The Who Album-By-Album (& Single-By-Single) Thread

Discussion in 'Music Corner' started by Driver 8, May 12, 2009.

Thread Status:
Not open for further replies.
  1. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    [​IMG]

    Yes. Chris engineered everything The Who recorded at Talentmasters. Here he is in the control room.
     
  2. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    WOW! Thanks for those pictures! That was like a mini-festival. The Who with The Association, Sopwith Camel, The Sunshine Company, Eric Burdon & The Animals and The Everly Brothers. Do you remember what "I Can See For Miles" sounded like compared to the studio version? Was Pete stuck at the microphone singing harmony, or did he move around? Did he play the one-note or power chords during the chorus? I know it's been a couple of years, but... :)
     
  3. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    I've been working on an audiophile catch-up that I will (hopefully) post later tonight. I also found a nice little NME article from October '67 I will post soon, and then we'll move on to The Who Sell Out later this week. :righton:
     
  4. reb

    reb Money Beats Soul

    Location:
    Long Island
    Gotta close out this edition with a psychedelic explosion of raw WHO!!
     
  5. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    Love that picture!!
     
  6. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    OK, it's about high time for some audiophile catching up, so here we go:

    First of all, an essential discography of A Quick One:

    1966 - December 9 - A Quick One [Mono] - UK Reaction 593002
    1967 - May 1 - Happy Jack [Mono] - US Decca DL 4892
    1967 - May 1 - Happy Jack [Stereo] - US Decca DL 74892 [Stereo & Fake Stereo]
    1981 - May 1 - A Quick One [Stereo] - GERMANY Polydor 2383 147 [Stereo & Fake Stereo]
    1988 - August 1 - A Quick One [Mono] [1988 Remaster] - UK Polydor 835728 2
    1990 - October 25 - A Quick One (Happy Jack) [Stereo] [1990 Remaster] - US MCA MCAD 31331 [Stereo & Fake Stereo]
    1995 - June 20 - A Quick One [1995 Remaster] - US MCA MCAD 11267 [Mono/Stereo & Fake Stereo]
    1995 - July 4 - A Quick One [1995 Remaster] - UK Polydor 527 758 2 [Mono/Stereo & Fake Stereo]
    2003 - January 24 - A Quick One [2003 Remaster] - US MCA MCAD 11267 [Stereo & Fake Stereo]
    2003 - April 14 - A Quick One [2003 Remaster] - UK Polydor 589 800 2 [Stereo & Fake Stereo]
    2005 - December 13 - A Quick One [Mono] [2005 Remaster] - US Classic Records 593002
    2008 - November 12 - A Quick One [Deluxe Edition] - JAPAN Universal UICY 93539

    For MONO vinyl, comparing the 1966 UK Reaction to the 2005 US Classic isn't an uplifting listen. In short: None of them are great. Reaction's biggest problem is the treble, which is overbearing. When you first put it on, the Classic sounds more open and energetic than the Reaction, but the moment Keith's cymbals kick in during "I Need You", you realise that it's because they've boosted the treble around 3.5-4.5k even more, making parts of the record virtually unlistenable. It does sound more "high fidelity" than the Reaction, and on some tracks the exciting top end works, but overall it's a drink coaster, as a forum member so eloquently put it. You could try to EQ both of those discs, though. The 1966 US Decca is no sonic wonder either. It is much more bass heavy than the Reaction, which isn't necessarily a bad thing, but it just sounds distant and muffled - possibly a generation or two removed from the master.

    There is one MONO vinyl alternative not listed in my essential discography, and that is UK Track's 1974 reissue of the album. It's a two-fer with The Who Sell Out. And it's a good alternative. At first it sounds a bit dull, but what they've done is just to really roll off the highs - enough to make it a pleasant listen all the way through. It actually sounds warm, and is the only MONO vinyl you can crank. Although it has similar EQ, it has much better sonics, and sounds a lot clearer and balanced than the 1966 US Decca. It also has the UK lineup. The cat. number for the set is 2683038, and the individual discs 2409209/2409210. Should be easy to find, and highly recommended.

    The STEREO mix is much more balanced (although it doesn't rock as hard as the MONO), and for vinyl the 1981 German Polydor is a winner, and has all tracks except for two ("So Sad About Us" and "See My Way"), which are both FAKE STEREO. It is a little lacking in the bottom end, but has great mids. You need the 1966 US Decca Happy Jack for the true STEREO "So Sad About Us", and I really like the sound of the true STEREO tracks on that record (better low end), but it is still a combination of STEREO and FAKE STEREO, although the FAKE STEREO image is so narrow that it almost sounds like MONO played on a STEREO machine at times (the A Quick One listing in this thread erroneously lists it as MONO/STEREO & FAKE STEREO). "See My Way" has never surfaced in true STEREO.

