The Who: Difference between revisions
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band_name = The Who | |
band_name = The Who | |
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years_active = [[1964]]–[[Present]]<br>([[Recording studio|Studio]]: [[1964]]-[[1982]], [[2004]]-[[present]])| |
years_active = [[1964]]–[[Present]]<br>([[Recording studio|Studio]]: [[1964]]-[[1982]], [[2004]]-[[present]])| |
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origin = [[London]], [[England]]| |
origin = [[London]], [[England]]| |
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Revision as of 01:10, 30 January 2006
The Who | |
|---|---|
| Background information | |
| Origin | London, England |
| Years active | 1964–Present (Studio: 1964-1982, 2004-present) |
| Members | Pete Townshend Roger Daltrey |
| Past members | John Entwistle Keith Moon |
The Who is a British rock band of 1960s and 1970s fame. Noted for the dynamism of their live performances and for their thoughtful and art influenced music, they are also acknowledged as having been rock pioneers, popularizing among other things the power chord and the rock opera (most notably Tommy) under the leadership of Pete Townshend. Their earlier "mod" albums, which boasted short, aggressive pop songs, Pete Townshend's distinctive power chords, and constant themes of youthful rebellion and romantic confusion, were formative influences on punk rock and power pop. In their early days they were notorious for Auto-destructive art displays, destroying their instruments at the end of shows (especially Townshend, whose guitar-smashing would become a rock cliché, and infamous wildman Keith Moon).
The original band members were:
- Pete Townshend - guitar, primary composer, piano & synthesizer on studio recordings
- Roger Daltrey - vocals, harmonica
- Keith Moon - drummer
- John Entwistle - bass guitar, brass instruments
The band's classic era, and in many respects the band itself, ended in 1978 with the untimely death of the inimitable Keith Moon.
On stage
The Who had to be great onstage in order to survive. They had a particularly bad record deal with Shel Talmy at Brunswick Records, and realized they could make more money playing concerts than putting out records.
Equipment
As their sound developed with each album, and their audience expanded with each tour, John Entwistle and Pete Townshend became known for constantly and consistently changing the equipment they used on stage. Townshend altered his setup for nearly every tour, and Entwistle's equipment changed even more than that. Keith Moon also played various drum kits, probably the most recognized of which is the 'Pictures of Lily' kit.
In the mid '60s, John Entwistle was one of, if not the first to make use of stacked Marshall cabinets, and Pete Townshend later remarked that John started using Marshall Stacks in order to hear himself over Keith Moon's drums, and Townshend himself also had to use them just to be heard over John. They both continued expanding and experimenting with their rigs, until (at a time when most bands used 50-100w amps with single cabinets) they were both using twin Stacks with new experimental prototype 200w amps. This, in turn, also had a strong influence on the band's contemporaries at the time, with Cream and The Jimi Hendrix Experience both following suit. However, due to the cost of transport, The Who could not afford to take their full rigs with them for their earliest overseas tours, and Cream and Hendrix were the first to be seen to use this setup on a large scale, as at the time their collective worldwide audience vastly outnumberd The Who's British fans.
Ironically, although they pioneered and directly contributed to the development of the "classic" Marshall sound (at this point their equipment was being built/tweaked to their personal specifications), they would only use Marshalls for a couple of years before moving on to Sound City, and Cream and Hendrix would be widely credited with the invention of Marshall Stacks. For more information, see this page.
A detailed reference of each member's equipment from this era and after can be found here.
Performance
The early years
Each of the eventual band members played in various early versions of The Who and in other groups. Pete Townshend and John Entwistle first played together in a band called The Confederates. The two also played together in bands called The Aristocrats and The Scorpions. Roger Daltrey was the lead guitarist for a band called The Detours. Townshend has said that at the time he, Entwistle and Daltrey met, Daltrey was the best guitarist of the three.
Daltrey invited Entwistle to join The Detours; Entwistle agreed to do so and left The Scorpions. Entwistle then proposed to Daltrey that Townshend, still with The Scorpions, replace Reg Bowen in The Detours. Daltrey agreed. The Detours were filled out by Colin Dawson on vocals and Doug Sandom on drums, with Daltrey playing lead guitar.
The Detours began playing under other names, including The High Numbers, Maximum R&B and The Who.
