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Queen has been around for a long time as a band without Freddie Mercury that with him. Mercury died on November 24, 1991, 20 years after joining 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, even after firing bass player John Deacon in 1997, or after it became apparent that the recording-inspired meeting at unused voice tracks from Mercury for 1995 Made in Heaven It was not a passing phase. Queen toured with replacements from Mercury, former Free Company and Bad Company singer Paul Rodgers (essentially, the antithesis of Mercury), Mercury emulator and Adam Lambert, " American Idol. In the absence of another studio album, they instead pulled out archives, trying to celebrate Mercury's music while continuing without him. During his lifetime, Mercury saw only two compilations of Queen's release; since then, there have been at least a dozen. Here is another one: the soundtrack essentially foreign to Bohemian Rhapsody.
The Queen's tension between the ever-present past and the present present is the key to the problems of creating the new Bohemian Rhapsody, positioned as a fictional film about Queen's story, but widely understood as a Mercury biopic. After being chosen as Mercure, Sacha Baron Cohen retired from the project after three years of development. He claimed that the surviving members of Queen wanted to purge an often sinister story and that the plan provided for the death of the singer in the middle of the film, so that the film becomes the portrait of a group that "continues to grow stronger" .
Queen denied Cohen's claim, but the anecdote crystallizes the problem inherent in the group after Mercury: they always exchange on the exploits they have achieved with the late singer, still living in his shadow. Whenever bettors presented themselves for a performance, they paid tribute to the deceased with the other faithful. Whenever fans bought a live album (only six between 2004 and 2016), the recordings replaced the players to never see Mercury in concert. Whenever the faithful bought a box (still five, since 1992, plus four volumes of Singles Collection), they revived the memories of the first time they had fallen in love with a real LP. For decades, being a current Queen fan meant accepting that the glory days of the band ended with the death of Mercury.
As a movie and soundtrack, Bohemian Rhapsody reveals that even Queen abandoned the idea that they existed outside the gravitational pull of Mercury. The pivot becomes apparent when it is decided to end the story of the film when Queen wins her last international triumph – when they steal the series from Live Aid in 1985. In closing on this emotional rhythm, the film avoids the disorder of to represent a group of survivors year after year, we get a perfectly honorable balance, but dramatically dull. This means that the soundtrack also contains parts of this stellar performance from Live Aid, the only remarkable queen configured to not have it previously burned to disk. Their power at that time is due in large part to the fact that they played in front of a captivated crowd in their hometown of London, and not in the United States, where they were considered obsolete in 1985.
Since Bohemian Rhapsody is a soundtrack intended for a large audience, not an archival output adapted to collectors, not all Live Aid performance is here; "Crazy Little Thing Called Love" and "We Will Rock You" are missing on the call. Omissions point out how superfluous Bohemian Rhapsody is. This is not a reproach against the source material, which balances standards such as "Another One Bites the Dust" and "Under Pressure" with some unpublished scenes and some tracks assembled for the film. But only one of these surprises: "Doing All Right" is resurrected from the Smile, May and Taylor group before their association with Mercury. Original Smile's singer, Tim Staffell, directs this re-recording, a mini-sequel reviving the 1970s, complemented by hippie harmonies and a mid-pastoral section that culminates in a scathing defeat. This is the beginning of the miniature Zeppelin.
Familiar favorites have kinematic outlines in this sequence. The album begins with a cheeky interpretation of the "20th Century Fox Fanfare" with May's fuzz signature and ends with calls for the rallying of "Do not Stop Me Now" and "The Show Must Go On" . But after a quarter of a century spent from time to time recycling a catalog, such flair attempts offer no pizzazz. At one point, all that could be said about Queen at been told. Maybe this point is now. Even a splashing film can not change that fact.
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