#queencuttings.com

[natromanxoff]

Daily Mail Weekend Magazine - November 18, 2006

Credits to Louise Belle and Queencuttings.com

Star struck

When not performing with stars, there's nothing BRIAN MAY likes more than gazing at them with Sir Patrick Moore. DAVID WIGG hears how the Queen guitarist nearly became an astronomer himself

When Brian May was at junior school, two significant things happened that were to shape his life. His parents gave him his first guitar — which was to lead directly to a career as a rock god. And they let him stay up late to watch a fascinating new programme called The Sky At Night, introduced by an aspiring new broadcaster called Patrick Moore — which sparked off a lifelong interest in astronomy and an unlikely friendship.

Fifty years on, and 'the world's leading guitarist' (Sir Patrick's description of May) and ‘the greatest man in the country’ (what May calls Moore) have collaborated with cosmologist Chris Lintott to write a book called Bang! The Complete History Of The Universe.

The interest of Moore and Lintott — whom the other two call ‘the young gun of astronomy' — is understandable. But how does May, he of the cascading curls and all those years spent standing, legs akimbo, fingers on guitar strings, behind Freddie Mercury in Queen, come to find himself gazing at real stars, as opposed to their more earthly counterparts? What do rockers and astronomers have in common, apart from the fact that, by virtue of their work, they are both nocturnal creatures?

'I've been passionate about music and astronomy since I was seven,’ says May, now 59. 'My dad and I built a guitar together — and then we made our own telescope. I was shepherded towards a scientific career, and, after I graduated with an honours degree in physics and maths, I went on to study for my PhD. I was heavily into writing a thesis on interplanetary dust while playing in a band — and I found the music gradually taking over my life.

"I'd reached the point where I had to decide between the universe and Queen, because I was either playing or studying or teaching 24 hours a day, and I knew I just couldn't go on. Besides, I had run out of money. Something had to go, so I decided to put everything on the back burner while I went for a musical career.'

His subsequent success is well documented, but he never lost his passion for the night sky, even building a small observatory in the back garden of his west London home. Then, ten years ago, his friendship began with Patrick Moore, who had been his idol since boyhood. 'I had first met him when I was studying at London's Imperial College. He had come in to see one of my tutors, and as he was a very important man and I wasn't, there wasn't much contact between us.

When we met again, through a friend, in 1996, we hit it off. He began talking to me about astronomy as if I was a professional, and I thought, "Hang on, I'm just an amateur", but it didn't make any difference to him — we were speaking the same language."

With their common bond as the serious study of the planets, stars and space, as well as the physical universe, they have even been on eclipse-spotting trips together, to such places as Peru and the Isle of Skye.

For the past two and a half years, May, Moore and Lintott, Sir Patrick's co-presenter on The Sky At Night (which is 50 years old next year, making it the world's longest-running scientific programme) have been working on their book. It explains how the universe was born 13.7 billion years ago and highlights its origins and destiny — the trio calculate that we've only got about three billion years left before the sun swallows us up.

As May's music has made him wealthy enough to afford a £100,000 trip into space when passenger flights start operating. I wondered if he had reserved himself a seat. ‘No, I haven't, but it's tempting. I do quite fancy the idea. But I'm getting a little old for it.' However, Sir Patrick, who is 24 years older than May, wouldn't miss the chance. 'I'd have to go, but it would take a very massive rocket to launch someone my size,’ he says.

It was Sir Patrick's idea to write the book and he persuaded Brian to get involved with the project. 'I didn't take it very seriously, because I didn't think I was very well qualified. But Patrick insisted, and it's been a wonderful journey. I'm so glad I said yes, because, in the end, I felt that I did have a role to play and I think we've become a great team. We hope that we will inspire a new generation, as Patrick inspired us.’

Sir Patrick's house, at Selsey, West Sussex is, he says, 'an Aladdin's cave of astronomy books, instruments and stuff. It's a boy's environment. We turn the phones off and the most stress that ever happens is the cat getting lost! So it's just a lovely place to be.

My father always regarded astronomy as my proper job, because that's what I was training to do. When I gave it up, there was a bit of strain between us and we hardly spoke for a year, but everything worked out okay in the end. I still have the telescope that we made when I was about 12. It's a four-inch reflector and the funny thing is, if you see something in the sky, you don't have time to go out in the garden and unlock the observatory and turn the thing on. What I do is, I drag my home-made telescope out, just like I always did. So I still enjoy my little four-inch reflector.’

The English skies aren't really the best place for pursuing astronomy. ‘There are so few nights that are any good and, generally, I'm in the wrong place. There is too much light pollution, apart from the rain and the clouds and everything else. So I don't do that much stargazing in my observatory. It's better if you're away from big cities. I'm seriously considering trying to buy a house somewhere on one of the Canary Islands, just so I can enjoy the sky.

‘I love to go to observatories and just look, even with the naked eye, or binoculars or a small telescope. But I'm odd. Most astronomers don't do that. I went to La Palma in the Canaries recently, where they have just built the world's biggest solar telescope. I've been invited to play at the inauguration, which is very exciting.’

Pursuing this solitary behaviour has landed him in trouble, however. May says he sometimes gets told off by his wife, former EastEnders actress Anita Dobson, if he doesn't get his head out of the clouds. ‘She's wonderful. She's so good for me because she keeps me human. She says, "Look, you've been sitting at that computer, or that telescope, for 13 hours. I think you should do something else" — and I need that.’

As supportive as she is, Anita does not share the same interest in astronomy. ‘She has an attention span of about 30 seconds when it comes to astronomy,’ says Brian, with a grin spreading across his face. ‘Which is fair enough; she's a different kind of animal. She likes me doing it, but she doesn't really want to know too much about the details. She's involved in her art stuff.

‘She's my greatest critic. She tells me the truth. I usually get angry, but then I think, "Yeah, she has a point." The hardest thing for any artistic person to take is criticism, especially when you've spent God knows how long developing an idea.

‘Getting married put us into a new era and I think we feel very secure and are able to give each other a lot more rope. We've always spoken about this kind of thread that is between us, and sometimes it's got stretched incredibly thin, but it's always there. The more secure you are yourself, the more you are able to let your partner go out on a limb, but still feel the thread is there.

‘Thank God, we have a wonderful relationship now. We came through every kind of battlefield and, up to the point where we got married in 2000, it was always on and off, because my first marriage had ended in divorce and I'd lost both Freddie and my father. I really didn't want to live and I was just coasting along. I felt wounded, depressed, brain-fried, and the feelings of loss outweighed any of my achievements. I checked into a clinic in Arizona in the U.S., and it worked for me and I've felt great ever since.

'My relationship with Anita is the same as my passion for music and astronomy — intense. I can't see it ever changing.’

BANG! The Complete History Of The Universe by Brian May, Patrick Moore and Chris Lintott, Carlton Books, £20.

#queen #queen band #brian may #queen scans #queencuttings.com #daily mail weekend magazine november 2006 #anita dobson

[queenresources]

Helpful websites for Queen fans (masterlist)

Queen Facts (defunct tumblr blog, preserved in the wayback machine; contains quotes and facts about the band)

QueenConcerts.com

QueenArchives

QueenBootlegs.nl (defunct website, preserved in the wayback machine)

QueenBootlegs.com

Queen Article Archive (tumblr) (wayback machine)

QueenCuttings.com (defunct, available in the wayback machine)

Queen Archives Twitter (fan run)

Queen Wiki

David R Fuller: tumblr (wayback machine) youtube (wayback machine)

--

Some of these websites (ones that no longer exist) are in the Wayback Machine.

What is the Wayback Machine?

The Wayback Machine is, among other things, an archive of past websites. You can visit websites that are no longer online using the Wayback Machine.

How to use the Wayback Machine

#masterlist #queen resources #will probably be updated

[iamtheroger]

hey girl! do you know where I could find the one interview from the early 70s where each of the boys listed their weight (I think it was using the stone measurement)? thanks so much ❤️

I think this is the one you mean cuz there are multiple. There’s also this one, but I only saved the Roger/John part:

And this one where I only saved the Roger one:

And the Queen File also has them, but then you must download it from queencuttings.com (it’s found amonst the 1975 articles in the 70s folder)

#queemes

[natromanxoff]

Record Collector - September, 1998

Credits to Ale and Queencuttings.com

Queen’s Roger Taylor resumes his solo career this month with his fourth album, “Electric Fire”. A wide-ranging set, it includes eleven self-penned songs, including the single, “Pressure On”, plus a version of John Lennon’s “Working Class Hero”.

#queen #queen band #roger taylor #roger meddows taylor #queen scans #queencuttings.com #record collector september 1998

[natromanxoff]

Q Magazine - December, 1988

Credits to Louise Belle and Queencuttings.com

BRAVO, SIR FREDERICK!

[Photo caption: (Above and right) Fredcie and his diva. Montserrat Caballe, disport before the good talk of Barcelona: "It’s so ridiculous when you think about it — her and me together. But if we have something musically together it doesn't matter what we look like se where we come from.”

[Photo caption: (Above and right) Fredcie and his diva. Montserrat Caballe, disport before the good talk of Barcelona: "It’s so ridiculous when you think about it — her and me together. But if we have something musically together it doesn't matter what we look like se where we come from.”

[Photo caption: (Above and right) Fredcie and his diva. Montserrat Caballe, disport before the good talk of Barcelona: "It’s so ridiculous when you think about it — her and me together. But if we have something musically together it doesn't matter what we look like se where we come from.”

(Below) The site of the concert — Barcelona's Avinguda De Maria Cristina, a huge fountain-lined road equivalent in size and position to The Mall in London.]

[Photo caption: "I don't know how Queen fans will react to this. I'll have to find out. It is a bit of a thingy — you can't put it under a label, can you? The worst thing they can call it is 'rock opera', which is so boring actually.”]

Fountains tinkle. Fireworks cascade in the warm Spanish sky. And 40,000 people eagerly await a mimed operatic spectacle involving a besequinned diva and the lead singer of Queen. Freddie Mercury is about to explain his latest musical indulgence. Adrian Deevoy is granted an audience.

Never having been one to opt for the outrageous when the downright preposterous will do, Freddie Mercury concludes his operatie concert by attempting to blow up Barcelona with fireworks. It is unanimously proclaimed to be the most awesome pyrotechnic display this side of the four-minute warning.

The pungent aftermath of the apocalyptic finale is hanging heavy in the still night air. So dense, in fact, is the smog that the small band of British journalists walking nonchalantly into the backstage area can hardly see the Spanish policeman's hand in front of their faces.

"No press, " he says flatly.

It's OK, we explain showing him assorted press […]

[Photo caption: Sir Frederick meets The King and Queen of Spain at a reception for La Nit, the concert to celebratethe start of preparations for the Olympic Games in Barcelona in 1992.]

[…]

cards and passes, we are guests of honour of this extravaganza.

"No press," he repeats eyeing the identification contemptuously.

You don't understand, we persist, we have flown from England to witness this spectacular event and now we are going to meet Mr Mercury.

He exhales slowly, unfastens the flap on his holster and curls his hand around the butt of his government-issue revolver.

"No press," he says, with the air of a man winning a particularly effortless chess match.

This is the first indication that despite impressions to the contrary, sitting down for a heart-to-heart with Freddie

Mercury will be considerably more troublesome than anyone had envisaged.

We wander into the bustling city centre feeling confused and a little wounded, although admittedly not quite as wounded as we could have been. What we had told the policeman had, quite remarkably for the British press, been true. Freddie Mercury had paid for us to come Barcelona to see this, his first bona fide live appearance for two years. He was, we were told, attempting to bring opera to the people. Hence he had found himself a diva in the amply proportioned Spanish opera singer Montserrat Caballé, had a hit single — Barcelona — and recorded an album of the same name. Now he was holding a concert. And if we were very lucky he might just talk about it.

Originally Freddie had intended to forego the concert and instead throw a party to end all parties to which all his "friends" from the press would be invited. He promised fire-eaters, dancing bears, unicycling waiters, bearded women juggling live dwarves, that sort of thing. But in the restless tradition of true genius, he became bored with this idea before they had even auditioned the first hopeful midget. Instead, he decided, he would treat us and 40,000 others to the finest and most diverse concert he could muster. It would combine his much-loved opera with rock'n'roll, ballet, gospel, pop, classical, reggae and choral music. If variety was — as lesser philosophers had claimed — the spice of life, then this, Freddie declared, would be a veritable vindaloo. In order to give the concert — going under the banner, with presumably no puns intended, of La Nit — even greater appeal, it would (albeit somewhat prematurely) sound the starting pistol for Barcelona's 1992 Olympic preparations.

Another sizable media-attracting carrot cunningly dangled by Mercury's PR people was the news that King Juan Carlos and his Queen-styled other half would not only attend the show but that the British press, being some sort of honoured guests, would share a box with the royal Spanish personages.

Say no more, said the British press corps, and pausing only to remove dog-eared press cards from our trilbys and insert them into more climatically suitable sombreros, we were off to sunny Spain in search of stories true and tall.

"I'm only really going for the King and Queen angle," says the man from the Sunday Express on the Barcelona-bound plane. "I just want to introduce myself with a view to doing an 'At Home With…' feature in the future."

"I'm not actually interested in the concert," says a freelance Fleet Street photographer between mouthfuls of gratis champagne. "Everyone will have concert stuff. I just want to see what I can get backstage. Old Freddie doing something daft or anyone that shouldn't be seen with anyone — if you get my drift."

"I can see the headline now," giggle The Times to The Guardian, "The Two Queens!"

Upon our arrival we are regretfully informed that the press are not staying in the same Barcelona hotel as Freddie and friends. We are, in fact, a mile or so away in a smaller establishment where practicality takes precedence over luxury. Interestingly this is not due to the fact that the hotel in which Mercury and entourage are staying is fully booked. Indeed, the receptionist says they have "many rooms".

It would seem that Freddie wants to court the press without having any physical contact with them. In keeping with this, his PR people tell us that Freddie does not like, and consequently does not do, interviews. But, we are conspiratorially advised, if we mill about backstage during or after the concert we may be able to catch the occasional pearl of wisdom or screamingly witty conversational gem should we be fortunate enough to be within earshot of the great man.

The concert takes place at the head of Barcelona's Avinguda De Maria Cristina, a huge fountain-lined road the equivalent size and position of The Mall in London. Approximately 40,000 people stand an eye-straining hundred yards from the action whilst those willing to pay more for the privilege have seats in front of the stage.

