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THE WHO

Proto-Prog • United Kingdom


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The Who biography
One of the greatest of all rock and roll bands and one of the most influential of all time, The Who formed in 1964, when drummer Keith Moon left the Beachcombers and joined The Detours, who included singer Roger Daltrey, guitarist Pete Townshend, and bassist John Entwistle. The Who arrived on the scene at a crossroads in the English music scene: The Beatles were still king but were beginning to turn from the bubble gum pop of previous albums, the Merseybeat boom was fading and London was becoming the center of English music. A residency at London's famed Marquis club gave them a stage to make their impression: above all, The Who were a live band that had to be seen as well as heard. There first hit, "I Can't Explain", led to regular TV appearances and a tour with The Beatles. It also got them signed to Decca Records, where they recorded their first album, "My Generation". The album was a hit in England, reaching #5 on the charts, while the title track became an anthem of sorts for the times and still perhaps their best known song.

The Who were very original in that their arrangements were far from the normal in rock those days. Pete was more of a rhythm player who had Keith and John playing around him instead of
merely holding a beat, an influence acknowledged by the way Prog rock turned conventional rock idioms on their ear with regards to arrangement and traditional roles of the instruments. Keith's drumming was described as 'lead' drumming and John was having bass solos as early as 1965 in rock music.

Success out of the gate gave the group some measure of creative control on their next album which they lacked on the first. Pete and manager Kit Lambert had been talking about extended themes and ideas in rock and roll for some time. When The Who went into the studio for their second album in 1966 each group member was to contribute songs to help generate more revenue in royalties for the group, the group having a rather high overhead in terms of destroyed guitars and drum kits. When the others were not able to meet their quota of songs for the new album, Pete and Kit stepped in to fill the album out, and came up with what would be one of the trademarks of prog music in the future, the extended song cycle "A Quick One", which would be the title of the new album as well. It was 6 distinct song fragments tied together with a unifying theme; love, betrayal, and forgiveness. It is often called a rock opera... it could also be calle...
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It's Hard [Remastered]It's Hard [Remastered]
Remastered · Extra tracks
Geffen 1997
Audio CD$3.72
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LP isle of wight festival 1970
THE WHO
~ USD $23.86
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THE WHO
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THE WHO shows & tickets


  • The Who Hits 50 on 22 May 2015
  • The Who Hits 50 on 24 May 2015
  • The Who Hits 50 on 26 May 2015
  • The Who Hit 50 on 30 May 2015
  • The Who Hits 50 on 21 Jun 2015
  • The Who Hits 50 on 23 Jun 2015
  • Glastonbury Festival of Contemporary Performing Arts 2015 on 24 Jun 2015
  • British Summer Time: The Who Hits 50 on 26 Jun 2015
  • The Who Hits 50 on 28 Jun 2015 - CANCELLED
  • The Who Hits 50 on 29 Jun 2015 - CANCELLED
  • The Who Hits 50 on 30 Jun 2015
  • The Who Hits 50 on 2 Jul 2015
  • The Who Hits 50 on 14 Sep 2015
  • The Who Hits 50 on 16 Sep 2015
  • The Who Hits 50 on 19 Sep 2015
  • The Who + Joan Jett & The Blackhearts at Staples Center, Los Angeles on 21 Sep 2015
  • The Who on 25 Sep 2015
  • The Who at Key Arena, Seattle on 27 Sep 2015
  • The Who on 29 Sep 2015
  • The Who + Joan Jett and the Blackhearts at Scotiabank Saddledome, Calgary on 1 Oct 2015
  • The Who Hits 50! on 3 Oct 2015
  • The Who + Joan Jett and the Blackhearts at SaskTel Centre, Saskatoon on 6 Oct 2015
  • The Who Hits 50! Tour on 8 Oct 2015
  • The Who Hits 50! on 10 Oct 2015
  • The Who Hits 50! on 15 Oct 2015
  • The Who Hits 50! on 17 Oct 2015
  • The Who Hits 50! on 19 Oct 2015
  • The Who Hits 50! on 21 Oct 2015
  • The Who Hits 50 on 23 Oct 2015
  • The Who at Prudential Center, Newark on 25 Oct 2015

