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The Who View From A Backstage Pass - 2007
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(Problems with magnets links are fixed by upgrading your torrent client!)
or years, Who fans have been clamouring for Roger Daltrey and Pete Townshend to raid the vaults and release rare concert recordings of The Who at their performing peak. So, to celebrate the launch of their very first official website (www.thewho.com), they did just that â?? and compiled a twenty-six track set of rare or previously unreleased live material.

VIEW FROM A BACKSTAGE PASS (thewho.com, released 5 November 2007) features rarely performed numbers such as MAGIC BUS, SQUEEZE BOX, DREAMING FROM THE WAIST and BARGAIN, as well as a 24-page colour booklet featuring unseen photos from the bandâ??s archive.

â??This is the first ever live compilation weâ??ve put together with Keith and John playing,â??says Bob Pridden, long-time Who producer. â??This is The Who at their raw and powerful best!â??

The tracklisting includes material from the Hull City Hall gig, recorded the night after the legendary LIVE AT LEEDS show in 1970.

â??We actually wanted to use Hull as the live recording rather than Leeds,â?? says Bob Pridden, â??but when we listened to the playback, the bass was missing.â?? This story has been kicking around for years. â??The interesting thing is that we obviously didnâ??t listen all the way through. It was only when I was doing my research for this album that I found some tracks with the bass playing loud and clear, and with John on top form!â??

DISC ONE

1.FORTUNE TELLER(LISTEN)
Recorded at The Grande Ballroom, Dearborn, Michigan, 12 October 1969
2. HAPPY JACK (LISTEN)
3. I'M A BOY (LISTEN)
4. A QUICK ONE , WHILE HE'S AWAY (LISTEN)
Recorded at City Hall, Hull, 15 February 1970
5. MAGIC BUS (LISTEN)
Recorded at Mammoth Gardens, Denver, Colorado, 9 June 1970
6. I CAN'T EXPLAIN (LISTEN)
7. SUBSTITUTE (LISTEN)
8. MY WIFE (LISTEN)
9. BEHIND BLUE EYES (LISTEN)
10. BARGAIN (LISTEN)
11. BABY DON'T YOU DO IT (LISTEN)
Recorded at Civic Auditorium, San Francisco, California, 13 December 1971

DISC TWO

1. THE PUNK AND THE GODFATHER (LISTEN)
2. 5'15 (LISTEN)
3. WON'T GET FOOLED AGAIN (LISTEN)
Recorded at The Capital Centre, Largo, Maryland, 6 December 1973
4. YOUNG MAN BLUES (LISTEN)
5. TATTOO (LISTEN)
6. BORIS THE SPIDER (LISTEN)
7. NAKED EYE / LET'S SEE ACTION / MY GENERATION BLUES (LISTEN)
Recorded at Charlton Athletic Football Club, South London,18 May 1974
8. SQUEEZE BOX (LISTEN)
9. DREAMING FROM THE WAIST (LISTEN)
10. FIDDLE ABOUT (LISTEN)
11. PINBALL WIZARD (LISTEN)
12. I'M FREE (LISTEN)
13. TOMMY'S HOLIDAY CAMP (LISTEN)
14. WE'RE NOT GONNA TAKE IT (LISTEN)
15. SEE ME, FEEL ME / LISTENING TO YOU (LISTEN)
Recorded at Vetch Field, Swansea, Wales, 12 June 1976

// Quicktime required to play music //

Design and art direction by Richard Evans.


Fan Reviews
View From a Back Stage Pass

1. MARK SIRDOREUS
The Who are the very essence of live rock and roll. Thatâ??s a hard fact to dispute, whether youâ??ve been lucky enough to attend a Who show, or youâ??ve just seen some grainy live bootlegsâ?¦ rock as an art form was simply never as vital as it was with this group at the helm. And despite the fact that this has been repeated over and over in a mantra-like manner ever since The Who blew The Rolling Stones off the stage during the filming of the latterâ??s very own television special - resulting in the non-Who footage being shelved for umpteen years â?? getting a really good live album by the band besides the seminal 1970 LIVE AT LEEDS release has been a crapshoot at best. Too often Who fans had to make do with hastily assembled record label cash-in releases, and in some instances weâ??ve been sold albums from reunion tours with more backing musicians on the stage than actual official members of the band. None of these are uniformly bad or anything, but youâ??d think that a band that was indisputably built for the stage like The Who would have at least a few more choice live shows available from their peak years, right?

Well, fret no more. After years of fans clamoring for any scrap of good quality live material from the years between 1969-1976, weâ??ve finally been blessed with VIEW FROM A BACKSTAGE PASS â?? a two-disc live compilation from those very years, and not a moment too soon!

