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Michael by Michael
1 April 2025
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Brian May Explains Why Queen Blocked a โ€˜Gangster Rapโ€™ Artist From Sampling Them ๐Ÿค˜๐ŸŽค๐Ÿ‘‘

Intro โ€“ Guarding the Riff Kingdom ๐ŸŽธ๐Ÿฆ

Queen arenโ€™t just a band โ€“ theyโ€™re a religion, a way of life, a force of nature thatโ€™s been thundering across the globe since the early โ€™70s. From the operatic chaos of Bohemian Rhapsody to the stadium-shaking stomp of We Will Rock You, their songs are stitched into the very fabric of rock history.

But hereโ€™s the thing: with great riffs comes great responsibility. And when it comes to protecting those songs, Brian May is less โ€œgentle scientist with a PhD in astrophysicsโ€ and more โ€œguitar-wielding Gandalf shouting YOU SHALL NOT PASS.โ€ ๐Ÿง™โ€โ™‚๏ธ๐ŸŽธ

Thatโ€™s exactly what happened when a certain โ€œgangster rapโ€ artist came knocking, hoping to sample Queen. May and the band listened, thought about it, and then slammed the door harder than a Cardiff pub landlord calling last orders. ๐Ÿšช๐Ÿบ

So why did Queen block the track? Was it about respect? Legacy? Or just the fact that Freddie Mercury wouldโ€™ve hated it? Letโ€™s riff through the whole sagaโ€ฆ


Chapter 1 โ€“ The Legacy of Queen: Too Sacred to Mess With? ๐Ÿ‘‘๐ŸŽถ

Queenโ€™s back catalogue is one of the most valuable in the world. Seriously โ€“ these songs are basically musical crown jewels.

  • Bohemian Rhapsody has been streamed over 2 billion times on Spotify.
  • We Will Rock You and We Are the Champions are sports anthems known on every continent.
  • Even B-sides have cult followings, with fans tattooing obscure lyrics on themselves like battle scars.

So when anyone wants to borrow a riff, a chorus, or even a tiny drumbeat, theyโ€™ve got to go through the bandโ€™s gatekeepers. And Brian May? Heโ€™s not just a guitarist โ€“ heโ€™s the chief guardian of Freddie Mercuryโ€™s legacy.


Chapter 2 โ€“ Brian May Spills the Tea โ˜•๐ŸŽค

Brian May recently explained the situation in an interview, saying:

โ€œWe donโ€™t just say yes because itโ€™s fashionable or because it might make money. If it doesnโ€™t feel right, we wonโ€™t do it. This particular track was not something Freddie would have been comfortable with, so we said no.โ€

Bang. Straight from the curly-haired wizard himself. Itโ€™s not about snobbery or hating on hip hop. Itโ€™s about Queenโ€™s instinct for authenticity.

According to May, the โ€œgangster rapโ€ track in question wouldโ€™ve warped Queenโ€™s original song into something totally unrecognisable. The band feared it would cheapen the legacy, so they nixed it.


Chapter 3 โ€“ Sampling Queen: A History of Hits and Misses ๐ŸŽถ

This isnโ€™t the first time Queenโ€™s riffs have been lifted, borrowed, or cheekily stolen. Letโ€™s take a quick tour through Queenโ€™s sampling history:

๐ŸŽต Vanilla Ice โ€“ Ice Ice Baby (1990)

Ah yes. The infamous โ€œUnder Pressureโ€ debacle. Vanilla Ice insisted the bassline wasnโ€™t stolen because he added โ€œone little note.โ€ Spoiler: it was absolutely stolen. The band sued, got their credit, and Ice was left looking like a Poundland Freddie.

๐ŸŽต Wyclef Jean โ€“ Another One Bites the Dust Remix (1998)

This one got Queenโ€™s blessing. Wyclef reworked the classic with a hip hop flavour for the Small Soldiers soundtrack, and the band were cool with it. Why? Because it kept the spirit intact.

๐ŸŽต Kanye West โ€“ Champion (2007)

Kanye sampled We Are the Champions live with Queenโ€™s blessing at the 2007 Brit Awards. The collab was explosive, mixing rock grandeur with hip hop bravado. This was Queen saying: if you respect the riff, weโ€™ll play ball.

๐ŸŽต Five โ€“ We Will Rock You (2000)

Okay, not a sample but a full collab. Queen literally re-recorded their anthem with the boyband Five. Yes, itโ€™s cheesy. Yes, it charted. And yes, Brian May looked like he regretted it halfway through.

Moral of the story? Sometimes it works, sometimes itโ€™s chaos.


Chapter 4 โ€“ Rock vs Rap: The Sampling Culture Clash โšก๐ŸŽค๐ŸŽธ

Letโ€™s be real: rock and rap have been side-eyeing each other for decades.

  • Rock says: โ€œWrite your own riffs, mun!โ€ ๐ŸŽธ
  • Rap says: โ€œSampling is art, and weโ€™re paying homage.โ€ ๐ŸŽค

Both sides are right in their own way. Sampling in hip hop isnโ€™t laziness โ€“ itโ€™s about layering history, remixing the past, and building something new. But to rock purists, hearing a sacred riff turned into background noise for lyrics about guns, money, or bling feels like sacrilege.

