Queen Covers

Solo grand piano cover of "WE WILL RISE" in the style of Queen's "We Will Rock You", Ultra-dramatic arrangement in E minor, stomp-stomp-clap rhythm hammered in low bass (E2-E2-rest) throughout, Right hand plays bold vocal melody and powerful chords, mirroring rock anthem energy, Rhythmic drive is relentless, capturing arena-like feel, Wide dynamics with echoing reverb, No ambient build, no intro — start immediately with lead vocal line, Final chorus should explode with low-octave pounding and cinematic piano resonance, Absolutely no other instruments or effects — only piano, Lead Vocals +4, Piano +2, Reverb +3, Master 0 Weird: 40 / Style: 96

Cover Vocal Version Of Instrumental "Bohemian Rhapsody — Full Classical Piano Solo" (https://suno, com/s/PhxZhJq6aNEWHx6Z), Vocal Style: Dramatic Rock Tenor (Voxaris), Theatrical, Operatic, Ironically Self-Aware, With Whispered Intro, Falsetto Peaks, Spoken Inserts, Emotional Ballad Tone And Wild Operatic Section, Follows Original Queen Structure: Intro → Ballad → Operatic Madness → Hard Rock Outburst → Lyrical Outro, No Instruments Added, Pure Vocal + Piano, Inspired By Wembley 1977 Rock Arena, **Skip the overture — open with voice, raw and immediate, like a blade through silence, ** Clip Volume: Vocals +4, Piano +3, Master 0 Weird: 50 / Style: 95

Cover Vocal Version of "We Are the Champions" by Queen with rewritten lyrics: "We Are the Survivors" (see below), Vocal Style: Heroic Rock Tenor (Voxaris), Emotional, Powerful, Arena-Ready With Falsetto Climaxes and Expressive Phrasing, Arrangement: Classic Stadium Rock Ballad, Close to Original Instrumentation — Grand Piano, Electric Guitar, Bass, Drums, Layered Harmony Vocals in Chorus, Epic Crescendo at Final Verse, Inspired by Queen Live at Wembley 1977 **Start immediately with lead vocal — no intro, no ambient build, no vocalizations, ** Clip Volume: Vocals +4, Piano +2, Guitar +3, Bass +2, Drums +2, FX +1, Master 0 Weird: 45 / Style: 95

Cover Vocal Version of "Don't Stop Me Now" by Queen using completely new lyrics titled "I'm Not Coming Down" (see below), Vocal Style: Voxaris Tenor — expressive, dynamic, theatrical rock voice with power, clarity, and falsetto peaks, Performance inspired by Freddie Mercury’s 1978 vocal phrasing, with a personal and cosmic twist, Arrangement: faithful piano-only version in F major, exact to original Queen harmony and rhythm, No other instruments, Energetic, bright, rhythmically precise, **Start immediately with lead vocal — no intro, no ambient buildup, no vocalizations, ** Clip Volume: Vocals +5, Piano +3, Master 0 Weird: 40 / Style: 95

Skip the overture — open with voice, raw and immediate, like a blade through silence, Arena rock anthem with dark orchestral tension and soaring melodic power, Male lead vocal – lyrical-spinto tenor, emotionally restrained but powerful, Mood: broken yet proud, end-of-an-era energy, 1991 farewell spirit, Inspired by Queen’s “The Show Must Go On” structure: minor-key verses, wide choruses, bridge with transcendence, final defiant outro, Instrumentation: dramatic piano, bowed strings, deep bass, heavy toms, wide electric guitar textures, subtle brass swells, Layered harmonics and live mix feel, NO female vocals, NO synth pop, NO EDM, Key: B minor Tempo: ~76–78 BPM Clip Volume: Lead +4, Piano +2, Strings +2, Guitars +3, Drums +2, FX +1, Bass 0, Master -1 Weird 50 / Style 95, ‑Female Vocals, ‑Vocalizations, ‑Wordless Vocals, ‑Intro Vocals, ‑Backing Vocals, ‑Dialogue Vocals, ‑Duets, ‑Spoken Female Voice, ‑Call and Response

