Elton John-esque piano parts, and continues Deacon’s growing
skills in the songwriting department. ‘You know I never could
foresee the future years, You know I never could see, Where life
was leading me, But will we be together forever?’
Somebody to Love ����
Mercury, Taylor and May multi-track their voices here to emulate
the sound of that of a 100-voice gospel choir. Staying true to
Queen’s musical stylings, it is also replete with a Brian May solo,
and thundering drums to create a thrilling sound.
White Man ��
‘I’m a simple man with a simple name, From this soil my people
came, In this soil remain, oh yeah, oh yeah.’ With lyrics eluding
to the suffering of the Native Americans at the hands of European
immigrants, ‘White Man’ is musically similar to ‘The Prophet’s
Song’, but fails to stand up as strongly as the original.
Good Old-Fashioned Lover Boy ����
Featuring co-producer Mike Stone singing lead vocals on one line
- ‘Hey, boy, where’d you get it from? Hey, boy, where did you go?’
- ‘Good Old-Fashioned Lover Boy’’s multi-track vocals enhance
the song, which continues in Freddie’s obsession with vaudeville
mock-musical hall music. Good stuff.
Drowse ��
‘It’s the fantastic drowse, Of the afternoon Sundays, That bored
you to rages of tears.’ Nothing special here, in this Roger Taylor
penned number. ‘Drowse’ has some nice guitar work, but it is
mostly forgettable.
Teo Torriate (Let Us Cling Together) ��
May’s tribute to Queen’s Japanese fans, ‘Teo Torriate’ is a balladic