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DISCID=cd12a20f
DTITLE=The Who / Who's Next (Deluxe Edition) - Disc 1 Of 2 (CD 1/2)
DYEAR=2003
DGENRE=Hardrock
TTITLE0=Baba O'Riley
TTITLE1=Bargain
TTITLE2=Love Ain't For Keeping
TTITLE3=My Wife
TTITLE4=The Song Is Over
TTITLE5=Getting In Tune
TTITLE6=Going Mobile
TTITLE7=Behind Blue Eyes
TTITLE8=Won't Get Fooled Again
TTITLE9=Baby Don't You Do It (New York Record Plant Session)
TTITLE10=Getting In Tune (Previously Unissued Outtake - New York Record Plant Session)
TTITLE11=Pure And Easy (New York Record Plant Session)
TTITLE12=Love Ain't For Keeping (Outtake - New York Record Plant Session)
TTITLE13=Behind Blue Eyes (Outtake - New York Record Plant Session)
TTITLE14=Won't Get Fooled Again (Previously Unissued Outtake - New York Record Plant Session)
EXTD=Who's Next (Deluxe Edition) - Disc 1 of 2\n2003 MCA Records, Inc.\n\nOriginally Released 1971
EXTD=\nMCA Steve Hoffman Version CD Released 1985?\nRemixed & Remastered with Bonus Tracks Version
EXTD= Released November 7, 1995\nMCA MasterDisc Gold CD Version Released August 29, 1995\nMFSL Gol
EXTD=d CD Version Released October 12, 1999\nDeluxe Edition Released March 25, 2003\n\nAMG EXPERT 
EXTD=REVIEW: The Who's catalog was revamped in the mid-'90s, with every title (except My Generatio
EXTD=n, due to legal entanglements with producer Shel Talmy) receiving new remastering and bonus t
EXTD=racks. Nearly eight years later, Who's Next, one of the group's most beloved albums, was give
EXTD=n another remastered/expanded treatment as part of Universal Chronicles' Deluxe Edition serie
EXTD=s. Now it spans two discs, including a full disc devoted to their legendary show at the Young
EXTD= Vic on April 26, 1971. Reportedly, this is also the first time the original master tapes wer
EXTD=e used for a CD master as well, and while the difference isn't as dramatically different as i
EXTD=t was from the 1984 CD to the 1995 CD, this is a richer, resonant mix, which may be reason en
EXTD=ough for some fans to acquire it. Most collectors will focus on the bonus material, all of wh
EXTD=ich ranges from very good to great, yet the set on the whole gets a qualified recommendation 
EXTD=for one very simple reason: The greatest of the material here was already featured as bonus m
EXTD=aterial on the 1995 reissue. True, some of the versions were present as single edits, but the
EXTD= greatest songs -- "Pure and Easy," a rollicking cover of "Baby Don't You Do It," the live se
EXTD=t pieces "Naked Eye" and "Water," "Too Much of Anything," "I Don't Even Know Myself," the ori
EXTD=ginal take of "Behind Blue Eyes" -- were all bonus tracks on the previous edition (this is no
EXTD=t counting the fact that the electric version of "Love Ain't for Keepin'," which is really go
EXTD=od, is also on Odds & Sods). That said, there is some unreleased music here that is either fa
EXTD=scinating (the first take of "Won't Get Fooled Again," which sounds as if it's on the verge o
EXTD=f collapse) or excellent (the whole of the Young Vic show, where you can hear the band get it
EXTD=s strength back; it's a truly fine concert). But no matter how good, or even revelatory, some
EXTD= of this is, the end result feels underwhelming because any Who fan has heard the most crucia
EXTD=l music here before (and those who enjoy nitpicking will surely wonder why there wasn't more 
EXTD=of an effort to present Lifehouse rejects and outtakes here instead of a full concert). If yo
EXTD=u're a fan, Who's Next: The Deluxe Edition is like paying a bill -- buying it is something th
EXTD=at needs to be done, you're glad once it's done, but it's not something you're necessarily ea
EXTD=ger to do. -- Stephen Thomas Erlewine\n\nAMG EXPERT REVIEW: (Standard Edition) Much of Who's 
EXTD=Next derives from Lifehouse, an ambitious sci-fi rock opera Pete Townshend abandoned after su
EXTD=ffering a nervous breakdown, caused in part from working on the sequel to Tommy. There's no d
EXTD=iscernable theme behind these songs, yet this album is stronger than Tommy, falling just behi
EXTD=nd Who Sell Out as the finest record the Who ever cut. Townshend developed an infatuation wit
EXTD=h synthesizers during the recording of the album, and they're all over this album, adding tex
EXTD=ture where needed and amplifying the force, which is already at a fever pitch. Apart from Liv
EXTD=e at Leeds, the Who have never sounded as LOUD and unhinged as they do here, yet that's balan
EXTD=ced by ballads, both lovely ("The Song Is Over") and scathing ("Behind Blue Eyes"). That's th
EXTD=e key to Who's Next -- there's anger and sorrow, humor and regret, passion and tumult, all wr
