I recall previously someone posting a list of the individual songwriters for all tracks credited just 'Queen', also the very early albums. Would someone please be able to post this list? - thanking you.
Thread
Posts in chronological order
STONE COLD CRAZY: Apparently it's from Wreckage then it's Freddie's. God knows why is it credited to all four, especially considering it was part of the live set over a year before John joined...
HANGMAN: Lyrics by Freddie, music by Brian. This is hence the first collaboration between two Queen members.
UNDER PRESSURE: Mostly Freddie although they all contributed. Freddie and David Bowie dominate both lyrics and melody.
SOUL BROTHER: Freddie. He wrote it about Brian, and it took him about 15 minutes.
ONE VISION: Lyrics are by Roger ("one ... one ..." as in 'A Kind Of Magic'), music is Roger's and Brian's. Freddie was more a producer and arranger than an actual co-writer IMO.
PARTY: Freddie started it, then he worked on it with Brian and John.
KASHOGGI'S: It hasn't been confirmed officially. Fan Club said it's Fred but Fan Club can say any shite... David Richards said that all four contributed to the lyrics, but didn't clear up the music.
THE MIRACLE: Freddie, although they all contributed to the lyrics. Still it's his song, and you can easily notice his fingerprint. IMO it must have been influenced by 'I Am The Walrus'.
I WANT IT ALL: Brian. In fact recent releases credit it just to him.
INVISIBLE MAN: Roger. He wrote it about a book he was reading, after hearing the beat in his head. Arranged by all four.
A NEW LIFE IS BORN: Freddie. IMO it must have been for 'Barcelona' since the style suits that.
BREAKTHRU: Roger. The others suggested the key change, but they were co-arrangers, not co-writers.
RAIN MUST FALL: Music by John, lyrics by Freddie.
SCANDAL: Brian. I suspect Fred could have altered some of the melody, although probably not much more than he'd do for any other track.
MY BABY DOES ME: Mostly Freddie although John helped him putting it together.
WAS IT ALL WORTH IT: Mostly Freddie although they all contributed to the lyrics. Note that the orchestral interlude quotes several Fred early pieces: Stone Cold Crazy, Great King Rat, Death On Two Legs and partly Masterstroke.
HANG ON IN THERE: Freddie. It's the joint of two separate tracks, but you can notice how Fred conducted the jam too!
STEALIN': Freddie. He rang Mack up while doing this one and told him how he was thankful for the Munich era, it'd influenced him for this one.
HIJACK MY HEART: Roger. Similar to 'Sheer Heart Attack' in terms of harmony.
INNUENDO: It's a jigzaw puzzle: the main section's got music by Freddie (after an initial idea by the other three), lyrics started off by Freddie and finished by Roger, melody by Freddie. The interlude was added by Freddie.
SLIGHTLY MAD: Freddie. Some lyrics were suggested by Peter Straker.
HEADLONG: Brian, although apparently the four of them made several modifications once he decided to give it away to Queen instead of using it for a solo album.
I CAN'T LIVE WITH YOU: Brian. He'd got it for his solo album but then decided to give it to the band.
DON'T TRY SO HARD: Freddie. Note that the synth-cello break foreshadows the riff of Britney Spear's 'Toxic' :-)
RIDE THE WILD WIND: Roger. One of my favourites of his.
DELILAH: Freddie. It's more complicated than it seems.
ALL GOD'S PEOPLE: Freddie and Mike Moran. I'd love to know more about this songwriting partnership: how much did Mike contribute to lyrics, for instance...
THESE ARE THE DAYS OF OUR LIVES: Roger. You can spot many harmonic cross-references. He was a very instinctive but very good songwriter!
THE HITMAN: Freddie wrote the riff (which in this case represents 90% of the music). Brian changed the key and some of the notes to make it playable on guitar. But then again, Brian's a co-arranger (with John who modified the structure), not a co-writer, in the same vein that Fred's an arranger (not co-writer) in 'Radio Ga Ga' and 'A Kind Of Magic' and George Martin's an arranger and not co-writer in 'Yesterday', 'Strawberry Fields', etc.
BIJOU: Mostly Freddie since he wrote the
HANGMAN: Lyrics by Freddie, music by Brian. This is hence the first collaboration between two Queen members.
UNDER PRESSURE: Mostly Freddie although they all contributed. Freddie and David Bowie dominate both lyrics and melody.
SOUL BROTHER: Freddie. He wrote it about Brian, and it took him about 15 minutes.
ONE VISION: Lyrics are by Roger ("one ... one ..." as in 'A Kind Of Magic'), music is Roger's and Brian's. Freddie was more a producer and arranger than an actual co-writer IMO.
PARTY: Freddie started it, then he worked on it with Brian and John.
