moonhead
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Post by moonhead on Apr 15, 2020 7:17:52 GMT
Does anybody out there knows the EXACT dates for every studio sessions? The wonderful book Queen Chronology has some infos but where can i found the exact date? If there isn't that infos on the book is because no one knows it exactly.
We can try to reconstruct...
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NathanH
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Post by NathanH on Apr 15, 2020 7:38:39 GMT
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Post by The Real Wizard on Apr 15, 2020 8:23:33 GMT
There are a few known dates from seeing studio track sheets and reel to reel tapes. But probably less than 1% of it is known, compared to 99.9% of The Beatles' sessions.
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Steve
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Post by Steve on Apr 15, 2020 8:26:58 GMT
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moonhead
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Post by moonhead on Apr 15, 2020 9:02:52 GMT
Yes that site is great (we can prepare a section, a sort of portal, where we can put all that sites) but could be interesting to know the exact day when a session started.
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Deleted
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Post by Deleted on Apr 15, 2020 13:27:22 GMT
I'm not sure if I'd be able to, but I can try. I'd actually logged in to paste what I've found so far, so instead of opening another thread, I'll do it here. This post will focus on the 1971-1975 era:
1971: - December: Demo sessions at the De Lane Lea Music Centre in Wembley (London). They were in and out for weeks and five complete tracks stemmed from them, that we know of. There are a couple of photos from those sessions released so far, both featuring Frederick - one recording vocals and one with engineer Louis Austin. I interviewed Louis nine years ago or so and he confirmed Frederick was the producer of those sessions.
- April: Queen begin recording at Trident in London, even though their contracts haven't been signed at this point. They mostly focus on re-doing some (not all) of the demos they'd had from 1971, and try out some new songs as well.
- Tuesday 13th June: 'My Fairy King', 'Liar' and 'Keep Yourself Alive' confirmed to already have been at least partially recorded at Trident - though not necessarily completed and not necessarily the same versions that ended up on the album.
- Sunday 30th July: Album's been finished by then, but it'd still be a while before they release it.
- Wednesday 1st November: Two contracts are signed - one with Neptune Productions Limited (and it's agreed they'd paid them an advance of £6,000 in 'goods and equipment' by then) and one with Trident Audio Productions. The band members sign as Frederick Bulsara, John Richard Deacon, Brian Harold May and Roger Meddows Taylor. They also agree on a weekly salary of £100 for the artist (i.e. £25 per member) for a year.
1973: - Monday 5th February: First BBC session at Langham Studio in Maida Vale (London), produced by Bernard Andrews and engineered by John Etchells. Some of the songs keep the backing tracks they already had and merely add some vocals, while others sound like they've merely been remixed. They do 'Doing All Right' (with Roger singing the last verse), 'Keep Yourself Alive', 'Liar', 'My Fairy King'.
- Tuesday 22nd May: Album's about to be released but gets postponed yet again.
- Wednesday 25th July: Second BBC session, again at Langham 1 in Maida Vale (London). Produced by Jeffrey Griffin, engineered by John Etchells and Christopher Lycett. They track 'Keep Yourself Alive', 'Liar', 'Son and Daughter' and 'See What a Fool I've Been'.
- August:
- Saturday 4th: This may be when sessions began at Trident in Soho (London), considering they'd opened for Vinegar Joe the previous evening in Newcastle (a five-hour drive at the least).
- Monday 6th: A tape-box from this date reveals they'd done takes 12 to 16 of 'Seven Seas of Rhye' (presumably, takes 1 to 11 come from either the 4th or the 5th of both) and takes 1 to 4 of 'Father to Son'. The team at this point consists of Roy Baker as producer and senior engineer and Nicholas Bradford as assistant engineer.
