THE THE
: LIVE OF
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Š Dark Cloud Studio LLC www.darkcloudstudio.com 5
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ROGER DALTREY 7
PETE TOWNSHEND 8
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KEITH MOON 11
JOHN ENTWISTLE 12
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THE IMMORTALS: THE GREATEST ARTISTS OF ALL TIME: 29) THE WHO
THE CONCERT
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FORWARD
APPENDIX
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The Immortals - The Greatest Artists of all Time: 29) The Who Eddie Vedder
(Article TAken FRom rolling Stones MaGazine)
The Who began as spectacle. They became spectac-ular. Early on, the band was in pure demolition mode; later, on albums like Tommy and Quadrophenia, they coupled that raw energy with precision and desire to complete musical experiments on a grand scale. They asked, “What were the limits of rock & roll? Could the power of music actually change the way you feel?” Pete Townshend allowed that there be spiritual value in music. They were an incredible band whose main songwriter happened to be on a quest for reason and harmony in his life. He shared that journey with the listener, becoming an inspiration for others to seek out their own path - this while being in the Guinness book of world records as the world’s loudest band. Presumptuously I speak for all Who fans when I say being a fan of the Who has incalculably enriched my life. What disturbs me about the Who is the way they smashed through every door of rock & roll, leaving rubble and not much else for the rest of us to lay claim to. In the beginning they took on an arrogance when, as Pete says, “We were actually a very ordinary group.” As they became accomplished, this attitude stuck. Therein lies the thread to future punks. They wanted to be louder, so they had Jim Marshall invent the 100-watt amp. Needed more volume, so they began stacking them. It is said that the first guitar feedback ever to make it to record was on “Anyway, Anyhow, Anywhere,” in 1965. The Who told stories within the confines of a song and, over the course of an entire album, pushed boundaries. How big of a story could be told? And how would it transmit (pre-video screens, etc.) to a large crowd? Smash the instruments? Keith Moon said they wanted to grab the audience by the balls. Pete countered that like the German autodestruct movement, where they made sculpture that would collapse and buildings that would explode, it was high art. I was around nine when a baby sitter snuck Who’s Next onto the turntable. The parents were gone. The windows shook. The shelves were rattling. Rock & roll. That began an
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exploration into music that had soul, rebellion, aggression, affection. Destruction. And this was all Who music. There was the mid-Sixties maximum-R&B period: mini-operas, Woodstock, solo records. Imagine, as a kid, stumbling upon the locomotive that is Live at Leeds. “Hi, my name is Eddie. I’m ten years old and I’m getting my fucking mind blown!” The Who on record were dynamic. Roger Daltrey’s delivery allowed vulnerability without weakness; doubt and confusion, but no plea for sympathy. (You should hear Roger’s vocal on a song called “Lubie [Come Back Home],” a bonus track from the My Generation reissue. It’s top-gear.)
The songwriter-listener relationship grows deeper after all the years. Pete saw that “a celebrity in rock is charged by the audience with a function, like, ‘You stand there and we will know ourselves.’ Not ‘You stand there and we will pay you loads of money to keep us entertained as we eat our oysters.’ “ He saw the connection could be profound. He also realized the audience may say, “When we’re finished with you, we’ll replace you with somebody else.” For myself and so many others (including shopkeepers, foremen, professionals, bellboys, gravediggers, directors, musicians), they won’t be replaced. Yes, Pete, music can change you.
The Who quite possibly remain the greatest live band ever. Even the list-driven punk legend and music historian Johnny Ramone agrees with me on this. You can’t explain Keith Moon or his playing. John Entwistle was an enigma unto himself, another virtuoso musical oddity. Roger turned his mike into a weapon, seemingly in self-defense. All the while, Pete was leaping into the rafters wielding a Seventies Gibson Les Paul, which happens to be a stunningly heavy guitar. As a live group, they created momentum, and they seemed to be released by the ritual of their playing. (Check out “A Quick One,” from The Rolling Stones Rock and Roll Circus.) In Chicago recently, I saw Pete wring notes out of his guitar like a mechanic squeezing oil from a rag. I watched as the guitar became a living being, one getting its body bashed and its neck strangled. As Pete set it down, I swear I sensed relief coming from that guitar. A Stratocaster with sweat on it. The guitar’s sweat. John and Keith made the Who what they were. Now they’re different, but still the Who. Roger’s a rock. And at this point Pete has been through and survived more than anyone in rock royalty. Perhaps even beyond Keith Richards, who was actually guilty of most things he was accused of. Drummer Zak Starkey played me a new song a while back, “Real Good Looking Boy.” It was beyond moving.
