The Who in 1972 is a perfect example of the "great transitional period." The group had been touring energetically since 1968, mainly in the United States, but this was the first year that they slowed down their pace of activity following the success of "TOMMY" and "WHO'S NEXT." The only tour they did throughout the year was in Europe from August to September. This was the only year that they did not do any live shows in the United States between the release of the smash hit "TOMMY" and 1976, which was Keith Moon's last tour while he was alive. On the other hand, Pete came up with a new concept for recording, "ROCK IS DEAD-LONG LIVE ROCK," but this ended up being left unfinished at a stage where it could not be made more concrete than the previous year's "LIFEHOUSE." What makes the 1972 European tour unique is that they performed with The Who in the short-lived "ROCK IS DEAD-LONG LIVE ROCK" mode. The first half of the set list was the same as the previous year's composition, but by introducing the powerful new song "The Relay" that had been recorded at the time and the title song "Long Live Rock" of the previous concept from the middle of the show, it was reborn as a unique stage that could only be experienced at this time. Furthermore, the 1972 European tour is also a tour that is not blessed with sound sources. Although it is not impossible to hear, Berlin and Rome, which were released in paper jackets, are the best examples. Simply speaking in terms of sound quality, Amsterdam, which was broadcast on the radio, and Copenhagen, which was a powerful audience recording, are the two giants, but the former was incomplete and both had the disadvantage that "Long Live Rock" was not played. As a result, there are few items in circulation in recent years, and in such a situation, the recent release of "BRUSSELS 1972" and the more recent analog reprint of "WHO IS THIS?", which recorded the Munich performance, should have been good news for enthusiasts. And further valuable 1972 European tour sound sources will be released. That was the performance in Frankfurt on August 11th. It was also a historic record of the first day of the 1972 European tour. It was an audience recording that captured the show, but in the past, it seems that poor sound quality had been distributed among traders, but this time, the sound quality was recorded from an audience recording master that was not even distributed among traders, and the sound quality was on a completely different level. In terms of clarity, Munich seems to win, and in terms of the freshness of the tape, Brussels seems to win, but the biggest attraction of the Frankfurt sound source is that the sound pressure of Roger and Pete's vocals is very large. Although the power of that booming Copenhagen was tremendous, it is true that Roger's voice was somewhat relegated to the performance. In that respect, Frankfurt is the best balance of performance and singing in this tour, which is very easy to hear. The Who's greatness was in the familiarity of the exquisite balance of the interplay between singing and performance, but it is very attractive that the singing can be heard through it. The first half of the show seems to be a solid performance of the previous year's familiar pattern. Perhaps that's why they have the time to do so, but before they start "Bargain", Pete counts playfully (it starts when he starts playing, so there's no need to count), but when Roger takes over and counts, Pete says "Thank you" to him, which is a nice touch. Nowadays, the two of them seem to have solidified after the rain, but at that time they were still sparking, so it was rare to see such a peaceful communication on stage. And the charm of this tour is the "structure that doesn't get boring". After a solid first half, the live arrangement of "Magic Bus", which has been played for a long time, is performed in the middle of the show, which is an explosive performance that has reached the perfect level, and the show gets more exciting from here. Compared to the time in Leeds two years ago, it has evolved into a development that doesn't feel long. It is wild to see "The Relay" played next. It was also a creative period in which they were in the middle of working on a new concept, so they boldly sealed "TOMMY". The trick of playing only two hit songs from the album was also powerful. And at the end of the live performance, Pete's confidence at the time, "Long Live Rock", was premiered live on this day. The powerful atmosphere makes it hard to believe that this was the first performance, and Pete's feelings for this song are conveyed. Both this song and "The Relay" ended up being short-lived as live repertoire in the Keith era with the failure of the "ROCK IS DEAD-LONG LIVE ROCK" concept, but the real-time performance here is cool. And for this release, despite the good sound quality, the pitch fluctuations that occurred in the latter half of the live performance, which was a major stress on listening, were thoroughly adjusted (probably because the recorder's battery was about to run out), and the fact that "Long Live Rock", which concludes the live performance, can be heard without any problems is a major point. Not only is it valuable as the first day of The Who's short-lived "ROCK IS DEAD-LONG LIVE ROCK" mode, but the audience recording, which is one of the best in terms of sound quality, is also shocking! Live at Festhalle, Frankfurt, Germany 11th August 1972 TRULY AMAZING/PERFECT SOUND *UPGRADE(from Original Masters) Disc 1 (46:21) 1. I Can't Explain 2. Summertime Blues 3. My Wife 4. Baba O'Riley 5. Behind Blue Eyes 6. Bargain 7. Won't Get Fooled Again 8. Baby Don't You Do It Disc 2 (36:42) 1. Magic Bus 2. Relay 3. Pinball Wizard 4. See Me, Feel Me 5. My Generation 6. Long Live Rock
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