    Here are the mix variations on the 1966 US Decca Happy Jack: Run Run Run - STEREO, Boris The Spider - STEREO, I Need You - STEREO, Whiskey Man - FAKE STEREO, Cobwebs And Strange - STEREO, Happy Jack - FAKE STEREO, Don't Look Away - FAKE STEREO, See My Way - FAKE STEREO, So Sad About Us - STEREO, A Quick One, While He's Away - STEREO

    For CD - well, it's a bit complicated, and all have their merits. For MONO, the forum favourite still is the 1988 UK Polydor, which is a great sounding CD, and beat my 2005 US Classic vinyl in a shoot-out. The downside of the Polydor is that is has a strange tone around 1k that might be annoying to some (although it's only audible during the fades). You second option is the 2008 Japanese Universal, which is tonally virtually identical to the Polydor, and does not have that strange tone, but it is a bit more compressed and quite a bit louder. The 1988 UK Polydor was issued through Polydor in Japan in 1989 with the cat. number P25P 25091, which is digitally identical to the UK Polydor, but with longer gaps between the tracks.

    The 1995 A Quick One offers a combination of MONO, STEREO and FAKE STEREO, and the MONO tracks sounds much worse than the 1988 UK Polydor. It isn't all that bad EQ wise, and it isn't super loud, but it just has too much NR.

    Here are the mix variations on the 1995 UK/US Polydor/MCA A Quick One (main album only): Run Run Run - STEREO, Boris The Spider - MONO, I Need You - MONO, Whiskey Man - FAKE STEREO, Heat Wave - MONO, Cobwebs And Strange - MONO, Don't Look Away - MONO, See My Way - MONO, So Sad About Us - MONO, A Quick One, While He's Away - MONO

    For STEREO, there really is just one good and complete option if you want the original mixes, and that is the 2008 Japanese Universal. It is a tad brighter than the 1981 German Polydor LP, and is louder/compressed, but sounds pretty much free of NR. "See My Way" is FAKE STEREO as always.

    If you are sensitive to compression, and want to make a compilation, the 2007 Japanese Polydor I'm A Boy has 7 of the STEREO tracks (Run Run Run/Boris The Spider/I Need You/Whiskey Man/Heat Wave/Cobwebs And Strange/Don't Look Away) from a great source with less compression than the 2008 Japanese Universal A Quick One. Note that some prefer other sources for "Run Run Run" (the 1995 A Quick One) and "Boris The Spider (Steve's US Meaty Beaty Big & Bouncy), but it has weak EQ. Here's the EQ suggestion from Luke again to make it sound better:

    -1 dB gain
    - high shelf @ 7kHz, +6 dB
    - 4.6kHz, Q of 1.3 (the normal setting in the EQ I'm using), -6 dB
    - 3kHz, Q of 0.96, -5 dB.


    The 1990 US MCA has the same mix variation as the Happy Jack vinyl, but it has tape issues (most notably on "Run Run Run"). The EQ is very close to the 1966 US Decca LP. A nice way to hear some of the original STEREO mixes, and many still cling to this because it's not compressed.

    If you want to explore the album further, the 2003 A Quick One offers a combination of the a brand new STEREO REMIX for the old Happy Jack tracks, and FAKE STEREO for "See My Way" (as always). The new mixes are great, but this is a brickwalled CD with tons of compression and NR.

    Here are the mix variations on the 2003 UK/US Polydor/MCA A Quick One (main album only): Run Run Run - STEREO REMIX, Boris The Spider - STEREO REMIX, I Need You - STEREO REMIX, Whiskey Man - STEREO, Heat Wave - STEREO REMIX, Cobwebs And Strange - STEREO REMIX, Don't Look Away - STEREO, See My Way - FAKE STEREO, So Sad About Us - STEREO REMIX, A Quick One, While He's Away - STEREO

    Most of the bonus tracks on the 2008 Japanese Universal, and the 1995 and 2003 A Quick One have been discussed earlier in this thread (they all have their merits), but it really comes down to personal preference for this album. The Japanese Universal offers good value for the money, with a decent MONO and STEREO version, plus tons of bonus tracks, including an instrumental version of "Batman" not available anywhere else.

