| Sebastian 07.07.2005 09:32 |
As some of you know, periodically, I tend to compile the list of who wrote each of the songs credited to the band and/or how was the process in twofold compositions. The list is done with two basic purposes: inform new people or people who are interested in that, and make a request for anybody who's got data to add. So here's the list of binary and group credits as of 12th January 2007: DOIN' ALL RIGHT (May/Staffell): Structure is somewhat unusual to what Brian did for the remaining three decades of his career. But it doesn't neccesarily mean he didn't organise that: it could mean that in the early days he was into more intricate forms and then he dropped them. HANGMAN (never credited since never on an official release): Freddie wrote the lyrics, Brian the music (thanks to Jeroen who mailed me a letter May sent him 13 years ago clearing that up). STONE COLD CRAZY (Queen): The song had been performed live before John ever met the band; Moreover it was a Wreckage track. Barry Mitchell confirmed it sounded the same in 1970-1971 than on the record. Why is it credited to all of them instead of Freddie is beyond me. SOUL BROTHER (Queen): Brian said in his soapbox some time ago that Freddie wrote it about him, and he did it in about 15 minutes. So there you go. COOL CAT (Deacon/Mercury): Chord progression is definitely John's. Freddie must have composed the melody. UNDER PRESSURE (Queen/Bowie): The music is Freddie's, according to what John said in Japan '82 and France '84. Lyrics are a collaboration between all of them, with Mercury and Bowie's dominance. Apparently both Fred and David sang the melodies they wrote. MACHINES (May/Taylor): Note how the bridge goes "climbing up" melodically as many other Roger songs ('Ga Ga', 'Days Of Our Lives', 'Heaven For Everyone'); melody on the verses sounds more Brian-esque though. Chords are more Roger-esque if you look at his later efforts (e.g. 'Ride The Wild Wind'). IS THIS THE WORLD (May/Mercury): Brian did the chords and Fred did the lyrics. XMAS (May/Taylor): Basically Roger's, Brian then added the modulation. The synth is played by Roger. ONE VISION (Queen): It was Fred's idea to ring everyone up and be in the studio writing a song together. Still, in my opinion, the track is Roger's (lyrics, melody) and Brian's (chords). John was mostly absent of the creative process, and Freddie did have a lot of input on production and polishing, still, imho, he was more an arranger than a co-writer per se. PAIN IS SO CLOSE TO PLEASURE (Deacon/Mercury): No idea about the lyrics, but it seems to be more a John's track with Fred's help in polishing. Intro's very similar to the one in 'Best Friend', chord-wise. FRIENDS WILL BE FRIENDS (Deacon/Mercury): Brian said Fred had written it and then he and John worked on it. Lyrics are apparently Freddie's with input from all of them. PARTY (Queen): Fred was the driving force and he started the "we had a good time" while at the piano. Then Brian and John helped him out but I think it was a similar case to 'Ga Ga' or 'Magic'. KASHOGGI'S SHIP (Queen): No idea about the main musician. Lyrics are apparently by all four. THE MIRACLE (Queen): The entire band contributed to the lyrics, some chords and the theme were decided by Fred and John, but all in all the track is Freddie's, as he again took the leadership. I WANT IT ALL (Queen): Brian, in fact recent releases credit it to him. A NEW LIFE IS BORN: Freddie, he said that in the last interview made to the band. BREAKTHRU: Roger, as confirmed by both Fred and Brian. INVISIBLE MAN: In Queen For An Hour they were asked about who was responsible for the track, both Fred and Brian said "Roger". David Richards too said it's Roger's. RAIN MUST FALL: Music by John (confirmed by both Brian and David), lyrics by Freddie (source: David) SCANDAL: Brian. Sources: Roger & David Richards. MY BABY DOES ME: Mostly Freddie, although Joh |
| Serry... 07.07.2005 09:40 |
I vote for make this post sticky. Or put in special section as well as John's Ultimate Collection. |
| Lester Burnham 07.07.2005 10:37 |
I came across a quote from Brian a while ago for 'Pain Is So Close To Pleasure' which has always confused me: ''There's a song called 'Pain Is So Close To Pleasure' which I started off, and I think again John and Freddie worked together on it. That's really sort of a motown sounding track, very unusual.'' What does he mean ''which I started off''? |
| Sebastian 07.07.2005 13:01 |
