Frankfurt's opening sequence: six songs across album periods
The first vinyl side connects a Billy Talent II starting point with later releases.
The official Frankfurt vinyl edition begins with Devil in a Midnight Mass and This Suffering. I Beg to Differ, Afraid of Heights, Perfect World and Hanging Out With All the Wrong People complete its first side. Start by considering this simply as a selection: the early stretch does not remain within a single studio album, but moves between different areas of the catalogue.
A familiar beginning without copying an album
Devil in a Midnight Mass also opens Billy Talent II. Frankfurt's next song is not that record's second track, however: the studio sequence puts Red Flag there, while this release uses This Suffering. The concert edition adopts a starting point without reproducing the subsequent album order. This is a concrete difference established by track lists, requiring no speculation about what the audience expected.
I Beg to Differ brings material from Crisis of Faith into third position. A later release therefore encounters older material early in the sequence. Someone who knows only one album may find an entrance into another through that placement. The selection is not a complete chronology, however. A song's original release year does not predict where it appears in this concert order.
Returning to Perfect World
Perfect World belongs to Billy Talent II again, but does not immediately follow the two earlier selections from that album. The return demonstrates that a set can revisit sources instead of presenting each record as a closed block. Adding a studio-album field to a personal list makes such connections visible without changing the actual released running order.
Hanging Out With All the Wrong People ends this vinyl side. A side ending is also a boundary created by the format. It need not correspond to a natural pause in the original concert. Digital listeners should not assume that the grouping on the record documents every interruption of the evening. The medium and the event organise the material in different ways.
The opening is particularly useful for a question about selection rather than completeness. Which albums have already appeared, and which have not? The answer concerns only the first six published tracks. It neither evaluates omitted songs nor claims that later tours must use the same sequence. Keeping the examination limited makes this stretch a manageable entrance into the live album, rather than an attempted explanation of every decision made during the show.
