Wednesday, 11 December 2019

The Alan's Album Archives Review Of The Year 2019/Review Of The Decade 2010-2019





Dear readers, welcome back to our annual review of the year 2019. Well that year was…destabilising wasn’t it? Protests here there and everywhere against everything from climate change to Brexit to Trump to right-wing Nazis (with more links between them all than I care to think – if we ever get to 2069 there will be one hell of a gloomy concept album written about this year). This all meant too that the fiftieth anniversary re-issues from 1969 all seem to be all the more timely (especially given that in this age and climate even the bands who were around in 1969 are a little too afraid of going political as record contracts are that much harder to come by). Is this an end of decade thing? (I don’t recall this happening in 2009 or 1989 and the albums in 1999 tended to be nostalgic rather than angry). Is this a cyclical thing that comes round every fifty years? (Although 1909 seemed a rather placid year by 20th century standards). Or is this because of a series of events peculiar to then and now? I’ve certainly noticed a growing sense of ‘us and them’ lately and generational divide, something that crops up rather a lot on the albums in this article in releases and re-released from both years. The good news, if true, was that 1970 was rather a decent year, folky and humble with the rise of the solo singer-songwriter. Are we due for a similar rise in fortunes in 2020? We will (hopefully) be there in another year to let you know! (and yes to the couple of you who wrote in, thankyou, I do plan to keep doing these every year even after the AAA books are out so you can add ‘attachments’ to your AAA books, though I’m not sure if I can keep the full-length reviews up).


As for Alan’s Album Archives it’s been another year of slow growth. We left you at the end of 2018 with seven books released and 107 book sales. We are here twelve months on with nineteen books released and 581 book sales, with an especially good run for The Kinks (though our first book on The Beach Boys is still fractionally ahead on total sales with The Beatles book in a close third. Buffalo Springfield, against all expectations, are in fourth). This despite Amazon’s decision to completely alter the app used to make e-books halfway through the year leading to a complete meltdown and a hurried re-think of layout! Hopefully one day – when I’ve had a long lie down – I will go back and alter all the old books so they all look the same, though no doubt by then Amazon will have changed their kindle app again. Twice. Still no luck on the physical editions which I hoped to work on once all the final drafts were done by the way – that Amazon app is impossible to work with! I have had a few potential readers come to me this year and ask if we could look at uploading the books in places other than Amazon though which I wasn’t expecting, so watch this space – hopefully we can do something about that next year. In the meantime it’s the website itself that seems to have done really well this year (just when I’d taken my eye off it!) as we’ve now shot up to over 850,000 views. Having just been through the website’s earliest days of News, Views and Music newsletters for the very final book in the AAA series (out this time next year I hope) that seems mind-boggling when the stat counter reaching double figures per month was a cause for celebration and it is great to see that we have readers from all over the world now (I haven’t given you an update for a couple of years now so for those interested the top ten now looks like this: America, France, Russia, UK, Germany, Canada, Ukraine, Poland, Netherlands and Argentina. The book sales are very different interestingly: the UK is way out in the lead, America is in a distant second with a handful of sales in Canada, Japan and Germany and one each in Austria, France, Spain, Italy, Brazil and Mexico. Amazingly we seem to have sold at least one book in each of the eligible Amazon territories by now!) It just goes to show that you should never ever give up. Unless you’re Noel Gallagher writing one-chord dance songs involving the use of scissors or Theresa May somehow trying to carve out a career as an inspirational speaker anyway. You can read more about the books out already and the ones due to come in the new year at the bottom of this article. 


As for me, I’ve been celebrating getting to the end of the run of AAA books by taking it easy and putting my feet up…No of course I haven’t, it’s me, I’ve been busy writing an 80,000 word novel (which is after all only the length of eight AAA reviews!) Will I ever publish it? Not a clue, but it kept me out of mischief. Oh and in case you’re wondering about AAA mascot, you might not have heard from him for a while as my current laptop won’t do Youtube videos (alright, which one of you cheered?!) but he is still around. In fact he’s been going through something of a glam rock phase lately…






Oh and finally a warm hug and a big thankyou too to our supporters old and new: BB and Slack, The Face Of Bo, Paul, Kenny, Mervyn, Kevin, Joel, SharpEleven, Jamie Lynn, Bethany, Roger, cousin Kim, my aunty Julie (whose always the first to re-post when a new book is out, within seconds sometimes) and all the new friends I have been busy making in the Facebook forums. You’re amazing! For now though it’s back to the music…



New Releases:


(Best to Worst)


1)   The Who “WHO”

(Reviewed in full at http://alansalbumarchives.blogspot.com/2019/12/the-who-who-2019.html)



Blimey, I wasn’t expecting that. Delayed twice, pushed back in the schedules to December 6th (dangerously close to the deadline for Christmas and this list) and thirteen years since the last album the new Who album finally saw the light of day. And it is fabulous! Despite only Pete Townshend and Roger Daltrey being left, this album still sounds like everything The Who should in the 21st century: it’s angry, passionate, raw, energetic and self-deprecating. The album starts with a song taunting us that we won’t like it (‘All This Music Will Fade’), moves on to protest developments since the last record (‘Ball and Chain’, a protest at the political prisoners still enslaved in Guantanamo Bay’), celebrates what it is to be young with your life ahead of you (‘Hero Ground Zero’), takes to the streets in a message of solidarity and hope (the album’s majestic highlight amongst many ‘Street Song’), finds God (‘Strings On One Bead’), vows never to grow up (‘I’m Not Gonna Get Wise’) and even finds space to take the band places they have never been before (the album even ends with a song that’s, gulp jazz. And it sounds a lot better than it has any right to!) Roger’s recent vocal problems have tripped up both the tour and this album’s first release date but on record he sounds undimmed, a seventy-year-old who still has the fire and roar he did in his twenties as he takes on a mad world with a scream. He’s also joined, after a decade of re-issues and hibernation, by a revitalised Pete Townshend who still has so much he wants to say to us and ideas pouring out of him like the good old days. Ringo’s son Zak is as good a substitute for Keith Moon as you’re ever going to find and Pino Pallodino is ditto for John Entwistle too meaning that this album sounds more like The Who than anything the band have done since 1978. Yes the band are wiser and have learnt their life lessons, as mentioned a few times on the album’s lyrics, but mostly these narrators are still the troubled teens of yesteryear, touched by the angels so their need to grow up is ‘postponed’. We wouldn’t have them any other way. Yes a couple of tracks fall short (Pete’s only vocal – at least until the bonus tracks – really doesn’t fit and I’m not entirely sure about the sudden religious conversion halfway through). But a majority of this album sounds as great as we always dreamed it would and it feels, after the dead-end that was ‘Endless Wire’ in 2006, as if The Whoniverse is now complete. Download:’Street Song ‘I Don’t Wanna Get Wise’ ‘Ball and Chain’ 



2)   Neil Young and Crazy Horse “Colorado”

(Reviewed in full at http://alansalbumarchives.blogspot.com/2019/10/neil-young-and-crazy-horse-colorado-2019.html )

The signs weren’t great I have to say: Crazy Horse rhythm guitarist Frank Sampedro had retired in 2014. Perhaps Neil’s greatest muse, his ex-wife Pegi, died in January. The two weird films doing the rounds on Netflix with new missus Daryl Hannah directing and Neil as a space-age cowboy made even ‘Greendale’ look sane. The first single ‘Rainbow Of Colour’ was repellent, a faux-patriotic flag waver sea shanty at half-speed as well as half-mast. However the album itself is a really nice surprise and continues Neil’s recent solid run of albums in the 21st century. New-old-boy Nils Lofgren, whose been an honorary horse since Danny Whitten got sick in 1971, is a natural replacement for Frank on guitar and the songs pouring out of Neil mostly impress as he comes to term with his new marriage and returns to ecology and the environment as a favourite theme now the rest of the planet is slowly catching up to what he said back in 1968. The best of the album unites both of these themes: ‘Green Is Blue’ has Neil wondering how he missed the warning signs of his marriage to Pegi and the planet going sour, ‘I Do’ has Neil vowing to fight on to put things right in the company of his new wife (so says me anyway) and opening track ‘Think Of Me’ has Pegi reincarnated as a bird free of her earthly shackles at last. All these three songs are amongst Neil’s finest in years as Crazy Horse play beautifully and subtly as well as loud and if not quite Neil’s best album of the decade (‘Monsanto’ still wins for sheer chutzpah and ‘The Visitor’ was an under-rated gem full of brave, weird songs) then it may well be his most consistent with that first single the only weak song here. Download: ‘Green Is Blue’ ‘I Do’ ‘Think Of Me’


3)   Liam Gallagher “Why Me? Why Not!”  

(Reviewed in full at http://alansalbumarchives.blogspot.com/2019/09/liam-gallagher-why-me-why-not-2019.html)

It was a rare week of AAA dominance in a year of dross when Liam topped the album charts back in August, only to be bumped off the number one slot by The Beatles a week later. Liam continues to be by far the more interesting of the two Gallaghers musically and while his second album is weaker than his first (the more adventurous ‘As You Were’) it is nevertheless another strong effort with several cracking tunes. Many of the best ones continue to deal with the fall-out from brother Noel with ‘Once’ the album’s lone masterpiece, as Liam accepts that Oasis are truly never getting back together again and how you can only ever have a ride like that once a lifetime anyway. His impending marriage to manager Debbie has though given him a stability and confidence he was missing throughout the Beady Eye years (wonderful as they were) and even though Liam is still writing with a whole team of songwriters around him somehow he pulls off the trick a second time of every line sounding like it could have been written by him. The closing trilogy too takes the album into weirder territory with the psychedelic lo-fi sound of ‘Meadow’, the trippiest Oasis-linked moment since ‘Be Here Now’. Yes the singles are again the weakest link here, sounding like lukewarm Oasis from a band who still don’t quite know yet how to rock and roll and the title track is a whole load of nothing. However far more works here than doesn’t and - together with a voice that is somehow defying the years - Liam comes up with another winner without seemingly breaking a sweat. Download: ‘Once’ ‘The River’ ‘Now That I’ve Found You’  


4)   Belle and Sebastian “Days Of Bagenold Summer”

This second B+S film soundtrack album slipped out so quietly even I didn’t know it was out for a month! Though the film itself is a limp replica of frontman Stuart Murdoch’s own superb film project ‘God Help The Girl’ (yet another coming-of-age tale, this time with a librarian mother and her wayward teenage son) and much of the soundtrack is simply B+S re-recordings (all of which sound oddly professional performed by the current ‘hipper’ line-up) there are some typically clever and beautiful songs sprinkled across the soundtrack and of course the music fits to a tee. The most substantial of these songs is ‘This Letter’, which works well in the context of the film and as the latest in a long line of gorgeous ‘farewell’ songs to one-time member (and girlfriend) Isobel Campbell. ‘Did The Day Go Just As You Want?’ is a pretty return to acoustic balladry too and ‘Another Day Another Night’ is one of Sarah Martin’s better songs. The rest though is more ordinary and insubstantial but never less than lovely and frequently beautiful, putting this semi-album a notch below the band’s last ‘proper’ album ‘Girls In Peacetime Just Want To Dance’ but one above 2017’s run of B+S EPs. Download: ‘This Letter’ ‘Did The Day Go Just As You Want?’ ‘Anoher Day Another Night’    


5)   Neil Young “Tonight’s The Night Live At The Roxy”

Neil’s had a great year this year – musically anyway! The best of the two ‘archive’ sets out this year by a nose (the ‘Tuscaloosa’ shows from the 1973 ‘Time Fades Away’ tour are worth checking out too), this was the tour I’d been waiting to hear for ever such a long time. The Tonight’s The Night shows are legendary: fans were expecting the hits from ‘After The Goldrush’ and ‘Harvest’ but Neil and what’s left of Crazy Horse are still in grief after the overdose of rhythm guitarist Danny Whitten. Like the album – recorded mere weeks before this live set in 1973 but shelved until 1975 – it’s a wake for Danny with a serious of angry, melancholy songs about the futility of fame and the fragility of being human. Many, if not all, of these songs are Neil’s finest as he pours his heart out for Danny, CSNY roadie Bruce Berry (another overdose victim) and unknown drug mules on such masterpieces as ‘World On A String’ ‘Tired Eyes’ ‘Albuquerque’ and ‘Tonight’s The Night’ itself (these songs are so new he still hasn’t written other album classic ‘Borrowed Tune’ yet!) Fans though haven’t heard any of these songs before and Crazy Horse play them one after the other from beginning to end without a pause for forty minutes. Finally there seems to be a breakthrough: ‘We’d like to play a song you’ve heard before!’ Neil calls out to the few brave fans still left. What does he play? ‘Tonight’s The Night’ again, the song the concert started with! Legend is of course always more fun than fact: from the descriptions of those that were there this was a drunken shambles performed by a band too wasted to know what key they were in (and guest Nils Lofgren, one of life’s most ‘up’ musicians, sewing lead weights into the hem of his trousers to keep his mood ‘heavy’). In actual fact the band sound far tighter than they did on record and they sound alarmingly sober for most of this show at least, all too aware at the price of fame. Even so, it’s a good show with some amazing songs and it’s a piece of history, one of the best releases in Neil’s ‘archive’ series to date. Download: ‘World On A String’ ‘Albuquerque’ ‘Tired Eyes’


6)   Neil Young “Tuscaloosa”

