9th October 1944 - 27th June 2002

"5:15" The Who Live At The Royal Albert Hall

Your time on our planet was brief but your contributions will live on for years to come.  Thanks again for all of the great music you made and the countless hours listening to your recordings since I can remember:

John Lennon - Jealous Guy

My Wife Live at the Royal Albert Hall

Y las sorpresas vienen...

Hoy les dejo este video que subí hace un buen tiempo al portal de YouTube.

¿Adivinan quienés son? pues son The High Numbers en 1964 EN VIVO, al año siguiente estos chicos se harían llamar: THE WHO.

Desde aquí mandamos un saludo para tanto infeliz envidioso que lo único que saben hacer es joder la buena onda que tanto los blogs ONLY SIXTIES, ¡¡¡NO MÁS DE LO MISMO!!! y por supuesto MEJOR HABLAR DE CIERTAS COSAS llevan a la red.

Saludos para todos.

Aquí les dejo la letra para que la canten mientras ven el video :)

Yoh-oh-oh (yoh-oh-oh) YOH-oh-oh (yoh-oh-oh), OH YEAH-eah-eah-eah-eah (oh yeah-eah-eah-eah-eah)
I just want to tell you 'bout-a Ooh Pooh Pah Doo
Well you know it's just the most, Yes Ooh Pooh Pah Do-oo
Ah tell me baby it's the most
'Cause I won't stop tryin' 'til I create a disturbance in your mind

Well, well, well, well, I'm gon' create a disturbance in your mind (Ooh Pooh, Ooh Pooh Pah Do)
I'm gon' create a disturbance (Ooh Pooh, Ooh Pooh Pah Do)
Oh yeah-eah-eah, ah baby, ah baby (Ooh Pooh, Ooh Pooh Pah Do)
Ah baby don't you know it's in your mind (Ooh Pooh, Ooh Pooh Pah Do)
It goes Yoh-Oh-oh-Oh-oh-Oh-oh-Oh-oh

Hear me, hear me, hear me, hear me, hear me, hear me
There's a little blue bell that's a ringin' in your ear (Ooh Pooh, Ooh Pooh Pah Do)
Ding, ding, ding, ding, ding (Ooh Pooh, Ooh Pooh Pah Do)
Well there's a little blue bell (Ooh Pooh, Ooh Pooh Pah Do)
Baby don't you know it's' in your ear (Ooh Pooh, Ooh Poh Pah Do)
It goes ding-ding-ding, ding-ding-ding-ding ding-ding-ding-ding

Well, well, well, Ooh Pooh Pah Do (Ooh Pooh Pah Do), Ah-well-ah, Ooh Pooh Pah Do (Ooh Pooh Pah Do)
Ah-yes-ah, Ooh Pooh Pah Do-oo (Ooh Pooh Pah Do), Ah-well-ah, Ooh Pooh Pah Do (Ooh Pooh Pah Do)
Ah-well-ah, Ooh Pooh Pah Do (Ahh-ahh), Well-ah, Ooh Pooh Pah Do, Just a one more time

Well, Ooh Pooh Pah Do (Ooh Pooh Pah Do), Ah-ah, Ooh Pooh Pah Do (Ooh Pooh Pah Do)
Ah-Yeah Ooh Pooh Pah Do (Ooh Pooh Pah Do), Ah-Well-ah, Ooh Pooh Pah Do (Ooh Pooh Pah Do)
Just sing this song now, join me , Yo-Oh-oh-Oh-oh-Oh-oh-Oh-oh, Sing the song now, sing that song

Ooh Pooh Pah Do (Ooh Pooh Pah Do), Well, Ooh Pooh Pah Do (Ooh Pooh Pah Do)
Well, Ooh Pooh Pah Do (Ooh Pooh Pah Do), Ah-well-ah, Ooh Pooh Pah Do (Ooh Poo Pah Do)

By Joel Francis

When the Temptations and Four Tops took the stage Saturday night with only one original member in each ensemble, it raised questions of truth in advertising. Can a band be billed by its legendary name if only one of its musicians is an original legend?

Few bands are as fortunate as Los Lobos and U2 to have retained the same personnel since their debut. Some bands, like Wilco, have a different lineup on nearly every album.  But the reunion craze has accelerated hiring ringers to fill in for dead or uncooperative musicians.

