Brian May Recalls Early ‘Unnerving’ Moments With Freddie Mercury

Brian May recalled Queen’s difficult early days, when many people took a dislike to Freddie Mercury – and the singer took a dislike to his own voice.

In a recent Q&A session (video below) the guitarist admitted the band had wondered if it might have been a mistake to tie up with the future star in 1970.

“When we first worked with him, it was a little unnerving,” May said. “Because he did a lot of running around the place and screaming his head off. So we thought, ‘Is this going work?’”

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He continued: “And not everybody liked him, I’ve got to say. A lot of people found him kind of abrasive – but they all thought he was interesting and entertaining. At that point, though, he wasn’t the singer that we all got to know as Freddie Mercury.”

That started to happen during Queen’s first demo sessions in 1971. “We went into the studio, and… as soon as Freddie heard his voice coming back, he went, ‘Oh, I don’t like it. I’m gonna do that again.’

“And he would go back and back and back, until he got it the way he wanted it. So he became, instantly, very aware of what he sounded like, and incredibly quickly fashioned himself into the singer he wanted to be.”

May pointed out that he was simplifying those events, which took place over “quite a long time.” He added: “It probably went on for ever. Every time we were going to make a new album, Freddie would push himself further.

“He would hear himself come back, and he would say, ‘No, I want to do better, longer, more passion, more –’ whatever it was… He was always looking for new textures, and looking to get more out of himself.”

How Queen Pushed Each Other in the Studio

He noted that the other members of Queen had been part of Mercury’s process. “We did help,” he confirmed. “Every time one of us [were] in the studio, the rest of us [were] in the control room. So a lot of the time, I’m sitting… and Freddie’s doing a vocal, and he goes, ‘How’s that?’

“And I go, ‘Well, we kinda like that bit but we didn’t like…’ So we helped him to build what works. And the same the other way round; I’d be doing a guitar solo and so often Freddie was there, going, ‘Well, that’s alright, but…’ We’d be pushing each other the whole time.”

Brian May Q&A Session

The Beatles, 'Abracadabra' - Now Known as 'Revolver'

The Beatles played the name game before. Their second movie, 'Help!,' was called 'Eight Arms to Hold You' almost until the very last minute. Their revolutionary follow-up to 'Rubber Soul' was originally titled 'Abracadabra,' but after they found out that another band had named their album that, they kicked around a bunch of ideas – including 'Four Sides of the Eternal Triangle,' 'Magic Circles' and 'Beatles on Safari' – before settling on 'Revolver,' which all four members liked because of the word's double meaning.

Fleetwood Mac, ‘Yesterday’s Gone’ - Now Known as 'Rumours'

The drama going on behind the scenes of Fleetwood Mac’s 11th studio album was like something out of a soap opera. Bandmates John and Christine McVie divorced after eight years of marriage. Singer Stevie Nicks and guitarist Lindsey Buckingham had broken up. Drummer Mick Fleetwood discovered that his wife was having an affair, and he launched into one of his own with Nicks. All of this, plus the constant pressure of tabloid media, led for an incredibly unhealthy emotional environment. Somehow, the band were able to set their own respective baggage aside to record one of the best-selling albums of all time. Given all of the dramatics, it’s hard to imagine any name fitting the release batter than ‘Rumours.’ Still, ‘Yesterday’s Gone,’ taken from the chorus to "Don’t Stop," was long considered for the album’s title.

David Bowie, 'Shilling the Rubes,' etc. - Now Known as 'Young Americans'

Having already wowed fans with his pop and glam-rock prowess, David Bowie decided to try another musical style. In late 1974, the singer went to Philadelphia to record an album based on soul and R&B influences. Over the course of two weeks, Bowie laid down the foundation of his ninth studio album with producer Tony Visconti and various funk musicians. The working title of the project was 'Shilling the Rubes,' taken from an unreleased song from the sessions. ‘Fascination’ and ‘Somebody Up There Likes Me,’ two songs that did make the final album, were also considered as possible titles. After toying with even more names, including ‘One Damned Song’ and ‘The Gouster,’ Bowie finally decided to make the album’s first track its namesake.

