I've always loved this track, I think it's one of Freddie's most magical compositions and I remember the joy we had in the studio, it was one of those moments where we really did work together, all four of us, on ideas, building it up, painting the picture, as if we all had brushes in our hands with different colours. But Freddie's concept - and a very brave concept, ‘cause you're talking about a man who knows he's got a death sentence hanging over him and he's writing this song about a miracle, that's very light, very joyful. I think it's part of Freddie's genius and it's always been one of my favourites of his creations. At this point it was very complex what we were doing - there's dozens of tracks of synths and things; it was very carefully built-up, this track, and it sounds very eerie and light, but there's a hell of a lot going on it. Of course it has these two transformations at the end: one into the sort of bot bit and one into the floaty “the day will come” mantra bit. They would've been so nice to do this song live, of course, but we never got the opportunity. I certainly can imagine this with an audience.