Yes, that was a good cover from 1991 and captured some of the classic Who sound. I will also add that to the radio hits segment of the initial box set post as I forgot about that. Who played drums and keyboards on this track?

I think that Simon Phillips played drums. Don't know about the keyboards.

I remember wondering exactly that (who was playing drums) back when "Two Rooms" first came out, and I don't think I've ever gotten a satisfactory answer. Simon Phillips did play on "Psychoderelict" (both the album and tour) so it's likely, but reliable info on any Who/Townshend studio sessions from the past 20 years has been somewhat murky.

I enjoyed the song, though. Frankly, I enjoyed all five of the studio songs that the Who released in the 24 years between between "It's Hard" and "Endless Wire".

I agree very much on those 5 songs (aside from "Fire" which was OK). That's why it was so infuriating no Who album was made before The Ox died. The material they did was good and an album with the 3 surviving members could've been special, not what followed.

Update:
I found this at hypertext at thewho.net (seems it was Simon with some drum machine as well perhaps-no word as to keys-may have been Rabbit, Pete or porgramming):

Saturday Night's Alright For Fighting (4'33)
(Elton John & Bernie Taupin) Universal Songs of Polygram International, Inc. (BMI)
Produced by Jon Astley and Billy Nicholls at Eel Pie and Revolution Studios, London July 1991.


The Who's last studio recording with John on bass was this cover done for The Who's long-time friend Elton John for a tribute CD called Two Rooms that entered the U.S. charts November 9, 1991 and reached #18. Pete, Roger and John got together to decide which song to cover. Roger was adamant about covering "Saturday Night's Alright For Fighting" but Pete, as a tip of the hat to Elton for putting "I Can't Explain" in the middle of his cover of "Pinball Wizard", put Elton's old song "Take Me To The Pilot" into the bridge. Pete and Simon Phillips recorded their parts at one studio (with Simon's drum part either augmented or replaced with an electronic drum track programmed by Jon Astley) and Roger and John recorded their parts at another studio.
Film of Roger and John's session appeared in a music video for the song. The original version of "Saturday Night's Alright For Fighting" appeared on Elton's 1973 album Goodbye Yellow Brick Road and "Take Me To The Pilot" on his 1970 album Elton John. In 2002 Elton John cited this cover, along with Aretha Franklin's cover of "Border Song", as his two favorite covers of his work.

My Generation: The Very Best Of The Who (1996)

All songs written by Pete Townshend except where noted.

1."I Can't Explain" – 2:04 Single
Producer: Shel Talmy

2."Anyway, Anyhow, Anywhere" (Townshend/Roger Daltrey) – 2:40 Single
Producer: Shel Talmy

3."My Generation" – 3:18 From My Generation
Producer: Shel Talmy

4."Substitute" – 3:47 Single
Producer: Pete Townshend

5."I'm a Boy" – 2:36 Single
Producer: Kit Lambert

6."Boris the Spider" (John Entwistle) – 2:27 From A Quick One
Producer: Kit Lambert

7."Happy Jack" – 2:11 From A Quick One (included on the US release of A Quick One)
Producer: Kit Lambert

8."Pictures of Lily" – 2:45 Single
Producer: Kit Lambert

9."I Can See for Miles" – 4:21 From The Who Sell Out
Producer: Kit Lambert

10."Magic Bus" – 3:15 From Magic Bus: The Who on Tour
Producer: Kit Lambert

11."Pinball Wizard" – 3:00 From Tommy
Producer: Kit Lambert

12."The Seeker" – 3:22 Single
Producer: Kit Lambert / The Who

13."Baba O'Riley" – 5:07 From Who's Next
Producer: The Who; Glyn Johns

14."Won't Get Fooled Again" – 8:32 From Who's Next
Producer: The Who; Glyn Johns

15."Let's See Action" – 4:02 Single
Produced by The Who, Associate Producer: Glyn Johns

16."5:15" – 4:49 From Quadrophenia
Producer: The Who, Kit Lambert & Glyn Johns

17."Join Together" – 4:22 Single
Produced by The Who, Associate Producer: Glyn Johns

18."Squeeze Box" – 2:40 From The Who by Numbers
Producer: Glyn Johns

19."Who Are You" (Single Edit) – 5:02 From Who Are You
Producer: Glyn Johns & Jon Astley