EXTD=apped up in a blistering package where the rage is as affecting as the heartbreak. This is a 
EXTD=retreat from the '60s, as Townshend declares the "Song Is Over," scorns the teenage wasteland
EXTD=, and bitterly declares that we "Won't Get Fooled Again." For all the sorrow and heartbreak t
EXTD=hat runs beneath the surface, this is an invigorating record, not just because Keith Moon run
EXTD=s rampant or because Roger Daltrey has never sung better or because John Entwistle spins out 
EXTD=manic bass lines that are as captivating as his "My Wife" is funny. This is invigorating beca
EXTD=use it has all of that, plus Townshend laying his soul bare in ways that are funny, painful, 
EXTD=and utterly life-affirming. That is what the Who was about, not the rock operas, and that's w
EXTD=hy Who's Next is truer than Tommy or the abandoned Lifehouse. Those were art -- this, even wi
EXTD=th its pretensions, is rock & roll. -- Stephen Thomas Erlewine\n\nAmazon.com Editorial Review
EXTD=\nThe success of Who's Next and its slate of classic-rock tracks has often obscured its true 
EXTD=roots--Lifehouse, the unwieldy multi-media project that Pete Townshend originally concocted a
EXTD=s the follow-up to Tommy. Variously informed by apocalyptic visions, sci-fi notions of interc
EXTD=onnectivity that neatly presaged the internet and, of course, an unwavering conviction that r
EXTD=ock & roll would save the world, the core tracks of the sprawling Lifehouse were recorded, cu
EXTD=t, re-recorded and finally boiled down into a collection that seems to represent as much alie
EXTD=nation ("Behind Blue Eyes") and overweening cynicism ("Won't Get Fooled Again") as it does li
EXTD=beration and unity. Aside from Townshend's own self-released, multi-disc meditation on the pr
EXTD=oject, this expanded new edition is the most rewarding attempt to place Lifehouse and the ove
EXTD=r-exposed classic it spawned in their proper context. Six tracks from the album's original, b
EXTD=ut abandoned New York sessions flesh out the familiar material, with previously unreleased ou
EXTD=ttakes of "Getting in Tune" and a revealing, early arrangement of "Won't Get Fooled Again" wa
EXTD=rranting special note. The second disc documents one of Lifehouse's most quixotic elements wi
EXTD=th the first-time release of one of the series of concerts staged at London's Young Vic theat
EXTD=er during the project's gestation, events during which band and audience would somehow mystic
EXTD=ally become One. Core tracks from the project are interspersed with typical hard-rocking Who 
EXTD=fare of the time, resulting in a show whose focus and dynamics belied something very differen
EXTD=t from the arena-rock clichs that would eventually overwhelm them. --Jerry McCulley \n\nAlbu
EXTD=m Description\nBelieve it or not, this landmark album, the record that changed FM rock foreve
EXTD=r in the early-'70s, has never been reissued from the original master tapes...'til now! But t
EXTD=hat's only the beginning...in addition to the original nine tracks, disc one adds six bonus t
EXTD=racks that were recorded at The Record Plant in March 1971, ('Baby Don't You Do It', 'Getting
EXTD= In Tune', 'Pure and Easy', 'Love Ain't For Keeping', Behind Blue Eyes' & 'Won't Get Fooled A
EXTD=gain') three of which have never been available and the other three of which are here in thei
EXTD=r full-length versions for the first time. Then disc two captures a largely-unreleased April 
EXTD=26, 1971 gig at London's Old Vic Theatre (including the previously unreleased tracks - 'Love 
EXTD=Ain't For Keeping', 'Pure And Easy', 'Young Man Blues', 'Time Is Passing', 'Behind Blue Eyes'
EXTD=, 'I Don't Even Know Myself', 'Too Much Of Anything', 'Getting In Tune', 'Bargain', 'My \n\nA
EXTD=mazon.com Customer Review\nKind of worth it for CD2, but CD1 is redundant, March 29, 2003 \nR
EXTD=eviewer: Jac in Tucson from Tucson, AZ United States  \nOK, so CD1 has gone back to the origi
EXTD=nal master tapes, and not something a generation or two removed. For audiophiles with $5,000 
EXTD=sound systems, it may be worth it to them to buy the "new" first CD. But for 95 percent of us
EXTD=, many of whom have bought the "remastered" version with bonus tracks, the first CD really is
EXTD= redundant and a waste of money. Who's Next is absolutely one of the best rock albums of all 
EXTD=time -- and if you've got the remastered CD1, you've got the essentials. CD2 is for completis
EXTD=ts, or those curious to hear one of the Old Vic recordings in which Townshend was fine-tuning
EXTD= Lifehouse. (For Townshend's modern-day take on the project, check his own CD of Lifehouse.) 
