Forums > Queen - Serious Discussion > Keep Yourself Alive (Long Lost Re-take)

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Posted: 07 Feb 11, 12:20 Edit this post Reply to this post Reply with Quote

When the official Deluxe Editions were announced for the first 5 albums, in another thread I pointed out that "Keep Yourself Alive (Long Lost Re-Take)" appears on the "A Night At The Opera" disc and is dated on this edition as from "June 1975."

I decided to make this its own thread, and so as not to retread, here are the important points brought up in that discussion:

The "Long Lost Re-take," until now, has been associated with the Queen 1 recording session, between June and November of 1972. The "Long Lost Re-Take" also goes by the name "Long Lost Original Version" on the Crown Jewels Promo CD single, whose liner notes say: "Here is a collector's edition sampler of all versions, including the rediscovered original version, of Queen's first single 'Keep Yourself Alive.'"

Further, in a 1983 interview for BBC Radio One, Brian said the following:

"Brian May: The first recording of it ever was in De Lane Lea when we did it ourselves and I’ve still got that recording and I think it’s very good and has something which the single never had. But THEY pressurised us very strongly to redo all the tracks and we redid ‘Keep Yourself Alive’ with Roy and it was pretty awful, actually. I thought it was terrible and I was very unhappy about it and I thought the De Lane Lea one was better and I eventually managed to persuade Roy that it was better as well. So, we went back in and did it again in a way that was a bit more true to the original. But there is no way that you can ever really repeat something. I have this great belief that the magic of the moment can never be recaptured and, although we ended up with something that was technically in the playing and perhaps even in the recording a bit better than the De Lane Lea thing. I still think that the De Lane Lea one had that certain sort of magic, so I was never really happy. As it turned out no one else was ever really happy either and we kept remixing it. We thought that it’s the mix that’s wrong, we kept remixing and there must have been, at least, seven or eight different mixes by different groups of people. Eventually we went in and did a mix with Mike Stone, our engineer, and that’s the one that we were in the end happiest with. That’s the one we put out."

My understanding is that the De Lane Demo was obviously recorded first, but that Roy Thomas Baker had them record KYA for the album and that version was what is now called the "Long Lost Re-Take." But the band didn't like it and recorded the song again, and mixed it seven or eight times. Mike Stone's mix was the best and that became the album and single version. This theory suits the facts as given.

I also postulate that the now-promoted "June 1975" date for the "Long Lost Re-Take"  is a mistake, that the date ought to read: "June 1972." Some circumstantial support for this is the fact that "Mad The Swine" on the Queen 1 Deluxe Edition is given as "June 1972," which by all other accounts is correct.

I further speculated that the 1972-recorded "Long Lost Re-take" might have been later planned for a 1975 US single release, to capitalize on their growing popularity, but at some point the LLRT was changed to the standard US Single Edit, which DID see a July 1975 release.

The responses to my posts were of the "I can't believe such a mistake could be made" variety, or "you could be mistaken and this is either another version or the LLRT we all know WAS recorded in 1975." Defense of the former comes from the fact that it's a pretty whopping mistake if that's the case. Defense of the latter comes from the belief that if the first RTB version (recorded after the DLL Demo) was so bad, Brian never would've let it out ever.

My thoughts are that Queen Productions and related releases do contain honest to goodness mistakes. It happens. As to Brian never wanting the RTB version released, well, the interview was in 1983 and the LLRT only officially appeared on the Hollywood Records Queen 1 re-issue in 1991, so maybe Brian mellowed in 8 years. He DOES endorse the LLRT as it appears on the HR Queen 1 release, quoted in the liner notes: "This is a complete re-make of 'Keep Yourself Alive.' This version never surfaced anywhere. It contains many new ideas and quirks, as well as reproductions of some of the old ones."

