Read all 1 events for 4 July at diary.QueenSongs.info
Composer: Brian May partly "ripping off" "That's How I Feel" by Sonny Terry
Meter: 6/8 shuffle beat, occassional 5/8 measures.
Key: E Major
Intro | Verse 1 | Verse 2 | Verse 3 | Solo 1 |
| Verse 1'| Solo 2 |
| Verse 1" - Outro |
This song is easy to pigeonhole: slow blues rock. This cliche dominated genre promises not too much clever details.
The beat is too slow to trascribe it in 4/4 thus this transcription goes with 6/8. Beside the traditional cliches we can find some complex rhythms. The songform consists of verses only with two instrumental solo sections. The lead vocal melody and also backing track alter much verse to verse. Closing verses reprises the first which "rips off" an obscured blues number called "That's How I Feel" by Sonny Terry and .
While the recording took place back in the Queen-II era, and the song was performed live many times, the only official release of this song surfaced in 1991 as the B-side of. Beside this there are two other studio versions: the BBC, and the demo and also the live versions. This transcription focuses on the B-side version.
The instrumental intro starts with a drumbeat half measure before the downbeat of the intro hook scored for doubletracked guitars. This hook is reminiscent of the D/A lick and played three times before the verse starts plus one more time starting the verse.
/--- 3x ---\\
| E F#m7 |
| I ii |
The first verse is still accompanied with just doubletracked clean toned guitars until the fourth phrase (the title phrase) where bass and drums join the ensemble. We got two metrical anomalies next to eachother: a half measure and a shortened 5/8 measure.
| E F#m7| E D |
| I ii | I bVII|
| B5>6 |B5 A1...|
| V |- 4th |
| C5 Bm | A1 E5 |no chord| |
|bVI v | 4th I | | |
| A5 | B5 |
| IV | V |
The last phrase is instrumantal link overlapped by the last syllable of the title phrase.
| E5>6 | - | B5 | - |
| I | - | V | - |
Later verses vary much both lead melody and accompaniment-wise, expecially the third phrase.
The fourth verse is a variant of the first.
The second verse starts with the bluesy 5>6 lick.
| E5>6 | - |
| I | - |
| B5>6 | B5 A1...|
| V | - 4th |
The third phrase is accompanied in sinlge note mode:
| G E | B A G | A# A G | E | : guitar notes
| b3 1 | 5 4 b3| b5 4 b3| 1 | : degrees in E-Major.
Beside the metric anomalies the rhythm is relatrively hard to transcribe:
1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 1
* * * * * * * * * *...
The last phrase starts with a traditional semichromatic descending bass-line driven cliche added spoken lead vocal, blusey lead guitar and a rhythm guitar doubling the bass line.
The third verse beside the lead vocal alters the third phrase. This phrase starts with stepwise falling figure very reminiscent of one in "Son And Daughter". Drums and bass hold a pause until next phrase.
The rhythm here is even harder to transcribe. Just try it!
The closing harmonic phrase also uses bluesy cliche ending this time with ascending semichromatic bassline.
The first solo roughly follows the so called 12 bar cliche. It is 24 bar here, but it would be 12 when transcribed in 4/4. Beside the rhythm guitar we have two lead guitars playing independently most of the time.
| D5 E5 | - | B5 | B5 D5 |
| I | - | V | V bVII|
| D5 E5 | - | E* | - |
| I | - | I | - |
| A5 | - | - | - |
| IV | - | - | - |
| E5 | - | - | - |
| I | - | - | - |
| B5 | - | A5 | - |
| V | - | IV | - |
| C# B | G# F# |E B | - | lead guitar 1
| E A | B A | B5 | - | lead guitar 2
| E G# | A A# | B5 | - | rhythm guitar
| E D | C# C | B | - | bass
| I... | | V | - |
The closing phrase uses the blues closing combining both the descending and ascending semichromatic inner lines plus two extra lines.
The second solo is also built on the 12 (24) bar blues cliche. We have three lead guitars the first of which starts playing in the last bars of the preceding verse. The other two lead guitars are fading in and dominating the section.
The last verse goes like the first until the words "What a...". After a general pause the guitar and lead vocal descending in parallel fifths (except one syllable).
The last phrase uses another variant of the blues counterpoint:
| B E | G B | lead guitar 1
| B E | G G# | lead guitar 2
| G# A | A# B | Bass and rhythm guitar
The closing is completed with chromatic leading to the tonic chord:
| D#7 E7 | | VII I |