The Who with Orchestra "Live At Wembley" 2022 (rec.2019)***

The first time I saw The Who live was in Amsterdam during their Quadrophenia and More Tour (2013). It was a rewarding experience; Pete Townshend and Roger Daltrey were in good form despite their age,  and the rest of the band supporting them ably - especially Pino Palladino on bass and "Ringo's son" Zak Starkey on bass. The visuals were also excellent, but I remember thinking that it took a very proficient and well-rehearsed 10-piece band to produce a result that only came somewhat close to the original 4 members. Later, a DVD, recorded at Wembley Stadium during that tour, came out as Quadrophenia Live in London. I didn't buy it, despite the fact that it could have served as a nice souvenir of the concert. I figured that any time I want to listen to Quadrophenia start to finish, I can play the studio version. And if I want to listen to The Who live, I have the expanded Live At Leeds and The Kids Are Alright. Why, then, did I buy Live At The Wembley recorded at the same location as Quadrophenia Live, and even reprising half of that album, only 6 years later? Well, of course it's the orchestra thing. How much does it add to the original songs? First thing first: Metallica S&M, this isn't. Where, on that album, rock band and orchestra combined to produce intensely heavy music in an epic scale, here the orchestra just plays a supportive role, not unlike the expanded 10-piece band I remember from the Quadrophenia concert in Amsterdam. Townshend and Daltrey are in similarly good form - better than what can be reasonably be expected, given their age. When they are not accompanied by the orchestra, as in "Substitute" and "The Seeker", they sound like an older, slightly blunted, version of themselves. The acoustic version of "Won't Get Fooled Again" is different enough to previous ones to be of interest, but frankly rather weak. It was interesting to hear the orchestra replace the synths on tracks like "Baba O’Riley" and "Eminence Front" resulting in a more organic sound. Often it adds some welcome bombast, as in the fanfares of "Pinball Wizard" or melodrama, as in "Behind Blue Eyes" and "Love Reign O'er Me". Lesser known tracks like "Imagine A Man" (1975) and "Hero Ground Zero" (2019) gain from new orchestrations; new blues track "Ball And Chain" (2019) isn't up to the same level as the classics, but it's good to have a live version of it. An acoustic rendition of "Tea and Theater" from 2006's Endless Wire (recorded during a different concert, too) makes for a puzzling inclusion, and rather anti-climactic closer. This set was also released on triple vinyl, but my own version is the 2CD and Blu-Ray set. The Blu Ray offers Stereo, DTS 5.1, and Dolby Atmos audio, but no video! All you get on your screen are some photos! That was an unwelcome surprise, for sure! Since it's not made specifically clear on the package that this is an audio-only BluRay, I -and almost everybody else who purchased it- naturally assumed we were getting a video recording of the concert with surround sound. I mean, it's not some ancient archive recording. It's a huge production at Wembley stadium in 2019! Many buyers felt cheated. After all, to be honest the PCM 5.1 sound (I can't judge the Dolby Atmos sound channel, since I don't have the appropriate equipment to listen to it on) isn't all that revelatory - slightly bigger and more vivid, especially in the orchestral parts, but I'm guessing that, had they known that there was no visual content in the BluRay, many buyers would have gone for the vinyl version instead. The official response to complaints was that "the Wembley concert wasn’t filmed for DVD or Blu-ray. The only filming was choosing  for the live back screens at the show." So the cameras were transmitting while a director chose which camera feed to project on the back screen. Although the primary material wasn't recorded, apparently we still have the visuals as they were projected on the back screen. Well, some of those visuals are available for free on youtube; they look quite good and complement the sound on those youtube videos perfectly! It's a pity they didn't also make them available to paying customers, to watch on their TV while listening to that nice crisp digital sound on BluRay, instead of watching a stupid slideshow. Anyway, purely music-wise, this is The Who (or, more correctly, Roger Daltrey and Pete Townshend) in respectably good form, playing some of their most famous and beloved songs. True, these "live with orchestra" versions can't compare to the studio ones, or with live recordings by the original band in their prime. It would be unreasonable from us to expect that. But they are just different enough for fans to want to listen to. If you are fans, if you already own their classic studio albums and some essential live Who from their 60's and 70's, and you are still not satiated, you may want to get this one, too. It certainly makes for a fun listen, and the orchestra adds a welcome new dimension. Too bad for the missed opportunity; some nice visual content might have elevated this to a 4* set. 

