Freddie Mercury interview with Steve Lake - from 'Musikexpress & Sounds' magazine, August 1984
Dec 12, 2022 8:19:10 GMT
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Post by fabiogminero on Dec 12, 2022 8:19:10 GMT
Hello everybody.
Below I share a beautiful article from 1984 published in the German magazine Musikexpress & Sounds in August of that year. Journalist Steve Lake met Freddie Mercury at Musicland Studios in Munich, where the singer held a rare and very detailed interview on several topics, including Queen and their latest album 'The Works', his solo album (at the time being recorded), but also other topics such as homosexuality and the relationship with the press.
Below the original article in German and the English translation (I have highlighted Freddie's answers in italics). Enjoy the reading.
After months of back and forth and several canceled appointments (once because he nearly choked on fishbone and couldn't speak), the interview finally took place at Munich's Musicland (the studio where they were made most of Queen's albums, and where their singer is currently working on his first solo album). We talked in the back of the studio while producer/engineer Mack was working in the control room on a remix for the maxi single 'I Want To Break Free'. Mercury's initially shy demeanor doesn't quite fit the macho image of her (skimpy tank top, tight jeans, lots of muscles and hair), but gradually she began to relax by speaking in a very fluent manner. The whole time he was drinking Pimm's No. 1 with cucumber chunks and smoking a lot of Marlboro Lights. After the chat, he played me a selection of unfinished songs from his new album: still raw versions, but already clearly adapted to the dance floor - with a powerful drum machine rhythm and reggae, disco and hip hop influences . "They all look like hits, don't they?" chuckled Freddie. It was hard to disagree with him.
It's almost a small miracle that he granted an interview. The Queen singer has been at odds with the press for years, and he has - rightly or wrongly - earned a reputation for being arrogant. Steve Lake could verify that things are a little different when he spoke with Freddie about some particular topics: homosexuality, fascism and the smoldering rivalry within Queen.
ME/Sounds: In an interview the other day, Roger Taylor said that 'The Works' aims to "give Queen fans what they want". Do you think so too?
Mercury: "Well, we always try to give the fans what they want, but that's not all. He's been releasing Queen-style stuff for a long time. I keep asking myself, 'What are Queen known for?' Ok, 'Bohemian Rhapsody', but since then we've done a lot of different things, like 'Another One Bites The Dust'.
No, there was no basic theme in THE WORKS...it became very diverse as it contains songs written by all 4 of them (We called it 'THE WORKS' for that reason). There is no longer a basic theme in our products...it was there until 'A DAY AT THE RACES' and ' A NIGHT AT THE OPERA'".
ME/Sounds: Some time ago you entered the 'black' music market in America, with songs like 'Another One Bites The Dust'. Was it a surprise?
Mercury: "Absolutely. I think we would never have made it if we had tried to do it on purpose. John created the song.
Later I tried to purposely write for the 'black' market with 'Hot Space', but it didn't go so well. That's how it's done, but I don't think there is a 'black market'. You make a song and it has to be done right or it doesn't work. You have to take things as they come."
ME/Sounds: When you tried to enter the disco market, did you listen to the group 'Chic' and other groups of that genre?
Mercury: "No, at the time I was only listening to soul singers from the past. I've always liked Aretha Franklin and Marvin Gaye. Since then, of course, I've focused on my performance with Michael Jackson…I love this kind of music. I don't write harmonic complexes anymore...I like the pure funky black genre. I think it brings out my voice better. For the past eight years, I've always tried to get my voice through all those guitars."
ME/Sounds: In the meantime you've been working with Michael Jackson, right?
Mercury: "Yes. About one year ago. So far nothing has come of it as we are both very busy...we have 3 unfinished songs. One of them is called 'Victory' - and he has now used this title for the new Jackson 5 album. I don't think the latter contains the song though..I sure hope not. I'm going to sue that asshole if he has to."
ME/Sounds: Do you like working with other singers? When I asked Brian May about working with Bowie on Under Pressure...he vented a bit.
Mercury: "It's interesting that you ask. This sheds some light on the characters in question. David is a good friend of mine… Brian's comments are his business and they are perfectly fine. No, I get along with David. Sure, it's always like this when musicians have character...egos collide.
It has to be, because when you work with other people, you don't just follow your own rules.
The creation of 'Under Pressure' happened by accident and that's why it went so well. David and I are people who get bored quickly; we like spontaneous things. I just think David and Brian have nothing in common – they can only talk about music."
