Posts Tagged ‘Roger Daltrey’

The Who - WHO

The Who has shared another new original single to appear on the veteran rock band’s forthcoming studio album, simply titled Who, which is set to arrive on November 22nd via Polydor Records. Titled “All This Music Must Fade”, the new recording follows the previously-shared “Ball & Chain” as the second single which will appear on the band’s first studio effort since 2006’s Endless Wire.

The recording starts out hot with a burst of sonic energy which is followed by singer Roger Daltrey‘s cheeky and honest opening lyrics of, “I don’t care, I know you’re gonna hate this song/And that’s it, We never really got along/It’s not new, not diverse/It won’t light up your parade, It’s just simple verse.”

While many older artists of the “Classic Rock” era take pleasure in the shower of praise which critics and fans offer in regards to their hit singles of the past, The Who share more of a realistic, selfless point of view on their new music, as Daltrey is also heard belting out the repeated chorus lines of, “All this music will fade/Just like the edge of a blade.”

According to a statement shared by The Who guitarist Pete Townshend, “All This Music Must Fade” is “Dedicated to every artist who has ever been accused of ripping off someone else’s song. Seriously? Our musical palette is limited enough in the 21st century without some dork claiming to have invented a common chord scheme.”

All This Music Must Fade’ from The Who’s new studio album WHO, released on 6th December 2019.

 

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Roger Daltrey did not mince words when sharing his excitement for the Who’s upcoming LP. “I think we’ve made our best album since Quadrophenia,” the legendary singer proclaimed during a recent Q&A with fans.  The Who will release ‘WHO’ their first studio album in thirteen years, this November.

Mentioning the new material in the same breath as the band’s vaunted 1973 concept album is high praise, indeed. The comment also represents an about-face for the Who frontman. The eleven-track album features the talents of long established Who musical stalwarts Zak Starkey (drums) and Pino Palladino (bass) along with Simon Townshend, Benmont Tench, Carla Azar, Joey Waronker and Gordon Giltrap. The record was co-produced by Pete Townshend & D. Sardy with ‘vocal production’ by Dave Eringa (best known perhaps for his work with Manic Street Preachers).

Earlier this year, guitarist and cofounder Pete Townshend revealed that he didn’t even get a response from Daltrey after sending the singer 15 demos. “Just silence from Roger,” Townshend said. “I had to bully him to respond, and then it wasn’t the response I wanted. He just blathered for a while and in the end I really stamped my foot and said, ‘Roger, I don’t care if you really like this stuff. You have to sing it. You’ll like it in 10 years time.'”

Even after giving the new music his attention, Daltrey only felt a connection with a handful of tracks. “When I first heard the songs I was very skeptical as I didn’t think I could do it,” the singer explained. “I thought Pete had written a really great solo album and I said to him, ‘Pete, what do you need to do this for? Release it as a solo album, it’s great.’ But he said he wanted it to be a Who album.

The artwork is of course immediately recognisable as the work of Sir Peter Blake, The Who’s relationship with Blake actually pre-dates that period; they met him in 1964 at a taping of the legendary TV show Ready Steady Go. Sir Peter also designed and contributed a painting to the sleeve of The Who’s album Face Dances in 1981.

Pete Townshend is refreshingly candid about the new work and his and Roger’s place in the world in 2019. He says:

“This album is almost all new songs written last year, with just two exceptions. There is no theme, no concept, no story, just a set of songs that I (and my brother Simon) wrote to give Roger Daltrey some inspiration, challenges and scope for his newly revived singing voice. Roger and I are both old men now, by any measure, so I’ve tried to stay away from romance, but also from nostalgia if I can. I didn’t want to make anyone feel uncomfortable. Memories are OK, and some of the songs refer to the explosive state of things today. I made new home studio demos of all these songs in the summer of 2018 using a wide collection of instruments old and new. We started recording as The Who in March 2019, and have finished now in late August just in time to make some vinyl………maybe even some cassettes……ready for release in November”.

“So I took the songs away and I listened to them, and listened to them some more, and I had some ideas. [Pete] let me have a bit of freedom with changing a few things, changing the tenses of songs and other little things. And he gave me complete melodic freedom. And I gotta tell you that after being very skeptical I’m now incredibly optimistic.” “I think we’ve made our best album since Quadrophenia,” he continued. “Pete hasn’t lost it, he’s still a fabulous songwriter and he’s still got that cutting edge, man.”

The band is in the midst of their orchestral ‘Moving On’ North American tour. Townshend only agreed to the trek, which keeps the group on the road through October, on the condition that the Who release a new album. The as-yet untitled LP will be the band’s first new studio material since 2006.

I first saw The Who perform this 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”.

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. >>

It was used in the Wes Anderson film Rushmore starring Jason Shwartzman and Bill Murray

The Who have announced a symphonic show at London’s Wembley Stadium on Saturday 6th July 2019.

Part of the band’s Moving On! tour, which also includes shows in North America in the summer and autumn, Roger Daltrey, Pete Townshend and co. will be joined by an orchestra at the special concert.

Alongside Daltrey and TownshendThe Who line-up will also feature guitarist/backup singer Simon Townshend, keyboardist Loren Gold, bassist Jon Button and drummer Zak Starkey. Together with celebrating The Who’s legendary back catalogue, the show supports their first new studio album in 13 years, which is due to land at some point in 2019.

The very special guest at the show will be Pearl Jam’s Eddie Vedder, along with Kaiser Chiefs and more acts to be announced.

Pete Townshend says: “The Who are touring again in 2019.  Roger christened this tour Moving On! I love it. It is what both of us want to do. Move on, with new music, classic Who music, all performed in new and exciting ways. Taking risks, nothing to lose. Looking forward to seeing you all.  Are you ready?” . Roger Daltrey adds: “Be aware Who fans! Just because it’s The Who with an orchestra, in no way will it compromise the way Pete and I deliver our music. This will be full throttle Who with horns and bells on.”

