A Night At The Opera -

Death On Two Legs

A night at the opera

A blistering anthem of betrayal, *Death on Two Legs* is Freddie Mercury’s venomous takedown of a former manager, widely believed to be Norman Sheffield, whose exploitative practices left Queen financially and emotionally drained. Released on *A Night at the Opera* (1975), the song’s baroque piano flourishes and searing guitar riffs frame Mercury’s lyrical assault, transforming personal grievance into a theatrical masterpiece of rage and catharsis. Each line drips with contempt, blending vivid imagery, sarcasm, and raw defiance to expose the target’s greed and moral bankruptcy.
# Lyric line Interpretation & Notes
Verse 1 — Accusations of exploitation 0:00–0:30
1 You suck my blood like a leech Compares the target to a parasitic leech, draining resources ruthlessly.
2 You break the law and you breach Accuses of illegal and unethical violations, building a case of betrayal.
3 Screw my brain till it hurts Describes mental torment and manipulation causing emotional pain.
4 You've taken all my money - you still want more Highlights financial exploitation, with greed demanding endless tribute.
Verse 2 — Critique of stubbornness 0:30–0:50
5 Misguided old mule Derides as foolish and obstinate, like a stubborn animal.
6 With your pigheaded rules Mocks rigid, unreasonable policies driven by arrogance.
7 With your narrow - minded cronies who are fools of the first division Attacks the target's associates as elite-level idiots, lacking vision.
Chorus — Deadly condemnation 0:50–1:10
8 Death on two legs - Iconic metaphor for a human embodiment of destruction and deceit.
9 You're tearing me apart Expresses the visceral pain of being destroyed emotionally and professionally.
10 Death on two legs Repeats the damning label for rhythmic emphasis.
11 You never had a heart of your own - Accuses of lacking genuine empathy or compassion.
Verse 3 — Insults and dismissal 1:10–1:40
12 Kill joy, Bad guy Labels as a joyless antagonist, spoiling all pleasure.
13 Big talking, Small fry Contrasts boastful speech with insignificant stature.
14 You're just an old barrow - boy Belittles origins as a lowly street vendor, implying vulgar rise to power.
15 Have you found a new toy to replace me Taunts with disposability, suggesting easy replacement.
16 Can you face me - Challenges cowardice, daring a confrontation.
17 But now you can kiss my ass goodbye Delivers a triumphant, vulgar severance of ties.
Bridge — Satisfaction in revenge 1:40–2:00
18 Feel good, are you satisfied Sarcastically questions the target's fulfillment from harm caused.
19 Do you feel like suicide (I think you should) Wishes self-destruction on the foe, escalating vitriol.
20 Is your conscience all right Probes moral guilt, implying it should torment.
21 Does it plague you at night Suggests sleepless remorse as deserved punishment.
22 Do you feel good - Feel good! Ironic repetition mocking false satisfaction.
Verse 4 — Business facade exposed 2:00–2:30
23 Talk like a big business tycoon Ridicules pretentious corporate persona.
24 But you're just a hot - air balloon Deflates ego as empty bluster, full of nothing.
25 So no one gives you a damn Declares universal disdain and irrelevance.
26 You're just an overgrown school - boy Reduces to immature bully, lacking adult gravitas.
27 Let me tan your hide Threatens physical punishment, like spanking a child.
Verse 5 — Animalistic degradation 2:30–3:00
28 A dog with disease Likens to a rabid, filthy animal, diseased and dangerous.
29 King of the 'sleaze' Crowns as ruler of vulgarity and moral decay.
30 Put your money where your mouth is Mr. Know all Challenges empty boasts with a call for proof.
31 Was the fin on your back part of the deal...(shark!) Reveals predatory shark nature, deceptive and ruthless.
Final Chorus/Outro — Ultimate scorn 3:00–3:40
32 Death on two legs Reprises the core insult with finality.
33 You're tearing me apart Reiterates the damage inflicted.
34 Death on two legs - Builds to emotional peak.
35 You never had a heart of your own Confirms inherent heartlessness.
36 (You never did, right from the start) Adds backstory of lifelong malice.
37 Insane you should be put inside Demands institutionalization for madness.
38 You're a sewer - rat decaying in a cesspool of pride Dehumanizes as vermin rotting in self-importance.
39 Should be made unemployed Calls for professional ruin.
40 Then make yourself null - and - void Urges self-erasure and irrelevance.
41 Make me feel good Demands catharsis from the tirade.
42 I feel good. Ends with triumphant relief and vindication.

Reading guide: A venomous takedown of betrayal and greed, Death on Two Legs (Dedicated to...) from Queen's 1975 album A Night at the Opera channels Freddie Mercury's rage into a lyrical assault on their exploitative former manager, Norman Sheffield. Packed with savage metaphors and unfiltered fury, the song explores themes of exploitation vs. empowerment , deceit vs. truth , and victimhood vs. vengeance , culminating in cathartic liberation. It's Queen's rawest expression of defiance, proving that even in anger, their artistry cuts deep.

Death on Two Legs (Dedicated to…) — Tech Specs

Album A Night at the Opera (1975)
Released 21 November 1975
Recorded August–November 1975, Sarm East, Roundhouse, Olympic & Rockfield Studios (UK)
Genre Hard rock / Glam rock
Length 3:43
Producer(s) Queen & Roy Thomas Baker
Composer Freddie Mercury (credited to Queen)
Band Line-up Freddie Mercury – lead vocals, piano
Brian May – guitars, backing vocals
Roger Taylor – drums, percussion, backing vocals
John Deacon – bass guitar
Technical Personnel Roy Thomas Baker – co-producer, engineer
Mike Stone – engineer
Notable Features Written as a scathing attack on Queen’s ex-manager Norman Sheffield.
Opens the album with a classical-styled piano intro exploding into aggressive riff rock.
Lyrics are venomous, sarcastic, and highly personal — later prompting Sheffield to sue for libel.
Sets the dramatic, eclectic tone for A Night at the Opera.

Death on Two Legs

Lazing on a Sunday Afternoon

I’m in Love with My Car

You’re My Best Friend

’39

Sweet Lady

Seaside Rendezvous

The Prophet’s Song

Love of My Life

Good Company

Bohemian Rhapsody

God Save the Queen