Bogemacha Rapsodiya - Bohemian Rhapsody

Ushbu maqola qo'shiq haqida. Ushbu qo'shiq nomidagi film uchun qarang Bohemian Rapsodiyasi (film). Boshqa maqsadlar uchun qarang Bohemian Rapsodiya (disambiguation).

"Bogemacha Rapsodiya"
Guruhning to'rt a'zosi asosan qora liboslar kiyib, qumli rang fonida birga o'tirishadi. Merkuriy boshqa uchta a'zoning oldida o'tirgan hukmron figuradir. Chapdan o'ngga, Jon Dikon, Merkuriy, Brayan Mey, Rojer Teylor. To'rt kishi ham yuzlariga neytral ifoda bilan to'g'ridan-to'g'ri kameraga qarashmoqda. Tasma ustida oqlangan, kursiv shrift bilan bosilgan bir nechta qora matn mavjud.
Buyuk Britaniyaning bitta rasmli yengi
Yagona tomonidan Qirolicha
albomdan Opera-da bir kecha
B tomoni"Men mashinamga oshiqman "
Chiqarildi1975 yil 31 oktyabr (1975-10-31)
Yozib olingan1975 yil avgust - sentyabr
Janr
Uzunlik5:55
YorliqEMI
Qo'shiq mualliflariFreddi Merkuriy
Ishlab chiqaruvchi (lar)
Qirolicha yakkalik xronologiyasi
"Endi men shu erdaman "
(1975)		"bogemacha Rapsodiya"
(1975)		"Siz mening eng yaqin do'stimsiz "
(1976)
Musiqiy video
"Bogemacha Rapsodiya" kuni YouTube

"bogemacha Rapsodiya"bu Britaniya rok guruhining qo'shig'i Qirolicha. Bu tomonidan yozilgan Freddi Merkuriy guruhning 1975 yilgi albomi uchun Opera-da bir kecha. Olti daqiqa suite,[1] xor holda bir nechta bo'limlardan iborat: an kirish, a ballada segment, an operativ o'tish joyi, a qattiq tosh qismi va aks ettiruvchi koda.[2] Qo'shiq 1970-yillarda yanada qulayroq qabul qilingan progressiv tosh janr.[3]

"Bohemian Rapsodiya" eng yuqori o'rinni egalladi Buyuk Britaniyaning yakkaliklar jadvali to'qqiz hafta davomida va 1976 yil yanvar oyining oxiriga kelib milliondan ortiq nusxada sotilgan edi.[4] 1991 yilda, Merkuriy vafot etganidan so'ng, u yana besh hafta davomida jadvallarda birinchi o'rinni egalladi,[5] oxir-oqibat Buyuk Britaniyaga aylanadi hamma vaqt ichida eng ko'p sotilgan uchinchi singl.[6] Bu qo'shiqqa yetib boradigan yagona qo'shiq Buyuk Britaniyada Rojdestvo birinchi raqamli bitta rassom tomonidan ikki marta.[7] Shuningdek, Kanada, Avstraliya, Yangi Zelandiya, Irlandiya va Gollandiyani o'z ichiga olgan mamlakatlarning jadvallarida birinchi o'rinni egallab, ulardan biriga aylandi hamma vaqt eng ko'p sotilgan singllar dunyo bo'ylab olti milliondan ortiq nusxada sotish. Qo'shma Shtatlarda bu qo'shiq 1976 yilda to'qqizinchi o'ringa ko'tarilgan, ammo ikkinchi raqamning yangi cho'qqisiga chiqqan Billboard Issiq 100 filmda ishlatilgandan keyin Ueyn dunyosi (1992).[8] 2018 yilda qirolicha biopikasi chiqarildi bogemacha Rapsodiya qo'shiq butun dunyo bo'ylab mashhurligini va grafika muvaffaqiyatini yangiladi.

Dastlab tanqidiy reaktsiya aralashgan bo'lsa-da, "Bohemian Rapsodiya" shundan beri Qirolichaning eng mashhur qo'shig'iga aylandi va barcha davrlarning eng buyuk rok qo'shiqlaridan biri hisoblanadi. Yagona singari poydevor qo'ydi reklama videosi.[9] Rolling Stone uning ta'sirini "MTV efirga chiqishidan etti yil oldin deyarli musiqiy klipni ixtiro qilgan holda" haddan oshib bo'lmaydi.[10] The Guardian musiqiy klipini rok musiqasi tarixidagi 50 ta muhim voqealardan biri deb nomladi va videokliplarni musiqa marketingida muhim vosita bo'lishiga yordam berdi.[11]

2004 yilda "Bohemian Rapsodiya" qo'shildi Grammy Shon-sharaf zali.[12] Bu mashhur musiqiy qo'shiqlarning ko'plab so'rovlarida paydo bo'ldi,[13] va Merkuriyning vokal ijrosi o'quvchilar tomonidan rok tarixidagi eng zo'r deb tanlangan Rolling Stone.[14] 2018 yil dekabr oyida u eng ko'p bo'ldi oqim 20-asr qo'shig'i,[15] va 1,6 milliard martadan ko'proq yuklab olingan yoki translyatsiya qilingan.[16]

Tarix va yozuv

Merkurining do'sti Kris Smitning so'zlariga ko'ra (klaviatura pleyeri Tabassum ), Merkuriy "Bohemian Rapsodiya" ni birinchi bo'lib 1960 yillarning oxirlarida ishlab chiqara boshladi; Merkuriy o'sha paytda yozgan qo'shiqlarining bir qismini fortepianoda chalib yurar edi va shunchaki "Kovboy qo'shig'i" nomi bilan tanilgan uning bir qismida, keyinchalik, 1975 yilda, xususan, 1975 yilda tugallangan versiyada tugagan so'zlar bor edi. - Mama ... shunchaki bir odamni o'ldirdi.[17] Ishlab chiqaruvchi Roy Tomas Beyker 1972 yilda Qirolicha bilan ishlashni boshlagan Merkuriy bir vaqtlar Merkurining kvartirasida unga fortepianoda ochilgan ballada bo'limini qanday ijro etgani haqida gapirib berdi: "U pianinoda boshini o'ynadi, keyin to'xtab:" Va opera bo'limi shu erda keladi ichkarida! Keyin kechki ovqat yeyishga chiqdik. " Gitarachi Brayan May "Merkuriyning ushbu qo'shiq rejasi" qiziqarli va o'ziga xos va ishlashga loyiq "deb o'ylardi.[18] Mayning so'zlariga ko'ra, Qirolichaning ko'pgina materiallari studiyada yozilgan, ammo bu qo'shiq ular boshlanishidan oldin "hammasi Freddi yodida edi".[19] 1985 yil boshida guruhning Avstraliyadagi gastrol safari chog'ida bergan intervyusida Merkuriy: "Men asosan uchta qo'shiqni chiqarishni xohlagan edim va uchtasini birlashtirdim" dedi.[20]

Qirolicha bir oy davomida mashq qildi Ridge Farm Studio yilda Surrey 1975 yil o'rtalarida va barabanchi Rojer Teylor "Bohemian Rapsodiya" guruhi u erda bo'lganida ishlagan qo'shiqlaridan biri ekanligini esladi.[21] Yozib olish 1975 yil 24 avgustda boshlangan Rockfield Studio 1 yaqin Monmut, Janubiy Uels, uch haftalik mashqdan so'ng Penrhos sudi, yaqin Kington, Herefordshire. Trekni tayyorlash paytida to'rtta qo'shimcha studiya - Roundhouse, Sarm East Studios, Chayon ovozi va Wessex Sound Studios - ishlatilgan.[22] Ba'zi bir guruh a'zolarining so'zlariga ko'ra, Merkuriy qo'shiqni oldindan ruhan tayyorlagan va guruh bo'ylab boshqargan.[19] Merkuriy ishlatilgan a C. Bechshteyn u reklama plyonkasida va Buyuk Britaniyada gastrol safarlarida ijro etgan fortepiano konserti. Qo'shiqning mohiyati murakkab bo'lgani uchun u turli bo'limlarda yozib olingan.[23] Pianino go'yoki bir xil edi Pol Makkartni yozib olish uchun ishlatilgan Bitlz ' Qo'shiq "Hey Yahudo ",[1] va xuddi shu narsa Rik Uakeman ishlatilgan Devid Boui 1971 yilgi albom Xanki Dori.[24][shubhali – muhokama qilish]

