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Post by hangman05 on May 17, 2020 16:50:17 GMT
I'm making a lot of live albums (bootlegs) just for me, and I'm going according to the classic Queen live albums (Live Killers, Live Magic and Live At Wembley '86) and not attending to the new age albums (On Fire: Live At The Bowl, Queen Rock Montreal, Live At The Rainbow '74, A Night At The Odeon).
Usually I include guitar solos in the song they belong:
1973-1975: Son And Daughter instead of Son And Daughter, Guitar Solo, Son And Daughter (reprise)
1975-1976: Brighton Rock, Son And Daughter instead of Brighton Rock, Guitar Solo, Son And Daughter
1977-1979: Brighton Rock instead of Brighton Rock, Guitar Solo, Brighton Rock (reprise)
1979-1981: Keep Yourself Alive, Instrumental Inferno instead of Keep Yourself Alive, Drums Solo, Guitar Solo
But in the News Of The World Tour ones I'm having some troubles, because in the next medley the guitar solo isn't part of The Prophet's Song while in the examples before the solo was part of Son And Daughter and Brighton Rock: 01. White Man 02. Vocal Improvisation (The Prophet's Song) 03. Guitar Solo 04. The Prophet's Song (ending with a little vocal improv)
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cmi
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Post by cmi on May 17, 2020 18:40:03 GMT
My point of view:
I think the idea was to extract guitar solo from BRIGHTON ROCK and incorporate it into another song. THE PROPHET'S SONG was chosen for it.
Brian starts to play some licks during Freddie's Improvisation and then during guitar solo conlusion Freddie resume his part just before heavy part of the song. So it could be classified as part of the large composition.
So ... 01. White Man 02. The Prophet's Song ... for me.
BTW, where this 'Instrumental Inferno' came from...?
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NathanH
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Post by NathanH on May 17, 2020 19:06:50 GMT
On the subject of song splits, why on Live At The Rainbow '74 was Keep Yourself Alive split into three parts with the drum solo as a separate track? Was it so Roger could get extra royalties?
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Post by ladedadedaa on May 18, 2020 21:46:28 GMT
On the subject of song splits, why on Live At The Rainbow '74 was Keep Yourself Alive split into three parts with the drum solo as a separate track? Was it so Roger could get extra royalties? Did they split royalties like that on live albums? Also I have a few issues with the way tracks are broken up on live albums...the worst being, why include the announcement of the name of a song at the end of the previous track half of the time?
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NathanH
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Post by NathanH on May 19, 2020 13:19:16 GMT
On the subject of song splits, why on Live At The Rainbow '74 was Keep Yourself Alive split into three parts with the drum solo as a separate track? Was it so Roger could get extra royalties? Did they split royalties like that on live albums? Also I have a few issues with the way tracks are broken up on live albums...the worst being, why include the announcement of the name of a song at the end of the previous track half of the time? I think on any album royalities is split into how many songs are on the album. The standard edition has 24 tracks so it would be roughly 4.1% of songwriting royalties per track and the deluxe edition has 41 tracks so that would be roughly 2.4%. As we know John gets 25% money made from Stone Cold Crazy as it's credits are shared by the whole band. So on the standard edition of Live At The Rainbow '74, John would've made just 1.025% from songwriting royalties and the deluxe edition just 0.6%!
Yes that really bugs me too! Live At The Rainbow '74 is a fine example of this, as the November '74 correctly has the introduction of the song on the new track whereas the March concert doesn't. The only exceptions with the March concert is Ogre Battle and Keep Yourself Alive because Brian starts playing before Freddie has finished speaking! Even those two is simply Freddie saying the song title, so they quite simply split a sentence in two.
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Post by The Real Wizard on May 20, 2020 1:05:56 GMT
Did they split royalties like that on live albums? Also I have a few issues with the way tracks are broken up on live albums...the worst being, why include the announcement of the name of a song at the end of the previous track half of the time? I think on any album royalities is split into how many songs are on the album. The standard edition has 24 tracks so it would be roughly 4.1% of songwriting royalties per track and the deluxe edition has 41 tracks so that would be roughly 2.4%. As we know John gets 25% money made from Stone Cold Crazy as it's credits are shared by the whole band. So on the standard edition of Live At The Rainbow '74, John would've made just 1.025% from songwriting royalties and the deluxe edition just 0.6%! Yes that really bugs me too! Live At The Rainbow '74 is a fine example of this, as the November '74 correctly has the introduction of the song on the new track whereas the March concert doesn't. The only exceptions with the March concert is Ogre Battle and Keep Yourself Alive because Brian starts playing before Freddie has finished speaking! Even those two is simply Freddie saying the song title, so they quite simply split a sentence in two.
Precisely - it's all about money.
And it's not like they're taking royalties from Deacon. It's not pie. The more tracks there are, the more cash is doled out by Soundreef/PRS/PPL. Considering the cut the record companies get, the artists deserve every penny they can get. And in Queen's case, they also see the publishing revenues.
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Post by Mr Mercury on Jun 13, 2020 12:57:13 GMT
I think on any album royalities is split into how many songs are on the album. The standard edition has 24 tracks so it would be roughly 4.1% of songwriting royalties per track and the deluxe edition has 41 tracks so that would be roughly 2.4%. As we know John gets 25% money made from Stone Cold Crazy as it's credits are shared by the whole band. So on the standard edition of Live At The Rainbow '74, John would've made just 1.025% from songwriting royalties and the deluxe edition just 0.6%! Yes that really bugs me too! Live At The Rainbow '74 is a fine example of this, as the November '74 correctly has the introduction of the song on the new track whereas the March concert doesn't. The only exceptions with the March concert is Ogre Battle and Keep Yourself Alive because Brian starts playing before Freddie has finished speaking! Even those two is simply Freddie saying the song title, so they quite simply split a sentence in two.
