Path: Queen - Royal Legend - Albums: Innuendo

Albums: Innuendo

'Headlong' has got last 'moving' video clip of Queen group. 'I'm Going Slightly Mad' is the last video, where Freddie effectively worked on and last Queen video clip with Freddie is 'These Are The Days Of Our Lives'.

This video was truly valediction of Freddie to fans and friends. His last words were "I still love you ..."

'Deliah' is about his most beloved cat Deliah.

Queen about the record:
Brian
"We started writing the album about nine months ago. We went to Switzerland, where we have our own little studio, and worked there with co-producer Dave Richards for a couple of weeks just to see what came out. That's usually what we do. We often find it's very good to play together without too many fixed ideas to begin with. We very seldom have a lot of material when we go into the studio - there's ideas but they don't actually get formed until we get to work on it. We usually have two or three days just playing, finding sounds, getting the feel of each other again. We keep the multi-track running and seem to find that there's little bits that really seem to gel."
"It's quite a complex album. Some of the tracks are more along the lines of the mid-period stuff we did, like 'A Night At The Opera', where there's a lot of over dubs and complexity. It just takes a long time - you can't take short cuts. But it nearly killed me, because I was working on the other stuff as well, doing the music for the stage production of Macbeth."
"I think it's the best one for quite a long time. There's nothing I'm embarrassed about. Often you put out an album and you think "...But I wish we'd done this". This one I feel quite happy about, and I can listen to it without any problems. I like it a lot. I think it's nicely complex and nicely heavy, and there's a lot of invention on there."

David Richards [producer] (about Innuendo)
"Innuendo was an improvisation type song where they actually recorded it here in the big concert hall, it's just next door, and we set up like a live performance, and they just started playing basically, and sort of got into a nice rhythm and a groove, and some chords and then Freddie said, "Oh, I like that" and rushed downstairs into the concert hall and started singing along with it, and obviously then, once that initial idea was down on tape, then there was a lot of rearranging and putting extra things on, but the actual beginning of it was like a live thing. It just happened. It was wonderful."

Brian (about Innuendo)
"'Innuendo' is the title track, and that was one of the first things that came. It's got the bolero-type rhythm, a very strange track. That's going to be the first single here. It's a bit of a risk, but it's different, and you either win it all or you lose it all. It had a nice sound and feel, and we stuck with that."
"The Spanish motif is suggested from the start; those little rifts at the beginning are sort of Bolero-esque. It seemed like the natural thing to explore those ideas on an acoustic guitar, and it just gradually evolved. Steve Howe helped out and did a fantastic job. We love all that stuff - it's like a little fantasyland adventure."
"I think 'Innuendo' was one of those things which could either be big - or nothing. We had the same feelings about 'Bohemian Rhapsody'. It's a risk, because a lot of people say "It's too long, it's too involed, and we don't want to play it on the radio." I think that could be a problem in which case it will die. Or it could happen that people say "This is interesting and new and different", and we'll take a chance."

Brian (about Headlong)
"'Headlong', I was in the studio for a couple of days to get some things out of my system. I thought that maybe I'd be left with a solo album, maybe with a Queen album, I just didn't know and I came up with 'Headlong' and 'I Can't Live With You' - the guys liked them."
"'Headlong' came from me, at our studio in Montreux," says Brian, "a home recording studio for us that's very state-of-the-art, lovely for creating. The ideas came in a couple of days. At first I thought about it as a song for my solo album but, as always, the band is the best vehicle. As soon as I heard Freddie sing it, I said, 'That's it!' Sometimes it's painful to give the baby away, but what you gain is much more. It became a Queen song."

Brian (about The Show Must Go On)
"It has a little bit of retrospective stuff and it has a little bit of forward looking stuff. There was a point where I looked into it, and got a vision of it, and put down a few things, and felt it meant something special - so I'm pretty fond of that one. Sometimes these tracks have a life of their own, and no matter what you do they have a certain sound to them. 'The Show Must Go On' has a very broad and lush sound to it, which I like, whereas 'I Can't Live With You' turned out very, very close and harsh. And no matter what you do, you can't mix that out of it. It probably benefits the track, but they just have different atmospheres - you do them in different places and in diferent ways."

Brian (about I Can't Live With You)
"For some reason, that track was almost impossible to mix. It was one of those things where you put all the faders up and it sounds pretty good, and you think, "We'll work on this for a couple of hours. "Then it gets worse and worse and worse. We kept going back to the rough mix. It's got an atmosphere to it. I think it sounds so special because we kept a lot of the demo stuff on it. Usually it all gets replaced. "

Brian (about All Gods People)
"I love it, too. I had less to do with that than I did with most at the stuff on the album. That was originally something Freddie was going to do on a solo album, and gradually we all played on it. I went in and played guitar and it seemed to work very well. John went in and played bass, Roger put the drums in, so it became a Queen track. I love it. Not many people have spoken to me about it, but I think it's great. It's got a lot of depth to it."

