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DISCID=d8118b0e
DTITLE=The Who / The Young Vic - Live
DYEAR=1972
DGENRE=Rock
TTITLE0=Love Ain't For Keeping (Live)
TTITLE1=Pure And Easy (Live)
TTITLE2=Young Man Blues (Live)
TTITLE3=Time Is Passing (Live)
TTITLE4=Behind Blue Eyes (Live)
TTITLE5=I Don't Even Know Myself (Live)
TTITLE6=Too Much Of Anything (Live)
TTITLE7=Getting In Tune (Live)
TTITLE8=Bargain (Live)
TTITLE9=Water (Live)
TTITLE10=My Generation (Live)
TTITLE11=(I'm A) Road Runner (Live)
TTITLE12=Naked Eye (Live)
TTITLE13=Won't Get Fooled Again (Live)
EXTD=Who's Next (Deluxe Edition) - Disc 1 of 2\n2003 MCA Records, Inc.
EXTD=\n\nOriginally Released 1971\nMCA Steve Hoffman Version CD Releas
EXTD=ed 1985?\nRemixed & Remastered with Bonus Tracks Version Released
EXTD= November 7, 1995\nMCA MasterDisc Gold CD Version Released August
EXTD= 29, 1995\nMFSL Gold CD Version Released October 12, 1999\nDeluxe
EXTD= Edition Released March 25, 2003\n\nAMG EXPERT REVIEW: The Who's 
EXTD=catalog was revamped in the mid-'90s, with every title (except My
EXTD= Generation, due to legal entanglements with producer Shel Talmy)
EXTD= receiving new remastering and bonus tracks. Nearly eight years l
EXTD=ater, Who's Next, one of the group's most beloved albums, was giv
EXTD=en another remastered/expanded treatment as part of Universal Chr
EXTD=onicles' Deluxe Edition series. Now it spans two discs, including
EXTD= a full disc devoted to their legendary show at the Young Vic on 
EXTD=April 26, 1971. Reportedly, this is also the first time the origi
EXTD=nal master tapes were used for a CD master as well, and while the
EXTD= difference isn't as dramatically different as it was from the 19
EXTD=84 CD to the 1995 CD, this is a richer, resonant mix, which may b
EXTD=e reason enough for some fans to acquire it. Most collectors will
EXTD= focus on the bonus material, all of which ranges from very good 
EXTD=to great, yet the set on the whole gets a qualified recommendatio
EXTD=n for one very simple reason: The greatest of the material here w
EXTD=as already featured as bonus material on the 1995 reissue. True, 
EXTD=some of the versions were present as single edits, but the greate
EXTD=st songs -- "Pure and Easy," a rollicking cover of "Baby Don't Yo
EXTD=u Do It," the live set pieces "Naked Eye" and "Water," "Too Much 
EXTD=of Anything," "I Don't Even Know Myself," the original take of "B
EXTD=ehind Blue Eyes" -- were all bonus tracks on the previous edition
EXTD= (this is not counting the fact that the electric version of "Lov
EXTD=e Ain't for Keepin'," which is really good, is also on Odds & Sod
EXTD=s). That said, there is some unreleased music here that is either
EXTD= fascinating (the first take of "Won't Get Fooled Again," which s
EXTD=ounds as if it's on the verge of collapse) or excellent (the whol
EXTD=e of the Young Vic show, where you can hear the band get its stre
EXTD=ngth back; it's a truly fine concert). But no matter how good, or
EXTD= even revelatory, some of this is, the end result feels underwhel
EXTD=ming because any Who fan has heard the most crucial music here be
EXTD=fore (and those who enjoy nitpicking will surely wonder why there
EXTD= wasn't more of an effort to present Lifehouse rejects and outtak
EXTD=es here instead of a full concert). If you're a fan, Who's Next: 
EXTD=The Deluxe Edition is like paying a bill -- buying it is somethin
EXTD=g that needs to be done, you're glad once it's done, but it's not
EXTD= something you're necessarily eager to do. -- Stephen Thomas Erle
EXTD=wine\n\nAMG EXPERT REVIEW: (Standard Edition) Much of Who's Next 
EXTD=derives from Lifehouse, an ambitious sci-fi rock opera Pete Towns
EXTD=hend abandoned after suffering a nervous breakdown, caused in par
EXTD=t from working on the sequel to Tommy. There's no discernable the
EXTD=me behind these songs, yet this album is stronger than Tommy, fal
EXTD=ling just behind Who Sell Out as the finest record the Who ever c
EXTD=ut. Townshend developed an infatuation with synthesizers during t
EXTD=he recording of the album, and they're all over this album, addin
EXTD=g texture where needed and amplifying the force, which is already
EXTD= at a fever pitch. Apart from Live at Leeds, the Who have never s
EXTD=ounded as LOUD and unhinged as they do here, yet that's balanced 
EXTD=by ballads, both lovely ("The Song Is Over") and scathing ("Behin
EXTD=d Blue Eyes"). That's the key to Who's Next -- there's anger and 
EXTD=sorrow, humor and regret, passion and tumult, all wrapped up in a
EXTD= blistering package where the rage is as affecting as the heartbr
EXTD=eak. This is a retreat from the '60s, as Townshend declares the "
EXTD=Song Is Over," scorns the teenage wasteland, and bitterly declare
EXTD=s that we "Won't Get Fooled Again." For all the sorrow and heartb
EXTD=reak that runs beneath the surface, this is an invigorating recor
EXTD=d, not just because Keith Moon runs rampant or because Roger Dalt
EXTD=rey has never sung better or because John Entwistle spins out man
EXTD=ic bass lines that are as captivating as his "My Wife" is funny. 
