Read all 11 events for 28 October at diary.QueenSongs.info
Composer: Roger Taylor
Key: Eb-Major, transcribed in D-Major
Verse (AAABB') | Verse' (AA) | Chorus (CCCD) |
Verse (AAABB ) | Verse' (AA) | Chorus |
| Verse' (AA) | feedback - drums |
| Verse' (AA) | Chorus (CCC) |
This is a "trendy" track of the album and just like "Fun It" (the trendy track on "Jazz") it was written by Taylor. The trend was the punk music, that was still under establishing, right in the neighbour studio room, where at that time Sex Pistols were recording their landmark album "Never Mind The Bollocks". It looks obvious consequence that Roger penned the song under their influence. Surprisingly Taylor wrote the song during the "Sheer Heart Attack" album recording period back in 1974! If you consider the proto-punk beat of the even earlier "Modern Times Rock and Roll", it's not that surprising anymore. On the other hand the "Sex Pistols" must have influented the choice of pulling out it from the drawer and give it a punk sound.
The accompaniment of the dominated by power chords played with metallic palm muted downstrokes, but the lead vocals often add the major thirds. The homekey on the record is Eb-Major. Considering that Eb-Major is not a guitarfriendly key (even though it does not matter much in power chord mode) and the live versions were in D-Major, the song was probably recorded in D-Major, then speeded up, thus this transcription is in D. Tad surprisingly we don't have flat-side borrowed chords (eg. bVII).
The songform shows Taylor-esque recycled phrases after the verses ("Fight From The Inside"). The form transcription treats it as a individual variant verse section.
The lead vocals are shared Between Mercury and Roger, doubletracked most of the time.
The song starts with a microscopic intro that consists of a fret noise and vocal pickup. The live version had a proper intro the tonic chord. The verse consists of five phrases each with four bars AAABB'. The vocal phrases are often intervened by crazy guitar fills, for example a random solo-bit in the second achived by combing tremolo bar and pull-off trill.
| D | - | G A | A |
| I | - | IV V | V |
The harmonic rhythm is syncopated in m.3:
1 2 3 4 1
The B and B' phrases:
| E | - | - | - |
| V/V | - | - | - |
| E | - | - | E5 F5 F#5 |
| V/V | - | - | chromatic |
The first two phrases of the Verse return as a shortened verse. The shortened verse that opens the third cycle starts with a delayed enter of the vocal motivated by the overlapping end of the preceding section ("inarticuLATE").
The chorus is characterized by two chords altered and a dissonant vocal harmony using 7th and 9th degrees completed with a 3rd (10th) above in the third phrase. The chorus has four phrases (6+6+6+6 CCCD)
| A(7,9) | (A) G | A G A | G A G | A G A | A |
| V | IV| V IV V |IV V IV| V IV V | V |
The harmonic rhythm uses 3+3+3+3+2+2 patterned syncopation in m.3-4:
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1
A G A G A G A G A...
The fourth phrase prolonges the E5 chord throughout with 3+3+3+3+3+3+3+3 patterned accents in m.15-17.
| E | - | - | - | - | - |
The last chorus omits the fourth phrase as being cutted off at the last chord change in the fifth measure of the third phrase.
In the third cycle we have a long developed as an extension of the the Verse. It prolonges the dominant chord throughout the 16 measures with 3+5 patterned accents. The "irritating" feedback noise is created probably by a headphone and a microphone. The guitars are abandondeed by a "vicious" string scretching and followed by an odd drumm fill that is spreading to either left and right with antidirectional flanging.