The Who, a name synonymous with explosive performances, groundbreaking rock operas, and a raw, untamed energy that defined generations. Emerging from the vibrant British music scene of the 1960s, they quickly transcended their initial mod image to become pioneers of hard rock, power pop, and progressive rock, leaving an indelible mark on the landscape of music history. From their early, adrenaline-fueled anthems to their ambitious concept albums and introspective later work, The Who Songs resonate with a power and relevance that continues to captivate listeners today.
Before they were known as The Who, they briefly operated as The High Numbers, releasing the unremarkable single “Zoot Suit” in 1964. However, the pivotal decision to embrace the name The Who and entrust songwriting to guitarist Pete Townshend ignited a musical revolution. This shift unleashed a torrent of creativity, launching a two-decade golden era that produced some of the most iconic and influential songs in rock. Their music became a blueprint for punk’s rebellious spirit, metal’s sonic intensity, power pop’s melodic punch, and progressive rock’s conceptual scope.
This list of 50 essential the who songs isn’t just a ranking; it’s an exploration of their journey, a testament to their versatility, and a celebration of the enduring power of their music. From explosive singles to deep album cuts, each song chosen here represents a crucial piece of The Who’s multifaceted artistry, offering a comprehensive guide for both longtime devotees and those just beginning to discover the electrifying world of the who songs. Prepare to delve into the heart of rock history and experience the sheer brilliance of The Who.
“Boris the Spider” (‘A Quick One’, 1966)
John Entwistle, The Who’s enigmatic bassist, was often described by Pete Townshend as a “very strange fellow,” an eccentricity that Townshend deeply admired. This strangeness manifested brilliantly in “Boris the Spider,” the first song Entwistle penned for the band, and a track that immediately captivated his bandmates. It showcased Entwistle’s unique dark and absurdist humor, coupled with his distinctive, thunderous bass playing style that often took a lead role within The Who’s sonic architecture. Though never released as a single, “Boris the Spider” defied conventional radio play to become one of the group’s most requested live staples, a testament to its quirky charm and infectious energy. Interestingly, Jimi Hendrix, a fellow guitar innovator, reportedly counted “Boris the Spider” among his favorite the who songs, a nod to Entwistle’s unconventional and powerfully unique approach to his instrument. Townshend himself astutely observed the role reversal within The Who, noting, “What’s interesting in our group is that the roles are reversed. John’s the lead guitar,” highlighting Entwistle’s instrumental prominence and songwriting contributions which set them apart from many of their contemporaries.
“Relax” (‘The Who Sell Out’, 1967)
“Relax” emerged from Pete Townshend’s creative process just prior to his first experience with LSD, resulting in an uncharacteristic foray into paisley-tinged power pop. The song subtly echoes the Beatles’ psychedelic advice from “Tomorrow Never Knows” – “Turn off your mind, relax and float downstream” – capturing a similar vibe of mellow introspection before escalating into sonic exploration. “Relax” bears a stylistic resemblance to the early work of Syd Barrett’s Pink Floyd, featuring a prominent Hammond organ, played by Townshend himself, that ebbs and flows gently in the background, creating a tranquil, almost hypnotic atmosphere. However, this peaceful sonic landscape is ultimately shattered by a furious outburst of acid-rock guitar, a signature element that would become a launchpad for some of The Who’s most explosive and improvisational onstage jams during their extensive tours in 1967 and 1968. Despite its initial prominence in their live sets, “Relax” was eventually retired from their concert repertoire, becoming a fascinating, yet somewhat overlooked gem among the who songs.
“Another Tricky Day” (‘Face Dances’, 1981)
Although never commercially released as a single, “Another Tricky Day” from the Face Dances album stands out as a highlight amidst an otherwise uneven record. The Who even produced a music video for the track, underscoring its importance despite its lack of single status. In the album’s liner notes, Townshend credited Texan keyboardist John “Rabbit” Bundrick, who became a semi-official member of the band during this period, for his “help and inspiration” on “Another Tricky Day,” suggesting a collaborative element in its creation. The song’s sentiment is pure Who, however – a defiant yet nuanced exploration of music’s unwavering power to provide solace and resilience in the face of life’s inevitable challenges. Roger Daltrey’s powerful vocals proclaim, “Rock & roll will never die,” an ironic statement considering The Who would disband just a year later. Despite their temporary dissolution, the enduring truth of that statement is reflected in The Who’s subsequent reunions and continued performances, with “Another Tricky Day” becoming a recurring fixture in their live shows in the years following their return, demonstrating its lasting appeal among the who songs.
“Going Mobile” (‘Who’s Next’, 1971)
“Going Mobile,” a track sung by Pete Townshend, radiates pure exuberance and was initially conceived for a car-chase sequence in the ambitious Lifehouse project before finding its home on Who’s Next. Townshend himself has stated that the song was directly inspired by “me riding around in the mobile caravan I’ve bought,” capturing the liberating feeling of freedom and escape associated with mobile living. The song vividly evokes the sensation of driving in an air-conditioned car, leaving behind the mundane worries of “police and the tax man,” embracing a sense of carefree mobility. Technologically innovative for its time, “Going Mobile” featured one of Townshend’s early experiments with guitar synthesis: his acoustic guitar was processed through what he termed “one of the original crude guitar synthesizers,” producing a distinctive, almost whimsical sound that he playfully described as sounding “just like a duck, doesn’t it?” This playful sonic experimentation adds to the song’s lighthearted and adventurous spirit, making it a unique and memorable entry in the who songs catalog.
“Overture” (‘Tommy’, 1969)
“Overture,” the five-minute instrumental piece that dramatically opens Tommy, serving as both a thematic and musical prologue, was surprisingly a late addition to the rock opera. Initially, Townshend intended to begin the album with “It’s a Boy,” but he explained in a 1969 Rolling Stone interview, “That would have been too blunt of an opening.” Instead, he masterfully crafted “Overture” to act as a sophisticated introduction, juxtaposing the urgent energy of “See Me, Feel Me” with the joyful exuberance of “Pinball Wizard” within a purely instrumental framework. This ingenious approach, as Townshend described, “clues you in to a lot of themes and gives a continuity to the tracks,” effectively setting the stage for the sprawling narrative and musical journey that is Tommy. “Overture” single-handedly elevated the rock album to a new level of artistic ambition, solidifying the concept of the “rock opera” and demonstrating the power of instrumental music to convey complex emotions and narrative threads within the who songs.