KASHOGGI'S: It hasn't been confirmed officially. Fan Club said it's Fred but Fan Club can say any shite... David Richards said that all four contributed to the lyrics, but didn't clear up the music.
THE MIRACLE: Freddie, although they all contributed to the lyrics. Still it's his song, and you can easily notice his fingerprint. IMO it must have been influenced by 'I Am The Walrus'.
I WANT IT ALL: Brian. In fact recent releases credit it just to him.
INVISIBLE MAN: Roger. He wrote it about a book he was reading, after hearing the beat in his head. Arranged by all four.
A NEW LIFE IS BORN: Freddie. IMO it must have been for 'Barcelona' since the style suits that.
BREAKTHRU: Roger. The others suggested the key change, but they were co-arrangers, not co-writers.
RAIN MUST FALL: Music by John, lyrics by Freddie.
SCANDAL: Brian. I suspect Fred could have altered some of the melody, although probably not much more than he'd do for any other track.
MY BABY DOES ME: Mostly Freddie although John helped him putting it together.
WAS IT ALL WORTH IT: Mostly Freddie although they all contributed to the lyrics. Note that the orchestral interlude quotes several Fred early pieces: Stone Cold Crazy, Great King Rat, Death On Two Legs and partly Masterstroke.
HANG ON IN THERE: Freddie. It's the joint of two separate tracks, but you can notice how Fred conducted the jam too!
STEALIN': Freddie. He rang Mack up while doing this one and told him how he was thankful for the Munich era, it'd influenced him for this one.
HIJACK MY HEART: Roger. Similar to 'Sheer Heart Attack' in terms of harmony.
INNUENDO: It's a jigzaw puzzle: the main section's got music by Freddie (after an initial idea by the other three), lyrics started off by Freddie and finished by Roger, melody by Freddie. The interlude was added by Freddie.
SLIGHTLY MAD: Freddie. Some lyrics were suggested by Peter Straker.
HEADLONG: Brian, although apparently the four of them made several modifications once he decided to give it away to Queen instead of using it for a solo album.
I CAN'T LIVE WITH YOU: Brian. He'd got it for his solo album but then decided to give it to the band.
DON'T TRY SO HARD: Freddie. Note that the synth-cello break foreshadows the riff of Britney Spear's 'Toxic' :-)
RIDE THE WILD WIND: Roger. One of my favourites of his.
DELILAH: Freddie. It's more complicated than it seems.
ALL GOD'S PEOPLE: Freddie and Mike Moran. I'd love to know more about this songwriting partnership: how much did Mike contribute to lyrics, for instance...
THESE ARE THE DAYS OF OUR LIVES: Roger. You can spot many harmonic cross-references. He was a very instinctive but very good songwriter!
THE HITMAN: Freddie wrote the riff (which in this case represents 90% of the music). Brian changed the key and some of the notes to make it playable on guitar. But then again, Brian's a co-arranger (with John who modified the structure), not a co-writer, in the same vein that Fred's an arranger (not co-writer) in 'Radio Ga Ga' and 'A Kind Of Magic' and George Martin's an arranger and not co-writer in 'Yesterday', 'Strawberry Fields', etc.
BIJOU: Mostly Freddie since he wrote the
Seb, have you got any quotes that support the idea that the lyrics to Rain Must Fall are Freddie's? Those twee lyrics about everyday life just seem absolutely typical of John, à la WNY, IYCBT, IOSD and MLHBS.
Also, what's the lyrical/musical split in FWBF? Again, those lyrics sound like John's uncultured style to me, whilst the progression is more akin to typical Freddie.
Also, what's the lyrical/musical split in FWBF? Again, those lyrics sound like John's uncultured style to me, whilst the progression is more akin to typical Freddie.
"THE MIRACLE: IMO it must have been influenced by 'I Am The Walrus'."
Why on earth is that?
Why on earth is that?
C-c-coo coo ca choo?
Hey Fried Chicken!!!!!
You are the first perosn who has said that i agree, i always though that it did soundf the same,,, untill the songs makes its own.
And as for you dont fool me,,, wasnt that written back in the hot space days???? Im sur eit was.
You are the first perosn who has said that i agree, i always though that it did soundf the same,,, untill the songs makes its own.
And as for you dont fool me,,, wasnt that written back in the hot space days???? Im sur eit was.
Hey Chicken, sorry i missed that you go that info from the above list... I am the walrus is a song by the beatles... ist shares a simular beat at the start..
I know the song I am the Walrus, but I can't find any similarities between those two songs..
And even if there were any. I doubt it was intentional.
And even if there were any. I doubt it was intentional.
[QUOTE][QUOTENAME]FriedChicken<br><font size=1>The Almighty</font> wrote: [/QUOTENAME]I know the song I am the Walrus, but I can't find any similarities between those two songs..
