Critic's Review
Steve Huey, All Music Guide
Jazz has been unfairly slagged in some quarters as an inconsistent and unfocused record; granted, there's a bit of filler cluttering the second half, but as for the latter criticism, it's not like A Night at the Opera wasn't all over the map. The fact that it didn't produce any huge hit singles in the U.S. probably hasn't helped its reputation, but given half a chance, Jazz emerges as one of Queen's most playful, maniacally entertaining records. There are a few Freddie Mercury piano ballads and unusually hopped-up metallic rockers, but about half of Jazz is given over to quirky lyrics and/or stylistic detours (which, oddly enough, don't include any jazz, unless you count the music hall swing of "Dreamers Ball"). Kicking off with the pseudo-Middle Eastern kitsch of "Mustapha," Jazz's first half is its strongest, highlighted by the double-A-sided single "Fat Bottomed Girls"/"Bicycle Race"; the former is a hilariously macho boogie that finds Mercury posing as Sir Mix-A-Lot's spiritual forebear, and the latter's childlike enthusiasm masks a subtle double entendre and an indirect reference to the all-female nude bicycle race the band staged as a promotional stunt (a poster of which was included). The second half climaxes with the, er, flamboyant U.K. Top Ten hit "Don't Stop Me Now," a Broadway showstopper at heart; it's preceded by the disco-rock of "Fun It" and the almost pastoral ballad "Leaving Home Ain't Easy," among others. It's difficult to discuss Jazz without referring to individual tracks one by one, since it can come off as a collection of moments, but its anything-goes diversity actually helps tie it together. Plus, there's a giddy sense of fun through most of the album, which helps make it Queen's strongest since A Night at the Opera.
