Queen: Complete Works E-Book

Georg Purvis

• Herausgeber: Titan Books
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2012

Beschreibung

Clashing together outrageous musical influences and extravagantly visual imagery, Queen's place in history as the greatest glam band of them all is rock solid. Their fan base continues to grow, a decade and a half on from the death of Freddy Mercury, Queen's super-charismatic front man. Georg Purvis's meticulous, session-by-session, song-by-song, album-by-album, tour-by-tour record of the band's progress is the complete reference source that Queen fans have been waiting for. If you love the Champions of Rock, it's all here: * The Band - detailed insights into Freddy Mercury, Brian May, Roger Taylor and John Deacon * The Albums - detailed production history and analysis of every album, including solo releases * The Sessions - In depth coverage from the early days via A Night at The Opera all the way to Made in Heaven * The Songs - hundreds of individual entries on all the famous recordings, as well as obscure, unreleased rarities * The Tours - set-lists and histories of every live show * The Videos - a complete guide to Queen's groundbreaking video work * The Movies - Flash Gordon, and other projects * Plus - the reunion shows with Paul Rodgers, the radio sessions, the costumes, the parties and much, much more...

Leseprobe

Queen: Complete Works

ISBN: 9781781162873

Published by

Titan Books

A division of Titan Publishing Group Ltd.

144 Southwark St.

London

SE1 0UP

First published in 2007. This updated edition: October 2011

10 9 8 7 6 5 4 3 2 1

Queen: Complete Works copyright © 2007, 2011 Georg Purvis

Front cover © 2011, Getty Images

Back cover:

Freddie Mercury (photograph by Ilpo Musto © Rex Features)

John Deacon (photograph by Andre Csillag © Rex Features)

Brian May (photograph by Chris Foster © Rex Features)

Roger Taylor (photograph by Richard Young © Rex Features)

Did you enjoy this book? We love to hear from our readers. Please e-mail us at: [email protected] or write to Reader Feedback at the above address. To receive advance information, news, competitions, and exclusive offers online, please sign up for the Titan newsletter on our website: www.titanbooks.com

No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means without the prior written permission of the publisher, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser.

A CIP catalogue record for this title is available from the British Library.

Printed and bound in the UK by CPI William Clowes, Beccles NR34 7TL.

QUEEN

COMPLETE WORKS

GEORG PURVIS

TITAN BOOKS

This book is dedicated to

Donald Hartman Hawk, Bruce Hedrick,

and Roger Bennett.

“And then from all this gloom

Life can start anew

And there’ll be no crying soon.”

CONTENTS

FOREWORDHEY, WHERE’S MY BACKSTAGE PASS...?

HOW TO USE THIS BOOK

PART ONEPRE-QUEEN

PART TWOTHE ALBUMS

PART THREETHE SONGS A TO Z

PART FOURQUEEN LIVE

PART FIVECOMPILATIONS AND COLLABORATIONS

PART SIXOTHER MEDIA: RADIO, VIDEO, INTERACTIVE, STAGE

PART SEVENPOST-QUEEN

PART EIGHTSINGLES DISCOGRAPHY

AFTERWORDGOT TO FOLLOW THAT DREAM

SELECT BIBLIOGRAPHY

ACKNOWLEDGEMENTS

FOREWORD

HEY, WHERE’S MY BACKSTAGE PASS...?

“I think that’s one of the positive things a rock band can do, generate that feeling of being together ... We do have a lot of power. We just hope we can divert it in the right direction. I know it looks like a Nüremberg Rally, but our fans are sensible people, they’re creating the situation as much as we are, it’s not that we’re leading them like sheep ... It’s very simple really, you just play music which excites people, which interests them. It’s rock ‘n’ roll, there’s no philosophical reason why we should be there.” – Brian May, Melody Maker, 1980

In the 1970s, once the hippie dream of Woodstock was shattered by the nightmare of Altamont within the short span of four months, the rock world took a drastic turn, splitting in several directions, all under the broad and bloated term of “rock music”. Heavy and loud was the order of the day, with bands like Free, Led Zeppelin and Deep Purple driving their point home with all of the subtlety of a jackhammer, while others skated that trend entirely by putting more stock into image, creation and presentation – and so music suddenly became art. Quirky names became the new standard: Roxy Music, T. Rex and the New York Dolls; and the boys looked like girls and the girls looked like boys and the general public who had grown up on “clean” music were outraged because they couldn’t tell the difference. This wasn’t music meant to shock and awe, but to make the audience reflect and visualize.

In the middle of all this, Pete Townshend of The Who wrote and then abandoned a concept album that would have had band and audience joining together to become one. Even with the failure of this concept a new philosophy was born: involve the audience in every aspect of the live show. This feeling of togetherness was to make the fans feel special and connected with their idols, and through this, the live show would take on a new energy.

To say that one man perfected this sounds hyperbolical, but one man did indeed pioneer this tactic, and became a legend in the process.

The word “legend” is hyperbole itself, and is a status that is both limiting and scary all at once. But ask a million people who is the best vocalist in the history of rock music, and the answer will almost overwhelmingly be Freddie Mercury; his status as a legend has transcended his eccentricities and human frailties, and he is held only with the highest regard nowadays. Unfortunately, it took his untimely death for the world to finally see him for who he actually was: a paradox of warmth and standoffishness, of power and shyness, of strength and romance. He was a tragic figure from the outset, destined for greatness but wanting only normality, acceptance and love.

In the early days of Queen’s heyday, Freddie rarely connected with the audience. He remained a public enigma, offering fickle quotes in the press, such as “I’m as gay as a daffodil!”, and littering these mercurial statements with “dears” and “darlings”. Live, he exuded darkness, storming on stage dramatically and growling, “The nasty Queenies are back! What do you think of that?” Resplendent in black velvet and makeup, he insisted on enjoying the luxuries of a star but with the budget of a vagabond.

Then, a seismic shift took place in the mid-1970s; glam rock came to an end and, while Roxy Music and David Bowie consistently reinvented themselves to fit the trends, Queen combined their love of the grandiose with the style du jour: News Of The World, for example, was royal punk, nitty, gritty and dignified all at once. And an amazing thing happened: Freddie Mercury finally found his confidence, and added a fourth quality to his hat-trick of singer, songwriter and pianist: he became an entertainer, determined to involve the audience and ensure maximum enjoyment. Concerts weren’t simply events to listen to music; they were now presentations, visual experiences that were designed to wow. In the middle of an overactive dry ice machine and flash bombs, Freddie stood tall and proud, ensconced not in velvet but leather, affectionately addressing the audience as “tarts” and “fuckers” and using his own powerful voice as a catalyst for the spectators to join in the singing. Some audiences needed encouragement, but most were thrilled to be a part of the show and entered in with gusto.

That’s not to say that Queen was Freddie’s backing band; each member was a cog in the well-oiled machine. Witness Brian May, with his homemade guitar, lovingly crafted by father and son in 1963 over the course of 18 months, that has become one of the most recognizable instruments in the rock world. But what good is a guitar without an amp? A little homemade device, fondly known as the Deakey Amp and named after its creator (more in a moment), that gives off a warm, orchestral sound, as if a quartet of violins was rocking away instead of a guitar. The shy guitarist found his voice after awhile, and even though he couldn’t quite believe all of the hype that surrounded his band and fellow bandmates, he still bounced out on stage every night, determined to give his all. While Freddie entertained, Brian was the consummate perfectionist, refusing to hide his displeasure if he played a bum note – even if the audience was blissfully unaware that anything was amiss. His own high standards helped keep Queen on track, even when they lost their direction as success overshadowed creative invention.

