freddiemercurydaily
Freddie Mercury Daily
Welcome to Freddie Mercury Daily , his first, largest and best fansite source about Freddie Mercury, Best known as Frontman of The Band Queen. Here you will find information about Freddie,s projects, as well as news, photos and videos from Freddie.s and Queen life. We hope you enjoy and come back often.
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4 December 1979, Queen performed their second evening @ The City Hall, Newcastle, England
“Crazy Tour”
The second evening at Newcastle is the earliest known instance of Queen opening with ‘Jailhouse Rock.’
Here’s an awesome fan story:
“When the tickets went on sale for the Crazy tour in 1979 they sold out before I overcame natural inertia. Some time later I was in City Hall, Newcastle Upon Tyne, UK trying unsuccessfully to buy for another concert. This time I was a day early! Being as I was at the head of a queue I naively asked if they had any Queen tickets. The girl looked at me and sneered. They had had six tickets returned that morning and wasn't I a lucky xxxxxxx. She only allowed me two. Good enough!
When we turned up on 4th December I couldn't believe that our seats were in the centre of the stalls, six rows back from the end of Freddie's cat walk!
The show was of course fantastic and made complete at the end of 'We will rock you' (webmaster's comment: it was probably another song). As the song finished, with the boys lined up front of stage, Brian threw a plectrum into the gaggle of girls at the front (mayhem as they tried to find half a square inch of plastic). Roger threw his drum sticks into the crowd and Freddie launched his tamborine towards the ceiling.
I knew straight away, even as it was going up, that it was coming to me (cricket training). I reached up as high as I could and got to it first. Then all hell broke loose. I managed to wrestle myself down below my struggling neighbours together with my prize. As the next song began the mob lost interest and I slipped the tamborine over my foot and left it on the floor.
After the final encore I slipped it under my stretch jacket, which hid nothing, and made my way out to the car and a safe gettaway. The tamborine is still with me and I occasionally pull it out and tell the story. It has no markings or indication of its previous owner so its only value is to me and the memory. Not that I would sell it.
My only problem is that both my sons, now in their twenties, are avid Queen fans. Who to pass it on to?”
Written by Mike Hooker courtesy of Queen Concerts Archive
How lucky is Mike with Freddie’s tambourine
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Freddie and Mary met in 1969 after Brian May, introduced them. Like Freddie, she grew up working-class. Her parents were deaf, and her father worked as a trimmer for a wallpaper company and her mother as a domestic servant.
She was only 19 years old and working at Biba, a hip West London boutique when she got together with Freddie. He was 24 and had just finished art college and was launching his music career.
“I remember Freddie's massive black hair, which made him look like a cavalier. He was very proud of his new white shoes. He was like no one I had ever met before. He was very confident and I have never been that confident. We grew up together. I liked him and it went on from there. It took about three years for me to really fall in love. But I had never felt that way before about anyone."
It was at a showcase held at 'Ealing College of Art', Freddie's old art school, that Mary first recognized his star quality. "When he came off the stage all the girls and his friends were crowding round him. He was so busy I just thought, I don't think he needs me now.
Things had suddenly taken a turn for him and the band. Freddie was just so good on that stage, like I had never seen before, as if it was something he'd stored up. For the first time I felt, here is a star in the making. He's on his way. I don't think he needs me any more. I didn't feel tearful or upset. I was happy that it was at last happening for him because of his talent. He wouldn't let me go. That night, I realised that I had to go along with this and be a part of it. As everything took off, I was watching him flower. It was wonderful to observe. There was something about seeing that happen that was so exciting. I was so happy and proud that he wanted to be with me.
I felt very safe with him. The more I got to know him, the more I loved him for himself. He had quality as a person, which I think is rare in life, these days.
One thing which was always constant, was the love. We knew we could trust each other and we were safe with each other. We knew that we would never hurt each other on purpose.”
(Mary Austin)
“I used to go around and have tea with them and it would all be so sweet. The tablecloth would come out along with bone china cups and little teacups and nice little plates of biscuits, and we’d all sit there with our little fingers sort of raised, drinking tea properly. Freddie and Mary were like this old married couple.” (Mick Rock)
Even though as Freddie said their “affair ended in tears,” they remained the dearest of friends for the remainder of his life. They were and will always be soulmates.
