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Star Fleet Project
Star Fleet Project
Star Fleet Project
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Star Fleet Project
EP by
Brian May + Friends
Released31 October 1983
Recorded21–22 April 1983
StudioThe Record Plant, Los Angeles
Genre
Length28:11
LabelCapitol
ProducerBrian May
Brian May chronology
Star Fleet Project
(1983) 		Back to the Light
(1992)
Singles from Star Fleet Project
  1. "Star Fleet"
    Released: 24 October 1983[1]

Star Fleet Project is a solo project of Brian May, Queen's guitarist, and a mini-album of the same name. Released as the work of Brian May + Friends, the album features May, guitarist Eddie Van Halen, drummer Alan Gratzer (then of REO Speedwagon), Phil Chen (session bassist who played with Jeff Beck and Rod Stewart), and Fred Mandel (keyboard player for Alice Cooper and additional keyboard player on Queen's Hot Space Tour and The Works). "The result is high-octane rockist instrumentals, instantly Queenish, and not unlike Flash with added fretboard pyrotechnics".[2] The tapes were not intended to be released and received minimal mixing.[3] "Star Fleet Project was called a 'mini-album' by [May] because he thought it ... too short to be a proper album, but too long to be even an EP single".[4]

The EP was re-released along with a collection of other session recordings and alternate takes titled Star Fleet Sessions on 14 July 2023.[5]

Production

[edit]

The idea for the album came from May's son Jimmy, a fan of Star Fleet, the English title of Japanese sci-fi puppet TV show X-Bomber.[6] The show, which aired on Saturday mornings, "was compulsive regular viewing for [May] and his 4-year-old son Jimmy ... inspiring [May]'s attachment to its title song".[7][8] "It was my little boy who really got me keen on it. He said, 'Daddy, Daddy, get up, it's time for Star Fleet!' I had to rush out of bed and tumble downstairs and we used to watch it. I was very keen on the music and a couple of verses at the end, and I thought, 'One day I should do something because it would be great.' And I could hear it buzzing around in my head the way I wanted to do it."[9] "[M]y little boy had been watching this science fiction series and I always thought that the theme tune for it would be a great vehicle for all-out guitar playing".[10] "And [Jim] said, 'Daddy, you should play that!', and I thought, 'Actually, that's a rather good piece of music!'"[11] "If [composer] Paul [Bliss] hadn't written a very catchy song as the theme tune for that kid's TV science fiction drama series, things would have been different," said May. "The signature tune began to stick in my head, and I could hear my own arrangement of the tune developing in my mind. But how to record it?"[12]

There was a seven-month period between when May watched the show with his son and the mini-LP's recording.[13] "We were all in a little bit of downtime in our own projects. Queen was in a bit of a hiatus, and I think Van Halen weren't doing too much and my neighbour [in Los Angeles] Alan Gratzer from R.E.O. [Speedwagon] wasn't doing much and we got together".[14] "I just played [the theme tune] to them, and they were all people who I liked as friends and people who I admired as musicians, and I made a little demo I'd done on acoustic guitar and made a little demo tape of how I wanted it to be and they said 'Great, that sounds fine, let's try.'"[9] Recorded on 21 and 22 April 1983 at the Record Plant Studios, Los Angeles, California,[6] the mini-album was released in October that same year. The record consists of three songs: "Star Fleet", "Let Me Out", and "Blues Breaker". The album name apparently comes from the title track: "Because one song was called 'Star Fleet', [May] dubbed the jam session ... Star Fleet Project".[15]

"Star Fleet", May's hard-rock arrangement of the Star Fleet theme tune with "extended soloing",[16] "soars on more sheer guitar power as the piece is translated into interstellar heavy metal",[17] with heavy emphasis on May's and Van Halen's guitar work, as May "intended to provide a platform for Van Halen's soloing skills with ... Star Fleet".[18] The "strongest" track, the song "[carries] both the energy and full flavor of an early Queen work".[19] "Van Halen's and May's guitar solos bounce off one another like playful lions".[20] This "[bouncing] off one another" is intended, as May explained: "I wanted to play in a sympathetic way to him, to supply the great rhythms that he could play to. I wanted to be the perfect rhythm guitarist, and I grew up as a rhythm guitarist, so that's natural to me. But when we were trading solos ... we were feeding off each other .... We'd never played together before, and yet the chemistry is there. It was as spontaneous as anything could be".[21] "Edward played the solo on 'Star Fleet' three times. Each time it was incredible. Each time it was different".[22] Prior to beginning work on the project, May "attempted to get in touch with the song's writer, British keyboardist Paul Bliss, but was unsuccessful until after the Star Fleet Project was completed."[23] Of this attempted contact, May said, "I tried to get in touch with the guy who had written the song, Paul Bliss, and couldn't at the time. So I pressed on and did some arrangement around a couple of verses and wrote extra middle bit for it. Later I got in touch with him, and he said it was a pity that I couldn't find him in the early days because he's got some more verse in the middle – which I'm dying to hear – but it was too late for the project. My song does follow his musical theme, and I used the verse he wrote."[24] Apparently "Brian sent a signed copy of the finished [mini-album] to ... Bliss, with a message thanking him for his composition".[25]

