Tater Thoughts: Recent Episodes
Charly Tate
A musician, singer, songwriter and dreamer obsessed with soundscapes, deeper stuff and bright and shiny things. We're talking Queen, music in general and the human psyche.
Possibly one of the first Queen songs conceived, "My Fairy King" is Freddie's first epic song on their debut, and it's the first time we hear his expansive piano skills. As we explore various versions of this song (including the precious Sessions take) we'll break down what makes this such a stunning display of intention, talent and storytelling.
Heard for the first time in 1991, the long-lost "Mad The Swine" finally landed in its rightful place on Queen's debut album when it was remixed and re-released in 2024 as Queen I. We'll go through three different versions of this soothing gem and talk a supposed live performance; plus a sneaky spoken lyric hidden in the second chorus that I still can't figure out.
Throwback. Nostalgia. 2000s. It was an easier time and a breezier time. As I navigate through the challenges of life, I'm recapturing brighter feelings and dreaminess by escaping into some of my favorite chill tunes of yesteryear. Cruise through my curated playlist with me to (re)discover some of the best of the chillout genre (and other genres like it, including trip hop, dark wave, etc.). BONUS: Here's a link to my playlist, with an extra-chill song I impulsively added at the end. I'll probably talk about that one later...
"Great King Rat" is still one of my favorites on Queen's debut, and diving into various versions of the song has made me appreciate it's complexity all the more. We're talking one of the earliest guide takes, the De Lane Lea cut, live performances and of course we'll compare the original Queen and Queen I mixes. You might be surprised which one wowed me the most this go round...
Brian's (and Tim Staffell's) "Doing All Right" gives us a contrast of ballad tones and heavier prog rock, seamlessly blended in this reflective number. We'll compare various recordings; including the original Smile take, the Acoustic Session, and the difference between Queen and Queen I versions. I also included a BBC take for one special reason. Plus, I'm beginning to notice a trend with the Queen I mixes. And I elaborate more on frequency ranges and their importance within a song.
To acknowledge the freshness of Queen's debut, now titled Queen I, I'm finally diving deeper into each of the album's prog-rock songs. And as we get into Queen's first single we'll talk the De Lane Lea demo, the Sessions cut, the comparison of the Queen and Queen I versions, live performances, my favorite iteration and another take that'll really keep you alive. Bonus, I get into promo video fun facts; including the boys' first try and raw reel footage.
Has something ever happened to you that you couldn't explain? Something instantaneous, and obviously outside of your control. Something miraculous and life-changing. It sweeps in and changes you and brings you back. It lifts a weight off of you. Yeah, that happened to me. And before I talk more Queen on my podcast, I have to tell you my little story.
How many times can one say the word 'brilliant' in a podcast episode? Someone count and tell me, because I was totally unaware as I went through my list of artists and bands I love; who happen to have reinvented themselves a fair number of times. Through this episode, I explore the motivation of reinvention, whether it's innate or subconscious or extremely strategic (or all of the above). And yes, we'll talk Queen.
I am going to throw so many facts and names at you in this episode, your head will be spinning; in the best, most royal and regal way, of course. But a Queen album kickoff must be done in style, and as I revisit this remarkable debut from this unforgettable and powerful band, I'm proud and excited to share some of the coolest facts I've discovered about our favorite boys. Come with me, and let's once again visit my favorite Queen era...
I indulged in Queen's newly remixed and remastered debut and I want to share my thoughts with you. In addition, as I obsessively listen to Queen I and fall madly in love with the sessions disc and can't get over the fresh sound, etc., I've realized...I can do something fun with this...
ICYMI, Queen unveiled the re-release of their debut, now called Queen I; with entirely remixed songs (that sound like they always wanted), a plethora of alternate takes, early takes, a photo book, and more. To celebrate this announcement, the guys teased with the remixed cut of deep track "The Night Comes Down", one of my favorites. They also shared the official video for the newly mixed song. All of the newness is exciting. But it hasn't gone unnoticed that new technology has been used to modernize this latest material. Dive in with me, and let's remember to celebrate the newness! Plus, I mention Wings of Pegasus, don't forget to check it out.
It's okay. I must have said that ten or more times in this episode. Because no matter what age we are, we have boxes to check. Things we want to do and see and be. And when we fall short, and we fail, we wonder what's wrong with us; when so many around us live seemingly perfect lives. Nothing is wrong! And their lives aren't perfect, either. We're all just trying to get by. I talked about a lot of things here, got pretty passionate and obstinate, and there are moments where I (nearly) contradict myself. But the point is, no matter what your life is right now, it's okay, and so are you.
I always name the man who stole my attention the most on the most recent album I've finished diving through. With Queen's 12th album, I struggled. I actually considered naming giving two men the equal honor of stealing my ears away. But while on a recent road trip I had plenty of time to ponder, and given the pop inclinations of this album, it's soulfulness and bouncy vibes, I realized...I kept noticing one Queen much more than the others. P.S. Plenty of tangents in this short and sweet episode.
The closing number of Queen's 12th album and Freddie's only contribution as sole composer, "Princes of the Universe" captures earlier rockin' Queen and features many fast-paced moments and thrills. Freddie sings aggressively throughout, Brian's solo is epic, Roger plays live drums with bombast and John pounds his bass like no other. The Townhouse early master showcases the brilliant instrumentation. But for all its loudness and impressive chord changes, I'm left wanting more.
One of the danciest rock things Queen ever did (and really, it sometimes feels nothing like Queen), Roger's "Don't Lose Your Head" is driven by bombastic percussion that never gets a break, Brian's echoing gritty guitars and Freddie's crystal clear vocals (lead and all backing). But I don't know if I believe Freddie as he implores us to chill out. The instrumental version "A Dozen Red Roses For My Darling" amps the dance elements, almost taking us into early techno territory.
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Brian brings the heat, the roar and a guitar bagpipe solo in "Gimme the Prize (Kurgan's Theme", an aggressive and demanding metal-tinged anthem inspired by Highlander's villain. Distorted guitar layers and Freddie's sharply delivered full chest vocals make this one of Queen's heaviest songs. It was never performed live but several "eYe Versions" exist (Queen: The eYe Soundtrack), omitting the impressive intro and all film sounds. Some fans dig the aggression, Brian's bagpipe solo and Freddie's screams and cackles. But me? Well...
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Life has a way of reminding us we're seldom in control. Life comes at us, things happen, and we're pushed to the ground. When we go through turmoil and tragedy, it changes us; forever, and sometimes deeply. But as we decide to fight and we rise, something remarkable happens, and we suddenly realize...this is what I've been missing.
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Brian's grandiose "Who Wants to Live Forever" was ignored when Queen's twelfth album was released. Nevertheless, the song has become a fan favorite. Inspired by Highlander's love story, Brian wrote it quickly in the car, laid down the entire track and its impressive chords in the "Skips Demo" versions, and worked with a full orchestra to create one of Queen's absolute best. Brian and Freddie contribute lead vocals, Roger busts out strategic and impactful percussion, and Brian's guitar is soulful. This is one of my favorites: A powerful live number and an evocative piano piece.
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Another gorgeous Freddie/John co-write and one of Queen's last piano-driven songs, "Friends Will Be Friends" is an impactful power rock ballad that emphasizes the importance of relationships. Freddie performs his lyrics with impressive dynamics, tackling massive intervals effortlessly. Brian's guitar is soulful as ever, complimenting Freddie's brilliance. John provides rhythm guitar alongside his immaculate bass, and Roger's delicate percussion is perfection. Live, this was a moving number tucked between two longstanding setlist closers; and fans loved it.
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There comes a time when we realize...we're doing way too many things in this attempt to do everything. Sometimes, life demands compromise, and we have to set aside our aspirations simply to function. But when we're given the opportunity to love life, and not just live it, we should be absolutely intentional only with what matters most. Don't spread yourself too thin.
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Freddie and John's collab, "Pain Is So Close to Pleasure", is such a well-executed motown pop rock number. Brian embellishes with soulful guitar and Roger may or may not appear on accented percussion. It's a lively contrast of lighthearted vocals and dreamy chords against heavier concepts, and key changes aplenty. The remixed single version (and its extended mix) provides a bit more energy. But I admit, I often forget about this song...
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Nearly a John and Freddie collaboration, the ballad "One Year of Love" is unapologetically romantic. Brian (and perhaps Roger) is absent, and a saxophone fills the solo space, along with sweeping strings. John's hands on nearly all instruments create a lush and relaxed atmosphere, with Freddie crooning in controlled expressions of sensitivity and confession. It's a heartfelt performance and incredibly pretty, but something about it occasionally takes me out of the magic...
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I wanted to talk about something fun and music related, so we're going through my top songs by play count, on my old iPod Nano. We're covering a lot of genres here! From industrial experimentation to funk rock to hard rock to hip hop pop...you might discover something new and fall in love. Bonus: A link to the live version of one of my favorites; and you can see my left hand go up at 3:08.
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One of Queen's best pop singles, "A Kind of Magic" started life as a mashup in "A Kind of Vision" and was elevated to grand energy in Roger's original version (featured in the Highlander film credits); before Freddie injected a commercialized streak, creating the final take that would be released as a single. This lively song features everyone at their best, whether restrained or unleashed. Isolated vocals showcase the brilliance of subtle and effective production. And the boy's live performances have brought my love and affection for this song to a ridiculous level.
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Arguably one of Queen's best album (and concert) openers, "One Vision" kicks off album twelve with heavy rock and brighter pop elements. It's credited to the entire band and perfectly blends Roger's (original) lyrics, Freddie's powerful playfulness, Brian's rock hooks and John's bopping bass. There's even a documentary of their energetic collaboration. This song began as a combined demo with another great Queen number, and does in fact close with a request for food. Live, it was a powerhouse performance, and one of Queen's finest.
