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Lore & Background

The album's shift toward a dance-oriented sound was largely driven by bassist John Deacon, who wrote "Another One Bites the Dust." Roger Taylor later affirmed that "it was really John [Deacon]" who turned the band toward disco, adding, "I think we went too far and did too much. ... Everybody in the band feels that way now." Brian May and Taylor were critical of the influence of Paul Prenter, Freddie Mercury's personal manager, who loathed rock music and pushed for a sound Taylor described as "like you'd just walked in a gay club." The making of the album in Munich took much longer than usual, with all band members getting into "deep emotional trouble" due to drink, drugs, and partying. Producer Reinhold Mack noted that Prenter refused all requests from US radio stations to speak to Mercury. May stated that Prenter "told every record station to fuck off. But not just 'fuck off', but 'Freddie says, fuck off'."

In Their Own Story

The air in the Munich studio was thick with tension. Brian May, struggling to nail the guitar solo for his anti-firearms song "Put Out the Fire," finally recorded it under the influence of alcohol after many unsuccessful attempts. Meanwhile, John Deacon's "Back Chat" pushed the band further into black music territory, with Deacon playing rhythm guitar and synthesiser in addition to bass. The band's collaboration with David Bowie, "Under Pressure," had already become their second number one hit in the UK in 1981, but it was a separate project recorded ahead of the album, before the controversy over their new sound. When "Body Language" was released as a single, its video—featuring scantily clad models writhing around each other in a bathlike setting—was banned in several territories and restricted to late-night showings on MTV, though it still became the album's biggest hit in America, reaching number 11 on the Billboard Hot 100.

Reader's Guide

Hot Space is a study in contrasts. Side one opens with "Staying Power," featuring a horn arrangement by Arif Mardin recorded at Record Plant Studios in New York. The track was performed live on the Hot Space Tour much faster and heavier, with real drums replacing the drum machine and guitars and keyboards replacing the horns. "Dancer" features a bassline played on an Oberheim OB-Xa synthesiser by May, and its phone message at the end—"Guten Morgen, Sie wünschten, geweckt zu werden"—was recorded in a hotel room in Munich. "Action This Day," one of two Taylor songs on the album, is driven by a pounding electronic drum machine in 2/4 time and features a saxophone solo by Italian session musician Dino Solera. Side two includes "Put Out the Fire," the album's most traditional Queen song, which later appeared on the Queen Rocks compilation in 1997 and peaked at number 15 on the Billboard Mainstream Rock chart. "Life Is Real" was written by Mercury as a tribute to John Lennon, whose murder in 1980 had prompted the band to perform "Imagine" on tour. "Las Palabras de Amor" was inspired by Queen's close relationship with their Latin American fans and became a top 20 hit in the UK.

Did You Know?

• The phone message at the end of 'Dancer' is in German and translates to 'Good morning, you wanted to be woken up.' It was recorded in a hotel room in Munich.
• 'Cool Cat' originally featured David Bowie on backing vocals, but Bowie was unhappy with the results and requested his vocals be removed days before the album was slated to be released.
• Brian May recorded the guitar solo for 'Put Out the Fire' under the influence of alcohol after many unsuccessful attempts.
• The album's most traditional Queen song, 'Put Out the Fire,' later appeared on the Queen Rocks compilation in 1997.
• 'Action This Day' takes its title from a Winston Churchill catchphrase that the statesman would attach to urgent documents.

Musical Direction and Genre Shift

Released in May 1982 by EMI and Elektra Records, this tenth studio album represented a significant pivot for the British rock group. Moving away from their established sound, the record incorporated disco, funk, R&B, dance, pop, and new wave elements extensively. This stylistic change was largely inspired by the massive American success of their 1980 hit "Another One Bites the Dust." However, combined with a growing cultural backlash against disco music at the time, this decision alienated many supporters who preferred their traditional rock style. While the collaboration "Under Pressure" with David Bowie became a number one UK hit in 1981, it was recorded separately before the controversy surrounding the band's new dance-oriented direction fully emerged. Consequently, the album faced mixed reception from audiences accustomed to their earlier work, marking a contentious chapter in their discography regarding genre experimentation and fan expectations during the early eighties.

Instrumentation and Production Techniques

Prior to 1979, the group had avoided synthesisers on their records, but they began utilizing Oberheim OB-X models starting with The Game. On this release, they introduced the drum machine for the first time, marking a departure from their trademark seventies sound. Most tracks blended rhythm and blues with dance styles, though some rock songs maintained a pop rock direction. Recording sessions in Munich took longer than usual, causing deep emotional trouble among members due to drinking and partying. Producer Reinhold Mack noted that Freddie Mercury's manager, Paul Prenter, loathed rock music and influenced the singer throughout the process. Bandmates Brian May and Roger Taylor later criticized Prenter’s influence, feeling he pushed for a sound resembling a gay club rather than their established identity. This internal tension contributed to a difficult atmosphere during production, affecting how the band approached their musical evolution and management relationships at that specific time in history.

Key Singles and Commercial Performance

The album's second single, "Body Language," peaked at number eleven on the US charts, becoming the record's biggest hit in America. Atypical for the band, the track featured very little guitar, driven instead by a rhythmic bassline composed on synth bass. Its music video proved controversial due to scantily clad models and was banned in several territories, restricted to late-night showings on MTV. Conversely, "Back Chat," written by John Deacon, stalled at number forty in the UK and failed to chart stateside despite being heavily influenced by black music. While "Under Pressure" served as a major hit, it remained a separate project recorded ahead of the album. In Japan, Mercury's composition "Staying Power" was released as a single in July 1982, highlighting the varied regional promotion strategies employed during this era. These commercial outcomes reflected the polarized reception of their new sonic direction across different international markets and demographics.

Live Evolution and Band Dynamics

During the accompanying tour, several tracks were reimagined for live performance to suit the audience better. For instance, "Staying Power" was performed much faster and heavier, replacing the drum machine with real drums and guitars instead of horns. Similarly, "Action This Day," which utilized a pounding electronic drum machine in 2/4 time on the record, swapped to a conventional rock rhythm section during concerts. Roger Taylor later affirmed that John Deacon turned the band toward the disco sound following their previous success. However, Taylor admitted they went too far with the new direction. By 1984, every member felt regret regarding the album's execution. The internal friction was compounded by Prenter’s refusal to let US radio stations speak to Mercury, damaging relationships within the industry during that difficult period. This live adaptation showed their willingness to correct studio choices on stage while managing lingering interpersonal conflicts.