#queen + paul rodgers

[myvinylplaylist]

Queen + Paul Rodgers: Return Of The Champions (2005)

Recorded live at Hallam FM Arena, Sheffield on 9th May 2005

2 Compact Disc +DVD

Hollywood Records

[krispyweiss]

Album Review: Paul Rodgers - Midnight Rose

The voice is there. The songs are not.

These two sentences could serve as a full review of Paul Rodgers’ Midnight Rose, the former Free/Bad Company/the Firm/Queen + Paul Rodgers frontman’s first album of original material since 1999, but it would lack context.

So, read on for context about this album of new songs and recycled sounds.

While time has proven Free’s music more durable than Bad Company’s, Rodgers chooses, likely for commercial purposes, to nick the latter. As such, “Living it Up” mimics “Rock Steady,” while “Highway Robber” is “Seagull” in disguise.

“Take Love,” meanwhile, was first performed during Rodgers’ stint with the reformed Queen.

The eight-track LP is laden with radio-ready hooks and so-obvious-one-can-hear-them-coming lyrics, resulting in a head-shaking listen.

Grade card: Paul Rodgers - Midnight Rose - C-

11/1/23

[ziggyplayedguitar96]

Happy Birthday Freddie Mercury

He’d be 77 today

[gluttons-for-punishment]

Q+PR

[rock--band]

Rock Band Queen Collage (Brian May, Freddie Mercury, John Deacon, Roger Taylor, Greatest Hits, Concert Song. Studio and Life music discography Queen, 1973 Queen, 1974 Sheer Heart Attack, 1974 A Night at the Opera, 1975 A Day at the Races, 1976 News of the World, 1977 Jazz, 1978 The Game, 1980 Flash Gordon, 1980 Hot Space, 1982 The Works, 1984 A Kind of Magic, 1986 The Miracle, 1989 Innuendo, 1991 Made in Heaven, 1995

100+ Rock Band Posters and Canvas Prints

Print Option: ♦ Framed Poster Print ♦ Canvas Print ♦ Metal Print ♦ Acrylic Print ♦ Wood Prints 🌐 Worldwide shipping

[natromanxoff]

Daily Express - March 17, 2005

(x)

Can anyone ever replace Freddie?

By Cheryl Stonehouse

IT’S JUST short of 20 years since Queen left the building for the last time with the crowd still howling for more. They would have howled louder, no doubt, had they known that the British band that had garnered as huge a worldwide following as The Beatles or the Rolling Stones would never take the stage again. “We didn’t know at the time, of course, that it was the last live show but it was fantastic and I will remember it vividly,” says DJ and music author Jon Kutner, a long time Queen fan.

“I saw them live six times in all, the first time in 1976(8?), and then I was lucky enough to be at that last Wembley gig, so I never felt as though I had missed out once Freddie’s illness was announced and it was clear that they would never perform together again.”

But never is a short time in rock ‘n’ roll.

Exactly how short varies, usually in direct relation to the financial needs of those left behind after one or more key members of a fabulously successful combo have made their exit, regardless of whether that departure is caused by artistic differences or the not-to-be-ignored call of the Grim Reaper.

In the case of iconic Sixties rock band Free, whose lead singer Paul Rodgers has just won this year’s most (…) job in popular music as Queen’s new lead singer, “never” turned out to be about nine months after their first split.

That reunion was disastrous. Free’s fabulously talented Paul Kossoff was carried off by an overdose and so it was that, as an embryonic Queen supported Mott the Hoople at the New Oxford Theatre, Paul Rodgers was already collecting gold records with his second iconic band, Bad Company.

But for Queen, “never” has turned out to be the passing of a full 19 years. However, even for one of the most staggeringly well-heeled bands in the world, once possessed of the most irreplaceable lead singer in the world, the temptation to re-form has proved too much.

It’s not that guitarist Brian May, bassist John Deacon and drummer Roger Taylor need the money. Queen have been one of the most successful British rock bands of all time and one of the few to comprehensively break into the American music scene.

They’ve certainly had their moments when it came to excess… stories of cocaine served on trays perched on the heads of dwarves at their legendary after gig parties persist — but they were also one of the few bands to take early control of their contracts and their fortunes and turn themselves into a company, using business law to protect their fabulous earnings from the depredation of the music industry’s hangers-on.

