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This programme contains strong language. | 0:00:02 | 0:00:05 | |
In summer of 2017, Queen embarked on a sell-out tour of North America. | 0:00:05 | 0:00:11 | |
It followed in the footsteps of their breakthrough tour from 40 years before, | 0:00:15 | 0:00:20 | |
revisiting many of the same cities and once again | 0:00:20 | 0:00:23 | |
performing songs that are now amongst the biggest in rock history. | 0:00:23 | 0:00:28 | |
# We will, we will rock you... # | 0:00:28 | 0:00:30 | |
You know, it's incredible. | 0:00:32 | 0:00:34 | |
About 40 years ago, four precocious boys came from England | 0:00:34 | 0:00:39 | |
to see what we could do in this beautiful country of yours. | 0:00:39 | 0:00:42 | |
We were here in 1977, maybe some of you were too, right? | 0:00:43 | 0:00:47 | |
-CHEERING -You remember? | 0:00:47 | 0:00:49 | |
Back in 1977, as a young BBC music presenter, | 0:00:55 | 0:00:59 | |
I was asked to make a film about the band as they recorded and toured | 0:00:59 | 0:01:03 | |
their sixth album, News Of The World. | 0:01:03 | 0:01:06 | |
Bob and Freddie, take seven. | 0:01:06 | 0:01:08 | |
That film was never put together, | 0:01:08 | 0:01:10 | |
but now to mark the album's 40th anniversary, | 0:01:10 | 0:01:13 | |
we've uncovered and restored this long-lost footage. | 0:01:13 | 0:01:17 | |
I'll have to sing it, go on, and again. | 0:01:17 | 0:01:19 | |
The News Of The World tour was to be Queen's most ambitious yet, | 0:01:19 | 0:01:23 | |
playing 26 concerts across North America in just six weeks. | 0:01:23 | 0:01:28 | |
I was wondering, what targets do you have left to achieve? | 0:01:28 | 0:01:32 | |
Number one album in America. | 0:01:32 | 0:01:33 | |
We were given unprecedented behind-the-scenes access. | 0:01:33 | 0:01:37 | |
Oh, you've caught me in a good mood! | 0:01:37 | 0:01:39 | |
I'd watched the band grow over the previous few years, | 0:01:39 | 0:01:43 | |
topping the UK charts and playing every conceivable venue. | 0:01:43 | 0:01:47 | |
They rocked Britain, but could they rock the world? | 0:01:47 | 0:01:51 | |
# We will, we will rock you... # | 0:01:51 | 0:01:56 | |
By 1977, Queen were a successful headliner act with a loyal fan base. | 0:01:59 | 0:02:05 | |
MUSIC: Somebody To Love | 0:02:05 | 0:02:08 | |
Their two most recent albums were a tour de force of multi-part harmonies and | 0:02:10 | 0:02:14 | |
technical complexity, | 0:02:14 | 0:02:16 | |
which required unprecedented recording time in the studio. | 0:02:16 | 0:02:21 | |
# But I just can't get no relief | 0:02:21 | 0:02:24 | |
# Lord, somebody | 0:02:24 | 0:02:25 | |
#Somebody | 0:02:25 | 0:02:26 | |
# Somebody | 0:02:26 | 0:02:27 | |
#Somebody | 0:02:27 | 0:02:28 | |
# Can anybody find me...? # | 0:02:28 | 0:02:29 | |
Despite achieving a number of hits, | 0:02:29 | 0:02:31 | |
they were battling an increasingly hostile press. | 0:02:31 | 0:02:35 | |
And dealing with the music scene that was being altered by the arrival of punk. | 0:02:39 | 0:02:43 | |
The whole punk movement was said to be a reaction against | 0:02:50 | 0:02:53 | |
people like us, you know, who had raised their art to a high point. | 0:02:53 | 0:02:57 | |
I thought when we went into News Of The World, you know, | 0:02:58 | 0:03:01 | |
we couldn't reinvent ourselves as a punk band. | 0:03:01 | 0:03:04 | |
But we wanted it a little bit more | 0:03:04 | 0:03:06 | |
simple because we thought maybe these really grandiose things | 0:03:06 | 0:03:09 | |
weren't really quite what was happening then, | 0:03:09 | 0:03:11 | |
and to be more of the time, I guess. | 0:03:11 | 0:03:14 | |
We made a more straightforward record. | 0:03:14 | 0:03:16 | |
It was just that we had gone as far as we possibly could into this sort | 0:03:16 | 0:03:19 | |
of baroque, complex, incredibly elaborate arrangements stuff, and we thought, | 0:03:19 | 0:03:24 | |
well, it would be fun to go back to the way we used to play when we first | 0:03:24 | 0:03:27 | |
started. Which would be quite simple, guitar, bass | 0:03:27 | 0:03:31 | |
and drums and vocals as well. | 0:03:31 | 0:03:33 | |
I really like News Of The World. | 0:03:33 | 0:03:35 | |
It's one of my favourites, I think. | 0:03:35 | 0:03:37 | |
And of course, it had two monster singles on it, | 0:03:39 | 0:03:42 | |
We Will Rock You and We Are The Champions. | 0:03:42 | 0:03:44 | |
We always thought of them as a pair. | 0:03:44 | 0:03:47 | |
We Will Rock You and We Are The Champions | 0:03:47 | 0:03:49 | |
had a very sort of definite genesis. | 0:03:49 | 0:03:51 | |
We played this great hall in the Midlands, and it was packed, | 0:03:51 | 0:03:55 | |
it was heaving. You know, those gigs that you love. | 0:03:55 | 0:03:57 | |
It's all sweaty and hot. | 0:03:57 | 0:03:58 | |
The atmosphere is great. Everybody's in it. | 0:03:58 | 0:04:00 | |
Everybody's jumping up and down, making a noise. | 0:04:00 | 0:04:03 | |
And what they were doing was singing along. | 0:04:03 | 0:04:05 | |
They didn't stop. They sang every note of every song. | 0:04:06 | 0:04:09 | |
And when we went offstage, they sang You'll Never Walk Alone to us. | 0:04:10 | 0:04:14 | |
Now, in those days, it was really new, I have to tell you. | 0:04:14 | 0:04:18 | |
You just didn't go to concerts where people sang to rock bands. | 0:04:18 | 0:04:22 | |
So we went home that night thinking, "What do we do here? | 0:04:22 | 0:04:25 | |
"What does this mean? What does this mean for our future?" | 0:04:25 | 0:04:28 | |
Obviously the audience is as big a part of the show as we are now. | 0:04:28 | 0:04:31 | |
So let's embrace it. | 0:04:31 | 0:04:33 | |
What can an audience do? What could you ask them to do? | 0:04:33 | 0:04:36 | |
They're all crammed in there, they can't do much, you know, | 0:04:36 | 0:04:38 | |
but they can stamp their feet and they can clap their hands and they can sing. | 0:04:38 | 0:04:42 | |
And they would be leading the song rather than the singer. | 0:04:42 | 0:04:45 | |
So I woke up with We Will Rock You in my head. | 0:04:45 | 0:04:47 | |
MUSIC: We Will Rock You | 0:04:50 | 0:04:52 | |
I sang the song to Freddie and he went, "Yeah. | 0:04:52 | 0:04:56 | |
"It's going to work." He twigged that it was a kind of rallying song. | 0:04:56 | 0:04:59 | |
# Buddy, you're a boy | 0:04:59 | 0:05:00 | |
# Make a big noise playing in the street | 0:05:00 | 0:05:02 | |
# Gonna be a big man someday | 0:05:02 | 0:05:04 | |
# You got mud on your face | 0:05:04 | 0:05:06 | |
# You big disgrace | 0:05:06 | 0:05:07 | |
# Kickin' your can all over the place | 0:05:07 | 0:05:10 | |
# Singin' we will, we will... # | 0:05:10 | 0:05:12 | |
In my head, it was a song of the three Ages of Man. | 0:05:12 | 0:05:15 | |
The first age is the boy who thinks he can change the world. | 0:05:15 | 0:05:19 | |
The second stage is the man who thinks he is changing the world. | 0:05:19 | 0:05:22 | |
# Buddy, you're a young man, hard man shouting in the street | 0:05:22 | 0:05:25 | |
# Gonna take on the world someday | 0:05:25 | 0:05:28 | |
# You got blood on your face | 0:05:28 | 0:05:29 | |
# A big disgrace | 0:05:29 | 0:05:31 | |
# Waving your banner all over the place... # | 0:05:31 | 0:05:34 | |
And the third stage is the old man coming to terms with the fact that | 0:05:34 | 0:05:38 | |
there's only a certain amount he can do. | 0:05:38 | 0:05:40 | |
It's like the serenity prayer, you know, change what you can change, | 0:05:40 | 0:05:43 | |
but get used to it that you can't achieve everything. | 0:05:43 | 0:05:46 | |
# Buddy, you're an old man | 0:05:46 | 0:05:48 | |
# Poor man pleadin' with your eyes | 0:05:48 | 0:05:49 | |
# Gonna make you some peace someday | 0:05:49 | 0:05:52 | |
# You got mud on your face | 0:05:52 | 0:05:53 | |
# Big disgrace | 0:05:53 | 0:05:54 | |
# Somebody better put you back into your place | 0:05:54 | 0:05:57 | |
# We will, we will rock you... # | 0:05:57 | 0:06:02 | |
Sing it! | 0:06:02 | 0:06:04 | |
