Tag Archives: the who

#750: The Who – Little Billy

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1968 was something of a transitional year for The Who. After 1967’s The Who Sell Out didn’t do as commercially well as the band – especially songwriter and guitarist Pete Townshend – thought it would, the group went straight back to work on making another album. That record, obviously, never saw the light of day – but some of the songs that were made for it (‘Glow Girl’, ‘Faith in Something Bigger’) were eventually released on Odds & Sods, a compilation of rarities and outtakes released in 1974. Others, like ‘Dogs’ and ‘Call Me Lightning’ were released as standalone singles.

‘Little Billy’ was due to be a single in that year too. The track was written for the American Cancer Society, I’m guessing so the band would prosper from advertisements and association with the company, but when it was taken to their executives it was swiftly forgotten about and left in an office for a number of years. Not very nice that that happened, as the track probably deserved more than nothing at all. It’s a peppy tale about the titular character who gets teased by his classmates for being fat. As they all grow older Billy stays somewhat healthy in comparison to those children who once teased him, who ‘one by one’ pass away due to cancer caused by smoking. Billy, being the ‘big man’ inside and out that he is, takes in the kids whose parents have died as his own. It’s a very cheery song but has quite dark lyrics – it works very well.

Got great vocal harmonies shared by Townshend, Roger Daltrey, and John Entwistle that were quite typical in ’60s Who recordings. And Keith Moon goes crazy on the drums and at one point gets a bit lost when carrying out the fills, before somewhat getting into the beat again. Above is the 1996 mix of the track, but the original 1974 release seems to be somewhat faster and in a higher key. I’ll put that down below. By the end of 1968, The Who were in the studio making Tommy and that worked out very well for them.

#694: The Who – The Kids Are Alright

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During the summer of 2010 I began listening to The Who. I was fifteen, heading into my proper GCSE year in secondary school, and thinking that things from that point weren’t going to be the same. I had to get my shit together. I think it was a random choice that I just started searching for The Who songs on YouTube one day, and that just sent me into a spiral. The Beatles had been my new discovery for year 10. In year 11, it was all about The Who.

The video for ‘The Kids Are Alright’ was on YouTube all those years ago. Roger Daltrey, Pete Townshend, John Entwistle, and Keith Moon are in a park somewhere miming to the song and don’t particularly look like they’re having the greatest of times. Despite this, the song itself sounds very bright and quite cheerful. One of the best melodies that Pete Townshend wrote in the group I think, and its enhanced by the three part vocal harmonies that are present throughout the track.

The lyrics however tell a different story. All this time I thought it was commentary on the hip young groovers of the 60s and somehow saying that the older generation have no need to worry because ‘the kids are alright’. But after actually doing some research, it may be about a man who wants to pursue his dreams and leave his wife at home with the children. She can see other guys and he’ll go crazy if he doesn’t get away, but it doesn’t matter because at least the kids will be okay. That situation does make a lot more sense.

In the end, the interpretation doesn’t alter the way I feel about the music. It’s a great jangle-pop classic. From about 1968 onward, the band didn’t care to make these types of power pop singles again so it’s always great to see and hear how they started out.

#662: The Who – Jaguar

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‘Jaguar’ is a song by The Who that was recorded during the sessions that resulted in The Who Sell Out, their third album overall, released in 1967. It didn’t make it onto the original LP in that year, despite bassist John Entwistle and drummer Keith Moon’s pleas for it to be, but made its way onto the extended and remixed version of the album when it was reissued in 1995.

