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DISCID=9808540c
DTITLE=The Who / The Who Sings My Generation
DYEAR=1966
DGENRE=Rock
TTITLE0=Out In The Street
TTITLE1=I Don't Mind
TTITLE2=The Good's Gone
TTITLE3=La La La Lies
TTITLE4=Much Too Much
TTITLE5=My Generation
TTITLE6=The Kids Are Alright
TTITLE7=Please, Please, Please
TTITLE8=It's Not True
TTITLE9=The Ox
TTITLE10=A Legal Matter
TTITLE11=Instant Party (Circles)
EXTD=The Who Sings My Generation (Original MCA Version)\n1988 MCA Reco
EXTD=rds, Inc.\n\nOriginally Released 1965 (US)\nOriginally Released 1
EXTD=965 (UK)\nCD Edition Released September 1988\n2CD Deluxe Edition 
EXTD=Released August 27, 2002\nSACD Edition Released February 11, 2003
EXTD=\n\nAMG EXPERT REVIEW: An explosive debut, and the hardest mod po
EXTD=p recorded by anyone. At the time of its release, it also had the
EXTD= most ferociously powerful guitars and drums yet captured on a ro
EXTD=ck record. Pete Townshend's exhilarating chord crunches and guita
EXTD=r distortions threaten to leap off the grooves on "My Generation"
EXTD= and "Out in the Street"; Keith Moon attacks the drums with a lig
EXTD=htning, ruthless finesse throughout. Some "Maximum R&B" influence
EXTD= lingered in the two James Brown covers, but much of Townshend's 
EXTD=original material fused Beatlesque hooks and power chords with an
EXTD=themic mod lyrics, with "The Good's Gone," "Much Too Much," "La L
EXTD=a La Lies," and especially "The Kids Are Alright" being highlight
EXTD=s. "A Legal Matter" hinted at more ambitious lyrical concerns, an
EXTD=d "The Ox" was instrumental mayhem that pushed the envelope of 19
EXTD=65 amplification with its guitar feedback and nonstop crashing dr
EXTD=um rolls. While the execution was sometimes crude, and the songwr
EXTD=iting not as sophisticated as it would shortly become, the Who ne
EXTD=ver surpassed the pure energy level of this record.  -- Richie Un
EXTD=terberger\n\nAMG EXPERT REVIEW: (Deluxe Edition) As many Who fans
EXTD= know, disputes between the Who and producer Shel Talmy held back
EXTD= the release of a CD version of My Generation taken from the best
EXTD= available original sources for quite some time. Eventually the d
EXTD=ispute was resolved, and 2002 saw the release of the deluxe editi
EXTD=on of this classic album, expanded into a two-CD work with the ad
EXTD=dition of no less than 17 extra tracks. So is it time to celebrat
EXTD=e and finally throw away that scratchy old My Generation LP, whic
EXTD=hever version of that you have? Unfortunately, not quite. Pluses 
EXTD=first: the sound, remixed in stereo by Talmy, is very good indeed
EXTD=, very clear and punchy without sacrificing the enormous power th
EXTD=e band brought to the sessions, sometimes revealing parts with a 
EXTD=clarity never before heard. This also, finally, adds some seminal
EXTD= non-LP tracks also recorded in 1965 (most notably their debut si
EXTD=ngle, "I Can't Explain"), as well as a bunch of R&B cover outtake
EXTD=s that previously surfaced on the 1980s comps Who's Missing and T
EXTD=wo's Missing. There are also slightly longer versions of a few tr
EXTD=acks; an instrumental track for "My Generation" and an "a cappell
EXTD=a version" of "Anytime You Want Me"; and one genuine previously u
EXTD=nheard song, "Instant Party Mixture," a weird and not good takeof
EXTD=f on Dion's "Runaround Sue" that was recorded in early 1966 as a 
EXTD=possible B-side. So what's to carp about? Well, some overdubs use
EXTD=d in the original version of the LP have been lost, and their los
EXTD=s is not just something that audiophiles or unhealthily completis
EXTD=t record collectors will notice. Specifically, on "My Generation,
EXTD=" Pete Townshend's guitar is virtually missing from the instrumen
