TempoPeek

The Clash · London Calling

Wrong ’Em Boyo

Wrong ’Em Boyo is in C major at 148.4 beats per minute.

4080120160200

Tempo

148 BPM · Allegromedian of 137 analyses · 147.3–148.5 across the middle eight tenths
Key
C majorno sharps and no flats · the key most of the analyses agreed on
Agreement
93%share of analyses that agreed
Analyses
137people who ran the extractor
One beat
404.3milliseconds, 60,000 ÷ BPM
Tuning
436.5Hz · -14 cents from A 440
Dynamics
3.07dB the level wanders from its average
Loudness
0.946Essentia's 0–1 scale, not dB
Danceability
1.287Essentia's danceability, 0–3

Source: AcousticBrainz, dump of 2022-06-23 (CC0) · MusicBrainz core data, 2026-09-17 (CC0) · how each number is measured. Measured up to 23.06.2022 — AcousticBrainz stopped collecting in 2022, so nothing released after that date is here.

What the numbers say

137 independent analyses of this recording were submitted to AcousticBrainz. Most of them — 93% — put it in C major, a key signature of no sharps and no flats. The tempo printed above is the median of the 137 readings; 100% of them land within 2% of it, and the middle eight tenths of them run from 147.3 to 148.5 BPM.

At 148.4 BPM one beat lasts 404.3 milliseconds, so a sixteenth note is 101.1 ms and a dotted eighth 303.2 ms — the delay times for this recording. Counted half as fast it is 74.2 BPM, counted twice as fast 296.8. A score would mark that Allegro, by the ranges this site uses.

The analyses put the reference pitch of the recording at 436.5 Hz, which is 14 cents below concert A at 440 Hz — the sort of drift a tape machine or a slightly different mastering leaves behind. That is a fact about this transfer of the music, not about how it was played.

The dynamic complexity of the recording measures 3.07 dB: that is how far the level wanders from its own average, so a small number means a loud, flat master and a large one means a recording that still breathes. Its average loudness is 0.946 on Essentia's 0-to-1 scale, which is not decibels and is not comparable to a streaming service's number.

10 other recordings here are in C major; the ones listed below are the closest in tempo.

Beats per bar are not in this dataset. AcousticBrainz's analysis reports a tempo, a key and a loudness, and no time signature at all, so this page does not print one — a 4/4 here would be a guess dressed as a measurement.

Keys that fit with C major

Each of these differs from C major by at most one accidental, or shares its tonic. That is the whole of what a mixing wheel encodes; here the relations are named instead of numbered.

Delay times at 148 BPM

Note valueBeatsMillisecondsHertz
Whole note41617.30.62
Half note2808.61.24
Dotted quarter1.5606.51.65
Quarter note (one beat)1404.32.47
Quarter triplet0.667269.53.71
Dotted eighth0.75303.23.3
Eighth note0.5202.24.95
Eighth triplet0.333134.87.42
Dotted sixteenth0.375151.66.6
Sixteenth note0.25101.19.89
Sixteenth triplet0.16767.414.84
Thirty-second note0.12550.519.79

Half time 74.2 BPM · double time 296.8 BPM. Every row is one beat (404.3 ms) times the fraction in the second column.

Closest in key and tempo

  1. Lean On MeBill WithersC major148BPM
  2. A Whiter Shade of PaleProcol HarumC major149BPM
  3. My Love, My LifeABBAC major149BPM
  4. Bye Bye JohnnyChuck BerryC major148BPM
  5. Fat Old SunPink FloydC major148BPM
  6. All the Small Thingsblink‐182C major148BPM
  7. My SharonaThe KnackC major148BPM
  8. Be Good to YourselfJourneyC major149BPM
  9. Unsuspecting Sunday AfternoonBackstreet BoysC major148BPM
  10. I Looked at YouThe DoorsC major148BPM

Recordings in C major, ordered by how near their tempo is to 148 BPM. A calculation, not a recommendation.

All songs in C majorAll songs at 148 BPMC major at 140–149 BPMThe Clash

MusicBrainz collapses 16 recording ids into this one. Recording id c0b50456-428c-4709-8cbc-44115ac2f014.