#especially if you're talking about something as physically involved as being a drummer | Explore Tumblr posts and blogs

chaotichedonist · 4 years ago

Text

Tharunka (Kensington, NSW : 1953 - 2010)

Wednesday 9 June 1976, page 14

Some funny moments to tease you into reading:

Press: Roger, you're noted for your amazing screams.

Freddie: It's a controlled scream. I'd rather call it art.

Freddie: You're joking dear. I'm just a singer, dear.

It’s been a struggle, because in the beginning nobody knew what we were doing. We were the only people who believed in ourselves.

back at the hotel sleazy

For all those fans who were misled by the media, Queen did not spend a couple of days-relaxing on sunny Perth beaches - it rained the whole bloody time they were there. (In Melbourne the hotel was 'besiged' by fans, who to quote Pete Brown — Queen's personal manager — seemed to be emerging from the wood work). Not to be put off however, by the Australian conditions Freddie Mercury (lead vocals and keyboards) attended the press conference in white pants and a simply sumptuous summer synthetic top with delicate butterfly sleeves curling gently over his shoulders. He was even more beautiful than Sophia Loren.

They were all quite chatty only Roger (Meadows-Taylor, the drummer) would keep interjecting, usually over John Deacon (bass) who said not an audible word.

Press: Would you describe your music as mock opera?

Freddie: They call it cock-opera back home.

Roger: I suppose because the vocals are in the 'grand style'.

Press: When is your next album coming out?

Freddie: We'll have a rest and think about it..

Roger: We just don't bung'em together.

Brian: We don't sort of write sitting in hotel rooms you know.

Freddie: We gather influences.

Press: Your music has been described as snob rock. What do you think?

Freddie: I couldn't describe our music as anything. We certainly don't put across that this it intelligent music that is on a completely differenrt level to the people who come to it.

Roger: It's written for the people. That's what it's all about.

Press: The theme of death recurs on your albums. Why this preoccupation?

Roger: Freddie's morbid mind.

Press to Freddie: Do you consider yourself a sex-symbol?

Freddie: You're joking dear. I'm just a singer, dear.

Press to Roger: Do you consider yourself a superstar?

Roger: As meaningless, (blows kisses).

Roger on the media - absurd for a magazine combine rock and politics.

Press: Roger, you're noted for your amazing screams.

Freddie: It's a controlled scream. I'd rather call it art.

Undauted by the fearless Australians they continued talking about their lyrics and the esoteric implication.

Roger: Freddie just loves the word 'Beelzebub'.

Freddie: Yes, well, Brian's got a taste for unusual words.

Roger: You talking about dandling on your knee and things?

All four of them write songs and each has at least one song on 'A Night At The Opera'.

Brian: It's very difficult to talk about our songs as a group because we all have different ideas of what the songs are about.

Roger: No we don't.

Freddie: Roger's the sensitive one. 'I'm in love with my car' is the most sensitive song on the album (Night At The Opera).

Roger did tend to sit there pouting at the bows on his pink lame gym-boots. One hardly noticed the dark roots in this gold angelic hair. We did ask, but unfortunately Roger didn't have a pic of himself in the gymboots. Roger was later accosted by David Essex fans in the foyer of the hotel, who wished to know if he was a popstar, girls now have Roger's autograph. Back to the lyrics..

Freddie: Every song is written by one of us and means something special to each one of us. Certain songs have a very literal meaning and can be understood straight away. Then there are some songs that can be taken on a lot of different levels.

He describes a lot of his songs as fantasies. 'We want to consciously lose ourselves. There are certain things we want to escape from in our lives or whatever.' He feels that people should create their own private fantasies from the images in his songs and so doesn't like to talk about what they mean to him. 'I'd hate to shatter someone's illusion. If I listen to somebody's songs I conjure up a fantasy of what its about and I like to keep it that way.'

He elaborated further.. 'Lyrically it is helpful to use certain words. You see it depends.. sometimes I want to use words that are phonetically useful. In the beginning they're surface words but you entwine them into the meaning of a song. That's what I mean about different levels.'

Brian May has a different approach to his songs, 'There's usually something serious behind them, but I feel a big responsibility not to over-indulge in idealogies. In 'White Queen' I was very interested in the significance of Queens and White Ladies in English folk lore. The song started off as a personal experience, the frustration of not being able to communicate, I was thinking about Robert Graves' ' White Goddess' and that became involved in the song.'

Roger: Romantic slush.

Brian: Our 'Now I'm Here' song is really about our first American tour. A big experience for anybody. It's a conglomeration of all the experiences we had on that tour. We had a great time with Mott the Hoople. I suppose they taught us to be a touring band.

We're very critical about each other and very cynical. We don't get deeply into meanings because you're living with it all the time. You have to be a bit light-hearted about it.

With four individual writers the albums were not done with a specific concept in mind. The 'White Queen' was written four years before the 'Black Queen'.

Brian: I don’t think that Freddie’s 'Black Queen' was a reaction to the 'White Queen'. We just discovered that we had these songs and the rest of the album seemed to fit around it.

