TV 80s interview
- You should be aware what you wanted to do. You know, you can follow to in that trap way, you build up a sound or whatever, and in the end – that’s all they want. And than you’re manipulated by the public. It’s the last thing I want to do. It’s a knife… it’s a knife edge. Than I don’t like to tread on, which is good. The danger element is exactly what we need.
(îá èñòîêàõ Queen)
- The time that we started I mean David Bowie was doing rocksy music, and this was what they call glam-rock in England. But we were doing any thing that we wanted to do, and you don’t know, what you do, you gonna get power of the smb cause that’s the way they write about you. And as far as we concerned, we were doing what we wanted to do in our own way, and the press was saying whatever they wanted. We were putting a different kind theater music, theatrical music, and that’s the way we started. We’ve changed since than. It’s sheer element. The initial state was writing totally alone, it’s like 4 totally different musicians, they doing if they don’t belong to the band. But than we come together and say: “O’K, maybe…” Saying, it’s what a my song, and I can go to Brian and say “do you think you can put guitars the way I think?”, but than ego’s play a pig parts, I mean he might want to put guitars to my track the we he thinks, and so, a lot of fights start. There’s a lot of, you know, a lot of bad (?) think of it, but in the end it comes together. I think, in the end what happens: if we ever talk – the longest wins. So, it doesn’t measurally mean that what I have totally in mind ends up as the finished track. But that’s good in the way, cause I mean other ways I would get… you know, if we would individually get everything we want to, we would never be a bit bowing; I mean, you have to fight. So, within band we have to keep fighting to trying get what you want, and what ends up – is “Queen”, you know.
- So, I mean, and “Bohemian Rhapsody” It took a lot of work beforehand, before we even knew it, and I just said: I have everything in my mind, and I just said: look… I made them play passages when they said: what a hell is happening? And it was like… it was just one caught, and it was a hole, gap, and they sad: “this is ridicules”, I sad: “but I have it in my head”, to know what’s going on afterward. But even then I didn’t know, what was gonna happen. To be honest, it was spontaneous, and I just hoped it’s go on to come out. Cause I mean who knows, how the song go on to end up like. You have it in your head, but I mean, when you go to studio and work the days, days on end, - things change, you know. That song on the start it was just like very big risk element. I mean we worried about it was 6 minutes long, and those thesis: you’ll never get that program on radio on kings, and… It’s just – when I write the song I’m very strong about the whole content, you know. When it works – it works. I mean, the record company at the time wanted it chopped, you know, others said, make it two things… And I just said: if I understand, how it is, well – forget it. So, we took a big risk, you know. I was going to be a big flop, or a big hit, because I mean there was smth we were stepping out.
- A risk element is always involved, and I like that. That’s what makes good music.