![]() ![]() We tried to capture all the enthusiasm that we had from playing together as a band.” Says Roger: “Lots of the tracks have first-take stuff in them we tried to preserve that freshness. “It would have become something of a staple core of the Queen show, I’m sure, because it was very participative – designed for the audience to sing along to – very anthemic.” “We were never able to perform this song live with Freddie,” said May. Inspired by something Anita Dobson would say, and later adopted for anti-apartheid protests, the massive ‘I Want It All’ was – though written before the band went into the studio – a forceful expression of Queen’s concert-honed heavy-rock powers. ‘Party’ and raw rock ‘Khashoggi’s Ship’ “evolved naturally, straight away,” said Freddie. As John Deacon implied, they instead channelled their live chemistry into the studio: “In the first few weeks of recording we did a lot of live material, a lot of songs, some jamming, and ideas came up.” While Freddie could no longer tour, Queen remained a band of staggering creative resourcefulness. “We were also dealing with Freddie’s deteriorating health and pulling together to support him.” ![]() “The cover art represents the unity of the group at the time: a seamless merging of four people becoming one,” May has said. This show of unity was elegantly conveyed by band art director Richard Gray’s cover for The Miracle, which depicts Queen’s four faces merged into one. We used to have lots of arguments in the studio, but this time we decided to share all the songwriting, which I think was very democratic and a good idea.” We seem to work together better now than we did before. ![]() Said Roger: “Decisions are made on artistic merit, so ‘Everybody wrote everything’ is the line, rather than ego or anything else getting in the way. We left our egos outside the studio door,” says Brian, “and worked together as a real band – something that wasn’t always the case. “Splitting the credits was a very important decision for us. For the first time, Queen would share songwriting credits equally, regardless of who conceived each song, a consensus of opinion that was to have fertile results. It would take 15 months and a radical restructuring of internal band dynamics before Queen regrouped in London’s Townhouse Studios on December 3rd, 1987, to start work on their thirteenth studio album. This would be Queen’s final live show with Freddie and the first in a chain of pivotal moments that would lead towards a lengthy separation for the band. As the band left the stage that night – toasting the flagship show of their biggest tour to date – they could hardly have foreseen that Knebworth marked a line in the sand. Fifteen months previously, on August 9, 1986, Queen’s mighty Europe Magic Tour had ended on a high, before an estimated audience of more than 160,000 at Knebworth Park in Britain. It was to be one of the most consequential periods in Queen’s history. The album features seminal recordings from the artist’s coffeehouse era (Gerde’s Folk City, 1962), his mythic 1963 breakout concerts at New York’s Town Hall and Carnegie Hall, a duet with Joan Baez from the historic March on Washington (August 28, 1963), definitive performances from his European and world tours of 19, incandescent moments from the 19 Newport Folk Festivals and more.The hugely prolific sessions for The Miracle began in December 1987 and stretched out to March 1989. Most of the performances on the album have been previously available only on the extremely limited edition “50th Anniversary / Copyright Extension” albums (three highly-collectible compilations–released in 2012, 20–of rare early Dylan recordings).Īcross two discs-worth of music, Live 1962 – 1966: Rare Performances from The Copyright Collections chronicles Dylan’s transformation from groundbreaking acoustic “folk” artist to iconic force of pop culture. Bob Dylan’s Live 1962 – 1966: Rare Performances from The Copyright Collections is now available digitally or as a 2-CD set.
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