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Fans Album Reviews For:

(13 reviews sent in so far)

Who's Next (4) Tommy (2) Live At Leeds (1) Quadrophenia (1)
The Who By Numbers (1) Who Are You (1) The Who Sell Out (2) A Quick One (1)


by Darius Henry
August 26, 2009
Rating: 9.5

Who’s Next is a fantastic album. But I have a confession to make; I don’t listen to this album that often. While after I usually listen to one album, it would take me a couple of weeks, or maybe a month to go back to it. But when I listen to this album, I won’t be able to listen to it again until at least 4 months. This is the album that I listen to it the least (other than Stevie Wonder’s Talking Book and Michael Jackson’s Dangerous). This does not mean this is a bad album. This is really a great album.

This album starts off with THE greatest album opener ever, “Baba O’Riley”, aka “Teenage Wasteland”. I seriously don’t have to explain much. Great synthesizer, great piano playing, great drumming, great vocals. I mean, everything in here is almost perfect. Just take one listen to this song and tell me this isn’t one of the greatest songs ever. I guaranteed you, it will blow you mind. “Bargain” is the next excellent song. Keno gave this song a low rating (6.5), to me, it’s a perfect follow-up for a near-perfect songs like “Baba O’Riley”. Great guitars, and a powerful vocal by Daltrey. Of course, you can’t forget that awesome drumming by Keith Moon. As a matter of fact, he is the best drummer ever and this entire album proves it. “Love Ain’t For Keeping” is a very good song. Compare to other songs on this album, it’s too short. But that’s okay because there is a good performances by the band. I dig the guitar playing in this song and the bass as well. “My Wife” is an great song by  bass player, John Entwistle. I love how he is singing in this song. Of course the best part is the horns. I always dig it. “The Song is Over” is a great song sung by Townsend, though Daltrey has some part in this song as well. I love the piano playing and the drumming in this song. Plus you can’t forget the bass playing. It’s fantastic.

“Gettin’ in Tune” is a very mellow song. Not one of my favorite on this album, but it’s still a good song. The guitar bit and the piano are great. Nicely bass playing. Great drumming at that and I love the vocal performance the most. “Going Mobile” is a very good upbeat song. I love how Townsend sang this song and I love the guitar playing and the drumming in this song. “Behind the Blue Eyes”, is the song I will never know what it’s like (I’m an African-American and I have brown eyes). Despite that, it is still my second favorite song on this album. This song starts off slow with mellow guitar playing, but about 2 and a half minute, it went straight to Hard Rock with it’s fantastic guitar playing and drumming pattern that is meant to be remember. Man, I can’t get enough of this song. Last song, but not least, is the strongly fan-favorite, “Won’t Get Fooled Again”. The synthesizer is excellent and the drumming, oh man, you got to hear the drumming. Of course, the vocal is over the top, especially with the scream at the end. For 8 minutes, you get nothing short of greatness in this song.

Man, now that I’ve listen to this album, I got to ask myself this; why I do listen to this album and don’t play it for another 4-6 months? There has to be the reason. I guess it’s because I want it to stay fresh when I do listen to it. But I’ll make sure that I’ll listen to it more often. Then again, only thing I need is “Baba O’Riley” to tell me that it’s a great album. But this band is fantastic; it’s hard not to listen to at least one of their songs. So buy it and play it every chance you get.

