This is an archival release designed for the fans, and it should be treated that way. That means while there are certainly interesting variations of familiar songs, rarities, and unexpected delights for fans, it's undeniably for those fans who will realize how these versions differ from the originals, or those who will delight in the subtle stage patter from Townshend. Most of all, it's for the fans who embrace the spiritual side of Townshend, particularly his recordings for his guru, Avatar Meher Baba, since he and Raphael Rudd performed these concerts in his honor, several songs derive from Townshend's independently released albums for him, and these recordings are taken from concerts given in 1979-1980 for a select group of Meher Baba devotees.
While most of Universal's excellent GOLD collections present an artist's output in tidy chronological order, the Pete Townshend installment of the series breaks with that tradition, offering a seemingly random two-disc sampling of the Who mastermind's solo output. Given the British guitarist/vocalist's unconventional, drama-loving attitude toward rock, however, this approach works quite well, bouncing around from 1993's PSYCHODERELICT to '85's WHITE CITY to '80's EMPTY GLASS. The 34-track compilation also includes songs from Townshend's first solo outing, '72's WHO CAME FIRST, and '77's ROUGH MIX, his excellent collaborative album with former Small Faces bassist Ronnie Lane. Throughout the highly eclectic GOLD, the constants are, of course, Townshend's plaintive voice and his distinctive guitar playing, which ranges from delicate acoustic lines to bombastic Who-worthy electric leads. Although there have been numerous Townshend compilations, GOLD is the most intriguing and comprehensive.
The first of two fundraising concerts that Townshend played at San Diego's La Jolla Playhouse, and an enchantingly intimate look at the veteran Who man as he chats, jokes, and, of course, plays through a solid set of acoustified classics. The venue itself has some fond attachments to Townshend – it was here that he premiered the Tommy musical before launching it on Broadway and, hardly surprisingly, the deaf, dumb and blind kid opens the show via a rousing "Pinball Wizard." From there, Townshend swoops into an affecting "Let My Love Open the Door," setting the pace for the remainder of the show.
Only available through mailorder at eelpie.co.uk. Recorded at London's Shepherd's Bush Empire on November 9 1998, this double CD release marks Pete Townshend's return to the UK stage as a solo artist after an absence of thirteen years. Backed by musicians such as Rabbit, Chucho Merchan and Pete Hope Evans, as well as featuring freestyle rapper Hame on a number of Pete's best known tunes.
Live: Brixton Academy '85 is a live album by Pete Townshend. In 2004 Townshend released the complete 1985 Brixton Academy concert, including all of the songs that were on Deep End Live! plus the David Gilmour solo classics "Love On the Air" and "Blue Light", and other songs. The album was released 16 November 2004 in the UK through Eel Pie Recording Productions Ltd.
Pete Townshend's demos had grown legendary among Who collectors well before the official release of the double-album Scoop in 1983. On each demo, Townshend worked out full arrangements, which the Who would often follow exactly. He also recorded a wealth of songs and instrumental pieces that never made it to record. Over the course of two albums, Scoop features 25 of these demos, including both classic Who songs ("So Sad About Us," "Bargain," "Behind Blue Eyes," "Magic Bus," "Love Reign O'er Me") and unreleased gems ("Politician," "Melancholia," "To Barney Kessell," "Mary").
Like its predecessor, Another Scoop is a collection of 27 demos Pete Townshend recorded for the Who, and if anything, it surpasses the first volume in terms of quality. Another Scoop has a greater percentage of familiar Who classics – including "You Better You Bet," "Pinball Wizard," "Happy Jack," "Substitute," "Long Live Rock," "Pictures of Lily," and "The Kids Are Alright" – and the outtakes are uniformly excellent, ranging from his takes on "Driftin' Blues" and "Begin the Beguine" to neglected gems like "Girl in a Suitcase," "Holly Like Ivy," and "Ask Yourself," and even weird experiments like "Football Fugue." For any Townshend fan, Another Scoop is necessary listening, containing some of his best and most adventurous work.
Recorded live at the Fillmore on April 30, 1996, this excellent disc captures Townshend stripping his career back to just guitar and keyboards (contributed by the great Jon Carin), and then running through 21 songs that could almost be a live recounting of the Scoop series. It's a staggeringly intimate performance, with Townshend exuding a warmth that rarely comes across on disc, but which here could heat your house all winter.
Two CDs capture the second of two fundraising concerts that Townshend played at San Diego's La Jolla Playhouse, and an enchantingly intimate look at the veteran Who man as he chats, jokes, and, of course, plays through a solid set of acoustified classics. The venue itself has some fond attachments to Townshend – it was here that he premiered the Tommy musical before launching it on Broadway and, hardly surprisingly, the deaf, dumb and blind kid opens the show, via a rousing "Pinball Wizard." Initially, it feels as though the second evening is simply going to be a recap of the first, as "Let My Love Opens the Door" follows on. But "Heart to Hang Onto," "Collings," "Sheraton Gibson," and the Quadrophenia chestbeater "I'm One" all make unexpected appearances amid the previous evening's fare, and Townshend's between-song chatter and joking is even more effusive than it was before.