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28 of 30 people found the following review helpful
4.0 out of 5 stars Ideal for the newly-converted Santana fan, August 18, 2000
This review is from: Supernatural (Audio CD)
Supernatural is without a doubt Santana on the crest of a wave, culling the cream of the music world's singers and incorporating catchy rhythms and of course mind-blowing guitar-playing from Carlos himself. Nearly all the songs here are perfect; the only divots are the lightweight and repetitive AFRICA MAMBA and the ultra-bluesy/latino instrumental EL FAROL. The first three tracks are sheer class, with (DA LE) YALEO employed as a flamboyant mood-setter and featuring a tremendous conga solo from musician Raul Rekow, LOVE OF MY LIFE sung by Dave Matthews, who has the best voice, in my opinion, of all the singers on the album, a gentle ballad that develops into a fast-paced rock song, and PUT YOUR LIGHTS ON written and sung by Everlast, another acoustically perfect slowish track that includes all the same a rock portion halfway through. After AFRICA MAMBA comes the sublime SMOOTH, the worldwide best-seller that needs no introduction as Supernatural's most famous song, and illustrating Rob Thomas' excellent song-writing and vocal talents. Another of my favourites is MIGRA, a fast-paced song with a thumping rhythm and a distinct African flavour to it. It is on this track that Santana excels himself the most, on the guitar as well as on the lyrics that he co-invented with Tony Lindsay. The album also comprises its fair share of slow songs, such as the mostly instrumental PRIMAVERA and the best-seller MARIA MARIA. Oh, and here I'll take the opportunity to make a stand against Wyclef Jean. Great producer he may be in tandem with Jerry Wonder Duplessis, but I wish he would stop intervening in perfectly songs with his mindless and slurred comments. Here he doesn't affect the song that much but having seen him and Pras Michel single-handedly dismantle ANOTHER ONE BITES THE DUST by my favourite band Queen I was seething. Anyway, moving swiftly on, we come to the immaculate "message song" DO YOU LIKE THE WAY, written and mostly sung by Lauryn Hill who surpasses herself in tandem with Cee-Lo, who I'd never heard of prior to buying this album. CORAZON ESPINADO, featuring Fher and Mana, is alright I guess, but it isn't a patch on other songs like PRIMAVERA. Eagle-Eye Cherry's effort WISHING IT WAS is a pleasure to listen to despite some pretty depressing lyrics. And the only slightly over-par THE CALLING (taking into account the once-in-a-lifetime pairing of Carlos Santana and Eric Clapton it should have been better than the final product) is the gloss on the surface of a truly great album. This would be a good investment to any admirer of the band's style of music as well as R&B, rap and African music lovers.

Live at Wembley '86
Live at Wembley '86
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4 of 4 people found the following review helpful
5.0 out of 5 stars Best Live Album Ever, August 17, 2000
This review is from: Live at Wembley '86 (Audio CD)
Queen have churned out a few excellent live albums in their time but I didn't expect this box set to be so special. No matter what kind of music you like (and I'm not counting R&B or classical here) you'll find something you'll listen to again and again in this compilation. From the first juicy riff of the immaculate ONE VISION, used as a sort of flamboyant intro and quite possibly the best live adaptation of a song ever to have been recorded, to the final few chords of GOD SAVE THE QUEEN, the concert is a trip through the very heart of rock n' roll and captures the spirit of Queen. The best songs by a street are ONE VISION, as mentioned above which leads into TIE YOUR MOTHER DOWN, a sort of mood-setter which gets the stadium rocking with that catchy quitar rhythm and superb vocals by Freddie, A KIND OF MAGIC featuring solos for all four members of the band in an all-out seven minute wonder of a song, WHO WANTS TO LIVE FOREVER, a heartfelt ballad that somehow made it on to the stage (where it sounds a whole lot better than on record let me tell you), BOHEMIAN RHAPSODY that needs no introduction as Queen's best-known song ever, HAMMER TO FALL where Brian excels himself in several stunning solos and where Roger Taylor cements his status as one of the world's greatest drummers, CRAZY LITTLE THING CALLED LOVE, a catchy little ditty that develops into a pedal-to-the-metal hard rock chant halfway through, RADIO GA-GA involving the ritualistic hand-clapping of all 72000 spectators, and of course WE ARE THE CHAMPIONS. Add to that the sublime rendition of ANOTHER ONE BITES THE DUST, the bone-crunching guitar solos on WE WILL ROCK YOU, the superb and all-too-shor SEVEN SEAS OF RHYE, the live staple NOW I'M HERE, a few golden oldies (TUTTI FRUTTI et al), a crackling atmosphere and some hilarious and eerily prophetic comments from Freddie and you have what is surely the best live performance ever caught on tape. This is an absolute must-have for anyone remotely interested in Queen or even just rock music on the whole.

