"Captain Cook and Cain and Able, Jimi Hendrix to the Tower of Babel"
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The Miracle |
The MiracleReleased: May 1989 (UK). Highest UK chart position: Number 1.
All tracks performed exclusively by Queen. All songs written by: Freddie Mercury - Brian May - John Deacon - Roger Taylor. Produced by Queen and David Richards. Album engineered by David Richards. Assistant engineers: Andrew Bradfield, John Brough, Angelique Cooper, Claude Frider, Andy Mason, Justin Shirley-Smith. Mastered by: Kevin Metcalf and Gordon Vickary. Party {Queen} There’s nothing subtle about this intro as Roger’s thunderous drumming heralds the album with a dramatic off the Richter scale barrage. The vocal arrangement is a wonderful harmony affair, harking back to Queen’s heyday. Initially the harmony is only Freddie, but Brian eventually joins him, their individual vocal characteristics exquisitely counter pointing each other; increasing the song’s inherent playful ambience. Freddie seems in a particularly mischievous mood, and his delivery is suitably luxuriant and flamboyant. So far this is just drums and vocals, the two combining to create an indomitable surge of energy as the composition subtly evolves. John kicks in with one of his now characteristic bounding bass lines, supplying a ferocious bottom and wonderfully elevating the song. When Brian’s fizzy but punchy guitar joins the fray, the potent combination is finally complete. His droll question and answer solo accentuates the song’s inherent playfulness, and is delivered with a consummate passion. This song is a thoroughly enjoyable light-hearted romp, established around a relatively basic arrangement optimised to maximum effect. ‘Party’ is a fantastic start to the album, and segues seamlessly into the next song, and the two could be considered a single arrangement. Khashoggi's Ship {Queen} The insistent tempo drops to a more sultry strut, with Roger’s resilient drumming once more leading the assault. Freddie belts out the lyrics with an almost antagonistic enthusiasm, swaggering and preening in his own inimitable manner. John’s obdurate bass line gels the song together wonderfully with its unyielding boom, and Brian augments the tune superbly with an exquisite concoction of drawling chordal work, interspersed with some fluid, twisting melodies. His exclusive tone retains all its old richness and punch, but has acquired an enticing warm purr, which increases the more evocative nature of this arrangement. The song could be criticized as being a touch ploddy, but there are some wonderful interludes where the guitar, bass and drums decisively lock together to execute a delirious serpentine melody, giving the song a distinctive regal flavour. There is also a significant lack of overdubs and studio trickery utilised, lending the composition a satisfying live freshness. The closing instrumental is a merciless barrage of sonic intensity, with Roger’s resilient drumming stepping up a gear and supplying the rhythmic foundation for John and Brian’s crushing harmonic battering, concluding the composition with a belligerent passion. ‘Khashoggi's Ship’ is another forceful and rousing composition, generously infused with an altruistic self-mockery, and is an apt conclusion to the opening track. The Miracle {Queen} A refined, pizzicato string arrangement heralds the title track, and serves as a soothing contrast to the insistent rock posturing of the previous two arrangements. Freddie’s luxurious vocal delivery portrays the sentimental lyrics with the requisite earnestness, without slipping into maudlin over sentimentality. The understated, lavish vocal harmonies during the chorus, further instil this cordial ambience. John’s bounding low-end melodies perfectly complements Roger’s sincere but straightforward drumming, adding dramatic overtones. The stabbing piano that resides low in the mix instils the composition with an almost cynical timbre, providing an ironic counterpoint for the more shimmering, angelic synth lines and the benevolent nature of the lyrics. Brian remains on the side lines until after the first chorus, when he steps forward to deliver some melodious fills, his characteristic regal tone adding further sincere warmth to this earnest arrangement. His solo towards the song’s conclusion is a slippery showcase of Brian’s guitar gymnastics, similar to his solo on ‘It’s Late’, but is executed with a humorous pathos; delightfully utilising his rubbery, biting tone. The song fades out with a repeated heartfelt message that sums up the nature of the song in a succinct sound bite. To me, ‘The Miracle’ sounds like an amalgamation of the band’s earlier track ‘It’s A Hard Life’ and ‘John Lennon’s’ masterpiece ‘Imagine’. A pleasingly rewarding tune; probably remembered as much for the accompanying video as the song itself.
