this episode covers the chatty kind. This one covers the John Deacon-penned third track from side one of Hot Space, the very electronic Back Chat. Kev and Randy actually got together in person to record this one. Will the friendship stand this close proximity? Will the podcast be back next week as a result? All these questions and more aren't answered in the following forty minutes of utter nonsensical drivel.Thanks to everyone who tuned in to the last episode and left us some comments on Twitter! We'll always try to answer any questions you have and seriously appreciate any corrections you make to anything we get wrong. And thanks so much for all your support as usual. We're loving diving into the Queen fandom a little more deeply as much as we're enjoying recording the podcasts!Huge thanks to Corey Morrissette and Mark Camire for letting us copy and paste the format from their gold-standard podcast, And the Podcast Will Rock. You can find them at @PodcastWillRock on Twitter. Follow us onTwitter: @queenseasideFacebook: @seasidepodreview Hosted on Acast. See acast.com/privacy for more information.

After the lackluster response to funk-infused Hot Space, Queen took a break and came back fresh, uniting with enthusiasm to create their 11th album, The Works. For the first time, the boys made a conscious decision to rely on their tried and true rock 'n' roll style while retaining some of their recent and more minimal pop and dance vibes. They "played it safe" to reaffirm their presence and reconnect with fans. Press and the public lauded this as the boys' return to form. Its tracklist is short, and some find the fusion of rock and pop uneven. But it packs a joyous punch that's fresh and invigorating. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

After the lackluster response to funk-infused Hot Space, Queen took a break and came back fresh, uniting with enthusiasm to create their 11th album, The Works. For the first time, the boys made a conscious decision to rely on their tried and true rock 'n' roll style while retaining some of their recent and more minimal pop and dance vibes. They "played it safe" to reaffirm their presence and reconnect with fans. Press and the public lauded this as the boys' return to form. Its tracklist is short, and some find the fusion of rock and pop uneven. But it packs a joyous punch that's fresh and invigorating. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

The synth bass. The dynamic compositions. The attitude. The vocals. When I listen to Queen's tenth album and its many funky and danceable twists and turns, one man stands out to me more than the rest. We're reminded that his ability to perform in every genre ever is innate, and his confidence and swagger are through the roof. From his impressive falsetto to his album art concept, this man epitomizes Hot Space. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

The synth bass. The dynamic compositions. The attitude. The vocals. When I listen to Queen's tenth album and its many funky and danceable twists and turns, one man stands out to me more than the rest. We're reminded that his ability to perform in every genre ever is innate, and his confidence and swagger are through the roof. From his impressive falsetto to his album art concept, this man epitomizes Hot Space. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Ep. 327 Queen "Hot Space" (1982)

Regresamos a un disco polémico, incomprendido, incluso vilipendiado de Queen: Hot Space de 1982. Este es un álbum que hay que escuchar con perspectiva, entendiendo la época en la que se grabó y asumiendo que una parte importante de lo que hoy escuchamos en materia de pop le debe mucho a este disco. Ricardo Portman nos cuenta su historia track-by-track. Espacio patrocinado por Salva Martínez, Bruno M., Verónica G., Cintia M., Andrés M. Martín y varios mecenas anónimos… ¡GRACIAS! Si os gusta el programa podéis apoyar Ecos del Vinilo Radio siendo patrocinadores ¡por lo que vale un café al mes! desde el botón azul de iVoox. Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Distancia Radio (Córdoba) jueves y sábados 19:00 Radio Free Rock (Cartagena) viernes 18:00. Generación Radio (Medellín, Colombia) jueves y domingos 19:00 (hora Col.) Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú)

Roger's second offering on Hot Space (and the first Queen single release written by him), "Calling All Girls" takes us on a poppy rock ride. The boys are all playing real instruments again, bopping along as Freddie sings loud and clear for all to hear. Roger even adds some guitar feedback as Brian provides sparkling and jiving guitar layers. The song's video may not have pleased at least half the band, but the live performances were altogether magical. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Roger's second offering on Hot Space (and the first Queen single release written by him), "Calling All Girls" takes us on a poppy rock ride. The boys are all playing real instruments again, bopping along as Freddie sings loud and clear for all to hear. Roger even adds some guitar feedback as Brian provides sparkling and jiving guitar layers. The song's video may not have pleased at least half the band, but the live performances were altogether magical. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

(NSFW!) it's our end of the year show so that means…lists! Our faves, your faves. Giant meteors. Enjoy.

Brian's second contribution to Hot Space, "Put Out the Fire" is the most Queen song on the album. All four boys are back in classic form, on live drums and gritty guitar (including a stellar guitar solo) and rolling bass glissandos. Freddie sounds fabulous in his aggressive full voice register, and we get a welcome return of layered vocal harmonies. This song sounded epic in its abbreviated live performances, but wasn't played often. And there's likely a big reason for that... --- Send in a voice message: https://anchor.fm/tater-thoughts/message

Brian's second contribution to Hot Space, "Put Out the Fire" is the most Queen song on the album. All four boys are back in classic form, on live drums and gritty guitar (including a stellar guitar solo) and rolling bass glissandos. Freddie sounds fabulous in his aggressive full voice register, and we get a welcome return of layered vocal harmonies. This song sounded epic in its abbreviated live performances, but wasn't played often. And there's likely a big reason for that... --- Send in a voice message: https://anchor.fm/tater-thoughts/message

Roger's first contribution to Hot Space calls us to stand and take "Action This Day". It's a poppy, dance rock number with new wave inflections and contrasted vocals between our composer and our frontman. John is totally absent, as Rog performs many of the instruments (including synth bass) and Brian jives with Roger on electric guitar tradeoffs. This sounded stunning on a stage, and audiences responded enthusiastically. And about that low note in Roger's harmony vocals... --- Send in a voice message: https://anchor.fm/tater-thoughts/message

Roger's first contribution to Hot Space calls us to stand and take "Action This Day". It's a poppy, dance rock number with new wave inflections and contrasted vocals between our composer and our frontman. John is totally absent, as Rog performs many of the instruments (including synth bass) and Brian jives with Roger on electric guitar tradeoffs. This sounded stunning on a stage, and audiences responded enthusiastically. And about that low note in Roger's harmony vocals... --- Send in a voice message: https://anchor.fm/tater-thoughts/message

Never has Queen been more sexed up than Freddie's second contribution to Hot Space, "Body Language". Driven by Freddie's synth bass performance and extraordinarily aggressive and dynamic vocal, this is almost a solo piece; with Brian and Roger making brief appearances (John may be totally absent). Fans were stunned this slinky and minimal dance number was the lead single for Hot Space. But live, this takes on a rock identity, all the boys giving us their skills and enthusiasm on stage, winning over even the most skeptical of fans. --- Send in a voice message: https://anchor.fm/tater-thoughts/message

Never has Queen been more sexed up than Freddie's second contribution to Hot Space, "Body Language". Driven by Freddie's synth bass performance and extraordinarily aggressive and dynamic vocal, this is almost a solo piece; with Brian and Roger making brief appearances (John may be totally absent). Fans were stunned this slinky and minimal dance number was the lead single for Hot Space. But live, this takes on a rock identity, all the boys giving us their skills and enthusiasm on stage, winning over even the most skeptical of fans. --- Send in a voice message: https://anchor.fm/tater-thoughts/message

Ian tackles Brian's rocker "Put Out The fire" off of the Queen Album "Hot Space".  We Chat rock songs on funk albums and more and of course the scoresDon't forget to check out more Recovering Queen on linktr.ee/queenpodcast where you will find our Scorecard and our Karaoke videos on Youtube and much more

John's first contribution to Hot Space, "Back Chat" is locked in dance as the album's funkiest and poppiest number. Its catchy bass groove and rhythm guitars (as well as programmed drums and synths) were all played by John. Freddie takes the lyrics and attacks them all the attitude and accusation, flying in staccato arrangements and expressive soulful moments. Brian and Roger appear in brief flashes of impressive guitar power chords (a fun solo) and percussion breakdowns. And live? Oh, this was hot. --- Send in a voice message: https://anchor.fm/tater-thoughts/message

John's first contribution to Hot Space, "Back Chat" is locked in dance as the album's funkiest and poppiest number. Its catchy bass groove and rhythm guitars (as well as programmed drums and synths) were all played by John. Freddie takes the lyrics and attacks them all the attitude and accusation, flying in staccato arrangements and expressive soulful moments. Brian and Roger appear in brief flashes of impressive guitar power chords (a fun solo) and percussion breakdowns. And live? Oh, this was hot. --- Send in a voice message: https://anchor.fm/tater-thoughts/message

In this episode we discuss the 14 studio album covers and agree on the greatest of them all. Queen, Queen II, Sheer Heart Attack, A Night at the Opera, A Day at the Races, News of the World, Jazz, The Game, Flash Gordon, Hot Space, The Works, A Kind of Magic, The Miracle, Innuendo. || Chat to us on Twitter @LapPods || More content at lappods.scot || Donate via Paypal at paypal.me/lappods ||Thanks for listening and please subscribe. Hosted on Acast. See acast.com/privacy for more information.

