The second of four limited edition 7” singles box sets byThe Who,‘The Reaction Singles 1966,’ will be released by USM worldwide on August 14th. It’s the latest in the series of releases commemorating the band’s 50th anniversary this year. The new set follows the release of ‘Volume 1: The Brunswick Singles 1965-1966’ in April, with the Reaction singles to be followed by further anthologies of their Track and Polydor releases.
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Volume 2: The Reaction Singles 1966’ chronicles the five 7” single releases by The Who on the Reaction label during that important year in the band’s early history. Each of the discs has been faithfully recreated with authentic replicas of the original sleeves, pressed on heavyweight audiophile vinyl with die-cut centre holes.
The box includes such signature songs as ‘Substitute,’ ‘Happy Jack,’ and ‘I’m a Boy,’ as well as the ‘Ready Steady Who’ EP and other tracks. It will be housed in a full colour, rigid outer box, containing a 7” sized eight-page colour booklet with liner notes about each release by Who biographer Mark Blake.
The releases encompasses the period in which The Who broke their contract with producer Shel Talmy and Brunswick Records, and signed a temporary deal with the independent Reaction label, run by their agent Robert Stigwood. In March 1966, just before Brunswick released ‘A Legal Matter’ without the band’s permission, they released their own new single, ‘Substitute,’ with ‘Circles’ as the B-side.
The disagreement with Talmy led to the ‘Substitute’ single being withdrawn, and it was then reissued a week later with ‘Circles’ retitled ‘Instant Party.’ When ‘Substitute’ appeared for a third time, it had another different B-side, the instrumental ‘Waltz For A Pig.’ This was credited to The Who Orchestra, but actually featured another of Stigwood’s clients, the Graham Bond Organisation. ‘Substitute’ went on to a No. 5 peak in the UK, and returned to the top ten a decade later, reaching No. 7 on reissue in autumn 1976.
The title of ‘Ready Steady Who’ was inspired by the hit pop show ‘Ready Steady Go,’ on which the band made regular appearances. It included ‘Circles’ as the lead track, accompanied on the A-side by the new Pete Townshend composition ‘Disguises.’ The EP’s flipside featured the whimsical cover of the ‘Batman’ TV show theme, which The Who often played live, as well as versions of two of surf music fan Keith Moon’s favourite songs: Jan And Dean’s ‘Bucket T’ and the Beach Boys’ recent hit ‘Barbara Ann.’
For manyThe Who are the greatest rock band in the world and their 50th anniversary year is shaping up to be very special. And to prove the point the band are set to release all eleven of their studio albums on 180gm vinyl along with a double vinyl version of their ultimate hits package, The Who Hits 50 on 23rd March.
All eleven studio albums will feature the original issue artwork and other highlights include Tommy with its original six-panel fold out / 12-page colour booklet and the four sides pressed as they were on the original 1969 vinyl. The Who Sell Out Includes a replica of the original 20″ x 30″ poster as an insert, while Quadrophenia has a gatefold sleeve with original 20-page booklet and Face Dances Includes a replica of the 24″ x 24″ poster of the album cover. The other studio albums are, My Generation (1965), A Quick One (1966), Who’s Next (1971), The Who By Numbers (1975), Who Are You (1978), It’s Hard(1982) and Endless Wire (double) (2006).
Two weeks later on 6th April the first in a series of 7” singles box sets is released covering their first seven 45 rpm releases as The Who as well as their one and only 7” as The High Numbers. The Brunswick Singles 1965 – 1966 is volume one of a four-part set of classic Who singles by labels (Brunswick, Reaction, Track and Polydor). Pressed on heavyweight vinyl with paper sleeves (reproducing the period graphics front and back with die-cut centre holes). The singles are housed in a rigid ‘lid-and-tray’ outer box and features a 7” sized colour booklet with liner notes about each release by Who biographer Mark Blake.
