Queen: The Complete Works

by Georg Purvis

  The recording is famous for featuring a guest appearance by Brian May, who joined The Cross on their encore (starting with ‘I’m In Love With My Car’) and even brought a few rarities with him. ‘Let Me Out’ was premiered for the first time and Little Richard’s ‘Lucille’ was also given a run-through, while ‘Tie Your Mother Down’ featured Brian on lead vocals for the first time – which was obvious, as he both forgot crucial lines and simply focused more on his guitar work than singing. Only six of the twelve tracks from Mad: Bad: And Dangerous To Know were performed, a drastic reduction from the eleven usually featured, but the band did introduce ‘Bad Attitude’, which at this point was called ‘Tear It Up’, and would be recorded for the band’s next album, Blue Rock.

  Considering that this was The Cross’ first (and only) concert on their home ground since 1988, some surprises were expected, but the biggest surprise was Mike Moran substituting for Spike Edney. Roger explained that the keyboardist was “playing with Bob Geldof in Warsaw,” and Mike proved to be a worthy replacement for the time being.

  Unfortunately, this rare insight into The Cross’ strengths as a live band has slim to no chance of being released commercially. In early 2010, Roger revealed his intentions to compile a comprehensive box set of his solo career, but it’s unlikely that The Official Bootleg or its follow-up, Live In Germany, will be included.

  THE CROSS

  BLUE ROCK

  EMI 1C 064 8 97624 1 (Germany only), September 1991

  EMI 1C 064 8 97624 2 (Germany only), September 1991

  ‘Bad Attitude’ (4’45), ‘New Dark Ages’ (4’58), ‘Dirty Mind’ (3’30), ‘Baby, It’s Alright’ (4’05), ‘Ain’t Put Nothin’ Down’ (4’30), ‘The Also Rans’ (5’27), ‘Millionaire’ (3’43), ‘Put It All Down To Love’ (3’34), ‘Hand Of Fools (Out Of Control)’ (4’30), ‘Life Changes’ (5’55)

  Musicians: Roger Taylor (vocals), Spike Edney (keyboards, backing vocals), Peter Noone (bass guitar, backing vocals), Clayton Moss (guitars, backing vocals), Josh Macrae (drums, percussion, backing vocals), Geoffrey Richardson (violin and viola on ‘Baby, It’s Alright’ and ‘Life Changes’), Helen Liebman (cello on ‘Baby, It’s Alright’ and ‘Life Changes’), Candy and Clare Yates (backing vocals on ‘Baby, It’s Alright’ and ‘The Also Rans’)

  Recorded: Real World Studios, Box and Roundhouse Studios, London, February-August 1991

  Producer: Mark Wallis

  The time following the release of Mad: Bad: And Dangerous To Know was well spent by The Cross. They had toured most of Europe during 1990 but realized they were losing popularity in their home country. The second album didn’t even chart, and Parlophone remained adamant in their refusal to finance a tour that was certain to lose money. Dismayed but not defeated, the band promptly dropped Parlophone, signed with German record company Electrola and flew to Peter Gabriel’s Real World Studios in Box, Wiltshire, renowned for its eclectic world music recordings. In a 1991 interview, Roger placated fans who were worried that The Cross would be travelling in a drastically different musical direction. “We picked [the studio] because we liked the look of it,” he maintained. “Our music is like classic hard rock, and I like the idea of the world music thing, but no, that had nothing to do with it. It was a good studio, a good location, and a nice place and we liked it very much indeed.”

  The sessions started in February 1991, again without Roger, who was in Montreux recording new material for another Queen album. When Roger finally joined the others, the sessions were moved to the more central location of Roundhouse Studios, closer to Roger’s home in Surrey; his girlfriend, Debbie Leng, was pregnant and he wanted to be near home when she went into labour. On 8 March 1991, she gave birth to a boy whom they named Rufus Tiger. After celebrating, the proud new father returned to the studios to continue work on The Cross’ third album.

  Blue Rock was released in September 1991, after nearly six months of sessions that produced (arguably) the best album recorded by The Cross. As with its predecessor, the album is democratic in its songwriting credits. Roger again wrote only two songs (‘New Dark Ages’, first submitted to Queen during the Innuendo sessions, and ‘The Also Rans’), while Spike Edney wrote the bulk of the material single-handedly – ‘Dirty Mind’, ‘Baby, It’s Alright’ and ‘Put It All Down To Love’ – and in collaboration – ‘Millionaire’ and ‘Life Changes’, both with everyone but Roger; ‘Bad Attitude’, with everyone including Roger; and ‘Hand Of Fools (Out Of Control)’, with Peter Noone. Clayton Moss wrote only one song, ‘Ain’t Put Nothin’ Down’, while Peter Noone’s ‘Heartland’ was relegated to B-side status.