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5 of 6 people found the following review helpful
5.0 out of 5 stars The one album every fan should own., August 13, 2000
This review is from: Innuendo (Audio CD)
This is definitely Queen's best studio-recorded album ever made. From the sublime title track to the haunting THE SHOW MUST GO ON this is a whirwind ride through all aspects of Queen music. There are ballads, rockers, guitar solos and of course Queen's trademark gospel choir-ish backing vocals. For an album containing five greatest hits, two of my five favourite Queen songs and a world-famous epic (THESE ARE THE DAYS OF OUR LIVES), I was expecting some pretty impressive music. However I would never have expected such a mind-blowing performance from the band who, it has to be said, were supposedly in decline at the time. The title song, INNUENDO, is no ordinary opening track. Clocking in at six minutes thirty-one seconds and spanning more rhythms and styles of music than most groups would start to consider including in a whole album, it is up there with WE ARE THE CHAMPIONS and BOHEMIAN RHAPSODY in my humble but usually damn accurate opinion. The best bit is the Spanish guitar interlude and the subsequent Brian May imitation on the electric guitar, although the deep and meaningful part sandwiching it is world class. I'M GOING SLIGHTLY MAD is a dreamy, off-the-wall effort by Freddie, who alludes to his mental state ("I'm one card short of a full deck") with startling and laughable clarity and honesty. HEADLONG, a top-twenty blockbuster in Great Britain, is the first of four fantastic rockers and probably the best of the lot. The lyrics don't make much sense but the same can be said for all the riptide efforts. I CAN'T LIVE WITH YOU follows suit with a catchy riff and superb vocals from the band. The beautiful DON'T TRY SO HARD features Freddie trying his hand at a falsetto, an area where he has excelled himself many times before. On RIDE THE WILD WIND you have to pinch yourself repeatedly to realize just how fast it is. The song is basically a thumping beat combined with the odd twinging of the guitar strings and powerful lyrics from Freddie. ALL GOD'S PEOPLE is the only calamity on this otherwise immaculate album, as Queen (and Mike Moran who contributes to the song) scrape the bottom of the lyrics barrel quite unnecessarily. The album is steadied by the classic tear-jerker THESE ARE THE DAYS OF OUR LIVES, a song that comes with the band's last video as a foursome, and DELILAH, a short ditty on par with I'M GOING SLIGHTLY MAD in the weird stakes and apparently about Freddie's cat, gets it back on track. THE HITMAN offers some of the heaviest Queen sounds ever recorded to go with a riff that mixes the traditional Queen sound with an experimental and futuristic ambience. The result: an extraordinary rocker that inexplicably never became a hit. BIJOU is a beautiful instrumental but for a brief lyric from Freddie about the usual lurve sort of thing, featuring mind-boggling strumming from the talented Mr May, which, despite being able to walk into any other groups repertoire no problem, does not prepare the listener for the blood-curdling finale, THE SHOW MUST GO ON. Everything about this song is perfect: the opening organ loop, the incredible vocal gymnastics from Freddie, the quality of the lyrics, the drumming... well, this is quite simply the best Queen song ever, full stop.

