Brian May’s 10 Best Solos
By Sergio Ariza
There are many guitarists
with unique guitars created for them but there are far fewer who built those
guitars themselves (aided by their father) long before they came to fame. It is
also not very common to use a sixpenny coin as a plectrum and the list is
reduced to a minimum if we are talking about guitarists capable of
understanding what a black hole is or talking about ‘radial velocity in the
zodiacal dust cloud’. But Brian
May and his Red Special are two unique specimens made for each other,
with one of the most special relationships in rock history. Here are ten of his
most memorable moments (although in the end we added one of the few occasions
in which May used a different guitar)
Keep
Yourself Alive (1973)
Keep Yourself Alive is the jewel in the crown
and the best song from Queen’s debut, and the first of many wonders to come. Two things stand out from the
rest, the sound of the guitar crafted by Brian May, the legendary Red Special,
and the incredible voice of Freddie
Mercury. On these two pillars (whose leaders shared the compositional credits)
the group was built, doubling them as many times as it took (both in the riff
and solo) until you get their special sound. You can tell that it took two
years to record this album because May has a tone entirely of his own and
sounds unique from the very beginning.
Killer
Queen (1974)
Killer Queen was the song that made
them stars and proves that Freddie Mercury was running ahead of the entire rock
world. It is a great song with cabaret airs (it is not surprising that years
later, in his tribute concert, the one in charge of closing it was the actress
and singer, Liza Minnelli) and very representative
of the group, again with those multiple voices. It is proof that Brian May can
also shine in other areas outside of hard rock. His magnificent solo, in three
parts, was recorded after everything else had been recorded, since the
guitarist was sick with hepatitis. Mercury left room for it while it was being
recorded and was not disappointed; not in vain it is one of May's own favourite
solos.
Brighton
Rock (1974)
The song that opened Sheer Heart Attack it's a killer song
courtesy of May and contains some of his best moments on the Red Special (and
that's saying something). Long before there was the Eruption by Van
Halen this was the 'shred' solo par excellence, with the guitarist using
his entire arsenal of tricks, full of echoe and 'delay'; resulting in what may
be considered the quintessence of his style. Few people know that May besides
being one of the best guitarists of all time, is an astrophysicist. The title
of his thesis: A survey of radial
velocities in the zodiacal dust cloud, is just what comes to my mind when I
hear this incredible solo.
Now I'm
Here (1974)
Now I'm Here is the perfect close for
the first side of Sheer Heart Attack,
proving that Queen could still tear down walls by playing pure rock. One of the
best riffs of May's career and an explosive interpretation by Mercury make this
one of the best examples of how they could sound live without the studio
effects. Simple and to the point, with a nod to the father of rock, Chuck
Berry in May's solo and in that "Go
go go little queenie". It is also a tribute to their joint tour with Mott The Hoople in early '74 ("Down in the city, just Hoople and me"),
one of the great moments in the history of Glam Rock.
Bohemian
Rhapsody (1975)
The best known song (also
the best) in the history of Queen is a personal work by Freddie Mercury who
composed all its parts, including the riff of the rock segment. But Mercury had
not planned a single guitar solo until May told him that he needed one to make
the transition to the operatic part better. He was not wrong and his
contribution was perfect for the great song of his friend, making his own very
expressive melody, which frequently appears in the listings of 'the best solos
in the history of rock'.
Tie
Your Mother Down (1976)
May has never denied his
absolute adoration for Rory
Gallagher but the influence of the Irishman was not noticeable
in his personal style. That is until in 1976, for the fifth album of the band, A Day At The Races, the guitarist decided
to rescue this song he had written in 1968 under the enormous influence of the
magician of the Stratocaster. The tone and sound are once again entirely his
own (the Red Special is as distinctive as a fingerprint) but it is impossible
not to think of Gallagher when May throws himself wholeheartedly with the slide
into one of his most direct and powerful songs, which became one of the staples
of his live repertoire. The use of the Vox AC30 and the Dallas-Arbiter
Rangemaster are further proof of the great mark left by Gallagher on May.
We Will
Rock You (1977)
One of the simplest and
most effective songs in history. May wanted to give the audience something easy
to chant and he succeeded, putting on a tray another song for the brilliance of
the incredible voice of Mercury. But the final icing on the cake is his guitar.
This one begins with huge force, and Brian May knows exactly how to build it
with the feedback at the beginning, which, when it explodes, is like an
elephant entering a china shop. It's also dangerous; I remember being a
teenager and destroying the lamp in my brother's room while trying to recreate Pete
Townshend's windmill while listening to this song...
It's
Late (1977)
Another one of the great
songs written by May, It's Late is
the longest song on News Of The World, another
work in three acts in which the guitarist shines with an example of 'tapping',
a few months before the first Van Halen album appeared. But May did not invent
this technique (that Eddie would finish perfecting) - he took it from a Texan
guitarist who told him that, in turn, he had copied it from Billy
Gibbons.
Don't
Stop Me Now (1978)
Another Mercury song and
one of the Jazz singles. The song is
Mercury on the piano, accompanied only by John
Deacon and Roger Taylor, in
addition to the characteristic famous vocal harmonies. May does not make his
appearance until two minutes and 20 seconds but leaves his mark with a short
but brilliant solo. In addition, all those who have seen Shaun Of The Dead know that it is the perfect song to give a
beating to a zombie.
Crazy
Little Thing Called Love (1980)
Crazy Little Thing Called Love by Freddie Mercury was a
mix of tribute and parody to Elvis
Presley. Composed in 10 minutes, using an acoustic guitar, it was the first
time that Mercury recorded a guitar on a Queen song, with the chosen one being
a Martin D-18. If this was the homage of Freddie to Elvis, then it is logical
that May put on the Scotty
Moore costume and winked at the rockabilly greats; demonstrating his
versatility again. Of course, for this occasion he puts down his Red Special
and uses a 1967 Fender Telecaster that was owned by Taylor.