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After Queen's The Works in 1984, the band wanted a break. But the success of Live Aid led to fresh developments, and an opportunity to contribute songs for the film Highlander. Those invigorating and energized songs shaped the boys' 12th album, the pop rock celebration A Kind of Magic. The first digitally produced Queen album, its plethora of synthesizers didn't impress some critics. But fans' affection reigns supreme, and it resulted in Queen's final (and in some ways, most memorable) tour with Freddie.
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Voted the greatest live performance in the history of rock. The Note Heard Round the World. Queen at Live Aid was an incredible moment that unified and encouraged and roused us. To this day, it's heralded as one of the best, if not the absolute best, rock moments ever. And we have four fabulously talented men to thank.
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Whether or not we realize, we are resilient beings. Our spirits retain a resilience even our miraculous bodies cannot touch. Despite the fear and doubt we sometimes feel, we have the ability to rise. It's almost supernatural, and otherworldly. But when we're challenged and we're facing the toughest struggles, something compels and encourages us to hope harder, and rise above it.
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When it came time to name the man who stole my ears the most on this dynamic and accessible album, I hesitated. I couldn't decide. And then a recent interview drove me to reassess and revisit the songs. The expression. The emotion. Throughout every genre tackled in these compositions, one thing suddenly pulled it all together more than anything else. And there was only one man who could take the crown.
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Pensive isn't often a word used to describe Queen's music. But Brian and Freddie's co-written "Is This the World We Created...?" is a perfect example of urgent restraint and seriousness, created with a sparse arrangement of 12-string guitar and tugging vocals. Moved by visions of disturbing living conditions in Africa, our co-writers took a unique approach to write this song, resulting in one of the band's most moving and beautiful compositions; notably performed at Live Aid, but perhaps even more stunning at Wembley.
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A sturdy rock number from Brian, "Hammer to Fall" is about death; which seems to be one of Brian's favorite subjects. Nevertheless, the energy of this song is rousing, impressive and electric, an almost empowering take. Freddie is in fine vocal form, busting out some impressive high notes. And Roger's bombastic drums are back (as are his aggressive harmonies). No shortage of Brian's riveting guitars and rounded backing vocals. And John particularly impresses with interesting basslines. This was a live favorite for good reason, and Brian gave it his own soft twist in '98.
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Have you always detested current artists and musical trends? Hey, I see you. I was, and to an extent, still am that person. For various reasons, I wouldn't listen to music everyone else loved; partially because I thought it to be boring and surface and lifeless. What I failed to notice at the time was just how genius many of those songs were, and the talent and intentions of the artists who made them. They did and continue to do things I never could as a singer. So I'm diving in and I encourage you to explore the world of music you once hated.
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Freddie's brilliantly stirring "Keep Passing the Open Windows" is a remnant of a film production project. His piano is melodic and sustained, sweeping and epic; along with his lead vocal performance. Roger, Brian and John provide impressive instrumental performances full of bombastic enthusiasm, ostinato, grit and soaring melodies. There's even a moment of throwback Queen choral vocals! It was never played live but two demos were preserved. A rare and unique treat, this song means an awful lot to me for one important reason.
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A beloved declaration, John's sole contribution to The Works "I Want to Break Free" is breezy pop rock at its best. Freddie's expressive vocal (and video) performance often lead listeners to assume this is his number, but John's work on acoustic guitar and synthesizer (as well as bass) in the sparse arrangement leave no doubt. Brian and Roger appear briefly to round out this addicting radio-ready confection that rocks harder and louder on stage. It's become an anthem and continues to win more fans, but upon its initial release as a single, it didn't fair well everywhere...
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A rare Roger-Brian collab, "Machines (or Back to Humans)" features blipping Fairlight synths, programmed drums and a vocoded Roger bounced against Brian's rocking guitars, John's jiving bass and Roger's energized live percussion. Freddie's lead vocal is magnificently aggressive and commanding. Fans forget about this, but it's a ridiculously relevant topic of the moment, as the boys create a lively battle between man and machine. And about that instrumental remix...
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A lively rockabilly tune, Freddie's "Man on the Prowl" bops and jives like another tune before it. Though its familiar vibe feels less original and is certainly less complex, Freddie provides dynamic and impressive stylized vocals and piano, Roger and John hold it down with snappy live drums and a boogie woogie bass, and Brian rocks out on a Fender Telecaster. Bonus: The ending features some impressive piano glissandos, courtesy of guest musician Fred Mandel.
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I intended to talk about this weeks ago, and since then, so much has happened in the world of artificial intelligence. Copyright concerns. Regulations. Experiments. In many ways, AI isn't new. In the music world, it's been around in various forms for decades. But thanks to recent technology advancements, we're all hyper-focused on AI, and whether you're inspired or terrified, it's good to be aware.
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Freddie delivers a powerhouse vocal performance in his touching and dramatic declaration "It's a Hard Life". Incorporating operatic and ballad elements, this song echoes several earlier Freddie compositions and continues his journey of love. It's also a welcome return to Queen's no-synths approach, with all the boys returning full force to their respective instruments and wall of sound choral harmonies. As impactful and powerful as the album version is, I'm surprisingly torn about the live performances. And the flashy video polarized the band.
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The heaviest tune on The Works, "Tear It Up" comes at us hard and fast, courtesy of Brian's composition genius and Freddie's aggressive vocals. It echoes many previous Queen tracks (and not all of them are Brian numbers) but we welcome its unabashed sexiness and rousing, gritty rock 'n' roll vibe. It even mentions a previous well-known Queen song. Not a lot is said about this by critic or fan, and it's not the most impressive live Queen performance. But something about it keeps me coming back for more.
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Roger's first big hit with Queen, "Radio Ga Ga" kicks off The Works with invigorated, celebratory energy; and of course, nostalgia. Inspired by a phrase blurted by Roger's young son Felix, this song has become an anthem that features classic Queen enthusiasm and heart, with a healthy dose of synthesizers. It's the most atmospheric we've heard the boys, and despite the indifference from many (including fans), I think people really like this...and it's not just because of the Live Aid performance. Or the imaginative video (or its outtakes).
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After the lackluster response to funk-infused Hot Space, Queen took a break and came back fresh, uniting with enthusiasm to create their 11th album, The Works. For the first time, the boys made a conscious decision to rely on their tried and true rock 'n' roll style while retaining some of their recent and more minimal pop and dance vibes. They "played it safe" to reaffirm their presence and reconnect with fans. Press and the public lauded this as the boys' return to form. Its tracklist is short, and some find the fusion of rock and pop uneven. But it packs a joyous punch that's fresh and invigorating.
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In the ever-changing rapidly shifting digital world, social media is one element that never sits still. And as sentiments change and concerns arise and questions are asked, I had to ask myself...how do I feel about the social media platforms I use? When I'm on them, how does that affect me? And when you're on social media, how do you feel? The good news is...if something's not working for you, there's always another option. It's possible to find your social happy place.
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The synth bass. The dynamic compositions. The attitude. The vocals. When I listen to Queen's tenth album and its many funky and danceable twists and turns, one man stands out to me more than the rest. We're reminded that his ability to perform in every genre ever is innate, and his confidence and swagger are through the roof. From his impressive falsetto to his album art concept, this man epitomizes Hot Space.
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Evolved from a Queen demo called "Feel Like", and fueled by an iconic bassline, "Under Pressure" is the miraculous unplanned collaboration between Queen and David Bowie that continues to win new fans. Its universal relevancy makes it a timeless piece of intense urgency contrasted with cautious optimism. Bowie's experimental approach to songwriting ignited Queen's talents, and what we ended up with, live or in the studio, is a song that deserves all the praise it gets; and then some.
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This rare Freddie Mercury/John Deacon co-write almost included improvised vocals from another notable performer. But perhaps, it was for the best that they were removed? "Cool Cat" is a minimally funky and jazzy number that perfectly encapsulates that groovy era. Roger and Brian sit this one out, but in Freddie and John's capable hands, this song jives and moves along comfortably, endlessly listenable and incredibly relaxing. Freddie's falsetto is truly something special.
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It's sad that as we age, we may feel as though we matter less; that the best is behind us, that we're past our prime. We may feel nostalgic and regretful for opportunities missed and goals unmet. But our perspectives also shift, and what mattered so much suddenly doesn't anymore. We change, but in some ways, we don't. We still feel, deep within, the same way our younger selves did. And I hope we retain the enthusiasm and dreams of youth. That's what keeps us going.
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Brian's previous passionate reflection culminates in "Las Palabras de Amor (The Words of Love)". He brings acoustic and electric guitars, synths and keys, and even provides lead vocals at a crucial moment; as well as haunting backing accents. Freddie's lead vocals are some of his most natural, tender and dynamic. John's bass arrangement includes surprising movement. And Roger's drumming echoes much earlier Queen albums (with plenty of magical cymbal work). If it wasn't obvious (because I must have said and sang the word so many times), I love this song.
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Roger's second offering on Hot Space (and the first Queen single release written by him), "Calling All Girls" takes us on a poppy rock ride. The boys are all playing real instruments again, bopping along as Freddie sings loud and clear for all to hear. Roger even adds some guitar feedback as Brian provides sparkling and jiving guitar layers. The song's video may not have pleased at least half the band, but the live performances were altogether magical.
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An ode to John Lennon's artistry, Freddie's "Life is Real (Song for Lennon)" is a stunning and affecting confession from our frontman. It's a beautifully constructed ballad with aching phrases of doubt and feat: A revealing admission. All of the boys shimmer here, with shocking restraint that still evokes. Roger's delicate drums, John's lyrical bass, and Brian's soulful guitar all make their mark. But Freddie really owns this; piano, synths, graphic lyrics and a gorgeous vocal. And live, it's even more fantastic.
