The band formed in London in 1970 after May and Taylor's former band Smile split after having released an album and single. Freddie replaced lead vocalist Tim Staffell, after the latter's departure from the original trio.
There was much deliberation as to what the band's name would be. May and Taylor had settled upon the Grand Dance, derived from a C.S. Lewis Trilogy of books Out Of The Silent Planet.
Ultimately, the band went with Queen, a name that was entirely Freddie's. Originally Roger and, especially, Brian did not like the name, though Mercury would eventually persuade them both that it was "right" for the band.
"Years ago I thought up the name Queen... It's just a name, but it's very regal, and it sounds splendid. It's a strong name, very universal and immediate. It had a lot of visual potential and was open to all sorts of interpretations. I was certainly aware of the gay connotations, but that was just one facet of it. "
- Freddie Mercury.
Queen went through several bass players before a young electronics major by the name of John Deacon arrived on the scene in January of 1971.
"Until John, it had been exploding bass player syndrome. If they musically worked they'd look all wrong, and if they felt all right they couldn't play. - Brian May.
This quite shy guy turned up with his immaculate Rickenbacker bass and immaculate amplifier, plugged in, and as soon as he started playing we realized it was right." - Brian May.
Later that year, the band was secured recording time at the newly built De Lane Lea studio, and used the opportunity to record several songs that would later appear on their debut album - Liar, Keep Yourself Alive, Jesus, and The Night Comes Down. The demo reel was passed around from producer to producer with little success, until a staff member of Trident records by the name of Roy Thomas Baker was introduced to the band by fellow Trident producer John Anthony. Baker dropped in to watch the band at work and, clearly liking what he heard, recommended Queen to his superiors.
It was eventually agreed upon that the fledgling band could record at Trident studios, though after already-established artists had finished their work, such as the likes of Elton John and David Bowie. Relegated to the wee hours of the morning to record the remaining tracks of their first album, the band nonetheless stuck it out until they reached their ultimate goal of "perfection".
Queen's self-titled debut album was released in 1973 and received little attention from the general public. They quickly followed it a year later with a second album, "Queen II" which also failed to generate much interest from music fans in Britain, despite the success of the album's single, Seven Seas of Rhye, which would reach #10 on the charts after the band's mimed appearance on Top of the Pops.
The band's second album was recorded with a higher budget than the first, and the band threw everything they had into recording it. Queen II was somewhat of a "concept album", split into "White Side" vs. "Black Side".
As was in their nature, the band pressed onward after the mediocre success of their first two albums, immersing themselves in a world-wide tour to promote Queen II. Queen played in America for the first time, as a support act for Mott the Hoople.
Sheer Heart Attack would be released later that year, focusing more on being accessible to listeners, than the grand and complex ideas of the previous two albums. The recording of their third album was met with some hardships, as May fell victim to a series of illnesses brought on by an infected inoculation, required for the band's rigorous touring schedule.
Sheer Heart Attack brought even more success for the band, with May's Now I'm Here and the song that would be the band's "turning point", the Mercury-penned Killer Queen, the latter of which would reach #2 on the UK charts.
During this time, the band began developing a huge following in Japan and witnessed their popularity for themselves when they visited the country, mainly in 1975, to promote their fourth and most famous album "A Night At The Opera", featuring the epic "Bohemian Rhapsody".
Queen's popularity grew steadily through the latter half of the 70s as they released hit album after hit album, reaching its peak in the mid-80s after their "Live Aid" appearance, and continuing into the early 90s before Mercury's untimely death on 24th November 1991. The official cause of death was bronchial pneumonia resulting from AIDS.
Over the course of their 30 year career, the band did sound tracks for two films ("Flash Gordon" and "Highlander"), released a string of live and studio albums, and had many many fans across the world.
In 1995, 4 years after Mercury's death, the band released the album "Made In Heaven". This album saw the surviving band members in the studio completing or reworking unused vocals, unreleased variations of Freddie solo material (a Queen version of "I Was Born To Love You" for example), and tracks where Brian and Roger added lyrics to flesh out a song ("Mother Love").
Queen have been on indefinite hiatus since 1997, when John Deacon decided to retire.
Several "Queen + ..." projects have been developed in the following years, a few of them mere remixes with no artistic involvement from the band. In 1999, a "Greatest Hits III" album was released. This featured, among others, "Queen + Wyclef Jean" on a rap version of "Another One Bites the Dust", a live version of "Somebody to Love" performed by George Michael, and a live version of "The Show Must Go On" performed live in 1997 with Elton John.
Brian May and Roger Taylor have performed together as Queen on several occasions (award ceremonies, charity concerts, and the like), sharing vocals with various guest singers. They have also recorded several covers of Queen's hits with guest vocalists, including "We Will Rock You" (first with Five and later Britney Spears, Beyonce, John Farnham and P!nk) and "We Are the Champions" (with Robbie Williams).
On the 14th of May 2002 the Queen musical 'We Will Rock You' opened in the Dominion theatre in London's 'West End'. A Musical about young people in the distant future who aren't allowed to listen to music not generated by computers. Various Queen songs are used in the story, played by a live band. This live band was supported by Brian May and Roger Taylor on the premiere evening.