There has been no prodding of the unpaid tax bill or the dwindling nest-egg to push them into the desperate — and surely futile — hunt for a Freddie replacement. So once the HIV virus had robbed the band of Freddie Mercury in 1991, it reslly did seem as if never really would mean never.

Certainly John Deacon decided that there was no band without its outrageous and theatrical frontman, and he went home to his mansion on the outskirts of north London to be with wife Veronica and their six children.

WHEN Robbie Williams recorded We Are The Champions two years ago for the film A Knight’s Tale, he made no secret of his hope that he might be able to fill the patent-leather thigh-high boots left vacant by Freddie. Deacon, meanwhile, was in a rare public (…) about the idea: “No one could replace Freddie and certainly not him.”

Ever since Freddie’s death, Deacon has resolutely refused to join his more musically-active band-mates in any of their projects (although he has happily endorsed all their Queen related ventures) and only recently did he agree to take up his drumsticks just one more time for a recording of No One But You, Brian May’s tribute to Freddie.

And even though he has made no effort to maintain the fame that brought him fortune, he — like May and Taylor — remains a very rich man whose back account is constantly being replenished by Queen’s enduring popularity.

In the six years after Freddie’s death the earnings of Queen Productions Ltd in which all four members had had an equal share, topped more than £120m(?).

Even in the Queen-lull of the mid-Nineties, the company’s annual income topped £10m(?). And, once Brian May had asked Ben Elton to create a vaguely feasible plot that would make it possible to create a musical featuring Queen songs, the company’s earnings rocketed again, and We Will Rock You became a West End smash hit. In London alone, more than two million people have been to see the show since it opened two years ago — not to mention its popularity in Las Vegas, Australia and various European theatres.

YET the magic of the Queen brand is difficult to define. Even at the height of their fame, they were roundly and persistently rubbished by music critics who seemed disgusted, more than anything, by the theatricality that this bunch of ex-students, with their big hair and their clogs, had inflicted on rock music. Former art student Freddie was singled out for much of the blame.

“It was as though they couldn’t forgive him and, indeed, the rest of them for being rather bright — Brian May all but got a PhD in astrophysics before he decided to give all his attention to music — and also very musically talented,” says Queen biographer Jane Higgins.

“It’s rather ironic, given who Brian has now chosen as a worthy (…) to Freddie, that a lot of those critics hated the camp flamboyance of Queen because they were stuck in the (…) days of bands like Free.

“Keep it working class, keep it real — I think that was their attitude. All this stagecraft stuff that Queen were so good at, and which Brian May and Roger Taylor have recreated so successfully in the stage show, just tainted the industry.

“As time has proved, they were wrong. Who, except for a few old hippies like me, remembers who Paul Rodgers is, even though he does still have one of the most superb voices in the business.”

No publicist could have planned Queen’s career path. They did all the wrong things — or so professsional image-makers would have told them at the time. Never mind Ferddie’s dress-sense, which frequently dropped the jaws of producers on Top Of The Pops (but wowed the youngsters), or Brian May’s coiffure courtesy of Charles II’s hairdresser.

There was the widely soundtrack composed for Flash Gordon in 1980, a commission regarded at the time as cred-suicide for any self-respecting rock band and a source of (…) for drunks of a certain age today — but still a solid source of (…) for Queen enterprises. It topped the charts in the USA in all threee categories of rock, soul and disco and sold more than 45 million albums worldwide.

They wrote songs with fabulous (…) and ridiculous lyrics. Neither Taylor or May could explain what the words of Bohemian Rhapsody meant when Ben Elton was struggling to find a way to slot it into the stage show’s plot, snd yet the song remains one of the nations’s favourite tracks of all time. It has twice been a number one hit, the second time after Mercury’s death, re-released after it was featured in Mike Myers’’ Wayne’s World.

And there are hundreds of thousands of people who will tell you that no matter what anyone says the show-stopping performance of 1985’s Live Aid was Queen’s.

There was more jaw-dropping over Brian May’s relationship with Anita Dobson, at the time best known as Angie in EastEnders.

“We know his wardrobe is put together by stylish Swedes but how can any rock legend have his love-life scripted by soap opera and hold his head up high in a nightclub,” wrote one columnist at the time.