- Tuesday 7th - Friday 31st: Presumably the rest of the main sessions take place in this time-frame. They include Michael Stone taking over from Roy Baker as chief engineer, and Neil Kernon taking over as assistant engineer. Also, for a few days, Roy flies to Copenhagen to work with his other client (Danish band Gasolin') and Robin Cable briefly takes over as producer (they do 'Nevermore', 'Funny How Love Is' and part of 'The March of the Black Queen' with him). The earliest documented use of the 'Procession' tape is from Thursday the 13th of September and it's definitely not the same one as the album, which suggests Brian did further overdubs later on (either late 1973 or, more likely, early 1974).
Monday 3rd December: Third BBC session, at the same studio as the previous two, bringing back Bernard Andrews as producer, and featuring Michael Franks and Nicholas Griffiths as engineers. They track 'Great King Rat', 'Modern Times Rock 'n' Roll', 'Ogre Battle' and 'Son and Daughter'.
1974: - January and/or February: Presumably, that's when they added final touches to the second album, including further overdubbing for the opening track (see above). According to the 2011 release liner notes (which are wrong many times so take them with a pinch of salt), that's also when they recorded 'See What a Fool I've Been'.
- Wednesday 3rd April: Fourth BBC session, also at Langham 1 in Maida Vale (London). Peter Ritzema produces and John Sparrow engineers. Material consists of 'Modern Times Rock 'n' Roll', 'Nevermore' and 'White Queen'.
- July:
- Unknown: Sheer Heart Attack sessions begin at Rockfield Studios near the town of Rockfield (hence the name) in Monmouthshire, Wales (not England!). These are the first sessions outside London and outside England for that matter. Roy Baker's back as producer and Michael Stone's back as chief engineer, presumably assisted by whoever happened to be on shift from the local staff.
- Sunday 28th: A tape-box dated from this day confirms that at that point they'd been working on 'Flick of the Wrist' (backing track and backing vocals), 'Happy Little f**k' (including vocals), 'You're Young and You're Crazy' (no vocals), 'Banana Blues' (no vocals), 'Lap of the Gods, Part 2' and 'Stone Cold Crazy'.
- August: Sessions continue alternating and sometimes overlapping work at different studios, including Rockfield in Wales, Wessex in Highbury (London), Trident in Soho (London) and AIR in Westminster (London). They include overdubs but also perhaps some backing tracks in case they'd come up with something at that point. This is when Brian falls ill and they do a lot of work without him. Wessex sessions feature Geoffrey Workman as assistant engineer.
- September: Sessions finish at Trident in Soho (London), including mixing. There's video and photographs of the founding members recording backing vocals for 'Killer Queen' but that's possibly a recreation done for the cameras rather than the actual recording sessions.
- October:
- Wednesday 16th: Fifth BBC sessions, again at Langham 1 in Maida Vale (London). Jeffrey Griffin returns as producer and Christopher Lycett returns as engineer. They do 'Flick of the Wrist', 'Now I'm Here', 'Stone Cold Crazy' and 'Tenement Funster'.
- Sunday 27th: Brian and Roger record 'God Save the Queen' at Trident. This is the last documented recording they do there (they'd return in 1975 to mix the live album but, unless they did overdubs, they didn't record anything) and the last known instance of Brian tracking something with the 'Hey Jude' piano.
[/ul]
1975: - June: They re-record 'Keep Yourself Alive' at Sarm Studios in Aldgate (London) for a single release, though they end up using the normal version. First documented recording at Sarm, though they'd already been there (or at least Roy and Michael had) to mix the single version of 'Now I'm Here'.
- July: Rehearsals at the Ridge Farm in Dorking (Surrey), which are extensively photographed. Most of the photos from this era come from the coverage the Japanese magazine Music Life did of these rehearsals, and they're actually not from recording sessions at all. Those include Frederick playing the white piano, Brian on the Baldwin Bison guitar, John with his newly refurbished bass, and Roger... and Roger!
August: - Unknown: Recording sessions begin at Rockfield in Wales (not England). According to Roger (Beat Instrumental, published in October 1975), all of the backing tracks are laid down there.
