[[Image:Tkaa cover the who.jpg|thumb|right|300 px|The Who in 1968. Left to right: Keith Moon, Roger Daltrey, Pete Townshend, and John Entwistle. The photo is shown here on the cover of the soundtrack to the 1979 documentary film ''The Kids Are Alright''.]] The Who is a United Kingdom Rock and roll band. They were noted for the dynamism of their live performances and for their thoughtful music, including ''Tommy'', one of the first rock operas. While not a heavy metal (music) band themselves, their distorted guitars, epic songwriting, and over-the-top stage show left a certain influence on the genre. Pete Townshend's guitar style based on power chords and constant lyrical theme of youthful rebellion also left their mark on punk rock. ==The band's sounds and performances== ===On stage=== ====The classic era==== From around the time the band settled on its classical line-up in the mid-sixties, The Who performed as a Rock power trio modified by the addition of Roger Daltrey as a lead singer who did not play an instrument other than the occasional use of a tambourine or harmonica. From the beginning the band drew attention because all three instrumentalists — guitar Pete Townshend, bass guitarist John Entwistle, and drummer Keith Moon — would often play lead parts, sometimes simultaneously, or the guitar or bass might assume the role of percussion while the drums added spice rather than driving the beat. The result was music more cacophonous and often more sophisticated than conventional perfomances in the Rock genre. Moreover, all but Moon were competent vocalists, and shared the vocal workload. Daltrey was the official front man, centered on the stage, and served as lead singer for most songs. Entwistle sang his own compositions, and contributed humorous role-playing vocal phrases in songs such as "Summertime Blues". Townshend sometimes took over as lead singer from Daltrey, or the two took turns during a song, singing alternate verses as in "Naked Eye" or exploiting a distinctive format in many of Townshend's compositions where Daltrey would sing the verses and Townshend would sing during a bridge or interlude that contrasted stylistically with the rest of the song, as in "Bargain". The surfeit of singers also allowed them to utilize three-part harmonies in rich choruses such as the "Listening to You" motif in ''Tommy'', and to provide a chorus of ethereal background "Ahhh"s in songs such as "Behind Blue Eyes" and "Odorono". They also used background vocals in other creative ways, such as mimicing seagulls in several tunes for ''Tommy'', the clever staccato "Laugh laugh laugh"/"Lap lap lap" syllables echoing the sense of the lead vocal in "Happy Jack", and the humorous "Cello cello cello" chorus purportedly inspired by being unable to afford a string section when going into the studio to record "A Quick One, While He's Away". ====Later changes==== In 1971 they began supplementing their stage act with pre-recorded synthesizer "continuo" parts in order to cover material such as "Baba O'Riley" and "Won't Get Fooled Again" from that year's ''Who's Next'' album. In addition to feeding the synthesizer tracks to their monitor, drummer Keith Moon would wear headphones to ensure that he heard the recording clearly enough to sync the band with it. When they first introduced these recordings technical difficulties sometimes severely disrupted concerts, causing the band members' notorious tempers to flare onstage. By the end of the seventies The Who had completely given up the power trio format and began touring with a keyboardist, backup singers, and a small horn section, none of which were officially members of the band. They have continued this habit in their frequent reunion tours since they stopped recording and performing regularly. The Who began their career by covering and imitating Rhythm and Blues hits, and never completely abandoned those roots. Even after moving on to other types of material they continued to perform R&B classics such as "Young Man Blues" and "Summertime Blues" throughout their performing career, including their late reunion tours. ====Other aspects of their performances==== The musicians of the Who were also natural showmen: singer Daltrey was a dynamic front man, twirling his microphone on the end of its cord, while Townshend played crashing chords on his guitar with great windmill-like sweeps of his arms and the maniacal Moon battered his drums powerfully. Through all that mayhem, Entwistle stood still, seemingly bored by the whole affair, playing intricate, powerful, innovative bass lines as if he had the stage to himself. The band members also punctuated their performances with jokes, tricks, and over-the-top introductions to the songs; Townshend once commented that only the cessation of touring saved them from degenerating into a vaudeville act. During performances, they would often chat with members of the audience between songs. In the early days, The Who was most famous for smashing their instruments at the end of their concerts, and would often throw the damaged remains into the audience. This would signal that the band had given all it had, and generated some coveted souvenirs as a side effect. Although they mostly stopped smashing their instruments around the time of ''Tommy'', they would occasionally do it long afterwards. They were also notorious for how they treated their hotel rooms and dressing rooms, particularly Moon. The band was arrested for this on at least one occasion, in Montreal, and were for many years banned from the Holiday Inn hotel chain. Led Zeppelin, a hard rock act of the same era, was equally famous for their wild antics and parties in their lodgings, but the Who were generally considered the worst in this category. The Who's live performances were traditionally extremely loud. For most of the 1970s they were listed in the ''Guinness Book of World Records'' as the loudest Rock band in the world, measured at 130 decibel#Acoustics, though other bands have since taken over that dubious honor. Townshend's later partial deafness and tinnitus is well known; popular legends hold that the members of the band suffered permanent hearing loss from their loud concerts, or that Townshend's right ear was damaged as a result of being too close to the drum kit when Moon detonated an oversized concussion bomb in it at the conclusion of a performance on the ''Smothers Brothers Comedy Hour'' in 1967. Townshend, however, maintains that the true cause was listening to the music at high volume through headphones. Various members of the band wore "trademark" dress on stage and in photo shoots at various periods of the band's history. During the 1960s Pete Townshend sported a jacket made of a Union Jack. (Reportedly the Irish Republican Army threatened to blow up the band on stage if he wore it at an appearance in Ireland, but Townshend had planned ahead and provided himself with a jacket more sympathetic to Irish nationalist sentiments.) At the end of the decade he switched to a simple jumpsuit or boiler suit, and appears wearing it in the Woodstock footage. For a period John Entwistle wore a Halloween-style skeleton suit in concert. From the late 1960s through most of the 1970s Roger Daltrey appeared in a fringede buckskin jacket or vest, and can be seen wearing it in most film footage of the era. ===In the studio=== ====Sounds==== The Who's studio sound was originally quite similar to the modified power trio sound of their stage act, albeit recorded with overdubs and other standard studio tricks. (One of the two guitar solos on "I Can't Explain" was purportedly dubbed in by Jimmy Page.) As the sixties progressed their studio sound was progressively modified by the use of overdubs to add complete additional parts without the need for additional musicians, rather than simply as an ordinary studio technique for capturing