Who,The Who/MD,USA 12.06.1973 Upgrade

Since one half of the stereo radio soundboard, a standard sound source of The Who’s 1973 tour, has been upgraded to “PHILADELPHIA 1973 SOUNDBOARD”, it is inevitable that the other standard, Largo on December 6th, will also be upgraded. These two have always been released at the same time, and many enthusiasts predicted that “next will be Largo” after the previous release. Although Largo was recorded for the radio of “KING BISCUIT FLOWER HOUR”, there were few takes that were actually used for broadcast, and it had a rougher texture than Philadelphia since it was released on “WOLFGANG’S VAULT” in 2007. Adding to that, the metallic texture and the difficulty of hearing Keith Moon’s cymbals due to the limitations of the distribution technology at the time. Nevertheless, it was popular because it was originally a stereo soundboard recorded on a multi-track, and it was repeatedly reissued after the artwork was changed to a yellow jacket. However, it is true that the overall sound quality was inferior to Philadelphia. So, following the previous highly popular Philadelphia, GRAF ZEPPELIN has once again restored the latest distribution version. Originally, this full-length version of Largo had a chronic condition of muddy sound at the moment recording began, and the finale “See Me, Feel Me” fades out (probably because recording ended), which remains the same this time. However, after 10 seconds from the start of I Can’t Explain, the view suddenly improved, and it became much easier to listen to compared to the past three releases! At this point, the difference in sound quality is obvious without even having to bring up the titles of the previously released albums. Since this is a day with many takes that were not basically adopted for radio, the sound quality itself is rougher than Philadelphia, but on top of that, it is easier to listen to than the past three reissues. When it comes to songs with Keith’s cymbals prominent in the distribution on this day, the sense of discomfort that is piercing when listening to the slurping or tingling sound has been greatly improved. As with the previous Philadelphia, if you listen with headphones, you should finally be able to feel the difference. In fact, in both Philadelphia and Largo, the unnaturalness of the cymbals was difficult to deal with in the past, and it was not possible to hear them with headphones. Although the strength of the stereo soundboard is that it is easy to disguise things from speakers, the upper feeling this time is too obvious. And there are not many stereo soundboards that teach the joy of listening to live performances recorded in succession for the past two days. The atmosphere of the live performance is completely different from that of Philadelphia. Largo was the last day of the tour, so I thought the atmosphere would be happy, but from the beginning, the crowd in the arena did not calm down, and the scenes where Pete and Roger calmed the audience many times, starting from the end of “Summertime Blues”, convey the tension as a document. Furthermore, when it comes to “My Generation”, the recording of John’s bass is interrupted in the second half. This is unique to the soundboard, but if you listen carefully, it seems that the sound of John’s bass was picked up by other microphones, and it was sounding fine at the venue on the day. In other words, the multi-track was suffering from problems recording his bass. Not only at Hull University in 1970, but here too, there was an incident where John’s bass recording failed. Amidst all this, unlike Philadelphia, the performance of “The Real Me” was carried out without playing the tape of “I Am the Sea”. Furthermore, there were some scenes, such as before the start of “I’m One”, where Pete took time to tune, leaving a gap, so there were some turmoil throughout the whole performance. And just when it seemed that they had managed to include “Love, Reign O’er Me”, which they were unable to record in Philadelphia, Pete made a series of mistakes. Indeed, it was only because the full-length version was released that we were able to find out why Largo’s take was so poorly adopted in the actual broadcast version, as typified by “TALES FROM THE WHO”. Nevertheless, the fact that the tension of the performance did not drop at all is typical of The Who in 1973, and in fact, the sight of John singing the backing chorus with all his might during the intense performance of “Doctor Jimmy” is also a smiley one. On the contrary, the “QUADROPHENIA” part is still powerfully played even after the happenings continue. Although this is a sound source that has long been known as a famous recording that allowed you to hear two days with such different atmospheres on a stereo sound board, it was urgent to release it in a calm state without any metallic smell. It is also a sound board of a classic radio outtake that has been eagerly awaited for reissue. Following the popular Philadelphia, this time it has been reborn as a much easier to listen to version thanks to the precise adjustment of “GRAF ZEPPELIN”. And above all, it will be a long-awaited upper performance for the enthusiasts who were looking forward to Philadelphia last week. Freed from the unnaturalness of the cymbals, please enjoy Lago’s great performance that was unfazed by the happenings! Remastered based on the latest recording from WG! Digital unnaturalness is wiped out. Live at Capital Center, Largo, MD, USA 6th December 1973 STEREO SBD 2025 TRANSFER & UPGRADE!! Disc 1 (48:11) 1. I Can’t Explain 2. Summertime Blues 3. My Wife 4. My Generation 5. The Real Me 6. The Punk And The Godfather 7. I’m One 8. 5:15 9. Sea And Sand Disc 2 (52:35) 1. MC 2. Drowned 3. Bell Boy 4. Doctor Jimmy 5. Love, Reign O’er Me 6. Won’t Get Fooled Again 7. Pinball Wizard 8. See Me, Feel Me Roger Daltrey – Vocals, Harmonica Pete Townshend – Guitar, Vocals John Entwistle – Bass, Vocals Keith Moon – Drums, Vocals STEREO SOUNDBOARD RECORDING