“I have built up an immense bond with Mary. I open up to her more than anybody else. We have gone through a lot of ups and downs in our time together, but that has made our relationship all the stronger. I know a lot of people find it hard to understand our relationship. Other people who come into our lives just have to accept it. We love each other very much and look after each other. I don't want anybody else....
Sometimes a good friend is much more valuable than a lover. Apart from Mary I don’t have any real friends. I don’t think I do. Friends come and go. A real true friend for me has to be very strong to put up with me. I think Mary has gone through just about everything with me. She has the depth and the qualities to adapt to me and talk to me about very serious things. Even if we are not together, I talk to her a lot on the phone. She’s about the only person I can think of.
Freddie Mercury
Even as big a star Freddie became, Mary was the one person could still boss him around!
“He would chuck a tube of toothpaste that was half-used into the waste bin and I would literally go into the bin and get it back and roll the toothpaste back up . . . and say, ‘You finish the tube. You can’t be wasteful like this, Freddie!’
“He would say: ‘But I’m the richest guy in the world!’ And I would say, ‘I don’t care. You don’t throw away money.’
Freddie with Mary, possibly 1987
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December 6, 1979, Queen performed their first of two evenings at the Empire Theatre in Liverpool, England ‘Crazy Tour’
Before the encores, the audience sing You'll Never Walk Alone, as had happened a couple years prior at Bingley Hall in Stafford.
The first picture was taken by Gillian Parry and the rest are credited to Alan Perry
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‘News of The World Tour’
Bob Harris and his Old Grey Whistle Test crew came with the band on this tour with a pending documentary in mind. Hundreds of hours of footage were filmed on and off stage. Later this month Bob would state that he filmed the band in various cities (he initially cited Fort Worth and Houston, and later Las Vegas as well). Footage from Atlanta, Fort Worth, and Houston has since been seen and released, mostly in documentaries.
In the winter 1977 Queen fan club magazine he said an hour-long Old Grey Whistle Test special should air in January 1978, but the project would ultimately be shelved, with a possible reason being the Old Grey Whistle Test producers wanted to focus on punk and new wave instead of an older band like Queen.
Some backstage footage and interviews from the period were first seen in "The Champions" documentary aired on US TV in 1979. The black and white interviews of the band seen in the 1995 "Champions Of The World" documentary are from these reels of film as well. Freddie Mercury's interview alone is four hours of tape.
Footage of the band arriving to the venue as well as them running Tie Your Mother Down at soundcheck was seen in the "American Dream" documentary on the News Of The World box set released in 2017. The latter was also shown at the "Stormtroopers in Stilettoes" exhibition in London in 2011.
The beautiful concert photos were taken by Michael Mastro.
The very last pictures (black and white) is Freddie during soundcheck
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23rd of November 1983 - Queen spends a second day filming 'Radio GaGa' promo video @ Shepperton Studios, London. David Mallet directed the promo. Today, 500 fans from Queen’s exclusive fan club were invited as extras!
The video for the track has since become a firm favourite among both casual and diehard fans alike, and was one of the most expensive Queen ever made. At a cost of more than £110,000, the epic piece was shot by David Mallet and paid homage to Fritz Lang's 1926 expressionist masterpiece Metropolis.
At the time, famed disco producer Georgio Moroder was reworking what footage still survived of the heavily damaged film (its distributors had edited the film and much of the excised footage was lost until a chance rediscovery of sections of it less than a decade prior), and adding colour filters and a contemporary score - which Freddie had agreed to contribute to.
The ‘Radio Ga Ga’ promo included different scenes from Metropolis, and the rights to these were bought by the band and Jim Beach directly from the German government.
Much of the rest of the video used sets loosely based on those in the film: the machine the film's hero Freder operates, for example, was recreated in vibrant colours for Freddie to work.
David Mallet turned to members of the fan club, who once again found the required number (500) of more than willing fans at incredibly short notice. The fans became the faceless workers who put on white boiler suits, which were then sprayed with silver paint. They were assembled in regimental rows to await for the arrival of the band. Once Queen arrived, the fans had to stand in line, before the band, their heads bowed, clapping their hands in a manner now familiar to every hardened Queen fan (particularly those who would later perform the same move whenever the band perform the song on tour). They were troopers and spent the whole day on the 23rd November under very hot lights at Shepperton Studios in London
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22 November 1983 - Queen began the three day filming for “Radio Ga Ga” promo video, Shepperton, Surrey, UK. The video was directed by David Mallet.
