Innuendo was gradually evolved by the four of us, but not every track was done like that… Then there's a track like Hitman, which again was a very mixed approach.
Hitman's finished version had very little to do with the original idea. Most of the riff came from Freddie. I wasn't even in the room when they wrote it. I changed the key and some of the notes to make it playable on the guitar. We finished the backing track, but it seemed to ramble. John sat down and decided to reconstruct the track. He changed the order. He changed everything. I went back and played on that. Then we filled in the gaps on the lyrics, did the harmonies and generally tidied up.
[Joint songwriting credits] worked very well for the band, although you can pretty much work out who is responsible for what. There are things on Innuendo, for example, which are obviously me, but by talking about it you obviously destroy what we were trying to achieve… I was obviously involved heavily in Headlong, I Can't Live with You and Hitman, while All God's People came from Freddie at the same time as the Barcelona project. The Show Must Go On came from Roger and John playing the sequence and I started to put things down.