Regular visitors to Just Backdated will perhaps have noted that certain big rock acts are conspicuous by their absence. Among them is Queen, who’ve been staring at me reproachfully for the past two weeks from the front cover of the latest Mojo magazine that sits on the coffee table in our front room. It’s my old pal Mick Rock’s famous picture of their four heads in a diamond configuration, the opening sequence of the video for ‘Bohemian Rhapsody’. They don’t look that happy, as they probably weren’t after Mick asked for an outrageous sum of money when they tried to buy the copyright of this shot from him several years ago. I was never a Queen fan. Furthermore, I had a series of encounters with them or their support staff between 1974 and 1986 that did not go well, and the appearance this week on Rock’s Back Pages of an uncomplimentary Melody Maker review of them I wrote in 1975, coupled with that Mojo cover, has prompted me to set down for posterity the details of the ill-fated relationship between Queen and I. Queen emerged in the UK while I was working as Melody Maker’s man in America so I wasn’t around to see them in their infancy. Indeed, my first exposure to them was in New York when they supported – yes, supported – Mott The Hoople at the Uris Theatre on Broadway, for a run of shows in May of 1974. It was an occasion that brought out all of New York’s glammed up boys and girls, loads of fun and glitter everywhere, and Queen dressed for it – their US debut – in garments not unlike those worn by Olympic ice skaters on the rink, all shiny satin with pleats and billowing sleeves. This was how they habitually dressed at that time, very ostentatious, as was their music, which struck me as a premeditated blend of Led Zeppelin and David Bowie with a sprinkling of Yes on the vocal harmonies, efficiently delivered certainly but very calculated and somehow bereft of that magical ingredient that conveys to an audience an act’s sense of spiritual purpose, that they really believe in what they are doing. In contrast, Mott turned in their usual high-spirited if disorderly set and seemed to me to have ten times more integrity about them.
I next saw Queen at the Avery Fisher Hall in NY on 1 March, 1975, and I am indebted to Rock’s Back Pages for republishing on line this week my MM review of that show. Here it is, word for word: “As an ardent supporter of British rock amid a race of people weaned on hamburgers and Coca Cola, it grieves me to report how disappointed I was with Queen’s important ‘prestige’ performance at the Avery Fisher Hall on Sunday evening. I'd read good things about the band and expected much – but I came away with a sour taste. “It was perhaps unfortunate that Queen were the first heavy metal act I witnessed after attending three performances by Led Zeppelin in recent weeks. “Queen's music, to me, was tedious, and their on-stage presence (an essential quality if you choose to run the heavy-rock-with-glitter-overtones race) was an almost laughably bizarre mish-mash of every other more successful band of their genre. “Freddie Mercury came over as a pompous, arrogant duplication of all those who have gone before; his stage movements seemed forced and stereotyped instead of smooth and flowing with the rhythms his band were creating. “Brian May is a competent, but far from spectacular guitar player. His long solo relied entirely on the tape loop of an echo chamber which, I suspected, had the sustain control switched up to the fullest level. “I had no complaint with the rhythm section and the drummer, in fact, came to the rescue with some nifty infills time and time again. His two floor tom-toms appeared to be covered with some kind of white powder, so that every time he pounded away to his right, an interesting effect was created. “Queen’s lighting was excellent, and their one-hour fifteen minute show concluded on the usual smoke filled note. This, in itself, was rather curious: most bands who utilise this over-used ploy use dry ice which, as it is heavier than air, sinks to the ground and rarely rises above the musicians’ knees. Queen appeared to be using steam which has the opposite effect and floats everywhere. On this occasion the clouds of steam completely blocked out the view of the group — and the first few rows of the audience. “Lastly, it is only fair to point out that my view of the concert appeared to be that of the minority and the majority went home satisfied.” Within a week both the New York Times and Rolling Stone published similarly unflattering reviews.
The next time I saw Queen was at the Beacon Theatre on New York’s West Side in February 1976. I was sat in the stalls and when some idiot in the circle lobbed a firecracker over the balcony that missed my head by inches and landed at my feet, I and several others had to hastily vacate our seats midway through their performance. It was one of many fireworks chucked during the show. While I realise it wasn’t Queen’s fault that I narrowly escaped being blinded, it didn’t endear me to them or their fans. It left a nasty taste in my mouth that somehow never went away. For this reason I didn’t review that show beyond a cursory mention in my New York news column that drew attention to the behaviour of their fans. As you can probably guess, by now I had detected what I felt was an element of cynicism surrounding Queen, as if their modus operandi had been plotted in a business meeting where all the required ingredients for success were debated and thereafter skilfully blended through earnest planning and market research. It was a view shared by many of my fellow critics in America, and probably in the UK too. Perhaps sensing that Melody Maker’s NY correspondent wasn’t in their camp, the next time they appeared in NY – at Madison Square Garden no less, in February 1977 – they invited a sympathetic London-based MM writer along for their ride, no doubt to ensure positive coverage. I was on the cusp of leaving MM then anyway, and wasn’t even offered tickets to the show. I couldn’t care less.
