Thanks bye bye johnny - good news!

A couple of reviews:

Review: The Who’s Roger Daltrey makes triumphant return to stage
The Who performed Oct. 9 at Chase Center

By Jim Harrington | Bay Area News Group
PUBLISHED: October 10, 2019 at 1:00 am | UPDATED: October 10, 2019 at 8:48 am

"The collaboration between rockers and orchestral musicians really paid off handsomely,
taking songs such as “Overture” and “We’re Not Going to Take It” to heights that they probably haven’t reached for many years prior to this tour".

WHO

Fans cheered wildly at the sight of Roger Daltrey taking the stage on Wednesday, Oct. 9, at San Francisco’s Chase Center.
And they certainly had an added reason to hoot and holler this time around, given that it was anything but a sure thing that the Who front man would even make it to the show. The last time he took the stage was some two weeks ago, when he lost his voice and had to stop midway through a show in Houston. It was later announced that Daltrey had bronchitis and that two other concerts, in Denver and Dallas, would also need to be postponed. Thus, there was some heavy anticipation, and maybe even a little trepidation, to be felt in the crowd as The Who prepared to perform its first show since that abbreviated Houston gig.

Would Daltrey be ready to sing? And, if so, how would he sound? Fortunately, the 75-year-old vocalist was able to put all those fears to rest as he grabbed the microphone and launched into a string of strong offerings from 1969’s iconic “Tommy” double-LP set. Daltrey was definitely back and once again ready for the spotlight, leading the charge with longtime mate Pete Townshend and the rest of the touring band, which includes guitarist Simon Townshend, keyboardist Loren Gold, bassist Jon Button and drummer Zak Starkey (yes, Ringo Starr’s son). And they weren’t alone. The band was accompanied by a wonderful 48-piece orchestra, under the direction of conductor Keith Levenson, giving these Who classics extra oomph and depth.

Townshend, as per usual, did most of the talking onstage, saying how happy the band was to be back in the Bay Area and showing concern for the situation that locals are currently facing with power outages and the threat of fires. “We know you have some worries tonight,” said the 74-year-old guitarist. “But for those of us with faith, we can only count on a higher power to keep our homes safe tonight.” He also wanted to get a sense for the crowd — especially in terms of its age range. After performing what he described as the band’s first U.S. hit, 1967’s “I Can See for Miles,” he’d ask, “So, who wasn’t born in 1967?” And not many hands went up.“(Expletive) hell, there isn’t many. Well, it’s great to be at the old people’s Who show,” adding that there would be wheelchairs and oxygen available to the fans after the gig ended. He’d also send a message out to what he estimated to be about four millennials in the crowd:“We just hope you get to have a laugh sometime soon.” Daltrey didn’t add much to the between-song stage banter other than to make his usual request for people to stop blowing smoke in his direction. “Whoever is smoking pot in the front row, can you please smoke it the other way or eat it?” he said.

The band’s set — which followed a performance by opening act Liam Gallagher of Oasis fame — was divided up into three parts. The first and third had the band performing lush arrangements with the orchestra, while the middle section was just the band itself, sans orchestra. The collaboration between rockers and orchestral musicians really paid off handsomely, taking songs such as “Overture” and “We’re Not Going to Take It” to heights that they probably haven’t reached for many years prior to this tour. Yet, the band-only portion was also quite enjoyable and served as a nice complement to what came before and after, allowing The Who — and especially Townshend –- the chance to stretch out in ways that would have been hard to do in the more-regimented environment that comes with performing with an orchestra.

As the show passed its midpoint, it grew increasingly difficult to even remember that Daltrey had recently been dealing with serious vocal issues. His voice only grew stronger and more assured as the night progressed, as he rocked the house with big versions of “The Real Me,” “5:15” and other fan favorites.

____________________________________________________________________________


REVIEW: The Who combine ambition and style at Chase Center

Alexander Baechle
October 10, 2019, 4:06 am

"The band charged through the first half of its set with energy and agility. Daltrey seemed fully recovered from his illness.
Townshend whirled and dashed, engaging his bandmates".

WHO

SAN FRANCISCO — The Who have never shied away from making big statements, achieving mega-stardom in time for Woodstock with the bold rock opera Tommy. From that point on, the conceptual aspirations of guitarist and primary songwriter Pete Townshend were buoyed by the musicianship of a band that at times exuded strength, abandon, tenderness and profundity. This virile recipe came to define the band. While confined to the standard rock format of bass-drums-vocals-guitar, The Who’s music nevertheless seemed to hint at something more transcendent and searching. Wednesday, as part of their Moving On! Tour, England’s inimitable mod-ruffians-turned-arena-rockers melded ambition and panache at Chase Center with a symphonic synopsis of their bright career.