THE WHO discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

THE WHO top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.76 | 117 ratings
My Generation
1965
2.87 | 111 ratings
A Quick One
1966
3.53 | 164 ratings
The Who Sell Out
1967
4.01 | 405 ratings
Tommy
1969
4.37 | 432 ratings
Who's Next
1971
4.48 | 446 ratings
Quadrophenia
1973
3.51 | 143 ratings
By Numbers
1975
3.25 | 149 ratings
Who Are You
1978
2.41 | 83 ratings
Face Dances
1981
2.53 | 75 ratings
It's Hard
1982
2.89 | 59 ratings
Endless Wire
2006

THE WHO Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.03 | 108 ratings
Live At Leeds
1970
4.08 | 29 ratings
The Kids Are Alright (Original Soundtrack of the Film)
1979
2.58 | 14 ratings
Whos Last
1984
3.17 | 6 ratings
Join Together
1990
4.00 | 2 ratings
The Who Live (Golden Age serie)
1993
3.05 | 21 ratings
Live at the Isle of Wight Festival 1970
1996
2.76 | 18 ratings
BBC Sessions
2000
3.97 | 15 ratings
Live At The Royal Albert Hall
2003
4.00 | 3 ratings
Greatest Hits Live
2010
3.96 | 6 ratings
Live At Hull
2012

THE WHO Videos (DVD, Blu-ray, VHS etc)

3.87 | 22 ratings
The Kids are Alright
1979
4.00 | 7 ratings
Who's Better, Who's Best
1988
3.60 | 12 ratings
Live at the Isle of Wight Festival
1998
4.07 | 8 ratings
Who's Next - Classic Albums
1999
3.83 | 10 ratings
Live at the Royal Albert Hall
2000
3.20 | 5 ratings
Live & Alive
2003
3.00 | 5 ratings
The Vegas Job
2006
3.10 | 11 ratings
Amazing Journey
2007
3.70 | 9 ratings
The Who at Kilburn: 1977
2008
3.45 | 10 ratings
Maximum R&B Live
2009
4.50 | 4 ratings
Live in Texas '75
2012
3.09 | 4 ratings
Quadrophenia: Live in London
2014

THE WHO Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.24 | 13 ratings
Magic Bus: The Who on Tour
1968
3.32 | 22 ratings
Meaty, Beaty, Big and Bouncy
1971
3.69 | 23 ratings
Odds & Sods
1974
3.20 | 5 ratings
Who's Missing
1985
4.00 | 7 ratings
Thirty Years Of Maximum R&B
1994
3.80 | 21 ratings
My Generation - The Very Best of The Who
1996
2.26 | 4 ratings
The Who (budget compilation)
1997
4.04 | 25 ratings
The Ultimate Collection
2002
3.27 | 13 ratings
Then and Now
2004
1.76 | 7 ratings
Greatest Hits
2009
5.00 | 5 ratings
Live At Leeds 40th Anniversary Super-Deluxe Collectors' Edition
2010
4.80 | 5 ratings
Quadrophenia - The Director's Cut (Super Deluxe Limited Edition)
2011

THE WHO Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.70 | 9 ratings
I'm a Boy
1966
2.76 | 9 ratings
Happy Jack
1966
3.75 | 4 ratings
Summertime Blues
1970
3.05 | 5 ratings
Let's See Action / When I Was A Boy
1971
4.33 | 6 ratings
5.15
1973
3.05 | 3 ratings
Thirty Years Of Maximum R&B sampler
1994

THE WHO Reviews


Showing last 10 reviews only
 Tommy by WHO, THE album cover Studio Album, 1969
4.01 | 405 ratings