by Bill Carson
April 1, 2005           
Rating: 10.0

I really can't say anything about this album that hasn't been said thousands of times before. It's certainly one of the greatest albums ever crafted, though it's not even The Who's best. The album opens up with one of the albums best songs and one of The Who's most famous, 'Baba O'Riley'(10/10). Next up is a song that I heard years before I even knew who the hell "The Who" were, 'Bargain'(9.5/10), a great rocker. My only complaint is that the slower middle section doesn't really add anything to the song. The worst song on the album comes next, the great 'Love Ain't For Keeping'(9/10). 'My Wife'(10/10) is next, and in my opinion, even though most people like it, it is a heavily underrated song. 'The Song Is Over'(9.5/10) follows, and Who fans seem to be split on this one. I personally think it's great. 'Getting In Tune'(9.5/10) was a 10 the first time I heard it, but after some repeated listens it's not quite up to that level, in my opinion. 'Going Mobile'(10/10) is another excellent song with Townshend taking care of the vocals, and doing a very good job. 'Behind Blue Eyes'(10/10) is one of the albums highlights, a nice ballad that turns into a fierce rocker before settling back down. The grand finale is 'Won't Get Fooled Again'(10/10), the best song on the album, maybe The Who's best song, and easily in my top 10 songs of all time. The song is sheer perfection, with the Moon man playing like a maniac, Mr.Townshend playing a ear-shattering lead guitar, and Daltrey giving a great vocal performance, especially on the famous scream at the end of the song, which is probably the best in Rock history. Oh, yeah, Entwistle kicks ass too.

By Monkey Man
June 13, 2003
Rating: 9.0

A beautiful piece of work sketched out by the great Pete Townshend after returning from the Tommy success. The concept isn't as complex but still pleasant to hear

'Baba o'Riley' - This song smoothly opens up the album with heavy synthesizer by Pete before breaking into a hard core piano riff. After that its all pure rock with Daltrey leading the charge. Ending with a beautiful violin placement.
'Bargain' - a perfect follow-up with more Daltrey power voice echoing out the verse to be followed by a sweet bridge sung by the composer Townshend. it closes with some quick bursts of Moon drums
'Love ain't For Keeping' - An uptempo short number with Eintwistle leading the march with Daltrey with his bass movement. Townshend remains in the backdrop until an out of place guitar ending.
'My Wife' - A Eintwistle composition containing some power riffs and Eintwistles croaking. Not his top performance here though.
'The Song is Over' -This smooth song lets Nicky Hopkins, made famous by other artists including the Stones, take a spotlight with a purely written piano section by Pete. Dragging out it a bit, it gets uptempo to add some feel, though not very great.
'Gettin' in Tune' - Another great upbeat piece starting just as the previous song did, slow piano, but now with a cherishing movement by Eintwistle on his bass. Daltrey sings great here, with John as his backdrop.
'Goin' Mobile' - It's another favorite with Pete taking control on the vocal. Here Keith really takes prescience with great drumming, and Pete on the piano during this upbeat song.
'Behind Blue Eyes' - A song everyone knows that is put together perfectly by Pete. This song actually clouds out the other gems scattered here, but its still a classic. The bridge really kicks up the mood as Daltrey howls out his regular notes.
'Won't Get Fooled Again' - This song is of course the anthem of the Who. Nailing past 8 min, Pete constantly throws out riffs making some people think Keith Richards visited the site, but no Pete barks out his riffs just like the Glimmer Twin to this up scale classic. Ending it with Daltreys gigantic scream, it adds a perfect close to this rocking album.

By Steve
August 1, 2001
Rating: 10.0

This album is one that changed Rock and Roll forever. Might be the greatest album ever, not one musician that I know dislikes this album(not any that I respect any way). No album ever sounded like this one when it came out in 1971. It was a drastic change for the band too, a far cry from "My Generation" and "Magic Bus" and it even had more quality than the album "Tommy". Pete Townshend is the brain behind the music and lyrics on all The Who's stuff, and he wanted to make another "rock opera" like "Tommy" but the whole idea fell apart after Pete had a nervous breakdown. The band released some of the songs plus some new ones for this album. This album turned the synthesizer into a powerful force in the world of rock, bands like Pink Floyd and Rush would later master the synthesizer and make some great albums with it. The signature song off of this album is "Baba O' Riley", a timeless piece of work that will likely live on forever as an anthem for young people who are sick of living in Teenage Wasteland. Townshend coined the phrase "Teenage Wasteland" and some people confuse it for the song's title. Roger Daltrey's vocals are incredible through the entire album especially on "Won't Get Fooled Again", a song that would have been a staple for the would be rock opera. "Behind Blue Eyes", "The Song Is Over", and "Getting In Tune" are also

