Chords for Queen: The Making of "I'm In Love With My Car"
Tempo:
75.325 bpm
Chords used:
D
G
C
E
Em
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E]
[G] [D] [C]
[A] [Em]
[A] [D] [C]
I [E] [Em] had never [G] really heard a band in its entirety quite like that.
You know, you heard bands of different cuts with different people, but not as [Am] varied as this.
And it probably reflected the fact that they all did write, and they all did have something
to do with the producing of the record, the production of the record.
It reminds me a lot of the Beatles, that you had this kind of four equal people, and at
the same time they had these influences that extended way beyond the kind of the blues
background that was sort of the usual influence of bands at that time.
It was slightly different from your average rock song, because it's basically in 6-8 time,
which is basically [G] waltz time.
It's a great time signature to play in.
It [D] rolls, it has a certain unstoppable rolling quality.
[C] [E]
I [E] [G] made a sort of very rough demo of it, and I remember turning around to Brian and I said,
what do you think of that?
He looked at me and he said, you are joking, aren't you?
You are joking.
And I said, no, don't worry, I'm deadly serious.
It's about a car, and somebody who's in love with it.
He'd tell you it was written about someone else, but we know the truth, don't we, Rog?
And I mean, Rogie was always into fast things, fast cars, etc.,
etc.
It's very [Ab] tuneful, but of course the vocal is the thing, the vocal is the song, and that's
[A] a very memorable piece of [D] writing there.
[C] [Em]
[G] It's [D]
[C] [Em]
[G] [D]
[C] [D]
just so excessive, the way the vocals are all treated, and things going [Abm] off backwards,
and God knows how much overdubbing and multitracking on it.
I've always been in love with producers who don't know when to stop, and I think Roy Thomas
Baker is very, very good at knowing how to go too far, but just enough too far.
And I think he at this point is coming into his own just the way the band did.
They were very much in tune with each other at that point.
There was no one writer, yet there was one queen sound.
And you could hear all the difference in the song, but you could hear with the vocal sounds,
and the guitar sounds, and the drum sounds, etc.,
which is one of the things which is
important to me, is to make sure that when people hear a song for the first time, even
if they don't know who it is, on the radio, they
[G] [D] [C]
[A] [Em]
[A] [D] [C]
I [E] [Em] had never [G] really heard a band in its entirety quite like that.
You know, you heard bands of different cuts with different people, but not as [Am] varied as this.
And it probably reflected the fact that they all did write, and they all did have something
to do with the producing of the record, the production of the record.
It reminds me a lot of the Beatles, that you had this kind of four equal people, and at
the same time they had these influences that extended way beyond the kind of the blues
background that was sort of the usual influence of bands at that time.
It was slightly different from your average rock song, because it's basically in 6-8 time,
which is basically [G] waltz time.
It's a great time signature to play in.
It [D] rolls, it has a certain unstoppable rolling quality.
[C] [E]
I [E] [G] made a sort of very rough demo of it, and I remember turning around to Brian and I said,
what do you think of that?
He looked at me and he said, you are joking, aren't you?
You are joking.
And I said, no, don't worry, I'm deadly serious.
It's about a car, and somebody who's in love with it.
He'd tell you it was written about someone else, but we know the truth, don't we, Rog?
And I mean, Rogie was always into fast things, fast cars, etc.,
etc.
It's very [Ab] tuneful, but of course the vocal is the thing, the vocal is the song, and that's
[A] a very memorable piece of [D] writing there.
[C] [Em]
[G] It's [D]
[C] [Em]
[G] [D]
[C] [D]
just so excessive, the way the vocals are all treated, and things going [Abm] off backwards,
and God knows how much overdubbing and multitracking on it.
I've always been in love with producers who don't know when to stop, and I think Roy Thomas
Baker is very, very good at knowing how to go too far, but just enough too far.
And I think he at this point is coming into his own just the way the band did.
They were very much in tune with each other at that point.
There was no one writer, yet there was one queen sound.
And you could hear all the difference in the song, but you could hear with the vocal sounds,
and the guitar sounds, and the drum sounds, etc.,
which is one of the things which is
important to me, is to make sure that when people hear a song for the first time, even
if they don't know who it is, on the radio, they
Key:
D
G
C
E
Em
D
G
C
_ _ _ _ _ _ _ _
_ _ _ _ [E] _ _ _ _
_ [G] _ _ _ [D] _ _ _ [C] _
_ _ _ [A] _ _ [Em] _ _ _
_ [A] _ _ [D] _ _ _ [C] _
I [E] _ [Em] had never [G] really heard a band in its entirety quite like that.
