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CD20,49 Fr.

Rock - Erschienen am 21. November 1975 | EMI

Auszeichnungen Qobuz' Schallplattensammlung
Queen were straining at the boundaries of hard rock and heavy metal on Sheer Heart Attack, but they broke down all the barricades on A Night at the Opera, a self-consciously ridiculous and overblown hard rock masterpiece. Using the multi-layered guitars of its predecessor as a foundation, A Night at the Opera encompasses metal ("Death on Two Legs," "Sweet Lady"), pop (the lovely, shimmering "You're My Best Friend"), campy British music hall ("Lazing on a Sunday Afternoon," "Seaside Rendezvous"), and mystical prog rock ("'39," "The Prophet's Song"), eventually bringing it all together on the pseudo-operatic "Bohemian Rhapsody." In short, it's a lot like Queen's own version of Led Zeppelin IV, but where Zep find dark menace in bombast, Queen celebrate their own pomposity. No one in the band takes anything too seriously, otherwise the arrangements wouldn't be as ludicrously exaggerated as they are. But the appeal -- and the influence -- of A Night at the Opera is in its detailed, meticulous productions. It's prog rock with a sense of humor as well as dynamics, and Queen never bettered their approach anywhere else. © Stephen Thomas Erlewine /TiVo
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CD20,49 Fr.

Rock - Erschienen am 8. November 1974 | EMI

Auszeichnungen Qobuz' Schallplattensammlung
Queen II was a breakthrough in terms of power and ambition, but Queen's third album Sheer Heart Attack was where the band started to gel. It followed quickly on the heels of the second record -- just by a matter of months; it was the second album they released in 1974 -- but it feels like it had a longer incubation period, so great is the progress here. Which isn't quite to say that Sheer Heart Attack is flawless -- it still has a tendency to meander, sometimes within a song itself, as when the killer opening "Brighton Rock" suddenly veers into long stretches of Brian May solo guitar -- but all these detours do not distract from the overall album, they're in many ways the key to the record itself: it's the sound of Queen stretching their wings as they learn how to soar to the clouds. There's a genuine excitement in hearing all the elements to Queen's sound fall into place here, as the music grows grander and catchier without sacrificing their brutal, hard attack. One of the great strengths of the album is how all four members find their voices as songwriters, penning hooks that are big, bold, and insistent and crafting them in songs that work as cohesive entities instead of flourishes of ideas. This is evident not just in "Killer Queen" -- the first, best flourishing of Freddie Mercury's vaudevillian camp -- but also on the pummeling "Stone Cold Crazy," a frenzied piece of jagged metal that's all the more exciting because it has a real melodic hook. Those hooks are threaded throughout the record, on both the ballads and the other rockers, but it isn't just that this is poppier, it's that they're able to execute their drama with flair and style. There are still references to mystical worlds ("Lily of the Valley," "In the Lap of Gods") but the fantasy does not overwhelm as it did on the first two records; the theatricality is now wielded on everyday affairs, which ironically makes them sound larger than life. And this sense of scale, combined with the heavy guitars, pop hooks, and theatrical style, marks the true unveiling of Queen, making Sheer Heart Attack as the moment where they truly came into their own. © Stephen Thomas Erlewine /TiVo
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CD38,99 Fr.

Rock - Erschienen am 21. November 1975 | Universal Music Division Mercury Records

