Read all 6 events for 16 October at diary.QueenSongs.info
Key: g minor pentatonic, b-minor pentatonic
| Intro I-II (AAAA)| Verse/chorus | AA | Solo 1 |
AA | Verse'/chorus| Solo 2 (CCC)|
AA | Verse/chorus |
With its speddy tremolo riffs this funny track is one of the precedessors of modern speed metal. The legend says its original version was written by Mercury's former band, Wreckage. The song on the other hand is credited to the whole band we can just guess the specific inputs of the members.
The songform shows three cycles of Verse/chorus with some instrumental sections intervening. The two solo sections creat bridge-like contrast by shifting the tonal center to B-natural. The lead vocal and guitar melodies are predominantly pentatonic the latter with more chromatic passing notes.
The intro starts with four times (four measure) pulsing guitar feedback on B subtly foreshadowing the tanla center of the solo sections. Roger on close hi-hats hits the quarters. The last measure lasts only 3/4.
| B1 | - | - | - | - | - |
The intro plays the main riff four times with minimal changes for each iteration. There's no proper chordal backing the harmony table shows just the lokal "center" notes.
/------------ 4x -------------\\
| G1 | Bb5 | G1 | C1 |
The rhythm is tricky: we have a pre.downbeat accent and also some off-beat emphases:
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1
******** ******** * * ***...
We have three verse/chorus hybrid sections. The first and the third one starts with four 4 measure acapella phrases (ABBC). Only Roger creates a clicking sound by alternating hi-hat with the the frame of the snare drum which he plays with the side of the drumstick. The instrumental backing returns for the last (fifth) phrase with the chracteristic vocal harmony. The second verse is shorter by two phrases. Its second phrase starts like phrase B and ends like phrase C. This second verse adds some guitar chords (and rakes):
| | | | C |
| | | | IV |
| | |Bb | - |
| | |III | - |
| C | - |Bb Gm| - |
| IV | - |III i| - |
The rhythm of the title phrase is a variant of the 2+3+3+3+3+2 pattern.
1 2 3 4 1 2 3 4
* * * * **
The third verse adds sirene-like backing vocals deliberatlely sung in non-perfect synchron.
The first solo is eigth measure long (6+2). The closing blues scale uses the 3+3+3+3+4 rhythm pattern.
| B5 | - | - | - | - | - |
| i | - | - | - | - | - |
| D | - |
|III | - |
The second solo consists of a one measure transition, and three 8 measure phrases with mainly the same static harmony with two measure ending.
| Bb |
/-------------------- 3x ----------------------\\
| B5 | - | - | - | - | - |B1...| |
The first phrase start tad different including a Major tonic chord.:
| B5 | B5 A5| B ...
| "i"| - VII| I
The lead guitar is ascending slow until the descending end where the 2/4 delay is switched on.
The second phrase is nothing special. In the third phrase in m2. Brian starts repeating a three note "pentatonic" figure in triplets shifted up twice a measure mostly in half steps. The delay is switched off where the tremolo-dive is played.