Quadrophenia
Quadrophenia | ||||
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Studio album by | ||||
Released | 26 October 1973 | |||
Recorded |
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Studio | Olympic, Ramport and Ronnie Lane's Mobile Studio, London | |||
Genre | ||||
Length | 81:42 | |||
Label | Track · MCA | |||
Producer | The Who | |||
The Who chronology | ||||
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Singles from Quadrophenia | ||||
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Quadrophenia is the sixth
The group started work on the album in 1972 in an attempt to follow up Tommy and Who's Next (1971), both of which had achieved substantial critical and commercial success. Recording was delayed while bassist John Entwistle and singer Roger Daltrey recorded solo albums and drummer Keith Moon worked on films. Because a new studio was not finished in time, the group had to use Ronnie Lane's Mobile Studio. The album makes significant use of Townshend's multi-track synthesizers and sound effects, as well as Entwistle's layered horn parts. 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.
Quadrophenia was released to a positive reception in both the UK and the US, but the resulting tour was marred with problems with backing tapes replacing the additional instruments on the album, and the stage piece was retired in early 1974. It was revived in 1996 with a larger ensemble, and a further tour took place in 2012. The album made a positive impact on the mod revival movement of the late 1970s, and the resulting 1979 film adaptation was successful. The album has been reissued on compact disc several times, and seen several remixes that corrected some perceived flaws in the original release.
Plot
The original release of Quadrophenia came with a set of recording notes for reviewers and journalists that explained the basic story and plot.[5]
The narrative centres on a young working-class
After destroying his scooter and contemplating suicide, he decides to take a train to Brighton, where he had enjoyed earlier experiences with fellow mods. However, he discovers the "Ace Face" who led the gang now has a menial job as a
Background
1972 was the least active year for the Who since they had formed. 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.[9] The group recorded new material with Who's Next collaborator Glyn Johns in May 1972, including "Is It In My Head" and "Love Reign O'er Me" which were eventually released on Quadrophenia, and a mini-opera called "Long Live Rock – Rock Is Dead", but the material was considered too derivative of Who's Next and sessions were abandoned.[10] In an interview for Melody Maker, guitarist and bandleader Pete Townshend said "I've got to get a new act together… People don't really want to sit and listen to all our past".[11] He had become frustrated that the group had been unable to produce a film of Tommy (a film version of Tommy would be released in 1975) or Lifehouse (the abortive project that resulted in Who's Next), and decided to follow Frank Zappa's idea of producing a musical soundtrack that could produce a narrative in the same way as a film. Unlike Tommy, the new work had to be grounded in reality and tell a story of youth and adolescence that the audience could relate to.[12]
Townshend became inspired by "Long Live Rock – Rock Is Dead"'s theme and in autumn 1972 began writing material, while the group put out unreleased recordings including "
Work was interrupted for most of 1972 in order to work on Lou Reizner's orchestral version of Tommy.[16] Daltrey finished his first solo album, which included the hit single "Giving It All Away",[17] fueling rumours of a split in the press. Things were not helped by Daltrey discovering that managers Kit Lambert and Chris Stamp had large sums of money unaccounted for, and suggested they should be fired, which Townshend resisted.[18]
Recording
In order to do justice to the recording of Quadrophenia, the group decided to build their own studio,
To illustrate the four-way split personality of Jimmy, Townshend wrote four
Most tracks involved each of the group recording their parts separately;[21] unlike earlier albums, Townshend had left space in his demos for other band members to contribute, though most of the synthesizers on the finished album came from his ARP 2500 synthesizer and were recorded at home.[23][15] The only song arranged by the band in the studio was "5:15".[25] 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.[23] To obtain a good string section sound on the album, Townshend bought a cello and over two weeks learned how to play it well enough to be recorded.[26]
Entwistle recorded his bass part to "The Real Me" in one take on a Gibson Thunderbird[27] and spent several weeks during the summer arranging and recording numerous multi-tracked horn parts.[28] Having been forced to play more straightforwardly by Johns on Who's Next, Moon returned to his established drumming style on Quadrophenia. He contributed lead vocals to "Bell Boy", where he deliberately showcased an exaggerated narrative style.[29] For the finale of "Love, Reign O'er Me", Townshend and Nevison set up a large group of percussion instruments, which Moon played before kicking over a set of tubular bells, which can be heard on the final mix.[28]
