{"id":62038,"date":"2024-09-16T12:59:51","date_gmt":"2024-09-16T17:59:51","guid":{"rendered":"https:\/\/producelikeapro.com\/blog\/?p=62038"},"modified":"2024-09-16T13:00:38","modified_gmt":"2024-09-16T18:00:38","slug":"from-science-fiction-fantasy-to-rock-legend-the-story-behind-the-whos-whos-next","status":"publish","type":"post","link":"https:\/\/producelikeapro.com\/blog\/from-science-fiction-fantasy-to-rock-legend-the-story-behind-the-whos-whos-next\/","title":{"rendered":"From Science Fiction Fantasy to Rock Legend: The Story Behind The Who\u2019s Who\u2019s Next"},"content":{"rendered":"<div class=\"produ-leaderboard-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;margin-bottom: 30px!important;\" id=\"produ-4113705637\"><script async=\"async\" src=\"https:\/\/securepubads.g.doubleclick.net\/tag\/js\/gpt.js\"><\/script>\n<script> var googletag = googletag || {}; googletag.cmd = googletag.cmd || [];<\/script>\n<div id=\"gpt-ad-2978277950477-0\">\n  <script>\n\tgoogletag.cmd.push(function() {\n\t\t\t\tgoogletag.defineSlot( '\/21927241144\/728x90-Leaderboard', [728,90], 'gpt-ad-2978277950477-0' )\n\t\t.addService(googletag.pubads());\n\t\t\t\twindow.advadsGamEmptySlotsTimers = window.advadsGamEmptySlotsTimers || {};\n\t\tconst timers                     = window.advadsGamEmptySlotsTimers;\n\n\t\ttimers['gpt-ad-2978277950477-0'] = setTimeout( function () {\n\t\t\tconst id = 'gpt-ad-2978277950477-0';\n\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\tdelete ( timers[id] );\n\t\t}, 1000 );\n\n\t\tif ( typeof window.advadsGamHasEmptySlotListener === 'undefined' ) {\n\t\t\tgoogletag.pubads().addEventListener( 'slotRequested', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] === 'undefined' ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\ttimers[id] = setTimeout( function () {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}, 2500 );\n\t\t\t} );\n\t\t\tgoogletag.pubads().addEventListener( 'slotResponseReceived', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] !== 'undefined' ) {\n\t\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}\n\t\t\t\tif ( ! ev.slot.getResponseInformation() ) {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t}\n\t\t\t} );\n\t\t\twindow.advadsGamHasEmptySlotListener = true;\n\t\t}\n\n\t\tgoogletag.enableServices();\n\t\tgoogletag.display( 'gpt-ad-2978277950477-0' );\n\t} );\n  <\/script>\n<\/div>\n<\/div><div class=\"flex-video widescreen youtube\">\n<div class=\"container-lazyload preview-lazyload container-youtube js-lazyload--not-loaded\"><a href=\"https:\/\/www.youtube.com\/watch?v=cZ-BM2b6cWg\" class=\"lazy-load-youtube preview-lazyload preview-youtube\" data-video-title=\"The Who - Who&#039;s Next: Albums That Changed Music\" title=\"Play video &quot;The Who - Who&#039;s Next: Albums That Changed Music&quot;\">https:\/\/www.youtube.com\/watch?v=cZ-BM2b6cWg<\/a><noscript>Video can&#8217;t be loaded because JavaScript is disabled: <a href=\"https:\/\/www.youtube.com\/watch?v=cZ-BM2b6cWg\" title=\"The Who - Who&#039;s Next: Albums That Changed Music\">The Who &#8211; Who&#039;s Next: Albums That Changed Music (https:\/\/www.youtube.com\/watch?v=cZ-BM2b6cWg)<\/a><\/noscript><\/div>\n<\/div>\n<p><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">In the wake of their groundbreaking rock opera, <\/span><i><span style=\"font-weight: 400;\">Tommy<\/span><\/i><span style=\"font-weight: 400;\">, Pete Townshend and the Who spent most of 1970 teasing their next project to the press &#8211; the ill fated <\/span><i><span style=\"font-weight: 400;\">Lifehouse.\u00a0 <\/span><\/i><i><span style=\"font-weight: 400;\"><br \/>\n<\/span><\/i><span style=\"font-weight: 400;\">The project was a massive undertaking that intended to bring together music, film and live performance through a post-apocalyptic science fiction narrative.\u00a0 The band spent months demoing, performing, recording and re-recording songs intended for <\/span><i><span style=\"font-weight: 400;\">Lifehouse. <\/span><\/i><span style=\"font-weight: 400;\">But by the spring of 1971, the film project had been abandoned and the remnants were repurposed as the band\u2019s 5th studio album, <\/span><i><span style=\"font-weight: 400;\">Who\u2019s Next. <\/span><\/i><span style=\"font-weight: 400;\">Coming out of the ashes of the <\/span><i><span style=\"font-weight: 400;\">Lifehouse<\/span><\/i><span style=\"font-weight: 400;\"> project, the album<\/span> <span style=\"font-weight: 400;\">received immediate popular and critical acclaim.<\/span> <span style=\"font-weight: 400;\">With a powerhouse collection of innovative songs and sounds, <\/span><i><span style=\"font-weight: 400;\">Who\u2019s Next, <\/span><\/i><span style=\"font-weight: 400;\">is now largely regarded as one of rock history\u2019s greatest albums.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The Who were formed in the early sixties in London but three of its members had actually grown up together in the fifties. Roger Daltry, John Entwistle and Peter Townshend had all attended Acton County Grammar School together. Entwistle and Townshend had played together as early as 1959, in a Trad-Jazz group called the Confederates.