20."You Better You Bet" – 5:37 From Face Dances
Producer: Bill Szymczyk

UK #11 US did not chart

singles:
"My Generation" reissue UK #31

This was actually quite a good comp and for the first time a comp had the newly remastered recordings. This album was tied into The Who reuniting in the Summer of 1996 to perform Quadrophenia in its entirety at the Prince's Trust Concert in Hyde Park.
Initially Pete wanted them billed as Pete Townshend, Roger Daltrey and John Entwistle and not as The Who, but it was obvious it was The Who and they eventually began getting billed as such.
The show in London went so well they played nearly a week's worth of sold-out shows in New York at MSG later that summer and then did a brief US tour in the fall (I saw them in Philly). Oddly, some US shows were sellouts like the one I was at, but some did poorly. Both Billy Idol and sicko Gary Glitter were part of the show. After the first few gigs of the US tour Pete asked his brother Simon to join and handle most of the leads (I thought Simon was really bad and the DVD later released backs me up), so we once again mostly had Pete strumming on acoustic although he would play electric at each show for certain cuts.
Another tour followed of Quadrophenia in both Europe and the US in 1997 (I saw them once again), but without Glitter and Idol (I believe PJ Proby and gary Waters were the stand-ins). The shows were quite good and once again the huge entourage was justified, if only because Quadrophenia was being presented as the whole show (with a 5 song encore of Who classics).
As for this comp I never got it, but it certainly seems like a decent one with lots of the usual culprits. Basically another zzzzzz.....

Re: the band's billing. I don't know if they officially billed themselves as Townshend-Entwistle-Daltrey for the 1996 American tour but the t-shirts and poster certainly said as much. If it was anything official, it lasted only a short period of time. No one I know or myself ever referred to them in that way. They were always "The Who".

It was a good tour and I didn't mind big band Who as much this time around as I did for the '89 Tommy tour. Perhaps because Quadrophenia lends itself to more instrumentation and there wasn't much to compare it with from the 1970s. The classic Tommy shows though from 1969 and 1970 could never be topped, in my opinion.

One great thing about this tour is that it was Zak Starkey's first with the band. I maintain that he single-handedly rejuvinated them. Without a doubt, the world's "2nd best Keith Moon-type drummer".

I saw all of the New York shows and the one in Philly that you mentioned. I was lucky enough to be in one of those luxury boxes (is that what they're called?) in Philly. That was fun.

If the kids of the Beatles ever do become a band, it won't suck because of the drumming...

Very true. But let's just hope that never happens.

It's in the works, possibly.

My Generation: The Very Best of The Who is unique because it is the only place to find the remix of Won't Get Fooled Again. IIRC it also features 90's-era remixes of many of the other songs, and I think it's the only compilation where that is the case (on future comps they revert to original mixes). If the timing listed above is correct, it looks like it also has the unedited The Seeker, so I stand corrected in my earlier assertion that is only available on the box set.

Dhani Harrison says it's a false rumor. Interesting to note that the Beatle kids are already older than their dads were when the band broke up.

So says James, and James only. I tend to think though that's he's learmed a lesson from his father and that is to bring up The Beatles whenever there's ANY kind of product to promote. That act got old many years ago with his father and it's not gonna fly now.

My Generation: The Very Best... is the one Who compilation I own. It was the best one-disc comp available when I was in the market for one, and I'm happy with the selection. Too bad it has one of the least-attractive covers I've ever seen from The Who or any other group.

Yes, that is a terrible cover.

Live at the Isle of Wight Festival 1970 (1996)

All songs were written by Pete Townshend except where noted.

Disc one
1."Heaven and Hell" (John Entwistle) – 5:16
2."I Can't Explain" – 2:45
3."Young Man Blues" (Mose Allison) – 6:06
4."I Don't Even Know Myself" – 6:11
5."Water" – 10:53
6."Overture" – 5:08
7."It's a Boy" – 1:33
8."1921" – 2:27
9."Amazing Journey" – 3:19
10."Sparks" – 5:10
11."Eyesight to the Blind (The Hawker)" (Sonny Boy Williamson II) – 1:58
12."Christmas" – 3:25

Disc two
1."The Acid Queen" – 3:41
2."Pinball Wizard" – 2:50
3."Do You Think It's Alright?" – 0:22
4."Fiddle About" (Entwistle) – 1:15
5."Tommy, Can You Hear Me?" – 0:58
6."There's a Doctor" – 0:22
7."Go to the Mirror!" – 3:32
8."Smash the Mirror" – 1:16
9."Miracle Cure" – 0:13
10."I'm Free" – 2:24
11."Tommy's Holiday Camp" (Keith Moon) – 1:01
12."We're Not Gonna Take It!" – 9:37
13."Summertime Blues" (Eddie Cochran, Jerry Capehart) – 3:24
14."Shakin' All Over/Spoonful/Twist and Shout" (Johnny Kidd/Willie Dixon/Phil Medley/Bert Russell) – 6:27
15."Substitute" – 2:10
16."My Generation" – 7:15
17."Naked Eye" – 6:33
18."Magic Bus" – 4:35

UK did not chart US #194

How amazing after all those years was it to get an official release of this most legendary show from the infamous Isle Of Wight Festival in 1970? Plus, we also got the VHS (and DVD) as well!
Of course there were some flaws in both audio and video but both were more than acceptable considering the timeframe.
You get most of Tommy, some songs that hadn't even been released yet, some covers and plenty of classics. This whole show is pretty damn great, although there are some imperfections, but thwo the hell cares-this was The Who in 1970 and that's all anyone needs to know.
A truly important and fantastic document of live Who.