Live Magic
Live Magic
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9 of 14 people found the following review helpful
2.0 out of 5 stars Not impressed, July 14, 2000
This review is from: Live Magic (Audio CD)
I set out to buy Live Magic determined to like it. I tried, I really did, to block out the scathing reports that I've read here on this very page. Hell, I thought, it has a nice cover; all my favourite songs; a few tracks from Wembley (the world's best ever concert); so it's missing a bit of Bohemian Rhapsody... well, it's got nice liner pictures (I was getting desperate at this point)... and it's live! All live albums are great... and so it went on. In the end I plumped for it uneasily, turning down Jazz and Innuendo and suchlike. I realize now that it was a mistake of grotesque proportions. I mean the beginning's all right but the only highlight after the first six songs is the expertly delivered HAMMER TO FALL, incidentally the only song on the album to have been taken from the Live at Wembley and the best song on the CD. WE WILL ROCK YOU, IS THIS THE WORLD WE CREATED and FRIENDS WILL BE FRIENDS have all been mercilessly edited so together they only represent about four and a half minutes playing time, and the powers that be at EMI have done themselves a big favour by cutting out, in their infinite wisdom, the infamous operatic BOHEMIAN RHAPSODY bit as well as about a half of WE ARE THE CHAMPIONS, i.e. a chorus and a verse. Either they were on an extremely tight budget or they failed to realise how important these things are to Queen fans worldwide. Or possibly both. On a lighter note, the songs worth listening to are, well, basically they're the ones that haven't been cropped, like ONE VISION, employed as a sort of flamboyant intro, A KIND OF MAGIC featuring outstanding solos from all four members and an all-out team effort, UNDER PRESSURE, which is, needless to say, brilliant, and ANOTHER ONE BITES THE DUST, always a live favourite and an oppurtunity to get some rapport going between Freddie and the crowd, to go with HAMMER TO FALL. Actually TIE YOUR MOTHER DOWN, SEVEN SEAS OF RHYE and RADIO GA-GA have all been meddled with by the people of infinite resource and sagacity at the EMI headquarters but still preserve some majesty and turn out to be excellent songs after a few listenings. Well all right then, they're all very good songs which just makes me even madder towards the Antichrists at the EMI HQ. Why, oh why, did they have to obliterate the operatic bit? Is there a five-minute limit on all of the CD tracks? Are they just stupid? Am I babbling? Should I stop writing garbage and proceed to the conclusion? OK. I would advise you not to buy this album and instead go for Live At Wembley or Live Killers, unless you're going for the whole hog and just have to get it. This is a compilation you do not need. Listening to perfectly good songs being hacked at shamelessly by supposed experts is more an ordeal than a live Queen experience. phantomslug has spoken. Let it be. Oh and, er, if you don't mind clicking the "yes" button just underneath this review, that would be great...

