The Who Album-By-Album (& Single-By-Single) Thread

Discussion in 'Music Corner' started by Driver 8, May 12, 2009.

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  1. reb

    reb Money Beats Soul

    Location:
    Long Island
    "The Who"- picture of the day:
     
  2. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    Patent Exploding Letters from Keith

    Keith Moon, Beat Instrumental, August-November 1967

    August 1967

    It was a very pleasant surprise to find that I was going to take over the column spot in "B.I." At first I wondered what to talk about, but then I realised that the obvious subject was my new drum kit. I don't have it at the moment; it's down at the Bristol Siddeley factory having its engines fitted. No, I'm serious. This kit has to be seen to be believed. It's going to be called "The Keith Moon Patent British Exploding Drum Kit." I'm having the shells strengthened and made more resonant but the drums will still be basically Premier.

    With this new special kit, I've been aiming for a fairground atmosphere and I think I've got it. The drums are covered in gaudy designs painted in "Dayglo" and on stage they'll light up larger than life. I'd like to say a bit more about the engine and what it will do but I think I'd prefer you to see the kit in action. I can promise you that it will be really worth seeing. It will give this effect of exploding, hence the name. I'm not sure what the situation is regarding copies of the new kit, but I dare say there will be a version for sale, although I can't see everyone wanting Keith Moon designs.

    I'm writing this on the eve of our departure for the States with the Herman tour. I must admit that the first time we went to the States I was wondering what to expect, but now we've been twice and had great receptions each time so I'm looking forward to this next tour. The thing is that the Americans are still looking to Britain for their ideas, even if they won't admit it. When we went across we were already known by the groups and they made up a large percentage of the audiences. Mind you, having a group following can work the other way, as it has done in Britain for the Lovin' Spoonful and the Young Rascals. Groups had know about them and were following their ideas for some time before they came over here, but once everybody else caught on and liked them, the groups disowned them. I still say that the British groups have the edge on any American group. They have better ideas and those ideas are much more musical than anything over there.

    Something else you might be interested in is the fact that I played drums on "Beck's Bolero," the flip of "Silver Lining." It was a good session, with Jeff, Jimmy Page and John Paul Jones. Mind you, I only played because Jeff was a friend; I'm not all that fond of sessions usually.

    As you probably know John got married last month and we've been on holiday since then, but first we've had to record the new single and some LP tracks. We may go into the studios in the States, but anyway, I'll be able to tell you more about that next month.


    September 1967

    We'll we're half-way through our Stateside tour and I don't think I'll be very sorry when it's all over. Don't get me wrong, it's been a great tour, but the travelling! It's unbelievable. I'll never complain about British trips again. I must admit I had my doubts before it started. I had a feeling that Herman's fans would be somewhat anti us, but I'm glad to say that I've been proved wrong. There are a lot of Teeny-boppers at all the concerts, who have obviously come to see Herman, but they're also listening to us.

    Things have generally been going pretty smoothly, but there have been a couple of incidents - one funny and one nearly disastrous. It was funny - though not at the time - when we had to fly to Toronto from New York. Somehow or other I managed to leave my passport in a laundry basket at a hotel, and almost got left behind. But someone pulled strings. I got onto the plane. My passport was sent on another plane.

    The other incident happened in the deep South. I'm not quite sure how it came about, but I was walking along a road when some fellers came up, took an instant dislike to me, and shoved me through a plate glass window. By the time I had clambered out, they had disappeared and I'm still wondering what it was all about. No, I wasn't hurt. Well, just a few scratches. But it could have proved very nasty.

    I said that the tour was a bit hectic, but half of it is due to the amount of recording we're doing. We stop in practically every big town, go into a studio that has previously been booked by Kit Lambert, and try to get some more tracks in the can for our next LP. So many people say that there is a vast difference between American and British studios, but I haven't noticed anything. Admittedly we're never in one place long enough to form any real opinion, so I could be wrong. We did a couple of tracks in Memphis. Beautiful studio there and the atmosphere great! It's not surprising they produce so many hit records.

    I can't wait to get back home and show everyone my "Exploding Drum Kit."


    October 1967

    Well, I'm finally 21 years old. Boy, did I have a raving party. The raving occasion took place in Detroit, and there were so many guests including Dee-Jays and various people from Tamla. And the cake I got! That was fabulous. Shaped like a drum kit with weird psychedelic designs all over it. A really great day for me.

