The Who - My Generation (Deluxe 2CD) [EAC-CUE-FLAC] [RePoPo]

******************************************************************************* The Who Sings My Generation (1965) (Deluxe Edition) ******************************************************************************* Tracklist: Disc one 1. "Out in the Street" 2. "I Don't Mind" 3. "The Good's Gone" [lacks double-tracked vocals] 4. "La-La-La Lies" [lacks double-tracked vocals] 5. "Much Too Much" [lacks double-tracked vocals] 6. "My Generation" [lacks lead guitar, but is available on disc 2 in its original mono format] 7. "The Kids Are Alright" [lacks double-tracked vocals] 8. "Please, Please, Please" 9. "It's Not True" 10. "I'm a Man" 11. "A Legal Matter" [lacks lead guitar, but is available on disc 2 in its original mono format] 12. "The Ox" 13. "Circles (Instant Party)" [lacks Entwistle's French horn and double tracked vocals] 14. "I Can't Explain" (bonus track) [lacks tambourine] 15. "Bald Headed Woman" (bonus track) 16. "Daddy Rolling Stone" (bonus track) [alternate version than that found on Thirty Years of Maximum R&B] Disc two The second disc contains additional bonus tracks. 1. "Leaving Here" 2. "Lubie (Come Back Home)" 3. "Shout and Shimmy" 4. "(Love Is Like A) Heat Wave" 5. "Motoring" 6. "Anytime You Want Me" 7. "Anyway, Anyhow, Anywhere" (alternate take) 8. "Instant Party Mixture" 9. "I Don't Mind" (full length version) 10. "The Good's Gone" (full length version) 11. "My Generation" (instrumental version) 12. "Anytime You Want Me" (a cappella version) 13. "A Legal Matter" (monaural version with guitar overdub) 14. "My Generation" (monaural version with guitar overdub) ------------------------------------------------------------------------------- Some notes about this release. The rip has been done using EAC to extract .wav files, and dBPowerAmp to convert them into FLAC. The CDs are presented as ONE SINGLE LONG AUDIO FILE for each CD. There's also a .cue file which marks the track points. If you need to extract a single song from this, you must download the whole album, and use a tool like Medieval Cue Splitter (I work on Windows, so I don't know any specific software for Mac or Linux users, if you do, tell me so I can add that info on future releases). Attention: Single .cue/FLAC files. That's simply my personal choice for releasing it, don't argue about it, thanks. IF you don't like it, you've been clearly told, so look somewehere else and don't come crying. It's free, ok? Take it as it comes. ------------------------------------------------------------------------------- Review by John Dougan (from Popmatters.com) Maximum R&B. No other phrase associated with the Who, not even the more frequently quoted "hope I die before I get old", more concisely and emphatically described the band's sound and attitude. It's important to employ the past tense here. Despite soldiering on through yet another aesthetically irrelevant but lucrative "reunion tour" after bassist John Entwistle's recent death, the Who is finally no more. But I come here not to eulogize the Who but to praise them. After a series of life sustaining reissues (A Quick One, The Who Sell Out, and the pulverizingly great double disc Live at Leeds), My Generation, originally released in 1965, becomes the final sonic puzzle piece, offering indisputable proof that the Who, despite needing a little seasoning, were great from the get-go. Finally loosened from producer Shel Talmy's death grip (at one point he was entertaining bids for the master tapes on eBay), My Generation is the sound of a very young (average age 19) band on a mission of self-discovery while negotiating the rugged terrain of black American soul, R&B, and blues. They were not dogmatic archivists, they were kids -- rampaging, amped-up, amphetamine-fueled kids from Shepherd's Bush (West London) -- driven by a common understanding of their place in the zeitgeist, and the desire to smash the whole damn rock and roll thing to bits and start all over again. That vision, with its attendant rage and intensity, is articulated on nearly every track on My Generation. By embracing the music of African-Americans (like punks did with reggae) the Who, as working-class kids drunk on anomie and deeply disconnected from middle-class notions of propriety, took their attitudinal and musical cues from a culturally potent yet marginalized other, something that white British (and American) blues obsessives had been doing since the 1950s. Mercifully, the Who weren't literal minded in their approach to R&B and soul. John Entwistle's and Keith Moon's sui generis rollin' and tumblin' was quite the opposite of the effortlessly insistent groove of great Motown session men like drummer Richard "Pistol" Allen, and bassist par excellence James Jamerson. Roger Daltrey's vocals remain a pleasantly gritty soulful simulacrum (and a little funny on the James Brown covers), and Pete Townshend's guitar playing, despite moments of power and dexterity, was still in utero. Conceived as an R&B-heavy debut LP (in a manner not unlike that of the Rolling Stones), a pre-release acetate of the early sessions was panned prompting then-manager Kit Lambert to shelve the tapes and order Townshend to write something a bit more modern. Most of the R&B tracks were dropped, but a few (James Brown's "I Don't Mind", "Please, Please, Please", and Bo Diddley's "I'm a Man") were used to fill out the record. In its original form (in glorious compressed mono) My Generation was the sound of a band in mid-morph -- Chicago blues and Detroit soul with an extra dollop of Shepherd's Bush hard pop. Townshend-penned tracks like "Out in the Street" and "It's Not True" take their riff-driven cues from Berry Gordy's hit factory. Even the record's most potent and indelible moment, "My Generation", was a talking blues, albeit one where the solos are played on the bass. But on songs like "The Good's Gone", "La-La-La Lies", and "A Legal Matter", Townshend was establishing the template of what would become the distinctive, powerful Who sound. The deluxe edition restores the remaining R&B tracks and it's a motherlode of frantic rock 'n' soul nuggets, among them Holland-Dozier-Holland's "Leaving Here", James Brown's "Shout and Shimmy" (which includes hilarious hipster asides by Townshend), Otis Blackwell's salacious "Daddy Rolling Stone", and a ragged-but-right version of Garnet Mimms's "Anytime You Want Me". There's a subtle tension to these performances, a reminder of the struggle the band was going through reinventing itself. Kit Lambert was probably right keeping these tracks off, but adding them back was also right, for it is here that the complete picture of the early Who finally emerges. Among the extras included in this reissue, one jumps out. It's a photo on the inside flap that I've never seen before. It looks to be from 1965, the band (especially Moon) look impossibly young, yet there's an undercurrent of conflict, maybe even violence, hinted at in Townshend's half-sneer. The band's entire history is contained in this photograph -- four young men who are beginning to understand the enormous power they will spend an entire career trying to control and turn into something called, simply, rock. Now, many years later, I'm well aware that the expression "greatest rock and roll band in the world" has been assigned to another longstanding (and also currently touring) blues-based British band, but only these four West London geezers were deserving of such a distinction. They talked the talk and walked the walk the hard way. And that made all the difference. ------------------------------------------------------------------------------- Some History (from wikipedia) The album was made during The Who's early "Maximum R&B" period and features several covers of popular R&B tunes, in addition to the R&B leanings of the tracks written by the band's guitarist Pete Townshend. According to the booklet in the Deluxe Edition, "I'm a Man" was eliminated from the U.S. release due to its sexual content. The U.S. release also excised a brief solo laden with manic drum rolls and guitar feedback before the final verse of "The Kids Are Alright", hiding some of the group's sonic pop-art leanings. Many of the songs on the album saw release as singles. Aside from "My Generation", which preceded the album's release and reached #2 on the UK Singles Chart, "A Legal Matter", "La-La-La Lies", and "The Kids Are Alright" were also released as domestic singles, though none were as commercially successful as "My Generation". "The Kids Are Alright" was a top 10 single in Sweden, peaking at #8. "My Generation" and "The Kids Are Alright" in particular remain two of the group's most-covered songs; while "My Generation" is a raw, aggressive number that presaged the heavy metal and punk rock movements. "The Kids Are Alright" is a more sophisticated pop number, with chiming guitars, three-part harmonies, and a lilting vocal melody, though still retaining the driving rhythm of other Who songs of the period. Along with other early Who numbers like "I Can't Explain" and "So Sad About Us", it is considered an important forerunner of the "power pop" movement. "Circles" was notably covered by contemporaries of the group, British freakbeat outfit Les Fleur de Lys. The cover version has found some notice after its inclusion on Nuggets II: Original Artyfacts from the British Empire and Beyond, 1964-1969. The U.S. release also substituted a portrait of the band with Big Ben in the background for the original UK cover depicting the band standing beside some oil drums and looking upward to the camera, with splashes of color added by the red and blue stenciled letters of the title and a jacket patterned after the Union Flag thrown over John Entwistle's shoulders. The Deluxe edition remaster, while sounding clearer in stereo, omits many overdubs that are prominent in the original mono mixes. Notably, the lead guitar parts in "A Legal Matter" and "My Generation" (though both songs in their mono mixes close disc 2) and the double tracked vocals in "The Good's Gone", "Much Too Much", "La-La-La Lies" and "The Kids Are Alright". ------------------------------------------------------------------------------- What is Power-pop? (from allmusic) Power Pop is a cross between the crunching hard rock of the Who and the sweet melodicism of the Beatles and Beach Boys, with the ringing guitars of the Byrds thrown in for good measure. Although several bands of the early '70s -- most notably the Raspberries, Big Star, and Badfinger -- established the sound of power pop, it wasn't until the late '70s that a whole group of like-minded bands emerged. Most of these groups modeled themselves on the Raspberries (which isn't entirely surprising, since they were the only power-pop band of their era to have hit singles), or they went directly back to the source and