Recovering Queen : The Queen Podcast

Ep 3 : Sail Away Sweet Sister

November 27, 2020 I Am 7 Season 1 Episode 3
Recovering Queen : The Queen Podcast
Ep 3 : Sail Away Sweet Sister
Recovering Queen : The Queen Podcast
Ep 3 : Sail Away Sweet Sister
Nov 27, 2020 Season 1 Episode 3
I Am 7

This episode we delve into the monster May ballad that is Sail Away Sweet Sister.  We try to get to the bottom of the controversial lyrical content, May doing a Sting?  ...yep we went there!  Plenty to discuss, Deacon's Bass solo!, the context of the Game.  The musical styles of Brian, Roger's groove, Freddie's Piano groove.  We finish with Matt's version of the song, featuring for the first time Matt on lead Vocal.   

Show Notes Transcript

This episode we delve into the monster May ballad that is Sail Away Sweet Sister.  We try to get to the bottom of the controversial lyrical content, May doing a Sting?  ...yep we went there!  Plenty to discuss, Deacon's Bass solo!, the context of the Game.  The musical styles of Brian, Roger's groove, Freddie's Piano groove.  We finish with Matt's version of the song, featuring for the first time Matt on lead Vocal.   

Welcome to the Queen Podcast where we cover a queen song and talk about the methods and the madness of the greatest band of all time.
Matthew Russell  0:29  
Welcome to the recovering Queen podcast where we take a famous and sometimes not so famous Queen song, and do a cover version of it, and then talk about what we've learned the methods and the madness. Let me welcome my other two hosts, Jay and Ian. Hello. Hello. Yes. Hi. So What song are we doing this week?

Ian Faragher  0:52  
We are doing the Brian May classic sailaway sweet sister from the game album.

Matthew Russell  0:59  
It's not quite the full title though. Was it? sailaway sweet sister. Open brackets to the sister. I never had closed brackets. How many Queen songs have got brackets in them? We can think of two. Yeah, she makes me

Ian Faragher  1:13  
Yeah, three.

Matthew Russell  1:15  
What's the other one? What did you have?

Ian Faragher  1:17  
White Queen? Oh, yeah.

Matthew Russell  1:18  
As it began. Yeah, we as we started. Yeah, amazing. Maybe that's it? I'm fat. So yes, I've done three covers with brackets then a weird

Ian Faragher  1:27  
Queen song with brackets as another Venn diagram. Well, I think sailaway sweet sister might be Brian's best song and his Best Vocal Performance.

Matthew Russell  1:39  
Yeah. I think Brian's Best Vocal Performance is leaving home ain't easy.

Jai Stokes  1:48  
I think it's his best song.

Matthew Russell  1:49  
Yeah, we're

Ian Faragher  1:51  
leaving home ain't easy or sad always.

Jai Stokes  1:53  
leaving home ain't easy but so let's voice it sisters pretty good. It's it's pretty darn good song. I do remember very clearly when I first heard it actually. Because it sort of blew my mind when I was listening to the vocals on it was coming into the middle eight because I thought it was Brian singing and I but it isn't is it

Matthew Russell  2:13  

and then it but I thought that their voices seem very not similar. Yeah, similar. A little bit similar. It's the same tambor or the same sort of feel. And I thought that was Yeah, that was a really lovely moment to bet to outta here that they crossed over for the first time that I noticed it was two of them.

Yeah, but the weirdest one for that is I want it all where they do it where Brian sort of sings that middle bit and it sometimes sounds like Freddie singing it and it's like a real weird mix huh?

Ian Faragher  2:44  
That's a strange Yeah, it's a strange bit of one I want it all isn't it when that when that kicks in? Yes, bizarre is Brock Bryan steak I guess it's another Venn diagram of Queen it's Freddie and Brian duets, isn't it?

