Sebastian 23.12.2013 08:11 |
STONE COLD CRAZY: The skeleton of this song was already on one of Freddie's pre-Queen bands. Contrary to what a lot of sources say, *that* version was the slower one; the Queen version was always at a fast tempo, even before John joined. As to why it was credited to all of them, it's sort of a mystery. My speculation is that Roger, Freddie and Brian worked on a new version of it, based on Freddie's old one. John was credited but didn't participate on it creatively. UNDER PRESSURE: Freddie and David. The rest of them contributed, but more as arrangers than as co-writers. The final mix was done by Freddie, Reinhold and David. SOUL BROTHER: Freddie. He wrote it in about fifteen minutes and apparently wrote it about Brian. ONE VISION: The germinal idea was Roger's, and from then on it was a collaboration: Freddie re-wrote a lot of the words, Brian came up with the opening section, etc. John was credited but didn't participate much on its creation. PARTY: Freddie had the original idea, and from then on he worked on it with John and Brian. Roger was skiing elsewhere, so he didn't participate on it. KHASHOGGI'S SHIP: All four worked on it together, but judging by the harmony, it seems Freddie had a dominant role musically. THE MIRACLE: Freddie and John sat together and came up with a basic outline, then Freddie worked on it further and the four of them discussed and edited the lyrics until they agreed on the final version of them, which were a collaboration between Freddie and Roger. I WANT IT ALL: Brian from beginning to end. In fact, some recent releases credit it just to him. THE INVISIBLE MAN: Roger came up with the original idea, then they all participated. BREAKTHRU': Roger's song, with all four of them (and David Richards) as co-arrangers. The intro was taken from an idea Freddie had for a different track. RAIN MUST FALL: Music by John, lyrics by Freddie. SCANDAL: Brian's, both musically and lyrically. MY BABY DOES ME: Freddie wanted something that could ease things off and came up with the basic concept and the bass-line. From then on, it was a collaboration between him and John. WAS IT ALL WORTH IT: Freddie had the initial idea, and from then on all four took part. HANG ON IN THERE: Freddie, but Brian took over the arrangement and added bits of his own. MY LIFE HAS BEEN SAVED: John wrote it and then David Richards helped him recording a demo. Freddie heard it, loved it and sang on it. HIJACK MY HEART: Roger, most likely. STEALIN': Freddie had the basic idea and then they all contributed. CHINESE TORTURE: Brian had the guitar bit as early as 1986. Freddie mixed it. INNUENDO: The beat came from the three of them (Brian, John and Roger) jamming at the Casino Hall. Freddie then started singing along and wrote some lyrics and melody, Roger then took over and finished off the lyrics, including swapping the order of the verses (the one Freddie wrote came in second). Freddie added the bit in the middle. I'M GOING SLIGHTLY MAD: Freddie had the idea for it and composed the music. For the lyrics, he wanted a lot of the lines to be camp one-liners in the style of Noël Coward, and there was input from Peter Straker and Peter Freestone, with the final revision penned by Roger (first verse + the 'one needle' bit) and Freddie (everything else). HEADLONG: Brian. In fact, some recent releases credit just him. Originally written for his solo album. I CAN'T LIVE WITH YOU: Both lyrics and music were Brian's. Originally written for his solo album but given to the band as he thought Freddie could sing it better. DON'T TRY SO HARD: Freddie wrote it in Montreux and from then on the four of them discussed the details. RIDE THE WILD WIND: Roger, both lyrically and musically. ALL GOD'S PEOPLE: Freddie wrote it for a solo project which was cut off short because of the duet album with Montserrat Caballé. He then got Mike Moran to orchestrate it with him and asked Brian to play some guitar. Then he also asked John and Roger to be on it and it became a Queen song. THESE ARE THE DAYS OF OUR LIVES: Roger wrote it, but not about Freddie, he was just thinking about life and his kids and growing old and all that. Lyrics are often broad enough that they can acquire new meaning, and this is no exception. DELILAH: Freddie wrote it in Switzerland. THE HITMAN: The riff came from Freddie, then Brian took over, wrote the lyrics and melody, and then John took over and re-arranged it. BIJOU: Freddie and Brian were inspired by Jeff Beck's Where Were You and decided to write a piece that instead of being sung throughout and featuring a guitar solo in the middle, was played throughout and had a vocal solo in the middle. Freddie had a lot to do with the guitar lines (including singing the intro melody to Brian) and Brian had a lot to do with the vocal lines. THE SHOW MUST GO ON: John and Roger came up with the chord sequence, which