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Is there a part of your life that looks and feels completely alien? You might be asking yourself how you got there, how it happened; maybe how you let it happen. If that's the case, it's time to assess. It's time to reflect, to ponder, to navigate. Get feedback. Get help. And when it's time to make a decision, take a step forward in confidence to something new, and better.
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Brian's second contribution to Hot Space, "Put Out the Fire" is the most Queen song on the album. All four boys are back in classic form, on live drums and gritty guitar (including a stellar guitar solo) and rolling bass glissandos. Freddie sounds fabulous in his aggressive full voice register, and we get a welcome return of layered vocal harmonies. This song sounded epic in its abbreviated live performances, but wasn't played often. And there's likely a big reason for that...
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Roger's first contribution to Hot Space calls us to stand and take "Action This Day". It's a poppy, dance rock number with new wave inflections and contrasted vocals between our composer and our frontman. John is totally absent, as Rog performs many of the instruments (including synth bass) and Brian jives with Roger on electric guitar tradeoffs. This sounded stunning on a stage, and audiences responded enthusiastically. And about that low note in Roger's harmony vocals...
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Never has Queen been more sexed up than Freddie's second contribution to Hot Space, "Body Language". Driven by Freddie's synth bass performance and extraordinarily aggressive and dynamic vocal, this is almost a solo piece; with Brian and Roger making brief appearances (John may be totally absent). Fans were stunned this slinky and minimal dance number was the lead single for Hot Space. But live, this takes on a rock identity, all the boys giving us their skills and enthusiasm on stage, winning over even the most skeptical of fans.
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It's been another incredible year on my podcast, and I have you to thank! So, thank you. I'm so grateful you've stuck around, and you've tuned in. To know you're there...it helps keep me going. So here's a plethora of thanks, some ideas for future episodes, and a few bits of encouragement and silliness for you.
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With the recent shifts in the Twitterverse, I started thinking about the history of the platform, what it was like over a decade ago when I joined it, and what it's become. The bottom line? It's not the same. Social media is nothing like it was years ago, neither is the world. And neither are we. We've changed, along with everything else. We have the power to drive change. So how can we do that in a positive way?
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John's first contribution to Hot Space, "Back Chat" is locked in dance as the album's funkiest and poppiest number. Its catchy bass groove and rhythm guitars (as well as programmed drums and synths) were all played by John. Freddie takes the lyrics and attacks them all the attitude and accusation, flying in staccato arrangements and expressive soulful moments. Brian and Roger appear in brief flashes of impressive guitar power chords (a fun solo) and percussion breakdowns. And live? Oh, this was hot.
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Never a single, never played live (why!), Brian May's "Dancer" continues kicking off Queen's Hot Space with edge and an experimental metal dance jive. Parallel guitar harmonies surround programmed drums and a synth bass; all contributed by Brian, our composer. Freddie's aggressive vocals, rounded out by fun harmonies from Brian and Roger, take center stage. And surprisingly, John is nowhere to be found.
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Let's get straight to the point. I've been seeing some questionable, insensitive content shared in the midst of the devastation from Hurricane Ian. My thoughts have been bouncing around in my brain, and I have to talk about it. This isn't just about a storm. It boils down to this...when you share something, what is your intention?
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Leave it to Freddie Mercury to bring the heat with "Staying Power"; the funky Hot Space opener that leaves nothing to the imagination. Our composer contributes not just all vocals (delivered in driving staccato fashion) but also a groovy synth bass. A surprise appearance of energized brass bounces off of Freddie's playful vocals. Guitar contributions from both Brian and John create a balance of bright and gritty riffs, and Roger's programmed drums still have his magic touch. But live, this song was another animal entirely, and its heavier, rockier jive is right up my alley.
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Despite hesitation from a band member or two and disagreements about musical direction, following the massive success of "Another One Bites the Dust", our boys take sparse, rhythm-driven and funky arrangements to surprising extremes on their 10th album, Hot Space. Incorporating heavy synthesizers and more drum machines, Queen stunned press and fans alike, alienating hard rock lovers with a complete shift away from the former 'no synths!' policy. This album remains Queen's most controversial as the debate continues: Is this a hot mess, or just hot?
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We all have moments of opportunity. Something comes our way and it's a rare chance to take it on and make a difference. So why do we hesitate? Why do we shy away? Why do we chicken out?
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The boys' one and only soundtrack album includes impressive contributions from every band member, but one man almost single-handedly saw it through. Not only did he push to include film dialogue in the songs and visit with the orchestra during recording, he was the writer behind the album's only single, as well as its impressive closing number. And when he plays his Red Special? There's passion and energy all over it, creating a welcome nod to Queen's rockier roots that energizes the songs with bluesy grit and memorable themes.
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Brian May's brilliant collaboration with composer Howard Blake brings Queen's ninth album Flash Gordon to a close. "The Hero" is a favorite among fans who applaud the song's return to a classic Queen energy, with many insisting this was a missed opportunity. It went over well live, and employs multiple themes heard previously on the soundtrack album. Did you know an alternate version exists? And it's probably the superior version, if you ask me.
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Your worth should never be measured in numbers. Likes, followers, views, listens, runs, miles run, sales, successes; it should all take a backseat to what really matters and the quality of what matters. Your integrity, your humility, the gift you bring simply by being you. Focus on what you have, not what you want. Focus on what matters, right now.
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Nearing the end of Queen's album Flash Gordon, we dive into two tracks that are both Brian May compositions, "Crash Dive on Mingo City" and "Flash's Theme Reprise (Victory Celebrations)". Both incorporate various themes and surprising shifts in tone and arrangement, and both celebrate the bravery and devotion of our hero. Brian and the boys do a wonderful job capturing that energy.
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Both of today's dives take us into Brian May territory; with an arrangement of a classic Wagner composition, and a collaboration with Roger Taylor. From warm and familiar orchestral guitar chords in "The Wedding March (based on "Bridal Chorus") to the tense and surprising "Marriage of Dale and Ming (And Flash Approaching)", we're covering a lot in these two tracks.
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Not one, not two, but three songs are on the agenda today. "Flash to the Rescue" is a spin on the classic theme, and it's a lovely tense crescendo from Brian. "Vultan's Theme (Attack of the Hawk Men)" is a Freddie offering and a delightfully playful and energizing one. Finally, "Battle Theme", another Brian number, explodes with intensity, classic Queen guitar riffs, and plenty of rock 'n' roll flare (including some fabulous drums).
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It's been a while since I recorded an episode! It's literally been weeks. But I'm back to chat with you once again, and this time, it's all about the real life.
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These two songs/themes from Flash Gordon, "Arboria (Planet of the Tree Men)" and "Escape from the Swamp", are both minimal, stark and intriguing. John and Roger provide experimental, vast soundscapes that capture the atmosphere of a new world and a tense moment for our hero. I'm consistently impressed by Queen's ability to capture an emotion, a dream, and a vibe so well.
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There's a lot of intensity and tension in these three compositions; and three different members of Queen brought them to life. Roger's "In the Death Cell (Love Theme Reprise)" is a deeper version of his already-dreamy track. John appears for the first time on the soundtrack with "Executive of Flash"; a sparse, pulsing and soulful piece. And finally, Freddie (along with composer Howard Blake) creates an emotional and cinematic soundscape in "The Kiss (Aura Resurrects Flash)".
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We're talking two of Freddie's compositions from Queen's Flash Gordon album. "The Ring (Hypnotic Seduction of Dale)" features minimal mysteriously tense synths; that burst into "Football Fight", the first real melodic rock track we've had since the album's opener (and its b-side). It's a welcome treat to have all the boys back in rockin' form. From synths to guitars to bass to drums, the gang's all here, and it's quite fun.
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I'm diverting from Queen for an episode to talk about some of my slip ups and trip ups and mistakes, how I recovered (or didn't) from them, and how going through those moments teaching you how to rise gracefully.
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As I go through Queen's ninth album, Flash Gordon, I've decided to keep with the story of the film, and talk through some of these numbers together. And today, I'm talking about Roger's composition "In The Space Capsule (The Love Theme)", a surprisingly sweeping and atmospheric piece; and Freddie's first contribution to the album, "Ming's Theme (In the Court of Ming the Merciless)", the stark and unsettling synth arrangement surrounded by intense dialogue.
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Brian's composition "Flash's Theme", the only single taken from the soundtrack album, kicks us off on this next round of dives. Brian contributed much of the instrumental performance in this song, and sang lead vocals with Freddie. They both sound fantastic, and Roger's high harmony? You know it's hair-raising and fabulous. And so is that timpani. And John's pounding bass. Pedal bass. As fun as this is on the album, it's even better on a stage.
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I admit I had no idea how to kick off Queen's 9th anomaly of an album, Flash Gordon. It's entirely unique in their catalog, only two songs have vocals, most are brief themes, and there's an experimental, synthesized, and electronic(a) quality dominating the fun rock vibe. But that's what makes this interesting! Brian took the reins of this project and the boys all pitched in to make it what it is; the perfect companion album to a cult classic that entertains and makes an impression.
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It was a rough, no-good very-bad day, so I'm talking all the awesomeness and randomness of life that is the good stuff.
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Thanks to this album's poppier and starker production, one man consistently stands out to me more than the rest. My ears constantly go to his surprisingly melodic performances, his innovation with arrangements, his assertion and confidence to tackle multiple instruments in several songs, and his ability to play in every genre ever with precision and excellence. It isn't his performance in one moment or song that wins me over...it's all of it.
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One of Queen's and Brian's best, "Save Me" is the climactic rock ballad album closer; the bookend to Freddie's dramatic "Play The Game". Brian plays electric, acoustic 12-string, piano and synthesizer in this brooding and passionate number. Freddie strikes hard into our hearts with dynamic lead vocals as the backing harmonies soar over the powerful arrangement, tinged with classical elements. John's bass dances in its lithe performance. Roger makes an impact with bombastic drums. And live, this was a magical number that audiences loved.
