| Stelios 24.12.2014 21:04 |
Not too many songs carry the edge and raw emotion of a really wicked situation as Scandal does. Written by May it also reflects heavily on Freddie's torments at the time, the equivalent of The Show Must Go On, two years later. Scandal works like a punch and simulates great the repetitive intrusion feeling that it’s written for. Like constant scratches that are destined to wear one out. A sophisticated track for a nasty autobiographical(s) scenario that involves the sum of Queen paralleled with May's, Mercury's (and to a degree Taylor's) individual stories at the time. ...and it could have been MORE Here's why: 1) Sound Scandal 12'' version is a true eye(or ear) opener of where this song could go if it had more air to breath and greater daring in the production where bass and drums (as shown in 12'') can really knock you off your shocks. Also it builds up better like changing gears in a speed excelerating car. A mix/blend between Scandal and Scandal-12'' could have been more of an artistic statement and a commercial hit since it demonstrates Freddie turning his voice into an electric guitar, Roger/John's sonic volcano on steroids, and May right on a stereo and belting frenzy. Plus there is a lot of audio effects and layers going on in the background that totally add to a somehow dystopic future and 3D-audio feeling. 2) Visuals Scandal's music video is a lost potential all the way through. Better lighting, better use of the camera and a more involving script could have bring life into the song. What he have today looks clinical and one-dimensional but if director(s) used more of that set and perhaps take the action out of it, it would have been much more modern and even have a short-film feeling. Plus Mercury by that time looked and moved like a wounded leopard. They could have made more out of this. He was worn out and harden by his struggles, and i think the video could have captured his spirits more authentically. They are evident, but visually they could have been a statement of their own if treated with more attention. 3) Timing This is a tricky one. If it was written for the Innuendo-album the meaning would have been more apparent since the vultures that hunted Freddie's life (and house) would reflect better the anger and meaning of the song. Even more if it was re-released after Freddie's passing because by then the world knew Freddie's torment by tabloids. Perhaps if Michael Jackson's Leave Me Alone is the definitive song about journalism making up stories, Scandal could be the definitive song about journalism intruding into celebrities/artists lives making a real mess of difficult situations in the first place. 4) Gravitas By 1989 Freddie's betrayal by former assistant had already led to All the Queen's Men, Sun's article. Sexuality was exposed and hung in newsstands. Mercury, a very private and giving man, had lost his privacy and trust. Once and for good. Although the AIDS related thing was perhaps not that apparent, the press had already shown its claws. Soon Freddie's life would turn into a “prisoner in his own home” scenario. Given the circumstances May, who wrote the song and Freddie delivering that edgy bitter and rugged vocal line, were at some point aware of what was about to come. And it did. As for May, he was never your typical rock star. His marriage obviously meant a lot and to be exposed for having an affair with another person was out of plan. It’s not the end of the world but one does have his own limits in certain circumstances. All in all, Scandal deals with a lot of issues. They even had greater impact at the time it was written. It's a snapshot of an era were media were changing drastically and homosexuality / AIDS stigma did hold a fair ground in damaging people’s lives. Had it been treated more carefully it would have turned into a true classic, especially reflecting a certain decade and the pitfalls of celebrity life as we know it today. Or as our fellow Queenies had putted it ... "And in the end the story deeper must hide, deeper and deeper and deeper inside." |
| joerijoerijoeri 25.12.2014 10:10 |
Yeah I never liked that song. :) |
| LucasDiego 25.12.2014 10:20 |
I love this song, but i agree with you |
| srnapranjic 25.12.2014 12:47 |
Great Song! |
| mooghead 25.12.2014 15:02 |
Scandal is a Brian break up song rather than a Freddie dying song.... |
| Stelios 25.12.2014 19:09 |
^^^ I never said it was Freddie dying song. But lets be honest. Brian by 1989 knew what the situation might be for Freddie and therefore for the group.Not talking about death per se, but having a singer with the far most stigmatised disease. May's break up was one thing, but there were things going on that escalated the pressure, and i am not judging in retrospective just common sence. Queen were talking about "the press having a field day" in the past for things tottaly insignificant comparing to this. Even if its hard to admit at the time, subconsciously they all knew how things might turn up. That goes for Freddie's delivery also. |
| Russian Headlong 25.12.2014 20:39 |