Not all that far behind is this archives set for the previous tour, the one released as Neil’s first live album, the under-rated ‘Time Fades Away’. That tour ended up in chaos: Crazy Horse guitarist Od’d halfway through (the legend has always been that it was using money Neil leant him to fly home when rehearsals weren’t working out, though Danny’s sister has since disputed this), the musicians went on strike for better pay and the audience demanded to hear songs from Neil’s recent hit album ‘Harvest’, not all this new stuff. The tour has gone down in history as a disaster and ‘Time Fades Away’ was mixed for extra chaos it seems: breaking vocals, a guesting and usually polished Crosby and Nash trying to prop Neil up emotionally made to sound like croaking frogs and bands who hadn’t yet learnt how to play Neil’s new material. However the tour didn’t start off like that: this is one of the early dates from before Danny died and with original drummer Kenny Buttrey playing (replaced by Jefferson Airplane’s Johnny Barbata for the record). It has an entirely different feel: Neil’s in control, goofily joking with the audience the way he did on all the early archive sets taped in clubs and seemingly at home in these big stadiums. He’s attempting new material all the time including a pair of songs that will end up on ‘Tonight’s The Night’ where they sound even tighter than they did at the Roxy, with ‘Lookout Joe’ sounding more like a proper ‘song’ than it did on the record and ‘New Mama’ being sweet indeed. Neil has introduced noticeably few of the songs that will make the record, only the title track and the ever-great ‘Don’t Be Denied’ (which isn’t so raw or as exciting). Elsewhere it’s the hits again, Neil turning in professional polished performances of everything from ‘Old Man’ to ‘After The Goldrush’, although it’s a throwback to Neil’s 1968 debut album on ‘Here We Are In The Years’ that makes for the album’s prettiest moment. All in all perhaps the most dispensable of all the archive discs as almost all these songs are better performed elsewhere, but a fascinating parallel universe glimpse of a career that could have been so different. Download: 'Here We Are In The Years' 'Don't Be Denied' 'New Mama'


7)   Allan Clarke “Resurgence”

Little did The Hollies singer know back in 1995, when The Hollies hooked back up with Graham Nash for a Buddy Holly tribute album after thirty-two years of almost constant recording, that his next release wouldn’t be for a whole twenty-four years. The most unexpected AAA comeback since, well, The Hollies (sans Clarke) back in 2006, it just feels so good to have one of our real talents making music again. An appearances at The Hollies’ Rock and Roll Hall Of Fame appearance and a cameo guest appearance at a Crosby-Nash gig put Allan back in the spotlight and led to a new interest in writing which ended up with Carla Olsen (one time Gene Clark and later Mick Taylor duettist) setting one of Allan’s poems to music. It was son Toby though (younger brother of Hollies classic ‘Lullaby To Tim’) who encouraged his dad to make more music and showed him that he could make it at home with the app ‘GarageBand’. That gives us a home-made sound we’ve never had from The Hollies before which together with Clarke’s lower voice makes him sound unrecognisable at times. There are signs of the old deft Clarke touches though: the Buddy Holly influences on opener ‘Journey Of Regret’, the guitar riffing on a ‘Long Cool Woman’ sequel and the re-recording of 1974 classic ‘Don’t Let Me Down’. It’s the ballads though that shine the most despite having a vulnerability and dark-night-of-the-soul feel unusual for Clarke: ‘I’m Only Sleeping’ worries about what will happen to his wife after he’s gone (he’s still married to one half of ‘Jennifer Eccles’) and closer ‘I’m Comin’ Home’ which is the album’s one true gem. Admittedly this isn’t classic Clarke: his retirement in 1999 came partly because he knew his voice was fading and the missing twenty years haven’t helped, while the material, low-fi production and the country elements (always The Hollies’ weakest suit) together means this is still arguably the weakest of all the eight solo records the singer has released, so the fairytale doesn’t quite come true. Like all his solo sets there’s a deliberate move away from the lush harmonies and production values of his former band – although this is to my ears the one set that really badly needs them. That said though have you heard how good those first seven solo albums were?!? Good on The Beat Goes On – one of our favourite AAA re-issue labels who have a fine set of Clarke albums from 1973-1976 on their roster too – for taking a chance on Allan. Hopefully this resurgence road will yet be long with many more winding turns that will build on this record’s promise and give us a truly great comeback. Really, though, it’s just nice to have the old boy back. Download: ‘Long Cool Woman’s Back In Town’ ‘I’m Comin’ Home’



8)   Noel Gallagher “Black Star Dancing/This Is The Place” (EPs)



Somewhere about the time his backing singer asked to ‘play the scissors’ on stage (and did!) Noel announced to the press that his new music was divisive: fans who wanted the old rock and roll stuff with guitars would hate it but those who loved ‘pioneering’ music and didn’t want to be stuck in the past would love it. So far I have met lots of the former fans but not many of the latter as we tend to buy the elder Oasis Gallagher’s releases more out of duty than hope these days. The last album in 2017 ‘Who Built The Moon?’ was wretched, a gormless collection of dance beats, single note melodies and dull fragmented repetitive lyrics, saved by one sole decent song ‘Black and White Sunshine’ (notably the only one with any real guitar on it). This year Noel ducked out of direct comparisons with his brother by offering us not an album but two EPs of new music released either side of ‘Why Me? Why Not?’, almost all of which is equally hopeless. Of the first EP ‘Black Star Dancing’ goes on forever without doing much. ‘Rattle On Rose’ compares wife Sara to a drug trip, but one of those ‘unfinished music’ ones John wrote for Yoko rather than another ‘Dig A Pony’ or ‘Happiness Is A Warm Gun’. ‘Sail On’ is a sea shanty that’s even worse than Neil’s (who would have guessed this time last year that that would be the genre that would dominate this list this year?!?) The second EP is a little better, ‘This Is The Place’ straightforward and over-noisy but with a half-decent chorus, ‘Evil Flower’ at least deliberately weird and off-putting and ‘A Dream Is All I Need To Get By’ a rather sweet throwback to the naivety of the early 1960s. That’s not much, though really, for one of my generation’s best songwriters who was so full of winning material he could afford to throw quite a lot of it away on flipsides – where are the melodies, the lyrics that really meant something and the guitar-playing? Where is the directness and realness that would normally have cut through all this arty pomposity in seconds?  Pop music is full of third-rate synth ideas like these; we need a hero with a guitar again, perhaps even more than we did in 1994 and there are very few of those about sadly.  


The Top Three Re-Issues Of The Year:






1)   The Searchers “When You Walk In The Room – The Complete Pye Recordings 1963-1967”

By far the worst musical news of the year is that, after fifty long years (plus a few more under different names) The Searchers are finally calling it a day. John McNally, the lone founding member, has been increasingly frail the past few years while his near-founding member bandmate Frank Allen probably need s along rest too after clocking up more gigs than almost any other AAA bandmembers between them. The good news is that their fiftieth anniversary has been celebrated in style with two really good sets. The one getting most of the attention and kudos is ‘The Farewell Album’, a half-decent two-disc greatest hits set which would have made this list in its own right had it included more from the band’s peak year of 1965 instead of 1963-1964. The masterpiece though is the six-album box featuring all five Pye albums as re-issued individually on Castle fifteen years or so ago (complete with juicy bonus tracks and mono/stereo copies together in all cases) and a ‘bonus’ disc featuring twenty-six A sides, B sides and EP tracks, almost all of which were superb (only The Hollies could match The Searchers as writers of the best flipsides of the 1960s, while the flop singles released after the band’s album contract ran out in 1965 are nearly all superb – a 1980s compilation of these ‘The Searchers Play The System’, was in fact one of our initial ‘101 core albums you should own’ they are that good!) Decent sound, great packaging, not a bad price and some superb music (give or take a dodgy debut) add up to one of the best AAA releases in years. If you’ve never tried The Searchers or only know the early screechier singles) and like 1960s pop in general you’ve just found your perfect Christmas present. Download: ‘He’s Got No Love’ ‘Til’ I Met You’ ‘Goodbye My Love’  


2)   John Renbourn “Unpentangling”

When Bert Jansch died Pentangle fans had a lot of great re-issues of his work to choose from including some pretty decent best-ofs and full box sets taken from practically all periods of Bert’s life (a shame they never got to the early 1980s, mind, which is my favourite era). When John died a few years later we were lucky to get a rather bland and boring best-of. Finally though, four years after his death, Renbourn gets the set he deserves and I hope it brings him out of Bert’s (admittedly deserved) shadow. This is a great set that gathers together every non-Pentangle album released by the much-loved Transatlantic label in the 1960s: three solo albums (‘Sir John A lot’ is the most famous, ‘John Renbourn’ my favourite with a classy mixture of originals and Medieval folk tunes and ‘Another Monday’ the most adventurous, a brave pre-Pentangle attempt to stretch the folk genre as wide as it will go without breaking), three incredibly rare collaborations with gospel-ish singer Dorris Hendersen (you only really need the first one with its mixture of Renbourn originals and Paul Simon covers but all three are nice to have) and the fantastic (if short!) collaboration credited to ‘Bert and John’. All of these albums are worth revisiting and most of them come with juicy bonus tracks. Pentangle fans will be fascinated too to hear collaborations with not just Bert but Jacqui, Terry and Danny back when they were all friends rather than bandmates. However most of the time John needs nothing more than a guitar and his playing, particularly here at his peak, is some of the best acoustic picking you will ever hear. Renbourn is a worthy talent and it is great to see his back catalogue get the treatment it deserves. Now how about some of his 1970s and 1980s albums out again and then I’ll be happy, pretty please? Download: ‘The Wildest Pig In Captivity’ ‘Song For William’ ‘The Waggoner’s Lad’ 


3)   Grateful Dead “Ready Or Not”

Well ‘not’ if I’m honest. When the AAA Grateful Dead book came out in January I added a special chapter all about this album-that-never-was and all the tracks that might have been on it had Jerry Garcia not died in 1995 just as the band were beginning to gear up for a new LP. I’m going to look pretty silly now because I wondered out loud why, with over 200 archive Dead releases out now, nobody had put this lot together – and most of my choices didn’t make this final list. The book only came out in January and is already so out of date! Most fans probably aren’t that fussed anyway as none of the Dead’s 1990s originals went down that well with fans (‘So Many Roads’ being perhaps the exception). Back in the context of where the band were headed after 1989’s ‘Built To Last’ though it would have been a good move I think, away from pop and into something deeper and more complex. Jerry and Bob Hunter (much missed since his death a few months ago) came up with their last glorious masterpiece in the hugely poignant ‘Days Between’, Bob Weir got all bluesy with Willie Dixon collaboration ‘Eternity’ and most surprisingly of all new keyboard player Vince Welnick (also much missed in the Dead community since his suicide) comes up trumps with the set’s catchiest song ‘Long Way To Go Home’. Sadly only ‘Days Between’ ‘Lazy River Road’ and ‘Eternity’ ever made it to the studio and those versions aren’t here, replaced by a good-but-not-as-good rendition from Oakland in 1994, a Uni of North California in 1993 and a Pyramid Memphis gig from 1995 respectively. ‘Liberty’ sounds pretty hot though in a version from Madison Square Gardens in 1994 that sounds better to my ears than the ones released on the ‘So Many Roads’ box, while much-mocked ‘Samba In The Rain’ isn’t quite the turkey fans have long remembered. This set isn’t a must-have classic maybe and true Deadheads will no doubt have all this stuff already, while there’s lots I would have put here for sure (where are most of Phil’s songs? I’d take them over blues pastiche ‘Corrina’ anyday) But it’s a worthy testament to a creative roll that got cut off just as it was getting interesting again and it makes for a fine last long strange trip from a band who were far more interesting in their 30th year together than many fans gave them credit for and it’s nice to see this music get a proper home in the discography at last. I’m especially pleased the official Dead discography now ends with ‘Days Between’ too, one beautiful haunting last Garcia-Hunter song on any form. A shame ‘Ready Or Not’ has both that title and the modern packaging and garish skeletons that seems to go with all extra-curricular Dead CDs these days though rather than a period 1990s vibe. Download: ‘Liberty’ ‘Way To Go Home’ ‘Days Between’  



The Worst Re-Issues Of The Year:






1)   The Rolling Stones “Let It Bleed” (Deluxe Reissue)

Traditionally the Rolling Stones top these review of the year lists with their occasional deluxe re-issues. ‘Sticky Fingers’ with its definitive Stones live gig at Leeds Uni 1970 a few weeks after The Who’s famous gig there was superb, ‘Exile On Main Street’ featured some especially fine unreleased songs and ‘Some Girls’ wasn’t quite in the same league but was most enjoyable all the same.  Even ‘Ya-Yas’ was ok. After that impressive triumvirate it looked as if the Rollings’ archives were set to roll on forever. Alas the50th birthday party for ‘Let It Bleed’ reveals just how little is left in the vaults after all. Decca and Allen Klein have of course famously mucked around with The Stones’ catalogue for years, refusing to allow their albums out on CD properly (i.e. most of them are pricey versions of the bastardised American editions). Even a decade after Klein’s death, though, we’re still in the same boat it seems and a chance to re-issue these albums properly has stalled already. There’s absolutely nothing in the way of unreleased material in this set and nothing even rare, not even an unreleased mix or the outtakes briefly available on ‘Metamorphosis’, just the original mono and stereo editions plus a 7” vinyl replica of period single ‘Honky Tonk Women’ (you don’t even get that on CD as a bonus track though, just the godawful ‘Country Honk’ rendition from the album). Admittedly the sound is better, losing the muddiness that goes hand-in-hand with Decca and there is an 80 page book full of some rare photos not to mention three glossy lithographs and a poster. Would that as much time had been spent researching the sound archives as the photographic ones though (mind you, knowing The Stones if they found something unfinished they’d probably stick it on a modern live record and claim it was ‘new’). Really, if you have nothing left and an album going off catalogue just re-release the thing as plain as possible and make it cheaper.  You can’t always get what you want indeed – and this time you don’t even get what you might need! 


