THE GAME

1. Play The Game and the spacey intro worthy of The Flash; after entering this new decade, a new sound was needed, and Queen delivered. Still the piano, but with synth effects that marked a revolution for the band: they who only made rock with the right instruments; a beautifully pitched love song and a charming tune. 2. Dragon Attack will scrape on the sounds of the past, raw, raw rock, and John's powerful bass playing solo; a frenzied rhythm, a solo from Brian, and distinctive, almost shouted backing vocals, and the surge resumes metronomically; simple but effective with the endlessly fading solo and the return of the announcing bass... 3. Another One Bites The Dust, which continues with this even more present bass, has disco put its two cents in? My discomfort at seeing a vulgar guy dancing to it, he who didn't like rock but who was hogging this song and the girls at school! The pyrotechnic effects with big, mimed electric bass, aped by these sound effects of another genre, a transfer of power. 4. Need Your Loving Tonight for a nice, consensual rock boogie but lacking the Queen fiber, hence the lowered overall rating. 5. Crazy Little Thing Called Love for the second mega-track, yes, Queen, a rock band, distilled rock and then Southern, Western songs, flirting with the great tenors of black bluesy rock; a unique moment, very beautiful, which deviates from their usual repertoire, but so nostalgic and romantic too.

6. Rock It (Prime Jive) for the intro, an untimely anthem to rock 'n' roll; an intro that will hook me back to prog blood, but it had to be said quickly; After the explosion, it's these fruity synth notes that burst forth and will set the band apart from the 70s; whether it's good or bad, the aura continues to work, and Brian's thunderous solo is reassuring, a long fade with a Dolby Surround effect before its time. 7. Don't Try Suicide follows the "another" with the talking bass, setting the rhythm with handclaps; a familiar easy chorus and Bohemian-style backing tracks for a while before launching the Southern boogie solo; the bass takes over the outro in a fade-out. 8. Sail Away Sweet Sister for the underrated title, a magnificent romantic-spleen ballad with Brian on vocals; the divine, baroque acoustic arpeggio sets the mood with tears of joy; a few bells and Queenesque backing tracks, in short, the usual panoply; the outro with its waves and its final, shivering progressive space. 9. Coming Soon and the second conventional track that made me lower my rating; A unique track, energetic but devoid of creativity. Yes, I'm harsh, redundant, and overrated. 10. Save Me for the track I first saw on TV, yes, back when there was still quality! In short, the progressive track with its intro, its arpeggio, its acoustic variation, its space with the dove, the musical beauty coupled with the chiseled crystalline notes; a must, ultimately.

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