Crazy Little Thing Called Love The Fairy Feller's Master Stroke
Fender Telecaster Electric Guitar
1: "Freddie's always been keen on Aretha Franklin and those sort of people. He's also spend a lot of time in New York nightclubs, and he became more and more influenced by material that had a real aggressive rhythm to it" - Brian May (interviewed by Steve Gett at the end of the 'Hot Space' tour in UK). |
During early 80s, Freddie's (and Queen's, by extension) approach to music changed for many different reasons: 'The Game' had given them two mega-hits, both of which were minimalist, and the band was tempted to try going into that direction. Moreover, they had a new producer, and available technology allowed recordings to rely more on synths and machines. By the time Mercury wrote this one, he had become a regular of various gay clubs in New York, and much of his music in that period reflected influences from his life-style, and the genres associated with it. Examples of that are Body Language and his solo album 'Mr. Bad Guy'. Staying Power is often target of mordacious criticism by most of the Queen fandom. With its strong use of drum-machines and synth-bass (Roger only does some overdubs and John plays a funky rhythm guitar instead of bass), its lack of actual guitar solo, repetitive rhythmic pattern and guest musicians playing horns, this song seemed to commit every possible "crime" for the public. For that reason, the vast majority of listeners fail to realize the careful way how this song was built, the various interesting aspects regarding its harmony, arrangement and above all, its form, and the clever work behind the extremely underrated collaboration Freddie had here with producer Arif Mardin. Music
& Lyrics by: Freddie Mercury Produced
by: Queen, Reinhold Mack & Arif Mardin Recorded:
Between September 1981 and March 1982
Key: D Mixolydian Electronic
Drums: Roger Taylor Lead
Vocals: Freddie Mercury
Born in Istanbul and spending most of his life in New York, Arif Mardin (March 15th 1932 - June 25th 2006) had studied music at Berklee and been a professor there too, and by the time Freddie contacted him to arrange and produce a brass section for Staying Power, he'd already been famous for working with several of Freddie's heroes, including the Bee Gees and Aretha Franklin. That's, most likely, what urged Freddie to seek him (1). Reportedly, it was Peter Freestone (Freddie's PA) who brought the tape to New York so Arif could add the horn section. Further information is yet unknown to the public, unfortunately.
Besides the verse and break, which are pretty complex in terms of harmony, the song revolves around ostinato riffs (played at guitar or synth-bass). The structure is surprisingly detailed, proving that disco music is much more than drum loops and monotone grooves.
Although the tonal center is D from beginning to end, the mode seems to move around between Mixolydian, Dorian, Ionian and Aeolian. Chords included are D, Dm, E, F, G, A, Bb, Bdim and C. |