When Journey played the Midland a few weeks ago, longtime singer Steve Perry had been replaced with Filipino Arnel Pineda, who was 8 years old when the band's first album came out. No one complained, but Pineda's job is essentially to sound like Perry while founding guitarist Neal Schon and the rest of the band deliver their signature sound.

Similarly, Yes were primed for a 40^th anniversary tour when lead singer Jon Anderson fell ill. Rather than cancel the tour, the remaining members, who include Oliver Wakeman, son of original keyboardist Rick Wakeman, recruited a new singer off YouTube.

The majority of fans will tolerate a minor substitution. There were no grumbles when bass player Eric Avery sat out Jane's Addiction's second go-round. Most fans will recognize that age and time will prevent everyone from taking part. But when the skeleton of the original crew drag new faces out under the old name, it starts to take advantage of the people who kept the hunger for a reunion alive.

There's also a slight double-standard in play. Few Beatles fans would be satisfied with a Beatles "reunion" featuring Paul, Ringo, Julian Lennon and Dhani Harrison, but The Who have completed not one but two successful (read: lucrative) tours minus the late John Entwistle and Keith Moon. Of course a true Fab Four reunion never happened, while The Who have launched a handful of "farewell" tours, but the rhythm section of Moon and Entwistle defined The Who's sound just as much as John and George did for the Beatles.

Swapping drummers and bass players is one thing, but the road to finding a new frontman is fraught with peril. INXS failed miserably in their reality TV quest to carry on after the premature death of Michael Hutchinson. However, 14 years after Freddy Mercury died, Queen - minus drummer John Taylor - reconvened with former Free and Bad Company vocalist Paul Rogers. Many of the band's East Coast concert date sold out quickly.

When Ray Manzarek and Robby Krieger hired Cult singer Ian Astbury to hit the road as The Doors they were faced with a lawsuit from drummer John Densmore and forced to tour as Riders on the Storm. The moniker didn't alter any setlists, but it at least let the fans know they weren't getting the same guys that worked together in the ‘60s.

Then there are the jazz orchestras that continue to tour despite the death of their bandleader. The Count Basie and Glenn Miller orchestras draw decent crowds when they visit the area, despite Miller's disappearance during World War II and Bill Basie's death a mere 25 years ago. The Gem Theater will host a Jazz Messengers reunion concert on October even though bandleader Art Blakey died in 1990.

The reason why a musician will resurrect his old band with ringers is obvious: Billy Corgan will sell a lot more tickets and albums as the Smashing Pumpkins than he would alone. And while there's no clear-cut solution, I think this is a rare example of capitalism and artistry joining forces to provide the ultimate answer.

If a band's catalog is strong enough, fans won't mind shelling out $30 to $50 as they did Saturday night at Starlight to hear someone else sing "My Girl" and "Baby I Need Your Loving." On the other hand, if bands plug on minus crucial components, they might be confined to the state fair/town festival circuit Three Dog Night and the Guess Who have been riding for years.

Jimmy McCulloch was a Scottish musician, born in Glasgow, who was best known for playing lead guitar in Paul McCartney's Wings from 1974 to 1977. Before that, McCulloch had been a member of the Glasgow psychedelic band One in a Million (from the age of 11, when the band was known as The Jaygars), Thunderclap Newman, and Stone the Crows. He also made appearances on a number of albums, including John Entwistle's Whistle Rymes in 1972, and as lead guitarist playing alongside a young Peter Frampton on two tracks — "Apron Strings" and "I Feel Better". McCulloch was a friend of The Who, and his band Thunderclap Newman was created and produced by Pete Townshend.   In 1976, while rehearsing for the first concert of the Wings Over America Tour at the Fort Worth Convention Center, McCulloch was wrestling in a backstage dressing room with David Cassidy, and broke his wrist. This delayed the tour by weeks.  McCulloch's rig normally consisted of a Gibson SG, Gibson Les Paul, and occasionally played bass guitar when McCartney was at the piano or acoustic guitar.  After leaving Wings, he briefly joined a reunited Small Faces for a club tour, and had minimal participation in the band's two comeback albums.  He also played lead guitar on a live version of "Say it ain't so" with John Entwistle, Keith Moon and Roger Daltrey. That performance would be used as a videoclip for Daltrey's single.  McCulloch's last band was The Dukes. His last recorded song, "Heartbreaker", was off their first and only album The Dukes.  McCulloch died from a heroin overdose in 1979 in his flat in Maida Vale, West London. He was 26. Previously, he had composed the anti-drug song "Medicine Jar" on the Wings album Venus and Mars, and the similar "Wino Junko" on Wings at the Speed of Sound. - From wikipedia

Aquí les dejo un video que subí, desde los archivos del Only Sixties para todo el mundo.

