"Who' Next" - Classic or Dud?

Or was at the time at any rate

The Kinks are next on my list. Think I'll get on a bit better with them

Keith Moon was actually reined in on Who's Next

He plays with more abandon on Who's Next than on much of Tommy, and even a significant chunk of Sell Out. He's far more about-to-go-off-the-rails playing along to the sequencers on "Won't Get Fooled Again" and "Baba O'Riley" than he is on "Relax," "1921," "Welcome," "Rael," "Go To The Mirror," "Sensation," "Tattoo," "Mary Anne with the Shaky Hand"...

his drumming on baba o riley is f'in sweet

Haven't listened to either in years, but back when I was 14 and they were my favorite band, I liked this import of the 1971-era singles much better than Who's Next itself.

https://www.discogs.com/The-Who-Join-Together-Rarities/release/957255

i love random comps like that

^^Cosign. That was actually a Volume 2, with V1 covering stray stuff from '65-'70. I have a CD combining both--far and away the best Who obscurities comp EVAH.

Can't seem to find it now, but I was remembering some discussion in Richie Unterberger's Won't Get Fooled Again about Keith Moon playing it straighter on Who's Next. Not sure I agree with your characterization completely Tarfumes - I think something like "Go to the Mirror" is classic Moon and pretty wild playing. "Sally Simpson" is like playing a fill through the whole freaking song.

His drumming on "Tommy" is really good.

He plays hard and rules as usual on "Baba," but it's not a bunch of wild fills all over the place.

On Quadrophenia too

xp

https://www.youtube.com/watch?v=_QIwN0IQHG0

counterpoint- 'Who's Next' is very good actually

i sort of feel like the who are overdue for a reevaluation of their post-60s era -- i know a lot of ppl who don't rate this stuff at all and insist the only good who is my generation/sell out, etc. who's next was never a huge favorite of mine even when i was a who obsessive as a teen, but i replayed quadrophenia a few weeks ago and was amazed by how well it held up, some seriously good songwriting on there.

I find "Quadrophenia" next to unlistenable, I've never been able to make my way through the entire album at least.

i love random comps like that

― brimstead, Friday, August 9, 2019 2:27 PM (one hour ago) bookmarkflaglink

^^Cosign. That was actually a Volume 2, with V1 covering stray stuff from '65-'70. I have a CD combining both--far and away the best Who obscurities comp EVAH.

― frustration and wonky passion (C. Grisso/McCain), Friday, August 9, 2019 2:33 PM (fifty-four minutes ago) bookmarkflaglink

I had a cassette with both volumes and nearly wore it out. All non-LP singles and b-sides (from a UK perspective; the US Who's Missing and Two's Missing are just as great, though there's some overlap).

"Baby Don't You Do It" on this comp is from a mindblowingly great 1971 San Francisco show. A handful of other songs from the show are frustratingly scattered among other Who releases, and the whole show has inexplicably never been released.

When I was 14, Quadrophenia was my favorite album, period, and when I saw the movie at age 15, it was the best thing I'd ever seen. Every few years I try putting on Q, but can't make it through. Just too fussy. Love the singles though! Still liked the movie a lot last time I watched. For one of the architects of concept albums, they mostly hold up as as singles band.

Some of it is Daltry's arena style, which is just way out of fashion and may not come back. The narratives never made a lot of sense, but I wanted them to, and when I stopped wanting, Tommy/Lifehouse/Quadrophenia stopped working for me, not to mention the constant fretting about being 36 or whatever in the subsequent work. Townshend is great at capturing specific weird emotions in concise songs, but strains when he tries to tie them together into grand statement. Not a minimalist, but he's best as a miniaturist.

"Baby Don't You Do It" on this comp is from a mindblowingly great 1971 San Francisco show.

Once of my fave Head Heritage reviews: https://www.headheritage.co.uk/unsung/thebookofseth/the-who-join-together-baby-dont-you-do-it
"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. "

Maybe 'wanting them to' is part of the fun? There is something for me about the appeal of Tommy and Quadrophenia songs, which can be great in their own right, relating to their individual places in the drama. I could criticize the sketchiness of the narratives, but my inclination instead is to appreciate the effort and appreciate the ways in which they succeed.

xp

Quadrophenia opened up for me in hearing the most recent mixes, fwiw. I don't care for the original mix.

