Who - Who's Next
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Free Music Notes for Who's Next
Free Music Review: 'Who's Next' In My CD Player? Why The Who Of Course!
Hit: 5 Stars
Who's Next(1971). The Who's Fifth Album.
After 1969's 'Tommy', The Who's breakthrough success Rock Opera, Townshend and The Who went back to the studio to record 'Lifehouse', a Rock Opera with Sci-Fi influences(much like Rush's '2112'). Unfortuneatly, after a writing block and lost ideas, the ambitious project came to a grinding halt. Fortuneatly, many of the tracks that recorded are still captured on The Who's 1971 critical and commercial smash, 'Who's Next'. Although The Who drafted another Rock Opera in the form of 'Quadrophenia', 'Who's Next' is a collection of unconnected songs, yet somehow it comes off as more ambitious than 'Tommy' and 'Quadrophenia' to most Who fans and critics. Upon its release, 'Who's Next' became a hit, scoring hit radio singles "Won't Get Fooled Again", "Behind Blue Eyes", "Baba O' Riley", "Bargain", and John Entwhistle's "My Wife". "Won't Get Fooled Again" even reached #15 on the US Top 40, and all those tracks get airplay to this day, showing 'Who's Next' is undoubtedly The Who's most popular album. With Daltrey's sarcastic sneer to his caring whimper, Moon's rythmic drumming, Entwhistle's legendary bass, and Townshend's intrepid mixture of synthesizers and electric guitar, The Who were ready to rock! So, is 'Who's Next' an undeniable classic, or an album that falls short of its legendary status? Read on to find out!
Track Ratings-
Baba O' Riley- 'Who's Next' begins with an emotional, teenage-angst filled hit, entitled "Baba O' Riley". Townshend's upbeat and groundbreaking synth line gives way to Daltrey's passionate vocals and Townshend's electric guitar flourishes. A passionate rocker that won't fail to please!
Bargain- Right off the bat, "Bargain" unfolds between Townshend's rip-roaring acoustic guitar beat and Daltrey's teasing vocals. "Bargain", a cross between a ballad and hard rock, still remains a classic today.
Love Ain't For Keeping- "Love Ain't For Keeping" is a melodic Rock song, typical of The Who's 60's material, infected with pop melodies. Daltrey's vocals work well here.
My Wife- John Entwhistle's "My Wife" finds Townshend and Daltrey molding a sarcastic and humorous melody about husband's problems. Oddly, the use of trumpets and Daltrey's vocals mix well, and "My Wife" is a fun rocker that hits the spot every time.
This Song Is Over- "This Song Is Over" shows a lighter side to The Who, capturing a jazzy, soulful keyboard flourish from Townshend, and Daltrey's vocals positively bleed optimism. Townshend's guitar playing doesn't disappoint, and neither does the band, picking up the song mid-way through to create an excellent song.
Getting In Tune- Much like "This Song Is Over", "Getting In Tune" starts off with a light-hearted keyboard beat behind Daltrey's touching vocals, but picks up enough to mold an impressive keyboard-driven rocker.
Going Mobile- "Going Mobile" is a classicly underrated masterpiece, and this song could easily be a hit. Townshend blends a catchy acoustic guitar riff and touches of synthesizer while Daltrey dishes out a vocal performance, to the point of even imitating car noises! A fun rocker that'll raise your blood pressure!
Behind Blue Eyes- The Who's hits typically don't revolve around ballads, yet their biggest hit, aside of "Who Are You", is the undeniable classic "Behind Blue Eyes". Townshend's hopeful, sweet acoustic-driven riff backs up Daltrey's vocals, which, to put it simply, are phenomenal. His range and depth is amazing, from his piercing confessions to his rebellious tone at the end. When this song picks up to the amazing finale, if you're not amazed you're probably dead!
Won't Get Fooled Again- The Who's biggest hit(judging from charts), is a synthesizer driven rebellious Classic Rock song that still remains a Who classic. Daltrey's well-known sneering vocals and the Who are in top-form here, and this barely misses "Behind Blue Eyes" as the best track on 'Who's Next'. Simply beautiful guitarwork and choruses that will make you want to revolt!
Pure And Easy- The original song conceivedfor 'Lifehouse', "Pure And Easy" combines a sweet, innocent acoustic guitar melody mixed with Daltrey's joyous vocals. If you like melodic hard rock, this song will rock your world!