ME/Sounds: It sure seems like there are more personality types in Queen than other bands. If you look at the interviews given by different members of the group at the same time, you can see that quite often the points of view are diametrically opposed.
Mercury: "Yeah, I think it's due to the fact that the 4 of us are writing songs. From day one there is competition within the band. I think that's a good thing. Also...it's obvious we have incredible egos! There are no less important people...everyone plays a leading role in the group. However, usually four different opinions are obtained even when discussing the same subject. We address our differences quite openly and when I say something, and someone doesn't like it – it's bullshit."
ME/Sounds: Ok, an article was written the other day about Queen in Los Angeles...it was about a party at Capitol Records, where 'THE WORKS' was played for the first time. Brian May was quoted as saying: 'I just thought what I was hearing was awful... I'm ashamed'.
Mercury: "Did Brian say that? (He laughed). He probably drank too many gin and tonics! I remember the playback in question being a raw mix and Brian being very angry...we are all very picky. We played 4 tracks, so that the record company could get an idea of what the record would be like (the tracks were far from finished), and then we went back to Munich to finish the record. At that point, half of the guitar solos weren't there yet."
ME/Sounds: You have always proudly pointed out that no synthesizers were used on Queen albums. Now of course you are using them.
Mercury: "This was when synthesizers first appeared, and they were used exclusively for guitars and orchestral sounds. In our case, all of the orchestral effects were created with Brian's very unique guitar playing. We told people they were just guitars...we just wanted them to realize how awesome Brian was. We've never had an absolute aversion to synthesizers."
ME/Sounds: Right now we're experiencing a return to the guitar...a whole new generation of guitar loving bands.
Mercury: "Yeah, for example I think 'Big Country' are good…but, honestly, I hate heavy metal bands. You see, heavy metal is a thing of the past; and the old bands were just the best at what they did. People love Led Zeppelin… I probably sound like an old man when I say this. Now, I prefer 'Culture Club'...it's a new type of music, a new form. Duran Duran are good. Eurythmics are wonderful".
ME/Sounds: Are lyrics very important to you?
Mercury: "Of course, but they are very difficult for me…I find the melodies much easier. Luckily, it's usually the melody that sells a song. I rarely find the words first…I usually have the whole structure before the text is finished".
ME/Sounds: For example, a song like 'Man On The Prowl', which says, "I'm gonna take a little ride on the wild side / Play the fool, driving in the fast lane" (Freddie squirmed a bit when the 'I've read.) Not comfortable with your lyrics?
Mercury: "No, it's not like that…look, for me lyrics are a form of escapism. I don't think I have the strength to write profound 'messages'. To me, a Queen song is just something you listen to and then throw away - like a 'Tempo' handkerchief. I go to the cinema and forget about my problems for an hour and a half... I don't want to change people's lives. John Lennon and Stevie Wonder could write songs, which had a message. But they lived off that too...you can be sure that when they sang a song about peace, they really believed it. I'm not like that. I like to write a good song with a good melody, that's all, and then I'll move on to the next one."
ME/Sounds: What do you think of new bands that present themselves with a blatantly gay or transsexual image? Bands like 'Dead Or Alive', 'Frankie Goes To Hollywood' , 'Culture Club' or like Marilyn.
Mercury: "Some pictures are good, some are bad. I really like Boy George. His role is damn hard; he's brave that he's doing it—and it's wonderful that he's working. And he also believes in what he does!
Okay…anyone can put on a lot of powder and cheeks, but Boy George doesn't just have an image – his songs are good too! The 'Culture Clubs' had success in America before anyone had even seen them. The image and the songs together are a monstrous combination. The shock element is basically positive. But for some it just doesn't work and it seems a bit ordinary…it depends on the person".
ME/Sounds: Do you have the feeling that Queen also played with this shock element?
Mercury: "Oh, I think so. We started with Roxy Music, in the middle of the Glam Rock era. There was the same situation as now... only the people change. Sure, Boy George is very brave, but he can also draw on our experience. When I started out, audiences were used to bands wearing jeans on stage. When they suddenly saw Freddie Mercury in a Zandra Rhodes guise, with black makeup and nail polish…it was absolutely outrageous. Boy George is more of an award for transvestites, but I'm sure he's a shocker."
