Taken from a random web-site whilst searching for additional information on The Who's 'Quadrophenia' album I found this little line, "More than 20 years after it's release, 'Quadrophenia' is still inspiring young scooterists". Well, that's alright, then! 'Quadrophenia' made for a great cult film, it's look at mod culture indeed inspiring and influential for many. The title refers to four states of mind, schizophrenia, each part representing a member of The Who, or some other such rubbish. The spiritual or 'higher' meaning Pete liked to attach to his concept albums made little sense around the time of 'Tommy' and it makes little sense here, either. Forget any higher meaning, 'Quadrophenia' tells a story, and tells it better than 'Tommy' told a story. Musically, the mixing could probably have been done better. I'm told original vinyl issues sound better than recent CD issues, and who am I to disagree? I don't have an original vinyl issue to compare it to, and in any case, the mixing isn't a major problem. A Pete Townshend pet project? Well, yes. Not content with releasing 'Tommy', then concocting 'Lifehouse', watching it fall apart and become the marvellous 'Who's Next' instead - he wanted to do another concept and to do it better. The concept is good enough, ignoring any clumsy higher explanations of meaning - just watch the film at some stage, whilst you're at it. As far as the performance side of things is concerned, if The Who were arguably at their peak as performers circa 1970/1971, then how do they fare a couple or three years later? Well, Entwistle, when he can be heard through the mix, can be heard doing fine inspiring things. Pete does a few impressive guitar things, and Keith is Keith. I heard a story that following a break from The Who, Keith Moon would have to re-learn how to play drums like Keith Moon. He'd need to practise - get back into the swing of things.
Bearing in mind the initial early conceptions of 'Quadrophenia' as simply relating back the entire history of The Who, the apparent lack of progression from the pioneering nature of the likes of 'Baba O'Riley' is perhaps then to be expected, then? The 'Quadrophenia' album ( ignoring the film, that's for another discussion ) doesn't so much move The Who forwards as to provide a series of snapshots - it's a like musical Who photo album, via the medium of new songs. This 'Quadrophenia' album relates back to 'Who's Next' and it relates back to 'Tommy'. The 'Rock Opera' side of things clear places 'Tommy' in the listeners mind and semi-ballads such as the lovely 'Cut My Hair' places in mind certain 'Who's Next' material. There truly is nothing here as astonishing as either the opening or closing songs from 'Who's Next' - and the days of The Who being a killer singles band had seemingly ended as well. '5:15' was released and became a relatively succesful single, but that area appeared to no longer be a priority for the group. So, the highs are lower than before? Well, yeah, actually. But the key to appreciating 'Quadrophenia' perhaps lies in the cumulative effect of the seventeen songs here, nary a one of them a dud. True, the opening 'I Am The Sea' is merely a wash of... well, waves and such forth, but this is a concept album, right? You've gotta have one of those little introduction things on here, haven't you? Besides, it's short and leads effectively into 'The Real Me', a genuinely great Who rocker. Which in itself leads into the instrumental title track. This track scores over similar efforts on 'Tommy' merely in that it sounds so great. Pete does his guitar thing, does his synth sounds thing - Keith and John do their thing and it flows so well, very beautiful music.
A 'rash' of guitars and drums open 'The Punk And The Godfather', some title to have on an album in 1973. A minor Who gem and perhaps my favourite song here arrives with the folky guitar, nice vocals and great tune of 'I'm One'. 'Quadrophenia' benefits from material such as the title song and 'I'm One', as occasionally it seems a few songs too many share the same kind of sound and style. 'I'm One' not only includes these folky elements but also includes clattering drums for the more typical Who moments. Great moments though, truly great. Pete's Synths arrive all over 'The Dirty Jobs', perhaps overly so, but Keith and Roger keep this grounded in Who land. 'Is It In My Head' is affecting, and pretty much all of the entire first half of 'Quadrophenia' is affecting, exciting, quality Who music of the highest order. We don't quite see this level maintained through the second half, not that anything is particularly 'wrong' with the second half of 'Quadrophenia', though. '5:15' is a great track, brass and various instrumentation creating a huge sound, and the bellowed "Girls of fifteen, SEXUALLY KNOWIN'" lyric very entertaining indeed. Roger Daltery, apart from this intoxicating wall of sound of course, makes '5:15' for me. 'Quadrophenia' then proceeds to carry on its merry way, Keith does a few drums things, Pete does a few guitar and synth things, etc, etc. 'Doctor Jimmy' is a fine example of playing and sounds, but for eight minutes rather overstays its welcome. The closing emotional epic of 'Love Reign Oer Me' is a highlight though and the nearest 'Quadrophenia' gets to matching the glory of a 'Baby O'Reily' or 'Won't Get Fooled Again'. 'Quadrophenia' needed such a striking highlight during it's second half to keep the album overall on an even keel. Anyway, 'Quadrophenia' is a fine album that covers a whole range of Who lyrical themes and interests, and as such, would prove a hard act for them to follow.