About Hangman, it wasn't a pre-Queen track as far as I know, but Fred did have some similar efforts. Brian could have "started off" Pain Is So Close in many ways: a riff, a short melody, etc. Similarly Radio Ga Ga was started off by Roger's son. |
| Serry... 07.07.2005 13:17 |
''THE HITMAN: Freddie's, although Brian took it under his wing and changed the key and some notes. Once again, Brian wasn't a co-writer but an arranger instead, like Fred in Radio Ga Ga or George Martin in ... well, half of Beatles catalogue.'' Wasn't it John who changed the key? I thought it was Deacy... |
| Sebastian 07.07.2005 22:44 |
John changed the form, Brian the key :) |
| Shane Jazz 07.07.2005 22:58 |
Thanks, Sebastian! Excellent work- it is appreciated. Once again, the only elusive enigma is who wrote the Under Pressure bassline? I know John himself has said that Bowie came up with it, but Bowie also said to his fan club last year that he arrived in the studio and Queen already had the bassline. Will we ever know? Has anyone asked Brian on his soapbox? I know now is probably not the proper time to ask him something so trivial.... |
| Maz 08.07.2005 01:44 |
Sebastian wrote: PAIN IS SO CLOSE TO PLEASURE (Deacon/Mercury): No idea about the lyrics, but it seems to be more a John's track with Fred's help in polishing. FRIENDS WILL BE FRIENDS (Deacon/Mercury): Brian said Fred had written it and then he and John worked on it.Now, correct me if I'm wrong, but doesn't Peter Freestone say in his book that both of those were essentially John songs and that only because John was a kind gentlemen that he gave Freddie credit? I took that to mean that both were John songs that Freddie polished, and John felt that Freddie did enough to earn a credit. |
| Fenderek 08.07.2005 03:49 |
Zeni wrote:Yep, thought the same...Sebastian wrote: PAIN IS SO CLOSE TO PLEASURE (Deacon/Mercury): No idea about the lyrics, but it seems to be more a John's track with Fred's help in polishing. FRIENDS WILL BE FRIENDS (Deacon/Mercury): Brian said Fred had written it and then he and John worked on it.Now, correct me if I'm wrong, but doesn't Peter Freestone say in his book that both of those were essentially John songs and that only because John was a kind gentlemen that he gave Freddie credit? I took that to mean that both were John songs that Freddie polished, and John felt that Freddie did enough to earn a credit. |
| Bohardy 08.07.2005 07:24 |
Something I've been meaning to say for ages is that I always get the impression that there's a mix-up between the details of Innuendo and Show Must Go On. I swear I remember reading ages ago that Innuendo started off with Rog and John fooling around, rather than SMGO, and this just makes far more sense. The intro and feel of Innuendo is primarily dictated by the drum pattern and accompanying bass, and I can easily imagine Rog fooling around with the bolero-type rhythm and then John joining in, shifting from E to G#. Then you get Bri and Fred frantically joining in and adding to this groove. The essential ingredient in the Show Must Go On riff is the chord riff. The drums and bass are entirely secondary, and I can't see how John and Rog could possibly have started this song. Obviously one of them would have had to have been on a synth, but I can't see what the other person would have done. As SMGO is all about the chord sequence/riff, it seems that it's entirely the one work of one person, and the riff is completely unlike anything Rog or John have ever created, but is entirely in keeping with Brian's style and other compositions. In conclusion, I think: - Rog and John came up with the Innuendo riff/feel - Bri alone came up with the SMGO progression |
| zaiga 08.07.2005 08:44 |
Bohardy wrote: In conclusion, I think: - Rog and John came up with the Innuendo riff/feel - Bri alone came up with the SMGO progressionYou could be right about Innuendo, but I'm certain that I read somewhere about SMGO that Brian started working on it AFTER hearing the chord riff and getting enthused about it. So, someone else must have come up with the chord riff. Certainly Roger and John were both capable of coming up with such a sequence and playing it on the keyboard. |
| Sebastian 08.07.2005 08:47 |