Now, some new info has surfaced. Here is a quote from the press release for the forthcoming 'Stormtrooper In Stilettos" 7" single:

"Featuring two tracks recorded in the early 70’s, ‘Keep Yourself Alive (Long Lost Retake)’ (the original version taken from ‘Queen’) and ‘Stone Cold Crazy’ (from ‘Sheer Heart Attack’), the single is released to coincide with the exhibition ‘Stormtroopers in Stilettos’ which runs at Old Truman Brewery on Brick Lane in London for two weeks from Friday 25th February 2010."

...and...

" ‘Keep Yourself Alive’ was the first single Queen ever released back in 1973 and is now poignantly released on their 40th Anniversary. This is the only Queen single that ever failed to chart in the UK mainly because Radio One rejected it claiming it took long to get going! This new 2011 remaster is a long-lost retake of the track recorded in 1975 for a USA single that never saw the light of day. The original version is taken from Queen’s debut album, Dave Grohl’s favourite album of all time."

So now it appears, if this same "Long Lost Re-Take" as found on the 1991 HR Queen 1 re-issue and the Crown Jewels promo, that Queen Productions' official position is that it dates from 1975 as an unreleased (at the time) US single.

Questions now are:

Is QP compounding a mistake by promoting it as fact? I'm not calling anyone a liar, but mistaken facts do get repeated, even from official sources.

Is QP 100% correct? If so, the "Long Lost Re-Take" we know and love IS from 1975 and we should adjust notes and collections accordingly.

Is this newly-toted "Long Lost Re-Take" the same as the track by the same name which appears on the 1991 HR Queen 1 and Crown Jewels Promo CD single? We'll have to wait and hear. If 'yes,' the earlier 2 questions apply. If 'no,' then this is yet another recording of the song, genuinely from 1975.

If the HR Q1 LLRT aka CJ LLOV are indeed from 1975, the Roy Thomas Baker Version first recorded for the album and rejected by the band is still in the vault, unheard by many. 

Thoughts?

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Posted: 07 Feb 11, 14:10 Edit this post Reply to this post Reply with Quote

I may be missing something, but why do we need to wait to hear?   The songs that will be released are already posted online via the stormtroopersinstilettos site.  Aren't they?

http://soundcloud.com/purplepr

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Posted: 07 Feb 11, 14:36 Edit this post Reply to this post Reply with Quote

Are they?

Are we certain those are lifted for the Deluxe Edition Remasters?

EDIT: Just listened to the tracks posted, so if those are the tracks to appear on single and in the case of KYA, on the Deluxe Ed. "Opera," tt would appear they are in fact claiming that the "Long Lost Re-Take" previously issued on the 1991 HR Queen 1 Remaster and the Crown Jewels Promo is from 1975.

I still think, given the available evidence, that it's up for debate as to whether it was *recorded* in 1975 or 1972.

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Posted: 07 Feb 11, 14:46 Edit this post Reply to this post Reply with Quote

It certainly seems to imply so:

http://www.stormtroopersinstilettos.com/new-single-release/

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Posted: 07 Feb 11, 15:12 Edit this post Reply to this post Reply with Quote

The updated press release posted by GT in the other thread is a little bit abstruse as well.  It first references the songs (and specifically the re-take as well) as being recorded in the 'early 1970's', then later makes the 1975 claim.  It would not be typical to refer to mid decade as the 'early 1970's', but not entirely inaccurate either.  One would think it shouldn't be this hard to have these kind of facts with some level of clarity.

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Posted: 07 Feb 11, 15:37 Edit this post Reply to this post Reply with Quote

Agreed.

And that's why I rarely take official sources at face value with something like this. If I hear something or read something from an official source that appears inconsistent with other information, I investigate as best I can, part of which involves getting the thoughts of other Queen fans on here. 

As noted, another official release, the Crown Jewels Promo CD single seems to flatly contradict the claim of the LLRT being from 1975, while directing us to believe it's the Long Lost Original Version, both in title and liner notes.

We basically have two claims (it was from 1972 and it was from 1975) and one must be wrong.