1. ‘I Can’t Explain’ 2.04
b/w ‘Bald Headed Woman’ 2.08
Brunswick 05926. Released 15 January 1965
2. ‘Anyway, Anyhow, Anywhere’ 2.40
b/w Daddy Rolling Stone 2.46
Brunswick 05935. Released 21 May 1965
3. ‘My Generation’ 3.15
b/w ‘Shout and Shimmy’ 3.15
Brunswick 05944. Released 25 October 1965
4. Circles 3.10
Instant Party Mixture 3.26
(Bruns 05951) Unreleased at the time
5. ‘A Legal Matter’2.47
b/w ‘Instant Party’ AKA CIRCLES 3.10
Brunswick 05956. Released 7 March 1966
6. ‘The Kids Are Alright’ 3.03
b/w ‘The Ox’ 3.47
Brunswick 05965. Released 12 August 1966
7. ‘La-La-La Lies’ 2.13
b/w ‘The Good’s Gone’ 4.01
Brunswick 05968. Released 11 November 1966
And if all that’s not enough Record Store Day 2015 on 18th April will see a special blue vinyl 7” of The Who’s latest song, ‘Be Lucky’ from ‘The Who Hits 50’ album backed with the band’s very first single from 1965 ‘I Can’t Explain’. ‘Be Lucky’ is The Who’s first new material in eight years and in keeping with their ongoing support for Teenage Cancer charities, the band have donated their royalties from the song to Teen Cancer America, a charity founded in 2011 by Roger Daltrey and Pete Townshend.
The new series of TFI Friday Channel 4 TV hosted by Chris Evans had a few musical guests Joined by the Lightning Seeds’s Ian Broudie and Ringo Starr’s son Zak Starkey, the group played “My Generation” on the first show of the series 12th June.
Liam Gallagher and Roger Daltrey collaborated on a live version of The Who’s ‘My Generation’ as TFI Friday returned to TV screens this evening (June 12th).
The Channel 4 show, presented by Chris Evans, was revived for a two-hour episode this evening with guests including Jeremy Clarkson, Ewan McGregor, Lewis Hamilton, Amanda Seyfried, Rita Ora, Nick Grimshaw and Tom Daley.Music on the night was provided by, among others, Blur and a supergroup fronted by Liam Gallagher and Roger Daltrey. Blur performed ‘Coffee TV’ with Evans informing the audience that Damon Albarn has lost his voice. Gallagher and Daltrey played alongside The Lightning Seeds’ Ian Broudie and former Oasis members Bonehead and Zak Starkey.
As reported no 90s revival would be complete without at least one Gallagher brother on board. It’s just as well, then, that Liam Gallagher will join forces with the Who’s Roger Daltrey, the Lightning Seeds’s Ian Broudie and Ringo Starr’s son Zak Starkey for the return of TFI Friday on 12th June. At the request of Chris Evans, the supergroup will perform for the one-off episode, and are said to be covering the Who’s My Generation.
“Liam’s got a bit of time on his hands since Beady Eye called it a day last year, so he fancied trying his hand at something new,”. “He’s told his mates he’s pretty bored. Other than Noel, you would be hard pushed to find a better set of bandmates than Roger, Ian and Zak. It’s a proper supergroup and the performance will be something to remember.”
The group, who are as yet unnamed, will celebrate the TV show’s return alongside Blur, Stone Roses, Rudimental and Years & Years.
The Who “Live at New York’s Shea Stadium” and was filmed on October 13th 1982. It is the first official release of the full show and features restored footage and newly mixed sound. The Who s 1982 tour, which was all in North America apart from two warm-up dates at the Birmingham NEC in England, was their last to feature Kenney Jones on drums and they wouldn’t tour again until 1989. The tour promoted the recent “It s Hard” album, which had been released in June 1982, and the set list included a number of tracks from that album, some of which the band would only play live on this tour. This concert film features the show from the second of their two nights at New York s Shea Stadium and was filmed on October 13th 1982. Although a couple of tracks have appeared on compilations, this is the first official release of the full show and features restored footage and newly mixed sound.
