ANTEROS – ” When We Land “
Posted: February 28, 2019 in CLASSIC ALBUMS, MUSICTags: Anteros, Harry Balazs, Jackson Couzens, Josh Rumble, Laura Hayden, London, When We Land
Anteros take their name from the Greek god of requited love, the perfect moniker for a band whose buzzy indie-pop is this easy to fall for. Coming up at a time when guitar music is once again in rude health from Shame and IDLES to Wolf Alice, this London-based four-piece boast influences that range from Blondie to Brandon Flowers, Motown to disco. “We sound like tequila mixed with bananas and a bit of cinnamon”, jokes frontwoman Laura Hayden, a half-Spanish, half-British tour de force and former MTV Spain VJ who helms this self-proclaimed “travelling circus” alongside Harry Balazs, Josh Rumble and Jackson Couzens. The last few years have seen this young outfit hit the road with the likes of Two Door Cinema Club and White Lies, open Glastonbury’s Other Stage, and gain major radio support, garnering the approval of tastemakers including Annie Mac and Phil Taggart. In print, they’ve also been hotly tipped by the Guardian and the Independent, with alt-rock bible DIY noting that they “turn sorrow into something you can dance to”. And, as they prepare to release their debut album, it’s easy to see why so many are already under their spell.
In a time of social media fakery and inauthentic artists, Anteros aren’t pretending to be anything they’re not. ‘We’re definitely not trying to be cool,” says Balazs, a BRIT school graduate who discovered his tribe in Anteros following a stint as a session drummer. Their upcoming debut album When We Land is a collection of sparky, often bittersweet musings on twentysomething life – not least Call Your Mother, a song about the pressures of youth whose relentless, anthemic bassline and jangly, Cure-ish momentum meld with Hayden’s dreamy, Debbie Harry-esque vocals. For bassist Rumble, the line “lightweight young hearts waiting to break” sums up his own relationship with growing up. Elsewhere, other tales come cloaked in a blitzkrieg of grungey electro-pop (Afterglow), at other times via introspective folk-rock earworms (Ordinary Girl). What unites them is a rich sonic palette and poetic lyrics that celebrate the highs and lows of being young in 2018. “My favourite lyric on the album is ‘you don’t know how close you were to being number one [from Ordinary Girl]’”, explains Couzens, a former guitar tech who cut his teeth working with Manchester heavyweights Blossoms. “At that point in the song it kind of lifts up as it goes from minor into major. For us, it represents getting knocked back but coming back and trying harder the next time”.
Indeed, while Anteros have had an impressive few years (Balazs joined in 2015 and Couzens in 2016, while the others had been working on material for some time before) they have, of course, faced the challenges of post-adolescence, and then some. The new band lifestyle has of course involved much time on the road while travelling in cramped vans, and trying to stay true to themselves has at times seemed like a battle in a polished and Instagram-ready age, something Hayden understands better than most having worked as a presenter and model. Besides, they’ve been keen not to be seen as a continuation on a theme. “I do think this is something that happens more with female-led projects, where you get compared to stuff a lot, or put up against other bands,” she explains. “We’re trying to just see it as us, not wanting to be part of a fad, but making stuff that will find its own place”.
Since signing with Distiller last year, Anteros have only become more secure in their identity as a group, thanks in part to an “amazing” period recording at the label’s in-house studio in Bath alongside Mercury-winning producer Charlie Andrew (Alt-J, Bloc Party, Marika Hackman). The version of Anteros we meet on When We Land is confident without feeling cocky, retro while also sounding current. There are even dancefloor-ready moments in the mix, with Hayden describing heady, Moloko-ish single Wrong Side as “disco with a side of rock”, and Rumble – who has experimented with synth bass on the record – adding that it’s “disco recorded in a Motown style … [that period] was gritty sonically”. It seems no coincidence, too, that the coyly funky Ring Ring shares a title with an ABBA song. A highlight for Hayden is fan favourite Breakfast, which “feels more grown up, it was a writing demo when we released it, so this was a chance to do it properly”. Couzens, meanwhile, is a fan of Honey, an “upbeat, dancey, sassy” track that gives way to a darker meditation about a toxic relationship. Similarly, Drive On, inspired by Hayden’s time in LA and realising the limitations of the “Hollywood dream” feels like a fresh coda to the edgy Americana of Hot Fuss.
