Albums: The Game
"Crazy Little Thing Called Love", which was released on 12" in Germany and Venezuela, is marked as the first ever single to be released in the 12" format anywhere in the world.
Queen performed 'Save Me' on the 'Crazy Tour' in 1979 before it's release in 1980.
Queen about the record:
"Recently, we've become more selective, I think, and we try to make albums which don't go in so many directions at once for example, 'The Game' album was really pruned, and the others refused to include a couple of things I wanted on, because they said they were too far outside the theme of the album, and that we should he trying to make a slightly more coherent albums. That was breaking ground for us because for the first time we went into a recording studio without a deadline, purely with the intention of putting some tracks down as they came out. 'Crazy Little Thing Called Love' was one of them, another was 'Save Me'. There was a wide variety of things, and we're left in the position of having something in the can that we don't have to release straight away, and which at some future date we can perhaps fashion into an album.
The basic reason for doing it was to put ourselves in a totally different situation. It's a way of getting out of that rut of doing an album, touring Britain, touring America, etc. We thought we'd try and change and see what came out. You have to make your own excitement after a while."
"Roger's really the guy who introduced us to synthesizers. You can now get polyphonic synths with a device for bending the notes which is much closer to the feel of a guitar than ever before, so now we use the synth, but sparingly, I think, particularly on 'The Game'. There's very little there, and what there is merely complements what we'd used already, so there's no danger of the synth taking over, which I would never allow to happen. I get a good feeling from playing the guitar which you don't get with anything else a feeling of power, and a type of expression."
"That was when we started trying to get outside what was normal for us. Plus we had a new engineer in Mack and a new environment in Munich. Everything was different. We turned our whole studio technique around in a sense, because Mack had come from a different background from us. We thought there was only one way of doing things, like doing a backing tracks: We would just do it until we got it right. If there were some bits where it speeded up or slowed down, then we would do it again until it was right. We had done some of our old backing tracks so many times, they were too stiff. Mack's first contribution was to say, "Well you don't have to do that. I can drop the whole thing in. If it breaks down after half a minute, then we can edit in and carry on if you just play along with the tempo". We laughed and said "Don't be sily. You can't do that". But in facts, you can. What you gain is the freshness, because often a lot of the backing tracks is first time though. It really helped a lot. There was less guitar on that album, but that's really not going to be the same forever; that was just an experiment."
"It took sheer guts and bravery. The first couple of nights were nerve-wracking, but it was okay after that. You see, I wrote Crazy Little Thing on guitar and played rhythm on the record, and it works really well because Brian gets to play all those lead guitar fills as well as his usual solo. I'm somewhat limited by the number of chords I know. I'm really just learning, but I hope to play more guitar in the future."
Brian (about Crazy Little Thing Called Love)
"We're not a singles group, we don't stake our reputation on singles and we never have done, but I think it's brought a lot of younger people to our concerts.
No doubt there are those who hate the new single but like what we've done in the past. But I think that tends to happen with whatever you put out, unless you're totally predictable. You lose some and gain some. But the actual live show gives a good crossover, so I don't think anyone's disappointed with that."
"'Crazy Little Thing Called Love' was very untypical playing for me. I'd never used a Telecaster on record before, and a Boogie amplifier, which I'd never have considered using. It's a very sparse record, and it was done with Elvis Presley in mind, obviously I thought that Freddie sounded a bit like Elvis, but somebody's done a cover of it who sounds absolutely like Elvis, and the whole record sounds like a Jordanaires/Elvis recreation."
"The guys put down the backing track for that one when I was out doing something in Munich, where we were working; Freddie said he wrote the song in his bathtub at the Munich Hilton. I came back and thought, 'Oh my God, it's almost finished. Let me put some guitar on It before they stick It
out.' Fred plays the rhythm acoustic guitar. All I really did was add a kind of ersatz rock and roll solo and some backing harmonies and it was done."
Freddie (about Crazy Little Thing Called Love)
"I wrote it in the bath. I actually dragged an upright piano to my bedside once. I've been known to scribble lyrics in the middle of the night without putting the light on."