Beyker 1999 yilda esladi:

"Bohemian Rapsodiya" umuman aqldan ozgan edi, ammo biz uning har bir daqiqasidan zavqlanardik. Bu asosan hazil edi, ammo muvaffaqiyatli hazil edi. [Kuladi]. Biz uni uchta alohida birlikda yozib olishimiz kerak edi. Biz butun boshini, so'ngra butun o'rta qismini, so'ngra oxirini qildik. Bu to'liq aqldan ozish edi. O'rta qismi atigi bir necha soniyadan boshlandi, lekin Freddi ko'proq "Galileos" bilan kirib keldi va biz opera bo'limiga qo'shilishni davom ettirdik va u shunchaki kattalashdi. Biz hech qachon kulishdan to'xtamadik ... Bu ballada sifatida boshlandi, ammo oxirati og'ir edi.[25]

Ma'lumotlarga ko'ra, May, Merkuriy va Teylor o'z vokal qismlarini kuniga 10-12 soat davomida doimiy ravishda kuylashardi.[19] Butun asarni yozib olish uchun uch hafta vaqt ketdi va ba'zi bo'limlarda 180 ta alohida yozuvlar mavjud edi overdubs.[23] O'sha paytdagi studiyalar atigi 24 yo'lli analog lentani taklif qilganliklari sababli, bu uch kishi o'zlarini bir necha bor haddan tashqari oshirib, ketma-ket "sakrab" olishlari kerak edi. pastki aralashmalar. Oxir-oqibat, sakkizinchi avlod lentalari ishlatilgan.[22] Kerakli pastki aralashmalarni o'z ichiga olgan lentaning turli qismlari bo'lishi kerak edi qo'shilgan (kesilgan va to'g'ri ketma-ketlikda yig'ilgan). May lenta oldida lenta qo'yganini va u orqali ko'rish imkoniyatini esladi, chunki lenta juda ko'p ishlatilgan edi.[26] Xuddi shunday voqeani 1977 yilda Teylor albom uchun "The Black Queen of the Black" ("Qora malikaning marshruti") uchun yaratilgan ortiqcha haddan tashqari qo'shimchalar va pastki aralashmalar haqida aytib bergan. Qirolicha II. O'sha paytda guruh 16 yo'lli uskunadan foydalangan.[27]

Prodyuser Beyker Mayning yakkaxon qo'shig'i bir nechta treklarni yozib olish o'rniga, faqat bitta trekda bajarilganligini eslaydi. May "asosiy kuyga hamkasb bo'lishi mumkin bo'lgan bir oz kuyni yaratmoqchi edi; men shunchaki kuyni ijro etishni xohlamadim" dedi. Gitaraistning aytishicha, uning yaxshi materiali shu ishlash uslubidan kelib chiqadi: u kuyni ijro etishdan oldin u haqida o'ylardi: "agar miya boshqarmasa, barmoqlar oldindan bashorat qilinadi".[19] Beykerning so'zlariga ko'ra, "qo'shiqning oxiri ancha og'irroq edi, chunki u birinchi bo'lib qilingan aralashlardan biri edi avtomatlashtirish... Agar chindan ham tinglasangiz, balad toza tarzda boshlanadi va opera qismi tobora kuchayib borishi bilan vokal tobora buzilib boraveradi. Siz hali ham CD-da buni eshitishingiz mumkin. Ular aniq buzilgan. "[25]

Tarkibi va tahlili

"Bohemian Rapsodiya" janrlariga qo'shilgan progressiv tosh (ba'zida simfonik rok deyiladi),[3][28][29][30] qattiq tosh,[31][32] va progressiv pop.[33] Bu qo'shiq xor bo'lmagan, turli xil musiqiy uslublarni birlashtirgan va qotillik va shafqatsizlik uchun odatiy muhabbatga asoslangan rivoyatlardan qochadigan so'zlarni o'z ichiga olgan mashhur qo'shiq uchun juda g'ayrioddiy. nigilizm.[2] Plyaj bolalari '1966 yil bitta "Yaxshi tebranishlar ", shuningdek, alohida yozilgan turli musiqiy bo'limlardan iborat bo'lib," Bohemian Rapsodiya "ning kashfiyotchisi bo'lgan.[34]

Musiqa olimi Sheila Vaytli "sarlavha zamonaviy rok mafkurasiga, ya'ni individualizm ning bohem rassomlar olami, bilan rapsodiya ning romantik ideallarini tasdiqlash art rock ".[35] Bohemianizm haqida sharhlar ekan, Judit Peraino shunday dedi: "Merkuriy niyat qilgan ... [bu qo'shiq] rok qo'shiqlari me'yoridan tashqaridagi narsa" soxta opera "bo'lishi kerak va u ma'lum operatik mantiqqa amal qiladi: ko'p yo'nalishli ovozlarning xorlari almashinib turadi bilan ariya - yakkaxon singari hissiyotlar haddan tashqari, fitna chalkashtirib yuborgan. "[36]

"Bohemian Rapsodiya" muqaddima bilan boshlanadi, keyin fortepiano baladiga o'tadi, a gitara yakkaxon operativ intermediyaga olib keladi. Bunga qattiq tosh qismi ergashadi va u koda bilan yakunlanadi. Qo'shiq tugmachalarida B♭ katta, E♭ katta, Katta va F mayor, va asosan 4
4 metr. Uslub, ohang va temp o'zgargan qo'shiqni suite tarzida yozishning ushbu musiqiy formati aksariyat asosiy oqimlarda odatiy bo'lmagan pop va tosh musiqa, lekin keng tarqalgan progressiv tosh. Bu janr 1970 yildan 1975 yilgacha ingliz guruhlari musiqasida o'zining badiiy va tijorat avjiga chiqdi Jetro Tull, Ha, Ibtido, Emerson, Leyk va Palmer, Yumshoq gigant, Van der Graaf generatori va Egri havo.[37] Progressiv rok musiqasi dramatik qarama-qarshiliklar, tempning tez-tez o'zgarishi va kompozitsiyaning bir bo'limidan boshqasiga ritmik xarakterda o'tishi bilan ajralib turardi.[38] Bu janrdagi guruhlar rok bilan aralashgan mumtoz musiqa, uning tuzilish xususiyatlari va kompozitsion amaliyotlari, shuningdek klassik musiqa asboblaridan foydalanish.[39] Qirolicha ilgarilab boruvchi toshni ularning turli xil ta'sirlaridan biri sifatida qabul qildi.[40] "Bohemian Rapsodiya" operaning turli xil unsurlarini portativ xorlar, kinoyali remitatsion va buzilgan italyan opera frazeologiyalari yordamida parodiya qiladi.[41] Ushbu uslubning embrional versiyasi Merkuriyning guruh uchun avvalgi kompozitsiyalarida ishlatilgan "Mening peri qirolim "(1973) va"Qora malikaning marshi " (1974).