Whether during their electric live shows or on record, Anteros strike the perfect balance of deeper themes and varied grooves you can’t help but move to. And it seems they have no plans to change their eclectic ways any time soon. “We don’t want to get too comfortable”, adds Hayden with a laugh. “Otherwise it would get boring. We want to make our own space”. And, as they continue to craft it with class, we’re sure to be lending Anteros our hearts as well as our ears.
We like to bring generations of alternative music fans together in one surreal setting, and never has that been truer than at Rockaway Beach 2020.
Joining The Jesus And Mary Chain, we’re very proud to announce the first ever festival headline performance from Fontaines D.C.. It’s the first time we’ve invited a band to headline ahead of even their debut album being released, but at no point was there ever a shred of doubt that it simply had to be Fontaines D.C. for next January’s show.
There’s only a few bands that come along with that inescapable fire in their eyes. The momentum behind them is undeniable. It just had to be done and we know you will stand with us on this.
Also, from a spot on BBC Sound of 2015 list SOAK captured the British imagination with the Mercury-nominated Before We Forgot How to Dream. The record won the Irish Choice Music Prize Album of the Year, setting her as an indispensable young voice capable of painting “a vivid portrait of teenage deep-thinking” (The Guardian).
Fronted by the IDLES-referenced Danny Nedelko,Heavy Lungs are also joining our programme – with their feverish live show. Not to mention returning heroes The Wedding Present and a heck of a lot more. We’ve still got one more headliner to confirm, and dozens more acts to announce as well as DJ’s, quizzes, film screenings and interactive games.
Image
—
Posted: February 28, 2019 in FESTIVALS, MUSIC
Tags: Bognor Regis, Rockaway Beach
SELF ESTEEM (Rebecca Taylor SLOW CLUB) – ” The Best “
Posted: February 28, 2019 in CLASSIC ALBUMS, MUSICTags: Compliments Please, Rebecca Lucy Taylor, Self Esteem, Slow Club
Self Esteem is Rebecca Lucy Taylor, and a project which began with painting and prints and video alongside her day job writing and performing as one half of Slow Club. Since her musical divergence from the band, Rebecca has revelled in unleashing a whole version of herself with no compromises, no reducing herself, no hesitating. She would go on to write the songs that had been rising up inside her all through the years, big songs, that spoke of love and sex and chaos, that brought in huge basslines, gospel choirs, the kind of polished, provocative production she admired on the biggest pop records.
Compliments Please saw Self Esteem working with songwriter and producer Johan Karlberg, seeking him out because she loved his band, The Very Best, as well as his approach to production. It’s an album that reveals her to be not just a remarkable vocalist, but one of our most powerful and distinctive songwriters.
SWEET WHIRL – ” Love Songs & Poetry “
Posted: February 28, 2019 in CLASSIC ALBUMS, MUSICTags: Australia, Chapter Music, Esther Edquist, Melbourne, singer songwriter, Sweet Whirl
Chapter Music welcomes Sweet Whirl, aka Melbourne artist Esther Edquist, to their roster with this six song EP ,
Love Songs & Poetry introduces Edquist as a master of smoky self-analysis, casting a sharp eye over blurry situations and dissecting hazy mornings-after with wry resignation. Using her bass guitar as a singularly expressive lead instrument, Esther imbues bleak moments with space, mystery and romance.
The Sweet Whirl band includes drummer James Vin- ciguerra from Total Control, and Liam Barton of Laura Jean and Gregor’s live band, who also recorded the EP.
Esther’s previous band Superstar released two albums of delay-drenched pop on the Bedroom Suck label. She also released a tape of no-fi solo bass and vocal recordings on experimental label Nice Music in 2016.
With Love Songs & Poetry, Sweet Whirl emerges into a world of fully fledged songcraft. The EP’s six songs illuminate questionable life choices, revealing the beauty and glamour lurking within.
“With music this soft on your skin, small acts of rebellion feel big.” – The Guardian
“Beautifully melancholic and ethereal” – Lost At E Minor
“This might not be music for fucking but it could be music for thinking about making love” – Who the Hell
DOT TO DOT FESTIVAL 24th-26th May 2019
Posted: February 28, 2019 in FESTIVALS, MUSICTags: Bristol, Dot to Dot, Manchester, Nottingham
The first wave of acts have been unveiled for Dot To Dot Festival 2019; CRYSTAL FIGHTERS, JORDAN RAKEI, SWIM DEEP, THE NIGHT CAFÉ, DREAM WIFE, THE ORIELLES, LAUREN AQUILINA, VIAGRA BOYS, MINI MANSIONS plus loads more will head to Manchester, Bristol and Nottingham on 24-26th May 2019 for its 15th year. The award-winning day long festival will once again feature a line-up full of both established performers and the best emerging artists from the UK and around the world.
