Queen for an Hour

Mike Reid, Radio1 - 29th May 1989

 

[a piece of I want it all]

FM: Hallo, this is Freddie Mercury. I hope, you like some of our new tracks from an album called The Miracle.

[a piece of Breakthru]

JD: Hallo. This is John Deacon. We are with Mike Reid.

BM: There’s going to be Queen for an Hour. This is Brian May.

[a piece of The Miracle]

RT: This is Roger Taylor. Join us. Go on holiday.

Mike Reid: I’m look for them for an hour, but they are. Queen for an hour. Main Holyday Monday four thirty.

Hallo, this is Mike Reid with the band-holyday special – Queen for an hour.

[pieces of different Queen’s hits]

Some of the great hits from Queen witch kept the band on the top for over 18 years. And what we hear at the studio – are the 4 members of the band: Brian May, Freddie Mercury, Roger Taylor & John Deacon, who just released their 16th album The Miracle.

- Good to have you hear. Perhaps, the first time you all’ve been publicly together since august 1986. That was your last big gig in Knebworth, and, Brian, did you actually break up after that gig, or did you just drift apart?

BM: No, we didn’t split up at all, in fact. We just realized we want a rest. Cause lust 15 years we’ve been racing round the world, and coming back, and making album, and racing round the world again… So, we thought, we’ll just take a break, but still exist as a band, really.

MR.: Did you decide that before Knebworth, Brian, or did you decide it after the gig?

BM: I think, during that tour we thought… we decided it. Is that right?

RT: Yeah. At the Magic-tour… No, we just sort of thought, it was a natural sort of flow, really. It was a very big tour, and it was very successful, it was in natural sort of coma, so, we rested, really, for a while, cause we can’t tour after this, we just take a rest. And it was sort of unspoken agreement, wasn’t it?

FM: Yes, absolutely.

MR: So, Freddie, the album “A kind of magic” – did you think at that time: we go on as far as we can go for a while?

FM: When we were actually doing the sort of Magic tour, I mean, I had no inclinations that I was going to have a solo sort of project with Montserrat. But I did have in a back of my mind, that I wanted to do smth by myself. So did and the other mates. It was just a breather and to do some things that we wanted to do without each other. But it wasn’t a split. I think, we know each other, (thoughtfully) quite instinctively know through all this years… And it wasn’t anything like “Oh, I want to go further in my career without you!” – it wasn’t that sort of thing. We’ve been together, you know, 18 years, I would say. If egos came into it – they would done that a long time ago, and we would go in separate ways a long time ago. I think, it’s just… after while we get bored with each other, and sort of… we need…

BM: need a bit of space.

FM: We need a bit of space, eah.

BM: I think, we did like to give each other our space, which helps, which keeps the balance at the band. Cause it’s really hard to stay together all that time, I mean. You dwell, that’s the number 1 trick in the way, it’s the secret: if you do stay together and you can still use each other’s talent, but the same time give each others their space to be individuals, I think, that’s the secret.

MR: John, are you all in sort of musical harmony, the four of you, do  you all think the same?

JD: No, not at all. No, we all have (different ideas). We balance of each other in the studio. You know, what I mean? I mean, all (different ideas).

RT: Each other in the wolfs! Yeah!

FM: We balance each other on!...

Everybody laugh

JD: We’re very different, you know. That’s what makes interesting, I think.

MR: What you’ve been doing lust couple of years, John?

JD (laughs) A lot, really! Couple of videos for (Morris Marton…), and that’s really…

MR: that’s a big hit!

JD: Yeah, one of them was… yeah.(…)

MR: Brian, you’ve been working with Anita Dobson

BM: Yeah.

