the who: live at the isle of wight

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© Dark Cloud Studio LLCwww.darkcloudstudio.com

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ROGER DALTREY

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PETE TOWNSHEND

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KEITH MOON

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JOHN ENTWISTLE

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THE IMMORTALS: THE GREATEST ARTISTS OF ALL TIME: 29) THE WHO

THE CONCERT

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FORWARD

APPENDIX

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The Who began as spectacle. They became spectac-ular. Early on, the band was in pure demolition mode; later, on albums like Tommy and Quadrophenia, they coupled that raw energy with precision and desire to complete musical experiments on a grand scale. They asked, “What were the limits of rock & roll? Could the power of music actually change the way you feel?” Pete Townshend allowed that there be spiritual value in music. They were an incredible band whose main songwriter happened to be on a quest for reason and harmony in his life. He shared that journey with the listener, becoming an inspiration for others to seek out their own path - this while being in the Guinness book of world records as the world’s loudest band.

Presumptuously I speak for all Who fans when I say being a fan of the Who has incalculably enriched my life. What disturbs me about the Who is the way they smashed through every door of rock & roll, leaving rubble and not much else for the rest of us to lay claim to. In the beginning they took on an arrogance when, as Pete says, “We were actually a very ordinary group.” As they became accomplished, this attitude stuck. Therein lies the thread to future punks. They wanted to be louder, so they had Jim Marshall invent the 100-watt amp. Needed more volume, so they began stacking them. It is said that the first guitar feedback ever to make it to record was on “Anyway, Anyhow, Anywhere,” in 1965. The Who told stories within the confines of a song and, over the course of an entire album, pushed boundaries. How big of a story could be told? And how would it transmit (pre-video screens, etc.) to a large crowd? Smash the instruments? Keith Moon said they wanted to grab the audience by the balls. Pete countered that like the German autodestruct movement, where they made sculpture that would collapse and buildings that would explode, it was high art.

I was around nine when a baby sitter snuck Who’s Next onto the turntable. The parents were gone. The windows shook. The shelves were rattling. Rock & roll. That began an

THE IMMORTALS - THE GREATEST ARTISTSOf ALL TIME: 29) THE WHOEDDIE VEDDER(ARTICLE TAKEN FROM ROLLING STONES MAGAzINE)

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exploration into music that had soul, rebellion, aggression, affection. Destruction. And this was all Who music. There was the mid-Sixties maximum-R&B period: mini-operas, Woodstock, solo records. Imagine, as a kid, stumbling upon the locomotive that is Live at Leeds. “Hi, my name is Eddie. I’m ten years old and I’m getting my fucking mind blown!” The Who on record were dynamic. Roger Daltrey’s delivery allowed vulnerability without weakness; doubt and confusion, but no plea for sympathy. (You should hear Roger’s vocal on a song called “Lubie [Come Back Home],” a bonus track from the My Generation reissue. It’s top-gear.)

The Who quite possibly remain the greatest live band ever. Even the list-driven punk legend and music historian Johnny Ramone agrees with me on this. You can’t explain Keith Moon or his playing. John Entwistle was an enigma unto himself, another virtuoso musical oddity. Roger turned his mike into a weapon, seemingly in self-defense. All the while, Pete was leaping into the rafters wielding a Seventies Gibson Les Paul, which happens to be a stunningly heavy guitar. As a live group, they created momentum, and they seemed to be released by the ritual of their playing. (Check out “A Quick One,” from The Rolling Stones Rock and Roll Circus.)In Chicago recently, I saw Pete wring notes out of his guitar like a mechanic squeezing oil from a rag. I watched as the guitar became a living being, one getting its body bashed and its neck strangled. As Pete set it down, I swear I sensed relief coming from that guitar. A Stratocaster with sweat on it. The guitar’s sweat.