clean takes of vocal and solo parts. The added parts were usually additional guitar and keyboard parts for Pete Townshend, though horn parts by John Entwistle were added to a few songs. When ''Tommy'' came out in 1969 the mix included not only electric guitar, bass, drums, and three-part vocals, but additional tracks for acoustic guitar, piano, organ, and horn, as if performed by six or eight instrumentalists rather than the actual three. As a result of this expansion many of their recorded songs have a dense sound with rich textures and fine details that can only be appreciated through careful headphone listenings. ''Tommy'' also featured some of Townshend's early use of synthetic sounds, a recording of the click and fade of a piano note or some sort of percussion instrument dubbed in from a reversed tape to give a reversed sound that grows louder up to a sharp cut-off, used in the song "Amazing Journey". His interest in synthetic sounds blossomed when he acquired an early ARP Instruments, Inc. synthesizer and used it very aggressively on the 1971 ''Who's Next'' album. Though other keyboard instruments continued to be used in the band's recordings, and they briefly returned to a leaner sound for the 1975 ''The Who By Numbers'' album, Townshend's adoption of the synthesizer and the near-simultaneous maturation of studio recording equipment and techniques led to a big, solid, "modern" sound that became the signature of the post-classic era Who. ====Genres==== [[Image:Tommyalbumcover.jpg|thumb|''Tommy'', the first album explicitly billed as a rock opera, was released on May 23, 1969.]] The studio albums of the sixties chronicle the phases of the band's ventures into several sub-genres of Rock music. Their 1965 ''My Generation'' UK album (Released in US 1966 in slightly altered form, "The Who Sings My Generation") features covers of popular Rhythm and Blues songs performed with a heavy sound that The Who promoted as "Maximum R&B". On their 1966 ''A Quick One'' UK album (Released in US 1967 in slightly altered form, "Happy Jack") they abandoned R&B in favor of an experiment in Pop music as an aural counterpart to the Pop art movement. By the time of their 1967 ''The Who Sell Out'' album they had mostly abandoned the Pop experiment, instead offering a mixture of psychedelic music and other songs of no specific sub-genre characteristics. With their release of ''Tommy'' in 1969 they permanently gave up their experiments with sub-genres, and settled on a mainstream Rock sound, albeit well toward the "hard" end of the spectrum and featuring many of the characteristics of progressive rock, though not actually participating in that movement. In the background of those major trends in The Who's music there were several other minor tendencies. Keith Moon always wanted to play Surf rock, and two or three tunes in that genre eventually appeared on the band's B-sides or collection albums. As time passed Pete Townshend increasingly incorporated Jazz motifs into his composition, singing, and playing, but even when present they tend to be masked by the Hard Rock sound of the band in ensemble. Finally, as with most of the early British Rock musicians, the members of The Who were greatly influnced by Country Music, though the genre rarely appears in their recordings unless transformed almost beyond recognition. ==History== [[Image:TheWho ReadySteadyGo.jpg|thumb|left|275px|The Who on the television program ''Ready Steady Go!'' in 1965. Front: Keith Moon. Rear, left to right: John Entwistle, Roger Daltrey, Pete Townshend.]] In its earliest days, prior to Keith Moon joining, the band was known as The Detours and played mostly rhythm and blues. They eventually changed their name to The Who when Keith joined, making the classic line-up complete. For a short period during 1964, under the management of Peter Meaden, they changed their name to The High Numbers during which time they released a mostly unsuccessful single under that name, designed to appeal to their mostly mod fans. When "Zoot Suit/I'm The Face" failed to chart, they fired Meaden and quickly reverted back to The Who. The rest, as they say, is history. They became one of the most popular bands among the British Mods (youth movement), a social movement of the early 1960s who rejected the "greaser" music favored by the Rockers. The band soon crystallized around Townshend as the primary songwriter (though Entwistle would also make the occasional contribution). Townshend was at the center of the band's tensions, as he strove to write challenging and thoughtful music, while Daltrey preferred energetic and macho material (Daltrey would occasionally refuse to sing a Townshend composition and Townshend would thus sing it himself), while Moon was a fan of United States surf music. [[Image:My-Generation--2.jpg|thumb|right|250px|The Who in 1965 (cover of ''My Generation'')]] The Who's first hit was the 1965 Kinks-like single "I Can't Explain", and they vaulted to fame with their ''My Generation'' album that same year. The album included such mod anthems as "The Kids are Alright" and the title track "My Generation", which contained the famous line, "Hope I die before I get old". Another early favorite, showing Townshend's way with words, was the 1966 single "Substitute", which included the line, "I was born with a plastic spoon in my mouth." The 1967 hit single "Pictures Of Lily", a tribute to masturbation, was possibly one of the most accomplished of all European contributions to psychedelic music. Although they had great success as a singles band, the Who, or more properly their leader Townshend, had their sights set higher, and over the years their music became more complex and their lyrics more provocative and involving. Townshend also wanted to treat the Who's albums as unified works, rather than collections of unconnected songs. The first sign of this ambition came in their album ''A Quick One'' (1966), which included the story-telling medley "A Quick One, While He's Away", which they later referred to as a "mini opera". ''A Quick One'' was followed by ''The Who Sell Out'' (1967), a concept album that played like an pirate radio station, complete with jingles and commercials. ''The Who Sell Out'' also included a track from a never-completed Rock opera. Those early efforts were followed by ''Tommy'' (1969), their first complete Rock opera and the first commercially successful one by any artist. Around this time the spiritual teachings of Meher Baba began to influence Peter Townshend's songwriting, and he is credited as 'Avatar' on the ''Tommy'' album. [[Image:Thewho whoareyou album.jpg|thumb|left|250px|The Who in 1978 (front cover of ''Who Are You'')]] Townshend then attempted an even more ambitious concept album cum Performance Art project called ''Lifehouse (album)''. Although the intended album was not released until reconstructed as a radio play for the BBC in 2000, the Who included many of the project's best songs in ''Who's Next'' (1971), which would become their most successful album. ''Who's Next'' was followed by a second Rock opera called ''Quadrophenia'' (1973), with a story line based on the clashes between Mod (lifestyle) and Rockers (youth movement) in the early 1960s, particularly the riots between the two factions at Brighton. The band's later albums contained songs of more personal content for Townshend, and he eventually transferred this personal style to his solo albums, as seen on the album ''Empty Glass''. 