Wire & Glass シングル, EP, インポート
THE WHO Wire & Glass (2006 UK CD single featuring a 11-minute 6-track epic taken from their long-awaited 1st album in over 20 years and is itself part of the longer mini-opera The Boy Who Heard Music; it is as you might expect a record that is unmistakably The Who and yet at the same time sounds amazingly contemporary!)
We hum the same old lines to a different crowd
And everybody wants to cheer it
We run on endless time to reach a higher cloud
But we never ever seem to get near it
We sing the same old song - und dies ist manchmal auch recht so!!!
Kurzum, man kann sich wirklich sehr auf die neue WHO-CD freuen. Daltrey ist sehr gut "bei Stimme" und Townsend komponiert, produziert und spielt furios, frank und frei wie selten.
Übrigens, die letzten Who-Songs im Triumvirat erschienen nicht auf It's hard! Auf der überambitionierten Iron Man - The Musical erschienen by Pete Townsend anno 1989 die letzten Who-Songs mit John Entwhistle, Daltrey&Townsend: eine sehr tanzbare Coverversion von Fire (Arthur Brown) und "Dig".
The Who! There is no easier way to be free.... ;-)
The best way to approach this record is to avoid comparisons with the band's output in its prime and to view it as a stand alone piece. Seen in this light the record is all the more disappointing. The songs are weak and recycle old progressions and cliches that Townshend has used ad nauseam. Most surprisingly the lyrics are uniformally poor. It had always been the case that you could rely on Townshend for stimulating and inventive lyrics even when the supporting music may have flagged. However, this time both the lyrics and the music confirm that Townshend is something of a spent force as a writer. For a benchmark, look to his last solo album Psychoderelict in the early 1990s. That record was panned critically and flopped commercially. Poor though the songs on the record were they sound fresh by comaparison with the segued songs on this EP.
To be specific: 'Sound Round' storms off with some bluster and energy and disintegrates in a lifeless chorus. 'Pick Up The Peace' starts with some promise and again nose dives in to a feeble chorus. 'Endless Wire' is a total waste of space with possibly the poorest Townshend lead vocal on record. 'We Got a Hit' rises above the first three songs but is nonetheless disposable and unmemorable. Nevertheless it is the best of the set of songs. 'They Made My Dreams Come True' features another lame Townshend lead vocal. 'Mirror Door' crunches out the tired old chord progressions to provide a sort of IndentiKit Who song. Its lyrics are abysmal.
Daltrey's vocals sound a little tired and the drop in his range and darkening of its timbre give rise to an erratic performance. Every now and then you hear a few phrases that remind you of what a marvellous singer he used to be and then he goes off the boil again. It almost sounds as if you are listening to demos with guide vocals and not the finished vocals that would come later. Despite this patchy performance, he really deserves better songs to get his teeth into. It is perhaps no surprise that these songs have already been dropped form the band's live set in favour of the old standards, as set in the context of those old songs these new offerings sound all the more weak.
So all in all a poor and disappointing record. If this was the work of a new unsigned band you really couldn't see them getting signed to a record label on the strength of this material and performance.
It's unlikely that the rest of the forthcoming album will be better, but one can only live in hope. To be honest, on the strength on this EP they could do with rewritng some of the material and taking more time to coax stronger vocal performances out of both Daltey and Townshend, but yo grt the fellingthat they just aren't capable of anything better, which is a shame.
"Wire and Glass" is pretty much the cream of the crop of the "Endless Wire" record. Some good, strong material here. The record itself suffers a little from not using an outside producer, as Townshend's style's a little bit stuck in the 80's (but the GOOD stuff from the 80s, not the cheesy stuff). This record feels more like a Pete Townshend solo record with Roger Daltry singing on it...but that's pretty welcome, too. :)
This sampler's definitly worth picking up, if you're a collector, or if you just want to hear some alternate vocal takes (which I think are superior) from what ended up on the "final" product.
24 years is a long wait. This isn't the startling, significant, brilliant masterwork we were all hoping for...but it's a decent record, and if this is the best Townshend and Daltry can do in their 60s, it's certainly a lot better than what some of the other older acts are doing (I'm looking at YOU Paul McCartney).
Go on...buy it.
The Band includes John "Rabbit" Bundrick on keyboards as always and with the current tour line-up of Pino Palladino on bass, Simon Townshend (little bro) and long time WHO/Townshend/Daltrey producer/singer Billy Nicholls on Backing Vocals. But it's Peter Huntington (from PT's girlfriend, Rachael Fuller's band) on drums instead of Zak Starkey who was on tour with OASIS. It is Zak on tour currently but nonetheless, there is the line-up as listed on the back cover.
Bottom line, it's great single 11 minute song and only makes us want more. It's worth the $12 because the WHO do it again!
When I was going through my heavy hair metal stage in the mid80's, dad came to my bedroom door with a few albums in his hands, one of which was a Who album. He said that he swore he would never tell his kid to turn his music down, but said, "The stuff you're listening to, that's not music. THIS is music." Since then, I've developed into a bit of a Who fan, and managed to take him to their last tour as a Father's Day gift. We're going to try to get to their new tour, as well.
Daltry's unmistakeable, powerful voice is showing some wear on the highest register, but that is to be expected. Townsend continues to display his genius, both on his windmill/axe as well as a lyricist.
This album is yet another stage in their progression and evolution as artists who so long ago made us fans. The work is a bold statement that the Who are more than just surviving; they are making relevant music some thirty years+ in the making. All of their past is but prologue. I can't wait for the rest of the operatic feast.