Queen
Innuendo

I feel compelled, since it isn't here, to write this review about the grand finale of a certain group, Queen.
Only Freddie Mercury's last efforts could have given us something like this. Yes, because torn apart by the disease, Freddie "squeezed" himself and found a way to carry on, to continue, to give everything he could until the very last moment. That's how this album, made even more compelling by the complete divergence of sound and style among the songs, came to be. Innuendo is a slow agony: it's almost as if you can see Freddie suffocating, at times falling, at times clinging to the other members of the group.
INNUENDO is a multifaceted and multistyle track of 6 minutes that, for this reason, closely resembles Bohemian Rhapsody and like the latter is an epic song. The powerful progression of the Title track suddenly breaks, generating the famous Spanish section, only to regenerate the initial movement of the piece. In I'M GOING SLIGHTLY MAD, it seems that Freddie enjoys mocking the journalists who have always attacked him with self-irony.
The next two tracks are two compelling rock pieces with the driving HEADLONG and the highly underrated I CAN'T LIVE WITH YOU with a great final part. The underlying melancholy of this album is hidden in the first four songs but emerges punctually in DON'T TRY SO HARD where Freddie makes an effort but still manages to play with his voice, especially in the chorus and the second verse. RIDE THE WILD WIND starts modestly, then reaches the level of the other songs. We then find a gospel motif, ALL GOD'S PEOPLE, which at least for the first two minutes is a unique masterpiece in its genre. Following is Roger Taylor's best piece, THESE ARE THE DAYS OF OUR LIVES, made even more emotional by the accompanying video clip. Here you can see Freddie for the last time, so reduced that he struggles to move his right arm in "When I look, and I find".
The song dedicated to his favorite cat is track number nine, DELILAH, where Brian manages to make the guitar "meow".
The last hard rock track of the Queen chapter is THE HITMAN, an almost standalone piece that "hides" the difficulties in fine-tuning this album. Brian May dedicates the last two songs to Freddie Mercury: in BIJOU, Brian seems to make the Red Special cry and gradually console it, THE SHOW MUST GO ON is one of those epic, "century-spanning" songs. Especially the second part of the song reaches stratospheric levels of pathos. THE SHOW MUST GO ON is one of those songs you never forget, just like the album, just like this great group. So let's give to Caesar what is Caesar's, let's give the Queen what they deserve.