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Post by peteisgod on Apr 20, 2014 10:16:54 GMT
As we know, when the band played small venues and clubs in Europe, they were already "superstars" in the US (like Led Zeppelin)played in a front of much larger crowd. In some points, the Who shows in America were more intense and sometimes powerfull than in Europe. In some ways, a lot of US gigs were the higlights of Who tours. It's not always true, of course. But, some examples according to me :
- The London Coliseum shows are great, but they can't beat the intensity of the american fall tour from 1969.
- For the 1970 segment of the "Tommy" tour, Tanglewood is IMHO really far better than the IOW show.
- UK shows for the 1971 tour are good, but the US Tour got the San Francisco and the Long Beach incredible shows.
- According to Pete the UK Tour 1973 of Quadrophenia was a disaster. But what about the incredible Philly show ?
- Some really smokin' hot shows in Europe during 1979, but the MSG run from september are without a doubt the higlight of this tour. It was almost the same thing for the 1974 tour.
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jch432
Loves that CSI tune
Posts: 41 
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Post by jch432 on Apr 20, 2014 13:58:03 GMT
I always thought that the US audiences and the band were complicit in developing the Who's ultimate live sound; aggressive, explosive, adventurous, bold, energetic, fearless, etc, lol ... so '60's Americana, don't you think ... in the best way, I mean. Townshend so moved he concludes his most ambitious of projects, Tommy, with a big tip of the hat & thank you to the fans that accepted him and his band like long lost brothers coming back from war.
It amazes me how close minded the Who group are to creative possibilities of the bands recorded history from this wonderful era. Who cares about the quality, it is what it was and always will be. Imagine a 'box set' that focuses on the events surrounding the band when they played Paris in '72. I'm not talking studio outtakes, I would love fan reports, cultural considerations, what remains of Pridden's stage recording, the various video footage rumoured to exist ... I think a discussion of the political winds and youthful wims of the times would be provide rich cultural ambience and social context that the Who's music so incredibly defines and holds accountable.
They should, if possible, release the complete set of 1974 New York shows; similar fashion. From Murray the K to Madison Square, the band were at their absolute zenith imho, warts and all, remarkably intact, battle worn, and uncompromising. The most exciting live rock n roll band that ever was and ever will be.
I'm getting a bit on to keep dreaming like this, but, really, surely more stage recordings exist ... maybe a reality show is in order!
-John
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Post by jimana13 on Apr 20, 2014 21:20:48 GMT
"As we know, when the band played small venues and clubs in Europe, they were already "superstars""
their own fault of course.... I you don't have effort... their "touring" in Europe was/has been always rather a joke..
played as good 1970 tour Tommy sections in europe as in USA
I find 1973 UK shows as good USA shows... this disaster thing have always been hilariously over blown..
1979 Europe shows are as good USA shows, and how on earth anyone would call MSG shows higlight of this tour, set lists yes but definately not performaces
when you treat actual shows like rehearsals.. ehh.. oh well..
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Post by Ineedanewname on Apr 21, 2014 18:59:33 GMT
"As we know, when the band played small venues and clubs in Europe, they were already "superstars"" their own fault of course.... I you don't have effort... their "touring" in Europe was/has been always rather a joke.. I suppose that's pretty understandable given the much larger size of venues available on US tours, and the assorted other freedoms not so easily available in their home country. I read an interview once with Jimmy Page from his early Led Zeppelin days where he spoke of the huge come down of having to play small town halls and the like in the UK after filling out large concert halls and stadiums in the USA. For him returning home to perform almost felt like relegation to the second division. I'd assume it was similar for The Who, or any big British band of that period. I find 1973 UK shows as good USA shows... this disaster thing have always been hilariously over blown.. Totally agree. The Edmonton bootleg, despite its atrocious quality, is evidence of just how good the band were on that tour. |
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Post by quadboy555 on Apr 22, 2014 14:13:48 GMT
I read an interview once with Jimmy Page from his early Led Zeppelin days where he spoke of the huge come down of having to play small town halls and the like in the UK after filling out large concert halls and stadiums in the USA. For him returning home to perform almost felt like relegation to the second division. I'd assume it was similar for The Who, or any big British band of that period. i always felt that The Who purposely played smaller UK venues to stay connected/closer to their original audience,and this is where Pete garnered so much influence/ideas/thoughts/inspiration etc from. they played large US venues to make up for the short fall of income from the UK shows. |
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Post by Ineedanewname on Apr 22, 2014 21:58:03 GMT
Well, in the 1960s they wouldn't have had much choice in the UK to play anything other than small venues. The concert infrastructure didn't exist as it did in the US, there was no stadium circuit.