Never a single, never played live (why!), Brian May's "Dancer" continues kicking off Queen's Hot Space with edge and an experimental metal dance jive. Parallel guitar harmonies surround programmed drums and a synth bass; all contributed by Brian, our composer. Freddie's aggressive vocals, rounded out by fun harmonies from Brian and Roger, take center stage. And surprisingly, John is nowhere to be found. --- Send in a voice message: https://anchor.fm/tater-thoughts/message

Never a single, never played live (why!), Brian May's "Dancer" continues kicking off Queen's Hot Space with edge and an experimental metal dance jive. Parallel guitar harmonies surround programmed drums and a synth bass; all contributed by Brian, our composer. Freddie's aggressive vocals, rounded out by fun harmonies from Brian and Roger, take center stage. And surprisingly, John is nowhere to be found. --- Send in a voice message: https://anchor.fm/tater-thoughts/message

Leave it to Freddie Mercury to bring the heat with "Staying Power"; the funky Hot Space opener that leaves nothing to the imagination. Our composer contributes not just all vocals (delivered in driving staccato fashion) but also a groovy synth bass. A surprise appearance of energized brass bounces off of Freddie's playful vocals. Guitar contributions from both Brian and John create a balance of bright and gritty riffs, and Roger's programmed drums still have his magic touch. But live, this song was another animal entirely, and its heavier, rockier jive is right up my alley. --- Send in a voice message: https://anchor.fm/tater-thoughts/message

Leave it to Freddie Mercury to bring the heat with "Staying Power"; the funky Hot Space opener that leaves nothing to the imagination. Our composer contributes not just all vocals (delivered in driving staccato fashion) but also a groovy synth bass. A surprise appearance of energized brass bounces off of Freddie's playful vocals. Guitar contributions from both Brian and John create a balance of bright and gritty riffs, and Roger's programmed drums still have his magic touch. But live, this song was another animal entirely, and its heavier, rockier jive is right up my alley. --- Send in a voice message: https://anchor.fm/tater-thoughts/message

Despite hesitation from a band member or two and disagreements about musical direction, following the massive success of "Another One Bites the Dust", our boys take sparse, rhythm-driven and funky arrangements to surprising extremes on their 10th album, Hot Space. Incorporating heavy synthesizers and more drum machines, Queen stunned press and fans alike, alienating hard rock lovers with a complete shift away from the former 'no synths!' policy. This album remains Queen's most controversial as the debate continues: Is this a hot mess, or just hot? --- Send in a voice message: https://anchor.fm/tater-thoughts/message

Despite hesitation from a band member or two and disagreements about musical direction, following the massive success of "Another One Bites the Dust", our boys take sparse, rhythm-driven and funky arrangements to surprising extremes on their 10th album, Hot Space. Incorporating heavy synthesizers and more drum machines, Queen stunned press and fans alike, alienating hard rock lovers with a complete shift away from the former 'no synths!' policy. This album remains Queen's most controversial as the debate continues: Is this a hot mess, or just hot? --- Send in a voice message: https://anchor.fm/tater-thoughts/message

We talk about how hot it is, some takes on some magic portal fantasy movies and pitch "Beneath the bed to Boogieland" This is the deleted scenes for episode 388, you might want to listen to that before you get to this one... or not, your choice.

The Albums of 1982! Thriller! 1999! Vacation! Hot Space! This week the Modern Musicology gang (joined once again by former Aquanettas drummer and solo artist Stephanie Seymour) jumps into our time machine and sets the controls for 1982! We talk about that year’s biggest releases and some of the most significant debuts, as well as some of the less obvious things that we love … Modern Musicology #25 – The Albums of 1982 (Part 1)! Read More » The post Modern Musicology #25 – The Albums of 1982 (Part 1)! appeared first on The ESO Network.

Thriller! 1999! Vacation! Hot Space! This week the Modern Musicology gang (joined once again by former Aquanettas drummer and solo artist Stephanie Seymour) jumps into our time machine and sets the controls for 1982! We talk about that year's biggest releases and some of the most significant debuts, as well as some of the less obvious things that we love -- and even a release or two that we hated.  1:40 - What We've Been Listening To 6:40 - Listener Feedback 9:30 - The Albums of 1982 Who are your favorite releases from 1982? Is there a favorite of yours that we didn't cover? Let us know! Email us at modernmusicology1@gmail.com or leave us a comment wherever you're listening! Find us on Facebook: https://www.facebook.com/ModernMusicology Follow us on Twitter: https://twitter.com/ModrnMusicology Subscribe to our YouTube Channel: https://www.youtube.com/channel/UCk-MlcGy5u3fK1j4bVty1Kw Modern Musicology is part of the ESO Podcast Network. https://esonetwork.com/

Future Fest has the next NFT space on lock. Imagine being able to go to a concert, or comedy show, or any event... at anytime. No matter the time or location you could access the event when ever and where ever. Watch the video to learn how Future Fest is making this possible!

Since their debut, the band Queen was riding a hot streak of success. Then came 1982 and the album Hot Space, which was rather divisive among their fans...and the band members. Join us as we take a look at the album and how it fits into the greater Queen zeitgeist. Plus the news and your feedback! Our Linktree: https://linktr.ee/FiveishFangirls 

Esta semana se cumplen 30 años de la desaparición del gran Freddie Mercury, y hemos querido rendirle nuestro querido homenaje. Cada año, cuando se acerca el 24 de Noviembre, elaboramos una lista con temas cantados por la mejor voz de toda la historia de la música Como esta vez se cumplen 30 años, hemos decidido ilustrar la sesión con 30 canciones, dos de cada uno de los 15 discos de estudio que publicó con su banda madre: Queen. Uno de los temas será elegido por nosotros y el otro lo elegirá Sergio Mercado, un amigo que es toda una eminencia en lo que a Queen se refiere. Un programa muy especial dividido en dos partes, en esta segunda entrega repasamos todos los álbumes publicados desde 1980 hasta el final, en 1995. Aquí tenéis el listado de temas: 1 - Queen "Another one bites the dust" (The Game) 2 - Queen "Dragon attack" (The Game) 3 - Queen "Football fight" (Flash Gordon) 4 - Queen "The hero" (Flash Gordon) 5 - Queen "Dancer" (Hot Space) 6 - Queen "Las palabras de amor" (Hot Space) 7 - Queen "Tear it up" (The Works) 8 - Queen "Hammer to fall" (The Works) 9 - Queen "Gimme the prize" (A Kind of Magic) 10 - Queen "One year of love" (A Kind of Magic) 11 - Queen "The invisible man" (The Miracle) 12 - Queen "Was It all worth It?" (The Miracle) 13 - Queen "I Can't live without you" (Innuendo) 14 - Queen "Bijou" (Innuendo) 15 - Queen "Too much love will kill you" (Made in Heaven) 16 - Queen "Mother love" (Made in Heaven)

In 1984 and 1985, Queen toured every major continent in the world apart from North America as they were still in a huff about how they were treated in the US after Hot Space. The band hadn't played live since 1982. They re-assembled after some time apart and solo ventures to write and record The Works album and then headed out on tour. The tour wasn't short on issues which we discuss, also focussing on the performances from Rio and Tokyo.|| Talk to us on Twitter @LapPods |||| Get more content at lappods.co.uk |||| Donate via Paypal at paypal.me/lappods ||Thanks for listening. Please review and subscribe. See acast.com/privacy for privacy and opt-out information.

Ian tackles the Roger pop tune off of Hot Space. We chat Roger songwriting, strange videos, production and of course scores.

Ian tackles Dancer the Brian May attempt at Disco/Rock fusion off of Hot Space.   We chat curious Lyrics, there is disagreement over this.   The scores are interesting.

Este é um episódio diferente, é um "drops do mal": vamos te contar que até as melhores bandas pode lançar um disco ruim e lamentável. Mas, mesmo em discos muito fracos, é possível encontrar uma música absurdamente incrível. É isso que faz de Hot Space, lançado pelo Queen em 1982, um disco de uma música só: se você aguentar escutar até o final, vai ter uma ótima recompensa na última faixa!

Queen conquista Latinoamérica y después de su mayor éxito da un paso en falso. Freddie Mercury se prueba como solista, pero regresa a la banda para dar el show más espectacular de su carrera y continuar su reinado. Con testimonios de Dante Spinetta, Fernando Lupano, BB Sanzo, y Fernando Blanco.

"We Will Rock You", "We Are The Champions", "Spread Your Wings" ... der Stoff aus dem sich die A-Seite von "News Of The World" zusammensetzt. Das sechste Studioalbum von Queen habe - so Alex Steudel - die "beste erste Plattenseite aller Zeiten". Damit tut er zwar der B-Seite etwas Unrecht. Aber woher soll Alex die auch kennen, er hat "News Of The World" nie umgedreht. Aber dafür hat er ja Malte Asmus, der beide Seiten analysiert hat und die Fakten zu einem Album lieferte, das weltweit über sieben Millionen Mal verkauft wurde und dafür sorgte, dass Queen ab 1977 weiter munter die Stilarten durchprobierte. Damit machte NOTW zwar auch das spätere Album "Hot Space" möglich, aber das soll die Gesamtleistung der Megaband Queen und von Freddie Mercury nicht trüben. Und was das alles mit  Robocop,  einem beschmierten Albumcover und Auftritten auf einem graumelierten Flokati zu tun hat, hört ihr in der neuen Ausgabe vom MusikantenSteudel.Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude. Gern unterstützen wir dich bei deiner Podcast-Produktion.

