Queen At 50 Reviews – Bohemian Rhapsody Covers

As discussed in depth in my previous post, Queen’s Bohemian Rhapsody is an enduring classic that continues to increase in popularity 45 years on, as new generations of fans are introduced to it, most recently thanks to the movie of the same name and Queen’s tours with Adam Lambert. Freddie’s masterpiece, like his spirit and all of his music, will never die or be forgotten.

It is of no surprise, therefore, that it’s been covered in a myriad of styles by thousands of people, either tackling the full song or focusing on selected sections of it, despite the fact that it’s very brave of anyone to take on a song of such complexity that is so famous and well-loved.

In my previous reviews of Queen’s albums, I’ve always included cover versions as part of those posts. But such is the significance of Bo Rhap and the huge number of covers it’s had, coupled with the fact that it’s always nice to do some kind of special post at Christmas, that I’ve decided to give these interpretations of the track a space of their own.

Of course, it goes without saying that nobody can come close to Queen when reproducing any of their songs, especially this one. And there are plenty of covers out there that range from the decidedly average and uninspiring to the downright bizarre and awful. But there are also lots of beautifully arranged, excellently performed and cleverly interpreted versions too.

So in this post I wanted to share a long list of cover versions that I’ve found, divided into rough subsections to keep similar types together. I’ve compiled them into a big Youtube playlist as well (ending with a few minor covers of the album’s closing track, God Save The Queen).

Some are great in my view, some are not, and the rest are somewhere in between. But everyone’s opinions will differ. All I’ve tried to do is present a wide variety that I feel are of interest and worth exploring out of curiosity. It’s not every cover that exists by any means, but I feel it’s a very comprehensive and fair representation of what’s out there, listing most of the major versions and lots of hidden gems.

So buckle in for a long selection, and see which versions you like best!

Continue reading “Queen At 50 Reviews – Bohemian Rhapsody Covers”

Queen At 50 Reviews – A Night At The Opera – Part 3

This is the final instalment of my deep dive into Queen’s epic 1975 LP, following on from Part 1 and Part 2. There is also a bonus post about Bohemian Rhapsody cover versions, but this post explores the rest of the main material.

The album of course finishes in style, courtesy of their biggest hit of all time, followed by a patriotic instrumental at the end. So let’s get straight on with it, as there’s plenty to discuss. I hope you enjoy!

Continue reading “Queen At 50 Reviews – A Night At The Opera – Part 3”

Queen At 50 Reviews – A Night At The Opera – Part 2

The first side of Queen’s hugely successful and perennially popular 1975 album, which I reviewed last week, is in itself quite a stunning collection of assorted treasures.

But those tracks were also paving the way for even more incredible delights on the flip side, for which there is a great deal to talk about. So much so, in fact, that I’ve had to split my reviews for the second side into 2 parts.

In this post, therefore, I’m going to take a close look at the next 3 tracks, then I’ll conclude the album in Part 3. The first track in this post is their longest song and one of their most complex, while the second is their most popular sing-along acoustic number that’s spawned a ton of live performances and covers, and the third is a delightful Dixieland tune. So I hope you enjoy!

Continue reading “Queen At 50 Reviews – A Night At The Opera – Part 2”

Queen At 50 Reviews – A Night At The Opera – Part 1

This is the big one, the album that launched Queen into the stratosphere. The previous release, Sheer Heart Attack, was already a joyous collection of majestic variety that sounded like perfection to many, and its predecessor Queen II was also (and still is) held in very high regard. And yet the band still felt they were learning and developing, and they were keen to push things further still for their next album.

They were also having a fresh start, having moved to EMI Records and recruited new manager John Reid (who also managed Elton John), after ending their contract with Trident Studios under a dark cloud. Queen hadn’t been getting paid fairly for the success of their previous work, due to the contract they’d signed up to, and that contract was very expensive to get out of. So they were broke, which placed considerable pressure on them. It was now all or nothing. Their next release had to be a big success, otherwise that would be it, Queen would be no more.

But they were up for the challenge, and determined to show the world what they were capable of. They had also been told by their new manager to make the best album they’ve ever done, with complete freedom to do whatever they wanted. So they made the most of the opportunity.

They incorporated everything they’d learned and played around with up to that point (clear influences can be heard on their earlier albums, e.g. songs on Queen II like My Fairy King), and took full advantage of the studio technology available to them (using 7 studios altogether). They had carefully written lyrics and distinctive melodies (with all 4 band members writing at least one track each), a range of simple to complicated song structures, multi-tracked harmonies (now working with 24-track tapes instead of 16), a myriad of musical styles and instruments (using what felt best for each song rather than sticking to a particular genre), and big production values. It was the most expensive album ever made at the time. And they named the album after a Marx Brothers film, even becoming good friends with Groucho Marx as a result.

Their incredible efforts gave us their first and most successful number 1 single, plus the first chart hit to be written by their bass player, and many other beautiful songs. It held the number 1 spot on 4 of its first 7 weeks in the chart (held off on the other 3 occasions by Perry Como’s 40 Greatest Hits, a very different record entirely!). It stayed in the top 40 for 34 weeks (including 12 weeks in the top 10 & 16 in the top 20), and as recently as last year it was still poking its head into the lower end of the Top 100 every so often, which it will continue to do now and again in the future, each time a new generation is introduced to the band in some way. Inevitably the most famous track on this album is the one that regularly draws people to it time and time again.

A 2-page spread from the Night At The Opera CD booklet, one photo on each page. On the left, Freddie Mercury sits in front of a microphone, wearing a leafy-patterned jacket over a white shirt and white trousers. On the right, John Deacon sits playing the bass guitar, wearing a yellow t-shirt and blue jeans

Continue reading “Queen At 50 Reviews – A Night At The Opera – Part 1”