Matthew Russell  2:58  
There are many there aren't many that do that. So So yeah, what's what have you got a really interesting fact for us Ian about silhouette sweet sister that you've

Ian Faragher  3:07  
well about the I mean, it was a it was a you know strange time for Queen wasn't it into the game a definite change of tack. They went to a new studio recording with a new producer Mac for the first time in music land studios. And from from what I've read about it, they really saw it as a almost a reinvention of the group. I guess they were 10 years and just you know, around 10 years in, weren't they? And you can hear it I think in the in the production on the album. It's got a very different sound to everything that came before I was thinking it sounds really well I guess crazy little thing called love kind of preamps it really kind of 50s production on it. But to you know, need your living tonight. That's kind of real old school American Americana, rock and roll type thing. I think that that feel permeates through the whole album for me.

Matthew Russell  3:58  
Yeah, it's Mac, isn't it? I mean, it's it's max production. Max has totally transformed the band. But it's also I think it's the place where they're making it as well. They're making it in Munich. Yeah.

Jai Stokes  4:11  
What was the album before the game? jazz? No, that came after. It was jazz.

Matthew Russell  4:16  
Jazz. Yeah. And jazz was who was producing jazz. It was them wasn't it

Ian Faragher  4:21  
just was when they went back to Roy Thomas Baker.

Matthew Russell  4:24  
So they were and it sounds a little bit tired jazz, whereas the game has a certain freshness and a and a certain? Yeah, like you said, it's a complete change of a sound. And I believe the quote is that Mack wanted to turn them into sounding like a band again. Right into just thought was, you know, yeah, which which, which he has done to be fair, they do sound like a band playing together. Again, don't they on the game,

Ian Faragher  4:49  
which is curious, because I've read, I think it was a quote from Roger saying that, you know, they had multiple tapes of different songs and Mack would say tonight's okay. We'll just stitch them together and then we'll sing then and then no you can't do that. But he did and we did you know and it was a real new approach for them that I guess studio technology was just getting to the point where they could get away with stuff like that a bit a bit more convincing Yeah.

Jai Stokes  5:13  
Oh wow that's interesting what so in the early recordings they would have recorded more or less in one go and gone

Ian Faragher  5:21  
I think that was the way certainly with Roy Thomas Baker the the stories go that they would do multiple multiple takes until they get the right feel. And Killer Queen was quite famous for that they did a hundreds and hundreds of backing takes all perfectly good until they got the one that had the perfect feel. Yeah, I think I think with the game, they were taking pieces of it and then stitching it together a bit more.

Matthew Russell  5:49  
And it's is it's always interesting isn't it when you know when you hear it it's really weird. You can hear something over and over and over and then when when it's just so it's just right there you can kind of hear it and you think Yeah, that's a difference because everyone looks round everyone looks around and goes yeah, that was the one What is that that energy or something? Yeah,

yeah, it's what it's what everyone's reading everyone else's movement isn't it? It's like if you just you know if Rogers just getting slightly louder on drums and John's just kind of played that in just nudged it in and they're all just interacting Well, I suppose but yeah, it's it's hard isn't it? I sometimes think that may be good takes a mist that you that you don't hear it because you're too used to the song I don't know it's a hard one isn't it? But Matt Mac is is interesting. What the album that he was producing at the same time has a queen Queen connection as well. Which I didn't really fully get until until I was reading about it is Peter striker.

Ian Faragher  6:51  
Oh really

Matthew Russell  6:53  
preference a striker yet. Yeah. He would say Peter striker was a massive mate of Freddie's who was more he was more famous for being in Doctor Who rather than being a singer, but he was also like the from the original hair cast, as well. So he's like a sort of theatre type singer and Mack was producing that album. So I think it's probably that connection that got Freddie interested. Plus, it just finished a David Coverdale album as well, which is a two strike That's amazing. No Mac had Jay Mac had just done it. Yeah. David covered and he did he done the Rolling Stones as well. So Mac WAS MAC had done loads of engineering for people but it started to make his name as a producer at Giorgio Moroder his music lands studios in Munich. So they