THEY remain an item having finally married a couple of years ago. “Any time I try to move away from her in even the smallest degree, my guts drop out,” says May. “It’s been (…) that since the first time I met her.”

And although Freddie’s sexuality was a taboo subject until the day before his death, when he announced that he had the Aids virus, it was not difficult to guess from his music and lifestyle that his love-life was, at the very least, flamboyant. But the power of his charisma made it possible for both gays and sporting types to share the anthem that is We Are The Champions.

No matter what Queen did, or how hard the (…) tried to knock them off their (…), the band were and are still adored by an utterly loyal fan base. It was only right, therefore, that the figure silhouetted against the sky atop Buckingham Palace, playing God Save The Queen on Stratocaster at the beginning of the ground-breaking 2002 Rock Jubilee Concert in the Palace gardens, should be none other than Brian May. Freddie should have been there, too. He would certainly have been invited.

So the group that still needs the record for pulling in the largest paying audience for a single band — 131,000 people at the Morumbi Stadium in Sao Paulo — has few concerns about whether the new line-up will be able to sell tickets.

The new tour will include all the major stadiums in Britain and more spectacular events abroad — they have been asked to play at Nelson Mandela’s concert for Aids charities being held in South Africa in memory of his son — and the new obligatory Hyde Park gig in July. Several dates are already sold out.

“I’m personally not very excited about it,” confesses Jon Kutner. “I was a huge fan and I’m really too young to be a true Paul Rodgers fan. But I talked to Brian and Roger about this comeback a couple of days ago and they are very (…) that Paul is not meant to be Freddie’s replacement.

“They see him as a (…) who had the talent and experience to carry that burden well enough to recapture a bit of that live performance excitement again.

“A lot of people will be very angry but I think they may be missing the point. As Brian says, Freddie himself would rather enjoy (…) people off — he’d probably say: ‘Gor for it.’”

[radiomaxmusic]

Monday, December 18, 2023 12pm ET: Feature Artist - Paul Rodgers

Paul Bernard Rodgers (born December 17, 1949) is an English-Canadian singer, songwriter and musician. He was the lead vocalist of numerous rock bands, including Free, Bad Company, the Firm and the Law. He has also performed as a solo artist, and collaborated with the remaining active members of Queen under the moniker Queen + Paul Rodgers, from 2004 until both parties parted ways in 2009. A poll…

[diceriadelluntore]

Storia Di Musica #340 - INXS, Kick, 1987

La band di oggi, a metà anni '80, era tra le più famose del mondo. Ma credo che anche all'epoca pochissima sapessero che il nucleo centrale di questo gruppo australiano fosse formato da tre fratelli. tutto inizia a Perth, nel 1979: i fratelli Farris, Tim, Andrew e Jon che avevano già un gruppo dal nome, inequivocabile, di The Farris Brothers, aggiungono al nucleo fondativo Kirk Pengilly, Garry Beers e un cantante, amico di liceo di Tim, Michael Hutchens. Si spostano a Sydney, dove cambiano nome in INXS ( da leggere come "In Excess") dove ottengono un contratto con una piccola etichetta indipendente, la Deluxe, con cui pubblicano il primo singolo, Simple Simon. Erano gli anni della pulizia dal rumore del punk, dell'arrivo della elettronica "dolce" e della new wave. È in questo solco che la band si muove, ma si apre in maniera piuttosto originale al funk e a piccoli innesti dance. All'inizio concentrano le energie nella nativa Australia, dove ottengono un buon successo con il loro primo disco, del 1980, intitolato INXS, che si ripete nel 1981 con Underneath The Colours, con la prima hit, una cover di un classico della musica australiana coverizzato, The Loved One, successo del 1966 dei The Loved Ones. Nel 1982 tentano il grande salto. Vanno in Inghilterra, dove li scrittura la WEA e la Atlantic li distribuisce negli Stati Uniti. Shabooh Shoobah del 1982 ha il primo singolo di successo mondiale, Don't Change, e il seguente tour internazionale al seguito di The Kinks e Adam And the Ants li fa conoscere in mezzo mondo. Nel 1984 ancora maggiore successo ottiene The Swing, trascinato dal singolo Original Sin, prodotto da Nile Rodgers. Il successo è sempre crescente: nel 1985 partecipano da Sydney al Live Aid, nel 1986 suonano con i Queen alla Royal Albert Hall, Hutchens addirittura esordisce come attore protagonista in Dogs In Space, film che lo vede interpretare Sam, il frontman avvezzo alla sostanze di una band post punk nel 1978 a Melbourne.