really like it but it would have been better with the main riff being played on guitar rather than keyboards |
| tomchristie22 26.12.2014 03:48 |
There's multi-layered guitar playing the riff simultaneously, just fairly buried in the mix. It's more prominent on one alternate version, and sounds much better, though I can't remember which. |
| Martin Packer 26.12.2014 03:51 |
To do what @Stelios suggests, which I agree would've been great, would've required a degree of "self outing". And wasn't going to happen. As it is I think it's as perfect as it could be - and I rate the song rather highly, though find it painful: At the time it appeared really quite meaningful anyway. |
| malicedoom 26.12.2014 08:02 |
One of my all-time favorite Queen songs. And I love the original, as-is, and think the 12" mix is the best 12" mix of any song I've ever heard. It still kinda gets me that the band themselves never really cared for it. I also love the video, and apparently they don't care for that either. Very confusing to me. Friggin' love that track - both versions. |
| miraclesteinway 26.12.2014 10:50 |
I used to like it but I went off it. I don't think it's Freddie's best performance either, it's set too high, it would have sounded better a tone down. There are, actually, many cases where I think Freddie works his voice too hard and too high in the 1980s. Made In Heaven is a notable example. Gimme The Prize is in the same category but for some reason I think it works out in that particular song's favour. There is so much from the period 1989 to 1991 that could have gone better - could have been better mixed, better arranged, but we know it was a hard time. Thinking about the performances on the 1970s albums, and the Game as well (which I know isn't a favourite amongst fans but I like it), it seems that Queen went too synthy in the later part of their career, but they weren't very innovative with it - a pad plastered on here or there to fill out the sound when, sometimes, it didn't actually need filled out. Now, talking about Freddie stressing his voice - he also does it on Mother Love and A Winter's Tale, yet they sound eerily beautiful. You can hear the strength and fragility all in one. |
| The King Of Rhye 26.12.2014 11:05 |
It's too damn bad they didn't put the 12" version of Scandal on the 2011 bonus EP of The Miracle! When it was on the 91 remaster, at that........ |
| Oscar J 26.12.2014 11:55 |
miraclesteinway wrote: I used to like it but I went off it. I don't think it's Freddie's best performance either, it's set too high, it would have sounded better a tone down. There are, actually, many cases where I think Freddie works his voice too hard and too high in the 1980s. Made In Heaven is a notable example. Gimme The Prize is in the same category but for some reason I think it works out in that particular song's favour.I agree, particularly the first two notes in Scandal sound quite flat to me. I think he had some intonation problems in The Miracle era, perhaps he wasn't quite settled with his diminishing chest power. The long version of Stealin' for example sounds quite awful all through it. As you say, songs that are set "too" high sometimes don't work (Body Language has som crap sounding lines IMO) but some work. Feelings, Feelings for example, has Freddie hitting loads of D5's, and you can really tell his voice is all worn out at the end of the take. Yet it fits the song IMO! |
| Chief Mouse 26.12.2014 12:12 |
Oscar J wrote:miraclesteinway wrote: I used to like it but I went off it. I don't think it's Freddie's best performance either, it's set too high, it would have sounded better a tone down. There are, actually, many cases where I think Freddie works his voice too hard and too high in the 1980s. Made In Heaven is a notable example. Gimme The Prize is in the same category but for some reason I think it works out in that particular song's favour.As you say, songs that are set "too" high sometimes don't work (Body Language has som crap sounding lines IMO) To me the high parts in Body Language sounded absolutely awesome. |
| Stelios 26.12.2014 12:39 |
I agree about the strain in Fredie's voice but i think it works great in the concept of the song. Its talking about abusing personal life- Freddie abuses his voice in revenge to scream Fuck You on them.Subconciously fits quite right. For me the synths are better in 12" becouse the guitar layers blendings are more evident on them.Also the way it buids up gets your adrenaline's attention...Big Time! I somehow find the original version a bit "plasticky" the recent years. Or i was just so blown away with 12" since first heard it on 2005 so i never looked back... I was even out and about to get a new sub-woofer because of it !!! |
| miraclesteinway 26.12.2014 13:57 |
