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This ill-fitting rebirth, fronted by the defiantly ungay, unIndian and uneccentric Paul Rodgers, can be seen as an attempt to ditch the Mercury-inspired absurdity and bolster Queen’s hard 'rawkin’credentials.
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Certainly, it's not the embarrassment of the live album, but it has its own internal logic that keeps it humming along, and that's good enough for a listen and to get the band out on tour again, even it's not good enough for a second spin.
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Queen 2.0 are competent enough to rock arenas, but don't expect a repeat of the glory days.
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As with a lot of The Cosmos Rocks, you listen to Warboys boggling that Queen--famously intelligent men--didn't at any point notice that the lyrics were stupid, trite, a bit offensive and bound to have an undermining effect on whatever musical efforts they put behind it.
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This mismatched combo brings out the best in each other only on the refreshingly lightweight 'Call Me.' [Nov 2008, p.76]
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What an astronomically bad parallel universe. Queen's star is dead.
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Freddie-less queen fail to recall old glories.
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It's a shame that the end result, the first under the Queen name in 13 years, is not very memorable.
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Although his ghost pleasantly haunts the album in some ways (The Cosmos Rocks is actually dedicated to him), Paul Rodgers breathes new life into Queen, while still keeping the band’s tremendous legacy intact as they soldier forth with new material into the 21st century.
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MojoOccasionally they stumble, as on the clunky 'Warboys.' But with Rogers imperious, Queen's second coming is vindicated. [Oct 2008, p.100]
Awards & Rankings
User score distribution:
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Positive: 30 out of 41
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Mixed: 3 out of 41
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Negative: 8 out of 41
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Apr 8, 2019
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MikeMusicguyFeb 7, 2009
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JoeDec 22, 2008