Tag: The Who

I apologize for posting late tonight, but a very rare event happened.  The International Space Station made a transit directly overhead at posting time, and I did not want to miss it.  Besides, my lovely friend wanted to watch it with me.  It was a spectacular sight, and the ISS was not bad, either, LOL!

Second, I was going to add a new crosspost site that is run by our friend ninkasi23, but never figured out how to make it so.  I trust that she will email or call me to help me over my stupidity.

I was going to write about the compilation album, Meaty, Beaty, Big, and Bouncy this time but we have already discussed every song on that record.  However, I will make a comment about the title.

Most people think that the title was just sort of a dirty joke, but it actually was a description of the band members.  I think that Lambert came up with it, but I am not really sure.  Here is the meaning:

At the time, and still, Daltrey was pretty fit, so he was Meaty, meaning all muscle and no fat.  Moon, of course, kept the beat, so he was Beaty.  Entwistle, aka The Ox, was a really big guy, and of course Townshend was always leaping about the stage, so he was Bouncy.  Now you know, as Paul Harvey used to say, the rest of the story.

I thought that I was done with it, I really did!  I was really better the past few days.  But depression has set in again.  I hate it!  I want to be normal, get a job (all of you know that I do have a brilliant side), and get back with my family.

Not likely.  My garden is ready to pick, and I have not the energy to do anything to make it so. Melancholia is a curse that I have lived with, off and on, for half a century now.  For a couple of weeks I was over it, but that was just because of a fantasy.

Now, never concern yourselves that I will do anything rash.  I will live until I die, and will not die from my own hand.

This is an extremely difficult piece to write, because the only living soul who understands it is Peter Townshend, and he still has a bit of difficulty articulating the concept in terms that we mere mortals can understand.  This is not in any way a criticism of Mr. Townshend, but more of a comment of my own poor understanding of his high goals.

In a nutshell, perhaps a cracked one, the concept for Lifehouse was sort of like A Brave New World, or 1984, in that society has been overtaken by a monied elite and thought suppression was the norm.  Does that sound timely?  I think that Townshend has presaged the ideas that the “modern” Republican Party is trying to impress on us all, but perhaps I give him too much credit.  I think not.

The concept that I finally came with was that individuality was suppressed, and group think was being imposed by the technocrats that ruled.  I ask for everyone’s thoughts on this, because it is so hard to decipher.

I am very sorry, folks, but I was in a hurry to finish up the piece and there was a horrible traffic tie up before I could get home.  I got home late, and was finishing up the 21st song out of 24 when I fat fingered my keyboard, wiping out almost everything.

That teaches me, regardless of the venue, to save after EVERY paragraph.  It would not have made any difference if I had been writing in Word, or Works, or at any blog site.  If one does not save work, it gets lost.  However, there is a bit of a workaround.

Load up Lazarus for Firefox and it can help.  It is not perfect, but if I had been using it, I would lost only the two or three paragraphs before my keyboard mistake.  I still do not know what I did, but I now save after EVERY paragraph!  I use it now, although I am not sure how well it works.

It is disheartening to lose so much work, but there is a silver lining to that black cloud.  Next week the piece will be much better, because I had time to think about it and improve it.

Those of you who read my pieces know that I often write about my favourite band, The Who.  (I used the UK spelling intentionally this time, rare for me these days).  This time we shall examine what many people say was their finest work.  I am not sure that I agree completely, but it was extremely good.

Who’s Next is actually a compilation of songs, most from Townshend, that became an album after the ill fated Lifehouse project, Townshend’s opus, never came to light.  He finally finished it, many years later, but the final product was far different than this record.  We shall discuss Who’s Next tonight, and will continue the discussion about Lifehouse next week, after I see your comments and questions.

First let us get to the facts.  Ready to go?

Last week we examined the original vinyl record of Live at Leeds.  Due to the technological limitations of vinyl, it was only about 45 minutes, give or take a couple, long.  The album was rereleased in 1995 on CD, and because that medium is capable of much more time, around two hours, many more tracks were added that had been recorded at the time.

Tonight we shall listen to those tracks and discuss whether or not we think that they are good.  I think that they are all no worse than very, very good and that many of them are outstanding.  Please listen and tell me what you think.  For those of you who have not signed up for an account, please do so so that you can comment in future.

Let us get started.

Live at Leeds was the first live recorded record album by The Who that was legitimate.  There were plenty of rather crudely recorded, pirated versions of many of their live performances, but back in 1970 those analogue ones, mostly recorded by audience members under cover, rapidly were degraded by the very process of analogue to analogue copying, making even third generation copies almost unintelligible.   That is too bad, because some of those performances were great.

After the huge success of Tommy, and the concomitant success of the associated tour, Kit Lambert and The Who decided to record an actual live record that would capture their sound.  Live at Leeds did it well, but was too short because of the limitations of vinyl records at the time.  Remember, and I have covered this topic before, only 45 minutes, give or take a few, were possible with the vinyl technology at the time.

Let us examine what is really a wonderful record.  Note that there is very little video available, so that just the music is usually given here.  By the way, the album charted at #3 in the UK and at #4 in the US.

This shall complete our discussion of Tommy, the seminal record album by The Who from early in 1969.  We had an excellent discussion last week, and hope to have an equally good, if not even better one tonight.  I was particularly interested that there was a range of thoughts about it, from some who just hated it to those who just loved it.  That is fine.  That is just personal taste.

I should go on record to say that my mum liked Overture.  She was pretty reserved about music other than the Swing Era kind, since she came of age then, but allowed to me that she really liked the French horn.  I was pretty dumb at the time that we were listening to, on the radio, one of the most important bands that ever existed.

With no more ado, here is the second disk (the third side) of Tommy.  Please comment profusely.

In 1969, the seminal Tommy was released by The Who.  Track Records, The Who’s own brand, in collaboration with Polydoor was the UK record company, and in the United States Decca was.  I have a mint Decca one.  It was billed as the first rock opera, but it actually was not.  There had been at least a couple before Tommy came to us.

Not counting the composition effort (by far the bulk of it by Pete Townshend), it took the better part of year to record, edit, and redub the work.  This was Kit Lambert, their producer, at his finest, and also extremely fine efforts by all of the band and the production and engineering staff.  It is truly a masterpiece.

First of all, this is really a very poorly titled record album.  It had nothing to do about being on tour.  It is actually their first compilation album on Decca, their American label.  When this came out in 1968, the way that songs were released was a bit different than later, but it looks like, in the digital age, we are sort of returning to the older ways.

Back then, the single ruled (actually, they were doubles, 45 RPM vinyl pressings with an “A” side (the “good” song) and a “B” side (the ugly cousin)).  That ceased to be the norm after around 1969 or so, when the album started to dominate and singles were released in accordance with how well specific tracks on the album got airtime.

In any event, this is a compilation from many singles the The Who had released over several years.  It had a companion in the UK, and we shall discuss that presently.