The thing is that, as in CSI, the least believable evidence is a witness imo. We don't know to which extent Phoebe or even Brian were present at the time either Freddie or John came up with FWBF and PISCTP. Maybe John did write one of them and Fred just helped and Phoebe assumed the other was done the same way. Maybe Brian thought Friends was Fred's because it resembled 'Champions' or 'Play The Game'. For what it's worth, remember Phoebe's book was done some years after the recording of Magic, while Brian's comment "Freddie's written a song called Friends Will Be Friends" is from '86. About Innuendo, Brian said it started off with all of them messing around in the studio. David Richards said more details to Rolling Stone one year later: they were at Casino Hall and found a groove they liked, then some chords and that's when Fred said "I like it" and rushed down, started singing along and that's how the song was born. Show Must Go On seems to have some confusions, but for a more informed conclusion, I'll post the quotes I've got, all of them from Dr. May unless told otherwise: - At Sunset Strip Hotel, June 1991, he said that "We made a decision to work on it corporately, and left our egos outside the room. We put drums on a loop, then I put chords to it. I said, 'Freddie, listen to this.' The phrase 'I can't go on' kept going around in my head. I sat with it and developed it, wrote lines and had a verse after a while. But it was a long way to the final version" - Then, three years later, at Guitar Magazine, he said "The Show Must Go On came from Roger and John playing the sequence and I started to put things down. At the beginning it was just this chord sequence but I had this strange feeling that it could be somehow important and I got very impassioned and went and beavered away at it. I sat down with Freddie and we decided what the theme should be and wrote the first verse. It's a long story, that song, but I always felt it would be important because we were dealing with things that were hard to talk about at the time, but in the world of music you could do it." - An interview from '01 which sadly I haven't been able to track down again, I remember it was one in which he spoke about one song from each album: "Having The Show Must Go On out as a single at that time, it was very bizarre, because the way the song came about in the first place was strange. For some reason, John and Freddie and Roger had been playing around with things in the studio and I heard one of the sequences they had come up with, and I could just hear the whole thing descending from the skies... almost in the form, sound-wise, that it ended up. It's something that came as a gift from heaven, I suppose. I did some demos, chopped things up, did some singing demos and some guitar and got it to a point where I could play it to the guys, and they all thought it was something worth pursuing. Then Freddie and I sat down, and I got out my scribblings and said, 'What do you think of all this?' It was a very strange and memorable moment really, because what I'd done was come up with something which I thought was the world viewed through his eyes" - Two years ago he told me "that sequence just got thrust into my head playing around with Roger – I will never know where it came from, but it completely took me over for a long time while the song was in development" So it's a weird story. I tend to believe more the '94 story because it's earlier and probably Brian remembered more accurately. My conclusion is that first he heard R&J doing the sequence, then he developed the song after that and showed it to the rest, then they decided to work on it together, put drums on a loop, Brian added the chords and the sequence he had recycled from Roger & John, then they basically built it up. |
| Bohardy 08.07.2005 13:15 |
I know the various quotes support it, but it just seems so strange that John and Rog originated the SMGO sequence, because neither bass nor drums are a part of it (really), and I can't see either of them coming up with the riff on a synth. |
| Maz 08.07.2005 13:30 |
Fair enough on the 1986 Brian comment. I'd probably trust that more myself than Phoebe's written a decade later. |
| evil_felix_girl 08.07.2005 16:34 |
generally speaking its normally easy to spot lyrics with a big influence from either roger or brian in them. linguistically they use words and sentance formations that are very unique to them and come out even more clearly on their solo albums. freddie is not so easy to spot since he seems to be good at switching between writing styles depending on subject matter. and john is incredibly difficult to spot if he doesn't want the song accredited to him and nobody in their inner circle points the finger. but generally speaking brian likes to use a lot of metaphors and roger uses coloquial words nobody else does, mostly commonly "ain't" andf other west-country regional words. think it'd make an interesting independant study for A2 english language? ***Debz*** |