Estos muchachos, la semilla que hizo cosechar a los que en 1965 se llamarían THE WHO.

En esta oportunidad, tocan en vivo un cover de Smokey Robinson and The Miracles.

El video data de 1964, increíble.

Aquí les dejo la letra para que la canten mientras lo ven :) :

Gather 'round my friends here
Help me forget my hurtin' tears
About the only girl I ever loved
The only one baby

I gotta dance just to keep from cryin' (crying)
Gotta dance just to keep from crying' (crying)

Whoa, do the flop (do the flop)
Do the twist (do the twist)
Everybody, it goes like this

You gotta dance, got me swayin', got me, alright
Gotta dance, got me swayin', got me, alright

I'm so lonely since we parted
You memory leaves me so broken hearted

I gotta dance just to keep from cryin' (crying)
Gotta dance just to keep from crying' (crying)

Whoa, do the bird (do the bird)
Do the fly (do the fly)
Come on, gang, you know, by by by, oh yeah

[interlude]

Do the bang, yeah, you can't miss
Everybody, yeah, it goes like this
You gotta dance, got me swayin', got me, alright
Gotta dance, got me swayin', got me, alright

Heartaches can gather 'round
Misery I sure have found

I gotta dance to keep from cryin' (crying)
Gotta dance to keep from crying' (crying)

You goin' softer now, you goin' softer now...
You goin' soft right now, yeah yeah
Everybody clap their hands now...
Alright, yeah, alright, yeah
I want you to go harder now, baby
I want you to go harder now, baby
Yeah yeah, you go harder now
You walk right up, yeah yeah
You go harder now, yeah...
You go hard now, yeah...

You gotta dance, got me swayin', got me, alright
Gotta dance, got me swayin', got me, alright
You gotta dance, got me swayin', got me, alright
Gotta dance, got me swayin', got me, alright

Well, baby, now, it's al... it's alright

Keith Moon was best known as a member of the Who, but he was far more than that, even within the context of his role within the group. Moon, with his manic, lunatic side, and his life of excessive drinking, partying, and other indulgences, probably represented the youthful, zany side of rock & roll, as well as its self-destructive side, better than anyone else on the planet. In that sense, he was the soul of the Who, as much as Pete Townshend was its brain and Roger Daltrey was its heart; and, along with John Entwistle, Moon was at the core of its sound, and not just for his drumming per se. He played the skins with the kind of wild abandon that most trained musicians before him, not knowing any better, would have described as lunatic, in the worst sense of the word, and he lived his life with just about that same degree of intensity (even once running himself over with his own car). But more than the drumming itself, it was the lunacy that he brought to the personality mix of the four members that kept their music and their playing, not to mention their image, on the cutting edge of youth, even as they all moved into their thirties and tried to get more serious about music.  Moon's musical importance was similar to that of Brian Jones in the Rolling Stones. In much the same way that Jones, through his talent (and his abuse of it) helped lift the Stones above the level of every other blues-based band going, and made their image distinct, Moon did the same thing for the Who. When Jones left the Stones, to die just a few weeks later, they became more professional musically; they settled down with a true and admirable virtuoso in the guise of Mick Taylor, and their sound tightened up, but the youthful edge, the teenage lust was gone, not only from their sound but from their playing. When Keith Moon died, the Who carried on and were far more competent and reliable musically, but that wasn't what sold rock records.  Moon occasionally played on other peoples' records, but he only finished and released one solo album of his own, Two Sides of the Moon (though another may have been planned in 1975). Not taken seriously at the time, this record now appears to have captured the essence of Moon's nature. Recorded in a series of marathon sessions that were as notable for their huge bills for alcohol as the studio time involved, it is a strange, haunting mix of innocent '50s/early-'60s rock & roll and leering, joyful lust, and a savage sense of wit directed at the music business and played out both between and in the songs themselves. - Bruce Eder (All Music Guide)

Moon died of an accidental overdose on September 7, 1978.  The drug he OD'd on was prescribed to help him in his battles against alcoholism.  He and his girlfriend, Annette Walter-Lax were staying in a flat owned by Harry Nilsson.  Mama Cass Elliot died in the same room as Moon four years earlier.