I Want It All {Queen} This is what Queen’s music is all about! The deafening combination of Brian’s full on rock guitar, elegantly juxtaposed by his bright acoustic guitar, instigates the song with a genuine rock ‘n’ roll authority, particularly when his fiddly solo kicks in. Roger’s ballistic drumming increases this forceful delivery, stridently supported by John’s vociferous, melodic bass line, this formidable rhythmic barrage propelling the composition. Freddie is really in his element, punching out the lyrics with a roguish swagger, his resourceful voice a textbook example of rock potency. The song is sleekly structured, with the acoustic guitar initially supplying the majority of the backing, with Brian’s brutish electric stepping forward to deliver some fearsome fills and chordal stabs, before eventually taking over from the acoustic entirely. This subtle use of dynamics successfully infuses this storming rock opus with a belligerent spirit. The middle eight is a magical moment with Freddie and Brian trading lines over a shimmering synth melody before Brian unleashes an awesome sonic battering. The album version contains two solos, the first an emotional, wailing frenzy (omitted from the single version), his tone thick and biting, which acts as a formidable hors d’oeuvre for the astonishing, belligerent flailing of the second solo, an intense sonic workout given extra power as the song goes into double time. As the arrangement concludes, the band drop out leaving only Roger’s rallying drums and a chant of the chorus resulting in a dramatic anthem like feel before the band kick in again and Brian delivers another brief but blistering solo. ‘I Want It All’ is a gargantuan rock tour de force, and it is such a shame the band never got to perform it live.
The Invisible Man {Queen} This more whimsical, funk flavoured composition provides a striking contrast to the previous metal frenzy. Whispered vocals and delicate synth stabs instigate proceedings, before one of John’s fattest ever bass lines erupts through the speakers, totally dominating the arrangement and is the tune’s principle driving force, vigorously bolstered by Roger’s solid but understated drumming. Freddie supplies the vocals with the requisite sultry qualities, and brings an alluring coquettishness to the song. Brian remains in the wings until the second verse when he provides some slashing chordal thrusts, his tone brittle but piercing. The guitar is not missed, as John’s remarkable bass line fuels the song sufficiently, and too much guitar could have choked the arrangement. During the middle eight, the song leaps up a gear taking on a more imposing rock edge, and Freddie fuels the vocals with a more throat stripping, preening rock insistency. Brian’s solo is a mesmerising spectacle, starting off with a beefed up version of his earlier chord work before unleashing a breathtaking flurry of notes with a vibrant, clucking intensity; increasing the songs atypical nature. Certainly one of the band’s more unusual compositions, executed with a self-mocking, mischievous glee, and concludes side one on an ecstatic high, and is one of the more enjoyable moments on the album. And each band member gets a name check too!
Breakthru {Queen} Hang on, have I put ‘A Day At The Races’ on by mistake? I’m sure this is ‘You Take My Breath Away’! The luxuriant vocal harmonies backed by a soothing piano arrangement is instigated in such an old Queen style that it sends shivers of nostalgic bliss down my spine. This glorious revisit to earlier times is soon swept away as the song erupts into its full splendour, once more driven along by John’s resilient, bouncing bass line. Roger’s bounding drumming maintains this driving urgency, and this formidable rhythmic combination establishes a restless vibe, you can understand why they used a train in the video! Freddie’s unique voice wonderfully straddles the line between sultry breathlessness and full on rock ‘n’ roll snarl, and is able to effortlessly switch from one to the other as the arrangement builds and swells. Brian once more hides in the shadows until the first chorus where he delivers some shimmering, metallic chords, augmenting the restless nature of the tune, and his understated backing from the second verse onwards intensifies this edginess further. His guitar solo (heralded by a brief bass solo from John), is another moment of genius, and is one of the best solos on the album, and one of the most significant in Brian’s already impressive repertoire. ‘Breakthru’ is a cunning amalgamation of the bouncing, ebullience of ‘The Invisible Man’ and ‘Keep Passing The Open Windows’, combined with the intense rock vibe of ‘I Want It All’, the styles blending to form this sublime union. Without doubt, the best song on the album, and instigates side two in a magnificent manner.
