Bohemian Rhapsody

"Bohemian Rhapsody" is a song by the British rock band Queen, released as the lead single from their fourth album, '' A Night at the Opera'' (1975). Written by lead singer Freddie Mercury, the song is a six-minute suite, notable for its lack of a refraining chorus and consisting of several sections: an intro, a ballad segment, an operatic passage, a hard rock part and a reflective coda. It is one of the few progressive rock songs of the 1970s to achieve widespread commercial success and appeal to a mainstream audience.

Mercury referred to "Bohemian Rhapsody" as a "mock opera" that resulted from the combination of three songs he had written. It was recorded by Queen and co-producer Roy Thomas Baker at five studios between August and September 1975. Due to recording logistics of the era, the band had to bounce the tracks across eight generations of 24-track tape, meaning that they required nearly 200 tracks for overdubs. The song parodies elements of opera with bombastic choruses, sarcastic recitative, and distorted Italian operatic phrases. Lyrical references include Scaramouche, the fandango, Galileo Galilei, Figaro, and Beelzebub, with cries of "'' Bismillah''!"

Although critical reaction was initially mixed, "Bohemian Rhapsody" became regarded as one of the greatest rock songs of all time, as well as Queen's most popular. The promotional video is credited with furthering the development of the music video medium. It has appeared in numerous polls of the greatest songs in popular music, including a ranking at number 17 on ''Rolling Stone''s list of "the 500 Greatest Songs of All Time. A ''Rolling Stone'' readers' poll ranked Mercury's vocal performance as the greatest in rock history.

"Bohemian Rhapsody" topped the UK Singles Chart for nine weeks (plus another five weeks following Mercury's death in 1991) and remains the UK's third best-selling single of all time. It also topped the charts in countries including Canada, Australia, New Zealand, Ireland, and the Netherlands, and sold over six million copies worldwide. In the United States, the song peaked at number nine in 1976, but reached a new peak of number two after appearing in the 1992 film '' Wayne's World''. In 2004, the song was inducted into the Grammy Hall of Fame. Following the release of the 2018 biopic ''Bohemian Rhapsody'', it became the most streamed song from the 20th century. In 2021, it was certified Diamond in the US for combined digital sales and streams equal to 10 million units.

History and recording

According to Mercury's friend Chris Smith (a keyboard player in Smile), Mercury first started developing "Bohemian Rhapsody" in the late 1960s; Mercury used to play parts of songs he was writing at the time on the piano, and one of his pieces, known simply as "The Cowboy Song", contained lyrics that ended up in the completed version produced years later, in 1975, specifically, "Mama ... just killed a man." Producer Roy Thomas Baker, who began working with Queen in 1972, related how Mercury once played the opening ballad section on the piano for him in Mercury's flat:

He played the beginning on the piano, then stopped and said, "And this is where the opera section comes in!" Then we went out to eat dinner.

Guitarist Brian May said the band thought that Mercury's blueprint for the song was "intriguing and original, and worthy of work". According to May, much of Queen's material was written in the studio, but this song "was all in Freddie's mind" before they started.

Queen spent a month rehearsing at Ridge Farm Studio in Surrey in mid-1975, and drummer Roger Taylor recalled that "Bohemian Rhapsody" was one of the songs the band worked on while they were there. Recording began on 24 August 1975 at Rockfield Studio 1 near Monmouth, South Wales, after a three-week rehearsal at Penrhos Court, near Kington, Herefordshire. During the making of the track, four additional studios – Roundhouse, Sarm Studios, Scorpio Sound, and Wessex Sound Studios – were used. According to some band members, Mercury mentally prepared the song beforehand and directed the band throughout.

Mercury used a C. Bechstein concert grand piano, which he played in the promotional video and the UK tour. Due to the elaborate nature of the song, it was recorded in various sections. The piano was allegedly the same one Paul McCartney had used to record the Beatles' song " Hey Jude", as well as the same one Rick Wakeman used on David Bowie's 1971 album '' Hunky Dory''.

