Innuendo | ||||
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Released | 4 February 1991 | |||
Recorded | March 1989 – November 1990 | |||
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Innuendo is the fourteenth studio album by the British rock band Queen, released on 4 February 1991 by Parlophone in the United Kingdom [4] and it is the band's first studio album to be released by Hollywood Records in the United States. Produced by David Richards and the band, it was the band's last album to be released in lead singer Freddie Mercury's lifetime, and their most recent one to be composed of entirely new material, save for The Cosmos Rocks by the Queen + Paul Rodgers collaboration. The album reached the No. 1 spot on the UK album charts for two weeks, and also peaked at No. 1 in Italy, the Netherlands, Germany, and Switzerland, staying at No. 1 for three weeks, four weeks, six weeks, and eight weeks, respectively. It was the first Queen album to go Gold in the US upon its release since The Works in 1984.
The album was recorded between March 1989 and November 1990. [5] In the spring of 1987, Mercury had been diagnosed with AIDS, although he kept his illness a secret from the public and denied numerous media reports that he was seriously ill. The band and producers were aiming for a November or December release date in order to catch the crucial Christmas market, but Mercury's declining health meant that the release of the album did not take place until February 1991. Stylistically, Innuendo has been regarded as a return to Queen's mid-1970s bombastic period of exaggerated music and lavish production. [6] . Nine months after the album was released, on 24 November, Mercury died of AIDS-derived bronchopneumonia.
The album cover was designed by Queen and Richard Gray. The booklets and single covers from the album are inspired by illustrations by 19th century French artist Jean-Jacques Grandville. Innuendo was voted the 94th greatest album of all time in a national 2006 BBC poll. [7]
Queen released their thirteenth album, The Miracle , in May 1989, but unlike their previous albums, they did not conduct a live tour. In an interview Freddie Mercury conducted with BBC Radio 1, he said that he wanted to break from the "album – tour – album – tour" routine. He had privately been diagnosed as HIV-positive in 1987, and at the time of the interview had been diagnosed with AIDS, which was not yet publicised; [8] however, rumours had been spreading since 1988 about his health and of the possibility that he had the disease, with speculation fuelled by a clear physical decline in his appearance, particularly weight loss. [9] While he kept quiet due to his preference to not to talk to the media, the other band members denied the rumours; at one point, band member Roger Taylor told reporters that "he is healthy and working". [9] In February 1990, Queen won the Brit Award for Outstanding Contribution to British Music. [10] While Mercury accepted the award for the band at the Dominion Theatre, Brian May spoke for the band. Mercury's increasingly gaunt appearance at the ceremony sparked further speculation from the public about his health, which persisted throughout 1990. [9] The 1990 BRIT Awards would be Mercury's final public appearance. [11]
Mercury did not speak publicly about his health, saying that he did not want to sell his music out of people's sympathy for him. He was determined to continue working on music with Queen for as long as he could, saying that he would "keep working until I fucking drop". [9] [12] Mercury was persistently bothered by reporters at his London home, making it difficult for the band to record. As a result, the band relocated to Mountain Studios in Montreux, where the safer and more peaceful atmosphere allowed the band to concentrate. [8] Early in Innuendo's recording, the band decided that all work would be again credited to Queen as a whole instead of to individual contributing members; May said that the decision made a significant impact in the recording process, while Taylor said that it helped eliminate much of the egotistical struggles that would normally cause bands to break up. [13]
The album was released in the US under a new label, the Disney-owned Hollywood Records, in an effort to garner greater exposure there. [14] Hollywood had also secured the rights to Queen's Elektra and Capitol back catalogs, and began reissuing albums early in 1991, marking Queen's 20th anniversary.