\u00a0 Although he had moved to a new neighborhood by the early sixties, Daltry ran into Entwistle unexpectedly one day, and invited him to play with his band the Detours. The pair brought in Townshend soon after. By 1964, they had recruited Keith Moon on drums and were playing under the name The Who.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-62040 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500.jpg\" alt=\"\" width=\"500\" height=\"500\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500.jpg 500w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-300x300.jpg 300w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-150x150.jpg 150w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-75x75.jpg 75w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-270x270.jpg 270w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-225x225.jpg 225w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-170x170.jpg 170w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-320x320.jpg 320w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-40x40.jpg 40w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-18x18.jpg 18w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-160x160.jpg 160w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-16x16.jpg 16w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-14x14.jpg 14w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-340x340.jpg 340w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-10x10.jpg 10w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-20x20.jpg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-9x9.jpg 9w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-385x385.jpg 385w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/artworks-000035144791-w3atlp-t500x500-100x100.jpg 100w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/span><\/p>\n<p><span style=\"font-weight: 400;\">The Who\u2019s rise to popularity came through London\u2019s Mod scene, which embraced their high-energy and wild stage shows.\u00a0 Their first single \u201cI Can\u2019t Explain\u201d hit the UK Top 10 in 1964, and was followed by several more hit singles which reached the top 5 in the UK \u2013\u00a0 \u201cMy Generation,\u201d \u201cSubstitute\u201d and \u201cHappy Jack.\u201d\u00a0 While the band did not have a huge presence in the US at this time they did start to get a little bit of traction on the American charts with these singles.\u00a0 In 1967, their single \u201cI Can See for Miles\u201d actually hit the top 10 in the US.\u00a0 <\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">While The Who had established themselves as a major rock act in the UK (with some US popularity) by the late sixties, it was really their 1969 concept-album, <\/span><i><span style=\"font-weight: 400;\">Tommy<\/span><\/i><span style=\"font-weight: 400;\">, which catapulted them into international stardom. In a time when much of rock music aimed to be unique and progressive in some way, The Who became leaders of this sort of artistic, forward-looking creativity.\u00a0 <\/span><i><span style=\"font-weight: 400;\">Tommy<\/span><\/i><span style=\"font-weight: 400;\"> was a rock opera &#8211; it told a cohesive story through its songs, including dialogue and all the pieces were linked together through recurring musical themes and leitmotifs.\u00a0 They toured the album after its release to critical and public acclaim. With such success comes tremendous pressure, and the band felt that pressure to follow up with a project that was even more impressive and groundbreaking. This project was <\/span><i><span style=\"font-weight: 400;\">Lifehouse.<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-62041 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241.jpg\" alt=\"\" width=\"565\" height=\"800\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241.jpg 565w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-106x150.jpg 106w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-53x75.jpg 53w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-191x270.jpg 191w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-159x225.jpg 159w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-120x170.jpg 120w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-297x420.jpg 297w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-247x350.jpg 247w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-40x57.jpg 40w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-13x18.jpg 13w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-160x227.jpg 160w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-381x540.jpg 381w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-11x16.jpg 11w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-428x606.jpg 428w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-10x14.jpg 