Une chronique de Laurent Lafourcade

In 2019, Thomas Colvin, Irina Liu and Shirley Han at the Science and Technology Policy Institute (https://www.ida.org/ida-ffrdcs/science-and-technology-policy-institute) were part of a team of researchers that published what is to date the most comprehensive English-language overview (https://www.ida.org/research-and-publications/publications/all/e/ev/evaluation-of-chinas-commercial-space-sector) of China's growing space industry.We discussWhy Chinese space startups say business acumen is one of their biggest weaknessesHow ITAR actually helped China's space industry growThe space market in the developing worldThe state of my internet cablesPlease consider supporting ChinaTalk at https://glow.fm/chinatalk/ Outro Music: Mi fai impassire by BLANCO ft. Sfera Ebbasta https://www.youtube.com/watch?v=FJNOkLCIg5Y See acast.com/privacy for privacy and opt-out information.

In 2019, Thomas Colvin, Irina Liu and Shirley Han at the Science and Technology Policy Institute (https://www.ida.org/ida-ffrdcs/science-and-technology-policy-institute) were part of a team of researchers that published what is to date the most comprehensive English-language overview (https://www.ida.org/research-and-publications/publications/all/e/ev/evaluation-of-chinas-commercial-space-sector) of China's growing space industry.We discussWhy Chinese space startups say business acumen is one of their biggest weaknessesHow ITAR actually helped China's space industry growThe space market in the developing worldThe state of my internet cablesPlease consider supporting ChinaTalk at https://glow.fm/chinatalk/ Outro Music: Mi fai impassire by BLANCO ft. Sfera Ebbasta https://www.youtube.com/watch?v=FJNOkLCIg5Y Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

(00:00) Skip Bayless smokin hot take: Lebron James starring in “Space Jam: A New Legacy” was bad for his legacy. Lebron James retweeting compliments to show the haters (16:37) We circle back to a Yankees fan being thrown out after throwing a ball and hitting a Red Sox player. (29:15) Listeners weigh in with stories of being kicked out and/or banned from sporting events. Watch Toucher & Rich every morning on Twitch! Watch them live or whenever you want: Twitch.tv/thesportshub

Reviewing the worst of the worst - so you don't have to!Nathan and Jacob pick up their half microphone stands and say a huge "DAYYYYYYYY OH" to the album Hot Space - Queen's much-maligned "Disco" album from the early 80s. The boys sink their teeth into Queen's epic backstory including "The Five Queen Songs Nathan Actually Likes" and their many gripes with the film Bohemian Rhapsody. They then settle into a disco/funk/rock LP containing songs about love, dancing, John Lennon, and Freddie Mercury yelling ridiculous things. Is this album as bad as everyone says it is? Or were people in the 80s just being moody because Queen decided to try something new? There's only one way to find out... VOTE IN OUR POLL FOR EPISODE 19.Find us on Facebook - www.facebook.com/badthingspodcastTwitter - https://twitter.com/BadThingsPod (@badthingspod)Instagram - www.instagram.com/badthingspod (@badthingspod)Theme music - Boo Boogie by Doug Wood. See acast.com/privacy for privacy and opt-out information.

This episode, the Watchers look back on the extreme highs and even more extreme lows of Season 6 in their latest trademark Season retrospective, blending award-show style categories, qualitative measures, and questions put to us by our audience via social media.   Over the course of the episode, Don talks about the destructive impacts of the Quarks on their creators' careers, Anthony gets himself mixed up between The Dominators and The Krotons (blame the 1990s VHS releases), Julie continues her Jamie obsession (knowing that this is one of her last opportunities to do so), and Reilly completely fails to accurately anticipate who everyone else will choose as “best regular.” Together, the team ponder whether they will ever re-watch The Space Pirates.   Other media mentioned in this episode: The Princess Bride (Amazon US | Amazon UK) Spaceballs (Amazon US | Amazon UK) Sixth Doctor Land of Fiction Trilogy: City of Spires (BigFinish.com) The Wreck of the Titan (BigFinish.com) Legend of the Cybermen (BigFinish.com)   Finally, you can also follow us and interact with us on various forms of social media - Facebook, Instagram, and Twitter. You can also e-mail us at watchers4d@gmail.com. If you're enjoying this podcast, please subscribe to the show, and leave us a rating or review.

Vamos con una historia a la que siempre se regresa: Queen y David Bowie. Y por supuesto hablamos del tema colaborativo Under Pressure, hit indiscutible de Queen en su fase Hot Space. Vamos a escuchar Under Pressure (demo), Soul Brother y Under Pressure (versión oficial).

Jumping back into the rock after the synth/dance heavy "Hot Space", Episode 53 covers Queen's eleventh studio album, 1984's "The Works." Mark, Kevin, Alex, and Chris take you on a historical journey surrounding the album as well as share our favorites and not-so favorites from the record. We go on a deep dive track-by-track listen of this album as well as share personal stories of discovering Queen's eleventh studio album "The Works." Tune in next week for Episode 54 covering the twelfth Queen studio album "A Kind of Magic."Available at https://lightthesky.net/podcasts/queen/the-works/ and on all podcast streaming platforms (just search "Light the Sky Podcast.")Follow "Light the Sky Podcast" on Instagram, Twitter, and Facebook to stay up-to-date with all things LTS.Instagram: https://www.instagram.com/lighttheskypodcast/Twitter: https://twitter.com/LighttheSkyPod1Facebook: https://www.facebook.com/LightTheSkyPodcast/

Taking the "Another Bites the Dust" idea and running with it for basically an entire album... Are you a fan of this direction for Queen? Episode 51 covers the tenth Queen studio album, 1982's "Hot Space." Mark, Kevin, Alex, and Chris take you on a historical journey surrounding the album as well as share our favorites and not-so favorites from the record. We go on a deep dive track-by-track listen of this album as well as share personal stories of discovering Queen's tenth studio album "Hot Space." Tune in next week for Episode 52 covering a special non-Queen related bonus episode, then back to regularly scheduled programming for Episode 53 covering "The Works" the week following.Available at https://lightthesky.net/podcasts/queen/hot-space/ and on all podcast streaming platforms (just search "Light the Sky Podcast.")Follow "Light the Sky Podcast" on Instagram, Twitter, and Facebook to stay up-to-date with all things LTS.Instagram: https://www.instagram.com/lighttheskypodcast/Twitter: https://twitter.com/LighttheSkyPod1Facebook: https://www.facebook.com/LightTheSkyPodcast/

Episode 50 covers the ninth Queen studio album/first soundtrack album for the 1980 space opera film "Flash Gordon." Some rate it as one of the stronger film soundtracks while some may wonder why Queen ever participated in this. For this episode, we've decided to listen to the album live and provide live commentary with you as you listen along. Mark, Kevin, Alex, and Chris take you on a historical journey surrounding the album as well as share our favorites and not-so favorites from the record. We go on a deep dive track-by-track listen of this album as well as share personal stories of discovering Queen's ninth studio album "Flash Gordon." Tune in next week for Episode 51 covering the tenth Queen studio album "Hot Space."Available at https://lightthesky.net/podcasts/queen/flash-gordon/ and on all podcast streaming platforms (just search "Light the Sky Podcast.")Follow "Light the Sky Podcast" on Instagram, Twitter, and Facebook to stay up-to-date with all things LTS.Instagram: https://www.instagram.com/lighttheskypodcast/Twitter: https://twitter.com/LighttheSkyPod1Facebook: https://www.facebook.com/LightTheSkyPodcast/

Ian covers the Hot Space opener Staying Power.  Special guest Joe from the Lap of the Pods Podcast joins Matt, Jain and Ian to talk about Hot Space, his cover, Ian's Cover, mid-period Queen, stadium shows, being in a band, who's to blame etc etc. and after you can check out Joe's cover on the Lap of the Pods Youtube channel.

This week Matt assembles a cover of Body Language ↑⬱, The second single off the Queen Album "Hot Space", where all three hosts sing a harmonised version of Freddie's Disco craziness.  What were the circumstances of this crazy single?.  Was it the nail in the US commercial coffin?  How does it relate to other tracks? what did the other Queen members think of it?  What do Queen fans think of it? Lots of fun this week, with a truly bizarre and unique Queen offering.

Queen play Milton Keynes Bowl in 1982 in front of 65,000 people shortly after their infamous Hot Space album is released. The band had a lot to prove at this point. Had they also compromised as a live act? Join the chat on Twitter @lappods.Thanks for listening! See acast.com/privacy for privacy and opt-out information.

