A high-energy, rockabilly romp from Queen's 1984 album The Works, "Man on the Prowl" is Freddie Mercury's cheeky take on heartbreak-fueled rebellion, blending doo-wop bounce with a restless, prowling spirit. Driven by Mercury's theatrical snarls, Brian May's twangy guitar licks, and John Deacon's driving bass, the song paints a vivid picture of a jilted lover hitting the streets, chasing trouble to escape loneliness. Written in the wake of personal betrayal, it channels Mercury's flair for transforming pain into performance, rejecting the polished "rock 'n' roll steady" for gritty, low-down freedom. With its playful nods to '50s rock and a defiant plea for the lover's return, the track—bolstered by Roger Taylor's swinging drums—became a live favorite during the Works Tour, where crowds reveled in its infectious chaos. "Man on the Prowl" is Queen's ode to shaking off heartbreak with a walk on the wild side, proving that even when love leaves you lonely, the prowl is where you find yourself.
The Works - Man On The Prowl
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Lyric line
Interpretation & Notes
Intro/Verse 1 — Rebellious escape 0:00–0:30
1
Oh yeah
Sets a casual, confident tone for the song's reckless vibe.
2
I'm gonna take a little walk on the wild side
Declares intent to embrace danger and freedom, echoing Lou Reed's influence.
3
I'm gonna loosen up and get me some gas
Plans to fuel up, both literally and metaphorically, for adventure.
4
I'm gonna get me some action
Seeks excitement and thrills to combat loneliness.
5
Go crazy, driving in the fast lane
Embraces reckless speed and risk as a release.
6
My baby left me alone
Reveals the trigger: abandonment fueling the wild behavior.
7
She done me dirty and I'm feeling so lonely
Expresses betrayal and emotional isolation.
8
So come home, come home
Pleads for the lover's return to ease the pain.
9
If you don't you're gonna break my heart
Warns of deeper emotional damage if abandoned.
Chorus — Dangerous persona 0:30–0:50
10
Man on the prowl
Introduces the song's central image: a predatory, restless figure.
11
You better watch out
Warns others of his untamed, reckless energy.
12
I'm on the loose and I'm looking for trouble
Embraces chaos and defiance as a response to heartbreak.
13
So look out (yeah yeah) - look out (yeah yeah)
Reinforces the warning with playful vocal flourishes.
14
I'm a man on the prowl
Reaffirms the restless, predatory persona.
Verse 2 — Rejecting conformity 0:50–1:20
15
I don't wanna be a rock 'n' roll steady
Rejects the polished rock star image for raw authenticity.
16
I just wanna be low down trash
Embraces a gritty, unrefined lifestyle.
17
I wanna go to the movies
Craves simple, escapist pleasures.
18
All I wanna do is sit on my ass - ooh
Expresses a desire for idle rebellion, with playful swagger.
19
So honey come home (come home come home)
Repeats the plea for the lover's return.
20
Don't leave me when I'm feeling so lonely
Reiterates emotional vulnerability.
21
Come home (yeah yeah) - come home (yeah yeah)
Intensifies the call with urgency.
22
If you don't you're gonna break my heart
Repeats the emotional stake.
Chorus — Reasserting the prowl 1:20–1:40
23
Man on the prowl
Restates the central persona.
24
You better watch out
Renews the warning.
25
I'm on the loose and I'm looking for trouble
Reaffirms the quest for chaos.
26
So look out (yeah yeah) - look out (yeah yeah)
Continues the playful warning.
27
'Cause I'm a man on the prowl
Solidifies the rebellious identity.
Verse 3 — Dreamy defiance 1:40–2:10
28
Well I keep dreaming about my baby
Admits persistent longing despite rebellion.
29
But it ain't gonna get me nowhere
Acknowledges the futility of dreams without action.
30
(Bap bap) hey
Adds playful scat for rhythmic energy.
31
I gonna teach my baby dancin'
Fantasizes reconnecting through shared fun.
32
(Bap bap)
Continues the playful scat.
33
But I ain't no Fred Astaire
Humble admission of lacking polished charm.
Outro — Final call to action 2:10–3:15
34
So baby look out - I'm a man on the prowl
Warns the lover directly, tying to the prowl motif.
35
Look out - man on the prowl - yeah
Intensifies the warning.
36
Yeah - baby, baby, baby look out, yeah - man on the prowl
Personalizes the warning with urgency.
37
Baby come home
Repeats the plea for return.
38
I'm on the loose and I'm looking for trouble
Reaffirms the chaotic energy.
39
Baby come home - oh yeah
Pleads with heightened emotion.
40
'Cause I'm a man on the prowl
Reiterates the central persona.
41
So honey come home - come home
Final plea for reconciliation.
42
'Cause I'm a man on the prowl - yeah
Reasserts the rebellious identity.
43
Man on the prowl - yeah
Simplifies for impact.
44
Hey, stay with it
Encourages persistence in the chaotic vibe.
45
Loosen up
Final call to let go of restraint.
46
Wooh yep ha wooh ha
Vocal ad-libs for a raucous close.
47
Yeah
Ends with a defiant exclamation.
Reading guide: A rollicking, rockabilly-fueled track from Queen's 1984 album The Works , Man on the Prowl captures the restless energy of a heartbroken rebel seeking trouble to numb the pain. Written by Freddie Mercury, its doo-wop swagger and playful defiance explore themes of heartbreak vs. rebellion , loneliness vs. action , and conformity vs. freedom. With Mercury's cheeky vocals and Brian May's twanging riffs, the song transforms personal betrayal into a wild, prowling anthem of resilience.
Man on the Prowl — Tech Specs
Album
The Works (1984)
Released
19 November 1984 (single, some European territories)
Recorded
1983–1984, Record Plant Studios (Los Angeles) & Musicland Studios (Munich)
Genre
Rockabilly / Rock ’n’ Roll
Length
3:28
Producer(s)
Queen & Reinhold Mack
Composer
Freddie Mercury (credited to Queen)
Band Line-up
Freddie Mercury – lead & backing vocals, piano
Brian May – guitars, backing vocals
Roger Taylor – drums, backing vocals
John Deacon – bass guitar
Brian May – guitars, backing vocals
Roger Taylor – drums, backing vocals
John Deacon – bass guitar
Additional Musicians
Fred Mandel – piano & synthesizers (studio session player, also worked with Elton John & Alice Cooper)
Technical Personnel
Reinhold Mack – producer, engineer
Notable Features
A 1950s-style rock ’n’ roll track, reminiscent of Elvis Presley and Jerry Lee Lewis.
Released as a single in selected markets but not a major chart success.
Features energetic piano licks and retro rockabilly rhythm.
Considered the spiritual successor to Queen’s earlier hit Crazy Little Thing Called Love (1979).
Showcases Mercury’s love for American rock ’n’ roll traditions.
Released as a single in selected markets but not a major chart success.
Features energetic piano licks and retro rockabilly rhythm.
Considered the spiritual successor to Queen’s earlier hit Crazy Little Thing Called Love (1979).
Showcases Mercury’s love for American rock ’n’ roll traditions.