At the end of 2004, May and Taylor announced that they would reunite and return to touring in 2005, with Paul Rodgers (founder and former lead singer of Free and Bad Company). Brian May's website also stated that Rodgers would be 'featured with' Queen as 'Queen + Paul Rodgers', not replacing Mercury. The retired John Deacon would not be participating.
Between 2005 and 2006 Queen + Paul Rodgers embarked on a world tour, the first leg in Europe and the second, Japan and then the US in 2006. On 15 August 2006, Brian May confirmed through his website and fan club that Queen + Paul Rodgers would begin producing their first studio album beginning in October, to be recorded at a "secret location". The album, titled The Cosmos Rocks, was released in Europe on 12 September 2008 and in the United States on 28 October 2008. Following the album the band again embarked on a tour through Europe, opening on Kharkiv's Freedom Square in front of 350,000 Ukrainian fans. The show in Ukraine was later released on DVD.
Queen and Paul Rodgers officially split up without animosity on 12 May 2009. Rodgers did not rule out the possibility of working together again.
Since 2012, Queen has been touring with Adam Lambert as the frontman.
More information about Queen + Paul Rodgers can be found on their last.fm page.
Official website: www.queenonline.com
Discography:
1.- Queen (1973)
2.- Queen II (1974)
3.- Sheer Heart Attack (1974)
4.- A Night at the Opera (1975)
5.- A Day at the Races (1976)
6.- News of the World (1977)
7.- Jazz (1978)
8.- The Game (1980)
9.- Flash Gordon (1980)
10.- Hot Space (1982)
11.- The Works (1984)
12.- A Kind of Magic (1986)
13.- The Miracle (1989)
14.- Innuendo (1991)
15.- Made in Heaven (1995)
Hold On
Queen Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Woah, woah, woah, woah, woah, woah, woah
Take a step back with that smoke
Actin' like somehow you grown
Bitch, you ain't grown, bitch, you ain't grown
You fell in love with your vices
All that I showed you was kindness
Rather be on one than honest, honest, chea
Why you looking at me sideways?
Say you in a different head space
Why you rubbing me the wrong way?
It's a little too late, woah, woah, woah, hold up
Right before you call me, hold up
Right before you text me, hold up
Right before you hit me, put the pause on it
Hit the brake on it, woah, woah, hold up
Right before you call me, hold up
Right before you text me, hold up
Right before you hit me, put the pause on it
Hit the brake on it, woah, woah, hold up
Ooh, ooh, ooh (yeah, hold up, hold up)
Ooh, ooh, ooh (yeah)
Bet you wish you didn't mess up (bet you wish you didn't)
Come back when I'm on my come up (like I'm gonna let you hit it)
You ain't gonna hit this, oh na na
Oh na na, oh na na
Who do you think you are?
You're the same as you were when you walked out the door
It don't work anymore on me (on me)
I think it's really your pride
You not expressing what you feel inside
Girl, I don't know what you're trying to hide
You said that you loved me, that shit was a lie
You wanna show me that you're independent
You're good on your own, okay baby, I get it
I'm stressing you out and that's not my intention
Your new nigga gon' have to wait 'til I'm finished (Yeah)
Why you looking at me sideways?
Say you in a different head space
Why you rubbing me the wrong way?
It's a little too late, woah, woah, woah, hold up
Right before you call me, hold up
Right before you text me, hold up
Right before you hit me, put the pause on it
Hit the brake on it, woah, woah, hold up
Right before you call me, hold up
Right before you text me, hold up
Right before you hit me, put the pause on it
Hit the brake on it, woah, woah, hold up
You say you don't want me but I know you cappin'
This shit overlapping, it already happened
Break up for the moment, I know where it's going
A rip in our bond but we already sewing
We get back together, we rougher than ever
But we are still young and I know it get better
Ain't trying to be freaky but who make you wetter?
That thing make me stay home like I'm on a tether
Woah, woah, woah, woah, woah, woah, woah
Take a step back with that smoke
Actin' like somehow you grown
Bitch, you ain't grown, bitch, you ain't grown
You fell in love with your vices
All that I showed you was kindness
Rather be on one than honest, honest, yeah
The lyrics to Queen's song Hold On present a complex pattern of emotions and thoughts that reflect a toxic relationship struggling to survive. The verses mention a girlfriend who is self-destructive and stubborn, incapable of handling the singer's affection and opting for drugs and other vices instead. The chorus urges her to stop and think before contacting him, acknowledging their connection but also demanding respect and space. The second verse reveals the singer's own insecurities and hurt, struggling to move on and fed up with the girlfriend's game of pushing and pulling. The bridge hints at a possible reconciliation, but also exposes the cycle of pain and longing they both seem trapped in.
The song's raw and confessional tone, coupled with the catchy trap beat and slick production, make it a standout track in Queen Naija's debut album. Hold On showcases her unique voice, blending R&B chops with hip-hop attitude, and her ability to write relatable songs that touch on universal themes of love, pain, and growth.
Line by Line Meaning
Yeah
The singer begins the song with an affirmation.
