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Track List
01) Death on Two Legs (Dedicated to...)
02) Lazing on a Sunday Afternoon
03) I'm in Love With My Car
04) You're My Best Friend
05) '39
06) Sweet Lady
07) Seaside Rendezvous
08) The Prophet's Song
09) Love of My Life
10) Good Company
11) Bohemian Rhapsody
12) God Save the Queen
01) Death on Two Legs (Dedicated to...)
02) Lazing on a Sunday Afternoon
03) I'm in Love With My Car
04) You're My Best Friend
05) '39
06) Sweet Lady
07) Seaside Rendezvous
08) The Prophet's Song
09) Love of My Life
10) Good Company
11) Bohemian Rhapsody
12) God Save the Queen
3:43
1:07
3:05
2:52
3:31
4:04
2:16
8:21
3:39
3:23
5:55
1:15
Data Complete
90%
Total Rating
90%Total Rating
(7 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1975
Rock
Rousing
Rock/Pop
---
Fast
Album
4,100,000 copies
Album Description
Available in:
A Night at the Opera é o quarto álbum de estúdio da banda britânica de hard rock Queen, lançado em 21 de novembro de 1975 na Europa e em 2 de dezembro de 1975 nas Américas.
Com esse álbum, o Queen adotou uma sonoridade diferente comparada com seus discos anteriores, fazendo grande uso de um piano e de muitos outros instrumentos nunca experimentados pelo grupo até então. Canções como "Love of my Life" e "Bohemian Rhapsody" fizeram um enorme sucesso, sendo executadas em todos os concertos do grupo desde então, e ajudaram a divulgar o álbum inteiro. Apesar de que Freddie Mercury e Brian May, o vocalista e o guitarrista do grupo respectivamente, compuseram a maioria das letras, o baixista e o baterista, John Deacon e Roger Taylor, também contribuíram com canções próprias, e todos trabalharam igualmente no arranjo das melodias. "Bohemian Rhapsody" é a canção mais inovadora do disco, dividida em três partes e sem refrão, a faixa mescla rock e ópera e foi recebida com descaso pela gravadora do grupo, que não acreditou em seu sucesso devido a sua estrutura, mas, assim que foi lançada, a canção foi um sucesso nas paradas e tornou-se a marca registrada da banda. Todo o instrumental do álbum foi gravado separadamente por cada membro do grupo em diferentes estúdios, e a capa foi obra de Freddie Mercury.
Assim que foi lançado, A Night at the Opera estreou direto no topo da UK Albums Chart, do Reino Unido, e chegou ao quarto lugar na Billboard 200 dos Estados Unidos, sendo o disco que levou o Queen a atingir popularidade mundial e a se consagrar no mundo da música. O disco também foi um sucesso de crítica, frequentemente apontado como um dos melhores discos da música em geral, tendo vendido mais de cinco milhões de cópias nos anos 70, uma número impressionante para os mercados da época.
User Album Review
Although Queen’s, previous album, Sheer Heart Attack, had yielded two hits, reached number one in the UK and even gone gold in the US it’s a testament that EMI were prepared to let them then create what was, at the time, the most expensive album ever made. A Night At The Opera, borrowing its title from the Marx Brothers’ film could so easily have been an enormous folly.
The aforementioned Sheer Heart Attack had seen their patent methodology of multi-layered recording producing a lush and yes, operatic, ambience produce something that had never been heard before. Combining these swathes of Freddie Mercury and the band’s vocals (both Brian May and Roger Taylor were also perfectly adequate singers) with a thousand guitar lines and Taylor’s Zeppelinesque drums had crossed the pop/rock divide with ease. But this was a band with ambition in spades. ”¦Heart Attack had hinted at a working knowledge of 19th century parlour balladry, 20s ragtime and Jimi Hendrix. A Night At The Opera was to add opera, trad jazz, heavy metal and more to the mix.
Opening with a thinly veiled attack on their previous manager, “Death On Two Legs” the album then careens through a gamut of styles. With the writing divided fairly equally between Mercury and May (with John Deacon and Roger Taylor getting one number apiece as well) it veers between high camp and west coast rock with aplomb. May’s “The Prophet’s Song” serves up a slice of high concept sci fi, while his “39” is amiable country hoke. Mercury, of course, is far more in-yer-face with the frippery of “Seaside Rendezvous” and “Lazing On A Sunday Afternoon”.