The Game (+ Bonus Track)
The Game (+ Bonus Track)
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4 of 6 people found the following review helpful
5.0 out of 5 stars Best ever album?, July 13, 2000
Forget DON'T TRY SUICIDE; the whole album is an underrated gem! There's something for everyone here: ballads, hard rock, soft rock, funk, homages to Presley etc, and of course the inspired use of a synthesizer. Before I bought The Game I was familiar only with four of the album's songs, namely PLAY THE GAME, CRAZY LITTLE THING CALLED LOVE, ANOTHER ONE BITES THE DUST and SAVE ME. These four alone would have made the album good value for money, but compiled with six other genuinely superb and obscenely underrated songs they represent one of Queen's best ever albums, if not the best. The best of the six undiscovered tracks is NEED YOUR LOVIN' TONIGHT, an emotional but fast-paced rocker signed with quality Deacon lyrics and unrivalled riffs from Brian May. Snapping at its heels is ROCK IT, presumably by Roger Taylor (the members' names aren't included with the lyrics but I can make an educated guess because it is sung partly by the afore-mentioned drummer and comprises remarkably childish lyrics), and DRAGON ATTACK, a pedal-to-the-metal riptide song offering a brief dip into the sea of surrealism as far as the lyrics are concerned. The best of the rest: SAIL AWAY SWEET SISTER is a stereotype Queen ballad that Brian has an uncanny knack of coming up with; DON1T TRY SUICIDE attempts to combine weird and distinctly depressing lyrics, a cheerful sort of tune for the chorus and a catchy hand-clap beat in between and succeeds on every account, resulting in an extremely strange but enjoyable song; and COMING SOON defies description with a rhythm that is hard to catch on to and Beach Boys-esque background vocals. Then of course there are the four classics mentioned above: PLAY THE GAME, one of Freddie's subtler efforts despite the short hard-rock interlude halfway through and the blatant use of a synthesizer and one of my favourite songs of all time; ANOTHER ONE BITES THE DUST, John Deacon's funky best-seller that needs no introduction and that could walk its way onto any compilation; CRAZY LITTLE THING CALLED LOVE, a foray into Presley-esque music and undoubtedly a homage to the singer; and the immaculate SAVE ME, surely the greatest Queen ballad ever composed and a great example of May's superb songwriting. I know I've said this for virtually every review I've written on Amazon but you have to buy this album. It really is fantastic and no matter what kind of music you like, classical and R&B notwithstanding, you'll find something you like here.

Made in Heaven
Made in Heaven
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3 of 7 people found the following review helpful
3.0 out of 5 stars Beautiful but not essential, May 7, 2000
This review is from: Made in Heaven (Audio Cassette)
No doubt, MADE IN HEAVEN is a great album with one or two sublime songs, but if you're looking for contemporary Queen may I suggest you buy THE MIRACLE or INNUENDO as they offer a better example. The band, in this album, have reverted to the deep and meaningful lyrics that they used when they started their careers (before they went on to sing about fat-bottomed girls and radios), which works sometimes, like in the case of TOO MUCH LOVE WILL KILL YOU, a personal favourite and a beautiful Brian May ballad composed pre-INNUENDO, and sometimes doesn't, with MOTHER LOVE where it sounds like the band went a week without sleeping before recording it. IT'S A BEAUTIFUL DAY has hardly any lyrics at all and only lasts about a minute, whereas the reprise at the end of the album is superlative, with great drumming from Roger Taylor and snippets from earlier songs incorporated into the rhythm (i.e the piano solo from SEVEN SEAS OF RHYE). MADE IN HEAVEN, the title track, is a very good song but is a required taste and you may not like this sort of thing. LET ME LIVE combines thumping beat and a virtual Gospel choir pounding out the choruses, with Freddie and surprisingly Roger and Brian singing along too (Roger also sings on MOTHER LOVE but in this song he doesn't sound like he's been drugged on sleeping pills). MY LIFE HAS BEEN SAVED is alright if you like this sort of thing, despite the pretty depressing lyrics. The next song, I WAS BORN TO LOVE YOU, offers a welcome jolt back to the early eighties with a much-needed fast-paced rocker from Freddie, but any hopes of the album gaining pace are doused at the next song, HEAVEN FOR EVERYONE, which drags on a bit but grows on you gradually. If you like this sort of thing, that is. Quite how YOU DON'T FOOL ME weaved its way into the Greatest Hits III compilation is a mystery to me; harking back to the HOT SPACE era, it's in complete contrast to the rest of the album and although quite a good song, shouldn't have beaten MADE IN HEAVEN to the coveted Track 7 on the compilation. A WINTER'S TALE is an excellent tribute to Queen's songwriting prowess, and the music is excellent too. Then comes the reprise of IT'S A BEAUTIFUL DAY, described above as spiffing. This isn't a must-have for Queen fans; indeed, you'd be better off just buying the Greatest Hits III which contains most of the songs from the album. But if you're really a devoted fanatic then this album is worth a shot. If you like that sort of thing of course...
