Oil Well – RSC 007 CD
02 Bell Boy 04:57
03 Doctor Jimmy 07:48
04 I Can't Explain 02:31
05 Summertime Blues 03:39
06 My Generation 06:30
07 Pinball Wizard 02:55
08 We're Not Gonna Take It 05:40
09 Won't Get Fooled Again 08:38
Note:
All songs by Pete Townshend unless otherwise noted
Recorded live at The Spectrum, Philadelphia, USA - December 4, 1973
Lineup:
Roger Daltrey : Vocals, Harmonica
John Entwistle : Vocals, Bass
Keith Moon : Vocals, Drums
Pete Townshend : Guitar, Vocals
This albums is a digital clone of "American Tour 1973" by The Swingin' Pig.
This Oil Well version has a fine cover, fine quality. Limited to 200 copies only.
© Official released material:
Track 9 has been released officially on: View from A Backstage Pass in October 2007
______________________________________________________________________
Live at The Spectrum, Philadelphia, Pennsylvania, USA - December 4, 1973
Evolving from Pete Townshend's idea for a musical autobiography of The Who, the second of the group's two full-scale rock operas, Quadrophenia, eventually developed into a social, musical and psychological exploration of the mid-1960s mod scene in England. Written from the perspective of a British teenager, Jimmy, the band member's role in the storyline became symbolic via Jimmy's four personalities. Like much of Townshend's work, Quadrophenia examined the universal themes of rejection, rebellion, and the search for identity. Released in October of 1973, the resulting double album, Townshend's last magnum opus within the context of The Who was greeted with acclaim and featured some of the most majestic music the band ever recorded.
Upon Quadrophenia's release, The Who took to the road in support of the album. Touring the U.K. and then North America, this tour turned out to be one of the most legendary and monumentally frustrating of their entire career. The technical requirements of performing Quadrophenia were extremely demanding and performances were often plagued by malfunctioning equipment. Because sound effects and backing tapes were incorporated into the performance, they were constrained to playing along, reducing the spontaneity that had always been a key ingredient to their live sound. Technical issues aside, The Who also faced challenges putting the concept, story and characters across to North American audiences. Unfamiliar with the Mod scene that was so central to the concept, Daltrey and Townshend's lengthy explanations of the plot between songs diverted the flow and intensity of the band's performances. Despite these challenges, this tour featured many moments of brilliance and experienced sell-out crowds all along the way The North American leg of this tour got off to an inauspicious start when on opening night in San Francisco, Keith Moon collapsed on stage several times and was replaced on drums by a volunteer from the audience.
1973 American Tour
As the tour progressed and Townshend began paring down the Quadrophenia material to its essential elements, the performances improved. Toward the end of this tour, they were more consistently engaging and on a good night, The Who remained the most powerful and captivating band on the planet. Which brings us to the second-to-last night of this tour, when the band took to the stage of the Spectrum in Philadelphia before a sold-out house. Excerpts of this show, recorded for broadcast by the King Biscuit Flower Hour, have been the primary source of high quality recordings from this tour. The KBFH recordings from this night and the final tour stop in Largo, Maryland, have also been the source of collector confusion and the subject of debate for nearly 35 years.
From November 20 to December 6 saw Lynyrd Skynyrd opening for The Who (Pronounced 'Lĕh-'nérd 'Skin-'nérd Tour was the first major concert tour by American Southern rock band Lynyrd Skynyrd. The tour was mainly played out in the United States with a single show in Canada.)
Ubiquitously bootlegged ever since the initial broadcasts in 1974, only those excerpts of this night's recordings have ever circulated. Here for the first time ever is the vast majority of The Spectrum performance, from the original King Biscuit masters and sounding sonically superior to all other versions of this material in existence.
Not only does this include all but one of the songs from this legendary night, but the final reel included the entirety of the encore, previously unknown to have been recorded. The performance kicks off in fine form with a double dose of primal Who, first with the opener "I Can't Explain" followed by a ferocious "Summertime Blues" to warm things up. Next up is an expanded version of John Entwhistle's "My Wife," before they cap off this initial segment of the performance with their signature song, "My Generation." Both feature impressive instrumental exchanges between Townshend, Entwhistle and Moon, with the latter taken at a furious tempo and pummeling in its delivery.
