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The Who

Few rock & roll bands were riddled with as many contradictions as the Who. All four members had wildly different personalities, as their notorious live performances demonstrated: Keith Moon fell over his drum kit while Pete Townshend leaped into the air with his guitar, spinning his right hand in exaggerated windmills. Vocalist Roger Daltrey prowled the stage as bassist John Entwistle stood silent, the eye of the hurricane. They clashed frequently, but these frictions resulted in a decade's worth of remarkable music. Though it took a while to find their audience, by the late '60s the Who rivaled the Rolling Stones as a live act and in album sales.

Key figures of the British Invasion and the mid-'60s mod movement, the Who were an undeniably powerful sonic force. They exploded conventional rock and R&B structures with Townshend's furious guitar chords, Entwistle's hyperactive basslines, and Moon's vigorous, seemingly chaotic drumming. Unlike most rock bands, the Who based their rhythm on Townshend's guitar, letting Moon and Entwistle improvise wildly over his foundation, while Daltrey belted out his vocals. The Who thrived on this sound in concert, but on record they were a different proposition: Townshend pushed the group toward new sonic territory, incorporating pop art and conceptual extended musical pieces into the group's style. He was regarded as one of the era's finest British songwriters, as songs like "The Kids Are Alright" and "My Generation" became teenage anthems, while his rock opera Tommy earned respect from mainstream music critics.

However, the rest of the Who, especially Entwistle and Daltrey, weren't always eager to follow his musical explorations. They wanted to play hard rock instead of Townshend's textured song suites and vulnerable pop songs. The Who settled into their role as arena rockers in the mid-'70s, continuing on this path after Moon's death in 1978 and following it through various disbandments and reunions in the '80s and '90s. Nevertheless, at their peak, the Who were one of rock's most innovative and powerful bands.

Townshend and Entwistle met while attending high school in London's Shepherd's Bush area. In their early teens, they played in a Dixieland band, with Entwistle on trumpet and Townshend on banjo. By the early '60s, the pair had formed a rock & roll band, but in 1962 Entwistle joined the Detours, a hard-edged group featuring a sheet-metal worker named Roger Daltrey on lead guitar. By the end of the year, Townshend joined as a rhythm guitarist, and in 1963 Daltrey became the group's lead vocalist after Colin Dawson left the band. The group's sound evolved rapidly, influenced not only by American acts such as James Brown, Booker T. & the MG's, and Eddie Cochran but also one classic British act, Johnny Kidd & the Pirates, who rocked the British charts with an original called "Shakin' All Over" (which Townshend and company added to their set list). They built their reputation on fierce renditions of American-style R&B, which relied on a lean single guitar/bass/drums approach with the guitarist playing lead and rhythm, a rarity in England at the time. Townshend, realizing that approach suited him, became the band's lone guitarist. A name change also followed; with the Beatles burning up the charts, they needed something more striking than the Detours. Daltrey and Townshend settled on the Who, which confused people in conversation initially, but worked memorably on posters. Amid these changes, original drummer Doug Sandom -- who was married and considerably older than the others -- parted ways with the band just as they were about to attempt cutting a record. The group replaced him with Keith Moon, previously the drummer for the surf-rock group the Beachcombers.

As the group struggled to get a break, Townshend attended art school, while the remaining three worked odd jobs. The band became regulars at the Marquee Club in London and attracted a small following, leading to the interest of manager Pete Meaden. Under his direction, the Who were renamed the High Numbers and dressed in sharp suits to appeal to style- and R&B-obsessed mods. Many R&B-oriented groups tried to cultivate relationships with the mods, who could fill clubs and help propel a record onto the charts -- among those who succeeded best, besides the Who, were the Small Faces ("face" being a part of mod slang) and the Move.

The High Numbers released one single, "I'm the Face." After it bombed, the group began working with Kit Lambert and Chris Stamp, two fledgling music business entrepreneurs. Lambert was the son of composer/arranger Constant Lambert; Stamp was the brother of actor Terence Stamp, and both wanted to make their mark on England's percolating music scene. Lambert spotted the group playing at the Railway Hotel in the wake of "I'm the Face" and brought in Stamp. Lambert and Stamp encouraged them to embrace the mod movement, advising them on what to play and wear, including the target T-shirt that became a visual signature. The group reclaimed the Who name and began playing a set consisting entirely of soul, R&B, and Motown -- or, as their posters said, "Maximum R&B."

During this period, Townshend smashed his first guitar at a gig at the Railway Hotel -- by accident. A temporary stage extension built by the band caused him to hit the ceiling with his guitar; frustrated by the damage, and the crowd's reaction, he struck it until it was in pieces; he was only able to finish the show by using a recently acquired 12-string Rickenbacker. The following week, he discovered that people had come to see him smash his guitar. He eventually obliged with encouragement from Keith Moon, who attacked his drum kit. At first Lambert and Stamp were appalled, but Townshend soon demolished another guitar as part of Lambert's publicity campaign (and it worked, even though the journalist for whose benefit he committed the destruction never actually saw it). He didn't smash guitars at every show in those days; what he was doing in terms of generating feedback sufficed in most audience's minds. It did enhance their status with the mods: by late 1964, they'd developed an enthusiastic following -- mods loved destruction as part of an act.

