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

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

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  1. jacksondownunda

    jacksondownunda Forum Resident

    The '68 Fillmore shows were leaked to the public in the early 70's, taken from acetates. In thoses days artists often had acetates pressed up of thier working tracks and gigs as they weren't too savvy with tapes (Townshend excluded of course). It would be interesting to know just how serious The Who were about a live album at this time.

    The Fillmore tapes I've heard are very 'meaty' sounding, so I'm not sure if that's an artifact of multiple copying, but it would've been a very timely live release...and a lot more cutting edge than Magic Bus. I'd be curious what The Who didn't like about them, as they certainly are exuberant. Of course, in hindsight the demand for a live album was delayed until the far more fabulous Live At Leeds (whose extended version includes many of those songs that would have been on the earlier live album).
     
  2. misterdecibel

    misterdecibel Bulbous Also Tapered

  3. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    The Who in San Francisco

    Michael Lydon, New York Times, 22 September 1968​

    THE WHO PLAY rock 'n' roll music ("it's got a back beat, you can't lose it," says Chuck Berry). Not art-rock, acid-rock, or any type of rock, but an unornamented wall of noise that, while modern and electronic, has that "golden oldies" feeling. Four Mod kids who started in 1963 as the High Numbers in London's scruffy Shepherd's Bush, the Who play a tight driving music which is a descendant of the rock of Elvis, Bill Haley, Gene Vincent, and even the early Beatles.

    In San Francisco near the end of a ten-week, fifty-city tour, the Who were at their best, packing the huge Fillmore West three nights straight, their single show nightly as an hour and a half of brilliantly intense excitement capped by the climactic smashing of the guitar and drums that is their trademark. They played old songs and new, drawing each out into long rocking statements that had wild but economical power. The smashing is by now almost off-hand, and gone is their audience hatred (almost: Pete Townshend did kick the fans who scrabbled too eagerly for his broken guitar). Jumping around with smiling hilarity and dressed in street clothes rather than their former outfits–pop art suits and Regency lace–the Who just played the music.

    "We're getting used to the fact that to play more music we have to sacrifice some of the visual bit," said Townshend. "The costumes used to get in my way, and I don't want to look like James Brown anymore. The whole violent style happened because we couldn't play – it covered that up and expressed our frustrations. Now we're getting more musical, so we don’t need the anger like we did."

    He scratched his neck for a moment, grinned dourly, and continued in thick cockney. "But we still like the smashing. If some creep yells for it, we'll do it and be happy. Whatever there is in our systems we don't get out playing, we get out with the smashing. It's inherent to us. It is the Who."

    But the Who are more than their nihilistic ritual (from which Antonioni built the nightclub riot scene in Blow-Up). In their five years they have toured England endlessly, done five American tours, and produced several polished albums and a series of hits. Though without the overwhelming success in America that makes pop stars millionaires who can retire from public life while still adolescents, the Who are in a secure middle status: not as big as the Beatles or Rolling Stones, but with a demonstrated staying power, both creative and popular, lacked by groups like Cream and Jimi Hendrix.

    The men Who are: saucy-faced Keith Moon, presiding madman at the drums; the painfully skinny and bleached blond Roger Daltrey, who sings lead and writhes for the ladies; stolid bassist John Entwhistle, who writes a few songs, including the group's most requested number, "Boris the Spider"; and Townshend, a pleasantly moody 23-year-old who, besides playing lead guitar, is the group's leader, main songwriter, spokesman and theorist. "Talk to Peter," said Entwhistle, "he'll spin out the rubbish as long as you're willing to listen."

    Townshend did, sprawled out bonily on a sofa in his motel room. "Maybe we play rock 'n' roll, but if we play it, it's because we're in the one big rock 'n' roll movement. There's not Chuck Berry and Fats Domino and the Beatles and the Who, all playing different music. There's just rock 'n' roll, full stop. We're in it, it's not in us."