Woah, woah, woah, woah, woah, woah, woah
The singer adds emphasis and draws attention to the following lines.
Take a step back with that smoke
The singer advises the listener to take a break from their bad habits.
Actin' like somehow you grown
The artist accuses the listener of acting like a grown-up when they are not.
Bitch, you ain't grown, bitch, you ain't grown
The artist repeats that the listener is not yet grown up.
You fell in love with your vices
The singer accuses the listener of becoming too attached to their bad habits.
All that I showed you was kindness
The singer emphasizes that they were always kind to the listener, but it didn't help them grow up.
Rather be on one than honest, honest, chea
The artist questions the listener's honesty and integrity.
Why you looking at me sideways?
The artist asks the listener why they are giving them a suspicious look.
Say you in a different head space
The artist notes that the listener is not in the same mental space as they are.
Why you rubbing me the wrong way?
The singer questions why the listener is bothering them in a negative way.
It's a little too late, woah, woah, woah, hold up
The artist tells the listener to stop their behavior before it's too late.
Right before you call me, hold up
The singer asks the listener to pause before contacting them.
Right before you text me, hold up
The singer asks the listener to think before texting them.
Right before you hit me, put the pause on it
The singer tells the listener to hold back before hitting them figuratively or literally.
Hit the brake on it, woah, woah, hold up
The artist repeats the idea of slowing down and stopping negative behavior.
Bet you wish you didn't mess up (bet you wish you didn't)
The artist suggests the listener regrets their past actions.
Come back when I'm on my come up (like I'm gonna let you hit it)
The singer tells the listener they do not want to get back together with them.
You ain't gonna hit this, oh na na
The singer tells the listener they will not have any kind of romantic relationship with them.
Who do you think you are?
The artist questions the listener's behavior and attitude.
You're the same as you were when you walked out the door
The artist points out that the listener has not changed or grown up since they left.
It don't work anymore on me (on me)
The artist states that the listener's actions do not have any effect on them anymore.
I think it's really your pride
The singer suggests that the listener's pride is getting in the way of their relationship.
You not expressing what you feel inside
The artist acknowledges that the listener is not communicating their feelings.
Girl, I don't know what you're trying to hide
The singer admits that they do not understand why the listener is being secretive.
You said that you loved me, that shit was a lie
The singer accuses the listener of lying about their love for them.
You wanna show me that you're independent
The singer suggests that the listener is trying to prove that they can do things on their own.
You're good on your own, okay baby, I get it
The artist acknowledges that the listener can handle things by themselves.
I'm stressing you out and that's not my intention
The artist recognizes that their behavior might be causing the listener stress.
Your new nigga gon' have to wait 'til I'm finished (Yeah)
The singer implies that the listener may have already moved on, but the singer will not.
You say you don't want me but I know you cappin'
The singer accuses the listener of lying about not wanting them.
This shit overlapping, it already happened
The artist recognizes that their relationship has had its share of problems.
Break up for the moment, I know where it's going
The artist suggests that their break-up is only temporary because they will get back together.
A rip in our bond but we already sewing
The artist suggests that they are working on repairing the relationship.
We get back together, we rougher than ever
The singer acknowledges that their relationship will be more difficult if they get back together.
But we are still young and I know it get better
The artist recognizes that they are still young and learning from their experiences.
Ain't trying to be freaky but who make you wetter?
The singer asks the listener who makes them happier than the singer does, in a sexual context.
That thing make me stay home like I'm on a tether
The singer admits that their sexual relationship with the listener makes it hard for them to leave.
Woah, woah, woah, woah, woah, woah, woah
The singer again adds emphasis and draws attention to the following lines.
Take a step back with that smoke
The artist again advises the listener to take a break from their bad habits.
Actin' like somehow you grown
The artist again accuses the listener of acting like a grown-up when they are not.
Bitch, you ain't grown, bitch, you ain't grown
The singer again repeats that the listener is not yet grown up.
You fell in love with your vices
The singer again accuses the listener of becoming too attached to their bad habits.
All that I showed you was kindness
The artist repeats that they were always kind to the listener, but it didn't help them grow up.
Rather be on one than honest, honest, yeah
The artist repeats the question of the listener's honesty and integrity.
Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC
Written by: Chauncey A. Hollis, Darryl Dwayne Jr Granberry, Lance Eric Shipp, Nathalia Marshall, Queen Bulls, Rachael Kennedy
Lyrics Licensed & Provided by LyricFind
@user-kf8ew9se8h
Шикарно спели! БРАВО! Великолепно! ❤Супер!
@susaneuliano7692
He never disappoints. He just keeps offering more greatness. Can't get enough of him.
@user-mq3bt2xu5n
Великий артист, шикарный мужчина, любимый навсегда❤❤❤❤❤❤❤
@marguihernandez7384
Que maravilla
@vr3405
More Freddie , brilliant !!!
@flora3177
Vivat Freddie!! Forever !
beautiful genius!
@YvyBeta
GREAT
@lorettaorr4366
Best ever!! Jo Dare
@mariammm4928
Это он поёт с Jo Dare? Она классная тоже
@shintawati6531
Dont let fight, never n never😊