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Tommy
The Who Proto-Prog

Review by jmeadow

4 stars The Who's first fully realised rock opera is a proto-prog classic, as we all know, the story of Tommy, a deaf, dumb and blind kid, who plays a mean pinball and becomes a messiah-like figure to his fans. The story addresses sensitive issues including alienation, child abuse and celebrity/fandom with directness and honesty

The album is certainly imperfect - there are some pretty big cracks in the storyline, in particular - but nevertheless it has pace, tension and emotion and some great rock tracks. 'Pinball Wizard' and 'I'm Free' are well-known classics, but less-renowned songs like '1921' and 'Christmas' are also superb. In the later the pathos of Tommy's isolation from the world is neatly captured by his blissful ignorance of Christmas Day: 'And Tommy doesn't know what day it is/Doesn't know who Jesus was or what praying is/How can he be saved?/From the eternal grave?'

An album that traverses the gap between standard rock and prog and in doing so shows the possibilities of rock music. Highly recommended.

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 By Numbers by WHO, THE album cover Studio Album, 1975
3.51 | 143 ratings

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By Numbers
The Who Proto-Prog

Review by Guillermo
Prog Reviewer

4 stars Well. It seems that by 1975 THE WHO had to record another studio album having worked a lot since the release of their "Quadrophenia" album and the tours to promote it between 1973 and 1974. Bands worked hard in those years. They were expected to release studio albums each year and to do tours to promote them. In 1974, the band also participated in the "Tommy" film and also recorded a soundtrack album for that film version with guest musicians too. All the members of the band (including Keith Moon) have recorded some solo albums until then too. So, by 1975 they had to record another studio album as a band which became "The Who by Numbers". By that time, Pete Townshend, the main songwriter in the band, was having a hard time trying to write songs for this album, saying that the band practically recorded all the songs he wrote for this album. And this album is just another album without a concept or without being another Rock Opera. It is just a collection of songs with mostly introspective lyrics which have relation to Townshend`s `personal experiences at that time. So, the songs are very personal but very good anyway, despite most of them are really not showing "happy feelings". But the album as a whole in fact is very good.

John Entwistle also wrote one song for this album, the rocker "Success Story", which also is one of the best from this album and it also has some humour in the lyrics. And not all the songs which were composed by Townshend are introspective, because "Squeeze Box" is also a song with some humour in the lyrics. But for the most part, the songs are introspective. In six of the ten songs from this album the piano parts were played very well by the very good and famous late session musician Nicky Hopkins, who also worked with the band in "Who`s Next" in 1971.

The best songs from this album are "Success Story" (with very good bass guitar playing by Entwistle), "Squeeze Box", "Imagine a Man", "They are all in Love" and "How Many Friends". "However Much I Booze" is so personal that it was sung by Townshend and not by Roger Daltrey, who wanted to distance himself from the content of the lyrics. Keith Moon`s drums playing is very good in this album, and as a whole the band still was playing very well. So, as a whole this album, while being very introspective in most of the lyrics from the songs, still is very enjoyable.

The cover design was done by John Entwistle. Some people don`t like it, but I think that the cover design is very good and very original.

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 Face Dances by WHO, THE album cover Studio Album, 1981
2.41 | 83 ratings

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Face Dances
The Who Proto-Prog

Review by Guillermo
Prog Reviewer

3 stars "The New THE WHO for the eighties".

The change of decade from the seventies to the eighties brought some problems for a lot of bands. One of those problems was : "How are we going to adapt our new music for the new decade without still losing our identity in the process?'". Another problem was also brought by the changes in the music industry: to one who was led by "persons who loved music above record sales and a lot of money", to another in the eighties which was "led by accountants" (as Bill Bruford said in interviews done in the early nineties) and "by persons who previously worked in supermarkets" (as John Wetton said in a recent interview). Well. I think that both Bruford and Wetton are right. The music in most cases in the eighties became more like done to "satisfy the record executives in their business meetings" (as Bruford also said). Gone was the more artistic freedom which the music industry gave to the artists in previous years.