MR: A lady with a good voice, I mean, people might obviously know it throw (the standards), and than thought: “he’s Brian May, musician, working with her!”, but she is a good singer there

BM: Yeah, I’ve done a lot of things which people raised eyebrows  about, I’m afraid, but I’ve believed in all of them. Yeah, I did Anita there which I think is very good, very musically good. And I’d produced “The bad news” album, which I thought was very significant in it’s way, and I’ve played with a lot of people, which previously to another time to do, cause Queen’ve been very closed unit over the years. So, I (…) playing with Black Sabbath, and… I don’t know,  with different people like that, which I really enjoyed. But for the time been really my opinion is that I shouldn’t be a producer, you know, I’ve done a lot in producing, but I’d prefer to play. When the group decided to make an album again – it’s nice to be back part of the team – it’s definitely a good feeling about it, and there’s a lot of… we do offer different ideas, but there is a balance, and we argue, all that stuff, it…

MR: Do you still experiment with guitar sound? I remember few years ago a TV show where you were playing with different coins to get jealous sound on your guitar… Do you still do it?

BM: Yes, but I still use the basic guitar set-up, I’m not heavily into guitar synthesizers and all that stuff that modern technology… We’re into technology in the way we put it on tape, but I like the way the guitar sounds. And I suppose, I’m more into the natural guitar sounds, that was in the past.

MR: Well, you can do that! Roger’s been working very closely with The Cross, with your band The Cross.

RT: Yes, that was really what we decided to take a bit of a (pores). My thought that I’d liked to get involved with another band in a different (compacity). So, I’m the sort of singer of The Cross. Of course, always, you know, Queen does take priority of everything. That is why it was nice to get back in the studio again, and make an album.

MR: As you say, writing track on the album, Party and Khashoggi's Ship, is rather unusual… Were there a whole concept came from?

RT: I think, it was having a skiing holiday at that time (laughs).

MR: Oh, that’s where it came from!

RT: (laughs) When came back, and had that ideas. I think, Khashoggi’s (would be all that), but Party  was arose when I wasn’t actually around.

FM: We felt, that we really wanted to, I remember – I mean, in fact, The Party and Khashoggi's Ship is smth that we just came into the studio and things just involved naturally straight away. So, we were hungry for it.

[Party]

MR: Certainly the album, Freddie has called The Miracle, the track “The Miracle” lyrically very interesting. I mean, it was idea of yours?

FM: No, actually, I think, that was one of the songs where we all contributed. It’s closes we’ve eve actually been. I terms of actually writing together. And that’s quite true. Before we’ve actually had individual songs that we sort of put about and bring to the other people and the others put there sort of… a bit seen it. But I think, from the start, these tracks are sort of actually emerged by the four of us. That’s why I think this album has got all tracks written by Queen. But lyrically, going back to The Miracle, I think, the four of us really put everything into it, because I mean, smbd would come with one line and sad “Oh, that’s terrible!” – and changed it, and, so… in fact, I mean, in one way, I hatethat, because after keep singing different lyrics (laughs) every day, until we sort of agree on the final one… I’d say, lyrically The Miracle is a definite four (esplit). What you’d say?

JD: Yes, we love it on this album – it’s the most we’ve ever done together in terms of music and lyrics, isn’t it?

BM: Yeah, that’s right.

RT: There was the idea what we want show that we actually could do it like that, but we did turned up pretty much.

BM: It’s a major decision, in fact, I mean I would say that we’ve never ever done before really. I guess, we decide it fairly early on. You know, if we all go on contribute to the songs - we would saying, it was Queen wrote everything. And that doesn’t sound like a very big thing, but it makes quite a big difference in the studio, because you have a tendency to get very possessive about your own songs, if your names on it somehow, and from the start we sad: we chucking everything in the pool, and it all is gonna be “written by Queen”, and so, we probably got much more into writing as a team as never before.

[The Miracle]

FM: After we took this long sort of holiday doing our solo stuff we decide that we don’t any come back together if we really wanted to. And we felt like the early days to us and that why we got very sort of exciting, we sad: “Oh. Yes, that’s got to be great”. And I’d came a hole load of tracks. In fact, I always seem to remember that we have to choose smth like 30 tracks to get down to this lust ten which…

MR: What you do with 20 tracks left further?