The band was accompanied by a 51-member orchestra conducted by Keith Levenson (who’s worked with the Boston Pops, among many others). The orchestra encircled the band and brought new layers of texture to familiar songs. “Overture” kicked off the show with a processional air and enhanced sense of drama. More highlights from Tommy followed. Frontman Roger Daltrey, recovering from bronchitis, at first appeared to be holding back a bit as though he was rationing his firepower for the duration of the 22-song set. He had been unable to finish a concert in Houston and the band postponed two others leading up to the San Francisco performance.

On “Amazing Journey,” Townshend and Daltrey, the two remaining original members of The Who, generated a spark of excitement with their signature moves. Townshend struck his guitar strings in windmill fashion, while the 75-year-old Daltrey gyrated with alacrity and swung his microphone on its cord like a bull rider with a lasso. The band ran through the instantly recognizable “Pinball Wizard,” and Townshend raked gruff chords and glorious sustain from his gold Stratocaster. “We’re Not Gonna Take It” followed, as Daltrey put the full force of his voice behind the emotional crux of Tommy, uttering, “See me, feel me, touch me, heal me.”

The band charged through the first half of its set with energy and agility. Daltrey seemed fully recovered from his illness. Townshend whirled and dashed, engaging his bandmates. He spoke good-naturedly to recognize John Lennon’s birthday and to poke fun at his and Daltry’s advanced ages. A textured drapery hung behind the large ensemble. Percussion players occupied a riser behind longtime drummer Zak Starkey. Flanking the percussionists were two additional platforms with the woodwind and brass sections. The string section was spread to both sides.

After playing a few deeper cuts the orchestra retired to the wings for several songs that the band performed by itself. The Townshend-sung “Eminence Front,” from 1982’s It’s Hard, was a crowd pleaser with a tough, fibrous backbeat. Townshend introduced 1975’s “Imagine A Man” with an appeal to millennials, wishing them the opportunity to “have a laugh someday.” The song made its live debut on the Moving On! Tour.

This was followed by new tune “Hero Ground Zero,” from the forthcoming album Who; an optimistic and devotional “You Better You Bet,” and the first appearance of songs from The Who’s landmark album, Who’s Next.

In what at first seemed an odd choice, Daltrey and Townshend performed the usually raucous “Won’t Get Fooled Again” as a duet. Townshend donned an ornate Gibson acoustic guitar and played open chords high on the neck as Daltrey belted out the anthemic chorus. Townshend added an adroit finger-picking passage before ending the powerful rendition with a manual delay effect on the final chord. The duo was then joined by violin and cello for an eerily pretty “Behind Blue Eyes” while the orchestra filed in and reassembled itself around the band.

The final phase of the concert began with selections from double-album Quadrophenia. Townshend’s younger brother Simon presented some fine leads on a red Gibson SG guitar. Epic number “The Rock” benefited most from the symphonic treatment, with horns making a grand entrance and added nuance emerging from the fuller arrangement. Highlight “Love, Reign O’er Me” was introduced by an impressive baroque piano interlude performed by touring keyboardist Loren Gold. Daltrey seemed only to get stronger as the set progressed. His performance culminated in raw inflections that recalled his younger self, tinged with a tad more anguish and evocative pitch-bending.

Before bidding farewell, Townshend returned to the microphone to introduce the band and orchestra players. Always charismatic in his public addresses, he took a moment to praise his long-time compatriot, Daltrey. He then asked the crowd to remember that Daltrey is “even older than I am.” Daltrey returned the commendation. The band, before allowing the proceedings to get sappy, closed with the unmitigated classic “Baba O’Riley” as Daltrey incited fans to sing along.

______________________________________________________________

Looking forward to tomorrow and Sunday night at the Hollywood Bowl, and maybe even the third show on the 24th!

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

Review: The Who’s Roger Daltrey makes triumphant return to stage

The Who performed Oct. 9 at Chase Center

Jim Harrington | October 10, 2019


Ray Chavez/Bay Area News Group

[www.eastbaytimes.com]

Glad to hear Roger bounced back.

They're scheduled to play in Seattle outside at the baseball stadium on the 19th. Forecast right now has it at 47-52 degrees with rain. I don't know if I want to stand through that, much less have to sing for two hours.

Quote
Javadave
Glad to hear Roger bounced back.

They're scheduled to play in Seattle outside at the baseball stadium on the 19th. Forecast right now has it at 47-52 degrees with rain. I don't know if I want to stand through that, much less have to sing for two hours.