| deleted user 08.07.2005 16:57 |
Wasn't The Hitman a Brian song?? I mean Brian sang on the demo. |
| John S Stuart 08.07.2005 18:39 |
_Tatterdemalion_: Wasn't The Hitman a Brian song?? I mean Brian sang on the demo. That is correct - furthermore, the demo is freely available from this site! Besides, because of Freddie's imminent death, the band brought stuff for HIM to sing (eg: Musker, Lamers and May's - Too Much Love Will Kill You) therefore, I too kind of find it difficult to believe that Freddie (under such circumstances) would farm his work out to others - but hey, that is just my opinion. I also disagree in that I also think Hangman existed in some pre-Queen form (perhaps not on tape) and was already part of an earlier repetoir, but again, this is my opinion. Remember, much of Seb's work is also OPINION - not fact, therefore, I usually tend to stay clear from such discussion, but, at the end of the day, that really is the point of a good notice-board, so that fans can openly express such opinions with each other. |
| Vad 08.07.2005 19:15 |
Excellent post. Thanks! :D BTW, when you say 'lyrics', do you mean melody + words or just words? |
| Sebastian 08.07.2005 21:46 |
The Hangman thing is indeed an opinion, the Hitman point is different since Brian himself confirmed Fred wrote at least the music. But the lyrics can be Brian's, by other side he could have done it to try out a different melody, the could have had a deadline with the record company and Fred wasn't able to sing the demo, etc. My theory is simply that, as Brian said, Fred's original Hitman was very different to the one released. Brian transferred it to guitar. Then it's obvious that Mercury's version was in piano or keyboards, from there you can assume the tempo would be different as well. Brian could have easily sung the demo of his arrangement to show Fred how did it sound with May's modifications. |
| Serry... 09.07.2005 05:31 |
How about Blurred Vision? :) Just kidding... For me Soul Brother sounds more like a studio improvisation track by the whole band, but lyrics are in Freddie's writing style. |
| Fairy 09.07.2005 10:26 |
Thanks so much, Sebastian!!! Very interesting Fairy |
| pertica 10.07.2005 19:53 |
Great post, Sebastian, very interesting. About "The Show Must Go On" I think I read somewhere that it was written mostly by Brian May. And, if this can be considered as another proof, the song's chords structure is very similar to "I want It All" (which was written by Brian, and both are in Bminor tonality). If you play guitar you can see how much the show must go on reflects the "guitar oriented" type of songs that brian writes, very different than the other's songs. Right now I'm noticing also that the lenght of the sentence: "I want it all" metrically is so similar to "show must go on". But maybe I'm just rambling :) About One Vision, but remaining also in the same discourse, I've heard too that started with an idea of Roger, but the riff sounds so much Brian May that I'm almost sure he wrote it. So in my opinion it's possible that Roger's idea was the lyrics structure "one this, one that" and they coupled it with Brian's riff. Anyway, as I see in the "greatest video hits 2" special content about the writing of one vision, both guitar riff and lyrics have been changed many times and re-recorded in many ways to achieve the final result, so, definitely, who knows? cheers, Totonno |
| Sebastian 10.07.2005 21:56 |
Yes Show resembles I Want It All in several ways, one of them being the fact that they both have verse + chorus over the same chord progression, something almost unique in the band's catalogue (other act's examples: Baby One More Time, Creep, With Or Without You, Damn It). One Vision's riff was recorded several times by Brian but because Fred wasn't satisfied by its rhythmic feel. The riff itself was the same, only the performance changed. And the riff is certainly Brian's, Magic Years show when he first played it, then Roger and Fred added ideas and stuff but it had already been created. Brian almost had no input in lyrics or melody, but instead he was the major musical contributor when it comes to songwriting: he wrote the opening section as well as can be seen when he's playing it at the synth. Fred was more a co-arranger and producer than properly a songwriter in that case. |
