Il vostro carrello è vuoto

Categorie :

Artisti simili

Gli album

A partire da:
CD13,99 €

Rock - Uscito il 21 novembre 1975 | EMI

Riconoscimenti La discoteca ideale Qobuz
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
A partire da:
CD13,99 €

Rock - Uscito il 08 novembre 1974 | EMI

Riconoscimenti La discoteca ideale Qobuz
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
A partire da:
CD21,99 €

Rock - Uscito il 21 novembre 1975 | Universal Music Division Mercury Records

Riconoscimenti La discoteca ideale Qobuz
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
A partire da:
CD13,99 €

Rock - Uscito il 01 gennaio 2011 | EMI

Libretto
A partire da:
CD13,99 €

Colonne sonore - Uscito il 18 ottobre 2018 | EMI

Se il film sui Queen è uno dei grandi eventi di questo 2018, la sua colonna sonora non può non suscitare la stessa frustrazione provata alla commercializzazione delle varie compilation o riedizioni precedenti. Eppure, non contiene nulla che sia davvero da buttare! Pur vantando 11 inediti sui 22 brani che la compongono, Bohemian Rhapsody somiglia più che altro a un nuovo Greatest Hits con poche rarità o quanto meno curiosità, fatta eccezione per il brano di Smile, Doing Allright, che dimostra – come se ce ne fosse bisogno – che Brian May e Roger Taylor facevano già la musica dei Queen prima di ingaggiare Freddie Mercury. Il momento culminante resta nonostante tutto la storica esibizione del gruppo al concerto del Live Aid, il 13 luglio 1985, qui apprezzabile per intero.I fan d’oltralpe saranno inoltre ben contenti di poter finalmente ascoltare quell’allegra versione di Fat Bottomed Girls registrata a Parigi durante uno dei loro tre concerti sold out al Pavillon de Paris (il 27 e 28 febbraio e il 1° marzo 1979) con, in apertura, un Freddie felicissimo di poter dire in francese "grosses fesses" (culoni). I fan brasiliani, invece, ritroveranno un Love Of My Life tratto dal monumentale concerto Rock In Rio, l’11 gennaio 1985, davanti a un pubblico di circa 500.000 persone, senza contare la ritrasmissione televisiva vista da oltre 200 milioni di spettatori… Ma siccome più ne abbiamo e più ne vogliamo, continueremo ad attendere ostinati un progetto simile alla formidabile Anthology dei Beatles. Il gruppo e il suo rimpianto frontman se lo meritano eccome. © Jean-Pierre Sabouret/Qobuz
A partire da:
CD13,99 €

Rock - Uscito il 01 gennaio 2011 | EMI

A partire da:
CD21,99 €

Rock - Uscito il 01 gennaio 2010 | EMI

A partire da:
CD13,99 €

Rock - Uscito il 01 gennaio 2011 | EMI

A partire da:
CD13,99 €

Rock - Uscito il 01 gennaio 2011 | EMI

A partire da:
CD13,99 €

Rock - Uscito il 01 gennaio 2011 | EMI

A partire da:
CD20,99 €

Rock - Uscito il 03 giugno 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
A partire da:
CD13,99 €

Rock - Uscito il 01 gennaio 2011 | EMI

A partire da:
CD21,99 €

Rock - Uscito il 27 giugno 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
A partire da:
CD13,99 €

Rock - Uscito il 28 ottobre 1991 | EMI

Libretto
Pubblicato nel Regno Unito un mese dopo la prematura scomparsa di Freddie Mercury, Greatest Hits, Vol. 2 contiene i maggiori successi dei Queen dal 1982 al 1991. Anche se sicuramente non all'altezza dei loro classici degli anni '70, questa raccolta presenta tanti brani importanti dei Queen come "Radio Ga Ga", "I Want To Break Free" o "I Want It All". © Greg Prato /TiVo
A partire da:
HI-RES23,49 €
CD16,49 €

Rock - Uscito il 02 ottobre 2020 | EMI

Hi-Res
Singer Adam Lambert's musical kinship with Queen is displayed to full effect on their engaging 2020 concert album Live Around the World. A compilation, the album includes performance highlights from over 200 shows (chosen specifically by May, Taylor, and Lambert) from such far-flung locales as Brazil, Spain, Australia, Japan, and England. Here's the thing with Queen, you'll never really replace Freddie Mercury. He had such a distinctive voice, marked by his wide octave range and crystalline pitch center, not to mention his warm charisma and outsized stage presence. That said, you'd also be hard-pressed to find a better, more compatible stand-in singer for Queen than Lambert. Ever since their first meeting in 2009 while Lambert was enjoying his runner-up journey to fame on American Idol, through their subsequent tours and live appearances, Lambert and Queen guitarist Brian May and drummer Roger Taylor have displayed their vibrant musical chemistry. Blessed with his own rich vocal sound, extroverted style, and affinity for classic pop and rock (a combination that earned him the nickname "Glambert"), Lambert is a more than suitable frontman for Queen -- a kind of millennial analog for Mercury with a bit of his own Broadway razzmatazz thrown in for good measure. In some ways, Lambert bridges the gap between George Michael, who sang with Queen at the 1992 Mercury tribute concert, and Bad Company's Paul Rodgers, who sang with the band on and off beginning in the 2000s. Here, Lambert nails such classic Queen tracks as "Don't Stop Me Now," "Fat Bottomed Girls," and "I Want to Break Free." Also included is the group's February 2020 appearance at the Fire Fight Australia benefit concert, during which they re-created Queen's iconic 1985 Live Aid show, featuring "Bohemian Rhapsody," "Radio Ga Ga," "Hammer to Fall," "Crazy Little Thing Called Love," "We Will Rock You," and "We Are the Champions." Throughout all of this, Lambert shines and May, Taylor, and the rest of their touring ensemble sound magnetic. The crowds are also audibly enthusiastic, which only adds to the notion that together, Lambert and Queen are conjuring a little bit of the Mercury magic. © Matt Collar /TiVo
A partire da:
CD21,99 €

Rock - Uscito il 10 novembre 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
A partire da:
CD13,99 €

Rock - Uscito il 10 dicembre 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
A partire da:
CD13,99 €

Rock - Uscito il 01 gennaio 2011 | EMI

A partire da:
CD13,99 €

Rock - Uscito il 08 marzo 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
A partire da:
CD13,99 €

Rock - Uscito il 01 gennaio 2011 | EMI