Intro:
Queen was the first SERIOUS music love of my life - the first band which music I got to know inside and outside in every possible aspect. Actually - they were my first heroes. And probably the most significant - it was Brian May - who was my mind opener. Though I liked efforts of all the members of the quartet - it was his stuff that turned me on the most. Could make me jump on my bed with a stick in my hand long enough to imitate the guitar. Brian woke up the rockman in me and up to now I'm thankful to him for the gift. I give him every credit and all honours for starting me up as a rock listener. Nowdays - from the view of many years exploring rock the range of May as a player in my rankings has decreased, but in terms of composition skills and sentiments he's still unbeaten - the First Axe Master.
So... just push play!
[ 01 ] TIE YOUR MOTHER DOWN [LIVE in MONTREAL 1981]
One needs a firecracker to start the CD and there's barely a better one. The Royal Truck was filled with explosives on that night. Fred was vile and vicious. His vocals are so damn sharp and clear that I wonder if he did overdubs in the studio for the film soundtrack. Even to his incredible standards - it's amazing what he does here. The tune is devilishly uptempoed (at least half speed up to the studio origin), May has got a real trouble with hitting the solo notes on time. Jungle scream of Taylor drives the song to the final chorus, before the typical low chord mayhem and a drum bonanza during the close. 'Gimmie all your love... tonite...' Oh yes, I gladly wil, Your Majesty. Ready to serve with excitment. Anytime.
[ 02 ] SPRAED YOUR WINGS [JOHN PEEL BBC 1977]
At long last the first time where John Deacon shows a true rock claw as the composer. Starts like a typical ballad, but before the first (and easily memorable) chorus - you can hear that it will be a mean rocker. And Fred does not sing about the daisies too, he's got a story to tell about the boy sweeping in the bar, hoping to start a better life. He is definite in it and very convincing, the vocals cut with a rough edge. The real treat (and a justification for this particular version) is at the end where May is supposed to crack a solo. Instead the whole band speeds up the tempo twice and plays pure bombastic speeder. Brings all the wimpy punk noisemakers of 1977 to the knees, begging for mercy. Queen was a rock band, a fact that some people still dare to doubt in. And they could whip backs in such a style as evidenced here.
[ 03 ] WHITE QUEEN [ QUEEN II,1974]
There is an irresistible feel of magic on the the first side of 'Queen II' LP. It's still mystic to me, always was since a first listen. This composition is very likely to be one of the most underrated ballads in Royal Career. Mimose light start, notes are flowing into beatiful sad stream. The sequence of chords is surely of the sort that my ears like the most. Breathtaking invitation to the first chorus, where we have amazing vocal harmonies (that's one of many reasons for liking Uriah Heep later on too) and finaly an explosion of rock for a moment. And again - I think it's the power of the contrast - that catches and floors me down totally. Second verse leads to the guitar solo - I think it's accoustic slide, but very sitar-ous in the feel - a lovely effect.I n the background you can almost hear the storm arising. And with the entry of the electric part the hell breaks - May's multilayered backing give a fundament for a crafty, well edged-solo. Mercury's voice reaches these magical registers available only to the masters, the backing choir builds up the storm, all this sendis chills to the spine. The storm fades, leaving you high and dry and wanting more...
[ 04 ] IT'S LATE [ NEWS OF THE WORLD, 1977]
This tune is what I'd call the ultimate Queen's hard rock statement. It's an higher art to make a 6+ minutes rock track fuelled with mojo burst every second, raw in-your-face punches all the way. Intro is delicate, but May's sound is dirty, unsorted. It sort of signalises that the song will be nasty, fuelled with anger, scratching the back with rough nails. And it rocking is! Cannon Taylor's bashes measure the tempo of the slower parts, and the uptempoed middle closes with Fred's voice sirening yell and boiling drum break. The speed will come back at the end - a true sound tank. In the lyirics there's drama going on too - the relationship breaks and you can feel it on the spine - that it's too damn late to sort things back. What's the glory here then? Messers had pretty some rippy rockers over the years. True. The point is that with every other one they had to work in studio to drag its power out. Overdubs, harmonies, layers. None of these here - this one sounds definite but as being done on one direct take. It has an ultimate live feel to it - this kicks so lovely hard. Could have been a monsterous vehicle for impovisation live, but Queen wasn't ever really up to it, which is a shame. To even more of surprise - it didn't last long in the live set and sounded like they did not have an brillant idea of how to use its power to make it a milestone. To me it's into the void launch. A beloved blaster.