ME/Sounds: Naturally, in England (especially in tabloids like 'The Sun'), the interest is mostly focused on the sex life of this flamboyant person…
Mercury: "Yes, I know. You're probably asking me about this story in The Sun that I'm allegedly gay. I sleep with whoever I want and when I want...the newspapers have always written what they want about Queen – let them! I sleep the same at night.
But that article was completely misrepresented…it was made up. What can I do about it? I should pull my hair and say, 'Oh my, do I really need to fix this?' The woman who wrote the article just wanted a crazy story from me, and she got nothing. I asked her, 'What do you want to hear? Am I dealing cocaine or what?' She simply wrote that I had admitted to being gay. I'm not dumb! I'm too smart for that."
ME/Sounds: I'm surprised the topic of your sexuality hasn't been addressed in an even more extreme way - if you take your stage image, band name and so on...
Mercury: "They've always put me in the gay 'category'. First they said I was bisexual, then that I looked like a hermaphrodite... they told me things that became good headlines. My sexual tastes are these: I do it with whoever I like. There are no labels (she sighed). My private life is private. I talk about just about everything, but the last thing in the world I would do is go to The Sun and say, 'I admit it...I'm gay.' It does not make sense. If that were the case, I would have done it years ago."
ME/Sounds: Cynically speaking, now is a good time to be gay…it's good for business.
Mercury: "It really is, isn't it? But the situation would be different for me, as I have been in the industry for 12 years. In this business, it's good to be gay (or anything else outrageous) if you're new. If you said that, people would say, 'Oh my, Freddie suddenly realized he's gay because it's trendy.'
This thing is not for me... I leave this kind of thing to people who need it. The only thing that matters to me is the music. When the music stops selling, I'll just stop."
ME/Sounds: Which brings us to the inevitable question about the lifespan of a band: Does there come a time when you can't stand on stage anymore?
Mercury: "The record is an important clue…it doesn't matter what the press says. But if you don't sell the record, it's over. Right now concerts bore me... I want to do other things. I want to perform in places, I've never been before. We're thinking of going to South Africa...that's going to create political problems, but I don't give a damn. I make music for the people. We were one of the first groups to go to South America...a great experience! Two weeks after our visit, Britain was at war with Argentina. But that shouldn't affect a musician... music is for everyone.
I would like to go to Russia one day. We wanted to go there three or four years ago, but they looked at our album covers and said we were too particular and would ruin their youth. But I really don't want to perform in the same boring stadiums in North America...that's the worst thing that can happen. You can see that right now with a lot of bands that are past their peak, but are still going about it like all is well - let's say - playing Madison Square Garden. Two years ago they played there and sold out three times - this time they only play once...a blow to the ego!".
ME/Sounds: But do you still believe that public approval is a true criterion of musical quality?
Mercury: "Yes!!"
ME/Sounds: Really?
Mercury: "Absolutely. The only way to measure your success is to be number one".
ME/Sounds: So you can establish the extent of your success, but that says absolutely nothing about the real value of your music, does it?
Mercury: "Oooh...so much stupidity!!".
ME/Sounds: Stupid???
Mercury: "I know what you mean: that it's possible to be a wonderful unknown musician. So? What does it mean? The word 'talent' means that you know how to convince people! The word 'talent' means being in the right place at the right time. You have to know how to get to people. Talent is image".
ME/Sounds: But sometimes there are factors that get in the way. For example, you say you like 'black' music. If you're black, for example, you can't go on American TV...there's no right place and no right time.
Mercury: "You can add something to this ... the situation is different for Michael Jackson".
ME/Sounds: Michael Jackson had surgery to look whiter.
Mercury: "Oh, stop it! Don't overdo it, dear!"
ME/Sounds: Yeah, well, that's the truth. You can't deny the fact that there are some racist influences in the American pop world.
Mercury: "Of course there are, but they are not as extreme as you describe them. Michael Jackson knows that to get to number one in America, he has to target the record-buying segment of the public. The Black community alone isn't big enough to make songs hit."
ME/Sounds: I think it was Chairman Mao who said, "All art is politics."
Mercury: "Well, yeah, I'm sorry when politics get in the way, but ultimately you can't stop it. That's exactly what Elton said: that music and sports are the most influential ambassadors right now. Am I talking a lot of nonsense?"
ME/Sounds: I just remembered a 'Rolling Stone' article about Queen in Argentina, which described Queen as the 'first truly fascist rock band'. Does it mean anything to you?