So I came up with We Will Rock You, | 0:06:04 | 0:06:06 | |
and Freddie came up with We Are The Champions. | 0:06:06 | 0:06:09 | |
Do you enjoy record production, Fred? | 0:06:13 | 0:06:15 | |
Do you enjoy working in the studio? | 0:06:15 | 0:06:17 | |
Erm, yes. You can get sick of it, though. | 0:06:17 | 0:06:22 | |
Especially now. | 0:06:22 | 0:06:24 | |
We've decided that on our albums, | 0:06:24 | 0:06:28 | |
we wouldn't spend as much time as we've done in the past. | 0:06:28 | 0:06:32 | |
Because I just think that, | 0:06:32 | 0:06:35 | |
especially with News Of The World, | 0:06:35 | 0:06:39 | |
I think we actually did decide before we went in that it was going to be a short album. | 0:06:39 | 0:06:43 | |
As far as Queen standards are concerned. | 0:06:43 | 0:06:45 | |
So that was like two months instead of four. | 0:06:45 | 0:06:48 | |
We had something like a week and a half to two weeks to actually write all the material. | 0:06:48 | 0:06:52 | |
And it was nice. We didn't fall into this thing of it being over-ripe | 0:06:52 | 0:06:56 | |
before we actually recorded it. | 0:06:56 | 0:06:58 | |
A Day At The Races, we spent five or | 0:07:09 | 0:07:11 | |
six months in the studio, and very long hours. | 0:07:11 | 0:07:13 | |
So, just physically, you couldn't be in the studio all the time. | 0:07:13 | 0:07:16 | |
News Of The World leads back to a more spontaneous | 0:07:16 | 0:07:20 | |
kind of creation of an album. | 0:07:20 | 0:07:22 | |
Because of the nature of the way that we did it, | 0:07:22 | 0:07:24 | |
we were all in the studio at the same time for an amount of the time. | 0:07:24 | 0:07:27 | |
And it was more of a group thing than perhaps A Day At The Races was. | 0:07:27 | 0:07:30 | |
It was easy, because it was so simple. | 0:07:32 | 0:07:34 | |
After what we'd been doing, learning the stuff on News Of The World, | 0:07:34 | 0:07:37 | |
it was almost de rigueur to do it quick because you didn't want to mess | 0:07:37 | 0:07:41 | |
around with it too much. You didn't want to polish it too much, | 0:07:41 | 0:07:44 | |
you wanted to keep the rawness there. | 0:07:44 | 0:07:45 | |
MUSIC: We Are The Champions (backing track) | 0:07:45 | 0:07:48 | |
# We are the champions | 0:09:01 | 0:09:05 | |
# We are the champions | 0:09:05 | 0:09:08 | |
# No time for losers... # | 0:09:08 | 0:09:10 | |
Especially a group in our stage of career | 0:09:10 | 0:09:13 | |
can fall into the trap where we can have as much time as we want in the | 0:09:13 | 0:09:16 | |
studio. And you can just go and say, "Look, | 0:09:16 | 0:09:18 | |
"I'd like to try another area of this." | 0:09:18 | 0:09:20 | |
But now I think it's up to us to decide, from the very onset, | 0:09:20 | 0:09:24 | |
that this is the decision, this is what we're going to arrive at, | 0:09:24 | 0:09:27 | |
before we got there. And we were going to say, "OK, this is it." | 0:09:27 | 0:09:30 | |
And I feel I did that. | 0:09:30 | 0:09:32 | |
I mean, OK, I could forever go around saying that I could have done, say, We Are The Champions | 0:09:32 | 0:09:36 | |
a bit better. But I think I quite actually liked saying, "Look, | 0:09:36 | 0:09:40 | |
"I've made my sort of decision now. | 0:09:40 | 0:09:42 | |
"And we're going to stick to it." And it's worked out pretty well. | 0:09:42 | 0:09:46 | |
That was a lovely feel. That's exactly how it should be. | 0:09:56 | 0:09:59 | |
-Can I have another cup of coffee? Sorry. -Sounding quite nice. | 0:09:59 | 0:10:01 | |
OK, cup of coffee coming, anybody else want anything? | 0:10:01 | 0:10:04 | |
Yes, please, I'll have a cup. | 0:10:04 | 0:10:06 | |
I'll have a cup with one sugar, please. | 0:10:06 | 0:10:07 | |
Right, that's three coffees, with one sugar, one of them. | 0:10:07 | 0:10:11 | |
One and three-sevenths sugars, please. | 0:10:11 | 0:10:14 | |
Three sugars? | 0:10:14 | 0:10:16 | |
-No, one and three-sevenths. -Seven sugars? | 0:10:16 | 0:10:18 | |
One and three-sevenths! | 0:10:18 | 0:10:19 | |
Is this on? | 0:10:19 | 0:10:21 | |
Test, test. Knock, knock. Hello? | 0:10:21 | 0:10:23 | |
DRUMS PLAY | 0:10:23 | 0:10:24 | |
-Think we got a hundred... -That's better. | 0:10:43 | 0:10:46 | |
How does the studio situation work, Freddie? | 0:10:46 | 0:10:49 | |
-You mean, amongst us? -Yes. | 0:10:49 | 0:10:53 | |
-Between us? -Yeah. -If I write a song, | 0:10:53 | 0:10:55 | |
and I sort of take it upon myself from the actual writing stages | 0:10:55 | 0:10:59 | |
to the rehearsing, to the routining, and to the recording, | 0:10:59 | 0:11:02 | |
as being my project, so I sort of handle that. | 0:11:02 | 0:11:05 | |
With my kind of songs, I seem I sort of, more or less, | 0:11:05 | 0:11:08 | |
have everything rehearsed. | 0:11:08 | 0:11:10 | |
I mean, everything sort of written out. | 0:11:10 | 0:11:12 | |
# I've taken my bows | 0:11:12 | 0:11:14 | |
# And my curtain calls... # | 0:11:14 | 0:11:17 | |
It's still repeating. | 0:11:19 | 0:11:21 | |
# You brought me fame and fortune | 0:11:21 | 0:11:22 | |
# And everything that goes with it... # | 0:11:22 | 0:11:24 | |
-I want it on a pan. -What, the echo, yeah? | 0:11:24 | 0:11:27 | |
-So that I can... -Yeah, yeah. It will be. | 0:11:27 | 0:11:29 | |
He had a vision and he was | 0:11:29 | 0:11:32 | |
very driven and he was very good on the desk, you know? | 0:11:32 | 0:11:35 | |
And very good moving the faders, balancing the harmonies and getting the things | 0:11:35 | 0:11:40 | |
to do what he wanted. But then we would pitch in with each other's songs, | 0:11:40 | 0:11:43 | |
and then sometimes we'd all get together to mix it. | 0:11:43 | 0:11:46 | |
When did you begin to get to a stage where you felt, between you, | 0:11:46 | 0:11:49 | |
that you could take over the desk yourselves completely? | 0:11:49 | 0:11:52 | |
It comes to a stage where all you really need is an engineer, really, | 0:11:52 | 0:11:56 | |
because the idea of balancing sounds you want, you know, it's... | 0:11:56 | 0:12:00 | |
An artist or musician should really know what they want, you know? | 0:12:00 | 0:12:04 | |
And the only person needed to implement that is an engineer, | 0:12:04 | 0:12:07 | |
really, in a way. And when you're doing a mix, you know, | 0:12:07 | 0:12:10 | |
and you're mixing down the track from the tapes. | 0:12:10 | 0:12:13 | |
I mean, it's setting it up. | 0:12:13 | 0:12:15 | |
And then we actually sit down and work the controls as well, you know... | 0:12:15 | 0:12:19 | |
-Yeah. -Can you remember which vocals, which solos we used? | 0:12:19 | 0:12:22 | |
Well, if I hear, then I'll know. | 0:12:23 | 0:12:25 | |
Because here, we've got three tracks, four tracks of vocals. | 0:12:26 | 0:12:28 | |
One with a solo guitar and then that's got "end bit solo". | 0:12:28 | 0:12:31 | |
Well, listen to them, darling, that's the only way we can do it. | 0:12:31 | 0:12:34 | |
-That's your writing, isn't it, that one? -No, it's all, it's all... | 0:12:39 | 0:12:42 | |
..Mike's. | 0:12:42 | 0:12:44 | |
-What are you doing now? -I'm just going to get a rough balance, OK? -OK. | 0:12:44 | 0:12:48 | |
MUSIC PLAYS | 0:12:52 | 0:12:54 | |
There must be more than this. | 0:13:19 | 0:13:22 | |
-Must be more what? -Oh, that's the one, I think. | 0:13:22 | 0:13:25 | |
There are two guitars. | 0:13:25 | 0:13:28 | |
-Yeah. -But there's two guitars. | 0:13:34 | 0:13:37 | |
One crosses over. | 0:13:37 | 0:13:39 | |
Right... | 0:13:39 | 0:13:40 | |
-Do you remember? -Yes, I remember. | 0:13:40 | 0:13:42 | |
That one is... Go back to the other place and we'll find out. | 0:13:42 | 0:13:45 | |
-Just the last chorus of the note? -See if you could use... | 0:13:46 | 0:13:48 | |
-Do you want to do a guitar or something? -I suppose we could. | 0:13:48 | 0:13:51 | |
It would sound different. | 0:13:51 | 0:13:52 | |
Do you want to do a guitar bit in there, squeeze it in? | 0:13:52 | 0:13:56 | |
Work out your guitar so you can mix... | 0:13:56 | 0:13:59 | |
Roger, do you want to come in here and just do... | 0:13:59 | 0:14:01 | |
