Tater Thoughts

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.

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.

"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.

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.

"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...

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.

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.

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.

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...