2)   The Beatles “Abbey Road”

It’s a sad sign of the times that old Beatles v Stones rivalry is rearing its head again for the ‘most miserly AAA re-issues’ award. At least ‘Abbey Road’ has some new (albeit oft-bootlegged) items on its pricey four discs (one a Blu-Ray) though, amongst them Macca’s truly harming demo of ‘Goodbye’ for Apple signing Mary Hopkin (why the hell wasn’t this on Anthology?!?), an abandoned guitar solo for ‘Here Comes The Sun’ and an intense series of tracking sessions for ‘I Want You (She’s So Heavy)’ which are all must-hears. However there’s an interminable replay of the entire ‘Long Medley’ in poor sound just to hear ‘Her Majesty’ back in its original (and rather weird) setting in between ‘Mean Mr Mustard’ and ‘Polythene Pam’. There’s so much more that could have been here, from Paul tackling ‘She’s So Heavy’ the day John had a cold (and a mighty fine job he does of it too) to the dreamy bootlegger vocals-only mix of ‘Because’ to the outtake of ‘Something’ that somehow turns on a thread from The Beatles’ most romantic number into an intense and angry jamming session. The packaging is every bit as good as last year’s White Album set but there’s also the feeling that again we’ve been whitewashed: the 1968 album was a trial to make with good bits but if anything ‘Abbey Road’ was far more miserable with John at one stage demanding his songs be on a separate side of vinyl to Paul’s before George Martin made him see sense. The true hero/ine of the set turns out to be…Linda McCartney, by now fully ensconced as Pau’s other half and capturing far more shots of the fab four at work than we realised. Nice to look at then and listen to in bursts, but £83 worth? For that they should have thrown in a replica of the ‘beetle’ car on the front and some Beatle figures to run over at least! Fans of both these albums will lap them up of course but for me both ‘Let It Bleed’ and ‘Abbey Road’ (out just a few weeks apart at the end of 1969) are their creator’s 1960s nadirs not their highlights as a quick listen to ‘Monkey Man’ and ‘Maxwell’s Silver Hammer’ will attest, particularly given Giles Martin’s inferior remix. 


3)   Pink Floyd “The Later Years 1987-2019”

Have a spare £300 dear readers? Our advice is to keep it in the bank, or maybe donate it to the homeless, or buy two copies of each of our reasonably priced Alan’s Album Archives e-books, anything but give Pink Floyd yet more money they haven’t earnt. Three box sets in 2010 were joined by another seven in 2016 and now an epic eighteen disc set. What do you get for your money? Why the worst Pink Floyd albums, messed around with of course: the band’s weakest LP by far ‘A Momentary Lapse Of Reason’ sounds no better even with new Nick Mason drum parts (pointless if all those 1980s synths are still there), two so-so live records (though ‘Delicate Sound Of Thunder’ does have six cut songs edited back in), the admittedly rather good but already recently remixed ‘Division Bell’ and 2014’s ‘The Endless River’. There are also DVD and Blu Rays (both naturally, to bulk out the set and add to the expense even though they include the same things!) of the two major tours, the Floyd live in Knebworth 1990 complete for the first time (though it’s a truly woeful gig, perhaps the worst they ever played), an unreleased concert in Venice from 1987 (which is rather good actually!) and two whole discs made up of music videos (none of which feature the band), the film clips shown on screen during the tours (none of which feature the band, though you do get to see a flying bed!), a ballet (which sadly doesn’t feature the Floyd, just their music – that would have been hilarious) and behind the scenes footage (which barely features the Floyd). There are some good moments here – yet more rehearsals from ‘Division Bell’ that didn’t end up on ‘The Endless River’ and sound rather good not mucked around with, the full ‘Marooned’ jam that turned into one of the greatest moments on ‘Division Bell’ and some 1994 tour rehearsals that are the best the modern-day Floyd ever sounded in the post-Roger Waters era. Truly, though, most of this set is ridiculous and no amount of posters, tour programmes and photographs can make up for the emptiness at the heart of this cash-racking set. Usually the Floyd are right to think big but this is ridiculous and at least £250 too much for the actual content on offer. One of these days I’m going to stop buying Pink Floyd box sets and cut my banker’s card up into little pieces!  


4)   The Rolling Stones “Honk!”

Well, at least fans weren’t expecting anything new from yet another Stones best-of so this wasn’t quite the same level of disappointing as the ‘Bleed’ set, but seriously guys – this is getting silly. Once again the Stones only have access to their post 1970 material, so that means no ‘Satisfaction’ ‘Honky Tonk Women’ ‘The Last Time’ et al, a black mark for a start given that the last set managed to do so with no problems. Another black mark for including just the singles again, not the period Stones song that really are them at their best (no ‘Heaven’ ‘Can’t You Hear Me Knocking’ or ‘100 Years Ago’ to name just three). Nice as last year’s ‘Blue and Lonesome’ covers album from last year was, it really was just a covers album and including so many songs from it seems just a lazy way to recap money from a record that didn’t quite sell as well as some had hoped. Finally, including an exclusive live disc at the end with ‘special guests’ (for special read Godawaful: Ed Sheeran busks along to ‘Beast Of Burden’, Florence loses her machine long enough to mess up ‘Wild Horses’ and Dave Grohl turns ‘Bitch’ from a compact rocker into a pompous Nirvana tribute act) is a stupid idea. We are getting to the stage where we’ve had nearly every Stones song re-recorded for a live album by now and most of this lot are on their 15th time round. To quote the last Stones compilation (released just seven years ago) Grrrrr!


5)   The Kinks “Arthur”

Forget ‘Abbey Road’ and ‘Let It Bleed’ then, what were the real masterpieces being released in 1969? For our money it’s CSN’s debut and Pentangle’s ‘basket Of Light’ (both of which are far more deserving of the box set treatment) and sitting above them all one of the greatest albums ever made, The Kinks’ koncept album ‘Arthur Or The Decline and Fall Of The British Empire’. A truly moving look at how those who risked their lives in WW2 returned uncomplainingly to their small station in life in the 1950s becomes in Ray Davies’ hands a polemic of how the cogs of society work, how all of us who refuse to toe the party line are screwed and the ordinary man is anything but. His real Uncle Arthur was effectively a second dad when the Davies’ family home got too full and Ray was closer to his nephew Terry than he was his brother Dave for years and their emigration to Australia in search of a better life away from the drabness, misery and rules of Britain is deeply powerful. The album features eleven of the greatest Kinks songs ever (I was never that sure about ‘Drivin’) and in the end gives Arthur, the figure that everybody else ignores and mistreats, love and redemption. Everyone should know it and I’ve always yearned for this record to get the deluxe treatment over yet another version of (the admittedly great but far less profound) ‘Village Green Preservation Society’. So why is it in this lost and not the other? Well, The Kinks don’t leave their history alone. The ‘new’ songs here really are new (well, of 1998 vintage just after The Kinks had disbanded and Ray was a bit lost) and feature he older Kink returning to his old theme thirty years on with a shaky voice and a theatre group named after 1983 Kinks hit ‘Come Dancing’. Where the 1969 material still feels alive and powerful the new stuff sounds hokey and faintly ridiculous, particularly the title track re-done as a doo-wop number. Dave’s solo stuff from 1967-1969 is vastly superior and yet sounds identical to no end of other Kinks re-issues down the years, including every previous version of ‘Arthur’ and an entire 2011 retrospective ‘Hidden Treasures’. Oh and the band’s BBC recordings yet again (the fourth time round for many of these recordings). This is also the wrong set to give so many flashy unnecessary extras too: ‘Arthur’ as an album is bold and spare, a colliery band brass section the only light and shade in a crushing oppressive world. The packaging here is bold and garish and bright, full of stickers of kangaroos with boxing gloves and The Kinks’ faces in faux Victoriana. Oddly there’s no sign of the radio 4 play (see below) but there is at least a fascinating essay from screenwriter Julian Mitchell whose 1969 TV adaptation of Arthur was already to go before Granada pulled it at the eleventh hour. That leaves the interested collector just three things of true interest: a brief home demo medley of six songs, a genuinely interesting remix of ‘Australia’ that’s clearly the same take but very very different and a much-bootlegged period novelty, the moody instrumental title song for the film ‘The Ballad Of The Virgin Soldiers’, which is somehow as Ray Davies as you can get despite not featuring any of The Kinks at all. In an odd move that seems typical of the whole box, though, these are available only on vinyl and not the CDs. Arthur yet another re-issue frenzy has passed you by – but this reviewer still loves you don’tchaknowit? 


The Top Five Songs Of The Year:






1)   The Who “Street Song”

This whole year, perhaps this whole decade, I’ve dreamt of one of the AAA bands coming forward with the perfect song of unity to heal our troubled, broken, divided world. I would never ever have guessed that song would have come from The Who. Their hippiest song ever picks up on the old Who trick of reflecting their audience, as Pete takes up the challenge to walk out in the streets and see what the mood is. He encourages us to share our feelings, to make the ‘surpremos’ who think they can rule over us quake in their boots and gives us back the ‘strength to wail’.  This street belongs to no one but the people who live and work there and we may yet get the life we long for if we come together and demand it, the fire still raging that won’t be put out even after all these years of mistakes, lies and broken promises. And if Roger Daltrey is screaming at us then maybe we will finally believe it?


2)   Neil Young and Crazy Horse “Green Is Blue”

‘We fought each other while we lost our coveted prize’. The true song of the year, not only because it’s surely the most beautiful but because in many ways it’s so fitting too. Neil regrets not paying more attention when Mother Nature was crying out for help and wishes his baby boomer generation had gone forward in trying to break big business and save the planet. He also wishes that he could have seen the storms ahead in his marriage and done something to rescue them in time. There were too many distractions and now what was fertile is empty and what was land is now under, with so much we didn’t do. Neil’s quivering voice hasn’t been put to a use this good since the 1970s and his sad slow aching descending piano chords might be simple but they are a highly effective trick. Hauntingly beautiful. 


3)   Liam Gallagher “Once” (Demo)

‘You only get to do it once!’ Liam has been writing about his struggles to come to terms with being in the best band, certainly of the 1990s, for the best part of a decade now. This is one of his best songs on the subject, remembering the early days of Oasis when the brothers were ‘uncool’ and ‘damaged’ before music set them free. He admired how much his brother ‘used to shine’ back then and would give anything to turn back the clock and do it all again – but at the same time in his heart of hearts Liam knows how lucky he was to do that even once, something few people are ever lucky enough to do. The final ‘hit’ version is strong anyway, though I could have done without the plodding tempo and syrupy strings. The definitive take though is Liam singing over his own simple plucked guitar on a vocal that’s full of such feeling and need you could well believe it dated back to the time when he was ‘damaged’ and about to be the rock and roll star to end them all.


4)   Belle and Sebastian “This Letter”

‘Teenage dreams never do what they’re meant to do’ Equally one-time B+S band member Isobel Campbell, one-time girlfriend and always muse of Stuart Murdoch, still dominates his work a full fifteen years after they split. A simpler production number than many songs of late, this one has Stuart singing alone to some flamenco picked guitar for the most part as he uses the old Stephen Stills trick of writing a letter to an ex he can’t contact anymore (‘but sending it in a song rather than through the mail’). Though he has another life now Stuart still dreams of what they had together, longs to meet ‘in another life’ and feels bad about the parts he messed up. Stuart wishes he had the ‘boundless energy’ he used to have in his youth and realises that it was wasted on him then – it’s now he’s paralysed and sloth-like he needs the energy to move on with his life. Mick Cooke’s gorgeous trumpet plays the perfect solo in the middle too.  


5)   Allan Clarke “I’m Comin’ Home”

‘Finally got my thing together, I couldn’t let this moment pass by, no more standing on the edge, I’m going to jump and hope to fly!’ Though much of Clarkey’s new album is, in truth, a bit patchy and his growly voice a tad alarming, his new album’s closing number is a true masterpiece as he gets everything right. ‘I’ve been away too long’ he sings ‘I’m coming home’ as he vows to ‘move away from the crossroads’ and ‘into the start of a new day’. A strong production adds the instruments in one by one until they build up into a true singalong and the reflective melody could have been straight off one of those gorgeous late-1970s Hollies albums.  




The Top Two TV/Radio Documentaries Of The Year:








1)   “Reel Stories” (Noel Gallagher, Channel 4, July 2019)

Even though his new music sucks big time, Noel remains one of rock’s wittiest raconteurs. ‘Reel Stories’ is an occasional series that has Mark Lawson showing celebrities clips from their past and those of their heroes on a giant cinema screen and gets them to expand on them a little more. You would have thought after Noel’s laugh-out-loud director’s commentary for the ‘Time Flies’ collection of Oasis promos there would be nothing left to say, but there is. You get to see Noel talking about his first experience of live music (‘five Irish guys up on stage singing ‘Catch me If You Can’ while drinking lemonade and eating crisps’), laugh at Oasis’ TV debut on ‘The Word’ (‘When I watch footage of those days and see what ‘m wearing it looks like I’m wearing someone else’s clothes – someone two stone heavier than me and four foot taller!’), fame (‘It’s an amazing feeling that you’re the same age as your audience and there’s about a year when you make your name’), the rivalry with Blur (Mark very bravely shows the clip of the band beating them to #1 on TOTP), the band’s Manchester homecoming (where Noel went back later to sit on an empty stage remembering the gig), a NorthWest Tonight local news item at the Gallagher’s mam’s house he didn’t even see and Sadly none of his horrific appearance on The Big Breakfast makes the list though (I’d love to know what he’d make of that now!), doesn’t even recognise the first line-up of his backing band The High Flying Birds (my wife said after I’d been hanging round the house for a while ‘are you making another record then? I think you should…’) and looks visibly moved at the shots of the crowd at the Manchester Arena Bombings tribute spontaneously breaking out into a chorus of ‘Don’t Look Back In Anger’. Best line: ‘Warm-up before I go on? No way – that’s what the first song’s for!’ Classic stuff with Noel on top form, I just wish more people had seen it –as far as I know the show was only on in a mid-afternoon slot and wasn’t repeated. 