Knowing
Is what people tell you
That you're thinking wrong
Embrace you,
But they really mean "So long"

You talk to them
They laugh aloud
Yet they run to you
In any crowd

Please talk to me again
I need you

We're dancing
We will come and dance near you
We want to learn
Let us come and sitar with you

Distort my ears when
The music's loud
Yet you raise your hatchet
In the yellow crowd

Please talk to me again
I need you

Knowing
Is what people tell you
That you're thinking wrong
Embrace you,
But they really mean "So long"

You talk to them
They laugh aloud
Yet they run to you
In any crowd

Please talk to me again
I need you

John Entwistle was best known as the bass player for the Who.  His loud and fast style of playing was as important to the group as the voice of Roger Daltry; the songwriting and guitar of Pete Townshend; and the sloppy but essential drumming of Keith Moon.  If one of those parts were missing, the magic of the Who would have never happened.   Entwistle also played the trumpet, piano, and french horn; wrote great songs and sang.  Playing the bass like a lead guitar, would influence such greats as Geddy Lee, Phil Lesh, Flea, Tommy Stinson and Billy Sheehan.   He even went as far as being the first known bassist to use Marshall stacks in concert, a practice normally reserved for guitarists.  The Rolling Stones' Bill Wyman once described Entwistle as "the quietest man in private but the loudest man on stage."  Entwistle stayed with the Who during their 30+ year run, staying busy during band hiatuses with his own side projects or on tour with Ringo Starr.  But he apparently had a difficult time managing his own money and some have said that each time the Who reunited, it was out of the love that Daltrey and Townshend had for him - their way of helping him out of financial straits.  It was one day before the start of one of these tours that Entwistle was found dead in his Las Vegas hotel room.  It was June 27, 2002, and John Entwistle was dead of what was ruled a heart attack caused by a relatively small amount of cocaine.  It should be pointed out that the Who were such a powerful four-piece live band, that it took an added keyboardist and a second guitarist to, in later years, take the place of John Entwistle and original drummer, Keith Moon.

The Herd estaba liderado por un jovencísimo Peter Frampton, que con 17 añitos y con canciones tan soberbias como “I Can Fly” o “From The Underworld” se convirtió en uno de los rostros más populares de la televisión británica. Pero su éxito apenas duró dos años.

Spooky Tooth nunca fueron tan populares. Sólo por su segundo trabajo (Spooky Two), que incluía la obra maestra “Evil Woman”, merece que se les recuerde. Mike Harrison tenía una voz desgarrada e inconfundible, Gary Wright a los teclados era el alma del grupo, pero el que dotaba de un ritmo innovador a cada una de las canciones era el bajo afilado de Greg Ridley, con un sonido muy similar al de John Entwistle en The Who.

Cuando el superhéroe Steve Marriott decidió abandonar el pop psicodélico que le había famoso junto a los Small Faces para acercarse más al blues y al hard rock, les propuso su idea a sus amigos Frampton y Greg Ridley. Se llamarían Humble Pie y publicaron su primer trabajo “As Save as Yesterday is” en abril de 1969.

Había nacido una de las primeras superbandas (retales de otras bandas) de la historia del rock. CSN&Y estarían lo más arriba en esa lista (Crosby ex-Byrds, Stills ex-Buffallo Springfield, Nash ex-Hollies, y el fabuloso Neil Young apareciendo y desapareciendo de la formación como el río Guadiana). A la derecha de CSNY estarían los Cream de Eric Clapton y a su izquierda los Yardbirds de Jimmy Page y su derivación Led Zeppelin.

