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THE WHO
THE WHO SINGS MY GENERATION (1966)
RATING: 6
PLAY THESE: MY GENERATION, THE KIDS ARE ALRIGHT, A LEGAL MATTER
SKIP THESE: OUT IN THE STREET, PLEASE PLEASE PLEASE, MUCH TOO MUCH
The Who's debut album, The Who Sings My Generation is a hodgepodge collection of Pete Townshend-penned pop tunes and lousy R & B covers that rarely manages to capture the excitement of the group's legendary live act. I have seriously mixed feelings about this album. I mean, 'My Generation' and 'The Kids Are Alright' are undeniable classics that rate among the group's best work, but the rest of the album - especially the James Brown covers - is pure filler, albeit occasionally interesting filler. In addition, Shel Talmy's production is absolutely atrocious, with loud. unexpected guitar squeals blaring from the speakers and then disappearing into the mix, while John Entwistle's bass runs are barely audible on most of the tracks. It's patchy in spots, and it's not easy to listen to.
However, the biggest problem is Roger Daltrey's singing. The group's lead vocalist has yet to find his own voice, relying instead on his unconvincing imitations of black R & B singers which consist of a low, guttural growl that sounds more like Scooby Doo than any genuine bluesman. On the other hand, Daltrey sings much better on Townshend's poppier compositions, and although these performances are a far cry from the loud, roaring vocal style he would later perfect circa 1969's Tommy, they certainly indicate that Roger had a lot of potential.
It isn't all doom and gloom though. Eighteen year old wonder-boy drummer Keith Moon is in fine form here, perfecting his trademark drumkit-falling-down-the-stairs fills and attacking his instrument with such unrestrained violence that even the weaker tracks have something to offer. In addition, Pete Townshend uses his feedback-driven guitar style to awesome effect, creating a violent, ugly sound that established the Who the loudest, raunchiest band of its generation. Riveting stuff.
As far as the highlights go, you don't want to miss the mod anthem 'My Generation,' a proto-heavy metal tune that contains the band's most famous lyric, 'hope I die before I get old,' a brash manifesto of youthful arrogance that Keith Moon took so much to heart that he lived his short life according to its premise. Featuring a powerful two-chord riff , a s-s-s-stuttering Daltrey vocal, and some amazingly intricate bass runs courtesy of Entwistle, the song culminates in a cathartic sonic overload of ear-splitting amplifier feedback and maniacal drum fills that could very well be the most energetic musical moment ever caught on tape. Forget about the Sex Pistols - this is the first true punk recording. Almost as good is 'The Kids Are Alright,' a lovely, Beatlesque tune with an exquisite melody that proves that pop - and not R & B - was Pete Townshend's compositional forte. My only complaint is that the album contains the inferior American single version of the song, which inexplicably omits Keith's magnificent drum solo just before the last verse - an incredibly stupid decision which deprives the listener of what may very well be the best Moon drum performance on a Who studio album (the full version of the song is available on the 1994 box-set, Thirty Years OF Maximum R & B).
The album also contains a few obscure Townshend gems, the best of which 'A Legal Matter,' a mean-spirited put-down of the honorable institution of marriage which sees Pete take over lead vocals for the first time ("Don't wanna work all day in the office just to bring my money back to you/ Sorry baby"). In addition, the poppy 'La La La Lies' is an enjoyable ditty about a dishonest-yet-irresistible girlfriend that Townshend can't bring himself to leave, while the juvenile 'It's Not True' is works in spite of its seventh grade poetry assignment lyrics.
Low points? 'The Ox' is a so-so instrumental tribute to John Entwistle (a.k.a. The Ox) with distorted guitars and a raucous Moonie drum performance that sounds pretty amateurish and unpolished in comparison with 'My Generation,' although it should be pointed out that the track may be of some interest to Who fans who want a preview of the group's "heavier" late-1960's sound. 'Out In The Street,' 'The Good's Gone,' and 'Instant Party (Circles)' are also pretty lousy, although the latter redeems itself somewhat by featuring Enwistle on french horn, an instrument which would later be used to great effect on late 1960's Who recordings. As far as the two R & B covers ('I Don't Mind' and 'Please, Please, Please') are concerned, all I can say is avoid them like the plague - they're really, really bad imitations of American black music made worse by Roger's excruciatingly annoying vocal mannerisms. However, the very worst track on the album is the insipid 'Much Too Much,' a lumbering hybrid of R & B and Merseyside pop that sounds so darn funny that I nearly laughed my glass eye out when I first heard it. Why? Well, let's just say that Roger probably shouldn't sing in his lower register voice....
RATING: 7
PLAY THESE: BORIS THE SPIDER, SO SAD ABOUT US, HAPPY JACK
SKIP THESE: SEE MY WAY, DON'T LOOK AWAY
Featuring compositions written by all four band members, A Quick One is a quirky, energetic album that succeeds in spite of the fact it has the nerve to contain two Keith Moon original songs. In contrast with the Who's debut album, A Quick One ignores the band's rhythm and blues roots, concentrating instead on goofy, melodic pop songs that betray the fun, experimental atmosphere that prevailed in the studio after the group kissed and made up with vocalist Roger Daltrey (the singer was fired for a few weeks after punching out Keith Moon and then flushing his uppers down the toilet, but rejoined the fold after 'My Generation' became a smash hit. Relations between Daltrey and the band improved after Roger was told to cut the crap or face permanent dismissal).
I had always thought that this album was shite, but upon re-listening to the CD I have since arrived at the realization that it is actually an underrated early Who gem - a classic, a magnus opus, a masterpiece...or something like that. Heck, it even features Townshend's second attempt at writing a rock opera, 'A Quick One While He's Away,' a charming collection disjointed ditties that tells the story of a girl guide who is seduced by a dirty, sooty truck driver while her boyfriend is out of town. Admittedly, this version pales in comparison with the live version found on Live At Leeds, with the band getting much better at joining up the various song fragments after years of live performances, but one should be careful not to dismiss the studio version. After all, it even contains an extra "Ivor the engine driver" verse not found on the live recordings ("Please take a sweet/ Come take a walk with me/ We'll sort it out/ Back at my place, maybe") - pretty cool, eh? The album also features the catchy 'So Sad About Us,' a Townshend-penned power-pop number that contains some wicked tom fills courtesy of Keith, and 'Run Run Run,' a pretty good R & B original with a cool riff and some inspired guitar runs from Pete.
John Entwistle also contributes a couple of excellent originals, 'Whiskey Man' and 'Boris The Spider,' the latter of which is a hilarious ode to a recently deceased spider that features a spooky riff and a really funny "creepy, crawly" middle eight section - proving once and for all that there was more to John that just his nifty bass playing. His dark humor provides relief from Townshend's endless intellectual posing, keeping album from taking itself too seriously.
As far as the Keith Moon numbers go, 'I Need You' is a ridiculous eastern-tinged hard rock tribute to his favorite London nightclub - I think it was the Bag O' Nails - that was originally titled 'I Need You (Like I Need A Hole In The Head).' Featuring a squeaky, out-of-tune Keith falsetto, the song's saving grace is Moon's hilarious John Lennon impersonation in the middle eight - listen closely though, because it's buried deep in the mix. Keith's other selection, 'Cobwebs And Strange,' is a carnival-gone-amuck instrumental number with horns, penny whistles, and an amazing drum performance that aptly sums up Keith's over-the-top, goofy persona (in fact, it was later used on The Kids Are Alright film to back up a hilarious montage of Keith Moon footage). Roger's songs ('Don't Look Away,' 'See My Way) are the weakest of the bunch, betraying the singer's a lack of confidence in his own writing abilities; they aren't terrible, but there aren't any hooks either.
The album also contains a cover of Martha Reeves' 'Heatwave,' and although the band does a good job of it, the Motownish track sounds out of place on an album full of daft-yet-intoxicating English originals. Neat, eh?
Eight out of ten.
RATING: 9
PLAY THESE: I CAN SEE FOR MILES, OUR LOVE WAS, TATTOO
SKIP THESE: RELAX, SILAS STINGY
The Who's first "concept" album, The Who Sell Out is a pop masterpiece that combines psychedelia, opera, folk, baroque, R & B, and great melodies to create an ear-pleasing concoction of magnificent pop music. And since the album title implies a shameless commercialization of the band's music, the Who take things one step further by slipping nonesensicle radio jingles between the tracks and appearing in hilariously overblown "advertisements" on the album sleeve - a great idea, and well executed by the band. Nifty stuff, boys.
