Sebastian 21.12.2013 08:58 |
Spring 1980: Freddie records It's a Beautiful Day at Musicland Studios in Munich. Engineered by Mack. Piano used was a Yamaha C-7B. 2nd September 1983: There's a jam session between Queen and guest celebrities Jim Cregan, Carmine Appice, Rod Stewart and Jeff Beck. The result is a fragment of a song then titled A Little Piece of My Heart. Location: Record Plant in LA. Engineered by Mack and Andrew Bradfield. A Yamaha C7 piano is played (though not the same as the one Freddie played in Munich). May 1984: Freddie records piano, synths and vocals for Made in Heaven and I Was Born to Love You. Sessions produced by Freddie, co-produced and engineered by Mack, assistant engineer Stephan Wissnet. Equipment: Yamaha C-7B piano, various synths (chiefly Oberheim OB-Xa and Roland Jupiter 8). May 1987: The Cross record Heaven for Everyone at Mediterraneo Studios in Ibiza. Freddie pops in for a visit and asks them to let him sing it. David Richards co-produced and engineered. 1988: Queen record My Life Has Been Saved, with David Richards as co-producer, engineer and guest keyboardist (uncredited). John (who wrote the song) was absent in March, July, August, October and December, so we can rule out those months. July 1988: During a break from the recording sessions, Brian co-writes and demoes Too Much Love Will Kill You in LA. The song would be completed with the rest of the band later in the year (and possibly also in early 1989). David Richards as co-producer and engineer. Venues could be in London or in Montreux, or both. January 1991: Preliminary work on You Don't Fool Me and A Winter's Tale at Mountain Studios in Montreux. 10th May 1991: Freddie's vocal track on A Winter's Tale is compiled. He didn't record any other vocal for that song after that. 13th May 1991: Work begins on Mother Love: various vocal bits from Freddie and Brian, keyboards (either one could've played them, on a Korg M-1), guitar (Brian on the original BHM) and a drum-machine generated on either a Linn 9000 or a Korg M-1. 16th May 1991: More work on Mother Love: another keyboard (Korg M1), some more guitar, and John's bass (presumably a Fender Precision). 22nd May 1991: Rough mix of Mother Love. 13th October 1993: Work on Mother Love recommences at Metropolis Studios in London. Brian's not involved (that day he was playing a solo concert in America), which means that whatever was done on it was by Roger and/or John. What exactly? No idea. Also around those days, John and Roger officially begin working on the posthumous project, sometimes at Metropolis and sometimes at Roger's house in Surrey. 25th February 1994: End of the first 'batch' of recordings for the 'Made in Heaven' project. Up until this point, Brian's not involved at all. Roger and John take a break as the former devotes to his solo career and a planned album with Yoshiki (of which only two tracks have been released so far, one incorporated to Roger's album and the other as a bonus track). March to June 1994: Brian joins the project, and coincidentally, John goes on holiday. Summer 1994: Brian works on the posthumous album on his own, at his home studio. Roger and John not involved in those sessions. Engineer and co-producer: Justin Shirley-Smith. Autumn 1994: The three of them go to Metropolis in London to work together, but they soon split up and John goes on holiday, Roger goes on a solo tour and Brian goes home to work by himself on the tapes, especially the songs Fred'd made on his solo album a decade earlier. Winter 1994: The three of them work at Brian's studio. Spring 1995: Separate sessions: Brian works from home, with Justin Shirley-Smith engineering and co-producing, Roger and John work at Roger's mill, with Josh Macrae engineering and co-producing. Summer 1995: The three of them work together on tying the loose ends. Venue switches between Brian's home, Roger's home and Metropolis. David Richards makes the mixes at Metropolis. Late September 1995: 'Made in Heaven' finished and mixed. |
Jazz 78 21.12.2013 10:12 |
Thank you very much! This was an EXCELLENT read!!!!! |
The Real Wizard 21.12.2013 10:38 |
Excellent detective work, Seb. |
Hangman_96 21.12.2013 10:44 |
It's such an interesting thing to read. Thank you very much for putting it together! |
rocknrolllover 21.12.2013 10:55 |
Great work . Thank you. |
Thistle 21.12.2013 10:56 |
What happened to "YEAH"? When was that recorded? Where? Seriously though, good stuff Sebastien. |
CERATOPHRYS 21.12.2013 10:59 |
Thank you very much Sebastian!! |
The Real Wizard 21.12.2013 11:09 |
Thistleboy1980 wrote: What happened to "YEAH"? When was that recorded? Where? Seriously though, good stuff Sebastien.I think it's from Don't Try Suicide .. ? |
Chief Mouse 21.12.2013 11:14 |
Thanks for this :-) Was a nice read. |
Thistle 21.12.2013 11:15 |
The Real Wizard wrote:I was trying to be a goon, but you've actually just taught me something as I really didn't know that. It's been so long since I listened to DTS that I didn't link them :)Thistleboy1980 wrote: What happened to "YEAH"? When was that recorded? Where? Seriously though, good stuff Sebastien.I think it's from Don't Try Suicide .. ? |
Chief Mouse 21.12.2013 11:18 |
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Chief Mouse 21.12.2013 11:20 |
Thistleboy1980 wrote: What happened to "YEAH"? When was that recorded? Where? Seriously though, good stuff Sebastien. https://soundcloud.com/chiefmouse/yeahs Don't Try Suicide. To me sounds like processed though. |
pittrek 21.12.2013 11:21 |
Nice work Seb |
12yrslouetta 21.12.2013 11:45 |
Very good. Couple of things that i have read over time is that John and Roger started work on the album, and Brian (following the ultimatum they gave him), after hearing what they had done thought it was so so bad that he would have to start it all again and do it himself. And it was he who produced and constructed the entire album with Roger and John playing their bits. |
cmsdrums 21.12.2013 11:55 |
I would love to hear any of the work that Roger and John had doge before Brian started again. It would be interesting to see which direction they were heading, and how different it may have sounded. Do we know if Roger and John initially looked to use any other Freddie solo tracks, or was it only ever Made In Heaven and I Was Born To Love You? |
musicland munich 21.12.2013 14:18 |
Nice work ! btw...David Richards mentioned in a Rolling Stone(1995) interview that "Too much love will kill you" is the only analouge recording on "MIH" |
Mr.QueenFan 21.12.2013 14:57 |
The Real Wizard wrote:I always thought it was from "Action this day", but now i don't know. They're very similar.Thistleboy1980 wrote: What happened to "YEAH"? When was that recorded? Where? Seriously though, good stuff Sebastien.I think it's from Don't Try Suicide .. ? Yeah, link Action This day, 1:55m link Don't try suicide, 0:05 secs link This is a great post by Sebastian. I still have some questions/doubts regarding the sessions for "Mother Love" and a "Winters tale", but i'll use the other thread where that information was given. Great work Sebastian. |
Jazz 78 21.12.2013 15:16 |
To me it sounds very close as to which "yeah" was used but I'm going with Action This Day. It's spot on! |
Sebastian 21.12.2013 15:19 |
musicland munich wrote: btw...David Richards mentioned in a Rolling Stone(1995) interview that "Too much love will kill you" is the only analouge recording on "MIH"To be precise: the only COMPLETELY analogue recording. Obviously the vocals and piano on IABD, MIH, IWBTLY and LML were analogue recordings, but they all received 1993-1995 digital overdubs (drums, guitars, bass, keyboards and backing vocals), while TMLWKY was left intact. The 1995 version is exactly the same as the 1988-1989 one that was supposed to go on 'The Miracle': not a single voice or instrument was overdubbed. |
cmsdrums 21.12.2013 15:49 |
Sebastian wrote:That's interesting Sebastian - I'd never downloaded the original 'The Miracle' version from any source, and wondered what the differences would be. I don't know if this is subliminal after-the-event thinking, but the drums and bass always seemed to me to carry that analogue 'warmth' and 'depth' which was missing from the other tracks. I'm surprised they didn't redo it, but glad they didn't.musicland munich wrote: btw...David Richards mentioned in a Rolling Stone(1995) interview that "Too much love will kill you" is the only analouge recording on "MIH"To be precise: the only COMPLETELY analogue recording. Obviously the vocals and piano on IABD, MIH, IWBTLY and LML were analogue recordings, but they all received 1993-1995 digital overdubs (drums, guitars, bass, keyboards and backing vocals), while TMLWKY was left intact. The 1995 version is exactly the same as the 1988-1989 one that was supposed to go on 'The Miracle': not a single voice or instrument was overdubbed. |
The Real Wizard 21.12.2013 17:50 |
cmsdrums wrote: I'd never downloaded the original 'The Miracle' version from any source, and wondered what the differences would be.As far as I know it's the exact same version. |
Sebastian 21.12.2013 17:53 |
cmsdrums wrote: I'm surprised they didn't redo it, but glad they didn't.They didn't need to, as it was perfect as it was. Great choice, IMO. |
Saint Jiub 21.12.2013 21:50 |
I thought I heard it officially confirmed at least ten years ago that "Yeah" was sampled from Action This Day. However, time plays tricks on a doddering old man, and I could be wrong. Perhaps I have mp3 ears (and hear what I want to hear), but it seems to me the sample is from Action This Day. To me, the "yeah" from Don't Try Suicide seems to have a slight vocal vibrato, whereas the "yeah" from Action This Day is smooth and "breathie" but has no vibrato. Can anyone with better ears confirm from where "yeah" was sampled? |
Bohardy 22.12.2013 04:48 |
I've always understood that Yeah came from ATD. Whether that was officially confirmed or not, I can't remember. But I always thought that it had been conclusively confirmed, one way or another. I'm intrigued to hear Seb say that TMLWKY survives intact from the The Miracle sessions. Clearly it's not the same as the 2 minute demo that we have from then (I know that this doesn't negate the fact that it might be identical to the finished version). Certainly the arrangement is different and Fred's vocals are from a different take in places, or at least have been very heavily cleaned up and edited. I would always have assumed that it was worked on post-Fred. Seb - do you have any quotes or anything that confirm what you're saying? |
andyb1968 22.12.2013 06:33 |
Great read Sebastian, let's hope you're doing a timeline for MIH 2 soon. |
madmetaltom 22.12.2013 07:19 |
Very good read dude! |
DLCVinnuendo 22.12.2013 07:36 |
great post!! |
agrasso 22.12.2013 08:26 |
Sebastian wrote: 13th May 1991: Work begins on Mother Love: various vocal bits from Freddie and BrianI've always thought that Brian vocals in the final version were added later: the final verse because of course Freddie didn't have the chance to complete it, and the "I've had enough" bit because Freddie was not in tune and Brian sort of "corrected" it by adding his voice. But if you say for sure that Brian recorded vocal bits along with Freddie, I wonder what they are and if they are in the finished version. |
Sebastian 22.12.2013 08:30 |
andyb1968 wrote: Great read Sebastian, let's hope you're doing a timeline for MIH 2 soon.I highly doubt that'll happen any time soon. I prefer to focus on what they did up to and including 'Innuendo.' |
