50 Years of The Who – 50 Less Celebrated Songs From The Band’s Catalog

THE WHO – 50 Years! 

Luv4music takes a look at some great, but generally under appreciated, and arguably underrated, tunes in the vast Who catalog. These are the tunes that generally don’t get quite as much air play or recognition as the classics, such as Baba O’Riley and Won’t Get Fooled Again. But they are tracks that are just as good of an example of the band’s sound and style as any track in the group’s discography.  I always say that trying to pick my favorite Who tune is like asking me to pick my favorite child.  I really don’t think it can be done.  But, this list simply reflects one exuberant Who fan’s personal tastes and preferences. Anyway, the tracks have been listed in chronological order (as best as can be) for context and perspective.  I hope you enjoy listening to these great tracks.

1.  Zoot Suit -This was the band’s first single, but it was released under the name The High Numbers.  Although this song wasn’t written by Townshend or Entwistle (it was written by Peter Meaden the band’s first manager), and it is not exactly a ground breaking or innovative track, it’s included because it represents some of the earliest elements of the band’s sound.  I love listening to Pete’s guitar on this track. Notice that Moon’s drumming does not quite display the fury that he would unleash on subsequent records.  Importantly, the song contains a line that would later figure prominently on the “Quadrophenia” album:

“I got a zoot suit jacket with side vents 5 inches long”.

2.  Daddy Rolling Stone.  This bouncy number clearly reflects the band’s dance hall roots.  It has that mod style with a blues, R&B, Motown and rock influence. One of Roger’s better early vocal efforts, recorded at a time he was searching to find his comfort zone and style.  I include the mono mix of the studio version of the record. I also include a great live version from the Ready Steady Go TV program, complete with Keith wearing his iconic target T-Shirt. Enjoy.

3.  Shout And Shimmy – A James Brown cover, this tune also pays tribute to the Motown and R&B influence on the band’s sound and style in the early years.  The song would be a staple in their live sets in 1965-66.  I have included the studio version, as well as a performance on the Ready Steady Go TV program from July 2, 1965, which I find to be superior to the generally better known version from the Richmond Jazz And Blues Festival.

4.  The Good’s Gone – One of my personal favorites off the first album. I will admit up front that I have a soft spot for the tunes where Pete makes significant vocal contributions . Although Roger handles the vocals pretty well on this one, I love the way he is complimented by the few lines that Pete sings.  Plus the sound of Pete playing the highest notes of the Bm7 chord at the beginning of the song immediately hooks this listener.  The extended version of the song is included here.

5.  Instant Party (Circles) – This is quite possibly the song that hooked me as a rapid Who fan.  It’s one of many tunes that Townshend wrote that spoke to me as an adolescent finding his way.  Of course, the song contains more of that Roger/Pete vocal interaction that I enjoy so much. I prefer the original recording produced by Shel Talmy, which I generally refer to simply as Circles (which is how it was intended to be titled).  The song is the first to feature John Entwistle’s horn playing (which would become a fairly regular component of the Who’s sound over the years). On this track he plays the french horn. I also include the alternate version that was self produced by the band and ended up being released on the band’s Ready Steady Who EP (which is the version that I generally refer to as Instant Party).

6.  Whiskey Man– This just might be my favorite Entwistle tune.  It is certainly one of the most underrated songs in the catalog.  Great bass line, nice French horn and some good Entwistle lyrics.  Entwistle said he double tracked his vocals in an effort to mask his inability to correctly pronounce his “R’s” to prevent the lyric from sounding like ‘fwend” instead of friend.  Apparently, the song was inspired by the Chuck Connors western “Ride Beyond Vengence” (known in the U.K. as Night Of The Tiger), in which the character Elwood Coates has an imaginary friend called “Whiskey Man.”

“Whiskey Man’s my friend, he’s with me nearly all the time
He always joins me when I drink, and we get on just fine”

I wish the band had included this one in their live sets.

7.  So Sad About Us – The second album saw each member try to contribute some songwriting, with varying degrees of success. This Townshend number was clearly one of the best of the lot.  Remarkably, this tune reportedly has been covered more frequently than almost any other song in the band’s catalog.   So if it is popular enough to be covered so frequently, why would it be considered overlooked or under appreciated?  Because it’s almost never included on any greatest hits package, it is rarely included in any of the band’s live shows and is almost never mentioned when anyone creates a list of the great Who songs.  I include the studio version, as well as a awesome live version from The Marquee Club in London on March 2, 1967.

