QueenZone discussion #1376019

marc.s wrote: Raffy I much prefer The Fallen Priest from the original Barcelona, I find to my ears that they backed off on the vocal somewhat when they added the real orchestra , I don't know maybe its all in my mind lol ;)

marc.s wrote: Oh and Greg if you read this , I know you've studied Freddie's vocal range. In which song does he cover the most distance from lows to highs?

Raffy wrote:

marc.s wrote: Raffy I much prefer The Fallen Priest from the original Barcelona, I find to my ears that they backed off on the vocal somewhat when they added the real orchestra , I don't know maybe its all in my mind lol ;)

Original 1988 Barcelona album was far superior than the 2012 release. In my opinion the 2012 edition sounds too flat and weak in the arrangments.... it lacks that "Freddie Mercury magic touch" to give strenght and power.

cmsdrums wrote:

marc.s wrote: Oh and Greg if you read this , I know you've studied Freddie's vocal range. In which song does he cover the most distance from lows to highs?

Not many lows in 'One Year of Love' but its sung really high amd powerfully but with no falsetto; all really 'full on'. PErhaps the key for this song could have been better? However, for that very reason it's one of my least favourite Freddie vocal performances as he doesn't bring much light and shade, and is probably one of the only times when I could accuse him of 'oversinging' in relation to what was needed for the track. I dare anyone else try to sing it like that though!!

andyb1968 wrote: Exersizes in free love really shows off Freddie's range, but I think that middle section in mother love is staggering, the vision I have of him taking a slug of vodka, barely standing up and then giving it the beans ! Always does it for me.

cmsdrums wrote: Not many lows in 'One Year of Love' but its sung really high amd powerfully but with no falsetto; all really 'full on'. PErhaps the key for this song could have been better? However, for that very reason it's one of my least favourite Freddie vocal performances as he doesn't bring much light and shade, and is probably one of the only times when I could accuse him of 'oversinging' in relation to what was needed for the track. I dare anyone else try to sing it like that though!!

Heavenite wrote: I think Somebody to Love is way up there.

brENsKi wrote:

Heavenite wrote: I think Somebody to Love is way up there.

was just going to say this ^^^^ am surprised no one suggested it previously would also add "Nevermore" and "Who Needs You"

Heavenite wrote: I think Somebody to Love is way up there. For belting one out I think Another One Bites the Dust is a very clever vocal too! One Year Of Love is Freddie's worst vocal in my opinion.

Raffy wrote: Let's face it: he was even able to sing the phone book and make it sound like a masterpiece :)

cmsdrums wrote: Not many lows in 'One Year of Love' but its sung really high amd powerfully but with no falsetto; all really 'full on'. PErhaps the key for this song could have been better? However, for that very reason it's one of my least favourite Freddie vocal performances as he doesn't bring much light and shade, and is probably one of the only times when I could accuse him of 'oversinging' in relation to what was needed for the track. I dare anyone else try to sing it like that though!!

andyb1968 wrote: Somebody to love is a decent shout, extremely hard to sing properly, George Michael did a stunning job on it, didn't Freddie write it with Aretha Franklin in mind ? I'd love to have heard her record a version.

pestgrid wrote: okay everyone listen to the 12' track of Its a Hard Life,in the middle of the song where the original 7' ends, the track goes on and Freddie gives his best vocal take ever, the take was made during the sessions in LA and freddie achieves his highest note whilst staying within his normal singing range without going soprano.......this is by far his best vocal take and a shame it didnt end up on the greatest hits 2 version........

brENsKi wrote:

Heavenite wrote: I think Somebody to Love is way up there.

am surprised no one suggested it previously
QUOTE]
I did!!!!

marc.s wrote:

Heavenite wrote: I think Somebody to Love is way up there. For belting one out I think Another One Bites the Dust is a very clever vocal too! One Year Of Love is Freddie's worst vocal in my opinion.

Either Brian or Roger i think (correct me someone if im wrong) said Freddie sang until his throat bled on Another One Bites The Dust to try to get across the amount of work he put into it.

brENsKi wrote: secondly, what possible vocal range would be required for singing out of a phone book?

musicland munich wrote: "Too much love will kill you" ...but yes, ask me another day and I will change opinion.

Gregsynth wrote: The Show Must Go On.