Haha for the sake of many fans, please don't sing!

One of my memories of seeing the Who at the L.A. Coliseum in 1982 was a fat drunken dude behind me singing Behind Blue Eyes at the top of his lungs from start to finish w/tears rolling down his chubby cheeks!
Funny after all these years that's the first thing that comes to mind when I think of that show - that and the fact that the Clash as openers were far better.
Thankfully though all great memories from the first time I saw them a couple of years earlier.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

I planned in going to this show but parking / transportation to this location being a real PITA, I passed.

30 years ago tonight I was fourteen years old, standing with my brother and friends in the NEC Birmingham (England) watching the mighty Who!

Quote
Hairball
Thanks bye bye johnny - good news!

A couple of reviews:

Review: The Who’s Roger Daltrey makes triumphant return to stage
The Who performed Oct. 9 at Chase Center

By Jim Harrington | Bay Area News Group
PUBLISHED: October 10, 2019 at 1:00 am | UPDATED: October 10, 2019 at 8:48 am

"The collaboration between rockers and orchestral musicians really paid off handsomely,
taking songs such as “Overture” and “We’re Not Going to Take It” to heights that they probably haven’t reached for many years prior to this tour".

WHO

Fans cheered wildly at the sight of Roger Daltrey taking the stage on Wednesday, Oct. 9, at San Francisco’s Chase Center.
And they certainly had an added reason to hoot and holler this time around, given that it was anything but a sure thing that the Who front man would even make it to the show. The last time he took the stage was some two weeks ago, when he lost his voice and had to stop midway through a show in Houston. It was later announced that Daltrey had bronchitis and that two other concerts, in Denver and Dallas, would also need to be postponed. Thus, there was some heavy anticipation, and maybe even a little trepidation, to be felt in the crowd as The Who prepared to perform its first show since that abbreviated Houston gig.

Would Daltrey be ready to sing? And, if so, how would he sound? Fortunately, the 75-year-old vocalist was able to put all those fears to rest as he grabbed the microphone and launched into a string of strong offerings from 1969’s iconic “Tommy” double-LP set. Daltrey was definitely back and once again ready for the spotlight, leading the charge with longtime mate Pete Townshend and the rest of the touring band, which includes guitarist Simon Townshend, keyboardist Loren Gold, bassist Jon Button and drummer Zak Starkey (yes, Ringo Starr’s son). And they weren’t alone. The band was accompanied by a wonderful 48-piece orchestra, under the direction of conductor Keith Levenson, giving these Who classics extra oomph and depth.

Townshend, as per usual, did most of the talking onstage, saying how happy the band was to be back in the Bay Area and showing concern for the situation that locals are currently facing with power outages and the threat of fires. “We know you have some worries tonight,” said the 74-year-old guitarist. “But for those of us with faith, we can only count on a higher power to keep our homes safe tonight.” He also wanted to get a sense for the crowd — especially in terms of its age range. After performing what he described as the band’s first U.S. hit, 1967’s “I Can See for Miles,” he’d ask, “So, who wasn’t born in 1967?” And not many hands went up.“(Expletive) hell, there isn’t many. Well, it’s great to be at the old people’s Who show,” adding that there would be wheelchairs and oxygen available to the fans after the gig ended. He’d also send a message out to what he estimated to be about four millennials in the crowd:“We just hope you get to have a laugh sometime soon.” Daltrey didn’t add much to the between-song stage banter other than to make his usual request for people to stop blowing smoke in his direction. “Whoever is smoking pot in the front row, can you please smoke it the other way or eat it?” he said.

The band’s set — which followed a performance by opening act Liam Gallagher of Oasis fame — was divided up into three parts. The first and third had the band performing lush arrangements with the orchestra, while the middle section was just the band itself, sans orchestra. The collaboration between rockers and orchestral musicians really paid off handsomely, taking songs such as “Overture” and “We’re Not Going to Take It” to heights that they probably haven’t reached for many years prior to this tour. Yet, the band-only portion was also quite enjoyable and served as a nice complement to what came before and after, allowing The Who — and especially Townshend –- the chance to stretch out in ways that would have been hard to do in the more-regimented environment that comes with performing with an orchestra.

As the show passed its midpoint, it grew increasingly difficult to even remember that Daltrey had recently been dealing with serious vocal issues. His voice only grew stronger and more assured as the night progressed, as he rocked the house with big versions of “The Real Me,” “5:15” and other fan favorites.