Brian then took as the basis for the music: he wanted a cyclic progression over which everything else would happen, based on Pachelbell's Canon in D, and he sat with Freddie to write some lyrics. Freddie wrote the first two lines of the song, everything else was penned by Brian, as well as the chords of the middle-eight. IT'S A BEAUTIFUL DAY: Freddie wrote it and recorded it in 1980. The two versions on 'Made in Heaven' are re-arranged by the surviving band members, with John quoting a bit from Frederick Delius' Koanga. LET ME LIVE: The original idea was Freddie's, but he never got around to finishing it. Brian, John and Roger re-arranged it, finished off the lyrics and added the middle-eight. YOU DON'T FOOL ME: Freddie wrote the lyrics, and the musical idea came from him and John in 1991. Not a lot was recorded back then, and David worked very hard on stretching the existing recordings to make the song a full-length one. Then John and Roger added ideas and at the end Brian listened to it, liked it and came up with the solo. A WINTER'S TALE: Freddie wrote it in Montreux inspired by the scenery. He'd planned to spend Christmas '91 there with his boyfriend, but sadly couldn't make it. TRACK NO 13: Brian and David experimented with samplers and synthesisers and built it up in an overnight session. Roger also added some ideas later on. |
thomasquinn 32989 23.12.2013 08:33 |
Very good job! It is somehow comforting that Soul Brother took only 15 minutes or so to write. It'd have been frankly embarrassing if that lemon had taken months to do. |
Chief Mouse 23.12.2013 09:03 |
Great job, thanks! |
Fireplace 23.12.2013 10:39 |
I always thought that Soul Brother was just a few verses of nonsense, about no one in particular. Is there any documentation on it being about Brian? |
cmsdrums 23.12.2013 10:44 |
"I CAN'T LIVE WITH YOU: Both lyrics and music were Brian's. Originally written for his solo album but given to the band as he thought Freddie could sing it better" Well if that were the sole reason, surely he'd never end up with ANYTHING left over for his solo stuff?!! ?? |
Sebastian 23.12.2013 11:04 |
Fireplace wrote: I always thought that Soul Brother was just a few verses of nonsense, about no one in particular. Is there any documentation on it being about Brian?Brian mentioned it nearly a decade ago on his website: 'Freddie told me one day he had a surprise for me - he said, 'I've written a song about you - but it needs your touch on it!' I think, curiously, we were both working on songs separately which referred to each other. Can't remember which one of mine it was, since a lot of my songs were obliquely aimed at him (as well as to be sung by him!). Anyway. we got in the studio and he played this song. Now whether it was really about me I don't know. But I thought it was fab. I know he wrote it in about 15 minutes!. As to why not on album (The Game) - well, Freddie deliberately wrote it as a B-side to fill a gap, so I imagine the album was already sewn up.' |
ANAGRAMER 23.12.2013 11:26 |
How do you know all this Sebastian? |
musicland munich 23.12.2013 12:09 |
We are in need of an official QUEEN Session Book or an official Queen database( website) where all those details were gathered and confirmed....officially !!! ...would love the database cause it can be updatet if new informations or unreleased tracks come to light . |
The Real Wizard 23.12.2013 12:24 |
ANAGRAMER wrote: How do you know all this Sebastian?Years and years of research. Radio and magazine interviews are a goldmine. |
MadTheSwine73 23.12.2013 13:19 |
Awesome! Great work! |
Fireplace 23.12.2013 14:04 |
Sebastian wrote:Thanks for that little gem Sebastian!Fireplace wrote: I always thought that Soul Brother was just a few verses of nonsense, about no one in particular. Is there any documentation on it being about Brian?Brian mentioned it nearly a decade ago on his website: 'Freddie told me one day he had a surprise for me - he said, 'I've written a song about you - but it needs your touch on it!' I think, curiously, we were both working on songs separately which referred to each other. Can't remember which one of mine it was, since a lot of my songs were obliquely aimed at him (as well as to be sung by him!). Anyway. we got in the studio and he played this song. Now whether it was really about me I don't know. But I thought it was fab. I know he wrote it in about 15 minutes!. As to why not on album (The Game) - well, Freddie deliberately wrote it as a B-side to fill a gap, so I imagine the album was already sewn up.' |
Arnaldo "Ogre-" Silveira 23.12.2013 18:43 |
Great work, Sebastian! Do I sense a book in the works? Because you should! Cheers, Ogre- |
Sebastian 23.12.2013 19:21 |
It'd get outdated a minute after its release, while a website or an on-line publication can be modified immediately... and it's free! |
agrasso 23.12.2013 19:38 |
Thank you Sebastian!