During the album production, Townshend made many
Release
The album was preceded by the single "5:15" in the UK, which benefited from a live appearance on Top of the Pops on 4 October 1973 and was released the next day.[31] It reached No. 20 in the charts.[32] In the US, "Love Reign O'er Me" was chosen as the lead single. [31]
Quadrophenia was originally released in North America on 26 October and in the UK on 29 October,
The album was originally released as a two-
In 2011, Townshend and longtime Who engineer Bob Pridden remixed the album, resulting in a deluxe five-disc box set.[39] Unlike earlier reissues, this set contains two discs of demos, including some songs that were dropped from the final running order of the album, and a selection of songs in 5.1 surround sound. The box set came with a 100-page book including an essay by Townshend about the album sessions, with photos.[40] At the same time, the standard two-CD version was re-released with a selection of the demos as bonus content; some Disc Two tracks were moved to Disc One to accommodate space for these demos. In 2014, the album was released on Blu-ray Audio featuring a brand-new remix of the entire album by Townshend and Pridden in 5.1 surround sound as well the 2011 Deluxe Edition stereo remix and the original 1973 stereo LP mix.[41]
Reception
Review scores | |
---|---|
Source | Rating |
Tom Hull – on the Web | B[49] |
Critical reaction to Quadrophenia was positive. Melody Maker's
Retrospective reviews were also positive. Writing in Christgau's Record Guide: Rock Albums of the Seventies (1981), Christgau regarded Quadrophenia as more of an opera than Tommy, possessing a brilliantly written albeit confusing plot, jarring but melodic music, and compassionate lyrics about "Everykid as heroic fuckup, smart enough to have a good idea of what's being done to him and so sensitive he gets pushed right out to the edge anyway".[43] Chris Jones, writing for BBC Music, said "everything great about the Who is contained herein."[53] 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."[54] The album has sold 1 million copies and has been certified Platinum by the Recording Industry Association of America.[55] In 2000 Q magazine placed Quadrophenia at No. 56 in its list of the 100 Greatest British Albums Ever.[56] The album has been ranked at No. 267 on Rolling Stone magazine's list of the 500 greatest albums of all time.[57] It is also ranked at No. 86 on VH1's list of the 100 greatest albums of all time.[58]
Townshend now considers Quadrophenia to be the last great album that the Who recorded. In 2011, he said the group "never recorded anything that was so ambitious or audacious again", and implied that it was the last album to feature good playing by Keith Moon.[59]
Live performances
1973–1974 tour
The band toured in support of Quadrophenia but immediately encountered difficulties playing the material live. 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. Daltrey objected to this and believed the Who's performances should only have the four core members.[60] To obtain the required instrumentation without additional musicians, the group elected to employ taped backing tracks for live performance, as they had already done for "Baba O'Riley" and "Won't Get Fooled Again".[61] Initial performances were plagued by malfunctioning equipment. Once the tapes started, the band had to play to them, which constrained their styles. Moon, in particular, found playing Quadrophenia difficult as he was forced to stick to a click track instead of watching the rest of the band.[62][63] The group only allowed two days of rehearsals with the tapes before touring, one of which was abandoned after Daltrey punched Townshend following an argument.[62]
The tour started on 28 October 1973. The original plan had been to play most of the album, but after the first gig at Stoke-on-Trent, the band dropped "The Dirty Jobs", "Is It In My Head" and "I've Had Enough" from the set.[4] Both Daltrey and Townshend felt they had to describe the plot in detail to the audience, which took up valuable time on stage.[64] A few shows later in Newcastle upon Tyne, the backing tapes to "5:15" came in late. Townshend stopped the show, grabbed Pridden, who was controlling the mixing desk, and dragged him onstage, shouting obscenities at him. Townshend subsequently picked up some of the tapes and threw them over the stage, kicked his amplifier over, and walked off. The band returned 20 minutes later, playing older material.[65][66] Townshend and Moon appeared on local television the following day and attempted to brush things off. The Who played two other shows in Newcastle without incident.[65]
The US tour started on 20 November at the
The tour continued in February 1974, with a short series of gigs in France.
