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Jun 11

QUEEN – “Bohemian Rhapsody”/”These Are The Days Of Our Lives”

Popular67 comments • 4,526 views

#672, 21st December 1991

A double-sided tombstone – you get to choose how you want to remember Freddie Mercury. His finest – most famous, anyway – six minutes, or a new song that felt in context like a farewell note? Or perhaps neither of them really work? “Bohemian Rhapsody” is the obvious choice for a reissue, but it would have become the band’s memorial anyhow – it didn’t need to be specifically squeezed into a suit for the funeral. Though maybe Mercury would have approved – if you’re lured into taking the opening section seriously, as a dread kitsch premonition, the rest of the record becomes even more awkward, absurd, and marvellous.

“Those Were The Days Of Our Lives” is an apparently simpler proposition: this man, who the newspapers always called “intensely private”, lets us in on what he’s thinking as the end of his life approaches. Well, maybe: the song’s as artfully presented as “Bohemian Rhapsody” in its way, everything from those padding drums to the ruminatory solo pointing towards intimacy. If Bo Rhap is comic opera, this is a single-spotlight monologue. “Nothing really matters to me” versus “I still love you” – why trust one any more than the other?

As a song? It’s a sentimental cousin of the Pet Shop Boys’ “Being Boring”, with the devastating payoff moved from text to subtext. And it’s just about strong enough to wriggle free of all its emotional cues and breathe, thanks mostly to Mercury’s avuncular delivery, which makes me miss him more than most of the words.

A couple of months after this was number one, I went and saw Waynes World, which ripped the shroud from “Bohemian Rhapsody” in the most useful and emphatic way possible. I saw it with my wife, though at the time she wasn’t my wife, she was a girl I’d met at a disco, and the first conversation I remember having with her was about “Bohemian Rhapsody”. It was number one, the DJ played it, and I said I didn’t think you could dance to this, and she said no, she didn’t think you could either.

So there’s one line that gets me in “These Were The Days Of Our Lives”. It’s the bit about sitting back and enjoying life through the kids – because it’s half true. But also it’s a sentiment you’d only expect in pop if it came laced with contempt, yet Mercury sings it with fondness and regret. Queen could be thrilling, ridiculous, heavy, florid – all sorts of things. They could also be unusually generous.

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Comments

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  1. 31
    Wheedly on 8 Jun 2011 #

    #23 Dennis Wilson? Dave Grohl? Bill Berry?

    As for These Are the Days of Our Lives, a fine song, well sung. As with so many Queen records, though, it’s a good record that might have been a better one.
    In this case the drum programming and keyboard-sound choices make the record somewhat claustrophobic when a lighter and more airy touch might have suited the song’s wistfulness better. The percussion that hops between left and right speakers tends to distract me and stop me giving full attention to the vocal.
    Maybe it’s just a reflection of my own tastes, but I’d love to hear a simpler treatment.

  2. 32
    Wheedly on 8 Jun 2011 #

    #23 again – Pretty sure that Marvin Gaye’s first gig at Motown was playing drums with the Miracles. Does he count?

  3. 33
    Jimmy the Swede on 8 Jun 2011 #

    # 23 still – Karen Carpenter had to be dragged screaming away from her drum kit, they say. Does she count?

  4. 34
    wichita lineman on 8 Jun 2011 #

    Ahh. What a fine evening, celebrating Lord P Sukrat’s birthday over a few cold drinks. If only we could have all been there. A pleasure to meet Punctum and Lena for the first time after three years (for me) of chatting here. Queen took second place to Arnold Bax. And absent friends were very much missed.

  5. 35
    weej on 9 Jun 2011 #

    I spent the Christmas of ’91 at my Grandma’s house in Liverpool, and Queen seemed to be everywhere. When Top Of The Pops was on Grandma said “Ever since I first heard that song, I knew he was going to die young.” My mum told her to stop being silly. My main impression was that Freddie looked very toothy and gawky in the video to Bohemian Rhapsody, which was a good thing.
    TATDOOL went perhaps a little over my head at the time, but listening now it’s as simple and effective as everyone else has said, a fitting note to finish a career on.

