Classic CD Review
In the latest issue of Spin magazine, the Who were rated 39 in the 50 Greatest Bands of All Time, right behind Bad Brains-I don’t know who they are either.
This cements the fact that the world has taken the Who for granted, as well as the fact that Spin is a piece of trash. The Who are easily one of the most powerful bands to ever plug into an amplifier, and nothing expresses this more than their landmark album, Quadrophenia.
This double-album tour-de-force centers around the life of a teen-aged mod, and his troubles with life. (For those who don’t know, the mods were a group of British teens that liked nice clothes, sharp haircuts and methamphetamines. They were punks without the piercing.) However, this has less to do with being a mod and more with being a kid growing up.
Written entirely by Pete Townshend, this is the closest anyone will get to recording teenage angst. It barrels through topics of alienation, fitting in, dealing with parents and the demise of one’s role models.
This is punk music before punk music even existed. At the same time there is something different about it. Unlike punk music, this album isn’t afraid to cry. Its soft moments are even more compelling than even its most supercharged, blasting songs.
There is anger as well and peace, mania and well as depression. In short, this album is the most cathartic piece of music I’ve ever heard.
This album could never have been what it was without the contributions of each member.
Vocalist Roger Daltrey has the intensity and range that could rival any other singer in rock, and this is Daltrey at his most powerful. John Entwhistle’s bass work undulates and drives throughout the entire piece, adding new dimensions and layers.
The drumming of Keith Moon is the perfect example of why he was virtually irreplaceable after his untimely death. This, too, is Moon at his peak. What can I say about Townshend’s genius work that wouldn’t be redundant and understated? I’m at a loss for words.
One of the more emotive songs on the album, and there are many, is “Cut My Hair.” In the song, Townshend sings of the confusion of fitting in, while synths and Moon’s drumming accentuates the issue. He sings “Why do I have to move with a crowd/ Of kids who hardly notice that I’m around/ I work myself to death just to fit in!” Who hasn’t had a time when they asked themselves that question?
Another such song is the song of envy and self-affirmation “I’m One.” Townshend once again sings this song, and for the most part it is just him and his guitar. He sings “Every year is the same/ And I feel it again/ I’m a loser, not chance to win/ Leaves start falling/ Come down is calling/ Loneliness starts sinking in/ But I’m One.”
It is a song of coming to terms with oneself, and will always have a special place in my heart.
I honestly can’t comprehend how everyone who was ever a teenager couldn’t relate to this album.
At the same time, though, I can understand if some people don’t see the underlying themes. It is a lot to take in; over seventy-minutes of power and emotion can be taxing. Besides, the Who can be a bit complex and cerebral for most occasional music listeners.
This is probably why one sees more Led Zeppelin bumper stickers than Who ones.
Still, this album is essential for anyone who values music.
I don’t know where I’d be if I hadn’t found it.
