[QUOTE][QUOTENAME]Holly2003 wrote: [/QUOTENAME][QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]I don't know how the 'original' one sounded like, but I do know Brian credited John and Roger for the sequence.
Now: the sequence, in this case, is 90% of the song.
Hence: Brian isn't that song's main composer (chord-wise), although he's obviously the main (or even only) composer melody-wise, the main lyricist and the main arranger.[/QUOTE]
Okay, I've listened to your views but I just don't think there's enough info to make a judgment that 90% is John & Roger's and 10% Brian's. Without knowing the original 'sequence' it's impossible to know how much is different or similar. I would argue also that the lyrics are much more important in this song than the small weight you give to them. (In fact, for some people the lyrics of songs are much more important than the music -- Billy Bragg or Woody Guthrie, for example). If I had to assign 'credit' for the song given the info available it would be "lyrics by brian May, musical arrangement by Taylor/Deacon". Assigning percentages is, however, meaningless.[/QUOTE]
I'm not saying that 90% of the final product is John's and Roger's. I'm saying that 90% of the song's composition (chord-wise), is theirs.
Melody, lyrics, production, arrangement (each equally important), are of course mostly by Dr May, I'm not denying that.
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[QUOTE][QUOTENAME]John S Stuart wrote: [/QUOTENAME][QUOTE][QUOTENAME]artemismoon wrote: [/QUOTENAME][QUOTE][QUOTENAME]John S Stuart wrote: [/QUOTENAME][QUOTE][QUOTENAME]Zebonka12 wrote: [/QUOTENAME]
If there's bad production on any Queen album, for me it's Innuendo. Hitman is the absolute worst sounding track on the album...[/QUOTE]
Anyone actually listen to 'White Man' on the 'Day At The Races' LP/ CD?
How anyone can hear anything beyond the tape hiss is beyond me.[/QUOTE]
Actually, it's not tape hiss at all. It's Brian's set up, AC-30 + Treble Booster ++++ fOXX phaser. An AC-30 with a treble booster alone will hiss like crazy, and adding a fOXX phaser make it hiss even more. There's really nothing a producer can do about it but add a noise reducer and that tends to change the sound.
Check out the song live and you can still hear this hiss.
http://www.youtube.com/watch?v=4Ey-szvsCtM
The actual progression of the song makes it more noticeable. It starts off with guitar and there's nothing playing with it. So, it's very hard to hide without drums, bass and piano. Usually Brian would use the fOXX phaser in the middle of a song, while playing solos, like BoRhap. Brian stopped using the fOXX phaser around '82, then he started using a Boss Chorus CE-1.[/QUOTE]
artemismoon: I bow to your superior knowledge. I did not know any of this. To my untrained ears it sounds like an old tape on a non-Dolby playback system.
I love the song, it's a pity that it can not be cleaned up digitally though...[/QUOTE]
I was surprised that they left it in there as well. I always guessed they were going for that "live and raw" sound, as I don't hear many overdubs on the tune.
If anyone has the Brian Star Licks video, you can hear just how noisy his rig was when he had all that stuff turned on! Ahh, the old analog days...
If there's bad production on any Queen album, for me it's Innuendo. Hitman is the absolute worst sounding track on the album...[/QUOTE]
Anyone actually listen to 'White Man' on the 'Day At The Races' LP/ CD?
How anyone can hear anything beyond the tape hiss is beyond me.[/QUOTE]
Actually, it's not tape hiss at all. It's Brian's set up, AC-30 + Treble Booster ++++ fOXX phaser. An AC-30 with a treble booster alone will hiss like crazy, and adding a fOXX phaser make it hiss even more. There's really nothing a producer can do about it but add a noise reducer and that tends to change the sound.
Check out the song live and you can still hear this hiss.
http://www.youtube.com/watch?v=4Ey-szvsCtM
The actual progression of the song makes it more noticeable. It starts off with guitar and there's nothing playing with it. So, it's very hard to hide without drums, bass and piano. Usually Brian would use the fOXX phaser in the middle of a song, while playing solos, like BoRhap. Brian stopped using the fOXX phaser around '82, then he started using a Boss Chorus CE-1.[/QUOTE]
artemismoon: I bow to your superior knowledge. I did not know any of this. To my untrained ears it sounds like an old tape on a non-Dolby playback system.