CRYSTAL FIGHTERS will headline Dot To Dot 2019, a band who have been an integral part of the alternative dance scene since the release of their debut album ‘Star of Love’ in 2010. Widely adored for their catchy songwriting and penchant for glitter, the English/Spanish trio built upon the momentum created by their debut with the release of 2013’s ‘Cave Rave’ and 2016’s ‘Everything Is My Family’. These follow-ups saw the band evolve their party-fixated electro punchiness, to an evocative, euphoria-inducing summery sound. The group’s endless energy and arsenal of feel-good anthems have made them a magnificent live proposition, helping them to forge a reputation for creating a celebratory party atmosphere wherever they play.
JORDAN RAKEI will be bringing his jazz and hip-hop driven sound to Dot To Dot 2019. The New Zealand born multi-instrumentalist moved halfway across the world to London to pursue a full-time career in music. He has since self-released his debut album, ‘Cloak’, in 2016 followed by critically acclaimed album ‘Wallflower’, released via Ninja Tune in 2017. Jordan has also collaborated with some notable tastemakers including Tom Misch, Disclosure, and more recently, merging the worlds of hiphop and electronica with beautiful ease on ‘Ottelenghi’ with Loyle Carner.
After previously wowing audiences at Dot To Dot in 2015, SWIM DEEP are welcomed back to the lineup this year. An integral part of Birmingham’s B-Town generation alongside Peace and Jaws, the band currently have two album releases to their name; 2013’s ‘Where the Heaven Are We’ and 2015’s ‘Mothers’. With these albums, came a collection of inimitable singles such as ‘Honey’, ‘King City’ and ‘One Great Song and I Could Change the World’. With a sound that encompasses elements of melodic indie, shoegaze and pop, Swim Deep are guaranteed to produce many singalong moments during their Dot To Dot performance.
Liverpool four-piece THE NIGHT CAFÉ’s pop-tinged summer anthems are guaranteed to get the crowd dancing, with their tunes recently daubed as being “bathed in sunshine… poppier than a fizzedup Fanta” by DIY. After being recently named in ‘The NME 100: Essential New Acts For 2019’ and notching up support slots with everyone from The Wombats to Sundara Karma to Circa Waves, there is no doubting that the group will be making a rapturous live show at Dot To Dot that is simply unmissable.
One of the breakout bands of 2018, DREAM WIFE spent the year conquering stages and festivals across the globe with their empowering brand of riff-infused rock. The group formed in 2015 for an art school project whilst studying at Brighton University, and chose their name as commentary on society’s objectification on women. Dream Wife’s self-titled debut, released in 2018 via Lucky Number, saw NME declaring, “Not since Yeah Yeah Yeahs burst out of Manhattan in the early 2000s in a blaze of fishnets and glitter has punk rock been as downright fun”.
Having released their debut album ‘Silver Dollar Moment’ last year, THE ORIELLES have blown away audiences with their refreshing brand of post-disco punkiness, which led to their album featuring on numerous album of the year polls including Q Magazine, BBC 6 Music and Gigwise. Meanwhile, LAUREN AQUILINA is set to enchant audiences with her captivating piano-driven sounds, which have clocked up a staggering 30 million streams on Spotify. She will also arrive at Dot To Dot armed with new material, including her recent release ‘If Looks Could Kill’, showcasing her exciting, new pop direction.
Dot To Dot will also continue its proud tradition of giving up & coming artists a platform to shine across the greatest venues of Manchester, Bristol and Nottingham. Emerging at a rate of knots are Swedish rockers VIAGRA BOYS whose 2018 alternative anthem ‘Sports’ reminds us why heavy guitar music is alive & kicking, they are expected to be one of the most talked about acts of the weekend.
Also set to perform, the first wave announcement includes; 404, ALEX LAHEY, ANGIE MCMAHON, BESS ATWELL, BESSIE TURNER, CROWS, DANCING ON TABLES, DYLAN, FATHERSON, FAYE WEBSTER, HEAVY LUNGS, JAMES GILLESPIE, KOJAQUE, LOVE SICK, MAX RAD, MINI MANSIONS, MISS GRIT, MISSIO, ONR, RACHEL CHINOURIRI, REWS, SONS OF AN ILLUSTRIOUS FATHER, SUN SILVA, SWIMMING GIRLS, WASUREMONO, WOVOKA GENTLE, plus many more to be announced.