The classic era
From around the time the band settled on its classic line-up in the mid-sixties, The Who performed as a rock power trio modified by the addition of Roger Daltrey as a lead singer who did not play an instrument other than the occasional use of a tambourine or harmonica. From the beginning the band drew attention because all three instrumentalists — guitarist Pete Townshend, bassist John Entwistle, and drummer Keith Moon — would often play lead parts, sometimes simultaneously, or the guitar or bass might assume the role of percussion while the drums added spice rather than driving the beat. The result was music more cacophonous and often more sophisticated than conventional performances in the rock genre. To this day, Moon is remembered for his creative and influential drumming, and Townshend for his sensitive song-writing as well as his memorable riffs and power chords. Finally, Entwistle is known throughout the rock world as, arguably, the greatest bassist in rock history.
Moreover, all but Moon were competent vocalists, and shared the vocal workload. Daltrey was the official front man, centered on the stage, and served as lead singer for most songs. Entwistle sang his own compositions, and contributed humorous role-playing vocal phrases in songs such as "Summertime Blues". Townshend sometimes took over as lead singer from Daltrey, or the two took turns during a song, singing alternate verses as in "Naked Eye" or exploiting a distinctive format in many of Townshend's compositions (he is one of the more celebrated pop song writers) where Daltrey would sing the verses and Townshend would sing during a bridge or interlude that contrasted stylistically with the rest of the song, as in "Bargain" and "Baba O'Riley".
The surfeit of singers also let them use three-part harmonies in rich choruses such as the "Listening to You" motif in Tommy, and ethereal background "Ahhh"s in songs such as "Behind Blue Eyes" and "Odorono". They also used background vocals in other creative ways, such as the clever staccato "Laugh laugh laugh"/"Lap lap lap" syllables echoing the sense of the lead vocal in "Happy Jack" and the humorous "Cello cello cello" chorus purportedly inspired by being unable to afford a string section when going into the studio to record "A Quick One, While He's Away".
A great audio documentary of the band during this "classic" era is the album Live at Leeds, which is usually considered one of the best live albums by any rock band.
Later changes
In 1971 they began supplementing their stage act with pre-recorded synthesizer "continuo" parts in order to cover material such as "Baba O'Riley" and "Won't Get Fooled Again" from that year's Who's Next album. In addition to feeding the synthesizer tracks to their stage monitors, drummer Keith Moon would wear headphones to ensure that he heard the recording clearly enough to sync the band with it. When they first introduced these recordings technical difficulties sometimes severely disrupted concerts, causing the band members' notorious tempers to flare onstage.
After the death of Keith Moon in 1978 The Who gave up the power trio format, with new drummer Kenney Jones formerly of the Small Faces, and began touring with a keyboardist, usually John "Rabbit" Bundrick, and a small horn section, none of whom were officially members of the band. They soon scaled back to just a keyboardist backing the band, but returned to the extended touring line-up, even adding a second guitarist and back-up singers, on the 1989 tour with Simon Phillips on the drums. The 1996 and 1997 tours also featured this expanded line-up which helped them bring to life their classic extended rock work Quadrophenia. Beginning in 1999 The Who nearly returned to the power trio format, with only a keyboardist augmenting the sound. They then added Pete Townshend's brother Simon Townshend, who had also played in the Quadrophenia shows, on second guitar and backing vocals in 2002.
Since the 1996 Quadrophenia shows, the Who's working drummer has been Zak Starkey, son of the Beatles' Ringo Starr. Zak has been credited with reinvigorating the Who's sound with his youthful energy and psuedo-Moon playing. (Keith, who was a close friend of Ringo Starr, was Zak's first teacher on the drums and even gave him one of his massive drumkits.) The untimely death of John Entwistle on the eve of their 2002 tour led to the addition of famed session player Pino Palladino filling in for the mighty "Ox."
The Who began their career by covering and imitating Rhythm and Blues hits, and never completely abandoned those roots. Even after moving on to other types of material they continued to perform R&B classics such as "Young Man Blues" and "Summertime Blues" throughout their performing career, including their late reunion tours.