Mercury: "Oh dear, oh dear no... All right, explain it to me. What does it mean?"
ME/Sounds: I don't know what to tell you.
Mercury: "Reporters from all over the world came to Argentina to see us play in these stadiums. In São Paulo, we played to 120,000 people one night and 130,000 people the next night. This was new to them and also to us - not like in North America. There was no organization. It could have been a totally uncontrollable mob, so they let the Death Squad handle security."
ME/Sounds: Death Squad
Mercury: "The very, very tough police, who kill people just because they drop a hat. They have come to protect us. We were also transported in armored vehicles, which are usually used for riots.
And when journalists look at that, it naturally becomes political. Music has nothing to do with it. Before going on stage, the whole army was in front, with bayonets. You never know...
In South America, things are completely different. They thought it could become a very, very political issue since there was such a large audience. They asked me not to sing 'Don't cry for me Argentina'. They were very concerned that I might turn the concert into a political rally."
ME/Sounds: How do you feel in the middle of a scene like this?
Mercury: "Oh, very, very strong. It feels very powerful. You realize you could start a riot with all these people. Someone else, with a different mentality, could really use this to their political advantage or disadvantage."
ME/Sounds: What do you get when you stand on stage with thousands of people screaming your name?
Mercury: "It's wonderful. Here comes the adrenaline ... an absolutely wonderful thing. You feel incredibly strong. But as far as I'm concerned, I'm completely absorbed in the music. I just want to guarantee a good performance and have fun. I don't suddenly think, "Now I have all the power, now I can DESTROY!'"…there is nothing destructive there. I'm too good a person for that."
ME/Sounds: Do you think you deserve all this admiration?
Mercury (laughs): "No, no. Honestly that kind of admiration embarrasses me. I don't want to sound modest... but sometimes it seems strange that all this is happening to me".
ME/Sounds: Well...what happens next
Mercury: "I'm working on a solo album…one of the most exciting things that's ever happened to me. I waited so long because I wanted to wait for the right moment. I didn't because I've always been very happy with the band, even if everyone thinks the opposite.
There's some competition within the band as everyone tries to get their songs into the album...that's the tension that keeps us together. The bickering and arguments are still going on, probably more than ever, but some strange chemical reaction keeps us creative and makes us want to stick together. Perhaps this also happens because everyone has a different role in the band. Basically, we've always had solo careers within the band."
ME/Sounds: Hmm...I've heard rumors that John suddenly disappeared in Bali during the recording of the last album…
Mercury: "Yeah, he got bored and left. I think when you've been together for 12 or 13 years, he's always on the verge of losing his mind. We all have our moments and want to get away from it all for a while...".
ME/Sounds: How will your solo project differ from Queen's?
Mercury: "I think the main difference is that I start doing things, which I would never dare to do on a Queen album. On a Queen album, I wouldn't even dare play guitar because Brian is very good."
ME/Sounds: Will the music be less "baroque" than Queen's?
Mercury: "I know what you mean…you expressed yourself well. I'd say that the baroque image of Queen, in part, is going away...however this quality won't be present on my record. It has become more 'black'".
ME/Sounds: How important is producer/engineer Mack in this project?
Mercury: "He is very important to me ... he was fundamental to the albums with Queen and also to my project. We learned to work together very instinctively. I work very fast because I get bored easily... I lose interest very quickly. So Mack has to do everything very quickly to avoid problems. I lose my inspiration when I wait for an engineer to make a sound."
ME/Sounds: You say you like to work fast, but the story is different if you look at the recording dates of Queen albums. For example, it took six months to finish the album 'THE WORKS'...it doesn't seem that much 'fast'.
Mercury: "Yes. Haha, great. See, you're talking about four members again. Oooh, I'm gonna get in trouble. Listen, I make my songs much faster than others. Brian likes to take it easy. I prefer to try some ideas, and – (he clapped his hands) – then we have to decide! Brian can work on the same song for a year. I go into the studio every day and start a new song from scratch, and when the day is done I haven't completely finished it, but I have a sense of the overall structure. This is the goal I have set for myself right now".
ME/Sounds: You mean it comes without having prepared the music or lyrics?
Mercury: "Yes. Every day I create a song on the spot... I spend a day putting it together and eventually I throw it away if it's not good. But so far, with this method, I already have four or five pieces that could be really good. In this solo album I want all possible hits...that's my wish".
