One of the most famous bootlegs in recorded history, Tales from the Who came from the King Biscuit Flower Hour broadcast of a Long Beach concert taped following the release of Quadrophenia. The Who, as usual, rely on taped backup for all keyboards and any other instruments except guitar, bass, and drums. Roger Daltrey is in great voice as the band revisits "Can't Explain," "Summertime Blues," "Won't Get Fooled Again," "Pinball Wizard," "See Me, Feel Me," and "My Generation." Likewise, Pete Townsend, John Entwistle, and Keith Moon are in good form and please the crowd with their performances. Over half of this two-record set is devoted to selections from the then-new Quadrophenia, and there's an amusing story about this recording. Normally when the King Biscuit producers put out live concerts for commercial broadcasts, they carefully bleeped out any obscenities, but in this case they overlooked some. The New Orleans radio station that aired this program was unaware, like the show's producers, that "Dr. Jimmy" contained a four-letter word, and it was duly broadcast. However, whichever station provided the broadcast that served as the source material for this bootleg had a station manager or program director familiar with the song, so they duly dubbed the KBFH disc to reel-to-reel tape and spliced out the offending word prior to airing the program (producing the bizarre line "Her fella's gonna kill me/Aww, f-ill he"), but even they missed another one slipped into "My Generation." The bootleg label's claim that this is a quadraphonic release was a bit laughable, because it couldn't been taped off the radio in quadraphonic, and trying to convert it after the fact would have had all the success of the pseudo-stereo records of the 1960s. According to William Stout, who designed the colorful cover that was a knockoff of classic horror comic book covers, only 120 copies of this two-record set were released, as the operators of TMOQ knew that the FBI was on their trail and, in a fit of panic, they destroyed all other copies of the release (as quoted in Bootleg: The Secret History of the Other Recording Industry by Clinton Heylin). Like most King Biscuit broadcasts, the sound isn't quite as good as typical commercial live rock records, but this collectable is far better-sounding than any other bootlegs featuring the Who, and its extreme rarity makes it a very valuable recording to own, superseded only by the original King Biscuit Flower Hour LPs distributed to the network radio stations for the broadcast.
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AllMusic Review by Ken Dryden