Baby Don't You Do It- "Baby Don't You Do It" combines the infectious 60's Rock/Pop sensibilities that made The Who famous, not to mention infectious guitar chords and vocals that almost echo back to Elvis.
Naked Eye- "Naked Eye" echoes back to "Behind Blue Eyes", except after its slow start it picks up considerably to become a Bluesy Hard Rock song with an excellent virtuoso guitar performance from Townshend.
Water- "Water" is one of the strongest tracks on 'Who's Next', blending a catchy, upbeat beat from Townshend and Entwhistle, not to mention vocals from Daltrey that sometimes verge on sounding like James Brown! What really makes "Water" great is Townshend's virtuoso guitar performance, as he solos and fingers his way through 7 strings with ease and technical brilliance.
Too Much Of Anything- "Too Much Of Anything" is a typical Who ballad, blending an innocent, sweet acoustic guitar riff with Daltrey's remorseful vocals, yet "Too Much Of Anything" keeps original by adding in Country/Rock influences that make it a solid track.
I Don't Even Know Myself- "I Don't Even Know Myself" starts off with a brisk harmonica medley, yet that sets the mood for the whole song, a catchy but experimentive rocker. Daltrey sings with a flair that can only belong to him, and Townshend plays a mean piano, using a style originally conceived by performers in Old Western pubs. An odd yet fun track!
Overall, 'Who's Next' is a definite triumph for The Who, yet, as many others think, I wouldn't say it's their best. Townshend would gradually broaden The Who's style and music from this point on, adapting synthesizers as a main instrument. Like you'd expect from The Who, 'Who's Next' dishes out flawless Classic Rock, Hard Rock, Ballads, and Melodic Rock songs, so if you're a fan of any of those, I suggest you try The Who out. HIGHLY RECOMMENDED!
Free Music Review: Who' Next -- A Political Puzzle?
Hit: 5 Stars
Well folks, at a stop over in Hodgenville, Kentucky (courting the Lincoln Cabin Indepedents), they played my campaign song, "Won't Get Fooled Again" by The Who. Oh, I am sure you've heard it. And, any day now, I expect The Who's lawyer to contact me and serve a cease and desist order not to use the song in my campaign. This is modern day politics folks. I am but a victim of the overbearing burearacy that has taken over creative compositions in the public arena. Do not fret. All that will change when I am in office. And, it doesn't matter who's in the Congress and Senate. No. I have spirit guides and, if they fail, there is always the handy dandy veto. Face it. You are impressed at this point.
But, no matter. I am here to review a classic in the rock arena. I have always been reluctant to review the really big, classic profferings for some reason. Perhaps it's because so many have zeroed in and written reviews. What could a poor Seer add to all that has been said before about this? Well, I'll tell you..... PLENTY!
This is The Who, at perhaps, their most rocking and most soothing best. It stands the test of time, and that is due, largely in part, to Peter Townsend's musical creativity as well as the subject matter. This is not shallow rock, not by a long stretch. There are windows to see into each song, and they give you some other aspect with which to view the contents. It is a maze, of sorts, but by invoking the spirit of Meher Baba in "Baba O'Reilly" we are faced with a very interesting spiritual exercise, to say the least.
"Baba O'Reilly", beginning with that constant organ loop at the inception. Creative. Who else do you know that would begin a song this way? But it entails a journey with a righteous fiddle ending. It is teenage wasteland, after all. But, do they mean drugs (!) or is it, rather, the waste of youth propelled towards the common, the status quo? These are questions that need to be asked. But, there also is conveyed the freedom of the mind with:
"I don't have to fight, to prove I'm right...
I don't need to be forgiven".
This, after all, is the creed of a free mind. Spiritual in essence, other's concerns about you affect you not. Believe it or not. The spirituality continues with the hard rocking "Bargain". Most people will say it's about a love of his life. But, look deeper. Not only does he not qualify who or what he's taking about, but, looking on, one has to wonder.
"I sit lookin 'round, I look at my face in the mirror,
I know I'm worth nothing, without you.
And like one and one don't make two, one and one make one, And I'm looking for that free ride to me, I'm lookin for you".
A woman, or an ode to God? One must ponder.
