Who's Next

Very strong start and finish but lags in the middle, much like me having a shag.

Dad rock but by actually talented musicians

Now here's a classic album. This marks the third album on here I have on vinyl (actually fourth since my Pink Moon vinyl arrived today). Opens with one of the greatest songs ever made. I'm a Baba O'Riley boy through and through. There are plenty of other bangers on here too, and I also enjoyed a handful of the tracks I'd never heard before. In total, I gave a little Apple Music heart to seven of the nine tracks--that's what we in the business of calling things things call a "hit machine." Honestly insane that this album opens AND closes with two of the greatest songs the Who has ever made. This album is undeniable. Plus, I fear if I gave this less than a perfect review that my younger self would materialize to kick my ass. Good thing it more than holds up. Favorite tracks: Baba (booey) O'Riley, Won't Get Fooled Again, Behind Blue Eyes, The Song Is Over. Album art: Iconic. This should honestly be on a short list for best album covers ever. Top 15 maybe? Four blokes in a quarry, around this man-made monolith type thing. The angle of the monolith is part of the charm too--it's not centered, but it feels centered. A strong, dark energy emanates from this one. Also, I love the stylization of the title: "Who's next" Not a question, nor a statement really. Maybe just an observation. 5/5

Who’s Next by The Who (1971) [Is this the best album cover ever?] How many of us first heard this album in our formative years, when we began to discover that hard rock was an art form, a catalyst for serious reflection on answers to the big questions, for markers along the trail toward maturity and contentment, for companionship in the pursuit of truth that we could not get from our teachers, pastors, coaches, father-figures, counselors, and drill sergeants? How many of us sat at the feet of a sage like Pete Townshend when we had tried and failed to distill life’s lessons from George McGovern, Walter Cronkite, Malcolm X, T.S. Eliot, Karl Marx, and Saints Matthew, Mark, Luke, and John? How many of us were there? And how many of us are left? We learned from the songs we absorbed. We learned that the nature of love is sacrificial (“Bargain”), that love for spouse and offspring is not passive but active (“Love Ain’t for Keeping”), that in the midst of the anger and the vengefully voided conscience of being misunderstood, self restraint is wiser than violence (“Behind Blue Eyes”), that adolescent angst is only a ‘teenage wasteland’ (“Baba O’Riley”), and that this Revolution too will pass when the ‘slogans are effaced’ and ‘the beards have all grown longer’ (“Won’t Get Fooled Again”). Of course, all these truths could have been found in the Christian faith, but the searching was hard when the more popular theologians and moralists of the mid-twentieth century had so royally screwed it up. So how many of us became atheists who had to seek these truths elsewhere? But these priceless truths would be inaccessible without a suitable vehicle of expression. It had to be heavy (“Getting In Tune”), dexterous (“Going Mobile”), and punctuated with comic relief (“My Wife”). So this is where the music comes in—guitar, bass, drums, piano, synthesizer (yes, we were ready for that), and voices that could both melt hearts (“The Song Is Over”) and produce involuntary cris de coeur. Putting yourself in the context of a post-revolutionary survivor, patiently listen to “Won’t Get Fooled Again” (loud!) and take note of what happens in your upper thoracic region at the 7:43 mark. I dare you. The physicality is astonishing. The best (and most paternal) transition from Side One to Side Two in the history of recorded music: “The song is over Excepting one note, pure and easy Playing so free, like a breath rippling by . . . I’m singing this note . . . But I’m in tune, and I’m gonna tune right in on you.” This is the album that first compelled me to listen seriously. What album did that for you? 5/5

Anyone who doesn't rate this a 5 doesn't know what they are talking about. This is a nearly perfect album. Epic.

I mean, c'mon.

A lot of classics, but the ones that aren’t classics kind of drag. Even the big ones are more “great riff” than “6 minutes of excellence”.

Oh my let me use Who’s words to say Bargain the best I ever Had”. Buying this album is the best you’ll ever buy. I lost 2 pounds listening to this album. Baba Riley had me playing air guitar, air drums,keyboard and violin. I needed water half way through due to beltimg out the words to so many - so loud! My goodness what a piece of art from the 1st track to last. This is what a masterpiece sounds like . Belisamo!

10/10, I feel like Joe Pera when I listen to this

The apotheosis of talent show rock (songs where all the band’s gifts are on display), nothing here is less than masterful. But what shines brightest is how consistently brilliant their final acts are. Baba O’Reilly’s gypsy coda is as great as its famous opening. Daltrey’s gravelly commitment to “When my fist clenches, crack it open” and “Put ya fingers down my throat” in Behind Blue Eyes’ finale is what tips it into all-time great. Won’t Get Fooled Again somehow finds a way to level-up at the end even though the whole song’s essentially the album’s final act. Even the lesser numbers pack a big finish: Bargain’s drum battering, My Wife’s creeping horn charts, Going Mobile’s squiggly synths. The sleeper is Getting in Tune, which re-routes its concept with each verse. First one’s about making music, second one’s about loneliness, third one’s about getting yourself right, fourth one’s about finding connection. Then they all get blitzed together. Something like that, anyway. When the material isn’t strong enough to fully embody, the McCartneyish try hard in Daltrey’s voice can be irritating; but when it is strong—which is most of the time here—it brings out the character actor in him and he puts the songs over like a motherfucker.

Crazy how the Who went forward in time so they could learn Behind Blue Eyes by Limp Bizkit.