ME/Sounds: Think you're overpaid for your work?
Mercury: "Well, you can make a lot of money in this game. No, I work hard for the money. No one gave me anything... it wasn't served to me on a silver platter... I worked for it. I don't want anything as a gift."
ME/Sounds: Why has there never been a good relationship between Queen and the press?
Mercury: "This all started in the very early days when we were actually fighting them. I got to the point where every night I said: "the press go to hell". They noticed, of course — and that's how it happened. I think in the beginning of a career, the press is very important. But after that, if you're able to fend for yourself, it's the audience that counts. I'm serious.
Right now I wish there were no releases, because the songs speak for themselves. But once you've benefited from the latter, there's no going back. But overall, I have nothing against music critics. That's why I never give interviews. Why am I talking to you?"
Steve Lake
It's almost a small miracle that he granted an interview. The Queen singer has been at odds with the press for years, and he has - rightly or wrongly - earned a reputation for being arrogant. Steve Lake could verify that things are a little different when he spoke with Freddie about some particular topics: homosexuality, fascism and the smoldering rivalry within Queen.
ME/Sounds: In an interview the other day, Roger Taylor said that 'The Works' aims to "give Queen fans what they want". Do you think so too?
Mercury: "Well, we always try to give the fans what they want, but that's not all. He's been releasing Queen-style stuff for a long time. I keep asking myself, 'What are Queen known for?' Ok, 'Bohemian Rhapsody', but since then we've done a lot of different things, like 'Another One Bites The Dust'.
No, there was no basic theme in THE WORKS...it became very diverse as it contains songs written by all 4 of them (We called it 'THE WORKS' for that reason). There is no longer a basic theme in our products...it was there until 'A DAY AT THE RACES' and ' A NIGHT AT THE OPERA'".
ME/Sounds: Some time ago you entered the 'black' music market in America, with songs like 'Another One Bites The Dust'. Was it a surprise?
Mercury: "Absolutely. I think we would never have made it if we had tried to do it on purpose. John created the song.
Later I tried to purposely write for the 'black' market with 'Hot Space', but it didn't go so well. That's how it's done, but I don't think there is a 'black market'. You make a song and it has to be done right or it doesn't work. You have to take things as they come."
ME/Sounds: When you tried to enter the disco market, did you listen to the group 'Chic' and other groups of that genre?
Mercury: "No, at the time I was only listening to soul singers from the past. I've always liked Aretha Franklin and Marvin Gaye. Since then, of course, I've focused on my performance with Michael Jackson…I love this kind of music. I don't write harmonic complexes anymore...I like the pure funky black genre. I think it brings out my voice better. For the past eight years, I've always tried to get my voice through all those guitars."
ME/Sounds: In the meantime you've been working with Michael Jackson, right?
Mercury: "Yes. About one year ago. So far nothing has come of it as we are both very busy...we have 3 unfinished songs. One of them is called 'Victory' - and he has now used this title for the new Jackson 5 album. I don't think the latter contains the song though..I sure hope not. I'm going to sue that asshole if he has to."
ME/Sounds: Do you like working with other singers? When I asked Brian May about working with Bowie on Under Pressure...he vented a bit.
Mercury: "It's interesting that you ask. This sheds some light on the characters in question. David is a good friend of mine… Brian's comments are his business and they are perfectly fine. No, I get along with David. Sure, it's always like this when musicians have character...egos collide.
It has to be, because when you work with other people, you don't just follow your own rules.
The creation of 'Under Pressure' happened by accident and that's why it went so well. David and I are people who get bored quickly; we like spontaneous things. I just think David and Brian have nothing in common – they can only talk about music."
ME/Sounds: It sure seems like there are more personality types in Queen than other bands. If you look at the interviews given by different members of the group at the same time, you can see that quite often the points of view are diametrically opposed.
Mercury: "Yeah, I think it's due to the fact that the 4 of us are writing songs. From day one there is competition within the band. I think that's a good thing. Also...it's obvious we have incredible egos! There are no less important people...everyone plays a leading role in the group. However, usually four different opinions are obtained even when discussing the same subject. We address our differences quite openly and when I say something, and someone doesn't like it – it's bullshit."
ME/Sounds: Ok, an article was written the other day about Queen in Los Angeles...it was about a party at Capitol Records, where 'THE WORKS' was played for the first time. Brian May was quoted as saying: 'I just thought what I was hearing was awful... I'm ashamed'.
