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BRIAN HAROLD MAY As Composer
Dr. May was a very prolific songwriter since the beginning, being responsible for 31.68% of the band's songs (approximately 3 1/2 per album). Mostly he wrote both music and lyrics, occasionally collaborating with Roger (Machines, One Vision, Thank God It's Christmas) and Freddie (Bijou, Hangman, Mother Love, Is This the World). Some general features of his songwriting include: - Disorienting Rhythms: In some sections it's sometimes hard to pick-up where the first beat is (e.g. Sleeping on the Sidewalk, Save Me, Flash's Theme, Prophet's Song, Fat Bottomed Girls). Brian's eclectic upbringing (which included jazz bands) was fundamental for this. - Attention to Detail: For instance, in the alternate endings for the same sections (Prophet's Song, Show Must Go On, Save Me), or the clever way to expand intros later on (Leaving Home Ain't Easy, One Vision, All Dead All Dead, Keep Yourself Alive...). - Modulations: Brian liked to spice up the sound adding some nice key-changes, as it's noticeable in Keep Yourself Alive and Prophet's Song. When he didn't simply shift the key (Save Me), he usually switched between relatives (e.g. Sail Away Sweet Sister, All Dead) or parallels (Scandal, Teo Torriatte). - Phrasing: Often square and straightforward, which contributed to the catchiness of his work. There are several exceptions of course (Flash, for instance). - Pedal Bass: Chord-changes with the bass staying in one note (generally the root of the tonic). Examples abound: Keep Yourself Alive, Las Palabras de Amor, Is this the World We Created...
Brian has commented that he usually wrote the songs in his head, then going to piano and finally guitar, in order to make the latter be fresher. In most cases, he was in charge of arranging his own material, often coming up himself with all the parts for bass, drums, vocals and keyboards. Although not a bassists, drummer or pianist, he did create some very interesting parts for those instruments (e.g. Sweet Lady, Show Must Go On, All Dead All Dead). It's possible that his "outsider" perspective helped him out for that (remember that 'Aranjuez' was composed by a pianist, not a guitarist), as well as feeding his versatile nature: listening to Good Company, one could almost swear he was an expert in vaudeville-like songs; or listening to '39 you would think he'd got vast experience in skiffle; or listening to Dreamer's Ball (blues), Dancer (funk), Prophet's Song (progressive), Dead On Time (metal), etc. An interesting side of his catalog is the handful of epics he wrote in what we could call "progressive rock". They employed one unifying formula: after a "normal" start, the interlude became longer, deviating from the main theme, but suddenly it all came back to "the same". Such structure was used in Son and Daughter (long solo, but then back to the chorus), Father to Son (long acyclic interlude, then back to the chorus), Now I'm Here, Brighton Rock, Prophet's Song and for lesser extent White Man and It's Late. From 'Jazz' onwards Brian became notably simpler in his forms, usually penning at least one power ballad and one rock song per album: Las Palabras de Amor / Put Out the Fire, Is this the World / Tear It Up, Who Wants to Live Forever / Gimme the Prize, Show Must Go On / Headlong. He was often in charge of reminding the public about the old Queen, which is reflected on songs like I Want It All and his solo career. |