I love the song, it's a pity that it can not be cleaned up digitally though...[/QUOTE]
I was surprised that they left it in there as well. I always guessed they were going for that "live and raw" sound, as I don't hear many overdubs on the tune.
If anyone has the Brian Star Licks video, you can hear just how noisy his rig was when he had all that stuff turned on! Ahh, the old analog days...
[QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME][QUOTE][QUOTENAME]Holly2003 wrote: [/QUOTENAME][QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]I don't know how the 'original' one sounded like, but I do know Brian credited John and Roger for the sequence.
Now: the sequence, in this case, is 90% of the song.
Hence: Brian isn't that song's main composer (chord-wise), although he's obviously the main (or even only) composer melody-wise, the main lyricist and the main arranger.[/QUOTE]
Okay, I've listened to your views but I just don't think there's enough info to make a judgment that 90% is John & Roger's and 10% Brian's. Without knowing the original 'sequence' it's impossible to know how much is different or similar. I would argue also that the lyrics are much more important in this song than the small weight you give to them. (In fact, for some people the lyrics of songs are much more important than the music -- Billy Bragg or Woody Guthrie, for example). If I had to assign 'credit' for the song given the info available it would be "lyrics by brian May, musical arrangement by Taylor/Deacon". Assigning percentages is, however, meaningless.[/QUOTE]
I'm not saying that 90% of the final product is John's and Roger's. I'm saying that 90% of the song's composition (chord-wise), is theirs.
Melody, lyrics, production, arrangement (each equally important), are of course mostly by Dr May, I'm not denying that.[/QUOTE]
I didn´t knew that Brian credited the sequence to Roger and John.
But i remember the time when someone posted Funtwo playing Pachelbel´s Canon on guitar, Brian made the coment about the effect he wanted for TSMGO being the same as canon- That looping effect.
I concluded that it was his idea. Maybe he changed the original idea, or based the song on some Roger and John inicial idea, and changed it.
But according to him, this song was hard to nail, because he said he had the idea in his head and he knew he had something special. He pretty much presented the final music version to Freddie.
The demo- i think he recorded the full demo, because according to him when he showed the demo to Freddie, he had to sing the line "...on with the show" in falsetto. Then he turned to Freddie and said "..sorry about that". And if i´m not mistaken Freddie nailed it at the first take. Impressive!
Take care
Now: the sequence, in this case, is 90% of the song.
Hence: Brian isn't that song's main composer (chord-wise), although he's obviously the main (or even only) composer melody-wise, the main lyricist and the main arranger.[/QUOTE]
Okay, I've listened to your views but I just don't think there's enough info to make a judgment that 90% is John & Roger's and 10% Brian's. Without knowing the original 'sequence' it's impossible to know how much is different or similar. I would argue also that the lyrics are much more important in this song than the small weight you give to them. (In fact, for some people the lyrics of songs are much more important than the music -- Billy Bragg or Woody Guthrie, for example). If I had to assign 'credit' for the song given the info available it would be "lyrics by brian May, musical arrangement by Taylor/Deacon". Assigning percentages is, however, meaningless.[/QUOTE]
I'm not saying that 90% of the final product is John's and Roger's. I'm saying that 90% of the song's composition (chord-wise), is theirs.
Melody, lyrics, production, arrangement (each equally important), are of course mostly by Dr May, I'm not denying that.[/QUOTE]
I didn´t knew that Brian credited the sequence to Roger and John.
But i remember the time when someone posted Funtwo playing Pachelbel´s Canon on guitar, Brian made the coment about the effect he wanted for TSMGO being the same as canon- That looping effect.
I concluded that it was his idea. Maybe he changed the original idea, or based the song on some Roger and John inicial idea, and changed it.
But according to him, this song was hard to nail, because he said he had the idea in his head and he knew he had something special. He pretty much presented the final music version to Freddie.
