Rock historian Paul Fowles wrote that "Killer Queen", with its "sleazy Parisian imagery", allowed "free rein" to Mercury's "unique brand of rock theater". "Killer Queen" has been described by AllMusic as the true beginning of Queen's "radio sound" and "recalls the cabaret songs of yesteryear, but also shows how Queen was fast becoming a master of power pop". In 19, during The Works Tour, it was reintroduced in a medley following a truncated version of " Somebody to Love". In 1974–75, the song was played following " In the Lap of the Gods", and in 1975–76, the song followed " Bohemian Rhapsody". The song was regularly performed between 19 as part of a medley. I had strong feelings about one of the harmony bits in the chorus, so we had another go at that too. And when I came out again, we were able to finish off 'Killer Queen.' They left some space for me and I did the solo. So I remember just lying there, hearing Freddie play this really great song and feeling sad, because I thought, 'I can't even get out of bed to participate in this.' But then I got fixed up, thank God. After Queen's first American tour, I had hepatitis, and then I had very bad stomach problems and I had to be operated on. The first time I heard Freddie playing that song, I was lying in my room in Rockfield, feeling very sick. And of course, I like the solo, with that three-part section, where each part has its own voice.It's vintage Queen. There's always space for all the little ideas to come through. I still enjoy listening to it because there's a lot to listen to, but it never gets cluttered. The whole was made in a very craftsman-like manner. It was the song that best summed up our kind of music, and a big hit, and we desperately needed it as a mark of something successful happening for us. That's what the song is about, though I'd prefer people to put their interpretation upon it – to read into it what they like. I'm trying to say that classy people can be whores as well. It's one of those bowler hat, black suspender belt numbers – not that Coward would wear that. People are used to hard rock, energy music from Queen, yet with this single you almost expect Noël Coward to sing it. In 1986, "Killer Queen" featured as the B-side to " Who Wants to Live Forever". Several different versions of "Flick of the Wrist" were used on different releases. It was released as a double A-side in the UK, the US, and Canada (where it reached number 15 in the RPM 100 national singles chart), with the song " Flick of the Wrist". When released as a single, "Killer Queen" was Queen's breakthrough hit, reaching number two in the United Kingdom and number twelve in the United States. At one point there are two distinct bass guitar lines, one of which diverges into a descending run. The recording features elaborate four-part harmonies (particularly in the choruses, and also providing backing parts in the verses), and also a multitracked guitar solo by Brian May which makes use of the bell effect. Unlike the first two Queen albums, this song was partly recorded at Rockfield Studios in Wales. "Killer Queen" retained the essence of Queen's trademark sound, particularly in its meticulous vocal harmonies. The song's first verse quotes a phrase traditionally attributed to Marie Antoinette: "' Let them eat cake,' she says, Just like Marie Antoinette". He stated that the song was about a high-class call girl. Mercury commented he wrote the lyrics before the melody and music, whereas normally he would do the opposite. It is also recorded on the live albums Live Killers and Queen Rock Montreal. The song is included in Queen's 1981 Greatest Hits compilation. The song is about a high-class call girl and has been characterised as "Mercury's piano-led paean to a Moët-quaffing courtesan". It reached number two in the UK Singles Chart and became their first US hit, reaching number twelve on the Billboard Hot 100. It was written by lead singer Freddie Mercury and recorded for their third album Sheer Heart Attack in 1974. " Killer Queen" is a song by the British rock band Queen.
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