Given they\u2019re one of the most seismic bands the UK ever produced,\u00a0Queen\u00a0had quite the peppered relationship when it came to the US.<\/p>\n\n\n\n
Their fame in the country was an incredibly complex thing to define, marked often by the highest of highs but similarly the lowest of lows. While their success on home shores could be seen as a steady line that only continued to rise until they were megastars, their reception in the American landscape seemed to\u00a0chop and change\u00a0with the wind.<\/p>\n\n\n\n
The fleeting period of the late 1970s and early \u201880s was, to all intents and purposes, the only real shot at acclaim that Queen ever experienced while Statside, with 1980\u2019s The Game <\/em>hands-down becoming their peak of popularity, being their only album that would ever top the charts in the US.<\/p>\n\n\n\n But thereafter, what would otherwise be considered a huge boost of momentum transpired into becoming much more of a mixed picture. As the \u201880s wore on, the prospect of decisively conquering the States became increasingly harder to grasp, and by the time it reached 1984, it was all but impossible.<\/p>\n\n\n\n However, the slightly ironic thing was that as they were watching their US popularity implode somewhat, Queen weren\u2019t watching the battle losses from the comfort blanket of their own native homes. They were right in the heart of the war. Indeed, that was the year they recorded their only album that would ever be committed to tape on American shores.<\/p>\n\n\n\n Yet just because The Works <\/em>had US origins from the Record Plant studios in Los Angeles, that may have been the making of its demise. It also wasn\u2019t helped by the video for \u2018I Want to Break Free\u2019\u2013 a clear parodial take on British comedy and female characters to the rest of the world, but a humour that didn\u2019t translate in the States at all.<\/p>\n\n\n\n