Tag: queen

Song Lyric Sunday – We Are The Champions

Sports songs are what Jim Adams, our host of Song Lyric Sunday, has prompted us with this week. I was excited about this because I am a big sports fan. Tampa Bay Rays, Tampa Lightning and the Dallas Cowboys are my teams. I have gone with what I regard as an iconic Jock Rock song. ‘We Are The Champions’ by yes, my favorite band, Queen. It was interesting that Freddie Mercury had football (soccer) in mind when he wrote it. This song is played at just about every sports arena or ballpark, at least in this country, as does Queen’s other crowd participation song, ‘We Will Rock You’.

Enjoy listening!

The Song

Queen lead singer Freddie Mercury wrote this. All four members of Queen contributed hit songs to the band’s repertoire. Brian May wrote this song’s counterpart, “We Will Rock You.”

Freddie Mercury stated: “I was thinking about football when I wrote it. I wanted a participation song, something that the fans could latch on to. Of course, I’ve given it more theatrical subtlety than an ordinary football chant. I suppose it could also be construed as my version of ‘I Did It My Way.’ We have made it, and it certainly wasn’t easy. No bed of roses as the song says. And it’s still not easy.”

This was released as a double A-side single with “We Will Rock You.” On the album, it flows seamlessly from “We Will Rock You,” which led disc jockeys to play the songs together. Even when CDs allowed the tracks to be separated, the two songs were still usually played together.

This is commonly played at victory celebrations by sports teams, especially in the US. This extends to victory parades in a addition to on-field celebrations, where it is often played alongside Kool & the Gang’s “Celebration.”

Since the song was written with audience participation in mind, it is not intended as a boast on behalf of the band – “We” refers to everyone who is singing along at that time. The same holds true for its counterpart, “We Will Rock You.”

In 1992, a New Jersey high school helped revive this song in America. Students in Clifton, New Jersey asked to sing it at their graduation, but the principal refused because he associated it with Freddie Mercury, who had died of AIDS the year before. This led the students to flood New York radio station Z100 with requests for the song, which the station started playing in sympathy for their cause. Queen had already been revived in the US by “Bohemian Rhapsody,” which was used in the movie Wayne’s World, so their appeal to the next generation was evident. “We Are The Champions” caught on as well, prompting their record company to re-release the single, which made #52.

This was used in the end credits of the 1992 movie The Mighty Ducks, starring Emilio Estevez. Two years later, it was played again at the end credits of the sequel, D2, in the scene where the team is huddled around a fire and they are singing the song. As a result, the song became more popular among teens and children who play sports. The movie spawned a new name for an NHL team a year after the first movie was made. Both the team (The Mighty Ducks) and the movie are owned by Disney. >>

In 2001, Queen members Brian May and Roger Taylor recorded a new version of this with British singer Robbie Williams. This version was used in the movie A Knight’s Tale.

Gavin DeGraw recorded this for the 2005 Queen tribute album Killer Queen>>

Formula 1 driver Fernando Alonso sang the song after winning the 2005 Chinese Grand Prix, securing the Contructors’ title for his team, Renault. The team later released an MP3 of the song being “played” by the engine they had used in that season, with the different notes played by changing engine speeds to adjust the pitch of the engine sound and exhaust note.

A few years later in 2009, Jenson Button repeated this trick when he won the driver’s championship for Brawn GP – singing the song over the radio on his slowdown lap at the Brazilian GP.

This song featured in a 2014 commercial for the Audi A3. In the spot, various celebrities, including the actress Kristen Schaal and the chef David Chang, recite lines from the song before Ricky Gervais to turn up the car’s radio for the chorus.

Donald Trump used this song at campaign rallies when he was running for the Republican nomination in 2016. On June 8, Brian May posted a message on his website, stating, “I can confirm that permission to use the track was neither sought nor given. We are taking advice on what steps we can take to ensure this use does not continue. Regardless of our views on Mr. Trump’s platform, it has always been against our policy to allow Queen music to be used as a political campaigning tool. Our music embodies our own dreams and beliefs, but it is for all who care to listen and enjoy.”

The song fit Trump’s theme of “winning,” and knowing May had no legal ground to stop him from using it, he continued to do so, including on July 18 when he used it as his entrance music on opening night of the Republican Convention in Cleveland. “We’re going to win so big,” he said when he took the microphone.

