liam
Because its repetitive, annoying and really doesn't add to the song, unlike the opera section from bohemian rhapsody which isn't repetitive or annoying and is an integral part of the song.
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rhyeking
mike hunt wrote: liam wrote: It is an amazing song but I always skip that awful repetitive middle. It ruins the flow of the song and the possibility of playing it in the car with friends!
why is the middle section of The Prophet song annoying to some people, but the section of Bo Rhap classic?.....The song is a Gem..don't think it's quite as great as Bo Rhap, but pretty close. Nothing like listening to the Prophet song/Love of My Life, 12 minutes of perfection.....
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Agreed.
Freddie harmonizing with himself in a seemingly endless loop elevates the entire experience. It lulls you into a sonic pattern, then patterns within patterns, then counterpoints back and forth. In some ways it's the vocal equivalent to Brian's loops in his live "Brighton Rock Solos," where he plays against his own echos.
Anyone interested in similar work, on a larger scale, by other artists, check out Mike Oldfield's '70s and '90s works, and David Bedford's "Star's End." Mike once said, "There's nothing wrong with repetition as long as it's something worth repeating."
why is the middle section of The Prophet song annoying to some people, but the section of Bo Rhap classic?.....The song is a Gem..don't think it's quite as great as Bo Rhap, but pretty close. Nothing like listening to the Prophet song/Love of My Life, 12 minutes of perfection.....
+++++++++++++++++++++++++++++++
Agreed.
Freddie harmonizing with himself in a seemingly endless loop elevates the entire experience. It lulls you into a sonic pattern, then patterns within patterns, then counterpoints back and forth. In some ways it's the vocal equivalent to Brian's loops in his live "Brighton Rock Solos," where he plays against his own echos.
Anyone interested in similar work, on a larger scale, by other artists, check out Mike Oldfield's '70s and '90s works, and David Bedford's "Star's End." Mike once said, "There's nothing wrong with repetition as long as it's something worth repeating."
Sebastian
But indeed both bits are quite different. I think Brian's Brighton Rock things are OK, but I far, far , faaaaaaaaaaaar prefer him simply playing a solo like Days of Our Lives or Who Wants to Live Forever, where there's a melody, an interaction with the song, a more elaborate arrangement, a smoother transition from and to the neighbour sections of the track, etc.
Same here: I like the a cappella bit on TPS, but I far, far, faaaaaaar prefer vocal sections which are more melodic and less scalar, and where there's a melody, an interaction with the song, a more elaborate arrangement, a smoother transition from and to the neighbour sections of the track, etc., like the operatic bit on Bo Rhap, the gospel break on Somebody to Love, the 'journey' on '39, the second lift on Save Me, the middle-eights on Teo Torriatte and Sail Away Sweet Sister, etc.
Same here: I like the a cappella bit on TPS, but I far, far, faaaaaaar prefer vocal sections which are more melodic and less scalar, and where there's a melody, an interaction with the song, a more elaborate arrangement, a smoother transition from and to the neighbour sections of the track, etc., like the operatic bit on Bo Rhap, the gospel break on Somebody to Love, the 'journey' on '39, the second lift on Save Me, the middle-eights on Teo Torriatte and Sail Away Sweet Sister, etc.
queenUSA
rhyeking wrote: "Freddie harmonizing with himself in a seemingly endless loop elevates the entire experience. It lulls you into a sonic pattern, then patterns within patterns, then counterpoints back and forth. In some ways it's the vocal equivalent to Brian's loops in his live "Brighton Rock Solos," where he plays against his own echos."
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I like this (^) description of being lulled into a sonic pattern - hypnotic/trance like. If you consider what is happening in the lyrics of the song - with multitudes listening to the wise man (seer, prophet) and accepting knowledge and gaining enlightenment in the process.... thus, perhaps that is what the repetitive "Now I Knows" is all about. To me it's not just nonsense or filler for a gap .... it denotes a process of enlightenment unfolding (as if from so many voices all at once) receiving enlightenment. It works for me, when I think of it in this way.
Well at least that my scholarly stab at it.
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I like this (^) description of being lulled into a sonic pattern - hypnotic/trance like. If you consider what is happening in the lyrics of the song - with multitudes listening to the wise man (seer, prophet) and accepting knowledge and gaining enlightenment in the process.... thus, perhaps that is what the repetitive "Now I Knows" is all about. To me it's not just nonsense or filler for a gap .... it denotes a process of enlightenment unfolding (as if from so many voices all at once) receiving enlightenment. It works for me, when I think of it in this way.
Well at least that my scholarly stab at it.
Silken
As a fan of harmonies, I absolutely love the middle section. With headphones the experience is much more interesting: one line in your right ear that echoes in your left and then in the middle. The "la la la"s are fantastic, too.
Once I found in YouTube an edited version without the vocal interlude; it is still a great song, but a bit less special.
Once I found in YouTube an edited version without the vocal interlude; it is still a great song, but a bit less special.
Fly away
Love it too - a real classic. I like the vocal break in the middle, which I assume (or probably heard on here) is supposed to represent the "vision". It's also one of Brian's few "progressive" or partially acyclical songs. I wonder why?
drmurph
Yes, it's a great song, too little used personally on the many compilation tapes and then mini disc I used to make (Due to length obviously, short songs were great for fitting in at the end of a side). I put it on while driving home some drunken friends one night and they were impressed by the vocal middle section moving across the car, it does sound great turned up loud when the opportunity presents itself. I'm still not sure of the best live version of this song...?