  6. 36
    punctum on 9 Jun 2011 #

    #34: Indeed. What a real pleasure it was for L and myself finally to meet WL – an absolute gentleman.

    Just to clear up a few matters: subsequent advanced doctoral research (i.e. checked record collection/Google when we got home) has shown that Arnold Bax wrote the London Pageant, that Vaughan Williams’ A London Symphony was his second, that the film Scott Of The Antarctic was indeed released in 1948 and that VW’s music for same formed the basis of his seventh symphony, the Sinfonia Antarctica. Oh, and the album that I recommended is actually entitled Barbra Streisand…And Other Musical Instruments.

    And I completely forgot to mention Eric Coates, who not only composed the London Suite but also the London Again Suite.

    When/if Desmond Carrington decides to retire I’m putting my name forward for sure.

  7. 37
    JonnyB on 9 Jun 2011 #

    #23 – Robert Wyatt?

    Fitting epitaphs. Bo Rap obviously stands on its own two feet regardless of circumstances. People tend to describe the song as in three sections: ballad/mad opera bit/heavy metal – but of course there’s that final grandeur of the ooh yeahs and that sustained, understated guitar playing on the wistful bit that takes it to the gong. Whatever you think of the lyrics, those dynamics bring in one hell of a sadness when put alongside Freddie’s death.

    In contrast, I’ve never been a fan of TTTDOOL. For me, Queen never seemed to know what to do with keyboards, and too often headed for the MOR setting; with all of them having a go at it they also lost many of the interesting passing chords, inversions an’ stuff that the previous full-time piano player had dropped in. But as people have pointed out – given the video and the context… wow.

  8. 38
    Mark G on 9 Jun 2011 #

    Hmm, BR has five sections: 1) acapella intro 2) ballad 3) madopera 4) hmetal 5) closing oohyeah and end.

  9. 39
    JonnyB on 9 Jun 2011 #

    Oh er yeah I knew that of course, honest guv. But I’ve seen it described as a three-act thing so many times. (Wasn’t reading Popular when the original went #1 – may have to check back and find myself so totally isolated on this one…)

  10. 40
    wichita lineman on 9 Jun 2011 #

    Re 36: Thanks! Yes, Eric Coates, of course. I think a few of those names crop up in the first chapters of Electric Eden, but there’s definitely a book/long essay to be written.

  11. 41
    Erithian on 9 Jun 2011 #

    #26 – TATD certainly would have stood alone as a fine tribute. On the other hand, wasn’t this single raising money for AIDS charities like the George and Elton one had been? If you’re looking to maximise the yield to the charity, it’s not a bad idea to tie in the farewell single with the band’s best-known song which hasn’t been out as a single for 15 years. In terms of the all-time best selling singles in the UK, combining this re-issue with the original release took Bo Rhap from just outside the top ten to number two, overtaking “Mull of Kintyre” and second only to Band Aid, where it would stay until another notable premature death nearly six years hence.

    Thanks for the songwriting drummers, a choice collection. I was thinking of Dave Grohl and Karen Carpenter when I posted the original question. You could also mention Kevin Godley and, if you’re counting Marvin Gaye’s first gig as playing drums, you’d have to include Madonna (and maybe that bloke who played drums on The Ballad of John and Yoko…).
    Dave Grohl once listed his favourite drummer jokes for a magazine interview, which included:
    Q: What’s the last thing a drummer says before he leaves the band?
    A: “Hey guys, why don’t we do one of MY songs?”

    Oh, and happy belated birthday P*nk Lord. Maybe you can advertise next year’s bash on this site?!

  12. 42
    wichita lineman on 9 Jun 2011 #

    What did Karen Carpenter write?