**** for Eminence Front, Imagine A Man, Pinball Wizard, Hero Ground Zero, Behind Blue Eyes, 5:15, Love Reign O'er Me,  Baba O’Riley

*** for Who Are You, Join Together, Substitute, The Seeker, Won't Get Fooled Again (Acoustic), Ball And Chain, The Real Me, I’m One, Tea & Theatre (Acoustic)

** for The Punk And The Godfather, Drowned, The Rock

The Who "The Kids Are Alright" rec.1965-1978 (comp)1979****

For a band so celebrated (or, if you prefer, notorious) for its powerful live performances, there was precious little documentation of that side of the band during their first 15 years: the 6-song LP "Live At Leeds" from 1970 and a few spots on the Monterey Pop and Woodstock festival films. Rockumentary film "The Kids Are Alright" and its accompanying soundtrack was their (or their record company's) attempt to fix it. As it transpired, it also marked the ending of a chapter and served as an epitaph for drummer Keith Moon, who died of an accidental overdose of prescription pills and booze at the age of 32. Some of his last performances were recorded for this film, which gathers rarities, concert and TV performances, spanning 14 years (1965-1978). The oldest of those "I Can't Explain" and "Anyway, Anyhow, Anywhere" (1965 TV performances) are fine but lacking in recording quality. From their 1967 appearance at The Smothers Brothers Comedy Hour, we get an explosive performance of "My Generation". The presenter makes a poor attempt at a humorous presentation, immediately forgotten when the band kicks in with their cataclysmic drums, trademark stutter and thundering bass solo. A great take on rocker "I Can See for Miles" from the same show is also included here. From 1968 and the German TV show "Beat Club" there's a terrific call-and-response "Magic Bus". "Long Live Rock" is an anthemic 1972 studio rocker and "Young Man Blues" a raucous Mose Allison cover that's long been a staple of The Who's live shows. "A Quick One While He's Away" is a cut from the (then still unreleased) TV program "Rolling Stones' Rock And Roll Circus" and it's possibly the definitive performance of this so-called mini rock opera. Supposedly the Stones opted not to release the show when they realized that guest stars The Who had actually outperformed them. Tracks 12-15 ("Tommy Can You Hear Me?"/"Sparks"/"Pinball Wizard"/"See Me, Feel Me") are excerpts from their rock opera "Tommy", mostly recorded during their legendary 1969 Woodstock performance. Moving on to the 70's, there's an energetic medley from '75 ("Join Together/Road Runner/My Generation Blues") and a rare lead vocal spot by John Entwistle in his own song "My Wife", which was included in the soundtrack but eventually left out of the film. Filmed in the Shepperton Film Studios shortly before the drummer's death in 1978, are two of The Who's greatest classics, "Baba O'Riley" and "Won't Get Fooled Again", both originally from "Who's Next".  Daltrey and Townsend are on top form. Mooney is just plain good instead of his usual amazing, but still it makes a great case for The Who as one of the best live bands ever. I saw them (well, Daltrey and Townsend at least) live recently and, despite being almost 70, they could put many younger bands to shame...

