| As its title suggests, a companion-piece to A Night At The Opera in almost every sense: "Good Old-Fashioned Lover Boy" recalls the fey, music-hall spirit of the previous album's "Lazing on a Sunday Afternoon", just as "White Man" echoes "The Prophet's Song". "Somebody to Love", meanwhile, attempts to outdo even the grandiosity of "Bohemian Rhapsody"--this time substituting the influence of American gospel for Italian opera, and allowing Mercury's diva inclinations to run riot. Over-the-top, undoubtedly--but the band knew it. Even at their most wilfully indulgent, Queen were always redeemed by a knowing sense of irony. Unlike many of their peers, they not only recognised the inherent absurdity of stadium-rock, but actively embraced it: the larger-than-life posturing, the overblown emotions, the operatic need for catharsis--all were worked into their music, and exploited to the hilt. But ultimately, it was the songs that mattered most--and they were, with very few exceptions, superb. --Andrew McGuire |
|