‘Radio Ga Ga’ is an epic video ‘ and the band’s most ambitious and not to mention, their most expensive ever made. The cost was more than £110,000.
The video paid homage to Fritz Lang's 1926 expressionist masterpiece Metropolis. At the time, famed disco producer Georgio Moroder was reworking what footage still survived of the heavily damaged film (its distributors had edited the film and much of the excised footage was lost until a chance rediscovery of sections of it less than a decade prior), and adding colour filters and a contemporary score - which Freddie had agreed to contribute to.
Freddie's song, Love Kills, cowritten with Moroder and featuring an uncredited Brian May and Roger Taylor, became a hit single later in 1984, and featured in a key scene of the reworked film. The Radio Ga Ga promo included different scenes from Metropolis, and the rights to these were bought by the band and Jim Beach directly from the German government.
These pics were all taken directly from Brian May’s book, ’Queen in 3D’
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The beautiful pictures were taken by Beth Gwinn
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he final night of #Toronto, on December 4th, 1978 is the last canadian double night Event in Canada in the 70's. The "Maple Leaf Gardens" saw once again a brillant Rock Show of the british Guys.
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‘A Night At The Opera Tour’
John Reid's prediction of a highly successful year was proven highly credible the next evening in Cardiff. The band had still not paused from the rush up to the tour and spent most of the day relaxing and sleeping - no doubt a factor in their near recumbent profile. Also, unlike most groups, they were keeping their dissatisfaction with the show to themselves.
The band stopped off at Harlech TV on the way to see a cassette of the video for 'Bohemian Rhapsody'. The general consensus was quite good for four hours, with much laughter during the operetta. Brian finds film of the group educational - the first time he saw himself was a Mike Mansfield opus for 'Keep Yourself Alive' - "It was 'All right fellows, give it everything you've got but don't move off that spot.' It was terrible." You don't like Mansfield, eh? "Oh, I hate him - we all do... I was horrified when I saw it - I couldn't believe we looked that bad. I looked very static - seeing myself has taught me a lot about stage movement. Some of the things I do are planned for effect, but it's mostly just feeling the audience and communicating that back to them."
Arriving at the motel - several miles out of town - Freddie immediately fell asleep, John held court of a sort, joined later by Brian, while Roger went jogging, a daily event when touring. Tuning in to rock via Bill Haley and Tommy Steele, he became a drummer because he was better at it than guitar. All through school he was in bands; he only went to dental school out of "middle class conditioning, and it was a good way to stay in London without having to work". His mother thought it a bit strange when he opted for a career as a rock star, but she doesn't worry too much now.
The concert starts in much the same manner as the previous night, but there are signs that tonight is work, with posing an afterthought.
During ‘Stone Cold Crazy’ Freddie's movements explode in perfect unison with the music, the lights and surroundings go crazy, and the audience goes berserk.
Freddie asks for requests and receives a roar out of which one can vaguely make 'Liar'. Fred walks along the stage, nodding, agreeing he will do this one and that one while the kids roar on. "I'll tell you what - we'll do them all!"
(Brian twisted his ankle during ‘Liar’ unbeknownst to the audience.)
'Doing Alright' changes into a cha-cha beat, Freddie snapping his fingers, the coolest hipster in town, and then instantly drops into faster-than-light drive - the whole row next to me leaps to their feet as a man, rocking back and forth as Brian roars into a blinding solo.
Two songs later, in 'Seven Seas of Rye', the kids break - very fast - and in five seconds half the audience is a seething mass in front of the stage, climbing on each other in pyramids, sudden openings appearing as a splintering seat sends a few bodies to the floor.
(Seats seats were damaged from the fans climbing over them)
Interestingly, Freddie's strip act during ‘Big Spender’ isn't part of the show every night. On this night Freddie appeared (and remained) in his kimono, while on the previous night he emerged for the encore in his tight white shorts
Queen will probably always be remembered, because as their tour is beginning to demonstrate, they have the ability to actualise and encompass the outer limits of their sense of self-importance. Queen and their music, presentation, production - everything about them says that they are more important than any other band you've every heard, and who has there been, so far, who has objected? Certainly not the 150,000 people (plus 20,000 a day) who bought 'Bohemian Rhapsody' in the first 20 days of its release. Certainly not me.
