Are you ready to explore the dynamic world of The Who’s music and discover the songs that have defined generations? At payoffsong.com, we provide insights into music monetization, licensing opportunities, and creative collaborations that can help you profit from your musical endeavors. Let’s dive into The Who’s most iconic tracks and uncover how their influence resonates within the music industry. Discover the key elements to creating successful music and explore avenues for revenue generation, including music licensing, royalties, and strategic partnerships.
1. “Won’t Get Fooled Again” (‘Who’s Next’, 1971)
Is “Won’t Get Fooled Again” The Who’s ultimate declaration of independence? Absolutely, this song stands as rock’s greatest statement of defiance, combining doubt, refusal, and raw power into an epic anthem. Pete Townshend envisioned the song as a message to politicians and revolutionaries, declaring that his core values were not for sale. According to Townshend, he composed the song intending to communicate to politicians and revolutionaries that his core values were not open for negotiation. Daltrey’s iconic scream amplifies the song’s message, embodying rock’s power to unite and elevate against any oppressive force. Originally part of the Lifehouse project and first recorded in March 1971 with Leslie West of Mountain, it quickly became a live staple. The song’s licensing in TV and films hasn’t diminished its impact, underscoring music’s role as a moral force and salvation.
2. “I Can See for Miles” (‘The Who Sell Out’, 1967)
Why is “I Can See for Miles” considered one of The Who’s best songs? Recorded as a demo in 1966, this track was meticulously crafted into a masterpiece about jealousy and the power of aspiration. Townshend focused on vocal harmonies and structure, recording parts in both London and Los Angeles. Despite its commercial performance in the U.K., where Townshend felt humiliated by its poor sales, the song reached Number Nine in America, becoming their biggest U.S. hit. Townshend recognized its timeless quality, highlighting its exceptional composition. According to Townshend, he dedicated considerable effort to refining vocal harmonies and the song’s overall structure. This song stands as a testament to the band’s experimental approach and musical innovation.
3. “My Generation” (‘My Generation’, 1965)
What makes “My Generation” the ultimate youth anthem? Townshend penned “My Generation” on his 20th birthday, capturing his fears about adulthood. Initially a Jimmy Reed-style blues, it evolved into a rallying cry for mod rebels. The song’s raw energy, Daltrey’s stuttering vocals, and Moon’s explosive drumming created a sense of mounting anxiety, culminating in a recreation of their live gear-trashing finales. It became their first British Top Five hit and a lasting symbol of youth rebellion. Townshend said, “My Generation” reflected his struggle to find his place in society, and it became the Who’s defining track.
4. “A Quick One, While He’s Away” (‘A Quick One,’ 1966)
How did “A Quick One, While He’s Away” pave the way for rock operas? This nine-minute opus, divided into six distinct parts, broke away from traditional pop structures. The “mini opera” tells the story of a woman who cheats on her absent lover with a bloke named Ivor the Engine Driver. Incorporating folk, blues, country, and rock & roll, the song is both hilarious and frenetic. The Who even chanted “cello” due to budget constraints, adding to its unique charm. Townshend later saw it as a reflection of postwar kids being sent away and the changes they undergo when loved ones return.
5. “Love, Reign O’er Me” (‘Quadrophenia’, 1973)
Why is “Love, Reign O’er Me” considered The Who’s mightiest ballad? This grand finale from Quadrophenia opens with rain, drum thunder, and piano. It builds to a climax with Daltrey’s vocals and Moon’s breathtaking drum assault. The title refers to Meher Baba’s comment that rain was a blessing from God, reflecting Townshend’s spiritual inclinations. While it only dented the singles chart, its impact on mixtapes and emotional resonance is undeniable. Townshend described it as representing both spiritual and romantic love.
6. “Baba O’Riley” (‘Who’s Next’, 1971)
What makes “Baba O’Riley” a groundbreaking track? This epic opener of Who’s Next merges spirituality, sonic experimentation, and the power of rock culture. The title pays homage to Meher Baba and composer Terry Riley, whose influence is evident in the song’s keyboard intro. The song addresses the desolation of teenagers after festivals like the Isle of Wight and Woodstock, capturing the era’s cultural complexities. Townshend noted the song’s origins in the Lifehouse project, highlighting its broader commentary on the state of rock music.
