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THE WHO'S 'FINAL' TOUR ARRIVES IN NEW YORK

By Robert Palmer

• Oct. 9, 1982

The Who, one of the most successful and widely admired groups in rock, arrives in New York today for three concert dates on a mammoth tour that its members insist will be their last.

Not a ticket is available. More than 180,000 were sold in four days for the three shows in the metropolitan area - at the Brendan Byrne Arena in East Rutherford, N.J., tomorrow night and at Shea Stadium on Tuesday and Wednesday.

The shows at Shea mark the first use of the facility for rock since a Jethro Tull concert in 1976 and the first time tickets have been sold for unreserved seating on the field.

20 Shows in First Leg

The entire tour has been sold out, a remarkable feat at a time when the rock-concert business is in a severe financial slump and fewer groups are finding it profitable enough to go on the road.

The tour began Sept. 22 in Largo, Md., and by the time its first leg of 20 shows is over, the band will have played to about one million fans at $15 to $17 each, grossing about $15 million from ticket sales alone.

After a brief vacation in England, the band will return to the United States at the end of next month for the second leg, which is being put together. By the time the entire tour is over, its entire success may rival that of the Rolling Stones' 1981 American tour, the largest-grossing tour in rock history.

In addition, there will be a number of profit-making spinoffs, including video cassette and disk versions of one of the concerts, a cable-television special and another special taped for commercial television. Using Beer as Underwriter

The tour is being underwritten by Schlitz beer, which does not share in proceeds but gives the band money in exchange for advertising. Although it is a new phenomenon, corporate sponsorship for rock tours is becoming increasingly common as inflation drives up the cost of mounting, promoting and maintaining tours and consumers show resistance to higher ticket prices.

The Stones are said to have received several million dollars from Jovan Fragrances in exchange for the use of Jovan's name on tickets and in promotion. The amount of Schlitz's support for the Who has not been announced, but it is thought to be even larger. Schlitz advertisements will be prominent at all concerts on the tour.

Reports that this would be the last Who tour were initially greeted with skepticism in the music industry. The band is at least as popular as at any time during its 18-year history, and a new album, ''It's Hard'' (Warner Bros.), is selling briskly. But reviews of the album have been mixed, the members of the Who have been involved in more and more outside projects during the last few years, and many critics believe the band has broken little new ground. Despite some fresh uses of synthesizer technology, the Who's music is still rooted in the mid-1960's. Sensitivity About Aging

It seems that the Who really is disbanding. Pete Townshend, the group's guitarist, principal songwriter and driving force, has announced that ''the Who will cease to exist'' after the group makes two more albums that it owes Warner's under its recording contract. He said that while the Who may follow its American tour with a few farewell concerts in Europe, ''This is the end.''

It was Mr. Townshend who wrote ''Hope I die before I get old,'' one of the most quoted lines in all of rock, in the Who's 1965 hit ''My Generation.'' For the last several years, the 37-year-old guitarist has seemed increasingly sensitive about his age and profession.

A number of recent Who songs have dealt with aging: ''I know you, middle age, same song, different page,'' Mr. Townshend wrote in ''It's Your Turn,'' and a song on the ''It's Hard'' album that seems to be about stepping down, passing on the torch to younger performers. When he was asked recently why the Who was quitting, he said, ''It's time for us to step aside, time for the new people to come in.'' 'The Wave of the Future'

Foremost among the ''new people'' are the Clash, the band that is opening most of the larger shows on the Who's tour, including the Shea Stadium performances. The Clash were one of the original spearheads of the British punk-rock movement and have remained a politically oriented band while expanding their musical range to include reggae, rapping and strains of American blues, soul and country music. They have won a substantial following in the United States, but not among the mainstream of rock fans that supports the Who. And they have never played to audiences as large as they are encountering on the Who tour, audiences that have been as big as 95,000.

''The Who believe that the Clash represent the wave of the future,'' a Who spokesman said recently. ''Pete and the other members of the Who were instrumental in getting the Clash on their biggest shows.''