  The album is nicely unified and shows the band expanding upon the previous album, with even better results. When asked his opinion of the end product, Roger said, “If you want me to be honest, I think it’s quite good. We have a producer this time,” he added, referring to Mark Wallis, who began his career on the Starfighters’ 1982 album In-Flight Movie, before working with such notables as Roger Daltrey, Tom Verlaine and Kirsty MacColl.

  The songwriting on the album was even more mature than the previous one, with the exception of ‘Bad Attitude’ and ‘Dirty Mind’, which dealt with sex and lust in a callow manner, unrepresentative of Roger’s normally subtle handling of these subjects. However, Roger’s mind wasn’t entirely focused on the album since 1991 would mark the final year of Queen as an active band, though no one (except Freddie) knew that for certain. Roger’s preoccupation with Queen-related matters was inevitable; the brunt of the work was delegated to him and Brian. Freddie’s worsening condition and John Deacon’s reclusive nature kept both vocalist and bassist out of the spotlight and forced Brian and Roger to become the spokesmen for the group again. As a result, most of the backing tracks for Blue Rock were recorded without Roger, and he came in only to record his lead vocals (he didn’t play any guitar on the album, his only solo album not featuring any of his own guitar work) and to arrange his two songs.

  The album was released only in Germany in September 1991, a fortnight after ‘New Dark Ages’ hit the stores, and although heralded by limited promotion except for the odd television appearance, the album performed moderately well. Rumours circulated that it was to be released in the UK in November 1991, an event cancelled due to Freddie’s death. Two singles – Roger’s sublime ‘New Dark Ages’ and the gorgeous ‘Life Changes’ – were released to support the album, shortly before the band embarked on a brief tour in support of Magnum. Unfortunately, Blue Rock remains a rarity, available only to those lucky enough to find it, and repeated demands for a reissue of The Cross’ entire back catalogue have fallen on deaf ears.

  After the release of Blue Rock, Roger’s attention returned to Queen, and with the death of Freddie, his energies were suddenly directed into organizing his tribute concert. On the first anniversary of Freddie’s passing, in a letter to Queen Fan Club members, Roger wrote, “I would also like to point out that The Cross do not exist anymore, as it seems there is a little confusion about this. We are, however, still great friends and will be playing together – strictly for fun – in London at the Marquee Club on December 21st and 22nd. Could be good – will be fun!” Indeed, with Blue Rock remaining their swan song, and only a handful of gigs remaining, the chapter on The Cross was closed – prematurely, perhaps, but Roger’s insistence that he was “just part of the band” was growing tiring. Almost immediately following the tribute concert in April, he went back to work on writing songs – this time as a solo artist for the first time since 1984.

  THE CROSS

  LIVE IN GERMANY

  Fan Club-only release, early 1992

  ‘Bad Attitude’ (5’06), ‘Millionaire’ (3’20), ‘Ain’t Put Nothin’ Down’ (5’37), ‘New Dark Ages’ (6’01), ‘Baby, It’s Alright’ (3’43), ‘Dirty Mind’ (3’26), ‘Man On Fire’ (5’33), ‘Power To Love’ (5’50), ‘The Also Rans’ (6’19), ‘Top Of The World, Ma’ (5’58)

  Musicians: Roger Taylor (vocals, guitar), Spike Edney (keyboards, back
ing vocals), Peter Noone (bass guitar, backing vocals), Clayton Moss (guitars, backing vocals), Josh Macrae (drums, backing vocals)

  Recorded: The Philipshalle, Düsseldorf, 22 October 1991

  Producers: The Cross

  Recorded on the fifth night of The Cross’ brief tour of Germany during October 1991, Live In Germany is a Fan Club-only release, much like The Official Bootleg, and has been heard only by a lucky few (this author not among them). This fifty-nine-minute recording comes from The Cross’ October 1991 concert in Düsseldorf, with a set list derived heavily from Blue Rock, and includes only three older songs – ‘Man On Fire’, ‘Power To Love’ and ‘Top Of The World, Ma’ – making it the first tour not to feature any of Roger’s Queen compositions.

  The cassette tape was released to the Fan Club in early 1992, and has eluded any official release since, making it the most obscure and little-heard Queen-related recording in existence.