Other aspects of their performances
The musicians of the Who were also natural showmen: singer Daltrey was a dynamic front man, noted for twirling his microphone on the end of its cord. Townshend is famed for playing crashing chords on his guitar with great windmill-like sweeps of his arms (he claims that he got the idea from watching Keith Richards in concert; Richards says he can't remember doing it). The maniacal Moon battered his drums powerfully. Through all that mayhem, Entwistle stood still, often for the entire length of the show, seemingly bored by the whole affair, playing intricate, powerful, innovative bass lines as if he had the stage to himself. The band members also punctuated their performances with jokes, tricks, and over-the-top introductions to the songs; Townshend once commented that only the cessation of touring saved them from degenerating into a vaudeville act. During performances, they would often chat with members of the audience between songs. The crowd-band interaction was high during performances of Tommy or Quadrophenia, when Townshend would feel the need to explain the plot of the operas to the crowd. During these explanations, Moon would usually comment in a sarcastic and humourous manner, much to the delight of the crowd.
In the early days, The Who was most famous for smashing their instruments at the end of their concerts, and would often throw the damaged remains into the audience. One of the most famous times this happened was on The Smothers Brothers Show. The Who were nearing the end of "My Generation" when the American audience witnessed the truly destructive nature of the Who. Pete Townshend jammed his guitar into his speaker, causing it to short circuit in a ball of fire and smoke! Keith Moon had rigged his drum set with double the normal amounts of explosives, and as Pete Townshend smashed his guitar into oblivion the drums exploded and Pete, supposedly (see below), sustained severe ear damage. This would signal that the band had given all it had, and generated some coveted souvenirs as a side effect(the broken bits of gear). Townshend cites his art school mentor Gustav Metzger as an influence, who had developed a concept called Auto-Destructive Art. Although The Who mostly stopped smashing their instruments around the time of Tommy, they would occasionally do it long afterwards.
They were also notorious for how they treated their hotel rooms and dressing rooms, particularly Moon, with frequent incidents of destruction (another eventual cliché). The band was arrested for this on at least one occasion, in Montreal, and were for many years banned from the Holiday Inn hotel chain. According to one tale, Moon drove an automobile into a Holiday Inn swimming pool intentionally (although this incident never actually happened). Led Zeppelin, a hard rock act of the same era, was equally famous for their wild antics and parties in their lodgings.
The Who's live performances were traditionally extremely loud. For most of the 1970s they were listed in the Guinness Book of World Records as the loudest Rock band in the world, measured at 130 decibels, though other bands, notably Deep Purple, have since taken over that ambiguous honor. Townshend's later partial deafness and tinnitus is well known; popular legends hold that the members of the band suffered permanent hearing loss from their loud concerts, or that Townshend's right ear was damaged as a result of being too close to the drum kit when Moon detonated an oversized concussion bomb in it at the conclusion of a performance on the Smothers Brothers Comedy Hour in 1967. Townshend, however, maintains that the true cause was listening to the music at high volume through headphones.
Various members of the band wore "trademark" dress on stage and in photo shoots at various periods of the band's history. During the 1960s Pete Townshend sported a jacket made of a Union Jack. (Reportedly the Irish Republican Army threatened to blow up the band on stage if he wore it at an appearance in Ireland, but Townshend had planned ahead and provided himself with a jacket more sympathetic to Irish nationalist sentiments.) At the end of the decade he switched to a simple jumpsuit or boiler suit, and appears wearing it in the Woodstock footage. For a period John Entwistle wore a Halloween-style skeleton suit in concert. From the late 1960s through most of the 1970s Roger Daltrey appeared in a fringed buckskin jacket or vest, and can be seen wearing it in most film footage of the era.
Current era
The Who will launch a world tour in the summer of 2006, their first since a 2004 world tour and brief performance at Live 8 in 2005. Drummer Zak Starkey will continue to fill in for the late Keith Moon, and bassist Pino Palladino will also remain, filling in for the late John Entwistle.
Personnel
In the studio
Sounds
The Who were much more efficient as a live band, and throughout their history members always claimed that they could never capture their live sound in the studio. Because of this, studio recordings were always made for the purpose of establishing material for the Who's live shows during which songs would take on entirely new dimensions. Perhaps the best starter for anyone interested in listening to the band is the Live at Leeds album, on which, recently, the entire 1970 concert is now available. However, great care and effort went into the recording process so that the studio recordings are among the best of their genre even though they, in many ways, are not representative of the band. (Rumour had it that one of the two guitar solos, as well as the electric rhythm guitar on "I Can't Explain" was purportedly dubbed in by Jimmy Page, the guitarist later made famous by his work in rock group Led Zeppelin , a claim discounted later by Townshend, who stated he merely appeared on the b-side, in exchange for use of a fuzz box guitar effect pedal) As the sixties progressed their studio sound was progressively modified by the use of overdubs to add complete additional parts without the need for additional musicians, rather than simply as an ordinary studio technique for capturing clean takes of vocal and solo parts. The added parts were usually additional guitar and keyboard parts for Pete Townshend, though horn parts by John Entwistle were added to a few songs. When Tommy came out in 1969 the mix included not only electric guitar, bass, drums, and three-part vocals, but additional tracks for acoustic guitar, piano, organ, and horn, as if performed by six or eight instrumentalists rather than the actual three. As a result of this expansion many of their recorded songs have a dense sound with rich textures and fine details that can only be appreciated through careful headphone listenings.