The Who's show, which runs between two and a quarter and two and a half hours, covers every phase of the group's career. Although it includes a few special lighting effects, it is not an elaborate show. The emphasis is said to be on the music, and on the four members of the Who - Mr. Townshend, the vocalist Roger Daltry, the bassist John Entwistle and the drummer Kenney Jones, who replaced the original Who drummer, Keith Moon, after Mr. Moon's death in 1978.

On their last American tour two years ago, the Who brought along a brass section and a keyboard player, but this time they are using only a keyboard player, Tim Gorman, in addition to the basic quartet. The only disappointed note has been struck by fans who complained that ''My Generation,'' the Who's mid-60's youth anthem, is not being included in the shows.

The Who ‘Tour 1982’ Concert

The Who Tour 1982 took place to support their “It’s Hard” album. Although the band had two warm up shows in Birmingham, the tour was otherwise entirely in the United States and Canada. This was their last tour with their drummer, Kenney Jones. The band also announced it as their final tour, however they ended up reuniting and going on tour again several years later.

On Friday, October 29th The Who performed at the Los Angeles Memorial Coliseum. The opener was The Clash, touring off their most successful album. The crowd amassed roughly 95,000 concert goers and people who attended remember the concert going particularly wild over songs like “Love Reign O’er Me” and “Behind Blue Eyes.”

Flashback: The Who Wrap Up Their ‘Farewell’ Tour in 1982

By Andy Greene

Andy Greene

The Who wrapped up their “farewell tour” at Toronto’s Maple Leaf Gardens on December 17th, 1982. They’d been touring at a grueling pace over the past three years and everyone was drained, particularly Pete Townshend. The guitarist had been ingesting insane amounts of booze, cocaine and even heroin. His bandmates began fearing for his life.

“I was the instigator,” Roger Daltrey told Rolling Stone in 1982. “I was responsible for getting him back on the road after 1978. And after three tours of America, he was a bloody junkie. I felt responsible for that. It was really hard to live with, and I just don’t want to think about it anymore. I mean, I think the world of that guy. I think enough of him to stop the Who .”

100 Greatest Artists: The Who

They weren’t going to stop one of the biggest bands of all time without a giant farewell tour, though, so in September of 1982 they launched a three-month world tour that hit stadiums all across America, often with the Clash on the bill. When the weather got cold, they moved into arenas before wrapping up in Toronto. The group was insistent that they’d continue to record.

Bassist John Entwistle was none too happy about the decision to stop touring. “I don’t intend to get off the road,” he told Rolling Stone . “There’s not much I can do about it except hope they change their minds. I’m not prepared to just carry on doing albums. If the touring isn’t there, then I’d rather get my own thing together, which involves touring as well.”

Entwistle’s threat to defect didn’t sit well with the others. “If John feels that he couldn’t even address himself to the prospect of doing recording, then of course we’ve got a problem,” Townshend said. “He’ll have to find about $1 million to give back to Warner Bros.” The guitarist wasn’t willing to contemplate carrying on without Entwistle. “It would be Daltrey and Townshend,” he said. “But, oh, it would not be the Who.”

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The final show opened with “My Generation” and closed with “Twist and Shout.” Here’s a video of “Eminence Front” from that final gig.

The band have toured eight times since then. Five of those trips were after John Entwistle died. Their only new album was 2006’s Endless Wire . 

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The Who Release an Anemic Mix of a 1982 Historic Show

The third live album of the Who’s 1982 farewell tour improves little on the others. It’s hard to imagine that modern recording technology couldn’t have helped.

Historically speaking, Shea Stadium wasn’t commissioned as a concert site nearly as often as other famous New York City-area venues. Strangely, though, the now-demolished ballpark occupies a hallowed place in the annals of music — arguably even more so than it does for the many mythic baseball and football moments that took place there. While certainly a household name in the pantheon of pro sports facilities, both of its one-time home teams — the New York Mets and (until 1983) the New York Jets — most often played second-fiddle to the more prestigious hometown rivals in their respective sports. 