Brian May, Roger Taylor and singer Adam Lambert recorded a new version of the song to honor frontline workers during the 2020 coronavirus pandemic. Queen released the inspiring new version, titled “You Are The Champions” on April 2020, with all proceeds going towards Covid-19 Solidarity Response Fund for The World Health Organization. 

The idea came about when the three virtually jammed out to the song on Instagram and Lambert changed the lyrics mid-song to “You are the champions.”

“You Are The Champions” was a big hit in Japan, topping the country’s National Radio Air Play Chart for International Music.

Courtesy of Songfacts

The Lyrics

I've paid my dues
Time after time
I've done my sentence
But committed no crime
And bad mistakes
I've made a few
I've had my share of sand
Kicked in my face
But I've come through

And we mean to go on and on and on and on

We are the champions, my friends
And we'll keep on fighting till the end
We are the champions
We are the champions
No time for losers
'Cause we are the champions of the World

I've taken my bows
And my curtain calls
You brought me fame and fortune
And everything that goes with it
I thank you all
But it's been no bed of roses
No pleasure cruise
I consider it a challenge before
The human race
And I ain't gonna lose

And we mean to go on and on and on and on

We are the champions, my friends
And we'll keep on fighting till the end
We are the champions
We are the champions
No time for losers
'Cause we are the champions of the World

We are the champions, my friends
And we'll keep on fighting till the end
We are the champions
We are the champions
No time for losers
'Cause we are the champions of the World

Source: Musixmatch
Songwriters: Freddie Mercury
We Are the Champions lyrics © Queen Music Limited

Song Lyric Sunday – Killer Queen

Song Lyric Sunday prompts this week are Brutal, Cruel, Frenzy, Savage and Violent suggested by Melanie. I had a tough time with this one and apart from ‘Don’t Be Cruel’ by Elvis Presley I was stuck. Then I remembered an old favorite ‘Killer Queen’ by Queen and thought it fit the category perfectly, but without the violence. I hope you enjoy Freddie Mercury at his best in this video.

Song Facts

In the New Musical Express November 2, 1974, the song’s writer Freddie Mercury elucidated on this song: “It’s about a high class call girl. I’m trying to say that classy people can be whores as well. That’s what the song is about, though I’d prefer people to put their interpretation upon it – to read into it what they like.”

Regarding the line, “‘Let them eat cake’ she says, just like Marie Antoinette,” according to legend, Marie Antoinette (the Queen of France) said “Let them eat cake” after hearing how the peasants had no bread to eat. It’s more likely that the phrase was uttered by a French philosopher, not Antoinette. 

The Marie Antoinette quote has gone down in history as justification for the French Revolution. It demonstrates how out of touch with the common folk the ruling class had become. According to legend, when informed that there was no bread for the people to eat, she replied, oblivious, “then let them eat cake!” It is said, that enraged by this incredibly ignorant response, the people revolted. In the song, it is used to demonstrate at what level this high priced prostitute sells her wares. 

The first single from Queen’s third album, Sheer Heart Attack, “Killer Queen” was their first song to chart outside their native UK, where “Seven Seas of Rhye,” from their previous album Queen II, reached #10. Their breakthrough to superstardom came with their next album, A Night At The Opera, which has the epic “Bohemian Rhapsody” on the tracklist.

The Sheer Heart Attack album cover was shot by Mick Rock, who did the famous cover of their previous album, Queen II, showing the four band members in darkness with their faces illuminated. Freddie Mercury typically drove the visual direction of the band, but it was drummer Roger Taylor who came up with the concept for the Sheer Heart Attack cover. “He said, ‘I want us

to look like we’re thrown up from a shipwreck on some distant shore,’ so that’s what I shot,” Mick Rock told Songfacts. “Of course, they were soaking wet and there was a lot of spraying going on.”

In the New Musical Express November 2, 1974, the song’s writer Freddie Mercury elucidated on this song: “It’s about a high class call girl. I’m trying to say that classy people can be whores as well. That’s what the song is about, though I’d prefer people to put their interpretation upon it – to read into it what they like.”

Regarding the line, “‘Let them eat cake’ she says, just like Marie Antoinette,” according to legend, Marie Antoinette (the Queen of France) said “Let them eat cake” after hearing how the peasants had no bread to eat. It’s more likely that the phrase was uttered by a French philosopher, not Antoinette. 