10w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-240x340.jpg 240w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-7x10.jpg 7w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-18x26.jpg 18w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-212x300.jpg 212w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-6x9.jpg 6w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-494x700.jpg 494w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-15x21.jpg 15w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-385x545.jpg 385w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/mw62241-20x28.jpg 20w\" sizes=\"auto, (max-width: 565px) 100vw, 565px\" \/><\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">Lifehouse<\/span><\/i><span style=\"font-weight: 400;\"> was Petetownshend\u2019s idealistic vision which never truly came to fruition.\u00a0 This project was envisioned as a grand sci-fi film set in a post-apocalyptic future Earth. In his autobiography, Townshend described it as \u201ca modern retelling of Aldous Huxley\u2019s <\/span><i><span style=\"font-weight: 400;\">Brave New World<\/span><\/i><span style=\"font-weight: 400;\">.\u201d The film was to feature live concert footage of The Who and would culminate in the Lifehouse concert participants vanishing in a musical rapture. This represented a rejection of a corrupt, technology-driven future as the audience discovered \u201cthe sound of the universe as a single note.\u201d The band teased ideas about the concept to the press, and they even held a series of concerts at London\u2019s Young Vic Theatre. However, by 1971, the film concept was abandoned, and the songs originally meant for it were instead compiled into the studio album <\/span><i><span style=\"font-weight: 400;\">Who\u2019s Next<\/span><\/i><span style=\"font-weight: 400;\">.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">While Who\u2019s Next does not fully retain the original script or narrative of the <\/span><i><span style=\"font-weight: 400;\">Lifehouse <\/span><\/i><span style=\"font-weight: 400;\">project, we can see its echoes in the album artwork and music.\u00a0 The album cover features the band standing around a large concrete object, set against a backdrop of a vast spoil tip or slag heap. The landscape evokes post-apocalyptic imagery, reminiscent of Townshend&#8217;s vision in his Lifehouse script\u2014 \u201ca teenage wasteland\u201d. We can also see the slagheap representing the failed dreams of industrial ambition. Certainly, it looks to other science fiction references in failed grandiose dreams, as can be seen from its resemblance to the monolith from &#8220;2001: A Space Odyssey.&#8221; In fact, photographer Keith Russell initially photographed the band reenacting the apes&#8217; awe in the film when exploring the monolith. While the monolith in the film symbolizes progress and the <\/span><span style=\"font-weight: 400;\">development of mankind\u00a0 (appearing during <\/span><span style=\"font-weight: 400;\">\u00a0pivotal moments in evolution), the final album cover takes <\/span><span style=\"font-weight: 400;\">a different approach. The photograph chosen for the album cover instead shows the band members urinating on the pillar.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-62042 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1.jpg\" alt=\"\" width=\"999\" height=\"1000\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1.jpg 999w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-300x300.jpg 300w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-150x150.jpg 150w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-768x769.jpg 768w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-75x75.jpg 75w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-270x270.jpg 270w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-225x225.jpg 225w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-170x170.jpg 170w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-320x320.jpg 320w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-770x771.jpg 770w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-40x40.jpg 40w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-18x18.jpg 18w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-160x160.jpg 160w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-539x540.jpg 539w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-16x16.jpg 16w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-605x606.jpg 605w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-14x14.jpg 14w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-340x340.jpg 340w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-10x10.jpg 10w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-640x641.jpg 640w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-20x20.jpg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-9x9.jpg 9w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-385x385.jpg 385w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-600x601.jpg 