Roger Taylor: He was very much his own creation. He made himself and he just got betterand better. At first we thought "he'll never get away with this" but he justdeveloped and became a better singer, better and better all the time. He was agreat writer from the start and absolutely inherently a musician. He was quiteextraordinary.
Brian May: He really didn't change, he didn't, in inverted commas, sort of becomesomeone you couldn't talk to, we were always very close as a group, verydemocratic as a group, we were very much guided by each other in performance andin the studio we would produce each other and use each other to bounce off and Iwould always play a better solo if Freddie was there saying, "no, no, no, no,no, you can do this" or he would keep something that I was going to throw away.
VH1: The Freddie Mercury tribute was broadcast in 70 different countries andfeatured contributions from Elton John, George Michael, Guns'n'Roses and manymore; and allowed the rest of the band to see Freddie off in a style he wouldhave been proud of.
Roger Taylor: I think it's something we had to get out of our systems, I know I didand spent about 3 months on the phone. It was a very difficult thing to gettogether and we had so much co-operation from all those great artists, some ofwhom I still haven't got round to thanking.
Brian May: I always remember the moment Joe Elliott grabbed my sleeve as we weregoing off at the end and said, "Brian, you have to stop for a minute and justlook at this and think what it is because you're never gonna see anything likethis again". And he was right, so it was great to have those people playing withus, very thrilling for us and I think we did the job for Freddie.
VH1: The music of Freddie Mercury and Queen lives on and this year, a balletperformed in Paris was the venue for the first public performance for the 3remaining members of the band since the Mercury tribute in 1992. They decided todo it after a personal request from Elton John.
Roger Taylor: There's a new ballet written by the father of French modern ballet,Maurice Bejart and it's written around our music with a few bits of Mozartthrown in which is quite a flattering mixture isn't it? And it's a wonderfulwork, it's a great piece and Elton thought that it would be lovely if we justcame on at the end with the ballet and performed 'The Show Must Go On' as asurprise which we did and it was great, it was a lovely experience.
Brian May: I was surprised that I enjoyed it, because in the interim period, I'vevery much been trying to get Queen out of my system, and I know that probablydoesn't sound very nice but in a way it's unhealthy to be just clinging to thepast.
Roger Taylor: It's a difficult thing, but having said that, it's been 5 years sinceFreddie's death now and I think we don't feel quite so precious about it as wedid and we accept it as something that happened and it's in the past now and, soI think maybe the future is open to us doing something again.
Brian May: I know people would love to see us together and stuff, but it would haveto be in the right way, not in some way which would spoil what went before.
Roger Taylor: Elton put it very well, he said, "You lot are like a fantastic racingcar, sitting in the garage with no bloody driver", which was a great analogy Ithought, and very flattering; but you know, we'll see.