TRACKLISTING: 1) Substitute 2) I Can t Explain 3) Dangerous 4) Sister Disco 5) The Quiet One 6) It s Hard 7) Eminence Front 8) Behind Blue Eyes 9) Baba O Riley 10) I m One 11) The Punk And The Godfather 12) Drowned 13) Tattoo 14) Cry If You Want 15) Who Are You 16) Pinball Wizard 17) See Me Feel Me 18) Love Reign O er Me 19) Long Live Rock 20) Won t Get Fooled Again 21) Young Man Blues 22) Naked Eye 23) I Saw Her Standing There 24) Summertime Blues 25) Twist And Shout.
DVD TECHNICAL INFORMATION: DVD Format: NTSC Region 0 / Screen Format: 4:3 / Sound Formats: DTS Surround Sound, Dolby Digital 5.1, Dolby Digital Stereo / Running Time: 140 mins approx.
The Who’s performance at Shea Stadium in October 1982, in support of their then-new album ‘It’s Hard,’ is coming to DVD and Blu-ray. Eagle Rock Entertainment will release the concert, on DVD, standard-definition Blu-ray and digital video on June 29th (and June 30th in North America). As a preview, here’s the version of ‘Love Reign O’er Me’ from that show. The Who Live at New York’s Shea Stadium and was filmed on October 13th 1982. It is the first official release of the full show and features restored footage and newly mixed sound.
The package will feature newly-restored footage and newly mixed audio of an epic, 25-song show by the already legendary band. Among the track listing is a closing version of ‘Twist and Shout.’ performed by The Who in acknowledgement of the Beatles’ famed shows at the location.
The North American tour, of which the Shea performance was part, marked the last North American tour to feature Kenney Jones, who had been The Who’s drummer since the death of Keith Moon in 1978.
The full track listing for ‘Live At Shea Stadium 1982’ is as follows:
‘Substitute’
‘I Can’t Explain’
‘Dangerous’
‘Sister Disco’
‘The Quiet One’
‘It’s Hard’
‘Eminence Front’
‘Behind Blue Eyes’
‘Baba O’Riley’
‘I’m One’
‘The Punk and the Godfather’
‘Drowned’
‘Tattoo’
‘Cry if You Want’
‘Who Are You’
‘Pinball Wizard’
‘See Me Feel Me’
‘Love Reign O’er Me’
‘Long Live Rock’
‘Won’t Get Fooled Again’
‘Young Man Blues’
‘Naked Eye’
‘I Saw Her Standing There’
‘Summertime Blues’
‘Twist and Shout’
As a founding member of The Who, Roger Daltrey played a critical role in 1960s as well as 1970s music. While Pete Townsend wrote most of the band’s music and lyrics, it was Roger Daltrey’s powerful voice that brought the songs to fruition. Though, the Who’s early work was textually so different in contrast to their later work, they enjoyed hits as “I Can’t Explain” and “Anyway, Anyhow, Anywhere.” However, it was the song “My Generation” that connected with the emerging counter culture and put the band on the Rock and Roll map. Arguably, The Who recorded the first concept album, “Tommy”. And when casting began for the film based on the record in 1975, Daltrey got the nod to play the lead role for which he won a Golden Globe. With his long golden locks and stunning good looks, he looked the part as a rock god. On stage the band was explosive as Roger Daltrey would whip his mic 10 feet in the air and catch it with ease. Considered by many to be the band’s swan song, Who’s Next, featured such memorable tracks as “Won’t Get Fooled Again,” “Bargain,” “The Song is Over” and the seminal track “Baba O ‘Riley.”
Never one to rest on his laurels, he began his solo career in 1973 with the release of “Daltrey”. While the record was a hit in Europe, it failed to chart in the States. Since then, he has released seven solo projects and has appeared on recordings by Meat Loaf, Barry Gibb, Joe Strummer and Barbra Streisand. Roger Daltrey is a songwriter, singer, performer, actor and icon who has received countless awards including induction into the Rock and Roll Hall of Fame in 1990.