2)   Noisey: Liam Gallagher (Online 2019)

Not to be outdone, this clip of the younger Gallagher is less revealing but the most hysterically funny thing I’ve seen in a long time. Liam faces the toughest crowd he’s ever had to face: a bunch of no-bullshitting children from a primary school who really keep him on his toes. Liam gets asked by the cutest ‘rosy-cheeked’ five-year old how he deals with his anger management issues (!) and gets asked ‘do you work for The Sun?!’, what his favourite Disney film is (‘Finding Nemo’) and whether he gets sweets after a good gig (‘sort of’ is Liam’s shifty response). Liam manages to get in that his brother is ‘dead naughty’ and ‘about as tall as you!’ A good question that I’ve always wanted to know gets asked by a kid at the front and Liam says the first song he ever sang in front of a crowd was his own song ‘Take Me’ and – against all the odds remembering not to swear – he tells the kids ‘it was rubbish!’ Other strong questions include his favourite city (Paris, surprisingly) and his favourite song (‘Live Forever’ because ‘it reminds me of my mam’). Liam inevitably gets asked – as anybody will when they spend enough time around the five-year-old market - what his favourite fart is and after looking confused admits to liking them loud, much to the amusement of the class. When asked a follow-up question about what he did at school when he was their age Liam replies, no doubt honestly, that he ‘used to look out the window, stare at the clouds and do loud farts’, urging the class that this is what they want to do if they want to become a big rockstar like him. The teacher was no doubt fainting at this point but the interview turns nasty just as this point where Liam admits to being a fan of Manchester City and is then royally teased by the surprisingly high amount of United fans that his team’s well rubbish. ‘You want me to kick off don’t you!’ Liam jests, ‘you kids are evil!’ You can tell though that he hasn’t had this much fun in years – especially when he gets a gift of a card featuring his favourite football player - and neither has the class. Will they all grow up to be future rockstars and have their own AAA book written about them in twenty years’ time? Let’s see… 


3)“Arthur” (Ray Davies Play, Radio 4, November 2019)

‘Well, I mean it’s not like I’m grumpy or anything but I waited bleeding fifty years for that? Seventy minutes that was twenty minutes of plot and fifty of sinagalong? Rather than stick to the unscreened Julian Mitchell TV play that Granada cancelled at the eleventh hour in 1969 instead this was a different bleeding script that was less a fascinating expose about the decline and fall of the British Empire that led a hard-working ex-soldier to up sticks and move out and more about the impact my immigration had on the Davies family (especially that young Raymond who used to live with me and my Rosie). Very fun and all that and the bits of me son Terry and me nephews Raymond and David making up fake radio broadcasts for their fictional group was very meta and all that, but mostly this was an excuse for the cast to sing along to the soundtrack badly. Don’t get me wrong, I liked the cast a lot who did the best they could with the material. That Lee Ross is a decent bloke and a mighty fine actor and I liked him a lot in ‘Press Gang’, one of the greatest TV series of them all. I was pleased he was playing me. But even I don’t sing that badly! Also just stick with the records if you need background music; Raymond’s obsession with The Crouch End Chorus all but ruined some bleeding lovely material too. And why they suddenly stuck some random modern songs in there and some bits and pieces like 1968 Kinks outtake ‘Pictures In The Sand’ and old classic ‘Waterloo Sunset’ is anyone’s guess. I mean we moved to bleeding Australia to get away from London or at least I did and yeah they have a lot of sand in Oz Ray I get it alright son, but there are lots of far more suitable Kinks Klassiks that would have worked better there: ‘Long Way From Home’ and ‘This Time Tomorrow’ from the point of view of a family on a bleeding plane for two. Admittedly some of the plot points worked a treat. I liked it when the Davies’ family turned up on an Australian Kinks tour and we never thought we’d see each other again and we had a shouting match and a good cry and a sing song, the way families do. I liked the hints at political events in 2019 too with Britain joining the European Union in the 1970s and all. But the emotional plotbeats were all wrong, especially the bits about me sister-in-law Rene dying he night after giving Ray a guitar for his birthday which belonged in another bleeding play entirely. Where was the war? I know I mentioned losing me brother but there was more in the war that shaped me than that. I thought I was fighting for the good of all of us, not the chance to be passed over by men younger and fitter than me come Armistice Day. And making me out to be a Brexiteer? Me? I mean the Arthur I know from the record is worn-down and cynical enough to see through the eyes of bleeding Boris Johnson, I can tell you that much. I’d have been for Corbyn and his belated promise of a post-war world where the ordinary working man that always gets overlooked like me are given a bleeding chance! Plus I’m not that bleeding grumpy all the time am I? Well am I? And it was all worth it wasn’t it? Well, wasn’t it?!? Let’s just say Arthur we love you as an album and all that but it never quite worked as a play. Oh and one last mystery, where was bleeding Princess Marina? It was the only one of the album tracks absent without leave and I like that bleeding song! Nice try though kid – there’s a great play in here somewhere’.



The (Only?) Two DVDs Of The Year:





1)   David Crosby “I Remember My Name”

Fifty years ago Crosby Stills and Nash were the coolest band on the planet. They had everything: the looks, the talent, the harmonies, the songs, the rock credentials, the political nous and a ready-made following after stints in The Byrds, Buffalo Springfield and The Hollies. Nobody but nobody around in 1969 would have put money on, well, firstly the four of them still being around a half-century later but also releasing a DVD like this one. Croz and director friend Cameron Crowe got together to make what is effectively a visual rendition of Crosby’s no-hold-barred autobiography ‘Long Time Gone’ with what they called a no bullshit tell-the-truth warts-and-all documentary that not only didn’t shy away from the bad bits but focussed on them. All of Crosby’s past bandmates were encouraged to take part and as Croz himself says he pissed off every single one of them at some stage. ‘The sad truth’ David wrote on the single most unmissable twitter musician profile out there, ‘is that all of them hate me’. What happened next speaks volume about both the magnetism and the man: Roger MGuinn got in touch to say ‘I don’t hate you! We’re buddies aren’t we?’ to which Crosby eagerly asked about meeting up to go on the road. ‘Ah’ said his fellow Byrd, ‘David I might love you dearly but that doesn’t mean I could ever work with you again!’ The result is clearly meant to be brave and courageous and everything the 1969 CSN were. But alas mostly it just seems really sad as Crosby spends an hour apologising for being an asshole and wonders why nobody will play with him any more while he sadly wanders around the ghosts of Mama Cass’ flat remembering her parties where Crosby was the person everyone made a beeline for and staring up at the outside of the house Graham Nash and Joni Mitchell lived in. The footage of Crosby as he lives now, in a tiny house with a cheap car still trying to make art that will last that few people seem to listen to and even less bother to pay him for, is frustratingly agonisingly sad especially when seen back to back with footage of his heyday. Even the moving ending, when Crosby talks about death only to get one of the greatest on-camera hugs of the silver screen from his wife Jan isn’t quite enough to cheer you up. But you know the darkest hour is always just before the dawn. Maybe we will get a happier follow-up when things roll around and all of Crosby’s buddies come round with guitars again? Till then is this DVD worth getting? Yes, but for reasons other than the ones you probably bought it for.   


2)   Neil Young and Crazy Horse “Mountaintop”

Not yet out on DVD but screened in cinemas and I don’t have a column for that, so here it goes. Oh dear. While the album it’s meant to be promoting (‘Colorado’) sees Neil re-discovering how to communicate with his audience in songs they might understand the attendant documentary finds him in oddly uncommunicative form even for him. Crazy Horse are back with Nils Lofgren replacing Frank Sampedro after forty odd years and Neil is back in the barn on his ‘Broken Arrow’ ranch where many of his best albums were made. It sounds like a recipe for a decent documentary, but isn’t as mostly Neil gets crotchety at his bandmates, engineers and with himself. I’m not sure ‘fun’ is quite the word that springs to mind for any Neil Young sessions (except ‘Everybody’s Rockin’ and ‘Zuma’ maybe) but this album looks like hard work and the music is much nicer to listen to than it is to watch. 


The Top Ten AAA Releases Of The Decade 2010-2019:




We said in our review that this year’s overall AAA winner ‘WHO’ was a candidate for one of the top ten albums of the decade and so it is, coming in at #5 on this list I would say (though rather than simply talk about it here again, think of this list as a ‘best ten other AAA albums of the decade’ although we have added them to our playlist). As another ten years closes though what were the best AAA albums of the twenty-teens according to us? Interestingly not the albums that gained the critical plaudits at large at all – the top three all but disappeared, the fourth was actively hated and only the eight and tenth entries sold all that well. Oh well, maybe that’s just us but for my money these are the albums that really showed a growth spurt this year as AAA bands found new ways of expressing what it means to be alive in the 21st century. It’s interesting to compare to our list from ten years when there were two Beach Boys at the top of the list (Brian Wilson finally releasing ‘Smile’ and the issuing – at last – of Dennis Wilson’s unfinished ‘Bambu’ set in a double-disc pack along with ‘Pacific Ocean Blues’ plus Paul McCartney reinventing himself; by comparison ‘New’ makes this list because it was Paul finally going back to the sort of thing he does best). Note too that for the purposes of variation we’ve only included one album per artists in this list, although I don’t think there would have been too much difference even with multiple entries in the end. I do worry about whether we’ll have many entries at all in a decade’s time, now that our acts are getting older and retiring en masse but, well, that’s next decade’s problem – this one might not have had quantity on its side either but it had plenty of quality and the best of this list is as good as anything these acts were releasing in their heyday.


1)   Belle and Sebastian “Girls In Peacetime Just Want To Dance” (2015)

(Reviewed in full at http://alansalbumarchives.blogspot.co.uk/2015/06/belle-and-sebastian-girls-in-peacetime.html )

The last few years has been a difficult time to be at least a ‘purist’ B and S fan as the band switch their charming inventive amateurishness to become a more streamlined pop band. This has backfired more often than it has worked: both 2006’s ‘The Life Pursuit’ and 2010’s ‘Write About Love’ were largely empty pop albums with only a few touches of the band’s charm and personality sticking out behind the production fog. This comeback album tough is inspired more or less from beginning to end, with songwriter Stuart Murdoch finding a new way to move his delightful characters from the margins into the glaring spotlight of pop. A flare-up of m.e. like the one that led (eventually) to the band’s creation in the mid 1990s saw Stuart briefly back into the same mindset as he returned to bed, mission half-accomplished, marvelling at the changes that have happened between then and ‘now’ twenty years later. This results in the most gorgeous and devastatingly honest song about his/our illness ever (‘Nobody’s Empire’ – few songs have made me cry this hard and for this long), ‘The Cat That Got The Cream’ which damns the Conservative-Lib Dem austerity cuts to hell, the promise that things will be better if we just hold on that is ‘Ever Had A Little Faith’ and ‘Enter Sylvia Plath’ (which starts off as a typical B and S song about a sad lonely mixed-up kid before Stuart realises that isn’t him anymore and he breaks the fourth wall to reach out and give his narrator a ‘faith’ she doesn’t have that things will get better but which the writer now does). It is, in short, an album that both begins and ends up in bed, the narrator’s soul desperate for peace, but in between he’s been on one hell of a journey of learning and the return there isn’t quite the tragedy it might have been with so much achieved and understood to ponder. Yes the tunes are also top-notch with several singalong moments and a quite dazzling array of instrumental styles too (‘The Everlasting Muse’ is an eastern Europe Eurovision song!) while the production somehow allows everything room to breathe and glow, accentuating the Belle and Sebastian-ness rather than overshadowing it. However it’s the spot-on lyrics and the great big heart at the centre that makes ‘Peacetime’ the overlooked gem it is, an album that does everything a great album should: shine a light in the darkness and make our agonies easier to bear.     