One of the greatest albums of all time. Top 5 ‘final track on an album’ ever…

This album starts and ends brilliantly. Baba O'Riley, Behind Blue Eyes and Won't Get Fooled Again are classics and still sound fresh in 2021, particularly the former. In the middle it is less memorable though, and seemed like fairly average rock. 3.5/5.

I feel like anything I would have to say about this album would be woefully insufficient. I mean, this is the epitome of a 5 star album. Best thing the Who ever made. There's a reason why we know so many of these songs, to the point where some have become overfamiliar. Don't let that get in the way of your enjoyment. There are literally some of the best rock songs ever made on this album, including the monumental "Baba O'Riley," the blistering "Won't get Fooled Again," and the deeply intense "Behind Blue Eyes." This is the Who musically at their best and going for broke on every song. Fave Songs: Baba O'Riley, Bargain, Behind Blue Eyes, Won't Get Fooled Again, Going Mobile

Who’s Next I was heavily into this album around 2003/2004, just after the deluxe edition CD came out. I remember buying it in Tower Records in Shibuya. Don’t look for it, it’s not there anymore (actually it's still there). It’s still my favourite of theirs. Although I like much of their earlier R’n’B and their psychedelic and rock opera periods this is probably the best combination of Townshend's conceptual endeavours (even though the full Lifehouse concept fell by the wayside) and their desire to straight ahead rock’n’roll. It is also their best sounding album I think, the early ones sound quite thin, and while Tommy sounded better this one sounds excellent. It’s probably Daltrey’s best recorded vocals, as well as his best singing. I think it also has some of Townshend’s best guitar playing, I love his bluesy acoustic on Love Ain’t For Keeping as well as his lead/rhythm amalgamation. The production and its place in the mix also highlights how integral Entwistle’s bass was to their sound, his playing is excellent throughout. And it has some of Moon’s most considered playing, even if he still does a lot, I really like his thumping march on The Song is Over and his rhythm pattern on Won’t Get Fooled Again in the early verses (and throughout) is superb. The synths are pretty interesting too, they are an important part of many songs, Baba O’Riley and Won’t Get Fooled Again most obviously, but they never go too overboard, they make up part of the texture of the record rather than being hugely prominent or purely for decoration. Baba O’Riley, Behind Blue Eyes and Won’t Get Fooled Again are rightly the big songs, but the rest of the album tracks, apart from perhaps My Wife are also excellent (even though I love the drums and the horns on My Wife, it’s the lyric and Entwistle’s vocals that sour it a bit). Bargain and Love Ain’t For Keeping are excellent after Baba O’Riley. The Song is Over and Getting in Tune are a great duo, particularly The Song is Over, I love the ‘searching for a note, pure and easy’ part. I suppose Going Mobile is a bit throwaway, but I do like it, particularly the treated guitar solo part. I’ve always loved Won’t Get Fooled Again, but it’s interesting listening to the lyrics now, how disillusioned they are for 1971, although I suppose the hippie dream had already soured by then. A classic album in the classic sense of a classic album, it’s a straightforward 5. 🧿🧿🧿🧿🧿 Playlist submission: Won’t Get Fooled Again

Joe Pera was so right about Baba O'Riley! 5/5

America's dads all agree: This album rocks.

Man this is classic Who. Loved it.

You Won’t Get Fooled Again if you listen to this and that’s a Bargain that I can guarantee.

As I’ve written elsewhere, The Who formed my primal conception of rock when I was a kid, which has left me conflicted by their wild troughs and peaks. I love “Live at Leeds” despite the songs. This album appears to be the one where they stashed most of their great tracks. Even the Ox’s “My Wife”, a mostly-nothing of the song, is elevated by a brilliant outro that makes me want to listen to the rest of the song again as just build-up to those few seconds at the end. The rest of the album is banger pressed to banger, no weakness. The promise of “Tommy” groping its way towards us on this list still makes me shudder uncontrollably, mind.

Never understood why The Who are held up as one of the all-time greats. This album makes a good case, however. Enjoyed it a lot, to my surprise! [EDIT - yeah, it's a 5]

No. 191/1001 Baba O'Reily 5/5 Bargain 5/5 Love Ain't For Keeping 5/5 My Wife 4/5 The Song is Over 5/5 Getting in Tune 4/5 Going Mobile 4/5 Behind Blue Eyes 5/5 Won't Get Fooled Again 5/5 Average: 4,67 Just a great classic rock album from start to finish. No bad songs and a lot of "highlight" songs. This is now my best rated album, taking over from Listen Without Prejudice - George Michael (4,56)

This album is expertly bookended with two of The Who's (and rock & roll's) most iconic songs. Opening with the anthemic "Baba O'Riley" and those mesmerizing synthesizer-like notes which act as a motif all throughout. "Won't Get Fooled Again" is one of those timeless rock ballads that reels you out and hooks you back in with its buildups. Among the lesser known tracks, I enjoyed "This Song Is Over", as that had more of that operatic rock sound heard throughout the album. This might be The Who's best work, maybe rivaled by "Tommy" from a few years prior, but I'd argue that this is more expressive and grand. Just an epic in its own right. Also I just now noticed that the album cover art is the band after taking a leak? Learn something new everyday I guess.

Well, it's just brilliant. Some of the best songs ever are on this album.

Classic. The Who was my first Rock concert shortly after Keith Moon passed and they’re in my pantheon. Ox’s “My Wife” hit home and always brings a smile.

