The Who - A Quick One (1966)

"A Quick One, While He's Away" by The Who


John's Children had a paucity of talent and their manager knew it.  Instead of pressing for the improvement of the band's technical chops (he saw their lack of talent as part of their attraction), he focused on improving the songwriting (the addition of Marc Bolan) and encouraging the band members' stage antics.  Even the release of the faux-live album whose release was banned/delayed because of its name had the texture of an outrageous publicity stunt rather than a bothered-about album release.

The band's stage antics were like The Who's own, so it was a natural fit for them to tour Germany together with John's Children opening.  But the match didn't work out because the Children were just too "loud and violent" according to Townshend.  They upstaged The Who with their theatrics and destruction and one time caused a riot before the headliners even took the stage.  John's Children were good at something, if not music.  The band was fired mid-tour. (Note: The drummer, Chris Townson, was probably the most skilled member of the band (outside of late-joiner Bolan) and was asked by The Who to sub for an injured Keith Moon.)

The Who (previously visited) released their second album A Quick One in 1966 on Polydor Records.  They released an American version of the album re-titled Happy Jack in 1967 on Decca records with a slightly different track listing.

Here is the discography surrounding The Who's second album:

Ready Steady Who (1966 EP)
Happy Jack (1966 single)
A Quick One
Pictures of Lily (1967 single)
Whiskey Man (1967 single)
Happy Jack (1967 American album)

"Cobwebs and Strange" by The Who


Pete Townshend Talks About A Quick One


The Who Live July 9, 1966 at Westminster Technical College


Pass the Headphones!!

The Who - My Generation (1965)

Jimmy Page is renowned for his career with The Yardbirds and Led Zeppelin, but he spent several years mastering his craft as a session musician. Producer Shel Talmy favored Page's skills and used him often on his productions. Page played on The Kinks debut album and was even rumored to have authored the guitar solo on "You Really Got Me", which he denies and credits to Dave Davies. The Who's early recordings were also produced by Shel Talmy, and their debut single "I Can't Explain" also featured Page.

John Entwistle and Pete Townshend's first roles as musicians had them as members of a Dixieland jazz band called The Confederates on which Entwistle played the French Horn and Townshend played the banjo. With a chance street encounter between Entwistle and Roger Daltrey, the two were recruited into Daltrey's rhythm and blues band The Detours. The early line-up had Daltrey on lead guitar, Townshend on rhythm guitar, Entwistle on bass, Doug Sandom on drums, and Colin Dawson as vocalist. With the departure of Dawson, Daltrey took over on vocals, leaving Townshend as the sole guitarist. Although The Detours were considered a talented band, they couldn't quite earn a recording contract for need of original material and a better drummer. The band dropped the elder Sandom from The Detours and picked up the younger, manic Keith Moon.

In 1964, The Detours changed their name to The Who and then briefly to The High Numbers on the recommendation of their new manager Peter Meaden. Under Meaden, The High Numbers were tailored to appeal to England's mod subculture that held an affinity for Italian motor scooters, tailored suits, pop music (beat, ska, soul, R&B), and dancing clubs. The band's first single "Zoot Suit" failed to chart, so the group reverted back to The Who, and Meaden relinquished managing control to Kit Lambert and Christ Stamp. Despite all of these changes, The Who maintained a strong local following but needed a little something more to gain national attention. They found a gimmick when Pete Townshend, in a bout of frustration, destroyed his guitar at the Railway Tavern. The next night saw an increased audience expecting more destruction. From then on, Townshend and Moon regularly performed what they call auto-destructive art.

The Who's first single as The Who was the Kinks-inspired tune "I Can't Explain" that peaked at eighth on the UK charts early in 1965. This was followed up with "Anyway, Anyhow, Anywhere". Their third single "My Generation" peaked at second in the UK and provided a wave of success going into the release of their debut album, the commercially named My Generation. The album met with critical acclaim and commercial popularity reaching fifth on the charts. A handful of other singles were released throughout 1966 to varied success. They found continued chart success with the original singles "Substitute" and "I'm a Boy".

The album is a good source document to The Who's early "Hardcore R&B" days. It's made up mostly of original material by Pete Townshend and is rounded off with three cover songs (two James Brown, one Bo Diddley). Although most of the songs stay in the British Rhythm and Blues and Beat tradition, a number of songs stand out. In particular, "My Generation" and "The Kids Are Alright" are definitive Who power pop and would become the album's most iconic tracks. The beat-inspired "It's Not True" and the romping instrumental "The Ox" are other noteworthy tracks. The 1966 single "I'm a Boy", a song not on the album, holds some importance as it is a remnant of Townshend's first attempt at a rock opera, an idea he'd keep working on in the years to come.

Here is the discography surrounding The Who's debut album:

Zoot Suit (1964 single as The High Numbers)
I Can't Explain (1965 single)
Anytime, Anyhow, Anywhere (1965 single)
My Generation (1965 single)
My Generation
Substitute (1966 single)
A Legal Matter (1966 single)
The Kids Are Alright (1966 single)
I'm a Boy (1966 single)





If you have any ideas for the tour should go next, please give a shout. I'm open to all suggestions.

Pass the Headphones!!