  13. 43
    thefatgit on 9 Jun 2011 #

    ^^ You beat me to it, Wichita. Her ill-fated solo album never had a single writing credit attributed to Karen. And Richard wrote for The Carpenters didn’t he?

  14. 44
    Erithian on 9 Jun 2011 #

    Indeed he did, I (and no doubt Jimmy at #33) thought she might have picked up a joint credit here or there.

  15. 45
    wichita lineman on 9 Jun 2011 #

    Most of the time it was outside writers, but Richard wrote Goodbye To Love, Top Of The World, Yesterday Once More and Only Yesterday.

  16. 46
    Mark G on 9 Jun 2011 #

    Iggy!

  17. 47
    Cumbrian on 9 Jun 2011 #

    @25: My understanding of the Queen writing process prior to the sharing of the song credits was that the originator of the song would bring it to the group, stuff would be suggested by all members and the originator had final say over whether these ideas would be included or not (apparently this was the major source of tension in Hot Space, with May and Taylor desperate to add rock bits to Deacon and Mercury’s songs, with them steadfastly refusing, as they wanted to make more of a disco/funk record).

    When they started sharing credits, I think a similar situation obtained but with time limited due to Freddie’s ill health, there was less worrying and more collaboration. I suspect that Freddie’s hand is in there on TATDOOL though I have not seen concrete proof of that (and more is the point, given his ill health and how many decent takes he would have been capable of, I’ll bet that he would have been able to sing it as he wanted on the grounds that that was what he was physically able to do). On his vocals near the end of his life, the documentary repeats the well known story about the recording of The Show Must Go On but also reveals that for his last few vocals for Made In Heaven, he did three different takes and that was what the rest of the band were going to get to work with, end of story (understandably).

    If you still haven’t seen it, I really recommend the documentary. The story Brian May tells about his Dad coming to see them perform is a good one besides all the other stuff they talk about.

  18. 48
    AndyPandy on 9 Jun 2011 #

    re 36, 40
    I think theres a very good book to be written about the Light music genre (Coates, Haydn Wood, Albert Ketelbey, Eric Fenby, Arthur Wood, Sidney Torch etc) as a whole. A movement which in its heyday 1920s-mid 50s evokes the England of that time like no other and with most if not all of the composers coming from working-class/lower middle class backgrounds usually in the provinces many also having interesting life-stories. In fact I’ve only recently found out Haydn Wood was born in a hotel (now demolished) about 2 miles from where I currently work in a small town called Slaithwaite near Huddersfield.

    And I’ve thought for a long time that amazing ambient type stuff is waiting to be conjured by the right person from Ketelbey’s ‘In A Monastery Garden’…

    ps as has been mentioned its very hard to summon many (open)Tory voters from the ranks of pop musicians however IMHO 2 of the few Gary Numan (before he went shit in the 90s)and Joy Division’s Ian Curtis made some of their era’s most individualistic music – I don’t know what that proves – if it proves anything…

  19. 49
    ace inhibitor on 19 Jun 2011 #

    ‘right wing’ panto? Yes. The cultural/sporting boycott of SAfrica was utterly mainstream in political terms in the 80s, encompassing all parliamentary parties (including some softish tories), the sporting establishment blazers, and pretty much every representative of the black majority in South Africa itself. The ‘right wing’ position wasn’t support for apartheid itself – that was only the position of the absolute loons of the far right, including one or two MPs linked to the Tory Monday Club – the mainstream ‘right wing’ position was, well we don’t like apartheid either but boycotts don’t do any good, you can’t interfere with people’s right to make money, and ‘politics’ has nothing to do with sport & showbusiness. pretty much exactly the Queen position, then and after. In context, ‘apolitical’ doesn’t mean anything I’m afraid – to say ‘its not a political issue’ was, precisely, the right wing argument

  20. 50
    a tanned rested and unlogged lørd sükråt wötsît on 19 Jun 2011 #

    The sporting boycott was indeed mainstream, but the cultural boycott — the extent of it and the nature of it — was really pretty controversial, as witness the flare-up two years after the Sun City incident over Paul Simon’s Graceland. I covered the Graceland story with Terry Staunton for NME, and it simply isn’t true that every chapter of the anti-apartheid org took the same line: there was absolutely a split between the UK and US position on it.