____________________________________________________________________________


REVIEW: The Who combine ambition and style at Chase Center

Alexander Baechle
October 10, 2019, 4:06 am

"The band charged through the first half of its set with energy and agility. Daltrey seemed fully recovered from his illness.
Townshend whirled and dashed, engaging his bandmates".

WHO

SAN FRANCISCO — The Who have never shied away from making big statements, achieving mega-stardom in time for Woodstock with the bold rock opera Tommy. From that point on, the conceptual aspirations of guitarist and primary songwriter Pete Townshend were buoyed by the musicianship of a band that at times exuded strength, abandon, tenderness and profundity. This virile recipe came to define the band. While confined to the standard rock format of bass-drums-vocals-guitar, The Who’s music nevertheless seemed to hint at something more transcendent and searching. Wednesday, as part of their Moving On! Tour, England’s inimitable mod-ruffians-turned-arena-rockers melded ambition and panache at Chase Center with a symphonic synopsis of their bright career.

The band was accompanied by a 51-member orchestra conducted by Keith Levenson (who’s worked with the Boston Pops, among many others). The orchestra encircled the band and brought new layers of texture to familiar songs. “Overture” kicked off the show with a processional air and enhanced sense of drama. More highlights from Tommy followed. Frontman Roger Daltrey, recovering from bronchitis, at first appeared to be holding back a bit as though he was rationing his firepower for the duration of the 22-song set. He had been unable to finish a concert in Houston and the band postponed two others leading up to the San Francisco performance.

On “Amazing Journey,” Townshend and Daltrey, the two remaining original members of The Who, generated a spark of excitement with their signature moves. Townshend struck his guitar strings in windmill fashion, while the 75-year-old Daltrey gyrated with alacrity and swung his microphone on its cord like a bull rider with a lasso. The band ran through the instantly recognizable “Pinball Wizard,” and Townshend raked gruff chords and glorious sustain from his gold Stratocaster. “We’re Not Gonna Take It” followed, as Daltrey put the full force of his voice behind the emotional crux of Tommy, uttering, “See me, feel me, touch me, heal me.”

The band charged through the first half of its set with energy and agility. Daltrey seemed fully recovered from his illness. Townshend whirled and dashed, engaging his bandmates. He spoke good-naturedly to recognize John Lennon’s birthday and to poke fun at his and Daltry’s advanced ages. A textured drapery hung behind the large ensemble. Percussion players occupied a riser behind longtime drummer Zak Starkey. Flanking the percussionists were two additional platforms with the woodwind and brass sections. The string section was spread to both sides.

After playing a few deeper cuts the orchestra retired to the wings for several songs that the band performed by itself. The Townshend-sung “Eminence Front,” from 1982’s It’s Hard, was a crowd pleaser with a tough, fibrous backbeat. Townshend introduced 1975’s “Imagine A Man” with an appeal to millennials, wishing them the opportunity to “have a laugh someday.” The song made its live debut on the Moving On! Tour.

This was followed by new tune “Hero Ground Zero,” from the forthcoming album Who; an optimistic and devotional “You Better You Bet,” and the first appearance of songs from The Who’s landmark album, Who’s Next.

In what at first seemed an odd choice, Daltrey and Townshend performed the usually raucous “Won’t Get Fooled Again” as a duet. Townshend donned an ornate Gibson acoustic guitar and played open chords high on the neck as Daltrey belted out the anthemic chorus. Townshend added an adroit finger-picking passage before ending the powerful rendition with a manual delay effect on the final chord. The duo was then joined by violin and cello for an eerily pretty “Behind Blue Eyes” while the orchestra filed in and reassembled itself around the band.

The final phase of the concert began with selections from double-album Quadrophenia. Townshend’s younger brother Simon presented some fine leads on a red Gibson SG guitar. Epic number “The Rock” benefited most from the symphonic treatment, with horns making a grand entrance and added nuance emerging from the fuller arrangement. Highlight “Love, Reign O’er Me” was introduced by an impressive baroque piano interlude performed by touring keyboardist Loren Gold. Daltrey seemed only to get stronger as the set progressed. His performance culminated in raw inflections that recalled his younger self, tinged with a tad more anguish and evocative pitch-bending.

Before bidding farewell, Townshend returned to the microphone to introduce the band and orchestra players. Always charismatic in his public addresses, he took a moment to praise his long-time compatriot, Daltrey. He then asked the crowd to remember that Daltrey is “even older than I am.” Daltrey returned the commendation. The band, before allowing the proceedings to get sappy, closed with the unmitigated classic “Baba O’Riley” as Daltrey incited fans to sing along.

______________________________________________________________

Looking forward to tomorrow and Sunday night at the Hollywood Bowl, and maybe even the third show on the 24th!