Ian Faragher  7:43  
went in there in June in July 79 weather recorded sailor we sail away sweet sister along with save me coming soon. And crazy little thing called love. Then crazy little thing called love was released as a single I think at the back end of 79. Then save me came out early at, then they went back into the studio from FEHB. to, to May to finish off the rest of the tracks, which is a bit weird in that way, you know, doing that releasing half the album and stuff. And then, you know, finishing off the album and then releasing the album, I guess sometime was that, you know, well,

Matthew Russell  8:22  
that makes me think it makes me think that the the singles are so important. The ones they got you know that some killer singles. They're quite happy to put something out and then and then get, you know, go back the album when they were good and ready. Yeah,

I mean, that first session, they've really nailed some big songs. Oh, yeah. That's incredible. And it's and and yeah, I think it also says that they're under a lot of time pressure as well, presumably, their touring schedules, absolutely brutal, that they're, you know, that, that they're under a lot of pressure to to actually come up with the goods? Because maybe jazz actually wasn't that big an album was it? I mean, it's got a couple of massive hits. But I think it's the

Ian Faragher  9:08  
they were they they were building they were building at a time when they you know, they were

Matthew Russell  9:12  
Yeah, but I think it wasn't it wasn't as big as they I don't think jazz is one of those jazz is the first kind of album where Queen looked like they weren't moving forward like the juggernaut they had been before.

Ian Faragher  9:25  
Well, I think if you read the old music guide or certainly last time I read the old music guide on jazz and if they're fairly fairly respected all music you know, you normally get a fairly good review on it and they said jazz is queens first dip in form which I think is firm but fair.

Matthew Russell  9:46  
It is exactly where so that I think that's why they were desperate to make the game really different to sort of get back to sort of roots kind of playing which is which is why they've got Mac in involved Maxim much more simple producer than say Roy Thomas Baker.

Ian Faragher  10:03  
Yeah, absolutely. And boy did they deliver as you said, you know that first recording session those Yeah, these tracks then they come back in, play the game and all the rest of them, you know, covering the clean fan podcast and play the songs sons.

Matthew Russell  10:21  
I've got a little a little light hearted thing. Mack, obviously was really good friends with john and Freddie because he called his third son. He called his third son, john Frederick Mack. And Freddie and john were his godfather.

Jai Stokes  10:41  
Wow, that's amazing. God,

Ian Faragher  10:43  
that's amazing. So yeah, what year what year was he born? Because I have done a couple of albums with them then when?

Matthew Russell  10:49  

well, I don't know. I don't know. I don't know how old I don't know how old he is. I just I just found that little fat I thought that was quite funny.

Ian Faragher  10:57  
And maybe the listeners know doo doo right in listeners let us know. When was it john? Freddie Mac was born after what? After? What album? how long they've been working together that point

Jai Stokes  11:07  
Matt can ask you a question. Of all the songs on the game. You went for sale a sweet sister. Why was that?

Matthew Russell  11:15  
It's actually because a it is one of my favourite songs. I've got a real soft spot for it. But it's also one of my friends Karen's favourite songs and he actually when I kept sending him these covers he said up please do sweat sailaway sweet sister because it's like absolutely one of his favourite tracks. And I'd kind of done really well with that other Brian May song The the leaving home a Eazy E was the obvious choice for you. I

Ian Faragher  11:41  
could see you doing nothing else on this album apart from this track. It's the it's the perfect track for you.

Matthew Russell  11:47  
Yeah, I mean, yeah, cuz cuz it's like it's got that Brian May vocal which I can just about cope with. Even though I even though he's got a higher voice, I had to lower the

Ian Faragher  11:59  
Oh, did you trance you transposed it?