7. “I Can’t Explain” (Non-album single, 1964)
How did “I Can’t Explain” launch The Who’s career? As their debut single after changing their name, this power-pop rocket introduced The Who to a mass audience. Townshend described it as a “blurter and burster,” crediting producer Shel Talmy for its raw sound. Townshend admitted it was inspired by the Kinks’ “You Really Got Me.” Talmy brought in session musicians like Jimmy Page and backing vocalists, but the performance is unmistakably the Who. Townshend mentioned it came out of his head when he was 18-and-a-half, marking the start of their influential journey.
8. “Getting in Tune” (‘Who’s Next’, 1971)
What makes “Getting in Tune” a multifaceted track? Daltrey sings that he can’t pretend there’s any hidden meaning, yet the song is filled with deep messages. From the aborted Lifehouse project, the arrangement showcases The Who’s musical range. Starting quietly with piano and bass, it builds into timeless Who thunder. Townshend explained that the lyrics were inspired by Indian Sufi master Hazrat Inayat Khan, who believed music could help individuals get in tune with one another. According to Townshend, the inspiration for the lyrics came from Hazrat Inayat Khan, highlighting the role of music in fostering interpersonal harmony. This theme resonates throughout Townshend’s work.
9. “We’re Not Gonna Take It/See Me, Feel Me” (‘Live at Leeds’, 2001)
How did “We’re Not Gonna Take It/See Me, Feel Me” become a live performance highlight? As documented at Woodstock, the Isle of Wight, and Live at Leeds, Tommy’s grand finale evolved over 100 performances. Townshend originally wrote “We’re Not Gonna Take It” as an anti-fascist song, while “See Me, Feel Me” was inspired by memories of his grandmother. The heraldic “Listening to You” coda, featuring Daltrey, remains a high point of Who sets, demonstrating their enduring stage presence.
10. “Eminence Front” (‘It’s Hard’, 1982)
Why is “Eminence Front” a standout track from It’s Hard? Despite Daltrey’s dislike for the album, “Eminence Front” connected Townshend’s New Wave influences with The Who’s classic sound. Townshend wrote it around a chord progression on his Yamaha E70 organ, hesitating to explain its meaning. It addresses the absurdity of drug-fueled grandiosity, whether pointed at himself or Miami Beach’s cocaine dealers, showcasing the band’s ability to adapt to changing musical landscapes. Townshend recalled discovering the chord progression on his Yamaha E70 organ, capturing the essence of the era’s musical innovation.
11. “Substitute” (Non-album single, 1966)
What inspired the creation of “Substitute”? “Substitute” was inspired by media comparisons of The Who to the Rolling Stones. Townshend wrote it as a spoof of “19th Nervous Breakdown,” even singing with a Jagger-like accent on the demo. The song reached the U.K. Top Five, but Daltrey feels he didn’t nail his vocal until Tommy. The lyrics were altered for its American release. Townshend noted its origins as a humorous take on the band’s perception, highlighting their unique response to industry comparisons.
12. “Behind Blue Eyes” (‘Who’s Next’, 1971)
How does “Behind Blue Eyes” blend tenderness and fury? Townshend called this ballad the closest he’s come to writing a love song for The Who. It’s rumored to be about being tempted by a groupie in 1970, or about the villain of his Lifehouse project. Townshend has admitted to lying his way out of situations, seeing himself in the lyrics. The arrangement shifts from unplugged softness to plugged-in fury, reflecting its multifaceted nature. Townshend has mused on the song’s potential inspiration from a groupie encounter, highlighting its layered lyrical depth.
13. “Pinball Wizard” (‘Tommy’, 1969)
Why is “Pinball Wizard” one of The Who’s most enduring anthems? Townshend wrote it after music critic Nik Cohn suggested adding pinball to Tommy. The resulting “rockaboogie” tune became a hit. Townshend said that if he failed to deliver an operatic masterpiece, “Pinball Wizard” gave them something almost as good: a hit. As Townshend humorously stated, adding pinball to the opera guaranteed a decent review, leading to the creation of this iconic hit.
