FC2ブログ

Queen BBC Radio 1 Interview 1977 part1-3

Queen BBC Radio 1 Interview 1977
Interviewer is DJ Tom Browne.
broadcast on December 24, and the second on December 26.





.



.
.
1977-12-24and26- Queen Interview with Tom Browne, 'News Of The World' album, BBC Radio 1

Tracks 10-30. Total length 40:32.
This interview was broadcast as two programmes, on 24 and 26 December 1977, and is divided into twenty one parts.
The interview was originally released in the '40 Years Of Queen' book, with initial pressings in 2011 incorrectly including the first part only (lasting 32:33; up to the middle of track 21), while subsequent issues included the full interview (lasting 61:44). The 'On Air' version is heavily edited, losing sections about favourite songs, Brian's background, record deals, stereo photography, legal issues, Roger's 'I Wanna Testify', and future plans.
'On Air' features three tracks from 'Queen' and 'Queen II', three tracks from 'Sheer Heart Attack', 'A Night At The Opera' and 'A Day At The Races' (with the book version adding one song from each) and two tracks from 'News Of The World' (with the book version adding a further two). The book version additionally features 'I Wanna Testify' by Roger, 'Heard It Through The Grapevine' by Marvin Gaye (John's favourite), 'You've Got A Friend' by Aretha Franklin (Freddie's favourite), 'Anyway Anyhow Anywhere' by The Who (Roger's favourite), and 'House Burning Down' by The Jimi Hendrix Experience and 'And Your Bird Can Sing' by The Beatles (Brian's favourites).
In most cases, the tracks differ between the two versions in terms of how they are edited, as the book version features cross-fades, whereas 'On Air' features the tracks fading out and then back in again.
Excerpts from the interview were also used in the 2013 Radio 2 programme 'Queen At The BBC'.
Track 10 Dialogue (3:09):
[Excerpt of 'Seven Seas Of Rhye...' from 'Queen']

---Queen Interview 1977 (Part 1)-----

Tom: Hello there, Radio 1 proudly presents in two programmes the members of Queen, talking about themselves and their music. Queen as they are now were formed in February 1971 and have become one of the most successful rock acts in the world, with over six major albums, and ten hit singles. Well, let me introduce you now to the members of Queen, first of all vocalist and piano player

Freddie: Freddie Mercury

Tom: On guitar, and arranging and writing

Brian: Brian May, I'm here

Tom: On drums

Roger: And occasional vocals, Roger Taylor here

Tom: Welcome Roger, and on bass and electric piano

John: Er, John Deacon

Tom: Right, together they've sold over forty million records worldwide, that's quite something. Now first of all, let me ask you, Freddie, how did it all begin

Freddie: Ahh, very sort of briefly, Brian and Roger they were in a sort of very up-tempo, raucous band called Smile, and I used to be in another band um, called Wreckage, or something

Roger: Even more up-tempo, with a name like Wreckage

Freddie: Even more up-tempo, and we used to be friends, I mean, you know, going to college together and sort of met up, and after sort of couple of years of knowing each other we just decided um, we'd form a band together really, as simple as that, we thought our musical ideas would um, blend, and then we met John, and decided to call the band Queen

Tom: Roger, can we go to the beginnings of the group, you and Freddie were working, or you had a stall right in the Kensington Market

Roger: Ah, yes, partners in crime (Tom: partners in crime), um, yes, it was really just a, it was more of a sort of social centre I think at the time, at the time that Queen were sort of in it's informative stages, we were going through all the traumas with trying to find somebody to manage us, and find a record company etc, we sort of slogged our way round, made some demo tapes, etc, through some friends, and then sort of hawked them round the business, as it was, and still is, eventually sort of securing ourself several companies who were interested, we then did a gig, I think it was at King's College, somewhere down in South London, and er, got a load of record companies along, and then we started to sort of er, try and wheel and deal a bit our way into sort of good recording situations

Tom: How long did it take you from the time that you'd made the demo to the time that you actually got a recording contract?