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My love, my refresh, my freedom. I finally have it back; I finally started running again. I haven't touched this topic for a while, because I had to take a (long) break. But my journey back to running included awesome physical therapy, routine, new gear, guidance from professionals, and the most important essential for healing, the passage of time. I want to share my journey with you. And I hope it helps you navigate your way back to your freedom, and what you love most.
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Roger's second contribution to The Game is the rock and new wave "Coming Soon", and it fits comfortably on the album. Freddie dominates lead vocals, with him and Roger providing backing harmonies; along with Brian's powerful guitar licks and John's unrelenting 8th note bass. Thanks to Roger's pounding drums, this song is energetic and snappy. It was never performed live, but an alternate version exists in 5.1 surround sound.
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A haunting song that was never performed live, Brian's "Sail Away Sweet Sister" echoes earlier compositions with its classical and acoustic arrangement. The softer verses are contrasted with heavier, pleading choruses; creating a longing and a tenderness. Brian's lead vocal is touching and affecting, and with Freddie on piano, there's an urgency and a power. Roger and John carry the low end fabulously, with lyrical and delicate precision.
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One of the band's most polarizing numbers, Freddie's "Don't Try Suicide" gives us smooth style and assertive vocals; not to mention a rollicking piano. Fans may be divided over this song's tongue-in-cheek lyrics, but the music is almost universally appreciated and enjoyed; especially John's bass. The guys take us confidently through rock, rockabilly and blues, with wonderful production moves and a poised less-is-more approach. This was never performed live, and probably for good reason!
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Roger kicks off side two of The Game with his new wave "Rock It (Prime Jive)". What starts like a lullaby with Freddie's power vocals transitions into a furiously-paced rock dance number that features Rog on lead vocals and flashy drums, plus some insane basslines from John. Brian provides distorted grit on his guitar, and Rog also contributes a little electric. But where this really shined, is on the stage.
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I wasn't intending on sharing a lot of such personal thoughts and feelings in this episode, nor did I intend to get so riled up. But apparently, this is a hot topic for me! In the aftermath of so many intense happenings these last couple of years, selfishness has begun to dominate our thought processes, and emotional reactions. How can we get back to humility, compassion, and brighter days?
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Freddie's flash of genius "Crazy Little Thing Called Love" really did materialize in five or ten minutes, and it further proves Queen's ability to play anything with ease. It was the first song recorded for The Game, and by Roger's account, one of the easiest to knock out. Brian may have (politely) protested the use of a Telecaster in this song, but he knew how important it was to capture that style. John performs fun boogie woogie bass. But this is all Freddie, on acoustic guitar(!) and crooning perfection at us. Like other Queen numbers before it, this may be even better live.
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When it comes to John's compositions, "Need Your Loving Tonight" is a rare single release that didn't get as much attention. Me? I love its poppy and rockabilly sound more than "If You Can't Beat Them". John contributes both bass and acoustic guitar, Brian soars on some memorably gritty guitar moments, Roger snaps on his kit and Freddie sounds so natural and effortless on lead vocals. Live, it was always a solid if casually performed piece.
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"Another One Bites the Dust" almost didn't make it onto The Game. And it wasn't even considered for single release; initially. But its catchy riff and stark performance of funky disco rock took Queen to new heights, going multi-platinum in several countries. Live, this became a favorite, with Freddie working the audience. The song went on to be nominated for (and win) multiple awards, gave Elektra Records their first ever 3-million-selling single, and was, for a time, Queen's best-selling single worldwide. And none of the guys saw it coming.
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I had a rough day, so I thought I'd talk about something happy and encouraging. I've talked about this a lot, but it's never enough. If you're on social media, or online at all, you're engaging with people. When we stare at a screen, and see or read something that bothers, offends or angers, it's so easy to be tempted to respond in a negative way. Maybe, sometimes, a harsh response is necessary. But being thoughtful and constructive can make all the difference.
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"Dragon Attack" is one of my favorites from Queen. Let's just get that out of the way. I love this creation from Brian. What began as a late-night/early-morning probably drunk jam session became this addicting, funky, and hot number. You can dance to this. It's packed with solos from not one or two, but three of our boys. And Freddie? His vocals are razor-sharp, gritty and dirty and in your face. This song was a ferocious animal on stage, and one of my favorite live performance numbers. So many to enjoy...
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A lot of firsts happen in "Play the Game", Freddie's opening number for The Game. The first song on Queen's first '80s album. The first Queen song with a proper synthesizer. The first time the guys open an album with a ballad! And what a stunning piano rock ballad it is. Freddie shines here, especially vocally. But Brian, Roger and John all have their glorious moments. Live, it's even more enchanting and rousing.
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As we kick off the boys' 8th album The Game, we dive into the '80s, and for the first time the guys feature a synthesizer. Gone are the harder rock and elaborate melodies of yesteryear. The guys embraced funk, pop, a more stark and minimal production approach with a new engineer (Mack) and brought lots of attitude to this new sound, which affected their image across the board. And thanks to two songs, this album took the guys to stratospheric highs with increasing success.
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Recently, I saw something online that stunned me. You may think that's not a big deal, but what I saw was on a platform that's all about business and employment. It stunned me, yes. But it also made me think about the bigger picture, about culture and the importance of honesty when it comes to corporate identity. Moreover, it made me think about honesty in general, and embracing who and what you are, and owning it with confidence.
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I'm officially closing out Jazz before we dive into the '80s with Queen by announcing who stole my ears the most on the album. "Dead on Time". That's all it took to win me over. It's my favorite song on Queen's funnest album and one man's performance in this song steals all of my attention, and then some. And really, this same man just wows me all the more on this entire album.
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It's ironic that Roger Taylor's "More of That Jazz" is the last track on Queen's album Jazz. But that's the point. Roger's experimental, progressive and distorted rock number is filled with guitars, syncopation and an amazing hook of a drum riff. His voice is crystal clear and gritty and aggressive as he performs lead and all backing harmonies. Brian appears briefly with a little extra guitar, but otherwise, it's all Roger. They never played this live, but I swear; there is a Doom episode with a riff that strongly echoes the memorable chromatic riff here...
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Freddie's poppin' rocker, "Don't Stop Me Now" just keeps getting bigger. With it's more simplistic song structure (though it does impress with its syncopation and phrasing), it didn't overly impress at first. But over the years, it's endured, and lives on all the more; topping many best of lists. Freddie's piano is incredible, and his bright lead vocal is perhaps one of his most loved. Brian, Roger and John provide soul, enthusiasm, pounding rhythms and all that jazz. Live, it's a playful number, though less punchy. And the Long Lost Guitars version has some interesting sounds.
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In a rare move, Freddie sits one out, and Brian takes the lead on vocals in his own folk-like "Leaving Home Ain't Easy". Brian also provides all backing vocals, with Roger and John holding down the low end on tight and light percussion and melodic bass. This song employs many seventh and diminished chords, creating a complex sound among the simple instrumental structure. And Brian takes his guitar to new sonic realms once again, with his genius manipulations.
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Do we remember how absolutely complete, amazing and wonderful everyone around us is? Not just those closest to us, but everyone? And what about you? When was the last time you thought about your worth? Maybe you haven't thought about it much lately, or ever. Maybe it's always been about trying to be something you're not. But you already are everything you need to be.
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Take a fantastic rock 'n' roll drummer with an affinity for emerging trends of new wave, give him electric and bass guitar and what do you get? "Fun It". This is Roger's first contribution to the Jazz album, and it's one of my favorites. Total funk and disco with an edgy rock twist, this is unique not just in Queen's catalog, but in similar songs of the time. Something about this stands out. Freddie trades lead vocals with Rog in a rare duet, and John sits this one out. Occasionally, Freddie would sing vocals of this song during performances of "Keep Yourself Alive".
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Brian's brilliant "Dreamer's Ball" takes us into a jazzy dream, with Freddie crooning soulful perfection. All acoustic and electrics from Brian, and he creates a brassy warmth. Surprisingly, no Roger on backing vocals here, but his brushed percussion sparkles as we trudge along that shuffle beat. John glides delicately up and down on glissandos. An early acoustic take is slower, heavy on the cymbals but impressive. Still, it's the live version that I adore the most. Dare I say it...it's so cute.
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A jazzy and poppy dream, John's "In Only Seven Days" is a one-off in Queen's catalog that sees our bassist contributing on both acoustic and electric guitars. Brian sweeps in with orchestra-like swells. Roger's cymbals are soothing and sweet. And Freddie croons away while providing elegant and glittering piano. It was never performed live, but that makes it all the more special.
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When you're facing a challenge, focus only on the challenge. Don't continue to carry everything you've ever faced. Don't dwell. What's done is done. And with the strength you've gained, you can clear the next hurdle(s), no matter how high or numerous. Cheers to a new year, cheers to you! Thank you for listening. I can't thank you all enough for geeking out with me. P.S. Failure does not equal finished...
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Featuring a loud thunderclap, "Dead on Time" is Brian's number and kicks off side two of Jazz in perfectly furious form. Everything about this is buttoned up loud rock. It's fast. It's intense. It's dynamic, with moments of quiet teases and massive crescendos. Freddie delivers vocals so quickly, I can't keep up. John's basslines are as unpredictable and awesome as ever. Roger? CYMBALS. And Brian, of course; his guitar playing is impeccable. A favorite of mine.
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They'd like to say hello and give us a show! One of Freddie's most aggressive and risque numbers, "Let Me Entertain You" is one of the best examples of a band celebrating their own awesomeness (as well as a nod to those who helped them achieve success). The boys are all in fiery form here: Tons of clever vocals from Freddie, furious riffs from Brian, many a surprising move from John on bass and Roger, well...he's just banging the daylights out of his kit. Live? Oh, you know this was a riot.