Tickets to The Who at Wembley Stadium go on sale from 10am on Friday 1st February. JULY 2019 
London Wembley Stadium – Sat 6th

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While not exactly the most prolific of bands, The Who have released some of the most enduring and genuinely influential albums singles and in the history of rock

Pete Townshend, Roger Daltrey, John Entwistle and Keith Moon first began touting their maximum r’n’b wares to West London’s pill-blocked mod community in 1964, hammering out James Brown and Slim Harpo covers as The High Numbers. Their original manager, publicist and self-styled ace face, Pete Meaden was more intent on getting his own name on the songwriting credits of their first single (I’m The Face/Zoot Suit) than looking after the band’s best interests, but when they were picked up by film-makers Chris Stamp and Kit Lambert (lured by Townshend’s penchant for destroying guitars) the latter encouraged the troubled guitarist to compose some original material. Which he did. In abundance. And the rest is history.

The Who are among my my favorite band’s.  Lets have a look at their albums. Live At Leeds is no ordinary live album. Also included are the compilation Odds and Sods an album of outtakes and rarities because of so few studio albums and it was released while they were still going strong. and the compliation Meaty Big and Bouncy.

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Endless Wire – 2006 

This album was released in 2006. Obviously, I’m not as close to this album as The Who’s other albums..but I’ve listened to it more recently than the other albums.  It’s a good album but the best way I can describe it is it’s not as defined as other albums and the mini-opera Wire and Glass can get tedious. There are some good songs such as Black Widow’s Eyes (the only song featuring Zac Starkey), A Man in a Purple Dress and the different but good  God Speaks of Marty Robbins… I will say that time has affected Roger’s voice more than Pete’s. Pete’s voice sounds really good on this album. Roger does fine but age has treated Pete’s voice well.

Following their ludicrously extensive two decade-plus studio lay-off, Roger Daltrey weighs in with muscular vocals that occasionally overshoot the runway while Townshend remains largely introspective. Everything here is fine, but the overwhelming feeling is that none of these songs should ever trouble The Who’s live set. Performances are accomplished, but where’s the desire ?.

Regular live drummer Zak Starkey, a ten-year veteran unavailable due to touring commitments with Oasis is much missed, but the most keenly felt absence however is that of the late John Entwistle. Respected bass journeyman Pino Paladino work is solid, dependable, but the venerable Ox was always going to be utterly irreplaceable. A Man In A Purple Dress rails against religion, yet there’s no lyrical maturity, and you can’t escape the feeling that Townshend’s better than this. The Wire & Glass mini opera that lies at the heart of the project is as uneven as it’s technically faultless, and you cannot help but long for Endless Wire’s dependable surgical slickness to be shattered by a spell-breaking fart-at-a-funeral Moony drum fill.

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It’s Hard – 1982

One thing I will say about this album. It has aged better than I thought it would, never a big fan of this album. I liked some songs like Eminence Front, Athena and some of the tracks like Cry if you Want. This was the last studio Who album until 2006 Endless Wire. The band was not happy at this time and the end was coming…at least until they reunited at the end of the 80s for a reunion tour.

While lead singleAthena is insipid, with Pete Townshend at his most inconsequentially self-regarding, the guitar solo-led, groove-driven highlight Eminence Front remains in their live set to this day. Elsewhere the stylish muscle of Roger Daltrey powerhouse I’ve Known No War and epic dynamics of John Entwistle’s Dangerous work in the album’s favour, but Kenney Jones continues to wilfully behave himself. It’s Hard (their last studio set prior to a 24-year hiatus) is further hobbled by the always debilitating eighties factor. Its contemporary Glyn Johns production sheen lacks teeth and its Tommy-referencing cover documents a midlife style crisis that’s probably best forgotten.

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Face Dances – 1981

The first post-Moon album finds The Who on surprisingly good form. Occupying the Loon’s position at the rear ex-Faces drummer Kenney Jones faces an impossible task, but his tighter, more concise style focusses Townshend’s songwriting. Daltrey gives a little too much beef to some of the more sensitive material, but Entwistle’s The Quiet One is a highlight that, for a couple of years, replaced My Wife as his live party piece. Accompanying hit single You Better You Bet might not be Pete’s best work, but it boasts a similarly effective hook to Who Are You. Elsewhere modestly performing second single Don’t Let Go The Coat(again somewhat overcooked by Daltrey) further confirms Towshend’s continuing commitment to both the teachings of Meher Baba and, for the time being at least, sobriety.

This album has been slammed by critics and fans alike. I bought the album when it was released.  Face Dances was The first album without their engine, Keith Moon. Kenney Jones was a great drummer for the Small Faces and Faces but there is only one drummer for the Who and that was Keith. There are some good songs. “You Better You Bet”  (what I call “Who Are You’s” weak sister) Don’t Let Go the Coat, Another Tricky Day, and The Quiet One.

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Odds and Sods – 1974

This album was released in 1974 of outtakes and rarities that The Who had in the Vaults. The highlights are Long Live Rock, Naked Eye, Pure and Easy, and Postcard by John Entwistle. This album full of outtakes were as good as other bands A-songs. Just as its title suggests Odds And Sods is a collection of studio floor sweepings but, in this case at least, unreleased need not mean unworthy. Who’s Next era Long Live Rock previously sung by a Keith Moon-backed Billy Fury in the David Essex vehicle That’ll Be The Day movie — is absolutely classic ‘orrible ‘Oo in excelsis. The original Pete Meaden-penned single version of the pre-Who High Numbers’ rework of Slim Harpo’s Got Love If You Want It, I’m The Face (recorded in ‘64 as the b-side to Zoot Suit) is an essential mod artefact and irrefutable album highlight. Essentially compiled to confound bootleggers by a clearly spoiled-for-choice John Entwistle, Odds And Sods is a surprising highlight of the Who’s all too slight seventies output, and a release only deemed more essential by a CD-age doubling of its contents.

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Who Are You – 1978

The Who were in the worst shape of their 15-year career when they began work on Who Are You in late 1977. Pete Townshend and Roger Daltrey had taken nasty swipes at each other in the press in recent years, and Keith Moon was a severe drug addict. He was just 32, but he looked a good decade older. The punk revolution was also sweeping England, threatening to make bands like the Who seem like dinosaurs.