Source: Queen: A Riot At The Opera
Published in Sounds, November 29 1975
Queen triumphant
Report by Jonh Ingham
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‘News of The World’ tour
‘My Melancholy Blues’ is performed tonight. It is on rotation on this tour.
Whilst in New Haven, Freddie bought a concert grand Steinway, which he'd play at every subsequent Queen concert (as well as in the studio for their next album, 'Jazz'). Prior to this, a variety of arrangements had been made to secure pianos for Queen shows, including one with Elton John on the previous American tour, which actually resulted in them losing his piano!
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New York Jazz Tour”
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“News of The World’ Tour
Tim Longo managed to sneak backstage to snap the first pic, as there was apparently not too much security at the show (which wasn't entirely uncommon in the 70s). 
The last two photos were snapped by Brian Rapoza.
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‘A Night At The Opera’ Tour
The band are in fine form this evening!
Freddie greets the enthusiastic audience after ‘Ogre Battle.’ “Good evening, everybody! It's really nice to see you here. Sorry we kept you waiting. We'd like to do a brand new song for you from our very brand new album [which they haven't heard yet]." Freddie's voice is in great shape, and he offers a strong and convincing version of Sweet Lady.
After ‘Son And Daughter,’ Freddie asks, "Are you being nice and naughty? Have you been misbehaving yourselves? Good!" He taunts the enthusiastic audience by holding up a copy of the new LP that hasn't been released yet (see pic 4). “Oh, that's right, it's called ‘A Night At The Opera.’ Turn to side two. You you haven't got it yet, but I'm sure you'll buy it. (ANATO will be released on Nov 21st). This is a number written by Brian May. It's called ‘The Prophet's Song.’
This song is far too complex to recreate on stage exactly as it is on the record of course, but Queen manage a startlingly close rendition. For the multi-tracked vocal parts, Freddie sings essentially improvised lines based on the real lyrics, with a delayed echo on his voice. The fans adore this song, and it always go down a storm.
Brian (on ‘The Prophet’s Song’): “I had a dream about what seemed like revenge on people, and I couldn’t really work out in the dream what it was that people had done wrong. It was something like a flood. Things had gone much too far and as a kind of reparation, the whole thing had to start again.
In the dream, people were walking on the streets trying to touch each other’s hands, desperate to try and make some sign that they were caring about other people. I felt that the trouble must be - and this is one of my obsessions anyway - that people don’t make enough contact with each other.
A feeling that runs through a lot of the songs, I write is that if there is a direction to mankind, it ought to be a coming together, and at the moment it doesn’t seem to be happening very well. I worry about it a lot. I worry about not doing anything about it. Things seem to be getting worse.
But I wasn’t trying to preach in the song at all. I was just trying to put across the questions which are in my mind rather than the answers, which I don’t believe I have. The only answer I can see, is to be aware of things like that and to sort of try and put yourself to rights. There is an overseer in the song though, whose cry to the multitudes is to ‘Listen to the warning of the Seer.’
In the song is this guy who also appeared in the dream. I don’t really know whether he was a prophet or an impostor, but anyway, he’s standing up there and saying: ‘Look, you’ve got to mend your ways’. I still don’t know whether he’s the man who thinks he’s the man who thinks he’s sent from God or whether he isn’t. The song asks questions rather than gives answers.”
Here’s audio of this concert https://youtu.be/YU2MAfLLOQc
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11 November 1978 - The Official International Queen Fan Club held their first convention
While Queen are on the American tour, the very first Queen Fan Club Convention is held, at the Empire Ballroom in London’s Leicester Square.
A general invitation is issued in the Autumn fan club magazine and hundreds of eager fans from all around the UK assemble outside the Leicester Square venue.
Alan Freeman hosts the event, which unlike subsequent conventions, is only a half day affair, held on a Saturday afternoon. It kicks off with Freeman explaining the programme for the afternoon and continues with him playing various tracks from the albums. The music is accompanied by a slide show pictures of the band.
