The line up consisted of;
"Discovered" by American A&R man Doug Mews of Mercury Records who was specifically looking for a "London" type sound, Conviction recorded an album's worth of material at De Lane Lea studio for an American market release. The album entitled Earth, (a spooky coincidence!), was never released, but was pressed up as an acetate, of which only vocalist Ian Harris' solitary copy survives. Because of the appearance of Alan Parsons, the disc is extremely valuable.
August 1970. After the departure of Roger Taylor's personal friend, Mike Grose, Queen require the services of a new bassist. Barry learns of the vacancy through Roger Crossley a mutual friend of Roger Taylor. Barry telephoned Roger Taylor who arranged an audition at Imperial College. Regardless of what has been written before, Barry (like Roger and John) brought a degree of professionalism and stability to the fledgling group. He was not a novice like his predecessor Grose, but a hardened seasoned professional, who had live (and more importantly studio) experience. At this time, although Faroukh Bulsara provided the glamour and panache, studio-wise he was very much the apprentice.
This new Queen line-up practiced a variety of material. Covers of Hendrix's "Electric Lady" and "Voodoo Chile", Shirley Bassey's "Big Spender", and Cliff Richard's "Batchelor Boy". Live sets consisted of material later to resurface on the debut Queen albums, such as the old Wreckage number "Stone Cold Crazy", and the old Smile version of "See What A Fool I've Been". Particularly popular was the Elvis Presley "Jailhouse Rock", and Little Richard "Bama Lama Bama Loo" encores.
Barry Mitchell left the band on January 10 1971 for personal reasons. The split was amicable and on very good terms. In fact Barry was persuaded by the rest of the band to stay on, but he would not change his mind.
He left because he wanted to settle down and get married. Also, he could not afford his rock and roll lifesyle. If that sounds just a little too romantic, he also confessess to being impatient and in his own words; "Queen were an excellent band, but we were going nowhere fast". In essence, he wanted bigger things, sooner.
Queen would go through another bass player, Doug Bogie, before John Deacon would complete the finalised line-up circa February 1971.
Once Queen had established a reputation as a solid live band (but before the big break) in another twist of rock 'n roll irony, Mitchell was head-hunted to be part of a manufactured pop band to be lead by the re-invented 1960's pop failure Paul Gadd. The singer? Gary Glitter. The band? - The Glitter Band.
Mitchell declined the invitation, this time because he had just settled into a new job, home and lifestyle, and saw no reason for swapping his new found security for the uncertainities of Rock 'n Roll. (At this time a musician was paid around £10.00 per week, and success was neither guaranteed or permanent)
Mitchell has never been bitter or resentful of his former colleagues success, and remains philosophical. He would not trade his lifetime of love and joy, for Freddie's life of isolation and fame, defining in "spiritual" terms the meaning of life. As far as he is concerned, happiness is the heart of success, and he firmly clings to the belief that he was the most successful member of all, and has no regrets.
After an abscence from the music business for over twenty years, Barry has finally decided to tread those boards once again for a local pub band called Jayne Radio.
The line up is;