Top 10 queen (mostly) hidden yet nonetheless regal gems gas knife

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With the Freddie Mercury/ Queen biopic Bohemian Rhaposdy having just made its big public announcement of its pending arrival to movie theaters everywhere Nov 2 and putting out its first trailer earlier this week, now is as good a time as any to start delving a bit deeper into the band’s rich musical catalog.

There are some absolute gems on some of these albums that because they were not big radio hits that got a ridiculous amount of airplay or multiple mainstream pop cultural nods they unfortunately slipped through the cracks to be forgotten by most.

The song has that colorful Queen vibe to it, but turns it in a dark direction. Brian May absolutely tears it up in the guitar sections. The anger is absolutely palpable and the delivery of the lyrics is fierce, yet articulate. There are no holds barred here.

This is one of Queen’s most driving and self-affirming anthems of all time. It really is quite a shock that this never got more attention. That piano riff epic and builds anticipation, the guitar just hammers away, and Mercury flaunts his confidence in its full glory in his vocal delivery.

To lighten the mood up a bit though, this song will absolutely hit the spot. It is one of those fun little jaunts that feels like a ragtime band. There is a great deal of jangle piano, upright bass, ukelele-banjo, and some trickily timed and executed double bass on the drums played by master percussionist Roger Taylor.

It is an upbeat tune that shows off Queen’s more quirky, fun, and not taking themselves too serious side. Though it isn’t a string snapping, head splitting rock n’ roll anthem it still shows a great deal of musical talent and versatility that the band as a unit possessed at the time.

It has some well executed noodly yet somehow precise, layered, and triple harmonized guitar work already with that iconic unique signature Brian May sound with some very youthful fresh faced performances from the rest of the band as well. It has a steady slightly faster than walking tempo that adjusts a bit here and there.

This has to be one of the single most beautiful songs Queen ever wrote and recorded. It does not feature any guitar at all, but rather Mercury at the piano singing, Taylor adding some light drums, and bassist John Deacon adding some girth on bass performing a jazzy smokers lounge lovelorn song of losing love and drinking to forget about it.

It is a slow, easy paced tune. So relaxing, yet at the same time it evokes an uncountable amount of emotions depending on what anyone’s state of mind might be at a given moment. Regardless, for a band that is known for doing things that are off the wall, this is still something completely unprecedented from Queen.

May goes absolutely ham on this tune guitar-wise. It almost sounds as though for the longest time he had been just itching to stretch his fingers and make some real fireworks on the fret board. Considering the more pop oriented direction the band was taking, this does not seem like too much of a stretch.

There is a very well mixed blend of electric guitar, acoustic guitar, and piano in this one. They don’t overpower one another and each stands out where it needs to. There is no operatic vocals, but given the nature of the song it makes sense.

There are certain sections that seem a bit Led Zeppelin influenced sections, but they are brief and not so present that they could be consider a ripoff. Regardless, it is easy to hear just how much May had continued to improve at his craft over the years.