8.  A Quick One, While He’s Away – Generally considered among the first thematic or operatic rock songs. Townshend states the song came about when Kit Lambert told him to put 4 songs of 2:50 in length together to form a single song or mini-opera. The performance that was filmed for The Rolling Stones Rock and Roll Circus in 1968 is a tour de force. It was so aggressive and we’ll done, that it is generally accepted that the main reason the Stones shelved the film is that The Who completely upstaged them.  In fact, it was even suggested that the film be released as “The Who’s Rock and Roll Circus featuring the Rolling Stones”.  The scene from the film where Moon plays the side of his Tom drum to make the horse galloping sound is priceless.  Also, Entwistle tells a funny tale about the song, saying they wanted to put cellos on the track but Kit Lambert said the band couldn’t afford it, so they end up singing “cello, cello, cello, cello,” where they thought the cellos should be in the song. I have included both the studio version and the great Rock and Roll Circus version.

9.  In The City – This tune started out as an amazing Keith and John jam.  Pete ended up adding some nice guitar and Pete and Roger added some nice backup vocals to help make this worthy of a closer listen. It was originally released as the B-side to “I’m a Boy” in August 1966.  The song inspired The Jam’s song of the same name, which borrowed its chord progression and a part of its lyrics.

10.  Mary Anne With The Shaky Hand –  The band produced three different versions of this song. Two versions of the song feature Al Kooper on organ.  A third version was recorded without Kooper, which is the one that appears on the album The Who Sell Out.  My favorite version is the one referred to as the U.S. mono single mix, which was included as the B-side of the “I Can See For Miles” single in the States. The US mono mix has the tremolo vocals and a somewhat tinnier (more treble) sound than the album version. This song also has the dubious distinction of being the second of several Who songs about masturbation (Pictures of Lily being the first).  The song has a terrific melody and is another great under appreciated Who tune.

11.  Odorono – This parody of a commercial advertising jingle brings a smile to my face every time I hear it. With lyrics like this, who couldn’t help cracking a smile or chuckling:

“She was happier than she’d ever been
As he praised her for her grace
But his expression changed, she had seen
As he lent to kiss her face

It ended there
He claimed a late appointment
She quickly turned
To hide her disappointment

She ripped her glittering gown
Couldn’t face another show, no
Her deodorant had let her down
She should have used Odorono”

How could anyone not like a song that tells a bittersweet, funny story about underarm perspiration?! The song was unique enough that the American Cancer Society asked Townshend to write an anti-smoking jingle, since they figured it might be an effective way to reach the “now” generation to try to get them to stop smoking cigarettes.  That request resulted in the tune “Little Billy”, which was eventually included on the Odds and Sods album.  I include the studio version of Odorono here.  I also include the live version of Little Billy from the Fillmore East, New York, NY on April 6, 1968, since it contains Townshend’s story about Odorono and how it led to the writing of Little Billy.

12.  Tattoo – Another gem from The Who Sell Out and the perfect song to follow Odorono.  A simple but effective metaphor for young men’s insecurity about their manhood. Townshend wrote Tattoo at a time when he decided to start writing story–songs, cameos and essays on the human experience. The song was generally paired with Fortune Teller in the early days, and it was a welcomed treat when they broke it out at Shea Stadium on the 1982 tour after a lengthy hiatus. It is one of Townshend’s favorite songs, and it is one of my favorites too. In addition to the album version, I also include the Fortune Teller>Tattoo medley from the Live at Hull show recorded in 1970 (with great drum and guitar work by Moon and Townshend respectively).

13.  Our Love Was – I have a special place in my heart for The Who Sell Out.  It must be the fascination with the hippie generation that I have had all these years. The Who Sell Out has that classic 60s production that just can’t be replicated.  All I can really say about this one is that I just like this tune and the way it sounds. That’s my entire statement on this one. Oh, and Pete handles the vocals. The slightly different UK mono version is also included which features a “slide” guitar solo that was originally recorded as an alternate for the BBC.

14.  I Can’t Reach You – Another Pete lead vocal tune that just resonated with me as an adolescent. It was one of the first songs Pete wrote on the piano. Pete has stated that he likes the chords he used in this song and he indicated that he used them in a number of other compositions, such as “Pure and Easy”, which has similar chord shapes. This song was originally called “See, Feel, Hear You” and was written right around the time Pete was discovering Meher Baba and his teachings. A wonderful song with that classic 60s sound I love.