Wilki Amieva 22.12.2013 08:37 |
Good work, Sebastian. We should add some more on the Track 13, hehe. About the Too Much Love Will Kill You "demo": That excerpt comes from a 13-track preview cassette sent in late 1988 to executives at Capitol Records, which were quite inquisitive about Queen's next project. At that point, The Miracle didn't have a defined title nor a defined tracklist. This sampler tape contained just excerpts (between 1:00 and 2:00 in lenght) of work-in-progress versions, five of which are circulating amongst fans and collectors at least since 1994 (The Miracle, I Want It All, The Invisible Man, Scandal and Too Much Love Will Kill You). Then in early 1989, Queen sent to Capitol Records a new 11-track cassette with full-lenght rough mixes of the proposed The Miracle tracklisting. It contained a full version of Too Much Love Will Kill You, between I Want It All and The Invisible Man (see picture). That version, bar a minor remastering, is the same as the one presented in Made In Heaven. But hear it yourself: link Happy Xmas! |
jondickens1 22.12.2013 11:34 |
OMG,by that timescale,Made in Heaven 2 will be released in the year 2028. |
Sebastian 22.12.2013 12:15 |
Justin confirmed there were vocals by Brian on the 1991 sessions, as so does the Dr at the Exhibit in Switzerland (he's on screen talking about the song when you go to the control room to mix its stems). Brian's not Dr Memory but he probably spoke at a time they were revisiting the multi's, so he most likely had a good idea of what happened thanks to the tracksheets, which, according to Justin, included a track of 'Brian vocal' (or something to that effect). Now, whether that's the same one that's on the finished version or if it was replaced in the 1993-1995 era, that's a different matter, and I've absolutely no idea. |
ploughman 22.12.2013 14:52 |
Brian Vocal can also mean demo vocal? Maybe he did the whole song and demo sang on it? Then Freddie stared to do it and couldn't finish it. It doesn't make sense that Brian would have sang the final version of the final verse BEFORE Freddie died....? |
The Real Wizard 22.12.2013 15:14 |
Sebastian wrote: Now, whether that's the same one that's on the finished version or if it was replaced in the 1993-1995 era, that's a different matter, and I've absolutely no idea.I'd say it was a guide vocal for Mercury to get the idea of what he wanted. I can't see why Brian's final vocal would be from 1991. They weren't focused on finishing songs - they were keen on getting as many ideas onto tape as possible. Knowing Brian's sense of perfectionism, he likely wouldn't have spent the time doing take after take of a vocal when he could be tending to other things, like creating something else for Mercury to sing on. ^ my $0.02.. |
Sebastian 22.12.2013 23:07 |
ploughman wrote: Brian Vocal can also mean demo vocal?It means a vocal sung by Brian. It could be a demo, an alternative verse, an alternative melody, a later discarded backing vocal, a guide vocal, a duet idea, etc. ploughman wrote: Maybe he did the whole song and demo sang on it?Considering it's a collaboration, it'd make sense that each of them threw ideas around. Freddie wrote, judging by the manuscript, the first verse and then the 'lonely lane' line (but it seems that he wanted it for another verse), the rest of the lyrics were Brian's, so maybe the Doctor wanted to show Fred how he imagined the other bits could go. ploughman wrote: It doesn't make sense that Brian would have sang the final version of the final verse BEFORE Freddie died....?Why not? A lot of times musicians just do takes. Each take becomes a 'demo', an 'outtake' or part of the 'comp' as time progresses. If a first take is good enough, then it gets promoted from 'demo' to 'final version'. Ever heard 'Sleeping on the Sidewalk'? Sometimes things are just right on the first take, precisely because the pressure is off and the moment is captured better. I'm not saying by any means that it's a guaranteed 100% fact that the final verse was recorded in '91. I'm just entertaining the possibility that it could have been so. Justin, should he ever be nice enough to share info on the multi-track contents again, could clear it up once and for all, but right now all we can have is theories. IMO, the possibility of that last verse having been recorded in '91 is just as strong as it having been recorded later. The Real Wizard wrote: I'd say it was a guide vocal for Mercury to get the idea of what he wanted.We can't ever know until/unless the contents of those takes are ever revealed. Meanwhile, it's all about throwing hypotheses around. Yes, I agree with what you say and I think that's by far the most logical option, BUT that doesn't guarantee AT ALL that it's not the final version *as well*. You're a musician: haven't you ever kept a first take of anything because you realised that was it? The Real Wizard wrote: I can't see why Brian's final vocal would be from 1991.Brian's an excellent singer, he could've gotten it right the first time. I can't see why you can't see it. Whether that's what actually happened or not is mere speculation at this point, but whether that's possible is very much crystal clear in my book. I'm not talking about Freddie playing drums or Roger trying out a trumpet solo, I'm talking about a professional musician who, by 1991, had literally more than two decades of experience recording loads of backing vocals and also several lead ones, and guide ones, and who could've easily gotten it right back then; he could've also just as easily replaced it later on. Facts are: * Brian recorded vocals for 'Mother Love' in 1991. * The 1995 release has Brian singing the last verse. Does it mean the 1995 release has 1991 Brian singing the last verse? Maybe. Not necessarily. But the possibility that it does is just as strong as the possibility that it doesn't. People think of demos as LQ sloppy takes full of noise and sounding as if they were recorded through a telephone line, when in reality a lot of demos have the same sound quality as the final versions, and sometimes even better because they haven't been tampered with in terms of excessive compression and whatnot. Similarly, people think of guide vocals as sloppy takes full of stammering and where the singer gives five percent at best. Well, truth is, more often than not, guide vocals are sung with the same professionalism and under the same conditions as the 'final' ones. Again, a very common approach is that several takes are made and then the producer chooses which one is the 'final'. That one gets cleaned up and EQ'd and then mixed with the rest. There's nothing to suggest the last verse is definitely from 1991, just like there's nothing to suggest that it's not. The Real Wizard wrote: Knowing Brian's sense of perfectionism, he likely wouldn't have spent the time doing take after take of a vocal when he could be tending to other things, like creating something else for Mercury to sing on.Brian's sense of perfectionism didn't mean doing 'take after take'. As he' s said more than once, it was about capturing a moment. He didn't mind the few bass mistakes John made on the first take of 'Sleeping on the Sidewalk', as he felt that the chemistry was better than on all the (probably more technically proficient) attempts they tried later on, but on which life'd been sucked out. Precisely one of the great things about Brian is that he wasn't into sheer technical perfection. Perfection and sloppiness aren't the two only options. Life's not black and white, and it's not a greyscale either. There are millions of colours, and not being able to see the IR or the UV doesn't mean they don't exist. Queen recordings have several imperfections, but that doesn't ruin them at all. What they all did (not just Brian), was striving for excellence (not the same as perfection), which was reflected both on the technical side (playing the instruments well, hitting the right notes, pronouncing words correctly) and the aesthetic side (emotion, projection, performance). There's no set difference between Take 1 and Take 200. Either one of them could be 'it'. I'm not saying ML last verse definitely comes from 1991. I'm saying it could. |
The Real Wizard 22.12.2013 23:34 |
Sebastian wrote: You're a musician: haven't you ever kept a first take of anything because you realised that was it?Yup, fair play. Excellent post overall. A ton of great points. This is just so eloquent: Queen recordings have several imperfections, but that doesn't ruin them at all. What they all did (not just Brian), was striving for excellence (not the same as perfection), which was reflected both on the technical side (playing the instruments well, hitting the right notes, pronouncing words correctly) and the aesthetic side (emotion, projection, performance). |
Arnaldo "Ogre-" Silveira 23.12.2013 06:14 |
Fantastic post, Sebastian and all. We need more of those to counter attack the trolls. :D Cheers, Ogre- |
Bohardy 23.12.2013 13:18 |
Wilki Amieva wrote: Good work, Sebastian. We should add some more on the Track 13, hehe. About the Too Much Love Will Kill You "demo": That excerpt comes from a 13-track preview cassette sent in late 1988 to executives at Capitol Records, which were quite inquisitive about Queen's next project. At that point, The Miracle didn't have a defined title nor a defined tracklist. This sampler tape contained just excerpts (between 1:00 and 2:00 in lenght) of work-in-progress versions, five of which are circulating amongst fans and collectors at least since 1994 (The Miracle, I Want It All, The Invisible Man, Scandal and Too Much Love Will Kill You). Then in early 1989, Queen sent to Capitol Records a new 11-track cassette with full-lenght rough mixes of the proposed The Miracle tracklisting. It contained a full version of Too Much Love Will Kill You, between I Want It All and The Invisible Man (see picture). That version, bar a minor remastering, is the same as the one presented in Made In Heaven. But hear it yourself: link Happy Xmas!Thanks so much Wilki. I had a feeling that maybe the 2 minute demo I knew about wasn't all that there is. Still, there are definite differences between this version and the one on MIH. Granted, they appear to be mixing (rather than mastering) differences, but the two are not identical. |
rhyeking 24.12.2013 10:19 |
Just curious, are these dates from the Studio Experience exhibit? If not, what's the source? Great information and obviously dates are of great interest to me. :-) |
Sebastian 24.12.2013 10:21 |
rhyeking wrote: If not, what's the source?Loads of them. |
rhyeking 24.12.2013 10:30 |
If I ever cite the dates in the Chronology, I need to be able to independently verify them, that's why I ask. Some you list are new to me and I'd love to look them up. |
malicedoom 24.12.2013 10:56 |
Just another big 'THANK YOU' from here. Outstanding post (and equally great replies). Merry Christmas, everyone! --Frank |
Sebastian 24.12.2013 13:49 |