    Now we're back in England, it's a case of resting, resting and more resting. If anyone tells you that touring the States is easy, forget it. We played in 55 different towns and average about 2,000 miles a day. But we had a great time. Sleep was the only problem, but luckily the plane we used had six beds in it and most of the time was spent sleeping, drinking, playing Monopoly and cards and just chatting. That plane was a gas. On the side it had our names, so we felt very honoured. But I still managed to miss it one day. that was after a particularly hectic night and a special one had to be laid on just for me. We're still doing a lot of recording, but the Nashville session was easily the most interesting.

    There was this guy, something to do with Decca Records, who had his own private studio. Outside was a huge lake around in which lived people like the Everlys and Roy Orbison. It was beautiful. It's things like that that I miss. And the swimming in the Motel swimming pools. But now we're back in good old sunny England, and after this rest we're going to have to think about a new act. We've decided that it needs changing, so it looks like a whole lot of rehearsing. Pete's already written some new songs. He says he didn't have time in the States, but I think he was enjoying himself too much.

    The last date of the tour was in Hawaii. That was one place where I've always wanted to go, and it really is fantastic. I wish we could have stayed a few days, but we had to fly back to Los Angeles to do a Smothers Brothers TV show. I admit that the tour was very hard, mostly because America is such a big place, but I wouldn't have missed it for anything. Wonder when we're going back?


    November 1967

    When we returned from the States, I had visions of a lovely, long rest. Boy, was I mistaken. Apart from rehearsing like mad, I've also moved into a new flat. It's got three bedrooms and is in the Hampstead area. Beautiful. The only trouble with such a large flat is furnishing it. I think I prefer touring. It's easier. I haven't been able to do much to it in the daytime because we've spent weeks rehearsing at the Saville Theatre. We've built up a completely new act and the authentic surroundings helped a lot.

    In the past, we haven't appealed to as many people as we could have. This new act gives us a lot more scope and we hope it will attract a much wider audience. Oh yes, I've just got a set of timps. You know, those huge drums people like Eric Delaney use. They're made by Premier and give a tremendous "lift" to songs. I won't use them in many numbers; that would spoil the effect. I haven't tried them on record yet, but the time will come.

    As you probably know, our next single will be "I Can See For Miles And Miles." I've been trying to think of something interesting to say about it, but can't think of anything. In fact I can't even remember the session. It was made so long ago that even Pete - and he wrote it - had forgotten how it went. Kit Lambert was digging through some old tapes, found this one, re-reduced it and decided to use it as a single. Those Stateside sessions only produced about four masters and they're more LP material. Incidentally, we all prefer the English studios. The atmosphere is so much more friendly. And they're not so far apart. Normally, we use either CBS or De Lane Lea. At least they can handle our sound. The Nashville one couldn't. I think we must have blown every fuse in the studio.

    We hope that some of you will come along and see us on tour, and let us know your opinions of the new act .providing they're nice ones of course. No seriously, we want to please our fans, and the only way to do this is to let us know what you want. If it's possible, we'll give it a go.


    © Beat Instrumental, 1967
     
  3. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    The Who In New York

    Keith Altham, Hit Parader, September 1967​

    THAT well-known demolition squad - The Who - recently returned from nine "smashing" days on a Murray the K "endurance test" at the New York RKO Radio Theatre (other non-combatants included Wilson Pickett, Mitch Ryder and The Cream) where they contrived to destroy everything on stage to the tunes of "My Generation" and "I Can't Explain."

    Now that some of the dust and debris have settled, I talked to bombardier Pete Townshend who issued a full report on the damage and revealed news of their next record "Pictures Of Lily."

    "We worked hard on 'propaganda' for the first three days and I had two stock quotes which everyone wrote down," said Pete.

    "They were 'we want to leave a wound' and 'we won't let our music stand in the way of our visual act!'

    "At the press reception, I walked around in an electric jacket with flashing light bulbs which proved to be something of an anti-climax because a girl had appeared on TV recently with a dress on the same principle. Reporters kept asking me where I had got my copy from and I said, 'It's psychedelic and it cost $200 and it's supposed to blow yer mind!'

    "We were to have an Ed Sullivan TV show but the news readers were out on strike and as artists we were expected to support their action - so no show.

    "Once in the theatre for the Murray the K show you are virtually trapped for the day and the show goes on continuously with artists appearing one after the other on a conveyor-belt system.

    "Originally we were supposed to do four numbers but we complained and said it was impossible to put the act over with only four numbers, so they cut out two!

