Made in Heaven - Critical Reception

Critical Reception

Q magazine wrote: "Ten new tracks (and one reprise). No filler. No shame. An essential purchase for Queen fans, certainly, but even without its special significance, Made In Heaven is probably a better album than Innuendo and a fitting swan song by one of the most incandescent groups in rock. Made in Heaven is also the last musical will and testament of a star who was never going to be turned into a saint, but whose grandstanding performances were, right to the very end, always marked by reckless enthusiasm and a rare generosity of spirit."

The Sunday Times described the album as "essential listening".

Entertainment Weekly wrote: "It's the perfect theatrical epitaph for a life dedicated to gorgeous artifice."

The Guardian stated: "When a band have the controls permanently set at full-tilt, as Queen did, burn-out is inevitable, for the listener, if not for the band. When we eventually reach the drum-crashing finale, "It's a Beautiful Day", which kicks in with Mercury's umpteenth randy-rottweiler howl, it feels as if far more than 70 minutes has passed. That's where the aforesaid lyrics save the day. Predominantly written by Mercury, they are effectively farewell notes. He poured out his heart, and his words have a throat-aching poignance. Even the record's opening verse assumes a painful significance."

Jerusalem Post wrote: "Somehow Mercury and Queen's ability to make a joyful noise in the face of pain and death makes this a very comforting album to have around in shaky times."

The Times stated: "Nor are there any obviously half-baked, or patched-up numbers. Most, however, are as good as anything that Queen came up with in their later years. How good that is, as always with Queen, is largely a matter of taste. "Mother Love", the last recording that Mercury made, is a song of truly heartfelt pathos. Despite its overdue delivery, Made in Heaven stands up remarkably well as the closing chapter in a spectacular pop odyssey."

Allmusic wrote: "Made in Heaven harked back to Queen's 1970s heyday with its strong melodies and hard rock guitar playing, topped by Mercury's bravura singing and some of the massed choir effects familiar from "Bohemian Rhapsody". Even if one did not know that these songs were sung in the shadow of death, that subject would be obvious. The lyrics were imbued with life-and-death issues, from the titles. The odd thing about this was that Mercury's over-the-top singing had always contained a hint of camp humour, and it continued to here, even when the sentiments clearly were as heartfelt as they were theatrically overstated. Maybe Mercury was determined to go out the same way he had come in, as a diva. If so, he succeeded."