I must insert here, that all the melodies are righteously right on. This is the band at their most vital. Their best. Everything falls into place like an intricate jigsaw puzzle. You get the easy comfort and bluesy acoustic guitar in "Love Ain't for Keepin", (which is about a woman) and really clever lyrics contained in that insistent rocker "My Wife". It really sounds like this women becomes possessed with ultimate revenge based on her imaginative thoughts. The lengths this man will go through to escape is strictly astounding.
We then get to the grandiose, but sad ode of "The Song is Over". Regrets and sadness, the Who have a way of conveying it gloriously somehow. A sad, but noble, end of a relationship. "Gettin' In Tune" begins easy with a soft piano intro, but then comes the band, with Keith Moon leading the charge. This, and the manic "Goin' Mobile" (which reflects the freedom of youth as an escape) are a good prolougue to what comes next.
One of the most interesting tunes on this album (I feel) is "Behind Blue Eyes". Townsend sends you to the essence of the real soul, the one that lies underneath, hidden from society. It is the complexity of the individual that is so notable here.
"No one knows what it's like, to be hated
to be fated, to telling only lies.
But my dreams they aren't as empty
as my conscience seems to be,
I have hours, only lonely
My love is vengeance that's never free"
What is observable and what's inside an individual is a very complex state. Townsend reflects this in a most succinct way.
"Won't Get Fooled Again" is the anthem that I enjoy so much. And, face it, no matter how much we sing this, there is always someone else coming down the runway to fool us again. Is there no escape? You can escape, the best you can. But, this song, although a revelation of freedom, ends with the fact that everything's the same, no matter how we want it not to be so. "Meet the new boss, same as the old boss". True. And the pitfalls and pratfalls of bosshood seem to be an ever constant thing. Unfortunately.
For the completist, the rest of the selections pertain to other things Townsend was working on throughout this era. More introspection is given with "Pure and Easy". The perfect nirvanic ring "There once was a note- listen". And a continuance with "The Naked Eye". Everything may be fine in what you see physically, but don't forget about your other eye. All these extra tunes add a wonderful cadence to an iconic album.
This one is a classic rock album folks, make no mistake about it. It is amazing to see the growth of the Who as to when they started out (revolutionary- destroying guitars and kicking drum kits off the stage), to a sense of purpose and learning and yearning. They became craftsmen in the process and wonderfully creative and imaginitive. This album is definitely one of the top, definitive, rock albums of all time. Your collection will suffer greatly if you don't have it.
Well, I better go now. I just received a subpoena from The Who. Guess I'll have to use another song. Do you think they would let me use "My Generation"?
Times are rough in the heartland..... Metamorpho
Free Music Review: WHO'S NEXT is a success because LIFEHOUSE failed
Hit: 5 Stars
The Who have always been overshadowed throughout their career by other, more `relevant' trends. The Who persisted, however, and in the end created a body of work, largely penned by Townshend, which has become stands in the rock canon, but they've always had to fight for the spotlight. In the mid 1960s they had to contend with The Beatles and Stones and the rest of the Peace movement. From the early 1970s they had to deal with the singer-songwriter influx, and in the late part of their recording career they had to contend with punk (much of that relationship is dealt with in the highly underrated WHO ARE YOU album). However, in a three year span, The Who was THE center of rock and roll. From 1969 to 1971, The Who had the world in a spin with ferocious live shows, a whole new idea of what rock and roll could do (TOMMY), and the sheer power and velocity of them live was absolutely amazing. The Who were at the top of their game, and took the live performance of TOMMY on the road for two years. Everyone was wondering what their next move would be.
WHO'S NEXT was the next move. Coming from the failed LIFEHOUSE, the album suddenly changed the direction that The Who had been established in. This is the turning point in The Who's career as far as sound goes. Townshend went from writing mod anthems to more album-oriented rock. When listening to albums like TOMMY or SELL OUT or QUICK ONE and then the later albums such as QUADROPHENIA, this one, or WHO ARE YOU, while you can tell it's the same band they've changed their sound drastically. Although they've always been loud, now The Who were playing genuine hard rock, and boy did it ever rock.
The source material for WHO'S NEXT, LIFEHOUSE, a multi-media extravaganza about how rock was going to save the world, has become, like Brian Wilson's SMILE, one of the great mysteries which everyone wonders what would have been had it come to completion. In The Who's case, I think it benefitted the work overall to not come to completion. Although it always escapes me why "Pure and Easy" was left off the album (as well as "The Naked Eye"), over all WHO'S NEXT plays very tightly, concise, and extremely focused. Townshend sometimes let the concept bog down the music, although not nearly as much as, say, Roger Waters. To his immense credit, Townshend always made sure that the songs were very catchy, and TOMMY has some of the band's best music, but taking it outside the context of the "concept," the music does not stand up as well as WHO'S NEXT.