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I used the concert’s DVD and Photoshop Image Statistics To Make each Stacked Image. First I converted all the frames of the songs into images. I Then applied a formula to all of the images To determine what Images I would use in each image stack (8 images = 2 seconds). I used this formula because the camera changed angles every 2 seconds IN each song.
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Photoshop Image Stacks Statistics basically takes all the images that were selected and stacks all the images into one image. Photoshop then applies the formula that was chosen, from the drop-down list, to all the layers (images) and the color channels (RGB) of the each layer. I picked Range; range takes the maximum minus the minimum amount of non-transparent Pixel values.
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Song Order:
08/29/1970
Heaven and Hell I Can’t Explain Young Man Blues I Don’t Even Know Myself Water Shakin’ All Over/Spoonful/Twist and Shout Summertime Blues My Generation Magic Bus FROM TOMMY: Overture It’s a Boy Eyesight to the Blind (The Hawker) Christmas The Acid Queen Pinball Wizard Do You Think It’s Alright? Fiddle About Go To The Mirror Miracle Cure I’m Free We’re Not Gonna Take It See Me Feel Me/Listening To You
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 117 Total Number of Frames (4 frames = 1 second): 944 Total Number of Camera Angles: 37 Camera angles alternate every 2-6 seconds.
ALL BAND MEMBERS: 22.22%
CROWD: 15.38%
NO BAND MEMBERS: 1.17%
PETE TOWNSHEND & JOHN ENTWISTLE: 2.56% ROGER DALTREY & JOHN ENTWISTLE: 4.27%
ROGER DALTREY: 5.13%
ROGER DALTREY & KEITH MOON: .85% PETE TOWNSHEND & KEITH MOON: 5.98%
PETE TOWNSHEND & ROGER DALTREY: 1.17%
PETE TOWNSHEND: 25.64%
JOHN ENTWISTLE: 5.98%
KEITH MOON: 8.55%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 88 Total Number of Frames (4 frames = 1 second): 712 Total Number of Camera Angles: 28 Camera angles alternate every 2-4 seconds.
CROWD: 6.82%
NO BAND MEMBERS: 1.14%
ALL BAND MEMBERS: 4.55% ROGER DALTREY & JOHN ENTWISTLE: 1.14% ROGER DALTREY: 25% ROGER DALTREY & KEITH MOON: 7.95%
PETE TOWNSHEND & ROGER DALTREY: 2.27% JOHN ENTWISTLE: 3.41%
PETE TOWNSHEND: 21.59%
KEITH MOON: 26.14%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 183 Total Number of Frames (4 frames = 1 second): 1,469 Total Number of Camera Angles: 30 Camera angles alternate every 2-6 seconds.
ALL BAND MEMBERS: 34.97%
CROWD: 6.01%
NO BAND MEMBERS: .55%
ROGER DALTREY: 8.20%
ROGER DALTEY & JOHN ENTWISTLE: .55% ROGER DALTREY & KEITH MOON: 3.28% PETE TOWNSHEND & KEITH MOON: 4.92%
PETE TOWNSHEND: 24.59%
PETE TOWNSHEND & ROGER DALTREY: 4.92% JOHN ENTWISTLE: 1.64% KEITH MOON: 10.39%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 166 Total Number of Frames (4 frames = 1 second): 1,329 Total Number of Camera Angles: 28 Camera angles alternate every 2-12 seconds.
ALL BAND MEMBERS: 24.69%
ROGER DALTREY & KEITH MOON: 18.67%
CROWD: 1.81% NO BAND MEMBERS: 1.20%
PETE TOWNSHEND & ROGER DALTREY: 1.81% ROGER DALTREY: 27.71%
JOHN ENTWISTLE: 2.41%
KEITH MOON: 11.45%
PETE TOWNSHEND 12.05%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 348 Total Number of Frames (4 frames = 1 second): 2,790 Total Number of Camera Angles: 36 Camera angles alternate every 2-4 seconds and 20-40 seconds for solos.
NO BAND MEMBERS: 1.44%
ALL BAND MEMBERS: 18.39%
ROGER DALTREY: 22.90%
KEITH MOON & JOHN ENTWISTLE: 2.01%
ROGER DALTREY & KEITH MOON: 5.75%
PETE TOWNSHEND & KEITH MOON: 3.16% PETE TOWNSHEND & ROGER DALTREY: .86%
PETE TOWNSHEND: 27.59%
JOHN ENTWISTLE: 4.89%
KEITH MOON: 12.93%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 138 Total Number of Frames (4 frames = 1 second): 1,107 Total Number of Camera Angles: 38 Camera angles alternate every 2-10 seconds.