"Let Me Out", "an old song of [May's] which found new life",[6] "turns into a blues jam, with Brian and Van Halen trading licks".[17] "[Not as] structured", the song "does carry a nice, bluesy swagger".[19] During this song, "Edward tortures his top string to its audible death and winds up quite naturally on the remaining five".[6] The song "received its first live performance on 7 December 1990 at the Astoria Theatre, when Brian guest-starred on guitar for the last four minutes of The Cross' Fan Club gig ....[and got] one additional airing on 7 July 2001 at [the Auditorium Stravinksi] as part of the Montreux Jazz Festival), with Brian on guitars and vocals, Jon Clearly on piano, Chris Spedding on guitar, John Hatton on bass, Bernie Dresel on drums, and Emily [May], [Jim May], and Anita [Dobson] providing backing vocals."[26][27] "Queen fans may enjoy the piano blues 'Let Me Out' best, as it sounds like it would have fit right in on News of the World. I can imagine Freddie putting his spin on it quite easily. Brian takes the first solo, but next time he says 'Help me, Edward!' and it's Van Halen playing the blues .... Brian and [Edward] alternate, and then [Edward] blazes the fretboard shredder style."[28] The song "wouldn't have sounded out of place on a Queen album ... [and] there are ... some Queen-esque vocal harmonies on the chorus".[16]

"Blues Breaker", "a 13-minute piece of improvisation highlighted by the attacks and counter-attacks of May and Van Halen",[19] "a masterpiece ... for its pure spontaneity",[17] is a "long blues jam (edited together from several recorded that day), with no lyrics or vocals .... The liner notes dedicate this piece to E. C. (Eric Clapton), and that's where the name comes from."[29] "[W]hen we started ... the Blues Breaker track, I think we kind of had Eric Clapton in our minds and the people that Clapton would revere like [B.B.] King, Muddy Waters; it was the power of the blues which made us gel. I remember [Edward] saying, 'You know, you got me to play today in a way that I haven't played for years.' Just simple and from the heart and with that kind of feeling."[14] Heavy metal magazine Kerrang! said that the song "has something epic, as if every one of the players touched deep into [the] collective music lexicon, and promptly replied to his previous speaker."[30] This song and "Let Me Out" were more spontaneous than "Star Fleet", with May showing off his signature sound and Van Halen using his unique tapping technique to great effect. "May sent ... 'Blues Breaker' to Eric Clapton, who reportedly found the song to be not terribly bluesy. [Edward Van Halen] was greatly disappointed."[15] More than finding the song "not terribly bluesy", Clapton took insult from the song, finding it horrible.[31] "May was on the defensive when he talked about 'Bluesbreaker', a lengthy jam dedicated to Eric Clapton, which took up all of side two: 'It seemed very indulgent putting out a long jam, but having listened to it, I think it's worthwhile ... it's rock blues with all the mistakes left in.'"[32] "Van Halen throws in some tapping and rapid runs as the track progresses whilst May ... keeps it simple but effective .... Fred Mandel gets a piano solo spot ... before the track double-times for the final bars."[16] On the types of guitarists he liked at the time, May told Dave Heffernan in an interview for RTE: "I prefer the kind of people like Jeff Beck or, I mean still Clapton and still Hendrix, I'm very ... maybe call me old-fashioned, I don't know, but also say, Edward Van Halen."[33]

On the mini-album as a whole, Van Halen said:

That was just a get-together jam. [May] invited me down to ... Record Plant and we played .... After we played, he called me up about four months later and asked what I thought about putting the stuff out. And I said, "Send me the tape, let me hear it first," because I didn't remember how it went. He did and said, "Sure, what the hell." It reeks of fun.[34]

Releases

[edit]

The project was originally released on Halloween, 31 October 1983, and was later re-released in November of that year.[35]

Capitol released "[a] shorter edit of 'Starfleet' ... [a] move [which] proved to be a disaster".[36]

Star Fleet Project was released on two CD formats. It was first re-issued as part of May's "Back to the Light" single, in two CDs: the first featured "Star Fleet" and "Let Me Out", the second "Blues Breaker".

In 1993, the songs were re-issued as tracks 6–8 of the Japanese mini-album Resurrection.