Rolling Stones, 'Automatic Changer' - Now Known as 'Let It Bleed'

The artwork for this 1969 Rolling Stones release, featuring a record-changer delicately balancing a film canister, clock dial, pizza, motorcycle tire and cake, was based on its original title, ‘Automatic Changer.’ Keith Richards eventually suggested the name change, thinking it wiser to go with a track title from the album. Still, the band liked the already-created cover image so much, they decided to keep it. Frankly, when your track listing features all-time great songs like “You Can’t Always Get What You Want,” “Gimme Shelter” and “Midnight Rambler,” the album title is of little consequence. No matter what it was called, this Stones LP was destined for greatness.

Tom Petty and the Heartbreakers, ‘Terminal Romance’ - Now Known as ‘You’re Gonna Get It!’

After initially piquing interest with their 1976 eponymous debut album, Tom Petty and the Heartbreakers returned to the studio to record their sophomore release. Petty admitted to 'Rolling Stone' that the band’s rise in fame had resulted in “a real rocky romance year.” Thus, the title for the second album was slated to be ‘Terminal Romance.’ At the last minute, the group decided to change the name to ‘You’re Gonna Get It!’ Petty notified their record label of the decision by anonymously mailing them pieces of paper scrawled with the words “You’re Gonna Get It!” The label, interpreting the notes as a threat, contacted the FBI and asked them to investigate. Days later, the band revealed what had happened.

Led Zeppelin, 'Obelisk' - Now Known as 'Presence'

Led Zeppelin's seventh album didn't have a title during its initial recording sessions in Los Angeles. When the band called an audible and fled to Germany to finish the release, Jimmy Page began calling it 'The Munich LP.' Strapped for time, the guitarist put in all-night sessions to get the album done. It was finally finished on Nov. 27, 1975. Robert Plant suggested calling the LP 'Thanksgiving,' given that it was completed a day before the American holiday. The album’s cover art spawned a new title option. The concept was designed by Hipgnosis, the London art group responsible for some of the '70s' most iconic LP covers. A black object, which recalled '2001: A Space Odyssey''s famous monolith, was at the center of the project, so the album was originally titled 'Obelisk,' based on the shape of the mysterious item. The title was later changed when it was suggested that the band's force emitted some sort of unexplainable presence.

The Beatles, ‘A Doll’s House’ - Now Known as ‘The Beatles’

Technically, the Beatles’ 1968 double album is a self-titled release, but society at large is happy calling it the White Album. The track listing is staggering, as “Back in the U.S.S.R.,” “Dear Prudence,” Happiness is a Warm Gun,” “Helter Skelter” and “Blackbird” sit among many standout tracks. The album was originally titled ‘A Doll’s House,’ and playwright and artist John Patrick Byrne was commissioned to create the album’s artwork. When the Beatles discovered that English prog-rock group Family had released the similarly titled ‘Music in a Doll's House,’ they scrapped the cover art and title ideas, pivoting to a clean, minimalist white look instead.

Pink Floyd, 'Eclipse' - Now Known as 'The Dark Side of the Moon'

Pink Floyd's 1973 classic went through various name changes before settling on 'The Dark Side of the Moon.' The band played a series of shows in 1972 that included full performances of their upcoming LP. At first, the band referred to the record as 'Dark Side of the Moon: A Piece for Assorted Lunatics' before changing it to 'Eclipse,' which stuck for most of the year. As release date approached, the band went back to the original lengthy title, eventually shortening it to the one we all know today.