The Marie Antoinette quote has gone down in history as justification for the French Revolution. It demonstrates how out of touch with the common folk the ruling class had become. According to legend, when informed that there was no bread for the people to eat, she replied, oblivious, “then let them eat cake!” It is said, that enraged by this incredibly ignorant response, the people revolted. In the song, it is used to demonstrate at what level this high priced prostitute sells her wares. 

The first single from Queen’s third album, Sheer Heart Attack, “Killer Queen” was their first song to chart outside their native UK, where “Seven Seas of Rhye,” from their previous album Queen II, reached #10. Their breakthrough to superstardom came with their next album, A Night At The Opera, which has the epic “Bohemian Rhapsody” on the tracklist.

The Sheer Heart Attack album cover was shot by Mick Rock, who did the famous cover of their previous album, Queen II, showing the four band members in darkness with their faces illuminated. Freddie Mercury typically drove the visual direction of the band, but it was drummer Roger Taylor who came up with the concept for the Sheer Heart Attack cover. “He said, ‘I want us to look like we’re thrown up from a shipwreck on some distant shore,’ so that’s what I shot,” Mick Rock told Songfacts. “Of course, they were soaking wet and there was a lot of spraying going on.”

Courtesy of Songfacts

Lyrics

She keeps her Moet et Chandon
In her pretty cabinet
"Let them eat cake", she says
Just like Marie Antoinette
A built-in remedy
For Kruschev and Kennedy
At anytime an invitation
You can't decline

Caviar and cigarettes
Well versed in etiquette
Extraordinarily nice

She's a Killer Queen
Gunpowder, gelatine
Dynamite with a laser beam
Guaranteed to blow your mind
Anytime

Recommended at the price
Insatiable an appetite
Wanna try?

To avoid complications
She never kept the same address
In conversation
She spoke just like a baroness
Met a man from China
Went down to Geisha Minah
Then again incidentally
If you're that way inclined

Perfume came naturally from Paris (naturally)
For cars she couldn't care less
Fastidious and precise

She's a Killer Queen
Gunpowder, gelatine
Dynamite with a laser beam
Guaranteed to blow your mind
Anytime

Drop of a hat she's as willing as
Playful as a pussy cat
Then momentarily out of action
Temporarily out of gas
To absolutely drive you wild, wild
She's all out to get you

She's a Killer Queen
Gunpowder, gelatine
Dynamite with a laser beam
Guaranteed to blow your mind
Anytime

Recommended at the price
Insatiable an appetite
Wanna try?
You wanna try

Writer/s: Freddie Mercury 
Publisher: Sony/ATV Music Publishing LLC, DistroKid
Lyrics licensed and provided by LyricFind


Song Lyric Sunday – Same But Different

A different kind of prompt for this week’s Song Lyric Sunday, hosted by our friend, Jim Adams. He has asked us to compare two songs and discuss the comparison between them. I have chosen two songs, both with the same name, “Somebody to Love”, but with different lyrics and from different decades.

Queen’s version was written by Freddie Mercury and recorded in 1976. The other by Justin Bieber was written by Heather Bright and The Stereotypes, originally for Usher who recorded it as a demo. Usher was Bieber’s mentor and the song was eventually recorded by Bieber in 2010. Both songs are about needing someone to love but they are quite different in depth and lyrics. Queen’s song is deep and soul-searching and Bieber’s is a light-hearted song about young love you can dance to. Both are good, popular songs.

 

Somebody to Love by Queen 

This song is sung in a gospel style, with the voices of Freddie Mercury, Brian May and Roger Taylor multitracked to sound like a choir. According to Brian May, the gospel sound was inspired by the music of Aretha Franklin.

Freddie Mercury wrote this. The lyrics reflect a man calling out to God, asking why he works so hard, but can’t find love. At the end of the song, he finds hope and decides he will not accept defeat.

This is widely reputed to have been Freddie Mercury’s favorite song he ever wrote.

Queen performed this with Elton John on lead vocals in Paris in January 1997.

On the Greatest Hits III album, which is a tribute to Freddie Mercury, George Michael sings lead.

Anne Hathaway sang this during a musical number in the 2004 movie Ella Enchanted.