We members of the British press soon discover that we will not be sharing a box with either the King or the Queen of Spain. In reality we are just about sharing the same city as the royal box, which is situated some two hundred yards from the press area. Thus the Sunday Express's chances of an '’At Home With…’ feature appear more than a little remote.

A warm ripple of applause washes across the audience and the fountains well asMontserrat Caballé opens the show with a powerful blast of her turbocharged soprano. A minor problem with the sound system ensures that her voice, which barely needs amplification, is actually 30 times louder than it needs to be and is almost responsible for the largest collective nose bleed in medical history.

A small procession of large operatic persons follow the mighty Montserrat. Some perform opera classics, others hit a more contemporary note with heftily vibratoed renditions of Summertime and My Way.

Then, surprisingly, Rudolph Nureyev and a friend materialise virtually unannounced — in what appear to be customised Celtic football kits — and perform a bizarre modern dance. They attract an enthusiastic if slightly non-plussed audience response.

After a short interval, a leather-clad figure with three-foot-long dreadlocks takes the stage. The King and Queen make a polite exit — taking with them 40 courtiers. From this we can deduce that the rock set is aboutto commence. From the pounding rock-reggae rhythms and familiar "Give me hope, Jo'hana" refrain we also deduce that the man on stage is Eddy Grant. Sporadic bursts of unself-conscious crazy-bonkers dancing break out among the foreign contingent of the press. The British reporters quasi-rhythmically tap their approval on paper cups struggling manfully to contain the "lively" wine of the region.

As quickly as he appeared, Eddy Grant vanishes, his two songs completed. His place in the spotlight is swiftly taken by a rather drawn-looking Dionne Warwick, who tells us, by way of an introduction to the person waiting in the wings, that four people were responsible for defining rock'n'roll: Elvis Presley, Chuck Berry, Little Richard and our next guest. Who could it be? Wayne Fontana? Gilbert O'Sullivan? Midge Ure? The conjecture is humanely brought to an end by the arrival of a lean, mean-looking man in his sixties. Jerry Lee Lewis, for it is he, hurls himself into a firey Whole Lotta Shakin', his right hand alternating between punishing the upper register of his piano and tossing back the independent life-form that is his huge greasy fringe. Mid-way, he mule-kicks his piano-stool across the stage and attempts unsuccessfully to raise his right foot to the keyboard. As if he is being paid by the second, he collects jacket and exits stage right leaving the pick-up band to complete the job while he, presumably, collects the cash. Following a quick spate of journalistic jokes regarding The Killer's infamous libidinous predilections, it strikes the assembled company that Lisa Marie Presley might be present, as she has recently been collaborating with the curmudgeonly legend on some new material. With the scent of scanda lin their nostrils, a couple of writers scuttle away to investigate another potential exclusive, missing as they do Suzanne Vega's Spanish language version of Luka, a song about child abuse.

"Buenos noches, Barcelona! How ya doin’? Awlwight?" Spandau Ballet are, by all accounts, "big in Spain" and three songs later the crowd are indeed, judging by the noise, "awlwight", warmed up and, in a very real sense, ready for Freddie.

The orchestra heralds his arrival with an appropriately grandiose signature tune. He makes his entrance hand in hand with Montserrat, she in an alarmingly large frock, he in an uncomfortably tight tuxedo. Mercury's voice is immediately overshadowed by Caballé's well-drilled trilling and swooping. It is soon quite plain that his is not a strong operatic voice but a warbling rock tenor with cod-operatic pretensions. Comically, Mercury has also obviously experienced some difficulty in moderating his stage performance and seems to be constantly wrestling with a desire to finger a few hairy-chested air-guitar riffs on his microphone stand. That is, until you realise that there is no microphone stand. There is as a matter of fact, no microphone. Amidst all the booming and shrieking and violently passionate body language of their song, Barcelona, the realisation suddenly dawns that they are miming. The fireworks at the climax come as a welcome distraction to the poorly executed lip-synching. Back in the British press box, two bombshells of a less spectacular nature have been dropped; firstly, it is revealed that no press will be allowed into the backstage enclosure as Freddie just wants to relax with a few close acquaintances after the show; secondly, the photographers have discovered that the man from the Mirror has been in Spain for the past two days photographing Freddie and Juan Carlos. To cap it all, his pictures will be available for publication in London before they even return. "We've completely wasted our fucking time," points out the man from The Sun, astutely.

Originally Freddie had intended to forego the concert and instead throw a party for all his "friends" from the press. He promised fire-eaters, dancing bears, unicycling waiters, bearded women juggling live dwarves, that sort of thing. But in the restless tradition of true genius, he became bored with the idea before they'd auditioned the first midget.

So what must one do in order to meet the Frederick Bulsara, 41, the man for whom the word "ludicrous" has never been entirely adequate? The unblushing front-person of Queen who attempted to marry Madame Butterfly to Led Zeppelin whilst wearing a pink feather boa, having apparently secreted several pounds of root vegetables down his ballet tights. Here he is, the wrist-flicking pianist and melodramatic lyricist whom even Beelzebub couldn't stand the sight of. The macho-moustachioed bon viveur who could never decide whether to toss roses to his adoring fans or show them his bottom.

Although it has been some time since he has granted an interview, he still finds shaking hands with the press a painful experience, having had his fingers burnt badly in the past. Previous encounters with journalists have found Mercury proudly recounting tales of crass sexism, appalling wad-waving and indecent ego exposure. Much to his surprise, these unsavoury boasts were reproduced verbatim, invariably casting him as unbearably self-infatuated or obnoxiously arrogant. But he can't really be like that, can he?

In a last ditch effort to achieve congress of some description with the elusive showman, I revisit the entrance to backstage where another, younger policeman is now on duty. Press cards are dutifully displayed.

"Ah," he says, "Press? One moment please." This looks very hopeful. He confers quietly with another officer and returns scowling.

"No Press."

[Photo caption: Freddie and backing singer Debbie Bishop enjoy some post-performance Spanish cuisine: "We might do something live but, My God!, I'll need a lot of rehearsal."]

Back in the hotel at 2am there is a faint air of desperation. Stories need to be filed and no-one has a notion what to write. The men from The Sun and The Times receive the information that the reason for Mercury's miming was a previously unannounced "throat infection". This forms the basis for both their stories; The Times takes the opportunity to snipe gratuitously at Spandau Ballet, calling them "lumpen lager louts"; The Sun uses Mercury's ailment as an excuse to speculate, in its inimitable fashion, as to whether or not Mercury has AIDS.

Outside on the pavement, the empty-handed photographers have decided to cut their losses and "go out and get blitzed". They stop a taxi and inform the driver of their intentions. "Ah, yes," smirks the rotund cabbie offering a vigorous variation on the Twist. "You want go deesco deesco, yes?" "No, Manuel," quips a waggish smudge to a chorus of hearty belly-laughs. "we want go drinko drinko.”

No-one is cracking jokes at the airport the following morning. Most have remembered what they were drinking to forget and only have a hangover to show for a hard weekend's snapping and snooping.

Whilst waiting for a connecting flight in Brussels tempers begin to fray and a photographer lets the record company representative know exactly what's on everyone's mind. While this minor fracas is taking place, Freddie Mercury's PR explains that all is not lost. The lack of access had been due to Mercury's distrust of Fleet Street, but he will talk to Q — only briefly mind — at a party he is throwing in the strangely named Crush Bar at the Royal Opera House in Covent Garden tomorrow lunchtime.

The party, it transpires, is the UK launch the Barcelona album and the world and his whippet are in attendance. Media folk from TV, radio, press, record companies have come, many with friends and immediate family, to drink a drop of "the old shampoo" and eat the posh scoff. As the chintzy bar fills to near capacity the chances of a quiet têtê-à-têtê with the man Mercury appear to be slimming by the minute. A reverential hush and a blast of the inevitable Barcelona and Freddie, diva in tow, is among us once again. Simpering benevolently and stopping to occasionally press some particularly influential flesh, he makes his way to a central table where he sits upright, lights a low-tar cigarette and fidgets with his champagne glass, looking for all the world as if he finds this mildly tiresome. Suddenly I am whisked into his presence. He looks pained and takes two tiny, impatient puffs on his cigarette. "Let's not make this too long, eh?" he grimaces.

Surely an aspiring opera singer shouldn't be smoking?

"Oh, do fuck off," he laughs, theatrically propelling a column of smoke heavenwards. "Ask your questions.”

Why opera?

"It was all her," he says motioning lazily towards Caballé. "I just thought, and still think, that she has a marvellous voice and on Spanish television about a year, a year and a half ago I happened to mention it and she came to hear it and she called me up and said, Let's try to do something, see if we can musically get something together. So we met in Barcelona and the story unfolds from there."

But what was the appeal of opera?

"I just liked her voice," he repeats adjusting his cuffs agitatedly. "Whether it be opera or whatever I just think she has this remarkable voice. And I was willing just to go on liking it, never thinking that she'd ask me to sing with her. Then it was, Oh my God!"

How will Queen fans react to this particular musical indulgence?

"I don't know," he sighs, making eye contact briefly for the first time. "I'll have to find out. It is a bit of a thingy. You can't put it under a label can you? The worst thing they call it is rock opera, which is so boring, actually. You can't label it in any way because I'm doing songs that I've never done before, the sort of songs to suit our voices. I found it very difficult writing them and singing them because all the registers had to be right and they're all duets."

Was he daunted when he first met Caballé?

"Now I'm getting to know her it's all right but at first… my God!" He tosses a hand limply into the air. "I didn't know how to approach her or anything. You have this sort of idea of a super diva walking in but she really made me feel at ease."

Did she have any suspicions about him?

"I asked her and everything and she said she'd heard of me and everything and before we met she'd got all my albums and started listening to all the old Queen records because she thought she was going to have to sing something like that! I said, No, no. I'm not going to give you all those Brian May guitar parts to sing, that's the last thing I want to do! I think she thought it would be more a rock'n'roll thing."

Did it make him reappraise his voice?

"No, no, no," he tuts disapprovingly. "In fact she did make me sing in different ways. Like she said, use your baritone, But no, no, no. I didn't take any lessons."

Why, I venture, did he mime in Spain?

"I tell you what," he announces, quite prepared for the question, "I really didn't want to sing live because for that we'd need a lot of rehearsals. It's a very difficult thing for me. They're complex songs and we just didn't have enough rehearsal time and we could have not done it at all but because of the Olympic committee and all that we had be he represented.

Did he feel he was letting people down?

"No, rubbish," he spits petulantly. "We were there. We haven't actually done anything live and I didn't want to just go and, well you know… There will come a time when we might do something live but my God, I'll tell you, I'll need a lot of rehearsal. Weeks and weeks of it. I've never done things with orchestras and if my voice was not to come up to scratch I'd be letting her down. I didn't want to take any chances."

What went through his mind before he took the stage in Barcelona? Was he nervous?

"Well yeah," he nods, "I was nervous. It was a cultural event. They had Dionne Warwick and Nureyev dancing so it was a mish-mash for everybody."

Will rock 'n' roll be a bit of a come down after this?

"No, not at all, because I'm currently working on a Queen album. I'll never forget that. That will come out in April or May next year."

Does he find it hard to keep the rock performer in him at bay whilst performing opera?

"I still find myself wanting to do this," he says, striking a familiar bicep-flexing pose. "It's strange for me to be wearing a tuxedo. But did you see her? Flying about all over the place!"

Does he share any common interests with his diva?

"We have a certain type of humour which is nice. I thought, My God! — because you always think opera divas are going to be austere and very sort of frightening — but she jokes and she swears and you know, she's a human being. It's good. She doesn't take herself too seriously."

Isn't all this the campest thing?

"Do you think she's camp?" he asks laughing. "It is so ridiculous when you think about it. Her and me together. But if we have something musically together it doesn't matter what we look like or where we come from."

Has he missed playing live with Queen?

"I do miss it to a certain extent," he says, toying impatiently with his lighter, "but I want to do the album first so we've got something to play live. I know I haven't done a live show for about two years but… I can't fucking do everything all the time!"

He laughs nervously at his outrageous closing quote and reaches for his low-tar cigarettes.

"Anyway, dear, let's have a breather, huh?"

[Photo caption: Fred and his diva pose for their chums from Fleet Street: "I happened to mention that she had a marvellous voice on Spanish TV and she asked me to sing with her. Then it was, Oh my God!"]

#queen #queen band #freddie mercury #montserrat caballe #queencuttings.com #queen scans #q magazine december 1988

[natromanxoff]

Classic Rock - December, 2000

Credits to Louise Belle and Queencuttings.com

#queen #queen band #roger taylor #freddie mercury #brian may #john deacon #queen scans #queencuttings.com #classic rock december 2000

[natromanxoff]

Record Collector - August, 1991

Credits to Louise Belle and Queencuttings.com

[Photo caption: Freddie Mercury, pictured in March 1974, months before Queen established themselves as a first division rock act. His solo career has been greeted with mixed feelings by Queen fans.]

As our Readers' Poll results earlier this year clearly indicated, Queen's immense popularity now rivals that of the established greats such as the Beatles, Stones, Presley and Bowie. 1991 saw the band celebrate 20 years together by scoring their third U.K. No. 1 single with "Innuendo", which they followed with their seventh No. 1 album and two further Top 30 singles. This success looks set to continue with the second volume of Queen's greatest hits now scheduled for late autumn, exactly ten years after the first set. There will also be a new single to precede it, and the latest news is that the group have already begun recording their new album in Montreux.

1991 has also seen the release of the Queen Remasters series, issued in the States on Hollywood Records on CD and cassette only, which I hope to look at in detail in a future feature. At the time of writing, Queen's U.K. label EMI are believed to be considering putting out their own Remasters collection, which will also include the majority of solo material. So it's an opportune moment to review the Queen members' solo works to date. Roger Taylor's band the Cross have just completed their third album, which is scheduled for European release in September, and we shall be focusing specifically on their work in the very near future. For this feature, I shall concentrate on the individual solo recordings, which range from the raw rock'n'roll of Roger Taylor's first single to Freddie Mercury's successful collaboration with the Spanish opera diva Montserrat Caballe.

I have not included the band members' collaborations with other artists in the field of production work, guest appearances and songs written for other artists as this is worthy of a separate feature.

