Queen: The Complete Works

Home > Other > Queen: The Complete Works > Page 32
Queen: The Complete Works Page 32

by Georg Purvis


  APPARITION (May)

  • Soundtrack (Brian): Furia

  With vocalizations by Brian’s daughter Emily (then only 12 years old), ‘Apparition’ is another variation of the main theme from Furia, although the ethereal rendition helps make this piece memorable.

  APRIL LADY (Lucas)

  • Compilation (Smile): Ghost Of A Smile

  With Brian on lead vocals and acoustic guitar, ‘April Lady’ is one of the most delicate tracks recorded by Smile. Written by unknown songwriter Stanley Lucas, the song was suggested by producer Fritz Freyer, and was recorded in August 1969 at De Lane Lea Studios. Featuring some gorgeous harmony vocals from Tim Staffell and prominent chorus vocals by Roger, the song is a rare highlight of the sessions but, as with the other five tracks recorded that month, it snuck out on the 1982 bootleg Gettin’ Smile, and then again in 1998 on Ghost Of A Smile.

  ARBORIA (PLANET OF THE TREE MEN) (Deacon)

  • Album: Flash

  A sinister-sounding composition for Flash Gordon, John’s atmospheric ‘Arboria (Planet Of The Tree Men)’ opens side two with a whirling synthesizer background, while a flute-like synth motif dominates the remainder of the piece.

  ARREST (May)

  • Soundtrack (Brian): Furia

  Largely featuring programmed keyboards, ‘Arrest’ is a dark and brooding, albeit short, piece, ending with more dialogue from the film.

  ASSASSIN

  ‘Assassin’ has eluded collectors for years, and, according to legend, was the predecessor to ‘Innuendo’ but altered considerably due to its apparent similarity to Led Zeppelin’s ‘Kashmir’. This rumour has been disproved over the years, with Queen’s archivist Greg Brooks confirming the song’s existence, but that it wasn’t an early version of ‘Innuendo’; if anything, ‘Assassin’ is more likely to be a working title of ‘The Hitman’.

  BABY IT’S ALRIGHT (Edney)

  • Album (The Cross): Blue • Live (The Cross): Germany

  Coming after ‘Dirty Mind’ on Blue Rock, ‘Baby It’s Alright’ is the best song written by Spike Edney, though that’s not saying much. The song starts off as a delicate ballad before turning into a mid-tempo rocker, with Roger forgiving the object of his affection for the resulting heartache and blues. With a gorgeously understated guitar solo and subtle accompaniment by Geoffrey Richardson (violin and viola) and Helen Liebman (cello), the song also features some poignant backing vocals from Candy and Clare Yates, just a few of the many reasons why Blue Rock is regarded so highly by fans of The Cross.

  The song was performed live on the 1991 tour in support of Magnum, with a live version appearing on the 1992 Fan Club-only release, Live In Germany.

  BACK CHAT (Deacon)

  • Album: Space • A-side: 8/82 [40] • Live: On Fire • Bonus: Space

  The song that instigated the Hot Space sessions led the band down an alley their fans weren’t exactly prepared for. Written by John, this pseudo-funk rocker achieves a lot in its four-and-a-half-minute life; with a muscular backing track, ‘Back Chat’ chugs away as Freddie snarls the lyrics with malicious intent, the words depicting a sparring couple. Considering the strained relationships and drug- and alcohol-fueled recreations during the Hot Space sessions, the subject matter of ‘Back Chat’ hints at the ill feelings and frustrations of the period, with Brian later prophetically remarking that “We worked hard and played hard, but those later Munich days were lost in a haze of vodka ... You end up emotionally distracted, trying to keep your life together away from the studio. I was married with two children by then, and it was a continual life-and-death battle to keep everything going.”

