Great insight into what is undeservadly a song not given the credit and noted significance it deserves imo. I think in some quarters its given a 'novlety song' tag, probably because there is a 'high camp' factor to the song (Freddie himself said the merging of him and Monserrat was ridiculous really), and whilst its not competing with the great art of The Beatles 'A Day In The Life' or Lenno's 'Imagine', or Bo Rap, it is a first of its type of song, the first merg of contrasting musical style singers and genres. It was some years later that U2/Spice Girls etc collobarated with Pavorotti. As Freddie said in an interview in 89, he'd like to see someone else have a go at this! And when he says that, you can't forget it's not just a male singer singing such a song, its the singer writing it and co-producing it as well! The song really is an incredible and triumphant success in song writing and representing the pop/rock world along with the opera musical sphere. Not an easy thing to do with nothing to compare against, and also especially that in 1987 when Opera/high arts i'm sure would of had a stiff reputation which a pop/rock audience would of laughed at, and the opera/high arts world would of pitied the formulaic simple song writing of the pop/rock music world. Did the Opera section of Virgin records refuse to put it in the opera section (i'm sure i read this at the time or visited a shop where it was catergoried in the 'pop' section), I think the record buying public took to this song because its good song, its also a fun song depending how you listen to it, Queen fans took to it because they were used to Freddie going off on one and not keeping to what he'd done previously. But full credit needs to be given to the recording of the song. 3 people involved , David Richards (producer/engineer) then Freddie and Mike (tho Roger Taylor has laid claim to a tiny part in it. What this is i'd love to know!). Recording this song would of been like nothing Freddie had done before (with the exception of piano ballads Freddie had never recorded a triumphant sounding song without drums before). Dave Richards wouldn't of produced anything like it. So Mike Moran would be the one constructing the music track. And as he says here, he didn't play chords he did each instrument one string/blow at a time. Thats a lot of tracks! But to authentically create an orchestra as convincing as he did at the time (and even now) is just incredible imo. And this is further proven by the actually played/recorded orchestarted version released some years later which just doesn't sound grand enough like the original. Mike Moran take a bow, an incredible acheivement which Freddie couldn't of done without you. To think the initial writing of this song would of been just piano and vocal. Here's hoping for a release of such a version.
Only today discovering this. Loved the relaxed informative exchange, YES I like it! Was certain, tho', all these years had known Barcelona was to play when the '92 Olympics opened. So maybe that had never been discussed in Moran's presence. Evidence it must be true cause remember that's the back story to Freddie telling Montsy he was ill...'want be around for the event' due to the prognosis. Hmmmm
Not sure i agree tobe honest. I think by Tony not having the questions written down it allowed for a more natural conversation, and i doubt if it wasn't like this some of the things Mike said wouldn't of been said imo.
Roger sang on 'Time'? Or is Mike possibly getting confused with 'the great pretender'? Either way, Mikes relationship with the other members of Queen i think would be interesting to hear. John Deacon played on 'how can i go on' as well. Then Mike played on Brians 'Back to the light' album and the end of the track 'love token'.
![Method Writing: The First Four Concepts - Jack Grapes [FULL INTERVIEW]](/img/n.gif)
I love Mike Moran . What a beautiful friend to our Freddie❤
Great job to hear Mr Moran speak about his experience. 🙏🙏🙏❤️❤️❤️
Great insight into what is undeservadly a song not given the credit and noted significance it deserves imo. I think in some quarters its given a 'novlety song' tag, probably because there is a 'high camp' factor to the song (Freddie himself said the merging of him and Monserrat was ridiculous really), and whilst its not competing with the great art of The Beatles 'A Day In The Life' or Lenno's 'Imagine', or Bo Rap, it is a first of its type of song, the first merg of contrasting musical style singers and genres. It was some years later that U2/Spice Girls etc collobarated with Pavorotti. As Freddie said in an interview in 89, he'd like to see someone else have a go at this! And when he says that, you can't forget it's not just a male singer singing such a song, its the singer writing it and co-producing it as well! The song really is an incredible and triumphant success in song writing and representing the pop/rock world along with the opera musical sphere. Not an easy thing to do with nothing to compare against, and also especially that in 1987 when Opera/high arts i'm sure would of had a stiff reputation which a pop/rock audience would of laughed at, and the opera/high arts world would of pitied the formulaic simple song writing of the pop/rock music world. Did the Opera section of Virgin records refuse to put it in the opera section (i'm sure i read this at the time or visited a shop where it was catergoried in the 'pop' section), I think the record buying public took to this song because its good song, its also a fun song depending how you listen to it, Queen fans took to it because they were used to Freddie going off on one and not keeping to what he'd done previously. But full credit needs to be given to the recording of the song. 3 people involved , David Richards (producer/engineer) then Freddie and Mike (tho Roger Taylor has laid claim to a tiny part in it. What this is i'd love to know!). Recording this song would of been like nothing Freddie had done before (with the exception of piano ballads Freddie had never recorded a triumphant sounding song without drums before). Dave Richards wouldn't of produced anything like it. So Mike Moran would be the one constructing the music track. And as he says here, he didn't play chords he did each instrument one string/blow at a time. Thats a lot of tracks! But to authentically create an orchestra as convincing as he did at the time (and even now) is just incredible imo. And this is further proven by the actually played/recorded orchestarted version released some years later which just doesn't sound grand enough like the original. Mike Moran take a bow, an incredible acheivement which Freddie couldn't of done without you. To think the initial writing of this song would of been just piano and vocal. Here's hoping for a release of such a version.
Only today discovering this. Loved the relaxed informative exchange, YES I like it! Was certain, tho', all these years had known Barcelona was to play when the '92 Olympics opened. So maybe that had never been discussed in Moran's presence. Evidence it must be true cause remember that's the back story to Freddie telling Montsy he was ill...'want be around for the event' due to the prognosis. Hmmmm
Nice interview. The interviewer should have had his questions together better as he stumbled around. But Mike Moran is a joy to listen to.
Not sure i agree tobe honest. I think by Tony not having the questions written down it allowed for a more natural conversation, and i doubt if it wasn't like this some of the things Mike said wouldn't of been said imo.
Love this
Roger sang on 'Time'? Or is Mike possibly getting confused with 'the great pretender'? Either way, Mikes relationship with the other members of Queen i think would be interesting to hear. John Deacon played on 'how can i go on' as well. Then Mike played on Brians 'Back to the light' album and the end of the track 'love token'.
Was he asked about the work with Lynsey de Paul?
He said it was to be about Freddie.