Queen – Live Killers – Liner notes

Liner notes

De liner-notes, die waren afgedrukt op de binnenhoezen van de vinyl albums, voor het Live Killers album waren destijds een genot om te lezen. De liner notes zijn hier 1 op 1 overgenomen, inclusief inconsistente interpunctie en typfout (kijk maar of je ‘m kan vinden).

Notes binnenhoes album 1:

For the past 5 years or so QUEEN has been one of only a handful of rock groups to attract consistently huge
audiences in every major city in the western world. If you wonder why, this album may provide some answers. To you
who were there, no explanation is needed, for you were part of the show recorded here, and to you this album is
dedicated. Queen’s live performance has always been a complete show in every sense, and many of the group’s
special sound and lighting and stage ideas, initially dismissed by some as “excessive” are now almost standard
features of live rock shows. An entirely self contained rig is transported from concert to concert in a number of
articulated trucks, and the complete stage set takes a crew of about 20 “roadies”, all experts in their field, about 8
hours to put together. An hour long “sound check” is done by the group and crew as a final preparation before
doors are opened. Finally the house lights dim, the vast lighting rig explodes into light and swivels back, the stage
becomes an inferno of light and the first chords ring out. For the next 2 hours Queen are in direct contact with their
audience. In the course of this live album the listener is transported effortlessly from city to city, each having its
own atmosphere, but each having in common the unique feeling which is a Queen audience. Some edits and
omissions have been made in order to squeeze the set on to four sides without loss of quality.

This is how Queen sound in 1979, but the material is drawn from almost all phases of the band’s development
since 1973. We Will Rock You: this blatant version of the song is a flexing of the muscles and leads straight into the mood
setter “Let Me Entertain You” deliberately over the top on stage as on record, Freddie wasting no time in selling
his body and his voice to the audience. The Medley (play the Hits!) was born about 1975 and remains a popular
item; since then it has evolved, and of the original component songs, only Killer Queen remains. Death On 2 Legs,
was added on the release of A Night At The Opera, an infamous and famous song and the source of tedious legal
battles. It is performed with its original acidity but with a touch of humour, shared with an involved audience. In
complete contrast a snippet of Killer Queen retains the subtle approach of the 1974 single, which was Queen’s
first true world-wide hit; the song displays Freddie’s writing to great advantage, an instantly recognizable melody
combined with great mobility between keys. Bicycle Race, is a natural for the medley, on record a complex
jigsaw, on stage, pure fun. I’m In Love With My Car features Roger singing on his own composition, a favourite
from “A Night At The Opera”. Get Down, Make Love varies greatly according to audience from night to night,
hovering between earthiness and eeriness, with its “harmonized” middle section and vocal gymnastics from Freddie.
Finally John Deacon’s You’re My Best Friend, a very singable tune with sentiments never forgotten by Queen fans.

Now I’m Here was the stage opener on the British, American and Japanese tours of 1974. It was then used an
encore and later dropped. Recently reintroduced it has become a platform for some rapport between Freddie and
the audience and is a guaranteed show-stopper. The acoustic set is the point where the group relax on (venue
permitting) a special intimate small stage flown in from above. Dreamers Ball from the Jazz album and Love Of My
Life from A Night At The Opera are both performed informally and very differently from the studio versions. Again,
the audience takes over much of the action. 39 is a natural to close this “singalong” part of the evening, taking on
a slap happy feel in contrast to the rather serious original recording. Written by Brian, it also features John on
Fretless Bass. Keep Yourself Alive, the first track ever recorded by Queen, though never a hit except in Japan, is
always requested, and regarded as a kind of trademark even by those who found Queen much later on. The song
is strangely prophetic and, having gone full circle over the years, sounds much as it did in 1973.

Notes binnenhoes album 2:

Don’t Stop Me Now, is the most recent Queen hit, literally fighting its way up the charts to win a new audience in
Britain 1979. The song is in its youth on stage and is already developing new features. It is a good example of how
Freddie’s piano technique has broadened the scope of the show. Spread Your Wings was a concert favourite even
before the News Of The World album had made its full impact, a John Deacon narrative song with a relaxed feel.
Brighton Rock, gave a home to a guitar solo on “Sheer Heart Attack”. This solo grew and was developed by Brian
as a showpiece for his unique technique of using a single echo (in this case 2 single echoes) to build up
counterpoint and 3-part harmony guitar sections live on stage. (The effect is also used elsewhere, e.g. by Brian on
the Keep Yourself Alive solo and by Freddie in Now I’m Here.) In 1979 the guitar solo became re-integrated with
bass and drums and the whole piece is used as a basis for improvisation between Brian, John and Roger, and as a
rest for Freddie! This section also features a timpani piece by Roger.

A single spotlight picks out Freddie at the piano singing the beginning of Bohemian Rhapsody which needs no
introduction as Queen’s biggest hit in Britain, and Europe. It is unthinkable that the song could be omitted
although the classic mulit-layered “operatic” section was a purely studio creation. Fiercely opposed to playing
with any kind of backing tape, the group solve the problem in typically uncompromising Queen manner. They leave
the stage and play the record; the lights and the audience take care of the rest. The group re-enter to perform the
last portion of the song to a guaranteed standing ovation. Tie Your Mother Down, from “A Day At The Races” was
evidently built for the stage. It is pounded out mercilessly and signals the end of the concert proper. Sheer Heart
Attack, not from the album of the same name but from News Of The World sees Roger miraculously drumming up
new reserves of energy for a blistering few minutes during which all remaining inhibitions are lost. Finally
the group returns as if asked (somehow they always are) for We Will Rock You / We Are The Champions, a final
consummation of the feeling of togetherness which makes a Queen concert so moving, the group’s biggest ever
hit in America and most of the world, and a fitting end to the evening. Queen leave the stage, the audience add
their voices to the “Night At The Opera” version of “God Save The Queen” and another Queen show is over. Until
the next night…

Extra notes binnenhoes album 1:

QUEEN ARE: Freddie mercury, John Deacon, Roger taylor & Brian May

The material for this album was recorded by John Etchells on the Queen European Tour January-March 1979
using the Manor Mobile manned by Peter Greenslade, Ken Capper, and Steve Cater. Mixing was done at
Mountain Studios, Montreux. Assistant engineer David Richards, and assistance from Aline and Andre. Mastered
at Sterling Sound by George Marino. Sleeve concept by Queen.
Sleeve design Foster & Knowles Advertising and Ichikudo Printing Co., Ltd.
Cover photo courtesy Koh Hasabe.

Extra notes binnenhoes album 2:

Our thanks to all involved with the tour including Harvey Goldsmith, Tour Manager Gerry Stickells, Stage Manager
Jimmy Barnett, Queen Stage Crew Peter Hince, Chris Taylor, Brian Zellis and Brian Spencer, Clair Brothers
Sound Men James Khalaf (Live Sound Mixer) James Devenney and Jim Ober, TFA Lighting Men Joe Travato
(Lighting Director), Rick O’Brien, Dick Ollet, Gerry Mott, Alan Maddams, Maurice Mulligan, Riggers Robin Elias,
Charlie Boxhall, Truckers Henry Crallan, John Collins, Mick Conafray, Ted Winfield, Dave Connor, on tour chefs
Dave Kebble and Disco Dennis Days, Driver Bob Collins.

Finally thanks to our organisation Pete Brown, Paul Prenter,
Paul Korzilius, Doug Houck, Dane Clark, Barbara Szabo, Melon, Amanda, Tommy, Victoria, Jeff & Angie.
And to Mr. Jim Beach