I’m certainly not going to defend the pronunciations of the guy who sang Binnay Enna Jizz :), but this time it’s about when the song is written wrong, not about when the singer doesn’t know how to talk. 
The tune covered only up to “owl.”
Still, the rhythm he sings fits the lyrics perfectly. Not that the results are perfect, but whatever’s wrong is not because of mismatched rhythms.
Would the “You brought me fame and fortune and everything that goes with it” line from “We Are The Champions” count? I mean it’s obviously there for effect and is effective, but it’s cramming a heck of a lot of syllables in a space that seemingly is meant to accomodate far fewer.
^
Hardly a discernible tune throughout that line.
Now that we have this thread, it occurs to me that nearly all Broadway musical numbers have lyrics perfectly matched to the tune.
“pair uhhhhh lisss fight”
I’ll listen another time… Maybe he’s reciting rather than full-on singing.
He does talk it. But going by the the tune, you can fill in the blanks and figure what’s implied there if it were a short line. ETA: So, actually, I’ve got it backwards: more the words distorting the tune.
That’s considered part of the style, generally. Cause they’re, like, actual good songwriters and stuff.
It’s not wrong wrong, to let the tune take precedence over the lyrics sometimes. But in Broadway style it basically is, because those songs are not just songs but also telling the story. If the audience loses the story, it’s a big disadvantage.
Bulsara was a master vocalist who used his voice like an instrument. That line may be best heard as akin to a drum run.
Oh, it’s my favorite line and vocal embellishment in the song, for sure.
The wild dogs CRY’ out in the night,
As they grow restless LONG’-ing for some SOL’-itary COM’-pa-NEE’…
I know that I must do what’s right,
As sure as Kilimanjaro RisesLikeOlympusAboveThe SER’-en-ge-TEE’
_ _
Not only does Toto’s ‘Africa’ have to stress awk-WARD’ syl-LAB’-les,
but so many words are crammed in that last line that
“RisesLikeOlympusAboveThe” is basically sung as one word.
And now that tou have it stuck in your head, here’s that creative A Capella version with a thunderstorm.
“Hold me close, young Tony Danza”
I still haven’t had a chance to listen, but if he’s in a reciting style it’s much more likely to be opera than drums.
My suggestion of operatic recit. style probably isn’t quite right, though maybe not a million miles off; it doesn’t sound like anything a drummer would naturally do; and to me it sounds too right and too good to be considered a flaw or an accident.
He changed his name to Freddie Mercury, but IMO he could also have legitimately changed it to Sue E. Generous. 
Besides which, “solitary company” is not very oxy, mostly just moron. 
To me, this one is a definite candidate for “Yeah, who cares, the song ends up sounding good”. eVEN though YOU CAN’T tell WHICH wordsORsylLAAABLESareimporTANT!
Of course it’s not a flaw or accident. I even wrote “it’s obviously there for effect and effective”! I just always got a kick out of the verse and how it subverts rhythmic expectations.
I’m all subverted here now for sure
Where does Elizabeth Fraser fit into this?
I can’t quite grasp it as her voice is the tune/is the lyrics and the words are often distorted to the point of incomprehensibility. That’s very much the case for the Cocteau Twins work but even when given the specific lyrics by someone else she does something very distinctive everything she sings.
Two famous ones being Massive Attacks “teardrops” and her version of “song to the siren”
(my god, that last one makes me fill-up every bloody time)
Where she fits in this thread is “What if we hired someone who’s boring but a good musician, and had them sing those same songs?” Because this is about messed-up songs, not about unique singers.