Now, one must understand that these platters were sourced from aging tapes, so thereâ??s an abundance of hiss, buzzing and other glorious artifacts of the era. None of those issues matter when youâ??re neck deep in some of this collections most choice cuts, of course. And letâ??s take a look at what is in store for the listener, eh?

The first disc kicks off with a slow and sludgy version of FORTUNE TELLER recorded in Michigan way back in 1969, and while itâ??s a nice trudging attack on the classic number, the following tracks culled from the fabled Hull â??70 gig are where the disc really kicks into high gear. For the uninitiated, The Who played in Hull two nights after the well-known Leeds show, and were it not for a few faulty wires rendering John Entwistleâ??s bass nearly inaudible for much of the tape, we might all be raving about the classic Live At Hull record instead. Solid run-throughs of HAPPY JACK and I'M A BOY are highlighted from this concert, but itâ??s a nearly ten-minute reading of A QUICK ONE, WHILE HE'S AWAY that absolutely threatens to melt the disc right inside of your player. Truth be told, this rendition nearly rivals the revelatory version from the aforementioned Rolling Stones Rock And Roll Circus show!

Keith Moon is well showcased in all of his explosive glory during a fourteen-version of MAGIC BUS recorded at a Denver show in 1970. Youâ??ll hear him clicking along on his little woodblocks for the first ten or so minutes while Roger Daltrey and Pete Townshend go through the motions of the songs well known call-and-response portion until he simply canâ??t hold back any longer. Moon bursts forth with a drum roll that lasts for almost six measures before pushing the tune into a stratospheric jam that would make even the most well-oiled jam band jealous.

In 1971, The Who were arguably at the peak of their live prowess, and itâ??s a flat-out travesty that more material from the WHO'S NEXT tour hasnâ??t officially seen the light of day. This is why the biggest treat in the collection is a six-song run from a their San Francisco stop on that very tour. Youâ??ll get to hear explosive versions of BARGAIN and MY WIFE that easily best their studio counterparts, and an extended performance of BABY DON'T YOU DO IT that showcases Townshendâ??s ability to effortlessly lead the band through any number of variations on even the simplest of themes, framed by the trademark cutthroat guitar tone of his Gibson SG and caterwauling runs and drones that allow Entwistle to noodle about. On even the cloest inspections of the track, itâ??s nearly impossible to figure out exactly who is really leading who, and itâ??s a great showcase of the quartets legendary near-telepathic improvisation abilities.

Disc two kicks off with a few tracks from the legendarily problematic 1973 QUADROPHENIA tour. The best of these is a kick-you-in-the-stomach rendition of THE PUNK AND THE GODFATHER, complete with great harmonies courtesy of Pete and John in the bridge and a miffed last verse that threatens to derail the song completely. Of course, the band pulls through and brings the tune to a gentle climax with a nod to MY GENERATION, and itâ??s this sort of â??bead of sweat and a bum noteâ?? mentality that ultimately makes VIEW FROM A BACKSTAGE PASS so rewarding: the best rock and roll is the type that sounds like itâ??s about to either explode or fall apart at any given second. And while each Who show was utterly unpredictable, it was always a fascinating wobble between pure danger and ecstasy.

Elsewhere on the second disc, youâ??ll find a stunning jam that melds together NAKED EYE, LET'S SEE ACTION and a slow, bluesy version of MY GENERATION from a heavily bootlegged 1974 show in Charlton. Donâ??t miss out on the last half of the disc, thoughâ?¦ not only do you get a great reading of the rarely performed DREAMING FROM THE WAIST that will have you wondering why the track isnâ??t considered part of the upper echelon of Who classics, but the album closes out with a mini-set from TOMMY in 1976 that will absolutely floor even the most jaded fan of rock music. Itâ??s the offbeat I'M FREE that steals the show during this portion, but the swooping prayer at the end of SEE ME, FEEL ME brings the disc to an ultimately satisfying end.

If you listen to VIEW FROM A BACKSTAGE PASS on headphones and close your eyes, itâ??s as close as youâ??re gonna get to the classic live Who experience. Youâ??ve got Pete and his guitar mixed to your right, Johnâ??s bass mixed hard left â?? bleeding through the other channel a bit, as is his wont â?? with Roger and Keith mixed right up the middle. Thereâ??s only a bit of audience noise at the beginnings and endings of the tracks, giving you nothing but pure, unadulterated Who action from start to finish. Their longtime soundman Bob Pridden mixed this one, so you know that this release was done right.

