Label: Red Phantom - RPBX 012/13/14/15 • Format: 4x, CD Compilation, Unofficial Release Box Set Unofficial Release • Country: Italy • Genre: Rock, Pop •
The majority of the tracks come from unofficial recordings, and those that come from official sources are from some of the harder to find releases, rather than the standard live albums which at the time of release were 'Like Killers', 'Live Magic' and 'Live At Wembley '. It is without doubt the best bootleg around, in terms of rarity of material, accuracy, and presentation. The bootleg was released as a four CD boxed set in Italy inin a blue and gold box, with a colour booklet.
It was later reissued as a five CD version, titled 'Opera Omnia SE' special editionwhich I think came in two standard jewel case CD's, in a white sleeve, Spacedirt - K+Lab - Spacedirt artwork from the 'Innuendo' album and singles. The five CD version adds two bonus tracks, and some sources suggest that it features tracks Tear It Up - Queen - Opera Omnia different shows, but I haven't heard it to check.
Full scans of the 4 CD set can be found in the gallery. On this page I have attempted to identify the exact date of each track, by identifying key points where the recording contains something different to others. These include feedback, sound drop-outs, breaks in Freddie's voice, his dialogue and ad-libs, and audience noise which may differ between two recordings of the same showas well as more obvious factors such as the length of recording and sound quality.
In a couple of cases I have listened to every possible recording I could find, which has uncovered a couple of surprising sources. The 'Queen On Stage' website has already attempted to identify each track hereand while I have used their list as a base, I have filled in the gaps and made numerous corrections. Thanks must also go to the Youtube user Gregsynthbootlegswhose uploads were used for the identification of some of the trickier songs.
If you have any corrections to any of the details on this page, or can provide a link to the 5CD version, please email me. Represented Shows. The Tear It Up - Queen - Opera Omnia from Tokyo, 11 Maycome Steve Vai - Original Album Classics the Japanese only ' Final Concert Live In Japan ' video the entire video is included, with the exception of three trackswhile the six tracks from Budapest, 27 Julycome from the ' Live In Budapest ' video.
The set also includes four tracks from the compilation Tear It Up - Queen - Opera Omnia ' Rare Live '. The most represented shows are Tokyo, 11 May 23 songsMontreal, 1 December 12 songsFukuoka, 19 October 9 songsand Budapest, 27 July 6 songs.
The set includes tracks from 23 different shows, and includes at least one track from each of the years from towith the single exception of andbut Queen didn't perform in that year.
All the tracks from this show are instantly recognisable, due to the perfect sound quality, Roger's distinctive drum sound, and the audience reactions and volumes.
The audience shout 'Roger' at'Freddie' atwhistle atand Freddie sings 'never time in Tear It Up - Queen - Opera Omnia the world, world, world' at There is a very small amount of feedback atand Freddie sings 'God knows what I'm doing' atwith his voice breaking on 'knows'.
The track was released on the ' Killer Queen ' bootleg, as part of the 'Top Bootlegs' project. Freddie sings 'what'll you do for loving if it's the one and the only game, yeah' at'what'll you do for heaven if it's a back from where you came, yeah' atthere is some feedback at andand at the end Freddie says 'thank you, how nice'.
The track edits out about 3 seconds mid-song, where Freddie says 'what comes next'. The track was later released as part of the ' Live At The Rainbow '74 ' album in There is some feedback right at the start, and Freddie sings quite a few Tear It Up - Queen - Opera Omnia changes including 'and I know everybody in this world could use' and 'and you know everybody in this bum sucking world should go far', along with a 'wooh' at'you move it to the left' etc atand ending the track with a 'thank you'.
Freddie's voice breaks athe sings a few 'ooh's and ad-libs atAnoko-No Namae-Wa Nantenkana = Como Se Llama Aquella Muchacha - Kyu Sakamoto - Ue O Muite Arukou again atand he ends with 'thank you, goodbye'.
Freddie sings 'as it began, oh, ooh' atand there is some slight feedback at and again at Brian's guitar is quite distinctive throughout the track, Freddie misses his first lyrics 'I rule with, I rule with my right'he sings 'yeah, yeah, ooh yeah' atand Roger's gong right at the end is pretty distinctive. The reprise of 'Bohemian Rhapsody' is not mentioned on the tracklisting. The audience noise helps to identify this track as it was played from a backing tape, there is no ad-libbing or improvisation to go oncoupled Tear It Up - Queen - Opera Omnia the fact that it segues into 'Father To Son' which is far easier to identify.