Metallica, ‘Metal Up Your Ass’ - Now Known as ‘Kill ’Em All’

Metallica knew they wanted their debut album title to reflect the band's unique attitude, while also grabbing people’s attention. They initially settled on ‘Metal Up Your Ass,’ a name they'd originally used for a 1982 demo of live material. "We were gonna have a hand coming through a toilet bowl, holding a machete, dripping with blood," Lars Ulrich later explained. "And the toilet had barbed wire around it. That would've gotten everyone squirming uncomfortably." People did squirm – but they were the wrong people. "Our record label told us that record distributors in America had strongly objected to the title and the planned sleeve. And we ran the real risk of not having our product stocked," Ulrich added. "That wouldn't have helped us at all." Upset that the title would have to be changed, bassist Cliff Burton vented his frustration. “You know what? Fuck those fuckers, man, those fucking record outlet people. We should just kill 'em all!" With that, a new title was born.

Bon Jovi, ‘Sons of Beaches’ - Now Known as ‘New Jersey’

Bon Jovi’s 1986 album ‘Slippery When Wet’ was a massive worldwide sensation. The LP rocketed the band to superstardom, while its ensuing tour sold out stadiums packed with fans. The band were determined to record more material quickly, in an effort to prove that their new-found notoriety was not a fluke. In late 1987, they began working on demos for Bon Jovi's next album. The working title was ‘Sons of Beaches,’ a parody of their ‘Slippery When Wet’ effort. Bon Jovi later decided to name the LP after their home state.

Nirvana, ‘Sheep’ - Now Known as 'Nevermind'

After the underground success of Nirvana’s first album, ‘Bleach,’ Kurt Cobain could sense his band’s star was rising. His critical view of fame led to a tentative title for Nirvana’s second LP: ‘Sheep.’ To Cobain, this title reflected the mindless masses who would flock to buy the band’s release. The singer even gave ‘Sheep' an unofficial slogan: “Because you want to not; because everyone else is.” The title was changed to ‘Nevermind’ after Nirvana signed their major label record deal. In hindsight, bassist Krist Novoselic offered this straightforward explanation for the original title: “We were thinking about calling it 'Sheep' because we were so cynical.”

U2, 'The Two Americas' - Now Known as 'The Joshua Tree'

On their first four albums, U2 reached an international audience on the strength of their post-punk sound. For their fifth release, frontman Bono wanted to change directions. Bob Dylan and the Rolling Stones had introduced the U2 singer to blues, country and folk music. That, coupled with the romanticized version of the U.S. that he’d encountered while touring, made Bono want to create an “American”-sounding album. Lyrically, Bono was intrigued by the glamorized version of the county that was projected to the world, versus the salt-of-the-Earth version of the he’d seen while touring. Thus, the album’s initial title was ‘The Two Americas.’ When recording was completed, photographer Anton Corbijn decided to shoot the band throughout the Mojave Desert. During their several-day trek, Corbijn told the band about the large, twisting plants found throughout the desert called Joshua trees. Bono was impressed by the plant’s unique look, as well as its religious significance. The album title would soon be changed to ‘The Joshua Tree.’

David Bowie, ‘New Music Night and Day’ - Now Known As: 'Low'

In 1976, David Bowie was riding high on the success of “Fame” and “Golden Years.” He was also literally high, thanks to a serious cocaine habit. In an effort to get clean, the singer retreated to Berlin. There he would share an apartment with Iggy Pop while also developing an interest in the German music scene. As the singer began work on a new album, these influences seeped into his creative mind. The avant-garde release was originally called 'New Music Night and Day,’ a reflection of Bowie’s voyage from a personal dark place into light. The title was later changed to ‘Low.’

