The Who/OH, USA 1975

Live recordings from The Who from 1975 to 1976, which have been actively released in recent years. If anything, the latter has better sound sources, and it is still fresh in my memory that “GLASGOW 1976” was released even recently. On the other hand, regarding 1975, the release of items has decreased significantly in recent years, but it was “STUTTGART 1975″, which contained the famous performance at Studgart, that changed the situation. Since that was from the European tour in November 1975, it is natural that the next thing enthusiasts are looking for is a new sound source from the American tour in December. Speaking of this year in America, I wonder if there are some enthusiasts who fondly remember the release of the masterpiece “PROVIDENCE 1975” 10 years ago. However, since the sound source of this period has not been released, this time Cincinnati is a new sound source that will please enthusiasts who have been craving for the release of further sound sources and items. After all, on this day no sound source had been unearthed until now, and even the authoritative site “The Who Concert Guide” said that the set list was unknown. It was a time when it had already gained great popularity in the United States, so it was taken for granted that there was a sound source, regardless of the sound quality. Under such circumstances, just the fact that it is the first sound source to appear will attract attention from enthusiasts all over the world. This valuable sound source was included in a series of recordings of concerts held in Cincinnati in the 1970s by Taper himself, which were released one after another on YouTube in recent years. It’s surprising that even sites like “The Who Concert Guide” were not aware of this excavation, even though several years had already passed since its appearance. Because of that, the set list remained unknown for many years. This time’s sound source, which has been quietly released, is not only newly discovered, but also has a great sound quality. Compared to that “PROVIDENCE 1975”, it is a monaural audience recording with a sense of distance in the sound image, but the listening comfort brought about by the outstanding freshness is wonderful. This is proof that Taper has carefully stored the master cassette until now. Moreover, current YouTube allows you to upload audio without much compression. Perhaps that is also a factor in the outstanding freshness of this sound source. In front of this listening comfort, it is also a slight problem that cuts due to tape changes occur before “Sparks” of the “TOMMY” set and in the second part of “My Generation” at the end of the live performance. Therefore, it can be said that it is an audience recording that can be enjoyed with a really nice feeling when played from the speaker, and it is surprising that a sound source in such a wonderful condition could have remained dormant for such a long time on a day when the existence of no sound source had been confirmed until now. . If that’s the case, it would be natural to release it on a limited press CD, but this time the pitch, which was a little high (this is a phenomenon consistently seen in the Cincinnati sound source he released), was firmly adjusted. After all, since the source is YouTube, it would be difficult to correct the pitch if it were left as is, which would hinder viewing. And the performance on this day was also interesting. This is the show that follows the Pontiac Silver Dome opening performance (December 6th), which is familiar from that video, so I thought it would be a performance that inherited that runaway feeling, but this is different in a good way. Especially in the first half, it’s refreshing to see Keith, a drug addict, and Pete, an alcoholic, do a surprisingly neat backing. Were neither of them drunk? But that’s The Who. From the perspective of them at the time, it was a level of neatness, but the voltage of the performance was still quite high. Under these circumstances, it is exquisite to hear “Dreaming From The Waist” moistly. However, when it came to “Magic Bus,” both of them must have gotten a good feeling of intoxication, and their performance exploded with both momentum and a sense of recklessness. In fact, the momentum is tremendous, and it takes longer than usual to reach the development where the performance breaks with Roger’s harmonica as a signal. Furthermore, when it came to the “TOMMY” set, the two started to go wild, and in “Fiddle About”, Keith escalated his eccentric character in the same song more than usual, raising that strange voice as much as possible. On the other hand, it is really interesting that Pete teases the intro of “Tommy’s Holiday Camp” as if teasing Keith. The “TOMMY” set from 1975 to 1976 was a time of great excitement due to the movie’s blockbuster success, and some of the most interesting scenes from this period are captured. Not only is it a historical excavated sound source, but the sound quality is also surprisingly easy to listen to. In addition, the performance content with clearly different expressions between the first half and the second half is also worth listening to. From the tour that could be called the last peak of Keith’s live career when he was still alive, this is the first audience recording that will surprise enthusiasts around the world, capturing unknown masterpieces. Even if you are a maniac who has been unable to listen to it carefully on YouTube due to pitch problems, you can rest assured! Live at Riverfront Coliseum, Cincinnati, OH, USA 8th December 1975 TRULY AMAZING/PERFECT SOUND Disc 1 (46:24) 1. Intro 2. I Can’t Explain 3. Substitute 4. My Wife 5. Baba O’Riley 6. Squeeze Box 7. Behind Blue Eyes 8. Dreaming from the Waist 9. Boris the Spider 10. Magic Bus Disc 2 (55:58) 1. MC 2. Amazing Journey 3. Sparks 4. The Acid Queen 5. Fiddle About 6. Pinball Wizard 7. I’m Free 8. Tommy’s Holiday Camp 9. We’re Not Gonna Take It 10. See Me, Feel Me 11. Summertime Blues 12. My Generation 13. Road Runner 14. Won’t Get Fooled Again