-The kit? -Yeah. | 0:14:01 | 0:14:03 | |
MUSIC PLAYS | 0:14:03 | 0:14:05 | |
More bass, please. | 0:14:29 | 0:14:31 | |
-Erm... -Back to cylinders. | 0:14:31 | 0:14:33 | |
What do you think for sounds? I mean, I think we should just... | 0:14:33 | 0:14:36 | |
Yeah, it sounds all right to me. | 0:14:36 | 0:14:38 | |
He's only done drum sounds at the moment. | 0:14:38 | 0:14:43 | |
-That's right. -Oh, that's why it sounds all right to me. | 0:14:43 | 0:14:46 | |
Let's open a bottle of wine. | 0:14:48 | 0:14:49 | |
Yes, where is the screwdriver? | 0:14:49 | 0:14:52 | |
Congratulations, you're number one on the Hit Line at the moment. | 0:14:52 | 0:14:55 | |
How's that for loyalty? | 0:14:55 | 0:14:57 | |
I think it's great. It's a very good instant reaction | 0:14:57 | 0:15:00 | |
to what we put out. | 0:15:00 | 0:15:02 | |
And only Queen could come up with the title, We Are The Champions. | 0:15:02 | 0:15:06 | |
I mean, where's the modesty gone? | 0:15:06 | 0:15:07 | |
Well, there isn't any. There's no modesty whatsoever. | 0:15:07 | 0:15:11 | |
After the slaggings off that we get from the English music press, well, who cares? | 0:15:11 | 0:15:16 | |
So we've got nothing to lose now. | 0:15:16 | 0:15:18 | |
Because pulling We Are The Champions, off the new album, | 0:15:18 | 0:15:22 | |
that seems to me to have thoughts and sentiments in it that you must've | 0:15:22 | 0:15:25 | |
been wanting to express for some time. | 0:15:25 | 0:15:28 | |
-Is that true? -Oh, I'm a cold, heartless bugger. | 0:15:28 | 0:15:32 | |
No, it has absolutely nothing. | 0:15:32 | 0:15:33 | |
It's just pure commercial, call it what you like. | 0:15:33 | 0:15:36 | |
Can you go easy on the stage lights because they're so fucking hot? | 0:15:36 | 0:15:40 | |
Oh, that's a bit better for now. | 0:15:41 | 0:15:44 | |
It's the most egotistical and arrogant song I've ever written. | 0:15:44 | 0:15:47 | |
Was it? | 0:15:47 | 0:15:48 | |
HE BLOWS A RASPBERRY | 0:15:48 | 0:15:49 | |
I was kind of quite shocked because I thought, "Are we really | 0:15:49 | 0:15:53 | |
"going to stand up and say we are the champions as opposed to every other group | 0:15:53 | 0:15:56 | |
"and every other person on the face of this Earth?" | 0:15:56 | 0:15:58 | |
You know, and he says, "Actually that's not what it is." | 0:15:58 | 0:16:01 | |
And he said rock and roll is the only place | 0:16:01 | 0:16:03 | |
where everybody has a feeling of, like, being in a team, | 0:16:03 | 0:16:06 | |
but you're not fighting anybody. | 0:16:06 | 0:16:08 | |
-It'd work if you could dodge down a bit lower even still. -Oh, but... | 0:16:08 | 0:16:11 | |
Then you can't see, there's no way you'll see the notes. | 0:16:11 | 0:16:14 | |
-There's no way you will see them. -I can't... -It doesn't work, huh? | 0:16:14 | 0:16:17 | |
Yeah. | 0:16:17 | 0:16:18 | |
The only way is to put a sheet over my head. | 0:16:18 | 0:16:20 | |
Have you got a black card, or...? | 0:16:20 | 0:16:22 | |
Or just a bit of black drape that we can put in front. | 0:16:22 | 0:16:24 | |
-Black drape? -Yeah. | 0:16:24 | 0:16:26 | |
Basically, it is a participation thing. | 0:16:27 | 0:16:29 | |
I've been... I'm just thinking in terms of how | 0:16:29 | 0:16:32 | |
maybe we're going to sort of adapt it on stage, | 0:16:32 | 0:16:34 | |
and how people are going to... | 0:16:34 | 0:16:36 | |
It's a public... | 0:16:36 | 0:16:37 | |
-..public/group thing, really. -Yeah. | 0:16:38 | 0:16:41 | |
We're going to be finishing off filming for We Are The Champions, | 0:16:41 | 0:16:44 | |
which, of course, you know is the new single from the band, yeah? | 0:16:44 | 0:16:48 | |
I don't know whether you've heard it, first of all. | 0:16:48 | 0:16:50 | |
Have you heard it on the radio? | 0:16:50 | 0:16:51 | |
AUDIENCE CHEERS | 0:16:51 | 0:16:52 | |
I understand it's number two on the Hit Line on Capital Radio tonight... | 0:16:53 | 0:16:57 | |
AUDIENCE CHEERS | 0:16:57 | 0:16:59 | |
We'd like your involvement, if you would, towards the end, | 0:17:03 | 0:17:08 | |
because if you've got any banners that you can wave towards the end... | 0:17:08 | 0:17:12 | |
Hundreds, hundreds. I knew it. | 0:17:12 | 0:17:15 | |
Get those out, shout and scream and sing with the band. | 0:17:15 | 0:17:19 | |
# It's been no bed of roses | 0:17:22 | 0:17:25 | |
# No pleasure cruise | 0:17:26 | 0:17:28 | |
# I consider it a challenge before the whole human race | 0:17:30 | 0:17:33 | |
# And I ain't gonna lose | 0:17:33 | 0:17:36 | |
# And I mean to go on and on and on and on | 0:17:36 | 0:17:40 | |
# We are the champions, my friends | 0:17:40 | 0:17:46 | |
# And we'll keep on fighting till the end | 0:17:48 | 0:17:54 | |
# We are the champions | 0:17:56 | 0:18:00 | |
# We are the champions | 0:18:00 | 0:18:03 | |
# No time for losers | 0:18:03 | 0:18:06 | |
# Cos we are the champions of the world | 0:18:06 | 0:18:14 | |
# We are the champions, my friends | 0:18:14 | 0:18:18 | |
# And we'll keep on fighting till the end | 0:18:20 | 0:18:25 | |
# Oh, we are the champions | 0:18:27 | 0:18:31 | |
# We are the champions | 0:18:31 | 0:18:35 | |
# No time for losers | 0:18:35 | 0:18:38 | |
# Cos we are the champions... # | 0:18:38 | 0:18:43 | |
I think Queen fans will be surprised | 0:18:45 | 0:18:48 | |
because it's far more kind of raw than any other album, | 0:18:48 | 0:18:51 | |
and also shorter tracks. | 0:18:51 | 0:18:53 | |
I'm glad you said raw, cos that was exactly, really, what we wanted. | 0:18:53 | 0:18:57 | |
OK, are you ready to rock 'n' roll? | 0:18:57 | 0:18:59 | |
Most of that album is quite stripped down. | 0:19:00 | 0:19:02 | |
There isn't a Bohemian Rhapsody on that album. | 0:19:02 | 0:19:05 | |
It's very powerful, it's very raw. | 0:19:05 | 0:19:07 | |
So, in a sense, we went a little bit sort of punky ourselves, I suppose. | 0:19:07 | 0:19:10 | |
You get involved in quite a lot of music outside of the band, | 0:19:10 | 0:19:12 | |
and outside of the band's style, don't you? | 0:19:12 | 0:19:14 | |
I mean, I remember you talking really in the very early days, | 0:19:14 | 0:19:17 | |
for example, about The Sex Pistols. | 0:19:17 | 0:19:18 | |
If you hear something that's... | 0:19:18 | 0:19:20 | |
..or hear of something that's exciting... There's simply so few. | 0:19:20 | 0:19:23 | |
# Well, you're just 17 and all you wanna do is disappear | 0:19:23 | 0:19:28 | |
# You know what I mean - there's a lot of space between your ears | 0:19:29 | 0:19:33 | |
# The way that you touch... # | 0:19:33 | 0:19:35 | |
Roger was much more aware than the rest of us. | 0:19:35 | 0:19:37 | |
He kept in touch with what was going on around him. | 0:19:37 | 0:19:39 | |
I remember him talking about The Sex Pistols very early on | 0:19:39 | 0:19:41 | |
and getting excited about it. | 0:19:41 | 0:19:43 | |
I thought, you know, "This is so fresh," | 0:19:43 | 0:19:45 | |
and I thought we needed a little bit of that kind of sensibility. | 0:19:45 | 0:19:48 | |
Sheer Heart Attack, which is a song of Roger's | 0:19:48 | 0:19:51 | |
which he'd been trying to get on an album at that time, | 0:19:51 | 0:19:53 | |
we thought, "Oh, it makes sense in this context." | 0:19:53 | 0:19:55 | |
Something simple and energetic. | 0:19:55 | 0:19:57 | |
# Sheer heart attack... # | 0:19:57 | 0:20:03 | |
It was sort of written a few years before, | 0:20:03 | 0:20:06 | |
and I thought, "This fits perfectly, | 0:20:06 | 0:20:08 | |
"this really fits in with what we're trying to do now," | 0:20:08 | 0:20:10 | |
so we put it on that album - | 0:20:10 | 0:20:12 | |
and it became a live staple. | 0:20:12 | 0:20:14 | |
Murder to play on stage, it's so fast. | 0:20:15 | 0:20:17 | |
# I feel so inar, inar, inar, inar inar, inar... | 0:20:18 | 0:20:23 | |
# ..inar, inar, inar, inar inarticulate. # | 0:20:23 | 0:20:29 | |
We were making this album in north London, | 0:20:29 | 0:20:31 | |
and in another studio just nearby was this young group | 0:20:31 | 0:20:34 | |