In May 1971 The Whowere in London’s Olympic Studios recording ‘Join Together’ which came out a year later as a single in both the UK and America. Pete Townshend’s lyrics include the line, “It’s the singer not the song that makes the music move along.” And that is so, so true of the way that Roger Daltrey has propelled the Who from his position out front of the band. He is arguably the greatest rock singer that has fronted any band in that same half century .
‘My Generation’ with Roger’s unique stuttering vocal that is one of the greatest singles to be released in the 1960s. Not far behind it is ‘Pinball Wizard’ from Tommy, which has Daltrey in imperious form. Then the next single is ‘I Can See For Miles’, another great driving vocal. ‘Behind Blue Eyes’ comes from the Who’s fifth album, Who’s Next and it demonstrates the maturing of Roger’s voice; in fact it is one of his finest ever rock-god vocals. The same can be said of ‘Love Reign O’er Me’ from “Quadrophenia”. ‘Won’t Get Fooled Again’ is another that is from the god-like rock locker. Can’t you just see Roger marching as he sings this powerful vocal and the scream towards the end is one of the finest moments in all rock.
One of Roger’s great gifts is that he seemed able to reproduce his powerful recorded vocals on stage, making it seem effortless in the process. ‘Summertime Blues’ from “Live At Leeds” is just perfection.Thirteen years earlier his rendition of ‘See Me, Feel Me/Listening To You’ from a Canadian concert is among the best versions of these moments from Tommy that the band has released.
‘Baba O’Reilly’ was a stand out from “Who’s Next” and the version from a concert at Shepperton, London in May 1978 is another outstanding example of Roger’s brilliance. The other non Pete Townshend song where Roger excelled is Bo Diddley’s ‘I’m A Man’ which harks’ back to the band’s early blues influences and it has Roger giving it his all in what is the greatest ever cover of this classic.
According to The Flaming Lips’ Wayne Coyne “You don’t realize how great a singer Roger Daltrey is until you try to do it yourself.” He’s talking generally about Roger’s singing but it could especially be applied to ‘The Real Me’ from “Quadrophenia”. In a similar voice ‘Who Are You’ from the album of the same name bears out Coyne’s assertion. It’s also one of those songs that converted many a non-believer into believing that The Who are the greatest rock band in the world.
‘We’re Not Going To Take It’ became one of the highlights of the Woodstock Festival but the “Tommy” original version which spotlights both sides of Daltrey’s voice, from bombast to beauty.
‘Long Live Rock’ is another incredible vocal, with Pete singing the verses, and yes he does, but it is Roger that lifts this song to the giddy heights of a rock anthem. ‘Slip Kid’ comes from the 1976 album, “The Who By Numbers” and might not be the most obvious song to include but it features Roger Daltrey showing how controlled his vocals can be.
‘I Can’t Explain’ is 20 year old Roger and while it may lack some of the power of our other selections, just listen to it in context. Try hearing it alongside other 1965 pop singles and you hear the vocal brilliance when compared to the kind of dull stuff that was being churned out by most bands.
“Quadrophenia’s” ‘5.15’ is another of Roger’s rock-god vocals – this is turbocharged! The same can be said of ‘Join Together’, but the absolute pinnacle of this number is just after the final verse. Roger hits a high note, while singing, “well everybody come on” that seems inhuman, it send him off into another place.
the later tracks is ‘Music Must Change’, a hidden gem of a track from “Who Are You”. Roger sings the verses in his lower register, saving his falsetto for later in the song before the final 30 seconds when vocally he just explodes.
Possibly there’s only one song that could end a list of the greatest of Roger Daltrey classics and it is ‘The Song Is Over’ from “Who’s Next”. It’s majestic, at times gentle, at others unbelievably tough and it has everything that makes Roger Daltrey brilliant. His voice is every bit as powerful as Pete’s guitar sound and his gift is to be whatever Pete has written for him to sing. He becomes Townshend’s characters and as Roger says, “That’s why I shut my eyes when I sing — I’m in another space, and the characters are living in me.”