    "Someone had to cut their act because the show was running over, so we volunteered.

    "Murray the K's wife was on the program. She appeared about ten times in a fashion spot with teenybopper girl models - Jackie the K and her fabulous fashion show.

    "The most presentable of the models was a girl called 'Joy Bang,' who took a liking to Keith which I think was mutual until she said, 'You must meet my husband, Paul Bang!'

    "We really worked the destruction bit to a fine art in our spot. I developed a great thing where I hit myself on the head with my guitar which had absolutely no visual impact but made me see stars and I thought - 'That's nice!'

    "At one time I noticed Keith throwing his big bass drum at me with the spike protruding and Roger hurling the mikestand at me from another direction.

    "I made myself very thin and the mike shattered to pieces in front of me while the spike from the drum ripped my shirt down the back. The stage hands got tired of sweeping up the equipment and went on strike.

    "Most of the things we broke had to be repaired by us afterwards for the next house - I discovered Fender guitars are very strong and cheap out in the U.S.

    "We shared a dressing room with a group called the 'Hardly Moving Players' who did satirical sketches and were nice people. Below us The Cream and The Blues Magoos played whining guitars all afternoon until Pete and Keith retaliated for about three hours by going through the entire Shadows' repertoire.

    "Occasionally we went outside and allowed ourselves to be torn apart and sign autographs which wasn't so bad because the kids give it back to you by storming the stage during the act.

    "The only club I liked was one called The Scene where a man called Tiny Tim plays ukulele and sings, 'He's Got The Whole World In His Hands,' and when anyone applauds, he whoops like a Red Indian.

    "I'm trying to get him signed up with our recording company!"

    A few words on the new single.

    "I submitted three songs and 'Pictures Of Lily' was the most obvious hit. It's all about a boy who can't sleep at night, so his dad gives him some dirty pictures to look at.

    "Then he falls in love with the girl in the pictures, which is too bad because she is dead."

    Follow that!

    © Keith Altham, 1967
     
  4. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    Those two articles are taken from thewho.net, so you've probably read them before, but I've corrected some of the spelling, and ALL full Who articles should be welcome in this thread. :)
     
  5. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    Thanks so much for all the love for and affection for The Who Sell Out, and a special thanks to reb for his daily photos. It's very hard to let The Who Sell Out go, but there's not much going on here right now, so it might be the right time to move on to a new year - and a new single. Ready!?!? :goodie:
     
  6. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    Dogs

    http://www.*****/images/DOGS-UK.jpg

    UK: June 14, 1968 - Pictures Of Lily / Doctor, Doctor - Track 604023

    A1: Dogs (3:05) ****
    (Pete Townshend)
    B1: Call Me Lightning (2:24) ***
    (Pete Townshend)

