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)
______________________________________________________________________

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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https://t.me/oilwellrscbootlegs/439

The Who – Let's See Action Oil Well – RSC 102 CD

The Who – Let's See Action
Oil Well – RSC 102 CD

1 Drowned 8:31
2 Bell Boy 4:58
3 Dr. Jimmy 7:31
4 Won't Get Fooled Again 8:35
5 Summertime Blues 3:41
6 Baba O'Riley 5:16
7 Naked Eye / Let's See Action 10:38
8 My Generation Blues 4:24

Note:
All songs by Pete Townshend unless noted
Live in London, UK - May 18, 1974 - Vol. 2

Lineup:
Roger Daltrey – lead vocals, harmonica
Pete Townshend – guitar, keyboards, backing and lead vocals
John Entwistle – bass, backing and lead vocals
Keith Moon – drums, occasional vocals

This album is a digital clone of: "Love Rain O'er Me" - Past Master PM 9005
Oil Well version has a fine cover, fine quality.  Limited to 200 copies only.
On the front cover Roger Daltrey performing live during a concert at Fête de l'Humanité, la Courneuve, on 9-09-1972.
Due to its rarity and good quality, this disc is recommended.

Audio quality: 
Quality content: 

 © Official released material:
Tracks 7,8 have been released officially in 2007 on View from A Backstage Pass.
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The Who Charlton Athletic Football Club 18th May 1974
Recorded Live at Charlton Athletic F.C., South London, 18 May 1974 at "Summer Of `74" concert. 12 other songs were also performed. Support Acts, in order of appearance: Montrose, Lindisfarne, Bad Company, Lou Reed,Humble Pie, Maggie Bell. The support acts were chosen by The Who.

The Who spent some time considering venues for a big outdoor London concert, and selected Charlton ground because, accordingly to Townshend, it had “particular acoustic qualities” and offered “excellent views of the stage from the terraces.” The concert was intended to have an attendance limit of 50,000 fans, but breakdowns in security resulted in many additional people getting in, and an estimated crowd of 80,000.

The supporting bill was very strong, with Montrose and Bad Company both going down well. This was one of the first appearances of the new Lindisfarne Mk II line-up. Lou Reed and Maggie Bell both played ok, but didn’t go down as well with the crowd as the others. Humble Pie were pure class, with Marriott on his top OTT “my skin is white, but my soul is black” form. They almost upstaged the main act. There was a long wait before The Who took to the stage, and several reports recall an atmosphere of violence.

The show begins
The Who started at 8:45 and played an hour and 45 minute set, starting with “Can’t Explain” and working their way through old classics and some more recent material, including a few from their most recent album “Quadrophenia”.The sound wasn’t that great, even though we had been promised quadrophonic sound, and there were large PA speakers sited around the ground. The Who were excellent, although Pete later admitted that he was drunk and felt that the show wasn’t actually one of their best. To all of us in the crowd it was a great day, and an opportunity to see the best rock band in the world during their prime period. The set included a lot of 60s material, and several songs that I hadn’t seen them play before such as “I’m a Boy” and “Tattoo”. Entwistle performed “Boris the Spider” in his deep bass voice. A lengthy encore included “5:15”, an extended “Magic Bus”, “My Generation”, “Naked Eye”, “Let’s See Action” and the first ever performance of their slow 12-bar blues arrangement of “My Generation”, which is now known as “My Generation Blues”.

Pete didn’t smash his guitar. They performed with a freshness and enthusiasm that they haven’t had for quite some time, and generally acted like the epitome of what a rock and roll band should be…The Who are it; as good as it ever gets, and good as we can expect from anybody.” Pete Townshend admitted (also in the NME): “At Charlton I got completely pissed… I was so happy  to get out of it…. I felt really guilty I couldn’t explode into the exuberant and happy energy our fans did….”
https://vintagerock.wordpress.com/2014/12/25/the-who-charlton-athletic-football-club-18th-may-
1974/


The Who at Charlton 74
Charlton ’74 is one of those bootlegs that must be in your collection even if you’re not so much a Who fan but a fan of bootlegs anyway. Released a multitude of times after a broadcast on the BBC, pretty much since the broadcast was made it has appeared on vinyl bootlegs such as ‘When The Sun Was Going Down’ (no label) to CD boots such as ‘Soccer Rock’ (Past Masters), ‘Boris The Spider’ (The ever dependable Oil Well), ‘Live At Charlton, ’74’ (Midas Touch) and Charlton 1974 – Expanded edition’ (MS) – from very good audience recordings to ’soundboard’, presumably from the BBC broadcast, it became a bootleg staple. None of these boots seem ever to have captured the full event however, mainly taken from partial recordings, the boots have generally been incomplete for the whole Who show.

This new set of recordings expands the experience by giving the full Who selection an airing from a brand new audience recording from close to the stage. We also get two other acts from the day – Some of the earlier acts seem not to have been recorded and the Lou Reed set was captured but the tape was not considered to have been of the best quality and so has been left from the set. The premier on this release is the full Humble Pie set, it has never been booted before and so makes it’s entry point here.

By all accounts the day was a warm one, apparently it rained early on but when the sun shone, the good folk who attended will have done what nearly everybody does at an outdoor concert of this kind and will eventually have been rendered shirtless, a pile of hot pink bodies searing in the English sunshine. To up the ante, those who didn’t make use of the facilities will have smuggled their own booze in and not wanting to have to bring it home again, that will have been drunk in quantities, ending in, what Pete Townshend considered to be one of the bawdiest audiences that they’d played to. Reports vary between whether punches were thrown between the audience members, it tends to depend where you were stood. As noted, Pete’s mood was dark before the band had really kicked off, he was obviously stood to the side of the stage while Humble Pie were playing and felt that the Who were given the budge by this bunch of upstarts, his fists clenching, watching Lou Reed would have tipped his fever a little stronger and the famous Townshend grouchiness would have reared it’s head.
A short introduction precedes them then leads in to a heavy 70’s styled riff before the Who plunge in to ‘I Can’t Explain’.

The quality of the tape doesn’t change even for the bands loudness, each instrument is given space to breathe, Keith’s drums are level best with the rest as he would have wanted – the crowd are once again respectfully noisy but if anything, that gives a little more atmosphere an already psyched gig. There are a few dips in the tape where the tape seems to skip between two to one channel starting with the introduction prior to and while ‘Behind Blue Eyes’ is played (The track is missing from the artwork too, EV!) and continues through until ‘Boris The Spider’ on the first disk and appear at the start of ‘Won’t Get Fooled Again’ on the second CD. Despite Pete’s grouch – He appears to be chatty enough generally rather than introverted than how his take on it all might suggest – the band are on form. As most of the people present had paid to see the Who (A few to see Lou Reed and Humble Pie too) most were hardly going to turn down the chance to see this mighty band in their pomp and so to fight back against Humble Pie’s might, there’s only forward to go. The set list veers between classic to a small slice of the Quadrophenia tracks which had just reared their heads but the reaction is just as warm in a jumble of people who were more than likely feeling the effects by now.

The set that Empress Valley has created is a very impressive one – A 4 CD set packaged in a fatboy case with holographically printed artwork on the outside with generic but smart printed disks. Promo material and photos from the time are used to neat effect – The only thing lacking are the little misses on the artwork about the Who’s set list and the tracking on the Humble Pie set but they are small misses in between large statements. A positive gem in your Who collection to file against the soundboards.
https://www.collectorsmusicreviews.com/empress-valley-label/the-who-humble-pie-and-bad-company-summer-of-74-empress-valley-evsd-858861/

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https://t.me/oilwellrscbootlegs/438