Peter Hince, the head of Queen’s road crew, recalled to Mojo magazine September 2009 that “among the road crew there were songs you liked and songs you didn’t like.” He added that this was, “always one of Queen’s best. The studio version was very polished, but on-stage there was so much more guts to it.”

Hince recalled to Mojo the video was “filmed at Wessex Studios while they were making the A Day at the Races album.” He added: “Aesthetically, you had to have all four around the microphone, but John (Deacon) didn’t sing on the records. By his own admission he didn’t have the voice. He did sing on-stage but the crew always knew to keep the fader very low.”

Several bootleg recordings and live videos exist where evidently John’s mic was not turned down, and it becomes painfully obvious that the above statement is true – one particular live performance of “In The Lap Of The Gods” is wince-inducing!

In October 2009 a remake by the cast of the Fox TV musical comedy Glee returned this song to #28 on the Billboard Hot 100 and #26 on the UK singles chart. Their version was featured in the episode “The Rhodes Not Taken.”

Frank Turner covered this for the B-side to his vinyl release of “I Still Believe” in 2011.

The Voice contestant Jordan Smith’s rendition took the song back into the upper reaches of the Hot 100. The week after his performance of the song on the December 7, 2015 episode of the singing competition, Smith’s version debuted at #21 on the chart.

This was used in a commercial for the Honda Ridgeline that debuted during the 2016 Super Bowl. In the spot, a flock of sheep sing this song, having heard it when they were transported in a Ridgeline with a truck-bed audio system, which we’re sure is quite handy for teaching songs to sheep.

Courtesy of Songfacts

Lyrics
 
Each morning I get up I die a little
Can barely stand on my feet (take a look at yourself)
Take a look in the mirror and cry
Lord, what you’re doing to me
I have spent all my years in believing you
But I just can’t get no relief, Lord
Somebody uh (somebody) somebody (somebody)
Can anybody find me somebody to love?

I work (he works hard) hard every day of my life
I work ’til I ache my bones
At the end (at the end of the day) I take home my hard earned pay all on my own
I go down on my knees
And I start to pray (praise the Lord)
‘Til the tears run down from my eyes
Lord, somebody uh (somebody) somebody (somebody)
Can anybody find me somebody to love?

(He works hard) everyday (everyday)
I try and I try and I try
But everybody wants to put me down
They say I’m goin’ crazy
They say I got a lot of water in my brain
I got no common sense
I got nobody left to believe
Yeah, yeah, yeah, yeah, yeah

Oh, Lord
Somebody uh (somebody) somebody (somebody)
Can anybody find me somebody to love?

(Can anybody find me somebody to love?)
Got no feel, I got no rhythm
I just keep losing my beat
I’m alright, I’m alright (he’s alright)
I ain’t gonna face no defeat
I just gotta get out of this prison cell
Someday I’m gonna be free, Lord

Find me somebody to love
Find me somebody to love
Find me somebody to love
Find me somebody to love
Find me somebody to love
Find me somebody to love
Find me somebody to love
Find me somebody to love
Find me somebody to love
Somebody (somebody) somebody (somebody)
Somebody find me, somebody find me somebody to love
Can anybody find me
Somebody to come on, love, yeah

Find me somebody to love
Find me somebody to love
Find me somebody, somebody, somebody to love (find me somebody to love)
Find me, find me, find me, find me uh somebody to love
Find me somebody to love
Find me somebody to love (anybody, anywhere)
Somebody, somebody to love yeah yeah oh (find me somebody to love)Writer/s: Freddie Mercury

 
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

Somebody to Love by Justin Bieber

Blogger-turned-music mogul Perez Hilton played a role in the making of this song, as it was he who hooked up Los Angeles-based production team, Stereotypes, with Justin’s people. “I’m so involved in music now, and I’m working with a lot of artists, I’ve been meeting with a lot of producers,” Hilton explained to MTV News. “I met with this camp in the Valley, they’re called Stereotypes. They’re these up-and-coming producers, and they played me a lot of their music, and one of their songs, the first time I heard it, I was like, ‘This is a smash. This is a huge hit.’ And then I started thinking, ‘This might be a great song for Justin Bieber.’ So I sent it over to JB’s camp. Justin loved it. They recorded the song, it’s going to be on his new album, and it’s going to be a huge hit for him.”