At the end of 1964, Townshend presented the group with an original song called "I Can't Explain," which owed a little to the Kinks' "You Really Got Me," but had lots of fresh angles. Townshend's lyrics gave a vivid impression of teenage angst perfect for Daltrey's powerful vocals and the band's full-bore attack. The result was equally punchy, sensitive, and macho, with a mean lead guitar and even some harmonies. The band and their managers thought it seemed like a great potential debut single for the newly rechristened Who. So did producer Shel Talmy, an American based in England who was producing the Kinks' records (including "You Really Got Me"). Talmy got the band a contract with the American Decca Records label on the strength of "I Can't Explain" and followed it with a contract with English Decca (the two companies were divided into separate entities at the time).

Though the Talmy-produced single arrived to little attention in January 1965. After the group's incendiary performance on the television program Ready, Steady, Go -- which featured Townshend and Moon destroying their instruments -- "I Can't Explain" reached the British Top 10. Their next single, that summer's "Anyway, Anyhow, Anywhere," declared the mod ethos to the world: "I can go anywhere (where I choose)." While it wasn't far removed from the mentality behind early rock & roll anthems, the Who made it sound resolutely English. That fall, "My Generation" climbed to number two on the charts, confirming their status as a British pop phenomenon. An album of the same name appeared at year's end, featuring various R&B covers and some interesting originals (mostly by Townshend) on the U.K. Brunswick label.

Early in 1966, "Substitute" became their fourth British Top Ten hit. Produced by Kit Lambert, the single marked the band's acrimonious split with Talmy and the end of the group's British Decca/Brunswick recording contract. Lambert and Stamp also tried to scrap the American Decca deal, but that proved impossible. Starting with "Substitute," the band was signed to Polydor in England, and issued on Reaction. For a time, there were rival releases on Brunswick and Reaction, but the competition was eventually sorted out in Lambert and Stamp's (and the band's) favor. "I'm a Boy," issued in the summer of 1966, was the first Who single without a rival release on Brunswick, and it showed just how far the band and Townshend had come in 18 months. During this period, Lambert introduced Townshend to a huge range of classical music that broadened his way of thinking about composition, songs, and subject matter: "I'm a Boy," about a teenage boy forced to dress and act like a girl by his dominating mother, carried an amazing amount of exposition, but left plenty of room for the band's furious attack. In their own way, the Who were having as profound effect on rock & roll as the Beatles or the Rolling Stones: They generated immensely popular English singles that redefined the acceptable content and boundaries of pop/rock music and were also some of the era's hardest -- yet most melodic and complex -- songs.

The story in the United States was very different. "I Can't Explain" barely created a ripple, and "Anyway, Anyhow, Anywhere" did little better, despite publicity on the ABC television rock & roll showcase Shindig. Even with Decca getting behind "My Generation" for a major marketing push, it only got to number 74, a shadow of what it did in England. British success was all well and good, but it wasn't enough. The instrument-smashing routine and the attendant effects (often involving flash-powder and damage to Moon's drums, as well as Townshend's guitars) were frightfully expensive, and the band was carrying an ongoing debt that drove expenses through the roof. Financial ruin was never far from the thoughts of their management, despite the fact that Lambert and Stamp now had their own Polydor imprint, Track Records -- which had a new signing in late 1966, a transplanted American guitarist/singer named Jimi Hendrix. A breakthrough for the Who in America, or in the album market in a major way, was essential.

For the Who's second album, Lambert, Stamp, and the band had a more ambitious agenda. Townshend's success at writing singles inspired the Who's managers, and it was decided that this time, every member of the band would contribute songs to generate more revenue. Although this meant A Quick One was uneven, Lambert's presence allowed Townshend to write the title track as a ten-minute mini-opera. "A Quick One While He's Away" found Townshend writing (and the Who singing and playing) in idioms far beyond rock & roll, including faux Western and faux operetta. Getting dedicated rockers Daltrey and Entwistle to throw their full talents into the music, and the track's successful extended narrative, showed Townshend and company that this idea had potential. A Quick One also provided a canvas for Entwistle's blossoming songwriting: His macabre humor shone through on the catchy "Boris the Spider" and "Whisky Man," the latter showing off his skills on the French horn. Moon's "Cobwebs and Strange" was also a suitable moment of light humor, and even Daltrey -- whose songwriting aspirations never rated much of his attention -- contributed "See My Way." A Quick One had a diversity of sounds and creative voices, though the Who got relatively little recognition for it at the time.

Upon its 1966 release, A Quick One became another British hit, and also provided a minor American breakthrough. Retitled Happy Jack, its title track reached the Top 40 in early 1967. To do that, the Who played the U.S. as part of a package tour organized by DJ-turned-impresario Murray the K. Booked alongside Cream, folkies Jim & Jean, and Wilson Pickett, doing short sets five times a day, the group got the necessary exposure to a wider public, even though "Happy Jack"'s vocal harmonies and relatively restrained guitars made it an atypical Who song. Their next major U.S. milestone was playing the Fillmore in San Francisco. For that occasion, they had a problem that was the reverse of the Murray the K performances -- the latter had been too slight at 15 to 20 minutes, but their usual 40-minute sets were too short for the Fillmore. In the Richard Barnes book Maximum R&B, it was recalled that to lengthen their set, they learned the entire mini-opera and the rest of A Quick One, which they hadn't performed live. After the Fillmore gig in June 1967, they played their most important American show yet, the Monterey International Pop Festival, which put them in a duel with labelmate Jimi Hendrix to see who could end their set more outrageously. Hendrix won with his incendiary performance, but the Who acquitted themselves admirably with a dramatic destruction of their instruments. Reverting to their old stage act was especially awkward, as they'd finished an album and single that represented a new phase.