FM: Well, they still running about, I mean (everybody laugh) they are there, in fact that’s worlds around came in. But I mean that’s good, so, we have to decide. A lot of people have individual tracks they liked, and the one thing I didn’t want was actually work on all 30 tracks. I mean, it’s so funny, I… Paul McCartney happened to be next door, and he sort of had similar situation, he has had literally about 30 tracks, but he sad he’d worked on virtually all of them. I thought: “My God, It’s very pain taking away off… I’d rather sort of do little bit on all of them than sort of say: “O’K, we just work on these ten”. There’s some great ideas that we sort of forget, but we’re always seem to get very bored with certain ideas if they lining around.

BM: Continuing what Freddie sad, you know, we had all this bit some pieces of tracks, and some are half-finished, some of them are just in idea, and some of them we nearly finished. And it sort of happened on it’s own rhythm, you know. There are some tracks which you always want to get out and work on, and so, they get finished. And there are some tracks which you think: “Well, that’s great, but I don’t really know what to do at this moment”. So, they naturally get sort of left by the way side. So, we actually didn’t have on all for lot of decision making to do. A lot of it just happened. The tracks which are just bursting to get out, somehow get out. Due to it sort of public demand within the group.

MR: M-m… Dou you have favorites on the album?

RT: (Far specially everybody) does. I think, we hopefully picked the tracks that fit together best, and colligate each other to make a good album. And…

MR: Why didn’t you do all of them on your album in your studio in Montreux?

BM: Well, we live in London, I suppose, and it’s just…

RT: We want to be at home.

BM: It’s not easy. For change.

FM: And also… I think it took a long while, to get this one. I think, we get very irritable (others laugh spitefully), when we’re in one environment. So I mean, in fact, we used about three studios, and that’s a small mount for us, nobody wig around… Montreux was good, but it lusted couple weeks, we get back! (laughs).

MR: Claming the walls:-).

FM: Yeah.

MR: What about some of your favorite songs, in stuff of your collection or things that you like? John, I believe, Veronica is one of your current favorite singles?

BM: Yes!

JD: So, that is! That’s my wife’s name, and it’s got Paul McCartney playing base which is quite nice.

MR: Cool!

[Veronica]

MR: It was Paul, your favorite bassist, as you (…)

JD: No, he is very good, he wasn’t really my favorite when I was young, but…

MR: Who was your bass-influences?

JD: I’d say – Chris Squire, when I was quite young. It’s because he there was playing with “Yes”. And the guy, used to play with (… Gallaher). He is quite good human. (Cracked), yes, (Cracked).

MR: He was great. His solo work now, yeah?

JD: He lost for once. (…) They are poor very good as well.

MR: The track Breakthru on your album starts of that is gonna be maybe another Bohemian Rhapsody: that big quire on a full sound, and than sort of break synthes punchy-drumming… Is that your intention smbd is to surprise, when people load in to that full sense, the quire boys (appear) suddenly – and it comes?

FM: It’s the prime example what we were talking about before, I mean, the track Breakthru is sort of stem from Roger, really, it’s a basically his track. But the sort of a capella vocal bit in front was from someone else, as, Mike, we’ve sad: we have 30 tracks, and that was a little piece that I thought was quite good, and I didn’t wanted to go miss, and I just sad: “Oh, well, we’ll just put it in front of Breakthru. ”It’s basically another song, sort of seem to go away quite nicely… so, it just snipped it.

BM: There’s been quite a lot of it cause we wanted to distill as much of the ideas that we had into the album. So, it has gone very compressed in the way. There is quite a few examples of that.

[Breakthru]

MR: So, the album is very Queen, as well as in the lust 2 years you haven’t really load too many outside influences anyone else to come into the album – it’s very much a Queen album.

RT: I think, it would be very silly, if we’d tried to sort of sing “End up Sunday night” Prince or whatever happening at this time. We have to stick our guns and really make an album the kind that we feel that people wanted from us. I’d say – no, it’s not fashionable, really, and it’s not heavily-influenced by outside sources. I think, it’s very us, it goes right back to our beginnings in many ways.

MR: O’K, let’s come out from the album for a moment. Freddie, Montserrat Caballe… You had great success there. And it always goes feeling that also you’re enjoing it. You obviously like opera, that you also have a wonderful love inside as you doing it. And thinking: this is outrageous, but I enjoy every moment of it!