As for the songs, well, they're mostly excellent, with only a few clunkers to be found on the second half of the album (the tragically stupid 'Relax,' and John's not-so-funny comedy number 'Silas Stingy'). My only major criticism is Kit Lambert's production, which sometimes weakens the band's attack by isolating the instruments on the two separate channels; sometimes you can hardly even hear Keith's drumming, which isn't a good thing on a Who album. Also, I can't help but notice that Pete sings lead on five of the songs, and although the guitarist sounds half-decent on most of them, I am almost certain that Roger would have sounded much, much better. Suffice to say that inter-band politics played a decisive role in the decision (don't forget, Roger was still "on probation" in 1967).
The best song? Well, my vote goes to the powerful 'I Can See For Miles,' Townshend's psychedelic masterpiece that features amazing drumming from Keith, a one-note guitar solo, and some trippy, paranoid lyrics about an unfaithful girl whose indiscretions can be seen from miles, and miles, and miles away. 'I Can See For Miles' is by far the best-sounding recording on the album, probably because it is the only track recorded in an American studio while the group was on tour. The other acid-rock tune is 'Armenia City In The Sky,' a song written by Pete's former roommate and chauffeur, John Keane, which represents the one and only occasion when the band recorded a song that was written specifically for them. Sounding like an outtake from Revolver, the song is a mind-blowing collage of backwards guitars, spacey effects, and discordant horns that for some reason is disliked by a lot of Who fans - but I think its great.
Other great tunes include 'Tattoo,' a charming little ditty often featured in the group's stage act and 'Our Love Was, Is,' a lovely mid-tempo ballad sung by Pete that features some really great harmony vocals, as well as a killer guitar/ drum solo just after the middle eight. The lyrics are pretty good too, proving that Townshend was capable of writing good, old fashioned love songs ("Our love was flying/ Our love was soaring/ Our love was shining/ Like a summer morning"). Almost as good is 'I Can't Reach You,' a beautiful, Beatle-esque ballad with great harmonies and a catchy chorus that remains an album highlight in spite of its daft lyrics, which appear to have been written from the point of view of an elderly man who lusts after a young woman ("Your hair is gold/ Mine is grey/ You walk on grass/ It turns to hay." Say what?). 'Mary-Anne With The Shaky Hands' is a catchy song about a girl who can't cook, can't sew, but can give a darn good hand job - but I suppose you already guessed that from the song title. In addition, the Pete-sung 'Sunrise' is a jazz/folk ballad that features some amazingly intricate acoustic guitar work, while 'Odorono' is a comical composition about a girl who fails an audition because she forgot to put on her deodorant.
Here's a piece of trivia: the final song on the album is the mini-opera 'Rael,' a mediocre arrangement of short musical compositions with an undecipherable storyline that is nevertheless interesting in that it contains the basic elements of 'Sparks,' Tommy's musical centerpiece.
All in all, The Who Sells Out is the first classic Who album and one of the best of the class of 1967. Buy it now.
MAGIC BUS: THE WHO ON TOUR (1968)
RATING: 6
PLAY THESE: MAGIC BUS, PICTURES OF LILY, CALL ME LIGHTNING
SKIP THESE: DOCTOR DOCTOR, DR. JEKYLL AND MR. HYDE, BUCKET T.
I hate record companies. I mean, Magic Bus: The Who On Tour serves as a classic example of how music industry big-wigs can really foul things up when they exploit a band's success without thinking about the quality of the final product. Quickly released after the unexpected success of the 'Magic Bus' single in America, the misleadingly titled Magic Bus: The Who On Tour is not, as the title and album cover suggest, a live album. On the contrary, the album is a rag-tag collection of singles, b-sides, and previously released songs that raises some obvious questions: Why did Track Records deem it necessary to include two tracks from The Who Sell Out on this album? Why not include some of band's excellent unreleased tracks, such as 'Faith in Something Bigger' or 'Little Billy' instead? And whose idea was it to allow Keith Moon to sing lead that dreadful Jan and Dean cover, 'Bucket T.?' Sheesh!
Anyways, the album - for all its flaws - still contains a few undeniable gems. One of the record's best cuts is 'Magic Bus,' a goofy, drug-induced number that features Pete's Bo Diddley rhythm guitar and some mean clave playing by Keith Moon. Even better is 'Pictures Of Lily,' a Townshend-penned hymn to self-pleasure that somehow evaded censure from the conservative radio programmers at the BBC, becoming a top twenty hit in the UK. 'Call Me Lightning' is a groovy R & B number that features an amazing John Entwistle bassline, as well as a great Roger Daltrey vocal that proves that the lead singer had finally stopped imitating his heroes and developed his own, unique vocalizing style. In addition, 'Someone's Coming' is a charming pop song about a teenage couple who attempt to carry on a love affair under their parent's noses, while 'Disguises' is a decent psychedelic number ruined by some really stupid sound effects that are supposed to sound scary, but don't. As far as the Entwistle compositions are concerned, 'Dr. Jekyll And Mr. Hide' is a dreadful 'Boris The Spider' knock-off inspired by Moon's bipolar mood swings, while 'Doctor, Doctor' is an unfunny "comedy" number that has the bassist employing an annoying falsetto voice that conjures up disturbing images of a canine circumcision gone awry. The album also contains 'Our Love Is, Was' and 'I Can't Reach You,' both of which appeared on The Who Sells Out, as well as 'Run, Run, Run,' which was first released on A Quick One. All in all, this album is a blatant record company cash-in and should be approached with caution - if at all.
RATING: 10+
PLAY THESE: 1921/YOU DIDN'T HEAR IT, AMAZING JOURNEY/SPARKS, EYESIGHT TO THE BLIND, PINBALL WIZARD, I'M FREE, WE'RE NOT GONNA TAKE IT, ACID QUEEN, SALLY SIMPSON
SKIP THESE: UNDERATURE, WELCOME
One of the first album-length rock operas, Tommy is the all-important musical event that established The 'Oo as superstars in America, and gave the band a new lease on life in after its popularity hit an all-time low in the late 1960's. Nevertheless, there is a lot of controversy surrounding this album. Although some Who fans regard it as a pretentious attempt to combine two incompatible musical genres - i.e. rock and opera - that borders on near-musical heresy, others hold it up as one of the band's finest albums, a work of art that elevated popular music to a new level of intellectual respectability. Both opinions are rubbish. In fact, Tommy is simply the Who's finest album. Why? Because it contains some of the best rock music ever captured on tape - period. So forget about the intricacies of the stupid storyline and just listen to the great riffs, beautiful melodies, and ingenious arrangements herein - you'll be amazed at just how great this music is.
The album's sound is a bit of a departure for the band, with electric guitars being dropped for acoustic ones, while the noisy, chaotic style of old has been replaced by a quieter, sparser sound that compliments the somber mood of Pete's compositions. Rumor has it that the album wasn't supposed to sound this way, as producer Kit Lambert had originally planned on embellishing Tommy's stark sound with sweeping orchestral arrangements, but was forced to abandon the plan when the group ran out of money. Providence works in mysterious ways....
The album's real star is Roger, whose career-altering performance as Tommy transformed the struggling singer into one of rock's premier leather-lunged front-men, a golden haired pin-up star whose Adonis-like good looks brought thousands of new female fans to the band's concerts. Pete, too, is in fine form, strumming his acoustic guitars with vim and vigor and contributing nearly twenty top-notch tunes that rank right up there with his greatest compositions. Keith Moon also excels here, using a more subtle style that suits the album's acoustic sound without ever sacrificing any of the relentless energy that characterizes his trademark drumming style. Truth be told, this is probably Keith's finest performance on a Who record, and although the listening experience is slightly blemished by Kit Lambert's shoddy production (John Entwistle once complained that Keith's cymbals sound like "biscuit tins"), the drummer's excellent fills remain one of the album's major highlights.
As far as the plot goes, the story begins with the birth of the opera's central character, Tommy, whose father, Captain Walker, disappears in the First World War and is presumed dead. Falling in love with another man, Tommy's mother is startled by the unexpected return of the very-much-alive Captain Walker, who murders his wife's lover in a fit of jealous rage. Unfortunately, the incident was witnessed by the impressionable Tommy, who is so traumatized by the horrible event that he descends into an autistic-like state, losing all ability to hear, speak, or talk. The next few years of Tommy's life are a living nightmare, as the young boy suffers abuse at the hands of family members and strangers alike, while his concerned parents fret over the boy's spiritual well-being.