Constructed as a mock-pirate radio broadcast, The Who Sell Out was a concept album and a loving tribute to England's pirate radio stations, which had been closed in a government crackdown. The group threw everything they had into the album in order to solidify their position in England and finally crack the U.S. market, including the classic "I Can See for Miles." An explosion of excitement and controlled tension, it seemed like a certain chart-topper. Daltrey's performance was the best of his career to date, matched by Townshend's slashing guitar, Moon's frenetic drumming, and Entwistle's anchor-like bass. It took a lot of work at three different studios -- including Los Angeles' Gold Star -- on two continents and two coasts to get that sound; as a consequence, it was so difficult to perform that it became the only hit that they abandoned playing live. It became their first Top Ten hit in America, and reached number two in England, but that wasn't sufficient for what the band or their management needed.

The group spent much of 1968 seeing the singles "Call Me Lightning," "Magic Bus," and "Dogs" -- inspired by Townshend's interest in dog racing -- fail to meet expectations. Track Records, squeezed for cash even with Hendrix's burgeoning sales, assembled Direct Hits, which compiled the band's recent singles (minus the Shel Talmy-produced Brunswick sides). In the United States, Decca Records -- with only two actual "hits" by the group to work with, plus "Magic Bus" (which did unexpectedly well on that side of the Atlantic) -- released Magic Bus, an unacknowledged compilation album built around the hit and drawn from U.K. singles, EPs and recent album tracks. It was misleadingly subtitled "The Who on Tour," and that's a lot of what they did in 1968, especially in the United States, but not the way they did in 1967; this time, they were playing places like the Fillmore East, where they recorded one show for a possible live album. This plan went awry when the show wasn't quite good enough to represent the group, and was abandoned entirely with the vast changes in their songbook in 1969. While making their first serious long-term headway in the U.S., the band -- mostly Townshend, in collaboration with Lambert on the early libretto -- were devising and recording a large-scale work.

Tommy arrived in May of 1969, more than a year and a half after The Who Sell Out. However, it was still unfinished -- the band wanted to add more instruments on certain songs, and Entwistle was particularly upset at the bass sound on the released recording. But they were out of money and options, so Tommy was released as a work-in-progress. And for the first time, the stars lined up in the Who's favor, especially in the United States. The serious rock press seized on the album as a masterpiece, while the mainstream press started to take rock music seriously. The Who were new and fresh enough, and Tommy ambitious enough, that it became one of the most widely reviewed and written-about albums in history. Tommy climbed into the American Top 10 as the group supported the album with an extensive tour where they played the complete opera. In some respects, Tommy became too successful. Audiences expected it to be done in its entirety at every show, and suddenly the Who were routinely playing for two hours at a clip. The work soon overshadowed the Who; it was performed as a play, redone as an orchestrated all-star extravaganza (starring Daltrey and featuring Townshend's guitar), and would eventually be filmed by Ken Russell in 1975 (the movie starred Daltrey). In 1993, Townshend turned it into a Broadway musical with director Des McAnuff.

While Tommy kept the band busy touring for almost two years, how to follow it stumped Townshend. As he worked on new material, the group released Live at Leeds in 1970 (which yielded the hit single "Summertime Blues"), as well as the single "The Seeker," giving them some breathing room Eventually, he settled on Lifehouse, a sci-fi rock opera strongly influenced by the teachings of his guru, Meher Baba, that pushed the group into new sonic territory with electronics and synthesizers. The rest of the Who wasn't particularly enthralled with Lifehouse, claiming not to understand its plot, and their reluctance contributed to Townshend suffering a nervous breakdown. Once he recovered, the group picked up the pieces of the abandoned project and recorded Who's Next with producer Glyn Johns. Boasting a harder sound, Who's Next was a major hit, and many of its tracks -- including "Baba O'Riley," "Bargain," "Behind Blue Eyes," and "Won't Get Fooled Again" (which were both issued as singles), and Entwistle's "My Wife" -- became cornerstones of '70s album-oriented FM radio. The Who's Next tour solidified the band as one of the two top live rock attractions in the world along with the Rolling Stones. Suddenly their history was of interest to millions of fans; Meaty Beaty Big and Bouncy, a 14-song retrospective of their singles, also sold in massive numbers.

Who's Next's success spurred Townshend to attempt another opera. With Quadrophenia, he abandoned fantasy to sketch a portrait of a '60s mod. He stopped working with Kit Lambert, who lost influence with the group in Tommy's wake; the band also left Lambert and Stamp's management. As Townshend wrote the album in 1972, he released Who Came First, a collection of private recordings and demos he made for Meher Baba. Entwistle began his own solo career with Smash Your Head Against the Wall, which he followed with Whistle Rhymes, released the same day as Townshend's album. A double-album, Quadrophenia, sold extremely well, but it proved to be a troublesome concert piece. It was difficult to play live, and few outside of England were familiar with its mod subject matter. It soon became clear that audiences hadn't had the time to familiarize themselves with the work, leading to a lukewarm response on tour. After some retooling, the group performed an abbreviated version of Quadrophenia with some success.