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Posted: 08 Feb 11, 05:24 Edit this post Reply to this post Reply with Quote

Below a comment I did post earlier in the annoucement about the "deluxe" albums:

------------------------------------------------------------------------------------------------------------------------------------------------------------------
The fact that Hollywood records did release Keep Yourself Alive (Long Lost Retake) wasn't a big suprise for me, since Brian already talked about it in a interview I read long way back in 1978.

So I digged in my archive an this is what I found...since it is in Dutch I give a small translation:
The interview was taken by Kees Baars (Dutch DJ and pop journalist) for Muziekkrant Oor in between the 2 concerts at the Ahoy 19/20 april 1978 and was published 14 june 1978.
Translation:
First Brian talks about Queen II, that it is the most important Queen album for him and he would like to re-recorded it....but there many reasons to do it not. Than he says "Last Year" we have re- recorded Keep Yourself Alive for the American market, but due to the fact that "We are the champions" was a big sucess, we have left it on the shelf. Maybe we will release it sometime or put it on an album because it is a pretty good take which strenght me the idea that the production of the first album wasn't good.  
I don't know how serious we need to take the words "Last Year" which means that KYA was re-recorded in 1977... but I think Brian was wrong or was misunderstood.  

In the RAR you can't find the complete interview (In Dutch :-( ) and the snippet were here talks about KYA.
---------------------------------------------------------------------------------------------------------------------------------------------------------

Attachment: 1123081739776367.rar 3 MB
This has been downloaded 38 time(s).



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Posted: 08 Feb 11, 05:41 Edit this post Reply to this post Reply with Quote

The plot thickens.


John hated HS. Fred's fave singer was not PR. Roger didn't compose 'Innuendo.' Witness testimonies are often inaccurate. Scotland's not in England. 'Bo Rhap' hasn't got 180 voices.
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Posted: 08 Feb 11, 05:46 Edit this post Reply to this post Reply with Quote

Below a comment I did post earlier in the annoucement about the "deluxe" albums:

------------------------------------------------------------------------------------------------------------------------------------------------------------------
The fact that Hollywood records did release Keep Yourself Alive (Long Lost Retake) wasn't a big suprise for me, since Brian already talked about it in a interview I read long way back in 1978.

So I digged in my archive an this is what I found...since it is in Dutch I give a small translation:
The interview was taken by Kees Baars (Dutch DJ and pop journalist) for Muziekkrant Oor in between the 2 concerts at the Ahoy 19/20 april 1978 and was published 14 june 1978.
Translation:
First Brian talks about Queen II, that it is the most important Queen album for him and he would like to re-recorded it....but there many reasons to do it not. Than he says "Last Year" we have re- recorded Keep Yourself Alive for the American market, but due to the fact that "We are the champions" was a big sucess, we have left it on the shelf. Maybe we will release it sometime or put it on an album because it is a pretty good take which strenght me the idea that the production of the first album wasn't good.  
I don't know how serious we need to take the words "Last Year" which means that KYA was re-recorded in 1977... but I think Brian was wrong or was misunderstood.  

In the RAR you can't find the complete interview (In Dutch :-( ) and the snippet were here talks about KYA.
---------------------------------------------------------------------------------------------------------------------------------------------------------


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Posted: 08 Feb 11, 07:16 Edit this post Reply to this post Reply with Quote

rhyeking wrote:

As noted, another official release, the Crown Jewels Promo CD single seems to flatly contradict the claim of the LLRT being from 1975, while directing us to believe it's the Long Lost Original Version, both in title and liner notes.

We basically have two claims (it was from 1972 and it was from 1975) and one must be wrong.

-------------------------------------------------------------------------------------------------------------------------

That just about summarises it exactly. 

If the two versions (Crown Jewels version and this new 'Deluxe' ANATO version) are in fact the same, we need to have definitive proof (studio logs, photos etc..) to say whether it is 1972 or 1975.  The fact is, whichever it is, someone at some point has cocked up.  My personal opinion is that it's 1972 , purely after asking myself the question as to why would they re-record an old, very basic song when they had already moved onto writing material like Seaside Rendevous, Bo Rhap, The Prohets Song etc... etc (without even considering the leap from Queen to Queen II and SHA)?