“Bargain” (‘Who’s Next’, 1971)
“Bargain,” one of the most euphoric and uplifting moments on Who’s Next, received an unexpected contribution from guitarist Joe Walsh. In 1970, The Who enlisted Walsh’s hard-rock trio, the James Gang, as their opening act on tour. As a gesture of gratitude, Walsh gifted Townshend a Gretsch acoustic guitar, an instrument that would become integral to the recording of “Bargain.” Townshend initially conceived the song while demoing material for his Lifehouse project. He explained, “On Lifehouse, it was a love song, but a song about a higher love, a love between disciple and master,” revealing the song’s spiritual origins. What emerged was an open-hearted and passionate expression of Townshend’s devotion to Sufism and religious faith in general, contemplating “how much of a bargain it would be even to love everything in order to be at one with God,” as he later elaborated. Over several recording sessions with producer Glyn Johns at London’s Olympic Studio, “Bargain” evolved into a triumphant anthem, fueled by Keith Moon’s explosive yet intricately nuanced drumming, widely regarded as one of his finest studio performances, and Roger Daltrey’s soaring vocals that elevated the song’s powerful sentiment. Daltrey reflected years later that Who’s Next songs like “Bargain” were deeply “rooted inside of us,” emphasizing the personal and profound connection the band had with this iconic track among the who songs.
“Trick of the Light” (‘Who Are You’, 1978)
John Entwistle’s songwriting often explored themes of male anxieties and confrontations with fear, manifesting in songs about a furious spouse (“My Wife”), alcoholism (“Whiskey Man”), a menacing spider (“Boris the Spider”), and even death itself (“Heaven and Hell”). In “Trick of the Light,” he tackled a more intimate and humorous vulnerability: a man grappling with insecurity about his sexual prowess who seeks validation from a prostitute, pleading for an honest assessment of his abilities. Entwistle’s own performance on the track is characteristically powerful, with his thundering basslines and growling vocals taking center stage, making “Trick of the Light” arguably his most overlooked and underrated contribution to the who songs catalog. In the Who Are You liner notes, Townshend aptly described Entwistle’s bass playing on the track as sounding like “a musical Mack truck,” perfectly capturing its sheer force and driving rhythm.
“I Can’t Reach You” (‘The Who Sell Out’, 1967)
Originally titled “See, Feel, Hear You,” foreshadowing the later hit “See Me, Feel Me,” “I Can’t Reach You” is a rapturous and yearning pop gem penned by Townshend shortly before he embraced Meher Baba as his spiritual advisor. Reflecting on his state of mind at the time, Townshend later confessed, “I can say without pretensions that I was looking for someone,” suggesting a spiritual seeking that permeated his songwriting. The song’s lyrics, however, maintain an intriguing ambiguity, leaving it open to interpretation whether the object of his desire is spiritual or romantic, adding to its universal appeal. “I Can’t Reach You” also marks a significant moment in Townshend’s songwriting evolution as one of the first songs he composed on piano. He happily recalled that its refreshing simplicity was “caused by my inability to play!” – a testament to how limitations can sometimes spark creativity, resulting in a uniquely charming and resonant track among the who songs.
“Let’s See Action” (Non-album single, 1971)
Released in the period between the monumental albums Who’s Next and Quadrophenia, the non-album single “Let’s See Action” found Townshend in an uncharacteristically activist frame of mind. Sung in a tag-team vocal style over acoustic guitar and boogie-woogie piano played by Nicky Hopkins, the song’s lyrical inspiration stemmed partly from the teachings of Meher Baba, evident in its “everything is nothing” mantra. Townshend later described the song as being “about the people who act in a revolution, and the people that sit back. I thought it also said a lot about the way we forget our souls most of the time,” revealing a deeper philosophical and spiritual layer beneath its outwardly energetic and anthemic surface. A more intimate and stripped-down demo version of “Let’s See Action” surfaced in 1972 on Townshend’s solo debut album, Who Came First, offering an alternative perspective on this powerful and thought-provoking track among the who songs.
“Young Man Blues” (‘Live at Leeds’, 1970)
The Who’s history with Mose Allison’s “Young Man Blues,” an American jazz-blues song, dates back to 1964, when they were still known as the Detours. According to Townshend, the song’s raw energy and structure even served as an early inspiration for his iconic “My Generation” demo, indicating its formative influence on The Who’s developing sound. The band initially recorded “Young Man Blues” during the early Tommy sessions, but Townshend ultimately opted to include their rendition of Sonny Boy Williamson’s “Eyesight to the Blind” instead. By the time The Who recorded what would become the raging opener for Live at Leeds (though actually the fifth song performed in the set), “Young Man Blues” had undergone a significant transformation. It had evolved into a powerhouse of call-and-response between Roger Daltrey and his bandmates, becoming a showcase for their unparalleled live energy and improvisational prowess, cementing its place as a definitive live track among the who songs.
“Heaven and Hell” (Non-album B-side, 1970)
“Heaven and Hell,” a hard-driving composition by John Entwistle, served as the opening salvo for nearly every gig on The Who’s 1970 Tommy tour. This death-obsessed tune functioned as an energetic warm-up, immediately grabbing the audience’s attention and setting the stage for their intense performances. Entwistle explained his ambition for the song: “I basically wanted to write a song with a big subject, an important subject rather than spiders or drunks,” indicating a desire to explore more profound themes in his songwriting. “The original version … had a different chorus. It was basically ‘I’d much rather stay in the middle with my friends because I don’t like the sound of either of them.’ I still don’t. I don’t fancy hell or heaven,” revealing a characteristic dark humor even when contemplating weighty subjects. Entwistle also recorded a version of “Heaven and Hell” for his 1971 solo album, Smash Your Head Against the Wall, further highlighting his personal connection to this powerful and often overlooked track among the who songs.
“I’m a Boy” (Non-album single, 1966)
Released in August 1966, “I’m a Boy” immediately signaled to Who fans that Pete Townshend was venturing into lyrical territories far beyond typical pop song conventions. The song tells the story of a boy forced by his parents to dress as a girl, a concept originally intended to be part of a never-completed rock opera called Quads. While Quads remained unrealized, the theme of a child tormented by parental figures resurfaced two years later when Townshend began work on Tommy, suggesting a persistent thematic concern in his creative mind. “I’ve always addressed and acknowledged child abuse, the neglect of children, the misunderstanding of adolescence,” Townshend stated in 1993. “The first song in which I addressed it was ‘I’m a Boy,’ but it’s always been there,” emphasizing the song’s pioneering role in addressing sensitive and complex social issues within the who songs.