That leaves Shea Stadium, which hosted its last game in 2008, in an odd limbo as far as its position in sports lore: legendary yet secondary. Of course, when the Beatles played there in 1965 and again in 1966 — just four dates prior to their final live appearance as a touring act — Shea Stadium’s pop-culture immortality was set in stone. Later, when the Police touched down at Shea at the peak of their commercial powers in 1983, they too were on their way to the finish line. As frontman Sting describes in the 2010 Billy Joel concert documentary Last Play at Shea , it was onstage during that very concert that Sting decided to pull the plug on the Police. 

Such was Sting’s esteem for what Shea Stadium represented as a musical accomplishment that he compared it to climbing Mt. Everest. “I realized,” he says in the film, “that you can’t climb a mountain higher than this.” Unsurprisingly, the members of the Who were far less awe-struck when they rolled through the venue ten months earlier for a two-night stand in October of 1982. On tour in support of their album, It’s Hard , in what was billed as their farewell tour, the Who arrived at Shea to much fanfare, selling out all 140,000 tickets in under two hours. Yet the mood within the band was, shall we say, typically ambivalent and prickly.  

Interviewed separately just before the shows for a British TV segment , guitarist/bandleader Pete Townshend and frontman Roger Daltrey were both unequivocal on where they stood. “I’ve had a gutful,” said Daltrey, when asked about touring. Meanwhile, Townshend — captured in the limo ride to the show with Shea Stadium looming literally out the window — sounded like an artist who wished he could kill his own myth but had resigned himself to the fact that the myth was indestructible in spite of him. “To some extent,” Townshend offered bluntly, “We’ve achieved everything we set out to do, [most of which] we achieved in the first eight years of our career.”

He added: “We’re going out and playing to audiences that are coming to see us for what we’ve done in the past and for what we represent in rock and roll, not for what we’re effectively achieving today. There’s nothing wrong with that. I mean, part of rock concerts is the celebration thing and the general everybody-patting-one-another-on-the-back mood that you get. But I don’t think anything creative is happening at these Who concerts. They’re bloody good concerts — we’ve done some fantastic shows — but there’s no new ground being struck. And I need to strike new ground.” 

“I want,” Townshend concluded, “to get as far away from rock and roll as possible.” Townshend’s tone contrasts starkly with the jubilation of the concertgoers, their excitement visible on their faces as they testify on camera. But his comments should come as no shock. As far back as 1978, on the Who Are You deep cut “Music Must Change”, Townshend was already expressing an unambiguous feeling that it was time for the band to step aside and pass the torch to a younger vanguard of artists. So, by 1982, Townshend had effectively become the older person he’d envisioned on the Who’s signature song “My Generation”. 

All of this is crucial to bear in mind when listening to the new album Live at Shea Stadium 1982 , which documents the Who’s entire second night there ( minus one song ). Available in standalone audio-only formats for the first time, the two-CD/three-LP set consists of the same mix as the audio track from the 2015 Blu-Ray/DVD concert video of the same name. The band, of course, were keenly aware that they were now a million miles from their origins in British mod youth culture. That said, It’s Hard is replete with moments that showcase a maturing act holding its own against the burgeoning new wave/MTV uprising. 

Truth be told, the Shea Stadium renditions of early-career staples like “Can’t Explain” and “Substitute” don’t come anywhere close to matching the ferocious roar the band summoned on releases like Live at Leeds and Live at the Isle of Wight Festival 1970 . Of course, how can we forget the Who’s era-defining appearance at Woodstock, which was largely fueled in its volatility and sheer unbridled aggression by Townshend’s disdain for the hippie peace-and-love ethos. (Townshend purported that he forced late 1960s activist-icon Abbie Hoffman off the stage by hitting him with his guitar; Hoffman always denied that Townshend actually hit him.)  