EXTD=tal break, and the group's backup vocals at the song's climax are
EXTD= likewise mostly missing. Other little omissions crop up too, and
EXTD= though this compilation makes up for that a bit with "monaural v
EXTD=ersions with guitar overdubs" of "My Generation" and "A Legal Mat
EXTD=ter," it's no small loss. Also, unbelievably, although "Anyway, A
EXTD=nyhow, Anywhere" is here (and misspelled on the cover), it's an a
EXTD=lternate version with different vocals from a French EP. It's fin
EXTD=e to include that, but the classic single version itself, a treme
EXTD=ndously exciting and important record, isn't present at all, and 
EXTD=no one could reasonably claim there shouldn't have been room for 
EXTD=both. Too, the version of "Leaving Here" is an alternate, and whi
EXTD=le that's fine to have as a marginally interesting addition, the 
EXTD=version that first showed up on Who's Missing is, um, missing. Th
EXTD=ese shortcomings are not unimportant. If a group and label are go
EXTD=ing to bill something as the ultimate package of a classic album 
EXTD=plus bonus tracks, it should have everything you want to hear. Th
EXTD=is deluxe edition doesn't. This doesn't, of course, mean that it 
EXTD=doesn't contain much great music, particularly the My Generation 
EXTD=album itself, a tour de force of British mod music maturing from 
EXTD=R&B rave-ups into melodic power pop with riveting instrumental an
EXTD=d lyrical hooks. It is also good to hear the nice early R&B cover
EXTD= B-sides "Daddy Rolling Stone" and "Anytime You Want Me," and whi
EXTD=le the R&B-oriented outtakes of Motown songs like "(Love Is Like 
EXTD=A) Heat Wave" aren't so good, as historical documentation they're
EXTD= important. The sessions are also documented nicely in a booklet 
EXTD=of liner notes. But no doubt you'll have to wait for the SACD or 
EXTD=DVD or some such configuration to correct some of these flaws and
EXTD= separate you from more of your hard-earned cash.  -- Richie Unte
EXTD=rberger\n\nAmazon.com Editorial Review\nThe roaring, raging quart
EXTD=et heard on Who's Next, Live at Leeds, and Quadrophenia is scarce
EXTD=ly discernable on much of this, their first album. But the Mod-fu
EXTD=eled, American R&B-inspired sense of ambitious pop that powers A 
EXTD=Quick One, Sell Out, and even Tommy isn't so hard to find here. T
EXTD=his reissue not only expands the original with a bonus-disc treas
EXTD=ure trove of 17 outtakes and rarities (including the Pete Townshe
EXTD=nd-penned, previously unissued "Instant Party Mixture"), but has 
EXTD=been remixed from the original 1964-'66 session tapes by producer
EXTD= Shel Talmy and released in true stereo for the first time. Ancho
EXTD=red by early Who/Townshend anthems "My Generation" (also included
EXTD= in an instrumental version), "I Can't Explain," and "The Kids Ar
EXTD=e Alright," disc one's original LP set veers somewhat schizophren
EXTD=ically from Townshend's nascent power-guitar thrashing on the ant
EXTD=hems and Roger Daltrey's ill-advised James Brown and Bo Diddley i
EXTD=mpressions on "Please, Please, Please" and "I'm a Man," respectiv
EXTD=ely, to the surf-inspired John Entwistle-Keith Moon instrumental 
EXTD=showcase, "The Ox." Not surprisingly, it's the Townshend original
EXTD=s (like "It's Not True," "Legal Matter," and the proto-psychedeli
EXTD=c "Circles") that point to what the band would become in a few sh
EXTD=ort years. The bonus material on disc two leans equally heavily o
EXTD=n covers, but also contains its share of signposts to the future 
EXTD=Who, including a rare, alternate version of "Anyhow, Anyway, Anyw
EXTD=here." Also included is a new booklet with many rare photos and a
EXTD= history of the album's recording by Andy Neill (coauthor of Anyw
EXTD=ay Anyhow Anywhere: The Complete Chronicle of the Who 1958-1978).