The Beatles, ‘Everest’ - Now Known as 'Abbey Road'

Despite being released before ‘Let it Be,’ the ‘Abbey Road’ recording sessions featured the final studio collaborations of all four Beatles. Throughout the process, the album was given the tentative title of ‘Everest,’ after a brand of cigarettes favored by engineer Geoff Emerick. At first, the band was enamored with the idea of flying to the Himalayas to snap the perfect cover photo. Then, reality set in. "It was around July, when it was very hot outside, that someone mentioned the possibility of the four of them taking a private plane over to the foothills of Mount Everest to shoot the cover photograph," assistant engineer John Kurlander remembered. "But as they became more enthusiastic to finish the LP, someone – I don't remember whom – suggested: 'Look, I can't be bothered to schlep all the way over to the Himalayas for a cover. Why don't we just go outside, take the photo there, call the LP 'Abbey Road' and have done with it?' That's my memory of why it became 'Abbey Road': because they couldn't be bothered to go to Tibet and get cold!"

Elton John, ‘Ol’ Pink Eyes is Back’ - Now Known as ‘Caribou’

The gigantic success of 1972's ‘Don’t Shoot Me, I’m Only the Piano Player’ and 1973's ‘Goodbye Yellow Brick Road’ launched Elton John into the upper stratosphere of stardom. Unfortunately, it also created immense pressure to continue churning out new material. As such, the 1974 follow-up project was recorded in only nine days. Though the album topped the charts and spawned the successful singles “The Bitch is Back” and “Don’t Let the Sun Go Down on Me,” it is often regarded as one of the his weakest efforts of his golden period. At one point, the title of the release was to be ‘Ol’ Pink Eyes Is Back,’ a take on the Frank Sinatra album, ‘Ol’ Blue Eyes Is Back.’ Instead, John named the LP after the Colorado-based studio where the songs were recorded.

The Who, 'The Deaf, Dumb & Blind Boy' - Now Known as 'Tommy'

Before the title of the Who's 1969 masterpiece was streamlined to reflect the name of the protagonist in Pete Townshend's ambitious rock opera, it was rather clumsily called 'The Deaf, Dumb & Blind Boy,' a near-literal reading of the narrative. The story itself follows the "amazing journey" of a kid who watches his MIA dad kill his mom's new boyfriend and then loses all of senses in the aftermath. The boy, Tommy, grows up to be a spiritual leader plus one hell of a pinball player.

The Rolling Stones, 'Tropical Disease' - Now Known as 'Exile on Main St.'

In 1971, the Rolling Stones were on the run from England's tax man, so they retreated to France, where they worked on their next album in the basement of the villa Keith Richards was renting. The sessions were pieced together as members boozed and drugged their days and nights away. With enough material in the can, the Stones readied a double-record set called 'Tropical Disease' for release in 1972. Somewhere in the haze, the LP was renamed 'Exile on Main St.'

The Beatles, ‘Get Back’ - Now Known as 'Let It Be'

By late 1968, tensions were growing within the Beatles. The recording sessions for the White Album, though fruitful, had led to infighting and arguments. Paul McCartney believed a back-to-basics approach would help reinvigorate his bandmates' passion. The Beatles returned to the studio focused on their next project, but the goodwill was short-lived. Despite their internal turmoil, the band recorded some remarkable material, including the would-be title track, “Get Back.” The Beatles’ initial artwork was supposed to be an updated version of the cover to their debut album, ‘Please Please Me.’ That image famously featured the band looking down the stairwell of EMI's headquarters in London. Though the updated picture was shot, it was shelved, along with the rest of the album, at the end of 1969. When the LP was released in 1970, it had a new name and cover. The original photo was eventually used for the 'Beatles 1967-70' compilation, commonly known as the Blue Album.

The Clash, ‘Last Testament’ - Now Known as ‘London Calling’

For their third studio effort, the Clash looked to expand their sound, adding rockabilly, jazz and hard rock sounds to their already established punk and reggae roots. The results would cement their place in rock and roll history. The Clash initially dubbed this double-LP 'The Last Testament,' but later decided to name the project after its opening track. A 2004 documentary DVD celebrating the 25th anniversary of ‘London Calling’ was later titled 'The Last Testament.'

