Tater Thoughts

Heard for the first time in 1991, the long-lost "Mad The Swine" finally landed in its rightful place on Queen's debut album when it was remixed and re-released in 2024 as Queen I. We'll go through three different versions of this soothing gem and talk a supposed live performance; plus a sneaky spoken lyric hidden in the second chorus that I still can't figure out.

Throwback. Nostalgia. 2000s. It was an easier time and a breezier time. As I navigate through the challenges of life, I'm recapturing brighter feelings and dreaminess by escaping into some of my favorite chill tunes of yesteryear. Cruise through my curated playlist with me to (re)discover some of the best of the chillout genre (and other genres like it, including trip hop, dark wave, etc.). BONUS: Here's a link to my playlist, with an extra-chill song I impulsively added at the end. I'll probably talk about that one later...

"Great King Rat" is still one of my favorites on Queen's debut, and diving into various versions of the song has made me appreciate it's complexity all the more. We're talking one of the earliest guide takes, the De Lane Lea cut, live performances and of course we'll compare the original Queen and Queen I mixes. You might be surprised which one wowed me the most this go round...

Brian's (and Tim Staffell's) "Doing All Right" gives us a contrast of ballad tones and heavier prog rock, seamlessly blended in this reflective number. We'll compare various recordings; including the original Smile take, the Acoustic Session, and the difference between Queen and Queen I versions. I also included a BBC take for one special reason. Plus, I'm beginning to notice a trend with the Queen I mixes. And I elaborate more on frequency ranges and their importance within a song.

To acknowledge the freshness of Queen's debut, now titled Queen I, I'm finally diving deeper into each of the album's prog-rock songs. And as we get into Queen's first single we'll talk the De Lane Lea demo, the Sessions cut, the comparison of the Queen and Queen I versions, live performances, my favorite iteration and another take that'll really keep you alive. Bonus, I get into promo video fun facts; including the boys' first try and raw reel footage.

Has something ever happened to you that you couldn't explain? Something instantaneous, and obviously outside of your control. Something miraculous and life-changing. It sweeps in and changes you and brings you back. It lifts a weight off of you. Yeah, that happened to me. And before I talk more Queen on my podcast, I have to tell you my little story.

How many times can one say the word 'brilliant' in a podcast episode? Someone count and tell me, because I was totally unaware as I went through my list of artists and bands I love; who happen to have reinvented themselves a fair number of times. Through this episode, I explore the motivation of reinvention, whether it's innate or subconscious or extremely strategic (or all of the above). And yes, we'll talk Queen.

I am going to throw so many facts and names at you in this episode, your head will be spinning; in the best, most royal and regal way, of course. But a Queen album kickoff must be done in style, and as I revisit this remarkable debut from this unforgettable and powerful band, I'm proud and excited to share some of the coolest facts I've discovered about our favorite boys. Come with me, and let's once again visit my favorite Queen era...

I indulged in Queen's newly remixed and remastered debut and I want to share my thoughts with you. In addition, as I obsessively listen to Queen I and fall madly in love with the sessions disc and can't get over the fresh sound, etc., I've realized...I can do something fun with this...

ICYMI, Queen unveiled the re-release of their debut, now called Queen I; with entirely remixed songs (that sound like they always wanted), a plethora of alternate takes, early takes, a photo book, and more. To celebrate this announcement, the guys teased with the remixed cut of deep track "The Night Comes Down", one of my favorites. They also shared the official video for the newly mixed song. All of the newness is exciting. But it hasn't gone unnoticed that new technology has been used to modernize this latest material. Dive in with me, and let's remember to celebrate the newness! Plus, I mention Wings of Pegasus, don't forget to check it out.

It's okay. I must have said that ten or more times in this episode. Because no matter what age we are, we have boxes to check. Things we want to do and see and be. And when we fall short, and we fail, we wonder what's wrong with us; when so many around us live seemingly perfect lives. Nothing is wrong! And their lives aren't perfect, either. We're all just trying to get by. I talked about a lot of things here, got pretty passionate and obstinate, and there are moments where I (nearly) contradict myself. But the point is, no matter what your life is right now, it's okay, and so are you.