| pertica 10.07.2005 22:23 |
I totally agree Sebastian, but the crescendo guitar scale after "woa woa woa woa gimme one vision" (guitar notes are A-Bb-B-C-C#-D) when firstly recorded was very different (I watched the "ONE VISION RECORDING" video just some minutes before, you can hear it when Freddie talks about a "void", which apparently was in the first version of the crescendo scale). Anyway this is starting to get out of the topic, which is about the autors of the songs...once again I'm rambling! Thanks again for the great post. |
| Fairy 12.11.2005 08:07 |
Thought I'd bring it up again because it was an excelent post and it may be interesting for those who had never seen it. Fairy |
| Jjeroen 12.11.2005 08:29 |
LOL! Yes, it is a good one indeed :-) |
| JeroenG 12.11.2005 19:02 |
Sebastian wrote: STEALIN': Freddie's, source: MackIsn't there a part which is written by Roger in that song? After all the second half of Stealin' has very much similarity with In Charge Of My Heart which Roger used for The Cross in 1990 as the B-side of Liar.... and thát track is written by Roger! |
| Sebastian 12.11.2005 19:49 |
A melodic coincidence doesn't say anything, for that extent there's one part of Sleeping On The Sidewalk notably similar to Aerosmith's Looks Like A Young Lady, and so on |
| Bobby_brown 13.11.2005 15:51 |
Zeni wrote:I heard that John didn't want to be credit at all with Friends Will Be Friends. It was Freddie who did it because he though John deserved it.Sebastian wrote: PAIN IS SO CLOSE TO PLEASURE (Deacon/Mercury): No idea about the lyrics, but it seems to be more a John's track with Fred's help in polishing. FRIENDS WILL BE FRIENDS (Deacon/Mercury): Brian said Fred had written it and then he and John worked on it.Now, correct me if I'm wrong, but doesn't Peter Freestone say in his book that both of those were essentially John songs and that only because John was a kind gentlemen that he gave Freddie credit? I took that to mean that both were John songs that Freddie polished, and John felt that Freddie did enough to earn a credit. The same goes with Under Pressure, i mean if it was David Bowie the author of the riff, then he could remember it because it have to be conceived before he got to the studio, because he wasn't playing any instrument. Unless he would sing the riff. If it was Brian, then he would remember it. In that studio, it could only be John. Brian said that they came up with the song, then went for a Pizza and when they got back to the studio and no one could remember the song. It was time for brainstorming (Probably they didn't recorded the demo at that time). take care |
| JeroenG 13.11.2005 16:13 |
JeroenG wrote:Sebastian wrote: STEALIN': Freddie's, source: MackIsn't there a part which is written by Roger in that song? After all the second half of Stealin' has very much similarity with In Charge Of My Heart which Roger used for The Cross in 1990 as the B-side of Liar.... and thát track is written by Roger! Sebastian wrote: A melodic coincidence doesn't say anything, for that extent there's one part of Sleeping On The Sidewalk notably similar to Aerosmith's Looks Like A Young Lady, and so onThere is not only melodical similarity, I hear Freddie shouting/singing some parts in the second half of Stealin' which definately sounds like "YOU...ARE...In charge of my heart.. etc etc ad lib improvisations" |
| Sebastian 13.11.2005 17:51 |
> I heard that John didn't want to be credit at all with Friends Will Be Friends. It was Freddie who did it because he though John deserved it. Kind of makes sense both ways. > The same goes with Under Pressure, i mean if it was David Bowie the author of the riff, then he could remember it It wouldn't be the first or the last time David forgets about his own compositions > because it have to be conceived before he got to the studio Not neccesarily > because he wasn't playing any instrument. As far as I know, he played synths in those sessions > Unless he would sing the riff Which would be absolutely possible as well > If it was Brian, then he would remember it It wouldn't be the first or the last time Brian forgets something. Remember he thought Masterstroke was from Opera-Races period, he'd played a koto in Teo, Soul Brother was from Game sessions, Live Killers had no studio overdubs, Bites the Dust hadn't been speeded up and he didn't remember they played Doin' All Right on stage. Conclusion: he can forget things. > In that studio, it could only be John. Brian said in 1998 - 17 years afterwards - that John had invented it. John said in 1982 and 1984 - 1 and 3 years afterwards respectively - that it had been Bowie. > Brian said that they came up with the song, then went for a Pizza and when they got back to the studio and no one could remember the song. As far as I know it was roger who said so (QOL interview) and he didn't mean the "song" but the bass-riff. It would make sense: Bowie creates the bass part, then they go for a pizza and forget it, John remembers it (as Rog said), then Rog+Brian assume John created it but the truth is that it was always David. |
