Queen: review of the Bohemian Rhapsody OST album

adminOctober 25, 2018


The queen has already existed more time as a band. without Freddie Mercury that with him. Mercury died on November 24, 1991, 20 years after he joined guitarist Brian May and drummer Roger Taylor. May and Taylor have kept the Queen brand alive for more than a quarter of a century since it even took off from bassist John Deacon in 1997, or later it became clear that the reunion was inspired by the recording of the sounds of the vocal tracks. used by Mercury for 1995. Made in heaven It was not a passing phase. Queen traveled with Mercury replacements, from former Free and Bad Company vocalist Paul Rodgers (essentially the antithesis of Mercury) to the Mercury emulator and "American Idol" runner-up Adam Lambert. Absent from another studio album, they have instead produced file releases, attempting to celebrate Mercury's music while continuing without it. During his life, Mercury saw the release of only two Queen compilations; Since then there have been at least a dozen. Here's another one: the soundtrack essentially strange to Bohemian Rhapsody.

The tension of the queen between the ever present past and the present present provides the key to the problems surrounding the creation of the new Bohemian Rhapsody, positioned as a fictional movie about the history of Queen, but largely understood as a Mercury biopic. After being chosen as Mercury, Sacha Baron Cohen retired from the project after three years of development. He claimed that the surviving members of the Queen wanted to disinfect an often scary story and that the plan required the singer to die in the middle of the movie, so the film would become the portrait of a band that "continues from strength to strength." "

The queen denied Cohen's opinion, but the anecdote crystallizes the problem inherent with the band after Mercury, anyway: they are still exchanging the glories that they achieved with the deceased singer, living forever in his shadow. Each time the gamblers approached a performance, they paid homage to the deceased with the faithful companions. Every time the fans bought a live album (six only between 2004 and 2016), the recordings worked as a substitute for never being able to see Mercury in a concert. Each time the faithful bought a set of boxes (again, five since 1992, plus four volumes of the Singles collection), they were reliving the memories of the first time they fell in love with a real Queen LP. For decades, being a fan of the current Queen has meant accepting that the glory days of the group ended effectively with the death of Mercury.

Like a movie and a soundtrack, Bohemian Rhapsody reveals that even Queen has abandoned the notion that they exist outside of Mercury's gravitational pull. The turn is made clearer by the decision to finish the narrative of the film when Queen achieved her last international triumph, when the program was stolen in Live Aid in 1985. When ending with this emotional beat, the film avoids the disorder of representing a group of survivors who carry Year after year, achieving a perfectly honorable but dramatically boring balance. This means that the soundtrack also contains parts of that stellar performance of Live Aid, the only outstanding queen that did not hit the record. His power at that time was due, in large part, to the fact that they were playing before a crowd enthralled in their hometown of London and not in the United States, where they were considered obsolete in 1985.

As Bohemian Rhapsody is a soundtrack aimed at a wide audience, not a suitable file release for collectors, not everyone of Live Aid's performance is here; "Crazy Little Thing Called Love" and "We Will Rock You You" are missing. The omissions emphasize the superfluous. Bohemian Rhapsody is. This is not a slight against the source material, which balances standards like "Another One Bites the Dust" and "Under Pressure" with some unpublished live cuts and a handful of clues collected for the film. But just one of those surprises: "Doing All Right" is resurrected from Smile, May and Taylor's band before they linked with Mercury. The original singer of Smile, Tim Staffell, heads this re-recording, a mini-suite that revives the 1970s, complete with hippy harmonies and a pastoral middle section that culminates in a blow to the head. The zeppelin in miniature is early.

Family favorites get some cinematic contours in this sequence. The album opens with a brazen version of "20th Century Fox Fanfare" with the distinctive fuzz of May and ends with the double rally calls of "Don & # 39; t Stop Me Now" and "The Show Must Go On". But after a quarter of a century spent on recycling a catalog over and over again, such attempts at style do not offer real dynamism. At a certain point, everything that could be said about the queen have has said Maybe that point is now. Not even a splashed film can change that cold stone.


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