The Who began to fragment after Quadrophenia's release. In public, Townshend fretted over his role as a rock spokesman; in private, he sank into alcohol abuse. Entwistle concentrated on his solo career, including recordings with his side projects Ox and Rigor Mortis. Meanwhile, Daltrey approached the peak of his powers: he had become a truly great singer and was surprisingly comfortable as an actor as he alternately pursued a film career and solo albums. Moon continued to party, celebrating his substance abuse and releasing the solo album Two Sides of the Moon. During this hiatus, the group issued the rarities collection Odds & Sods (1974), which surpassed existing bootleg collections and charted like a new release. Meanwhile, Townshend worked on new songs, resulting in 1975's disarmingly personal The Who by Numbers. The album was a hit, though its number eight placement in the U.S. reflected listeners' modestly diminishing enthusiasm (Quadrophenia, despite being a rather expensive double-LP built around a somewhat outré subject, reached number two on both sides of the Atlantic). Following the Who by Numbers tour, the band took an extended hiatus.

During the late '70s, the band started to succumb to age and the rock & roll lifestyle. After years of playing live, Townshend permanently damaged his hearing. On their 1976 tour, Moon collapsed on-stage just a few minutes into a show at the Boston Garden -- he recovered and seemed to laugh off the incident, while an audience member sat in behind the drumkit to allow the band to finish playing. He continued partying and even suggested a possible successor, ex-Small Faces/Faces drummer Kenney Jones. The Who reconvened in early 1978 to record Who Are You, which was released that August, accompanied by a stunning promotional/performance video of the title song. Instead of responding to the insurgent punk movement, which labeled the Who as has-beens, the album represented the group's heaviest flirtation with prog rock since Quadrophenia. It was a huge hit, peaking at number two in the American charts and earning a platinum sales. Instead of being a triumphant comeback, however, Who Are You became a symbol of tragedy: on September 7, 1978, Moon died of a drug overdose. Since he was such an integral part of the Who's sound and image, the band debated carrying on. Though they continued, all three surviving members later claimed they felt the Who ended with Moon's death.

They took Moon's suggestion and hired Small Faces drummer Kenney Jones as his replacement, as well as keyboardist John "Rabbit" Bundrick, and began working on new material in 1979. Before they released a new record, they released the live documentary The Kids Are Alright and contributed music to Franc Roddam's cinematic adaptation of Quadrophenia, which starred Phil Daniels. The Who began touring later that year, but the tour's momentum was destroyed when 11 attendees at the group's December 3, 1979, concert at Cincinnati's Riverfront Coliseum were trampled to death in a rush for choice festival seating. The band wasn't informed of the incident until after the concert, and the tragedy deflated whatever good will they had.

Following the Cincinnati concert, the Who slowly fell apart. Townshend became addicted to cocaine, heroin, tranquilizers, and alcohol, suffering a near-fatal overdose in 1981. Meanwhile, Entwistle and Daltrey soldiered on in their solo careers. The band reconvened in 1981 to record their first album since Moon's death, Face Dances, a hit that received mixed reviews. The following year, they released It's Hard and embarked on a supporting tour billed as their farewell to fans, with the live Who's Last arriving in 1984 as a commemoration of the tour.

The farewell tour wasn't the Who's final goodbye. While Entwistle and Daltrey's solo careers lost momentum in the '80s, Townshend continued recording to relative success. However, the Who still haunted him. The group reunited to play Live Aid in 1985, and three years later, they played a British music awards program. In 1989, Townshend agreed to reunite (minus Jones, who was replaced by session drummer Simon Phillips) for a 25th anniversary American tour, which was perceived as a way to make a lot of money -- which Daltrey and especially Entwistle needed. They followed it with a live album, Join Together.

The Who reconvened in 1994 for two concerts celebrating Daltrey's 50th birthday, commercial success that helped Townshend's effort to bring Tommy to the Broadway stage. It became a huge hit and revived interest in the album. Townshend revived Quadrophenia in 1996, reuniting the Who to perform it at the Prince's Trust concert in Hyde Park that summer, and it was followed that fall by an American tour that proved to be a failure. The following summer, the Who launched an oldies tour of America that was ignored by the press. In October 2001, they played the Concert for New York City benefit for families of the victims of the September 11 attacks.

In late June 2002, the Who were about to kick off a North American tour when Entwistle died at the age of 57 in Las Vegas' Hard Rock Hotel. In 2006, Townshend and Daltrey released the mini-opera Wire & Glass, their first collaboration as the Who in over 20 years. The full-length Endless Wire, which included the EP, was released later that year to the best reviews of any Who album since Who Are You 28 years earlier; the accompanying tour was similarly well-received. On December 7, 2008, at a gala ceremony in Washington, D.C., Townshend and Daltrey received Kennedy Center Honors for the Who's lifetime contributions to American culture.

Townshend rumbled about the Who writing and recording new material, but instead, he and Daltrey turned their attention to Quadrophenia, once again touring the album in its entirety. After a full performance in 2010 to benefit the Teenage Cancer Trust, a Quadrophenia and More tour began in the summer of 2012 and ran for over a year, culminating with a July concert at Wembley Arena that was later released as the live package Quadrophenia: Live in London. This 2014 release was the opening salvo in a farewell tour, with dates during 2015 in cities they'd never played previously. Also, a hits compilation appeared late in 2014; titled The Who Hits 50!, it included the band's first new material in almost a decade, "Be Lucky." ~ Bruce Eder & Stephen Thomas Erlewine
full bio

Selected Discography

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Track List: Quadrophenia - Live In London

