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Unread 07-11-2012, 05:24 PM   #31 (permalink)
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Re: Leading up to the Queensryche break-up

Queensryche featuring Rebecca Black!!

Buying tickets already
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Then you have Idol who just brains them and fingers the squishy parts.

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Unread 07-11-2012, 11:19 PM   #32 (permalink)
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Re: Leading up to the Queensryche break-up

Tates already been replaced. They're already playing out with the new guy under a nee name. Cant remember the name, has the word Rising in it. They'll never get it back. Genre is long gone and Chris was the talent in that band.
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Unread 07-11-2012, 11:26 PM   #33 (permalink)
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Re: Leading up to the Queensryche break-up

Malk gets ten points for a stunning take-down.

That poor bastard ain't never gettin' up again.

This is very interesting and educational, but I also had never heard of these creeps before. Sounds like a re-run of "Dallas" or "Falcon Crest". I couldn't care less.
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Unread 07-12-2012, 05:12 AM   #34 (permalink)
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Re: Leading up to the Queensryche break-up

He's been replaced with the singer from Crimson Glory and the band has been renamed "Rising West".

Crimson Glory...

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Unread 07-12-2012, 07:01 AM   #35 (permalink)
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Re: Leading up to the Queensryche break-up

If someone did that to me 5 minutes before showtime, one of us is going to leave on life support. LPC>mic stand. I'd be god damned. It would be "Queensryche, with surprise vocalist from the audience", an explanation and full refund to ticketholders. How many tickets, 5k on the high side? They ain't selling out arenas anymore. Free fan club memberships and meet and greets for EVERYONE in the audience. Come off as the good guys.
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Unread 07-12-2012, 09:23 AM   #36 (permalink)
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Re: Leading up to the Queensryche break-up

I used to dig Queensryche quite a bit, back when Geoff could still wail and they actually wrote good songs. Then again, I enjoy me some Dream Theater and Rush, too, so I do enjoy the prog-metal genre.

Anyway, if the other 4 guys in your band form a "side project"/new group dedicated to playing the old material of your group from before you became the "primary creative force" (i.e. after the best songwriter in the group left the band and since the band's manager was your wife and most of the business was handled by your family you were able to assert your authority over the band and its music), then it's a pretty good bet that there were in fact creative differences behind this split. Plus the fact that Geoff has always come across as a bit of an egotistical jerk (I don't know him, so this is just my perception).

To remove oneself from the immediacy of the situation, has anyone actually listened to the music QR has put out since Hear in the Now Frontier? Some of it is passable, but it's entirely forgettable. I actually bought Mindcrime II. That was a waste of $14, even with Ronnie James Dio, and that was arguably QR's high point in the last 12 years... Can't blame the rest of the band for saying "enough's enough"
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Unread 07-12-2012, 09:37 AM   #37 (permalink)
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Re: Leading up to the Queensryche break-up

To their advantage:

This is the most anyone's talked about them in 20 years.
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Unread 07-12-2012, 09:49 AM   #38 (permalink)
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Re: Leading up to the Queensryche break-up

How the hell isn't he getting paid anyway for Rising West? If he did write or co-write those songs, he should be getting paid every time they are performed, a-la Ace Frehley.
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Unread 07-12-2012, 09:57 AM   #39 (permalink)
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Re: Leading up to the Queensryche break-up

Still listen to a lot of the old stuff. Some great shit back in the day.


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Unread 07-12-2012, 10:19 AM   #40 (permalink)
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Re: Leading up to the Queensryche break-up

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To their advantage:

This is the most anyone's talked about them in 20 years.
This....
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Unread 07-12-2012, 10:25 AM   #41 (permalink)
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Re: Leading up to the Queensryche break-up

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This....

