Was listening to this finally and I was walking down the street with headphones on, grooving on the My Generation jam. Entwistle made me laugh out loud when he snuck in "fade away" in the Boris voice, just ahead of Daltrey stuttering "f-fade away"! Hilarious! I listened to it half a dozen times.
I had seen an article somewhere that Yamaha drums are good for studio recording but, not for live concerts.
The truth is not as cut and dried and easily categorized as all that. (After all, how could it be? It’s Moon!). For me, it’s in the detailed examination of how Keith’s personal fads, foibles and quirks, and how they’d be reflected in temporary passions, recurring motifs and curious affectations, in which I’ve found endless enjoyment of his work. From the earliest Who recordings (for example, ‘I Can’t Explain’), it’s quite clear how Studio Keith and Live Keith would adopt different approaches to the same material (I have pet theories about the reasons for this, but they're based in pure speculation, not fact, and not really relevant to the topic at hand). In the studio version of the song, Keith employs rather obvious use of the hi-hat during the verses, but in a live setting (evident in everything from the Shindig clip in TKAA, all the way through to his final performances) rode the ride cymbal from start to finish. Put it this way: if you can point me to a live recording of ‘I Can’t Explain’ in which Keith uses hi-hat, I’d be astonished. And this was quite often—and with a few notable exceptions—his entire philosophy about playing in the Who — cf. live vs. studio material from Tommy (‘Overture,’ ‘Pinball Wizard,’ ‘Amazing Journey,’ ‘Christmas,’ ‘Go To The Mirror,’ etc.); Who’s Next (‘Bargain,’ ‘My Wife,’ ‘Won’t Get Fooled Again,’); Quadrophenia (‘The Real Me’) and The Who By Numbers (‘Squeeze Box’). But, back to your contention that the cymbal wash was absent from the WN period, I must point out that there are plenty of examples of the cymbal-wash style on Who’s Next—in fact, ‘Baba O’Riley’ is completely awash in cymbals (well, except for the snare rolls during the violin coda), as are ‘Going Mobile,’ the latter stages of ‘Bargain,’ and the pre-organ/synth break in WGFA. So to say it’s absent from the Glyn Johns era is simply not the case.
July 24, 1968 .... 50 years ago today .... a "British Invasion" show at Philly's JFK stadium comes to an end with Pink Floyd getting rained on and out .... the Troggs and headliners The Who are cancelled .... THE COLONEL REMEMBERS: Pictures Of <strike>Lily</strike> Philly (So did the "invasion" acts all go off somewhere and have a party?)
Listening to this now again - is this the show where they learned last minute that they would have to play longer than normal, so they’d sent someone out to buy their records in order to quickly relearn a bunch of extra tunes to play onstage? I could have sworn that story was attached to these Fillmore gigs, but I can’t find a link to substantiate what I thought I’d read about that.
I can’t figure out which combination of words to use to even Google this. It’s kind of embarrassing to be almost completely positive about a fact but also almost completely unable to prove it, haha.
If it is true it wouldn't make much sense to me as per the songs played as it is mostly a typical set list before and during that time at least in so far as what information is available for set lists around that time.
Something akin to that definitely occurred in '67 on their first American tour. As I recall, they specifically needed to brush up on A Quick One. Which they were now at liberty to play, to pad out their set. If memory is serving.
Amazon UK's got the Fillmore vinyl now at £20 if you've not yet pulled the trigger: https://www.amazon.co.uk/Live-Fillmore-East-Saturday-April/dp/B079MSX1FG
Philip Cohen says: July 26, 2018 at 15:24 In answer to your question concerning “The Who Sell Out”, one Who album (though it’s not yet known which one!) will get the deluxe box treatment later this year. A friend who helped negotiations between Shel Talmy & Universal Music (to permit access to the 1965 multitracks and their remix for stereo) and who supplied the Shel Talmy DAT mono rough mixes for the “My Generation” boxed set, is again involved in the next boxed set. Last year, that friend bought a clean condition acetate of an early mix of “Whiskey Man” which contains the deleted harmony vocals during the passage “Two men dressed in white collected me two days ago. They say there’s only room for one and whiskey man musy go”. That harmony vocal (by Keith Moon) has not been accessable until now, because the multitrack for the song was mislaid/misplaced decades ago. Small Faces / Ogdens’ Nut Gone Flake SIGNED 50th anniversary box sets | superdeluxeedition White Fang? If so.. will stereo Substitute will be finally here?
Sell Out most likely. But i'm fine if they tacked that Whiskey Man mix into bonus tracks. All their super deluxe editions are random anyway
Apologies if my question below has already been discussed. I’ve read a little bit and haven’t found the answer yet Is the official release from the same night (I think I read that 2 nights were recorded?) as the common bootleg source? Or was the official release from the other night that was recorded?
It's a long thread to try to read through, eh? The bootleg was drawn from both shows. The first half of the bootleg (Summertime Blues through Relax) came from the April 6th show, while the second half (A Quick One through My Generation) was from the 5th. The official release is all from April 6th, so tracks 1-7 parallel the boot (except that Relax is not cut off as it is on the boot). The remainder of the tracks are different from the bootleg.
Thanks for the info. I didn’t realize the boot was a combination of both nights. Learn something new every day.