Pete Townshend was determined to see his band survive, though the Who Are You opening track “New Song” acknowledges his tough task: “I write the same old song with a few new lines/ And everybody wants to hear it.” The title track reflects on a drunken night with members of the Sex Pistols where he did actually pass out in a Soho doorway, while “Music Must Change” also acknowledges the changing musical landscape. “But is this song so different?” Townshend wonders. “Am I doing it all again?” Despite his doubts, the album was a huge success – but less than two weeks after it hit shelves, Keith Moon was dead. Ironically, he’s posed on the cover sitting in a chair that reads “Not To Be Taken Away.”

Keith Moon was not well during recordings of this album. Still, I’ll take a 70 percent Keith Moon over a 100 percent anyone else for the Who. It contained the Who classic title track, Sister Disco, 905, and Music Must Change. Pete continued what he started with the Who By Numbers album by writing from the perspective of an aging rocker. This album sold faster than any other Who album. Within the month of its release, Keith Moon was gone for good.

Intoxicated and depressed into ill health and undeniable disinterest, Keith Moon’s lack of form left the band operating at little more than 75% of their potential. Quite literally in the case of Music Must Change from which, uninspired, the debilitated drummer remained entirely absent, save for a handful of cymbal crashes. Overshadowed by Moon’s death just three weeks after its release, this out of time album remains one of Townshend’s most underrated works.

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Who by Numbers – 1975

Pete wrote songs so personal that Roger didn’t feel right about singing some of the songs. Pete was wondering at this point if The Who were still relevant anymore. He felt old by rock standards and wondered if the band should just pack it in.

This album had to grow on me but now I do appreciate the personal songs that Pete wrote. “How Many Friends” is the single saddest song in the Who’s catalog, while “Dreaming from the Waist” deals with the sexual frustration of aging. The best-known song is Squeeze Box but the album is full of good songs. Slip Kid, However Much I Booze, Dreaming from the Waist and Blue Red Grey. With Punk music starting to happen Pete wrote in “They Are All In Love”

Hey, goodbye all you punks, Stay young and stay high
Hand me my checkbook, And I’ll crawl out to die

After the high concepts that dominated the band’s output for the previous trilogy of albums, The Who By Numbers’ unpretentious straightforwardness arrived into the directionless pre-punk doldrums as something of a relief. Kicking off in impressive style with Slip Kid, things rapidly freewheel downhill as Townshend takes his Dr Marten-ed foot way too far off the gas. However Much I Booze swathes the guitarist’s ongoing descent into alcoholism in an inappropriately jolly arrangement, while the seemingly inescapable contemporary jukebox staple Squeeze Box is little more than throwaway, end-of-the-pier fluff. Where is the Pete Townshend of Lifehouse? Where the architect of Quadrophenia? In 1975 it was a baffling disappointment. And The Who, as they entered their thirties, seemed unbelievably old.

If Pete had only known the future…they were only in their twenties at that time…that is just the beginning now.

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A Quick One – 1966

Following on from the time-marking surf-heavy Ready Steady Who EP, The Who’s second album represented almost implausibly rapid progression, and exhibited a far higher level of sophistication to My Generation. If there’s a slight return to their mod-era dance floor traditionalism in Townshend’s So Sad About Us, his closing mini opera A Quick One While He’s Away is almost preposterously ambitious. A multi-part expansion of the kind of linear narratives that were to provide the band with their next brace of singles (Happy Jack, Pictures Of Lily) it hasn’t aged particularly well and sounds significantly more sixth form than La Scala.

The mini-opera starts here. A Quick One, While He’s Away is a classic song made of fragments weaved with each other to make a whole. Everyone writes at least one song for this album. John Entwistle with his signature tune Boris the Spider, Keith Moon turns out the crazy and strange “Cobwebs and Strange,” and a bit of power pop with I Need You. They also covered Heatwave with the familiar Who flair.

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The Kids Are Alright (1979) 

Released to accompany Jeff Stein’s documentary of archive clips, The Kids Are Alright captures some of the band’s greatest performances, not least a titanic final assault on Won’t Get Fooled Again captured during the soon-to-be-late Keith Moon’s swansong appearance at Shepperton Film Studios on May 25th, 1978. Here also is the band’s show-stealing rendition of A Quick One While He’s Away from The Rolling Stones ill-fated Rock ‘N’ Roll Circus TV Special of ‘68 and the, quite literally, explosive My Generation detonated during The Smothers Brothers’ Comedy Hour in ‘67 where soon-to-be long-term tinnitus sufferer Townshend is effectively deafened (and has his hair set on fire) when Moon exceeds the prescribed dose of pyro when blowing up his drum kit.

Meaty Beaty Big & Bouncy [VINYL]

Meaty Beaty Big And Bouncy (1971)

The overwhelming success of Tommy and Who’s Next brought the Who a huge new army of fans, and many of them weren’t around during their initial hit-making period in the 1960s. Also, many of their early classics (“I Can’t Explain,” “The Seeker,” “Substitute”) weren’t available on any album. It was common practice in the 1960s for bands to churn out regular singles, leaving many of them off their albums.

A cornerstone of any early seventies record collection, ‘60s hit compilation Meaty Beaty Big And Bouncy provided irrefutable proof that throughout the previous decade The Who were not just a singles band but one of the world’s best. Prior to Townshend’s obsession with lengthier operatic works he was the master of the short sharp perfectly formed linear narrative, and the best (Happy Jack, Pictures Of Lily, I’m A Boy) are here, along with mod’s ultimate anthems; I Can’t Explain, Anyway Anyhow Anywhere, Substitute and the totemic My Generation.

The BBC Sessions

BBC Sessions (2000)

For pure mod-era distilled adrenalin you’d have to go a long way to find a better example than the guitar solo captured here on Anyway Anyhow Anywhere. Eye-opening insights into the early Who’s live set come courtesy of spirited frugs through James Brown’s Just You And Me Darling and The Olympics’ Good Lovin’. Elsewhere, rare Roger Daltrey composition See My Way is significantly perkier in session than in its A Quick One incarnation and, somewhat implausibly, disaffected teen anthem My Generation is rewritten as a perky Radio 1-promoting jingle. With plentiful chart hits reimagined, some of the Odds on here are significantly better than the higher profile Sods corralled elsewhere.