based their sound on stacks of British Invasion records. What tied all of these bands together was their love of the three-minute pop single. Power-pop bands happened to emerge around the same time of punk, so they were swept along with the new wave because their brief, catchy songs fit into the post-punk aesthetic. Out of these bands, Cheap Trick, the Knack, the Romantics, and Dwight Twilley had the biggest hits, but the Shoes, the Records, the Nerves, and 20/20, among many others, became cult favorites. During the early '80s, power pop died away as a hip movement, and nearly all of the bands broke up. However, in the late '80s, a new breed of power pop began to form. The new bands, who were primarily influenced by Big Star, blended traditional power pop with alternative rock sensibilities and sounds; in the process, groups like Teenage Fanclub, Material Issue, and the Posies became critical and cult favorites. While these bands gained the attention of hip circles, many of the original power-pop groups began recording new material and releasing it on independent labels. In the early '90s, the Yellow Pills compilation series gathered together highlights from these re-activated power poppers, as well as new artists that worked in a traditional power-pop vein. Throughout the early and mid-'90s, this group of independent, grass-roots power-pop bands gained a small but dedicated cult following in the United States. ------------------------------------------------------------------------------- Some tracks reviewed (from Allmusic, wikipedia and songfacts) ------------------------------------------------------------------------------- I DON'T MIND "I Don't Mind" is a 1961 R&B song recorded by James Brown & The Famous Flames. Originally recorded in the studio and released as a single, it was a Top 5 national Billboard R&B hit, peaking at #4, and reached #47 on the Billboard Hot 100. Brown and the Flames also recorded a live version of "I Don't Mind" on their 1963 album Live at the Apollo. ------------------------------------------------------------------------------- MY GENERATION (Wikipedia dixit!) It became a hit and one of their most recognizable songs. It has entered the rock and roll pantheon as one of the most celebrated, cited, and referenced songs in the idiom; it was named the 11th greatest song by Rolling Stone on their list of the 500 Greatest Songs of All Time and 13th on VH1's list of the 100 Greatest Songs of Rock & Roll. It's also part of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Written by Pete Townshend in 1965 for rebellious British youths called mods, it expressed their feeling that older people "just don't get it". The song was released as a single on November 5, 1965, reaching #2 in the UK and #74 in America. "My Generation" also appeared on The Who's 1965 debut album, My Generation (The Who Sings My Generation in the United States), and in greatly extended form on their live album Live at Leeds (1970). The Who re-recorded the song for the Ready Steady Who! EP in 1966, but this version was only released in 1995 on the remastered version of the A Quick One album. The main difference between this version and the original is that instead of the hail of feedback which ends the original, the band play a chaotic rendition of Edward Elgar's "Land of Hope and Glory". In the album's liner notes the song is credited to both Townshend and Elgar. Perhaps the most striking element of the song are the lyrics, considered one of the most distilled statements of youthful rebellion in rock history. The tone of the track alone helped make it an acknowledged forebear of the punk rock movement. One of the most-quoted—and patently rewritten—lines in rock history is "I hope I die before I get old", famously sneered out by lead singer Roger Daltrey. Like many of The Who's earlier mod output, the song boasts clear influences of American R&B, most explicitly in the call and response form of the verses. Daltrey would sing a line, and the backing vocalists, Pete Townshend and John Entwistle, would respond with the refrain "Talkin' 'bout my generation": People try to put us d-down (Talkin' 'bout my generation) Just because we get around (Talkin' 'bout my generation) Things they do look awful c-c-cold (Talkin' 'bout my generation) I hope I die before I get old (Talkin' 'bout my generation) The vocal melody of "My Generation" is an example of the shout-and-fall modal frame. This call and response is mirrored in the instrumental break with solo emphasis passing from Townshend's guitar to Entwistle's bass and back again several times. Another salient aspect of "My Generation" is Daltrey's delivery: an angry and frustrated stutter. Various stories exist as to the reason for this distinct delivery. One is that the song began as a slow "talking" blues number without the stutter (in the 1970s it was sometimes performed as such, but with the stutter, as "My Generation Blues"), but after being inspired by John Lee Hooker's "Stuttering Blues", Townshend reworked the song into its present form. Another reason is that it was suggested to Daltrey that he stutter to sound like a British mod on speed. It is also proposed, albeit less frequently, that the stutter was introduced to give the group a framework for implying the expletive "fuck off" in the lyrics: "Why don't you all fff... fade away!" However, producer Shel Talmy insisted it was simply "one of those happy