14. “The Kids Are Alright” (‘My Generation’, 1965)
What makes “The Kids Are Alright” a communal celebration? Recorded in the same session as “My Generation,” this song celebrates the mod subculture with kindness. Originally a B-side, it became a single at the insistence of producer Shel Talmy. Moon claimed the mod image was imposed on the band, but Townshend cherished that allegiance. Townshend told Rolling Stone in 1968 that the mod scene was an unbelievable force.
15. “The Real Me” (‘Quadrophenia’, 1973)
How does “The Real Me” capture the essence of Quadrophenia? As the opening track, it features Entwistle’s greatest recorded performance, described as “a bass solo with vocals.” The song captures the contradictory nature of the album’s main character, Jimmy, challenging others to truly see him. Townshend said the powerful instrumentation underscores the character’s pathetic nature. Townshend emphasized the powerful instrumentation as a backdrop to the character’s vulnerability, highlighting the song’s emotional complexity.
16. “So Sad About Us” (‘A Quick One’, 1966)
What makes “So Sad About Us” a vulnerable moment in The Who’s early years? Townshend called it a terrific number, though the final record differed from his demo. Originally written for the Merseys, it features ringing guitars reminiscent of the Byrds. It’s one of the more vulnerable moments of the band’s early years and has been covered by artists like the Jam and the Breeders. Townshend acknowledged the song’s poignancy, noting its deviation from the band’s typical high-energy sound.
17. “Blue, Red and Grey” (‘The Who by Numbers’, 1975)
How does “Blue, Red and Grey” offer optimism amid darkness? Townshend decided to scale things back after Quadrophenia, creating a stripped-down confessional album. “Blue, Red and Grey” offers optimism, a simple ode to enjoying life written on the ukulele. Townshend was surprised when producer Glyn Johns insisted on including it on The Who by Numbers. Townshend expressed his surprise at its inclusion, contrasting its lightheartedness with the album’s darker themes.
18. “I’m One” (‘Quadrophenia’, 1973)
What personal feelings fuel “I’m One”? Opening with Townshend on acoustic guitar, the song shifts as the band joins in. Townshend said he always felt the guitar was all he had, feeling like a loser. Townshend introduced the song live in 1973, reflecting on his feelings of inadequacy and the solace he found in music.
19. “Tattoo” (‘The Who Sell Out’, 1967)
What narrative does “Tattoo” convey? This initiation story from Townshend’s “absurd album of melody and humor” showcases his commitment to narrative songs. Demoed in Las Vegas, Townshend was inspired by events on the road. Townshend worried Daltrey might not want to sing lyrics about doubting masculinity. Townshend recalled his inspiration stemming from road experiences, questioning the band’s identity.
20. “I’m Free” (‘Tommy’, 1969)
How does “I’m Free” capture the optimism of Tommy? With an elastic guitar riff and uplifting chorus, “I’m Free” is Tommy at its most optimistic. Townshend described it as the opera’s “moment of realization.” Influenced by Meher Baba, its shuffling rhythm was inspired by the Rolling Stones’ “Street Fighting Man.” Townshend described the song as a pivotal moment in the opera, highlighting its spiritual undertones.
21. “My Wife” (‘Who’s Next’, 1971)
What inspired Entwistle to write “My Wife”? After arguing with his wife, Alison, Entwistle took his dogs for a walk and mapped out this tune. He played bass, piano, and horns on the track. The lyrics about a spouse who goes on a murderous tear are quintessential Entwistle. Entwistle said his wife always found the song funny and wanted to hit him with a rolling pin onstage. Entwistle noted his wife’s humorous reaction, underscoring the song’s dark humor.
22. “The Seeker” (Non-album single, 1970)
What themes does “The Seeker” explore? This anthem of spiritual questing was written during a night of partying during a U.S. tour. Townshend called it about “Divine Desperation.” Daltrey name-checks the Beatles, Bob Dylan, and Timothy Leary, but none have the answers. The band self-produced the track, and Townshend played it acoustic at Meher Baba gatherings. Townshend noted its origins in a night of revelry, capturing the essence of a desperate search for meaning.