“Christmas” (‘Tommy’, 1969)
“Christmas,” which opens side two of Tommy, stands as one of the album’s most poignant and heartbreaking moments. The song reveals the tragic perspective of Tommy’s parents, who mistakenly believe their deaf, dumb, and blind son is incapable of appreciating the holiday spirit. Townshend’s initial demo of “Christmas” was sparse and piano-based, reflecting the song’s melancholic core. (The original lyrics even contained the line “playing with himself, he sits and smiles,” which was later revised to introduce Tommy’s iconic love for pinball, demonstrating the evolution of the character). However, once his bandmates got hold of the song, they transformed it into a bombastic and emotionally charged showstopper, with both Townshend and Daltrey sharing vocal duties, creating a powerful dynamic. For a truly definitive rendition of “Christmas,” the expanded Live at Leeds album offers a particularly compelling and intense performance of this emotionally resonant track among the who songs.
“Long Live Rock” (‘Odds and Sods’, 1974)
“We were the first band to vomit in the bar,” Roger Daltrey brashly proclaims in “Long Live Rock,” a self-aware anthem that simultaneously celebrates The Who’s own history and satirizes the excesses of rock and roll. The song, recorded in 1972, was originally intended for Rock Is Dead – Long Live Rock, an autobiographical album project that ultimately morphed into Quadrophenia. “Long Live Rock” wouldn’t see official release until the 1974 compilation Odds and Sods. In the liner notes for Odds and Sods, Townshend wryly observed, “there are dozens of these self-conscious hymns to the last 15 years appearing now, and here’s another one,” placing “Long Live Rock” within a broader trend of rock bands reflecting on their own legacies. Despite its somewhat cynical tone, “Long Live Rock” remains a high-energy, celebratory track, filled with allusions to clueless promoters and ticket scalpers, offering a humorous and insightful glimpse into the realities of the rock and roll lifestyle, and a unique entry in the who songs catalog.
“Slip Kid” (‘The Who by Numbers’, 1975)
The Who by Numbers, an intensely personal and confessional album, opens with “Slip Kid,” a deceptively upbeat song carrying a stark message about the hidden perils of fame. The seemingly bouncy melody belies the song’s warning to aspiring rock stars: “it’s a hard, hard world.” Townshend explained the song’s intent: “It came across as a warning to young kids getting into music that it would hurt them. It was almost parental in its assumed wisdom,” revealing a protective and cautionary undercurrent. Following Pearl Jam’s tragic Roskilde festival set in 2000, which resulted in the deaths of nine fans, Eddie Vedder found solace in “Slip Kid.” “There’s a line [in the song], ‘There’s no easy way to be free,'” Vedder reflected in 2006. “I was thinking, ‘I couldn’t agree with you more,'” highlighting the song’s enduring resonance and poignant truth about the complexities of fame and freedom, making it a powerful and often overlooked track among the who songs.
“The Acid Queen” (‘Tommy’, 1969)
Townshend described Tommy‘s Acid Queen character as a metaphor for peer pressure, portraying her as a “black-hearted gypsy who had promised to bring Tommy out of his autistic condition but was actually a sexual monster, using drugs to break him.” The song’s musical intensity perfectly matches its dark narrative: Keith Moon’s anarchic drumming and Townshend’s torrential guitar riffs, coupled with chilling lyrics (“His head, it shakes/His fingers clutch/Watch his body writhe”), drive home the unsettling drama of the encounter. When Tina Turner took on the role of the Acid Queen for the 1975 film adaptation of Tommy, she amplified the character’s predatory nature even further than Daltrey’s vocal portrayal on the album. Townshend himself praised her performance as “stunning,” acknowledging Turner’s powerful interpretation of this complex and disturbing character within the who songs.
“However Much I Booze” (‘The Who by Numbers’, 1975)
If there was any doubt about the toll substance abuse was taking on The Who by 1975, “However Much I Booze” from The Who by Numbers served as a stark and unflinching confession. In the song, Townshend declares there “ain’t no way out” from his crippling alcohol addiction, revealing a raw vulnerability seldom heard in rock anthems. “I forced the band into a corner with that material,” Townshend admitted, acknowledging the discomfortingly personal nature of the song. It’s understandable why Daltrey refused to sing lead vocals on “However Much I Booze” (“I’ve never been drunk onstage in seven years,” he stated at the time), and equally understandable why The Who haven’t performed it live in four decades. Yet, despite its uncomfortable honesty, “However Much I Booze” remains a deeply revealing and moving cry for help, a stark reminder of the personal struggles behind the rock star facade, and a uniquely raw entry in the who songs catalog.
“Pictures of Lily” (Non-album single, 1967)
Allegedly inspired by an incident where Townshend’s parents caught him masturbating (and subsequently questioned, “Why can’t he go out with girls, like other boys?”), “Pictures of Lily” stands as a groundbreaking moment of lyrical intimacy and honesty in rock, delivered with a surprising dose of humor. The song’s title originated from a picture Townshend’s girlfriend possessed of 1920s vaudevillian Lily Bayliss, though he later clarified, “It’s just a look back at the period in every boy’s life where he has pinups,” broadening its relatability. Roger Daltrey sang the song with what he described as “complete innocence,” adding to its charmingly naive quality, and the band promoted it with a series of risqué postcards, generating a mild controversy that ironically contributed to its Top 10 chart success. “Pictures of Lily” remains a landmark in rock for its frank and humorous exploration of adolescent sexuality, and a uniquely catchy and memorable entry among the who songs.
“You Better You Bet” (‘Face Dances’, 1981)
“A surprise hit single for us,” Townshend recalled of “You Better You Bet,” adding, “We even went back on Top of the Pops,” highlighting its unexpected commercial resurgence for The Who in the early 1980s. Tough and direct, “You Better You Bet” reflects the influence of punk rock on Townshend’s songwriting, tightening its structure and adding a raw edge. Addressed to his new girlfriend, the lyrics also weave in a touch of sly nostalgia when Daltrey sings about getting drunk “to the sound of old T. Rex,” subtly referencing the glam rock era that preceded punk. Daltrey, who has compared the song’s bouncy melody to Elvis Presley, considers it a singular bright spot on 1981’s Face Dances, their first album following Keith Moon’s death: “’You Better You Bet’ is still one of my favorite songs of all,” underscoring its enduring appeal and its unique position within the who songs catalog as a bridge between their classic sound and a more contemporary sensibility.