    By the end of 1967, The Who were voted "Rock & Roll Band Of The Year" by the hippest magazine of them all; Rolling Stone, which was a sign of the prestige the band now possessed in the States as England's best and most vital underground rock band, but their reputation as violent and destructive maniacs caught up with them on their first tour of 1968 in Australia with The Small Faces, where the authorities seemed determined to get them - in what was obviously a political agenda, blaming The Who for everything that was wrong about Britain. The press portrayed them as demons, and they were met with harassment everywhere - on the streets, in the hotels, and also especially from the Australian audience. The press slaughtered the shows. Following their gig in Sydney on January 23rd, they were investigated by the police for using obscene language onstage. On their next flight from Adelaide, an air hostess accused them of being drunk and using foul language, eventually leading the pilot to call the police, and two lines of State and Commonwealth police escorted them off the plane, and held the groups on the airport, accusing them of "behaving in such a manner as to constitute a risk to the aircraft". The pilot of their connecting flight refused to allow them on board. Pete: "We were victims. The crew set out to humiliate us, and they succeeded." They made it to New Zealand, and let their frustrations out on stage, smashing seven microphones in Auckland alone. Journalist Paul Rodgers wrote the following for The Truth: "They're the scruffiest bunch of Poms that ever milked money from this country's kids. All the kids got for their money was an ear-splitting cacophony that was neither musical nor funny. They did more to harm the British image in a few days than Harold Wilson or Edward Heath could do in ten years. I'm ashamed to have come from the same country as these unwashed, foul-mouthed, booze swilling no-hopers. Britain can have them." While in New Zealand, a telegram was sent to Track Records from Australian prime minister John Gordon, asking them to never come back. Pete publicly announced that he would never set foot in Australia again. While making the video for their next single "Call Me Lightning", Tom Wright took a series of stills of the group wearing World War I tin trench helmest, and using props such as an explosives detonator, playing up under the group's image as napalm incarnated (the video itself is classic manic Who slapstick comedy). "Call Me Lightning" was recorded at IBC and Gold Star in February, and was released in the US (backed by John's "Dr. Jekyll & Mr. Hyde", which was recorded at IBC in January) in March, but was withdrawn in Britain in May, because the band felt it was unrepresentative of their current sound, but they announced to Disc that they hoped to record an opera called An Amazing Journey as a complete LP, and release a single off that. Plans for albums, singles and even various television shows were all over the place. The Who's For Tennis?-concept had come up again, which was to lead off with with the single "Glow Girl", recorded in January and February at IBC. "Faith In Something Bigger" was another track recorded in January, which was one of Pete's earliest attempts at a purely spiritual song, written during his STP-induced nervous breakdown last summer. "Little Billy" (written for the American Cancer Society's anti-smoking campaign, but considered to long and "gruesome" for ACS) was also recorded during the same session as "Glow Girl". But these were all loose ideas. Plans for a live album were put into action on their riotous February/March/April US tour, where Keith really made a name for himself as the greatest hotel trasher in the world. He would create elaborate, almost artistic chaos. Once, he nailed all the furniture to the ceiling in the same order as it had been on the floor. Or he would unscrew cabinets and pry them apart. But he also perfected destruction with bombs that could easily be mistaken for terrorist attacks, blowing up toilets, doors, furniture etc, getting the band thrown out of and banned at virtually every hotel they were in, and they were having an increasingly hard time finding a place to sleep. He even threw cherry bombs from a 9th floor window toward policemen on the street below! Keith: "In my opinion, America would be far better off if they'd just give every aggressive person a drum kit or a guitar to smash about, and let 'em rid of all the frustration that way." The gigs themselves were fantastic, and sealed their statues as the greatest live band in the world for everyone who saw them. The shows were much longer than before (it was their first headlining tour), with loads of noisy jamming, where recent songs like "Relax" and older songs like "My Generation" were heavenly jamfests; showcasing the band's incredible dynamics - often passing the 10-minute mark without ever losing momentum. Heavied up versions of most of their singles, increasingly pulverising rock & roll-covers, album gems like "Boris The Spider" and "Tattoo" (with perfect harmonies), the unreleased "Little Billy", and increasingly theatrical versions of "A Quick One, While He's Away" were some of the songs played while the band were windmilling, jumping, smashing, screaming and twirling all across the stage. Noone could follow The Who. Several shows on the tour were recorded by Kit Lambert and Bill Halverson (tentatively titled The Who - Live At The Fillmore Auditorium for a June release), but the band weren't satisfied with the tapes, and the live album never materialised. After a few small club gigs in the UK (including a glorious return to the Marquee, where Pete smashed two guitars in one gig), Kit tried to assemble enough material for the Who's For Tennis? album - to be released around the time of the Wimbledon tournament. The band recorded covers of Benny Spellman's "Fortune Teller" and Johnny Kidd & The Pirate's "Shakin' All Over" (both current live staples) at Advision Sound in May, coupled with the new originals "Melancholia" and "Dogs". An older original; "Magic Bus", was recorded at IBC, as was the backing track for "Now I'm A Farmer", but it had been quite a few months since their last UK single, and they needed to release a new one. The B-side was ready. That was going to be "Call Me Lightning", which is an old Maximum R&B-tune that dates back to 1964 (it was actually one of the two songs they auditioned for Shel Talmy with), and is given a pretty solid treatment here. Neither Pete or John were happy with it (John has claimed that the bass solo is the worst thing he ever did), but one can easily imagined that both Roger and Keith enjoyed it a lot. It certainly kicks ***. Pete wanted to "Melancholia" as the A-side, but it was rejected by the band, and they instead went for "Dogs", which is about... Well, dogs! Or more specifically dog racing. John: "Chris Morphet and I are very interested in greyhound racing. We took Pete along several times to the White City Stadium where there is dog racing in London. He really was knocked out and spent quite a lot of money betting, jumping up in the stands, shouting and getting thoroughly excited." Pete didn't say much about the song, but mentioned that they at least "knew it would pass as fit for human consumption". While the lyrics are what they are (and come on, this is The 'Orrible 'Oo, fer cryin' out loud) - as Spinal Tap bassist Derek Smalls would have explained: "We're taking a sophisticated view of the idea of romance and... Beer, and... Putting it on a Greyhound racing track", the song has a very good performance from the entire band, and is a great, great pop song in its own right! Kit's production techniques have certainly improved, Keith is more relaxed, tight and controlled than usual, Pete plays a mean piano, Roger delivers his most blatantly British vocal to date, Chris Morphet appears on the track on harmonica and backing vocals, and John and Pete give us two classic impressions of dog racing spectators. Pete's closing line "Lovely buttocks" managed to throw the whole "fit for human consumption" project back to the dogs, and maybe the single confused quite a few record buyers into thinking "Well, if THIS is the direction they are going in, I'm done with them", but it is all the more perfect for it.
     