Disc 1

1. I Am The Sea (Live In London / 2013)

2. The Real Me (Live In London / 2013)

3. Quadrophenia (Live In London / 2013)

4. Cut My Hair (Live In London / 2013)

5. The Punk And The Godfather (Live In London / 2013)

6. I'm One (Live In London / 2013)

7. The Dirty Jobs (Live In London / 2013)

8. Helpless Dancer (Live In London / 2013)

9. Is It In My Head (Live In London / 2013)

10. I've Had Enough (Live In London / 2013)

11. 5:15 (Live In London / 2013)

Disc 2

1. Sea And Sand (Live In London / 2013)

2. Drowned (Live In London / 2013)

3. Bell Boy (Live In London / 2013)

4. Doctor Jimmy (Live In London / 2013)

5. The Rock (Live In London / 2013)

6. Love Reign O'er Me (Live In London / 2013)

7. Who Are You (Live In London / 2013)

8. You Better You Bet (Live In London / 2013)

9. Pinball Wizard (Live In London / 2013)

10. Baba O'Riley (Live In London / 2013)

11. Won't Get Fooled Again (Live In London / 2013)

12. Tea & Theatre (Live In London / 2013)

x

Track List: Live At Hull 1970 (Live At Leeds 40th Anniversary Edition)

Disc 1

1. Heaven And Hell (Live At Hull)

2. I Can't Explain (Live At Hull)

3. Fortune Teller (Live At Hull)

4. Tattoo (Live At Hull)

5. Young Man Blues (Live At Hull)

6. Substitute (Live At Hull)

7. Happy Jack (Live At Hull)

8. I'm A Boy (Live At Hull)

9. A Quick One, While He's Away (Live At Hull)

10. Summertime Blues (Live At Hull)

11. Shakin' All Over (Live At Hull)

12. My Generation (Live At Hull)

Disc 2

1. Overture (Live At Hull)

2. It's A Boy (Live At Hull)

3. 1921 (Live At Hull)

4. Amazing Journey (Live At Hull)

5. Sparks (Live At Hull)

6. Eyesight To The Blind (The Hawker) (Live At Hull)

7. Christmas (Live At Hull)

8. The Acid Queen (Live At Hull)

9. Pinball Wizard (Live At Hull)

10. Do You Think It's Alright? (Live At Hull)

11. Fiddle About (Live At Hull)

12. Tommy Can You Hear Me? (Live At Hull)

13. There's A Doctor (Live At Hull)

14. Go To The Mirror! (Live At Hull)

15. Smash The Mirror (Live At Hull)

16. Miracle Cure (Live At Hull)

17. Sally Simpson (Live At Hull)

18. I'm Free (Live At Hull)

19. Tommy's Holiday Camp (Live At Hull)

20. We're Not Gonna Take It (Live At Hull)

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Track List: Greatest Hits Live

Disc 1

1. I Can't Explain (December 1971, San Francisco)

2. Substitute (December 1971, San Francisco)

3. Happy Jack (February 1970, Hull, England)

4. I'm A Boy (February 1970, Hull, England)

5. Behind Blue Eyes December 1971, San Francisco)

6. Pinball Wizard (June 1976, Swansea, England)

7. I'm Free (June 1976, Swansea, England)

8. Squeeze Box (June 1976, Swansea, England)

9. Naked Eye/Let's See Action/My Generation (Medley) (May 1974, South London, England)

10. 5.15 (December 1973, Capital Centre, Largo)

11. Won't Get Fooled Again (December 1973, Capital Centre, Largo)

12. Magic Bus (February 1970, Leeds University, England)

13. My Generation (1965, BBC Sessions)

Disc 2

1. I Can See For Miles (August 1989, Los Angeles, CA)

2. Join Together (August 1989, Los Angeles, CA)

3. Love Reign O'Er Me (August 1989, Los Angeles, CA)

4. Baba O'Riley (August 1989, Los Angeles, CA)

5. Who Are You (August 1989, Los Angeles, CA)

6. The Real Me (January 2002, Watford Hity Hall)

7. The Kids Are Alright (February 2002, London, England)

8. Eminence Front (March 2009, Brisbane)

9. A Man In A Purple Dress (March 2007, Uniondale, New York)

x

Track List: Endless Wire

Disc 1

1. Fragments

2. A Man In A Purple Dress

3. Mike Post Theme

4. In The Ether

5. Black Widow's Eyes

6. Two Thousand Years

7. God Speaks Of Marty Robbins

8. It's Not Enough

9. You Stand By Me

10. Sound Round

11. Pick Up The Peace

12. Unholy Trinity

13. Trilby's Piano

14. Endless Wire

15. Fragments Of Fragments

16. We Got A Hit

17. They Made My Dream Come True

18. Mirror Door

19. Tea & Theatre

20. We Got A Hit (Extended Version)

21. Endless Wire (Extended Version)

Disc 2
x

Track List: Then And Now! (1964 - 2004)

1. I Can't Explain

2. My Generation

3. The Kids Are Alright

4. Substitute

5. I'm A Boy

6. Happy Jack

7. I Can See For Miles

8. Magic Bus

9. Pinball Wizard

11. Summertime Blues (live)

12. Behind Blue Eyes

13. Won't Get Fooled Again

14. 5:15

15. Love, Reign O'er Me

16. Squeeze Box

17. Who Are You

18. You Better You Bet

19. Real Good Looking Boy

20. Old Red Wine

x

Track List: The Ultimate Collection

Disc 1

1. I Can't Explain

2. Anyway, Anyhow, Anywhere

3. My Generation

4. The Kids Are Alright

5. A Legal Matter

6. Substitute

7. I'm A Boy

8. Boris The Spider

9. Happy Jack

10. Pictures Of Lily

11. I Can See For Miles

12. Call Me Lightning

13. Magic Bus

14. Pinball Wizard

15. I'm Free

16. See Me Feel Me

17. The Seeker

18. Summertime Blues (Live)

19. My Wife

20. Baba O'Riley

21. Bargain

Disc 2

1. Behind Blue Eyes

2. Won't Get Fooled Again

3. Let's See Action

4. Pure And Easy

5. Join Together

6. Long Live Rock

7. The Real Me

8. 5'15

9. Love Reign O'er Me

10. Squeeze Box

11. Who Are You

12. Sister Disco

13. You Better You Bet

14. Eminence Front

Disc 3
x

Track List: The BBC Sessions (Live)