Humble Pie comenzaron tan cerca del blues como del folk. Sus dos primeros discos así lo demuestran. El single “Natural Born Boogie” llegó al número 4 de las listas británicas y les dio el éxito al instante. A partir de ahí Marriott se fue acercando cada vez más al rock duro. A principios de los 70 sus giras eran incendiarias y su melena cada vez más larga. “Town and Country”, “Humble Pie”, “Rock On” y el directo “Rockin’ at the Fillmore” son álbumes casi perfectos. En el 72 Peter Frampton dejó el grupo para convertirse en una megaestrella años más tarde con su celebérrima “Show Me The Way”. Marriott seguiría cuatro años más haciendo discos muy buenos (destacar sobre todos “Smokin”), pero las ventas no acompañaron.

Dejaron grandes canciones para la historia del rock: Shine On, Alabama ’69, Desperation, Stone Cold Fever, I Don’t Need No Doctor, Home and Away, 30 Days in The Hole, C'mon Everybody…

Me ha divertido mucho encontrar el vídeo de una de mis favoritas del segundo disco: “The Sad Bag of Shaky Jake”.

This post details the latest in a series of discs I put together for my listening pleasure. They contain songs meant to make you move, or move you... or both if you're lucky. This one spans the years 1976-1983. I'll start with the tracklisting before moving on to some commentary on each song.

01. "Beat Surrender" - The Jam [1982]
02. "Heart Of The City" - Nick Lowe [1976]
03. "So Good To See You" - Cheap Trick [1977]
04. "Identity" - X-Ray Spex [1978]
05. "Homosapien" - Pete Shelley [1981]
06. "Away From Home" - Klark Kent [1980]
07. "Reel By Reel" - XTC [1979]
08. "The Walls Came Down" - The Call [1983]
09. "So Young" - Elvis Costello & The Attractions [rec. 1979, rel. 1987]
10. "Candy-O" - The Cars [1979]
11. "Walking Out On Love" - The Beat [1979]
12. "Ain't That Nothin'" (45 version) - Television [1978]
13. "Everywhere That I'm Not" - Translator [1982]
14. "In My Own Time" - The Three O'Clock [1983]
15. "Hold On To Something" - Great Buildings [1981]
16. "Tomorrow Night" - Shoes [1979]
17. "Girls Talk" - Dave Edmunds [1979]
18. "Tell That Girl To Shut Up" - Holly & The Italians [1980]
19. "Girl U Want" - Devo [1980]
20. "I Love A Man In A Uniform" - Gang Of Four [1982]
21. "New Feeling" - Talking Heads [1977]
22. "I Could Be Happy" - Altered Images [1981]
23. "Not So Much The Time" - The Records [1982]
24. "What Do All The People Know" - The Monroes [1982]
25. "On Your Radio" - Joe Jackson [1979]
-------------------------------------------------------
01. "Beat Surrender" - The Jam [1982]

Before Paul Weller left the band for Style Council and a still-running solo career, he gave us this last Jam single in late '82.

02. "Heart Of The City" - Nick Lowe [1976]

One side of the first single (paired with "So It Goes") on the venerable Stiff Records label.

03. "So Good To See You" - Cheap Trick [1977]

Their first 4 albums are full of power pop gems like this one from the second LP In Color.

04. "Identity" - X-Ray Spex [1978]

Dig that saxophone! One of a great run of singles from Poly Styrene and the gang; also on Germfree Adolescents.

05. "Homosapien" - Pete Shelley [1981]

The title track to Shelley's first solo album after The Buzzcocks' first breakup.

06. "Away From Home" - Klark Kent [1980]

Klark Kent was actually a pseudonym for Stewart Copeland, whose main gig at the time of this release was as the drummer for The Police. Try to imagine Sting committing something this frivolous and fun to wax. Never gonna happen.

07. "Reel By Reel" - XTC [1979]

From XTC's third album Drums And Wires, the first that succeeds from beginning to end. Andy Partridge really came into his own at this point, finally coming up with the melodies to match his witty and often insightful lyrics.

08. "The Walls Came Down" - The Call [1983]

From Modern Romans. I don't know what Michael Been is singing about here, but it sure sounds serious. Reagan's Cold War is as good a guess as any. Back then, I just liked the insistent guitar line.