1975's The Who By Numbers had several introspective songs in this vein, lightened by the crowd-pleasing "Squeeze Box," another hit single. Nevertheless, one rock critic considered "By Numbers" to have been Townshend's "suicide note." In 1978 the band released ''Who Are You'', a move away from epic rock opera and towards a more radio-friendly sound, though it did contain one song from a never-completed Rock opera by John Entwistle. The release of the album was overshadowed by the accidental drug overdose death of Keith Moon shortly afterward. Kenny Jones, of The Small Faces and The Faces, joined the band as his replacement. The following year was also traumatic for the band: on December 3, 1979 in Cincinnati, Ohio, a stampede for seats at U.S. Bank Arena at the start of a Who concert killed eleven fans. Band members were not told of the deaths until after the show because civic authorities feared more crowd control problems if the concert were cancelled, and the band members were reportedly devastated when they found out about it. The band released two more studio albums with Jones as their drummer, ''Face Dances'' (1981) and ''It's Hard'' (1982). In 1982 they also embarked on the first in a series of farewell tours. Thereafter they stopped recording new material and settled into intermittent forays on the "nostalgia tour circuit", as Townshend focused on solo projects such as ''The Iron Man'' and ''Psychoderelict'', a forerunner to the eventual release of the radio work ''Lifehouse (album)''. Their best-known reunion tour occurred in 1989 and emphasized ''Tommy''. In 1996 they staged successful multi-media performances of ''Quadrophenia'' featuring a narrator and guest singers. By this time Zak Starkey was their regular drummer. Just before the outset of a tour in the summer of 2002, John Entwistle was found dead in his room at the Hard Rock Hotel in Las Vegas, Nevada. A coroner's investigation revealed that while not technically an overdose, a modest amount of cocaine in his system was a contributing factor in a fatal heart attack, the result of years of heart trouble caused or aggravated by regular cocaine use. After a brief delay, the tour commenced with bassist Pino Palladino filling in for Entwistle. In 2004 The Who released two new songs as part of a box set singles anthology, and announced that the spring of 2005 would see the release of their first new studio album in 22 years. In March 2005, [http://www.petetownshend.com Pete Townshend's website] issued a statement that the release was delayed indefinitely, and explained that expected UK/US tours in the summer of 2005 were also shelved. In September of 2002, Q_(magazine) named The Who as one of the "50 Bands to See Before You Die". ==Discography== * See The Who discography. == The Who in popular culture == [[Image:A Tale of Two Springfields.png|right|thumb|150px|The Who on The Simpsons in 2000.]] * Cartoon references archived at [http://www.thewho.org/ thewho.org]: ** ''[http://www.thewho.org/photos/dilbert.jpg Dilbert]'' ** ''[http://www.thewho.org/photos/horton.jpg Horton]'' ** ''[http://www.thewho.org/photos/shoe.jpg Shoe]'' ** ''[http://www.thewho.org/photos/5thwave.jpg The 5th Wave]'' ** ''[http://www.thewho.org/photos/warped.jpg Warped]'' * The Who were featured on ''The Simpsons'' season 12 episode 2, "A Tale of Two Springfields". ** Several screenshots are available at [http://animatedtv.about.com/library/extra/blsimpgallery2.htm animatedtv.about.com] * Use of Who songs in film and television soundtracks can be found at The Who discography. == Quotations == * "My friends call me Keith, but you can call me John." *: – Keith Moon, introducing himself to Tommy Smothers on The Smothers Brothers Comedy Hour. * "If you steer clear of quality, you're alright." *: – Pete Townshend * "We became rich later than I expected. Now I'm too old to enjoy my money." *: – John Entwistle * "Rock used to be a right laugh. The trouble is that the rock press have made it all so serious. Fifty percent of rock is having a good time." *: – Roger Daltrey ==References== * Dave Marsh (1983). ''Before I Get Old: The Story of the Who''. St. Martin's Press. ISBN 0312071558. ==See also== *Best selling music artists ==External links== * [http://www.wholocations.co.uk The Who Location Guide] * [http://www.myclassiclyrics.com/the_who/the_who_lyrics.html The Who Lyrics Page] * [http://www.thewho.net/ The Who fan page] * [http://www.thewho.org/ thewho.org] * [http://www.sohodoorway.com/forum/ SohoDoorway Fan Forum] ** [http://www.thewho.org/photos.htm historical photo archive] at thewho.org The Who British musical groups Pre-punk groups Rock music groups 1960s music groups 1970s music groups simple:The Who
I reorganized this page into sections because it was getting unmanageable. I did not try to separate the discussions of the histories of the band's name and membership into separate sub-topics, because they are entangled in such a way that it is difficult so figure out who said what and who was replying to whom. (Please get into the habit of indenting replies one level deeper than what you're replying to, and put them after any other same-level replies, and put your signature on each paragraph you write so authorship will remain clear when future replies separate your paragraphs. Also, if you're the author of any orphraned replies on this page, please consider relocating, indenting, and attributing them as appropriate.) — User:Bobby D. Bryant 14:37, 18 Feb 2005 (UTC) :I suggest leaving the above paragraph and any replies to it on the page for a while, to see whether anyone objects to the reorganization, but then removing the discussion to archive if there hasn't been any outcry. — User:Bobby D. Bryant 14:37, 18 Feb 2005 (UTC) ==Issues== ===List of add/change requests=== It would really be nice if someone could come up with the date for the use of ''Tommy'' material in March of Dimes fundraising commercials many years ago, and add it as a "However..." sentence after the existing mention of how some fans think the use of certain songs in commercials is a sell-out. — User:Bobby D. Bryant 14:25, 18 Feb 2005 (UTC) IMO, the photo from the cover of ''The Kids are Alright'' would make a better group portrait than the cover from ''Ultimate Collection''. However, I'm not going to change it unless someone else agrees. — User:Bobby D. Bryant 14:25, 18 Feb 2005 (UTC) :I agree. I used the cover to the ''Ultimate Collection'' because you could see the members better, but ''The Kids Are Alright'' picture is more recognizable.User:Shirimasen 02:29, Feb 20, 2005 (UTC) I think people would find the EPs an interesting addition to the bibliography, if anyone can dig up the details. — User:Bobby D. Bryant 14:25, 18 Feb 2005 (UTC) :I'll work on that, and start to make pages to their more popular ones. User:Shirimasen ::IIRC, there are some notes about one or two early ones in the liner notes to the Delux Edition of ''My Generation''. I remember that there was one with four tracks from ''Tommy'', but I don't have any info on it. I vaguely recally that they released one in Germany, too. Also, it might be worth mentioning the unreleased EP that can be partially reconstructed from Pete's notes on ''Odds and Sods''. — User:Bobby D. Bryant 05:06, 20 Feb 2005 (UTC) Need to add ''By Numbers'' to the history, and steal the following text about the departure from concept material. — User:Bobby D. Bryant 15:51, 18 Feb 2005 (UTC) Need to add famous festival performances to the history section, and possibly mention the ''Tommy'' tour and the 1970 live album. — User:Bobby D. Bryant 15:51, 18 Feb 2005 (UTC) The history section probably merits a more detailed discussion of their hit singles. Also, was "Pictures of Lily" actually a 'hit'? It seems to me that there were far more important singles that aren't mentioned at all. (And for that matter, is it really psychedelic? I would think "I Can See for Miles" is a far better exemplar of the genre, to say nothing of being a bigger hit.) — User:Bobby D. Bryant 15:51, 18 Feb 2005 (UTC) A few things: The piped links to years in music (Such as1967 in music) need to be removed or replaced with something like, '' in 1967 (See 1967 in music) ''. This is standard to Wikipedia:WikiProject Albums. User:Shirimasen 03:06, Feb 20, 2005 (UTC)