FM (laughs): Quite true, actually. It’s like a title way (laughs) –It’s quite ridicules, wasn’t it. I actually, at that point, I wanted to do smth totally different. And… I think, it’s snowball, really, because I really didn’t think that she was going sort of accept my sort of offer right aware. At first I actually thought it was only gonna be the one track, but she sad – let’s make an album, and I thought: “My God, what am I gonna do now?”, and so I was sort of stuck with, I thought, you know, you just don’t turn the super-diva down, you know. But it was such a different thing to do! I’m glad I did it. Case I mean it’s sort of very (nove-racking), totally different, totally un-rock’n’roll, and smth that really required a lot of discipline. It’s a kind of discipline that was totally different to me. I didn’t know her way, I didn’t know what she was used to. And it was… She was coming from totally different world, I realized, that I was learning so much while I was actually with her, and so I was sort of feeling my way at the same time, as I was trying to understand, how she recorded, how she works, what kind of stuff she likes, I mean, while I was writing there I was sort of trying to find my way to make sure that she likes that pieces. And if she didn’t like it, she tell you! So, I was…

RT: You’ve told her some things, didn’t you?

FM: Well, yes, I mean it was sort of recording techniques were different. I mean, she was used to just come in, sort of doing a bit and running of, and I sad “No-no, you won’t do that anymore!”, and she sad – but I’m not used do that anymore, I sort of was teaching that really you can sing differently, and it’s a different world, she come from.

[a piece of “Barcelona”]

MR:  So, now touring a country with her sort of 50 000 weight come on there!

F.M [laughs]: Oh, for my dresses, you know!

MR: With anybody else along those lines you think, as a real flyer, I’d like to do smth with him?

FM: Oh, Aretta Franklin is one! I still see her as part of my world, but I mean, with Montserrat, I just didn’t know whrere to start. It’s like a flippant for me, to start it of. I really thought it would never come to any sort of fruition… And when she accepted – I was down founded, I thought – my God, I’d better put my money when my mouth (laughs)! I’d like to see other rok’n roll singers trying things like that, you know, and see get away with it.

MR: Therefore they couldn’t get away with it, Freddie, but you did.

FM: Ye, I’m wonderful, I tell you.

MR: Yes, yes! (everybody laugh)

MR: The visuals for that (record) were absolutely stupendous and over the top, as they have been various Queen videos and things in the past. For the new album, do you have any over the top visual ideas? You must, obviously!

BM: The first video is meant to be very un(…), we wanted just be a band, and be seen as a band again. We thought, it’s important. So, the large spectrum of stuff well be absent from the first video, we just wanted to be a band on stage.

FM: You don’t know, it Mallet’s doing it.

MR: Well, it was David Mallet, yeah, what can you say?

RT: Yes…

BM: Cost that millions you can turn into…

FM: He is fab.

RT: You respecting the cover – than, you get the trust of the concord or smth like this.

FM: Yeah.

JD: We have strong initial to the cover of the album.

MR: Which is what?

JD: Which is…

FM: (interrupts) Well, the radio listeners, we have a good time! (laughs)

JD (laughs shortly).

MR: Oh, I’d like to hear your description of the cover!

RT: Oh, you won’t have fun, if we’ll make it right now.

JD: I can’t describe it. No, I can’t. Well, it is unusual and different. You have to by it to find out:-)

MR: (…) were earlier on Rain Must Fall, it find much sort of latin feel, that sort of samba come funk feel…

RT: Yes, that’s a sort of a bit of a mixture, that’s a mish-mash very does… It’s very does quite machine like in some ways. But sort African overtones.

JD: It was above on some top.

RT: Yeah, there’s a lot of coercion lighted on top. So, they also (all the things happening). But they make me take most of (get out), of course (laughs). To very reefs in guitars. (laughs)

BM: Yes!

MR laughs

JD: And vocals.

RT: And vocals, yeah.