    So, here are my preferences for A Quick One MONO vinyl:
    1. UK 1974 Track
    2. UK 1966 Reaction
    3. US 2005 Classic Records
    The 1966 US Decca Happy Jack with the US lineup would have been fourth soundwise. For STEREO, you really should seek out the German 1981 Polydor and the US 1966 Decca, although the latter has the US lineup with STEREO/FAKE STEREO.

    For CD, see the comments above.

    ---

    Now, let's catch up on those singles:

    The MONO "Pictures Of Lily" can be found in amazing quality on the US MCA version of Who's Better, Who's Best. It's clear, punchy and dry. Steve's Meaty Beaty Big & Bouncy has very good EQ, but sounds a generation or two removed from the Who's Better, Who's Best source. You could say that Steve's mastering is closer to the single version, because the single has a massive volume boost in the second verse, that is left intact on Meaty Beaty Big & Bouncy, but "fixed" on Who's Better, Who's Best. I'm not a fan of that sudden volume jump, and prefer the fixed versions. The "secret MONO remaster" of the US MCA Magic Bus CD (it can be identified by the pink face - the first silver edition is FAKE STEREO) is "unfixed", and sounds very good - almost rivalling Meaty Beaty Big & Bouncy right up until the second verse, where the tape sounds like it is deteriorating as we listen, and it also has quite a few drop outs throughout. The MONO 1968 US Decca Magic Bus LP does not have the tape problems, and sounds excellent. This is a track that The 1st Singles Box almost managed to give a decent representation. It's very clear, tonally identical to Who's Better, Who's Best, but is unfortunately both much louder and compressed. The worst of the bunch is My Generation - The Very Best Of The Who, which features the track in unlistenable FAKE STEREO. Stick with the US MCA Who's Better, Who's Best.

    There is a MONO REMIX of "Pictures Of Lily" that first surfaced on the Direct Hits compilation in 1968. It was also there on the 1971 Meaty Beaty Big & Bouncy LP's. I've got a lot of love for this remix, and it's a good thing that we have two great mixes, although it is easy to get confused, at it is never labelled as a remix. The remix has more balanced main vocals, no reverb on the vocals in the breakdown, louder backing vocals (making the riff-o-rama in the middle much more effective) and tons of reverb in the end. It can be found on Polydor's The Singles with great sound (note that the Japanese version of this title is identical to the German). The 2007 Japanese Polydor Direct Hits is a close second. It sounds amazing, but seems to have a slightly deteriorated tape compared to The Singles, and it is also louder. The Thirty Years Of Maximum R&B box isn't as loud as Direct Hits, but comes in third as it is slightly shriller than the other two. Quite dynamic, though. Once again, The Ultimate Collection sounds harsh, loud and dead by NR.

    For "Doctor, Doctor" MONO we have Rarities Vol. 1, which sounds killer, with a massive bottom end and crunching mids. If you find the Rarities-version to be way too bass heavy, you could go for the remastered Magic Bus CD, which has more top end, and doesn't rock as hard, but is more detailed on a lower volume. It sounds tonally close, but still somewhat inferior to the MONO 1968 US Decca Magic Bus LP, which manages to give it that little bit more of top without sounding too artificial. It still has too much top end for my liking. The best compromise comes from the 2007 Japanese Polydor Direct Hits, which has brilliant EQ. Unfortunately it is loud, and a tad more lifeless than Rarities Vol. 1. Still a very good alternative, and some might even prefer it. The 1st Singles Box sounds tonally almost identical to the 1995 A Quick One - in that it has more top end coupled with NR, which detracts from the feeling of the song - especially on the 1995 A Quick One, where it sounds way more sterile, but The 1st Singles Box is louder and more compressed, and in this case it somehow manages to make it the better listen out of the two. The 2003 A Quick One has a horrible FAKE STEREO version. It all comes back to Polydor's mighty Rarities Vol. 1 here. Too little top end? Crank it up to open it up!

    "The Last Time" in MONO can be found on Rarities Vol. 1 with great sound. You'll be hard pressed to find a better version on CD. Steve's vinyl version of Two's Missing has a great version in similar quality to Rarities Vol. 1, but more relaxed and with a better bottom end. Rarities Vol. 1 rocks more and is closer to the middy 45, while Two's Missing sounds more "stoned and sweet". The 2007 Japanese Polydor Direct Hits is EQ'ed somewhere in between the two, and sounds very good, but is slightly compressed and loud. Stay away from the US 2006 Classic Direct Hits LP. It sounds like an AM clock radio. I'm giving the edge to Two's Missing here (note that Steve didn't master the CD - only the LP).

