The Who
The Who | |
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 The Who in 1975. From left to right: Roger Daltrey (vocals), John Entwistle (bass), Keith Moon (drums) and Pete Townshend (guitar). | |
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| Origin | London, England |
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| Website | thewho |
The Who are an English rock band formed in London in 1964. Their classic lineup (1964–1978) consisted of lead vocalist Roger Daltrey, guitarist Pete Townshend, bassist John Entwistle, and drummer Keith Moon. Considered one of the most influential rock bands of the 20th century, their contributions to rock music include the development of the Marshall stack, large public address systems, the use of synthesisers, Entwistle's and Moon's influential playing styles, Townshend's feedback and power chord guitar technique, and the development of the rock opera. They are cited as an influence by many bands, particularly those in the hard rock, punk, power pop and mod genres. The group were inducted into the Rock and Roll Hall of Fame in 1990.
The Who evolved from an earlier group, the Detours, and established themselves as part of the pop art and mod movements, featuring auto-destructive art by destroying guitars and drums on stage. Their first single as the Who, "I Can't Explain" (1964), reached the UK top ten, and was followed by a string of hit singles including "Anyway, Anyhow, Anywhere", "My Generation" (both 1965), "Substitute", "I'm a Boy", "Happy Jack" (all 1966) and "Pictures of Lily" (1967). In 1967, they performed at the Monterey Pop Festival and released "I Can See for Miles", their only US top ten single. The group's 1969 concept album Tommy included the single "Pinball Wizard" and was a critical and commercial success.
Further festival appearances at Woodstock and the Isle of Wight, along with the concert album Live at Leeds (1970), established their reputation as a respected rock act. The success put pressure on lead songwriter Townshend, and the follow-up to Tommy, Lifehouse, was abandoned. Songs from the project made up the album Who's Next (1971), including the hits "Won't Get Fooled Again", "Baba O'Riley", and "Behind Blue Eyes". The group released another concept album, Quadrophenia (1973), as a celebration of their mod roots, and oversaw the film adaptation of Tommy (1975). Following the release of The Who by Numbers (1975), they continued to tour to large audiences before semi-retiring from live performances at the end of 1976. The release of Who Are You (1978) was overshadowed by Moon's death shortly after.
Former Small Faces and Faces drummer Kenney Jones replaced Moon, and the group resumed touring. In 1979, they released a film adaptation of Quadrophenia and the retrospective rockumentary The Kids Are Alright. The early 1980s brought two more albums, Face Dances (1981) and It's Hard (1982), and more successful world tours, though Townshend became weary of the group during this time, and they officially split in 1983. The Who occasionally re-formed for live appearances such as Live Aid in 1985, a 25th-anniversary tour in 1989 with Simon Phillips on drums, and a tour of Quadrophenia during 1996–1997 with Zak Starkey on drums. A full-time reunion began in 1999, with Starkey as drummer. After Entwistle's death in 2002, plans for a new album were delayed until 2006, when Endless Wire was released. Since Entwistle's death, the Who have continued to perform and tour officially as a duo of Daltrey and Townshend, augmented by various other musicians. Their twelfth album, Who, was released in 2019 and was supported by additional touring. In 2025, the band conducted their final tour, entitled The Song Is Over North American Farewell Tour.[2]
History
[edit]Background
[edit]
The founding members of the Who, Roger Daltrey, Pete Townshend and John Entwistle, grew up in Acton, London and attended Acton County Grammar School. [3] Townshend's father, Cliff, played saxophone, and his mother, Betty, had sung in the entertainment division of the RAF during World War II, and both supported their son's interest in rock and roll.[4] Townshend and Entwistle became friends in their second year of Acton County, and formed a trad jazz group;[5] Entwistle also played French horn in the Middlesex Schools' Symphony Orchestra. Both were interested in rock, and Townshend particularly admired Cliff Richard's début single, "Move It".[6] Entwistle moved to guitar, but struggled with it due to his large fingers, and moved to bass on hearing the guitar work of Duane Eddy. He couldn't afford a bass, so he built one at home.[7][6] After Acton County, Townshend attended Ealing Art College,[8] a move he later described as profoundly influential on the course of the Who. [9]
Daltrey, who was in the year above, had moved to Acton from Shepherd's Bush, a more working-class area. He had trouble fitting in at the school, and discovered gangs and rock and roll.[10] He was expelled at 15 and found work on a building site.[11] In 1959, he started the Detours, which would evolve into the Who. The band played professional gigs, such as weddings and corporate functions, and Daltrey kept a close eye on the finances and the music. [12]