Dopo un tour lunghissimo, e con il management che ne programma uno nuovo in Europa, la band torna in studio. Guidati dal produttore Chris Thomas, uno dei grandi produttori inglesi (a lavoro con The Beatles, Pink Floyd, Procol Harum, Roxy Music, Badfinger, Elton John, Paul McCartney, Pete Townshend, Pulp, The Pretenders) le prime prove avvengono addirittura nella spettacolare Sydney Opera House. Il suono è più maturo, gli innesti da altri generi eclettici, i riff invidiabili e la voce di Hutchens è ormai una garanzia. Thomas però vorrebbe più canzoni, anche in previsione dell'atteso e imminente tour europeo, quindi manda Hutchens e Andrew Farris a Honk Kong, dove i due acquistarono un appartamento. Un giorno, mentre è in attesa di un taxi, a Andrew viene in mente una melodia, proprio mentre il taxi è arrivato. Chiede al tassista di aspettarlo cinque minuti, ma lui sale nel suo appartamento, scrive e registra i demo di una canzone, la riporta sulla cassetta e 45 minuti dopo, nonostante la furiosa cazziata del tassista, la porta a Hutchens che lo aspettava in un bar, e in dieci minuti ne scrive il testo, per quello che sarà il singolo di apertura, e hit mondiale, del nuovo disco.

Kick esce il 19 ottobre del 1987, un mese prima, il 21 Settembre, fu preceduto da quella canzone: Need You Tonight, dal ritmo funky, la voce sensuale di Hutchens e un bellissimo video musicale (che vinse nel 1988 5 MTV Video Music Awards) trascinano il brano in cima alle classifiche (primo negli Stati Uniti e secondo in Gran Bretagna) e proietta il disco e la band in una nuova dimensione. Tutte le canzone sono scritte dal duo Hutchens - Andrew Farris, che mediano tra il suono molto funk dei primi dischi a quello mainstream rock dei primi dischi a distribuzione internazionale. Più che altro, hanno il tocco magico di scrivere canzoni che diventano famose per come rimangono in testa: New Sensation, Devil Inside, Mystify, la toccante Never Tear Us Apart, la ripresa di The Loved One ne fanno un disco di grande qualità e di grande successo, con una serie di ganci musicali memorabile. Il disco venderà milioni di copie e li fa diventare rockstar.

Arriveranno anche al Festival di Sanremo del 1988, però perdono il tocco magico: nonostante tour seguitissimi, in studio perdono la magia e X (1990) e Welcome To Wherever You Are (1992) sono accolti con freddezza e non regalano grandi canzoni. Parallelamente, Hutchens diventa molto più famoso dell'intera band, complice anche la relazione con Paula Yates, giornalista musicale famosa per le sue interviste particolari fatte in programmi come The Tube o The Big Breakfast, dove intervistava gli artisti in un letto e dal 1986 al 1996 moglie di Bob Geldof. Hutchens pensa ad una carriera solista, ma il 22 novembre del 1997 viene trovato morto impiccato in una camera di Hotel in Australia. In un primo momento si scatenano le voci incontrollate di un tragico gioco erotico, in seguito un'inchiesta medico legale, contestata da Yates, accerta che la morte del cantante è suicidio, cosa che non interrompe minimamente il gossip sulla vicenda.