A great, great show. About the only bad thing I could say about it is that it's not as good as Leeds, but then nothing is, so who cares. It was great to see the band finally start to address the serious deficiency in Moon-era live material available. The only bummer is that this album apparently didn't sell as well as expected, which caused them to cancel a planned release of Philadelphia 1973 (I remember a release date being announced in ICE but it just never appeared). As I always say, I don't know why this band never tried a "Dick's Picks" style series of releases aimed at fans instead.

Did this get remastered in 2009 or 2010? I missed that if it did. I assumed it was just a reissue by Eagle of the original release on Columbia.
I too, was shocked that this didn't sell well, although the DVD did do well.

I actually liked the "Isle of Wight" show better than the Leeds show, although I'm probably biased--the full Leeds show would not come out for another five years. This was the first vintage live "Tommy" ever officially released, and although it was rough in spots...again, I like it better than Leeds.

The strange thing about this album is that it was an early indication that the Who don't quite have the control over their catalog that one might imagine. Two years earlier, in the liner notes of the boxed set, Charlesworth and Astley wrote that "[T]he reality is that many live recordings by The Who from their golden live era of 1969-1973 are more often than not below the technical standard required by listeners twenty years later...The tape from The Who's shattering performance at the Isle Of Wight Festival in August of 1970, for example sounded very weak..."

What was odd is that although none of the Isle of Wight material appeared on the boxed set, two songs appeared in the "Thirty Years of Maximum R & B Live" video which was released on VHS and laser disc the same day of the boxed set. This wouldn't be the last time that the Who organization would chang their story concerning available material/master tapes, etc.

This concert was apparently orignally broadcast back in 1970, although I'm not finding much information about that broadcast. Either way, however, although the full concert was apparently released with the Who's permission--there's a Townshend interview on a recent Blu-Ray version--this was not an MCA release. Castle Communications owned the copyright and released it in the UK, and licensed it to Sony Legacy in the US. Castle Communications was eventually sucked up into first Sanctuary Music Group, and finally into Universal Music Group. I'm not sure if Universal now owns the copyright, but a Russian label called Lilith is currently distributing the disc in the UK. US video licensees have included Image and Eagle Rock.

Jason--I remember when the 1973 concert CD was announced--I remember seeing the tracklisting on one of those old Muze kiosks. Not sure why that never came out, but as with the Isle of Wight, the Who don't own the copyright to that show--King Biscuit/DIR Broadcasting do, and they've licensed those shows to Wolfgang's Vault. Bill Graham's company also owns some vintage live Who, which is streaming over on Wolfgang's Vault as well. The Who seem to have better relations with the King Bioscuit people than with Bill Graham's people--some of the King Biscuit material showed up on "Vew From A Backstage Pass", while three 1970 songs (introduced by Graham himself) at Tanglewood included on the original 1994 "Thirty Years Of Maximum R & B Live" video were removed from a 2009 reissue.

I've been digging around here and there lately, and I'm getting the impression that The Who don't have the sort of formidable business organization commonly associated with successful legendary bands. For starters, neither Pete, John nor Roger seemed to have any sort of solo recording deal after about 1995 or so. Pete did release a bunch of stuff on his own Eel Pie label, but never another full-fledged solo album of new material. Who and Who-related product would start showing up on significantly smaller labels than MCA--Platinum, Reportoire, MusicToday, Steamhammer, and, yes, Immortal. In the meantime, MCA and retailers seemed interested in only one type of Who product--greatest hits compilations.

It would seem apparent that the Who make most of their money these days from touring, rather than music sales, and this has been the case for quite some time.

I swear I read somewhere that the poor sales of IOW were behind the cancellation of the Largo/King Biscuit release, but I can't recall where. Even if they don't own the recording, the Who must have some kind of veto power over this material being released, and I think it's likely that they (rather than King Biscuit) put the kibosh on the release. I doubt King Biscuit would have cancelled it if it was entirely up to them, considering they have put out releases with far less sales potential, such as Uriah Heep, Black Oak Arkansas, and John Entwistle. At present both the Largo and Philadelphia shows are streaming at Wolfgang's vault, but they apparently do not have permission to sell them as downloads. Presumably the Who is behind that also.