15.  Sunrise – Another contender for the most underrated Who tune. It was the last song recorded for The Who Sell Out.  I have always felt that Pete may be at his absolute strongest and finest as an acoustic guitar player, and on this one his guitar work is just beautiful.  It sounds like it has some of that Barney Kessel sound, which was such an influence on Pete.  Apparently, Townshend claims he got the chords for the song from Mickey Bakers’ Jazz Guitar tutor book.  This song is essentially a Pete solo track.  It has great lyrics and excellent lead vocals by Townshend. Overall, I considered it to be a first ballot inductee into the underrated Who song Hall of Fame.  In addition to the album version, I have also included a beautiful live version by Pete with Rachel Fuller.

16.  Jaguar – One of the rejected tracks from The Who Sell Out, it was likely cut from the final release of the album at the last minute and most likely replaced by “Sunrise”.  This tune has such a catchy baseline and such lovely ethereal vocals at the beginning, that it had to be included here. One of the better parody advertising tunes from The Who Sell Out sessions, it has such cool lyrics such as:

“The radio blasting, the girls are glancing, the dash is dancing with gleaming dials, Grace, space, race Grace, space, race Jaguar, Jaguar Jaguar, Jaguars.”

Some sources claim Keith Moon is on the lead vocals, but it’s pretty clear to me that it’s John Entwistle. Pete joins in the chorus as well.

17.  Faith In Something Bigger – Roger does a nice job with the vocals on this one.  Pete and John add some pleasant backing vocals and Keith (as usual) drives this one along. Pete told the New Musical Express in 1968 that he wanted The Who to “preach” on their new album, and this song was one of the results of that desire. Thankfully, the urge to preach passed fairly quickly.  I just like the overall sound of the tune.  It was recorded in January 1968, during the period after The Who Sell Out and before Tommy, when Townshend said The Who went “slightly mad” (with the song “Dogs” perhaps being the prime example of that).

18.  Dogs – This one is Pete’s campy little ode to greyhound dog racing. It’s a fun song that really doesn’t quite sound like it was best suited for The Who.  Entwistle felt that it probably should have been given to another band, like the Small Faces. I do like it for its charming, campy style, as well as the mumbling dialogue at the end, including Pete exclaiming “lovely buttocks” in reference to the dog’s backside!

https://www.youtube.com/watch?v=qkEpopoiqtw&app=desktop#

19.  Dogs, Pt. 2 – Despite having a title that might indicate that it is related to the original “Dogs” track, the tune has no musical connection to that song.  Dog, Pt. 2 is an instrumental credited to Keith Moon.  It is absolutely worth listening to simply for Moon’s manically drumming, Pete and John’s rocking accompaniment and Moon’s dog barks.

20.  Sparks –  An absolutely great instrumental from Tommy, it has such a classic riff.  It was often performed live by the band, and I lucky enough to see it several times in concert.  It was always one of the highlights of the bands live shows in my opinion.  I include the studio version and an incredible live version from The Summit in Houston, TX on November 20, 1975.

https://www.youtube.com/watch?v=BtXcbrzVQEQ&feature=youtu.be

21.  Go To The Mirror! – This tune from Tommy is included on the list of The Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll.  It’s a key song in the Tommy rock opera plot. The song invokes two recurring themes of the album, “See Me, Feel Me”, and “Listening to You”.  While it may not be as well known as a song like Pinball Wizard from the Tommy album, it certainly is worth a closer listen.

22.  Smash The Mirror – Although this song is rather short (it clocks in at 1:36), it has some nice bluesy guitar work and some excellent Daltrey vocals to propel it along.  I almost included Sensation instead (those damn Townshend lead vocal songs), but ultimately I felt this one is the better choice.

23.  Naked Eye – OK, if someone put a gun to my head and said name your favorite Who tune, after much deliberation (and sweating) I would probably have to say Naked Eye.  I guess the great lyrics, the wonderful shared vocals by Roger and Pete, plus the great riffs just overwhelm me. Pete claims he wrote it as a sincere request for people to look a little deeper into things. One can hear the genesis of the song toward the end of the Who’s set at Woodstock in August 1969. I love the tease of the tune in the extended jam of My Generation on the Live At Leeds album.  The studio version was eventually completed in the spring of 1971 during sessions for Who’s Next and was ultimately released on Odds and Sods. I never understood why it wasn’t included on Who’s Next (although they did add it to the deluxe edition of Who’s Next in 1995). Included here are the album version and a live version from the Summit in Houston, TX on November 20, 1975.  I also include a version from the The Spectrum in Philadelphia, PA on December 4, 1973. The band plays an incredibly long version with some extended jamming for the encore of this concert portions of which ended up being broadcast on the King Biscuit Flower Hour radio program.  Finally, I have added a jam from the Guthrie Theater in Minneapolis, MN on June 8, 1969, in which one can hear the early beginnings of the band working out the chord sequences that would eventually become Naked Eye (similar to Woodstock and in the My Generation jam on Live at Leeds).