John and Keith made the Who what they were. Now they’re different, but still the Who. Roger’s a rock. And at this point Pete has been through and survived more than anyone in rock royalty. Perhaps even beyond Keith Richards, who was actually guilty of most things he was accused of. Drummer zak Starkey played me a new song a while back, “Real Good Looking Boy.” It was beyond moving.

The songwriter-listener relationship grows deeper after all the years. Pete saw that “a celebrity in rock is charged by the audience with a function, like, ‘You stand there and we will know ourselves.’ Not ‘You stand there and we will pay you loads of money to keep us entertained as we eat our oysters.’ “ He saw the connection could be profound. He also realized the audience may say, “When we’re finished with you, we’ll replace you with somebody else.” For myself and so many others (including shopkeepers, foremen, professionals, bellboys, gravediggers, directors, musicians), they won’t be replaced. Yes, Pete, music can change you.

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I used the concert’s dVd and

PhotoshoP Image statIstIcs to

make each stacked Image. FIrst I

conVerted all the Frames oF the

songs Into Images. I then aPPlIed

a Formula to all oF the Images to

determIne what Images I would

use In each Image stack (8 Images

= 2 seconds). I used thIs Formula

because the camera changed angles

eVery 2 seconds In each song.

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PhotoshoP Image stacks statIstIcs

basIcally takes all the Images that

were selected and stacks all the

Images Into one Image. PhotoshoP

then aPPlIes the Formula that was

chosen, From the droP-down lIst, to

all the layers (Images) and the color

channels (rgb) oF the each layer.

I PIcked range; range takes the

maxImum mInus the mInImum amount

oF non-transParent PIxel Values.

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08/29/1970song order:heaven and hellI can’t explainyoung man bluesI don’t even know myselfwatershakin’ all over/spoonful/twist and shoutsummertime bluesmy generationmagic bus

From tommy: overture It’s a boy eyesight to the blind (the hawker) christmas the acid Queen Pinball wizard do you think It’s alright? Fiddle about go to the mirror miracle cure I’m Free we’re not gonna take It see me Feel me/listening to you

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ROGER DALTREY: 5.13%

PETE TOWNSHEND: 25.64%

KEITH MOON: 8.55%

JOHN ENTWISTLE: 5.98%

PETE TOWNSHEND & ROGER DALTREY: 1.17%

PETE TOWNSHEND & KEITH MOON: 5.98%

ROGER DALTREY & KEITH MOON: .85%

ROGER DALTREY & JOHN ENTWISTLE: 4.27%

PETE TOWNSHEND & JOHN ENTWISTLE: 2.56%

ALL BAND MEMBERS: 22.22% CROWD: 15.38%

NO BAND MEMBERS: 1.17%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 117

Total Number of frames (4 frames = 1 second): 944

Total Number of Camera Angles: 37

Camera angles alternate every 2-6 seconds.

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ROGER DALTREY: 25%

PETE TOWNSHEND: 21.59%

KEITH MOON: 26.14%

JOHN ENTWISTLE: 3.41%

PETE TOWNSHEND & ROGER DALTREY: 2.27%

ROGER DALTREY & KEITH MOON: 7.95%

NO BAND MEMBERS: 1.14%

ROGER DALTREY & JOHN ENTWISTLE: 1.14%

ALL BAND MEMBERS: 4.55%

CROWD: 6.82%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 88

Total Number of frames (4 frames = 1 second): 712

Total Number of Camera Angles: 28

Camera angles alternate every 2-4 seconds.

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ROGER DALTEY & JOHN ENTWISTLE: .55%

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 KEITH MOON: 10.39%

ROGER DALTREY: 8.20%

PETE TOWNSHEND: 24.59%

JOHN ENTWISTLE: 1.64%

PETE TOWNSHEND & KEITH MOON: 4.92%

PETE TOWNSHEND & ROGER DALTREY: 4.92%

ROGER DALTREY & KEITH MOON: 3.28%

ROGER DALTEY & JOHN ENTWISTLE: .55%

ALL BAND MEMBERS: 34.97% CROWD: 6.01%

NO BAND MEMBERS: .55%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 183

Total Number of frames (4 frames = 1 second): 1,469

Total Number of Camera Angles: 30

Camera angles alternate every 2-6 seconds.