"Innuendo" began as a jam session in Switzerland amongst Brian May, Roger Taylor and John Deacon in spring 1989. Freddie Mercury was upstairs and heard them playing the beat, and turned it into a song, creating the melody and starting off the lyrics. From then on all four worked on polishing the track and Taylor took over the lyrics (which were written as a tribute to Led Zeppelin and their song "Kashmir"). The middle section, written by Mercury, was included later and it featured a synth-orchestra programmed by producer David Richards and a flamenco interlude played by Yes guitarist Steve Howe, who had come to visit them and was asked to play. [15] "Innuendo" was released as a single in January 1991, debuting at No. 1 in the UK. [16]
"I'm Going Slightly Mad" was begun in Mercury's London house, after he had the idea of writing a song about madness, inspired by Noël Coward's camp one-liners. Most of the lyrics like "banana tree" or "one needle", came from both him and his friend Peter Straker, who stayed up all night in Mercury's kitchen, devising ever more outlandish lines. The music is Mercury's and is one of the earliest songs the band were working on in Montreux when Steve Howe came in. The video that accompanied the song saw Mercury dressed in a costume suit with wild hair, white gloves, long pointing shoes and extremely heavy make up, filmed in black and white. Whilst Queen fans were thoroughly amused by the band in the video, in the documentary, Champions of the World, Taylor confessed, from the band's perspective, the video was marred by Mercury's appearance having to be camouflaged by costume and make-up, as Taylor admitted Mercury looked "pretty ill, at that point." [17]
"Headlong" was written by May at the studio they had in Switzerland. He recorded it for his debut solo album, Back to the Light , which he was making at the same time, but after hearing Mercury sing it, decided it worked better as a Queen song.
"I Can't Live with You" was also written for May's solo album. He gave it to the band as well since Taylor, Deacon and Mercury were fond of the track. Drums were programmed on synth by May, and the keyboard-pads were added by the producer. An alternative version of this song appeared on the 1997 compilation album Queen Rocks , billed as the "'97 Rocks Retake". It was said to be more along the lines of how May and Taylor originally wanted the track to sound, with a harder, guitar-driven rock edge. May has stated in an interview that most of the original demo is in the recording, making the song "impossible" to mix.
"Don't Try So Hard" came from Mercury. [18] The intro "rain" is actually the pre-set sound of the Korg M1, which appears when it is switched on ("00: Universe").
"Ride the Wild Wind" was composed by Taylor, who recorded a demo with his own vocals. The album version is sung by Mercury with Taylor on backing vocals. The song is a sort of sequel of Taylor's A Night at the Opera composition, "I'm in Love with My Car", which focused on Taylor's passion for cars and racing. This time, the song involved all of the other members, that gave life to a fast song with beating drums and rhythmic bass line, which create the sensation of speed and engine's roar. In the mid-part, a May solo, which accentuates the sense of high velocity, and also gives the song a heavier sound. In some parts, a racing car can be heard.
"All God's People" was co-written by Mercury and Mike Moran, initially as part of Mercury's Barcelona project under the title "Africa by Night". He had asked May to play guitar, then one thing led to another and the entire band played. The keyboard parts were played by Moran. Similar to "Somebody to Love" from A Day at the Races , "All God's People" has a strong gospel influence. [19]
"These Are the Days of Our Lives" was written by Taylor. Keyboards were programmed by all band members in the studio, and conga percussion was recorded by David Richards. The music video for this song was Mercury's last appearance in a video medium, and with his knowing farewell look straight at the camera, Mercury whispers "I still love you" at the end of the song. [20] [21] By the time the video was made, it had become impossible to disguise that Mercury was seriously ill. The video was filmed in colour, but converted to black and white to minimise Mercury's frail appearance. At a later date, colour footage of the band making the video was released, revealing just how ill Mercury was at the time.
"Delilah" is a song Mercury penned for his favourite female calico cat named Delilah. Although Mercury had about 11 cats, Delilah was special. May recorded his solo using a talk box. Taylor later admitted he is not fond of the song, stating "I hate 'Delilah'. That's just not me." [22]
The fly-away rocker "The Hitman" was started by Mercury. The original version was apparently on keyboards and in a different key. May took Mercury's riff (not uncommon), changed the key and recorded a demo of the heavy version. Deacon then re-arranged the structure and they all filled the gaps in lyrics and recorded it. All of the backing vocals were done by May. The demo version is sung by May, with Mercury making spoken comments (like "Bite the bullet baby!").
"Bijou" was an idea Mercury and May had of making a song "inside-out", having guitar doing the verses and the vocal doing the break. Mercury put the chords, title and lyrics, and the two of them worked on the guitar parts. Mercury sang the first line and then May transferred the melody to his Red Special. The song was finished without any input from Taylor or Deacon. The inspiration for the song itself is twofold, Brian May; “The vocal is a succinct and very precise little verse, a little gem, a "Bijou" - a jewel buried at the heart of the piece: hence the name of the song.” [23] [24] “My Mum was given a budgie by a friend - it became a great companion for her after she lost my Dad. She called it "Bijou" and she would spend hours talking to it! ..It was her little Bijou.” [23] In 2008, Queen + Paul Rodgers performed this song in their shows of the Rock the Cosmos Tour by May playing the verse live and then having Mercury's studio vocals play while a screen showed footage from the band's Wembley concert in 1986, with the visuals put in sync with the tape.