• ROGER TAYLOR 1977-1984

I WANNA TESTIFY/TURN ON THE T.V. (EMI 2679; 7", 8/77)…....………………………………………………………………£12

Roger was the first Queen member to release a solo single, finding an outlet on the same label which had successfully issued Queen product since 1973. There was no picture sleeve to accompany the British edition, but a sleeve apparently issued in Holland is highly sought-after by collectors today. However, the single, "I Wanna Testify", wasn't chosen for many major markets such as North America and Japan where Queen traditionally did well. The song failed to chart in the U.K., but in its defence, "I Wanna Testify" didn't appear on the all-important radio playlists and its only promotion was Roger's appearance on Marc Bolan's TV show, a rare solo performance which would be most welcome on an official video. Neither side has yet turned up on any album.

FUTURE MANAGEMENT/LAUGH OR CRY (EMI 5157; 7", p/s, 3/81).………………………………………………………….£8

This second solo single saw Roger taking a much higher profile, particularly as there was no new Queen product due until the autumn. "Future Management", a taster from his forthcoming solo album, was housed in an attractive picture sleeve and Roger made an appearance on "Top Of The Pops" as the single reached No. 49. Copies are now definitely becoming more difficult to find.

[Photo caption: Roger Taylor's second solo single was "Future Management", which just made the Top 50, and provided a taster for his first solo LP.]

LET'S GET CRAZY/LAUGH OR CRY (Elektra E-47151 [U.S.]; 7", 4/81)………………………………………………………£8

Elektra in the States chose another track, the rockier "Let's Get Crazy", with which to promote Roger's solo album, but this failed to set the American charts alight. Copies of the single are now quite scarce, and despite the lack of a picture sleeve, can fetch up to £8. However, I recommend that fans shop around before parting with their money.

FUN IN SPACE (EMI EMC 3369/Elektra 5E 522 [U.S.]; LP, 4/81)…….………………………………………………………….£12

Side One: No Violins/Laugh Or Cry/Future Management/Let's Get Crazy/My Country I & II

Side Two: Good Times Are Now/Magic Is Loose/Interlude In Constantinople/Airheads/Fun In Space

Roger's debut album received a hostile press reception but his faithful British fans took the record to a very creditable No. 18 in the LP charts. "Fun In Space" is packed with good rockers such as the excellent "Airheads" and the very catchy "Good Times Are Now", but it is carefully balanced by the humorous "Interlude In Constantinople", the superb pop number "Magic Is Loose", the magnificent ballad "Laugh Or Cry" and the haunting scifi-inspired title track.

Sadly, EMI have long since deleted this album, and copies are now imported into Britain by EMI Holland and EMI Germany. For collectors who've now been converted to the compact disc format, there is a faint glimmer of hope that one day this superb album will be transferred onto CD, but at the time of writing no country has taken the lead.

MY COUNTRY (Edit)/FUN IN SPACE (EMI 5200; 7", p/s, 6/81)…………………………………………………………………...£8

This second 45 from "Fun In Space" fared badly, and many fans felt that it was a strange choice as a single - "Good Times Are Now", […]

[Photo caption: "My Country" was Taylor's second 45 from the "Fun In Space" album, though many fans felt it was a strange choice for a single.]

[Photo caption: Brian May, the man responsible for that unique Queen guitar sound, was the second band member to try his hand as a solo artist.]

[Photo caption: Incredibly, EMI have not followed the deletion of Taylor's "Fun In Space" album with a compact disc reissue, though we live in hope!]

[…] "Airheads" and "Magic Is Loose" all looked better bets. However, the single edit of "My Country" is now a collector's item as it was not released in America or Japan.

MAN ON FIRE/KILLING TIME (EMI 5478; 7", p/s, 5/84)……………………………………………………………….£5

MAN ON FIRE (Extended)/KILLING TIME (EMI 12 5478; 12", p/s, 6/84)…………………………………………£7

This is a classic song criminally ignored by both national radio and the music press. It should have been a massive hit but, coming in between two Queen singles and a Queen tour, the song struggled to reach No. 66 in the British charts. For "Man On Fire", the usual 7" was joined by a 12", containing a better mix of the lead track, which is highly recommended to all fans. In Japan, the single came in a totally different sleeve, and this is now a popular collector's item.

STRANGE FRONTIER (EMI RTA 1 EJ-2401371; LP, 6/84)………………………………………………………………£10

Side One: Strange Frontier/Beautiful Dreams/Man On Fire/Racing In The Street/Masters Of War

Side Two: Killing Time/Abandon Fire/Young Love/It's An Illusion/I Cry For You

Roger's second solo LP differed from his first in that it included two covers, Bob Dylan's "Masters Of War" and Bruce Springsteen's "Racing In The Street"; a third, a rendition of the Spencer Davis Group's "Keep On Running", remains unreleased. "Strange Frontier", which is a favourite with Queen fans, also featured songs co-written with co-producer Dave Richards and Status Quo's Rick Parfitt. However, it has been deleted by EMI despite the fact that it reached No. 30 back in 1984. Again, rumours of an impending compact disc circulate, but the delay in this CD edition is a great pity because this album deserves to be heard. It's worth speculating that, had "Strange Frontier" surfaced in 1983 or 1985, it may have transformed Roger into a huge solo star and the history of Queen may have been very different indeed.

STRANGE FRONTIER/I CRY FOR YOU (Remix) (EMI 5490; 7", p/s, 7/84)…………………………………………..…£5

STRANGE FRONTIER (Extended)/I CRY FOR YOU (Extended Remix)/TWO SHARP PENCILS (EMI 12 5490; 12", p/s, 7/84)…………………………………………£8

The second single from the album was this brilliant, moody title track that should have taken the U.K. charts by storm. Instead, hampered by a lack of airplay and the fact that it was released just a month after Queen's Top Ten single "It's A Hard Life", it flopped. The […]

[Photo caption: Roger Taylor's "Let's Get Crazy", issued on Elektra, was the first solo recording by a Queen band member to appear in the States.]

[…] 12", containing extended mixes of "Two Sharp Pencils" and "I Cry For You" (remixed by John Deacon and John Richards), with a humorous out-take, "Two Sharp Pencils", as a bonus, is very collectable today. Incidentally, the 7" version of "I Cry For You" is different to those on both the 12" and album.

• BRIAN MAY 1983-1991

STARFLEET (4.12)/SON OF STARFLEET (EMI 5436; 7", p/s, 10/83)….……………………………………………….....£5

Brian May was the second member of […]

[Photo caption: Brian May's "Starfleet Project" mini-LP contained just three tracks, including a lengthy blues instrumental jam, "Bluesbreaker".]

[…] Queen to release a solo single, but unlike Roger Taylor, he chose a cover version rather than an original song. The song (written by Paul Bliss) was loosely based on the ITV children's television serial "Starfleet", and featured musicians like Eddie Van Halen, Alan Gratzer, Phil Chen and Fred Mandel, brought together in L.A. early in 1983. Despite the fact that it was a powerful song and contained some awesome guitar work from May and Van Halen, "Starfleet" again received no daytime radio airplay and was doomed to the lower reaches of the Top 100, stalling at No. 65. The single was credited to 'Brian May and Friends' and housed in a black picture cover with the Starfleet logo in white.

[Photo caption: May's first solo vinyl outing was the "Starfleet" single, which was based on the theme for the children's TV serial of the same name.]

STARFLEET (US Edit 3.07)/STARFLEET (4.12) (Capitol B-5278 [U.S.]; 7"', 1983)……………….£10

A shorter edit of "Starfleet" was utilised in America on Queen's new label Capitol. In fact, this move proved to be a disaster not only for the solo projects but for the band's output too, but that's another story! There's also an American 12" promo coupling the edit and the full-length version (worth £15), though both editions are very scarce.

STARFLEET PROJECT (EMI SFLT 1078061; mini-LP, 10/83)…………………………………………………………………..£8

Side One: Starfleet (8.00)/Let Me Out (7.10)

Side Two: Bluesbreakers (12.50)

Again credited to 'Brian May and Friends', the "Starfleet Project" album reached No. 35 […]

[Photo caption: Roger Taylor's second LP was "Strange Frontier", a title that continued the space theme.]

[Photo caption: "I Wanna Testify", issued by drummer Roger Taylor in 1977, was the first Queen solo 45.]

[Photo caption: Roger Taylor has been the most prolific Queen member in the solo stakes, and it looks likely that his work with the Cross will continue to delight Queen fans when the new album appears.]

[Photo caption: Taylor's "Man On Fire" was a classic 45, criminally ignored by both press and radio.]

[…] in the charts and, like Roger Taylor's LP, is now deleted and difficult to find in High Street stores. This mini-album included just three tracks: the full-length version of "Starfleet", "Let Me Out" (an old song Brian re-recorded at the session — he sang it live at the Xmas party, 1990) and a 12-minute blues instrumental/jam, "Bluesbreaker". Before the project was completed, Brian enlisted the services of Roger Taylor, who provided some backing vocals. Like the aforementioned solo albums, we still await its appearance on CD, although it did surface on cassette.

Aside from Brian's prolific production credits since 1983 (and his work with Queen, of course), he is reputed to have compiled tracks over the years for his own full-length solo album, though there is no talk of a release date at present.

• FREDDIE MERCURY 1984-1988

LOVE KILLS (4.27)/ROTWANGS PARTY (G. Moroder) (CBS A 4735; 7", p/s, 9/84)………………………………£3.50

LOVE KILLS (5.21)/ROTWANGS PARTY (G. Moroder) (CBS TA 4375; 12", p/s, 9/84)……………………………….£6

LOVE KILLS (4.27)/ROTWANGS PARTY (G. Moroder) (CBS WA 4375; 7" picture disc, 9/84)……………………£7

Freddie's first solo single, co-written with Giorgio Moroder, was a rock/disco number that was featured on the soundtrack of "Metropolis", the revamped silent film classic. Released on the same day as Queen's "Hammer To Fall", the song became an instant hit and actually went three places higher in the U.K. chart than the Queen single! CBS certainly promoted it well, securing valuable daytime airplay for the 7", extended 12" and 7" picture disc formats, which together helped the song into the Top 10. Collectors should look out for the Spanish 7" which featured lyrics on the back of the sleeve; while the Japanese 7" boasted a lyric sheet insert. A slightly flat mix can be found on the "Metropolis" soundtrack LP (CBS 70252).

I WAS BORN TO LOVE YOU/STOP ALL THE FIGHTING (3.17) (CBS A 6019; 7", p/s, April 1985)…………………….£3 […]

[Photo caption: There was a 7" and 12" edition of Roger Taylor's "Strange Frontier" single, issued in 1984.]

[…] I WAS BORN TO LOVE YOU (7.03)/STOP ALL THE FIGHTING (3.17) (CBS TA 6019; 12", p/s, 4/85)……...£5

I WAS BORN TO LOVE YOU/STOP ALL THE FIGHTING (3.17) // LOVE KILLS (5.26)/STOP ALL THE FIGHTING (6.39) (CBS DA 6019; 7" double pack, gatefold sleeve, 4/85)……………………………………………………………………….£6

This romantic disco number surprisingly stalled at No. 11, despite a similar array of editions. Of the three formats, the most collectable is the double-pack, which included an extended version of "Stop All The Fighting". Collectors should note the existence of a Mexican green vinyl 12" and a DJ-only 12" Disconet mix, both of which are quite difficult to find these days.

MR BAD GUY (CBS 86312; LP, 5/85)…………….……£6.50

Side One: Let's Turn It On/Made In Heaven/I Was Born To Love You/Foolin' Around/Your Kind Of Lover

Side Two: Mr Bad Guy/Man Made Paradise/There Must Be More To Life/Living On My Own/My Love Is Dangerous/Love Me Like There's No Tomorrow

MR BAD GUY (CBS CD 86312; CD, 5/85)……………….£10

Adds: Let's Turn It On (5.07)/I Was Born To Love You (7.02)/Living On My Own (6.38) […]

[Photo caption: Freddie Mercury got his solo career off the ground with the "Love Kills" 45 in 1984.]

[…] Freddie's first solo album rose to No. 6 in the British charts. It may well have fared better had the press (not always on Queen's side) not savaged the album so viciously. In retrospect, "Mr Bad Guy" was a brave mixture of disco, ballads, light opera and rock, with a touch of reggae thrown in for good measure, but it lacked balance and the sheer quality of a Queen album. The U.K. CD, which added three 12" mixes, is well worth getting hold of. Collectors should also be aware that the American CD edition, now regularly imported into Britain, features no bonus tracks. The home market cassette, however, included the 12" mix of "I Was Born To Love You" as a bonus.

MADE IN HEAVEN (Remix 3.59)/SHE BLOWS HOT AND COLD (3.35) (CBS A 6413; 7", p/s, 6/85).…..£3

MADE IN HEAVEN (Extended Remix 4.43)/MADE IN HEAVEN (Remix 3.59)/SHE BLOWS HOT AND COLD (Extended) (CBS TA 6413; 12", p/s, 6/85)……………..£6

MADE IN HEAVEN (Remix 3.59)/SHE BLOWS HOT AND COLD (3.35) (CBS WA 6413; shaped picture disc, 6/85)………………………………………………………………………£8

The second 45 from "Mr Bad Guy" was the Queen-like "Made In Heaven", issued in a remixed form. Surprisingly, the single fared badly which was doubly odd bearing in mind that it was many fans' most popular track on the album. But the single did include a brilliant non-LP B-side, sport a superb video, and feature an almost perfect vocal from Freddie! I suspect that if the radio stations picked up on it, or had it been disguised as a Queen single, "Made In Heaven" could well have been a much bigger hit. Collectors will doubtless go for the shaped picture disc, but even more desirable is the uncut disc, which now sells for around £25.

The American market was instead given the catchy jazz/disco crossover of "Living On My Own"/"She Blows Hot And Cold" (Columbia 38-05455).

LIVING ON MY OWN/MY LOVE IS DANGEROUS (CBS A 6555; 7", p/s, 8/85)…………………………………………..…£3

LIVING ON MY OWN (Extended 6.38)/MY LOVE IS DANGEROUS (Extended 6.25) (CBS [G]TA 6555; 12", gatefold or single p/s, 8/85)……………………………£7/£5

The third single from "Mr Bad Guy" should have been a hit, but CBS got cold feet and banned Freddie's video, filmed at his birthday party the previous year. Collectors should note that the 12" mix appeared in two […]

[Photo caption: Despite several collectable editions, Freddie's "I Was Born To Love You" missed the Top 10.]

editions, with the choice of gatefold or single sleeve. Both contain a storming version of "My Love Is Dangerous" on the flip, which is far superior to the tame album mix.

