"I said Mama, I ain't crazy, I'm alright"
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The Game |
The GameReleased: June 1980 (UK). Highest UK chart position: Number 1. 
Produced by Queen. Engineered and co-produced by Mack Mastered by Mack and Brian Gardener. This album includes the first appearance of a synthesiser (an Oberheim OBX) on a Queen album. Play The Game {Freddie Mercury} The album opens in a spectacular fashion with a dive-bombing synthesiser wail, which is swiftly replaced by one of Freddie’s trademark commanding piano melodies. This characterful piano line proves to be the insistent foundation for this reserved masterpiece, and superbly complements Freddie’s lush vocal delivery. The song takes on a dignified quality when John’s melodic bass line and Roger’s solid, moderate drumming join in from the first chorus. This wholesome ambience is accentuated further with Brian’s characteristic gritty guitar fills. These brief moments of inspiration are rendered more effective as Brian is absent for the majority of the composition. His guitar solo, which is heralded by more whooshing synths and driving hard rock guitar stabs, is a restrained harmonious masterpiece. The poignant phrasing combined with Brian’s rubbery, crushing tone produces a unique moment of genius, adding an extra lavish dimension to the arrangement. ‘Play The Game’ is a touching opening to the album; successfully generating a positive and moving atmosphere. There is a different feel to this album, and this is evident from the opening track.
Dragon Attack {Brian May} This gargantuan tour de force launches straight in with a pounding, relentless riff doubled by Brian’s earthy guitar and John’s booming bass; proving to be a definite contrast to the gentler ambience of the previous song. Roger’s laid back, forceful drumming intensifies this unyielding rhythmic assault with alarming efficiency. There is an enthralling interplay between Freddie’s strutting rock delivery and the main riff, giving the tune a rewarding, restless quality. Brian’s antagonistic guitar work totally dominates this track, switching from obstinate clunky passages, to purring belligerent chords and culminating in a raucous, squealing cacophony for his mesmerising solos. These sonic bombardments are delivered with an ardent ferocity, with several confrontational guitars counter pointing each other in an aggressive stand off. This bare bones arrangement is structured in such a way as to allow everyone a chance to shine. Roger takes a dramatic but reserved drum solo, and John delivers a slick bass solo, which is a swaggering variation of the main riff. The tune’s abrupt conclusion adds an unsettling coda to an awesome harmonic and rhythmic battering. ‘Dragon Attack’ is a strikingly intense arrangement, and its sweaty, expressive vibe takes priority over melodic refinement, and is one of the standout tunes on the album. Another One Bites The Dust {John Deacon} Queen go disco courtesy of this John Deacon penned classic. John’s infectious, bass groove, doubled in places by Brian’s bony guitar sets the seductive mood instantly. Freddie struts throughout the song in a predatory style, his vocal delivery fittingly sultry; escalating the intrinsic disco vibe. Roger’s usually potent drumming is reduced to a pedestrian metronome, but this moderated approach suits the arrangement perfectly. Brian adds a dynamic edge to the tune with his restrained masterful guitar work. He generates an authentic disco feel with some jagged, funky chordal stabs, and adds an unsettling intensity with some liquid metal swoops. The spacious arrangement allows the syncopation of the bass, drums and guitar to complement each other to an astounding degree. This unusual Queen song shows that even though the band are nine albums into their career, they are still not averse to experimenting with unorthodox styles, and adapting them to the Queen formula. ‘Another One Bites The Dust’ would prove to be one of the band’s most successful songs worldwide, and successfully bridge the void between black and white music. An uncharacteristic composition maybe, but a resounding triumph for the band, particularly John.