Daltrey spotted Entwistle by chance on the street carrying a bass and recruited him into the Detours.[13] In mid-1961, Entwistle suggested Townshend as a guitarist,[13] Daltrey on rhythm guitar, Entwistle on bass, Harry Wilson on drums, and Colin Dawson on vocals. The band played instrumentals by the Shadows and the Ventures, as well as a variety of pop and trad jazz covers.[14] Daltrey was considered the leader and, according to Townshend, "ran things the way he wanted them".[9] Wilson was fired in mid-1962 and replaced by Doug Sandom, though he was older than the rest of the band, married, and a more proficient musician, having been playing semi-professionally for two years.[15]
Dawson left after frequently arguing with Daltrey[9] and was briefly replaced by Gabby Connolly, before Daltrey moved to lead vocals. With Entwistle's encouragement, Townshend became the sole guitarist. Through Townshend's mother, the group obtained a management contract with local promoter Robert Druce,[16] who started booking the band as a support act. The Detours were influenced by the bands they supported, including Screaming Lord Sutch, Cliff Bennett and the Rebel Rousers, Shane Fenton and the Fentones, and Johnny Kidd and the Pirates. The Detours were particularly interested in the Pirates because they also had only one guitarist, Mick Green, who inspired Townshend to combine rhythm and lead guitar in his style. Entwistle's bass became more of a lead instrument,[17] playing melodies.[18] In February 1964, the Detours became aware of the group Johnny Devlin and the Detours, and changed their name.[19] Townshend and his housemate Richard Barnes spent a night considering names, focusing on a theme of joke announcements, including "No One" and "the Group". Townshend preferred "the Hair", and Barnes liked "the Who" because it "had a pop punch".[20] Daltrey chose "the Who" the next morning.[21]
1964–1978
[edit]Early career
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By the time the Detours had become The Who, they had already found regular gigs, including at the Oldfield Hotel in Greenford, the White Hart Hotel in Acton, the Goldhawk Social Club in Shepherd's Bush, and the Notre Dame Hall in Leicester Square.[22] They had also replaced Druce as manager with Helmut Gorden, with whom they secured an audition with Chris Parmeinter for Fontana Records.[23] Parmeinter found problems with the drumming and, according to Sandom, Townshend immediately turned on him and threatened to fire him if his playing did not immediately improve. Sandom left in disgust, but was persuaded to lend his kit to any potential stand-ins or replacements. Sandom and Townshend did not speak again for 14 years.[24]
During a gig with a stand-in drummer in late April at the Oldfield, the band first met Keith Moon. Moon grew up in Wembley, and had been drumming in bands since 1961.[25] He was performing with a semi-professional band called the Beachcombers, and wanted to play full-time.[26] Moon played a few songs with the group, breaking a bass drum pedal and tearing a drum skin. The band were impressed with his energy and enthusiasm, and offered him the job.[27] Moon performed with the Beachcombers a few more times, but dates clashed, and he chose to devote himself to the Who. The Beachcombers auditioned Sandom, but were unimpressed and did not ask him to join.[28]
The Who changed managers to Peter Meaden. He decided that the group would be ideal to represent the growing mod movement in Britain, which involved fashion, scooters and music genres such as rhythm and blues, soul and modern jazz. He renamed the group the High Numbers, dressed them up in mod clothes,[29] secured a second, more favourable audition with Fontana and wrote the lyrics for both sides of their single "Zoot Suit"/"I'm the Face" to appeal to mods. The tune for "Zoot Suit" was "Misery" by the Dynamics,[30] and "I'm the Face" borrowed from Slim Harpo's "I Got Love If You Want It".[31] Although Meaden tried to promote the single, it failed to reach the top 50[32] and the band reverted to calling themselves the Who.[33] The group – none of whom played their instruments conventionally[34] – began to improve their stage image; Daltrey started using his microphone cable as a whip on stage, and occasionally leapt into the crowd; Moon threw drumsticks into the air mid-beat; Townshend mimed machine-gunning the crowd with his guitar while jumping on stage and playing guitar with a fast arm-windmilling motion,[35] or stood with his arms aloft allowing his guitar to produce feedback in a posture dubbed "the Bird Man".[36]
Two filmmakers, Kit Lambert and Chris Stamp, replaced Meaden as manager. They were looking for a young, unsigned rock group that they could make a film about,[37] and had seen the band at the Railway Hotel in Wealdstone, which had become a regular venue for them.[38][39] Lambert related to Townshend and his art school background, and encouraged him to write songs.[37] In August, Lambert and Stamp made a promotional film featuring the group and their audience at the Railway.[40] The band changed their set towards soul, rhythm and blues and Motown covers, and created the slogan "Maximum R&B".[29]