Roger: It felt like about eighty years I think

Brian: It was a long time, it was about two years

Roger: Yeah, it was about eighteen months, two years, yeah

Brian: There was a (Tom: Brian, this) a great, a great deal of, feeling of frustration at the time, the first album was really old songs by the time it came out, as far as we were concerned, and it put us in a strange position, because there were a lot of, we were sort of one of the groups who came along with a show and a sort of an idea of a complete production as a stage show and everything, which by the time the record came out and particularly by the time it got played by anyone and all this, and it took so long to get things going, it was all sounding like old news, you know, so people were inclined to tag us as the tail end of glitter rock or something
[Excerpt of 'Modern Times Rock 'n' Roll']
Track 11 Dialogue (1:08):
[Excerpt of 'Modern Times Rock 'n' Roll']

Roger: We've had a, a fairly um, fairly sour relationship with the music press as, as, as it's called in this country, um
Tom: You, you don't like the music press, I understand?

Roger: No, to be perfectly honest, no (laughter)

Freddie: But from the very sort of beginning, I think as far as the musical press are concerned, I mean they, they like, I mean even now they like to sort of, put sort of up and coming bands into a sort of particular bag for, for what they think, and I think we sort of just rebelled, I mean we wanted to sort of do what we thought was right and not sort of go along with what they were saying, and I think since the very early stages, we've, there's always been this sort of um, fracas between us and the press

Roger: Yes, it started from day one (Freddie: day one) with the release of our first album, plus the fact that before our, our first actual release, we were virtually totally unheard of, and then suddenly we were, not particularly famous, but heard of at least, and er, they always like to think they've got one up on you, and they always like to think that they've predicted something (Freddie: yes, true), you know, and there, all of a sudden there we were, and, and we were playing to quite a lot of people, and er, it took people rather by surprise I think
Track 12 Dialogue (1:49):

Tom: Was the style though, that you had created, was that thought out from the outset, or did it just evolve as time went by?

Brian: There were certain kind of ideals which we had in our heads, definitely, certain patterns that we wanted to try and live up to, and I think, to put it crudely, we started off thinking that we wanted to be a, a kind of heavy group, but with good melodies, and with good harmonies, and the other things grew out of that, and the first album was really just putting down what we did on stage at the time, it was quick into the studios and quick out, even at that time, lots of big ideas about what we could do in the studio if we were let loose for a, a proper time in the studio, um, but we saved all that up, up to 'Queen II', the second album. But a lot of the 'Queen II' stuff was written at the time we made the first album

Tom: OK, well let's take some music now from 'Queen I', the first track we're gonna play is in fact your first single, taken off 'Queen I', 'Keep Yourself Alive'
[Excerpt of 'Keep Yourself Alive']

Tom: 'Keep Yourself Alive', your first single. Brian, were you disappointed that this didn't do better?

Brian: Oh yes, yes, it's, it takes me back very vividly to the time actually, because this is just the time when we started, we did a few gigs on our own, some small gigs, and then went on the support tour with Mott The Hoople, and um, went round the whole country getting really good reactions and thinking 'yeah, we're really getting somewhere', and yet all the time we're watching the single and the album and nothing appeared anywhere in the charts, you know, and it just seemed like an impossible wall, we thought how is it done, you know, we couldn't get the single played on the radio, at all, hardly, well there was a couple of people that played but it didn't get any sort of er, er, power play, er, but there's no doubt that the beginning is the worst, you know, you have no track record, you have no reputation
Track 13 Dialogue (2:17): ('On Air' loses the dialogue in red)

Tom: John, can I come to you now, we haven't heard from you I'm sorry, you've got a degree in electronics, did this, er, mean that the group all came to you and asked you questions when they had complicated bits of machinery to look at?

John: Not particularly, um, I used to help a little out in the, in the, in the early days, you know, when we were, basically when we started out there was just the four of us and one guy, our roadie John Harris, who's been with us right from the beginning, and um, between me and him we used to do a lot in the early days, but now we have quite a, a larger crew of about twenty who look after it all for us

Tom: Well, being in a thirty two track studio, with all the marvellous space age electronics all around, do you find it difficult to sort of keep your hands off little buttons and saying 'what's this, what's that'?

