As with most artists who are still putting out records many, many years after their heady, creative younger days, there will no doubt be lots of calls for The Who to retire and people saying “it’s not as good as Who’s Next or Quadrophenia..”. I can guarantee that. Such things would be unfair on this solid, muscular, rocking album, however. I really like it. Yes, it is a long time since Quadrophenia and even longer since My Generation, but for me it is a genuine pleasure to listen to this, and that is all that matters, isn’t it? Whether one likes it or not, and I do. It has made my day today.
Pete Townshend, as he always did, takes on various contemporary issues, trying to understand them and still seeming to fall a bit short - today’s world seems to be befuddling him to his frustration, but it results in some powerful songs. Roger Daltrey expresses Townshend’s sentiments with a fine enthusiasm and respect. Didn’t he ever. Nice to hear these two great old men still doing it - Townshend’s lyrics still sometimes cynical and barbed, Daltrey’s vocals still so expressive and theatrical. The use of more musicians on the rhythm section has given the sound a more expansive, polished feel too.
All This Music Must Fade is a great, thumping return, with a massive power to it and Roger Daltrey’s slightly operatic, characterful voice seeming as if it is still 1973 again. “I don’t care, I know you’re gonna hate this song…” he sings. All the punchy swagger and the self-belief that made The Who so appealing in the sixties and the seventies is there. Great song. Ball And Chain is similarly hard hitting, full of impact and lyrics about Guantanamo Bay. Already there is a dramatic, typically Who vibrancy about this material.
I Don’t Wanna Get Wise is an archetypal Townshend song - anthemic, cynical and wise (despite its title to the contrary). He looks back wryly about the group's early success and also their wild days. The drummer on this one, Carla Azar, goes all Keith Moon at one point, which is nice to hear. Another thing I am noticing so far is just how strong Daltrey’s voice still is - deep, expressive and soaring. It may not have the almost operatic range but it almost sounds better than it did in the nineties. I don’t know if him and Pete enjoyed recording this album, but it certainly sounds as if they did, there is an energy and enthusiasms that comes across loud and clear. They are still bringing out the best in each other, that is so beautifully undeniable. God bless ‘em.
Detour has a rhythmic but pounding drum sound to it and some nice low key vocal bits between the gritty chorus parts. Beads On One String has a world-weary sadness to it, despite its strength of delivery. There is a moving magnificence to it when Roger’s voice takes us higher on the refrain. As often with The Who, the keyboards are used so effectively too. I really like this song. To think that these two 75 year-olds are still doing it, since 1964, is inspirational. It gives me a warm feeling and if that sounds cheesy, then pass the glass of Port and the biscuits. The chunky feel to the material continues on the gritty Hero Ground Zero. Street Song is another big, upbeat anthem number, with a great bass line from Pino Palladino. Both these latter songs are quality offerings.
The pace and power finally subsides for a while on the touching, gentle tones of I’ll Be Back. It is one of The Who’s tenderest songs for a long time. Yes, Pete’s voice sounds old on it, to me anyway, (maybe not to others) but therein lies its appeal. It is a song sung by an old man. A beautiful, proud old man. Fair play to both of them. The harmonica solo is lovely too. Nice one. You would not actually recognise it as The Who at all, particularly, it has a uniqueness to it.
Break The News is another more laid-back, reflective number again touching on the subject of ageing. It breaks out into a lively, contemporary but folky sounding chorus, sounding a bit like Mumford & Sons. The song, perhaps surprisingly, perhaps not, was written by Simon Townshend. Time for some Quadrophenia-style Daltrey ranting backed by those archetypal Townshend chopping guitar stabs and they arrive in the aptly-titled Rockin’ In Rage. Townshend again acknowledges his ageing as he feels that he is too old to express his frustrations by marching and waving banners. “If I can’t speak the truth for fear of being abused…” he moans, before deciding that he must rage away anyway. You tell ‘em Pete.