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The hardest rock number we ever get from bassist John Deacon, "If You Can't Beat Them" is a catchy and encouraging number that includes some of Brian's funnest and longest guitar solo arrangements. As we would expect, John bops along with incredibly melodic bass. Roger adds fun and interest in the drum riffs and Freddie is assertive and aggressive in his lead vocals. But live is where the magic is when it comes to this song.
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One of Queen's most complex, innovative, creative and fun numbers, "Bicycle Race" packs so many chord variations, key changes, and energetic shifts, it could very well be many songs. Instead, Freddie wrote this and threw in everything and the kitchen sink, inspired after witnessing the Tour De France. Live, it flew by in a flash as part of a medley, but dropped off setlists entirely after '79.
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Powerful. Evocative. Brooding. Pulsing. Pounding. Emotional. There aren't enough words to describe this song. Kate Bush's "Running Up That Hill (A Deal with God)" is the first song that made me think. And it's stayed with me all these years; a constant on my favorites list. Salon recently wrote an epic retrospective review about it. And Reverb Machine broke down the song's construction, further emphasizing the genius of it.
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A gorgeous ballad from Freddie, "Jealousy" is a quiet gem in Queen's catalog. Brian feels almost entirely absent, as he seldom appears playing his sitar-like modified Hallfredh guitar. John moves elegantly on his bass with surprising intervals; it's almost another voice altogether. Roger's gentle percussion and plenty of cymbals sparkle. But this is all Freddie, his sweeping piano and his aching vocal performance taking center stage. I swear, I once read about an alternate version of this...I will continue to look for it.
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Hard rock and bluesy with plenty of sexiness and attitude, Brian brings us "Fat Bottomed Girls" which comes to life with Freddie's sharp vocal delivery in the verses. But it's Brian's voice that carries the chorus; and his syncopated hard guitar riff. And John rolls on his bass in the verses; wow. Roger stomps and bursts in with memorable fills on the drums. This song is fire, especially live. Some are quick to judge it, but at the end of the day, this song is all rock and fun.
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Leave it to Freddie Mercury to kick off a Queen album with "Mustapha" and its passionate, Arabic flare. This innovative and surprising number is another one-off in a style that we never get again from the boys. And Freddie wows with plenty of languages, key changes, impressive vocals (lead and backing) and aggressive piano. Brian, Roger and John surround us with typical Queen awesomeness. And live, this was on another level, as most of Queen's performances were.
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The last Queen album without synthesizers, Jazz from '78 is the boys' funnest, and one of their most energetic, sleekest albums. At this point, the guys are flying high with great record sales, money flowing, and they're certainly having a good time. They recorded this outside the UK, and when they kicked off the tour, it was their biggest yet with 79 shows, and an even bigger lighting rig called the Pizza Oven. Then there was the infamous launch party in New Orleans...I was so excited when I found this album, I recorded myself opening it like a total dork.
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Reconnect. See new sights. Experience something amazing. Learn something, even when challenges come your way! Reset your brain. A good road trip, no matter how long or short, can make all the difference.
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I've officially wrapped Queen's sixth album, and as I did previous albums before it, I revealed my pick for the band member who wowed me and stole my attention more than the others. Even though, yes, they're all brilliant, of course. To me, the stellar production of this album highlighted one element more than the rest.
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As we close out the angst and edge of News of the World with Freddie's stunningly jazzy and sweeping "My Melancholy Blues", I feel a touch of the blues myself. This number evokes that emotion effortlessly, through Freddie's impeccable piano and flawless vocal. If you love this as much as I do, there are other versions you need to hear: Live, BBC, and Original Rough Mix. Enjoy them all...
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It's my 100th podcast episode! To celebrate, I'm breaking down two Queen songs, back-to-back; John Deacon's Latin-flare "Who Needs You" and Brian May's rockin' out "It's Late". NOTE: "It's Late" Dive begins at 24:45.
Song versions mentioned...
- "Who Needs You" acoustic take
- "It's Late" live
- "It's Late" alternative version
- "It's Late" BBC version
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In a rare one-off, with the help of John on groovin' bass and Roger on shuffling drums, Brian jives on his guitar and all vocals to give us "Sleeping on the Sidewalk", a bluesy, breezy song with an instrumental track entirely recorded in one take. Freddie is noticeably absent; but he does appear on the rare live performances, on lead vocals.
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Leave it to Freddie Mercury to bring the heat with Queen's first overtly sexual song, "Get Down, Make Love"; complete with a psychedelic interlude. It's polarized fans from the very beginning, and critics were hard on it. But even if the lyrics surprise, the instrumental of this song is something amazing to behold. The musical conversation in the verses, contrasted with that loud and aggressive bridge. All capped by Freddie's assertive and fantastic vocal performance. The demo version has an awesome instrumental interlude, and as a live number, this song really lit it up.
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Do you ever feel irrelevant, too? Yeah. I get you. In this episode, I dig into the digital world, social media, digital privacy, skepticism, trust (or lack of it, rather), and how all of that informs our feelings of relevancy and connection. And finally, I touch on how we can feel relevant in real life when the online world feels so foreign.
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When Roger Taylor brings it on an angry song, you better believe it's going to be feisty. And hot. "Fight from the Inside" is both, and is surprisingly, kind of sort of disco. In a way. It's that guitar riff! You might be shocked to find out that we're missing not one, but two Queen members here. But knowing Roger played so much of this himself, and sang all the vocals? That's kind of amazing. Bonus: A demo version was unveiled a few years ago.
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John Deacon gives us his first of two tracks on News of the World, "Spread Your Wings". Many fans adore this, crowds always loved it, and I personally think it's one of John's best, if not his best. A bluesy rock ballad, the song features John on bass and acoustic guitar, with Freddie providing the sole lead vocal. Brian soars on guitar and Roger perfectly punctuates impactful moments on percussion. But the BBC version? Oh my goodness. It's superior. And oh, the alternate version from recording sessions!
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Partially inspired by the loss of his cat, Brian gives us one of Queen's darkest lyrical moments with "All Dead, All Dead". It's surprisingly jazzy and almost glittery with its piano arrangement; and somehow, strangely calming. Though it was never performed live, a hybrid version with both Freddie and Brian on lead exists, and was unveiled to celebrate the 40th anniversary of News of the World.
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I went on a little vacation last week, and disconnected from the world (literally) on hikes in the high desert. But the best part? My two best girlfriends, and their much-needed incredibly-appreciated company. I love these ladies and I've known them forever. And it got me thinking about what they mean to me personally, and the value of good friendships in all our lives.
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One of Roger's fantastic contributions to News of the World, "Sheer Heart Attack" is Queen's one and only real punk number. And Roger wrote it years prior, during sessions for the album of the same name, when punk wasn't even a thing! In fact, this is almost a Roger solo track. He played several instruments, including bass (yeah, John sits this one out), and sings lead in the chorus. Freddie gives us major attitude in the verses, and Brian provides necessary guitar grit with impressive riffs. But, live? That's really where this song shines.
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This is officially the catchiest song in the history of popular music. Freddie Mercury's "We Are the Champions" effectively put Queen on the map in even more parts to the world, and secured their place as an iconic piece of music history. But this is so much more than just a crowd anthem. The complexities of this song's key changes, the subtlety of Roger's strategic drumming, Brian's supportive guitar, John's melodic bass, and of course Freddie's sparkling piano and his amazing vocal performance...they all make this something so much more. And live...what an emotional experience.
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Stomp stomp clap. That's it. That's all I could write about this all-important number from Queen, Brian's innovative a cappella-like album opener "We Will Rock You". It sets the stage for one of their most iconic albums. It actually has two versions. The fast version was a beast that kicked off many a Queen concert. To celebrate News of the World's 40th anniversary, the boys released an original demo version with a very interesting guitar solo take from Brian.
EDIT: At the end of this, I mention a later album track and was thinking of an entirely different one when I started talking about Brian's passionate writing. My bad!
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I finally got my order of "Outsider", Roger Taylor's newest album, and long story short, I'm in love. There's a lot of heart and intention here, and it feels like a breathe of fresh air. Even the pink cover art is calming and refreshing, reflecting the contentment in much of the album's tracks. Roger wrote and recorded this almost entirely on his own, which makes it all the more special. But there's something else here...so much substance and weight and one of my favorite things in a song, hope.
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I'm excited to kick off Queen's antsy and edgy sixth album, News of the World. For the first time, the guys are consistently and noticeably angrier and more aggressive among the stark, raw and minimal arrangements. Gone are the classical inflections, and the lush and sweeping warmth of previous albums. It's a radical shift in Queen world, as we get into this diverse classic hard rock album. Glimpses of multi-tracked harmonies and trademark riffs remain, of course.
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After a bunch of Queen episodes, I'm just chatting about everything. I dive into some heavier things that have been on my mind, but it's not all gloom. It's October, some good things are happening, I'm working on my music, and I'm making positive medical treatment changes. I also touch on coffee brewing, an app I really love, new music releases (Roger Taylor's latest Outsider!) and other random things. Reflect with me!
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I promised you guys that Freddie would get some love from me on future albums, because on the previous, it was Brian who impressed me the most. So here you go. On Queen's amazing fifth album, Freddie takes the cake. But yeah, I admit...something happened as I was going through the album's songs, and I had a revelation...a twist, a turn. Find out what happened.
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Brian penned this memorable tribute, "Teo Torriate (Let Us Cling Together)", for Queen's first massive fanbase. The boys were overwhelmed by the love and appreciation the Japanese had for their music when they toured the country in '75. In classically inspired pentatonic arrangements, Brian throws in plastic piano and harmonium, along with affecting parallel modulations, crafting the perfect love letter to Japan. Dynamic vocals from Freddie, and layers of harmonies from Brian and Roger create the classic Queen sound, emphasized by an entire choir in a rousing singalong. Live, this was a precious and rare performance, and it's the perfect album closer.
