Quote related to 'God Save The Queen' from 'A Night At The Opera'

I'm doing a demo here - I'm doing a backing track on piano as a guide for the guitars. There's not gonna be any piano on the finished work but I'm playing a piano so that I'll keep me in tune and keep me in time, and I'm not a piano player so it becomes very sketchy, but it's giving me what I need, which is the framework, and you can hear me kind of sketching in the idea for the end of the song, even though I haven't quite got it right, so that's the first attempt at my sort of excursion and I think Mike says something here. This was recorded to make an outro for the show, and it's on the same tape, interestingly, as Procession, which I think we were still using as an intro tape in those days, or maybe we'd just stopped, so it's recorded sixteen-track, which is unusual as well, not twenty-four, on an old piece of tape, which Procession was obviously on. I think they all thought I was mad anyway. I mean, they're on a Sunday, and I think there's only Mike in there, and I think Roger dropped in later to do his overdubs with the snares and the timps - which are great, actually - and cymbals and stuff.  But, basically, I'm in there doing something which people are going, “What? He's doing the National Anthem?” Long before A Night at the Opera, but it fitted in very well, and it made a fitting end, a fitting conclusion to A Night at the Opera when we later got to that point. The producer here, you can see, is ER, which I presume is a joke - we know who that is, don't we? Loads of snares… some nice swishy cymbals and along with these little fireflies here, some nice timps - Roger doing very tasty timp work. So, built up of loads of little pieces and sounds very big in the end but there's actually not that much on the track. Some of the guitars are done with the AC-30s and some with the little Deacy amp which I described in relation with Good Company. Sounds kind of orchestral, which I like, and became very much part of us because I think every show we did after this point we used this as a goodbye moment.

Brian May; The Making of A Night at the Opera, 2005