La band, scossa dall'accaduto, sostituirà per un tour celebrativo Hutchens con Terence Trent D'Arby (che fu amante di Paula Yates quando era ancora sposata con Bob Geldof), inaugurando il nuovo stadio Olimpico di Sydney, e nel 2000 alla chiusura dei Giochi Olimpici nella città australiana del 2000. La band continuerà in maniera discontinua anche a suonare dal vivo fino al 2012, ma senza mai arrivare alla qualità di questo disco. Ci sono da raccontare ancora due aneddoti: Hutchens era probabilmente molto simpatico, perchè era amico di tantissimi musicisti. Simon Le Bon dei Duran Duran, scrisse per lui prima della sua morte, Michael, You've Got A Lot To Answer For dall'album Medazzaland del 1997, canzone che Le Bon non è mai riuscita a cantare dal vivo per l'emozione. E Bono dedicò all'amicizia con Hutchens un brano molto famoso, Stuck In A Moment You Can't Get Out Of, da All That You Can't Leave Behind del 2000, che immagina un impossibile dialogo tra i due con Bono che cerca di convincere Hutchens a non farlo:

I never thought you were a fool

But darling, look at you

You gotta stand up straight, carry your own weight

These tears are going nowhere, baby

[danielsiegelalonso]

Altering Music Careers: The Benefits and Challenges of Collaborating with Other Musicians | Daniel Siegel Alonso

When two (or more) musicians collide, magic can happen—or occasionally, it's more like a polite, artistic wrestling match. The music industry is rife with iconic collaborations that altered the course of genres and careers, from unexpected partnerships to power-packed duos. But like all things in life, collaboration in music brings both highs and lows. Daniel Siegel Alonso looks at the benefits and challenges of working with other artists with some iconic examples.

The Benefits

Fresh Perspectives

Siegel Alonso points out that when you collaborate with another artist, you invite their creativity and influences into the studio. This injection of new ideas can be what your music needs to evolve. Take Blondie's Debbie Harry and Nile Rodgers and Bernard Edwards of Chic, for example. In 1981, the punk frontwoman teamed up with the duo for her solo debut. The result? A hybrid of genres. KooKoo was one of the earliest fusions of funk, rock, and dance music that would become the trademark of Rodgers and Edwards, and this style would later be evident on albums such as David Bowie's Let's Dance. Harry's punk edge combined with Chic's disco groove created something distinctive—proof that stepping outside your comfort zone can lead to timeless innovation.

Skill Expansion

Sometimes, your collaborators possess technical skills or a level of musicianship that helps you grow. Siegel Alonso says a classic case is musical chameleon David Bowie teaming up with The Donny McCaslin Group on his Blackstar record. Bowie was known for pushing boundaries, and in his final album, he turned to McCaslin's jazz group to elevate his sound. The partnership propelled both parties to explore experimental territory that blurred the lines between art-rock and jazz. Collaborating with seasoned musicians allowed Bowie to embrace an avant-garde sound, while McCaslin's group gained exposure to a new audience. Win-win.

The Power of Reinvention

Collaborating can also help musicians refresh a staid image or explore new genres without fully stepping into the unknown. Enter Dolly Parton's 2023 rock album, Rockstar. At 77, the queen of country shocked the world by teaming up with rock legends like Paul McCartney and Steven Tyler to create an album of hard-hitting covers and originals. Dolly's leap into rock allowed her to break out of country music's constraints while remaining true to her roots as a larger-than-life entertainer. This kind of reinvention keeps musicians relevant and surprising—and Parton's ability to seamlessly navigate a new genre shows just how potent partnerships can be.

The Challenges

1. Creative Control

Siegel Alonso advises that one of the primary challenges in collaboration is the shift from being the sole decision-maker. It's like co-driving a car—you might not always agree on the destination or the path. Collaborations can sour when both parties have assertive, conflicting creative visions. However, managing egos, preferences, and creative direction with respect is critical. It's a delicate balance, but when handled respectfully, these obstacles can lead to a stronger result than either party could achieve alone.

2. Balancing Styles

Sometimes, artists from different genres or styles collide—and it's not always seamless. While Harry and Chic pulled off their genre fusion, not every alliance is seamless. Merging two distinct musical worlds can feel like squeezing square pegs into round holes. If the styles don't gel or someone feels like they're sacrificing too much of their signature sound, the project can feel forced or disjointed.

3. Schedules and Logistics

As ordinary as it sounds, scheduling can be a considerable challenge. Busy musicians often have packed touring and recording schedules, making it difficult to carve out time for collaboration. Even worse, the spontaneity and flow of creative chemistry can get lost when you're working across different time zones or coordinating through emails and Zoom meetings.