  BRIAN MAY

  BACK TO THE LIGHT

  Parlophone PCSD 123, September 1992 [6]

  Parlophone CDPCSDX 123, September 1992 [6]

  Hollywood HR 61404 2, February 1993 [159]

  ‘The Dark’ (2’20), ‘Back To The Light’ (4’59), ‘Love Token’ (6’04), ‘Resurrection’ (5’19), ‘Too Much Love Will Kill You’ (4’28), ‘Driven By You’ (4’10), ‘Nothin’ But Blue’ (3’31), ‘I’m Scared’ (3’59), ‘Last Horizon’ (4’11), ‘Let Your Heart Rule Your Head’ (3’51), ‘Just One Life’ (3’38), ‘Rollin’ Over’ (4’39)

  Musicians: Brian May (vocals, guitars, keyboards, programming, bass guitar and anything else around), Cozy Powell (drums), Gary Tibbs (bass guitar on ‘Back To The Light’, ‘Let Your Heart Rule Your Head’ and ‘Rollin’ Over’), Neil Murray (bass guitar on ‘Love Token’ and ‘I’m Scared’), John Deacon (bass guitar on ‘Nothin’ But Blue’), Geoff Dugmore (drums on ‘Let Your Heart Rule Your Head’ and ‘Rollin’ Over’), Mike Moran (piano on ‘Love Token’ and ‘Rollin’ Over’, keyboards on ‘Last Horizon’), Don Airey (extra keyboards on ‘Resurrection’ and ‘Nothin’ But Blue’), Miriam Stockley and Maggie Ryder (backing vocals on ‘Back To The Light’ and ‘Rollin’ Over’), Suzie O’List and Gill O’Donovan (backing vocals on ‘Back To The Light’ and ‘Let Your Heart Rule Your Head’), Chris Thompson (co-lead vocals and backing vocals on ‘Rollin’ Over’)

  Recorded: Allerton Hill, Surrey; Mountain Studios, Montreux; Sarm East Studios, Aldgate; Mono Valley, Monmouth; Marcus and Townhouse Studios, London, 1988–1992

  Producers: Brian May and Justin Shirley-Smith

  Rumours of a true solo record from Brian May had persisted ever since he stepped into The Record Plant in April 1983. Fans weren’t satisfied with Star Fleet Project, and Brian had promised that he would start working on a solo album whenever Queen weren’t the priority. Working with Bad News and Anita Dobson wasn’t enough for the guitarist, though he enjoyed both projects immensely. So, in 1988, just before Queen went back into the studios to work on The Miracle, Brian started to demo a handful of songs that would ultimately end up on his first full-length project.

  “Most of the time I’ve been working on my own,” he told Record Collector in 1989. “The solo project is mainly about getting all the stuff I’ve had in my head onto tape, but I’ve found that some of my ideas ... have ended up on the Queen album. I think that the best ideas should really be concentrated towards the group, because it’s still the best vehicle I can find – as the group is so good!” At least five songs were known to have been recorded in 1988: ‘Back To The Light’, ‘I’m Scared’, ‘Let Your Heart Rule Your Head’, a cover of The Small Faces’ ‘Rollin’ Over’ and ‘Too Much Love Will Kill You’, the latter written around 1986 and then recorded during sessions for The Miracle, though ultimately rejected.

  Instead of an instrumental guitar album, one that might have been generated by, say, Jimmy Page or Brian’s blues hero Jeff Beck, Back To The Light was an attempt to create a thematic album, showcasing a whole range of emotions Brian had been dealing with. “This isn’t a ‘guitar virtuoso’ album,” he told Gold Compact Disc magazine in 1992. “It’s an album of songs designed to feature a lot of guitar.” The Red Special is in full force and Brian sounds more sure of his guitar-playing than on recent Queen albums, conveying the emotions not only through his singing but also through his strings. “For me, this album was a sort of divide, a crossroads,” he explained to RCD Magazine. “In the beginning, I wanted to get back to basics and make an album on my own just to see what would happen. Now, in the end, I’ve put out something because I actually do have something to say, and it’s worth saying. Over these five years, my life and feelings underwent a catastrophic change, and the music throughout this record reflects the entire process.”

  Lyrically, Brian was a confused man, which he even admitted in the liner notes for the album. “The song that begins the album,” he explained to Guitar World, “‘The Dark’, has a lot of [guitars] built up like a wall. At the beginning, I’m trying to give the impression of a very frightened child faced with a very impossible wall. So there’s a lot of guitars on there ... First, there’s total blackness, and then there’s light at the end of the tunnel, and points where you see inspiration in someone else’s life. If the album is appreciated by people who are into what I’m into, then that will be enough. Everything else will be a bonus.”