Mercury: "Did Brian say that? (He laughed). He probably drank too many gin and tonics! I remember the playback in question being a raw mix and Brian being very angry...we are all very picky. We played 4 tracks, so that the record company could get an idea of what the record would be like (the tracks were far from finished), and then we went back to Munich to finish the record. At that point, half of the guitar solos weren't there yet."
ME/Sounds: You have always proudly pointed out that no synthesizers were used on Queen albums. Now of course you are using them.
Mercury: "This was when synthesizers first appeared, and they were used exclusively for guitars and orchestral sounds. In our case, all of the orchestral effects were created with Brian's very unique guitar playing. We told people they were just guitars...we just wanted them to realize how awesome Brian was. We've never had an absolute aversion to synthesizers."
ME/Sounds: Right now we're experiencing a return to the guitar...a whole new generation of guitar loving bands.
Mercury: "Yeah, for example I think 'Big Country' are good…but, honestly, I hate heavy metal bands. You see, heavy metal is a thing of the past; and the old bands were just the best at what they did. People love Led Zeppelin… I probably sound like an old man when I say this. Now, I prefer 'Culture Club'...it's a new type of music, a new form. Duran Duran are good. Eurythmics are wonderful".
ME/Sounds: Are lyrics very important to you?
Mercury: "Of course, but they are very difficult for me…I find the melodies much easier. Luckily, it's usually the melody that sells a song. I rarely find the words first…I usually have the whole structure before the text is finished".
ME/Sounds: For example, a song like 'Man On The Prowl', which says, "I'm gonna take a little ride on the wild side / Play the fool, driving in the fast lane" (Freddie squirmed a bit when the 'I've read.) Not comfortable with your lyrics?
Mercury: "No, it's not like that…look, for me lyrics are a form of escapism. I don't think I have the strength to write profound 'messages'. To me, a Queen song is just something you listen to and then throw away - like a 'Tempo' handkerchief. I go to the cinema and forget about my problems for an hour and a half... I don't want to change people's lives. John Lennon and Stevie Wonder could write songs, which had a message. But they lived off that too...you can be sure that when they sang a song about peace, they really believed it. I'm not like that. I like to write a good song with a good melody, that's all, and then I'll move on to the next one."
ME/Sounds: What do you think of new bands that present themselves with a blatantly gay or transsexual image? Bands like 'Dead Or Alive', 'Frankie Goes To Hollywood' , 'Culture Club' or like Marilyn.
Mercury: "Some pictures are good, some are bad. I really like Boy George. His role is damn hard; he's brave that he's doing it—and it's wonderful that he's working. And he also believes in what he does!
Okay…anyone can put on a lot of powder and cheeks, but Boy George doesn't just have an image – his songs are good too! The 'Culture Clubs' had success in America before anyone had even seen them. The image and the songs together are a monstrous combination. The shock element is basically positive. But for some it just doesn't work and it seems a bit ordinary…it depends on the person".
ME/Sounds: Do you have the feeling that Queen also played with this shock element?
Mercury: "Oh, I think so. We started with Roxy Music, in the middle of the Glam Rock era. There was the same situation as now... only the people change. Sure, Boy George is very brave, but he can also draw on our experience. When I started out, audiences were used to bands wearing jeans on stage. When they suddenly saw Freddie Mercury in a Zandra Rhodes guise, with black makeup and nail polish…it was absolutely outrageous. Boy George is more of an award for transvestites, but I'm sure he's a shocker."
ME/Sounds: Naturally, in England (especially in tabloids like 'The Sun'), the interest is mostly focused on the sex life of this flamboyant person…
Mercury: "Yes, I know. You're probably asking me about this story in The Sun that I'm allegedly gay. I sleep with whoever I want and when I want...the newspapers have always written what they want about Queen – let them! I sleep the same at night.
But that article was completely misrepresented…it was made up. What can I do about it? I should pull my hair and say, 'Oh my, do I really need to fix this?' The woman who wrote the article just wanted a crazy story from me, and she got nothing. I asked her, 'What do you want to hear? Am I dealing cocaine or what?' She simply wrote that I had admitted to being gay. I'm not dumb! I'm too smart for that."
ME/Sounds: I'm surprised the topic of your sexuality hasn't been addressed in an even more extreme way - if you take your stage image, band name and so on...
