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#191
28th June 2020, 01:39 PM
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 ...but I think it's a cracking album. It's the best and most consistent thing they have done since 'Quadrophenia' in 1973 Unlike the 'Endless Wire' album, with its blatant overuse of 'Baba O'Riley' synths, there are a lot of very subtle 'nods-to-the-past', both musically and lyrically, which will possibly by-pass the casual listener and only be appreciated by the long time fan I will save commenting on the individual songs until I get round to doing a 'The Who: Album By Album, Track By Track' series of posts, but I will tell anyone who is still dithering about getting 'WHO', do so - I don't think you will be disappointed Demdike@Cult Labs and nosferatu42 like this.
__________________ People try to put us down Just because we get around Golly, Gee! it's wrong to be so guilty  |
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#192
4th July 2020, 06:14 AM
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Possibly the first written article about the band, when they were still calling themselves 'The High Numbers' It's interesting to note that John was using the 'Allison' surname, but Pete looks nothing like Pete!  nosferatu42 likes this.
__________________ People try to put us down Just because we get around Golly, Gee! it's wrong to be so guilty |
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#193
6th July 2020, 10:26 AM
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July 6th 1962 - The Detours play at the Paradise Club in Peckham. It is thought that this is the first show they ever play The line-up consists of: Roger on lead guitar and trombone, Colin Dawson on lead vocals, Pete on rhythm guitar, Doug Sandom on drums and John on bass guitar and trumpet 
__________________ People try to put us down Just because we get around Golly, Gee! it's wrong to be so guilty |
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#194
23rd July 2020, 01:48 AM
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__________________  MIKE: I've got it! Peter Cushing! We've got to drive a stake through his heart! VYVYAN: Great! I'll get the car! NEIL: I'll get a cushion. |
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#195
23rd July 2020, 06:34 PM
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Social distancing - The Who way!  Demdike@Cult Labs and nosferatu42 like this.
__________________ People try to put us down Just because we get around Golly, Gee! it's wrong to be so guilty |
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#196
27th July 2020, 12:47 PM
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Fish cover The Who as a bonus track on the 1998 re-release version of the covers album 'Songs from the Mirror'
__________________ People try to put us down Just because we get around Golly, Gee! it's wrong to be so guilty |
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#197
3rd August 2020, 07:11 PM
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As promised / threatened a few posts ago, here is a WHO album-by-album, track by track discography. What I will try to do is post at least one song every day, starting with the first recording made by the band, and moving thru the entire catalogue, complete with my thoughts on the song, and any snippets of information I have regarding the track similar to what I did with the Alice Cooper recordings Intro: The High Numbers The Who's forte was always the live stage. For the first 10 years of their career, they played more shows than any other band of the era. This was due to a bitter court disagreement with their producer, Shel Talmy, which resulted in him getting a huge royalty cheque from all their recorded work during the 60's - figures quoted have been as high as 85%! To put their output into perspective, during the period from Jan 1st 1960 – Dec 31st 1969 (excluding EP's. compilations and live recordings) the UK releases for ''the big four' was: The Beatles - 11 LPs / 1081 concerts (1962 - 1969) The Rolling Stones - 8 LP's / 859 concerts (1962 - 1969) The Kinks - 7 LP's / 885 concerts (1963 - 1969) The Who - 4 LP's / 1273 concerts (1962 - 1969) Now for some history. Before The Who, they were called The Detours. However, there was another group with the same name who had gained national television coverage so a meeting was held to look for a new name, and Pete requested something very generic. Richard Barnes, his