The British stadium rockers re-form and record 'The Cosmos Rocks.'
by Andy Greene in Rolling Stone
Last year, Rodgers, Taylor and Queen guitarist Brian May gathered at Taylor's estate outside London to begin recording Queen's first album since 1995's Made in Heaven. (Queen bassist John Deacon -- who hasn't performed with his bandmates since 1997 -- opted not to come out of retirement for the project.) As the newcomer, Rodgers has had to bridge the gap between his blues-rock background and Queen's lush, grand sound.
The first single will likely be "C-lebrity," which sounds like a mash-up of the brawny "All Right Now" and the harmony-soaked "Somebody to Love." Other tracks include "We Believe," an "epic in Queen's traditional style," according to May, and "Call Me," which he says sounds like it would fit right in on Queen's 1974 classic, Sheer Heart Attack.
The new album, The Cosmos Rocks, is due out in October and is the first the band has recorded without Mercury, who passed away in 1991. "I feel like he's still very much part of the band," May says. "We reference him every day. He always really enjoyed Paul's work. He used to have a go at me in the studio when I tried to have him sing bluesy stuff. He'd say, 'Brian, you're trying to make me fucking sound like Paul Rodgers, and I can't do it!'"
The Tiffany Network comes up with their own 'Desperate Housewives' - 32 years removed.
by Matt Roush in TV Guide
"They look happy," says airline pilot Tom (Melrose Place stud Grant Show), who does everything but lick his lips as he peers through his window at the new neighbors innocently moving into into their cul-de-sex of an upscale Chicago suburb. Tom and wife Trina (Boomtown's Lana Parrilla) have just wrapped up a threesome when they lay wolfish eyes on the naive newbies.
Susan and Bruce (Deadwood's Molly Parker and Jack Davenport), trading their old life of block parties and barbecues for a new world of Quaaludes and open relationships, are fresh meat to these sensuous predators. They're not even fully unpacked before they're unfrocked.
I just wish Swingtown gave us some fresh dramatic meat. Set against the U.S. bicentennial of 1976, the show may be trying to say there's nothing more patriotic than the all-American sex drive. But in the pilot episode (premiering June 5), no one is more than skin-deep, so there's little in the way of irony or metaphor to disguise the fact that Swingtown is so determined to be shocking it seems a little quaint. (Mad Men, AMC's '60s triumph, is much more provocative in its period depiction of sexual attitudes -- but that was then, and this is a less interesting then.)
Everything is innuendo here, from pubescent boys sneaking looks at Penthouse to the relentless and obvious soundtrack. Captain & Tennille's "Love Will Keep Us Together" was an inevitable choice, but if they decide to make a comment on "Muskrat Love," I'm swinging outta there.
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