    We only have one option for STEREO "The Last Time", and that is the Thirty Years Of Maximum R&B box. It sounds OK, but has a bit too much treble, and lacks the power of the MONO version. It is not too loud, but has a quite narrow stereo image.

    The MONO "Under My Thumb" is also there in very good sound on Polydor's fine Rarities Vol. 1 compilation, but again Steve's Two's Missing just wins.

    A STEREO "Under My Thumb" turned up on the 1998 Odds & Sods. It sounds pretty good, and has a count-in and a longer fade, but is missing Pete's lead guitar, making the song a much more boring listen.

    There are plenty of variations over the same "I Can See For Miles" take, but it is a paradox that the only place to get the MONO single version on CD is on the 2007 Japanese Direct Hits. Thankfully it sounds great. The single version has a different - and louder bass track than the album version. Both US and the UK single mixes are the same - only the masterings are different. This is the true "I Can See For Miles" in my humble opinion, and will be regarded as the original here, since it was released first.

    The single mix is the most powerful version of "I Can See For Miles", but the most regular and well known version is unfortunately what will be referred to here as the album version. Since it is lifted from The Who Sell Out, it usually has a slightly truncated start that I actually prefer, as it is more "instant". The truncated MONO album version can be found on Hooligans in good and clear sound that is pretty close to the 1967 UK Track LP, which is pretty bass shy, but crunchy and not nearly as toppy as the 1966 Reaction A Quick One. 2009 The Who Sell Out [Deluxe Edition] is much bass heavier than the 1967 UK Track LP, but while the chorus benefits from that extra bass, the verse sounds a bit bloated and enervating. It shares the same mastering as the 2007 Japanese Polydor The Who Sell Out for this track. The worst of the bunch is the US 2006 Classic Direct Hits, which is screeching torture without any depth whatsoever (it also includes the Rotosound commercial). Which again is strange, as the MONO US 2006 Classic The Who Sell Out is very warm - even bass heavier than the The Who Sell Out [Deluxe Edition]. My preferred version overall is Hooligans.

    For the truncated STEREO album version there are quite a few options. The 1967 UK Track The Who Sell Out is quite crankable, and feels well balanced during the verses, but it's a bit on the thin side in the chorus. Steve's Meaty Beaty Big & Bouncy is very clear, has no compression whatsoever, is balanced, but still a bit on the thin side EQ wise. The 1988 US MCA The Who Sell Out is very similar to the 1967 UK Track LP, but has a more solid bottom end, making it a more "dirty" and enjoyable listen. As opposed to the MONO, the bass can actually be boosted a bit here because of the wide stereo image, and while it does rumble a bit in the beginning, it only adds to the excitement in this case. The 2009 The Who Sell Out [Deluxe Edition] has similar EQ - sounds alright, but is louder and a bit compressed, which doesn't help the track much. The 1988 Polydor The Who Sell Out runs at the wrong speed (slower), and should be avoided. The 1st Singles Box and The Ultimate Collection share the same mastering, and it's not the worst track on those two compilations, but it's still quite sterile and unmusical. Nothing compared to Then And Now, though, which is... Hey, wait! I promised I wouldn't mention that disc unless I had to! Oh, well. I personally prefer the MCA here, but if you're put off by the slightly rumbling bass in the beginning, I'd seek out a 1967 UK Track The Who Sell Out LP and make a needledrop, choose the more balanced, but thinner Meaty Beaty Big & Bouncy, or just forget about the truncated intro and go for the US Who's Better, Who's Best discussed below.

    For the STEREO album version with the clean intro, you are also treated with the best sounding "I Can See For Miles" in STEREO, which is the US Who's Better, Who's Best. The UK version is almost identical, but they are from two different transfers, and again the US just sounds a tiny bit more vibrant and alive. It has the best of all worlds, sounds superb, and is a pretty convincing winner here.

    If you prefer a STEREO REMIX, we have two of that. The first is the 1979 STEREO REMIX, which was done by John for the The Kids Are Alright soundtrack. It is a well balanced, warm and ultra dry remix with a much narrower band. It can instantly be recognised from Keith's snare, which is panned to the left. I dearly wish Pete's solo would be much louder, but apart from that I love it. The edited single CD 1989 UK Polydor The Kids Are Alright has superb EQ, but some weird static noises going throughout the track. The 1999 Japanese Polydor The Kids Are Alright is identical to the 1989 UK Polydor for this track. The edited single CD 2000 The Kids Are Alright is not remixed, but there's some heavy NR that detracts from the feel of the song. I'd recommend the 1999 Japanese Polydor The Kids Are Alright, as the mastering is identical on the shared tracks with the 1989 UK Polydor, but the Japanese is a 2CD with all the songs.

