The Who Music Quiz

Short Disclaimer You may or may non nonice that I did non mention e genuinelything The Who have released, or all the people in their line-up at all times. Nor did I mention Tommy(the movie) or Quadrophenia (the movie). I wanted to focus on The Whos music in their prime years, rather than their non-homogeneous reunions and films.Band MembersPete Townshend Guitar, bluntsRoger Daltrey Vocals, harmonica hindquarters Entwistle Bass, vocals, French hornKeith corn liquor (until 1978) Drums, vocalsKenney J cardinals (after 1978) Drums prat Bundrick (after 1978) KeyboardsDiscography1964 Singles Im the Face1965 Singles I Cant Explain, My Generation1965 The Who Sings My Generation1966 Singles Substitute, Im a Boy, The Kids Are Alright, blissful Jack1966 A Quick One1967 Singles Pictures of Lilly, I Can See For Miles1967 The Who Sell turn out1968 Singles I Cant Reach You, Dogs, Magic Bus.1968 Magic Bus The Who on Tour1969 Singles pinball Wizard, Im Free, The Acid Queen1969 Tommy1970 Si ngles The Seeker, summer lows1970 Live at Leeds1971 Singles Behind Blue Eyes, Lets See Action1971 Whos Next1971 Meaty, Beaty, bad and Bouncy1972 Singles Join Together, Relay1973 Singles 515, slam Reign OEr Me1973 Quadrophenia1974 Single The Rael Me1974 Odds and Sods1975 Singles clench Box, Slip Kid1975 The Who by the poem1978 Who Are You?1979 The Kids Are Alright (Soundtrack)1981 Face Dances1982 Its Hard1991 Thirty Years of Maximum R&B (Box Set)1996 My Generation The Very Best of the Who1996 Live at the Isle of Wight2000 BBC Sessions2002 Ultimate solicitation2002 Live at the Royal Albert Hall2004 Then and Now 1964-2004Few isthmuss in jolt score have had the natural endowment, efficiency, energy, and impact as The Who did from the mid 60s to the late 70s. Starting as an eat upshoot of the British Invasion, the Who evolved to survive one of the virtually forceful and one of the greatest rock n roll lots of all time. Though by definition they werent a super-group (the members were not al educate established as premier musicians before The Who took off), they arguably had the talent to be one. Destroying equipment, blowing up thick amazes, Townshends windmill, Daltreys tough guy attitude and rock vocal power, and Entwistles eye of the hurri dejectione appeal to the stage show and lead bass-playing be all defining parts of The Who that make them a myth in their time and into today.Pete Townshend was the artistic leader of the band, and he constantly moved them in new directions to sphere beas no rock bands had been and some have been since. Aside from his artistic creativity, his guitar playing was rattling considerably. He is a lot overlooked because he did not do many onlys or much flashy guitar work, hardly he fit the band perfectly. Not still was Townshend a capable guitarist, provided his telephone call writing ability is up there with the shell. Townshend also sang background vocals and occasionally lead vocals, making him n onetheless more than valuable to the band. Roger Daltrey, the singer of the group, started as a great singer with solid aim and glimpses of power. His versatility allowed him to progress into a power-rock front man, and his amazing stage presence propelled The Whos live shows by means ofout their career.But the real focus of The Who is usually on the rhythm section (or in The Whos case, the lead doeral section). John Entwistle was a pioneer in bass playing, as he was one of first players to show that bass could be the lead instrument in rock music. He immediately made his presence known in The Who with his heavy estimable and distorted bass, ilk the fills in My Generation . Entwistle also added solid backup vocals, which gave The Who more dimensions in their vocal harmonies. And then ,of course, there is Keith Moon. Moon was a defining aspect of The Who, and a key part of why they were so different from almost all other bands. His attacking drum style, blazing speed, and cons tant fills would plow a trademark of The Who, especially in their live show. Although Keith is usually noted for universe a harebrained man on the drums, he tends to show a significant amount of control on their studio apartment set down albums. There are more fills than other drummers, only enough restraint so as not to ruin the track. Instrumentally, Entwistle and Moon led the band. Townshend was a good guitar player, but he usually found himself malleus out power-chords and solid riffs in the economic consumption of a rhythm player bit John and Keith took the role as lead players. That is not to say that Pete never played lead or that he could not solo, however.Townshend and Entwistle first met each other in high school, and initially played in a conspiracy band unneurotic (John was on trumpet and Pete was on banjo) in 1962. In 1963, Entwistle left to play bass for the newly formed Detours, with singer Roger Daltrey already in place. Soon, Townshend joined them band on guitar. Not long after, there was a drumming void, and Keith Moon was added to the band. They changed their name to The Who in 1964. After struggling for a few months to progress, the band met an interested manager in Pete Meaden. Under his direction, the band became known as the High Numbers and began wearing suits and playing more of an R&B style. Their first single contained Im the Face/Zoot Suit , but it faired poorly. Meaden was cut, and they reformed as The Who. I Cant Explain was the bands adjoining single, and it did much better. After the band played a TV performance that featured Moon and Townshend destroying their instruments, The Who starting gaining come to the foreularity.The bands dynamics in this time period are very