Freddie Mercury Albums (2)
What The Critics Say
With Barcelona, Queen singer Freddie Mercury realized his long-lived dream of performing with an opera singer; in this case, Montserrat Caballe. While it's certainly a treat for any fan of Mercury's to hear this album, it's a difficult record to recommend. Most fans of opera will probably find it far too simplistic and pop-based, while many rock fans are sure to find the record too classical. The first half of the album, however, is deserving of a spin for any open-minded listener. Consisting of semi-operatic melodies with grand production, songs like "Barcelona" and the Eastern-sounding "La Japonaise" are startling in their beauty; the two singers from opposite ends of the music spectrum working surprisingly well off each other. The most classically operatic pieces of the project, "Ensueno" and "The Fallen Priest," are alternately gorgeous and powerfully dramatic. Unfortunately, the second half of the album is less successful as it reverses the formula of the first half. While Mercury can do well in semi-operatic settings, Caballe sounds awkward on the more pop-oriented tracks "Guide Me Home" and "How Can I Go On." "The Golden Boy," largely a gospel track with a full choir, is well-written and performed by Mercury, but Caballe's voice is simply not suited for the genre and the operatic opening sounds jarring against the gospel midsection. Nonetheless, despite its weaknesses, the record contains some beautiful and passionate music that is unlike anything most fans of rock and pop are likely to have heard before. For that alone it should be commended. ~ Geoff Orens, All Music Guide
What The Critics Say
After 15 years at the helm of British rock legends Queen, singer Freddie Mercury finally released his first solo album, Mr. Bad Guy, while the band was on hiatus in 1985. As Queen's vocal signature and creative leader, it was only natural that many aspects of the group's sound would carry over into Mercury's solo work; however, the frontman still does a commendable job of stretching into uncharted territory. The synthesizers of "Let's Turn It On" announce that Queen's typical guitar heaviness will be conspicuously absent throughout the album, while extravagance will be at an all-time high. "I Was Born to Love You," the album's leadoff single, elevates '70s disco and '80s dance influences to a level of blatant pop silliness that Queen would never dare approach. Mercury also combines his acoustic piano playing with synthesizer-driven backing tracks for the beautifully dramatic "Made in Heaven" and "Your Kind of Lover," which transforms from a simple lounge number (piano and singer) into a Latin-flavored pop workout. The singer's talent for complex and original arrangements also yields multifaceted pieces like "Man Made Paradise," with its Queen-like chorused opera vocals and Brian May-esque guitar soloing, and the daring, self-mocking title track, which combines a sinister bass motif, playful piano tinkling, and even big-band horn arrangements. Other winners such as "There Must Be More to Life Than This," "Living on My Own," and "Love Me Like There's No Tomorrow" help make this an outstanding record from start to finish. [The Hollywood Records reissue (under the title The Great Pretender) omits some tracks and tampers with the overall original mix.] ~ Eduardo Rivadavia, All Music Guide