"The first couple of nights were nerve-wracking, but it was okay after that. You see, I wrote `Crazy Little Thing' on guitar and played rhythm on the record, and it works really well because Brian gets to play all those lead guitar fills as well as his usual solo. I'm somewhat limited by the number of chords I know. I'm really just learning, but I hope to play more guitar in the future."
Roger (about Crazy Little Thing Called Love)
"It's not rockabilly exactly but it did have that early Elvis feel, and it was one of the first records to exploit that. In fact I read somewhere - in Rolling Stone I think it was - that John Lennon heard it and it him the impetus to start recording again. If it's true - and listening to the last album it certainly sounds as if he explored similar influences - that's wonderful."
John (about Another One Bites The Dust)
"I listened to a lot of soul music when I was in school and l've always been interested in that sort of music. I'd been wanting to do a track like 'Another One Bites The Dust' for a while, but originally all I had was the line and the bass riff.
Gradually I filled it in and the band added ideas. I could hear it as a song for dancing but had no idea it would become as big as it did. The song got picked of our album and some of that black radio stations in the US started playing it, which we'd never had before."
Brian (about Another One Bites The Dust)
"A lot of people have used 'Another One Bites The Dust' as a theme song - the Detroit Lions used it for their games, and they soon began to lose, so they bit the dust soon afterwards, but it was a help to the record - and there's been a few cover versions of various kinds, notably 'Another One rides The Bus', which is an extremely funny record by a bloke called Mad Al or something, in the States - it's hilarious. We like people covering our songs in any way, no matter what the spirit it's done in, because it's great to have anyone use your music as a base, a big compliment."
"John Deacon, being totally in his own world, came up with this thing, which was nothing like what we were doing. We were going for the big drum sound: you know, quite pompous in our usual way. And Deakey says, 'No, I want this to be totally different: it's going to be a very tight drum sound.' It was originally done to a drum loop - this was before the days of drum machines. Roger did a loop, kind of under protest, because he didn't like the sound of the drums recorded that way. And then Deakey put this groove down. Immediately Freddie became violently enthusiastic and said, 'This is big! This Is important! I'm going to spend a lot of time on this."
"It was the beginning of something quite big for us, because it was the first time that one of our records crossed over to the black community. We had no control over that; it just happened. Suddenly we were forced to put out this single because so many stations in New York were playing it. It changed that album from being a million-seller to being a three-million seller in a matter of three weeks or so."
Roger (about Rock It)
"'Rock It' is totally elemental. It's the most basic song ever that just says you can enjoy rock and roll. That's all."
Roger (about Don't Try Suicide)
"'Don't Try Suicide' says - just that - and I quite like that one, it's funny. You should never read the lyrics without listening to the album at the same time, you know. It isn't prose and they're not poems."
NME: It works as tired old man, obtrusioned and blind. Like old cat, which purr with complacence upon itself.
Sounds : I like Queen album, I like Queen album... It's accurate shoot on point, as men's finale victory in Wimbledon.
Play The Game
NME: Another lost 3 minutes, as we expected
Crazy Little Thing Called Love
NME: ..rough song from rough group..
Play The Game
Demo Version, Andy Gibb Vocal
There's a version with Andy Gibb's vocal in the first verse.
Hollywood Remix 1991
By R.A.K. and Jack Benson. Features extra bass. Brian's guitar were removed.
7:15 long, but it's just mix of the Hollywood version.
Another One Bites The Dust
On DJ-only 12" compilation. It sounds more like extended version, no new instruments, just some vocals were removed.
Dave Ogilvie Alternative Mix
Similar to the original with some 'Bohemian Rhapsody' samples.
On US DJ 12". This 6:34 long mix is more than re-edit, similar to the Dakeyne Mix.
A Human Body
B-side to the 'Play The Game', only 7". It's Roger's song with his vocals.
Crazy Little Thing Called Love
US TV Version
From the 'Saturday Night Live' (1981). Similar to the other live versions.
Nice album, first one, when group used synthesizers. I think one of the best for me. It's breaking album, because of using synths. This change has brought them new fans and old fan were surely satisfied. Why not with songs like 'Crazy Little..', Another One Bites The Dust', 'Save Me', 'Dragon Attack'...
This is ideal album for my walkman, all songs have good rythm for walk, specially ABTD and DA :-)