And even if there were any. I doubt it was intentional. [/QUOTE]
I think they are a bit similar. It might have been intentional (maybe somebody knows) since Freddie was a fan.
And even if there were any. I doubt it was intentional. [/QUOTE]
I think they are a bit similar. It might have been intentional (maybe somebody knows) since Freddie was a fan.
> Those twee lyrics about everyday life just seem absolutely typical of John, à la WNY, IYCBT, IOSD and MLHBS.
I hadn't thought about that, but it does make sense. The quote I used for that conclusion came from David Richards, but to be fair it was translated from Japanese (and I'm far from being an expert), and of course it had to be translated from English to Jap before by somebody else. So maybe the true meaning was lost in translation(s)? I mean, fifteen years of songwriting evidence are a stronger argument than a (n inexact) quote.
> Also, what's the lyrical/musical split in FWBF? Again, those lyrics sound like John's uncultured style to me, whilst the progression is more akin to typical Freddie.
I've always wondered about that too, but the chords are generic enough to be from anyone of the four. Maybe what Phoebe said it's right and the joint credit is because John insisted Fred's input should be acknowledged? Somehow I find FWBF is melodically similar to MLHBS.
> And as for you dont fool me,,, wasnt that written back in the hot space days???? Im sur eit was.
It wasn't. 'You Don't Fool Me' is post-Innuendo. The reason many believe it came from '81-'82 is because they misunderstood the GHIII liner notes ... it "harks back to the Hot Space days" (or something like that), but it doesn't mean or imply it was written back then. Likewise 'Seaside Rendezvous' "harks back" to the 1920s but it doesn't mean Freddie wrote it two decades before being born.
> I can't find any similarities between those two songs...
Verse using three-bar phrases, the Eb > Db > Cb progression ... of course the songs are very different in every other aspect but in a more profound level they share some things.
> And even if there were any. I doubt it was intentional.
Who knows ... having a verse with three-bar phrases is not the kind of thing you'd usually do instinctively, perhaps Freddie deliberately wanted it that way ... and Lennon COULD have been an influence; Beatles were their Bible after all...
I hadn't thought about that, but it does make sense. The quote I used for that conclusion came from David Richards, but to be fair it was translated from Japanese (and I'm far from being an expert), and of course it had to be translated from English to Jap before by somebody else. So maybe the true meaning was lost in translation(s)? I mean, fifteen years of songwriting evidence are a stronger argument than a (n inexact) quote.
> Also, what's the lyrical/musical split in FWBF? Again, those lyrics sound like John's uncultured style to me, whilst the progression is more akin to typical Freddie.
I've always wondered about that too, but the chords are generic enough to be from anyone of the four. Maybe what Phoebe said it's right and the joint credit is because John insisted Fred's input should be acknowledged? Somehow I find FWBF is melodically similar to MLHBS.
> And as for you dont fool me,,, wasnt that written back in the hot space days???? Im sur eit was.
It wasn't. 'You Don't Fool Me' is post-Innuendo. The reason many believe it came from '81-'82 is because they misunderstood the GHIII liner notes ... it "harks back to the Hot Space days" (or something like that), but it doesn't mean or imply it was written back then. Likewise 'Seaside Rendezvous' "harks back" to the 1920s but it doesn't mean Freddie wrote it two decades before being born.
> I can't find any similarities between those two songs...
Verse using three-bar phrases, the Eb > Db > Cb progression ... of course the songs are very different in every other aspect but in a more profound level they share some things.
> And even if there were any. I doubt it was intentional.
Who knows ... having a verse with three-bar phrases is not the kind of thing you'd usually do instinctively, perhaps Freddie deliberately wanted it that way ... and Lennon COULD have been an influence; Beatles were their Bible after all...
[QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]
> Also, what's the lyrical/musical split in FWBF? Again, those lyrics sound like John's uncultured style to me, whilst the progression is more akin to typical Freddie.
I've always wondered about that too, but the chords are generic enough to be from anyone of the four. Maybe what Phoebe said it's right and the joint credit is because John insisted Fred's input should be acknowledged? Somehow I find FWBF is melodically similar to MLHBS.
[/QUOTE]
Brian May has talked about "Friends Will Be Friends" on his soapbox: http://www.brianmay.com/brian/brianssb/brianssbjul06.html . He talks about it as if it were a 100%Freddie composition, at least lyrically. Perhaps John had input musically then?
> Also, what's the lyrical/musical split in FWBF? Again, those lyrics sound like John's uncultured style to me, whilst the progression is more akin to typical Freddie.