The demo- i think he recorded the full demo, because according to him when he showed the demo to Freddie, he had to sing the line "...on with the show" in falsetto. Then he turned to Freddie and said "..sorry about that". And if i´m not mistaken Freddie nailed it at the first take. Impressive!
Take care
Again, if GnR create guitar solos, bass-parts, a reggae bit ... all over the KOHD progression, it doesn't make it their song.
Plus, what Bri commented about the Pachelbell thing was regarding the song's middle-eight (i.e. the 10% he DID compose).
Plus, what Bri commented about the Pachelbell thing was regarding the song's middle-eight (i.e. the 10% he DID compose).
[QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]Plus, what Bri commented about the Pachelbell thing was regarding the song's middle-eight (i.e. the 10% he DID compose).[/QUOTE]
Are you sure about that? Because the middle eight (although repeating the same chord progression twice) isn't very similar to Pachelbel's canon structure. The verse and chorus is, however.
Are you sure about that? Because the middle eight (although repeating the same chord progression twice) isn't very similar to Pachelbel's canon structure. The verse and chorus is, however.
Yes, you're right, my mistake. But the KOHD point is still valid:
Melody-wise, Brian was the main (maybe the only) composer
Lyric-wise, Brian was the main contributor (with some input by Lord Teeth)
Arrangement-wise, Brian was the main (and maybe the only) creator, although it's been said that the producer suggested some keys
Chord-wise, Brian only contributed to about 10%.
Melody-wise, Brian was the main (maybe the only) composer
Lyric-wise, Brian was the main contributor (with some input by Lord Teeth)
Arrangement-wise, Brian was the main (and maybe the only) creator, although it's been said that the producer suggested some keys
Chord-wise, Brian only contributed to about 10%.
[QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]Chord-wise, Brian only contributed to about 10%.[/QUOTE]
Please illustrate this by comparing the chords brian originally used with the final version of the song.
Please illustrate this by comparing the chords brian originally used with the final version of the song.
[QUOTE][QUOTENAME]Holly2003 wrote: [/QUOTENAME][QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]Chord-wise, Brian only contributed to about 10%.[/QUOTE]
Please illustrate this by comparing the chords brian originally used with the final version of the song.[/QUOTE]
The point here is that the chords Brian used were somebody else's idea. He built a song out of it, and a GREAT song indeed, but the basis for 90% of the music was not his.
It is debatable and anybody can have an opinion about it.
To me, that song is Brian's baby. He didn't go into labor to give birth to it but he took over right after it came out of the nursery and definately raised it well.
Please illustrate this by comparing the chords brian originally used with the final version of the song.[/QUOTE]
The point here is that the chords Brian used were somebody else's idea. He built a song out of it, and a GREAT song indeed, but the basis for 90% of the music was not his.
It is debatable and anybody can have an opinion about it.
To me, that song is Brian's baby. He didn't go into labor to give birth to it but he took over right after it came out of the nursery and definately raised it well.
[QUOTE][QUOTENAME]Wiley wrote: [/QUOTENAME][QUOTE][QUOTENAME]Holly2003 wrote: [/QUOTENAME][QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]Chord-wise, Brian only contributed to about 10%.[/QUOTE]
Please illustrate this by comparing the chords brian originally used with the final version of the song.[/QUOTE]
The point here is that the chords Brian used were somebody else's idea. He built a song out of it, and a GREAT song indeed, but the basis for 90% of the music was not his.
It is debatable and anybody can have an opinion about it.
To me, that song is Brian's baby. He didn't go into labor to give birth to it but he took over right after it came out of the nursery and definately raised it well.[/QUOTE]
Where do you get this 90% from? I've been trying to pin down Sebastian on this and I can't get a answer that convinces me assigning percentages makes any sense at all. If Brian came up with the original idea then there's simply no way to tell how different (or assign a percentage) to how much of the final product belongs to him and how much to RT & JD UNLESS one is in a position to compare an early demo with the final release. The argument has shifted from sequence to chords: which one is it? Sequence means the order of the song, doesn't it? In which case the cylical nature of the song, which Brian states was his idea, would lead me to think RT & JD had less to do with it than some would argue.