[ 05 ] LEAVING HOME AIN'T EASY [ JAZZ, 1978]
Some tunes are just catchy. The way the sounds compose get your immediate approval. That's how it was with this 'Jazz' cut. Gentle, basing on accoustic guitar, a little beatleasque in the distorted vocals middle break and the violin-like warm coloured guitar Chorus just appeals to me. Finally Brian's voice appeals to me, which people sometimes don't get - 'how come, he can't sing can he' etc. It just does - warm voice with a nice colour. Fits me perfectly even if it's not a classic And the tune was always deep in my head ever since I've heard the LP first.
[ 06 ] SOME DAY ONE DAY [ QUEEN II, 1974]
This tune is surely responsible for my becoming a May-freak. The amount of guitar work here seems countless. Backbone of intensive accoustic stringing, plus three or four completely separate electric soundtracks, which at the first take seem to exclude each other completely. The final result is that they cooperate ideally. The amount of guitar paths even arises in the second solo spot background. I do wonder if some of the layers are inversed or not. The structure extends with multivoiced backing hype, untypical drum metrum filled with tiny bits and breaks.The listener gets a very warm, dense net of lovely sound which carries up Brian's soothing voice and impresive solos. Delicacy is mastered with a true melody. Astonishing musical tapestry to me. The only serious letdown here is that the fade out lasts for more than a half a minute, hidding some note gems in decay gloom . Thank God we have the computer utilities to repair such constructional sound fakes.
[ 07 ] WAS IT ALL WORTH IT [1989]
Hearing Queen back in 1989 was enjoyable, though 'The Mircale' brought in mixed feelings. It looked like they still wanted to hold on to that poppier side of their career, but the the rocking spirit was more irresistable than on 'A Kind Of Magic'. And the LP closing track is a standout. The vocal intro isn't really that good, but when the riff breaks you know you'll enjoy a mean kicker. The structure of the song is nicely interluded with orchestral bits and guitar adlibs (a very film soundtrack-like, brings glimpses of Flash-The Hero at times), but when they rock, they mean it. Well accented riffs mark the verses, the vocals are engaged and aggressive - underlining the title question. May puts out an enjoyable solo with bits of tremolo and quite impressive run out figure. The closing section is wonderful. After Fred concludes with manic laugh that it was worth living breathing rock'n'roll, the quartet blasts out a Sabbath-like close, thundering like tornado. Only the keyboards survive to fade out the piece with all honours (the keys could sound better - they seem a bit too synthy). A treat, nevertheless.
[ 08 ] I GO CRAZY [1984]
A B-side of "Radio Gaga" single. What!!?? B-side!?? It's better than half of the material on the pathetic 'The Works' album. Crafty rocker, with decent riffing and nifty chorus, rythm section pumping and grooving on fat tyres. May's guitar is unusually edged with some effect I can't name. Sort of a flanging one, though. Witty lirycs, slagging off some unfaithful bitch. Drivey solo, with Brian having a bit of slide fun. Taylor and Mercury go nuts vocally at the end. Whole lotta rockin' and a lot of energy in this one. Well combined trademarks of May-Taylor duett, the authors of the cut. Extends the list of unjustified choices for album outtakes in many performers' catalogues.
[ 09 ] SAVE ME [1979]
My God, how much I do love this one! Moving, beatiful verses contradited with sharp, aggresive chorus. Freddie must have galvanized his throat to make it through the vocals. Love the accoustic backing line and the first part of the guitar solo, but guitar climax in the rock part is even more mind blowing. The solo is a blast. Stunningly painted scream of loneliness. The song carries probably one of the best closings in Queen's career - seven or eight piano chords underline the vision of the kneeling, lonely man. Brings a chill to th spine and a tear to an eye. Always. Top of their game.