Tommy also featured some of Townshend's early use of synthetic sounds, a recording of the click and fade of a piano note or some sort of percussion instrument dubbed in from a reversed tape to give a reversed sound that grows louder up to a sharp cut-off, used in the song "Amazing Journey". His interest in synthetic sounds blossomed when he acquired an early ARP synthesizer and used it very aggressively on the 1971 Who's Next album. Though other keyboard instruments continued to be used in the band's recordings, and they briefly returned to a leaner sound for the 1975 The Who By Numbers album, Townshend's adoption of the synthesizer and the near-simultaneous maturation of studio recording equipment and techniques led to a big, solid, "modern" sound that became the signature of the post-classic era Who.
Genres
The studio albums of the sixties chronicle the phases of the band's ventures into several sub-genres of Rock music and their experiments with Modernism. Their 1965 My Generation UK album (Released in US 1966 in slightly altered form, "The Who Sings My Generation") features covers of popular Rhythm and Blues songs performed with a heavy sound that The Who promoted as "Maximum R&B". On their 1966 A Quick One UK album (Released in US 1967 in slightly altered form, "Happy Jack") they abandoned R&B in favor of an experiment in Pop music as an aural counterpart to the Pop art movement. By the time of their 1967 The Who Sell Out album they had mostly abandoned the Pop experiment, instead offering a mixture of psychedelic music and other songs of no specific sub-genre characteristics. With their release of Tommy in 1969 they permanently gave up their experiments with sub-genres, and settled on a mainstream Rock sound, albeit well toward the "hard" end of the spectrum and featuring many of the characteristics of progressive rock, in which with the mini opera on "A Quick One" they had already pioneered to a small extent, alongside Sgt. Peppers and the Moody Blues; the aim was to do something serious with rock music - a rare occurrence at the time. In the 1980s, the band shifted toward a New Wave music sound.
In the background of those major trends in The Who's music there were several other minor tendencies. Keith Moon always wanted to play Surfer Music (he joined the Beach Boys for an hour), and two or three tunes in that genre eventually appeared on the band's B-sides or collection albums, such as the tune "The Ox" from My Generation. As time passed Pete Townshend increasingly incorporated Jazz and Swing music motifs into his composition, singing, and playing, but even when present they tend to be masked by the Hard Rock sound of the band in ensemble. Finally, as with most of the early British Rock musicians, the members of The Who were greatly influenced by Country Music, though the genre rarely appears in their recordings unless transformed almost beyond recognition.
History
In its earliest days, prior to Keith Moon joining, the band was known as The Detours and played mostly rhythm and blues. They eventually changed their name to The Who when Keith joined, making the classic line-up complete. For a short period during 1964, under the management of Peter Meaden, they changed their name to The High Numbers during which time they released a mostly unsuccessful single under that name, designed to appeal to their mostly mod fans. When "Zoot Suit/I'm The Face" failed to chart, they fired Meaden and quickly reverted back to The Who. The rest, as they say, is history. They became one of the most popular bands among the British Mods, a social movement of the early 60s who rejected the "greaser" music favored by the Rockers.
The band soon crystallized around Townshend as the primary songwriter (though Entwistle would also make the occasional notable contribution). Townshend was at the center of the band's tensions, as he strove to write challenging and thoughtful music, while Daltrey preferred energetic and macho material (Daltrey would occasionally refuse to sing a Townshend composition and Townshend would thus sing it himself), while Moon was a fan of American surf music.