So, yes, itâ??s true that Iâ??m gushing like a little fanboy over The Whoâ??s VIEW FROM A BACKSTAGE PASS, but why shouldnâ??t I? Itâ??s got a better overview of the Whoâ??s best years than you can even get on the untouchable LIVE AT LEEDS, the set list absolutely rocks my socks off, and Iâ??ve played it over and over again since the discs hit my mailbox. The album is currently only available by subscribing to thewho.com, but Iâ??m hoping that will ultimately change. This album should not only be available to the general record buying public as the ultimate live Who album, but Iâ??d go as far as saying that this set should be issued mandatorily to anyone that even claims to have a passing interest in rock and roll.

Ladies and gents, if The Who is the best live band that rock and roll has ever seen, and VIEW FROM A BACKSTAGE PASS is their most all-encompassing live documentâ?¦ one could make the argument that VIEW FROM A BACKSTAGE PASS may be the greatest live album in rock history. And if you were to muster up the cajones to make that argument? Well, youâ??d be correct.



2. AARON BANDLER
Let me start my review by saying that I absolutely LOVE The Who and was ecstatic when I heard about VIEW FROM A BACKSTAGE PASS. It is worth the 50 bucks spent for this album, it is the best live album EVER! (And yes, better than LEEDS!)

Alrighty then, now for the breakdown:
Disc 1 kicks off with FORTUNE TELLER, a blues cover. It sounds exactly like the one off LEEDS, but still great! Next comes the tracks from Hull. All of these sound like their Leeds counterparts, but all of them have minor differences that beat Leeds. I'M A BOY has Pete singing "And then there's Rog, and he's a boy"- HILARIOUS! HAPPY JACK and A QUICK ONE feature more energy and more noticeable guitar playing by Pete (my favorite guitarist and my idol!). And now comes the best track on Disc 1: MAGIC BUS. If you liked the LEEDS version of MAGIC BUS, this will make your jaw your drop. It's almost 14 minutes long, and features stellar lead work from Pete and harmonica soloing by Roger while being fast and hard towards the end like LEEDS. And of course, this has a funny vocal interplay between Pete and Roger:
Roger: Hey mister, nice ride.
Pete: Are you talking to me?
Roger: Yes you.
Pete: WHO ME?!?
Roger: There can only be one you!
HILARIOUS! Following this amazing performance are the six tracks from the Civic Auditorium. Every member is in terrific form here as they rip through I CAN'T EXPLAIN and SUBSTITUTE with typical Who energy, MY WIFE with more great lead guitar from Pete, a bone chilling BEHIND BLUE EYES, and finishing with BARGAIN and BABAY DON'T YOU DO IT, both with great energy and contributions from each member. A fantastic way to end Disc 1.

Now Disc 2: It starts with Pete's beastly riff on THE PUNK AND THE GODFATHER, and then Moon's ferocious drumming kicks in and ends up being a great version. 5'15 is emotional and has a good solo by Pete. WON'T GET FOOLED AGAIN isn't as good as the one off THE KIDS ARE ALRIGHT but is still awesome, especially when Pete windmills a lot right before the second synth break. Charlton next: YOUNF MAN BLUES kicks it off, in which each member is great and it beats the LEEDAS version, followed by the funny, soft TATTOO, the Ox shines with his bass lines and his falsetto-growl on BORIS THE SPIDER, and NAKED EYE, the longest song on the album. Pete's solo here is insane, right after it they play Let's See Action and MY GENERATION BLUES as a jam and they get stuck in my head easily! And finally, the album ends with the songs from Swansea. SqQUEEZE BOX and DREAMING FROM THE WAIST beat their studio versions, the latter featuring jaw-dropping bass lines from The Ox. The Tommy tracks here are the result of combining awesome instruments of Leeds and the energy of Isle of Wight- PURE GOLD!! I'M FREE and PINBALL WIZARD are brimming with energy and more great guitaring by Pete, Keith's singing on TOMMY'S HOLIDAY CAMP is pretty funny, and WE'RE NOT GONNA TAKE IT and SEE ME, FEEL ME bring the album to a close, with Pete, John, and Roger's voices all in harmony, great fills by Pete and in awesome drum solo by Keith at the end.

All in all, VFABP is a fantastic album, even better Leeds, even though Leeds has better sound quality and the 15 min. My Generation. This album proves that The Who are the best band ever.