rhyeking wrote: If I ever cite the dates in the Chronology, I need to be able to independently verify them, that's why I ask. Some you list are new to me and I'd love to look them up.Fair enough. So: Sebastian wrote: 2nd September 1983: There's a jam session between Queen and guest celebrities Jim Cregan, Carmine Appice, Rod Stewart and Jeff Beck. The result is a fragment of a song then titled A Little Piece of My Heart. Location: Record Plant in LA. 1988: ...John (who wrote the song) was absent in March, July, August, October and December, so we can rule out those months. July 1988: During a break from the recording sessions, Brian co-writes and demoes Too Much Love Will Kill You in LA. 25th February 1994: End of the first 'batch' of recordings for the 'Made in Heaven' project. Up until this point, Brian's not involved at all. Roger and John take a break as the former devotes to his solo career and a planned album with Yoshiki (of which only two tracks have been released so far, one incorporated to Roger's album and the other as a bonus track). March to June 1994: Brian joins the project, and coincidentally, John goes on holiday. Summer 1994: Brian works on the posthumous album on his own, at his home studio. Roger and John not involved in those sessions. Engineer and co-producer: Justin Shirley-Smith. Autumn 1994: The three of them go to Metropolis in London to work together, but they soon split up and John goes on holiday, Roger goes on a solo tour and Brian goes home to work by himself on the tapes, especially the songs Fred'd made on his solo album a decade earlier. Winter 1994: The three of them work at Brian's studio. Spring 1995: Separate sessions: Brian works from home, with Justin Shirley-Smith engineering and co-producing, Roger and John work at Roger's mill, with Josh Macrae engineering and co-producing. Summer 1995: The three of them work together on tying the loose ends. Venue switches between Brian's home, Roger's home and Metropolis. David Richards makes the mixes at Metropolis. Late September 1995: 'Made in Heaven' finished and mixed.For all of those, sources are fan club magazines of the corresponding era. Usually each issue featured one of the band members writing a letter and informing the fans of their activities. Such letters were sometimes dated. For instance, Roger's letter from September 1995 announced they'd just finished mixing the album. Sebastian wrote: Spring 1980: Freddie records It's a Beautiful Day at Musicland Studios in Munich. Engineered by Mack.Liner notes from the 2011 reissue of 'The Game' (which includes IABD as a bonus track), and GB solving the issue about a decade ago per Brian's request. Sebastian wrote: Spring 1980: Piano used was a Yamaha C-7B.Source: Some of the studio publicity included a list of their instruments. Also, an ELO release from late 70s recorded at the same studio lists that piano model Sebastian wrote: 2nd September 1983: ...Location: Record Plant in LA. Engineered by Mack and Andrew Bradfield.Those were part of The Works sessions. We know who engineered them thanks to the liner notes of the album. Sebastian wrote: 2nd September 1983: ...A Yamaha C7 piano is played (though not the same as the one Freddie played in Munich).A lot of studios usually published (and still do) their in-house equipment. Sources from the early 80s confirm there was a Yamaha at the Record Plant in LA. Sebastian wrote: May 1984: Freddie records piano, synths and vocals for Made in Heaven and I Was Born to Love You.Fred's solo box includes dates. Sebastian wrote: May 1984: Sessions produced by Freddie, co-produced and engineered by Mack, assistant engineer Stephan Wissnet.Credits from the Mr Bad Guy album. Sebastian wrote: May 1984: Equipment: Yamaha C-7B piano, various synths (chiefly Oberheim OB-Xa and Roland Jupiter 8).Piano's the same as on The Game sessions, as they recorded at the same studios. Reportedly, Freddie used the same synths for his solo album as those he played on 'The Works', with the only addition of Mack's K-250. There are several photographs and equipment lists confirming all of those keyboards. The making of 'One Vision' (filmed at the same studios about a year after 'Mr bad Guy') shows the Yamaha piano and the following synths: K-250, DX-7, Jupiter-8, VP-330, CMI-II (or is it III?). Sebastian wrote: May 1987: The Cross record Heaven for Everyone at Mediterraneo Studios in Ibiza. Freddie pops in for a visit and asks them to let him sing it.Several sources including fan club magazines (they had a section called 'information', which was basically a 'what have they been up to?' gossip section on each band member) and an interview with Roger around the time the 'Barcelona' single was released imply their encounter took place in Ibiza while Freddie was there promoting the duets. AFAIR, Jim's book also mentions that. 'Shove It' lists Mediterraneo as one of the studios they used. Put two and two together and you get that. Sebastian wrote: 1988: Queen record My Life Has Been Saved, with David Richards as co-producer, engineer and guest keyboardist (uncredited).Source: David, when interviewed around November 2001 by the author of the book 'Queen File', published in Japan (she was kind enough to send me her notes in English before she translated them). Sebastian wrote: January 1991: Preliminary work on You Don't Fool Me and A Winter's Tale at Mountain Studios in Montreux.The fan club and (IIRC) a letter from either Brian or Roger confirmed they'd been in the studios in January. David also confirmed it in the 2011 docu, and Jim also mentioned some of that on his book (also Phoebe IIRC). We know now, thanks to other sources, that YDFM comes from after 'Innuendo' but before 'Mother Love' (which was in May), and the only post-Innuendo pre-ML sessions they had were in January. Two plus two again. As for AWT, evidence suggests it was started off in winter (hence the title). Sebastian wrote: 10th May 1991: Freddie's vocal track on A Winter's Tale is compiled. He didn't record any other vocal for that song after that. 13th May 1991: Work begins on Mother Love: various vocal bits from Freddie and Brian, keyboards, guitar (Brian on the original BHM) and a drum-machine. 16th May 1991: More work on Mother Love: another keyboard, some more guitar, and John's bass. 22nd May 1991: Rough mix of Mother Love. 13th October 1993: Work on Mother Love recommences at Metropolis Studios in London.Source: Justin Shirley-Smith, here on this forum, a couple of weeks ago. Sebastian wrote: 13th October 1993: Brian's not involved (that day he was playing a solo concert in America)Source: QueenConcerts. |
Missreclusive 25.12.2013 01:30 |
great thread, thanks! |
david82 25.12.2013 06:00 |
Walter White wrote: What happened to "YEAH"? When was that recorded? Where?Hi, I'm sure that "Yeah" is from "White Man". |
Sebastian 14.12.2014 01:54 |
Almost a year ago... good times! |
BETA215 14.12.2014 03:30 |
david82 wrote:Walter White wrote: What happened to "YEAH"? When was that recorded? Where?Hi, I'm sure that "Yeah" is from "White Man". I thought Yeah was from Action This Day. |
aion 14.12.2014 03:44 |
I was just wondering if they have talked about how it sort of became from 3 songs to 10? Did they at first plan to make an EP with maybe only TMLWKY added, but sometime in 1994 decided to turn it into an album instead? Was there any alternative way to construct the album; did they consider any other demos or other Freddie solo songs? |
KumoNin 14.12.2014 04:34 |
BETA215 wrote:Actually it's from Don't Try Suicide.david82 wrote:I thought Yeah was from Action This Day.Walter White wrote: What happened to "YEAH"? When was that recorded? Where?Hi, I'm sure that "Yeah" is from "White Man". |
musicland munich 14.12.2014 06:42 |
aion wrote: I was just wondering if they have talked about how it sort of became from 3 songs to 10? Did they at first plan to make an EP with maybe only TMLWKY added, but sometime in 1994 decided to turn it into an album instead? Was there any alternative way to construct the album; did they consider any other demos or other Freddie solo songs?They turned into full album at least at some point in 1993 ( well, planning-wise of course). There is a written statement by Roger ( I will post it if I find it somewhere.) |
beemack74 14.12.2014 07:44 |
Just a minor thing... but is the "three,four" at the start of LML taken from the intro of "Innuendo"? It sounds more like Freddie in '90 compared to the rest of the track. Just always wondered!!! |
Viper 15.12.2014 08:37 |
Great topic! Great posts! Thx a lot! |
Snackpot 15.12.2014 11:31 |
I'd be surprised if the vocals for Mother Love weren't laid down a lot later than listed. Wasn't he recording the video for TATDOOL in April/May of 91? I think it's probably safe to say that if he was able to stand (albeit for short periods) and record a music video his ability to 'prop himself up on the desk' and record vocals probably went some way beyond that time. I've always heard that Mother Love vocals were laid down sometime in October 1991. |
miraclesteinway 15.12.2014 11:49 |
There is a track sheet in existence with Mother Love dated May '91, Snackpot, and everyone in the band and connected with the band say that this is his last vocal session (I mean in May 91). You know something, when you see These are the days in colour, you can clearly see the difficulty he had with recording that video, and it wouldn't surprise me if the week before, or the week after, he couldn't stand up and sing. When I watch These are the days, I actually don't feel sad, I feel thankful to him that he was dedicated enough to music to give us even the tracks that he gave us, because it's plain for all to see that Freddie had very little left to give physically at that time. The other thing that is astounding, is the quality of the vocals on Mother Love and A Winter's Tale. You know, I've listened to this quite a lot now, and I hear an amazing strength in the vocal. It's not that this sounds like the voice of a dying man, no, not really. The control, the notes he sings, and the tone in his voice are all that of a wonderful amazing singer, and I think it's only because we KNOW that something was wrong that we hear it. What I DO hear in it though, is, it's like he's already singing from the other side, it's like he's already passed away and singing back to us, but that's more about how he delivered the songs rather than the actual quality of the tone. I have a friend who is a professional vocal coach, and he knows pretty much the full technique of singing (as he should - he's a vocal coach) and he said about A Winter's Tale that he finds it amazing that Freddie managed to maintain that tone in his voice for all of these songs, and that the condition of the voice is amazing, and anyone trying to imitate him will run into very difficult territory (note - anyone trying to imitate him, not anyone trying to sing the songs, or even trying to sing the songs in the same key, not the same thing). |
Snackpot 15.12.2014 11:59 |
But we know stories of Freddie being fast-tracked through customs on a wheelchair on his way back from his final recording session. That must have been much later than the TATDOOL video, unless none of his final vocals were that good that they've never been used. If Mother Love was the last thing he recorded that means he recorded nothing for 5 months before his death, which also makes a mockery of the 'worked until the end' claim. Unless he did work until the end but his vocals weren't considered of high enough standard to use |
stevendabudgie 15.12.2014 12:42 |
Years ago I read an interview in a German Magazine were Brian allegedly said that there were "other tracks but they were not used as they were not good" |
miraclesteinway 15.12.2014 13:31 |