The Who's first hit was the 1965 Kinks-like single "I Can't Explain", followed by "Anyway, Anyhow, Anywhere," which was the only song composed in a joint effort by Townshend and Daltrey. They vaulted to fame with their My Generation album that same year. The album included such mod anthems as "The Kids are Alright" and the title track "My Generation", which contained the famous line, "Hope I die before I get old". Another early favorite, showing Townshend's way with words, was the 1966 single "Substitute", which included the line, "I was born with a plastic spoon in my mouth." The subsequent hits like the 1966 hit single "I'm A Boy", about a boy made up like a little girl, "Happy Jack" about a mentally disturbed young man and the 1967 "Pictures Of Lily", a tribute to masturbation, all show Townshend's growing use of clever and novel stories with sexual and mental confusion that eventually led to his masterpiece Tommy. More hits followed, like "I Can See For Miles", "Mary Anne with the Shaky Hands" and the "Magic Bus" with a little wink to the Beatles' Magical Mystery Tour.
Although they had great success as a singles band, the Who, or more properly their leader Townshend, had more ambitious goals and over the years their music became more complex and their lyrics more provocative and involving. Townshend also wanted to treat the Who's albums as unified works, rather than collections of unconnected songs. The first sign of this ambition came in their album A Quick One (1966), which included the story-telling medley "A Quick One, While He's Away", which they later referred to as a "mini opera". A Quick One was followed by The Who Sell Out (1967), a concept album that played like an offshore radio station, complete with jingles and commercials. The Who Sell Out also included two tracks from a never-completed Rock opera, Rael 1 and Rael 2. Those early efforts were followed by Tommy (1969), their first complete Rock opera and the first commercially successful one by any artist. Around this time the spiritual teachings of Meher Baba began to influence Peter Townshend's songwriting, and he is credited as 'Avatar' on the Tommy album.
Townshend then attempted an even more ambitious concept album Performance Art project called Lifehouse. Although the intended album was not released until reconstructed as a radio play for the BBC in 2000. The songs were also released on a 6-CD album from Pete Townshend's website. The Who included many of the project's best songs in Who's Next (1971), which would become their most successful album. Other songs can be found scattered around on other albums, such as Odds and Sods, which included Pure and Easy, the main song, and Naked Eye. Who's Next was followed by a work which is more a monologue piece than Rock opera (there are only a small number of lines sung by other characters), called Quadrophenia (1973), with a story line about an adolescent named Jimmy, his struggle for identity and with mental illness, based on the clashes between Mods and Rockers in the early 1960s, particularly the riots between the two factions at Brighton.
The band's later albums contained songs of more personal content for Townshend, and he eventually transferred this personal style to his solo albums, as seen on the album Empty Glass. 1975's The Who By Numbers had several introspective songs in this vein, lightened by the crowd-pleasing "Squeeze Box," another hit single. Nevertheless, one rock critic considered "By Numbers" to have been Townshend's "suicide note."
In 1978 the band released Who Are You, a move away from epic rock opera and towards a more radio-friendly sound, though it did contain one song from a never-completed Rock opera by John Entwistle. The release of the album was overshadowed by the death of Keith Moon in his sleep after a prescribed pill overdose. Kenny Jones, of The Small Faces and The Faces, joined the band as his replacement. The following year was also traumatic for the band: on December 3, 1979 in Cincinnati, Ohio, a stampede for seats at Riverfront Coliseum at the start of a Who concert killed eleven fans. Band members were not told of the deaths until after the show because civic authorities feared more crowd control problems if the concert were cancelled, and the band members were reportedly devastated when they found out about it.
The band released two more studio albums with Jones as their drummer, Face Dances (1981) and It's Hard (1982). With the loss of Moon a blow to the group's notoriously active rhythm section, the two Kenny Jones releases carved out a more pop-oriented sound. While both albums sold fairly well, and even with "It's Hard" receiving a five-star review in Rolling Stone, many fans weren't receptive to the band's new sound. Shortly after the release of "It's Hard," The Who embarked on their farewell tour after Pete Townshend admitted that he didn't think he could write for The Who any longer. (Even to this day, there is a public perception that The Who have billed a number of their post-1982 tours as farewell events, whereas their 1982 trek was the only one referred to as such.)
Thereafter they stopped recording new material and settled into intermittent appearances, as Townshend focused on solo projects such as The Iron Man and Psychoderelict, a forerunner to the eventual release of the radio work Lifehouse. Their best-known reunion tour occurred in 1989 and emphasized Tommy. In 1996 they staged successful multi-media performances of Quadrophenia featuring a narrator and guest singers. By this time Zak Starkey was their regular drummer. Their appearance at the post-September 11, 2001 The Concert for New York City was the most fervently cheered of any act, by the audience of New York police officers and firefighters.