They'll probably reconcile in a few weeks and announce a tour.
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Unread 07-12-2012, 10:33 AM   #42 (permalink)
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Re: Leading up to the Queensryche break-up

Crimson Glory's singer has been dead for a few years now.... Though Midnight would have been a somewhat suitable replacement if there is a such a thing for Tate.. Its sad that bands from the 80's that have not been able to keep up with the changing times have not just gone on to other things and have to play out like this. Its sad (but entertaining).
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Unread 07-12-2012, 11:08 AM   #43 (permalink)
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Re: Leading up to the Queensryche break-up

Damn. I liked MCII. Guess I'm easy.
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Unread 07-12-2012, 11:22 AM   #44 (permalink)
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Re: Leading up to the Queensryche break-up

Nah, once DeGarmo left that pretty much sealed their fate.
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Unread 07-12-2012, 11:41 AM   #45 (permalink)
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Re: Leading up to the Queensryche break-up

It's all good, Joey. I really think I wanted to like MCII because MCI was one of my favorite albums, and because of the promise of Tate and Dio singing together. Of course, I think of 80s Tate and 70s-80s Dio singing together and I still get chills. Would have loved to have heard that. While MCII was still better, imo, than anything else they've done post-DeGarmo, it was just a big letdown to me. Sort of like how I was dating this girl at the time that Star Wars Phantom Menace came out, and I was excited to see the movie because c'mon, new Star Wars? She had never seen any of the Star Wars movies, so this was the first one she saw We walked out of the theater and I was thinking "That couldn't really have been it, could it?" and she said "That was pretty good, kids will love it." That was a doomed relationship...

Anyhow, here's another QR song that I dug...

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Unread 07-12-2012, 12:10 PM   #46 (permalink)
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Re: Leading up to the Queensryche break-up

I enjoyed the piano only version of someone else. The full band version, not so much. I will also say though not a fan of concept albums, MC is my favorite one by far. My band does eyes of a stranger towards the end of the night. Whatever dive bar I'm playing at that point disappears and I feel like I'm on a huge stage playing that song.
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Unread 07-12-2012, 12:12 PM   #47 (permalink)
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Re: Leading up to the Queensryche break-up

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Originally Posted by Joeydego View Post
Damn. I liked MCII. Guess I'm easy.
I'll take that compliment. What's up, JD!

If you guys read the rest of the depositions, there are numerous references to the fact that a session guitarist had to be brought in to play on a few QR records post-2005. I am said session guitarist.

I ended up re-playing 90% of the rythm guitar on OM:II record, and also wrote and played most of the guitar solos. I was still in my late-teens when I played that stuff. At the point that I wrote the solos and played all of the rythms, we didn't have a lot of time, Geoff Tate kept calling us during the one week we had to mix the record and asking for things to sound "heavier"

The producer would then have me re-play all of the rythms through a mesa/marshal dual head setup we had running. I did this for the song "Hands" and "I'm American" probably 3 times before we settled on a combination of different amp settings/takes.

Scott Rockenfield isn't even on OM:II, a session drummer/old friend of mine named Matt Lucich from South San Francisco played all of the drums except for one bridge, which me and the producer simultaneously played on two kits spaced across the room from each other. Then there's the track "Im American" which is a bad midi-programmed drum take that I did on a laptop and it ended up getting used for some reason (time constraints, or the producer didn't like the live take)

After the first guitar recording session, they hired me to engineer for the rest of the record as well.

They broke the silence (pun intended) about my involvement in their declarations. I spent 5 long years not talking about this stuff to ANYONE.

That record, for all intents and purposes, SHOULD carry the following credits:

Drums: Matt Lucich
Guitars: Mitch Doran (yours truly), Ashif Hakik, Mike Stone, Michael Wilton
Bass: Ed Jackson, Jason Slater
Vocals: Geoff Tate (Miranda Tate, Pamela Moore)

Orchestration/Keys: Ashif Hakik


Mixed: Chris Wolfe

So as you can see, it's a QR-related record, but not exactly a classic or traditonal QR-lineup.