EXTD= --Jerry McCulley \n\nAmazon.com Product Description\nIt's kind o
EXTD=f odd that the Who's first album would be the last to be reissued
EXTD= in deluxe fashion, but, given the prominent role the late John E
EXTD=ntwistle plays on it (his instrumental 'The Ox' was and is a soni
EXTD=c marvel), it's kind of fitting, too. But the real reason it took
EXTD= so long for the Who camp to release this is that they added so m
EXTD=uch to it! Disc one presents the original album mixed in stereo f
EXTD=or the first time by original producer Shel Talmy, plus single si
EXTD=des like 'Bald Headed Woman' and Daddy Rolling Stone.' Disc Two i
EXTD=s a collector's dream, with more loads of first-time stereo-in fa
EXTD=ct, 28 out of the 30 tracks here are in stereo! Previously unrele
EXTD=ased, full-length versions of 'The Good's Gone' and 'I Don't Mind
EXTD=,' an unreleased instrumental version of 'My Generation' and an u
EXTD=nspeakably rare, French EP-only alternate version of 'Anyway, Any
EXTD=how, Anywhere' the highlights. Three sets of liner notes analyze.
EXTD=\n\n\nAMAZON.COM CUSTOMER REVIEW (Deluxe Edition)\nWho's messed a
EXTD=round debut, November 23, 2005 \nBy  Ben (UK)\n'My Generation' wa
EXTD=s the Who's promising debut album way back in 1965. The original 
EXTD=tracks were as numbered 1 - 12 on disk 1 in this collection, and 
EXTD=of course it was heard in glorious mono then. With some of these 
EXTD=tracks various overdubs are either missing or the versions sound 
EXTD=different than on the original release. For example the lead guit
EXTD=ar missing from the middle of the title track, MG is the worst ca
EXTD=se of this, yet the proper version of MG is on disk 2, so why inc
EXTD=lude the disk 1 version??? So although some tracks may sound clea
EXTD=ner they are not improved upon overall. \n\nIn those days, the Wh
EXTD=o were largely a British R&B outfit, and Pete Townshend was just 
EXTD=starting to find his feet as a songwriter for the band. Even thou
EXTD=gh the Who sounded very different then, MG is full of raw energy.
EXTD= The opening track, 'Out in the street' is typical of how early W
EXTD=ho used to sound. I never had a problem with Roger Daltrey doing 
EXTD=his 'James Brown impressions' on some of these tracks. But alongs
EXTD=ide the R&B and Motown covers, the Who also were one of the first
EXTD= bands to start jamming live even then, before Cream made it fash
EXTD=ionable. The best example of this is on 'Anyway, anyhow, anywhere
EXTD=', their second single, although the version included here on Dis
EXTD=k 2 sounds more like a demo compared to the originally released o
EXTD=ne. Two of the most famous tracks from MG is the title track, whi
EXTD=ch was their 3rd single, and 'The kids are alright', which was fe
EXTD=atured as a the title to a film about the band in 1979. Townshend
EXTD= penned 7 of the 12 original tracks of MG. Most of them unsurpris
EXTD=ingly sound somewhat dated today, but are still very much listena
EXTD=ble. Townshend developed more strongly as a songwriter over the n
EXTD=ext 2 years as can be heard on The Who sell out'(1967), two album
EXTD=s on. \n\nThe additional tracks on MG are ok but I'm never too ha
EXTD=ppy about 'alternate takes' or'full length versions' simply used 
EXTD=to pad out albums, when the originals were good enough or usually
EXTD= better. On disk 1, 'I can't explain' was a promising debut singl
EXTD=e by the Who, but was recorded before the original MG album sessi
EXTD=ons. 'Bald headed woman' was the B side, and again was just added
EXTD= as a filler. Curiously they included 'Circles', which was the B 
EXTD=side to 'Substitute', the single following MG. But the version he
EXTD=re is an inferior one, being stripped of John Entwhistle's French
EXTD= horn intro playing to Townshend's rhythm guitar. Check out the o
EXTD=riginal release. \n\nSome of Disk 2 consists of The Who doing R&B
EXTD= cuts which were rejects from the recording of MG. They were omit
EXTD=ted originally for good reason. The remaining tracks are poorer v
EXTD=ersions of the original cuts. So I find Disk 2 rather superfluous
