Is TMLWKY written about when Brian was breaking up with his wife and when he first met Anita?
If it is and it's obvious, excuse my ignorance. In the lyrics when it says "torn between the lover, and the love you leave behind" I thought that's what it may be about.
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Yes.
kiwi_queen_bean: "Is TMLWKY written about when Brian was breaking up with his wife and when he first met Anita?"
No - it is not. "Too Much Love Will Kill You" was an equal collaboration between three writers, (May, Musker, and Lamers), so it is NOT a Brian May track at all - but only one third of a Brian May track at best.
This means (mathamatically) that 66.6% of the song has nothing whatsoever to do with Brian's sub-conscience. The final 33.3% was written to scan and fit-in with the other writers. In reality, Brian provided more music than lyrics, so in truth the "sentement" of the song - does not really stem from his ideas.
No - it is not. "Too Much Love Will Kill You" was an equal collaboration between three writers, (May, Musker, and Lamers), so it is NOT a Brian May track at all - but only one third of a Brian May track at best.
This means (mathamatically) that 66.6% of the song has nothing whatsoever to do with Brian's sub-conscience. The final 33.3% was written to scan and fit-in with the other writers. In reality, Brian provided more music than lyrics, so in truth the "sentement" of the song - does not really stem from his ideas.
but he could have come up with the idea of the song, taken it to his friends, who then made a few adjustments that were big enough so they could claim some of the credit for writing the song also
*3*Playful as a pussycat: "...he could have come up with the idea of the song, taken it to his friends, who then made a few adjustments that were big enough so they could claim some of the credit for writing the song also"
No: That is NOT the case either, as the song springs from a jam session - not pre-conceived ideas. Infact, it was Elizabeth Lamers who came up with most of the lyrics, and was basically a love song - untill the chorus changed that. For example, the "Too much love will kill you - it get's you every time", was her idea.
No: That is NOT the case either, as the song springs from a jam session - not pre-conceived ideas. Infact, it was Elizabeth Lamers who came up with most of the lyrics, and was basically a love song - untill the chorus changed that. For example, the "Too much love will kill you - it get's you every time", was her idea.
It could still be 70% Brian, 5% Musker & 25% Lamers, couldn't it?
Plus wasn't one of them his therapist, so would know Brian's feelings enough to contribute?
Plus wasn't one of them his therapist, so would know Brian's feelings enough to contribute?
I don't see how you can just mathematically divide the song into 3 and say that it is therefore only 33.3% Brian's. A song as a piece of art is not a data-set that can be manipulated mathematically.
As PG said, just because 3 writers are credited, it in no way follows that they all equally contributed to the crafting of the song.
As PG said, just because 3 writers are credited, it in no way follows that they all equally contributed to the crafting of the song.
Bo Hardy - please re-read my mail once more. Did I not previously write:
"In reality, Brian provided more music than lyrics, so in truth the "sentement" of the song - does not really stem from his ideas."
Thus pointing out that it was much more than just a mathematical equation?
PG: I accept your point also, but as I said to Bo Hardy, the division of labours was more "words" by Musker and Lammers, and music by May. However, I never really thought about one being Brian's therapist, but that in itself does not mean that he has to be relaying Brian's thoughts - does it?
"In reality, Brian provided more music than lyrics, so in truth the "sentement" of the song - does not really stem from his ideas."
Thus pointing out that it was much more than just a mathematical equation?
PG: I accept your point also, but as I said to Bo Hardy, the division of labours was more "words" by Musker and Lammers, and music by May. However, I never really thought about one being Brian's therapist, but that in itself does not mean that he has to be relaying Brian's thoughts - does it?
Your point that the sentiment of the song is not Brian's has no relation to your point that because the song is credited to 3 writers it is therefore 33.3% Brian's. It really doesn't.
I know what you're getting at though. It's all about what makes up the essence of a song; what it is that defines and characterises the song.
Whomever is responsible for the bulk of what that essence is, can rightly be considered as the major composer of the song.
For example, you might have a song/piece of music that consists of 2 parts: one, a simple repeated rhythm on a tabla (made-up on the spot by a tabla-player), the other, a glorious vocal melody and lyric (carefully constricted by a songwriter). Technically the tabla part may actually feature more throughout the piece of music, but the song - its essence - would be all about the melody-line and text.
In this case, the songwriter is clearly the main composer of the piece of music.
It's an incredibly obvious point, but it's at the heart of what's being asked here.
Who can rightly be considered as the main composer of this song?
Bohardy (all one word...).
;-)
I know what you're getting at though. It's all about what makes up the essence of a song; what it is that defines and characterises the song.
Whomever is responsible for the bulk of what that essence is, can rightly be considered as the major composer of the song.