Artist Song Time Album Year Frank Zappa Envelopes 2:46 Ship Arriving Too Late To Save A Drowning Witch [2012 Remaster] 1982 Brand X Atga 4:52 Is There Anything About? 1982 Queen Under Pressure 3:51 Hot Space 1982 Billy Joel Pressure 4:35 The Nylon Curtain 1982 Chris De Burgh Don’t Pay The Ferryman 3:44 The Getaway […]

Few could have foreseen a rock group with a penchant for glam-inflected, genre-bending, often progressive songs striking it big during the disco era, but famed UK rockers Queen did just that in 1980. "Another One Bites The Dust" took Freddie Mercury and company's signature sound, and adapted it into a funky, club-friendly style that earned the group their biggest commercial success in America, reaching #1 on the Billboard Hot 100 charts for three weeks, and making a chart hit out of The Game, the record it was attached to.Spurred on by this achievement, and hyper-focused on maintaining this newfound pop clout in the US, Queen responded to The Game's reaction by doubling down on the disco focus of "Another One Bites The Dust". 1982's Hot Space was the result, a record which traded the band's hard, operatic guitar rockers for electronic dance numbers with synthesized arrangements, which took heavy inspiration from the disco group Chic. Though Hot Space rendered a top 20 hit in the US, and contained one of the band's most enduring songs (Tacked on as a last-minute addition from a previous single release) it was widely panned by critics and fans, and would be the last major commercial success Queen had in America before Mercury's passing.On the latest episode of Jukebox Zeroes, Lilz & Patrick welcome back Ashleigh and Maggie of the Rock Candy Podcast. The four of them dig into Hot Space and decide for themselves if it was deserving of the negative reception so many decades later. Join us for rousing discussions on the "disco sucks" movement, petticoats, and Billy Joel's drunken carousing.Local Music Feature: Hands 3 - "Your Hands"#ZeroScience#JukeboxZeroes#MusicPodcast#OddPodSquad#PodernFamily#RockCandy#Queen#PizzaGabriel

This week on #SlapperCast: record store memories from our youth, disappointing albums, musicians we like but wouldn't want to work with, difficult working relationships in bands. Friday September 25: Blaggards LIVE on Facebook from Blackwater Draw Brewing Co. (https://www.facebook.com/events/2838874689674827) Blaze gets mad!! Iron Maiden Chile 1996 (https://youtu.be/PaYvy5yP_eY) Chuck Berry Hail! Hail! Rock 'N' Roll (1987) - Bonus Clip: Chuck & Keith Rehearse (https://youtu.be/mHOiwOanIBM) The Police - Better Than Therapy, Living The Police Reunion (https://youtu.be/zxy7kSTbMyA) Ricky Gervais Discusses Friendship with David Bowie (https://youtu.be/iVupDk3yJOo) Topics: * Eric's "ointment" story * Recapping our first full-length performance in months * How much time off is too much? * The challenge of developing an unspoken language as a band when we're not gigging * Managing different tempos and keys in a set list * Last week's show with Cindy Heywood (see Episode 84 (https://slappercast.fireside.fm/84)) * Slade Ham's recent outstanding stand-up comedy show at Improv Houston (see Episode 83 (https://slappercast.fireside.fm/83)) * Other comedy shows we've seen * The possibility of Blaggards doing shows with stand-up comedians * Eric's memories of Hi-Ho Records in Berlin, New Hampshire * Patrick's memories of Houston's Cactus Records (https://cactusmusictx.com) in the old days * Patrick and Eric remember learning about new album releases by reading music magazines * Chad remembers the joy of discovering new album releases at record stores just by chance * Chad's deep disappointment with Peter Gabriel's "So" album when it first came out in 1986 * Eric explains the one thing that makes Peter Gabriel's "Sledgehammer" cool * Eric's disappoinment with the Boo Radleys * Patrick's disappoinment with Iron Maiden's Blaze Bailey period * Chad's disappoinment with Queen's "Hot Space" album * Patrick's disappointment with Freddie Mercury's solo material * Eric's disappointment with Sting's early '90s solo material * A critique of the "Synchronicity" album by the Police * The joy of a watching solid three-piece band perform like the Police or ZZ Top * Sting and Stewart Copeland's turbulent working relationship * Musicians we like but wouldn't want to work with (Chuck Berry, Buddy Rich, James Brown, etc.) * Tin Machine versus David Bowie's solo material * Bootsy Collins' experience working with James Brown * Ricky Gervais' friendship with David Bowie Join us in IRELAND Fall 2021 Ireland 2021 (https://blaggards.com/ireland/) — Sign up to learn more about our next Ireland tour Show dates Blaggards.com (https://blaggards.com/shows/) Facebook (https://www.facebook.com/pg/blaggards/events/) Bandsintown (https://www.bandsintown.com/a/3808) Follow us on social media YouTube (https://www.youtube.com/blaggards) Facebook (https://www.facebook.com/blaggards/) Twitter (https://twitter.com/blaggards) Instagram (https://www.instagram.com/blaggards/) Become a Patron Join Blaggards on Patreon (https://www.patreon.com/blaggards) for bonus podcast content, live tracks, rough mixes, and other exclusives. Rate us Rate and review SlapperCast on iTunes (https://itunes.apple.com/us/podcast/slappercast-a-weekly-talk-show-with-blaggards/id1452061331) Questions? If you have questions for a future Q&A episode, * leave a comment on Patreon (https://www.patreon.com/blaggards), or * tweet them to us (https://twitter.com/blaggards) with the hashtag #slappercast.

We discuss Queen's 13th and (truly) penultimate studio album, The Miracle. The band had taken the longest break ever between albums but did the extra time away pay off? The album itself is almost as infamous as Hot Space but does it deserve to be? Join the discussion @lappods.Thanks for listening and enjoy! See acast.com/privacy for privacy and opt-out information.

We discuss Queen's 11th studio album, The Works. How did the band respond after the commercial and possibly creative failure of Hot Space? Join the discussion @lappods.Thanks for listening. See acast.com/privacy for privacy and opt-out information.

We discuss Queen's 10th studio album, the controversial Hot Space. Is a complete failure? Are there any redeeming qualities to it? We disuss the album in detail and also discuss the blame game that Queen members have played with regard to this album. Join the discussion on Twitter @lappods.Thanks for listening and enjoy. See acast.com/privacy for privacy and opt-out information.

Como fue el paso de "Hot Space" a "The Works"? Los solos de guitarra de un lado, los sintetizadores al frente. Un videoclip que despertó la polémica, todo eso y más. Seguinos!

In this episode, June, Kerry and Jeremy debate if Cloud is hot (he is), if Pyramid Head is sexy (June thinks so) and our HEATED GAMING MOMENTS.If you would like to support this show, as well as this website, consider going to www.patreon.com/MinimapAUYou can follow us on twitter here:@MiniMapAu@obiwanjezz@jun_ess@KJPalmer_24

On this Episode  Bart & Vicky talk about baking cookies in space, a 5300 yr  old mummy, Anglo-Saxon hoard, a missing 1 ton rock, UFOs no its Loon,   TFTDpodcast@gmail.com We are part of Webegeekspc.com Tangentboundnetwork.com On twitter and Facebook Merch on teepublic.com