Townshend and Quadrophenia
Next, Townshend addresses the audience directly and prefaces the performance of Quadrophenia by way of explaining, "The better part of an album what we wrote about ourselves being Mods. When we were little. The story about the Mod kid and we call it Quadrophenia. Being Mod meant a lot more in England, I think, than it ever did in America. I think you think of it being a Carnaby Street thing. It's not just a looking back, it's a kind of bringing up to date. Quadrophenia's about where we all are today, maybe you, too. The story is set on a rock in the middle of a stormy sea. In quadrophonic, as well!" With that said, the backing track of "I Am The Sea" leads into the full blown performance of "Quadrophenia." Townshend jumps in a bit early, but "The Real Me" and "The Punk And The Godfather" both cook with a fiery intensity. Daltrey's vocals are full of raw passion and the rhythm section of Entwhistle and Moon is explosive.
Townshend delivers another explanation prior to "I'm One" revealing some of his own childhood perceptions. This song, much like his classic "Behind Blue Eyes, " begins as a solo vehicle for Townshend's voice and guitar alone, before the entire group kicks in to dramatic effect.
The remainder of the "Quadrophenia" material here features plenty of great ensemble playing and those familiar with the KBFH broadcasts will welcome the appearance of the never-before-heard "5:15," the riff-heavy "Sea And Sand" and a 10- minute "Drowned" that includes some inspired jamming. Despite the technical limitations of the equipment, which are more prominent during the latter parts of "Quadrophenia," this portion of the recording concludes with a humorous "Bell Boy," featuring Keith Moon altering his lyrics to recall the hotel room destroyed in Montreal earlier that week, followed by an engaging performance of "Dr. Jimmy." Unfortunately the sole missing item is the grand finale of "Love, Reign O'er Me," but otherwise these are the finest 1973 era "Quadrophenia" performances anyone is likely to have ever heard.
Following the "Quadrophenia" presentation, they launch into a powerful "Won't Get Fooled Again, before wrapping up with two classic tracks from Townshend's earlier magnum opus, Tommy. First they deliver a frenetic rendition of "Pinball Wizard," here humorously introduced as "Pineball Blizzard!," followed by a majestic set closing finale of "See Me, Feel Me," that leaves the ecstatic audience clamoring for more. For nearly eight solid minutes this audience roars it's approval . Unison chants of "WE WANT The Who!" are heard over and over again. When the band returns to the stage amidst thunderous applause, they cut loose into a smoldering version of "Naked Eye" with Daltrey leading the way. For a solid 13 minutes, this encore burns with intensity, culminating in the destruction of Townshend's cherry sunburst Les Paul Deluxe.
The Who – Tales From The Who
This Oil Well version has a fine cover, fine quality. Limited to 200 copies only.
Due to its rarity and good quality, this disc is recommended. This bootleg has been released also with an alternate front cover. On the front cover Peter Townshend and Rogert Daltrey performing live during a concert.
There has always been some inaccuracy about this bootleg and its clones regarding the recording of this album. In the reconstruction of the origin of the bootlegs of the 90s we must always refer to what were the tapes and the most popular FM recordings of the time.
Speaking of The Who in 1973 as the “Quadro Fini A (Quadrophenia) Tour”, the old days, it is broadcast in the United States of popular live radio program “King Biscuit Flower Hour”, the air of the stereo sound board analog boot that was made on the basis of the check source “TALES OF THE WHO” is Tsutoni famous. This performances, December 4, was what was done in the spectrum of Philadelphia (other infos here).In particular, following to its transmission to King Biscuit Flower Hour this bootleg is often (and wrongly) associated to the concert at The "Capitol Centre" in Largo, Florida, U.S.A. in December 1973. Also Roger, at the end of Summertime Blues thanks the audience saying: Thank You, Philly!. Please read below for more information on the concert!
There has always been some inaccuracy about this bootleg and its clones regarding the recording of this album. In the reconstruction of the origin of the bootlegs of the 90s we must always refer to what were the tapes and the most popular FM recordings of the time.
Speaking of The Who in 1973 as the “Quadro Fini A (Quadrophenia) Tour”, the old days, it is broadcast in the United States of popular live radio program “King Biscuit Flower Hour”, the air of the stereo sound board analog boot that was made on the basis of the check source “TALES OF THE WHO” is Tsutoni famous. This performances, December 4, was what was done in the spectrum of Philadelphia (other infos here).In particular, following to its transmission to King Biscuit Flower Hour this bootleg is often (and wrongly) associated to the concert at The "Capitol Centre" in Largo, Florida, U.S.A. in December 1973. Also Roger, at the end of Summertime Blues thanks the audience saying: Thank You, Philly!. Please read below for more information on the concert!
