This time around I'm covering another classic Brit Invasion LP, The Who's 1965 debut 'My Generation'. This album pretty much birthed the sound of early punk and garage rock, featuring some of the heaviest rock n' roll sounds recorded at the time and inspiring thousands of young groups for generations after its release. Of course, most of you will know the members of this outfit, but for those who don't they comprised of; Rhythm Guitarist and main songwriter Pete Townshend (who gets a total of 8 originals on this record), Lead Vocalist Roger Daltery, Bassist John Entwistle and Drummer extraordinaire Keith Moon. Before I start, I've got to talk about that fabulous cover art, the band's name printed in military stencil, each member glaring up menacingly in true street punk style next to what looks like some oil barrels. The whole image sets the tone for the ground-breaking work you're about to hear, so lets get to it...
Tremolo guitar scraping, wild drumming and a blend of R&B blues wailing with pop backing vocals, all of this awaits the listener on Side One's opener 'Out In The Street', a Townshend original and a fantastic album opener. Listen out for the kill-switch/feedback guitar EXPLOSION that takes the place of the usual blues solo, such inventive stuff that still rocks like hell 60 years on. Next up is a comparatively straight - but still heavy - take of James Brown's 'I Don't Mind' that nicely fits into the groups original mantra of 'Maximum R&B' (maybe this is where the American garage groups got their Brown obsession from, who knows?). The next number though is where we enter truly pioneering territory... 'The Good's Gone' kicks off with a jangly raga inspired riff (in 1965!), leading into a grungy tune of a relationship gone wrong ('We should enjoy it, but the goods gone'). Townshend slashes his Rickenbacker on this one, with Moon supplying suitably chaotic drums as Entwistle holds down the low end with heavy bass riffing... Such a cool track, and really one of the first psych style rock songs recorded (laid down in April '65). A return to power pop (a term coined by Townshend couple years later) is next with another original number, 'La La La Lies'. Nice Motown/girl group sound here, Moon's jazzy rolls blending harmoniously with the multi-part group harmonies. 'Much Too Much' follows, sounding a decade ahead of most contemporary UK groups, surging along with a perfect balance between sweetness and punky agro (particularly present in Daltrey's snarling vocal and Moon's epic drum-work), a brilliant number that could easily have been a single. And finishing off the side is the classic track, 'My Generation'. Townshend's piss-off lyrics/crazy guitar, Entwistle's bass soloing, Moon's perfectly mad drums and Daltery's rockin' vocals add up to make this one of the greatest rock tunes of all time (must have sounded crazy to the kids of '65, not exactly Herman's Hermits is it...)
Side Two starts with another blazing classic with 'The Kids Are Alright'. More ringing guitars, more power from the rhythm section and more era-defining lyrics that you cant resist shouting along with (and again, a super heavy mid section that still blows up with the energy of a split atom), can rock get better than this? Probably not, demonstrated by the kinda weak cover of another Mr Dynamite number, 'Please Please Please', Roger desperately trying to inject passion, instead sounding a bit strangled with his high notes (nice kill-switch soling from Townshend though). A return to excellence is next though, with 'Its Not True', a funny little ditty about - to put it in academic terms - "the misconception of identity in the modern world" (or just someone saying "that's bollocks", whichever you prefer...). Great band interplay here with nice keys work from session man Nicky Hopkins. 'I'm A Man' follows this gem, and is again a little weak, even bordering on parody as Daltery alternates between his best Howlin' Wolf impression and a more relaxed Brown-ish scream. Aside from that, this one rocks, Townshend using controlled feedback and power chords to push the band into rock n' roll nirvana in the mid section (I'm sure that Hendrix dug this one...). 'A Legal Matter' features Townshend's debut as lead singer, and he gives the tune a bit of country sleaze (fitting for the broken marriage subject matter) as the guys kick up dust in the background (smokin' keys from Hopkins here). Capping off the album is the explosive 'The Ox', the only group written number on this collection and what a number it is... Townshend's guitar screams with distortion, Moon lays down a 'Wipe Out' inspired bit of anarchy, Entwistle keeps it grounded and Daltrey... is nowhere to be heard (I'm guessing that's not him on keys in the background...) A raucous showcase of band's power, truly a sign of things to come in the rock world (much like the album in general really). For me, this is The Who at their best, pushing the fringes of popular music to its breaking point (whilst also playing some straight tunes to satisfy the average listener). Seek this out pronto anywhere, anyhow, anyway you can... See you next time when we'll be covering an LP by a lesser known Irish rocker and his group of young punks... (can you guess it yet?)
No comments:
Post a Comment