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LG: Brighton Rock Vocals18 Mar 2008 23:27

WOW!

www.youtube.com

Does anybody know why Freddie sung with such accent for 'rrrrrrr' ?



Post was edited on 19 Mar 2008 00:33
1.Sebastian 19 Mar 2008 03:01

I always suspected he was (unsuccessfully) trying to sound rural Southern... I think I wrote that on my tracksheet as well. Gotta add it.

2.Sebastian 19 Mar 2008 15:51

These are the tracksheets I wrote in QZ in late February:

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Bo Rhap:

Track 1: It's got part of the final bounce for the left-channel intro vocals. Then some harmonies in the ballad section (before the solo), a three-part "Sacarmouch... fandango", a big choir for "thunderbolt... me" including Fred's bass-voice and Roger's high A, the left-channel definitive "Magnifico", top and bottom voice from "he's just a poor boy...monstrosity", big choir in "no we will not let you go", two "we will not let you go" with bass-voice dominating, the third one including high part, "will not let you go" all parts, the definitive "no no no no no no no" (too bad Rog's and Bri's separate bits aren't in the multitrack), another big choir for "Mamma mia ... for me" having Rog hitting a high F, and for the reprise a bounce of beautiful "oh yeah" harmonies, you can tell both Fred and Rog are there, but IMO Bri isn't.

Track 2: Right-side definitive bounces for intro, same part as 1 for ballad bit (but of course coming from a different take in order to reinforce the sound), "Scaramouch...", "Thunderbolt" and "Magnifico" and "He's just ... will not let you go". "Magnifico" has some little differences but put together 1+2 you've got what made it to the final mix. "No no no..." and "Mamma mia ... for me" miss Fred's bass-voice, and a close listen makes me think Rog did both the middle and high part. All in all, Bri's barely heard in the song (vocally), he probably joined in the 'fat' bits only, but the other two always dominated the vocal side ('Somebody to Love', otoh, has some more May-estic influence in the vocals, especially in "at the end of the day", also live). The reprise is again a double-track of the 1st.

Track 3: "No escape from reality" vocal bounce (favouring low parts), and for the rest of it, drums.

Track 4: "No escape from reality" vocal bounce (favouring high parts), and for the rest of it, drums.

Track 5: Fred's count to four, and drums.

Track 6: Drums

Tracks 7, 8 & 9: Bass (DI, amp and speaker, respectively)

Tracks 10 & 11: Piano (left and right channels, respectively). There are some small mistakes and a bit of cross-talk, and at the end you can hear Fred saying "oh fuck it". The first four chords were edited out in the final mix to leave an a capella start.

Track 12: Guide vocal for the intro, not included in the final version (there are some off-pitch notes actually). Then there's a bounce of Fred doing octaves for "thunderbolt...me", a separate bit of the "Magnifico" build-up (not used since they had the bounce in 1&2), "He's just a poor boy...monstrosity" has a two-part harmony in the low range, again I can pick Fred's and Rog's voices there, but not Dr May's. Then there's Fred's double-tracked low "Bismilah", the "never never never never let me go" line that made it to the final cut, "Mamma mia let me go ... for me" having a falsetto-then-head multi-track done only (or chiefly) by Mercury. And then one of the rhythm guitars from Brian (rock section and reprise).

Track 13: Single-tracked lead vocal for the intro (sounds similar to the one in the released version but I don't think it's it), an alternative take of the ballad section lead vocal (having some melodic alterations), "let him go" on three-part harmony without Rog's high falsetto, all or most of the bits for "let me go" and an overdubbed snare for rock and reprise sections.

Track 14: Another unused guide vocal (unused isn't the proper term but you get the idea) for intro and ballad. "Let him go" and "let me go" favouring high parts (but missing Rog's sustained falsetto), and the build-up for "let me gooooo" is almost complete. Since those were the days of live mixing, they bounced the trickier parts beforehand so they would have a lighter workload. Rock and reprise features Bri's rhythm guitar (different take, in order to reinforce the sound), very well-played. Bri made less mistakes than Rog, John and Fred, but then again, his parts were overdubbed later, while the other three had to record the majority of their instruments in one simultaneous take.