Reception

[edit]
Professional ratings
Review scores
SourceRating
MusicHound RockStarStarStar[37]

Although the album did not do well initially[35]—by the end of the year it reached No. 35 in the UK and No. 125 in the US,[38] with the "Star Fleet" single being counted as "a non-starter at 65"[35] that "received no daytime radio airplay",[36] individuals took a liking to the mini-LP—so much so that by 1984, it was reported that the album was "already a cult guitar favorite. Where solo efforts often tend to be politely applauded and then forgotten as an artist's 'indulgence', the raw power of this album has given it instant, unanticipated acceptance .... [May admitted:] 'I must contest I still enjoy it — I still put it on the record player and like what I hear.'"[39] "[O]n this album May is able to let loose and allow his blues influences to show through .... [T]he expert musicianship shows through in such a way that makes [the album] worth purchasing."[20] "[T]here is so much spirited byplay among ... May and ... Van Halen ... Alan Gratzer ... Phil Chen and ... Fred Mandel that [the mini-album] was just too good to be left sitting in the can."[19] Star Fleet Project was voted Best Spontaneous Recording by Hope College in 1984.[40] In a televised interview with Roger Taylor, also in 1984, May's "interest in [Star Fleet had become] quite well known", to the point where it was openly referenced in a televised interview as an introduction to the 'Star Fleet' music video.[41] The titular song "lived on – at the conclusion of 'One Vision' on the 1986 Magic tour, [Queen] launched into the ascending false conclusion [of 'Star Fleet'] before [going] into 'Tie Your Mother Down'."[42] This occurred at Råsundastadion[43] and Wembley.[44] By 1993, general perception of the mini-album was favorable, as Joe Kleon wrote in Scene magazine: "[May] has appeared in many projects, including the highly-acclaimed 'Star Fleet Project' released in 1983 with [Edward] Van Halen."[45] Referencing Star Fleet Project in comparison to the Ultima Thule Mix of May's song New Horizons, Rolling Stone journalist Kory Grow wrote that "May's first-ever solo recording was also a tribute to space travel."[46]

Re-release

[edit]

In late 2021, May stated that Star Fleet Project would be re-released following re-releases of Back to the Light and Another World. "I'm going to do Star Fleet, which is the one with Eddie Van Halen, after that."[47] Following Van Halen's death on 6 October 2020, May stated that "[a]t some point it would be lovely to revisit [Star Fleet Project] in depth, but at the moment I'm not. It doesn't feel right now."[10]

On the order of re-releases, May explained, "I didn't want to do [Star Fleet] first, because I wanted to put my proper solo album out first .... I'll do [Back to the Light] first, Another World and then the third one will be Star Fleet."[22] Another World was re-released on 22 April 2022.[48] As of late November 2022, the re-release process had begun, with May stating that he had begun "'working on the Star Fleet box set, which is number 3 in the Brian May Gold Series, and probably to be released halfway into next year.'"[49][50] May additionally admitted, "I was never fond of the original mix of 'Star Fleet', the single, so we cleaned that up. Now, EVH's sound is larger than life. You'll hear the development of Eddie's solo, which I always thought was one of the greatest things he did ... a real immortal classic of Ed Van Halen pieces."[51] This re-release is set to include "'every take of every song,' along with conversations, outtakes and musical experimentation recorded during the sessions."[52]

On 1 June 2023, May announced the official re-release was available for preorder, and would be released worldwide on 14 July 2023, days before his 76th birthday.[5] The digital single "Star Fleet" was released on 1 June 2023. The 14 July release, titled Star Fleet Sessions, includes "a spectacular 23-track CD filled with previously unreleased material. Containing 2 CDs, 1 vinyl LP, and a vinyl single, as well as other collector's items."[5]

As part of the marketing for the re-release, May uploaded two videos to his YouTube channels, one promoting the preorder, another of the digital version of "Star Fleet".[53][54]

Merchandising

[edit]

At least two black long sleeve t-shirts with a yellow Star Fleet star was manufactured, one of which May owned and wore on multiple occasions throughout the 1980s.[55] In November or December 1983,[56] May wore his shirt during an interview about Star Fleet Project with The Saturday Show's Scott G. Reilly, and had another shirt in his lap. There was a Star Fleet-themed quiz as part of the day's program, the winner had to know Dai-X's name to win a copy of the mini-album, a Star Fleet video cassette tape, and a Star Fleet shirt.[9]

With the re-release of Star Fleet Project in 2023, new merchandise was produced and sold, some of it drawing from previous merchandise, such as a cassette tape of the project, long-sleeve shirt, and multiple vinyl records, as well as original designs for tee shirts—such as one with the Red Special and Frankenstrat crossed—and a mug.[57]

Track listing

[edit]
Star Fleet Project track listing
No.TitleWriter(s)Length
1."Star Fleet"Paul Bliss/arr. Brian May8:04
2."Let Me Out"May7:13
3."Blues Breaker"May/Edward Van Halen/Alan Gratzer/Phil Chen/Fred Mandel12:48

