![]() I’m In Love With My Car (A Night At The Opera, 1975) It was one of the best gigs I’ve ever seen."Ĥ4. "Although Freddie camped it up, and much of their material was delicate, when Queen rocked out they easily rivalled Zeppelin, Sabbath and Purple. “It’s a song that I think they opened with when I saw them circa the Sheer Heart Attack album," Porcupine Tree's Richard Barbieri told us. The raucous hard rock of Now I’m Here made it a great live favourite. “Where I’d been wrestling with it before without getting anywhere.” “It came out quite easily,” said the guitarist. Lyrically, it reflected the disconnect between touring the US with Mott The Hoople and his living in a pokey bedsit in West London with his girlfriend. Written by May while he was laid up in hospital after returning from America – understandably keen to rejoin his bandmates who had started work on their next album without him – work began on this track while May was convalescing. Now I’m Here was built around one of Brian May’s greatest riffs, and for such a kick-ass song, it was a surprisingly big hit, reaching number 11 on the UK chart. Now I'm Here (Sheer Heart Attack, 1974)Īfter a first major hit with a pop song, Killer Queen, the follow-up single was a reaffirmation of the band’s heavy rock credentials. So that really impressed me – not to mention the music – but, how the fuck did they do it?”Ĥ5. "If you listen to how dense Bicycle Race is, it sounds more dense, more deep, more rich than these ProTools systems that you can record 96 fucking tracks on. “That Queen record Jazz had some weird shit on it," Mike Patton told us in 2006. Which, of course, is probably exactly what Queen wanted in the first place. ![]() The inspiration for the video, featuring dozens of naked women riding cycles around Wimbledon Stadium was equally clear, and predictably resulted in its being banned in a number of countries. Having decamped to Switzerland to work on Jazz, this song's inspiration was found from the Tour de France 1978 passing through Montreux, the location of Queen's favoured Mountain Studios. Musically, it's a pretty good representation of the album that housed it: bonkers, scattershot, but above all, genius. The song itself is a thrilling ride, with references to cocaine, Star Wars, Watergate and John Wayne, and a solo played on bicycle bells. Freddie Mercury’s nimble whip though this hard rock tongue-twister presents Queen at their most ludicrously camp. ![]()
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