Kirish (0: 00-0: 49)

Qo'shiq besh qismga yaqin uyg'unlik bilan boshlanadi kapella B-dagi kirish♭ major - bu V-I kadentsiyasi (F7-B) mavjudligidan dalolat beradi♭) ko'p yo'lli yozuvlar videoning to'rtta a'zosi bo'lsa ham Merkuriy lablarni sinxronlash bu qism. Lirikada hayot "haqiqiy" yoki "shunchaki xayol a ko'chki "haqiqatdan qochish mumkin emas" degan xulosaga kelishidan oldin.

20 soniyadan so'ng, fortepiano kirib keladi, qo'shiq qisqacha E ga modulyatsiya qiladi♭ major va Merkuriyning ovozi boshqa vokal qismlari bilan almashadi. Hikoyachi o'zini "shunchaki kambag'al bola" deb tanishtiradi, lekin u "hamdardlikka muhtoj emasligini" aytadi, chunki u "oson kelish, oson borish" va keyin "bir oz baland, bir oz past" (eshitilganda stereo, "biroz baland" so'zlari chap karnaydan va "oz past" o'ngdan keladi); xromatik yon tomonga siljish "oson kelish, oson borish" da xayollarga o'xshash muhit ta'kidlanadi. Ushbu bo'limning oxiri bas kirish va xochli pianino bilan belgilanadi vamp Bda♭.

Ballada (0: 49-2: 37)

Pianino B dan boshlanadi♭ kirish bilan birga asosiy Jon Dikon bas gitarasi, ushbu bo'lim boshlanishini belgilaydi. Ikki marta o'ynaganidan so'ng, Merkuriyning vokallari kiradi. Bo'lim davomida vokal yumshoq tarzda kuylangan uyg'unlikdan Merkuriyning shafqatsiz yakka ijroiga aylanadi. Hikoyachi onasiga "hozirgina odamni o'ldirganini", "boshiga qurol" bilan va shu bilan hayotini tashlaganini tushuntiradi. Ushbu "iqror" bo'lim, Uaytli sharhlaricha, "ayolning tarbiyalovchi va hayot baxsh etuvchi kuchi va absolutsiyaga bo'lgan ehtiyojni tasdiqlaydi".[35] Oyatning o'rtasida (1:19) Teylorning davullari kirib boradi va tushayotgan xromatik yugurish vaqtincha E ga o'zgaradi♭ katta (to'rtdan biriga). Hikoyachi asl mavzuni davom ettirib, yangi kalitda o'zining "mama" siga bir necha chaqiriqlarning ikkinchisini qiladi. Hikoyachi "siz yig'layotganingizdan" pushaymonligini va "mama" ni "hech narsa ahamiyatsiz bo'lganday davom ettirishga" undashini tushuntiradi. Pianino iborasining qisqacha, kamayib boruvchi o'zgarishi ikkinchi misraga bog'lanadi.

Keyin pianino intro o'ynaydi, ikkinchi misraning boshlanishini belgilaydi. Balad ikkinchi oyatiga kirib borar ekan, ma'ruzachi qotillikdan qanchalik uyalganini tan oladi (May gitara chalib, pianinoning yuqori diapazonini soat 1:50 da taqlid qiladi). May a-ni taqlid qiladi qo'ng'iroq daraxti chiziq paytida "umurtqa pog'onamga titraydi", ko'prikning narigi tomonida gitara torlarini chalib. Hikoyachi dunyoga "ketishim kerak" deb xayrlashib, "o'lishni xohlamayman / ba'zida umuman tug'ilmasligimni xohlayman" deb tan olish bilan "haqiqat bilan yuzlashishga" tayyorlanmoqda. Bu erda gitara yakkaxoni kirib boradi.

Gitara yakkaxon (2: 37-3: 05)

Balad qismining oxiriga kelib, guruh gitara yakkaxonini qo'shib, intensivligini kuchaytiradi (E♭ major) ijro etgan va bastakor Brayan Mey. Kuchlanish kuchayishda davom etmoqda, lekin bosh chizig'i yangi tugmachaga (A major) o'rnatiladigan modulyatsiyani tushirishni tugatgandan so'ng, butun guruh 3:03 da to'satdan chiqib ketadi, faqat sokin, stakkato Katta fortepianoda quaver (sakkizinchi nota) akkordlari, "Opera" bo'limining boshlanishini belgilaydi.

Opera (3: 05–4: 07)

Ritmik va garmonik o'zgarishlarning tezkor ketma-ketligi, vokalning jahannamga tushishini aks ettiruvchi vokal multi-trekning asosiy qismini o'z ichiga olgan psevdooperativ midsectionni taqdim etadi. Qo'shiqning asosiy pulsi saqlanib turganda, dinamika barda barda juda katta farq qiladi, faqat pianino hamrohligida bo'lgan Merkuriyning ovozidan, davullar, basslar, pianino va pianinolar qo'llab-quvvatlaydigan ko'p ovozli xorgacha. timpani. Xor effekti May, Merkuriy va Teylorning o'zlarining vokal qismlarini bir necha bor kuylashlari natijasida yaratildi, natijada 180 ta alohida haddan tashqari ovozlar paydo bo'ldi. Keyinchalik, bu ortiqcha dublyajlar ketma-ket submikslarga birlashtirildi. Rojer Teylorning so'zlariga ko'ra, May, Merkuriy va uning ovozlari keng vokal diapazonini yaratgan: "Brayan juda pastroqqa tushishi mumkin edi, Freddi o'rtada kuchli ovozga ega edi va men baland ovozda yaxshi edim". Guruh "a" ni yaratmoqchi edi tovush devori, bu pastga tushadi va yuqoriga ko'tariladi ".[19] Guruh qo'ng'iroq effekti "Magnifico" va "Let me go" so'zlari uchun. Shuningdek, "Uni qo'yib yuborsin" qo'shig'ida Teylor yuqori qismni kuylab, "xor" ning qolgan qismi kuylashni to'xtatgandan keyin o'z yozuvini olib boradi.

Ushbu parchadagi lirik havolalar kiradi Scaramouche, fandango, Galiley Galiley, Figaro, Belzebub va Bismilloh, raqib guruhlar rivoyatchining ruhi uchun kurash olib borar ekan, ba'zilari "uni qo'yib yuborishni" va "bu dahshatdan uning hayotini saqlab qolishni" istashadi, boshqalari unga "momaqaldiroq va chaqmoq" yuborib, juda qo'rqinchli bo'lishadi. ". Ga binoan Freddi Merkuriy: aniq biografiya tomonidan Lesli-Enn Jons nazariyasi: Bu shuningdek to'rtta a'zoning, ya'ni Merkuriy, May, Teylor va Deakonning majoziy vakili. Bo'lim lirikani to'liq xor bilan davolash bilan yakunlanadi "Belzebub bor shayton men uchun chetga surib qo'ying! ", blokda B♭ katta akkord Rojer Teylor a bilan yakuniy akkordni boshqaradi falsetto B♭ ichida beshinchi oktava (B.♭5).

O'sha paytda mavjud bo'lgan 24 trek texnologiyasidan foydalangan holda, "opera" bo'limini tugatish uchun taxminan uch hafta vaqt ketdi.[18] Prodyuser Roy Tomas Beyker shunday dedi: "Freddi har gal boshqa" Galiley "ni o'ylab topganida, men rulonga yana bir lenta qo'shib qo'yardim.[22] Beyker eslatib o'tadiki, ular lentani eskirganlar, bu esa pul o'tkazmalarini o'tkazish kerakligini anglatadi.[18]

Qattiq tosh (4: 07-4: 54)

Operatsion qism a bilan tosh intermediga olib boradi gitara riff Merkuriy tomonidan yozilgan. 4:15 da, a to'rt marta kuzatilgan Merkuriy (stereo holda, to'rt qism ikkitasi chapda, ikkitasi o'ngda) panjara bilan noma'lum "siz" ga yuborilgan g'azablangan qo'shiqlarni kuylaydi, ularni xiyonat va suiiste'mol qilishda ayblab, "menga buni qila olmaydi, bolam" , yakuniy satrlardan oldin qo'shiqchi "bu erda" aniqlanmagan "to'g'ri chiqib ketishi kerak" degan xulosaga kelishidan oldin. Uchta gitara balandligi ko'tariladi. Keyin Merkuriy shunga o'xshash B o'ynaydi♭ fortepianoda yuguring, chunki qo'shiq a bilan finalgacha quriladi ritardando.