EXTD=The live CD rocks on a level almost equal to Live at Leeds and if you just HAVE to have some 
EXTD=live versions of songs from Who's Next, then fork over the pile of cash for this CD. Like Liv
EXTD=e at Leeds, the first CD is essential, the second CD is worth owning if you've got a nice fat
EXTD= back account. But for my money, check out the Who's performance at the Isle of Wight Festiva
EXTD=l, which is as dynamic as Live at Leeds and, like Live at Leeds CD2, contains Tommy. I've los
EXTD=t track of the many issues, reissues, remasters, and (especially) "best of" compilations of T
EXTD=he Who. If you're new to the band, pass on this and just get CD1 of this, CD1 of Live at Leed
EXTD=s, and Tommy, and you've got your own "essential Who" collection! For now, though, this "Delu
EXTD=xe Edition" is meant for those Boomers among us who don't mind buying two CDs just to get one
EXTD= CD's worth of new material...\n\nCaveat emptor...\n\nAmazon.com Customer Review\nA review of
EXTD= this set written by Luke Pacholski at lukpac.org, April 13, 2003 \nReviewer: Bradley Olson f
EXTD=rom Bemidji, MN USA  \nAs most people know, one of the main selling points of Who's Next: Del
EXTD=uxe Edition is that the original album comes from the original stereo master tapes "for the f
EXTD=irst time on CD". The story is that only copy tapes have been used all of these years. On the
EXTD= other hand, Steve Hoffman, former MCA engineer, has claimed for a long time that he found th
EXTD=e master tapes in a file cabinet at the Mastering Lab in LA in the mid-80s and used them for 
EXTD=his CD version, one variation of which is still available in Canada today.\n\nWell, between l
EXTD=istening to the two side by side and running the tape box pictures past Steve, it would indee
EXTD=d seem the Deluxe Edition is the *second* time (at the very least) the true masters have been
EXTD= used for CD. There's little doubt in my mind that Hoffman's version also used the tapes. Bot
EXTD=h forms of the album sound quite good, although there are some differences between the two.\n
EXTD=\nThe Hoffman CD has an EQ that favors the vocals, with the side effect of causing the cymbal
EXTD=s to sound a bit "midrangy". The Deluxe Edition, on the other hand, goes for a slightly more 
EXTD="smooth" cymbal sound, at the expense of the vocals, causing them to be submerged slightly, i
EXTD=f you will. The DE is a bit less "open", IMO.\n\nThere are also some minor differences beyond
EXTD= EQ. For his CD, Hoffman essentially played the tapes back "straight", without fading the his
EXTD=s out between tracks. (side note: the Canadian version has the hiss "blacked" between some tr
EXTD=acks. The original US and Japanese pressings don't.) The Deluxe Edition takes a different app
EXTD=roach. As the songs come to a close, the entire track is faded out, causing the hiss to fade 
EXTD=as well. The side effect of this is that in some cases the very last moments of some songs ar
EXTD=e lost.\n\nInteresting note: the between song gaps for most of the album seem to be just abou
EXTD=t identical between the Hoffman CD and the DE. However, while some previous versions of the o
EXTD=riginal mix (including the Hoffman) have essentially no pause between Behind Blue Eyes and Wo
EXTD=n't Get Fooled Again, the Deluxe Edition has a few seconds of silence between the two. Very s
EXTD=trange. On the other hand, the old US MCA CD (a version not mastered by Hoffman) does have a 
EXTD=small gap as well.\n\nA big question on many peoples minds has been noise reduction (NR). Jon
EXTD= Astley (who mastered the Deluxe Edition) is notorious for using NR on just about everything.