On the opposite end of the spectrum is Roger Taylor, the archetypal drummer in search of fast cars, loose women and good times. But to label him as a drummer would be superficial; the man is outspoken, lovably gruff and one talented musician, handling all of the instruments with remarkable adeptness and redefining the meaning of the word “solo” on his first two albums. While he may look on stage as if he is simply trying to get through the show for the inevitable afterparty debauchery, he’s among the top drummers in the world: rock-steady and flashy at once, combining the lunacy of Keith Moon with the inventiveness of John Bonham. He suits the needs of the song without being heavy-handed or showing off too much. These days, his contentious views on politics, religion and c-lebrities have gained notoriety among the fan base, but he’s as good for press fodder as Freddie was, throwing in a good-natured jab at his best friend Brian’s obsession with perfection or his band’s occasional lapses in judgment.

Then there’s John Deacon, the underrated and understated bassist who, in keeping with the tradition of bass guitarists, rarely spoke. Only when he took the microphone at the Freddie Mercury tribute concert in April 1992 did fans actually realize he had a voice. But behind his silence (and self-professed inability to sing) lay the secret weapon to Queen’s success: while Freddie went off on several stylistic jaunts, and Brian and Roger were the eternal hard rockers, John’s loyalties were in the pop world. His second-ever song was a wise choice as the follow-up to Queen’s massive worldwide hit, and when he introduced funk to Queen’s rock sensibilities, he was once again rewarded with the biggest-selling single in their American record company’s history. Yet one look at this unassuming bassist and the feeling can’t be hidden that he was a million miles away from it all; barely cracking a smile on stage, he played with inventive precision. Unlike his idols John Entwistle and Chris Squire, he wasn’t a show-off, and, like his partner in rhythm, his playing suited the song instead of acting as a showcase for his abilities. However, under all of the trappings of success was a man who yearned for normalcy, and being the father of a half dozen kids was all the more reason to walk away from the spotlight. Not a peep has been heard from him since 1997, though Brian and Roger maintain that he’s happier now than ever before.

Freddie’s vision of audience participation started in the mid-1970s, but it came to fruition in 1985, at the legendary Live Aid concert. Amid a sea of 72,000 spectators, Freddie secured his position as the world’s best showman by getting them all to sing along in a spontaneous moment of elation. The set was tightly structured so that Queen could get all of their hits in without running over their time allotment, but he still stopped the show briefly to engage in a bit of vocal banter. The audience – some Queen fans, most not – played along, singing back every word and phrase he threw at them. With a defiant grin and an enthusiastic shout of “All right!” (shouted back at him, of course), he helped Queen attain the position as the highlight among highlights.

And to think how they transformed from a wannabe, second-rate Led Zeppelin rock band into a barnstorming act that defied classification. Their albums were all over the stylistic map, shifting gears carefully without throwing the listener too violently into change. Each band member adapted to the others’ needs while providing to each song a remarkably unique trademark; only through disagreements and tension did they discover their own limitations, but as a unit, they were an unstoppable force, a distinction that Brian and Roger had to face following Freddie’s death and John’s retirement. Though they were replaced, Brian and Roger discovered just how irreplaceable the other two were. The fans still ate it up, enjoying every morsel no matter who the singer or bassist was – just as long as the guitarist and drummer were there – but the magic of Queen was Freddie Mercury, Brian May, Roger Taylor and John Deacon. It was a once-in-a-lifetime joining of forces, never to be repeated, and while each quarter was a giant in his own way, it was the combination that turned Queen into a legendary phenomenon.

HOW TO USE THIS BOOK

Part Three lists songs by Queen, and individual solo songs, in alphabetical rather than chronological order. This is advantageous since it discards the necessity for an index and also allows one entry for songs recorded in different versions, creating a more cohesive and understandable format.

Part Three uses the abbreviations listed below. Also included are single release dates (month/year) followed, where applicable, by the highest UK chart placing in [square brackets]. Instead of presenting both US and UK singles, only the UK singles are given since Queen statistically were always in the upper reaches of their home country’s charts. An in-depth (but certainly not comprehensive) singles discography in Part Eight explores both UK and US releases. ‘Compilation’ listings are only given if this was the first official release of the track, or if the version in question was appearing for the first time and differs drastically from the standard version. Likewise, soundtrack albums are only cited in Part Two if they contain exclusive material (as in the case of Brian’s Furia soundtrack) or if it was the first release of the song (as in Freddie’s ‘Love Kills’ single). Note that Queen’s Flash Gordon album is considered a band album and not a soundtrack. ‘Bonus’ listings refer to the extra tracks included on Hollywood Records’ 1991 US CD reissue campaign, and, more currently, the 2011 Universal Records worldwide CD reissue campaign.

SAMPLE ENTRY

TOO MUCH LOVE WILL KILL YOU

(May/Musker/Lamers)

• A-side (Brian): 8/92 [5] • Album (Brian): BTTL

• B-side (Brian): 6/93 [23] • Live (Brian): Brixton

• Album (Queen): Heaven • A-side (Queen): 2/96 [15]

This indicates that ‘Too Much Love Will Kill You’ was released, in chronological order, as (i) a Brian May solo single in August 1992, reaching No. 5 in the chart; (ii) an album track on Brian’s Back To The Light; (iii) the B-side of Brian’s solo June 1993 single, reaching No. 23 in the UK chart; (iv) a live version on Brian’s Live At The Brixton Academy; (v) an album track on Queen’s Made In Heaven; (vi) a Queen UK single in February 1996, reaching No. 15 in the chart.

ABBREVIATIONS USED IN PART THREE

Studio Albums

Queen

Queen

Queen2

Queen II

SHA

Sheer Heart Attack

Opera

A Night At The Opera

Races

A Day At The Races

World

News Of The World

Jazz

Jazz

Game

The Game

Flash

Flash Gordon

Space

Hot Space

Works

The Works

AKOM

A Kind Of Magic

Miracle

The Miracle

Innuendo

Innuendo

Heaven

Made In Heaven

Cosmos

The Cosmos Rocks

Compilation and Live Albums

Killers

Live Killers

Hits1

Greatest Hits

Magic

Live Magic

BBC

Queen At The Beeb / Queen At The BBC

Hits2

Greatest Hits II

Wembley

Live At Wembley ’86 / Live At Wembley Stadium

Classic

Classic Queen

HitsUS

Greatest Hits (1992 edition)

Hits3

Greatest Hits III

WWRYHits

We Will Rock You: Greatest Hits (2004 edition)

On Fire

Queen On Fire: Live At The Bowl

Return

Return Of The Champions

Montreal

Queen Rock Montreal

Ukraine

Live In Ukraine

Solo Albums – Roger Taylor

Fun

Fun In Space

Frontier

Strange Frontier

Happiness?

Happiness?