ALL BAND MEMBERS: 23.91%
PETE TOWNSHEND & JOHN ENTWISTLE: 2.17%
CROWD: 11.59%
ROGER DALTREY & JOHN ENTWISTLE: 3.62% ROGER DALTREY & KEITH MOON: 2.90%
NO BAND MEMBERS: 5.07%
PETE TOWNSHEND & KEITH MOON: 4.35% PETE TOWNSHEND & ROGER DALTREY: 2.90%
ROGER DALTREY: 15.22%
KEITH MOON: !3.04%
PETE TOWNSHEND: 15.22%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 101 Total Number of Frames (4 frames = 1 second): 806 Total Number of Camera Angles: 36 Camera angles alternate every 2-6 seconds and 10-12 seconds for solos.
ALL BAND MEMBERS: 40.59%
ROGER DALTREY & JOHN ENTWISTLE: 6.93%
ROGER DALTREY & KEITH MOON: 2.97% PETE TOWNSHEND & KEITH MOON: 1.98% PETE TOWNSHEND & ROGER DALTREY: 4.95%
JOHN ENTWISTLE: 2.97% KEITH MOON: 3.96%
ROGER DALTREY: 29.70%
PETE TOWNSHEND: 5.94%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 233 Total Number of Frames (4 frames = 1 second): 1,871 Total Number of Camera Angles: 42 Camera angles alternate every 2-8 seconds and 20 -30 seconds for Pete Townshend and John Entwistle solos.
NO BAND MEMBERS: .86% ALL BAND MEMBERS: 27.04% ROGER DALTREY: 12.88%
ROGER DALTREY & JOHN ENTWISTLE: 1.29% ROGER DALTREY & KEITH MOON: 2.58% PETE TOWNSHEND & KEITH MOON: 2.15% PETE TOWNSHEND & ROGER DALTREY: 6.01% PETE TOWNSHEND: 30.90% JOHN ENTWISTLE: 3.86%
KEITH MOON: 12.45%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 136 Total Number of Frames (4 frames = 1 second): 1,097 Total Number of Camera Angles: 42 Camera angles alternate every 2-16 seconds and 16 seconds for solos.
KEITH MOON & JOHN ENTWISTLE: 1.47%
ALL BAND MEMBERS: 30.80%
ROGER DALTREY & JOHN ENTWISTLE: 1.47% ROGER DALTREY & KEITH MOON: 2.21%
PETE TOWNSHEND & KEITH MOON: 15.44%
CROWD: 9.56%
NO BAND MEMBERS: 4.41%
PETE TOWNSHEND & ROGER DALTREY: 2.94%
ROGER DALTREY: 4.41%
JOHN ENTWISTLE: 1.47% KEITH MOON: 4.41% PETE TOWNSHEND: 21.32%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 153 Total Number of Frames (4 frames = 1 second): 1,220 Total Number of Camera Angles: 25 Camera angles alternate every 2-14 seconds.
NO BAND MEMBERS: .65%
ROGER DALTREY: 3.92%
CROWD: 5.23%
PETE TOWNSHEND: 40.52%
ALL BAND MEMBERS: 16.34%
ROGER DALTREY & KEITH MOON: 11.76% KEITH MOON: 16.34%
PETE TOWNSHEND & KEITH MOON: 2.61%
PETE TOWNSHEND & ROGER DALTREY: 2.61%
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FRAME TOTALS AND CAMERA STATISTICS: Number of Selected Frames (8 frames = 2 seconds): 19 Total Number of Frames (4 frames = 1 second): 158 Total Number of Camera Angles: 8 Camera angles alternate every 2-10 seconds and 12 seconds for Pete Townshend solo.
NO BAND MEMBERS: 5.26%
PETE TOWNSHEND: 63.16%
CROWD: 26.32%
KEITH MOON: 5.26%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 18 Total Number of Frames (4 frames = 1 second): 149 Total Number of Camera Angles: 11 Camera angles alternate every 2 seconds and 8 seconds for Pete Townshend solo.