Audio quality: 
Quality content:
Track 9 has been released officially on: View from A Backstage Pass in October 2007
______________________________________________________________________
Live at The Spectrum, Philadelphia, Pennsylvania, USA - December 4, 1973Evolving from Pete Townshend's idea for a musical autobiography of The Who, the second of the group's two full-scale rock operas, Quadrophenia, eventually developed into a social, musical and psychological exploration of the mid-1960s mod scene in England. Written from the perspective of a British teenager, Jimmy, the band member's role in the storyline became symbolic via Jimmy's four personalities. Like much of Townshend's work, Quadrophenia examined the universal themes of rejection, rebellion, and the search for identity. Released in October of 1973, the resulting double album, Townshend's last magnum opus within the context of The Who was greeted with acclaim and featured some of the most majestic music the band ever recorded.
Upon Quadrophenia's release, The Who took to the road in support of the album. Touring the U.K. and then North America, this tour turned out to be one of the most legendary and monumentally frustrating of their entire career. The technical requirements of performing Quadrophenia were extremely demanding and performances were often plagued by malfunctioning equipment. Because sound effects and backing tapes were incorporated into the performance, they were constrained to playing along, reducing the spontaneity that had always been a key ingredient to their live sound. Technical issues aside, The Who also faced challenges putting the concept, story and characters across to North American audiences. Unfamiliar with the Mod scene that was so central to the concept, Daltrey and Townshend's lengthy explanations of the plot between songs diverted the flow and intensity of the band's performances. Despite these challenges, this tour featured many moments of brilliance and experienced sell-out crowds all along the way The North American leg of this tour got off to an inauspicious start when on opening night in San Francisco, Keith Moon collapsed on stage several times and was replaced on drums by a volunteer from the audience.
1973 American Tour
As the tour progressed and Townshend began paring down the Quadrophenia material to its essential elements, the performances improved. Toward the end of this tour, they were more consistently engaging and on a good night, The Who remained the most powerful and captivating band on the planet. Which brings us to the second-to-last night of this tour, when the band took to the stage of the Spectrum in Philadelphia before a sold-out house. Excerpts of this show, recorded for broadcast by the King Biscuit Flower Hour, have been the primary source of high quality recordings from this tour. The KBFH recordings from this night and the final tour stop in Largo, Maryland, have also been the source of collector confusion and the subject of debate for nearly 35 years.From November 20 to December 6 saw Lynyrd Skynyrd opening for The Who (Pronounced 'Lĕh-'nérd 'Skin-'nérd Tour was the first major concert tour by American Southern rock band Lynyrd Skynyrd. The tour was mainly played out in the United States with a single show in Canada.)
Ubiquitously bootlegged ever since the initial broadcasts in 1974, only those excerpts of this night's recordings have ever circulated. Here for the first time ever is the vast majority of The Spectrum performance, from the original King Biscuit masters and sounding sonically superior to all other versions of this material in existence.
Not only does this include all but one of the songs from this legendary night, but the final reel included the entirety of the encore, previously unknown to have been recorded. The performance kicks off in fine form with a double dose of primal Who, first with the opener "I Can't Explain" followed by a ferocious "Summertime Blues" to warm things up. Next up is an expanded version of John Entwhistle's "My Wife," before they cap off this initial segment of the performance with their signature song, "My Generation." Both feature impressive instrumental exchanges between Townshend, Entwhistle and Moon, with the latter taken at a furious tempo and pummeling in its delivery.
Townshend and Quadrophenia
Townshend delivers another explanation prior to "I'm One" revealing some of his own childhood perceptions. This song, much like his classic "Behind Blue Eyes, " begins as a solo vehicle for Townshend's voice and guitar alone, before the entire group kicks in to dramatic effect.
The remainder of the "Quadrophenia" material here features plenty of great ensemble playing and those familiar with the KBFH broadcasts will welcome the appearance of the never-before-heard "5:15," the riff-heavy "Sea And Sand" and a 10- minute "Drowned" that includes some inspired jamming. Despite the technical limitations of the equipment, which are more prominent during the latter parts of "Quadrophenia," this portion of the recording concludes with a humorous "Bell Boy," featuring Keith Moon altering his lyrics to recall the hotel room destroyed in Montreal earlier that week, followed by an engaging performance of "Dr. Jimmy." Unfortunately the sole missing item is the grand finale of "Love, Reign O'er Me," but otherwise these are the finest 1973 era "Quadrophenia" performances anyone is likely to have ever heard.