Raffy wrote: vast majority of Hot Space tracks

marc.s wrote:

Gregsynth wrote: The Show Must Go On.

Greg if you read this , I know you've studied Freddie's vocal range. In which song does he cover the most distance from lows to highs?

Raffy wrote:

brENsKi wrote: secondly, what possible vocal range would be required for singing out of a phone book?

Isn't about "range" but about vocal timbre. Freddie even if he had a range of 3 and a half octaves is not THE greatest when we speak about range. Is one of the greatest but not the greatest.

brENsKi wrote:

Raffy wrote:  Let's face it: he was even able to sing the phone book and make it sound like a masterpiece :)

not really. i don't recall him doing this...so where's your proof he was able to do this?

The Real Wizard wrote:

Raffy wrote: vast majority of Hot Space tracks

Glad someone mentioned this. We all know the record hasn't aged well and all that, but the vocal performances of most of the songs are definitely amongst his best. Body Language is probably my least favourite Queen song, but he sings his tits off. Staying Power, Back Chat and Life Is Real are great vocals too... and Cool Cat is his falsetto at its best.

Raffy wrote:

musicland munich wrote: "Too much love will kill you" ...but yes, ask me another day and I will change opinion.

My favourite Queen tune along with Was It All Worth It... never understood why Freddie didn't like the song as his performance is spot on (speaking about professionalism: the man didn't like the tune but anyway gave a stellar rendition). Maybe the song's theme made him think about his personal condition and the fact that actually "too much love" in the end was going to kill him. Sometimes people can see/find deep meanings in other's people compositions and often giving a better interpretation than the one of the original composer. Brian wrote it describing his personal situation but maybe Freddie, while sang it, relived the phantoms of his past... Any thoughts?

marc.s wrote:

Gregsynth wrote: The Show Must Go On.

Greg if you read this , I know you've studied Freddie's vocal range. In which song does he cover the most distance from lows to highs?

The Real Wizard wrote:

marc.s wrote:

Gregsynth wrote: The Show Must Go On.

Greg if you read this , I know you've studied Freddie's vocal range. In which song does he cover the most distance from lows to highs?

I'd say All God's People. He hits some great lows in the choirs, and gets up to a high D in chest voice.

The Real Wizard wrote:

marc.s wrote:

Gregsynth wrote: The Show Must Go On.

Greg if you read this , I know you've studied Freddie's vocal range. In which song does he cover the most distance from lows to highs?

I'd say All God's People. He hits some great lows in the choirs, and gets up to a high D in chest voice.

Gregsynth wrote:

The Real Wizard wrote:

marc.s wrote:

Gregsynth wrote: The Show Must Go On.

Greg if you read this , I know you've studied Freddie's vocal range. In which song does he cover the most distance from lows to highs?

I'd say All God's People. He hits some great lows in the choirs, and gets up to a high D in chest voice.

He also sings a head-voiced F5!

Gregsynth wrote:

marc.s wrote:

Gregsynth wrote: The Show Must Go On.

Greg if you read this , I know you've studied Freddie's vocal range. In which song does he cover the most distance from lows to highs?

Oooooh... On vocal range alone, I would probably say Somebody To Love. Freddie sings Ab2 to Ab5 on the studio version.

master marathon runner wrote: Hot space has aged remarkably, like a good wine, it's a joy to listen to and a credible alternative to their Rockier albums.

marc.s wrote:

Gregsynth wrote:

marc.s wrote:

Gregsynth wrote: The Show Must Go On.

Greg if you read this , I know you've studied Freddie's vocal range. In which song does he cover the most distance from lows to highs?

Oooooh... On vocal range alone, I would probably say Somebody To Love. Freddie sings Ab2 to Ab5 on the studio version.

cheers Greg , oh and Greg I think I read before you mentioned The Hero and apparently Freddie sang it live in the original key one time before dropping it. What was the gig and is there a boot available?

Gregsynth wrote:

marc.s wrote:

Gregsynth wrote:

marc.s wrote:

Gregsynth wrote: The Show Must Go On.

Greg if you read this , I know you've studied Freddie's vocal range. In which song does he cover the most distance from lows to highs?

cheers Greg I'll check it out ;) Oooooh... On vocal range alone, I would probably say Somebody To Love. Freddie sings Ab2 to Ab5 on the studio version.

cheers Greg , oh and Greg I think I read before you mentioned The Hero and apparently Freddie sang it live in the original key one time before dropping it. What was the gig and is there a boot available?