"The Show Must Go On" was written by May, based on a chord sequence he had been working on. May decided to use the sequence, and both he and Mercury decided the theme of the lyrics and wrote the first verse together. From then on May finished the lyrics, completed the vocal melody and wrote the bridge, inspired by Pachelbel's Canon . Some keys and ideas were also suggested by the producer. The song chronicles the effort of Mercury continuing to perform despite approaching the end of his life. [25] The song was initially not released as a single as part of promotion for the Innuendo album, but was released in October 1991 as the band launched their Greatest Hits II album. The video for the song featured a compilation of clips from all their videos since 1982, in support of the Greatest Hits II album. Due to Mercury's critical health at the time of its production, a fresh appearance by the band in a video was not possible. The track is a personal favourite of fellow British artist Elton John, who performed the song at the Freddie Mercury Tribute Concert with the remaining members of Queen, and Tony Iommi playing rhythm guitar. [26] A different live version featuring Elton John on vocals later appeared on Queen's Greatest Hits III album.
"Innuendo" was the lead single from the album in most countries, except for the US where "Headlong" was released to radio as a promo prior to the album's release. The single was released on 14 January 1991 in Europe and in March 1991 in the US as a promo single, becoming Queen's third UK No. 1 single. The song also achieved modest success in the US, charting at No. 17 on Billboard's Mainstream Rock Tracks chart. Still, the length and style of the track limited its appeal, and it only spent one week at No. 1 in the UK and quickly slid down the chart, spending only six weeks in the top 75. (B-side on 7 inch release: "Bijou").
"I'm Going Slightly Mad" was released on 4 March 1991. The song reached No. 1 in Hong Kong and reached No. 22 on the UK charts. (B-side on 7 inch release: "The Hitman" in some countries, in others it was "Lost Opportunity", which was a non-album cut).
"Headlong" was released as a promotional single in January 1991 in the US and as a single on 13 May 1991 in the UK. It entered the UK charts at No. 14, and reached No. 3 on the US Billboard Mainstream Rock Tracks chart. (B-side on 12 inch release: "All God's People" in some countries, in others, "Lost Opportunity" and in a few, "The Hitman". The 12" and CD also feature "Mad the Swine").
"I Can't Live with You" was released as a promo single to radio stations in the US. This two-track promo single, completely remixed by Brian Malouf, uses slightly different lead vocal tracks by Mercury, louder and tighter harmony tracks, and reprogrammed synth drums, resulting in a much more punchy and "over the top" poppy version than included on the album. It reached No. 28 on the US Mainstream Rock Tracks chart.
"These Are the Days of Our Lives" was first released in the US on Mercury's birthday, 5 September 1991 on cassette and to radio. In the UK it was released in December 1991 following Mercury's death, as a double A-side with "Bohemian Rhapsody". The single was the UK's Christmas No. 1 of 1991.
"The Show Must Go On" was released on 14 October 1991 in the UK. The single was taken from the album but was released as promotion for the Greatest Hits II album ( Classic Queen in the US/Canada), and peaked at No. 16 on the UK charts. After Mercury's death in November, the song re-entered the British charts and spent as many weeks in the top 75 as it had upon its original release. This single was released just six weeks before Mercury died. In 1992, the song was released as a double A-side with "Bohemian Rhapsody" in the US and reached No. 2 in the US. (The original B-side in October 1991 was "Keep Yourself Alive").