Snackpot, this has been discussed quite extensively on other threads, and I think that the bottom line is that whatever happened, there's nothing more useable from that time. David Richards said A Winter's Tale was the last complete song, and Brian says Mother Love was the last vocal (or at least, the last time Freddie and Brian were in the studio together). It could be that Freddie went in and did some keyboard parts, or made suggestions here and there, or it could be that he didn't work for 5 months after. Certainly being in the late stages of a terminal illness would make working difficult, and 'until the end' probably means 'until he could work no more'. He came off his meds two weeks before he died, which probably suggests that he was too sick to go on for a while before then. It might be that he tried to go in and correct a line here and there, and perhaps there is some of that on the album - we'll never know. Don't take this the wrong way, I'm not ranting, there is a contingent of people on here wanting to know exactly what the last thing Freddie recorded was, and all the claims point to Freddie's final vocals being done in May 1991. I would like to know what people really want to know here? I suspect that people are hoping that there is another complete song or two that hasn't been used yet, that we can petition the rest of the band to finish and release. My suspicion is that there isn't any more, and that if there was anything else recorded after this time that was useable, it would have ended up on Made In Heaven. There are probably some scraps of vocals that exist, like Self Made Man for instance, where there is a middle 8 sang by Freddie, but it's not a good song and can't really be used. There are quite possibly other things out there like that, on a tape somewhere, or perhaps things that have been deleted (if they ever deleted anything) from tapes that will never see the light of day. Probably all of us here on Queenzone would LOVE it if there was an album's worth of high quality material, particularly a song or two from the last year of Freddie's life (where he was singing so beautifully it hurts almost), because we have a hunger to hear more from Freddie. I think we have to accept that this isn't going to happen. Perhaps, Snackpot, this isn't your personal view, aim or question, and please, don't be offended by what I'm saying, I'm just wondering why the question keeps coming up. Not just from you but from so many people, and why, after it's been answered by several sources, the answer isn't accepted? OK, you're right, it is highly possible there is a song or two recorded by Freddie after Mother Love. It is highly possible that they are sitting in a computer somewhere (wherever these things sit) and that they are not good enough for public consumption - they might be of use in a beatles type Anthology, where the band release a 40 second snippet here and there to let us hear exactly what was going on, etc, but then, perhaps they don't want us to hear it and that's their prerogative. If they admitted to these items existing then the demand for them to be released would rise in the fan community and that's probably not what they want. |
winterspelt 15.12.2014 16:24 |
Snackpot wrote: But we know stories of Freddie being fast-tracked through customs on a wheelchair on his way back from his final recording session.AFAIK nobody has ever mentioned that the customs "incident" was Freddie returning from a recording session. It was just mentioned that Freddie was returning from Montreaux, what was he doing? Perhaps preparing for his final days. It is safe to assume that during this time Freddie had stopped all his medication. Even Jim Hutton's book mentions it. Snackpot wrote: That must have been much later than the TATDOOL video, unless none of his final vocals were that good that they've never been used. If Mother Love was the last thing he recorded that means he recorded nothing for 5 months before his death, which also makes a mockery of the 'worked until the end' claim. Unless he did work until the end but his vocals weren't considered of high enough standard to useIf you are going to take the "work until the end" so seriously, then you are going to be disappointed cause he didnt died while recording. You may not know but among other painful stuff, people with aids suffer from cough, shortness of breath, fatigue, muscle aches, fever higher than 100 F (38 C) for several weeks among other stuff that can make impossible for anybody to sing. He didnt died while singing, so he never recorded "until the end" but he DID record as long as the body allowed it, which in my point of view, is the same thing as "work until the end" |
Sebastian 16.12.2014 01:01 |
Witness testimonies are far more unreliable than dates written on tapes, as the latter cannot have memory lapses, tell lies or sensationalise. |
Mr.QueenFan 16.12.2014 15:07 |
Sebastian wrote: Witness testimonies are far more unreliable than dates written on tapes, as the latter cannot have memory lapses, tell lies or sensationalise.You're right about this WHEN people are indeed lying or sensationalizing. Other than that, i think it's easy for people to remember if it was almost Summer or almost Winter. There are lots of things that happen between May and November that makes almost impossible for people to have memory lapses (an example would be Freddie's birthday or summer vacations). There's all sorts of references that people can use to know the exact "moment" when Freddie last recorded in the studio. Right now i go with May as the last time Freddie visited the studio with the intention of recording. Freddie was in Montreux in October 91, and it is said that he visited the studio. I believe that if he'd recorded something at that time, someone would remember it. Maybe he was just there to see David Richards, like Brian said he often did when he visited the studio throughout the years. |
Sebastian 06.12.2015 09:03 |
Bumped. |
Biggest Band On The Planet 06.12.2015 19:03 |
Are we to believe that the 91 Made in Heaven sessions only produced one full song ? You think freddie could have sung on atleast 5 songs in that timeframe. |
Sebastian 07.12.2015 04:42 |
Biggest Band On The Planet wrote: Are we to believe that the 91 Made in Heaven sessions only produced one full song ? You think freddie could have sung on atleast 5 songs in that timeframe.He did sing on three. Keep in mind that he didn't know he was gonna last until almost the end of the year. His time-frame might have been like: January: 'It's a miracle (no pun intended) I actually made it this far. Let's record some songs!' February - April: 'I'm not feeling well. I think this is it. I'll just spend some time in London with my beloved ones.' May: 'Wow... I'm still here. I might as well finish up "A Winter's Tale" and perhaps work a bit with Maggie... [a few days later] ... I'm not feeling well, I'll just fly back. Should I have time to finish "Mother Love", I will; otherwise, Maggie can sing the last verse.' June - September: 'I'm not feeling well. I think this is it. I'll just spend some time in London with my beloved ones.' October: 'Woah... I could've recorded some more, but what did I know? Anyway, too late. I think this is really it, so I'll just spend time with my beloved ones. Moreover, the disease that's ultimately gonna kill me is respiratory, which most likely means it's really difficult for me to sing, let alone go outside my house (or the country) with an increasingly cold weather.' November (quoting Fatty): 'Was it all worth it? You'd better fucking believe!' |
Biggus Dickus 07.12.2015 04:57 |
I remember reading Freddie was in Montreux only few weeks before his death. So it seems he was well enough to travel but not well enough to sing. |
Supersonic_Man89 07.12.2015 06:21 |
I think the vocals on both Winters Tale and Mother's Love would take a lot out of any normal person who isn't in the late stages of AIDs, nevermind somebody who is. And i think on Winters Tale at least, you can hear the strain...'Gentle rain beating on my face' 'A kind of magic in the air'...you can hear the voice slightly unable to keep up with what Freddie expects from himself. I think maybe another reason apart from health wise...was that Freddie possibly couldn't hit the notes he was used to hitting and decided to not give anything less than perfection. This would go hand in hand with his theory of not touring post-86 for the same fear. |
Biggest Band On The Planet 07.12.2015 19:50 |
I wish they would release the outtakes of the Made in Heaven sessions. |
musicland munich 07.12.2015 20:00 |
@Sebastian As far as I know,aside of how his mood or condition was, he had to return to London for periodically treatments. His last visit to Montreux October / early November , well that was claimed by Jim a Phoebe. Is there an incontrovertible evidence that this timeframe is true ? |
Sebastian 07.12.2015 20:18 |
musicland munich wrote: Is there an incontrovertible evidence...?The answer for that will always be a resounding 'never.' Even a direct quote from people who were there can be wrong (remember all the mistakes Brian's made about his own band?). We can always adjust our conclusions based on evidence. That's what scientific research is about. There's strong evidence that Freddie *travelled* to Switzerland after May 1991; there's nothing to realistically suggest he *recorded* anything after May 1991. |
musicland munich 07.12.2015 23:55 |
I'am afraid that I may sound like I 'am experienced with Stalking on other people :) But is or was there nothing that you may can call an circumstantial evidence ? Like a stamp in his passport, private letters...maybe dated and with a Place of dispatch ? Credit card bills ? All kind of communication bills telephone or fax. Private Jet or rental cars...whatever. Actually there must be a lot of traces...just a thought experiment. |
Martin Packer 08.12.2015 04:30 |
I DON'T want to hear outtakes. I want them putting their best foot forward in 1991. And that fake "death rattle" MP3 that came out a while back only reinforces my view on this. |
Togg 08.12.2015 05:20 |
Amazing work Seb, not read this before, excellent post |
Sebastian 08.12.2015 07:03 |
musicland munich wrote: I'am afraid that I may sound like I 'am experienced with Stalking on other people :) But is or was there nothing that you may can call an circumstantial evidence ? Like a stamp in his passport, private letters...maybe dated and with a Place of dispatch ? Credit card bills ? All kind of communication bills telephone or fax. Private Jet or rental cars...whatever. Actually there must be a lot of traces...just a thought experiment.Yes, but unless (until?) any of those documents ever see the light of day, publicly, we're gonna have to make do with what we've got available, which consists of: * The assistant engineer having visited QZ and cleared up the exact dates of Freddie's last studio activities. * Some (largely fabricated or at the very least exaggerated) promotional info given twenty years ago when the album was released. * Wishful thinking. |
Sebastian 08.12.2015 07:03 |
DPS |
BETA215 09.12.2015 01:09 |
Martin Packer wrote: ... And that fake "death rattle" MP3 that came out a while back only reinforces my view on this. Which "death rattle" MP3? |
Estranged 11.12.2015 08:22 |
Very informative post Sebastian! As always :-) |
August R. 26.12.2015 13:20 |