At that time in Britain bands would commonly climb the ladder from church hall to pub to nightclub, and when they got really big they'd ascend to the dizzy heights of performing in cinemas and theatres.
Once they became internationally famous The Who did seem to have a different attitude toward success than some of their peers. They appeared happy to continue pounding the smaller stages of the UK circuit, whereas many of the latter focused their energies Stateside or spent periods living outside of the country to evade the UK taxman...each of which pushed them further away from being in-touch with their British fanbase in a manner not experienced by The Who.
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Post by whoireland on Apr 23, 2014 9:00:10 GMT
Even when the beatles came to Ireland at the height if beatle mania they played in a cinema...
Now we have one direction playing multiple nights in a 80,000 seat stadium
So things are obviously better now.
Ehh.....
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Post by quadboy555 on Apr 23, 2014 12:15:11 GMT
Well, in the 1960s they wouldn't have had much choice in the UK to play anything other than small venues. The concert infrastructure didn't exist as it did in the US, there was no stadium circuit. At that time in Britain bands would commonly climb the ladder from church hall to pub to nightclub, and when they got really big they'd ascend to the dizzy heights of performing in cinemas and theatres. Once they became internationally famous The Who did seem to have a different attitude toward success than some of their peers. They appeared happy to continue pounding the smaller stages of the UK circuit, whereas many of the latter focused their energies Stateside or spent periods living outside of the country to evade the UK taxman...each of which pushed them further away from being in-touch with their British fanbase in a manner not experienced by The Who. Yes,the large venues weren't nationwide,except maybe London and Wembley arena. any idea when it was built? was it in existence by the 7 '73 London Quad shows? but the move into the arenas [and the Charlton ground shows etc] was put forward by Curbishley,and not the band. |
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Post by Ineedanewname on Apr 23, 2014 13:05:38 GMT
Wembley Arena has been used as a music venue since the 1960s when it was known as the Empire Pool (originally having been constructed as an Olympic swimming pool. Boring fact; Today's lower seating area used to be the pool). It became known as Wembley Arena sometime in the early 1970s.
I believe The Who played there just a couple of times in the 1960s, once as part of the NME Poll Winners line-up and once as part of a student ball. It seems the venue at that time was used for special rather than regular music events.
The largest venues on the 1973 Quadrophenia tour were cinemas and theatres.
The other big London venue was Earls Court, which like Wembley Arena was used for multiple purposes with music generally as a special event. I could be wrong, but I can't think of The Who playing there until the Quadrophenia shows of the 1990s.
As Whoireland points out, things are obviously better now.....well they would be if the demolition of decent music venues in London would cease!
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Post by teessidetone on Apr 27, 2014 9:44:20 GMT
wonder why no one thought of using football grounds (before they became football stadiums) earlier, money making opportunuities for all parties lost there!!
on another point of the 50th tour, wopuld be nice to see them celebrate it by playing some of their original stamping ground venues , ones that are still standing!
maybe you london chaps on here know which 1964 venues are still in existance
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Post by Ineedanewname on Apr 27, 2014 13:26:14 GMT
1964 venues? Off the top of my head... The Railway Hotel was demolished, as were the Oldfield Tavern and the Marquee Club. The Scene Club is gone, but clear the floorspace of the restaurant now occupying the building and you've got enough room to position a few amps, a drumkit and microphones. Same for the Glenlyn Ballroom, which I believe is now an Indian restaurant. Shift some tables and you're good to go. The Goldhawk Club is still a social club but under a different name, so they could theoretically play there. The 100 Club is still a club, so there's another. Greenwich Town Hall, The Red Lion in Leytonestone and The White Hart in Acton all still exist (with the latter renamed The Redback). So you have enough for a mini-tour. Get on the phone to Trinifold and get bookin' them venues!  |
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Post by teessidetone on Apr 27, 2014 21:48:46 GMT
excellent, am sure they must be more out there in other parts of the country
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