I always had a lot of respect and admiration for that band, from back when Mindcrime and Empire were two great records that I enjoyed. When I was asked to play guitar on their record, by Geoff Tate and their then-producer, I had no idea what the rest of their situation was. Ed Jackson showed up and played his ass off. Mike Wilton was never at the studio when I was, and now that I read the deposition that he wrote, he says he was kept away from the studio. I had no idea about any of that, and it was explained to me that Wilton was just not showing up to play. It never made sense to me at all. Neither did Scott not being there. I always thought of Scott as a master drummer. Why then was I programming drums for this record? I was told a lot of stories as to why, but when you are a hungry kid and getting offered good engineer/session guitar work on a tight deadline, you drink the coffee and do the work.

Years later I met Scott and worked on some songs with him and Geoff, Scott was always very nice, and indeed the master drummer that I had originally pictured.

It's really sad that it had to come to this, and I feel like if these guys could have wrote all of those depositions, as heartfelt messages to one another in private, things would be a lot different.


Also, Geoff was always a calm and peaceful guy. He'd drive us around the bay area to the mastering facilities, he'd offer to bring stuff in, he sent us gifts after the record was done mixing, he sat the engineers down and gave us a talk thanking us for being professionals and apologizing for any toes he could have stepped on during the creative process (which he didn't)

I will say that there were a few screaming arguments in the lobby between Geoff's manager and the Producer, and more than once the producer came in and told me to stop working (while recording ed playing his bass parts) and not to let the hard drive with the protools files out of my sight.

I have always had a large black spot in my heart over having played on this record, having it debut at #15 on billboard, and then not being able to tell anyone about it. I have a lot to say about each song on it.

I also completely understand why a QR fan would put it on and say "WTF"
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Last edited by Kingdom of Nye; 07-12-2012 at 03:25 PM. Reason: changed the word deposition to declaration
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Unread 07-12-2012, 12:22 PM   #48 (permalink)
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Re: Leading up to the Queensryche break-up

Not a huge fan, but the only thing that ever stuck out about that band was Joeff Tate. Guy had some serious pipes. Like an opera singer. He sounds like a douche , but they are nothing really without him......unlike Guns & Roses
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Unread 07-12-2012, 12:28 PM   #49 (permalink)
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Re: Leading up to the Queensryche break-up

Very cool, Kingdom. I'd love to hear anything else you would be able to/feel comfortable sharing about the MCII sessions/working with QR.
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Unread 07-12-2012, 04:31 PM   #50 (permalink)
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Re: Leading up to the Queensryche break-up

I have a hard time believing ANY of this.
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Unread 07-12-2012, 05:03 PM   #51 (permalink)
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Re: Leading up to the Queensryche break-up

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I have a hard time believing ANY of this.
Interesting first post. Nice, subtle screenname there, too.

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Unread 07-12-2012, 05:34 PM   #52 (permalink)
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Re: Leading up to the Queensryche break-up

Poking around a little, I found Wilton's full response to Tate's C&D: Queensr˙che Guitarist Says Geoff Tate Called Him A Pussy | Gun Shy Assassin
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Unread 07-12-2012, 06:05 PM   #53 (permalink)
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Re: Leading up to the Queensryche break-up

And more stuff for the legal eagles: Queensryche Lawsuit Documents Here (updated July 11)
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Unread 07-14-2012, 04:21 PM   #54 (permalink)
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Re: Leading up to the Queensryche break-up

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Very cool, Kingdom. I'd love to hear anything else you would be able to/feel comfortable sharing about the MCII sessions/working with QR.
OK, since it was asked, I'll go ahead and elaborate a little bit. This will be a longer than average post from me.

I first became involved with the OM:II record around 2005 or so, when then singer in my band at the time gave me some stereo drum track recordings to recreate as midi files. He was programming them and gave me half to work on to speed things up. I was told that these were scratch drum takes played by Scott Rockenfield to demos for the operation mindcrime II record. The performances were mostly very good, but the recording quality was obviously a demo. It sounded like one microphone just put up for the purposes of capturing ideas. I programmed the midi, and the singer in my band, Ashif, compiled the programming with his work and gave them to the producer.