  7. jimmydean

    jimmydean Senior Member

    Location:
    Vienna, Austria
    dogs / call me lightning: i always thought "call me lightning" is the better song... not a classic, but it's one of the who songs i cannot get out of my head... the a-side is not my cup of tea.. i think all in all one of their weakest singles of the sixties...
     
  8. glea

    glea Forum Resident

    Location:
    Bozeman
    There is nothing in my life bigger than beer, 'ceptin' you little darling.

    How could you not love Dogs? Call Me Lightning is an odd one, at least as old as My Generation, and sounds a little like it. A radio hit in the Bay Area. Too bad people don't make records like those anymore.
     
  9. PIGGIES

    PIGGIES Forum Resident

    Location:
    UK
    Call Me Lightning is a curious beast - I always fool myself into thinking I don't like it & then when I hear it, I love it, very strange.........

    I do love dogs though - Pete doing his Small Faces bit :thumbsup:
     
  10. reb

    reb Money Beats Soul

    Location:
    Long Island
    "Dogs"- Loved this song from the very first listen,.....still do!


    ***************************************************************

    "The Who- Dogs" Lyrics

    The first time we met you were a kennel maid,
    You gave me a tip I got me forecast paid,
    You were holding a greyhound in trap number one,
    Your white coat was shining in the afternoon sun.

    Now we're both together,
    We're never gonna break apart, no no,
    'Cause we're a happy couple you and me,
    With a greyhound at either knee.

    I'll have ten shillings to win on CAMIRA FLASH, young man,
    What dog's that THEN? IT'S THE DUKE'S DOG, ENNIT!

    There was nothing in my life bigger than beer,
    There was nothing in my life bigger than beer,
    'Ceptin' you, little darling,
    'Ceptin' you, little darling,
    We're a happy couple you and me,
    With a greyhound at either knee.

    We go to the dog track on Saturday night,
    We put all our money on a dog that we like,
    A kiss and a cuddle, a hot meat pie,
    Two dollar tickets and a starry sky.

    There was nothing in my life bigger than beer,
    There was nothing in my life bigger than beer,
    'Ceptin' you, little darling,
    'Ceptin' you, little darling,
    We're a happy couple you and me,
    With a baby on either knee.

    Yes it's you little darling,
    Yes it's you little darling,
    Now it's you little darling,
    Now it's you.

    RIGHT, where's me wage packet ?????,
    Ah I'll put twenty-five knicker please on YELLOW PRINTER,
    Oh, I hope the wife don't find out,
    Yes, it's sure to win, isn't it,
    Yes, I know, it's a good dog, I saw it run at White City,
    Just last week, broke the record, YELLOW PRINTER,
    Nice dog, yes, lovely form, lovely buttocks.
     
  11. reb

    reb Money Beats Soul

    Location:
    Long Island
    "The Who"- picture of the day:
     
  12. reb

    reb Money Beats Soul

    Location:
    Long Island
    "Dogs"
     
  13. reb

    reb Money Beats Soul

    Location:
    Long Island
  14. Mike D'Aversa

    Mike D'Aversa Senior Member

    What was Roger's famous quote about the weird 1968 version of the Who? I don't want to mangle it.

    Pete obviously still hadn't made peace yet with releasing a song he had intended to be a throwaway for another artist from a couple of years back ("Magic Bus" - anybody ever heard that version?). I forget the group's name at the moment.

    The lyrics of "Little Billy" weren't suitable as "single" material, no matter how great the music.

    The only reason I can see for them not releasing the infinitely superiror "Glow Girl", instead of "Dogs"/"Call Me Lightening", would have been Pete still wanting to save it for his future 'Amazing Journey' (aka 'Tommy') project.

