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1971 studio album past the Who

1971 studio anthology by the Who

Who's Next
A photograph of the Who walking away from a stone monolith and zipping up their pants, with visible streaks of urine on the structure
Studio anthology by

the Who
Released 14 Baronial 1971 (1971-08-14) [1]
Recorded April–June 1971
Studio
  • Olympic, London, England[2]
  • Stargroves, E Woodhay, England (Rolling Stones Mobile Studio)[3]
Genre Hard rock
Length 43:38
Label
  • Rails
  • Decca
Producer
  • The Who
  • Glyn Johns (associate producer)
  • Chris Stamp (exec.)
  • Kit Lambert (exec.)
  • Pete Kameron (exec.)
The Who chronology
Alive at Leeds
(1970) 		Who's Side by side
(1971) 		Meaty Beaty Big and Bouncy
(1971)
Singles from Who's Next
  1. "Won't Get Fooled Again"
    Released: 25 June 1971[4]
  2. "Baba O'Riley"
    Released: 23 October 1971 (Europe)[5]
  3. "Behind Blue Eyes"
    Released: 6 November 1971[6]

Who'southward Next is the 5th studio anthology by English language rock band the Who. It developed from the aborted Lifehouse project, a multi-media rock opera written by the group's guitarist Pete Townshend every bit a follow-up to the ring's 1969 album Tommy. The project was cancelled attributable to its complexity and to conflicts with Kit Lambert, the band'southward manager, merely the grouping salvaged some of the songs, without the connecting story elements, to release equally their next anthology. Viii of the nine songs on Who's Next were from Lifehouse, the lone exception being the John Entwistle-penned "My Married woman". Ultimately, the remaining Lifehouse tracks would all be released on other albums throughout the adjacent decade.

The Who recorded Who's Adjacent with assist from recording engineer Glyn Johns. After producing the song "Won't Get Fooled Again" in the Rolling Stones Mobile Studio, they relocated to Olympic Studios to record and mix most of the album's remaining songs. They made prominent use of synthesizer on the album, particularly on "Won't Get Fooled Again" and "Baba O'Riley", which were both released as singles. The comprehend photo was shot by Ethan Russell; it made reference to the monolith in the 1968 motion picture 2001: A Infinite Odyssey, as information technology featured group members standing by a physical piling protruding from a slag heap in Easington Colliery, County Durham, apparently having urinated against it.

Who'due south Next was an immediate success when it was released on 14 Baronial 1971.[7] Information technology has since been viewed by many critics as the Who'south best album and one of the greatest albums of all fourth dimension. It was reissued on CD several times, with additional songs originally intended for Lifehouse.

Background [edit]

By 1970, the Who had obtained significant critical and commercial success, but they had started to become detached from their original audition. The mod motion had vanished, and the original followers from Shepherd's Bush-league had grown up and acquired jobs and families. The group had started to drift apart from managing director Kit Lambert, owing to his preoccupation with their characterization, Rails Records.[viii] They had been touring since the release of Tommy the previous May, with a set that contained most of that album, but realized that millions had now seen their live performances, and Pete Townshend in detail recognized that they needed to do something new.[nine] A single, "The Seeker", and a live anthology, Live at Leeds, were released in 1970,[10] and an EP of new material ("Water", "Naked Eye", "I Don't Fifty-fifty Know Myself", "Postcard" and "At present I'm a Farmer") was recorded, but not released as the band felt it would not be a satisfactory follow-upwardly to Tommy.[11]

Instead, the group tackled a project called Lifehouse. This evolved from a series of columns Townshend wrote for Melody Maker in Baronial 1970, in which he discussed the importance of stone music, and in detail what the audience could exercise.[12] Of all the grouping, he was the most bully to apply music as a advice device, and wanted to branch out into other media, including moving picture, to get away from the traditional album/bout cycle.[13] Townshend has variously described Lifehouse as a futuristic stone opera, a live-recorded concept anthology and as the music for a scripted movie project.[14] The basic plot was outlined in an interview Townshend gave to Disc and Music Echo on 24 October 1970.[fifteen] Lifehouse is set in the near future in a club in which music is banned and most of the population alive indoors in government-controlled "experience suits". A rebel, Bobby, broadcasts rock music into the suits, allowing people to remove them and get more enlightened. Some elements accurately draw future engineering science; for case, The Grid resembles the internet and "grid sleep" virtual reality.[16]

