Queen Song Linkages
As a Queen superfan I'm familiar with all original studio recordings of my favourite band. One thing I noticed was all the cross-cutting connections between songs both within and between albums. Of course, you can find similarity between any two things, but here I'll only touch on what seemes more noteworthy to me.
Some connections are well-known. We Will Rock You and We Are The Champions from 1977 go together on both album and later Greatest Hits. As a result they tend to be played together on both radio and at sporting events. Was this intended by song writers Freddie Mercury and Brian May or did it just take on a life of its own?
Another one many know of is Bicycle Race and Fat Bottomed Girls from 1978 each name-dropping the other - we are told that "fat bottomed girls will be riding today" and they are later exhorted to "get on your bikes and ride" - lines that make me smile.
But there are other more obscure links I enjoy. In 1974 Queen released two albums. Seven Seas Of Rhye ends the first album with a bunch of friends singing I Do Like to Be Beside the Seaside. Brighton Rock starts the next album with somebody whistling the same old tune to a background of carnival sounds.
So far these are all deliberate associations on the part of the band. Others are more incidental observations. The Prophet Song (1975) is known for a kind of round sung by Freddie Mercury with echos of himself but the same trick was performed on guitar by Brian May back in Brighton Rock.
Some of the oldest Queen discs were almost concept albums suffused with common themes and moods. A lot of progressive or glam acts were into science fiction but Queen seemed more into fantasy - look no further than the amazing White Queen and March Of The Black Queen (both 1974).
Most of this fey vibe was set by Mercury and May while Roger Taylor tended to interupt it with songs describing the everyday life of young to aging rock-and-rollers - check both Tenement Funster (1974) and Drowse (1976). Once John Deacon got into writing he diverted things further with the most cheerfully love-struck of songs - consider You're My Best Friend (1975) and You And I (1976).
Sometimes one song seems to be a test-run for another one. The magnificent Death On Two Legs (1975) seems to musically evoke silent era moustache-twirling villains but then so does Flick Of The Wrist (1974) and I dig both. At other times a song harks back to a more successful one - Man On The Prowl (1984) belongs on the same jukebox as Crazy Little Thing Called Love (1980).
A ran this topic by a friend with huge technical understanding of music and she talks of songs linked by common chord progressions but such things are beyond me. I can however discern and name musical genres. One easy way to find song links is to follow the interest in particular genres by different band members. Mercury flirts with jazz on tracks like Bring Back That Leroy Brown (1974) and Good Old Fashioned Lover Boy (1976). May does a similar thing for folk with '39 (1975) and Long Away (1976) and both also hint at his love of astronomy.
Band members had particular preferences - May and Taylor always loved rocking guitar and drums while Mercury and Deacon were drawn ever more to soulful vocals and base lines. However they also influenced one another. Metal was always in the blood of the band - examples can be found in both the 70s (Stone Cold Crazy) and 80s (Gimme The Prize). But they played with all manner of genres. Funk is one of my favourites and cool examples include the studio crafted Another One Bites The Dust and the more jam-like Dragon Attack (both from 1980).
Over time Queen moved away from concept albums and eccentric variety but never entirely abandoned these characteristics. There were albums associated with the movies Flash Gordon (1980) and Highlander (1986). Innuendo (1991) resonates with otherwordly atmosphere. And there are still connections here and there. The songs She Does Me (1989) and Delilah (1991) are both likely about the cats that were constant companions for Freddie in his dying days.
Even the posthumously constructed album Made In Heaven (1995) feels more coherent than it should be, given it drew on draft or solo tracks from over more than a decade. I suppose that is simply a testament to the talent and inspiration of all members of Queen working together.
Some connections are well-known. We Will Rock You and We Are The Champions from 1977 go together on both album and later Greatest Hits. As a result they tend to be played together on both radio and at sporting events. Was this intended by song writers Freddie Mercury and Brian May or did it just take on a life of its own?
Another one many know of is Bicycle Race and Fat Bottomed Girls from 1978 each name-dropping the other - we are told that "fat bottomed girls will be riding today" and they are later exhorted to "get on your bikes and ride" - lines that make me smile.
But there are other more obscure links I enjoy. In 1974 Queen released two albums. Seven Seas Of Rhye ends the first album with a bunch of friends singing I Do Like to Be Beside the Seaside. Brighton Rock starts the next album with somebody whistling the same old tune to a background of carnival sounds.
So far these are all deliberate associations on the part of the band. Others are more incidental observations. The Prophet Song (1975) is known for a kind of round sung by Freddie Mercury with echos of himself but the same trick was performed on guitar by Brian May back in Brighton Rock.
Some of the oldest Queen discs were almost concept albums suffused with common themes and moods. A lot of progressive or glam acts were into science fiction but Queen seemed more into fantasy - look no further than the amazing White Queen and March Of The Black Queen (both 1974).
Most of this fey vibe was set by Mercury and May while Roger Taylor tended to interupt it with songs describing the everyday life of young to aging rock-and-rollers - check both Tenement Funster (1974) and Drowse (1976). Once John Deacon got into writing he diverted things further with the most cheerfully love-struck of songs - consider You're My Best Friend (1975) and You And I (1976).
Sometimes one song seems to be a test-run for another one. The magnificent Death On Two Legs (1975) seems to musically evoke silent era moustache-twirling villains but then so does Flick Of The Wrist (1974) and I dig both. At other times a song harks back to a more successful one - Man On The Prowl (1984) belongs on the same jukebox as Crazy Little Thing Called Love (1980).
A ran this topic by a friend with huge technical understanding of music and she talks of songs linked by common chord progressions but such things are beyond me. I can however discern and name musical genres. One easy way to find song links is to follow the interest in particular genres by different band members. Mercury flirts with jazz on tracks like Bring Back That Leroy Brown (1974) and Good Old Fashioned Lover Boy (1976). May does a similar thing for folk with '39 (1975) and Long Away (1976) and both also hint at his love of astronomy.
Band members had particular preferences - May and Taylor always loved rocking guitar and drums while Mercury and Deacon were drawn ever more to soulful vocals and base lines. However they also influenced one another. Metal was always in the blood of the band - examples can be found in both the 70s (Stone Cold Crazy) and 80s (Gimme The Prize). But they played with all manner of genres. Funk is one of my favourites and cool examples include the studio crafted Another One Bites The Dust and the more jam-like Dragon Attack (both from 1980).
Over time Queen moved away from concept albums and eccentric variety but never entirely abandoned these characteristics. There were albums associated with the movies Flash Gordon (1980) and Highlander (1986). Innuendo (1991) resonates with otherwordly atmosphere. And there are still connections here and there. The songs She Does Me (1989) and Delilah (1991) are both likely about the cats that were constant companions for Freddie in his dying days.
Even the posthumously constructed album Made In Heaven (1995) feels more coherent than it should be, given it drew on draft or solo tracks from over more than a decade. I suppose that is simply a testament to the talent and inspiration of all members of Queen working together.
Labels: Music Related Stuff
posted by Dan at
26.7.23
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