To listen to some soundclips from Who's Next or to purchase it click on either Who's Next [Bonus Tracks - CC Music] or Who's Next (Bonus Tracks -

The Who By Numbers

By Zack Taylor
October 1, 2004
Rating: 9.0

By 1975, Pete Townshend was lonely at the top. Tommy had brought superstardom to the Who; a million selling album had been salvaged out of the failed Lifehouse; and critics hailed Quadrophenia as a masterpiece. The unhappy reality though, was that Roger Daltrey and John Entwistle were sick of all the operas and epics, and said so, sending Pete, mired deep in self-medication and self-doubt, off to compose a “normal” Who album. The result was the most soul-bearing and brilliant, yet downright painful set of songs he would ever write.

The self-assured “Slip Kid” never became a Who anthem only because it didn’t work on stage; the “no easy way to be free” refrain only hinted at Pete’s inner turmoil. But “However Much I Booze” bit so close to the bone Daltrey refused to sing it, and considering lines like “I just can’t face my failure/I’m nothing but a well-fucked sailor,” who can blame him? "Dreaming from the Waist,” one of Entwistle’s finest moments on the bass, paints a harrowing picture of drunken midnight revelry chasing down pussy and whatever other trouble might be found. But on “Imagine a Man,” Pete confesses that's not really him; at the end of the day, he's just a “plain man tied up in life."

But it's two songs on the second side that really stand out, stunningly casting these tales of angst (with the help of Nicky Hopkins on piano) in exquisite, most un-Who settings. On “They Are All in Love” Pete confesses guilt for “recycling trash” to come up with new material--despite the song’s utterly original arrangement--delivering a searing kiss off to his adoring fans (“Goodbye all you punks, stay young and stay high/hand me my check book and I’ll crawl off to die.”) In the still more beautiful “How Many Friends,” Pete literally tells the story of his life: his marriage; the music business; rocky relationships. When he admits he can count his real friends “on one hand,” you can’t help asking yourself how many have I really got? That, ladies and gentlemen, is what’s known as art.

Ironically, the wank ditty “Squeeze Box,” knocked off on a lark, became the album’s only enduring track. Another throwaway rescued from the end of a demo tape, the lovely, whimsical “Blue Red and Gray” expounded Pete’s love of “every minute of the day,” proving he just might be "quadrophenic" after all.

To listen to some soundclips from THE WHO BY NUMBERS or to purchase it click on: The Who by Numbers

November 7, 2004
Rating: 9.5

With TOMMY, we hear the first rock opera ever made. Townshend had given us "A Quick One While He's Away" which was a fantastic mini-opera off of the HAPPY JACK album. Now we get to hear Townshend's opera masterpiece.Townshend's guitar takes a backseat to the writing in this song, but he was really able to bring some great guitar playing to the live performance of Tommy. John Entwistle and Keith Moon are, as usual FANTASTIC. And this was Daltrey’s time to shine! He fucking belts it out like there's no tomorrow. This was obviously their transition to the classic WHO's NEXT which was supposed to be another opera, but instead became their best album ever! It wouldn't have happened without TOMMY. Well here it goes.

