QueenZone discussion #1571996

The Real Wizard wrote: Splitting hairs. Both shows are great, although Mercury isn't quite at his best. And it's hard to do a real analysis without a decent sounding audience tape of the latter.

The Real Wizard wrote: Splitting hairs. Both shows are great, although Mercury isn't quite at his best. And it's hard to do a real analysis without a decent sounding audience tape of the latter.

7SeasOfQ wrote: Ryan Newton has some good at least B quality audios of both nights on his channel.

HelloDelilah wrote: The Real Wizard, I thought during this time, Freddie and his voice were in top shape? Why do you say he wasn't at his best? I thought in the early 80s was when Freddie wasn't at his best? Would appreciate your or anyone else's insight. Thanks! :)

runner_70 wrote:

The Real Wizard wrote: Splitting hairs. Both shows are great, although Mercury isn't quite at his best. And it's hard to do a real analysis without a decent sounding audience tape of the latter.

Of course he isn't for Brian worshippers. What you think about May butchering the BR solo lately in every second performance. Maybe I should start a thread about it.......

The Real Wizard wrote:

HelloDelilah wrote: The Real Wizard, I thought during this time, Freddie and his voice were in top shape? Why do you say he wasn't at his best? I thought in the early 80s was when Freddie wasn't at his best? Would appreciate your or anyone else's insight. Thanks! :)

Compare any version of Somebody to Love from early 79 to any version from 80-82. He's almost a completely different singer. Never mind the audience tapes - just listen to Montreal 81 and Milton Keynes 82 to see how Mercury's voice is far better than on Live Killers. He evolved so much in that period.

HelloDelilah wrote:

The Real Wizard wrote: Splitting hairs. Both shows are great, although Mercury isn't quite at his best. And it's hard to do a real analysis without a decent sounding audience tape of the latter.

This post inspired me to watch this concert (1/3/79) again. Chinwonder2's channel. The Real Wizard, I thought during this time, Freddie and his voice were in top shape? Why do you say he wasn't at his best? I thought in the early 80s was when Freddie wasn't at his best? Would appreciate your or anyone else's insight. Thanks! :)

The Real Wizard wrote:

runner_70 wrote:

The Real Wizard wrote: Splitting hairs. Both shows are great, although Mercury isn't quite at his best. And it's hard to do a real analysis without a decent sounding audience tape of the latter.

Of course he isn't for Brian worshippers. What you think about May butchering the BR solo lately in every second performance. Maybe I should start a thread about it.......

Quiet. Grown-ups are speaking. Why post on a Queen forum if you hate on two of its members with literally every post you make? It's clearly the only reason why you're here. I pity you.

runner_70 wrote: I misguidedly believe, despite providing no tangible evidence, that May and Freddie did not like each other too much

runner_70 wrote: The have clearly become the Simmons/Stanley of Queen or whats left of Queen. With the difference that Simmons and Stanley dont deny that they are just in it for the money

7SeasOfQ wrote: What the hell even happened I only asked for an analysis of both Paris nights ??

runner_70 wrote:

7SeasOfQ wrote: What the hell even happened I only asked for an analysis of both Paris nights ??

The Real wanker started to put Freddie down who was in his peak between 1979 - 1982 as we all know. He is so deep in May's ass he lost his way

7SeasOfQ wrote: What the hell even happened I only asked for an analysis of both Paris nights ??

The Real Wizard wrote:

7SeasOfQ wrote: What the hell even happened I only asked for an analysis of both Paris nights ??

I posted a relevant response earlier in the thread. But sadly we need to wade through the inane ramblings of a deranged internet troll.

runner_70 wrote:

7SeasOfQ wrote: What the hell even happened I only asked for an analysis of both Paris nights ??

The Real wanker started to put Freddie down who was in his peak between 1979 - 1982 as we all know. He is so deep in May's ass he lost his way

runner_70 wrote:

The Real Wizard wrote:

7SeasOfQ wrote: What the hell even happened I only asked for an analysis of both Paris nights ??

I posted a relevant response earlier in the thread. But sadly we need to wade through the inane ramblings of a deranged internet troll.

...says the guy who waited all day for a reply posting from me in mommy's basement. Now he finally got it and he is happy again. Sad but funny

stevelondon20 wrote: Just makes me sad as this used to be such a great place. I've been a member for over 18 years now.

Jimmy Dean wrote:

stevelondon20 wrote: Just makes me sad as this used to be such a great place. I've been a member for over 18 years now.

it's always been like this! i guess you used to be a glass half-full kind of guy... now you see it my way. it's a been a shitfest for 18 years.

ggo1 wrote: Thanks for ploughing through the petty squabbling and actually providing an excellent response. I want to listen to the March 1st version now just to hear how shot Freddies voice was.