Queen, ‘The Invisible Men’ - Now Known as ‘The Miracle’

Queen’s 1989 album ‘The Miracle’ got its title from the song of the same name. But another track almost earned the honor. Throughout the recording process, the working title for this project was ‘The Invisible Men,’after the LP's fifth song. Approximately three weeks before the album’s release, the band decided to change the name. ‘The Miracle’ went on to sell more than 5 million copies worldwide.

Elvis Costello, ‘Emotional Fascism’ - Now Known as ‘Armed Forces’

For his third album, Elvis Costello decided to shift stylistically away from his punk-inspired roots to a more new-wave influenced sound. He started with a title that referred to the personal and professional struggles he was facing at the time. “This album was originally to be called 'Emotional Fascism.' Two or three half-formed notions collided uneasily in that title, although I never would have admitted to having anything as self-conscious as a ‘theme’ running through the songs,” Costello said later. "Any patterns that have emerged did so as the record was completed or with the benefit of hindsight. … Some of the highly charged language may now seem a little naive; it is full of gimmicks and almost overpowers some songs with paradoxes and subverted clichés piling up into private and secret meanings. I was not quite 24 and thought I knew it all.”

Cheap Trick, ‘American Standard’ - Now Known as ‘Heaven Tonight’

Have you ever wondered why the members of Cheap Trick are standing in a bathroom in the artwork for their 1978 album 'Heaven Tonight?' The answer is simple. At the suggestion of their record label, the group planned to call their third LP 'American Standard.' The title came from a well-known manufacturer of plumbing fixtures. Eventually, the band deemed the album name insufficient, changing it to ‘Heaven Tonight.’ The album art, which had been shot prior to Cheap Trick’s decision, remained.

Nirvana, ‘I Hate Myself and I Want to Die’ - Now Known as 'In Utero'

Kurt Cobain was a notorious journaler, constantly writing letters, drawing doodles and scrawling short phrases in his notebooks. The Nirvana frontman had written the words “I hate myself and I want to die” in one of his journals sometime around 1992. Cobain used the phrase as a response whenever someone asked him how he was doing. When Nirvana began work on the follow-up to their massive, breakthrough album ‘Nevermind,’ Cobain suggested the dark phrase be the name of their next LP. It was bassist Krist Novoselic who convinced Cobain to change the title. The band eventually chose to call the album ‘In Utero,’ its name inspired by a poem written by Courtney Love.

Bob Dylan, 'Subterranean Homesick Blues' - Now Known as 'Bringing It All Back Home'

With its half-acoustic, half-electric arrangement, Bob Dylan’s fifth studio album represented a stylistic evolution for the vaunted singer-songwriter. The 1965 release was also a commercial success, peaking at No. 6 on the 'Billboard' chart, Dylan’s first LP to crack the Top 10 in the U.S. The album’s first track, “Subterranean Homesick Blues,” was also his first single to chart in America. It was earmarked to be the album’s title track before Dylan changed his mind. While the LP was called ‘Bringing it All Back Home’ in the U.S. and U.K., it kept the ‘Subterranean Homesick Blues’ title in several European countries.

Sex Pistols, ‘God Save the Sex Pistols’ - Now Known as 'Never Mind the Bollocks ... Here’s the Sex Pistols'

The Sex Pistols were already infamous before releasing their lone studio LP. The pioneering punk rockers had been banned from clubs, fired from two record labels and mired in controversy after swearing on television. They had planned on going with ‘God Save the Sex Pistols’ for the band's debut album, but changed it to 'Never Mind the Bollocks ... Here’s the Sex Pistols' on the suggestion of guitarist Steve Jones. The title caused uproar upon its release, with many in British society deeming the word “bollocks” profane. Some record stores refused to carry the record. Those who did were told by police to cover up the word. The case eventually went to court, where a judge determined that “bollocks” was not obscene. 'Never Mind the Bollocks ... Here’s the Sex Pistols' remains a pivotal album in punk rock history.