ALL BAND MEMBERS: 16.67% ROGER DALTREY: 16.67%
TE TOWNSHEND & JOHN ENTWISTLE: 5.56%
ROGER DALTREY & JOHN ENTWISTLE: 5.56%
PETE TOWNSHEND: 27.78%
PETE TOWNSHEND & ROGER DALTREY: 5.56%
JOHN ENTWISTLE: 16.67%
KEITH MOON: 5.56%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 99 Total Number of Frames (4 frames = 1 second): 796 Total Number of Camera Angles: 20 Camera angles alternate every 2-8 seconds and 14 seconds for Roger Daltrey and Pete Townshend solos.
PETE TOWNSHEND & ROGER DALTREY: 15.15% ALL BAND MEMBERS: 23.23%
KEITH MOON: 6.06%
PETE TOWNSHEND: 19.19%
ROGER DALTREY: 36.36%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 109 Total Number of Frames (4 frames = 1 second): 877 Total Number of Camera Angles: 17 Camera angles alternate every 2-18 seconds.
ROGER DALTREY: 5.5%
NO BAND MEMBERS: 3.67% PETE TOWNSHEND: 62.39%
ALL BAND MEMBERS: 8.26%
ROGER DALTREY & KEITH MOON: 3.67% PETE TOWNSHEND & ROGER DALTREY: 6.42%
KEITH MOON: 10.09%
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PET
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 86 Total Number of Frames (4 frames = 1 second): 695 Total Number of Camera Angles: 23 Camera angles alternate every 2-8 seconds and 10-14 seconds for solos.
ALL BAND MEMBERS: 9.30%
ROGER DALTREY: 25.58%
ROGER DALTREY & KEITH MOON: 11.63%
TE TOWNSHEND & KEITH MOON: 2.33%
PETE TOWNSHEND: 18.60%
PETE TOWNSHEND & ROGER DALTREY: 11.63%
KEITH MOON: 20.93%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 11 Total Number of Frames (4 frames = 1 second): 90 Total Number of Camera Angles: 1 Camera angles do not alternate.
PETE TOWNSHEND: 27.27%
PETE TOWNSHEND & KEITH MOON: 63.63%
NO BAND MEMBERS: 9.09%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 31 Total Number of Frames (4 frames = 1 second): 248 Total Number of Camera Angles: 7 Camera angles alternate every 2 seconds and 10-12 seconds for John Entwistle solos.
KEITH MOON: 16.13%
JOHN ENTWISTLE: 61.29% PETE TOWNSHEND: 12.90%
NO BAND MEMBERS: 3.23% ALL BAND MEMBERS: 6.45%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 64 Total Number of Frames (4 frames = 1 second): 515 Total Number of Camera Angles: 27 Camera angles alternate every 2-6 seconds.
PETE TOWNSHEND & ROGER DALTREY: 15.63%
KEITH MOON: 1.56% ALL BAND MEMBERS: 37.50% PETE TOWNSHEND: 7.81%
ROGER DALTREY: 6.25%
NO BAND MEMBERS: 9.38% CROWD: 21.88%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 10 Total Number of Frames (4 frames = 1 second): 85 Total Number of Camera Angles: 5 Camera angles alternate every 2-6 seconds.
NO BAND MEMBERS: 20%
KEITH MOON: 30%
PETE TOWNSHEND: 50%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 79 Total Number of Frames (4 frames = 1 second): 638 Total Number of Camera Angles: 18 Camera angles alternate every 2-6 seconds and 10-14 seconds for Pete Townshend.
NO BAND MEMBERS: 1.27% ROGER DALTREY & KEITH MOON: 2.53%
ROGER DALTREY: 25.32%
PETE TOWNSHEND & ROGER DALTREY: 3.80%
PETE TOWNSHEND: 40.51% KEITH MOON: 26.58%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 71 Total Number of Frames (4 frames = 1 second): 571 Total Number of Camera Angles: 26 Camera angles alternate every 2-6 seconds and 14 seconds for Roger Dalton solos.