It's Essen 1980! The performance starts at 1:00. All I can say is that The Real Wizard loves this version, and Roger's "The Hero" on this performance!

marc.s wrote:

Gregsynth wrote:

marc.s wrote:

Gregsynth wrote:

marc.s wrote:

Gregsynth wrote: The Show Must Go On.

Greg if you read this , I know you've studied Freddie's vocal range. In which song does he cover the most distance from lows to highs?

cheers Greg I'll check it out ;) Oooooh... On vocal range alone, I would probably say Somebody To Love. Freddie sings Ab2 to Ab5 on the studio version.

cheers Greg , oh and Greg I think I read before you mentioned The Hero and apparently Freddie sang it live in the original key one time before dropping it. What was the gig and is there a boot available?

It's Essen 1980! The performance starts at 1:00. All I can say is that The Real Wizard loves this version, and Roger's "The Hero" on this performance!

kosimodo wrote: I like His singing in lily og the valey... Suprised nobody so far mentioned it;)

master marathon runner wrote:

kosimodo wrote: I like His singing in lily og the valey... Suprised nobody so far mentioned it;)

I mentioned it !! I think the"hot space" nay-Sayers, should perhaps go back to, and re-assess the album and see if it really was ahead of it's time. I mean this pertinently .

The Real Wizard wrote: ....and Cool Cat is his falsetto at its best.

The Real Wizard wrote:

marc.s wrote:

Gregsynth wrote: The Show Must Go On.

Greg if you read this , I know you've studied Freddie's vocal range. In which song does he cover the most distance from lows to highs?

I'd say All God's People. He hits some great lows in the choirs, and gets up to a high D in chest voice.

marc.s wrote:

The Real Wizard wrote:

marc.s wrote:

Gregsynth wrote: The Show Must Go On.

Greg if you read this , I know you've studied Freddie's vocal range. In which song does he cover the most distance from lows to highs?

I'd say All God's People. He hits some great lows in the choirs, and gets up to a high D in chest voice.

funnily enough I was just reading an old interview with Brian May and Nuno bettoncourt where Nuno states: BETTENCOURT: "All God's People" is my favorite track. It's chilling" . And I agree i think it's one of my favorite tracks from innuendo along with TSMGO and IGSM. Great vocs

cmsdrums wrote:

The Real Wizard wrote: ....and Cool Cat is his falsetto at its best.

Absolutely agree. Whilst it's not a favourite song of mine by any means, it is authentic to the style it is in, and as you say, the vocal is so controlled and brilliantly executed in falsetto without wailing, r sounding forced or too much like a spoof/pastiche. (whereas Barry Gibb sounds absolutely ridiculous on a lot of his material recorded in falsetto - why he thought that just cos 'Staying Alive' suited that style it would then work on everything else the Bee Gees subsequently released, is quite beyond me!!)

ITSM wrote: To "choose" which song Freddie Mercury sang the best is a really hard "choice." He was the best. I think In the Lap of the Gods and My Melancoly Blues might be some of them (if you just consider his voice), but there are so many great songs - all of Hot Space, Innuendo and A Day at the Races are just great. Also My Fairy King etc...

marc.s wrote:

ITSM wrote: To "choose" which song Freddie Mercury sang the best is a really hard "choice." He was the best. I think In the Lap of the Gods and My Melancoly Blues might be some of them (if you just consider his voice), but there are so many great songs - all of Hot Space, Innuendo and A Day at the Races are just great. Also My Fairy King etc...

I read somewhere that people thought Freddie didn't care during the recording process but wow he sang his heart out on that album. (Hot Space)

GAP wrote: Soul Brother

Djdownsy wrote: I'm surprised nobody has mentioned 'In My Defense'. I mean, one take? How many people pull that vocal out in ONE TAKE???

True that '...Dust' is a great vocal, but equally so it was a vocal (maybe the only one ever..not sure?) of his that was pitch shifted up in the studio, so he didn't sing it quite in that key.

cmsdrums wrote: Most of A Day At The Races too; it was the album where he nailed everything, and reached the perfect point of power (Tie Your Morher Down, White Man), finesse (Good Old Fashioned Lover Boy) and control (You Take My Breath Away) without having any of the 'warble' which is still present at points on A Night At The Opera, the thinness from the debut album, or straining present in other places. The whole of ADATR is perfect vocally for me.