Need Your Loving Tonight {John Deacon} Straight into another Deacon composition, and the band are back on familiar ground. The pleasingly forceful ambience, typical of John’s rockier compositions is evident here, and passes a striking similarity to his track ‘If You Can’t Beat Them’ from the ‘Jazz’ album. Brian’s raunchy guitar work drives the tune along in a dynamic fashion, and provides a majestic interplay between John’s resounding bass and Roger’s controlled but adamant drumming. This characterful melodic interaction gels the song together in a formidable rock manner. The arresting combination of Brian’s punchy electric guitar juxtaposed with a biting acoustic, increases the arrangements rich tonal depth beautifully. Freddie delivers the vocals with his characteristic ostentatious sincerity, and combined with some discreet stately backing vocals, bestows a majestic lushness to the arrangement. Brian’s guitar solo is another intense, melodic masterpiece, and there seems to be a conscious effort to temper his trademark guitar orchestrations, with only a brief harmony line appearing in the closing bars of the solo. This is one of John’s finest compositions; its inherent good-natured resolve embellishes its understated implementation to great effect. Crazy Little Thing Called Love {Freddie Mercury} Freddie’s bubble bath composed pseudo Elvis masterpiece, closes side one on an entertaining high. He has magnificently captured the essential nuances of the rock ‘n’ roll era, and given the genre the obligatory Queen twist, producing one of the band’s most popular compositions. From the ebullient, prickly opening guitar chords, you are immediately immersed in a genuine rock ‘n’ roll ambience. John’s authentic, walking bass line increases this mood immeasurably, and is a standout feature of the song. Roger’s reserved, snappy drumming also captures the spirit of the era, and compliments John and Brian’s melodic interaction wonderfully. Freddie’s voice is delightfully sultry throughout, giving the lyrics a further seductive quality. Brian’s magnificent, period guitar solo is a real authentic gem, impressively putting the finishing touches to a wonderfully executed retro-fuelled opus. Freddie proves yet again that he is an extremely versatile composer, and he can produce these robust, stripped down arrangements as easily as his more traditional highly orchestrated, ostentatious indulgencies. This song is a real eclectic tour de force, and Freddie would try the same trick again with ‘Man On The Prowl’ from ‘The Works’ album, but with less success.
Rock It (prime jive) {Roger Taylor} In my opinion, ‘Rock it (prime jive)’ is Roger’s finest composition and contains Brian’s most mesmerising guitar solo, all in all a winning combination! The tune opens with some expectant guitar arpeggios, similar to ‘Tenement Funster’ from the ‘Sheer Heart Attack’ album, but with less sombre overtones. Freddie opens the vocal onslaught with his magnificent, soaring voice, but Roger takes over for the rest of the tune when the song ignites with its full malevolent might, mercilessly steamrollering out of the speakers. The composition’s backbone is Roger’s unyielding drumming, superbly bolstered by John’s solid, bounding bass. Brian’s guitar is a strident, chirruping powerhouse, giving the arrangement a unique identity. Roger’s voice is at its resolute best, gritty and raucous but with a dignified edge. Subtle synth lines swoop and dive throughout the tune adding a contemporary vibe. The guitar solo is an awe-inspiring, sonic masterpiece and uniquely Brian. His tone is absurdly thick, and this lushness is emphasised further as he pushes and pulls the phrasing, before launching into a fluid legato passage, concluding the solo in a breathtaking fashion. This ferocious tour de force opens side two in a compelling style, and is without doubt, the strongest song on the album.
Don't Try Suicide {Freddie Mercury} An admirable sentiment from Freddie, delivered with an ostentatious flamboyancy! There is a real mischievous quality to this song, and its cheeky implementation increases its playful nature. The arrangement is based around John’s laid back, chunky bass line, doubled by a playful acoustic, and punctuated by Brian’s uncharacteristic bright chordal stabs. Freddie’s ebullient piano and Roger’s genial drumming join in for the up-tempo chorus, delivering the song’s inherent sentiment in a forceful but light-hearted manner. Freddie’s voice alternates from a sultry growl to a shimmering falsetto, and he is obviously having a whale of a time wallowing in this grandiose self-indulgence. The jocular backing vocals contain a mild mocking feel; the whole composition seems undecided whether to take itself seriously. The middle eight is a manic delight, with Freddie pounding the piano in a feverish rock ‘n’ roll frenzy. Brian’s solo is a brief moment of brilliance, his tone typically thick and rich, and the phrasing impeccable, the whole thing executed in a breathlessly dynamic style. A strange song from Freddie, and perhaps there is a deeper meaning somewhere. Even so, this light-hearted riotous epic is a teasingly effective and enjoyable contrast to the previous tune. Sail Away Sweet Sister {Brian May} A beautiful, delicate piano ushers in one of Brian’s finest and most emotional compositions. This gorgeous melody is supported by one of John’s trademark haunting bass lines, augmenting the sincere nature of the arrangement immeasurably. Brian takes over the vocal role, his voice’s wonderful husky warmth, giving a genuine heartfelt poignancy to the composition. The song intensifies for the touching chorus, with Roger’s drumming adding a resolute sincerity, and Brian’s creamy, stately guitar blending with John’s smooth bass to a remarkable effect. The luxuriant backing vocals generate a moving, evocative quality. Freddie takes up the vocals briefly, heralding the guitar solo in a tender manner. The solo is an emotive masterpiece, Brian seeming to feel every note as if it were wrenched from his body. This guitar break is another single line affair but has some understated harmonies added towards its crescendo; culminating on a majestic high. By the song’s evocative conclusion, the listener feels overwhelmed by the intense poignancy of this moving tour de force. One of Queen’s most sensitive and endearing arrangements, penned by their staunchest rocker.