    “I Want to Break Free” had been adopted as a populist liberation anthem in South America in the early 80s, certainly. When FMerc performed it in drag in (I think) Rio, many in the audience were booing and throwing things, because they thought he was mocking the revolutionary spirit of the song — which at the very least underscores the sheer unstable oddness of the phrase “right wing panto” (does crossdressing affirm gender norms or subvert them?)

    Several sources also say it became a black liberation anthem in South Africa (the actual book I first read this in is a v.poorly written Mercury biog, so caveat lector, but wikipedia does give other citations) — I’m less persuaded by this, but their big non-European tours at that time were definitely a response to their huge popularity outside the Anglophone world.

    The scale of their popularity outside America and Europe was such that they were just completely disconnected from rock-cultural norms, I think; they were responding to their fans elsewhere, rather than their non-fans here. Plus they’d been being pretty spitefully attacked by the UK press, music and otherwise, for so long that they simply didn’t pay the bad press over this serious new issue mind until way after the fact. It’s totally a fair claim that Queen playing Sun City was out of step with the times — but they’d never made the slightest attempt to be in step with the times, which is why they’re such a fascinating operation…

    So I’m prepared to cede Sun City as a significant (and stupid) miscalculation rather than a deliberate counter-progressive stance — and to read their non-discussion of it afterwards (and non-apology) as part-and-parcel of their refusal to take the UK press seriously at any time

    “We Are the Champions” is — arguably — a Queen song with actual rightwing content (“No time for losers!”) but it’s *really* unclear the degree to which the song celebrates an attitude or mocks and undermines it. Panto is not an irony-free form.

  21. 51
    a tanned rested and unlogged lørd sükråt wötsît on 19 Jun 2011 #

    “I Want to Break Free” had been adopted as a populist liberation anthem in South America in the early 80s, certainly: think I’m gnna to amend that last word to “apparently”, since the story seems mainly to come via Brian May himself, in Q… But the main point still stands, that the band are using the (obviously silly) term “apolitical” as a self-justificatory breakwater for “maintaining full ambiguity”… the latter being srs bsns for them, from the outset.

  22. 52
    wichita lineman on 19 Jun 2011 #

    Right wing panto. OK, well I wrote that in haste, but still… Playing Sun City when they did was “out of step with the times”. You could say that. It’s very generous to Queen. Dusty Springfield and Adam Faith had both caused problems by not wanting to play to segregated audiences in the mid 60s. Dusty was deported for her troubles. It wasn’t an apolitical move. It was greedy at best.

    Panto, yes. We Are The Champions and puss-in-jackboots One Vision.

    Playing guitar on the roof of Buckingham Palace in a union jack suit?!? Not exactly the chimes of freedom flashing, is it?

    Side one track one on every Now! comp is a shitty move, too. They don’t seem like generous people.

    I don’t hate Queen, and quite like a few of their singles. I just find them entirely unloveable. They seem more like a corporation than a pop group. I imagine them discussing their new album at an AGM.

    Right wing AND panto might have been more accurate.

  23. 53
    a tanned rested and unlogged lørd sükråt wötsît on 19 Jun 2011 #

    Well, they claimed on their return to have insisted that the audiences at Sun City NOT be segregated when they played there — though this demand may not have been remotely a realistic one in terms of who was going to be able to turn up. (I can’t actually find any info on this on the internet that doesn’t come more or less via them: but no one seems to be challenging this claim anywhere, either: unless anyone reading knows different.)