LOVE ME LIKE THERE IS NO TOMORROW/LET'S TURN IT ON (CBS A 6725; 7", p/s, 11/85)……..…..£3

LOVE ME LIKE THERE IS NO TOMORROW (Extended)/LET'S TURN IT ON (Extended) (CBS TA 6725; 12", p/s, 11/85)…………………………………………..£5

CBS culled a fourth single from the album, a ballad, in direct competition with a brand new Queen single "One Vision". It was a foolish move as the single had no real prospects of doing anything, but it did offer collectors an extended mix of "Love Me Like There Is No Tomorrow". Those who didn't buy the CD of "Mr Bad Guy" finally got the chance to hear the extended version of "Let's Turn It On" on the flip-side.

TIME/TIME (Instrumental Version) (EMI 5559; 7", p/s, 4/86)………………………………………………………………………£3

TIME (Extended Version)/TIME/TIME (Instrumental Version) (EMI 12 5559; 12", p/s, 4/86)…………………..£5

Freddie surprised everyone with this cover version, the title track from Dave Clark's musical "Time". His immaculate vocal ensured that this track received airplay, and while it suffered from being caught between two Queen singles, it provided Mercury with a minor hit. The 12" edition is very desirable as it features an excellent extended mix of the song. The single version turned up on the "Time" double album, along with "In My Defence" and "Time (Reprise)", although sadly, this set has never graced a compact disc.

THE GREAT PRETENDER/EXERCISES IN FREE LOVE (Parlophone R 6151; 7, p/s, 2/87)…………………….…£2.50

THE GREAT PRETENDER (Extended)/THE GREAT PRETENDER (7)/EXERCISES IN FREE LOVE (Parl. 12R 6151; 12", p/s, 2/87)…………………………………………....£4.50

THE GREAT PRETENDER/EXERCISES IN FREE LOVE (Parlophone RP 6151; radio-shaped picture disc, 2/87)……………………………………………………………………..£10

After the success of the Magic Tour in 1986, Queen decided to take a break, which turned into a three-year hiatus with the band immersing themselves in solo projects. Freddie went to record a solo album with the help of Mike Moran and announced its arrival with a cover of the Platters 1957 hit, "The Great Pretender". It was a huge hit, due in part to superb timing and a wonderfully silly video. The B-side is also worth a listen, with Freddie […]

[Photo caption: This is the CD sleeve for the memorable Mercury / Caballe collaboration, "Barcelona".]

[…] and a piano creating a haunted, atmospheric instrumental. Once again, EMI didn't opt for the CD single format. Incidentally, the single turned up on one of the "Now" albums/CDs, but these are also deleted!

BARCELONA (4.23)/EXERCISES IN FREE LOVE (Version 2) (Polydor POSP 887; 7", gatefold p/s, 10/87)……………………………………………………………£4

BARCELONA (4.23)/EXERCISES IN FREE LOVE (Version 2)/BARCELONA (8.27 Extended Version) (Polydor POSPX 887; 12", gatefold p/s, 10/87)…£5

BARCELONA (4.23)/EXERCISES IN FREE LOVE (Version 2)/BARCELONA (8.27 Extended Version) (Polydor POSPC 887, cassette single, 10/87) £3.50

BARCELONA (4.23)/EXERCISES IN FREE LOVE (Version 2)/ BARCELONA (8.27 Extended Version) (Polydor POSPP 887, 12" picture disc, 10/87)…..£8

BARCELONA (4.23)/EXERCISES IN FREE LOVE (Version 2)/ BARCELONA (8.27 Extended Version) (Polydor POSPCD 887; CD single, 10/87)…………£8

Recorded with the renowned Spanish opera diva Montserrat Caballe, "Barcelona" was a surprise hit in November 1987. The duet was certainly memorable and the melody seemed to imprint itself on the brain. Polydor flooded the market with a host of limited editions, and they finally released a CD single that seems set to rise in value in the future. Collectors should note that the single and extended mixes of "Barcelona" weren't used for the album, while the version of "Exercises In Free Love" features vocals from Montserrat and not Freddie.

THE GOLDEN BOY (6.09)/LA JAPONAISE (4.57)/BARCELONA (5.39) (Polydor; promo CD, 9/88) £10

Polydor issued this three-track promotional CD to DJs and keen-eared collectors will spot that both "Golden Boy" and "La Japonaise" are slightly longer than their album counterparts.

BARCELONA (Freddie Mercury & Montserrat Caballe; Polydor POLH 44; LP, 10/88)…………………………...£6.50

Side One: Barcelona (5.38)/La Japonaise (4.49)/The Fallen Priest/Ensueno

Side Two: The Golden Boy (6.03)/Guide Me Home/How Can I Go On/Overture Piccante.

This album was suicidally released without a single to precede it and at a time when […]

[Photo caption: This radio-shaped edition of Freddie's "The Great Pretender" single is one of the rarest releases from any Queen member's career.]

[…] fans were expecting the new Queen LP. "Barcelona" is split into two halves with the first side dominated by light opera — which works quite well if you enjoy opera. As a Queen fan I still find this album impenetrable, and yet it must be said that Freddie's vocals work wonderfully in this medium, especially on Side One's highlights, "La Japonaise" and "Ensueno".

Side Two explores two of Freddie's other musical passions, gospel and soul ballads, but is spoilt by a truly abysmal instrumental, "Overture Piccante". The three songs, "The

Golden Boy", "Guide Me Home" and "How Can I Go On", are among Freddie's finest solo compositions, but they are rather let down by Montserrat's inappropriate vocals. The great diva is totally lost in the gospel arrangement of "The Golden Boy", whereas Freddie sings with great style and ease. The question must be asked as to why Montserrat's vocal was used at all! Both of the quite superb ballads, "How Can I Go On" and "Guide Me Home", are totally ruined by her vocal. The irony is that had these songs been recorded by Freddie alone or with Queen, they would probably be regarded as classics. Also on cassette and CD, the album struggled to No. 24 in the U.K. charts. Note that John Deacon plays bass on "How Can I Go On".

THE GOLDEN BOY/THE FALLEN PRIEST (Polydor POSP 23; 7, p/s, 10/88)………………………………..£2.50

THE GOLDEN BOY/THE FALLEN PRIEST/THE GOLDEN BOY (Instrumental) (Polydor POSP 23; 12", p/s, 10/88).…………………………………………………………….£4.50

THE GOLDEN BOY/THE FALLEN PRIEST/THE GOLDEN BOY (Instrumental Version) (Polydor PZ CD 23; CD single, 10/88)………………………………………..…..£4

This single was lifted directly from the album, and at six minutes plus, gained no airplay and promptly flopped. Collectors should seek out the CD or 12", which included the instrumental version of "The Golden Boy" (without Montserrat!).

HOW CAN I GO ON/OVERTURE PICCANTE (Polydor POSP 29; 7", p/s, 12/88)…………………………………..…..£2 […]

[Photo caption: The 12" picture disc edition of the Mercury / Caballe hit, "Barcelona", issued in October 1987, is currently valued at around £8.]

[…] GUIDE ME HOME/HOW CAN I GO ON/OVERTURE PICCANTE (Polydor POSPX 29; 12", p/s, 12/88)………£4

GUIDE ME HOME/HOW CAN I GO ON/OVERTURE PICCANTE (Polydor PZ 29 CD; CD single, 12/88) £4

HOW CAN I GO ON/OVERTURE PICCANTE (Polydor POSX 29; 7" picture disc, 12/88)……………………….….£5

Having flopped with the gospel number, Polydor went for the ballad "How Can I Go On", but this also failed to excite the record buying public. However, collectors should look out for the 7" picture disc, which is now becoming scarce.

• JOHN DEACON

Unlike the other Queen members, John has apparently held no desire to release solo material. The fact that in the late Seventies and early Eighties, John established himself as a successful songwriter for Queen, penning huge hits with "You're My Best Friend", "Another One Bites The Dust" and "I Want To Break Free" seems to have given

John a great deal of personal satisfaction. During Queen's quieter periods in the late Eighties, John was content to spend time with his family, turning up for the odd guest appearance on other artists' albums, such as Elton John, and jamming with various friends.

John has said that since he has no singing voice, he is unlikely to record a truly solo album but would like to work with other artists. But he did record one single with the Immortals, "No Turning Back", which was used for the film "Biggles" in 1986. He played bass and appeared in the video — and we'll be covering this and other collaborations, by Deacon and all the other members of Queen, in a later article.

#queen #queen band #roger taylor #freddie mercury #brian may #john deacon #queencuttings.com #queen scans #record collector august 1991

[natromanxoff]

Daily Mirror - September 6, 1984

Credits to Ale and Queencuttings.com

CUPS OF CHEER FROM THE BAND

IMAGINE the problem. The birthday boy has everything under the sun.

He's world famous, he's a millionaire, and he's also a king-sized extrovert.

He also loves a joke like the next man.

He is rock superstar Freddie Mercury.

And the only guys who can hold a candle to him are his mates in Queen, Roger Taylor, John Deacon and Brian May.

Yesterday they presented him with a cake you probably wouldn't see on display at the local bakery.

#queen #queen band #roger taylor #freddie mercury #brian may #john deacon #queencuttings.com #queen scans #daily mirror september 1984

[natromanxoff]

Today - November 26, 1991

Credits to Louise Belle and Queencuttings.com

DEATH OF A SHOWMAN

DEATH OF A SHOWMAN

[Photo caption: POWER AND THE PASSION: Freddie Mercury's music thrilled millions. Now his fans are mourning the death of a rock legend]

HE WAS SUFFERING, HE'S IN A BETTER PLACE NOW

By CHRIS HUTCHINS

FREDDIE Mercury dreamed of holding one last party. Arriving home at his Kensington mansion from dinner at a nearby restaurant on a cold night in February, the singer made a call to a showbusiness chum and said: "I'm planning a do — keep September 5 free."

The date was the star's 45th birthday and even then he knew that it would be his last — if he made it. Because Mercury was painfully aware that he had the Aids virus and that it was going to bring his fabulous life to an untimely end.

Tragically, that came true on Sunday, devastating friends like star-turned-impresario Dave Clarke, who had kept a bedside vigil.

Through tears he said: "He was a rare person but he suffered and when he slipped away I knew he was going to a better place."

Back in February though, Freddie's spirit was still strong enough to contemplate a birthday extravaganza. He telephoned his friend several more times over the next few days. He said he had told someone to ask Prince Andrew if he might borrow a state room at Buckingham Palace — fitting, he giggled, for the man who led Queen.

Then a worsening in his condition caused him to modify his plans. He mentioned to his friend that it might have to be a smaller event "perhaps at Claridge's" and said he thought he would ask Lady Elizabeth Anson, who organises royal celebrations, to plan all the details.

Early in March Freddie called his friend again, this time to say that the party was in doubt. He sounded bitter and angry about having to cut himself off from the people he loved so much "because no one understands this sodding illness. I feel stigmatised, like a leper. I feel as if no one wants to have anything to do with me."

By the summer's end, Freddie realised that he was far too ill to party and his birthday would have to pass like any other day as he struggled to find the strength to soldier on.

His muscular body, which had served him well in the boxing ring as a teenager, was wasting pitifully away.

He resented the shocked looks on the faces of the decreasing number of visitors to his Georgian mansion who were permitted to share his [Turn to Page 22]

The insatiable quest for pleasure that drove Freddie to his death

[Photo caption: REIGNING IN SPAIN: Singing hit Barcelona with diva Montserrat Caballe]

[Photo caption: HOUSEWIVES’ CHOICE: Freddie dons a wig and vacuums the lounge in the video of Queen’s 1984 hit I Want To Break Free. But behind the singer’s camp antics is a serious message about domestic drudgery.]

[Photo caption: MY BEST FRIEND: With Mary Austin, his loyal companion for more than 20 years]

[From Page 21] tragic secret. The determination to succeed which had driven him to excel at the piano lessons he started aged seven, was leaving him as he gave in to the final realisation that he was fighting a losing battle.

Where once he had admired others only for their ability to match his excesses, Freddie began to tell those confidants who had managed to put an end to their life-sapping habits in time, that more than anything he lauded them for their restraint.

"Never go back to alcohol or drugs or to being promiscuous," he urged them from his deathbed.

This was a very different Freddie Mercury to the one they once knew. If his house could talk, what tales of gay abandon it would have to tell.

More than anything else, the rock world knew him as the star who loved to party. Guests could have anything they desired as long as they arrived happy and remained deliriously so.

The highly-sexed singer wanted everyone around him to be as turned on as he was and he arranged every kind of titillation he could think of for his guests — gay and straight alike.

It had been his idea to hire a glamorous couple to expose their bottoms to guests arriving for a party at the Groucho Club last year to celebrate his Lifetime Achievement award.

At a celebration for Queen's Wembley concert at Richard Branson's Roof Garden, he booked girls who were adorned from head to foot only with body paint to act as lift attendants. He also hired a young man in chains and a leather jockstrap to run the ladies' powder room. In the gents loo, guests were welcomed by a scantily-clad blonde who offered them a massage after they had washed their hands. Four caged, near-naked girls were the main attraction in the club's gardens — much to Cliff Richard's obvious surprise.

At one festival of fun in the very house where he breathed his last, Freddie engaged dwarves bearing small bowls to move among the assembled hedonists.

The bowls contained £12,000 worth of the best cocaine the star's money could buy. When a dealer failed to obtain enough, a private plane whisked him to Marseilles to get more. Freddie had said: "I want the purest and I want the most."

Servants

He told guests his parties were a throwback to his boyhood days when he was the young master surrounded by white-suited servants at his father's mansion in Bombay.

Little Freddie grew up accustomed to being pampered, for these were the last, lingering days of the Raj and he could have anything he wanted.

Anything, he maintained, except the love he craved — for his father was a busy man and although Freddie always had someone on hand to tie up his shoelaces, there was rarely anyone there to kiss him goodnight.

Left to his own devices he created a fantasy world that he tried hard to turn into reality with the vast riches his talent and his monstrous drive provided.

The parties were a fantasy, a way of buying love for himself and his friends. He pushed everyone to the limit in his search for ongoing gratification.

When a party looked like breaking up, Fredie found a way to prolong it with the result that a "good event" as he called it, could last days, even weeks, with no expense spared.