I always name the man who stole my attention the most on the most recent album I've finished diving through. With Queen's 12th album, I struggled. I actually considered naming giving two men the equal honor of stealing my ears away. But while on a recent road trip I had plenty of time to ponder, and given the pop inclinations of this album, it's soulfulness and bouncy vibes, I realized...I kept noticing one Queen much more than the others. P.S. Plenty of tangents in this short and sweet episode.

The closing number of Queen's 12th album and Freddie's only contribution as sole composer, "Princes of the Universe" captures earlier rockin' Queen and features many fast-paced moments and thrills. Freddie sings aggressively throughout, Brian's solo is epic, Roger plays live drums with bombast and John pounds his bass like no other. The Townhouse early master showcases the brilliant instrumentation. But for all its loudness and impressive chord changes, I'm left wanting more.

One of the danciest rock things Queen ever did (and really, it sometimes feels nothing like Queen), Roger's "Don't Lose Your Head" is driven by bombastic percussion that never gets a break, Brian's echoing gritty guitars and Freddie's crystal clear vocals (lead and all backing). But I don't know if I believe Freddie as he implores us to chill out. The instrumental version "A Dozen Red Roses For My Darling" amps the dance elements, almost taking us into early techno territory. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Brian brings the heat, the roar and a guitar bagpipe solo in "Gimme the Prize (Kurgan's Theme", an aggressive and demanding metal-tinged anthem inspired by Highlander's villain. Distorted guitar layers and Freddie's sharply delivered full chest vocals make this one of Queen's heaviest songs. It was never performed live but several "eYe Versions" exist (Queen: The eYe Soundtrack), omitting the impressive intro and all film sounds. Some fans dig the aggression, Brian's bagpipe solo and Freddie's screams and cackles. But me? Well... --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Life has a way of reminding us we're seldom in control. Life comes at us, things happen, and we're pushed to the ground. When we go through turmoil and tragedy, it changes us; forever, and sometimes deeply. But as we decide to fight and we rise, something remarkable happens, and we suddenly realize...this is what I've been missing. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Brian's grandiose "Who Wants to Live Forever" was ignored when Queen's twelfth album was released. Nevertheless, the song has become a fan favorite. Inspired by Highlander's love story, Brian wrote it quickly in the car, laid down the entire track and its impressive chords in the "Skips Demo" versions, and worked with a full orchestra to create one of Queen's absolute best. Brian and Freddie contribute lead vocals, Roger busts out strategic and impactful percussion, and Brian's guitar is soulful. This is one of my favorites: A powerful live number and an evocative piano piece. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Another gorgeous Freddie/John co-write and one of Queen's last piano-driven songs, "Friends Will Be Friends" is an impactful power rock ballad that emphasizes the importance of relationships. Freddie performs his lyrics with impressive dynamics, tackling massive intervals effortlessly. Brian's guitar is soulful as ever, complimenting Freddie's brilliance. John provides rhythm guitar alongside his immaculate bass, and Roger's delicate percussion is perfection. Live, this was a moving number tucked between two longstanding setlist closers; and fans loved it. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

There comes a time when we realize...we're doing way too many things in this attempt to do everything. Sometimes, life demands compromise, and we have to set aside our aspirations simply to function. But when we're given the opportunity to love life, and not just live it, we should be absolutely intentional only with what matters most. Don't spread yourself too thin. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Freddie and John's collab, "Pain Is So Close to Pleasure", is such a well-executed motown pop rock number. Brian embellishes with soulful guitar and Roger may or may not appear on accented percussion. It's a lively contrast of lighthearted vocals and dreamy chords against heavier concepts, and key changes aplenty. The remixed single version (and its extended mix) provides a bit more energy. But I admit, I often forget about this song... --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Nearly a John and Freddie collaboration, the ballad "One Year of Love" is unapologetically romantic. Brian (and perhaps Roger) is absent, and a saxophone fills the solo space, along with sweeping strings. John's hands on nearly all instruments create a lush and relaxed atmosphere, with Freddie crooning in controlled expressions of sensitivity and confession. It's a heartfelt performance and incredibly pretty, but something about it occasionally takes me out of the magic... --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