EXTD=This is invigorating because it has all of that, plus Townshend l
EXTD=aying his soul bare in ways that are funny, painful, and utterly 
EXTD=life-affirming. That is what the Who was about, not the rock oper
EXTD=as, and that's why Who's Next is truer than Tommy or the abandone
EXTD=d Lifehouse. Those were art -- this, even with its pretensions, i
EXTD=s rock & roll. -- Stephen Thomas Erlewine\n\nAmazon.com Editorial
EXTD= Review\nThe success of Who's Next and its slate of classic-rock 
EXTD=tracks has often obscured its true roots--Lifehouse, the unwieldy
EXTD= multi-media project that Pete Townshend originally concocted as 
EXTD=the follow-up to Tommy. Variously informed by apocalyptic visions
EXTD=, sci-fi notions of interconnectivity that neatly presaged the in
EXTD=ternet and, of course, an unwavering conviction that rock & roll 
EXTD=would save the world, the core tracks of the sprawling Lifehouse 
EXTD=were recorded, cut, re-recorded and finally boiled down into a co
EXTD=llection that seems to represent as much alienation ("Behind Blue
EXTD= Eyes") and overweening cynicism ("Won't Get Fooled Again") as it
EXTD= does liberation and unity. Aside from Townshend's own self-relea
EXTD=sed, multi-disc meditation on the project, this expanded new edit
EXTD=ion is the most rewarding attempt to place Lifehouse and the over
EXTD=-exposed classic it spawned in their proper context. Six tracks f
EXTD=rom the album's original, but abandoned New York sessions flesh o
EXTD=ut the familiar material, with previously unreleased outtakes of 
EXTD="Getting in Tune" and a revealing, early arrangement of "Won't Ge
EXTD=t Fooled Again" warranting special note. The second disc document
EXTD=s one of Lifehouse's most quixotic elements with the first-time r
EXTD=elease of one of the series of concerts staged at London's Young 
EXTD=Vic theater during the project's gestation, events during which b
EXTD=and and audience would somehow mystically become One. Core tracks
EXTD= from the project are interspersed with typical hard-rocking Who 
EXTD=fare of the time, resulting in a show whose focus and dynamics be
EXTD=lied something very different from the arena-rock clichs that wo
EXTD=uld eventually overwhelm them. --Jerry McCulley \n\nAlbum Descrip
EXTD=tion\nBelieve it or not, this landmark album, the record that cha
EXTD=nged FM rock forever in the early-'70s, has never been reissued f
EXTD=rom the original master tapes...'til now! But that's only the beg
EXTD=inning...in addition to the original nine tracks, disc one adds s
EXTD=ix bonus tracks that were recorded at The Record Plant in March 1
EXTD=971, ('Baby Don't You Do It', 'Getting In Tune', 'Pure and Easy',
EXTD= 'Love Ain't For Keeping', Behind Blue Eyes' & 'Won't Get Fooled 
EXTD=Again') three of which have never been available and the other th
EXTD=ree of which are here in their full-length versions for the first
EXTD= time. Then disc two captures a largely-unreleased April 26, 1971
EXTD= gig at London's Old Vic Theatre (including the previously unrele
EXTD=ased tracks - 'Love Ain't For Keeping', 'Pure And Easy', 'Young M
EXTD=an Blues', 'Time Is Passing', 'Behind Blue Eyes', 'I Don't Even K
EXTD=now Myself', 'Too Much Of Anything', 'Getting In Tune', 'Bargain'
EXTD=, 'My \n\nAmazon.com Customer Review\nKind of worth it for CD2, b
EXTD=ut CD1 is redundant, March 29, 2003 \nReviewer: Jac in Tucson fro
EXTD=m Tucson, AZ United States  \nOK, so CD1 has gone back to the ori
EXTD=ginal master tapes, and not something a generation or two removed
EXTD=. For audiophiles with $5,000 sound systems, it may be worth it t
EXTD=o them to buy the "new" first CD. But for 95 percent of us, many 
EXTD=of whom have bought the "remastered" version with bonus tracks, t
EXTD=he first CD really is redundant and a waste of money. Who's Next 
EXTD=is absolutely one of the best rock albums of all time -- and if y