    He stopped and sneered a classic Townshend sneer. "Rock's just about dead in England, the scene there has had it. England is a European country filled with boring people who like boring things. It must have been an accident that the Beatles got their sound together there. Do you know that Engelbert Humperdinck" – he almost spat at the name of a currently popular English ballad singer – "is a bigger property now than anybody? Rock 'n' roll is happening in America like it always did. We love it here. The Byrds, Steppenwolf, Booker T., Moby Grape, that's rock 'n' roll.

    "You can tell what is and what isn't rock 'n' roll. To be the real thing, a song has to have an awareness of rock history. It has to have the beat, that undulating rhythm. Even while it feels history, it has to say something new. And, most important, it has to have crammed into it all the poignancy and excitement of youth because that's what it's really all about."

    The Who live the definition. Their biggest early hit was "My Generation", with the lines, "Things, they say, look awful cold, Hope I die before I get old." "Summertime Blues", a hit of singer Eddie Cochran’s from the mid-*50s, is still in their repertory. Townshend carries tapes of Cochran (killed in a car crash in 1960) wherever he goes. All four are big fans of what English pop fans call "flash," the hard-edged charisma of fame, sex, power, and lavishly spent money. While in San Franscisco, Townshend bought a Lincoln Continental Mark II and will have it shipped to London. "I love American cars and this one's a classic," he said. "All gold paint, leather seats, and the engine is painted bright blue." They tour not just for they money – they make up to $7,500 a night – but because gruelling one-night stands are part of rock tradition.

    "We’re travelling on our own now, but I'd rather tour with a lot of groups, a couple of dozen blokes jammed into a bus having the time of their lives. If we stopped touring, we'd go off. Dead.

    "Playing on stage, though, we're playing history. New ideas come from sitting down by yourself and working. That's where the spark is, work. I don't respect groups who won't work. And the spark, you have to get that on the records. So we don't mess around with all the fancy studio stuff, tracking and tracking a thing into obscurity. We want to make sure that on record the impact of the idea is captured in all its vibrancy and dynamite – that's what we're after. We've never put out a record that didn't say what it was supposed to."

    What Townshend and the group want to say has changed. From the first days of pure aggression, they have moved through the humor of "Happy Jack" and "Tattoo" to the zinging unearthliness of "I Can See for Miles" and "Magic Bus", their latest release. Some of the anger is still there, in part because Townshend grew up hating people who laughed at his enormous nose; his songs often feature deformed little boys who get back at the cruel world. Now Townshend is testing new directions for the album the group will record in the fall.

    "I am incredibly excited. I know people want something new. They want a new reason to go to a rock 'n' roll concert. What we are going to try is opera, not something trashy like the pompous arty types do. They do fancy things because they can't play. We've done mini-operas, now we want a long thing around a theme – I've been thinking about a story about a blind, deaf kid – with dialogue, songs, and an incredible finale. I want to get into stuff that will leave the smashing way, way behind."

    Townshend started to pace the room. "We'll be into impressionistic music, music like Wagner and Mahler, music that conjures up things more powerful than you can handle. Music can create fantastic high points in people's minds. We want to take those minds," and as he spoke, he raised his hands high above his head, then whipped them down as though hurling a boulder into the innocent sofa, "and bomb them open!"

    © Michael Lydon, 1968
     
  4. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    :laugh:
     
  5. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    Okay, it's time to jump aboard the Magic Bus! :goodie:
     
  6. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    Magic Bus

    http://www.*****/images/MB-UK.jpg

    UK: October 11, 1968 - Magic Bus / Dr. Jekyll & Mr. Hyde - Track 604024
    US: July 27, 1968 - Magic Bus / Someone's Coming - Decca 34545

    UK

    A1: Magic Bus (2:37) ****
    (Pete Townshend)
    B1: Dr. Jekyll & Mr. Hyde Alternate Mix (2:38) ****
    (John Entwistle)