THE WHO had some problems then. One was to survive the death of Keith Moon in late 1978. Another problem was how to replace him. Another problem was how to make the change in decade to adapt themselves as a band for the new musical trends. First, they replaced Moon with former SMALL FACES / FACES drummer Kenny Jones. Then, In 1979 they started touring with a new line-up which apart from Jones also included keyboard player John "Rabbit" Bundrick and also a horn section. For the first time in the career of the band they had extra musicians playing on stage with them (a thing which could have helped them to play better their "Tommy" and "Quadrophenia" albums in their tours with Moon in the early seventies...but at that time it was not ever thought by them). So, from 1979 to mid 1980 the band first went on tour several times with these extra musicians before ever considering going to record a new album. The reviews about their concerts with this expanded line-up were good. It seems that Jones with those tours "passed the audition" from the fans. But by mid 1980 finally they went to record this "Face Dances" album. Their first album with Jones and Bundrick and their first album for the new decade. It was also their first of two albums for a new record label in the U.S. (Warner Brothers). They also had a new producer (Bill Szymczyk, who also worked with EAGLES).

"Face Dances" reflects some of the problems that I mentioned above. It was not only the change of drummer which made them sound different. Maybe the band also had ideas for a new sound for the band, And maybe their record labels too. The same could be said about having Szymczyk as producer.

The "new sound" incorporated influences from some new trends like New Wave music and even from bands like THE POLICE (in "Did You Steal My Money"). The music became more simple and accessible, more Pop Rock oriented (in eighties terms). The guitars`sound became more thin and less distorted. Kenny Jones is a good drummer and he really plays very well in all the tracks, but he sounds very different from Keith Moon in style. Moon`s energetic and "chaotic" drums playing was replaced by a disciplined playing with a lot of use of the hi- hats in comparison. Even John Entwistle`s energetic bass playing was a bit changed, with his two songs ("The Quiet One" and "You") still having his very good bass guitar playing and being two of the best and heaviest songs in this album. The more Pop Rock songs came from Pete Townshend: "You Better You Bet", "Don`t Let Go the Coat", "Cache Cache". Roger Daltrey sang very well but sounds like being more in "control". As a whole, "Face Dances" is not a bad album, but it is different in many ways to "Who Are You", their previous album which also was their last album with Moon and their last new studio album from the seventies. "Face Dances" was released in March 1981, showing how the band changed since 1978.

As a whole, "Face Dances" is better than their next album "It`s Hard". But both albums showed a "new THE WHO`s sound" which did not last for very long.

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 It's Hard by WHO, THE album cover Studio Album, 1982
2.53 | 75 ratings

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It's Hard
The Who Proto-Prog

Review by Guillermo
Prog Reviewer

2 stars By 1982 THE WHO was really in its last days as a permanent band. They survived for some years after the death of Keith Moon, but without him their sound changed a lot. Having a new drummer (Kenney Jones) since 1979, who really was not really "new" in the music bussiness , because he previously was a former member of the SMALL FACES in the sixties and of THE FACES since the late sixties to 1975, it was obvious that his style of playing the drums was very different from Moon`s. But also, the music from the band (composed separately by Peter Townshend and John Entwistle) also changed. They were in their late thirties, and the music also lost some "power" that it even was there in their "Who Are You" album from 1978, their last album with Moon on drums. By 1982 Townshend also had some substance abuse problems which required from him being in rehabilitation, a thing which he achieved early in that year. Anyway, the band recorded this album which sounds a bit "lighter" musically and lyrically in comparison to other albums they recorded with Moon. Kenney Jones is a good drummer, more technically oriented than Moon, maybe more disciplined in his drums playing than Moon. But Moon, even if he was not as technically oriented and disciplined as Jones, really was at the centre of the music style of the band, playing with a lot of power which was one of the characteristics of the sound of the band. Anyway, Jones played the drums in this album very well...but he does not sound as Moon. But Jones did his best while he was in the band.