arouse. Each member had vastly different personalities, which often led to disputes and arguments, sometimes prevail down fierceness onstage. Instead of keeping these altercations private, The Who made them well-known. They became notorious for th eir violent demeanour and aggressive stage act, but preferably of having a negative effect on the band, the result was that their popularity continually grew. It is important here to stress the Whos conditional relation to the Mod movement in London at the time. The hundred of mods in the audience became a forte through which The Who could let out their pent-up aggression. In these years, The Who in brief became the Mod band, the voice of the rebellious teenagers, currently to represent what rock and roll would become a defiant escape from the previous(prenominal) generation and a defiant statement against it.As I Cant Explain had jumped to the British Top Ten, the band was now ready to record an album. The Who Sings My Generation was built around the backing track, also released as a single. The album showcases the novel style of the band early in their career. There is noticeable influence of R&B, blues, and Motown, added into the Whos style of power rock. Its endure lega cy to music is undoubtedly My Generation . This song displays the defiant attitude of the band and Townshends infamous, entrust I die before I get old line. The rebellious nature of the song plane became somewhat of an influence on the future punk movement, which would start to see its true beginnings in undecomposed a couple years. besides seen here are instrumental statements of Entwistle and Moon. As mentioned before, Entwistles fills are remarkable. The end of the song features Moon all over the drums, producing a wall of sound that no other drummer of the time could even hope to emulate. The song would also become a key part of their live show for the approaching years.The single Substitute was released shortly after that album, and met more British success. The song itself is a solid pop tune with great drumming and good vocals. The Band again prepared for more studio work. The Whos next record would prove to be an interesting one, to say the least. Titled A Quick One (in Britain) or Happy Jack (in America), it would expand on the base of The Who to showcase a wide variety of music. The tracks range from the circus type music of Cobwebs and Strange (which features amazing drumming from Moon, its somewhat of a mini drum solo) to the ten minute mini-opera of the title track, A Quick One . This is Townshends first experiment with a protracted piece that centered on a theme. The plot concerns a woman who cheats on her husband while he is away for a long time. Musically, the song moves through six movements that run together successfully. Also on the album were the strange Happy Jack and even stranger Boris the Spider , both of which are solid and are now well known tracks. The most important parts of this album were the concomitant that the band was certainly showing signs of evolution (which were necessary to further develop and survive as the 60s died out), and the mini-opera construct Townshend was starting to create. This idea would become more imp ortant on the bands next album, and eventually reach a climax on Tommy.Their next record, The Who Sell Out (1967), is debatably a excogitation album that centers on a do by radio broadcast program. Between nearly every song, there is a short mock radio jingle. The album even includes the band advertising certain products in song form, as the title would suggest. There are some rather obvious examples of this, such as Heinz Baked Beans , and other examples that can actually stand alone as solid songs, like Odorono . There is even some dabbing in psychedelia (after all, it was 1967) like on Armenia, City In the Sky . The Who take full advantage of the studio to set off this record, though the music itself still has a bit of the raw essence of the early Who. These early albums do not tend to present the loud raucous Who that their live show represented instead, there is a quick sense of melody and control. Moon shows remarkable constraint (for him, at least) on songs like tattoo . Sunrise, I Cant Reach You, and Our go to sleep Was showed Townshends nutser side as a songwriter. I Can See For Miles was the only the albums top ten hit and the only track that got radio play and it features great singing from Roger and typic Keith Moon drumming. However, the real climax of the album is Rael , and religious conceptual experiment. The Who even develops some of the instrumental themes for Tommy on this song (mostly from songs like Sparks or The Underture ). They were now only a short step away from a full-blown concept album.The Whos live show was growing in popularity, size, volume, etc, as they became a bigger band over the last few years. Destroying their equipment was now a standard part of their nightly show. In fact, The Who ruined so much equipment and gear, that they were actually in debt for a few years, despite the success of their albums and singles. Ironically, the band had stop smashing their instruments by the time they had enough funds to actually a fford doing it. In 1967, The Who performed at the Monterey out Festival in front of 200,000 people. Two years before the legendary Woodstock, a festival of this order of magnitude was a great tool to help launch the band into their future power rock years. In 1968, The Who continued to release singles, including the ever-popular Magic Bus . To help keep momentum, they also released Magic Bus -The Who on Tour , a assembly of some early singles and some album cuts not