09. "So Young" - Elvis Costello & The Attractions [rec. 1979, rel. 1987]

It is a shame that EC can't stand Bruce Thomas, because he will never have a bass player that good again. Even on a track like this that was recorded in '79 but not deemed worthy of release until 1987's Out Of Our Idiot odds-n-ends compilation. The bass is the lead instrument in the verses. Not too many outside of Entwistle could be that muscular and melodic at the same time.

10. "Candy-O" - The Cars [1979]

The Cars' second album, of which this is the title track, showcases the darker side of Ric Ocasek. The songs are of course still pure pop. The chorus on this particular tune is all paranoid longing with a Bo Diddley beat.

11. "Walking Out On Love" - The Beat [1979]

They get in and get out in under 2 minutes so you'll need to hit the "back" button a few times.

12. "Ain't That Nothin'" (45 version) - Television [1978]

Yes, Marquee Moon is way better than Adventure, the album that this song was drawn from. But this track, with its ringing guitars, could have held its own on the debut.

13. "Everywhere That I'm Not" - Translator [1982]

From Heartbeats And Triggers. You're everywhere that I'm not...it can seem like this when dealing with unrequited love.

14. "In My Own Time" - The Three O'Clock [1983]

They were lumped in with the Paisley Underground in early '80s Los Angeles, but there is nothing vaguely psychedelic about this one from The Three O'Clock. Rather than harkening back to Sgt. Pepper and his ilk, the band were more in tune with 1965-1966 pop sensibilities. This one from their first full length Sixteen Tambourines features lead singer Michael Quercio's impossibly high voice (the first time I heard their song "Jet Fighter" I was convinced the lead singer was female) and a honking saxophone.

15. "Hold On To Something" - Great Buildings [1981]

Where can I find more Great Buildings? This is sublime.

16. "Tomorrow Night" - Shoes [1979]

Zion, Illinois' very own Shoes!

17. "Girls Talk" - Dave Edmunds [1979]

On this track from his Repeat When Necessary LP, Edmunds polishes the rough edges from a song Costello ended up relegating to a B-side, but leaves the double meanings intact. "You may not be an old-fashioned girl but you're gonna get dated".

18. "Tell That Girl To Shut Up" - Holly & The Italians [1980]

Cat fight! It's inclusion here, though, is due entirely to the harmonies on the chorus...

19. "Girl U Want" - Devo [1980]

Those of you beaten into submission by countless airings of "Whip It" (no disrepect) will appreciate the squirrely beat and catchy guitar figure on this one from Freedom Of Choice. Strangely, Soundgarden covered this one.

20. "I Love A Man In A Uniform" - Gang Of Four [1982]

From Songs Of The Free. A rousing tongue-in-cheek song about those that lust for battle. A slew of these songs were released in this period (XTC's "Generals And Majors", Men At Work's "It's A Mistake", The Police's "Bombs Away" to name three), probably enough for a compilation all their own. It would be essential listening for those that think the eighties were just about cocaine and Rubik's Cubes. By the way, you should feel free to use Cocaine And Rubik's Cubes as an album title.

21. "New Feeling" - Talking Heads [1977]

David Byrne and company's first album, Talking Heads: 77, is so musically spacious. The room was needed to give Byrne's claustrophic lyrics free reign. As interesting as the band's later experiments with world rhythms would be, I think I come back to this album even more.

22. "I Could Be Happy" - Altered Images [1981]

I love Clare Grogan's vocal on this bittersweet ballad.

23. "Not So Much The Time" - The Records [1982]

Meanings misinterpreted. Easy enough to do in any relationship, but when long distances are involved, it's just that much harder. From Music On Both Sides.

24. "What Do All The People Know" - The Monroes [1982]

This is the only song I've heard from The Monroes, but it's just as catchy now as it was in '82.

25. "On Your Radio" - Joe Jackson [1979]

This track leads off Jackson's second album I'm The Man. An interesting riposte to everyone who's ever pissed him off - "you can only hope to hear me on your radio". We should all be so lucky.

Since today is the 63rd birthday of The Who's guitarist/main songwriter, Pete Townshend, we offer up this clip of The Who in their prime, performing "Tattoo" (a track from their 1967 album The Who Sell Out) at the Charlton Athletic Football Ground in London on May 18, 1974. The Charlton gig was recorded by BBC television for a concert special that was broadcast later in the year. The Who at the time featured the original lineup of Townshend on guitar and backing vocals, Roger Daltrey on lead vocals, John Entwistle on bass and backing vocals, and Keith Moon on drums.