It’s another rare occasion in the band’s discography where Keith Moon takes the lead vocal on the track. Pete Townshend sings the “radio blasting…” bridge. This site takes information from the album’s liner notes so I’m inclined to agree with it. But even if you still don’t believe it’s Moon singing, I’ll try and tell you why it is. It’s clearly not usual lead vocalist Roger Daltrey. John Entwistle does sing on the album. He did possess a very high falsetto during these times. He doesn’t have the almost childish tone to his voice that is clearly noticeable on this track. That leaves Pete Townshend and Keith. Now listen to, let’s say, ‘I Need You’ – which Keith wrote and sang on previous album A Quick One and compare that to ‘Odorono’ for example which Pete sings. The difference is clear. It’s Keith, people.*

Anyway, this track is great. It’s the first one Pete Townshend wrote with the ‘product/radio advertisement’ concept for the album in mind, so its lyrics are really trying to tell you what great quality you can get from a Jaguar brand car. They even use the company’s “Grace, Space, Pace” slogan in the thing. Moon is reaching for the high notes in the verses but he stays relatively on key which is fantastic to hear. Fun to sing along to also. The song goes through various key changes many, many times as well, so if you’re into that sort of stuff you’re gonna have a good time listening.

It is said that the track ‘Sunrise‘ replaced ‘Jaguar’ on the album just as they were sorting out the final tracklist in ’67. That’s more or less a Townshend solo effort. That’s a beautiful song in itself. Maybe ‘Jaguar’ would have suited the album better? But whatever, what’s done is done.

*16/05/2020 Yeah, I did a bit of research and experimenting. I think it’s John who sings the track with Pete in the bridge. I wrote about it on the Who subreddit.

#642: The Who – Is It in My Head?

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The ninth track on The Who’s 1973 rock opera Quadrophenia is just another introspective moment out of many on the album. Its protagonist has…. a lot on his plate – to keep it short and sweet – and is trying to figure out things he can do to try and make himself a better person without coming across as too eager or looking a fool in the process. By the end of the track, he gives up altogether and declares total apathy for anything in the following song ‘I’ve Had Enough’.

For the longest time I thought Pete Townshend sang the chorus. In actual fact, it’s bassist John Entwistle who takes the lead with Roger Daltrey singing the verses. Speaking on Daltrey, this album was definitely his vocal peak. He belts out every howl and bellow from the gut. I can only try and replicate the song’s ‘I feel I’m being followed’ bridge but would never be able to reach those notes with as much gusto.

Daltrey’s voice is really the focal point throughout. As the track is quite mid-tempo, there isn’t as much room for the rapid drum fills or inventive bass lines from the rhythm section. Townshend does add some guitar flourishes here and there, particularly to transition between verses and choruses. Still, it’s another emphatic and cathartic performance by all four members capped off with some warm synthesisers in the mix too.

#618: The Who – In a Hand or a Face

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‘In a Hand or a Face’ closes out The Who by Numbers, The Who’s seventh album released back in 1975. It goes that Pete Townshend, the band’s guitarist and main songwriter, was severely depressed and suicidal during the making of the record. He quit drinking after a long period of severe alcoholism. He was having an existential crisis due to the fear of turning 30 and wondering if he was getting to old for the whole ‘rock ‘n’ roll’ thing. The album as a result has some of Townshend’s most personal, soul-seeking material on there. After nine tracks, including one written by bassist John Entwistle, ‘In a Hand’ sees Townshend at breaking point despite the triumphant confidence with which the music is delivered.

An emphatic crash cymbal and chunky guitar riff begin the song before a thunderous drum roll gets the rhythm going alongside a salutary opening guitar solo. The song is relatively simple. It’s mostly three chords. But there’s an assertive behind every note, chord, and drum fill played that makes the song sound very nonchalant and unfazed. Lyrics-wise, Townshend writes about seeing people in various situations and trying to put himself in their shoes. He asks the listener whether they’ve ever hard the same experiences and self-assesses where he’s at in comparison. His conclusion? He was “going round and round”.

A pulsating rhythm section break marks the song’s key change, and Roger Daltrey, Townshend, and Entwistle repeat its main refrain before the instruments ring out on an unresolved chord. I guess Townshend was in so much of a spiral at the time he didn’t know where he was going. With The Who, with his life…. It wasn’t a great time to be him.