Radio Interview, Bootlegs, Radio Broadcasts, Reviews

[Dan Scurio <"dscurio@sprintmail.com"@sprintmail.com>]

I have the PT interview from 6/14/97 that was on the radio along with a 
rare Moon interview from 1975.  For those of you that want to trade 
please let me know.  I have other bootlegs that  I have to offer as 
well. The problem is that they are packed away somewhere. Once I find 
them I post what I have and then I'll be able to trade.

Was the St. Louis show a live radio broadcast?  If so why wasn't the 
bloody list informed.  Come on people.

Chicago SunTimes Review:
The Who at the New World Music Theatre 

July 22, 1997

Pete Townshend didn't need to justify anything to the near sell-out crowd 
Sunday night at the New World
Music Theatre.

The Who had finished a devastatingly potent set, and the delirious 
audience would have swooned over
anything that Townshend might have uttered.

But the Who's legendary guitarist-songwriter chose to explain why the 
band had reunited to perform
``Quadrophenia,'' his rock opera from 1973.

``We brushed it up,'' Townshend said almost bashfully, ``because it 
sounds great.''

Aging bands tour for many reasons, but rarely ``because it sounds 
great.'' When a colossus like the Who
decides to crank the amps because something sounds great, it's time to 
hold tight to your seats.

``Quadrophenia'' is the story of Jimmy, an alienated teen caught up in 
the turf and identity clashes among 1960s
British youth. Jimmy dresses himself in the uniform of the Mods--skinny 
ties, four-button suits--and sits astride
a multimirrored scooter. He yearns to belong, hates the rival Rockers and 
dismisses a shrink's suggestion that
he's schizophrenic by diagnosing himself instead as ``quadrophenic.'' 
Jimmy's messed up.

Few moments in rock are more dramatic than when the Who launches 
``Quadrophenia.'' Recorded strains of
crashing ocean waves molded a womb around the theater until flood lights, 
three slashing guitars and the mighty
silhouette of singer Roger Daltrey slashed through the smoke and darkness 
to deliver Jimmy's dilemma in ``The
Real Me.'' This was the time to drink in the whole of the Who: John 
Entwistle's hopscotching lyrical bass,
Townshend's furious strumming, Daltrey's heroic mike cord twirling and 
Zak Starkey's fluid-as-Moon kit
work.

The rest of ``Quadrophenia'' was equally exhilarating. ``Cut My Hair'' 
rang sweet and innocent as sung by
Townshend, but grew massive when handed off to Daltrey's 
made-for-the-sheds pipes. The rollicking ``5:15''
showcased a precision five-piece horn section, while the emotional 
``Drowned'' allowed Townshend to marry
an achingly pretty melody to some of the nastiest rhythm guitar playing 
seen in these parts for ages. Starkey
posseses speed and power--and an obvious love of Townshend's writing.

The Who played a generous encore with predictable classics such as 
``Won't Get Fooled Again,'' ``Behind
Blue Eyes'' and a particularly hard-rocking ``Substitute.'' But make no 
mistake; the magic Sunday was in
``Quadrophenia.'' Because it still sounds great.

Bob Kurson