During the summer of 1970, Bill Graham presented anextraordinary series of concerts at Tanglewood, the renownedclassical music venue located in the scenic Berkshire Hills ofwestern Massachusetts. At the time, presenting rock music in aclassical venue was a surprising and precarious step to take. Tomany, hearing the Fillmore and Tanglewood in the same sentenceequated to "when worlds collide." Much like his approach at theFillmores, Graham's "The Fillmore at Tanglewood" series presenteddiverse, handpicked triple bills, but with the added advantage of abeautiful open-air venue and plenty of informal lawn seating. Withthe Fillmore East crew providing technical support, these concertswould be hailed as a technical and artistic triumph and wouldentertain the largest Tanglewood audiences to date. In a yearplentiful in memorable concerts, these Tanglewood performancestruly stand out. Artists like The Who, Miles Davis, Santana, andChicago all delivered inspired performances, several of whichremain career-defining moments to this very day. The Who's July 7thperformance at Tanglewood was certainly one of the most highlyanticipated of the three concerts that Graham presented during the1970 series. Along with the Jefferson Airplane, The Who headlinedGraham's one-off 1969 experiment at Tanglewood and the success ofthat gig was indeed the inspiration for the 1970 series ofconcerts. By 1970, The Who were experiencing monumental success,having taken the musical world by storm with Peter Townshend's rockopera, Tommy, the previous year. Not since the Beatles' Sgt. Pepperhad a rock album been so perceived as a "work of art," and themomentum of Tommy sustained the group throughout 1969 and 1970. Thepublic and critical reaction to Townshend's rock opera had aprofound effect on the group and Townshend in particular, raisingThe Who's profile to stratospheric proportions. The group evenbooked several of their performances of Tommy into the mostprestigious classical music venues in Europe and launched their1970 American tour with two presentations at New York City'srenowned Metropolitan Opera House. Although the group's 1970performances were universally well received, the massive popularityand critical analysis of Tommy inevitably became a double-edgedsword. The band was being embraced and criticized by the highbrowclassical community as well as rock fans and critics. The newtrappings of fame and the relentless media bombardment that nowfollowed the group began to take its toll on Townshend. Partiallymotivated by anxiety at being perceived on a strictly artisticlevel, the band issued Live At Leeds, one of the rawest, loudest,most visceral live recordings ever (released seven weeks prior tothis show). It was in this mode, balancing between the artisticaspirations of Tommy and the blistering hard rock of their otherlive repertoire, that The Who embarked on their 1970 American tour.The final night of this tour culminated in this now legendaryconcert at Tanglewood, where the Who headlined a bill that alsoincluded San Francisco's It's A Beautiful Day and Jethro Tull. InTownshend's own words, the band would have "another bash at it," interms of Tommy, in addition to introducing some intriguing newmaterial. Unreleased at the time, three of the first five songs ofthis set ("Heaven And Hell," "Water," and "I Don't Even KnowMyself") would appear as non-album b-sides, making their inclusionof particular interest here. The entire performance is quiteremarkable and these new multi-track transfers reveal theTanglewood gig to be a far better performance than any previousrecordings revealed. Often as powerful as the legendary "Live AtLeeds" material and generally superior to their Isle Of Wightperformance days later, these new recordings will come as arevelation to hardcore fans, providing one of the finest examplesof Keith Moon and John Entwistle's live prowess circa 1970 everrecorded. The fire and passion of the Who in 1970 and the symbiosisthat these four musicians achieve here is nothing short ofastounding. The Leeds and Isle of Wight recordings will alwaysremain as two of the Who's landmark 1970 recordings, and deservedlyso, but thanks to this spectacular Bill Graham recording,Tanglewood is now equally worthy of attention.

Track list:
1. Intro - Heaven And Hell
2. I Can't Explain
3. Water
4. I Don't Even Know Myself
5. Young Man Blues
6. Overture / It's A Boy
7. 1921
8. Amazing Journey
9. Sparks
10. Eyesight To The Blind
11. Acid Queen
12. Pinball Wizard
13. Do You Think It's Alright?
14. Tommy Can You Hear Me?
15. There's A Doctor / Go To The Mirror
16. Smash The Mirror
17. Miracle Cure / I'm Free
18. Tommy's Holiday Camp
19. We're Not Gonna Take It
20. See Me, Feel Me
21. My Generation

Condition cover: nm

Condition dvd: ex-

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