Fair enough. Actually I don't think his chest power is diminishing on the Miracle or even Innuendo - or if it is, it's compensated by his improved technique. His larynx placement is higher in the last two (three if you count MIH) albums which accounts for the change in tone, the more pure sounding high notes and the greater dexterity. I think that Freddie was actually experimenting more with voice placement and tone colour around this time. Now, whether that is because he was ill and needed to change tact, or whether it was because he wanted to sing in a different way because he felt it better, I've no idea. Lots of people comment on Freddie's change of tone in the last album, and that's what it is - a different larynx position. I discovered that from a vocal coach who demonstrated a similar tone change. Up until that point, Freddie either forced through his chest voice for the higher notes (80s albums, especially Bad Guy), or sang falsetto (70s albums, but also in the 80s and 90s of course), but the raising of the larynx (high notes on show must go on, Winter's Tale, Hitman, Mother Love, for example) is basically what some people call the mix voice, because they call it a mix between falsetto and chest. It's not really that, that's just what it feels like to the singer. Apparently. |
| Stelios 26.12.2014 14:14 |
^^^ some say its because Caballe teached him new technichs. Either way the Barcelona project exposed him on a vartiety he always seemed eager to jump into. Also in most cases ( Scandal included) it was Brian's songs/vocal lines who streched Freeddie the most.Mercury used to complain, as if Brian was going to tear his throat up again with his songs. Perhaps May wanted to make more of a power- heavy metal singer out of Freddie, since the potentials were evidently there. Plus Brian comments on Lambert's voice shows he really has a thing for the higher vocal register. |
| Oscar J 26.12.2014 15:21 |
miraclesteinway wrote: Up until that point, Freddie either forced through his chest voice for the higher notes (80s albums, especially Bad Guy), or sang falsetto (70s albums, but also in the 80s and 90s of course)...He hit many high notes with chest voice in the 70's. |
| Stelios 26.12.2014 15:35 |
...By the way , i think Scandal may be one of the most difficult songs for anyone to cover. Nobody ever tried it. |
| Oscar J 26.12.2014 16:54 |
Why would it be particularly difficult? There are a number of Queen song vocals that go much higher. |
| Gregsynth 26.12.2014 17:55 |
Most of Freddie's high notes in the 80s were belted in overdrive mode (with or without added distortion - which is the "rasp" or "strain" people are mentioning). Mix voice is the register which blends chest and head voice (not to be confused with falsetto - since that's a tone of head voice). That is the register where Freddie does all that belting. That's also the register that can get affected the most if you have vocal issues (in Freddie's case - the nodules). |
| Stelios 26.12.2014 18:14 |
Oscar J wrote: Why would it be particularly difficult? There are a number of Queen song vocals that go much higher.Because it needs a lot of character.Over-drive, pain and uber nastiness ALL in one. |
| miraclesteinway 27.12.2014 09:12 |
Yes it's true that Freddie knew Caballe, but he also knew Mary Hammond who was the head of Music Theatre at the Royal Academy of Music from 1994 til 2012, and before that had been a vocal coach to many, many rock and musical singers. Freddie didn't study with her full time but I have heard there was at least one consultation. Mary is friends with Liza Minelli too, and met Judy Garland in the 1960s - in fact Judy was a client. Greg, apparently now, amongst vocal coaches, the term 'falsetto' is reserved for the breathy tone on the false vocal folds, or something ( i know how to do it, i don't know how i am doing it), and everything else is like, falsetto with twang (a favourite of freddie's - pain is so close), or mixing the thick folds with the thin folds in the falsetto register so you don't have to push too much air through. The distortion happens when a lot of air goes through, and also the nodules actually caused some of that raspiness he had. I admit though, I'm now in territory that I don't know all that much about. The thing about Freddie was, he didn't actually know how he did things either, he just listened and adjusted his technique to produce the sound he wanted, which is ultimately what technique is. It wasn't until much later that you can hear some actual vocal coaching technique being used. For instance, in 1976, he couldn't have sang 'In My Defence' as he did in 1986 (except for the fact it wasn't written). I actually love his gentler 70s sound, but yeah, his 80s sound is awesome. I like the start of Rock It (Prime Jive) as a vocal master class, and same with Let Me In Your Heart Again. Regarding Scandal itself, I understand why people love it, it's a matter of taste. I don't love it all that much. I used to love the miracle album but not so much now. |
| Oscar J 27.12.2014 11:28 |
miraclesteinway wrote: For instance, in 1976, he couldn't have sang 'In My Defence' as he did in 1986 (except for the fact it wasn't written).I personally think Somebody To Love (1976) is a far better vocal performance. |
| miraclesteinway 28.12.2014 03:15 |