I Am The Sea / The Real Me / Quadrophenia / Cut My Hair / The Punk And The Godfather / I'm One / The Dirty Jobs / Helpless Dancer / Is It In My Head? / I've Had Enough / 5:15 / Sea And Sand / Drowned / Bell Boy / Doctor Jimmy / The Rock / Love Reign O'er Me
Bearing in mind the initial early conceptions of 'Quadrophenia' as simply relating back the entire history of The Who, the apparent lack of progression from the pioneering nature of the likes of 'Baba O'Riley' is perhaps then to be expected, then? The 'Quadrophenia' album ( ignoring the film, that's for another discussion ) doesn't so much move The Who forwards as to provide a series of snapshots - it's a like musical Who photo album, via the medium of new songs. This 'Quadrophenia' album relates back to 'Who's Next' and it relates back to 'Tommy'. The 'Rock Opera' side of things clear places 'Tommy' in the listeners mind and semi-ballads such as the lovely 'Cut My Hair' places in mind certain 'Who's Next' material. There truly is nothing here as astonishing as either the opening or closing songs from 'Who's Next' - and the days of The Who being a killer singles band had seemingly ended as well. '5:15' was released and became a relatively succesful single, but that area appeared to no longer be a priority for the group. So, the highs are lower than before? Well, yeah, actually. But the key to appreciating 'Quadrophenia' perhaps lies in the cumulative effect of the seventeen songs here, nary a one of them a dud. True, the opening 'I Am The Sea' is merely a wash of... well, waves and such forth, but this is a concept album, right? You've gotta have one of those little introduction things on here, haven't you? Besides, it's short and leads effectively into 'The Real Me', a genuinely great Who rocker. Which in itself leads into the instrumental title track. This track scores over similar efforts on 'Tommy' merely in that it sounds so great. Pete does his guitar thing, does his synth sounds thing - Keith and John do their thing and it flows so well, very beautiful music.
A 'rash' of guitars and drums open 'The Punk And The Godfather', some title to have on an album in 1973. A minor Who gem and perhaps my favourite song here arrives with the folky guitar, nice vocals and great tune of 'I'm One'. 'Quadrophenia' benefits from material such as the title song and 'I'm One', as occasionally it seems a few songs too many share the same kind of sound and style. 'I'm One' not only includes these folky elements but also includes clattering drums for the more typical Who moments. Great moments though, truly great. Pete's Synths arrive all over 'The Dirty Jobs', perhaps overly so, but Keith and Roger keep this grounded in Who land. 'Is It In My Head' is affecting, and pretty much all of the entire first half of 'Quadrophenia' is affecting, exciting, quality Who music of the highest order. We don't quite see this level maintained through the second half, not that anything is particularly 'wrong' with the second half of 'Quadrophenia', though. '5:15' is a great track, brass and various instrumentation creating a huge sound, and the bellowed "Girls of fifteen, SEXUALLY KNOWIN'" lyric very entertaining indeed. Roger Daltery, apart from this intoxicating wall of sound of course, makes '5:15' for me. 'Quadrophenia' then proceeds to carry on its merry way, Keith does a few drums things, Pete does a few guitar and synth things, etc, etc. 'Doctor Jimmy' is a fine example of playing and sounds, but for eight minutes rather overstays its welcome. The closing emotional epic of 'Love Reign Oer Me' is a highlight though and the nearest 'Quadrophenia' gets to matching the glory of a 'Baby O'Reily' or 'Won't Get Fooled Again'. 'Quadrophenia' needed such a striking highlight during it's second half to keep the album overall on an even keel. Anyway, 'Quadrophenia' is a fine album that covers a whole range of Who lyrical themes and interests, and as such, would prove a hard act for them to follow.
I Am The Sea / The Real Me / Quadrophenia / Cut My Hair / The Punk And The Godfather / I'm One / The Dirty Jobs / Helpless Dancer / Is It In My Head? / I've Had Enough / 5:15 / Sea And Sand / Drowned / Bell Boy / Doctor Jimmy / The Rock / Love Reign O'er Me
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