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Sebastian: The Miracle album06 Mar 2004 13:48
Now some comments about this album, which I'm currently analysing:

Title Track: The piano parts are great, much easier to hear with DTS channels. Note Freddie's constant flirtation with double bass/cello parts.

I Want It All: Listening closely to DTS I realise that all the voices are Brian and Freddie. Brian sang the highest, Freddie the lowest and both the middle. Of course each part is multi-tracked.

Breakthru: The synth-bass is constantly changing the sound. It's a very nice 90s keyboard trademark which shows how much this album was ahead of it's time.

Invisible Man: The bass-work is amazing again. Besides the synth-bass (also morphing all the time) there are two additional basses by John: one of them is more or less dounbling the synth, with exceptional precision and talent. John even had time to put some Deaky licks here and there. The other bass (definitely not a Fender) is doing a completely different line. John was apparently much more involved in this song than Freddie or Brian. And it makes sense considering there's a rhythm guitar in the bridge and outro that is not the Red Special at all. So it must be John in a Telecaster or Stratocaster. There's a synth track doing some licks, definitely it was played not programmed. I suspect it's done by David Richards since it's very similar to what he did in Innuendo's orchestra

Rain Must Fall & My Baby Does Me: Although I find the songs so boring, the production is awesome. It never stops amazing me

Scandal: Much more vibraslap that one can think listening to the stereo mix.

Was It All Worth It: Freddie at his best, no doubt. Many weird meters (the second orchestral interlude has two bars in 15/16!. In the rest of the song we find short lived - one measure - changes to 5/4, 7/8 and 9/8). Judging by the use of Passport Master Tracks software (released in 1989) I'm pretty sure this song was part of the very last sessions of the album. A nice cross-reference is a staccato string in parallel octaves during "we love you madly", following exactly the same pattern and arrangement as 'The Miracle' (the last "we're all waiting for today"). Same album, same composer. The first orchestral interlude is arranged for two string sections (one of them pizzicato) and a sci-fi sound. Freddie would have been a great choice for scoring incidental music in a fiction film. The second orchestral interlude is scored for four synth pads, two different string sections (plus additional solo-cello and solo-double bass, both in octaves), brass section (plus additional octave solo-tuba), timpani and marimba. Just awesome. No wonder why John liked it so much

Also a request I have for anyone who can help me out: is there any particular Freddie-esque detail in the arrangement or chords or structure of 'Hang On In There' and 'Kashoggi's Ship'? I haven't found any yet.
1.Daniel 06 Mar 2004 16:16
Are there DTS channels for the miracle? If there are, Is someone going to put them in ftp mail or something li that?  
2.Sebastian 06 Mar 2004 16:26
Libor did share the DTS files for the singles some time ago but he couldn't anymore. It'd be great if they put those in Queenzone or something like that
3.PD 19 Mar 2004 20:28
Was It All Worth It:
> (the second orchestral interlude has two bars in 15/16!.
I have not found them. Didn't you refer the two 3+3+3+3+2+2 (=16/16) measures?

> In the rest of the song we find short lived - one measure
> changes to 5/4,
That one I have found in the guitar intro/hook. There is a half measure
in the middle-song hook. I have used "fast" 1/4 beats.

> 7/8 and 9/8
I have not found these. Only neighbour measures with 3+5 pattern (the title phrase).
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