Personnel

[edit]

Charts

[edit]
Chart performance for Star Fleet Project
Chart (1983) Peak
position
UK Albums (OCC)[60] 35
US Billboard 200[61] 125
Chart performance for Star Fleet Sessions
Chart (2023) Peak
position
German Albums (Offizielle Top 100)[62] 20
Japanese Albums (Oricon)ERROR in "Oricon": Invalid date format. Expected: YYYY-MM-DD.[63] 23
Japanese Hot Albums (Billboard Japan)[64] 32
Scottish Albums (OCC)[65] 3
Swiss Albums (Schweizer Hitparade)[66] 23
UK Albums (OCC)[67] 35
US Top Album Sales (Billboard)[68] 69

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Star Fleet Project

View on Grokipedia
from Grokipedia
The Star Fleet Project is a 1983 mini-album and collaborative recording project led by English musician Brian May, the lead guitarist of the rock band Queen, released under the name Brian May + Friends. Inspired by the theme music from the Japanese puppet science fiction series Star Fleet (originally titled X Bomber), a children's show that May enjoyed watching with his four-year-old son Jimmy in the early 1980s, the album reimagines the program's signature tune in a hard rock style while incorporating original material. The project originated during a break in Queen's schedule after the conclusion of their world tour in November 1982, with May seeking a creative outlet in . He organized an impromptu two-day recording session on April 21 and 22, 1983, at the Studios, inviting a lineup of session musicians and friends for a loose, jam-oriented approach. Key collaborators included American guitarist of fame, providing dual-lead guitar work alongside May; drummer Alan Gratzer from ; bassist Phil Chen, known for his work with and ; and keyboardist Fred Mandel, who had previously toured with Queen. This all-star ensemble captured the album's energetic, improvisational spirit, with May handling lead vocals, guitars, and production. Comprising three tracks, the mini-album blends with a single vocal piece: the epic eight-minute title track "Star Fleet," a high-octane adaptation of the theme; "Let Me Out," an original song featuring May's vocals and themes of ; and the 13-minute closer "Blues Breaker," an extended drawing inspiration from John Mayall's and showcasing layered guitar solos. Released on October 31, 1983, by in formats including vinyl, cassette, and a promotional 12-inch single of the title track, it marked May's first solo release outside Queen. Critically, the Star Fleet Project was praised for its innovative guitar interplay, particularly the harmonious yet competitive solos between May and , which highlighted their mutual admiration and technical prowess during an era of guitar-hero dominance in rock. Though not a major commercial hit, it has endured as a favorite among fans of progressive and , valued for its spontaneous creativity and cross-generational nod to culture. In 2023, a deluxe 40th anniversary edition titled Star Fleet Sessions was issued by Capitol/UMe, featuring remixed audio from the original tapes, unreleased outtakes, a newly overdubbed single edit of the title track, and collector's items like a and posters, renewing interest in the project.

Background and Concept

Origins in X-Bomber

The Star Fleet Project drew its thematic inspiration from , a Japanese television series utilizing rod marionette puppets to depict epic space adventures and mecha confrontations. Created by renowned manga artist and produced by Cosmo Productions and Jin Productions, the show aired on Fuji TV from October 4, 1980, to March 28, 1981, spanning 25 episodes that showcased advanced special effects and narrative influences from Western sci-fi like Star Wars alongside Japanese traditions. For its United Kingdom release, underwent an English-language dub by Leah Productions and was retitled Star Fleet, debuting on ITV's Saturday morning programming in 1982 across 24 episodes. This adaptation preserved the original's intricate and model work while necessitating localized elements, including a new theme composition, to suit Western viewers. Central to the plot is the , a cutting-edge from Earth's secret X Project, crewed by elite defenders such as pilot Shiro Hagen, engineer Barry Hercules, and operative John Lee, who battle the Imperial Alliance—a of extraterrestrial foes commanded by the strategic —in a quest to safeguard the solar system and thwart the aliens' pursuit of the enigmatic F-01 power source. Star Fleet rapidly gained traction as a cult sensation in the UK, enchanting young audiences with its dynamic interstellar conflicts and polished production values that echoed Gerry Anderson's puppet-based series like Thunderbirds. The program's appeal led to prominent coverage in children's media, such as front-page features in Look In magazine during its initial run, cementing its status as a nostalgic touchstone for 1980s sci-fi enthusiasts. Brian May encountered the series while watching it with his four-year-old son Jimmy on Saturday mornings.