Dot To Dot Organiser Anton Lockwood, of DHP Family, said: “We are very proud that Dot To Dot is recognised as a unique and essential event for discovering new music. It might be our 15th year but our passion for emerging talent continues undiminished. For this edition of Dot To Dot we are very happy to welcome relentlessly creative headliners in Crystal Fighters and respected tastemaker Jordan Rakei, backed up with a huge array of the best emerging talent, with even more to be announced.
The BASEBALL PROJECT – ” Lola “
Posted: February 28, 2019 in CLASSIC ALBUMS, MUSICTags: Linda Pittmon, Mike Mills, Scott McCaughey, Steve Wynn, The Baseball Project.
The Baseball Project ((Steve Wynn, Mike Mills, Scott McCaughey, Linda Pittmon) performed The Kinks ‘Lola’ as part of the Wild Honey Orchestra performing ‘The Kinks Are The Village Green Appreciation Society’ album & other Kinks classics at the Alex Theatre in Glendale, CA, alongside many other guests.
R.E.M. were known to cover Kinks songs such as ‘Tired Of Waiting For You’ back in the day….
Wynn and drummer Linda Pitmon came to Portland for the sessions, by which point they’d written 16 baseball songs between them. That’s when they reached out to R.E.M. guitarist Peter Buck. He and McCaughey have shared a lot of history these past few decades.
Buck has been a fairly steady member of McCaughey’s the Minus 5 since 1993. And McCaughey was an R.E.M. sideman from 1994 until the breakup in 2011, playing on every R.E.M. release from “New Adventures in Hi-Fi” to “Collapse into Now.”
“We drafted Peter because Peter likes to make music,” McCaughey says. “He didn’t care about the baseball thing so much. But he likes to make records, so he got in on it. We didn’t really think it was gonna be a band at that point. We just thought we were making a record about baseball.” That record was the Baseball Project’s first release, “Volume 1: Frozen Ropes and Dying Quails.”
And as McCaughey recalls, “We had such a good time with it, we turned into a band. And we’ve kind of kept going since then with no end in sight, although it’s been a long time since our last record. We’ve been kind of dawdling.”
They’ve recorded three albums and taken on another famous member, R.E.M. bassist Mike Mills.
“Mike came in as kind of a pinch hitter because Peter couldn’t do some tours that we had planned,” McCaughey says. “So Mike started playing bass on the live shows and then he just became a full-on band guy so we swelled our ranks to a five-man team.”
The Wild Honey Foundation Presents A benefit for the Autism Think Tank The Wild Honey Orchestra performs The Kinks Are The Village Green Preservation Society.
The WILD HONEY ORCHESTRA & FRIENDS ” Play The Kinks Are The Village Green Preservation “
Posted: February 28, 2019 in CLASSIC ALBUMS, MUSICTags: The Kinks, Wild Honey Orchestra
The Wild Honey Orchestra & Friends Play THE KINKS ARE THE VILLAGE GREEN PRESERVATION album in its entirety & bonus songs from the same era. Hosted by writer Chris Morris, the event, which will benefit the Autism Think Tank, will take place Saturday, February 23rd, 2019 at 8 p.m., at the historic Alex Theatre, 216 N. Brand Blvd. in downtown Glendale, Calif.
Led by acclaimed musical director Rob Laufer (whose credits include George Martin’s Hollywood Bowl tribute to Sgt. Pepper), Wild Honey Orchestra and Friends will present a full and faithful recreation 1968’s masterpiece THE KINKS ARE THE VILLAGE GREEN PRESERVATION SOCIETY, with an additional full set of Kinks songs from the pre-1973 era to augment and paint the full picture of this masterpiece .
All of the album’s fifteen songs will be performed with exacting detail – every oboe, Mellotron, vintage acoustic twelve-string, harpsichord and cello will be represented by the real instruments – by musicians and vocalists dedicated to and in love with this music. The Wild Honey Orchestra players have backed up everyone from Brian Wilson to Arthur Lee, and have earned international respect for bringing tricky studio creations to the live stage.
In a 2018 essay, Pete Townshend describes Village Green as “a pop masterpiece.” The Sydney Morning Herald recently declared: “it’s impossible to imagine British pop without The Kinks’ Village Green. The album was a flop in ’68, but the conscious preservation of English voices and characters was upheld by countless Kinks fans from Bowie to the Clash, XTC, the Jam, Madness and the ’90s Britpop of Blur, Pulp and Oasis.” In the tradition of Wild Honey’s previous benefit events (Buffalo Springfield, the Band, Beach Boys 67-77, Big Star, and three Beatles shows), Wild Honey Orchestra & Friends will passionately celebrate every musical nuance of Kinks‘ brilliant material from this era with full instrumentation (strings, horns, and more).