Coming Soon {Roger Taylor} A chugging, commanding rocker from Roger provides a fitting contrast to the emotive might of the previous track. The very essence of this composition is an unrelenting, pulse, pedestrian but innately resolute. John’s thumping bass, Brian’s chunky guitar and Roger’s vivacious drumming blend together remarkably, creating a staunch, unyielding rhythmic onslaught. Freddie’s sultry delivery perfectly suits the tune’s alluring ambience, and is superbly complemented by Roger’s trademark high pitch, lofty backing vocals. Brian adds some succinct, serpentine melodious fills, which punctuate the arrangement and effectively breaks the relentless rhythmic chug. His guitar solo is a dynamic, squealing affair; the raw, unsettling intensity of its delivery is balanced by the impeccable choice of notes, and adds a further eccentric ambience to the arrangement. ‘Coming Soon’ is another of Roger’s archetypal compositions, containing many of his unique rhythmic and harmonic techniques, though unfortunately, I feel this is his last truly significant contribution to the Queen canon. This song may not be as immediately accessible as the rest of the album, but it remains a distinctively pleasing composition. Save Me {Brian May} Queen’s initial album release of the Eighties concludes on a spectacular high, with one of their most achingly beautiful ballads. From the opening bar, Freddie’s luxuriant vocal delivery is tenderly cushioned by a haunting piano melody, immediately establishing a poignant ambience. Once again, John provides one of his signature, evocative bass lines, further embellishing the song’s emotive presence. In common with ‘Sail Away Sweet Sister’, the chorus dramatically escalates, particularly when Roger’s resolute drumming enters proceedings, effectively intensifying the already overpowering poignant nature of the tune. The sublime regal backing vocals add a further dignified ambience. There is a fantastic interplay between the grand opulence of the electric and acoustic guitar parts, bestowing the composition with an exclusive essence. Following a majestic build up of these lavish melodies, Brian delivers one of his most touching and stunning solos. His anguished, piercing tone intensifies a concise, tormented opus, each note agonisingly squeezed of emotion. The song’s earnest conclusion is executed with a sentimental sincerity, and is a breathtaking means to end the album.
Overview With the lifting of the no synthesiser promise, Queen are able to storm into the new decade with a slicker, more chart friendly sound. This feels like a more natural evolution than the one imposed during the ‘News Of The World’ album. This album is really the transition between the guitar-dominated releases of the Seventies, and the more synth drenched releases that would follow. That said, there is still plenty of Brian’s gutsy guitar gymnastics to balance the more keyboard-based sound. The production is noticeably smoother, than ‘News Of The World’ and ‘Jazz’, and a lot of the credit for this revitalised tone must go to Mack, their new producer. The band no longer seems to rely on ostentatious arrangements, allowing the composition’s inherent strength and beauty to shine through, and the once highly orchestrated backing vocals, are now more moderated, adding a more effective stately vibe. The entire band’s contributions are inspiring masterpieces, and they each turn in virtuoso performances. Brian’s guitar orchestrations may be stripped down, but he has developed a more heart wrenching emotional delivery. Freddie’s voice is overwhelmingly impressive throughout, his formidable range utilised magnificently, and he has retained his mischievous sense of fun. John’s bass playing is as resolute and melodic as ever, and he has contributed two of his strongest offerings to date. Roger’s drumming, whilst still characteristically solid, seems to have been reined in, seeming more controlled and less impulsive. This is the last album where Roger’s songs are the stand out moments. His compositions have lost their confrontational air, and from this point on they become more generic sounding and for me, less rewarding. This is also the last album where Brian and Roger take vocal duties for an entire song. ‘The Game’ is a phenomenal and well-balanced album without a single weak track, and is up there with ‘A Night At The Opera’ and ‘Jazz’ as an essential purchase. It is a shame Queen couldn’t maintain this strong approach; instead it took a couple more albums before rallying themselves and finding that elusive wining formula that would see them through the rest of the decade. Queen Song-By-Song Rating: 10/10 Home | 1980's | The Game | Flash Gordon | Greatest Hits | Hot Space | The Works A Kind Of Magic | Live Magic | The Miracle | Queen At The Beeb |