In this dance track Justin professes his love for a girl and tells her he’d do anything for her. “It’s basically about somebody to love,” he told MTV News. “It’s cool. It’s young. It’s nice. I think it’s like a universal record.”

The song should not be confused with those of the same title by Jefferson Airplane, Queen or Leighton Meester.

The music video for the official remix version featuring Usher was directed by Dave Meyers. The clip features Justin dancing along with several dance crews along a black backdrop, plus a scene with ninjas and a flame outline. The featured dance crews include, Randy Jackson Presents America’s Best Dance Crew season 5 winners Poreotics, and season 3’s runner up Beat Freaks. Singer/actress and model Katerina Graham makes a cameo in a scene with Poreotics and Justin’s best friend Ryan Butler, who previously appeared in the “One Time” promo, also appears alongside Bieber, wearing a T-shirt advertising his Twitter account.

Myers said that he wanted this video to be more playful, stating, “[We’re] bringing Justin into the world of dance on this one, giving Justin the chance to integrate to different styles of dance. So we kind of kept it simple with the art direction, just real graphic and really highlighting the dance. No big story lines, no crowds of people, just real clean.”

The song was originally written by Heather Bright for Usher. Bright’s other credits include Britney Spears’ Femme Fatale track, “Trouble For Me.” As well as Heather Bright, the other accredited writers are Justin and The Stereotypes, though according to her, the Canadian singer contributed little to the penning of the track. In an interview with Free Wired, Bright criticized artists who fail to pay full publishing fees on songs they didn’t write. “Rihanna takes publishing. Justin Bieber takes publishing. Kanye West takes publishing,” she said “On all the stuff that they don’t write, they take publishing.” Bright added that after “Somebody To Love” was released, she was surprised to see that Justin had received songwriting credit for her work. “How did he get a writing credit? That’s an interesting question,” she said. “I don’t know…”

Bright’s controversial comments were intended to defend Britney Spears, who has been criticized for not writing her songs. In a blog Bright gave props to Britney saying she doesn’t take publishing royalties that don’t belong to her and called her team a “bonafide class act.”

Virginia R&B singer Devin Copeland and songwriter Mareio Overton sued Justin Bieber and Usher, claiming ownership of this cut. The duo claimed the tune contains numerous lyrical and stylistic similarities to a copyrighted song they wrote in 2008 by the same name, which was presented by music scouts to Usher, with a view for him recording it for his own album Raymond v. Raymond.

A federal judge in Virginia dismissed the copyright infringement suit on January 5, 2017. The suit was dismissed “with prejudice” meaning that it can’t be re-filed.

Courtesy of Songfacts

LYRICS

{Drumma Boy)

Said you’ll never give away your heart again  
I’ll be knockin’ til you let me in  
I know you told me, you’d rather be lonely  
You don’t even know me  
That’s why I no longer wanna be a stranger  

Sorry you put your trust in others and they let you down  
(let you down)
And all the secrets an unknown evidence now in the open that you found, oh
(that you found, oh)
Cried yourself to sleep so many nights said you’d never again  
I’m not the one you hold it against  
Baby its not my blame

Yeah you independent as hell  
And doin’ it by yourself  
But what you gon’ do when the night time get cold  
I know you told me, you’d rather be lonely (lonely)
You don’t even know me  
I ain’t moving out the way for nothing, I’m stubborn  

Cause you said you’d never, give away your heart again  
I’ll be knockin’ til you let me in  
I know you told me, you’d rather be lonely  
(I want the title of your closest friend)  
You don’t even know me  
That’s why I no longer wanna be a stranger  

Tell me  
What I gotta do
What I gotta do
What I gotta do, do
What I gotta do
What I gotta do
What I gotta do
Yeah  

Your stuck inside no matter how hard you try to forget  
(to forget)
Don’t you wish there was a button we could reset  
And make it easy  
But you can’t take back the decision that you made to love  
No, oh no  
I know its the one that you regretting, not too proud of, no
Because you keep tellin’ me  

Yeah you independent as hell  
And doin’ it by yourself  
But what you gone do when the night time get cold  
I know you told me, you’d rather be lonely  
You don’t even know me  
I ain’t moving out the way for nothing, I’m stubborn  