Luckily, the deaf, dumb, and blind young boy surprises all by developing a talent for playing pinball, becoming a local champion in spite of his serious disabilities. Hoping to find a cure, Tommy's mother takes him to a succession of quack doctors, all of whom are unable to help the boy. In her frustration Mrs. Walker smashes a mirror, and the boy is miraculously cured. For reasons unclear, Tommy is declared the new "messiah," and millions of young people flock to his revival meetings to hear him preach the doctrine of his new religion. Tommy celebrates his newfound success by opening a holiday camp, but the superstar's egotistical excesses quickly drive his followers to rebel against him, whereupon the now distraught Tommy reverts to his former deaf, dumb, and blind state. Pretty stupid, eh?
Although Townshend's storyline is quite weak, the same is not true of his songs, most of which still stand on their own when taken out of the context of the opera. The opera also contains a number of brilliant recurring musical themes, many of which are altered slightly each time they are re-played to fit the mood of the song (i.e. 'Sparks,' 'See Me, Feel Me,' 'Listening To You'). The album's best song, of course, is the magnificent 'Pinball Wizard,' an impressive blast of abrasive rock 'n roll that features an absolutely amazing rhythm guitar courtesy of Pete, who strums his guitar so vigorously that it is difficult to pick out just how many sixteenth notes he's actually playing. 'I'm Free' is also excellent, featuring a killer guitar riff and a haunting melody in the middle eight that proves that hard rock songs and great melodies can coexist.
Other highlights? '1921/ You Didn't Hear It' is a beautiful, baroque-style ballad that tugs at the heart strings, containing a magnificent vocal arrangement in the chorus that only the deaf would not acknowledge (sorry, Tommy). The band's cover of Sonny Boy Williamson's 'Eyesight To The Blind' also stands out, as Keith's freewheeling tom-tom fills and Roger's powerful voice render it one of the band's best-ever cover songs. In addition, the Pete-sung 'Acid Queen' is a definite highlight, with the track's crunchy riffs and confrontational drumming making this up-tempo track stand out in an album full of generally softer material. And who couldn't resist the sonic rewards of 'We're Not Gonna Take It,' an anxious, rebellious rocker that closes the album on a high note - just listen to Roger's sly, put-on voice in the verses, which demonstrates just how far the singer had come over the past few years.
And the hits just keep a rollin'...take 'Christmas,' for example. This visceral, full-tilt rocker is one of the album's louder moments, with Roger screaming over top of a rollicking Keith Moon beat that speeds up dramatically in the last verse, which gives the song an added sense of urgency that really increases its emotional impact. In addition, 'It's A Boy' is notable for Pete's acoustic intricate guitar work, while 'Amazing Journey' is a dense, ethereal track that features some more excellent Keith Moon drumming and some excellent mystical lyrics. John's two compositions ('Cousin Kevin' and 'Fiddle About') are also very good, adding a welcome dose of dark humor to the album that offsets Townshend's pretentious tendencies - the melodies are pretty good too.
The only truly weak tracks are 'Welcome,' an unfocused ballad that espouses the sort of sappy hippy sentiments more typical of a John Sebastian tune, and the ten-minute 'Underature,' an overlong adaptation of 'Sparks' that tries a little too hard to approximate the pompous grandiosity of opera music. However, these are but two minor flaws in an otherwise impeccable album. Ignore the naysayers and pick up your copy today!
RATING: 10+
PLAY THESE: AMAZING JOURNEY/SPARKS, MY GENERATION, SUMMERTIME BLUES, TATTOO
SKIP THESE: NONE
The greatest live album of all-time, Live At Leeds is a valuable historical document that captures the Who at their creative peak, a rare gem of a live record that can confidently look posterity in the eye. By 1970, you see, the Who were the greatest rock band on the planet. Riding a two-year wave of sold-out concerts and music festivals, the Who had it all in the early 1970's: danger, violence, stamina, showmanship, tension, humor. Featuring a brown paper bag cover and a hand-scrawled label, Live At Leeds was intended to look like a bootleg, an illicit memento from a concert that only a few thousand lucky souls were able to witness. In 1995, MCA Records re-released the album, adding numerous previously unavailable songs to the track listing and removing the annoying amplifier "crackling" sounds that plagued the original 1970 release. The result is a stunning double live album with impeccable sound - a true classic.
Each member of the Who is in fine form here, especially John Entwistle, whose nimble bass lines act like a life raft in a raging musical sea of missed Moonie beats and fluffed Townshend notes. Daltrey, too, is in excellent form, the years of constant touring clearly having a positive effect on his singing, as he sounds even more powerful and confident than he did on Tommy. For his part, Townshend proves that he is a proficient lead guitarist, laying down distorted, in-your-face solos quite unlike those heard on the Who's studio albums. As for Moonie...well, he's typically excellent, proving once again why he was the greatest drummer in rock history - with the exception, of course, of Poison's Rikki Rocket.
Notably, the album contains a number of obscure cover tunes and forgotten Who originals, indicating that the band was aiming to please themselves just as much as the audience. Highlights include 'Summertime Blues,' a heavy-metal rendition of the classic Eddie Cochrane song that sounds like Blue Cheer on anabolic steroids, and 'Young Man Blues,' a fantastic cover of an obscure Mose Allison song that shows off the band's tight ensemble playing, as well as Daltrey's lion's roar vocals. The Who also transform some of their classic hit songs into long, drawn-out jams, with 'My Generation' segueing into a number of selections from Tommy, while 'Magic Bus' is a seven minute opportunity for Pete Townshend to play a long wank-off solo a la Jimmy Page. One of the definite high points is the band's rendition of 'A Quick One While He's Away,' as Townshend's quirky little opera is transformed into a loud, well-polished epic that blows the pants off the original recording - just listen to the magnificent build-up in the "you are forgiven" section....absolutely stunning!
The boys also attack a number of early singles, as 'I Can't Explain,' 'Substitute,' 'Happy Jack,' and 'I'm A Boy' are all given first-class treatments, while lesser known tunes like 'Tattoo,' 'Heaven And Hell,' and 'Fortune Teller' expose casual fans to the unexplored delights of the Who's back catalogue. And although only one Tommy song is included on the album, 'Amazing Journey/Sparks' more than makes up for this transgression, as Keith Moon's cathartic drum-fills during the second verse lift the song to sonic heights that easily outdo the studio version. In the end, Live At Leeds is an amazing album that deserves every ounce of the lavish praise critics have heaped upon it over the decades. This is The 'Oo as nature intended - raw, loud, and irreverent, but at the same time inventive, intellectual, and exuberant. Bloody amazing.
MEATY, BEATY, BIG, AND BOUNCY (1971)
RATING: 10+
PLAY THESE: I CAN SEE FOR MILES, SUBSTITUTE, MY GENERATION, PINBALL WIZARD
SKIP THESE: NONE
A fantastic collection of the band's 1960's singles, Meaty, Beaty, Big, And Bouncy is the first in a long line of Who compilation albums, and the perfect place for any fan to begin a life-long Who obsession. Conceived as a means of introducing the ignorant American public to the Who's early output, the album contains a number of British chart-toppers never included on the band's albums, the majority of which received little airplay in the States prior to the group's breakthrough in 1969. A perfect example is the group's debut single, 'I Can't Explain,' a two-minute slice of mouth-watering Brit-pop that features an excellent Townshend twelve-string guitar and an amazing performance from drummer Keith Moon, who was only seventeen at the time (what were you doing when you were seventeen?). The album also features 'The Seeker,' a fantastic rocker about a wandering hippie guru that contains a brilliant riff and some scathing lyrics that take aim at those who blindly follow dodgy spiritual leaders ("People tend to hate me/ 'Cause I never smile/ As I ransack their homes they wanna shake my hand." Har!). In addition, the album contains the group's second single, 'Anyway, Anyhow, Anywhere,' a Daltrey-Townshend collaboration that features Townshend's first deliberate use of feedback on a Who recording during the middle eight section.
Theatre aficionados may also want to check out Pete's first attempt at writing a rock opera, 'I'm A Boy,' a tongue-in-cheek story set in the future when parent's could choose the sex of their children. The plot centers on a family that requested four girls but received only three females and one male, opting instead to raise the unlucky boy as a girl - a bizarre premise for a pop song, to be sure, but it works rather well. John's stately french horn part is marvelous, as is Pete's guitar chording in the middle eight, which sounds as though Townshend was listening to a lot of baroque music at the time.
But the best song of all is 'Substitute,' a brilliant pop tune that features one of Townshend's best riffs and a raucous performance on drums courtesy of Keith Moon - if you listen closely you can hear the drummer scream bloody murder in the drum fill leading up to the guitar solo. Daltrey is also in fine form, singing Townshend's witty lyrics with passion and purpose, while 'The Ox' lays down a thick, bouncy bass-line that gives the song the strong bottom end other early recordings lacked. The album also features a long list of classic tunes previously included on other albums - but don't take my word for it, buy it today.