An amazing album which has stood the test of time.

70s rock does not get much better than this. Front to back great. Peak Who. They’re all WASTED.

Yeah, that’s a 5. I knew this was the album that had Baba O’Riley, but I never made the connection that Won’t Get Fooled Again was that fucking song. Those are the two standouts, obviously, but everything in between so perfectly compliments each other in terms of the instrumentation and the vocal performance, probably most deeply anchored together by the fantastic percussion throughout this album that really makes each song pop that much harder, especially on The Song Is Over and Getting in Tune. It’s just a really fucking good album, man. Even its weakest points where the sound lulls a bit or repetition starts to seep in, which are few and far between, are still great to listen to. Very deserving of a 5, and highly recommended.

Yes - "Who's Next" is one of the truly all-time classics in rock no doubt... With "Baba O'Reilly" opening the album, and "Won't Get Fooled Again" closing it - you have 2 of the greatest anthems in the history of rock... Add in "Behind Blue Eyes", "Bargain", and "Going Mobile" as couple of more amazing tracks - and you have a stunningly exceptional album... Always enjoyed the less popular songs from this album as well, including "The Song Is Over", "Getting In Tune", and "Love Ain't For Keeping" - as those are quintessential Who hands down... Only weak track on the album is "My Wife" - but 9 out of 10 absolutely stellar songs is really remarkable... Definitely a 5 all the way for me...

What a ride. This is probably the best album that’s going to be on this list. And to think this was leftovers from their previous record. Absolute legends.

What kind of crazy, fucked-up world do we live in where this album isn't one of the top 20 highest rated on this sites list? This is the sound of a band at the absolute peak of their powers. It's the epitome of a classic album. There's a reason the best songs from the album have been overplayed everywhere: they're simply that good. I even like the track John Entwistle sings lead on.

This is one of my all-time favorites. With some devastating lyrics and incredible musicianship, it's got so many great songs that it feels like a "Best of..." record. (Though there are many, many more of The Who's bests not on this album.) It is grandly exuberant, theatrical, cinematic. (There is a reason Baba O'Riley is the soundtrack to so many movie trailers.) Listening to this album just feels HUGE. Like I need to expand to fit the music in. It's exhilarating. lovelovelovelovelove

A masterpiece rock classic. I don’t think any band makes such a dramatic change in their career as The Who, Beatles aside. The album is packed with 3 mega iconic songs, great musicianship that well produced, all packaged in a great runtime. The album is a must and truly belongs on the list.

What a great album! Compared to earlier Who albums, this is a marvel. "Bookended" by three mega hits, the rest of the album is studded with everything, fast paced songs, power ballads, guitars, synthesisers

After the success of Tommy, Pete Townsend embarked on another ambitious rock opera project titled Lifehouse. This project was eventually abandoned but some of the elements made their way onto Who's Next. This album is surely one of the Who's best. It is concise and coherent and features some of their greatest hits. Many of the lesser known songs come from Lifehouse and concern themselves with the relationship between music and its audience. This is truly a great album.

5/5 - Duh. Excellent.

Much of Who's Next derives from Lifehouse, an ambitious sci-fi rock opera Pete Townshend abandoned after suffering a nervous breakdown, caused in part from working on the sequel to Tommy. There's no discernable theme behind these songs, yet this album is stronger than Tommy, falling just behind Who Sell Out as the finest record the Who ever cut. Townshend developed an infatuation with synthesizers during the recording of the album, and they're all over this album, adding texture where needed and amplifying the force, which is already at a fever pitch. Apart from Live at Leeds, the Who have never sounded as LOUD and unhinged as they do here, yet that's balanced by ballads, both lovely ("The Song Is Over") and scathing ("Behind Blue Eyes"). That's the key to Who's Next -- there's anger and sorrow, humor and regret, passion and tumult, all wrapped up in a blistering package where the rage is as affecting as the heartbreak. This is a retreat from the '60s, as Townshend declares the "Song Is Over," scorns the teenage wasteland, and bitterly declares that we "Won't Get Fooled Again." For all the sorrow and heartbreak that runs beneath the surface, this is an invigorating record, not just because Keith Moon runs rampant or because Roger Daltrey has never sung better or because John Entwistle spins out manic basslines that are as captivating as his "My Wife" is funny. This is invigorating because it has all of that, plus Townshend laying his soul bare in ways that are funny, painful, and utterly life-affirming. That is what the Who was about, not the rock operas, and that's why Who's Next is truer than Tommy or the abandoned Lifehouse. Those were art -- this, even with its pretensions, is rock & roll.

Classic album. Second favorite Who album behind Quadrophenia. 9-10/10 1. Baba O'Riley 2. Won't Get Fooled Again 3. My Wife

This is an all-time classic, one of the best albums ever in my opinion. There really isn't a bad song in the bunch. Lately I've really been appreciating My Wife (the song, although I do appreciate my real-life wife as well). Listen to the drumming in that song, and then the horns kick in. And of course, Won't Get Fooled Again is epic. 5 stars easy.

Definitely the Who's best.

A Who album I liked! Woo-who!

Incredibly impressive performances by the artists here only to be bogged down by their own success. Baba O'Riley, Behind Blue Eyes, and Won't Get Fooled Again are so over played and cemented as "dad rock" that it can be hard to appreciate the drums, piano, and guitars that rock all over this album. I really liked some of the lesser known songs here, like My Wife and The Song is Over, but there is no denying that the hits here really are hits.