Mercury: "They've always put me in the gay 'category'. First they said I was bisexual, then that I looked like a hermaphrodite... they told me things that became good headlines. My sexual tastes are these: I do it with whoever I like. There are no labels (she sighed). My private life is private. I talk about just about everything, but the last thing in the world I would do is go to The Sun and say, 'I admit it...I'm gay.' It does not make sense. If that were the case, I would have done it years ago."
ME/Sounds: Cynically speaking, now is a good time to be gay…it's good for business.
Mercury: "It really is, isn't it? But the situation would be different for me, as I have been in the industry for 12 years. In this business, it's good to be gay (or anything else outrageous) if you're new. If you said that, people would say, 'Oh my, Freddie suddenly realized he's gay because it's trendy.'
This thing is not for me... I leave this kind of thing to people who need it. The only thing that matters to me is the music. When the music stops selling, I'll just stop."
ME/Sounds: Which brings us to the inevitable question about the lifespan of a band: Does there come a time when you can't stand on stage anymore?
Mercury: "The record is an important clue…it doesn't matter what the press says. But if you don't sell the record, it's over. Right now concerts bore me... I want to do other things. I want to perform in places, I've never been before. We're thinking of going to South Africa...that's going to create political problems, but I don't give a damn. I make music for the people. We were one of the first groups to go to South America...a great experience! Two weeks after our visit, Britain was at war with Argentina. But that shouldn't affect a musician... music is for everyone.
I would like to go to Russia one day. We wanted to go there three or four years ago, but they looked at our album covers and said we were too particular and would ruin their youth. But I really don't want to perform in the same boring stadiums in North America...that's the worst thing that can happen. You can see that right now with a lot of bands that are past their peak, but are still going about it like all is well - let's say - playing Madison Square Garden. Two years ago they played there and sold out three times - this time they only play once...a blow to the ego!".
ME/Sounds: But do you still believe that public approval is a true criterion of musical quality?
Mercury: "Yes!!"
ME/Sounds: Really?
Mercury: "Absolutely. The only way to measure your success is to be number one".
ME/Sounds: So you can establish the extent of your success, but that says absolutely nothing about the real value of your music, does it?
Mercury: "Oooh...so much stupidity!!".
ME/Sounds: Stupid???
Mercury: "I know what you mean: that it's possible to be a wonderful unknown musician. So? What does it mean? The word 'talent' means that you know how to convince people! The word 'talent' means being in the right place at the right time. You have to know how to get to people. Talent is image".
ME/Sounds: But sometimes there are factors that get in the way. For example, you say you like 'black' music. If you're black, for example, you can't go on American TV...there's no right place and no right time.
Mercury: "You can add something to this ... the situation is different for Michael Jackson".
ME/Sounds: Michael Jackson had surgery to look whiter.
Mercury: "Oh, stop it! Don't overdo it, dear!"
ME/Sounds: Yeah, well, that's the truth. You can't deny the fact that there are some racist influences in the American pop world.
Mercury: "Of course there are, but they are not as extreme as you describe them. Michael Jackson knows that to get to number one in America, he has to target the record-buying segment of the public. The Black community alone isn't big enough to make songs hit."
ME/Sounds: I think it was Chairman Mao who said, "All art is politics."
Mercury: "Well, yeah, I'm sorry when politics get in the way, but ultimately you can't stop it. That's exactly what Elton said: that music and sports are the most influential ambassadors right now. Am I talking a lot of nonsense?"
ME/Sounds: I just remembered a 'Rolling Stone' article about Queen in Argentina, which described Queen as the 'first truly fascist rock band'. Does it mean anything to you?
Mercury: "Oh dear, oh dear no... All right, explain it to me. What does it mean?"
ME/Sounds: I don't know what to tell you.
Mercury: "Reporters from all over the world came to Argentina to see us play in these stadiums. In São Paulo, we played to 120,000 people one night and 130,000 people the next night. This was new to them and also to us - not like in North America. There was no organization. It could have been a totally uncontrollable mob, so they let the Death Squad handle security."
ME/Sounds: Death Squad
Mercury: "The very, very tough police, who kill people just because they drop a hat. They have come to protect us. We were also transported in armored vehicles, which are usually used for riots.
And when journalists look at that, it naturally becomes political. Music has nothing to do with it. Before going on stage, the whole army was in front, with bayonets. You never know...
