In response to some recent suggestions from my dear readers, I am forcing myself to have two non-music posts between music posts. It is now time for some Who...
NOTE: I am only including compilations that have something unique to offer, like rarities, new tracks, live tracks, etc. The Who have released about 30,000 different compilations. If you want the best conventional one, I guess 2002’s two disc Ultimate Collection covers most of the essential bases.
My Generation (1965) ****
Advertised as “maximum R&B,” their explosive debut is higher on the maximum and less potent on the R&B. Unlike some contemporaries like The Stones or The Animals, The Who never really sounded very natural playing the revved up blues and R&B that was the bedrock for many of those first wave of British Invasion groups.
A Quick One (1966) ***
Spotty but interesting sophomore effort featuring compositions from each of the four band members (this was due to a publishing rights dispute). There is a reason that Who songs are generally written by Pete Townshend or John Entwistle, not Roger Daltrey or Keith Moon. It is demonstrated here.
The Who Sell Out (1967) *****
Tommy is more famous, but this concept album is better. The Who as a killer 60’s pop band, this faux pirate radio broadcast (complete with Who-recorded commercials between songs) is a shimmering set of Townshend-penned pop gems before they moved on to help define “classic rock.”
Magic Bus – The Who on Tour (compilation of singles, rarities) (1968) **
False advertising (it is not live) and a BS release – a mix of random album tracks, obscure studio jams and a few singles. Justly forgotten in the discography.
Tommy (1969) ****
The story is incoherent and ridiculous, but no matter, the music kicks ass. Keith Moon’s finest studio moments as a drummer are here.
Live at Leeds (live) (1970/1995/2001/2010) *****
Greatest live album ever? Maybe. For those used to wonderful 60’s pop Who and pinball wizards, this weapon of mass destruction will melt your face.
NOTE: The four dates indicate that it was originally released as a single album in 1970, but those subsequent years include ever expanding tracks from the show, until finally they released the entire set for the night. Great marketing from Townshend, as the Who fanatics have now purchased it four times. I should be mad, but the music is so damn good, it doesn’t matter. Get the deluxe edition for the full set, it is worth the cash.
Live at Hull (live) (2012/1970) Not Rated
Pete Townshend wants your money. Recorded the night after Leeds and almost identical setlist.
Live at the Isle of Wight Festival 1970 (live) (1996/1970) ***
Great show, made somewhat redundant by Leeds. But the setlist is different enough to be worthwhile for the fan.
Meaty, Beaty, Big and Bouncy (compilation) (1971) *****
This and Odds & Sods are the only essential Who compilations to own for those who also own the other releases. It collects their wonderful 60’s singles, many of which did not appear on the albums and is an essential listen from start to finish.
Who’s Next (1971) *****
If you don’t know why this is one of the greatest rock records ever made by now, then I cannot help you. Please exit the blog now.
Quadrophenia (1973) ****
It fails as a coherent narrative, the story is even more muddled than Tommy, but it also contains some of The Who’s most complex and rewarding music. John Entwistle’s bass playing on “The Real Me”? My God.
Odds & Sods (compilation) (1974) ***
A clearing out of the vaults of rarities and outtakes, but who’s complaining with “Naked Eye,” “Pure and Easy” and “Long Live Rock”?
The Who By Numbers (1975) ****
Townshend’s neurotic confessional album, it really grows on you with repeated listenings. John Entwistle’s bass playing on “Dreaming From the Waist”? My God.
Who Are You (1978) ***
The last proper Who record before Moon’s demise; they all sound ragged and tired, but there are some great songs here nonetheless.
'The Kids Are Alright' (compilation, live) (1979) ****
Soundtrack to the film becomes a live rarities wake of sorts for Keith Moon (and actually the band as we knew it), but it is an alternate history that is an excellent listen in its own right.
Face Dances (1981) ***
It’s Hard (1982) **
Who’s Last (live) (1984) **
Who’s Missing (compilation of rarities) (1985) **
Two’s Missing (compilation of rarities) (1987) **
Join Together (live) (1990) **
Thirty Years of Maximum R&B (box set compilation of hits, album tracks and rarities) (1994) ****
Live at the BBC (live compilation) (2000) ***
Live at the Royal Albert Hall (live) (2003) ***
Then and Now (compilation and new tracks) (2004) ***
Wire & Glass (EP) (2006) *
Endless Wire (2006) **
Greatest Hits Live (live compilation) (2010) ***
The Who were one of those rare bands where each member was essential to their sound. Once Keith Moon died in ’78 (John Entwistle has also since passed on) it was a different band. Townshend always said that The Who died with Moon, they still use the name for their work, but it is nothing more than “a brand name” to him at this point. No doubt, Townshend and Daltrey benefit from using that name vs. touring and recording under another moniker, but I guess they’ve earned the right. But it is a different animal. They tried to carry on as an actual band for a couple of albums, with ex-Faces drummer Kenney Jones replacing the irreplaceable Keith Moon. It wasn’t a good fit, but you can’t blame Face Dances and It’s Hard on Jones. Pete Townshend was splitting his songs between The Who and his burgeoning solo career, and you get the feeling he was keeping the best for himself during this period (this was the same time his outstanding Empty Glass and All The Best Cowboys Have Chinese Eyes came out). Face Dances is actually a bit underrated, they had something to prove on that one and laid a legitimate template to move forward in the 80’s had they so chosen. I’ve got a soft spot for the going-through-the-motions Who’s Last, as it was my introduction to the band. Their material definitely has a hold on me, as something that mediocre still turned me into a fanatic. The box set is cool, but it could have been more. Live at the Royal Albert Hall is notable as it is John Entwistle’s final recording before his demise. His astounding bass playing was undiminished. Endless Wire, their first record of new material in 24 years, was a letdown.