Great rock album, liked it a lot more than I expected. Top tracks for me are Baba O'Riley, Behind Blue Eyes and Won't Get Fooled Again.

Easily the best known The Who album. It is THE album that people will point to if you ask them about the best album to start with The Who and even I, who isn't a big fan of them at all, have to agree that there are some pretty nice tracks on this album especially at the start and the end. The middle parts of the album do feel a bit less extraordinary but it's not like it's totally tasteless. I bet for someone who's really into Hard Rock, this is close to a holy grail but as I either prefer softer or heavier music and in total don't really care for Hard Rock and also a lot of Blues Rock, this seems rather overhyped. The legendary ‘Baba O'Riley’ starts off the album with a Hard Rock and Art Rock song that includes both Prog-Rock as well as Prog-Electronic stlyes and create a really interesting sound that you’d not really expect The Who to go into. It’s certainly a fun song that plays around the repetetive electronics enough to create a diverse and interesting song that even though I am not as big of a fan as others, have to agree that it is a great song and easily one of the best in the entire discography of theirs. Especially the end with the groovy classic dance rhythm is a really fun thing and easily my favourite part on the song. On ‘Bargain’ they bring in more Blues Rock but still keep the obvious Hard Rock and Prog Rock ideas. It’s a really energetic and loud piece that certainly has it’s qualitites, mainly with the chorus and its vocal performance towards the end of said chorus. The bridges are a bit to sudden and too big of a change to really keep the energy going but they manage to pull it back after letting the guitar and the drums shine for a while. I really like the song and think it’s even a great one. ’Love Ain't for Keeping’ does a whole 180 on their sound and turns to Roots Rock and Acoustic Folk that plays with Country here and there. It’s definitely not an uninteresting song but I do find that it does much less to me than it might could’ve. It sounds a lot like something Led Zeppelin did on their fourth album and I also think that that album is just boring at many moments and this short song just doesn’t do it to me. It’s okay and I can listen to it but there’s not much more for me in it. They return to their Mod origins on ’My Wife’ but still do the Hard Rock and bits of Art Rock that definied their later career. I do like some of the interesting production choices and weird additions that they did add but again, most of it seems rather uninteresting to me and if it wasn’t for the brass instruments, this would’ve not been as good as it is. At least that they did succeed in. 'Song Is Over’ fittingly ends the albums first side piano driven Art Pop Rock track that features some more Hard Rock guitar at parts but it spans out over 6 minutes and plays a lot of Prog structures and therefore doesn’t always go into said play style. It just seamlessly transitions between the softer Piano parts and the slightly heavier guitar parts in which also the vocal style changes to fit with the songs sound. It’s pretty ingeniously written if you really look at it and although I really appreaciate what they did or tried to do, I personally don’t stay as interested with it for much longer as it does feel a bit repetitive after a while. It’s still really good. Side B opens with ‘Getting in Tune’ which although it starts quite soft and sentimental has well enough Blues & Hard Rock in it after it really gets going. It’s a pretty fun Art Rock song that not only plays around with ideas and sounds but actually succeeds in it by having both some really groovy and sentimental moments that both seem to do exactly what they tried to do with it. It does strech a bit towards the end but it doesn’t feel too boring or repetitive and I think that even though it could’ve been better especially with the outro, it still is a pretty great song overall. They not only go Pop on ‘Going Mobile’ with some added hints of Folk, Country and Hard Rock but they also make the easily weakest song on the album. It sounds like a gone wrong Britpop song with an absolutely stupid chorus that not only lyrically but vocally hits deeps that they didn’t get to since after their Mod phase. It’s definitely not terrible but oh god, it’s pretty bad. Easily, the worst song on the entire album. Stupid songwriting, bad vocal delivery and just absolutely foolish. Luckily, ‘Behind Blue Eyes’ follows with one of the best known and generally best tracks on the album. It’s an Acoustic Art Rock song that not only has some of the best lyrics as well as a great execution in terms of songwriting, vocals, backing vocals and instrumentation. And it gets even better after the song drops into the Hard Rock part of the song. It’s a really lovely song and I like everything about it but it isn’t perfect, mainly because they sometimes don’t know how or when to stretch certain parts but it is incredible nontheless. The epic closing track ‘Won't Get Fooled Again’ returns to the Prog-Electronic style they already did on the opening song and therefore close to album in a fitting circle. I think that it sounds a lot like some Rolling Stones songs the way they wrote it and play with the guitar and the backing vocals. On top, it’s the longest song on the album with over 8 minutes which is spread out into certain sections that are repeated but don’t give us a full on chorus but only a tension building hook that builds and builds more tension. Around the halfway mark they hint to the legendary finale but return to the Stones style song that keeps going and builds with a hypnotic Psychedelic Rock style more and more tension that also lets you drift away as they mix repeating guitar with the Electronic parts to create a really well made hypnotic atmosphere in which one can go lost. It then turns to a section that is only driven by the Electronic parts before slowly adding drums that build a lot of tension in a short time before releasing with the iconic scream that finally releases all of the tension that was build over 8 minutes of playing and closes to song in absolute perfection. Easily the best song on the album. favourites: Won't Get Fooled Again, Behind Blue Eyes, Baba O'Riley, Getting in Tune, Bargain least favourites: Going Mobile, Love Ain’t for Keeping Rating: strong 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