    US

    A1: Magic Bus (2:37) ****
    (Pete Townshend)
    B1: Someone's Coming (2:29) **
    (John Entwistle)

    "Magic Bus" was one of the last tracks recorded for the proposed Who's For Tennis?-album. This song was originally written by Pete sometime in late 1965, and was mentioned by manager Chris Stamp in the Christmas 1965 issue of Melody Maker as a possible follow-up single to "My Generation." The Who did not, however, get around to recording it, so "Magic Bus" first appeared when the group The Pudding released it as a single in April 1967. The backing track was recorded at IBC in May with Kit Lambert and Damon Lyon-Shaw. It was done live, with the whole band paralytic drunk, and Jess Roden (from The Alan Brown!) singing backing vocals. Further overdubs were done at IBC in June. The single was released in the US long before the UK, with the mediocre "Someone's Coming" on the B-side, to capitalise on their fourth American and Canadian tour, which was extended from 3 to 9 weeks, where they played shows with bands like Pink Floyd, The Psychedelic Stooges and The Doors. The Who played with the latter at Singer Bowl in New York, and tensions grew between the band's road crews when The Who smashed up some of The Doors' gear. Jim Morrison led the crowd to a riot, and Pete were inspired to write a lyric for their next album when a girl was badly injured, falling head first from the stage while trying to elude stagehands. In Cleveland, Pete smashed his only Stratocaster early in the show and had to borrow one from the support act to finish. Meanwhile, Pete and Roger’s passports were stolen from the dressing room backstage. Following the resultant customs delays upon their entry into Canada for the next show, the band arrived onstage over two hours late, and had to borrow equipment from the promoter because customs wouldn’t release theirs. The fact that Pete was playing a borrowed vintage 1958 Stratocaster that night didn’t prevent him from destroying it at the end of the show - which leads us to a little equipment update: Pete was tired of Fenders, and on this tour he developed a love for Gibson SG Specials with P-90 “soapbar” pickups, which were modified with the stock Gibson/Maestro Vibrola tailpiece removed (leaving visible screw holes) and strings attached directly to stop tailpiece. He found that he could get the most amazing vibrato just from shaking the guitar. Pete: "It rang and sang to me!" The guitar was fed into two or three (one as backup) customized Sound City “One Hundred” L100 amplifiers (modified by Dave Reeves of Hylight Electronics), with each amp driving one or two Sound City 4x12 cabinets, arranged in two stacks. He had also started to use other fuzz pedals than his Marshall Supa Fuzz. Earlier, Pete had used Sola Sound Tone Bender (MkI) and Grampian Spring Reverb, but on this tour he added the Dallas Arbiter Fuzz Face to his set-up. For "Magic Bus", John used a Vox violin bass in the studio, and on stage he was now using two Sound City L100 amps customized to the CP103 spec, unbadged or badged as Hiwatt, with two or four Sound City 4x12 cabinets with 50-watt Fane speakers. Keith was waiting for a new Premier Champagne Silver drum kit, that was ready in October, with the same specs as the Lily-kit. That is two 22″ bass drums, three 16″ floor toms (two 16″x18″; one 16″x16″), three 14″ x 8″ mounted toms and a 14″ x 5½″ snare drum. Keith had one 20″ ride, two 18″ crashrides, and 14" hi-hats that were usually not used on stage. Back to the single, "Magic Bus" was a song that according to John "was not really intended to be a throwback to an early R&B sound or anything, though it does sound a bit that way. It was written about the same time as "My Generation". We listened to it then, but didn't really think a lot of it. But we heard it again more recently and liked it, so we released it." Just like "I Can See For Miles", "Magic Bus" was perceived as a drug song, but this was once again refused by the band. Pete: "When I wrote "Magic Bus," LSD wasn't even invented as far as I knew. Drug songs and veiled references to drugs were not part of The Who image. If you were in The Who and took drugs, you said, "I take drugs," and waited for the fuzz to come. We said it but they never came. We very soon got bored with drugs. No publicity value. Buses, however! This record is what Magic Bus - The Who On Tour should have been. It's The Who at their best. Merely nippers with big noses and small genitals trying to make the front page of The Daily News." It's hard to argue with Pete. "Magic Bus" is classic over-the-top Who-racket that from the first hits of Keith's claves all the way through to the frenzied ending is fun, energetic, catchy, imaginative, and never failing to give an instant sense of blissful, uplifting elevation. It is timeless in its weirdness. So is the B-side; the heavy mental morbid riffage of "Dr. Jekyll & Mr. Hyde", which turns up in a much more balanced mix here than on the US "Call Me Lightning"-single and the Magic Bus - The Who On Tour-album. John's death metal vocals are not all over the place, and the drums are louder. It's also 10 seconds longer. Nice! And what a fantastic song it is. The doomiest bass riff ever, with typical psychiatric John lyrics (written about the dark sides of Keith) and a great vocal. Heavier and louder than thou! It was recorded at IBC back in January for (according to John) a potential children's album! All in all another killer single from The Who! Who cares what happens with the rock opera plans?
     