accidents" that he thought they should keep. The BBC initially refused to play "My Generation" because it did not want to offend people who stutter, but it reversed its decision after the song became more popular. The instrumentation of the song duly reflects the lyrics: fast and aggressive. Significantly, "My Generation" also featured one of the first bass solos in rock history. This was played by Entwistle on his Fender Jazz Bass, rather than the Danelectro bass he wanted to use, but after buying three Danelectros with rare thin strings that kept breaking easily, a frustrated Entwistle used his Fender. The song's coda features drumming from Keith Moon, as well, whereupon the song breaks down in spurts of guitar feedback from Townshend's Rickenbacker 330, rather than fading out or ending cleanly on the tonic. There are two guitar parts. The basic instrumental track (as reflected on the instrumental version on the My Generation Deluxe edition) followed by Townshends overdubs including the furious feedback on the outro. Perhaps taking a lead from The Kinks You Really Got Me the song modulates from its opening key of G up to C via the keys of A and Bb. Townshends guitars were detuned a whole step for the recording. (... and now, from Allmusic...) "My Generation" is the most famous Who song, and a good nominee for rock's most explosive expression of adolescent rebellion. Guitar feedback, crashing drums, power chords -- all had already been heard on Who records, particularly on the 1965 single preceding "My Generation," "Anyway, Anyhow, Anywhere." "My Generation" delivered all of this and more with a fury and trenchant defiance that could not be matched, let alone exceeded, by any competitors. Hard as it may be to imagine now, when endless repetitions of the song have made it so familiar, "My Generation" began life as a slow talking blues of sorts, and recordings were attempted on three separate occasions prior to the session that produced the released version. One of the main changes made to the song was to speed it up, and actually it probably couldn't have been taken at a pace any faster than the one ultimately used. The song's urgency is established by the opening clanging guitar chords and the usual hyper-energetic Keith Moon drum roll preceding the verse. The verses are call responses between Roger Daltrey, with his memorable stutter and sputter on numerous key words, answered by harmonized "talkin' bout my generation" chants from the band. That stuttering was enough on its own to ensure people took notice of this song. Some thought it was an emulation of blocked-up mod pill-heads, as had been the case with "I Can't Explain." In a more universal sense, it mirrors the barely articulated frustration of youth, especially when Daltrey stutters on a word that begins with f, though this turns out not to be the actual f-word. And there was that unforgettable assertion of hoping to die before getting old, although the Who, of course, would still be playing the number more than 30 years later, even after the guy who drummed on the track had been in the grave for more than 20 years. Unusually, and quite creatively, there is not a conventional guitar solo, but an excellent bass solo by John Entwistle, the tension heightened by having him play unaccompanied and instrumentally answered by sections featuring the full band. Two key changes ( the Who would subsequently use key changes on numerous songs) corkscrew the tension until it's nearly unbearable. Then, it's mayhem. Keith Moon deviates from the standard splashing rhythm to play nonstop rolls, like "Wipe Out" taken from the beach into outer space. Pete Townshend plays searing, piercing feedback that is not as wild as that heard on the solo in "Anyhow, Anyway, Anywhere," but no less spellbinding. The backup harmonies declaring possession of their generation come in once again as Daltrey makes some final, half-shouted, defiant repetitions of the title. "My Generation" rose to number two in the British charts in late 1965, but was barely heard in the United States at the time, due in part to incomprehension from their American record label, which thought that the feedback on early Who records was a mastering defect. As the Who became well-known in America as both a concert and recording act, however, "My Generation" would become every bit as much a part of the collective audience consciousness there as it was elsewhere in the world. Its exposure was guaranteed by its place of pride in the Who's live set, where the group would do even wilder versions than the one they had released on the single, sometimes climaxing in the destruction of instruments, as it did in 1967 at the Monterey Pop Festival (as seen in the documentary film of the event). Even before the Who became stars in the U.S., it was starting to attract cover versions by American bands, such as one by the Human Beinz (of "Nobody But Me" fame) and a truly deranged rendition by Northwest group the Bards, with an instrumental tag of cuckoo-clock-like sounds, string rattles, and a gong before going back into a furious hard rock coda. There was even a satirical song, "My Degeneration," by a fellow British mod group ( the Eyes) that took part of its inspiration from "My Generation" itself. In the 1970s, Generation X would offer an "answer" record of sorts, "Your Generation," that reclaimed the "My Generation" ethos for the punk generation. The best cover of "My