Outro (4: 54-5: 55)

Merkuriy B dan notalarning ko'tarilgan oktavalarini o'ynaganidan keyin♭ mixolydian rejimi (E yozuvlaridan tuzilgan♭ shkala), keyin qo'shiq tempga va kirish shakliga qaytadi, dastlab E da♭ katta, tezda modulyatsiya qilishdan oldin Kichik, faqat qisqa vaqt ichida uni modulyatsiyani keskin qisqa qatoridan o'tkazing Kichik yana "hech narsa ahamiyatli emas" bo'limining yakuniy qismida. Gitara xor bilan birga "ooh, ooh yeah, ooh ha". Ikkita izli ikkita gitara musiqasi Jon Deakon tomonidan ishlab chiqilgan kuchaytirgich orqali yangraydi, unga mehr bilan "Deacy Amp ". Merkuriyning" Hech narsa muhim emas ... "yana paydo bo'ladi", engil pianino arpegiolari tomonidan beshikda iste'foga chiqishni (mayda tonalliklar) va keng vokal oralig'ida yangi erkinlik tuyg'usini bildiradi ".[42] "Hech narsa muhim emas" qatori bir necha marta takrorlangandan so'ng, qo'shiq nihoyat E tugmachasida tugaydi♭ major, lekin keyin tugashidan oldin yana F major ga o'zgaradi. Oxirgi satrda "Shamol har qanday yo'l bilan urilsa", keyin katta tovushning jimgina ovozi keladi tam-tam bu oxir-oqibat qo'shiq davomida o'rnatilgan keskinlikni yo'q qiladi.

Qo'shiq so'zlari

The New York Times "qo'shiqning eng o'ziga xos xususiyati - bu fatalistik so'zlar" deb izoh berdi. Merkuriy o'z tarkibini munosabatlar haqida gapirishdan boshqa tushuntirishdan bosh tortdi; guruh hali ham qo'shiq sirini himoya qiladi.[18] Brayan Mey ushbu qo'shiqda Merkuriyning shaxsiy shikastlanishlariga parda bilan murojaat qilinganligi haqidagi takliflarni qo'llab-quvvatlaydi. U "Freddi juda murakkab odam edi: yuzida yumshoq va kulgili edi, lekin u o'zining ishonchsizligi va hayotini o'z bolaligi bilan hisoblashda muammolarni yashirgan edi. U hech qachon so'zlarni tushuntirmagan, ammo men u bu qo'shiqqa o'zini juda ko'p qo'shgan deb o'ylayman" . "[43] Mayning aytishicha, guruh lirikaning asosiy qismi bastakor uchun alohida masala ekanligiga rozi bo'lgan.[18] A BBC Uch "Bohemian Rapsodiyasi" ning suratga olinishi haqidagi hujjatli filmda Rojer Teylor qo'shiqning asl ma'nosi "o'rtada biroz bema'nilik bilan o'zini o'zi tushunarli" deb ta'kidlaydi.[19]

Bu shunday xayoliy tuyulgan qo'shiqlardan biridir. Menimcha, odamlar shunchaki tinglashlari kerak, bu haqda o'ylashlari va keyin ularga nima deyilgani to'g'risida o'zlari qaror qilishlari kerak ... "Bohemian Rapsodiya" shunchaki havodan chiqmagan. Yoqilgan tillar va soxta opera bo'lsa-da, men biroz tadqiqot o'tkazdim. Nima uchun?

- Freddi Merkuriy[44]

Guruh a Eng zo'r xitlar Eronda kasseta, varaqa Fors tili tarjima va tushuntirishlar bilan kiritilgan (Eronda nashr etilgan kitobga ishora qiladi) Qora malikaning marshi Sara Sefati va Farhod Arkani tomonidan yaratilgan bo'lib, unda guruhning butun tarjimai holi va fors tiliga tarjima qilingan to'liq so'zlar (2000) mavjud. Izohda qirolicha "Bohemian Rapsodiya" tasodifan kimnidir o'ldirgan va xuddi Faust, ruhini iblisga sotdi. Qatl qilingan kecha u Xudoni chaqirib: "Bismilloh "(Arab tilida" Xudoning nomi bilan ") va farishtalar yordamida ruhini qayta tiklaydi Shayton (Islomdagi shayton).[45]

Shunga qaramay, publitsistik va akademik tanqidchilar qo'shiq so'zlari ma'nosini taxmin qilishdi. Ba'zilarning so'zlariga ko'ra, jinlar tomonidan ta'qib qilingan o'z joniga qasd qiluvchi qotil tasvirlangan yoki ijro etilishidan oldin sodir bo'lgan voqealar tasvirlangan. Oxirgi tushuntirishga ishora qilmoqda Albert Kamyu roman Begona, unda yosh yigit impulsiv qotillikni tan oladi va o'ldirilishidan oldin epifani bor, ehtimol ilhom sifatida. Boshqalar so'zlar faqat musiqaga mos ravishda yozilgan deb hisoblashadi va ma'nosiz; DJ, televizion ko'ngilochar va komediyachi Kenni Everett, radioeshittirishda singlni ommalashtirishda ta'sirchan rol o'ynagan Poytaxt radiosi, so'zlari shunchaki "tasodifiy qofiya bema'nilik" ekanligini da'vo qilgan Merkuriyning so'zlari.[43]

Shunga qaramay, boshqalar ularni Merkuriyning shaxsiy muammolarini hal qilish usuli sifatida talqin qilishdi.[18] Musiqa olimi Sheila Whiteley, Merkuriy "Bohemian Rapsodiya" ni yozgan yili shaxsiy hayotida tub burilish yasaganini kuzatmoqda.[35] U etti yildan buyon Meri Ostin bilan birga yashagan, ammo endigina erkak bilan birinchi muhabbat ishlarini boshlagan edi. Uning so'zlariga ko'ra, ushbu qo'shiq Merkurining o'sha paytdagi hissiy holati to'g'risida tushuncha beradi, "Maryam bilan birga yashash (" Mamma ", xuddi Ona Maryam ) va ajralib ketishni xohlaydilar ('Mamma Mia meni qo'yib yubordi') ".[42] Boshqalar buni parda bilan ishora sifatida taklif qilishadi chiqib va bu jiddiy oqibatlarga olib keladi sodomiya qonunlari vaqt.[46]