https://www.youtube.com/watch?v=UVlrNFCUfQI

24.  I Don’t Even Know Myself – I guess my Buddhist leanings draw me to this one, especially with lyrics like:

“There’s nothing in the way I walk that could tell you where I’m going
There’s nothing in the words I speak that can betray anything I’m knowing
Don’t think about the way I dress, you can fit me on a labeled shelf
Don’t pretend that you know me ’cause I don’t even know myself …”

I love the dichotomy between the hard rock and the country elements. I also enjoy the added bonus of picturing Keith playing the side of his tom just like he did on A Quick One in the Rock N Roll Circus film. Written after Tommy was completed, and around the beginning of what would become the Lifehouse project (Pete’s original demo was released on his 1999 solo album Lifehouse Chronicles, so it seems apparent that it was ultimately intended to be a part of that project), it was often included in the bands live sets in 1970-71.  I include the studio version and the high octane, Keith Moon fueled live version from the Isle of Wight concert on August 29, 1970.

25.  Song Is Over – The last song on side one of the album (or track 5 on digital media), it was originally intended to be final song of the Lifehouse project.  It has wonderful lead vocals by both Pete Townshend and Roger Daltrey, which I love so much on Who records.  Nicky Hopkins also adds some nice piano work to the tune.  The song signals both an end and a beginning in the Lifehouse story:

“The song is over, It’s all behind me . . . “, and “I sing my songs to the wide open spaces…”

It’s a diacotomy that is in fact “in tune” with the eastern philosophy that Pete had come to embrace by the time he was working on Lifehouse.  As the song ends, it contains refrains from “Pure and Easy”, in essence closing the circle on the story which began with ‘The Note” (which was the working title for Pure and Easy).  Once again, I find myself drawn to one of the band’s quieter numbers (relatively speaking).  The song’s lament for love lost is emotional and touching, while it’s sense of hope going forward is reassuring.  A beautiful song, well worth a closer listen.  I have included the studio version, as well as Pete’s demo of the song.

26.  Gettin’ In Tune –  Trying to pick an underrated tune off one of the greatest albums ever made (especially when there are only 9 tracks) is a bit problematic. But I think this track may qualify as the most underrated.  This lesser celebrated tune is arguably one of the finest in the catalog.  I absolutely love this one. The song deftly incorporates a theme of the power of music, both socially and spiritually, which speaks to me.  The song has especially good keyboard work from Nicky Hopkins, excellent bass lines by Entwistle and strong vocals from Roger, accentuated by Pete’s wonderful backing vocals.  The duet between Daltrey and Townshend where they exchange the line:

“Getting in tune to the straight and narrow…”

is just hauntingly beautiful.  And Moonie’s drums just bring the tune home at the end.  An absolutely brilliant, dynamic track in my estimation. Included is the stripped down version recorded live at the Young Vic theatre April 26, 1971 for the Lifehouse project, and the superior Glyn Johns produced Who’s Next version.

27.  Too Much Of Anything – Another song to come out of the Lifehouse sessions (all of the Lifehouse tunes are really just incredible), it was originally titled “Bit Too Much”.  The band could have easily done a double album for Who’s Next given the number of strong tunes Pete wrote for the Lifehouse project. This is another of my favorites from those sessions.  The song’s theme about temperance in all things and the insidious horror of excess, resonates with me.  Just some great vocal work by Roger, as he again brings Pete’s lyrics to a higher level. Nicky Hopkins adds solid piano to the track, with Pete’s electric and acoustic guitar work providing a perfect accompaniment.  A tender, yet powerful song (thanks in large part to Daltrey’s vocals).  Included are the Odds and Sods version and Pete’s wonderful demo version.

28.  Time Is Passing – The “Lifehouse” project was just a monumentally creative period for Townshend. It produced a large amount of high quality tunes (as noted several times in this piece).  Daltrey once remarked that although he had very little idea what Townshend was trying to accomplish with Lifehouse, what he did know was that the songs Pete wrote for the project were perhaps the finest he produced in his career. I actually like Pete’s demo version very much, which was spruced up a bit and released on “Who Came First” (which is included below). But The Who’s version is quite nice and is more than worth its inclusion here.