    I don’t really have a problem with calling it greedy; certainly it was extremely self-absorbed.

    “Playing guitar on the roof of Buckingham Palace in a union jack suit”: surely this was just Brian May, not Queen? (Freddie was very dead by then, so it really wasn’t Queen…)

  24. 54
    ace inhibitor on 19 Jun 2011 #

    Well, I just thought it was a funny line…

    ‘Graceland’ was controversial within the anti-apartheid/boycott movement itself because it was much harder to see how Simon giving work and publicity to black African musicians was a ‘bad thing’ – Queen taking the Sun City money less ambiguous, surely…. but point taken & was interested by sukrat etc’s observations on US V UK perspectives etc. I suppose my perspective is/was a UK one… I’d stand by the general (maybe fairly banal) point though that the politics of a gesture can’t just be read off from the (professed) intentions & that in context Queen ‘responding to their fans [in SA], rather than their non-fans here’ lined them up, intentionally or not, with what was a right-wing position.

    Not, of course, that that necessarily makes it an illegitimate position. Right-wing is a descriptive term rather than an evaluative one. (I mean, I DO think it makes you a bad person, myself, but thats beside the point.) One of the odd, and funny, things about the reaction to WL’s post was that people seemed to react against the ‘right wing’ bit of it, rather than the more obviously insulting (in this context) ‘panto’, which just seemed to get nodded through…

  25. 55
    wichita lineman on 19 Jun 2011 #

    Re 54: Thanks! And I meant panto as an insult. We Are The Champions is based on a primary school playground chant, after all.

    Yes, being English I’ll have a UK perspective, though the US perspective on certain groups – eg The Clash and Primal Scream – does fascinate me because it means I can point and laugh at weighty West London bores who think ‘Bob G’ is a freaking messiah.

    I think being ‘right wing’ makes you a bad person, too.

    Re Graceland, the Los Lobos story is – looking back – the most offensive aspect of it.

  26. 56
    a tanned rested and unlogged lørd sükråt wötsît on 19 Jun 2011 #

    Well, certainly the argument Queen were making more or less at the time (though only after the criticism burst all over them) was that it was their black AND white fans they were playing for– cue discussion about “want to break free” as an ANC anthem etc — and that playing for everyone was surely the opposite of apartheid blah blah… Like I say, I’m not very convinced by this — assuming they’re not fibbing themselves about the anthem, who were they talking that was telling them this? (They did play Nelson M’s 90th birthday…!); but the context of their relationship to their Brazilian fans, round the same time, and the politics of THAT, is not irrelevant to their judgment, even if it mostly contributed to their confused self-importance.

    Sun City was opened in the late 70s, in Bophuthatswana, one of the Bantustans, where various things that were illegal in South Africa, including gambling and pole dancing, could go on; it was pretty much a Las Vegas type place, and actually not segregated by law (though to all intents and purposes segregated by economics). Stars who played included Dame Kiri Te Kanawa, Elaine Paige, Frank Sinatra, Elton John, Sarah Brightman, Julio Iglesias, The O’Jays, Boney M., Black Sabbath, Rod Stewart, Tina Turner, Dionne Warwick, Laura Branigan — also I believe Millie Jackson and Ray Charles. The Artists against Apartheid reaction, in particular Little Stevie’s 1985 record, was almost certainly catalysed by Queen playing there in 1984.

    Here’s Roger Taylor discussing the ANC story on youtube, then Brian May — can’t quite work out when this was recorded, in particular whether recorded before or after Live Aid. (RT’s not very fond of the MU, which is arguably also a rightwing issue; or would be if the MU had less of a poor rep with US jazz musicians especially.) Neither RT nor BM is BY ANY MEANS a master of the full political science of the Sun City issue: and I think this is all ex-post-facto stuff, anyway. I’d argue that the main sense in which playing there “helped” (ie helped dismantle apartheid) was that it catalysed a public counterreaction and mobilisation from other musicians, like Little Stevie and Jerry Dammers, which really isn’t a justification Queen can help themselves to.

