Maximum R&B: The 'Orrible 'Oo

[Susan Foreman]

7 September 1978 - 42 years ago today

[Demdike@Cult Labs]

@Susan

I saw a Who bookazine in WH Smith today.

It's not produced by either Classic Rock or Mojo who normally release these items and seemed quite thin in comparison to Classic Rock's Aerosmith bookazine next to it. Then there was the price £13.99 - ridiculous.

Anyway just thought i'd let you know in case you wish to check it out.

[Susan Foreman]

Originally Posted by Demdike@Cult Labs

@Susan

I saw a Who bookazine in WH Smith today.

It's not produced by either Classic Rock or Mojo who normally release these items and seemed quite thin in comparison to Classic Rock's Aerosmith bookazine next to it. Then there was the price £13.99 - ridiculous.

Anyway just thought i'd let you know in case you wish to check it out.

Thanks

I'll have a look next time I am in town

The last Who 'special' I saw in Smiths was a London gigology, which listed every show the band had ever played in the capitol

For me, it wasn't worth buying

[Susan Foreman]

Back to the music...

In June 1967, Mick Jagger and Keith Richards were sent to prison on drugs charges. To help them make bail, the Who recorded two songs that were originally by The Rolling Stones. However, by the time the single was made available, Mick and Keef had been freed!

The songs were rush released - recorded on 28th June and the record appeared in shops on 30th June!

As John was away on his honeymoon he authorised the Who to do the record without him and bass parts were overdubbed by Pete

This UK-only release reached number 44 on the UK Singles Chart

The recording of 'The Last Time' by The Who is workmanlike but despite a key change towards the end, it lacks both the attack and menace of the original version

The 'B'-side of the single was 'Under My Thumb' and unfortunately the vocals are very weak. The main guitar riff is intact tho, and Pete's fuzz box solo almost makes the song worthwhile

Ultimately both songs are for completist only

[Susan Foreman]

Album #3:
The Who Sell Out

Sometime between 1967 and 1968, The Who stopped being a pop group and became arguably Britain's first Rock band. It's a transition that few of their contemporaries were able to make, and the two likeliest subjects – The Beatles and The Stones – had problems making the shift. The Beatles were no longer performing live, and a live performance was a pre-requisite of being a rock band. The Stone, meanwhile, were grounded by drug busts, and Brian Jones' inability to cut it on the stage. The Who, who had always been in the bronze medal position in the 60's pop Olympics shot through the gap and for three years were the greatest of Britain's rock bands, and without doubt the best live act in the world

They had pioneered the concept of rock touring and performance, ushering in an era that still exists today. Because of the tours by The Who in this period, no longer would groups play in 'package tours' where they would play the hits for 20 minutes and then retire for the rest of the evening. From now on, the headline bands would be expected to play for at least an hour, offering songs from the albums and back catalogue, performing loudly and in a manner that enhanced the original recordings either through sheer volume or musical virtuosity...or even both!

All this occurred following the release of the bands first pop-art masterpiece concept album. Largely overlooked at the time, but now a reference point for many bands, the band (and Pete in particular) embraced outside influences like acid rock and surrealism that gave the songs a far surer touch than those on the previous album. Nevertheless, they managed to keep their own identity partly because Keith had now confirmed his position as the most expressive drummer in rock and John was the most fluid bass guitarist but mainly due to Pete's songwriting abilities and the way they all sang harmonies together

Released on December 15th, 1967, 'The Who Sell Out' is a concept album. Unlike later releases which will be used to tell a story, 'The Who Sell Out' is presented as a pirate radio show with adverts being played between the songs. Manager Chris Stamp tried to interest advertisers in paying for the adverts inserted by The Who on the record but with only 50,000 copies of the album expected to be printed, none of the companies would buy

The cover is divided into panels, each one featuring a humourous advert involving a band member. On the front, Pete is applying Odorono brand deodorant from an oversized stick, while Roger is sitting in a bathtub full of Heinz baked beans (holding an oversized tin can of the same)

On the back, Keith is applying Medac (a fictitious acne ointment) from an oversized tube, and John is in a leopard-skin Tarzan suit, squeezing a blonde woman in a leopard-skin bikini with one arm and a teddy bear with the other, spoofing the famous Charles Atlas bodybuilding course