On one occasion he spent £80,000 hiring Concorde to fly a large group of partygoers to New York where th fun went on for eight days. He had to be surrounded by people — he was both an exhibitionist and a voyeur.

Elton John, George Michael, Liza Minnelli, Mick Jagger, George Harrison, Rod Stewart, Barry Humphries and Duranduran were among those whose company Freddie enjoyed.

All of them agree that his friendship had to be experienced to be appreciated. He was full to the brim with both energy and love. The last of that seeped away on Sunday evening when Freddie — who liked to be called Mary in the confines of his own home — died in his £4 million house full of marble mahogany and memories.

Sixties star Dave Clarke was at his side.

"He was one of my dearest friends," he said yesterday. 'A very rare person and an amazing talent. He gave so much happiness to so many.

"He was also a very caring person, few people know about all the kindnesses he did. I don't want to go into detail but he helped a lot of people who didn't have much themselves.

"He's gone now but he's left an enormous legacy with his music. I worked with him in the early Seventies with Laurence Olivier on something for the musical Time and it was astonishing to observe him.

"He had an incredible personality and watching him work in a recording studio was just like seeing him perform at Wembley.

"It is a great loss and I'm stunned but I'm pleased to be able to say that the end was very peaceful. And, as I said, my friend is in a better place now".

Clarke's pointer to Mercury's generosity is likely to be borne out if and when details of his will are published. Those close to his management suggest that, in anticipation of his demise, the star gave away almost half of his £20 million fortune this year. He bought ten small houses in west London to leave as homes for friends who had none.

The owner of one three-bedroom cottage in Chiswick was asked to "be out" when the prospective buyer called to view, but a neighbour recognised Mercury who later paid the asking price of £160,000 and the same amount for an identical adjoining house. Others who paid tribute to him yesterday include disc jockey and comedian Kenny Everett who said: "He burned the candle at both ends — and in the middle". George Michael was told of Freddie's death in Los Angeles where he is recording and was said to be "devastated."

A friend said: "He is very upset because he always admired Freddie as a performer.”

Fellow star Phil Collins said: "I admired him and I admired his honesty in admitting he had Aids. It is all so sad."

Peter Straker, now starring in the touring version of The Phantom Of The Opera, said: "Freddie is an inspiration to me."

Gestures

"We worked together on three of my albums. He was a perfectionist and his inventiveness coupled with a meticulous attention to detail brought me enormous extra satisfaction.

"He loved parties and he celebrated his achievements with extravagant and sumptuous gestures, executed with enormous kindess."

Sixties singing idol Sandie Shaw, now heavily involved with raising money for Aids charities, said: "This is so tragic."

Sara Dallin of Bananarama added: "This is so sad, a great tragedy. He was a favourite performer."

Musician-turned-politician Screaming Lord Sutch, who played on the same bills as Queen at colleges in the early Seventies, said: "We have lost a most original and entertaining singer who inspired many, many people.

He was a unique talent."

He said Freddie ranked alonside the likes of Mick Jagger and Elvis Presley.

"We have no one else left like him except Mick Jagger. Like Presley he had the looks, physique, movement and that outrageous voice. It was almost like he had too much talent to pack into one body."

Spanish soprano Montserrat Caballe said she knew she and Mercury would not be able to sing their hit Barcelona at next year's Summer Olympics.

"We had discussed it in the past, but there was nothing definite," Caballe told Spanish National Radio. "And I knew that surely he would not have been able to do it."

The incongruous duo of the opera singer and the flamboyant rock star first performed Barcelona, written by Mercury in celebration of that city, at London's Covent Garden theatre in 1987.

Caballe said she and Freddie had begun recording an album they were to have completed after the Olympics.

She had been in touch with him recently and found him "animated, withthat old sparkle in his eyes and with a tremendous desire to live through music."

Francis Rossi, of Status Quo, said: "Freddie was one of the elite few who could really set a stadium alight.

"I am deeply upset to hear of the death of both a friend and a fine ambassador for British music.

"Along with millions of fans throughout the world I will miss his exceptional performance and brilliant voice."

It is true the world will miss Freddie Mercury, especially his fans, the cocaine dealers and the partygoers.

"One way or another they all sampled something he had to offer.

[Photo caption: GLAM OPERA: Queen’s Bohemian Rhapsody heralded the video age by transforming the medium into an art form]

TODAY Comment

FREDDIE Mercury had the courage to admit that he was suffering from Aids and he wanted the world to focus on the agony this disease can cause.

What a fitting tribute it would be if his record company reissued Queen's biggest hit, Bohemian Rhapsody, with all the proceeds going towards Aids research.

How much better to have a Christmas No 1 that would do some real good, rather than the latest pop sensation merely cashing in on a special time of the year.

Rock rhapsody that launched age of the video

QUEEN surged into the charts in the early Seventies. In two years they changed forever the way the rock industry presented and sold its stars.

Bohemian Rhapsody, a bizarre blend of pomp, multi-tracked vocals and operatic delivery, brilliantly caught the spirit of the time by mixing great rock musicianship with the showbiz pose of the glam-rock years.

Progressive rock fans were delighted as Queen wrapped the song up in a mini pop opera — all for the price of a single. The video helped keep Freddie and the band at the top for nine weeks at the end of 1975.

Rock critic Paul Gambaccini said: "Let us give them credit for the video revolution. Without Bohemian Rhapsody it would never have happened."

In an interview on TV-am, Gambaccini added: "What a star Freddie Mercury was. He could hold an audience in the palm of his hand."

Before Queen was formed, Freddie attempted a solo career. And if his stage name of Freddie Mercury was perhaps rather a surprising choice, think what might have been if he had stuck to his original solo name — Larry Lurex!

Here is the full list of his hit singles.

QUEEN SINGLES - Chart position

Seven Seas Of Rhye (1974) - 10

Killer Queen (74) - 2

Now I'm Here (75) - 11

Bohemian Rhapsody (75) - 1

You're My Best Friend (76) - 7

Somebody To Love (76) - 2

Tie Your Mother Down (77) - 31

Good Old Fashioned Lover Boy (77) - 17

We Are The Champions (77) - 2

Spread Your Wings (78) - 34

Bicycle Race (78) - 11

Don't Stop Me Now (79) - 9

Love Of My Life (79) - 63

Crazy Little ThingCalled Love(79) - 2

Save Me (80) - 11

Play The Game (80) - 14

Another One Bites The Dust (80) - 7

Flash (80) - 10

Under Pressure + David Bowie (81) - 1

Body Language (82) - 25

Los Palabras De Amor (82) - 17

Backchat (82) - 40

Radio GaGa (84) - 21

I Want To Break Free (84) - 3

It's A Hard Life (84) - 6

Hammer To Fall (84) - 13

Thank God It's Christmas (84) - 21

One Vision (85) - 7

A Kind Of Magic (86) - 3

Friends Will Be Friends (86) - 14

Who Wants To Live Forever (86) - 24

I Want It All (89) - 3

Breakthru' (89) - 7

The Invisible Man (89) - 12

Scandal (89) - 25

The Miracle (89) - 21

SOLO SINGLES

Love Kills (84) - 10

I Was Born To Love You (85) - 11

Made In Heaven (85) - 57

Living On My Own (85) - 50

Time (86) - 32

The Great Pretender (87) - 4

Barcelona + Montserrat Caballe (87) - 8

[Photo caption: STAGE ACT: Gymnast]

[Photo caption: STAGE ACT: Rocker]

[Photo caption: STAGE ACT: Shocker]

Mary tells of final weeks of anguish

MARY Austin, the woman who shared much of Freddie Mercury's life and nursed him through his final weeks, has spoken of his "incredible suffering".

Mary, his loyal companion for 21 years, had been with Freddie during the day but left his bedside just ten minutes before he died.

"I spent from 9.30am to 12.30pm with him at the house. I finally missed him by about 10 minutes," she said.

Mary had an on-off relationship with Freddie for 21 years and although she married another man and had his child, she and Freddie remained close friends and the star was godfather to her child. She had visited him almost every day during the last months of his illness.

"He faced it with incredible bravery but he did suffer, mentally and emotionally as well as physically.

"He suffered a lot especially in the last few days. He couldn't eat, and he was under heavy sedation.

"When I went round, sometimes we would talk if he had the energy but he was under such sedation. He would listen, or sometimes, we would just sit."

On the night he died, Mary received a call at her home — just ten minutes' walk away from the star's £5 million Kensington mansion — but when she arrived, he was already dead.

Mary had to break the news to Freddie's parents.

Courage

"He became very ill very quickly and he didn't really want them to see him. I think his parents did accept him. They were very close. But Freddie was always away. He saw them more in the last five years when he came back to London."

His mother had seen him eight days before he died.

Mary met Freddie in the days before his music fame, when she was a manageress in the plush London boutique Biba."He used to come in all the time. He finally plucked up the courage to ask me out. It seems strange now; I didn't even know he liked me until then.

"The more I knew him, the more I grew to love him as a person. He was very talented. There was a lot of sharing and bonding between the two of us.

She said she never regretted that they had not married. "I never stopped loving him and I don't think he did either. I think he had got positive feelings about me. He trusted me. You don't need a piece of paper to be married — it is in the heart and our marriage was in the heart."

Mary said she was still trying to come to terms with her friend's death. "Even though we knew the end was coming, it has still come very much as a shock. I am still finding it hard to find words for myself — let alone to share."

"I thought it would be difficult but when you really love somebody, you can be strong and I was strong for him."

Mary hopes that those who knew Freddie or admired his music will work together to campaign for Aids sufferers and to help fight the disease.

"I would like to see more and better education about what Aids can do. Having witnessed the suffering it causes, I hope some of Freddie's friends and fans will get involved in the campaign against Aids."

CLIVE NELSON

#queen #queen band #freddie mercury #queen scans #queencuttings.com #today november 1991 #mary austin #dave clark

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Record Collector - August, 1987

Credits to Silvia C and Queencuttings.com

ROBERT McGRATH LOOKS AT THE SOLO RECORDINGS OF MERCURY, TAYLOR, DEACON AND MAY

The sharp rise in the number of Queen solo projects during the 1980s continues to add to the uncertainty surrounding the future of one of the world's top acts. While all four members have released solo recordings in one form or another, it is the continuing success of their charismatic vocalist, Freddie Mercury, that seems most likely to threaten the band's existence.

The sharp rise in the number of Queen solo projects during the 1980s continues to add to the uncertainty surrounding the future of one of the world's top acts. While all four members have released solo recordings in one form or another, it is the continuing success of their charismatic vocalist, Freddie Mercury, that seems most likely to threaten the band's existence.

In this feature, we shall examine the solo output of each member in turn, paying particular attention to collectable editions like picture discs and promos, highlighting rare tracks, and looking at one or two choice items of ephemera. But there are a couple of pre-Queen recordings, involving band members, which are attracting vast sums of money on the collectors' market, and it is to these that we turn first.

Smile

While a student at Imperial College, London, guitarist Brian May formed Smile around 1967, along with an old friend, Tim Staffell (bass), and fellow student, Roger Meddows-Taylor (drums). The band's one and only original release was a US-only single, coupling "Earth" and "Step On Me", issued on Mercury in 1969. Interviewed in the mid-Seventies, Staffell alleged that none of the group had actually set eyes upon a copy, so it isn't surprising that the record is highly prized among Queen collectors, changing hands for £40. Beware of red vinyl copies because these are bootlegs and shouldn't sell for anywhere near that price.

Fans were delighted when an import mini-LP, "Gettin' Smile", appeared on the market around 1983. Of Japanese origin, this included both sides of the single, recorded at Trident Studios, plus the four tracks laid down with producer Fritz Fryer. One of these, "Doing All Right", later appeared on the "Queen" debut LP. "Gettin' Smile" itself has become something of a collector's item and now fetches as much as £18.

By the summer of 1969, the single had bombed and Smile were dropped by the Mercury label. Staffell drifted away with ambitions of a solo career, while Taylor and May went on to form Queen.

Larry Lurex

As a prelude to the release of the debut "Queen" album, the band decided to issue a spoof single under the pseudonym of 'Larry Lurex'. Although an obvious tongue-in-cheek reference to the glam idols of the day like Gary Glitter and Alvin Stardust, the songs they chose to record were surprisingly conservative. The decidedly un-teenybop A-side, a cover of the Ronettes/Beach Boys hit, "I Can Hear Music", was backed by a Goffin and […]

[Photo caption: Freddie Mercury has been by far the most successful solo member of Queen, thanks to the release of commercial singles like "The Great Pretender", and some startling promotional videos.]

[…] King song, "Goin' Back".

Recorded at Trident after sessions for the LP had been completed, there has always been speculation concerning the musicians involved. Once thought to have been an early vehicle for Mercury to camp it up, it now seems likely that all four members, plus the inevitable 'friends', played on it. Collectors pay £30 for UK copies, slightly less for the US equivalent. But don't be fooled by promo copies. They are almost as common.

Freddie Mercury

While not the first band member to strike out alone, Freddie Mercury has had by far the most success to date. It must be said, however, that this owes as much to the rise of the promo video as it does to his distinctive voice. Although Queen remain very much a team effort, amongst the general public, it is undoubtedly Mercury who instantly personifies all their classic hits.

His first solo outing was "Love Kills", which gave him a Top 10 hit in autumn 1984. Recorded for Giorgio Moroder's revamped soundtrack for Fritz Lang's "Metropolis", its success gave Mercury added confidence as a solo performer, even if artistically the project was a failure.

The soundtrack album is still easy to find, but the single has been deleted and the 12" version and a picture disc edition now fetch £4 and £5 respectively. US 7" and 12" promos are worth slightly more in their picture covers, but perhaps the choicest item is a one-sided acetate, recently seen offered for a staggering £95!

Freddie's one and only solo album, "Mr Bad Guy", was released by CBS in April 1985, and has since been made available on CD. Co-producing and writing all his own songs, he included a mixture of ballads and dance floor material, which was not always to the liking of Queen die-hards. One track, "Foolin' Around", had already appeared on the soundtrack for "Teachers", while on another, "There Must Be More To Life Than This", he sings of "people fighting for their human rights", an obvious reference to his embarrassment at Queen's two-week stint in Sun City the previous year. Overall, the record was a blending of the macho bravado and the maudlin, couched in Freddie's inimitable style.