And looks like we will be going to at least the first show together, Hairball. What was the source of the second article?


plexi

Quote
timbernardis
And looks like we will be going to at least the first show together, Hairball. What was the source of the second article?

If you click on link which I posted under article title, it takes you to RIFF Magazine - hope to see you tonight plexi.
_________________________________________________________________________

Lots of massive wildfires in the L.A. area resulting in several freeway closures- a portion of Hwy 118 route I was going to drive is closed due the Saddleback Fire so will have to maneuver down some other way. The coast Highway through Malibu is always scenic, but will probably be clogged to the brim. And the 101 (Ventura Highway) would usually be the most direct route, but also has the most traffic - add a million more cars and I'd be going nowhere fast.
If there's a will there's a way, and will make it down there one way or the other.

Being north of L.A. on the other side of the Santa Monica Mountain Range where the air is relatively clear right now, I assume it's very smoky down there in the valley and surrounding L.A. areas.
If Roger thinks a little bit of pot smoke is bad for his vocals, wait until he inhales some SoCal wildfire smoke! To be honest, wouldn't be too surprised if the show is postponed depending on the severity of the smoke.

Lastly and most importantly, thoughts are with those who have lost their homes, all of the firefighters, and all the wildlife that's being affected.

Wildfire explodes in Southern California, prompting mandatory evacuations amid power outages
___________________________________________________________________________

EDIT: Well dang it, do to unforeseen circumstances that have nothing to do with the fires, I'm unable to make it down there tonight after all.
Looking forward to Sundays show - long live rock.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......



Edited 1 time(s). Last edit at 2019-10-12 04:09 by Hairball.

As mentioned in previous post above, unfortunately couldn't make it to the Hollywood Bowl on Friday, nor could I make it to Dylan at the Santa Barbara Bowl on Saturday, BUT...
Made it down the the H.Bowl last night with my wife, and so glad we made it - she had never seen The Who before so that made it extra special.
Nice to bump in to Dan and timbernardis, along with several other non-IORRian friends throughout the night. It was an all around fantastic show under the stars with a full moon to boot.



Briefly - we had great seats about half way back at the reasonable price of $89 (+ fees) each, and evidently some scalpers were selling seats further back for much more than that. Unlike some of the shows on the tour, the venue was seemingly filled to the brim when the show started, and I heard it was the same for fridays show, but the third show scheduled for Oct 24 might be a different story as there's still plenty of seats available on ticketmaster. But based on the positive reviews of the show, many more tickets will probably selll between now and then I I doubt there will be any heavily discounted tickets due to slow sales.



Roger's voice was great and he was in good spirits throughout, but the thought did cross my mind several times when he was belting out high notes...would that be the last note of the night? Thankfully not.
Pete was superior loud and live with all his signature moves - well some of them anyways. No sliding on knees, no leaping ten feet in the air, and no smashing guitars ha...but his playing is as good as it's always been.
The way he coaxes out weird noises and wild feedback during his lead and solos was reminiscent of Neil Young...though very different players, they both truly have an individual "sound", and never playing the same parts identical. Like a painter approaching a nearly blank canvas with a minimal sketch to follow, and then filling in the blanks with swaths of vibrant color and brushstrokes depending on the mood of the moment improvising all the way. And his wild/iconic windmill chord lashings were met with loud approval every time they appeared. His playing and stage presence alone is worth the price of admission for me, and it was great to witness such greatness once again.



As for the orchestra - for the most part I loved it. There were times when they fit in perfectly and were a perfect foundation for the songs being played, while other times it was a bit odd sounding when it veered away from the norm, but I guess that was the point of having it - to give the tunes a new life. Sometimes it worked better than others - for instance the opener Overture and later The Rock and Love, Reign O'er Me were fantastic with orchestra, while a few other tunes maybe not so much. And Behind Blue Eyes could have been better without the violin and cello, but at least there was no drunk fat dude behind us yelling the lyrics at the top of his lungs as was the case in '82 mentioned in a previous post haha- I'll take the violin/cello any day! Ultimately, the orchestra were pretty non-obtrusive and were more welcome than not, and it was great to have them there for a new/different vibe and experience. All that being said, one of the big highlights for me was Won't Get Fooled Again with just Pete and Roger center stage - strip all the bells and whistles away, and what you see is what you get - pure greatness.

I read a recent interview with Zak Starkey which sums up the entire experience of this tour very well:

"The thing about The Who is that they’re never the same, night to night. It changes. Even though we’ve got an orchestra behind us on this tour,
there’s still elements of The Who, where we just go off and it won’t be the same. It’s still consistently about to go off the rails.
That’s the beauty of The Who. I don’t think there is any other way because everyone is thinking in the moment". (full interview posted below).