600w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/A121f2V43UL._UF10001000_QL80_-1-100x100.jpg 100w\" sizes=\"auto, (max-width: 999px) 100vw, 999px\" \/><\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cBaba O\u2019Riley\u201d<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">The chorus of &#8220;Baba O&#8217;Riley&#8221; refers to a &#8220;teenage wasteland,&#8221; a concept attributed to the <\/span><i><span style=\"font-weight: 400;\">Lifehouse<\/span><\/i><span style=\"font-weight: 400;\"> plot by Townshend in 1971. As the opening track of <\/span><i><span style=\"font-weight: 400;\">Who&#8217;s Next<\/span><\/i><span style=\"font-weight: 400;\">, heavily features synthesizers, envisioned as the backbone of the Lifehouse project according to Townshend&#8217;s 1971 Melody Maker interview. He also explained that the rest of music in the film was expected to sound similar to &#8220;Baba O&#8217;Riley.&#8221; The song references in both sound and title, the minimalist composer Terry Riley and Indian spiritual leader Meher Baba, reflecting Townshend&#8217;s interests in simplicity and reduction. <\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">\u201cBargain\u201d <\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">&#8220;Bargain&#8221; begins with a gentle acoustic guitar part. It is a love song influenced by Indian mystic Meher Baba, interpreted by Townshend as a devotion to God. The lyrics express a willingness to sacrifice everything to find the subject of the singer&#8217;s love, perceived as a bargain. As the song progresses, the energy increases with Keith Moon&#8217;s dynamic drum fills and Townshend&#8217;s rhythmic guitar chords, leading into Roger Daltrey&#8217;s powerful vocals. The song also features an ARP synthesizer used for solos and backing alongside Townshend&#8217;s guitar solos. The song also went through as many as 9 recorded versions between April and June of 1971 leading up to the final recording of <\/span><i><span style=\"font-weight: 400;\">Who\u2019s Next<\/span><\/i><span style=\"font-weight: 400;\">.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cLove Ain\u2019t For Keeping\u201d<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">&#8220;Love Ain&#8217;t for Keeping&#8221; is the shortest song on Who&#8217;s Next, clocking in at only two minutes and ten seconds. While a harder rock version of the song exists, the song, as recorded for the album, is one of its lighter tracks and notably does not feature synthesizers, unlike many others on the record. This love song was originally intended for the <\/span><i><span style=\"font-weight: 400;\">Lifehouse <\/span><\/i><span style=\"font-weight: 400;\">projects and themes of sharing love and human connection to nature.\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cMy Wife\u201d<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">Unlike the other songs on the album, &#8220;My Wife&#8221; was never written or intended for inclusion in the <\/span><i><span style=\"font-weight: 400;\">Lifehouse<\/span><\/i><span style=\"font-weight: 400;\"> project. It stands separately from the others &#8211; written and sung by bass guitarist John Entwistle.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cThe Song is Over\u201d<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">\u201cThe Song is Over\u201d was, as the title indicates, <\/span><span style=\"font-weight: 400;\">originally intended as the concluding song for the \u201cLifehouse\u201d project. It depicts events after police disrupt the Lifehouse concert, causing the audience to vanish.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cGettin\u2019 In Tune\u201d <\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">Another <\/span><i><span style=\"font-weight: 400;\">Lifehouse<\/span><\/i><span style=\"font-weight: 400;\"> track, the lyrics for \u201cGettin\u2019 In Tune\u201d express frustration with superficiality, seeking to &#8220;get in tune to the straight and narrow.&#8221; The song fits right into the <\/span><i><span style=\"font-weight: 400;\">Lifehouse <\/span><\/i><span style=\"font-weight: 400;\">themes of exploring the social and spiritual power of music.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cGoing Mobile\u201d <\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">In the Lifehouse script there is a sense of movement as the main protagonist, Ray, has to travel south from Scotland down to London to seek out his daughter (who has run away to the Lifehouse concert).\u00a0 However, they live in a post-apocalibity world in which the earth has been destroyed by pollution.\u00a0 Thus the song balances the the freedom given by the mobility of traveling across the land, with anxieties about the the polluted world (\u201cI don\u2019t care about pollution, I\u2019m an air conditioned gypsy!\u201d)\u00a0 <\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">\u201cBehind Blue Eyes\u201d<\/span><\/p>\n<p><span style=\"font-weight: 400;\">According to Townshend, &#8220;Behind Blue Eyes&#8221; originated after a Tommy Tour concert in Denver, on 9 June 1970.