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The Who | New to the British rock legends' schedule are more than a dozen shows spread across the tour's November and December second leg, including stops in Las Vegas, Salt Lake City, Denver, Dallas, Houston, and the Ft. Lauderdale and Atlanta areas. The outing's first leg runs until mid-October. |
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Tuesday
Oct 21, 2008
7:30 PM |
The Who
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Palace Of Auburn Hills
Auburn Hills, MI |  |
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Wednesday
Oct 22, 2008
8:00 PM |
The Who
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Copps Coliseum
Hamilton, ON | |
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Friday
Oct 24, 2008
8:00 PM |
The Who
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TD Banknorth Garden
Boston, MA | |
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Sunday
Oct 26, 2008
TBA |
The Who
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Wachovia Center
Philadelphia, PA | |
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Tuesday
Oct 28, 2008
7:30 PM |
The Who
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Mohegan Sun Arena
Uncasville, CT | |
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Wednesday
Oct 29, 2008
7:30 PM |
The Who
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Izod Center
East Rutherford, NJ | |
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Friday
Oct 31, 2008
TBA |
The Who
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Borgata Casino Event Center
Atlantic City, NJ | |
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Monday
Nov 3, 2008
TBA |
The Who
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Verizon Center
Washington, DC | |
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Saturday
Nov 8, 2008
8:00 PM |
The Who |
Nokia Theatre LA Live
Los Angeles, CA | |
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Sunday
Nov 9, 2008
8:00 PM |
The Who |
Nokia Theatre LA Live
Los Angeles, CA | |
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Few bands in the history of rock & roll were riddled with as many contradictions as the Who. All four members had wildly different personalities, as their notoriously intense live performances demonstrated. The group was a whirlwind of activity, as the wild Keith Moon fell over his drum kit and Pete Townshend leaped into the air with his guitar, spinning his right hand in exaggerated windmills. Vocalist Roger Daltrey strutted across the stage with a thuggish menace, as bassist John Entwistle stood silent, functioning as the eye of the hurricane. These divergent personalities frequently clashed, but these frictions also resulted in a decade's worth of remarkable music.
As one of the key figures of the British Invasion and the mod movement of the mid-'60s, the Who were a dynamic and undeniably powerful sonic force. They often sounded like they were exploding conventional rock and R&B structures with Townshend's furious guitar chords, Entwistle's hyperactive bass lines and Moon's vigorous, chaotic drumming. Unlike most rock bands, the Who based their rhythm on Townshend's guitar, letting Moon and Entwistle improvise wildly over his foundation, while Daltrey belted out his vocals. This was the sound the Who thrived on in concert, but on record they were a different proposition, as Townshend pushed the group toward new sonic territory. He soon became regarded as one of the finest British songwriters of his era, as songs like "The Kids Are Alright" and "My Generation" became teenage anthems, and his rock opera, Tommy, earned him respect from mainstream music critics.
Townshend continually pushed the band toward more ambitious territory, incorporating white noise, pop art and conceptual extended musical pieces into the group's style. The remainder of the Who, especially Entwistle and Daltrey, weren't always eager to follow him in his musical explorations, especially after the success of his first rock opera, Tommy. Instead, they wanted to stick to their hard-rock roots, playing brutally loud, macho music instead of Townshend's textured song suites and vulnerable pop songs. Eventually, this resulted in the group abandoning their adventurous spirit in the mid-'70s, as they settled into their role as arena-rockers. The Who continued on this path even after the death of Keith Moon in 1978, and even after they disbanded in the early '80s, as they reunited numerous times in the late '80s and '90s to tour America. The group's relentless pursuit of the dollar was largely due to Entwistle and Daltrey, who never found successful solo careers, but it had the unfortunate side effect of tarnishing their reputation for many longtime fans. However, there's little argument that at their peak, the Who were one of the most innovative and powerful bands in rock history.