We begin with the "Overture" which is great! We hear the best parts from the best songs. Includes some great acoustic playing by Townshend at the end over "Captain Walker didn't come home" it then goes into "It's A Boy" which is the birth of Tommy. "1921" is where Tommy become deaf, dumb and blind, but we don't know why. A good song with good singing. "Amazing Journey" is great! Keith is the star here going completely crazy on the drums, this leads into "Sparks" one of the best songs on the album. It just rocks hard before going into the fantastic ending with Entwistle doing some great melodic bass lines.
"Eyesight to the Blind" is a great song where Daltrey belts it out! Mooney and Entwistle are fantastic in the rhythm section. "Christmas" is fantastic with great singing by Daltrey. It rocks hard before going into the first rendition of "See Me Feel Me" which is beautiful. "Cousin Kevin" is Entwistle's composition and a great song. The vocals are just so musical! "Acid Queen" is a Great song where the Gypsy attempts to cure him unsuccessfully. Townshend sings great. "Underture" is a repeat of the end of "Sparks" which is good at first, but then quickly gets tiresome and repetitive. "Do You Think it's Allright" is the introduction of Uncle Ernie and a good, but short song. "Fiddle About" is another Entwistle composition which is a funny and great song. Uncle Ernie is obviously a crazy fuck! "Pinball Wizard" is the hit off the album and a GREAT song. Tommy beats the Local Champ and becomes the Pinball Wizard and becomes a legend in his own time. "There's a Doctor I've found" is pretty good, but way too short. The parents visit the doctor in "Go to the Mirror Boy!" which is absolutely GREAT!!! What a great vocal by Daltrey, the doctor, and Townshend playing Tommy during the renditions of "See Me Feel Me". It's all up to Tommy to break his curse. This becomes the first rendition of "Listening to You" which is great. The ending of the song is especially wonderful. "Tommy Can You Hear Me" includes some of the best vocal harmonies on the album which was completely ruined in the Movie! It's the ability to have your own take on the album that makes it great, the movie ruins it for you. "Smash the Mirror" is great, with everyone playing their best. Way too short though. But I love the "Rise, rise, rise, rise..." The mother smashes the mirror and Tommy's curse is broken.

"Sensation" is a pretty good song where Tommy begins to come out of his slump. "Sally Simpson" is a great song, too,. the lyrics are great, it was a great explanation for crazy fans of the 60s. "I'm Free" is great, but Daltrey's voice seems to missing something. Tommy is completely cured and the followers ask how they can follow. "Welcome" includes Tommy telling everyone to take shelter in the house. The Uncle Ernie part, "Tommy's Holiday Camp" is Keith Moon's composition, I think Moon is singing the other vocal, Townshend is the other. Not a great song, but what do you expect from Mooney? He's crazy. "We're Not gonna Take it" is good. The followers won't take it anymore and forget Tommy. Tommy cries out "See Me Feel Me" once more, which is beautiful and then to the climactic "See Me Feel Me" but the song becomes repetitive and just fades out. Definitely check out the LIVE AT LEEDS version of TOMMY as well as the ISLE OF WIGHT version you'll love it. This is a great album. You'll definitely enjoy it if you like the Who.

By Brian
March 17, 2001
Rating: 9.5

This album is definitely in my top five favorite albums. One of the greatest concept albums. I think that it is one of the greatest because it tells a story, and it maintains awesome music. The story may be a little far fetched, but you can't say that when you hear Roger Daultry singing, "See me, feel me," that you don't feel a little bit of sadness for the young man that they are talking about. 'Pinball Wizard' is one of the great songs on the album, along with 'We're not gonna take it', and 'Sensation'. Here is my individual review of each song. 'Overture'(10), 'It's a boy'(8), '1921'(7.5), 'Amazing journey'(9), 'Sparks'(8.5), 'Eyesight to the blind'(7), 'Christmas'(7.5), 'Cousin Kevin'(7.5), 'The acid queen'(8), 'Underture'(10), 'Do you think it's alrigh't(5), 'Fiddle about'(4, it's a weird song, I'm sorry if you like it), 'Pinball Wizard'(10), 'There's a doctor'(8.5), 'Go to the mirror'(9), 'Tommy can you hear me'(8.5), 'Smash the mirror'(7), 'Sensation'(9), 'Miracle cure'(5, it's like 25 seconds), 'Sally simpson'(8.5), 'I'm free'(9.5), 'Welcome'(8.5), 'Tommy's holiday camp'(7) 'We're not gonna take it'(10). Well, that's my review, sorry if you disagree with any of my opinions, but this is what I think