    But their desire not to be co-opted into the discourse, or be part of anyone else’s “gang”? As I say, I think this is who they always were; and it’s why I find them interesting.

  27. 57
    a tanned rested and unlogged lørd sükråt wötsît on 19 Jun 2011 #

    MU = Musicians Union btw, not the Justified Ancients…

  28. 58
    Mark G on 19 Jun 2011 #

    We did wonder what the fuck was going on…

  29. 59
    AndyPandy on 20 Jun 2011 #

    and I’m sure I’ve read that another reason for Queen doing it was Freddie Mercury response that he as a person of non-European descent was not being told what to do by whites about issues related to the non-white world and Africa in particular.

    I could be wrong but didn’t Shirley Bassey say something similar?

  30. 60
    Pete on 20 Jun 2011 #

    Sounds a bit like retroactive justification, but then as a Parsi growing up in Africa (and there being a significant Indian population in South Africa) its not a bad post facto scrabble.

  31. 61
    a tanned rested and unlogged lørd sükråt wötsît on 20 Jun 2011 #

    59/60: certainly that argument is there to be made, though as far as I can find FMerc didn’t actually publicly make it at the time; and May and Taylor don’t exactly make a deft fist of exploring it on his behalf. And the request that people not play Sun City did original came via the ANC, so the “whitey don’t tell me what to do” line is not without its flaws. The very bad biog I actually just read is more or less clueless about the Parsi dimension; it’s a teenytiny bit better on gay politics (ie rubbish but at least aware of the shape of the issue).

    Possibly I actually need to read a better biog.

  32. 62
    Pete on 20 Jun 2011 #

    Or write it.

  33. 63
    a tanned rested and unlogged lørd sükråt wötsît on 20 Jun 2011 #

    If only there were a way to crowdsource it…

  34. 64
    wichita lineman on 20 Jun 2011 #

    Haha! Get to it, man!

  35. 65
    Mark M on 20 Jun 2011 #

    Re 61: as I think I’ve suggested on one of these Queen discussion before, he always seemed to me much more closeted about his Asianness than the other business. If the fans did think about it all, they seemed to have leant towards exotic angle, describing him as Persian rather than Indian, thus not lumping him in with your neighbourhood Gujarati newsagent. At least one of the recent TV programmes has tried to correct this somewhat, putting the Mumbai years back in the mix.

    As for Sun City, I know we went into some of this stuff in the thread . But the frankly, the notion of playing to mixed crowds in a luxury resort is to fundamentally misunderstand the nature of apartheid – depriving the majority population of any economic power whatsoever was even more important than the most visible signs of separate living like segregated toilets. If there were Queen fans in Soweto, they certainly were going to be able to pop along to see their heroes play at Sun City.

    It’s worth reiterating that – as Lords S mentions – the Anti-Apartheid Movement largely took its lead from the ANC. And the ANC wasn’t some distant thing if you were in Britain: its president, Oliver Tambo, lived in Muswell Hill. If you wanted an actual ANC representative for the opening of your student union’s Nelson Mandela Lounge, you could get one (although they could turn out to be ‘disappointingly’ Jewish rather than Xhosa).
    Obviously, without elections to judge it, it wasn’t unambiguously clear that the ANC represented the will of the South African people, and therefore people playing Sun City could have had some wiggle room. But history has given us a pretty clear answer on this – we were guessing, just as Mrs Thatcher was guessing, but we were right and she was wrong.