called The Sex Pistols. | 0:20:34 | 0:20:35 | |
We were literally next door for months. | 0:20:35 | 0:20:37 | |
Sid Vicious came in. | 0:20:37 | 0:20:39 | |
Sid was a moron, you know? | 0:20:39 | 0:20:40 | |
He was an idiot. | 0:20:40 | 0:20:42 | |
Fred played him a few things. | 0:20:42 | 0:20:43 | |
He played him Sheer Heart Attack, actually. | 0:20:43 | 0:20:45 | |
I think he said, "It sounds like The Cortinas." | 0:20:45 | 0:20:47 | |
And there was the moment when Sid said, | 0:20:47 | 0:20:49 | |
"Are you bringing ballet to the masses, then?" | 0:20:49 | 0:20:52 | |
Fred just said, "Oh, Mr Ferocious, we're trying our best, dear." | 0:20:52 | 0:20:57 | |
# Do you know, do you know, do you know just how I feel? | 0:20:58 | 0:21:02 | |
# Do you know, do you know, do you know just how I feel? | 0:21:03 | 0:21:08 | |
# Sheer heart attack | 0:21:08 | 0:21:14 | |
# Sheer cardiac... # | 0:21:14 | 0:21:22 | |
How are the rehearsals going, Brian? | 0:21:22 | 0:21:24 | |
Very well up to now, up to the usual standard, I think. | 0:21:24 | 0:21:27 | |
Which is usually slow up to the last minute, and then panic. | 0:21:27 | 0:21:31 | |
But it's going OK. | 0:21:31 | 0:21:32 | |
How much time have you put aside this time? | 0:21:32 | 0:21:34 | |
We have a full week here in Shepperton, where we are now. | 0:21:34 | 0:21:39 | |
Um... Which is without the PA, but we have the monitors, | 0:21:39 | 0:21:43 | |
so our stage environment is more or less as it will be, | 0:21:43 | 0:21:46 | |
and we have a mock-up of how the lights will be... | 0:21:46 | 0:21:50 | |
..and then the stuff is dismantled and goes to the States, | 0:21:51 | 0:21:54 | |
and we follow it out a week later, | 0:21:54 | 0:21:56 | |
and then we have three or four days with everything, | 0:21:56 | 0:21:59 | |
-and with John working the PA and everything. -Mm. | 0:21:59 | 0:22:02 | |
How much of News Of The World are you going to do this time? | 0:22:02 | 0:22:05 | |
News Of The World will feature heavily. | 0:22:05 | 0:22:07 | |
Partly because it's easy to do. | 0:22:07 | 0:22:10 | |
Most of the stuff is fairly simple in terms of instrumentation... | 0:22:10 | 0:22:14 | |
..and it was built around stuff which is easy to do on stage, | 0:22:16 | 0:22:20 | |
which really is the first time we've done that since the first album. | 0:22:20 | 0:22:23 | |
So there'll be a lot of it. | 0:22:23 | 0:22:24 | |
We've already been through five or six numbers off the new album. | 0:22:24 | 0:22:27 | |
It must be interesting finding that exact balance | 0:22:47 | 0:22:50 | |
between new material and old material, too, Brian. | 0:22:50 | 0:22:53 | |
Definitely, yes. | 0:22:53 | 0:22:54 | |
Cos a lot of people come to see a show for the familiar things... | 0:22:55 | 0:22:59 | |
..and always at the end of any artist's show, generally, | 0:23:00 | 0:23:04 | |
when he starts doing the old stuff, | 0:23:04 | 0:23:05 | |
people respond in a completely different way. | 0:23:05 | 0:23:08 | |
Um... So you have, as you say, | 0:23:09 | 0:23:10 | |
you have to strike the balance | 0:23:10 | 0:23:12 | |
between doing the things which people want to hear | 0:23:12 | 0:23:15 | |
and doing the things which you think you ought to be introducing them to. | 0:23:15 | 0:23:18 | |
Strangely enough, the things that people notice most | 0:23:18 | 0:23:20 | |
are the beginning and the end. | 0:23:20 | 0:23:21 | |
-I think it starts getting too much. -It's the start they've come to see. | 0:23:21 | 0:23:24 | |
They want to see what we're going to do. | 0:23:24 | 0:23:26 | |
This is a new show. | 0:23:26 | 0:23:28 | |
This is something... What are we going to perform? | 0:23:28 | 0:23:30 | |
-I think it worked great as an encore. -I think we should do it, | 0:23:30 | 0:23:33 | |
but the whole thing with We Will Rock You is stating that... | 0:23:33 | 0:23:37 | |
-Do you see what I mean? -Yeah. | 0:23:37 | 0:23:39 | |
There's no point saying, "We will rock you," | 0:23:39 | 0:23:41 | |
after we've rocked them all night long at the end of the show. | 0:23:41 | 0:23:44 | |
Yeah. | 0:23:44 | 0:23:45 | |
MUSIC: We Will Rock You | 0:23:45 | 0:23:47 | |
We love designing these sort of dramatic openings, | 0:23:52 | 0:23:54 | |
and particularly, the beginning and the end of a show, | 0:23:54 | 0:23:57 | |
there's a great opportunity to do something special, | 0:23:57 | 0:23:59 | |
and We Will Rock You, I think, in my head, | 0:23:59 | 0:24:02 | |
was partly conceived as an opener, anyway. | 0:24:02 | 0:24:04 | |
I thought, "Wouldn't that be great | 0:24:04 | 0:24:05 | |
"just to start off with this very stark stamping and clapping? | 0:24:05 | 0:24:08 | |
"It'll be like the audience is starting the show." | 0:24:08 | 0:24:10 | |
# We will, we will rock you | 0:24:10 | 0:24:14 | |
# We will, we will rock you... # | 0:24:14 | 0:24:18 | |
So Freddie would go out and do his thing, all on his own, you know. Hero. | 0:24:18 | 0:24:22 | |
# Buddy, you're a boy, make a big noise | 0:24:22 | 0:24:24 | |
# Playin' in the street, gonna be a big man someday | 0:24:24 | 0:24:27 | |
# Mud on your face | 0:24:27 | 0:24:29 | |
# Big disgrace | 0:24:29 | 0:24:30 | |
# Kickin' your can all over the place | 0:24:30 | 0:24:33 | |
-# We will, we will rock you -Yes, sir | 0:24:33 | 0:24:37 | |
# We will, we will rock you | 0:24:37 | 0:24:42 | |
# All right | 0:24:42 | 0:24:44 | |
-# We will, we will rock you -Yes, sir | 0:24:44 | 0:24:50 | |
# We will, we will rock you... # | 0:24:50 | 0:24:53 | |
And I would go out on the other side, do the guitar solo, hero. | 0:24:53 | 0:24:56 | |
But then it's like, "What do we play now?" | 0:25:17 | 0:25:19 | |
You know, when we get to the end of the guitar solo, what happens? | 0:25:19 | 0:25:22 | |
There's this huge kind of anticipation | 0:25:34 | 0:25:36 | |
at the beginning of a show. | 0:25:36 | 0:25:37 | |
You've got to be high energy, | 0:25:37 | 0:25:39 | |
you've got to fulfil that kind of expectation - | 0:25:39 | 0:25:41 | |
and on the record, you go into We Are The Champions, | 0:25:41 | 0:25:43 | |
but that wouldn't be right, | 0:25:43 | 0:25:45 | |
because We Are The Champions really cries out to be the end of a show. | 0:25:45 | 0:25:48 | |
So we thought, "What do we do here?" | 0:25:48 | 0:25:49 | |
And for some reason, I thought, "Well, a fast version | 0:25:49 | 0:25:52 | |
"of We Will Rock You would be really interesting." | 0:25:52 | 0:25:54 | |
# Ooh, yeah... # | 0:26:03 | 0:26:05 | |
And it was very effective. | 0:26:08 | 0:26:10 | |
It was just all very simple, very high energy, | 0:26:10 | 0:26:12 | |
and the audience could kind of bang their heads and get into it | 0:26:12 | 0:26:15 | |
and feel that their energy was being harnessed. | 0:26:15 | 0:26:18 | |
# Buddy, you're a boy, make a big noise | 0:26:19 | 0:26:22 | |
# Playin' in the street, gonna be a big man someday | 0:26:22 | 0:26:25 | |
# Got mud on your face | 0:26:25 | 0:26:26 | |
# Big disgrace | 0:26:26 | 0:26:28 | |
# Kickin' your can all over the place | 0:26:28 | 0:26:31 | |
# We will, we will rock you | 0:26:31 | 0:26:35 | |
# Tonight | 0:26:35 | 0:26:37 | |
# We will, we will rock you | 0:26:37 | 0:26:40 | |
# Buddy, you're a young man, hard man | 0:26:40 | 0:26:42 | |
# Shoutin' in the street, gonna take on the world someday | 0:26:42 | 0:26:46 | |
# Got mud on your face | 0:26:46 | 0:26:47 | |
# Big disgrace | 0:26:47 | 0:26:49 | |
# Wavin' your banner all over the place | 0:26:49 | 0:26:52 | |
# We will, we will rock you | 0:26:52 | 0:26:56 | |
# We will, we will rock | 0:26:58 | 0:27:03 | |
# Oh, yeah | 0:27:27 | 0:27:29 | |
# We will, we will rock you | 0:27:42 | 0:27:47 | |
# We will, we will rock | 0:27:49 | 0:27:52 | |
# Buddy, you're an old man, poor man | 0:27:52 | 0:27:54 | |
# Pleadin' with your eyes, gonna get you some peace someday | 0:27:54 | 0:27:58 | |
# Got mud on your face | 0:27:58 | 0:28:00 | |
# Big disgrace | 0:28:00 | 0:28:01 | |
# Somebody better put you back into your place | 0:28:01 | 0:28:04 | |
# We will, we will rock you | 0:28:04 | 0:28:09 | |
# We will, we will rock you | 0:28:10 | 0:28:15 | |
# Rock you, rock you, rock you | 0:28:15 | 0:28:17 | |
# We will, we will rock... # | 0:28:17 | 0:28:20 | |
AUDIENCE CHEERS | 0:28:41 | 0:28:43 | |
