Roger Taylor
Electric Fire

Roger Taylor has learned his lesson. Twenty years of being part of one of the greatest rock bands have effectively taught him how to produce a good record. After all, Taylor himself likes to refer to his band as a great mother, which has seen him grow over the years from a simple drummer to an author and performer of excellent songs. And Electric Fire is the album you wouldn't expect from a born drummer, also because there are no traces of rhythmic fury and everything is aptly blended, well-played, and never over the top.

In this album, the skillful work of embellishing a song emerges, which for Queen was an undisputed art. It is important to remember that Taylor was, in the '80s, on par with more renowned May and Mercury in songwriting, being the author of splendid hits like Radio Ga Ga, Breakthru, and Heaven For Everyone. Hence, it was reasonable to expect that this faculty would be expressed in his solo work as well.

Unlike Brian May, Taylor did not disappoint expectations: in Electric Fire there are tracks where the shadow of the queen can be clearly seen and which, therefore, would very likely have been considered in a hypothetical album by the band. Aiding him undoubtedly are his warm and gritty voice, which he has learned to manage better with time, and his ability to play virtually any traditional rock instrument. Impressively, the author maintains balance, delegating individual instruments to himself and the skilled musicians accompanying him.

Of course, all that glitters is not gold; there are less successful tracks that lower the album's overall appeal. Nevertheless, one can't help but leap from one's seat listening to songs like Tonight and Where Are You Now?. The former is a sweet acoustic guitar ballad, the latter a sincere homage to Freddie Mercury, with a truly surprising piano solo. These two tracks, magnificently sung, nonetheless leave a bitter taste for what could have been and wasn't. A similar sensation arises from the grandiose The Whisperers, which evokes the atmosphere of Innuendo, albeit with a somewhat weak refrain. The two more rock-oriented tracks are also beautiful, No More Fun and Nation Of Haircuts, where Taylor enjoys crafting riffs worthy of the "guitarist," his adventure companion.

The aspect of the lyrics fares worse; while the author pursues ironic and critical themes about himself and society, it remains acceptable. However, it edges towards the pathetic when themes become more sentimental and introspective.

All right. What remains of Queen is in the studio with Paul Rodgers, recording the new album. Roger Taylor is obviously present as well: for fans of the queen, but I would say for everyone, here's this record to discover and listen to, which is among the few decent things released by the band members since the grim November ‘91. A reason for consolation, but also hope for the music that will be...