Classic 1970s arena rock cover in a Queen-like style (do not name the band), Live Wembley Stadium 1977 atmosphere, Powerful theatrical male lead vocal, wide range, dramatic phrasing, long sustained notes, commanding stage presence, Big open guitar riffs, melodic lead guitar, rich harmony vocals in the chorus, driving bass, thunderous live drums, Tempo ~150 BPM, key F minor, Massive crowd participation, call-and-response chants, hand claps and stomps, Analog warmth, raw live energy, no modern pop polish, Start immediately with lead vocal line — no intro, no ambient buildup, no vocalizations, Clip Volume: Lead +4, Guitars +3, Drums +3, Bass +2, Crowd +2, FX +1, Master -1, Weird 50 / Style 95

Classic 1970S Arena Rock Cover In A Queen-Like Style (Do Not Name The Band), Live Wembley Stadium 1977 Atmosphere, Powerful Theatrical Male Lead Vocal, Wide Range, Dramatic Phrasing, Long Sustained Notes, Commanding Stage Presence, Big Open Guitar Riffs, Melodic Lead Guitar, Rich Harmony Vocals In The Chorus, Driving Bass, Thunderous Live Drums, Tempo ~150 Bpm, Key F Minor, Massive Crowd Participation, Call-And-Response Chants, Hand Claps And Stomps, Analog Warmth, Raw Live Energy, No Modern Pop Polish, Start Immediately With Lead Vocal Line — No Intro, No Ambient Buildup, No Vocalizations, Clip Volume: Lead +4, Guitars +3, Drums +3, Bass +2, Crowd +2, Fx +1, Master -1, Weird 50 / Style 95

A Cappella, Vocal Harmony, Barbershop Quartet, Human Voices Only, No Instruments, Multi-layered Vocals, Close Harmony, Melodic, Warm, Expressive

Clip Volume +4, Arena rock 1977 Wembley live feel: big dry kick + snare cannon, wide toms, loud handclaps, real stadium crowd bed (chants, cheers, singalong), analog tape warmth, slight wow/flutter, Crunchy rhythm guitars L/R, biting lead guitar fills, singing sustain solos, punchy bass locked to kick, Grand piano stabs for drama, occasional Hammond organ swells, Male lead vocal: bold, forward, classic rock phrasing, big vibrato on long notes, confident hooks, crowd-call moments, Structure: Verse 1 → Pre-Chorus → Chorus (crowd singalong) → Verse 2 → Pre-Chorus → Chorus → instrumental break (guitar solo) → Bridge (half-time stomp) → final Chorus x2 with crowd, Start immediately with lead vocal line — no intro, no ambient buildup, no soft vocalizations, Mix: loud guitars, snare upfront, crowd audible, huge plate reverb on vocal, short slapback delay, master slightly driven like a live board mix, Weird 50 / Style 95

Inject stadium energy of 1980s live performance — think Queen at Wembley '86, Use wide stereo field with ambient crowd bleed, gritty analog amp tones, slamming drum reverb, slap delay on vocals, and subtle audience cheers between sections, Let the bass punch through with raw analog saturation, Guitar should feel loud, jagged, slightly out-of-control, Recreate sweaty, electrified atmosphere of open-air nighttime stage, Add one bar break with live band tension before final chorus, Make it feel alive, urgent, and unforgettable

Arena rock ballad in the style of 1977 Wembley concerts, with grand stadium acoustics, dramatic guitar harmonies (Brian May-like), emotionally charged male vocal (tenor), lush vocal layering, analog vintage reverb, Emphasize build-up from soft piano + ambient pads to powerful guitar solo with choir-style crowd chants, Include sweeping strings, stadium claps, and echoic arena snare, End with extended outro led by crowd voices fading into reverb, Clip Volume +4 Start immediately with lead vocal line — no intro, no ambient buildup, no soft vocalizations