The grouping held a press briefing on 13 January 1971, explaining that they would be giving a series of concerts at the Young Vic theatre, where they would develop the fictional elements of the proposed film forth with the audience.[sixteen] After Keith Moon had completed his work on the flick 200 Motels, the grouping performed their first Young Vic concert on 15 Feb. The show included a new quadrophonic public accost system which cost £xxx,000; the audition was mainly invited from various organisations such as youth clubs, with just a few tickets on sale to the general public.[17]

After the initial concerts, the group flew to New York's Record Plant Studios at Lambert'due south suggestion, for studio recordings. The group were joined by guests Al Kooper on Hammond organ, Ken Ascher on piano and Leslie West on guitar. Townshend used a 1957 Gretsch guitar, given to him by Joe Walsh, during the session; it went on to become his primary guitar for studio recording.[xviii] Lambert's participation in the recording was minimal, and he proved to be unable to mix the terminal recordings.[3] He had started taking hard drugs, while Townshend was drinking brandy regularly.[19] Afterwards returning to United kingdom engineer Glyn Johns made prophylactic copies of the Tape Plant material, simply decided that it would be better to re-record it from scratch at Olympic Sound Studios in Barnes.[3]

The group gave a farther series of concerts at the Young Vic on 25 and 26 April, which were recorded on the Rolling Stones Mobile Studio by Andy Johns, but Townshend grew disillusioned with Lifehouse and farther shows were cancelled.[20] The project proved to exist intractable on several levels, and caused stress inside the band also as a major falling-out betwixt Townshend and Lambert. Years afterward, in the liner notes to the remastered CD, Townshend wrote that the failure of the project led him to the verge of a nervous breakup.[21] Audiences at the Young Vic gigs were non interested in interacting with the grouping to create new material, but just wanted the Who to play "My Generation" and boom a guitar.[22] At the time, Roger Daltrey said the Who "were never nearer to breaking upward".[23]

Although the Lifehouse concept was abandoned, scraps of the project remained in the final anthology, including the use of synthesizers and computers.[24] An early concept for Lifehouse featured the feeding of personal data from audition members into the controller of an early counterpart synthesizer to create a "universal chord" that would accept ended the proposed film.[25] Abandoning Lifehouse gave the group extra freedom, owing to the absenteeism of an overriding musical theme or storyline (which had been the basis of Tommy). This allowed the band to concentrate on maximising the bear on of private tracks, and providing a unifying sound for them.[26]

Although he gave upwardly his original intentions for the Lifehouse project, Townshend continued to develop the concepts, revisiting them in later albums, including a half-dozen-CD set up, The Lifehouse Chronicles, in 1999.[27] In 2007, he opened a website called The Lifehouse Method to accept personal input from applicants that would be turned into musical portraits.[28]

Recording and production [edit]

The outset session for what became Who's Next was at Mick Jagger's business firm, Stargroves, at the start of April 1971, using the Rolling Stones Mobile. The bankroll track of "Won't Become Fooled Again" was recorded there[3] before the band decided to relocate recording to Olympic at Johns' suggestion;[29] the first session was on 9 Apr, attempting a basic accept of "Bargain".[20] The bulk of the sessions occurred during May, when the group recorded "Time is Passing", "Pure and Easy", "Beloved Ain't for Keeping" (which had been reworked from a rock track into an acoustic arrangement), "Behind Blue Eyes", "The Song Is Over", "Allow'due south See Action" and "Baba O'Riley". Nicky Hopkins guested on piano, while Dave Arbus was invited by Moon to play violin on "Baba O'Riley". John Entwistle's "My Married woman" was added to the album very tardily in the sessions, having been originally intended for a solo album.[23]

In contrast to the Record Institute and Young Vic sessions, recording with Johns went well as he was primarily concerned nigh creating a good audio, whereas Lambert had always been more preoccupied about the group'due south image. Townshend recalled, "we were only getting astounded at the sounds Glyn was producing".[23] Townshend used the early synthesizers and modified keyboard sounds in several modes: as a drone event on several songs, notably "Baba O'Riley" and "Won't Get Fooled Again",[30] as well as on "Bargain", "Going Mobile" and "The Song Is Over". The synthesizer was used every bit an integral part of the audio, as opposed to providing gloss as was the case on other artists' albums up to this bespeak.[31] Moon'south drumming has a distinctly different style from earlier albums, being more formal and less reliant on long drum fills—partly owing to the synthesizer backing, merely as well due to the no-nonsense production techniques of Johns, who insisted on a good recording performance that used flamboyance only when truly necessary.[32] Johns was instrumental in convincing the Who that they should but put a single studio anthology out, believing the songs to be excellent. The group gave him complimentary rein to assemble a single album of whatever songs he wanted in whatever order.[30] Despite Johns' key contributions, he only received an acquaintance producer credit on the finished album,[23] though he maintained he acted mainly in an engineering science capacity and based most of the arrangements on Townshend's original demos.[33]

