Not sure I could even properly describe what it IS about it that I... don't like. I just really does nothing for me.
I think they made the right choices with what they decided to release as singles from The Miracle.
cmsdrums · Member since
The whole point of the song is that it's overblown - I recall an interview with Brian once where he discussed the 'orchestral' section, and the conscious decision to put a car horn right in the middle to show that they really weren't takimg themselves seriously.
miraclesteinway · Member since
Short answer to the question how can he sound strained on truly magnificent view, and sing 'a breathtaking scene' clearly, is that it depends on exactly what kind of support and larynx position he used for each phrase - and we also don't know how it was recorded - in one take, or a few? Anyway it's quite common for a singer to have a couple of top notes that are better than something a little lower down. Actually I think Winter's Tale is a stunning vocal performance.
One Year Of Love is an overblown vocal performance, the key is too high and he does sound strained. I think they should have dropped it a third actually, but then maybe they wanted this kind of sound of desperation in it. It's actually a very soulful vocal even if it's not my favourite.
My opinion only guys, don't give it too much weight.
dysan · Member since
Interesting thoughts in this thread. I personally love The Miracle and WIAWI is the best track on there. Totally harking back to QII with is absurdity and one of the best guitar riffs of the whole 80s. It's fun and rocks. It's simple, and complex. I've said it many times before, but May is on fire on this album - I recently listened again with this thought in mind and he's playing like someone half his age. I mean this as in if it was a new band The Miracle would've changed the next couple of years of music. Britpop might have happened earlier for example. I guess in theory it was a new band - they changed how they worked and were refreshed. Even Breakthru has a mind blowing solo, ditto TIM. The only thing I'd have changed is the perennial track order Queen album problem, and had the 2 bonus tracks on the CD on all formats of the record. Yeah, I'd drop MBDM but for the sake of simplicity I'll keep it on there.
There was another thread about this about a year ago I think. Chinese Torture should've been the opening instrumental blending into Party (or even better, into WIAWI. The title track in this configuration would make a perfect last track with it's uplifting fade out. But still, the album we have as is is a corker. I mentioned before, my reappraisal of it started with a comment I read in a book (2010ish) that said it was their maddest album. And when you listen to it with this in mind, it is amazing.
Heavenite · Member since
Nice summary Dysan! The thing I find amusing is the songs I love are the least favourites of others. Just the same.I do agree that Brian was on fire on this album. For me though, that's especially on the first four tracks
dysan · Member since
Agreed! The solo on Party is ridiculous!
Martin Packer · Member since
You also have to bear in mind re my Swansong comment they probably really THOUGHT this was their swansong. The fact Innuendo happened afterwards is irrelevant.
Chief Mouse · Member since
[QUOTE]
[b]miraclesteinway wrote: [/b] Short answer to the question how can he sound strained on truly magnificent view, and sing 'a breathtaking scene' clearly, is that it depends on exactly what kind of support and larynx position he used for each phrase - and we also don't know how it was recorded - in one take, or a few? Anyway it's quite common for a singer to have a couple of top notes that are better than something a little lower down. Actually I think Winter's Tale is a stunning vocal performance.
One Year Of Love is an overblown vocal performance, the key is too high and he does sound strained. I think they should have dropped it a third actually, but then maybe they wanted this kind of sound of desperation in it. It's actually a very soulful vocal even if it's not my favourite.
My opinion only guys, don't give it too much weight.[/QUOTE]
I still think that he sang it exactly the way he wanted - he added the grit and roughness on purpose. Here I made a small comparison of the same line being sung from Live Aid and Montreal (CLTCL). Live Aid is clean, Montreal is "gritty". He just felt like singing that way. Greg explained it in a more technical manner.