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Posted: 08 Feb 11, 08:57 Edit this post Reply to this post Reply with Quote

> That just about summarises it exactly.

Not quite: we've got three claims now: '72, '75 and '77. Two of them are wrong (or maybe all three).

> My personal opinion is that it's 1972 , purely after asking myself the question as to why would they re-record an old, very basic song

The reason's already been explained: they'd become more popular (in fact, IIRC, the first two albums reached their chart peak in '75), and wanted to give that song another try in the States. Going back to basics was not rare for the band: remember News of the World? Even the two 'golden' albums have some basic material in them (e.g. I'm in Love with My Car, Long Away).

> when they had already moved onto writing material like Seaside Rendevous, Bo Rhap, The Prohets Song etc... etc

Maybe they hadn't moved onto that yet. They could've recorded it in January '75, February '75, March '75, April '75, May '75, June '75, July '75, early to mid August '75... 'A Night at the Opera' sessions began on the year's 236th day. If the song comes from '75, there's a 64.38% chance they recorded it BEFORE Bo Rhap, Prophet's Song, etc. had even been demo'd.


John hated HS. Fred's fave singer was not PR. Roger didn't compose 'Innuendo.' Witness testimonies are often inaccurate. Scotland's not in England. 'Bo Rhap' hasn't got 180 voices.
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Posted: 08 Feb 11, 10:15 Edit this post Reply to this post Reply with Quote

I'm fascinated by the 1978 Dutch interview. The plot does indeed thicken.

So, to summarize, here is the 'evidence' for each position (not all of which is hard proof, some is circumstantial):

In favour of it being recorded in 1972:

- the 1983 BBC Radio One interview has Brian identify three different recordings associated with "Queen 1", two of which we are 100% certain about: 1)The De Lane Lea Demo, 2) Roy Thomas Baker Version, 3) standard Album Version.

- the Crown Jewels Promo CD Single specifically cited the "Long Lost Re-Take" as the "Long Lost Original Version" twice, on its sleeve and its liner notes.

- The date of "June 1975" has no other precedence for having the band recording. "Opera" sessions proper did not begin until August that year.

- "June 1972" does fit with the period they were recording the first album. 

In favour of 1975:

- Current Deluxe Edition sleeve listings and promotional material, including for the 'Stormtrooper In Stilettos' 7" single.

- There was in fact a US-only 1975 re-issue of the US Single Edit (the edit of the album version) in July of that year, which fits the timeline when accounting for a last-minute change from the LLRT (planned for June) to the US Edit (released in July).

- The 1991 Hollywood Records "Queen 1" re-issue has Brian calling the LLRT "a complete remake."

- The 1978 Dutch interview indicates (date not withstanding) that the band did record a newer version of KYA well after the first album sessions, but says it never got released. We don't know when the interview was given, so a combination of Brian being vague ("last year") and the time between the interview being given and subsequently printed could have been many months, not to mention the interview may have been printed in early 1978, been given mid-1977, referring to "last year" is just a mistake (touring takes it toll and Brian could be mistaken) and Brian is only off by a year.

Like I said, not everything here is hard evidence. It's easy (and perhaps misleading) to speculate too much and some statements from the sources could be up for multiple interpretations. Until further evidence arises, it's a matter of how much weight we put on each piece of evidence.

I'd be very interested in an independent analysis of the sound and instruments used in the recording of the LLRT to see if it fits the "sound" of a particular era of Queen. We may also get in-depth details about where and when the LLRT was recorded in the liner notes of the Deluxe Editions.

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Posted: 08 Feb 11, 10:23 Edit this post Reply to this post Reply with Quote

> - the 1983 BBC Radio One interview has Brian identify three different recordings associated with "Queen 1"

TBF, considering Brian's flawed memory, that could've also been a mistake to begin with.

> "Opera" sessions proper did not begin until August that year.