Precisely - it's all about money.
And it's not like they're taking royalties from Deacon. It's not pie. The more tracks there are, the more cash is doled out by Soundreef/PRS/PPL. Considering the cut the record companies get, the artists deserve every penny they can get. And in Queen's case, they also see the publishing revenues.
If there is one thing I hate about live recordings it is the medley's that have been split into separate tracks on the cd. Because I listen to music on my mp3 player when I am out and about, I find I have to join these tracks together so that they play as one big track and not as separate tracks with a silent gap between them. It is a bit of a pain sometimes, but as you say Wizard, for the band, it is all about the money.
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Post by The Real Wizard on Jun 13, 2020 18:33:28 GMT
Precisely - it's all about money.
And it's not like they're taking royalties from Deacon. It's not pie. The more tracks there are, the more cash is doled out by Soundreef/PRS/PPL. Considering the cut the record companies get, the artists deserve every penny they can get. And in Queen's case, they also see the publishing revenues.
If there is one thing I hate about live recordings it is the medley's that have been split into separate tracks on the cd. Because I listen to music on my mp3 player when I am out and about, I find I have to join these tracks together so that they play as one big track and not as separate tracks with a silent gap between them. It is a bit of a pain sometimes, but as you say Wizard, for the band, it is all about the money. You could always use a simple editor like Audacity and combine them into one giant track.
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Post by Mr Mercury on Jun 13, 2020 21:41:37 GMT
If there is one thing I hate about live recordings it is the medley's that have been split into separate tracks on the cd. Because I listen to music on my mp3 player when I am out and about, I find I have to join these tracks together so that they play as one big track and not as separate tracks with a silent gap between them. It is a bit of a pain sometimes, but as you say Wizard, for the band, it is all about the money. You could always use a simple editor like Audacity and combine them into one giant track.
That is exactly what I do use Wizard. It doesnt really take that long to be honest. I used to use Adobe Audition and whilst it is still good, Audacity is quicker because of its simplicity. Cheers anyway
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fras444
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Post by fras444 on Mar 21, 2021 23:00:35 GMT
SPOTIFY!!!! If there is one annoying thing regarding medleys or even songs like Lily of the Valley is that you are listening to your playlist on shuffle and it's Rime of the Ancient Mariner Iron Maiden (this is early this morning at 1am when truck driving...) then it fades into the drum solo from Keep Yourself alive which then fades into Heat "alone" (Hey.... Every truckie needs a power ballad to keep awake noun again!!!) then having the reprise to KYSAL kick in after Orion (metallica...) WTF I wish there was a way to link songs together as one track for platforms such as that...
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dysan
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Post by dysan on Mar 27, 2021 6:36:17 GMT
Good thread and I like that we're all on the same page regarding track marks within songs! I fully agree with the complexities of the question in the OP For a long time I've reassembled album segues into one track as I think the songs before and after usually act as part of the process for full enjoyment. Live medleys - depends on the length of the section. Those rainbow separate drum solos were a terrible misjudgement and totally mess up the handsome tracklistings so were all immediately joined. During lockdown I've enjoyed sticking loads of live tracks back together (favourite so far is sitting back having reassembled 15 minute 1979 Brighton Rocks into one track. Epic). cmi - IIRC 'Instrumental Inferno' was first used as a name for the Get Down Make Love / Guitar Solo when the Bowl concert was released on DVD in 2004. I remember it clearly, but I've just checked and can't find a copy that calls it that so maybe it came from bootlegs of the same! But it was around that time (maybe one of the Q+PR releases?) as I do remember it was then retroactively added to pretty much any live instrumental section and left us in the mess we're in now ha. The confusion with 'Impromptu' is also annoying and when Day-O became a seperate track rather than a nice thing the listener would find tucked away during a performance. I predict we'll soon see 'Opera Section' breaking up Bohemian Rhapsody :/
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cmi
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Post by cmi on Mar 27, 2021 8:31:19 GMT
cmi - IIRC 'Instrumental Inferno' was first used as a name for the Get Down Make Love / Guitar Solo when the Bowl concert was released on DVD in 2004. I remember it clearly, but I've just checked and can't find a copy that calls it that so maybe it came from bootlegs of the same! But it was around that time (maybe one of the Q+PR releases?) as I do remember it was then retroactively added to pretty much any live instrumental section and left us in the mess we're in now ha. The confusion with 'Impromptu' is also annoying and when Day-O became a seperate track rather than a nice thing the listener would find tucked away during a performance. I predict we'll soon see 'Opera Section' breaking up Bohemian Rhapsody :/ 'Instrumental Inferno' title was never used on the official releases, so I asked. 'Impromptu' title was used for the first time on "Live At Wembley '86" in 1992. So I hate "Looks Like It's Gonna Be a Good Night" title on 'Hungarian Rhapsody' for the same composition. So it was with 'Brighton Rock Solo' vs 'Guitar Solo'.
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dysan
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Post by dysan on Mar 27, 2021 8:45:37 GMT
Yes RE Wembley. I'll add Instrumental Inferno to the list of Queen Mandela Effects
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