To listen to some sound clips from TOMMY or to buy it, click on: Tommy or Tommy [Deluxe Edition]

A Quick One (HappyJack)
By King Louis XXX
Rating: 9.0

Probably the Who’s most underrated album, A Quick One is easily overshadowed by classics like Who’s Next, Sellout, and Tommy. Despite this, the Who’s sophomore release is actually a step up from their debut, My Generation. It may not be packed-jam full of classics like some of their later albums, but it certainly is one of my personal favorites in their catalogue. Although the first song, “Run, Run, Run” is a slight disappointment (the riff is almost identical to “My Generation”) but things pick up with the next track, John Entwistle’s classic “Boris the Spider.” The remainder of the songs on the album are quite good, from Keith Moon’s crazy fun in “Cobwebs and Strange” to Pete Townshend’s excellent pop ballads “Don’t Look Away,” and “So Sad About Us.” The album’s finale is Pete’s very first rock opera, “A Quick One While He’s Away,” a self-indulgent and silly story about love, infidelity, and forgiveness. Roger, Pete, and John each voice different characters, telling us about a young woman’s (Roger) distress from her husband’s (Pete) late return from a yearlong trip, and her exploits with Ivor, the “old engine driver” (John). Some versions will have bonus tracks which are also quite good, including cover versions of the Batman theme and the Beach Boys classic “Barbara Ann.” Also notable is the inclusion of the “acoustic version” of the famous “Happy Jack,” a very fun song about a man named Jack who is always happy (bet you couldn’t have figured that out!), and an extremely unique (and good) version of "My Generation", which includes a chorus of “Land of Hope and Glory.” Although Roger’s vocals throughout the album are so-so (his time would come with Tommy), everyone else’s performances are excellent, especially Keith Moon’s, whose drumming on “A Quick One While He’s Away” and “Cobwebs and Strange” will put a smile on your face. Really, that’s what this silly album is designed to do – bring a smile to your face. The whole album is good humorous fun, and shows the band at the peak of the eclectic portion of their

SUMMARY: Terribly underrated, A Quick One is an excellent album with the silly fun (and the writing credits) being shared by each member of the band.

To listen to some sound clips from A Quick One (HappyJack) or to buy it, click on: Quick One (Happy Jack) [Bonus Tracks]

By FujiSaki
September15, 2000
Rating: 9.5

Coming after the Who's masterpiece, Who's Next, it would seem this one would have some big boots to fill. And, believe me, it fills them well. This double album ranks 3rd all time on my list behind only the Stones Exile On Mainstreet and the Beatles White Album. This would stand up well as just a collection of great songs but the fact that it's a concept album about coming of age that anyone (especially me) can identify with is a testament to what a great song writer Pete Townshend was. Tommy was their first concept album but it pails in comparison to Quadrophenia. The band sounds great, Daultry's vocals are chilling. Entwistle lays down more great bass lines and Townshend fills the guitar sound with so much energy. Keith Moon, steals the show, however. In particular, on "Love Reign O'er Me", he the song is driven by the drums. The title cut is a great instrumental. "The Real Me" is filled with youthful rage and anger, as is "Doctor Jimmy". "5:15" is probably the best song on the album, with it's picture-esque lyrics and Pete's great backup vocals. This album really captures what it's like to be stuck between being a teenager and a real adult. Brilliance.