Also, I think there should be a seperate page for the discography (a la Bob Dylan Discography or The Beatles discography). I think The Who put out enough music over the last four decades to merit another page for it. User:Shirimasen 03:06, Feb 20, 2005 (UTC)
:OK by me. — User:Bobby D. Bryant 05:06, 20 Feb 2005 (UTC)
::A highly sparse list is here: The Who discography. It needs to be expanded heavily. User:Shirimasen 06:36, Feb 20, 2005 (UTC)
Does anyone object to Template:The Who I've put on various pages? I think it could use a bit of work, myself; it's a bit cumbersome. User:Shirimasen 03:06, Feb 20, 2005 (UTC)
:It's fine by me, though I don't know know the conventions for such templates. — User:Bobby D. Bryant 05:06, 20 Feb 2005 (UTC)
All in all, I think this particular article is well on the way to featured article, and I plan to help with it until it is. User:Shirimasen 03:06, Feb 20, 2005 (UTC)
:I moved that paragraph to improve the flow of the history, and also to group it with the other paragraph describing some characteristics of the band, but I'm still not happy with it. I think we should have an introductory section that characterizes the band and their music, then the history in its own section. — User:Bobby D. Bryant 05:06, 20 Feb 2005 (UTC)
::Like I say, ''well on it's way''. It could certainly use work. User:Shirimasen 06:36, Feb 20, 2005 (UTC)
One more thing; the article needs to talk about who The Who (heh) have influenced with their style in the long run. I know that David Bowie , Green Day, etc. have covered their songs, so perhaps some mention of that. User:Shirimasen 05:05, Feb 21, 2005 (UTC)
====Images====
There is a photo of an ARP ad featuring Pete Townshend at [http://www.overacker.com/ody/10087.jpg], which might be worth including if it falls under the fair use umbrella. — User:Bobby D. Bryant 09:32, 19 Mar 2005 (UTC)
:I'm not too clear how that falls under fair use, if you'd like to clarify for me. User:Shirimasen 20:31, Mar 19, 2005 (UTC)
:Er...never mind, it's promotional, isn't it? User:Shirimasen 01:29, Mar 25, 2005 (UTC)
Photos — Since the portrait photos were taken at different periods of the band's history, we should add dates to the photo captions if we can determine them accurately. (If not, we should look for replacement photos that we ''can'' date.) Also, Keith's pic clips the edge of his face, so it would be good to find another photo to use for him. Finally, it would be nice to decorate the history section with a chronological sequence of period photos. — User:Bobby D. Bryant 00:18, 24 Apr 2005 (UTC)
*Here's a promotional photo of Moon from MCA records: [http://www.thinkwill.co.uk/moon.jpg It could probably use some cropping or a higher resolution.] User:Shirimasen — User_talk:Shirimasen 00:20, Apr 24, 2005 (UTC)
*Higher resolution: [http://whobynumbers.com/pictures/members/keithmoon.jpg]
*[http://www.popartuk.com/g/l/lgART026.jpg] A poster of Townshend smashing stuff up. Probably stands out on his own.
*[http://www.shop4photos.net/graphics/171/171967.jpg] Promotional photo of Roger Daltrey in 1975. I can probably get a higher resolution image.
There's more, but I'll put them later this week. I'm off to bed. User:Shirimasen — User_talk:Shirimasen 04:40, Apr 24, 2005 (UTC)
====Sound samples====
I can upload some short sound samples here that are covered by fair use (Most of the featured music articles have a few). Any suggestions as to what songs to use? User:Shirimasen — User_talk:Shirimasen 23:56, Apr 25, 2005 (UTC)
: Should we use warhorses, so people will say to themselves "Oh, yeah, I've heard that", or try to feature stuff that people are ''less'' likely to have heard? Either way, some variety in time and style would be nice. — User:Bobby D. Bryant 04:03, 26 Apr 2005 (UTC)
===NPOV issues===
The article contained several "recommendations". This is not acceptable per NPOV, however, if these can somehow be made neutral, they could be restored. I also removed horizontal lines and empty sections, as these are nonstandard and look ugly.
The comments in the tables could also use some stylistic/NPOV touch-ups.User:Eloquence 00:53, Jan 1, 2004 (UTC)
:I find it's sometimes valuable to summarize critical observations about a work of art in an article. For instance, observing the shortcomings of ''Tommy'' while recognizing its place in rock history would be valid, or noting the Who songs which are generally considered of historical or groundbreaking import. But I agree that a simple list of recommendations doesn't belong here. -User:Michael Rawdon 07:07, 1 Jan 2004 (UTC)
:Yes, lots of the stuff you removed was mine, and you did the right thing. I also agree with Michael's comments. — User:Bobby D. Bryant 14:25, 18 Feb 2005 (UTC)
===Discography issues===
How come no foriegn albums are listed. I have a double vinyl set from Japan called the Perfect Collection (it seems to be part of a series). Although there is no refernce to a date at all, this stuff would be intersting to a who fan. Though I have to say the mastering job on The Perfect Collection varies highly from song to song. It has a very muddy sound overall.
: There are a vast number of Who collections not mentioned in the bibliography. To avoid excessive clutter I only listed the "The_Who#Period_collections" which are considered by many fans to be classic Who albums. The flood of additional collections started later, as the band became less and less active. — User:Bobby D. Bryant 13:50, 18 Feb 2005 (UTC)
What does V? stand for?
: See the key at the bottom of the table it appears in. — User:Bobby D. Bryant 13:50, 18 Feb 2005 (UTC)
Wasn't there a movie to go along with the ''Join Together'' tour album? Or maybe a live broadcast of one of the concerts? — User:Bobby D. Bryant 16:31 Dec 26, 2002 (UTC)
===My Generation (song)===
Can anyone confirm or deny that on "My Generation" on ''Live At Leeds'' Roger Daltrey replaces "Why don't you all f-f-f-fade away" with "Why don't you all f-f-f-fuck off". This point is in dispute at Talk:My Generation (song). Are there any other live recordings of "My Generation" where "fuck off" is used? --User:Bruce1ee (User_talk:Bruce1ee) 10:01, 31 May 2005 (UTC)
==Sounds and performances==
I'm aware that the new "sounds and performances" section is somewhat redundant with the "history" section, since it includes some timeline elements. However, my intent is for the new section to tell the reader "what they sounded like", in contrast to the history section telling them "what happened". Though some redundancy is unavoidable under that scheme, I think we can minimize it by keeping those two foci in mind, and still have a detailed article that easy to digest. — User:Bobby D. Bryant 09:32, 19 Mar 2005 (UTC)
:It's only a bit redundant. It's a lovely edit, though, I was thinking that there was an obvious lack of explanation of their stage shows. User:Shirimasen 18:15, Mar 19, 2005 (UTC)
==History of the band==
===Band's name and membership===
The band was once known as The Detours, as well as The Highnumbers and The Who. In fact I think they were The Who ''twice''. Can someone straighten out the history of their names? — User:Bobby D. Bryant 16:31 Dec 26, 2002 (UTC)
Also, what was their name when they picked up Keith Moon? Had they already abandoned one or both of their early names? — User:Bobby D. Bryant 16:31 Dec 26, 2002 (UTC)
>
(Apologies if misformatting; just discovered this site) The first band JAE and PT were in was the Confederates. They bounced to various bands, including the Scorpions and the Aristocrats. Roger Daltrey, guitar player for the Detours and a year older than Pete and John, ran into JAE carrying his homemade bass and said, "I understand you play the bass." Roger asked John to come round to the Detours, which he did, ditching his schoolmate Pete. John eventually persuaded Roger to let Pete join.