True, but it wouldn't be the first or last time the band had an off (or 'bastard') session for a single ... single (A- or B-Side), rather than the album: See What a Fool (February 1974, long after the Queen II album and long before SHA), Under Pressure, Thank God It's Christmas...

> I'd be very interested in an independent analysis of the sound and instruments used in the recording of the LLRT to see if it fits the "sound" of a particular era of Queen.

That's indeed a very interesting project and a wonderful idea.


John hated HS. Fred's fave singer was not PR. Roger didn't compose 'Innuendo.' Witness testimonies are often inaccurate. Scotland's not in England. 'Bo Rhap' hasn't got 180 voices.
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Posted: 08 Feb 11, 11:10 Edit this post Reply to this post Reply with Quote

The February 1974 date for "See What A Fool I've Been" doesn't, I believe, refer to the recording date, but to the release date: February 23rd, 1974. I'm sure SWAFIB was recorded in August of 1973 along with the rest of the Queen II album. Also, by many accounts, the Queen II album was delayed for various reasons (the oil crisis, the fact that Queen 1 was still fairly new...) and the band originally wanted it out in the end of 1973.

I do see your point about one-off recording sessions. Examples like: "God Save The Queen" recorded October 27th, 1974, not for any album (Sheer Heart attack was long finished), but as a closing live anthem for the band. And "Thank God It's Christmas" which was recorded in the summer of 1984, long after The Works was completed (January 1984).

Speaking of GSTQ and KYA, the US-only re-issue single of KYA in 1975 has the original version of "God Save The Queen" on it, which does not feature the fade in as heard later on the album. Also, in July of 1975, when the single came out, "God Save The Queen" was (at the time) a new non-album Queen track ("Opera" was still months away from being recorded). I find that fascinating.

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Posted: 08 Feb 11, 15:05 Edit this post Reply to this post Reply with Quote

Hi All

Just thought i would add my two pennies worth !

I listened to the LLR of KYA and noticed Freddie changed the lyrics at the end of the track to  "get it get it get it boy keep yourself alive" I have listened to all the versions of KYA i have (live and studio) and the same lyrics seem to appear late 1975, for example Freddie does not sing them in Japan may 75 but he sings them London dec 75 ! You guys may have more live recordings that can be checked. Im sure they were not sung 73-74, so maybe he changed the lyric in the Retake then decided to sing it live too. 

Hope this helps

cheers Dave

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Posted: 08 Feb 11, 15:26 Edit this post Reply to this post Reply with Quote

Very good point. Great info.


John hated HS. Fred's fave singer was not PR. Roger didn't compose 'Innuendo.' Witness testimonies are often inaccurate. Scotland's not in England. 'Bo Rhap' hasn't got 180 voices.
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Posted: 08 Feb 11, 16:20 Edit this post Reply to this post Reply with Quote

I think Dave may be onto something here.

I remember listening to the Long Lost Retake and noticing those lyrics at the end, which Freddie used to sing live in the widely available versions I knew back then (LK, WWRY). It made sense, being a retake, that it had additional ideas and lyrics not available in the studio version. I guess everybody just assumed that the retake had been recorded after the album version but BEFORE Queen I was released, as opposed to almost 3 years later.

Hopefully someone can comment on the Instruments used and the overall sound of the LLRT recording and we can conclude something.

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Posted: 08 Feb 11, 17:20 Edit this post Reply to this post Reply with Quote

Indeed, a very good catch.

I took a moment to explore this development, listening to the various known versions I own and here's what I can add:

1) De Lane Lea Demo (1971): Starts with acoustic guitar, adds Red Special at 8 seconds and the main riff at about 11 seconds, adds percussion at 18 seconds and full drums at 24 seconds. Basically, it starts with guitar and layers the elements one at a time at the start leading into the first verse.

2) Album Version (Mike Stone Mix - June 1972): Starts with one layer of Red Special, instead of the DLL acoustic; at 8 seconds, the next layer appears, providing the main riff at 11 seconds (same as the DLL Demo); percussion counts in at 14 seconds (approximately the same as the DLL Demo); at 24 seconds, the drums kick in (again, the same as the DLL Demo).