In June 1964, during a performance at the Railway, Townshend accidentally broke the head of his guitar on the low ceiling of the stage.[41] Angered by the audience's laughter, he smashed the instrument on the stage, then picked up another guitar and continued the show. The following week, the audience were keen to see a repeat of the event. Moon obliged by kicking his drum kit over,[42] and auto-destructive art became a feature of the Who's live set.[43]
First singles and My Generation
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By late 1964, the Who were becoming popular in London's Marquee Club, and a rave review of their live act appeared in Melody Maker.[44] Lambert and Stamp attracted the attention of the American producer Shel Talmy, who had produced the Kinks. Townshend had written a song, "I Can't Explain", that deliberately sounded like the Kinks to attract Talmy's attention. Talmy saw the group in rehearsals and was impressed. He signed them to his production company,[45] and sold the recording to the US arm of Decca Records, which meant that the group's early singles were released in Britain on Brunswick Records, one of UK Decca's labels for US artists.[46] "I Can't Explain" was recorded in early November 1964 at Pye Studios in Marble Arch with the Ivy League on backing vocals, and Jimmy Page played fuzz guitar on the B-side, "Bald Headed Woman".[33]
"I Can't Explain" became popular with pirate radio stations such as Radio Caroline.[47] Pirate radio was important for bands as there were no commercial radio stations in the UK and BBC Radio played little pop music.[48] The group gained further exposure when they appeared on the TV programme Ready Steady Go![29] Lambert and Stamp were tasked with finding "typical teens", and invited the group's regular audience from the Goldhawk Social Club.[49] Enthusiastic reception on television and regular airplay on pirate radio helped the single slowly climb the charts in early 1965 until it reached the top 10.[50] In early 1965, the Who made their first appearance on the TV music show, Top of the Pops, at the BBC's Dickenson Road Studios in Manchester, with "I Can't Explain".[51]
The follow-up single, "Anyway, Anyhow, Anywhere", by Townshend and Daltrey,[52] features guitar noises such as pick sliding, toggle switching[53] and feedback, which was so unconventional that it was initially rejected by the US arm of Decca. The single reached the top 10 in the UK[52] and was used as the theme song to Ready Steady Go![54]
The transition to a hit-making band with original material, encouraged by Lambert, did not sit well with Daltrey, and a recording session of R&B covers went unreleased.[55] The Who were not close friends either, apart from Moon and Entwistle, who enjoyed visiting nightclubs together in the West End of London.[56] The group experienced a difficult time when touring Denmark in September, which culminated in Daltrey throwing Moon's amphetamines down the toilet and assaulting him. Immediately on returning to Britain, Daltrey was sacked,[57] but was reinstated on the condition that the group became a democracy without his dominant leadership. At this time, the group enlisted Richard Cole as a roadie.[58]
The next single, "My Generation", followed in October. Townshend had written it as a slow blues, but after several abortive attempts, it was turned into a more powerful song with a bass solo from Entwistle. The song used gimmicks such as a vocal stutter to simulate the speech of a mod on amphetamines, and two key changes.[59] Townshend insisted in interviews that the lyrics "Hope I die before I get old" were not meant to be taken literally.[60] Peaking at No. 2, "My Generation" is the group's highest-charting single in the UK.[50] The debut album My Generation was released in late 1965. Among original material by Townshend, including the title track and "The Kids Are Alright", the album has several James Brown covers from the session earlier that year that Daltrey favoured.[61]
After My Generation, the Who fell out with Talmy, which abruptly ended their recording contract.[62] The resulting legal acrimony meant Talmy held the rights to the master tapes, which prevented the album from being reissued until 2002.[63] The Who were signed to Robert Stigwood's label, Reaction, and released "Substitute". Townshend said he wrote the song about an identity crisis, and as a parody of the Rolling Stones's "19th Nervous Breakdown". It was the first single to feature him playing an acoustic twelve-string guitar.[64] Talmy took legal action over the B-side, "Instant Party", and the single was withdrawn. A new B-side, "Waltz for a Pig", was recorded by the GBO under the pseudonym "The Who Orchestra".[65]