Cause you said you’d never give away your heart again  
I’ll be knockin til you let me in  
I know you told me, you’d rather be lonely  
(I wan the title of your closest friend, baby)  
You don’t even know me  
That’s why I no longer wanna be a stranger  

Baby tell me  
What I gotta do
What I gotta do
What I gotta do

Baby tell me
What I gotta do
What I gotta do
What I gotta do

I remember the break up  
And the condition that my heart was in  
But I would never surrender  
No no  
I gotta be stronger, there’s nothing time can’t heal  
Girl, I know your scarred  
All I ask is a chance to come in and do my part  
It’s nothing but fear and you’ve been holding on since  
Too under pressure and I see us sinking in  

Said you’ll never give away your heart again  
I’ll be knockin’ til you let me in  
I know you told me, you’d rather be lonely  
You don’t even know me  
That’s why I no longer wanna be a stranger  

What I gotta do
What I gotta do
What I gotta do

What I gotta do
What I gotta do
What I gotta do

Song Lyric Sunday – Opera

I find this week’s prompts for Song Lyric Sunday very interesting. Our host, Jim Adams, has given us ‘Musical and Opera’. I had to think, was he asking us to find those words in the title or lyrics as usual, or did he want us to submit our own choices for opera and musical?

My first though was Bohemian Rhapsody by Queen as that was a mini opera all by itself. I have been a Queen fan since they first appeared on the scene. So unique and talented and I never tire of hearing them. If you haven’t seen the movie, well, you must!

My other thought was to bring you a musical with the word opera in the title. The Phantom of the Opera. I found a video with Sarah Brightman and featuring Antonio Banderas (unmasked) as the Phantom. I hope you enjoy both videos.

Freddie Mercury wrote the lyrics, and there has been a lot of speculation as to their meaning. Many of the words appear in the Qu’ran. “Bismillah” is one of these and it literally means “In the name of Allah.” The word “Scaramouch” means “A stock character that appears as a boastful coward.” “Beelzebub” is one of the many names given to The Devil.

Mercury’s parents were deeply involved in Zoroastrianism, and these Arabic words do have a meaning in that religion. His family grew up in Zanzibar, but was forced out by government upheaval in 1964 and they moved to England. Some of the lyrics could be about leaving his homeland behind. Guitarist Brian May seemed to suggest this when he said in an interview about the song: “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.” 

Another explanation is not to do with Mercury’s childhood, but his sexuality – it was around this time that he was starting to come to terms with his bisexuality, and his relationship with Mary Austin was falling apart. 

Whatever the meaning is, we may never know – Mercury himself remained tight-lipped, and the band agreed not to reveal anything about the meaning. Mercury himself stated, “It’s one of those songs which has such a fantasy feel about it. I think people should just listen to it, think about it, and then make up their own minds as to what it says to them.” He also claimed that the lyrics were nothing more than “Random rhyming nonsense” when asked about it by his friend Kenny Everett, who was a London DJ. 

The band were always keen to let listeners interpret their music in a personal way to them, rather than impose their own meaning on songs, and May stated that the band agreed to keep the personal meaning behind the song private out of respect for Mercury.

Mercury may have written “Galileo” into the lyrics for the benefit of Brian May, who is an astronomy buff and in 2007 earned a PhD in astrophysics. Galileo is a famous astronomer known for being the first to use a refracting telescope.

The backing track came together quickly, but Queen spent days overdubbing the vocals in the studio using a 24-track tape machine. The analog recording technology was taxed by the song’s multitracked scaramouches and fandangos: by the time they were done, about 180 tracks were layered together and “bounced” down into sub-mixes. Brian May recalled in various interviews being able to see through the tape as it was worn so thin with overdubs. Producer Roy Thomas Baker also recalls Mercury coming into the studio proclaiming, “oh, I’ve got a few more ‘Galileos’ dear!” as overdub after overdub piled up.

Was Freddie Mercury coming out as gay in this song? Lesley-Ann Jones, author of the biography Mercury, thinks so.

Jones says that when she posed the question to Mercury in 1986, the singer didn’t give a straight answer, and that he was always very vague about the song’s meaning, admitting only that it was “about relationships.” (Mercury’s family religion, Zoroastrianism, doesn’t accept homosexuality, and he made efforts to conceal his sexual orientation, possibly so as not to offend his family.)