The promotional videos for ‘Rhapsody’, ‘Best Friend’, ‘Somebody To Love’, ‘Tie Your Mother Down’, ‘Rock You’, ‘Champions’ and ‘Spread Your Wings’ are also shown.
The afternoon concludes with a complete play-through of the brand new album ‘Jazz’, before a telegram sent by the band from America is read out.
By comparison, the UK convention now spans three days.
Queen Live by Greg Brooks
The pics are of the phenomenal ‘Magic Tour’
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12 November In 1973 - Queen performed @ Leeds Town Hall, UK. They were supporting ‘Mott The Hoople.’ This is the first show of Queen's first UK tour.
Queen began their career as a bona fide touring rock group on November 12, 1973, when they opened for Mott The Hoople at Leeds Town Hall. Jack Nelson of Trident persuaded Mott The Hoople's manager Bob Hirschmann to allow Queen to be the support act for their tour. Hirschmann initially hesitated but eventually agreed.
It had been nearly a decade since all four members had first considered life in a pop group and started out in their respective teenage bands, The Opposition (John Deacon) The Reaction (Roger Taylor) 1984 (Brian May) and The Hectics (Freddie Mercury). They had, individually and collectively, worked towards November 12, 1973, with incredible perseverance. There had been adversity and fiasco, providence and frolic, but, now, on the brink of real opportunity, their determination was fantastic.
The audience up and down the UK, from The Central in Chatham, to the Apollo Theatre in Glasgow, adored Queen. Their set had been designed to elicit instant appeal. It was 45 minutes long and usually contained just six of their own songs, the final number given over to a rock’n’roll medley which they elongated or abridged depending on the crowd’s response. Freddie Mercury, this unknown spidery figure in silk and Lycra, stalked the stage and dropped every ounce of himself into the performance. The band were tight ,driving new life into songs they had been playing for years. The music press, understandably perhaps, considered it far too brazen and pantomime, but the word of mouth when Mott The Hoople fans were back at school, college or work the next day was that Queen were the business.
During the tour the band sometimes complained that they were not getting enough coverage in the press and Chris Poole, Tony Brainsby’s assistant, had to placate them. “I had a good time with them but they were not an easy band,” Poole stressed. ‘On the Mott The Hoople tour they were quite annoyed because they didn’t get as much press as they figured they should have got. They may have been a support group, but they already had the mentality of stars!
Source: Queen The Early Years by Mark Hodkinson
Queen all got on very well with Mott. You couldn’t get more down to earth than Ian Hunter (the lead singer) and he loved them. They all became very close on that tour. The idea of a band called “Queen” may have upset a lot of people at the time they first gained some profile, but once people got to know them they were won round. In principle Queen were very well mannered and easy to like. Freddie, especially, knew how to have fun with everybody.
Extraction from Mick Rock’s book “Classic Queen”
Queen would get plenty of valuable experience while out on tour for a couple months.
Brian May later reflected on the period: "On tour as support to Mott The Hoople, I was always conscious that we were in the presence of something great, something highly evolved, close to the centre of the Spirit of Rock 'n' Roll, something to breathe in and learn from." In a 1998 radio spot, he expanded: "Mott The Hoople was really our first experience of life on the road, and a pretty blinding experience it was, I must say. It's always remained close to my heart, 'cause we grew up on that tour. We had to. It was just insanity. And to survive you had to adapt; you had to become a rock 'n' roll kind of animal and in the good sense of the word, you know. And, yeah, it was phenomenal.”
Freddie said, “Being support is one of the most traumatic experiences of my life."
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12 November 1977, Queen performed @
This is almost certainly the longest show Queen ever played, clocking in at nearly 2 1/2 hours. They play thirty songs in all, including eight from ‘News Of The World.’
“A Royal Quartet Rules The World of Heavy Metal Rock”
Boston — By New York or even Philadelphia standards, Boston is a generally sedate town, although an an outsider on hand last week at the Boston Garden would be forced to reassess any such generalization. Indeed, the more than 13,000 young rock fans who packed the Garden on the evening of Nov. 12-provided. an awesome example of mass hysteria, as the British rock group Queen unveiled a new stage show of such epic proportion and sustained excitement that there seems no way to adequately describe its impact.