1996–1997 tour
In June 1996, Daltrey, Townshend and Entwistle revived Quadrophenia as a live concert. They performed at
A subsequent tour of the US and UK followed, employing most of the same players but with Billy Idol replacing Edmondson,[74] Simon Townshend replacing Gilmour and P. J. Proby replacing Glitter during the second half of the tour. 85,000 fans saw the ensemble perform Quadrophenia at Madison Square Garden over six nights in July 1996.[75] A recording from the tour was subsequently released in 2005 as part of Tommy and Quadrophenia Live.[76]
2010s tours
The Who performed Quadrophenia at the Royal Albert Hall on 30 March 2010 as part of the Teenage Cancer Trust series of ten gigs. This one-off performance of the rock opera featured guest appearances from Pearl Jam's Eddie Vedder and Kasabian's Tom Meighan.[77]
In November 2012, the Who started a U.S. tour of Quadrophenia, dubbed "
In September 2017, Townshend embarked on a short tour with Billy Idol, Alfie Boe, and an orchestra entitled "Classic Quadrophenia".[83][84]
Adaptations
Film
Quadrophenia was revived for a film version in 1979, directed by Franc Roddam. The film attempted to portray an accurate visual interpretation of Townshend's vision of Jimmy and his surroundings, and included Phil Daniels as Jimmy and Sting as the Ace Face.[85] Unlike the Tommy film, the music was largely relegated to the background, and was not performed by the cast as in a rock opera. The film soundtrack included three additional songs written by Townshend, which were Kenney Jones' first recordings as an official member of the Who.[86] The film was a commercial and critical success, as it conveniently coincided with the mod revival movement of the late 1970s.[87]
Other productions
There have been several amateur productions of a Quadrophenia musical. In 2007, the Royal Welsh College of Music & Drama performed a musical based on the original album at the Sherman Theatre, Cardiff, featuring a cast of 12 backed by an 11-piece band.[88]
In October 1995, the rock group
In June 2015, Townshend produced an orchestral version of the album entitled Classic Quadrophenia. The album was orchestrated by his partner Rachel Fuller and conducted by Robert Ziegler, with instrumentation provided by the Royal Philharmonic Orchestra. Tenor Alfie Boe sang the lead role, supported by the London Oriana Choir, Billy Idol, Phil Daniels, and Townshend.[92]
Track listing
Original release
All tracks are written by Pete Townshend
No. | Title | Lead vocal | Length |
---|---|---|---|
1. | "I Am the Sea" | Roger Daltrey | 2:09 |
2. | "The Real Me" | Daltrey | 3:21 |
3. | "Quadrophenia" | (instrumental) | 6:14 |
4. | "Cut My Hair" | Pete Townshend (verses), Daltrey (chorus) | 3:45 |
5. | "The Punk and the Godfather" | Daltrey (verses and chorus), Townshend (bridge) | 5:11 |
Total length: | 20:40 |
- Track 5 is titled "The Punk Meets the Godfather" on the American version
No. | Title | Lead vocal | Length |
---|---|---|---|
1. | "I'm One" (At least) | Townshend | 2:38 |
2. | "The Dirty Jobs" | Daltrey | 4:30 |
3. | "Helpless Dancer" (Roger's theme) | Daltrey | 2:34 |
4. | "Is It in My Head?" | Daltrey (verses, bridge), John Entwistle (chorus) | 3:44 |
5. | "I've Had Enough" | Daltrey and Townshend | 6:15 |
Total length: | 19:41 |
- Track 3 includes the intro to "The Kids Are Alright" from My Generation
No. | Title | Lead vocal | Length |
---|---|---|---|
1. | "5:15" | Daltrey, Townshend (intro and coda) | 5:01 |