Pete Townshend’s solo work is almost as prodigious as his work with The Who, The 11 album releases cover “Who Came First”, his 1972 album and his first away from The Who. The album is a collection of music dedicated to Meher Baba, Townshend’s spiritual master and includes fellow Baba followers, including Ronnie Lane and Billy Nicholls.
Townshend’s first proper solo album (following two tribute albums to his spiritual adviser Meher Baba) features demos he recorded for the Who’s ‘Lifehouse’ project, which turned into 1971’s ‘Who’s Next.’ Songs from the earlier solo records — which were collaboration LPs with limited distribution — are also included. Before the various ‘Scoop’ albums and the expanded versions of Who LPs that include early sketches of songs, ‘Who Came First’ was the closest peek inside Townshend’s songwriting process.
In “Rough Mix”, he teamed up with Ronnie Lane on what is a fine record that features Eric Clapton, John Entwistle and Charlie Watts that includes material written by Townshend and Lane. Among the standout tracks is the beautiful, ‘Heart To Hang Onto.’ Co-credited to Ronnie Lane, the Small Faces bassist who earlier had worked with Townshend on the 1970 Meher Baba tribute LP ‘Happy Birthday,’ ‘Rough Mix’ started as a Lane solo album that was supposed to be produced by Townshend. They eventually found themselves in a full collaborative project that also includes help from friends . The result is more of a folk-rock record by the two vets used to more aggressive forms of rock ‘n’ roll. A curious but enjoyable detour.
Empty Glass included ‘Let My Love Open The Door’ as well as ‘Rough Boys’, ‘Empty Glass’ and ‘A Little Is Enough’. Townshend was going through a lot when ‘Empty Glass’ was released in 1980: the death of Who bandmate Keith Moon, a fractured marriage, a drinking problem and the fact that punk was making groups like the Who obsolete. He pours it all out on his best solo album, the first to include all new material written specifically for a project. He confronts all of his demons here; he came out with scars and a Top 10 single with “Let My Love Open the Door.” His best work since the Who’s 1973 LP ‘Quadrophenia’ and his most personal ever.
1982’s All The Best Cowboys Have Chinese Eyes includes ‘Face Dances pt 2’ and ‘Uniforms (Corps D’Espirit)’ and a companion promotional video featuring seven of the tracks was made for the fledgling MTV Network. Between 1980’s ‘Empty Glass’ solo outing and this LP, the Who released ‘Face Dances’ and were wrapping up work on one final album (before a reunion LP nearly a quarter century later) and then mounted a farewell tour (that turned out not to be). So Townshend, working as a solo artist with few band commitments to weigh him down, made a record that indulged in his winding wordplay and his sometimes impenetrable cultural theories and criticisms. It’s every bit as heavy-handed as you would expect from a guy whose rock ‘n’ roll dissections often went over the heads of the average Who fan.
For White City, Pete returned to the concept based song cycle that had utilised in The Who. The album tells the story of life on a working class council estate in Pete Townshend’s old West London stomping ground. The songs deal with lost love, racial tension and broken dreams. this one based on a real-life London district from his childhood. He doesn’t paint a pleasant picture: brewing race wars and crushed dreams are commonplace. David Gilmour adds some bite with his guitar, but ‘White City’ doesn’t have a whole lot to say, and sorta just spins in place once it gets moving. Like many Townshend solo LPs, the music seems like an afterthought to the narrative.
The Iron Man is Pete’s version of the Ted Hughes story of the same name. Townshend’s Who bandmates Roger Daltrey and John Entwistle join him on two songs from this musical adaptation of Ted Hughes’ 1968 sci-fi novel. Released in 1989 Pete had met Hughes when he was working at the publishing house Faber and Faber. The album features contributions from music luminaries Nina Simone and John Lee Hooker(who performs as the eponymous ‘Iron Man’).