John: Er, well we do, we all, I mean we all of us um, try to learn what the studio does, I mean, because it helps to get the sounds and the ideas and to do what you want, and we've all taken interest in what it is possible to do in a studio technically, you know, because I mean, I think if a musician doesn't understand that, it limits, you know, the ideas that they can actually put down on tape

Tom: Now, you were playing bass, er, first of all with Roger?


John: No, no, I um, basically I came down to London to university, and I was here for about two years, I wasn't playing at all. I used to play like, before I came to university, in sort of groups at school and things like that, and then I gave it up when I came down, and after I was here for about two years, I bumped into, I think it was Roger and Brian, somewhere, wasn't it (Roger: yeah, yeah, yeah) and I heard just socially, because they happened to be at different colleges around the same area in London, and I heard they were looking for a bass player, so I said I was interested, and um, went along for an audition really, and it happened like that. I think you'd been together for about six months previously, hadn't you?

Roger: I think longer, actually

John: Yeah

Roger: Oh, you mean Queen, yeah, Queen had (John: as Queen, actually with the name Queen, no, yes, yeah) yeah, going through about three bass players a week at the time (John: yeah), and er, we eventually found er, John

John: Yeah, and I seemed to fit in and, you know
Tom: Did you immediately agree on the kind of music you wanted to play?

John: Well, um, I don't know, I mean, they, they were already formed, them, I mean to me they had the, the, they had all the musical ideas then of what they were trying to do, and I just you know, I basically, you know just fitted in really, at that time

Brian: He's very modest

John: Yeah, well my development came later, it took me a few years to settle in

Tom: Well John, now it's, it's your personal choice, what, what would you like to play now?

John: Yes, I've chosen a track um, by Marvin Gaye, 'Heard It Through The Grapevine', er, I like a lot of these American sort of Tamla things, for the bass players, some of the bass players are very nice, (Freddie: Tamla things, I love it), you know (Roger: Stanley Clarke), and it's a nice atmospheric song

Tom: OK, here it is, Marvin Gaye, 'Heard It Through The Grapevine'
[Excerpt of 'Heard It Through The Grapevine']

Tom: John, you are a family man, am I right in
John: Er, sort of correct yes, I, yes (laughter) I have one little boy, yes

Tom: Yes, right, do, do you find it difficult touring in the States and being away from family

John: Um, it can be strain, yeah, um, you know, it's, I try and, um, you know, make the two work together, you know, which is, you know, which, which can be difficult, but I, I try, I try and fit it in

Tom: How does he react to daddy being a big star?

John: Well, I don't know, he can't talk yet (laughter)

Tom: How do you think he will react?

John: Mmm, I don't know, I'll see then. He's just starting to talk now actually, so I'll find out what he's been thinking

Roger: John is also the business brain of the group

Tom: He's the business brain?

John: I, I look after, I tend to look into that a bit, yes, and I

Tom: So, you're examining the contracts and er, checking on the returns and

John: Well, yeah, it's nice, it is, it is, especially when you get to, to the level we got to, I mean it's nice to know what's going on

Tom: Brian, you did a degree in physics and then er, (Brian: yes) you went on to do a PhD in astronomy

Brian: Yeah

Tom: What was the attraction of astronomy?

Brian: Something I'd always, always been interested in, I was as a kid I used to look at the stars and I, I built a telescope and things, and um, it was just something I thought, if I ever had the chance to be an astronomer, I would, I would give it a go, so I took a physics degree, and I, I mean when you're at school you don't really know what you're gonna do, I think, I think it's still true, you know, when you, when you come out of school you tend to do what you're, you're best at, and if, if you happen to be good at physics everyone tells you you should do physics, so I did that, and it happened to be a good thing to lead onto astronomy, um, so I did some research in astronomy after I got the degree, but at that time the group began to take off, and demand more and more time, so it just became impossible to er, to carry on with the studies really

Queen Interview 1977 (Part 2)

Tom: But I believe your PhD thesis in fact was practically completely written wasn't it?

Brian: Yes I did, I spent a long time on it, I also taught for a while at a comprehensive school to, to make the money to keep going, and did most of the writing up, um, but it's just for the, the sake of that last bit, and I, I seriously wonder whether it's ever gonna get done now, it's a shame

Tom: And what was the thesis on?