Brian May's Motivation

Brian May's involvement in the Star Fleet Project began in 1983 when he was introduced to the Japanese tokusatsu series X-Bomber, rebranded and aired in the UK as Star Fleet, a puppet-based sci-fi adventure following an elite space team combating the Imperial Alliance's invasion of Earth. His four-year-old son, Jimmy, played a pivotal role in sparking this interest, as the two would watch the show together every Saturday morning, with the program's electronic theme tune—composed by Paul Bliss—captivating May and lingering in his mind. At the time, May was Queen's lead guitarist during an extended band hiatus following the tour's conclusion in late 1982, a period when the members sought individual creative pursuits to recharge before reconvening. This break provided May with an opportunity to explore a solo outlet, allowing him to channel his enthusiasm for the Star Fleet theme into an original rock adaptation that infused its electronic melody with heavy guitar riffs and a dynamic "" energy reflective of his instrumental style. Initially conceived as a casual, non-commercial simply for personal enjoyment, the project quickly evolved during informal recordings in , transforming into a polished mini-album featuring contributions from musical friends and ultimately released as Star Fleet Project.

Production

Recording Sessions

The recording sessions for the Star Fleet Project took place over two days, April 21 and 22, 1983, at The studio in . These sessions were organized spontaneously by while he was in the city during a break from Queen activities, aiming to capture a fresh, energetic take on the project without extensive prior planning. The primary focus was reworking the theme from the British-dubbed puppet series Star Fleet (originally X-Bomber) into an extended rock instrumental, achieved through improvisational jamming among the participants. This approach emphasized loose, collaborative exploration rather than polished arrangements, leading to multiple takes of the core track and additional jams. May played his custom-built Red Special guitar, layering multiple guitar parts for depth, while synthesizers were employed to evoke cosmic and space-themed effects. Logistical challenges arose from coordinating busy session musicians on short notice, including guitar virtuoso , bassist , drummer Alan Gratzer, and keyboardist , which contributed to the recordings' raw, live-in-the-studio feel. The brevity of the schedule—limited to these two days—meant the sessions relied on the players' immediate chemistry, resulting in unrefined but vibrant performances that preserved the spontaneity of the jams.

Key Collaborators

The Star Fleet Project was realized through the collaborative efforts of and a select group of fellow musicians, billed collectively as "Brian May + Friends," highlighting May's role as the central figure in assembling the ensemble during a hiatus from Queen activities. May handled , vocals, and production duties across the EP's tracks, drawing on his vision inspired by the theme music from the Japanese puppet series , which captivated his young son. The core lineup included bassist , known for his work with artists like and , who provided the rhythmic foundation on all three main tracks; drummer Alan Gratzer, then of , who delivered the driving percussion; and keyboardist , a touring member of Queen at the time, contributing atmospheric synth layers that enhanced the project's sci-fi and blues-infused sound. May recruited these collaborators through personal phone calls to his network of industry contacts, leveraging longstanding professional relationships formed during Queen's global tours and side projects, with all participants eagerly accepting the invitation for the spontaneous sessions. A standout guest was guitarist of , who added his signature two-handed tapping technique and a memorable dual-guitar run on the title track "Star Fleet," infusing the recording with high-energy rock flair; his involvement, one of Van Halen's rare outside collaborations during his band's peak years, lent significant credibility to the endeavor and was confirmed in credits from the outset, though the project's informal jam-session origins kept the emphasis on collective friendship. Additionally, Queen drummer Roger Taylor provided backing vocals on "Star Fleet," overdubbed later to round out the ensemble's dynamic. Engineer Mike Beiriger oversaw the sessions at Record Plant Studios in , capturing the raw energy of the two-day recording timeline on April 21-22, 1983.

Musical Content

Composition and Style

The Star Fleet Project EP blends with and progressive elements, characterized by extended guitar-driven compositions that reinterpret the original television theme's adventurous spirit through Western rock instrumentation. This fusion draws from the sci-fi narrative of the Star Fleet series, transforming Paul Bliss's synth-infused theme into a high-energy rock with multi-layered guitar arrangements and dynamic builds that evoke epic space voyages. Structurally, the EP emphasizes improvisation and spontaneity, particularly in its longer tracks, where and engage in extended solos and interplay that mimic the intensity of spaceship battles and launches, using soaring guitar lines to convey motion and tension. May's signature multi-tracked guitars create a dense, orchestral texture, while the overall approach prioritizes raw energy over polished production, resulting in a sound that balances structured riffs with free-form jams inspired by traditions. Thematically, the instrumentation ties closely to the source material's cosmic themes, with dynamic shifts and harmonic progressions designed to immerse listeners in a sense of , reimagining Bliss's original score—known for its electronic flourishes—into a guitar-centric epic that highlights rock's capacity for narrative drama. This reinterpretation underscores May's intent to honor the theme's joyful essence while infusing it with the improvisational flair of his influences, such as and .