- Monday 18th: A tape-box published on the band's Facebook page confirms that on this date they worked on 'You're My Best Friend', 'Fred's Piano Bits' and 'Wreck of the '39'.
- Friday 22nd: Frederick's then boyfriend, David Minns, confirms that on this date a rough mix of 'Bohemian Rhapsody' is played at the Roundhouse in Camden (London). Actress Adrienne Post is also present. The song was incomplete but they'd progressed enough to already show it to people.
- Sunday 24th: That's usually mentioned as the starting date of the album sessions but that's fake news. This false rumour stems from a Sound on Sound article published in October 1995 which includes an interview with Roy Baker and Gary Langan. Unfortunately, despite featuring live witnesses and despite the magazine's well-earned good reputations, there are loads of mistakes in the article, and it's misinformed thousands of people since.
- Unknown: Sessions also include work at other studios, as the band members and producers and engineers would sometimes work separately. They're interviewed at Olympic in Barnes (London), Scorpio in Camden (London) and The Roundhouse also in Camden (London). The interview conducted at Scorpio (to be published by the New Musical Express on Saturday 27th of September) includes Frederick running through all of the tracks, and there are some photographs taken as well which include the founding members recording backing vocals for 'Bohemian Rhapsody' and Frederick on the black Yamaha piano.
- September:
- Friday the 5th: There's a (possibly apocryphal) story according to which they were about to finish the mixing of 'Bohemian Rhapsody' and then Jill Sinclair (one of the studio executives at Sarm) switched off the fuse box to sing 'Happy Birthday' to Frederick. That probably debunks the 'three weeks' myth, by the way...
- Unknown: Further sessions at several different studios in Wales and England. At this point they also sign with John Reid as manager and incorporate three new team members to the crew, namely Richard Anderson, Peter Hince and Philip John, who become equipment supervisors alongside Jonathan Harris.
- October: Work continues at different studios.
- November: They finish mixing the album at Sarm in Aldgate (London), with Gary Lyons as assistant engineer and Gary Langan as tape operator.
To be continued...
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Steve
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Post by Steve on Apr 15, 2020 13:45:13 GMT
Shouldn't Roger be Rogerick Seb? 🤣🤣🤣
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cmi
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Post by cmi on Apr 15, 2020 13:48:13 GMT
What a nice read! Thanks, Sebastian.
It's interesting that on 5th February (and then on 25th July) they used later version backing track of KYA for BBC Session. But two months later on 22nd May still wanted to release early version of KYA...?
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Deleted
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Post by Deleted on Apr 15, 2020 13:57:14 GMT
Shouldn't Roger be Rogerick Seb? 🤣🤣🤣 Not really, as his full name was Roger Meddows-Taylor. Anyway, the 1976 - 1979 era:
1976: - May/June: Rehearsals at the Ridge Farm in Dorking (Surrey). Christopher Taylor replaces Phil John as Roger's assitant.
- Summer:
- Unknown: Album sessions take place mostly (though not necessarily exclusively) at The Manor in Shipton-on-Cherwell (Oxfordshire), Wessex in Highbury (London), Sarm in Aldgate (London) and possibly Advision in Fitzrovia (London).
- July: A tape-box from Manor Studios confirms they'd worked on all Frederick's compositions as well as 'Drowse' and 'Simple Man'. 'Somebody to Love' is shorter, which suggests some sections were done separately and potentially elsewhere.
- Friday 3rd September: After playing two concerts in Scotland (not England), they return to England (as they were outside England) and keep working on the album.
- Saturday 11th September: After playing a concert in Wales (not England), they return to England (as they were outside England) and keep working on the album.
- October:
- Unknown: The official fan club newsletter announces the album will be finished soon and that they haven't picked the single yet. A Day at the Races is mentioned as a possible titled but not yet confirmed.
- Saturday 16th: The record company arranges for the band to attend the horse races at Kempton Park in Surrey, as the title of the album's been confirmed by then.
- Friday 22nd: The single is mixed at Sarm in Adlgate (London).