For example, you might have a song/piece of music that consists of 2 parts: one, a simple repeated rhythm on a tabla (made-up on the spot by a tabla-player), the other, a glorious vocal melody and lyric (carefully constricted by a songwriter). Technically the tabla part may actually feature more throughout the piece of music, but the song - its essence - would be all about the melody-line and text.
In this case, the songwriter is clearly the main composer of the piece of music.
It's an incredibly obvious point, but it's at the heart of what's being asked here.
Who can rightly be considered as the main composer of this song?
Bohardy (all one word...).
;-)
My bad. It appears I was wrong. I thought that most of the word were Brian's and the music was the collaborative part.
I most humbly apologise.
I most humbly apologise.
John's point of Brian being more a music writer in that case makes a lot of sense considering that both Frank and Elizabeth are (as far as I know) proffessional lyricists and not proffessional musicians.
The conclusions (or delusions) that people come up with never cease to amaze me. That's all I'm gonna say.
So who here knows exactly how this song was formed? I'm keen to find out the road from beginning to end on this one. As much detail if possible. No guessing or assumptions folks! It has to be based on truth - fact based evidence.
Peace,
Adam.
Peace,
Adam.
Adam: Too Much Love Will Kill You (Brian May version)
Intro Demo 3:08 - Unreleased: Home Mini-Disc.
Musical ideas that sketch the beginning verse of the song.
First Piano Demo 2:55 - Unreleased: Home Mini-Disc.
Mainly music - little lyrics. No guitar at this stage. Although the above "Intro demo" also takes place on a piano, (not a keyboard), this is the first demo of the song - rather than just an intro.
Every Time Demo 1:38 - Unreleased: Home Mini-Disc.
Ending Demo “21 - Unreleased: Home Mini-Disc.
Lyrics added ad-lib, mainly by Elizabeth Lamers. little May lyrical input - but he likes the phrase Too much love will kill you - it get's you "Every Time". Both May and Muskers talk about idea's - but not actual lyrics. An ending - or final phrase is added musically.
Second Verse Demo 1:04 - Unreleased: Home Mini-Disc.
Rough sketch - similar to first verse, more/new lyrics. Again, mainly Eliabeth Lamers, but May and Musker again brainstorm ideas, providing Elizabeth Lamers with a few alternatives/possible minor changes to the bigger picture.
“Shit!” Demo 3:11 - Unreleased: Home Mini-Disc.
Rough idea of the complete song so far. This joins-up the previous demos. The opening verse, the second verse, and the final end bit. No bridge or middle eight as yet. Lyrics are refined, again little contribution from Brian, until he get's it wrong (or makes a mistake) - thus his biggest contribution at this stage becomes - "Oh shit!". However, he has said, "I like that bit", or "I think we could do that better", but no real contributory ideas lyrically.
Acoustic Guitar Demo 2:35 - Unreleased: Home Mini-Disc.
Polished version of the above. Brian on acoustic guitar, Elizabeth Lamers on vocals. Still no bridge or middle eight.
Home Keyboard Instrumental 4:32 - Unreleased: Home Mini-Disc.
Nothing new lyrically, but more polished than the previous acoustic guitar demo. (Though paradoxically, the acoustic guitar demo has a more "charming feel").
First Vocal Demo 4:48 - Unreleased: Home Mini-Disc.
The song, sung by Brian, is more or less completed at this stage.
Home Duet Demo 4:47 - Unreleased: Home Mini-Disc.
As above, but with the vocals shared equally by Brian May and Elizabeth Lamers.
1992 Back To The Light Album Version - Parlophone CDPCSD 123
1992 CDs Guitar 4:29 Instrumental
1992 CD Piano (Miss-press) 4:09 Instrumental - Hollywood
1992 First Live Version with/out Spoken CD Intro - Freddie Mercury Tribute: 20th April 1992
1992 Brian May Promotional Video - Unreleased: Home Video
1992 Holland Veronica Muziek Veilyny Video
21 September 1992 -Unreleased: Wanted
Too Much Love Will Kill You (Queen)
1988 Freddie Vocal Guide/Brian Vocal Demo - Unreleased: GB IQFC Convention 2001
1988 Miracle Demo Promo Teaser Tape - Unreleased: Home Mini-Disc
1995 Album Version - Made In Heaven: Parlophone CDPCSD 167
1995 US Promo CD Single Radio 3:52 Edit - US CDS Hollywood PRCD -10546-2
1995 UK VH1 TV Promo - Unreleased: Home Video
1995 Promotional Video: Heart-Ache -Made In Heaven The Films: WNR 2066
1998 eYe/Demo 1:47 Edit - Electronic Arts DDE05501 101S
From the above, I can conclude that the lyrics have little to do with Brian's divorce, his relationship with Freddie, Anita, or his father, as he was not the designer behind their meaning, rather the majority of the lyrics do belong to Elizabeth Lamers.