Jai Stokes  12:01  
But there? Is there another Brian singing on this one? There isn't? Is there on the go? Did you do it at the same tempo as well, because there's something something occurred to me the other day. It's going off off tangent slightly. But what the other thing I found about doing some of the recordings were that they were much quicker than I thought that they should be. And yet, and the versions I've done, I've done them slower. And then I thought, Yeah, that's great, then I've come back to listen to them later on. And they're not they're too slow. Then if that makes sense, but just you know what i with this with, actually with a couple of those ones, where we were covering them. Like where where I was trying to really cover them really faithfully was I would actually have the trackers reference at all times. And so it's probably will match up almost note for note, tempo. It's a good idea. That's a good idea. And and but yeah, you're right. It's what's quite funny is the vocal phrasing. For a lot of Queens stuff is quite hard to fit in. Exactly. And unlike what seems like a slow Brian May guitar solo is actually quite hard. Yeah, it's like, hang on a second. It's actually quite fast. But it sounds slow. Because he's played it so melodically and so you know, spot on that it sounds quite slow, because you've got is managed to get so many vibrato and so much kind of feel on it, that it sounds slow, but then you try and play it. You go Crikey, that really is like, harder than it harder than it sounds. Yeah, yeah. No,

Matthew Russell  13:34  
it's exactly the same with Freddie's lyrical and melodic dexterity. When you try. And do you think, Well, I'm not going to do as fast as that? Because that sounds slightly ridiculous. I'm going to do it in a in a pace that I can do it. And then you come back to it. There's no energy there, I think in how did he do it?

Yeah. Amen. Yeah, it's, it's, it's funny, isn't it? But I guess, I guess, if they're playing in the rehearsal room, a lot, then it builds that kind of gets, I remember when we used to play in the, in the band, and it and all the songs that we did after about, like two months of playing them, they're being played a lot faster than we would have played them originally, you know, you naturally get faster, the more you play it because of the you know, it's so intuitively, there's more energy by doing that.

Ian Faragher  14:24  
There's motor memory as well as your body gets good at doing that precise thing.

Matthew Russell  14:28  
Yeah. So I think you know, that I think that's maybe what's missing on later albums is that maybe they didn't play enough together and therefore build up that fluency that you get on the earlier albums. Ah,

Ian Faragher  14:40  
and that was the thing that Queen always used to say, isn't it? They used to soundcheck for ages and play a lot together in the studio. I think that's one of the unique things about salary system as well, because we do have that early version of it where you can hear them in the studio.

Matthew Russell  14:53  
Yeah. And that's, and it's epically good. It's

Ian Faragher  14:57  
great, but massively different as well. So I don't know what the date was. Well, I guess it must have been from the, you know, June July 79. session. Yeah. When it's recorded,

Matthew Russell  15:06  
but he hasn't written the lyrics yet. And it's just Freddie at the end, right? He goes, I got my bit perfectly. He has, you know, is there absolutely slamming that version? It's so good.

Ian Faragher  15:19  
But I wonder what what the process was to get from there because that, to me, that version sounds a bit doesn't sound like Queen sounds like Supertramp, something like that. So I wonder if was that Mac Do you think so? Now, come on, let's make this into a big power ballad, or who? I'd love to know how it got from from that early version to the final version? And if there's any other versions tucked away somewhere

Matthew Russell  15:41  
there? I don't know. I think it might be because then it's the inch. Maybe the intro is written later. Because that intro is. It's really nice, isn't it? And I think that may be Brian was fiddling around. And John's walked in and done that beautiful baseline at the beginning. I mean, let I have to say sailaway suite system. One of the reasons for doing it is because it's got to be one of the best john Deacon baseline tracks ever.

Ian Faragher  16:05  
Oh, my God throughout the whole song. He is absolutely on fire.

Matthew Russell  16:09  
Yeah. And when does he play a bass solo? And he plays a, you know, he gets a bass solo at the end of the song. And it's, and it's just like, and it's beautiful as well, it's so well, the really magical bit about that bass solo at the end, is he's playing really, really high up. And then as he drops down to the low register, Freddy changes his piano part from the low register up to the high register. So they kind of swap places. It's just really classy stuff.