- Tuesday 26th: Monitor mix of 'Brian's 12 String Thing' (working title for 'Long Away') at Wessex in London. Backing vocals (not necessarily the final ones) had already been recorded at this point.
- November:
- Tuesday 2nd: 'You Take My Breath Away' copy-mix at Wessex.
- Friday 5th: Compilation mixes for the album done at Wessex. Different running order at that point.
- Tuesday 9th: Copy-mixes for 'Long Away', 'Drowse' (three different versions) and 'Tie Your Mother Down' at Wessex.
- Tuesday 16th: 'The Millionaire Waltz' and 'You and I' copy-mixes at Wessex.
- Friday 26th: Reception event for the press, playing the album's final mix at Advision Studios in Fitzrovia (London).
1977: - July:
- Unknown: Recording sessions begin at Basing Street in Notting Hill (London). 'It's Late' is confirmed to be the first one they did. 'Feelings, Feelings' may stem from these sessions as well.
- Wednesday 27th: Rough mixes of 'Who Needs You', 'All Dead, All Dead' and 'Spread Your Wings', done at Basing Street Studios in Notting Hill (London), with Michael Stone as chief engineer and Robert Ash as assistant engineer.
- August:
- Unknown: Sessions continue at Basing Street in Notting Hill (London) as well as Wessex in Highbury (London). Confirmed recordings from Wessex include 'Sheer Heart Attack' (take 12) and 'Sleeping on the Sidewalk' (take 6).
- Saturday 27th: Copy mix of 'We Are the Champions' at Wessex.
- September: Album finished, mixed at Sarm. A letter from Roger to the fan club dated from Monday 12th confirms 'We Are the Champions' as the lead single.
- Friday 28th October: Sixth and final BBC session, again at Langham 1 in Maida Vale (London). Jeffrey Griffin produces yet again and Michael Robinson engineers. They do 'It's Late', 'My Melancholy Blues', 'Spread Your Wings' and 'We Will Rock You'. At least some of those sessions are filmed.
1978: - Summer:
- July:
- Unknown: Sessions begin at Mountain in Montreux (Switzerland), which they still didn't own - they were just clients. They'd previously rehearsed at a ballet school nearby.
- Wednesday 19th: On Brian's 31st birthday, the Tour de France passes by their hotel in Switzerland (despite its name, it doesn't exclusively take place within French borders) and inspires Frederick to write a song.
- Unknown: Sessions continue at Mountain and that's where the famous photo comes from. At some point they move to Super Bear in Super-Berre (France).
- Autumn: They finish the album at Super Bear Studios in France.
1979: - Spring: Queen purchase Mountain Studios and mix Live Killers there, also adding some overdubs (no matter how much they deny it since).
- Summer: Preliminary sessions at Musicland in Munich, with Reinhold Mack as their new chief engineer and co-producer. That includes 'Coming Soon', 'Crazy Little Thing Called Love', 'Sail Away Sweet Sister' and 'Save Me'. According to Peter Hince's book, Frederick flew to West Germany the day of a Heathrow strike and then composed 'Crazy' at the hotel in Munich, which would narrow down the date to Friday 22nd of June.
To be continued...
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cmi
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Post by cmi on Apr 15, 2020 14:09:46 GMT
As I remember you had an information that backing vocals for 'Teo Torriatte' were recorded in Advision studios. Is this fact comfirmed?
Why do you accentuate the mixing of 'single' version of 'Now I'm Here'? We know, that the same mix of the song was used for album in 1974 and for single in 1975. Or there was a latter attempt to mix the song again for single release ?
As I understand Roy and Mike mixed 'Now I'm Here' sometime in autumn 1974 in Sarm. The only track mixed in Sarm for SHA album. Right ?
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Steve
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Post by Steve on Apr 15, 2020 14:13:48 GMT
Shouldn't Roger be Rogerick Seb? 🤣🤣🤣 Not really, as his full name was Roger Meddows-Taylor. Anyway, the 1976 - 1979 era:
1976: - May/June: Rehearsals at the Ridge Farm in Dorking (Surrey). Christopher Taylor replaces Phil John as Roger's assitant.