After Mercury’s death, Jones says she spent time with his lover, Jim Hutton, who told her that the song was, in fact, Mercury’s confession that he was gay. Mercury’s good friend Tim Rice agreed, and offered some lyrical analysis to support the theory:

“Mama, I just killed a man” – He’s killed the old Freddie he was trying to be. The former image.

“Put a gun against his head, pulled my trigger, now he’s dead” – He’s dead, the straight person he was originally. He’s destroyed the man he was trying to be, and now this is him, trying to live with the new Freddie.

“I see a little silhouetto of a man” – That’s him, still being haunted by what he’s done and what he is.

Queen made a video for the song to air on Top Of The Pops, a popular British music show, because the song was too complex to perform live – or more accurately, to be mimed live – on TOTP. Also, the band would be busy on tour during the single’s release and thus unable to appear.

The video turned out to be a masterstroke, providing far more promotional punch than a one-off live appearance. Top Of The Pops ran it for months, helping keep the song atop the charts. This started a trend in the UK of making videos for songs to air in place of live performances.

When the American network MTV launched in 1981, most of their videos came from British artists for this reason. In the December 12, 2004 issue of the Observernewspaper, Roger Taylor explained: “We did everything we possibly could to avoid appearing in Top Of The Pops. It was one, the most boring day known to man, and two, it’s all about not actually playing – pretending to sing, pretending to play. We came up with the video concept to avoid playing on Top Of The Pops.”

The group had previously appeared on the show twice, to promote the “Seven Seas of Rhye” and “Killer Queen” singles.

Lyrics

Is this the real life?
Is this just fantasy?
Caught in a landslide
No escape from reality
Open your eyes
Look up to the skies and see
I'm just a poor boy, I need no sympathy
Because I'm easy come, easy go
A little high, little low
Anyway the wind blows, doesn't really matter to me, to me
Mama, just killed a man
Put a gun against his head
Pulled my trigger, now he's dead
Mama, life had just begun
But now I've gone and thrown it all away
Mama, ooh
Didn't mean to make you cry
If I'm not back again this time tomorrow
Carry on, carry on, as if nothing really matters
Too late, my time has come
Sends shivers down my spine
Body's aching all the time
Goodbye everybody I've got to go
Gotta leave you all behind and face the truth
Mama, ooh (anyway the wind blows)
I don't want to die
I sometimes wish I'd never been born at all
I see a little silhouetto of a man
Scaramouch, scaramouch will you do the fandango
Thunderbolt and lightning very very frightening me
Gallileo, Gallileo
Gallileo, Gallileo
Gallileo Figaro, magnifico
I'm just a poor boy and nobody loves me
He's just a poor boy from a poor family
Spare him his life from this monstrosity
Easy come easy go, will you let me go
Bismillah! No we will not let you go, let him go
Bismillah! We will not let you go, let him go
Bismillah! We will not let you go, let me go
Will not let you go, let me go (never)
Never, never, never, never, never let me go
No, no, no, no, no, no, no
Oh mama mia, mama mia, mama mia let me go
Beelzebub has a devil put aside for me
For me
For me
So you think you can stone me and spit in my eye
So you think you can love me and leave me to die
Oh, baby, can't do this to me, baby
Just gotta get out, just gotta get right outta here
Ooh yeah, ooh yeah
Nothing really matters
Anyone can see
Nothing really matters nothing really matters to me
Anyway the wind blows

Writer/s: Freddie Mercury
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

This song from Andrew Lloyd Webber’s 1986 musical follows the title character’s obsession with a beautiful young soprano at the Paris Opera House, where his deformity forces him to skulk in the shadows and hide behind a mask. The lyrics, written by Charles Hart and Richard Stilgoe, reflect how he woos her with his otherworldly voice and haunts her dreams.

Running for over 30 years, The Phantom Of The Opera is one of the most popular musical productions of all time, but its literary predecessor didn’t fare as well. The story by French author Gaston Leroux was originally published as a serialization in the Le Gaulois newspaper from September 1909 to January 1910 but did not draw much attention. Its low sales even forced it out of print several times until it was adapted for film in 1925. Taglined as “The Greatest Horror Film of Modern Cinema,” it starred Lon Chaney in the title role and Mary Philbin as his love, Christine.