The next call that I got was to come down to an office in Redwood City, CA where the producer and Ashif had a small recording rig assembled. I was instructed to play power chords on a Gibson SG into a DI box, going into the DAW. These were going to be sequenced and re-amped for different songs on the record. I completed the recordings, we hung out for a minute, and then me and Ash took off. That building was really creepy in a way, because we only ever went there after hours, and most of the rest of the building was a big open warehouse full of cubicles where people designed toys or something. A bunch of weird dolls and toys everywhere.

The singer, Ashif, then left the Bay Area with the producer to Seattle, to stay at Geoff's and write orchestrations for a month. At this point I believe he also recorded a few guitar parts. Ashif had me go over and take care of his dog while he was gone, we were pretty close friends, so I would go and spend time with the dog and walk it and feed it every day. He loved that dog and would call or text almost every day checking up. I got a lot of updates from him. It turned from "dude, this is so cool!" to "get me the **** out of here" fast. He sounded very overworked.

After about a month, production of the record moved back down to the bay area. The next call I got was to come in to a studio in Menlo Park called the Annex. I was to record a few more guitar tracks. This time, they needed a few layers of acoustic guitar for a song called "Hostage." I came down, met Geoff Tate, met the engineers at the studio, and we got to work. I sat out in the live room of Studio D in the annex with an acoustic guitar, while the engineer Chris Wolfe ran around trying to fix an issue with the signal chain. I think I saw him go into the wall with a soldiering iron and fix a tie line upside-down while laying on his back, then hop back up, and walk out all without stopping conversation. He was a really impressive engineer, and aside from me, the youngest one in the building!

Anyways, the issue was resolved, and we laid down the acoustic track for hostage, a double of that take and then a few more color things that Geoff heard me playing in-between takes and liked. They then called me in to the control room while Chris Wolfe edited the takes. After he finished, I was handed a line6 variax guitar with the sitar-setting dialed in, and was told to improvise melodies in-between Geoff's vocals during the verses. We laid down a few sitar takes, and I was then handed a les paul, and told to re-track a bunch of the distorted rhythm guitar parts. I spent about half an hour doing this, when the producer, who was punching me in had to leave the room. I asked if I could just punch myself in, at which point they realized I was a capable protools engineer. I spent the rest of the night re-tracking rhythm guitars for "Hostage" and was asked to come back and help engineer and record the bass sessions with Ed Jackson the following week, which I agreed to.

The week spent with Ed recording bass parts was one of the funniest and most memorable during that record. He was one of the most professional and fully prepared musicians I've ever worked with. He also has a great sense of humor. We were recording the bass sessions off in another room, to versions of the songs with demo vocals and midi drums in them. That part of the studio had burned down once in the early 90's, and so when it would rain, there was a slight ant-problem. Ed saw the ants, and told the first guy who happened to be standing near him who worked for the studio, something innocent like "Hey, dude, you think you could maybe clean up these ants?" - -- which made perfect sense to me, isn't it his band who is paying for the studio time? Shouldn't they treat him like a client and clean the shit up so we can do our job without bugs crawling on us?

The guy he asked didn't seem to take it well, he just kind of nodded and backed out of the control room. It was then just me and Ed, and a few minutes later the producer of the album comes in and has a talk with Ed about who works for who. Apparently it wasn't that guy's job to be cleaning ants for us, and he got pissy with the producer, who had to smooth it over and find a way to not have the same conversation happen again. So Ed is sitting there, basically getting shit on for trying to get rid of the Ants. He was very calm and nice, and got on to recording.

