Tater Thoughts

Nearing the end of Queen's album Flash Gordon, we dive into two tracks that are both Brian May compositions, "Crash Dive on Mingo City" and "Flash's Theme Reprise (Victory Celebrations)". Both incorporate various themes and surprising shifts in tone and arrangement, and both celebrate the bravery and devotion of our hero. Brian and the boys do a wonderful job capturing that energy.

Both of today's dives take us into Brian May territory; with an arrangement of a classic Wagner composition, and a collaboration with Roger Taylor. From warm and familiar orchestral guitar chords in "The Wedding March (based on "Bridal Chorus") to the tense and surprising "Marriage of Dale and Ming (And Flash Approaching)", we're covering a lot in these two tracks.

Not one, not two, but three songs are on the agenda today. "Flash to the Rescue" is a spin on the classic theme, and it's a lovely tense crescendo from Brian. "Vultan's Theme (Attack of the Hawk Men)" is a Freddie offering and a delightfully playful and energizing one. Finally, "Battle Theme", another Brian number, explodes with intensity, classic Queen guitar riffs, and plenty of rock 'n' roll flare (including some fabulous drums).

It's been a while since I recorded an episode! It's literally been weeks. But I'm back to chat with you once again, and this time, it's all about the real life.

These two songs/themes from Flash Gordon, "Arboria (Planet of the Tree Men)" and "Escape from the Swamp", are both minimal, stark and intriguing. John and Roger provide experimental, vast soundscapes that capture the atmosphere of a new world and a tense moment for our hero. I'm consistently impressed by Queen's ability to capture an emotion, a dream, and a vibe so well.

There's a lot of intensity and tension in these three compositions; and three different members of Queen brought them to life. Roger's "In the Death Cell (Love Theme Reprise)" is a deeper version of his already-dreamy track. John appears for the first time on the soundtrack with "Execution of Flash"; a sparse, pulsing and soulful piece. And finally, Freddie (along with composer Howard Blake) creates an emotional and cinematic soundscape in "The Kiss (Aura Resurrects Flash)".

We're talking two of Freddie's compositions from Queen's Flash Gordon album. "The Ring (Hypnotic Seduction of Dale)" features minimal mysteriously tense synths; that burst into "Football Fight", the first real melodic rock track we've had since the album's opener (and its b-side). It's a welcome treat to have all the boys back in rockin' form. From synths to guitars to bass to drums, the gang's all here, and it's quite fun.

I'm diverting from Queen for an episode to talk about some of my slip ups and trip ups and mistakes, how I recovered (or didn't) from them, and how going through those moments teaches you how to rise gracefully.

As I go through Queen's ninth album, Flash Gordon, I've decided to keep with the story of the film, and talk through some of these numbers together. And today, I'm talking about Roger's composition "In The Space Capsule (The Love Theme)", a surprisingly sweeping and atmospheric piece; and Freddie's first contribution to the album, "Ming's Theme (In the Court of Ming the Merciless)", the stark and unsettling synth arrangement surrounded by intense dialogue.

Brian's composition "Flash's Theme", the only single taken from the soundtrack album, kicks us off on this next round of dives. Brian contributed much of the instrumental performance in this song, and sang lead vocals with Freddie. They both sound fantastic, and Roger's high harmony? You know it's hair-raising and fabulous. And so is that timpani. And John's pounding bass. Pedal bass. As fun as this is on the album, it's even better on a stage.