The number “Killer Queen” was a somewhat unusual offering from the band Queen when the song first came out in 1974. It’s catchy and has a musical theater rather than hard-rock vibe:
Freddie Mercury [said]:
“People are used to hard rock, energy music from Queen, yet with this single you almost expect Noel Coward to sing it. It’s one of those bowler hat, black suspender belt numbers – not that Coward would wear that. (…) It’s about a high class call girl. I’m trying to say that classy people can be whores as well. 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.”
Brian May [said]:
“‘Killer Queen’ was the turning point. 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.”
Watiching Mercury perform the number in this 1974 video, one word that came to my mind was “camp.” Remember camp? Sort of gayish, tongue-in-cheekish, over-the-top? Mercury was in fact bisexual and then exlusively gay, but at the time this was made he wasn’t “out” and I think this was considered play-acting rather than a statement of his sexual preferences. At any rate, it’s a lot of fun, and one of the things I like about the song is the quirky rhythm and the fabulous high harmonies for which the group is known:
Notice that the above YouTube video so far has over 127 million views; not too shabby for an old group.
Now, with the Queen revival, we have another interesting YouTube phenom, that of Marc Martel, who did some of the singing in the “Bohemian Rhapsody” movie. Martel fascinates me. He actually looks like Mercury in the facial sense, but is nothing like him in personality and performing style. He’s not really a showman and doesn’t have much star quality. Far more laid back than Mercury, and not at all camp, he possesses a voice that is indeed uncannily like Mercury’s (quite a feat) but with a slightly lighter smoother tone. His musicality is astounding, though, and (also like Mercury) he plays a mean piano. He may be even better than Mercury at the piano, and Mercury was quite good.
One of the most interesting things about Martel, in my opinion, is the fact that his voice doesn’t just conjure up something of Mercury’s tones, but he manages at times to imitate—all by himself—the entire group and some of its other stellar vocalists such as drummer Roger Taylor, who had an uncannily high clear almost-metallic falsetto (you can hear this particularly on the little recurring slide on the word “queen” in the phrase “she’s a killer queeeen”). Martel also uses not just his piano, but his voice—and a stellar whistle; please pay attention to the whistle!—to recreate something of the multi-instrument arrangement of the piece:
Here’s a mashup of the Queen rendition (minus Mercury’s voice, if I’m hearing it right) and Martel’s . Somehow it’s less good than either of the other videos, I think. But it’s interesting:

