Album: Who's Next
Artist: The Who
Born: Acton, London
Released: August 1971
Genre: Rock
Influenced: The Clash, Buzzcocks, Ian Dury, The Hold Steady, Bruce Springsteen
Who's Next comes right in the middle of the band's most prolific period, just after the release of the stonking Live At Leeds and before Quadrophenia. This is the studio album that best recreates their sound live, and I like it even more for the fact it's not a rock opera or concept album. Quadrophenia is great, both album and film, while Tommy has its moments, but I prefer Who's Next to them both for its consistently better collection of songs and harder sound. The freedom the band got from abandoning Townshend's planned Lifehouse project is reflected in the quality of the playing. Baba O'Riley is one of the best rock songs ever recorded, building from minimalist synth, through piano and drums to create something completely anthemic. I also love how, with about a minute to go, the songs morphs into Fairport Convention-style rousing electric folk. Apparently it was Keith Moon's idea to insert the violin part. If there were two people I could pick from history to go on a pub crawl with, Keith Moon would be one and Oliver Reed the other. The fact they were good friends would make it even better.
Having re-listened to the album several times over the past week, it's striking that there's not one bad song on Who's Next and how the album flows perfectly, from the harder rock of Baba O'Riley to love songs like Bargain and the more wistful The Song Is Over. This track, and the very funny pub rock of My Wife, both point forward to the sound of Quadrophenia, with its more liberal use of piano and horn overdubs. Getting In Tune is another brilliant arrangement, with Daltrey's singing and Nicky Hopkins' piano combining to brilliant effect. Going Mobile is a good example of how John Entwistle revolutionised bass playing, using it more like a lead guitar, while Townshend would complement the sound with power chords. Behind Blue Eyes was a real departure for the band, away from anthemic tunes about "teenage wasteland" into more nuanced psychological territory and I love the dynamics of the song, especially when Moon's drumming kicks in after 2-3mins. The best on this album though is kept until last. Talking of dynamics, Won't Get Fooled Again has it all. It's easily one of my favourite rock songs of all time. The message is a powerfully articulate one too: don't look to politicians for change, look to yourself and try and bring about change in your own life.
Who's Next comes right in the middle of the band's most prolific period, just after the release of the stonking Live At Leeds and before Quadrophenia. This is the studio album that best recreates their sound live, and I like it even more for the fact it's not a rock opera or concept album. Quadrophenia is great, both album and film, while Tommy has its moments, but I prefer Who's Next to them both for its consistently better collection of songs and harder sound. The freedom the band got from abandoning Townshend's planned Lifehouse project is reflected in the quality of the playing. Baba O'Riley is one of the best rock songs ever recorded, building from minimalist synth, through piano and drums to create something completely anthemic. I also love how, with about a minute to go, the songs morphs into Fairport Convention-style rousing electric folk. Apparently it was Keith Moon's idea to insert the violin part. If there were two people I could pick from history to go on a pub crawl with, Keith Moon would be one and Oliver Reed the other. The fact they were good friends would make it even better.
Having re-listened to the album several times over the past week, it's striking that there's not one bad song on Who's Next and how the album flows perfectly, from the harder rock of Baba O'Riley to love songs like Bargain and the more wistful The Song Is Over. This track, and the very funny pub rock of My Wife, both point forward to the sound of Quadrophenia, with its more liberal use of piano and horn overdubs. Getting In Tune is another brilliant arrangement, with Daltrey's singing and Nicky Hopkins' piano combining to brilliant effect. Going Mobile is a good example of how John Entwistle revolutionised bass playing, using it more like a lead guitar, while Townshend would complement the sound with power chords. Behind Blue Eyes was a real departure for the band, away from anthemic tunes about "teenage wasteland" into more nuanced psychological territory and I love the dynamics of the song, especially when Moon's drumming kicks in after 2-3mins. The best on this album though is kept until last. Talking of dynamics, Won't Get Fooled Again has it all. It's easily one of my favourite rock songs of all time. The message is a powerfully articulate one too: don't look to politicians for change, look to yourself and try and bring about change in your own life.
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