Auszeichnungen Qobuz' Schallplattensammlung
Queen were straining at the boundaries of hard rock and heavy metal on Sheer Heart Attack, but they broke down all the barricades on A Night at the Opera, a self-consciously ridiculous and overblown hard rock masterpiece. Using the multi-layered guitars of its predecessor as a foundation, A Night at the Opera encompasses metal ("Death on Two Legs," "Sweet Lady"), pop (the lovely, shimmering "You're My Best Friend"), campy British music hall ("Lazing on a Sunday Afternoon," "Seaside Rendezvous"), and mystical prog rock ("'39," "The Prophet's Song"), eventually bringing it all together on the pseudo-operatic "Bohemian Rhapsody." In short, it's a lot like Queen's own version of Led Zeppelin IV, but where Zep find dark menace in bombast, Queen celebrate their own pomposity. No one in the band takes anything too seriously, otherwise the arrangements wouldn't be as ludicrously exaggerated as they are. But the appeal -- and the influence -- of A Night at the Opera is in its detailed, meticulous productions. It's prog rock with a sense of humor as well as dynamics, and Queen never bettered their approach anywhere else. © Stephen Thomas Erlewine /TiVo
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CD38,99 Fr.

Rock - Erschienen am 1. Januar 2011 | EMI

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CD20,49 Fr.

Rock - Erschienen am 1. Januar 2011 | EMI

Booklet
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CD24,49 Fr.

Original Soundtrack - Erschienen am 18. Oktober 2018 | EMI

Der Film über Queen ist definitiv einer der Höhepunkte des Jahres 2018. Der zugehörige Soundtrack ist zwar wie ein Best of-Album, nichtsdestotrotz ist bei Bohemian Rhapsody nichts inhaltlich Überflüssiges dabei! Obwohl Bohemian Rhapsody seine 11 zum ersten Mal veröffentlichten Stücke (von insgesamt 22) in den Vordergrund stellt, so bleibt es eine neue ‚Greatest Hits‘-Version mit einigen Raritäten, oder zumindest Kuriositäten, abgesehen vom Titel Smile, Doing Allright, der beweist, falls es überhaupt nötig ist, dass Brian May und Roger Taylor schon Queen waren, bevor sie noch Freddie Mercury anheuerten. Der absolute Höhepunkt ist immer noch der legendäre Auftritt der Gruppe in seiner ganzen Länge beim Konzert Live Aid am 13. Juli 1985.Die französischen Fans werden sich außerdem endlich an der erfreulichen Version von Fat Bottomed Girls ergötzen können, die bei einem ihrer drei ausverkauften Konzerte im Pavillon de Paris (am 27. und 28. Februar und 1. März 1979) aufgenommen wurde, leider ohne Freddies einleitende Worte, der sich so gefreut hatte, den Titel auf Französisch („grosses fesses“) ankündigen zu können. Die Brasilianer hingegen können wieder einen Ausschnitt aus dem Rock In Rio Riesenkonzert am 11. Januar 1985 hören: Love Of My Life. Man schätzte die Zuschauerzahl auf nahezu 500 000, ohne die Fernsehübertragung miteinzubeziehen, die 200 Millionen sahen… Da wir alle aber immer noch mehr wollen, werden wir eben ganz gelassen auf ein entsprechendes Projekt mit der herrlichen Anthology der Beatles warten. Die Gruppe und ihr dahingeschiedener Frontmann haben das wohl verdient. © Jean-Pierre Sabouret/Qobuz
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HI-RES32,49 Fr.
CD23,49 Fr.