Success

Over the next seven months, no less than four singles were lifted from the album, though none could emulate the success of the first, "I Was Born To Love You", which just missed out on a Top 10 placing. Like the follow-up, "Made In Heaven", it boasted a non-LP cut on the B-side. "Made In Heaven" also came out as a shaped picture disc, and while this is collectable, uncut copies are rarer and sell for as much as £15. All four singles also came out in 12" form featuring extended remixes, one of which, "Living On My Own", had a limited edition gatefold sleeve.

Freddie's next project was recording for the soundtrack album of Dave Clark's "Time" musical. Contributing three tracks to the LP, his version of the title track failed to set the charts alight when issued as a single. However, he followed that with his biggest hit yet earlier this year, by taking his version of the old Platters' song, "The Great Pretender", into the Top 5. In addition to the usual 7" and 12" formats, there was a radio-shaped picture disc edition, complete with plinth, and this already sells for £5. A video release of the single fetches £8, while a limited number of 10" promos are worth nearer £10. The promotional campaign for "The Great Pretender" spawned several other collectable items, most notably an 18" high Freddie-figure counterstand, which changes hands for around £5.

Perhaps the most appropriate of Mercury's solo releases was the video EP released last summer, consisting of promo films for four of his hits, including "Living On My Own", banned by TV. This particular promo depicted wild scenes at Freddie's 39th birthday celebrations, filmed in Munich in October 1985, where he was joined by 300 friends, all feasting on caviar and champagne.

Freddie Mercury rarely guests on other artists' work, though one notable exception was his appearance on Billy Squier's "Love Is The Hero" 12", where he can be heard at the start of the song.

Roger Taylor

Apart from Mercury, only drummer Roger Taylor has taken more than a passing interest in solo recordings. In fact, it was Taylor who first broke from the group formation to record a one-off single, "I Wanna Testify"/ Turn On The TV", back in 1977. This record, long-since deleted, has become a highly-prized item among Queen fans and though it has been seen on sale for as much as £12, its true value is nearer £9.

Whereas Freddie still retains much of Queen's pomp and pageantry on his solo recordings, Taylor has developed a more traditional back-to-basics rock'n'roll style. However, his first LP, "Fun In Space", received a universal thumbs-down from the music press, when released in 1981. Despite this, the loyal body of Queen fans ensured that the record still reached the Top 20. Recorded in Switzerland in six weeks, "Fun In Space" provided Taylor with two singles, "Future Management" and "My Country", and like the album, these are now deleted and both fetch around £4 on the market today.

After a three-year gap, Roger braved the wrath of the critics and released a second LP, "Strange Frontier". This boasted two covers, Dylan's "Masters Of War" and Springsteen's "Racing In The Streets", as well as two songwriting collaborations, "Killing Time" with Freddie and "It's An Illusion" with Status Quo's Rick Parfitt. Of the two singles lifted from the album, the 12" of "Strange Frontier" is of most interest to collectors due to the inclusion of a bonus track, "Two Sharp Pencils", which is unavailable elsewhere.

Again in marked contrast to Mercury, Taylor has ploughed himself into other artists' work. One early venture was writing, co-producing and performing on Hilary's "How Come You're So Dumb"/"Rich Kid" single (Mainly Modern STP 2) in 1980. This is now fairly rare and is worth £6. Other notable appearances include guesting on Gary Numan's "Dance", backing vocals on Kansas' "Vinyl Confessions" LP, drums on Roger Daltrey's tribute to Keith Moon, "Under A Raging Moon" and on Carny Todorow's "Bursting At The Seams" single, which he co-produced with David Richards. Other co-productions with Richards include Feargal Sharkey's "Loving You", Jimmy Nail's "Love Don't Live Here Anymore" and Sideway Look's "Bullet Proof Heart". In most cases, he can be heard playing on these productions.

Brian May

While Brian May's solo output has been restricted to just one mini-LP and a spin-off single, he has, like Taylor, involved himself in several other projects, and obviously prefers this to strict solo work.

In fact, his thirty-minute mini-album, "Star Fleet", was more a group effort, instigated by May, than a solo record. On 21/22 April 1983, he rallied together a few friends for recording sessions at the Record Plant, Los Angeles. These musicians included guitarist Eddie Van Halen, Fred Mandel (keyboards), Phil Chen (bass) and REO Speedwagon drummer, Alan Gratzer. When the results of […]

[Photo caption: Guitarist Brian May has released just one solo album, accompanied by a number of musician friends. The "Star Fleet Project" album contained a lengthy jam session, a tribute to Eric Clapton."]

[…] this "supersession' appeared in November, May explained in the sleeve notes that this was "not a Queen album. Not a solo Brian May album. It is a record of a unique event." But the three lengthy tracks on which the virtuosos traded licks set the critics yawning. Even 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." In actual fact, "Bluesbreaker" was the album's saving grace.

The single was an edited version of the title track — an adaptation of a theme tune for a TV sci-fi series, introduced to Brian by his son, Jimmy — and was the most developed track on the record. The LPs third cut, "Let Me Out", was an old song of May's. Collectors pay up to £15 for 12" US promos of the single on Capitol and an American interview picture disc sells for roughly the same.

Brian has contributed to a number of extremely varied projects which range from an early guest appearance on Lonnie Donegan's 1977 comeback LP, "Puttin' On The Style", to jamming on stage with Def Leppard. He plays guitar on Jeffrey Osborne's "Two Wrongs Don't Make A Right" single, and on "A Shift In The Wind" on Chris Thompson's "Radio Voice" LP. He has even moved into production for Heavy Pettin's debut album, "Letting Loose".

John Deacon

Although the Queen bassist was reported having begun work on a solo LP back in 1985, only a one-off single with the Immortals has since materialised. In fact, like his role in the band, Deacon has kept the lowest profile in terms of extra-mural musical aspirations.

The Immortals' single, "No Turning Back" was originally released on the "Biggles" soundtrack LP. However, collectors undoubtedly go for the 12" version of the single, which also contains two further mixes of the song. Issued in May 1986, copies should not prove too difficult to trace.

Among John's few forays into session work have been appearances on Roger Taylor's "Strange Frontier" LP, where he turns up on "It's An Illusion", and on a 1983 single by Man Friday and Jive Junior called "Picking Up Sounds". In February 1986, he apparently recorded a song with Hot Chocolate's Errol Brown, but like the solo LP, this too has yet to see the light of day.

Guest Appearances

In addition to these individual projects, there have been a number of joint guest appearances. All bar Deacon played on "You Nearly Did Me In", from lan Hunter's 1976 album, "All American Alien Boy" (CBS 81310). In the same year, Mercury produced Eddie Howell's "Man From Manhattan" (Warner Bros K 16701), and, along with Brian May, plays on it too. This is now worth about £10.

Freddie and Roger Taylor turn up as backing vocalists on the title track of Billy Squier's "Emotions In Motion" LP, while May and Deacon helped out on Elton John's 1985 album, "Ice On Fire".

While Queen have not been exactly the most prolific recording outfit of the 1980s, these ongoing solo projects have provided fans with a variety of recordings to add to their collection as well as an endless task in keeping up with the latest guest appearances. Even though doubts about Queen's future remain, it is a fact of life that all major recording groups find it necessary, sooner or later, to pursue solo projects. As well as providing an outlet for material which has no place in the group context, it enables members to bring freshness to the band when they regroup. Due for another album in 1988, there is no doubt that Queen will bounce back sounding refreshed and ready to rock.

#queen #queen band #roger taylor #freddie mercury #brian may #john deacon #queencuttings.com #queen scans #record mirror august 1987

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Magyar Nemzet - November 25, 1991

Credits to Hungarian Queen Fan Club and Queencuttings.com

#queen #queen band #freddie mercury #queen scans #queencuttings.com #magyar nemzet november 1991

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Kerrang! - December, 1991

Credits to Louise Belle and Queencuttings.com

IT’S ONLY ROCK’N’OPERA (BUT THEY LIKE IT)

IT’S ONLY ROCK’N’OPERA (BUT THEY LIKE IT)

In memory of FREDDIE MERCURY, a double-A sided QUEEN single was released last week, featuring ‘Bohemian Rhapsody’ and ‘These Are The Days Of Our Lives’. It will, barring miracles, be the 1991 Kerristmas Number One. By way of a premature celebration, PAUL ELLIOTT conducted this straw poll of memories from just some of those who will buy the single and mourn his passing...

WRITTEN BY Mercury, Bohemian Rhapsody is Freddie and Queen’s greatest hit. It was originally released in 1975 and went to Number One, where it stayed for nine weeks. Beginning and ending with Mercury alone at a piano, ‘Bohemian Rhapsody’ includes both operatic and Heavy Metal passages. Its reissue is a fitting tribute to one of rock’s greatest singers and showmen. Here, the Metal community remembers...

ROB HALFORD (JUDAS PRIEST)

“‘BOHEMIAN RHAPSODY’ brought Queen recognition and critical acclaim on a world level. The ability to put together so many diverse musical forms into one song was a first. The video itself was seen as a unique way in which to present music, and to many people it represented the beginning of the music video era.

“Freddie Mercury will be remembered as the consummate frontman on stage and on record. To me, he was a musical genius who constantly explored every area of contemporary popular music from rock to blues through jazz to opera and beyond Freddie and the rest of the band proved a constant source of exciting inspiration to millions of fans and fellow musicians around the world.

“I for one eagerly anticipated every new Queen release, I was never disappointed and always thrilled with the new songs. I never had the pleasure or the privilege of meeting Freddie, but like millions of Queen fans, he made me feel close to him through the music.

“I was deeply saddened when he passed away and I shall miss him greatly. Thank God his music will shine and live forever. One way or another. I love everything Queen have recorded. Their adventures into all styles of music taught me to explore every area of musical form and not remain blinkered or one-dimensional. For that and everything else Freddie and the rest of Queen have given me, I gratefully thank them.”

OZZY OSBOURNE

“‘BOHEMIAN RHAPSODY’ is a timeless classic. It will sound as good in many years to come as it does now. Queen had an individual sound that no one else could ever duplicate.”

Favourite Queen album: ‘Sheer Heart Attack’

Favourite songs: ‘Bohemian Rhapsody’, ‘We Are The Champions’

BRIAN WHEAT (TESLA)

“‘BOHEMIAN RHAPSODY’ was one of the first truly long songs to be a hit. It wasn’t a contrived pop hit like so many others of that time. An uncompromising, brilliant piece. Freddie’s voice and flamboyance made him and the group unique. There will never be another voice like his. He had a passion for what he did. Queen took over where the Beatles left off in exploring new areas of music.”

Favourite Queen albums: ‘Jazz’, ‘Innuendo’, ‘Sheer Heart Attack’

Favourite songs: ‘Tie Your Mother Down’, ‘Bohemian Rhapsody’, ‘Somebody to Love’, ‘Headlong’, ‘Innuendo’

WOLFSBANE (All four in perfect, multi-tracked harmony)

“BESIDES BEING incredibly long, ‘Bohemian Rhapsody’ is the most over-the-top single ever to make Number One. Queen had a great sense of humour, even down to the band’s outrageous name. They were the one band that proved that great art can overwhelm even the most small-minded and prejudiced bigot.”

Favourite Queen album: ‘A Day At The Races’

Favourite Queen songs: ‘We Are The Champions’, ‘Now I’m Here’, ‘Is This The World We Created?’, ‘Under Pressure’… ‘and everything that wasn’t crap.’

LUKE MORLEY (THUNDER)

“AS A piece of music ‘Bohemian Rhapsody’ was totally innovative(?). No one had ever fused opera with rock before and above all that, it was a (…) (…) (…) Queen were like Led Zeppelin in that they could take any form or different musical style and stamp their own authority on it, so you always knew it was Queen no matter what they did.”

Favourite Queen albums: ‘Sheer Heart Attack’

Favourite songs: ‘Killer Queen’, ‘Another One Bites The Dust’

DANNY BOWES (THUNDER)

“‘BOHEMIAN RHAPSODY’ was a landmark in rock music. There was nothing like it before nor(?) since. It’s a classic in every sense of the word. Freddie Mercury WAS(?) Queen as far as I’m concerned. People go on about Brian May’s guitar sound, but I’ve always hated it! Sorry Brian, but for me, it was always Fred! It’s a sad loss.”

Favourite Queen songs: ‘Fat Bottomed Girls’, ‘Bicycle Race’, ‘Bohemian Rhapsody’

HARRY (THUNDER)

“‘BOHEMIAN RHAPSODY’ is a unique record(?), one in a million. One minute you’re in the opera and the next you’re at Hammersmith listening to Queen as a rock band. Queen had everything.”

Favourite Queen albums: ‘Sheer Heart Attack’

Favourite song: ‘Tie Your Mother Down’

SNAKE (THUNDER)

“‘BOHEMIAN RHAPSODY’ is simply a classic. Freddie Mercury was top of the league as far as frontmen go and a larger than life personality. I’ll remember Queen most for stealing the show at Live Aid.”

Favourite Queen album: ‘Sheer Heart Attack’

Favourite song: ‘Killer Queen’

GUNNAR NELSON (NELSON)

“‘BOHEMIAN RHAPSODY’ was the (…) of Freddie Mercury — a bold, ‘I don’t give a f**k what people will think’ expression that, fortunately for us materialised in a song that we can (…) in and enjoy forever.

“When you hear the song, pictures instantly form in your mind of a tat(?) lady in pigtails singing her guts out and a romantic tragedy (?) unleashing(?) before your eyes (…) (…).

“I spoke to Uncle Roy (Thomas Baker) about the recording of the song and he said it was not composed(?) and recorded(?) quickly like most Queen songs. Rather, Freddie would come into the studio over a three month period of time with completely new sections and layers to add to the basic tracks. Roy knew(?) better than to edit this creative (…) so he continued adding parts as fast as Freddie was coming up with them. That’s why the finished work was so damn long — and so f**king brilliant!”

Favourite Queen albums: ‘A Day At The Races’, ‘A Night At The Opera’, ‘News Of The World’

Favourite song: ‘Somebody To Love’

SEAN HARRIS (DIAMOND HEAD)

“I CAN still remember the first time I heard ‘Bohemian Rhapsody’ on Radio One, I thought it was brilliant. Freddie Mercury was just a star. If he’d been a hairdresser he’d still have been a star. He had a great voice and was the best front man of all time.

“Queen never got the recognition they deserved. A lot more bands could do with being influenced by them.”

