zgredzik napisał(a):które piosenki nie mają w swojej studyjnej wersji ani kawałka perkusji, za to zagrane są w całości na automacie?
Nie wszystko z tego co napiszę poniżej jest pewne, cytuję wpisy z Bechstein 'Debauchery. Pomijam oczywiście nieliczne utwory, gdzie z założenia nie ma perkusji, a pojawiają się ewentualne przeszkadzajki. Olałem też lata '70, wierząc, iż tam każdy utwór zawierał ścieżkę "żywej" perkusji.
Staying Power - Freddie played the bass line in the Jupiter 8 synth.
He programmed about three percussion tracks in a Linn machine. Brian played three-part guitar parallel harmonies, which were deleted and replaced by a horn orchestra, conducted by Arif Mardin, which more or less plays the same. Everything Brian did in the edited version was an overdub guitar which doubles the riff sometimes. John added a funky rhythm guitar with double stops, but he didn't play bass this time. His work on the album was equally as guitarist and bassist. Brian used the Red Special, John a Fender Telecaster ->
ani słowa o RogerzeBody Language - Brian played some Red Special fills. The rest is Freddie playing Bösendorfer piano (only to hear in one of the re-mixes), Jupiter 8 bass, handclaps, fingerclips, OBX-a sound effects and percussion, and a Linn drum machine.
Cool Cat - The basic rhythm is John's Fender bass and Linn drum machines programmed by him. John also played the Telecaster guitar. The keyboards on the bridge are a mixture. There's an OBX-a synth-generated e-piano and a proper Steinway piano that only played once octave bass. The only other instrument on the song is a synth percussive overdub that appears from time to time (also in the OBX-a). The main keyboard could have been Freddie, and John the overdubs (including piano).
Pain/Pleasure - The drum part is programmed in computers. The main bass-line is programmed on synths, either by Freddie or John, or both, and run in different keyboards as it is repeated. So far I've noticed it was run in the DX7, the Jupiter 8 and the Fairlight. The background sound and the e-piano are the DX7. The e-piano is more played than programmed, one of them (most likely Freddie) did it. Then we find a warm pad in the verse, it's done in the Jupiter 8. A different pad is found later, that one is also done in the Jupiter 8. John added a real Fender bass and a Fender Telecaster rhythm guitar, that Brian complemented playing lead in the Red Special. Freddie played Roland RD-1000 digital piano too.
My Baby Does Me - Basic support is Fender bass (John), Yamaha synth e-piano (John), and a drum-cowbell-tambourine track programmed in the computer by either Freddie or John or both. There's a double tracked guitar doubling the bass which is definitely not the Red Special, but a Telecaster. We have two possible players: Freddie or John. Also one of them (most likely John) could have done an overdub guitar which appears at some points in the left channel. There's another keyboard, played by Freddie in a Korg M1 (a sweep pad), and the lead guitar played by Brian in the Red Special.
I Can't Live With You - Brian played three guitars (two rhythm, one lead) in the Red Special and played some pads in the Korg M1. John added a Fender bass line. David Richards programmed the drum parts in the Korg.
Delilah - John's work consisted of a Fender bass line, Brian played one Red Special guitar track. The rest was just Freddie. The song is arranged for a pad, a calliope lead, a string section, drums and bass. He played all of that in the Korg synthesiser.
Track 13 
- It's completely done in the ASR10 sampler.
Napisane: 25 gru 2013, o 00:00
Zdaje się, że po prostu w 1984 zrobiono zbyt małą akcję marketingową.
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Inny kontekst, chęć spersonalizowania utworu? Paul sporo mówił o tym, że starał się znaleźć w utworach Queen cząstkę siebie, itd. itp.