It's hard to think of many bands (other than the Beatles) who underwent such ambitious growth in such a short period of time. Their first album (just over five years previous) was a relatively unremarkable mod-pop album, and here they are practically inventing 70s stadium rock, having moved through concept albums and rock operas to... this gargantuan beast of a record. Thank god they kept it to a lean single album. I am not generally a fan of concept albums or rock operas; they are pompous, pretentious, overly complicated and nonsensical. I think the "failure" of Townshend's Lifehouse concept helps them here. Not that the record doesn't lean towards pompous and pretentious, but by jettisoning attempts to link a narrative thread, they could concentrate on making the album sound good. And teaming up with Glyn Johns (responsible for a slew of great sounding records in the late 60s and 70s) really helps. The playing is sophisticated without becoming overly complex, muscular and powerful. And there are probably more really iconic tunes here than on any other record the Who ever released; Baba O'Riley, Going Mobile, Behind Blue Eyes and Won't Get Fooled Again are all dad-rock classics, and the rest of the material is of a high standard. Pound for pound, this is the best they ever played, the best they were ever recorded, with the best tunes they ever had. And they manage to reign in the worst tendencies towards over-playing (I'm looking at you, Moon, and you too, Ox). Do I love The Who? More admire than love, and, truth be told, if I was going to spin one of their records, it would most likely be Live at Leeds. But this is a dead set classic record, deserving to be on the list. It probably deserves a five, but I just can't quite get there. Perhaps 4.5, rounding down because I'm ornery. I do, however, really love the cover photo. Mwah, chef's kiss.

The high points on this album are among the highest of 70’s rock and more than make up for some of the less memorable tracks in the middle of the record. It’s actually kind of ridiculous how great a couple of the songs on this record are. Keith Moon, without a doubt, steals the show on this record, his frenetic drumming leads the way, charting the course these songs as much as the arpeggiated synth lines on the the tracks bookend this record or Pete Townsend’s guitar. He is practically a hurricane turned drummer, and I think in the hands of any other drummer most of these songs would not have the same impact - especially towards the end of “Won’t Get Fooled Again”, where his drum fills interrupt the organ/synth arpeggio and clear the way for Roger Daltry to deliver what is probably the greatest scream in the history of rock and roll as the band returns to the songs iconic riff for the last time. The ending of that song is quite literally perfect and I’m not sure The Who reached that level again before or since in their career, at least to my ears - though they often came close.

Very strong start and finish but lags in the middle, much like me having a shag.

who who im an owl

No doubt this album is a rock classic. Super influential album with a lot of fans, however I may not be one. My favorite songs are the first track and then the last 3 tracks. All 4 of those songs are awesome and super memorable. That’s the problem, the meat of this album the middle three albums are just so meh. Sadly forgettable, I do think this album is worth listening to in its entirety. I just don’t think I personally care for anything other than those few songs.

Can definitely tell that it was once part of a concept album, or rock opera as there is a lot of story structure in the songs. I was also glad to know that making meta-commentary in music was popular in the early 70s as well. I will say that Keith Moon is one hell of a drummer.

solid record opening is huge, closer is also huge. everything in between pretty consistently rocks hard. ballads aren’t too corny. not CRAZY about the pete led songs, but they’re still pretty decent. 7.5/10

There are some attention grabbers for everyone!

As I've mentioned in my reviews of the other Who albums, never been a big fan. At least those albums ("Tommy" and "My Generation") I wasn't as familiar with. This record is not so lucky. Classic rock radio has beaten at least four of these to absolute death, so much so that when I saw the last two songs were "Behind Blue Eyes" and "Won't Get Fooled Again", I decided to spare myself. If I had known "Bargain" by the title, I would've skipped that one as well. Two of these songs both have similar enough melodies, albeit differing intensities, and to have them back to back is just poor design ("The Song is Over" and "Getting In Tune"). The other three songs are absolutely forgettable. The Who are a classic rock band that I've never understood why every radio station in America is required to play their music. I just wish they'd go away. Favorite track: "Won't Get Fooled Again"

Nah

I fucking hate The Who.

Beyond a couple of early singles, I have never understood the interest in The Who. This album is far from a classic, and sounds like a really bad hangover from the Sixties. Lumpen rock with no soul or even meaningful lyrics. There is nothing ‘mod'ern about this, even for the time. Even Townshend’s guitar playing - so often discussed and admired - doesn’t really stand out as being either virtuosic or particularly original, to these ears. Next!

Im surprised I loved this one as much as I did considering I hated Tommy and this was the follow up to it. They were firing on all cylinders with this one though. Dips a smidgen in the middle but starts and ends so god damn strong how can you not love it? Beep beep

Das Album Who's Next wurde von der britischen Rockband The Who in den Olympic Studios in London aufgenommen. Es erschien 1971 und markiert einen Übergang von den ambitionierten Konzeptalben der späten 1960er Jahre hin zu einem direkteren, produktionstechnisch klar strukturierten Rocksound. Die Band kombinierte Elemente des Hard Rock mit Synthesizern, was zu einer damals ungewöhnlichen Klangmischung führte. Pete Townshend, Gitarrist und Hauptkomponist der Gruppe, integrierte musikalische Motive aus einem zuvor gescheiterten Projekt in dieses Album. Die bekanntesten Stücke sind „Baba O’Riley“, „Behind Blue Eyes“ und „Won’t Get Fooled Again“, die sich durch ihren Einsatz elektronischer Klangelemente und eine straffe Songstruktur auszeichnen. Diese Songs wurden zu wiederkehrenden Bestandteilen von Liveauftritten und gelten als prägend für den weiteren Verlauf der Rockmusik. Die Texte spiegeln persönliche und gesellschaftliche Spannungen wider, die mit einer zunehmenden Technologisierung und individuellen Desillusionierung einhergehen. Die Produktion wirkt insgesamt ausgewogen, mit klar konturierten Instrumentenspuren und einer zurückhaltenden, aber präzisen Dynamik. Das Album zeigt eine gereifte Band, die sich musikalisch weiterentwickelt, ohne ihre Wurzeln im Rock der 1960er Jahre zu verleugnen. Es ist ein durchdachtes Werk mit starker handwerklicher Umsetzung.