\u00a0 After the concert, he had resisted temptation from a concert attendee, instead going back to his room alone. While there he began writing a prayer, which evolved into the lyrics of &#8220;Behind Blue Eyes.&#8221; Despite its potential real-life origins, the song was intended for the<\/span><i><span style=\"font-weight: 400;\"> Lifehouse <\/span><\/i><span style=\"font-weight: 400;\">project. There are conflicting reports about whether it was envisioned as the &#8220;theme song&#8221; main villain, Jumbo or another character, Brick, who betrays his leader, Bobby, and struggles with his values. Regardless of which struggling character the songs depicts, the lyrics and sentimental longing of the music look towards a figure of a social outcast struggling with his place in the world (&#8220;No one knows what it&#8217;s like \/ To be the bad man \/ To be the sad man \/ Behind blue eyes,&#8221;).<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cWon\u2019t Get Fooled Again\u201d<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cWon\u2019t Get Fooled Again\u201d is one of The Who\u2019s most lasting songs and memorable tracks from the album. It was intended for <\/span><i><span style=\"font-weight: 400;\">Lifehouse, <\/span><\/i><span style=\"font-weight: 400;\">but it has created a legacy far beyond its origins. It\u2019s clearly an anti-establishment song but also disillusioned in its revolutionary call to arms. The lines \u201cmeet the new boss, same as the old boss\u201d highlight the cynicism of wanting the world to change but not trusting that the new way is going to be any better. Townshend told Creem magazine in 1983 that he wrote the song as a reaction to the revolutionary talk of the hippies in the late sixties\/early seventies, explaining that he felt like saying: \u201c&#8217;Leave me out of it: I don\u2019t think your lot would be any better than the other lot!\u201d\u00a0 Musically, the song is one the band\u2019s epic rock anthems of this era.\u00a0 It showcases all the band member\u2019s strengths from guitar solos to soaring vocals. And most of all, it captures the spirit of its time.\u00a0 Despite its cynicism about the future, there is a clear call to learn from the mistakes of the past, and to not be fooled again.\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><b>Production details:\u00a0<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Because the music for <\/span><i><span style=\"font-weight: 400;\">Who\u2019s Next <\/span><\/i><span style=\"font-weight: 400;\">evolved in such a complex manner, it&#8217;s hard to pinpoint exactly when work on the album began.\u00a0 Ritchie Unterberger posts that early versions of the songs \u201cPure and Easy\u201d and \u201cGoing Mobile\u201d were probably drafted by late October of 1970, since we have record of Townshend revealing songs under the working titles of \u201cThe Note\u201d and \u201cWe\u2019re Moving\u201d to his bandmates.\u00a0 Unterberger also points out that many of these songs were likely written and recorded as demos using Townshend\u2019s highly advanced home studio. By late 1970, Townshend was on his sixth home studio setup &#8211; which included two small rooms and a separate control room. It also housed a B\u00f6sendorf grand piano. <\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">John Alcock (who later worked with John Entwistle on several solo albums) got the chance to see this studio setup and described Townshend\u2019s forward-thinking approach: \u201cMost musicians in those days either booked studios or had really simple, low-quality gear to record demos. Peter was one of the very rare musicians who wanted to extend this idea to studio-quality work for later inclusion in, or to form the basis of, tracks in the final album recordings. He was way ahead of his time, very knowledgeable, and had developed a keen interest in, and understanding of, hardware synths, together with building and running his studio for his songwriting purposes with the expectation that the could later use elements of this work in the final recordings.\u201d<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">Likewise, Townshend expressed his own admiration for his setup on these demos saying: \u201cThe demos I made to accompany the <\/span><i><span style=\"font-weight: 400;\">Lifehouse <\/span><\/i><span style=\"font-weight: 400;\">film script I wrote in \u201871 are among the best I have ever produced. I had come fully to grips with working multi-track rather than bounce from machine to machine a la Phil Spector. I had managed to get a good tight drum sound in a room only ten feet by fifteen that was crammed with synthesizers, organs and a seven-foot grand piano.\u201d <\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">At least eight of the nine songs that end up on <\/span><i><span style=\"font-weight: 400;\">Who\u2019s Next <\/span><\/i><span style=\"font-weight: 400;\">were demoed in this way.