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Roger's absolutely stunning classic folk rock number "Drowse" is his sole contribution to A Day at the Races. It was never performed live, and as sad as that is, perhaps the song feels more precious and rare because of it. Roger knew this was very different when he wrote it, and it wasn't just the lack of a rock 'n roll feel that made it so. It's incredibly reflective, and surprisingly heavy. And I love it.
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Freddie gives us full-on fashionable style and flare darling, in his last vaudeville-inspired music hall number, "Good Old-Fashioned Lover Boy". The guys perform some of their tightest harmonies yet, with playfulness and panache to spare. John is totally grooving on bass, Roger provides bright percussive moments and Brian sings in woodwind style once again on his guitar. There are actually two versions of this song. And it was always a delicious treat live.
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Written from the perspective of the Native and the horrible torment inflicted upon them, thoughtful and inquisitive Brian May challenges the listener in "White Man". Controversy surrounds this number, given its delivery and the subject matter. But as a hard, heavy rock number? This is one of Queen's best. It really shined live, linking to another May composition flawlessly.
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A bit of a break and some ramblings from me, mostly about my latest challenge; another necessary change in my treatment regimen for my autoimmune disease. Come hang out with me as I talk the lives we live, the games we play (not always by choice), and coffee and other things. I'm glad you guys are here.
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Freddie's favorite song, his own "Somebody to Love", is amazing. I don't really need to write that, but I'm compelled. Because I literally just fell deeper in love. In its more conventional, more simple structure (one time and key signature), the vocals are massively amplified with magically multitracked takes of Freddie, Brian, and Roger all delivering immaculate performances. But this is, of course, Freddie's number as he soars and pleas in gospel fashion on piano and lead vocals. Live? Oh goodness, this was a special one.
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Bassist John Deacon, in total Sneaky Deaky style (yeah, I don't care how that sounds, because he's a songwriting genius) gives us a fabulous piece of poppy rock with "You and I". It's better than the hit "You're My Best Friend", and I'm not the only one who thinks so. The production here, the balance of dynamic drums, oscillating guitar, Freddie's fabulous lead vocal and those trademark harmonies...what's not to love? This was never performed live, but I managed to find a rough recording of the guide track.
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"The Millionaire Waltz" is my 50th Queen Deep Dive! How appropriate that it's such a glittering and extravagant waltz number, and one from our dear Freddie, no less. Brian shimmers in so many guitar layers but takes a breather on backing vocals, with Roger and Freddie sweeping along in harmonious expression. But it's Freddie's fantastic piano and lead vocals (along with John's memorable lead bass) that really make this fantastic. Bonus: Live versions were another thing altogether, and I live for it.
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A few episodes ago, I talked about the musical dopamine rush, and I didn't touch half the stuff I wanted to discuss. So I decided to dive into more detail about the structure of music, the importance of emotional and artistic authenticity, how good production and intention makes a difference, and just a few other random things I thought of. If you're a lover of music, I hope you'll enjoy this...
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Brian is once again folk-inspired in this lovely magical and melancholy number, "Long Away". Seldom commented on, this beautiful song doesn't get the attention it deserves. It's simple, with minimal use of chords, but its arrangement includes offbeat instruments and voices, and John's bassline is incredibly melodic. In a way, this sticks more than Brian's earlier (and more well known) "'39" does. I hear it in my head a lot.
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When Freddie goes all in with his passion and obsession, there's almost nothing better. "You Take My Breath Away" does just that; with a sparse piano instrumental arrangement that leaves Freddie all the room in the world to provide multiple perfectly-performed vocal harmonies. His voice here is something else entirely...and live, it was just as stunning.
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The same elegant and thoughtful Brian May who brought us reflective pieces like "Some Day One Day" and "Good Company" gives us this raucous celebration, "Tie Your Mother Down". It's almost universally loved as one of Queen's hardest rockers, and was a mainstay on setlists. As the opening number for A Day at the Races, this song includes an intriguing intro of moody gong, a taste of guitar from a later album number, and an inspiring variation of the Shepard tone; which bookends the album to create a circle of sound. Sure, Brian penned the aggressive "Son and Daughter" previously, but something about this screams louder, in a sexier way, than just about anything else before it.
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There's no hiding my love for this album, Queen's gorgeous and beautiful A Day at the Races. For the first time, the guys sound really comfortable and even more indulgent. We have the diversity of Sheer Heart Attack, the richness of Queen II, and the melodic and operatic tendencies of A Night at the Opera...all packed into the guys' fabulous fifth album. It's quite playful, but there are surprisingly darker moments, too.
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It took me far too long to talk about the great musical dopamine addiction. Discover the secrets of the power of music with me. I researched several intriguing studies that detail music's effect on the brain, and how it influences us physically and emotionally. I also go through several songs that give me this amazing rush.
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I nearly forgot to (fully) announce my Queen band member pick for this album. When it comes to 'Opera, Brian impresses me most. I know, you don't even have to say it..."BOHEMIAN RHAPSODY". Freddie Mercury and his miraculous rhapsody. But, I have my reasons for naming Brian my top pick for this album! And they are many.
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Brian closes out A Night at the Opera in glorious fashion with "God Save the Queen", a stunning arrangement with countless guitars creating an orchestral wall of sound. This contemporary spin on the classical and traditional de facto UK National Anthem is extremely important in Queen's career; beginning in '74, even before the band released 'Opera. And it remained an important piece through their tours, for more than a decade, and beyond.
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Freddie's magnum opus; and still his biggest mystery. This is his baby, "Bohemian Rhapsody". A composition years in the making. 180 vocal overdubs that took a week of 12-hour days to record, with plenty of amusing outtakes. Over a billion YouTube views. The Song of the Millennium. A once-in-a-lifetime composition. One of Brian May's most-loved guitar solos ever. A complexity that rivals any other prog rock song, and it still managed to appeal to the masses. An iconic live performance. And so much more.
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In a playful and perfectly executed dixieland jazz arrangement (!) Brian gives us nostalgia and a longing for connection in "Good Company". You'd be forgiven for not even knowing this was Queen: After all, Freddie is absent, Brian sings lead and yes, the guitars certainly don't sound like guitars. But what they do sound like, is amazing and impressive.
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Freddie's most iconic ballad, and a special connection between band and fans, "Love of My Life" is classically inspired, with harmony vocals all provided by the writer in an immaculate performance. Brian creates complimentary arrangements on his guitar, echoing the tenderness of Freddie's vocals, and with gentle support from John and Roger, this song becomes a magical moment and a touching romantic gesture. It's taken on new life as a live number.
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Brian's prog rock masterpiece, "The Prophet's Song" is certainly on par with more popular Queen tracks. Employing a great use of delay, distortion, key changes, drop-d tuning (!) and so much more; including an immaculate vocal performance from Freddie (as well as vocal contributions from Brian and Roger) during the surprising and perfectly executed canon is simply stunning. Live, this went through several incredible transformations.
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I've been dealing with a thing and it's permeated every aspect of my life the last couple of weeks. If you're struggling with something too, let's get through it together.
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Freddie is back with another brilliantly vaudeville-inspired composition, "Seaside Rendezvous". This is easily the most jovial number on A Night at the Opera, and perhaps Queen's silliest song ever with Freddie and Roger doing ridiculously lovable vocal tricks. They prove their versatility with amazing prowess, stepping right out of a time machine from the '30s.
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A stark contrast to Brian's folksy number before it, "Sweet Lady" is all hard rock but it's delivered in a surprising meter of 3/4. Roger has said this is one of the hardest songs he ever recorded on drums, all because of Brian's unique waltz-like arrangement and complex riffs. Live, it's one of the few Queen numbers that somehow feels less innate for the boys, despite its loud and raw energy. And in a surprising twist, my opinion about it has changed...
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Who would have thought that a song written in 30 minutes would go on to be #1 in 37 countries, and become the most-recognizable pop song of the last few decades? I fell in love with the Spice Girls the moment I heard "Wannabe". And my enthusiasm for it continues to this day, 25 years later. The girls would always have a riot with it live, and the celebration of this number simply never stops.
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Brian's ode to astronomy, space travel, relativity, and nostalgia is a rich soundscape of acoustic guitars, and more acoustic guitars. In a surprising twist, "'39" features muted and softened electric guitars, minimal percussion, and a double bass (courtesy of John and his persistence). But this folk number is still distinctly Queen, with intricate vocal harmonies. It's one of my favorite live numbers from the boys.
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John brings it with his second contribution to a Queen album, "You're My Best Friend". This instantly recognizable song (thanks in large part to John's inclusion of electric piano) became a big hit for the boys, and is one of their most enduring numbers. It's been included in countless shows and films. Live, it was a peppy and poppy break from the harder rock and roll, and it's easily one of their happiest, cheeriest songs ever.
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I wasn't planning this little episode, but as I got home from a great day and began unwinding, I simply had to talk about that wonderful feeling of coming home and sinking in.
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Roger's sole contribution to Queen's A Night at the Opera is one of their most enduring numbers, and easily Roger's greatest lead vocal moment. "I'm in Love with My Car" is an ode to ones automobile and celebrates hard rock with lots of cymbals, cheeky lyrics and a gritty and loud performance. Live, Roger impressively performs drums and vocals, taking full advantage of the rare opportunity to be center stage. Catchy in its simplicity, I can't help but enjoy it.
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As an additional facet of my Queen obsession, I thought it would be fun to pick a member of Queen who steals my attention the most on every album. Yes, there are breathtaking moments of skill and expression from all the guys, on every song, on every album. But as I listen to each album in its entirety, there are inevitably moments I notice John more, or Freddie, etc. I started this when I recently kicked off A Night at the Opera, giving the honor to Brian as the one who steals my attention most. Controversial? Probably. But I have my reasons! In this episode, I recap Queen's first three albums and give each of them to one of the boys.
