In 2007, the full details of the recordings of the two shows recorded for the radio program "KING BISCUIT FLOWER HOUR" from The Who's 1973 "FALLOUT SHELTER" US tour were revealed on the "WOLFGANG'S VAULT" site (now "CONCERT VAULT"), which was a groundbreaking discovery that resolved the speculation about the adopted take of "TALES FROM THE WHO", which had been controversial among enthusiasts. Until then, the two shows had been combined and edited, but wasn't it announced as "recorded at the Philadelphia Spectrum" when KBFH was broadcast? This is certainly possible for radio broadcasts. However, the excavation in 2007 revealed that all the takes from Philadelphia were used at the time of broadcast. As a result, the stereo soundboard recording of Largo on December 6th was shelved until 2007. However, the excavated sound source had a great mix and the sound quality was at the official level. If we speculate on the reason why it was shelved, it can be said that the audience was so excited right after the start of the show that they rushed to the front of the arena, and he repeatedly urged them to step down. Another reason may be that John Entwistle's bass sound stopped working at the end of "My Generation". And the main reason is that the main recording for the radio was in Philadelphia on the 4th, and the 6th was recorded only as a backup. Although it is an unfortunate recording that did not see the light of day at the time, the performance shines with the boiling tension that is typical of the Who in 1973. It can only be said that it is a live performance at the peak of their power. In fact, when it was released in 2007 as "LARGO 1973", it was a best-seller, just like Philadelphia. Rather, there are things to listen to in both Philadelphia and Largo, and each performance is wonderful, so the significance of these recordings being unearthed is immeasurable. After Pete's album plans for "LIFEHOUSE" and "ROCK IS DEAD" were repeatedly setbacks, "QUADROPHENIA" was finally created as the biggest concept since "TOMMY". However, since it was an album that incorporated synthesizers, which were the latest technology at the time, and even horns, the sounds other than those of the four members were supplemented by playing tape on stage. This was a technique that was first introduced in "Won't Get Fooled Again" and was effective. However, when they tried to further utilize tape playback in "QUADROPHENIA", which has many more tracks with complex decorative instruments, difficulties arose on stage. At that time, it was an extremely primitive system that relied only on the stage monitors that were beginning to spread to arena concerts and the timing of the staff pressing the tape. Naturally, there were frequent cases where the timing of the tape and the band's performance did not match. In fact, in Philadelphia, the performance started without any synchronization at all when switching from "I Am the Sea" to "The Real Me", but it was still used for KBFH broadcast. Perhaps because of this, at Largo, they started "The Real Me" without playing the "I Am the Sea" part. On the contrary, Pete admitted that it was impossible to completely reproduce the "QUADROPHENIA" set, saying, "It's not like I chose a few songs, because even if I do a lot of them, it doesn't work on stage (laughs)." Nowadays, it's common to have a "full album reproduction" live, but at the time, The Who, who had no concept of including support musicians, hit the limits of technology on this tour. Despite these technical problems, The Who's performance itself was undoubtedly the best. In particular, with regard to Keith Moon's drumming, this period seems to have been one of the peaks. Although he is known for playing with a large number of sounds that seem to fill the space, his drumming at this time was characterized by the inclusion of fine details. Philadelphia's "My Wife" was a prime example of this, but here at Largo, his drumming saved the trouble that occurred at the end of "My Generation" mentioned earlier. Keith is often talked about as a wild man, but from this scene you can see just how outstanding a player he was. The same thing applies to "Dr. Jimmy," and the band's performance, which worked well with the tape, was also excellent. Roger, who seemed to have a hard time singing in Philadelphia, also held up. "Love, Reign O'er Me," which was not performed in Philadelphia for the reasons mentioned above, was also performed well here and decorated the finale of the "QUADROPHENIA" set. Considering that the recording was made for radio broadcast with the premise of promoting the album, I can't help but feel that this song, which was only performed at Largo out of the two performances, should have been included in the broadcast. And this is the first release in a long time, and although the mixing balance and sound quality itself are superb, the cymbal's sizzling sound, which is more like a streaming sound, is more noticeable than in Philadelphia. Therefore, we have softened the floating feeling of the high notes, especially the cymbals, and have eliminated the muddy feeling of the overall sound quality from the 2007 version to create an upper version. Although it is only a slight improvement overall, this allows John's outstanding lead bass to be heard clearly, and the troubles in the example "My Generation" can be experienced realistically. The two major stereo soundboard recordings that represent The Who in 1973 are finally back. Keith's high-tension singing on "Bell Boy" is also the best on this Largo! Live at Capital Center, Largo, MD. USA 6th December 1973 STEREO SBD Disc 1 (48:01) 1. I Can't Explain 2. Summertime Blues 3. My Wife 4. My Generation 5. The Real Me 6. The Punk And The Godfather 7. I'm One 8. 5:15 9. Sea And Sand Disc 2 (52:34) 1. Drowned 2. Bell Boy 3. Doctor Jimmy 4. Love, Reign O'er Me 5. Won't Get Fooled Again 6. Pinball Wizard 7. See Me, Feel Me Roger Daltrey - Vocals, Harmonica Pete Townshend - Guitar, Vocals John Entwistle - Bass, Vocals Keith Moon - Drums, Vocals STEREO SOUNDBOARD RECORDING
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