The track Breakthru sort of stemmed from Roger, really, it's basically his track, but the sort a-cappella vocal bit in front was from somewhere else. That was a little piece that I thought was quite good and I didn't want it to go amiss, so I just said, well let's just put in front of that one, put it in front of Breakthru, so it's basically another song, but it seemed to sort of segue quite nicely, so it's just a snippet of something else.
Breakthru has a synth bass line - it just didn't seem to work with a live bass guitar, and the guys aren't too purists to leave it as it is.
I very much like this track. It's a Roger track, full of energy. Of course the track is speaking, lyrically, about breaking through to the next part of your life. And, on another level, it's just a nice bit of fun.
The song actually ended up being more complicated than I wanted it. I think the others wanted to put a key change in. I hate key changes usually, and that's not one of my favourite key changes, but I think this song should've been kept simpler and it was just slightly over-arranged in the end, but it kept everyone else happy.
If I'm honest, I have mixed feelings about splitting the songwriting credits on those later records. I wrote The Invisible Man and Breakthru very deliberately to be hits. We wanted to have hits because we wanted to stay relevant in the ‘90s. Parts of Innuendo were much heavier, but it's impossible to say where we'd have gone next if Freddie had lived.