America's great. | 0:28:48 | 0:28:49 | |
You feel like America is the centre of rock music, somehow. | 0:28:49 | 0:28:53 | |
There's a real family which surrounds music in America. | 0:28:53 | 0:28:57 | |
You go there and you feel that you're part of it. | 0:28:57 | 0:28:59 | |
# You say you love me... # | 0:29:04 | 0:29:07 | |
America was regarded as sort of the grail of the rock scene | 0:29:08 | 0:29:12 | |
in those days, and, obviously, | 0:29:12 | 0:29:14 | |
when you sort of smell success in America, you go for it. | 0:29:14 | 0:29:17 | |
America was so geared up for rock and roll, | 0:29:17 | 0:29:19 | |
much more so than any place else at that time. | 0:29:19 | 0:29:22 | |
It had an amazing, thriving community which we plugged into, | 0:29:22 | 0:29:27 | |
and, in a sense, we created our audience, | 0:29:27 | 0:29:30 | |
but in a sense, they created us. | 0:29:30 | 0:29:33 | |
They're a very formative influence on us. | 0:29:33 | 0:29:35 | |
And it was a riot, it was amazing. | 0:29:35 | 0:29:37 | |
The energy that would be in those American halls was outstanding. | 0:29:37 | 0:29:41 | |
I think we grew up on those American tours as a band, | 0:29:41 | 0:29:44 | |
and you start to think of yourself as artists, in a sense. | 0:29:44 | 0:29:48 | |
# It's late | 0:29:48 | 0:29:51 | |
# But I'm bleeding deep inside | 0:29:51 | 0:29:53 | |
# It's late | 0:29:53 | 0:29:55 | |
# Is it just my sickly pride? | 0:29:55 | 0:29:59 | |
# Too late | 0:29:59 | 0:30:00 | |
# Even now the feeling seems to steal away | 0:30:00 | 0:30:04 | |
# So late | 0:30:04 | 0:30:05 | |
# Though I'm crying I can't help but hear you say | 0:30:05 | 0:30:09 | |
# It's late, it's late, it's late | 0:30:09 | 0:30:13 | |
# But not too late | 0:30:13 | 0:30:16 | |
# Mm, yeah | 0:30:22 | 0:30:25 | |
# The way you love me | 0:30:25 | 0:30:28 | |
# Is the sweetest love around | 0:30:29 | 0:30:32 | |
# But after all this time | 0:30:35 | 0:30:39 | |
# The more I'm trying | 0:30:39 | 0:30:41 | |
# The more I seem to let you down... # | 0:30:41 | 0:30:44 | |
Are you going to make sure that the whole... | 0:30:45 | 0:30:48 | |
..all the lights... all these gaps are filled? | 0:30:48 | 0:30:51 | |
Oh, yeah. | 0:30:51 | 0:30:52 | |
You must aim for maximum effect, both aurally and visually. | 0:30:52 | 0:30:56 | |
We're just trying to put out the music and the visual aspect | 0:30:56 | 0:30:59 | |
as effectively as we can to as many people as we can. | 0:30:59 | 0:31:02 | |
We think it should be a real event every time we play. | 0:31:04 | 0:31:06 | |
People are paying money to come and see you... | 0:31:06 | 0:31:09 | |
As far as we're concerned, we're putting on a show. | 0:31:09 | 0:31:11 | |
It's not just another rendition of an album. | 0:31:11 | 0:31:13 | |
If that was the case, we might as well just have | 0:31:13 | 0:31:15 | |
sort of cardboard cut-outs and just play the album. | 0:31:15 | 0:31:17 | |
# It's late | 0:31:17 | 0:31:19 | |
# But it's driving me so mad | 0:31:20 | 0:31:23 | |
# It's late | 0:31:23 | 0:31:24 | |
# Yes, I know but don't try to tell me that... | 0:31:24 | 0:31:28 | |
# It's too late | 0:31:28 | 0:31:29 | |
# Save our love, you can't turn out the lights | 0:31:29 | 0:31:33 | |
# So late | 0:31:33 | 0:31:34 | |
# I've been wrong but I'll learn to be right | 0:31:34 | 0:31:38 | |
# It's late, it's late, it's late, it's late, it's late | 0:31:38 | 0:31:45 | |
# It's late, it's late | 0:31:45 | 0:31:51 | |
# It's all too late | 0:31:52 | 0:31:55 | |
# Oh, let's do it | 0:32:00 | 0:32:02 | |
# Right on! | 0:32:02 | 0:32:04 | |
# Mm, late, oh, late | 0:32:05 | 0:32:09 | |
# Oh, yeah | 0:32:09 | 0:32:11 | |
# Whoo! # | 0:32:12 | 0:32:17 | |
I had to tell everyone to go home, cos he stayed standing there. | 0:32:27 | 0:32:30 | |
I know! I didn't realise he was playing! | 0:32:30 | 0:32:32 | |
Oh, blood, blood, sue the management! | 0:32:33 | 0:32:35 | |
We are! I bled, as well. | 0:32:35 | 0:32:37 | |
Shit! | 0:32:37 | 0:32:38 | |
I haven't got that blood. | 0:32:39 | 0:32:41 | |
Peter, sue the management! | 0:32:41 | 0:32:43 | |
Get off my trousers. | 0:32:48 | 0:32:50 | |
Fucking get out! | 0:32:50 | 0:32:51 | |
We did stay pretty connected. | 0:32:53 | 0:32:55 | |
Generally, we sort of found a big place | 0:32:55 | 0:32:57 | |
where we could get ready together, | 0:32:57 | 0:32:59 | |
and we would kind of joke around and talk about stuff. | 0:32:59 | 0:33:02 | |
So we had a good kind of camaraderie, which kept us alive. | 0:33:02 | 0:33:06 | |
-Arnold! Sorry... -Oh, my God... | 0:33:06 | 0:33:09 | |
Oh, shit, I threw my whistle away, actually. | 0:33:12 | 0:33:14 | |
HE PLAYS WHISTLE | 0:33:14 | 0:33:16 | |
I bet you can't blow 'em like that. | 0:33:19 | 0:33:21 | |
I hesitated, actually, I did, and I thought - I threw it. | 0:33:21 | 0:33:23 | |
I thought, "I've thrown it, should I ask for it back?" | 0:33:23 | 0:33:26 | |
I want it back. | 0:33:26 | 0:33:27 | |
You threw my best fucking pair of maracas away the first day. | 0:33:27 | 0:33:31 | |
Great-sounding maracas! | 0:33:31 | 0:33:32 | |
I mean, it took me hours to steal them. | 0:33:32 | 0:33:35 | |
Now they know I'm going to throw those things... | 0:33:36 | 0:33:38 | |
He just goes... | 0:33:38 | 0:33:39 | |
Actually, they were wonderful, I must say, I'm sorry. | 0:33:40 | 0:33:42 | |
Now they know I'm going to throw them in the audience, | 0:33:42 | 0:33:45 | |
they give me these horrible things | 0:33:45 | 0:33:46 | |
with about two peas inside, you know? | 0:33:46 | 0:33:49 | |
They just rattle, rattle, rattle. | 0:33:49 | 0:33:50 | |
I feel such a berk, going... | 0:33:50 | 0:33:52 | |
Nothing happening. So I just throw it away. | 0:33:52 | 0:33:54 | |
Lovely colours, as well. | 0:33:54 | 0:33:55 | |
Lovely colours, lovely kitsch colours. | 0:33:55 | 0:33:57 | |
Real height of bad taste. | 0:33:57 | 0:33:59 | |
Really? | 0:33:59 | 0:34:01 | |
You could throw me in the audience! | 0:34:01 | 0:34:03 | |
Don't give him ideas. | 0:34:03 | 0:34:05 | |
You don't rattle as good. | 0:34:05 | 0:34:08 | |
Are you happy with the response on the tour so far? | 0:34:08 | 0:34:11 | |
-Very much so, I think. -Yes. | 0:34:11 | 0:34:13 | |
See, I think it's worth pointing out, really, | 0:34:13 | 0:34:15 | |
that it's the most successful tour on the road right now. | 0:34:15 | 0:34:17 | |
-Isn't it? -If you say so, it is. | 0:34:17 | 0:34:19 | |
It is. | 0:34:21 | 0:34:22 | |
-We wouldn't want to keep abreast of it, but, yes. -Yes, it is. | 0:34:22 | 0:34:26 | |
There's a lot of competition around. I mean, there is... | 0:34:26 | 0:34:30 | |
-How many groups on the road? -Well, I don't know. | 0:34:30 | 0:34:33 | |
Of the sort of halls we're playing, no more than half a dozen. | 0:34:33 | 0:34:37 | |
But people here are just geared to going to... | 0:34:37 | 0:34:39 | |
..to actually seeing so many rock concerts | 0:34:39 | 0:34:41 | |
that, I mean, it's kind of a way of life, really, isn't it? | 0:34:41 | 0:34:44 | |
Particularly what strikes me on this tour | 0:34:44 | 0:34:47 | |
is how well put together the stage is, how well designed it is, | 0:34:47 | 0:34:50 | |
and how well the stage show works. | 0:34:50 | 0:34:53 | |
Can you describe the opening and how you got the idea for it, Freddie? | 0:34:53 | 0:34:56 | |
-How did I get the idea for it? -What do you mean, | 0:34:57 | 0:34:59 | |
how HE got the idea for it?! | 0:34:59 | 0:35:01 | |
I don't know, usually, I just kind of... | 0:35:01 | 0:35:04 | |
How did it start? Somebody comes up with an idea | 0:35:04 | 0:35:07 | |
and it's immediately rejected - | 0:35:07 | 0:35:09 | |
but it kind of sort of seeps in after a while, | 0:35:09 | 0:35:11 | |