The next day he shows up with a big bright red piece of luggage dragging behind him. It was full of industrial-sized sacks of assorted candy, and a stack of cheap plastic bowls. "I just like having candy around when I play!" he said with a big grin. "here help me spread these bowls out!" I think he was having a little fun with them by placing the candy there, and I think it was comedically brilliant.

We spent the week recording the songs, he knew all of the parts inside and out and played beyond professionally. He was constantly listening back to takes and saying "NO, DO IT OVER! That one sounded LAZY!"

He was never hard on me, only on himself until he got it right. He even had multiple "fills" for instrumental sections and recorded alternate ideas for the producer to choose from. On one song, he even recorded two complete keeper versions with different attitudes and inflections. I really feel that most of what we recorded in these bass sessions got used for the record. There were a few times in mix that the decision was made by others to keep the demo bass track, which was played by the producer and not Ed.

During this week of Bass sessions, Vocals were being recorded across the hall. As we finished Bass sessions, I was continuously tasked with replacing guitar parts and adding color to others. It hadn't occurred to me that I might be playing solos on the record, but sure enough the producer and Geoff sat me down and said that they needed me to play lead guitar solos. The first song that I wrote or played a solo on that record was the song "The Hands." The one thing that I remember was how I'd be just blocking out the solo, sort of playing a scratch take of which scales and patterns I wanted to use over each section, and often times the producer and geoff would say "NEXT, that one was good, good enough, NEXT!"

I'd have loved to have had some time to have worked out the leads, but there was supposedly a deadline to meet, and when the producer/writer and singer of the band says it's done, who am I to say "no"? It's not my song, it's theirs, literally. I had a lot of ideas about bringing back certain melodies from Mindcrime and superimposing them over the other chords, creating a thematic continuity. There's a little of that on there, but I didn't feel comfortable vocalizing the idea, I just did it.


I've dug out my vinyl copy of OM:II (I think it's the only copy I own). Here are some thoughts on each track:

1) Overture

It feels like there are barely any instruments on this track. Lots of synth and production effects. Basically the same as the demo version, only Matt Lucich is drumming. Producer played bass, guitars are Mike Stone. I didn't play on this.

2) Convict

This is just an interlude. That's the producer playing the part of the prisongaurd who releases Nikki. If you turn up the recording very loud, you hear him say "wipe that lipstick off, mothereffer" under his breath just before the next song hits.

3) I'm American

This song is the first one that I am playing guitar on. I also programmed the drums. There are no live drums in this song, all midi. I believe that Mike Stone played both of the solos on this, I am only playing the rhythm guitar tracks here.

The gang-vocal recording session was pretty funny, we were all (engineers, producer, geoff, pam, ed) out in the live room standing around a mic, yelling "I'M AMERICAN" for the chorus, and Ed Jackson kept yelling "I'M A MEXICAN!" or "I'M ARMENIAN!" We also recorded the gang vocals for the bridge "That's right, MORE" part in the same session.

Matt lucich played drums, Ed Jackson played the final bass take on this, I played all of the final rhythm guitar tracks, and the leads are what I was told were Wilton and Stone's demo leads.


4) One Foot in Hell

I am playing all of the lead guitar in the intro of this song, and all of the wah-wah call and response with Geoff through the verses. I also played all of the rhythm guitar. Just before the first word of the first verse, there's a really fast run with a tapped top-note. There are little things like this that I recorded that were never performed the same way live.

I am confused as to why Miranda Tate has an incomplete credit on wikipedia, because she sang on this song as well as the hands. I remember very well, because chris was engineering and she actually contributed vocal melodies that changed the mode of the chorus, making it sound really cool. Me and chris wolfe sat there that night making sure that all of the vocals sat well.

The main guitar solo, after the bridge, I replaced both harmony parts but the bluesy section that comes in is Mike Stone, and I think that it's one of the coolest solos on the record. Matt Lucich playing drums, I believe that this is the producer playing the bass part.