An ARP synthesizer similar to the one used on Who'due south Next

The album opened with "Baba O'Riley", featuring pianoforte and synthesizer-processed Lowrey organ past Townshend. The song'southward title pays homage to Townshend'southward guru, Meher Baba, and minimalist composer Terry Riley, and it is informally known equally "Teenage Wasteland" from a line in the lyrics.[34] The organ rail came from a longer demo by Townshend, portions of which were later included on a Baba tribute anthology I Am,[35] that was edited down for the final recording. Townshend later said this role had "two or three thousand edits to information technology".[36] The opening lyrics to the next rails, "Bargain", "I'd gladly lose me to find you lot", came from a phrase used by Baba.[34] Entwistle wrote "My Married woman" afterward having an statement with his wife and exaggerating the conflict in the lyrics. The track features several overdubbed brass instruments recorded in a single half-hour session.[37] "Pure and Easy", a fundamental rail from Lifehouse, did not make the last track selection, just the opening line was included every bit a coda to "The Song is Over".[34]

"Backside Blue Eyes" featured iii-part harmony by Daltrey, Townshend and Entwistle and was written for the main adversary in Lifehouse, Brick. Moon, uncharacteristically, did not appear on the offset half of the track, which was later described by Who biographer Dave Marsh as "the longest fourth dimension Keith Moon was even so in his entire life."[35] The closing track, "Won't Get Fooled Again", was critical of revolutions. Townshend explained, "a revolution is simply a revolution in the long run and a lot of people are going to get hurt".[34] The vocal features the Lowrey organ fed through an ARP synthesizer, which came from Townshend'southward original demo and was re-used for the finished track.[29]

Cover fine art [edit]

The cover artwork shows a photograph, taken at Easington Colliery, of the band patently having just urinated on a large concrete piling protruding from a slag heap.[38] The decision to shoot the motion picture came from Entwistle and Moon discussing Stanley Kubrick and the film 2001: A Space Odyssey.[39] According to photographer Ethan Russell, just Townshend actually urinated against the piling, and so rainwater was tipped from an empty film canister to achieve the desired effect. The sky in the background was added later to give the image what Russell called "this other worldly quality."[forty] The rear cover showed the band backstage at De Montfort Hall, Leicester, amid a debris of furniture.[38] In 2003, the television channel VH1 named Who's Next'south comprehend one of the greatest album covers of all fourth dimension.[41]

Other suggestions for the embrace included the group urinating against a Marshall Stack and an overweight nude woman with the Who's faces in place of her genitalia.[38] An alternative encompass featuring Moon dressed in black lingerie and a brown wig, holding a whip, was later on used for the inside art for the 1995 and 2003 CD releases. Some of the photographs taken during these sessions were later used equally role of Decca's United states of america promotion of the anthology.[7]

Release and promotion [edit]

The atomic number 82 unmarried, "Won't Get Fooled Again" (edited downwardly to 3 and a half minutes), was released on 25 June 1971 in the U.k. and in July in the US ahead of the anthology. Information technology reached #9 and #15 in the charts respectively.[42] The anthology was released on fourteen Baronial in the United states of america and on 27 Baronial in the UK. It became the only album past the Who to meridian the UK charts.[1]

The Who started touring the United states simply before the album was released.[43] The group used the Lifehouse PA, though soundman Bob Pridden found the technical requirements of the equipment to exist over-complicated.[44] The ready listing was revamped, and while it included a smaller selection of numbers from Tommy, several new numbers from the new anthology such equally "My Wife", "Baba O'Riley" and "Won't Get Fooled Again" became alive favourites. The latter two songs involved the band playing to a backing runway containing the synthesizer parts.[45] The tour moved to the UK in September, including a show at The Oval, Kennington in front of 35,000 fans, and the opening gig at the Rainbow Theatre in Finsbury Park, before going back to the U.s.a., ending in Seattle on 15 December. The group then took eight months off touring, the longest intermission of their career at that signal.[46]