EXTD=ou've got the remastered CD1, you've got the essentials. CD2 is f
EXTD=or completists, or those curious to hear one of the Old Vic recor
EXTD=dings in which Townshend was fine-tuning Lifehouse. (For Townshen
EXTD=d'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
EXTD= if you just HAVE to have some live versions of songs from Who's 
EXTD=Next, then fork over the pile of cash for this CD. Like Live at L
EXTD=eeds, the first CD is essential, the second CD is worth owning if
EXTD= you've got a nice fat back account. But for my money, check out 
EXTD=the Who's performance at the Isle of Wight Festival, which is as 
EXTD=dynamic as Live at Leeds and, like Live at Leeds CD2, contains To
EXTD=mmy. I've lost track of the many issues, reissues, remasters, and
EXTD= (especially) "best of" compilations of The Who. If you're new to
EXTD= the band, pass on this and just get CD1 of this, CD1 of Live at 
EXTD=Leeds, and Tommy, and you've got your own "essential Who" collect
EXTD=ion! For now, though, this "Deluxe Edition" is meant for those Bo
EXTD=omers among us who don't mind buying two CDs just to get one CD's
EXTD= worth of new material...\n\nCaveat emptor...\n\nAmazon.com Custo
EXTD=mer Review\nA review of this set written by Luke Pacholski at luk
EXTD=pac.org, April 13, 2003 \nReviewer: Bradley Olson from Bemidji, M
EXTD=N USA  \nAs most people know, one of the main selling points of W
EXTD=ho's Next: Deluxe Edition is that the original album comes from t
EXTD=he original stereo master tapes "for the first time on CD". The s
EXTD=tory is that only copy tapes have been used all of these years. O
EXTD=n the other hand, Steve Hoffman, former MCA engineer, has claimed
EXTD= for a long time that he found the master tapes in a file cabinet
EXTD= at the Mastering Lab in LA in the mid-80s and used them for his 
EXTD=CD version, one variation of which is still available in Canada t
EXTD=oday.\n\nWell, between listening to the two side by side and runn
EXTD=ing the tape box pictures past Steve, it would indeed seem the De
EXTD=luxe Edition is the *second* time (at the very least) the true ma
EXTD=sters have been used for CD. There's little doubt in my mind that
EXTD= Hoffman's version also used the tapes. Both forms of the album s
EXTD=ound quite good, although there are some differences between the 
EXTD=two.\n\nThe Hoffman CD has an EQ that favors the vocals, with the
EXTD= side effect of causing the cymbals to sound a bit "midrangy". Th
EXTD=e Deluxe Edition, on the other hand, goes for a slightly more "sm
EXTD=ooth" cymbal sound, at the expense of the vocals, causing them to
EXTD= be submerged slightly, if you will. The DE is a bit less "open",
EXTD= IMO.\n\nThere are also some minor differences beyond EQ. For his
EXTD= CD, Hoffman essentially played the tapes back "straight", withou
EXTD=t fading the hiss out between tracks. (side note: the Canadian ve
EXTD=rsion has the hiss "blacked" between some tracks. The original US
EXTD= and Japanese pressings don't.) The Deluxe Edition takes a differ
EXTD=ent approach. As the songs come to a close, the entire track is f
EXTD=aded out, causing the hiss to fade as well. The side effect of th
EXTD=is is that in some cases the very last moments of some songs are 
EXTD=lost.\n\nInteresting note: the between song gaps for most of the 
EXTD=album seem to be just about identical between the Hoffman CD and 
EXTD=the DE. However, while some previous versions of the original mix
EXTD= (including the Hoffman) have essentially no pause between Behind
EXTD= Blue Eyes and Won't Get Fooled Again, the Deluxe Edition has a f
EXTD=ew seconds of silence between the two. Very strange. On the other
EXTD= hand, the old US MCA CD (a version not mastered by Hoffman) does
EXTD= have a small gap as well.\n\nA big question on many peoples mind
EXTD=s has been noise reduction (NR). Jon Astley (who mastered the Del
EXTD=uxe Edition) is notorious for using NR on just about everything. 