\u00a0 John Entwistle\u2019s \u201cMy Wife\u201d is the exception on the album. The concerts at Young Vic were held in February of 1971 and in mid-March the band flew to New York to record at the Record Plant. The Who\u2019s manager at the time, Kit Lambert, was co-producing an album there, and the band was hoping to improve upon the quality of the demos they had made in Townshend&#8217;s home studio.<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-62043 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/jaymessina_douglasmessina.jpg\" alt=\"\" width=\"400\" height=\"292\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/jaymessina_douglasmessina.jpg 400w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/jaymessina_douglasmessina-150x110.jpg 150w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/jaymessina_douglasmessina-80x58.jpg 80w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/jaymessina_douglasmessina-320x234.jpg 320w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/jaymessina_douglasmessina-308x225.jpg 308w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/jaymessina_douglasmessina-233x170.jpg 233w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/jaymessina_douglasmessina-205x150.jpg 205w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/jaymessina_douglasmessina-40x29.jpg 40w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/jaymessina_douglasmessina-160x117.jpg 160w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/jaymessina_douglasmessina-20x15.jpg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/jaymessina_douglasmessina-14x10.jpg 14w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/jaymessina_douglasmessina-12x9.jpg 12w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/jaymessina_douglasmessina-385x281.jpg 385w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><\/span><\/p>\n<p><span style=\"font-weight: 400;\">During these sessions, Jack Douglas (who would later go on to produce John Lennon and Yoko Ono\u2019s <\/span><i><span style=\"font-weight: 400;\">Double Fantasy<\/span><\/i><span style=\"font-weight: 400;\"> among many other iconic albums) was working as a young recording engineer. Jack recalled\u2026\u201dKit Lambert was technically listed as the producer, but it was clear that Pete was in charge of the production. He could drive the band nuts with his directions, but also really got them ripping when they tracked. He would especially concentrate on whipping up Keith, because he realized that the band actually took its energy cues from Keith. The energy level was always so up there that many of the solos on the record were done in one pass on the tracking sessions. It really kept the trio sound together.\u201d<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">While these are not the same recordings that appear on the original <\/span><i><span style=\"font-weight: 400;\">Who\u2019s Next<\/span><\/i><span style=\"font-weight: 400;\"> album, they do showcase the development of several songs in very near form to their final arrangement. \u201cWe Won\u2019t Get Fooled Again\u201d was likely one of the first tracks they recorded in the sessions. This song along with the Record Plant versions of \u201cGettin\u2019 In Tune,\u201d \u201cPure and Easy,\u201d \u201cLove Ain&#8217;t\u2019 For Keeping\u201d and \u201cBehind Blue Eyes\u201d were all released as bonus tracks on the Deluxe Edition of <\/span><i><span style=\"font-weight: 400;\">Who\u2019s Next <\/span><\/i><span style=\"font-weight: 400;\">in 2003.\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">For several reasons the band re-recorded the album back in London &#8211; this time without the involvement of Kit Lambert. For the London sessions, the band reconnected with Glyn Johns, who had worked on their classic 1965 album \u201cMy Generation.\u201d Townshend explained to <\/span><i><span style=\"font-weight: 400;\">Sounds <\/span><\/i><span style=\"font-weight: 400;\">magazine in 1971, \u201cGlyn\u2019s way of working is much more like a musician, Kit\u2019s is more like a film director. I think that\u2019s the only way to describe the difference. And I think we are at the point now where we\u2019re doing a bit of our own direction, and we need a musician more than a director.\u201d\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">At first the band recorded at Mick Jagger\u2019s country mansion &#8211; Stargroves.\u00a0 The Stones had a 16-track mobile studio and the band recorded versions of several tracks including \u201cWon\u2019t Get Fooled Again\u201d and likely \u201cGoing Mobile\u201d. In many ways this was a trial run to see how the band and Johns would get along together while working on an album. The sessions did not result in any finished tracks for the album, but it did prove a successful working relationship between Johns and the Who.