Baker recalled in 1999

May, Mercury, and Taylor reportedly sang their vocal parts continually for 10 to 12 hours a day. The entire piece took three weeks to record, and in some sections featured 180 separate overdubs. Since the studios of the time only offered 24 track analogue tape, it was necessary for the three to overdub themselves many times and "bounce" these down to successive sub-mixes. In the end, eighth-generation tapes were used. The various sections of tape containing the desired sub-mixes had to be spliced (cut and assembled in the correct sequence). May recalled placing a tape in front of the light and being able to see through it, as the tape had been used so many times.

A similar story was told in 1977 by Taylor regarding the elaborate overdubs and sub-mixes for "The March of The Black Queen" for the album ''Queen II''. At that time, the band was using 16 track equipment.

Producer Baker recalls that May's solo was done on only one track, rather than recording multiple tracks. May stated that he wanted to compose "a little tune that would be a counterpart to the main melody; I didn't just want to play the melody". The guitarist said that his better material stems from this way of working, in which he thought of the tune before playing it: "The fingers tend to be predictable unless being led by the brain." According to Baker,

... the end of the song was much heavier because it was one of the first mixes to be done with automation ... If you really listen to it, the ballad starts off clean, and as the opera section gets louder and louder, the vocals get more and more distorted. You can still hear this on the CD. They are clearly distorted.

Composition and analysis

"Bohemian Rhapsody" has been affiliated to the genres of progressive rock (sometimes called symphonic rock), hard rock, art rock, and progressive pop. The song is highly unusual for a popular single in featuring no chorus, combining disparate musical styles, and containing lyrics which eschew conventional love-based narratives, and instead make allusions to murder and nihilism.

Music scholar Sheila Whiteley suggests that "the title draws strongly on contemporary rock ideology, the individualism of the '' bohemian'' artists' world, with '' rhapsody'' affirming the romantic ideals of art rock". Commenting on bohemianism, Judith Peraino said,

Mercury intended ... his songto be a 'mock opera', something outside the norm of rock songs, and it does follow a certain operatic logic: Choruses of multi-tracked voices alternate with aria-like solos, the emotions are excessive, the plot confusing.

"Bohemian Rhapsody" begins with an introduction, then goes into a piano ballad, before a guitar solo leads to an operatic interlude. A hard rock part follows this and it concludes with a coda. The song is in the keys of B major, E major, A major and F major, and is predominantly in meter. This musical format of writing a song as a suite with changes in style, tone, and tempo throughout was uncommon in most mainstream pop and rock music, but common in progressive rock, a genre which had reached its artistic and commercial zenith between 1970 and 1975 in the music of British bands such as Jethro Tull, Yes, Genesis, Emerson, Lake & Palmer, Gentle Giant, Van der Graaf Generator, and Curved Air. The music of progressive rock was characterised by dramatic contrasts, frequent shifts in tempo and in rhythmic character from one section of a composition to the next. Bands from the genre blended rock with classical music, including its structural features, compositional practices, and instrumentation. Queen had embraced progressive rock as one of their many diverse influences.

"Bohemian Rhapsody" parodies many different elements of opera by using bombastic choruses, sarcastic recitative, and distorted Italian operatic phrases. An embryonic version of this style had already been used in Mercury's earlier compositions for the band's " My Fairy King" (1973) and " The March of the Black Queen" (1974).

Intro (0:00–0:49)

The song begins with a close five-part harmony a cappella introduction in B major—as evidenced by the presence of a V–I cadence (F7–B) multi-track recordings of Mercury although the video has all four members lip-syncing this part. The lyrics question whether life is "real" or "just fantasy caught in a landslide" before concluding that there can be "no escape from reality".