The Real Wizard wrote:

GAP wrote: Soul Brother

I always forget about that one. Undoubtedly one of his best vocals ever. In fact, I'd even argue it's one of the best Queen songs ever. Of all the Queen tracks from the middle era that seem to get lost amongst the big hits, this is one I wish people would have heard. It's classic Queen at their best, with Freddie channeling his inner Aretha to the fullest.

cmsdrums wrote: Most of A Day At The Races too; it was the album where he nailed everything, and reached the perfect point of power (Tie Your Morher Down, White Man), finesse (Good Old Fashioned Lover Boy) and control (You Take My Breath Away) without having any of the 'warble' which is still present at points on A Night At The Opera, the thinness from the debut album, or straining present in other places. The whole of ADATR is perfect vocally for me.

Raffy wrote:

cmsdrums wrote: Most of A Day At The Races too; it was the album where he nailed everything, and reached the perfect point of power (Tie Your Morher Down, White Man), finesse (Good Old Fashioned Lover Boy) and control (You Take My Breath Away) without having any of the 'warble' which is still present at points on A Night At The Opera, the thinness from the debut album, or straining present in other places. The whole of ADATR is perfect vocally for me.

Yeah speaking about "whole album performances" ADATR must be on the "top 5". From my personal point of view anyway he reached his peak in the '70s with Jazz and in the '80s with The Miracle.

Chief Mouse wrote: Hard to say. Definately some of the 70s stuff is up there. But if we are talking about the famous *big* voiced Freddie people tend to recognise, I think it's the 80s, to be more precise the mid-80s. By that point he got to even higher notes, more grit and more vibrato which makes it sound very powerful. As someone already mentioned, Freddie could make even a boring (or bad) song sound exciting just by singing it out in a unique way. For example, Body Language is shite, but the way he sings the high parts is wow. Tear It Up 2:01 in this video link "oooooh". Also ITLOTG:R from this very same concert "so funny.... my money....". His voice was in bad shape here but he still managed to make such a sound that I get goosebumps how powerful it is. That's one aspect of his 80s voice that I like. And then there's his soothing falcetto (head voice, or whatever technical people call it) in songs like Cool Cat, Don't Try So Hard (bloody good song). I think the thing about the greatness of Freddie's voice is not the range, but his tone, emotion and skill to adapt it for every song where it was necessary. It was his instrument. The end of A Dog With A Bone (around the 4 minute mark ) is pure blabber but I just like it for some reason :-)

Djdownsy wrote: I'm surprised nobody has mentioned 'In My Defense'. I mean, one take? How many people pull that vocal out in ONE TAKE???

marc.s wrote:

cmsdrums wrote: Most of A Day At The Races too; it was the album where he nailed everything, and reached the perfect point of power (Tie Your Morher Down, White Man), finesse (Good Old Fashioned Lover Boy) and control (You Take My Breath Away) without having any of the 'warble' which is still present at points on A Night At The Opera, the thinness from the debut album, or straining present in other places. The whole of ADATR is perfect vocally for me.

hi cms when you're taking about warble on ANATO , which songs are you referring to and which bit?

cmsdrums wrote: Only very slight, but things like the 'Now I Know' and 'Ooh-ah, ooh-ah' repeat vocals in 'The Prohet's Song' show slight strains in his delivery.

marc.s wrote:

Djdownsy wrote: I'm surprised nobody has mentioned 'In My Defense'. I mean, one take? How many people pull that vocal out in ONE TAKE???

awesome for one take i didn't realise that. Don't they also say that about TSMGO?

cmsdrums wrote: somewhat shows the effects of having started smoking on 'The Works' and AKOM, and then regains it for 'Barcelona' onwards!

Stellabella wrote: I love the speaking/deep tenor vocal on man made paradise. Just began to explore Freddie's solo work. What a magical man.

Raffy wrote:

musicland munich wrote: "Too much love will kill you" ...but yes, ask me another day and I will change opinion.