Electric

Electric Fire

Solo Albums – Roger Taylor (with The Cross)

Shove

Shove It

MBADTK

Mad, Bad, And Dangerous To Know

Blue

Blue Rock

Solo Albums – Freddie Mercury

BadGuy

Mr Bad Guy

Barcelona

Barcelona

Pretender

The Great Pretender

FM Album

The Freddie Mercury Album

Box Set

The Freddie Mercury Box Set

Solo Albums – Brian May

Starfleet

Star Fleet Project

BTTL

Back To The Light

Brixton

Live At The Brixton Academy

Another

Another World

Furia

Furia

A NOTE ON THE TEXT

Where spelling and stylings of song and album titles vary over the years, I have favoured the earliest official release: while ‘Dreamer’s Ball’ and ‘The Prophet’s Song’ may be grammatically correct, they are printed as ‘Dreamers Ball’ and ‘The Prophets Song’, sans apostrophes, on Jazz and A Night At The Opera respectively. In the case of ‘rock and roll’ and its many variants, the same situation applies to the correct spellings of the Rock ‘n’ Roll Medley, ‘Born To Rock ‘n’ Roll’ and ‘Modern Times Rock ‘n’ Roll’.

Album variations are more of an exception than the rule. I have applied the title Queen At The BBC as the ‘official’ title of their 1989/1995 release since it is more universal than Queen At The Beeb, which only British readers might understand, while Live At Wembley Stadium takes precedence over Live At Wembley ’86.

WHAT’S NEW IN THIS EDITION

Since the original publication of this book in 2007, I was convinced that I was to be an author for the first and last time. Almost immediately, fans contacted me and very politely offered corrections and additional information, and I was disappointed that I wouldn’t be able to implement these changes for a second edition. The more I read through the book, the more errors I noticed (not necessarily factual), and while these might not have been noticeable to the average person, I found that almost every entry either had overly verbose prose or too many suppositions. (And who honestly cares what songs should have been singles?!) This book was meant to be a mix of fact and opinion, not a mix of hypotheses and guesses.

After publishing the book and figuring that was a good experience all around, I started talking with Pieter and Erin Cargill, webmasters of Queen Archives (www.queenarchives.com) and all around wonderful people, and we lamented the lack of an all-encompassing Queen website, with lyrics, quotes, song information, discographies, concertography, sessionography, and so forth. That site became Queenpedia (www.queenpedia.com), which is still going strong to this day.

And yet, there’s something about the written, printed word that people love. You could try to curl up with a laptop and read a book, but it’s just not the same. Oh sure, e-Books are all well and good, but you don’t get the feel or the smell of a printed book; you can write in the margins of the book, correcting the author and adding your own notes and thoughts; you can pass it back and forth between friends, whereas with an electronic device, it would be like lending out $200 and hoping nothing goes wrong – if it’s dropped even once, well, forget about it.

So. With this edition, I asked permission to go through the manuscript and correct any errors that I had noted in the margins of my own copy, while consulting a “brain trust” of fans with whom I developed a reputation since the first edition was published. In the absence of any official word from the band, who remains tight-lipped on what’s in the archives, this “brain trust” was the next best thing – better, in fact, because they were able to add discussions to the mix. Queen fans are loyal and intelligent, and in the virtual presence of these top collectors, I felt like I had finally become one of them. Concerned with the possibility of being viewed as a turncoat – I was invited to this Mensa of Queen fans, and then suddenly am publishing a second edition with all the information I collected – I asked them what I should do: do I include all of the information we’ve been discussing, or do I include only what’s “common knowledge”?

Their collective response couldn’t have been more overwhelmingly positive, with the consensus being, “You must get the most accurate information out there!” While Queen Productions continues to sanction publication after publication of their history, the contents of their studio archives remains a scarcity. Imagine, if you will, a book much like Mark Lewisohn’s The Beatles Recording Sessions or The Beatles Chronicle. Fans don’t have access to that information, and yet they thirst for it constantly, much like they thirst for Greatest Video Hits 3 or the fabled anthologies, first announced back in the late 1990s and still being pushed back.

Queen: Complete Works was my attempt at something similar, a printed collection of everything that’s known, and everything that isn’t common knowledge. At the time, it was complete, but the problem with having a book printed is that it’s almost immediately obsolete. In the intervening four years, so much new information has come to light (for instance, the ‘Keep Yourself Alive’ retake wasn’t actually from the 1972 debut album sessions, but from July 1975; not to mention The Cosmos Rocks and Queen’s fortieth anniversary) that tackling the edits to this book became a massive undertaking. Happily, after spending four years perusing other interests, my interest in Queen rekindled with the announcement that they were signing with Universal Records and that deluxe remasters of their entire studio discography were on the way.

So what can you find here that’s different from the first edition? Well, with the new information and a lot of rewritten entries, this is practically a new book entirely. If you’re feeling adventurous, you’re more than welcome to hold up the two editions for a side-by-side comparison, but I urge you to instead put on your favourite Queen album and read up on it and the related songs.

Oh, and have a pencil ready – just in case you need to make some notes and send them my way.

PART ONE

PRE-QUEEN

This section addresses known live (and occasional studio) performances by the multitude of bands featuring John Deacon, Brian May, Freddie Mercury and Roger Taylor before they came together as Queen, together with a postscript describing the formation of the band and their progress towards towards making the first Queen album.

In some cases, information is scarce: in lieu of set lists, only known songs performed at any given concert are provided. The itineraries, if they can be called such, are sadly incomplete, and it’s unlikely that a full schedule of live performances will ever materialize.

1957–1963: EARLY PERFORMANCES

Roger Meddows-Taylor was involved in a band at the tender age of eight. The Bubblingover Boys, with mutual friends from the Bosvigo Primary School, performed just one concert at a school dance during the summer of 1957; instead of appearing on drums, Roger strummed a ukulele. Unsurprisingly, The Bubblingover Boys folded shortly after the dance, leaving Roger without a band until 1963, when he formed Beat Unlimited with Mike Dudley on guitar and David Dowding on bass. This time, Roger initially switched to guitar, though he would finally take the drummer’s seat once the band changed their name to The Cousin Jacks. (They also went under the name of The Falcons.) Roger’s new band would occasionally play at a local Liberal club, with one of their favourite songs being ‘Wipe Out’, giving Roger a chance to show off his skills. The Cousin Jacks disbanded in 1965, by which time Roger had decided that a career in music was for him.

Meanwhile, in Panchagni, India, Farookh Bulsara was attending St Peter’s Boarding School and had befriended four other young musicians: Derrick Branche (who later appeared in the 1970s sitcom Only When I Laugh), Farang Irani, Bruce Murray and Victory Rana. In complete contrast to the persona he would later adopt as Freddie Mercury, Farookh was reserved and was happy to bang away on a piano while Bruce took the role of front man and vocalist. The Hectics, as the band was called, formed in the spring of 1959 and would practise in a spare dormitory at St Peter’s, later becoming the unofficial school band and appearing at school dances and functions. Humble beginnings, yes, but it gave Farookh his first taste of being on stage; little did anyone know, least of all his band members, what was in store just a decade later.