It was only the second performance of the quartet’s current 27-city American tour (which touches down here at the Spectrum for shows Wednesday and Thursday nights), but it was a clear enough indication that Queen has blossomed into the leading practitioner of heavy-metal rock drama, With British kingpins Led Zeppelin temporarily out of the touring picture (due to the sudden death this past summer of singer Robert Plant’s young son), Queen literally reigns, thanks to ah impressive new album — “News of the World” (Elektra Records) — and the sort of non-stop, three-hour, no-opening-act show pioneered by Zeppelin in the early 1970s.
Queen’s triumph — after about five years of increasing popularity and one smash hit single (“Bohemian Rhapsody”) — derives from a wise and welcome change in musical/theatrical direction. Originally a busily theatrical “glitter” band reliant on a multitude of costume changes, smoke, strobe and fire effects, Queen has considerably toned down its flashy excess. With the exception of one major costume change — from stripes to sequins — on the part of lead singer Freddie Mercury, a modicum of smoke and flare, and a massive, 5,000-pound lighting rig in the shape of a queenly crown, the group’s theatrical impact is almost exclusively tied to its music. Noticeably phased from the current repertoireare the rococo, operetta-like tunes of an earlier period, and in their pIace is a masterfully paced program of eruptive yet polished hard rock
With such boldly articulate new, recent and old Queen songs ” We Will” Rock You,” “Keep Yourseif Alive”, “Liar,” “We Are the Champions”, “Tie Your Mother Down,” the group brillantly sates the mass appetite for the surefire basics of modern pop rock: soaring tenor lead and harmony vocals, pungent electric guitar lines, driving yet sophisticated rhythms, evocative Iyric:s and rich melodies.
“I suppose we’ve been leading up to this all long. It certainly feels like the breakthrough we’d never quite made” admitted Freddie Mercury after the Boston Performance. Mercury is tall, dark, muscular yet lean, retiring yet intense in terms of eye contact, and possessed of a rather pronounced overbite. He’s a gifted showman of genuine grace and relentless energy, a first rate vocalist and songwriter, and quite lucid on the subject of Queen.
“I think it got to the point with us where the theatrical tag began to take over our image, but it was only a matter of time before the musci began to come into its own. That’s what’s making the difference on this tour”, he reflects. In a near chair, bassist John Deacon – quietly amiable – nods in agreement.
“What bothers me so often when people discuss rock ‘n roll is their tendency to label it,” continues Mercury. “Either it’s ‘glitter’ or ‘punk’ or progressive’ or whatever, and these tend to obscure the fact that you’re really talking about a kind of entertainment that often touches on a lot of styles. The last thing l’d want to do is limit our music to a label.”
Speaking of labels, though — and of “punk” rock in particular — one can’t help but note that one of the group’s new tunes, “Sheer Heart Attack,” affects the piledriving intensity of today’s “punk” sound.
“I suppose it does, now that you mention it,” agrees drummer Roger Taylor, who wrote the song. Blond and blue-eyed, Taylor is very much the pretty boy of the band. “But even so, I wrote it a few years back and we only just got around to recording it. I do think, though, that the punk rock scene is still very nascent, and you’re going to see a lot of these young bands making a lot of crappy music before the good stuff comes along, i suppose it has to be that way”.
The nucleus of Queen — Mercury, Taylor and guitarist Brian May — met up in London in 1969 and rounded out in 1971 with John Deacon. Previously, Mercury had been with a group called Wreckage, while May and Taylor had been members of one called Smile. All four are in their late twenties, and each has a college degree, Mercury in graphic design and illustration, Taylor in biology, Deacon in electronics and May in astronomy.
The most accomplished academic of the four, May not only taught astronomy but published a few papers in British scientific journal before forming Smile with Taylor in 1968. Tall, leather Jacket and sporting an abundant mane of curly black hair, May could hardly look less a scientist.
“I was doing research on cosmic dust”, he explains, ” and I really did enjoy my work, in fact I still keep up with the latest developments”.
By now, the party has thinned down and it’s quite late – 3 A.M. – as May and I share an elevator to respective floors. he shakes his head, dazed and happy. “You know”, he odfers, “we’ve played a lot of places, but everytime I hear an audience roine crazy like they were tonight before we even got onstage, I get such a feeling inside, and I know I could never feel that way doing anything else…”
Source: The Sunday Bulletin
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