Several additional songs recorded at the Who'due south Next sessions were released after equally singles or on compilations. "Let'south See Action" was released as a single in 1971,[26] while "Pure and Like shooting fish in a barrel" and "Too Much of Anything" were released on the album Odds & Sods,[26] and "Time is Passing" was added to the 1998 CD version.[47] A embrace of "Baby Don't You Do It" was recorded and the longest version currently available is on the deluxe edition of the album.[48]

The album has been re-issued remastered several times using tapes from different sessions. The master tapes for the Olympic sessions are believed to be lost, as Virgin Records threw out a substantial number of old recordings when they purchased the studio in the 1980s.[49] Video game publisher Harmonix wanted to release Who'southward Next as downloadable, playable content for the music video game serial Stone Band, simply were unable to do and then due to difficulty finding the original multitrack recordings. Instead, a compilation of Who songs dubbed The Best of The Who, which includes 3 of the album's songs ("Behind Blue Eyes", "Baba O'Riley", and "Going Mobile"), was released as downloadable content, in lieu of the earlier-promised Who'south Next album.[50] The sixteen-runway tapes to "Won't Get Fooled Once again" and the eight-track tapes to the other material except "Bargain" and "Getting In Tune" have since been discovered.[49]

Reception and legacy [edit]

Professional person ratings
Review scores
Source Rating
AllMusic [51]
Christgau'due south Record Guide A[52]
Encyclopedia of Popular Music [53]
Mojo [54]
MusicHound Rock 5/v[55]
Q [56]
The Rolling Stone Album Guide [57]
Tom Hull – on the Spider web A+[58]
The Village Voice A+ [59]

Reviewing for The Village Vocalization in 1971, music critic Robert Christgau called Who's Next "the best hard rock anthology in years" and said that, while their previous recordings were marred by a thin sound, the group at present "achieves the same resonant immediacy in the studio that information technology does alive".[59] Baton Walker from Sounds highlighted the songs "Baba O'Riley", "My Wife", and "The Song Is Over", and wrote, "After the unique luminescence of Tommy something special had to be thought out and the fact that they settled for a directly-forward anthology rather than an extension of their rock opera, says much for their courage and inventiveness."[60] Rolling Stone magazine's John Mendelsohn felt that, despite some amount of seriousness and artificiality, the album's make of stone and roll is "intelligently-conceived, superbly-performed, brilliantly-produced, and sometimes even exciting".[61] At the terminate of 1971, the record was voted the all-time album of the year in the Pazz & Jop, an annual poll of American critics published past The Village Voice.[62]

Since and so, Who'south Side by side has often been viewed as the Who's best album.[56] In a retrospective review for AllMusic, Stephen Thomas Erlewine said its music was more genuine than Tommy or the aborted Lifehouse project because "those were art – [Who's Side by side], even with its pretensions, is rock & roll."[51] BBC Music'due south Chris Roberts cited it equally the band's best record and "1 of those carved-in-stone landmarks that the rock canon doesn't permit yous to bad-oral cavity."[63] Mojo claimed its sophisticated music and hook-laden songs featured innovative use of stone synthesizers that did not weaken the Who's characteristic "power-quartet attack".[54] In The Encyclopedia of Popular Music (1998), Colin Larkin said it raised the standards for both hard rock and the Who, whose "sense of dynamics" was highlighted by the contrast between their powerful playing and a counterpoint produced at times from acoustic guitars and synthesizer obbligatos.[53] Christgau, on the other hand, was less enthusiastic almost the record during the 1980s when the Who became what he felt was "the worst kind of art-stone band", writing that Who's Side by side revealed itself to be less tasteful in retrospect because of Daltrey's histrionic singing and "all that synth noodling".[64]