Brian: Um, interplanetary dust, the motion of, of dust between us and the sun

Freddie: Very cosmic

Tom: Cosmic yes, is there a lot of it? Is there a lot of it?


Brian: Yes there's a surprising amount of it actually, yes, you can in fact see it, if you're in the right place at the right time, in a very clear sky and a very dark sky, you can see a, you can see the dust as (Freddie: tell him about your Zodiacal light) as a, it's called a Zodiacal light, yes (Freddie: this is it, is it, well there you are) which is a sort of milky glow, which looks something like the milky way, but it's a cone of light which stretches up with the sun as a centre

Tom: Um, where did you observe from, because I'd have thought London sky at night was a bit murky?

Brian: Oh yes, I went to Tenerife, well I went to Italy first, in the Italian Alps, we had an observatory there, but that was plagued with bad weather, and we went to Tenerife, we set up an observatory in Tenerife, I actually organised a hut being built, which had our, well not actually a telescope but a spectroscope, which is what I used

Tom: Well let's have some more music, and what we have coming up is the 'Seven Seas Of Rhye'
[Excerpt of 'Seven Seas Of Rhye']
Track 14 Dialogue (2:49):

Tom: 'I Do Like To Be Beside The Seaside', well that was the er, single that broke you, the 'Seven Seas Of Rhye', that began it all. Um, Roger why was there a little bit of 'Seven Seas Of Rhye' on 'Queen I' and then repeated on 'Queen II'?

Roger: Well I think Freddie had half-written the song, and er, it was, we thought it was a nice sort of tail-out to the first album, with the, I think we had the idea of, of starting the second album with the song

Freddie: With the finished song, yes

Roger: With the finished song, yeah, so it would sort of lead in nicely, in fact we ended the second album with, with this song, um, and it had changed a little by then, and we released it as a single, because we thought it was fairly strong

Tom: Freddie, if I could come to you as the man what wrote it, the lyrics, what does it mean?

Freddie: Oh, God, you should never ask me that. They're basically um, my sort of lyrics are sort of basically for people's interpretations really, I mean I think it's, I've forgotten what they were all about

Tom: What were the 'Seven Seas Of Rhye'?

Freddie: It's really fictitious, I know it's like sort of bowing out or some easy way out, but that's basically what it is. It's, it's just um, a figment of your imagination

Tom: You have, you have a rather surrealistic approach, is that the right word, could I say to your lyrics?

Freddie: An imaginative approach yes, I suppose you could

Tom: Imaginative, yes, no but I mean it's a

Freddie: It's an easy way out

Tom: But there's, there's a

Freddie: It covers such a lot of area, it really depends on what kind of song really, I think um, I think at that time, I was, I was, um, learning about a lot of things about actual song structure and er, and as far as lyrics are concerned, they're very difficult as far as I'm concerned, I find them quite a task, and er, my strongest point is sort of like say melody content, and um, I basically sort of um, concentrate on that first, the melody, and the song structure, and then the lyrics come afterwards actually

Tom: Are you influenced by Salvador Dali?

Freddie: Not really, I sort of um, I admire him yes, he's sort of, it's not as um, involved as that, I don't sort of take things like paintings too literally, the only time I did do that was in a song called 'Fairy Feller's Masterstroke', where I actually sort of, was, I was thoroughly inspired by um, a painting by Richard Dadd, which is in the Tate gallery, and I thought that sort of, er, did a lot of research on it, and it sort of inspired me to write um, a song about the painting, depicting what I thought I saw in it

Tom: What did you discover in your research about this painting?

Freddie: Um, it's just because I mean I've come through art college and things like that, and I just, I basically liked the sort of artist, and I sort of liked the painting, and I thought I'd like to sort of write a song about it

Tom: Well, we're, we're gonna play this track, so um

Roger: Is it on, it's on 'Queen II'
[Excerpt of 'The Fairy Feller's Masterstroke']

Roger: It's one of our first major experiments in stereo I think
Track 15 Dialogue (3:55): ('On Air' loses the dialogue in red)

Tom: How do you sort out which songs are gonna go onto an album, because you all write, don't you?