ROGER DALTREY & KEITH MOON: 1.41%
ALL BAND MEMBERS: 1.41%
JOHN ENTWISTLE: 2.82%
PETE TOWNSHEND: 5.63% CROWD: 52.11%
ROGER DALTREY: 35.21%
NO BAND MEMBERS: 1.41%
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FRAME TOTALS AND CAMERA FOCUS: Number of Selected Frames (8 frames = 2 seconds): 188 Total Number of Frames (4 frames = 1 second): 1,510 Total Number of Camera Angles: 48 Camera angles alternate every 2-8 seconds
ALL BAND MEMBERS: 33.51%
CROWD: 8.51%
ROGER DALTREY & JOHN ENTWISTLE: 4.79%
NO BAND MEMBERS: 7.98% ROGER DALTREY & KEITH MOON: 8.51%
PETE TOWNSHEND & KEITH MOON: .53% PETE TOWNSHEND & ROGER DALTREY: 3.72%
ROGER DALTREY: 21.28%
JOHN ENTWISTLE: 1.06% keith Moon: 2.66%
PETE TOWNSHEND: 7.45%
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DVD INFORMATION Year Released: 2004 (Š1996, 2004) Running Time: 125 minutes Screen Format: 4:3 Company: Eagle Vision (A division of Eagle Rock Entertainment) Sound: Dolby Digital Stereo, Dolby Surround 5.1, DTS Digital Surround Sound Produced and Directed: Murray Lerner Executive Producers for Trinifold Management, Ltd: Bill Curbishley & Robert Rosenberg Executive Producers for Eagle Rock Entertainment, Ltd: Geoff Kempin & Terry Shand Editing: Greg Sheldon & Einder Westerlund Layout & Design: Catch-24 Advertising & Design Audio 5.1 Remix Consultant / Audio Consultant for The Who: Pete Townshend
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DVD Synopsis: The original Who line-up performing a full live set in front of 600,000 people at the Isle of Wight Festival in the UK in 1970. At 2am August 30th‌The Who appeared on stage and gave one of the most memorable concerts of their career. Thirty-four years later, the filmed negative of the show, shot by Academy Award winning Director Murray Lerner, has been conformed to the highest visual quality. The sound has been remixed from its original 8 track tapes under, the personal supervision of Pete Townshend at his Eel Pie Studios in London. The result is a stunning 24 bit mix available for the first time in 5.1 Surround Sound and DTS. The complete high-energy 85 minute performance of The Who is now reproduced in superb quality on this DVD, with an additional exclusive interview with Pete Townshend shot this year by Murray Lerner.
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THE WHO: ROGER DALTREY: VOCALS & HARMONICA PETE TOWNSHEND: GUITAR & VOCALS KEITH MOON: DRUMS & VOCALS JOHN ENTWISTLE: BASS & VOCALS
THE WHO FILMS: 1970: The Who Live at the Isle of Wight 1975: Tommy 1979: Quadrophenia 1979: The Kids Are Alright 2008: Amazing Journey: The Story of the Who
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studio Albums: My Generation (1965) Brunswick and Decca Records A Quick One (1966) Decca and Reaction Records The Who Sell Out (1967) Decca and Track Records Tommy (1969) Decca and Track Records Who’s Next (1971) Decca and Track Records Quadrophenia (1973) MCA, Polydor, and Track Records The Who By Numbers (1975) MCA and Polydor Records Who Are You (1978) MCA and Polydor Records Face Dances (1981) Polydor and Warner Bros. Records It’s Hard (1982) Polydor and Warner Bros. Records Endless Wire (2006) Polydor and Republic Records
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Live Albums: Live at Leeds (1970) MCA, Polydor, and Track Records Who’s Last (1984) Decca and Reaction Records Join Together (1990) MCA and Virgin Records Live at the Isle of Wight Festival 1970 (1996) Columbia Records and Legacy Recordings BBC Sessions (2000) MCA and Polydor Records Blues to the Bush (2000) MCA and Polydor Records Live at the Royal Albert Hall (2002) MCA and Polydor Records Live From Toronto (2006) Immortal Records
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Compilations: Magic Bus: The Who on Tour (1968) Decca Records Direct Hits (1968) Track Records Meaty Beaty Big and Bouncy (1971) Decca Records Odds & Sods (1974) MCA Records Hooligans (1981) MCA Records Who’s Greatest Hits (1983) MCA Records Rarities Volume I & Volume II (1983) Decca Records Who’s Missing (1985) MCA Records The Who Collection (1985) Polydor Records Two’s Missing (1987) MCA Records Who’s Better, Who’s Best (1988) MCA Records Thirty Years of Maximum R&B (1994) MCA Records My Generation: The Very Best of The Who (1996) MCA Records The Ultimate Collection (2002) MCA Records The Best of The Who (2003) Universal Music Group
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Compilations (CONT.): Then and Now (2004) Geffen Records The 1st Singles Box (2004) Polydor Records Who’s Better, Who’s Best (1988) MCA Records Thirty Years of Maximum R&B (1994) MCA Records My Generation: The Very Best of the Who (1996) MCA Records The Ultimate Collection (2002) MCA Records The Best of The Who (2003) Universal Music Group Then and Now (2004) Geffen Records The 1st Singles Box (2004) Polydor Records
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