Generation," however, is undoubtedly the one done by the Patti Smith Group live in the mid-'70s (as heard on a B-side and some bootlegs), in which Smith substituted some new nasty, profane lines in place of the original lyrics. (...and finally, from songfacts!) Roger Daltrey sang the lead vocals with a stutter, which was very unusual. After recording 2 takes of this normally, manager Kit Lambert suggested to Daltrey that he stutter to sound like a British kid on speed. Pete Townshend wrote this while The Who were on their first tour. In a 1987 Rolling Stone magazine interview, Townshend explained: "'My Generation' was very much about trying to find a place in society. I was very, very lost. The band was young then. It was believed that its career would be incredibly brief." (thanks, Bertrand - Paris, France) Townshend wrote this for rebellious British youths known as "Mods." It expressed their feeling that older people just don't get it. This contains the famous line, "I hope I die before I get old." Who drummer Keith Moon did, dying of a drug overdose in 1978. This began as a slow song. It came to life when they sped it up. This was the title track to the first Who album. In America, where they were less known, the album was titled The Who Sing My Generation. Shel Talmy, who produced this, was fired the next year. Talmy filed a lawsuit and won extensive royalties from future albums. The BBC refused to play this at first because they did not want to offend people with stutters. When it became a huge hit, they played it. In 1965, Daltrey claimed he would kill himself before reaching 30 because he didn't want to get old. He still performs this, explaining that the song is about an attitude, not a physical age. In September 1967, The Who performed this on The Smothers Brothers Comedy Hour. Moon set his drums to explode after the performance, but the technical crew had already done so. The resulting explosion burned Townshend's hair and permanently damaged his hearing. This is the highest charting Who song in England. This featured one of the first bass solos in Rock history. John Entwistle used a new-on-the-market Danelectro bass to play it, but he kept breaking strings trying to record it. A bit of a bummer that replacement strings weren't available, as he had to go out and buy an entire new bass. This was covered by Iron Maiden, who was usually the Who's polar opposite both musically and lyrically. One connection they share is the BBC-TV series Top of the Pops. Performances on the show were customarily lip-synched, but The Who performed live on the show in 1972. In 1980, Iron Maiden also performed live, and was the first band to do so since The Who. Maiden put their version of "My Generation" on the B-side to the single for "Lord of the Flies." Green Day recorded this for their 1992 album Kerplunk!. ------------------------------------------------------------------------------- THE KIDS ARE ALRIGHT (from allmusic...) It appears as the seventh track on the group's first album, My Generation (1965). This song and the album's title track would become anthems for the group and the Mod movement of England in the 1960s. It would later become the name of the documentary for the band in 1979. The song features a standard I-IV-V chord progression in the key of D while the chorus uses a II-V-IV-I-II chord progression. It has been said that Townshend heard a Henry Purcell piece on the piano, prompting him to re-work the melody and harmony for the chorus of the song. The American edit of the song features a substantially shortened guitar solo. In addition to appearing on "My Generation," the beginning of the song can be heard on Quadrophenia, after the song "Helpless Dancer" has faded out. The song has been covered by bands such as The Queers, Goldfinger, Eddie And The Hot Rods, The Pleasers, Dropkick Murphys, Hi-Standard, Green Day and Pearl Jam and Belle & Sebastian who closed their set with it at the Bowlie Weekender in 1999. In 2008 Billy Bob Thorntons band The Boxmasters recorded a version of the song as the closing number on the second disc of their album The Boxmasters. In present-day live performances, The Who add a lengthy extra section to the end of "The Kids Are Alright", featuring partly improvised lyrics. After John Entwistle's death, the extra lyrics would occasionally make reference to him, and his love of old red wine, which would later inspire their song "Old Red Wine", a tribute to Entwistle. This song was also the influence of the song "The Kids Aren't Alright" by The Offspring. (...and wikipedia said...) Other than "My Generation," "The Kids Are Alright" was the best song on the Who's first album, My Generation, and over the years has come to be seen as an anthem of sorts for the entire mid-'60s British mod movement. Through the end of 1965, most of Pete Townshend's songs had been fairly standard (if usually rather aggressive) romantic situations or general statements of mod purpose and freedom that were colored by anger and frustration. "The Kids Are Alright" was an important step forward for the composer in revealing shades of self-reflection, vulnerability, and sensitivity. The track itself, of course, was pure power pop at its best: there are fewer guitar chords that epitomize the genre more than the ringing, strident unaccompanied one that opens the track. As its sustain dies away, a harmonized team of Who vocalists comes in super-briefly before