Long Live Rock's first audio bootleg
whoboy at fsmail.net
Fri Feb 3 08:49:11 CST 2006
Both Jack and Max gave good indications of what the other instrumentals were based around; I can't remember what they said off the top of my head, but I will try to dig them out again.
Message Received: Feb 03 2006, 12:49 PM
From: "Jim M"
To: "The Who Mailing List"
Subject: Re: Long Live Rock's first audio bootleg
----- Original Message ----- From: "Jim M"
> The degree of band sanctioning of Longliverock is unclear, to say the
> 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.
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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