Long Live Rock's first audio bootleg

Jim M NakedI at comcast.net
Fri Feb 3 06:49:17 CST 2006

----- Original Message ----- From: "Jim M"

> The degree of band sanctioning of Longliverock is unclear, to say the 
> least.
> If your a member, post the legitimacy question on their forum.  I'd
> certainly like to know.

Here's what one of the admin's posted on the forum regarding that disc.

Jim M

The Who
September or October 1964 (?)
Studio 3, EMI Recording Studios, London

Approximate Length: 24m

Sound Quality: Very good studio recordings, suitable for release. Bootleg: 
The High Numbers Live 1964.

Song List: Smokestack Lightning (instrumental), Walkin' the Dog 
(instrumental), Instrumental, I'm a Man (instrumental), Instrumental, 
Memphis Tennessee (instrumental), Instrumental.

Details: Not sure of the real date of these recordings, but it can't be 
October 22nd, 1964, which was actually the date Kit Lambert received the 
letter from EMI regarding the test session these tunes likely come from. 
However, the session most likely occurred shortly before this date. As for 
the music, it's all instrumental and Daltrey's only role seems to be that of 
harmonica player on a couple of tracks, including a great 'I'm a Man' that's 
reminiscent of the My Generationcut recorded months later. 'Smokestack 
Lightning' was of course familiar from their live repertoire, and 'Walkin' 
the Dog' and 'Memphis, Tennessee' were probably part of their act at the 
time as well. Two of the instrumentals here may simply be R & B exercises, 
but one includes Townshend on 12-string electric and is kind of interesting 
as a result. The highlight of this collection has to be the six-plus-minute 
instrumental that seems to foreshadow Who jams in years to come. Townshend 
leads the way with experimental chord work punctuated by some impressive and 
heavy fills from Moon as the piece breaks down and builds back up again-they 
seem way ahead of their time here and the feel of this tune seems out of 
place among this R & B-dominated material, but eventually it picks up a 
bluesy feel. There's even a flawless key-change signaled by an audible vocal 
cue before the whole thing explodes, much like the arrangement of 'Bald 
Headed Woman'. Not sure where this material was all these years, but it's 
nice to finally have it, even without vocals of any kind.

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