RATING: 10+
PLAY THESE: BABA O'REILLY, BEHIND BLUE EYES, WON'T GET FOOLED AGAIN, BARGAIN
SKIP THESE: GOING MOBILE
The Who's slickest musical production, Who's Next is a consistently excellent album that foreshadows the 1970's arena rock explosion. Unbeknownst to many casual fans, the album actually represents the broken pieces of Townshend's ambitious Lifehouse project, a career-defining, esoteric rock opera of unprecedented proportions that was scrapped because the other band members just didn't understand what the guitarist was trying to do. Emotionally and physically drained by the ordeal, Townshend suffered a nervous breakdown, and for a while it wasn't clear if the band would keep making music or call it a day. Nevertheless, Pete summoned up the strength to record Who's Next, a collection of stellar tunes culled from the abortive Lifehouse sessions that proved to be the group's most enduring work - even if the album was a mere shadow of what Townshend wanted to accomplish.
The album is extremely well produced, with respected British producer Glyn Johns overseeing the sessions, as Johns manages to capture the sort of raw power that Kit Lambert's recordings lacked. Johns also manages to bring out the best of Keith Moon, forcing him to play in strict time along with a click track, and forbidding the drummer from employing his usual technique of bashing as many cymbals as possible in between drum fills. Townshend also spices things up by adding synthesizers to the mix, and somehow manages to walk the fine line between gimmickry and innovation without making the recording sound the least bit dated.
The album opens with 'Baba O'Reilly,' a defiant rocker dedicated to Pete's protégé, Meher Baba, that unmercifully attacks the stoned excesses of the dying hippie movement, sounding the death knell for the 1960's ("Teenage wasteland/ Its only teenage wasteland"). Beginning with a complex synthesizer loop constructed from raw data relating to events in Meher Baba's life, the song really hits its stride when Pete comes crashing in with some of his trademark power chords The song then inexplicably turns into a double-time jig, complete with violins and synths....hmm...something tells me drugs may have been involved.....Next is 'Bargain,' a full-throttle rocker that features some of Keith's finest drumming and a neat little synth line in the middle eight that out-rocks any futuristic effects progressive rock giants Emerson Lake And Palmer ever came up with. 'Love Ain't For Keepin'' is a short, throwaway acoustic pop song with a great melody and fantastic Townshend guitar leads, while John's 'My Wife' is an amusing rocker inspired by a particularly nasty confrontation with the bassist's wife that nearly led to Entwistle's demise ("Gonna fly a tank and an airplane/ If she catches up with me there'll be no time to explain"). The first half of the album closes with the majestic 'The Song Is Over,' a beautiful power ballad occasionally lambasted by Who fans for being too "pompous" and "overblown," but to my ears the song is simply fantastic, a definite album highlight that soars to incredible heights when Roger sings that 'there once was a note, pure and easy" bit at the end. Lovely.
The second side of the album commences with 'Going Mobile,' a goofy, Pete-sung tribute to life on the road that represents one of Townshend's worst-ever vocal performances - I mean, I usually don't get too angry when Townshend sings lead on songs that Roger would sound much better on, but his voice sounds particularly shrill and whiney here, especially when compared to Daltrey's mannish roar on the other tracks (Pete's wah-wah guitar lines are a nice touch though). 'Getting In Tune' is another so-so track that starts off promisingly with a beautiful melody and a quaint piano backing, but quickly degenerates into a tuneless, overblown arena rock number in the chorus. Much better is 'Behind Blue Eyes,' a sincere, heartbreaking ballad that exposes Pete's insecurities to the world, and although the arrangement is slightly overblown at the end of the song, the track is still one of Townshend's most soul-barring moments in the entire Who canon. The album closes with 'Won't Get Fooled Again,' a seven minute blast of undiluted rock 'n roll maelstrom that has it all: crunching power chords, tasty Townshend solos, confrontational Moonie drumming, an unrelenting Entwistle bassline, synthesizers, and swaggering Daltrey vocal. Oh, and don't forget to listen out for Roger's gut-wrenching yelp near the end of the track, which is probably one of the best screams in rock and roll history. Gripping stuff, and an essential purchase for any serious rock fan.
RATING: 9
PLAY THESE: THE PUNK MEETS THE GODFATHER, THE REAL ME, DROWNED, SEA AND SAND, 5:15, LOVE REIGN O'ER ME
SKIP THESE: I AM THE SEA, QUADROPHENIA, HELPLESS DANCER, I'VE HAD ENOUGH, THE ROCK
Yet another installment in a long line of Townshend rock operas, Quadrophenia is invariably heralded as the group's masterpiece, a landmark recording in a career filled with outstanding achievements. As for me, I think that the double album is a tad overrated. Better than Tommy? Not a chance. Although Quadrophenia's storyline is admittedly superior to Tommy's nonesensicle plot, there is little doubt that the mighty Quad falls well short of Tommy in terms of songwriting - the melodies are nowhere near as inventive, and there is far too much filler.
The band's production is also a little bit too polished for my liking, as the tracks have been compressed, reverberated, and re-mixed until they bear little resemblance to the raw, chaotic sound of Live At Leeds, or to the stark, minimalist atmosphere of Tommy. Simply put, Quadrophenia is overproduced, as the album suffers from too many synths, too many power chords, too many repeated themes, and - worst of all - too much Townshend. That being said, it also contains a single album's worth of killer material, so I guess I should shut up and concentrate on the positives instead.
Quadrophenia's plot centers on Jimmy, a pill-popping, scooter-riding London mod who becomes disillusioned with life after a succession of unfortunate incidents shatter his perfect teenage world: his girlfriend dumps him, his parents kick him out the family home, he works a series of crummy jobs, etc. Wracked with despair and even questioning his sanity, Jimmy leaves for Brighton - the site of numerous mod vs. rocker brawls in the early 1960's - in order to cheer himself up, but upon arriving falls into a deep, suicidal depression after realizing that the mod movement is dead, and that his pathetic life serves no discernable purpose.
A distraught Jimmy then steals a boat and rides out to a large rock off the coast, whereupon he receives a revelation of sorts - and no, I'm not going to spoil the ending by telling you what happens next - that allows him to make sense of his turbulent life. Oh, and I should also mention that Townshend spices up the plot by adding the musical themes of four of Jimmy's "personalities," each of them corresponding to a particular member of the Who - hence the title Quadrophenia. For instance, Jimmy has a "helpless dancer" personality, which is also Roger's musical theme. Pretty convoluted, isn't it? Oh well, at least the music is mostly good.
My favorite is '5:15,' a dynamic, brass-infused rocker that sees a desperate Jimmy riding a train, "out of his brain" on leapers. Keith Moon is especially stellar here, laying down maniacal, non-stop drum fills without overplaying, while Townshend goes absolutely berserk during the solo. Almost as good is 'The Real Me,' a funky rocker that features one of Entwistle's most complicated basslines, as well as a powerful, anguished Roger vocal that does justice to Pete's heart-wrenching tale of Jimmy's descent into mental illness ("Can you see the real me?/ Can you?/ CAN YOU?"). In addition, 'The Punk Meets The Godfather' is a great, classic Who track with a memorable riff that succeeds in spite of the inclusion of a stupid computerized voice at the end of each chorus, an unfortunate gimmick that probably sounded pretty neat when it was recorded but sounds hopelessly dated thirty years later. 'Drowned' is a catchy rocker with some great Townshend fret work, while the melancholy 'Cut My Hair' is a catchy song that aptly sum up what it feels like to be a confused, awkward teenager (i.e. "I work myself to death just to fit in").
As far as the ballads go, be sure to check out 'Sea And Sand,' a powerful Townshend composition that adheres to the well-worn arena rock practice of alternating between quiet acoustic verses and loud, bombastic choruses; ditto for 'I'm One,' a nifty power ballad that makes no attempt to conceal the fact that it recycles the 'It's A Boy' riff in the chorus. Of course, I would be amiss if I didn't mention the album's most famous song, 'Love Reign O'er Me,' a grandiose ballad played with such heart-breaking intensity that it fits the tragic mood of the final scene to a tee - but I won't tell you why, 'cause I'd spoil the ending. The song is also notable for featuring Keith's drum-kit smashing routine in the finale, which somehow manages to sound quite musical in spite of the fact that it is a brainless act of vandalism performed by a young, rich hooligan with a predilection for excessive brandy consumption. Oh, and I should also mention that Keith's talents are also featured on 'Bell Boy,' an amusing comedy number in which the eccentric drummer performs a hilarious monologue that proves that Moon would've been a great actor/ performer if he had the inclination/discipline to do so.
