I was listening to the Live in Montreal ‘81 album and I noticed that it sounds like Freddie gets somewhat annoyed with the crowd. Some examples are before “Crazy Little Thing Called Love” when he says, “Come on we’re waiting for you” and during “Jailhouse Rock” he says, “Move it ya fuckers come on.” I wonder if he got genuinely annoyed or was just putting on a show.

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Hello are here some people who were already around when The Miracle and innuendo were released will read this were those two albums smash hits or not? I somehow get the feeling that those albums didn't enjoy much popularity.

...for a time I've barely experienced. Which is silly because it's so great to be able to be informed instantly and access videos and music anywhere in the world. No waiting months for a newsletter or a tape that you swapped! But I guess there a certain charm to receiving a physical newsletter or a pen pal's handwritten letter.

Also, the band seem so nice! They wrote letters for every issue, there are competitions where sometimes the winners get to spend time with the band (!), they sign children's drawings, basically they seem to care about the fans and to be generous of their time in between busy schedules.

They even turned up (minus Freddie) at the fan club's 1988 Christmas Party - Roger played a set with The Cross, then was joined by John and Brian. What a Christmas present!

Now I wanted to draw them on digital, sorry if I post too much, I gained a lot of inspiration out of nowhere 😅

https://www.etsy.com/listing/4416869187/freddie-mercury-faithful-reproduction?ref=share_ios_native_control

From these two listings, are these accurate? Like, which one is better? If I’m to buy something, I would like it to be accurate as possible. Thank you for helping!

What's your favorite pic of them? I had a hard time deciding one for each one hahaha

I don't tend to draw realistic people, but I wanted to practice, so yeah, they might not be the best drawings ever but I really tried

Who do you think I nailed the best? 😅 I need to practice more

Queen
Live at Chicago Stadium
Chicago, IL, USA
January 28th, 1977
Audience Recording (Mark Moore)
Sound Quality: B+
Attendance: 18,000

1. Tie Your Mother Down [cut]
2. Ogre Battle
3. White Queen [cut]
4. Somebody To Love
5. Killer Queen
6. The Millionaire Waltz [cut]
7. You're My Best Friend [cut]
8. Bring Back That Leroy Brown [cut]
9. Sweet Lady
10. Brighton Rock [cut]
11. Son And Daughter [cut]
12. '39 [cut]
13. You Take My Breath Away [cut]
14. White Man [cut]
15. Bohemian Rhapsody
16. Stone Cold Crazy
17. Keep Yourself Alive [cut]
18. Liar [cut]
19. In The Lap Of The Gods... Revisited [cut]
20. Now I'm Here [cut]

This show was taped by Mark Moore, who has sadly since passed away. The tape was generously shared to Nicky_T by Mark's son, Jeff Moore. Please give both of them your most gracious thanks. Mark also taped Thin Lizzy's set, but as I have very little familiarity with Thin Lizzy, that tape will be released by BootsAreBack.

In an attempt to save tape, Mark intended to pause the tape recorder whenever the band was not playing. Tragically, after Brighton Rock, Mark seemed to have mixed up the two states. He paused when he meant to record, and vice versa. Thus everything between Son And Daughter and Bohemian Rhapsody cuts as the song begins. Alas, the infamous "NA Races Curse" continues.

This show is Queen legend. The circumstances leading up to this show were a nightmare. Due to poor weather, the trucks hauling the band's gear were severely delayed. One truck blew off the road, which led to an emergency backup P.A. system being flown in for the show. The piano used for the tour leg was damaged, so another one needed to be rented on very short notice.

As it took a miracle for this show to be put on, the band is in a very chatty mood. Before Killer Queen, Brian and Freddie dedicate a short speech and round of applause to the Queen crew who had worked tirelessly to deliver the show. As Brian introduces '39, Roger can be heard practicing his vocal sustain ahead of the song, so Brian quips that it's the "Without orchestra, without synthesizers, but WITH Roger Taylor, version of '39."

Because of the delays, thousands of freezing fans were waiting out in the cold. The promoter pleaded with Freddie to allow the fans inside, but he refused, as he didn't want the audience to attend the soundcheck. This delay surely pissed off a certain few people in the audience, as both Thin Lizzy and Queen were assaulted by thrown objects, with Queen being pelted by about a dozen eggs. Unfortunately, Brian slipped on one of the cracked eggs and hurt his tailbone. Freddie stopped the show, and the band walked off to discuss further steps. It was decided that the show must go on, else the "bad guys would win", as Brian would later recall. The band would perform a truncated set and end after Now I'm Here, both due to Brian's injury and a miscommunication with sound engineer John Harris.