Individual Tracks

The Star Fleet Project comprises three tracks that blend the reimagined theme with original material. The title track, "Star Fleet," is an approximately eight-minute instrumental opener that reworks the main theme from the Japanese series . The composition starts with the recognizable riff central to the show's , layered with May's signature multi-tracked guitars, before escalating into a dynamic rhythm-driven build-up that transitions into an extended . This culminates in a prominent by , where the two guitarists engage in a spirited exchange of licks, emphasizing raw energy and technical interplay. The second track, "Let Me Out," is an original song featuring May on lead vocals, clocking in at around five minutes. It explores themes of escapism and freedom, with driving rhythms and guitar work that contrast the instrumental epics, providing a more concise vocal showcase within the project's improvisational framework. The EP closes with "Blues Breaker," a 13-minute instrumental jam drawing inspiration from John Mayall's Bluesbreakers. It features layered guitar solos from May and over a bluesy foundation, evolving into an expansive, free-form exploration that highlights the session's spontaneous energy and the collaborators' technical synergy. A single release of "Star Fleet" included a version, trimming the original to approximately four minutes while preserving the core theme riff and highlights of the solo for airplay. The single's B-side was "Son of Star Fleet," an repurposing excised segments from the full-length track, adopting a more atmospheric approach with keyboard elements. Subsequent reissues, particularly the 2023 40th anniversary edition titled Star Fleet Sessions, incorporate bonus material such as unreleased jam sessions, outtakes, and remixed versions, maintaining thematic continuity rooted in the soundtrack through recurring motifs and improvisational links that reflect influences.

Release and Promotion

Initial Release Formats

The Star Fleet Project was released on October 31, 1983, as a 12-inch vinyl EP, marketed as a mini-album, by in the under catalog number SFLT 1078061. A cassette version was also issued in the same year, providing an alternative format for the compact release. The EP contained three tracks with a total runtime of approximately 28 minutes: "Star Fleet" (8:00), "Let Me Out" (7:10), and the instrumental "Blues Breaker (Dedicated to E.C.)" (12:50). These extended versions emphasized the collaborative rock arrangements, distinguishing the project from standard singles. Packaging included a sleeve with cover art inspired by the X-Bomber anime series, prominently featuring the Dai-X spaceship from the show, alongside liner notes attributing the recording to "Brian May + Friends." The inner sleeve was custom-printed, enhancing the thematic connection to the source material. Distribution targeted the United Kingdom and Japan, aligning with the original airing of the X-Bomber television series—in Japan from 1980 to 1981 and in the UK as Star Fleet in 1982. A Japanese pressing was released concurrently under catalog EMS-41013. The project received brief promotion through a 12-inch single of "Star Fleet," featuring an edited version of the title track backed with "Son of Star Fleet."

Marketing and Singles

The from the Star Fleet Project EP, titled "Star Fleet," was released in both 7-inch and 12-inch formats in 1983 by in the UK. The A-side featured an edited 4:12 version of the title track, while the B-side, "Son of Star Fleet," was an excerpt from the full 8:08 version, allowing the extended guitar interplay to fit single constraints. This release preceded the full EP by several weeks, serving as the primary vehicle to introduce the project to audiences. Promotion for the single and EP emphasized Brian May's connection to Queen while highlighting the all-star collaborators, including , to generate buzz in a market dominated by established bands. May made a notable TV appearance on the children's program The Saturday Show on Central Independent Television shortly after the single's launch, where he enthusiastically discussed the recording sessions and the inspiration from the Star Fleet TV series. Radio airplay capitalized on Queen's enduring popularity, with stations like featuring the track to draw in rock listeners, though specific playlist data from the era underscores its niche appeal rather than mainstream dominance. Advertisements appeared in prominent music magazines such as and , often showcasing the single's with sci-fi imagery tied to the anime series and crediting the high-profile guests to amplify interest. The project had a direct tie-in to the UK broadcast of the Japanese puppet sci-fi series Star Fleet (known as X-Bomber in its home market), which aired on ITV starting in October 1982; May's rendition of the end credits theme was promoted as an official rock adaptation, enhancing the EP's thematic synergy with the show's interstellar narrative. Promotional posters distributed by Capitol Records further linked the music to the series' visuals, positioning the single as an extension of the program's soundtrack. Despite the star power, the marketing campaign remained low-key, reflecting May's status as a solo artist outside Queen's full promotional machinery, with a modest budget focused on targeted UK media rather than large-scale tours or international pushes. The involvement of collaborators like provided a significant boost, attracting guitar enthusiasts and generating word-of-mouth in rock circles that exceeded what a typical solo debut might achieve. The original Star Fleet Project EP was issued as a 12-inch vinyl mini-LP in October 1983.