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PETE TOWNSHEND 12.05%  

ROGER DALTREY: 27.71%

KEITH MOON: 11.45%

JOHN ENTWISTLE: 2.41%

PETE TOWNSHEND & ROGER DALTREY: 1.81%

ROGER DALTREY & KEITH MOON: 18.67%

ALL BANDMEMBERS: 24.69%

CROWD: 1.81%

NO BANDMEMBERS: 1.20%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 166

Total Number of frames (4 frames = 1 second): 1,329

Total Number of Camera Angles: 28

Camera angles alternate every 2-12 seconds.

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KEITH MOON & JOHN ENTWISTLE: 2.01%

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ROGER DALTREY: 22.90%

PETE TOWNSHEND: 27.59%

KEITH MOON: 12.93%

JOHN ENTWISTLE: 4.89%

PETE TOWNSHEND & ROGER DALTREY: .86%

PETE TOWNSHEND & KEITH MOON: 3.16%

ROGER DALTREY & KEITH MOON: 5.75%

KEITH MOON & JOHN ENTWISTLE: 2.01%

ALL BANDMEMBERS: 18.39%

NO BANDMEMBERS: 1.44%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 348

Total Number of frames (4 frames = 1 second): 2,790

Total Number of Camera Angles: 36

Camera angles alternate every 2-4 seconds and 20-40 seconds for solos.

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ROGER DALTREY: 15.22%

PETE TOWNSHEND: 15.22%

KEITH MOON: !3.04%

PETE TOWNSHEND & ROGER DALTREY: 2.90%

PETE TOWNSHEND & KEITH MOON: 4.35%

ROGER DALTREY & KEITH MOON: 2.90%

ROGER DALTREY & JOHN ENTWISTLE: 3.62%

PETE TOWNSHEND & JOHN ENTWISTLE: 2.17%

ALL BAND MEMBERS: 23.91%

NO BAND MEMBERS: 5.07%

CROWD: 11.59%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 138

Total Number of frames (4 frames = 1 second): 1,107

Total Number of Camera Angles: 38

Camera angles alternate every 2-10 seconds.

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ALL BANDMEMBERS: 40.59%

JOHN ENTWISTLE: 2.97%

ROGER DALTREY: 29.70%

PETE TOWNSHEND: 5.94%

PETE TOWNSHEND & ROGER DALTREY: 4.95%

PETE TOWNSHEND & KEITH MOON: 1.98%

ROGER DALTREY & KEITH MOON: 2.97%

ROGER DALTREY & JOHN ENTWISTLE: 6.93%

KEITH MOON: 3.96%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 101

Total Number of frames (4 frames = 1 second): 806

Total Number of Camera Angles: 36

Camera angles alternate every 2-6 seconds and 10-12 seconds for solos.

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ROGER DALTREY & JOHN ENTWISTLE: 1.29%

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JOHN ENTWISTLE: 3.86%

ROGER DALTREY: 12.88%

PETE TOWNSHEND: 30.90%

KEITH MOON: 12.45%

PETE TOWNSHEND & ROGER DALTREY: 6.01%

PETE TOWNSHEND & KEITH MOON: 2.15%

ROGER DALTREY & KEITH MOON: 2.58%

ROGER DALTREY & JOHN ENTWISTLE: 1.29%

ALL BAND MEMBERS: 27.04%

NO BAND MEMBERS: .86%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 233

Total Number of frames (4 frames = 1 second): 1,871

Total Number of Camera Angles: 42

Camera angles alternate every 2-8 seconds and 20 -30 seconds for Pete Townshend and John Entwistle solos.