Roger: Yes

Freddie: We row

Roger: Yeah

Brian: Argue

Roger: Yeah

Freddie: We do write individually, so I mean like we go our separate ways for, when the tour's over our whatever, and then we sort of have a teething period where we sort of get together and sort of play each other the new songs, and then what happens is a sort of, a very huge sifting process, where we sort of find out what songs

Roger: Like, 'no way am I gonna play that' or 'forget it'

Freddie: Things like that, and we sort of work in, also we, in indi-, as far as the individual song is concerned, and also what will go with, how the songs will sort of sound with each other, so it's basically sort of, looking in terms of an album, as opposed to just individual songs

Roger: Yeah, we, we try, we have tried in the past to provide a lot of variety on each album, and a lot of contrasts, and so we've had to sort of have a good cross section of material

Tom: Alright, well let's hear some of the heavy side of your music, 'The March Of The Black Queen' from 'Queen II'
[Excerpt of 'The March Of The Black Queen']

Tom: From 'Queen II', 'March Of The Black Queen'. Brian, you were going to say something about Queen

Brian: I, I thought it was a good idea to play that, because 'Queen II' is an album which in some ways is the root of all that happened thereafter I think, and if, if people haven't heard that before, I think you could hear that and think that that was something off the new album, really, it still sounds that fresh to me, and there are a lot of things that you can hear the, all the sort of texture work was there, and the intricate harmonies, the guitar harmonies and stuff, sort of the pre-cursor of 'Bohemian Rhapsody' in many ways, so I think that was a very important album for us, it was also the first one which came into the charts

Tom: How long did 'March Of The Black Queen' take you to record?

Freddie: Chunk

Roger: The tape went transparent (Brian: yes) genuinely (Brian: yeah)

Freddie: Those were, those were the days of sixteen track studios and I think, wasn't it, that was done in (Roger: yes, it was sixteen track), we have, you have now twenty four and thirty two track, but I mean as we did so many overdubs, I mean on sixteen track, it was like, we just kept piling it on and on, and it was like that's what Roger means that the tape went transparent, because it just couldn't take anymore. I think it snapped in about two places

Roger: It had gone over the heads so many times overdubbing, the oxide had worn off (laughter)

Brian: It was a big step for us, at the time certainly, because no-one was really doing that kind of thing in those days

Roger: We, in fact when this came out we were doing our own first headlining tour, after the er, after supporting Mott The Hoople, and er, gaining an enormous amount of live experience, and a large following really, for a relatively new band

Tom: Well then Roger, you went on to support Mott The Hoople in the States, right?

Roger: Yeah, it seemed the logical step, because it, it had worked so well, and we got on with them very well personally as well, which is, doesn't always happen on tours, you know, um, it's always good if the bands sort of touring together do get on well, and so we really took the logical step and went to America with them as well, and er, we did learn quite a lot off them, they're a really good live band

Brian: Excellent live band, yeah

Roger: We had a very good American tour, up to the point when Brian got hepatitis and er, collapsed and we had to come home, at which point things looked very black


Tom: Well then you did an extraordinary thing, having supported once in England and having supported once in the States, you then went to headline straight away in England, and then you went to headline straight away in the States

Roger: It was quite rare then, yeah, because we did go to sort of, playing the Rainbow by ourselves in, in one sort of step

Freddie: We did take a lot of risks actually, I think most of them paid off I think

Roger: Yeah, most of them

Tom: In the States, you got yourselves an American manager

Roger: Well, we already had him in fact, he was, he was taken on by, but it helped us for when we went to America, he was taken on by Trident, which is the company that, which we were signed to at the time, a sort of production deal, and er, I think he helped in, in many ways with our introduction to America, being a yank, you know (laughter) he's from California

Freddie: Basically I think we'd signed all the deals, I mean as, the recording deals and the publishing deals, so in effect we were signed to Trident and at a later stage Jack came in, Jack Nelson, who's the person we're talking about, came in to sort of look after the management side of things, so he was brought in at a later stage