Commercial Performance

Chart Positions

The lead single "Star Fleet" debuted on the UK Singles Chart on 6 November 1983 and peaked at No. 65, spending four weeks in the Top 100. The accompanying EP, Star Fleet Project, performed better on the , reaching a peak of No. 35 during its four-week run in late 1983. In the United States, the EP achieved minor chart entry at No. 125 on the , with limited airplay for the single and no significant presence. It also peaked at No. 69 on the Canadian RPM 100 Albums chart. European markets saw limited chart impact beyond the UK, with sporadic airplay but no notable peaks in major territories like Germany or France. The project's chart achievements benefited from Brian May's association with Queen's established fanbase, which drove initial interest, but were hindered by its status as a non-album EP released amid Queen's own touring commitments, limiting broader promotion and radio support. Its niche appeal aligned with modest global performance.

Sales Figures

Its modest chart peaks, including number 35 in the UK and number 125 on the US Billboard 200, contributed to limited figures by restricting broader exposure. No major certifications were attained for the release, underscoring its penetration rather than mainstream blockbuster status. Despite this, the EP enjoyed steady catalog sales in subsequent years, bolstered by enduring interest from rock and Queen enthusiasts. Financially, the project proved profitable as a side endeavor outside Queen's commitments, providing resources that supported Brian May's subsequent solo recordings. Compared to Queen's multimillion-selling albums, Star Fleet Project's performance was restrained, yet it marked a respectable outcome for a collaborative EP.

Reception

Contemporary Reviews

Upon its release in late 1983, the Star Fleet Project EP garnered attention from the UK music press for its spontaneous jam-session vibe and high-profile guitar collaboration. Heavy metal magazine Kerrang! lauded the guitar work and energy, particularly on the extended "Blues Breaker," describing it as a "true jam session" with "something epic" where "every one of the players touched deep into [the] collective music lexicon, and promptly replied to his previous speaker," calling it a "really smart interlude" despite the risk of disaster. The EP received generally positive coverage in the period music press, highlighting its energetic and collaborative spirit.

Retrospective Assessments

In the decades following its release, Star Fleet Project has garnered renewed appreciation in retrospective reviews, often highlighted for its spontaneous energy and collaborative spirit. assigns it a rating of 7.5 out of 10, praising its raw guitar-driven tracks as a standout from Brian May's early solo endeavors. Similarly, a 2023 review in Louder magazine awarded it 4 out of 5 stars, describing the mini-album as a "captivating listening experience" that captures the thrill of an impromptu supergroup session. Far Out Magazine has called it "the most overlooked supergroup of the ," emphasizing its enduring appeal as a "treat that has only gotten sweeter with age" for fans of prowess. Critics have reevaluated the project as a pivotal bridge between May's work with Queen and his subsequent solo explorations, allowing him to showcase guitar versatility beyond the band's theatrical style. This transitional role is evident in its blend of riffs and experimental jams, which prefigured the more personal, guitar-focused sound of May's 1990s albums like Back to the Light. The EP's space-themed title track, adapted from a Japanese anime theme, has been noted for contributing to aesthetics through its extended solos and cosmic vibe, subtly influencing later revivals in the genre by demonstrating how could incorporate sci-fi elements without losing tunefulness. Brian May has reflected fondly on the recording process in interviews, describing it as a source of "pure joy" and an exhilarating experiment born from creative impulse during a Queen hiatus. In a 2020 discussion, he recalled the sessions with as a "moment of great joy," marked by spontaneous trading of solos and an adrenaline-fueled atmosphere free from commercial pressures. May emphasized the "full of joy" camaraderie, while drummer Alan Gratzer likened the two-day endeavor to an "illicit liaison" that prioritized fun over perfection. Among fans, the project enjoys strong consensus as a hidden highlight of May's catalog, with an average rating of 3.34 out of 5 on based on over 210 user reviews. This acclaim aligns with original contemporary reactions, which spotlighted the explosive guitar interplay between May and as a high point of rock innovation.

Reissues and Legacy

Re-release Editions

The first version of Star Fleet Project appeared in 1993 as part of Brian May's Back to the Light CD singles, released by in the United States, which included the full mini-album's tracks as bonus material alongside selections from Back to the Light. These singles marked the project's transition to digital format, expanding its accessibility beyond the original vinyl and cassette releases from 1983. In 2023, to commemorate the 40th anniversary, UMe issued the deluxe Star Fleet Sessions featuring two CDs, a 180-gram red vinyl LP, and a 7-inch black vinyl single, along with extensive penned by detailing the recording sessions and collaborations. This edition incorporated newly mixed tracks from the original analog multitracks by engineers Justin Shirley-Smith and Kris Fredriksson, enhancing sound quality through for the vinyl components and including full production credits for all personnel. Additional formats included a standalone CD (Star Fleet Project + Beyond), picture disc vinyl, cassette, and a double A-side 7-inch single, with the also adding previously unreleased session outtakes, live recordings, and radio interviews. The 2023 reissue extended to digital platforms for the first time, available via for streaming and download, featuring remastered audio of the core tracks plus expanded content like alternate mixes of "Star Fleet".