1/13: Album opener 'Armenia City On The Sky', was written by John 'Speedy' Keene, who was the vocalist, drummer and keyboard player with the band Thunderclap Newman, best remembered for the no. 1 single 'Something In The Air' which was produced by Pete

The song, a dense acid-tinged rocker with Roger at the top of his vocal range, is a space-age grunge tune 30 years ahead of its time! Pete's solo, with electronic 'whooping' effects, backward tapes and a thick organ sound is unlike anything else on the album

"If you're troubled and you can't relax
Close your eyes and think of this
If the rumors floating in your head all turn to facts
Close your eyes and think of this

Armenia, city in the sky
Armenia, city in the sky

If you ever want to lose some time
Just take off, there's no risk
If you ever want to disappear
Just take off, and think of this

Armenia, city in the sky
Armenia, city in the sky

The sky is glass, the sea is brown
And everyone is upside-down

Armenia, city in the sky
Armenia, city in the sky

Freak out!
Freak out!"

2/13: The second track on the album is a throwaway joke advert for 'Heinz Baked Beans' written by John and featuring John, Keith and Pete on spoken vocals

"One, two, three, four!

What's for tea, Mum?
What's for tea, darling?
Darling, I said "what's for tea?"
What's for tea, daughter?

Heinz baked beans"

[Susan Foreman]

Remembering the heroes during the 9/11 tragedy

The Who in New York October 31, 2001

[Susan Foreman]

2/13: Following on from 'Pictures Of Lily', the third song on 'Sell Out' is another ditty about having a Sherman. 'Mary Anne With The Shaky Hand' is one of the standout tracks on the album. If the band were into releasing a number of singles from albums, I'm sure this would have been a contender. Mind you, the subject of 'taste' would almost certainly have turned up again, and the arbiters of 'good taste' would certainly have balked at a second single about 'aving a J. Arthur!

The song starts with some lovely acoustic chords, while Roger explains why Mary Anne is better than Jean, Cindy and the other girls on the block. Then there is a nice chorded solo from Pete, where he stretches out the notes on his acoustic guitar.

An alternate version of the song was used as a single 'B'-side and an electric third version was later released on the 'Odds And Sods' album

"I danced with Linda
I danced with Jean
I danced with Cindy
Then I suddenly see

Mary-Anne with the shaky hands
What they've done to her man
Those shaky hands

Mary is so pretty
The prettiest in the land
Guys come from every city
Just to shake her shaky hands

Linda can cook
Jean reads books
Cindy can sew
But I'd rather know

Mary-Anne with the shaky hands
What they've done to her man
Those shaky hands

Mary-Anne with the shaky hands
What they've done to her man
Those shaky hands

Mary-Anne with the shaky hands
What they've done to her man
Those shaky hands"

4/13: 'Odorono' is another tongue-in-cheek advert song, this time for a deodorant. Odo-Ro-No was an actual underarm deodorant and the first one marketed specifically for women!

"She sang the best she'd ever sang
She couldn't ever sing any better
But Mister Davidson never rang
She knew he would forget her

She'd seen him there
And put herself to ransom
He had stared
He really was quite handsome

She had really looked her best
She couldn't ever look any better
But she knew she'd failed the test
She knew he would forget her

Triumphant was the way she felt
As she acknowledged the applause
Triumphant was the way she'd felt
When she saw him at the dressing room door

She was happier than she'd ever been
As he praised her for her grace
But his expression changed, she had seen
As he leant to kiss her face

It ended there
He claimed a late appointment
She quickly turned
To hide her disappointment

She ripped her glittering gown
Couldn't face another show, no
Her deodorant had let her down
She should have used Odorono"

There was a final verse which was not released until the deluxe edition of the album in 2009

[Susan Foreman]

5/13: A string of lovely arpeggios by Pete opens 'Tattoo'. One of the finest 'rite of passage' songs is based around the idea of a tattoo being 'what makes a man a man'! This is another standout song from the album, and one which the band retained an affection for long after most of the other songs fro the era had become passe. It was still being performed live over a decade later

The song contains a particularly attractive and mature melody, and couplets with unusually complex rhymes about two brothers [actually Pete and Roger] who decide to get themselves tattooed, only to regret their decision after parental objection and personal contemplation

To my knowledge, neither Pete or Roger actually have tattoos!