[ 10 ] HAMMER TO FALL [LIVE WEMBLEY 1986]
I don't endorse the studio version of this track much, though it's a big favourite. Just like Purple's 'Highway Star' on 'Made In Japan' - Wembley has expirienced once-in-a-lifetime performance. The rythm pattern is slightly changed to the studio take, tempo is a bit faster, and the playing is practicly flawless. Fred's voice only carries the signs of hour and a half ass worked show. But it's Brian here who is a hero. The riff backed with furious Taylor's bashes blasts the venue to bits. Soloing is crisp and tight. May has never been an impressive improvisor but here in the free-ride part he plays the solo of his life. Precision and feel combined with excitement and rawness. Love that. In the end Mr Taylor lets the wrists go, and after the final wham! you know well what a worthy rocker means to you.
[ 11 ] '39 [LIVE EUROPE 1979]
Mercury's voice doesn't fit this song as well as May's does, but when he get's backed by Taylor - the mixture gets interesting. This performance has an enormous vibe, thanks to the crowd enthusiasm, which pushes Queen doing accoustic bit to explore the limits. The three vocals excursion in the middle, edged by Taylor's high-pitched Byronesque scream is lovely. And the song turns out from the sentimental ballad to a fabulous stomper. Catches tight and doesn't let go easily.
[ 12 ] LOVE OF MY LIFE [LIVE MONTREAL 1981]
Unusulal choice of the unusual performance. Freddie is pissed off with the Montreal crowd lack of rythm sense (audible during a "Now I'm Here" vocal dialogue). He doesn't want to hear them people sing even a line here. He rules while singing this crowd teaser that he barely gets to sing otherwise. Brian on the accoustic 12-string, struggling through couple of notes to make them clear. An introvert take of this evergreen, amazing from head to toes.
[ 13 ] KEEP YOURSELF ALIVE [LIVE MONTREAL 1981 / EUROPE 1979]
Stomping drum intro brings a start of an unusual improvisation. Launching into the tune, the band scores a dangerous speed. This take blasts with a high voltage. After first chorus May lets himself go, rips it out with a river of notes. By 1981 this track was only an introduction to the drum solo. I decided to take definite steps to make up for this and I mixed in the second half of the track from 'Live Killers'. After the hugely applauded accoustic part of the show there was no mercy for the audience. The band pillages the ground vocally and instrumentally. Brian barely makes it in-tempo with the solo notes (nifty use of the delay effect), the choruses are blasting with vocal engagement. Pure energy and brillance.
[ 14 ] NEED YOUR LOVING TONIGHT [1980]
'The Game' was a always confusing affair to me. It still has some classic Queen tracks on it. Here you got one. Starts a bit typically for Deacon - well measured mixture of pop & rock - bass sounding thight and a strong accoustic guitar background. In the middle things get damn serious. So lovely heavy. Brian lets the Fireplace wail with an aggresive solo. The drum-bass duo lets it rip fabulously too. Won't let you sit still.
[ 15 ] KILLER QUEEN [1974]
It's a debacle whether Mercury's pastiches were kitsch only or a rather a higher form of rock art. Still some of these remain neat to the ears and their charm is timeless. This is one of these. Nifty chorus and Brian shines again. Ocassionally the more he arranges his solos, the better results he gets. I disilike a bit the very falsetto vocal verses, but the voices arrangement and the compositional skill with the tinniest detail worked win my thumbs up at the very end. Drive you wiiiiiild.... wiiiiild...' (wah-wah). Quite so.
[ 16 ] THE MILLIONAIRE WALTZ [1976]
Another gem that could easily get up the noses of rock purists and traditionals. A true Wienner waltz this is indeed! Driven by bass and piano, backed with army of voices and Mercury's theatrical manner reaching irresistble ranges at times. And what a treat in the middle there. Almost metal mid-break, could easily be a bit for headbanging. But Fred is only having fun with us. That's just a tease of what combining of the styles can do. Brian's solo is nothing but a Strauss lesson passed with A grade. The final round gets more lively, with the orchestral multi-layered guitar on fire again, and a close that reminds us that it's Queen, doing a rock album actually.
[ 17 ] DREAMER'S BALL [LIVE EUROPE 1979]
It was a dangerous idea to record such a swingy crawler on the 'Jazz' album, especially using the traditional rock instrumentation. With May's skills in overdubs and filtering tones however, we get a good result. Putting this sort of tune to a live set seems like a suicidal idea. So they play it accoustic and immitate the swinging horns with their very own voices. Remains a mistery to me how the hell exactly they DO make it. I'm voting for Taylor doing the trumpet (without the help of hands?) and May doing the trombone (hard to define Mercury's part as he's adlibbing something loosily every second). An unsolved puzzle to me. Whether it's courageousness or just the unfulfilled need to play games with the audience - it's just fun. And what a hell of a performance!