  Under the working title ‘Woolly Hat’, the song, in its original state, lacked the scorching guitar solo, though the horrid electronic drums were part of the original. As Brian recollected to Guitar magazine in 1983, “We would experiment with the rhythm and the bass and drum track and get that sounding right, and then very cautiously piece the rest around it, which was an experimental way for us to do it. In [that song], there wasn’t going to be a guitar solo, because John, who wrote the song, has gone perhaps more violently black than the rest of us. We had lots of arguments about it, and what he was heading for in his tracks was a totally non-compromise situation, doing black stuff as R&B artists would do it with no concessions to our methods at all, and I was trying to edge him back toward the central path and get a bit of heaviness into it, and a bit of the anger of rock music. So one night I said I wanted to see what I could add to it – I felt that the song, as it stood, wasn’t aggressive enough: it’s [called] ‘Back Chat’, and it’s supposed to be about people arguing and it should have some kind of guts to it. He agreed, and I went in and tried a few things.”

  ‘Back Chat’, with rhythm guitars and synthesizers played by John, was chosen as the fourth and final UK single from Hot Space. Upon its release in August 1982, expectations were high for a chart performance reminiscent of ‘Another One Bites The Dust’ only two years before. However, despite a punchier single mix by John, ‘Back Chat’ peaked at only No. 40 in the charts, their lowest British charting since the live rendition of ‘Love Of My Life’ in 1979.

  The promotional video, filmed in Toronto during rehearsals for the Rock ‘n’ America US tour, was directed by Brian Grant and was a blatant rush job, with a glum-looking band positioned in a flooded warehouse, while Freddie attempts to instill some life into a lackluster performance by dancing around violently chugging pistons. The single mix remained unavailable on a compilation until 2009, when it finally showed up on The Singles Collection – Volume 2, while an extended remix, Queen’s first of any kind, was created for the 12” release of the single. Remixed by John, it nearly doubles the length of the song and adds all sorts of percussion and instrumental segments, but was not included on The 12” Collection, released as part of the Box of Tricks set in 1992. An ideal home for the extended mix would have been on the 2011 reissue of Hot Space, but this was overlooked in favour of the single mix.

  Live, the song took a whole new direction, as with most of the Hot Space material, but was never given a fair chance in the live setting, only being performed a handful of times; it was dropped by the end of the 1982 Hot Space world tour.

  BACK TO STORM

  Initially known among collectors as ‘Song 2’, ‘Back To Storm’ was reportedly recorded during the 1985 sessions for A Kind Of Magic, though there’s still speculation that it may have been an idea recorded by Freddie during sessions for Mr Bad Guy. However, that is most definitely Roger on drums, with his distinctive hi-hat touches, long established as his signature sound, thus lending further weight to the A Kind Of Magic outtake theories. (An instrumental solo version of the song has leaked out as ‘Little Boogie’, and contains some lively piano work from Freddie.) Like most unfinished doodles, ‘Back To Storm’ is interesting enough upon first listen, but there’s not much else here to sustain repeated listens.

  BACK TO THE LIGHT (May)

  • Album (Brian): BTTL • A-side (Brian): 11/92 [19] • CD single (Brian): 6/93 [23] • Live (Brian): Brixton

  Brian was in a confused state after the end of the Magic tour in August 1986. The video shoot for ‘Who Wants To Live Forever’ the following month would be the final unified spurt of activity the band embarked on for the next eighteen months. That time would be spent focusing on solo projects, and Brian was certainly no exception. He had been itching to start work on his own album; Star Fleet Project was a one-off, a trio of loose jams with some of his musician friends, but hardly definitive of his capabilities as a songwriter. So, after some activity with other bands, including a brief stint helping Bad News produce and record their debut album, Brian finally set to work on his own project.

  The title track of that album, Back To The Light, is an outpouring of emotion. Brian was clearly a troubled man during this period: his marriage was falling apart due to a scandalous attraction to EastEnders star Anita Dobson, and his father had passed away in June 1988, which hit him hardest. He wa
s extremely close to his father, and dealt with his depression by rediscovering the instrument he had built with him back in 1963.