2)   Beady Eye “Different Gear, Still Speeding” (2011)

(Reviewed in full at http://alansalbumarchives.blogspot.co.uk/2011/03/news-views-and-music-issue-93-beady-eye.html )

When Oasis blew up big time in 2008 (involving a backstage fracas, flying guitars and fruit) Noel Gallagher split with a new band in ‘High Flying Birds’ (a name nicked from Jefferson Airplane), most of the band’s songwriting chops, a sizeable collection of classy band outtakes to pick from and pretty much all the momentum. However it was the rest of the band who made the must-have Oasis album of the decade, even if it was a commercial failure on release. There’s a wigged-out, sleepy confused vibe to ‘Still Speeding’ as Liam, Andy and Gem tried to come to terms with this sudden lurch in their fortunes. Presumably the album did so badly because, compared to Oasis, not much happens – but not much happens in a quite mesmerizingly beautiful way. The best of the album also blew all those cobwebs away: the sneeringly retro ‘Beatles and Stones’ that out-boasts anything Oasis ever did, the Noel-baiting ‘Three-Ring Circus’, the aching ‘Kill For A Dream’ and best of all the epic ‘Wigwam’ which starts as a song of defeat and depression and somehow claws it’s way bloodied back into the fight again, ‘coming up’ to try what life has to offer again. There’s a real 1960s psychedelia shine too which might be one of the reasons I love it, while the Beatle references are kept to a minimum – instead it sounds, fittingly, like a combination of what Lennon and McCartney got up to when The Beatles split (with Liam admitting that he’d been listening to the deluxe McCartney archive re-issues of ‘McCartney’ ‘Ram’ and ‘Band On The Run’, while the album recalls the Lennon/Plastic Ono Band ‘primal scream’ album too). However what I love most about this album is how much it plays with what had become something of an Oasis template by 2011 and this is an album that is always trying to do something new and bold (interestingly its only the two true Oasis soundalike songs that don’t work that well). More fans should have taken advantage of that offer but, alas, after a confidence-dented experimental sequel ‘Be’ Beady Eye disbanded and called it a day. As great as Liam’s two solo albums have been, this is the album that stretched him and pushed him to greatness this decade and brought out new layers in his voice and songwriting we’d never heard before, with Andy and Gem also reaching a creative peak.
  

3)   Graham Nash “This Path Tonight” (2016)

(Reviewed in full at http://alansalbumarchives.blogspot.co.uk/2016/05/graham-nash-this-path-tonight-2016.html )

CSN/Y have had a truly wretched decade. We left them in 2010 still licking the wounds from a Rick Rubins-produced covers album that fell apart while later years have seen them bruised from the publication of autobiographies and fallings-out over each other’s various divorces and new marriages. It has all been very dysfunctional even for this family. However some of the music has been great, better than anything since the late 1990s. Graham’s sixth solo album for instance is a true gem that’s gloriously consistent, a ten-track discussion of what it’s like to suddenly change and uproot your life in your seventies as he ends nearly forty years of marriage to take up with a younger wife in a new home and living in a new state while trying to accept that it might be the last chapter his story has. There are several beautiful new songs dealing with the need to express yourself (‘Myself At Last’), of becoming irrelevent (‘Golden Days’), of death (‘Encore’ and the ghostly album highlight ‘Back Home’) and I can even forgive Nash the need to stop propping up the good ship CSN, watching it disintegrate as he walks away from the mast (‘Beneath The Waves’). We may or may not get another CSN/Y record: things are softening between these old friends, even if this the longest they have I think ever been openly mad at each other in their history. Our world nearly needs it in this fractured and confused day and age and a little of their hippie hope would go a long way to giving us healing in the decade to come. Even if that never comes, however, we got at least two of the best CSN solo albums in years which still makes this a very fine path to walk indeed. A hauntingly beautiful album about change and growth that also makes as a fine companion to debut masterpiece ‘Songs For Beginners’ – Nash may be older and a little bit wiser, but starting over again reminds him that he’s really still a beginner working out how to do things and so, it often feels listening to this album, are we. 


4)   Neil Young “The Visitor” (2017)

(Reviewed in full https://alansalbumarchives.blogspot.co.uk/2017/12/neil-young-and-promise-of-real-visitor.html )

Choosing my favourite album by the man whose still the AAA’s most prolific writer was surprisingly hard this decade (unlike last time, when ‘Prairie Wind’ was the only album of Neil’s that could truly be called great). I was torn between the clever GMO hectoring of ‘The Monsanto Years’ (2012), the album of guilt and loss for wife Pegi just before their divorce (‘Storytone’ 2014) and the protest songs to sing in the streets (2016’s ‘Peace Trail’) and this year’s ‘Colorado’, all of which would be worthy entries on this list. However the album I keep going back to is ‘The Visitor’, our generation’s ‘On The Beach’ (but, controversially, an album I like rather better). Many people before me have compared Donald Trump to Richard Nixon (‘I never knew a man who could tell so many lies’) and without saying so directly Neil delivers a damning testimonial to where our world is at in 2019, everyone packed up with bags ready to leave but no longer with a safe destination to leave for. Along the way Neil protests that his adopted home country is ‘Already Great’, laughs at the tightrope act his love-life has become on the surreal, terrifying ‘Carnival’ (with creepier laughs than any horror movie) and ties the whole thing together with the rambling ten minute epic ‘Forever’, a song that despite the name is very much about today. The album’s masterpiece though is ‘Change Of Heart’, a song that tries to do just that as a young Neil learns that it’s better to be kind than angry and to look for peace not war, wishing that the world around him would one day learn those lessons too. Neil’s stripped-down first-thought last-thought sound has torpedoed more albums than it’s raised lately but here even the rough edges work, with backing band The Promise Of The Real overcoming a shaky performance on ‘Monsanto’ to really deliver the goods here. All in all a most glorious decade music-wise for Neil after a bit of a hiccup last decade, whatever the downturn in sales might suggest.  


5)   Paul Simon “So Beautiful Or So What?” (2011)

(Reviewed in full at  http://alansalbumarchives.blogspot.co.uk/2011/07/news-views-and-music-issue-107-paul.html )

Paul has, as per usual, only released two albums of new material this decade and both were patchy. This one just edges out ‘Stranger To Stranger’ courtesy of it’s unusual free-flowing form and the backing band who for the first time unites Paul’s American, African and Brazilian interests. Much of the album is a grand debate about what it means to grow older and be close to death, something that’s long been a hypothetical discussion on albums since Paul was young but now treated with real purpose and concern now that Paul is reaching his twilight years. He comes to many different conclusions: that life is short, too short to stay mad at people (‘Getting Ready For Christmas day’), what life is for when stripped down to its essence (‘Love Is Eternal, Scared Light’) and whether anybody really cares what you did in your life when you’re gone (the title track). There’s even a comedy interlude on ‘The Afterlife’ when Paul imagines himself in Heaven filling in paperwork, his riches and fame stripped away until all that’s left of him to carry on into the next life is ‘the snatch of a song’ as he goes back to his doo-wop roots. The real answer though, you sense, is the love song to wife Edie Brickell ‘Dazzling Blue’ which even after all these years is probably the best romantic song Paul ever wrote, married life a painting that’s magically come to life. There are as ever some really dodgy tracks but the good stuff here is truly great and overall this is one of the more carefully plotted and formulated AAA CDs, one that really hangs together track by track as every song  more or less asks the same question but gets some very different answers. Paul sounds great too, more invested in these songs than some of his other albums. 


6)   Cat Stevens “The Laughing Apple” (2017)

(Reviewed in full at https://alansalbumarchives.blogspot.co.uk/2017/10/cat-stevens-laughing-apple-2017.html )

On paper this sounds like a stupid idea: Yusuf Islam reverts back to his ‘Cat Stevens’ name for the first time since 1978 on an album of songs from the old days he considered unfinished – some of it we got and it sounded pretty great to me (four songs from 1968’s ‘New Masters’, released outtake ‘I’ve Got A Thing About Seeing My Grandson Grow Old’) and others that were abandoned partway through (such as ‘Tillerman’ outtake ‘Mary’s Little Lamb’ or ‘You Can Do’ dropped for being too close to ‘If You Want To Sing Out, Sing Out!’) Somehow this works: Cat was always an old soul and wrote songs that his teenage self could never quite pull off, but now here he is in his seventies at the age he once wrote about still largely the same person. What other artist could leave so much of his old material untouched and still have it sound like it was written today not fifty years ago? The best of it is when Cat’s youthful fears and angst get answered: he no longer has to worry about living to see his grandchildren grow old – he’s there now at that age and it all came true. The best songs though are two I’ve never heard reference to before and which are so utterly utterly Cat Stevens, the children playing song ‘Mighty Peace’ and the pained song about prejudice ‘Don’t Blame Them’. Against all odds this hodgepodge collection of leftovers ended up becoming exactly the tonic the world needed at the start of Brexit and during the first stirrings of Trump, a triumph to match even ‘Roadsinger’ (the second ‘comeback’ album that scored mighty highly on last decade’s list).  


7)   David Crosby and Friends “Here If You Listen” (2018)

(Reviewed in full at http://alansalbumarchives.blogspot.com/2018/10/david-crosby-and-friends-here-if-you.html )

One of the biggest surprises since our last list a decade ago is that David Crosby has come from nowhere to be the decade’s second most prolific AAA artist (behind old colleague Neil, naturally). He’s delivered four albums this decade as the passing of time, ill health and the bust-ups with old friends drive him to make the most of what time he has left. While the first three albums (2012’s ‘Croz’ 2016’s ‘Lighthouse’ and 2017’s ‘Sky Trails’) are sporadically brilliant with some career highs sprinkled through them the one that really got to me is the latest, an album that sounds nothing like anything else in Croz’s career and yet the album it seemed inevitable he would make one day. A near-enough live acoustic album, it’s thoughtful and mellow, full of jazz tunings and sumptuous vocals from colleagues Michael league, Becca Stevens and Michelle Willis. It’s nothing like CSN in feel or style and yet somehow it all makes perfect sense as the album slowly unfurls like a flower. The best songs deal with mortality, Crosby ‘thinking about dying and how to do it good’ on ‘Your Own Ride’ or feeling fragile like a balloon ‘Balanced On A Pin’ that could go pop at any moment. However he doesn’t sound on the edge of death and has rarely sung so well across a whole CD – even the two dips back into the archives (for the demo tapes ‘1967’ and ‘1974’) sound amazingly like the current Croz, still marching to the beat of his own detuned drum and delivering thoughtful music like nobody else. 


8)   Paul McCartney “New” (2013)

(Reviewed in full at http://alansalbumarchives.blogspot.com/2013/11/paul-mccartney-new-2013-album-review.html )

By contrast, this is Macca going back to doing what he was put on this Earth to do and doing it right, after a full seven years of dabbling with romantic crooning and (the admittedly quite brilliant) third album as ‘The Fireman’. Four different producers led to four different ways of making this album and not all of them worked – if I never get to hear the likes of playground chant ‘Queenie Eye’ again then that will be fine by me. However the best of this album is as good as anything in that great songbook and for the first time in a long time the love songs sparkle the shiniest, with Paul’s third wife Nancy Shevell bringing out a whole new sense of joy and wonder in The Beatle’s work. ‘Hosanna’ is the album’s masterpiece’, a ‘Revolver’ style collage of tape loops and backward riffs that underpins a very simple song about love and faith and makes it sound like the most profound thing in the universe. It’s closely matched by a track about even he being ‘Scared’ to admit his feelings of love for his new wife in case he’s rejected, hidden away as an unlisted album track because Pau’s too embarrassed for ‘us’ to hear it too. It is, though, a triumph: a moment of such realness and rawness in an otherwise typical lush production number. Add in the scarier ‘Long and Winding’ sequel named simply ‘Road’, the Beatle memory ‘Early Days’ messing about as nobodies in Liverpool and the funky modern pastiche ‘Looking At Her’ that makes fun of the paparazzi while paying tribute again to Nancy and you have a real winner, light years ahead of the other often awful albums Paul has been making lately (what on earth happened with ‘Egypt Station’? That was unlistenable!)


9)   Mark Knopfler “Tracker” (2015)

(Reviewed at http://alansalbumarchives.blogspot.co.uk/2015/05/dire-straits-livesolocompilation-albums_25.html )

Ever since Dire Straits were officially disbanded and Mark went solo in 1996 fans have known what to expect: laidback acoustic folk songs about rural life in the North of England of any century Mark chooses, sometimes with blues, rock or country hybrids just to shake things up. ‘Tracker’ is no different to the five albums before it and yet it is slowly growing its way to become my favourite of all his solo works. Though the album barely breaks a sweat there’s plenty of pathos in the lyrics as Mark mythologizes the common man, from the Northern drop-outs of ‘River Town’ to his old journalist buddies on ‘Beryl’ and his own pre-Straits past on ‘Laughs and Drinks and Smokes and Jokes’. Best of all, though, is when Mark remembers where he is in his newly stable life in America and pays tribute to his wife, with ‘Long Cool Girl’ my candidate for Knopfler’s greatest love song since ‘Romeo and Juliet’. Beautiful, tranquil and moving, ‘Tracker’ is one of those albums to get quietly lost in with nothing much to break the mood.


10)               The Monkees “Good Times” (2016)

(Reviewed in full at http://alansalbumarchives.blogspot.com/2016/06/the-monkees-good-times-2016-or-are-they.html )

Perhaps the greatest surprise of the last ten years has been the rehabilitation of The Monkees from TV boyband cash-in to pioneering artists ahead of their time. About time too: like many fans I groaned during the run-up to the reunions in 1986 and 196 when the world started up the ‘but they don’t play their own instruments’ thing again, even though so many bands don’t play nowadays and don’t actually do anything bar appear on the covers of their albums (without having a weekly TV series to make in their ‘spare time’). Maybe it was the sad loss of Davy Jones in 2012 and Peter Tork earlier this year, or the release of several excellent books pointing out how daring The Monkees really were, or maybe everybody just caught up to what they were all about. Anyways, ‘Good Times’ – the first Monkee record in twenty years – was one of the biggest AAA sellers of all this decade and for several good reasons. The dips into the vaults were well handled, allowing Davy, writers Boyce and Hart, friend Harry Nilsson and producer Chip Douglas to join in the party, whilst a whole host of new friends were invited to write the new songs (including Paul Weller and Noel Gallagher who skipped the pre-teen friendly fare of most of the record and went straight for the ‘Pisces Aquarius’ heavy psychedelia era with album highlight ‘Birth Of An Accidental Hipster’). I’m not sure I quite got as caught up into the whole thing as some fans – it is, after all, basically a Micky Dolenz solo album with a couple of guest parts and with only two original songs it’s not the most creative project the band ever worked on. However at its best – usually when Micky is blending his voice with Mike Nesmith in a blend that’s still infinitely powerful considering they hadn’t even met until the last run of auditions (‘Me and Magdelena’ is just gorgeous) – this is still a powerful record full of pretty pop and just enough songs that dig that bit deeper.