[QUOTE] [b]Gregsynth wrote:[/b]
Freddie used distortion and the overdrive vocal mode on recordings like "One Year Of Love" and the tracks that Chief mentioned.[/QUOTE]
goose44 · Member since
Dr. May made this album. His best effort and the record would have been amazing if they let him do even more. Plus get rid of MBDM and Chinese Torture and should have finished IGWFA and put Hijack my Heart, which IMO is the best B side they ever had. The PARTY.KS blend is filler but it pumps up the record for me. If Party was by itself I think it would not work but KS is a nice number and non queen fans friends of mine like it. The miracle, a fun upbeat rock blended with a little funk. It is their most upbeat record, always play in in the summertime especially.
dysan · Member since
I agree about Hijack My Heart. Lightweight, but I loved it back in summer'89. Same with Party. It is a throwaway with a great solo, but as a kid in 1989 it was a real call to arms and made me wanna rock at a Party.
Oscar J · Member since
[QUOTE] [b]Chief Mouse wrote:[/b]
I still think that he sang it exactly the way he wanted - he added the grit and roughness on purpose.
Here I made a small comparison of the same line being sung from Live Aid and Montreal (CLTCL). Live Aid is clean, Montreal is "gritty". He just felt like singing that way.
Greg explained it in a more technical manner.[/QUOTE]
I don't think that by 86 he could have sung that song "clean". Sure, he could with CLTCL, but that's because the absence of high notes in that song. In that vocal era, if he wanted to sing around the bottom of the 5th octave, he had to use overdrive. Sure, he got clean high notes here and there (WWTLF D5, OYOL F#5), but only when well past his vocal break, and with a lot of head voice mixed into the note.
Chief Mouse · Member since
Well, either way. I do love that roughness about his voice. Makes it sound more powerful to my ears :)
The King Of Rhye · Member since
[QUOTE] [b]pittrek wrote:[/b]
Last great song ? Have you ever heard about a masterpiece song called "Innuendo" ?[/QUOTE]
That was my first thought when I read the title of this thread!
Gregsynth · Member since
[QUOTE] [b]Oscar J wrote:[/b]
[QUOTE] [b]Chief Mouse wrote:[/b]
I still think that he sang it exactly the way he wanted - he added the grit and roughness on purpose.
Here I made a small comparison of the same line being sung from Live Aid and Montreal (CLTCL). Live Aid is clean, Montreal is "gritty". He just felt like singing that way.
Greg explained it in a more technical manner.[/QUOTE]
I don't think that by 86 he could have sung that song "clean". Sure, he could with CLTCL, but that's because the absence of high notes in that song. In that vocal era, if he wanted to sing around the bottom of the 5th octave, he had to use overdrive. Sure, he got clean high notes here and there (WWTLF D5, OYOL F#5), but only when well past his vocal break, and with a lot of head voice mixed into the note.[/QUOTE]
Gimme The Prize is a good example of Freddie singing with and without distortion in spots. On that line "I am the one the only one - I am the God of kingdom come" he starts off with some distortion on the B4s - then when he raises the notes to C#5, there's that cleaner tone (without distortion) on the first few words.
If you're singing up in the 5th octave like that - lightening the voice or mixing more head voice into the notes make it easier to sing (plus it's less strain on the vocal cords). If you overdrive too much chest into your mix voice (a problem Freddie had live), you can hurt your voice.
I still think that he sang it exactly the way he wanted - he added the grit and roughness on purpose. Here I made a small comparison of the same line being sung from Live Aid and Montreal (CLTCL). Live Aid is clean, Montreal is "gritty". He just felt like singing that way. Greg explained it in a more technical manner.[/QUOTE]
I don't think that by 86 he could have sung that song "clean". Sure, he could with CLTCL, but that's because the absence of high notes in that song. In that vocal era, if he wanted to sing around the bottom of the 5th octave, he had to use overdrive. Sure, he got clean high notes here and there (WWTLF D5, OYOL F#5), but only when well past his vocal break, and with a lot of head voice mixed into the note.[/QUOTE]
Gimme The Prize is a good example of Freddie singing with and without distortion in spots. On that line "I am the one the only one - I am the God of kingdom come" he starts off with some distortion on the B4s - then when he raises the notes to C#5, there's that cleaner tone (without distortion) on the first few words.
If you're singing up in the 5th octave like that - lightening the voice or mixing more head voice into the notes make it easier to sing (plus it's less strain on the vocal cords). If you overdrive too much chest into your mix voice (a problem Freddie had live), you can hurt your voice. [/QUOTE]