At first, a six- or five-piece, they pared down to four with Roger taking over vocals, Doug Sandom on drums. They were the Detours through 1963. In February 1964, they renamed themselves "The Who" on Richard Barnes' suggestion. Sandom got the sack in April 1964, and Moon "sat in" from the Beachcombers in late April.
From July to October 1964, they were the High Numbers. On 3 July, they released I'm The Face/Zoot Suit on Fontana as the High Numbers. In November, as The Who (again), they recorded I Can't Explain, which was their first single as The Who, released 15 January 1965.
Hope this helps clarify the history of the name.
--User:24.118.144.169 05:34, 24 Sep 2004 (UTC)litgo (litgo@aol.com) 06:20 - 2004 09 23
BTW, "number" was supposedly Mod slang for "guy" or the like, so The Highnumbers was probably supposed to be an in joke (i.e., "the high guys", in Mod cant). — User:Bobby D. Bryant 16:31 Dec 26, 2002 (UTC)
Speaking of Keith, were the drummers listed as "members" after him ever actually members of the band? I thought they just worked with the band as glorified session musicians, but were never actually inducted into the band. — User:Bobby D. Bryant 16:31 Dec 26, 2002 (UTC)
:Kenney Jones (previously of the Faces and the Small Faces) was made full member of the band. The subsequent musicians (drummers: Simon Phillips, Zak Starkey) are just hired hands.
--User:24.118.144.169 05:34, 24 Sep 2004 (UTC)litgo (litgo@aol.com) 06:30 - 2004 09 23
Kenny Jones, Faces and Small Faces drummer, was invited to join the group as a full member. The association lasted two albums, "Face Dances" and "It's Hard". Jones was in the midst of other projects when the Who went back on tour. After the departure of Jones, the Who used a number of excellent drummers including Simon Phillips and Jason Bonham.
> The Who never used Jason Bonham as a drummer. That was probably Led Zeppelin or some derivative. Zak Starkey, the son of Richard Starkey (aka Ringo Starr) is the Who's current drummer.
--User:24.118.144.169 05:34, 24 Sep 2004 (UTC)litgo (litgo@aol.com) 06:31 - 2004 09 23
:::They were certainly The High Numbers during an early moddish phase and they again certainly played under that name for 'suprise' gigs at e.g. The Marquee for the benefit of their intimates and the initiated well into their career as The Who in the '70s (I was there on one occasion!) user:sjc
===Pete's hearing loss===
Is it really the case that Townshend's hearing loss is primarily due to a Moon prank involving explosives? I've been a Who fan for 15 years and have read quite a bit about them, and this is the first time I've ever heard that theory. However, I've heard it frequently mentioned that his hearing loss is due to playing their music loud ''on headphones'' while producing and mixing their albums, and that the other members of the band have suffered similar (though less pronounced) hearing loss. That seems much more plausible to me. Is there written support for the Moon prank theory? -User:Michael Rawdon 21:25, 15 Dec 2003 (UTC)
Yes, it's at least a couple of the Who books, although I don't remeber which ones (Richard Barnes's perhaps). And you can actually watch the incident in question in the movie "The Kids Are Alright." It's the Smothers Brothers segment. Moon had apparently bribed whoever was handling the small explosives that were to be set off at the end of the song to really juice them up. After the explosion, you can see Townshend swatting at his left ear. Pete apparently remembered this years later when the Who were watching this footage in "The Kids Are Alright" and started playfully hitting Moon, and saying "that's when it started!" I mean, who really knows where the actual damage occurred, but it's not out of the realm of possibility that this contributed to it.
*Clarification:
While the Smothers Brothers incident was probably the "beginning" of the permanent damage, Pete has admitted often that it was listening to headphones in his home studio while recording demos -- and while drunk and not judging how loud he had it up -- that caused the most severe damage. For many years, he avoided any stage work involving exposure to significant volume, suffered from tinnitus (still does) and had difficulty hearing the frequency range of children's and women's voices.