EXTD= This has the effect of sucking the life out of the music and causing nasty digital artifacts
EXTD=. Kind of a "swirling" sound if you will. Just listen to some of Live At Leeds: Deluxe Editio
EXTD=n for a good (or bad, I guess) example of this. Well, I've got good and bad news. The good ne
EXTD=ws is that *most* of the album is NR-free. Hiss levels are usually about the same as the Hoff
EXTD=man CD, and in a few cases they actually seem to be every so slightly higher. That said, seve
EXTD=ral intros, quiet sections, and fade-outs do have noise reduction. One key place is Won't Get
EXTD= Fooled Again - the intro, synth break, and fade-out all have NR. There's very little hiss du
EXTD=ring the break, and then as soon as the drums come in, the hiss level goes *way* up. Fortunat
EXTD=ely the NR isn't quite as intrusive as it was on some other Astley-mastered CDs, but it is st
EXTD=ill annoying, and there's simply no reason for it.\n\nAs far as the rest of the (bonus) cuts 
EXTD=go, I haven't really gotten that far yet. I would note that while Baby Don't You Do It is lon
EXTD=ger than on the 1995 CD, it is still edited in a few places. What's the point?\n\nOn the othe
EXTD=r hand, some (but not all) of the backing vocals mixed out of Pure & Easy on the 1995 CD are 
EXTD=present here. The song also comes to a formal close, rather than a fade-out.\n\nBehind Blue E
EXTD=yes still only has a single guitar solo, unlike the dual solos on the bootleg mix.\n\nI brief
EXTD=ly skimmed through disc 2. Rich "White Fang" Weiner has said he thought the mastering was sig
EXTD=nificantly worse on this disc, but honestly, I don't hear (m)any negative effects of noise re
EXTD=duction. It's certainly better than I was expecting. That said, I haven't heard the mixes pri
EXTD=or to mastering, and I believe he has. Whatever the case, the sound is *far* better than some
EXTD= of Jon Astley's prior work.\n\nHow would I rate this set? Well, it was certainly better than
EXTD= expected. A key selling point is use of the "original tape" for the original album. While I'
EXTD=d say it does sound *very* good, bits of noise reduction aside, I'm hesitant to say it sounds
EXTD= "better" than the Hoffman CD. Both versions have their own strengths and weaknesses. Casual 
EXTD=fans will probably do fine with the DE, although I'd still suggest the Hoffman CD to those wh
EXTD=o really care about sound quality. You might still prefer the DE, but then again, you might n
EXTD=ot.\n\nEven ignoring the original album, I'd say the set is well worth picking up. The mixes 
EXTD=of the Record Plant material are interesting, and the Young Vic show is great from both a per
EXTD=formance and sound standpoint.\n\nDespite its flaws, in my opinion this is the best Who reiss
EXTD=ue to come out in a long time. \n\nAmazon.com Customer Review\nWorth it for disc 2 alone., Ma
EXTD=rch 26, 2003 \nReviewer: David Goodwin from Westchester, NY USA  \nAhh, "Deluxe Edition." Rec
EXTD=ord company speak for "We've figured out how to make you spend upwards of twenty-five dollars
EXTD= for *the same stuff!* AGAIN!" Universal's two-disc Deluxe Edition series has had some great 
EXTD=successes and some...well, puzzling entries. Thankfully, this release is largely in the forme
EXTD=r category, although there are a few important caveats that need to be addressed. Read on...\n
EXTD=\nFirst, let's look at the package: the original album, plus a few period bonuses, plus a goo
EXTD=d bit of the infamous "Young Vic" concert which found the band trying out the material live f
EXTD=or the first time. One of MCA/Universal's selling points for disc 1--the original album, whic
EXTD=h the entire world probably has seven or eight times over at least--is that the disc uses FOR
EXTD= THE FIRST TIME the "Original Master Tapes." Now, let's examine this claim. Frankly, I think 
EXTD=it's indicative of the sheer, unmitigated gall these bloated companies have that they can adv