However, I do think the song IS about - Brian's divorce, and his relationship with Freddie, Anita, and his father - because he makes the song his own.
Let me explain that last bit.
I can buy my wife a birthday card, but I will not have written the little poem/message inside. Rather, I HAVE chosen the "correct" card to say what I feel. At that point the card transcends being a bit of paper, and becomes the embodiment of MY sentiments and feelings. It becomes MY card, and she recieves it as such (rather than a mass-produced ca
Intro Demo 3:08 - Unreleased: Home Mini-Disc.
Musical ideas that sketch the beginning verse of the song.
First Piano Demo 2:55 - Unreleased: Home Mini-Disc.
Mainly music - little lyrics. No guitar at this stage. Although the above "Intro demo" also takes place on a piano, (not a keyboard), this is the first demo of the song - rather than just an intro.
Every Time Demo 1:38 - Unreleased: Home Mini-Disc.
Ending Demo “21 - Unreleased: Home Mini-Disc.
Lyrics added ad-lib, mainly by Elizabeth Lamers. little May lyrical input - but he likes the phrase Too much love will kill you - it get's you "Every Time". Both May and Muskers talk about idea's - but not actual lyrics. An ending - or final phrase is added musically.
Second Verse Demo 1:04 - Unreleased: Home Mini-Disc.
Rough sketch - similar to first verse, more/new lyrics. Again, mainly Eliabeth Lamers, but May and Musker again brainstorm ideas, providing Elizabeth Lamers with a few alternatives/possible minor changes to the bigger picture.
“Shit!” Demo 3:11 - Unreleased: Home Mini-Disc.
Rough idea of the complete song so far. This joins-up the previous demos. The opening verse, the second verse, and the final end bit. No bridge or middle eight as yet. Lyrics are refined, again little contribution from Brian, until he get's it wrong (or makes a mistake) - thus his biggest contribution at this stage becomes - "Oh shit!". However, he has said, "I like that bit", or "I think we could do that better", but no real contributory ideas lyrically.
Acoustic Guitar Demo 2:35 - Unreleased: Home Mini-Disc.
Polished version of the above. Brian on acoustic guitar, Elizabeth Lamers on vocals. Still no bridge or middle eight.
Home Keyboard Instrumental 4:32 - Unreleased: Home Mini-Disc.
Nothing new lyrically, but more polished than the previous acoustic guitar demo. (Though paradoxically, the acoustic guitar demo has a more "charming feel").
First Vocal Demo 4:48 - Unreleased: Home Mini-Disc.
The song, sung by Brian, is more or less completed at this stage.
Home Duet Demo 4:47 - Unreleased: Home Mini-Disc.
As above, but with the vocals shared equally by Brian May and Elizabeth Lamers.
1992 Back To The Light Album Version - Parlophone CDPCSD 123
1992 CDs Guitar 4:29 Instrumental
1992 CD Piano (Miss-press) 4:09 Instrumental - Hollywood
1992 First Live Version with/out Spoken CD Intro - Freddie Mercury Tribute: 20th April 1992
1992 Brian May Promotional Video - Unreleased: Home Video
1992 Holland Veronica Muziek Veilyny Video
21 September 1992 -Unreleased: Wanted
Too Much Love Will Kill You (Queen)
1988 Freddie Vocal Guide/Brian Vocal Demo - Unreleased: GB IQFC Convention 2001
1988 Miracle Demo Promo Teaser Tape - Unreleased: Home Mini-Disc
1995 Album Version - Made In Heaven: Parlophone CDPCSD 167
1995 US Promo CD Single Radio 3:52 Edit - US CDS Hollywood PRCD -10546-2
1995 UK VH1 TV Promo - Unreleased: Home Video
1995 Promotional Video: Heart-Ache -Made In Heaven The Films: WNR 2066
1998 eYe/Demo 1:47 Edit - Electronic Arts DDE05501 101S
From the above, I can conclude that the lyrics have little to do with Brian's divorce, his relationship with Freddie, Anita, or his father, as he was not the designer behind their meaning, rather the majority of the lyrics do belong to Elizabeth Lamers.
However, I do think the song IS about - Brian's divorce, and his relationship with Freddie, Anita, and his father - because he makes the song his own.
Let me explain that last bit.
I can buy my wife a birthday card, but I will not have written the little poem/message inside. Rather, I HAVE chosen the "correct" card to say what I feel. At that point the card transcends being a bit of paper, and becomes the embodiment of MY sentiments and feelings. It becomes MY card, and she recieves it as such (rather than a mass-produced ca
John, thank you very much for your detailed axplanation: I just love that song and I always wondered where it really came from - and your remark about the birthday card is simply amazing.
You have e-mail.
You have e-mail.