Rain Must Fall {Queen} A playful, Latin style drumbeat and a sublime synthesiser backing, immediately instigates this lightweight offering with a vibrant and mischievous tone. To me, this song sounds similar to ‘Who Needs You’ from the ‘News Of The World’ album, but with more frivolous overtones. John pulls out another stunning bass line, which provides the song with a phenomenal bottom end, and really motivates this captivating tune with its inspirational infusion of melody and rhythm. Freddie is in a suitably coquettish frame off mind, delivering the lyrics with a wonderful sultry charisma, giving the song a distinctive, evocative edge. Brian remains incognito until the middle eight, where he delivers his cheekiest solo for an age, full of delightful phrasing and melodies, his tone sumptuous and rubbery, and it makes me smile every time I hear it. He repeats this cheery instrumental towards the song’s conclusion with an added jovial melody line, successfully increasing the light-hearted ambience. This is a genuine feel good song, and you can’t help but get swept along on its inherent sense of fun. Again, another atypical song for Queen, but delivered with such a tongue in cheek sincerity that it works superbly, and is a heart warming moment; providing a welcome breather on this predominately rock based album. Scandal {Queen} This derisive, spiteful composition acts as a sobering contrast to the jocular nature of the previous song. A solid groove is immediately established as John’s simple, punchy bass and Roger’s modest but forceful drumming lock together, producing an unyielding rhythm, which unfortunately devolves into an unrewarding ploddy vibe. Brian’s ingenious harmony guitar lines take on the characteristics of an orchestral string section; injecting venomous malice into the arrangement before resorting to threatening chordal chugs, deftly uniting with Roger and John’s rhythm work. Freddie’s voice possesses a suitably anguished, pleading quality, which successfully infuses the composition with a tormented poignancy. Brian produces a surprisingly melodious solo, which seems at odds with the anger inherent within the composition, and his glorious, lush tone lacks the gritty bite to really accentuate the malice and resentment inherent in the arrangement. ‘Scandal’ is obviously written with a tangible sense of contempt and is executed with a vengeful passion, similar in style to ‘Death On Two Legs (Dedicated to…..)’, but lacks the sheer unadulterated wrath that makes the earlier track so successful. Mildly enjoyable, defiantly disconcerting, but doesn’t really contain sufficient dynamics to standout on this otherwise exceptional album, and for me is the weakest track.
My Baby Does Me {Queen} Initially sounding very similar to the earlier track ‘Rain Must Fall’, but the Latin overtones have been replaced with a smoother, more soulful feel. It is the vibrant interplay between Roger’s relaxed drumming and John’s resilient bass melody that establishes the song’s character. Brian’s delightfully seductive guitar lines are a wonderful luxuriant addition, weaving and resonating in a way Santana could only dream of. Brian’s tone takes on a more staccato, wooden quality to accompany Freddie during the verses and creates an evocative, humid atmosphere. Freddie’s vocal delivery instils the lyrics with a sultry poise, his silky voice magnificently exploiting the composition’s soulful vibe. The arrangement isn’t too adventurous by Queen standards, but this doesn’t seem to matter as the band gel together phenomenally, and the sparse arrangement belies the strength that it exudes. This is the type of arrangement that would have been a standout track on the ‘Hot Space’ album, and the band have really developed their own unique style with these soul influenced compositions, and execute them with a dignified confidence. ‘My Baby Does Me’ is yet another atypical composition for the band, but remains hugely enjoyable, and is a resounding success and a high spot on the album. Was It All Worth It {Queen} A sort of preliminary sketch for ‘The Show Must Go On’ and shares its eerily prophetic nature. The haunting synthesiser buzz and Freddie’s Robert Plant inspired vocal mews, initiate the composition with a definite ‘Led Zepplin’ vibe, which is, accentuated further when the crushing guitar riff kicks in. Brian’s bludgeoning Jimmy Page influenced melody dogmatically dominates proceedings, and is wonderfully backed by John’s sledgehammer bass and Roger’s gargantuan drumming, magnificently juxtaposing a beautiful tinkling keyboard melody. Freddie’s regal, sincere vocal delivery contains a yearning poignancy, as he attempts to justify the band’s existence. Brian dives in and out of the arrangement with an awe-inspiring array of sonic thrusts, implementing a dramatic range of tones. His solo is a superb angst ridden affair, full of fire and passion and is how the solo on ‘Scandal’ should have sounded. The dramatic orchestral stabs, Eastern melodies and delirious backing harmony vocals generate an omnipotent atmosphere, emphasising the earnest passion inherent in the arrangement. Unfortunately, it contains the band’s most cringe inducing lyric: “Yes we were vicious, Yes we could kill, Yes we were hungry, Yes we were brill”. This was the first time I started to get warning signs that all was not well in the Queen camp, and it seemed to me that this song was to serve as a coda to their career if they couldn’t make another album. ‘Was It All Worth It’ concludes the vinyl release of the band’s final studio album of the eighties on a phenomenal plateau, and in answer to their question: was it all worth it?