Exploring Queen’s extensive discography uncovers a wealth of well-received hits that have endured over time. Even the brightest stars, though, can contain patches of uneven brightness. This article explores those rare occasions when Queen’s songs fell short of expectations, concentrating on official studio album tracks that were poorly received by both critics and fans.
My Baby Does Me – The Miracle, 1989
“My Baby Does Me” emerged as an attempt to capture a laid-back vibe but stumbled with its awkward lyrics. The collaboration between Freddie Mercury and John Deacon typically showcased a funkier, lighter side of Queen’s repertoire; but this track fell short of the mark. With programmed drums replacing Roger Taylor’s live beats, the song lacked the organic punch that fans adored.
Delilah – Innuendo, 1991
“Delilah” stands as a peculiar tribute to Freddie’s beloved cat, teetering on the line between endearingly sweet and peculiarly simplistic. While the song’s intent is heartwarming, the melody’s resemblance to a basic electronic demo diminishes its potential impact. For most, the track is more notable for its novelty than its musical merits.
Don’t Try Suicide – The Game, 1980
A flip to the B-side of the smash hit “Another One Bites The Dust” would reveal “Don’t Try Suicide,” a mix of doo-wop and tongue-in-cheek presentation that can startle an unwary listener. The song’s cheerful façade juxtaposes oddly with the seriousness of its message, leaving it as a polarizing piece in Queen’s catalog.
Machines (Back to Humans) – The Works, 1984
Attempting to blend themes of technology against human emotion, “Machines” unfortunately doesn’t quite spark to life. Intended to parody—or perhaps critically examine—the influx of electronic music, this track by Brian May and Roger Taylor ended up being overshadowed by its more impactful album-mates, lacking the substance that Queen typically delivered.
Pain Is So Close to Pleasure – A Kind of Magic, 1986
Mired in a sea of 80s electronic sound, “Pain Is So Close to Pleasure” finds itself awash in a style that pales to Queen’s usual flamboyant anthems. Though Mercury and Deacon manage to infuse a catchy melody, it leans too close to irritation rather than the pleasure found in Queen’s more dynamic hits.
Body Language – Hot Space, 1982
The immense success of “Another One Bites The Dust” saw Queen exploring new musical territories. “Body Language” was the culmination of this exploration, marked by its stark simplicity and a striking absence of the guitar prowess that fans implicitly expected in a Queen track. The song remains a point of contention among those who appreciated the band’s heavier rocking sound.
All God’s People – Innuendo, 1991
“All God’s People” brought forward a blend of optimism and spirituality, perhaps too presumptive for some. Initially penned for Mercury’s operatic venture with Monserrat Caballé, the tune’s transition onto a Queen album was not seamless. Despite its moments of bluesy charm, the song feels somewhat misplaced in Queen’s rock-oriented oeuvre.
My Life Has Been Saved – Made in Heaven, 1995
Revisiting material from the past, Queen reworked the B-side “My Life Has Been Saved” for their posthumous album after Mercury’s passing. This reinterpretation opts for a more synth-focused sound, diverting from the guitar-driven dynamic usually present. The revision brings about mixed feelings, as it serves as a gentle reminder of what once was rather than a standout addition to their discography.
Rain Must Fall – The Miracle, 1989
The light-hearted approach of “Rain Must Fall” results in a breezy listen—perhaps too casual for Queen’s dramatic standards. Tucked within the layers of the song lies a Brian May solo that can’t quite overcome the track’s overall approach, drifting into a space less celebrated in Queen’s diverse musical landscape.
Cool Cat – Hot Space, 1982
Closing out the list, “Cool Cat,” co-written by Mercury and Deacon, revels in its funk-infused pop sound. However, the absence of May’s guitar and Taylor’s drums creates an unusual sonic space for Queen. The song skirts the edge of being too niche, and with the removal of a cameo by David Bowie, it slides into a niche all too snug for the broader Queen fan base.