To listen to some sound clips from QUADROPHENIA or to buy it, click on either Quadrophenia - CC Music or Quadrophenia -


By The Midnight Rambler
July 26, 2000
Rating: 10.0

This (with Get yer Ya-Ya's Out!, by the Stones) is the best live album ever. It was recorded at Leeds University in 1970. The original album (released in 1970) offered just 6 tracks: "Young Man Blues", "Substitute", "Summertime Blues", "Shakin' All
Over", "My Generation" and "Magic Bus". 25 years later, in 1995, Polydor released a new edition of the album, which included 8 bonus tracks, including classic Who numbers like "Can't Explain", "Tattoo", "Happy Jack", "I'm a Boy" or "A Quick
One". This album transmits all the Who spirit: you can find great solos by Pete, fantastic basslines by John (after listenin' to the album ya'll see that he's the best bassplayer ever), wonderful vocals by Roger and amazing drums by Keith. My fave tracks are "My Generation", "Summertime Blues", "Magic Bus" and "A Quick One". The 14.45 minutes long version of "My Generation" is incredible, sounding as heavy as nobody at that time could do. "Summertime Blues" is also fantastic, Roger shines there, and I can say that's the definitive version. "Magic Bus" is another masterpiece, with that great beginning. And last but not least, we have one of the best Who numbers: "A Quick One". This version is GREAT, better than the one they performed on Rolling Stones R&R Circus, with one of the best powerful vocals climax ever! In conclusion, a must have.

To listen to some sound clips from LIVE AT LEEDS or to buy it. click on either Live at Leeds or Live at Leeds [Deluxe Edition]

By Jack Flash
December 2, 2005
Rating: 9.5

The Who will always be known for their quite excellent but far more overpraised concept Tommy or even for Townsend's fascinating aborted masterwork Lifehouse and his brilliant Quadrophenia. But look back, before all that, to 1967, and you'll find The Who Sell Out, their consumtuate masterpiece. The album contains a wonderful unified concept that can in no way be accused of being pretentious, as less enlightened critics might find the later projects. It's set up like a pirate radio station, a tribute to the tennybopper, anti-top 40 culture of the early 60's, complete with faux "commercials" and inserts between songs. The songs themselves are, in their own right, some of the band's best yet, reaching a perfect equilibrium between the heartfelt but scatterbrained rocking out of "My Generation" and the more lightweight "A Quick One," adding in a first dash of maturity- from those who's hoped they'd die before they got old. But there's more than a fair share of silliness going on. Townsend provides excellent guitar work, Daltrey, IMO one of rock's greatest vocalists uses his full range, even though his voice wasn't quite developed into its ear-splitting angelic/demonic snarl at that point. As for Entwhistle and Moon- if you're smart you know that no rhythm section comes close in terms of virtuosity. Plus there are lots of great harmonies.

The classic ear-bursting, psychedelic power pop opener is "Armenia City In The Sky," which was written by someone named John Keene. Damn fine piece of work, whoever he is. "Heinz Baked Beans" is the best commercial on the album. Ha. The tremblingly direct acoustic power pop "Mary Anne With The Shaky Hand" picks up on the masturbation topic where the previous hit single "Pictures Of Lily" left off- but this time takes a woman's point of view. "Odorono" is a commercial disguised as a great song (or is it the other way around?), where we can hear Pete's take on the world's dire need for deodorant. On "Tattoo," we can hear his more introspective but still humorous take on manhood, though the definitive reading can be found on Live At Leeds. "Our Love Was" is a lightweight Pete-penned ballad, but we can forgive him after the classic "I Can See For Miles," which follows. Daltrey rips into one of his best snarling leads, with piled on guitars and Madman Moon doing his thing. I agree with Townsend is saying that it was the definitive Who record to that point. "I Can't Reach You," is very nice, good job by Pete on lyrics and vocals. Entwhistle's commercial for acne cream, "Medac," is next. The trippy, surreally cooling "Relax" is excellent, and John's "Silas Stingy" the, albeit less interesting, predecessor to Tommy's "Uncle Ernie." "Sunrise" is a beautiful acoustic Townsend ballad where the "Pinball Wizard" acoustic refrain pops up. The mini-opera "Rael" closes us out, and though its more truncated and not as good as the previous "A Quick One, While He's Away," it's a pre-Tommy bonanza. Not only do several of the opera's musical themes pop up (most of which ended up in "Sparks," "It's A Boy" and "Underture"), but provides the backstory for Tommy's father, Captain Walker. An intriguing way to close out a truly classic album.