EXTD=ertise previous releases (the fairly-awful MCA Gold disc, which claimed to use the original m
EXTD=aster tapes) as using the "Original Master Tapes," and then pull a 180 and go "Oh, no, wait, 
EXTD=we screwed up...THIS is the one you need. $25 please." Chutzpah, eh? And the weird part is th
EXTD=at it probably isn't true (the master tapes *were* used for at least one previous issue of th
EXTD=e album).\n\nBut I'm getting ahead of myself. The currently-available Who's Next single disc 
EXTD=uses an uneasy combination of remixes from the multitracks ("My Wife," for example) and origi
EXTD=nal mixes. Disc one of this set uses the original mixes through and through, and despite the 
EXTD=somewhat dubious reputation of some of those behind this set, is actually sounds fairly splen
EXTD=did, with only a few no-noised intros really standing out (and it's safe to say most won't no
EXTD=tice them). Is this the best "Who's Next" has sounded on CD? It's certainly up there with the
EXTD= previous best incarnation.\n\nThe bonus tracks on disc 1 are mostly extended versions of the
EXTD= bonus tracks on the '95 single disc (although, bizarrely, we're missing a few tracks here, l
EXTD=ike the studio alternate of "Too Much of Anything"). They're also remixed, and some are still
EXTD= edited ("Baby Don't You Do It"). Some are entirely new ("Won't Get Fooled Again"). Still nic
EXTD=e.\n\nIt'd disc two, though, that is *the* selling point of the set: a previously-unavailable
EXTD= Who concert. The producers of the set excised most of the non-Who's Next related material (o
EXTD=stensibly to fit the affair onto a single disc), but it doesn't really hurt the concert. This
EXTD= Young Vic show is essentially the first airing of the WN material in front of a crowd, and i
EXTD=n some cases it marks the first and *last* airings of some song ("Time is Passing"). While th
EXTD=e playing is occasionally tentative--vocals are out of tune, etc--it's still utterly enthrall
EXTD=ing and top notch, and it's been mastered a LOT better than Live at Leeds Deluxe.\n\nThe verd
EXTD=ict? If you're one of the...lesse...five? Five people on earth who somehow does NOT own Who's
EXTD= Next, this package is an excellent introduction; there're certain albums that are rock insti
EXTD=tutions, pure and simple, and this is one of them. If you're a slightly more seasoned collect
EXTD=or, though, the set is still essential, if only for disc 2. The fact that some of the tracks 
EXTD=on the single disc reissue are missing is unfortunate, but that's record company politics for
EXTD= ya...hopefully, copies of the '95 single disc will be floating around for cheap now that thi
EXTD=s is out. \n\nHalf.com Album Notes\nThe Who: Roger Daltrey (vocals); Pete Townsend (guitar, p
EXTD=iano, organ, ARP synthesizer, background vocals); John Entwistle (horns, piano, bass, backgro
EXTD=und vocals); Keith Moon (drums, percussion).Additional personnel: Leslie West (guitar); Nicky
EXTD= Hopkins (piano).\nProducers: The Who, Glyn Johns, Kit Lambert.\nRecorded between 1968 & 1971
EXTD=. \nIncludes liner notes by Pete Townsend, John Atkins, and Chris Charlesworth.\n\nNew Musica
EXTD=l Express (09/18/1993)\nRanked #21 in NME's list of the `Greatest Albums Of The '70s.'\n\nNew
EXTD= Musical Express (10/2/93, p.29) - Ranked #99 in NME's list of the `Greatest Albums Of All Ti
EXTD=me.'\n\nQ Magazine (1/03, p.62) - Included in Q Magazine's 100 Greatest Albums Ever\n\nRollin
EXTD=g Stone (9/2/71, p.42) - ...intelligently-conceived, superbly-performed, brilliantly produced
EXTD=, and sometimes even exciting rock'n'roll... \n\nRolling Stone (9/30/71, p.42) - ...what they
EXTD= have given up in rawness and razzle-dazzle they have gained in depth of vision and musical m
EXTD=aturity. Every cut on the album has something to offer...\n\nQ Magazine (1/96, p.158) - 4 Sta
EXTD=rs - Excellent - Considered by many to be the band's best, 1971's WHO'S NEXT was their only N
EXTD=umber 1 album...
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