Deacon, always the underrated member, may have had only one number, but it was a doozy. “You’re My Best Friend” was the second hit from the album and remains a pop classic; frothy but enduring. Naturally, no coversation about the album is complete without mentioning Mercury’s crowning moment. The multi-part epic, “Bohemian Rhapsody” took months to construct. Beginning as piano ballad, morphing into cod-Mozart and then stomping monster rocker and back to ballad, goodness knows how the band must have felt when he first unveiled it at the keyboard. Hats must also ome off for the executive at EMI who had the faith to release it as a single, following Kenny Everett’s championing of it on Capital Radio. As history records, it went to number one”¦for ever. Christmas 1975 was to be forever remembered as Queen’s. And A Night At The Opera remains their finest hour.
External Album Reviews
None...
User Comments
Available in:
A Night at the Opera é o quarto álbum de estúdio da banda britânica de hard rock Queen, lançado em 21 de novembro de 1975 na Europa e em 2 de dezembro de 1975 nas Américas.
Com esse álbum, o Queen adotou uma sonoridade diferente comparada com seus discos anteriores, fazendo grande uso de um piano e de muitos outros instrumentos nunca experimentados pelo grupo até então. Canções como "Love of my Life" e "Bohemian Rhapsody" fizeram um enorme sucesso, sendo executadas em todos os concertos do grupo desde então, e ajudaram a divulgar o álbum inteiro. Apesar de que Freddie Mercury e Brian May, o vocalista e o guitarrista do grupo respectivamente, compuseram a maioria das letras, o baixista e o baterista, John Deacon e Roger Taylor, também contribuíram com canções próprias, e todos trabalharam igualmente no arranjo das melodias. "Bohemian Rhapsody" é a canção mais inovadora do disco, dividida em três partes e sem refrão, a faixa mescla rock e ópera e foi recebida com descaso pela gravadora do grupo, que não acreditou em seu sucesso devido a sua estrutura, mas, assim que foi lançada, a canção foi um sucesso nas paradas e tornou-se a marca registrada da banda. Todo o instrumental do álbum foi gravado separadamente por cada membro do grupo em diferentes estúdios, e a capa foi obra de Freddie Mercury.
Assim que foi lançado, A Night at the Opera estreou direto no topo da UK Albums Chart, do Reino Unido, e chegou ao quarto lugar na Billboard 200 dos Estados Unidos, sendo o disco que levou o Queen a atingir popularidade mundial e a se consagrar no mundo da música. O disco também foi um sucesso de crítica, frequentemente apontado como um dos melhores discos da música em geral, tendo vendido mais de cinco milhões de cópias nos anos 70, uma número impressionante para os mercados da época.
User Album Review
Although Queen’s, previous album, Sheer Heart Attack, had yielded two hits, reached number one in the UK and even gone gold in the US it’s a testament that EMI were prepared to let them then create what was, at the time, the most expensive album ever made. A Night At The Opera, borrowing its title from the Marx Brothers’ film could so easily have been an enormous folly.
The aforementioned Sheer Heart Attack had seen their patent methodology of multi-layered recording producing a lush and yes, operatic, ambience produce something that had never been heard before. Combining these swathes of Freddie Mercury and the band’s vocals (both Brian May and Roger Taylor were also perfectly adequate singers) with a thousand guitar lines and Taylor’s Zeppelinesque drums had crossed the pop/rock divide with ease. But this was a band with ambition in spades. ”¦Heart Attack had hinted at a working knowledge of 19th century parlour balladry, 20s ragtime and Jimi Hendrix. A Night At The Opera was to add opera, trad jazz, heavy metal and more to the mix.
Opening with a thinly veiled attack on their previous manager, “Death On Two Legs” the album then careens through a gamut of styles. With the writing divided fairly equally between Mercury and May (with John Deacon and Roger Taylor getting one number apiece as well) it veers between high camp and west coast rock with aplomb. May’s “The Prophet’s Song” serves up a slice of high concept sci fi, while his “39” is amiable country hoke. Mercury, of course, is far more in-yer-face with the frippery of “Seaside Rendezvous” and “Lazing On A Sunday Afternoon”.
Deacon, always the underrated member, may have had only one number, but it was a doozy. “You’re My Best Friend” was the second hit from the album and remains a pop classic; frothy but enduring. Naturally, no coversation about the album is complete without mentioning Mercury’s crowning moment. The multi-part epic, “Bohemian Rhapsody” took months to construct. Beginning as piano ballad, morphing into cod-Mozart and then stomping monster rocker and back to ballad, goodness knows how the band must have felt when he first unveiled it at the keyboard. Hats must also ome off for the executive at EMI who had the faith to release it as a single, following Kenny Everett’s championing of it on Capital Radio. As history records, it went to number one”¦for ever. Christmas 1975 was to be forever remembered as Queen’s. And A Night At The Opera remains their finest hour.
External Album Reviews
None...
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