29.  Relay –   Basically the last “single only” recording that The Who would release.  A rocking number that was originally written for the Lifehouse project (yet more proof of how great that project was for the band’s catalog). The song has some really strong lyrics:

“Someone disapproves of what you say and do,
I was asked to see what I could really learn you,
Don’t believe your eyes, they’re telling only lies,
What is done in the first place don’t concern you”

Roger again moves the song along with his strong vocals (as he would do on many of the Lifehouse session tracks). Although he found his style and confidence on the Tommy album, he honed and perfected his craft during the Lifehouse sessions. I include the version used on The Old Grey Whistle Test, where the band is lip-syncing (at times not to well) to the single.  I also include a powerful live version from Copenhagen in 1972.

30.  Put The Money Down – Another great Lifehouse tune. Pete referred to the song as having terrific sound and being beautifully recorded, and I have to agree with him. Roger’s vocals are top notch and totally drive the tune, aided by some great guitar work by Townshend. Recorded in June 1972, the tune remained unfinished until 1974 when Roger finally finished the vocals so it could be included on the original “Odds & Sods” album. In fact, according to John Entwistle, at the time he was completing work on Odds & Sods, the tune only had a guide vocal and it was holding up the release of the album. He couldn’t get Daltrey down to the studio to record a new vocal, so he sent him a message asking if it’d be all right if he did the vocal. Entwistle said almost immediately Daltrey replied that it was O.K. as long as he could overdub the bass parts! The next morning Roger was in the studio. Thankfully, Roger followed through, because he does such a masterful job on the song. I could listen to him growl “in a tin cup” all day long.  I also include Pete’s Lifehouse demo just to illustrate the point of how much Roger’s strong vocal effort really lifts this song.

31.  Quadrophenia – The incredible instrumental which acts as the overture to the second (and in my opinion, far better) rock opera composed by Townshend. For my money, you would be hard pressed to convince me there are many better sounding guitar licks to a song’s start than the ones played by Pete on this track. This song completely encapsulates the feel of the underlying theme one of the greatest albums ever made. My recommendation is to play this one loudly.

32.  Cut My Hair – A wonderful song about the adolescent struggle of fitting in with a group and realizing the relative futility in trying doing so. This song quotes multiple Who songs, including “I Can’t Explain,” “Out in the Street,” and  “Zoot Suit” (the High Numbers song), especially the line:

“zoot suit white jacket with side vents 5 inches long”

The lyrics transcend the mod story and its particular time period and are really a classic summation of the struggles of adolescence in general:

“Why do I have to be different to them?
Just to earn the respect of a dance hall friend,
We have the same old row, again and again.
Why do I have to move with a crowd
Of kids that hardly notice I’m around,
I have to work myself to death just to fit in.”

It’s a great, underrated tune on a magnificent masterpiece of an album.

33.  I’m One – The song features an acoustic opening by Pete.  Another song with timeless lyrics describing adolescents trying to find their way in the world.  One of the timeless introspective lyrics:

“Ill fitting clothes, I blend in the crowd,
Fingers so clumsy, Voice too loud. But I’m one”

Townshend said that he was a loser in high school and he wrote this song with that in mind.  But I see the character as not necessarily a loser, but rather an average adolescent male trying to make sense of himself and the world around him, and struggling with his insecurities in doing so. Jimmy (the main character in the story) might be thinking he hasn’t got much going for him, but at least he’s one. “I’m One” (and frankly the rest of the Quadrophenia album) does a masterful job of translating that feeling of “struggling to come of age”. I include the studio version and Pete’s demo.

34.  I’ve Had Enough -The closing tune of the first half of the opera (the last track of CD 1 or side 2 of the vinyl), completely driven by Moon’s great, intense drumming.  One of Roger’s best vocal efforts on the record and some sweet Pete vocals (god I’m a sucker for those).  Townshend summed up the tune by saying a lot happens around this song in the story (most of it in the cover story included in the album). Jimmy basically loses it when he sees a girl he likes with a friend of his and in a desperately self-pitiful state, smashes up his prize scooter and decides to go to Brighton where he had such a good time with his friends.  It really should be more of a household name among great Who songs, but surprisingly it is not.  Anyway, did I say Quadrophenia is a masterpiece?  Well it is.