In 1966 the Who released "I'm a Boy", about a boy dressed as a girl, taken from an abortive collection of songs called Quads;[66] "Happy Jack";[67] and an EP, Ready Steady Who, that tied in with their regular appearances on Ready Steady Go![68] The group continued to have conflict; on 20 May, Moon and Entwistle were late to a gig having been on the Ready Steady Go! set with the Beach Boys' Bruce Johnston. During "My Generation", Townshend attacked Moon with his guitar; Moon suffered a black eye and bruises, and he and Entwistle left the band, but changed their minds and rejoined a week later.[69] Moon kept looking for other work, and Jeff Beck had him play drums on his song "Beck's Bolero" (with Page, John Paul Jones and Nicky Hopkins) because he was "trying to get Keith out of the Who".[70]
A Quick One, Monterey and The Who Sell Out
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To alleviate financial pressure on the band, Lambert arranged a song-writing deal which required each member to write two songs for the next album. Entwistle contributed "Boris the Spider" and "Whiskey Man" and found a niche role as second songwriter.[71] The band found they needed to fill an extra ten minutes, and Lambert encouraged Townshend to write a longer piece, "A Quick One, While He's Away". The suite of song fragments is about a girl who has an affair while her lover is away, but is ultimately forgiven. The album was titled A Quick One[72] (Happy Jack in the US),[73] and reached No. 4 in the UK charts.[74] It was followed in 1967 by the UK Top 5 single "Pictures of Lily".[75]
By 1966, Ready Steady Go! had ended, the mod movement was becoming unfashionable, and the Who found themselves in competition on the London circuit with groups including Cream and the Jimi Hendrix Experience.[76] Lambert and Stamp realised that commercial success in the US was paramount to the group's future, and arranged a deal with promoter Frank Barsalona for a short package tour in New York.[77] The group's performances, which still involved smashing guitars and kicking over drums, were well received,[78] and led to their first major US appearance at the Monterey Pop Festival. The group, especially Moon, were not fond of the hippie movement, and thought their violent stage act would stand in sharp contrast to the peaceful atmosphere of the festival. Hendrix was also on the bill, and was also going to smash his guitar on stage. Townshend verbally abused Hendrix and accused him of stealing his act,[79] and the pair argued about who should go on stage first, with the Who winning the argument.[80] The Who brought hired equipment to the festival; Hendrix shipped over his regular touring gear from Britain, including a full Marshall stack. According to biographer Tony Fletcher, Hendrix sounded "so much better than the Who it was embarrassing".[81] The Who's appearance at Monterey gave them recognition in the US, and "Happy Jack" reached the top 30.[81]
The group followed Monterey with a US tour supporting Herman's Hermits.[81] The Hermits were a straightforward pop band and enjoyed drugs and practical jokes. They bonded with Moon,[82] who was excited to learn that cherry bombs were legal to purchase in Alabama. Moon acquired a reputation for destroying hotel rooms while on tour,[78] with a particular interest in blowing up toilets. Entwistle said the first cherry bomb they tried "blew a hole in the suitcase and the chair".[83] Moon recalled his first attempt to flush one down the toilet: "[A]ll that porcelain flying through the air was quite unforgettable. I never realised dynamite was so powerful".[83] After a gig in Flint, Michigan on Moon's 21st birthday on 23 August 1967, the entourage caused $24,000 of damage at the hotel, and Moon knocked out one of his front teeth.[84] Daltrey later said that the tour brought the band closer, and as the support act, they could turn up and perform a short show without any major responsibilities.[85]
After the Hermits tour, the Who recorded their next single, "I Can See for Miles", which Townshend had written in 1966 but had avoided recording until he was sure it could be produced well.[86] Townshend called it "the ultimate Who record",[87] and was disappointed it reached only No. 10 in the UK.[87] It became their best selling single in the US, reaching No. 9.[75] The group toured the US again with Eric Burdon and the Animals, including an appearance on The Smothers Brothers Comedy Hour, miming to "I Can See For Miles" and "My Generation".[88] Moon bribed a stage hand to put explosives in his drum kit, who loaded it with ten times the expected quantity. The resulting detonation threw Moon off his drum riser and his arm was cut by a flying piece of a cymbal. Townshend's hair was singed and his left ear left ringing, and a camera and studio monitor were destroyed.[89]
The next album was The Who Sell Out – a concept album parodying pirate radio, which had been outlawed in August 1967 by the Marine Broadcasting Offences Act 1967. It included humorous jingles and mock commercials between songs,[90] a mini rock opera called "Rael", and "I Can See For Miles".[87] The Who declared themselves a pop art group and thus viewed advertising as an artform; they recorded a wide variety of radio advertisements, such as for canned milkshakes and the