At least the original album. The new CD release adds a whole bunch of bonus tracks, such as an alternate electrified version of "Mary Anne With The Shaky Hand" (which was the B-side of "I Can See For Miles"), a second part to "Rael," the quite nice Daltrey-penned "Early Morning Cold Taxi," Entwhistle's melodic "Someone's Coming," also sung by Daltrey, plus some extra commercials. But two poppy tunes further the fact that The Who Sell Out was the predecessor to Tommy. "Girl's Eyes" and "Glow Girl" provide more backstory. The latter even ends with the refrain "it's a girl, Mrs. Walker, it's a girl." Hmmmm... not quite what we know, but Pete was close to his most famous work.

By Jason
November 29, 2001
Rating: 10.0

There is no doubt about it that The Who Sell Out is The Who's masterpiece. It also stands as one of the most creative record ever made. The whole album is set up like a radio station. In between each track, there are radio "jingles" (except for half of side two). Also, the record features many different styles of pop rock. Styles including Psychedelia ('Relax' and 'Armenia City In the Sky'), Hard Rock ('I Can See For Miles'), and the Humorous ('Heinz Baked Beans', 'Odorono', 'Tattoo, Medac').Other notable songs are the sweethearted 'Sunrise' and the mini-rock opera, 'Rael'. The Who Sell Out is a great, great album and stands as a milestone in pop/rock music.

To listen to some soundclips from THE WHO SELL OUT or to purchase it, click on: The Who Sell Out

Who Are You
By Zack Taylor
January 26, 2005
Rating: 6.0

Lest your humble reviewer be accused of fawning over everything he writes up without capacity for criticism, consider: 1) I can pretty much choose what I review here and it’s more fun to write about stuff you love than not; and 2) I am now going to discuss Who Are You, the 1978 release by the group led by Pete Townshend, one of the greatest rock stars of all time.

Titles like "New Song" and "Music Must Change" make fairly clear that old Pete had backed himself into a creative corner by the late 70s. Punk was taking Britain by storm, daring old farts like the Who to come up with something inspired and original. In short, Pete stepped up to the plate against this "new wave" and squibbed one back to the pitcher.

Invocations of newness and change notwithstanding, the songs on Who Are You are cut from the same old cloth, even more awash in the gloppity horns and synths that nearly ruined Quadrophenia. Despite two full years since his last release, Pete could only come up with six songs worthy of inclusion, of which only one had staying power. Frankly, the sardonic, cynical wit in John Entwistle’s unprecedented three compositions is all that saves the affair from complete disaster.

By this point, Keith Moon had partied himself beyond usefulness, compromising the Who magic on which rode Roger Daltrey, who’s singing was strong as usual, but tediously monochromatic in such mundane settings. As I said, the title cut is the only great track, despite being a sordid true story of a harrowing business meeting followed by a drunken escapade that found Pete tearing up the six-figure check he had spent eleven hours negotiating, then passing out in a doorway. It's also a blatant rewrite of “Won’t Get Fooled Again,” it’s still worthy, as is “Music Must Change,” the album’s only musically innovative song, which I should point out does not feature the drumming of Keith Moon, because he couldn’t handle the slower-than-average tempo.

Entwistle’s eight-string bass epic “Trick of the Light” (another tawdry true story, no doubt) brims with power that Pete’s windmills can’t touch this go-round; and his sci-fi epic “905” is great fun despite betraying a recent viewing of the movie “Logan’s Run.” Bafflingly, “Sister Disco” stayed in the Who set for two full tours though the song was hopelessly dated the second it was recorded and its egregious over-arrangement drew it out to excruciating length.

I’d like to be kind to this album, the last word of the Mighty Who's original line-up, but I’m sad to say it is the group's very worst. Six stars is being kind, just enough to give it a D-minus if we were back in school.

To listen to some soundclips from Who Are You or to purchase it, click on: Who Are You [Bonus Tracks]

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