Just before the outset of a tour in the summer of 2002, John Entwistle was found dead in his room at the Hard Rock Hotel in Las Vegas, Nevada. A coroner's investigation revealed that while not technically an overdose, a modest amount of cocaine in his system was a contributing factor in a fatal heart attack, the result of years of heart trouble caused or aggravated by regular cocaine use. After a brief delay, the tour commenced with bassist Pino Palladino filling in for Entwistle. Most shows from the tour were released officially on CD.
In September of 2002, Q magazine named The Who as one of the "50 Bands to See Before You Die".
In 2004 The Who (with Pino Palladino and Greg Lake, respectively, on bass guitar and drums) released two new songs, "Old Red Wine" and "Real Good Looking Boy", as part of a singles anthology (The Who: Then and Now), and went on an 18-date world tour, playing Japan, Australia, the UK and the US. Again, all shows were released on CD. They then announced that the spring of 2005 would see the release of their first new studio album in 22 years. In March 2005, Pete Townshend's website issued a statement that the release was delayed indefinitely, and explained that expected UK/US tours in the summer of 2005 were also shelved. Part of this was due to slow recording of the new material, and part was due to Zak Starkey's commitments to tour with Oasis.
The Who performed "Who Are You" and "Won't Get Fooled Again" on the London stage of the Live 8 concert in July 2005. Steve White (Paul Weller drummer and younger brother of ex-Oasis drummer Alan White) replaced Starkey, and Damon Minchella filled in for Palladino (who was also not available).
In a December issue in 2005, Rolling Stone Magazine announced that The Who would be touring in the summer of 2006, visiting countries such as the United States, England, Japan and Australia.
Influence
The Who was easily one of the most influential groups in rock music as a whole. The music made by the power-trio ensemble of Townshend, Entwistle, and Moon was followed by groups such as Cream, Led Zeppelin, Rush, Jimi Hendrix Experience,The Jam and nearly all punk bands. "My Generation" is the band's most covered song, as Britpop band Oasis has used the song for their closer during their 2005 World Tour. Pearl Jam also would perform The Who's "Baba O'Riley" and "The Kids Are Alright" during their tours in the 90's and 00's.
In a completely different aspect, The Who invented the rock opera and made one of the first notable concept albums. Following in Tommy's footsteps were David Bowie's The Rise and Fall of Ziggy Stardust, The Flaming Lips' Yoshimi Battles the Pink Robots, and the Pink Floyd albums Dark Side of the Moon , Animals, and especially The Wall.
Their early sound was heavily punk. The synth-covered tracks of Who's Next were a starter for the orgins of the new wave genre, which is based on synth instead of traditional instruments. Bands affected this way include The Police, The Cars, Boston, and others.
The Who had one of the most dedicated fan-bases of any band (even rivaling the famed crazed fans of the Grateful Dead). Fans are known to argue in favor of The Who in any musical debate, especially when compared to Led Zeppelin. The music of The Who is still performed in public by many tribute bands, such as The OHM, The Who Show, and The Wholigans in the USA and Who's Next and Who's Who in the UK.
Discography
- For more detailed information see The Who discography.
The Who in popular culture
- Cartoon references archived at thewho.org:
- The Who were featured on The Simpsons season 12 episode 2, "A Tale of Two Springfields", where a The Who concert reunited New Springfield and Old Springfield after a bitter division due to a new telephone area code creation.
- Several screenshots are available at animatedtv.about.com
- Use of Who songs in film and television soundtracks can be found at the discography page.
- The group's song "Eminence Front" is featured as one of the radio tracks in Grand Theft Auto: San Andreas.
- Newer Saab commercials use Pinball Wizard as theme music
- The Who songs are used as theme songs in all three versions of CSI
- "Who Are You" for CSI, The Original Series
- "Won't Get Fooled Again" for CSI: Miami
- "Baba O'Riley" aka "Teenage Wasteland" for CSI: NY
- "Baba O'Riley" was a motif in an episode of House, M.D.
References
- Marsh, Dave (1983). Before I Get Old: The Story of the Who. St. Martin's Press. ISBN 0312071558.
See also
External links
- Official Site
- thewho.org
- The complete discography from Music City
- The Who Location Guide
- The Who Chat Forum
- The Who Lyrics Page
- Code Hot UK -The Who Lyrics
- The Who fan page
- The Who - An Appreciation
- The Who Fan forum and Keith Moon Appreciation Society
- The Who Fan Server List