flatmate, came up with 'The Who', which certainly *was* generic, short and looked good on posters. With a new name, it was also time for a new image. Peter Meaden, a former employee of Rolling Stones manager Andrew Loog Oldham, got himself hired as an adviser. Meaden was a member of the cultish British youth movement the Mods that had become nationally notorious after a series of seaside riots with their enemies the Rockers, and it was his idea to remake The Who into the quintessential Mod band. Meaden also changed their name to The High Numbers. NOTE: In 1960's Mod terminology, a 'number' was a run-of-the-mill mod, if you can imagine such a thing. Which when you bear in mind quite how special each mod considered himself to be, being considered just one of the herd was a stern insult indeed. But being a high number (like the High Numbers) was quite the compliment. The term was picked up by mod-revivalist Paul Weller in the early days of the Jam, when he wrote the song 'Away From the Numbers' Despite their counterfeit origins, The High Numbers were accepted by the Mods who gave the band a sizeable and loyal audience. Meaden got the band a one-shot recording deal at Fontana where, in June 1964, they recorded their first single Zoot Suit had a melody was a blatant steal from a 1963 recording by the Detroit soul group The Dynamics entitled Misery. The High Numbers take the song at a snappier pace. Pete sounds like a jazz guitarist here, and Rogers vocals are answered in true Merseybeat style. It's a shame that John and Keith are too low in the mix "I'm the hippiest number in town and I'll tell you why,'I'm The Face' was originally intended as the A-side of the single, but due to a mix-up at the record label, it ended up as the B-side. Musically it is was another outright steal - this time from Slim Harpo's 'I Got Love If You Want It, which was covered by most of the London-based R&B bands at the time. NOTE: In 1960's Mod terminology, a 'face' is a good mod; someone with the right clothes, the right haircut and the right taste in soul music and ska. An especially good mod would be an ace face or, more properly, *THE* ace face. At the other end of the spectrum, a 'ticket' is a bad mod, someone still wearing last week’s fashion, slightly grown-out hair, and not enough/too many mirrors on his scooter. It comes from third-class ticket, a reference to train fares. Pete says: Quite simple, our first record release. Words by Pete Meaden mod miracle man with Desert Boots blue beating and randy female pop writer on every page of his address book. Superb jazz guitar solo from somebody I don't recognize, fast piano from some pilled up lunatic who probably made more in session fees that day than we did from the ensuing year's work. Best of all on this for me is Jack the Barber's handclapping and John's amazing 'ZOOPS on the bass. Is this really The Who?" "I'm the face baby, is that clear,A third song was recorded during this session. 'Here 'tis' featured Richard Barnes playing maracas, and allegedly getting blisters on his fingers during the sixteen takes that were recorded! It was not released commercially until the '30 Years Of Maximum R&B' boxset in 1994. Originally recorded by Bo Diddley in 1962, the most famous version is probably the one by The Yardbirds (with Eric Clapton on lead guitar) on the album Five Live Yardbirds in December 1964 "Whoa, whoa, whoa (whoa, whoa, whoa),When the single failed to chart, the band returned to the studio to record a follow-up. Leaving Here was written by Motown legends Holland–Dozier–Holland and originally recorded by Eddie Holland in 1964. It was later covered by Motorhead, and released as their debut single in 1977 The version recorded by The High Numbers in 1965 was ultimately not released as a single, and didn't see the light of day until 1985, when it was included on an album of Who rarities entitled 'Who's Missing' "Hey, fellas, have you heard the news, Demoncrat and nosferatu42 like this.
__________________ People try to put us down Just because we get around Golly, Gee! it's wrong to be so guilty Last edited by Susan Foreman; 5th August 2020 at 07:07 PM. Reason: Adding concert numbers |
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#198
4th August 2020, 04:27 PM