EXTD= and really is bogus value, unless you happen to be a Who histori
EXTD=an and want these rarer untypical Who tracks. \n\nIf you want the
EXTD= original sound of the MG album, 'The Who Sings My Generation' is
EXTD= a much closer match, except their cover of 'I'm A Man' has been 
EXTD=omitted for some strange reason, and again another demo sounding 
EXTD=version of 'Circles' is included. Why??? \n\nSumming up I just do
EXTD=n't think this 'deluxe' version of MG does the Who justice musica
EXTD=lly as the original album did. \n\n\nAMAZON.COM CUSTOMER REVIEW (
EXTD=Deluxe Edition)\nGood,but not beyond criticism, October 10, 2005 
EXTD=\nBy  Philip A.Cohen (Bay Harbor Islands, Florida United States)\n
EXTD=I accept that the original mono mixes of these songs had live-dur
EXTD=ing-mixdown overdubs,which are not on the original 3-track multit
EXTD=rack tapes,and are therefore not available for a stereo remix.But
EXTD=,I'm disappointed by Shel Talmy's narrow stereo.He(Typically) had
EXTD= one track of vocals,one track of guitar,and the bass,drums & pia
EXTD=no on the remaining track.Talmy's gives us everything in mono,exc
EXTD=ept the guitar on the left(and mixed down much lower than on the 
EXTD=original mono mixes).A much more satisfying stereo image could ha
EXTD=ve been created,with the rhythm section on one side,the vocals in
EXTD= the middle,and the guitar on the other side.The omission of the 
EXTD=french horn on "Circles" is inexcusable.It's a so-called creative
EXTD= decision because the french horn playing was supposedly out of t
EXTD=une.And if you listen to these so-called stereo remixes carefuly,
EXTD="Circles" & "Bald Headed Woman" are still in mono sound,coutersy 
EXTD=of the anti-stereo Mr.Talmy.And was there any thought of offering
EXTD= Pete Townshend & Roger Daltrey(and John Entwistle,who was still 
EXTD=alive at the time when Talmy was remixing) the chance to re-perfo
EXTD=rm the live-during mixdown overdubs? Furthermore,although there w
EXTD=ere no further songs on Talmy's multitracks,there WERE more takes
EXTD=,and yet MCA/Universal made a last minute decision to cut down th
EXTD=e amount of selections in this set.By the way,be cautioned that t
EXTD=he SACD(Super Audio CD edition) of this "Deluxe Edition" accident
EXTD=ally uses a different mix of "Anyway,Anyhow,Anywhere" with no bac
EXTD=kgrond vocals,and that the SACD is single layer,and playable only
EXTD= on SACD equipment. \n\n\nAMAZON.COM CUSTOMER REVIEW (Deluxe Edit
EXTD=ion)\nExcellent sound (for a change), yet a slight disappoinment,
EXTD= September 7, 2002 \nBy  quentincollins3 (Woodinville, WA)\nFinal
EXTD=ly, we have here a Who reissue that hasn't even so much as touche
EXTD=d the hands of Jon Astley. As a result, the sound is very good, w
EXTD=ithout being *too* loud or compressed, and most importantly, the 
EXTD=tape hiss is left intact rather than being removed. There *is* a 
EXTD=God, after all! Both discs are a little on the bright side, and t
EXTD=here are some occasional harsh spots, which isn't good, but it's 
EXTD=not so bright and harsh often enough to the point where it makes 
EXTD=me turn it down. All in all, the sound is better than anything As
EXTD=tley ever did with the rest of the Who catalog. This CD, by the w
EXTD=ay (in case you were wondering), was mastered by Erick Labson.\n\n
EXTD=The remix itself is where I have some problems. My quarrels don't
EXTD= lie in the "missing" overdubs and whatnot, but with the stereosc
EXTD=ape itself. I, for one, don't mind it. In fact, I like it, despit
EXTD=e the fact that it's very narrow. I can't admit to liking that WI
EXTD=IIIIIIIIDE stereo sound as is found on Rubber Soul and other '60'
EXTD=s, but this is practically mono with the guitars or whatever pann
EXTD=ed ever so slightly to the left or right or wherever. According t
EXTD=o inside sources, Shel Talmy has always hated stereo. Perhaps thi
EXTD=s shouldn't come as a surprise, then, considering Talmy will alwa
EXTD=ys be a mono man at heart (and in fact, for most mid to late '60'
EXTD=s recordings, so am I), but this a little *too* narrow. Oh well. 