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Live at Leeds – 1970

Tommy was a bigger hit than the Who could have possibly imagined. They were suddenly headlining major festivals and playing to sold-out opera houses in major cities. They played the entire album every night, along with earlier songs and covers like “Young Man Blues” and “Summertime Blues.” They were on fire every single night, playing some of the greatest concerts in the history of rock.

In late 1969, they began taping shows for a possible live album, though Townshend was unhappy with the results.  Tapes were rolling again when they played Hull and Leeds University, in February 1970, but Entwistle’s bass parts weren’t captured during the opening songs at Hull, so they released the Leeds show. The original record of Live at Leeds just had six songs (three of which were covers) to showcase their pre-Tommy live repertoire but, over the years, they’ve slowly released the complete show.

There are live albums and then there is this… This album along with At Fillmore East rise above other live albums. Bands would release them when they were in between studio albums. On Live at Leeds, I have never heard a rock band so tight. This is the Who clicking on all cylinders.

The Who were always a very different band in the live arena and Live At Leeds captures them at their best. Rather than the tightly-disciplined studio entity, they’re a loose-limbed, tirelessly extemporising rock machine. Rather than simply duplicating three-minute hits, the vinyl album’s entire second side is split between an elongated improvisation upon My Generation and a similarly expanded version of Magic Bus. Considered for at least the first five years of its existence to be the ultimate example of the live rock record, Live At Leeds (now vastly expanded for CD) still boasts a rare, feral potency.

Moon, Entwistle, Townshend, and Daltrey are all in their prime on this.

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My Generation – 1965

A little over a year after he helped the Kinks become superstars by producing “You Really Got Me,” producer Shel Talmy brought the Who into his recording studio. They made the heavily Kinks-inspired “I Can’t Explain” and “Anyway, Anyhow, Anywhere” together and those singles were successful enough to get the young band a deal for an entire album.

Scattered among a handful of perky, maximum r’n’b covers designed to keep Goldhawk Road modernists leaping, a batch of Townshend originals entirely define their time. None more than the pair recorded in a single session on October 13th, ‘65. The Kids Are Alright and My Generation. The Who’s intensified, electrified, surf-splashed, pop art-infused over-cranked bludgeoning not only provides a raw template for garage rock, but created a musical landscape within which Jimi Hendrix, Heavy Metal, punk, and therefore, modern rock itself could exist. Due to a long period of unavailability, My Generation attained mythic status in the mid-seventies as it was widely assumed that every track delivered equal parent-quaking wallop to its ubiquitous title track. Of course, they don’t, but if they did the album would be good enough to actually kill you

The title song is still an anthem of the sixties generation. This may be the hardest power pop album released, The Kids Are Alright, A Legal Matter, and Out In The Street.

They experimented in the studio and found new sounds and used feedback as an instrument. You start hearing the power chords on this album and the great hooks that Pete came up with on guitar…Roger still hasn’t grown into his later voice and the band is raw but electric.

The Ox is just a musical explosion. What a great debut album this was in 1965.

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Who Sell Out – 1967

The Who’s take on Pirate radio of the sixties complete with commercials. The standout hit was I Can See For Miles but this album is a collection of good songs strung together with fake commercials. The Who Sell Out wraps up with “Rael,” which contains the musical seeds of a story about a blind, deaf and dumb boy that would transform the Who into one of the biggest bands on Earth.

I like to listen to this album in sequence. Pete was maturing into the Pete we would know soon. The Who didn’t repeat themselves and kept reaching and experimenting.

The Who’s third album — recorded soon after their pivotal appearance at the Monterey Festival — was even more ambitious in scope than A Quick One, yet while lauded as a pop art masterpiece on its initial release it hasn’t aged well. That said stone-cold classic I Can See For Miles balances out overly contrived one-joke ditties like Odorono and Heinz Baked Beans, Speedy Keen’s Armenia City In The Sky injects psych-era menace (even if it is more Satanic Majesty than Sgt Pepper) while Rael (1 And 2) sounds like a premonitory collage of sketchy snippets from Townshend’s notebooks, even to the extent of offering an early glimpse of Tommy’s Sparks. A tentative Daltrey is yet to find his voice, there’s way too much growing up in public on display, and for all its courageous intentions it often sounds contrived, hurried and half-formed.

Strong tracks are Armenia City In The Sky, Tatto, Our Love Was, Relax. and Rael and of course the masterpiece I Can See For Miles.

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Tommy – 1969

This Rock Opera left a huge dent in pop culture and left its imprint on rock history. I like the album but the production leaves a lot to be desired. This album made the Who rock gods. There are some great songs on this album like Pinball Wizard, We’re Not Going To Take It, I’m Free, and The Acid Queen.

Always more ‘important’ than satisfying, Tommy talks a better game than it delivers. Again produced under enormous pressure, while the band teetered on the brink of onstage auto-destruction hastened bankruptcy (all that smashed gear, much of it hired, racked up king’s ransoms of debt) the creative hothouse of the late sixties demanded back-to-back releases and full-tilt progression as standard. The band’s instrumental interplay is nothing short of electrifying and Michael McInnerney’s game-changing cover art stunning. Pinball Wizard swiftly captured the public’s imagination and Townshend’s grand, Kit Lambert-encouraged operatic vision gradually came to full fruition in the live arena, saved The Who financially and broadened rock’s scope with an ambitious high concept that brought sixties pop to adulthood and presaged seventies prog.

I personally like Sally Simpson and Christmas. Pete Townshend and Kit Lambert worked together on this album and Kit helped Pete shape it into a concept album. I wished Kit would have let someone else engineer and mix it. I’m mostly a studio album guy but I think this album works better live than the record. Listening to the live version of this album around that time for me beats the album.

There is no denying that it is a landmark album in Rock.