23. “Magic Bus” (Non-album single, 1968)
How did “Magic Bus” become a psychedelic gem? Written in 1965, this first surfaced as a 1967 single by the Pudding. The Who’s version is a gem of groove-heavy psychedelia, riding a Bo Diddley beat. The eight-minute take on Live at Leeds may be the wildest. Martin Scorsese made it a high point of the soundtrack for Ray Liotta’s coked-up driving scene in Goodfellas. Its inclusion in Goodfellas underscored its enduring appeal and cultural resonance.
24. “Sunrise” (‘The Who Sell Out’, 1967)
What makes “Sunrise” a break from The Who’s intensity? Amid the fake commercials on The Who Sell Out, “Sunrise” is a lovely acoustic track featuring Townshend’s voice and his Harmony 12-string. The bright melody and melancholy lyrics were a break from the Who’s intensity. Townshend wrote it for his mother to show her he could write real music. Townshend mentioned its origins in his desire to showcase his musical versatility to his mother, highlighting its personal significance.
25. “How Many Friends” (‘The Who by Numbers’, 1975)
What emotional honesty does “How Many Friends” reveal? When Townshend played the songs for The Who by Numbers, Moon hugged him. Daltrey sings about having few real friends on this elegiac tune, alluding to Townshend’s conflicted identity. Townshend said that rock was supposed to deliver something different, a hope that wasn’t fulfilled. Townshend reflected on the song’s deeper meaning, expressing unfulfilled expectations from rock music.
26. “A Legal Matter” (‘My Generation’, 1965)
How did “A Legal Matter” mark Townshend’s vocal debut? Townshend made his vocal debut on this ode to divorce. Townshend looked at the B-side to “The Kids Are Alright” as a means of expressing his frustration. It was released as a single the same week Keith Moon married model Kim McLagan. Townshend saw it as a way to express his personal frustrations, highlighting its ironic timing with Moon’s marriage.
27. “Happy Jack” (Non-album single, 1967)
What makes “Happy Jack” a whimsical hit? Townshend wrote this “nonsense song” while thinking about village idiots he saw on the Isle of Man. He claimed it would never be a hit for the Who, but manager Kit Lambert released it as a single. It reached Number 24 in the U.S., and Paul McCartney told him it was his favorite Who song. Townshend expressed his surprise at its success, underscoring its unexpected appeal.
28. “Sparks” (‘Tommy’, 1969)
How does “Sparks” evoke The Who’s live power? This instrumental track evokes the Who’s live power more than anything else on Tommy. Originally titled “Dream Sequence,” “Sparks” got its title from a collection of Meher Baba sayings. It recycled a musical theme from “Rael” on The Who Sell Out. Townshend later said the version on Live at Leeds gets close to what’s possible for that classical-rock thing. Townshend highlighted its live performance potential, noting its embodiment of classical-rock fusion.
29. “Pure and Easy” (‘Odds and Sods’, 1974)
Why is “Pure and Easy” a crucial song from the Lifehouse project? Designed to set the stage for the Lifehouse story, this song about an eternal note of music that unites civilization was scrapped in favor of Who’s Next. It surfaced later on Townshend’s solo LP Who Came First and the Who’s compilation Odds and Sods. Townshend said it was the kernel behind Who’s Next, but its heart was missing from that record. Townshend identified it as the core of the Who’s Next project, expressing regret over its exclusion from the album.
30. “5:15” (‘Quadrophenia’, 1973)
How did “5:15” come together quickly for Quadrophenia? The debut single from Quadrophenia features call-and-response vocals by Daltrey and Townshend. Amid images of sexuality, they describe a pill-loving protagonist over Townshend’s guitar, Entwistle’s horns, and Chris Stainton’s piano. Unlike most of Quadrophenia, “5:15” came to Townshend quickly, written in the studio the day it was recorded. Townshend noted its spontaneous creation amidst the meticulous work of the album, highlighting its unique origin.
31. “Who Are You” (‘Who Are You’, 1978)
What is the story behind “Who Are You”? “Who Are You” summed up Townshend’s disillusion with rock in the late Seventies. Townshend called it a prayer, trying to sort out his understanding of God. He wrote it after a business meeting devolved into a drunken spree, where he met members of the Sex Pistols. Producer Jon Astley cut five minutes out of Townshend’s long demo, creating a Top 20 hit. Astley got to work cutting five minutes out of the song, and the end result became a Top 20 hit in America and the U.K., proof that the Who weren’t done just yet.