EXTD=It took me a little time to get used to it, but I don't mind it, 
EXTD=all in all. But it still could've been better.\n\nNow, for those 
EXTD=of you who are complaining about "missing" overdubs and the likes
EXTD=, let's consider that statement: the overdubs are NOT missing. Wh
EXTD=y? 'Cause they never existed on the stereo mix to begin with. Thi
EXTD=s CD *IS* the first stereo mix. The overdubs, such as the guitar 
EXTD=in "My Generation" and the French Horn in "Circles" are missing o
EXTD=nly in respects to the mono versions we'd gotten used to hearing 
EXTD=for the past "x" years. You can't expect the stereo versions to b
EXTD=e nothing more than everything the mono version is, just spread o
EXTD=ut. For instance, John Lennon's vocal on the mono version of "Hel
EXTD=p!" is an entirely different vocal take altogether than the stere
EXTD=o one. Not even the same track, a completely different take! And 
EXTD=what about that harmonica overdub on the stereo version of "Thank
EXTD= You Girl" that isn't on the mono version? It's differences like 
EXTD=this that make the different mixes what they are. All Talmy was d
EXTD=oing, in essence, then, was preserving the style of the '60's in 
EXTD=that the stereo versions AREN'T going to be identical to the mono
EXTD=s. Personally, I would've been pretty disappointed to find that t
EXTD=hey utilized every single exact take as they did on the monos as 
EXTD=with this stereo. That ain't what I want to hear. I want to hear 
EXTD=something new! And that's what we're getting.\n\nBottom line is, 
EXTD=if you don't like change and variations, don't buy this CD. If yo
EXTD=u welcome hearing differences in takes, mixes, etc., then by all 
EXTD=means, pick this up. Despite the still narrow soundstage, the sou
EXTD=nd quality is as good as it will ever be, and on top of all that,
EXTD= the music is classic. How can you argue with that? \n\n\nAMAZON.
EXTD=COM CUSTOMER REVIEW (Deluxe Edition)\nDisappointment, August 31, 
EXTD=2002 \nBy  Mitchell Glodek (New York, NY United States)\nHow disa
EXTD=ppointing. Disc One is a stereo remaster of the original "My Gene
EXTD=ration," but four or five of the classic Townshend tracks (e.g.; 
EXTD="A Legal Matter", "My Generation", "La-La-La Lies", and "Circles"
EXTD=) sound worse than the old mono tracks, with guitar sections, hor
EXTD=ns, and background singers de-emphasized or actually missing (som
EXTD=e of the old tapes have been lost!) Some of this is a matter of t
EXTD=aste, and others will disagree, but some of it is like issuing a 
EXTD=new edition of a book with a few chapters left out!\nDisc Two is 
EXTD=additional bonus tracks. I was really looking forward to this, as
EXTD= the additional bonus tracks on the remasters of "The Who Sell Ou
EXTD=t" and "A Quick One" included some real gems, many of which were 
EXTD=as good as the pieces included on the original albums. Unfortunat
EXTD=ely, that is not the case here. Again, this may largely be a matt
EXTD=er of taste; a lot of the bonus tracks are covers and adaptations
EXTD= of Motown and blues hits, and I generally don't care for these (
EXTD=I almost always skipped over the James Brown songs on my old mono
EXTD= "My Generation.")\n\nI'm curious to hear what other Who fans hav
EXTD=e to say, but for me these CDs have been a big let down, and I ex
EXTD=pect to be listening to my old mono MCA CD for years to come. \n\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW (Deluxe Edition)\nI *can* explain , 
EXTD=it's almost but not quite perfect, August 29, 2002 \nBy  "avkjet"
EXTD= (White Plains, New York United States)\nMy heart leapt back in '
EXTD=98 when I first heard whispers that the icy impasse between the l
EXTD=egendary producer Shel Talmy and the Who that kept this legendary
EXTD= LP and the other great early Who tracks from 1964-1965 from a pr
EXTD=oper rerelease was finally broken; I thought it would be a matter
EXTD= of months if not weeks before this long-awaited gem would be in 
EXTD=my hot little hands and now, roughly 4 years later (due to compli
EXTD=cations that are too arcane to describe-however, all of the compa
EXTD=nies that released Who discs over the years are now one corporate
EXTD= entity, which ties things up in a nice bow) it's finally here. \n
EXTD=\nThe collection that I as a 17 year old Who fanatic scribbled a 