3) BBC Version #1 (February 5th, 1973): Follows a similar structure as the Album Version, but with a few differences. It starts with one layer of guitar, then at 8 seconds *both* the second guitar and the percussion layer onto it. At 11 seconds, the main riff appears, as standard. At 17 seconds, the tapping percussion is replaced with a high-hat (about the time the percussion would normally appear for the first time). At 24 second, the drums kick in. Despite the difference in percussive layering, this recording follows the same structure as established in the DLL Demo.

4) BBC Version #2 (July 25th, 1973): Is exactly the same backing track as BBC Version #1, which the exception of a third (new) layer of guitar added throughout and new vocals by Freddie.

5) Shitkickers Version (Recorded live at The Rainbow Theatre March 31st, 1974): Starts with guitar (one layer) and percussive beat-keeping standard to the usual structure. Since it's live, without overdubs, the subtle layering is absent, but as noted, the structure is pretty much the same: guitar, percussion, riff, drums... 

6) Xmas Eve Version (Recorded live at the Hammersmith Odeon, Dec. 24th, 1975): As noted by the other poster, here we see a relatively significant change. The song starts with the heavy bass drum marking time, pounding in the song before the guitar comes in via some cool feedback, similar now to the "Long Lost Re-Take" intro. Also, as noted by the previous poster, the "Get it, get it, get it, boy! Keep yourself alive!" appears here, where it is absent from the previous versions. Normally, it's variations on "All you people, keep yourself alive!"

7) Earls Court Version (Recorded live at Earls Court, June 6th, 1977: Heavy bass drum + percussive intro, with some flares from Roger. Here, Brian seems to start a bit before Roger, but Roger comes in quickly and heavily. The "Get it, get it, get it, boy! Keep yourself alive!" ends the song.

8) Houston Version (Recorded live at The Summit, Dec. 11, 1977):Heavy bass drum + percussive intro, with some flares from Roger. Previously (DLL, Album and BBC) it was guitars and more guitars until the drums kicked in later. Lastly, the "Get it, get it, get it, boy! Keep yourself alive!" ends the song.

9) Live Killers Version (1979): Heavy bass drum + percussive intro, following the altered structure seen in the Xmas Eve Version of drums leading the way and guitar following suit. "Get it, get it, get it, boy! Keep yourself alive!" ends the song.

10) Montreal Version (Nov 24th, 1981): This is a bit different because it starts with a sampling of "Sex Show" (an unreleased track from the Hot Space sessions, according to Brian in the Queen Rock Montreal commentary). However, after Brian changes keys into KYA, it follows the heavy drums + percussion + guitar intro. The song is not finished (leading instead into Roger and Brian's respective solos), so we don't hear the full ending.

So, what does it all mean? Well, in 1975 thereabouts we see a marked change in the intro to "Keep Yourself Alive," where it seems to reflect the "Long Lost Re-Take" approach, and the ending line ("Get it, get it...") appears and stays as the finale of the song (at least when performed in its entirety). Is this conclusive? No, but it's certainly compelling.

I was always open to the idea, but now I'm very much coming to believe there may be validity to the LLRT being from 1975.

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Posted: 09 Feb 11, 03:47 Edit this post Reply to this post Reply with Quote

Here's a quick OCR and Google translation of that Dutch interview:

Recently Netherlands eerisvereerd again with a two-day visit of the world band Queen. The previous
visit was not even a year ago and the statement seems justified that the band
led by Freddie Mercury made entirely in our cozy swamp delta in the ne. Last
year you could get another chapter Ciriiii-Queen of the vicissitudes of the
four reading, recorded from the beautiful mouth of Fred. Therefore it seemed to
me this time nice am the other major driver in eheel a hat word to Paten,
guitarist wish me dihah> passed it, ran it any wonder ivan the part of Fred,
which does not seem to understand why I do not had chosen for him. That
characterizes at least the real wheel. May was prepared immediately tu speak to
me and was very soon .. •, that he is still a simple, modest, friendly and
above tall boy remained. This balance was made between the two concerts.

