The Who - Let's see people Oil Well 103 RSC CD

The Who - Let's See People
Oil Well 103 RSC CD

  1. Pure And Easy  4:24
  2. Won't Get Fooled Again  8:57
  3. Love Ain't For Keeping  4:05
  4. Behind Blue Eyes  3:28
  5. Baby Don't Do It  8:34
  6. Getting In Tune   7:00
  7. Young Man Blues  5:18
  8. Happy Jack  2:15
  9. I'm A Boy  2:41
  10. Shakin' All Over with Spoonful  5:14

Note:
All songs by Pete Townshend unless noted
Live in London, UK - May 18, 1974 - Vol.3

Tracks: 1-6: recorded at The Record Plant, New York in 1970
Tracks: 7-10: recorded at University Refectory, Leeds, UK, Saturday, February 14, 1970

Lineup:
Roger Daltrey – vocals
John Entwistle – bass, brass, vocals
Keith Moon – drums, percussion
Pete Townshend – guitar, VCS 3, organ, ARP synthesizer, vocals, piano on "Baba O'Riley"

Dave Arbus – violin on "Baba O'Riley"
Nicky Hopkins – piano on "The Song Is Over" and "Getting in Tune"
Al Kooper – Hammond organ on alternate version of "Behind Blue Eyes"
Leslie West – lead guitar on Record Plant sessions including "Baby, Don't You Do It" and "Love Ain't For Keeping"

This album is a digital clone of: "From Lifehouse to Leeds"- Scorpio ‎– S-90-10878 - 1990
Early Who versions recorded at the Record Plant, New York for the aborted Lifehouse project, which then became the material for "Who's Next". Fort thoseof you who might have wondered how PT's lead style got so mean sounding on Won't Get Fooled Again, that's Leslie West (from Mountain) playing lead on this version. A dub off of "From Lifehouse To Leeds" .
This version sounds slightly thinner in sound quality.
Tracks 7 -10 on this CD were available in unedited form, though "mediocre mono sound" years before the updated and expanded re-release of Live At Leeds which has them all in "pristine stereo".
This one's a "keeper"!
On the front cover Roger Dalre, Keith Moon on the back and Pete Townshend performing live during a concert at Fête de l'Humanité, la Courneuve, on 9-09-1972.
Read below for more informations!

Audio quality: 
Quality content: 

 © Official released material:

Tracks 1-6 have been released officially on: Who's Next - Deluxe Edition (2003)
Track 3 has been released officially also on: Who’s Next - Life House (2023)
Tracks 7-10 have been released officially on: Live at Leeds - Deluxe Edition (2001)
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Lighthouse: The Who at The Record Plant
By 1970, the Who had obtained significant critical and commercial success, but they had started to become detached from their original audience. The mod movement had vanished, and the original followers from Shepherd's Bush had grown up and acquired jobs and families. The group had started to drift apart from manager Kit Lambert, owing to his preoccupation with their label, Track Records.

They had been touring since the release of Tommy the previous May, with a set that contained most of that album, but realized that millions had now seen their live performances, and Pete Townshend in particular recognized that they needed to do something new. A single, "The Seeker", and a live album, Live at Leeds, were released in 1970, and an EP of new material ("Water", "Naked Eye", "I Don't Even Know Myself", "Postcard" and "Now I'm a Farmer") was recorded, but not released as the band felt it would not be a satisfactory follow-up to Tommy

Instead, the group tackled a project called Lifehouse. This evolved from a series of columns Townshend wrote for Melody Maker in August 1970, in which he discussed the importance of rock music, and in particular what the audience could do. Of all the group, he was the most keen to use music as a communication device, and wanted to branch out into other media, including film, to get away from the traditional album/tour cycle. Townshend has variously described Lifehouse as a futuristic rock opera, a live-recorded concept album and as the music for a scripted film project. The basic plot was outlined in an interview Townshend gave to Disc and Music Echo on 24 October 1970. Lifehouse is set in the near future in a society in which music is banned and most of the population live indoors in government-controlled "experience suits". A rebel, Bobby, broadcasts rock music into the suits, allowing people to remove them and become more enlightened. Some elements accurately describe future technology; for example, The Grid resembles the internet and "grid sleep" virtual reality.

The group held a press conference on 13 January 1971, explaining that they would be giving a series of concerts at the Young Vic theatre, where they would develop the fictional elements of the proposed film along with the audience.After Keith Moon had completed his work on the film 200 Motels, the group performed their first Young Vic concert on 15 February. The show included a new quadrophonic public address system which cost £30,000; the audience was mainly invited from various organisations such as youth clubs, with only a few tickets on sale to the general public.