So many good csi theme songs

a soft 5 as I'm not super familiar with the non-hits, but i need to stop watering down my ratings toward the center and this has some of the best classic rock songs of all time on it.

🤏🏻❤️

Amazing!

Can skip the live

I could have sworn I didn't like The Who, but I can't think of a reason why - I guess I was just being contrary, because this is a phenomenal album.

**Who's Next** by The Who, released in August 1971, stands as a landmark in rock history—a fusion of raw power, innovation, and emotional depth that both defined its era and transcended it. Below is an in-depth review focused on lyrics, music, production, themes, and influence, followed by a balanced assessment of its strengths and weaknesses. ## Background and Genesis The album emerged from the ashes of Pete Townshend’s ambitious but ultimately abandoned *Lifehouse* project, a planned multimedia rock opera intended to follow *Tommy*. The collapse of *Lifehouse* forced The Who to distill its best material into a more conventional album format, resulting in a work that is both conceptually rich and musically focused[1][2][3]. The core band—Roger Daltrey (vocals), Pete Townshend (guitar, keyboards, vocals), John Entwistle (bass, brass, vocals), and Keith Moon (drums)—was at a creative peak, supported by guest musicians like Dave Arbus (violin on “Baba O’Riley”) and Nicky Hopkins (piano). ## Lyrics and Themes **Rebellion, Disillusionment, and Identity:** The lyrics of *Who's Next* are marked by a deep engagement with themes of rebellion, personal and societal identity, and the cyclical nature of political change. The album’s most iconic track, “Won’t Get Fooled Again,” is a scathing critique of political revolution and false hope, encapsulated in the immortal line: > “Meet the new boss, same as the old boss.”[1][2][3] Townshend’s writing throughout the album reflects a retreat from the idealism of the 1960s, instead embracing skepticism and realism. “Baba O’Riley,” inspired by Townshend’s spiritual explorations and the teachings of Meher Baba, expresses generational alienation and a search for meaning in a chaotic world. The phrase “teenage wasteland” has become emblematic of youthful disillusionment[1][4][5]. **Introspection and Emotional Turmoil:** “Behind Blue Eyes” delves into isolation and misunderstood anger, its lyrics capturing the inner turmoil of a man burdened by expectations. The song’s structure—moving from gentle acoustic introspection to a cathartic, full-band outburst—mirrors the emotional volatility at its core[1][2][4][5]. **Self-Realization and Hope:** Tracks like “The Song Is Over” and “Getting in Tune” explore the search for personal authenticity and the enduring power of music as a source of hope and unity. The closing lines of “The Song Is Over” reference the central, unifying “note” from the abandoned *Lifehouse* project, suggesting that music itself is a means of transcendence and renewal[6]. ## Music and Arrangements **Innovative Use of Synthesizers:** A defining feature of *Who’s Next* is Townshend’s pioneering use of synthesizers. Far from mere embellishment, the synths are integral to the album’s sound. The opening of “Baba O’Riley” features an iconic, looping ARP synthesizer sequence, setting a futuristic tone that was groundbreaking for rock music at the time[2][5]. Synths also drive the tension in “Won’t Get Fooled Again,” providing both texture and propulsion. **Dynamic Range and Power:** The album is renowned for its dynamic contrasts. Songs shift seamlessly between soft, introspective passages and explosive, full-band assaults. “The Song Is Over” and “Getting in Tune” exemplify this, with Townshend’s gentle vocals giving way to Daltrey’s powerful declarations, supported by Moon’s thunderous drumming and Entwistle’s agile bass lines[2][6][5]. **Band Performance:** - **Roger Daltrey** delivers some of his finest vocals, blending vulnerability and raw power. - **Pete Townshend**’s guitar work is both aggressive and nuanced, while his keyboard and synth contributions expand the band’s sonic palette. - **John Entwistle**’s bass is melodic and inventive, particularly on his own composition “My Wife,” which provides comic relief and showcases his musicianship[2][5]. - **Keith Moon**’s drumming is chaotic yet precise, driving the band with unmatched energy. **Songwriting and Structure:** The album’s tracks are tightly constructed, with each song serving a distinct emotional and musical purpose. Even shorter songs like “Love Ain’t for Keeping” and “Going Mobile” are memorable, providing contrast to the epics that bookend the album[5]. ## Production **Glyn Johns’ Production:** The production, handled by Glyn Johns, is widely regarded as the best on any Who album[7]. Johns achieved a clarity and immediacy that places the vocals and instruments front and center, capturing the band’s live energy while allowing for studio experimentation. The sound is expansive and three-dimensional, with a “wall-to-wall” quality that immerses the listener[8]. **Sound Quality:** - **Presence and Immediacy:** Vocals are clear and commanding, never lost in the mix[8]. - **Punchy Bass and Drums:** The rhythm section is tight and impactful, with Moon’s drums and Entwistle’s bass given full weight. - **Transparency:** The mix allows for subtle details—synth textures, acoustic strums, and backing vocals—to shine through[8]. **Iconic Cover