Conclusion

Teaming up with other musicians is a fragile balancing act. It can lead to career-defining breakthroughs, as seen in Harry's genre-bending debut with Chic, Bowie's jazz-tinged swan song, or Dolly's genre jump into rock territory. At the same time, it requires compromise, flexibility, and a willingness to renounce one's ego.

While collaboration is not without its challenges, the potential rewards are worth the effort—musicians can explore new sounds, expand their skill sets, and even breathe new life into their careers. So, Daniel Siegel Alonso notes that while it's not always simple, for musicians willing to embrace the unpredictable magic of partnership, the potential upside is nothing short of transformational.

[krispyweiss]

Song Review: Paul Rodgers - “Take Love”

Paul Rodgers’ still-powerful voice can’t salvage “Take Love.”

The formulaic rocker with a brief hint - an incongruous tease, really - of Bad Company’s “Crazy Circles” and oh-so-dramatic backgrounds follows “Living it Up” as the second single from Rodgers’ forthcoming (Sept. 8) Midnight Rose.

It’s not good. And it’s not entirely new, either, as Queen + Paul Rodgers played a version of the track during their strange pairing in the aughts. “Take Love” is nearly listenable until the forehead-smacking bridge rolls around and Rodgers sings:

There are so many/different kinds of love/you’re the only one/I’m dreaming of/and my heart’s in tune/with your fire so rare/ooh-wee, baby/shining everywhere (shining everywhere)

The lead vocals are Rodgers-worthy. The lyrics, backgrounds and the music ain’t.

Grade card: Paul Rodgers - “Take Love” - D-

8/14/23

[icarus-suraki]

Music asks: 9, 11, 12, 23, 29

Music asks game!!!

9:A song that makes you happy

Can I just keep posting my favorite Eurobeat? Because that always makes me happy.

Dave Rodgers, "Wheels of Fire":

Another parapara choreo I love lol

11:A song that you never get tired of

This is really hard because there are a lot of songs I don't get tired of but it's like I forget them for a bit then remember them again and it's like they're new again.

I think I'll go with Queen, "Somebody to Love" because I think that song could literally raise me from my grave:

I get inordinately excited when I hear it on the radio and I must--must!!!--sing along.

12:A song from your preteen years

Blind Melon, "No Rain."

It was released in 1992 but I don't think I heard it for the first time until another year or two later but it was my favorite song when I was in those awkward preteen years, when I'd just figured out that there was actually good music out there.

23:A song that you think everybody should listen to

I think we could do with more old school protest music, especially Pete Seeger, but also Woody Guthrie and the other original protest singers, in large part because they were singing old union songs, old solidarity songs, new anti-war songs, new peace songs and I think that wouldn't be such a bad thing to have again. But you have to pay attention to the words sometimes. "Union Maid" is pretty easy, but it's more subtle with some others.

So here's Pete Seeger performing "If I Had a Hammer" live in Melbourne, Australia, in 1963:

29:A song that you remember from your childhood

The Peter, Paul and Mary cover of "Blowin' in the Wind":

I adored this song when I was small, especially "how many seas must a white dove sail before she sleeps in the sand?" The whole song is so full of images that it was really easy for me, as a small child, to understand, you know?

Yeah, I was kind of raised by anti-war hippies and it was great.

[gluttons-for-punishment]

[obsessivelollipoplalala]

Hai there 💞

New to your blog and I love it. I’ve a deep love and borderline obsession with Freddie and Queen but I was curious to know more about why and how Adam Lambert has been allowed to continue to front the band? I know John felt that Freddie’s death meant the bad was done and has stayed away from performing but is it not kind of a slap in the face to continue without Freddie Mercury?

Oh, you’re incredibly new lmao. So, no, it’s not. I’m going to summarize everything in bullet points:

The entire band thought Queen was over and they would never play again after Freddie died. Brian and Roger didn’t start to play as Queen again until almost 15 years after Freddie’s death, which is a long time. They didn’t carelessly jump back into touring, and they didn’t expect to tour again after initially finishing with Paul Rodgers in like 2005; they didn’t expect someone like Adam to come into their lives at all 

John retired because he mentally couldn’t handle being in the public and on stage anymore, and this was almost a decade before Brian and Roger began touring again, so it’s not like he declined touring as Queen again solely out of respect for Freddie. He ghosted everyone after 1997, basically. The man has issues that he clearly doesn’t want to discuss.