Brian: Yeah (Tom: sure, Brian) to make it a little clear, when we, when we sign, when we came to the point of signing con, record contracts, there was a couple of, there were a few record companies who were interested, but instead of doing that we signed to a production company, and the deal is that you, you record for them, and they then do a deal with the record company, so you have a kind of middle-man, and Trident were this middle-man

Roger: At the time it seems a good idea because an established company, a fairly high power established company seems more able to deal with the fairly high powered record companies than, the mere novice (Brian: humble musicians) humble musicians

Freddie: Twenty pound a week musicians

Brian: There is a huge basic drawback in the fact that you, your manager is then your record company, and you don't have anyone who can represent you to the record company, so you have an impossible situation where it's basically the band against everyone else, and it generated friction in every department

Tom: Alright, well now we come onto your third album, 'Sheer Heart Attack', and the biggest hit from that, which went to number two in November '74 was 'Killer Queen'
[Excerpt of 'Killer Queen']

---Queen Interview 1977 (Part 3)----

Tom: Was this written about a, a lovely lady of your acquaintance then?

Freddie: No, another fictitious person

Tom: I mean, there's wonderful lyrics in this, 'dynamite with a laser beam, guaranteed to blow your mind', 'gunpowder, gelatine', I mean marvellous stuff. But, we, we, we're not gonna get any clues, to this, this, this (laughter) society

Freddie: I think if I was to sort of analyse, analyse every verse, it would be very boring for the listeners, and it might sort of shatter a few illusions (Tom: oh would it), I'd rather sort of kept it

Tom: It's one that sticks in the mind, so anyway, it's very obvious that you're a painstakingly thorough, very methodical group, I mean you're a perfectionist

Roger: God, that sounds really boring doesn't it?

Tom: No, but I mean I, I think it's much to be admired, the fact that you go into every facet of production, not only just the music, you know, you see it right down to the last dot, as we were talking about earlier

Brian: We always thought that was essential, not only in the production, but in, in every detail that we're, we're involved in
Roger: We learnt through hard experience really
Brian: Yeah, I mean right down to the last bit of print on the record cover and the way it's cut on the album which is crucial, right down to um, the way the tours are set up, everything, we try to keep control of, and it's not easy

Roger: Because when there's a lot of, there's so much money involved these days, I mean it's, it's, it's almost sordid to talk about the amounts of money but they are involved, and people are very clever and nothing corrupts like large sums of money, and um, so we do have to be very careful

Tom: Let's go on to another track from 'Sheer Heart Attack', it's 'Bring Back That Leroy Brown'
[Excerpt of 'Bring Back That Leroy Brown']

Tom: 'Bring Back That Leroy Brown' with a ukulele novelty from Brian May there
Track 16 Dialogue (1:37):

Tom: Er, Brian, what would you describe as this ukulele type music as, as barber shop ukulele, or George Formby, or?

Brian: The uku-, yeah, the ukulele in a way was incidental to that, because that was Freddie's song and um, it had this kind of Vaudeville atmosphere, and I just thought the ukulele would go nicely on it, and we sort of worked it so that it could be done, and I managed to fiddle a little ukulele solo (laughter)

Tom: You in fact learnt on a ukulele, right?

Brian: Yes, that was the first instrument I ever played, um, my father had a genuine George Formby ukulele, George Formby was the er, really the originator of that kind of style of playing, er, which is rhythmic and slightly melodic at the same time, because he plays across the top and bottom strings to make little melodies, and er, I'm really a pretty poor imitator of that style, but I got interested in it (All: ahhhh;
Roger: makes you sick, doesn't it) oh sorry (Roger: modesty)

Tom: And, and I believe your father also, er, was instrumental in, in making your first guitar?

Brian: Yes, my father and I made the, the guitar together, which is still the one I use all the time

Tom: What was it made out of?

Brian: Um, lumps of wood, and bits of pieces, it cost about eight pounds to make in the beginning

Tom: I, I read in a press biog or something it was saying about an armchair or a fireplace

Brian: A hundred year old fireplace, the legendary fireplace (laughter) yes it did (Freddie: the things that are coming out of that fireplace, quite staggering) yes that's the thing, the neck was made out of a, an old fireplace yes

Tom: My goodness, he must have been quite a craftsman

Brian: Well, we just worked at it for a couple of years, because I, I was at school, and it was evenings and weekends and things

Tom: I see, and that's still the one you play now?