“Who Are You” (‘Who Are You’, 1978)
“Who Are You,” one of the last great lionhearted anthems from The Who, encapsulates Townshend’s growing disillusionment with the direction rock music had taken in the late 1970s and his yearning for authenticity amidst the prevailing malaise. “It’s actually a prayer,” Townshend later revealed. “I was trying to sort out who, where, what God was,” indicating a deeper spiritual quest beneath the song’s rock exterior. He penned the song after a contentious business meeting regarding unpaid royalties devolved into a drunken spree, during which Townshend encountered two members of the Sex Pistols at the Speakeasy club. Falling to his knees before drummer Paul Cook, he famously declared, “Rock has gone down the fuckin’ tubes,” an incident that planted the seed for this powerful song. “Who Are You” became, in Townshend’s words, “an encyclopedia for up-and-coming groups about how not to get caught,” a cautionary tale about the pitfalls of the music industry. Finishing “Who Are You” proved challenging. Producer Jon Astley recalled that Townshend “turned up with this very long demo of the track … with all this stuff happening on it.” Astley undertook the task of cutting five minutes from the song, and the resulting, more concise version became a Top 20 hit in both America and the U.K., proving that The Who, despite internal and external pressures, were far from finished, and solidifying “Who Are You” as a signature track among the who songs.
“5:15” (‘Quadrophenia’, 1973)
“5:15,” the debut single from Quadrophenia and the opening track of the album’s second disc, is delivered with call-and-response vocals by Daltrey and Townshend, creating a dynamic interplay. Amidst vivid imagery of polymorphous sexuality, the lyrics depict a pill-fueled protagonist (“Out of my brain on the train”) set against Townshend’s aggressive guitar lines, bold horns arranged by Entwistle, and rollicking piano courtesy of Joe Cocker’s sideman, Chris Stainton. Unlike much of Quadrophenia, which was meticulously crafted and painstakingly recorded, “5:15” emerged surprisingly quickly for Townshend. “While I was killing time between appointments,” he recalled, emphasizing its spontaneous creation, and it was even written in the studio on the very day it was recorded, highlighting its raw and immediate energy, making it a standout track among the who songs.
“Pure and Easy” (‘Odds and Sods’, 1974)
“Pure and Easy,” a crucial song originating from the abandoned Lifehouse project, was initially intended to lay the conceptual groundwork for that album’s narrative, centered around an eternal note of music unifying civilization. However, when Townshend made the decision to scrap Lifehouse in favor of Who’s Next, the majestic “Pure and Easy” was left on the cutting-room floor, eventually surfacing on his 1972 solo LP Who Came First and The Who’s 1974 compilation Odds and Sods. “It was the kernel behind Who’s Next,” Townshend explained, emphasizing its foundational importance to that album’s creative direction. “But it never made it onto that record. In a sense, the heart [of Who’s Next] was missing,” suggesting that while Who’s Next was a masterpiece, “Pure and Easy” represented a core philosophical element that remained absent, making it a conceptually significant, if somewhat overlooked, track among the who songs.
“Sparks” (‘Tommy’, 1969)
“Sparks,” a Wagnerian instrumental track from Tommy, arguably captures the raw live power of The Who more effectively than any other song on the rock opera. Townshend had envisioned Tommy incorporating more interstitial instrumental pieces, potentially including battle noises and pinball sound effects, but these ideas were ultimately abandoned in his rush to complete the ambitious album. Originally titled “Dream Sequence,” “Sparks” derived its final title from a 1962 collection of Meher Baba sayings called Sparks of the Truth, reflecting Townshend’s spiritual influences. Musically, it recycled a theme from “Rael,” a mini-opera featured on The Who Sell Out, demonstrating Townshend’s self-referential and thematic approach to composition. Townshend later asserted that the live version of “Sparks” on Live at Leeds “gets as close as what’s possible for that classical-rock thing,” highlighting its fusion of classical grandeur and rock intensity, making it a powerful instrumental statement among the who songs.
“Happy Jack” (Non-album single, 1967)
Townshend described “Happy Jack” as a whimsical, two-minute “nonsense song,” written while contemplating the archetypal village idiot figure he encountered during childhood summers on the Isle of Man, where his family spent their vacations. He emphatically declared that “never in a million years will it be a hit for the Who,” underestimating its commercial appeal. Despite Townshend’s reservations, manager Kit Lambert released it as a U.K. single in 1966. To Townshend’s surprise, its jittery rhythm, surprisingly empathetic lyrics, and sweet harmonies propelled it to Number 24 on the U.S. charts, delivering what he called a “hard ego lesson.” Adding to the humbling experience, Paul McCartney later informed Townshend that “Happy Jack” was his favorite Who song, further solidifying its unexpected charm and enduring popularity among the who songs.
“A Legal Matter” (‘My Generation’, 1965)
“A Legal Matter” holds the distinction of being Pete Townshend’s vocal debut on a Who track. This impish ode to divorce served as the B-side to “The Kids Are Alright.” Roger Daltrey, who was married at the time, may have felt uneasy singing lyrics like “I gain and lose my women fast,” given their personal context. Townshend, on the other hand, viewed the hard-charging track as an outlet for expressing his own frustrations, stating, “It’s terrible feeling like an eligible bachelor but with no women seeming to agree with you,” revealing a personal motivation behind its creation. “A Legal Matter” was later released as a single in its own right, ironically, during the same week in 1966 when Keith Moon married model Kim McLagan, adding a layer of real-life irony to the song’s themes of relationships and commitment, making it a unique and early example of the who songs.
“How Many Friends” (‘The Who by Numbers’, 1975)
When Townshend first presented the brutally honest and emotionally desolate songs that would comprise The Who by Numbers to his bandmates, Keith Moon’s reaction was particularly telling: he walked over and embraced the guitarist. “How Many Friends,” with its elegiac tone, embodies this emotional landscape. “How many friends have I really got?/ You can count ’em on one hand,” Daltrey sings, capturing the song’s sense of isolation and disillusionment. The lyrics subtly allude to Townshend’s conflicted sexual identity and his growing emotional distance from The Who. “There was something else behind that song,” Townshend later reflected, suggesting a deeper, perhaps unspoken meaning. “That rock itself was supposed to deliver something different. That was a hope that wasn’t fulfilled,” hinting at a broader disappointment with the promises and realities of rock and roll, making “How Many Friends” a deeply personal and poignant track among the who songs.