- Summer:
- Unknown: Album sessions take place mostly (though not necessarily exclusively) at The Manor in Shipton-on-Cherwell (Oxfordshire), Wessex in Highbury (London), Sarm in Aldgate (London) and possibly Advision in Fitzrovia (London).
- July: A tape-box from Manor Studios confirms they'd worked on all Frederick's compositions as well as 'Drowse' and 'Simple Man'. 'Somebody to Love' is shorter, which suggests some sections were done separately and potentially elsewhere.
- Friday 3rd September: After playing two concerts in Scotland (not England), they return to England (as they were outside England) and keep working on the album.
- Saturday 11th September: After playing a concert in Wales (not England), they return to England (as they were outside England) and keep working on the album.
- October:
- Unknown: The official fan club newsletter announces the album will be finished soon and that they haven't picked the single yet. A Day at the Races is mentioned as a possible titled but not yet confirmed.
- Saturday 16th: The record company arranges for the band to attend the horse races at Kempton Park in Surrey, as the title of the album's been confirmed by then.
- Friday 22nd: The single is mixed at Sarm in Adlgate (London).
- Tuesday 26th: Monitor mix of 'Brian's 12 String Thing' (working title for 'Long Away') at Wessex in London. Backing vocals (not necessarily the final ones) had already been recorded at this point.
- November:
- Tuesday 2nd: 'You Take My Breath Away' copy-mix at Wessex.
- Friday 5th: Compilation mixes for the album done at Wessex. Different running order at that point.
- Tuesday 9th: Copy-mixes for 'Long Away', 'Drowse' (three different versions) and 'Tie Your Mother Down' at Wessex.
- Tuesday 16th: 'The Millionaire Waltz' and 'You and I' copy-mixes at Wessex.
- Friday 26th: Reception event for the press, playing the album's final mix at Advision Studios in Fitzrovia (London).
1977: - July:
- Unknown: Recording sessions begin at Basing Street in Notting Hill (London). 'It's Late' is confirmed to be the first one they did. 'Feelings, Feelings' may stem from these sessions as well.
- Wednesday 27th: Rough mixes of 'Who Needs You', 'All Dead, All Dead' and 'Spread Your Wings', done at Basing Street Studios in Notting Hill (London), with Michael Stone as chief engineer and Robert Ash as assistant engineer.
- August:
- Unknown: Sessions continue at Basing Street in Notting Hill (London) as well as Wessex in Highbury (London). Confirmed recordings from Wessex include 'Sheer Heart Attack' (take 12) and 'Sleeping on the Sidewalk' (take 6).
- Saturday 27th: Copy mix of 'We Are the Champions' at Wessex.
- September: Album finished, mixed at Sarm. A letter from Roger to the fan club dated from Monday 12th confirms 'We Are the Champions' as the lead single.
- Friday 28th October: Sixth and final BBC session, again at Langham 1 in Maida Vale (London). Jeffrey Griffin produces yet again and Michael Robinson engineers. They do 'It's Late', 'My Melancholy Blues', 'Spread Your Wings' and 'We Will Rock You'. At least some of those sessions are filmed.
To be continued...Was just kidding lol. Bit like Jonathan Deacon! 🤣
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Deleted
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Post by Deleted on Apr 15, 2020 14:19:52 GMT
As I remember you had an information that backing vocals for 'Teo Torriatt'e were recorded in Advision studios. Is this fact comfirmed? I don't remember that. Did I really say it? If so, perhaps I'd read an article or something but, alas, I've no idea now. Sometimes I can be scatty... Regarding 'Now I'm Here', no idea either: a Beat Instrumental article from early 1975 confirms the album had been mixed at Trident, but then there are claims from Gary Langan (IIRC) that they'd done some mixes at Sarm, I don't know if they were used or not.