Interesting discussion! It's great we have these queenologists on board who have the time and energy to dig up all this fascinationg information!! Anyway, one song that has puzzled me in respect of songwriting and timieline is Let Me Live. Is there any more evidence on the developement of that particular song? So, we know that it was started in The Works sessions (not during DATR sessions as some claim). But how much was written/recorded back then? Has anyone heard more of it than those few seconds on that documentary few years back? Did that 1983 session produce all the Freddie's bits that were later used to create the song, or was the song revisited later by Freddie? What I mean to say is, was it a complete song in 1983, or just an idea that the band turned into a song later during MIH sessions. I think it's safe to assume that Bri & Rog sang their parts during MIH session, but were those lyrics also written during these sessions (I seem to recall there is a handwritten lyrics sheet of this one(?), from what period that comes from)? For me, the song sounds like a lot of it was created/structured during the MIH sessions. But of course it is possible that thay actually had the full song, but lots of Freddie's vocals were unusable, so thay turned it into a "threesome" and that's why it sounds like a lot of it was created after Freddie's passing. |
Sebastian 26.12.2015 16:41 |
AFAIK, though I've got no way to confirm it, what they had consisted of about a minute and a half of Freddie's vocals and piano, and they built the song from that. |
August R. 29.12.2015 13:35 |
Sebastian wrote: AFAIK, though I've got no way to confirm it, what they had consisted of about a minute and a half of Freddie's vocals and piano, and they built the song from that. |
Sebastian 05.01.2016 04:13 |
A different layout of the timelines. ---- Freddie's bits: Spring 1980: It's a Beautiful Day at Musicland in Munich, West Germany. Early 1982: Yeah at Musicland in Munich, West Germany. Friday 2nd Sept. 1983: Piece of My Heart at the Record Plant in LA, America. May 1984: Made in Heaven and I Was Born to Love You at Musicland. May 1987: Heaven for Everyone at Mediterraneo Studios in Ibiza, Spain. Early 1988: My Life Has Been Saved at The Town House in London, England. September 1988: Too Much Love Will Kill You at Olympic in London, England. January 1991: A Winter's Tale and You Don't Fool Me at Mountain in Switzerland. Friday 10th May 1991: A Winter's Tale vocal compiled at Mountain in Montreux, Switzerland. Monday 13th May 1991: Mother Love (vocals, drum machine, synth) at Mountain in Switzerland. Thursday 16th May 1991: Mother Love (synth) at Mountain in Switzerland. Wed. 22nd May 1991: Mother Love (rough mix) at Mountain in Switzerland. ---- The others' bits before Freddie's death: Early 1988: My Life Has Been Saved at The Town House in London, England. September 1988: Too Much Love Will Kill You at Olympic in London, England. January - February 1989: Too Much Love Will Kill You (bass) at Olympic in London, England. January 1991: A Winter's Tale and You Don't Fool Me at Mountain in Switzerland. Monday 13th May 1991: Mother Love (Brian's vocals, guitar & synth) at Mountain in Switzerland. Thursday 16th May 1991: Mother Love (John's bass, Brian's guitar) at Mountain in Switzerland. ----- The others' bits after Freddie's death: Early October 1993: John & Roger at Metropolis in London, England. Sun. 13th Oct 1993: Mother Love (John & Roger) at Metropolis in London, England. October - November 1993: Four songs (John, Roger & Mike) at Abbey Road 3 in London, England. Early 1994: John & Roger at Cosford Mill in Thursley, England. Fri. 25th Feb 1994: End of first batch of recordings. No Brian involvement yet. March - June 1994: Brian joins, John goes on holiday. Summer 1994: Brian works on his own at Allerton Hill in Windlesham, England. Autumn 1994: The three of them at Metropolis in London, England. Winter 1994: The three of them at Allerton Hill in Windlesham, England. Spring 1995: Separate sessions: Brian at Allerton Hill, John and Roger at Cosford Mill. Summer 1995: The three of them switching between Allerton Hill and Cosford Mill. 3rd - 5th Sept 1995: I Was Born to Love You (mix) at the Town House 1 in London. Tue. 5th Sept. 1995: You Don't Fool Me (guitar solos) at the Town House 1 in London. Wed. 6th Sept. 1995: You Don't Fool Me (prog. & mix) at the Town House 1 in London. Thur. 7th Sept 1995: You Don't Fool Me (comp, prog. & mix) at the Town House 1. Fri. 8th Sept 1995: Track No 13 (David Richard's programming) at the Town House 1. 9th - 13th Sept 1995: You Don't Fool Me (mix) at the Town House 1 in London. 13th - 15th Sept 1995: A Winter's Tale (mix) at the Town House 1 in London. 15th - 17th Sept 1995: I Was Born to Love You (mix) at the Town House 1 in London. 18th - 22nd Sept 1995: Six tracks mixed at the Town House 1 in London. Album finished. |
Sebastian 05.01.2016 04:38 |
Track by track timeline: ----- It's a Beautiful Day: * Piano and lead vocals recorded at Musicland in Munich. Produced by Freddie, co-produced and engineered by Reinhold Mack. * John and Roger work on it at Abbey Road in late October - early November 1993. At one point, Mike Crossley (Roger's keyboardist) tracks some synths with John producing. Sessions engineered by Noel Harris. No Brian or David Richards involvement at this point. Whether Mike's keyboard work survived to the finished version is yet to be confirmed or denied. John used his red bass. * Both versions ('normal' and 'reprise') mixed in the last week of the album sessions (18th to 22nd September 1995) at The Town House in London. David Richards was chief engineer. ------- Made in Heaven & I Was Born to Love You: * Piano and vocals at Musicland Studios, Munich, West Germany, in May 1984. * John and Roger work on it at Abbey Road in late October - early November 1993 (see above). * 'I Was Born to Love You' mixed between the 3rd and 5th of September 1995, then re-mixed between the 15th and 17th. Perhaps they were having disagreements about how each of them wanted it to sound. * 'Made in Heaven' mixed in the last week of the album sessions (18th to 22nd September 1995) at The Town House in London. David Richards was chief engineer. ------- Let Me Live: * Freddie's piano and vocals come from the 2nd of September 1983 at The Record Plant in Los Angeles, California. * No info about when it was worked on and who took initiative. Considering the backing singers were Brian's friends rather than John's or Roger's, it was most likely he who summoned them, but it's yet to be confirmed whether he initiated rescuing the track. * It'd already been mixed by the time Queen booked the tail-end Town House sessions (September 1995), but they had to remix it in the last week (18th to 22nd) because of copyright. ------- Mother Love: * Monday 13th of May 1991: Various vocal bits from both Freddie and Brian, keyboards (either one could've played them, on a Korg M-1), guitar (Brian on the original BHM) and a drum-machine generated on either a Linn 9000 or a Korg M-1. * Thursday 16th of May 1991: Another keyboard (Korg M1), some more guitar, and John's bass (presumably a Fender Precision). Roger was not part of those sessions. * Wednesday 22nd of May 1991: Rough mix at Mountain. * Sunday 13th October 1993: John and Roger start working on it at Metropolis in London. Brian on tour at the time. * Whatever they did to it, it'd already been mixed by the time they went to the Town House in September 1995. ---------- My Life Has Been Saved: * Started off in early 1988. John and David Richards did the demo and the keyboards. When they showed it to Freddie, he loved it and sang on it. * Mixed in the final week (18th to 22nd September 1995) at The Town House in London. ---------- Heaven for Everyone: * Roger demo'd it somewhere in Europe in 1987 (or perhaps 1986? There are conflicting stories there). * May 1987 in Ibiza: Fred visits The Cross and ends up being the guest singer for this song. * Late October - Early November 1993: John and Roger begin working on it at Abbey Road. Noel Harris engineering. No Brian or David Richards involvement on these sessions. * It'd already been mixed by the time they booked the Town House sessions (September 1995). -------- Too Much Love Will Kill You: * Brian wrote it with his friends in July 1988 whilst in America. Most of the recordings were in September 1988 at Olympic Studios in London, though John wasn't present for those; his bass was added in early 1989. * No more recordings for that one. The 'Made in Heaven' version is a re-mix (done before September 1995), but nothing was re-recorded. ------- You Don't Fool Me: * Song started in January 1991 at Mountain in Montreux. * Brian's guitar solo recorded at The Town House in London on what would've been Freddie's 49th birthday. * Programming overdubs (midi stuff, most likely) on the 6th and 7th of September 1995 at The Town House. * Mixing between the 9th and the 13th of September 1995 at the Town House. ------ A Winter's Tale: * Fred started it off in January 1991 at Mountain in Montreux. * Vocal compiled on Friday the 10th of May 1991. * Mixed at The Town House 13th to 15th September 1995. ----- Track No 13: * Begun by David Richards on the 8th of September 1995 at The Town House. * Further work by David, Brian and Roger on the 19th. |
rocknrolllover 05.01.2016 07:18 |
Thank you for your research |
cmi 05.01.2016 07:42 |
Great detailed info! Thanks a lot. Very interesting. Some mistakes/mistypes: 1) "Mother Love & I Was Born to Love You:" must be "Made In Heaven & I Was Born to Love You:" (two solo tracks from 'Mr Bad Guy' album. 2) Mother Love: BM wasn't on tour in October 1991. There were 2 guest appearances (Extreme show and Expo '92 Festival) 3) You Don't Fool Me: on the "6th and 6th" of September 1995 |
Sebastian 05.01.2016 09:18 |
cmi wrote: Some mistakes/mistypes...Thank you :) They're corrected now. For ML, I meant '93, not '91 (another typo). |
The Real Wizard 05.01.2016 14:17 |
Sebastian wrote: Freddie's bits: January 1991: A Winter's Tale and You Don't Fool Me at Mountain in Switzerland.Fascinating. I always thought these tracks were done in May, too. How'd you deduce this one? |
Sebastian 05.01.2016 14:20 |
Just a temporary conclusion based on: * JSS (no, I don't mean our lovely poster or the famous singer) told us about the May sessions, he didn't mention YDFM or preliminary work on AWT. * Jim's book mentions Fred doing AWT in winter (hence the title). * The Fan Club confirms they were recording in Switzerland in January 1991. We can rule out 'Mother Love.' |
The Real Wizard 05.01.2016 14:22 |
Well done, sir. Bring on the Pulitzer prize. |
Sebastian 05.01.2016 16:03 |
I should resurrect my website... |
The Ghost of Lester Burnham 05.01.2016 18:08 |
Sebastian wrote: I should resurrect my website...Definitely. Not to question anything you've written, but where did you get those specific dates for the '95 sessions? |
cmsdrums 06.01.2016 04:37 |
Sebastian wrote: Just a temporary conclusion based on: * Jim's book mentions Fred doing AWT in winter (hence the title). .'I don't think "hence the title" carries much weight......most TV Christmas Specials are written in Spring/Summer, and filmed in Summer/Autumn!!! |
Sebastian 06.01.2016 05:31 |
True, but I seem to remember Jim telling the story of how Fred was inspired by winter and the lake and the ducks and that's how the song came about. |
Sebastian 09.01.2016 10:42 |
The Ghost of Lester Burnham wrote: Not to question anything you've written, but where did you get those specific dates for the '95 sessions?link |
bitesthedust 24.01.2016 07:38 |