32. “You Better You Bet” (‘Face Dances’, 1981)
How does “You Better You Bet” reflect Townshend’s punk enthusiasm? “You Better You Bet” reflects Townshend’s enthusiasm for punk rock, tightening his songwriting. Addressed to his girlfriend, it also hits a note of nostalgia when Daltrey sings about getting drunk “to the sound of old T. Rex.” Daltrey considers it a bright spot on Face Dances, comparing its melody to Elvis Presley. Daltrey, who has compared the song’s bouncing melody to Elvis Presley, considers it a lone bright spot on 1981’s Face Dances, their first album after the death of Moon: “‘You Better You Bet’ is still one of my favorite songs of all.”
33. “Pictures of Lily” (Non-album single, 1967)
What personal inspiration lies behind “Pictures of Lily”? Allegedly written after Townshend’s parents caught him masturbating, this song remains a groundbreaking moment of lyrical intimacy in rock. The title was inspired by a picture of 1920s vaudevillian Lily Bayliss. Daltrey sang the song with “complete innocence,” and the band promoted it with risqué postcards. The song’s title was inspired by a picture Townshend’s girlfriend had of 1920s vaudevillian Lily Bayliss, though he later said, “It’s just a look back at the period in every boy’s life where he has pinups.”
34. “However Much I Booze” (‘The Who by Numbers’, 1975)
How does “However Much I Booze” reveal the struggles of substance abuse? This song reflects the toll of substance abuse on The Who. Townshend declares there’s “ain’t no way out” from his alcohol addiction. Daltrey refused to handle the song’s vocals, and they haven’t played it live in 40 years. Yet, “However Much I Booze” remains a revealing cry for help. “I forced the band into a corner with that material,” he said. It’s easy to see why Daltrey refused to handle the song’s vocals (“I’ve never been drunk onstage in seven years,” he said at the time), and it’s just as easy to understand why they haven’t played it live in 40 years. Yet “However Much I Booze” remains a revealing, moving cry for help.
35. “The Acid Queen” (‘Tommy’, 1969)
What dark drama does “The Acid Queen” convey? Townshend described Tommy’s Acid Queen as a metaphor for peer pressure. Moon’s drumming and Townshend’s lyrics drive home the dark drama. Tina Turner played the Acid Queen in the 1975 film version of Tommy, even more predatorily than Daltrey on the LP. Townshend called her performance “stunning.” Moon’s anarchic drumming and Townshend’s torrential guitar and chilling lyrics (“His head, it shakes/His fingers clutch/Watch his body writhe”) drive home the dark drama.
36. “Slip Kid” (‘The Who by Numbers’, 1975)
What message about fame does “Slip Kid” convey? The Who by Numbers opens with a message about the perils of fame. “Slip Kid” informs would-be rock stars that “it’s a hard, hard world.” Townshend said it was a warning to young kids getting into music. Eddie Vedder turned to the tune for comfort after Pearl Jam’s tragic set in 2000 at Roskilde. “There’s a line [in the song], ‘There’s no easy way to be free,’” he said in 2006. “I was thinking, ‘I couldn’t agree with you more.’”
37. “Long Live Rock” (‘Odds and Sods’, 1974)
How does “Long Live Rock” celebrate The Who’s history? Daltrey brags about the band’s history in this self-aware anthem. Recorded in 1972, the song was originally intended to be part of Rock Is Dead – Long Live Rock, an unfinished album that morphed into Quadrophenia. Townshend wrote in the liner notes that there are dozens of these self-conscious hymns to the last 15 years appearing now. “Long Live Rock” wouldn’t get an official release until the 1974 collection Odds and Sods, with Townshend writing in the liner notes that “there are dozens of these self-conscious hymns to the last 15 years appearing now, and here’s another one.”
