We were all in bands, we're all playing, the music business is huge in the UK at that time, in the seventies and the eighties, so we were all very busy people, so it was difficult to pick something out. I was, of course, aware of Queen but in the early days they didn't chart, there weren't the big hits that there were in subsequent years, but I remember a great friend of mine, Kenny Everett, and Kenny phoned me up one day and said, “Look, I'm playing a new record at four o'clock this afternoon, just turn on and listen to it on the Capital Radio in London.” I happened to be driving back, I remember I was in Regents Park, and he said, “I've got this new record from Queen and it's called Killer Queen.” This came on and I actually stopped the car, which was very strange for me, and I listened, I thought, “that's really good.” I think that, for me, was a turning point for the band, like Please Please Me was for The Beatles: they went into a different kind of thing and it became a kind of factory of great harmonies and great melodies and rhythm and interesting arrangements, and I thought, “that's a really, really good record,” and I still think so to this day, actually. It's a really terrific piece, terrific production, and everything about it is inventive, and it was just different from the rest of the stuff that was around and, of course, then they went on and became what it is, but I remember that as being a really significant kind of musical moment in English pop history.