The 2020 deluxe edition features Pete Townshend’s remix of Beads On One String plus The Who Live at Kingston, a special acoustic performance recorded on 14th February 2020, recorded 50 years to the day since the seminal Live at Leeds show.
The Who’s 1982 tour, which was all in North America apart from two warm-up dates at the Birmingham NEC in England, was their last to feature Kenney Jones on drums and they wouldn’t tour again until 1989. The tour promoted the recent “It’s Hard” album, which had been released in June 1982, and the set list included a number of tracks from that album, some of which the band would only play live on this tour.
True, it's impossible for any of these ten-track collections to be definitive, but they're nevertheless solid samplers that don't feature a bad song in the bunch. For example, take the Who's 20th Century volume. Yes, there are some great, great songs missing, but what's here (with the possible exception of "Squeeze Box") is terrific, including "My Generation," "Happy Jack," "I Can See for Miles," "Magic Bus," "Pinball Wizard," "Behind Blue Eyes," "Who Are You," "Join Together," and "Won't Get Fooled Again." Serious fans will want something more extensive, and neophytes would be best served by more well-chosen collections, but this disc is quite entertaining, considering its length and price. That doesn't erase the ridiculousness of the series title, but the silliness is excusable when the music and the collections are good.
This exemplary four-disc box takes the high road, attempting nothing less than an honest reconstruction of the Who's stormy, adventurous, uneven pilgrimage. While offering an evenhanded cross-section of single hits and classic album tracks, 30 Years garnishes the expected high points with B-sides, alternate and live versions of familiar tracks, and the quartet's earliest singles as the High Numbers…
On the Who's final album with Keith Moon, their trademark honest power started to get diluted by fatigue and a sense that the group's collective vision was beginning to fade. As instrumentalists, their skills were intact. More problematic was the erratic quality of the material, which seemed torn between blustery attempts at contemporary relevance ("Sister Disco," "New Song," "Music Must Change") and bittersweet insecurity ("Love Is Coming Down"). Most problematic of all were the arrangements, heavy on the symphonic synthesizers and strings, which make the record sound cluttered and overanxious. Roger Daltrey's operatic tough-guy braggadocio in particular was beginning to sound annoying on several cuts. Yet Pete Townshend's better tunes - "Music Must Change," "Love Is Coming Down," and the anthemic title track - continued to explore the contradictions of aging rockers in interesting, effective ways…