Ian Faragher  16:39  
Now, I think they missed a trick with the running order of the game. Because to me, sailaway sister, that's surely that's got to close the album with that, with that ending. Wouldn't any sane person have that as the final track of the album? Surely,

Matthew Russell  16:58  
safe means quite good.

Ian Faragher  17:00  
It's quite good. But it's not quite as final track of an album, as sailaway sweet sister.

Matthew Russell  17:12  
We ought to, at some point, address the lyrics because that that is the revelation bit isn't it? Really, the save me has got some pretty honest lyrics that are quite easy to read. Whereas sailaway sweet Sister, I have a theory. Well, my theory for sailaway sweet sister is, you know, weddings, where where people have every breath you take, and they've accidentally not realised that the lyrics are really dark, and that they really shouldn't be playing every breath. You take a wedding to be playing that other way,

Ian Faragher  17:46  
because it's your first chance.

Matthew Russell  17:48  
And and you know, the way that people like listening to Nick Cave and his murder ballads and things like that, I think that there's a very dark it's because it because Brian actually doesn't settle on this, whether it's a sister or a lover that he's talking to. It's clearly there's it's mixed up as hell on

Ian Faragher  18:11  
the surface. It's a little bit creepy.

Matthew Russell  18:14  
Yeah, it's creepy on the surface. Well, no, not on the surface. I think that you could be listening to it and go, that is a nice song about, you know, saying goodbye to someone and watching them. You know, being tearful at the doctor's, you watch someone young go away and say to a sweet sister. Yeah, yeah. And it might and you might not even think about the the kind of love aspect of it. But there's, but there's certain phrases in there that have to be deliberate, right? There has to be like, always being in love with you. And this whole idea of that she's going to come back to his arms again, after being away. And it's like, it's like that. So the person saying goodbye, isn't actually really letting them go, they're still controlling them. So it's like, it can't be by mistake. But but maybe Brian is trying something like sting does and like Nick Cave does and like Kate Bush does, and all these kind of really cool lyricist. And he's actually trying to do a cynthy ballad that on the surface seems like a senti ballad, but actually is quite subversive.

Ian Faragher  19:18  
And that would make sense more sense of the duet aspect of it as well because the lyrics in the middle a that Freddie takes a completely different

Matthew Russell  19:29  
Yeah. Yeah, wait, in fact, it's really good because it because he uses that phrase hot child and actually tells them not to throw their life away, and almost essentially just get away.

Ian Faragher  19:43  
Well, that's a different person a singing it, but there's also that's a different Narrator In my mind. You got two narrators in this song you've got the guy that's trying to control the inverted commas the sister and then you've got either this second what Freddie sing in the spirit or the spirit guide saying, you know, Wow, you're so young. Don't throw away for goodness sake, get away from this person that's trying to control your life.

Matthew Russell  20:09  
Yeah, that Well, there's no regret in that in the Freddie verse, but there's plenty of regret. In the other verses, like absolute my heart, like my heart makes a fool of me is, is, that's, uh, you know, that's a regretful lyric. And actually, it has that all the way through and all the different and all the different verses, which is, which is, you know, and who's gonna love you half as much as me, you know, all those kind of weird sort of lines that maybe you'll find some Yeah, they may find somebody that loves you. It's weird. So it can't be by accident. I genuinely think that you have to take that as this is really sophisticated songwriting.

Ian Faragher  20:51  
Well, he's a clever guy, isn't he? Brian? So you've got to assume so we have to give him credit.

Jai Stokes  20:56  
Yeah. Okay. Interesting. I mean, I don't I don't see it like that at all. And, you know, and I think the vernacular at the time would be slightly different than it is now. Things mean slightly different things. I also think it's a bit of a collage. I'd be very surprised if it was what I'd love it if it was that designed. And maybe it is, but it always struck me as a bit of free flowing. Maybe not even about the same content matter or the same idea. It may have been the general arc is about SR he never had. But he's also thinking about other things. And he's grouped all these conscious and unconscious ideas all in this one song. And so it sounds a little bit confusing when you first listen in when you when it is confusing.