Roger Daltrey takes over the verse. The melody of "The Kids Are Alright" is lilting and pleasant, very pop in a way that sounds almost Beatles-like, especially with the prominent harmonies. The crisp tempo, authoritative guitar chording, and bashing Keith Moon drums -- especially at the end of the brief instrumental break, where he really lets loose with a raucous roll -- definitely mark this as a Who performance, though. The lyrics have an intriguing ambiguity that also help mark this as one of Townshend's first major efforts. The narrator seems to be mulling over leaving his gang -- the mods, in other words -- for more freedom. But something is holding him back from doing so: the need for security, hence the realization that the "kids," meaning mods most likely, are okay. There is a brief melancholy bridge that hints that he really should be breaking away, because it'll be a lot better for a certain "her," presumably a girlfriend. Viewed in such a way "The Kids Are Alright" is a mod update on the old "wedding bells are breaking up the old gang of mine" theme. A more radical interpretation that has been mooted is that the narrator finds the companionship of mods, who are mostly or wholly guys most likely, preferable to a girlfriend or wife, perhaps reflecting sublimated homosexuality in the mod movement as a whole. Because of the title, it's been seen as an endorsement for the validity of youth culture as a whole, although really it seems just as much an admission of the inevitability of leaving that culture to eventually lead an adult life. Whatever, it is a certified Who classic, becoming especially embedded as such after its use as the title for the Who's film documentary The Kids Are Alright. Incidentally, there are two different edits of the track that have circulated: the original British LP featured a long instrumental break of repeated guitar chords, which was drastically shortened to almost nothing when it was released in the U.S. The most noted cover of "The Kids Are Alright" is the one done in the 1970s by Eddie & the Hot Rods, a group who bridged pub rock with new wave. ------------------------------------------------------------------------------- PLEASE PLEASE PLEASE Is an R&B song written by James Brown and Johnny Terry and recorded by Brown and The Famous Flames. Released as a single on the Cincinnati, Ohio-based label Federal Records, it was Brown's first professional recording and his first hit, eventually selling over a million copies. It became Brown's signature song and a staple of his live act, usually performed as part of his cape routine. ------------------------------------------------------------------------------- I'M A MAN Is a popular American song written and released by Bo Diddley in March 1955 on Checker Records as the b-side to his hit "Bo Diddley". The writing credit is under Diddley's real name, Ellas McDaniel). Based on Muddy Waters' 1951 blues song "She Moves Me", Waters recorded a cover of "I'm a Man" in May 1955, retitled "Mannish Boy," a play on words on Bo Diddley's younger age as it related to the primary theme of the song. The song is ranked #369 on the Rolling Stone magazine's list of The 500 Greatest Songs of All Time. ------------------------------------------------------------------------------- A LEGAL MATTER Is a song written by Pete Townshend and recorded by The Who for their debut album My Generation. It was recorded on 12 October 1965 at IBC Studios, and released as the B-Side to "The Kids Are Alright". The single was released by producer Shel Talmey without the permission of The Who on 11 March 1966 (the day drummer Keith Moon married his girlfriend Kim) and reached #32. This was an attempt to sabotage the release of the band's chosen single, "Substitute" which reached #5. The subject of the song is teenage divorce and it marks the first time Townshend sang lead vocals, rather than Roger Daltrey, possibly because the song was too close to home for Daltrey who was divorcing his wife at the time. Like other Who songs written during the same period, the female subject is accused of deceit and deception. ------------------------------------------------------------------------------- I CAN'T EXPLAIN (On Wikipedia we find...) It was released as the A-side of the first single the band released as "The Who" (the first single, I'm the Face/Zoot Suit, was released as the High Numbers). "I Can't Explain" was also released as the opening song of The Who's 1971 compilation album Meaty Beaty Big and Bouncy. In the liner notes, Townshend notes the song's similarity to its contemporary hit single "All Day and All of the Night" by The Kinks: "It can’t be beat for straightforward Kink copying. There is little to say about how I wrote this. It came out of the top of my head when I was 18 and a half." The Who used "I Can't Explain" throughout their live performance history. It was used in many (if not all) of their live performances, often as the opener, and continues to be a staple today. Although it is rumoured that Jimmy Page played the guitar solo in the song, it is not true. The solo was instead played by Townshend on his Rickenbacker 360/12. Page was called in as a session player, but The Who refused to let him play. They settled on letting Page play lead guitar on the single's B-side, "Bald Headed Woman". A snippet of the song was also performed by Elton John in his cover version of "Pinball Wizard" for the