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FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 136

Total Number of frames (4 frames = 1 second): 1,097

Total Number of Camera Angles: 42

Camera angles alternate every 2-16 seconds and 16 seconds for solos.

JOHN ENTWISTLE: 1.47%

ROGER DALTREY: 4.41%

PETE TOWNSHEND: 21.32%KEITH MOON: 4.41%

PETE TOWNSHEND & ROGER DALTREY: 2.94%

PETE TOWNSHEND & KEITH MOON: 15.44%

ROGER DALTREY & KEITH MOON: 2.21%

ROGER DALTREY & JOHN ENTWISTLE: 1.47%

ALL BANDMEMBERS: 30.80%

CROWD: 9.56%

KEITH MOON & JOHN ENTWISTLE: 1.47%

NO BANDMEMBERS: 4.41%

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ROGER DALTREY: 3.92%

PETE TOWNSHEND: 40.52%

KEITH MOON: 16.34%

NO BANDMEMBERS: .65%

PETE TOWNSHEND & ROGER DALTREY: 2.61%PETE TOWNSHEND &

KEITH MOON: 2.61%

ROGER DALTREY & KEITH MOON: 11.76%

ALL BANDMEMBERS: 16.34%

CROWD: 5.23%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 153

Total Number of frames (4 frames = 1 second): 1,220

Total Number of Camera Angles: 25

Camera angles alternate every 2-14 seconds.

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PETE TOWNSHEND: 63.16%

KEITH MOON: 5.26%

NO BANDMEMBERS: 5.26%

CROWD: 26.32%

FRAME TOTALS AND CAMERA STATISTICS:

Number of Selected frames (8 frames = 2 seconds): 19

Total Number of frames (4 frames = 1 second): 158

Total Number of Camera Angles: 8

Camera angles alternate every 2-10 seconds and 12 seconds for Pete Townshend solo.

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PETE TOWNSHEND & JOHN ENTWISTLE: 5.56%

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ROGER DALTREY: 16.67%

JOHN ENTWISTLE: 16.67%

PETE TOWNSHEND: 27.78%

KEITH MOON: 5.56%

PETE TOWNSHEND & ROGER DALTREY: 5.56%

ROGER DALTREY & JOHN ENTWISTLE: 5.56%

PETE TOWNSHEND & JOHN ENTWISTLE: 5.56%

ALL BAND MEMBERS: 16.67%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 18

Total Number of frames (4 frames = 1 second): 149

Total Number of Camera Angles: 11

Camera angles alternate every 2 seconds and 8 seconds for Pete Townshend solo.

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ROGER DALTREY: 36.36%PETE TOWNSHEND: 19.19%

KEITH MOON: 6.06%

PETE TOWNSHEND & ROGER DALTREY: 15.15%

ALL BANDMEMBERS: 23.23%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 99

Total Number of frames (4 frames = 1 second): 796

Total Number of Camera Angles: 20

Camera angles alternate every 2-8 secondsand 14 seconds for Roger Daltrey and Pete Townshend solos.

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ROGER DALTREY: 5.5%

PETE TOWNSHEND: 62.39%

KEITH MOON: 10.09%

NO BANDMEMBERS: 3.67%

ALL BANDMEMBERS: 8.26%

PETE TOWNSHEND & ROGER DALTREY: 6.42%

ROGER DALTREY & KEITH MOON: 3.67%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 109

Total Number of frames (4 frames = 1 second): 877

Total Number of Camera Angles: 17

Camera angles alternate every 2-18 seconds.

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PETE TOWNSHEND & KEITH MOON: 2.33%

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KEITH MOON: 20.93%

ROGER DALTREY: 25.58%

PETE TOWNSHEND: 18.60%

ALL BANDMEMBERS: 9.30%

PETE TOWNSHEND & ROGER DALTREY: 11.63%

PETE TOWNSHEND & KEITH MOON: 2.33%

ROGER DALTREY & KEITH MOON: 11.63%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 86

Total Number of frames (4 frames = 1 second): 695

Total Number of Camera Angles: 23

Camera angles alternate every 2-8 seconds and 10-14 seconds for solos.