Sebastian wrote: July 1988: During a break from the recording sessions, Brian co-writes and demoes Too Much Love Will Kill You in LA. The song would be completed with the rest of the band later in the year (and possibly also in early 1989). David Richards as co-producer and engineer. Venues could be in London or in Montreux, or both.So, would that mean that Queen's version was completed before Brian recorded his solo version for Back To The Light? |
people on streets 24.01.2016 09:36 |
Found this on ebay. Interesting info about Brian's opinion on "Heaven For Everyone" link |
Chief Mouse 24.01.2016 09:43 |
^ Thanks for sharing. |
cmi 24.01.2016 12:11 |
bitesthedust wrote: So, would that mean that Queen's version was completed before Brian recorded his solo version for Back To The Light?Of course, Queen's version was mixed and prepared for inclusion in 'The Miracle' album by January 1989. Brain's version was recorded circa 91-92. You can find slight changes in the lyric. It was performed that way on FM Tribute concert. |
cmsdrums 24.01.2016 13:58 |
people on streets wrote: Found this on ebay. Interesting info about Brian's opinion on "Heaven For Everyone" linkThanks. Always thought it odd that bearing in mind HFE was the lead single from MIH, was a big hit single in the UK, and had an interesting history with Freddie's existing vocal, that I don't recall Brian ever discussing it. He clearly didn't think much of the track, and slated the video - funnily enough the 'Evolution' BFI video that accompanied it was, I thought, one of the best, and ironically I hope Brian isn't referring to the usual DoRo edit version of the TMLWKY as the one he is really happy with? "Democracy OF SORTS" sounds very bitter doesn't it?!! |
Sebastian 24.01.2016 14:16 |
cmi wrote: Of course, Queen's version was mixed and prepared for inclusion in 'The Miracle' album by January 1989. Brain's version was recorded circa 91-92.In fact, Brian's solo version was recorded *because* they had to pull out the Queen version at the last minute due to copyright reasons. By 1995, the problems had been long solved and the 1989 recording could finally see the light. |
bitesthedust 26.01.2016 14:25 |
So if Queen had included Too Much Love Will Kill You in The Miracle then Brian wouldn't have premiered it as part of the FM tribute (he may still have performed the track, who knows?) and a piece of the band's latter years would have been different. No version on Back To The Light means Freddie's vocal is heard before his death and stands alongside These Are The Days Of Our Lives/The Show Must Go On as tracks with different meanings. |
Sebastian 27.01.2016 00:22 |
Yeah ... I mean, it's a whole butterfly effect there, an alternate timeline (though, hopefully, not a Godwin's law of time travel). My take on it: the song's released in '89, becomes a fan favourite on the same level as 'Was It All Worth It' but not a single and, as a consequence, doesn't earn Brian, Frank and Liz an Ivor, nor it gathers all the relative status it's got in this timeline. Also, Brian would've had to include something else on his solo album (perhaps 'Why Don't We Try Again', which allegedly existed since before Freddie passed), which would've changed other stuff around as well. As for the tribute ... well, yeah, perhaps... but I think part of the reason Brian played it then was that it was, as far as the audience was concerned, a brand new piece. With that novelty factor worn off, he might have chosen something else, perhaps just 'Love of My Life'. Edit: By the way, it would've also meant they'd have to include something else on 'Made in Heaven' to fill that gap. Perhaps 'Let Me in Your Heart Again' (with Fred on vocals) would've been issued nearly two decades earlier than it was in real life, and it would've probably been a superior version (John was still involved, he could've polished his bass, and Brian is, in my opinion, an excellent guitarist nowadays, but he was a hell of a lot better in the early 90's). |
The Real Wizard 29.01.2016 00:33 |
cmsdrums wrote:He couldn't have disliked it too much, as he goes on to say he stands by the album 99%, which is probably more than most other Queen albums !people on streets wrote: Found this on ebay. Interesting info about Brian's opinion on "Heaven For Everyone" linkThanks. Always thought it odd that bearing in mind HFE was the lead single from MIH, was a big hit single in the UK, and had an interesting history with Freddie's existing vocal, that I don't recall Brian ever discussing it. He clearly didn't think much of the track, and slated the video - funnily enough the 'Evolution' BFI video that accompanied it was, I thought, one of the best, and ironically I hope Brian isn't referring to the usual DoRo edit version of the TMLWKY as the one he is really happy with? "Democracy OF SORTS" sounds very bitter doesn't it?!! I wouldn't say he was bitter. But it really clarifies how important TMLWKY was/is to him. It is basically his entire personal life in musical form. It took me about 20 years to finally understand it fully. Brian is criminally underrated as a lyricist, and I'm sure he knows it (not surprising when you invented a guitar sound and were in a band with arguably the greatest front man of all time) - and not having this song released as a single in the UK probably just stung a bit. |
Sebastian 29.01.2016 06:52 |
The lyrics of that song were co-written, and the guitar was co-invented. Brian did a magnificent job on both, but if it's about credit where credit's due, then it's also fair mentioning the people who worked as hard as he did and who also deserve recognition. |
Pim Derks 29.01.2016 08:50 |
As far as I know TMLWKY was released as a single in the UK? Just not as the first single of the album. |
Sebastian 29.01.2016 09:00 |
Yeah, I think it was. It could be argued, though, that the lead single's got a far bigger chance to be the biggest hit of the album, and it did happen for most of Queen releases, 'The Game' being the exception. |
Pim Derks 29.01.2016 15:54 |
I think Heaven For Everyone was a great choice though. Releasing TMLWKY as a first single, barely three years after Brian's version seems like a strange choice IMO. |
cmi 24.04.2016 04:05 |
Sebastian, Have you noticed that 'Let Me Live' credits doesn't feature David Richards as co-producer and engineer (see credits on 'Let Me Live' single or Greatest Hits III linear notes)? Also 'Too Much Love Will Kill You' credits doesn't feature any involvment from JSS and JJM by known reasons. It seems these 2 songs are the only songs with unique credits from MIH album (not counting "13"). |
Sebastian 24.04.2016 12:46 |
Fascinating. Thanks! |
7Innuendo7 30.04.2016 15:36 |
Bravo Sebastien! |
Sebastian 16.10.2016 15:18 |
By the way, the album liner notes list Special Thanks to: 'Ashley Alexander, Mary Austin, Stephen Blood, Peter Chant, Mike Crossley, Ruadhri Cushnan, Frederick Delius, DW Drums, Spike Edney, the late Joe Fannelli, Peter Freestone, Ben Gibson, Karen Goodman, Guild Guitars, Vernon Handley, Noel Haris, Istanbul Cymbals, Fitz Jackson, Melanie Keady, Anita Keogh, Erdal Kizilcay, Robert Lee, Neal Levin, Richard Lyttleton, David Mallet, the late Alistair McLaren, Anne Meyer, Gustavo Moratorio, Jane Moraz, Crispin Murray, The Red Special, Penny Robinson, Sleishman Drums, Gerry Stickells, Ian Sylvester, Bob Taylor, Gavin Taylor, Paul Twomey, Vicky Vocat, Vox Amplifiers, Barry Woodward, Zildjian.' 42 names in total, out of which: * 7 refer to equipment: DW Drums, Guild Guitars, Istanbul Cymbals, The Red Special, Sleishman Drums, Vox Amplifiers, Zildjian. Those credits may suggest Brian used his Guild copy alongside the original BHM for this album ... maybe not, but perhaps. Interesting to see they didn't thank any bass or keyboard make. That leaves us 35 people who got thanked on 'Made in Heaven'. The ones I've got some idea why are: * Ashley Alexander: Assistant engineer at Abbey Road (Spring 1993) and The Town House (September 1995), which means he witnessed both the beginning and end of the project. * Mike Crossley: Played synths in the Spring 1993 sessions. Whether those bits survived to the final cut is unknown ... though the fact he's mentioned could suggest so. * Frederick Delius: Quoted on IABD. * Noel Harris: Chief engineer when John and Roger did the preliminary work at Abbey Road in Spring 1993, before Brian's involvement. * David Mallet: Directing the video for the lead single (and probably others ... IDK). * Gustavo Moratorio and Crispin Murray: Assistant engineers at Metropolis. * Barry Woodward: Assistant engineer at The Town House. * Ian Sylvester: In charge of transferring material to digital. He's also thanked on 'Innuendo', 'Back to the Light' and 'Brixton Academy.' And that's basically it. I suppose (rather than know) the others might have been credited for emotional support, but maybe some of them were indeed more directly connected to the project, one way or another, engineering something, or even playing something (in Spike's case). |
Sebastian 16.10.2016 15:59 |
Other people I've got at least some idea who they were and why they might have been thanked: * Peter Chant: I think he's been their (and/or Brian's) accountant for a while now. * Spike Edney: Did he play on any of the studio cuts? Or perhaps it was because they sample some bits of the Magic Tour... * Karen Goodman: She was the studio manager at Metropolis. She's also thanked on Innuendo and some of Brian's albums (coincidentally, those which were partly recorded or mixed at Metropolis). * Melanie Keady: Brian's PA in America. She's also thanked on 'Another World' (I think) and TCR. * Erdal Kizilcay: Since he's also credited on 'Shove It', my guess is that perhaps he was somewhat involved with 'Heaven for Everyone.' Erdal is a Turkish-born Swiss-based multi-instrumentalist who's worked with Bowie and others, so perhaps he did some ghost instrumentation on it (perhaps the famous nylon-strung guitar bit?). As a curiosity, he also played bass on a 1987 Freddie demo ('Yellow Breezes'). * Robert Lee: Whoever he is, he seems to be also an executive, since he's been involved with Brian's projects (Pinnocchio, Anthems, Another World, etc) as well as the musical, Cosmos Rocks, etc. Whoever he is, he's been with Queen at least since 'The Miracle'. * Neal Levin: Again, I don't know who he is/was but he was involved with Queen at least since 'The Works', and is also thanked on both 'Back to the Light' and 'Another World'. * Anne Meyer: She's been part of the management for a while now, and also thanked on 'Brixton Academy', 'Cosmos Rocks', etc. * Penny Robinson: One of the management directors at The Town House, also thanked on 'The Miracle' and 'Back to the Light.' * Gerry Stickells: Touring manager. * Gavin Taylor: Directed the 'Wembley' video, but no idea about his MIH connexion. * Vicky Vocat: I think she's some sort of publicist since she's also thanked on other Queen and Queen-related issues and was since made spokeperson for the Phoenix Trust. And then, of course, Phoebe, Mary and Joe for their association with Fred (though Jim's not mentioned ... odd). Which leaves the following eleven people whom I've no idea who they are and why they were thanked: Stephen Blood Ruadhri Cushnan Ben Gibson Vernon Handley Fitz Jackson Anita Keogh Richard Lyttleton Alistair McLaren Jane Moraz Bob Taylor Paul Twomey |
cmi 17.10.2016 10:45 |
Very nice analysis! |
Chief Mouse 17.10.2016 11:00 |
Hmm. Gavin Taylor -> Wembley -> Mother Love ending featuring the live audience call and response bit? |
Bike It 80 17.10.2016 12:46 |