| FriedChicken 13.11.2005 19:33 |
Why do you call this a discussion when you don't want to hear other peoples opinions? |
| john bodega 13.11.2005 21:40 |
Blah blah. I'm pretty sure that the music of Hitman is Freddie. And saying that just because it's Brian on the demo isn't necessarily a deciding factor in this... I'll wager there's more than a chance that Freddie just wasn't in at the time and they needed a vocal guide to progress further with building up the track (so that Freddie would have something to sink his teeth into when he felt better). Also, keep in mind Brian was extending his range at the time (hear him struggle on "Self Made Man" and then sort of not struggle on "Resurrection") so why the hell not give Freddie's song a shot? :D |
| Lester Burnham 14.11.2005 00:42 |
God forbid Brian's 58 year old memory doesn't hold up quite like it used to. Call off the lynch mob! |
| Sebastian 14.11.2005 03:51 |
About The Hitman, Brian could have added the chords behind "ain't no escaping...kill for your love", they sound more like him (check Dragon Attack), and surely he had some input here and there but all in all imo it's the same case as Freddie on Radio Ga Ga, where he did help a lot but the song is still Roger's. About the lyrics, in the case of Hitman, they could have easily been Brian's, or Roger's, or Freddie's, or John's. IMO the "hitman school" line sounds like Mercury but it doesn't mean he wrote the other thirty. And it works both ways: Brian sings two verses in the demo but it doesn't mean he sang/wrote/recorded/arranged the remaining 3 minutes. |
| Oberon 31.12.2005 08:16 |
FriedChicken<br><font size=1>The Almighty</font> wrote: Why do you call this a discussion when you don't want to hear other peoples opinions?sebastian seems, at least to me, to have a strong opinion, and will argue his position if he feels he's right, but i don't think he ignores everyone else. He seems to have a very good ear and is obviously very musical, and uses this to draw conclusions based on structure of the songs, and quotes and other such evidence. I have to agree with a lot of his conclusions where a comment was made close to the time the song was written would be better source than one 10+ years later. So difficult when there are seemingly conflicting quotes. I certainly believe it's very easy for anyone to forgot something they did 20 years ago. Remember that in some ways the intricacies of the their songwriting credits etc is not so important to the band as to us, who might spend a lot of energy reviewing quotes etc. as Sebastian obviously does. |
| Jan78 01.01.2006 11:48 |
Interesting then, what Brian says in his E-Mail Interview: link under question 4 about "It's a hard life".... Jan |
| icmrocha (The Man From Planet Marzipan) 03.01.2006 09:29 |
Sebastian wrote: ONE VISION (Queen): It was Fred's idea to ring everyone and be in the studio writting a song together. Still, in my opinion, the track is Roger's (lyrics, melody) and Brian's (chords). John was mostly absent of the creative process, and Freddie did have a lot of input in production and polishing, still, imho, he was more an arranger than a co-writer per se.It may sound as a noob question, but I'm pretty sure I saw Roger saying in some interview that it's his song, and Freddie changed the whole idea of it.. isn't it? I mean, I remember him saying something like: INTERVIEWER: "And who changed the song?" - ROGER: "That stupid Freddie" (or something like that!) and then he laughed about it PS.: I might have seen this on the "Chapions of The World" video, but i'm not sure |
| Sebastian 04.01.2006 10:08 |