1. My Generation (Radio 1 Jingle) (Live BBC)

2. Anyway, Anyhow, Anywhere (Live BBC)

3. Good Lovin' (Live BBC)

4. Just You And Me, Darling (Live BBC)

5. Leaving Here (Live BBC)

6. My Generation (Live BBC)

7. The Good's Gone (Live BBC)

8. La La La Lies (Live BBC)

9. Substitute (Live BBC)

10. Dancing In The Street (Live BBC)

11. Disguises (Live BBC)

12. I'm A Boy (Live BBC)

13. Run Run Run (Live BBC)

14. Boris The Spider (Live BBC)

15. Happy Jack (Live BBC)

16. See My Way (Live BBC)

17. Pictures Of Lily (Live BBC)

18. A Quick One (While He's Away) (Live BBC)

19. Substitute (Version 2) (Live BBC)

20. The Seeker (Live BBC)

21. I'm Free (Live BBC)

22. Shakin' All Over (Live BBC)

23. Relay (Live BBC)

24. Long Live Rock (Live BBC)

25. Boris The Spider (Radio 1 Jingle) (Live BBC)

x

Track List: The Best Of The Who - 20th Century Masters - The Millennium Collection

1. My Generation

2. Happy Jack

3. I Can See For Miles

4. Magic Bus

5. Pinball Wizard

6. Squeeze Box

7. Behind Blue Eyes

8. Who Are You

9. Join Together

10. Won't Get Fooled Again

x

Track List: My Generation - The Very Best Of The Who

1. I Can't Explain

2. Anyway, Anyhow, Anywhere

3. My Generation

4. Substitute

5. I'm A Boy

6. Boris The Spider

7. Happy Jack

8. Pictures Of Lily

9. I Can See For Miles

10. Magic Bus

11. Pinball Wizard

12. The Seeker

13. Baba O'Riley

14. Won't Get Fooled Again

15. Let's See Action

16. 5:15

17. Join Together

18. Squeeze Box

19. Who Are You

20. You Better You Bet

x

Track List: Who's Missing

1. Shout And Shimmy

2. Leaving Here

3. Anytime You Want Me

4. Lubie (Come Back Home)

5. Barbara Ann

6. I'm A Boy

7. Mary-Anne With The Shaky Hands

8. Heaven And Hell

9. Here For More

10. I Don't Even Know Myself

11. When I Was A Boy

12. Bargain (Live)

x

Track List: It's Hard

1. Athena

2. It's Your Turn

3. Cooks County

4. It's Hard

5. Dangerous

6. Eminence Front

7. I've Known No War

8. One Life's Enough

9. One At A Time

10. Why Did I Fall For That

11. A Man Is A Man

12. Cry If You Want

13. It's Hard (Live)

14. Eminence Front (Live)

15. Dangerous (Live)

16. Cry If You Want (Live)

x

Track List: Face Dances

1. You Better You Bet

2. Don't Let Go The Coat

3. Cache Cache

4. The Quiet One

5. Did You Steal My Money

6. How Can You Do It Alone

7. Daily Records

8. You

9. Another Tricky Day

10. I Like Nightmares

11. It's In You

12. Somebody Saved Me

13. How Can You Do It Alone (Live)

14. The Quiet One (Live)

x

Track List: The Kids Are Alright

1. My Generation (Live)

2. I Can't Explain (Live)

3. Happy Jack (Live)

4. I Can See For Miles (Live)

5. Magic Bus (Live)

6. Long Live Rock (Live)

7. Anyway, Anyhow, Anywhere (Live)

8. Young Man Blues (Live)

9. My Wife (Live)

10. Baba O'Riley (Live)

11. A Quick One (Live)

12. Tommy, Can You Hear Me? (Live)

13. Sparks (Live)

14. Pinball Wizard (Live)

15. See Me, Feel Me (Live)

16. Join Together / Roadrunner / My Generation Blues (Live)

17. Won't Get Fooled Again (Live)

x

Track List: Who Are You

1. New Song

2. Had Enough

3. 905

4. Sister Disco

5. Music Must Change

6. Trick Of The Light

7. Guitar And Pen

8. Love Is Coming Down

9. Who Are You

11. Empty Glass

12. Guitar And Pen (Olympic '78 Mix)

13. Love Is Coming Down (Work-In-Progress Mix)

14. Who Are You (Lost Verse Mix)

x

Track List: The Who By Numbers

1. Slip Kid

2. However Much I Booze

3. Squeeze Box

4. Dreaming From The Waist

5. Imagine A Man

6. Success Story

7. They Are All In Love

8. Blue Red And Grey

9. How Many Friends

10. In A Hand Or A Face (live)

11. Squeeze Box (Live)

12. Behind Blue Eyes (Live)

13. Dreaming From The Waist (Live)

x

Track List: Odds & Sods

1. I'm The Face

2. Leaving Here

3. Baby Don't You Do It

4. Summertime Blues

5. Under My Thumb

6. Mary Anne With The Shaky Hand

7. My Way

8. Faith In Something Bigger

9. Glow Girl

10. Little Billy

11. Young Man Blues

12. Cousin Kevin Model Child

13. Love Ain't For Keeping

14. Time Is Passing

15. Pure And Easy

16. Too Much Of Anything

17. Long Live Rock

18. Put The Money Down

19. We Close Tonight

20. Postcard

21. Now I'm A Farmer

22. Water

23. Naked Eye

x

Track List: Quadrophenia (Deluxe Edition)