But I just think it's different expressions of different areas of his life that he's put together as

Matthew Russell  21:51  
well. And White Queen is it White Queen is based on a book. Brighton Rock is based on a book 39 is Yeah, is a really sophisticated song about time travel. The thing is, Brian isn't Brian isn't stupid is a PhD. Now. No, no, it's not about that, though, is it? It's about No, it's not about that. But I think once you get to an album, which you know, is going to be shifting 10s of millions of copies. Surely you think to yourself, I'm going to read through these lyrics. And make sure this is what I want as a permanent record of what I'm saying. Surely, I think I think we do Queen a disservice by thinking that their lyrics are bad. And actually, maybe all of their lyrics need a second look for some of the things that are in them.

Ian Faragher  22:38  
Certainly some of them. I mean, I mean, saved me is fairly obvious, isn't it? Probably the regret of a failed marriage. Is that when his first marriage around that time was

Matthew Russell  22:48  
no, no, it's a no, it's a friend's marriage. Yeah, so that one he has written about so I think saved me is about a friend who splitting up and he writes about that.

Ian Faragher  23:00  
And I don't think there's much there's, there's not much hidden there. But certainly, I think solloway suites, history has played an absolute blinder. If you if you look at it, you know, given the credit for it. And you've got two narrators here. One that's a little bit weird. And then one that's really positive. I just think it's it just takes a whole song to to another level.

Matthew Russell  23:22  
I mean, I've definitely enjoyed because when I recorded it, I definitely thought I'm not really going to think too much about the lyrics and you know, sing it in the, you know, in the spirit that I thought it was done in, but having sort of step back from it and thinking, you know, why do we give sting the credit of writing, you know, every breath you take as a kind of, you know, that's really clever, so you see what he's done. And he clearly is sting being clever. So why can't Brian do the same thing? You know, Brian isn't? Brian is a clever bloke, you know, it's it's like, why Shouldn't he be attempting something like that?

Ian Faragher  23:55  
Well, he's not singing about a character he's singing as a character. Yeah, an unreliable narrator

Matthew Russell  24:01  
is first person isn't his first person this

Ian Faragher  24:03  
person. Yeah, but he's singing as a character that would act like that, rather than singing about a character that would act like that.

Jai Stokes  24:11  
Mm hmm. Fascinating.

Matthew Russell  24:15  
There's some interesting musical things about it as well and it's things like he gets ready to play the piano. And and he because he really wanted that rhythmic element to it, which by the end of the time that they've recorded it it's not really that rhythmic anymore at all the piano whereas it clearly started off as a quite a kind of rhythmic playing where save me has got that Brian very fluid playing that Brian's actually quite good at I mean, it's actually quite simple the piano part and save me but it sounds you know, it sounds really good

Ian Faragher  24:46  
on the playing as well on sale of a sweet sister the drums Rogers drums. He does that really weird things straight and it's four four, but it's got this slight triplicity shuffle to it, particularly He's doing the fillings and everything exactly the same as on spread your wings. It's a you know it's a four four ballad but it's got this little skipping feel to it. It's absolutely genius. I don't know how he does it well, just by being very good, I guess. But we're savoury doesn't have that at all save these very, very straight. Yeah, it's only if the the tempos sync up with sailaway sweet sister's bedroom.

Matthew Russell  25:27  
Well, the the, the other thing that is very noticeable is that save me and sailaway sweet sister, our template may balance as in, he starts, he starts in a mind he starts in a minor key and plays it on piano. And then it modulates into the into the major key for the chorus and the chorus is mostly guitar and then the court that it's all often that is kind of like two versus two choruses. And the second one of each of those has an extra cord that modulates you back to the key where you were before. So he's got this he's got this technique that he knows in his and I don't know whether it's conscious maybe it's not but it's it's but when you look at those two songs structurally and everything else, they're unbelievably similar. they've