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Quadrophenia – 1973

Touching on real-life incidents – like the Brighton Beach brawl between mods and rockers – the double album Quadrophenia was a worthy follow-up to Tommy, though this time, kids all around the world related to Jimmy and his intense feelings of isolation. It proved too difficult to play onstage in 1973, but they revived it in 1996 and 2012 to much acclaim.

This kick-started the Mod revival of the 70s. The concept album is about a teenager mod (Jimmy) coming of age in the 60s…It is also about the band itself and it’s four different personalities and also their fans. It is much more cohesive than Tommy and Pete’s use of synthesizers on this is incredible.

The band are on fire. The ensemble interplay that accompanies Roger Daltrey’s bullish. career-topping vocal performance is only ever stunning. Quadrophenia is Townshend’s masterpiece, his most convincing and engaging rock opera by some distance. Based in mod though eternally relevant, it’s bolstered by a vast, cinematic production and is utterly huge in every given sense of the word: in vision, scope, concept and enduring influence.

The Real Me, Doctor Jimmy, Love Reign O’er Me, Bell Boy, 5.15; compositions that don’t just represent The Who at their best, but rock at its best. Townshend’s writing has matured almost beyond recognition – even since Tommy – and considering that he’s progressed from I Can’t Explain’s surly proto-punk inarticulacy to a work of such depth, sophistication, magnitude and brilliance in under a decade is astonishing. Quadrophenia then, a standout album from a standout year, an undiminished juggernaut of epic proportions. Rock really doesn’t get any more classic than this.

The high spot for me is hearing Entwistle and Moon play “The Real Me.”

Some of the many great songs are Love, Reign O’er Me, The Real Me, The Punk and The Godfather, Drowned, 5:15.

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Who’s Next -1971

There was really no suspense to this album being number one Who album. This arguably could be the best rock album of the 70s. Instead of Kit Lambert The Who hired Glyn Johns to help produce and it showed. The sound quality difference between this and Tommy is day and night. This album has a sonic quality like no other.

Having ultimately abandoned his long-promised Meher Baba-inspired Lifehouse project, Townshend asset-stripped its constituent parts for Who’s Next, and while it’s tempting to harbour a romantic notion of what could have been, the relative simplicity of a traditional nine-track album setting seems to suit the proposed Lifehouse material perfectly well. Baba O’Riley and Won’t Get Fooled Again (the latter released in a chart-troubling single edit) stand strong on their own merits and, bookending the album, have come to define the band in their prime. Roger Daltrey’s vocal performance is astonishing. Behind Blue Eyes seems to serve as signature piece for both Daltrey and Townshend, while Entwistle’s My Wife blazes with cannily deployed brass. A vast evolutionary leap forward that set the band’s reputation in stone as one of rock’s very best.

The album came out of a failed attempt at a rock concept album by Pete called Lifehouse that apparently no one but Pete understood. Classic radio stations use this album as their foundation. An incredible album with no weak songs.

These songs live work so well. Won’t Get Fooled Again maybe has the best line in Rock… “Meet the new boss, Same as the Old boss” . Pete Townshend released Lifehouse under his own name in 2000 as The Lifehouse Chronicles. It wasn’t nearly as good as Who’s Next. Not even close.

thanks in part to powerpop.blog, Rolling Stone and others.

The Albums
My Generation (1965)
A Quick One (1966)
The Who Sell Out (1967)
Tommy (1969)
Who’s Next (1971)
Quadrophenia (1973)
The Who by Numbers (1975)
Who Are You (1978)
Face Dances (1981)
It’s Hard (1982)
Endless Wire (2006)

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The 1970-72 “Lifehouse”-era of post-“Tommy” and pre-“Quadrophenia” Who yielded a prolific amount of single-only tracks, but the one that stands out every time is the B-side to “Join Together” called “Baby Don’t You Do It.” It was the sole live recording of the series as well as being far and away the most abandoned, passionate and reckless of the bunch in terms of high energy Rock. ‘Letting one go,’ kicking out the jams, going for broke, fucking rockin’ out, call it whatever but remember it’s Rock’n’Roll. For here, The Who did it, baby and did it all over this six minute blast of unleashed whirlwind thrash from their collective outgrown Mod past. “Baby Don’t You Do It” and several other tempestuous highpoints and flashpoints (i.e.: “Sparks,” “Underture,” etc.) continued throughout both sides of the dividing line twixt the sixties and seventies when The Who’s tour schedule was as severe and intense as the band themselves.

“Baby Don’t You Do It” was first born in 1964 as a pleading ballad by Marvin Gaye and quickly thereafter became one of The Who’s earliest covers. Giving it seven years of rough handling in the studio and on the road, it mutated into an apocalyptic beast of heavy Rock. Their live rendition doesn’t sound remotely Tamla nor Motown: it sounds like “Live At Leeds” and the songwriting credits should’ve read Holland-Iommi-Holland instead. It’s a raging soul plea shot with a Benzedrine dart to its heart. It’s a flippin’ template for their forthcoming “The Real Me.” It’s heavy, it fucking moves and it’s got it all: Townshend’s SG guitar power chords roar through dominant HIWATT loudspeakers; pretzel-shaped bomb-bass-tic Entwistlian 4-string runs are tautly performed with the greatest of ease; Daltrey’s throat-tearing vox and the outbreak of Mooning drum frenzy that continues unabated throughout. There are several sections where Townshend’s guitar cuts out and stays that way to leave Moon’s unaccompanied ferocious riding of cymbals and rapid double bass drumming to briefly hiccough then regain their lunatic balance on its rhythmic tightrope. After ending the song with several synchronised band crescendos, Daltrey places the microphone gingerly on the stage floor and instead of clinking it sounds like an explosive-filled projectile going off. Luckily, he didn’t sneeze into it or the walls of the venue would’ve probably collapsed or at very least: rendered them structurally unsound.