“Sunrise” (‘The Who Sell Out’, 1967)
Amidst the satirical fake commercials, psychedelic soundscapes, and bizarre comic elements of The Who Sell Out, “Sunrise” emerges as a moment of unexpected beauty and tranquility. This lovely acoustic track features only Townshend’s voice and his Harmony 12-string guitar, offering a stark contrast to The Who’s signature chaotic intensity. The song’s bright melody, nimble finger-picking, and melancholic lyrics represented a stylistic departure, and not all band members were entirely enthusiastic about Townshend’s branching out. “Keith didn’t want that on the record,” Townshend revealed in 1980. “In a way, that’s a bit of a giveaway to the fact that at the time I was studying a bit of this jazz thing. I wrote it for my mother to show her that I could write real music,” indicating a personal and perhaps slightly defensive motivation behind its inclusion, making “Sunrise” a uniquely gentle and introspective entry in the who songs catalog.
“Magic Bus” (Non-album single, 1968)
“Magic Bus,” written as far back as 1965, initially surfaced as an obscure 1967 single by beatnik barbershop pop group The Pudding. The Who’s own rendition transformed it into a gem of groove-heavy psychedelia. Riding a Bo Diddley beat with a signature clave rhythm played by the band’s road manager/sound man Bob “Ben Pump” Pridden, “Magic Bus” became a showcase for The Who’s rhythmic inventiveness. It exists in various recorded versions, but the extended, eight-minute take featured on Live at Leeds, with Daltrey’s wailing harmonica adding to its raw energy, is arguably the wildest and most definitive. Fittingly, Martin Scorsese prominently featured “Magic Bus” on the soundtrack for Ray Liotta’s iconic coked-up driving scene in Goodfellas, perfectly capturing the song’s frenetic energy and hallucinatory vibe, solidifying its status as a classic and dynamic track among the who songs.
“The Seeker” (Non-album single, 1970)
This anthem of spiritual questing, “The Seeker,” wasn’t conceived in a serene ashram, but rather during a night of hard partying on a U.S. tour. Townshend wrote it in a “mosquito-ridden swamp [in Florida] at three in the morning, drunk out of my brain,” as he recounted. “Quite loosely,” he explained, “‘The Seeker’ [is about] what I call Divine Desperation,” capturing the paradoxical nature of seeking spiritual truth amidst earthly chaos. In lyrics that predate John Lennon’s “God” (released later the same year), Daltrey name-checks the Beatles, “Bobby Dylan,” and Timothy Leary, only to conclude that none of them possess the answers he seeks. “We’re looking at each other,” he sings, “and we don’t know what to do,” highlighting the universal human search for meaning and direction. Unusually, The Who self-produced “The Seeker” as producer Kit Lambert was incapacitated with a broken jaw. Despite this setback, the sound mix roared, and it became the first single The Who released after the triumph of Tommy. While “The Seeker” underperformed on the pop charts, it remained a potent statement. Townshend performed it acoustically at Meher Baba gatherings, and The Who’s live performances of the song were overpowering – “an elephant,” Townshend described, that “finally stampeded itself to death on stages around England,” emphasizing its raw, untamed power and its enduring appeal among the who songs.
“My Wife” (‘Who’s Next’, 1971)
“My Wife,” a John Entwistle composition, arose from a domestic argument. After a disagreement with his wife, Alison, Entwistle took his dogs for a walk. By the time he returned home, the entire song was mapped out in his head – “one of those instant songs,” he recalled, highlighting its spontaneous creation. Entwistle himself played bass, piano, and horns on the thunderous track, showcasing his multi-instrumental talent. The deadpan lyrics, depicting a spouse embarking on a murderous rampage upon suspecting her husband’s infidelity, are quintessential Entwistle – darkly humorous and absurd. “She always thought it was very funny,” Entwistle said of Alison’s reaction to “My Wife.” “She always had the ambition to come on and hit me over the head with a rolling pin halfway through it when I was doing it onstage,” revealing a lighthearted acceptance of the song’s outlandish scenario within their relationship, and solidifying “My Wife” as a uniquely humorous and powerful track among the who songs.
“I’m Free” (‘Tommy’, 1969)
“I’m Free,” with its elastic guitar riff and uplifting chorus, represents Tommy at its most optimistic and celebratory. In his 2012 memoir, Townshend described it as the opera’s “moment of realization,” a pivotal point in Tommy’s journey. It’s one of many songs Townshend wrote during this period that were deeply influenced by the teachings of Meher Baba, reflecting his spiritual exploration. Musically, the song’s shuffling rhythm drew inspiration from a more earthly source: the Rolling Stones’ 1968 classic “Street Fighting Man.” “When I finally discovered how [the Stones song] went,” Townshend explained, “I thought, ‘Well, blimey, it can’t be that simple’ but it was … and I wanted to do it myself,” revealing a direct musical influence and a desire to emulate that raw rhythmic energy, making “I’m Free” a powerful and anthemic track among the who songs.
“Tattoo” (‘The Who Sell Out’, 1967)
This clever and poignant coming-of-age story from Townshend’s “absurd album of melody and humor,” The Who Sell Out, “Tattoo” stands as an early example of his commitment to narrative songwriting. “Tattoo” was initially demoed in Las Vegas during a brief three-day respite from The Who’s 1967 American tour opening for Herman’s Hermits, highlighting its creation amidst the whirlwind of touring life. Townshend later stated he “was inspired by recent events on the road: Were we men or were we something else?” revealing the song’s exploration of masculinity and identity. The guitarist admitted he was concerned Daltrey might be reluctant to sing lyrics that questioned male self-assurance. “He sang it really well,” Townshend recalled. “And I realized then … he’s got the same insecurities I do,” suggesting a shared vulnerability between the band members and a deeper connection to the song’s themes, making “Tattoo” a nuanced and insightful track among the who songs.
“I’m One” (‘Quadrophenia’, 1973)
“I’m One” from Quadrophenia begins intimately, with Townshend’s heartbreaking high tenor vocals over acoustic guitar, creating a sense of vulnerability. However, this quiet introspection dramatically shifts in the second verse, as the singer unleashes his electric guitar like a switchblade, and the full band explodes into action alongside him, mirroring the protagonist’s internal struggle and sudden bursts of defiance. “When I was a nipper, I always used to feel that the guitar was all I had,” Townshend shared when introducing the song live in 1973. “I wasn’t tough enough to be a member of the gang, not good-looking enough to be in with the birds, not clever enough to make it at school, not good enough with the feet to make a good football player. I was a fucking loser. I think everybody feels that way at some point,” revealing the deeply personal and autobiographical roots of the song, and making “I’m One” a powerfully relatable and emotionally resonant track among the who songs.