    The second is the 1994 STEREO REMIX that first appeared on the Thirty Years Of Maximum R&B box, and then again on the 1995 The Who Sell Out. It is w-i-d-e, dynamic and pretty fun, but it's lacking some of the grit from the original. Thirty Years Of Maximum R&B is more relaxed and dynamic than the 1995 The Who Sell Out, and the latter has more compression, but still manages to sound quite open, and maybe a tad more balanced (especially in the right channel), which makes it my preference. It also sounds a bit clearer, which is down to EQ. I can see why some forum members would disagree with me here.

    We also have a version of the 1994 STEREO REMIX with the clear intro on My Generation - The Very Best Of The Who. One of very few reasons to own that album to some, but here they have applied EQ that sounds like NR to "I Can See For Miles", making it sound duller than the 1995 The Who Sell Out, and closer to Thirty Years Of Maximum R&B, without the full dynamics of the latter.

    An ALTERNATE VERSION that is really an early MONO mix of the album version appeared on The Who Sell Out [Deluxe Edition], and it's great! It is very interesting to hear it in such a raw state, it sounds almost like a live performance (if Roger had played guitar, it could almost have been), without all the overdubs that were added in the States. It's primal Who at their very best. My guess is that most of what's here was recorded at CBS in London. An essential add to a Who collection!

    Then there's the BBC version, which is John Entwistle featuring The Who. It can be found with great sonics on The Singles, and also with inferior sonics on the Best Buy Exclusive Bonus Disc (or the BBEBD in Who-terms) of BBC Sessions. It was a specially prepared remix for their BBC appearance October 15th, and the bass overdub was recorded October 10th at De Lane Lea, in compliance with a Musicians Union ruling on miming (!). I'm a fan of bass, but this mix is just ridiculous. You get the feeling that the bass is not even recorded into the multis, but rather on top of the mono master. Still a good opportunity to immerse in John's bass playing.

    "Someone's Coming" is also a track with a few variations, and the MONO UK single mix didn't turn up on CD until The Who Sell Out [Deluxe Edition]. The tapes are supposedly lost, so it's a needledrop (courtesy of Luke), but it sounds nice. The 45 is cut loud, and that's what you get, but it's great that it's finally available. Note that while all US single versions have a small tick around 0:53 into the song (towards the end of the word "here"), the UK doesn't. There is reportedly a second mix issued on some UK singles, but we don't know anything about that mix at this time, but it may well be that mix that turned up slightly sped up on the 1982 French Impact The Who Volume 2 LP.

    The MONO US single mix first turned up on Rarities Vol. 1, but that is also a needledrop that is not well done (it sounds quite dull), has a "mild" FAKE STEREO image, and runs a bit fast. The biggest difference between this and the UK single mix is the doubletracked vocal, and more reverb on the band - which really works here. The mastering is quite relaxed, but all in all it's nowhere near good enough, even if you slow it down. Then it appeared in FAKE STEREO on the US MCA Magic Bus CD from a worn tape source. MCA later remastered it to MONO (the CD has a pink face as opposed to silver), but there still is a lot of tape damage, and it doesn't sound very good. Especially compared to the 1968 US Decca LP, where it sounds better with no tape issues. Note that the EQ on the LP and the MONO CD is very similar. For this track the best compromise is (for once) The 1st Singles Box. It sounds much closer to source than any other version. It has the occasional pop, and a little drop-out towards the end, but it is a lot clearer than any other version, runs at correct speed, is loud, but has good EQ (quite close to the UK single on The Who Sell Out [Deluxe Edition]), and is our best option for this track. All versions have a small tick around 0:53 into the song (towards the end of the word "here").

    A STEREO mix of the US single version turned up on the 1995 The Who Sell Out. It's a pretty cool 60's mix in the vein of the rest of the album. It doesn't quite have the energy of the MONO, but it's still a good listen. Even this mix has the tick at around 0:53. Maybe the tick is on the double tracked vocal?