MemeOverlord69 wrote: Ryan Newton here. Believe it or not, I wasn't the one plugging my channel earlier in the thread, but thanks for that. For an actual answer to the original question, here's how I would rank the two Paris shows against each other. We Will Rock You Fast: 2/28. Freddie sounds much stronger on 2/28, and the band seem more into it than 3/1. Let Me Entertain You: 2/28. it's more energetic, but slightly sloppy, so if you prefer a cleaner, tighter version, 3/1 is your version here, but I still prefer 2/28 Somebody to Love: 2/28. Brian breaks a string during his solo on 3/1 and has to drop out for about 30 seconds. If You Can't Beat Them: 2/28. Freddie sounds slightly better on 2/28, and Brian's guitar work is just better throughout. Roger's drumming is a tad better on 3/1, but I'd put 2/28 over 3/1 still. Death On Two Legs: 2/28. Brian's guitar work on both version is phenomenal, but Freddie sounds a tad stronger on 2/28. Killer Queen: 3/1. Freddie doesn't speak sing as much on 3/1 (which I happen to favour), and Brian's solo is a bit less jumbled than 2/28. Bicycle Race: 3/1. Freddie sings the song a bit better, and Brian does some cool stuff during the choruses that isn't on 2/28. Also, the band lets the crowd ring the bells for once, a nice touch. I'm In Love With My Car: 2/28. Very good drumming and vocals from Roger on both nights, but Freddie flubs a piano chord at the beginning of the 3/1 version. Get Down Make Love: 3/1. This one is down to the nuances. Freddie has a bad crack early on in the 2/28 version, but Brian does some fascinating stuff with the feedback on his guitar. During the last chorus of the 2/28 version, Roger's vocals go out of sync with Freddie on one line. On the 3/1 version, Brian does some great little licks in the verses, and Freddie sounds a bit stronger throughout. Overall I'd say 3/1 is the stronger of the two, although neither are particularly noteworthy versions besides the fact that a bit of 3/1 was used on Live Killers. You're My Best Friend: 3/1. Freddie sounds quite tired on the 3/1 version, although the guitar work on 3/1 is certainly better, and getting some variety in the instrumentation on this song is always nice to hear considering how this song was usually very consistent in it's performances. Now I'm Here: 2/28. Both versions are great, but the band seem a bit more energetic on 2/28 and sound like they're having more fun with it. Don't Stop Me Now: 2/28. Freddie really struggles with the vocals on 3/1. Spread Your Wings: 2/28. Once again, Freddie struggles much more on 3/1. Brian's solo on 2/28 is also nuts. Dreamers Ball: 3/1. The band seem to have a bit more fun on this one, which is generally a good thing for a song like this. Love of My Life: 2/28. It's a bit hard to hear on the 3/1 audience recording, so I kind of have to automatically give this one to 2/28. Both seem pretty similar though. 39: 2/28. Not only is it a stronger version of the song, but 3/1 is cut, so 2/28 wins by default. It's Late: 2/28. Freddie is super tired on 3/1. Sometimes it sounds as if he's barely trying. There is some good instrumentation of both versions, but the vocals are superior on 2/28. Freddie also comes in early on the second chorus. Brighton Rock: 2/28. Although 3/1 has that nice segment of Dead On Time, 2/28's version just feels more cohesive and flows better. 3/1 sounds nice but there seems to be more fluff. Keep Yourself Alive: 3/1. 2/28's version is cut, and 3/1 is surprisingly good anyway. Bohemian Rhapsody: 3/1. Freddie sounds pretty rough on both, but Brian's playing on 2/28 isn't as precise as it could be, whereas he's very good on the 3/1 version. Tie Your Mother Down: 2/28. John has a bass flub on the 2/28 version, but Freddie doesn't even sound like he's trying to sing the song on the 3/1 version. Once again, passion over perfection in this case. Sheer Heart Attack: 2/28. Both versions are pretty solid, but Freddie sounds a tad better on 2/28. We Will Rock You: 3/1. Both versions are very similar, but I happen to like Brian's solo on 3/1 a bit more. We Are the Champions: 3/1. Freddie sounds marginally better on the final night, although he's still has plenty of trouble with the song.

Queen Fan MS wrote: When Freddie's voice is shot, he usually comes up with unique phrasings on the fly, for ex: born at all in BoRhap on 2/28 I think, ( which is a real skill IMO) which I also enjoy very much (not all works but most of them do).

Queen Fan MS wrote: Good analysis Ryan. I listen to your videos. Thank you. You missed FBG in your analysis : ). For me FBG was better on 2/28. It is a mix for me too. some songs sounded better on 2/28 and some on 3/1. In my view, even with the tired sounding voice, I like Jazz tour for the passion, energy Freddie put into each performance in fact by the whole band and added to that the banter, entertainment, atmosphere which were also great which hugely compensates for the negatives. When Freddie's voice is shot, he usually comes up with unique phrasings on the fly, for ex: born at all in BoRhap on 2/28 I think, ( which is a real skill IMO) which I also enjoy very much (not all works but most of them do).