acquirable previously.Through the rest of 1968, Townshend worked on what would be considered by many the bands artistic peak. He developed an interesting concept and a multiform plot that moved through the life of a deaf, dumb, and blind male child who plays pinball. Tommy , released 1969, is a double-album and a conceptual masterpiece. The album is known for being the first very successful rock-opera (and one of the first in general). Tommy was met with great commercial success, especially in America. The plot, th ough confusing at times, is largely easy to follow. An interesting aspect of Tommy is in the religious themes it develops. By the end Tommy becomes such a puissant figure for fans seeking salvation (Sally Simpson ). Musically, the album is unquestionably strong.The Who were able to use great vocal harmonies and soft melodies in combination with their naturally loud and upfront style to produce an ideal mix of the two. Moon is excellent without being over-powering, and Townshends song writing may have peaked here with impressive lyrics throughout the whole album. There are also instrumental movements like Sparks and The Underture , both of which relate to a strong musical theme. Combined with unbelievable songs like Amazing Journey, The Overture, Acid Queen, Pinball Wizard, Christmas, Im Free, Were Not Gonna Take It , and a great album structure, Tommy is an album that by itself would have made The Whos career great.Tommy was the peak of the early Who, and soon the band would under go changes that would dominate their style in the 70s. Touring to support the album, their live show grew in magnitude. ofttimes they would play the entire album all the way through, each night reproducing the epic plot. 1969 also brought nearly another event that would have lasting effects on The Who Woodstock. The legendary music festival was the seat for further evolution in the bands sound. The power of their live show was now all but unmatched, and it thrived off performances of epic songs such as the See me, Feel me climax. Roger Daltrey especially evolved during this time. In these years, he became Tommy to the audience, a sexual activity symbol and a leader of the band on stage.Not to say that he was outshining the other members, however. In 1970, The Who decided to d0cument their astounding show with their release of Live at Leeds . The original LP featured rousing versions of Summertime Blues and Young Man Blues , along with a 15-minute version of My Generation that exp eriments with the Tommy themes. This album is regarded as one of the beaver live albums ever released, and its no wonder why. It is still widely considered one of the scoop out live performances ever recorded. A two-disc Deluxe Edition of the album is now available, which features Tommy performed almost in its entirety. posterior that same year, The Who also played at the gigantic Isle of Wight Festival. With over 600,000 fans in attendance, The Who delivered a spectacular set. The material is similar to that of Live at Leeds , with new songs like Water, I Dont Even be Myself, Spoonful/Twist and Shout , and an abridged version of Tommy . The show is now available on videodisk as well as CD. The Whos momentum in 1970 to 1971 was also supplemented by the release of Meaty Beaty Big and Bouncy , a collection of early singles, as well as the release of The Seeker as a new single. The new song gave audiences a feel for the type of sound that The Who would produce during the upcoming y ears.After the release of a record that stretched the idea of what was possible by four guys on a stage with just their instruments, The Who decided to use the studio to their full advantage on their next album. Synthesizers drift the album, and there use here was one of the first times a band used them so effectively. However, Pete was having difficulty with the albums concept. Townshends original idea was a project titled Life house , which supposedly dealt with scholarship fiction and a utopian society, but the idea was becoming increasingly complex and spiralled out of control. In response to the stress build up and complications, Townshend suffered a nervous breakdown. After his recovering, The Who picked up the pieces of Petes failed work and came up with their 1971 release, Whos Next (this album is said jokingly by many to be the greatest failure in the history of rock music). The new album carried a much heavier sound than their previous studio work, and was very synthesiz er-driven.This is evident right from the start of the album. There are definite beginnings of The Whos arena rock era, which would last fundamentally all of the 70s. Hard rock anthems like Baba ORiley, Bargain, Behind Blue Eyes, and Wont Get Fooled Again all became very popular and received extensive play on FM radio. It also contains popular fan songs like My Wife and The Song is Over . Whos Next is usually thought of as the bands best album, and is probably their most popular.After more touring with the new material The Who were ready to go back into the studio. Determined to overcome his previous failure and do another Tommy so to speak, Townshend prepared to create another complex concept album. He moved through many possible ideas, each time getting involved in them for a period and then abandoning the concept. Eventually, Townshend settled on looking back at the time he knew best the Mods. The double-album Quadrophenia was crafted together and released in 1973. The albums conc ept dealt with a youth, Jimmy, growing up in 60s and struggling to find himself in a mod society. contempt starting with a much stronger story than Tommy originally had, Quadrophenias plot suffers