Brian: Yes

Tom: Oh, terrific, well it must be worth a fortune in years to come, so

Brian: I don't know really, it's, it's really not worth very much to anyone except me, because everyone finds it difficult to play
Track 17 Dialogue (1:03):

Tom: Can we come now to your producer, Roy Thomas Baker?

Roger: Roy half-produced the first album, and er, and then he went on to come, become our full producer, and er, he, I think 'A Night At The Opera' was the last one, and we produced, co-produced it with him

Tom: Freddie, did you, did you select him, or did EMI provide him?

John: Well it was through Trident really (Brian: it was all through Trident, yeah) because in the early days, you know, the first album, um, and then we had, they stuck us with John Anthony didn't they, as well, who we didn't really get on with, so we gave him the elbow after one album, and then we did the second album with, you know, with Roy and Robin Cable

Roger: Yeah, Trident was quite a Mecca for, for producers at the time, because I remember sort of all the, Bowie's most successful stuff was done with Ken Scott there (Brian: yeah)

Tom: Let's have another track from 'Sheer Heart Attack', this is 'In The Lap Of The Gods'
[Excerpt of 'In The Lap Of The Gods']
Track 18 Dialogue (0:56):
[Excerpt of 'In The Lap Of The Gods']

Tom: 'In The Lap Of The Gods', The Beach Boys meet Wagner, or something like that anyway. Um, Freddie, er, was this a sort of pre-runner to, to 'Bohemian Rhapsody', it has that sort of operatic feel to it?

Freddie: I suppose it could be um, put across that way yes, I was sort of learning a lot in, on this, on 'Sheer Heart Attack' we were sort of doing a lot of things that um, was to come in future albums, or was to sort of be used on, on the future albums, and songs like that, yes I suppose um, working out the kind of harmonies and things and the song structure did help a lot in say, something like 'Bohemian Rhapsody', it's true. Somebody said this was like a Cecil B. DeMille um, meets Walt Disney, or something, which is the more to the point than say The Beach Boys

Tom: Wagner meets The Beach Boys, yes
Track 19 Dialogue (2:11):

Tom: Well like, talking about Cecil B. DeMille, can we come to your colossal stage productions with (Freddie: oh yes and our nice clothes) crowns appearing everywhere, thunder flashes all over the stage, and you leaping about, 'bringing ballet to the masses' I believe the quote was (Freddie: oh no, yes; Brian: ohhhh)

Freddie: Oh, I mean, if you're referring to sort of a certain article about all that, that's meant to be taken tongue in cheek, but I mean it's just that, at this point in time, that's something that interests me, and I'm just trying to incorporate it in the stage act, nothing more really, and um, it's basically to enhance the music we play, I mean if it was, if it wasn't working then I wouldn't do it, and it's also a phase that I'm going through, and um, I like the Nijinsky costume
Roger: The people who come to the shows seem to really enjoy them, because you must aim for maximum effect, which we do, I mean both aurally and visually, however some sort of people don't seem to like this, the so-called purists or whatever, and they think it's a techno-flash rock or something I've heard it called, but basically we're just trying to put over the music and the visual aspect as effectively as we can to as many people as we can

Tom: Do you carry your own lighting crew all over the world?

Roger: Yes

Tom: So it's the same one, that was at Earl's Court, that was in the States?