What will we be choosing in another decade? Will we even still be here in another decade?!? Come join us for flipping News, Views and Music Issue 7042 or whatever we’re up to by then and we’ll see!  


The Alan's Album Archives E-Books

 Released In 2019:


In January 2019: ‘High Time – The Alan’s Album Archives Guide To The Music Of…The Grateful Dead’ 16 In-Depth Reviews, 200 Archive sets, 279 Songs, 815 Pages


     



In February 2019: ‘Unknown Delight – The Alan’s Album Archives Guide To The Music Of…George Harrison’ 11 In-Depth Reviews, 155 Songs, 383 Pages






In March 2019: ‘Reflections Of A Time Long Past – The Alan’s Album Archives Guide To The Music Of…The Hollies’ 21 In-Depth Reviews, 360 Songs, 743 Pages






In April 2019: ‘Wild Thyme – The Alan’s Album Archives Guide To The Music Of…Jefferson Airplane and Jefferson Starship’ 21 In-Depth Reviews, 238 Songs, 667 Pages





In May 2019: ‘Little Girl Blue – The Alan’s Album Archives Guide To The Music Of…Janis Joplin’ 4 In-Depth Reviews, 104 Songs, 262 Pages






In June 2019: ‘Maximum Consumption – The Alan’s Album Archives Guide To The Music Of…The Kinks’ 23 In-Depth Reviews, 370 Songs, 860 Pages





In July 2019: ‘Remember – The Alan’s Album Archives Guide To The Music Of…John Lennon’ 7 In-Depth Reviews, 116 Songs, 173 Pages








In August 2019: ‘Passing Ghosts – The Alan’s Album Archives Guide To The Music Of…Lindisfarne’ 19 In-Depth Reviews, 279 Songs, 540 Pages





In September 2019: ‘Smile Away – The Alan’s Album Archives Guide To The Music Of…Paul McCartney and Wings’ 22 In-Depth Reviews, 408 Songs, 932 Pages








In October 2019: ‘Every Step Of The Way – The Alan’s Album Archives Guide To The Music Of….The Monkees’ 13 In-Depth Reviews, 266 Songs, 60 TV Episodes+Specials, 1014 Pages









In November 2019: ‘New Horizons – The Alan’s Album Archives Guide To The Music Of…The Moody Blues’ 18 In-Depth Reviews, 228 Songs, 659 Pages





In December 2019: ‘Little By Little – The Alan’s Album Archives Guide To The Music Of…Oasis’ 14 In-Depth Reviews, 240 Songs, 570 Pages





Also Available:

 ‘Add Some Music To Your Day – The Alan’s Album Archives Guide To The Music Of…The Beach Boys’ 29 In-Depth Reviews, 419 Songs, 918 Pages





‘Every Little Thing – The Alan’s Album Archives Guide To The Music Of…The Beatles’ 13 In-Depth Reviews, 300 Songs, 799 Pages




‘Rollercoaster Ride – The Alan’s Album Archives Guide To The Music Of…Belle and Sebastian’ 10 In-Depth Reviews, 178 Songs, 398 Pages



‘Flying On The Ground Is Wrong – The Alan’s Album Archives Guide To The Music Of…Buffalo Springfield’ 3 In-Depth Reviews, 61 Songs, 289 Pages





‘All The Things – The Alan’s Album Archives Guide To The Music Of…The Byrds’ 12 In-Depth Reviews, 194 Songs, 627 Pages





‘Change Partners – The Alan’s Album Archives Guide To The Music Of…Crosby Stills and Nash’ 37 In-Depth Reviews, 489 Songs, 978 Pages




‘Solid Rock – The Alan’s Album Archives Guide To The Music Of…Dire Straits’ 6 In-Depth Reviews, 60 Songs, 342 Pages



‘Music Arcade – An Alan’s Album Archives Selection Box’ Includes Extracts From All 31 Books, Endless Quantities Of Songs, 646 Pages


AAA Books Due In 2020:



In January 2020: ‘Watch The Stars – The Alan’s Album Archives Guide To The Music Of Pentangle’ 11 In-Depth Reviews, 131 Songs, 472 Pages




In February 2020: ‘Remember A Day – The Alan’s Album Archives Guide To The Music Of…Pink Floyd’ 14 In-Depth Reviews, 176 Songs, 690 Pages




In March 2020 ‘A Change Gonna Come – The Alan’s Album Archives Guide To The Music Of…Otis Redding’ 6 In-Depth Reviews, 141 Songs, 296 Pages

In April 2020: ‘Yesterday’s Papers – The Alan’s Album Archives Guide To The Music Of…The Rolling Stones’ 22 In-Depth Reviews, 389 Songs, 836 Pages




In May 2020: ‘Once Upon A Time – The Alan’s Album Archives Guide To The Music Of…The Searchers’ 8 In-Depth Reviews, 179 Songs, 355 Pages




In June 2020: ‘Patterns – The Alan’s Album Archives Guide To The Music Of…Simon and Garfunkel’ 26 In-Depth Reviews, 389 Songs, 715 Pages




In July 2020: ‘All Our Yesterdays – The Alan’s Album Archives Guide To The Music Of…The Small Faces’ 6 In-Depth Reviews, 101 Songs, 462 Pages




In August 2020: ‘One Day At A Time – The Alan’s Album Archives Guide To The Music Of…Cat Stevens’ 15 In-Depth Reviews, 135 Songs, 434 Pages




In September 2020: ‘Memories– The Alan’s Album Archives Guide To The Music Of…10cc’ 12 In-Depth Reviews, 145 Songs, 400 Pages




In October 2020: ‘Getting’ In Tune – The Alan’s Album Archives Guide To The Music Of…The Who’ 12 In-Depth Reviews, 225 Songs, 615 Pages




In November 2020: ‘Here We Are In The Years – The Alan’s Album Archives Guide To The Music Of…Neil Young’ 40 In-Depth Reviews, 438 Songs, 1036 Pages




In December 2020: ‘A Scrapbook Of Madness – The Alan’s Album Archives Guide To The Music Of…Alan’s Album Archives’ 11 Time-Travelling April Fool’s Day Issues, 250 News, Views and Music Newsletters, 1600 Pages






See you next year for more news, views, music and e-books!


A NOW COMPLETE List Of Top Five/Top Ten/TOP TWENTY  Entries 2008-2019
1) Chronic Fatigue songs http://alansalbumarchives.blogspot.co.uk/2008/08/news-views-and-music-issue-1-top-five.html

2) Songs For The Face Of Bo
http://alansalbumarchives.blogspot.co.uk/2008/09/news-views-and-music-issue-2-top-five.html

3) Credit Crunch Songs
http://alansalbumarchives.blogspot.co.uk/2008/09/news-views-and-music-issue-3-top-five.html

4) Songs For The Autumn
http://alansalbumarchives.blogspot.co.uk/2008/09/news-views-and-music-issue-4-top-five.html

5) National Wombat Week
http://alansalbumarchives.blogspot.co.uk/2008/09/news-views-and-music-top-five-national.html

6) AAA Box Sets
http://alansalbumarchives.blogspot.co.uk/2008/09/news-views-and-music-issue-6-top-five.html

7) Virus Songs
http://alansalbumarchives.blogspot.co.uk/2008/10/news-views-and-music-issue-7-top-five.html

8) Worst AAA-Related DVDs
http://alansalbumarchives.blogspot.co.uk/2008/10/news-views-and-music-issu-8-top-five.html

9) Self-Punctuating Superstar Classics
http://alansalbumarchives.blogspot.co.uk/2008/10/news-views-and-music-issue-9-top-five.html

10) Ways To Know You Have Turned Into A Collector
http://alansalbumarchives.blogspot.co.uk/2008/10/news-views-and-music-issue-9-top-five.html

11) Political Songs
http://alansalbumarchives.blogspot.co.uk/2008/11/news-views-and-music-issue-11-top-five.html

12) Totally Bonkers Concept Albums
http://alansalbumarchives.blogspot.co.uk/2008/11/news-views-and-music-top-five-totally.html

13) Celebrating 40 Years Of The Beatles' White Album
http://alansalbumarchives.blogspot.co.uk/2009/11/top-five-issue-13-40-years-of-beatles.html

14) Still Celebrating 40 Years Of The Beatles' White Album
http://alansalbumarchives.blogspot.co.uk/2008/12/news-views-and-music-issue-14-top-five.html

15) AAA Existential Questions
http://alansalbumarchives.blogspot.co.uk/2008/12/news-views-and-music-issue-15-top-five.html

16) Releases Of The Year 2008
http://alansalbumarchives.blogspot.co.uk/2008/12/news-views-and-music-issue-16-top-five.html

17) Top AAA Xmas Songs
http://alansalbumarchives.blogspot.co.uk/2008/12/news-views-and-music-issue-17-top-five.html

18) Notable AAA Gigs
http://alansalbumarchives.blogspot.co.uk/2009/01/news-views-and-music-issue-19-top-five.html

19) All things '20' related for our 20th issue
http://alansalbumarchives.blogspot.co.uk/2009/02/news-views-and-music-issue-20-aaa-songs.html

20) Romantic odes for Valentine's Day
http://alansalbumarchives.blogspot.co.uk/2009/02/news-views-and-music-issue-22-top-five.html

21) Hollies B sides
http://alansalbumarchives.blogspot.co.uk/2009/03/news-views-and-music-issue-23-top-five.html

22) 'Other' BBC Session Albums
http://alansalbumarchives.blogspot.co.uk/2009/03/news-views-and-music-issue-24-top-five.html

23) Beach Boys Rarities Still Not Available On CD
http://alansalbumarchives.blogspot.co.uk/2009/03/news-views-and-music-issue-25-top-five.html

24) Songs John, Paul and George wrote for Ringo's solo albums
http://alansalbumarchives.blogspot.co.uk/2009/03/news-views-and-music-issue-26-top-five.html

25) 5 of the Best Rock 'n' Roll Tracks From The Pre-Beatles Era
http://alansalbumarchives.blogspot.co.uk/2009/04/news-views-and-music-issue-27-top-five.html

26) AAA Autobiographies
http://alansalbumarchives.blogspot.co.uk/2009/04/news-views-and-music-issue-28-top-five.html

27) Rolling Stones B-sides
http://alansalbumarchives.blogspot.co.uk/2009/04/news-views-and-music-issue-29-top-five.html

28) Beatles B-Sides
http://alansalbumarchives.blogspot.co.uk/2009/05/news-views-and-music-issue-30-top-five.html

29) The lllloooonnngggeesssttt AAA songs of all time
http://alansalbumarchives.blogspot.co.uk/2009/05/news-views-and-music-issue-31-top-five.html

30) Kinks B-Sides
http://alansalbumarchives.blogspot.co.uk/2009/05/news-views-and-music-issue-32-top-five.html

31) Abandoned CSNY projects 'wasted on the way'
http://alansalbumarchives.blogspot.co.uk/2009/05/news-views-and-music-issue-33-top-five.html

32) Best AAA Rarities and Outtakes Sets
http://alansalbumarchives.blogspot.co.uk/2009/06/news-views-and-music-issue-34-top-five.html

33) News We've Missed While We've Been Away
http://alansalbumarchives.blogspot.co.uk/2009/07/news-views-and-music-issue-35-top-five.html

34) Birthday Songs for our 1st Anniversary
http://alansalbumarchives.blogspot.co.uk/2009/07/news-views-and-music-issue-37-top-five.html

35) Brightest Album Covers
http://alansalbumarchives.blogspot.co.uk/2009/07/news-views-and-music-issue-37-top-five.html

36) Biggest Recorded Arguments
http://alansalbumarchives.blogspot.co.uk/2009/07/news-views-and-music-issue-38-top-five.html

37) Songs About Superheroes
http://alansalbumarchives.blogspot.co.uk/2009/08/news-views-and-music-issue-39-top-five.html

38) AAA TV Networks That Should Exist
http://alansalbumarchives.blogspot.co.uk/2009/08/news-views-and-music-issue-40-top-five.html

39) AAA Woodtsock Moments
http://alansalbumarchives.blogspot.co.uk/2009/08/news-views-and-music-issue-41-top-five.html

40) Top Moments Of The Past Year As Voted For By Readers
http://alansalbumarchives.blogspot.co.uk/2009/08/news-views-and-music-issue-42-top-five.html

41) Music Segues
http://alansalbumarchives.blogspot.co.uk/2009/09/news-views-and-music-issue-43-top-five.html

42) AAA Foreign Language Songs
http://alansalbumarchives.blogspot.co.uk/2009/09/news-views-and-music-issue-44-top-five.html

43) 'Other' Groups In Need Of Re-Mastering
http://alansalbumarchives.blogspot.co.uk/2009/10/news-views-and-music-issue-45-top-five.html

44) The Kinks Preservation Rock Opera - Was It Really About The Forthcoming UK General Election?
http://alansalbumarchives.blogspot.co.uk/2009/11/news-views-and-music-issue-46-top-five.html

45) Mono and Stereo Mixes - Biggest Differences
http://alansalbumarchives.blogspot.co.uk/2009/11/news-views-and-music-issue-47-top-five.html