Sebastian wrote: MY LIFE HAS BEEN SAVED: John wrote it and then David Richards helped him recording a demo. Freddie heard it, loved it and sang on it.Any more details about this? Does it mean that all the instruments in the demo were played by John and David? And who sang? |
Sebastian 23.12.2013 19:55 |
No, AFAIK the demo just had some keyboards (presumably synth and/or digital piano). David visited Japan with his then-girlfriend a long time ago (when I used to live there), and though I didn't attend her concert, a friend went and told me David had told her (so I'm aware there could be broken telephone) that when John wrote a song in those days he'd record a demo first and then show it to Freddie. The demo wouldn't have any vocals, but instead a melody played on piano or synth. As soon as the song got greenlit to be a Queen piece, Brian and Roger added their instruments and John played bass as well. Freddie, as far as I know, only sang on MLHBS, he didn't play anything. |
Hangman_96 23.12.2013 20:03 |
Thank you very much for this info! Keep up the good work! |
Kacio 24.12.2013 07:14 |
awesome Thanks Sebastian! and Merry Christmas! |
Thistle 24.12.2013 07:28 |
Seb, if all your information is spot on, then your book would never get out-dated. Of course, there's always scope for revised editions for any new tracks that emerge :) Seriously, you should consider it - there are many out there who like hard-copies, indexed, for quick reference: there are tonnes who may not know that your site, or indeed this one, exists. Make some cash if you can: it's all well sharing your great knowledge here for free, but for all you know there may just be someone collating YOUR work for their own gain..... Get it done!! |
Sebastian 24.12.2013 08:09 |
The problem is, the whole research is still in embryonic form, and the possibilities of ever getting a 'spot on' one get reduced by the minute: some of the people who were there have retired, others have died, others have a less than perfect memory, and in the case of 'who wrote what?', the whole point of crediting everything to the band was that they didn't want people to assign direct 1:1 ownerships (well, the main reason was financial, but there was also this). Quoting radio and press interviews would require sorting out the relevant copyright situation for each of them, etc. What I would really like to do one day, or to see someone more capable doing it, would be a song analysis thing, like what my friend PD used to do (e.g., link, but right now my knowledge is still rather basic. I'm not saying 'no', I'm saying 'not yet.' Such a project, should it happen, will take time, and if (when?) I'm finally ready, I'll let you know... or not - it'd be nice to surprise everyone. Either way, there are many factors to consider. |
Thistle 24.12.2013 08:27 |
Sebastian wrote: The problem is, the whole research is still in embryonic form, and the possibilities of ever getting a 'spot on' one get reduced by the minute: some of the people who were there have retired, others have died, others have a less than perfect memory, and in the case of 'who wrote what?', the whole point of crediting everything to the band was that they didn't want people to assign direct 1:1 ownerships (well, the main reason was financial, but there was also this). Quoting radio and press interviews would require sorting out the relevant copyright situation for each of them, etc. What I would really like to do one day, or to see someone more capable doing it, would be a song analysis thing, like what my friend PD used to do (e.g., link, but right now my knowledge is still rather basic. I'm not saying 'no', I'm saying 'not yet.' Such a project, should it happen, will take time, and if (when?) I'm finally ready, I'll let you know... or not - it'd be nice to surprise everyone. Either way, there are many factors to consider.Aye, fair play. I hope it's something you do eventually get the chance to do, because this stuff is great, well articulated and, above all, interesting. I know it would take a great deal of time, and a lot of "loose ends" and obstacles have to be tied up and overcome, but I really think it would be a great piece of work. So....hoping for that surprise one day :) |
agrasso 24.12.2013 14:58 |
Sebastian wrote: when John wrote a song in those days he'd record a demo first and then show it to Freddie. The demo wouldn't have any vocals, but instead a melody played on piano or synth.Thank you for your reply! This leads me to another question: before "those days", or better when synths/keyboards were not used, how John did record his demos? Similarly playing the vocal melody on guitar or piano? |
