
Bohemian Rhapsody
Six minutes with no chorus and so many vocal overdubs the tape wore transparent. Still nothing else like it.

Six minutes with no chorus and so many vocal overdubs the tape wore transparent. Still nothing else like it.

A tranquilizer shot before a 1977 Philadelphia show gave Waters the lyric; Gilmour brought the chords and the solo.

Page tuned to DADGAD, Plant wrote it driving through southern Morocco, and none of them had seen Kashmir.
Released five days before Apollo 11 launched, with a children's Stylophone buzzing under an astronaut who never comes home.

Gilmour's twelve-string comes through a recorded car radio, and Grappelli's violin sits buried near the very end.

Ezrin sent Gilmour to the discos, and twenty-three Islington schoolchildren got forty minutes to sing themselves onto a number one.

Fisher's Hammond nods at Bach for a bar before veering off, and Reid took the title from a party remark.

Seven beats to the bar, a tape loop of coins and cash registers, and Pink Floyd's first American hit.
Four notes known as Syd's theme, and Barrett himself turning up at Abbey Road mid-session, unrecognized by the band.

Alan Parsons taped antique-shop clocks as a quadraphonic test; Mason's rototoms follow, and the alarms still land like panic.

Knopfler borrowed a pen in a New York appliance store to copy down a delivery man's complaints about MTV.

Seven-four time, Steve Hunter's Martin triple-tracked at three tape speeds, and Gabriel's first record after walking out of Genesis.

Kerry Livgren's last-minute addition to Leftoverture opens a cappella, then hands Kansas their first top forty hit.

John wrote the instrumental half imagining music for his own funeral; Hentschel's ARP 2500 overdubs did the rest.

Miller ran a Stratocaster through an Echoplex for that staggered triplet echo, and the synthesizer drifts like weather.

A fingerpicking exercise Livgren's wife overheard and told him to finish, now Kansas's only American top ten.

Cain and Perry wrote it backstage during the Escape tour, melody one evening and lyrics the next afternoon.

A piano ballad at first, then a synthesizer break, then guitars, angels and a starship headed skyward.

Davies wrote and sang it, Hodgson answered in falsetto, and that Wurlitzer figure runs the whole drifter's farewell.

Woolfson took the title from casino surveillance slang; Sirius became the music that introduced Michael Jordan's Bulls.