  7. reb

    reb Money Beats Soul

    Location:
    Long Island
    "The Who"- equipment pictures of the day 1968:
     
  8. reb

    reb Money Beats Soul

    Location:
    Long Island
    1968 con't:
     
  9. Aftermath

    Aftermath Senior Member

    I remember being wowed by the stereo mix with the two acoustic guitars on opposite channels the first time I heard it.

    Fascinating to contrast the vocals on the single to those on the alternate take used for the MBB&B LP "I don't care how much I payyyy" Much more of pop vocal sound on the alternate take.

    Anyone know the chronology of the single vs. that alternate take in terms of when they were recorded?
     
  10. reb

    reb Money Beats Soul

    Location:
    Long Island
  11. reb

    reb Money Beats Soul

    Location:
    Long Island
    "MAGIC BUS (aka "THE MAGIC BUS") (Pete Townshend) (Version I; 3'10/3'17/3'22) A studio version (mono) recorded Summer 1968 at IBC Studios, London; produced and engineered by Kit Lambert. Released as a single, 7/27/68. Appears on Magic Bus--The Who On Tour (mono version) (1968), The Kids Are Alright (1979), The Singles (1984), the U.S. CD version of Meaty, Beaty, Big & Bouncy (1985), Who's Greatest Hits, Thirty Years Of Maximum R&B (1994), My Generation--The Very Best Of The Who (1996) and The Best Of The Who: The Millenium Collection (20th Century Masters) (1999). (Version II; 3'17) A stereo mix of version I. Released on Magic Bus--The Who On Tour (stereo version), 9/68. Also appears on Who's Better, Who's Best (1988). (Version III; 4'28) An extended mono mix of version I. Released on Meaty, Beaty, Big & Bouncy, 10/30/71. Also appears on The Story Of The Who (1976) and The Who Collection (1985). (Version IV; 7'30) A live version recorded 2/14/70 at Leeds University; produced by the Who, recorded by Bob Pridden. Released on Live At Leeds, 5/16/70. (Version V; 4'20) A demo version recorded ca. late 1965 at Pete Townshend's flat, Chelsea, London; produced by Pete Townshend and Helen "Spike" Wilkins. Performed by Pete Townshend. Released on Pete Townshend's Scoop, 3/7/83. (Version VI; 6'53) A live version recorded during the Who's Farewell Tour, 9-12/82; produced and engineered by Cy Langston. Released on Who's Last, 11/84. (Version VII; 3'45) A live version recorded 11/1/85 at Brixton Academy, London; produced by Bill Price, recorded by Mike McKenna. Performed by Pete Townshend's Deep End (see Appendix). Released as a single, 2/1/86. (Version VIII; 7'22) A remix of version IV. Remixed by Jon Astley and Andy Macpherson. Released on Live At Leeds (Revised Edition), 2/28/95. (Version IX; 4'35) A live version recorded 8/29/70 at the 3rd Isle Of Wight Festival; produced by Jon Astley and Andy Macpherson, recorded by Murray Lerner. Released on The Who: Live At The Isle Of Wight Festival 1970, 10/29/96."
     
