1976 was the year when The Who’s last live tour took place while Keith Moon was alive. The JEMS Group has continued to unearth high-quality audience recordings from this year, and last year released the best recordings from Jacksonville, Seattle, and Winnipeg. In this situation, there is no doubt that the momentum for reevaluating The Who’s de facto last tour has increased. As proof of this, even “KEITH’S FINAL LIVE: TORONTO 1976”, released six years ago, was recently sold out. Not only was it the last day of the 1976 tour, but the preciousness of the final stage of the last regular live performance of the original The Who was also reevaluated. Of course, since there was a video recording live set for the movie “THE KIDS ARE ALRIGHT”, that was the real last live performance for Keith, but this was a stage of a special nature, and in terms of the content of the performance, the 1976 Toronto show is more worthy of being called the final show. Because it is such a valuable stage, the title “LAST STAND WITH KEITH MOON” based on the audience recording of the Toronto performance that has been around for a long time was released early on. Although the sound source used there was not bad sound quality, the recording condition of the rough sound quality and the strong hall echo of the venue, Maple Leaf Garden, was a problem. However, the new audience recording excavated by JEMS used for “KEITH’S FINAL LIVE: TORONTO 1976” (hereinafter referred to as “already released”) not only greatly alleviated this point, but also made it much easier to hear due to the on sound image. However, recently, an upper version of the same sound source suddenly appeared, so enthusiasts around the world were surprised. The new copy provided by Taper achieved a quality improvement that exceeded the version used for the already released version. If you have the already released version, you may already know that the taper has difficulty connecting the microphone from “I Can’t Explain” to “Substitute”, and the sound source goes back and forth between stereo and mono. This problem remains the same this time. In particular, the part where noise enters around 2:22 in the former was completely cut from the already released version, which made the rhythm strange, but this time, by transplanting that part from another part of the performance, it has been adjusted so that it can be heard smoothly. However, what is particularly noteworthy is the upper feeling that can be understood at a glance. If you compare it with “My Wife” after the stable recording, the difference is obvious. You will be surprised by the clarity, as if the fog that had been hanging over the room had cleared or the thin skin had been removed. If you listen to this version, the sound quality of the already released version will be cloudy and lacking in thickness. There is no doubt that this is not the result of tinkering with equalization or the like, but rather the upper feeling due to the tape being in a better condition. The Who’s 1976 tour is at a very high level with a line-up of high-quality audience recordings thanks to the excavation by the JEMS group mentioned earlier, but this excavation has elevated Toronto to a famous sound source that can cut into the top ranks. Even the previously released version, which had long ago surpassed the rough and echo-heavy sound quality of the “LAST STAND WITH KEITH MOON” sound source, sounds faded in front of this upper version. One of the pleasures of listening to rare sound sources is the improvement in sound quality. The upper version of the sound source that we have become accustomed to listening to until now is really exciting. Not only has the visibility improved much as mentioned earlier, but the warm feeling has also been improved in this version, which has been freed from the muffled feeling. This kind of upper, which has resulted in the evolution into a document that more realistically conveys the wonderfulness of the day that ended up being the beautiful finale of The Who’s regular live tour when Keith was alive. Last year’s release “SEATTLE 1976” captured Keith’s drumming so intense that it left me speechless, but the appeal of this upper version is that it also captures his superb drumming. If Keith’s drums sound good, that would be the case with other recordings, but his drumming on this day was a perfect burnout performance suitable for the final day of the tour. On the contrary, he has become the complete protagonist of this stage. Not only is it intense, but the precision of the rhythm at the end of “Baba O’Riley” is also overwhelming. It’s as if Keith himself realized that this day was his last live performance. What’s more, what’s famous about this performance is the extremely rare development in the second half of the live. Usually, it ends with “Join Together” sandwiched between “My Generation”, but from there Pete starts playing a long ad-lib. Here, he suddenly starts singing the phrase “Huff, huff”. Yes, the pattern that later became “Who Are You”. From here, Pete continues to repeat the words “I Gotta Know, Who Are You,” and it can be said that this is a valuable scene in which the draft of the song was unveiled in 1976. The hint of the song that would become the title of Keith’s last album when he was alive was unveiled at his last concert! And as mentioned above, this upper version release is literally worthy of being called “Definitive,” and has been reborn in a state that is so clear and easy to listen to that you can understand it at a glance. Since it was originally a high-quality audience recording, let’s say that it is a release that can be confidently recommended to all The Who maniacs when faced with such an upper feeling. Playback of a historic day with a realistic, rich sense of presence and an on sound image. This is the final day of Keith’s last tour when he was alive. Live at Maple Leaf Gardens, Toronto, Ontario, Canada 21st October 1976 PERFECT SOUND(UPGRADE) Disc 1 (45:03) 1. I Can’t Explain 2. Substitute 3. My Wife 4. Baba O’Riley 5. Squeeze Box 6. Behind Blue Eyes 7. Dreaming From the Waist 8. Magic Bus Disc 2 (64:08) 1. Introduction of Tommy 2. Amazing Journey 3. Sparks 4. The Acid Queen 5. Fiddle About 6. Pinball Wizard 7. I’m Free 8. Tommy’s Holiday Camp 9. We’re Not Gonna Take It 10. Seem Me Feel Me 11. Summertime Blues 12. My Generation 13. Join Together 14. My Generation Blues 15. Who Are You 16. Won’t Get Fooled Again Roger Daltrey – Vocals, Harmonica Pete Townshend – Guitar, Vocals John Entwistle – Bass, Vocals Keith Moon – Drums, Vocals

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