The Who/Scotland,UK 1976

As a result, in 1976, which was Keith Moon’s last live year while he was still alive, there was a feeling that high-quality sound sources were concentrated on the American tour, and there were not many sound source items in Europe and the UK that took place in the first half of the year. . The masterpieces produced under such circumstances are “CHARLTON 1976” and “SWANSEA 1976” which are now sold out. Both became bestsellers as the two giants of the audience and soundboard representing short-term British tours. In particular, the former, which released the famous sound source of the overlooked 1976 version stage at Charlton, which had an overwhelming impression of the 1974 video, is a masterpiece that made mania go wild. Under such circumstances, this release will be released in Glasgow on June 5th. This was a performance that took place between Charlton and Swansea, and I can assure you that the content of the performance is guaranteed. As with his previous release, “BOSTON 1976,” in America, Keith was so immersed in the rock’n’roll life that it sometimes interfered with his live performance, but when he was on stage in his home country of England, his usual sense of recklessness disappeared. The good thing about it is that while it’s still the same, it’s not as dangerous as it was in America. This also applies to ZEP etc. from the same period. This time Glasgow is a monaural audience recording, but its texture is a model of a vintage audience. The sound quality has a deep sound image and a rich analog feel, so I would like you to play it at high volume through speakers rather than headphones to get the full feel of it. There may be some enthusiasts who feel that this is calmer and easier to listen to carefully than Charlton, which was recorded in stereo. To tell you the truth, the original sound source went beyond the analog-like texture and was recorded in a more fluffy state. When I tried adjusting that with equalization, it suddenly became easier to listen to. For enthusiasts who have already been able to obtain the original sound source on the internet, it may seem so over-the-top that they would feel foolish for listening to it themselves. On the other hand, there are some hisses that are typical of a vintage audience, but if you ignore this, you will lose the analog flavor. We only made minor adjustments in this regard. What’s interesting about this sound source is that, perhaps because it was a 70’s rock concert held at an outdoor venue, right after the live performance started, Roger’s vocals and Keith’s drums sounded in a great balance. Still, the greatness of this sound source is that it doesn’t make you feel stressed while listening, and it makes you realize that Keith’s genius drumming supported The Who’s performance. After Keith passed away, Roger missed the way Keith played the drums, as if he were breathing into his songs, and the bass drum kick heard here is exactly in tune with Roger’s songs. It’s interesting to understand. His greatness lies in the fact that while he played such flashy drumming, he also supported the singers. That’s why you can enjoy such unique sound quality. Also, as a very rare scene, John Entwistle will be in charge of introducing the song “Baba O’Riley”. This is unusual since most of the songs were introduced by Pete or Roger. It clearly conveys that Pete would have told him, “John, you should talk once in a while,” and at the same time, it’s actually rare to see John acting so intently as MC at a Who’s live performance. I think so. Even after this, Keith is shouting at him before the “TOMMY” part starts, and this day may have been “Messing around with John”. What’s more, the balance of the performance improves from around the same song. And due to the huge success of the movie version, the shortened version of “TOMMY” was introduced again from the previous year, but this is a very high-voltage performance that you can listen to in no time. Among them, “We’re Not Gonna Take It” is played more clearly and intensely than usual. As the performance neared its end, and “listening to you” was chanted repeatedly, the audience got involved and the excitement was tremendous. However, it is also an attractive day with a sharpness that is a little different from the out-of-control performances in America. The famous performance and sound source of 1976, which was buried between Charlton and Swansea, will be released! Live at Celtic Park, Glasgow, Scotland 5th June 1976 TRULY AMAZING/PERFECT SOUND Disc 1 (40:22) 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. Magic Bus Disc 2 (54:22) 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. Join Together 14. My Generation Blues15. Won’t Get Fooled Again