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cmi
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Post by cmi on Apr 15, 2020 14:34:01 GMT
It is important to note, that Mack was never mentioned as a co-producer for Summer '79 session.
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Deleted
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Post by Deleted on Apr 15, 2020 14:35:55 GMT
Retroactively he was, and the Grammy nomination (IIRC) for the album listed both him and the band.
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Steve
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Post by Steve on Apr 15, 2020 14:37:34 GMT
Also Royston Thomas Baker?
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cmi
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Post by cmi on Apr 15, 2020 15:34:49 GMT
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Steve
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Post by Steve on Apr 15, 2020 15:40:25 GMT
Great to see the old thread. Queenzone was just about tolerable then!
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Post by The Real Wizard on Apr 15, 2020 20:29:39 GMT
- Tuesday 22nd May: Album's about to be released - with a version of 'Keep Yourself Alive' which starts off with acoustic guitar like the demo - but is postponed yet again.
How do we know it's that version of KYA that was slated to be on the album this late in the game? The acetate it was found on was undated, no ?
Also, the eventual studio version (just with a different lead vocal) was heard on their first BBC session three months earlier.
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Post by Deleted on Apr 15, 2020 22:05:51 GMT
Good points all around. I'll correct accordingly. Team work for the win!
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queenfanatic
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Post by queenfanatic on Apr 18, 2020 4:02:04 GMT
There’s actually a master tape of the complete album dating January 19th, 1974. I would say Queen finished the record by then. SWAFIB was likely recorded a bit later and mixed in February 1974. There actually is a few sheets from recording sessions, dated August 9th, 1977, and some documentation dated from August 22nd - August 26th, 1977, September 1st - September 2nd, September 4th, 1977. AUGUST 9TH, 1977: Studio 1: Engineer: Michael “Clay” Stone Operator: “Dave” Timeline: 2:00pm: Client Late 2:30pm: 24-Track Recording 7:30pm: Break 8:30pm: 24-Track Recording 11:00pm: End of session AUGUST 22ND, 1977: Studio 1 24-Track Recording Engineer: Michael “Clay” Stone Duration: 3:00pm - 11:00pm Cost: £283.50 Note: This is the regular daily shift for recording sessions AUGUST 23RD, 1977: Studio 1 24-Track Recording Engineer: Michael “Clay” Stone Duration: 3:00pm - 1:00am Cost: £405.00 AUGUST 24TH, 1977: Studio 1 24-Track Mixing Engineer: Michael “Clay” Stone Duration: 6:00pm - 2:30am Cost: £344.25 AUGUST 25TH, 1977: Studio 1 24-Track Recording and Mixing Engineer: Michael “Clay” Stone Duration: 4:00pm - 7:00pm, 7:30pm - 2:00am Cost: £384.75 AUGUST 26TH, 1977: Studio 1 24-Track Recording and Mixing Engineer: Michael “Clay” Stone Duration: 3:00pm - 12:00am, 1:00am - 4:00am Cost: £486.00 SEPTEMBER 1ST, 1977: Studio 1 24-Track Recording Engineer: Michael “Clay” Stone Duration: 10:00am - 1:00pm Cost: £121.50 SEPTEMBER 2ND, 1977: Studio 1 24-Track Recording Engineer: Michael “Clay” Stone Cost: £121.50 Timeline: 2:00pm: Equipment Preparation 3:00pm: Waiting for Client (Queen) 4:30pm: 24-Track Mixing 7:30pm: Break 8:30pm: 24-Track Mixing 12:00am: End of Session SEPTEMBER 4TH, 1977: (Studio Technical Fault on September 3rd) Studio 1 24-Track Mixing Engineer: Michael “Clay” Stone Duration: 2:00pm - 8:30pm, 9:00pm - 6:00am Cost: £625.75 Queen take a taxi to Sarm to begin the Mastering sessions on September 5th, 1977. Queen would ultimately finish the mastering on September 16th, 1977 (According to Queensongs.info). Documentation: we.tl/t-FafVoJDDb6I hope everyone is doing okay at home - Jaxon.