Finally opener Liam Gallagher was pretty good, especially when he and his band played a few classic Oasis tunes (though they certainly aren't Oasis back in their prime).
He seemed genuinely thrilled and thankful to be opening for The Who.

Looking forward to seeing The Who again at the Bowl on Oct. 24th....long live rock.



____________________________________________________________________________

Review of Fridays show from L.A. Daily News: The Who Hollywood Bowl

Zak Starkey interview: Zak Starkey, son of Ringo, talks about the magic of being in The Who

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......



Edited 2 time(s). Last edit at 2019-10-14 21:31 by Hairball.

That's a nice review Mr Hairball! Combined with your photos, you really take us there with your summary of the event. It looks like an excellent venue that lends itself to this, orchestra backed operatic type of Who show. I can imagine it working very well there.

I saw them at Wembley Stadium in July and while I personally enjoyed it, I thought it was the wrong sort of venue for that type of Who show with a few blank looks around me for the deeper cuts.

Quote
grzegorz67
That's a nice review Mr Hairball! Combined with your photos, you really take us there with your summary of the event. It looks like an excellent venue that lends itself to this, orchestra backed operatic type of Who show. I can imagine it working very well there.

I saw them at Wembley Stadium in July and while I personally enjoyed it, I thought it was the wrong sort of venue for that type of Who show with a few blank looks around me for the deeper cuts.

Cheers grzegorz67 - yes it's a great medium large-sized venue (capacity 1750) filled with history, and the fall weather was perfect.
I've seen many great concerts there including Neil Young, CSNY, Dylan, Clapton/Winwood, Roger Waters, David Gilmour, Blur, Spiritualized, and of course the Stones back in 2005 both nights.

As for blank looks, the only ones I noticed was from me when they played You Better You Bet - ...lol...
just kidding as it sounded good, but it never has been one of my favorite Who tunes!

As you probably know, the Who are returning to your area in 2020 playing in smaller arenas vs. the massive Wembley Stadium - you might want to check it out again.

PS - When the Stones return to the US, hoping they set up shop for a while here in SoCal and play multiple nights at the Hollywood Bowl.
Wishful thinking maybe, but makes perfect sense for a variety of reasons. Hope to see you here.
_______________________________________________________________________

EDIT: Pic of a "subtle" advertisment on Sunset Boulevard sent to me from Manofwealthandtaste who was just out here on holiday.



_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......



Edited 2 time(s). Last edit at 2019-10-15 19:12 by Hairball.

Reading some excellent reviews from the past week. Looking forward to their show next Monday in Vancouver! Anyone else going?

Think I’ll hit the Vancouver show, haven’t bought a ticket yet but they’re on ticketmaster still for $65. It’s mostly Gallagher bringing me, I’ve seen the who a few times before. But hopefully it’ll be a good show, I think being their first indoor show for a while will add to it, it’s gonna be cold in Seattle day night!

We should meet up before the gig if you have the time.

Quote
Paddy
Think I’ll hit the Vancouver show, haven’t bought a ticket yet but they’re on ticketmaster still for $65. It’s mostly Gallagher bringing me, I’ve seen the who a few times before. But hopefully it’ll be a good show, I think being their first indoor show for a while will add to it, it’s gonna be cold in Seattle day night!

We should meet up before the gig if you have the time.

I'm driving straight in from the valley after work so it's always cutting it close for time! I see Liam does 7 songs, including 3 Oasis: R'n'R Star, Wonderwall and Champagne Supernova. Gonna tape those 3.

They played an indoor arena just last night in San Diego (Viejas Arena), and evidently the sound wasn't so great according to this critic:

Review: The Who triumphs and disappoints at orchestral concert in San Diego

"But the nearly 13,000 capacity Viejas Arena, the site for home games by SDSU’s Aztecs basketball team,
is decidedly ill-suited to host any concert by a rock band and orchestra together".

The Who

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

Just saw this post from someone on a Who fan facebook page- Uncut magazine gives the new Who album a 9 out of 10.

He posted some excerpts from full review:

“It’s Roger Daltrey’s singing that elevates ‘Who’ into the stratosphere. He’s simply terrific throughout.”

“It’s spellbinding, shiver-down-the-spine stuff, and enough to have any self respecting Quadropheniac dusting down their scooter for one last run down to Brighton. Which, you sense, was the intention all along".

“Because while ‘Who’ is an album brimming with experience, emotion and ideas, it’s ultimately aimed at the fans who have always stuck with them, through thick and thin".