Please illustrate this by comparing the chords brian originally used with the final version of the song.[/QUOTE]
The point here is that the chords Brian used were somebody else's idea. He built a song out of it, and a GREAT song indeed, but the basis for 90% of the music was not his.
It is debatable and anybody can have an opinion about it.
To me, that song is Brian's baby. He didn't go into labor to give birth to it but he took over right after it came out of the nursery and definately raised it well.[/QUOTE]
Where do you get this 90% from? I've been trying to pin down Sebastian on this and I can't get a answer that convinces me assigning percentages makes any sense at all. If Brian came up with the original idea then there's simply no way to tell how different (or assign a percentage) to how much of the final product belongs to him and how much to RT & JD UNLESS one is in a position to compare an early demo with the final release. The argument has shifted from sequence to chords: which one is it? Sequence means the order of the song, doesn't it? In which case the cylical nature of the song, which Brian states was his idea, would lead me to think RT & JD had less to do with it than some would argue.
Yes, of course I'm not denying the fact that TSMGO is (chiefly and almost solely) Brian's in virtually every other aspect besides the chord progression.
The progression alone would've been lost (probably), hadn't Dr May built a song around it (even in pre-demo stages).
It's a confuse area: should we consider that John didn't compose 'Break Free' because verses and solo are built over 12-bar blues (which existed long before Deacy was born)? Or what about the loads of songs copying (for some extent) the Pachelbell Canon and other clichéd progressions?
OTOH, George Martin scored a string quartet over the 'Yesterday' progression (which was created by Paul), but the song's still McCartney's.
So... should we regard Bri as a George Martin who acted as arranger (and of course lyricist, but that's a different matter) rather than composer, or should we regard him as a John Deacon who 'created' a piece using somebody else's invention as canvas? Remember, also, that 'Variations on a Theme of Paganini Op. 35' is credited to Brahms, even if the theme is... well, Paganini's. So we could rename 'Show Must Go On' as 'Variations on a Theme of Deacon & Taylor, Op. ?', and it'd still be Brian's. It's a matter of interpretation actually.
At the end of the day, I admit this IS indeed a coloured area, not a b/w or a grayscale one.
Regarding the 90%, again, I don't mean 90% of the final product, I mean 90% of the song (CHORD-WISE).
The reason: intro, first verse, second verse, first chorus, third verse, fourth verse, second chorus, first solo, third chorus, last solo/chorus are over a chord progression which was composed by Roger and John, while the middle-eight is over a chord progression composed by Dr May.
In other words, off the 79.5 measures the song lasts, 70 were composed by Roger and John, which isn't 90%, but 88.05%, but close anyway ;)
That doesn't deny the fact that, lyric-wise, arrangement-wise, melody-wise, the song is 90% (or more) by Brian.
The progression alone would've been lost (probably), hadn't Dr May built a song around it (even in pre-demo stages).
It's a confuse area: should we consider that John didn't compose 'Break Free' because verses and solo are built over 12-bar blues (which existed long before Deacy was born)? Or what about the loads of songs copying (for some extent) the Pachelbell Canon and other clichéd progressions?
OTOH, George Martin scored a string quartet over the 'Yesterday' progression (which was created by Paul), but the song's still McCartney's.
So... should we regard Bri as a George Martin who acted as arranger (and of course lyricist, but that's a different matter) rather than composer, or should we regard him as a John Deacon who 'created' a piece using somebody else's invention as canvas? Remember, also, that 'Variations on a Theme of Paganini Op. 35' is credited to Brahms, even if the theme is... well, Paganini's. So we could rename 'Show Must Go On' as 'Variations on a Theme of Deacon & Taylor, Op. ?', and it'd still be Brian's. It's a matter of interpretation actually.
At the end of the day, I admit this IS indeed a coloured area, not a b/w or a grayscale one.
Regarding the 90%, again, I don't mean 90% of the final product, I mean 90% of the song (CHORD-WISE).
The reason: intro, first verse, second verse, first chorus, third verse, fourth verse, second chorus, first solo, third chorus, last solo/chorus are over a chord progression which was composed by Roger and John, while the middle-eight is over a chord progression composed by Dr May.