EXTD=This has the effect of sucking the life out of the music and caus
EXTD=ing nasty digital artifacts. Kind of a "swirling" sound if you wi
EXTD=ll. Just listen to some of Live At Leeds: Deluxe Edition for a go
EXTD=od (or bad, I guess) example of this. Well, I've got good and bad
EXTD= news. The good news is that *most* of the album is NR-free. Hiss
EXTD= levels are usually about the same as the Hoffman CD, and in a fe
EXTD=w cases they actually seem to be every so slightly higher. That s
EXTD=aid, several intros, quiet sections, and fade-outs do have noise 
EXTD=reduction. One key place is Won't Get Fooled Again - the intro, s
EXTD=ynth 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 l
EXTD=evel goes *way* up. Fortunately the NR isn't quite as intrusive a
EXTD=s it was on some other Astley-mastered CDs, but it is still annoy
EXTD=ing, and there's simply no reason for it.\n\nAs far as the rest o
EXTD=f the (bonus) cuts go, I haven't really gotten that far yet. I wo
EXTD=uld note that while Baby Don't You Do It is longer than on the 19
EXTD=95 CD, it is still edited in a few places. What's the point?\n\nO
EXTD=n the other hand, some (but not all) of the backing vocals mixed 
EXTD=out of Pure & Easy on the 1995 CD are present here. The song also
EXTD= comes to a formal close, rather than a fade-out.\n\nBehind Blue 
EXTD=Eyes still only has a single guitar solo, unlike the dual solos o
EXTD=n the bootleg mix.\n\nI briefly skimmed through disc 2. Rich "Whi
EXTD=te Fang" Weiner has said he thought the mastering was significant
EXTD=ly worse on this disc, but honestly, I don't hear (m)any negative
EXTD= effects of noise reduction. It's certainly better than I was exp
EXTD=ecting. That said, I haven't heard the mixes prior to mastering, 
EXTD=and I believe he has. Whatever the case, the sound is *far* bette
EXTD=r than some of Jon Astley's prior work.\n\nHow would I rate this 
EXTD=set? Well, it was certainly better than expected. A key selling p
EXTD=oint is use of the "original tape" for the original album. While 
EXTD=I'd say it does sound *very* good, bits of noise reduction aside,
EXTD= I'm hesitant to say it sounds "better" than the Hoffman CD. Both
EXTD= versions have their own strengths and weaknesses. Casual fans wi
EXTD=ll probably do fine with the DE, although I'd still suggest the H
EXTD=offman CD to those who really care about sound quality. You might
EXTD= still prefer the DE, but then again, you might not.\n\nEven igno
EXTD=ring the original album, I'd say the set is well worth picking up
EXTD=. The mixes of the Record Plant material are interesting, and the
EXTD= Young Vic show is great from both a performance and sound standp
EXTD=oint.\n\nDespite its flaws, in my opinion this is the best Who re
EXTD=issue to come out in a long time. \n\nAmazon.com Customer Review\n
EXTD=Worth it for disc 2 alone., March 26, 2003 \nReviewer: David Good
EXTD=win from Westchester, NY USA  \nAhh, "Deluxe Edition." Record com
EXTD=pany speak for "We've figured out how to make you spend upwards o
EXTD=f twenty-five dollars for *the same stuff!* AGAIN!" Universal's t
EXTD=wo-disc Deluxe Edition series has had some great successes and so
EXTD=me...well, puzzling entries. Thankfully, this release is largely 
EXTD=in the former category, although there are a few important caveat
EXTD=s that need to be addressed. Read on...\n\nFirst, let's look at t
EXTD=he package: the original album, plus a few period bonuses, plus a
EXTD= good bit of the infamous "Young Vic" concert which found the ban
EXTD=d trying out the material live for the first time. One of MCA/Uni
EXTD=versal's selling points for disc 1--the original album, which the
EXTD= entire world probably has seven or eight times over at least--is
EXTD= that the disc uses FOR THE FIRST TIME the "Original Master Tapes
EXTD=." Now, let's examine this claim. Frankly, I think it's indicativ
EXTD=e of the sheer, unmitigated gall these bloated companies have tha
EXTD=t they can advertise previous releases (the fairly-awful MCA Gold