With the Who’s glory days as a live act behind them, Townshend’s disdain was now clearly pointed inward, his attitude dripping with undisguised doubts as to whether the Who even merited a place on the early 1980s musical landscape. Yet they came to Shea with a crop of galvanizing new songs frothing with adult-contemporary power in the truest sense: “Dangerous”, “Athena”, “Eminence Front”, and “Cry If You Want” — arguably one of rock’s all-time most valiant and rousing songs of surrender to the aging process. If the Who knew they were going down, they still had enough fight to go down swinging.  

Unfortunately, the new Live at Shea suffers from a flat mastering job that makes it nearly impossible to gauge what the concert’s energy was actually like in real time. (You can compare to the Blu-Ray/DVD audio here .) As a result, much of the latter-day material is robbed of its luster. In spots such as “It’s Hard”, one gets the sense that the Who’s enthusiasm was flagging. For most of the set, though, that doesn’t appear to be the case. We know this because, though the audio from the Blu-Ray/DVD isn’t exactly vibrant, the footage paints a picture of a band with more than enough bluster and swagger to rock a stadium crowd sufficiently. 

Townshend’s guitar and John Entwistle’s bass appear to mumble their way through several songs that clearly sparked with more energy than what comes through your speakers when listening to the recording on its own. Likewise, the mix hardly flatters drummer Kenney Jones. Jones, most well known as the timekeeper in both the Small Faces and the Faces , has long been maligned by Daltrey for his inability to capture the thundering chaos of original Who sticksman Keith Moon. Fair enough, but it’s hard to assess Jones’ performance because Live at Shea Stadium doesn’t adequately convey the timbre of his drums. 

Regardless of what Townshend was telling us at the time about his lack of investment, his whirling-dervish athleticism onstage was still a marvel to behold, to say nothing of the acuity of his playing. On video, the Live at Shea rendition of “Naked Eye” showcases the grace, fluidity, and depth Townshend could wring from his instrument — even as he could barely stand still. A classic-era deep cut that blends rock with flourishes of honky-tonk piano, “Naked Eye” gives live keyboardist Tim Gorman room to shine. The song’s mournful tone also perfectly matches the emotion that much of the crowd must have been feeling that night. 

Watching a band sail off into the sunset as they give you one last chance to share in their past glory can be an intensely moving experience. Sure, the Who’s farewell didn’t last very long, but at the time, there was a finality to it that charged the shows with a sense of history in the making. In the aforementioned TV clip, a woman in attendance talks about seeing the Who in 1967, three days before the birth of her son, who stands beside her at Shea Stadium 15 years later. The video version of “Naked Eye” somehow bridges those two periods in a way that the album version just can’t on its own. 

On record, Live at Shea often falls short of communicating whatever resonance was in the air that night. But it’s impossible to believe that any professional front-of-house engineer — particularly for an act of such stature as the Who — would allow a band to sound so anemic in a stadium setting. Oddly, two previous live albums from this same stretch of farewell shows are hampered in much the same way (1984’s Who’s Last and 2006’s Live from Toronto , better known as the concert video The Who: Rocks America 1982 Tour ). As a result, we’re left with a distorted impression of what shape the Who were in when they bowed-out. 

With David Johansen and the Clash also on the bill , the Who’s Shea Stadium appearance was a truly historic event. For this release to properly honor the magnitude of the moment it presents — and attempts to sell us — it would have required a considerably more dedicated effort to improve on the audio. It’s hard to imagine that modern recording technology couldn’t have helped here, at least somewhat. Completists and diehards will no doubt find things to favor in this live package above Who’s Last and Toronto , but Live at Shea improves little on those albums’ shortcomings. 

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The Who’s Shea Stadium Show From 1982 Farewell Tour Will Be Available in Audio Format

The Who  will release in its entirety their popular Shea Stadium show from 1982's first farewell tour on audio for the first time.  Live at Shea Stadium 1982 arrives on March 1.

The 25-song concert was previously available on DVD and Blu-ray in 2015. The upcoming set - available in three-LP and two-CD configurations - marks the debut of the full performance in audio-only formats.