“Baby Don’t You Do It” is quite possibly one of The Who’s most unknown B-sides. It hasn’t been available on CD unless if there happened to be a minor European reissue of one of the “Rarities” compilations. Dammit: it even missed the clarion call for the “Thirty Years of Maximum R&B” box set while the version on the over-amended CD version of “Odds & Sods” contains an earlier studio version and as for the double expanded “Who’s Next”? There’s a version of it, but it’s yet another studio take — with Leslie West on lead guitar, no less. Luckily, second-hand copies of this single have always been relatively available and trade for about the price of a new CD and it’s so worth it so jump on it NOW — before it gets remixed like the rest of their back catalogue has and all the dirt gets spot cleaned into far less demanding digi-perfection (Crackling Noises Rule OK — DO NOT CORRECT.)

Speaking of the digital domain, all the other non-LP sides from the first four years of the 1970’s (including this here A-side, “Join Together”) are available all over the place on CD: “The Seeker,” “Here For More,” “Heaven And Hell,” “I Don’t Even Know Myself,” “Let’s See Action,” “When I Was A Boy,” “Relay,” “Waspman,” and “Water.” ALL of them except for…yup, you got it: “Baby Don’t You Do It.” Since it’s a 45 B-side, it would logically wind up either on a compilation or as a bonus track tacked on to “Who’s Next” along with lots of the above-named tracks. So why is it missing? Is it because it was such a storming, sweaty and sloppy set-ending afterburner that it would make all tracks fore and aft seem like CSN&Y in comparison? I dunno, but I love it not because it represents everything The Who were about as they operated on a far wider scale than just putting the boot in. But I love it because it’s everything they were about that I always loved: an undiluted channelling of aggression, passion and no-bullshit energy. Period.

I wasn’t alone in this sentiment except (weirdly enough) in situations surrounded by Who fans. I first heard the track on a New York City radio station show in 1985 hosted by Bill Wyman. He did an admirable job in hitting a lot of his own fave raves, which turned out to be obscuroes like “Dogs Part 2” and so on. But when the first few power chords of the B-side of “Join Together” called “Baby Don’t You Do It” rippled out from across the airwaves, it flattened me. It sounded like a “Live At Leeds” outtake. THIS was a killer, yet none of my half-assed Mod revival pals who’d seen the “Quadrophenia” movie umpteen times who wore green parkas had any clue about it. They didn’t want to either, for these were the new mod cons who’d stifle a yawn and get up to leave with the onset of the live ‘69 “Young Man Blues” during late night videotape viewings of “Kids Are Alright.” “Hey, this is the best part!” I’d exclaim to no acknowledgement and the place would soon empty out to the front door for extended goodbyes and leaving yours truly alone to suck it all in within the confines of a darkened room littered with empty beer cans and only the flickering red and white from the images of Townshend’s SG, the highlights of Daltrey’s shaggy mane and Moon’s cymbals the only light. What gives: They were apparently big fans of The Who and they all had “Live At Leeds.” Only thing was that upon close inspection the discs within were always in pristine shape with all signs of wear upon the front cover (and THAT was only from repeated removal and reinsertion of the adjacent copy of “Who’s Next” on and off the shelf when they should’ve just filed it next to “White Light/White Heat” for all the walks around the block — side one AND two — their copies of THAT sick puppy got when it was just glue factory compost to their “Face Dances”-era sensibilities.)

While listening to this song, look at the Spanish picture sleeve of the single or Jeff Stein’s Who photo book for visuals of Townshend going airborne, windmilling his heart out and casting off all inhibitions. Not that the music needs any help, but you probably will after repeated plays of this gale force classic. Just try not to break anything, as I sometimes do when jolted into a higher level of sensation by The Who and therefore put the boot in everywhere to everything. Sticking your fork in the socket was never half as entertaining or painless as this, and probably a few volts short.

This and three other tracks were recorded live at the same gig in San Francisco at the Civic Auditorium on December 13th, 1971. The other trio of “My Wife,” “Bargain” and “Goin’ Down” have turned up on various Who compilations throughout the years and instead of being powerful fragments from a late night sortie upon the heads and hearts of teenage wasteland USA, perhaps it’s time to release the whole gig, master it loud as fuck and we’ll all be happy as clams…before we get much older.

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The Who recorded live footage at Shepperton Studios in 1977 and 1978 for their documentary “The Kids are Alright”. Keith Moon’s final performance with The Who before his death was at these studios on May 25th, 1978.

Keith Moon climbed over his drum kit, took a bow, shook hands with fans and then walked off stage, unaware it would be the last time he would play live with the Who. The band had reconvened (after two years of not touring) at Shepperton Studios in England to record some pick-up footage for their documentary movie The Kids Are Alright. Some tension had surrounded the sessions, which was performed in front of a small invited audience, because director Jeff Stein was unhappy with a take of “Won’t Get Fooled Again.”

He wanted the band to play it again, and after some complaints, they did, giving it the bombastic ending Stein wanted. But no one could have predicted Keith Moon would be dead within four months, at age 32, a victim of his larger-than-life lifestyle. Moon suffered a number of setbacks during the 1970s, most notably the accidental death of chauffeur Neil Boland and the breakdown of his marriage. He became addicted to alcohol, particularly brandy and champagne, and acquired a reputation for decadence and dark humour.  After moving to Los Angeles with personal assistant Peter “Dougal” Butler during the mid-1970s, While touring with the Who, on several occasions he passed out on stage and was hospitalised. By their final tour with him in 1976, and particularly during production of The Kids Are Alrightand Who Are You, the drummer’s deterioration was evident. Moon moved back to London in 1978, dying in September of that year from an overdose of Heminevrin, a drug intended to treat or prevent symptoms of alcohol withdrawal.

Scottish bassist Chris Glen of Michael Schenker Group, who knew Moon during the last decade of his life, says he still finds the footage difficult to watch. The pair first met when the Who played the Caird Hall, Dundee, Scotland, around 1969, and Glen’s band Tear Gas — which later morphed into the Sensational Alex Harvey Band  were the support act. The Who and SAHB would later tour the U.K. together.

“It’s very emotional, and sadly it’s far from his best,” Glen says of the filmed performance, “He’d put on a lot of weight by that time … and the worst bit was that the Who hadn’t been together for a while. I saw him the week after the recording and he told me, ‘I wish we’d got together before it, just hung out together for a bit, and that would have made it better.’”