In South America, things are completely different. They thought it could become a very, very political issue since there was such a large audience. They asked me not to sing 'Don't cry for me Argentina'. They were very concerned that I might turn the concert into a political rally."
ME/Sounds: How do you feel in the middle of a scene like this?
Mercury: "Oh, very, very strong. It feels very powerful. You realize you could start a riot with all these people. Someone else, with a different mentality, could really use this to their political advantage or disadvantage."
ME/Sounds: What do you get when you stand on stage with thousands of people screaming your name?
Mercury: "It's wonderful. Here comes the adrenaline ... an absolutely wonderful thing. You feel incredibly strong. But as far as I'm concerned, I'm completely absorbed in the music. I just want to guarantee a good performance and have fun. I don't suddenly think, "Now I have all the power, now I can DESTROY!'"…there is nothing destructive there. I'm too good a person for that."
ME/Sounds: Do you think you deserve all this admiration?
Mercury (laughs): "No, no. Honestly that kind of admiration embarrasses me. I don't want to sound modest... but sometimes it seems strange that all this is happening to me".
ME/Sounds: Well...what happens next
Mercury: "I'm working on a solo album…one of the most exciting things that's ever happened to me. I waited so long because I wanted to wait for the right moment. I didn't because I've always been very happy with the band, even if everyone thinks the opposite.
There's some competition within the band as everyone tries to get their songs into the album...that's the tension that keeps us together. The bickering and arguments are still going on, probably more than ever, but some strange chemical reaction keeps us creative and makes us want to stick together. Perhaps this also happens because everyone has a different role in the band. Basically, we've always had solo careers within the band."
ME/Sounds: Hmm...I've heard rumors that John suddenly disappeared in Bali during the recording of the last album…
Mercury: "Yeah, he got bored and left. I think when you've been together for 12 or 13 years, he's always on the verge of losing his mind. We all have our moments and want to get away from it all for a while...".
ME/Sounds: How will your solo project differ from Queen's?
Mercury: "I think the main difference is that I start doing things, which I would never dare to do on a Queen album. On a Queen album, I wouldn't even dare play guitar because Brian is very good."
ME/Sounds: Will the music be less "baroque" than Queen's?
Mercury: "I know what you mean…you expressed yourself well. I'd say that the baroque image of Queen, in part, is going away...however this quality won't be present on my record. It has become more 'black'".
ME/Sounds: How important is producer/engineer Mack in this project?
Mercury: "He is very important to me ... he was fundamental to the albums with Queen and also to my project. We learned to work together very instinctively. I work very fast because I get bored easily... I lose interest very quickly. So Mack has to do everything very quickly to avoid problems. I lose my inspiration when I wait for an engineer to make a sound."
ME/Sounds: You say you like to work fast, but the story is different if you look at the recording dates of Queen albums. For example, it took six months to finish the album 'THE WORKS'...it doesn't seem that much 'fast'.
Mercury: "Yes. Haha, great. See, you're talking about four members again. Oooh, I'm gonna get in trouble. Listen, I make my songs much faster than others. Brian likes to take it easy. I prefer to try some ideas, and – (he clapped his hands) – then we have to decide! Brian can work on the same song for a year. I go into the studio every day and start a new song from scratch, and when the day is done I haven't completely finished it, but I have a sense of the overall structure. This is the goal I have set for myself right now".
ME/Sounds: You mean it comes without having prepared the music or lyrics?
Mercury: "Yes. Every day I create a song on the spot... I spend a day putting it together and eventually I throw it away if it's not good. But so far, with this method, I already have four or five pieces that could be really good. In this solo album I want all possible hits...that's my wish".
ME/Sounds: Think you're overpaid for your work?
Mercury: "Well, you can make a lot of money in this game. No, I work hard for the money. No one gave me anything... it wasn't served to me on a silver platter... I worked for it. I don't want anything as a gift."
ME/Sounds: Why has there never been a good relationship between Queen and the press?
Mercury: "This all started in the very early days when we were actually fighting them. I got to the point where every night I said: "the press go to hell". They noticed, of course — and that's how it happened. I think in the beginning of a career, the press is very important. But after that, if you're able to fend for yourself, it's the audience that counts. I'm serious.
Right now I wish there were no releases, because the songs speak for themselves. But once you've benefited from the latter, there's no going back. But overall, I have nothing against music critics. That's why I never give interviews. Why am I talking to you?"
Steve Lake
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