Roger: Yes, yes, it has to be, because the co-ordination, er, required is, is quite unbelievable

Brian: Yeah, and the same for the sound set up. The way we started off, we always had these big ideas, and we always thought that it should be a visual and a, a sound experience, it should be a complete thing that you can wallow in, you know, I think it comes from when we were kids, if we went to see a rock band, we wanted to be knocked out, we wanted to be blown away (Roger: yeah) you know and er (Roger: stunned) yeah, it, it's for that kind of thing, we think it should be a real event every time we play

Roger: People are paying money to come and see you so, I mean

Freddie: Yes, as far as we're concerned, we're putting on a show, it's not just, just us, just not another rendition of, of an album, we might, if that was the case, we might as well just have sort of cardboard cut-outs and just play the album, through, through the sort of system

Brian: I mean, this

Tom: Yeah, yeah right. Let's have some more music, the next one from 'Sheer Heart Attack' we're gonna play is 'Now I'm Here'
Roger: Call that music
[Excerpt of 'Now I'm Here']
Track 20 Dialogue (1:42):
[Excerpt of 'Now I'm Here']

Tom: 'Now I'm Here', which went to number eleven in February '75. Um, do you find that er, the single helps you generate sale of an album?

Roger: Definitely. That's what gets you to the mass of people, even if they don't buy it, and even if they don't like it, they still know who you are from a single, whereas I think you could have a, a number one album for six months and people still wouldn't know who you were. But we never record any record as a single, it's always just a track off an album that we think might make a good single after we've recorded it

Tom: Oh, I see, so you don't go into the studio, 'this is gonna be the one'

Roger: No, never, we never have

Tom: Do you take advice from other people as to what could be a good single?

Roger: No

Freddie: Never

Roger: No
(Laughter)

Brian: Next

Roger: It, it never works

Brian: Nobody wanted 'Bohemian Rhapsody' as a single really, around us (Tom: really?) everyone said no-one would play it, because it was too long, and all that stuff

Roger: Nobody except us wanted it

Freddie: But this is not to say that we're always right, because we're not (Roger: well, we're not always right, we've been wrong) the choice of single is (John: yeah, once, yeah) (laughter), is a very difficult thing, I mean, there's no sure fire hit, you know, there's just, there's no such thing, and with say something like 'Bohemian Rhapsody', it was a big risk, and it worked, because I think with a song like that it was either gonna be a huge success or a, or a terrific flop, and you know it was

Brian: But it's been no bed of roses no pleasure cruise, no
Tom: Well we're talking about 'Bohemian Rhapsody', so let's play 'Bohemian Rhapsody' now
[Excerpt of 'Bohemian Rhapsody']
Track 21 Dialogue (3:13): ('On Air' loses the dialogue in red)
スポンサーサイト



テーマ : QUEEN
ジャンル : 音楽

コメントの投稿

非公開コメント

プロフィール

Protea Mama

Author:Protea Mama
7年余、楽天ブログを書いていました。いろいろな機能が終了になるということなので、FC2ブログに移動しました。楽天ブログには「フリーページ」があります。大変ありがたい機能ですので、楽天ブログも大事に置いておこうと思います。良かったらご覧ください。

私が「障害児の親になったのだ。」と気づいた頃は、情報を得ることが難しくて、子の将来の姿も、自分の将来の姿も想像できませんでした。どんな未来が待っているのか、不安で不安で。だれか、知らせて。だれか、見せて。。。と誰かをつかまえて訊きたかったのです。だから、今の次男の様子を書いておこうと思います。それを読んで、ガッカリする人もあるかもしれません。安心する人もあるかもしれません。ともかく、私達は今、生きています。親子無理心中事件は起こしませんでした。これからもないことを願っています。次男は、コロニーや施設ではなくて、街中で生活して、成人して、やがては老いていく初めての世代の障害者だと思います。どんな生活が有り得るのか、親亡き後の次男の生活は幸福なものになるのか。次男に親を独占されて、すね気味に大人になってしまった長男を真に解放してやることができるのか。。手探りの毎日です。

希望は強い勇気であり、新たな意志である。

すべてのことは、願うことから始まる。

我々にとって深遠なものは、逆の相の下に隠されている。生は死の下に、愛は憎しみの下に、義は罪の下に、力は弱さの下に隠されている。

いずれも、マルティン・ルター の言葉です。
私はクリスチャンではありませんが、とても良い言葉だと思います。

最新記事
最新コメント
最新トラックバック
月別アーカイブ
カテゴリ
カウンター
検索フォーム
RSSリンクの表示
リンク
ブロとも申請フォーム

この人とブロともになる

QRコード
QR