In spite of all Moon’s much-documented antics, Glen says the drummer “cared an awful lot about their music.”

“As a bass player,” he notes, “I was impressed with John Entwistle, of course, and one of the most impressive things was that it was John’s problem to take what Pete Townshend and Keith were doing and pull it together. That’s not easy and God knows how Roger Daltrey managed to find a place to fit in! But Keith really cared about what he did, and I think it’s a shame that’s ignored by the general populace.”

Glen had first-hand experience of Moon’s legendary eccentricities, and recounts a number of the drummer’s outlandish moments in his memoir Chris Glen: The Bass Business. In one instance, they were in a penthouse suite in a hotel in Glasgow, when Moon, who’d stolen a megaphone, opened the window and announced that there was a bomb scare in the building, leading to a police raid. Moon was arrested but released with a caution. Glen also remembers a story about Moon leaving a U.S. hotel only to return an hour later, because he’d forgotten to throw the TV out of his room window.

But Glen insists that not all of the drummer’s legendary antics were Moon’s idea. “Keith was a nicer, quieter guy than people think he was,” Glen says. “He was just easily led. You hear stories, like he drove his car into the swimming pool, but it wasn’t his idea. People would say, ‘Come on, Keith, do a Keith Moon thing! Drive your car into the swimming pool!’ and he’d go, ‘Okay, I will then.’ It’s not that he didn’t find it funny, or that he regretted it, it was just that if no one had asked him to do it, he wouldn’t have done it.”

tommy

Pete Townshend‘s masterpiece is as much a defining part of the late ’60s as Vietnam and Woodstock. Its story — about a deaf, dumb and blind boy  turns hippie idealism into a messianic fable of acceptance and rejection. But it’s the music, constructed as a rock opera complete with an overture and recurring musical themes, that holds together this double-record epic.

Perhaps it’s the original rock opera “Tommy”, released in 1969, composed by Pete Townshend and performed by The Who. This acclaimed work was presented over two LPs and it took the idea of thematically based albums to a much higher appreciation by both critics and the public. It was also the first story-based concept album of the rock era to enjoy commercial success. The Who went on to further explorations of the concept album format with their follow-up project “Lifehouse”, which was abandoned before completion, and with their 1973 rock opera, “Quadrophenia”.

After the witty, but flawed The Who Sell Out, The Who still hadn’t been really accepted as a serious album act. That was it, if they were going to conquer the world, they were going to have to use the big guns. It was time for the rock opera. While there had been concept albums before, none of them had been on this scale, Tommy was a double album meditation on loneliness, murder, child abuse, spritual guff, rejection and and a whole host of other weird stuff. On top of this it also had some fantastic tunes and was easily the best Who album to date.

Tommy as a little boy see’s his father murdered by his mother and her lover. He is told to never say he saw it or heard it. Tommy, being deaf, dumb, and blind learns to play pinball by sense of smell and touch soon master’s the game.
Tommy as an adult becomes famous for his pinball prowess and quickly gains a mass following. By the end of the Opera Tommy’s follower’s turn on him, as they get sick of all of the rules he give’s.

Townshend’s desire for this album to be taken seriously is underlined by the instrumental passages “Overture” and “Sparks”, though admittedly the ambitious “Underture” was far too long for its own good. Most of the characters in this cantata are given voice by Roger Daltrey, though each member of the band seems to get to voice at least one character. As many of the songs on Tommy are a part of the much bigger narrative, there’s actually not that many songs that work well as stand-alone tunes, with only the rocking “Pinball Wizard” and to a lesser extent “Sally Simpson” able to thrive outside of the confines of the parent album.

Tommy is an album you have to listen in totality. There’s no point in which you can happily let your mind wander, other than “Underture”, which probably explains why it is one of the most popular tracks on the album (i.e. it gives you chance to put the kettle on). Arguably the thing that makes Tommy work was the drive and ambition of Pete Townshend and the fact at this stage in their career, The Who were a particularly well-drilled band, capable of making a good job of almost anything thrown at them.

Of course since its release Tommy has inspired countless bands to attempt ill-conceived and frankly tedious concept albums, all trying to be hugely significant and open the doors of perception. Ultimately Tommy is a much more intelligent and creative album than its questionable legacy suggests.

On (May 23rd) in 1969: The Who released their classic album ‘Tommy’ (Track Records in the UK/Decca Records in the US), a full-blown ‘rock opera’ about a deaf, dumb & blind boy that launched the band to international superstardom; written almost entirely by Pete Townshend, his ability to construct a lengthy conceptual narrative brought new possibilities to rock music; despite the complexity involved, he & the band never lost sight of solid pop melodies, harmonies & forceful instrumentation, imbuing the material with a suitably powerful grace the album has sold over 20 million copies worldwide…

The Who – Rock Opera Tommy – Full Concert – 1989 – Live performance in Los Angeles at the Universal Amphitheater The Los Angeles version of this show featured Phil Collins as Uncle Ernie, Patti LaBelle as the Acid Queen, Steve Winwood as the Hawker, Elton John as the Pinball Wizard and Billy Idol as Cousin Kevin

The Band

Roger Daltry (Vocals) Peter Townsend (Vocals/ Guitar) John Entwistle (Vocals Bass) Phil Collins, Billy Idol, Elton John, Patti LaBelle, Steve Winwood Simon Phillips (drums) Steve Boltz Bolton (Guitar) John Rabbit Bundrick (Keyboards) Roddy Lorimor (trumpet) Jody Linscott (Percussion) Simon Clarke (Saxophone) Tim Sanders (Saxophone) Niel Sidwell (Trombone) Simon Gardner (Trumpet) Chyna (Vocals) Cleveland (Vocals) Billy Nichols (Vocals)

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On 1st June a week before Roger Daltrey begins a tour where he’ll perform Tommy with an orchestra, the Who vocalist will release “As Long as I Have You”. This will be Daltrey’s first record  in four years since Going Back Home, his collaboration with Dr. Feelgood guitarist Wilko Johnson.