Chiqarish

AQShning bitta versiyasidagi Side-A yorliqlaridan biri

1975 yilda guruh singlni chiqarishni xohlaganda, turli rahbarlar ularga 5 daqiqa 55 soniyada bu juda uzun va hech qachon xit bo'lmasligini taklif qilishdi.[47] Ushbu qo'shiq boshqa musiqachilarga ham yangradi, ular guruhning fikricha, uning radioda hech qachon ijro qilinishiga umid qilishmagan.[19] Prodyuser Roy Tomas Beykerning so'zlariga ko'ra, u va guruh qo'shiqni ijro etish orqali ushbu korporativ qarorni chetlab o'tishdi Poytaxt radiosi DJ Kenni Everett: "bizda g'altakning g'altakka nusxasi bor edi, lekin biz unga uni o'ynamaslikka va'da bergan taqdirdagina ega bo'lishi mumkinligini aytdik." Men o'ynamayman ", dedi u ko'z qisib ..."[22] Ularning rejasi amalga oshdi - Everett tinglovchilariga faqat qo'shiqning ayrim qismlarini ijro etib, mazax qildi. Everett ikki kun ichida 14 marotaba o'z shousida to'liq qo'shiqni ijro etgach, tomoshabinlar talabi yanada kuchaygan.[18] Ertangi dushanba kuni muxlislar qo'shig'i singlni sotib olishga urinishdi, faqat ovoz yozish do'konlari uni hali chiqmaganligini aytishdi.[22] Xuddi shu dam olish kunlari, Pol Dryu kim ishlaydi RKO General Shtatlardagi stantsiyalar, Everettning Londondagi shousidagi trekni eshitdilar. Drew lenta nusxasini olishga muvaffaq bo'ldi va uni Shtatlarda ijro eta boshladi, bu esa qirolichaning AQSh yorlig'ini majbur qildi, Elektra. Bilan intervyuda Ovozda tovush, Beykerning ta'kidlashicha, "bu Atlantika okeanining har ikki tomonidagi radiolar rekord o'rnatuvchi kompaniyalar hech qachon efirga chiqmaydi degan rekordni buzayotgan g'alati holat edi!"[22] Oxir-oqibat tahrir qilinmagan singl chiqdi, "Men o'z mashinamga oshiqman" kabi B tomoni. 1975 yil oktyabrda Everettning qochib ketishidan so'ng, Erik Xoll, rekord plagger, nusxasini berdi Devid "Didi" Xemilton uning ish kuni Radio One dasturida o'ynash. Xoll "Monster, Monster! Bu hit bo'lishi mumkin!"[48]

Qo'shiq 1975 yilga aylandi Buyuk Britaniyada Rojdestvo birinchi raqamli, to'qqiz hafta davomida eng yuqori pozitsiyani ushlab turing.[42] "Bohemian Rhapsody" shu versiyada ikki marta Buyuk Britaniyada birinchi o'ringa chiqqan birinchi qo'shiq edi,[49] va shu bilan bir xil versiyada ikki marta Rojdestvo raqami bo'lgan yagona singl. Ikkinchisi qayta chiqarilgandan so'ng ("A" bilan qo'shaloq singl singari "Bu bizning hayotimizning kunlari ") 1991 yilda Merkuriy vafot etganidan so'ng, besh hafta davomida birinchi o'rinda turdi.

Qo'shma Shtatlarda singl ham muvaffaqiyatga erishdi, garchi bu Angliyaga qaraganda kamroq bo'lsa ham. 1975 yil dekabr oyida chiqarilgan singl to'qqizinchi raqamga yetdi Billboard Issiq 100 va tomonidan sertifikatlangan oltin Amerikaning Yozish sanoati assotsiatsiyasi million nusxada sotilganligi uchun.[50] Retrospektiv maqolada, Entoni DeKurtis ning Rolling Stone Qo'shiq nima uchun AQSh chartlarida unchalik kuchli bo'lmaganligini "bu Amerikada yaxshi chiqmaydigan narsaning kvintessentsial namunasi" deb izohladi.[19] Uning jadvali 24 haftadan iborat bo'lib, uni 18-o'ringa qo'ydi Billboard'yil yakunlari jadvali, yilning ba'zi raqamlaridan yuqori.[51] Kanadalik rekordni sotib oladigan jamoatchilik bilan singl yaxshiroq bo'lib, birinchi raqamga yetdi RPM 1976 yil 1 mayda tugaydigan hafta uchun milliy yakkaliklar jadvali.[52]

"Bohemian Rapsodiya" A bilan qo'shaloq kassetali singl sifatida qayta chiqarildi.Shou davom etishi kerak "Freddi Merkuriy vafotidan keyin 1992 yil yanvar oyida, daromadlari bilan birga Sehrli Jonson Jamg'armasi OITS tadqiqotlari uchun. Qo'shiq yana Billboard Issiq 100 16 yildan keyin jadval, ikkinchi raqamga etib borgan va jadvalda 17 hafta sarflagan, yil oxiridagi jadval pozitsiyasi 39 ga teng. qo'shiq nomidagi qirolicha biopikasi, u uchinchi marta 33-sonli jadvalga uchinchi marta kirib, so'nggi jadvaldan beri 26 yilni nishonladi.[53] RIAA tomonidan 2005 yil 8 avgustda 100000 dan ortiq raqamli yuklab olish uchun to'rtinchi marta platina va 2014 yil 23 aprelda to'rtinchi platina bilan birgalikda raqamli savdo va oqimlar uchun sertifikatlangan.[50] 2017 yil sentyabr holatiga ko'ra AQShda 4,4 million raqamli nusxalarini sotdi.[54]

Reklama videosi

Qirolicha fotosurati ularning fotosessiyalaridan olingan ikkinchi albom, bu "Bohemian Rapsodiya" klipining ko'rinishini ilhomlantirishi mumkin

Garchi ba'zi rassomlar qilgan bo'lsa ham videokliplar qo'shiqlarga hamrohlik qilish (shu jumladan, qirolichaning o'zi; masalan, avvalgi singllari "O'zingizni tirik tuting ", "Yolg'onchi ", "Rheening etti dengizlari "va"Qotil malikasi "allaqachon" pop-promolar "bo'lgan, ular o'sha paytlarda ma'lum bo'lgan)," Bohemian Rapsodiyasi "muvaffaqiyatidan keyingina bu odatiy amaliyotga aylandi. ovoz yozish kompaniyalari rassomlarning bitta versiyalari uchun reklama videolarini tayyorlash.[55] Keyinchalik ushbu videolar butun dunyo bo'ylab televizion ko'rsatuvlarda namoyish etilishi mumkin, masalan BBC "s Poplarning tepasi, rassomning shaxsan paydo bo'lishiga hojat qolmasdan. Promo-video, shuningdek, rassomga o'zlarining musiqiy translyatsiyasini va o'zlarining tanlagan ingl. Pan odamlari. Mayning so'zlariga ko'ra, video guruh guruhga taqlid qilmaslik uchun ishlab chiqarilgan Poplarning tepasi chunki ular bunday murakkab qo'shiqni taqlid qilishdan qochgan bo'lar edi.[43] U shuningdek, guruh ularning paydo bo'lishini bilishini aytdi Dandi "s Kaird zali gastrolda va baribir dasturda ishtirok eta olmaydi.[19] Ushbu video MTV yoshini boshlab bergani sifatida olqishlandi.[19]

Guruh Trillion kompaniyasining sho'ba korxonasidan foydalangan Trident studiyalari, ularning sobiq boshqaruv kompaniyasi va ovoz yozish studiyasi. Ular yuk mashinalaridan birini yollab, unga yetib kelishdi Elstree studiyalari, guruh o'zlarining gastrol safarlarida mashq qilishgan. Video rejissyor tomonidan tayyorlangan Bryus Govers, guruhning 1974 yildagi chiqishlari videosini boshqargan Kamalak teatri Londonda va operator Barry Dodd va tomonidan yozib olingan direktor yordamchisi /qavat menejeri Jim Makkuton. Video 1975 yilning 10 noyabrida 4500 funt sterlingga teng bo'lgan atigi to'rt soat ichida yozib olindi.[23] Gowers guruh video va uning natijalarini muhokama qilishda ishtirok etganligini va "shu darajada kooperativ bo'lgan, ammo u erda faqat bitta rahbar borligini" xabar qildi.[19]