Following the "Quadrophenia" presentation, they launch into a powerful "Won't Get Fooled Again, before wrapping up with two classic tracks from Townshend's earlier magnum opus, Tommy. First they deliver a frenetic rendition of "Pinball Wizard," here humorously introduced as "Pineball Blizzard!," followed by a majestic set closing finale of "See Me, Feel Me," that leaves the ecstatic audience clamoring for more. For nearly eight solid minutes this audience roars it's approval . Unison chants of "WE WANT The Who!" are heard over and over again. When the band returns to the stage amidst thunderous applause, they cut loose into a smoldering version of "Naked Eye" with Daltrey leading the way. For a solid 13 minutes, this encore burns with intensity, culminating in the destruction of Townshend's cherry sunburst Les Paul Deluxe.
The Who – Tales From The Who
One of the most famous bootlegs in recorded history, Tales from the Who came from the King Biscuit Flower Hour broadcast of a Long Beach concert taped following the release of Quadrophenia. The Who, as usual, rely on taped backup for all keyboards and any other instruments except guitar, bass, and drums. Roger Daltrey is in great voice as the band revisits "Can't Explain," "Summertime Blues," "Won't Get Fooled Again," "Pinball Wizard," "See Me, Feel Me," and "My Generation." Likewise, Pete Townsend, John Entwistle, and Keith Moon are in good form and please the crowd with their performances. Over half of this two-record set is devoted to selections from the then-new Quadrophenia, and there's an amusing story about this recording. Normally when the King Biscuit producers put out live concerts for commercial broadcasts, they carefully bleeped out any obscenities, but in this case they overlooked some.
The New Orleans radio station that aired this program was unaware, like the show's producers, that "Dr. Jimmy" contained a four-letter word, and it was duly broadcast. However, whichever station provided the broadcast that served as the source material for this bootleg had a station manager or program director familiar with the song, so they duly dubbed the KBFH disc to reel-to-reel tape and spliced out the offending word prior to airing the program (producing the bizarre line "Her fella's gonna kill me/Aww, f-ill he"), but even they missed another one slipped into "My Generation." The bootleg label's claim that this is a quadraphonic release was a bit laughable, because it couldn't been taped off the radio in quadraphonic, and trying to convert it after the fact would have had all the success of the pseudo-stereo records of the 1960s. According to William Stout, who designed the colorful cover that was a knockoff of classic horror comic book covers, only 120 copies of this two-record set were released, as the operators of TMOQ knew that the FBI was on their trail and, in a fit of panic, they destroyed all other copies of the release (as quoted in Bootleg: The Secret History of the Other Recording Industry by Clinton Heylin). Like most King Biscuit broadcasts, the sound isn't quite as good as typical commercial live rock records, but this collectable is far better-sounding than any other bootlegs featuring the Who, and its extreme rarity makes it a very valuable recording to own, superseded only by the original King Biscuit Flower Hour LPs distributed to the network radio stations for the broadcast.
The New Orleans radio station that aired this program was unaware, like the show's producers, that "Dr. Jimmy" contained a four-letter word, and it was duly broadcast. However, whichever station provided the broadcast that served as the source material for this bootleg had a station manager or program director familiar with the song, so they duly dubbed the KBFH disc to reel-to-reel tape and spliced out the offending word prior to airing the program (producing the bizarre line "Her fella's gonna kill me/Aww, f-ill he"), but even they missed another one slipped into "My Generation." The bootleg label's claim that this is a quadraphonic release was a bit laughable, because it couldn't been taped off the radio in quadraphonic, and trying to convert it after the fact would have had all the success of the pseudo-stereo records of the 1960s. According to William Stout, who designed the colorful cover that was a knockoff of classic horror comic book covers, only 120 copies of this two-record set were released, as the operators of TMOQ knew that the FBI was on their trail and, in a fit of panic, they destroyed all other copies of the release (as quoted in Bootleg: The Secret History of the Other Recording Industry by Clinton Heylin). Like most King Biscuit broadcasts, the sound isn't quite as good as typical commercial live rock records, but this collectable is far better-sounding than any other bootlegs featuring the Who, and its extreme rarity makes it a very valuable recording to own, superseded only by the original King Biscuit Flower Hour LPs distributed to the network radio stations for the broadcast.
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