1993’s Psychoderelict is a multi-layered concept album featuring dialogue harking back to his ‘Lifehouse’ project. It’s another concept album by Townshend, ‘Psychoderelict’ centers on a washed-up rock star who returns to the spotlight after a press-grabbing controversy is cynically hatched. Like ‘Empty Glass,’ the album digs deep into Townshend’s personal life, but the story is kind of a mess — which led to a new version of the album to be released without the interlocking dialogue pieces. Characters here would resurface on the Who’s 2006 album ‘Endless Wire.’The resulting tour featured actors performing alongside the live band.
The critically acclaimed “Scoop” series of albums gives the listener a privileged peek behind the scenes of one of popular music’s greatest songwriters. The albums showcase Pete’s demos for both The Who and his solo recordings. Scoop, was released in 1983 and includes versions of Who classics such as ‘So Sad About Us’, ‘Squeeze Box’, ‘Circles’, ‘Behind Blue Eyes’ and ‘Love Reign O’er Me’. Another Scoop followed in 1987 and includes demos of ‘Pinball Wizard’, ‘Substitute’, ‘You Better You Bet’ and ‘Pictures of Lily’. Scoop 3’ surfaced in 2001 and included Pete Townshend’s initial versions of the classics ‘The Real Me’, ‘ Sea and Sand’ and ‘Eminence Front’.
In February 1985 Pete performed two charity shows at London’s Brixton Academy. The sold out shows benefitted the ‘Double O’ charity, which was formed by The Who in the 1970s. The band, performing under the banner ‘Deep End’, featured Pink Floyd guitarist David Gilmour. They performed ‘I Put A Spell On You’ and ‘Barefooting’ as well as more contemporary songs like The Beat’s ‘Save It For Later’ as well as classics such as ‘Pinball Wizard’ and ‘Behind Blue Eyes’ also make an appearance on the album, Deep End Live.
Rock history took place on a university campus on this day 45 years ago. It may have been Valentine’s Day, but that was of little consequence when one of the UK’s greatest-ever rock bands took to the stage of the refectory of the University of Leeds. February 14, 1970 was the night that The Whorecorded the performance that became their first live LP, described on release by the New York Times as the “best live rock album ever made,” ‘Live At Leeds.’
University gigs and tours have always been a common part of the British live music circuit, although the Leeds campus was not one of the most regularly used.The Moody Bluesplayed there, for example, during their early days as a rhythm and blues combo, in 1965, but it was one night with The Who that brought it to prominence.Two weeks later, Pink Floyd performed there; The Who returned to the venue later in the year, as did Floyd in 1971. Then the Rolling Stones also included it on the ‘Goodbye Britain’ tour that preceded their departure for tax exile status and the ‘Exile On Main St.’ album.
The Who’s already outstanding reputation as a live band in 1970 had been further enhanced by their appearance the previous summer at Woodstock. Their live set was now a fascinating mixture of their early mod days of R&B covers and material that had added to their growing status as exponents of conceptual rock.
Thus they delivered a set to the Leeds audience that still included their cover of Benny Spellman’s ‘Fortune Teller,’ as well as Mose Allison’s ‘Young Man Blues’ and Sonny Boy Williamson’s ‘Eyesight To The Blind.’ But it also featured early hits like ‘I Can’t Explain’ and ‘Happy Jack,’ as well as an extensive run through PeteTownshend’s new ‘Tommy’ opus. A medley at the end featured ‘My Generation,’ ‘Magic Bus’ and others.
Later in 1970, Roger Daltrey told the weekly music paper Sounds that he was very happy with the album. “It was one show and it was a very valid bit of plastic, you know. There was hardly anything dubbed on it – there were more things taken off than put on. Two backing voices were added, but that was only because the mike fell over. The whole thing is as it happened. We even pulled a lot of the crowd out because it was like, distracting to listen to.”
The ‘Live At Leeds’ album was released in May and made the top five in both the UK and US. In 2012, Who devotees finally had the chance to buy the recording of the band’s next gig, 24 hours after Leeds, on the ‘Live AtHull’ set. The Who had always intended to record this show to gather material for the original album, but sound problems meant that unless they were there at the time, fans had to wait more than 40 years to hear it.
The Who are to release a seven-inch boxset of their first seven singles, the first in a proposed series of four sets.