    "Mary-Anne With The Shaky Hands" was retitled "Mary Anne With The Shaky Hand" and re-recorded for the release of The Who Sell Out. This is the US single version we're discussing. For MONO, Rarities Vol. 1 has a needledrop, which is much better than their "Someone's Coming", but still has plenty of vinyl noise. Then it was released on Steve's Who's Missing, which is a solid, clear and well balanced version that was a clear favourite until it turned up again on The Who Sell Out [Deluxe Edition], where it - again - sounds great! When volume matched it's apples and oranges. The Who Sell Out [Deluxe Edition] is obviously much louder, and also slightly compressed, but nothing offensive. The vocals can be a bit overpowering, while the band (especially the drums) sound much better than on Who's Missing, which is so flat and unfutzed with that is sounds slightly lifeless to me. All in all I've personally come to prefer The Who Sell Out [Deluxe Edition], because I feel that it grooves more than any other version, but if you're sensitive to mild compression, go for Who's Missing. I'm sure the latter will stay as a forum favourite for now. You need both titles anyway!

    A STEREO version can be found on the 1998 Odds & Sods. It's a nice variation, but lacks much of the power of the MONO version. It also has no tremolo on the vocals, and a cold ending.

    That's it for now. Thanks SO much to all the good people on this forum for enlightenment! Here's the rundown:

    Pictures Of Lily - MONO: US Who's Better, Who's Best
    Pictures Of Lily - MONO REMIX: The Singles
    Doctor, Doctor - MONO: Rarities Vol. 1
    The Last Time - MONO: Two's Missing
    The Last Time - STEREO: Thirty Years Of Maximum R&B
    Under My Thumb - MONO: Two's Missing
    Under My Thumb - STEREO: 1998 Odds & Sods
    I Can See For Miles - MONO: 2007 Japanese Direct Hits
    I Can See For Miles [Album Version] - MONO: Hooligans
    I Can See For Miles [Album Version] - STEREO: 1988 US The Who Sell Out
    I Can See For Miles [Album Version] [Clean Intro] - STEREO: US Who's Better, Who's Best
    I Can See For Miles [Album Version] - 1979 STEREO REMIX: 1999 Japanese The Kids Are Alright
    I Can See For Miles [Album Version] - 1994 STEREO REMIX: 1995 The Who Sell Out
    I Can See For Miles [Album Version] [Clean Intro] - 1994 STEREO REMIX: My Generation - The Very Best Of The Who
    I Can See For Miles [Alternate Version] - MONO: The Who Sell Out [Deluxe Edition]
    I Can See For Miles [BBC Version] - MONO: The Singles
    Someone's Coming [UK Single Version] - MONO: The Who Sell Out [Deluxe Edition]
    Someone's Coming [US Single Version] - MONO: The 1st Singles Box
    Someone's Coming [US Single Version] - STEREO: 1995 The Who Sell Out
    Mary-Anne With The Shaky Hands - MONO: The Who Sell Out [Deluxe Edition]
    Mary-Anne With The Shaky Hands - STEREO: 1998 Odds & Sods
     
    GreenFuz, Hep Alien and marmalade166 like this.
  7. reb

    reb Money Beats Soul

    Location:
    Long Island
    "There is one MONO vinyl alternative not listed in my essential discography, and that is UK Track's 1974 reissue of the album. It's a two-fer with The Who Sell Out. And it's a good alternative. At first it sounds a bit dull, but what they've done is just to really roll off the highs - enough to make it a pleasant listen all the way through. It actually sounds warm, and is the only MONO vinyl you can crank. Although it has similar EQ, it has much better sonics, and sounds a lot clearer and balanced than the 1966 US Decca. It also has the UK lineup. The cat. number for the set is 2683038, and the individual discs 2409209/2409210. Should be easy to find, and highly recommended."

    *************************************************

    And here it is, but I don't think its very easy to find anymore. Not here in the USA anyway.
     
  8. mrbillswildride

    mrbillswildride Internet Asylum Escapee 2010, 2012, 2014

    Most impressive Devotional... I look forward to reading/studying/absorbing all that Who info! :righton:




    :wave:
     
  9. PTgraphics

    PTgraphics Senior Member

    That's what I was thinking also.

    Pat
     
  10. glea

    glea Forum Resident

    Location:
    Bozeman
    The song was pretty new at the time, and I was just blown away hearing it live. It was the first time I'd seen the Who. It seemed like it was pretty powerful.

    The whole show was great. How could you not dig the Everly's. Animals play Monterey. That was pretty new too.
     
  11. reb

    reb Money Beats Soul

    Location:
    Long Island
    glea, that snapshot just at the right time to catch the explosion and smoke:thumbsup: just amazing:thumbsup:
     
  12. reb

    reb Money Beats Soul

    Location:
    Long Island
    And yes, Devotional- another great post. I read every word of it and dug out the old Who's Better Who's Best USA/UK cd's to spin.

