Kenny Everett: You see modest. Right, from the polished to side two. A
bit hairy this number, so if you’re a little old lady then please stand back!
WHITE MAN
Kenny Everett: Cor! How did you manage to get such a loud noise on one
record?
Freddie Mercury: I don’t
know, it’s down to Mike Stone our engineer. We’re very bad in the studio for
that actually, the poor engineer has to really suffer because we really want as
much level as possible. We keep pushing the phasers up and he keeps looking at
the meters and going Oh it’ll never cut. Then we give him the added task of
going over to New York or wherever and saying Make sure that cuts as loud as
possible.
Kenny Everett: Yeah, I should explain for the folks, that if a noise is
too loud on a record the little wobbly groove grundges into the groove next
door.
Freddie Mercury: That’s
right.
Kenny Everett: Then the record skips.
Freddie Mercury: Yes, it
can skip and do all kind of things.
Kenny Everett: So the more noise you put on, the less likelihood you
have of.
Freddie Mercury: So if Mary
Potts has got a little dance set, then it’ll just go flying off! [Laughs]
Kenny Everett: I must admit, you do get a lot of sound on one little LP.
Freddie Mercury: Yes it’s
very difficult to it’s a very fine dividing line really, because if you want to
put in more music but at the same time you’ve got to make sure you don’t put
too much in otherwise it suffers.
Kenny Everett: And you’ve got a genius technician that looks after all
of that.
Freddie Mercury: Well Mike
Stone is pretty good, yes. That little bugger…
Kenny Everett: Yes’s right. (gives out weather report with Freddie
laughing and teasing throughout)
Freddie Mercury: What a
nice little chap he is. [Laughs]
Kenny Everett: Right here we are in Capitol tower with cuddly Ken and
Freddie Mercury, nattering about the new LP. Which also has this track on it.
«Èíòåðâüþ»