[Rain Must Fall]

MR: Roger, can you a bit (…) The Cross? December '88, big party in Hammersmith where you played…

RT: Oh, yes, yes. In fact, that’s was a sort of Queen fan-club, and we just went on, and did a fairly spontaneous  sort of 40-minutes set… fun actually. And Brian came on, and did sort of blues-set It was good fun around.

BM: Great fun, eah.

MR: To see (half a bit of steam) some new ways of working?

RT: Yes, oh, yes, I mean that was just period that (…) experiment before everybody will may be enjoy it.

MR: Did you ever (home) with he if the album is coming out, moreover obviously will get on very well. I mean, was he soul brother, that need spread a bit of time apart that like each other underneath… Do you get together socially at all and play or jam?

BM: We get together socially. We don’t often play together to be honest, we more often play with other people’s trains enough. I suppose, it’s normal in the way. No, we see quite a lot of each other socially, yeah. Probably, more than we did in the sort of mid period, where we drifted apart that, that’s it. But it is like a sort of family in the way. And particularly when you go though (all that bits of your life) sometimes group is what you regard as the center.

RT: You know, it’s always been there for so long, 18 years as Freddie was saying, and it’s… I don’t know quite what life would be without it. As a sort of full crum or smth. But we don’t really jam when we do see each other. Cause that would be sort of… like getting back to work. So, it is either work, or sort of social aspect.

MR: (That all your all-time-favorite single) is sing as… Freddie? Aretta Franklin? Would one of her singles be one of your “for all time favorites”?

FM: Yes, I think, Natural Women. I mean, she’s got so many singles and tracks, that I like… I love the amazing Grace album. I don’t know, if you know, it’s double sort of Hospel one which I play from time to time, get load of inspiration from that… But Natural Women – it’s great.

[Natural Women]

FM: I’m mad that George Michael made a duet, I could done it better!

MR laughs

BM, RT (laugh): Wow, wow!

FM: …but now I think he’s… Mike, I haven’t sad that! I think, George Michael is a very good guy. I think, he is one of the other sort of singers that I like. Robert Plant is the other one. So I mean it’s other Aretta Franklin Natural Women, or George Michael with Careless Whisper.

MR: How do you – if you want do smth with Aretta – how would you approach it? Because the man on the street would think: “Well, Freddie, get on the phone and say: “Hi, Aretta! Freddie here! How about singing together?” But obviously, it doesn’t work like that.

FM: I’d love Aretta to sing “Somebody to love” actually. That would be nice thing, if smbd approached her and sad “try that”. But… trying to sing with her… I don’t know, she hasn’t approach me.

MR: Brian, and what about your favorites?

BM: My favorite record when I was growing up was Smoky Robinson record, and (…) the miracles. I think, it’s probably still is, because to me it doesn’t matter what the record is made up of, whether it (…) or not, you know. And that for some reasons just has it, you know, in the way you (…) grabs out of your heart is to me what pop-records are all about. And so, I would still say that one, really.

MR: Going back to the album, and the track “My baby does me”, where it does sort of immerge from? You’ve got nothing at all to start with?

FM: Well…

JD: You came out with a base-player. Which have been playing. Yes?

FM (laughs): I thought, you did!

JD: No, you came out with it!

FM: Oh, well… I think, that song stems from John and myself. And I’m Freddie by the way. I seem to remember that I wanted smth a little more relaxed on the way the other songs were going. And I tell you getting so involved, and were very heavy, there was a lot of guitar input in some of songs… I felt, that we didn’t have smth it was quite sort of… a little bit more presteen, a little bit sort of clear-hearted and not too involved.

JD: It is very different from the other tracks.

FM: Yeah. So, we decided that we should have smth with just very easy (back peat) and smth very listenable. I don’t think, it was going to go on the album at first. We just decided that could be nice breather at the end of the second side.

MR: It’s put almost basic?

FM: Yeah, that’s what I was looking for. And so, we kept that in. Apart from that there’s no sort of wonderful and ideal behind it.

[My baby does me]

MR: How did you decide on I want it all for the first single? Again, is that democratic? Do you all sort of right on the piece of paper (laughs)?

