Interesting about the Phase Shifter.
I like what Brian does before "And we'll keep on fighting..." in the last chorus of WATC at Live Aid; instead of the usual chords, he plays a short descending scale. Does anyone know if he only did this at Live Aid?
Btw, carboengine: feel free to start the other threads!
Thread
Posts in chronological order
Keep passing the open windows - solo plus all the guitar harmonies kinda before the end a bit
Flash - guitar harmonies again and of course the monsterous vocals!!
Fat bottomed girls - the riff and slick bits
Good old fashioned...guitar solo on BBC version, classic, plus the way the guitar shines...actually prob my fav solo cos it's so rough and sweet
Ride the wild wind - solo cos in the lower areas and climaxes up to a high solo
Flash - guitar harmonies again and of course the monsterous vocals!!
Fat bottomed girls - the riff and slick bits
Good old fashioned...guitar solo on BBC version, classic, plus the way the guitar shines...actually prob my fav solo cos it's so rough and sweet
Ride the wild wind - solo cos in the lower areas and climaxes up to a high solo
[QUOTE][QUOTENAME]Fur wrote: [/QUOTENAME]Interesting about the Phase Shifter.
I like what Brian does before "And we'll keep on fighting..." in the last chorus of WATC at Live Aid; instead of the usual chords, he plays a short descending scale. Does anyone know if he only did this at Live Aid?
Btw, carboengine: feel free to start the other threads!
[/QUOTE]
What a great response so far. It's all yours to start the other ones.
I like what Brian does before "And we'll keep on fighting..." in the last chorus of WATC at Live Aid; instead of the usual chords, he plays a short descending scale. Does anyone know if he only did this at Live Aid?
Btw, carboengine: feel free to start the other threads!
[/QUOTE]
What a great response so far. It's all yours to start the other ones.
I have a thing for A Winter's Tale.
Oddly, in addition to his amazing trademark tones, Bri does some really great stuff when he embraces conventional guitar sounds. For instance, the wah-wah/crybaby flourishes on the "Good Old-Fashioned Loverboy" solo are hilarious and wonderful. Usually I find wah irritating and overemployed (see McCready, Mike of Pearl Jam).
Also, when Bri pulls out Rog's Fender Telecaster for "Crazy Little Thing" and "Man on the Prowl," I'm a fan! The tone is decidedly drier, cleaner and more '50s, but that's the point, eh?
Brian is quite nimble with the acoustic, as we know. It began with his superb chunky harmonic rhythms on "The Night Comes Down" in the early '70s, but fast forward to his solo on "Too Much Love Will Kill You" for "Back to the Light" - it is haltingly pretty and quite breathtaking.
Back to the Red Special hallmarks - that cascading delay at the end of the "Seven Seas of Rhye" solo just blows me away. And, of course, the left-right trading of solo bits in "Bicycle Race" is truly magnificent.
Strangely enough, I really enjoy Brian's tone on the "Hot Space" solos, particularly on the dance tracks - "Back Chat" has a fantastic wailing crunch.
Even though the solo on "I Want to Break Free" sounds like synthy Korg vomit, it IS unique and it works with the 1984-ish future-apocalyptic "Works" theme. A late bloomer in my regards, I would say.
Those major-scale runs before the fade-out on "A Kind of Magic" (the song) are sublime. Bri is really flying here!
"The Invisible Man" solo features some CRAZY fast and VERY HIGH picking from Brian. Hard to play that and stay so articulate with the notes, but he pulls it off with gusto.
Great demented work carved up into pieces in the "I'm Going Slightly Mad" solo. A Franken-solo, one might say. :)
The tapping at the end of the "I Was Born to Love You" solo is always a little mind-blower of wizardry.
To sum it up -
Really, Bri has NEVER played a guitar solo that has been anything less than A) appropriate for the emotional content of the song, as in a natural melodic extension of the lyrics and B) technically virtuosic and masterful. I mean, look at "Don't Stop Me Now." Could Queen be stopped? NO! That song is an unbelievable freight train, a colossus of pop-inflected rock.
Honorable mention - the solos on "Somebody to Love" and "Sail Away Sweet Sister." In addition to the obvious winners: "Killer Queen" and "Bo Rhap."
Great thread!
P.S. Anyone else a sucker for that little descending guitar Brian added during the outro solo in the Rocks re-take of "I Can't Live With You?" (Listen for it ...)
Also, when Bri pulls out Rog's Fender Telecaster for "Crazy Little Thing" and "Man on the Prowl," I'm a fan! The tone is decidedly drier, cleaner and more '50s, but that's the point, eh?
Brian is quite nimble with the acoustic, as we know. It began with his superb chunky harmonic rhythms on "The Night Comes Down" in the early '70s, but fast forward to his solo on "Too Much Love Will Kill You" for "Back to the Light" - it is haltingly pretty and quite breathtaking.
Back to the Red Special hallmarks - that cascading delay at the end of the "Seven Seas of Rhye" solo just blows me away. And, of course, the left-right trading of solo bits in "Bicycle Race" is truly magnificent.
Strangely enough, I really enjoy Brian's tone on the "Hot Space" solos, particularly on the dance tracks - "Back Chat" has a fantastic wailing crunch.
Even though the solo on "I Want to Break Free" sounds like synthy Korg vomit, it IS unique and it works with the 1984-ish future-apocalyptic "Works" theme. A late bloomer in my regards, I would say.
Those major-scale runs before the fade-out on "A Kind of Magic" (the song) are sublime. Bri is really flying here!
"The Invisible Man" solo features some CRAZY fast and VERY HIGH picking from Brian. Hard to play that and stay so articulate with the notes, but he pulls it off with gusto.
Great demented work carved up into pieces in the "I'm Going Slightly Mad" solo. A Franken-solo, one might say. :)
The tapping at the end of the "I Was Born to Love You" solo is always a little mind-blower of wizardry.
To sum it up -
Really, Bri has NEVER played a guitar solo that has been anything less than A) appropriate for the emotional content of the song, as in a natural melodic extension of the lyrics and B) technically virtuosic and masterful. I mean, look at "Don't Stop Me Now." Could Queen be stopped? NO! That song is an unbelievable freight train, a colossus of pop-inflected rock.
Honorable mention - the solos on "Somebody to Love" and "Sail Away Sweet Sister." In addition to the obvious winners: "Killer Queen" and "Bo Rhap."
Great thread!
P.S. Anyone else a sucker for that little descending guitar Brian added during the outro solo in the Rocks re-take of "I Can't Live With You?" (Listen for it ...)