Sebastian wrote: * Vicky Vocat: I think she's some sort of publicist since she's also thanked on other Queen and Queen-related issues and was since made spokeperson for the Phoenix Trust.Wasn't she the president of the fan club at some point? |
Sebastian 17.10.2016 16:20 |
That was Vicky Farmer (though back when she ran the OIQFC, she might have still been Vicky Everett). |
The Real Wizard 17.10.2016 21:31 |
cmi wrote: Very nice analysis!Yes, quite ! |
Voice of Reason 2018 18.10.2016 08:47 |
link ; ) |
Sebastian 18.10.2016 12:15 |
Thanks :D One less to worry about. |
musicland munich 04.03.2017 20:13 |
It's just a little bit, maybe nothing to write home about... The press stated that Freddie had a meeting with his doctors ( Brian Gazzard, Frank Atkinson,Graeme Moyle) on 7 th of November. It was also mentioned that his last public appearance was nine weeks ago. That time window would fit quite well with his treatment plan. Still, it's no evidence that he worked on MIH at that point. But his last trip to Montreux in the later stages of 91' seems more and more likely. |
Sebastian 05.03.2017 07:28 |
His recently diseased mum commented on a doco (probably 'The Untold Story') that he missed her birthday that year and sent flowers and a card from Montreux. Her birthday was in October. Sure, witness testimonies are often inaccurate but I'd believe this one considering she'd surely remember something like that (especially considering he allegedly never missed her birthday). |
beemack74 05.03.2017 16:57 |
Both Hutton and Freestone have said in thier respective books that the last trip to Montreux was made in late October 1991. Hutton claiming that they "ate in good restaurants every night for ten days", and Freestone attesting that they flew home on Saturday, November 9th 1991. No mention of any work, with Freddie taking to his bed for long periods of the day. |
IanR 29.03.2018 10:51 |
Another issue worth addressing, I think, is the re-working of Mr. Bad Guys tracks: specifically, at what stage did this become an option for the band, and how many tracks were in the running and later discarded? The evidence suggests that some MBG tracks were in the running as early as 1992, given that 'The Freddie Mercury Album' had a number of rather startling omissions ('Born To Love You' being chief among them). The only reason I can fathom is that certain songs on MBG were vetoed by Jim Beach or the band, with half an eye on the 'final' Queen album. Another possibility is that Fred himself may have given his bandmates carte blanche to re-work his solo output, and identified particular songs he thought could be given the 'Queen' treatment. Whatever the case, the following songs were left off 'The Freddie Mercury Album / Great Pretender' compilations: Made In Heaven I Was Born To Love You Man Made Paradise There Must Be More To Life Than This Love Me Like There's No Tomorrow The first two appeared in re-worked form on MIH, while of course 'Paradise' and TMBMTLTT started life under the Queen banner. What's the betting that at least some of these three remaining tracks were considered and then discarded for the Made In Heaven project? |
Golden Salmon 29.03.2018 18:53 |
I have no idea for sure, but if I were to guess very early on they considered most available Queen and non-Queen material since there simply weren't enough songs (only 6 are "new") after Innuendo's release, let alone complete ones (you can argue It's A Beautiful Day, Mother Love and You Don't Fool Me were anything but complete). Perhaps it's been mentioned in this thread, but do we know when the vocal takes of TMLWKY and A Winter's Tale were recorded? TMLWKY's demo from The Miracle era is quite rough compared to the excellent album version. AWT is from the Innuendo era, but it's polished as well. What exactly did Freddie record in 1991 other than Mother Love? According to Sebastian, perhaps we only know for sure that AWT was revisited by Freddie after Innuendo's release. EDIT: I'm reading there's a TMLWKY rough mix that features the same vocal performance, and this was complete by 1989. Is this freely available? It's not the 2 minutes demo. Perhaps it's the one shared by Wilki Amieva in the second page? (broken link) Also, Sebastian, it's probably worth adding what Jim Hutton wrote in "Mercury & me": "One of the first things Freddie liked to do when he arrived in Montreux was look at the swans on the lake. He referred to them as ‘my’ swans and as soon as he’d seen them he felt he could quickly settle back into the Swiss way of life. That day, after strolling over to see his swans, Freddie sat at the water’s edge and was inspired to write a song called ‘A Winter’s Tale’. It was a Christmas song about Switzerland and life in the mountains. It was never heard. Freddie recorded the song, I’m certain of that, but the tape has never seen the light of day." The closest date he mentions is: "In February [1990] Queen was honoured with an award for their outstanding contribution to British music by the British Phonographic Industry in a ceremony at the Dominion Theatre." |
Sebastian 29.03.2018 19:42 |
Golden Salmon wrote: I have no idea for sure, but if I were to guess very early on they considered most available Queen and non-Queen material since there simply weren't enough songs (only 6 are "new") after Innuendo's release, let alone complete onesThey'd thought of making an EP, but it snowballed into an album later on. Golden Salmon wrote: EDIT: I'm reading there's a TMLWKY rough mix that features the same vocal performance, and this was complete by 1989. Is this freely available?It was shared here some time ago. The 1989 version has a different mix and mastering but it's the exact same recording as the 1995 one. Same guitar, same digital piano, same synths, same drums, same bass, same vocals. Not just the same song or a similar arrangement, but the exact same recording. The 'Made in Heaven' release is mixed and mastered differently, but it contains no instrumentation added after Frederick died. |
cmi 29.03.2018 21:10 |
I'm 100% sure that the whole 'The Miracle' Capitol Records advance cassette has the same mixes of all songs but two. Scandal has unique slightly shorter mix with louder intro. 'Yes, you're loving on and out again' line wasn't used. BTW, this line is absent in the lyrics sheet on 'The Miracle' album, but was restored for final mix. I Want It All is the alternate mix which was later used on 1991 US CD reissue, but unfortunately the outro was faded out earlier there than on the advance cassette. TMLWKY from MIH is the same mix as on this 1989 advance cassette and, as I understand, the same as on 'The Miracle' U-matic master. Actually this track sounds different to all other MIH tracks, especially the drums sound which is equal to acoustic drums sound on 'The Miracle' album. I mean any processing of them as well. |
The Real Wizard 30.03.2018 02:43 |
Golden Salmon wrote: Perhaps it's been mentioned in this thread, but do we know when the vocal takes of TMLWKY and A Winter's Tale were recorded?TMLWKY is from The Miracle sessions in 1988. AWT was recorded on May 10, 1991. |
The Real Wizard 30.03.2018 02:53 |
IanR wrote: The evidence suggests that some MBG tracks were in the running as early as 1992, given that 'The Freddie Mercury Album' had a number of rather startling omissions ('Born To Love You' being chief among them). The only reason I can fathom is that certain songs on MBG were vetoed by Jim Beach or the band, with half an eye on the 'final' Queen album. Another possibility is that Fred himself may have given his bandmates carte blanche to re-work his solo output, and identified particular songs he thought could be given the 'Queen' treatment. Whatever the case, the following songs were left off 'The Freddie Mercury Album / Great Pretender' compilations: Made In Heaven I Was Born To Love You Man Made Paradise There Must Be More To Life Than This Love Me Like There's No Tomorrow The first two appeared in re-worked form on MIH, while of course 'Paradise' and TMBMTLTT started life under the Queen banner. What's the betting that at least some of these three remaining tracks were considered and then discarded for the Made In Heaven project?Excellent discussion point. The things we'll probably never know. But you're definitely on the scent by highlighting these five tracks. |
The Real Wizard 30.03.2018 02:55 |
cmi wrote: I'm 100% sure that the whole 'The Miracle' Capitol Records advance cassette has the same mixes of all songs but two. Scandal has unique slightly shorter mix with louder intro. 'Yes, you're loving on and out again' line wasn't used. BTW, this line is absent in the lyrics sheet on 'The Miracle' album, but was restored for final mix.Great observation - I never noticed that. |
Sebastian 30.03.2018 12:30 |
The Real Wizard wrote: AWT was recorded on May 10, 1991.To be exact, 10th of May was when the final vocal was compiled (presumably from existing takes which long predated this session). The actual recording process (Frederick's bit at least - both synthesisers and vocals) may have very well been in winter. |
Sebastian 30.03.2018 12:36 |
As for 'Too Much Love', back in Summer 1988 there were news about Brian writing material with Frank and Elizabeth. Odds are, this was the one (complete) number that came out of those creative sessions. |
BETA215 31.03.2018 08:24 |
Could somebody please share the 1989 mix of TMLWKY? Besides the request, I think it would be cool if CMI included it in his The Miracle (Expanded Collection). It would represent perfectly how the song could have sounded in that album. |
Pim Derks 31.03.2018 09:25 |
I'd kill for an in-depth documentary about this period of the band. Starting from the FM Tribute up to and including TSMGO with Elton. |
cmi 31.03.2018 16:26 |
BETA215 wrote: Could somebody please share the 1989 mix of TMLWKY? Besides the request, I think it would be cool if CMI included it in his The Miracle (Expanded Collection). It would represent perfectly how the song could have sounded in that album.As I wrote earlier I'm sure that TMLWKY on 1989 'The Miracle' Capitol advance cassette is the same mix as on 1995 MIH CD so I don't see the reason to feature tape cassette source instead of official MIH CD source. |
The Ghost of Lester Burnham 01.04.2018 17:57 |
cmi wrote:It is.BETA215 wrote: Could somebody please share the 1989 mix of TMLWKY? Besides the request, I think it would be cool if CMI included it in his The Miracle (Expanded Collection). It would represent perfectly how the song could have sounded in that album.As I wrote earlier I'm sure that TMLWKY on 1989 'The Miracle' Capitol advance cassette is the same mix as on 1995 MIH CD so I don't see the reason to feature tape cassette source instead of official MIH CD source. |
Sebastian 08.06.2018 14:56 |
Bumped considering the 'Too Much Love' discussion going on elsewhere. |
IanR 08.06.2018 20:44 |
'The Complete Illustrated Lyrics' has handwritten lyrics for 'Let Me Live' (just Freddie's verse), which date back to 1981 and the Hot Space sessions. |
Sebastian 09.06.2018 02:24 |
That's true too! |
fruhzs 13.06.2018 15:08 |
“How can I go On”, if memory serves me well, was also strangely (in my personal opinion though) from that Album (“The Freddie Mercury Album”). I never understood it, considering “Barcelona” was in it and it was somewhat of a hit, certainly more of a hit than some of the MBG songs on the album. Now that very likely has nothing to do with MIH, considering the style of the song and the fact that it features Monserrat, unlike the other songs mentioned by IanR . Even though, it does feature John on Bass and it should have been in that Freddie “hits” album. Also, it’s curious that they didn’t consider “Love Kills” for MIH, since it was “almost” a Queen song from the get go, and Brian has mentioned on interviews that Jim Beach always reminded them to consider that song as something they could potentially make it work for Queen. |