Ian Faragher  26:19  
they've both got like two will have both got a guitar solo and they've both got like a little instrumental session because of that sitar a bit isn't there in sailaway suite. Oh yeah, it wasn't really a guitar solo more played like repeating the theme. And in save me you've kind of got that ambiente bit haven't Yeah, before it goes into the main like, you know, screaming guitar so yeah, well,

Matthew Russell  26:41  
of course it's his it's his acoustic guitar that plays on on on White Queen as it began that little sitar but it's not as it's our it's his acoustic guitar where he's fiddled around with the bridge to make it sound like a sitar as used

Ian Faragher  26:53  
on jealousy

Matthew Russell  26:54  
as used on jealousy as well. Yeah, another thing that's that's actually very, very something that I've I've noticed while I've been doing the recordings for Queen and I know you have as well, and you've mentioned this is Brian isn't particularly adventurous with his with his sort of harmonic content with his chords like that. They're very straightforward chords as you go through. And all the sort of interesting harmonisation comes from the fact that often john Deacon is chromatically moving up the butt up the bass or Freddie's doing on the piano, or someone's doing it in the vocal. So the sort of exciting harmonic content comes from chromatic ization of one of the single parts moving through what's actually very simple chords

Jai Stokes  27:41  
will allow allows and doesn't it It lies and when you when you know where home is, you can you can stray up and around and, you know, all over the place because it's going to keep it rooted isn't it and that song So,

Ian Faragher  27:53  
and I really love Brian's rhythm guitar work on sailaway sweet Sister, I think it it's really simple. It's got a great sound to it. And it's super simple. It's just, it's almost just keeping time

Matthew Russell  28:06  
is really good. Nice. It's really nice. It was that was really nice to play. But that that was the kind of thing it was really nice to play the piano as well, but the pianos just super simple, particularly at the end. It's just like it's just this kind of groove that you've got to get to with your hands and it's just really nice

Ian Faragher  28:23  
and sad. Sadly never performed live

Matthew Russell  28:27  
now amazing.

Ian Faragher  28:28  
Although now Queen and I think Brian by Brian Yeah, Brian was it but yeah, they never took it, which I don't know. I guess they were pushing save me because I've got extensive live plays.

Matthew Russell  28:39  
I mean, the the Axl Rose site sailaway sweet sister is the inspiration for sweet child of mine. And they actually play sailaway sweet sister occasionally, as the intro to sweet child of mine, which is when Brian May has has joined them on stage to do it. Yeah. So so. So yeah, Guns and Roses have actually played bits of sideway sweet sister live here.

Ian Faragher  29:05  
Wow. Okay, that's a good, good. Good bit of fact, ej. Anyway, as ever, you can get in touch with us on the Twitter at recovering queen. please get in touch. Let us know what you think about the greatest band of all time. And here is Matt's version of sailaway sweet sister to the sister. I never had

Matthew Russell  29:32  
Hey little babe you're changing
 Babe are you feeling sore?
 It ain't no use in pretending
 You don't wanna play no more
 It's plain that you ain't no baby
 What would your mother say?
 You're all dressed up like a lady
 How come you behave this way?
 Sail away sweet sister
 Sail across the sea
 Maybe you'll find somebody
 To love you half as much as me
 My heart is always with you
 No matter what you do
 Sail away sweet sister
 I'll always be in love with you
 Forgive me for what I told you
 My heart makes a fool of me
 You know that I'll never hold you
 I know that you gotta be free
 Sail away sweet sister
 Sail across the sea
 Maybe you'll find somebody
 To love you half as much as me
 Take it the way you want it
 But when they let you down my friend
 Sail away sweet sister
 Back to my arms again
 Hot child don't you know you're young
 You got your whole life ahead of you?
 And you can throw it away too soon
 Way too soon
 Sail away sweet sister
 Sail across the sea
 Maybe you'll find somebody's
 Gonna love you half as much as me
 My heart is always with you
 No matter what you do
 Sail away sweet sister
 I'll always be in love with you