Universally venerated for his lavish guitar orchestrations and tasteful British restraint, Brian May kicked over the traces on this high energy rocker that leads off Queen’s third album, Sheer Heart Attack. One of May’s most blues-based excursions ever, the song’s extended solo section grew out of the guitarist’s experiments with an Echoplex tape delay unit. His original goal was to reproduce his multi-part guitar harmonies live on stage with Queen, back in the days before harmonizers were invented.
“I started messing around with the Echoplex, the delay that was available at the time,” May recalls. “I turned up the regeneration until it was giving me multiple repeats. I discovered you could do a lot with this—you could set up rhythms and play against them, or you could play a line and then play a harmony to it. But I decided that the delay [times] I wanted weren’t available on the Echoplex. So I modified it and made a new rail, which meant I could slide the head along and make the delay any length I wanted, because the physical distance between the two heads is what gave you the delay. Eventually, I had two home-adapted Echoplexes. And I discovered that if you put each echo through its own amp, you wouldn’t have any nasty interference between the two signals. Each amp would be like a full-blown, sustaining, overdriven guitar which didn’t have anything to do with the other one.
“So, ‘Brighton Rock’ was the first time that got onto a record. I’d already been trying it live on stage in the middle of ‘Son and Daughter’ [from Queen’s self-titled ’73 debut album], when Queen first toured with Mott the Hoople. It was rather crude at first. But I certainly had a lot of fun with it.”