On the down side, 'I've Had Enough' is an overblown, theatrical pile of doggy doo that serves no practical purpose other than filling up valuable space on side two, while 'Helpless Dancer' is a lousy Gilbert & Sullivan rip-off made even worse by Roger's crappy-yet-appropriate Broadway-style vocals; its only saving grace is that it's short. What isn't short are the album's three - THREE! - lengthy instrumental "overtures," every one of them stripped of vocals, passion, and style. I mean, do we really need a four minute track ('I Am The Sea') consisting of nothing but the sounds of crashing waves and pooping seagulls, spiced up with the occasional snippet of embarrassing pomposity like 'Helpless Dancer?' All I can say is that Quad would've been the Who's greatest album if it were twenty minutes shorter - but its not, so I'll listen to Tommy instead.
RATING: 9
PLAY THESE: LONG LIVE ROCK, NAKED EYE, TIME IS PASSING
SKIP THESE: LEAVING HERE, POSTCARD
A compilation of outtakes and rarities from The Who's first decade, Odds And Sods is a brilliant record that proves that much of the band's best material was lying dormant in the vaults. In 1998 MCA Records reissued the album, adding a number of excellent tracks not included on the 1974 release - making a great album that much better. It is something every Who fans should own.
The album's best known track is 'Long Live Rock,' an excellent Quadrophenia outtake that celebrates the finer aspects of rock 'n roll - you know, the fun stuff like drinking 'til you puke, brawling, streaking...oh, and playing great music. Why this song was kept in the can for almost two years I can't say, but I suspect that its simplistic, cut-the-pretentious-bullshit message didn't quite jive with the grandiose pomposity of Quadrophenia.
The album also contains studio versions of two early-1970's crowd pleasers, 'Water' and 'Naked Eye,' both of which were recorded during the abortive Lifehouse sessions, and were later included on a 1972 EP that never got off the ground. The album also includes a couple of quirky Tommy outtakes that didn't quite fit the plot, 'Now I'm A Farmer' and 'Cousin Kevin Model Child' both of which are kinda dumb but might bring a smile to your face if you think Keith Moon is funny - make sure to listen to Moonie's monologue at the end of 'Now I'm A Farmer.' One of the nicest surprises is 'Time Is Passing,' a charming country-rocker featuring a beautiful melody that rates among Townshend's best, as well as some good old fashioned redneck lyrics that perfectly compliment the down-home stomp of the music. The stately 'Too Much Of Anything' is a holier-than-thou mid-tempo ballad that effectively (and ironically) warns against the pitfalls of excess, while 'Pure And Easy' is a Lifehouse outtake that sounds a lot like 'The Song Is Over,' except that it's even more pompous and overblown - if that's possible.
Studio versions of a couple of Live At Leeds tracks ('Summertime Blues' and 'Young Man Blues') are also included here, and while both are slightly inferior to the live versions, they are a fascinating glimpse into the evolution of a never-released 1968 album later shelved in favor of Tommy. Also culled from the 1968 sessions is 'Faith In Something Bigger,' a beautiful religious ballad sung by the thoroughly irreligious Who that produces more spiritual highs than a warehouse full of Michael W. Smith records, while its contemporary, 'Little Billy,' is a morbid anti-smoking ditty recorded by the chain-smoking Who for the American Heart Association. It has a nice melody, though. Also noteworthy is the "electric" version of 'Love Ain't For Keepin,' an excellent alternate take of the Who's Next ditty featuring Pete on lead vocals that some Who fans claim is better than the original (not me, though).
The album also contains the Who's 1967 cover of the Stones' 'Under My Thumb,' a song that was recorded as a show of support for Mick Jagger and Keith Richards, both of whom were serving out sentences for narcotics possession in a London jail. The recording sounds rough and kind of crappy, but then again its quite interesting to hear the Who take on a Jagger-Richards original. Much better is the group's fantastic cover of 'My Way,' a viciously sarcastic Eddie Cochrane tune that should have been released but wasn't, and an alternate take of 'Mary Anne With The Shaky Hands,' which eclipses the original by adding a cool organ bit and omitting the dumb "shaaaaaky" sound effects.
The only truly bad song is Entwistle's 'Postcard,' an insipid tune about life on the road that sounds more like a traveling circus than a rock song, although I must admit that I find myself whistling the opening melody on occasion. Nine out of ten.
RATING: 8
PLAY THESE: DREAMING FROM THE WAIST, BLUE RED AND GREY, HOW MANY FRIENDS?
SKIP THESE: NONE
"My name is Pete, and I'm an alcoholic."......A bleak collection of boozy, self-absorbed Townshend compositions, Who By Numbers is a powerful musical advertisement for Prozac that, for all of its doom and gloom, remains the last good Who album. Yeah, I know the album sleeve looks like pretty stupid, but don't judge this album by its cover, or worse, dismiss the album as the inconsequential ramblings of tired, middle-aged men who should have packed it in after Quadrophenia. In fact, Who By Numbers is an underrated gem, full of interesting songs and - get this - there's nary a stinker in sight. So why does it receive and a mere eight out of ten, you ask? Well, for one thing the album doesn't contain a single Who classic you can sink your teeth into such as 'Baba O'Reilly,' and for another, there are too many depressing ballads and not enough loud, in-your-face rockers. That's why.
The strongest track is 'Dreaming From The Waist,' a raw, energetic song with a blistering Entwistle bass riff that aptly sums up the three biggest issues in Townshend's life: marital problems, alcoholism, and ageing. In contrast, 'Blue Red And Grey' is the best ballad on the album, a charming little ukulele-based ditty featuring Pete on lead vocals that stands out as one of the more "optimistic" moments on an album. Also enjoyable is 'How Many Friends,' a gut-wrenching song in which Pete laments his inability to discern between his friends and hangers-on, even going as far as to question the nature of his relationship with the rest of the band ("When I first signed a contract/ It was more than just a handshake then/ I know it still is/ But there's a plain fact/ We talk so much shit behind each other's backs/ I get the willies"). The song also features one of those trademark Who middle eights that really pushes all the right buttons, and an emotional Daltrey vocal that manages to convey Townshend's anguish without resorting to his trademark over-the-top growl - which probably wouldn't have sounded quite as convincing. Other highlights include the album's hit single 'Squeeze Box,' a hillbilly comedy number unfairly maligned by most hardcore Who fans, and 'Slip Kid,' a good, old fashioned Who rocker about a young mod that would probably would have made a nice addition to Quadrophenia.
Aside from Entwistle's hilarious 'Success Story,' the rest of the selections are nothing special, featuring recycled Who's Next chord progressions and unremarkable melodies that give the impression that we've heard it all before - which, in a sense, we have. Eight out of ten.
RATING: 5
PLAY THESE: WHO ARE YOU, MUSIC MUST CHANGE, SISTER DISCO
SKIP THESE: LOVE IS COMING DOWN, GUITAR AND PEN, HAD ENOUGH
If ever there was an moment when the Who started to suck, this is it. Sure, there a few great tracks on Who Are You, but the album is not - as some fans claim - the beginning of a dramatic comeback cut short by the untimely death of drummer Keith Moon. This, my friends, is a major letdown, and an ominous harbinger of even worse things to come [note: insert obligatory criticism of the band's ongoing "farewell" tours here]. Pete's synthesizers are back, but unlike past Who albums - such as Who's Next and Quadrophenia - where synths played a relatively minimal role, Who Are You features obnoxious, in-your-face keyboards that make the album sound nearly as dated as a Mennonite family-reunion sing-along. Another major problem is Pete's songwriting, which had deteriorated to the extent that the long-nosed guitarist was only able come up with three listenable songs in the three years that had elapsed since the previous album. Keith's drumming has also gone downhill, and although his chops are admittedly better than anyone could expect from a burnt-out alcoholic with the body of a fifty year old man, his playing is nowhere near as good as it was in the band's heyday.
The best track is 'Who Are You,' an arrogant, defiant answer to the punk movement that features stellar performances from all four members of the group, and even sounds vaguely reminiscent of the mighty 'Oo of old. 'Music Must Change' is also quite enjoyable, with its tricky time signature changes and cool, jazzy atmosphere making it one of the most interesting recordings in the entire Who catalogue. In addition, the 'Sister Disco' is a classic Who rocker that also uses synthesizers to good effect, while Entwistle's 'Trick Of The Light' is a catchy, humorous rocker in which the bassist openly questions his lovemaking abilities after an awkward liaison with a prostitute.