If memory serves, The Who (pictured above on a promotional shoot for their "Magic Bus" single in 1968) broke the world record for loudest band at Charlton. They also played at Charlton in 1976, and I can't remember at which of the gigs the record was broken. The record has been surpassed since then, most recently, I believe, by Metallica.

Oddly, Alan Curbishley, the brother of The Who's manager Bill Curbishley, would later go on to manage Charlton Athletic, the London-based soccer team that plays at the site of the concert. (Alan Curbishley now manages the Premier League team West Ham United.)

To watch the clip of The Who performing "Tattoo" at Charlton, click below:

Happy birthday, Pete!

All these tracks are unreleased.  Finished versions have appeared on albums, and other demos on remastered albums, but they are different from these tracks.

It's worth noting that "Dancing Master" was the source of this Blog's name.  I don't care for the finished version, but this Work-In-Progress version is quite appreciated.

I haven't included the image of the cover, because bootleg covers are shitty.  These are all MP3s too, because I'm not a prick.

1. Countryside Boogie (Work-In-Progress)
2. Lovebird (work-In-Progress)
3. I'm Coming Back (Work-In-Progress)
4. Dancing Master (Work-In-Progress)
5. Back On The Road (Work-In-Progress)
6. Sleeping Man (Work-In-Progress)
7. Sax Tracking Ent-7

http://rapidshare.com/files/107570685/John_Entwistle_-_Ruff_Mixes.rar.html

Lead Vocals: Roger Daltrey

Guitar and Vocals: Peter Townshend

Bass: John Entwistle

Drums: Keith Moon

Lead Vocals: Roger Daltrey

Guitar and Vocals: Peter Townshend

Bass: John Entwistle

Drums: Keith Moon

Lead Vocals: Roger Daltrey

Guitar and Vocals: Peter Townshend

Bass: John Entwistle

Drums: Keith Moon

Lead Vocals: Roger Daltrey

Guitar and Vocals: Peter Townshend

Bass: John Entwistle

Drums: Keith Moon

Lead Vocals: Roger Daltrey

Guitar and Vocals: Peter Townshend

Bass: John Entwistle

Drums: Keith Moon

Lead Vocals: Roger Daltrey

Guitar and Vocals: Peter Townshend

Bass: John Entwistle

Drums: Keith Moon

Mi submarino, el Nautilus, no es un autobús mágico (Magic Bus, canción compuesta en los años sesenta por los Who), pero lo parece porque nosotros también algunas veces  viajamos con él a lugares recónditos y prohibidos. A estas alturas nadie puede poner en duda que la historia del rock británico descansa sobre tres pilares fundamentales: los Beatles, los Rolling Stones y los Who.

Cada uno de estos tres grupos tiene su propia personalidad musical y además bebieron de fuentes musicales distintas. Cada uno de ellos tomó una dirección y un rumbo diferente aunque a veces coincidieran en un punto de encuentro común para los tres, el rock y la gran amistad que tenían. Cada uno de ellos tiene su propio estilo, su propia marca de la casa. Los tres tuvieron la oportunidad de dar el salto a la fama gracias a una canción genial, que justo en el momento oportuno, les dio el empujón necesario para realizar una extraordinaria y meteórica carrera musical que les ha convertido en leyendas de la música para siempre.

Los Who dieron su primer paso a la fama con su canción I can't explain, con la que consiguieron meterse dentro de las diez canciones mejores y más vendidas. Luego le siguió otro gran éxito: Anyway, Anywhere, Anyhow, que con total claridad les hacia tener un auténtico estilo de innovadores. Pero fue realmente con la canción My Generation, cuando Pete Townshend, guitarrista y vocalista del grupo, decidió  dar un sello musical propio y genuino al grupo, un estilo más duro, desafiante, y sin duda alguna subversivo y destructivo en los escenarios.

Escrito por Capitán Nemo

Es auténticamente memorable el concierto que dieron en Monterrey junto con Jimi Hendrix, que se quedó impresionado por la fuerza en escena y el destrozo que hacia aquella joven banda británica que empezaba a romper moldes y barreras en el mundo del rock.

