Queen
Innuendo

The Queen were my first musical love, then you grow up, listen to other things, your tastes change, but the first band that introduced me to the unknown meaning of the word 'music' when I was young, is never forgotten.

Some consider it the best of Queen ever, some a good album, and others might not like it. But one thing is certain: this "Innuendo" is truly a complete album, diverse, multifaceted and well-played where all the musical influences of the band shine through. It's difficult to categorize this record under a specific genre as the atmosphere changes from song to song, making it all very interesting.

Unfortunately, it will also be the last studio album with Freddie Mercury still alive, but here the whole band outdoes itself. But let's go into detail.

The title track "Innuendo" is an epic piece of the combo, surely one of the best ever in which the band's great creativity emerges, spanning over six minutes excellently through melodic rock, hard guitar, Latin rhythms, and classical nuances. Very beautiful is the Spanish-style bridge when the acoustic guitars come into play, launching into a crazy flamenco-style melodic solo. All these ingredients make it the natural continuation of the immense "Bohemian Rhapsody.

Along the lines of the title track, we find "Headlong" where the rhythms rise, Taylor and Deacon create the rhythmic carpet, while in the background Freddie's powerful and energetic voice and May's distorted guitar give life to another wonderful piece. The rock nuances continue but in a more classical way with "I can't live with you" a composition that at times may remind of the combo's productions from the '80s being quite catchy.

Among the various ballads, it's impossible not to mention the almost decadent atmosphere of "Don't try so hard" (with excellent lyrics) where an exceptionally inspired Mercury imprints all his expressive force in supporting the composition. No less so is "I'm going slightly mad" in which a very inspired lead guitar emerges.

In the wake of the latest are a faster "These are the days of our lives" and an unusually calm and airy "Ride the wild wind" and a simple, but not trivial "Delilah" (here the curious guitar riff mimicking a cat's meow line up with the lyrics).

To confirm the value and eclecticism of the work are "All god's people" filled with gospel echoes and choirs and the heavier, unprecedented Iron Maiden-style "The hitman" with a nod to NWOBHM. The solos here are remarkable, serving as glue between the different parts of the song.

"Bijou" semi-instrumental is noteworthy, developed by May's riff and solo, setting the stage for an epic and glorious, but at the same time painful sunset of "The show must go on". It's the echoes of Freddie's voice gradually fading away that mark the end in every sense.

Among the lyrics, there is a curious homage to the then little cat of the frontman in "Delilah", and the ironic lyrics of a person who feels they have gone mad in "I'm going slightly mad".

The group here excels and gives great proof of its personality and above all demonstrates once again if needed the innate talent and the great expressiveness and interpretation of the artist Mercury, one of the most beautiful voices in rock of all time, capable of transitioning from opera-classical songs like "Barcelona" to countless musical genres. There is no need for many words to define this album as a must-have and a milestone of rock.