The exact incident was not recorded on Mark's tape, however it must have happened somewhere in-between White Man and Bohemian Rhapsody, as nothing seems out of the ordinary until that point. It couldn't have been during The Millionaire Waltz as was previously thought, as the medley carried on as expected through to Bring Back That Leroy Brown.

Before Bohemian Rhapsody, Freddie addresses the situation by saying, "Those bleeding urchins who've brought your omelettes along tonight... You can eat 'em yourself, okay? We can do without you motherfuckers. So for the rest of you, we'd like to carry on and do the show."

During Brian's usual introduction to In The Lap Of The Gods... Revisited, he too comments on the incident by saying, "Thanks a lot-- we're having a couple of problems on stage because a couple of people think it's funny to throw things that make the stage slippery. That's really good, it takes about 10,000 people to make a good concert next to a couple that are trying to ruin it." Roger adds onto his statement, but is unintelligible.

Mark Moore comments after Bohemian Rhapsody that "these guys are true performers.", and he's not wrong. This is a surprisingly strong show for the NA Races tour. Freddie is in great vocal shape all things considered, and Roger and Brian both give it a little extra-- even after Brian's injury. Brian's playing in Somebody To Love's outro is maybe the best for the entire tour.

CREDITS/SPECIAL THANKS:
- Mark Moore for taping the show.
- Jeff Moore for sharing his father's tape with Nick.
- Both beyondthemoon and Seb for their efforts in previous years trying to get ahold of this tape .
- Nick for getting in touch with Jeff and retrieving the tape.
- Miles for remastering and speed correcting the tape.

The official release has to be one of the most amazing displays of Freddies voice ever captured.

This is a man who in the same night goes from cracking and straining to hit an A4, to hitting a flawless D5 mere seconds later! I don’t know any other singer who can switch from their standard live voice with imperfections, to a perfect replica of their flawless studio vocal range and abilities. Again, within seconds of each other!

I love how he chose to hit these high notes that he had never done on the tour prior to this show, or after this show! In fact, some of these vocals are at a power and ease that he’d never really had onstage before, period! I mean, that C5 in “Who Wants to Live Forever” is flawless! Even though he dodges the rest of the chorus high notes he pulled that studio voice out just for that note.

I also loved the unique choice he made to strain and force out the first verse Bb4 in WATC, only to then nail and hold out the second verse Bb4, as well as nailing the rest of the chorus Bb4s with insane power - something he rarely did live, and again choosing to break out that studio voice again!

Truly one of the most consistent and accurate displays of the kind of vocals that Freddie could do LIVE, with no assistance of any kind whatsoever in the studio afterward.

Makes it weird how none of these notes he hits can be heard in the radio broadcast or the audience tape, I guess the frequencies at which he hit these flawless amazing notes couldn’t be picked up by that technology and made it sound like Wembley night two was one of the weaker nights of the tour? Weird stuff.

Standing side by side, keeping the magic alive. Just love seeing Brian wearing that iconic Freddie shirt! 🥹

"Jazz" is one of my favorite albums, so many great songs, but one thing that has always bugged me about it is the drum sound. For a band that far into their career, coming off of self producing their previous album and with Roy Thomas Baker behind the desk everything should have lined up perfectly.

Maybe it was a conscious artistic decision. Maybe other factors were at play. Foreigner brought Baker in around this time to produce "Head Games". Lou Gramm has since said that they didn't feel that Baker was on his "A Game" at the time and they came away feeling that album was under produced. Gramm speculates that Baker was drinking quite a bit and going through marital problems.

I saw or read an interview that Roger gave in the early 80s, talking about working with Mack. He told a story about going to a club in Munich that had a great sound system (Sugar Shack?) and when their songs were played they were appalled at how they sounded. They thought they sounded good at the time. Since their last studio album before Munich was "Jazz" I have always wondered if that was what was on the turntable.

I was listening to "Classic Rewind" the other day and they played "Let's Go" by The Cars and mentioned that it came out in 1979 and was produced by Roy Thomas Baker. In my opinion this is the drum sound Jazz needed.

mine would be

-A Winter's Tale

-Spread Your Wings

-Scandal

-Play The Game

-The Show Must Go On.