Tater Thoughts

My Queen II boxset finally arrived, and I’m beyond jazzed to kick off my next adventure of Queen Deeper Dives! I’ve been digging deep into every version of every album track. Brian’s genius opener intrigues with intensity and intention that’s both classical and rock, edgy and ethereal. With layers (and layers) of guitars, the hum of Queen II shifts into brightness in the 2026 remix. BONUS: the Sessions take reveals a simple but effective trick that blew my mind… 🤯

As I (still) await the arrival of my Queen II Collector’s boxset, I’m continuing my new series with an episode all about how I do what I do! From seeded ideas (there are still many on my list) to episode notes to recording settings to publication to promos (color-coded for Queen talk), there are many steps in the process — and I do it all myself. If you’re curious, dive into the details with me…

No sugarcoating… I’m presently recovering from a concussion. And while I wait for my head to heal, I’m waiting for something else. I’ve yet to receive my order of the Queen II Collector’s Edition boxset. And in that waiting, I’ve rediscovered the magic of something long forgotten — delayed gratification and the anticipation of newness that results in cherished experiences. This was the perfect moment to kick off my new series: The Human Frequency.

In teasing style, we wrap Queen I with Freddie's magnificent tail out of a song. As brief as it is, every version (Queen, Queen I, Sessions) solidifies the band's 'but wait, there's more' energy. I also dig into my impressions of Queen I after diving through every track in detail — and why my opinion likely aligns with fans who've been following the band since day one. Hint: it has to do with frequency fog.

Freddie's contemplative account of the Prince of Peace may not be so surprising when you consider his early enthusiasm for fantasy, mythology, and the fight between good and evil. Though he'd later disown this, every version (Queen, Queen I, De Lane Lea, Sessions, Imperial College) carries its own intensity and color—and extended opportunities for Freddie to sing in gospel style, Rog to cymbal-shimmer, John to hold it down and Brian to showcase his lyrical solo playing.  

Brian's stomping exploration of human intention versus human capacity is one of Queen's best examples of dark and gritty, bluesy rock 'n' roll. It demands dirt and buzzing and harshness, and as we explore various versions of this song (Queen, Queen I, BBC, Sessions), we discover how sonic imperfections (and extended breakdowns) might be the ultimate amplifier for an ideal rock-out performance.

As I kick off my sixth season(!) of my podcast, I'm taking a break from Queen and music; and leaning into my life experience to offer you encouragement, ideas, and inspiration. It's been an interesting and bumpy journey. But I'm still here, so are you, and I can only hope the brightness persists as we do more than simply survive — we live.

Roger's first contribution to Queen blasts out of the gate and while it might be an intentional (or even subconscious) nod to another band, it stands on its own as a blazing statement of presence. Various versions (Queen, Queen I, Sessions Take, BBC Session 4) take us through the song's creation to an impressive performance that might take the cake as the ultimate best. This may be a lot of noise to some, but it feels deeper than that (to me).

One of my favorites on Queen's debut, "The Night Comes Down" is Brian's glittery and somber acoustic-driven ballad. It's a standout in their entire catalog; and not just because it's the only De Lane Lea demo to make it onto their debut (it's also the oldest Queen recording on any official release). Its notably subdued and softer sound provides the perfect moment to compare every version (Queen, Queen I, Sessions, De Lane Lea disc). It's a gem of a song that shines differently in each mix.

When it comes to capturing every facet of Queen on their '73 debut, there is no better example than "Liar". Its powerful tension and controlled chaos are expertly expressed through a dynamic lead vocal, intensely layered guitars, a colorful percussion performance and a commanding bass; not to mention impactful backing vocals. Breaking down every version (Queen, Queen I, De Lane Lea, Sessions, BBC), I was surprised to discover just how varied the character of each performance is; and which version I ended up preferring.

I'm kicking off my new micro-series by visiting Robyn's fantastic "Honey"; a song that deserved a special spot on my Chillout list and one I've listened to so much, it might as well be an anthem. It sounds like it feels, and feels like it breathes. It simultaneously takes you places and holds you tight. It's a magical track that only came to be after years of reworks and revisions. And it was totally worth it. Whether you dig the original album cut, the demo version, any of the remixes, or a live performance.. it's a gorgeous and incredibly, sensually human song.

When was the last time you allowed yourself to be yourself; and gave it away? I had a moment at my recent hair refresh appointment that both terrified and lifted me. And it gave me a new perspective on my previous podcast episode (which I'd contemplated deleting or editing).

In 2020, I embarked on a 30-day challenge to choose a favorite Queen song in various categories (favorite ballad, favorite album opener, etc.). I hadn't revisited that list in some time, and I thought it would be a blast to see if my selections still ring true. Bonus: I'd love to hear from you and find out some of your favorites! Drop me a line.

Possibly one of the first Queen songs conceived, "My Fairy King" is Freddie's first epic song on their debut, and it's the first time we hear his expansive piano skills. As we explore various versions of this song (including the precious Sessions take) we'll break down what makes this such a stunning display of intention, talent and storytelling.

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.

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...

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.

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.

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.

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.

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...

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...

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.

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.

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. 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.

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.

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.

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.

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.

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.

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.

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.

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.

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...

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...

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.

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.