“Blue, Red and Grey” (‘The Who by Numbers’, 1975)
Following the epic scale of Quadrophenia, Townshend consciously opted for a more scaled-back and confessional approach with The Who by Numbers, creating a stripped-down album exploring his own insecurities and inner demons. “Blue, Red and Grey” offers a rare moment of optimism within this darker landscape, a simple yet oddly beautiful ode to appreciating life’s small joys. Remarkably, it was written on the ukulele and initially recorded as a home demo, highlighting its humble origins. Townshend was genuinely surprised when producer Glyn Johns insisted on including it on The Who by Numbers. “I said, ‘What? That fucking thing?'” Townshend recalled. “‘Here’s me wanting to commit suicide, and you’re going to put that thing on the record?'” Despite Townshend’s initial skepticism, “Blue, Red and Grey” provides a crucial moment of lightness and unexpected beauty within the album’s overall somber tone, making it a unique and charming track among the who songs.
“So Sad About Us” (‘A Quick One’, 1966)
“I think it’s a terrific number,” Townshend commented on “So Sad About Us” in 1966. “We do it onstage – but the final record was nothing like the original demo disc I made of it,” indicating a significant evolution from its initial conception to the final recorded version. The Who recorded this prim breakup tune in 1966, although it was originally written for the Merseys, a band sharing The Who’s manager who had a hit with their Townshend-produced version of the song that same year. With an intro reminiscent of the Byrds’ ringing guitars, “So Sad About Us” stands as one of the more vulnerable moments from The Who’s breakneck early years. While never released as a single by The Who, it has been covered by a diverse range of artists, from The Jam to The Breeders, demonstrating its enduring appeal and classic songwriting, making it a well-respected and often covered track among the who songs.
“The Real Me” (‘Quadrophenia’, 1973)
“The Real Me” serves as the explosive opening salvo for Quadrophenia, immediately grabbing the listener’s attention with the sound of four musicians driving at full throttle. John Entwistle delivers what many consider his greatest recorded performance on bass – as he proudly stated, the song was essentially “a bass solo with vocals,” highlighting his instrumental dominance. “The Real Me” perfectly captures the contradictory nature of Quadrophenia‘s main character, Jimmy, as he screams at his mother, his priest, and his psychiatrist, desperately challenging them to truly understand him. “You have the big, big, big bass of John Entwistle, the big, big drums of Keith Moon, the power chords, the huge voice of Roger Daltrey,” Townshend observed, “and what they’re actually saying is ‘I’m a pathetic little wimp,'” revealing the underlying vulnerability beneath the song’s aggressive exterior, and making “The Real Me” a powerful and complex track among the who songs.
“The Kids Are Alright” (‘My Generation’, 1965)
“It sounds symphonic,” Townshend remarked about “The Kids Are Alright,” highlighting its surprisingly rich and layered sound for an early Who track. Recorded during the same session that produced “My Generation,” “The Kids Are Alright” is another celebration of the mod subculture, but it replaces the angry defiance of “My Generation” with a more communal and kindhearted sentiment, offering a more optimistic perspective on youthful rebellion. Originally intended as a B-side for “My Generation,” it was elevated to single status at the insistence of producer Shel Talmy, recognizing its standalone appeal. Keith Moon later claimed the mod image was somewhat imposed on the band, but Townshend held a much deeper allegiance to the mod ethos. “As a force, they were unbelievable,” he told Rolling Stone in 1968. “Everybody just grooving on being a mod,” emphasizing the cultural significance of the mod movement and its reflection in “The Kids Are Alright,” making it a classic and uplifting track among the who songs.
“Pinball Wizard” (‘Tommy’, 1969)
When Townshend was initially developing Tommy, he played it for music critic Nik Cohn, who felt the emotionally intense opera was somewhat too dark in tone. “If it had pinball in it, would you give it a decent review?” the guitarist jokingly asked Cohn. Cohn responded, “Of course I would. Anything with pinball in it is fantastic,” sparking the idea for “Pinball Wizard.” The resulting “rockaboogie” tune, as Townshend himself termed it, became one of The Who’s most enduring anthems. As he later reflected, “If I had failed to deliver the Who an operatic masterpiece that would change people’s lives, with ‘Pinball Wizard’ I was giving them something almost as good: a hit,” acknowledging its commercial success and its ability to capture the essence of Tommy in a more accessible and energetic format, solidifying “Pinball Wizard” as an iconic and instantly recognizable track among the who songs.
“Behind Blue Eyes” (‘Who’s Next’, 1971)
Townshend once described “Behind Blue Eyes” as “the closest to a love song I’ve ever written and managed to get the Who to perform,” highlighting its personal and romantic nature, a relative rarity in The Who’s catalog. He has suggested that “Behind Blue Eyes” is about being tempted (but ultimately resisting) a groupie encounter while on tour in 1970. However, he has also indicated that the song relates to the villain of his Lifehouse project, who was “feeling he is forced into playing a two-faced role,” hinting at themes of duality and inner conflict. In this context, Townshend saw a reflection of himself in the lyrics: “I do tend to lie my way out of things more often than I should,” he confessed, adding a layer of personal introspection. Regardless of its specific inspiration, the arrangement of “Behind Blue Eyes” – which seamlessly transitions from unplugged softness to plugged-in fury – is as multifaceted and emotionally complex as its lyrics, making it a powerful and enduring ballad among the who songs.
“Substitute” (Non-album single, 1966)
“Substitute” was directly inspired by the media’s frequent comparisons of The Who to the Rolling Stones, often portraying them as a lesser, “substitute” version. “It was written as a spoof of ’19th Nervous Breakdown,'” Townshend explained in 1971, referencing the Rolling Stones’ hit. “On the demo, I sang with an affected Jagger-like accent,” highlighting its satirical intent. Despite its origins as a playful jab, “Substitute” became a major hit, reaching the U.K. Top Five. For its American release, however, Daltrey was compelled to alter the lyric “I look all white, but my dad was black” to the more ambiguous “I try going forward, but my feet walk back,” due to sensitivities surrounding racial themes. Even with this change, “Substitute” failed to make a significant impact on the U.S. charts, and Daltrey himself has expressed dissatisfaction with his vocal performance, stating, “I didn’t really find my voice until we got to Tommy,” suggesting a sense of artistic evolution and refinement that came later, despite “Substitute”‘s success as a dynamic and witty track among the who songs.