Co-ordinate to Acclaimed Music, information technology is the 38th most historic album in popular music history.[65] In 2003, Rolling Stone ranked information technology 28th on its listing of the 500 greatest albums of all time,[66] maintained the rating in a 2012 revised list,[67] and 77th in a 2022 revised listing.[68] The album appeared at number 15 on Pitchfork Media's listing of the 100 best records from the 1970s.[69] It was likewise included in the book 1001 Albums Yous Must Hear Earlier Y'all Die (2005).[70] The Archetype Albums BBC documentary series aired an episode on Who's Next, initially on radio in 1989, and then on television in 1998,[71] which was released in 2006 on DVD equally Classic Albums: The Who – Who's Adjacent.[72] That year, the album was chosen by Time as ane of their 100 best records of all time.[73] In 2007, information technology was inducted into the Grammy Hall of Fame for "lasting qualitative or historical significance".[74] It was voted number 48 in Colin Larkin's All Time Acme k Albums 3rd Edition.[75]

Runway list [edit]

All tracks are written by Pete Townshend, except "My Wife" by John Entwistle.

Side 1
No. Championship Lead vocal Length
1. "Baba O'Riley"
  • Roger Daltrey (verses)
  • Townshend (bridge)
5:08
two. "Bargain"
  • Daltrey (verses)
  • Townshend (bridge)
5:34
3. "Love Ain't for Keeping" Daltrey 2:x
4. "My Wife" Entwistle 3:41
v. "The Song Is Over"
  • Townshend (verses)
  • Daltrey (chorus)
half dozen:14
Total length: 22:47
Side 2
No. Title Atomic number 82 vocal Length
ane. "Getting in Tune" Daltrey iv:50
2. "Going Mobile" Townshend three:42
3. "Behind Blue Eyes" Daltrey 3:42
four. "Won't Get Fooled Again" Daltrey eight:32
Total length: xx:46

The cassette version has the song order rearranged to save tape space, which was a common practice amongst the tape companies. The track list for the cassette is equally follows:

Side one
No. Title Length
one. "Baba O'Riley" five:08
ii. "Deal" v:34
three. "Getting in Tune" iv:50
4. "The Song Is Over" half-dozen:xiv
Total length: 21:46
Side 2
No. Championship Length
1. "Going Mobile" three:42
2. "Backside Blue Eyes" 3:42
iii. "Love Ain't for Keeping" 2:10
4. "My Married woman" three:41
5. "Won't Go Fooled Again" 8:32
Total length: 21:47

1995 Remastered reissue [edit]

The album was remastered and reissued by MCA Records (MCAD-11269) in June 1995.

No. Title Length
1. "Baba O'Riley" (Pianoforte: Pete Townshend; Producer (violin): Keith Moon; Violin: Dave Arbus) 5:09
2. "Bargain" 5:34
3. "Beloved Own't for Keeping" 2:11
4. "My Married woman" (Piano – John Entwistle) 3:42
5. "The Vocal Is Over" (Piano – Nicky Hopkins) six:15
6. "Getting in Melody" (Piano – Nicky Hopkins) iv:50
vii. "Going Mobile" 3:43
8. "Behind Blue Eyes" iii:43
9. "Won't Get Fooled Again" 8:33
10. "Pure and Easy" (original version) iv:22
xi. "Baby Don't Y'all Practice It" (The netherlands-Dozier-Holland) 5:xv
12. "Naked Eye" (alive at the Immature Vic (1971-04-26)) v:31
thirteen. "Water" (live at the Immature Vic (1971-04-26)) half-dozen:26
fourteen. "Also Much of Anything" (original version) 4:25
15. "I Don't Even Know Myself" 4:56
16. "Behind Blue Eyes" (original version) 3:27
Full length: 77:thirty

Notes: [i] Tracks 10 to 16 were bonus tracks for some releases; [2] Tracks 10, eleven, 13, xiv and 16 were previously unreleased.

2003 deluxe edition [edit]

The first disc of the deluxe edition contains the 9 tracks from the original album containing the original mix, followed by six outtakes, of which "Getting in Tune" and "Won't Become Fooled Over again" were previously unreleased. Each of the half dozen outtakes was recorded during the Record Plant sessions in March 1971 before piece of work restarted in the UK.[48]

The tracks on the 2nd disc were recorded alive on 26 April 1971 at the Young Vic Theatre, London. All of the tracks were previously unreleased except for "Water" and "Naked Middle".[76]