  Segueing in from a short keyboard and guitar intro, ‘The Dark’, the song is a masterful display of light and shade, with Brian’s voice distant and frail in the verses but powerful and commanding in the chorus. ‘Back To The Light’ was recorded in March 1988 at Allerton Hill, Brian’s home studio, and was one of four songs initially set down at that session (the others were ‘I’m Scared’, ‘Let Your Heart Rule Your Head’ and ‘Rollin’ Over’), but this was clearly the strongest of the bunch. Brian certainly thought so and, as well as making it the first song performed during his 1992 and 1993 world tour, issued it as the third single from the album in November 1992. Backed with ‘Nothin’ But Blue’ (the regular album version on the first CD single, which also included ‘Star Fleet’ and ‘Let Me Out’, and with an instrumental guitar version on the second single, which included ‘Bluesbreaker’), the single peaked at an impressive No. 19 in the UK, but was the first single from the album not to reach the Top Ten.

  A live version, performed on The Tonight Show on 5 April 1993 and featuring a mock-Cockney introduction from host Jay Leno, was released on the CD single release of ‘Resurrection’, which also featured ‘Tie Your Mother Down’ (with Slash guesting on additional guitar) from the same performance. By this point, the Brian May Band had been on tour for six weeks, and Brian wasn’t yet used to singing a two-hour show every night. As a result, his voice is tired and he tries but often fails to reach several of the higher notes from the song, dropping down an octave to prevent further vocal strain. A better live version can be found on Live At The Brixton Academy, by which time Brian had become accustomed to lengthy nightly performances.

  BAD ATTITUDE (The Cross)

  • Album (The Cross): Blue • Live (The Cross): Germany

  The opening song on Blue Rock is a full-blown rocker allowing Roger to do his best Robert Plant impression as he squeals through a story of a misunderstood rebel, apathetic to society and downright confrontational toward authority. While the performance is muscular, with the guitars mixed roughly and Roger clearly relishing the occasion, the lyrics are downright laughable (“Only way to stay cool / Gotta break some rules / Systems made for fools” is just one particularly engaging triplet) and, with songwriting credit being split five ways among The Cross, it’s hard to point specific blame at anyone. Nevertheless, it served as an appropriate set opener on the brief 1991 Blue Rock tour, and was even tried out on stage before it was recorded, with a ramshackle performance released on the 1991 bootleg The Official Bootleg, including an intriguing bit of information from Roger: “OK, here’s a brand new song that we haven’t finished writing yet, so the words are— aren’t quite right. It’s called ‘Tear It Up’ or ‘Bad Attitude’, we’re not quite sure.”

  BAD COMPANY (Rodgers/Kirke)

  • Live (Q+PR): Ukraine

  Recorded by the band of the same name and released on their 1974 eponymous debut album, ‘Bad Company’ is a timeless rock ballad and a staple of US radio. Therefore, it was expected that the song was to be included in the set lists of the 2005 and 2006 Queen + Paul Rodgers shows in North America, though the song actually debuted in Aruba and was also performed on the first date of the Japanese leg. For the 2006 shows, Paul played piano, with the instrument rising out of a pit in front of the stage, though on one occasion Brian evidently lost sight of where and when the piano was emerging and took a nasty tumble, falling into the pit. After the general confusion and a few minor bruises, the humbled guitarist was more cautious of his footing, with no further mishaps – especially the next night, thanks to the assistance of a flashlight-equipped tech.

  BAMA LAMA BAMA LOO (Richard)

  Little Richard’s 1964 song was covered extensively by Queen in their live set, appearing in the Rock ‘n’ Roll Medley between 1970 and 1973.

  BARCELONA (Mercury/Moran)

  • A-side (Freddie): 10/87 [8] • Album (Freddie): Barcelona • A-side (Freddie): 7/92 [2] • Compilation (Freddie): Solo Collection

  For one of the first times in his illustrious career, Freddie found himself writing to task. After meeting with Montserrat Caballé (see the separate entry in Part Two for Barcelona) and deciding to turn their collaborative efforts into a full album, Freddie was simultaneously elated and horrified by the fact that he would have to write forty minutes of material. ‘Exercises In Free Love’ had already been written and recorded without Montserrat, and was therefore not in the running for inclusion, but the diva asked Freddie to write a paean to her hometown, Barcelona. The result was so inspired and majestic that it became the title track of their album.