The track was released on the ' Cardiac Arrest ' bootleg, as part of the 'Top Bootlegs' project, and later as part of the ' Live At The Rainbow '74 ' album in Freddie sings 'yeah' then the incorrect lyric 'every now and again, time after time I keep on calling you, warning you of your ways' atwhat sounds like 'send me to the Lord, the Lord' atand 'I'm gonna write you out a letter' atwhile he says 'thank you' twice as the track fades.
It segues from 'Procession'. Freddie's dialogue 'what do you think of the show so far' at is the giveaway here, along with a lot Tear It Up - Queen - Opera Omnia feedback athim singing a few extra 'oohs' which get higher atand ending the track with the words 'nice one'.
The track was later Aqua Nymph - Various - Soma Case Logic on the ' Live At The Rainbow '74 ' album in Freddie's Singalong is totally separate to 'Now I'm Here', and is not mentioned on the tracklisting. At the start, Freddie sings 'yes, it's really, really nice to be here baby, it's really nice to be here tonight, mmm'.
Brian's guitar and Freddie's vocals at around are particularly unique. The track is taken from the video ' Live In Budapest ' and was later released on the ' Hungarian Rhapsody ' releases in This is an instantly recognisable performance, and right at the end of the track, you can hear the start of 'Radio Ga Ga'. Freddie sings 'ohhh, yeah' atthere is some feedback at andsome loud whistles at andsome odd noises atand Freddie Tear It Up - Queen - Opera Omnia as the track fades out at This track initially seemed a difficult one to identify, as it is so short, with so few lyrics, and hardly differs from show to show.
However, at aroundthe lyric 'my cutie pie' is sung by Brian alone, and after checking the 45 or so shows which I could find, this is the only concert where that happened. There is also some feedback atand some audience whistles atwhich confirm this is the correct show. The track was released on the ' Warehouse Copenhagen ' bootleg, as part of the 'Top Bootlegs' project.
There is an audience whistle right at the start, and at around onwards, Freddie sings 'dislocate your spine if you don't sign, he says, I'll have you seeing double, double, double', leaving a slight pause after 'if'. At aroundhe sings a very lengthy 'trouble', and sings three 'byes' after 'goodbye' at There is also some feedback at and The track fades out early, before the 'reprise'.
The track is taken from the video ' Final Concert Live In Japan ', and includes a short piano introduction by Freddie. The track is taken from the video ' Final Concert Live In Japan ', and includes some dialogue from Brian at the start. There is some very minor feedback atFreddie adds some vocals in places, and some of the drums appear to have an echo, which is particularly noticeable at The audience noise right at the end also matches exactly to other recordings of the show. There is some unusual tapping in the audience atRoger sings 'now honey' loudly atand Freddie's voice breaks at around Freddie sings 'OK, come on everybody, clap your hands, come on' between andthere is a Tear It Up - Queen - Opera Omnia atsome feedback atand Freddie sings 'yeah, yeah, yeah, alright' at'altogether' atand 'alright' at There is some very loud tapping atFreddie 's voice breaks slightly athe sings 'do you feel like' quite oddly atand 'yeah' at Freddie introduces the track at the start, and sings 'oooh, I like it, yeah, everybody' at around'oh, you really, really, really, really, really do me' atand 'stay sweet, all the time, oooh' atbefore saying 'yes' after the song ends.
The track was released on the ' Cardiac Arrest ' bootleg, as part I Believe In Miracles - Various - Dancemania Bass #9 the 'Top Bootlegs' project.
Freddie says 'so come on' atand the audience clap along, he sings the wrong note on 'zoo' atand rolls his R's after 'Louvre' at He ends the track with 'yes, Tear It Up - Queen - Opera Omnia you, OK'.
There are some distinctive audience screams atFreddie rolls his R's atand there are more distinctive audience screams at This Balla Blockin - HD - Antifreeze: Sub-Zero is also longer than many other versions.
The finale of the track is mistakenly programmed as a separate track, and is referred to as 'White Man' on Killer Queen - Queen - Opera Omnia tracklisting.
This track is actually the mistitled final part of 'The Prophet's Song', but programmed as a separate track. Freddie sings a lengthy 'oohhh' atand there are some distinctive audience screams and whistles Tear It Up - Queen - Opera Omnia around This is a very short edit of the Tear It Up - Queen - Opera Omnia , which contains an odd noise at the end which is actually an amplifier exploding.
