It was a big risk, and it worked, because I think with a song like that it was either gonna be a huge success or a, or a terrific flop, and you know it was. It was quite a mammoth task, because it was basically done in three definite sections and just pieced together, and each one required a lot of concentration. The opera section, the middle, was the most taxing I think, ‘cause we just wanted to recreate a sort of huge operatic sort of harmony section, between just the three of us, and that involves a lot of multi-tracking and things, and I think between the three of us we sort of, we recreated a, a sort of 160- to 200-piece choir effect between just the three of us, that's Brian, Roger and myself just singing it. There was like a section of “no, no, no,” and we had to sort of do that in sort of different escalating things and we just sat there going “no, no, no, no, no, no, no” about, I don't know, a hundred and fifty times.