Brian and Roger continue to play to keep Freddie and Queen alive, and if they’re going to do that…who’s supposed to sing the songs? They need someone to do it. It would be weird and ghoulish if they had a Freddie hologram during the entire concert. How is finding someone else to sing the songs a slap in the face to Freddie, when Freddie literally can’t perform anymore? Plus, we have good reason to believe Freddie did not want his music to die with him. He knew the band would need to finish their last album without him, and trusted them to do that, and one of the band’s last singles is a song literally titled, “The Show Must Go On.”

I just saw Queen and Adam Lambert last week, coincidentally, and even my non-fandom sister who went with me said how the entire show feels respectful of Freddie and like his presence is there, even when he’s not explicitly mentioned 

With that said, there’s always a moment in their concerts specifically about Freddie with Brian performing “Love of My Life” for him. See my pinned post, and this post I made about it just a few days ago

No one is more aware that Freddie isn’t here anymore than Brian and Roger, and decades of quotes of them saying how much they miss Freddie are not erased by them wanting to keep their music and their friend’s memory alive as long as they can with a talented performer who’s incredibly respectful of the giant shoes he knows he could never fill

So yeah lol. Feel free to ask for clarification on any of these points, since you’re new 

[sobalvarro1]

Freddie Mercury, Queen, Bohemian Rhapsody, Live Aid, British rock band, lead vocalist, songwriter, pianist, flamboyant stage presence, iconic mustache, Zanzibar, Parsi, Farrokh Bulsara, rock and roll hall of fame, greatest singers of all time, We Will Rock You, Somebody to Love, I Want to Break Free, Don't Stop Me Now, The Show Must Go On, A Kind of Magic, Under Pressure, Killer Queen, Another One Bites the Dust, Love of My Life, Innuendo, Mercury Phoenix Trust, AIDS activism, posthumous releases,Barcelona, Montserrat Caballe, The Great Pretender, solo career, Mr. Bad Guy, Made in Heaven, Queen + Paul Rodgers, Queen Forever, biopic, The Freddie Mercury Tribute Concert, The Freddie Mercury Album, The Platinum Collection, Lover of Life, Singer of Songs, The Very Best of Freddie Mercury Solo, The Solo Collection

[silverslipstream]

not sure why but here's my spotify playlists

I've ranked them from longest (time-wise) to shortest, with number of songs, the median song length in each (because I can't be arsed adding hundreds of songs together for an exact average) and a random selection of three tracks as a sample.

#1. ignition sequence | 148 songs, 13hr 39min total length, median song length 5m 24s

Realizer - The Crystal Method

Atom Bomb - Fluke

Papua New Guinea (Hybrid Mix) - The Future Sound of London

#2. the soundtrack to a downward spiral | 205 songs, 13hr 26min total length, median song length 3m 50s

Magnificent (She Says) - Elbow

Blood - The Middle East

I Know It's Over - The Smiths

#3. yokohama expressway | 163 songs, 13hr 17min total length, median song length 4m 55s

Antares - Omniverse

GRAN TURISMO - Trashiii

The Band Played On - Glenn Underground

#4. 80s stuff | 137 songs, 9hr 46min total length, median song length 4m 03s

Fire In The Twilight - Wang Chung

You Can Call Me Al - Paul Simon

Tainted Love - Soft Cell

#5. club and dance shit but like only the popular stuff | 131 songs, 8hr 58min total length, median song length 3m 39s

Castles in the Sky - Ian Van Dahl, Marsha

Feel The Love - Rudimental, John Newman

The Rockafeller Skank - Fatboy Slim

#6. chill beats to shit and piss to | 90 songs, 6hr 57min total length, median song length 4m 20s

An Ending (Ascent) - Brian Eno

Sympathique - Pink Martini

My Tears Are Becoming A Sea - M83

#7. theme tunes for a hopeless romantic | 112 songs, 6hr 27min total length, median song length 3m 29s

I Belong In Your Arms - Chairlift

Je te laisserai des mots - Patrick Watson

This Charming Man - The Smiths

#8. britpop | 86 songs, 5hr 38min total length, median song length 3m 50s

Common People - Pulp

Chelsea Dagger - The Fratellis

Inbetweener - Sleeper

#9. boys night out playlist (co-created with three friends) | 94 songs, 5hr 31min total length, median song length 3m 24s