The boxset, entitled The Brunswick Singles 1965-66, covers from “I Can’t Explain” to “La-La-La Lies”, with a bonus disc featuring their only release as The High Numbers, “Zoot Suit”/”I’m The Face”.
As well as the boxset, which comes out on April 6th, the group will release all of their studio albums on 180g vinyl, plus a double-LP edition of their recent Who Hits 50 compilation, on March 23rd.
The remastered editions include their original artwork, and some even feature replica promotional memorabilia, such as The Who Sell Out, which includes the original 20″ x 30″ poster as an insert.
For many The Who are the greatest rock band in the world and their 50th anniversary year is shaping up to be very special. And to prove the point the band are set to release all eleven of their studio albums on 180gm vinyl along with a double vinyl version of their ultimate hits package, The Who Hits 50 on 23 March.
All eleven studio albums will feature the original issue artwork and other highlights include “Tommy” with its original six-panel fold out / 12-page colour booklet and the four sides pressed as they were on the original 1969 vinyl. The Who Sell Out Includes a replica of the original 20″ x 30″ poster as an insert, while Quadrophenia has a gatefold sleeve with original 20-page booklet and Face Dances Includes a replica of the 24″ x 24″ poster of the album cover. The other studio albums are, My Generation (1965), A Quick One (1966), Who’s Next (1971), The Who By Numbers (1975), Who Are You (1978), It’s Hard (1982) and Endless Wire (double) (2006).
Two weeks later on 6th April the first in a series of 7” singles box sets is released covering their first seven 45 rpm releases as The Who as well as their one and only 7” as The High Numbers. The Brunswick Singles 1965 – 1966 is volume one of a four-part set of classic Who singles by labels (Brunswick, Reaction, Track and Polydor). Pressed on heavyweight vinyl with paper sleeves (reproducing the period graphics front and back with die-cut centre holes). The singles are housed in a rigid ‘lid-and-tray’ outer box and features a 7” sized colour booklet with liner notes about each release by Who biographer Mark Blake.
1. ‘I Can’t Explain’ 2.04
b/w ‘Bald Headed Woman’ 2.08
Brunswick 05926. Released 15 January 1965
2. ‘Anyway, Anyhow, Anywhere’ 2.40
b/w Daddy Rolling Stone 2.46
Brunswick 05935. Released 21 May 1965
3. ‘My Generation’ 3.15
b/w ‘Shout and Shimmy’ 3.15
Brunswick 05944. Released 25 October 1965
4. Circles 3.10
Instant Party Mixture 3.26
(Bruns 05951) Unreleased at the time
5. ‘A Legal Matter’2.47
b/w ‘Instant Party’ AKA CIRCLES 3.10
Brunswick 05956. Released 7 March 1966
6. ‘The Kids Are Alright’ 3.03
b/w ‘The Ox’ 3.47
Brunswick 05965. Released 12 August 1966
7. ‘La-La-La Lies’ 2.13
b/w ‘The Good’s Gone’ 4.01
Brunswick 05968. Released 11 November 1966
And if all that’s not enough Record Store Day 2015 on 18 April will see a special blue vinyl 7” of The Who’s latest song, ‘Be Lucky’ from ‘The Who Hits 50’ album backed with the band’s very first single from 1965 ‘I Can’t Explain’. ‘Be Lucky’ is The Who’s first new material in eight years and in keeping with their ongoing support for Teenage Cancer charities, the band have donated their royalties from the song to Teen Cancer America, a charity founded in 2011 by Roger Daltrey and Pete Townshend.
On July 1st, 1965, The Who are filmed performing live versions of “Anyway Anyhow Anywhere” and “Shout and Shimmy” for Ready Steady GO! With great luck a kinescope of this show survives and “Anyway Anyhow Anywhere” is later used in The Kids Are Alright and many other The Who documentaries. Today in 1965, it was their first appearance on any UK TV show To project the desired image, there was a hand-picked audience which consisted only of teens dressed in Mod fashion.
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The Fat Angel Sings 