Odds & Sods The Who

• 1 I'm The Face 02:34
• 2 Summertime Blues 03:15
• 3 Under My Thumb 02:39
• 4 Mary Anne With The Shaky Hand 02:09
• 5 My Way 02:26
• 6 Faith In Something Bigger 03:07
• 7 Glow Girl 02:22
• 8 Little Billy 02:14
• 9 Young Man Blues 02:51
• 10 Cousin Kevin Model Child 01:28
• 11 Love Ain't For Keeping 04:07
• 12 Time Is Passing 03:33
• 13 Pure And Easy 05:25
• 14 Too Much Of Anything 04:23
• 15 Long Live Rock 04:00
• 16 Put The Money Down 04:02
• 17 We Close Tonight 03:03
• 18 Postcard 03:33
• 19 Now I'm A Farmer 04:10
• 20 Water 04:41
• 21 Naked Eye 05:16
• Total Runtime 01:11:18

Info zu Odds & Sods

Odds & Sods is a carefully and consciously-contrived collation, assembled, remixed, and rescued from oblivion by John Entwistle with revelatory liner notes by Pete Townshend. For Who fanatics and rock lovers in general (not that there should, by rights, be any distinction between the two), no matter what qualms may arise about what's here and what isn't (and there's plenty left unissued...), Odds & Sods is nothing short of a dream come true.

The Who's Next-era (and beyond) tracks are very strong, qualitatively equal to that fine album itself. 'Put the Money Down' has echoes of 'Bargain' and 'Sweet Little Sixteen,' a raucous rocker. 'Too Much of Anything' is extremely pretty, and 'Long Live Rock' is one of the very best 'self-conscious hymns to the last fifteen years' (as Townshend puts it), especially now when half the songs with rock & roll in their titles bear no resemblance whatsoever. It's a colorful raver with strong 50's over/undertones and a real heart-tugger of a bridge. 'Pure and Easy' was the standout track on Townshend's solo album, and it's nice to have a Who version, though the differences are not dramatic.

The 1969 maxi-single that never quite made it to the shops is finally represented by three tracks here. 'Postcard' is a fairly trivial Entwistle song, on the level of 'I've Been Away' ('Happy Jack''s British B-side), but possessed of very clever, funny lyrics. 'Now I'm a Farmer' is also lyrically amusing, a pretty fair rocker with a ricky-tick slowdown interlude later adapted to fit 'I Don't Even Know Myself.' 'Naked Eye' is the best of the three, a complex song with a powerhouse chorus, surprisingly revived in the group's 1973 live performances.

The remaining four tracks, dating from 1968 or earlier, are my favorites, though. 'I'm the Face,' the legendary, fabulously rare High Numbers single, turns out to be a variation on the old Slim Harpo/Warren Smith number. 'Got Love if You Want it,' with great Mod lyrics and a solid '64-style performance. 'Faith in Something Bigger,' religious lyrics aside, is a lovely tune, as close as the Who have ever come to a Spector-style ballad.

'Little Billy,' a rejected lung cancer commercial long cherished in memory from the 1968 stage act, sounds like 'Odorono' but is far superior, epitomizing that marvelous combination of feathery vocal/melody line and frenetic guitar/bass/drums undercarriage which the Who employed so well in the two years between 'I'm a Boy' and 'Dogs.' 'Glow Girl,' once scheduled to follow up 'I Can See for Miles' as a single, captures that '66-'68 Who essence even better. Only the Stones ever rivaled the Who in the capability for creating the hardest rock and the most delicate melodies, and only the Who successfully combined the two. 'Glow Girl,' a typically outre tale of air disaster and reincarnation, is a pure delight, with a plane-crash break that challenges 'Anyway Anyhow Anywhere' in feedback ferocity.

I should try to refrain from frothing over here, but Odds & Sods seems almost miraculous. An assemblage of rejects, it cuts almost anything in release today. And believe it or not, there's a significant amount of similarly superb material still languishing in the vaults, or on the backs of English singles. In fact, a whole album could be compiled from American B-sides alone (from 'Bald Headed Woman' to 'Water'), and it would stack up pretty well, too. Then there's the half-dozen studio tracks that didn't make it onto Sell Out, the legendary 'Join My Gang' (and maybe even a 'Lazy Fat People' demo), and more well-known material like 'Dogs,' 'Let's See Action,' and (leave us not forget) 'I'm the Face''s bizarre flip, 'Zoot Suit.'

Perhaps the Who should consider releasing an Odds & Sods-type album as an annual event -- it would make the wait between new albums a lot easier to take and would free some of the most fascinating vault material in existence. The Who have become much more conscientious about their loose ends recently, so, why not get our hopes up? (Ken Barnes, Phonograph Record)

Roger Daltrey, vocals, harmonica
John Entwistle, bass, brass, vocals
Keith Moon, drums, vocals
Pete Townshend, guitar, piano, bass guitar, synthesizer, vocals
Guest:
Leslie West, lead guitar (on 'Love Ain't For Keeping“)

Recorded from 1964–1973
Produced by Glyn Johns, Kit Lambert, Peter Meaden, Chris Parmeinter, Shel Talmy, The Who

Digitally remastered

Keine Biografie vorhanden.

Dieses Album enthält kein Booklet