My favourite Queen tune along with Was It All Worth It... never understood why Freddie didn't like the song as his performance is spot on (speaking about professionalism: the man didn't like the tune but anyway gave a stellar rendition). Maybe the song's theme made him think about his personal condition and the fact that actually "too much love" in the end was going to kill him. Sometimes people can see/find deep meanings in other's people compositions and often giving a better interpretation than the one of the original composer. Brian wrote it describing his personal situation but maybe Freddie, while sang it, relived the phantoms of his past... Any thoughts?

marc.s wrote: hi Raffy where did you read that Freddie didn't like TMLWKY?

Raffy wrote:

marc.s wrote: hi Raffy where did you read that Freddie didn't like TMLWKY?

Is one of those things you recall in your memory but can't really remember where you've read it/listen to it. Anyway I must correct myself 'cause my previous statement seems like a speculation since we haven't the 100% proof that what I said was true: simply put it in that way... TMLWKY wasn't appropriate for "The Miracle" album or maybe Brian initially preferred his solo demo version and wanted it to be published on his future solo work so didn't was released up until Made In Heaven.

Stelios wrote: 1 The show must go on 2 Scandal 3 In my Defence 4 Who wants to live forever 5 One year of love

cmsdrums wrote:

marc.s wrote:

cmsdrums wrote: Most of A Day At The Races too; it was the album where he nailed everything, and reached the perfect point of power (Tie Your Morher Down, White Man), finesse (Good Old Fashioned Lover Boy) and control (You Take My Breath Away) without having any of the 'warble' which is still present at points on A Night At The Opera, the thinness from the debut album, or straining present in other places. The whole of ADATR is perfect vocally for me.

hi cms when you're taking about warble on ANATO , which songs are you referring to and which bit?

Only very slight, but things like the 'Now I Know' and 'Ooh-ah, ooh-ah' repeat vocals in 'The Prohet's Song' show slight strains in his delivery. ADATR is the FIRST album where (to me) he is essentially perfect on everything. As others have said, he then repeats that on almost everything up to and including Hot Space, somewhat shows the effects of having started smoking on 'The Works' and AKOM, and then regains it for 'Barcelona' onwards!

Raffy wrote: TMLWKY wasn't appropriate for "The Miracle" album or maybe Brian initially preferred his solo demo version and wanted it to be published on his future solo work so didn't was released up until Made In Heaven.

cmsdrums wrote:

marc.s wrote:

cmsdrums wrote: Most of A Day At The Races too; it was the album where he nailed everything, and reached the perfect point of power (Tie Your Morher Down, White Man), finesse (Good Old Fashioned Lover Boy) and control (You Take My Breath Away) without having any of the 'warble' which is still present at points on A Night At The Opera, the thinness from the debut album, or straining present in other places. The whole of ADATR is perfect vocally for me.

hi cms when you're taking about warble on ANATO , which songs are you referring to and which bit?

Only very slight, but things like the 'Now I Know' and 'Ooh-ah, ooh-ah' repeat vocals in 'The Prohet's Song' show slight strains in his delivery. ADATR is the FIRST album where (to me) he is essentially perfect on everything. As others have said, he then repeats that on almost everything up to and including Hot Space, somewhat shows the effects of having started smoking on 'The Works' and AKOM, and then regains it for 'Barcelona' onwards!

The Real Wizard wrote:

Raffy wrote: TMLWKY wasn't appropriate for "The Miracle" album or maybe Brian initially preferred his solo demo version and wanted it to be published on his future solo work so didn't was released up until Made In Heaven.

Wasn't there some kind of publishing issue, since there were outside songwriters to be credited.. ?

Mike G wrote: I think ANATO was when Freddie's voice fully developed....He found his Voice, This is when he was most creative as a writer and vocalist..Songs like Love Of My Life and Bo Rhap are examples. His voice did get stronger in later years, but this is when he was most original as a singer. I Don't think any one song is above the rest but has many performances that are on the same level...Love Of my life, Bo Rhap, Nevermore, Show must go on, Somebody to love, Innuendo, Night comes down and many more.

marc.s wrote: hi cms you said you thought Freddie was perfection on ADATR and then said he regained his voice for Barcelona, which of those two styles do you prefer because he's certainly more powerful on Barcelona overall than ADATR IMO. But both are master classes of singing.

cmsdrums wrote:

marc.s wrote: hi cms you said you thought Freddie was perfection on ADATR and then said he regained his voice for Barcelona, which of those two styles do you prefer because he's certainly more powerful on Barcelona overall than ADATR IMO. But both are master classes of singing.

