Endless Wire (W/Dvd)

Who - Endless Wire (W/Dvd)

Endless Wire (W/Dvd)
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Music CD Cover

Artist: Who
Edition: Music CD
Format: Limited Edition
CD Release Date: 2006-10-31
Music Label: Republic
Soundtracks:
Music CD 1
  1. Fragments
  2. A Man In A Purple Dress
  3. Mike Post Theme
  4. In The Ether
  5. Black Widow's Eyes
  6. Two Thousand Years
  7. God Speaks, of Marty Robbins
  8. It's Not Enough
  9. You Stand By Me
  10. Sound Round
  11. Pick Up the Peace
  12. Unholy Trinity
  13. Trilby's Piano
  14. Endless Wire
  15. Fragments Of Fragments
  16. We Got A Hit
  17. They Make My Dream Come True
  18. Mirror Door
  19. Tea & Theatre
  20. We Got A Hit - Extended Version
  21. Endless Wire - Extended Version
Music CD 2
  1. Intro
  2. Can't Explain
  3. Behind Blue Eyes
  4. Mike Post Theme
  5. Baba O'Riley
  6. Won't Get Fooled Again

Free Music Notes for Endless Wire (W/Dvd)

Free Music Review: 4.5 Stars for The Who's
Hit: 5 Stars

Lookout! The greatest-hits tour jokes are f-f-f-fading away.
The Who has come out swinging with its first new album in 24 years, "Endless Wire," and co-founders Pete Townshend and Roger Daltrey are performing almost half of the disc on their current global road trek. The disc is busting at the outer grooves with some of Townshend's best songwriting since the early 1980s. In many ways, most of "Endless Wire" betters the bulk of the British group's two previous LPs, 1981's "Face Dances" and "It's Hard" from 1982, although nothing on the new album necessarily betters the grinding "Another Tricky Day" and the spooky haze of "Eminence Front" from a quarter-century ago.
As a creative whole, though, "Endless Wire" gets the edge. Featuring nine free-standing songs at the front, the album closes with the 10-song "Wire and Glass" mini-opera that details the rise, fall and eventual triumphant return of a fictionalized rock trio. The new disc is silencing most of The Who's harshest critics, pulsating with an honesty and conviction that has surprised many fierce Who followers themselves. Daltrey must be sick to death now of reading in the press how he's lost some of his vocal range. At 62, he can't hit a few of the really high notes he could back in The Who's live heyday some 30 years ago, but why his slightly diminished voice continues to surprise anyone today remains a head-scratching mystery. It's a Father Time thing, people. Move along.
Daltrey does make up for the loss in his second-tenor range by throwing his heart, soul and chest throughout "Endless Wire." On "Man in a Purple Dress," Daltrey's pipes spit out venom, balanced sonically by Townshend's sparse acoustic guitar. Sounding like something that could have been come from Bob Dylan's mind in 1965, the song arrives early on the album, and it's said by the 61-year-old Townshend to be a response to seeing Mel Gibson's controversial film, "The Passion of the Christ." He claims he channeled his outrage at judgmental individuals who he saw acting hypocritically within the higher realms of organized religion.
However, it's hard not to think that much of "Man in a Purple Dress" is Townshend's 3 1/2-years-in-the-making rebuttal to those who wrongly viewed -- and still view -- him as a child predator. At the dawn of 2003, British police charged Townshend with viewing on-line child (.......). Later, the guitarist was cleared by authorities after they seized all 14 of his computers and found no incriminating photos or files on them. "How dare you be the one to assess/Me in this God-forsaken mess," barks Daltrey to nay-sayers and to Big Media for not reporting his friend's innocence.
Parts of "Endless Wire" do contain a demo-like vibe that's reminiscent of Townshend's home-grown "Scoop" albums. Townshend played guitar, drums, bass, and keyboards on many of the cuts, which makes for an intimate portrait of the 2006 version of The Who. For the recording of "Endless Wire," Daltrey and Townshend were joined by touring bassist Pino Palladino and The Who's long-time stage drummer Zak Starkey, son of Ringo Starr, among others. Starkey is an ace on the kit, and fellow drummer Peter Huntington and Townshend himself take impressive turns hitting the cymbals and drum-heads, providing a bottom-end drive to "Endless Wire." (Original bassist John Entwistle died of a cocaine-induced heart attack on the eve of The Who's 2002 U.S. tour, and drum-destroyer Keith Moon died by overdosing on prescription medication on Sept. 7, 1978.)
Townshend also sings lead on seven songs, instead of the usual one or two per Who disc. For the most part, Townshend's voice is in good form; it's only on "In the Ether," where Townshend sounds dangerously close to mimicking jazz giant Louis Armstrong, where his vocals stray from their target, coming off as just odd.
The title track, with its sing-along-style chorus and country-flavored instrumentation, recalls the introspective portions of "The Who By Numbers" and the folky rock of Townshend's 1977 album with Ronnie Lane, "Rough Mix." Surprisingly, "Endless Wire" features more acoustic guitar than any other Who record, sans "Tommy." Townshend cradles a mandolin for the drumless "Two Thousand Years" and carefully builds beautiful blocks of sound via Spanish guitar patterns for "God Speaks of Marty Robbins." Despite its silly title, the latter is strong, where an optimistic narrator anticipates the creation of his favorite country artist, Mr. Robbins.
Those who cherish the electricity found within "Who's Next" and "Quadrophenia" can find comfort in "Mike Post Theme," "We Got a Hit," "It's Not Enough" and the most "Tommy"-like track, "Mirror Door," although none of the new songs eclipse the genius of "Won't Get Fooled Again," "My Generation" or "Baba O' Riley." Upon the first spin, "Fragments" seems a bit awkward for a disc-opener, but the tune, with its harp-sounding keyboard introduction, grows in stature over time.
Sure, the English group's original rhythm section are gone. The telepathic chemistry Moonie and The Ox shared -- and the steam-engine roar they constantly created -- truly is impossible to replace. But Townshend and Daltrey aren't trying to replace them, be it on "Endless Wire" or on tour. Nor are the two Who founders ignoring the importance of their fallen brothers. "Tea & Theatre," which closes the new album's mini-opera, is a jaw-dropping tune, even upon the first listen. Daltrey's impassioned vocals occupy the song's character, who is mourning the loss of a third band member who didn't make all of the group's long, globe-trotting trip. That dead fictional character no doubt is a hybrid of Moon and Entwistle. Daltrey's vocals slowly step alongside Townshend's acoustic guitar, as a soothing drum-machine pattern lingers in the background. It's more of a moment of melancholy seemingly fit for David Gray than the volcanic rock of "Who's Next," but the track is tasteful, honest and true without stepping into drippy nostalgia. "Tea & Theatre," like all of "Endless Wire," is where The Who is at, here and now. It shows that The Who still matters.
It's just too bad the band didn't record and release "Endless Wire" during its 2000 U.S. tour, when Entwistle was still alive. The album could have benefited from his writing, singing and rafter-shaking bass runs. Entwistle was the Jimi Hendrix of the bass, and his death did steal some of the group's high-decibel thunder. But the CD has materialized, finally, after 24 years. Its sound, heart and arrangements -- not to mention the elaborate Digipak artwork and the bonus live DVD from a 2006 gig in Lyon, France -- have rewarded those of us who have awaited an eternity. Besides, "Endless Wire" shows that three original Rolling Stones are good these days, but two of The Who are even better.