1984

Autumn 1964–Winter 1968

Musicians: Dave Dilloway (guitar), John ‘Jag’ Garnham (rhythm guitar, vocals), Brian May (guitar, vocals), John Sanger (piano, vocals), Tim Staffell (vocals, harmonica), Richard Thompson (drums)

Repertoire included: ‘Go Now’, ‘Yesterday’, ‘I’m A Loser’, ‘Help!’, ‘Jack Of Diamonds’, ‘I Wish You Would’, ‘I Feel Fine’, ‘Little Egypt’, ‘Lucille’, ‘Too Much Monkey Business’, ‘I Got My Mojo Working’, ‘Walking The Dog’, ‘Heart Full Of Soul’, ‘Bright Lights, Big City’, ‘Chains’, ‘Little Rendezvous’, ‘I’m A Man’, ‘Bye Bye Bird’, ‘Dancing In The Street’, ‘Eight Days A Week’, ‘I’m Taking Her Home’, ‘My Generation’, ‘Cool Jerk’, ‘R-E-S-P-E-C-T’, ‘My Girl’, ‘Shake’, ‘(I’m Not Your) Stepping Stone’, ‘You Keep Me Hangin’ On’, ‘Whatcha Gonna Do ‘Bout It?’, ‘Substitute’, ‘How Can It Be’, ‘Dream’, ‘Sha La La La Lee’, ‘So Sad (To Watch Good Love Go Bad)’, ‘Stone Free’, ‘She’s Gone’, ‘Knock On Wood’

Known itinerary:

October 28, 1964: St Mary’s Church Hall, Twickenham

November 4, 1964: Girl’s School, Richmond

January 1965: Imperial College, London

January 15, 1966: Thames Rowing Club, Putney

January 29, 1966: Thames Rowing Club, Putney

February 5, 1966: Rowing Club, Shepperton

Spring 1966: Imperial College, London

Summer 1966: Boat Club, Molesey

Summer 1966: R&B Club, Putney

July 1/2, 1966: Boat Club, Henley-On-Thames

July 9, 1966: All Saints Church Hall, London

Autumn 1966: White Hart, Southall

May 13, 1967: Imperial College, London

September 1967: School Of Medicine, London

September 1967: Top Rank Club, Croydon

December 23, 1967: Olympia Theatre, London

Brian Harold May had been inspired to start playing music after hearing the likes of Lonnie Donegan and Buddy Holly, and by the late 1950s had befriended Dave Dilloway from Hampton Grammar School, who also had aspirations to be a guitarist. Brian had wanted a Fender or a Gibson, then all the rage, but was unable to afford such a luxurious instrument. Instead, Brian and his father Harold spent 18 months, starting in the autumn of 1963, constructing a guitar that would become Brian’s trademark for all his professional career.

The Red Special, as his axe was later dubbed, was a piecemeal construction formed from Brian’s own design. The neck and body were carved from an aged mahogany fireplace, the tension of the strings was balanced by motorcycle valve springs, the tremolo arm was a discarded knitting needle, the fretboard markers were mother-of-pearl buttons borrowed from his mother’s sewing box. Apart from three Burns pick-ups (which were modified by an epoxy resin), the guitar was entirely homemade and clearly a labour of love. Now all Brian needed was a band in which he could show off his accomplishment.

1984 was formed by Dave and Brian, with Bill Richards on vocals and guitar and John Sanger on piano. Bill left shortly after the band was formed because of his inferior guitar; Brian was chosen to diplomatically offer the ultimatum and Bill chose to leave since he couldn’t afford a new instrument. Malcolm Childs replaced him for nearly a week before being canned due to his unreliable nature. Finally, John ‘Jag’ Garnham joined on rhythm guitar and vocals, and 1984 (named after George Orwell’s novel and replacing earlier suggestions like Bod Chappie And The Beetles and The Mind Boggles) started the search for a drummer. An advertisement was placed in a music store window and answered by Richard Thompson; the only missing ingredient now was a vocalist. Dave and Brian had found Tim Staffell in the audience of a dance at Murray Park Hall, jamming along on mouth organ, and asked him up front if he would be interested in singing with them.

The band intended to write a futuristic mini-rock opera based loosely around Orwell’s novel, but instead focused on honing their chops through favourite rock and R&B tunes. On 28 October 1964, the band made their live debut at St Mary’s Church Hall in Twickenham, with the organiser, Chris Whittome-Knights, offering them a substantial (at the time) £10. From there, 1984 started building up their popularity by word of mouth and, soon enough, the band would be playing a gig a week. Sets usually included songs by The Yardbirds, The Rolling Stones, The Spencer Davis Group and The Beatles, among many others. Tim was the designated lead singer, but Brian would take over the mike on ‘Yesterday’ (which drove the girls wild) and assist on harmonies on ‘Help!’ and ‘I’m A Loser’.

During the spring of 1966 at Imperial College London, where Brian had been a student since the previous October, the band were filmed on 8mm colour film, albeit lacking sound. The film, lasting around four minutes, focused mainly on the party at which 1984 were performing, but Brian and his guitar can be clearly seen in the background. On 31 March 1967, the band appeared at Broom Lane Studios by courtesy of some friends of Dave’s, performing twelve songs – ‘Hold On, I’m Coming!’, ‘Knock On Wood’, ‘N.S.U.’, ‘How Can It Be’, ‘Step On Me’, ‘Purple Haze’, ‘Our Love Is Driftin”, ‘Remember’, ‘Sweet Wine’, ‘Get Out Of My Life, Woman’, ‘(I Can’t Get No) Satisfaction’ and ‘My Girl’ – with one of them, ‘Step On Me’, an original written by Brian and Tim that was subsequently recorded by Smile.

After Bill Richards left 1984, he formed The Left Handed Marriage, and in the spring of 1967 Bill asked Brian if he would contribute guitar to a few recording sessions as he wanted a fuller sound. The band, with Bill, Jenny Hill, Henry Deval and Terry Goulds, had recorded the album On The Right Side Of The Left Handed Marriage, released in January 1967. Dave was also asked to contribute to the sessions at Brian’s request, and three sessions were recorded.

The first took place at Manor Road Studios in Twickenham on 4 April 1967, with four songs – ‘Give Me Time’, ‘She Was Once My Friend’, ‘Yours Sincerely’ and ‘Sugar Lump Girl’ – recorded. The second was at Abbey Road Studios in St John’s Wood on 28 June, though, sadly, Brian would not run into any of The Beatles, who had completed their latest single, ‘All You Need Is Love’, two days beforehand; at this session, ‘I Need Time’ (a retitled ‘Give Me Time’) and ‘She Was Once My Friend’ were re-recorded. The third and final session was held on 31 July at Regent Sound Studios, with ‘I Need Time’ and ‘She Was Once My Friend’ again re-recorded, along with a new song, ‘Appointment’. The three songs from the final session were due to be issued on the band’s sophomore album but it remained unreleased; they were, however, included as bonus tracks on the 1993 CD reissue of On The Right Side Of The Left Handed Marriage.

The last two (known) performances of 1984 during 1967 were the highest profile: in September, the band was entered into the Battle Of The Bands competition (later reported by Melody Maker, giving 1984 their first press coverage) and ended up winning with a twenty-minute set that included ‘Ain’t That Peculiar’ and ‘Crying In The Rain’. As a result, the band were invited to participate in the Christmas On Earth charity showcase on 23 December, which was an all-star affair involving most of the London ‘underground’, including Jimi Hendrix, Traffic, Pink Floyd, Herd and Tyrannosaurus Rex (later to become T. Rex). Many years later, Brian recalled that Hendrix walked up to the band and asked, “Which way to the stage, man?”

Unfortunately, this would mark the end of Brian’s interest in 1984, though he would fulfil his commitments with the band into the New Year. Finally, in February 1968 Brian announced he was leaving; the band continued with Tim taking over on lead guitar for eight months (though he too would soon jump ship and meet back up with Brian), continuing for a few more years with little success. 1984 remained a cover band through its final years, with a non-performing reunion in 1990 via the Queen International Fan Club when Brian, Dave, John and Richard met at Dave’s home for a chat and photo opportunity.

