So, after some deep immersion, I have now decided that I love this beautiful trippy/punky/raggedy thing. Easily the best use of £6.79 I have ever made. Stellar (to me) versions of Relax, Can't Explain, A Quick One and, yes, Boris The Spider. Excellent set of RnR covers (mini guitar catastrophe in Summertime Blues included). Shakin' All Over here may not be technically the 'best' live Who version, but it's certainly my new favourite. I'll explain why once I've figured out the meaning of love. Yeah, I think that is exactly what originally turned me off it. I was willing him to break into Sparks properly every time, but he obviously didn't hear my thoughts from the future. Keith almost - almost - threatens to leap into a cover of Shapes Of Things at one point too, whether he realised it or not. It's still a bit of a test of endurance, but each time I hear the jam now I'm enjoying slightly more of it, so maybe I'll get there in the end. Although it'll obviously always be the track I skip if I don't have enough time for the whole thing (or just feel like listening to Sell Out before it). Such a shame that Substitute and Lily are missing from this, but what we do have here is... well, it's great - bum notes, strangulated off-key harmonies and all. What is amazing to me is that I'm already more than familiar with at least a quarter of this gig through the bootleg, but this release has still bowled me well and truly over. More of this kind of thing with the other holy grails on our lists please, Who camp. I don't know if it was accidental or not, but you've got it pretty much right, here. It'll be Roger, rightly congratulating himself and the boys on a job well done. And he's not even heard them do Shakin' All Over yet.
Other bands may get the praise for songwriting, etc. but I don't think another rock and roll band of this era comes together like The Who; best singer, guitarist, bass and drummer topped off with some great material and attitude - they're a perfect storm!
Finally, I have heard the ending to Relax!!! To get that full length was worth it ~ no, makes it mandatory ~ alone.
Someone mentioned on another board that when this occurs they may need to look for Amazon location for inventory to dispatch, such as Germany.
I'm skipping the Chicago thing. The clips I've heard sound awful. Only 20 minutes into the CD of The Who At Fillmore East 1968, but so far ----> I'm not gonna rip the tracks and look at 'em, but it sounds LOUD. Vocals and guitar crystal clear, but lacking in low end. Entwistle's a bit light, and Moon's drums are there, but not sounding very full. Overall, I don't think it sounds as good as Yardbirds '68, or officially released Cream or Hendrix from the same year, but it kills the bootleg I've enjoyed for years. I'll pick up the vinyl soon, but have no idea how different it will sound in that format. If you love early Who, it's essential, and I haven't even gotten a third of the way through it yet. "Relax" is almost worth the price of admission all by itself.
Relax is the high point for me. The things that really strikes me in the My Gen jam is how many times Pete tries to get John to move up from D to E, and John won't do it. Unusual, because John usually can follow Pete's improvs really quickly: check out a Bargain jam from the 1970s for example. On this one, Pete plays a D to E pattern that is REALLY close to Sparks, and John just keeps going D to C. Pete throws it out to him 2-3 times, and gets nowhere, and gives up and goes back to D. If he could have gotten to change keys, the jam would have had a whole different life. I wonder if John couldn't hear him very well. Fascinating to hear, though.
I got a notice that says, "We thought you'd like to know that we've dispatched your item(s). Your order is on the way, and can no longer be changed." I hope that's Brit-speak for "shipped."
Good grief ya'll. Aren't there any known photos from the 5th and 6th off '68??? It sounds to me like the boot is misdated and the CD up to Relax is from thee 6th (same as boot) and the remainder is all or a pastiche of previously unheard tape from the 5th. Best live album of the '60s. Only had 1 1/2 play so far...
The Generation jam is so much of it’s era with long power ‘trio’ jams which were popular at the time (Cream, Hendrix, Velvet Underground for example). So for me it took me back in time. At least we were saved from a long drum solo! Listening to Generation now I heard or felt a Velvet Underground vibe going on at one point in the jam. I wonder if that was just the way it went or whether it was deliberate or if The VU got it from The Who or I could be completely wrong? Richard
Ah right, Jasper Johns. Yes, I see that. Not to my taste at all, but I can see what he was going for. And now, The Big Question (for those of you who bought the vinyl): Where and how did they split My Generation?
“I decided to design a sleeve in a contemporary way rather than produce a parody of 60s art” As if those were the only two options?
I can't recall where [which forum] i read someone's distaste for the tape boxes as inlays. Possibly they wanted to highlight what they had to work from if any audio complaints were to be raised.........although it is mentioned in the booklet. A nice reproduction of the concert poster [if any?] would have been nice. A slight mention to the early bootlegs was welcome ...........but to take it any further with the amount of different versions would have been nonsensical. Getting a bit bored with having to get up and put disc 2 in to finish it off. I think an ideal compromise [for the CD set only] would to have included an edited version of MG on disc 1 and the full version on 2 .........with possibly the usable remainder/highlights from the 5th to fill disc 2.
LALs is hardly a complex outer sleeve, but it's iconic in a way Fillmore will unfortunately never be.
Just got mine and on first listen Yardbirds '68 sounds better. I was curious to see how these two would stack up against each other, as both were recorded to four-track and performed just a week apart. And if you were just going by the history of the shows and by listening to the boots, you would think Jimmy Page had less to work with. One thing that immediately stands out, was the stark difference between how the drums sound on both recordings. Now I was listening while doing other things around the house and wasn't always paying attention, so I need to go back and really listen to this more. Plus I still haven't got to My Generation yet.
Actually there were some really nice looking original sleeves for the Live At Leeds lp outside of the U.K. & U.S. There were countries like India, Israel, Spain, Columbia, etc. that had very lavish and now very collectible sleeves for LAL.
I was wondering about that too and I wonder if there was some eye contact like "no John, don't go there, I want to see what else we can do with that!" or if John just wasn't catching it, because it seemed really strange that he didn't go there.
There's certainly no doubt that a primary consideration was making a cover that's easily viewable on a phone. I wasn't familiar with Jasper Johns so I just googled some of his work. Richard Evans does him a grave disservice by likening the new album cover to his work. It's analogous to blaming Buddy Holly for "Sugar Shack."