Hoy vamos a repasar la vida y milagros de uno de los mejores grupos de la historia del rock: THE QUEEN. Para ello contaremos con la colaboración de dos periodistas de prestigio: Miguel Ángel Bargueño y Carlos Marcos que hace unos días publicaron un artículo en el periódico El País en el que, a través de 12 de las mejores canciones de este grupo, recorrían la trayectoria musical de esta fantástica banda. Así que, y apoyándonos en ese trabajo, empezamos con el número 12 de esta lista: Another One Bites the Dust, de 1980 e incluida en el disco “The Game” La línea de bajo resulta tan adherente como un buen estribillo. Y es una apuesta segura para poner patas arriba una discoteca. El bajo de John Deacon, autor del tema, es el protagonista absoluto del 'single' más vendido de la historia de Queen (fue número uno de ventas en Estados Unidos y en casi todo el mundo). Como buen bajista, flipaba con el funk y la música disco, y con esos mimbres, creó esta base rítmica prodigiosa. El tema está aderezado con efectos de sonido que hoy pueden parecer obsoletos, pero que en su momento eran de lo más moderno: recuerdan al despegue de una nave espacial. Queen ponían así un pie en los ochenta, cuando se suponía que la ciencia ficción iba a dejar de ser ficción. Con todo, la banda no tenía mucha confianza en este tema, y, según ha revelado Roger Taylor, fue Michael Jackson quien, tras escucharlo, les dijo: “Chicos, estáis locos si no lo sacáis como 'single”. El batería también recordó que muchas emisoras de soul creyeron, al oírlo por primera vez, que el tema era de un grupo afroamericano. Numero once: Killer Queen, de 1974 e incluida en el disco “Sheer Heart” La estructura de Killer Queen es casi cabaretera. Pero Queen consiguen elaborar un medio tiempo rockero, con capas de voces ya marca de la casa y la guitarra afilada (y limpia) de Brian May. Era 1974 y Queen eran todavía una banda de rock duro. Killer Queen es la canción que le dio el primer éxito internacional al grupo. Se ponían los primeros cimientos del reinado de uno de los mejores grupos de la historia. Sobre esta canción, Mercury explicó: “Trata sobre una mujer de clase alta que se dedica a la prostitución. Lo que quiero transmitir en el texto es que las mujeres ricas también pueden ser putas”. Pero según parte de sus seguidores, la protagonista es un travesti… a saber. Sea como fuere, la canción salió en poco tiempo. “La escribí en una noche”, confirmó Mercury. Una anécdota: la estrella pop Katy Perry denominó a su propio perfume Killer Queen. Y lo explicó: “Freddie Mercury definió en la letra a la mujer que siempre he querido ser. Por eso he llamado así a mi perfume”. Bueno, a lo mejor alguien debería haber explicado a Perry la auténtica intención de la letra. Seguimos: número DIEZ, “Seven seas of Rhye”, de 1974 e incluida en el disco “Queen II” Resulta llamativo cómo Queen eran capaces de hacer tanto en tampoco tiempo. 'Seven seas of Rhye' dura 2,45 (como una canción punk, vamos), pero pasan mil cosas: una introducción de piano, guitarras heavies, una deslumbrante interpretación de Mercury, estribillos, solo de guitarra, parte vocal operística, una coda ruidosa con voces de fiesta… Estamos ante los Queen de su etapa dura. La canción se incluye en su segunda obra, 'Queen II'. Una reinvención del rock duro en toda regla. Es también una de las letras más misteriosas de la primera etapa del grupo. La tierra de Rhye aparece en varias letras escritas por Mercury. Para algunos es un mundo fantástico creado por él y su hermana mientras vivían con su familia en Zanzíbar. Freddie nació allí: su padre trabajaba para la británica Secretaría de las Colonias y en aquella época Zanzíbar estaba bajo protectorado inglés. La otra versión es que es una letra de contenido religioso: una crítica al lado oscuro de las religiones. Como siempre… a saber. Número NUEVE: We will rock you, de 1977 e incluida en su disco News of the world. Con esta canción nació el rock de estadio. Sorprendentemente corta (solo dos minutos: ¿a que creías que era más larga?), más básica imposible (incluso podría sobrar el solo de guitarra final) y de una eficacia automática. Si alguien sueña con componer la canción que tiene que corear todo el mundo, está perdiendo el tiempo: lleva en marcha desde 1977. La mayoría de los éxitos de Queen están compuestos por Mercury. Este no: lleva la firma del guitarrista Brian May. ¿En qué se inspiró para componer este clásico de los estadios? Pues en un estadio. Habla May: “Una noche, al final de un concierto, nos retiramos del escenario y de fondo escuché a la gente cantar el himno del Liverpool. Me fui a la cama pensando en una canción donde el público pudiera participar. Es gente que está ahí, apretujada, apenas se puede mover, pero puede aplaudir, golpear sus pies y cantar. Cuando me desperté por la mañana 'We will rock you' salió del tirón”. Vamos a por el número OCHO: Bicycle Race, de 1978 e incluida en el disco Jazz. Esta canción es originalísima, tanto por su composición como por su letra. A Mercury, que no tenía especial predilección por las bicicletas, se le encendió la bombilla cuando vio pasar el pelotón del Tour de Francia cerca del estudio donde Queen estaban grabando 'Jazz' en Montreux (Suiza). Con esa imagen desarrolló una lista de ideas contrapuestas (“Tú dices blanco, yo digo negro / Tú dices ladrar, yo digo morder”), sazonada de agudos comentarios sobre 'Star Wars', Tiburón', 'Peter Pan', 'Superman' o 'Frankenstein', con el ansia de libertad como trasfondo. También fue muy original su lanzamiento como 'single', dado que 'Fat bootmed girls', en la otra cara, era un tema siamés: en la letra de uno se mencionaba el otro y viceversa. Su vídeo causó sensación: muestra a un nutrido grupo de modelos desnudas montando en bicicleta en los alrededores del estadio de Wembley. Llegamos al número siete: Crazy Little Thing Called Love, de 1979, del disco The Game. Por qué nos gusta tanto? Porque es una maravillosa rareza dentro de la discografía de Queen. Una canción de latido acústico, con un ritmo de rock and roll de los cincuenta que podrían haber firmado unos revisionistas como Stray Cats. Pero no: es de Queen y les reportó mucho dinero, ya que fue la primera vez que el grupo llegó al número uno en EEUU. “Me salió en cinco minutos mientras me tomaba un baño”, declaró Freddie Mercury sobre 'Crazy Little Thing Called Love'. Luego llegaría la fase de pulir, pero básicamente salió de allí, de un baño relajado en una habitación de hotel del Hilton de Múnich, donde el grupo se fue a grabar el disco 'The Game'. Resulta curioso el vídeo, con todos los miembros vestidos de rockeros duros (cuero a tope) y donde Mercury, agasajado por bellas señoritas, ejerce de macho alfa como si fuera un componente de Led Zeppelin. Número SEIS: Now I’m Here, de 1975. Para el aficionado que se enganchó a Queen en los ochenta quizá este tren desbocado no lo sienta familiar. Pero sí, Queen fueron duros, muy duros. ‘Now I´m here’ es el ejemplo, una canción de rock perfecta: apabullante energía, melodía y una interpretación feroz. Hay hasta un minisolo de batería. Esta vez el que compone es Brian May, y en unas circunstancias llamativas. La escribe durante una convalecencia en el hospital, afectado por una hepatitis. “Estábamos en plena gira por Estados Unidos con Mott the Hoople y tuvimos que suspenderla por mi enfermedad. Fue una faena. Incluso llegué a temer que me sustituyeran, así que empecé a escribir canciones para el próximo disco”, ha contado May. En la letra se hace referencia a la gira con Moot the Hoople e incluso un guiño a un clásico de Chuck Berry, ‘Little Queenie’. Número cinco: Don’t stop me now, de 1978 e incluida en su LP Jazz Con su ritmo endiablado y su mensaje de “voy a comerme el mundo”, es mejor que cualquier libro de autoayuda. Aunque es un tema inequívoco de rock, no hay guitarra excepto en el solo: conseguir esa potencia solo con piano, bajo y batería es algo que no está al alcance de cualquiera. La rica discografía de Queen permite que sucedan cosas como esta: que un tema que en su momento no tuvo especial repercusión sea redescubierto con el paso de los años —gracias a la publicidad y el cine— y hoy figure entre sus títulos más emblemáticos. Mercury debió de escribir la letra en un momento de especial subidón, utilizando la astronomía como metáfora de su excitación febril: “Soy una estrella fugaz saltando por el cielo”, “viajo a la velocidad de la luz”, “soy un cohete de camino a Marte” o “soy un satélite fuera de control” son algunas de esas referencias. Aunque la frase más redonda es: “Estoy ardiendo a través del cielo a 200 grados, por eso me llaman míster Fahrenheit”. En 2014, en el Reino Unido la eligieron como la mejor canción para conducir. Vamos al número cuatro: “Under Pressure”, de 1981 e incluida en el disco “Hot Space”. Artista invitado: David Bowie. A veces, unas pequeñas notas tocadas como si nada, lo son todo. Por ejemplo: el bajo de esta canción. Bueno, pues resulta que la colaboración entre dos colosos como Freddie Mercury y David Bowie, se recuerda por ese sonido de bajo de John Deacon. Lo que no está claro es si fue idea de Deacon o si Deacon la tocó, luego se le olvidó y la recordó Bowie con alguna aportación. La canción tiene mucho más: un duelo vocal que no es tal, ya que Bowie y Mercury se van alternando en la ejecución de forma tan fluida como sorprendentemente generosa, si tenemos en cuenta el volumen de sus egos respectivos. En cualquier caso, de dos artistas colosales que no estaban ni mucho menos en su mejor momento sale una obra maestra como “Under Pressure”. Bowie venía del tibio “Scary Monsters” y Queen estaban exhaustos después de años de éxito. Se juntaron en Suiza y salió esta pieza firmada por los cinco en la que se trabajó de forma colectiva para que luego Freddie y David se pelearan en la última fase del proceso. “ La mezcla final no me pareció buena. Fue el momento en el que Freddie y David batallaran duramente por imponer sus criterios”, ha revelado Brian May. En tercera posición: Somebady to Love, de 1976 e incluida en el disco “A day at the races” Cuatro rockeros ingleses sonando como un coro góspel de cien personas. Y, al mismo tiempo, 100% Queen. Tras el éxito de 'Bohemian Rhapsody', Mercury intentó hacer algo parecido en el siguiente disco, 'A Day at The Races'. Con una variante: en vez de inspirarse en la tradición operística europea, lo hizo en el góspel estadounidense. “Es nuevo, es ligeramente diferente”, explicó Freddie a la revista 'Circus' en 1977. “Pero aún suena a los Queen de siempre”. En la misma entrevista, el batería Roger Taylor explicó que este tema “está muy influido por Aretha Franklin. Freddie está muy colgado con ella”. A diferencia de 'Bohemian rhapsody', se acerca más al formato estándar de canción de rock. Compuesta por Mercury al piano, la letra va dirigida a Dios, a quien pide explicaciones por una vida vacía de amor: “Me he pasado la vida creyendo en ti pero no encuentro alivio, Señor”. El arreglo de los coros es verdaderamente soberbio. Llegó al número dos en la lista de ventas británica. Mocedades (sí, Mocedades) grabó en 1981 una notable versión ('Amar a alguien'); parece que para conseguir el permiso de Mercury un representante de la discográfica tocó el timbre de su casa de Londres y le puso 'Eres tú', tras lo cual accedió. Y ya estamos en el número dos: I Want to Break Free de 1984 e incluida en el disco ‘The Works’ Si Queen vivieron una segunda edad dorada en los ochenta fue por temas como este. Aunque la mayor parte del repertorio de Queen nació de la pluma de Freddie Mercury, el bajista John Deacon escribió unos cuantos temas, de los que este y 'Another one bites the dust' son los más logrados y famosos. Construido con una base electrónica, cuenta con un solo de sintetizador memorable a cargo del canadiense Fred Mandel. Por el divertido vídeo, en el que los componentes del grupo aparecen vestidos de mujer realizando tareas domésticas (una parodia de la serie 'Coronation street'), algunos dieron por sentado que el tema era una declaración de la sexualidad de Mercury; pero el autor, como decimos, es Deacon, y la idea del vídeo fue del batería Roger Taylor. Si el público ya conocía el talento y la fuerza del grupo, ahora supo de su capacidad de reinvención, recuperando el aplauso masivo del público con esta y otras canciones en plena era de los teclados y las hombreras. En la actualidad, Deacon lleva una vida tranquila de sexagenario alejado de los focos. Y, por fin, el número uno: Bohemian Rhapsody, de 1975 e incluida en el disco “A night at the Opera” Con esta canción, estos cuatro tíos hicieron volar por los aires la estructura clásica de rock (estrofas y un estribillo que se repite) y se las arreglaron para insertar seis canciones en una. Tiene partes de ópera. Cascadas de voces. Una introducción a capella. Referencias a Galileo y Fígaro. La letra es misteriosa y fascinante. Y el solo de guitarra posee vida propia. No está claro qué llevó a Freddie Mercury a escribir este drama sobre un hombre que confiesa a su madre que ha cometido un asesinato y se prepara para ir al infierno. Algunos biógrafos apuntan a que se trata de una metáfora sobre la ruptura de Mercury con su pasado (hasta poco antes había estado saliendo con una chica, Mary Austin) y la aceptación de su homosexualidad. El autor nunca lo aclaró y prefirió alimentar la incógnita. Las múltiples capas de voces supusieron un reto para la tecnología de la época, que se resolvió poniendo a Mercury, May y Taylor a grabar los coros durante jornadas enteras; luego el productor Roy Thomas Baker duplicó docenas de cintas. Pese a que la discográfica no lo veía claro por su duración (casi seis minutos), se publicó como 'single' y fue un gran éxito: número uno durante nueve semanas seguidas en el Reino Unido. Aunque ya se habían rodado vídeos musicales anteriormente, el de esta canción es uno de los primeros en constituir una obra de arte en sí mismo. Queen fue la última banda realmente gigante hasta la aparición de U2, pero eso será otra historia y otro momento. Señoras y Señores, hemos terminado por hoy. Espero y deseo que vuestra vuelta al trabajo o lo que sea, os pase casi casi desapercibida.