Not long after this song was released, Webber was sued by a songwriter named John Brett, who claimed that Webber copied his 1985 composition “Farewell Song.” Webber vigorously denied the accusation. He said that his song was written before Brett’s, and that he even supervised a demo recording of “Phantom” sung by Mike Batt and Sarah Brightman in 1984. Brett dropped the case in 1991, at which time Webber stated: “It was monstrous that this matter was allowed to run and run for over five years. I am delighted my name has been cleared.”

In 2004, Andrew Lloyd Webber wrote and produced his own version of Phantom for the big screen and picked Joel Schumacher, the brain behind the widely reviled Batman Forever and Batman & Robin, to direct. Webber said he chose Schumacher because he was impressed with his 1987 vampire flick The Lost Boys. He told Wild About Movies: “I thought it was extraordinary the way Joel used music with visuals. I thought that opening sequence, when you see the fairground, was genius.

Webber remembers picking up the novel at a book fair and being intrigued by the dark romance. He tells Piers Morgan: “I just wanted to write a high romance, and I thought this is high, Gothic stuff.” When he started writing the music, he envisioned the title theme as “sort of a dark rock song.”

This song was originally performed onstage by Sarah Brightman (Webber’s wife at the time) and Michael Crawford, the first Christine and Erik/Phantom. It appears twice in the show – in Act I between “Angel of Music” and “Music of the Night,” and in Act II at the end of “Notes/Twisted Every Way.”

Courtesy of Songfacts.

You can also find the Phantom of the Opera lyrics here

Song Lyric Sunday

This week Jim Adams has prompted us with Boogie/Rock/Rolling Stone for Song Lyric Sunday. Can’t wait to see what everyone comes up with! I have a feeling a lot of old favorites will be shared.

Here is my pick from my favorite band from the 70s – We Will Rock You by Queen. I love this song, almost as much as We Are The Champions, especially at a football game!

It was written by Queen guitarist Brian May and was recorded in 1977. This video shows Freddie Mercury as the wild and gifted entertainer that he was. RIP.





Lyrics
We Will Rock You
Queen


Buddy, you're a boy, make a big noise
Playing in the street, gonna be a big man someday
You got mud on your face, you big disgrace
Kicking your can all over the place, singin'’
 
We will, we will rock you
We will, we will rock you
 
Buddy, you're a young man, hard man
Shouting in the street, gonna take on the world someday
You got blood on your face, you big disgrace
Waving your banner all over the place
 
We will, we will rock you, sing it!
We will, we will rock you, yeah
 
Buddy, you're an old man, poor man
Pleading with your eyes, gonna get you some peace someday
You got mud on your face, big disgrace
Somebody better put you back into your place, do it!
 
We will, we will rock you, yeah, yeah, come on
We will, we will rock you, alright, louder!
We will, we will rock you, one more time
We will, we will rock you
Yeah

Songwriters: Brian Harold May
We Will Rock You lyrics © Sony/ATV Music Publishing LLC
 
 

Druid Queen

Druid Queen


She weaved the mistletoe
into her golden hair
Slipping on the long white dress
 
While waiting for the mist
To clear from the morning air
Her finger twisted a loose tress
 
At the circle of stones
The secret order assembled 
Impatient for the sun to break
 
Waiting in the darkness
Her body trembled
and her hands began to shake
 
At dawn’s first light 
The music broke the hush
and they began to dance
 
In and out of the stones
she was feeling the rush
It was as if she were in a trance
 
As the sun rose from the horizon
The maiden’s dance did captivate
Her body moving unfettered
 
The naysayers were denounced
Her image now the Druid queen incarnate
and into another time she entered
 

Christine Bolton - Poetry for Healing

Word Prompts:

Secretive

Denounce

Mistletoe

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Kingdom

Kingdom

He dominated his kingdom
As a true ruler never should
playing dominoes with servants
whenever he could

Although his indomitable skill
Preceded him in the land
His Dominican queen
could never understand

As head of the domicile
She banned it by demand
His passion for a stupid game
So random and unplanned

Her boredom was of the play
That never tested his skills
Just a game of luck she said
You should work on the treasury bill

Pressured by the queen’s wisdom
Which was pure omniscience
He finally let the dominoes fall
Terrified of her malificence

Christine Bolton – Poetry for Healing ©

In response to Linda G Hill’s Stream of Conciousness Saturday – words that include ”dom”

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