-once it's kind of thrown about. -They want to get a row on film, you see. | 0:35:11 | 0:35:14 | |
Oh, they want to get a row - you should've been there yest... | 0:35:14 | 0:35:16 | |
Well, you were there yesterday, but the cameras weren't rolling. | 0:35:16 | 0:35:19 | |
I'm playing what I always play. | 0:35:19 | 0:35:21 | |
I'm playing exactly what is on the record, Fred. | 0:35:22 | 0:35:24 | |
-Did you slow down? -Oh, fuck slowing down. | 0:35:24 | 0:35:27 | |
-Did he slow down? -That's hardly the point. | 0:35:27 | 0:35:29 | |
Give us a bit more tea, and we might try and join in with you. | 0:35:29 | 0:35:33 | |
Well, you're expecting all of us to be perfect | 0:35:33 | 0:35:36 | |
before you even attempt to do anything. | 0:35:36 | 0:35:38 | |
Oh, don't be so fucking ridiculous. | 0:35:38 | 0:35:39 | |
Don't take it down. | 0:35:43 | 0:35:44 | |
That's all right. | 0:35:44 | 0:35:46 | |
That's all right. | 0:35:46 | 0:35:47 | |
It's not coming out on mine. | 0:35:47 | 0:35:49 | |
I want to hear it. | 0:35:49 | 0:35:50 | |
I hear we split up last week, | 0:35:50 | 0:35:52 | |
according to the NME or something. | 0:35:52 | 0:35:54 | |
Actually, we must develop that. | 0:35:54 | 0:35:56 | |
Just to a point. | 0:35:56 | 0:35:58 | |
How did that develop, those rumours? | 0:35:58 | 0:36:01 | |
Oh, it's... | 0:36:01 | 0:36:02 | |
It's so... | 0:36:03 | 0:36:05 | |
A lot of trivia, it's not even worth talking about. | 0:36:06 | 0:36:08 | |
Was there any basis in fact for that speculation at all? | 0:36:08 | 0:36:11 | |
Not as far as I know, really. | 0:36:11 | 0:36:13 | |
Breaking up, when we're doing so well? | 0:36:13 | 0:36:14 | |
-Yeah. -You must be kidding. | 0:36:14 | 0:36:16 | |
I think the most important thing is, for a band - basically, it has to be good, | 0:36:16 | 0:36:21 | |
and it also has to stick together, I think, | 0:36:21 | 0:36:24 | |
and know each other backwards. | 0:36:24 | 0:36:26 | |
You know, you've almost got to know what the other person is thinking. | 0:36:26 | 0:36:29 | |
A band has to stick together | 0:36:29 | 0:36:30 | |
until there's no longer any point in them sticking together, | 0:36:30 | 0:36:33 | |
if you see what I mean. | 0:36:33 | 0:36:34 | |
But mind you, when it is all over | 0:36:34 | 0:36:36 | |
and there's not really much coming out of it any more, | 0:36:36 | 0:36:38 | |
you've got to quit then, I think. | 0:36:38 | 0:36:40 | |
I'm sure we will when that happens. | 0:36:40 | 0:36:42 | |
Should we do something out front? | 0:36:42 | 0:36:45 | |
See if the fucking monitor's working. | 0:36:45 | 0:36:48 | |
We did, in a sense, become a little less cohesive, I suppose. | 0:36:48 | 0:36:53 | |
But I think the great thing for us was that we always did soundchecks. | 0:36:53 | 0:36:57 | |
We did long soundchecks every day - | 0:36:57 | 0:36:59 | |
and so much happened in the soundchecks. | 0:36:59 | 0:37:02 | |
We would talk to each other, look at each other, discuss things. | 0:37:02 | 0:37:06 | |
We'd figure out what was good about last night, | 0:37:06 | 0:37:08 | |
what wasn't good about last night, | 0:37:08 | 0:37:09 | |
and you know, "Let's try this. | 0:37:09 | 0:37:11 | |
"Let's see if we can get this song together," | 0:37:11 | 0:37:13 | |
and try out things, and have a bit of fun. | 0:37:13 | 0:37:15 | |
It's a kind of dedication, really, | 0:37:16 | 0:37:18 | |
but, boy, it pays off! | 0:37:18 | 0:37:20 | |
So I think that saved us from getting fragmented and disconnected. | 0:37:20 | 0:37:24 | |
# Get your party gown | 0:37:24 | 0:37:25 | |
# Get your pigtail down | 0:37:25 | 0:37:27 | |
# Get your heart beatin', baby | 0:37:27 | 0:37:30 | |
# Get your timin' right | 0:37:30 | 0:37:32 | |
# Get your act all tight | 0:37:32 | 0:37:34 | |
# It's gotta be tonight, my little schoolbabe | 0:37:34 | 0:37:37 | |
# Momma says you don't | 0:37:37 | 0:37:39 | |
# Daddy says you won't | 0:37:39 | 0:37:41 | |
# And I'm boilin' up inside | 0:37:41 | 0:37:43 | |
# No way I'm gonna lose out this time | 0:37:43 | 0:37:45 | |
# Tie your mother down | 0:37:51 | 0:37:53 | |
# Tie your mother down | 0:37:53 | 0:37:55 | |
# Lock your daddy out of doors | 0:37:55 | 0:37:56 | |
# I don't need him nosing around | 0:37:56 | 0:37:58 | |
# Tie your mother down | 0:37:58 | 0:38:00 | |
# Tie your mother down... # | 0:38:00 | 0:38:01 | |
Just try and give me a touch more vocal. | 0:38:12 | 0:38:14 | |
One, two. One, two, one, two. | 0:38:19 | 0:38:22 | |
# Sammy was low | 0:38:22 | 0:38:25 | |
# Just watching the show | 0:38:25 | 0:38:27 | |
# Over and over again... # | 0:38:27 | 0:38:31 | |
One, two, one, two. | 0:38:32 | 0:38:35 | |
# Sammy was low | 0:38:35 | 0:38:38 | |
# Just watching the show | 0:38:38 | 0:38:40 | |
# Over and over again | 0:38:41 | 0:38:46 | |
# Knew it was time | 0:38:46 | 0:38:49 | |
# He'd made up his mind | 0:38:49 | 0:38:51 | |
# To leave his dead life behind | 0:38:51 | 0:38:55 | |
# His boss said to him | 0:38:57 | 0:38:59 | |
# Boy, you'd better begin | 0:38:59 | 0:39:02 | |
# To get those crazy notions right out of your head | 0:39:02 | 0:39:08 | |
# Sammy, who do you think that you are? | 0:39:08 | 0:39:14 | |
# You should've been sweeping up the Emerald Bar | 0:39:14 | 0:39:21 | |
# Spread your wings and fly away | 0:39:22 | 0:39:28 | |
# Fly away, far away | 0:39:28 | 0:39:32 | |
# Spread your little wings and fly away... # | 0:39:32 | 0:39:36 | |
If, individually, you went off - | 0:39:36 | 0:39:38 | |
-I'm not talking about the band break-up at all. -Mm. | 0:39:38 | 0:39:40 | |
-Oh, no! -If you made individual solo albums... | 0:39:40 | 0:39:42 | |
-Yeah. -Oh, I'd make a lot of money! | 0:39:42 | 0:39:44 | |
..and I'll ask you individually this - | 0:39:44 | 0:39:45 | |
what sort of album would you make? | 0:39:45 | 0:39:47 | |
-Rog? -No idea. | 0:39:47 | 0:39:48 | |
I don't know yet. Haven't done it yet. | 0:39:50 | 0:39:53 | |
Er, a good one. | 0:39:53 | 0:39:54 | |
I'd like to make it naked and raw. | 0:39:54 | 0:39:58 | |
-Fred? -I really haven't thought in those terms, really. | 0:39:58 | 0:40:01 | |
I mean, probably my solo album would consist of me singing with Roger, | 0:40:01 | 0:40:05 | |
Brian and John backing me! | 0:40:05 | 0:40:07 | |
Most of the things that I want to do, I would want to use the group, | 0:40:07 | 0:40:10 | |
cos that's partly - we sort of use each other, in a way, | 0:40:10 | 0:40:13 | |
if we have ideas, and that is the big thing about a group, | 0:40:13 | 0:40:17 | |
that you have a group of people | 0:40:17 | 0:40:18 | |
who understand each other's ways of working | 0:40:18 | 0:40:20 | |
and you can get the maximum out of each other. | 0:40:20 | 0:40:22 | |
So there are things which, perhaps, at a particular time | 0:40:22 | 0:40:26 | |
you don't want to do for the group, but mainly the group is the vehicle. | 0:40:26 | 0:40:29 | |
-That's what I'm trying to say. -Yeah. | 0:40:29 | 0:40:30 | |
And it's the best vehicle that we have. | 0:40:30 | 0:40:32 | |
-John? -Um, I'd never do one, no. | 0:40:32 | 0:40:35 | |
I can't sing! | 0:40:35 | 0:40:36 | |
So how do each of you, then, | 0:40:39 | 0:40:41 | |
musically pull the band in certain directions? | 0:40:41 | 0:40:43 | |
I mean, I'm thinking of your songs, for example, | 0:40:43 | 0:40:45 | |
which always strike me as being so melodic... | 0:40:45 | 0:40:47 | |
-Yes. -..John, and add that input into the...? | 0:40:47 | 0:40:49 | |
Yes, yeah. Well, that just obviously comes from the type of songs | 0:40:49 | 0:40:52 | |
that the individuals write, | 0:40:52 | 0:40:54 | |
you know, I mean, because we are four... | 0:40:54 | 0:40:56 | |
..you know, four individuals, really. | 0:40:56 | 0:40:58 | |
I mean, we are quite different in our musical taste, as well. | 0:40:58 | 0:41:02 | |
Mine tend to be slightly lighter. | 0:41:02 | 0:41:05 | |
I don't think I could ever write a heavy song, you know? | 0:41:05 | 0:41:08 | |
-It's, you know, it's not in me. -Mm. | 0:41:08 | 0:41:10 | |