[ 18 ] BRIAN MAY - TOO MUCH LOVE WILL KILL YOU [LIVE BRIXTON ACADEMY 1993]
When the song surfaced in 1992 I though it was the most moving possible tribute to Freddie and his life. Couple of years later it showed up that this is a sort of Brian's own look back on his life. I got to say however - I don't like Queen's take of this song. It doesn't carry that much amount of personal drama that gives it another dimension. On May's Brixton appearance it sounded like a lament after Mercury's untimely passing away and that was the strength of it. It's also one of the most moving songs Brian has ever come up with. The emotions are audible here, May's voice creeks up from emotion at some point. (I'm glad it wasn't overdubbed). But the true monumentum builds up, when the band fires the engines on. The solo screams with anger, bitterness and saddness, while Murray-Powell section whams the backing out. A moving close with a pause and the dramaticly wailed title makes it clear. It's not only words. And that's what puts live The Brian May Band reendition of this song beyond any other. Always seriously moving.
[ 19 ] DON'T TRY SO HARD [1991]
'Innuendo' always deserves a listen as a whole album. The tracks on it (maybe with the exception of two) are standouts - every one on its own rights. So it was a bit of a dillema what to include among the evergreens. The choice is, typically for me, purely unusual. 'Don't Try So Hard' completely wears my insuide out. The song is ascethic in the arrangement, but it boosts the effect of vocals and guitar beyond limits. Freddie - in late 1990 phiscally already a shadow of a living man - provides a vocal line with phrases sounding almost impossible to sing for anyone. The tension and singing the heart out is immense. The song also brings in one of the finest May's solos of the period. Makes one feel like Fireplace is crying after someone. Like it was said a few songs later - "I guess I'm learning - I must be warmer now / I'll soon be turnin' round the corner now..." The evidence of the sad fact that they all were getting ready for the last farewell and expressed it by the music they made.
(C) (P) Martin Karski, October 29, 2005
Queen was the first SERIOUS music love of my life - the first band which music I got to know inside and outside in every possible aspect. Actually - they were my first heroes. And probably the most significant - it was Brian May - who was my mind opener. Though I liked efforts of all the members of the quartet - it was his stuff that turned me on the most. Could make me jump on my bed with a stick in my hand long enough to imitate the guitar. Brian woke up the rockman in me and up to now I'm thankful to him for the gift. I give him every credit and all honours for starting me up as a rock listener. Nowdays - from the view of many years exploring rock the range of May as a player in my rankings has decreased, but in terms of composition skills and sentiments he's still unbeaten - the First Axe Master.
So... just push play!
[ 01 ] TIE YOUR MOTHER DOWN [LIVE in MONTREAL 1981]
One needs a firecracker to start the CD and there's barely a better one. The Royal Truck was filled with explosives on that night. Fred was vile and vicious. His vocals are so damn sharp and clear that I wonder if he did overdubs in the studio for the film soundtrack. Even to his incredible standards - it's amazing what he does here. The tune is devilishly uptempoed (at least half speed up to the studio origin), May has got a real trouble with hitting the solo notes on time. Jungle scream of Taylor drives the song to the final chorus, before the typical low chord mayhem and a drum bonanza during the close. 'Gimmie all your love... tonite...' Oh yes, I gladly wil, Your Majesty. Ready to serve with excitment. Anytime.
[ 02 ] SPRAED YOUR WINGS [JOHN PEEL BBC 1977]
At long last the first time where John Deacon shows a true rock claw as the composer. Starts like a typical ballad, but before the first (and easily memorable) chorus - you can hear that it will be a mean rocker. And Fred does not sing about the daisies too, he's got a story to tell about the boy sweeping in the bar, hoping to start a better life. He is definite in it and very convincing, the vocals cut with a rough edge. The real treat (and a justification for this particular version) is at the end where May is supposed to crack a solo. Instead the whole band speeds up the tempo twice and plays pure bombastic speeder. Brings all the wimpy punk noisemakers of 1977 to the knees, begging for mercy. Queen was a rock band, a fact that some people still dare to doubt in. And they could whip backs in such a style as evidenced here.
