Dear Folks, This
is an album of songs, and
the man who finished making it today
is very different from the man who started it
five years ago. So this is not a set of ideas put down
at one moment, nor is it the story of my life; it is merely
a collection of attempts made at various times to make
sense of life's journey. Thus you won't find much in here
about how fab it is to be a rock star in Queen; but you may find,
in contrast, glimpses of someone quite small and insecure. I know
him well.
Music is joy ot me and living in it is sometimes the only safe
place to be. Much of what is recorded here is for fun, escapism,
music for it's own sake, and though I mean what I say, take it with
a small pinch of salt.
In my mind, this album was always called Back To The
. At its beginning I felt no real hope of finding the
light; now it glimmers dimly, encouragingly, but
always intermittently in the hall of mirrors around
me. I suppose if we ever knew exactly where
the light was coming from, getting
there would be easy.....

Thanks for being with me. Enjoy the journey ! ! !
Brian May
20th July 1992.

Produced by Brian May

Co-produced and engineered by Justin Shirley-Smith

Technical Assistance by Brian Zellis

Mastered by Kevin Metcalfe

All vocals, backing vocals, guitars, keyboards and anything
else around - by Brian May unless otherwise stated.

Recorded at Allerton Hill except where stated.
Mixed at Metropolis Studios except where stated.
(Assistant engineers Noel Haris and Heidi Cannavo)

Management: Jim Beach and Julie Glover.
Tour manager: Gerry Stickells.

Sleeve design and photography by Richard Gray.

Fan Club: 46 Pembridge Road, London W11 3HN.

These performances were digitally recorded on two linked
Sony '3324' 24-track machines with Apogee filters and mixed
back on to two tracks on the same machines.
The album was then digitally compiled at West Heath
Studios with Ian Sylvester.
The guitars were played mainly either through 'Zoom' boxes
or good old (or new) Vox AC30's.

Extra expert programming by David Richards and Brian

Jacky Gunn, Sally Hyatt, Val Moss, Allistair McLaren, Marjie
Winter, Melanie Martin-Keady, Neal Levin, Peter Chant,
Robert Lee, Vicky Vocat, Andre Gauchat, David Richards,
Lola at Sarm, Barbara Jeffries, Penny Robinson, Crystal,
Martha, Big Martin, Ray Burdis, Dominic Anciano, Jill
Sinclair, Anita Keogh, Brenda Brooker, Spike Edney, The
Wildes of Knebworth, Pete Schwier, Richard Edwards,
Lonnie Donegan, Eddie Naughton, Gary Langan, Karen
Goodman and all at Metropolis Studios, Peter Harrison,
Maggie Winkworth, Alan Maclean, Tony (the sweet shop
man), David Mallet, Debbie Mason, Wendy Laister, Roxy
Meade, Derry Hawes, Diana Mosely, Jane Gregory,
Malcolm Hill, Jim Jenkins, Michael Eisner, Peter Paterno and
all at Hollywood Records, Gary Arnold, Rupert Perry, Tony
Wadsworth, Andrew Pryor, and all at EMI Records, Helmut
Fest, Korg UK, Ian Southwell, HHB, Audio FX, Brzenrock,
Bill Action, Ian Sylvester, Lynne Carey, Bryn Bridenthal,
Carmen Rivera, Alan Douglas, Eren Mehmed, Dave Potter,
the good folks of The Sun, Windlesham, all members of the
Queen fan club, Trip Khalaf, Jim Devenney, Patrick
Woodroffe, Peter Hince, Rudi Dolezal, Hannes Rossacher,
Stephanie Wagner, Paul Bobbins and Toby (the dog),
Malcolm Thomas, Marie Ramsden, John (Tunbridge) Wells,
Wally Gore, Ron The Dog.

For the past 20 years I have been privileged to work with
the best team in the world. Thank you Roger, John and
our dear incomparable, sorely missed, Freddie, and all
those who worked for Queen over the years, for getting
me this far.


To my Dad for making my guitar with me. It should just see
me out.

To Dick Denney, for designing the AC30.

To Jimmy May for keeping me clear about how cool I'm not,
Louisa May for pet care and control, and Emily May for
sunshine every day.

To my dear Mum for keeping Allerton Alive.

For persistent friendship, much appreciated, Tom Short,
Nathan East, Steve Ferrone, Rick Wakeman, Steve Vai, Paul
Rodgers, E.V.H., Elton John, Axl, Slash and hte Def Leps.

To Joe Satriani for a magnificent guitar which makes its
debut on Nothin' But Blue.

To Justin, for hanging in there like the trooper he is and
patiently dealing with my erratic recording habits.

For support and encouragement, to Tony Iommi, Joe Elliott,
Nuno, Gary, Paul and Pat of Extreme, Neil Murray, Jack
Nelson, Mike Moran and Cozy Powell, whose contribution
to this album is inestimable.

And to my lady, Anita Dobson, for having the faith that I
could fly.

This album is dedicated to Harold May, Alfred Dobson and
Freddie Mercury. And to all those loved ones we have lost too