That's the main difference between TOMMY and WHO'S NEXT, and that's what makes this record such a fascinating listen. If you know the plot of LIFEHOUSE*, then each song makes sense within its context. However, what makes WHO'S NEXT so powerful is the fact that, taken out of the LIFEHOUSE context, the music becomes an entirely different animal, which cannot be said for TOMMY. With LIFEHOUSE failing, instead we, as the listeners, have to take it on the basis of each individual song, and this gives the tracks from WHO'S NEXT more power than they ever could have if Townshend's second rock opera had been fully realised.
The best example of Townshend's songs working better outside the LIFEHOUSE plot is, of course, the last track on the album, "Won't Get Fooled Again." Instead of it being that great finale where Bobby and all his friends have escaped and are playing the final Lost Chord, it acts as excellent social commentary, and coming at the very beginning of the 1970s, after seeing the turbulence of the 1960s and all the tumult we were going through, Townshend manages to pen one phrase that blows the entire free love, hippie generation mentality, and with this one blow they never recovered. "Meet the new boss, same as the old boss," the very climax of the song, hits so hard and so fast it left the culture reeling, making that song the single most powerful statement made against the 1960s.
Much of "Won't Get Fooled Again's" power would have been deflated had LIFEHOUSE been completed. Another excellent example is "Behind Blue Eyes" which is about the villain of LIFEHOUSE. Instead of being about one specific villain, it instead becomes about the villain in all of humanity. The same can be said of "Bargain." Instead of talking about some esoteric Lost Note that will crumble the Grid, Townshend gives us a very spirituality-driven song. To those who interpret the song about a man and a woman, that's their right, but I've always taken it as more of man's relationship with God.
In the end, WHO'S NEXT becomes The Who's most powerful statement, not in spite of LIFEHOUSE's failure, but BECAUSE of LIFEHOUSE's failure.
*There are several places on the Internet where you can get in detail LIFEHOUSE's plot. Essentially, it's a science fiction piece about rock and roll saving the world. Everyone is plugged into this Grid, and it reads kind of like Huxley's BRAVE NEW WORLD where they're kept doped up in the fact that they realise nothing's wrong. Bobby, the main character, decides to instigate a revolution, founds this place called the Lifehouse, where a band is playing music. When you go to the Lifehouse, people take all your personal data, everything you are, and then you are given your own personal musical identity. The climax is everyone gets caught up in the music, and everyone's information is fed into this computer which then produces everyone's identity into one single note. The rebels play the Note, everything is put right in the world, and they live happily ever after. Townshend was going to actually do this, and The Who would play rock concents and everyone's data would be represented musically. Can anyone say Spruce Goose?
Good science fiction; hard as hell to pull it off in any other format other than the novel. No wonder it never got completed.
P. S. Stop acting like the bonus tracks are part of the album. It's unfair to deduct stars from an album because of the bonus material. They are bonus tracks, simply that.
Free Music Review: WHO'S NEXT is a success because LIFEHOUSE failed
Hit: 5 Stars
The Who have always been overshadowed throughout their career by other, more `relevant' trends. The Who persisted, however, and in the end created a body of work, largely penned by Townshend, which has become stands in the rock canon, but they've always had to fight for the spotlight. In the mid 1960s they had to contend with The Beatles and Stones and the rest of the Peace movement. From the early 1970s they had to deal with the singer-songwriter influx, and in the late part of their recording career they had to contend with punk (much of that relationship is dealt with in the highly underrated WHO ARE YOU album). However, in a three year span, The Who was THE center of rock and roll. From 1969 to 1971, The Who had the world in a spin with ferocious live shows, a whole new idea of what rock and roll could do (TOMMY), and the sheer power and velocity of them live was absolutely amazing. The Who were at the top of their game, and took the live performance of TOMMY on the road for two years. Everyone was wondering what their next move would be.