After 20 seconds, the grand piano enters, the song modulates briefly to E major via another perfect cadence (B7–E) and Mercury's voice alternates with the other vocal parts. The narrator introduces himself as "just a poor boy" but declares that he "needs no sympathy" because he is "easy come, easy go" and then "little high, little low" (when heard in stereo, the words "little high" come from the left speaker and "little low" comes from the right, the other respective speaker plays the piano at the same time); chromatic side-slipping on "easy come, easy go" highlights the dream-like atmosphere. The end of this section is marked by the bass entrance and the cross-handed piano vamp in B.

Ballad (0:49–2:37)

The piano begins in B major along with the entrance of John Deacon's bass guitar, marking the onset of this section. After it plays twice, Mercury's vocals enter. Throughout the section, the vocals evolve from a softly sung harmony to an impassioned solo performance by Mercury. The narrator explains to his mother that he has "just killed a man", with "a gun against his head" and in doing so, has thrown his life away. This "confessional" section, Whiteley comments, is "affirmative of the nurturant and life-giving force of the feminine and the need for absolution". In the middle of the verse (1:19), Taylor's drums enter, and a descending chromatic run leads to a temporary modulation to E major (up one fourth). The narrator makes the second of several invocations to his "mama" in the new key, continuing the original theme. The narrator explains his regret over "mak ngyou cry" and urging "mama" to "carry on as if nothing really matters". A brief, descending variation of the piano phrase connects to the second verse.

Then the piano intro plays, marking the start of the second verse. As the ballad proceeds into its second verse, the speaker confesses how ashamed he is by his act of murder (as May enters on guitar and mimics the upper range of the piano at 1:50). May imitates a bell tree during the line "sends shivers down my spine", by playing the strings of his guitar on the other side of the bridge. The narrator bids the world goodbye announcing he has "got to go" and prepares to "face the truth" admitting "I don't want to die / I sometimes wish I'd never been born at all". This is where the guitar solo enters.

Guitar solo (2:37–3:05)

Towards the end of the ballad section, the band builds in intensity, incorporating a guitar solo (in E major) played and composed by Brian May. The intensity continues to build, but once the bass line completes its descent establishing modulation to the new key (A major), the entire band cuts out abruptly at 3:03 except for quiet, staccato A major quaver (eighth-note) chords on the piano, marking the start of the "Opera" section.

Opera (3:05–4:07)

A rapid series of rhythmic and harmonic changes introduces a pseudo-operatic midsection, which contains the bulk of the elaborate vocal multi-tracking, depicting the narrator's descent into hell. While the underlying pulse of the song is maintained, the dynamics vary greatly from bar to bar, from only Mercury's voice accompanied by a piano to a multi-voice choir supported by drums, bass, piano, and timpani. The choir effect was created by having May, Mercury, and Taylor repeatedly sing their vocal parts, resulting in 180 separate overdubs. These overdubs were then combined into successive submixes. According to Roger Taylor, the voices of May, Mercury, and himself combined created a wide vocal range: "Brian could get down quite low, Freddie had a powerful voice through the middle, and I was good at the high stuff." The band wanted to create "a wall of sound, that starts down and goes all the way up". The band used the bell effect for lyrics "Magnifico" and "let me go". Also, on "let him go", Taylor singing the top section carries his note on further after the rest of the "choir" have stopped singing.

Lyrical references in this passage include Scaramouche, the fandango, Galileo Galilei, Figaro, and Beelzebub, with cries of "'' Bismillah''! rabic: "In the name of God!"We will not let you go!", as rival factions fight over his soul, some wishing to "let imgo" and "spare him his life from this monstrosity", with others sending him "thunderbolts and lightning – very, very frightening o him. In ''Freddie Mercury: The Definitive Biography'', Lesley-Ann Jones theorises that it is also a figurative representation of the four members: Mercury, May, Taylor, and Deacon respectively. The section concludes with a full choral treatment of the lyric "Beelzebub has a devil put aside for me!", on a block B major chord. Roger Taylor tops the final chord with a falsetto B in the fifth octave (B5).