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0 of 1 people found the following review helpful
4.0 out of 5 stars Top five calibre, May 6, 2000
This review is from: Miracle (Audio CD)
Queen music during the late eighties has often been compared infavourably to their earlier work, but the band definitely made up for any misdemeanour with this gem of an album. All the songs on it are excellent, with one or two exceptions. It kickstarts with PARTY, a typical Queen rocker with a fantastic drum background, which is followed almost immediately by KASHOGGI'S SHIP, which is an equaly fast-paced riptide beauty of a song. THE MIRACLE, despite all the hype surrounding it and its inclusion on both EMI's and Hollywood's Greatest Hits II albums, has always been slightly overrated in my humble opinion but is a good idea in this context. The next song, I WANT IT ALL, is a classic anthem and one of the highlights of their music in the eighties, combining everything Queen, and sounds better by far on the album than as a single. THE INVISIBLE MAN, the idea of which probably originated with John Deacon who excels himself on the bass, demonstrates the group's ability to knock off catchy hits at will. Don't miss Brian May's superb solo halfway through. The best song on the album is without a doubt BREAKTHRU, with an outstanding performance by John Deacon and excellent drumming by Roger Taylor, not to mention the usual energetic vocals of Freddie Mercury, in an all-out team effort. RAIN MUST FALL is a great song in all departments, coming with an all-new sound from Roger throughout the song. SCANDAL appears to have gone down well with everyone who has bought the album, and it's not hard to see why. I haven't got a word against it, except that it's not as good as BREAKTHRU (although that's hardly a reproach). MY BABY DOES ME is my least favourite song on the album as it's a mite too slow for me, but the excellent WAS IT ALL WORTH IT makes up for it and for its rather depressing title as the band return to their traditional hard-rock roots for a blistering few minutes in what is surely Queen's most underrated song ever produced. This album just falls short of the mark in the best-ever-album stakes although it1s probably somewhere up in the top five, rubbing shoulders with Live At Wembley, Live Killers, Jazz, The Game and A Night At The Opera. Well worth buying.

Live Killers
Live Killers
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5 of 5 people found the following review helpful
5.0 out of 5 stars Queen's best album, May 6, 2000
This review is from: Live Killers (Audio CD)
LIVE KILLERS is an fantastic selection of songs played live during the band's exceptional 1979 tour, rivalled in quality only by the impeachable LIVE AT WEMBLEY. Quite where they played is a mystery to me but you can almost physically feel the electricity in the atmosphere when the group enter on to the stage to rapturous applause and rap out a demonically fast-placed WE WILL ROCK YOU (devoid of the usual thumping of knees/hands in the background but excellent all the same), presumably as a tuning-up period, followed by the extraordinary LET ME ENTERTAIN YOU that plunges from hopelessly over-the-top to ingeniously subtle. The Rock N' Roll Medley features DEATH ON TWO LEGS, excellently interpreted on stage (not that you could really go wrong with a song of that calibre); BICYCLE RACE, a pleasure to listen to despite the obvious problem of the original multi-vocal arrangement; I1M IN LOVE WITH MY CAR, sung and concocted by Roger "on drums and tiger-skin trousers" Taylor, complete with thumping beat and catchy tune; and of course, ye olde faithful KILLER QUEEN which needs no introduction and without which no medley of Queen's would be complete. The eerie and discomforting GET DOWN MAKE LOVE seems to be at first sight (or hearing, or whatever) a waste of breath as far as Freddie's concerned, but it gradually grows on you and you come to realize that it's a great song if somewhat offbeat (but then again that's Queen for you). YOU'RE MY BEST FRIEND as ever sums up the emotional side to the group, and it's a nice change to what was the bassline in the studio version played on the piano instead. The song that follows is