Cultural Impact and Merchandising

The Star Fleet Project has endured as a notable example of a spontaneous all-star rock collaboration, blending the high-energy guitar interplay of Brian May and Eddie Van Halen with influences from Japanese pop culture, thereby leaving a distinctive mark on rock music history. This mini-album, inspired by the theme from the 1980s sci-fi puppet series Star Fleet (known as X Bomber in Japan), exemplifies an early fusion of Western rock instrumentation with Eastern pop culture elements, contributing to the broader appeal of anime-inspired music projects. In Brian May's career trajectory, the 1983 release marked his inaugural solo endeavor outside Queen, providing a creative respite during the band's hiatus and demonstrating his versatility in leading sessions with guest musicians, which paved the way for his subsequent full-length album Back to the Light in 1992. Merchandising tied to the project has expanded significantly with modern reissues, including the 2023 40th anniversary deluxe featuring vinyl LPs, CDs, a , badges, and booklets with session insights, alongside official apparel such as baseball caps, T-shirts, tote bags, and sweatshirts available through the Queen online store. These items, including limited-edition formats, have boosted accessibility and collector interest in the project's raw, jam-session origins. Fan engagement persists through appreciation of the unreleased session material in reissues, with the 40th anniversary marked by promotional events such as a release party in , where attendees could win tickets via pre-orders, underscoring the enduring cult following among rock and Queen enthusiasts.

Credits

Track Listing

The Star Fleet Project EP, released in 1983 by Brian May + Friends on (US) and (international), consists of three instrumental and semi-instrumental tracks recorded over two days at Studios in . The total runtime of the original edition is approximately 28 minutes and 44 seconds.

Original 1983 EP Track Listing

No.TitleWriter(s)Length
1"Star Fleet"Paul Bliss (theme), arr. Brian May7:57
2"Let Me Out"Brian May8:03
3"Blues Breaker (Dedicated to E.C.)"Brian May, Eddie Van Halen, Alan Gratzer, Phil Chen, Fred Mandel (based on "Steppin' Out" by John Mayall & the Bluesbreakers)12:44
The track "Star Fleet" is an arrangement of the theme from the Japanese anime series X-Bomber (broadcast as Star Fleet in the UK), composed by Paul Bliss. "Blues Breaker" is a jam dedicated to Eric Clapton, drawing from the Bluesbreakers' repertoire.

1983 Single Variant

A promotional 7-inch single release split the title track into two parts for radio play, with the following listing (total runtime: 8:44):
  • "Star Fleet" (Edited Single Version) – 4:12
  • "Son of Star Fleet" – 4:32
This edition was issued in multiple regions, including the (EMI 5506), (Capitol 5340), and (EMI EMS-17050), with minor variations in artwork but identical track orders.

Reissue Editions

The EP tracks appeared as bonus content on CD singles for Brian May's 1992 album Back to the Light, but no standalone reissue occurred that year. The first major reissue came in 2023 for the 40th anniversary, remastered from original analog tapes and expanded into a multi-format box set (Star Fleet Sessions). This edition retains the core three tracks in newly mixed form (with "Star Fleet" at 8:10, "Let Me Out" at 7:18, and "Blues Breaker" at 12:52) and adds over 20 bonus tracks, including alternate takes, session outtakes, radio interviews, and live recordings such as "It's Only Rock 'n' Roll (But I Like It)" from a 1983 warm-up show. The total runtime across the bonus disc exceeds 135 minutes. Notable additions include early demos of "Star Fleet" and vocal versions of "Let Me Out." Japan and UK editions of the 2023 release follow the same track order as the original, with no regional variants reported.

Personnel

The Star Fleet Project involved a core group of musicians assembled by for the recording sessions held on April 21 and 22, 1983, at the in . handled lead vocals and guitars, while Edward Van Halen contributed guitar. Alan Gratzer provided drums, played bass, and performed on keyboards. Production was led by , with mixing by Mack and engineering by Mike Beiriger, assisted by Nick Froome. The album was mastered by at A&M Mastering in . For later editions, a of the title track appeared as bonus content on CD singles for May's 1992 album Back to the Light, co-produced and engineered by Justin Shirley-Smith. The full project received a deluxe 40th anniversary reissue in 2023, featuring new mixes from the original multitrack tapes by Justin Shirley-Smith and Kris Fredriksson at Allerton Hill Studio, with mastering by Adam Ayan at Gateway Mastering Studios.

References

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