This album sounds more oriented to the Pop Rock of the eighties. The album still sounds like recorded by THE WHO. But I think that they really were looking for how to adapt themselves as a band to the musical changes of the eighties. With lyrics about Cold War and Nuclear Weapons, social and economical problems, and even some ballads, this album as a whole is not bad, but it also is not very interesting. The best songs from this album are "It`s Hard", "Dangerous" (composed by Entwistle and a song which sounded better played in concert than in this studio album), "Eminence Front" (the best song in this album and with a keyboard arrangement which sounds to me a bit inspired by the keyboard sounds from "Baba O`Riley " from "Who`s Next"), "A Man is a Man" and "Cry if You Want".

Roger Daltrey said in interviews that he really does not like this album. Anyway, this album is not too bad, and in fact it really sounds a lot inlfuenced by Pete Townshend`s sound as a solo musician. When they finished their "farewell tour" in late 1982, Townshend tried to compose more songs for the band to record a last studio album for their record labels. But by the end of 1983 Townshend announced the end of the band saying that he could not continue composing songs for the band. They released in late 1984 a last album (a contractual obligation) recorded live during their "farewell tour" in 1982 and titled "Who`s Last" , which is not a not very good live album which does not include any songs from this album and their previous album from 1981 titled "Face Dances". This "It`s Hard" album was their last studio album with Entwistle (who died in mid 2002) and Jones, until Daltrey and Townshend released a new studio album in 2006 as THE WHO titled "Endless Wire".

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 Live At Leeds by WHO, THE album cover Live, 1970
4.03 | 108 ratings

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Live At Leeds
The Who Proto-Prog

Review by ster

5 stars I am really glad to see The Who include on PA. Due to my own personal definition of prog rock, bands like The Who, Led Zep, Deep Purple, Black Sabbath (among others) deserve to be considered prog since at the time of the their formation, rock music was progressing because of what these bands were producing. Tons of original ideas with players to back it up. One of my all favorite bands, The Who never stopped experimenting and constantly pushed the envelope of rock music.

Live At Leeds, The deluxe edition, is the only Who album you need if you are only going to own one. This one sports an incredible sound from such an early live record. Raw but loud and clear. It also shows how incredibly daring they were going off into improvisations on some tunes and how incredible John Entwistle and Keith Moon were as a furious and dynamic rhythm section. Also Pete Townsend seemed to never run out of ideas and he proves on this record that nobody did and ever will rock harder. Roger Daltrey needs no introduction as the greatest rock belter of all time.

Ever song on this record sounds MUCH better than their original counterparts. Just check out A Quick One While He's Away, Tattoo, My Generation for proof.

I wouldn't call this a prog-rock masterpiece in the "traditional" sense. But there is no way in hell I will ever give this record any less than 5 stars on any forum.

Now go get it, crank it up. You'll thank me later.

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 Let's See Action / When I Was A Boy by WHO, THE album cover Singles/EPs/Fan Club/Promo, 1971
3.05 | 5 ratings

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Let's See Action / When I Was A Boy
The Who Proto-Prog

Review by Guillermo
Prog Reviewer

3 stars "Let`s See Action" (composed by Pete Townshend) was one of the songs that he originally composed for THE WHO`s unfinished "Lifehouse" project, which originally was another "Rock Opera" that he was trying to compose and to record with the band. But the concept of that project became very complicated to be done. So, in the end, the band released their very good and popular "Who`s Next" album in 1971 instead, with some songs from that "Lifehouse" project. Other songs were released as A- sides in three singles between 1971 and 1972 ("Let`s See Action", in 1971, and "Join Together" and "Relay" in 1972), and others were finally released as bonus tracks in the "Who`s Next" re-mixed and remastered CD and in the "De-Luxe" edition from that album. Townshend also released an extended version of "Let`s See Action" in his "Who Came First" solo album from 1972. "Let`s See Action" is a Rock and Roll / Blues song with good arrangements and with a very good piano part played by Nicky Hopkins.