Track 15: Lead vocal for intro and ballad bit (without the second chorus). They actually copied some of these lines to track 22, where the 'ultimate' lead vocal would be stored. Here, Bri did his exceptional solo too. There's a soprano Fred doing "very very frightening me" (not used in the final version), a fragment of the first build-up, the high "Bismilah" (double-tracked by Lord Teeth), "will not let you go" by Fred in octaves, rhythm guitar for the end of opera section, then for rock & reprise we've got the signal coming from Fred's boom mic at the backing track (which he recorded while he was laying down the piano part), hence we've got some humming and the "fuck it" line again. They should've ended the song with it ;) Oh, btw, there's one of the guitar lines during the piano solo too.

Track 16: Lead vocal punching (i.e. correcting odd lines) during intro and ballad. Then there's another bounce for "Scaramouch", a multi-tracked separate part for "lightning...me", fragments of "Magnifico", Roger's high falsetto for "he's...family", Fred's high "spare...monstrosity", Rog's timpani for "Bismilah", Fred's bass-voice for "no no..." and "beelzebub...for me", and overdrubbed drum-part for rock section, the multi-tracked guitar fanfare (my favourite bit in the entire song) and at the post-end there's some talk between Rog and Fred.

Track 17: During the intro there's yet another unused guide vocal from Lord Teeth, plus the "wind blows" flanged cymbal. During the solo, Bri's rhythm guitar. "Very very frightening me" is another unused double-tracked soprano Freddie; "he's just a poor boy...monstrosity" has a baritone Freddie, double-tracked. "Bismilah" has Fred's bass-voice, double-tracked as well. "Never never... let me go" is an unused take, off-pitch in "go", "Beelzebub...for me"has Lord Teeth's double-tracked bass-voice, Fred's lead vocal in the rock section, an overdubbed (unused?) piano part, high harmonies during the reprise, and Fred's lead vocal from "nothing really matters" to the final line, after which he tries another "blows" and then says "no".

Track 18: Another unused guide vocal for the intro, "wind blows" flanged cymbal again (they had two takes of these things in order to mix them stereo), Bri's rhythm guitar during the solo (ditto), middle part for "lightning...me", a "Magnifico" fragment, Rog's excellent falsetto in "he's just...family" and "spare...monstrosity", although in the latter it sounds like there are more people there. Fred's low "Bismilah" again, and, again, "let me go" is off-key; "Mamma mia let me go" is a weak falsetto by Bulldog-Face, but then the third "for me" is the famous high soprano Bb. Rock section has the remaining part of Fred's overdubbed piano and another take of his lead vocal. In the reprise there are some angelical harmony vocals, with Roger's dominance; for the "nothing really matters...wind blows" there's another lead vocal (very similar to the final one).

Track 19: Fred's unused guide vocal for the intro, then the beautiful guitar-chimes of "shivers down my spine", another rhythm guitar during the solo, then another part of the "lightning...me" choir, fragments of "Magnifico", "he's just a poor boy...monstrosity" is very similar to track 18, "Bismilah" has Fred's low vocal, double-tracked but done only twice, then another off-pitch "let me go" (why on earth did he have so much trouble with that word and that note is beyond me), then a double-tracked high F by Rog during the last "for me", an unused lead vocal for the rock part, one of Bri's guitar scales, a lead guitar during the fanfare and at the end the famous gong.

Track 20: Another unused guide vocal for the intro, another take of guitar-chimes, a double-tracked baritone "lightning...me" by Fred, "Magnifico" fragments, more bounce for "he's just ... monstrosity", Rog's soprano in "let him/me go", double-tracked bass-voice by Lord Teeth at the end of the opera section, an unused lead vocal for the rock section, another guitar scale and a co-lead guitar during the fanfare.

Track 21: Another unused guide vocal for the intro, guitar harmonics during the ballad section, a very weak double-tracked falsetto during “thunderbolt and light” (missing the end of the word), Fred’s soprano “Galileo” (edited out in the final version), a (probably unused) weak falsetto for “he’s just a poor boy…monstrosity”, the first two “Bismilah” words having double-tracked bass-voice by Fred (I wonder if he could even talk after these sessions), “never…let me go” having again off-pitch ending, a rhythm guitar at the end of opera, two more scales at the end of rock, another beautiful guitar part for the fanfare and the famous fingerpicked descending guitar line before the last vocal part. Sans the guitars, it seems that this entire track was muted in the final cut.