in complete and utter contrast with it though. The classic NOW I'M HERE is one of the best songs on the CD(s). It has everything: pounding guitar echo, thumping drumming, longevity, pace and an increasingly complicated duet between Freddie and the very involved audience. A changing of location follows and the singalong part of the CD(s) ensues, figuring the laid-back DREAMER1S BALL that leads straight into the unforgettable LOVE OF MY LIFE with the audience displaying their vocal talents to great effect. Then Brian and John "on dazzling tie and bass guitar" Deacon combine in a unusual version of '39 that differs greatly from the Night At The Opera rendition, and that brings the singalong part of the concert to a close. Then Queen launch into their trademark KEEP YOURSELF ALIVE, played to great effect at a blistering pace where no holds are barred, especially in Roger's fantastic solo piece. The next part of the compilation kicks off with DON'T STOP ME NOW, at the time Queen's most recent single release, and just finding its feet in the new environment of the stage. Another duet follows, as the audience and Freddie collaborate in the beautiful SPREAD YOUR WINGS, cooked up by John Deacon. As for the next song, well... BRIGHTON ROCK offers one of the finest and mind-blowing guitar solos ever strummed out, cementing Brian May's status as one of the best guitar players in the known Universe, and including the unusual and effective three echo technique which leaves the listener enraptured for the full twelve minutes (also features a Timpani solo by Roger). Another change of venue, debuting with Queen's most famous and successful song, BOHEMIAN RHAPSODY, which could stroll into any Queen compilation ever made. Emulated only by KEEP YOURSELF ALIVE on the first CD, the hilarious TIE YOUR MOTHER DOWN blows the crowd away in a fast-paced maelstrom of a song, evidently designed for the stage, that ends the concert proper. The band are called back for an encore, and launch into the superlative Taylor-raver SHEER HEART ATTACK, where the afore-mentioned somehow musters enough energy to pound out the devilishly-fast song during a few blistering minutes. The crowd, craving for more, call the band back for the combined classics of WE WILL ROCK YOU, played this time with the tubthumping beat and involving a hyped-up crowd, and WE ARE THE CHAMPIONS, without which no concert would be complete. The group leave the stage to the tune of the Night At The Opera version of GOD SAVE THE QUEEN and to thunderous applause, for a well-earned rest. If you are not yet convinced, I would say that this is Queen's best album, with the exception of Live At Wembley, and a necessity to all Queen fans (without meaning to sound too patronising), if only for the songs TIE YOUR MOTHER DOWN and KEEP YOURSELF ALIVE!

Classic Queen
Classic Queen
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1 of 3 people found the following review helpful
4.0 out of 5 stars Worth buying, May 3, 2000
This review is from: Classic Queen (Audio CD)
This is Hollywood's second Greatest Hits album, in two senses; it also falls short of the mark when compared to their earlier work that appeared on the Greatest Hits compilation. I say earlier work, but some of Queen's earlier hits appear on Classic Queen along with the eighties material. Among them; BOHEMIAN RHAPSODY, unprecedented and unlikely to be emulated (oh, and Queen's most popular song ever, as any fule kno); TIE YOUR MOTHER DOWN which would have been miles better had the group quickened the pace a tad and it shows when the song is played on stage (great lyrics though!); STONE COLD CRAZY, a typical Queen hardcore rocker (I say typical but do not be fooled; it's a great song nonetheless) with distinctly eccentric lyrics, the first to be cooked up by all four members of the band; and the prophetic KEEP YOURSELF ALIVE, which is almost the best song on the CD with the echoing guitar solo at that continues throughout (again though, it is better when played live- but then again which song isn't?). The rest all comes from the eighties and early nineties, from the classic UNDER PRESSURE in 1982 to the unforgetable THE SHOW MUST GO ON (1991), vying for best song in the Universe with TIE YOUR