As for the rest of the album, its pure drivel. Particularly disturbing is Townshend's newfound penchant for writing Broadway show tunes, with tracks like 'Guitar And Pen' and 'Love Is Coming Down' sounding more like second-rate Meatloaf material than the type of ballsy rock 'n roll we have come to expect from the Who. Even Daltrey does his best to bring out the very worst in these songs, employing a wimpy Gilbert & Sullivan voice that conjures up frightening images of the once-virile rocker flitting across the stage in his technicolor dream coat, shouting out tuneless phrases over tired chord sequences in a vain attempt to secure a second career on Broadway. Arghhhhhhhhhhhhhhhhhhh!!!!!!!!!!!!!!!!!
THE KIDS ARE ALRIGHT SOUNDTRACK (1979)
RATING: 9
PLAY THESE: YOUNG MAN BLUES, A QUICK ONE WHILE HE'S AWAY, WON'T GET FOOLED AGAIN
SKIP THESE: MEDLEY: JOIN TOGETHER/ ROADRUNNER/ MY GENERATION, MY WIFE
The soundtrack of the definitive documentary film by the same name, The Kids Are Alright is an eclectic mix of hit singles, rare alternate takes, and unreleased live performances that may very well be the best soundtrack ever compiled. Although some fans object to the album's haphazard, non-chronological track listing, I would argue that the album doesn't suffer because of it - the track sequencing still works like a hot damn, and the soundtrack is a joy to listen to. It's an uneven ride, but it's worth it.
So what's included here? Well, the album features the band's legendary 1967 performance on the Smothers Brothers show during which a drunken Keith Moon stuffs his drum kit full of gun powder and sets it alight, causing an explosion so huge that it nearly kills the band along with members of the studio audience (Townshend later claimed that the blast was partly responsible for his hearing problems). The album also contains television performances of some of the band's early hits, including 'I Can't Explain' and 'Anyway, Anyhow, Anywhere,' as well as mimed renditions of classics such as 'Magic Bus' and 'Tommy Can You Hear Me.'
As far as concert material goes, be sure to check out 'Sparks,' 'Pinball Wizard' and 'See Me, Feel Me/ Listening To You,' all of which are fantastically "heavy" recordings from the Woodstock festival. Even better is the band's spirited rendition of 'Young Man Blues,' a fan favorite recorded at London Coliseum in December 1969 that even manages to outdo the version included on Live At Leeds - trust me, it really, really cooks. Also included is the definitive version of 'A Quick One While He's Away' recorded for the Rolling Stones' ill-fated Rock And Roll Circus project, which was so good that the Stones scrapped the film because it made them look bad in comparison. Two songs from the band's last-ever 1978 concert at Shepperton Studios also make the cut, as The Who perform 'Baba O'Reilly' and 'Won't Get Fooled Again' with such unrelenting enthusiasm that its hard to believe that the band hadn't toured in almost two years.
On the down side, the soundtrack features an abysmal 1975 live medley including 'Join Together,' 'Roadrunner,' and My Generation,' the latter of which is transformed into a dull, generic blues number that betrays none of the youthful angst that made the original recording so great. The worst recording, however, is a 1977 live rendition of 'My Wife,' a drunken nightmare of flubbed notes, missed beats, and slurred vocals that sounds like a walking Alcoholics Anonymous testimonial. But at least it's funny....Oh, and the album also contains the original studio recordings of 'Long Live Rock' and 'I Can See For Miles' - two more reasons why you should buy this CD.
RATING: 3
PLAY THESE: YOU BETTER YOU BET, ANOTHER TRICKY DAY
SKIP THESE: CACHE CACHE, DID YOU STEAL MY MONEY, HOW CAN YOU DO IT ALONE
So let's pretend for a moment that the Who are some up-and-coming young band, and that Face Dances is the title of the group's eagerly anticipated debut album. In such a scenario, it no longer matters that the Who foolishly decided to carry on after the death of Keith Moon, or that former Faces drummer Kenny Jones has replaced Moonie in spite of the fact that Kenney's plodding, straight-ahead drumming style does not suit the Who. Also irrelevant is Townshend's entire back catalogue, which cannot be compared in any way, shape, or form with the new group's latest compositions - doing so would be unfair, as they are two completely different bands.
So is Face Dances any good? Not really.
Actually, Face Dances is by far the worst album ever released by the Who, an unspeakably horrendous record that sounds stale, rushed, and - worst of all - utterly and completely irrelevant. Judging by the band's uninspired performance, I would guess that rest of the group weren't exactly enthralled Pete's new compositions - an understandable reaction when one considers just how shitty the material is (of course, it probably didn't help matters that Townshend was shortchanging the band by setting aside his best tunes for his solo albums). Even more problematic is the notion that the Who could still be the Who without Keith Moon. After all, Moonie's confrontational, freewheeling drumming style was an integral component of the band's unique sound; no matter how talented and professional the straight-laced Kenny Jones was, The Who could never sound anything but a generic hard rock band with Jones behind the drum kit.
The album's saving grace is 'You Better, You Bet,' a catchy pop rocker that contains a great arpeggio synth line reminiscent of 'Baba O'Reilly,' as well as a great, futuristic-sounding bassline courtesy of John Entwistle. The lyrics, too are excellent, as Pete adopts a sentimental tone that betrays his longing for the band's glory days - but with a typically cynical Townshend edge that really demonstrates just how angry he was at the world. The other standout track is 'Another Tricky Day,' a hard-hitting, pessimistic song featuring a great Daltrey vocal that proves that the ageing singer could "still sing a razor line," and that Pete could still pump out his trademark power chords when called upon. The up-tempo, guns-a-blazing Entwistle composition 'You' is also pretty decent, while the upbeat 'Don't Let Go The Coat' is a Townshend-penned ode to Meher Baba that pleases in spite Roger's dorky Broadway-style singing in the verses.
Unfortunately, the rest of the songs are less than inspiring. Particularly disturbing is 'Cache Cache,' an atrocious Townshend song in which Daltrey sings "there ain't no bears in there" over and over again in the chorus - not exactly a career-defining moment, if you catch my drift. Equally puzzling is the wank-off anthem 'How Can You Do It Alone,' a plodding, synth-based eighties pop song about Townshend's real-life encounter with a flasher in a London tube station that indicates that Pete had some unresolved issue with his sexuality. And it gets worse....'Did You Steal My Money' sees Roger employing his stupid Andrew Lloyd Webber voice in a most offensive manner, while John's autobiographical 'The Quiet One' is a full-tilt heavy metal number that sounds suspiciously like - oh my God, tell me it isn't so - KISS. Even Entwistle's singing sounds exactly like KISS drummer Peter Criss on the song, as he employs a throaty, upper register yelp that has to be heard to be believed. Or believed to be heard. Or whatever. Don't buy this album.
RATING: 6
PLAY THESE: ATHENA, EMINENCE FRONT, I'VE KNOWN NO WAR
SKIP THESE: COOK'S COUNTRY, ONE AT A TIME, WHY DID I FALL FOR THAT
Invariably described as a sub-par hodgepodge of clichéd, listener-friendly FM radio sludge released in order to fulfill the band's contractual obligations, It's Hard is easily the Who's most controversial album. Truth be told, it's actually the band's best effort since 1975's Who By Numbers, and although the LP doesn't really sound like the classic Who of old, it's still a decent collection of pleasant, well-performed hard rock tunes that easily outshines anything that was popular at the time. I mean, what would you rather listen to in 1982, the mighty 'Oo, or disposable, trendy drivel like Adam And The Ants?
The album's greatest asset is re-emergence of Pete Townshend, whose recent victory in his battle with drugs and alcohol allowed him to dedicate himself fully to the band, ensuring that the new album would not be a repeat of the unmitigated disaster that was Face Dances. The album is also notable in that it tackles contemporaneous issues such as the increasing threat of nuclear war, which intensified in the early 1980's as a result of the Soviet Union's 1979 invasion of Afghanistan (sounds familiar, doesn't it?) and the 1980 election of pro-military American president Ronald Reagan.
The album's best track is the wonderfully cynical 'Eminence Front,' a haunting, synth-based song about psychology and Cold War geopolitics that stands up as one of the best Who songs, even if it sounds more like a Townshend solo recording than anything the Who ever recorded. Also enjoyable is the up-tempo 'Athena,' a half-goofy, half-serious love song that features a stinging horn section and some wild drumming from Jones that sound vaguely reminiscent of the late, great Keith Moon. The anti-war diatribe 'I've Known No More,' is also an album highlight, its incessant, bouncy synth line acting as a perfect backing for the haunting lyrics.