WHO'S NEXT was the next move. Coming from the failed LIFEHOUSE, the album suddenly changed the direction that The Who had been established in. This is the turning point in The Who's career as far as sound goes. Townshend went from writing mod anthems to more album-oriented rock. When listening to albums like TOMMY or SELL OUT or QUICK ONE and then the later albums such as QUADROPHENIA, this one, or WHO ARE YOU, while you can tell it's the same band they've changed their sound drastically. Although they've always been loud, now The Who were playing genuine hard rock, and boy did it ever rock.
The source material for WHO'S NEXT, LIFEHOUSE, a multi-media extravaganza about how rock was going to save the world, has become, like Brian Wilson's SMILE, one of the great mysteries which everyone wonders what would have been had it come to completion. In The Who's case, I think it benefitted the work overall to not come to completion. Although it always escapes me why "Pure and Easy" was left off the album (as well as "The Naked Eye"), over all WHO'S NEXT plays very tightly, concise, and extremely focused. Townshend sometimes let the concept bog down the music, although not nearly as much as, say, Roger Waters. To his immense credit, Townshend always made sure that the songs were very catchy, and TOMMY has some of the band's best music, but taking it outside the context of the "concept," the music does not stand up as well as WHO'S NEXT.
That's the main difference between TOMMY and WHO'S NEXT, and that's what makes this record such a fascinating listen. If you know the plot of LIFEHOUSE*, then each song makes sense within its context. However, what makes WHO'S NEXT so powerful is the fact that, taken out of the LIFEHOUSE context, the music becomes an entirely different animal, which cannot be said for TOMMY. With LIFEHOUSE failing, instead we, as the listeners, have to take it on the basis of each individual song, and this gives the tracks from WHO'S NEXT more power than they ever could have if Townshend's second rock opera had been fully realised.
The best example of Townshend's songs working better outside the LIFEHOUSE plot is, of course, the last track on the album, "Won't Get Fooled Again." Instead of it being that great finale where Bobby and all his friends have escaped and are playing the final Lost Chord, it acts as excellent social commentary, and coming at the very beginning of the 1970s, after seeing the turbulence of the 1960s and all the tumult we were going through, Townshend manages to pen one phrase that blows the entire free love, hippie generation mentality, and with this one blow they never recovered. "Meet the new boss, same as the old boss," the very climax of the song, hits so hard and so fast it left the culture reeling, making that song the single most powerful statement made against the 1960s.
Much of "Won't Get Fooled Again's" power would have been deflated had LIFEHOUSE been completed. Another excellent example is "Behind Blue Eyes" which is about the villain of LIFEHOUSE. Instead of being about one specific villain, it instead becomes about the villain in all of humanity. The same can be said of "Bargain." Instead of talking about some esoteric Lost Note that will crumble the Grid, Townshend gives us a very spirituality-driven song. To those who interpret the song about a man and a woman, that's their right, but I've always taken it as more of man's relationship with God.
In the end, WHO'S NEXT becomes The Who's most powerful statement, not in spite of LIFEHOUSE's failure, but BECAUSE of LIFEHOUSE's failure.
*There are several places on the Internet where you can get in detail LIFEHOUSE's plot. Essentially, it's a science fiction piece about rock and roll saving the world. Everyone is plugged into this Grid, and it reads kind of like Huxley's BRAVE NEW WORLD where they're kept doped up in the fact that they realise nothing's wrong. Bobby, the main character, decides to instigate a revolution, founds this place called the Lifehouse, where a band is playing music. When you go to the Lifehouse, people take all your personal data, everything you are, and then you are given your own personal musical identity. The climax is everyone gets caught up in the music, and everyone's information is fed into this computer which then produces everyone's identity into one single note. The rebels play the Note, everything is put right in the world, and they live happily ever after. Townshend was going to actually do this, and The Who would play rock concents and everyone's data would be represented musically. Can anyone say Spruce Goose?
Good science fiction; hard as hell to pull it off in any other format other than the novel. No wonder it never got completed.
P. S. Stop acting like the bonus tracks are part of the album. It's unfair to deduct stars from an album because of the bonus material. They are bonus tracks, simply that.
Free Music Review: Don't Know which "The Who" album to get??....(Start here!!!)
Hit: 5 Stars
For a band that originally released this album, way back in 1977, it's a testament to the incredibly articulate writing skills of "Pete Townsend", and the Exuberant, Passionate and Visceral performances of all concerned, that this album, is still amongst the definitive examples of Hard-Rock / Album Rock template, that startles some 30 years later.