Brian (about These Are The Days Of Our Lives guitar solo)
"I was very pleased with that. That's the first take I recorded, and Roger said, "Well... " And I said, "Just leave it there for a while and let it sit. See if it grows on you. " I had a feeling about it."
"I really prefer it. We could've done a cut-and-dried solo which, on the face of it, would' ve been more dramatic, but that was where I wanted to go."

Brian (about The Hitman)
"I had very little to do with the original idea. Most of the riff came from Freddie. I wasn't even in the room when they wrote it. I changed the key and some of the notes to make it playable on the guitar. We finished the backing track, but it seemed to ramble. John sat down and decided to reconstruct the track. He changed the order. He changed everything. I went back and played on that. Then we filled in the gaps on the lyrics, did the harmonies and generally tidied up."

Brian (about Delilah and Talkbox)
"I was pleased with the guitar on that - 'meow, meow, meow.'"
"It's the first time. I finally succumbed and used one. They wheeled it in and I said, 'Well, I suppose there's no other way I can make 'meow' noises.'"

Roger (about The Show Must Go On)
"Typical Queen, sort of a closing track, metaphorical in a way."

Reviews:
Vox Magazine: On the minus side, this is pompous, dreary, uninspired and six and a half minutes long. And unfortunately, the same can be said for most of the album, which is even longer.

Other versions:
Innuendo
Explosive Version
On 12" and CD single. It's identical to the known version but at the end there's big and long explosion. It makes the song longer about 15 seconds.
Video Version
Minor changes, only the wind blows in the beginning.

I'm Going Slightly Mad
Vinyl Edit
The vinyl release features few edited songs. This version is about 24 seconds shorter, without any noticeable changes.
Greatest Hits II Version
On 'Greatest Hits II' CD is edited and about 14 seconds shorter version, almost identical to the LP version.

Headlong
Radio Edit
On US promo CD, sometimes described as US Edit. This radio edit is about 50 seconds shorter, some instrumental parts are missing.
Greatest Hits II Version
The same as with 'I'm Going Slightly Mad'. A 5 seconds of guitar solo are cutted out.
Video Version
Extra guitar solo from Brian stretches this version to 4:43.

I Can't Live With You
Remix
By Brian Malouf. On US promo CD. This 4:33 long remix features some extra instruments (e.g. extra synths at the beginning).
Remix / Edit
From the same CD as Remix. Minor changes, 4:13 long.
1997 'Rocks' Re-take
On 'Queen Rocks' compilation. It has different intro, almost all keyboards have been cutted out, what makes it more heavier. Many times there's Freddie's voice accompanied with guitar, bass and drums. A 4:47 long has no fade out at the end.

Don't Try So Hard
Vinyl Edit
It's just about 10 seconds shorter, without any changes.

Lost Opportunity
Original B-side
B-side of the 'I'm Going Slightly Mad' single, on 12" and CD single. This slow blues song is sung by Brian.

The Hitman
Vinyl Edit
Shorted version about 1:20, instrumental parts have been removed. First demo version is sung by Brian, rumours say that 'Headlong' and 'I Can't Live With You were originally planned for 'Back To The Light'.

These Are The Days Of Our Lives
Radio Edit
Shorter about 15 seconds, with minor changes, but noticeable. Brian's solo guitar part near the end has been removed.
Unlisted Vinyl Edit
While unlisted, vinyl release features this edited version. Intro part with drums is missing. Rest of the 4 minutes long version has been unchanged.

Bijou
Vinyl Edit
The song is shorted to 1:16 from original 3:36 for vinyl release. The song ends directly after Freddie's singing, so the second guitar part is missing. Even first part has been edited.

The Show Must Go On
Video Intro Version
Used as intro for 'Greatest Flix II' video compilation and for Classic Queen. It's 2 minutes long.

Queen Talks
Original B-Side (Interview)
B-side for 'The Show Must Go On' single, and on 12". It's sort of compilation of many interviews. It has no structure, it's more for fun.

Assassin
Unreleased
Rumours say that this unreleased song exists. Is said that it has been recorded together with 'Innuendo'. Supposedly it is very similar in sound and style, probably will be never finished, because they had a chance to put in on 'Made In Heaven album'

My Secret Fantasy
Great song written by John, recorded in 1990 for the Innuendo album. With synthesisers (2:33)

Robbery
Recorded in 1990 for the Innuendo album
Written by Roger (1:59)

Self Made Man
Recorded in 1990 for the Innuendo album. Written by Brian, features Brian and Freddie on lead vocals (4:18)

My opinion:
10/10
Absolutely the best album ever recorded. 'Innuendo' is the top of their career. I have to mention, that Freddie was very ill in that time and was able to work just few hours within a week. But his masterful performance has nothing to do with his health. His voice sounds very clean and really high - for example in 'Don't Try So Hard' - incredible. Nice vocal bits in 'All God's People', dynamic 'Ride The Wild Wind' - thanks Roger, and beautiful 'The Days Of Our Lives' - thanks Roger!. And visionary 'The Show Must Go On' in the end ... I love it.

Thanx to Niek for some information on other versions.