I've always wondered about that too, but the chords are generic enough to be from anyone of the four. Maybe what Phoebe said it's right and the joint credit is because John insisted Fred's input should be acknowledged? Somehow I find FWBF is melodically similar to MLHBS.
[/QUOTE]
Brian May has talked about "Friends Will Be Friends" on his soapbox: http://www.brianmay.com/brian/brianssb/brianssbjul06.html . He talks about it as if it were a 100%Freddie composition, at least lyrically. Perhaps John had input musically then?
[QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]> Those twee lyrics about everyday life just seem absolutely typical of John, à la WNY, IYCBT, IOSD and MLHBS.
I hadn't thought about that, but it does make sense. The quote I used for that conclusion came from David Richards, but to be fair it was translated from Japanese (and I'm far from being an expert), and of course it had to be translated from English to Jap before by somebody else. So maybe the true meaning was lost in translation(s)? I mean, fifteen years of songwriting evidence are a stronger argument than a (n inexact) quote.
[/QUOTE]
Again, Brain has commented a snippet about this song on his soapbox: http://www.brianmay.com/brian/letters/letterssep04.html (search for "Rain Must Fall"). When asked about the harmony and structure of the song he answers that he doesn't know and it is very much a "Deacon-area" which implies that, at least musically, "Rain Must Fall" is a Deacon song.
I hadn't thought about that, but it does make sense. The quote I used for that conclusion came from David Richards, but to be fair it was translated from Japanese (and I'm far from being an expert), and of course it had to be translated from English to Jap before by somebody else. So maybe the true meaning was lost in translation(s)? I mean, fifteen years of songwriting evidence are a stronger argument than a (n inexact) quote.
[/QUOTE]
Again, Brain has commented a snippet about this song on his soapbox: http://www.brianmay.com/brian/letters/letterssep04.html (search for "Rain Must Fall"). When asked about the harmony and structure of the song he answers that he doesn't know and it is very much a "Deacon-area" which implies that, at least musically, "Rain Must Fall" is a Deacon song.
Very interesting comments. So Brian had the idea of "right till the end friends will be friends", it was indeed very nice.
Yes I knew the 'Rain Must Fall' comment, but it didn't clear up the lyrics. But if we consider 'Miracle' to be Freddie's in spite of the input others had, and if we consider 'Show Must Go On' Brian's, then it's just fair to regard 'Rain Must Fall' as Deacon's especially if Bohardy's point is right.
Yes I knew the 'Rain Must Fall' comment, but it didn't clear up the lyrics. But if we consider 'Miracle' to be Freddie's in spite of the input others had, and if we consider 'Show Must Go On' Brian's, then it's just fair to regard 'Rain Must Fall' as Deacon's especially if Bohardy's point is right.
[QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]
UNDER PRESSURE: Mostly Freddie although they all contributed. Freddie and David Bowie dominate both lyrics and melody.
[/QUOTE]
Just one question about UP. As we all know the origins of UP are heard in a demo called Feel Like. I read in Wikipedia that Fell Like was Roger's song (and yes, I know there's a lot of bullshit in Wikipedia, but I've found that it's quite accurate on Queen-related stuff). Anyway, if that's correct, then Roger really deserves a co-credit for Under Pressure 'cos the chord progression of UP is already there on the demo.
UNDER PRESSURE: Mostly Freddie although they all contributed. Freddie and David Bowie dominate both lyrics and melody.
[/QUOTE]
Just one question about UP. As we all know the origins of UP are heard in a demo called Feel Like. I read in Wikipedia that Fell Like was Roger's song (and yes, I know there's a lot of bullshit in Wikipedia, but I've found that it's quite accurate on Queen-related stuff). Anyway, if that's correct, then Roger really deserves a co-credit for Under Pressure 'cos the chord progression of UP is already there on the demo.
I've always wondered why people say Feel Like is a demo of Under Pressure - lyrics are different, melody is different, they only share a chord progression but it doesn't mean anything. There are scores of songs by all sorts of artists sharing progressions and it doesn't mean that, say, Pachelbell's 'Canon In D' is a demo of 'Basket Case', or 'Wonderwall' is a demo of 'Boulevard of Broken Dreams'.
Likewise, the fact that 'Liar' and 'Lover' share ONE riff doesn't mean 'Lover' is an early version of 'Liar'.
Of course everybody's entitled to their own opinion, but personally I think John Deacon's interviews in Japan '82 and France '84 are a stronger argument than what some random bloke wrote in Wikipedia.
Likewise, the fact that 'Liar' and 'Lover' share ONE riff doesn't mean 'Lover' is an early version of 'Liar'.
Of course everybody's entitled to their own opinion, but personally I think John Deacon's interviews in Japan '82 and France '84 are a stronger argument than what some random bloke wrote in Wikipedia.