I have no musical training or education, but I have heard that artists pay special attention to how songs are arranged on an album, particularly in terms of how they transition from one song to the next. It seems Queen have paid special attention to this. For example, the outro on I’m In Love With My Car segues nicely into Best Friend, as one of a number of examples. Note that this outro only occurs on the album version, and is not on the single version (flipside of Bo Rhap vinyl single (yes, I’m old!)). So to keep you occupied over the holiday season, I have two queries for you:
1. If someone would be willing to briefly clarify what the “rules” are for song transitions, I’d be very interested to hear it. But don’t feel obliged to address my ignorance.
2. What is your favourite – or the cleverest – transition that they did between songs?
Either way, I hope you all have a great holiday season, and that we get to see some great new releases in the upcoming year.
Thread
Posts in chronological order
March of the black Queen to Funny How love is
Tenement Funster / Flick Of The Wrist / Lily Of The Valley
The Prophet's Song / Love of my Life. Took me a while to understand where the first ended and the next one began. And as I first listened to the album on tape, I couldn't check the info like on a CD player.
I'm confused by your example of a 'good' song transition?! I'm In Love With My Car has silence between it and the following track, as such there is no transition at all really, the question you are asking is how a band comes up with track order. I think of a transition as in the examples above, when a song segues into another.
As for how a band comes up with track order, I don't think there are any 'rules' as such (unless of course there are lots of segues as in early Queen albums) but a lot of the time I think it might be as simple as what mood the band/producer might be in at the time the order is chosen. On any other day it could be a completely different order..
As for how a band comes up with track order, I don't think there are any 'rules' as such (unless of course there are lots of segues as in early Queen albums) but a lot of the time I think it might be as simple as what mood the band/producer might be in at the time the order is chosen. On any other day it could be a completely different order..
Thanks for your comments. I guess I am wondering what is the function (for examples) of the short chord progression at the end of I'm in love with my car after the fadeout; does it somehow set the mood or key for the song that follows? Similarly for the vibrato bit at the end of Good Company?
I could be way off base here - and probably am - but I figured there would be some "artistic" reason for those fragments, other than that is what the band members fancied at the time.
I could be way off base here - and probably am - but I figured there would be some "artistic" reason for those fragments, other than that is what the band members fancied at the time.
Tenement funster into flick of the wrist - brilliant.
Flick of the wrist into Lilly of the valley. A bad decision. That guitar whine marrs the delicate piano start.
Flick of the wrist into Lilly of the valley. A bad decision. That guitar whine marrs the delicate piano start.
Procession-Father to Son-White Queen
Nevermore-March of the Black Queen-Funny How Love Is
In the lap of the Gods-Stone Cold Crazy
Nevermore-March of the Black Queen-Funny How Love Is
In the lap of the Gods-Stone Cold Crazy
It's worth pointing out that CD tracks marks on Queen albums are usually (and mind blowningly) wrong. Being of the cassette generation I appreciate the confusion on those early listens!
IMO I can't imagine those early albums without those segues so they are very much part of the songs. It's only now I'm older I realise that the 'bridging' material is usually chopped in and not necessarily part of either song (the only example I can think of is the 'Surrender To The City' piece of MOTBQ which was rumoured to be an unreleased track but is obviously the segue bridge piece into FHLI - although it quite naturally qualifies itself as part of MOTBQ).
And I agree, the FOTQ / LOTV segue does jar a bit. My fav: Fairy Feller into Nevermore.
IMO I can't imagine those early albums without those segues so they are very much part of the songs. It's only now I'm older I realise that the 'bridging' material is usually chopped in and not necessarily part of either song (the only example I can think of is the 'Surrender To The City' piece of MOTBQ which was rumoured to be an unreleased track but is obviously the segue bridge piece into FHLI - although it quite naturally qualifies itself as part of MOTBQ).
And I agree, the FOTQ / LOTV segue does jar a bit. My fav: Fairy Feller into Nevermore.
Although for songs that have no 'connecting tissue', the jump from TNCD into ModernTimes RNR on the debut is genius. Building Build BUILD STOP! PAUSE! BANG!!
The transition of the song is the description of the song which is presented in the whole bold view of the story with the observation. The forum of the queen is about the serious discussion with the online resume writing services transmitting of the song like great achievement.
Vultan's Theme/Battle Theme
Execution Of Flash / The Kiss
Procession/Father To Son