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A lot of the singles that were released by the band were not originally found on albums. It was only years (and sometimes decades) after their chart success that they were featured on compilations or re-issues By November 1964, following the failure of The High Numbers single in the charts, their name had reverted back to The Who, and on the 24th, they landed a career-launching residency on Tuesday nights at the famous Marquee Club in London. Pete's friend Richard Barnes designed posters to promote the shows, jet black with the image in white of a windmilling Pete, The Who with arrows coming out of the letters, and the words "Maximum R&B." It became the band's most iconic image  Released in the UK in January 1965, the first single under the 'new' name 'I Can't Explain' was an explosive debut about the frustration of not being able to express yourself - not only to the girl of your dreams, but also to the world in general. Roger spits out the lyrics in sheer frustration while the band pound away behind him, all knowing that this is a make-or-break song. Special mention must go to Keith whose drumming here was already miles ahead of what his peers were doing. The song is still very much part of their live act, and more often than not is the set opener About the song, Pete Said: "It can't be beat for straightforward Kink copying. There is little to say about how I wrote this. It came out of the top of my head when I was 18 and a half. It seems to be about the frustrations of a young person who is so incoherent and uneducated that he can't state his case to the bourgeois intellectual blah blah blah. Or, of course, it might be about drugs."Additional musicians on the song are: Jimmy Page (rhythm guitar), Perry Ford (Piano) and The Ivy League (John Carter, Perry Ford, Ken Lewis) (Backing vocals) "Got a feeling inside (Can't explain) It's a certain kind (Can't explain) I feel hot and cold (Can't explain) Yeah, down in my soul, yeah (Can't explain) I said ... (Can't explain) I'm feeling good now, yeah, but (Can't explain) Dizzy in the head and I'm feeling blue The things you've said, well, maybe they're true I'm gettin' funny dreams again and again I know what it means, but Can't explain I think it's love Try to say it to you When I feel blue But I can't explain (Can't explain) Yeah, hear what I'm saying, girl (Can't explain) Dizzy in the head and I'm feeling bad The things you've said have got me real mad I'm gettin' funny dreams again and again I know what it means but Can't explain I think it's love Try to say it to you When I feel blue But I can't explain (Can't explain) Forgive me one more time, now (Can't explain) I said I can't explain, yeah You drive me our ot my mind Yeah, I'm the worrying kind, babe I said I can't explain" The 'B'-side of the song was another cover, 'Bald Headed Woman'. Although it was credited as being written by Shel Talmy, it was actually a traditional American chain-gang blues song that was in the public domain. The tune had previously been featured on the debut album by The Kinks in 1964 - another act produced by Talmy - and The Who were persuaded to record it so that Talmy could get the publishing royalties! It's a harmonica based short and moody song. Jimmy Page appears, playing the fuzz guitar. John says: "The Fuzz guitar droning throughout is played by Jimmy Page; the reason being, he owned the only Fuzz Box in the country at that time. The words express my sentiments exactly - a bald headed woman would make me pretty mean, too. My favorite part of this track is the opening of the harmonica solo, where Roger puts the harmonica into his mouth the wrong way around." "Yeah I don't want no bald headed woman, It'll make me mean yeah lord it'll make me mean, Yeah I don't want no bald headed woman, It'll make me mean yeah lord it'll make me mean. Yeah I don't want no sugar in my coffee, It'll make me mean yeah lord it'll make me mean, Yeah I don't want no sugar in my coffee, It'll make me mean yeah lord it'll make me mean. Yeah I'm traveling on a bald headed mountain, I've done my time, I've done my time, Yeah I've been traveling them bald headed mountains, I've done my time, I've done my time, I said I've done my time, I done my time. I said I've done my time now yeah yeah yeah yeah yeah yeah, I've done my time yeah, I've done my time yeah yeah yeah yeah yeah yeah. Don't want no bald headed woman baby, Yeah gonna make me mean, make me mean, I don't want no bald headed woman, That's gonna gonna make me mean make me mean now, Don't want no sugar in my coffee, Gonna make me mean, make me mean, Don't want no sugar in my coffee, Gonna make me mean, make me mean." Demoncrat and nosferatu42 like this.
