I'm ofcoursetalkingaboutQueen's legendarysingle "BohemianRhapsody," a songthat, even 40 yearslater, isoneofthemostinfluentialandmemorablesongsofourgeneration.
"BohemianRhapsody" had a veryrareeffectonpeople, whichisthatitwasoneofthosesongswherethefirsttimeyouheardit, youhadn't heardanythinglikeit.
Partofthegreatchallengeofthatprocesswasthatyouhadtomakecommitmentstoyourmix, totheblendingofeverythingasyouwentalong, soyouneededtohave a lotofforesightand a greatimageofwhereyouweregoing.
Fisch: Two-inch, 24-tracktapethattheywereworkingon, itwas a physicalprocess.
Itwas a razorblade.
Itwasaneditblockwherethetapewouldsitthere.
Youwouldslicethroughthetwo-inchtape.
Youwouldcutoutwhatyouwantedtocutout.
Andyouwouldspliceittogetherwith a littlepieceofwhitetape.
Nowit's veryeasydigitally.
Youchopitonthescreen.
Ifyoumade a mistake, youcanfixit.
Everythingnowisnon-destructive.
Everythingtheydidthenwasdestructive, soittook a lotofcommitmentand a lotofknowledgeand a very, veryintense, deepskillsettobeabletopiecethatstufftogetherandhaveitsoundsmooth.
UnlikemostofQueen's songsthatwerewrittencollaborativelyinthestudio, thiswas a songthat, accordingtotheguitaristBrianMay, was "allinFreddie's head" beforeitevenbeganrecording.
I thinkthatcouldbetakentomeanthattheexperimentwastoseeifhecouldgetwhatwasinhishead, hissonicpreconceptions, outthere.
I don't thinkitwasthekindofexperimentationwheretheywentintothestudiotojustseewhatwouldhappen, becausehewasfamouslybuttoned-upandhadtheproductionandthenotesandthearrangementsandsoundofthethinginhishead.
I thinktheexperimentwasreallyaboutseeingifsomethinguniquecouldberealizedinthestudio.