The Who announced their 1982 run of North American shows as a farewell tour. The band - guitarist Pete Townshend , singer Roger Daltrey , bassist John Entwistle and drummer Kenney Jones - started the tour in September, with two stops at New York's Shea Stadium on Oct. 12 and 13.  Live at Shea Stadium 1982  includes all of the second night's performance.

READ MORE: Revisiting the Who's Classic 'Who's Next'

Even though the shows were announced as the band's farewell tour, they returned in 1989 with another run of concerts. The Who's 1982 tour was in support of their album  It's Hard , which was released in early September. It remained their last studio work for 24 years, until Endless Wire 's release in 2006.

What's on the Who's 'Live at Shea Stadium 1982'?

A handful of songs from It's Hard were played during the subsequent tour.  Live at Shea Stadium 1982  includes "Eminence Front" and the title track, in addition to Who classics like "Substitute" (the show opener), "Baba O'Riley," "Pinball Wizard" and "Won't Get Fooled Again."

The shows ended with a string of covers, starting with "Young Man Blues" and closing the night with "Twist and Shout." You can see the band's performance of "Love Reigh O'er Me" from the Shea Stadium show below.

The 1982 tour was the Who's last to feature Jones, who replaced original drummer Keith Moon in 1978 following Moon's death that year.

You can see the track listing for Live at Shea Stadium 1982   below.

The Who, 'Live at Shea Stadium 1982' Track Listing CD1 1. "Substitute" 2. "I Can’t Explain" 3. "Dangerous" 4. "Sister Disco" 5. "The Quiet One" 6. "It’s Hard" 7. "Eminence Front" 8. "Behind Blue Eyes" 9. "Baba O'Riley" 10. "I’m One" 11. "The Punk And The Godfather" 12. "Drowned" 13. "Tattoo" 14. "Cry If You Want"

CD2 1. "Who Are You" 2. "Pinball Wizard" 3. "See Me Feel Me" 4. "Love Reign O’er Me" 5. "Long Live Rock" 6. "Won’t Get Fooled Again" 7. "Young Man Blues" 8. "Naked Eye" 9. "I Saw Her Standing There" 10. "Summertime Blues" 11. "Twist And Shout"

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Gallery Credit: Michael Gallucci

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• October 12, 1982 Setlist

The Who Setlist at Shea Stadium, Queens, NY, USA

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• Substitute Play Video
• I Can't Explain Play Video
• Dangerous Play Video
• Sister Disco Play Video
• The Quiet One Play Video
• It's Hard Play Video
• Eminence Front Play Video
• Behind Blue Eyes Play Video
• Baba O'Riley Play Video
• My Generation Play Video
• Drowned Play Video
• A Man Is a Man Play Video
• Cry If You Want Play Video
• Who Are You Play Video
• Pinball Wizard Play Video
• See Me, Feel Me ( Pete banged his guitar a few times on the stage ) Play Video
• 5:15 Play Video
• Love, Reign O'er Me Play Video
• Long Live Rock Play Video
• Won't Get Fooled Again ( John threw his bass at the end ) Play Video
• Athena Play Video
• Magic Bus Play Video
• Summertime Blues ( Eddie Cochran  cover) Play Video
• Twist and Shout ( The Top Notes  cover) Play Video

Edits and Comments

17 activities (last edit by bendobrin , 5 Feb 2020, 05:06 Etc/UTC )

Songs on Albums

• A Man Is a Man
• Cry If You Want
• Eminence Front
• It's Hard
• I Can't Explain
• Love, Reign O'er Me
• Baba O'Riley
• Behind Blue Eyes
• Won't Get Fooled Again
• Pinball Wizard
• See Me, Feel Me
• Sister Disco
• Who Are You
• Summertime Blues by Eddie Cochran
• Twist and Shout by The Top Notes
• The Quiet One
• My Generation
• Long Live Rock

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• Oct 12 1982 Shea Stadium This Setlist Queens, NY, USA Add time Add time
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• Oct 15 1982 Unidome Cedar Falls, IA, USA Add time Add time

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