Rock - Erschienen am 2. Oktober 2020 | EMI

Hi-Res
Live Around the World, Queens erste Live-Darbietung mit dem Sänger Premier Adam Lambert, besteht aus Mitschnitten sämtlicher Welttourneen, die dieser produktive Verein zwischen 2014 und 2020 durchgeführt hatte. Es ist die allerbeste Gelegenheit, um sich das „Phänomen Lambert“ zum ersten Mal oder wieder einmal wahrhaftig vor Augen zu führen, den, der mit seinen erst 29 Jahren den Mut hatte, in die Fußstapfen eines der größten Sänger und Showmen der letzten fünfzig Jahre zu treten: Freddie Mercury. Wir können uns leicht vorstellen, wie schwierig die Auslese der für diese Einspielung passenden Titel gewesen sein mag, aber mit dem klugen Mix aus unumgänglichen Hits und selteneren Stücken ging man auf glanzvolle Art der Falle eines simplen und banalen "Best of" aus dem Weg. Und es kommt noch besser: Roger Taylor, Brian May und Adam Lambert gehen sogar soweit, dem verstorbenen Mercury mit zwei, seinem Solorepertoire entnommenen Titeln (dem ergreifenden Love Kills - The Ballad und I Was Born to Love You) die Ehre zu erweisen. Klugerweise setzt Lambert wohl voraus, dass sein berühmter Vorgänger einzigartig war, sodass er ihm, ohne ihn auch nur ein einziges Mal nachzuäffen, treu bleibt, und gleichzeitig scheint es angesichts bestimmter, hier vorhandener Titel offensichtlich (Somebody to Love ist ein klarer Beweis dafür), dass nur recht wenige Künstler dieser Aufgabe auf so talentvolle Weise gerecht geworden wären. Zu den zahlreichen erfreulichen Tatsachen müssen wir unbedingt auch eine hervorragende Version des legendären Under Pressure zählen, auf dem aus dem ursprünglichen Duo Mercury/Bowie eine recht gelungene Interaktion Lambert/Taylor wird. Im gleichen Maße bietet die energiegeladene Interpretation des Heavy Metal-Stücks Now I'm Here Gelegenheit, sich davon zu überzeugen, dass das über 70 Jahre alte Zweiergespann, das diese Königin ins Leben gerufen hatte, noch immer so viele Funken um sich schlagen kann (warum bloß wurde der Schlagzeuger Roger Taylor so sehr unterschätzt!?). Da heute nun so gut wie sicher ist, dass Queen und Lambert zusammen kein weiteres Studiomaterial mehr schaffen, sondern sich darauf konzentrieren werden, dieses gigantische musikalische Erbe auf der Bühne zu restituieren, sollten wir von diesen Retrospektiven ohne böse Hintergedanken profitieren. Live Around the World ist ein gelungenes Opus, und erst recht ein besonders gutes Argument gegen all jene verstörten Leute, die der Band ohne ihren Leader nicht die geringste Überlebenschance gegeben hätten. © Charlélie Arnaud/Qobuz
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CD20,49 Fr.

Rock - Erschienen am 1. Januar 2011 | EMI

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CD38,99 Fr.

Rock - Erschienen am 1. Januar 2010 | EMI

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CD20,49 Fr.

Rock - Erschienen am 1. Januar 2011 | EMI

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CD20,49 Fr.

Rock - Erschienen am 1. Januar 2011 | EMI

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CD20,49 Fr.

Rock - Erschienen am 1. Januar 2011 | EMI

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CD30,99 Fr.

Rock - Erschienen am 3. Juni 1986 | EMI

By the release of 1986's A Kind of Magic, Queen's stature as a prominent rock band in the U.S. had slipped considerably, while in all other parts of the world (especially Europe), they remained superstar hitmakers. A Kind of Magic was their biggest album yet in England, where it reached number one, remained on the charts for 63 weeks, and spawned several hit singles -- the epic title track, the tuneful pop/rocker "Friends Will Be Friends," and one of their most haunting ballads, "Who Wants to Live Forever" (also included was the Live Aid-inspired hit anthem "One Vision," which was originally released as a single in 1985). Most of the songs were written for the movie Highlander -- "Gimme the Prize (Kurgan's Theme)," "Princes of the Universe," the aforementioned "Who Wants to Live Forever," etc. -- but instead of issuing just a movie soundtrack, the band added a few non-movie tracks and made an official Queen release out of it. It may not have been as cohesive as some of their other albums, but A Kind of Magic was their best work in some time. Queen would embark on a sold-out tour of outdoor stadiums in Europe upon the album's release, which would sadly turn out to be their final tour. © Greg Prato /TiVo
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CD38,99 Fr.