THE OPPOSITION / THE NEW OPPOSITION / THE ART

Spring 1965–Summer 1969

Musicians, The Opposition (spring 1965–spring 1966): Nigel Bullen (drums), Clive Castledine (bass guitar), John Deacon (guitar), Richard Young (vocals, guitar)

Musicians, The New Opposition (spring 1966–winter 1967): Pete ‘Pedro’ Bartholomew (vocals), Nigel Bullen (drums), Ronald Chester (guitar), John Deacon (bass guitar), David Williams (guitar, vocals), Richard Young (vocals, guitar, keyboards)

Musicians, The Opposition (winter 1967–spring 1968) / The Art (spring 1968–summer 1969): Nigel Bullen (drums), Ronald Chester (guitar), John Deacon (bass guitar), David Williams (vocals, guitar), Richard Young (keyboards)

Repertoire included: ‘You Don’t Know’, ‘Going To A Go-Go’, ‘Meeting Over Yonder’, ‘In The Midnight Hour’, ‘Heatwave’, ‘Knock On Wood’, ‘Hold On, I’m Coming’, ‘Something You Got’, ‘Something About You’, ‘I’ll Be Doggone’, ‘Can’t Help Myself’, ‘Dancing In The Street’, ‘Headline News’, ‘Ride Your Pony’, ‘Land Of 1,000 Dances’

Known itinerary, The Opposition:

September 25, 1965: Clive Castledine’s house, Leicester

October 1965: Gartree School, Oadby

December 4, 1965: Co-operative Hall, Enderby

December 17, 1965: Gartree School, Leicester

December 31, 1965: Market Harborough Youth Club, Leicester

January 15, 1966: Co-operative Hall, Enderby

February 5, 1966: Village Institute, Countersthorpe

February 11, 1966: Youth Club, Narborough

March 5, 1966: Constitutional Hall, Wigston

March 11, 1966: Village Hall, Evington

April 30, 1966: Co-operative Hall, Enderby

January 1967: USAF Base, Molesworth

February 12, 1967: Boys Club, New Parks

February 25, 1967: Antiquity Club, Churchgate

March 10, 1967: Roundhills Youth Centre, Thurmaston, Leicester

March 18, 1967: Boys Club, New Parks

March 31, 1967: Kirby Lane Community Centre, Melton Mowbray

April 23, 1967: Beaumont Keys

April 30, 1967: Boys Club, New Parks

July 1, 1967: Royal Oak, Wigston

November 4, 1967: Club, Evington

November 10, 1967: Boys Club, Witterworth

November 11, 1967: Zodiac 67 Club, Leicester

December 21, 1967: Raven Youth Club, Thurby Lodge

January 6, 1968: Dog & Gun, Thurlaston

January 12, 1968: Casino Ballroom, Leicester

January 27, 1968: Country Arms, Blaby

February 9, 1968: Royal Oak, Wigston

February 16, 1968: Youth Club, Lutterworth

February 17, 1968: Dog & Gun, Thurlaston

February 23, 1968: Roundhills Youth Center, Thumaston

February 24, 1968: Youth Club Hall, Kibworth

March 1, 1968: Royal Oak, Wigston

March 2, 1968: Country Arms, Blaby

Known itinerary, The New Opposition:

June 14, 1966: Co-operative Hall, Enderby

August 1966: Co-operative Hall, Enderby

October 1966: Casino Ballroom, Leicester

November 6, 1966: Monsell Youth Club, Eyres

November 11, 1966: Monsell Youth Club, Eyres

December 31, 1966: Market Harborough Youth Club, Leicester

January 13, 1967: Tennis Club, Leicester

Known itinerary, The Art:

Spring 1968: venue unknown, St Neots

Spring 1968: venue unknown, Kettering

March 16, 1968: Gartree School, Oadby

March 29, 1968: Youth Club, Lutterworth

April 28, 1968: Village Hall, Billesden

May 11, 1968: Village Hall, Kibworth

Summer 1968: Kirby Lane Community Centre, Melton Mowbray

December 17, 1968: Gartree School, Oadby

January 11, 1969: West End Ballroom, Coalville

January 18, 1969: Rugby Club, Hinckley

January 25, 1969: Community Centre, Kirby Muxloe

February 1, 1969: Village Hall, Kibworth

February 8, 1969: Village Hall, Bedford

February 15, 1969: Rugby Club, Tyers

August 1969: Youth Clunob, Great Glen

John Richard Deacon and a handful of his classmates from Beauchamp Grammar School in Leicester had formed The Opposition in the spring of 1965, inspired by such acts as Herman’s Hermits, Peter & Gordon, The Hollies, The Rockin’ Berries, and, of course, The Beatles and The Rolling Stones. John wasn’t even 14 by the time The Opposition became a semi-serious venture. Initially, John played guitar (having not even picked up a bass yet) alongside his best friend, drummer Nigel Bullen, and their friends Richard Young and Clive Castledine.

John had been playing guitar since the age of twelve and was already quite proficient when he joined The Opposition. Their first gig was at a party at Clive’s house, followed by a dance at Gartree School, though their first authentic, paying show was at the Enderby Co-operative Hall, soon becoming regulars at youth clubs around Oadby.

Clive was dismissed in the spring of 1966, and John took over on bass and local singer Peter ‘Pedro’ Bartholomew joined on vocals. The former bassist’s firing was instigated by Peter, who had agreed to sing with them on condition they get a better bass guitarist. David Williams joined on guitar and Richard moved to keyboards. With the personnel change, the band also switched their name to The New Opposition and would remain under that moniker until the beginning of 1967. Their set was comprised mostly of The Yardbirds, The Animals and various Tamla Motown singles, though their repertoire had expanded to include The Zombies and The Spencer Davis Group in the summer of 1966.

Ronald Chester joined later in 1966 and David Williams became the band’s full-time vocalist after the dismissal of Peter Bartholomew, and they reverted to their original name only to change it again in the spring of 1968, this time to The Art. (The logic behind this decision? “David Williams was arty.”) John left in August 1969 to concentrate on his electronics degree; the band had been solely a local group and had no aspirations to go any further. With constant pressure from his mother to focus on his education and not waste his time on music, John hung up his bass guitar for the better part of a year and worked diligently at Leicester University, though the desire to perform would soon prove too strong.

JOHNNY QUALE AND THE REACTION

Spring 1965–Autumn 1965

Musicians: Jim Craven (bass guitar), Mike Dudley (keyboards, guitar), Johnny Quale (vocals), Graham Hankins (guitar), John ‘Acker’ Snell (saxophone), Roger ‘Splodge’ Taylor (drums)

Repertoire included: ‘Game Of Love’, ‘Hey Mama (Keep Your Big Mouth Shut)’, ‘Whatcha Gonna Do ‘Bout It?’, ‘Slow Down’, ‘R-E-S-P-E-C-T’, ‘I Got You (I Feel Good)’, ‘It’s Gonna Work Out Fine’, ‘Land Of 1,000 Dances’

Known itinerary:

March 15, 1965: City Hall, Truro

April 15, 1965: City Hall, Truro

Summer 1965: Blue Lagoon, Newquay

Summer 1965: Village Hall, St Just

Summer 1965: The Garden, Penzance

Summer 1965: Princess Pavilion, Falmouth

While he was in The Cousin Jacks, word had spread about young Roger Taylor’s expertise on the drums and, early in 1965, Johnny Quale And The Reaction sent an invitation to him to join the band. (Mike Dudley, Roger’s musical ally, came along too.) Johnny Quale, whose real name was John Grose, was known around Cornwall as an Elvis Presley impersonator – sideburns and all – and preferred straight-up rock as opposed to the more adventurous music other garage bands were engrossed in at the time. After a few rehearsals, the band made their live debut on 15 March 1965 at the Rock and Rhythm Championship at Truro’s City Hall. Among the fifteen groups that entered, Johnny Quale And The Reaction placed fourth, a position that pleasantly surprised the band. Spurred on by this, the band played a series of shows throughout the spring and summer of 1965, but the musical split between Johnny and the others was starting to show. The lead vocalist was still insisting the band play Elvis covers, while the band wanted to expand their musical direction.