Favourite Queen album: ‘Greatest Hits’

Favourite song: ‘Now I’m Here’

BRIAN TATLER (DIAMOND HEAD)

“I WAS at school when ‘Bohemian Rhapsody’ was released, and everybody was talking about it. I particularly liked the bit in the video when the heavy end section came in with flash bombs! I watched it every week on ‘Top Of The Pops’ Incredible single!”

Favourite Queen album: ‘Sheer Heart Attack’

Favourite song: ‘Now I’m Here’

JIZZY PEARL (LOVE/HATE)

“I WAS a big Queen fan in school and considered ‘Bohemin Rhapsody’ one of the first (…) pieces of music I’d ever heard. Freddie Mercury had a unique voice, I’ll remember Queen for their live shows.”

Favourite Queen album: ‘News Of The World’

NIGEL MOGG (QUIRE BOYS)

“THE BEST thing about ‘Bohemian Rhapsody’ isthe ‘Gallileo!’s... brilliant! I’ll remember Queen for their tight trousers! They were the first band I ever saw at the Ally Pally in 1979. My mum used to work there.

“I remember seeing Freddie Mercury wearing a big cloak and playing keyboards at the soundcheck. I saw Queen before I even saw UFO!”

Favourite Quean albums: ‘Sheer Heart Attack’, ‘A Night At The Opera’

PETE WAY (UFO)

“WHEN I first heard ‘Bohemian Rhapsody’ I didn’t like the opera part. Still don’t as it happens, but I really like the hard rock bit and the dynamics. It kinda reminded me of some of the stuff we were trying to do…

“I’ve been watching some of the videos lately and it’s made me realise just how good a band they were…”

Favourite Queen album: ‘Sheer Heart Attack’

Favourite song: ‘Now I’m Here’

ERIC ADAMS (MANOWAR)

“BOHEMIAN RHAPSODY was the first rock song of its kind, a technical and artistic landmark. A technical achievement by virtue of the recording technique. Queen were able to combine incredibly intricate, beautiful and powerful vocals with rock music that was equally powerful’

Favourite Queen albums: ‘Queen I’ and ‘Queen II’

CHRIS McLAUGHLIN (LOUD)

“EVEN AFTER hearing ‘Bohemian Rhapsody’ hundreds of times, I will always maintain that it is a supreme work of art. Undeniable! All the members of Queen are brilliant songwriters. Freddie was probably the most magnanimous performer ever. Only Elvis is on a par with him. Lovely guy!”

Favourite Queen albums: “Everything!”

STUMPY (THE ALMIGHTY)

“‘BOHEMIAN RHAPSODY’ was the first single to have a promo video and was at the top of the charts for nine weeks over Christmas, a notoriously difficult period.

“You couldn't predict what Queen were going to do next. Great songs, very rousing live shows.”

Favourite Queen album: ‘A Day At The Races’

Favourite song: ‘I’m In Love With My Car’

SCOTT GORHAM (EX-THIN LIZZY, NOW OF 21 GUNS)

“‘BOHEMIAN RHAPSODY’ broke new ground due to its length and it still hold the interest the whole way through. The video was just the icing on the cake. God! They were breaking new ground left, right and centre.

“The first tour we did with Queen showed all of us in Lizzy just what brilliant showmanship went into rock’n’roll at the highest level. It gave us a chance to see just how an audience could react if you perfomed with them as well as to them.

“My last memory of Freddie is a good one. He invited me up to the studio as Queen were finishing their last album, not necessarily to hear it, but because he’d heard I was a bit of a ping-pong player.

“He told me that he was his university's ping-pong team captain, so we had a competition over 10 games and, yep, I was too good for him and won!”

Favourite Queen albums: ‘Sheer Heart Attack’, ‘A Night At The Opera’, ‘Innuendo’

Favourite songs: ‘March Of The Black Queen’, ‘Now I’m Here’, ‘Sprend Your Wings’

TOBY JEPSON (LITTLE ANGELS)

“‘BOHEMIAN RHAPSODY’ broke the mould. Who would have believed that a song six minutes long would go to Number One? It’s almost the perfect song, combining melody with incredible rock dynamics never tried before. It’s an amazing concept that could only have been conceived by a one-off like Freddie Mercury. It’s never been matched. “Freddie Mercury was the reason I got into rock’n’roll. I spent my childhood trying to emulate him, walking around cloaked in my dressing gown singing ‘We Are The Champions’! Queen were unique because they never compromised in their attempts to push forward the boundaries of rock — and usually did!”

‘Sheer Heart Attack’, ‘A Night At The Opera’

Favourite songs: ‘Death On Two Legs’, ‘Another One Bites The Dust’, ‘We Will Rock You’, ‘Bohemian Rhapsody’ “and… and… I LOVE ‘EM ALL!”

#queen #queen band #freddie mercury #queen scans #queencuttings.com #kerrang december 1991 #rob halford #ozzy osbourne #brian wheat #wolfsbane #luke morley #danny bowes #harry james #mark luckhurst #gunnar lenson #sean harris #brian tatler #jizzy pearl #nigel mogg #pete way #eric adams #chris mclaughlin #stumpy #scott gorham #toby jepson

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RockThisTown - October, 1987

Credits to Ale and Queencuttings.com

#queen #queen band #freddie mercury #montserrat caballe #queencuttings.com #queen scans #rockthistown october 1987

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Guitarist - November, 2008

Credits to Alison and Queencuttings.com

The two remaining active members of Queen, plus legendary singer Paul Rodgers, are halfway through a European tour. We caught up with Brian May at pre-tour rehearsals

The two remaining active members of Queen, plus legendary singer Paul Rodgers, are halfway through a European tour. We caught up with Brian May at pre-tour rehearsals

The two remaining active members of Queen, plus legendary singer Paul Rodgers, are halfway through a European tour. We caught up with Brian May at pre-tour rehearsals

Words by Simon Bradley Photography Amanda Thomas

When the bands most of us are in have a few gigs coming up, we'll most likely book an extra rehearsal or two at the local complex, maybe even buy a new shirt, chase down a spare guitar, and make sure our stompboxes are treated to new batteries. It's doubtful that any time whatsoever will be spent working on either lighting cues or numerous guitar changes, let alone the logistics of playing to a multitude in Ukraine and the construction of a rear-stage elemental lighting array that'd pop the eyes of most who'd see it.

If you're Queen, however, this is par for the course. So a week is booked at Elstree Studios to do all of it and much more besides: in a nutshell, the band play portions of a set carefully arrived at during sessions at both Music Bank in London and drummer Roger Taylor's country pile as if it were a full-blown gig.

It seems a shame, therefore, that the audience on this surprisingly sunny September afternoon comprises just members of the touring entourage, a lolloping Great Dane belonging to one of the crew, several unsung heroes from Queen's halcyon days and Guitarist, under the watchful eye of Brian May's right-hand man Pete Malandrone.

This year has seen the release of The Cosmos Rocks, an album of original Q+PR material, and the first gig of the companion tour was in front of a reported 345,000 people in Ukraine's second city, Kharkiv. That show preceded the band's first in Moscow and another in the Latvian capital of Riga, which saw prime minister Ivars Godmanis join the band onstage as second drummer.

Of course, all this was yet to come for Brian May as he entered the soundstage, surprisingly upbeat considering he'd just undergone a grilling courtesy of a press junket completed just an hour earlier.

"Yes, this is the new tour," he says, extending a hand in welcome. "These are the new toys (glancing up to a huge lighting gantry) and these (pointing to a stand of nine AC30s) are the old toys, which still seem to work thanks to Pete. I don't tend to ask many questions these days: if it sounds good, then I'm very happy. And it does!

"It's very new, this video wall thing," he continues, looking at the array. "It incorporates lighting, as you can see, but we can do a lot of stuff with it. We're not really into fancy stuff so much, but rather things that complement the songs, so some of the time it'll just be part of the lightshow."

Many of us would love the chance to run around a stage of this size just for the experience (we must admit to doing so, although without a guitar...), but May is hardly a novice at this game and there's little doubt that the production rehearsal process is pure graft but a vital part of the whole touring entity.

"It's a lot of work in the preparation... this is very, very tough for me physically, especially with the heat here," he concedes. "The soundstage is just big enough to hold the lighting rig, but there's no air and you can't really do this with the doors open. But it's probably good to break us in this way. Touring means you've got to go away from home though, which I don't particularly like, but that's the price you pay."

His face lights back up when we the conversation turns to discussing some of the stops on the tour. "We're going to the Ukraine for the first time ever, expecting 200,000 people [little did he know - Ed], which is unbelievable. It's one of those ‘firsts', which is nice. We've never been there, never performed there, obviously, but I know they know the stuff because there were endless bootlegs from behind the iron curtain in the old days. It's also the first time for Queen to play in Moscow and Latvia as well, so it's nice to still be breaking some new ground; quite incredible actually."

Mixing the vast Queen and Paul Rodgers catalogues must also prove to be a hefty beast to wrestle while attempting to crystallise a set.

"We're trying not to surprise ourselves too much," he laughs. "But we'll be gradually working in some of the new album. We have actually rehearsed a couple of in-depth Queen songs, — not the singles in other words — in response to a request from [Foo Fighters drummer] Taylor Hawkins. So we've rehearsed Long Away [from 1976's A Day At The Races] and Tenement Funster [an even more obscure Roger Taylor tune from 1974's Sheer Heart Attack]. We won't be doing them in Latvia and so on, however, as we figured we'd like to do familiar stuff there.

"We've actually rehearsed almost everything off the album," he continues. "Which is unusual, as for most Queen albums we used to rehearse just three or four songs, but we've tried just about everything. It all seems to work too, which is great, but we could have ended up with a three-hour set. Of course, the more stuff you put in the more you have to compromise, so we have compressed a bit of the old stuff. Some of it you have to lose... we just hope people won't notice!"

The day ended on a bit of a downer for everyone as Paul Rodgers was nursing a slight throat worry so wouldn't be attending, and Messrs May and Taylor subsequently found themselves embroiled in a couple of meetings that looked like they'd drag on and on. Of course, by the time you read this the band will have already hit the UK, and we have no doubt that the gigs will be spectacular.

Top Gear

Pete Malandrone on the magic of May's rig

"As well as the Old Girl [the original Red Special] we have a spare, which is one of the Greg Fryer guitars: it's marked with an E so I know which one it is!" Pete continues: "There's also another Fryer in drop D tuning, which is for Fat Bottomed Girls, and the Andrew Guyton (Green Special) as a spare for that. I've also got one of the new Brian May Super guitars that's tuned a semi-tone down for Bad Company, which is one of Paul's songs.

"The signal comes out from the racks into three AC30s: a centre, left and right. The centre is unaffected, basically the straight-through signal, and the left and right are affected. So if there's a chorus, for example, it'll only be on those amplifiers.

"If Brian had one AC30, one treble booster and his guitar, he could probably do a show with that. All this is fairy dust, really; it justifies my existence but he doesn't need it all."

Don't miss the exclusive video on this month's CD, which goes into greater detail on the entire set-up, including effects, all nine Vox amps and the mute switch...

[Photo caption: Mute button for silent tuning]

[Photo caption: The irrepressible Pete Malandrone]

[Photo caption: The full Queen + Paul Rodgers stage in all its glory]

[Photo caption: The engine room of Brian’s backline: the central AC30 is un-effected, the left and right amps carry the effects]

[Photo caption: Brian’s stage left playground, complete with voluminous guitar-only side fill]

[Photo caption: Brian’s only stage-mounted pedal: a controller for a Dunlop DCR rack-mounted wah]

[Photo caption: Sennheiser wireless system receivers]

[Photo caption: A brand new Brian May Super guitar, tuned down half-a-step and used to play Bad Company]

#queen #queen band #brian may #queen scans #guitarist november 2008 #queencuttings.com

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Daily Mirror - September 2, 2006

Credits to Louise Belle and Queencuttings.com

The rise of Mercury

By JULIE McCAFFREY

WHO would have thought that the shy, toothy, 10-year-old sitting proudly behind his sports trophy would grow up to be one of the world's most flamboyant superstars?

Yet it wasn't for his athletic prowess that Farrokh Bulsara was to find fame, but as Freddie Mercury, the legendary frontman of rock band Queen.

Freddie was only 45 when he died of pneumonia brought on by Aids 15 years ago. Had he lived, he would be celebrating his 60th birthday on Tuesday.

To mark this milestone, Freddie's relatives have opened up their album for a special TV tribute to the star.

Their snapshots include photos of him as a wispy-haired baby in a flowered dress on his mother's hip, wearing the flower garland and skull cap of the Zoroastrian religion aged four, as a gangly seven-year-old with his little sister, as a young lad out for a bike ride with his mates, and as the fledgling rocker giving his mum a cuddle.

Together, the pictures give a fascinating insight into Freddie's early upbringing in Africa and India -- parts of his life he kept private from his fans and refused to discuss with his friends. The iconic showman believed his exotic background and family's Zoroastrian beliefs didn't exactly fit in with his wild rock'n'roll image.

Born on September 5, 1946. and christened Farraokh by his diplomat father Bomi Bulsara and mother Jer, he and his younger sister Kashmira spent their first years on the Tanzanian island of Zanzibar.

In 1955, at the age of nine, he was sent to St Peters private boarding school in Panchgani near Bombay where he got the nickname Freddie. He won trophies for sport, excelled at art and stood out as an accomplished pianist. Yet his schooldays were marred by homsickness and the stress of hiding a secret from his classmates.

Fellow pupil Zahid Abrar recalls: "Freddie felt very lonely and would sometimes cry in a quiet corner. He was homesick. At the time, I didn't know Freddie was a gay guy. I still wonder what was going on in his mind when we were chasing girls."

But his shyness and unhappiness didn't stop him shining onstage. By the age of 12, Freddie had played to his schoolmates in his first band, The Hectics. Music was already a big part of his life. In his early teens he and his schoolmates were obsessed with rock'n'roll and trying to perfect their Elvis-style quiffs.

In 1964, two years after Freddie finished his schooling, political unrest in Zanzibar forced the Bulsaras to look for a new home. He persuaded his parents to move to England and the family settled in Feltham, South London.

He spent the next 10 years at art school, doing part-time jobs and trying to establish himself as a musician. He formed Queen in 1970 with his friends Roger Taylor, Brian May and John Deacon. They found worlwide fame five years later with Bohemian Rhapsody and went on to sell 150 million albums.