I wanted to talk about something fun and music related, so we're going through my top songs by play count, on my old iPod Nano. We're covering a lot of genres here! From industrial experimentation to funk rock to hard rock to hip hop pop...you might discover something new and fall in love. Bonus: A link to the live version of one of my favorites; and you can see my left hand go up at 3:08. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

One of Queen's best pop singles, "A Kind of Magic" started life as a mashup in "A Kind of Vision" and was elevated to grand energy in Roger's original version (featured in the Highlander film credits); before Freddie injected a commercialized streak, creating the final take that would be released as a single. This lively song features everyone at their best, whether restrained or unleashed. Isolated vocals showcase the brilliance of subtle and effective production. And the boy's live performances have brought my love and affection for this song to a ridiculous level. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Arguably one of Queen's best album (and concert) openers, "One Vision" kicks off album twelve with heavy rock and brighter pop elements. It's credited to the entire band and perfectly blends Roger's (original) lyrics, Freddie's powerful playfulness, Brian's rock hooks and John's bopping bass. There's even a documentary of their energetic collaboration. But this song began as a combined demo with another great Queen number, and does in fact close with a request for food. Live, it was a powerhouse performance, and one of Queen's finest. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

After Queen's The Works in 1984, the band wanted a break. But the success of Live Aid led to fresh developments, and an opportunity to contribute songs for the film Highlander. Those invigorating and energized songs shaped the boys' 12th album, the pop rock celebration A Kind of Magic. The first digitally produced Queen album, its plethora of synthesizers didn't impress some critics. But fans' affection reigns supreme, and it resulted in Queen's final (and in some ways, most memorable) tour with Freddie. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Voted the greatest live performance in the history of rock. The Note Heard Round the World. Queen at Live Aid was an incredible moment that unified and encouraged and roused us. To this day, it's heralded as one of the best, if not the absolute best, rock moments ever. And we have four fabulously talented men to thank. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Whether or not we realize, we are resilient beings. Our spirits retain a resilience even our miraculous bodies cannot touch. Despite the fear and doubt we sometimes feel, we have the ability to rise. It's almost supernatural, and otherworldly. But when we're challenged and we're facing the toughest struggles, something compels and encourages us to hope harder, and rise above it. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

When it came time to name the man who stole my ears the most on this dynamic and accessible album, I hesitated. I couldn't decide. And then a recent interview drove me to reassess and revisit the songs. The expression. The emotion. Throughout every genre tackled in these compositions, one thing suddenly pulled it all together more than anything else. And there was only one man who could take the crown. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Pensive isn't often a word used to describe Queen's music. But Brian and Freddie's co-written "Is This the World We Created...?" is a perfect example of urgent restraint and seriousness, created with a sparse arrangement of 12-string guitar and tugging vocals. Moved by visions of disturbing living conditions in Africa, our co-writers took a unique approach to write this song, resulting in one of the band's most moving and beautiful compositions; notably performed at Live Aid, but perhaps even more stunning at Wembley. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

A sturdy rock number from Brian, "Hammer to Fall" is about death; which seems to be one of Brian's favorite subjects. Nevertheless, the energy of this song is rousing, impressive and electric, an almost empowering take. Freddie is in fine vocal form, busting out some impressive high notes. And Roger's bombastic drums are back (as are his aggressive harmonies). No shortage of Brian's riveting guitars and rounded backing vocals. And John particularly impresses with interesting basslines. This was a live favorite for good reason, and Brian gave it his own soft twist in '98. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Have you always detested current artists and musical trends? Hey, I see you. I was, and to an extent, still am that person. For various reasons, I wouldn't listen to music everyone else loved; partially because I thought it to be boring and surface and lifeless. What I failed to notice at the time was just how genius many of those songs were, and the talent and intentions of the artists who made them. They did and continue to do things I never could as a singer. So I'm diving in and I encourage you to explore the world of music you once hated. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Freddie's brilliantly stirring "Keep Passing the Open Windows" is a remnant of a film production project. His piano is melodic and sustained, sweeping and epic; along with his lead vocal performance. Roger, Brian and John provide impressive instrumental performances full of bombastic enthusiasm, ostinato, grit and soaring melodies. There's even a moment of throwback Queen choral vocals! It was never played live but two demos were preserved. A rare and unique treat, this song means an awful lot to me for one important reason. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