After the initial concerts, the group flew to New York's Record Plant Studios at Lambert's suggestion, for studio recordings. The group were joined by guests Al Kooper on Hammond organ, Ken Ascher on piano and Leslie West on guitar. Townshend used a 1957 Gretsch guitar, given to him by Joe Walsh, during the session; it went on to become his main guitar for studio recording. Lambert's participation in the recording was minimal, and he proved to be unable to mix the final recordings.

He had started taking hard drugs, while Townshend was drinking brandy regularly.[18] After returning to Britain engineer Glyn Johns made safety copies of the Record Plant material, but decided that it would be better to re-record it from scratch at Olympic Sound Studios in Barnes

The Who - Live at Leeds 1970
It’s hard now, to imagination or recreate the impact that The Who’s Live At Leeds had on its release on May 16, 1970.  The record itself was just six tracks, three of which were covers – Johnny Kidd’s Shakin’ All Over, Eddie Cochran’s Summertime Blues and Mose Allison’s Young Man Blues – along with Substitute, My Generation and Magic Bus. It wasn’t short – My Generation was 16-minutes long and included snatches of See Me, Feel Me, Listening To You, Underture, Naked Eye and The Seeker, while Magic Bus was a blistering seven-and-a-half minutes – but it was simple, crude, brutally loud for the time and wrapped in a simple brown sleeve. It could have seemed like a misstep from a band whose last album, Tommy, had lifted them out of the legions of 60s pop acts clogging up the top 40 and appearing on Ready, Steady, Go.  The truth is, Tommy had changed everything.

To promote the album in 1969, The Who had gone on an extended world tour and decided to record the shows for a live album. When they got back, the band’s sound man Bob Pridden waded through the tapes for three weeks and reported back that they were all good. He didn’t know where to start. With a deadline looming, it was decided that the easiest way forward was to record two shows that coming Valentine’s Day weekend – in Leeds and Hull.

After months on the road playing a rock opera, the band were at their peak and ready to let loose. Bassist John Entwistle had tired of what he saw the band becoming. In the book The Complete Chronicle Of The Who, Entwistle is quoted: “We were better known for doing Tommy than we were for all the rest of the stuff. I mean, all the guitar smashing and stuff went completely out of the window. We’d turned into snob rock. We were the kind of band that Jackie Onassis would come and see.”

Live At Leeds had no artsy concept. It came in a brown card sleeve had three cover versions and several lengthy jams. Its statement, if there was one, was about the sheer power and energy of rock music.

Who’s Next/Life House’ is a dive into The Who’s masterpiece that mostly slipped away

“Who’s Next/Life House” — The Who’s massive new box set — dives deep down the archival rabbit hole to shed light on the development of one of the band’s greatest records — and one grandiose idea that (mostly) slipped away. The 10-disc, 155-track collection out Friday shows how Pete Townshend ’s self-described “mad idea” for a science fiction rock opera “Life House” project, which was abandoned and eventually became 1971’s “Who’s Next.” But the sprawling original concept from The Who’s songwriter, lead guitar player and vocalist never left his mind and got refashioned numerous times in various formats over the ensuing half century.

At its most basic, Townshend’s original “Life House” concept foresees a future where an autocratic government, in a land ravaged by pollution, enforces a national lockdown where every person is hooked up to an entertainment grid to distract them. Music becomes an inconvenient diversion to the powers that be, while inhabitants search for the perfect note to create a sort of musical rapture.

More or less.
The exhaustive box set allows the listener to observe the evolution of some of The Who’s best and most well-known songs, including “Won’t Get Fooled Again,” “Baba O’Reilly” (aka “Teenage Wasteland”), “Behind Blue Eyes” and “Goin’ Mobile.”

While first envisioned for “Life House,” the songs eventually were released on “Who’s Next,” a record that to the uninitiated may appear to be a greatest hits compilation, it’s just that good.

There’s plenty here for Who nerds to take a deep dive. One fascinating bit is hearing the difference in the demos, sung by Townshend, and the versions that were ultimately released with Roger Daltrey’s signature vocals — including the epic scream that defined the official version of “Won’t Get Fooled Again.”

Townshend writes the liner notes for the original “Life House” demos he recorded at his home studio, working tirelessly with some of the earliest synthesizer technology. His devotion to the material is reminiscent of other artists from that time, most notably Brian Wilson and the Beach Boys’ “Smile” sessions, who struggle to translate the ideas and songs in their head into a finished product.

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