Track 22: Here, they compiled the ultimate lead vocal for intro and ballad (partly copying things from other tracks), so they wouldn’t have to worry about switching more things on and off that they already had; note the second “carry on” is overlapped by an “as if”. Opera section too has THE lead vocal (“I see a little silhouette of a man”, the low “Galileo”, “but I’m just a poor boy nobody loves me”, “easy come easy go will you let me go”, Rog’s high “let me go”, Fred’s low “let you go” and the rough “oh mamma mia mamma mia”), double-tracked bass-voice by Fred at the end of the opera section, then piano overdubs (note that “just gotta get out” is different from the main one), more guitar scales, another guitar line in the fanfare and the complementing descending bit near the end.

Track 23: Unused guide vocal in the intro, the famous “anyway the wind blows” and a falsetto ascending-descending harmony, both by single-tracked Freddie. For the opera bit, we’ve got Rog’s high “Galileo” and double-tracked “he’s just a poor boy … monstrosity” falsetto. Then Fred’s double-tracked bass-voice in the first two “Bismilah”, another unused “never never… let me go” and another double-tracked bass-voice by Fred at the end of opera. Rhythm guitar at the end of rock section, and some guitar ornaments during the piano solo.

Track 24: Another unused guide vocal in the intro, another take of 23’s ballad harmonies, Fred’s low “Galileo Figaro”, a high falsetto during “he’s just a poor boy…monstrosity”, Fred duplicating what he did in 23’s during “Bismilah”, another off-pitch “never…let me go” line, another double-tracked bass-voice by Lord Teeth at the end of the opera section, and the missing part of the puzzle: another guitar at the end of rock and beginning of reprise (the one that keeps playing when Fred sings “nothing really matters anyone can see”).

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Get Down Make Love:

Drums take eight and half tracks (2-8, 22 and part of 14), bass takes two (9 and 10), piano takes two (11 and 12), Bri's main guitar is triple-tracked (1, 17 and 18), Fred's lead vocal compiled in 19, having background harmonies in 14 & 15 (high-part, verse), 16 (low-part, verse), 20 (low-part, chorus) and 21 (high-part, chorus). Indeed, all vocals were by Lord Teeth. Btw his ridiculous 'sexual' moaning can be found in tracks 19, 20 and 21, there's no multi-tracking per se though. Harmoniser takes tracks 13 to 15. Around 3:24 in track 14 Fred says "OK, let's just carry on, one two three four".

All in all, they did spend a lot of time doing such a crappy song... sound quality and performance are brill, but they could've put the same effort in something worthy of it.

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Brighton Rock:

Bass (2 tracks, DI and amp): Quite Zeppelin-esque, isn’t it? There are some small mistakes in the second verse.

Guitar (amp): Great rhythm playing by Dr May, but I personally believe John Deacon is better for these sorts of things (check out Staying Power, for instance). This track shows Queen were flirting with funk long before ‘Hot Space’. There’s some cross-talk.

Guitar Lead: Beautiful! Quite Page-esque too, but with a much better technique. The intermittent noise (intro and reprise) is annoying by itself but it makes sense in the final mix, I reckon

Guitar Lead: Echoing the other for stereo effect. It’s a shame Brian didn’t do a double-delay thing in the studio cut, but now with the multi-tracks it’s possible to re-mix the whole thing and leave it even better

Guitar Room: Nice 70’s overdrive. In the middle there’s a great (unused) solo variant, and at the end the wonderful guitar outro

Guitar Room (5): Another marvellous semi-funk thing, but Bri played this one much better than the one in the backing track.

Guitar (Rhythm): This one would’ve been better if John played it. It’s like having Freddie singing I’m in love With My Car or ‘39.

Guitar (Slide): A great uncovered Deacy-amp choir during the chorus. That part is, for me, better than the solo itself.

Guitar (01): Some rhythm problems at the beginning. Bri wasn’t precisely Dr Clockwork ;)

Drums (five tracks): Very Bonham-esque. Roger’s a much underrated drummer, indeed. Actually, the snare-beat makes me think a little about early 21st century’s hardcore punk. I love that deep sound of the bass-drum! There’s some bass in the cross-talk, but no guitar.

