THE WHO SELL OUT

From my viewpoint, The Who Sell Out is a great display of how at-the-right-place-and-time The Who truly were. Released at the end of 1967, this artsy Psych-Pop-Rock aesthetic--am I gonna sound like an *ssh*le in this review, or what[?]--blazed the way for their continued, ever-improved and amalgamated form: earliest-possible, and weightiest, Power Pop and Art Rock out there. It's the album, next to the even-more trailblazing Who's Next ('71), which always jumps to the fore when I think of "The Who". If this is a representation of them as artists, even in its playful silliness, I can't see that being all that bad. I'm feeling good; let's do this thing [not like I've been putting this review off for nearly a year...]. Rating on a track-specific basis, those moreso poppy tunes, less progressive or compositionally adventurous--perhaps fairly inconsistent of me from album to album, honestly--if a track is in some way excellent despite this, I'm allowing for a range of 2.5/5.0 to 3/5.

DON'T DELAY!!! A barrage of Radio London adverts are coming your way! "Armenia City In The Sky", a concept I certainly haven't considered before, opens us up (and closes...) with a supposedly 'sonovox' vocal effect, one of a number of simultaneous wall-to-wall effects, including a back-tracked guitar melody at the end. John Entwistle, just one of the multi-instrumentalists present, plays the horns (here and throughout). Who knew this was so timely and specifically appropriate the sort of sound one might've heard for those most classic of radio ads? I mean, I didn't. "Heinz Baked Beans" poses a rather current-era-sounding question--and seemingly totally unrelated to its title-- 'What's the tea?' They don't skip a beat, and four times we get a rapido 'MORE MUSIC!' leading to the Folk Pop classic "Mary Anne With The Shaky Hand"; it's Simon-and-Garfunklesque (but more exciting and non-demestic, a la castanets?). Verily, people should know this one.

We get a style and lead-vox switch-up (Pete Townsend) on the really great "Odorono". It's some Power Pop Lite, k? Roger Daltrey then exchange vocals duty on "Tattoo", a [Who-specific]track[type] I feel must have influenced Yes to some degree. The Sunshine-Jangle of "Our Love Was" reveals some really spectacular psychedelia; very delicious to mine ears, and with a strikingly beautiful guitar solo. Overall, an expertly crafted tune. Next is a track which, by name alone, is so well-known, nay, so iconic, I actually might not've been able to reliably identify the band were you to ask me: "I Can See For Miles". But of course, hearing it, y'know, there's no mistaking this is L'Who, and part of that is the trademark BOOM from naughty-nun Keith Moon working behind the kit. Bolded this'n because, in its relatively experimental psychedelic display, it is technically proto-Prog in fine form. The cool Country Western advert is so charming hahaha. You TOO can 'turn into a Beast of a Man!' So funny, personally.

The cutesy "I Can't Reach You" is yet another lead by Townsend. Entwistle then takes up the charge, much to my surprise, on "Medac", yet another charmer (better than the one prior). I feel I can only think of him as singing "Boris the Spider" (Fake fans: please report) [like the Ringo of the group, but, no offense to the wonderful Starkey, far more talented]. "Relax" to follow is quite lovely--I did chuckle to myself at the boyish chirp from again-lead vocalist Petey--and I think interesting in the use of an organ, another contribution from Mr. Entwistle. The keyboard role then continueth next... I sort of see why, but I don't recall the unusual Chamber Pop of "Silas Stingy". Great ideas herein, but other groups at the time and thereafter sonically succeeded far more. Then we get, in stark (quieted) juxtaposition, the classically-informed folksy nicety of "Sunrise", the softest entry as one of the album highlights for me. And here we are, the final statement of the (original) LP, "Rael [1]" . Roger Daltrey is the obvious choice for front man, as many of us know; in his sweetest contributions he still shows great power. Yet another iconic force from the most excellent The Who; another, more sure entry in Proto-Prog should-hears. The last minute+ has so much to offer your ears.

Again I repeat, especially to those of you in the back, DON'T DELAY! THE WHO SELL OUT TODAY! Peace be with you and yours.

Finally, returning a week later, here are my recommends from the bonus material (1995 version): "Melancholia" (slick, dark and then moody Garage-Psych), "Someone's Coming" (playful Pop Rock), "Early Morning Cold Taxi" (some great early Power Pop), "Hall of the Mountain King" (a fun, truly Proto-Prog rendition; the second moment after "Melancholia" that reminded me of early Pink Floyd), "Mary Anne With the Shakey Hand" (seriously so charming version with a very prominent organ, and it's a tad longer than the album version, replete with key change), "Glow Girl" (just some good ol' fashioned The Who The Whoin')