Thereafter my encounters with Queen did not involve the group’s music or performances and, as such, it’s quite likely the boys in the band were unaware of them. In early 1986 Omnibus Press, of which I was then editor, published a book entitled Queen: A Visual Documentary by Ken Dean (a pseudonym). The book’s cover featured the same photograph that appears on this month’s Mojo and I have no doubt Mick Rock long ago banked his check. No sooner had our book hit the shops than Queen’s lawyers wrote me an indignant letter. They claimed it was a blatant breach of their rights and demanded it be removed from sale, all copies destroyed and all revenues forwarded to them, pronto, plus damages to be negotiated and legal costs, under pain of god knows what. It was, of course, horseshit. Within certain parameters, the law permits anyone to publish a book about anyone else so long as you do not libel them or breach their copyright. The actual book, one in a series of similar books that didn’t trouble anyone else, was a straightforward chronology of their career, just dates, events, quotes and lots of pictures, without comment, and therefore did not libel them. The text was commissioned by me and paid for by Omnibus Press, which therefore owned the copyright, and all the photographs were cleared with the various agencies or individual photographers that owned the rights to them. Any first year law student would have known Queen’s lawyers were bullshitting. So I wrote back to Queen’s lawyers informing them of our position, a letter that left no doubt I knew the law as well as they did. At this point someone at their law office must have been assigned to scan the book with a fine tooth comb to check whether we had inadvertently breached their copyright in some small way. A week or two went by before we received a reply, this one stating that on one page (out of 96), in the bottom left hand corner, there was a photograph in which someone was sporting a backstage pass that incorporated Queen’s copyrighted logo, so tiny in fact that it was barely visible to the naked eye. Still, legally, it breached their copyright. Gotcha, or so they thought. Without admitting anything – the first rule in legal disputes – I wrote back and offered them £50 for what anyone in their right minds would consider the most minor of infringements. Realising that if they pursued this miniscule breach through legal channels they would be laughed out of court, they wrote back demanding a 15% royalty, “Our normal royalty rate on merchandise,” they said. I wrote back along the lines of, “Since you have seen fit to decline our generous offer of £50, that offer is now reduced to £25.” We never heard back.
Perhaps I had asked for it by being cheeky but my final experience of Queen, that same year, was also unpleasant. I was at their Knebworth show in August which just happened to be Freddie Mercury’s last performance with the group. I wasn't there to see Queen - heaven forbid - but because Omnibus Press had published a book on the Knebworth Festivals by Chrissie Lytton-Cobbold, the wife of the owner of the estate, and as a result we were granted permission to set up a stall on site to sell rock books, including hers of course, and also one on Big Country, one of the day’s support acts, a book that was approved by them. This did not sit well with Queen’s merchandising company who objected to our stall, pointing out that they had the exclusive right to sell merchandise on the site, which meant everything bar food and drink. The upshot of a rather nasty exchange of views backstage was that we were permitted to sell only Chrissie’s book and had to remove the rest of our stock from display. They offered to sell the Big Country book, as they were already selling that group’s merchandise alongside Queen’s. As the day went on I couldn’t help but notice the massive business Queen’s merchandising stands were doing, raking in heaps of cash hand over fist, mostly for Queen-branded clothing. At the end of the day they returned almost all the Big Country books to us and handed over a tiny sum of money, about £30 as I recall, which represented 15% of their revenues from those they did sell. They retained 85% which was what they retained on Queen merchandise. I didn’t argue. It was me against five big blokes. Would it really have harmed their vast takings if we’d been allowed to sell our books? Of course not. It was greed. That nasty taste that somehow never went away just got nastier.
In one respect we had the last word. After poor old Freddie left us in 1991 an updated edition of our Visual Documentary book went on to sell over 50,000 copies in six months. Then again maybe not. A few years ago Roger Taylor, who struck me as a reasonable sort of bloke when I happened to spend an evening drinking with him and my pal Don Powell, bought Puttenham Priory, not that far from where I now live in Surrey. Grade II listed, it is set in 48 acres and has nine bedrooms, six bathrooms and a garage for eight cars and god only knows what else. Someone told he paid £8 million for it. That’s about 22 times more than I paid for my modest gaff. And I thought was I lucky.
In a departure from my usual habit I am posting on my blog today an e-mail I received about Andy Neill’s recent Ready Steady Go! book. The writer is our mutual friend Ed Hanel, a fellow Who archivist and collector with whom I have been friendly since we first met in 1981. At that time Ed and his family lived in north London where he and his wife Lynne worked for the US military. Now retired and living in Hawaii, Ed worked all his life as an attorney for the US Navy which just goes to show that Who fans come from all walks of life.