Using the 24-track technology available at the time, the "opera" section took about three weeks to finish. Producer Roy Thomas Baker said, "Every time Freddie came up with another ''Galileo'', I would add another piece of tape to the reel." Baker recalls that they kept wearing out the tape, which meant having to do transfers.

Hard rock (4:07–4:54)

The operatic section leads into a rock interlude with a guitar riff written by Mercury. At 4:15, a quadruple-tracked Mercury (in stereo, the four parts are panned two on the left and two on the right) sings angry lyrics addressed to an unspecified "you", accusing them of betrayal and abuse and insisting "can't do this to me, baby", before the final lines conclude that the singer "just gotta get right outta" an unspecified "here". Three ascending guitar runs follow. Mercury then plays a similar B run on the piano, as the song builds up to the finale with a ''ritardando''.

Outro (4:54–5:55)

After Mercury plays ascending octaves of notes from the B mixolydian mode (composed of the notes from the E scale), the song then returns to the tempo and form of the introduction, initially in E major, before quickly modulating to C minor, only to soon go through an abrupt short series of modulations, bringing it back to C minor again in time for the final "nothing really matters" section. A guitar accompanies the chorus "ooh, ooh yeah, ooh yeah". A double-tracked twin guitar melody is played through an amplifier designed by John Deacon, affectionately nicknamed the "Deacy Amp". Mercury's line "Nothing really matters ..." appears again, "cradled by light piano arpeggios suggesting both resignation (minor tonalities) and a new sense of freedom in the wide vocal span". After the line "nothing really matters" is repeated multiple times, the song finally concludes in the key of E major, but then changes again to F major just before it ends. The final line, "Any way the wind blows", is followed by the quiet sound of a large tam-tam that finally expels the tension built up throughout the song.

Lyrics

''The New York Times'' commented that "the song's most distinct feature is the fatalistic lyrics". Mercury refused to explain his composition other than to say it was about relationships; the band is still protective of the song's secret. Brian May supports suggestions that the song contained veiled references to Mercury's personal traumas. He recalls "Freddie was a very complex person: flippant and funny on the surface, but he concealed insecurities and problems in squaring up his life with his childhood. He never explained the lyrics, but I think he put a lot of himself into that song." May, though, says the band had agreed that the core of a lyric was a private issue for the composer. In a BBC Three documentary about the making of "Bohemian Rhapsody", Roger Taylor maintains that the true meaning of the song is "fairly self-explanatory with just a bit of nonsense in the middle".

Despite this, critics, both journalistic and academic, have speculated over the meaning behind the song's lyrics. Some believe the lyrics describe a suicidal murderer haunted by demons or depict events just preceding an execution. The latter explanation points to Albert Camus's novel '' The Stranger'', in which a young man confesses to an impulsive murder and has an epiphany before he is executed, as probable inspiration. When the band released a ''Greatest Hits'' cassette in Iran, a leaflet in Persian was included with translation and explanations. In the explanation, Queen states that "Bohemian Rhapsody" is about a young man who has accidentally killed someone and, like Faust, sold his soul to the devil. On the night before his execution, he calls for God saying, "''Bismillah''" ("In the name of God" in Arabic), and with the help of angels, regains his soul from Shaitan (the devil in Arabic).

Other critics interpreted the lyrics as Mercury's way of dealing with personal issues. Music scholar Sheila Whiteley observes that Mercury reached a turning point in his personal life in the year he wrote "Bohemian Rhapsody". He had been living with Mary Austin for seven years but had just embarked on his first love affair with a man. She suggests that the song provides an insight into Mercury's emotional state at the time, "living with Mary ('Mamma', as in Mother Mary) and wanting to break away ('Mamma mia let me go')". Others suggest it as a veiled reference to coming out, and dealing with the repercussions of the sodomy laws of the time.

