by Georg Purvis
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 piece
meal 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.