Rock - Erschienen am 27. Juni 1980 | EMI

Queen had long been one of the biggest bands in the world by 1980's The Game, but this album was the first time they made a glossy, unabashed pop album, one that was designed to sound exactly like its time. They might be posed in leather jackets on the cover, but they hardly sound tough or menacing -- they rarely rock, at least not in the gonzo fashion that's long been their trademark. Gone are the bombastic orchestras of guitars and with them the charging, relentless rhythms that kept Queen grounded even at their grandest moments. Now, when they rock, they'll haul out a clever rockabilly pastiche, as they do on the tremendous "Crazy Little Thing Called Love," a sly revival of old-time rock & roll that never sounds moldy, thanks in large part to Freddie Mercury's panache. But even that is an exception to the rule on The Game. Usually, when they want to rock here, they wind up sounding like Boston, as they do on John Deacon's "Need Your Loving Tonight," or they sound a bit like a new wave-conscious rocker like Billy Squier, as they do on the propulsive "Coming Soon." But even those are exceptions to the overall rule on The Game, since most of the album is devoted to disco-rock blends -- best heard on the globe-conquering "Another One Bites the Dust," but also present in the unintentionally kitschy positivity anthem "Don't Try Suicide" -- and the majestic power ballads that became their calling card in the '80s, as they reworked the surging "Save Me" and the elegant "Play the Game" numerous times, often with lesser results. So, The Game winds up as a mixed bag, as many Queen albums often do, but again the striking difference with this album is that it finds Queen turning decidedly, decisively pop, and it's a grand, state-of-the-art circa 1980 pop album that still stands as one of the band's most enjoyable records. But the very fact that it does showcase a band that's turned away from rock and toward pop means that for some Queen fans, it marks the end of the road, and despite the album's charms, it's easy to see why. © Stephen Thomas Erlewine /TiVo
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CD20,49 Fr.

Rock - Erschienen am 1. Januar 2011 | EMI

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CD20,49 Fr.

Rock - Erschienen am 28. Oktober 1991 | EMI

Booklet
Ungefähr einen Monat vor Freddie Mercurys Tod im November 1991 wurde eine zweite „Best-of“-Sammlung mit dem Titel „Greatest Hits, Vol. 2“ veröffentlicht. Das Album erschien jedoch nur in England und beinhaltet alle europäischen Hits der Band aus den Jahren 1982 bis 1991. In den USA wurde die Songreihenfolge des Albums geändert und 1992 als „Classic Queen“ auf den Markt gebracht. Auch wenn die Queen-Hits aus diesem Zeitraum nicht so brillant wie ihre Vorgänger aus den '70er Jahren sind, sind sie dennoch fesselnde Rockkompositionen. Tracks wie „Radio Ga Ga", „I Want to Break Free" und „I'm Going Slightly Mad" zeigen, dass die Band noch immer in der Lage war, Popjuwelen zu komponieren; im Gegensatz dazu waren harte Rocksongs wie „I Want It All", „Headlong", „One Vision" und „Hammer to Fall" darauf aus, Langzeitfans zufriedenzustellen. © Greg Prato /TiVo
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CD38,99 Fr.

Rock - Erschienen am 10. November 1978 | EMI

Famously tagged as "fascist" in a Rolling Stone review printed at the time of its 1978 release, Jazz does indeed showcase a band that does thrive upon its power, thrilling upon the hold that it has on its audience. That confidence, that self-intoxication, was hinted at on News of the World but it takes full flower here, and that assurance acts as a cohesive device, turning this into one of Queen's sleekest albums. Like its patchwork predecessor, Jazz also dabbles in a bunch of different sounds -- that's a perennial problem with Queen, where the four songwriters were often pulling in different directions -- but it sounds bigger, heavier than News, thanks to the mountains of guitars Brian May has layered all over this record. If May has indulged himself, Freddie Mercury runs riot all over this album, infusing it with an absurdity that's hard to resist. This goofiness is apparent from the galloping overture "Mustapha," and things only get a lot sillier from that point out, as the group sings the praises of "Fat Bottomed Girls" and "Bicycle Races." May and Mercury have an unspoken competition on who can overdub the most onto a particular track, while Roger Taylor steers them toward their first disco song in the gloriously dumb "Fun It." But since over-the-top campiness has always been an attribute in Queen, this kind of grand-scale exaggeration gives Jazz a sense of ridiculousness that makes it more fun than many of their other albums. © Stephen Thomas Erlewine /TiVo
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CD20,49 Fr.