“Eminence Front” (‘It’s Hard’, 1982)
Following 1982’s critically and commercially disappointing It’s Hard, The Who wouldn’t record another album until 2006. “I hated it,” Roger Daltrey bluntly stated of It’s Hard. “I still hate it,” reflecting a widespread negative perception of the album. However, the LP’s sole hit, “Eminence Front,” demonstrated that The Who could still effectively merge Townshend’s New Wave-influenced solo work with their classic Who’s Next-era sound, creating a surprisingly contemporary and resonant track. “‘Eminence Front’ was written around a chord progression I discovered on my faithful Yamaha E70 organ,” Townshend recalled, highlighting its keyboard-driven composition. “I hesitate to try to explain what it was about. It’s clearly about the absurdity of drug-fueled grandiosity, but whether I was pointing the finger at myself or at the cocaine dealers of Miami Beach is hard to recall,” suggesting a self-aware critique of excess and illusion, making “Eminence Front” a standout and somewhat unexpected hit among the who songs.
“We’re Not Gonna Take It/See Me, Feel Me” (‘Live at Leeds’, 2001)
As documented at Woodstock, the Isle of Wight, and on the complete Live at Leeds reissue, Tommy‘s grand finale, “We’re Not Gonna Take It/See Me, Feel Me,” evolved into an even more expansive and powerful performance piece over the course of more than 100 live renditions of the rock opera during 1969 and 1970. Townshend originally conceived “We’re Not Gonna Take It” as an anti-fascist song prior to conceiving Tommy, revealing its initial political impetus. “See Me, Feel Me,” in contrast, was inspired partly by memories of his abusive grandmother and was released as a standalone single after The Who’s triumphant performance at Woodstock, highlighting its independent appeal. With its heraldic and redemptive “Listening to You” coda, featuring Daltrey at his blond rock-god apex, “We’re Not Gonna Take It/See Me, Feel Me” remains a consistent and powerful high point of Who sets to this day, showcasing their ability to transform studio recordings into even more electrifying and emotionally resonant live experiences, solidifying its status as a definitive live track among the who songs.
“Getting in Tune” (‘Who’s Next’, 1971)
“I can’t pretend there’s any meaning hidden in the things I’m saying,” Roger Daltrey sings pensively at the outset of “Getting in Tune” from Who’s Next. However, as with virtually all of Townshend’s songwriting, “Getting in Tune” is far from meaningless; it’s laden with deep and complex messages beneath its seemingly simple lyrics. Another track originating from the aborted Lifehouse project, “Getting in Tune”‘s arrangement beautifully encapsulates the diverse musical facets of The Who. It begins quietly, featuring session musician Nicky Hopkins’ delicate piano work and John Entwistle’s fluid basslines, before gradually building into timeless Who thunder, complete with some of Keith Moon’s most dynamic and tempo-shifting drumming. The lyrics, though seemingly simple, are multi-layered: “I’m gonna tune right in on you” can be interpreted as conventional love-song material, but as Townshend explained, the words were actually inspired by the teachings of Indian Sufi master Hazrat Inayat Khan – specifically, Townshend noted, “where he says music is one way of individuals getting in tune with one another,” revealing a deeper philosophical and spiritual underpinning to the song’s seemingly straightforward romantic sentiment, and making “Getting in Tune” a subtle yet profound track among the who songs.
“I Can’t Explain” (Non-album single, 1964)
The quartet’s debut single after their name change from The High Numbers to The Who, “I Can’t Explain,” became a Top 10 hit in the U.K. in 1965. This breakthrough single introduced them to a mass audience and ignited their remarkable run of Sixties hits, establishing their signature sound. “I Can’t Explain” was a power-pop rocket fueled by adrenaline-pumping riffs and raw, untamed energy. “A blurter and burster,” Townshend aptly described the song in 1968, capturing its explosive and immediate impact. Part of the credit for this distinctive “blurting” sound goes to producer Shel Talmy, an American who had relocated to England to work for Decca Records. Talmy had recently produced the Kinks’ epochal single “You Really Got Me,” a song Townshend deeply admired and sought to emulate in its raw energy and power. “It can’t be beat for straightforward Kink copying,” Townshend admitted. “There is little to say about how I wrote this. It came out of the top of my head when I was 18-and-a-half,” emphasizing its youthful spontaneity. Uncertain of The Who’s studio capabilities at that early stage, Talmy brought in session musicians, including a young 20-year-old guitarist named Jimmy Page, as well as backing vocalists to bolster the song’s harmonies. Despite these external contributions, the performance on “I Can’t Explain” is unmistakably The Who, marking the opening shot in their 50-year musical saga and a foundational track among the who songs.
“Baba O’Riley” (‘Who’s Next’, 1971)
Spirituality, sonic adventurousness, and the power (and inherent failings) of rock & roll culture all converge in “Baba O’Riley,” the epic opening track of Who’s Next. The title itself is a nod to Townshend’s spiritual guru Meher Baba and avant-garde composer Terry Riley, reflecting the song’s fusion of spiritual and musical influences. (The “O” in “O’Riley” was a sly wink to the jig-like section of the song driven by a fiddle, adding a folk element). Riley’s influence is particularly evident in the song’s iconic opening keyboard riff – an effects-driven organ played in a mesmerizing, repetitive pattern, creating a hypnotic and almost trance-like atmosphere. One of many songs initially conceived for Townshend’s abandoned Lifehouse project, “Baba O’Riley” is, on one level, about a character within that narrative – a “farmer, out in the fields,” as Townshend described. However, the lyrics also address the broader state of rock culture at the dawn of the Seventies: “the absolute desolation of teenagers after the second Isle of Wight festival, and after the Woodstock festival, where everybody was smacked out on acid and 20 people had brain damage,” Townshend explained, revealing a darker, more cautionary subtext beneath the song’s anthemic surface. “People were already running toward the culture and its promise of salvation. But not everyone survived,” highlighting the disillusionment and casualties of the era, making “Baba O’Riley” a complex and multifaceted masterpiece among the who songs.
“Love, Reign O’er Me” (‘Quadrophenia’, 1973)
“Love, Reign O’er Me,” The Who’s mightiest ballad, transcends the typical ballad definition with its sheer scale and emotional magnitude. Quadrophenia‘s grand finale was initially envisioned for a never-completed rock opera project (working title: Rock Is Dead – Long Live Rock) based on The Who’s own backstory. Townshend’s lean home recording of the song, featured on Scoop, offers a glimpse into its stripped-down origins. “Love, Reign O’er Me,” subtitled “Pete’s Theme” to represent the author’s persona within the main character, opens with the forlorn sound of rain, thunderous drums, and ruminative piano, creating a dramatic and atmospheric introduction. A synth melody then enters, and Daltrey’s vocals gradually build to a cathartic climax, punctuated by Keith Moon’s breathtaking drum assault, legendarily culminating in the trashing of a studio full of percussion instruments during recording, underscoring the song’s explosive emotional release. The title itself suggests both spiritual and romantic love; it “refers to Meher Baba’s one-time comment that rain was a blessing from God,” Townshend wrote, referencing his Indian spiritual advisor, adding a layer of spiritual depth to the song’s themes of love and redemption. Despite only achieving modest chart success as a shortened single (Number 76), “Love, Reign O’er Me” became a staple of countless love-struck mixtapes, and its enduring emotional power solidifies its place as a monumental and deeply moving track among the who songs.