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moonhead
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Post by moonhead on Apr 18, 2020 7:54:48 GMT
There’s actually a master tape of the complete album dating January 19th, 1974. I would say Queen finished the record by then. SWAFIB was likely recorded a bit later and mixed in February 1974. There actually is a few sheets from recording sessions, dated August 9th, 1977, and some documentation dated from August 22nd - August 26th, 1977, September 1st - September 2nd, September 4th, 1977. Documentation: we.tl/t-FafVoJDDb6I hope everyone is doing okay at home - Jaxon. Wow thanks! These are the great research for the famous thunderclab contribution of God in the Jazz album! Queen Songs ... a new site to add in the favourite
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Steve
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Post by Steve on Apr 18, 2020 7:57:36 GMT
Wow. Even the costs on there. Such great info!
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queenfanatic
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Post by queenfanatic on Apr 18, 2020 20:10:49 GMT
I heard something about the Acapella of drunken studio crew singing “I Do Like to be Beside the Seaside” was actually going to open ”Sheer Heart Attack”. If they builded it up to Brighton Rock, it could have been explosive like The Dark Side of the Moon‘s “Speak to Me” building up to “Breathe (In the Air)”.
I might see if I can do a recreation for the band’s intentions for the album, but I’m not too sure yet, I’ll need more information...
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Post by ladedadedaa on Apr 21, 2020 4:26:08 GMT
Timeline: 2:00pm: Client Late 2:30pm: 24-Track Recording This made me laugh. Also, lots of LATE nights/early mornings!
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Post by Mack Mantilla on Apr 22, 2020 5:20:10 GMT
Superb thread!
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Dimitris
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Post by Dimitris on Apr 28, 2020 21:10:50 GMT
Great read thank Sébastien
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Post by Deleted on Apr 28, 2020 23:05:02 GMT
There actually is a few sheets from recording sessions, dated August 9th, 1977, and some documentation dated from August 22nd - August 26th, 1977, September 1st - September 2nd, September 4th, 1977. I'm afraid I didn't get to download the documentation. I don't want to be a pain and ask you to re-upload, so I'll just bother you with this question: were those sessions at Wessex or Basing Street? Ta!
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cmi
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Post by cmi on Apr 30, 2020 21:15:45 GMT
Just noticed in 'Complete Works' booklet that "Under Pressure" was engineered by David Richards. It seems Mack wasn't involved in production of the song at all. This inforamtion isn't available anywhere AFAIK.
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Post by Deleted on May 1, 2020 3:45:08 GMT
Brian confirmed ('International Musician & Recording World', 1982) that Mack was there for the final mix (with the two main authors), and Mack also claimed to have been there (both in Montreux and New York). Mack was always there for those sessions, assisted either by David Richards (in Switzerland) or Stefan Wissnet (in West Germany).
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cmi
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Post by cmi on May 1, 2020 7:25:44 GMT
Thanks, Sebastian. So this CW information wasn't quite right... Just found this article: www.ccaniene.com/queen-opera-omnia/ITA: Nel 1981, nel brano Action This Day, uno dei singoli tratti dal controverso album Hot Space, compare per la prima volta un musicista esterno alla band: è un sassofonista, di stanza ai Musicland Studios di Monaco, che ha eseguito un doppio assolo di sax alto e sax tenore. Si tratta di un italiano di Sant’Agostino di Romagna, Giuseppe Dino Pepe Solera, che ha portato, in un video, la sua testimonianza di quella meravigliosa esperienza. ENG: In 1981, in the song Action This Day, one of the singles taken from the controversial album Hot Space, a musician appeared outside the band for the first time: he is a saxophonist, stationed at the Musicland Studios in Monaco, who performed a double sax solo alto and tenor sax. He is an Italian from Sant'Agostino di Romagna, Giuseppe Dino Pepe Solera, who brought his testimony of that wonderful experience in a video. Didn't understand about the video though...
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