Freddie: It probably subconsciously coheres.

Similarly ‘A night At The Opera’ has no overall concept though the name of the album is related to Freddie’s ‘Bohemian Rhapsody’.

As Brian puts it ‘We are four very different people with four very different directions, but there is a musical development that does make some kind of sense. Queen is very much an independent thing. We are always bouncing ideas off each other. We are very aware that we need each other.’

The rapport between them onstage bears out this statement. They work off each other in a carefully intergrated show thatt creates an atmosphere of spontaneity for the audience.

At the opening of their set there is a flash of fire and smoke as Queen emerge on stage. While music winds up they launch into ‘Orge Battle’. Like a Greek God or a simister Mephistopheles Freddie's powerful vocals cut through the smoke and flames.

With the stage show the band is doing something different to stimulating their records. Brian: "You don't get up there and behave like you do in the street. You go up there to entertain people and give them some kind of excitement". They have rearranged some of their songs especially for stage performance, including a medley of 'Bohemian Rhapsody', 'Killer Queen', 'Black Queen' and 'Leyroy Brown', which grinds down into 'March of the Black Queen' and then skips out on a lighter note which features Brian on genuine Japanese ukalele.

The brilliant solo Brian performs in 'Brighton Rock', with sweet high Paginini frills and harmonies, stimulating two or three guitars on stage, is in a style he has evolved himself. He got the idea the first time he was in a recording studio. Says Brian: "It was my first experience of doing multi-tracking. It happened to be in the cannon-things which repeat themselves. You play one, then you play the same over the top of it after a time interval. Later we started to do those things on stage but there was the problem of how to do it. We started having a single delay and then another one over the top of it. Then afterwards you do another repeat on the second. You can then do three part harmonies with yourself. We started to base it all on ten second solos and it grew and grew. There's a lot of other people doing it now and I'm glad because it’s a thing you can play around with.'

In the stage arrangement of "Prophet's Song' Freddie uses a similar echo feedback system which multiplies his voice into a celestial choir. His voice floats as a vision - "Listen to the madman' - while Brian plays some beautiful guitar.

encore amore

Brian describes their encore performance as the time when the band really unwinds. "It's nice at the encore to just completely unbend and make a fool of yourself. It gets rid of the tension between the band and the audience. I used to get a kick out of going to concerts to see rock groups like the 'Who' and feeling involved, like the group knew you were there. WE go by the kinds of things we think people would like at an encore. It's at a very basic level really, an energy level, a physical level. Rock and Roll is kind of a body music. I get as much satisfaction out of basic rock'n'roll like Status Quo as the most sophisticated music I know.'

The audience certainly enjoyed it and really let loose their energy. Roger (who claimed the most female screams) in rainbow mop-wig opened the encore with slow heavy rock-beat as Freddie did a dramatic entrance in a silk kimino. As he eased into 'Big Spender', he peeled off to striped hot pants for an outrageous version of 'Jailhouse Rock' - simple hard-driving rock'n'roll that had everybody out of their sets.

gettin' feelin' thru th' transistors

Brian was rather upset that the Australian Press should braiid them as a manufactured band. If 'Bohmeian ,hapsody' can be seen as incorporating the spectrum of s talent - mood changes, heavy stuff, the soft ballad - it is not because they (men of letters from universities) have developed a magic 'X' formula. Rather the song can be seen as a musical progression, a reworking of motifs off their other albums.

Brian can only say that, 'They obviously didn't see us in the earlier days. I can understand why they'd say that over here. Big impact. Overnight success. It must have been all calculated. If you’d seen the way it happened in England, you wouldn’t think that. I’ve had years playing pubs in England where people were drinking beer and discussing what other people were doing and not listening to the music. I want to build up this thing where people do want to go to a concert. While it begins to look like the commercial side, it;s what it’s all about. I want knock it because I want people to come and hear what we do.

It’s been a struggle, because in the beginning nobody knew what we were doing. We were the only people who believed in ourselves. We started playing because we had some kind of vision that we thought was worthwhile. For over a year and a half we were playing to ourselves. Gradually you gather people around who believe and that’s the way it happened.

Nobody is going to tell us to play what is commercial. What we play comes from us. We’re very lucky really in that we have a kind of audience who are attentive to whatever direction we choose to follow. One of us will come up with a song and we'll say, 'Yeah, it needs that kind of treatment and maybe that turns out to be something you call heavy and sometimes something which is light.'

To get back to the charge that they are a manufactured band, while he doesn't like it, he can only take it as a compliment that they think the band is so good. He doesn't consider himself a technician "technically I've stayed the same for the last six or seven years. Progress is what you feel and what you are putting across. That's what playing is about for us.'

Freddie: There's a lot of music there too.

Roger: A bit of music, yeah.

low key queen

By Anne Finnegan

Wednesday 9 June 1976

If you save, do not forget to leave a link to this, coz i kinda found it by myself and made and transcipt. Thanks :)

45 notes · View notes