Current members of the Wild Honey Orchestra include a who’s who of respected L.A. recording artists: musical director Rob Laufer, guitar, vocals; Elliot Easton of the Cars, Jim Laspesa (Brian Wilson/Dave Davies); David Goodstein, drums/vocals; Derrick Anderson (The Bangles) and Robby Scharf, bass guitar; Chris Price (Emitt Rhodes) and Willie Aron, keyboards, vocals; Jordan Summers (Jakob Dylan), Danny McGough (Tom Waits and more), keyboards; Dan Rothchild, bass; guitarists Andrew Sandoval & Rob Bonfiglio: Nelson Bragg, percussion; Probyn Gregory, Kaitlin Wolfberg (L.A. String Explosion) and Lyn Bertles, strings.
After performing at the 2015 Wild Honey White Album show, Chris Collingwood of Fountains of Wayne declared the Wild Honey Orchestra to be “just about the most cracking backup band I’ve ever heard. I told my friends that playing with that many amazing musicians behind me felt like piloting a 747.”
As with last year’s sold-out tribute to The Buffalo Springfield with Richie Furay at the Alex, the concert will benefit the Autism Think Tank. This non-profit organization brings together a team of top autism specialists, via an Internet medical conference, to tackle the medical and psychological problems faced by children and young adults with autism.
MARK HOLLIS (Talk Talk ) Dies at 64
Posted: February 28, 2019 in CLASSIC ALBUMS, MUSICTags: MarK Hollis, Talk Talk
Mark Hollis, frontman of ’80s hitmakers and post-rock innovators Talk Talk, has died. The news was confirmed by Hollis’ longtime manager, Keith Aspden, who told BBC News on Tuesday (February. 25th), “Sadly, it’s true. Mark has died after a short illness from which he never recovered.” Aspden did not offer any further details on the cause of death. Hollis was 64.
Born in London in 1955, Hollis abandoned his collegiate plans in his late teens to become a songwriter, eventually forming the band The Reaction in the late ’70s. The group disbanded after just one single, and Hollis shifted his attention to new band Talk Talk, taking its name from a demo (“Talk Talk Talk Talk”) Hollis had penned for his previous group.
That song, also shortened to “Talk Talk” and released as the lead single to debut album The Party’s Over, became Hollis‘ breakthrough hit with his new group, a fiery synth-pop in 1982. The group’s greatest commercial success would come with the anthemic title track to its second LP, It’s My Life, enduring as one of the most iconic singles of the new wave era, also receiving a hit cover from ’80s acolytes No Doubt in 2003.
While Talk Talk’s commercial success largely stalled in the U.S. after “It’s My Life,” they grew more popular in their native Britian, with 1986’s The Colour of Spring and the top 20 of the singles chart with lead single “Life’s What You Make It.” The album also marked the beginning of Talk Talk’s transition from a singles-focused new wave group to a more experimental, LP-geared, sonically amorphous outfit.
That evolution culminated with their next two albums, 1988’s Spirit of Eden and 1991’s Laughing Stock, which received a muted commercial response and mixed reviews. But the sets’ languorous, almost jazzy feel and soulful, naturalistic songwriting led to them being considered today as formative texts in the genre that would come to be known as post-rock, and proving influential on next-generation artists ranging from M83 to Death Cab for Cutie. (Many critics have also noted how the group’s evolution from contemporary hitmakers to genre-shifting album artists was paralleled a decade later by Radiohead, to even greater success.)
Talk Talk broke up following Laughing Stock, and Hollis released a lone solo album, 1998’s well-received self-titled effort, before retiring from the music industry altogether. “I don’t believe that a family and tours can go together,” he said in a 1998 interview explaining his decision. “Therefore, it was an easy choice for me, and a final one.” Hollis’ presence in the public sphere afterwards was sporadic at best, though he did compose the instrumental piece “ARB Section 1” for the Starz TV drama Boss in 2012.
“Mark Hollis was a genius, nobody made music that sounded like his… this one hurts. badly.”