# Come on, honey | 0:41:10 | 0:41:12 | |
# Come fly with me... # | 0:41:12 | 0:41:15 | |
Oh, it's got an awful ridge on it. | 0:41:24 | 0:41:26 | |
Is there another one? | 0:41:26 | 0:41:28 | |
Ow, ow, ow. | 0:41:29 | 0:41:31 | |
I've lost my shoe! | 0:41:32 | 0:41:34 | |
Cinderella. | 0:41:34 | 0:41:35 | |
I like to think that I can do different things. | 0:41:35 | 0:41:38 | |
I mean, I don't like to just think, "OK, rock and roll, | 0:41:38 | 0:41:40 | |
"so therefore I'm going to go up there, | 0:41:40 | 0:41:42 | |
"put on my high-heeled shoes and play the songs." | 0:41:42 | 0:41:43 | |
I like to think that we do so many different types of songs | 0:41:43 | 0:41:46 | |
that then when we try and put them over | 0:41:46 | 0:41:48 | |
they require a different format. | 0:41:48 | 0:41:50 | |
And within that is a wide area. | 0:41:50 | 0:41:54 | |
Why don't you do a nice picture of Roger's legs? | 0:41:54 | 0:41:57 | |
Away! | 0:41:57 | 0:41:58 | |
Oh, but I don't do my own! | 0:42:02 | 0:42:03 | |
Dave! | 0:42:05 | 0:42:07 | |
Do, do, do. | 0:42:07 | 0:42:09 | |
I feel a lot of people now realise when they come to see our show | 0:42:09 | 0:42:12 | |
that they're going to get a lot of contrasts. | 0:42:12 | 0:42:14 | |
We're not scared of trying out different ideas, you know? | 0:42:14 | 0:42:17 | |
I think one of the things we really steer clear of | 0:42:17 | 0:42:20 | |
is trying to sort of repeat the same formula. | 0:42:20 | 0:42:22 | |
That's not the thing done in rock and roll! | 0:42:24 | 0:42:26 | |
Can you imagine it? | 0:42:26 | 0:42:28 | |
As the albums have progressed, | 0:42:29 | 0:42:30 | |
I mean, our sort of songwriting has progressed. | 0:42:30 | 0:42:32 | |
We've sort of ventured into different areas. | 0:42:32 | 0:42:35 | |
When people hear them on the records, | 0:42:35 | 0:42:37 | |
we like to do them on stage. | 0:42:37 | 0:42:38 | |
We'd like to try out something very different right now. | 0:42:38 | 0:42:40 | |
This is from the new album, the News Of The World. | 0:42:40 | 0:42:44 | |
Have you got it yet? The album, that is. | 0:42:44 | 0:42:46 | |
AUDIENCE CHEERS | 0:42:46 | 0:42:48 | |
OK, you might just about recognise this one. | 0:42:48 | 0:42:50 | |
This is called My Melancholy Blues. | 0:42:50 | 0:42:53 | |
# Another party's over | 0:43:03 | 0:43:06 | |
# And I'm left cold sober | 0:43:06 | 0:43:09 | |
# My baby left me for somebody new | 0:43:09 | 0:43:17 | |
# I don't wanna talk about it | 0:43:17 | 0:43:22 | |
# Want to forget about it | 0:43:22 | 0:43:25 | |
# Wanna be intoxicated with that special brew | 0:43:25 | 0:43:33 | |
# So come me... # Bluh-bluh-bluh! | 0:43:34 | 0:43:37 | |
# Let me | 0:43:39 | 0:43:42 | |
# Oh, don't expect me | 0:43:55 | 0:43:59 | |
# To behave perfectly | 0:44:00 | 0:44:04 | |
# And wear that sunny smile | 0:44:04 | 0:44:08 | |
# My guess is I'm in for a cloudy and overcast | 0:44:08 | 0:44:14 | |
# Don't try and stop me | 0:44:15 | 0:44:18 | |
# Cos I'm heading for that stormy weather soon | 0:44:18 | 0:44:25 | |
# I'm causing a mild sensation | 0:44:26 | 0:44:30 | |
# With this new occupation | 0:44:30 | 0:44:34 | |
# I'm permanently glued | 0:44:34 | 0:44:36 | |
# To this extraordinary mood so now move over | 0:44:36 | 0:44:42 | |
# And let me take over | 0:44:42 | 0:44:46 | |
# With my melancholy blues | 0:44:46 | 0:44:53 | |
# I'm causing a mild sensation | 0:45:22 | 0:45:25 | |
# With this new occupation | 0:45:25 | 0:45:29 | |
# I'm in the news | 0:45:29 | 0:45:31 | |
# I'm just getting used to my new exposure | 0:45:31 | 0:45:38 | |
# So, come into my enclosure | 0:45:40 | 0:45:46 | |
# And meet my melancholy blues. # | 0:45:46 | 0:45:53 | |
AUDIENCE CHEERS | 0:46:19 | 0:46:20 | |
We are halfway through the tour with Queen now, | 0:46:24 | 0:46:27 | |
and it's proving to be, | 0:46:27 | 0:46:28 | |
relative to everything else that's on the road this autumn, | 0:46:28 | 0:46:31 | |
a very, very successful tour. | 0:46:31 | 0:46:33 | |
We've just come back from a gig at the Atlanta Stadium... | 0:46:33 | 0:46:36 | |
..and we're just going up... | 0:46:37 | 0:46:39 | |
I've already got one. ..to the bar to get another drink. | 0:46:39 | 0:46:42 | |
-On the table, and kick it! -I don't want to... | 0:46:46 | 0:46:49 | |
-On the table, and kick it! -What? Oh, right. | 0:46:49 | 0:46:52 | |
The Midwest could get on your nerves, | 0:46:56 | 0:46:59 | |
because of the sheer repetition of it, | 0:46:59 | 0:47:01 | |
and every town looks so much like the other - | 0:47:01 | 0:47:04 | |
and you did feel like you were in a culture vacuum sometimes. | 0:47:04 | 0:47:07 | |
Sorry. | 0:47:07 | 0:47:08 | |
All we have is bad televisions, vibrating beds, even worse, | 0:47:09 | 0:47:15 | |
and bad food - but it was still a lot of fun. | 0:47:15 | 0:47:19 | |
HE CHUCKLES | 0:47:19 | 0:47:20 | |
There was loads of sex and drugs! | 0:47:21 | 0:47:23 | |
No, there really wasn't much sex and... | 0:47:23 | 0:47:26 | |
Well, there wasn't much drugs. | 0:47:26 | 0:47:28 | |
-# Get down -Make love | 0:47:47 | 0:47:50 | |
-# Get down -Make love | 0:47:50 | 0:47:54 | |
-# Get down -Make love | 0:47:54 | 0:47:56 | |
-# Get down -Make love | 0:47:58 | 0:48:00 | |
# You take my body | 0:48:02 | 0:48:06 | |
# I give you heat | 0:48:06 | 0:48:09 | |
# You say you're hungry | 0:48:09 | 0:48:12 | |
# I give you meat | 0:48:12 | 0:48:16 | |
# You suck my mind | 0:48:16 | 0:48:18 | |
# I blow your head | 0:48:20 | 0:48:22 | |
# Make love | 0:48:24 | 0:48:26 | |
# Inside your bed | 0:48:26 | 0:48:28 | |
# Everybody get down, make love | 0:48:28 | 0:48:32 | |
# Get down, make love | 0:48:32 | 0:48:35 | |
-# Get down -Make love | 0:48:35 | 0:48:38 | |
-# Get down -Make love | 0:48:38 | 0:48:41 | |
# Every time I get high | 0:48:42 | 0:48:44 | |
# You wanna come down | 0:48:44 | 0:48:46 | |
# Every time I get hot | 0:48:46 | 0:48:48 | |
# You say you wanna cool down | 0:48:48 | 0:48:49 | |
# You say it's enough | 0:48:49 | 0:48:51 | |
# In fact it's too much | 0:48:51 | 0:48:52 | |
# Every time I wanna get down, get down, get down. # | 0:48:52 | 0:48:57 | |
Your eye. | 0:48:57 | 0:48:59 | |
Dry your eye. Get your eyepiece. | 0:48:59 | 0:49:01 | |
Horrible use of space. | 0:49:03 | 0:49:05 | |
You are going to start taking. | 0:49:05 | 0:49:06 | |
I got a photograph of him tonight. | 0:49:06 | 0:49:07 | |
-Really? -Smiling? | 0:49:07 | 0:49:10 | |
How did you get that? | 0:49:10 | 0:49:12 | |
He even managed to get on the video. | 0:49:12 | 0:49:14 | |
-Me? -I fucking tripped... | 0:49:14 | 0:49:17 | |
I came hurtling on in Now I'm Here, | 0:49:18 | 0:49:21 | |
in the darkness, went arse over tit. | 0:49:21 | 0:49:24 | |
Did you see that? That's why I came sort of... | 0:49:24 | 0:49:27 | |
I kind of slipped and I went hurtling on and did all this. | 0:49:27 | 0:49:29 | |
It really puts you off, for real. | 0:49:31 | 0:49:33 | |
I thought it seemed to get together tonight. | 0:49:38 | 0:49:40 | |
I enjoyed tonight. | 0:49:40 | 0:49:41 | |
We're not together. | 0:49:41 | 0:49:42 | |
Brian broke a string in, well, the most awkward spot, | 0:49:42 | 0:49:47 | |
in the middle of Liar, where there's a crescendo, and it comes to a lull, | 0:49:47 | 0:49:51 | |
and then he has to give it a cue, so we're all waiting, | 0:49:51 | 0:49:53 | |
and he broke a string! | 0:49:53 | 0:49:54 | |
So he's changing. I'm standing in this spotlight, I mean... | 0:49:57 | 0:49:59 | |
Fuck! | 0:49:59 | 0:50:01 | |
Anyway, we've been in worse things. | 0:50:06 | 0:50:08 | |
How were the audience? | 0:50:08 | 0:50:10 | |
They were good, yeah. It's been different this time. | 0:50:10 | 0:50:13 | |
I don't know. Last time, the places were smaller, much smaller, | 0:50:13 | 0:50:17 | |
but they were more...up. | 0:50:17 | 0:50:19 | |
This time, I suppose, they brought their mums and dads. | 0:50:19 | 0:50:22 | |