5) Hostage

This is definitely Ed playing the bass track, me playing all of the distorted rhythm and acoustic guitars, me playing fake sitar and also me playing the guitar solos. Matt Lucich on the drums. This was a case where I was just blocking out available scales that would work over the piece and they just kept it with a quick harmony added.

After the gang vocals that say "GUILTY, GUILTY, GUILTY!" you'll hear my voice saying "Order! Order! We will have order in the court"

Among the other uncredited work I did for this record, I was the "voice actor" who played the Judge as well as Nikki on the record.

6) The Hands

Matt lucich on drums, me on ALL guitars from the intro clean guitars to the guitar solo to the last note of the song.

The solo that I wrote for this was longer and had a lot more shred after the climax, but this is an edited version. The producer was sitting there with me, we both chain smoked and I punched myself in. He was sort of egging me on to make the solo crazier and faster, but the fast part ended up getting edited out of the track. I have a stereo stem of just the guitar solo somewhere that I was using to learn the solo better to play a final version. That never happened, but the original solo lives somewhere.

This is definitely Ed playing, I remember his bass fills too well. In fact, you can audibly hear which songs Ed is playing on pretty easily.

7) Speed of light

Thats my voice in the intro and bridge "Whatever is begun in anger, ends in shame" "something something madness" The producer had me read a bunch of self-help lines in a VO session. There was also a blonde lady who came in and did the female parts, she was playing Nikkis psychiatrist and I was playing Nikki.

I rerecorded a bunch of rhythm guitar parts, Matt lucich played drums except for the descending bridge.

That's a really weird bridge, I am playing the guitars, and me and the producer are both playing drums and percussion spaced across the room from each other and with very creative mic placement. Beatles-y sound.

8) Signs Say Go

Matt Lucich - drums
Ed Jackson- Bass
Mitch Doran (me) - rhythm guitars
Mike Stone - Guitar Solo

9) Re-Arrange You

I am playing all rhythm guitars
Mike stone plays the guitar solo, except for a few harmonies that was told to add to the diminished section.
Matt Lucich drumming (good performance from him)
Not sure if this is Slater or Jackson on bass

10) The chase

I am playing all rhythm guitars.
I believe that Ashif Hakik wrote this guitar solo, Producer had me replay most of the outro harmony solos.

11) Murderer

The intro to the song is mostly midi. Even the chapman stick sample is midi, producer tried to tell us he played it live, he owned a chapman's stick but that is such a bad sample of one that nobody believed it was live. We all just sort of gave each other that look.

I replayed the rhythm guitars from the demo, wrote the whole guitar solo section, and took part in the gang vocal sessions.

Matt Lucich is drumming, except for the bridge and outro drums, which I programmed. Listen to how obvious the hi-hats are in the bridge.

12) Circles

I didn't touch Circles

13) If I could change it all

I am playing all of the guitar parts in this song. I am proud of the bluesy bits. I used a telecaster in to an old Silvertone head.

Once the "Omen" sounding choir comes in, there's some understated tasty playing.
Matt Drumming, Ed on Bass


14) An Intentional Confrontation

Replayed all of the rhythm guitar.

Didn't touch the solo.

15) Junkies Blues

I replayed all of the rhythm guitars and harmonies.

More silvertone and telecaster

Matt Lucich on drums.

Not sure if this is the demo bass or Ed.

16) Fear City Slide

I am playing all of the rhythm guitars.

Matt Lucich drums.

Mike Stone plays the guitar solo.

17) Promises

I am playing the nylon stringed guitar parts, stone plays the electric solo. This song always sounded empty, like it was missing the main instrument.

-------------------------------------------------------------
In the end I was paid a grand total of 1,000 dollars for all of the engineering and session work I did. I was promised a lot more by the producer but none of that ever happened.