Disc 1

1. I Am The Sea

2. The Real Me

3. Quadrophenia

4. Cut My Hair

5. The Punk And The Godfather

6. I'm One

7. The Dirty Jobs

8. Helpless Dancer

9. Is It In My Head?

10. I've Had Enough

11. 5:15

12. Sea And Sand

13. Drowned

Disc 2

1. Bell Boy

2. Doctor Jimmy

3. The Rock

4. Love Reign O'er Me

x

Track List: Quadrophenia

Disc 1

1. I Am The Sea

2. The Real Me

3. Quadrophenia

4. Cut My Hair

5. The Punk And The Godfather

6. I'm One

7. The Dirty Jobs

8. Helpless Dancer

9. Is It In My Head?

10. I've Had Enough

Disc 2

1. 5:15

2. Sea And Sand

3. Drowned

4. Bell Boy

5. Doctor Jimmy

6. The Rock

7. Love, Reign O'er Me

x

Track List: Who's Next

1. Baba O'Riley

2. Bargain

3. Love Ain't For Keeping

4. My Wife

5. The Song Is Over

6. Getting In Tune

7. Going Mobile

8. Behind Blue Eyes

9. Won't Get Fooled Again

10. Pure And Easy

11. Baby Don't You Do It

12. Naked Eye (Live)

13. Water

14. Too Much Of Anything

15. I Don't Even Know Myself (Who's Next)

16. Behind Blue Eyes

x

Track List: Who's Next [Deluxe Edition]

Disc 1

1. Baba O'Riley

2. Bargain

3. Love Ain't For Keeping

4. My Wife

5. The Song Is Over

6. Getting In Tune

7. Going Mobile

8. Behind Blue Eyes

9. Won't Get Fooled Again

10. Baby Don't You Do It

11. Getting In Tune

12. Pure And Easy

13. Love Ain't For Keeping

14. Behind Blue Eyes

15. Won't Get Fooled Again

Disc 2

6. I Don't Even Know Myself (Live)

10. Water (Live)

11. My Generation (Live)

13. Naked Eye (Live)

x

Track List: Tommy

1. Overture

2. It's A Boy

3. 1921

4. Amazing Journey

5. Sparks

6. Eyesight To The Blind (The Hawker)

7. Christmas

8. Cousin Kevin

9. The Acid Queen

10. Underture

11. Do You Think It's Alright?

12. Fiddle About

13. Pinball Wizard

14. There's A Doctor

15. Go To The Mirror Boy!

16. Tommy Can You Hear Me?

17. Smash The Mirror

18. Sensation

19. Miracle Cure

20. Sally Simpson

21. I'm Free

22. Welcome

23. Tommy's Holiday Camp

24. We're Not Gonna Take It

x

Track List: Magic Bus

1. Disguises

2. Run Run Run

4. I Can't Reach You

6. Call Me Lightning

7. Magic Bus

8. Someone's Coming

9. Doctor, Doctor

10. Bucket T.

11. Pictures Of Lily

x

Track List: The Who Sell Out

1. Armenia City In The Sky

2. Heinz Baked Beans

3. Mary Anne With The Shaky Hand

4. Odorono

5. Tattoo

6. Our Love Was

7. I Can See For Miles

8. I Can't Reach You

9. Medac

10. Relax

11. Silas Stingy

12. Sunrise

13. Rael 1

14. Rael 2

15. Glittering Girl

16. Melancholia

17. Someone's Coming

18. Jaguar

19. Early Morning Cold Taxi

20. Hall Of The Mountain King

21. Girl's Eyes

22. Mary Anne With The Shaky Hand (Alternative Version)

23. Glow Girl

x

Track List: A Quick One

1. Run Run Run

2. Boris The Spider

3. I Need You

4. Whiskey Man

6. Cobwebs And Strange

7. Don't Look Away

8. See My Way

9. So Sad About Us

10. A Quick One, While He's Away

11. Batman

12. Bucket T

13. Barbara Ann

14. Disguises

15. Doctor, Doctor

16. I've Been Away

17. In The City

18. Happy Jack (Acoustic Version)

19. Man With The Money

20. My Generation/Land Of Hope And Glory

x

Track List: My Generation (Deluxe Edition)

Disc 1

1. Out In The Street

2. I Don't Mind

3. The Good's Gone

4. La-La-La Lies

5. Much Too Much

6. My Generation

7. The Kids Are Alright

8. Please, Please, Please

9. It's Not True

10. I'm A Man

11. A Legal Matter

12. The Ox

13. Circles

14. I Can't Explain

15. Bald Headed Woman

16. Daddy Rolling Stone

Disc 2

1. Leaving Here (Alternate)

2. Lubie (Come Back Home)

3. Shout And Shimmy

4. (Love Is Like A) Heat Wave

5. Motoring

6. Anytime You Want Me

7. Anyway, Anyhow, Anywhere (Alternate)

8. Instant Party Mixture

9. I Don't Mind (Full Length Version)

10. The Good's Gone (Full Length Version)

11. My Generation (Instrumental Version)

12. Anytime You Want Me (A Capella Version)

13. A Legal Matter (Mono Version)

14. My Generation (Mono Version)

x

Track List: Be Lucky (Single)