As his fame grew, so did his notoriety. Freddie's wildly hedonistic parties became the stuff of his showbiz legend. He once flew a jumbo jet full of guests to Munich for a black and white ball and hired naked and mud wrestlers for a London bash. But despite the scandals he was always the consummate performer.

Mum Jer, who was there for his Live Aid performance in 1985, says: "I couldn't take my eyes off him. I thought, 'What have you done? You have proved yourself'."

But by 1987, his life of excess had caught up with him. His sister Kashmira Cooke, 55, says: "I did suspect he had Aids. But I didn't want to ask a dying man that question so I waited to see if he wanted to tell me. One day I saw that his foot was very badly scarred. He chose that moment to say, "Look, my dear, you must know that I am dying'."

Freddie's death on November 25, 1991, left his family and legions of fans devastated.

Kashmira says: "It didn't register until I saw the newspaper articles. I can remember now, reading with my dad, his tears and my tears dropping on to the article. I will think of him every day. Every single day."

Jer adds: "When I hear him on the radio, I realise that people still love him, people still remember him. That keeps me going."

• FREDDIE Mercury: A Kind Of Magic is on ITV1 on Tuesday, September 12, at 9.45pm

[Photo caption: MUMMY’S BOY: Jer holds her baby son Freddie]

[Photo caption: SHOWMAN: Freddie the rock legend]

#queen #queen band #freddie mercury #queen scans #daily mirror september 2006 #queencuttings.com #kashmira cooke #kashmira bulsara #jer bulsara #bomi bulsara

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Daily Mirror - November 26, 1991

Credits to Louise Belle and Queencuttings.com

FREDDIE

THE LAST MOMENTS

THE LAST MOMENTS

By pop legend at his bedside

By Geoff SUTTON

WEEPING 60s pop star Dave Clark told last night how he watched alone as AIDS-stricken Queen singer Freddie Mercury "just went to sleep."

Millionaire Clark, 49, called Freddie a "special friend" as he described the tragic rock idol's final moments.

He said: "It was very peaceful. He just went to sleep and passed on. He didn't say anything — he simply went. It was completely unexpected. I was with him alone."

Drummer Dave, whose band The Dave Clark Five topped the charts with Glad All Over and Bits and Pleces, added: "Freddie's doctor had left five minutes before [Turn to Page 2]

[Photo caption: WEEPING: Dave Clark]

[Photo caption: THE GREAT SHOWMAN: Tragic Freddie Mercury at his peak]

MY PAL FREDDIE

[From Page One] because we thought he would be all right. I cried, but the full tragedy didn’t hit me until later.

“Death always comes as a shock.

“Now I feel numb. Freddie was like a rare painting — a complete one-off.”

Gay Freddie, 45, died on Sunday after a long and painful battle against AIDS.

Dave, now a top showbiz impresario, was among the close friends who gathered at the brave star's bedside.

He said: "I have known him since the 70s. We had a very special relationship. He was a mate and the finest of friends."

Dave, who has a penthouse in London's Mayfair, added: "To be with him when he died was so special."

Freddie refused to go into hospital to fight his illness. Instead he turned his Kensington mansion into a private clinic.

Round-the-clock nurses were hired and his bedroom, which is full of priceless art objects, was fitted with an oxygen tent to help ease his AIDS-induced pneumonia.

A friend said he wanted to stay at home so he could enjoy his beautiful garden.

The friend added: "It is hardly in keeping with his image but Freddie loved going out in the garden and just smelling and looking at the flowers.

Fighter

"Of course some days he would cry about the fact he was going to die but he would always bounce back. He was a great fighter."

Freddie's last hours were soothed as he lay on his kingsize bed beneath a satin Japanese bedspread, wearing a Harrods towelling gown.

[Photo caption: SORROW: Dave Clark gathers flowers left outside Freddie’s mansion yesterday]

MIRROR COMMENT

FREDDIE Mercury joins John Lennon and Elvis Presley in the elite ranks of the giants of pop who will be mourned by millions not for a day, or a week, but for decades.

His public performances were an innovative delight. His brilliant voice, his strutting peacock showmanship and his originality gave rock a new dimension.

Bohemian Rhapsody pushed pop farther than it had been before. He broke fresh grounds, too, as the originator of the pop video.

Yes, he WAS a champion.

HOW FANS CAN SAY FAREWELL

FLOWERS for Freddie’s funeral should be sent to Queen’s fan club, 46 Pembridge Road, London, W11.

A spokesman for the band said that cash donations would help AIDS victims, through the Terrence Higgins Trust.

I kissed him on the cheek, held his hand, and said ‘I love you very much’

By FRANK GILBRIDE

THE only woman to share Freddie Mercury's life told yesterday how she said her last farewell with a tender kiss as the rock star lay close to death.

Mary Austin, 38, sobbed: "I kissed him on the cheek, held his hand and told him I loved him very much and how brave I thought he had been."

The AIDS-stricken singer — pencil-thin, virtually blind and unable to speak — could not respond. And Mary, who for 21 years regarded herself as Freddie's "wife" despite his string of gay lovers, was so upset that she had to leave his £4 million mansion in Kensington, West London.

Moments later, friends told her Freddie had gone. And she rushed back to be once more at his side.

Clutching her three-year-old son Richard — Freddie's godchild — she said: "It was so sad. The suffering I witnessed from Freddie is something I never want to see again. It was awful.

"He had terrible suffering, mental and emotional as well as physical.

"In the last couple of days he couldn't even speak and his sight faded fast in his last few hours. He was very, very thin and couldn't eat much."

Mary, who lives in a flat bought for her by Freddie near the mansion, said the star was heavily sedated when he died.

But she added: "The end came so suddenly. It was not expected on Sunday.

"Even when we knew this was going to come it was still very much a shock.

"But I will remember Freddie with a lot of love and respect. He was brave right up until the very end.

"He was not bitter. He told me he would not have done anything any differently.

"He had no regrets but obviously the fact he had AIDS hurt him deeply."

Weep

Mary said it was she who broke the news of Freddie's death to his parents, devoutly-religious Bomi and Jer Bulsara, who moved to England from their Zanzibar homeland.

They rushed to the mansion from their terraced house in Feltham, Middlesex, to weep with Mary and Freddie's other closest friends.

Mary said the parents were "totally devastated".

And she insisted the star was "very close" to them, despite their strict religious belief that homosexuality was "unclean".

She added that Queen drummer Roger Taylor managed to spend some time with the singer just before he died.

Mary met Freddie when she was working in the trendy Biba fashion store in Kensington and he was helping to run a clothes stall at the nearby market.

They lived together for six years in what Mary called an "affair".

It broke up when Freddie admitted he was gay.

Mary said she was “devastated”. But the couple stayed the closest of friends.

Mary said: "I never stopped loving him and I don't think he stopped loving me either.

Pregnant

Mary, who is pregnant and lives with an interior designer, revealed that Freddie was told he had AIDS months ago.

She said: "He realised the end was coming and he faced it with incredible bravery.

"He still tried to carry on working despite knowing the end was near. He was very creative and positive.

"Even though he was in a great deal of pain he managed to record Queen's last album.

"He carried on working because that's what he enjoyed. He lived from day to day and working helped him have the courage to face his illness.

"I've been seeing him every day recently and we talked about the usual things.

"He enjoyed people and he was a good gossip. Despite everything he kept a sense of humour.

Mary, who stands to inherit much of the star's £25 million fortune, said she thought it would be difficult for her to cope with his sickness.

But she added: "When you really love somebody you can be strong.

"And I was strong for him and with him. My strength came from knowing him.

"Now, I'm suffering a great sense of loss.

"And I feel for the fans who will miss him and are going through their own grief — and the people who have lost loved ones through this disease."

[Photo caption: A STARK look of stunned disbelief was frozen on the face of Mary Austin, above, just hours after Freddie's death.]

[Photo caption: Gone was the laughter which lit up her eyes in the 21 fun-filled years they spent as devoted friends, left.]

QUEEN SET TO SPLIT

They can’t replace him

QUEEN are set to split up following Freddie's death. But first they are promising a huge party to celebrate his life.

The band, together 20 years, will not seek a new leader. A close source said: "There's no way they could replace a unique vocalist like Freddie."

Queen — who have sold 100 million discs and are now favourites for a Christmas No 1, whatever single they release — have not toured for five years.

Roger Taylor, Brian May and John Deacon are expected to concentrate on solo projects. The band said last night: “We have lost the greatest and most beloved member of our family. We feel overwhelming grief that he has gone.”

They said they shared “great pride in the courageous way that he lived and died. It has been a privilege for us to have shared such magical times.”

They added: “As soon as we are able, we would like to celebrate his life in the style to which he was accustomed.”

Freddie had to keep resting while making his last video — I’m Going Slightly Mad.

But a crew member said: “He soldiered on and gave the filming his everything. He was a born trouper.”

[Photo caption: GOING SOLO: Brian May]

His cash for AIDS

FREDDIE earmarked a large chunk of his £25 million fortune for AIDS research.

The star told executors of his will to make sure the money goes to specialist charities.

The rest of his cash is believed to be set aside for long-time friend Mary Austin.

He bought ten homes as gifts for friends earlier this year.

Weeping fans say farewell to the king of Queen

He WAS the champion!

[Photo caption: DESOLATE: A fan’s face of anguish yesterday]

By GEOFF SUTTON

AT first light yesterday, the fans began to arrive. With tears and flowers, the devoted followers of Freddie Mercury emerged from the gloom to pay tribute.

As radio stations played We Are The Champions and Bohemian Rhapsody in the dead Queen star's honour, the people who idolised him made their way to his London home.

They just felt they had to be there.

Among them was tiny, sobbing Sachiko Sato, who flew halfway around the world from Tokyo and walked the streets of Kensington to find his house.

Sachiko, 30, had left her husband at home to try to see her hero.

She said: "I'll be sad forever now Freddie has gone. Nothing matters anymore. I wanted to be with him for his final hours, but it is enough just to be here."

THERE, too, was 75-year-old Glenys Mayo, who recalled a Queen concert as an "unforgettable religious experience".

A 21-year-old shop assistant risked the sack by reporting sick and travelling from Bushey, Herts, with her mother and a bunch of carnations.

"I needed to say thank you for the music," she said simply.

Hospital porter Chris Girling, 23, from Southall, Middlesex, showed off the Mercury and Queen tattoos on his legs and arms and said: "I had nowhere else to go to show how I feel.

"Freddie was sheer brilliance, there will be no other band to beat Queen. I am here to pay my last respects."

Housewife Janet Findlay, 46, who appeared in Freddie's spectacular Barcelona video, said tearfully: "I hope people remember him for the pleasure he gave and not the darker side of his life."

The flamboyant singer's body had been quietly taken away during the night and there was silence behind the 12-ft walls in Logan Place.

A FLORIST'S delivery of red roses was answered by a burly minder who gently picked up the floral tributes.

Bouquets of flowers — including red roses, white carnations, and yellow freesias — were laid at the front door.

One message read: "To Freddie, We'll never forget you, Your Fans."

Others said: "Rest in Peace, your memory will live forever," and "To the Great Performer, the world will be a sadder place without you.”

The Queen fan club office was besieged with calls.

Secretary Jackie Gunn said: "The fans have just been so shocked. They all feel they've lost a very good friend.”

Freddie's celebrity friends joined in with heartfelt tributes to the great pop showman.

Genesis drummer PHIL COLLINS said: "This is a tragedy. I admired Freddie as a performer and for his honesty in admitting he had AIDS. It is all so Bad."

FRANCIS ROSSI, of Status Quo, said: "Freddie was one of the elite few who could really set a stadium alight.

"Along with millions of fans throughout the world I will miss his exceptional performance and brilliant voice."

DAVID Bowie, who shared the 1980s hit single Under Pressure with Freddie, said: "We will all miss him a lot.

"Together with his band he made a great contribution to popular music.”

Spanish soprano MONTSERRAT CABALLE, who duetted with Freddie on Barcelona, yesterday dedicated to him a song on her new album.

The song, Phantom Of The Opera, contains the line: “I hope you are here in someway another time.”

Montserrat said: “This song at this moment has taken on a very special meaning.”

American superstar DIANA ROSS, top of the […] at the Royal Variety performance, praised Freddie last night for admitting he had AIDS.

She said: “There is […] a stigma attached to the disease and it was wonderful for him to have done that.

“I have lost a lot of showbiz friends to the disease. I only wish there was a cure.”

[Photo caption: TOGETHER IN GRIEF: Two sobbing friends embrace each other]

[Photo caption: PAYING TRIBUTE: Fans, and flowers, outisde the house.]

[Photo caption: IDOLISED: Freddie the flamboyant Queen pop singer at his peak]

"FREDDIE'S FEARS ABOUT HUGE HIT'

EXCLUSIVE By ALEC LOM

FREDDIE Mercury was a genius plagued by doubts, his pal Kenny Everett said yesterday.

The DJ said Freddie was even unsure about releasing Bohemian Rhapsody, which became Queen's greatest hit.

Kenny, 46, recalled the singer phoning him soon after completing the song in 1975.

"He said, 'Ken, I don't know what I've done.

"I've finished off this new single and it's about eight minutes long.

"I don't know whether it's going to be a hit'."

Kenny invited the star to bring the recording to his home.

He went on: "Freddie plonked it on my tape machine and, of course, this glorious operatic […]

[Photo caption: WONDER: Kenny]

[…] wonder came out. I remember him being so unsure about this piece of genius.

"When you look back, it was silly really.

"It was so great, it's like Mozart saying, 'I don't know whether my clarinet concerto is going to take off.’ I mean, Bohemian Rhapsody had Number One written all over it."

The song went on to top the charts for nine weeks.

Kenny added: "God gave Freddie gigantic talent and he made full use of it.

"He was never out of the studio and was always playing piano and composing.

“He really did God proud."

Kenny revealed he would not be going to Freddie's funeral.

"They will probably turn it into a party and play lots of his hits," he said.

"But I hate funerals. Why should I go?

"After all, Freddie won't be there.”

#i’m not going to talk about the usual nonsense here #but wtf? roger didn’t see freddie just before he died? #that’s new nonsense #did she really say that?? #or did the daily mirror make it up? #queen #queen band #roger taylor #freddie mercury #brian may #queen scans #queencuttings.com #john deacon #daily mirror november 1991 #mary austin #dave clark #bomi bulsara #jer bulsara #kenny everett #montserrat caballe