Yes, I think you're right, but what I mean is the tone colour - he simply didn't have that tone colour in 1976. But it's not necessarily better, it's just different. Perhaps more suited to the spirit of the time, too. The 1980s were all shoulder pads and power dressing.... |
| Oscar J 28.12.2014 07:33 |
True. But while he gained that powerful tone, he lost some of his versatility. You could put it the other way around - in 1986, he couldn't have sang Somebody to Love as he did in 1976. In the 70's, he was able to hit feather light notes even at the top of the 4th octave, see for example the first Bb4 in STL (can barely STAND ON MY feet). In the mid 80's, he had to use a lot of power to hit notes in that region. He regained the light tenor sound by the turn of the decade, see for example Don't Try So Hard. Still, the voice sounded less young, probably because his open vowel notes, particularly the "oo" were still a bit rough an nasal sounding sometimes, though nowhere as much as on AKOM and Barcelona in particular. I know some people like that way of singing though. Quality posts miraclesteinway, keep it up. :) |
| miraclesteinway 28.12.2014 13:01 |
Exactly right. The heaviness in the voice prevents versatility. It's the same playing an instrument - we were taught in conservatoire (and other places) that when you want to play fast, you have to lighten the touch. Same in the voice, same on the violin, not quite the same on a clarinet or pipe organ though... I wish live, he'd used more falsetto. The sound guys could have made it work, but he liked the high octane belt for the live concerts. Still awesome, but more as a show than a sound recording. That said, there are some beautiful concert recordings out there that are very exciting. |
| Gregsynth 28.12.2014 13:56 |
I think it's fair to say that Freddie became a better technical singer as he got older (plus more powerful) - but wasn't quite as versatile as his younger days (plus not as youthful sounding). In his youth, there's no way he'd be able to pull off the studio vocals he did from the mid 80s-onward. He didn't have the tessitura or the power to make them sound good. In contrast, his power voice didn't have the dynamics or the younger sound his 70s stuff (mostly the stuff before NOTW) had. It's like two completely different vocal approaches (both have their pros and cons). |
| mooghead 28.12.2014 14:59 |
Russian Headlong wrote: really like it but it would have been better with the main riff being played on guitar rather than keyboardsThe synths work... it takes the personality out of the song. The same way Phil Collins explained using a drum machine on 'In the Air tonight' even though he is a drummer ... its a machine.. it goes on regardless, its relentless, it knows nothing else... its a statement about his situation. |
| miraclesteinway 29.12.2014 04:51 |
That's true Gregsynth, he uses more muscle in the upper register in the 80s vocals, and he uses more mix and falsetto in the 1970s. His 1970s high notes are weaker, even the 'chest voice' ones, in comparison to his 1980s ones. You can see in the We Are The Champions making of video, he just kind of sings, but in One Vision, you can see him practically pumping the sound out with his back muscles (note, arm position, shoulders back, etc), which helps. The very late work, in the Miracle and Innuendo, is when he started using more of the neck and larynx position to aid his high notes, and I can hear that first appear in the Barcelona album. No coincidence there really. |
| Stelios 29.12.2014 17:05 |
mooghead wrote:Very insightful input. Never thought about it, but really makes sense now you mentioned it.Russian Headlong wrote: really like it but it would have been better with the main riff being played on guitar rather than keyboardsThe synths work... it takes the personality out of the song. The same way Phil Collins explained using a drum machine on 'In the Air tonight' even though he is a drummer ... its a machine.. it goes on regardless, its relentless, it knows nothing else... its a statement about his situation. Since this thread got more focused on Freddie's voice, does anyone see anything particular in Scandal or is it just a pure example of that Freddie's vocal era? Plus, does Scandal remind you of any song that he used the same technique or character? Personally i find some resemblance with The Show Must Go On, but that might be a false conclusion since they are two of my favourite songs of that era. |
| Stelios 29.12.2014 17:13 |
miraclesteinway wrote: but in One Vision, you can see him practically pumping the sound out with his back muscles (note, arm position, shoulders back, etc), which helps.Very true. Especially in that vi-vi-vi-vi-Vision moment! He really is like a muchin gun as Robbie Williams stated later on some documentary. |
| tomchristie22 29.12.2014 18:16 |
Stelios wrote: Personally i find some resemblance with The Show Must Go On, but that might be a false conclusion since they are two of my favourite songs of that era. The high notes of both are in similar ranges. I think it's easy to say he delivers the high notes in Show Must Go On with much less strain, though, as he was using better technique by that point. |