3. TIM 'CLASHWHO' EIMILLER
The Who are the greatest live rock 'n' roll band ever. VIEW FROM A BACKSTAGE PASS is twenty-six reasons why. The sound of The Who in concert is unlike any of their contemporaries. Other rock bands typically utilize bass and drums to lock down a rhythm that a guitarist uses as a foundation for lead playing. The Who upend this formula in spectacular fashion with a notoriously hyperactive bass and drum duo - John 'The Ox' Entwistle and Keith Moon. Meanwhile, their guitarist, Pete Townshend, uses the electric guitar as a rhythm engine, bashing out furious chordal riffs. This is the sound of Who legend. Occasionally, Townshend abandons his chordal duties and rips out intense, caterwauling solos. The result is three outstandingly idiosyncratic musicians soloing simultaneously, yet somehow staying locked in together and never forsaking pure rock power in the pursuit of virtuosity. Into this cataclysmic maelstrom lands the raw power of Roger Daltrey, a rock vocalist for the ages.

The set opens with a 1969 cover of FORTUNE TELLER that puts the 'maximum' in Maximum R&B, their original billing. From there we're off to Hull City Hall for the sixties singles HAPPY JACK and I'M A BOY and the world's first rock opera - A QUICK ONE WHILE HE'S AWAY - all recorded the day after their legendary set at Leeds University in February of 1970.

The next track is one of the many highlights of this collection - a nearly fourteen minute romp through MAGIC BUS. Moon clatters away on his wooden blocks while the Ox plunks away at a two note phrase, Townshend alternates between chordal work and single note soloing and Daltrey puffs into a harmonica. This goes on for a good ten minutes before the band, led by Moon, launch into pure rock 'n' roll abandon.

Then we're off to 1971 and San Francisco's Civic Auditorium for one of the best concerts of The Who's career. The Who are in top form at this gig, reaching a superlative level of performance that even surpasses their incredible 1969 and 1970 concerts. We get a whopping six cuts from this gig - the sixties singles I CAN'T EXPLAIN and SUBSTITUTE, followed by MY WIFE, BEHIND BLUE EYES and BARGAIN, all from WHO'S NEXT, and closing with a rollicking cover of BABY DON'T YOU DO IT. The interplay between the four members is extraordinary, particularly on the phenomenal studies in power and grace that are MY WIFE, BARGAIN and BABY DON'T YOU DO IT. Live rock 'n' roll simply doesn't get any better. It's nothing less than four masters of the form firing on all cylinders. Turn it up and blow your mind.

We're only halfway, hooligans! Disc two comprises three concerts. First up is three tracks from a 1973 gig in Largo, Maryland. We get scorching runs through the QUADROPHENIA barn burners THE PUNK AND THE GODFATHER and 5'15, followed by The Who's ultimate set closer - WON'T GET FOOLED AGAIN. Hearing this magnificent song from prime period Who is like manna from heaven. Keith Moon is revelatory.

From there we're off to the Charlton Athletic Football Ground in 1974 for a ragged take on YOUNG MAN BLUES, a sublime performance of THE WHO SELL OUT's TATTOO, and a potent run through A QUICK ONE's creepy-crawly masterpiece - BORIS THE SPIDER. That's followed by a fantastic medley of a stellar NAKED EYE, a delirious LET'S SEE ACTION and a groovy MY GENERATION BLUES. It's nearly fifteen minutes of Who bliss.

Our last stop is Vetch Field in Swansea, Wales, in 1976. First up are two THE WHO BY NUMBERS classics - a raw and rocking version of the pop hit SQUEEZE BOX and an absolutely storming run through one of The Who's ultimate chestnuts, the glorious DREAMING FROM THE WAIST. The Who roar with the force of a fleet of jet engines on this track. Moon, Entwistle and Townshend are positively relentless in pummeling their instruments while Daltrey soars over the top. It's a masterclass in rock 'n' roll, Who-style.

VIEW FROM A BACKSTAGE PASS closes with a TOMMY mini-set. It begins with the comically perverted FIDDLE ABOUT and then careens through the perennial crowd pleaser PINBALL WIZARD, the stomping I'M FREE, the bizarre TOMMY'S HOLIDAY CAMP, the fantastic WE'RE NOT GONNA TAKE IT and the pure rock epiphany that is SEE ME, FEEL ME / LISTENING TO YOU.

So there you have it. This is a document spanning eight years when rock bands ruled the Earth. When it came to the concert stage, The Who towered over them all. Listen to VIEW FROM A BACKSTAGE PASS and you'll hear why.
	


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Comments

Brilliant u/l
Many thanks!
Cheers M'dears!
Great u/l.
Superb upload - thanks so much. Rear cover artwork?
No I'm sorry. I don't have a scanner. This record is only available on The Who's homepage so I used a friends CD.
THANK YOU !
Thanks for this upload. Can someone please help to seed this? I've been stuck at 36% forever. Thanks!
Damn now I'm having a problem connecting to the tracker! ARGH!