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Similar in tone and temperament to the tracks on, Quadrophenia, Daltry’s vocals are strong and direct during the upbeat verses with a mellower call and response during the choruses. Perhaps the peak level of the album comes with, “Dreaming from the Waist”, where Moon’s talent is finally unleashed at a top level of animation. The song was originally written for a proposed television appearance which didn’t materialize, but it did reach the Top 20 in the US and the Top 10 in the UK. “Squeeze Box” is the most popular track on The Who By Numbers as an upbeat and fun number with plenty of ethnic instrumentation including acoustic guitar, mandolin, and banjo lead, but no real “squeeze box” accordion except possibly during the sweet refrain section. Townshend takes lead vocals above an arrangement which is reflective of a traditional Who track in dynamics and theatrical vibe. “However Much I Booze” features a bright acoustic, with bouncy bass and steady drums throughout the pleasant verses. Townshend provides crisp riffing throughout and a soaring guitar lead in the middle, with a post-lead interplay section between his pedal-effected guitars and the piano tickling of guest Nicky Hopkins. “Slip Kid” opens with and is built on a steady percussion which persists throughout without much further affirmative animation by drummer Keith Moon. Pete Townshend – Guitars, Keyboards, Ukulele, Banjo, Accordion, Vocals Recorded: Shepperton Studios, Middlesex, England, April–June 1975 Produced by: Chris Charlesworth, Bill Curbishley, Glyn Johns, & Robert Rosenberg
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The apathy of this project went so far that no one really cared about packaging, so bassist John Entwistle submitted the hand-drawn artwork which became the album’s cover. Produced by Glyn Johns, the sessions for the album were reportedly long and uninspired, only saved by the group’s stellar performances even when at their worst. Townshend admits that, The Who By Numbers, was very difficult to compose and record as he suffered from writer’s block and a bout of depression as his 30th birthday approached. Still, the band regrouped and recorded the fine 1973 double album, Quadrophenia, and spent much of 1974 working on the major motion picture version of Tommy, which earned Townshend an Oscar nomination for its score. In May 1972, the group started and abandoned another proposed album called, Long Live Rock, causing tensions between Townshend and lead vocalist Roger Daltrey. Instead, Who’s Next featured the best songs composed for Lifehouse and became its own classic album.
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THE WHO BY NUMBERS SERIES
He conceived of the multi-media project, Lifehouse, and even booked a series of experimental concerts, but couldn’t convince his band mates of the merits of this project.
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Townshend was actually embarrassed by his wealth and felt an immediate pressure to make an even more impressive follow-up. Conversely, the rest of the album contains songs previewing the solo work of guitarist Pete Townshend, who would become an ever dominant force in the group.įollowing the success of 1969’s rock opera album, Tommy, the members of The Who were able to live comfortably for the first time. The album contains some leftover tracks from early 1970s aborted projects, Lifehouse and Long Live Rock, along with a few other tracks which remain faithful to the group’s classic rock sound. With both the successes and failures of conceptual rock operas behind them, The Who made a transitional record with 1975’s The Who By Numbers.