  Starting off with a Freddie-led chorus chanting the title over a subtly orchestrated backing, the song explodes with a clattering of piano, timpani and orchestration, and is certainly one of the most dramatic openings to any Queen-related album. After ninety seconds of the overture, the song slows down to a gorgeous piano-dominated segment, featuring Freddie and Montserrat duetting in English and Spanish, respectively. Unexpectedly, the song reprises the intro cries of the title, soaring to a completely new level with one of Freddie’s most emotive vocal performances guiding the way. Montserrat provides only occasional, though stunning, vocalizations; it wouldn’t be until later in the album that their voices would truly mesh. For now, though, this is Freddie’s show.

  Atypically, outside musicians were used on the track, though most of the backing was painstakingly created on keyboards by Mike Moran and Freddie. Homi Kanga and Laurie Lewis contributed violins, with Deborah Ann Johnston on cello, Barry Castle on horn, and Frank Ricoffion percussion. The instrumentation is cleverly arranged, and is a testament to Mike’s talents (the instrumental version on The Solo Collection is a stunning revelation): the song twists and turns with astonishing ease, going from delicate keyboard passages to thunderous explosions of percussion and brass, and is a veritable rollercoaster of musicality that only hints at the diversity of the resulting album.

  The song was aptly chosen as the debut single from the album, and anybody expecting Freddie’s latest work to be an extension of the Mr Bad Guy singles, or even ‘The Great Pretender’ which predated the release of ‘Barcelona’ by eight months, was in for a surprise. Released in October 1987, the single, backed with ‘Exercises In Free Love’ (making its second appearance as the B-side of a single that year), reached No. 8 in the UK charts, making 1987 a year of triumph for Freddie: not only did he score his highest-charting single with ‘The Great Pretender’ in March, but the general public had responded well to his latest efforts.

  An extended version, bringing the running time to seven minutes, was issued on the 12” version of the single, while the single version omitted the first sixty seconds of the track, starting with an introduction of chimes and piano. This version was later issued on Queen’s Greatest Hits III in 1999, and the following year on The Solo Collection, which would also include three outtakes (not including ‘Ideas’ from the Garden Lodge tape) that were previously unheard, yet just as stunning. The first version, recorded on 28 April 1987 and dubbed ‘Freddie’s Demo Vocal’, contained all of Freddie’s own vocal parts, though the lyrics hadn’t yet been finalized, as well as the falsetto vocalizations for Montserrat to follow. The second version, recorded later that same day, was a more polished rough mix and dubbed ‘Freddie’s Vocal Slave’, with the vocalist’s falsetto omitted and focusing only on his own parts. The most stunning outtake was recorded five days later on 3 May 1987 and is an isolated track of Freddie’s vocals, revealing the awesome power and control he had over his voice.

  Appropriately, the single was reissued in July 1992, in anticipation of the summer Olympics held in Barcelona, and peaked at No. 2 in the UK and becoming Freddie’s highest-charting single to date, beaten only by ‘Living On My Own’ twelve months later. The song was submitted to the Olympics committee, and Freddie and Montserrat were slated to perform it as a duet at the opening ceremon
ies, but Freddie died eight months prior to the games; instead, the album version was performed over a video montage of the city.

  He was able to perform the song twice with Montserrat, though both were mimed performances: the first was on 29 May 1987, shortly after the song had been completed, at the Ku Club in Ibiza, Spain, as the finale to the worldwide Ibiza 92 festival. The overwhelmingly positive reception to the song was the cue to continue work on the album. The second performance, and Freddie’s last true performance in front of a live audience, was on 8 October 1988 and involved the duo miming to the track (as well as ‘The Golden Boy’ and ‘How Can I Go On’) at the La Nit event on the steps of Montjuic Castle in Barcelona. The pair were in the presence of the King and Queen of Spain and the event was commissioned to mark the arrival of the Olympic flag from Korea. The three-song set was filmed by Gavin Taylor (who had previously worked on Queen’s 1986 Wembley show), employing no fewer than eighteen cameras for the occasion, and was broadcast live worldwide. Unfortunately, the backing tracks for the songs were played at a slightly slower pace, causing Freddie to explode backstage, though hardly anybody could tell the tempo was off. This performance, along with the other two songs, were later released on the 2000 video compilation, The Freddie Mercury Video Collection.

 

‹ Prev