# I was nothing but a city boy | 0:50:25 | 0:50:28 | |
# My trumpet was my only toy | 0:50:28 | 0:50:31 | |
# I've been blowing my horn | 0:50:32 | 0:50:34 | |
# Since I knew I was born | 0:50:34 | 0:50:36 | |
# But there isn't nobody wants to know | 0:50:36 | 0:50:39 | |
# I've been sleeping on the sidewalk | 0:50:39 | 0:50:43 | |
# Rollin' down the road | 0:50:43 | 0:50:46 | |
# I may get hungry | 0:50:47 | 0:50:49 | |
# But I sure don't wanna go home. # | 0:50:49 | 0:50:52 | |
What's happening when we get back to London, | 0:50:54 | 0:50:57 | |
going to be presumably looking at your whole business situation | 0:50:57 | 0:51:00 | |
and reviewing it. | 0:51:00 | 0:51:01 | |
Let's face it, we're going to sort of try and sort out | 0:51:01 | 0:51:03 | |
a lot of business... so-called business problems, | 0:51:03 | 0:51:06 | |
and, I think, the Queen... the so-called Queen Empire, | 0:51:06 | 0:51:09 | |
it's pretty large now, we've all got subsidiary companies and things, | 0:51:09 | 0:51:13 | |
and it needs a lot of handling! | 0:51:13 | 0:51:16 | |
# I may get hungry | 0:51:17 | 0:51:19 | |
# But I sure don't wanna go home. # | 0:51:19 | 0:51:21 | |
We didn't get a penny of record royalties | 0:51:24 | 0:51:26 | |
from the first three albums | 0:51:26 | 0:51:27 | |
so, basically, we got out of that one, right, | 0:51:27 | 0:51:29 | |
by re-signing with a guy called John Reid. | 0:51:29 | 0:51:32 | |
We signed with him for three years, right, | 0:51:32 | 0:51:34 | |
which finishes in about September next year. | 0:51:34 | 0:51:37 | |
What we are looking, at that point in time, | 0:51:37 | 0:51:39 | |
is basically to just look after ourselves | 0:51:39 | 0:51:41 | |
and, you know, do it completely on our own. | 0:51:41 | 0:51:43 | |
-TAYLOR: -It's the long road to artistic and financial freedom, | 0:51:43 | 0:51:45 | |
you know, which is so hard to find if you're successful to any degree, | 0:51:45 | 0:51:48 | |
cos there's a million sharks out there. | 0:51:48 | 0:51:51 | |
You've achieved so much, now, over the last five or six years, | 0:51:56 | 0:51:58 | |
and I was wondering now what targets you have left to achieve, really. | 0:51:58 | 0:52:03 | |
Number one album in America would be nice. | 0:52:03 | 0:52:06 | |
Yeah, we've never had a number one over here. | 0:52:06 | 0:52:10 | |
We've had very successful sort of two-million-selling albums, | 0:52:10 | 0:52:13 | |
but we haven't had a number one album. | 0:52:13 | 0:52:15 | |
I don't know. And also, we could be a bigger draw than we are, you know? | 0:52:15 | 0:52:18 | |
Yes, I mean, we haven't... | 0:52:18 | 0:52:21 | |
The wrong thing to do is to actually sort of see ourselves... | 0:52:21 | 0:52:24 | |
..with a particular goal to meet, you know? | 0:52:24 | 0:52:26 | |
I mean, to say, "This is where I want to go." | 0:52:26 | 0:52:28 | |
It's got to be so wide that... | 0:52:28 | 0:52:32 | |
I mean, you just keep going. | 0:52:32 | 0:52:34 | |
I mean, it's endless, really. | 0:52:34 | 0:52:37 | |
You're going to take some time off | 0:52:37 | 0:52:39 | |
-when you get back to London, aren't you? -That's the plan, yeah. | 0:52:39 | 0:52:41 | |
You have to get refreshed every now and again, | 0:52:41 | 0:52:43 | |
and we haven't really had a holiday for the last four years or so. | 0:52:43 | 0:52:46 | |
We've always said, "This is time off," | 0:52:46 | 0:52:48 | |
but then it isn't, because you get involved in projects. | 0:52:48 | 0:52:50 | |
Certainly, for me, I'm going to get as far away as I can. | 0:52:50 | 0:52:53 | |
I think we really deserve it. | 0:52:53 | 0:52:56 | |
I think... | 0:52:56 | 0:52:57 | |
Oh, we bloody well do! | 0:52:57 | 0:52:59 | |
I think we've been kind of sort of putting it off and putting it off | 0:52:59 | 0:53:03 | |
for the last six years, really, | 0:53:03 | 0:53:05 | |
and I think the time has come where we can kind of ease off a bit | 0:53:05 | 0:53:09 | |
and just... | 0:53:09 | 0:53:10 | |
I mean, on this tour, I've been surviving on just jabs. | 0:53:11 | 0:53:14 | |
I mean... I don't mean that, in that sense! | 0:53:14 | 0:53:17 | |
Oh, please, mother! | 0:53:17 | 0:53:19 | |
No! | 0:53:19 | 0:53:20 | |
But, um...the show goes on. | 0:53:21 | 0:53:23 | |
MUSIC: We Will Rock You | 0:53:28 | 0:53:30 | |
# We will, we will rock you | 0:53:37 | 0:53:41 | |
# All right! | 0:53:41 | 0:53:42 | |
# We will, we will rock you | 0:53:42 | 0:53:46 | |
# OK! | 0:53:46 | 0:53:48 | |
# We will, we will rock you | 0:53:48 | 0:53:51 | |
# We will, we will rock you... # | 0:53:53 | 0:53:58 | |
As filming came to an end, | 0:54:06 | 0:54:08 | |
News Of The World reached number three in the US Billboard charts, | 0:54:08 | 0:54:13 | |
their most successful album in America to date. | 0:54:13 | 0:54:16 | |
The double A-side We Will Rock You and We Are The Champions | 0:54:17 | 0:54:21 | |
reached number four, just missing out on the top spot they craved. | 0:54:21 | 0:54:26 | |
# I've paid my dues | 0:54:33 | 0:54:35 | |
# Time after time | 0:54:35 | 0:54:39 | |
# I've done my sentence... # | 0:54:39 | 0:54:41 | |
It was to be another two years before their singles | 0:54:41 | 0:54:45 | |
Crazy Little Thing Called Love and Another One Bites The Dust | 0:54:45 | 0:54:48 | |
finally got them their American number one - | 0:54:48 | 0:54:52 | |
but the huge appeal of We Will Rock You and We Are The Champions | 0:54:52 | 0:54:56 | |
was to be pivotal in cementing Queen's relationship | 0:54:56 | 0:55:00 | |
with the American audience - | 0:55:00 | 0:55:02 | |
a relationship that endures to this day. | 0:55:02 | 0:55:05 | |
# We are the champions, my friends | 0:55:05 | 0:55:11 | |
# And we'll keep on fighting till the end | 0:55:13 | 0:55:19 | |
# We are the champions | 0:55:21 | 0:55:25 | |
# We are the champions | 0:55:25 | 0:55:29 | |
# No time for losers | 0:55:29 | 0:55:33 | |
# Cos we are the champions of the world... # | 0:55:33 | 0:55:41 | |
I'm feeling very thankful and grateful and blessed | 0:55:44 | 0:55:47 | |
just to be among you folks again, | 0:55:47 | 0:55:49 | |
cos it's something you can't take for granted. | 0:55:49 | 0:55:51 | |
This is an amazing moment for me, to be back here. | 0:55:51 | 0:55:55 | |
-Thank you. -AUDIENCE CHEERS | 0:55:55 | 0:55:56 | |
It seems quite incredible that old Roger and me are back here, | 0:55:58 | 0:56:01 | |
and it's even more incredible that you guys are here to see us! | 0:56:01 | 0:56:05 | |
# It's been no bed of roses | 0:56:05 | 0:56:08 | |
# No pleasure cruise... # | 0:56:10 | 0:56:12 | |
I don't think either Roger or I ever thought that this would happen. | 0:56:14 | 0:56:16 | |
We thought it was kind of done, in the old days, when we lost Freddie - | 0:56:16 | 0:56:20 | |
and it's wonderful that we have Adam. | 0:56:20 | 0:56:22 | |
You need an extraordinary figurehead, | 0:56:22 | 0:56:23 | |
and we do have it in Adam. | 0:56:23 | 0:56:25 | |
# We are the champions, my friends | 0:56:25 | 0:56:30 | |
# We'll keep on fighting till the end... # | 0:56:32 | 0:56:40 | |
I didn't even think we'd ever get to this age. | 0:56:40 | 0:56:42 | |
You don't think of it, you know? | 0:56:42 | 0:56:44 | |
We spent half our lives building up this legacy of songs | 0:56:44 | 0:56:47 | |
and sort of contact with an audience, | 0:56:47 | 0:56:49 | |
and now we can still be Queen. | 0:56:49 | 0:56:51 | |
In some ways, it's a miracle. | 0:56:51 | 0:56:53 | |
# Cos we are the champions | 0:56:53 | 0:56:57 | |
# We are the champions, my friends | 0:56:59 | 0:57:06 | |
# And we'll keep on fighting till the end | 0:57:07 | 0:57:13 | |
# We are the champions | 0:57:15 | 0:57:19 | |
# We are the champions | 0:57:19 | 0:57:23 | |
# No time for losers | 0:57:23 | 0:57:27 | |
# Cos we are the champions | 0:57:27 | 0:57:31 | |
# Remember | 0:57:47 | 0:57:49 | |
# We are the champions of... | 0:57:49 | 0:57:53 | |
# We are the champions of... | 0:57:53 | 0:57:55 | |
# We are the champions of... | 0:57:55 | 0:57:58 | |
# We are the champions of... | 0:57:58 | 0:58:05 | |
# ..of the world. # | 0:58:05 | 0:58:12 |