1. Be Lucky

x

Track List: Live At Leeds (2010 Super Deluxe Edition)

Comments

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lanzesquedax c 8 1 6
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metallicagur l 1 8
❤❤❤❤❤
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vB x97snCAvz6ne v i l z 8 q da IcdX
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,occ ct Zhang xbh k l 3 xvery 7TXx9n BFF bc3
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On this day the Who's Next album is 45 yrs. old! My favorite song on the album is Behind Blue Eyes!
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Something came in the mail today...
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The perfect song for the people.....g i v e n governmental crisis worldwide and electional chaos...I could go on!!.....but I digress...Th e Who were arguably one of the best!...in my top 5 for that era. No doubt!
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The extended Live at Leeds has almost all of their 1969/1970 tour on it except for the Tommy album
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dlunderwood5 5 2 6
They are the WHO, what can I say, love them
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tankboy303
Love their music
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mysteriousst r a n g e r s 8 6
❤❤❤❤❤
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Why do you want the Rolling Stones to quit. They should play as long as they can hold out they are awesome
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Wow, The Who! They never come on any of my stations. This is good. Thanks Pandora, more Who please!!!
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jamesvp23
My fathers favorite, this brings me to tears!!!! Long live Papi and The Who!
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On this day May 20, 1967, the Who's album 'Happy Jack' was their first album to make the US charts.
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HAPPY BIRTHDAY PETE
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This must be off some re-released version of the album/CD. I have the CD since it was new, and mine stops at Track 9, Another Tricky Day.
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Good song
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dcarman2
Unless Keith Moon collapsed more than once behind his drum set; there is a mistake regarding the Boston Garden show. Keith collapsed at the Cow Palace in San Francisco and an audience member came up and finished the show. I know, I was there.
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These are not very good recordings of their songs. Euugh.
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It would be so cool to go to the Desert Trip Festival Oct. 7-9. Friday is the Rolling Stones and Bob Dylan, Saturday is Paul McCartney & Neil Young and Sunday is The Who & Roger Waters. Tickets go on sale on Monday, May 9th at 9 am PST.
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Love this song and the who!!!
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Excellent song, brings back memories!!
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what mongoloid writes these lyrics out? zzzz
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The guys were great in St. Louis last Saturday night (following two postponement s ) . Zack Starkey is an able successor to Keith Moon. Whatever they have lost to age didn't matter. What awesome music!
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mark.heiser
Hu hu, hu hu? Wtf with that?
Should be Who who, who who!
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Just saw them in Newark NJ. They were terrific... Who knew?
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5 thumbs up. Best Who song ever!
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I went to see the Who in Chicago Thursday night. It was a great show! Their music is powerful!!!
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Time for another round of Pinball Wizard!
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❤❤❤❤❤
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matratus
Da Ew...
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THE greatest rock band of all time hands down. Incredibly talented musicians and ahead of their time back in the day - uncomparable lyrics - Townsend is a master music writer - Long Live The Who.
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Happy 72nd birthday to Roger Daltrey.
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I love The Who but what does this song have to do with Kayak?
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I saw The Who live at the Antler Bar in Pentwater Michigan back in the late '70's. I put Roger on my shoulders so he could be taller than Keith finally and he was ecstatic that he topped Entwhistle and Townshend as well. We got up on stage like that and then they did the High Numbers song I'm the Face as Roger held the microphone down where his nether regions would be. I'm the face if you want it, dear, all the others are third class tickets by me, baby is that clear?! Yeah, good times...
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Cheers to one of the best drummers,Kei t h moon
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✌️❤️
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motojoel146
A lot of this review is a little off the mark
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cfarner8
nothing about Zak Starkey?
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It's a girl, Mrs. Walker, it's a girl....
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Rest in peace David Bowie -1947-2016
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THE WHO AND ROLLINGS STONES ROCK ON FOREVER. YEA!!!!!!!!! ! ! ! ! ! !
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I strum with one finger. I'm normal on my left hand. Lol
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I'm in a band. We think the who are one of the best bands there was and ever will be. I play bass so naturally John is my idol. I'm missing fingers on my right hand and only play with one finger. My band knows John as " thunder fingers" I'm known as "thunder finger" ;)
Report as inappropriate
review says Townshend revived Quadrophenia in 1996, reuniting the Who to perform it at...an American tour that proved to be a failure. saw that show in hartford, and it was fantastic (although roger lost his voice singing other who songs after they finished quadrophenia )
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The Who are one of the top 5 bands of all time... however they died with the passing of Keith Moon, his replacement Kenny Jones was a good drummer, but a bad fit for the Who. They still sounded good well into the 90's... but why in the world would any sane person want to see/hear a 70plus yr. old guy trying to sing songs that you KNOW he just can't do any justice to any longer? It's the same with the god damned Rolling Stones.... retire already! How much money do you need?
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Mama's got a squeeze box.
And she's gonna play all night.

Only the who could come up with these lyrics.

Long live Roger and Pete
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One of the best rock band ever!in my top 5
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Every time I listen Who's Next, I want to piss on a monolith.
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