***** for My Generation, Magic Bus, Long Live Rock, Baba O'Riley, A Quick One While He's Away, Won't Get Fooled Again

**** for Happy Jack, I Can See for Miles, My Wife, Sparks, Pinball Wizard, See Me Feel Me, 

*** for I Can't Explain, Anyway Anyhow Anywhere, Young Man Blues,Tommy Can You Hear Me?, Join Together/Road Runner/My Generation Blues (Medley) 

Bettye LaVette "Interpretations:The British Rock Songbook" 2010****

Based on her voice, Bettye LaVette should by rights have been as big a star as Aretha Franklin or Roberta Flack. Yet, after a few R&B hits in the 60's, she disappeared until the early 00's when she was discovered by white audiences. In the last 10 years she's recorded more albums than in the preceding 40. She's not really a songwriter, more a master interpreter, and this album is her tribute to British Rock. It was borne out of a single occasion, a Kennedy Center show in honor of The Who. She was invited to sing "Love Reign O'er Me" from Quadrophenia and her emotive performance shook the house, almost moving guests of honor Townshend and Daltrey to tears. It was then decided that she'd do a whole album of British Rock to reciprocate the respect that British rockers showed to black blues artists when they were treated like outcasts in their own country. The album is accurately titled "Interpretations", as she really gives her own version of the songs rather than simply cover them. It starts off with "The Word", a Beatles (Lennon:"mainly mine") song from 1965. Her version is an upbeat gospel soul triumph that would have made John proud. The Beatles dominate this collection as she also chooses one song each from the solo albums of George, Paul and Ringo. Harrison's "Isn't It a Pity" gets a very sparse arrangement that allows the vocal performance to shine even brighter, but I don't much care for its funereal pace. Ringo's "It Don't Come Easy" is, like most songs here, slower than the original but well served by its Deep South blues rock arrangement. As the song says "Got to pay your dues if you wanna sing the blues/And you know it don't come easy". It sure didn't come easy for LaVette, who's been paying her dues for 50 years now. McCartney is a master writer of sensitive love songs and his "Maybe I'm Amazed" is perfect for her expressive voice. She's helped by the heartwarming string arrangements and Gilmour-like guitarwork. Which brings us to..."Wish You Were Here". For rock singers, tackling Pink Floyd's masterpiece can be intimidating, but LaVette felt at ease making changes to it - as she explains, these songs never got played on black radio stations in the US, so she didn't have any preconceptions about how they should be sung. She treats it like a blues - when they explained to her it's written about a former bandmember that died recently, she approached it as a lament for her singer friends that have left this world. It's a moving performance, embellished once again with strings. Led Zeppelin's "All My Love" is earthier than the original, with a smoky late night feel and a stirring tortured soul delivery. Traffic's "No Time To Live" is another slow song with a similarly emotive performance. As for "Don't Let Me Be Misunderstood", at first I didn't understand why it's here, For me it's foremost a Nina Simone song, but it seems that Bettye had The Animals' version in mind. She gives it a funky Southern Soul twist. The Rolling Stones' "Salt of the Earth" is completely reinvented as gospel. The song sounds as if it's just now found its true calling - Hallelujah, take it to the Mississippi to be baptised and let it forevermore be sung by Baptist choirs all over the American south! "Nights in White Satin" is a tricky one: in the wrong hands, it can get syrupy sweet instead of emotional. No such fear, that voice carries such passion and hurt it can never sound soft. "Why Does Love Got To Be So Sad" is introduced with some funky basslines - at last a much needed change a pace, with a James Brown-style dance rhythm and soul horns. Elton John's "Don't Let the Sun Go Down on Me" is another slow blues song and, frankly, the most indifferent track of this CD which closes with the aforementioned Kennedy Center performance. Such is the power of Bettye LaVette's voice, she can sing the phonebook and transform it into heart-wrenching blues. Imagine what she does with The Who's masterpiece. Wait a minute, you don't have to imagine it, just click on the video below!