P.S. The Who's 2004 single "Real Good Looking Boy," a tribute to Elvis Presley, isn't as bad as people say. Give it another spin. It sounds great in concert now, too!
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Endless Wire (W/Dvd) Poster

The Bonus DVD is 28:17 in length and features the following tracks:

Mike Post Theme (from the new album Endless Wire)

And 4 classic hits: Won't Get Fooled Again Baba O Reily Behind Blue Eyes Who Are You

Nearly a quarter-century (and bassist John Entwistle) passed between what had been considered the Who's career-capping album, It's Hard, and this 19-song epic, which at its best has the band of two pining for the days of Who's Next. Built from the triumph of the mini-opera Wire & Glass EP (included here in its entirety), Endless Wire mixes metaphors of music, war, and religion, while showcasing Roger Daltrey's ageless vocal cords and Pete Townshend at his windmilling best. Launching with a "Baba O'Riley"-like synth break in "Fragments," Daltrey asks "Are we breathing out or breathing in?" and Townshend answers with a thrashing, crashing Gibson. When the volume is turned up, there are echoes of three decades ago. "It's Not Enough" and "Mike Post Theme" conjure images of Entwistle and Keith Moon--the latter song, with its quiet verse and thunderous chorus, recalls "Going Mobile" and longs for Moon to whack it into shape. But the linchpin remains Townshend's songwriting, whether he's questioning faith ("Man in a Purple Dress"), showing gratitude for support ("You Stand By Me"), or dreaming of entertaining immortals into eternity ("Out on an Endless Wire"). By the time it wraps up, Endless Wire tells two things. No, it does not rank with the band's best work. But yes, as long as Pete Townshend and Roger Daltrey walk the earth in tandem, the Who live on. --Scott Holter

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