“Their best since ‘Quadrophenia’, then. Just don’t leave it so long next time, eh?”

___________________________________________________________________________________-

Gives hope for the unfinished new Stones album, and maybe it really will be their best since Exile?

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

Thanks for posting that Hairyballs,'best since Quadrophenia' indeed... Best since It's Hard, maybe. Either way, I'm definitely looking forward to hearing it.

How do I find that full Uncut review? I'd love to read it, but can't locate it



Edited 1 time(s). Last edit at 2019-10-18 22:12 by peoplewitheyes.

Reading comments like that about the new album makes me think I’m the only person on earth who liked Endless Wire. “Black Widows Eyes” and “It’s Not Enough” are really, really good Who songs.

Quote
peoplewitheyes
Thanks for posting that Hairyballs,'best since Quadrophenia' indeed... Best since It's Hard, maybe. Either way, I'm definitely looking forward to hearing it.

How do I find that full Uncut review? I'd love to read it, but can't locate it

Let me get out a laugh first..."Hairyballs"....lol...
To clear that up, the name 'Hairball' is a dedication to my late great cat Ivan who used to spit up hairballs (or furballs) on a regular basis.
When this site went down 15 years ago and was restarted, I quickly came up with a new username spur of the moment, so Hairball it was and still is to this day (and don't you forget it! ).

As for the Uncut review, couldn't locate it online myself, but I'm assuming it's available at newstands, etc. in the UK (it's usually delayed release in the US by a couple of weeks).
Here's a pic of it from the person who posted on facebook:



Unfortunately it's a bit difficult to read, and only one page was shown, but the 9/10 is right there. Quite high if I do say so myself, but the Who must have done something right!

Looking forward to hearing it all myself...LONG LIVE ROCK!

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Rip this joint, gonna save your soul, round and round and round we go......

The 9/10 review is indeed good news and I certainly like what I have heard so far. I like endless wire also - seems so long ago though. It will be interesting to compare the two releases.

Cool, thanks Hairball.

Nice background behind your handle too. Hope I didn't cause any offense, just a bit of Friday night silliness.

No offense...still laughing.

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Rip this joint, gonna save your soul, round and round and round we go......

Scored floor row 3 on Pete's side for Vancouver Monday for $135 cad ($100 usd) on TM, dropped from $360, further dropped from a $500 'platinum' ticket.

I call that a bargain. Woo-Who!

pissing rain in seattle today with thunder & lightning coming. it's cold, too. good thing they have the retractable roof. i would've went but still too chemo sick to go & enjoy it.

Eddie Vedder joined in on The Punk and the Godfather tonight in Seattle:

Not big fan of Vedder, but...

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Rip this joint, gonna save your soul, round and round and round we go......

TommyCharles wrote: "Reading comments like that about the new album makes me think I’m the only person on earth who liked Endless Wire. “Black Widows Eyes” and “It’s Not Enough” are really, really good Who songs."

You're not alone Mate! I Think Endless Wire is up there with Dylan's Modern Times and Love & Theft and Oasis Don't Believe The Truth as the best albums released in the 00's.

Black Widows Eyes, Marty Robbins, the closing mini opera, Man in a Purple Dress and above all (very close to my heart regarding the subject, Airwolf! A-Team!) Mike Post Theme.

GREAT RECORD!



Edited 1 time(s). Last edit at 2019-10-20 13:49 by MadMax.

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mosthigh
Scored floor row 3 on Pete's side for Vancouver Monday for $135 cad ($100 usd) on TM, dropped from $360, further dropped from a $500 'platinum' ticket.

I call that a bargain. Woo-Who!

That's awesome! Does the show start right at 7:30? I see Liam plays for about half an hour. What time does the show end?

Man, I am digging All This Music Will Fade more and more with each listen. Love it!

Can't wait to hear the new album.

If half of it is up to the standard of that tune, I will be very happy, and blessed to be getting new Townshend material, sung by the muscular voice of RD here in late 2019. Amazing journey indeed.

High praise from the Seattle Times:

Review: The Who, with help from Eddie Vedder and a Seattle orchestra, wallop T-Mobile Park

Who

It was a downright regal entrance. A blasting horn section, tucked neatly in the back corner of the full bandstand, informally announced the proceedings. Sitting at the ready, the gallant fleet of string players across the stage would later begin to sing as Roger Daltrey casually smacked a pair of tambourines beside his longtime bandmate Pete Townshend, who stood front and center in front of a ruffled curtain.