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Bouncy, bubbly, totally vaudevillian happy..."Lazing on a Sunday Afternoon" feels nothing like the vicious number before it, which was also Freddie's composition. But this wasn't just a silly joke of a song. In its brevity, we find impressive piano from Freddie, a glorious guitar solo from Brian, and John and Roger prove they're capable of playing just about anything with ease. Queen only played this live in '76, and whether the performance was kind of rough or more dialed in, the guys had fun with it.
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What do you do when you're finally (sort of) free from a constricting contract? You write a song about it. Freddie didn't hold back on this one. "Death on Two Legs (Dedicated to...)" is vicious and terrifying, and it perfectly kicks off Queen's A Night at the Opera. It's a classically inspired number with harmonic minor tension that is overwhelmingly infused with rock energy. If a terrifyingly brilliant Dali painting were turned into to a song, this would be it. Live? It's an absolute monster.
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This is one of the best albums ever. That's all I really need to write about this episode. But there's so much more. A Night at the Opera has been recognized, praised, and celebrated as a massive inspiration for decades, and it was a game changer for Queen. Its success came at a critical moment for the band and the album not only kept them in the game, it catapulted them to superstardom.
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Yep, it's all coffee talk (literally) today. I'm procrastinating kicking off my next set of Queen Deep Dives (A Night at the Opera, I'm freaking out!) so I decided to talk about a light and happy thing that seems unimportant and silly but is such a joyous (if brief) part of my day. Coffee lovers unite.
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Cheez Whiz. Sitar. A shuffling beat. Termites. Doesn't make sense, does it? That's the brilliance of "Loser". When this song came out, there was nothing else like it. And who would have thought a song thrown together (in a kitchen?) within a matter of hours would hit the big time? Multi-instrumentalist Beck certainly didn't. But this is the song that kicked off his long and impressive career. He's performed "Loser" so many times live, it's probably been done in every genre imaginable.
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A more simple and square structure builds the framework for "In the Lap of the Gods... Revisited". Thanks to subtle nuances of chromatic notes, juxtaposed and evocative high and low vocals from Freddie, and addictively rousing melodies, this culminates into a wonderful closing track. It was a mainstay closer on Queen's tours for several years and shined brightest as a live number; being Freddie's first crowd participation composition.
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Odd, a little weird, kind of dark, but lovely and luscious, "She Makes Me (Stormtroopers In Stilettos)" is a Brian May number that wins me over every time. He takes the lead vocally (and in all harmonies) with sleepy acoustic guitars and persistent drums creating a dreamy, psychedelic and dissonant atmosphere we'll never again hear from Queen.
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In the biggest stylistic turn yet, Freddie's composition "Bring Back That Leroy Brown" has many instrumental features we'll (almost) never get again. Double bass. Banjo. Tack piano. And Freddie singing with such impressiveness, sounding jazzy and inspired by choral groups of the '50s or '60s. Visions of vaudeville come to mind listening to this surprisingly fun shift. And live? It's such a welcome refresh. Freddie calling the audience "lovies" is the sweetest thing.
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Almost 50 episodes and more than 30 Queen Deep Dives later, I've discovered how much I love podcasting. I'm so invested in this, I created an Instagram channel entirely devoted to this podcast, Tater Thoughts (link on my Anchor profile, or search for the handle @taterthoughtspod). Thanks for tuning in and here's to more Queen dives and music madness, and so much more...
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Finally, bassist John Deacon reveals his first contribution with "Misfire"! This lovely and joyful little number is a great representation of John's love for pop and soul, and it fits perfectly among the diversity of Sheer Heart Attack. John provided not only bass, but most of this tune's catchy guitars.
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Despite its brevity, "Dear Friends" is one of my favorites from Queen's Brian May. When he gets reflective and tender, his lovely lyrical artistry comes out. And in this classically-influenced piano number, Freddie delivers Brian's words beautifully, with both of the boys providing soft and sensitive backing vocals.
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The first song credited to all the guys. The first song Queen ever played live. One of the first speed metal songs, ever. "Stone Cold Crazy" made its mark, even though it was never a single. It's fast, furious, frantic and of course, fantastic. There's an interesting illusion with the tempo; and live, this number was pure fire.
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Who are you? I'm not talking about your name, or where you're from. I'm talking about your online persona. What do people perceive when they see what you share, and what you say? How are you using the power of social media and the internet? Are you aware of the tone you create, and the message you're sending? I think about all of this, and more, a lot. And I'm diving deep into human psyche and expression to pick it apart.
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This Freddie composition is one of Queen's rare operatically-tinged numbers, and guess what? There's something really, really cool about it. "In the Lap of the Gods" is one of my favorites, and I love Roger's sky-high falsetto vocals that are remarkably and beautifully controlled. Live, its subdued and dramatic energy could hold its own against Queen's rockier numbers.
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"Think I'll stay around!" From Freddie's soft vulnerability of the previous track to this (literally) rocking number, courtesy of Brian, that Queen played live more than any other song, "Now I'm Here" has a special quality that makes it lovable and memorable, even to the anti-Queen listener. There's a reason they played it live so much: It was the ultimate connection between performer and fan, and the fans simply loved it.
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This rare super-soft ballad showcases Freddie's versatility as an artist and exemplifies Queen's ability to play anything effortlessly with ease, grace and style. "Lily of the Valley" is uniquely tender and soft, tugging at the heartstrings and impressing at every turn. All the guys put their talents to incredible use in this striking number; one of my favorites from Freddie...and I'm not alone.
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Drama is the word of the day, and it's appropriate for this Freddie composition, "Flick of the Wrist". One of my favorites on Sheer Heart Attack, all the hard rock energy and dynamic shifts in style and tone from previous albums are packed into this succinct and impactful number. It always went over well live, and I wish the guitar solo just went on forever.
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It's creepy. I say that a lot in this random-tangent-thought episode, where I rave about the games I grew up with, and the ones I loved the most; including the immensely successful Doom and one of my favorite foes ever. Dive into nostalgia with me for all the incredible game soundtracks, impressive graphics, and massive online roleplaying you can handle.
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Drummer Roger Taylor's contribution to Queen's third album, "Tenement Funster" is a little more complex but maintains the rock 'n' roll edge Roger's established in earlier compositions. Queen never performed it live, but Roger occasionally sang it during solo tours in the '90s. It stands out against the many dynamic styles of Sheer Heart Attack. Appropriately raucous and full of attitude, it includes one of my very favorite lyrics, ever.
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We're in big hit territory now and it freaks me out. How do you pick apart something so many people love and know so well? By being way too enthusiastic, that's how. Triangle. Chimes. Jangle piano. There are so many clever surprises in "Killer Queen", and the lyrics are some of Freddie's best. This was a massive stylistic turn for the band, and it worked in their favor; especially when they appeared on Top of the Pops. It was such a big hit, they played it over 400 times live; their memorable '81 Montreal gig included.
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We kick off Queen's game-changing album, Sheer Heart Attack, with the playful, poised, but still edgy "Brighton Rock". The boys' more polished sound is immediately obvious, and this song features a special (lengthy) solo that's celebrated by many. It made for a great live performance, too.
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I'm back and excited to talk about Queen's fantastic and pivotal third album, "Sheer Heart Attack". Dive in with me as we go through the recording process, why this album was created so quickly, Brian's unique recording perspective and what the album's success meant for the boys.
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When you're in a place or a frame of mind where your heart is wide open, that's a happy place. Maybe it's not just a place, but a way of life. You can certainly bloom where you're planted, but if there's a place where blooming comes without trying, perhaps that's where you should be, or what you should be.
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The boys' sparkling closer on Queen II, and their first hit single, "Seven Seas of Rhye" is a short and sweet but impactful and effective rock number. It concludes one of my favorite song triads ever and makes me run faster. Freddie's brilliant lyrics here are some of my very favorites. The guys performed this on BBC's Top of The Pops in February '74, giving this track a boost and the band well-deserved attention. Find out what was so unique about that performance.
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Recent permeating feelings of alienation have me playing this on repeat. "Tom's Diner", originally by Suzanne Vega, has an interesting and long history. According to one fan on YouTube, it's "the song everyone knows but can never remember the lyrics or title." It started as an a cappella charmer and (much) later became a worldwide hit. An expression in isolation that's incredibly relatable; especially now.
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Here's a little gem in a style you'll never hear again from the boys. "Funny How Love Is" makes a vocal statement more reminiscent of The Beach Boys, and there's a big reason for that. Freddie's piano playing is lovely and the wall of sound production is entirely uplifting. An early rehearsal take exists!
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...and we're doing it. This was an intimidating song to dive into. "The March of The Black Queen" isn't just one of Queen's longest songs, it's one of their most complex, with key changes and chords and scales that rival almost every other masterpiece; including the great "Bohemian Rhapsody". And I freely admit, I think I love it even more. Running with this in my ear? Power.
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Atmospheric piano surrounds Freddie's sadness on this surprisingly poignant and moving number. Even in its brevity, "Nevermore" stuns and overwhelms. The honest and embellished BBC '74 performance was a gem I wasn't expecting to find.
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Freddie at his fantastical finest, "The Fairy Feller's Master-Stroke" takes everything Queen is possible of doing and crams it into two and a half minutes of sparkling mythological brilliance. A crowning achievement of stereo sounds, it includes instruments not often heard from Queen (including harpsichord). Find out more about the inspiration behind this song, Roger's thoughts about Freddie's detailed lyrical storytelling, and why I wish they'd performed it live more.
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Almost two months ago, I had to take a break from running after I tweaked my back. As I've started to get my running game back, I suddenly realized something I was subconsciously doing during my runs that was really, really bad. In a strange way, I'm thankful I've had to take a break from running, so I could have this opportunity to retrain and relearn techniques and form. When was the last time you thought about how you're working out?