Hoy vamos a repasar la vida y milagros de uno de los mejores grupos de la historia del rock: THE QUEEN. Para ello contaremos con la colaboración de dos periodistas de prestigio: Miguel Ángel Bargueño y Carlos Marcos que hace unos días publicaron un artículo en el periódico El País en el que, a través de 12 de las mejores canciones de este grupo, recorrían la trayectoria musical de esta fantástica banda. Así que, y apoyándonos en ese trabajo, empezamos con el número 12 de esta lista: Another One Bites the Dust, de 1980 e incluida en el disco “The Game” La línea de bajo resulta tan adherente como un buen estribillo. Y es una apuesta segura para poner patas arriba una discoteca. El bajo de John Deacon, autor del tema, es el protagonista absoluto del 'single' más vendido de la historia de Queen (fue número uno de ventas en Estados Unidos y en casi todo el mundo). Como buen bajista, flipaba con el funk y la música disco, y con esos mimbres, creó esta base rítmica prodigiosa. El tema está aderezado con efectos de sonido que hoy pueden parecer obsoletos, pero que en su momento eran de lo más moderno: recuerdan al despegue de una nave espacial. Queen ponían así un pie en los ochenta, cuando se suponía que la ciencia ficción iba a dejar de ser ficción. Con todo, la banda no tenía mucha confianza en este tema, y, según ha revelado Roger Taylor, fue Michael Jackson quien, tras escucharlo, les dijo: “Chicos, estáis locos si no lo sacáis como 'single”. El batería también recordó que muchas emisoras de soul creyeron, al oírlo por primera vez, que el tema era de un grupo afroamericano. Numero once: Killer Queen, de 1974 e incluida en el disco “Sheer Heart” La estructura de Killer Queen es casi cabaretera. Pero Queen consiguen elaborar un medio tiempo rockero, con capas de voces ya marca de la casa y la guitarra afilada (y limpia) de Brian May. Era 1974 y Queen eran todavía una banda de rock duro. Killer Queen es la canción que le dio el primer éxito internacional al grupo. Se ponían los primeros cimientos del reinado de uno de los mejores grupos de la historia. Sobre esta canción, Mercury explicó: “Trata sobre una mujer de clase alta que se dedica a la prostitución. Lo que quiero transmitir en el texto es que las mujeres ricas también pueden ser putas”. Pero según parte de sus seguidores, la protagonista es un travesti… a saber. Sea como fuere, la canción salió en poco tiempo. “La escribí en una noche”, confirmó Mercury. Una anécdota: la estrella pop Katy Perry denominó a su propio perfume Killer Queen. Y lo explicó: “Freddie Mercury definió en la letra a la mujer que siempre he querido ser. Por eso he llamado así a mi perfume”. Bueno, a lo mejor alguien debería haber explicado a Perry la auténtica intención de la letra. Seguimos: número DIEZ, “Seven seas of Rhye”, de 1974 e incluida en el disco “Queen II” Resulta llamativo cómo Queen eran capaces de hacer tanto en tampoco tiempo. 'Seven seas of Rhye' dura 2,45 (como una canción punk, vamos), pero pasan mil cosas: una introducción de piano, guitarras heavies, una deslumbrante interpretación de Mercury, estribillos, solo de guitarra, parte vocal operística, una coda ruidosa con voces de fiesta… Estamos ante los Queen de su etapa dura. La canción se incluye en su segunda obra, 'Queen II'. Una reinvención del rock duro en toda regla. Es también una de las letras más misteriosas de la primera etapa del grupo. La tierra de Rhye aparece en varias letras escritas por Mercury. Para algunos es un mundo fantástico creado por él y su hermana mientras vivían con su familia en Zanzíbar. Freddie nació allí: su padre trabajaba para la británica Secretaría de las Colonias y en aquella época Zanzíbar estaba bajo protectorado inglés. La otra versión es que es una letra de contenido religioso: una crítica al lado oscuro de las religiones. Como siempre… a saber. Número NUEVE: We will rock you, de 1977 e incluida en su disco News of the world. Con esta canción nació el rock de estadio. Sorprendentemente corta (solo dos minutos: ¿a que creías que era más larga?), más básica imposible (incluso podría sobrar el solo de guitarra final) y de una eficacia automática. Si alguien sueña con componer la canción que tiene que corear todo el mundo, está perdiendo el tiempo: lleva en marcha desde 1977. La mayoría de los éxitos de Queen están compuestos por Mercury. Este no: lleva la firma del guitarrista Brian May. ¿En qué se inspiró para componer este clásico de los estadios? Pues en un estadio. Habla May: “Una noche, al final de un concierto, nos retiramos del escenario y de fondo escuché a la gente cantar el himno del Liverpool. Me fui a la cama pensando en una canción donde el público pudiera participar. Es gente que está ahí, apretujada, apenas se puede mover, pero puede aplaudir, golpear sus pies y cantar. Cuando me desperté por la mañana 'We will rock you' salió del tirón”. Vamos a por el número OCHO: Bicycle Race, de 1978 e incluida en el disco Jazz. Esta canción es originalísima, tanto por su composición como por su letra. A Mercury, que no tenía especial predilección por las bicicletas, se le encendió la bombilla cuando vio pasar el pelotón del Tour de Francia cerca del estudio donde Queen estaban grabando 'Jazz' en Montreux (Suiza). Con esa imagen desarrolló una lista de ideas contrapuestas (“Tú dices blanco, yo digo negro / Tú dices ladrar, yo digo morder”), sazonada de agudos comentarios sobre 'Star Wars', Tiburón', 'Peter Pan', 'Superman' o 'Frankenstein', con el ansia de libertad como trasfondo. También fue muy original su lanzamiento como 'single', dado que 'Fat bootmed girls', en la otra cara, era un tema siamés: en la letra de uno se mencionaba el otro y viceversa. Su vídeo causó sensación: muestra a un nutrido grupo de modelos desnudas montando en bicicleta en los alrededores del estadio de Wembley. Llegamos al número siete: Crazy Little Thing Called Love, de 1979, del disco The Game. Por qué nos gusta tanto? Porque es una maravillosa rareza dentro de la discografía de Queen. Una canción de latido acústico, con un ritmo de rock and roll de los cincuenta que podrían haber firmado unos revisionistas como Stray Cats. Pero no: es de Queen y les reportó mucho dinero, ya que fue la primera vez que el grupo llegó al número uno en EEUU. “Me salió en cinco minutos mientras me tomaba un baño”, declaró Freddie Mercury sobre 'Crazy Little Thing Called Love'. Luego llegaría la fase de pulir, pero básicamente salió de allí, de un baño relajado en una habitación de hotel del Hilton de Múnich, donde el grupo se fue a grabar el disco 'The Game'. Resulta curioso el vídeo, con todos los miembros vestidos de rockeros duros (cuero a tope) y donde Mercury, agasajado por bellas señoritas, ejerce de macho alfa como si fuera un componente de Led Zeppelin. Número SEIS: Now I’m Here, de 1975. Para el aficionado que se enganchó a Queen en los ochenta quizá este tren desbocado no lo sienta familiar. Pero sí, Queen fueron duros, muy duros. ‘Now I´m here’ es el ejemplo, una canción de rock perfecta: apabullante energía, melodía y una interpretación feroz. Hay hasta un minisolo de batería. Esta