\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-62044 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London.jpg\" alt=\"\" width=\"860\" height=\"660\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London.jpg 860w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-150x115.jpg 150w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-768x589.jpg 768w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-80x61.jpg 80w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-320x246.jpg 320w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-293x225.jpg 293w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-222x170.jpg 222w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-195x150.jpg 195w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-770x591.jpg 770w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-40x31.jpg 40w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-160x123.jpg 160w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-20x15.jpg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-640x491.jpg 640w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-790x606.jpg 790w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-18x14.jpg 18w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-443x340.jpg 443w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-13x10.jpg 13w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-391x300.jpg 391w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-12x9.jpg 12w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-385x295.jpg 385w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/Olympic_Studios_London-600x460.jpg 600w\" sizes=\"auto, (max-width: 860px) 100vw, 860px\" \/><\/span><\/p>\n<p><span style=\"font-weight: 400;\">The band then moved to Olympic Sound Studios in London in mid April 1971, with the majority of the album being recorded between May and June. During this time, the final verdict was made to abandon the <\/span><i><span style=\"font-weight: 400;\">Lifehouse <\/span><\/i><span style=\"font-weight: 400;\">film project and focus on taking the best songs to create a studio album. Between all the demos, the recordings at the Young Vic, and Record Plant, Johns and the band had a strong basis to decide which songs would make the cut and the changes that would need to be made to bring the songs to their incredible final arrangements.\u00a0\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">For instance, \u201cBaba O\u2019Riley\u201d began its life as a 9-minute instrumental piece and was continually cut down to turn it into a rock song. At Olympic studios they paired it down to 5 minutes, and finalized the now-iconic synthesizer part.\u00a0 It was painstakingly created by playing a Lowrey organ that was fed through a synthesizer.\u00a0 Years later, while interviewed for <\/span><i><span style=\"font-weight: 400;\">In the Studio\u2019s <\/span><\/i><span style=\"font-weight: 400;\">radio special on <\/span><i><span style=\"font-weight: 400;\">Who\u2019s Next, <\/span><\/i><span style=\"font-weight: 400;\">Townshend would explained that the process began with: \u201c&#8230;recording random sections of stuff onto tape, cutting tape up, re-recording bits of tape, cutting the tape up again and getting rhythms from it. I could do it fast. \u201cBaba O\u2019Riley\u201d has something like two or three thousand edits in it &#8211; the master tape goes by and its all white. It\u2019s just sticking plaster from start to finish. What was very interesting is the stuff that I was cutting out, I was sticking together on a reel to keep it tidy. That piece is very interesting in its own right. But what I then did is, I put a piano over the top, a guitar, a vocal, to make it sound a bit more like rock and roll.\u201d<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">\u201cGoing Mobile\u201d &#8211; a song that had been rehearsed, performed and recorded across many phases of the band&#8217;s progress &#8211; was also finalized in these session. In his meticulously researched book <\/span><i><span style=\"font-weight: 400;\">Won\u2019t Get Fooled Again: The Who from Lifehouse to Quadrophenia, <\/span><\/i><span style=\"font-weight: 400;\">Richie Unterberger explains that the final version was created by having the band play live as a trio, and later overdubbing brass synthesizer riffs as \u201ctasteful melodic interjections.\u201d The guitar solo, with its wah-wah-like character, was created by patching Townshend\u2019s electric guitar through an \u201cenvelope follower\u201d\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">The Olympic sessions also brought in the talents of additional musicians including Dave Arbus who provided that unexpected and yet perfectly placed violin solo on \u201cBaba O\u2019Riley\u201d. And Nicky Hopkins played piano for \u201cThe Song is Over and Getting In Tune.\u201d The album was mixed at Olympic and Island studios.