Vocal (2-01): Falsetto verse by Freddie - way too camp for my taste actually. Hate the trilled ‘r’ in ‘promenade’; a guitar is here at the end too. Roger could’ve done it (the vocal) much better.

Vocal (3): Freddie’s semi-falsetto, semi-head voice in the first verse, only the head-voice bit in the second and third. Again, there’s an overdubbed guitar at the end. At the beginning somebody’s speaking btw.

Vocal (4): Freddie punching some parts. This one's not so 'camp'. Again, a guitar at the end.

Vocal (Bass): Punching bits in the middle range. Not precisely 'bass', but of course much more comfortable for Freddie's cords.

Vocal (Chorus): The final vocal mix, compiling lead and harmony bits. Now, there you can hear Brian! There are some guitar bits in the middle as well. It seems that Fred was trying to make a rural Southern accent, but it didn't quite work IMO.

Vocal (01): Lead vocals, plus Fred counting in one of the instrumental breaks. Then one of the solo guitars. After the song's over Fred says "yes, let’s just do it".

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A Day in the Life:

1: Some noise, you can hear guitar and piano and of course John's vocals. Note the flapped ‘photograph’, ‘notice’ and ‘but I’ (trying to deaden feedback, I suppose); there’s also Mal counting to twenty-four. Paul also counts before starting to sing. There’s some background studio noise, and after Paul stops you can listen to John’s marvellous surreal bit.

2: Acoustic guitar, and some piano and drums in the background. In some bits you can also hear the bass. The piano part in the first 24-break would work perfectly for a horror film, although there are some (maybe deliberate) dissonances near the end. The famous alarm-clock is here too. Great music-hall playing during Paul’s part, you can absolutely tell he’s left-handed. I love the percussion during the reprise and second break. Nice piano things, a little November Rain-esque in a way!

3: During the intro there’s an unused guitar (it sounds DI'd), then there’s the orchestral break, it’s wonderful to listen to it uncovered. I love the trumpets! Then there’s the orchestra for the bizarre dream, it’s actually quite simple, George had done much more interesting scores before (e.g. Eleanor Rigby).

4: Bass and drums. Interesting chemistry between Paul and Ringo. John Deacon may have learnt a trick or two from McCartney’s clever and effortless use of scale fragments.

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Sgt Pepper's:

1: Extended intro noise (with the violin and everything). Then some applause, laughter and more incidental sounds.

2: Live band (drums, bass and guitar). Extended outro.

3: Some dialogue in the beginning, then Paul’s lead vocal (what a great singer he is!). Three-part harmonies during the middle-eight (Paul - John - George from the top), then they make some castling (leaving John on top and Paul in the middle) for the ‘wonderful to be here’ part.

4: Lead guitar, then the brass section (making a small mistake in one of the ascending runs). One of the horns is out of tune in the second break, but the guitar part is perfect.

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She's Leaving Home:

1: The famous harp, joined by the string section (favouring violins). I’ll always wonder how Martin would arrange this bit - that could be a nice project for me!

2: The cello is superb. My favourite part, though, is the viola’s, and it’s a major frustration for me not to play that instrument.

3: Paul’s voice in the verses, with some off-pitch notes. During the chorus John joins, but you can tell the track compiles different recordings. Both 'leaving' have Paul out of tune.

4: Doubling up some parts of track 3 I suppose. For so many years’ is out of tune. Thank God the orchestra, melody and lyrics are all so marvellous, because the vocal performance (in this track especially) is quite mediocre. John’s last "bye" is out of tune too.

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With a Little Help From My Friends:

1: Drums (for "Billy Shears"). Then bass, joined by tambourine (choruses) and lead guitar (before second verse). Paul is undoubtedly a genius composer and arranger.

2: Drums, piano and two rhythm guitars (the basic line-up).

3: "Billy Shears" has Paul and John (and perhaps George). Then Ringo’s lead vocal. John’s and George’s bits are there too. Some out of tune notes by Ringo, but I hope nobody’d 'stand up and walk out' on him ;)

4: "Billy Shears" has Paul and Ringo. Otherwise it’s backing vocals: Paul and John. The last descending "ah" has John and Paul first unison but then Paul going down.

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