Artists' lps that don't get the respect deserved

"the who---their bombast and operatic and operatic seriousness can get fatiguing". Ain’t it the truth! That trait spoiled The Who for me when it appeared in the "Won’t Get Fooled Again" era, though "Tommy" hinted at it. Townshend’s writing became more deliberate and contrived (though Tommy really started it, his pre-Tommy writing being very different), and he started relying on that damn synthesizer, something I found glaringly out-of-place in The Who. And Daltry started holding his notes far too long, to the point of his voice becoming hoary (it had merely been the group’s weak point, but was now actually a disqualifier for top-tier Rock Band status imo). And that "Yeeeeeaaaaahhhhh!" in "WGFA" is just so corny. And, as LJ said, bombastic.

To me The Who’s forte was the 2-1/2---3 minute Power Pop song, crisp teenage anthems. Moon’s drumming also took a turn for the worse after Tommy---sluggish, with his snare 2/4 backbeat at the back end of the pocket rather than at the front where it had been, following the band’s pulse rather than leading it, as it had been up to Tommy (in Tommy it is right about in the pocket’s center, creating a deep groove they hadn’t before had). And his fills, rather than the brief mostly-snare drum flourishes of his earlier playing, became overly-long, pointless tom-tom plod-fests. I saw them live on the ’68 "A Quick One" tour, and he and they were bursting with kinetic energy. Then the ’69 "Tommy" tour, where it was still in evidence, but starting to slip away. By the time of "WGFA" it was gone. It sounded like they were swinging for the bleachers, trying too hard. But of course I was in the minority with that opinion, as they were gaining in popularity, not declining. As with most artists/groups/bands, I find their early work far superior to their later.

Right LJ, on Sell Out they still were playing in their "hold back until the last possible moment" style, which they did better than just about anyone else. They create an incredible amount of tension, letting it build up inside until it just can’t be held back anymore, whereupon it is finally released. Very sexual! "I Can See For Miles" is their masterpiece song, the ultimate distillation of their style. As time went on, it was all about the release, without the holding back that is necessary to create tension.

An ironic illustration of the Who’s tension-and-release style can be heard by comparing their version of "Shakin’ All Over" on the Live At Leeds album with the Guess Who’s (there’s the irony!) earlier studio recording of same. Both are modeled on the Johnnie Kidd & The Pirates (a very influential late-50’s/early-60’s British Rock n’ Roll combo) recording, but it is in the Guess Who’s version that an almost unbearable amount of tension is first created..........and then released---to great effect.

Unfortunately, by the time of Live At Leeds, The Who were passed their prime, and no such tension is created---it’s all release. Which is, therefore, rather ineffectual. The recording also documents the bombast you noted, as well as the hoariness and heavy-handedness of Daltry’s singing. Add to that Townshend’s gratuitous attempt at playing a guitar solo---not his strong suit---and you have a real mess. And it was a hit!

There is another example of a song in which I hear the great tension-and-release effect: "I’m On Fire" by The Dwight Twilley Band. Absolutely explosive!

Thanks for the Hall and Oates suggestions. They are touring this summer too. Plus I'm sure their used LP's are reasonably priced. Always love Joni, but I've not yet tried Hissing O S Lawns. I have a sealed standard pressing, so no excuses there. I tend to like her earlier stuff a little better, including the David Crosby produced debut. I have not gone any later than Hejeira in her catalog.