***** for The Word" (Beatles)

**** for Don't Let Me Be Misunderstood (Animals), All My Love (Led Zeppelin), Wish You Were Here (Pink Floyd), It Don't Come Easy, (Ringo Starr), Maybe I'm Amazed (Paul McCartney), Salt of the Earth (Rolling Stones), Nights in White Satin (Moody Blues), Why Does Love Got To Be So Sad (Eric Clapton), Love Reign O'er Me (The Who)

*** for No Time To Live (Traffic), Isn't It a Pity (George Harrison), Don't Let the Sun Go Down on Me (Elton John)

David Bowie "Pin Ups" 1973***

This is one of those albums I've bought twice. There's no other way to get his version of Jacques Brel's "Port Of Amsterdam" (at the time a B-side to the "Sorrow" single) - one of my favourite songs from the great Belgian troubadour. I love Bowie's sparse, acoustic delivery and the way he brings the lyrics to life - the English translation of the song is poetic and wonderfully decadent. It wasn't part of the original LP, but included as a bonus track in the 1990 Rykodisc reissue and cruelly pulled out for later editions. That whole remastering program from 1990 saw Bowie's albums augmented with rare bonus tracks, and most of them were real gems which remain unavailable since. I own most of the Rykodisc reissues either on LP or CD, which means I own a big chunk of Bowie's catalogue twice. "Pin Ups" is considered at best a curiosity in Bowie's catalogue - at worst, a useless distraction. For a singer-songwriter in the midst of a phenomenal creative streak, it doesn't make much sense to release an album of covers from mid-60's British R&B groups. Of course one can argue that, next to his other innovations, Bowie also discovered the tribute album. In his own words, he wanted to present some of his favourite songs that he thought were unfairly neglected by American audiences at their time. It was a weird exercise in nostalgia, as these songs were only 6 or 7 years old - not yet golden oldies by any standards. When they originally surfaced, Bowie was an aspiring R&B/pop singer working under the name Davy Jones. By 1973 he was probably rock's greatest star, certainly one of the most interesting artists around, and the leader of the glam rock movement. Recorded immediately after "Ziggy Stardust" and "Aladdin Sane", he's backed here also by the Spiders of Mars, the sole change being Aynsley Dunbar on drums. Which guarantees that, while rarely surpassing the originals, these versions don't lack punch. Actually, if a weak spot even exists, it'd be Bowie himself, whose voice is a bit too mannered for some of the rougher songs. Mick Ronson being the guitar god he is, covers from Pretty Things ("Rosalyn", "Don't Bring Me Down"), Yardbirds ("I Wish You Would", "Shapes of Things") and Who ("I Can't Explain","Anyway, Anyhow, Anywhere") rock hard and are pretty exciting. They're mostly played in a straight, garage-y, manner. "Shapes of Things"is quite different from the original, with a more theatrical vocal delivery. prominent saxophone and keyboard. Ronson's guitar performance, at least, rivals Jeff Beck's original. "I Can't Explain" is also noticeably different, as it's played at a slower tempo. The change doesn't work in the song's favour. The Kinks' "Where Have All The Good Times Gone" is at least as enjoyable as the original while The Easybeats' "Friday On My Mind" misses something in the vocal department. Notice that the Easybeats were the only non-British band covered here: They're Australian, although none of its members were born there: They came from England, The Netherlands and Scotland (George Young, older brother of AC/DC's Angus and Malcolm). So I guess you can say the were at least part British, after all. Now, audiences in 1973 were very much familiar with Pink Floyd, but I doubt many of them had ever heard "See Emily Play", a Syd Barrett-penned single from 1967. Bowie's version utilises saxophone, wild piano and harpsichord, psychedelic guitars and classical strings - inventive and true to Barrett's spirit, if not to the song's original structure. Van Morrison's "Here Comes the Night" gives Bowie a chance to try his hand at soul while the Mojo's "Everything's Alright" is an upbeat soul/rock number a la Mitch Ryder. Finally, the album's lead single was paradoxically the slowest song, the Merseys' "Sorrow". On the other hand, it is the one most resembling 70's Bowie and such an obscurity that people would probably take it for an original composition. This reissue offers yet another rarity, a previously unreleased cover of "Growin' Up" by a then still unknown American artist called Bruce Springsteen. Say what you will about Bowie, there's no denying he's always had an eye for talent! Ultimately, "Pin Ups" is a pleasant album that finds itself in the awkward position of following up a string of masterpieces. It may nevertheless have been exactly what Bowie needed to shake himself free from the image of Ziggy Stardust and influence of glam rock and embark on the next stage of his career. 