You know, you heard bands of different cuts with different people, but not as [Am] varied as this.
And it probably reflected the fact that they all did write, and they all did have something
to do with the producing of the record, the production of the record.
It reminds me a lot of the Beatles, that you had this kind of four equal people, and at
the same time they had these influences that extended way beyond the kind of the blues
background that was sort of the usual influence of bands at that time.
It was slightly different from your average rock song, because it's basically in 6-8 time,
which is basically [G] waltz time.
It's a _ great _ _ _ _ _ _ time signature to play in.
It [D] rolls, it has a certain unstoppable rolling quality. _
_ _ _ [C] _ _ _ _ [E]
I [E] _ _ [G] made a sort of very rough demo of it, and I remember turning around to Brian and I said,
what do you think of that?
He looked at me and he said, you are joking, aren't you?
You are joking.
And I said, no, don't worry, I'm deadly serious.
It's about a car, and _ somebody who's in love with it.
He'd tell you it was written about someone else, but we know the truth, don't we, Rog?
And I mean, Rogie was always into fast things, fast cars, etc.,
etc.
It's very [Ab] tuneful, but of course the vocal is the thing, the vocal is the song, and that's
[A] a very memorable piece of [D] writing there. _ _ _ _
_ [C] _ _ _ _ _ _ [Em] _
_ _ [G] It's _ _ [D] _ _
_ [C] _ _ _ _ _ _ [Em] _
_ _ _ [G] _ _ _ [D] _ _
_ [C] _ _ _ _ _ _ [D] _
_ _ _ _ just so excessive, the way the vocals are all treated, and things going [Abm] off backwards,
and God knows how much overdubbing and multitracking on it.
I've always been in love with producers who don't know when to stop, and I think Roy Thomas
Baker is very, very good at knowing how to go too far, but just enough too far.
And I think he at this point is coming into his own just the way the band did.
They were very much in tune with each other at that point.
There was no one writer, yet there was one queen sound.
And you could hear all the difference in the song, but you could hear with the vocal sounds,
and the guitar sounds, and the drum sounds, etc.,
which is one of the things which is
important to me, is to make sure that when people hear a song for the first time, even
if they don't know who it is, on the radio, they
_ _ _ _ [E] _ _ _ _
_ [G] _ _ _ [D] _ _ _ [C] _
_ _ _ [A] _ _ [Em] _ _ _
_ [A] _ _ [D] _ _ _ [C] _
I [E] _ [Em] had never [G] really heard a band in its entirety quite like that.
You know, you heard bands of different cuts with different people, but not as [Am] varied as this.
And it probably reflected the fact that they all did write, and they all did have something
to do with the producing of the record, the production of the record.
It reminds me a lot of the Beatles, that you had this kind of four equal people, and at
the same time they had these influences that extended way beyond the kind of the blues
background that was sort of the usual influence of bands at that time.
It was slightly different from your average rock song, because it's basically in 6-8 time,
which is basically [G] waltz time.
It's a _ great _ _ _ _ _ _ time signature to play in.
It [D] rolls, it has a certain unstoppable rolling quality. _
_ _ _ [C] _ _ _ _ [E]
I [E] _ _ [G] made a sort of very rough demo of it, and I remember turning around to Brian and I said,
what do you think of that?
He looked at me and he said, you are joking, aren't you?
You are joking.
And I said, no, don't worry, I'm deadly serious.
It's about a car, and _ somebody who's in love with it.
He'd tell you it was written about someone else, but we know the truth, don't we, Rog?
And I mean, Rogie was always into fast things, fast cars, etc.,
etc.
It's very [Ab] tuneful, but of course the vocal is the thing, the vocal is the song, and that's
[A] a very memorable piece of [D] writing there. _ _ _ _
_ [C] _ _ _ _ _ _ [Em] _
_ _ [G] It's _ _ [D] _ _
_ [C] _ _ _ _ _ _ [Em] _
_ _ _ [G] _ _ _ [D] _ _
_ [C] _ _ _ _ _ _ [D] _
_ _ _ _ just so excessive, the way the vocals are all treated, and things going [Abm] off backwards,
and God knows how much overdubbing and multitracking on it.
I've always been in love with producers who don't know when to stop, and I think Roy Thomas
Baker is very, very good at knowing how to go too far, but just enough too far.
And I think he at this point is coming into his own just the way the band did.
They were very much in tune with each other at that point.
There was no one writer, yet there was one queen sound.
And you could hear all the difference in the song, but you could hear with the vocal sounds,
and the guitar sounds, and the drum sounds, etc.,
which is one of the things which is
important to me, is to make sure that when people hear a song for the first time, even
if they don't know who it is, on the radio, they