The solution was to perform two sets, the first simply as The Reaction (allowing them to play the music they wanted with various band members taking turns on lead vocals), the second featuring Johnny Quale putting on his showman routine. In October 1965, the band were presented the opportunity to record an EP, representing Johnny’s musical preferences on one side and those of the others on the flip. At Sound Studios in Wadebridge, the band recorded ‘Bona Serra’, ‘Just A Little Bit’, ‘What’s On Your Mind’ and ‘I’ll Go Crazy’ as Johnny Quale And The Reaction, and ‘In The Midnight Hour’ and ‘I Got You (I Feel Good)’ as The Reaction, with Roger providing lead vocals.

However, the end was nigh for Johnny. Saturday nights were normally kept clear of bookings, but when the band agreed to perform a gig at short notice on the night that an Elvis Presley film was to be screened at the Plaza in Truro, Johnny had to make a decision. He ultimately performed the gig, but tendered his resignation afterwards. Now minus their eccentric frontman, the band became simply...

THE REACTION

Autumn 1965–Autumn 1968

Musicians, autumn 1965–1967: Roger ‘Sandy’ Brokenshaw (vocals), Jim Craven (bass guitar), Geoff Daniel (guitar), Mike Dudley (keyboards, guitar), Mike Grose (guitar), John ‘Acker’ Snell (saxophone), Roger ‘Splodge’ Taylor (vocals, drums)

Musicians, 1967–summer 1968: Mike Dudley (keyboards, guitar), Mike Grose (guitar), Richard Penrose (bass guitar), Roger Taylor (vocals, drums)

Musicians, summer–autumn 1968: Jim Craven (bass guitar), Mike Dudley (keyboards, guitar), Mike Grose (guitar), Roger Taylor (vocals, drums)

Known itinerary:

November 17, 1965: Methodist Hall, St Agnes

December 1965: Truro School, Truro

December 27, 1965: Schools Christmas Dance, Truro

January 8, 1966: Princess Pavilion, Falmouth

March 7, 1966: City Hall, Truro

March 12, 1966: Princess Pavilion, Falmouth

March 17, 1966: Flamingo Ballroom, Redruth

July 17, 1966: City Hall, Truro

August 15, 1966: Dartmouth, Devon

August 16, 1966: Town Hall, Torquay

January 7, 1967: Flamingo Ballroom, Redruth

January 24, 1967: Penmare Hotel, Hayle

January 28, 1967: Guildhall, St Ives

March 3, 1967: Flamingo Ballroom, Redruth

March 4, 1967: Princess Pavilion, Falmouth

March 10, 1967: Penmare Hotel, Hayle

March 11, 1967: Blue Lagoon, Newquay

March 31, 1967: Penmare Hotel, Hayle

April 21, 1967: County Grammar School, Truro

April 29, 1967: Penmare Hotel, Hayle

May 4, 1967: Skating Rink, Camborne

May 6, 1967: Blue Lagoon, Newquay

May 27, 1967: Skating Rink, Camborne

July 29, 1967: Beach, Perranporth

July 31, 1967: Village Hall, St Just

August 4, 1967: Rugby Club, Hayle

November 10, 1967: Pennance Hotel, Hayle

December 21, 1967: Raven Youth Club, Thurnby Lodge

July 4, 1968: Beach, Perranporth

July 13, 1968: Princess Pavilion, Falmouth

It was an easy transition for The Reaction: they were used to performing sets without their erstwhile lead singer, but they still needed a vocalist. After a series of auditions, they hired Roger ‘Sandy’ Brokenshaw, who was later fired due to his penchant for upbeat soul and mainstream ballads. The band wanted to progress into heavier musical territories, but were without a lead singer again. It eventually dawned upon the band that Roger Taylor would be the best vocal substitute, but he still wanted to establish himself as a proficient drummer, a difficult task when coupled with singing. He was up to the challenge anyway, and The Reaction morphed into the power trio they had always wanted to be.

The band also landed a pair of roadies, Neil Battersby and Peter Gill-Carey. Roger, meanwhile, gradually evolved into the leader of the group, an inevitability, considering his status as the lead vocalist. When the band contacted a booking agency (BCD Entertainments) about performing some dates, Roger successfully argued that the band might as well find their own bookings and save the ten per cent fee the agency required. Roger also explored his creative side, already establishing himself as an eccentric, theatrical drummer: in a move that even Keith Moon never attempted, Roger doused his cymbals with gasoline and set them alight. After acquiring his family’s piano, he removed the outer frame, painted the now-exposed interior and, during shows, would leave his drums to pound out random chords. When the set came to an end with ‘Land Of 1,000 Dances’, he would attack the piano with as much ferocity as he had his drums. Other times, the band would conclude their shows by spraying each other with foam.

In February 1967, a horrific road accident almost brought an end to The Reaction. Roger had just been granted his driver’s licence and offered to relieve Neil Battersby of his duties for a night. As the van and its occupants – including Roger, Michael Dudley, his girlfriend Marian Little, Richard Penrose, his girlfriend Valerie Burrows, Neil Battersby and Peter Gill-Carey – were travelling along the A30, they encountered some serious fog. Without warning, the van somersaulted and landed on its roof, sliding along the road for several feet before coming to a halt. Roger was thrown clear and was unhurt, but his passengers weren’t so lucky: Michael received a broken hand and nose, Marian suffered a cut chest and Valerie had internal stomach injuries. Richard and Neil were covered in cuts and glass, but the worst injured was Peter, who was lying unconscious in the middle of the road and bleeding profusely. The accident was so severe that Peter was left with a paralysed right arm and was unable to finish his medical degree. Unbeknown to Roger, he had slammed into an abandoned fish van; seven years were spent in legally exonerating him.

The accident affected Roger considerably and, while The Reaction continued throughout 1967, he was grateful when university started up in October. Studying for his dentistry degree, he moved to Shepherd’s Bush to study at the Royal London Hospital. Roger returned throughout the year to perform with The Reaction, which had turned into a psychedelic, Hendrix-inspired group in Roger’s absence, and while the band continued to perform sparsely throughout 1968, they drifted apart for good in the autumn. Roger’s next musical path was to involve two former musicians from a band in Middlesex, who were determined to start their own power trio and had placed an ad at Imperial College seeking a Ginger Baker/Mitch Mitchell-type drummer.