2. | "Sea and Sand" | Daltrey and Townshend | 5:02 |
3. | "Drowned" | Daltrey | 5:28 |
4. | "Bell Boy" (Keith's theme) | Daltrey and Keith Moon | 4:56 |
Total length: | 20:27 |
No. | Title | Lead vocal | Length |
---|---|---|---|
1. | "Doctor Jimmy" (Including John's theme, “Is It Me?”) | Daltrey | 8:37 |
2. | "The Rock" | (instrumental) | 6:38 |
3. | "Love, Reign o'er Me" (Pete's theme) | Daltrey | 5:49 |
Total length: | 21:04 |
Quadrophenia: The Director's Cut track listing
No. | Title | Recording date | Length |
---|---|---|---|
1. | "The Real Me" | written and recorded in October 1972 | 4:24 |
2. | "Quadrophenia – Four Overtures" | in 1973 | 6:20 |
3. | "Cut My Hair" | written in June 1972 | 3:28 |
4. | "Fill No. 1 – Get Out and Stay Out" | 12 November 1972 | 1:22 |
5. | "Quadrophenic – Four Faces" | in July 1972 | 4:02 |
6. | "We Close Tonight" | in July 1972 | 2:41 |
7. | "You Came Back" | in July 1972 | 3:16 |
8. | "Get Inside" | written in April 1972 | 3:09 |
9. | "Joker James" | in July 1972 | 3:41 |
10. | "Ambition" | written early in 1972 | 0:00 |
11. | "Punk" | 18 November 1972 | 4:56 |
12. | "I'm One" | 15 November 1972 | 2:37 |
13. | "Dirty Jobs" | 25 July 1972 | 3:45 |
14. | "Helpless Dancer" | in 1973 | 2:16 |
Total length: | 43:38 |
No. | Title | Recording date | Length |
---|---|---|---|
1. | "Is It in My Head?" | 30 April 1972 | 4:12 |
2. | "Anymore" | listed as recorded on 10 November 1971, but probably a misprint; actual year would have been 1972 | 3:19 |
3. | "I've Had Enough" | written and recorded on 17 December 1972 | 6:21 |
4. | "Fill No. 2" | 12 November 1972 | 1:30 |
5. | "Wizardry" | in August 1972 | 3:10 |
6. | "Sea and Sand" | written and recorded on 1 November 1972 | 4:13 |
7. | "Drowned" | in March 1970 | 4:14 |
8. | "Is It Me?" | 20 March 1973 | 4:37 |
9. | "Bell Boy" | 3 March 1973 | 5:03 |
10. | "Doctor Jimmy" | 27 July 1972 | 7:28 |
11. | "Finale – The Rock" | between 25 March and 1 May 1973 | 7:57 |
12. | "Love Reign O'er Me" | 10 May 1972 | 5:10 |
Total length: | 57:14 |
Personnel
Taken from the sleeve notes:[93]
The Who
Additional musicians
|
Production
|
Charts
Weekly charts
|
Year-end charts
|
Certifications
Region | Certification | Certified units/sales |
---|---|---|
Canada (Music Canada)[105] | Platinum | 100,000^ |
France ( SNEP)[106]
|
Gold | 100,000* |
United Kingdom (BPI)[107] | Gold | 100,000^ |
United States (RIAA)[108] | Platinum | 1,000,000^ |
* Sales figures based on certification alone. |
Notes
- ^ Ironically, Pin Ups contained cover versions of the Who songs "I Can't Explain" and "Anyway, Anyhow, Anywhere".
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Sources
- Atkins, John (2000). The Who on Record: A Critical History, 1963–1998. McFarland. ISBN 978-0-7864-0609-8.
- ISBN 978-1-84449-807-9.
- ISBN 978-0-85965-083-0.
- McMichael, Joe; Lyons, Jack (2011). The Who: Concert File. Omnibus Press. ISBN 978-0-85712-737-2.
- Neill, Andrew; Kent, Matthew (2002). Anyway Anyhow Anywhere – The Complete Chronicle of The Who. Virgin. ISBN 978-0-7535-1217-3.
- Unterberger, Richie (2011). Won't Get Fooled Again: The Who from Lifehouse to Quadrophenia. Jawbone Press. ISBN 978-1-906002-75-6.
- Further reading
- Hughes, Rob (26 October 2016). "The Who: How We Made Quadrophenia". Classic Rock magazine. Archived from the original on 5 July 2018. Retrieved 4 July 2018.
External links
- Quadrophenia at Discogs (list of releases)
- Liner Notes – Quadrophenia – fan site