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fri posted: Fri 2017-06-23 07:07:52 tags: music
coffee, bagel w/chevre, mail check

Brought dress shoes and Timberland boots I haven't worn for probably over 10 years to the Soles4Souls drop-off closest to work

Laminated organ donor card (under $2)
picked up work food: seltzer, woven wheats, yogurt, salmon cans

Backup \\dora SQL databases and update XAMPP install to 7.1.x

WealthSimple Socially Responsible ETFs

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In junior high and high school, when I was a big Pink Floyd fan, a good few of my peers were equally Who fans. Somehow I didn't get much exposure beyond the radio though - we had a few Who albums (Tommy, Who Are You, It's Hard) at home, but what I heard was hit-or-miss.

Tiptoeing through the discography:
1965: The Who Sings My Generation
I only recognized 2 songs: "My Generation" (of course) and "The Kids Are Alright". "The Ox" shows some instrumental talent but instrumental hits are a rarity in rock+roll, and the jam breakdown near the end pretty much sinks its chances at being taken seriously enough for regular airplay.

1966: A Quick One
"Boris the Spider" gets enough airplay and has that "live show fan fave" feel; the next track, "Whiskey Man", may conceivably have been a hit at shows as well, but unlike other pop paeans to alcohol (from George Thorogood's "One Bourbon, One Scotch, One Beer" to Chumbawumba's "Tubthumping"), it just isn't clever enough to draw radio play. Did we need a cover of the '65 Martha and the Vandellas standard "Heat Wave"? In the U.S. release it's replaced with "Happy Jack".

1967: The Who Sell Out
By '67, psychedelia had gone mainstream enough that The Who could get really experimental and playful with album structure, voice processing and synthetic instrumentation. Once you get past the ad-themed opening, "Armenia City in the Sky" establishes a hard rock credibility. The Greatest Hits track "I Can See for Miles" is perhaps the album's pop crown jewel, but "Sunrise" and "Rael (1 and 2)" probably got their share of listens in the album's heyday too.

1969 saw the release of the studio cut of The Who's first rock opera: "Tommy". In 1975 the opera would be realized as a movie with an all-star cast and a soundtrack engaging the additional talents of Eric Clapton, Tina Turner, and Elton John.

1970: Live at Leeds
I'm not a fan of live performance albums. At the end of the day, the studio simply captures the very best of the voices and instruments. Live at Leeds does at least give us insight into early renditions of some Greatest Hits songs that hadn't made it to the studio yet: "I Can't Explain", "Substitute", "Summertime Blues" and "Magic Bus".

1971: Who's Next
After "Tommy", The Who considered another rock opera, entitled "Lifehouse". Ultimately the project didn't come together as an opera, but the music was salvaged as what might be the band's first solidly listenable straight-up studio album, kicking off with their signature "Baba O'Riley". (A peek at the Wikipedia article on Baba O'Riley will give some inkling how deeply Daltrey had dug his heels into his dedication to music by '71.)

1973: Quadrophenia
Still chasing the rock-opera dragon, Quadrophenia introduced a few more eventual Greatest Hits tunes ("The Real Me", "5:15", "Love Reign O'er Me"). The opera would be realized as movie in 1979. It says a lot for the band's artistic progress that even much of the more obscure material on the album is still very listenable. The reuse/recontextualization of lyrical phrases and musical motifs imbues a sense of compositional unity.

1974's "Live at Charlton" could have remained a bootleg tape and no one but the die-hardest fans would care.

1975: The Who By Numbers
I recognized only 2 songs: "Slip Kid" (previously unreleased material from the shelved Lifehouse project) and "Squeeze Box".

1975: Fillmore East - see 1974

1978: Who Are You
If the 80s was a heady time of MTV and rap and punk coming together and sweeping up classic-era bands in reinvention and recombination, The Who were feeling faded and stagnant a bit ahead of all that. Townshend described his "condition" as "decaying" during the events which inspired the title track. This sense of career jadedness is reflected throughout most of the album.

Sept. 1978 was also when drummer Keith Moon took 32 clomethiazole tablets (prescribed to help him out with alcohol withdrawal) and died.

1979: The Kids Are Alright
Soundtrack for the "rockumentary" film of the same name, some of the material may have been remastered or cleaned up in studio rework, but none of it was new. As such, it's sort of a "selected hits" album.

1981: Face Dances
"Face Dances (pt 2)" was a song by Townshend, appearing on his solo album "All the Best Cowboys Have Chinese Eyes". The Who was not done writing new material by a long shot, but they weren't weathering the '80s reinvention era well either. Standouts included "You Better You Bet" and "Another Tricky Day".

1982: It's Hard
It's hard ... not to read the album title as yet another unsubtle complaint about the difficulty of staying fresh and relevant in the evolving music scene. Standouts were "Athena" and "Eminence Front". This was their last studio album.

In 1984 the band released "Who's Last", a live album capturing performances from their ostensible final tour. Thereafter there were quite a few more live albums and one artsy piece, "Endless Wire" in 2006 (side two being a "mini-opera). In 1985 Daltrey and Townshend each punctuated their careers with solo album releases, "Under A Raging Moon" and "White City: A Novel" respectively.