And there's more good news. The title track, 'It's Hard, is a good mid-tempo rocker with a catchy chorus that succeeds in spite of Roger's constipated tone, while 'It's Your Turn is a good, old-fashioned Entwistle rocker that gives the album's laid-back sound a definite kick in the behind. In addition, 'One Life's Enough' is an effective, Quadrophenia-style ballad that features a watery jazz piano backing track and a great Daltrey vocal that demonstrates that the singer could still hit all of those high notes after two decades of abuse. The album closer, 'Cry If You Want,' is a a great way to conclude the band's final studio album, as its ominous marching-band beat and classic Pete Townshend power chording make it a treat to listen to - just listen to Townshend's stinging guitar tone...bloody fantastic!
On the down side, the album also contains more than its fair share of filler, but then again there is nothing here that offends on a Face Dances-like scale. If you're looking for an obscure Who album that contains a lot of unheralded gems, then It's Hard is probably a good place to begin.
RATING: 3
PLAY THESE: none
SKIP THESE: everything
A live album intended to document the group's so-called "farewell" tour, this album is the absolute nadir of The Who's career. It's sad, really. It's unbelievable that this is the same group that recorded Live At Leeds thirteen years earlier. Wimpy guitar tones, lousy vocals, and pedestrian drumming only serve to underline the fact that the group's decision to disband in the early 80's was the correct one. Now if only the band had been true to its word....
RATING: 3
PLAY THESE: HEAVEN AND HELL, I DON'T EVEN KNOW MYSELF, WHEN I WAS A BOY
SKIP THESE: LEAVING HERE, LUBIE (COME BACK HOME), ANYTIME YOU WANT ME
A posthumous compilation of b-sides, alternate takes, and obscure covers, Who's Missing is probably only of interest to Who fanatics - you know, the type of people who would eagerly buy a CD of Pete Townshend taking a dump if it had the Who's name on it. Nevertheless, there are a few gems on the album. For example, 'Heaven And Hell,' is a great Entwistle composition that manages to capture the Who's raw, corrosive live sound despite being a studio recording, while 'When I Was Boy,' is a more-than-listenable John-penned ditty that features a typically excellent Entwistle french horn arrangement. In addition, 'I Don't Even Know Myself' is an interesting Lifehouse track that alternates between country and hard rock sections, and although it sounds a lot like 'Bargain,' it's quite enjoyable. And speaking of 'Bargain,' there's a live recording of said composition included on the album - is pretty good, but by no means essential. Also included is the group's daft cover of The Beach Boy's 'Barbara Ann,' featuring an atrocious-yet-fascinating Keith vocal that serves as a sad reminder that Moonie had a serious drinking problem. The album also contains several crappy R & B covers ('Shout And Shimmy,' 'Lubie (Come Back Home),' and 'Anytime You Want Me'), as well as inessential alternate mixes of familiar classics like 'I'm A Boy' and 'Mary Anne With The Shaky Hands,' none of which improve upon their respective original versions.
RATING: 5
PLAY THESE: DOGS, WATER, THE LAST TIME
SKIP THESE: BALD HEADED WOMAN, CIRCLES, MOTORING
The sequel to Who's Missing, the unimaginatively-titled Two's Missing is another compilation of obscure a Who material that has a few great moments - and a lot of useless tripe. So which songs are worth listening to? Of particular note are the two Rolling Stones covers, 'Under My Thumb' and 'The Last Time,' both of which were released in 1967 as a feeble protest against the incarceration of Mick Jagger and Keith Richards on trumped-up drug charges. Even more fascinating is the obscure 1968 single 'Dogs,' a catchy tune about greyhound racing that for some reason is almost always singled out as a all-time career low-point for the band (I mean, what's not to like about a song with lines like "there was nothing in my life bigger than beer?"). In addition, the proto-heavy metal 'Dogs Part Two' is an enjoyable instrumental track featuring some dynamic Moon drumming, while 'Water' is an excellent Lifehouse outtake that features a magnificently throaty Daltrey vocal, as well as some pretty darn stupid lyrics that somehow don't sound so dumb within the context of the song ("We need water/ Cool clear water/ And maybe somebody's daughter." Say what?). Moonie fans may want to listen the goofy 1972 b-side 'Waspman,' a Moon "composition" that is really just an excuse for Keith to make silly noises like "BUZZ!!!" and "STING!!!" for a few minutes - in other words, its really entertaining. Surprisingly, Two's Missing contains a half-decent R & B cover, Otis Blackwell's 'Daddy Rolling Stone,' a four minute exercise in smooth, white boy soul that can't even be ruined by Daltrey's horrendous James Brown imitation. On the flip side, 'Bald Headed Woman' is an atrocious carbon copy the Harry Belafonte's hit record that just may be the worst thing the Who ever did, while 'Motoring' is a piss-poor Jan & Dean cover that makes the original recording sound good in comparison - no mean feat.
WHO'S BETTER, WHO'S BEST (1988)
RATING: 8
PLAY THESE: ALL
SKIP THESE: NONE
I'm really starting to wonder why I decided to review ALL of the Who's compilation albums. It's a good CD, OK? What more do you want from me? An actual description of the album? It's the bleedin' 'Oo, innit?!
RATING: 3
PLAY THESE: TOMMY (disc one)
SKIP THESE: i dunno...
A double-disc souvenir from the oft-reviled 1989 reunion tour that forever tarnished the group's reputation, Join Together isn't quite as bad as many claim it is, although it certainly can't hold a candle to the mighty 'Oo circa 1965-75. I actually saw The Who on this tour - at BC Place Stadium in Vancouver 09 August 1989, to be exact - which in retrospect was kind of a mixed blessing. On one hand, it was my very first concert (I was only 13), so it was very exciting, and any Who is better than no Who at all, but on the other hand, there was obviously something missing -and it wasn't just Keith Moon. The band sounds very polished on this album, but there is absolutely no passion to speak of. None. The band - especially Pete - don't even make an effort to disguise the fact like they're doing it for a quick buck, and that they still hate each other's guts.
The overall sound is somewhat reminiscent of a revue show, complete with a horn section, a percussionist, backup singers, and even an additional guitarist, who stands at the back of the stage. Incredibly, the great electric guitar god Pete Townshend only plays acoustic guitar, leaving electric twanger duties to his less talented brother, whose name escapes me at the moment. The drummer - a frizzy-haired dude named Simon - is very professional but too polished to replicate Keith Moon's wild, untutored drum parts. It almost seems that The Who were forced to hire an additional 10 or so players just to equal the huge noise Keith Moon used to make onstage. Needless to say, it doesn't quite work, and The Who come off as being just another oldies act - albeit one with a bigger budget than most.
But the very worst thing about this CD is that Phil Collins appears on it. If ever there was a name that should never, NEVER appear on a Who CD it would be Phil Collins, but somehow Phil weasels his way onto yet another star-studded concert extravaganza, making a complete ass of himself as he plays the role of Uncle Ernie on 'Fiddle About.' In a word, crappy.
THIRTY YEARS OF MAXIMUM R&B (1994)
RATING: 8
PLAY THESE: I'M THE FACE, EARLY MORNING COLD TAXI, FORTUNE TELLER
SKIP THESE: A QUICK ONE WHILE HE'S AWAY, TWIST AND SHOUT, SATURDAY NIGHT'S ALRIGHT FOR FIGHTING, THE REAL ME
This marvelous 4-CD box set often catches a lot of flack, but for the life of me I can't really understand why. Sure, most of the "rare" tracks included have subsequently made appearances as bonus cuts on re-issued Who CD's, and as such are no longer "rare," but way back in 1994 Thirty Years Of Maximum R & B was the modern equivalent of manna falling from the sky for Who fans starving for unreleased material ('Fortune Teller') , rare B-sides ('Pure and Easy'), singles previously unavailable on CD ('Let's See Action'), and live cuts ('Dreaming From the Waist'). It also contains all of the usual Who hit singles and essential tracks, making it an attractive collection for newer Who fans and Who fanatics alike. Some of these songs even sound like they've been re-mixed. My biggest complaint, though, is how the songs segue into one another, which makes it impossible for me to burn tracks onto my personal Who compilation CD's without also copying parts of the tracks on either side. Oh well, it's a small price to pay for such a good collection. Anyways, I still like the fact that I can get most of the good rare Who tracks in one place without having to shell out for all of the Who re-issues.