    Thanks and keep em coming.

    I'm obviously a big Who fan but never really kept all these details and information sorted out. Just too much with all the other groups I like as well.
     
  13. mrbillswildride

    mrbillswildride Internet Asylum Escapee 2010, 2012, 2014

    They Call Me The Seeker...



    Now that I have gone back and read most--but not all--yet, of this amazing post, I must say DV, totally mindblowingly detail and thorough. :eek: :agree: Post like this, with this much info., and love of the music evident, is what makes me cling to this place when I might otherwise move one. :righton:

    I salute you sir! :wave:



    :D
     
  14. Mike D'Aversa

    Mike D'Aversa Senior Member

    Excellent work!!!
     
  15. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    Thanks for the great feedback, guys. I shouldn't get too much credit for it though, because so much of it is based on cross-checking the massive research done by all the good people on this forum. But I thought it would be a good thing to have it all (or most of it) in one place. :cool:

    Here's an important My Generation update/correction:

    I forgot to list the MONO/STEREO cat. numbers of the US LP. The Decca DL 74664 is the STEREO, while the Decca DL 4664 is listed as MONO. It doesn't matter much though, because:

    ... I also forgot to mention the most important fact about this album, which is that both the MONO and the STEREO The Who Sings My Generation are FAKE STEREO. Avoid like the plague.

    And A Quick One:

    There are no MONO tracks on that record, although the FAKE STEREO may sound like it at times.

    Here's a nice little article from October:
     
  16. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    The Who: Who Ready To Hit You With New Ideas

    Keith Altham, NME, 28 October 1967​

    AFTER six weeks with "the last Schmaltz" it is good to find the Who back in the charts with a new single, 'I Can See For Miles', in their old "knockabout" style. It is also good to have Pete Townshend back for interviews, employing his brain like a well-oiled lawn mower that clacks around and around, spitting out ideas and attitudes as it churns up the Scene.

    Is there a new approach from the group, perhaps, following their successful American tour and the beginning of what almost unbelievably is their first British tour tomorrow (Saturday) with Traffic?

    "Yer, what we're gonna do is hit 'em wiv it," monotoned Pete, in his voice for swinging morons. "Punch 'em in the stomach, kick 'em on the floor and sock it to 'em!"

    But our story really begins (for those who like to sit comfortably) in the Who's London offices, where I met manager Kit Lambert, who shook hands in a detached manner and wandered away to take a phone call from agent Danny Betesh.

    Mistake

    Twenty-five minutes later he returned to ask his secretary whether Keith Altham was meeting him here or at a restaurant. Noticing me asleep in one corner, he immediately realised the mistake and banged a fist against his forehead. I was greatly mollified to learn that he recently failed to recognise his own mother as they passed in the street.

    We ate an excellent lunch, at which I was under the impression that Pete might appear. "No, rather my fault," admitted Kit. "I forgot to tell him. However, we'll go down to the recording studio in Kingsway and provoke them there."

    It was 2.45 when we arrived at the studio, but no one else had arrived as yet.

    "When should they be here?" I asked.

    "Forty-five minutes ago," said Kit, resignedly.

    Roger Daltrey was first to arrive, wearing yellow sweater, with a large silver cross round his neck on a chain – and trousers as well, of course, as it was a cold day.

    Roger said: "The kids in America are very much more together than in Britain. They have something to rebel against. No one wants to be killed at nineteen fighting in Vietnam.

    "We're more a stage group than a recording group...when we play intricate things on stage we explain them...don't write what I said about Graham Nash...our fans are broad-minded – they have to be!"

    John Entwistle arrived with Keith Moon and John said: "Shall we tell him about those school kids who mobbed us in the Blue Boar café on the M1 and began stuffing baked beans and tomatoes from our plates into their pockets as souvenirs? All those meletrons aren't good for your health." He also did an impression of David McWilliams by holding his nose and singing 'Days of Pearly Spencer'!

    Hurricane

    Keith said to me: "Where's yer sixpence for yer cup of tea?"

    Then hurricane Townshend arrived, rumbling about how he thought it was 3.30 p.m. they were due to start and picked up a packet of sandwiches. "Pig food," he yelled and threw them back into a carton. Pete likes throwing sandwiches.

    "See this?" He indicated a suitcase full of tapes. "That's the Who's dustbin!"

    Eventually the storm subsided and he sat in a swivel chair, swinging from left to right as he talked about the new single.

