Decision to share songwriting Credits

I've always wondered why the band suddenly decided to start sharing songwriting credits on The Miracle and where the origin of this decision lay. Did they have a band meeting in late 87/early 88 and decide something fresh was needed? Or did they feel they needed something like that to avoid the usual clash of egos and fights from their previous 80's albums? I feel the idea must have come from Freddie or Brian, probably the former because perhaps his priorities had shifted in the wake of his diagnosis. I'm leaning towards the idea that with Roger and John's now writing massive hits the band felt they were all pulling their weight in that area so why not share it. But it still feels odd that it happened out of the blue after 13 albums. Any thoughts or theories behind the shared credits?

I'm sure it was to just sort out all the egotistical issues, if any. Personally, I think it was a great idea.

[QUOTE] [b]stevelondon20 wrote:[/b]

I'm sure it was to just sort out all the egotistical issues, if any. Personally, I think it was a great idea.[/QUOTE]

This. Also, maybe to speed up the recording process? With four writters each one will fight for his work, but sharing the credit they must agree for the best choices with less effort.

But why that album and who do we think the idea came from?

I always assumed, that the idea originally came from Freddie due the knowledge of his fatal disease. He was on borrowed time, so such decision was needed to speed up writing/recording process. This also explains why Freddie so easily gave up possible bigger money for personalized writing credits.

I also think they feared Freddie might be less able to write and so they could mask it by crediting to all 4.

As it happens we rather know who did what. And the game's up anyway.

[QUOTE]

[b]Martin Packer wrote: [/b] I also think they feared Freddie might be less able to write and so they could mask it by crediting to all 4.

As it happens we rather know who did what. And the game's up anyway.[/QUOTE]

I'm not sure Freddie had told them at that point.

'One Vision' had worked quite well as a forerunner. More emphasis on music, less arguments, easier life for accountants. Frederick was dying anyway so he wouldn't be needing a lot of money in the future. It made sense.

I think it was his thoughtful gift to the band, as well as a gesture of brotherhood. ...

But then again: you'd have to ask Freddie.

[QUOTE] [b]Biggus Dickus wrote:[/b]

[QUOTE]

[b]Martin Packer wrote: [/b] I also think they feared Freddie might be less able to write and so they could mask it by crediting to all 4.

As it happens we rather know who did what. And the game's up anyway.[/QUOTE]

I'm not sure Freddie had told them at that point.[/QUOTE]

Nobody really knows. Brian and Roger have always been vague about the timeline.

When we're listening to that 1989 radio interview with Mike Read, does the rest of the band know or not? It's really hard to know. They were all so selective with their words, which almost makes me think the answer is yes.

Either way - I also have no doubt that the idea to share songwriting credits came from Freddie.

Simple answer and I concede I may be off base. Protection? Happy story that after 13 or 14 albums they all got along and money was no longer an issue. My guess is that a lot of the lyrics were bittersweet (My life has been said, Was it all worth it, TSMGO) and if people attached them to Freddie, given the conjecture in the British press, the tabloids would have jumped all over it. So WIAWI was perceived as a song about Queen maybe splitting up, not Freddie writing about impeding end of life. TATDOOL was determined to be a song about how great it was to be in Queen by Q magazine. If Freddie wrote the lyrics, perhaps a farewell to the fans? TSMGO? A heavy album closer with no real indication of Freddie's imminent demise. Perspective of a North american who had no idea Freddie was ill until days before his death. I see it as Queen closing ranks so people wouldn't read too much into lyrical content. FWIW.

Good point!

Indeed !

And yet another reason why we probably will never find out precisely when Freddie told them.

They have been good businessmen for decades, and this is proof - we're still talking about it over 25 years later.

This question has been widely covered in the more recent documentaries like "These are the Days of our lives". It was especially for the 1989 Miracle Session because since Freddie's illness they wanted to put all troubles of "who's song will be a single or b-side and thus get the most royalties" out of the way. This should no longer be an issue as they wanted to appear as one writing and music recording force. Everyone should be equal in order to produce the best results. It was an united decision by all members before they went into the studios to lay down the first tracks. Freddie's illness was the key factor which sparked the discussion.

Frederick was still the most prolific songwriter through all those three sessions:

- The Miracle: He was the main author of four tracks, a bit of a 50/50 partner on two others, and contributed to the intro of another one. Only 'Scandal', 'I Want It All' and 'Invisible Man' had nothing to do with him.

- Innuendo: Sole author of two tracks, main author of two more, 50/50 partner on two others, created the riff from which Brian developed another one, sat with Brian and co-wrote some germinal ideas of the closing track. Only 'Days of Our Lives', 'Ride the Wild Wind', 'Headlong' and 'I Can't Live with You' had nothing to do with him.

- Post-Innuendo sessions: There were four tracks, out of which he wrote one on his own and co-wrote two more (one with John, one with Brian).

But, then again, Frederick was dying, he wouldn't need the money from the royalties.

Compare that to John Deacon:

- The Miracle: Two co-writes (both with Frederick), some chords for another one (which before 1989 wouldn't have been enough for a credit), a B-side.

- Innuendo: Part of a sequence used for a track, plus the sequencing of another. Under pre-1989 standards, he would've gotten no credits at all.

- Post-Innuendo sessions: There were four tracks, out of which he co-wrote one, that's all.

By earning 25% of everything, he had a great deal. No wonder why he could basically retire at 44.