In other words, off the 79.5 measures the song lasts, 70 were composed by Roger and John, which isn't 90%, but 88.05%, but close anyway ;)
That doesn't deny the fact that, lyric-wise, arrangement-wise, melody-wise, the song is 90% (or more) by Brian.
[QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]Regarding the 90%, again, I don't mean 90% of the final product, I mean 90% of the song (CHORD-WISE).
The reason: intro, first verse, second verse, first chorus, third verse, fourth verse, second chorus, first solo, third chorus, last solo/chorus are over a chord progression which was composed by Roger and John, while the middle-eight is over a chord progression composed by Dr May.
[/QUOTE]
Can you direct me to the quote where Brian May says this? All I can see is your comment that "Brian credited John and Roger for the sequence" -- nothing about "chords", for example. Brian's early version MIGHT have been very similar to the final veriosn or it MIGHT have been dissimilar: there's no way to know unless a demo turns up or Brian says something more definite (and even if that was the case, you have said often that Brian's memory cannot be trusted).
The reason: intro, first verse, second verse, first chorus, third verse, fourth verse, second chorus, first solo, third chorus, last solo/chorus are over a chord progression which was composed by Roger and John, while the middle-eight is over a chord progression composed by Dr May.
[/QUOTE]
Can you direct me to the quote where Brian May says this? All I can see is your comment that "Brian credited John and Roger for the sequence" -- nothing about "chords", for example. Brian's early version MIGHT have been very similar to the final veriosn or it MIGHT have been dissimilar: there's no way to know unless a demo turns up or Brian says something more definite (and even if that was the case, you have said often that Brian's memory cannot be trusted).
[QUOTE][QUOTENAME]John S Stuart wrote: [/QUOTENAME][QUOTE][QUOTENAME]artemismoon wrote: [/QUOTENAME][QUOTE][QUOTENAME]John S Stuart wrote: [/QUOTENAME][QUOTE][QUOTENAME]Zebonka12 wrote: [/QUOTENAME]
If there's bad production on any Queen album, for me it's Innuendo. Hitman is the absolute worst sounding track on the album...[/QUOTE]
Anyone actually listen to 'White Man' on the 'Day At The Races' LP/ CD?
How anyone can hear anything beyond the tape hiss is beyond me.[/QUOTE]
Actually, it's not tape hiss at all. It's Brian's set up, AC-30 + Treble Booster ++++ fOXX phaser. An AC-30 with a treble booster alone will hiss like crazy, and adding a fOXX phaser make it hiss even more. There's really nothing a producer can do about it but add a noise reducer and that tends to change the sound.
Check out the song live and you can still hear this hiss.
http://www.youtube.com/watch?v=4Ey-szvsCtM
The So, it's very hard to hide without drums, bass and piano. Usually Brian would use the fOXX phaser in the middle of a song, while playing solos, like BoRhap. Brian stopped using the fOXX phaser around '82, then he started using a Boss Chorus CE-1.[/QUOTE]
artemismoon: I bow to your superior knowledge. I did not know any of this. To my untrained ears it sounds like an old tape on a non-Dolby playback system.
I love the song, it's a pity that it can not be cleaned up digitally though...[/QUOTE]
Thanks for the compliment, but I'm really not that smart. I'm just an Anorak, as Pete Malandrone likes to call us. Hard Core Brian May fans that try to do everything the Brian May way. LOL!
[QUOTE][QUOTENAME]drwinston wrote:
I was surprised that they left it in there as well. I always guessed they were going for that "live and raw" sound, as I don't hear many overdubs on the tune.
If anyone has the Brian Star Licks video, you can hear just how noisy his rig was when he had all that stuff turned on! Ahh, the old analog days...[/QUOTE]
There's really nothing you can do, even in a digital format, without changing the sound of the guitar track. Brian still has an analog set up, with the exception of his delays and chorus/pitch bend racks, so his set up is still very hissy. In a live environment you really can't hear the hiss due to the audience, but it still there. In the studio, it's easier to hide because of all the other instruments, but the hiss is still there. Like I said, White Mans progression makes the hiss more noticeable. It starts off with guitar and there's nothing playing with it, so you can't hide the hiss without changing the sound of the guitar track(s). My band recently recorded in an all digital set up and you can't hide the hiss without changing the sound, which noise reducer tends to do.
