if innuendo would've been roger's song he would have sang it in his solo tours too, like he did with ride the wild wind.
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if innuendo would've been roger's song he would have sang it in his solo tours too, like he did with ride the wild wind.
...and Days of Our Lives
When I play them the Greatest Hits, they always are surprised that "THATS QUEEN"? "I DIDN'T KNOW THAT"! They always thought CLTCL was Elvis is another one.
My friends do that ALL THE TIME!! :D
Um...im not eeven going to join on the Roger/Freddie arguement! lol, best leave that to people who have more reliable sources than me, but IMO, Freddie's song.
I still think this is mainly a Roger Taylor song. The middle section is Freddie, verses and basic idea Roger Taylor.
Ok, because you're so stubborn:
Roger HATED modulating. 'Innuendo' modulates several times. Freddie modulated extremely often.
Which of the two is the most likely author?
http://en.wikipedia.org/wiki/Innuendo_%28song%29
Wikipedia generally has correct info! Im on the Freddie wrote Innuendo (for the most part) train
Wikipedia generally has correct info! Im on the Freddie wrote Innuendo (for the most part) train
http://en.wikipedia.org/wiki/Innuendo_%28song%29
Wikipedia generally has correct info! Im on the Freddie wrote Innuendo (for the most part) train
Wikipedia took info from QZ...
Why did he sing The show must go on then? Wasn't that Freddie/Brian?
http://www.queenzone.com/queenzone/forumnew/forum_topic_view.aspx?Q=580304
Actually I wrote that Wikipedia section; and many more, those familiar with my style of writing know which ones :)
Roger sang some of his own songs on tours (Tenement Funster, Ride The Wild Wind, Days Of Our Lives) but he sang from the others as well (I Want To Break Free, We Will Rock You, Show Must Go On), so even if he'd have sung Innuendo (or any other post-Magic song for that matter) it wouldn't neccesarily mean he composed it.
Same for Brian - he sang Love Of My Life and didn't write it.
Roger sang some of his own songs on tours (Tenement Funster, Ride The Wild Wind, Days Of Our Lives) but he sang from the others as well (I Want To Break Free, We Will Rock You, Show Must Go On), so even if he'd have sung Innuendo (or any other post-Magic song for that matter) it wouldn't neccesarily mean he composed it.
Same for Brian - he sang Love Of My Life and didn't write it.
I'm shocked that there are people out there that STILL think Innuendo is a Roger song.
Back to the original topic, yes, Roger wrote some great tracks for the Innuendo album! One being tied with The Show Must Go On for my all-time favorite song. Innuendo has been my favorite album for the better part of a decade, and will continue to be as long as I live. :)
Back to the original topic, yes, Roger wrote some great tracks for the Innuendo album! One being tied with The Show Must Go On for my all-time favorite song. Innuendo has been my favorite album for the better part of a decade, and will continue to be as long as I live. :)
Excuse my English
I get relax enough to know that there are people which think as always I have thought, Innuendo only could to come from one mind: Freddie's mind
Greetings
I get relax enough to know that there are people which think as always I have thought, Innuendo only could to come from one mind: Freddie's mind
Greetings
It's not a matter of thoughts but a matter of facts. Innuendo's music isn't Roger's, full stop.
Sebastian,
In your personal opinion... what were the writing strengths and weaknesses of each member in terms of songwriting.
Of course any of us that understand music theory are fully aware that Freddie's understanding (whether by knowledge of theory or by a great musical ear, or both) of more complex chord progressions..etc..etc.. exceed the other 3, but of course, more complex doesn't always mean better.
But please go as far in depth as time allows you to
Thank you very much.
In your personal opinion... what were the writing strengths and weaknesses of each member in terms of songwriting.
Of course any of us that understand music theory are fully aware that Freddie's understanding (whether by knowledge of theory or by a great musical ear, or both) of more complex chord progressions..etc..etc.. exceed the other 3, but of course, more complex doesn't always mean better.
But please go as far in depth as time allows you to
Thank you very much.
it surprises me that someone who claims their a queen fan actually thinks roger wrote this!...If you know the history of this band, you should know freddie and brian were the kings of the epic song. Roger was more straight forward rock (funster) or pop (magic) also ballad (tatdool) no where does he write songs like MOTBQ or Great king rat, Bo Rhap, Princess of the universe. This should be obvious to any queen fan.
Indeed more complex doesn't neccesarily mean better. Something that never ceases striking me is the ability the four of them had to make great songs (catchy, memorable and deep) by using unusual features. 'I'm In Love With My Car', for instance, a rock song in 3/4, or 'You're My Best Friend', a little ditty with a very clever structure (note how the bridge is expanded the second time), chord inversions (Dm/C, C/Bb, E/G#), non-diatonic functions like V-of-vi, V-of-V, V-of-IV and iv, and God knows how many bloody hours of hard work (a score of vocal overdubs, three bass-channels, bass-overdubs, a guitar choir, two piano channels, drums mixing), and all of that resulting in such an easy-listening 3 minute pop song. Brilliant.
'Keep Yourself Alive' comes to my mind as a very unusual debut single. It's catchy and by far the most repetitive song in the album, yet it includes a lot of clever details: many modulations (some of them quite difficult ones), non-model form, meticulous instrumental arrangement (especially in the intro), layered guitar solo ... but still it sounds so natural and straightforward.
There are loads of songwriters who achieve extraordinary tunes with metre-changes and modulations, but somehow they fail to impress the public. The way Freddie got such a complex epic like Bo Rhap to be at the same time a classic is absolutely stunning. Let's check the top-10 selling singles in the UK ever:
- Candle In The Wind: Four chords (major diatonic plus relative minor), no modulations.