vez el que compone es Brian May, y en unas circunstancias llamativas. La escribe durante una convalecencia en el hospital, afectado por una hepatitis. “Estábamos en plena gira por Estados Unidos con Mott the Hoople y tuvimos que suspenderla por mi enfermedad. Fue una faena. Incluso llegué a temer que me sustituyeran, así que empecé a escribir canciones para el próximo disco”, ha contado May. En la letra se hace referencia a la gira con Moot the Hoople e incluso un guiño a un clásico de Chuck Berry, ‘Little Queenie’. Número cinco: Don’t stop me now, de 1978 e incluida en su LP Jazz Con su ritmo endiablado y su mensaje de “voy a comerme el mundo”, es mejor que cualquier libro de autoayuda. Aunque es un tema inequívoco de rock, no hay guitarra excepto en el solo: conseguir esa potencia solo con piano, bajo y batería es algo que no está al alcance de cualquiera. La rica discografía de Queen permite que sucedan cosas como esta: que un tema que en su momento no tuvo especial repercusión sea redescubierto con el paso de los años —gracias a la publicidad y el cine— y hoy figure entre sus títulos más emblemáticos. Mercury debió de escribir la letra en un momento de especial subidón, utilizando la astronomía como metáfora de su excitación febril: “Soy una estrella fugaz saltando por el cielo”, “viajo a la velocidad de la luz”, “soy un cohete de camino a Marte” o “soy un satélite fuera de control” son algunas de esas referencias. Aunque la frase más redonda es: “Estoy ardiendo a través del cielo a 200 grados, por eso me llaman míster Fahrenheit”. En 2014, en el Reino Unido la eligieron como la mejor canción para conducir. Vamos al número cuatro: “Under Pressure”, de 1981 e incluida en el disco “Hot Space”. Artista invitado: David Bowie. A veces, unas pequeñas notas tocadas como si nada, lo son todo. Por ejemplo: el bajo de esta canción. Bueno, pues resulta que la colaboración entre dos colosos como Freddie Mercury y David Bowie, se recuerda por ese sonido de bajo de John Deacon. Lo que no está claro es si fue idea de Deacon o si Deacon la tocó, luego se le olvidó y la recordó Bowie con alguna aportación. La canción tiene mucho más: un duelo vocal que no es tal, ya que Bowie y Mercury se van alternando en la ejecución de forma tan fluida como sorprendentemente generosa, si tenemos en cuenta el volumen de sus egos respectivos. En cualquier caso, de dos artistas colosales que no estaban ni mucho menos en su mejor momento sale una obra maestra como “Under Pressure”. Bowie venía del tibio “Scary Monsters” y Queen estaban exhaustos después de años de éxito. Se juntaron en Suiza y salió esta pieza firmada por los cinco en la que se trabajó de forma colectiva para que luego Freddie y David se pelearan en la última fase del proceso. “ La mezcla final no me pareció buena. Fue el momento en el que Freddie y David batallaran duramente por imponer sus criterios”, ha revelado Brian May. En tercera posición: Somebady to Love, de 1976 e incluida en el disco “A day at the races” Cuatro rockeros ingleses sonando como un coro góspel de cien personas. Y, al mismo tiempo, 100% Queen. Tras el éxito de 'Bohemian Rhapsody', Mercury intentó hacer algo parecido en el siguiente disco, 'A Day at The Races'. Con una variante: en vez de inspirarse en la tradición operística europea, lo hizo en el góspel estadounidense. “Es nuevo, es ligeramente diferente”, explicó Freddie a la revista 'Circus' en 1977. “Pero aún suena a los Queen de siempre”. En la misma entrevista, el batería Roger Taylor explicó que este tema “está muy influido por Aretha Franklin. Freddie está muy colgado con ella”. A diferencia de 'Bohemian rhapsody', se acerca más al formato estándar de canción de rock. Compuesta por Mercury al piano, la letra va dirigida a Dios, a quien pide explicaciones por una vida vacía de amor: “Me he pasado la vida creyendo en ti pero no encuentro alivio, Señor”. El arreglo de los coros es verdaderamente soberbio. Llegó al número dos en la lista de ventas británica. Mocedades (sí, Mocedades) grabó en 1981 una notable versión ('Amar a alguien'); parece que para conseguir el permiso de Mercury un representante de la discográfica tocó el timbre de su casa de Londres y le puso 'Eres tú', tras lo cual accedió. Y ya estamos en el número dos: I Want to Break Free de 1984 e incluida en el disco ‘The Works’ Si Queen vivieron una segunda edad dorada en los ochenta fue por temas como este. Aunque la mayor parte del repertorio de Queen nació de la pluma de Freddie Mercury, el bajista John Deacon escribió unos cuantos temas, de los que este y 'Another one bites the dust' son los más logrados y famosos. Construido con una base electrónica, cuenta con un solo de sintetizador memorable a cargo del canadiense Fred Mandel. Por el divertido vídeo, en el que los componentes del grupo aparecen vestidos de mujer realizando tareas domésticas (una parodia de la serie 'Coronation street'), algunos dieron por sentado que el tema era una declaración de la sexualidad de Mercury; pero el autor, como decimos, es Deacon, y la idea del vídeo fue del batería Roger Taylor. Si el público ya conocía el talento y la fuerza del grupo, ahora supo de su capacidad de reinvención, recuperando el aplauso masivo del público con esta y otras canciones en plena era de los teclados y las hombreras. En la actualidad, Deacon lleva una vida tranquila de sexagenario alejado de los focos. Y, por fin, el número uno: Bohemian Rhapsody, de 1975 e incluida en el disco “A night at the Opera” Con esta canción, estos cuatro tíos hicieron volar por los aires la estructura clásica de rock (estrofas y un estribillo que se repite) y se las arreglaron para insertar seis canciones en una. Tiene partes de ópera. Cascadas de voces. Una introducción a capella. Referencias a Galileo y Fígaro. La letra es misteriosa y fascinante. Y el solo de guitarra posee vida propia. No está claro qué llevó a Freddie Mercury a escribir este drama sobre un hombre que confiesa a su madre que ha cometido un asesinato y se prepara para ir al infierno. Algunos biógrafos apuntan a que se trata de una metáfora sobre la ruptura de Mercury con su pasado (hasta poco antes había estado saliendo con una chica, Mary Austin) y la aceptación de su homosexualidad. El autor nunca lo aclaró y prefirió alimentar la incógnita. Las múltiples capas de voces supusieron un reto para la tecnología de la época, que se resolvió poniendo a Mercury, May y Taylor a grabar los coros durante jornadas enteras; luego el productor Roy Thomas Baker duplicó docenas de cintas. Pese a que la discográfica no lo veía claro por su duración (casi seis minutos), se publicó como 'single' y fue un gran éxito: número uno durante nueve semanas seguidas en el Reino Unido. Aunque ya se habían rodado vídeos musicales anteriormente, el de esta canción es uno de los primeros en constituir una obra de arte en sí mismo. Queen fue la última banda realmente gigante hasta la aparición de U2, pero eso será otra historia y otro momento. Señoras y Señores, hemos terminado por hoy. Espero y deseo que vuestra vuelta al trabajo o lo que sea, os pase casi casi desapercibida.

