In mid-1979 he’d eaten lunch with Giorgio Moroder who told him, “I hear you are working with Freddie Mercury.” This was news to Mack, who was finishing off a Gary Moore album in Los Angeles. Co-producer Mack recalls his involvement with Queen was something of a fluke. With Christmas over, the band were immersed in pre-production and more serious business at Musicland. Having completed the British leg of this mammoth undertaking with a winter stint they called the Crazy tour – 20 shows in the UK and Ireland that culminated in a Boxing Day special at London’s Hammersmith Odeon, which was a part of the “Concerts for the People of Kampuchea,” organized by Paul McCartney and UN Secretary-General Kurt Waldheim. Thereafter some writing and recording was done in Munich, holidays were taken, and then all back to Germany for an August date at Ludwigsparkstadion, Saarbrücken, their biggest Euro gig, to that point, aside from the 1976 London Hyde Park extravaganza. The Europe leg of the Jazz tour (aka Live Killers) saw the band sweep through Northern Europe, with the emphasis on their increasingly rabid German fan base, while the World or Asian leg took them to Japan. Yet before these decisions could be made there was the business, as usual, of life on the road. Meanwhile, the Techno, before it was called Techno, methods that Mack brought to recording also necessitated that Queen finally relent and use synthesizers, an instrument they’d hitherto been proud to avoid unless one counts the Syndrum Roger Taylor tried out on “Fun It.” All this led to something of a new “sound,” one that had been hinted at on Roger Taylor’s Jazz piece, “Fun It,” but would now find a more prominent place on the new album. “Crazy Little Thing Called Love” is on the Queen album The Game, which can be bought here.There was a new place to record, Munich’s Musicland Studios, and a new co-producer in Reinhold Mack who had encouraged British acts to enjoy Giorgio Moroder’s state-of-the-art facility. Fred had this knack of knowing a great pop song.” “He emerged, wrapped in a towel, I handed him the guitar and he worked out the chords there and then. “The idea for the song came to him while he was in the bath,” he said. Peter Hince, head of Queen’s road crew, confirmed the song’s origins in a 2009 interview with Mojo. It’s not typical of my work, but that’s because nothing is typical of my work.” “The finished version sounded like the bathroom version. “Everyone loved it, so we recorded it,” Mercury went on. “We arranged at band rehearsals the following day with me trying to play rhythm guitar. The band’s frontman reportedly got out of the tub to go to his guitar and piano to lay down the melody. “I wrote the song languishing in my bath at the Munich Hilton,” Mercury said in The Billboard Book of Number One Hits, by Fred Bronson. It was a new triumph for Queen, whose previous best US showing had been the No.4 peak of the double-sided “We Will Rock You” and “We Are The Champions.” The new single went on to be certified gold in both the US and UK, as well as in Holland. It stayed there four weeks, before being succeeded by another British rock classic, Pink Floyd’s “Another Brick In The Wall.” In the States, “Crazy Little Thing” removed the Captain & Tennille’s “Do That To Me One More Time” from the No.1 spot.
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