[ 03 ] WHITE QUEEN [ QUEEN II,1974]
There is an irresistible feel of magic on the the first side of 'Queen II' LP. It's still mystic to me, always was since a first listen. This composition is very likely to be one of the most underrated ballads in Royal Career. Mimose light start, notes are flowing into beatiful sad stream. The sequence of chords is surely of the sort that my ears like the most. Breathtaking invitation to the first chorus, where we have amazing vocal harmonies (that's one of many reasons for liking Uriah Heep later on too) and finaly an explosion of rock for a moment. And again - I think it's the power of the contrast - that catches and floors me down totally. Second verse leads to the guitar solo - I think it's accoustic slide, but very sitar-ous in the feel - a lovely effect.I n the background you can almost hear the storm arising. And with the entry of the electric part the hell breaks - May's multilayered backing give a fundament for a crafty, well edged-solo. Mercury's voice reaches these magical registers available only to the masters, the backing choir builds up the storm, all this sendis chills to the spine. The storm fades, leaving you high and dry and wanting more...
[ 04 ] IT'S LATE [ NEWS OF THE WORLD, 1977]
This tune is what I'd call the ultimate Queen's hard rock statement. It's an higher art to make a 6+ minutes rock track fuelled with mojo burst every second, raw in-your-face punches all the way. Intro is delicate, but May's sound is dirty, unsorted. It sort of signalises that the song will be nasty, fuelled with anger, scratching the back with rough nails. And it rocking is! Cannon Taylor's bashes measure the tempo of the slower parts, and the uptempoed middle closes with Fred's voice sirening yell and boiling drum break. The speed will come back at the end - a true sound tank. In the lyirics there's drama going on too - the relationship breaks and you can feel it on the spine - that it's too damn late to sort things back. What's the glory here then? Messers had pretty some rippy rockers over the years. True. The point is that with every other one they had to work in studio to drag its power out. Overdubs, harmonies, layers. None of these here - this one sounds definite but as being done on one direct take. It has an ultimate live feel to it - this kicks so lovely hard. Could have been a monsterous vehicle for impovisation live, but Queen wasn't ever really up to it, which is a shame. To even more of surprise - it didn't last long in the live set and sounded like they did not have an brillant idea of how to use its power to make it a milestone. To me it's into the void launch. A beloved blaster.
[ 05 ] LEAVING HOME AIN'T EASY [ JAZZ, 1978]
Some tunes are just catchy. The way the sounds compose get your immediate approval. That's how it was with this 'Jazz' cut. Gentle, basing on accoustic guitar, a little beatleasque in the distorted vocals middle break and the violin-like warm coloured guitar Chorus just appeals to me. Finally Brian's voice appeals to me, which people sometimes don't get - 'how come, he can't sing can he' etc. It just does - warm voice with a nice colour. Fits me perfectly even if it's not a classic And the tune was always deep in my head ever since I've heard the LP first.
[ 06 ] SOME DAY ONE DAY [ QUEEN II, 1974]
This tune is surely responsible for my becoming a May-freak. The amount of guitar work here seems countless. Backbone of intensive accoustic stringing, plus three or four completely separate electric soundtracks, which at the first take seem to exclude each other completely. The final result is that they cooperate ideally. The amount of guitar paths even arises in the second solo spot background. I do wonder if some of the layers are inversed or not. The structure extends with multivoiced backing hype, untypical drum metrum filled with tiny bits and breaks.The listener gets a very warm, dense net of lovely sound which carries up Brian's soothing voice and impresive solos. Delicacy is mastered with a true melody. Astonishing musical tapestry to me. The only serious letdown here is that the fade out lasts for more than a half a minute, hidding some note gems in decay gloom . Thank God we have the computer utilities to repair such constructional sound fakes.