Art:** The album cover, inspired by the monolith from *2001: A Space Odyssey*, is both enigmatic and iconic, reinforcing the album’s sense of mystery and grandeur[1][3]. ## Influence and Legacy **Critical and Commercial Impact:** Upon release, *Who’s Next* was an instant success, topping the UK charts and reaching #4 in the US. It produced enduring hits like “Baba O’Riley,” “Behind Blue Eyes,” and “Won’t Get Fooled Again,” songs that remain staples of classic rock radio[3][5]. The album is frequently cited as one of the greatest rock albums ever, ranking highly on lists by *Rolling Stone*, *VH1*, and *Guitar World*[3]. **Influence on Rock and Beyond:** - **Synth Integration:** The album’s innovative use of synthesizers influenced countless artists and helped pave the way for electronic elements in rock music. - **Anthemic Songwriting:** The epic scope and emotional directness of tracks like “Won’t Get Fooled Again” set a template for stadium rock. - **Lyrical Depth:** Townshend’s blend of personal and political themes inspired later generations of songwriters. **Enduring Relevance:** Unlike some contemporaneous works, *Who’s Next* has aged remarkably well. Its themes of skepticism, self-discovery, and the quest for authenticity remain resonant, and its sound retains its freshness and power decades later[4]. ## Track-by-Track Highlights | Track | Key Features | |----------------------|------------------------------------------------------------------------------| | **Baba O’Riley** | Iconic synth intro, themes of alienation, explosive violin solo[1][5] | | **Bargain** | Spiritual longing, dynamic arrangement, standout guitar work[5] | | **Love Ain’t for Keeping** | Brief, acoustic-driven, showcases band’s versatility[5] | | **My Wife** | Humorous, energetic, Entwistle’s bass and brass[5] | | **The Song Is Over** | Emotional range, dual vocals, references *Lifehouse*[6][5] | | **Getting in Tune** | Shifts between introspection and catharsis, musical dynamism[5] | | **Going Mobile** | Upbeat, lighter tone, showcases band’s playfulness[5] | | **Behind Blue Eyes** | Haunting ballad, builds to cathartic release, introspective lyrics[1][5] | | **Won’t Get Fooled Again** | Epic closer, political critique, legendary scream, synth-driven[1][5] | ## Pros and Cons ### Pros - **Groundbreaking Use of Synthesizers:** Set a new standard for integrating electronic textures into rock[2]. - **Exceptional Musicianship:** Each band member delivers career-best performances; Daltrey’s vocals and Moon’s drumming are especially notable[2][7][5]. - **Powerful, Timeless Songwriting:** The lyrics are both personal and universal, with memorable hooks and anthemic choruses[1][2][4]. - **Cohesive Yet Varied:** The album balances hard rock, ballads, and humor, maintaining cohesion without monotony[2][4][5]. - **Superb Production:** Glyn Johns’ work ensures clarity, energy, and depth, capturing the band at their peak[7][8]. - **Cultural and Historical Significance:** Its influence on rock, both musically and thematically, is immense and enduring[3]. ### Cons - **Lack of a Unified Concept:** While the songs are thematically linked, the album lacks the narrative cohesion of *Tommy* or *Quadrophenia*, a result of its origins as a salvaged project[2]. - **Some Tracks Overshadowed:** The monumental status of “Baba O’Riley” and “Won’t Get Fooled Again” can make other songs seem less significant by comparison, even though the album is consistently strong[2][5]. - **Shorter Songs Feel Minor:** Tracks like “Love Ain’t for Keeping” and “Going Mobile,” while enjoyable, can feel slight next to the album’s epics[5]. - **Production Choices:** Some purists argue the synths and studio polish detract from the rawness of earlier Who recordings, though this is largely a matter of taste[2]. ## Conclusion *Who’s Next* is a towering achievement in rock music—a record that captures the energy, ambition, and emotional complexity of The Who at their peak. Its blend of technological innovation, lyrical depth, and sheer musical power has ensured its place as a touchstone for generations of musicians and fans. While not without minor flaws, its strengths far outweigh its weaknesses, and its influence continues to reverberate through popular music.

How many stars am i allowed to give to a record? if someone asked me what would be my top five all time albums... this one would get major consideration... every song a home run... all the singing and playing perfect... "Baba O'Riley"... "Bargain"... "Love Ain't For Keeping"... John Entwistle's "My Wife"... "The Song is Over", "Getting in Tune", "Going Mobile"... "Behind Blue Eyes"... then... then... i'll say it again... then... comes the piece de resistance... "Won't Get Fooled Again"... one of the greatest songs in world history.... to end one of the greatest RnR records in history... Pete Townshend, Roger Daltrey, The Ox, and the incomparable Keith Moon... Five Stars to infinity...

Incredible funk

I'm colored by my dad's music tastes, but I love this band, and the album did not disappoint. This album also has 2/3 CSI theme songs, so nice!

An album full of bangers. Great rock through and through. I wasn't bored for a second.

So many classic who songs that I never knew were on the same album. Will def be adding this to the collection

This one really feels iconic. A lot of songs I didn't know I knew, or was at least a little familiar with.