Review scores | |
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Source | Rating |
AllMusic | ![]() ![]() ![]() ![]() ![]() |
The Cincinnati Post | ![]() ![]() ![]() ![]() ![]() |
Entertainment Weekly | C− [29] |
NME | 7/10 [30] |
Rolling Stone | ![]() ![]() ![]() ![]() ![]() |
Select | ![]() ![]() ![]() ![]() ![]() |
Sounds | ![]() ![]() ![]() ![]() ![]() |
St. Petersburg Times | ![]() ![]() ![]() ![]() ![]() |
In 1991, Chuck Eddy of Rolling Stone wrote that Innuendo was "the group's most playful top-to-bottom pile since The Game " and "there's no getting around the new album's craft", which he suggested meant the band were "finally satisfied with their lot in life", but he added that "Innuendo is so lightweight you'll forget it as soon as it's over — which, with this band, should go without saying anyway". [35] In 2016, for the same publication, Ron Hart described it as "Queen's last masterpiece" and an album which "boldly confronted mortality," likening it to David Bowie's final album Blackstar . [36]
People wrote, "If this is cartoon rock and roll, at least it's good and brazenly cartoonish." [37] The Orange County Register wrote, "Queen dispenses with any stylistic variations or flirtations with dance music and offers its basic sound: lots of Mercury vocal leaps, fuzzed-out May guitar, choral overdubs and a sense of orchestral importance mixed with straightforward hard rock", concluding that it was a "mixed bag". [2] The LA Times wrote, "Given the bombast and harsh assault of Queen's biggest hits, it's a shock to find that the heart of... Innuendo, is made of soft, sweet, sticky, sentimental goo", but added "the goo actually goes down well" and "Queen hasn't forgotten how to rock." [38]
In a retrospective review, AllMusic wrote, "Innuendo was a fitting way to end one of rock's most successful careers". [27] For Classic Rock in 2016, Malcolm Dome ranked it as Queen's ninth greatest album, writing that "Innuendo had a lot of intelligent humour and pathos about it." He praised the title track's "brilliantly synthesised orchestrations" and added "perhaps most poignant of all is the low key yet mesmerising 'These Are The Days Of Our Lives', which ended with Mercury’s whispered paean 'I still love you', which was moving in its simplicity." Dome concluded, "The album summed up how Queen could draw people close, yet still keep them at a convenient distance." [39]
All tracks credited to Queen, except "All God's People" credited to Queen and Mike Moran. All lead vocals by Freddie Mercury, except "Ride the Wild Wind", sung by Mercury with Roger Taylor.
No. | Title | Writer(s) | Length |
---|---|---|---|
1. | "Innuendo" | 6:31 | |
2. | "I'm Going Slightly Mad" |
| 4:22 |
3. | "Headlong" | Brian May | 4:38 |
4. | "I Can't Live with You" | May | 4:33 |
5. | "Don't Try So Hard" | Mercury | 3:39 |
6. | "Ride the Wild Wind" | Taylor | 4:42 |
7. | "All God's People" |
| 4:21 |
8. | "These Are the Days of Our Lives" | Taylor | 4:15 |
9. | "Delilah" | Mercury | 3:35 |
10. | "The Hitman" |
| 4:56 |
11. | "Bijou" |
| 3:36 |
12. | "The Show Must Go On" | May | 4:35 |
Total length: | 53:48 |
No. | Title | Writer(s) | Length |
---|---|---|---|
1. | "I Can't Live with You" (1997 Queen Rocks Version) | May | 4:50 |
2. | "Lost Opportunity" (B-side to "I'm Going Slightly Mad" [40] ) | May | 3:53 |
3. | "Ride the Wild Wind" (Early version with guide vocal) | Taylor | 4:14 |
4. | "I'm Going Slightly Mad" (Mad mix) | Mercury | 4:37 |
5. | "Headlong" (Embryo with guide vocal) | May | 4:44 |
Total length: | 22:18 |
No. | Title | Length |
---|---|---|
6. | "Innuendo" (Alternative promo video [41] ) | 6:31 |
7. | "These Are the Days of Our Lives" (Animated Hollywood Records promo video [42] ) | 4:15 |
8. | "Mad in the Making: The Making of the 'I'm Going Slightly Mad' Promo Video" (Mini Documentary [43] ) | 8:11 |
Total length: | 41:15 |
Innuendo was re-released on vinyl on 25 September 2015 by Virgin EMI Records and Hollywood Records, alongside all of Queen's other studio albums. This was the first time the album had been presented on vinyl in full, spread across 2 LPs. Just as the original LP had an altered track listing, the 2 LP version swapped the placement of "I Can't Live With You" and "These Are the Days of Our Lives" to have a similar amount of playing time on each side of vinyl.