If there's bad production on any Queen album, for me it's Innuendo. Hitman is the absolute worst sounding track on the album...[/QUOTE]
Anyone actually listen to 'White Man' on the 'Day At The Races' LP/ CD?
How anyone can hear anything beyond the tape hiss is beyond me.[/QUOTE]
Actually, it's not tape hiss at all. It's Brian's set up, AC-30 + Treble Booster ++++ fOXX phaser. An AC-30 with a treble booster alone will hiss like crazy, and adding a fOXX phaser make it hiss even more. There's really nothing a producer can do about it but add a noise reducer and that tends to change the sound.
Check out the song live and you can still hear this hiss.
http://www.youtube.com/watch?v=4Ey-szvsCtM
The So, it's very hard to hide without drums, bass and piano. Usually Brian would use the fOXX phaser in the middle of a song, while playing solos, like BoRhap. Brian stopped using the fOXX phaser around '82, then he started using a Boss Chorus CE-1.[/QUOTE]
artemismoon: I bow to your superior knowledge. I did not know any of this. To my untrained ears it sounds like an old tape on a non-Dolby playback system.
I love the song, it's a pity that it can not be cleaned up digitally though...[/QUOTE]
Thanks for the compliment, but I'm really not that smart. I'm just an Anorak, as Pete Malandrone likes to call us. Hard Core Brian May fans that try to do everything the Brian May way. LOL!
[QUOTE][QUOTENAME]drwinston wrote:
I was surprised that they left it in there as well. I always guessed they were going for that "live and raw" sound, as I don't hear many overdubs on the tune.
If anyone has the Brian Star Licks video, you can hear just how noisy his rig was when he had all that stuff turned on! Ahh, the old analog days...[/QUOTE]
There's really nothing you can do, even in a digital format, without changing the sound of the guitar track. Brian still has an analog set up, with the exception of his delays and chorus/pitch bend racks, so his set up is still very hissy. In a live environment you really can't hear the hiss due to the audience, but it still there. In the studio, it's easier to hide because of all the other instruments, but the hiss is still there. Like I said, White Mans progression makes the hiss more noticeable. It starts off with guitar and there's nothing playing with it, so you can't hide the hiss without changing the sound of the guitar track(s). My band recently recorded in an all digital set up and you can't hide the hiss without changing the sound, which noise reducer tends to do.
[QUOTE][QUOTENAME]Holly2003 wrote: [/QUOTENAME][QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]Regarding the 90%, again, I don't mean 90% of the final product, I mean 90% of the song (CHORD-WISE).
The reason: intro, first verse, second verse, first chorus, third verse, fourth verse, second chorus, first solo, third chorus, last solo/chorus are over a chord progression which was composed by Roger and John, while the middle-eight is over a chord progression composed by Dr May.
[/QUOTE]
Can you direct me to the quote where Brian May says this? All I can see is your comment that "Brian credited John and Roger for the sequence" -- nothing about "chords", for example. Brian's early version MIGHT have been very similar to the final veriosn or it MIGHT have been dissimilar: there's no way to know unless a demo turns up or Brian says something more definite (and even if that was the case, you have said often that Brian's memory cannot be trusted). [/QUOTE]
"The Show Must Go On came from Roger and John playing the sequence and I started to put things down. At the beginning it was just this chord sequence but I had this strange feeling that it could be somehow important and I got very impassioned and went and beavered away at it. I sat down with Freddie and we decided what the theme should be and wrote the first verse. It's a long story, that song, but I always felt it would be important because we were dealing with things that were hard to talk about at the time, but in the world of music you could do it"
In this case, the sequence already incorporates the chords. And of course, my 90-10 comment is assuming that Dr May's memory was all right in that case. And it does suggest (along with other comments from him through the years) that there's NO demo from Roger's and John's sequence.