46) Weirdest Things To Do When A Band Member Leaves
http://alansalbumarchives.blogspot.co.uk/2009/11/nerws-views-and-music-issue-48-top-five.html

47) Video Clips Exclusive To Youtube (#1)
http://alansalbumarchives.blogspot.co.uk/2009/11/news-views-and-music-issue-49-top-five.html

48) Top AAA Releases Of 2009
http://alansalbumarchives.blogspot.co.uk/2009/12/news-views-and-music-issue-50-top-five.html

49) Songs About Trains
http://alansalbumarchives.blogspot.co.uk/2010/01/news-views-and-music-issue-51-top-five.html

50) Songs about Winter
http://alansalbumarchives.blogspot.co.uk/2010/01/news-views-and-music-issue-52-top-five.html

51) Songs about astrology plus horoscopes for selected AAA members
http://alansalbumarchives.blogspot.co.uk/2010/02/news-views-and-music-issue-53-top-five.html

52) The Worst Five Groups Ever!
http://alansalbumarchives.blogspot.co.uk/2010/02/news-views-and-music-issue-54-top-five.html

53) The Most Over-Rated AAA Albums
http://alansalbumarchives.blogspot.co.uk/2010/03/news-views-and-music-issue-56-top-five.html

54) Top AAA Rarities Exclusive To EPs
http://alansalbumarchives.blogspot.co.uk/2010/03/news-views-and-music-issue-57-top-five.html

55) Random Recent Purchases (#1)
http://alansalbumarchives.blogspot.co.uk/2010/04/news-views-and-music-issue-58-top-five.html

56) AAA Party Political Slogans
http://alansalbumarchives.blogspot.co.uk/2010/05/news-views-and-music-issue-60-top-five.html

57) Songs To Celebrate 'Rock Sunday'
http://alansalbumarchives.blogspot.co.uk/2010/05/news-views-and-music-issue-61-top-five_21.html

58) Strange But True (?) AAA Ghost Stories
http://alansalbumarchives.blogspot.co.uk/2010/05/news-views-and-music-issue-61-top-five.html

59) AAA Artists In Song
http://alansalbumarchives.blogspot.co.uk/2010/06/news-views-and-music-issue-63-top-five.html

60) Songs About Dogs
http://alansalbumarchives.blogspot.co.uk/2010/06/news-views-and-music-issue-65-top-five.html

61) Sunshiney Songs
http://alansalbumarchives.blogspot.co.uk/2010/07/news-views-and-music-issue-67-top-five.html

62) The AAA Staff Play Their Own Version Of Monoploy/Mornington Crescent!
http://alansalbumarchives.blogspot.co.uk/2010/07/news-views-and-music-issue-68-top-forty.html

63) What 'Other' British Invasion DVDs We'd Like To See
http://alansalbumarchives.blogspot.co.uk/2010/07/news-views-and-music-issue-69-top-five.html

64) What We Want To Place In Our AAA Time Capsule
http://alansalbumarchives.blogspot.co.uk/2010/08/news-views-and-music-issue-70-top-five.html

65) AAA Conspiracy Theroies
http://alansalbumarchives.blogspot.co.uk/2010/08/news-views-and-music-issue-72-top-ten.html

66) Weirdest Things To Do Before - And After - Becoming A Star
http://alansalbumarchives.blogspot.co.uk/2010/08/news-views-and-music-top-ten-aaa-stars.html

67) Songs To Tweet To
http://alansalbumarchives.blogspot.co.uk/2010/09/news-views-and-music-issue-74-top-five.html

68) Greatest Ever AAA Solos
http://alansalbumarchives.blogspot.co.uk/2010/09/news-views-and-music-issue-75-top-ten.html

69) John Lennon Musical Tributes
http://alansalbumarchives.blogspot.co.uk/2010/10/news-views-and-music-issue-77-top-five.html

70) Songs For Halloween
http://alansalbumarchives.blogspot.co.uk/2010/10/news-views-and-music-issue-78-top-five.html

71) Earliest Examples Of Psychedelia
http://alansalbumarchives.blogspot.co.uk/2010/11/news-views-and-music-issue-79-top-five.html

72) Purely Instrumental Albums
http://alansalbumarchives.blogspot.co.uk/2010/11/news-views-and-music-issue-81-top-five.html

73) AAA Utopias

74) AAA Imaginary Bands
http://alansalbumarchives.blogspot.co.uk/2010/11/news-views-and-music-issue-82-top-five.html

75) Unexpected AAA Cover Versions
http://alansalbumarchives.blogspot.co.uk/2010/12/news-views-and-music-issue-83-top-five.html

76) Top Releases of 2010
http://alansalbumarchives.blogspot.co.uk/2010/12/news-views-and-music-issue-84-top-five.html

77) Songs About Snow
http://alansalbumarchives.blogspot.co.uk/2010/12/news-views-and-music-issue-85-top-five.html

78) Predictions For 2011
http://alansalbumarchives.blogspot.co.uk/2011_01_02_archive.html

79) AAA Fugitives

80) AAA Home Towns
http://alansalbumarchives.blogspot.co.uk/2011/01/news-views-and-music-issue-88-home.html

81) The Biggest Non-Musical Influences On The 1960s
http://alansalbumarchives.blogspot.co.uk/2011/01/news-views-and-music-issue-89-top-five.html

82) AAA Groups Covering Other AAA Groups
http://alansalbumarchives.blogspot.co.uk/2011/02/news-views-and-music-issue-90-top.html

83) Strange Censorship Decisions
http://alansalbumarchives.blogspot.co.uk/2011/02/news-views-and-music-issue-91-top-ten.html

84) AAA Albums Still Unreleased on CD
http://alansalbumarchives.blogspot.co.uk/2011/02/news-views-and-music-issue-92-top-five.html

85) Random Recent Purchases (#2)
http://alansalbumarchives.blogspot.co.uk/2011/03/news-views-and-music-issue-93-top-ten.html

86) Top AAA Music Videos
http://alansalbumarchives.blogspot.co.uk/2011/04/news-views-and-music-issue-94-top-ten.html

87) 30 Day Facebook Music Challenge
http://alansalbumarchives.blogspot.co.uk/2011/04/news-views-and-music-issue-95-top.html

88) AAA Documentaries
http://alansalbumarchives.blogspot.co.uk/2011/04/news-views-and-music-top-five-aaa.html

89) Unfinished and 'Lost' AAA Albums
http://alansalbumarchives.blogspot.co.uk/2011/04/news-views-and-music-issue-97-top-ten.html

90) Strangest AAA Album Covers
http://alansalbumarchives.blogspot.co.uk/2011/05/newsa-views-and-music-issue-98-top-ten.html

91) AAA Performers Live From Mars (!)
http://alansalbumarchives.blogspot.co.uk/2011/05/news-views-and-music-issue-99-top-ten.html

92) Songs Including The Number '100' for our 100th Issue
http://alansalbumarchives.blogspot.co.uk/2011/05/news-views-and-music-issue-100-top-five.html

93) Most Songs Recorded In A Single Day
http://alansalbumarchives.blogspot.co.uk/2011/05/news-views-and-music-issue-101-top-five.html

94) Most Revealing AAA Interviews
http://alansalbumarchives.blogspot.co.uk/2011/06/news-views-and-music-issue-102-top-five.html

95) Top 10 Pre-Fame Recordings
http://alansalbumarchives.blogspot.co.uk/2011/06/news-views-and-music-issue-103-top-ten.html

96) The Shortest And Longest AAA Albums
http://alansalbumarchives.blogspot.co.uk/2011/07/news-views-and-music-issue-104-top-ten.html


97) The AAA Allstars Ultimate Band Line-Up
http://alansalbumarchives.blogspot.co.uk/2011/07/news-views-and-music-issue-105-top.html

98) Top Songs About Sports
http://alansalbumarchives.blogspot.co.uk/2011/07/news-views-and-music-issue-106-top-ten.html

99) AAA Conversations With God
http://alansalbumarchives.blogspot.co.uk/2011/07/news-views-and-music-issue-107-top-ten.html

100) AAA Managers: The Good, The Bad and the Financially Ugly
http://alansalbumarchives.blogspot.co.uk/2011/08/news-views-and-music-issue-108-top-ten.html

101) Unexpected AAA Cameos
http://alansalbumarchives.blogspot.co.uk/2011/08/news-views-and-music-issue-109-top-ten.html

102) AAA Words You can Type Into A Caluclator
http://alansalbumarchives.blogspot.co.uk/2011/08/news-views-and-music-issue-110-top-five.html

103) AAA Court Cases
http://alansalbumarchives.blogspot.co.uk/2011/09/news-views-and-music-issue-111-top-five.html

104) Postmodern Songs About Songwriting
http://alansalbumarchives.blogspot.co.uk/2011/09/news-views-and-music-issue-112-top-five.html

105) Biggest Stylistic Leaps Between Albums
http://alansalbumarchives.blogspot.co.uk/2011/09/news-views-and-music-issue-113-top-ten.html

106) 20 Reasons Why Cameron Should Go!
http://alansalbumarchives.blogspot.co.uk/2011/09/news-views-and-music-issue-114-top.html

107) The AAA Pun-Filled Cookbook
http://alansalbumarchives.blogspot.co.uk/2011/10/news-views-and-music-issue-115-top-five.html

108) Classic Debut Releases
http://alansalbumarchives.blogspot.co.uk/2011/10/news-views-and-music-issue-116-top-five.html

109) Five Uses Of Bird Sound Effects
http://alansalbumarchives.blogspot.co.uk/2011/10/news-views-and-music-issue-118-top-five.html

110) AAA Classic Youtube Clips Part #1
http://alansalbumarchives.blogspot.co.uk/2011/10/news-views-and-music-issue-119-top.html

111) Part #2
http://alansalbumarchives.blogspot.co.uk/2011/11/news-views-and-music-issue-120-top.html

112) Part #3
http://alansalbumarchives.blogspot.co.uk/2011/11/news-views-and-music-issue-121-top.html

113) AAA Facts You Might Not Know
http://alansalbumarchives.blogspot.co.uk/2011/11/news-views-and-music-issue-122-top-ten.html

114) The 20 Rarest AAA Records
http://alansalbumarchives.blogspot.co.uk/2011/11/news-views-and-music-issue-123-top.html

115) AAA Instrumental Songs
http://alansalbumarchives.blogspot.co.uk/2011_12_04_archive.html

116) Musical Tarot
http://alansalbumarchives.blogspot.co.uk/2011/12/news-views-and-music-issue-125-top-23-i.html

117) Christmas Carols
http://alansalbumarchives.blogspot.co.uk/2011_12_18_archive.html

118) Top AAA Releases Of 2011
http://alansalbumarchives.blogspot.co.uk/2011_12_25_archive.html

119) AAA Bands In The Beano/The Dandy
http://alansalbumarchives.blogspot.co.uk/2012/01/news-views-and-music-issue-128-top-five.html

120) Top 20 Guitarists #1
http://alansalbumarchives.blogspot.co.uk/2012/01/news-views-and-music-issue-129-top-ten.html

121) #2
http://alansalbumarchives.blogspot.co.uk/2012_01_15_archive.html

122) 'Shorty' Nomination Award Questionairre
http://alansalbumarchives.blogspot.co.uk/2012_01_22_archive.html

123) Top Best-Selling AAA Albums
http://alansalbumarchives.blogspot.co.uk/2012_01_29_archive.html

124) AAA Songs Featuring Bagpipes

125) A (Hopefully) Complete List Of AAA Musicians On Twitter
http://alansalbumarchives.blogspot.co.uk/2012_02_19_archive.html

126) Beatles Albums That Might Have Been 1970-74 and 1980
http://alansalbumarchives.blogspot.co.uk/2012_02_26_archive.html

127) DVD/Computer Games We've Just Invented
http://alansalbumarchives.blogspot.co.uk/2012_03_11_archive.html

128) The AAA Albums With The Most Weeks At #1 in the UK
http://alansalbumarchives.blogspot.co.uk/2012_03_18_archive.html

129) The AAA Singles With The Most Weeks At #1 in the UK
http://alansalbumarchives.blogspot.co.uk/2012_03_25_archive.html

130) Lyric Competition (Questions)
http://alansalbumarchives.blogspot.co.uk/2012_04_15_archive.html

131) Top Crooning Classics
http://alansalbumarchives.blogspot.co.uk/2012_04_22_archive.html

132) Funeral Songs
http://alansalbumarchives.blogspot.co.uk/2012/04/news-views-and-music-issue-142-top-five.html

133) AAA Songs For When Your Phone Is On Hold
http://alansalbumarchives.blogspot.co.uk/2012/05/news-views-and-music-issue-143-top-five.html

134) Random Recent Purchases (#3)
http://alansalbumarchives.blogspot.co.uk/2012/05/news-views-and-music-issue-144-top-five.html

135) Lyric Competition (Answers)
http://alansalbumarchives.blogspot.co.uk/2012/05/news-views-and-music-issue-146-top.html
http://alansalbumarchives.blogspot.co.uk/2012/05/news-views-and-music-issue-145-top-five.html

136) Bee Gees Songs/AAA Goes Disco!
http://alansalbumarchives.blogspot.co.uk/2012/06/news-views-and-music-issue-147-top-five.html

137) The Best AAA Sleevenotes (And Worst)
http://alansalbumarchives.blogspot.co.uk/2012/06/news-views-and-music-issue-148-top-ten.html

138) A Short Precise Of The Years 1962-70
http://alansalbumarchives.blogspot.co.uk/2012/06/news-views-and-music-149-top-eight.html

139) More Wacky AAA-Related Films And Their Soundtracks
http://alansalbumarchives.blogspot.co.uk/2012/06/top-five-for-news-views-and-music-150.html

140) AAA Appearances On Desert Island Discs
http://alansalbumarchives.blogspot.co.uk/2012/07/top-eight-aaa-desert-island-discs.html

141) Songs Exclusive To Live Albums
http://alansalbumarchives.blogspot.co.uk/2012/07/news-views-and-music-issue-153-top-10.html

142) More AAA Songs About Armageddon
http://alansalbumarchives.blogspot.co.uk/2012/07/aaa-armageddon-songsalbums-top-5-for.html

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This week’s top ten honours the humble motor car. The death trap on wheels, the metaphor for freedom, the put-down of capitalism, a source of...