35.  Sea and Sand – Two words: Great song.  This track portrays the opera’s  protagonist’s affinity for the beach as an escape from the unpleasant realities of home and life. The song is almost a mini-opera unto itself. The line “Here by the sea and sand, Nothing ever goes as planned” may be among the most revered lyrics in the bands repertoire. I personally think it’s the most underrated tune on the album.  It is arguably the most important song in the entire opera from a lyrical perspective, with great lines like this:

“I just couldn’t face going home
It was just a drag on my own.
They finally threw me out
My mother got drunk on stout,
My dad couldn’t stand on two feet,
As he lectured about morality.
Now I guess the families complete,
With me hanging round on the street
Or here on the beach”

“I’m wet and I’m cold
But thank God I ain’t old
I should have split home at fifteen
Why didn’t I ever say what I mean?
There’s a story that the grass is so green,
What did I see?
Where have I been?
Nothing is planned, by the sea and the sand”

Just a magnificent tune!

36.  Bell Boy (Keith’s Theme) – Although Roger handles the primary vocals on this tune, the track also features celebrated vocals by Keith Moon (some of which are spoken with an exaggerated Cockney accent and some of which are sung in his natural voice).  The song serves to reinforce the theme of disillusionment which is prominent throughout the album.  The songs is a sonic tour de force with Moon’s pounding drums driving the song along.  Roger and Keith provide brilliant treatment to the fine lyrics:

“The beach is a place where a man can feel
He’s the only soul in the world that’s real . . .”

“Ain’t you the guy who used to set the paces
Riding up in front of a hundred faces,
I don’t suppose you would remember me,
But I used to follow you back in ’63”

“Some nights I still sleep on the beach.
Remember when stars were in reach . . .”

“People often change
But when I look in your eyes,
You could learn a lot from
A job like mine.
The secret to me
Isn’t flown like a flag
I carry it behind
This little badge
What says …  Bell Boy!”

The band performed song during their 1973 and 1974 tours. It became a fan favorite largely due to Moon being given a spotlight to sing.  Fans continued to request the song after the band dropped it from its live shows in 1975 up until Moon’s untimely death in 1978.  More recently, it has been performed by the band using archival video footage of Keith Moon.  The studio version is included here, together with a great live version from The Valley Stadium, Charlton, London, England on May 18, 1974 (with a what appears to be a somewhat intoxicated Pete Townshend).

37.  The Rock – Like it’s first half instrumental counterpart song “Quadrophenia”, “The Rock” provides an “underture” type function in the opera.  It essentially sums up all that went before in the story, before we are treated to the brilliant finish in “Love Reign O’er Me”.  Pete Townshend said this song is intended to invoke the setting of Jimmy getting in a boat, going out to sea and sitting on a rock waiting for the waves to knock him off, which prompts Jimmy reflect on himself.  It results in Jimmy ending up with the sum total of frustrated toughness, romanticism, daredevil and desperation (4 parts of his personality).  Moon does a particularly masterful job on this one. In addition to the album track, I also include a wonderful orchestral version of the song (not performed by the Who) that really gives one the sense of the power of the song.  If you only have 6 minutes and 49 seconds to listen to a track from Quadrophenia, listen to this one for the “Reader’s Digest version” of the rock masterpiece.

38.  Slip Kid –   This song was also intended to be included in the Lifehouse project (that absolute treasure trove of great songs).   The song was resurrected to be used on The Who By Numbers album, since Townshend was suffering from writer’s block at this time.  This was due largely to his disillusionment with the music industry as he began to age (he was turning 30), as well as a bit of a loss of confidence as a result of the self perceived failure of Lifehouse (despite yielding the Who’s Next album in the process) and also the relative lack of critical and commercial success for Quadrophenia (at least less than he expected or it received).  The song has a brilliant opening, with pounding percussion, following by shouts of:

“one, two, three, four, five, six, seven, eight . . .”

followed by Pete Townshend’s power chord guitar joining the party.  The song features Townshend and Daltrey alternating vocal lines, so it should come as no surprise that I would choose to include it on the list.

The authority figure wisdom comes through in the lyrics:

“Slip kid, slip kid, slip out of trouble
Slip over here and set me free
Slip kid, slip kid, second generation
You’re slidin’ down the hill like me
No easy way to be free”

The song is a rather simple, yet powerful and forceful rocker, that reflects a classical Who song structure, style and sound.   Despite those qualities, it has not been played live very often, which is a bit of a surprise.    I have included The Who By Numbers version, as well as Pete’s demo.