–––––––––––––––––––––––––––––––

Q: You are quite often lately, h2? "

A:  Yes, the second kcer within one year. We feel that Europe the last two
years has become very important to us. There are so many records worldwide and
we have so many fans that we really should be, I think It's always very nice to
play in Europe. Many people think that we are here for years at the top, but that is not so. The album A Night At The Opera hceft time it sold well, but it might as well be a fluke. The Races A Day by Ar and News
of the World have our toilet positic tremendous popular sup-dig reinforced, not
only in Europe mau (especially in America where we najatir a tour uitertit guceetivolle gedatin Itebben. The situatle is
at the moment so, that News of the World by far the best selling album. Even in
France, where in the past we have little to fry arrived, has that record quite sold during
this tour hehhe we first France in the tour schedule with them. There We are all four very happy, because it is
more central bevcstiging that our music on the right track. Many more people
believe in us today. "

COMBI-HIT

Q:  Hei took a long time for you a solid foot in the door got in America.

A:  "Yes, it's been a slow development. It is simply very difficult to truly there among the established
names to penetrate. There are many groups in America while we still ko-men from
abroad too.

It takes a lot of time and effort to do the entire American audience, and as you will understand we have our commitments elsewhere. Our final breakthrough is closely related to the fact that the single "We Are
77te Cltampions with on the other hand, We Will Rock You, two A-sides is a big
hit and was thereby News of the World was running great. But I must tell it to,
that Europe is in fact the area is difficult to conquer. This is sometimes
underestimated, I think. "

Q: Domestically, things get a little less, I'm told.

A:  "That's right. In England it is still A! ORDER At Opera our rhe hest-selling album. WC wool have many fans, but the last eighteen years much has happened in the field of music in England and that has surely worked as a barrier for many groups. Of course it is jam-mer, but I do not worry about it. It'll be back. I hope. "

Q: And what about all those rumors about the breakup of Queen?

A:  "All nonsense and nonsense. The English press was busy again. Look, like hundreds of other
groups we have such bad experiences with the English press, that we no more
interviews with them. And because she wanted to write about us, but they think
everything is so negative and preferably also possible. There is simply no
truth at all. You should never believe what you read in the English music
magazines. "

Q: Are there might be plans in the solo band?

A:  "Not really .. We all four hebbeb sometimes the idea of being a solo album would like to
make, but first we have the z6 pressure, there is no time for one-way, and
second, the musical situation within the group 16, we all four have a full
ownership. Everyone writes his own songs, submits it to the others and then
choose whether applicable things .... MTzItten for a ifigf! SISPeremOftli gene.
Of course we all four songs, which so far always been rejected by four of us,
but that can up-tion instead of a solo album maybe in the future following a
best-album Queen appear. "

Q: Why you never write songs together?

A:  "We simply have our way of working. Each takes his share, but it is true that every song
by all groups is _gearrangeerd so it will: as a Queen song recognizable. We
each have very different ideas about music, you should know and it's rarely
happened that we really have written a song together-am. Songs like "Stone
Cold Crazy Liar, and come the closest to. I myself do not consider it possible
that in future we will still be writing together. "

Q: But the individual contributions have far-caused a large variation in music.

A:  "Yes, that's true and I think that's very good. For example, I never could write songs sank
von Roger DLE. variation by which we are a grimt% language audience. No
disadvantage IR structure. eng corpse people have certain pre-approved numbers
or regret it, but yes, you can not please everyone, "

Q: Maybe if you would compose together.

A:  "Maybe, but it could also be that nobody likes us more. As we do now we are very satisfied."

EMOTIONAL PLM,

Q: Do you sometimes. the early days of Queen?