Mr.QueenFan 24.12.2013 15:28 |
Sebastian wrote: THE MIRACLE: Freddie and John sat together and came up with a basic outline, then Freddie worked on it further and the four of them discussed and edited the lyrics until they agreed on the final version of them, which were a collaboration between Freddie and Roger.First i just want to congratulate you for your post. I used to read everything i could about Queen in the press - before the internet - and then the official sources on the internet, for my personal pleasure. I can attest the amount of research that went on for you to be able to write this post and the MIH timeline one. This is the kind of stuff that stimulates me. It's great stuff, and this is what Queenzone is about. The reason i'm focused on "The Miracle" song is because i just want to express what an extraordinary piece of music this is. Outstanding! I just have one question about "Let me live": Who plays the piano? I was listening to this song the other day, and the piano playing during Roger's "you know where i will beeeee" it's outstanding to my ears. It's a great piano moment in Queen music along many other moments. Do you know who's playing the piano? The part that mesmerizes me it's the part on 1:51- 1:57 link Again, great post Sebastian. |
Sebastian 24.12.2013 15:56 |
agrasso wrote: This leads me to another question: before "those days", or better when synths/keyboards were not used, how John did record his demos? Similarly playing the vocal melody on guitar or piano?This is all speculation at this point, but I'd imagine there were not many individual demo versions John did in those days. Instead, he'd play the songs to Freddie and sing the melody to him so Freddie could learn it. That way, even the earliest take would already have Freddie's vocals. There's a comment about John singing AOBTD to Frederick, which the latter then of course transformed into one of his most celebrated vocal recordings ever. Mr.QueenFan wrote: I just have one question about "Let me live": Who plays the piano?I'd suppose (again, *suppose*) Freddie did it back in '83. The very brief excerpt (about 5 seconds) broadcast on the documentary has piano, so he was still alive back then. Now, whether the middle-eight comes from that era or not, I've no idea. These are the things QPL could (should?) be clearing up rather than re-re-re-re-re-releasing 'Greatest Hits' and 'Wembley' for the umpteenth time. |
clavinova 28.12.2013 15:42 |
Perhaps the same person who plays the piano on It's a hard life? (Freddie) The piano at .... to fall from the sky.....waiting for lo-o-o-o-o-o-o-o-v-e ... (2nd verse) sounds similar to me |
Apocalipsis_Darko 28.12.2013 20:43 |
Is true about Soul Brother was a very fast composition. About Brian's said it was dedicated to him, well, he said that, but I think is more about all the members of the band. |
Lord Gaga 28.12.2013 21:27 |
Just wanted to point out, Seb, that Lost Opportunity wasn't on that list. (It was written by Brian, but you – and most of us – knew that.) |
Sebastian 28.12.2013 23:26 |
Good point. Thanks. |
Mr.QueenFan 29.12.2013 19:35 |
Sebastian wrote: A WINTER'S TALE: Freddie wrote it in Montreux inspired by the scenery. He'd planned to spend Christmas '91 there with his boyfriend, but sadly couldn't make it.Just a quick note to add that Brian wrote the guitar solo. I believe there was a question in Queenzone somewhere about the actual finished state that Freddie left the song. I know the credits are still Mercury, but i like to know these little things about the process of music creation. This is what Brian has to say: link **Wed 04 Dec 13** RETURN TO SWISS TIMES "(...)and although I had a great walk around ton in Montreux these days. Maybe I always did … the beauty and freshness of the surroundings seem to bring things to the surface … I could hear Freddie singing "A Winters Tale" in my head as I strolled in the crisp air under a blue sky. And I remember how I carried a recipe in my head for many months as to how to bring the track to fruition, Freddie having left us such a wonderful frame to build around. I could hear the solo in my head long before I finally got to play it back in the UK in my own studio, and I remember feeling that I could close my eyes at that moment and be back in Mountain Studios with Freddie, in his element, relaxed, living in the moment, creating." And since i don't wanna bump the other threads with this information, i think that there's a higher chance the guitar solo comes from the 1993/95 sessions for MIH, since he's talking in past tense about "Freddie having left us such a wonderful frame to build around". |