I was basically homeless at the end of that recording because I quit my job and kept working on the record without getting paid. It makes me sick to think of how much the producer and others made up front in advances and are still making off of the record in residuals, yet my life went to shambles just to participate. They had the money to pay me, they just didn't think twice about getting away with not paying me. I think that the budget for midi orchestrations alone was something like 30 or 40 thousand dollars? I didn't want a lot of money, I just asked if they'd be able to pay me what my 14 dollar hourly job paid me. I really just wanted to have gas in my truck to drive home at night for christ's sake. That never happened either. I slept in that studio for over a year and me and Chris Wolfe got the old shower back up and running , it hadn't been used since the 80's. I learned so much about recording music during that year, from all of the engineers and musicians that came through there.

One day during bass sessions, Ed Jackson learned that I was basically poor because I quit my job to work for them and nobody was paying me, and he was the only one who said "is there some way I can help you" and took out his wallet and started shilling out 100's in my direction. I didn't take the money, because it wasn't Ed's promise to me that was being broken, it was the producer who made that promise.

For the record, I had no intention of making all of this publicly known until the BAND did it themselves in their recent court declarations.


I have a lot of other stories of things that went on during the process. I've got some capacitors to throw in my les paul right now, so I have to run.

Thanks!

Mitchell
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Last edited by Kingdom of Nye; 07-14-2012 at 07:34 PM.
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Unread 07-14-2012, 04:28 PM   #55 (permalink)
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Re: Leading up to the Queensryche break-up

Spitter. What a Jagoff!.



At the 3:58 mark
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Unread 07-15-2012, 05:27 PM   #56 (permalink)
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Re: Leading up to the Queensryche break-up

Here is the band performing with thier new lead singer last month.

They are entering the studio soon to write and record a heavy new record soon.

Geoff just can't sing like this any more nor does he want to.

This is the style and songs that the fans want and the new guy can deliver that.

They are courrently in Legal battle over the use of the name Queensryche




[youtube]DS20WkSglZ0[/youtube]
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Unread 07-15-2012, 06:35 PM   #57 (permalink)
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Re: Leading up to the Queensryche break-up

There first ep was great release but after that was the slow downward spiral IMO. They got too artsy for my tastes. I saw them a few years ago as the opening act for Heaven & Hell. Sadly, it was a snoozefest
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Unread 07-15-2012, 07:07 PM   #58 (permalink)
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Re: Leading up to the Queensryche break-up

What have been said in the local press is that before the brazilian show Tate knowed about the rumours that the band was planning to dismiss him from tha band. Than on the soundcheck Tate punched Michael Wilton putting him down and then goes for Scott (drummer) with a knife, but got held by the security. Haven't been noticed oficcially anywhere, but been watched by who was in the soundcheck and published in a brazilian blog by a journalist.
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Unread 07-15-2012, 07:15 PM   #59 (permalink)
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Re: Leading up to the Queensryche break-up

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Originally Posted by jcsk8 View Post
What have been said in the local press is that before the brazilian show Tate knowed about the rumours that the band was planning to dismiss him from tha band. Than on the soundcheck Tate punched Michael Wilton putting him down and then goes for Scott (drummer) with a knife, but got held by the security. Haven't been noticed oficcially anywhere, but been watched by who was in the soundcheck and published in a brazilian blog by a journalist.

Every detail and everyone's statements issued in the Suit are in the link below.

Read Michael's, and Scott's as to exactly what went down.
(No knife, but entire drumkit pushed off the riser, punching faces and lot's of spitting and threats to kill included, all minuets before the curtian was to go up)

Queensryche Lawsuit Documents Here (updated July 13)
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Last edited by LPSPP; 07-15-2012 at 08:42 PM.
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Unread 07-15-2012, 07:31 PM   #60 (permalink)
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Re: Leading up to the Queensryche break-up

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Originally Posted by Kingdom of Nye View Post
I have a lot of other stories of things that went on during the process. I've got some capacitors to throw in my les paul right now, so I have to run.

Thanks!

Mitchell
I hope you keep the stories coming. I find this stuff very interesting.
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