No. | Title | Length |
---|---|---|
1. | "Innuendo" | 6:32 |
2. | "I'm Going Slightly Mad" (Queen) | 4:22 |
3. | "Headlong" | 4:38 |
Total length: | 15:32 |
No. | Title | Length |
---|---|---|
1. | "These Are the Days of Our Lives" | 4:13 |
2. | "Don't Try So Hard" | 3:39 |
3. | "Ride the Wild Wind" | 4:42 |
Total length: | 12:34 |
No. | Title | Length |
---|---|---|
1. | "All God's People" (Queen, Moran) | 4:19 |
2. | "I Can't Live with You" | 4:33 |
3. | "Delilah" | 3:32 |
Total length: | 12:24 |
No. | Title | Length |
---|---|---|
1. | "The Hitman" | 4:56 |
2. | "Bijou" | 3:37 |
3. | "The Show Must Go On" | 4:31 |
Total length: | 13:04 |
Track numbering refers to CD and digital releases of the album.
Queen
Additional personnel
Weekly charts
| Year-end charts
|
Region | Certification | Certified units/sales |
---|---|---|
Argentina (CAPIF) [72] | Gold | 30,000^ |
Austria (IFPI Austria) [73] | Platinum | 50,000* |
Canada (Music Canada) [74] | Gold | 50,000^ |
Finland (Musiikkituottajat) [75] | Gold | 38,221 [75] |
France (SNEP) [76] | Platinum | 300,000* |
Germany (BVMI) [77] | Platinum | 500,000^ |
Italy (FIMI) [78] sales since 2009 | Gold | 25,000‡ |
Mexico (AMPROFON) [79] | Platinum | 250,000 [80] |
Netherlands (NVPI) [81] | Platinum | 100,000^ |
Poland (ZPAV) [82] 2009 Agora SA album reissue | Platinum | 20,000* |
Spain (PROMUSICAE) [83] | Platinum | 100,000^ |
Switzerland (IFPI Switzerland) [84] | 2× Platinum | 100,000^ |
United Kingdom (BPI) [85] | Platinum | 300,000^ |
United States (RIAA) [86] | Gold | 500,000^ |
* Sales figures based on certification alone. |
The Freddie Mercury Tribute Concert for AIDS Awareness was a benefit concert held on Easter Monday, 20 April 1992, at Wembley Stadium in London, England, for an audience of 72,000. The concert was produced for television by Ray Burdis, directed by David Mallet and broadcast live on television and radio to 76 countries around the world, with an audience of up to one billion. The concert was a tribute to Queen's lead vocalist, Freddie Mercury, who died of AIDS on 24 November 1991.
News of the World is the sixth studio album by the British rock band Queen, released on 28 October 1977 by EMI Records in the United Kingdom and by Elektra Records in the United States. News of the World was the band's second album to be recorded at Sarm and Wessex Sound Studios in London, and engineered by Mike Stone, and was co-produced by the band and Stone.
Sheer Heart Attack is the third studio album by the British rock band Queen, released on 8 November 1974 by EMI Records in the United Kingdom and by Elektra Records in the United States. Digressing from the progressive themes featured on their first two albums, the album featured more pop-centric and conventional rock tracks and marked a step towards the "classic" Queen sound. It was produced by the band and Roy Thomas Baker, and launched Queen to mainstream popularity in the UK and throughout the world.
A Night at the Opera is the fourth studio album by the British rock band Queen, released on 28 November 1975 by EMI Records in the United Kingdom and Elektra Records in the United States. Produced by Roy Thomas Baker and Queen, it was reportedly the most expensive album ever recorded at the time of its release.
A Day at the Races is the fifth studio album by the British rock band Queen, released on 10 December 1976 by EMI Records in the United Kingdom and by Elektra Records in the United States. Recorded at The Manor, Sarm East, and Wessex Sound Studios in England, it was the band's first completely self-produced album, and the first completed without the involvement of producer Roy Thomas Baker; engineering duties were handled by Mike Stone. It serves as a companion to Queen's previous album, A Night at the Opera, with both taking their names from Marx Brothers films and having similar packaging and eclectic musical themes.
Made in Heaven is the fifteenth and final studio album by the British rock band Queen, released on 6 November 1995 by Parlophone Records in the United Kingdom and by Hollywood Records in the United States. It was the band's first and only album released solely under the name "Queen" after the death of lead singer Freddie Mercury in 1991. Following Mercury's death, guitarist Brian May, drummer Roger Taylor, and bass guitarist John Deacon worked with vocal and piano parts that Mercury recorded before his death, adding new instrumentation to the recordings. Both stages of recording, before and after Mercury's death, were completed at the band's studio in Montreux, Switzerland. The album debuted at number 1 in the UK, where it went quadruple platinum selling 1.2 million copies. 500,000 copies were shipped in the United States.
