Tag: music

This is the last post that I shall do for albums released by The Who.  They died in 1978 when Moon died.  However, that does not mean that this is the last post about them.  There is lots of other material from 1978 back that I have not covered, and a few gems from later than 1978.

However, as a vital, functional band The Who really ceased to exist after the death of Moon.  As a matter of fact, the death of The Who was actually before that of Moon’s death since they were no longer in studio since Who are You had just been released.

This installment might get to be a bit emotional, so please bear with me.  The reasons will be obvious as the story unfolds.  With that said, let us go!

The Who by Numbers is the second to last studio album released by The Who, released in October 1975.  The UK release date was the the third, by Polydor Records, and the US release date was the 25th on MCA Records.

The album did rather well, charting at #8 in the US and #7 in the UK.  Personally, it probably my least favorite album from The Who.  Many of the songs are very dark, likely because of Townshend’s deepening alcoholism.  However, at least one song was upbeat.

With that said, let us listen to some music!

I do not always write about bands that I particularly like, and this one of those times.  While they were quite popular at the time, none of the songs released by the band were very important in the grand scheme of music in my opinion.

The band formed in 1965 and by 1968 was no more, as they wanted solo careers.  We see how well that worked out for them with one exception.  The reunited for a couple of months in 1971, but not much came of it.  Their entire existence sort of reads like a soap opera, and we shall hit the high (this is quite a pun) parts of it during this piece.

Even though they are still remembered, they only had six songs to chart in the Top 10 in the US, and only two or three of those are remembered by more than real hardcore fans of them.  “Monday, Monday” and “California Dreaming” are about all there are known to most folks.

We had a really good time with Part I last week!  I very much appreciated all of the comments and suggestions that folks sent.  Now we are ready for Part II, and it gets even better!

This week we shall look at the bonus tracks that were included on the 1998 remastered CD, some of them previously unavailable except as bootlegs.  Some of them are quite good, by the way.  Of course, there are several stories to go along with them so we had better get started.

Odds and Sods was the third “canonical” compilation album released by  The Who, released 19740928, almost exactly 37 years ago today.  

In the US the record was released by MCA, and in the UK by Track.   There is some discrepancy as to how the record charted, some references saying #10 and #15 in the UK and US, respectively, whilst others indicate #10 and #8.

This is one of my favorite records, since it contains material not previously released, some of which is amongst their best.  It also marked the final release of material that I consider “classic” Who, since the next studio album, The Who by Numbers, was a considerable departure from their old sound, a trend already started by Quadrophenia, discussed here and here.

All of the material was previously unreleased, except “I’m the Face” which we shall discuss in a bit.  None of the material on the record was specifically recorded for it, but rather were studio tapes recorded months to years before it was compiled and released.

Those of you that read this regular column know that I sometimes give space to what I do not like.  More often I write about things that I do like, but just to mix it up, now and then I have to be the author of a critical piece.

This is one of those.  The career of this hack has been rife with nothing but luck and I think that he has been more detrimental to musical art than he has contributed.  Why would I take on one of the most honored icons of pop music?  Because he is a shallow and an opportunistic person.  Can you say Tea Partier?  Sure you can.

His entire life is pretty much a lie.  We shall start with his name, and go further.  Ready?

We last discussed the first side of the seminal album, Quadrophenia, by The Who, entirely written by Peter Townshend.  Since that time I have done more extensive research, and found some interesting things that I hope will be illuminating for everyone.  They were for me.  Without too many details in the introduction, I can say with a good bit of confidence that this record almost dissolved the band.

Roger put Pete in hospital with punches, Kit was almost banned, and the fraud that the management was doing to the band was discovered.  That was part of the genesis for the song “How Many Friends Have I Really Got” that was part of The Who by Numbers some time later.  But there is more!

I have a frank correction to make, and then what is more like a clarification as to the original characters who were combined to make Jimmy.  I also have a stupid one to make, about the name of the album itself.  Shall we begin?

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.

Sometimes I wright about bands that are not my favorites, but that had several nice songs.  10cc is one of them.  I own not a single record of theirs, but always thought that they were pretty good.  Not spectacular, but pretty good.  I am a casual listener, and until I began my research I did not even realize that they from the United Kingdom.

I should have known because of the song Rubber Bullets, but they use them here as well.  They were really pretty good, and at their best could express emotion extremely well, to the point of causing tears now and then.  Nothing like The Who, but still pretty good.

What I intend to do tonight is just to give a short survey of 10cc, not a deep analysis like I do with The Who.  I am sure that many of you are bored with my long and ponderous explication of the work from The Who, so this is sort of a break from it.  Also, I am changing my convention for names of bands, albums, and songs.  As before, the name of the band will always be in bold, and the name of the album in italics.  Starting now, the names of individual songs will be in italics, but with “quotation marks before and after” to do a better job of distinguishing the songs from the albums.

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.

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?