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Home , Bohemian Rhapsody, Brian May, Freddie Mercury, Humpy Bong, John Deacon, Keep Yourself Alive

CAN YOU imagine a more improbable band than Queen?

h o b u t t h e y would think it a good idea to sweep high-op­ eratic over low-down heavy metal? To plunk an outrageously camp in front of a balls-to-the-wall rock & roll band?W In short, to take the noble risk of looking ridiculous by mixing the most florid sounds with the most guttural. And yet it turned out to be a very the single “” good idea, indeed. During their more (which had actually appeared on than twenty years together, Queen be­ Queen). A far artier than the de­ came England’s biggest-selling band but, Queen II showed influences rang­ since and as cherished and ing from ’s killer riffs to integral a part of the British character ’s flounce. as Bruce Springsteen is of the Ameri­ Queen didn’t hit IJ.S. stages until can. If, every so often, they took a step April 1974, when they again opened too far into silliness, they did so with for on what turned their own loony kind of integrity. out to be that storied band’s final Queen’s music had as much flash as tour. But it wasn’t until the third feeling, as much innovation as immedi­ Queen album arrived, in .November acy. Their records could display great 1974, that they became stars on both technical wizardry or represent pop sides of the Atlantic. simplicity itself. And during their offered as broad a sonic palette as whole history, Queen had the ability to pop fans of the day could imagine, al­ draw on a wealth of styles and talents luding to , Zeppelin and since each of the four members wrote, Bowie while offering the first flashes sang, played and produced well of an operatic sensibility in Mer- enough to create hits of his own. %iry’s high-flying, super-multi- No wonder only the most unfore­ tracked vocals. The production, their seeable of tragedies could defeat them. first with , had a ’s death from AIDS in sheen and flair few had heard before, 1991 necessarily killed the band. But it highlighted by May’s stellar also gave the disease one of its most chorales. Hereafter, May would have recognizable faces and drove home its to use many backup tapes in concert consequences to a whole new group of to re-create his sound in the studio. people, giving Queen, in death, as The album’s single, “,” much meaning and unlikely poignancy reached Number Twelve in May 1975, as they had in life. at which point Queen emerged as a If all began normally enough. The major Uve act with Mercury as rock’s band’s roots go back to 1968, when dios in 1972 and by early 1973 landed a ultimate frontman. If Bowie had been flam­ and Tim Staffed, both stu­ recording deal with EMI in England (Elektra boyant in his glam days, Mercury was on dents at the prescient-sounding Imperial in the States). Keeping up the breathless fire. With his formfitting satin outfits, College, formed a group called Smile with pace, Queen released their first album in July campy movements and flirty stage patter, drummer Roger Taylor. A singing friend of 1973. The self-titled debut spawned the sput­ Mercury became a prime exponent of glitter Staffell’s, one Farrokh Bulsara, was a huge tering single “.” With a rock’s closeted gay chic. Although fans ate it Smile fan. So when that band finally, er, charging guitar line barreling under Mer­ up (even homophobic ones, shielded by frowned and Staffed joined something caded cury’s clarion-clear vocals, it served as both their naïveté), thè press could be cruel. One , Bulsara hooked up with May a tease of the band’s prowess and a harbinger famous New Musical Express headline dared and Taylor. With his usual flair, Bulsara of their flair for creating hits. Queen showed blare is this man a prat? dubbed the new unit Queen; the other mem­ equally impressive confidence on their very But such questions were soon drowned bers returned the creative favor by suggest­ first U.K. tour, opening for Mott the Hoople 'ô&t in the popular mania - and belated re­ ing he ditch his exotic given name (of Persian in November 1973. Although novices, they al­ spect - that greeted the band’s next work, persuasion) and take the fetching moniker ready acted like stars, shown in the regal “.” The song was to be­ Freddie Mercury. bearing of Freddie Mercury and the lush am­ come at once one of the most loved, paro­ After a round of auditions in early 1971, bition of Brian May’s guitar work. died, creative and demented hits in pop his­ the threesome found bassist . As The band broke through for real, at least tory. At nearly six minutes, the piece had a spanking new foursome, they gigged at in their homeland, with the follow-up LP, movements, changes, false endings and ’s Marquee club, got a publishing- Queen II, released in March 1974. It went Top the flat-out nerve to try to make the word and-management deal through Trident Stu­ Five in Britain, boosted by the late release of scaramouch a part of everyday speech. A son-. Previous: (Clockwise Prom Prone) Brian May, John Deacon, Roger Taylor; Freddie Mercury

i© ten-layer cake, “Bohemian Rhapsody” if§ Nineties to repudiate the high-living dash of volved overdubs of no fewer than 180 voices a band like Queen, its biggest icon, Kurt to create its full-on operatic effect and took Cobain, admiringly alluded to Mercury in seven days to record. Brian May’s guitar his suicide note. Like many others, Cobain lines shuttled between a head-cracking recognized the natural star quality of Mer­ and symphonic flourishes. Not only did tbe cury and the band, as well as their role as song go to Number One in the U.K. (Num­ groundbreakers. ber Nine here), but it later became the only As a unit, Queen brought together gay im­ single in the history of British music to crack ages with straight and found a catchy way to that spot twice. Moreover, the video for the combine show tunes, and cabaret with song became the first clip to substantially rock, metal and pop. Whether silly or. stal­ impact album sales (for the full LP A Night at wart, daring or daft, Queen always epito­ the Opera), presaging MTV’s influence by mized one of the great faiths in rock & roll: the more than six years. ceaseless will to take things over the top. ® After the “Bohemian Rhapsody” over­ ture, the floodgates of fame opened and Queen ascended to the throne of rock roy­ alty. Scores of great, memorable hits fol­ lowed, each in a different style. “Somebody to Love” infused rock with the soul fervor of an hit, while in 1977 Queen created two of the most fist-pumping, sta­ dium-ready anthems of all time: “” and “.” In 1979, the group went to Number One with a Fifties- nod, “Crazy Little Thing Called Love,” and in 1980 made dis­ co rock with “Another One Bites the Dust.” The latter’s thumping beat became one of the most sampled rhythms in the era of rap. In 1981, Queen’s collaboration with , “,” reached the Top Forty and became one of the most innova­ tive art-pop smashes of all time. As the Eighties wore on, Queen’s luster on the charts began to fade (at least in Amer­ ica), but they remained huge in the rest of the world, as well as a ridiculously large concert draw. By popular consensus, they stole the show at in 1985. They re­ mained so beloved, in fact, that Freddie Mercury’s death on November 24,1991, un­ leashed a new wave of popularity. The rere­ lease of “Bohemian Rhapsody,” earmarked to raise money for AIDS research, went to Number One in Britain, and in March 1992 the song hit Number Two in the courtesy of its hysterical placement in the movie send-up of suburban waste- heads, Wayne’s World In May of that year, a host of internation­ al stars saluted Mercury, from and Guns n’ Roses to and . Even Mercury’s favorite singer showed up to belt some bars: . And although you’d expect the as­ cendant grunge movement of the early