SMILE

Summer 1968–Winter 1970

Musicians: Brian May (guitar, vocals), Tim Staffell (vocals, bass guitar), Roger Taylor (drums, vocals), Chris Smith (keyboards), Mike Grose (bass guitar, vocals – April 17 & 18, 1970 only)

Repertoire included: ‘Toccata and Fugue in D Minor’, ‘Can’t Be So Sad’, ‘If I Were A Carpenter’, ‘Earth’, ‘Mony Mony’, ‘See What A Fool I’ve Been’, ‘Rollin’ Over’

Known itinerary:

Summer 1968: PJ’s Club, Truro

Summer 1968: Flamingo Ballroom, Redruth

Summer 1968: Imperial College, London

October 26, 1968: Imperial College, London

October 31, 1968: Imperial College, London

February 27, 1969: Royal Albert Hall, London

February 28, 1969: Athletic Club, Richmond

March 15, 1969: Imperial College, London

March 28, 1969: PJ’s Club, Truro

March 29, 1969: PJ’s Club, Truro

April 18, 1969: PJ’s Club, Truro

April 19, 1969: Revolution Club, London

July 19, 1969: PJ’s Club, Truro

September 13, 1969: PJ’s Club, Truro

September 14, 1969: PJ’s Club, Truro

December 13, 1969: Marquee Club, London

January 31, 1970: Imperial College, London

April 17, 1970: PJ’s Club, Truro

April 18, 1970: PJ’s Club, Truro

April 1970, unknown venue

May 1970, unknown venue

Taking their cue from the myriad power trios and supergroups being formed in the late 1960s, Brian and Tim Staffell called their new band Smile and had a completely different philosophy from 1984: instead of relying mostly on straight-up covers, the band would write their own songs. In the absence of enough original material, however, Smile also deconstructed more contemporary songs from bands like The Small Faces, The Beatles and so forth. In an age when progressive rock was still booming, Smile was bringing its own approach to the genre.

Tim and Brian journeyed to Shepherd’s Bush to hold an audition for Roger, who had answered an advert placed in the local paper for a drummer. They turned up with acoustic guitars and, since Roger’s drum set was back in Truro, their new drummer tapped at a pair of bongos. Realizing his immense talent (even on bongos), Tim and Brian immediately formed a friendship with Roger and Smile was born. The band played three gigs during the summer of 1968 that served chiefly as a means of integrating Roger into Tim and Brian’s collective vision, landing their first proper gig supporting Pink Floyd at Imperial College London on 26 October. Not surprisingly, given their penchant for jamming on one song for up to twenty minutes, Smile fitted in nicely with Pink Floyd’s audience. The Floyd, who were now minus founding member Syd Barrett, were shedding the hippie acid rock that had characterized their early hits and were redesigning themselves as the forefathers of progressive stoner rock.

Given Brian’s relationship with the faculty at Imperial College, Smile became the house band there and were given free rein to rehearse on campus and perform supporting slots for more established bands like Pink Floyd, Yes, Tyrannosaurus Rex (later T. Rex) and Family. The band was augmented by roadie Pete Edmunds and sound mixer John Harris (who also occasionally deputized on keyboards), though a constant presence at rehearsals was Freddie Bulsara, who would later rechristen himself Freddie Mercury. He had met Tim at Ealing College of Art and the two became friends; it was inevitable that Freddie’s path would cross with Brian and Roger’s, which ultimately led to the formation of Queen.

Keyboardist Chris Smith was briefly introduced into the fold and played a few shows with the band, but was told that his services were no longer required in February 1969; the band felt that they had a full enough sound without him. A charity show was organized at the Royal Albert Hall on 27 February 1969, where Smile shared the bill with Joe Cocker, Spooky Tooth, The Bonzo Dog Doo-Dah Band and Free, whose lead singer was Paul Rodgers. Smile were the headliners and were introduced, like the other bands, by legendary DJ John Peel, but their set started inauspiciously. When Tim walked out on stage, his bass guitar lead was too short and popped out of the amplifier by the time he reached the microphone at the front of the stage. He had also neglected to wear shoes or socks and discovered all too quickly that the stage was littered with splinters. Their set was filmed, albeit without sound, and included ‘If I Were A Carpenter’, an original by Tim called ‘Earth’, ‘Mony Mony’ and ‘See What A Fool I’ve Been’, which was derived from a Sonny Terry and Brownie McGhee song called ‘That’s How I Feel’.

After a gig in April 1969 at the Revolution Club, Smile were approached by an impressed Lou Reizner, a talent scout for Mercury Records, and offered a recording contract; it was accepted almost immediately. After two sessions in the summer of 1969, which saw six compositions recorded, a single – ‘Earth’, backed with ‘Step On Me’ – was released, though only in North America, where Smile had no fan base. The tactic had worked with Deep Purple’s debut single, ‘Hush’, but the Smile single failed to chart and their contract wasn’t renewed.

But Mercury hadn’t completely given up on Smile yet: in December, they organized a showcase concert at the Marquee Club and had the band play as the main support to Kippington Lodge (featuring a young Nick Lowe). While Smile’s set was tight, the audience wasn’t as receptive as they would have hoped and the end was nigh for Smile. Brian was still a committed scholar and started to research zodiacal light; at the beginning of 1970, he studied in Tenerife (where the necessary equipment had been moved from Switzerland) and had two papers published in the Monthly Notices of the Royal Astronomical Society. Brian’s absence from Smile was a portent for Tim: he was unsure if Brian would still be dedicated to the band on his return, deciding therefore to leave Smile and form another band. With a handful of prior commitments still to fulfil, Brian and Roger turned to the drummer’s bassist friend Mike Grose to help them out for two dates – coincidentally, at a PJ’s Club, which Mike co-owned at the time – in April 1970, before coaxing Tim back for two more gigs later in April and May. But enough was enough for Tim, and his departure after that formally ended Smile; Tim went on to play in the bands No Joke! (also with Mike), Humpy Bong and Morgan. With their future in the music industry still unsure, Brian and Roger turned to Freddie Bulsara, the unofficial fourth member of Smile, for assistance.

IBEX

Spring–Autumn 1969

Musicians: Mike Bersin (guitar, vocals), Freddie Bulsara (vocals), Geoff Higgins (bass guitar), Mick ‘Miffer’ Smith (drums), John ‘Tupp’ Taylor (bass guitar, flute, vocals), Richard Thompson (drums, 23 August)

Repertoire included: ‘Jailhouse Rock’, ‘I’m So Glad’, ‘Communication Breakdown’, ‘Rain’, ‘We’re Going Wrong’, ‘Rock Me Baby’, ‘Stone Free’, ‘Crossroads’, ‘Vagabond Outcast’, ‘We’re Going Home’

Known itinerary:

May 23, 1969: Honiton Hall, Penketh

Summer 1969: Wade Deacon Grammar School for Girls, Widnes

August 1969: Technical College, St Helens

August 23, 1969: The Bolton’s Octagon Theatre, Bolton

August 24, 1969: Open Air Festival, Queen’s Park, Bolton

September 9, 1969: The Sink, Liverpool

September 19, 1969: College of Technology, St Helens

Freddie Bulsara and Tim Staffell had befriended each other while at Ealing College of Art and, though Freddie was a vocal supporter of Smile, he never considered imposing himself upon the others by asking to be their vocalist; instead, he focused mostly on his studies at Ealing. Graduating in the spring of 1969, he instantly thought of joining a band. Ibex were a power trio comprised of Mike Bersin on guitar, John ‘Tupp’ Taylor on bass, flute and vocals, and Mick ‘Miffer’ Smith on drums; occasionally, when John was preoccupied with his flute duties, Geoff Higgins would step in on bass. The band had sent a tape to Apple Records (owned by The Beatles) but had received no response. Freddie met up with them at a birthday party of a mutual friend of Brian and Roger’s and discussed music at length.