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PETE TOWNSHEND: 27.27%

NO BANDMEMBERS: 9.09%

PETE TOWNSHEND & KEITH MOON: 63.63%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 11

Total Number of frames (4 frames = 1 second): 90

Total Number of Camera Angles: 1

Camera angles do not alternate.

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JOHN ENTWISTLE: 61.29%

PETE TOWNSHEND: 12.90%

KEITH MOON: 16.13%

ALL BANDMEMBERS: 6.45%

NO BANDMEMBERS: 3.23%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 31

Total Number of frames (4 frames = 1 second): 248

Total Number of Camera Angles: 7

Camera angles alternate every 2 seconds and 10-12 seconds for John Entwistle solos.

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ROGER DALTREY: 6.25%

PETE TOWNSHEND: 7.81%

KEITH MOON: 1.56%

NO BAND MEMBERS: 9.38%

ALL BANDMEMBERS: 37.50%

PETE TOWNSHEND & ROGER DALTREY: 15.63%

CROWD: 21.88%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 64

Total Number of frames (4 frames = 1 second): 515

Total Number of Camera Angles: 27

Camera angles alternate every 2-6 seconds.

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PETE TOWNSHEND: 50%

KEITH MOON: 30%

NO BANDMEMBERS: 20%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 10

Total Number of frames (4 frames = 1 second): 85

Total Number of Camera Angles: 5

Camera angles alternate every 2-6 seconds.

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ROGER DALTREY: 25.32%

PETE TOWNSHEND: 40.51%

KEITH MOON: 26.58%

NO BANDMEMBERS: 1.27%

PETE TOWNSHEND & ROGER DALTREY: 3.80%

ROGER DALTREY & KEITH MOON: 2.53%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 79

Total Number of frames (4 frames = 1 second): 638

Total Number of Camera Angles: 18

Camera angles alternate every 2-6 seconds and 10-14 seconds for Pete Townshend.

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ROGER DALTREY: 35.21%

PETE TOWNSHEND: 5.63%

JOHN ENTWISTLE: 2.82%

ROGER DALTREY & KEITH MOON: 1.41%

ALL BANDMEMBERS: 1.41%

CROWD: 52.11%

NO BAND MEMBERS: 1.41%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 71

Total Number of frames (4 frames = 1 second): 571

Total Number of Camera Angles: 26

Camera angles alternate every 2-6 seconds and 14 seconds for Roger Dalton solos.

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ROGER DALTREY: 21.28%

PETE TOWNSHEND: 7.45%

JOHN ENTWISTLE: 1.06%

PETE TOWNSHEND & ROGER DALTREY: 3.72%

ALL BAND MEMBERS: 33.51%

CROWD: 8.51%

NO BANDMEMBERS: 7.98%

KEITH MOON: 2.66%

PETE TOWNSHEND & KEITH MOON: .53%

ROGER DALTREY & KEITH MOON: 8.51%

ROGER DALTREY & JOHN ENTWISTLE: 4.79%

FRAME TOTALS AND CAMERA FOCUS:

Number of Selected frames (8 frames = 2 seconds): 188

Total Number of frames (4 frames = 1 second): 1,510

Total Number of Camera Angles: 48

Camera angles alternate every 2-8 seconds

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DVD INFORMATIONYear Released: 2004 (©1996, 2004)

Running Time: 125 minutes

Screen Format: 4:3

Company: Eagle Vision (A division of Eagle Rock Entertainment)

Sound: Dolby Digital Stereo, Dolby Surround 5.1, DTS Digital Surround Sound

Produced and Directed: Murray Lerner

Executive Producers for Trinifold Management, Ltd: Bill Curbishley & Robert Rosenberg

Executive Producers for Eagle Rock Entertainment, Ltd: Geoff Kempin & Terry Shand

Editing: Greg Sheldon & Einder Westerlund

Layout & Design: Catch-24 Advertising & Design

Audio 5.1 Remix Consultant / Audio Consultant for The Who: Pete Townshend

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DVD SyNOpSIS:The original Who line-up performing a full live set in front of 600,000 people at the Isle of Wight Festival in the

UK in 1970. At 2am August 30th…The Who appeared on stage and gave one of the most memorable concerts

of their career.