Sebastian 29.12.2013 22:15 |
There are many guitar solos Brian created (though not all of them), but that doesn't make him a co-author. Same for the others and their respective roles. When GnR covered 'Knocking on Heaven's Door', they came up with an original bass-line, several original guitar solos, piano parts, rhythm guitar parts, drum beats, keyboard parts, backing vocal parts ... but the song is still Bob Dylan's. Brian writing the solo for, say, 'Days of Our Lives', doesn't make him a co-author. The song is still Roger's. Same if Roger came up with the drum part for, say, 'Keep Yourself Alive'. The song is still Brian's. And yeah, I agree that the solo most likely comes from the 93-95 era. |
Apocalipsis_Darko 29.12.2013 23:00 |
I agree about the composition theory of Sebastian. Other thing, is at the end they wanted, in The Miracle and Innuendo signed as Queen for being more free to create without fights for singles, royalties and this things. |
Mr.QueenFan 30.12.2013 09:45 |
Sebastian wrote: There are many guitar solos Brian created (though not all of them), but that doesn't make him a co-author. Same for the others and their respective roles.I agree with you, and i'm not disputing this. The information was just for all who might be interested about how the creative process was in Queen. I certainly like to know these things. For me, it was an absolute shock to find out that Freddie was responsible for the Innuendo middle section. Brian also mentions on the Star Licks video the direction Freddie gave him for the "It's a hard live" solo. It's fascinating to know these things. |
Mr.QueenFan 30.12.2013 09:55 |
clavinova wrote: Perhaps the same person who plays the piano on It's a hard life? (Freddie) The piano at .... to fall from the sky.....waiting for lo-o-o-o-o-o-o-o-v-e ... (2nd verse) sounds similar to meVery good point! It's the same kind of thinking, and in the same era - 1984. If it is indeed Freddie, then the song was pretty much completed back in 1984. Oh man, so many questions, i just hope that one day maybe they'll release a book about the studio sessions. |
Sebastian 30.12.2013 10:10 |
They've got bigger priorities, though, such as re-re-re-re-re-re-re-releasing Greatest Hits and Wembley and touring with an AI loser. |
clavinova 31.12.2013 11:11 |
Mr.QueenFan wrote:I'm not that good musician neither is my hearing but I'm able to play It's a Hard Life on the piano and that particular bit (in both songs) is always playing the same chord ascending through inversions.clavinova wrote: Perhaps the same person who plays the piano on It's a hard life? (Freddie) The piano at .... to fall from the sky.....waiting for lo-o-o-o-o-o-o-o-v-e ... (2nd verse) sounds similar to meVery good point! It's the same kind of thinking, and in the same era - 1984. If it is indeed Freddie, then the song was pretty much completed back in 1984. Oh man, so many questions, i just hope that one day maybe they'll release a book about the studio sessions. Each beat consists of an augmented eigth note followed by a sixteenth note. Well, I'm not 100% sure but I hope it helps a little bit and you'll understand what I mean. |
Mr.QueenFan 01.01.2014 15:20 |
clavinova wrote:There are lots of so called musicians nowadays that don't have half the hearing you have. You've made a very good point about the style in question, and it was indeed used often by Freddie even in live concerts. Maybe one day they'll release the Rod Stewart version or release a book about the studio sessions.Mr.QueenFan wrote:I'm not that good musician neither is my hearing but I'm able to play It's a Hard Life on the piano and that particular bit (in both songs) is always playing the same chord ascending through inversions. Each beat consists of an augmented eigth note followed by a sixteenth note. Well, I'm not 100% sure but I hope it helps a little bit and you'll understand what I mean.clavinova wrote: Perhaps the same person who plays the piano on It's a hard life? (Freddie) The piano at .... to fall from the sky.....waiting for lo-o-o-o-o-o-o-o-v-e ... (2nd verse) sounds similar to meVery good point! It's the same kind of thinking, and in the same era - 1984. If it is indeed Freddie, then the song was pretty much completed back in 1984. Oh man, so many questions, i just hope that one day maybe they'll release a book about the studio sessions. |
Sebastian 01.01.2014 20:53 |
Mr.QueenFan wrote: Maybe one day they'll release the Rod Stewart version or release a book about the studio sessions. Sebastian wrote: They've got bigger priorities, though, such as re-re-re-re-re-re-re-releasing Greatest Hits and Wembley and touring with an AI loser. |