The Miracle is the thirteenth studio album by the British rock band Queen, released on 22 May 1989 by Parlophone Records and Capitol Records in both the United Kingdom and the U.S. respectively, where it was the band's third and final studio album to be released on latter label, and their first studio album on the former label. The album was recorded as the band recovered from Brian May's marital problems and Freddie Mercury's HIV diagnosis in 1987. Recording started in January 1988 and lasted for an entire year. The album was originally going to be called The Invisible Men, but three weeks before the release, according to Roger Taylor, they changed the name to The Miracle. It was also the last Queen album with a photo of the band on the front cover.
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Hot Space is the tenth studio album by the British rock band Queen. It was released on 4 May 1982 by EMI Records in the United Kingdom and by Elektra Records in the United States. Marking a notable shift in direction from their earlier work, they employed many elements of disco, funk, R&B, dance, pop and new wave music on the album. This made the album less popular with fans who preferred the traditional rock style they had come to associate with the band. Queen's decision to record a dance-oriented album germinated with the massive success of their 1980 hit "Another One Bites the Dust" in the US.
"These Are the Days of Our Lives" is a song by the British rock band Queen. Although credited to the whole band, it was largely written by their drummer Roger Taylor, and is the eighth track on the band's 1991 album Innuendo.
"Innuendo" is a song by the British rock band Queen. Written by Freddie Mercury and Roger Taylor but credited to Queen, it is the opening track on the album of the same name (1991), and was released as the first single from the album. The single debuted at number one on the UK Singles Chart in January 1991, the band's first number-one hit since "Under Pressure" nearly a decade before, and additionally reached the top ten in ten other countries. It is included on the band's second compilation album Greatest Hits II.
"I'm Going Slightly Mad" is a song by the British rock band Queen. Written by Freddie Mercury but credited to Queen, with uncredited lyrical contributions by Peter Straker, it was released as the second single from the band's 1991 album Innuendo. The song was released as a single on 4 March 1991, a month after the release of the album. The lyrics and the accompanying music video project the song as humorous and lighthearted, despite the lyrics dealing with the mental decline Mercury was experiencing as one of the effects of advancing AIDS.
"Scandal" is a song by the British rock band Queen. It was released as the fourth single from their 1989 album The Miracle and peaked at #25 in the UK. The single was released in the United States but failed to chart.
"Headlong" is a song by British rock band Queen, released as the third single from their fourteenth studio album, Innuendo in May 1991. The song was written by Queen guitarist Brian May, who intended to record it for his then-upcoming solo album Back to the Light (1992), but when he heard Queen lead singer Freddie Mercury sing the track, he allowed it to become a Queen song. As with all the songs on Innuendo, the track was promptly credited to the entire band.
The Works is the eleventh studio album by the British rock band Queen. It was released on 27 February 1984 by EMI Records just shortly after recording for the album had been completed in the United Kingdom and it is the band's first studio album to be released by Capitol Records in the United States. After the synth-heavy Hot Space (1982), the album saw the re-emergence of Brian May and Roger Taylor's rock sound, while still incorporating the early 80s retro futuristic electronic music and New York funk scenes. Recorded at the Record Plant Studios in Los Angeles, California, and Musicland Studios in Munich, Germany, from August 1983 to January 1984, the album's title comes from a comment Taylor made as recording began – "Let's give them the works!".
"I Can't Live with You" is a song by the British rock band Queen, which was released in 1991 as the fourth single from their fourteenth studio album Innuendo. The song was written by Brian May but credited to all four members of Queen. It was produced by Queen and David Richards. "I Can't Live with You" was released as a promotional single in the United States only, where it reached No. 28 on the Billboard Album Rock Tracks chart in June 1991.
The Game is the eighth studio album by the British rock band Queen. It was released on 30 June 1980 by EMI Records in the UK and by Elektra Records in the US. The Game features a different sound from its predecessor, Jazz (1978). The Game was the first Queen album to use a synthesizer.
Queen Forever is a compilation album by the British rock band Queen. Released on 10 November 2014, it features tracks the band had "forgotten about" with vocals from original lead singer Freddie Mercury. Queen's bassist John Deacon is also on the tracks.
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: CS1 maint: bot: original URL status unknown (link)May: I've been spending some time going into Hollywood Records, because finally we have a record company here who ... uh ... doing a very good job for us, selling lots of records, and making to make it happen I think again...
Fifteen years after first attempting gospel with 'Somebody To Love', Queen once again revisit the style with 'All God's People'.