EXTD=note to MCA to release (but was too naive / unknowledgeable to un
EXTD=derstand the myriad reasons why it could not be) has hit the shop
EXTD=s in almost the exact format that I had imagined (albeit as a CD,
EXTD= which hadn't been invented yet- I thought that laser tracking to
EXTD=nearms would be the rage) Even though I got old, and didn't die b
EXTD=efore it came out, now that it's here I'm happy but I find it odd
EXTD=ly and regrettably incomplete-I wish that I could send it back to
EXTD= Vivendi for some some minor retooling.\n\nReleased in rough coin
EXTD=cidence with the definitive Who biography, Anyway Anyhow Anywhere
EXTD=, the revamped My Generation does have much to recommend it and h
EXTD=as something for every Who fan on both sides of the pond. Present
EXTD=ing the LP as it originally appeared, the set sports the UK front
EXTD= & back covers but the inner sleeves and inserts feature the US "
EXTD=Big Ben" cover and LP notes.  In a nod to collectors and music hi
EXTD=storians, as has become a a recent and welcome reissue custom the
EXTD= CDs are done up in a homage to the original British (Brunswick) 
EXTD=and US (Decca) 45 labels. The design chosen for disc 2 is the 50'
EXTD=s style US Decca demonstration disc label that was used well into
EXTD= the 60's, but I would have preferred the "rainbow" style stock c
EXTD=opy design. Some rarely seen photos and graphics grace the bookle
EXTD=t, which is a nice touch, though in my presbyopic state I need th
EXTD=e Hubble microscope to make out some of them!\n\nGetting to the m
EXTD=usic, the early tracks appear in stereo rather than mono mixdowns
EXTD= and "reprocessed" fake stereo-the main sonic benefit is that nua
EXTD=nces that were heretofore buried in the mix constantly arise that
EXTD= even the most jaded fan will delight in (e. g. the cymbal, the p
EXTD=reviously unheard-except-by-dogs Kinks-ish piano, and vocal work 
EXTD=surface on my all-time favorite track, "I Can't Explain" to surpr
EXTD=ise the listener and embellish and broaden its attack) One should
EXTD= not expect an ABBA-like gloss to these tracks, which sound more 
EXTD=compressed than most British releases of this period. (excluding 
EXTD=Joe Meek's of course) This release also proves beyond a doubt tha
EXTD=t even at this nascent stage, the late John Entwistle's superlati
EXTD=ve bass work was more creative than most of his contemporaries. T
EXTD=he extra tracks are like tasty cherries on top of an already deli
EXTD=cious and sumptuous dessert.\n\nSo what's not to like? For starte
EXTD=rs, I cannot comprehend why such a pivotal release in the history
EXTD= of British pop as the Who's second 45, "Anyway Anyhow Anywhere" 
EXTD=\nwas completely omitted. To add insult to injury, the title is l
EXTD=isted as "Anyhow, Anywhere, Anyway",  and the somewhat inferior (
EXTD=yet essential to include for completists) French Brunswick EP ver
EXTD=sion is provided but without a photo or release #. Is it that the
EXTD= 2 versions are so similiar that a few edits only totalling 10-15
EXTD= seconds make them redundant? "Can't explain" why this happened. 
EXTD=\n\nThe release notes also seem to assume that the set is basical
EXTD=ly for the Who and /or British beat fan who is already familiar a
EXTD=nd knowledgeable about these tracks and pop history, which will l
EXTD=eave many scratching their heads or dribbling in confusion / apat
EXTD=hy. To truly understand the labels and trademarks and the reasons
EXTD= why these tracks originally appeared as they did requires a comp
EXTD=rehension of the international history of the recording industry 
EXTD=that is beyond obscure to most! The early Who story does parallel
EXTD= the early Beatles story in that they issued a non-charting disc 
EXTD=, retooled, faced repeated rejection but still managed to gain re
EXTD=lease (albeit on a less fashionable subsidiary label) by one of t
EXTD=he UK recording giants-in the Who's case, British Decca. \n\nOver
EXTD=all, this is a long awaited and long overdue package that hopeful
EXTD=ly won't be overshadowed by the recent Greatest Hits set that has
EXTD= been flogged all over the airwaves the last few months. That set
EXTD= has "Anyway.." , but its Talmy-era tracks are NOT the stereo ver
EXTD=sions on the MG set so you'll have to buy both to own all the ear
EXTD=ly recordings. If you are a new Who fan, I suggest you start here
