TOLEDO 1977  

 2 CDR
Label: Not on label.
Country: Japan (as far as I know).
Released: February 2021.
Recorded: Live at Toledo Sports Arena, Toledo, OH, USA  30th January 1977.
Sound: Audience recording.
Comments:  A new concert out on the marked for the first time, as far as I know. I don't know more than the cover say's.
From the US 'A Day At The Races' Tour. The first part of the concert.
Roots: Audience recording.
Time: 43:36

Front cover
 CDR 1
 1. Intro: A Day At The Races Overture  (tape)
 2. Tie Your Mother Down
 3. Ogre Battle
 4. White Queen
 5. Somebody to Love
 6. Killer Queen
 7. The Millionaire Waltz
 8. You’re My Best Friend
 9. Bring Back That Leroy Brown
 10. Sweet Lady
 11. Brighton Rock

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Back cover
From internet page.

The new excavation master arrived, saying “The first shock in 2021!” The live album that collectors from all over the world are buzzing with is an urgent gift release decision.
It is “January 30, 1977 Toledo performance” that is imbued with such a work. It is the first appearance audience recording. The title, date, venue, first appearance, and so on, may have come to some people. Yes, it’s QUEEN, a sister work of THIN LIZZY’s “TOLEDO 1977 (Shades 1281)” released the other day! The tension suddenly increased, but many people would say, “I’m not interested in THIN LIZZY”, so from the beginning. This show was also part of “A DAY AT THE RACES TOUR” with THIN LIZZY as the undercard. First, let’s look back on the schedule at that time as usual.

・ January 13-March 18: North America # 1 (40 performances) ← ★ Coco ★
・ May 8-June 7: Europe # 1 (19 performances)

“October 28,” News of the World “released”
・ November 11-December 22: North America # 2 (26 performances)

This is 1977 QUEEN. In the first half of the year, we are conducting a tour accompanying “A Day at the Races”, and the Toledo performance of this work is the beginning. It was the 13th performance of “North America # 1”. Speaking of this “North America # 1”, the legendary masterpiece Mike Millard’s super masterpiece “LA FORUM 1977 2ND NIGHT (Wardour-407)” is also new to my memory, but this work was about a month before that.

This work recorded at such a show was recorded by an audience of “Sorry!” What is regrettable is the length. Actually, the taper that recorded this work was recorded from THIN LIZZY, so the main QUEEN ran out of battery on the way. I was exhausted in about half of the show (10 songs, about 44 minutes). Originally, he had prepared a replacement battery, but he inadvertently forgot this night. It’s a careless mistake of grief that is so regrettable.
Moreover, the sound, the show, and the show are wonderful, so the regret is doubled. As anyone who has experienced THIN LIZZY knows, this recording has no problem in terms of sound. Although it is a vintage audience and not a type that is mistaken for a sound board, the clearness and strength that offset the sense of distance are wonderful, and the fresh master freshness and response are plentiful. Considering the fact that “a QUEEN performance that no one has ever heard”, it’s more than enough to say that it’s a press class … or “I won’t save this permanently !?”

Moreover, this work is the highest peak. As a matter of fact, this recording was announced in two systems. At first, it was uploaded with a compressed sound source on a certain video site, and later a lossless remastered version was released. Of course, I thought the latter was better … but it wasn’t. Actually, the reputation of mastering that seems to have been done by the recorder himself is not good enough. Video sites, which are compressed sound sources, have become more natural and popular. So which is this work? The correct answer is “a lossless sound source with a natural balance”. Since the original sound without deterioration is used, there is no feeling of compression, and the feeling of mastering processing is also relaxed. It’s the best version that combines the best of both worlds (I originally wanted the master original sound to be released losslessly).

And what is drawn with that sound is “Toledo’s QUEEN” that no one has ever heard. Each note is a series of first experiences, but it’s in good shape! Until now, the reputation of “North America # 1” in 1977 was that “January immediately after the start was not running yet, and in February it was in full swing.” However, the tension that was thought to be “from February” has already been fully opened in this work at the end of January! Freddie’s singing voice had good tension and growth, and the ensemble had a strong momentum, probably because the engine was running at full power in the 13th performance. The start dash at the beginning is also wonderful, and the flow that does not loosen in the middle is also good. Now, let’s get excited towards the end … The recording ends. Hmmm, this feeling of Oazuke or picking up. After all it is a masterpiece of “Sorry!”

Although it ended in a good place, the real thrill of being able to experience the Toledo performance for the first time, which had never been heard before, is irreplaceable. This is the best version of the newly discovered sound source that collectors all over the world are surprised at right now. It’s a fresh and fun piece because it’s now. Please enjoy it.