\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-62045 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0.webp\" alt=\"\" width=\"959\" height=\"663\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0.webp 959w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-150x104.webp 150w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-768x531.webp 768w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-80x55.webp 80w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-320x221.webp 320w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-246x170.webp 246w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-217x150.webp 217w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-770x532.webp 770w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-40x28.webp 40w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-160x111.webp 160w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-20x14.webp 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-640x442.webp 640w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-877x606.webp 877w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-492x340.webp 492w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-14x10.webp 14w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-434x300.webp 434w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-13x9.webp 13w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-385x266.webp 385w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/09\/960x0-600x415.webp 600w\" sizes=\"auto, (max-width: 959px) 100vw, 959px\" \/><\/p>\n<p><b>Release and Reception<\/b><\/p>\n<p><i><span style=\"font-weight: 400;\">Who\u2019s Next<\/span><\/i><span style=\"font-weight: 400;\"> was released on August 2, 1971 and Glyn John\u2019s is credited alongside the band as co-producer for the album.\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Often cited as the band\u2019s greatest studio album, it received positive reviews early on\u2026<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Writing for the Village Voice in 1971, Robert Christgau described <\/span><i><span style=\"font-weight: 400;\">Who\u2019s Next <\/span><\/i><span style=\"font-weight: 400;\">as \u201cthe best hard rock album in years\u201d and praised the band saying that they achieved \u201cthe same resonant immediacy in the studio that it does live.\u201d\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">The album hit number 1 on the UK Albums chart and number 4 on the US Billboard 200. The album boasts several songs which would become iconic Who tracks: \u201dBaba O\u2019Riley\u201d, \u201cBehind Blue Eyes\u201d and \u201cWon\u2019t Get Fooled Again.\u201d \u201cBehind Blue Eyes\u201d hit the top 20 in the UK and charted in the US, and \u201cWon\u2019t Get Fooled Again\u201d hit the number 9 spot in both the UK and the US. <\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><i><span style=\"font-weight: 400;\">Who\u2019s Next<\/span><\/i><span style=\"font-weight: 400;\"> is an incredible testament to the creativity and lasting vision of Pete Townshend and The Who. While it is not the only iteration of the <\/span><i><span style=\"font-weight: 400;\">Lifehouse <\/span><\/i><span style=\"font-weight: 400;\">project (Townshend since wrote a radio show in 1999, and created an online musical software system in 2007), the album is certainly the most iconic and musically impressive product of this initial science-fiction vision.\u00a0 Even without knowledge of the <\/span><i><span style=\"font-weight: 400;\">Lifehouse <\/span><\/i><span style=\"font-weight: 400;\">project,<\/span><i><span style=\"font-weight: 400;\"> Who\u2019s Next <\/span><\/i><span style=\"font-weight: 400;\">is a powerhouse rock album from 1971 &#8211; a year which produced many legendary albums from <\/span><i><span style=\"font-weight: 400;\">Zeppelin IV<\/span><\/i><span style=\"font-weight: 400;\"> to <\/span><i><span style=\"font-weight: 400;\">Tapestry. <\/span><\/i><span style=\"font-weight: 400;\">It stands as one of the era\u2019s most impressive musical offerings and several of these tracks remain key songs for the band\u2019s performance repertoire to this day.\u00a0\u00a0<\/span><\/p>\n<p><b>Written by Caitlin Vaughn Carlos<\/b><\/p>\n","protected":false},"excerpt":{"rendered":"<p>https:\/\/www.youtube.com\/watch?v=cZ-BM2b6cWgVideo can&#8217;t be loaded because JavaScript is disabled: The Who &#8211; Who&#039;s Next: Albums That Changed Music (https:\/\/www.youtube.com\/watch?v=cZ-BM2b6cWg) In the wake of their groundbreaking rock opera, Tommy, Pete Townshend and the Who spent most of 1970 teasing their next project to the press &#8211; the ill fated Lifehouse.\u00a0 The project was a massive undertaking that&hellip;<\/p>\n","protected":false},"author":25,"featured_media":62046,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[12320],"tags":[13171,13168,13170,13169],"class_list":["post-62038","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artists-that-changed-music","tag-baba-oriley","tag-the-who","tag-the-who-whos-next","tag-whos-next"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - 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