Its a driving and insistent album, with the band truly hitting their stride (and largely considered to be their best work), with elements of Blues-Rock, Hard-Rock, acoustic flavoured workouts, Country-tinged shuffles & Earnest Ballads, combining to make an album that captures elements of the band's personality, and most invigorating performances.
Whether it be the anthemic "Baba O'Riley that is a massive statement of intent, with all the bombastic flurry and major chord workouts that you'd expect, but with the significant use of synthesizer's on this band (Pete was constantly working to refine their sound). Or the totally stomping album-Rock
of "Bargain", with Keith Moon's furious drumming (proving himself to be as accomplished a drummer, as I've ever heard), along with John Entwistle delivering all kinds of melodic and rhythmic flourishes, and the soaring chorus of "The best I've ever Had", it's hard not to feel an emotional lump on the throat when hearing this.
precise & emotionally poignant balladry is the order of the day for "The Song is Over", and as aptly as The Who can deliver intricate Hard Rock, they also prove themselves to be equally adept at delivering a ballad that doesn't feel force or contrived. As everything here (instrumentation-wise) is far more subtle & less flamboyant, and as sorrowful, emotionally charged and heartbreaking, and sung from the heart, as all the finest ballad should be, and to have a chorus that sings "I'll sing my song to the wide open spaces I'll sing my heart out to the infinite sea", and not sound musically misplaced, is another feather in the cap of the songwriting skills of Townshend.
Surprising that it may seem, my personal favourite on this album is the Country-tinged Blues rock of "Going Mobile" which although there are no weak tracks on this album, I feel that this track frequently gets passed over by most, in favour of the more well-known / Established tracks. Its the use of a Bluegrass twang to the guitar instrumentation that feels so freewheeling, that It's not hard to picture the imagine of mobile travellers (of which the song is in reference to), with a lyrical bent that not only is quite witty in its construction "I can pull up by the curb, I can make it on the road, Goin' mobile, I can stop in any street, And talk with people that we meet, Goin' mobile.....Keep me movin". Show a layer of complexity in the songwriting, for what is essentially one of the lesser known tracks on the album, and the relatively high tempo song, and whirling folky guitars and graceful country flourishes thoroughout the track mask the tongue-in-cheek humour, that is as captivating as it is funny, for it hard not to raise a smile when at the 'Leave it all behind' mentality surfaces on the lyric "I don't care about pollution, I'm an air-conditioned gypsy, That's my solution, Watch the police and the tax man miss me....I'm mobile".
The second Ballad "Behind Blue eyes", (That would later be covered by Limp Bizkit on his "Results may Vary" album), is arguably as accomplished a ballad as "The Song is Over" (possibly even surpassing it, due to it more stripped-down aesthetic, and rather more reliance on acoustic arrangement). And the album closer "Won't get Fooled again" is possibly one of the strongest cuts, to finish the album out on. A largely rock delivered anthem, that at 8 minutes long, you'd be fooled into thinking that It's overreaching itself, but the combination of all the musicians involved, moving constantly through various stylistic changes, the prominent use of the synthesizer's, stunning drumming and slick guitar work, along with some fine worded lyrics "I'll tip my hat to the new constitution, Take a bow for the new revolution, Smile and grin at the change all around, Pick up my guitar and play Just like yesterday", showed a band, at the very height of their musical prowess, no question about it.
If you haven't heard this album before (for some reason), then for an album devised in the 70's, you'd be forgiven for thinking that It might sound horribly dated now, but just like other astonishing albums in that were published in the highly creative 70's period (Led Zeppelin's - "Physical Graffiti", Can's - "Tago Mago", Neil Young's - "After the Gold Rush", David Bowie's - "Ziggy Stardust", Pink Floyd's - "Dark Side of the Moon", Nick Drake - Bryter Layter", Marvin Gaye's - What's Going On", Stevie Wonder's - "Innervisions", The Velvet Underground's - Loaded)......as albums that resfuse to sound dated or irrelevant in the face of new methods of musical recordings or changes in the musical tastes of the general public. Arguably the finest album that they recorded (although some may disagree), this is one of those albums that frequently charts in those "Greatest Albums Ever" polls that you frequently come across in magazines or Websites, and that because it's really is one of the truly great albums, to have been ever made, and anyone even remotely thinking about collecting a rock collection of albums, cannot consider it complete until they have this astonishing album.