--User:24.118.144.169 05:34, 24 Sep 2004 (UTC)litgo (litgo@aol.com) 06:24 utc - 2004 09 23
==Misc==
The "mods" versus "rockers" thing reminds me of the movie "A Hard Day's Night", when a reporter asked one of the Beatles (Ringo, I think it was) if he was a mod or a rocker. His response was, "I'm a mocker". User:soulpatch
I just did a minor overhaul of the page with my friend Brian, a dedicated Who fan who asked to see the entry on the Who when I showed him the Wikipedia and told him what a Wiki was. Mainly we included mention of "Who's Next" in the main article and made the earlier "I Can't Explain" the Who's first hit instead of "The Kids Are Alright". We also added entries for the Lifehouse project and the drummers after Keith Moon. This is in fact one of my first times using a Wiki. Tell me what you think. user:Skyfaller
British musical groups Rock music groups
{| style="margin:0 auto; padding: 0 auto" align=center id=toc |align=center bgcolor=darkred|The Who |- |align=center|Roger Daltrey - Pete Townshend - John Entwistle - Keith Moon -
Kenny Jones - Pino Palladino - Zak Starkey |- |align=center|The Who discography - The Who discography#Filmography |- |align=center|Kit Lambert - Peter Meaden - Shel Talmy |}
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The Who
[[Image:Tkaa cover the who.jpg|thumb|right|300 px|The Who in 1968. Left to right: Keith Moon, Roger Daltrey, Pete Townshend, and John Entwistle. The photo is shown here on the cover of the soundtrack to the 1979 documentary film ''The Kids Are Alright''.]] The Who is a United Kingdom Rock and roll band. They were noted for the dynamism of their live performances and for their thoughtful music, including ''Tommy'', one of the first rock operas. While not a heavy metal (music) band themselves, their distorted guitars, epic songwriting, and over-the-top stage show left a certain influence on the genre. Pete Townshend's guitar style based on power chords and constant lyrical theme of youthful rebellion also left their mark on punk rock. ==The band's sounds and performances== ===On stage=== ====The classic era==== From around the time the band settled on its classical line-up in the mid-sixties, The Who performed as a Rock power trio modified by the addition of Roger Daltrey as a lead singer who did not play an instrument other than the occasional use of a tambourine or harmonica. From the beginning the band drew attention because all three instrumentalists — guitar Pete Townshend, bass guitarist John Entwistle, and drummer Keith Moon — would often play lead parts, sometimes simultaneously, or the guitar or bass might assume the role of percussion while the drums added spice rather than driving the beat. The result was music more cacophonous and often more sophisticated than conventional perfomances in the Rock genre. Moreover, all but Moon were competent vocalists, and shared the vocal workload. Daltrey was the official front man, centered on the stage, and served as lead singer for most songs. Entwistle sang his own compositions, and contributed humorous role-playing vocal phrases in songs such as "Summertime Blues". Townshend sometimes took over as lead singer from Daltrey, or the two took turns during a song, singing alternate verses as in "Naked Eye" or exploiting a distinctive format in many of Townshend's compositions where Daltrey would sing the verses and Townshend would sing during a bridge or interlude that contrasted stylistically with the rest of the song, as in "Bargain". The surfeit of singers also allowed them to utilize three-part harmonies in rich choruses such as the "Listening to You" motif in ''Tommy'', and to provide a chorus of ethereal background "Ahhh"s in songs such as "Behind Blue Eyes" and "Odorono". They also used background vocals in other creative ways, such as mimicing seagulls in several tunes for ''Tommy'', the clever staccato "Laugh laugh laugh"/"Lap lap lap" syllables echoing the sense of the lead vocal in "Happy Jack", and the humorous "Cello cello cello" chorus purportedly inspired by being unable to afford a string section when going into the studio to record "A Quick One, While He's Away". ====Later changes==== In 1971 they began supplementing their stage act with pre-recorded synthesizer "continuo" parts in order to cover material such as "Baba O'Riley" and "Won't Get Fooled Again" from that year's ''Who's Next'' album. In addition to feeding the synthesizer tracks to their monitor, drummer Keith Moon would wear headphones to ensure that he heard the recording clearly enough to sync the band with it. When they first introduced these recordings technical difficulties sometimes severely disrupted concerts, causing the band members' notorious tempers to flare onstage. By the end of the seventies The Who had completely given up the power trio format and began touring with a keyboardist, backup singers, and a small horn section, none of which were officially members of the band. They have continued this habit in their frequent reunion tours since they stopped recording and performing regularly. The Who began their career by covering and imitating Rhythm and Blues hits, and never completely abandoned those roots. Even after moving on to other types of material they continued to perform R&B classics such as "Young Man Blues" and "Summertime Blues" throughout their performing career, including their late reunion tours. ====Other aspects of their performances==== The musicians of the Who were also natural showmen: singer Daltrey was a dynamic front man, twirling his microphone on the end of its cord, while Townshend played crashing chords on his guitar with great windmill-like sweeps of his arms and the maniacal Moon battered his drums powerfully. Through all that mayhem, Entwistle stood still, seemingly bored by the whole affair, playing intricate, powerful, innovative bass lines as if he had the stage to himself. The band members also punctuated their performances with jokes, tricks, and over-the-top introductions to the songs; Townshend once commented that only the cessation of touring saved them from degenerating into a vaudeville act. During performances, they would often chat with members of the audience between songs. In the early days, The Who was most famous for smashing their instruments at the end of their concerts, and would often throw the damaged remains into the audience. This would signal that the band had given all it had, and generated some coveted souvenirs as a side effect. Although they mostly stopped smashing their instruments around the time of ''Tommy'', they would occasionally do it long afterwards. They were also notorious for how they treated their hotel rooms and dressing rooms, particularly Moon. The band was arrested for this on at least one occasion, in Montreal, and were for many years banned from the Holiday Inn hotel chain. Led Zeppelin, a hard rock act of the same era, was equally famous for their wild antics and parties in their lodgings, but the Who were generally considered the worst in this category. The Who's live performances were traditionally extremely loud. For most of the 1970s they were listed in the ''Guinness Book of World Records'' as the loudest Rock band in the world, measured at 130 decibel#Acoustics, though other bands have since taken over that dubious honor. Townshend's later partial deafness and tinnitus is well known; popular legends hold that the members of the band suffered permanent hearing loss from their loud concerts, or that Townshend's right ear was damaged as a result of being too close to the drum kit when Moon detonated an oversized concussion bomb in it at the conclusion of a performance on the ''Smothers Brothers Comedy Hour'' in 1967. Townshend, however, maintains that the true cause was listening to the music at high volume through headphones. Various members of the band wore "trademark" dress on stage and in photo shoots at various periods of the band's history. During the 1960s Pete Townshend sported a jacket made of a Union Jack. (Reportedly the Irish Republican Army threatened to blow up the band on stage if he wore it at an appearance in Ireland, but Townshend had planned ahead and provided himself with a jacket more sympathetic to Irish nationalist sentiments.) At the end of the decade he switched to a simple jumpsuit or boiler suit, and appears wearing it in the Woodstock footage. For a period John