‘Live at The Oval 1971’ Is Lost Companion to Who’s ‘Live at Leeds’

The Who released their new archival live album, “Live at The Oval 1971,” in August.

Newly mixed from the original 8-track analog multi-track tapes, the recording documents The Who as they headlined Goodbye Summer: A Rock Concert in aid of Famine Relief for the People of Bangladesh on September 18, 1971. Recorded at The Oval cricket ground in Kennington, south London, it shows the band continuing their dominance as a top live rock act of the era, according to the recording’s product page.

Originally recorded by Glyn Johns with Pye Mobile Recording Unit, the performance culminates in Pete Townshend and Keith Moon destroying their equipment in a grand finale.

According to Pat Gilbert at Mojo, The Who’s “Goodbye Summer” Oval appearance has gone down in history as one of their most memorable. But until now only poor-quality bootlegs have circulated.

The whole concert was taped by the same Pye mobile studio that produced 1970’s “Live At Leeds.” Due to over-zealous security, however, the crew were unable to re-position dislodged mikes and correct unreliable feeds. 

But now modern technology has finally enabled the band to rescue the original recordings.

The setlist draws heavily on songs from the just-released and unimpeachable “Who’s Next” (arguably the best songs from the shelved “Lifehouse” concept album), says Gilbert. Which is why some fans may feel this album has the edge even over the majestic “Live At Leeds” (and “Hull”). As well as “Live At The Isle Of Wight Festival 1970.”

Indeed, it’s the box-fresh “Love Ain’t For Keeping,” “Bargain,” “Behind Blue Eyes,” “Won’t Get Fooled Again” and John Entwistle’s “My Wife” that shine most brightly on this set, Gilbert says.

The Who’s guitarist and songwriter Pete Townshend has said that, having realized in the run-up to the Oval that “Lifehouse” was now a goner (for the time being), he felt freed from its deathly grip, says Gilbert. Re-channeling his energies into the band’s live performances.

The sheer aggression—and insouciant flair—of the group’s playing on this recording is indeed something to behold, according to Gilbert. Even when newly tethered to the sequenced keyboard parts of “Won’t Get Fooled Again.”