> So difficult when there are seemingly conflicting quotes. Yes, but it's not a big surprise. If you gather a group of people to witness a specific event, even if they're all at the same place and the same time, it's almost sure than if you ask each one of them about what happened, all of the stories are going to be different, for they're the outcome of different perspectives. Let alone if the aforementioned interrogations are made after a decade. > Remember that in some ways the intricacies of the their songwriting credits etc is not so important to the band as to us And that reminds me of some mistakes in the ANATO documentary: Brian says he used the George Formby ukelele-banjo in Good Company. Now, the George Formby thing was at Leroy Brown (he used it live and it's mentioned in the SHA credits), while in GC it was an Aloha Ukelele (not uke-banjo). Then, either 1975 Brian was wrong about what he'd used to record GC some weeks before, or 2005 Brian was wrong about what he'd used to record GC three decades ago. |
| Jjeroen 16.04.2006 07:23 |
Found this one back when I was browsing around a bit, after reading about Lester's book. Still a good read for ayone that had not yet done so. Bumped especially for you ;-))) |
| Seven_Seas_Of_Rhye II 16.04.2006 18:49 |
Great post, Seb! Thanks! What is "Phoebe's writtings" you often refer to? Which year? |
| as it began 17.04.2006 22:07 |
Soul Brother was about Brian? Cool, I didn't know that. *ditz* |
| Regor 19.04.2006 09:17 |
Great read as usual, Sebastian ! While reading these discussions it came to my mind that Brian once said (I think around '89), that in the early days songs were - for whatever strange reason - credited to the lyricist. So perhaps we should take an in-depth look into the credits on "Queen" and "Queen II" as well ? |
| Sebastian 19.04.2006 09:32 |
Brian (and Freddie) were utterly misquoted imo. If credits went to the lyricist, then Is This The World We Created would have been credited to Freddie, since as they said, the lyrics were his, and the chords were May's. There are no secret writers for the first two albums, it is possible though that Roger wrote his drum solos or Brian put some of the licks in Great King Rat or Freddie affected the structure and/or modulations of White Queen in a subtle way, but still imo that's not enough for the tracks to be considered co-written. It's the same case as Ga Ga, Magic or It's A Hard Life. |
| Serry... 19.04.2006 10:56 |
Seven_Seas_Of_Rhye II wrote: What is "Phoebe's writtings" you often refer to? Which year?Freddie Mercury (or Mister Mercury) by Peter Freestone with David Evans (Omnibus Press, 1999) ISBN: 0 7119 7801 8 [hardback] |
| inmsthebest 11.05.2006 18:00 |
Was it all worth it was Freddie's?,I read so in your first post, Sebastian, always thought that it was Freddie's, and it's a magnificent song, IMHO. I think it would have made a great single. Anyway, you say you e-mailed Brian about this song(the "hurly-burly"line)...did you get a reply? |
| Sebastian 11.05.2006 18:53 |
No replies yet. Sadly :( |
| Bambi 11.05.2006 23:48 |
Great info sebastin. |
| Seven_Seas_Of_Rhye II 09.01.2007 05:20 |
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| john bodega 09.01.2007 08:14 |
Sebastian wrote: No replies yet. Sadly :(Tell him you're a big fan of the WWRY musical. |
| louvox 09.01.2007 18:46 |
Serry Vietinhoff wrote: I vote for make this post sticky. Or put in special section as well as John's Ultimate Collection.Thank you for that. Very informative. I look forward to your next segment |
| Jjeroen 10.01.2007 06:08 |
Hey, nice to see one of the old interesting threats getting back up! :-) |
| cmsdrums 10.01.2007 17:34 |
Great post. My only contribution would be to say that structurally, "Party" is pretty similarly to "Let's Turn It On" from Freddie's Mr Bad Guy album, and so my thought has always been that it was, at the least, mostly his song. In addition, "Stealin'" always sounded to me to have stemmed from the Improvisation/Rock In Rio Blues jams from the Magic Tour, which surely must have come about initially as a combined combination from all four (plus Spike??). |
| Serry... 11.01.2007 12:06 |
louvox wrote:Err... On behalf of Sebastian: you're welcome!Serry Vietinhoff wrote: I vote for make this post sticky. Or put in special section as well as John's Ultimate Collection.Thank you for that. Very informative. I look forward to your next segment |
| Sebastian 11.01.2007 15:34 |
Good point about 'Party'. Cheers! |
| Seven_Seas_Of_Rhye II 24.01.2007 15:07 |
cmsdrums wrote: Great post. My only contribution would be to say that structurally, "Party" is pretty similarly to "Let's Turn It On" from Freddie's Mr Bad Guy album, and so my thought has always been that it was, at the least, mostly his song.Yeah, realy, a nice observation, cmsdrums! |