The WHO – ” A Quick One ” Released December 9th 1966
Posted: February 28, 2019 in CLASSIC ALBUMS, MUSICTags: Pete Townshend, Roger Daltrey, The Kids Are Alright, The Who
The inarguable beating heart of The Who’s discography is the run from “The Who Sell Out” (1967) through The Who By Numbers (1975). Across five albums—including “Tommy” (1969), “Who’s Next” (1971), and “Quadrophenia” (1973)—the group built an inimitable sound while pushing rock & roll to its aesthetic and conceptual limits. The album that comes just before that incredible run – the album that we’re celebrating today —is pretty often forgotten. It isn’t their barnstorming debut, it isn’t part of their iconic period, and it’s not part of their tragic decline. It’s just… there. “A Quick One” (1966) both foreshadows the band’s illustrious career and represents an alternate universe where they fizzle out on novelties and competent but not world-changing music.
When I first saw The Who perform on “The Kids Are Alright” movie soundtrack. The performance was electric. I liked the studio version but the live versions they push the song a little harder. The song didn’t chart being so long. The album “A Quick One” peaked at Number 4 in the UK charts. The hit song of that album was “Happy Jack”. “A Quick One” finds the song writing burden distributed throughout the band. This experiment might be the reason that this is not the band’s strongest record; some of the non-Pete Townshend tracks (particularly Keith Moon’s “I Need You” and John Entwistle’s two songs) could carry some more heft. “Boris the Spider” is fun, but Entwistle did much better later on. Still, stretching the band’s sound away from Maximum R&B through this song writing experiment helped set the stage for later work.
Speaking of experiments: “A Quick One While He’s Away” is a monster. It’s the one standout from “A Quick One”, the song that we can definitively say had a meaningful influence on The Who’s direction. A nine-minute track comprised of several shorter songs, the narrative experimentations that defined the band got a trial run here. Townshend found rock music capable of delivering something narrative and cerebral. You can also sense Townshend’s talents for combining seemingly disparate movements together, which would be perfected on “Quadrophenia”, in the abrupt-yet-satisfying transitions of “A Quick One While He’s Away.”
Of course, the definitive version of the song is not the recording on “A Quick One”, but rather the unhinged reading from “The Kids Are Alright” (1979), recorded in 1968 at the Rolling Stones Rock and Roll Circus. Still, the studio version represents a massive leap forward for Townshend and a stepping stone toward the band’s career-defining experiments.
The Who had 10 minutes left to fill on the album. Kit Lambert, The Who’s manager, suggested to Pete Townshend that he write “something linear… perhaps a 10-minute song.” Townshend responded by saying that rock songs are “2:50 by tradition!” Lambert then told Townshend that he should write a 10-minute story comprised of 2:50 songs.
The song was a “mini-opera,” paving the way for the other mini-opera “Rael” and eventually full-length rock operas Tommy and Quadrophenia.
The plot of the story is simple. A girl is sad that her boyfriend is away. Her friends suggest that she take a substitute lover, Ivor The Engine Driver. When the boyfriend returns, she confesses her infidelity and is forgiven.
The Who performed this on the Rolling Stones Rock And Roll Circus, which was going to be a TV special. It never aired on television but it was released on VHS in 1996 and DVD in 2004. The Who’s performance of this was included in The Kids Are Alright, a 1979 film about The Who.
According to legend, Rock And Roll Circus didn’t air because the Rolling Stones felt that they were showed up by The Who. Jethro Tull, Taj Mahal, Marianne Faithful, John Lennon, Eric Clapton, and Mitch Mitchell all appeared on Rock And Roll Circus.
A live version of this song appears on Live At Leeds and the soundtrack for The Kids Are Alright.
The Who wanted to put Cellos on the track but Kit Lambert said they couldn’t afford it. So they sang “cello, cello, cello, cello,” where the Who thought they should go. >>
There are two other shining lights on “A Quick One” The first is “So Sad About Us,” a rollicking song that doesn’t sag momentum-wise like a lot of tracks elsewhere on the album. Here, The Who lean into that “Maximum R&B” sound that made them distinct from other blue-eyed soul acts like The Rolling Stones.
The song’s peak is a daring key change in the final seconds of the bridge, which creates massive tension right before a resolution in a final, joyous chorus. There’s not a lot of joy in The Who’s catalogue and finding it on a song called “So Sad About Us” makes it unpredictable and exhilarating. Criminally underrated, this track deserves to be thought of as one of the group’s early masterpieces, along with “I Can’t Explain” and “I Can See For Miles.”
The other crowning achievement is Keith Moon. We know that Moon is a standout drummer.
Happy 55th Anniversary to The Who’s second studio album “A Quick One”, originally released December 9th, 1966
