> "Innuendo", that reached second place even before We Will Rock You, but of course could not avoid Bohemian Rhapsody finishing at the first place.
I've always wondered why Innuendo
didn't make it to AG even if it's such a big hit. In fact, it was #1 in the UK, something neither Champions
nor Rock You
(except with 5ive) could achieve.
> So the radio guy went into the Innuendo story, saying that it was basically some members of Queen jamming together in the studio, then Freddie passing by and saying something like "Oh, this is great ! Let's develop" and
quickly putting on some synths and writting lyrics.
True story, confirmed by both Dr May and David Richards.
> It was the first parallel I could find between Boh Rhap and Innuendo, written during times of intense creativity (difference being Boh Rhap was much more individual from Freddie as a songwriter).
Indeed, as said above by another poster, there are more differences than parallels.
> Then they explained the Steve Howe thing, saying he was passing by in Montreux, met a roadie or a sound engineer or someone, who connected him to the band (they already briefly met at the end of the 70's).
There are several versions about the story, which may meet at some point.
> The band played him the track, and asked him to play on it (not that regular for Queen).
Actually, it was fairly regular for the era: remember Fred Mandel playing on half of 'The Works', many tracks in 'Magic' featuring other people (Steve, Spike, Joan, the orchestra), David Richards guesting here and there, Mike Moran playing keyboards, the gospel choir in Let Me Live
> In fact it was because Brian had some difficulties with the flamenco guitar, which part was created by... Freddie.
Not that Brian had difficulties with it per se, but simply that Steve could sound better and cleaner. Likewise, Brian could've sung 90% of the songs Fred sang in his career, hitting the same notes and everything... but it wouldn't sound quite as well (with some exceptions).
> It seems that this track was credited to all four but Freddie's creativity helped a lot anew.
Most tracks in the era were credited to all four but only had one songwriter.
> That was the second parallel I could find with Boh Rhap : Freddie created a middle part venturing in different genres; as Boh Rhap tasted opera, Innuendo went into Flamenco, plus that part of special vocals, the choirs are really sounding special on that track,
What's interesting about the middle bit is not only the fact Fred created it, but also how
he created it, shifting metres and all.
> Now you guys, what you think about the comparison between those two tracks ? Do you think it was somewhat intentionally done ?
Yes, as 'Innuendo' was very much a 'back to classic Queen sound' project, which of course included some of their earlier trademarks (e.g. the big choirs). Keep in mind that changing from one style or genre to another was fairly common in Freddie's earlier songwriting, not only Bo Rhap
: you've also got Great King Rat
ranging from what at the time was known as 'heavy metal' (now it'd be 'hard rock') to some sort of military interlude, to a Romani break, etc.; Liar
also combines styles (compare the intro with 'all day long'), also Millionaire Waltz
, even Seven Seas
or Don't Try Suicide
(the latter going from catchy pop to rockabilly).
> Are there some other parallels you could notice with those two tracks?
If you look hard enough, the door will open. I mean, you could always 'find' parallels between both tracks if you search, from far-fetched things (e.g. the third ''til the end of time' is the highest, just like the third 'for me' in Bo Rhap
) to more quotidian or even stupid details (e.g. they both have lyrics in English).
> What are the differencies ?
Loads and loads and loads.
John hated Hot Space. Frederick's favourite singer was not Paul Rodgers. Rog didn't compose 'Innuendo.' Witness testimonies are often inaccurate. Wales is not in England. 'Bo Rhap' hasn't got 180 vox.