Sebastian 13.06.2018 15:48 |
Probably wouldn't fit the 'theme' of the album, though they did have something fast and simple with 'You Don't Fool Me'. Also, considering he'd died of AIDS-related bronchopneumonia, releasing a song titled 'Love Kills' would've probably been deemed too soon. In 2015, it didn't matter anymore. Edit: Then again, they did have 'Too Much Love Will Kill You'... |
dysan 14.06.2018 07:32 |
I remember thinking that when BM played it at the FM concert. Like, dude, too soon! YDFM has all the hall marks of a song I'd hate but it's probably my favourite on that album. Something weirdly nostalgic and European about it. It's cosy. |
emrabt 15.06.2018 09:12 |
I'd like to hear the completely different 'other' version of Love kills, the one Morodor presumably wrote for Freddie to sing. |
OhioMustapha 16.06.2018 04:14 |
missing one part of the timeline: November 24th, 1991: Freddie Dies |
Sebastian 16.06.2018 04:51 |
These timelines only cover recordings, not other events. Of course, we could also add, say, the day each of David Richard's great-grandparents was born (without them, there would've been no 'Made in Heaven' as we know it). |
miraclesteinway 19.06.2018 09:25 |
For what it's worth, I seem to remember a lot of press coverage in the year before the release, and various snippets in Fan Club Magazines. Around 1993-1994 it still seemed to be thought by fans that there would be an EP, but not a whole LP. We all knew that Too Much Love Will Kill You would be on the album, and there seemed to be the idea that there were 4 songs recorded after Innuendo that might qualify for the release. Of course now we know that A Winter's Tale, You Don't Fool Me and Mother Love were the only songs with enough vocal in them recorded post-Innuendo, since Let Me Live was done in the 1980s, as was Beautiful Day. It wasn't until a bit later on that it was made known that the album would be called Made In Heaven, and would include the two tracks from Mr Bad Guy, the B-side My Life Has Been Saved, and Heaven For Everyone, so it's either possible that the band knew all along they'd be including these tracks at Freddie's request and they remained tight lipped on it, or they decided later in the recording process that they wanted to make an album and so needed to include reworkings of older songs. This is a 24 year old memory so I could have it totally wrong and I no longer have the Fan Club magazines which refer to this. |
emrabt 19.06.2018 10:40 |
You are correct with the "4 tracks" memory, that was stated somewhere because for a long time i assumed You Don't Fool Me might have been two different unfinished songs that were joined together. |
Sebastian 19.06.2018 15:50 |
Here's what they wrote to the fan club: Roger (October 1991): 'Aside from 4 new Queen tracks recorded earlier in Montreux there is Greatest Hits II coming out this month.' Roger (October 1993): 'This is Roger Taylor writing in behalf of myself and John Deacon. We are in the studio finishing (or starting to refinish) the Queen album. We have started work without Brian because of uncertainty regarding his future commitments - he is currently touring in North America. We expect some involvement from him in the new year. After 2 weeks we have assembled the basic material and worked on some of it. It is sounding magnificent; the work is going swimmingly; the majority of the material will be an epitaph to Freddie and the work he did with us at the end of his life.' John (26th February 1994): 'Roger and I spent several weeks in the studio last year working on various Queen tracks. We played along with some of them, adding improved bass and drums to the songs.' Brian (June 1994): 'For the past four months or so (I can't believe how fast the time goes...), I've shelved any thoughts about solo work, and it's been my turn to delve into those last Queen tracks which we started with Freddie nearly three years ago. Of course the remaining new material is very precious stuff, and in my mind the most important consideration is that this final collection must be worthy of the name Queen, so I've been delving very deep. I'm now very excited about how it's turning out, but only when I'm sure that Freddie is coming across in full glory, in the way he would wish, will I begin to feel happy. Anyway you can be sure that John, Roger and I will have put in the maximum amount of living care (and the usual arguments!) by the time this thing hits the shops! I'm particularly proud of ... that would spoil the surprises, wouldn't it?! Next week we'll be meeting to make plans for the next few months.' Roger (September 1994): 'John, Brian and myself are continuing work on the Queen album which bodes very well for keeping busy in '95. It's sounding good - honest guv.' Brian (18th January 1995): 'Most of these last few months I've been staring at a computer screen trying to push the Queen tracks (from the legendary Last Album) from good towards great. Also Roger, John and I have actually spent a few days recording live all together at my messy home in the country - which was very enjoyable.' John (9th March 1995): 'The recording and mixing of Queen material is progressing and I hope we will be able to release the end results this year. I am sure that everybody will have varied and different comments and opinions on the finished work. It has not been easy as even Roger, Brian and myself see things differently and coming to agreement between us takes time! Anyway, we will do our best as that is all we can do and I hope you feel that it was worth all the work to release a final Queen album!!' Brian (3rd July 1995): 'What was that about "pain being so close to pleasure"? Hmmm. As I write, we have only a few weeks to deliver all the finished mixed tracks, and all the artwork, if we are to meet the deadline for a Christmas onslought! It feels a bit like the old days, but of course we're all very different in our ways now. I remember us working flat out in three different studios to deliver A Night at the Opera in 1976 [sic]. At the moment work is going on in London, and at Roger's Mill, and at my own studio in sunny Surrey ...... we may even make it! For me, I can hardly believe that most of the last 18 months or so of my life have gone into this - "what, just for a few 4-minute songs??!!!" Well, they're pretty precious songs, and I keep remembering this is really the last chance I'll ever have to work with Freddie's wonderful voice. Let's hope you all like this stuff!' Roger (September 1995): 'The time has come to put to bed this last studio album from Queen, a difficult child indeed! Made in Heaven was a long process of thought, effort and care. In content of songs, emotion and above all, in power and quality of performance from Freddie, the work is strong indeed. Boy, could that one sing! Some of the songs have never been heard before, including the last lyric and performance of our singer, others you might recognize but in totally different form and hopefully now improved. It will be interesting and probably pitifully predictable to see what our generous and giving press have to say about the work, using their normal benchmarks of quality of performance and true musicality - not. Permit me to preempt them by saying at this early stage f**k you - forever and ever! What actually matters is what you the people who actually listen, actually allow yourselves to be moved a little and actually let the music into your lives - think of the album. I hope you like it!?' Jer & Bomi (4th December 1995): 'I hope you all have enjoyed Queen's New Album and Video. It must have been difficult for Brian, Roger, John to finish this album without Freddie. They have worked so hard. We thank you boys. It brought back all lovely memories.' |
miraclesteinway 19.06.2018 15:58 |
Ah yes I remember all this now. Sebastian, do you have any fan club letters from Freddie talking about post-Innuendo tracks or did he not mention them? |
Sebastian 19.06.2018 16:10 |
His last letter was in November 1990, and it mentions 'Innuendo' (the album). He never wrote to the fan club after that - or, if he did, it wasn't published :( BTW, Roger mentioned 'four tracks', and it's been suggested that 'Lost Opportunity' was one of them. Of course, by the time he wrote the letter, it'd already been released as a B-Side, but it wouldn't be the first or last time there's a 'bastard' on an album ('Crazy Little Thing', 'Save Me', 'Under Pressure'). |
The Real Wizard 19.06.2018 16:47 |
Sebastian wrote: Here's what they wrote to the fan club: Roger (September 1995): 'The time has come to put to bed this last studio album from Queen, a difficult child indeed! Made in Heaven was a long process of thought, effort and care. In content of songs, emotion and above all, in power and quality of performance from Freddie, the work is strong indeed. Boy, could that one sing! Some of the songs have never been heard before, including the last lyric and performance of our singer, others you might recognize but in totally different form and hopefully now improved. It will be interesting and probably pitifully predictable to see what our generous and giving press have to say about the work, using their normal benchmarks of quality of performance and true musicality - not. Permit me to preempt them by saying at this early stage f**k you - forever and ever! What actually matters is what you the people who actually listen, actually allow yourselves to be moved a little and actually let the music into your lives - think of the album. I hope you like it!?'What a wonderful read all that was. I genuinely enjoy seeing their differences in personality even through just text. This last one is just classic Roger. |
vadenuez 29.06.2018 04:11 |
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vadenuez 29.06.2018 04:12 |
It was great to revisit those letters from long gone days. Now I remember that in the early days post Freddie, John and Roger were much much closer and both were the remaining Queen, while Brian kept going on with his solo stuff somewhere else. |
mike hunt 30.06.2018 17:30 |
They did a great Job on this album....no classics, but it's consistent....I think No One but You would of been a perfect song for MIH. If Brian written it earlier... |
cmi 06.10.2018 10:43 |
Is it correct that recording sessions at Mountain Studios for the album were only in January - May 1991 and all other post-Freddie recordings were made in London and Surrey only ? |
Sebastian 06.10.2018 14:03 |
Yes, as far as it's been documented, Brian returned to the studios to do some stuff for his solo album but that was it. As soon as his and Roger's home studios were ready, they sold Mountain to David. It makes sense: they'd bought Mountain in 1979 for three reasons: - To have a band investment. - To use them whenever they felt like it. - To have other acts record there. By 1993: - Brian, in particular, wanted to leave Queen behind. - Home studios supplied that need/desire much more comfortably. - Top acts had home studios too, it wasn't too profitable anymore. |
MisterCosmicc 06.10.2018 14:16 |
More |
cmi 06.10.2018 20:28 |
Nice! Thanks, Seb. |
AshAlexander 26.03.2020 17:25 |
Fab! |