The Rolling Stone Record Guide, Then and Now: Part 5 | Culture & Leisure


Before returning to 1979 (and 1983) Rolling Stone Records Guiderating my favorite rock band, The Who (as opposed to my favorite pop band The Beach Boys), a happy note on my favorite pop band.

The latest box set charting the career of the Beach Boys, now spanning 1972 and the Carl and the passions-So Tough and Holland albums, will be released on December 2, originally on November 18. Unlike previous releases titled with a deep album track (Wake up the world, feel the flows) or the lyrics of a deep track on the album (tomorrow’s sunof Wild Honey let the wind blow), this one is titled with the most publicized song of the time, Sail On Sailor.

The box will be released, as usual for box sets, in several formats. I will receive the 2 CD box set unless Universal Music or someone is kind enough to send me the multiple box set for review. The set will contain both profiled albums, a cappella versions and backing vocal and musical tracks, live songs, previously unreleased songs that have appeared on bootlegs, and several (Roof Harry, Spark in the Dark, others) who did not. Of interest is the 1971 writing session for Navigate Sailor with a nervous Brian Wilson and his Smile co-author Van Dyke Parks, in which Brian notoriously asked Van Dyke to convince him he’s not crazy. I have no idea if this piece of dialogue will be included. I will count the days until the release of this box.

And, oh yeah, a band called the Beetles? Battles?, oh yes, the Beatles, will release the deluxe edition of their now most acclaimed 1966 album Revolver later this fall. But I’m sure, as was the case in 2021, the Beach Boys set will be more value for the price. I will also get this Beatles 2 CD set.

And now at Rolling Stone Records Guide and The Who, from 1970 to 1982:

Living in Leeds– “A remarkably powerful, if diffuse, record, a good example of the kind of energy The Who generates live.” That’s understating things – the album is now hailed as one of the best live albums ever released. Side 1 is more individual song oriented and more powerful, and Side 2 is more jam oriented, and still very powerful. Still, I’m glad the album was expanded in the 1990s and later even more, especially to include the ultra-powerful live opener, John Entwistle’s Sky and Hell, which in its studio version was a single B-side.

Who’s next– “For the first time, The Who were able to capture the live energy of a studio concert, and the results were devastating.” That’s it. It was the critics who started me on my Who journey, because of their enthusiasm, although with my limited funds, I bought it a little later than the other Who albums because its price was higher. . Still, every praise on this album is well deserved.

Meaty, Beaty, Big and Bouncy– “The album that proves what a great group of singles the Who are.” Yes. The only problem was that some of the songs were in murky false stereo, a problem solved when Steve Hoffman remastered the album for CD in the 1980s.

Quadrophenia – The rock opera was “so ambitious that it overwhelmed the Who in its scope and ended up looking more like a one-man Townshend project, with the Who as session musicians”. It was the only Who album I had before I started buying their albums, because we had it at home because my father found it abandoned in a Laval Pascals store. Contrary to what reviewer John Swenson wrote above, to me as The Who this is their best and, yes, most ambitious album, judged better as a whole than for individual songs. It’s wonderfully angry throughout. Roger Daltrey’s buried voice, also noted in Swenson’s review, was carried higher on the 1996 CD remix. But there’s something about the sonic atmosphere of the 1973 mix that I appreciate more.

Odds and Sods– From this album outtakes, “everything is interesting and some of it is great”. In my mind, everything is great, including the underrated 1960s release faith in something bigger and punchy 1970s Post card.

Who in numbers– “The weirdest and one of the Who’s most moving albums.” Yes, indeed, drummer Keith Moon even cried while reading Pete Townshend’s lyrics, which reflected his depression at the time. But my favorite song is the catchiest Child Brief. All in all, a pretty amazing and courageous album.

Who are you– “It shows the Who radically changed but seemingly revitalized.” A little, but not really. I liked the album more when I first bought it (influenced by Swenson’s review) than I do now, but the title track was the band’s best song since Will no longer be fooled. But overall the album sounds a little tired, and not just because of Keith Moon’s less powerful drumming, which was because he was out of shape. He died of an overdose shortly after the album’s release.

And now from the 1983 edition of the Guide:

face dances– “A very good record which suffers from not being the great one that people wanted it to be.” In my mind, it would have been more effective as a Townshend solo album, as it would have been better suited for singing the personal songs than Roger Daltrey. And some of the songs are just irritating, especially did you steal my money because of the way the voices are arranged. Another tricky day is my preferred.

It’s hard– “A big disappointment despite several good songs.” This is much more accurate than the ridiculous five-star review for the album by Rolling Stone magazine. However, I like Athena, which has the sound of the classic Who.

And yes, I skipped the reviews of the Quadrophenia and The kids are fine movie soundtracks.

Next time: Some excerpts from the 1979 Guide.


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