One of the best albums ever made

Klassiker!

About as classic as it gets for "hard rock" albums. Between this and Tommy, I'm struck by The Who's knack for opening guitar riffs on their albums. A couple of the middle tracks are not my favorite, but the rest of it is so good I still easily give it 5 stars.

It's the Who. Some great music. Amazing lyrics. Powerful vocals. Classic songs.

CLASSIC!

Ni modo, no hay excusas, y no debería haberlas.

What a fantastic album. I don't think I'd ever listened to it as a unit before. Amazing stuff.

Baba O'Reilly is my favourite song of all time so delighted this was today's listen. My Wife is the weakest song - everything else is gold. Loved the reminder of how good the last couple minutes of 'The Song is Over' are. Hadn't remembered how good Getting In Tune is too. Love: "I'm singing this note 'cause it fits in well with the chords I'm playing, I can't pretend there's any meaning hidden in the things I'm saying, But I'm in tune" Hadn't noticed the 'beep beep' in Going Mobile; adorable. Also a (seemingly) rare example of an EXCELLENT album closing song.

Time to whip out the original LP I got of this one again. This is always gonna be an album I'll hold dear to me, listened to it a lot when I was just getting into classic rock. Every song here is a classic in its own right. The hit songs are well known and well regarded of course, but the deep cuts here like Bargain and Love Ain't For Keeping are amazing as well. The Beatles broke up, the Stones turned boring but The Who kept on making good albums well into the 70's.

I really like the Who - but prefer them as a singles band and I have never been that fond of the rock opera leanings. This album opens/ closes with two absolute classic Who tracks - with Baba O'Riley being one of my all time favourite songs. The tracks in between are not quite as strong - but slowly work their charm and do just enough to make it a 5.

The first Who album I've heard that has a full rock sound but coupled with consistently fantastic tracks. The combined power of those two elements is elemental in its power. I wasn't too surprised to find out that most of the material here was intended for a Tommy follow-up. The songs have that air of grandeur - dramatic but not melodramatic; emphatic but not bombastic. The non-single tracks, far from being filler, are top quality. 'Bargain' is something of a take on 'Won't Get Fooled' but Rog's high note is one hell of a moment. Deserves the knighthood just for that. Never really loved the Who, save for a few singles. Love this album.

Classic

It is not The Who's fault that We Won't Get Fooled Again was used in the cold opening of CSI:Miami, or their fault that "meet the new boss..." has become a pop cultural cliche and a vulgar political phrase for morons to overuse. It's not The Who's fault that Baba O'Riley is used at seemingly every sporting event. It's not The Who's fault that Limp Bizkit thought it was a good idea to cover Behind Blue Eyes. But a lot of people seem to hold it against this album that it has had such a far reaching presence in our pop culture. Nonsense. It's a testament to the outstanding quality of these songs. We all just have to live with some of the unfortunate bycatch.

The version of the album I listened to was sooo looooong. The deluxe edition includes the live performances. 2h 33 min!!! 😩 They are lucky that I like them enough to listen to it all. 😂

Absolute classic rock staple.

good classic rock with a touch of experimentation

Such a good album. Three songs that I knew, all of which are great songs. Easy 5/5

This is the hit single album from the Who, and it shows. It's not got the intellectual highs and lows of Tommy or the big plan but it has their real strengths on display the whole time. Keith Moon is a monster on this album and the first and last tracks just bookend a great performance with absolutely legendary ones. Everyone else's work is great but the drumming is on another planet. I can't say I disliked anything on this album, only that I liked a few songs more than others (note I didn't listen to the 10 hour long rerelease, just the original tracks). It's classic, it's rock and roll, it's fucking great. I loved it.

Legendary record. Absolutely the best thing The Who ever did, and some of the best songwriting Townshend ever produced. The middle sags a little bit, but it's literally impossible not to have some sag when the bookends are some of the most epic anthems ever produced.

A perfect album

This was necessary. I respect Tommy immensely but I dont like it. I think this record, and all of its hits, was necessary for The Who. Covered on the Are You Listening? Podcast in 2025 as part of a draft of The Who's discography.

Classic Who? Best album in their Discography!

Who’s Next - The Who A longtime favourite of mine. There’s so many classic tracks on here with no duds. Top Track - Either Behind Blue Eyes or Bargain

Near perfect mix of rock anthems and piano ballads. I've been a Wholigan my whole life. 4th of July 2003 I asked my mom what that "teenage wasteland" song was about. She told me "woodstock", but "more importantly its by the who". No skip album that served as the basis of my music taste. I love it, Quadrophenia my all time favorite who album but this one is pretty damn great. Fun fact I own this album in every form of media. Vinyl, CD, MP3, and on Streaming.

One of my favorite albums ever. And certainly one of the best ever. For of the best and most influential rock musicians at the top of their game. If you don't get chills with that "YEAH!" then I'm sorry, but rock music isn't your thing.

Incroyablement cool ! Ça donne de l’énergie et on s’ennuie pas. Le son est varié, avec des moments assez originaux pour maintenant l’intérêt. Et quelques bangers ! À réécouter

Awesome! Loved it. A no skips album honestly. Whenever I listen to the who I can definitely hear some Beatles influence in there which I think is cool. I’d give this record a 4.5 and I’d like to own it for sure!

Better than the Beatles tbh

Great times and lyrics, loved it - thx!.