Still others believe the lyrics were only written to fit with the music, and had no intended meaning; the D.J., television entertainer, and comedian Kenny Everett, who played an influential role in popularising the single on his radio show on Capital Radio, quoted Mercury as claiming the lyrics were simply "random rhyming nonsense".

Release

When the band wanted to release the single in 1975, various executives suggested to them that due to its length of 5 minutes and 55 seconds, it was too long and would never be a hit. The song was played to other musicians who commented the band had no hope of it ever being played on radio. According to producer Roy Thomas Baker, he and the band bypassed this corporate assessment by playing the song for Capital Radio D.J. Kenny Everett:
: "we had a reel-to-reel copy but we told him he could only have it if he promised not to play it. 'I won't play it,' he said, winking ..."

The plan worked — Everett teased his listeners by playing only parts of the song. Audience demand intensified when Everett played the full song on his show 14 times in 2 days. Hordes of fans attempted to buy the single the following Monday, only to be told by record stores that it had not yet been released. The same weekend, Paul Drew, who ran the RKO General stations in the U.S, heard the track on Everett's show in London. Drew managed to get a copy of the tape and started to play it in the U.S, which forced the hand of Queen's US label, Elektra. In an interview with ''Sound on Sound'', Baker observed that "it was a strange situation where radio on both sides of the Atlantic was breaking a record that the record companies said would never get airplay!"

Eventually the unedited single was released, with "I'm in Love with My Car" as the B-side. Following Everett's escapade in October 1975, Eric Hall, a record plugger, gave a copy to David "Diddy" Hamilton to play on his weekday Radio One show. Hall stated "Monster, Monster! This could be a hit!"

The song became the 1975 UK Christmas number one, holding the top position for nine weeks. "Bohemian Rhapsody" was the first song ever to get to number one in the UK twice with the same version, and is also the only single to have been Christmas number one twice with the same version. The second was upon its re-release (as a double A-side single with "These Are the Days of Our Lives") in 1991, following Mercury's death, staying at number one for five weeks. The re-released version sold 673,000 copies in 1991 in the UK.

In the US, the single was also a success, although initially to a lesser extent than in the UK. The single, released in December 1975, reached number nine on the ''Billboard'' Hot 100 and was certified gold by the Recording Industry Association of America for sales of one million copies.

In a retrospective article, Anthony DeCurtis of ''Rolling Stone'' explained why the song performed less strongly in the US charts by saying that it is "the quintessential example of the kind of thing that doesn't exactly go over well in America". Its chart run of 24 weeks, however, placed it at number 18 on ''Billboard''s year-end chart, higher than some number 1s of the year. With the Canadian record-buying public, the single fared better, reaching number one in the ''RPM'' national singles chart for the week ending 1 May 1976.

In the US, "Bohemian Rhapsody" was re-released as a double A-side cassette single with " The Show Must Go On" in January 1992, two months after the death of Freddie Mercury, with proceeds going to the Magic Johnson Foundation for AIDS research. The song re-entered the ''Billboard'' Hot 100 chart after 16 years, reaching number two, and spending 17 weeks on the chart. After the release of the Queen biopic named after the song, it re-entered the charts for a third time at number 33, marking 26 years since it last charted.

In March 2021 it was certified Diamond (10× platinum) in the US for combined digital sales and streams equal to 10 million units. It had sold 4.4 million digital copies in the US .

Promotional video

Though some artists had made video clips to accompany songs (including Queen themselves; for example, their earlier singles "Keep Yourself Alive", " Liar", "Seven Seas of Rhye" and "Killer Queen" already had "pop promos", as they were known at the time), it was only after the success of "Bohemian Rhapsody" that it became a regular practice for record companies to produce promotional videos for artists' single releases. ''The Guardian'' stated it "ensured videos would henceforth be a mandatory tool in the marketing of music". These videos could then be shown on television shows around the world, such as the BBC
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