- Do They Know It's Christmas: Seven chords (six diatonic plus bVII), no modulations.
- Bohemian Rhapsody: Over thirty chords, heaps of unusual functions, several modulations.
- Mull Of Kintyre: Three chords, all major, no modulations.
- Rivers Of Babylon: Three chords, all major, no modulations.
- You're The One That I Want: Five chords (i, III, V, VI, VII in minor key), no modulations.
- Relax: Four chords, no modulations.
- She Loves You: Six chords (V-of-V instead of ii, no iii, beautiful iv function), no modulations.
- Unchained Melody: Five chords, one of them unusual (bIII), no modulations.
- Mary's Boy Child: Seven chords (V-of-vi instead of iii and a secondary dominant on the first part of the chorus), no modulations.
It says it all :)
Same for songs seelling over two millions in the US (besides the aforementioned Candle In The Wind and Bo Rhap):
- Another One Bites The Dust: Ten chords (six diatonic plus ii, IV and the very unusual functions bVII and bv), no modulations.
- Hey Jude: Six chords (no iii or vi, plus V-of-V and IV-of-IV), nice V-of-IV function, no modulations (albeit the coda can be interpreted as modal switch towards F Mixolydian).
- Hound Dog: Three chords, all major, no modulations.
- Don't Be Cruel: Four chords (I, ii, IV, V) and the V-of-IV function. No modulations.
- I Will Always Love You: Five chords (no iii), key-shift at the end,
- Macarena: I might be wrong but as far as I remember there are only two chords, like in Break On Through.
- We Are The World: Eight chords (six diatonic plus bVI and bVII), key-shift at the end.
- Everything I Do I Do It For You: Eight chords (I, ii, IV, V plus II, bIII, iv and bVII). No modulations although the bridge can be considered a slight pass to bVII.
- Gangsta's Paradise: Two chords I think.
- How Do I Live: Six diatonic chords, interesting I>II and I>bVII modulations through VI/V function. Very beautiful piece.
- I'll Be Missing You: It's based on Every Breath You Take, which has got seven chords (I, IV, V, vi plus V-of-V, bVI and bVII). No modulations although the bridge can be considered a brief modal switct to Aeolian. No modulations.
- Love Me Tender: Seven chords (I, IV, V, vi plus V-of-V, V-of-iii and the beautiful iv). No modulations.
- Anyway You Want Me: Five chords (four standard plus V-of-V). No modulations.
- Vogue: Four chords (I, ii, IV, V), no modulations.
- We Are The
'Keep Yourself Alive' comes to my mind as a very unusual debut single. It's catchy and by far the most repetitive song in the album, yet it includes a lot of clever details: many modulations (some of them quite difficult ones), non-model form, meticulous instrumental arrangement (especially in the intro), layered guitar solo ... but still it sounds so natural and straightforward.
There are loads of songwriters who achieve extraordinary tunes with metre-changes and modulations, but somehow they fail to impress the public. The way Freddie got such a complex epic like Bo Rhap to be at the same time a classic is absolutely stunning. Let's check the top-10 selling singles in the UK ever:
- Candle In The Wind: Four chords (major diatonic plus relative minor), no modulations.
- Do They Know It's Christmas: Seven chords (six diatonic plus bVII), no modulations.
- Bohemian Rhapsody: Over thirty chords, heaps of unusual functions, several modulations.
- Mull Of Kintyre: Three chords, all major, no modulations.
- Rivers Of Babylon: Three chords, all major, no modulations.
- You're The One That I Want: Five chords (i, III, V, VI, VII in minor key), no modulations.
- Relax: Four chords, no modulations.
- She Loves You: Six chords (V-of-V instead of ii, no iii, beautiful iv function), no modulations.
- Unchained Melody: Five chords, one of them unusual (bIII), no modulations.
- Mary's Boy Child: Seven chords (V-of-vi instead of iii and a secondary dominant on the first part of the chorus), no modulations.
It says it all :)
Same for songs seelling over two millions in the US (besides the aforementioned Candle In The Wind and Bo Rhap):
- Another One Bites The Dust: Ten chords (six diatonic plus ii, IV and the very unusual functions bVII and bv), no modulations.
- Hey Jude: Six chords (no iii or vi, plus V-of-V and IV-of-IV), nice V-of-IV function, no modulations (albeit the coda can be interpreted as modal switch towards F Mixolydian).
- Hound Dog: Three chords, all major, no modulations.
- Don't Be Cruel: Four chords (I, ii, IV, V) and the V-of-IV function. No modulations.
- I Will Always Love You: Five chords (no iii), key-shift at the end,
- Macarena: I might be wrong but as far as I remember there are only two chords, like in Break On Through.
- We Are The World: Eight chords (six diatonic plus bVI and bVII), key-shift at the end.
- Everything I Do I Do It For You: Eight chords (I, ii, IV, V plus II, bIII, iv and bVII). No modulations although the bridge can be considered a slight pass to bVII.
- Gangsta's Paradise: Two chords I think.
- How Do I Live: Six diatonic chords, interesting I>II and I>bVII modulations through VI/V function. Very beautiful piece.
- I'll Be Missing You: It's based on Every Breath You Take, which has got seven chords (I, IV, V, vi plus V-of-V, bVI and bVII). No modulations although the bridge can be considered a brief modal switct to Aeolian. No modulations.
- Love Me Tender: Seven chords (I, IV, V, vi plus V-of-V, V-of-iii and the beautiful iv). No modulations.
- Anyway You Want Me: Five chords (four standard plus V-of-V). No modulations.
- Vogue: Four chords (I, ii, IV, V), no modulations.
- We Are The
ride the wild wind is my fave off innunedo!
ride the wild wind is my fave off innunedo!
That's one of my least favs on Innuendo....I always skip over it.