Queen sit right at the heart of this culture clash. Theyโ€™ve collaborated with rap artists before, but they draw the line at anything that feels disrespectful.


Chapter 5 โ€“ Why Freddie Mercuryโ€™s Spirit Still Guides the Decisions ๐Ÿ•บโœจ

Every decision Queen make these days comes with one big question: Would Freddie have liked this?

Freddie Mercury was bold, flamboyant, and fearless โ€“ but he also had impeccable taste. He didnโ€™t just throw himself at every trend. He picked what worked.

Brian Mayโ€™s comment โ€“ โ€œFreddie wouldnโ€™t have been comfortableโ€ โ€“ says it all. If the late, great frontman wouldโ€™ve cringed, the band wonโ€™t do it.


Chapter 6 โ€“ Fans React: Tribute or Rip-Off? ๐Ÿ’ฌ๐Ÿ”ฅ

The fanbase is split on these things. When Queen block a track, some fans cheer:

  • โ€œTidy! Protect the riffs at all costs.โ€
  • โ€œNot everything has to be sampled into oblivion.โ€
  • โ€œFreddie would haunt them if they allowed that.โ€ ๐Ÿ‘ป

Others argue Queen should be more open:

  • โ€œMusic evolves. Let rappers reinterpret.โ€
  • โ€œSampling introduces Queen to younger audiences.โ€
  • โ€œUnder Pressure x Ice Ice Baby was iconic whether you like it or not.โ€

Itโ€™s the eternal debate โ€“ where do you draw the line between homage and rip-off?


Chapter 7 โ€“ The Value of Saying No ๐Ÿ’ท๐Ÿšซ

Hereโ€™s the kicker: Queen donโ€™t need the money. Their catalogue earns millions every year from radio, streaming, film, TV, and ads.

Theyโ€™ve turned down adverts, political campaigns, and collabs before โ€“ because the music is more valuable untouched than exploited.

Brian May summed it up perfectly: itโ€™s about integrity. Sure, a โ€œgangster rapโ€ Queen track mightโ€™ve raked in some cash, but whatโ€™s money compared to guarding the legacy of one of rockโ€™s greatest bands?


Chapter 8 โ€“ The Riff Report Verdict ๐Ÿค˜๐Ÿ“ฐ

So where do we stand on this, mun? Honestly โ€“ fair play to Brian May. Queen have been sampled respectfully, and it can be lush when done right (Wyclefโ€™s remix still slaps). But if a track crosses the line into mockery or feels totally off-brand, saying no is the most rock โ€™nโ€™ roll move possible.

Because hereโ€™s the truth: Queenโ€™s music isnโ€™t just background noise. Itโ€™s cultural thunder. And thunder shouldnโ€™t be chopped up and auto-tuned into something Freddie wouldโ€™ve despised.


Final Riff โ€“ Guarding the Throne ๐Ÿ‘‘๐ŸŽธ

At the end of the day, this isnโ€™t about genre wars. Itโ€™s about respect. Queen arenโ€™t anti-rap, anti-sampling, or anti-fun. Theyโ€™re just fiercely protective of their riffs โ€“ and honestly, who can blame them?

Brian Mayโ€™s decision shows us that even in 2025, Queen are still leading by example. They remind us that music isnโ€™t just about charts or streams โ€“ itโ€™s about honour, passion, and leaving behind something timeless.

So next time you hear a cheeky sample, just imagine Brian May at the gates of rock โ€™nโ€™ roll heaven, Red Special in hand, making sure no one messes with Freddieโ€™s legacy.

And if you donโ€™t like it? Well, in the immortal words of Freddie himself: โ€œI want to break freeโ€ฆโ€

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Michael

Michael

๐ŸŽธ About Michael Michael is the founder, editor and chief riff wrangler of The Riff Report, an independent Welsh rock, metal and alternative music publication built by fans, for fans. A lifelong rock and metal fan, Michael has spent years immersed in the music, culture and community that surround the heavier side of life. From discovering new bands and digging through classic albums to standing in muddy festival fields, squeezing into packed venues and spending far too much time near the front of a stage, music has always been much more than background noise โ€” it is a massive part of who he is. That passion eventually became The Riff Report, a publication created to celebrate the bands, artists, venues, festivals, photographers, promoters and fans who keep the rock and metal world turning. Michael spends much of the year covering gigs, festivals, tours, album releases, new singles, interviews and music news, with a camera never too far away and a press pass usually hanging somewhere around his neck. Whether it is a huge arena show, a major outdoor festival or a tiny grassroots venue packed with people discovering their new favourite band, he believes every part of the scene has stories worth telling. For Michael, one of the biggest joys of music journalism is being able to shine a light on artists at every level. The Riff Report is just as interested in the hungry independent band playing to 50 people as it is in the global act headlining to 50,000. Supporting unsigned, independent and grassroots musicians is a huge part of the publicationโ€™s identity, because every legendary band started somewhere. Sometimes the next big thing is not on a massive billboard or a major-label playlist โ€” sometimes they are crammed onto a tiny stage in a pub, plugging in their own gear and hoping somebody in the room remembers their name. Michael wants The Riff Report to be one of the places that remembers.

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