The track is taken from the ' Rare Live ' video. This is an excerpt of the track, containing just the first section. At the start of the track Freddie says 'I think we'd better Landscape ~Akakages Acoustic Winter - Every Little Thing - Landscape it', and at a member of the audience says 'wooh' in a very distinctive way.
Freddie forgets the lyrics atso ad-libs instead, Roger's 'faster, faster' vocals at are particularly prominent, and there are some easy to identify screams and whistles at the start and end of the track. This is perhaps the most widely available live version of the track, and it is easy to identify due to the audience noise during the piano intro and outro, particularly a number of screams right at the start.
Freddie's opening vocals are distinctive, there is some feedback athe sings 'hey, hey, rock with me, hey' atand 'rock you' at is also fairly unique. The track is taken from the video ' Final Concert Live In Japan ', and includes the audience chanting 'we will rock you' for around 42 seconds at the start.
Freddie's voice breaks athe sings some distinctive 'ahh's atthere are some audience screams atand at he sings 'everytime I get high, you wanna come down, everytime I get high, you wanna, come down'. There are some distinctive whistles during the piano intro, Freddie's voice breaks at andat he sings 'wishing they were miles and miles and miles and miles away', and Brian's backing vocals are particularly prominent from onwards.
This is an instantly recognisable performance from Freddie, which omits an entire verse. This is probably the most disappointing track to be included, as it contains excerpts from a number of different concerts, edited not particularly well. Freddie's voice breaks atandhe sings 'tell me, yeah' atand says 'that's the way to do it' atthen there is some loud tapping as the track fades out. Freddie sings 'you did that' athis voice breaks at though this was corrected on the official album releasehe sings an unknown lyric atand 'ohh yeah, get me everytime' at There is a slight sound dropout atRoger sings 'go' at quite distinctively, and Freddie says a very quick 'hey' at during the count-in to 'I'm In Love With My Car', during the fade.
Freddie sings 'come on' athis voice breaks athe sings 'yeah, yeah' atand there is some distinctive audience clapping as the track fades out at Freddie sings 'come on, alright, get up, move it, oooh' from onwards, 'I'll play them at their own game, come on' atand his ad-libs from onwards are unique. The audience clapping at the end is also particularly recognisable. Freddie's introduction at the start is 'OK, we're gonna start off a beat, we'd like you to join in, come on, nice and easy, yeah', followed by an unusual 'yeah' atfeedback at andat there is further feedback and Freddie sings 'I'll be dreaming of my baby' in a in a very odd way, then his voice breaks at Freddie introduces the track, and at sings just 'stop Tear It Up - Queen - Opera Omnia instead of 'don't stop me'.
There is some feedback atand then the sound very quickly jumps between stereo channels, with further feedback at Freddie's vocals, and in particular his ad-libs, are quite distinctive throughout the track. Freddie sings a Tear It Up - Queen - Opera Omnia 'hey's atwith the first one very quiet, and also 'yes, ah' at There is some feedback at numerous points includingandwhile the recording drops in volume at Freddie plays a distinctive piano intro, with accompaniment from Roger, there is a slight sound dropout atFreddie sings 'yeah' three times atand there is a pretty unusual 'wooh' from a member of the audience at Right at the start Freddie sings 'yeah, yeah, yeah', there is some feedback athe sings a lengthy 'ohhhh' at'running around' three times atand sings 'yeah, yeah' a couple of times right at the end.
A member of the audience coughs atFreddie sings what may be 'freak out' atand his voice breaks at Freddie gets many Tear It Up - Queen - Opera Omnia the lyrics wrong, including 'no I'll never, feel like an asshole' at'trying hard to stay away, what did you say, what did I say' atand he ends the track with 'yeah, give it to me' at The track fades in at the start, so omits some of the introduction. Freddie says something like 'let's not hear it' atthen 'you know the little bit that goes' athe then gets the lyrics wrong, singing 'I don't know, what do you hear, what do you know, on the radio' atand 'get down, hey' at The audience noise at the start of the track, and at the start of 'The Hero', is quite distinctive, while Freddie sings 'hey' ata few 'oohs' atand 'cos you're a hero, give it to me' at This is an easily recognisable track, with Freddie singing 'yeah's, 'hey's and other ad-libs throughout.
There is a distinctive audience noise atFreddie sings 'come on baby' athis 'look at me' vocals from onwards are quite unusual, and there are some more audience screams at onwards. Freddie says 'hit me' at'you got it' at'give me the message baby' atand what sounds like 'get the message, you've got the message' at
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