A beloved declaration, John's sole contribution to The Works "I Want to Break Free" is breezy pop rock at its best. Freddie's expressive vocal (and video) performance often lead listeners to assume this is his number, but John's work on acoustic guitar and synthesizer (as well as bass) in the sparse arrangement leave no doubt. Brian and Roger appear briefly to round out this addicting radio-ready confection that rocks harder and louder on stage. It's become an anthem and continues to win more fans, but upon its initial release as a single, it didn't fair well everywhere... --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

A rare Roger-Brian collab, "Machines (or Back to Humans)" features blipping Fairlight synths, programmed drums and a vocoded Roger bounced against Brian's rocking guitars, John's jiving bass and Roger's energized live percussion. Freddie's lead vocal is magnificently aggressive and commanding. Fans forget about this, but it's a ridiculously relevant topic of the moment, as the boys create a lively battle between man and machine. And about that instrumental remix... --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

A lively rockabilly tune, Freddie's "Man on the Prowl" bops and jives like another tune before it. Though its familiar vibe feels less original and is certainly less complex, Freddie provides dynamic and impressive stylized vocals and piano, Roger and John hold it down with snappy live drums and a boogie woogie bass, and Brian rocks out on a Fender Telecaster. Bonus: The ending features some impressive piano glissandos, courtesy of guest musician Fred Mandel. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

I intended to talk about this weeks ago, and since then, so much has happened in the world of artificial intelligence. Copyright concerns. Regulations. Experiments. In many ways, AI isn't new. In the music world, it's been around in various forms for decades. But thanks to recent technology advancements, we're all hyper-focused on AI, and whether you're inspired or terrified, it's good to be aware. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Freddie delivers a powerhouse vocal performance in his touching and dramatic declaration "It's a Hard Life". Incorporating operatic and ballad elements, this song echoes several earlier Freddie compositions and continues his journey of love. It's also a welcome return to Queen's no-synths approach, with all the boys returning full force to their respective instruments and wall of sound choral harmonies. As impactful and powerful as the album version is, I'm surprisingly torn about the live performances. And  the flashy video polarized the band. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

The heaviest tune on The Works, "Tear It Up" comes at us hard and fast, courtesy of Brian's composition genius and Freddie's aggressive vocals. It echoes many previous Queen tracks (and not all of them are Brian numbers) but we welcome its unabashed sexiness and rousing, gritty rock 'n' roll vibe. It even mentions a previous well-known Queen song. Not a lot is said about this by critic or fan, and it's not the most impressive live Queen performance. But something about it keeps me coming back for more. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Roger's first big hit with Queen, "Radio Ga Ga" kicks off The Works with invigorated, celebratory energy; and of course, nostalgia. Inspired by a phrase blurted by Roger's young son Felix, this song has become an anthem that features classic Queen enthusiasm and heart, with a healthy dose of synthesizers. It's the most atmospheric we've heard the boys, and despite the indifference from many (including fans), I think people really like this...and it's not just because of the Live Aid performance. Or the imaginative video (or its outtakes). --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

After the lackluster response to funk-infused Hot Space, Queen took a break and came back fresh, uniting with enthusiasm to create their 11th album, The Works. For the first time, the boys made a conscious decision to rely on their tried and true rock 'n' roll style while retaining some of their recent and more minimal pop and dance vibes. They "played it safe" to reaffirm their presence and reconnect with fans. Press and the public lauded this as the boys' return to form. Its tracklist is short, and some find the fusion of rock and pop uneven. But it packs a joyous punch that's fresh and invigorating. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

In the ever-changing rapidly shifting digital world, social media is one element that never sits still. And as sentiments change and concerns arise and questions are asked, I had to ask myself...how do I feel about the social media platforms I use? When I'm on them, how does that affect me? And when you're on social media, how do you feel? The good news is...if something's not working for you, there's always another option. It's possible to find your social happy place. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