"When I Was a Boy" is a song composed by John Entwistle with very good lyrics about how life changes while growing up from childhood to adulthood. It was sung by him, with him also playing a very good horns arrangement in a very "baroque" style. I don`t know why this song was relegated to the B-side of a single because it is very good. It has been also released in some rarities and B-sides compilations from THE WHO

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 Tommy by WHO, THE album cover Studio Album, 1969
4.01 | 405 ratings

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Tommy
The Who Proto-Prog

Review by Slartibartfast
Prog Reviewer

3 stars While I have been familiar with the music on this album for many years, I never got a copy of it, or any other The Who album for that matter. It's not that I dislike The Who, it's just that I never felt the need to have any of their albums in my collection. My brother in law was giving away some CDs recently before putting them up for sale and this was one of them. So now I have a The Who album in my collection, and if it were to be just one, this would be it.

Originally released in 1969, it can lay claim to being one of the first concept albums,. It has also been hailed as a rock opera. Musically, it is fairly proggy most of the time and for that it is a welcomed addition to my collection.

On to the problems I have with this album...

The incoherent storyline. Tommy is apparently born in 1921 but somehow winds up the 1960's and is still a kid when he would be in his '40's. Either The Who can't do math or they were on some really good drugs. The child molester. Really? Does this actually add anything to the story? The gratuitous acid queen. Really? LSD is a visual experience. Tommy is supposedly blind, or maybe he's just faking it. Like being a kid when he is still in his '40's. The operatic bits. Really? Probably the worst parts of the album musically.

I could have given this album four stars, but have to shave off a point for the stuff mentioned above.

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 Tommy by WHO, THE album cover Studio Album, 1969
4.01 | 405 ratings

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Tommy
The Who Proto-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars TOMMY is one of those so-called "firsts" that doesn't quite muster up the goods to fall in the category of the "bests." A rather ambitious project by THE WHO that was fairly cutting edge back in 1969 when the music world was in a creative explosion ushering all kinds of firsts like fully developed progressive rock in the form of King Crimson and East Of Eden, totally new genres like heavy metal from the likes of Black Sabbath or brilliant and creative new forms of jazz-fusion from the likes of Miles Davis but unlike their contemporaries THE WHO's first foray into the newly opened possibilities of progressive rock just doesn't seem as competent as all the others. Apparently the album was partially inspired by the teachings of Pete Townsend's spiritual guru Meher Baba who claimed to be an avatar and God in human form (seems like everyone had one after the Beatles went to an ashram in India). The story is about a boy named Tommy who is deaf, dumb and blind and his world as he goes through life. Hailed by critics at the time for being one of the first rock opera's and was in no doubt THE WHO's major breakthrough after a couple psychedelic rock albums firmly planted in the style of the late 1960s.

I have never loved TOMMY nor have I ever hated it. For me this is just one of those historical relics that marks a time in musical history as a milestone of sort but never really able to sustain itself throughout the decades that passed. The story is not a bad concept but what really keeps me from loving this album is how much of the music sounds the same track after track and segments are played way past their point of making the point. The midpoint overture cleverly titled "Underture" is the perfect example of a song that just goes on and on and on offering meager variations and has no ability to sustain my interest. I find this is true of much of this album. There are many individual tracks that are brilliant. I'm quite partial to the hits "Pinball Wizard" and "I'm Free" but there is just too much clunkiness on this album for me to get excited about. Having said all that I do like to throw this on now and again because it does mark a specific time in history and for that reason I do like this album but when I want to hear THE WHO I usually go straight for the much better releases that immediately follow. 3.5 rounded down

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 Quadrophenia: Live in London by WHO, THE album cover DVD/Video, 2014
3.09 | 4 ratings

