The four members of Queen—Freddie Mercury, Brian May, Roger Taylor, and John Deacon—all had “fingers” in the compositions of the dozens of songs that became huge hits. Yet Queen’s discography has less obvious songs that are amazing, and we want to reveal them in this article. We can call it an alternative Queen setlist with their 10 most underrated songs.
1. “Some Day One Day”
(Brian May, Queen II, 1974)
The first song, solely sung by Brian May, arrives on the second (and complex) album. There are electric and acoustic guitars and a final solo with three guitar solos, not in customary harmony but with each one playing different parts. Essentially, it is a beautiful, seemingly simple folk ballad. It is a timeless Brian May classic, blending melancholy and bittersweet with a hopeful and mesmerizing charm.
2. “Drowse”
(Roger Taylor, A Day at the Races, 1976)
In this hymn to the carefreeness of Sunday afternoons in times past, we find a typically relaxed Roger Taylor, far from the explosive rock sounds that popularized him. Brian May contributes with slide guitar. Outstanding!
3. “My Fairy Queen”
(Freddie Mercury, Queen, 1973)
In the band’s “mythological” phase, we are transported to Rhye, a fantasy world created by Freddie Mercury. This would later be referenced in the better-known “Seven Seas of Rhye.” Freddie Mercury is “born” here. Before writing “My Fairy Queen,” he was known by the nickname Bulsara. This “old Queen” is such a gem, with an incredible falsetto by Roger Taylor.
4. “Good Company”
(Brian May, A Night at the Opera, 1975)
Man of seven (or more) instruments, Brian May, created (and sang) here a little studio marvel, forging a “Dixieland” band solely with his “Red Special” guitar, a banjolele (a hybrid of banjo and ukulele), and multiple sound-processing effects. This is just brilliant guitar work, and Brian’s singing voice is perfect for this song.
5. “You and I”
(John Deacon, A Day at the Races, 1976)
Initially shy about offering his songs to the group, “You and I” is John Deacon’s only contribution to the album that made “Somebody to Love” shine. His acoustic guitar contrasts with Mercury’s piano, and the result is graceful. It was released as the B-side of the singles “Tie Your Mother Down” and “Long Away.”
6. “Sheer Heart Attack”
(Roger Taylor, News of the World, 1977)
Half-finished at the time of the album’s release with the same name, this dose of fast rock’n’roll, featured on the same album as “We Will Rock You” and “We Are the Champions,” winks at the new order: punk. Who would have thought? Roger Taylor provided lead vocals in the demo, but for the final version, the band decided that Freddie Mercury would take the lead, with Taylor handling the chorus.
7. “Sleeping on the Sidewalk”
(Brian May, News of the World, 1977)
Accustomed to studio acrobatics, Brian May returns to his roots with this blues-rock jam session, recorded in just one take without Freddie Mercury nearby. The song is a rock piece sung entirely by Brian, with a very Beatles-like style, as it strongly resembles the best songs of the 60s rock band. It is raw and direct.
8. “Rock It (Prime Jive)”
(Roger Taylor, The Game, 1980)
Suddenly fascinated by synthesizers (even to the point of obsession), Roger Taylor weaves a glamorous rock track with electronic details, furious vocals, and a Saturday night vibe. Released in November 1980 as the B-side of the single “Need Your Loving Tonight,” it’s a tribute to the primal power of rock’n’roll, still painted with the colors of adolescence.
9. “Man on the Prowl”
(Freddie Mercury, The Works, 1984)
Atypical of Queen’s production in the 80s, this song dives into a three-chord rockabilly style with Elvis Presley-inspired vocals. It leans toward “Crazy Little Thing Called Love” rather than “I Want to Break Free.” Mercury handles rhythm guitar, and May shines on the Telecaster. Promotional copies were pressed and distributed, but the band chose the Christmas single “Thank God It’s Christmas,” where the song features as the B-side.
10. “Misfire”
(John Deacon, Sheer Heart Attack, 1974)
“Misfire” It’s another amazingly criminally underrated track by Queen. Discreet but adventurous, the bassist dares to stray from the intrinsically Queen territory (guitars galore) on the third album, playing almost all the instruments and leaving the interpretation to Freddie Mercury. Deacon never sang.