EXTD= disc, which claimed to use the original master tapes) as using t
EXTD=he "Original Master Tapes," and then pull a 180 and go "Oh, no, w
EXTD=ait, we screwed up...THIS is the one you need. $25 please." Chutz
EXTD=pah, eh? And the weird part is that it probably isn't true (the m
EXTD=aster tapes *were* used for at least one previous issue of the al
EXTD=bum).\n\nBut I'm getting ahead of myself. The currently-available
EXTD= Who's Next single disc uses an uneasy combination of remixes fro
EXTD=m the multitracks ("My Wife," for example) and original mixes. Di
EXTD=sc one of this set uses the original mixes through and through, a
EXTD=nd despite the somewhat dubious reputation of some of those behin
EXTD=d this set, is actually sounds fairly splendid, with only a few n
EXTD=o-noised intros really standing out (and it's safe to say most wo
EXTD=n't notice them). Is this the best "Who's Next" has sounded on CD
EXTD=? It's certainly up there with the previous best incarnation.\n\n
EXTD=The bonus tracks on disc 1 are mostly extended versions of the bo
EXTD=nus tracks on the '95 single disc (although, bizarrely, we're mis
EXTD=sing a few tracks here, like the studio alternate of "Too Much of
EXTD= Anything"). They're also remixed, and some are still edited ("Ba
EXTD=by Don't You Do It"). Some are entirely new ("Won't Get Fooled Ag
EXTD=ain"). Still nice.\n\nIt'd disc two, though, that is *the* sellin
EXTD=g point of the set: a previously-unavailable Who concert. The pro
EXTD=ducers of the set excised most of the non-Who's Next related mate
EXTD=rial (ostensibly to fit the affair onto a single disc), but it do
EXTD=esn't really hurt the concert. This Young Vic show is essentially
EXTD= the first airing of the WN material in front of a crowd, and in 
EXTD=some cases it marks the first and *last* airings of some song ("T
EXTD=ime is Passing"). While the playing is occasionally tentative--vo
EXTD=cals are out of tune, etc--it's still utterly enthralling and top
EXTD= notch, and it's been mastered a LOT better than Live at Leeds De
EXTD=luxe.\n\nThe verdict? If you're one of the...lesse...five? Five p
EXTD=eople on earth who somehow does NOT own Who's Next, this package 
EXTD=is an excellent introduction; there're certain albums that are ro
EXTD=ck institutions, pure and simple, and this is one of them. If you
EXTD='re a slightly more seasoned collector, though, the set is still 
EXTD=essential, if only for disc 2. The fact that some of the tracks o
EXTD=n the single disc reissue are missing is unfortunate, but that's 
EXTD=record company politics for ya...hopefully, copies of the '95 sin
EXTD=gle disc will be floating around for cheap now that this is out. 
EXTD=\n\nHalf.com Album Notes\nThe Who: Roger Daltrey (vocals); Pete T
EXTD=ownsend (guitar, piano, organ, ARP synthesizer, background vocals
EXTD=); John Entwistle (horns, piano, bass, background vocals); Keith 
EXTD=Moon (drums, percussion).Additional personnel: Leslie West (guita
EXTD=r); Nicky Hopkins (piano).\nProducers: The Who, Glyn Johns, Kit L
EXTD=ambert.\nRecorded between 1968 & 1971. \nIncludes liner notes by 
EXTD=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
EXTD= Albums Of The '70s.'\n\nNew Musical Express (10/2/93, p.29) - Ra
EXTD=nked #99 in NME's list of the `Greatest Albums Of All Time.'\n\nQ
EXTD= Magazine (1/03, p.62) - Included in Q Magazine's 100 Greatest Al
EXTD=bums Ever\n\nRolling Stone (9/2/71, p.42) - ...intelligently-conc
EXTD=eived, superbly-performed, brilliantly produced, and sometimes ev
EXTD=en exciting rock'n'roll... \n\nRolling Stone (9/30/71, p.42) - ..
EXTD=.what they have given up in rawness and razzle-dazzle they have g
EXTD=ained in depth of vision and musical maturity. Every cut on the a
EXTD=lbum has something to offer...\n\nQ Magazine (1/96, p.158) - 4 St
EXTD=ars - Excellent - Considered by many to be the band's best, 1971'
EXTD=s WHO'S NEXT was their only Number 1 album... YEAR: 2003
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