Talking Heads, ‘Melody Attack’ - Now Known as 'Remain In Light'

‘Remain in Light’ has been praised for its groundbreaking innovations, as the Talking Heads combined African influences with their own new-wave style to create a previously unheard blend. Throughout the recording process, the band referred to the album as ‘Melody Attack,’ a name which they had taken from a Japanese game show. Cover art was produced, featuring four warplanes flying over the Himalayas. Yet, as the LP took shape, the Talking Heads realized that the title did not fit their work in the way they had expected. They decided to change the album’s name to ‘Remain in Light.’ The warplane artwork was relegated to the back of the sleeve, with stylized portraits of the four band members replacing it on the front.

Kiss, ‘Who Dares Wins' - Now Known as ‘Crazy Nights’

The original name of Kiss' 14th studio album came from drummer Eric Carr, who had discovered the phrase by chance. "During a photo session, our wardrobe girl had this commando patch lying around with 'Who Dares Wins' on it,” the drummer recalled. “And I said, ‘Hey, what a great idea for an album title!’" Carr’s bandmates initially embraced the title, but when it came time to print, they decided they didn’t like to look of the name. The title was changed to ‘Crazy Nights,’ though ‘Who Dares Wins’ still appeared on some promotional material in Japan.

U2, '69,' 'Zoo Station,' etc. - Now Known as 'Achtung Baby'

The late '80s were especially momentous for U2. ‘The Joshua Tree’ earned the band massive critical and commercial success. Their 1988 film and album ‘Rattle and Hum’ was a financial windfall, but also led many critics to accuse U2 of becoming pretentious. Looking to break away from this label while also exploring new musical territory, the band chose the newly reunified Berlin to record their next LP. Throughout the process, several name ideas were bandied about. ‘Man’ would be a contrast in title to the group’s debut album, ‘Boy.’ ‘Cruise Down Main Street,’ would pay homage to the Rolling Stones' ‘Exile on Main St.,’ while also alluding to the Gulf War. Other titles considered included ‘69,’ ‘Zoo Station,’ ‘Adam’ and ‘Fear of Women.’ The band finally decided on ‘Achtung Baby,’ a phrase often uttered by their sound engineer Joe O'Herlihy, who was actually quoting Mel Brooks' film ‘The Producers.’

The Who, ‘Who2’ - Now Known as 'Endless Wire’

By 2005, it had been 24 years since the Who released an album of new material. During that time, bassist John Entwistle had died. His passing echoed the untimely death of drummer Keith Moon more than two decades prior. Most fans assumed the remaining band members were done making music. Even when rumors began to surface of Pete Townshend and Roger Daltrey collaborating, people openly questioned whether the duo could still call themselves the Who. These thoughts led Townshend to call the new album ‘Who2,’ likening it to the title of a movie sequel. As the material was coming together, the Who created a mini-opera called ‘Wire & Glass.’ This six-song set would inspire the album’s eventual title, ‘Endless Wire.’

Radiohead, 'The Gloaming', etc. - Now Known as 'Hail To The Thief'

Radiohead approached their sixth studio album quite differently than its predecessors. Rather than long, drawn-out studio sessions, much of the recording was done in a two-week span. Radiohead still infused electronic elements with their alt-rock sound, but they did so with computers played in the studio as if they were instruments. The result was a studio effort that maintained a uniquely “live” quality. From a lyrical standpoint, frontman Thom Yorke was consumed with the War on Terror and resurgence of right-wing politics, attributing his heightened sensitivity on these subjects to his then-new role as a father. The band struggled to decide on a title, and ‘Little Man Being Erased,’ ‘The Boney King of Nowhere’ and ‘Snakes and Ladders’ were all considered. (They appeared as alternative titles to tracks on the final release, as well.) Ultimately, Radiohead chose ‘Hail to the Thief,’ feeling it best reflected their general sense of unrest.

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