Pete Townshend and John Entwistle met while attending high school in the Shepherd's Bush area of London. In their early teens, they played in a Dixieland band together, with Entwistle playing trumpet and Townshend playing banjo. By the early '60s, the pair had formed a rock & roll band, but Entwistle departed in 1962 to play in the Detours, a hard-edged rock band featuring a sheet-metal worker named Roger Daltrey. By the end of the year, Townshend had joined as a rhythm guitarist, and in 1963, Daltrey became the group's lead vocalist once Colin Dawson left the band. Within a few months, drummer Doug Sandom had parted ways with the Detours, and the group added Keith Moon, who had previously drummed with a surf-rock band called the Beachcombers. The Detours changed their name to the Who in early 1964.
As the group struggled to get a break, Pete Townshend attended art school, while the remaining three worked odd jobs. Soon, the band became regulars at the Marquee club in London, which is where Townshend first smashed one of his guitars out of frustration with the sound system; the destruction would become one of his performing signatures. Soon, the group cultivated a small following, which led to the interest of manager Pete Meaden. Under the direction of Meaden, the Who changed their name to the High Numbers and began dressing in sharp suits in order to appeal to the style and R&B-obsessed mod audience. The High Numbers released one single, "I'm the Face"/"Zoot Suit," which was comprised of two songs written by Meaden. After the single bombed, the group ditched him and began working with Kit Lambert and Chris Stamp, two fledgling music business entrepreneurs who had previously failed as film directors. Instead of moving the band away from mod, Lambert and Stamp encouraged them to embrace the movement, offering them advice on both what to play and what to wear, including pushing the target T-shirt that became a key visual signature. The group reclaimed the Who name and began playing a set that consisted entirely of soul, R&B and Motown -- or, as their posters said, "Maximum R&B." By late 1964, they had developed an enthusiastic mod following. At the end of 1964, the Who signed with Decca on the strength of Townshend's "You Really Got Me" knockoff, "I Can't Explain." The group entered the studio with producer Shel Talmy, who previously worked with the Kinks, and the single was released to little attention in January 1965. Once the Who appeared on the television program Ready, Steady, Go, the single shot up the charts, since the group's incendiary performance, featuring Townshend and Moon destroying their instruments, became a sensation. "I Can't Explain" reached the British Top Ten, followed that summer by "Anyway, Anyhow, Anywhere." That fall, "My Generation" climbed all the way to number two on the charts, confirming the band's status as British pop phenomenons. An album of the same name followed at the end of the year, and early in 1966, "Substitute" became their fourth British Top Ten hit.
Following "Substitute," the Who acrimoniously left Talmy, and Lambert became the group's producer. Lambert and Stamp decided that every member of the Who should contribute songs to the group's second album in order to generate more revenue. Although the ploy meant A Quick One was uneven, Lambert's presence allowed Townshend to write the title track as a ten-minute mini-opera, an idea he would expand over the next few years. Upon its 1966 release, A Quick One became another British hit. In America, the group was ignored until A Quick One was retitled Happy Jack and its title track reached the Top 40 in 1967. By that time, the group had already eclipsed A Quick One with The Who Sell Out, a concept album constructed as a mock-pirate radio broadcast. The album featured "I Can See for Miles," which became the group's first Top Ten hit in America. That year, the group also appeared at the Monterey Pop Festival.
During 1968, the Who delivered their final mod single with the bizarre "Dogs." By that time, the mod audience had declined considerably, and the single bombed, sending Townshend into seclusion to write a rock opera about a deaf, dumb and blind boy with a gift for pinball. As he worked on the record, the compilation Magic Bus -- The Who on Tour was released in America.
The Who returned in 1969 with the double concept album Tommy, which was acclaimed as the first successful rock opera. The album became a huge hit, earning positive reviews from mainstream publications as well as underground rock magazines. Tommy climbed into the American Top Ten as the group supported the album with an extensive tour, where they played the opera in its entirety, including dates at the London Coliseum and the Metropolitan Opera House in New York. In some respects, Tommy became too successful, since it soon overshadowed the Who themselves; it was performed as a play across the world and would eventually be filmed by Ken Russell in 1975 (the movie starred Roger Daltrey) -- plus, in 1993, Townshend turned it into a Broadway musical with director Des McAnuff.
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