soundtrack to the 1975 film Tommy. David Bowie recorded a version of this song for his Pin Ups album in 1973. It was also covered by heavy metal band Scorpions in their 1989 Best of Rockers 'n' Ballads, and reached #5 on the Mainstream Rock Tracks chart. The Clash used the main riff as the basis of two songs, "Guns On The Roof," and "Clash City Rockers." Fatboy Slim also sampled the main riff from Yvonne Elliman's cover in his 1997 song Going Out of My Head. Chapter24 used the riff from the original version throughout their 2006 track Song That Dies Too Much. Brazilian band Ultraje a Rigor covered the song on their album Acústico MTV Ultraje a Rigor. It was translated as "Eu Não Sei" (I don't know). The original version by The Who is ranked #371 on Rolling Stone's list of the 500 Greatest Songs of All Time. In 2008, Incubus covered the song at the "VH1 Honors THE WHO"-Show. (and in songfacts...) This was the first single from The Who. They had recently changed their name from The High Numbers. Written by Pete Townshend, this was one of the first original songs The Who performed. They played mostly covers of American R&B songs to that point. This song is about what it is like to be young and unable to express your feelings. The guy in the song can't find a way to tell his girlfriend he loves her. The Who performed this on the popular British TV show Ready, Steady, Go! Their manager, Kit Lambert, invited all of their friends to the performance, ensuring a hip, young audience for the cameras. This was the song that introduced audiences to the powerful drumming of Keith Moon. He became one of the first high-profile drummers in Rock, and quickly earned a reputation as a wild man. After many incidents involving drugs, alcohol and mangled hotel rooms, Moon died in 1978 of an overdose. This was not released on an album until 1971. It is the first song on their popular compilation album, Meaty, Beaty, Big And Bouncy. This was produced by an American named Shel Talmy. He was famous for putting loud, powerful guitar on the songs he produced, and had recently worked with The Kinks on their first hit, "You Really Got Me." Talmy produced this in a similar style. Jimmy Page of Led Zeppelin fame was a session musician at the time and was brought in to play guitar on this. Talmy knew the guitar would be very prominent on this and had Page ready in case Townshend couldn't handle it. Pete did just fine, and quickly established himself as a premier Rock guitarist. John Carter and Ken Lewis provided the background vocals. They were part of a group called The Ivy League, and went on to have a hit called "Let's Go To San Francisco" as The Flower Pot Men. They were popular session singers in England for their harmony vocals. The Who made their first US television appearance performing this on the ABC show Shindig. The program aired from 1964-1966 and featured many popular musicians performing their hits. The Everly Brothers, Glen Campbell, and Sonny and Cher were all frequent guests on the show. Meaty, Beaty, Big And Bouncy was a 1971 compilation of The Who's early hits, many of which did not appear on albums and could only be purchased as singles. In 1966, The Who broke their contract with manager and producer Shel Talmy. As part of the deal, Talmy got royalties from Who records over the next 5 years. By 1971, the band was able to release the compilation album without giving the royalties to Talmy. The Who played this at the Woodstock festival in 1969. It was the second of 24 songs in their set, which ended with a performance of all the songs from their Rock Opera Tommy. The Who went on at 3am the second night of Woodstock and played until the sun came up the next day. ------------------------------------------------------------------------------- BALD HEADED WOMAN Is a song written by Shel Talmy and released by The Kinks on their first album on October 2, 1964 and The Who in 1965. It was also covered by other artists of the time, including Harry Belafonte, as seen in the Bob Dylan documentary, No Direction Home. ------------------------------------------------------------------------------- LEAVING HERE Is a song written in 1963 by Motown songwriters Holland-Dozier-Holland. Written at the beginning of the partnership, it is notable in several recordings. "Leaving Here" was originally released as a single in December 1963 by H-D-H lyricist Eddie Holland and peaked at #76 on the Billboard Hot 100 and at #27 on the Billboard R&B chart. The Who recorded the song in the studio twice in 1965, and once for BBC Radio, but none of these recordings were released officially for decades; The 1985 compilation Who's Missing and the 1998 remaster of the Odds & Sods compilation album both included the song, though the latter states it is a previously unreleased version. An alternate take also appeared on the My Generation album. Additionally, it is available as downloadable content for the music video game series Rock Band as part of The Best of The Who pack. ------------------------------------------------------------------------------- SHOUT AND SHIMMY Is an R&B song written by James Brown and recorded by him and The Famous Flames. It rose to #16 on the R&B chart and #61 on the Billboard Hot 100. The critic Douglas Wolk described the song as "a truly shameless ripoff of The Isley Brothers' 1959 hit 'Shout'... basically the fast parts of 'Shout' with the gospel inflections removed and the