The reason: intro, first verse, second verse, first chorus, third verse, fourth verse, second chorus, first solo, third chorus, last solo/chorus are over a chord progression which was composed by Roger and John, while the middle-eight is over a chord progression composed by Dr May.
[/QUOTE]
Can you direct me to the quote where Brian May says this? All I can see is your comment that "Brian credited John and Roger for the sequence" -- nothing about "chords", for example. Brian's early version MIGHT have been very similar to the final veriosn or it MIGHT have been dissimilar: there's no way to know unless a demo turns up or Brian says something more definite (and even if that was the case, you have said often that Brian's memory cannot be trusted). [/QUOTE]
"The Show Must Go On came from Roger and John playing the sequence and I started to put things down. At the beginning it was just this chord sequence but I had this strange feeling that it could be somehow important and I got very impassioned and went and beavered away at it. I sat down with Freddie and we decided what the theme should be and wrote the first verse. It's a long story, that song, but I always felt it would be important because we were dealing with things that were hard to talk about at the time, but in the world of music you could do it"
In this case, the sequence already incorporates the chords. And of course, my 90-10 comment is assuming that Dr May's memory was all right in that case. And it does suggest (along with other comments from him through the years) that there's NO demo from Roger's and John's sequence.
[QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME][QUOTE][QUOTENAME]Holly2003 wrote: [/QUOTENAME][QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]Regarding the 90%, again, I don't mean 90% of the final product, I mean 90% of the song (CHORD-WISE).
The reason: intro, first verse, second verse, first chorus, third verse, fourth verse, second chorus, first solo, third chorus, last solo/chorus are over a chord progression which was composed by Roger and John, while the middle-eight is over a chord progression composed by Dr May.
[/QUOTE]
Can you direct me to the quote where Brian May says this? All I can see is your comment that "Brian credited John and Roger for the sequence" -- nothing about "chords", for example. Brian's early version MIGHT have been very similar to the final veriosn or it MIGHT have been dissimilar: there's no way to know unless a demo turns up or Brian says something more definite (and even if that was the case, you have said often that Brian's memory cannot be trusted). [/QUOTE]
"The Show Must Go On came from Roger and John playing the sequence and I started to put things down. At the beginning it was just this chord sequence but I had this strange feeling that it could be somehow important and I got very impassioned and went and beavered away at it. I sat down with Freddie and we decided what the theme should be and wrote the first verse. It's a long story, that song, but I always felt it would be important because we were dealing with things that were hard to talk about at the time, but in the world of music you could do it"
In this case, the sequence already incorporates the chords. And of course, my 90-10 comment is assuming that Dr May's memory was all right in that case. And it does suggest (along with other comments from him through the years) that there's NO demo from Roger's and John's sequence.[/QUOTE]
Thanks. Now that I've seen the original quote I have a clearer idea of your analysis.
The reason: intro, first verse, second verse, first chorus, third verse, fourth verse, second chorus, first solo, third chorus, last solo/chorus are over a chord progression which was composed by Roger and John, while the middle-eight is over a chord progression composed by Dr May.
[/QUOTE]
Can you direct me to the quote where Brian May says this? All I can see is your comment that "Brian credited John and Roger for the sequence" -- nothing about "chords", for example. Brian's early version MIGHT have been very similar to the final veriosn or it MIGHT have been dissimilar: there's no way to know unless a demo turns up or Brian says something more definite (and even if that was the case, you have said often that Brian's memory cannot be trusted). [/QUOTE]
"The Show Must Go On came from Roger and John playing the sequence and I started to put things down. At the beginning it was just this chord sequence but I had this strange feeling that it could be somehow important and I got very impassioned and went and beavered away at it. I sat down with Freddie and we decided what the theme should be and wrote the first verse. It's a long story, that song, but I always felt it would be important because we were dealing with things that were hard to talk about at the time, but in the world of music you could do it"
In this case, the sequence already incorporates the chords. And of course, my 90-10 comment is assuming that Dr May's memory was all right in that case. And it does suggest (along with other comments from him through the years) that there's NO demo from Roger's and John's sequence.[/QUOTE]
Thanks. Now that I've seen the original quote I have a clearer idea of your analysis.