“A Quick One, While He’s Away” (‘A Quick One,’ 1966)
By late 1966, Townshend had already produced a string of thrilling singles for The Who. However, he was eager to break free from conventional pop song structures and explore more ambitious forms. The result was “A Quick One, While He’s Away,” a nine-minute opus dubbed a “mini-opera,” divided into six distinct sections. The song tells a humorous and somewhat bawdy tale of a woman missing her absent lover who ends up cheating on him with a bloke named Ivor the Engine Driver. Musically, “A Quick One, While He’s Away” is remarkably eclectic, incorporating elements from folk, blues, country, and pile-driving rock & roll, showcasing The Who’s versatility and musical range. The band initially intended to hire cellists to play during the song’s climax, but budget constraints led to a creative solution: they simply chanted the word “cello” repeatedly, creating a gloriously absurd and effective substitute. The hilarious and frenetic result was unlike anything else in popular music in 1966. Years later, Townshend recognized a deeper, more poignant meaning in the song. “It is the story that many of us postwar kids share of being sent away,” he reflected in 2012. “And of losing a precious loved one and being greatly changed when they returned,” adding a layer of unexpected emotional depth to this initially lighthearted and experimental piece, and making “A Quick One, While He’s Away” a groundbreaking and uniquely structured track among the who songs.
“My Generation” (‘My Generation’, 1965)
Townshend purportedly wrote “My Generation” on his 20th birthday, May 19th, 1965, while traveling by train from London to Southampton for a television appearance, highlighting its spontaneous creation. Initially, the song wasn’t conceived as a youth-mutiny anthem. Its initial form was a Jimmy Reed-style blues, reflecting Townshend’s anxieties about the looming constraints of adulthood, famously captured in the defiant line “Hope I die before I get old.” “‘My Generation’ was very much about trying to find a place in society,” he told Rolling Stone in 1987. “I was very, very lost. The band was young then. It was believed that its career would be incredibly brief,” revealing the song’s origins in personal uncertainty and youthful angst. Instead of a brief career, “My Generation” became The Who’s ticket to rock legend. Townshend’s raw two-chord assault, Daltrey’s stuttering, explosive vocal delivery, Keith Moon’s avalanche of drumming, and Townshend and Entwistle’s R&B-infused backing vocals collectively created a mounting sense of anxiety and rebellion that culminated in a studio re-creation of The Who’s signature live gear-smashing finales, adding a chaotic and destructive element to the recording. “My Generation” became their first British Top Five hit and an anthem for young mod rebels across England, defining a generation and solidifying its place as the ultimate and most iconic track among the who songs.
“I Can See for Miles” (‘The Who Sell Out’, 1967)
Townshend recorded a demo of “I Can See for Miles” in 1966, and The Who’s managers were so convinced of its hit potential that they strategically shelved it, waiting for a moment when The Who desperately needed a chart-topping single. This delay afforded Townshend ample time to meticulously craft his masterpiece. “It was written about jealousy but ended up being about the immense power of aspiration,” he later explained, suggesting a thematic evolution during its creation. “I spent a lot of time working on the vocal harmonies and structuring it,” emphasizing the song’s intricate and layered construction. He commenced recording at CBS Studios in London and completed it months later at Gold Star in L.A., the same studio where Brian Wilson had recently created his similarly ambitious “Good Vibrations” the previous year, drawing a parallel between their sonic aspirations. While Wilson’s efforts with “Good Vibrations” yielded chart-topping success in both the U.K. and U.S., “I Can See for Miles” underperformed commercially in England (“Didn’t sell a single copy,” Townshend lamented. “I was humiliated”). However, it did reach Number Nine in America, becoming The Who’s biggest stateside hit to date. Despite his initial disappointment with its U.K. reception, Townshend recognized the timeless quality of “I Can See for Miles.” “One of the best songs I’ve ever written,” he later affirmed, acknowledging its enduring brilliance and its status as a high point among the who songs.
“Won’t Get Fooled Again” (‘Who’s Next’, 1971)
“Won’t Get Fooled Again,” the climactic finale of Who’s Next, The Who’s arguably finest album, stands as rock music’s – and Pete Townshend’s – ultimate declaration of independence. It’s an epic sonic storm of doubt, defiance, hypno-minimalist synthesizer patterns, and rolling-thunder power chords, culminating in Roger Daltrey’s truly superhuman scream. “The song was meant,” the guitarist-composer explained in 2006, “to let politicians and revolutionaries alike know that what lay in the center of my life was not for sale,” revealing its origins as a personal statement against ideological manipulation. However, with that extended, feral howl from Roger Daltrey, “as though his heart was being torn out,” in Townshend’s evocative description, the song “became something more to so many people” – a thrilling and cathartic demonstration of rock music’s capacity to elevate and unite individuals in the face of any oppressive regime. Originally written for Townshend’s ill-fated Lifehouse rock opera, and initially recorded in March 1971 during a discarded session with Mountain guitarist Leslie West, “Won’t Get Fooled Again” made its live debut that April, swiftly becoming a cornerstone of The Who’s concert performances. Townshend’s subsequent licensing of the song for numerous TV shows and films has not diminished its raw power or its lyrical contempt for demagogues of all stripes. At its core, “Won’t Get Fooled Again” – with its iconic image of Townshend kneeling, guitar in hand – is ultimately about music itself serving as a moral force and a source of salvation. “What is there,” he confessed, “is prayer,” revealing the profound spiritual dimension underlying this monumental and definitive track among the who songs.
The Who’s musical legacy is undeniable. From their explosive beginnings as mod icons to their evolution into rock opera pioneers and introspective songwriters, the who songs have consistently pushed boundaries and resonated deeply with generations of listeners. This list of 50 essential tracks offers a comprehensive journey through their remarkable career, showcasing their unparalleled musicianship, Pete Townshend’s brilliant songwriting, and the band’s raw, electrifying energy. Whether you’re a longtime fan or a new listener, exploring these the who songs is an essential experience for anyone seeking to understand the power and enduring impact of rock and roll. Dive in, turn it up, and discover (or rediscover) the timeless brilliance of The Who.