Video to'rtta guruh a'zolarini zulmatga yaqin qo'shiq kuylash paytida o'qqa tutish bilan ochiladi kapella qism. Chiroqlar o'chadi va o'qlar Freddining yaqin rasmlariga aylanadi. Rasmning tarkibi xuddi shunday Mik Rok Ikkinchi albomining muqovadagi fotosurati Qirolicha II. Aktrisaning fotosuratidan ilhomlangan fotosurat Marlen Ditrix, guruhning o'zlarining eng sevimli obrazi edi.[19] Keyin video ularning asboblarini chalishda ularning ichiga kirib boradi. Videoning opera qismida voqea sahnaga qaytadi Qirolicha II tik turgan pozitsiyalar, shundan so'ng ular yana bir marta qattiq rock segmentida sahnada chiqish qilishadi. Videoning so'nggi soniyalarida Rojer Teylorning beliga mahkam tushirilgani va zarbasi tasvirlangan tam tam savdo markasi tartibida Rank tashkilot "s Gongman, Buyuk Britaniyada barcha Rank filmlarining ochilishi sifatida tanish.[iqtibos kerak ]

Barcha maxsus effektlarga tahrir qilishdan ko'ra, yozuv paytida erishildi. Merkuriyning yuzini kaskadga qo'yadigan vizual effekt ("Magnifico" va "Let me go" aks sadolari paytida) kamerani monitorga yo'naltirish orqali amalga oshirildi. vizual geribildirim, shunga o'xshash porlash audio teskari aloqa. Asal qoliplari illyuziyasi shakllangan linzalar yordamida yaratilgan. Video besh soat ichida tahrir qilindi, chunki u lentaga tushirilgan o'sha hafta efirga uzatilishi kerak edi. Video qurilishi tugashi bilanoq Bi-bi-siga yuborildi va birinchi marta efirga uzatildi Poplarning tepasi 1975 yil noyabrda.[19] Birinchi raqamda bir necha hafta o'tgach, videoning tahriri yaratildi. Eng aniq farq - bu kirish qismida birlashtirilgan alangalar va bir nechta muqobil kameraning burchaklari.[iqtibos kerak ]

Tanqidiy qabul

Ushbu qo'shiq mashhur musiqa tarixidagi eng obro'li qo'shiqlarga aylanganiga qaramay,[56] dastlabki tanqidiy reaktsiya aralashgan. Buyuk Britaniyaning musiqiy hujjatlari qo'shiq o'ziga xos va texnik jihatdan yaxshi bo'lganligini tan olib, hayratga tushishdi, lekin ular asosan befarq qolishdi. Pit Erskine NME "Bu radioda to'liq ijro etiladimi yoki yo'qligini bilish qiziq bo'ladi. Bu juda yaxshi ijro etilgan, ammo ishlab chiqarish jihatidan hamma narsadan ko'ra ko'proq ... Kimdir qaerdadir o'g'il bolalarnikiga qaror qildi ozodlik "epik" bo'lishi kerak. Va shunday bo'ladi. Ular juda muhim. "[57]

Allan Jons ning Melodiya yaratuvchisi taassurot qoldirmadi va qo'shiqni "nomuvofiq musiqiy uslublarning yuzaki ta'sirchan pastisi" deb ta'rifladi va qirolicha "g'azabning aqldan ozganligini taxmin qilishga intildi. Balham Havaskor operativ jamiyat ijro etmoqda Penzance qaroqchilari... "Bohemian Rapsodiya" drama, ehtiros va romantikaga to'la va bu mini-opera ishlaridan biriga o'xshab yangraydi. Pit Taunsend [sic] oxirigacha yopishish uchun ishlatiladi JSSV albomlar ", degan xulosaga kelishidan oldin," Kompozitsiyaning ahamiyati meni butunlay chetlab o'tmoqda, garchi men uni dahshatli darajada hayratlanarli deb bilsam. Bu, ehtimol uzunligiga qaramay ulkan nisbatlarga ega bo'lishi mumkin. "[58] Rey Foks-Kamming Yozuv oynasi "Bu erda hech qanday zudlik bilan savdo nuqtasi yo'q: uning ko'p qismlari orasida. Bu ohangning bir qismi borligi aniq va hech kim uni tutib oladigan liniyasi yo'q. Uning shaytoniy ravishda aqlli va hamma narsani o'z ichiga olganligi inkor etilmaydi. o'xshash tovushlarni tortib olishga operativ uyg'unlik Uchqunlar va Devid Kessidi, lekin oxir-oqibat butun qismlar yig'indisidan kamroq miqdorni qo'shadi. "Ammo, u xit bo'lmasligi" aqlga sig'maydigan narsa "ekanligini aytdi.[59] Eng ijobiy sharh keldi Tovushlar uni "imkonsiz ravishda ajralib ketgan va murakkab, ammo Freddi Merkurining qizigan ongidan ko'zni qamashtiradigan darajada aqlli epik" deb atagan.[60]

Meros

Musiqiy ta'sir

The Qirolicha Extravaganza da qo'shiqni ijro etish Tulki teatri, Detroyt 2012 yilda

1976 yilda "Bohemian Rapsodiya" haqidagi fikrini so'raganda, plyaj bolalari "rahbar Brayan Uilson qo'shiqni "asrlar davomida paydo bo'lgan eng raqobatbardosh narsa" va "barkamol musiqa - o'spirinning duosi ijrosi va javobi" deb maqtadi.[61] Ishlab chiqaruvchi Stiv Levin trek "Beach Boys" ga o'xshash tarzda "barcha sonik ishlab chiqarish to'siqlarini" buzdi ".Yaxshi tebranishlar " (1966), Fil Spektor "Mening chaqalog'im bo'ling "(1963) va 10cc "Men Oshiq emasman " (1975).[62] Greg Leyk, kimning qo'shig'i "Men Rojdestvo otasiga ishonaman "1975 yilda chiqarilganda" Bohemian Rapsodiya "tomonidan Buyuk Britaniyada birinchi raqamdan ushlab turilgan va" hayotda eng katta yozuvlardan biri tomonidan kaltaklangani "ni tan olgan va buni" hayotda bir marta yozilgan yozuv "deb ta'riflagan. ".[63]

Muallif va musiqa o'qituvchisi Jochen Eisentraut qo'shiqning doimiy mashhurligiga murojaat qilib, 2012 yilda shunday deb yozgan edi: "Bir yil oldin pank "moda" ga aylantirdi, ilg'or rok "prog" janrining ko'pgina belgilariga ega bo'lgan nazariy jihatdan juda ko'p (6 daqiqalik) singl "Bohemian Rapsodiyasi" bilan hayratlanarli muvaffaqiyatga erishdi. ushbu uslubda xit singlni eshitish uchun "u boshqa janrdagi musiqalarga qaraganda ko'proq" va "uslubning odatiy doirasidan tashqarida muloqot qilish imkoniyatiga ega edi".[3] Muallif va ilg'or rok tarixchisi Stiven Lamb uni "ajoyib" singl deb atadi va "prog o'zining eng yaxshi paytidagi prognoz bilan tasodifiy ko'prikni va yanada tajovuzkor qo'shiq yozishga o'tishni ta'minlaydi" deb aytdi va bu qo'shiqni "grotesk" kabi his qiladi (garchi beixtiyor bo'lsa ham) ) progressiv toshga parodiya ".[56] Yangi Rolling Stone albomi bo'yicha qo'llanma uni "prog-rok mezonlari yoki eng chigallashgan" deb ta'riflagan yangilik qo'shig'i har doim yozilgan ".[64] Uchun yozish BBC 2015 yilda Chicago Tribune'musiqa tanqidchisi Greg Kot uni "prog-rok cho'ntak" deb atagan operetta " and said the song's "reign as a work of wigged-out genius rather than a dated gimmick testifies to its go-for-broke attitude—one that has resonated across generations".[28]

In 2009, The Guardian's music critic, Tom Service, examined the song's relationship with the traditions of classical music, describing its popularity as "one of the strangest musical phenomena out there":

