Multitrack Updates

Also some Billy Joel tracks from the umixit set that I have, but these can be bought officially FYI.

Zanzibar-16 track
I Go To Extremes (Live)
Only The Good Die Young
Big Shot(Live)
Movin Out(Live)
Keepin The Faith(Remix Version)

As well as some Barenaked Ladies multitracks $2.49 each that can be bought via their label's site.
http://stems.barenakedladies.com/

[QUOTE][QUOTENAME]J7 wrote: [/QUOTENAME][QUOTE][QUOTENAME]motownboy wrote: [/QUOTENAME]
Rumour has it that there a couple of ABBA multitracks on european forums and blogs including "Dancing Queen!"[/QUOTE]

Good heavens, I'd give my entire Queen collection for Dancing Queen multitracks! [/QUOTE]

I bet Brian May is more upset to hear that, than he was to discover that the multitracks leaked!

Actually Dr Wig likes 'Dancing Queen', as far as I know... maybe he's upset the leaked songs were BR and KQ rather than TPS and (the other) BR.

[QUOTE][QUOTENAME]AnywayWindBlows wrote: [/QUOTENAME][QUOTE][QUOTENAME]Queenigma wrote: [/QUOTENAME]I've been lurking here for years, and there are others like me. The fact is that most of what you "traders" do is too petty to involve legal action. But now you've screwed the pooch, and the big boys won't let it stand. There is no more serious form of copyright infringement. Do you think that Coca Cola would allow you to "trade" its soft-drink formulas? Lawyers live for this, and you can bet they're drooling right now. You'd better hope you didn't leave a trail.[/QUOTE]
[QUOTE][QUOTENAME]Queenigma wrote: [/QUOTENAME]I contacted Brian about this matter. Those of you in favor of stealing these multitrack recordings obviously have no idea how much effort went into creating the songs. Any true "fan" would respect Queen's right to control access to the basic building blocks (i.e., the individual tracks) of their career. "Trading" bootlegged live recordings is one thing, but you've crossed the line here.[/QUOTE]
Oohh I think it's Digital Manifest incarnate![/QUOTE]
Whoever this is he didn't get laid for a loooooong time...

[QUOTE][QUOTENAME]John S Stuart wrote: [/QUOTENAME]
I think the real problem is that these tracks have existed inside a small elite for quite a while.
Now they are starting to leak out - it seems that those guys are losing their family silver.
They don't really give a damn about Queen or Brian May - it really is all about protecting their own selfish self interests.
[/QUOTE]
That's EXACTLY what I think...

Maybe it just shows that it's about time the band came up with a DVD-rom of some of their multi-tracks, and an attached mixing suite. The stuff stills stays copyrighted, so anyone going public with their results is still committing a crime, but in the meantime, those of us who like to play being their own personal Roy Thomas Baker, have their dreams come true, and the rest of us who are just curious at looking at the components of the jigsaw, also have the dreams of years fulfilled.

Make it official, the band get their cut of the money, we get something truly wondrous, and then everybody's happy. By the way, I think Bowie did something like this several years back.

What if anyone wants to put info about the separate tracks on print? Would that be penalised?

[QUOTE][QUOTENAME]Queenigma wrote: [/QUOTENAME]I've been lurking here for years, and there are others like me. The fact is that most of what you "traders" do is too petty to involve legal action. But now you've screwed the pooch, and the big boys won't let it stand. There is no more serious form of copyright infringement. Do you think that Coca Cola would allow you to "trade" its soft-drink formulas? Lawyers live for this, and you can bet they're drooling right now. You'd better hope you didn't leave a trail.[/QUOTE]

Are you sure you didn't mean to say "I've been leeching here for years"?

[QUOTE][QUOTENAME]Queenigma wrote: [/QUOTENAME]I contacted Brian about this matter. Those of you in favor of stealing these multitrack recordings obviously have no idea how much effort went into creating the songs. Any true "fan" would respect Queen's right to control access to the basic building blocks (i.e., the individual tracks) of their career. "Trading" bootlegged live recordings is one thing, but you've crossed the line here.[/QUOTE]

The hello you did you liar! Taking credit for someone else's shit? You just now come around and try and say shit? Let me guess, Evan? lol. Nobody turned anyone in for anything, Brian got a whiff of this through Queenonline's webmaster, so bugger off wanker. Also, Lawyers do not 'Live' for this, because the fact is that there is no substantial case for this, QZ is not liable!

If they put some out officially, it would probably be the typical small loops type of remix thing. Those aren't as much fun (okay not as easy to mix) as full-length tracks ;)

You get little segments of stuff and have to put it all together without the benefit of synchronized equal-length files.

I suppose my original 'tracksheet' was lost, so I'll post a compressed version:

BOHEMIAN RHAPSODY:

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

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”).

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.

Anywaythewindblows...
Where can you get those Billy Joel Multis? Id be interested in a couple of those. I tried searching in google but nothin came up...

Seb... Get Down??? Where is that???

Btw, I saved your track sheet, so could post a lot of it if need be.

Adam.