Hi Marc - I am a fan of both albums, but personally I prefer the smoother overall vocal delivery of ADATR, although Barcelona (along with Mr Bad Guy) have some incredibly powerful full vocals

cmsdrums wrote:

marc.s wrote: hi cms you said you thought Freddie was perfection on ADATR and then said he regained his voice for Barcelona, which of those two styles do you prefer because he's certainly more powerful on Barcelona overall than ADATR IMO. But both are master classes of singing.

Hi Marc - I am a fan of both albums, but personally I prefer the smoother overall vocal delivery of ADATR, although Barcelona (along with Mr Bad Guy) have some incredibly powerful full vocals

FreddieCat wrote: Due to his weakness at the time, Freddies pronounced lyrics and words in A Winter's Tale almost with a swagger. I find this highly attractive and hauntingly beautiful. I am absolutely nuts about the song.

Mike G wrote:

FreddieCat wrote: Due to his weakness at the time, Freddies pronounced lyrics and words in A Winter's Tale almost with a swagger. I find this highly attractive and hauntingly beautiful. I am absolutely nuts about the song.

Funny I was Just listening to that song, And I agree, one of my favorite Queen songs of all time. Fits in with where I'm at in my life right now....

Mike G wrote:

FreddieCat wrote: Due to his weakness at the time, Freddies pronounced lyrics and words in A Winter's Tale almost with a swagger. I find this highly attractive and hauntingly beautiful. I am absolutely nuts about the song.

Funny I was Just listening to that song, And I agree, one of my favorite Queen songs of all time. Fits in with where I'm at in my life right now....

Mike G wrote: ADTR and ANATO for originality and sounding perfect, the tone and everything...But power?...how about Hammer to Fall? and not sure how Barcelona's "Ensueno" slipped my mind, but that one still gives me chills and I been listening to that album for 25 years....

marc.s wrote:

Mike G wrote: ADTR and ANATO for originality and sounding perfect, the tone and everything...But power?...how about Hammer to Fall? and not sure how Barcelona's "Ensueno" slipped my mind, but that one still gives me chills and I been listening to that album for 25 years....

Ensuno is a great track, actually Freddie's power and control is superb over the whole of Barcelona album IMO. I prefer the original release rather than the newly orchestrated version. although Exercises in Free Love on the new version is brilliant.

Mike G wrote:

marc.s wrote:

Mike G wrote: ADTR and ANATO for originality and sounding perfect, the tone and everything...But power?...how about Hammer to Fall? and not sure how Barcelona's "Ensueno" slipped my mind, but that one still gives me chills and I been listening to that album for 25 years....

Ensuno is a great track, actually Freddie's power and control is superb over the whole of Barcelona album IMO. I prefer the original release rather than the newly orchestrated version. although Exercises in Free Love on the new version is brilliant.

Barcelona is one of my favorite Freddie albums in general, and that includes Queen...Only a handful of Queen albums I would put on the same level or slightly above it...It's a shame some of Freddie's best performances are are lost on subpar albums like Hot Space (which is decent) and MR. Bad Guy....The same with Brian May, it's a shame some of his best guitar work is Forgotten on patchy solo albums...Last Horizon would have been great on Innuendo or MIH...Ressurection could have been an Epic on a Queen album...Made in heaven also has some great vocal performances, A winter's tale, too much Love, and What Brian did on the title track is truly amazing, great song....I know The song MIH is one of Brian's favorites, and I agree with him...

Raffy wrote:

cmsdrums wrote: Not many lows in 'One Year of Love' but its sung really high amd powerfully but with no falsetto; all really 'full on'. PErhaps the key for this song could have been better? However, for that very reason it's one of my least favourite Freddie vocal performances as he doesn't bring much light and shade, and is probably one of the only times when I could accuse him of 'oversinging' in relation to what was needed for the track. I dare anyone else try to sing it like that though!!

Uniqueness of Freddie's voice properly consists in this: in some 80's songs like The hero, Let's turn it on, One year of love, Gimme the prize, Scandal he tend a little bit to oversing (maybe just to push his potential to the limit) but he manages anyway to maintain an high rate of powerness and strength even on such high pitched notes... incredible control and acknowledgment of his capabilities.