38. “Christmas” (‘Tommy’, 1969)
What makes “Christmas” one of Tommy’s saddest moments? “Christmas” is one of the album’s saddest moments, where Tommy’s parents don’t think their deaf, dumb, and blind son could appreciate the holiday. Townshend recorded the song as a sparse, piano-based demo. As soon as the bandmates got their hands on the song, they turned it into a showstopper. For a definitive version of “Christmas,” see the expanded Live at Leeds.
39. “I’m a Boy” (Non-album single, 1966)
What unconventional subject matter does “I’m a Boy” explore? “I’m a Boy” let Who fans know that Townshend was interested in topics beyond typical pop-song subject matter. The story of a boy dressed as a girl was meant to be part of a rock opera called Quads that Townshend never completed. Townshend said he’s always addressed child abuse and neglect, with “I’m a Boy” being the first song to address it. The notion of a child tortured by his parents came back two years later when he began work on Tommy. “I’ve always addressed and acknowledged child abuse, the neglect of children, the misunderstanding of adolescence,” Townshend said in 1993. “The first song in which I addressed it was ‘I’m a Boy,’ but it’s always been there.”
40. “Heaven and Hell” (Non-album B-side, 1970)
How did “Heaven and Hell” become a live staple? The Who opened nearly every gig on their 1970 Tommy tour with Entwistle’s hard-driving “Heaven and Hell.” Entwistle wanted to write a song with a big subject rather than spiders or drunks. The bassist also recorded a version of the song on his 1971 solo album, Smash Your Head Against the Wall. Entwistle said he wanted to write about an important subject.
41. “Young Man Blues” (‘Live at Leeds’, 1970)
What inspired The Who’s version of “Young Man Blues”? The Who started playing Mose Allison’s “Young Man Blues” in 1964. Townshend said the song inspired his first “My Generation” demo. By the time the Who recorded what would become Live at Leeds’ opener, “Young Man Blues” had evolved into a call-and-response between Daltrey and his bandmates. Townshend, the song also inspired his first “My Generation” demo.
42. “Let’s See Action” (Non-album single, 1971)
What activist state of mind fueled “Let’s See Action”? Townshend was inspired by the teachings of Meher Baba, with its “everything is nothing” mantra. He described the song as being about people who act in a revolution versus those who sit back. A demo version surfaced on Townshend’s solo debut, Who Came First. A fascinating demo version surfaced in 1972 on Townshend’s solo debut, Who Came First.
43. “I Can’t Reach You” (‘The Who Sell Out’, 1967)
What spiritual yearning is evident in “I Can’t Reach You”? This pop gem was written by Townshend shortly before he adopted Meher Baba as his spiritual adviser. Townshend admitted he was looking for someone, and the lyrics are ambiguous about whether the object of his desire is spiritual or sexual. Townshend recalled that its simplicity was “caused by my inability to play!” Describing his frame of mind at the time, Townshend later admitted, “I can say without pretensions that I was looking for someone.”
44. “Trick of the Light” (‘Who Are You’, 1978)
What overlooked Who track is “Trick of the Light”? Entwistle wrote songs about men facing their fears. Here, he wrote about a man unsure about his sexual prowess who hires a prostitute. His thundering bass and growling vocals make this his most overlooked Who track. His thundering bass and growling vocals make this his most overlooked Who track.
45. “Bargain” (‘Who’s Next’, 1971)
How did Joe Walsh contribute to “Bargain”? One of the most euphoric moments on Who’s Next got an assist from guitarist Joe Walsh. Walsh gave Townshend a Gretsch acoustic guitar, which he played on “Bargain.” Townshend began work on the song while demo’ing material for his Lifehouse project. What emerged was an open-hearted expression of Townshend’s devotion to Sufism and religious faith. One of the most euphoric moments on Who’s Next got an assist from guitarist Joe Walsh. In 1970, the Who took Walsh’s hard-rock trio the James Gang on tour as an opening act.
46. “Overture” (‘Tommy’, 1969)
Why is “Overture” crucial to Tommy? This five-minute piece opens Tommy and foreshadows its themes. Townshend began it with “It’s a Boy,” but he told Rolling Stone that would have been too blunt. Instead, he juxtaposed “See Me, Feel Me” with “Pinball Wizard” in an instrumental intro. It elevated the rock album to a “rock opera.” Townshend said, “This clues you in to a lot of themes and gives a continuity to the tracks.”