Perched off to the side, his back to the T-Mobile Park crowd Saturday night, conductor Keith Levenson sharply waved his arms, looking like the only one on stage likely to break a sweat by the end of a cinematic “Overture.”

By the time the 48-piece local orchestra backing classic rock giants The Who hit the squalling crescendo on “The Real Me” later, sending our section’s resident air guitarist into a windmilling frenzy a la Townshend, there was only one lingering question: Why the hell didn’t these guys score “Star Wars”?

It was an ambitious move for the band now in the twilight of its career, building a show around its two most ambitious records — double-album rock operas “Tommy” and “Quadrophenia” — backed by a different local orchestra every night of its Moving On! tour in the U.S. The Seattle cast was made up of local musicians who play with the 5th Avenue Theatre, Pacific Northwest Ballet, Seattle Opera and Seattle Symphony, the latter hailed by Townshend as “one of the most adventurous, audacious orchestras” around.

The hired symphonic muscle — who would be joined by another Seattle heavyweight later on — helped some of The Who’s most progressive songs ascend to new altitudes. With the 75-year-old Daltrey tossing and twirling his mic around like a yo-yoing recess showboat during “1921,” Townshend stormed in with a Hendrix-indebted solo before the booming string section took over. The 140-minute set was split into three sections: the first anchored by a “Tommy” suite, a band-only middle portion sans orchestra and a closing section heavy on “Quadrophenia” songs where the orchestra felt truly unleashed. Townshend’s emotive shredding on monstrous instrumental “The Rock” (an unexpected highlight) was made all the more poignant with intermittent strings slicing behind him.

The sonic pomp was fit for a queen, albeit one who cusses like a sailor (looking at you, Pete) and practically invented the trashed hotel room (R.I.P. Keith Moon). Before launching into a second act that featured a jumping and jolting “You Better You Bet” and an acoustic “Won’t Get Fooled Again,” Townshend flashed his playfully grouchy sense of humor, having some fun at his own and Daltrey’s expense. “This is a traveling nursing home for two old farts,” the 74-year-old said of the tour during the portion of his self-ribbing that doesn’t require a radio edit. Earlier he quipped that the band’s new album, “Who,” (now arriving Dec. 6) keeps getting delayed so people in their 20s can buy it for their grandfathers for Christmas.


For all the talk of Daltrey’s voice showing its age, the 75-year-old frontman sounded great for most of the night, even growing stronger as the show went on. It was especially impressive considering a month ago, the band cut short a Houston show after his voice gave out, resulting in the postponement of several other dates. Shifting into a muscle-flexing higher octave on the potent and penultimate “Love, Reign O’er Me,” Daltrey howled and shrieked toward the retractable roof — which was closed on a chilly fall night — with the orchestra thundering beneath him.

Earlier, Townshend commented on the closed-roof’s echo, though it didn’t hamper The Who’s set as much as it did opener Liam Gallagher’s. Riding high in the mix (as if he’d have them any other way), Gallagher’s sharp and nasally vocals weathered the cavernous acoustics, as he drew from his strong new solo album “Why Me? Why Not” before closing with Oasis classics “Wonderwall” and a resplendent “Champagne Supernova.”

As much credit as the orchestra deserves, the four dozen or so players and the irascible prince of Britpop Gallagher weren’t even the most memorable guests of the night (through no fault of their own). Making a not-so-surprising “surprise” appearance, noted Who fan and friend Eddie Vedder joined the band for a punchy spin through “The Punk and the Godfather,” as he did during a Wembley Stadium gig this summer. Rocking a Union Jack blazer, Vedder traded vocals with Daltrey and Townshend, his signature quivering vibrato shooting through the ballpark’s cold air like a fastball with movement, the light-by-stadium-standards crowd going wild for the hometown star’s cameo.

With the stage moved in closer around second base, the smaller configuration made the stadium feel a little more intimate than when Vedder and Pearl Jam took over the Mariners’ home for two nights last year.

Already among the upper echelon of epic rock songs without an orchestral army, a closing “Baba O’Riley” was as mighty as expected, with a barnstorming fiddle solo from violinist Katie Jacoby — one of two featured soloists traveling with the tour — that put a massive grin on Daltrey’s face. He wasn’t the only one.

Though the crowd was hungry for an encore it didn’t receive, the energy couldn’t get any higher than that on a night spent re-imagining The Who’s classic material with a little help from some of Seattle’s finest.

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Rip this joint, gonna save your soul, round and round and round we go......

Four star review from Mojo:

"Musicians writing and singing about being in their seventies is a rare thing in the Peter Pan world of rock - but The Who do it exceptionally well".



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Rip this joint, gonna save your soul, round and round and round we go......