WHO'S NEXT

This is an absolute masterpiece, and my review could stop here, believe me. The problem is that I could write pages about it, so I'll try to be concise and clear. This is one of the best achievements in rock music, and most of the tracks making up this wonderful album are timeless jewels, in which Mr Townshend (author of all the songs but "My Wife") and his wonderful band managed to match experimentation, melody and an extreme straight-forward approach, making this record as perfect and well proportioned as a circle. Townshend's starting intention was to make something completely different, a sort of interactive rock opera which would have the title of "Lighthouse". The project failed, but much of the stuff prepared for it (songs such as "Bargain", "Getting in Tune", "Going Mobile" and "Behind Blue Eyes") ended up forming the backbone to this album. Changing also their producer was for the band a lucky turning point, having thus access to a better balanced and more modern overall sound. But what strikes most in "Who's next" is the astounding songwriting and the extiting interpretation of each song. A Townshend inspired by Terry Riley's minimalism and experimenting with VCS3 loops (in 1971, before any similar attempt by the Berlin School) gives the sparkle to the opening and closing tracks. "Baba O'Riley" is one of the most epic tunes ever written, with powerful riffs and Daltrey's "heroic" vocals, a timeless hymn giving voice to a generation's disillusion, while "We won't get fooled again" is a typical hard-rocker by the Who, with Townshend's futiristic and intelligent inserctions on the VCS3 and the typical dynamic bass excursions by John Entwistle. The rock-opera attitude emerges in the aggressive "Bargain" and in the introspective, heartly ballad "Behind Blue Eyes" (somebody should summon the Limp Bizkit for their dull cover of this wonderful song). John Entwistle's "My wife" and the lively, dynamic "Going Mobile" (with an exceptional performance by Keith Moon) show the most ironic side of the band. But the strongest melodies are to be found in two incredible tracks which, in my opinion, can hardly find comparison: "The Song is Over" and "Getting in Tune". The first one features a majestic contrast between the melancholic verse (sung by Townshend) and the epic, energetic chorus (sung by Daltrey - and what a stunning performance!). Melodies and arrangements are mature and deeply felt by the whole band, so that you get the impression that every single note in it is necessary. "Getting in Tune" is more laid-back, with beautiful piano passages and Daltrey involved in rendering a really beautiful melody. Overall, the album displays also exceptional lyrics, intelligent and deep. Then, as this weren't enough, the remaster versions (besides the one here mentioned, there's a de-luxe version dated 2006) offer a bunch of very high- profile bonus tracks you'll hardly forget, from the strong blues rock of "Baby don't you do it", "Water" and "Naked Eye" (featuring Leslie West at the lead guitar), to an alternate version of "Behind Blue Eyes" and a beautiful ballad such as "Too much of Anything" (already included in "Odds and Sods"). All these songs are part of the original "Lighthouse" project, as well as the wonderful "Pure and Easy", a song reminescent of the "Tommy" experience, and from which the entire original project came to Townshend's mind. Believe me when I say that this album has always had something to say to every successive "age" of rock, and always will. And THIS is progressive!