Everyone knows Queen. From their huge radio hits, to soundtracks, to hockey arenas everywhere (stomp stomp clap! stomp stomp clap!) there is no escaping them. Which made this second episode a bit of a challenge in the sense that, due to their ubiquity, Queen is a tough sell as a blindspot. This week's What Did We Miss? takes a deep dive beyond the hits to into the albums Sheer Heart Attack (1974), A Night at the Opera (1975), News of the World (1977), and Hot Space (1982), and finds evidence of a band even wilder, weirder, and sexier than even their most eclectic singles suggest.

Episode 74: Queen - The Works (1984) Part 1   After an extended break, first due to holiday celebrations, then due to winter colds, Brian and Sarah are finally back and ready to talk classic albums!  The first record up for discussion in 2019 is one the duo had originally planned to cover in 2018: Queen's 1984 endeavor, The Works. Brian and Sarah originally chose this album because of the release of the Queen/Freddie Mercury biopic, Bohemian Rhapsody. And our hosts are happy to report that Bohemian Rhapsody is still in the public spotlight, winning two Golden Globes and receiving five Oscar nominations-- not to mention the more than $800 million in worldwide box-office receipts it's earned.  So our hosts have dusted off their notes-- and their microphones-- and are giving you The Works! (Well, just the first side for now!)   Part 1 - Album History This album could be considered contradictory, in that it represents both a break from-- and a return to-- the past. As Brian and Sarah explain in this episode, the break from the past is Queen's decision to finally part ways with the Elektra record label. The return to the past refers to the content of the album, which confirms the musical experiment of Hot Space was just that-- an experiment.  Our hosts discuss the circumstances prior to and during the recording of the album, and they talk about how the album was received all over the world, but particularly in America. And this section wouldn't be complete without chart position statistics, album reviews, and album art information, so they bring that to you as well.   Part 2 - Personal History Following a common theme for this portion of the podcast, Sarah says her personal history of this album is tied to Brian's personal history. However, by the time Brian purchased this album (on CD, not cassette!), he and Sarah were already dating, so there was no need for him to make her a 'backup copy.' Brian's personal history for The Works includes a rather remarkable show of patience and restraint (for him, anyway!), despite persuasion from the local record merchant.   Part 3 - Track by Track Our hosts jump into the track-by-track discussion with a great lead-off song-- and perhaps an even greater video. Side One of The Works only has four songs, but it contains quite a variety of musical styles. Brian and Sarah have a lot of fun discussing the songs and the videos. Along the way, they mention such 80s staples as REALLY big hair, shoulder pads, drum machines and synthesizers; but they also find reason to talk about Jerry Lee Lewis, opera, clowns, prawns and Zardoz!! Radio Ga Ga Tear It Up It's a Hard Life Man on the Prowl See the videos discussed here: Radio Ga Ga It's a Hard Life The Cross - Power to Love "It's a Hard Life" sung by Tom Chaplin (Keane) at the Prince's Trust, 2011 Read more at http://www.permanentrecordpodcast.com/ Visit us at https://www.facebook.com/permrecordpodcast Follow us at https://twitter.com/permrecordpod Do whatever you do on Instagram at https://www.instagram.com/permanentrecordpodcast/ Finally, you can call Brian & Sarah at (724) 490-8324. "We're ready to believe you!"

Steve and Remfry aren’t just fountains of musical knowledge, they are massive cinephiles as well. This week the guys wax lyrical over the relative merits of comedy classics Police Academy 7: Mission To Moscow and See No Evil, Hear No Evil. When they can be bothered to talk about music there are reviews on the latest releases from Smashing Pumpkins, Mumford And Sons, Failure and Azusa. Plus a trade off involving the self titled debut album by Gravity Kills and Marriages Kitsune EP. And we are once again joined by, literally, everybody's friend Jamie Lenman for another ‘The World According to Jamie Lenman’, this time on Queen’s utterly maddening Hot Space album. Right, we’re off to lawyer up before Kevin Spacey hears this. See acast.com/privacy for privacy and opt-out information.

Segment 1: Kevin Durant is doing something right. KD is also right now the finals MVP for the second straight year. Putting pressure on Russ, to not be the guy people think he is. In a way, the weight is Part 2. Rodney Hood seven of eleven in twenty-six minutes and fifteen points. Segment 2. Brian Colangelo, Sixers do not believe he knew about the burner twitter accounts. Still, did his wife know about the issues behind the scenes and tweet about it? Trust is broken, and you can't get that back. It should open the door for him to get another crack at running a team. Division 3. Russ gets a new home. GSW greatest team of all time?  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Segment 1:  Kevin Durant is doing something right. KD is also right now the finals MVP for the second straight year. Putting pressure on Russ,  to not be the guy people think he is.  In a way, the weight is Part 2.  Rodney Hood seven of eleven in twenty-six minutes and fifteen points.   Segment 2.  Brian Colangelo, Sixers do not believe he knew about the burner twitter accounts.  Still,  did his wife know about the issues behind the scenes and tweet about it?  Trust is broken, and you can't get that back.  It should open the door for him to get another crack at running a team.  Division 3.  Russ gets a new home.  GSW greatest team of all time?  Learn more about your ad choices. Visit megaphone.fm/adchoices

Charlize Theron a choisi de confier la réalisation de Atomic Blonde à David Leitch après avoir vu son travail sur John Wick et 24FPS, le podcast ciné avec ou sans spoiler, a choisi de se pencher sur cette intéressante tentative de film d'espionnage pop.Dans la première partie de l'émission, Jérôme et Julien évoquent d'abord le comic book d'origine ainsi que les coulisses de la création du film, avant de livrer leur avis sans spoiler, puis lorsque le signal sonore retentit au bout de 0h47m40, ils reviennent sur quelques scènes et éléments du scénario, sans oublier quelques digressions sur de vieux films ou quelques anecdotes du domaine automobile.Bonne écoute, et n'hésitez pas à partager votre sentiment sur la musique des années 80.Crédits musicaux : 99 Luftballons de Nena, issu de l'album Nena (1983), et Under Pressure de Queen & David Bowie, issu de l'album Hot Space (1982)

QUEEN super fans Dave and Ron Hansen sit down with Pat to discuss the entire discography of this legendary band. You will hear songs from every studio album and Kyle Dodson produces.

Episode 717 Dayn Perry is a contributor to CBS Sports’ Eye on Baseball and the author of three books — one of them not very miserable. He’s also the garbage interlocutor on this edition of FanGraphs Audio. A reminder: for the cost of a very expensive cup of coffee, readers can experience FanGraphs without ads. […]

In this episode, I thank you for putting up with my podcasting learning curve. I'm used to singing into a microphone, but not talking into one. I observe the 22nd anniversary of the death of Freddie Mercury, one of my favorite musicians of all time. He was born Farrokh Bulsara, but chose the best stage name ever. Just like when JFK was assassinated, people remember where they were when they found out Freddie died. I was in Weatherford, Oklahoma, finishing up my degree with classes like bowling and tennis. I was dating a grunge girl. Freddie was one of the first celebrities to die of AIDS. I went over to my best friend, Phil's, apartment, and we listened to Queen and tried to come to terms with the bad news. Queen's Greatest Hits from about 1981 was the first Queen record I bought. It had "Bicycle Race" and "Fat Bottomed Girls" on it, and I was only ten or eleven years old, but I liked that. "Flash" was a huge hit, and I love it. I even try to sing it for you. "The Game" was the first rock record I ever bought, and it changed my life. I also bought "The Long Run" at the same time. My grandma bought them for me at KMart. I bet she thought I was going into a phase. The Eagles were good, but not as good as Queen. "The Game" was the first Queen album to use synthesizers. They always created their futuristic sound just with Brian May's guitar. "Play the Game" is an emotional hammer, followed by the funky "Dragon Attack". "Need You Loving Tonight", "Crazy Little Thing" etc. They all sang except Deacon. "Prime Jive" is sung by the drummer and it rocks! The album ends with some ballads that will knock you in the dirt. I implore you to seek out that album. The next album of theirs I got into was "The Works" with "Radio Gaga" on it. It had some other minor hits like "I Want To Break Free". "It's a Hard Life" sounds just like "Play the Game". There were lots of synths on that album, but not as many as on "Hot Space", which sounds like a sequenced album. I talk about "Life Is Real", which Freddie wrote for John Lennon. I got into "Innuendo" a lot, which was in 1991, the year Freddie died. It had a different sound. Freddie was very sick and almost couldn't sing sometimes. He had a strong will to perform, and it wasn't for money. He could play piano better than Elton John. There are some full length shows on YouTube you should watch. "The Show Must Go On" closed the album, and Freddie was really hurting when he recorded it. In 1988 I got Queen II. It's a very different album, talking about fairies and stuff, like Tolkien. "Ogre Battle" is as complex as Metallica. I bought an import CD that had a pound notes price sticker on it, which made me proud. "Sheer Heart Attack" is a rocker and has a great cover. You should check it out. It's got "Killer Queen" on it and "Now I'm Here", as well as the gay anthem of all time, "Misfire". John Deacon wrote it and played guitar. Freddie sings like an angel and there is much double entendre. Then they did a trio of albums named after Marx Brothers movies. The first two, "A Day at the Races" and "A Night at the Opera" are the finest example of layered rock music ever. I bought a gold plated CD of "Opera". Both of these albums have period pieces like vaudeville on them. British families after the war learned instruments and had family time together playing songs. They didn't watch TV. "Made In Heaven" is the final Queen album. The cover is beautiful and looking at it made me tear up. It features Freddie in front of Lake Geneva. Freddie was dying during the recording, but the song's messages are hopeful. That was Freddie, and I miss him. I speculate whether Freddie's buck teeth contributed to who he became as a performer. Samson had his hair, and Barbara has her nose, and Freddie had his teeth. I saw a picture of him as a child and his teeth were huge. That humbled him. Now kids have too much unearned self-esteem. I used to feel like I was showing off just by wearing sunglasses. Freddie faced down what stared him in the mirror and overcame it as the biggest star on Earth. Next, I observe the 45th anniversary of the Kinks "We Are the Village Green Preservation Society" album, which is a masterpiece. They are the quintessential British band. The album has lots of character studies and role playing inspired by the Beatles. The Village Green is a working class place in the post war era mentioned on multiple albums. The post war era was very influential to British bands like the Stones, the Who, and others. They were very worldly at a young age. All the Kinks albums of the period were loose concept albums. Ray Davies was lamenting the passing of old British traditions on these albums. He was part of the cultural change, but at the same time he was melancholy about it. The album came out in 1968 and was recorded at Pye Studios. Ray produced it. You wouldn't know the songs unless you like the Kinks, but all the songs are good. My website is www.PaperbackRocker.com. You can find the podcast archives there. Find my books on Amazon by searching my name, Matt Syverson. Follow me on Twitter @PaperbackRocker. Email me at bowiefan1970@live.com. Thanks for listening!