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Quadrophenia: Live in London
The Who Proto-Prog

Review by rdtprog
Special Collaborator Heavy Prog Team

3 stars I was not sure before purchasing this DVD, if I was going to enjoy a live show with the complete double album of "Quadrophenia", because it was a long time ago that I listen to this album and if I remember, I didn't enjoy all the songs. Many years later, I didn't change my mind about this, there are some really good songs, like the title track, "Dr. Jimmy", "The Rock" and "Love Reign Over Me". The other tracks are not bad for what they are, good rock songs, but not as good as some songs of their entire discography. Fortunately, the show has some of those songs as bonus performance, including "Baba O'Riley", "Who are You" and "Won't get Fooled Again"

There's a lot of projections on the screen of the band from the old days. Nice touch to have included John Entwistle with a solo of one of his performance in the song "5:15". Not only you can see him on the screen, but you can actually hear his solo. In fact, his solo sounds more alive than the bass sound of the actual player Pino Palladino, who is rarely captured by the cameras and low in the mix. Also, during "Bell Boy", Keith Moon is singing on the screen.Those projections of the old days performances are only present in the "Quadrophenia" album and not in the bonus songs at the end. We have many musicians on the stage including horn players, Simon Townsend who signs like Pete in "Dirty Jobs". Also two keyboardists, but it's mostly the piano that we hear during this show.

It is easy to rate this, can't be 2 stars because it's not only for collectors, and can't be 4 stars because, that is not a progressive rock show. So it's a good 3 stars, nothing more. But those who enjoy "Quadrophenia" will have a ball with this DVD!

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 Live at the Isle of Wight Festival by WHO, THE album cover DVD/Video, 1998
3.60 | 12 ratings

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Live at the Isle of Wight Festival
The Who Proto-Prog

Review by Guillermo
Prog Reviewer

3 stars Fourteen years ago I watched on TV the film called "Message to Love" which is about the Isle of Wight Festival of 1970. That film shows not only some songs performed by some bands, but also the violence from some parts of the audience against paying for their attendance to Rock Music Festivals and also some verbal violence against some musicians like Joni Mitchell (a very unfair thing). By 1970 some of the idealism of the sixties disappeared and some parts of the audiences saw Rock Festivals as only "money making" activities for the people who created them. In the end, the promoters of this Isle of Wight Festival had to make this 1970 Rock Festival as for "free admission" due to the violence of some parts of the audience.

There were several very good bands appearing at that Festival and in that "Message to Love" film, and also other DVDs and / or CDs have been released from some complete concerts from some bands (Jethro Tull, ELP...). And also some seven years ago I watched on TV to this film from The Who playing at that Festival. They looked somewhat sober (I think) and they did not suffer the violence of the audience, who looked very happy at the time of The Who`s apperance. The band first played some of their hits plus other not very well known songs from their repertoire. They even laughed and did some jokes (particularly done by Pete Townshend and Keith Moon), making the audience laugh too. They also played an almost complete version of their rock opera titled "Tommy". It seems that being a quartet they could not reproduce all the songs from the album live, and most of the songs from the "Tommy" album have a lot of overdubs. Anyway, it was a brave attempt by the band to try to play this rock opera live during 1969-70. And I really missed some of those overdubs. The band played an almost "raw" version of that rock opera, maybe looking a bit tired of playing it live during those years.

Rock Festivals were a fad during the late sixties and early seventies. Unfortunately, the increasing violence by some parts of the audiences made them not very attractive as jobs for the musicians and not very attractive as businesses for the promoters. In the DVD from Jethro Tull from the Isle of Wight Festival from 1970 Ian Anderson talks about his dislike of this kind of Festivals.

The quality of the images and sound is very good.

There is a dedication to Keith Moon at the end of the film, showing him doing one of his very famous jokes in front of the camera.

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Thanks to micky for the artist addition.

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