**** for Rosalyn, I Wish You Would, Sorrow, Don't Bring Me Down, Port of Amsterdam

*** for Here Comes the Night, See Emily Play, Everything's Alright, Shapes of Things, Anyway Anyhow Anywhere, Where Have All the Good Times Gone, Growin' Up

** for I Can't Explain, Friday on My Mind

The Who "My Generation" 1965*****

I just caught The Who at Amsterdam, the last stop of their Who Hits 50 tour. Once more they didn't disappoint (I also saw them a couple of years ago, when they presented the whole Quadrophenia album). Of course their age shows, the manic energy of their 60's concerts is gone (and so has, thankfully. the destruction of their instruments onstage) but they can still play a rippin' good show. I guess that when they can't do it anymore, they'll just stop. They played music from all stages of their career, including two songs from this, their 1965 debut. It has been called "the hardest rocking LP" ever, a valid statement given the time of its release. Its relentless youthful energy provided the blueprint for much of the subsequent garage rock, heavy metal, and punk. Opener "Out in the Street" is a powerful garage/R&B number with a catchy chorus. It's followed by "I Don't Mind", the first of two James Brown covers (the other is "Please, Please, Please"). It may seem a strange choice for a hard rock band, but The Who (with their previous names, as the High Numbers and the Detours) were the house band of the mod movement, known for its meticulous dress code, love for scooters and soul music - hence The Who's early moniker "Maximum R&B". "The Good's Gone" is a great garage rocker with drawling vocals and "Much Too Much" sports a Dylan/ Byrds folk rock sound. "La-La-La-Lies" is a melodic Beatles-y number and "It's Not True" a mocking song featuring a Stones-y beat, Beatles-y harmonies and Townsend's trademark power chords. "My Generation" itself is an iconic song, an open call for rebellion against the older generation, topped by the infamous "I hope I die before I get old" line. I'm not sure how they feel playing it now that they've hit 70. Musically it's also a very aggressive song: 

Townshed's guitars are loud and distorted, Moon attacks his drums more furiously than anyone in memory and Daltrey's delivery is an angry and frustrated stutter (When I first heard him sing "Why don't you all f-f-f-f-fade away", I was half-expecting to hear f-f-f-fuck off). Not to be outdone, Entwistle puts in the coolest bass break I've ever heard. "The Kids Are Alright" is an autobiographical piece. As Daltrey told us, it came from feeling trapped in the role of a husband and father when je was just a 20 year old kid who wanted only to play rock 24/7. "Sometimes, I feel I gotta get away...Bells chime, I know I gotta get away/And I know if I don't, I'll go out of my mind/Better leave her behind with the kids, they're alright/The kids are alright" Musically, the first impression is that it sounds like the Beatles. Then you think yeah, if the Beatles had swallowed a bagfull of speed, causing Ringo to grow a couple of extra hands! Now, The Who weren't blues influenced like their contemporaries Animals/Stones/Yardbirds etc, but they did include a loose but aggressive blues jam in "I'm A Man". Halfway through it disintegrates in a haze of guitar feedback, manic drumming and disjointed piano keys banging. "A Legal Matter" is about divorce (pretty rare for that time since rock'n'rollers were barely out of their teens) and it's the first song sung by Pete Townshed rather than divorcee Roger Daltrey. The album closes with "Ox", a monumental surf instrumental all distorted guitars (predating Hendrix by a couple of years) and frantic drumming played at double speed. The fact that Keith Moon was barely 19 at the time beggars belief! The Who quickly outgrew this phase and wrote more sophisticated songs but, for sheer energy and power, they never surpassed "My Generation". And neither has anyone else, for that matter!      

