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PD: Short notes on some Queen songs11 Feb 2003 09:34
One Vision: an early example of the slow down vocals is on Jimi Hendrix's Are You Experienced album.
Dead On Time: prior to this song thunderbolt noise can be found on Who's album Quadrophenia (also on an early Paul McCartney album).

Crash Dive: The rising chord sequence combined with pedal bass is also reminiscent of a song from the Quadrophenia album (Who).

Brighton Rock: Now I know the title of the traditional canon pieces that Brian quoted in his Brighton Rock solo during the seventies: "Three Blind Mices" and "Frere Jacques".

Fat Bottomed Girls: the lead melody of the Verse (both rhythmically and harmonic wise) is quite straightaway (folk influence). Compare it to the verses of "Hello, Mary Loo".

In Only Seven Days: a detail soon to correct: the last measure of the first phrase in Bridge 2 (the one next to the title phrase) is 3/8 long, not 2/4. Arguably you can treat it as 2/4 and treat the preceding measure as 7/8, but the second phrase of the section shows it's only a case of a pre-downbeat accent on DAYS/FADE. (...in only seven DAYS...memories to FADE). I admit it was very hard for me to figure out, and fisrt I transcribed it wrong.

Teo Torriate: there's a voice-leading driven sequence with chromatic decending bass in the Bridge A > E/G# > A7/G . Similar progression opens the second half of the chorus in Save Me:
D > A/C# > D7/C. In both example there is a fourth chord in the progression, but those are different.
1.Sebastian 16 Feb 2003 13:44
Beatles never used slow down, but they did slow up things, like the piano solo of In My Life and John's voice on the middle of 'Octopus's Garden'
2.PD 16 Feb 2003 16:02
I didn't say Beatles did. But actually they did at least once: Strawberry Fields (by only a half step or so).
3.Sebastian 17 Feb 2003 15:37
I know you didn't say so, but everytime you talk about music I think about Beatles, so I needed to say those things
4.PD 01 Mar 2003 18:18
You're My Best Friend: the ending of the song is based on two chords alternating and climbing higher. The live version of CLTCLove was mentioned as another example. A further example is a track on Flash Gordon (can't remember its title), and a part of the Brighton Rock Solo.
Don't Stop Me Now: at last I've found another song example for the I > iii > vi > ii > V > I chord progression: "Sign Of The Times" (Petula Clark, 1966).
My Melancholy Blues: there is a I > III progresion at the "so come and get me" phrase. This is a charasterictic progression in some standards like "Georgia On My Mind".
Speaking about Beatles:
Spread Your Wings: the Chorus starts with three chords where the melodic mini-phrases have a step-wise descending motif (F# E D) similarly to the intro of She Loves You.
5.PD 16 Mar 2003 19:55
A note about the carnival noise that you can hear at the beginning of Brighton Rock.
That was taken from a mysterious record. According to an old discussion board post the same tape was used in a Genesis / Steve Hackett song around 1974, but an another part of the same noise-record. The sounds are easy to identify, but there's no overlap between that an the Bridgton Rock bit.

According to an AMQ post the same carnival-noise recording is used as a backround noise in the movie House On Haunted Hill (1999). According to the poster the used segment is identical with what you can hear in Brighton Rock, but it continues further. Can anyone confirm this? Does anyone have information about what exactly that mysterious recording can be.
6.Sebastian 17 Mar 2003 13:01
years ago I had nightmares because I didn't know where did that sound come from, then I forgot about it. No, I don't have any idea
7.PD 14 May 2003 12:17

I have to correct myself regarding Crazy Little Thing: there is no 5/6 measure in the bridge section.

my analysis transcription said:
***   ***  ******

 ***   ***  ******

The first triplet guitar note (and the second too) starts on the SECOND 1/6 beat.
it's quite disorienting and tricked me badly.

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