Tater Thoughts

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.

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.

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!

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.

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.

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.

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.

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.

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.

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.