from being underdeveloped. Townshend tried to incorporate four vastly different personalities into his central character, each of which reflected a member of the band, but this too was left underdeveloped and only weakened Quadrophenia as a thematic album.Ultimately, the records attempted concept was too complex for the mass Who audience to understand. The album is also very studio heavy, meaning that its complexities (horn sections, various studio effects, overdubs, etc) made it very difficult for the band to replicate it live, unlike most of their earlier material. Despite these negative points about the album, the music overall is very well done. Standout tracks include The Real Me, The Punk and the Godfather, Ive Had Enough, 515, and Love Reign OEr Me. The Real Me features some amazin g bass playing, even by Entwistles standards, and Love Reign OEr Me showcases Daltreys undeniable power and the emotional climax of the album. Quadrophenia also features what may be Keith Moons best studio drumming. However, the inability to reproduce the albums sound on a tour would prove costly for the group, and caused them to take a step back.After Quadrophenia , The Who began to drift apart slightly. Townshend and Entwistle were both interested in their own solo projects. Pete began to drink excessively, a habit that would plague him for the next several years. Moon was enjoying his rock star life style of substance abuse and like Townshend, this would cause problems for him in the next few years. Regardless of this, Pete continued workings on songs for The Who and for their next album. During their off year in 1974, The Who released Odds and Sods , another singles and album cuts collection spanning The Whos career to that point.The band goes back to the basics on The Who by the Numbers , released 1975. The complex arrangements of the last album were replaced by basically pure rock music. Townshends lyrics were very emotional and personal. The album and its subsequent tour were both hits, but it did not stand up the level of their past four releases. The records strongest tracks were Slip Kid and Squeeze Box , with a number of other expressive songs like They Are All in Love and How Many Friends . After the tour, The Who was exhausted and artistically worn-out and agreed to take an extended break.Very littler would be heard from the band until they came back together in 1978 to work on their new album. The resulting record would be Who Are You , which was a relatively big success. However, the album is plagued with problems and inconsistencies. Alcoholism and substance abuse were winning their tolls on Townshend and Moon, and although their instrumental ability is still intact, there is the sense that the group is starting to fade. Moon especially dur ing this time was very flakey. It was questionable whether he would turn up for sessions or not. Sometimes he would even forget parts of his drumming and have to relearn things in the studio. The album relied heavily on synthesizers and complex arrangements, and in some cases these are certainly overdone. The title track is the albums biggest accomplishment. The commercial success of the record may have triggered The Whos comeback, but it was not to be. On September 7, 1978, Keith Moon overdosed on a drug that was support him get away from his alcoholism, and died.Losing a band member like Keith Moon almost immediately implies that the band would not continue. Moon was a defining aspect of The Who for nearly 14 years, and he was certainly not replaceable. Almost no drummers could bring to a band what he brought to The Who. However, the surviving members elected to continue playing. by and by they would all agree that The Who in fact did end with Keith Moons death. Kenney Jones, fo rmerly of the Small Faces, was hired as Moons replacement. Keyboardist John Bundrick was also added to the group, and they began working on new material and set up for a tour. They gained momentum through the release of The Kids Are Alright, a collection of video footage of the groups entire career.But their momentum and goodwill was abject when they were informed about the deaths of 11 people after being trampled in a Cincinnati accident. Townshend fell copious into drug use now, and had an almost fatal encounter with heroin in 1981. Daltrey and Entwistle worked on their solo careers, but met limited success. The band reformed to release Face Dances (1981) and Its Hard (1982). Though with some standout material (namely bankers bill Front ), the albums pale in comparison to The Who of ten years ago. Their 1982 Tour was supposedly a bye-bye to fans, as they were basically packing it in. The remainder of the 80s saw numerous Who collections emerge, and finally in 1991 the band bro ught together a successful 4-disc box set. The three core members continued their solo careers, and have reunited a few times in the 90s for brief tours and various benefits. When it looked as though the group was gaining steam, John Entwistle died in June of 2002.The Whos lasting legacy to rock music is one of the greatest ever left. They did what no band had done and very few have done. Between the early mod Who, the guitar-smashing mid 60s Who, the concept/thematic album Who, and the opinionated arena-rock Who, few bands have changed as much as they did and covered so much area in music. Their legendary live show is still though off as one of the best rock has ever seen. With the super talented musicians they had, it is no wonder that The Who were able to produce so much good music and influence so many bands and artists of their time, and even now. Their music will indeed live on forever.