Much as he had with Smile, Freddie tagged along with Ibex and gave them ideas on how to work on their stage presentation and song arrangements. Inevitably, the band members simply asked Freddie if he wanted to sing with them, and, after a brief audition, he was in. Ibex rehearsed at Imperial College throughout the spring of 1969, with their set running the gamut from The Beatles to Yes to Rod Stewart. The band played a handful of gigs throughout the spring and summer of 1969, and it was obvious that Freddie was a born showman. His bandmates would later comment that while they were initially hesitant about his flamboyant stage antics, they paid off in the end, winning them some much-needed word-of-mouth support and a growing fan base.

However, Ibex were always considered a temporary band in London and therefore relocated to Liverpool, where a legendary September 1969 performance at The Sink featured Brian and Roger joining the band on stage for an unknown selection of songs. (One number from that night – a cover of The Beatles’ ‘Rain’ – was released on The Solo Collection in 2000.) After this, ‘Miffer’ Smith was the first member to depart, for reasons of job security; the others, not wanting to give up music completely, recruited Mike Bersin’s friend (and former 1984 drummer) Richard Thompson. Thus, Ibex became Wreckage.

WRECKAGE

Autumn 1969

Musicians: Mike Bersin (guitar, vocals), Freddie Bulsara (vocals), John ‘Tupp’ Taylor (bass guitar, vocals), Richard Thompson (drums)

Repertoire included: ‘Green’, ‘Without You’, ‘Blag-A-Blues’, ‘Cancer On My Mind’, ‘Vagabond Outcast’, ‘F.E.W.A.’, ‘One More Train’, ‘Lover’, ‘Jailhouse Rock’, ‘Crossroads’, ‘1983 (A Merman I Should Turn To Be)’, ‘Rain’, ‘We’re Going Wrong’, ‘Communication Breakdown’, ‘Boogie’, ‘Universal Theme’, ‘Rock Me Baby’, ‘Let Me Love You’

Known itinerary:

October 26, 1969: Ealing College of Art, London

October 31, 1969: Ealing College of Art, London

November 1969: College of St Martin & St John, London

November 1969: Ealing College of Art, London

November 1969: Fulham Hall, Fulham

November 5, 1969: Imperial College, London

November 12, 1969: Rugby Club, Richmond

November 14, 1969: venue unknown, Liverpool

November 24, 1969: Wade Deacon Grammar School for Girls, Widnes

November 26, 1969: Rugby Club, Twickenham

Freddie had never been a fan of the name Ibex, and called up Mike, Richard and John to tell each of them that the others wanted to change it and that Wreckage was the name agreed upon. A cunning plan, though it later transpired that nobody else in the band really cared what they were called. Nevertheless, the band was markedly different from Ibex, despite featuring three quarters of the same personnel. Freddie felt that Wreckage should be more about presentation, so a considerable amount of their nightly wages was spent on lights, which surprised the others, who considered themselves a small-time pub band.

At this time, Freddie had started to work on a series of songs that, according to Mike Bersin, would later evolve into early Queen songs like ‘Liar’ (indeed, this song was originally titled ‘Lover’ and written by Freddie and Mike), ‘Seven Seas Of Rhye’, ‘Jesus’ and ‘Stone Cold Crazy’. Original compositions, all written or co-written by Freddie, like ‘Green’, ‘Without You’, ‘Blag-A-Blues’, ‘Cancer On My Mind’, ‘Vagabond Outcast’, ‘F.E.W.A.’ (short for ‘Feelings Ended, Worn Away’, much as Cream’s ‘Swlabr’ stood for ‘She Walks Like A Bearded Rainbow’), ‘One More Train’, ‘Lover’ and ‘Universal Theme’ would be introduced into a set primarily comprised of Led Zeppelin and Jimi Hendrix covers.

But, apart from a handful of shows in the latter part of 1969, the band was fast disintegrating, and Freddie, who had relocated from posh Ealing to blue-collar Liverpool, was disappointed that success was still out of reach. One of Wreckage’s final shows, at Wade Deacon Grammar School for Girls in November, saw the birth of one of Freddie’s trademarks. In a fit of frustration at the venue’s poor sound and faulty equipment, the vocalist swung his microphone stand around but didn’t realize the weight of its base; the stand broke free from its heavy bottom, and Freddie was able to move more freely.

After a gig two days later at Twickenham Rugby Club, Wreckage broke up and went their separate ways. Freddie returned to London and applied for graphic design jobs, desiring the limelight even more.

SOUR MILK SEA

Winter–Spring 1970

Musicians: Freddie Bulsara (vocals), Chris Dummett (vocals, guitar), Jeremy ‘Rubber’ Gallop (rhythm guitar), Paul Milne (bass guitar), Robert Tyrell (drums)

Known itinerary:

March 20, 1970: Highfield Parish Hall, Oxford

Spring 1970: Temple at Lower Wardour Street, London

Spring 1970: Randolph Hotel, Oxford

In late 1969, Freddie, not satisfied with his brief tenure in bands, answered as many ads for singers as he could. His audition for Sour Milk Sea was curious: despite being a bundle of nerves, he strode in with confidence, with Roger Taylor and Smile’s roadie John Harris along for moral support. Roger held the van door open for Freddie as the vocalist swept out resplendent in his finest clothes, while John carried Freddie’s microphone in a wooden box. The band were practically intimidated into hiring him as their vocalist.

Chris Dummett, Jeremy ‘Rubber’ Gallop, Paul Milne and Boris Williams had formed Tomato City (which was also the name of one of their songs) in 1968 but changed their name to that of a recent Jackie Lomax hit, ‘Sour Milk Sea’, written by George Harrison. Boris left shortly before Freddie joined and was replaced by Robert Tyrell. The group were influenced by British blues bands like John Mayall And The Bluesbreakers (which featured a young Eric Clapton, whom Chris Dummett had met many years before), Chicken Shack and Fleetwood Mac, and had supported Deep Purple and P P Arnold at such prestigious venues as the Civic Hall in Guildford.

Freddie hadn’t been the first vocalist to audition, but he was the one who made an impression: when asked if he wanted the lyrics to their songs, the vocalist declined and said that he had brought along his own. Sour Milk Sea’s live debut with Freddie came on 20 March 1970, and an instant rapport between Freddie and Chris developed, the duo writing songs together throughout the spring.

However, the band were living on borrowed time: their musical direction was starting to change, which alienated Jeremy, Paul and Robert, who felt that they should have stayed a heavy blues band. Sour Milk Sea split in the spring of 1970 and the planned group that Freddie and Chris were to form was scrapped: the band’s equipment belonged to Jeremy, and he had asked for it to be returned when Sour Milk Sea was no more. Chris had no money to invest in a new guitar, and was disappointed that the new band did not come to fruition. Freddie had other plans: Smile was disintegrating, and the vocalist felt that it was time to move in and offer to start a band with Brian and Roger.

DEACON

Autumn 1970

Musicians: Don Carter (drums), John Deacon (bass guitar), Peter Stoddard (guitar), Albert [surname unknown] (guitar)

Itinerary:

November 21, 1970: Chelsea College, London