The precedents of Bohemian Rhapsody are as much in the 19th-century classical traditions of rhapsodic, quasi-improvisational reveries—like, say, the piano works of Schumann yoki Shopin or the tone-poems of Strauss yoki Liszt —as they are in prog-rock or the contemporary pop of 1975. That's because the song manages a sleight of musical hand that only a handful of real master-musicians have managed: the illusion that its huge variety of styles—from intro, to ballad, to operatic excess, to hard-rock, to reflective coda—are unified into a single statement, a drama that somehow makes sense. It's a classic example of the unity in diversity that high-minded musical commentators have heard in the symphonies of Beethoven or the operas of Motsart. And that's exactly what the piece is: a miniature operatic-rhapsodic-symphonic-tone-poem.[2]

A comparison was also made between the song and Led Zeppelin 's 1971 epic "Stairway to Heaven " by music writers Pete Prown va HP Newquist. They observed both songs were "a slow, introspective beginning and gradual climb to a raging metal jam and back again", with the notable distinction being "while Zeppelin meshed folk influences with heavy metal, Queen opted for the light grandeur of the operetta as part of its hard rock". They said "for sheer cleverness alone, not to mention May's riveting electric work, 'Bohemian Rhapsody' rightfully became one of the top singles of 1975 and established Queen in the elite of seventies rock bands".[31]

In 2015, Iqtisodchi described it as "one of the most innovative pieces of the progressive rock era". It wrote "though Led Zeppelin's Jon Pol Jons va the Beatles ' Pol Makkartni had experimented with symphonic elements, and Roger Waters ning Pink Floyd va Pete Townshend ning the Who had created narrative albums with distinct 'movements', none had had the audacity to import a miniature opera into rock music."[32]

Ueyn dunyosi

In 1992, the song enjoyed renewed popularity in the United States after being featured in a scene in the film Ueyn dunyosi, in which the titular character and his friends headbang in a car to the rock part near the end of the song.[8] The film's director, Penelope Spheeris, was hesitant to use the song, as it did not entirely fit with the lead characters, who were fans of less flamboyant hard rock and heavy metal. Mayk Mayers insisted that the song fit the scene.[65] According to music scholar Theodore Gracyk, by 1992, when the film was released, even "classic rock" stations had stopped playing the almost six-minute song. Gracyk suggests that beginning the tape in the middle of the song after "the lyrics which provide the song's narrative ... forces the film's audience to respond to its presence in the scene without the 'commentary' of the lyrics".[66] Helped by the song, the soundtrack album of the film was a major hit.[67]

In connection with this, a new video was released, interspersing excerpts from the film with footage from the original Queen video, along with some live footage of the band. Myers was horrified that the record company had mixed clips from Ueyn dunyosi with Queen's original video, fearing that this would upset the band. He said, "they've just whizzed on a Picasso." He asked the record company to tell Queen that the video was not his idea and that he apologised to them. The band, though, sent a reply simply saying, "Thank you for using our song." This astonished Myers, who responded, "Thank you for even letting me touch the hem of your garments!"[68]

The Ueyn dunyosi video version of "Bohemian Rhapsody" won Queen its only MTV Video Music Award uchun "Best Video from a Film ".[69] When remaining members Brian May and Roger Taylor took the stage to accept the award, Brian May was overcome with emotion and said that "Freddie would be tickled." In the final scene of the video, a pose of the band from the video from the original "Bohemian Rhapsody" clip morphs into an identically posed 1985 photo, first featured in the "One Vision " video.

In the 2018 Queen biopic Bohemian Rhapsody, Myers has a kameo as a fictional record executive who pans the song and refuses to release it as a single, proclaiming that it is too long for radio and that it is not a song that "teenagers can crank up the volume in their car and bang their heads to", a reference to the iconic scene in Ueyn dunyosi.[70]

Achievements and accolades

The song has won numerous awards and has been covered and parodied by many artists. Yilda 1977 "Bohemian Rhapsody" received two Grammy Award nominations for Best Pop Vocal Performance by a Duo, Group or Chorus va Best Arrangement for Voices. (The winners were Chicago's "If You Leave Me Now," and Starland Vocal Band's "Afternoon Delight," respectively.)[71] In 1977, only two years after its release, the British Phonographic Industry named "Bohemian Rhapsody" as the best British single of the period 1952–77.[66] It is a regular entry in greatest-songs polls, and it was named by the Guinness Book of Records in 2002 as the top British single of all time.[18] The song is also listed in the Rock and Roll Hall of Fame 's 500 Songs that Shaped Rock and Roll.[72]

In 2004, the song was inducted into the Grammy Hall of Fame.[12] As of 2004, "Bohemian Rhapsody" is the second most-played song on British radio, in clubs and on jukeboxes collectively, after Procol Harum 's "A Whiter Shade of Pale ".[73] On 30 September 2007 for BBC Radio 1 's 40th birthday, it was revealed on The Radio 1 Chart Show that "Bohemian Rhapsody" had been the most played song since Radio 1's launch.[74]

In December 2018, "Bohemian Rhapsody" officially became the most-streamed song from the 20th century, surpassing Nirvana's "Smells Like Teen Spirit " and Guns N' Roses' "Sweet Child o' Mine ".[15][16] "Bohemian Rhapsody" also became the most-streamed classic rock song of all time.[15] The number of downloads of the song and original video exceeded 1.6 billion downloads across global on-demand streaming services.[16] The video surpassed one billion views on YouTube in July 2019, making it the oldest music video to reach one billion on the platform, and the first pre-1990s song to reach that figure.[75][76]

Polls

In a 2001 poll of more than 50,000 readers of Kuzatuvchi newspaper and viewers of British TV's 4-kanal for the 100 best number-one singles of all time, the song came second to John Lennon 's "Imagine ".[77] In a 2002 poll of more than 31,000 people conducted for Guinness World Records ' British Hit Singles, "Bohemian Rhapsody" was voted Britain's favourite single, beating Lennon's "Imagine" to the top spot.[78]

In 2002, it came in 10th in a BBC World Service poll to find the world's favourite song.[79] It has been in the top five of the Dutch annual "Top 100 Aller Tijden" ("All-Time Top 100 [Singles]") since 1977, reaching number one on eight occasions, more than any other artist.[80] In 1999, the annual "Top 2000 " poll commenced to find the best songs ever made, and "Bohemian Rhapsody" has been ranked number one in all but four years (2005, 2010, 2014 and 2015 when it was number two).[81] In a 2012 readers poll conducted by Rolling Stone magazine, "Bohemian Rhapsody" was voted the best vocal performance in rock history.[82] In 2010, the song ranked at 166 on Rolling Stone's "500 Greatest Songs of All Time" list.[83]

In 2012, the song topped an ITV poll in the UK to find "The Nation's Favourite Number One" over 60 years of music, ahead of Maykl Jekson 's "Billie Jean " (No. 2), Adele 's "Someone like You " (No. 3), Oazis ' "Don't Look Back in Anger " (No. 4) and Bitlz ' "Hey Jude " (No. 5).[13] The song was also ranked No. 5 in RadioMafia's list of "Top 500 Songs".[84]

Cover versions

Robbie Williams on stage in Poland in 2015 performing the song with the Queen image in the background
Shuningdek qarang: List of Bohemian Rhapsody cover versions

Over two dozen artists have recorded or performed cover versions of "Bohemian Rhapsody", including charted singles releases by The Braids for the soundtrack to the film High School High,[85] and by Panic! at the Disco which was on the soundtrack for the film Suicide Squad.[86] A video cover featuring The Muppets also went viral[87] and was subsequently released as a single.[88]

"Weird Al" Yankovic 's 1993 album Alapalooza includes a version of the song entitled "Bohemian Polka ", which is a rearrangement of the entire song as a polka.[89][90]

40th anniversary

To mark the 40th anniversary of "Bohemian Rhapsody", the song was released on a limited edition 12" vinyl with the original B-side "I'm In Love With My Car" on 27 November 2015 for Record Store Day 2015. Queen also released A Night At The Odeon, Live At Hammersmith 75, kuni CD, DVD-Video va Blu-ray. This includes the first live "professionally" recorded performance of "Bohemian Rhapsody".[91] However, the very first recording and live performance of "Bohemian Rhapsody" was the performance on 14 November 1975 in Liverpool.[92]

Live performances

The a cappella opening was too complex to perform live, so Mercury tried various ways of introducing the song. When the song "Mustapha" became a live favourite, Mercury would often sub in that song's a cappella opening, which was easier to reproduce live as it was only one voice. Davomida Hot Space Tour, and occasionally at other times, Mercury would do a piano improvisation (generally the introduction to "Death on Two Legs") that ended with the first notes of the song. Often, the preceding song would end, and Mercury would sit at the piano, say a quick word, and start playing the ballad section.

