Quadrophenia

Product Information

To achieve the rich overdubbed sound of the album on stage, Townshend wanted Chris Stainton (who had played piano on some tracks) to join as a touring member. In the wake of this album, it is difficult to see Tommy as anything other than an experimental prototype, a cobbled-together blueprint that was more successful in pointing the way to Quadrophenia than as a musical piece in its own right. He clashes with his parents over his usage of amphetamines, [6] and has difficulty finding regular work and doubts his own self-worth, [7] quitting a job as a dustman after only two days.

The box set came with a 100-page book including an essay by Townshend about the album sessions, with photos. In October 1995, the rock group Phish, with an additional four-man horn section, performed Quadrophenia in its entirety as their second Halloween musical costume at the Rosemont Horizon in the Chicago suburb of Rosemont, Illinois.

Kieth also makes one of his few lead vocal efforts here, affecting a strong cockney accent for "Bell Boy". Scot Halpin, an audience member, convinced promoter Bill Graham to let him play drums, and the group closed the show with him.

In 2013, Billboard, reviewing the album for its 40th anniversary, said: "Filled with performances packed with life and depth and personality, Quadrophenia is 90 minutes of the Who at its very best.The Who's sixth studio album, a "Rock Opera" that tells the story of a young mod named Jimmy set in London and Brighton in 1965. Townshend later said that Daltrey "ended up hating Quadrophenia – probably because it had bitten back". Relationships between the group and manager Kit Lambert broke down irretrievably during recording and Lambert had left the band's service by the time the album was released. He likes drugs, beach fights and romance, [5] and becomes a fan of the Who after a concert in Brighton, [6] but is disillusioned by his parents' attitude towards him, dead-end jobs and an unsuccessful trip to see a psychiatrist.

Reaction in the US was generally positive, though Dave Marsh, writing in Creem gave a more critical response. Also the miniaturized booklet is a faithfully well-done reproduction which I find extremely cool to look at and hold in hands. The group had achieved great commercial and critical success with the albums Tommy and Who's Next, but were struggling to come up with a suitable follow-up. firstly, this is mastered to be played loud, so when you increase the volume the soundstage expands and opens.He feels everything in his life has rejected him, steals a boat, and uses it to sail out to a rock overlooking the sea. the first german pressing is the only german pressing to have the track records logo, all reissues have the polydor logo. In 2011, Townshend and longtime Who engineer Bob Pridden remixed the album, resulting in a deluxe five-disc box set. According to Nevison, the ARP 2500 was impossible to record in the studio, and changing sounds was cumbersome due to a lack of patches, which required Townshend to work on these parts at home, working late into the night. The original mix had been criticised in particular for Daltrey's vocals being buried, so the 1996 CD was completely remixed by Jon Astley and Andy Macpherson.

Townshend subsequently picked up some of the tapes and threw them over the stage, kicked his amplifier over, and walked off. My version is identical to this listing except for the "320 ending" is missing on the side B runout and the rim text is German. The digital CD versions may have programmed my brain for a more brighter sound to the drums which are a huge contribution to this effort.The Who’s classic double LP was released on 26th October 1973 and looked back at the previous decade and the Mod culture that spawned the band in the Shepherd’s Bush area of West London. He created the character of Jimmy from an amalgamation of six early fans of the group, including Lyons, and gave the character a four-way split personality, which led to the album's title (a play on schizophrenia). The Real Me’ and ‘Love Reign O’er Me’, it’s given the definitive half-speed mastering treatment at Abbey Road by the in-demand Miles Showell.