    Still, sometimes artistic sacrifices have to be made in the name of commerce. Nobody in the Who camp could have possibly thought either side of the "Dogs" single as being a worthy follow-up to ICSFM...
     
  15. reb

    reb Money Beats Soul

    Location:
    Long Island
  16. Clarkophile

    Clarkophile Through the Morning, Through the Night

    Location:
    Oakville, ON
    I want to like 'Dogs' more than I do, but it remains a huge disappointment, and an awkward and sometimes embarrassing release. Its noticeable absence from the never-ending string of GH comps (especially MBB&B) constitutes the strongest indictment of this track.

    The problem with 'Dogs', apart from its weak melody, is that the whole thing feels completely forced. The Who were straining to be funny when they were, collectively and individually, innately hilarious. The dog-racing angle, the gimmicky vocals, the Small Faces-style whimsy---these are merely desperate contrivances to hide the fact that the band had lost its direction and, more importantly, had lost touch with its audience.

    'Call me Lightning' sounds completely behind the times.
     
  17. Evan L

    Evan L Beatologist

    Location:
    Vermont
    I like "Dogs" as well. Very British record.

    I put it on a 2-CD Anthology I once made.

    Evan
     
  18. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    Doh! Was I ever tired when I posted that? :o

    It is of course:

    UK: June 14, 1968 - Dogs / Call Me Lightning - Track 604023

    ... At least I got the cat. number right!

    I thought "Call Me Lightning" was a throwaway until I heard the MONO version, which is a thousand times more powerful than the STEREO (which is two stars to me). The lyrics always put me off, but now I can actually enjoy it for what it is; a good R&B-track, regardless of the terrible lyrics.

    They were definitely influenced by The Small Faces, having spent a lot of time with them lately, but I don't think "Dogs" sounds forced, although I agree with you that the occasions where they are straining to be funny, are the ones that are staged (Keith's radio shows comes to mind).

    As opposed to "I Can See For Miles", the campaign for "Dogs" was indeed a strange one, and seemed to have everything to do with introducing the band to the dog community, and nothing to do with pleasing or relating to their record buying audience. That the single reached #25 in the UK charts was actually an achievement, considering what they actually did.

    And what did they actually do? Well, they shot a video at the Walthamstow dog racing track (and a pre-recorded insert was shown at Top Of The Pops), and while taking photos at Waltham Abbey, they watched Yellow Printer train with owner Pauline Wallace. A week later they were guests of honour at the annual Greyhound Derby, where Yellow Printer and Camera Flash were running, and that was it as far as promoting it. :laugh:

    It's wonderfully bizarre, but to me their weirdness has always been one of The Who's strongest cards.
     
  19. reb

    reb Money Beats Soul

    Location:
    Long Island
    I read your post and find it fascinating. And brilliantly accurate in an analytical sense, but..."Dogs" is a fu$8kin joke. Have you never drunk beer?, the boys were young then and just having fun!!

    These singles thread interludes are only a delay to get to what made the who.........THE WHO.

    The Greatest rock band on Earth.
     
  20. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    Yes, we're closing in, but we have a long way to get there, so let's enjoy the ride (I'm sure we enjoy it much more than Pete did)! :D
     
  21. reb

    reb Money Beats Soul

    Location:
    Long Island
    Ok, so we move it along in chronological release order:
     
  22. reb

    reb Money Beats Soul

    Location:
    Long Island
    Yeah, the Magic Bus ....
     
  23. glea

    glea Forum Resident

    Location:
    Bozeman
    If you listen to the demo of Dogs, link posted up there, you can hear what a great song this is. It's funny, but not a big joke. This and Now I'm A Farmer are special songs for me. Pete had talked about Farmer long before we had ever heard it. Telling stories like that in just three minutes is a challenge. A great period for the Who, as they prepare the thing known as Tommy. Add to that Little Billy, which I saw them perform at the Fillmore West 1968... I guess you had to be there.
     
  24. reb

    reb Money Beats Soul

    Location:
    Long Island
  25. Devotional

    Devotional Senior Member

    Location:
    Oslo, Norway
    Yes, I think that has worked very well so far - for singles, we're sticking to the UK, and we've covered every single UK 7" this far, and I'm also using the singles to tell the chronological story of the band, whenever there are important incidents. For albums, we have to include the major compilation albums, and some of them (such as MB) are US only, so that will break our UK only rule. MB and DH will definitely be represented.

    Been wanting to put together comparisons for Sell Out, but haven't had the time yet, and we're not in a hurry. This thread will be long and winding!
     
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