Tater Thoughts

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.

A few episodes ago, I talked about the musical dopamine rush, and I didn't touch half the stuff I wanted to discuss. So I decided to dive into more detail about the structure of music, the importance of emotional and artistic authenticity, how good production and intention makes a difference, and just a few other random things I thought of. If you're a lover of music, I hope you'll enjoy this...

Brian is once again folk-inspired in this lovely magical and melancholy number, "Long Away". Seldom commented on, this beautiful song doesn't get the attention it deserves. It's simple, with minimal use of chords, but its arrangement includes offbeat instruments and voices, and John's bassline is incredibly melodic. In a way, this sticks more than Brian's earlier (and more well known) "'39" does. I hear it in my head a lot.

When Freddie goes all in with his passion and obsession, there's almost nothing better. "You Take My Breath Away" does just that; with a sparse piano instrumental arrangement that leaves Freddie all the room in the world to provide multiple perfectly-performed vocal harmonies. His voice here is something else entirely...and live, it was just as stunning.

The same elegant and thoughtful Brian May who brought us reflective pieces like "Some Day One Day" and "Good Company" gives us this raucous celebration, "Tie Your Mother Down". It's almost universally loved as one of Queen's hardest rockers, and was a mainstay on setlists. As the opening number for A Day at the Races, this song includes an intriguing intro of moody gong, a taste of guitar from a later album number, and an inspiring variation of the Shepard tone; which bookends the album to create a circle of sound. Sure, Brian penned the aggressive "Son and Daughter" previously, but something about this screams louder, in a sexier way, than just about anything else before it.

There's no hiding my love for this album, Queen's gorgeous and beautiful A Day at the Races. For the first time, the guys sound really comfortable and even more indulgent. We have the diversity of Sheer Heart Attack, the richness of Queen II, and the melodic and operatic tendencies of A Night at the Opera...all packed into the guys' fabulous fifth album. It's quite playful, but there are surprisingly darker moments, too.

It took me far too long to talk about the great musical dopamine addiction. Discover the secrets of the power of music with me. I researched several intriguing studies that detail music's effect on the brain, and how it influences us physically and emotionally. I also go through several songs that give me this amazing rush.

I nearly forgot to (fully) announce my Queen band member pick for this album. When it comes to 'Opera, Brian impresses me most. I know, you don't even have to say it..."BOHEMIAN RHAPSODY". Freddie Mercury and his miraculous rhapsody. But, I have my reasons for naming Brian my top pick for this album! And they are many.

Brian closes out A Night at the Opera in glorious fashion with "God Save the Queen", a stunning arrangement with countless guitars creating an orchestral wall of sound. This contemporary spin on the classical and traditional de facto UK National Anthem is extremely important in Queen's career; beginning in '74, even before the band released 'Opera. And it remained an important piece through their tours, for more than a decade, and beyond.