Paddling Out - Miike Snow

SPIT IN MY FACE! - ThxSoMuch

Novocaine - Valentino Khan, Kayzo

#10. the songs I do air guitar to when nobody's looking | 96 songs, 5hr 24min total length, median song length 3m 19s

Lobotomy For Dummies - Zebrahead

Lights and Sounds - Yellowcard

Blackjack - Airbourne

#11. summer: the motion picture soundtrack | 77 songs, 4hr 49min total length, median song length 3m 42s

16 - Craig David

Cheerleader - Felix Jaehn, OMI

How Bizarre - OMC

#12. random shit with a vaguely American teen movie from the late 90s or early 2000s-theme | 75 songs, 4hr 21min total length, median song length 3m 23s

Seven Days In The Sun - Feeder

Maureen - Fountains of Wayne

Partners In Crime - Vibrolux

#13. classical music | 40 songs, 3hr 22min total length, median song length 4m 29s

Prokofiev: Romeo and Juliet, Op.64, Act I, Scene II: Dance of the Knights - Sergei Prokofiev, André Previn, London Symphony Orchestra

13 Pieces, Op. 76: No.2 Etude - Jean Sibelius, Håvard Gimse

Piano Sonata No. 12 in F Major, K. 332: II. Adagio - Wolfgang Amadeus Mozart, Maria João Pires

#14. i am literally humphrey bogart | 43 songs, 3hr 13min total length, median song length 4m 32s

Loungin' - Donald Byrd, Guru

My Queen Is Albertina Sisulu - Sons Of Kemet

Beatmaker - Matt Berry, Emma Noble

#15. kurtzing the gesagt | 24 songs, 2hr 56min total length, median song length 6m 55s

Alien Scale - Epic Mountain

Dyson Sphere - Epic Mountain

All The Bombs - Epic Mountain

#16. tofu delivery beats | 30 songs, 2hr 30min total length, median song length 4m 48s

SPACE BOY - EXTENDED ver. - Dave Rodgers

The Top (Extended) - Ken Blast

RUNNING IN THE 90'S - Max Coveri

#17. music to start a cyberpunk revolution to | 49 songs, 2hr 28 min total length, median song length 2m 58s

Stardust Circuit - Starjunk 95

Daft. - Kosu

Lost (Instrumental) - PYLOT

#18. nucking futs (goes fucking nuts) | 48 songs, 2hr 16min total length, median song length 2m 52s

Ready Set - Joey Valence, Brae

Get Your Dad Off The Internet - Dr. Syntax, Tom Caruana

BERRIS FUELLER - Billy Marchiafava

#19. valentine's day | 24 songs, 1hr 37min total length, median song length 4m 02s

About You - The 1975

Kiss Me - Sixpence None The Richer

Can't Help Falling In Love - Lick The Tins

#20. childhood ruined | 20 songs, 1hr 3min total length, median song length 2m 36s

So Long - Randy Newman

Stuff We Did - Michael Giacchino

Leaving Hogwarts - John Williams

#21. falling in love on a bridge in an old english city | 34 songs, 59min 41sec total length, median song length 1m 34s

Cambridge, 1963 - Jóhann Jóhannsson

Travel To Edinburgh - Tom Tykwer, Johnny Klimek, Reinhold Heil

Whiffing - Borrtex

Hope you enjoyed this stupidly lengthy view into my music taste, if you've managed to read this far! I have no idea why I did this!

[heavypedia]

Lançado em 15 de setembro de 2008. The Cosmos Rocks é o único álbum de estúdio do Queen + Paul Rodgers. Com faixas como "Cosmos Rockin'", "Say It's Not True" e "C-lebrity" no tracklist. Alcançou a posição 5 na parada de sucessos britânica.

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Tags: #Queen #QueenBand #QueenAndPaulRodgers #TheCosmosRocks #PaulRodgers #BrianMay #RogerTaylor #TaylorHawkins #UKAlbumschart #Rock #HardRock #2000sMusic #2000sRock #Heavypédia #Heavypedia #Heavycast #WilliamWayne #GaleriaDoRock #NaçãoRoqueira.