39.  How Ever Much I Booze – I could probably put the entire Who By Numbers album on this list, since I think it is so underrated.  But I can’t and I won’t. But this song is a personal favorite of mine.  Pete handles the lead vocals on this one, which again is a big plus for me.  But it is worth noting that Daltrey refused to sing the song, possibly because the song was either too personal (to Townshend) or he wanted to make sure that people understood that it was Townshend that had the drinking problem and not him. Anyway, the lyrics are fantastic. Pete’s Demo, titled “No Way Out”, contains the following verse, which was not included on the version released on The Who By Numbers:

“I walk into a club, and know one seems to know me
I have to tell the story of my life, to keep from being thrown out there and then
It all seems so futile can I live with some shy stud who disowned me
Can’t face the fact that once you open up for real you become ambivalent
They both let you in, there ain’t no way out
There ain’t no way out
I don’t care what you say boy, there ain’t no way out
Take it from me.”

Pete’s guitar work on the song is exemplary.  The tune also has one of my favorite lines in any Who song:

“You at home can easily decide what’s right, By glancing very briefly at the songs I write”.

I include the album version,  as well as Pete’s demo “No Way Out” and a great live version of the song from the Summit in Houston, TX November 20, 1975.

https://www.youtube.com/watch?v=1ujRk7UgVDU

40.  Dreaming From The Waist – As someone who is getting on in years, I find it easy to identify with this song.  The tune deals with the restlessness associated with getting older.  Townshend once stated that it was one of his least favorite songs to play onstage, referring to it as a “fresh turd” at the end of the song when the band played it at Kilburn in December 1977.  In contrast, Entwistle claimed that it was one of his favorite songs to perform. It’s easy to see why Entwistle would say that, as the song contains one of Entwistle’s finest bass lines in all of the catalog (check out the exceptional live excerpt from Kilburn that I included here for proof). In addition to Entwistle’s great bass work, I love the Pete’s guitar licks, the fantastic Moon drumming and excellent lyrics like this one:

“I know the girls that I pass, they just ain’t impressed
I’m too old to give up, but too young to rest”

Definitely one of the highlights of The Who By Numbers album and one of the finer tunes in the entire catalog in my opinion.  I include the studio version and a live excerpt of the song featuring Entwistle’s bass solo supreme from Vetch Field, Swansea, Wales on June 12, 1976.

41.  They Are All In Love – Just an incredibly beautiful song. Strangely, it was originally titled “She Loves Everyone”. Pete once said that the song was about what the band had become. That it was about money, about law courts, about lawyers and accountants. The band had a backlog of tax problems and unpaid royalties that they had to deal with and that as a result, he felt like crawling off and dying. The song does includes another one of my favorite Pete lyrics:

“Just tell me right now where do you fit in, with mud in your eye and a passion for gin.”

Sometimes the softer tunes can be among the most powerful.

42.  How Many Friends – Where do I start?  If ever there was a Buddhist anthem for me to identify with, this song is it.  I really relate to the refrain:

“How many friends do I really have, that love me, that want me, that’ll take me as I am”.

This song touches me deeply.  It apparently touched Keith deeply too, since Moon once said this was his favorite song on the album and he apparently cried when Pete played it for him. It’s right there with Naked Eye as one of my all time favorite Who songs.

43.  New Song – I am always amazed at how many people think that Who Are You is one of the band’s weaker albums. I couldn’t disagree more. I think it’s a great album. And this opening  track is simply a classic. It reaffirms Pete’s confidence after the self doubt that haunted him over the previous few years.  Lines like:

“But there’s a danger that I’ll plagiarize something old”

“My hairline ain’t exactly superstar”

“I write the same old song you heard a good few times, admit you really want to hear it” and

“We drink the same old wine from a brand new jar, we get hung over, but we always survive it”

are purposely mocking and yet brutally true. Pete once stated that it’s a great sounding cut, but it’s a pity that it is full of such cynical sentiment. He also said that “New Song” was the first song he ever wrote on a polyphonic synthesizer. I suspect the synthesizers trouble a lot of fans, but I think it’s unfounded criticism. I think it’s a great, driving tune to open the album.

44.  Music Must Change – I think this somewhat “faux” jazz/blues tune is really quite good.  Although the lyrics are a bit cliché, the horns add a really nice touch to the song.  I also enjoy the Barney Kessel influenced guitar licks. During Moon’s failed attempts to tackle this tune’s 6/8 time signature, the drummer complained “I know this is shit, but even though it’s shit I am still the best…the best Keith Moon-type drummer in the world!” And he was of course.  Pete stated that hearing Roger trying to sing like Mose Allison after all the years the band was together was a real treat.  Interestingly, the demo of the song was added to the Lifehouse Chronicles project that Pete released in 1999. So, kick back, relax and enjoy this one.  As an added bonus, I include a high energy version from Chicago, IL performed on December 8, 1979.