EXTD= and work your way through successive releases. When you're done,
EXTD= don't be surprised if "My Generation" is your favorite-it's been
EXTD= mine for 27 years. \n\n\nAMAZON.COM CUSTOMER REVIEW (Deluxe Edit
EXTD=ion)\nYears of waiting..... for THIS?, August 28, 2002 \nBy  "ste
EXTD=ronious" (Germantown, Maryland United States)\nAfter years of leg
EXTD=al feuding, Producer Shel Talmy and people in The Who organizatio
EXTD=n finally settled their differences, and a remixed version of The
EXTD= Who's first album is now available. Unfortunately, the group of 
EXTD=talented people who worked on this set either didn't pay much att
EXTD=ention to detail... or they pursued an amazingly wrong-minded app
EXTD=roach - - re-writing history in the pursuit of making money with 
EXTD=repackaged product. \nThe sound IS much clearer than before, but 
EXTD=it is thin. It doesn't seem to have the power of the original mix
EXTD=es. By far though, the worst thing about the set.... is the missi
EXTD=ng overdubs! Pete Townshend's guitar overdubs on "My Generation" 
EXTD=couldn't be located, so they are missing. Missing! All those slas
EXTD=hing guitar chords from the bass break in the middle of the song 
EXTD=are not there. \nHow can you release a "definitive" CD of this al
EXTD=bum.... and use a remixed version of the title song WITHOUT all t
EXTD=he guitar overdubs! Insane. The original mono mix of "My Generati
EXTD=on" is included as a bonus track, but buried at the end of the se
EXTD=cond disc, it just seems like an afterthought. Among other annoyi
EXTD=ng choices, "Circles" is missing all of the french horn overdubs.
EXTD= \nThere are also some really disturbing examples of sloppy mixin
EXTD=g. For example, at 1:18 into "La-La-La-Lies," the vocal part abru
EXTD=ptly CUTS OFF before the end of a phrase. The original CD does no
EXTD=t have this problem. It's a pretty obvious mistake.\nOK. This is 
EXTD=a historically important album. The booklet is beautiful. The cle
EXTD=aned-up sounds lets us hear Keith Moon's drumming in glorious det
EXTD=ail. But the new remix misses the big picture - forsaking the art
EXTD=ist's original intentions in the name of prissy sonic clarity. Th
EXTD=is set can only be viewed as a major disappointment. \n\n\nHalf.c
EXTD=om Details \nProducer: Shel Talmy \n\nAlbum Notes\nA remastered a
EXTD=nd greatly expanded version of THE WHO SINGS MY GENERATION was re
EXTD=leased in 2002 as MY GENERATION: DELUXE EDITION.\n\nThe Who: Roge
EXTD=r Daltrey (vocals); Pete Townshend (vocals, guitar); John Entwist
EXTD=le (bass, background vocals); Keith Moon (drums).\nOriginally rel
EXTD=eased on Decca (74664) in April 1966.\nIncludes original release 
EXTD=liner notes.\n"Ours is a group with built-in hate." Pete Townshen
EXTD=d said that in 1965, around the time that THE WHO SING MY GENERAT
EXTD=ION came out. That hate--or, more accurately, angst--jumps out of
EXTD= the grooves on the album. Although the line between righteous an
EXTD=ger and self-centered bitchiness occasionally wears thin, there i
EXTD=s no denying that the Who were truly revolutionary. The arresting
EXTD= teenage anthem "My Generation," the shaky solidarity of "The Kid
EXTD=s Are Alright," the dizzy confusion of "Instant Party (Circles)"-
EXTD=-never had pop music expressed such raw emotions in such an uncom
EXTD=promising manner.\nAt the same time, Townshend, despite his blust
EXTD=er, could not escape the fact that underneath his rage lay a melo
EXTD=dist worthy of the Brill Building. On tracks such as the crystall
EXTD=ine, harmony-laden "Much Too Much," he proved that he didn't need
EXTD= power to create a powerful pop song. In other words, you don't h
EXTD=ave to be a Mod to enjoy this album. But it helps.\n\nIndustry Re
EXTD=views\n-never had pop music expressed such raw emotions in such a
EXTD=n uncompromising manner (the Shangri-Las withstanding). At the sa
EXTD=me time, Townshend, despite his bluster, could not escape the fac
EXTD=t that underneath his rage lay a melodist worthy of the Brill Bui
EXTD=lding. On tracks such as the crystalline, harmony-laden Much Too 
EXTD=Much, he proved that he didn't need power to create a powerful po
EXTD=p song. In other words, you don't have to be Mod to enjoy this al
EXTD=bum. But it helps.
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