A:  'Certainly. The first few years we've been through so much. We were already busy with a number
of songs, and we were able to make the first album. Those disturbances, the
songs and so although we t'oen not as good as it could play and studio
technique also was not at such a high level, it is a spon-neous representation
of x% ate when in us alive. And then came the second album and I'm really proud of. We have limited agents can
extract so much that for me a milestone in my career has become. Queen II is my main Queen album and it is also the only home that I sometimes turn. It is a very emotional and I would record him best sometimes ppnielyv.f Lom, vill gri

Q: My hebje blessing.

A:  "Well, of course there are plenty of reasons not to do it. . However, last year the song Keep Yourself Allve in a new version included one, which was intended as a single for the U.S. market, but since We Are The Champions went so well, we only board up the miss. Maybe we will take the picture off or sometimes we put it on an album. It's become a very good performance 'and it has strengthened me in my mind that the production of' first album is actually not very well. "

Q: Do not you think you from Sheer Heart Attack konsessies have done great favor to the general public?

A:  Thhhh .... No, not really. Veór Sheer / Kart Attack in fact we had no audience, and when we Killer
Queen Sheer! Kart Attack have received considerable response, we started
writing for this audience. We've never got-you-targeting the general public and
I do not think we'll mersjele-music. Our audience is just really big, and it is
soon associated mud kommendes I think that iilot sr konsessilot liebben done.
Look, MI Queen II pete again we could loose some album coming up, so &
Sheer Art Attack was a new step in our development. We do not know in advance
that that record would be a success? Because it was the case, we decided from
that moment for our audience to write and that is our particular appreciated.
We still do what we want, not what the public wants. "

Q: But I heard recently that Freddie was quite taken by the rule-the disco craze.

A:  "Is that so? I do not know. He likes the Bee Gees pretty good, I think, but I think it is also
called ear-dig: Maybe we also do a disco number, you never know. But if that
happens, we do it because we enjoy it and not because it is popular at the
moment happened. "

Q: This is clearly working hard to designate.

A:  "Yes, you'll have me believe."

GEORGE FORMBY

Q: Tell me abou

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GEORGE FORMBY

Q: Tell me about your musical background and preferences.

A:  "I love a lot
of forties and fifties jazz and blues and I also think the twenties and
thirties cabaret-style music, where Freddie dot on as k. nice. Someone
Oliágorsc0 "milsrispiterrewemets-on, what he did in his day was very
special. And now .- Oh, I can not listen to music as often as I would like. I
think Kansas, for example, a good
band: stick- the musicians, well thought out music. and some good guys too. Wc
have in the past, I do agree with them but I'm very happy for them that it is
now "going so well, even in Europe. 0 yes, I just
them to record an album of note-Donegan Lonnic worked: the great hero of my
youth. That was a lovely experience, because I knew all his music and I felt
very honored mc. "

Q: What was that to do with the solo single from Roger?

A:  "Roger felt
very frustrated at a given moment. The band then had some business difficulties
with John Reid, our former manager and Roger wanted to record some for themselves.
It was not initially intended that the picture would be released, but there
were several people at a very good song von den, and when he has to talk and
yet leave an opinion. "

Q: Lloe did you know?

A:  "Prlititi. I
find such things eng tired L011111-MI, 11 Llop, E, 111 bid. IIIIIII: 11 KHP
tocii mutje just heals and eventually left a good influence on him sound.
"

Q: Finally, there are already 201 konArete plan. • • s
regarding the next album?

A:  "Yes and no.
We go straight after Lure record and this time before we go to France.
As for the compositions is still unknown, we do have loose ideee: n, but there
is no song komplect written. This is the sludio though. About these ideas, I
can not sentence-nigs say let his idea and only. "

 –––––––––––––––––––––––––––––––

After leaving the interview Brian May gallop to the
Keukenhof, break it in two and half hours to walk around and up to eight flower
bulbs to buy for his garden. Front where a nice idea, but I betwij-bright if he
will ever come true. His wife, she with extra attention 'care. A nice guy, is
Brian May.

Kees Baars