Entwistle wore a Halloween-style skeleton suit in concert. From the late 1960s through most of the 1970s Roger Daltrey appeared in a fringede buckskin jacket or vest, and can be seen wearing it in most film footage of the era. ===In the studio=== ====Sounds==== The Who's studio sound was originally quite similar to the modified power trio sound of their stage act, albeit recorded with overdubs and other standard studio tricks. (One of the two guitar solos on "I Can't Explain" was purportedly dubbed in by Jimmy Page.) As the sixties progressed their studio sound was progressively modified by the use of overdubs to add complete additional parts without the need for additional musicians, rather than simply as an ordinary studio technique for capturing clean takes of vocal and solo parts. The added parts were usually additional guitar and keyboard parts for Pete Townshend, though horn parts by John Entwistle were added to a few songs. When ''Tommy'' came out in 1969 the mix included not only electric guitar, bass, drums, and three-part vocals, but additional tracks for acoustic guitar, piano, organ, and horn, as if performed by six or eight instrumentalists rather than the actual three. As a result of this expansion many of their recorded songs have a dense sound with rich textures and fine details that can only be appreciated through careful headphone listenings. ''Tommy'' also featured some of Townshend's early use of synthetic sounds, a recording of the click and fade of a piano note or some sort of percussion instrument dubbed in from a reversed tape to give a reversed sound that grows louder up to a sharp cut-off, used in the song "Amazing Journey". His interest in synthetic sounds blossomed when he acquired an early ARP Instruments, Inc. synthesizer and used it very aggressively on the 1971 ''Who's Next'' album. Though other keyboard instruments continued to be used in the band's recordings, and they briefly returned to a leaner sound for the 1975 ''The Who By Numbers'' album, Townshend's adoption of the synthesizer and the near-simultaneous maturation of studio recording equipment and techniques led to a big, solid, "modern" sound that became the signature of the post-classic era Who. ====Genres==== [[Image:Tommyalbumcover.jpg|thumb|''Tommy'', the first album explicitly billed as a rock opera, was released on May 23, 1969.]] The studio albums of the sixties chronicle the phases of the band's ventures into several sub-genres of Rock music. Their 1965 ''My Generation'' UK album (Released in US 1966 in slightly altered form, "The Who Sings My Generation") features covers of popular Rhythm and Blues songs performed with a heavy sound that The Who promoted as "Maximum R&B". On their 1966 ''A Quick One'' UK album (Released in US 1967 in slightly altered form, "Happy Jack") they abandoned R&B in favor of an experiment in Pop music as an aural counterpart to the Pop art movement. By the time of their 1967 ''The Who Sell Out'' album they had mostly abandoned the Pop experiment, instead offering a mixture of psychedelic music and other songs of no specific sub-genre characteristics. With their release of ''Tommy'' in 1969 they permanently gave up their experiments with sub-genres, and settled on a mainstream Rock sound, albeit well toward the "hard" end of the spectrum and featuring many of the characteristics of progressive rock, though not actually participating in that movement. In the background of those major trends in The Who's music there were several other minor tendencies. Keith Moon always wanted to play Surf rock, and two or three tunes in that genre eventually appeared on the band's B-sides or collection albums. As time passed Pete Townshend increasingly incorporated Jazz motifs into his composition, singing, and playing, but even when present they tend to be masked by the Hard Rock sound of the band in ensemble. Finally, as with most of the early British Rock musicians, the members of The Who were greatly influnced by Country Music, though the genre rarely appears in their recordings unless transformed almost beyond recognition. ==History== [[Image:TheWho ReadySteadyGo.jpg|thumb|left|275px|The Who on the television program ''Ready Steady Go!'' in 1965. Front: Keith Moon. Rear, left to right: John Entwistle, Roger Daltrey, Pete Townshend.]] In its earliest days, prior to Keith Moon joining, the band was known as The Detours and played mostly rhythm and blues. They eventually changed their name to The Who when Keith joined, making the classic line-up complete. For a short period during 1964, under the management of Peter Meaden, they changed their name to The High Numbers during which time they released a mostly unsuccessful single under that name, designed to appeal to their mostly mod fans. When "Zoot Suit/I'm The Face" failed to chart, they fired Meaden and quickly reverted back to The Who. The rest, as they say, is history. They became one of the most popular bands among the British Mods (youth movement), a social movement of the early 1960s who rejected the "greaser" music favored by the Rockers. The band soon crystallized around Townshend as the primary songwriter (though Entwistle would also make the occasional contribution). Townshend was at the center of the band's tensions, as he strove to write challenging and thoughtful music, while Daltrey preferred energetic and macho material (Daltrey would occasionally refuse to sing a Townshend composition and Townshend would thus sing it himself), while Moon was a fan of United States surf music. [[Image:My-Generation--2.jpg|thumb|right|250px|The Who in 1965 (cover of ''My Generation'')]] The Who's first hit was the 1965 Kinks-like single "I Can't Explain", and they vaulted to fame with their ''My Generation'' album that same year. The album included such mod anthems as "The Kids are Alright" and the title track "My Generation", which contained the famous line, "Hope I die before I get old". Another early favorite, showing Townshend's way with words, was the 1966 single "Substitute", which included the line, "I was born with a plastic spoon in my mouth." The 1967 hit single "Pictures Of Lily", a tribute to masturbation, was possibly one of the most accomplished of all European contributions to psychedelic music. Although they had great success as a singles band, the Who, or more properly their leader Townshend, had their sights set higher, and over the years their music became more complex and their lyrics more provocative and involving. Townshend also wanted to treat the Who's albums as unified works, rather than collections of unconnected songs. The first sign of this ambition came in their album ''A Quick One'' (1966), which included the story-telling medley "A Quick One, While He's Away", which they later referred to as a "mini opera". ''A Quick One'' was followed by ''The Who Sell Out'' (1967), a concept album that played like an pirate radio station, complete with jingles and commercials. ''The Who Sell Out'' also included a track from a never-completed Rock opera. Those early efforts were followed by ''Tommy'' (1969), their first complete Rock opera and the first commercially successful one by any artist. Around this time the spiritual teachings of Meher Baba began to influence Peter Townshend's songwriting, and he is credited as 'Avatar' on the ''Tommy'' album. [[Image:Thewho whoareyou album.jpg|thumb|left|250px|The Who in 1978 (front cover of ''Who Are You'')]] Townshend then attempted an even more ambitious concept album cum Performance Art project called ''Lifehouse (album)''. Although the intended album was not released until reconstructed as a radio play for the BBC in 2000, the Who included many of the project's best songs in ''Who's Next'' (1971), which would become their most successful album. ''Who's Next'' was followed by a second Rock opera called ''Quadrophenia'' (1973), with a story line based on the clashes between Mod (lifestyle) and Rockers (youth movement) in the early 1960s, particularly the riots between the two factions at Brighton. The band's later albums contained songs of more personal content for Townshend, and he eventually transferred this personal style to his solo albums, as seen on the album ''Empty Glass''. 