[ 07 ] WAS IT ALL WORTH IT [1989]
Hearing Queen back in 1989 was enjoyable, though 'The Mircale' brought in mixed feelings. It looked like they still wanted to hold on to that poppier side of their career, but the the rocking spirit was more irresistable than on 'A Kind Of Magic'. And the LP closing track is a standout. The vocal intro isn't really that good, but when the riff breaks you know you'll enjoy a mean kicker. The structure of the song is nicely interluded with orchestral bits and guitar adlibs (a very film soundtrack-like, brings glimpses of Flash-The Hero at times), but when they rock, they mean it. Well accented riffs mark the verses, the vocals are engaged and aggressive - underlining the title question. May puts out an enjoyable solo with bits of tremolo and quite impressive run out figure. The closing section is wonderful. After Fred concludes with manic laugh that it was worth living breathing rock'n'roll, the quartet blasts out a Sabbath-like close, thundering like tornado. Only the keyboards survive to fade out the piece with all honours (the keys could sound better - they seem a bit too synthy). A treat, nevertheless.
[ 08 ] I GO CRAZY [1984]
A B-side of "Radio Gaga" single. What!!?? B-side!?? It's better than half of the material on the pathetic 'The Works' album. Crafty rocker, with decent riffing and nifty chorus, rythm section pumping and grooving on fat tyres. May's guitar is unusually edged with some effect I can't name. Sort of a flanging one, though. Witty lirycs, slagging off some unfaithful bitch. Drivey solo, with Brian having a bit of slide fun. Taylor and Mercury go nuts vocally at the end. Whole lotta rockin' and a lot of energy in this one. Well combined trademarks of May-Taylor duett, the authors of the cut. Extends the list of unjustified choices for album outtakes in many performers' catalogues.
[ 09 ] SAVE ME [1979]
My God, how much I do love this one! Moving, beatiful verses contradited with sharp, aggresive chorus. Freddie must have galvanized his throat to make it through the vocals. Love the accoustic backing line and the first part of the guitar solo, but guitar climax in the rock part is even more mind blowing. The solo is a blast. Stunningly painted scream of loneliness. The song carries probably one of the best closings in Queen's career - seven or eight piano chords underline the vision of the kneeling, lonely man. Brings a chill to th spine and a tear to an eye. Always. Top of their game.
[ 10 ] HAMMER TO FALL [LIVE WEMBLEY 1986]
I don't endorse the studio version of this track much, though it's a big favourite. Just like Purple's 'Highway Star' on 'Made In Japan' - Wembley has expirienced once-in-a-lifetime performance. The rythm pattern is slightly changed to the studio take, tempo is a bit faster, and the playing is practicly flawless. Fred's voice only carries the signs of hour and a half ass worked show. But it's Brian here who is a hero. The riff backed with furious Taylor's bashes blasts the venue to bits. Soloing is crisp and tight. May has never been an impressive improvisor but here in the free-ride part he plays the solo of his life. Precision and feel combined with excitement and rawness. Love that. In the end Mr Taylor lets the wrists go, and after the final wham! you know well what a worthy rocker means to you.
[ 11 ] '39 [LIVE EUROPE 1979]
Mercury's voice doesn't fit this song as well as May's does, but when he get's backed by Taylor - the mixture gets interesting. This performance has an enormous vibe, thanks to the crowd enthusiasm, which pushes Queen doing accoustic bit to explore the limits. The three vocals excursion in the middle, edged by Taylor's high-pitched Byronesque scream is lovely. And the song turns out from the sentimental ballad to a fabulous stomper. Catches tight and doesn't let go easily.
[ 12 ] LOVE OF MY LIFE [LIVE MONTREAL 1981]
Unusulal choice of the unusual performance. Freddie is pissed off with the Montreal crowd lack of rythm sense (audible during a "Now I'm Here" vocal dialogue). He doesn't want to hear them people sing even a line here. He rules while singing this crowd teaser that he barely gets to sing otherwise. Brian on the accoustic 12-string, struggling through couple of notes to make them clear. An introvert take of this evergreen, amazing from head to toes.
[ 13 ] KEEP YOURSELF ALIVE [LIVE MONTREAL 1981 / EUROPE 1979]
Stomping drum intro brings a start of an unusual improvisation. Launching into the tune, the band scores a dangerous speed. This take blasts with a high voltage. After first chorus May lets himself go, rips it out with a river of notes. By 1981 this track was only an introduction to the drum solo. I decided to take definite steps to make up for this and I mixed in the second half of the track from 'Live Killers'. After the hugely applauded accoustic part of the show there was no mercy for the audience. The band pillages the ground vocally and instrumentally. Brian barely makes it in-tempo with the solo notes (nifty use of the delay effect), the choruses are blasting with vocal engagement. Pure energy and brillance.