The only major lapse in judgment occurs on 'A Quick One While He's Away,' which for some inexplicable reason combines sections from both the studio recording and a live performance - despite the variation in the tempos. The editing is really bad, and it's obvious the idea is a poor one, so what's the point? The 1988 cover of 'Saturday Night's Alright For Fighting,' recorded for an Elton John tribute album, is also terrible - with generic 80's production to boot (as if the idea of The Who doing Elton John wasn't bad enough).
In summary, if you want all the best Who songs packaged together with some cool unreleased material, this box set is as good as it gets.
LIVE
AT THE ISLE OF WIGHT FESTIVAL 1970 (1996)
RATING: 9
PLAY THESE: HEAVEN AND HELL, I DON'T EVEN KNOW MYSELF, WATER
SKIP THESE: NONE
A double-CD that documents The Who's legendary 1970 performance at the Isle Of Wight Festival, this album is an essential purchase for those who love The Who. Nevertheless, the DVD is probably a wiser investment, as the sonic aspect of that momentous occasion should not be separated from the visual aspect, as it has been on this CD. The band doesn't sound as polished as they were on Live At Leeds, which was recorded a few months prior, but they more than make up for any musical shortcomings with the sheer energy of their performance. Unlike Live At Leeds, Isle of Wight also includes most of Tommy - making it a valuable historical document in its own right. You'll also get performances of three relatively obscure songs originally intended for the aborted Lifehouse project, 'I Don't Even Know Myself,' 'Naked Eye,' and 'Water,' the latter of which hauls major arse. The album may be rough around the edges, but that's part of its charm.
RATING: 10+
PLAY THESE: MY GENERATION, PINBALL WIZARD, BABA O'RILEY, WON'T GET FOOLED AGAIN
SKIP THESE: NONE
If you're in the market for a comprehensive Who compilation, look no further than the 35-track The Ultimate Collection, which is easily the best Who "greatest hits" album available to date. Whether you're a newcomer who needs a overview of The Who's best tracks, or a diehard who desires a comprehensive collection of only the best songs, this album is ideal for just about anyone. Unlike other Who compilations, which ignore some of the band's biggest hits and pass over most of the band's 1970's output, the Ultimate Collection has all of the hits (i.e. 'Pinball Wizard,' 'My Generation'), and all of the anthems ('Baba O'Riley,' 'Long Live Rock'). If you bought an early pressing of the album you'll also get a bonus disc containing 4 previously unreleased Who songs: an early version of 'I'm a Boy,' an acoustic rendering of 'Happy Jack,' the British single version of 'Magic Bus,' and the US edit of the 'Substitute' single.
THEN AND NOW: 1964-2004 (2004)
RATING: 8
PLAY THESE: REAL GOOD LOOKING BOY, MY GENERATION, PINBALL WIZARD
SKIP THESE: NONE
Yet another Who compilation in a market flooded with similar collections, Then and Now: 1964-2004 serves two purposes: (1) to celebrate 30 years of the Who, and (2) to introduce to the public two "new" Who songs. In the latter aim it is particularly successful, as the album allows the band to gauge fan reaction to the forthcoming Who album (rumored for release in late 2005) without the pressures involved in promoting a full-length release.
Both of the new songs are quite good, and even though original members Moon and Entwistle are no longer present the songs still strongly resemble the Who of old. An older, more mature version of the Who, perhaps, but the Who nonetheless. 'Old Red Wine' is a nice ballad of high quality, but even better is the unfortunately titled (especially in light of Townshend's recent, ahem, legal problems) 'Real Good Looking Boy.' It actually paraphrases a bit of 'Can't Help Falling In Love With You, ' a seemingly strange idea that makes sense in the context of the song. I won't spoil the story by retelling it here - but it's actually kind of cute. Roger Daltrey is in surprisingly good voice, Townsend delivers some trademark power chords, and longtime Who keyboardist John 'Rabbit' Bundrick (sp.??) plays a mean piano that sounds almost like a Townshend rhythm guitar. Admittedly, the song doesn't quite match the grandeur of The Who's classic work, but it's still interesting and inspired. As for the rest of the album, it's got the usual batch of Who tunes: 'Who Are You,' 'Magic Bus,' 'Substitute,' etc.
All in all, the album will please long-time fans, but new Who fans who require a more comprehensive overview of the band's work should seek out The Ultimate Collection or Meaty Beaty Big and Bouncy instead.
RATING: 7
PLAY THESE: MAN IN A PURPLE DRESS, BLACK WIDOW'S EYES, TWO THOUSAND YEARS
SKIP THESE: IN THE ETHER
The first new Who album in nearly twenty five years, Endless Wire is a fairly solid (if occasionally unspectacular) comeback album that represents the best music the band has put out since 1975's Who By Numbers. Yes, the band's original rhythm section is missed, and yes, the esoteric, mellow music sometimes sounds more like a Pete Townshend solo album than a Who record, but overall Endless Wire is a laudable achievement for Roger Daltrey and Pete Townshend. It is obvious that Pete and Roger poured their hearts and souls into the recording of this album, which took almost five years to complete. It goes without saying that the band went though a lot of unfortunate crap during this time (i.e. Townshend's unfortunate brush-in with the law over his web surfing habits), and the fact that it was completed is a testament to the power of rock 'n roll.
The album - which boasts a whopping nineteen tracks - is divided into two sections. The first half consists of nine "regular" songs, while the second half is a ten track "mini opera" modeled on the band's landmark 1967 recording 'A Quick One While He's Away.' On the whole, the first half of the album is much stronger than the opera bit, as Townshend's writing is more consistent than it has been in many a moon. Some of the songs aren't immediately gripping, but with repeated listening the music's charm is easy to perceive.
There is quite a bit of stylistic variation of the first half of the disc, as the group delivers everything from heartfelt acoustic ballads ('You Stand By Me') to synth-driven, vaguely Face Dances-like tracks such as 'Fragments,' which is sort of a 'Eminence Front' for the new century. We even get a windmillin', power chordin' track with a vintage Roger Daltrey growl that almost sounds like The Who circa 1973 ('Mike Post Theme') - and it doesn't even come across as self-parody, if you can believe it. On the down side, however, the album's stylistic variation also means that we have to sit through the appalling 'In he Ether,' in which a clueless Pete Townshend affects an inaccurate Tom Waits-type voice, but comes off as sounding more like Grover from Sesame Street. Terrible.
The best songs however, are two smart, biting selections that were written in response to Mel Gibson's controversial film, The Passion of the Christ. The beautiful acoustic-based 'Man In A Purple Dress' is a brilliant (and truthful) critique of organized religion and the "prats" who make up up the ranks of the clergy. According to Townshend, he wrote the song in order to "challenge to the vanity of the men who need to put on some kind of ridiculous outfit in order to pass sentence on one of their peers." Amen to that. The other Passion-inspired track is 'Two Thousand Years,' which questions the extent of Judas' culpability in the crucifixion of Christ. The song is a peppy, upbeat acoustic guitar-based track, with a hooky chorus and more inspired Daltrey vocals. The other major song of note is the Stockholm Syndrome-referencing 'Black Widow's Eyes,' a song about the tragic 2005 Beslan massacre. One of the most bizarre love songs ever written, this song is written from the point of view of a male survivor who described the female terrorist who blew herself up as ‘having the most penetrating and beautiful eyes’. It's a twisted concept, but fascinating.
As far as the mini opera is concerned, it doesn't come close to matching the high standards set by the first half of the album. Listening to the ten tracks that comprise the opera, it is difficult to tell if there is actually a storyline. In effect, most of the tracks sound like unrelated and underdeveloped song fragments patched together without rhyme or reason. It's all highly listenable, of course, but very forgettable. The best tracks are the final two songs, 'Mirror Door' and 'Tea and Theatre.' The former track sounds like a long lost Quadrophenia recording, while the latter is an atmospheric ballad backed with a subtle-yet-groovy drum loop. The rest of the opera tracks, however, don't quite measure up.
In the end, this album is a must-buy for Who fans. Townshend delivers a set of solid songs, and Daltrey's voice hasn't sounded this good in many years. John Enwistle's replacement Pino Palladino does a fairly unspectacular job on bass, but his playing fits the music, so all is well. It's too bad the erstwhile Who drummer Zak Starkey plays on only one track ('Black Widow's Eyes'), but then again many of the songs are subtle and acoustic based, so they don't require manic, Keith Moon-like energy anyway. All in all, this is one helluva comeback, and an album that Pete and Roger can be proud of.
Related Pages: Pete Townshend