Rock - Erschienen am 10. Dezember 1976 | EMI

In every sense, A Day at the Races is an unapologetic sequel to A Night at the Opera, the 1975 breakthrough that established Queen as rock & roll royalty. The band never attempts to hide that the record is a sequel -- the two albums boast the same variation on the same cover art, the titles are both taken from old Marx Brothers films and serve as counterpoints to each other. But even though the two albums look the same, they don't quite sound the same, A Day at the Races is a bit tighter than its predecessor, yet tighter doesn't necessarily mean better for a band as extravagant as Queen. One of the great things about A Night at the Opera is that the lingering elements of early Queen -- the pastoral folk of "39," the metallic menace of "Death on Two Legs" -- dovetailed with an indulgence of camp and a truly, well, operatic scale. Here, the eccentricities are trimmed back somewhat -- they still bubble up on "The Millionaire Waltz," an example of the music hall pop that dominated Night, the pro-Native American saga "White Man" is undercut somewhat by the cowboys 'n' indians rhythms -- in favor of a driving, purposeful hard rock that still could have some slyly hidden perversities (or in the case of the opening "Tie Your Mother Down," some not-so-hidden perversity) but this is exquisitely detailed hard rock, dense with minutiae but never lush or fussy. In a sense, it could even function as the bridge between Sheer Heart Attack and Night at the Opera -- it's every bit as hard as the former and nearly as florid as the latter -- but its sleek, streamlined finish is the biggest indication that Queen has entered a new phase, where they're globe-conquering titans instead of underdogs on the make. © Stephen Thomas Erlewine /TiVo
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CD20,49 Fr.

Rock - Erschienen am 1. Januar 2011 | EMI

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CD20,49 Fr.

Rock - Erschienen am 8. März 1974 | EMI

In one regard, Queen II does indeed provide more of the same thing as on the band's debut. Certainly, of all the other albums in Queen's catalog it bears the closest resemblance to its immediate predecessor, particularly in its lean, hard attack and in how it has only one song that is well-known to listeners outside of their hardcore cult: in this case, it's "Seven Seas of Rhye," which is itself more elliptical than "Keep Yourself Alive," the big song from the debut. But these similarities are superficial and Queen II is a very different beast than its predecessor, an album that is richer, darker, and weirder, an album that finds Queen growing as a band by leaps and bounds. There is still a surplus of ideas, but their energies are better focused this time around, channeled into a over-inflated, pompous rock that could be called prog if it wasn't so heavy. Even with all the queens and ogres that populate Queen II, this never feels as fantastical as Genesis or Uriah Heep, and that's because Queen hits hard as a rock band here, where even the blasts of vocal harmonies feel like power chords, no matter how florid they are. Besides, these grandiose harmonies, along with the handful of wistful ballads here, are overshadowed by the onslaught of guitars and pummeling rhythms that give Queen II majesty and menace. Queen is coiled, tense, and vicious here, delivering on their inherent sense of drama, and that gives Queen II real power as music, as well as a true cohesion. The one thing that is missing is any semblance of a pop sensibility, even when they flirt with a mock Phil Spector production on "Funny How Love Is." This hits like heavy metal but has an art-rock sensibility through and through, which also means that it has no true hook in for those who don't want to succumb to Queen's world. But that kind of insular drama is quite alluring in its own right, which is why Queen II is one of the favorites of their hardcore fans. At the very least, it illustrates that Queen is starting to pull all their ambitions and influences into a signature sound, and it's quite powerful in that regard. © Stephen Thomas Erlewine /TiVo