1975's The Who By Numbers had several introspective songs in this vein, lightened by the crowd-pleasing "Squeeze Box," another hit single. Nevertheless, one rock critic considered "By Numbers" to have been Townshend's "suicide note." In 1978 the band released ''Who Are You'', a move away from epic rock opera and towards a more radio-friendly sound, though it did contain one song from a never-completed Rock opera by John Entwistle. The release of the album was overshadowed by the accidental drug overdose death of Keith Moon shortly afterward. Kenny Jones, of The Small Faces and The Faces, joined the band as his replacement. The following year was also traumatic for the band: on December 3, 1979 in Cincinnati, Ohio, a stampede for seats at U.S. Bank Arena at the start of a Who concert killed eleven fans. Band members were not told of the deaths until after the show because civic authorities feared more crowd control problems if the concert were cancelled, and the band members were reportedly devastated when they found out about it. The band released two more studio albums with Jones as their drummer, ''Face Dances'' (1981) and ''It's Hard'' (1982). In 1982 they also embarked on the first in a series of farewell tours. Thereafter they stopped recording new material and settled into intermittent forays on the "nostalgia tour circuit", as Townshend focused on solo projects such as ''The Iron Man'' and ''Psychoderelict'', a forerunner to the eventual release of the radio work ''Lifehouse (album)''. Their best-known reunion tour occurred in 1989 and emphasized ''Tommy''. In 1996 they staged successful multi-media performances of ''Quadrophenia'' featuring a narrator and guest singers. By this time Zak Starkey was their regular drummer. Just before the outset of a tour in the summer of 2002, John Entwistle was found dead in his room at the Hard Rock Hotel in Las Vegas, Nevada. A coroner's investigation revealed that while not technically an overdose, a modest amount of cocaine in his system was a contributing factor in a fatal heart attack, the result of years of heart trouble caused or aggravated by regular cocaine use. After a brief delay, the tour commenced with bassist Pino Palladino filling in for Entwistle. In 2004 The Who released two new songs as part of a box set singles anthology, and announced that the spring of 2005 would see the release of their first new studio album in 22 years. In March 2005, [http://www.petetownshend.com Pete Townshend's website] issued a statement that the release was delayed indefinitely, and explained that expected UK/US tours in the summer of 2005 were also shelved. In September of 2002, Q_(magazine) named The Who as one of the "50 Bands to See Before You Die". ==Discography== * See The Who discography. == The Who in popular culture == [[Image:A Tale of Two Springfields.png|right|thumb|150px|The Who on The Simpsons in 2000.]] * Cartoon references archived at [http://www.thewho.org/ thewho.org]: ** ''[http://www.thewho.org/photos/dilbert.jpg Dilbert]'' ** ''[http://www.thewho.org/photos/horton.jpg Horton]'' ** ''[http://www.thewho.org/photos/shoe.jpg Shoe]'' ** ''[http://www.thewho.org/photos/5thwave.jpg The 5th Wave]'' ** ''[http://www.thewho.org/photos/warped.jpg Warped]'' * The Who were featured on ''The Simpsons'' season 12 episode 2, "A Tale of Two Springfields". ** Several screenshots are available at [http://animatedtv.about.com/library/extra/blsimpgallery2.htm animatedtv.about.com] * Use of Who songs in film and television soundtracks can be found at The Who discography. == Quotations == * "My friends call me Keith, but you can call me John." *: – Keith Moon, introducing himself to Tommy Smothers on The Smothers Brothers Comedy Hour. * "If you steer clear of quality, you're alright." *: – Pete Townshend * "We became rich later than I expected. Now I'm too old to enjoy my money." *: – John Entwistle * "Rock used to be a right laugh. The trouble is that the rock press have made it all so serious. Fifty percent of rock is having a good time." *: – Roger Daltrey ==References== * Dave Marsh (1983). ''Before I Get Old: The Story of the Who''. St. Martin's Press. ISBN 0312071558. ==See also== *Best selling music artists ==External links== * [http://www.wholocations.co.uk The Who Location Guide] * [http://www.myclassiclyrics.com/the_who/the_who_lyrics.html The Who Lyrics Page] * [http://www.thewho.net/ The Who fan page] * [http://www.thewho.org/ thewho.org] * [http://www.sohodoorway.com/forum/ SohoDoorway Fan Forum] ** [http://www.thewho.org/photos.htm historical photo archive] at thewho.org The Who British musical groups Pre-punk groups Rock music groups 1960s music groups 1970s music groups simple:The Who
The Who
I reorganized this page into sections because it was getting unmanageable. I did not try to separate the discussions of the histories of the band's name and membership into separate sub-topics, because they are entangled in such a way that it is difficult so figure out who said what and who was replying to whom. (Please get into the habit of indenting replies one level deeper than what you're replying to, and put them after any other same-level replies, and put your signature on each paragraph you write so authorship will remain clear when future replies separate your paragraphs. Also, if you're the author of any orphraned replies on this page, please consider relocating, indenting, and attributing them as appropriate.) — User:Bobby D. Bryant 14:37, 18 Feb 2005 (UTC) :I suggest leaving the above paragraph and any replies to it on the page for a while, to see whether anyone objects to the reorganization, but then removing the discussion to archive if there hasn't been any outcry. — User:Bobby D. Bryant 14:37, 18 Feb 2005 (UTC) ==Issues== ===List of add/change requests=== It would really be nice if someone could come up with the date for the use of ''Tommy'' material in March of Dimes fundraising commercials many years ago, and add it as a "However..." sentence after the existing mention of how some fans think the use of certain songs in commercials is a sell-out. — User:Bobby D. Bryant 14:25, 18 Feb 2005 (UTC) IMO, the photo from the cover of ''The Kids are Alright'' would make a better group portrait than the cover from ''Ultimate Collection''. However, I'm not going to change it unless someone else agrees. — User:Bobby D. Bryant 14:25, 18 Feb 2005 (UTC) :I agree. I used the cover to the ''Ultimate Collection'' because you could see the members better, but ''The Kids Are Alright'' picture is more recognizable.User:Shirimasen 02:29, Feb 20, 2005 (UTC) I think people would find the EPs an interesting addition to the bibliography, if anyone can dig up the details. — User:Bobby D. Bryant 14:25, 18 Feb 2005 (UTC) :I'll work on that, and start to make pages to their more popular ones. User:Shirimasen ::IIRC, there are some notes about one or two early ones in the liner notes to the Delux Edition of ''My Generation''. I remember that there was one with four tracks from ''Tommy'', but I don't have any info on it. I vaguely recally that they released one in Germany, too. Also, it might be worth mentioning the unreleased EP that can be partially reconstructed from Pete's notes on ''Odds and Sods''. — User:Bobby D. Bryant 05:06, 20 Feb 2005 (UTC) Need to add ''By Numbers'' to the history, and steal the following text about the departure from concept material. — User:Bobby D. Bryant 15:51, 18 Feb 2005 (UTC) Need to add famous festival performances to the history section, and possibly mention the ''Tommy'' tour and the 1970 live album. — User:Bobby D. Bryant 15:51, 18 Feb 2005 (UTC) The history section probably merits a more detailed discussion of their hit singles. Also, was "Pictures of Lily" actually a 'hit'? It seems to me that there were far more important singles that aren't mentioned at all. (And for that matter, is it really psychedelic? I would think "I Can See for Miles" is a far better exemplar of the genre, to say nothing of being a bigger hit.) — User:Bobby D. Bryant 15:51, 18 Feb 2005 (UTC) A few things: The piped links to years in music (Such as
The Who
British musical groups Rock music groups
The Who
{| style="margin:0 auto; padding: 0 auto" align=center id=toc |align=center bgcolor=darkred|The Who |- |align=center|Roger Daltrey - Pete Townshend - John Entwistle - Keith Moon -
Kenny Jones - Pino Palladino - Zak Starkey |- |align=center|The Who discography - The Who discography#Filmography |- |align=center|Kit Lambert - Peter Meaden - Shel Talmy |}
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