"Me and my brother were talking to each other
'Bout what makes a man a man
Was it brain or brawn, or the month you were born
We just couldn't understand

Our old man didn't like our appearance
He said that only women wear long hair

So me and my brother borrowed money from Mother
We knew what we had to do
We went downstairs, past the barber and gymnasium
And got our arms tattooed

Welcome to my life, tattoo
I'm a man now, thanks to you
I expect I'll regret you
But the skin graft man won't get you
You'l be there when I die
Tattoo

My dad beat me 'cause mine said "Mother"
But my mother naturally liked it and beat my brother
'Cause his tattoo was of a lady in the nude
And my mother thought that was extremely rude

Welcome to my life, tattoo
We've a long time together, me and you
I expect I'll regret you
But the skin graft man won't get you
You'll be there when I die
Tattoo

Now I'm older, I'm tattooed all over
My wife is tattooed too
A rooty-toot-toot, rooty-tooty-toot-toot
Rooty-toot-toot tattoo too
To you"

6/13: 'Our Love Was' is pure pop, with the kind of ethereal melodies at which The Who were becoming adept, space-age guitar work and an unusual chorus that works towards a final upward chord change. This is another song that could easily have been released as a single

In the US, the title was changed to 'Our Love Is'

"Our love was ...

Our love was famine, frustration
We only acted out an imitation
Of what real love should have been
Then suddenly ...

Our love was flying
Our love was soaring
Our love was shining
Like a summer morning

Flying, soaring
Shining morning
Never leaving
Lying, dying

Love love love long
Love love love long
Love love love long
Love love love long

Love love love long
Love love love long
Love love love long
Love love love long

Love love love long
Love love love long
Love love love long
Love love love long

Our love was flying
Our love was soaring
Our love was shining
Like a summer morning

Our love was famine, frustration
We only acted out an imitation
Of what real love should have been
And then suddenly ...

Our love was flying
Our love was soaring
Our love was shining
Like a summer morning"

[Susan Foreman]

7/13: Described by Pete as being "The Ultimate Who Record", 'I Can See For Miles' is the choice of many fans as the best Who single ever. As a band, they never sounded more together than they do on this long-distance single which is psychedelic without being trippy. It strains at the leash, but is held together by Pete's taut and sustained guitar phrases, and Keith's immaculate drumming. The guitar solo here is a revelation - buzzing feedback with choppy chords. However, there are also two overdubbed guitars which meant the song could rarely be performed live by the band as a four piece!

Paul McCartney recalls writing 'Helter Skelter' after reading a review of 'The Who Sell Out' in which the critic claimed that "I Can See for Miles" was the "heaviest" song he had ever heard. McCartney had not heard the song but wrote: 'Helter Skelter' in an attempt to make an even "heavier" song than the one praised in the review!

"I know you've deceived me, now here's a surprise
I know that you have 'cause there's magic in my eyes

I can see for miles and miles and miles and miles and miles
Oh yeah

If you think that I don't know about the little tricks you've played
And never see you when deliberately you put things in my way

Well, here's a poke at you
You're gonna choke on it too
You're gonna lose that smile
Because all the while

I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles and miles
Oh yeah

You took advantage of my trust in you when I was so far away
I saw you holding lots of other guys and now you've got the nerve to say

That you still want me
Well, that's as may be
But you gotta stand trial
Because all the while

I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles and miles
Oh yeah

I know you've deceived me, now here's a surprise
I know that you have 'cause there's magic in my eyes

I can see for miles and miles and miles and miles and miles
Oh yeah

The Eiffel Tower and the Taj Mahal are mine to see on clear days
You thought that I would need a crystal ball to see right through the haze

Well, here's a poke at you
You're gonna choke on it too
You're gonna lose that smile
Because all the while

I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles and miles
and miles and miles and miles and miles

I can see for miles and miles
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles"

6/13: Originally entitled 'See, Feel, Hear You', 'Can't Reach You', opens the second side of the vinyl album. This is another great pop song, with vocals by Pete. Unfortunately the flowing harmonies and lovely chorus are marred by a weak and uninspired guitar solo

It was conceived as being an 'aircrash' song in which a survivor is unable to reach a dying loved one!