…yes it most definitely was! Hang On In There {Queen} Extra track on CD. This is a fantastic song, and one of the band’s finest moments. A shimmering, eighties synthesiser pop vibe is instantly established and is wonderfully bolstered by Roger’s driving drumming and John’s pumping bass line; supplying the song with an infectious energy. Freddie is in full swagger mode, projecting the lyrics with a flamboyant passion, and infusing the composition with a dignified charisma. Brian’s remarkable guitar work is the arrangements stand out feature, keeping a low profile during the verse sections, but his impossibly thick tone clunks and revs during the breathtaking choruses, as he and John double a restless, serpentine riff, giving the composition an unexpected jazz/fusion feel. The middle eight is a thrilling arrangement, as Brian duels with a devilish piano melody, weaving his way into the solo, matched beat for beat by Roger’s machine gun snare. The solo has a glorious improvised feel, as Brian deftly alternates between rhythm and lead work, before twisting out of the solo and into the composition’s closing refrains. There are minimal overdubs, which gives the tune a refreshing jammed quality. The tune’s only failing is that it doesn’t seem to know how to end, and merely fades out in a ploddy, improvised manner. I can see why it didn’t make the album proper and was reserved for a B-side, but despite its shortcomings, ‘Hang On In There’ remains one of my favourite Queen compositions, a positive sentiment delivered with an energetic charm. Chinese Torture {Queen} Extra track on CD. This brief instrumental could have been titled: ‘Brian’s gotta’ a new effects box and he’s gonna’ use it!’ The composition starts very promising with a menacing orchestral synthesiser arrangement and Roger’s dramatic drum fills generating a sinister ambience, but these soon drop out, making way for Brian to take command with some meandering, oriental inspired melodies. Unfortunately, the end result is disappointing, and the composition falls flat, and ultimately sounds like somebody left the tape machine running while Brian was practicing with his new toy, and then contrived an arrangement behind it. The riffs and ideas Brian explores here would be better realised on the song ‘China Belle’ from his solo album ‘Another World’. ‘Chinese Torture’ isn’t really a legitimate song as such, and comes across as if the band were prepared to stick anything onto the CD release as a cynical marketing ploy. The Invisible Man (12" Version) {Queen} Extra track on CD. Another awful remix, and it goes without saying that the original is far superior! Just a rearranged version of the original put through as many studio effects as possible, and totally sapping any essence and character out of the composition in the process. Not a song worthy of inclusion in the formidable Queen canon, and the eighties had a lot to answer for with this vogue for remixing tracks. Saying that, it does start off fairly promising when it seems like the vocals are going to be handled by 70’s children’s favourites ‘The Clangers’…shame it wasn’t, now that would have been worth hearing! Overview ‘The Miracle’ is a definite return to form, and the band’s most significant album since ‘The Game’ in 1980! An eclectic mixture of majestic compositions, furnished with some of Queen’s classic seventies harmonic trademarks, such as luxuriant vocal harmonies, domineering guitar arrangements and a dignified self-mocking humour. The band has adopted a more basic approach, with minimal overdubs, but retaining their unique blend of melody and power. It is a relief to hear the synthesisers, which have been far to prevalent on many of Queen’s recordings during the eighties, taking more of a backseat, complementing the arrangements but not dominating. Another reason for this refreshed sound could be that the band are now writing as a single unit, and this uniformity is also signalled on the distinctive cover as their four faces blend together. It’s good to see Brian maintaining and refining his more central role, an ascension that was instigated on the previous album. His playing is inspirational and majestic throughout, and his customary regal tone has adopted a lavish, clunky warmth, adding a satisfying dogmatic bite to his playing. Roger’s drumming is a pile-driving cacophony, and once more contains a natural organic resonance. Freddie preens and struts throughout, his magnificent, versatile voice effortlessly switches from throat searing rock belligerence to more angelic, breathless falsettos. It’s good to hear his resplendent voice utilised a’la ‘You Take My Breath Away’ on the track ‘Breakthru’. For me, the most momentous input is from John. His resounding bass lines retain their characteristic melodious qualities, but here they have taken on a merciless tribal punch, threatening to blow out the bass bins on your speakers, and are the driving force behind many of the compositions. With the exception of ‘Hang On In There’, the bonus tracks on the CD version are of little significance, and two appear as B-sides anyway. The only downside to this album is that it was never toured, and ironically most of the songs here lend themselves to live performances and would have come over exceptionally well. As the decade draws to a close, Queen reward us with an Olympian album, reminding everyone why they remain such a potent musical force, and their omnipotence should neither be ignored or taken for granted. ‘The Miracle’ is an essential purchase. Queen Song-By-Song Rating: 9/10 Home | 1980's | The Game | Flash Gordon | Greatest Hits | Hot Space | The Works A Kind Of Magic | Live Magic | The Miracle | Queen At The Beeb |
