Tag: music

Last week we examined the original vinyl record of Live at Leeds.  Due to the technological limitations of vinyl, it was only about 45 minutes, give or take a couple, long.  The album was rereleased in 1995 on CD, and because that medium is capable of much more time, around two hours, many more tracks were added that had been recorded at the time.

Tonight we shall listen to those tracks and discuss whether or not we think that they are good.  I think that they are all no worse than very, very good and that many of them are outstanding.  Please listen and tell me what you think.  For those of you who have not signed up for an account, please do so so that you can comment in future.

Let us get started.

Live at Leeds was the first live recorded record album by The Who that was legitimate.  There were plenty of rather crudely recorded, pirated versions of many of their live performances, but back in 1970 those analogue ones, mostly recorded by audience members under cover, rapidly were degraded by the very process of analogue to analogue copying, making even third generation copies almost unintelligible.   That is too bad, because some of those performances were great.

After the huge success of Tommy, and the concomitant success of the associated tour, Kit Lambert and The Who decided to record an actual live record that would capture their sound.  Live at Leeds did it well, but was too short because of the limitations of vinyl records at the time.  Remember, and I have covered this topic before, only 45 minutes, give or take a few, were possible with the vinyl technology at the time.

Let us examine what is really a wonderful record.  Note that there is very little video available, so that just the music is usually given here.  By the way, the album charted at #3 in the UK and at #4 in the US.

This shall complete our discussion of Tommy, the seminal record album by The Who from early in 1969.  We had an excellent discussion last week, and hope to have an equally good, if not even better one tonight.  I was particularly interested that there was a range of thoughts about it, from some who just hated it to those who just loved it.  That is fine.  That is just personal taste.

I should go on record to say that my mum liked Overture.  She was pretty reserved about music other than the Swing Era kind, since she came of age then, but allowed to me that she really liked the French horn.  I was pretty dumb at the time that we were listening to, on the radio, one of the most important bands that ever existed.

With no more ado, here is the second disk (the third side) of Tommy.  Please comment profusely.

In 1969, the seminal Tommy was released by The Who.  Track Records, The Who’s own brand, in collaboration with Polydoor was the UK record company, and in the United States Decca was.  I have a mint Decca one.  It was billed as the first rock opera, but it actually was not.  There had been at least a couple before Tommy came to us.

Not counting the composition effort (by far the bulk of it by Pete Townshend), it took the better part of year to record, edit, and redub the work.  This was Kit Lambert, their producer, at his finest, and also extremely fine efforts by all of the band and the production and engineering staff.  It is truly a masterpiece.

Cross-posted at DailyKos.  

I have some fond memories to share. After reliving the experience of seeing The Dizzy Gillespie Dream Band, thoughts drummed up about another aspect of Lincoln Center. The nostalgia for a once famous bar that was across the street on 63rd and Amsterdam, a place where I once helped make the music and sang along for many years, came on strong.

Let me start out where Alvie Singer ended because it is a good way to set the stage. In the background during the final scene from Annie Hall you can see the concert hall where Dizzy Gillespie blew me away but in the foreground, the camera was set up in a bar and restaurant that was once called “O’Neals’ Baloon.”

The view is for you. I need no reminders of what O’Neils Balloon looked like and this in not a story about me.  Perhaps this is a story about a forgotten era that might just be making a comeback after of the success of the movie Black Swan. Well not really, more popularity and higher ticket prices can never take up the slack where the National Endowment for the Arts left off.

This is a story of a painting getting its act together and taking it on the road, a story of ballet at the barre and a recollection of times gone by. Just memories of a social gathering spot that was name “balloon” because it was illegal to call a bar a “saloon” in New York City. Those Blue Laws have been changed now. So much has changed now. So much has been forgotten.  

I am assuming that tomorrow will not be the end of the world, as the Camping followers believe, so did not write about The Who for the last time tonight.  This piece proves the point that I do not always write about things that I really like.  This was not really a bad band, but in my opinion were not that important creatively.  Some, perhaps many, will beg to differ me, and that is fine.  I do not really dislike them, but they would not make it into my “stranded on a desert isle” box of music.

They actually had quite a few hits that charted well, a TeeVee show, and of course laid the groundwork for the later solo career of Kenny Rogers.  He moved towards country and out of rock later, and this post only includes treatment of The First Edition material.

First of all, this is really a very poorly titled record album.  It had nothing to do about being on tour.  It is actually their first compilation album on Decca, their American label.  When this came out in 1968, the way that songs were released was a bit different than later, but it looks like, in the digital age, we are sort of returning to the older ways.

Back then, the single ruled (actually, they were doubles, 45 RPM vinyl pressings with an “A” side (the “good” song) and a “B” side (the ugly cousin)).  That ceased to be the norm after around 1969 or so, when the album started to dominate and singles were released in accordance with how well specific tracks on the album got airtime.

In any event, this is a compilation from many singles the The Who had released over several years.  It had a companion in the UK, and we shall discuss that presently.

For those of you who read my pieces (here, and my other two regular series, Pique the Geek and My Little Town), you know that I appreciate multitalented individuals.  This artist certainly fulfills that criterion.  Not only a talented musician himself, he is also a studio wizard, outstanding technician, and excellent music producer.

I am not his biggest fan, but I do appreciate his talent and like very much several of his original works.  Please do not take this statement as holding him in some sort of dislike:  I like him very much but there are others that I like better.  This is not to detract from his contributions, but rather to describe my musical tastes.

He has been around for a long, long time with no apparent sign of quitting.  Please come with us to examine the career and some of the better (in my opinion) work of this creative genius.

The Who Sell Out, the third album by The Who, was their finest to date and in my opinion is still one of their best works.  To be sure, it fell short hither and thither, but I think that it was great.  There are a number of reasons why it is so good, one of them being Kit Lambert once again producing.  As you recall from the previous installment, he was so much better than the hack Shel Talmy that there is really no comparison.

Another reason that it was so good was that it has a lot of energy for a studio album.  The third reason that I shall cite is that it was one of the very first concept albums, in that there was a unifying theme throughout the record.  Since it was on vinyl, it only runs around 37 minutes, so lots of material got scrapped when the final edit was done.  I shall include some of that material late in the piece.

Many of you will remember eight track tapes, once very popular for automobile and boating use.  Many more of you youngsters will not remember them, they became pretty much obsolete around 1980.  However, for almost two decades they were the medium of choice for automotive applications.

The eight track tape did not just “happen”, but was developed from other inventions.  It turns out that demand was increasing for high fidelity sound in cars in the late 1950s.  FM radio was just getting started (the FCC had only approved FM stereo in 1951), and lots of folks wanted better (and more to their own taste) quality music.  Thus, the eight track tape was developed.

Happy Jack was the second album released by The Who and their second studio album. It was released in the UK with the title A Quick One.  That was a little suggestive for Decca Records, the US label and the single Happy Jack has charted in the US, so that title was used.  The song lineup is a little different betwixt the two records as well, Happy Jack not being on the UK version.

Released in the UK 19661209, it was delayed in the US for almost six months, finally being released in 196705 (I am not sure of the exact day).  This record was truly transformative, and is one of my personal favorites.  It was this album where Townshend really showed that the was a writing force with which to be reckoned, and he took some risks that he would not have taken previously for a large reason:  the brilliant Kit Lambert had replaced the hack Shel Talmy as the producer of the band.