Three members of the group during a live performance in Hanover. From left to right, John Deacon (stood casually), Roger Taylor (playing, sat at drum kit), and Brian May (appears to be playing intensely). Behind Taylor is a tam-tam used at the end of Bohemian Rhapsody. Behind that is a large set of multicoloured lights raised above the stage.
From left to right: Deacon, Taylor and May in concert in Hanover in 1979. Behind the drum kit is the tam-tam used at the end of "Bohemian Rhapsody".

Initially following the song's release, the operatic middle section proved a problem for the band. Because of extensive multi-tracking, it could not be performed on stage. The band did not have enough of a break between the Sheer Heart Attack va A Night at the Opera tours to find a way to make it work live, so they split the song into three sections that were played throughout the night. The opening and closing ballads were played as part of a medley, with "Killer Queen " and "March of the Black Queen" taking the place of the operatic and hard rock sections. In 1976 concerts where the same medley was played, the operatic section from the album would be played from tape as the introduction to the setlist. During this playback, Mercury would appear briefly to sing live for the line, "I see a little sillhouetto of a man".[93] As the song segued into the hard rock section, the band would emerge on the smoke-filled stage—the playback would end at this point, and the hard rock section would be performed live (without the final ballad section, which appeared later in the set).

Starting with the A Day at the Races Tour in 1977, the band adopted their lasting way of playing the song live. The opening ballad would be played on stage, and after Brian May's guitar solo, the lights would go down, the band would leave the stage, and the operatic section would be played from tape, while coloured stage lights provided a light show based around the voices of the opera section. Most playings of the opera section from the tape would often be accompanied by a portion of the song's music video containing the footage used for the operatic portion of the song. Other playings would be played over montages of footage filmed from the band members' other experiences throughout their daily lives. A blast of pyrotechnics after Roger Taylor's high note on the final "for me" would announce the band's return for the hard rock section and closing ballad. Queen played the song in this form all through the Magic Tour of 1986. This style was also used for the Freddie Mercury Tribute Concert, with Elton Jon singing the opening ballad and then after the taped operatic section, Axl Rose singing the hard rock section. John and Rose sang the closing ballad part together in a duet.

"Bohemian Rhapsody" was performed by Queen + Paul Rodgers throughout their tours, accompanied by a video of Mercury.[94] Footage from the Live at Wembley '86 was used for the 2005-6 tour, va 1981 Montreal performance used for the Rock the Cosmos Tour. As with the Queen tours, the band went backstage for the operatic section, which was accompanied by a video tribute to Freddie Mercury. When the hard rock section began, the lights came back up to the full band on stage, including Rodgers, who took over lead vocals. Rodgers duetted with the recording of Mercury for the "outro" section, allowing the audience to sing the final "Nothing really matters to me", while the taped Mercury took a bow for the crowd. Rodgers would then repeat the line, and the final line ("Any way the wind blows") was delivered with one last shot of Mercury smiling at the audience. Commenting upon this staging, Brian May says that they "had to rise to the challenge of getting Freddie in there in a way which gave him his rightful place, but without demeaning Paul in any way. It also kept us live and 'present', although conscious and proud of our past, as we logically should be."[18]

Since 2012, May and Taylor have toured with former American Idol contestant Adam Lambert under the name Queen + Adam Lambert (following two one-off performances together in 2009 and 2011), with "Bohemian Rhapsody" regularly included at the end of their set.[95][96]

Grafikalar

Sales and certifications

MintaqaCertificationCertified units /sales
Australia (ARIA )[183]8× Platinum560,000double-dagger
Canada (Music Canada )[184]7× Platinum560,000double-dagger
Denmark (IFPI Denmark )[185]Platinum90,000double-dagger
Germany (BVMI )[186]Oltin250,000^
Italy (FIMI )[187]4× Platinum200,000double-dagger
Japan (RIAJ )[188]Oltin100,000*
New Zealand (RMNZ )[189]2× Platinum40,000*
Portugal (AFP )[190]Platinum40,000^
Spain (PROMUSICAE )[191]3× Platinum150,000double-dagger
United Kingdom (BPI )[193]3× Platinum2,540,604[192]
United States (RIAA )[50]
Physical 		Oltin1,000,000^
United States (RIAA )[50]
Digital 		8× Platinum4,445,000[54]

*sales figures based on certification alone
^shipments figures based on certification alone
double-daggersales+streaming figures based on certification alone

xanjar Since May 2013 RIAA certifications for digital singles include on-demand audio and/or video song streams in addition to downloads.[194]

Queen comments on the song

I always wanted to do something operatic. I wanted something with a mood setter at the start, going into a rock type of thing which completely breaks off into an opera section, a vicious twist and then returns to the theme. I don't really know anything about opera myself. Just certain pieces. I wanted to create what I thought Queen could do. It's not authentic… certainly not. It's no sort of pinch out of Magic Flute. It was as far as my limited capacity could take me.[195]

— Freddie Mercury, 1976

I'm going to shatter some illusions, it was just one of those pieces I wrote for the album: just writing my batch of songs. In its early stages I almost rejected it, but then it grew. We started deciding on a single about halfway through. There were a few contenders—we were thinking of "The Prophet's Song " at one point—but then "Bohemian Rhapsody" seemed the one. There was a time when the others wanted to chop it around a bit, but I refused. If it was going to be released, it would be in its entirety. We knew it was very risky, but we had so much confidence in that song—I did anyway. I felt, underneath it all, that if it was successful it would earn a lot of respect. People were all going, You're joking, they'll never play it, you'll only hear the first few bars and then they'll fade it out. We had numerous rows. EMI were shocked—a six-minute single? You must be joking! The same in America—oh, you just got away with it in Britain.[196]

— Freddie Mercury, 1976

When we finished the album, the Night at the Opera album, that was the track on it that we thought we were gonna release as a single in the UK first. And when we released it in Britain we didn't necessarily think it'd be released in America, cause we know even over here, you know, the AM tastes are even more [hesitates] stricter. Anyway we did have thoughts about even in the UK, perhaps editing it down at all, but we listened to it over and over again and there was no way we could edit it. We tried a few ideas, but if you edited it, you always lost some part of the song, so we had to leave it all in. And luckily it took off anyway.

— John Deacon, 1977,[iqtibos kerak ]

The vocal harmonies was something we wanted to do from the beginning, as we are always keen to do that kind of thing. We wanted to be a group that could do the heaviness of hard rock, but also have harmonies swooping around all over the place. We thought there was some real power and emotion in that combination. The guitar solo was pretty much off the cuff, except I think I had plenty of time to think about that one. I remember playing along with it in the studio for a while when other things were being done. I knew what kind of melody I wanted to play.

— Brian May, 1982,[iqtibos kerak ]

Xodimlar

[19]

Shuningdek qarang

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