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These sound effects, together with Mercury's moans and groans, were expanded upon during live renditions of the song, presenting the band an opportunity to show off the full potential of their stage lights and effects.ДЄ more aggressive version of this song was covered by Trent Reznor's industrial rock project Nine Inch Nails as a B-side for the 1990 single, ' Sin'. The studio cut featured an Eventide Harmonizer. The distinctive 'psychedelic' sound effects heard in the song were not produced on a synthesiser, but on May's Red Special and an Electroharmonix Frequency Analyzer pedal, which he would often do live. Live, this song featured Taylor's use of Latin-influenced percussion with timbales on the News of the World Tour, and tightly tuned Remo Roto-Toms on the Jazz Tour, Crazy Tour, The Game and Hot Space tours. On the Hot Space tour, the song was reduced to the first verse/chorus only as a way to lead into May's guitar solo. The song was introduced into the band's live show immediately after its release, and remained a staple of their 'medley' until the end of the Hot Space Tour of 1982. 'Get Down, Make Love', written by Mercury, is among the most sexually oriented songs in the Queen catalogue. Guitarist Slash has cited the guitar riff to this song as one of his favourite riffs of all time. It is also one of the few songs in the band's discography recorded almost entirely by one member, another being Sheer Heart Attack. The track is built around a jangly guitar riff and is amongst the first in the Queen catalogue to focus predominantly on the drums and bass, as opposed to the lead guitars. In addition to the drums, he also plays rhythm and bass guitar, the latter borrowed from Deacon himself. 'Fight from the Inside' was written and sung by Taylor. It was the first Queen single without backing vocals. Also, Taylor can be seen singing in the video despite the fact that there are no backing vocals in the song. May is seen playing a copy of his Red Special due to the cold weather conditions. Mercury can be seen wearing star-shaped sunglasses in the video. The video was filmed at Taylor's house at that time in his backyard, when the weather was freezing, and the band were performing in the snow. The piano is played by Mercury, although Deacon mimes it in the music video. 'Spread Your Wings' was written by bassist John Deacon. On an episode of In the Studio with Redbeard, May confirmed rumours that the song is partially inspired by the passing of his boyhood pet cat. 'All Dead, All Dead' was written and sung by May, and features Mercury on piano and backing vocals.

Official YouTube videos: Video Competition winner, Live at The Bowl.

Of note is the lyric 'I feel so inarticulate', and the fact that Taylor stated in interviews that he thought many of the 1970s punk bands had very little talent. Дuring this time, the punk rock movement went into full effect, and this song was viewed as something of a jab at the musicians who felt bands like Queen were too self-indulgent. Rhythm guitar and bass were played by Taylor, apart from some guitar 'screams' by May during the instrumental section. Taylor sang lead on the demo but for the definitive version the band decided Mercury should sing lead vocals, with Taylor singing the chorus.

'Sheer Heart Attack' was half-finished at the time of the 1974 album of the same name. The group completed recording and production of the album two months later in September and released the album on 28 October 1977. News of the World shows Queen's songwriting less dominated by May and Freddie Mercury, with Roger Taylor and John Deacon composing two songs each.

However the staple of the Queen sound, multi-tracked harmonies and guitar orchestrations, still exist on this album, albeit a bit more subtly. They scaled down their complex arrangements and focused on a 'rootsier' sound (as Brian May put it). Having received some criticism that their first completely self-produced project, A Day at the Races, was a 'boring' album, Queen decided to shift their musical focus towards the mainstream but remain as the producers of the next album.ДЄfter completing the A Day at the Races tour, the quartet re-entered the studio to begin work on their sixth studio offering in July 1977, enlisting Mike Stone as assistant producer at the Basing Street and Wessex Studios in London.