[ 14 ] NEED YOUR LOVING TONIGHT [1980]
'The Game' was a always confusing affair to me. It still has some classic Queen tracks on it. Here you got one. Starts a bit typically for Deacon - well measured mixture of pop & rock - bass sounding thight and a strong accoustic guitar background. In the middle things get damn serious. So lovely heavy. Brian lets the Fireplace wail with an aggresive solo. The drum-bass duo lets it rip fabulously too. Won't let you sit still.
[ 15 ] KILLER QUEEN [1974]
It's a debacle whether Mercury's pastiches were kitsch only or a rather a higher form of rock art. Still some of these remain neat to the ears and their charm is timeless. This is one of these. Nifty chorus and Brian shines again. Ocassionally the more he arranges his solos, the better results he gets. I disilike a bit the very falsetto vocal verses, but the voices arrangement and the compositional skill with the tinniest detail worked win my thumbs up at the very end. Drive you wiiiiiild.... wiiiiild...' (wah-wah). Quite so.
[ 16 ] THE MILLIONAIRE WALTZ [1976]
Another gem that could easily get up the noses of rock purists and traditionals. A true Wienner waltz this is indeed! Driven by bass and piano, backed with army of voices and Mercury's theatrical manner reaching irresistble ranges at times. And what a treat in the middle there. Almost metal mid-break, could easily be a bit for headbanging. But Fred is only having fun with us. That's just a tease of what combining of the styles can do. Brian's solo is nothing but a Strauss lesson passed with A grade. The final round gets more lively, with the orchestral multi-layered guitar on fire again, and a close that reminds us that it's Queen, doing a rock album actually.
[ 17 ] DREAMER'S BALL [LIVE EUROPE 1979]
It was a dangerous idea to record such a swingy crawler on the 'Jazz' album, especially using the traditional rock instrumentation. With May's skills in overdubs and filtering tones however, we get a good result. Putting this sort of tune to a live set seems like a suicidal idea. So they play it accoustic and immitate the swinging horns with their very own voices. Remains a mistery to me how the hell exactly they DO make it. I'm voting for Taylor doing the trumpet (without the help of hands?) and May doing the trombone (hard to define Mercury's part as he's adlibbing something loosily every second). An unsolved puzzle to me. Whether it's courageousness or just the unfulfilled need to play games with the audience - it's just fun. And what a hell of a performance!
[ 18 ] BRIAN MAY - TOO MUCH LOVE WILL KILL YOU [LIVE BRIXTON ACADEMY 1993]
When the song surfaced in 1992 I though it was the most moving possible tribute to Freddie and his life. Couple of years later it showed up that this is a sort of Brian's own look back on his life. I got to say however - I don't like Queen's take of this song. It doesn't carry that much amount of personal drama that gives it another dimension. On May's Brixton appearance it sounded like a lament after Mercury's untimely passing away and that was the strength of it. It's also one of the most moving songs Brian has ever come up with. The emotions are audible here, May's voice creeks up from emotion at some point. (I'm glad it wasn't overdubbed). But the true monumentum builds up, when the band fires the engines on. The solo screams with anger, bitterness and saddness, while Murray-Powell section whams the backing out. A moving close with a pause and the dramaticly wailed title makes it clear. It's not only words. And that's what puts live The Brian May Band reendition of this song beyond any other. Always seriously moving.
[ 19 ] DON'T TRY SO HARD [1991]
'Innuendo' always deserves a listen as a whole album. The tracks on it (maybe with the exception of two) are standouts - every one on its own rights. So it was a bit of a dillema what to include among the evergreens. The choice is, typically for me, purely unusual. 'Don't Try So Hard' completely wears my insuide out. The song is ascethic in the arrangement, but it boosts the effect of vocals and guitar beyond limits. Freddie - in late 1990 phiscally already a shadow of a living man - provides a vocal line with phrases sounding almost impossible to sing for anyone. The tension and singing the heart out is immense. The song also brings in one of the finest May's solos of the period. Makes one feel like Fireplace is crying after someone. Like it was said a few songs later - "I guess I'm learning - I must be warmer now / I'll soon be turnin' round the corner now..." The evidence of the sad fact that they all were getting ready for the last farewell and expressed it by the music they made.
(C) (P) Martin Karski, October 29, 2005
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