MOTHER DOWN played live. The songs accompanying it on the excellent INNUENDO album are HEADLONG, a particular favourite with a thumping beat and rocking guitar-playing, I1M GOING SLIGHTLY MAD which is quite a good song but that lacks staying power despite the fantastic video, and THESE ARE THE DAYS OF OUR LIVES, a touching song, the last caught on video in the Queen era. The best of the rest: from the WORKS album, HAMMER TO FALL is so good that it's worth buying the album for it alone (although again the live version is out of this world- alright, I'll stop...), but RADIO GA GA has always been overrated in my humble opinion and TEAR IT UP would have been better placed. The CD is overflowing with songs from A KIND OF MAGIC: the soulful Brian May ballad WHO WANTS TO LIVE FOREVER is touching and poignant in retrospect; the superb ONE VISION; ONE YEAR OF LOVE which is a bit too early-nineties love-song-ish for me and a stereotype John Deacon song (no offense to his songwriting of course); and of course A KIND OF MAGIC itself, that sort of defies categorization but is a great song. Then, to wrap it all up there's the classic anthem I WANT IT ALL, which could walk its way in to any compilation ever made, and THE MIRACLE, from the album of the same name, which is a slight misfit on the album and would be better off being replaced by BREAKTHRU or THE INVISIBLE MAN from the same album. This is, as you would expect from a Greatest Hits album, definitely worth buying, and is probably better then the official GREATEST HITS II which I think is produced by EMI. Still, if you're looking for "Classic Queen" then you're better off buying the first GREATEST HITS album.

Queen - Greatest Hits
Queen - Greatest Hits
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17 of 19 people found the following review helpful
5.0 out of 5 stars Full Marks, April 20, 2000
This review is from: Queen - Greatest Hits (Audio CD)
This is arguably one of Hollywood Records smartest moves. Every song on this album is perfect, from the feet-thumping anthem WE WILL ROCK YOU to the last track I WANT TO BREAK FREE, leading on to Classic Queen, which along with this album, shows Queen at their ultimate best. The much revered WE ARE THE CHAMPIONS is in there, mingling with the afore-mentioned WE WILL ROCK YOU, and ANOTHER ONE BITES THE DUST, all classics and all damn good songs. "The Game", in my view Queen's best album, is well represented from the perfectly constructed PLAY THE GAME to the immaculate SAVE ME, without which the compilation wouldn't be complete, via CRAZY LITTLE THING CALLED LOVE, a personal favourite especially when played live, and naturally ANOTHER ONE BITES THE DUST. The unclassifiable KILLER QUEEN is right up there with all the epics (BOHEMIAN RHAPSODY et al; alright, so it's not on the album, but keep your shirt on, the world won't stop turning), and SOMEBODY TO LOVE is as fantastic as it is murder to sing live. The inseparable duo of FAT-BOTTOMED GIRLS and BICYCLE RACE are brilliant if somewhat loutish in the lyrics department, and YOU'RE MY BEST FRIEND, based on a terrific bassline from John Deacon, is one of my favourites from the '701s. NOW I'M HERE combines the irrevocable talents of Freddie Mercury and Brian May, as well as some pretty good drumming too. SEVEN SEAS OF RHYE is one of Queen's earliest songs, and also one of their best, thanks to the catchy piano solo at the beginning. BODY LANGUAGE, despite the constant criticism aimed at "Hot Space", its album, is a blinder of a song and if the band had to sacrifice their usual style to make it then so be it. I'm also amazed that DON1T STOP ME NOW appeared so low down in the pecking order of the American charts, as it's a great song (nuff said). GOOD OLD-FASHIONED LOVER BOY is excellent in both lyrics and music departments but the next track, and the modernest of the lot, i.e. I WANT TO BREAK FREE isn't really to my taste. It becomes quite catchy after a while though, and the video is out of this world! The CD is definitely worth buying, along with Classic Queen and, at a push, Greatest Hits III, if you1re a newcomer on the Queen scene and want to get a feel of their remarkable music.

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