Can't seem to find it now, but I was remembering some discussion in Richie Unterberger's Won't Get Fooled Again about Keith Moon playing it straighter on Who's Next. Not sure I agree with your characterization completely Tarfumes - I think something like "Go to the Mirror" is classic Moon and pretty wild playing. "Sally Simpson" is like playing a fill through the whole freaking song.

― timellison, Friday, August 9, 2019 2:40 PM (one hour ago) bookmarkflaglink

I hear what you're saying, but this strikes me as far more unhinged than "Sally Simpson" or even "Go To The Mirror." A lot of it is the aggression, but he does some straight-up batshit things here, like his left foot alternating between the hi-hat and the left bass drum (in order to hit both bass drums in unison...but only sometimes) starting around 2:36:

https://www.youtube.com/watch?v=NJH8DmPfVmU

And this doesn't exactly strike me as "reined in":

https://www.youtube.com/watch?v=QyOibvBoJKM

I think the angle for reconsidering 70s/80s Townshend is in the tensions of his longing for highbrow acceptance (the more experimental stuff of the Scoop demos) and his constant thinly veiled, yet always veiled, bisexual longings. Like, even considering a song as intentionally idiotic as Squeeze Box, when he comes in and sings Mama's part on the bridge, there's a sincerity to his delivery, acting out the feminine role. That same quaking vibe comes fully out in "And I Moved".

I stuck a bunch of his 70/80s stuff on a Spotify playlist along with contemporaneous John Cale and Arthur Russell, 'cuz there's a similarity to their singing styles, but found a similarity of intent and longing as well.

> Maybe 'wanting them to' is part of the fun?

You're totally right. I'm not sure why I wanted to stop wanting, but it hasn't come back.

I had my (inexplicably belated) first listen to Vintage Violence the other day, and definitely got a Townshend vibe from the vocals.

And I dunno if they were in the studio at the time, but Cale played with Townshend and Moon on this:

https://www.youtube.com/watch?v=QHoqssrKBFg

xp

^ boy that's area Who with the Daltryisms excized.

Daltry seems like the nicest guy in a band with some very dark souls, I feel bad for ragging.

Quadrophenia opened up for me in hearing the most recent mixes, fwiw. I don't care for the original mix.

I don't know if that would work for me because I hate the muddy overstuffed sound of "Quadrophenia". I tried listening to "Lamb Lies Down on Broadway" once (God help me) and got the same feeling. Love the 70s but sometimes it sucked.

the classicest

getting in tune to the straight and narrow

just banging on my old piano

and nothing in the street

seems so different to me

and if i smile

tell me some bad news

Is that Unterberger book good?

Too late.

The Unterberger book is well-written, and unties the knots of this period of The Who's history about as well as you could hope, but the basic problem is that Townshend never really decided what Lifehouse was. So if you're looking to have that explained lucidly, you may be let down. The making of Quadrophenia is very detailed, and less confused, as well.

Unterberger says that three songs were newly recorded in ‘78/‘79 with Kenney Jones for the Quadrophenia soundtrack album: “Joker James,” “Get Out And Stay Out,” and “Four Faces.” That last one, though, was recorded (for the most part) in 1973 and has Keith on drums. I emailed Unterberger about this, and he said that documentation (wasn’t more specific than that) says it’s Jones on “Four Faces.” But it’s pretty obvious just by listening that it’s Moon:
https://www.youtube.com/watch?v=dGF2N00K-Ws

https://images2.imgbox.com/10/cb/Axn9cRNZ_o.jpg

gives a new meaning to the album title tbh

or it's almost like the name of the album is asking "who (of the members of the band that recorded me)'s next (to die? after all, two of the original four have already passed away)" - and then roger daltrey (the singer) says "it's probably me, I'm probably next." ba dum tish!