15 minute audio of Brian with Elizabeth Lamers and Frank Musker creating the early stages of Too Much Love Will Kill You at Musker's home in LA around 1987/88. I've received a lot of requests for their own .wav copy so I'll post it here (even though this site is full of prats these days)
I also posted it on the Tube a few days ago link
Double-U, when something unheard of suddenly pops up without a story, 9 times out of 10 you should assume that someone got screwed over bigtime.
Well done, David. You sold your soul for a dozen thank yous on a forum.
Hmm, pretty sure my "soul" isn't MY copy of the bellboy tape. Pretty hypocritical what you said assuming what your signature is.
You're welcome to those who thanked, the rest are helping my theory of the kind of people (the majority) that are on this site.
Pretty hypocritical what you said assuming what your signature is.
It doesn't mean every recording must be immediately shared regardless of consequences.
Binary thinking never gets one anywhere.
Likewise, binary thinking never gets zero anywhere. :-)
I understand exactly what Bob means. I would also like to live in a world in which every fan recording a show it is also a fan releasing that recording for free. A world in which all the owners of rare recordings give them away. Of course, that is not the world we live in. And there are a couple of good reasons for this.
As we all know, most collectors must spend time and effort (and oftenly quite large sums of money) to get rare items, and it is only fair that they seek to obtain more from their investment by trading any rare track such items may contain whithin certain circle or circles of trust. Generally, after a given amount of time, the original owners tend to feel thatthere's no need or no use in protecting the investment anymore, and the track gets liberated. We have witnessed such acts of public kindness in this very forum.
In other cases, someone inside a trusted circle spreads the stuff he/she gets in full disregard of the owner's wishes. That is how several rare recordings find their way to the public these days. At first, this 'forced liberation' might seem like a good thought and for some it even appears to convey some weird sense of 'justice', but the fact is that this unquestionably unconsiderate behaviour is the main reason behind a lot of collectors keeping their rarities only to themselves. So this turns out to be a not so good idea in the large scheme of things. Not good at all. Intuition is usually right in that there is no net good from bad actions. Mind that!
Now regarding this particular case, and despite how interesting I might find this recording as a researcher, I feel apalled that such an intimate moment of creation finds its way to the public without the express consent of the people involved. I am not talking about collectors here, I am talking about Dr. Brian May & friends. I wonder how he feels about all this. I would bet he is not amused. Personally, no matter how much I desire knowledge, there is a line between public and private affairs I would never cross for its sake.
Just my two pence.
I got the point with the spread of rare recordings althought I'll never understand why people could feel better to stay alone with their recording instead of being honoured in the fan's world. For me it's great to read the thanks and see how my (not Queen) recordings are starting to travel in the www and reach many ears in this world. But of corse the taper should be asked before the journey starts, that's right.
I make a difference between this share and the Garden Lodge tapes because this is much more a visit at Dr. Mays work and filmed stuff is another league of privacy, I think.
There are just a couple of possibily objectable home demos in the Freddie box. The rest of the tracks were recorded in studio, and at least originally intended to be shown, in one form or another, to the world - so I don't think it's the same case. Anyway, all the box set inclusions were selected and/or approved by the people working with Freddie and his family and state. And who could claim better than them to know which recordings Freddie would have liked to feature on such a posthumous release? I certainly can't.
I agree that some things should be left private. In regard to the actual session, it's interesting to hear who came up with what lines and stuff. Elizabeth's high parts seem unnecessary and don't fit in at all, I'm glad Brian didn't include them when he sang it, leaving it fairly subdued so that parts like "plead and scream and crawl" and "seems like there's no way out of this for me" really shine.