Tater Thoughts

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.

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.

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.

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.

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.

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.

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.

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.

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...

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...