***** for My Generation, The Kids Are Alright

**** for Out in the Street, The Good's Gone, It's Not True, A Legal Matter, The Ox

*** for I Don't Mind, La-La-La-Lies, Much Too Much, Please Please Please, I'm a Man

Tuesday, 3 February 2015

Wilko Johnson/Roger Daltrey "Going Back Home" 2014****

Everyone loves a story with a happy ending, don't we? Well, this cd has exactly this type of back story. Wilko Johnson was the guitarist of English pub-rockers Dr. Feelgood. He always cut an impressive figure on stage with his jerky movements, long limbs, angular face and wild stare. The producers of the Game of Thrones series recognized his imposing presence when they cast him on the role of Ser Ilyn Payne, the mute and menacing royal executioner. His guitar playing was equally no-nonsense angular r&b, indebted to the great Mick Green of 60's rockers the Pirates who could play simultaneously lead and rhythm guitar. After leaving Dr Feelgood, he briefly joined Ian Dury's Blockheads and subsequently led his own band with moderate results, since his vocal abilities did not match his guitar playing. In 2013, he was diagnosed with terminal pancreatic cancer and given a few months to leave. He responded with speeding up his plans to play and record as much good music as possible and reached out to one of his youth's inspirations to help him: The Who's Roger Daltrey. The two men had talked about co-operating before but pressing commitments meant that it kept getting postponed. This time they both rushed in the studio and came out one week later with the songs that make up this cd. As the months went by, Wilko gave his best time after time, playing every time what he thought was his last performance. His tumor kept getting larger and more painful but did not kill him. In the end he went into surgery and the operation that was deemed impossible proved a success. The doctors removed a tumor that was the size of a soccer ball and weighed 3 kilos! Today Wilko Johnson is declared cancer free and successfully recuperating from the extensive surgery he had. And the cherry on top of the cake is that his album with Daltrey was a huge hit, reaching No.3 at the UK chars, the highest since 1976 and Dr Feelgood's "Stupidity" album. And rightly so, because it is a very enjoyable album by two seasoned veterans enjoying themselves, playing rhythm and blues and rock and roll with the energy of men half their age! With the exception of an obscure 1965 Dylan single, the songs are chosen from Wilko's long career. The opening sentence of the album is an emphatic "I Wanna Live" followed by "...The Way I Like!" from "Going Back Home", written by a young Wilko in 1975 with the help of his idol Mick Green. Wilko's razor sharp riffs and Daltrey's swinging harp and roaring vocal combine for a rendition that equals, if not betters, the original. Overall, Daltrey's vocals are incredibly strong and youthful for a septuagenarian. If I hadn't recently seen him live with Who I'd doubt it's actually him singing. "Ice on the Motorway" references The Pirate's "Shakin' All Over", a song also frequently performed by The Who. "I Keep It to Myself" is another rock and roller that sounds like Elvis backed by an early version of The Rolling Stones. "Can You Please Crawl Out Your Window?" is a treat for Dylan fans and "Turned 21" a soul ballad that provides a breather before the funky "Keep On Loving You". "Some Kind of Hero" is the second Dylan-influenced track, but this time an an original composition. The Feelgood's "Sneaking Suspicion" is given a heavier and funkier twist, ditto for "Keep It Out of Sight". "Everybody's Carrying a Gun"'s highlight is its rolling piano and the closer "All Through the City" reminds us why Dr. Feelgood were such a big influence on punk. Overall an excellent album and such a natural pairing that I can't wait for the sequel, when Wilko's health permits it...

**** for Going Back Home, Ice on the Motorway, I Keep It to Myself, Some Kind of Hero, Sneaking Suspicion, Keep It Out of Sight, All Through the City 

 *** for Can You Please Crawl Out Your Window?, Keep On Loving You, Everybody's Carrying A Gun
 ** for Turned 21

  

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