Mike G wrote: Scandel is one of my favorites on that album, but instead of the pop sounds of the 80's it should have been heavier...Heavier guitars instead of the synths...

marc.s wrote:

Mike G wrote: Scandel is one of my favorites on that album, but instead of the pop sounds of the 80's it should have been heavier...Heavier guitars instead of the synths...

hi mike do you mean synths on Scandal or in general? I thought the main riff on Scandal was the red special not synth, somebody correct me if I'm wrong I'd be interested to find out.

Stelios wrote:

marc.s wrote:

Mike G wrote: Scandel is one of my favorites on that album, but instead of the pop sounds of the 80's it should have been heavier...Heavier guitars instead of the synths...

hi mike do you mean synths on Scandal or in general? I thought the main riff on Scandal was the red special not synth, somebody correct me if I'm wrong I'd be interested to find out.

Hi marc.s. I think Scandal's main riff is a blend between May's guitar and synths/keyboards. According to wikipedia May recorded the keyboards and guitars in one take. In the Scandal 12' version ( wich by the way is AWESOME) you can hear the synths without the guitar at 1:00    https://www.youtube.com/watch?v=t3fRWx22nWI  A heavier mix of the song(more guitar -les synths),  here :https://www.youtube.com/watch?v=ZaI1v5cAWYs

malicedoom wrote: Another vote (no, TEN VOTES) for Scandal. That is such a great song. And the 12" version is my favorite 12" mix of all-time from ANY band.

Stelios wrote:

marc.s wrote:

Mike G wrote: Scandel is one of my favorites on that album, but instead of the pop sounds of the 80's it should have been heavier...Heavier guitars instead of the synths...

hi mike do you mean synths on Scandal or in general? I thought the main riff on Scandal was the red special not synth, somebody correct me if I'm wrong I'd be interested to find out.

Hi marc.s. I think Scandal's main riff is a blend between May's guitar and synths/keyboards. According to wikipedia May recorded the keyboards and guitars in one take. In the Scandal 12' version ( wich by the way is AWESOME) you can hear the synths without the guitar at 1:00    https://www.youtube.com/watch?v=t3fRWx22nWI  A heavier mix of the song(more guitar -les synths),  here :https://www.youtube.com/watch?v=ZaI1v5cAWYs

ZBGM0 wrote: For me best vocal performance is without any doubt “How can I go on” (not original, but alternative version) and “Show must go on” close second - best high note (D5) ever recorded from Freddie. Yes, there are also higher notes in other songs but they don’t sound so powerful like D5 in SMGO. I know there are many amazing studio vocal performances from Freddie in the 70s BUT in the 70s he didn’t have power that he had in the 80s. If I have to pick the best studio vocal performance from 70s it would be The prophet’s song. I personally believe his best vocals were in 87/88 after he stopped touring. Even Mike Moran said his voice started to get much better when recording Barcelona. There are probably three reasons for that: - Touring was over, so his voice was able to recover - He knew he had AIDS/HIV, so he knew that he had only max. few years left. So he decided to do his best/everything he can for his music in the last few years. He was more focused than ever. Consequently he didn’t party anymore like before, his life style was suddenly different. With other words he started to take care for his voice like never before (Also Mike Moran claims this). - Although this was never stated officially, I assume that Montserrat Caballe gave him few very good tips how to sing better. After all, she was the best femal singer in the world at this particular time. It would be weird not to give him any good advice. P.S.: People give too much credits for range and “which note he hits”. The most important is the QUALITY of the pitch/tone that he produces, not which notes he hits. There are millions of singers who can sing C5 but they will sounds like crap because they don’t have power/resonance. Why was Pavarotti one of the best operatic tenors? Because he could hit high C? NO, simply because he had best RESONANCE/power. And I believe Freddie had best resonance in 87/88. There is only one live recording which has probably the lowest quality but it is enough to hear his Bb4 in In My Defence, the note was very sweet, rich, colorful and resonate – completely different voice than his mid 80s. Same thing is with pianos, the longer the strings/sound board, the better the tone of the instrument. For example Steve Perry and Adam L. can both sing higher notes than Freddie but they have shorter strings and smaller sound board, therefore the voice is weaker then Freddie’s (if you consider Freddie Dec 79. Newcastle, Live Aid 85, and period 87-90).

JohnH wrote: I think "In My Defence" is actually quite strained in places and a little over sung. It works though!