__________________ People try to put us down Just because we get around Golly, Gee! it's wrong to be so guilty |
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#199
5th August 2020, 06:40 PM
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Thanks to their residency at The Marquee, the bands popularity was rising. It seemed that all of trendy London was trekking to the venue on Tuesdays, leaving drenched in sweat and shouting to each other over the ringing in their ears about this incredibly loud, incredibly exciting band Some of that wildness made it into their next single 'Anyway Anyhow Anywhere', which was released on May 21 1967. This was one of the few occasions when the songwriting credit was to Daltrey / Townshend. What is most noticeable about the song is the guitar feedback noise solo - Pete was trying to bring the sound that they achieved on stage to the studio Pete: "Roger helped a lot with the final arrangement and got half the credit. Something he does today for nothing, bless him. I was lying on my mattress on the floor listening to a Charlie Parker record when I thought up the title. (It's usually title first with me.) I just felt the guy was so free when he was playing. He was a soul without a body, riding, flying, on music. Listening to the compulsory Dizzy Gillespie solo after one by Bird was always a come-down, however clever Gillespie was. No one could follow Bird. Hendrix must have been his reincarnation, especially for guitar players. The freedom suggested by the title came restricted by the aggression of our tightly-defined image when I came to write the words. In fact, Roger was really a hard nut then, and he changes quite a few words himself to toughen the song up to suit his temperament. It is the most excitingly pig-headed of our songs. It's blatant, proud and, dare I say it, sassy."The tune was later used as the theme song for the groundbreaking 1960's music programme 'Ready Steady Go' "I can go anyway, way I choose I can live anyhow, win or lose I can go anywhere, for something new Anyway, anyhow, anywhere I choose I can do anything, right or wrong I can talk anyhow, and get along Don't care anyway, I never lose Anyway, anyhow, anywhere I choose Nothing gets in my way Not even locked doors Don't follow the lines That been laid before I get along anyway I dare Anyway, anyhow, anywhere I can go anyway, way I choose I can live anyhow, win or lose I can go anywhere, for something new Anyway, anyhow, anywhere I choose Anyway Anyway I choose, yeah Anyway I wanna go, I wanna go 'n do it myself, Do it myself Do it myself, yeah Anyway, way I choose Anyway I choose Yeah, yeah Ain't never gonna lose the way I choose The way I choose The way I choose" The 'B'-side to the UK release was a cover of the song 'Daddy Rolling Stone', originally recorded by Derek Martin in 1963. It was a regular feature of the bands live shows at the time "Girl you think you've had loving, Girl you think you've had fun, Girl you ain't a seen nothin' 'til I come along. I'm a daddy, I'm a daddy, I'm a daddy, Yeah I'm a daddy daddy I'm daddy rolling stone. I got a friend named Cody, He's got a girl named Chris, I'm gonna steal that girl though he's twice my size, 'Cause I know how to do it like this. I'm a daddy, I'm a daddy, I'm a daddy, Yeah I'm a daddy daddy I'm daddy rolling stone, I'm daddy rolling stone, I'm daddy rolling stone, Daddy rolling stone, call me daddy rolling stone. I said I got a friend named Cody, He's got a girl named Chris, I'm gonna steal that girl though he's twice my size, 'Cause I know how to do it like this. I'm a daddy, I'm a daddy, I'm a daddy, daddy, I'm daddy rolling stone, I'm daddy rolling stone, Just call me daddy rolling stone dear, Long hair long nose, daddy rolling stone." In the US and Australia, however, the 'B'-side of the single was a different cover song - this time 'Anytime You Want Me', originally recorded by Garnet Mimms and the Enchanters in 1963 "Anytime anytime anytime anytime you want me, Come on back, come on home. Ran away and left me alone in this empty place, Anywhere I go, whoa whoa, all I see is your sweet face, Though my pain keeps on growing, There's one thing, baby, you should be knowing... Anytime you want me (come on back), Anytime you want me (come on back), Anytime you want me (come on back, whoa yeah). Tried to make you happy the very best I could, Anything you wanted, whoa whoa, just like a good man should, Even though you did me wrong, I'll be waiting no matter how long... Anytime you want me (I'll be here), Anytime you want me (I promise I'll be here, baby), Anytime you want me (I'll be by your side, whoa yeah). Said I'll forgive you for everything in the past, All I need is one more chance, I know, I know it will last. Now you heard my story, know just what's on my mind, Tired of being lonely, whoa whoa, I've had my share of crying, Without you I can't go on, I'll be waiting no matter how long... Anytime you want me (anytime you want me), Anytime you want me (anytime you need me), Anytime you want me (anytime you want me now), Oh oh oh, anytime you want me." On September 26 1965, Roger and Keith got into a fight over Keith's pill use after a show in Denmark. When the band returned to England, Roger was fired [for the first time!] but allowed back in until a suitable replacement could be found. For the next year the music press was filled with reports of The Who being at each other's throats - reports that were often true as Roger remained on probation and Keith and John auditioned for other bands, desperate to find a way out nosferatu42 and MrBarlow like this.
__________________ People try to put us down Just because we get around Golly, Gee! it's wrong to be so guilty Last edited by Susan Foreman; 5th August 2020 at 07:09 PM. Reason: Adding colour! |
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#200
5th August 2020, 07:02 PM
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Thanks Susan, been trying to remember the song Anytime you want me and how it went, your a star.
Susan Foreman likes this.
__________________ " I have seen trees that look like tortured souls" |
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