    "We were making records for record reviewers before," said Pete. "They were too flimsy, to poignant, too prissy. They were factory-made. We've gone backwards in order to go forward.

    "The further forward you move, the more you confuse the fans. We wanted to do something that would be unexpected. Something that would demand something of the public. 'I Can See For Miles' was the answer."

    Then, being Pete Townshend, he neatly injected into his lengthy explanation: "And besides which, we had nothing else suitable to release at the time!"

    As an established group, the Who have a hard core of supporters and they might find the tour with the groups like the Tremeloes and the Herd confusing.

    "We've tried this semi-intellectual approach," smiled Pete. "We did it at the first house of the Saville concert last Sunday and died a death, because we were following an overwhelming act like the Vanilla Fudge. We were like a cream tea!

    "Kit was so worried he tried to way-lay all the journalists in a pub over the road so they would only see the end of the show, but we put things right in the second house. We did a Brian Poole routine – Roger split his trousers, Keith wore a Jester's hat and knocked his drums about and I kept falling over. They loved it.

    "I'll tell you who is going to be big next year. Groups not afraid to make concessions and mock the whole process. The Bonzo Dogs, for instance, and Dave Dee, because he is not frightened of being commercial!

    "In the old days an 'Emily Scruggs' used to come into a recording studio, bleat into a megaphone and there it was for 'posterior.' Now we get all hang up on six track systems, multi-recording devices and electronic side effects. Electronic music is infinite in variety and eventually you'll lose yourself and everyone else experimenting with it.

    "On our next LP, The Who Sell Out, we've got a number called 'Rael' which should have been the next single. It's all about 'overspill' when the world population becomes so great in years ahead that everyone is assigned to their one square foot of earth.

    "We played it on stage in Manchester and Scotland and everyone just looked at us with their mouths open – the complication was too much.

    "I don't want to lose personal contact with people. We want to do longer personal appearance spots, for example.

    Identity

    "I'd rather do longer to give the audience time to identify with the group and get involved with the music. We're deliberately overrunning our appearances at present.

    "It's like reading a Kingsley Amis novel and wanting to meet the author after you've read the book. You meet him, say 'Hello dear' and that's the end of the involvement."

    And so the mowing machine clacked on with blades awhirling: "Stevie Winwood has a legion of fans; it's inhuman for him to lock himself away like that in the country and detach himself...I've heard all I want to of the Beatles' last LP; now it's a memory...people aren't jiving in the listening boxes in record shops any more like we did to a Cliff Richard 'newie'...'Paper Sun' wasn't a hit record, it was a best seller...'Lily' and 'Happy Jack' had simple tunes people could remember."

    "Something you could hum over a lathe," chipped in Mr. Moon.

    When last seen Mr. Townshend was leaping up and down the corridor of the Kingsway studios shouting, "I'm beautiful, I'm beautiful," and Mr. Lambert was almost visibly counting up studio fees.

    © Keith Altham, 1967
     
  17. riknbkr330

    riknbkr330 Senior Member

    Devotional, thanks for putting together the information on "A Quick One". Luckily I was able to snag a mint copy of the 1974 UK Track 2-fer many years ago....and cranking it right now!!
     
  18. jwoverho

    jwoverho Licensed Drug Dealer

    Location:
    Mobile, AL USA
    This thread has been an invaluable resource to help wade through the multitude of releases; I guess I need to start compiling my own "Singles Collection".
     
  19. reb

    reb Money Beats Soul

    Location:
    Long Island
    revealing the new avatar photo
     
  20. mbleicher1

    mbleicher1 Tube Amp Curmudgeon

    Location:
    Washington, D.C.
    Pete was really full of it in those sixties interviews…
     
  21. reb

    reb Money Beats Soul

    Location:
    Long Island
    or perhaps you like this one better?
     
  22. reb

    reb Money Beats Soul

    Location:
    Long Island
    violence is in my blood....
     
  23. That's actually not the Who, but the who tribute band The Whooligans.
     
  24. misterdecibel

    misterdecibel Bulbous Also Tapered

    Fake!

    Is that Fakenbacker a Greco or a Fernandes? Tokai?
     
  25. Viper

    Viper Happily lurking 'round here

    Location:
    Alexandria, KY
    Wow, this thread is turning into a monster and it's early! I probably won't have time to keep up with everything but it's greatly appreciated.

    <------- My avatar approves :thumbsup:
     
Thread Status:
Not open for further replies.

Share This Page

molar-endocrine