Sunday, July 27, 2014
Put the Boot In: The Who-'The Simple Things'-August 24, 1968 Oklahoma City, OK
This recording is biting and raw, an amazing capture for a tape made on somewhat still primitive recording devices. The personality of the individual instruments is sharp and in focus. The hallmarks of any forty plus year old tape in existence are slight anomalies and sonic reediness. But it the case of this recording, the capture is an absolute pleasure and makes one forget the few issues. Only thirty minutes exist of this tape, so I am certain it is only a partial recording. What is available is a crushing display of a band starting to discover what they were capable of as writers and stage performers.
The master recording hails from a silver bootleg disc called 'Cry Blue Murder' and begins with the opening strains of the performance, as some tuning is captured before the band thrashes into the blinding opening lick of 'Substitute'. There is some muffling to the recording as the taper presumably adjusts his gear for optimal operating parameters, but this dissipates quickly. What is most striking about the sound quality is John Entwistle's elephant bass tone underpinning Townsend's violent guitar strikes, these features comes through on the tape as elastic and warm for the bass and as violent exposed power lines for the guitar respectively.
A short pause for Townshend to explain that the next song is one of the band's most requested numbers and then the band initiates the haunted and thumping opening to 'Boris the Spider'. Townshend's horror flick vibrato surf guitar shimmers across the thick bass lines of aural webbing strung across the doorways of the song by Entwistle. This rendition is truly demented containing shadowy vocals and laboratory experimentation with off mic chuckles. The song ends with a deep burp lending some more comedic relief to the intense performance of a fan favorite.
After properly destroying the mountainside and surrounding communities, without a pause the band segues into the 'Johnny Kidd and the Pirates track, 'Shakin All Over'. While not as mature as the version to be featured on the future Live at Leeds record in 1970, this version slams doors and breaks windows of the garage it was born from. Daltrey struts with an attitude, a young punk on the prowl, honing his craft, soon to be a 'golden god' of the stage.
A Quick One-8-24-1968