The album is a mixture of self-penned tracks such as ‘Certified Rose’ and the soulful ballad ‘Always Heading Home’ along with songs that have inspired Daltrey over the years including Nick Cave’s ‘Into My Arms’, ‘You Haven’t Done Nothing’ by Stevie Wonder, Stephen Stills’ ‘How Far’ and the title track originally recorded by Garnet Mimms in 1964; the year that Daltrey, Townshend, Entwistle and Moon changed their name from The High Numbers and became The Who.

It’s a return to his roots mixed with the wisdom that can only come with age. “This is a return to the very beginning, to the time before Pete [Townshend] started writing our songs to a time when we were a teenage band playing soul music to small crowds in church halls.

Daltrey said in a statement. “That’s what we were, a soul band,” he continued. “And now, I can sing soul with all the experience you need to sing it. Life puts the soul in. I’ve always sung from the heart but when you’re 19, you haven’t had the life experience with all its emotional trials and traumas that you have by the time you get to my age. You carry all the emotional bruises of life and when you sing these songs, those emotions are in your voice. You feel the pain of a lost love. You feel it and you sing it and that’s soul. For a long time, I’ve wanted to return to the simplicity of these songs, to show people my voice, a voice they won’t have heard before. It felt like the right time. It’s where I am, looking back to that time, looking across all those years but also being here, now, in the soulful moment”

Daltrey worked with a band that includes former Style Council keyboardist Mick Talbot and Sean Genockey on lead guitar. Townshend contributed guitar on seven tracks, and noted that the record “shows Roger at the height of his powers as a vocalist.” .

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The Who have long held a reputation for being a ferocious live band, but a performance on The Smothers Brothers Comedy Hour back in the ’60s resulted in one of the most memorable performances of all time. See, drummer Keith Moon always had a penchant for the extreme, but it was during this performance that he decided the band needed to end their live show with a bang… literally.

Bribing a stage hand to fill his drum kit with explosives, Keith Moon was set to make his drum kit explode at the end of the song. However, unbeknownst to almost everyone, the stagehand filled the drum kit with more than ten times the amount of explosives required. The resulting detonation was enough to almost destroy the stage, and to give guitarist Pete Townshend permanent hearing loss in one ear.

Along with tracks like ‘You Really Got Me’ by The Kinks, ‘My Generation’ was instrumental in forging the foundation for garage and punk rock. The dirty production, garagey arrangement, and defiant lyrics make this slice of proto-punk one of modern music’s most enduring youth anthems.

My Generation” by the English rock band The Who, which became a hit and one of their most recognisable songs. The song was named the 11th greatest song and among 100 greatest songs of all time. 

The song has been said to have “encapsulated the angst of being a teenager,” and has been characterized as a “nod to the mod counterculture” Originally released as a single on 29th October 1965, reaching No. 2 in the UK, The Who’s highest charting single in their home country,  “My Generation” also appeared on The Who’s 1965 debut titled album, My Generation  and The Who Sings My Generation in the United States , and in greatly extended form on their live album Live at Leeds (1970). The Who re-recorded the song for the Ready Steady Who! EP in 1966, but it was not included on the EP, and this version was released only in 1995 on the remastered version of the A Quick One album. The main difference between this version and the original is that instead of the hail of feedback which ends the original, the band play a chaotic rendition of Edward Elgar’s “Land of Hope and Glory.” In the album’s liner notes the song is credited to both Townshend and Elgar.

But when guitarist and songwriter Pete Townsend was first penning the classic tune, it sounded more akin to later hit ‘Magic Bus’, consisting of shuffling acoustic guitar and a reverb-laden call-and-response section. Townshend reportedly wrote the song on a train and is said to have been inspired by the Queen Mother who is alleged to have had Townshend’s 1935 Packard hearse towed off a street in Belgravia because she was offended by the sight of it during her daily drive through the neighbourhood. Townshend has also credited Mose Allison’s “Young Man Blues” as the inspiration for the song, saying “Without Mose I wouldn’t have written ‘My Generation’.”  Townshend  said that “‘My Generation’ was very much about trying to find a place in society.

An aspect of The Who’s “My Generation” is Daltrey’s delivery: an angry and frustrated stutter. Various stories exist as to the reason for this distinct delivery. One is that the song began as a slow talking blues number without the stutter (in the 1970s it was sometimes performed as such, but with the stutter, as “My Generation Blues” , but after being inspired by John Lee Hooker’s “Stuttering Blues,” Townshend reworked the song into its present form. Another reason is that it was suggested to Daltrey that he stutter to sound like a British mod on speed. It is also proposed, albeit less frequently, that the stutter was introduced to give the group a framework for implying an expletive in the lyrics: “Why don’t you all fff… fade away!” However, producer Shel Talmy insisted it was simply “one of those happy accidents” that he thought they should keep. Roger Daltrey has also commented that he had not rehearsed the song prior to the recording, was nervous, and he was unable to hear his own voice through the monitors. The stutter came about as he tried to fit the lyrics to the music as best he could, and the band decided it worked well enough to keep. The BBC initially refused to play “My Generation” because it did not want to offend people who stutter, but it reversed its decision after the song became more popular.

The instrumentation of the song duly reflects the lyrics: fast and aggressive. Significantly, “My Generation” also featured one of the first bass solos in rock history. This was played by Entwistle on his Fender Jazz Bass, rather than the Danelectro bass he wanted to use; after buying three Danelectros with rare thin strings that kept breaking easily (and were not available separately), a frustrated Entwistle used his Fender strung with nylon tapewound strings and was forced to simplify the solo. The song’s coda features drumming from Keith Moon, as well, whereupon the song breaks down in spurts of guitar feedback from Townshend’s Rickenbacker, rather than fading out or ending cleanly on the tonic. There are two guitar parts. The basic instrumental track (as reflected on the instrumental version on the My Generation Deluxe edition) followed by Townshend’s overdubs including the furious feedback on the outro.

The Who
  • Roger Daltrey – lead vocals
  • Pete Townshend – guitar, backing vocals
  • John Entwistle – bass, backing vocals
  • Keith Moon – drums