The song is also known as 'I Can't Reach You' on various re-issues.

"I'm a million ages past you
A million years behind you too
A thousand miles up in the air
A trillion times I've seen you there

Your hair is golden, mine is grey
You walk on grass, it turns to hay
You blood is blue and mine is red
My body strains, but the nerves are dead

I can't reach you
I've strained my eyes
I can't reach you
I've split my sides
I can't reach
Tryin' to get on you
See, feel or hear from you

The distances grow greater now
You drink champagne and past me plow
You fly your plane right over my head
You're still alive and I'm nearly dead

I can't reach you
With arms outstretched
I can't reach you
I crane my neck
I can't reach
Tryin' to get on you
See, feel or hear from you

Once I caught a glimpse
Of your unguarded, untouched heart
Our fingertips touched and then
My mind tore us apart

I can't reach you
With arms outstretched
I can't reach you
I crane my neck
I can't reach
Tryin' to get on you
See, feel or hear from you

I can't reach you
With arms outstretched
I can't reach you
I crane my neck
I can't reach
Tryin' to get on you
See, feel or hear from you"

[Susan Foreman]

9/13: For some reason, the title of 'Medac' was changed to 'Spotted Henry' on the US release! Written by John, this is another short spoof commercial - this time for a spot cream

"Henry Pond had no fun
Had a face like a currant bun
This adolescent little fella
Was nicknamed by his friends "Old Yella"

The doctors gave him creams and lotions
To try to sooth the boys emotions
But all in vain; the acne stayed
Henry's hopes began to fade

Then, when just about to crack
He found another cream - Medac

When Henry in the mirror peered
His pimples all had disappeared
Henry laughed and yelled "I got 'em!
Me face is like a baby's bottom""

10/13: Thankfully, 'Relax' is a proper Who song. Acid rock, as played by the early Pink Floyd, was not the bands natural territory, especially where the main instrument is an organ (played by Pete). The dense sound achieved here soars to great heights of psychedelia during the central instrumental passage.

"Relax and settle down
Let your mind go 'round
Lay down on the ground
And listen to the sound
Of the band
Hold my hand

Open up your mind
We'll love right where we lie
I'll know you from inside
You're like a horse I'll ride
O'er the sand
Through the land

Relax and let your mind roll on
Over all your problems
Relax and let your mind roll on
Over all your problems

We try harder and harder, tryin' to get our way
But it's a long, long wait until Judgement Day
So settle your affairs and take your time
'Cause everything in the world is yours and mine
Yours and mine

Relax and settle down
Let your mind go 'round
Lay down on the ground
And listen to the sound
Of the band
Hold my hand

Relax!"

11/13: John's second song on the album, 'Silas Stingy', is an attractive (but still sinister) pop song about a miser. It is more tuneful than most of John's songs, and features a novel church organ in the background

John:

"The rest of the group used to take the mickey because I was the first one to buy a house, and I found it very hard going because we had ridiculous expenses and our money wasn't that big, so I saved every penny to put a deposit on the house and buy furniture...So Silas Stingy buying a house and a watchdog and a safe is exactly what happened to me."

"Once upon a time there lived an old miser man
By the name of Silas Stingy
He carried all his money in a little black box
Which was heavy as a rock
With a big padlock
All the little kids would shout
When Silas was about

Chorus:
Money, money, money bags
Money, money, money bags
There goes mingy Stingy
There goes mingy Stingy
Money, money, money bags
Money, money, money bags
There goes mingy Stingy
There goes mingy Stingy

Silas didn't eat, which was just as well
He would starve himself for a penny
He wore old clothes and he never washed
'Cause soap cost a lot
And the dirt kept him hot
All the little kids would shout
When Silas was about

(chorus)

In the back of his head
Was a voice that said
"Someone will steal it all
You'll be lying in the gutter with an empty box
The thieves will be having a ball"

(chorus)

He bought a safe to put the box in
And a house to put the safe in
And a watchdog on a chain to make quite sure
And his face was very funny
When he counted up his money
And he realized he hadn't any more

(chorus)"