‘The Game’ is one of the most controversial (if not the most controversial) Queen albums. The band shifted to a more stripped down sound and bass-driven funky grooves.
Written by: Dave T
ARTIST: Queen
ALBUM: The Game
LABEL: EMI
SERIAL: EMA 795
YEAR: 1980
CD REISSUE: Reissue List
COUNTRY OF ORIGIN: England
LINEUP: Freddie Mercury – lead and backing vocals, intro vocals on ‘Rock It (Prime Jive)’, bridge vocals on ‘Sail Away Sweet Sister’, piano, rhythm guitar on ‘Crazy Little Thing Called Love’, keyboards * Brian May – electric, acoustic and twelve-string guitars, banjo, backing vocals, lead vocals, keyboards on ‘Sail Away Sweet Sister’, piano, keyboards on ‘Save Me’ * Roger Taylor – drums, electronic drums, backing vocals, electric guitar on ‘Coming Soon’, lead vocals, keyboards on ‘Rock It (Prime Jive)’, keyboards on ‘Coming Soon’ * John Deacon – bass guitar, electric guitar and piano on ‘Another One Bites The Dust’, acoustic guitar on ‘Need Your Loving Tonight’
TRACK LISTING: 01 Play The Game * 02 Dragon Attack * 03 Another One Bites The Dust * 04 Need Your Love Tonight * 05 Crazy Little Thing Called Love * 06 Rock It * 07 Don’t Try Suicide * 08 Sail Away Sweet Sister * 09 Coming Soon *10 Save Me
RATING: 75/100
WEBLINKS: Site Link
Background
‘The Game’ was recorded with German producer/engineer Reinhold Mack in two different sessions at Giorgio Moroder’s Musicland Studios in Munich.
The first took place in mid 1979 where ‘Crazy Little Thing Called Love’ and the last three tracks on side B were recorded. The rest of the songs were recorded between February and May 1980 sessions.
This is the first time Queen used a synthesizer (an Oberheim OBX) on record, and the band incorporated new techniques like recording parts of songs as opposed to their practice of recording full songs up until the right take was captured.
The Songs
A more dry and direct sound, simpler production and more audible bass in the mix is noticed at first.
The outer space effect of the synth is noticeable at the beginning of ‘Play The Game’. However, Freddie’s trademark vocal harmonies and piano parts as well as May’s heavy guitar sound dominate the song’s melancholic vibe.
Funky basslines doubled by Brian’s guitar are the main features of ‘Dragon Attack’, a good song if not spectacular.
Deacon’s ‘Another One Bites The Dust’ is the first ‘sacrilege’: a prominent funky bassline sets the foundation for a disco pace, clap-like drumming and synth touches right before Freddie’s vocals enter mirroring the bass riff. Guitar parts are scarce and funky as well. An extremely catchy dance song that reached the top of the US chart and has not been helped by overexposure through the years.
This path would somehow be followed in Hot Space’s ‘Under Pressure’. Power pop is what I hear in ‘Need Your Loving Tonight’, another Deacon-penned tune. I like the acoustics doubling the overdriven guitars.
‘Crazy Little Thing Called Love’, their first American chart topper, was written by Freddie during a bubble bath and supposedly the basic tracks were recorded when Brian was not in the studio. A brilliant song in true 50’s Rockabilly-Presley style driven by Deacon’s walking bass and Freddie’s acoustic guitar. Brian might not have liked the song, but his overdubbed Telecaster lead and fills are terrific.
Roger Taylor’s usual rocker contribution is ‘Rock It (Prime Jive)’, much more playful than classics like ‘I’m In Love With My Car’ and heavy on synths.
‘Don’t Try Suicide’ is not my cup of tea. The Police‘s ‘Walking On the Moon’ influence can be heard in bass and guitar.
May’s ballad ‘Sail Away Sweet Sister’ is pleasant, mixing his soulful vocals with Freddie’s harmonies, acoustic guitars and his trademark electric sound.
Queen goes bubblegum pop? That’s what ‘Coming Soon’ is telling me. Sounds rather uninspired to my ears.
‘Save Me’ is May’s urgent emotional power ballad about a friend’s relationship breakup, brilliantly sung by Freddie. It might have been Brian singing as well, I can picture it. Similar in style to ‘Play The Game’, it closes the album on a high note.
In Summary
‘The Game’ is one of the most controversial (if not the most controversial) Queen albums. The band shifted to a more stripped down sound and bass-driven funky grooves (led by Deacon’s contributions).
The music incorporated funk, disco, pop and new wave elements and the band’s new look also reflects it. Queen would go more into Euro-disco for 1982’s ‘Hot Space’, with that tour being their last American tour.
There’s enough quality to be found here as with every Queen release. The album reached the top of the American and British Charts upon release and awarded two US #1 hits.
Question is: was too much of the epic Queen taken over by late 70s/early 80s disco and pop leanings? Did it alienate their rock fanbase, especially the American as a result? How much can we as fans stand our beloved bands embracing the then-current trends?
I consider ‘Queen II’, ‘Sheer Heart Attack’ and ‘A Night At The Opera’ as masterpieces. By comparison, ‘The Game’ is an album I truly enjoy from time to time.
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