Thirty-four years later, the filmed negative of the show, shot by Academy Award winning Director Murray Lerner,

has been conformed to the highest visual quality. The sound has been remixed from its original 8 track tapes

under, the personal supervision of Pete Townshend at his Eel Pie Studios in London. The result is a stunning 24

bit mix available for the first time in 5.1 Surround Sound and DTS.

The complete high-energy 85 minute performance of The Who is now reproduced in superb quality on this DVD,

with an additional exclusive interview with Pete Townshend shot this year by Murray Lerner.

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THE WHO:ROGER DALTREY: VOCALS & HARMONICA

PETE TOWNSHEND: GUITAR & VOCALS

KEITH MOON: DRUMS & VOCALS

JOHN ENTWISTLE: BASS & VOCALS

THE WHO FILMS:1970: The Who Live at the Isle of Wight1975: Tommy1979: Quadrophenia1979: The Kids Are Alright2008: Amazing Journey: The Story of the Who

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STUDIO ALbUMS:

My Generation (1965)Brunswick and Decca Records

A Quick One (1966)Decca and Reaction Records

The Who Sell Out (1967)Decca and Track Records

Tommy (1969)Decca and Track Records

Who’s Next (1971)Decca and Track Records

Quadrophenia (1973)MCA, Polydor, and Track Records

The Who By Numbers (1975)MCA and Polydor Records

Who Are You (1978)MCA and Polydor Records

Face Dances (1981)Polydor and Warner Bros. Records

It’s Hard (1982)Polydor and Warner Bros. Records

Endless Wire (2006)Polydor and Republic Records

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LIVE ALbUMS:

Live at Leeds (1970)MCA, Polydor, and Track Records

Who’s Last (1984)Decca and Reaction Records

Join Together (1990)MCA and Virgin Records

Live at the Isle of Wight Festival 1970 (1996)Columbia Records and Legacy Recordings

BBC Sessions (2000)MCA and Polydor Records

Blues to the Bush (2000)MCA and Polydor Records

Live at the Royal Albert Hall (2002)MCA and Polydor Records

Live From Toronto (2006)Immortal Records

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COMpILATIONS:

Magic Bus: The Who on Tour (1968)Decca Records

Direct Hits (1968)Track Records

Meaty Beaty Big and Bouncy (1971)Decca Records

Odds & Sods (1974)MCA Records

Hooligans (1981)MCA Records

Who’s Greatest Hits (1983)MCA Records

Rarities Volume I & Volume II (1983)Decca Records

Who’s Missing (1985)MCA Records

The Who Collection (1985)Polydor Records

Two’s Missing (1987) MCA Records

Who’s Better, Who’s Best (1988)MCA Records

Thirty Years of Maximum R&B (1994)MCA Records

My Generation: The Very Best of The Who (1996) MCA Records

The Ultimate Collection (2002)MCA Records

The Best of The Who (2003)Universal Music Group

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COMpILATIONS (CONT.):

Then and Now (2004)Geffen Records

The 1st Singles Box (2004)Polydor Records

Who’s Better, Who’s Best (1988)MCA Records

Thirty Years of Maximum R&B (1994)MCA Records

My Generation: The Very Best of the Who (1996) MCA Records

The Ultimate Collection (2002)MCA Records

The Best of The Who (2003)Universal Music Group

Then and Now (2004)Geffen Records

The 1st Singles Box (2004)Polydor Records

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