Bottom Line: The Who was important until Keith Moon died, so their material 1965-78 is Classic Rock Canon stuff. (If you want to stick with the JMW Ten Year Rule, you could really cut it off at ‘73’s Quadrophenia as their last absolutely essential release). But don’t overlook some sparks of greatness after ’78, “You Better You Bet” and “Eminence Front” were great early 80’s singles, the latter actually being one of their best songs.
ADDENDUM added June 2014: Pete Townshend solo
Each of the original members of The Who released solo work. Predictably, Moon's and Daltrey's are negligible. Entwistle's is of interest primarily for his playing. Pete Townshend had the most substantial solo career, and his work is worth commenting on as well. He worked on several records with other artists in honor of his spiritual mentor Meher Baba, I am not including those.
Who Came First (1972)***
WCF seems to be a place for Townshend to get some music out that didn't quite fit with The Who. It works as a good album on its own, though. You have the first versions of "Pure and Easy" and "Let's See Action," songs that would eventually get Who treatment and appear on compilations. "Sheraton Gibson" is a delightful acoustic tune ruminating on life on the road.
Rough Mix (with Ronnie Lane) (1977) ***
Townshend always had a close relationship with the criminally underrated Ronnie Lane of The Faces. Their low key 1977 duet record is fantastic. Townshend's hilarious self-deprecating "Misunderstood" and the lovely "Heart to Hang Onto" are highlights.
Empty Glass (1980) ****
Previous Townshend solo projects were clearly side projects to keep busy while The Who were in hiatus at different times. EG is the first Townshend record that sounds like a major artistic statement outside of The Who, and in fact, it is much better than the actual Who records of the early 80's. "Rough Boys" is an angry answer to the punk movement that called Townshend a dinosaur and "Let My Love Open The Door" is a fantastic pop song that was his first solo hit.
All the Best Cowboys Have Chinese Eyes (1982) *****
I've written about ATBCHCE many times, it is one of the most challenging records, lyrically, from any major artist. Townshend himself claims to not remember recording it at all as he was in a cocaine fog at the time. Some critics panned it, pretentious critic Robert Christgau said it was "pretentious at an unprecedented level," while retrospective appraisals are much more positive. It is always thought provoking and compelling, and Townshend surrounds his complex lyrics with more approachable music in any case.
White City: a Novel (1985) ***
An ambitious failure of a concept album about growing up in a rough part of London, the record nonetheless contains some fantastic individual songs, several of which feature David Gilmour's distintive guitar work.
Deep End Live! (live) (1986) ***
A solid live outing where Pete mixes Who tunes with solo and rarities. The setlist is often unexpected.
The Iron Man: The Musical By Pete Townshend (1989) *
Psychoderelict (1993) *
Woo, these are bad. Two embarrasing concept albums.
Scoop (compilation of demos) (1983) NR
Another Scoop (compilation of demos) (1987) NR
Scoop 3 (compilation of demos) (1994)
Scooped (compilation of demos) (1995) ****
Towshend always had one of the most complex home studios in the world, and from the early 70's on, he would create very realized demos for both The Who and solo. These demos are quite listenable in their own right, and so with the Scoop series of releases, he started to put out his demos. Many are relevatory. Each of the Scoop records is a double album. The collection Scooped is the one to get, as it is a two disc compilation of the six Scoop discs.
The Best of Pete Townshend (compilation) (1996) ****
An excellent single disc sampler of Townshend's solo work.
Pete Townshend Live: a Benefit For Maryville Academy (live) (1999) ***
Solid live outing with a few standout performances, including a gorgeous version of Bob Dylan's "Girl From the North Country."
Lifehouse Chronicles (box set) NR
Lifehouse Elements (compilation) NR
After the success of Tommy, Townshend tried to write an extremely ambitious follow-up concept album that never came to pass. Elements of the Lifehouse material appeared on Who's Next, Odds 'n Sods, Who Are You and Who By Numbers, as well as standalone singles. LC is a six disc set of Townshend's demos from the aborted Lifehouse project, and LE is a single disc sampler. Since I have most of the significant material from Lifehouse on other Who and Townshend releases, I never had the energy to grab a six disc revisit.
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