Disc ane
No. Title Length
i. "Baba O'Riley" 5:01
2. "Deal" 5:33
3. "Love Own't for Keeping" 2:x
4. "My Wife" three:35
v. "The Song Is Over" 6:17
6. "Getting in Tune" 4:49
7. "Going Mobile" 3:43
8. "Behind Blue Eyes" three:42
9. "Won't Get Fooled Once again" 8:35
x. "Infant Don't You Practise It" (longer version) 8:21
11. "Getting in Melody" (alternate version) vi:36
12. "Pure and Like shooting fish in a barrel" (alternating version) 4:33
13. "Love Ain't for Keeping" (electric version, lead vocals by Townshend) 4:06
14. "Behind Blue Optics" (alternate version) 3:30
15. "Won't Get Fooled Once again" (original New York sessions version) 8:48
Full length: 79:19
Disc two
No. Title Length
i. "Love Ain't for Keeping" 2:57
ii. "Pure and Piece of cake" 6:00
3. "Beau Blues" (Mose Allison) 4:47
four. "Fourth dimension Is Passing" three:59
v. "Behind Bluish Eyes" 4:49
6. "I Don't Even Know Myself" 5:42
7. "Too Much of Anything" four:twenty
eight. "Getting in Melody" vi:42
9. "Deal" 5:46
10. "Water" 8:xix
xi. "My Generation" 2:58
12. "Route Runner" (Ellas McDaniel) 3:fourteen
thirteen. "Naked Eye" 6:21
14. "Won't Go Fooled Once more" viii:50
Full length: 74:44

Personnel [edit]

The Who

  • Roger Daltrey – vocals
  • John Entwistle – bass, brass, vocals, pianoforte on "My Wife"
  • Keith Moon – drums, percussion
  • Pete Townshend – guitar, VCS three, organ, ARP synthesizer, vocals, piano on "Baba O'Riley"

Boosted musicians

  • Dave Arbus – violin on "Baba O'Riley"
  • Nicky Hopkins – pianoforte on "The Vocal Is Over" and "Getting in Melody"
  • Al Kooper – Hammond organ on alternate version of "Behind Blue Eyes"[77]
  • Leslie West – atomic number 82 guitar on Record Institute sessions including "Baby, Don't Yous Practise Information technology" and "Love Ain't for Keeping" (electric version)[77]

Production

  • The Who – production
  • Glyn Johns – associate production, recording, mixing
  • Doug Sax – mastering
  • Kit Lambert – executive production
  • Chris Stamp – executive product
  • Pete Kameron – executive product
  • John Kosh – album design
  • Ethan Russell – photography

Charts [edit]

Certifications [edit]

References [edit]

