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.

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.

"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.