https://youtu.be/NKULqk0SccY?si=M9gD9wO-vn1ILjqG

45.  Love Is Coming Down – This is another of the underrated tunes that really deserves a closer listen.  The tune has strong lyrics, which Roger sings like a man possessed. Just a great effort by the band, which almost goes unnoticed on the album, probably because it’s one of the Who’s more subtle, tender numbers. Pete stated that he really loved the results they achieved when they employed the string orchestra on this track. I agree wholeheartedly. Pete also said that this track was not to every Who fan’s taste. He is right, but then again not every Who song has to sound like “a musical Mac truck”.  Pete noted that the song was intended to be about the inevitability of triumph in the spiritual life. But sadly, when he was writing it, he indicated that he sensed the end coming for the band, both as for him as its creative engine and for Keith as its physical heartbeat. Anyway, for my money I think it’s a great song.

It has some great lyrics, such as:

“surrounded by people, a real heavy crowd, but inside I still feel lonely now…”

“I’m not a loser, But did I really win?
Can I afford to go through it all again?”I hope I don’t sound as immature as I feel, But when I get wise, I’ll give you a call, my friend”

I include the studio version and Pete’s heart felt demo as well.

46. Don’t Let Go The Coat – I think the primary appeal of this song is Pete’s guitar work.  He offers a slightly country, slightly Spanish-style guitar sound on the track.  The lyrics appear to have a zen influence from Meher Baba, as well as a reference to Pete’s transgressions.  Meher Baba told his disciples to “hang fast to the hem of my robe,” where the robe is a metaphor for his teachings. The song touches on themes of spiritual torment, fear of abandonment and the need to keep faith.  Upon reflection, the one thing that probably holds this song back is Roger’s vocals.  The lyrics just aren’t suited to Roger’s style, and the song probably would have been better if Townshend had handled the lead vocals himself. The song was basically played at every show during the band’s 1981 tour.  I include the studio version and the live version from Essen, West Germany (Germany was still divided into East and West at that time) from March 28, 1981.

47.  How Can You Do It Alone – This one is included for the great Entwistle bass lines (it certainly isn’t included for the lyrics).  I also include two live versions, one from Chicago, IL on December 8, 1979, and the other from St. Austell from January 1981. The Chicago version is well before the album came out and is radically different from the studio version. The St. Austell version is also different and unique from either of the other two included versions, with Townshend handling the lead vocals rather than Daltrey.

48.  Another Tricky Day – There was some initial hesitation to include this one, since it does receive a decent amount of radio play (perhaps among the most of all the tracks on this list). In fact, the editors of Rolling Stone Magazine rated “Another Tricky Day” as the Who’s 48th all time greatest song in 2015. But even being the best tune on their weakest album, it still isn’t a track that one would immediately place at the top of the list when rattling off the great Who tunes.  But, the ringing guitar, Daltrey’s fine vocal work and the “this is no social crisis” refrain push this one comfortably onto the list.  I include the studio version that was made into a video by the band, as well as the hyper-speed version taken from the Rockpalast show in Essen, West Germany on March 28, 1981.

49.  I’ve Known No War – The “It’s Hard” album is a relatively weak effort by the band. Everyone knows “Eminence Front”, the best post-Moon song the band would record.  But after that it is a pretty mixed bag. As Kenney Jones once reportedly stated, the reason that “Face Dances” and “It’s Hard” were relatively weak albums is because Townshend opted to keep all of the good songs for “Empty Glass” and “All The Best Cowboys Have Chinese Eyes”.  Townshend stated that he felt this song was possibly one of the best tracks The Who ever recorded. I will have to disagree with his hyperbole, but the song does have that classic who sound and style.  It certainly owes a nod to “Join Together”.  The song reflects Pete’s personal thoughts on the Cold War.  I do like the reference to Pete’s birthday in the song:

“On the nineteenth day of a spring day in May, Albert Speer was deleted”

It didn’t become an anthem for a generation as at least one critic predicted, and it never even garnered much interest in the band’s catalog, but it’s a solid track and worthy of inclusion on this list. The studio version is included here.

50.  Cry If You Want – Another post-Moon track that has that classic Who sound and style.  Roger is apparently quite fond of the song, as he pushed for its inclusion in the band’s live shows in 2006.  Although it was included on the 2006 tour for a few shows before being dropped, the band later often incorporated it into the “My Generation” jams, but in a jazzier, truncated version.  In addition to the studio version, I include a version contained in a great My Generation jam taken from Chicago, Illinois on September 25, 2006.

So, there you have it!  50 (or more) great Who songs that deserve a closer listen as the band celebrates 50 years. Happy listening and enjoy!