The Who - Tanglewood 1970 [Prof. Stoned 2026]
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01. 'Bill Graham intro'
02. Heaven And Hell
03. I Can't Explain
04. 'Sit down'
05. Water
06. 'A really quiet lad'
07. I Don't Even Know Myself
08. 'Mosey'
09. Young Man Blues
10. 'The last time'
11. Overture
12. It's A Boy
13. 1921
14. Amazing Journey
15. Sparks
16. Eyesight To The Blind (The Hawker)
17. Christmas
18. The Acid Queen
19. Pinball Wizard
20. Do You Think It's Alright?
21. Fiddle About
22. Tommy Can You Hear Me?
23. There's A Doctor
24. Go To The Mirror
25. Smash The Mirror
26. Miracle Cure
27. I'm Free
28. Tommy's Holiday Camp
29. We're Not Gonna Take It
30. 'The most enjoyable tour'
31. My Generation
32. 'Bill Graham outro'
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Total time: 1h35m32s
Recorded live to 8-track at Tanglewood, Lenox, MA, USA - July 7th, 1970.
Executive Producer: Bill Graham
Mixed to stereo in the 2000s by 'unknown' and released in mp3 format on Wolfgang's Vault
Demix Rebalancing/Mastering: Prof Stoned
v1.0: 16:01-2026
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Note:
While still on a Who kick, I thought I’d re-master another live recording. Granted, it already sounded pretty awesome, but it had a few issues that I felt kept it from being A+ quality. And yes, it's from a lossy source but the response up until 16kHz is unharmed by the conversion.
Here’s what I did:
- Repaired the left/right sync problem on “Amazing Journey,” which made it seem like the drums and vocals are only in the left channel.
- Tried to fix the lack of guitar on “I Don’t Even Know Myself” and repositioned it in the right channel. My guess is the guitar signal wasn’t properly recorded during this song.
- Centered all vocals and rebalanced them as well as possible.
- Rebalanced the instruments and drums more precisely for a tighter, more even sound.
- Fixed the section without guitar on “We’re Not Gonna Take It” by copying from the next verse and carefully editing it to match the original drums and vocals.
- Repaired the fade-out/fade-in between the “WNGTI” and “SMFM” sections.
The chances of this getting an official release are pretty slim, since there seems to be a rights dispute between The Who and Wolfgang’s Vault. As you probably already know, the whole show was also filmed—although the footage quality doesn’t seem to match the audio (check YouTube for a very nice restoration). While not as perfect as Leeds, this show has a raw, aggressive quality that’s simply irresistible, and it easily outdoes the Wight show from seven weeks later in terms of energy, tightness, and sound. Tommy sounds rehearsed and lean here, but perhaps also a bit nonchalant—Pete and co. were probably starting to get a little tired of it by this point. Still, this is prime Who, and I’d argue it only went downhill from here (mainly because Keith Moon’s playing deteriorated over the next few years).
P.S. 01-2026
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A note about mastering with demix technology:
You may have heard some of my recent releases where I have used Demix Pro or SpectraLayers for spectral extraction. I believe this is the most revolutionary audio processing approach in ages. It enables us to break a mono signal down into dedicated elements, most notably: vocals, drums/percussion, bass guitar, electric guitar, and whatever remains after that. Depending on the source material, these extractions can be so precise that they allow for a realistic reconstruction of a mix.
Why is this useful? Well… the original mix may have flaws that affect the overall sound quality. By nature, the process of mastering is designed to improve such flaws by applying equalization and/or dynamic range processing. But what if one element within a recording needs more treble, while another element is already bright enough? At that point, EQ is no longer sufficient, because your choices will affect both. Of course, mastering does not begin and end with EQ; there are always other ways of emphasizing or hiding elements in a recording. But spectral extraction allows you to improve the sound of one element without “harming” the sound of the others, and also to rebalance those elements if necessary.
Being able to correct balancing mistakes, having the flexibility to mesh the bass guitar and kick drum together nicely, and placing the vocals precisely where they need to sit in the mix is a great luxury—especially when it doesn’t have to be achieved with bus EQ and/or compression.
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I have used the following digital studio gear and monitoring in the making of this:
- Spectralayers Pro 10
- Cubase 13
- Universal Audio UAD-2 Satellite Quad-Core (incl. various extra plugins I purchased over the years)
- Neumann KH150 & iLoud Micro monitors
- Adobe Audition
- Izotope RX9
