Roger Taylor považuje „Under Pressure“ za jednu z nejlepších písniček, které kdy nahráli. Finální mix byl dokončený v New Yorku a názory byly smíšené. Ve skladbě se mísí to nejlepší z Bowieho a Queenu. Producent alba Hot Space, David Richards, který spolupracoval s Bowiem už na albu "Heroes" popsal nahrávání ve studiu jako „absolutní šílenství“. Nápad zkusit společné nahrávání vznikl velmi spontánně.
Ve vedlejším studiu nahrávala skupina Queen svoje album Hot Space.
#Who sang under pressure pro#
V roce 1981 nahrával Bowie ve švýcarském Montreux s píseň „“ pro stejnojmenný film. Autory textu a hudby jsou Bowie, Freddie Mercury, Roger Taylor, John Deacon a Brian May. „Under Pressure“ je společná skladba britského hudebníka Davida Bowieho a britské skupiny Queen.També està inclosa en els àlbums recopilatoris, , i com també en els àlbums de Bowie (2002) i (2014). La cançó es va incloure en algunes edicions de l'àlbum recopilatori, com en llançament original de 1981 d'Elektra als Estats Units. La cançó es va tocar en directe a tots els concerts de Queen entre el 1981 fins que van parar de fer gires el 1986. Es va classificar com a la 31a millor cançó dels anys 80 a la llista de VH1. La cançó va arribar al número 1 a la UK Singles Chart, convertint-se en el segon número 1 del grup al seu país (després de "Bohemian Rhapsody", que va estar en aquesta posició durant nou setmanes), i el tercer número 1 de Bowie al Regne Unit. "Under Pressure" és una cançó de 1981 de Queen i David Bowie, inclosa posteriorment a l'àlbum de 1982 de Queen Hot Space.Bowie and Mercury never performed the song together in concert, though Bowie occasionally played it live – including a duet with Annie Lennox at the Freddie Mercury Tribute Concert in 1992, among others. Now regarded as one of the greatest collaborations in rock history, “Under Pressure” has been covered by scores of other artists in the years since its release. The single became a worldwide hit, reaching No. Still dissatisfied, Bowie seemed poised to block the track’s release but they eventually settled on a mix and and “Under Pressure” arrived on Oct. Bowie insisted on leading the mixing sessions, with Mercury and Taylor also playing an active role. The result was one of the most dynamic songs in rock history, though “Under Pressure” ended up requiring one more compromise before reaching fans.
And, really, to be honest, that person was David, because he just went, ‘I’m doing it I’m doing it,’ being David Bowie. “Somebody has to decide what you actually use. “Somebody has to take the helm,” May said on Ultimate Classic Rock Nights. But May argued that Bowie’s leadership was necessary to make “Under Pressure” as good as it could possibly be. David took over the song lyrically,” he told Mojo in 2008. May described the working situation as “hard, because you had four precocious boys and David, who was precocious enough for all of us. Watch David Bowie Perform 'Under Pressure' It was unusual for us all to relinquish control like that but, really, David was having a genius moment – because that is a very telling lyric.” “We all backed off, and David put down a lyric which now focused on the ‘Under Pressure’ part of the existing lyric. “David was in there first and told us he wanted to take the track over, because he knew what he wanted it to be about,” May told the Mirror. This rough version, assembled from various parts of everyone's turn recording vocals, was given the tentative title “People on Streets.” The next day, a new name would emerge – but only after Bowie made it clear that he wanted a larger creative role. “He said, ‘Everybody just goes in there with no ideas, no notes, and sings the first thing that comes into their head over the backing track.’ So we all did, and then we compiled all the bits and pieces.”
“The vocal was constructed in a very novel way, which came through David – because he had experience of this avant-garde method of constructing the vocals,” May said during an interview with Ultimate Classic Rock Nights. The instrumental part of the song had taken shape, but they still had to figure out a lyrical approach. Elements from “Feel Like,” a song they’d abandoned earlier, were added into the mix with Deacon’s new bass part and some of Bowie’s concepts. Things didn’t escalate, and everyone continued pressing forward. “Deacy did not take kindly to being told what to do.” “It could have gone either way,” he told the Mirror. May later referred to this instance as a “tense moment,” suggesting it was the first time during the collaboration that egos began creeping in. “What was that riff, you had, Deacy?” May recalled Bowie asking. Returning to the studio, they aimed to pick up with Deacon’s piece – but no one could agree on exactly how it went.
0 kommentar(er)