  12. Does anyone have any more info on the abandoned Who's For Tennis album?
     
  13. Clarkophile

    Clarkophile Through the Morning, Through the Night

    Location:
    Oakville, ON
  14. lovingcup

    lovingcup New Member

    Location:
    Memphis,TN
    It's A Bus Age Wonder

    Unfortunately I only have a copy of the single, not the original vinyl. I grew up on the MBBB version which I found out later is the long mono version and different than other released versions. Except for one thing, it included lyrics heard in the demo, which were later heard in live versions (“Magic bus, give me a hundred, She goes like thunder, You can have the Magic Bus for just 100 pounds”).
    But for the record, I like all recordings of these songs. Its just soooo catchy. I want it.. I want it.. I want it..
     

    Attached Files:

  15. lovingcup

    lovingcup New Member

    Location:
    Memphis,TN
    And a few more photos from 68:
    (The banner above Keith says WGH Radio something The One. Does anyone know where this was taken?)
    I was told that the pic of John & Pete was taken backstage at the Filmore East.
     

    Attached Files:

  16. glea

    glea Forum Resident

    Location:
    Bozeman
    WGH is in Newport News, VA. I see two 1968 VA gigs:
    Virgina Beach Civic Center (the Dome) 20 July and Richmond The Mosque 23 July

    nice pix
     
  17. lovingcup

    lovingcup New Member

    Location:
    Memphis,TN
    OH I just noticed, I have the pics saved as 72068 which would make it VA Beach on July 20, 1968
    Thanks for the compliment! I have many many (around 700 :hide: ) to post (trying to post pics according to the time frame in the thread).
    Here's one more:
     

    Attached Files:

    marmalade166 likes this.
  18. Steve E.

    Steve E. Doc Wurly and Chief Lathe Troll

    Location:
    Brooklyn, NY, USA
    Magic Bus 2:37? really?
     
  19. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    :yikes:

    I really need to tighten up. There's been some very sloppy misinformation in the write-ups lately. "Magic Bus" is of course 3:20. I copied/pasted the layout from another release, and forgot to correct it for MB. So sorry about that. Thanks for correcting me! Maybe there will be a new and improved Devotional remix/remaster that will correct all of my mistakes in the future? :angel:
     
  20. TheOx

    TheOx Forum Resident

    Location:
    Down South, USA
    That photo is from the Singer Bowl, New York City Aug 2, 1968. They were opening for The Doors.
     
  21. keifspoon

    keifspoon Senior Member

    Location:
    New Jersey, USA
    Yes, and the inspiration for "Sally Simpson". That's 2 out of the 4 biggest concert draws of 1968 along with Cream and The Experience.
     
  22. reb

    reb Money Beats Soul

    Location:
    Long Island
    "The Who"- picture of the day

    "Dr. Jekyll & Mr. Hyde" Decca promo single 32288
     
  23. reb

    reb Money Beats Soul

    Location:
    Long Island
    "The Who"- bonus picture collage of the day:
     
  24. Steve E.

    Steve E. Doc Wurly and Chief Lathe Troll

    Location:
    Brooklyn, NY, USA
    You're doing a great job!!! I'm loving this thread. Please don't take any corrections as disses. (doesn't seem like you are....jus' makin' sure you don't.)
     
  25. lovingcup

    lovingcup New Member

    Location:
    Memphis,TN
    Cool! Sally Simpson had been one of my fav songs since I was a kid.
    I found 4 more pics from this show. Found one with a Bob Pridden cameo.
     

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