word 'shimmy' added. The Who recorded a cover version of "Shout and Shimmy" that was released as the B-side of their "My Generation" single in the UK. They are seen performing the song in the documentary film The Kids Are Alright. ------------------------------------------------------------------------------- (LOVE IS LIKE A) HEAT WAVE Is a 1963 hit single by Holland-Dozier-Holland made popular by Motown girl group Martha and the Vandellas on the Gordy (Motown) label and later by country rock vocalist Linda Ronstadt from her album Prisoner in Disguise. The song was one of several tunes written and produced by the fabled Holland-Dozier-Holland songwriting and producing team. "Heat Wave" was the second hit collaboration between the Vandellas and H-D-H, the first being "Come and Get These Memories". The lyrics feature the narrator singing about a guy that has his heart "burning with desire" and "going insane" over the feeling of his love. Produced and composed with a gospel backbeat, jazz overtones and, doo-wop call and responsive vocals, "Heat Wave" was one of the first songs to exemplify the style of music later termed as being the "Motown Sound". The single was a breakthrough hit, peaking at number four on the Billboard Pop Singles Chart, and at number-one on the Billboard R&B Singles Chart. It also garnered the group's only Grammy Award nomination for Best R&B Vocal Performance by a Duo or Group for 1964, making The Vandellas the first Motown group ever to receive a Grammy Award Nomination. "Heat Wave's" success helped popularize both Martha and the Vandellas and Holland-Dozier-Holland, and cemented Motown as a musical force. The song has since been covered by several acts, including labelmate The Supremes (on their 1967 album The Supremes Sing Holland-Dozier-Holland), The Jam (on their 1979 album Setting Sons), The Who in their early concerts and on their second album, A Quick One, Joan Osbourne (her version done for the Funk Brothers documentary Standing in the Shadows of Motown), country rock singer Linda Ronstadt (which reached number five on the pop chart), and rocker Bruce Springsteen. The song was also covered by Whoopi Goldberg in the film Sister Act. It is also featured at the beginning of the film Backdraft. ANYWAY, ANYHOW, ANYWHERE (the main source, the Wiki, says about it...) It was a single released by The Who in 1965. It features call-and-response lyrics (especially common in Who lyrics at this time) and some of the first ever recorded guitar feedback. Perhaps the most interesting fact about this song was that it was composed by both guitarist Pete Townshend and vocalist Roger Daltrey, the only time this ever occurred between the two. The guitar feedback, although not the first to be heard on a record (See The Beatles' "I Feel Fine"), is thought to be the first solo with feedback. Townshend: "I wrote the first verse and Roger helped me with the rest. I was inspired by listening to Charlie Parker, feeling that this was really a free spirit, and whatever he'd done with drugs and booze and everything else, that his playing released him and freed his spirit, and I wanted us to be like that, and I wanted to write a song about that, a spiritual song." The song has become a staple for the Who's live shows and appears on the album Live at the Royal Albert Hall. It can also be found on BBC Sessions and The Kids Are Alright. David Bowie recorded a version of this song for his Pin Ups album in 1973. The Flaming Lips recorded a version of this song which appeared on a cover CD for Mojo of Who covers called Mojo: The Who Covered. A version of this song has also been recorded by Ocean Colour Scene for The Who tribute album Substitute- the songs of The Who. (and on songfacts, you find...) Townshend described this as "Anti-middle age, anti-boss class, and anti-young marrieds." This was The Who's second single. It was the follow-up to "I Can't Explain." When this was sent to their American record label to distribute, they sent it back, assuming the feedback meant there was something wrong with it. This was a collaboration between Pete Townshend and singer Roger Daltrey. It was one of the only times they worked together on a song. (thanks, Derek - Raleigh, NC) Nicky Hopkins played piano. A session man at the time, he would go on the work with The Beatles and The Rolling Stones. Townshend got the idea for this during a soundcheck. This contains one of the first uses of feedback on a record. ------------------------------------------------------------------------------- -------------------------------------------------------------------------------

udp://tracker.openbittorrent.com:80
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 oneanight (2008-11-19)

Thanks for this one repopo.Haven't listened to the who in a long time..
Logs,cues,artwork excellent thank you..:)

OropherThranduil (2008-12-29)

pleeeeeease can you take this in without the flac bit?
i need it fast as a after christmas present for my grandfather.

liliacbio (2009-02-28)

nice moovie, cool soundtrack...

melkor_the_morgoth (2009-03-08)

Thank you for this! It's awesome.

OctopusCrime (2009-09-06)

Try using EAC to preserve song tracks/titles.

daveo76 (2010-09-11)

Why have you got the entire album as one flac format file. you would had been better putting as individual mp3 songs as I was only after 1 song which was Disc One My Generation

jamesisin (2011-04-04)

Thanks for the FLAC's.