Tater Thoughts

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...

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.

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.

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...

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...

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.

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.

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.

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.

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.

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.

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.

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.

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...

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...

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.

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.

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.

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).

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.

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.

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.

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.

An ode to John Lennon's artistry, Freddie's "Life is Real (Song for Lennon)" is also a stunning and affecting confession from our frontman. It's a beautifully constructed ballad with aching phrases of doubt and fear: 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.

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...

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...

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.

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.

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.

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.

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.

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.