FM: Oh, you sheet fight

BM: I’d say that from the whole process of making album choosing the first single is probably the hardest a bit of all. It’s always really dreadfully difficult, you know. What to put out… You know, it’s really difficult. So, I suppose – yes, it was democratic. We also try to get a few other people’s input – peoples in the business, friends, people in the record company that we work with a whole time… And in the end you never know the right decision, really. You probably never know… We just got some flippant, I suppose at first at all from America… maybe that would be the right thing for America and Germany… The territory we were least sure about was England because you have this things… You know, Radio 1 has a certain sound, and if you don’t feat into it – you get on looking, you know. We’ve always had the idea that we really wanted to lead people to some way new, rather than feating to what is going on. But it’s always a risk. And so, in the other tracks of the album which we more easily feat into for instance Radio 1 programming. But we felt we would rather put food a certain atmosphere first.

JD: That’s quite a feel. We all have different ideas what first single should be.

BM: Yes. It’s not easy.

[I want it all]

RT: Than Brian sad it – it’s got to feat in to that kind of thing. Strange enough, the record we chose for our first single is certainly (not stock A can in thee).

BM: Than, we made it into the huge mistake of us. (laughs)

RT: But it’s very us, very us. And it might be a mistake, you know.

FM: You can’t, you see… you can’t please everybody. What we wanted to is to please as many people as possible. When we left with the choice of one – it’s very difficult. And I think, sometimes we seem to do it in the way that we have it like four singles all ready to go out. And they all sort of different, one from the other. And I think basically I would say, it’s the album that one should listen to.

BM: It’s funny. It brings back memories years and years. We always did say that, you know. People asked us, what we’re all about, and we used to say – you have to really listen to the whole album, because that’s what we’re about. And we always were sort of an album group, I suppose, even in very-very early days. We used to say: “Please! Don’t judge us by singles, listen to the album, and find up the whole balance picture of what we doing.

RT: I remember, lots of people turning us not to release Bohemian Rhapsody, because it was commercial suicide. Because one it will never get played on the radio, because it wasn’t suitable. It will never get on the radio, because it’s too long. And we stocked our guns, we didn’t cut it down, and we released it as it was, and luckily the story went the right way, but it could go another way, you know.

MR: I’m sure most people will be surprised, they think, that you still worry about being a major band for so long, they would assumed that you’ll be bluzzy and think: well, what we hope is to be a number 1, we expect that the single will be a hit, but (…) not because you must be worried about, you obviously worried about a little this step.

BM: We carry a lot still, it’s just the same as the early days, we just the same.

RT: And that’s what to us still going.

BM: That’s right. You want people to hear what you’ve been doing, you know. It matters a lot, you know.

MR: Roger, leave one of your favorites is one John Lennon wrote. It was inspired by two-ten plis iron.

RT: That’s right. It’s di-di-di (sings). That’s so, yeah. I don’t know, I just find up Iron Warriors by The Beatles. It’s very difficult to name one song. But I think, it’s sort of surreal masterpiece in song. And what he did with the lyrics – it does Lewis Carroll type in many ways. There’s more influence in sound textures on the record, a wonderful… it’s got hidden depth. And I still hear different things in this record each time I hear it.

MR: O’K, the song Invisible Man

RT: That went to quite a few changes, due to everybody else do it in a different bits, and restructuring it. I think, it came from book ours reading. And we just seem to feat it to sort of rhythmic partner, had in mind. Sort of came from neuron, really.

[Invisible Man]

MR: What about plans for future? Are you going to tour?

FM: At the moment I don’t think, I’d like to tour. It’s going back to the things about… I wanted to break the format. And as far as I’m concerned of been in the studio for two years, I mean having done the Queen album, just before that – the Montserrat album, I just think, it’ll be for me – it just won’t be right. I just feel it’ll be back to exactly what we sad we won’t be doing. And I think, it’s just matter of time. I think, we just got wait, and see, and than if smth comes up and we will decide that we want to tour – we will do it. But I didn’t want personally to tour on the same (pretakes) as before that: here comes an album – so, we go… As far as I’m concerned, we’ve done all those big menus and everything, we’ve got to think to smth different. Cause over the lust years all you’ve done – is studio album or an album per year. And than you tour, and go around the world, and by the time you came back you think of the next album. For us to get to this level, for us to actually sit here and talk to you about this new album, I think we would never of sort of arrived that, if we hadn’t taken that two year off. I think, this two years off… I really do. It’s actually steeping outside of Queen, doing smth and say: we miss Queen! And than we want to come back and do smth. This is why I think this album sounds so fresh.