The synth bass. The dynamic compositions. The attitude. The vocals. When I listen to Queen's tenth album and its many funky and danceable twists and turns, one man stands out to me more than the rest. We're reminded that his ability to perform in every genre ever is innate, and his confidence and swagger are through the roof. From his impressive falsetto to his album art concept, this man epitomizes Hot Space. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Evolved from a Queen demo called "Feel Like", and fueled by an iconic bassline, "Under Pressure" is the miraculous unplanned collaboration between Queen and David Bowie that continues to win new fans. Its universal relevancy makes it a timeless piece of intense urgency contrasted with cautious optimism. Bowie's experimental approach to songwriting ignited Queen's talents, and what we ended up with, live or in the studio, is a song that deserves all the praise it gets; and then some. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

This rare Freddie Mercury/John Deacon co-write almost included improvised vocals from another notable performer. But perhaps, it was for the best that they were removed? "Cool Cat" is a minimally funky and jazzy number that perfectly encapsulates that groovy era. Roger and Brian sit this one out, but in Freddie and John's capable hands, this song jives and moves along comfortably, endlessly listenable and incredibly relaxing. Freddie's falsetto is truly something special. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

It's sad that as we age, we may feel as though we matter less; that the best is behind us, that we're past our prime. We may feel nostalgic and regretful for opportunities missed and goals unmet. But our perspectives also shift, and what mattered so much suddenly doesn't anymore. We change, but in some ways, we don't. We still feel, deep within, the same way our younger selves did. And I hope we retain the enthusiasm and dreams of youth. That's what keeps us going. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Brian's previous passionate reflection culminates in "Las Palabras de Amor (The Words of Love)". He brings acoustic and electric guitars, synths and keys, and even provides lead vocals at a crucial moment; as well as haunting backing accents. Freddie's lead vocals are some of his most natural, tender and dynamic. John's bass arrangement includes surprising movement. And Roger's drumming echoes much earlier Queen albums (with plenty of magical cymbal work). If it wasn't obvious (because I must have said and sang the word so many times), I love this song. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Roger's second offering on Hot Space (and the first Queen single release written by him), "Calling All Girls" takes us on a poppy rock ride. The boys are all playing real instruments again, bopping along as Freddie sings loud and clear for all to hear. Roger even adds some guitar feedback as Brian provides sparkling and jiving guitar layers. The song's video may not have pleased at least half the band, but the live performances were altogether magical. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

An ode to John Lennon's artistry, Freddie's "Life is Real (Song for Lennon)" is also a stunning and affecting confession from our frontman. It's a beautifully constructed ballad with aching phrases of doubt and fear: A revealing admission. All of the boys shimmer here, with shocking restraint that still evokes. Roger's delicate drums, John's lyrical bass, and Brian's soulful guitar all make their mark. But Freddie really owns this; piano, synths, graphic lyrics and a gorgeous vocal. And live, it's even more fantastic. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Is there a part of your life that looks and feels completely alien? You might be asking yourself how you got there, how it happened; maybe how you let it happen. If that's the case, it's time to assess. It's time to reflect, to ponder, to navigate. Get feedback. Get help. And when it's time to make a decision, take a step forward in confidence to something new, and better. --- Send in a voice message: https://anchor.fm/tater-thoughts/message

Brian's second contribution to Hot Space, "Put Out the Fire" is the most Queen song on the album. All four boys are back in classic form, on live drums and gritty guitar (including a stellar guitar solo) and rolling bass glissandos. Freddie sounds fabulous in his aggressive full voice register, and we get a welcome return of layered vocal harmonies. This song sounded epic in its abbreviated live performances, but wasn't played often. And there's likely a big reason for that... --- Send in a voice message: https://anchor.fm/tater-thoughts/message

Roger's first contribution to Hot Space calls us to stand and take "Action This Day". It's a poppy, dance rock number with new wave inflections and contrasted vocals between our composer and our frontman. John is totally absent, as Rog performs many of the instruments (including synth bass) and Brian jives with Roger on electric guitar tradeoffs. This sounded stunning on a stage, and audiences responded enthusiastically. And about that low note in Roger's harmony vocals... --- Send in a voice message: https://anchor.fm/tater-thoughts/message