By
the time ‘The Who’ unleashed
their new album to the public, it had
been over two years since the release
of their previous studio work, the double
album of the rock opera 'Tommy' (1969).
During these intervening two years ‘The
Who’ had released a stunning live
album called ‘Live At Leeds’,
which was to set the bench mark for all
live albums that were to follow. They
toured almost continuously - with headlining
appearances - at such major events like
‘The Isle of Wight Festival’
(twice) and Woodstock. The latter gave
the band immortality on the silver screen
when the movie of the 3-day event was
released to cinemas worldwide with the
center piece of the music being ‘The
Who's’ finale of the opera.
After
two years, a long time in rock and roll,
the band was desperate to get something
recorded in the studio that was more representative
of what the band was like at the time
live on stage. Pete Townshend was still
working on his latest concept called 'Lighthouse’,
which was supposed to be an amalgamation
of live concerts, new songs, audience
participation, a stage show, and a movie.
To this day Peter Townshend has never
brought the ‘Lifehouse’ concept
to its full conclusion, but what ‘The
Who’ wanted was a new album now.
At first the boys went over to America
to work with their manager and producer
Kit Lambert, but by now relationships
between manager and band had deteriorated
beyond a working relationship being a
viable proposition. So although several
tracks were laid down at the famous New
York Record Plant with Lambert producing
and several session musicians including
Leslie West of Mountain fame to spice
up proceeding, the recording was deemed
disappointing by the band. The split with
Kit Lambert became formal and final, and
the band re-camped to London.
Back home the young Vic Theatre was rented,
the Rolling Stones mobile recording studio
was moved in, and old mate Glyn Johns
was brought in to help with the production.
Each week the band would give free concerts
for an invitational fan club only audience
to try out the new material they were
recording, mostly songs that Townshend
had ready for his ‘Lifehouse’
project. The results were simply devastating
from the opening ARP Synthesizer of 'Baba
O'Riley’ to the final crashing chords
of ‘Won't Get Fooled Again'. This
is rock music that was hard edged, brazen
faced, steeped in East end class.
Although ‘Lifehouse’ was
very much a Peter Townshend creation,
‘Who's Next’ was without doubt
a triumph for ‘The Who-le’
band. Roger Daltrey's singing was uniformly
superb with vocals ranging from the raw
power and screams of 'Won't Get Fooled
Again' (anybody who has ever seen this
song performed live will never forget
the bellow of celebration that Roger Daltrey
lets fly as the band breaks back in for
the final verse), the moving delicacy
of 'Behind Blue Eyes', to the altogether
more demanding material such as 'The Song
Is Over', 'Getting In Tune', and 'Goin'
Mobile'. Across the full scope of this
material Daltrey's range and power are
tested to the limit, resulting in one
of the most commanding vocal performances
in rock history.
As well as his fine song 'My Wife' (still
my favorite song on the album, the opening
lyrics always brings a wry smile to this
dog's lips)…
“My wife is after me, murdered
in cold blood is what I'm gonna
be,
I ain't been home since Friday,
and now she's after me.
Give me police protection, I need
a bodyguard,
I'm against a judo expert with a
machine gun.” |
John Entwistle brought his usual stunning
bass playing to the sessions, enhancing
the songs immeasurably with not only a
solid foundation, but with effortless
melodic frills.
Keith Moon's drumming was as supercharged
as ever, but more disciplined and precise.
The full expansive range of Moon's drum
kit was recorded with depth, clarity,
and power. Almost making him the star
of the show.
Apart
from Peter Townshend himself - aside from
his songs and synthesizer arrangements
- confirmed his status as one of rock's
master guitarists, providing rich acoustic
textures, inspired lead work and his unrivalled
use of power chords. He sang often and
well, too. The contrast between Daltrey's
up-front power and Peter's mellower refrains
gave ‘The Who’ a unique vocal
attack that invested songs like 'Baba
O'Riley', ‘Bargain', and 'The Song
Is Over' with a more thoughtful cerebral
slant.
‘The Who’ functioned not
only as a creative experimentalist, but
as a visceral guitar-driven rock and roll
band. (Listen to 'Bargain' for instance,
to hear one of the most dynamic ensemble
rock performances ever recorded.) ‘Who's
Next’ offers prime evidence that
the real power behind ‘The Who’
was the cohesive unity of all four of
its members in equal parts.
With the new Deluxe Edition of ‘Who's
Next’ you get six of the tracks
from the aborted New York recordings (I
am sorry boys, but the version of 'Love
Ain't for Keeping' was better the first
time round), plus on the second C.D a
complete concert from the young Vic. The
band plays all the new songs (with only
the odd nod to the past) at full pelt
and with more verve and freshness than
a Ferrari. You also get a 40 page booklet
with all the facts and figures, packed
full of color photographs, and two reviews
of the album from Peter Townshend himself
and John Atkins. Certainly a superior
re-release of one of rock music's finest
moments.
Pawed by Mott The Dog
Remastered by Ella Crew
E-mail: review@mott-the-dog.com