RT: In my sense, I think because we built a lot our reputation on our live stage act, but I think in tour we’re ready to maybe perform again in the tour, all of us are ready. Maybe, we would.

FM: This is it, you talking to people with very-very different ideas. And it does need four people to actually want to do id, and if one person doesn’t want to do it – than, you can’t. And I afraid, I think I am the actual span at the works at the moment. And I’ll be very honest in saying so.

MR: But the others would like to tour?

FM: Yes I think so, yes. I am the one that doesn’t want to.

MR: Do they hate you for it?

(RT & BM laugh)

FM: I don’t give a damn actually (laughs) what they think. Cause I just don’t want to do it. I don’t think I’m getting them down, or anything, it’s just… If one of them didn’t want to do this album – we’d have to agree. Cause there’s no point to forcing smbd, especially after all this years it’ll be so awful – it’s like you say: “Are you hungry?” And I have to agree. You have to be hungry to do what you’ve done all this years. I hate to do that sort of slogging think for the sake of doing it… I mean, we don’t need any more money, to be honest. So, we don’t do it for the money. But I think, we do it for the music, which as I know is a boring thing to say. But because we still have a music in us, and I think, we won’t any time again a few stay away from, you think: my God, I wonder how people… are the go (…) go on except smth like this. That still there, sort of hunger, and it has to be there. There was a time I just thought after about 2 or 3 month, I thought: it was all going to sort of disband, I mean, come to pieces, and we were going to disband this project…

MR: So, how do the rest of you get with the frustrations as if three of you maybe would like to tour…

RT: We can’t, you know, possibly go on tour if one of us isn’t keen. It wold be escheating, really.

MR: So, what about your future projects for you, Roger? Anything coming up?

RT: Yes, I hope to do another Cross record at some point.

MR: What about you, Brian? Plans on future?

BM: I’ve had a solo record on a cones for a lot of time, I’ve done a lot of stuff for the solo record, I just haven’t quite go on a shape that I wanted yet. And I suppose I’ve got to taste to being a frontman as well as a guitarist. I mean, I enjoy it, I mean I found that we got up with Roger and John at the Queen convention thing I got up. And I just being able to sing a bit, it’s quite. I’m not a singer, but to have a freedom to be out to put ideas force with the voice as well as with the guitar was a god feeling, yeah. But I would quite enjoy just doing some clubs. And I suppose, I’m a bit closer at the blues than maybe the rest of the band – I don’t know, I get a kick out of there, I feel so close to home doing that sort of stuff. And I’m a great admirer of what Eric Clapton has done with his career. He has managed to get all this playing ability into the stuff that he does, and he has a lot to say.

MR: Right. John, and (if more as mine as in the pier plane or…?)

JD: Yes, there is one, I’m afraid. But apart from that I have no plans to the moment. We’ve just been a whole year in the studio, I feel actually quite exorcised by it, I mean, there’s been a long hard slog.

MR: Come on, it was nice skiing holiday between!

JD: There was five days at race! There was more exorcised than me in the studio!... (laughs) So, at the moment it’s like take a break for the family and see what happens.

MR: Which is your favorite track in the album, John?

JD: “Was it all worth it?”.

MR: Do you like that one?

JD: I do like that one, yes. It is the lust track at the album.

BM: That’s why you like it:-)

JD: Well… I have strong autobiographical feel about it.

MR: Here is autobiography?

JD: Well, it does.

MR: All of you?

RT: Yeah.

JD: Yeah.

FM: You included if you want. (everybody laugh)

MR: Thank you.

[Was it all worth it?]

 

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