Uno de los secretos del éxito de los Who reside en que sus cuatro componentes: Roger Daltry (vocalista y harmónica), Pete Townshend (guitarrista, teclista y vocalista), John Entwistle (bajista y vocalista) y Keith Moon (batería), eran  músicos muy buenos, auténticos virtuosos con sus instrumentos. Si a esto le añadimos su originalidad y genialidad a la hora de componer, el resultado es perfecto, tanto en las grabaciones de sus discos, como en las actuaciones en directo de sus inolvidables conciertos por todo el mundo. No puedo dejar sin mencionar a Kenny Jones, el extraordinario batería del grupo Faces, que substituyó al malogrado y desaparecido Keith Moon, víctima de las drogas y del alcohol.

Siguieron muchísimas canciones y obras maestras, como la ópera rock Tommy, publicada  en el año 1969 y que se ha convertido en uno de las obras clásicas del rock.

A principios de los años setenta, concretamente en el año 1971, Pete Townshend decide introducir teclados como los sintetizadores en algunas de las canciones, con un resultado increíble. Algunos ejemplos de canciones realmente espectaculares son: Baba O'Riley y Won't get fooled again. En el año 1973 publican otra obra maestra de la música rock: Quadrophenia, una especie de ópera rock llena de fuerza, que nos contaba una historia verdaderamente sorprendente.

Podríamos estar días y días hablando de todas las obras discográficas compuestas por los Who; canciones compuestas hace más de treinta años y que parece que fueron hechas ayer. Los Who se han rehecho a si mismos, han resurgido de sus cenizas en momentos muy delicados, como cuando murió Keith Moon en 1978. En el año 2002 también sufrieron  un duro golpe con la trágica muerte de su bajista, John Entwistle. Pero no pasa nada, ellos siguen aquí con nosotros. En los últimos años los Who se han convertido en una de las atracciones de rock en directo más importantes del mundo.

Ahora yo voy a seguir mi viaje por la melancolía, escuchando Baba O'Riley, una canción que siempre me pone la piel de gallina y los pelos de punta.

En attendant les affaires reprennent en ce début janvier et aujourd'hui pour sacrifier à cette excellente tradition des bilans et palmarès, on va donner un coup de rétroviseur sur 2007, année qui s'avère pitoyable sur le plan politique mais un délice en matière musicale.

En effet, avec Amy Winehouse, Kate Nash, Alela Diane, mais aussi Gossip, Micky Green, Keren Ann, sans oublier les retours gagnants de Patti Smith, Sharon Jones, Joni Mitchell et PJ Harvey, 2007 demeurera une grande année pour la musique au féminin puisque dans les genres les plus variés, les filles signent les meilleurs albums de l'année. Si on ajoute à cette liste l'album délicat de Charlotte Gainsbourg, l'émergence des sympathiques Plastiscines, l'étonnant disque jazzy de l'ex star du hip hop, Queen Latifah, avouez que ce bilan 2007 a de la gueule. Si on convoque pour rejoindre cette armada, Katie Melua et son train-train classieux, planétaire mais pas déshonorant et Amy Macdonald, une jeune écossaise prometteuse apparue à la rentrée, on comprendra que nous aurons de bonnes raisons de nous souvenir de ce bon cru 2007.

Signalons, avant de parler demain de livres, de deux DVD qui méritent de figurer dans ce florilège même s'ils témoignent du riche passé d'artistes désormais sans avenir. Le premier concerne Bob Dylan et plus particulièrement le documentaire mythique de Pennebaker, "Bob Dylan, don't look back" magnifiquement réédité par Columbia sous forme d'un splendide coffret. Moins cher mais tout aussi intéressant, le double DVD consacré aux Who et intitulé "Amazing journey, the story of the Who"(Universal, une quinzaine d'euros) qui est presque aussi bien troussé que le "No direction home" de Scorcese consacré à Dylan, une véritable mine pour fans mais aussi un légitime hommage au regretté bassiste John Entwistle dont on ne dira jamais assez la place centrale qu'il occupait dans le groupe.

Lyon, le 4 janvier 2008.