(it's usually "any format that may be invented or developed.
I've suggested to him that when Hollywood Records signed the deal for the North American rights to the Queen back-catalog in 1990, LPs and the royalties involved were probably barely given any thought, compared to CDs, digital etc. One thing that my employer doesn't understand is why A NIGHT AT THE OPERA, SHEER HEART ATTACK, QUEEN II, and the first album are so inexpensive (about $20 retail). It’s prog-rock with a sense of humor as well as dynamics, and Queen never bettered their approach anywhere else.I don't know about the quality - we've had no complaints from any of the customers at the store I run in NYC, and we've sold dozens of copies of A NIGHT AT THE OPERA, SHEER HEART ATTACK, QUEEN II etc. But the appeal - and the influence - of A Night at the Opera is in its detailed, meticulous productions. No one in the band takes anything too seriously, otherwise, the arrangements wouldn’t be as ludicrously exaggerated as they are. Using the multi-layered guitars of its predecessor as a foundation, A Night at the Opera encompasses metal (“Death on Two Legs,” “Sweet Lady”), pop (the lovely, shimmering “You’re My Best Friend”), campy British music hall (“Lazing on a Sunday Afternoon,” “Seaside Rendezvous”), and mystical prog rock (“’39,” “The Prophet’s Song”), eventually bringing it all together on the pseudo-operatic “Bohemian Rhapsody.” In short, it’s a lot like Queen’s own version of Led Zeppelin IV, but where Zep find dark menace in bombast, Queen celebrates their own pomposity.
Queen was straining at the boundaries of hard rock and heavy metal on Sheer Heart Attack, but they broke down all the barricades on A Night at the Opera, a self-consciously ridiculous and overblown hard rock masterpiece.
0 kommentar(er)