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We kick off side two/the second side/the other side/the Black side of Queen II with Freddie's first composition on the album, "Ogre Battle". All fantastical, all mythology, a lot of storytelling and lots of key changes, this is Freddie fabulousness. A heavy theme of unified bass, guitar and drums take us into the thrashing fray. And it always went over really well live.
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What reads as a harsh song title turns out to be a tender ode to moms everywhere. Roger Taylor's sole contribution to Queen II, "The Loser in the End", is a solid heavy glam rock number with fun licks and riffs from Brian and John, and some nicely layered and dynamic vocals from Roger. Not to mention Roger's rhythm and drumming here, which is very impressive. Find out what makes this song so unique in the entire history of Queen's written archives.
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I'm fascinated with the human body, its complexity, its miraculous processes, and how despite those consistencies from person to person, we're all so very different. And how things in life affect us differently, like smell. Smell plays a very important role in our lives; more than you might realize... If you're a science or biology geek like me, dive in.
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A little (lotta) love for this beautiful number, which features Brian May on lead vocals for the first time. "Some Day One Day" is a lush, gorgeous trip into folk rock that's much more restrained than most Queen tracks before it. It's one of those seldom talked about songs that doesn't get a lot of attention. But I love it just as much. There's something magical about it...
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Sad, pleading, wanting and longing. "White Queen (As It Began)" is one of Queen's best ballads, and one of my favorite Brian May compositions. We're still in Moody May territory as we go through the White Side of Queen II. This is gorgeous and elaborate, with medieval tones, string-like guitars, and haunting backing vocals surrounding Freddie's tender performance. Find out why Brian's acoustic guitar solo has such a distinctive sound, and what made the live performances so special during the instrumental solos.
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This song is very, very special to me. Naturally, I'm going to elaborate way too much. But it's compulsory. "Father to Son" is the first time we get to hear Queen at full studio capacity. They finally had the time to record the most over-the-top and bombastic creations. Like kids in a candy store, they're living it up here; unbridled, (mostly) untamed, and appropriately dramatic, even live. The harmonies, the guitar solo(s), the extreme dynamics...this is an immaculate number.
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When you're faced with drama, stress, a crisis or unexpected obstacle, the weight of everything can fall on your shoulders. How do you stay calm and cool and focused? Here are some tips and tricks I try to focus on...since I'm such a drama queen when chaos strikes.
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This lovely little guitar-laden number, "Procession", begins one of my favorite albums ever; the first Queen album I fell in love with. It's a little Baroque, a little Renaissance, a little ancient, very classical, lots of keys, lots of moodiness, and appropriately dramatic. We kick it off, before we take off...but of course, I have to talk about Queen II.
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This my tenth dive into a Queen song, and it's the closing teaser track from their debut album. It may seem odd to include this gem at the end of an album, but it feels appropriately furious and elevating. The guys knew they were just getting started, and this song proves they'd be back for more. It's another adventure in Freddie's land of Rhye (previously explored in "My Fairy King") and would become a very important song for the band later...
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It might be surprising to hear a Queen song that tells the story of Jesus; or at least, part of the story. But here it is. Despite Freddie being raised in the Parsi Zoroastrian faith, he composed this tune. It's a contrast of folksy ballad and progressive rock with a driving breakdown. There's a lot of mystery under what appears to be a straightforward historical account. Many people, both believers and non-believers, hear this as a beautiful account of Jesus. Me? I'm a little more skeptical. But that's my overthinking mind for you. And that's the brilliance of Freddie's enigmatic writing. The words may be simple, but the emotion feels more complex.
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It's simple; my love for Bjork started with this song.
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Sonder. The Pale Blue Dot. The tininess of our home and all of us on it. So much is happening outside our lives that we're never aware of. So many different things. But so much sameness. If you're going through something, no matter how big or small, sharing your struggles is how we connect and support each other. Give yourself the time to vent and heal, but don't forget to get outside yourself once in a while, too. You might be surprised, you might feel a lot better, and you just might find yourself...
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This is all Brian, all reflective and emotional and a little opinionated. For the first time, we get into potentially controversial lyrical territory with "Son and Daughter"; a challenge of traditional gender roles, expectations, intentions, and human habits. It's wrapped up in a bluesy and hard and gritty delivery that feels dark and mysterious, and a bit sexy. Find out why I love the three-part harmony intro vocals so much, and the gems the live performances of this song contain.
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There are so many songs and albums and artists on my favorites lists, I simply can't not talk about them. So as much as I love Queen, I'm venturing into other musical territory, starting with this gem of a song, "Stoned", from Dido's second album, Life for Rent. It's a song I've loved for almost two decades, and despite the overwhelming number of times I've enjoyed it, it never ages.
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For the first time, Roger Taylor takes the helm as songwriter and lead singer on a Queen track with "Modern Times Rock 'n' Roll". It's appropriately rowdy, a big riot, and a lot of fun. There's no seriousness here; unless you're simply serious about your love for rock and roll. (Excuse me; rock 'n' roll.) The studio recording bursts quickly in less than two minutes, but live recordings and performances extend the excitement, with Rog having the best time in the world. Find out some fun facts about this short and sturdy number and don't forget to check out the slower, grittier BBC recording from '74.
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“We have two lives, and the second begins when we realize we only have one.” ― Confucius
For some of us, there is a definitive moment where our lives are split into a before and after. We go through something that completely changes who we are the deepest level; or at the very least, we're suddenly extraordinarily aware of who we really are and what really matters. If you've been through something that big, what did you take from it? How did it change you? Did you take something positive from it? Did it encourage you to embrace life even more? In this episode, I go into detail about my autoimmune disease, ulcerative colitis, and how (despite the struggle) it's brought me to a better place.
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Clearly this is "different". I didn't realize just how often I used that word talking about "The Night Comes Down". But this melodic, crooning, hummable and lyrical rock ballad truly is a unique Queen song. It's the oldest studio recording of a Queen track on a major studio album, was only played live once (sadness!) and is one of my favorites to harmonize with as I sing along. The guys show surprisingly mature restraint, and it results in a beautiful song. P.S. I love the engineered sound of Roger's drums on this track more than any other on their debut. Find out why...
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There's a reason this dive title is ALL CAPS. This song is an unrelenting and driving force to be reckoned with: A declaration of certain evil and death, despite your intent to be good, pure and focused. Maybe that's a little dramatic, but given the power of "Liar", maybe it's not? It's the longest song on Queen's debut, one of their best live (extended) songs, and includes the word "liar" so many times, you can literally make a mini-track of just the song's title. Dive in with me, it's gonna be a fun one...
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Sparkling, gorgeous and one of the best examples of Freddie's elaborate storytelling, "My Fairy King" takes the opulence of a typical Mercury composition and extends and enhances it; creating a singular world formed from impressive piano, vocal overdubs, unexpected guitar effects, emotional bass and pounding drums. Listen in as I mention Brian May's comments about this lovely Freddie track, and a surprising echo of lyrics I discovered in a much later Queen track. Dive in with me...I'm happy to be back!
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My promise to keep the randomness and mental tangents continues as I open with another totally irrelevant song lyric. But my focus here isn't music; it's running. Running is freedom. It's my happy place. It's not my only happy place, but it's certainly one of the best. I've been through tough times where I couldn't run. But the joy of coming back, even when I'm not quite ready physically? It makes it all worth it. Running is a place to imagine and take in dopamine-inducing music and admire the painted sky. Running is arms wide and I can do anything! Maybe that's just a dream. But it's a dream I want to stay in. What's your positive power? Embrace it, indulge in it, and renew with it.
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For the first time, I pick apart a fully Freddie Mercury composition; "Great King Rat", track number three on Queen's debut album. Long, loud, dramatic, it's a progressive early heavy metal track. And I love it. If you forgot just how heavy Queen was in their early days, or you never knew...get ready. This is Freddie's elaborate storytelling in all its glory, with lots of key changes, shifts in rhythm and plenty of guitar manipulations. No shortage of cymbals or amazing drum riffs, either... Check out the Live At The Rainbow performance for more impressive Queen.
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It's no secret that social media has influenced and affected us more and more over the years. As a communications professional, I've used social media for a long time. It's been valuable and helpful, and at times, an amazing tool. But sometimes, it's a challenge to navigate the misinformation and negativity, and every channel is not like the other. I'm putting my music chat on hold to ruminate over the subject.
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One of my favorites from Queen's debut, "Doing All Right" is a surprisingly soft and warm reflection that creates the perfect contrast against the more rock and roll tracks it's surrounded by. I talk the song's jazzier (almost folk-inspired) beginnings with the band Smile, and why I prefer Queen's '73 BBC live recording over the album version.
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It's only fitting that my first full episode is none other than my Queen Deep Dive introduction! Yes, I fangirled hard for over half an hour about these guys. They are my favorite band, and my comments and opinions are totally biased. But hey; if you love Queen like I do, or you just want to know more about what made these guys so stellar, I think you'll enjoy this. I wrote a blog to announce this series, but it simply wasn't enough. And I didn't even cover everything I wanted to talk about! No worries, there's always another opportunity. After all, there will only be a hundred or so episodes of Queen song talk. My goodness, that's a lot. No fear, though. "Rushing headlong; you've got a new goal!"
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Kicking this off is nerve-racking and exciting! I am a music-maker, a writer, a communicator, a dreamer, and an over-thinker. I love music and running and the color yellow and red wine and storm chasing. I have an autoimmune disease; an IBD. I'll talk about all of it, and likely more. I decided to keep my rough intro, because it's honest and genuine, and it's fun. After all, this whole thing should be fun, right? So hiccups and weirdness and unplanned drama included, this is Tater Thoughts...
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