  That blackness was spurred by a deep depression that started in 1987, following what turned out to be Queen’s final tour. With the band off the road, his marriage in a shambles due to an increasing preoccupation with EastEnders star Anita Dobson, and his father dying of cancer in June 1988, Brian poured his confusion into song, enlisting the help of professional songwriters and friends to help him make some semblance of sense. The songs written during this period expressed a whole range of emotions, and dealt with the pain and confusion of a failing relationship, and the sadness and emptiness of loss. Even the comedic, lighthearted numbers – ‘Love Token’ and ‘Let Your Heart Rule Your Head’ – betray the façade, and are tinged with traces of real-life experiences, be it domestic discord in the former or meaningful advice to trust emotions over logic in the latter.

  “I’m a bit wary of explaining things, but throughout the whole album you can hear this person who is very confused, confronted by different situations as they roll past him,” Brian attempted to clarify in Guitarist. “So I started off with the idea that there’s this little baby in the cradle, he’s completely in the dark and the dark is something really frightening. It was convenient that it was ‘We Will Rock You’ because here was this nursery rhyme and the version Queen did was very big and macho. Total opposites.”

  Songs for Back To The Light were tried out during sessions for The Miracle and Innuendo, and vice versa: Brian later revealed that ‘Headlong’ and ‘I Can’t Live With You’ were intended for Back To The Light, while ‘Too Much Love Will Kill You’ was to be on The Miracle. In 1991, between sessions for what would ultimately become Made In Heaven, Brian continued work on his album, with ‘Driven By You’, ‘Just One Life’ and ‘Love Token’ recorded and completed by the end of the year. In November, it became evident that ‘Driven By You’ had the most potential to be a hit, and was duly released the day after Freddie’s death, which Brian initially worried would be seen as a callous cash-in, but it in fact had the vocalist’s blessing: “Tell him he must do it. What better publicity could he have?”

  “It’s a real strain doing solo projects,” Brian lamented in 1989 to Record Collector, “because you are on your own. You can bring in other musicians, but it’s not like being in a group situation where the responsibility is shared. At the end of the day, I’m left sitting in the studio with an engineer, saying, ‘Is this worth it or not?’, and it’s very hard to make those judgments. Most of what I like is spontaneous, and most of the songs I write I like in a very rough form, so they don’t sound as if they’ve been produced. So these solo tracks are difficult to take to record companies, because there is n
o obvious hit, and the material is not produced to sound like Queen records. Left to my own devices, I like to do things which are quite off the beaten track, then I wonder why they aren’t hits! It’s basically my own fault because I don’t like the ‘hit’ format.”

  Nevertheless, Back To The Light and its five singles – ‘Driven By You’, ‘Too Much Love Will Kill You’, ‘Back To The Light’, ‘Resurrection’ and ‘Last Horizon’ – became hits, with four of the five singles reaching the Top Thirty. The album, released in September 1992 just before The Brian May Band went out on the road in its support, peaked at an impressive No. 6 in the UK, certainly the best showing any Queen-related solo album had received since Mr Bad Guy in 1985. Comparisons were made to the later Queen albums, and most were in Brian’s favour: certainly, he was no Freddie, but the vocalist’s influence was manifest. “[It was] very strange,” he explained to Guitarist, of not recording with Freddie. “It was always a project which was in parallel with Queen, because we always had a positive attitude to people doing stuff outside the band, getting new experiences and bringing them back into the band. But it did become something very different at the end, when Freddie went. I started to realize that this was a kind of bridge towards the next part of life, whatever that may be.

  “I always felt close to Freddie in the studio, whether he was there or not, because we worked together so intensively over the years. So I can still hear him talking to me when I’m doing some of this stuff, especially when I’m trying to sing – which has not been easy. But I wanted to do it, because I didn’t want anyone else to be speaking my ideas when it was such a personal statement. So it was good for me to imagine Freddie sitting there.”

  Even though Brian had lost a collaborator in Freddie, he found a new working relationship with Cozy Powell. The drummer, who had a long and illustrious career, had been working with Black Sabbath in the late 1980s when Brian was asked to contribute guitar to that band’s Headless Cross album. The two, who had met in the mid-1970s and were appreciators of each others’ work for as long, discovered an instant rapport, and in addition to Cozy playing drums on most of the Back To The Light tracks, Brian also contributed guitar to two tracks from Cozy’s solo album The Drums Are Back. He liked the backing tracks for ‘Ride To Win’ and ‘Somewhere In Time’ so much that he added lyrics, creating ‘Resurrection’ and ‘Nothin’ But Blue’ respectively, and Cozy became Brian’s drummer of choice. It was a relationship that would last for most of the decade until the drummer’s untimely death in April 1998.