Citations
  1. ^ a b Neill & Kent 2002, p. 288.
  2. ^ Neill & Kent 2002, pp. 282–284.
  3. ^ a b c d Neill & Kent 2002, p. 280.
  4. ^ "Discography – Won't Get Fooled Again". The Who (official website). Archived from the original on fifteen August 2021. Retrieved 6 November 2010.
  5. ^ "Baba O'Riley". ung Medien / hitparade.ch. Archived from the original on fifteen August 2021. Retrieved 28 November 2011.
  6. ^ "Discography – Behind Blue Eyes". The Who (official website). Archived from the original on xv August 2021. Retrieved vi November 2010.
  7. ^ a b Atkins, John (1995) [1971]. "Who's Adjacent and The Lifehouse Project". Who's Next (CD liner). The Who. MCA Records. pp. xiii, 24. MCAD-11269.
  8. ^ Marsh 1983, p. 361.
  9. ^ Marsh 1983, p. 363.
  10. ^ Marsh 1983, p. 358.
  11. ^ Marsh 1983, p. 365.
  12. ^ Marsh 1983, p. 368.
  13. ^ Neill & Kent 2002, p. 272.
  14. ^ Marsh 1983, p. 369.
  15. ^ Neill & Kent 2002, p. 250.
  16. ^ a b Neill & Kent 2002, p. 273.
  17. ^ Neill & Kent 2002, p. 278.
  18. ^ Neill & Kent 2002, p. 279.
  19. ^ Neill & Kent 2002, p. 274.
  20. ^ a b Neill & Kent 2002, p. 281.
  21. ^ Townshend 2003, p. vi.
  22. ^ Marsh 1983, p. 377.
  23. ^ a b c d Neill & Kent 2002, p. 282.
  24. ^ Atkins 2003, p. thirteen.
  25. ^ Atkins 2003, p. 14.
  26. ^ a b c Marsh 1983, p. 383.
  27. ^ Townshend 2003, p. nine.
  28. ^ "The Lifehouse Method (official website)". Archived from the original on xviii May 2008. Retrieved 25 November 2014.
  29. ^ a b Marsh 1983, p. 381.
  30. ^ a b Marsh 1983, p. 382.
  31. ^ Atkins 2003, p. xviii.
  32. ^ Fletcher 1998, p. 286.
  33. ^ Unterberger 2011, p. 105.
  34. ^ a b c d Neill & Kent 2002, p. 275.
  35. ^ a b Marsh 1983, p. 386.
  36. ^ Unterberger 2011, p. 108.
  37. ^ Unterberger 2011, p. 113.
  38. ^ a b c Neill & Kent 2002, p. 285.
  39. ^ McMichael, Joe; Lyons, Jack (2001). The Who: Concert File. Omnibus Press. p. 480. ISBN978-0-857-12737-2.
  40. ^ Hobbs, Thomas (ten February 2019). "'I took the concluding ever shot of the Beatles – and they were miserable!'". The Guardian. Archived from the original on ten February 2019. Retrieved 10 Feb 2019.
  41. ^ "The Greatest Anthology Covers – Photos". VH1. Archived from the original on 29 October 2013. Retrieved vi November 2010.
  42. ^ Neill & Kent 2002, p. 284.
  43. ^ Marsh 1983, p. 389.
  44. ^ Marsh 1983, p. 390.
  45. ^ Marsh 1983, p. 392.
  46. ^ Marsh 1983, p. 393.
  47. ^ "Odds & Sods". AllMusic. Archived from the original on 15 Baronial 2021. Retrieved 23 November 2014.
  48. ^ a b Atkins 2003, p. 24.
  49. ^ a b Unterberger 2011, p. 107.
  50. ^ Cavalli, Earnest (ane July 2008). "Who's Next Replaced by Compilation for Rock Band". Wired News. Archived from the original on 22 August 2009. Retrieved 25 November 2014.
  51. ^ a b Erlewine, Stephen Thomas. "Allmusic review". AllMusic . Retrieved 22 June 2011.
  52. ^ Christgau, Robert (1981). "Consumer Guide '70s: Westward". Christgau'south Tape Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN089919026X. Archived from the original on 10 May 2020. Retrieved 9 March 2019 – via robertchristgau.com.
  53. ^ a b Larkin, Colin (1998). The Encyclopedia of Popular Music. Vol. 7 (3rd ed.). Muze U.k.. p. 5812. ISBN1561592374.
  54. ^ a b "none". Mojo. London. May 2003. p. 110. WHO'Due south NEXT is The Who's near polished anthology, its hook-ridden songs pioneering the employ of stone synthesizers without diluting the ability-quartet attack that had divers the group since the mid-60s...
  55. ^ Graff, Gary; Durchholz, Daniel, eds. (1999). MusicHound Stone: The Essential Album Guide . Farmington Hills, MI: Visible Ink Printing. p. 1227. ISBN1-57859-061-ii.
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Sources
  • Atkins, John (2003). Who's Adjacent (Deluxe Edition) (Media notes). Polydor. 113-056-2.
  • Fletcher, Tony (1998). Dear Boy : The Life of Keith Moon. Motorcoach Printing. ISBN978-0-711-96625-iii.
  • Marsh, Dave (1983). Before I Get Old : The Story of The Who. Plexus. ISBN978-0-85965-083-0.
  • Neill, Andrew; Kent, Matthew (2002). Anyhow Anyhow Anywhere – The Complete Chronicle of The Who. Virgin. ISBN978-0-7535-1217-3.
  • Townshend, Pete (2003). Who's Next (Palatial Edition) (Media notes). Polydor. 113-056-2.
  • Unterberger, Richie (2011). Won't Get Fooled Again: The Who from Lifehouse to Quadrophenia. Jawbone Printing. ISBN978-1-906002-75-six.

Further reading [edit]

  • Atkins, John (2000). The Who on Record: A Disquisitional History, 1963–1998. McFarland. ISBN978-0-7864-0609-eight.
  • Classic Albums: The Who - Who's Next, DVD, Eagle Vision (Archetype albums serial).

External links [edit]

  • Who's Next at Acclaimed Music (list of accolades)
  • Who's Next at Discogs (listing of releases)
  • Who's Next liner notes – Song-by-song liner notes for the album
  • Guitar tablature

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Source: https://en.wikipedia.org/wiki/Who%27s_Next

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