47. “Going Mobile” (‘Who’s Next’, 1971)
What inspired “Going Mobile”? This Townshend-sung track was intended for a car-chase sequence in Lifehouse. It was inspired by Townshend riding around in his mobile caravan. Capturing the feel of driving in an air-conditioned auto, it featured Townshend’s acoustic guitar run through a crude guitar synthesizer. Townshend has said, by “me riding around in the mobile caravan I’ve bought.”
48. “Another Tricky Day” (‘Face Dances’, 1981)
What enduring power is celebrated in “Another Tricky Day”? Though never released as a single, the Who shot a video for “Another Tricky Day.” Townshend thanked keyboardist John “Rabbit” Bundrick for “help and inspiration.” The sentiment is pure Who, a defiant yet complex tune about music’s enduring power. Daltrey sings, “Rock & roll will never die.” “help and inspiration on ‘Another Tricky Day.’” But the sentiment is pure Who, a defiant yet complex tune about music’s enduring power amid life’s problems.
49. “Relax” (‘The Who Sell Out’, 1967)
What unique sound does “Relax” offer? Written before Townshend’s first LSD experience, this slice of power pop echoes the Beatles’ advice for trippers. It’s reminiscent of Syd Barrett’s work with Pink Floyd, featuring a Hammond organ and acid-rock guitar. It concludes with a fury of acid-rock guitar that would launch some of the Who’s more explosive onstage jams during their extensive tours in 1967 and ’68, though it soon left their live set.
50. “Boris the Spider” (‘A Quick One’, 1966)
How did “Boris the Spider” become a live favorite? The first song Entwistle wrote for The Who bowled the band over. It highlighted his dark, absurdist humor and distinct playing style. Never released as a single, it became the group’s most requested live song. Townshend said it was also Jimi Hendrix’s favorite Who song. According to Townshend, it was also Jimi Hendrix’s favorite Who song, which shouldn’t be all that surprising.
Frequently Asked Questions (FAQs)
1. What makes The Who’s music so enduring?
The Who’s music endures because of its blend of raw energy, innovative songwriting, and exploration of complex themes. Their ability to capture the spirit of their generation while pushing musical boundaries has cemented their legacy.
2. How can musicians monetize their songs today?
Musicians can monetize their songs through various avenues, including licensing for films, TV shows, and commercials, streaming royalties, digital downloads, and live performances. Platforms like payoffsong.com offer resources and opportunities for musicians to maximize their earnings.
3. What is music licensing, and why is it important?
Music licensing is the process of granting permission to use copyrighted music in various projects. It’s crucial because it ensures that artists are compensated for their work and protects their intellectual property rights.
4. What role did Pete Townshend play in shaping The Who’s sound?
Pete Townshend was the primary songwriter for The Who, and his innovative compositions, guitar work, and exploration of complex themes were instrumental in shaping the band’s distinctive sound.
5. How did The Who influence other musicians and genres?
The Who’s influence can be seen in various genres, including punk, metal, power pop, and progressive rock. Their energetic performances, innovative songwriting, and willingness to experiment have inspired countless musicians.
6. What are some common challenges musicians face in the music industry?
Common challenges include navigating complex copyright laws, securing fair compensation for their work, standing out in a crowded market, and adapting to changing industry trends.
7. How does payoffsong.com help musicians overcome these challenges?
payoffsong.com provides comprehensive information, resources, and networking opportunities to help musicians understand the music industry, protect their rights, and monetize their work effectively.
8. What is the significance of The Who’s rock operas like “Tommy” and “Quadrophenia”?
“Tommy” and “Quadrophenia” are significant because they elevated the rock album to a new level of artistic expression, combining narrative storytelling with powerful music to create immersive experiences.
9. How did Keith Moon’s drumming style contribute to The Who’s unique sound?
Keith Moon’s drumming style was characterized by its energy, unpredictability, and innovative techniques. His contributions were essential in shaping The Who’s dynamic and distinctive sound.
10. What are some tips for musicians looking to license their music for commercial use?
Tips include creating high-quality recordings, understanding copyright laws, registering your music with performing rights organizations, and networking with industry professionals.
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