  36. 66
    Mark M on 20 Jun 2011 #

    Re 65: Er, that’s obviously not to say that the ANC haven’t done plenty of dodgy things in their time in power, just that they deserved to be regarded as the voice of the South African people more than the National Party, the Progressive Party/Democratic Alliance, the IFP, the PAC or indeed anyone else…

  37. 67
    hectorthebat on 1 Apr 2015 #

    Critic watch:

    1,001 Songs You Must Hear Before You Die, and 10,001 You Must Download (2010) 1-1001
    Blender (USA) – Standout Tracks from the 500 CDs You Must Own (2003)
    Blender (USA) – The Greatest Songs Ever, One Song Added Every Other Month
    Bruce Pollock (USA) – The 7,500 Most Important Songs of 1944-2000 (2005)
    Life (USA) – 40 Years of Rock & Roll, 5 Songs for Each Year 1952-91 (Updated 1995)
    Pause & Play (USA) – 10 Songs of the 70’s (2003)
    Popdose (USA) – 100 (+21) Favorite Singles of the Last 50 Years (2008) 9
    Rock and Roll Hall of Fame (USA) – 500 Songs That Shaped Rock (1994?)
    Rolling Stone & MTV (USA) – The 100 Greatest Pop Songs Since the Beatles (2000) 29
    Rolling Stone (USA) – 40 Songs That Changed the World (2007)
    Rolling Stone (USA) – The 500 Greatest Songs of All Time (2004) 163
    Rolling Stone (USA) – The 500 Greatest Songs of All Time (Updated 2010) 166
    Steve Sullivan (USA) – Encyclopedia of Great Popular Song Recordings (2013) 501-600
    TIME (USA) – The All-Time 100 Songs (2011)
    The Recording Academy Grammy Hall of Fame Albums and Songs (USA)
    Treble (USA) – The Top 200 Songs of the 1970s (2012) 34
    Ultimate Classic Rock (USA) – Top 100 Classic Rock Songs (2013) 7
    VH1 (USA) – The 100 Greatest Songs of All Time (2000) 27
    2FM (Ireland) – Top 100 Singles of All Time (2003) 8
    BBC Radio2 (UK) – Sold on Song, a Celebration of Great Songs and Songwriting
    Dave Thompson (UK) – 1000 Songs that Rock Your World (2011) 53
    HarperCollins GEM (UK) – Single of the Year 1949-99 (1999)
    Kerrang! (UK) – 100 Greatest Singles of All Time (2002) 22
    Mojo (UK) – The 100 Greatest Singles of All Time (1997) 40
    Mojo (UK) – The Ultimate Jukebox: 100 Singles You Must Own (2003) 47
    NME (UK) – The 100 Best Songs of the 1970s (2012) 52
    Q (UK) – 100 Songs That Changed the World (2003) 32
    Q (UK) – 50 Greatest British Tracks (2005) 5
    Q (UK) – 50 Years of Great British Music, 10 Tracks per Decade (2008)
    Q (UK) – The 1001 Best Songs Ever (2003) 524
    Q (UK) – The 1010 Songs You Must Own (2004)
    Q (UK) – Top 20 Singles from 1970-1979 (2004) 2
    Panorama (Norway) – The 30 Best Singles of the Year 1970-98 (1999) 3
    Musikexpress (Germany) – The 700 Best Songs of All Time (2014) 24
    Rolling Stone (Germany) – The 500 Best Songs of All Time (2004) 240
    Gilles Verlant and Thomas Caussé (France) – 3000 Rock Classics (2009)
    Hervé Bourhis (France) – Le Petit Livre Rock: The Juke Box Singles 1950-2009
    Volume (France) – 200 Records that Changed the World, 2008 (38 songs)
    Rocks Musiczine (Spain) – The 100 Best Rock Songs in History (1995) 37
    STM Entertainment (Australia) – The 50 Best Songs Ever (2007) 6
    Toby Creswell (Australia) – 1001 Songs (2005)
    Giannis Petridis (Greece) – 2004 of the Best Songs of the Century (2003)
    New Musical Express (UK) – Singles of the Year 4
    Record Mirror (UK) – Singles of the Year 9

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