This week we’re going to have a look at the 10 AAA singles that spent the most weeks at number on the American chart ‘Billboard’ – and it makes for...

Following on from last issue’s study of the American Billboard charts, here’s a look at which AAA albums spent the most weeks on the chart. The...

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Naturally we hold our AAA bands in high esteem in these articles: after all, without their good taste, intelligence and humanity we’d have nothing to...

What do you do when you’ve left a multi-million selling band and yet you still feel the pull of the road and the tours and the playing to audiences...

‘The ATOS Song’ (You’re Not Fit To Live)’ (Mini-Review) Dear readers, we don’t often feature reviews of singles over albums or musicians who aren’t...

In honour of this week’s review of an album released to cash in on a movie soundtrack (only one of these songs actually appears in ‘Easy Rider’...and...

Hic! Everyone raise a glass to the rock stars of the past and to this week’s feature...songs about alcolholic beverages! Yes that’s right, everything...

154) The human singing voice carries with it a vast array of emotions, thoughts that cannot be expressed in any other way except opening the lungs and...

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Having a family does funny things to some musicians, as we’ve already seen in this week’s review (surely the only AAA album actually written around...

Some artists just have no idea what their best work really is. One thing that amazes me as a collector is how consistently excellent many of the...

159) A (Not That) Short Guide To The 15 Best Non-AAA Bands http://alansalbumarchives.blogspot.co.uk/2012/11/a-not-that-short-guide-to-15-of-best.html%20%0d160


160) The Greatest AAA Drum Solos (Or Near Solos!) http://alansalbumarchives.blogspot.co.uk/2012/11/the-greatest-aaa-drum-solos-or-near.html%20%0d161


161) AAA Rock ‘n’ Roll Hall Of Fame Acceptance Speeches http://alansalbumarchives.blogspot.co.uk/2012/11/aaa-rock-and-roll-hall-of-fame.html%20%0d162


162) AAA Re-Recordings Of Past Songs http://alansalbumarchives.blogspot.co.uk/2012/12/aaa-re-recordings-of-past-songs-news.html%20%0d163


163) A Coalition Christmas (A Fairy Tale) http://alansalbumarchives.blogspot.co.uk/2012/12/a-coalition-christmas-news-views-and.html%20%0d164


164) AAA Songs About Islands http://alansalbumarchives.blogspot.co.uk/2012/12/aaa-songs-about-islands-news-views-and.html%20%0d165


165) The AAA Review Of The Year 2012 http://alansalbumarchives.blogspot.co.uk/2012/12/the-aaa-review-of-year-2012-news-views.html



166) The Best AAA Concerts I Attended
http://alansalbumarchives.blogspot.co.uk/2013/01/the-best-aaa-concerts-i-attended-news.html


167) Tributes To The 10 AAA Stars Who Died The Youngest http://alansalbumarchives.blogspot.co.uk/2013/01/tributes-to-10-aaa-stars-who-died.html



168) The First 10 AAA Songs Listed Alphabetically
http://alansalbumarchives.blogspot.co.uk/2013/01/the-first-10-aaa-songs-if-listed.html


171) The 10 Best Songs From The Psychedelia Box-Sets ‘Nuggets’ and ‘Nuggets Two’ http://alansalbumarchives.blogspot.co.uk/2013/02/the-best-of-two-nuggets-psychedelia.html%20%0d172

172) The 20 Most Common Girl’s Names In AAA Song Titles (With Definitions) http://alansalbumarchives.blogspot.co.uk/2013/02/girls-names-in-aaa-song-titles-from.html 








180) First Recordings By Future AAA Stars http://alansalbumarchives.blogspot.co.uk/2013/04/first-





185) A Tribute To Storm Thorgerson Via The Five AAA Bands He Worked With http://alansalbumarchives.blogspot.co.uk/2013/05/a-tribute-to-hipgnosis-via-five-aaa.html



188) Surprise! Celebrating 300 Album Reviews With The Biggest 'Surprises' Of The Past Five Years Of Alan's Album Archives! http://alansalbumarchives.blogspot.co.uk/2013/06/celebrating-300-album-reviews-10.html


190) Comparatively Obscure First Compositions By AAA Stars http://alansalbumarchives.blogspot.co.uk/2013/07/comparatively-obscure-debut.html



193) Evolution Of A Band: Comparing First Lyric With Last Lyric: http://alansalbumarchives.blogspot.co.uk/2013/07/evolution-of-band-comparing-1st-lyric.html







200) The Monkees In Relation To Postmodernism (University Dissertation) http://alansalbumarchives.blogspot.co.uk/2013/09/university-dissertation-monkees-in.html


202) Carly Simon's 'You're So Vain': Was It About One Of The AAA Crew? http://alansalbumarchives.blogspot.co.uk/2013/09/carly-simons-youre-so-vain-was-it-about.html















217) AAA 'Christmas Presents' we'd most like to have next year http://alansalbumarchives.blogspot.co.uk/2013/12/aaa-christmas-presents-wed-most-like-to.html




221) Dr Who and the AAA (Five Musical Links) http://alansalbumarchives.blogspot.com/2014/01/dr-who-and-five-musical-links-to-alans.html

222) Five Random Recent Purchases http://alansalbumarchives.blogspot.com/2014/01/five-random-recent-purchases-news-views.html

223) AAA Grammy Nominees http://alansalbumarchives.blogspot.com/2014/02/aaa-grammy-nominees-top-twelve-news.html

224) Ten AAA songs that are better heard unedited and in full http://alansalbumarchives.blogspot.com/2014/02/ten-aaa-songs-that-are-better-unedited.html

225) The shortest gaps between AAA albums http://alansalbumarchives.blogspot.com/2014/01/the-shortest-gaps-between-aaa-albums.html

226) The longest gaps between AAA albums http://alansalbumarchives.blogspot.com/2014/02/the-longest-gaps-between-aaa-albums.html

227) Top ten AAA drummers http://alansalbumarchives.blogspot.com/2014/03/top-ten-aaa-drummers-news-views-and.html

228) Top Ten AAA Singles (In Terms of 'A' and 'B' Sides) http://www.alansalbumarchives.blogspot.co.uk/2014/03/top-ten-aaa-singles-and-b-sides-news.html

229) The Stories Behind Six AAA Logos http://www.alansalbumarchives.blogspot.co.uk/2014/03/the-stories-behind-six-aaa-logos.html

230) AAAAAHHHHHH!!!!!!! The Best Ten AAA Screams http://www.alansalbumarchives.blogspot.co.uk/2014/04/the-best-aaa-screams-top-ten-news-views.html

231) An AAA Pack Of Horses http://alansalbumarchives.blogspot.co.uk/2014/04/aaa-songs-about-horses-top-ten-news.html

232) AAA Granamas - Sorry, Anagrams! http://alansalbumarchives.blogspot.co.uk/2014/04/aaa-anagrams-news-views-and-music-issue.html

233) AAA Surnames and Their Meanings http://alansalbumarchives.blogspot.co.uk/2014/04/aaa-surnames-and-their-meanings-news.html

234) 20 Erroneous AAA Album Titles http://alansalbumarchives.blogspot.co.uk/2014/05/twenty-erroneous-aaa-album-titles-news.html

235) The Best AAA Orchestral Arrangements http://alansalbumarchives.blogspot.co.uk/2014/05/fifteen-great-aaa-string-parts-news.html

236) Top 30 Hilariously Misheard Album Titles/Lyrics http://alansalbumarchives.blogspot.co.uk/2014/05/top-thirty-hilariously-misheard-aaa.html

237) Ten controversial AAA sackings - and whether they were right http://alansalbumarchives.blogspot.co.uk/2014/05/ten-controversial-aaa-sackings-news.html

238) A Critique On Critiquing - In Response To Brian Wilson http://alansalbumarchives.blogspot.co.uk/2014/06/a-critique-on-critiquing-in-response-to.html

239) The Ten MusicianS Who've Played On The Most AAA Albums http://alansalbumarchives.blogspot.co.uk/2014/08/the-ten-musicians-whove-played-on-most.html

240) Thoughts on #CameronMustGo http://alansalbumarchives.blogspot.co.uk/2014/11/thoughts-on-cameronmustgo.html

241) Random Recent Purchases (Kinks/Grateful Dead/Nils Lofgren/Rolling Stones/Hollies) http://alansalbumarchives.blogspot.co.uk/2014/12/six-random-recent-purchases-kinksg.html 

242) AAA Christmas Number Ones http://alansalbumarchives.blogspot.co.uk/2014/12/aaa-christmas-number-ones.html 

243) AAA Review Of The Year 2014 (Top Releases/Re-issues/Documentaries/DVDs/Books/Songs/ Articles  plus worst releases of the year) http://alansalbumarchives.blogspot.co.uk/2014/12/aaa-review-of-year-2014.html

244) Me/CFS Awareness Week 2015 http://alansalbumarchives.blogspot.co.uk/2015/05/mecfs-awareness-week-at-alans-album.html

245) Why The Tory 2015 Victory Seems A Little...Suspicious http://alansalbumarchives.blogspot.co.uk/2015/05/why-tory-victory-seems-deeply.html

246) A Plea For Peace and Tolerance After The Attacks on Paris - and Syria http://alansalbumarchives.blogspot.co.uk/2015/11/a-plea-for-peace-and-toleration.html

247) AAA Review Of The Year 2015 http://alansalbumarchives.blogspot.co.uk/2015/12/the-aaa-review-of-year-2015.html

248) The Fifty Most Read AAA Articles (as of December 31st 2015) http://alansalbumarchives.blogspot.co.uk/2016/01/the-fifty-most-read-aaa-posts-2008-2015.html

249) The Revised AAA Crossword! http://alansalbumarchives.blogspot.com/2016_07_10_archive.html


251) Half-A-Dozen Berries Plus One (An AAA Tribute To Chuck Berry) http://alansalbumarchives.blogspot.co.uk/2017/03/an-aaa-covers-tribute-to-chuck-berry.html

252) Guest Post: ‘The Skids – Joy’ (1981) by Kenny Brown  https://alansalbumarchives.blogspot.co.uk/2017/06/guest-post-skids-joy-1981.html


254) Guest Post: ‘Supertramp – Some Things Never Change’ by Kenny Brown https://alansalbumarchives.blogspot.com/2018/06/guest-review-supertramp-some-things.html

255) AAA Review Of The Year 2018 https://alansalbumarchives.blogspot.com/2018/12/the-aaa-review-of-year-2018.html

256) AAA Review Of The Year 2019 plus Review Of The Decade 2010-2019 https://alansalbumarchives.blogspot.com/2019/12/the-alans-album-archives-review-of-year.html


257) Tiermaker https://alansalbumarchives.blogspot.com/2019/06/alans-album-archives-on-tiermaker.html

258) #Coronastock https://alansalbumarchives.blogspot.com/2020/04/coronastock.html

259) #Coronadocstock https://alansalbumarchives.blogspot.com/2020/05/coronadocstock.html


Monday, 9 December 2019

The Who "WHO" (2019)



You can now buy 'Gettin' In Tune - The Alan's Album Archives Guide To The Music Of The Who' in e-book form by clicking here





The Who “WHO” (2019)


All This Music Must Fade/Ball and Chain/I Don’t Wanna Get Wise/Detour/Beads On One String/Hero Ground Zero/Street Song/I’ll Be Back/Break The News/Rockin’ In Rage/She Rocked My World


Bonus Tracks: This Gun Will Misfire/Got Nothing To Prove/Danny and My Ponies


‘We found the force, we’re back on course’


Oddly for a band whose most famous line was the impatience that they had to die before they got old and decayed, Who fans have had to learn a lot of patience through the 21st century. The fabled comeback album ‘Endless Wire’ was delayed by John Entwistle’s death in 2002 before turning up fashionably late in 2006 (a mere twenty-four years after the last album ‘It’s Hard’) and word was that the sequel would be right on its heels, an idea repeated most tours since then. In the end it’s taken another thirteen years for an album which has itself had its release date pushed back twice this year until it barely made it out for Christmas with a release date of December 6th, though more due to problems with the tour (where Roger lost his voice early on and had to have surgery to remove pre-cancerous cells – surgery that, fingers crossed, has done its job). Witty reviewers have been pointing out that at this rate Pete and Roger will be in their late eighties before we get a sequel and so this is in all likelihood the last Who album and have picked up on one of this album’s lines ‘one last rampage!’ I’m not sure I agree though; they said that about the last album which made this one on target to arrive not before 2030 and if ever a band are going to continue till they drop it’s The Who. I keep hoping that somehow Pete and Roger will get the recording bug again, realise how much they’re needed and that they still have so much to say (with a voice that still sounds remarkably capable of saying it compared to Roger’s fading peers). 


The Who are undoubtedly as relevant as ever they were, the sound of truth and sarcasm bearing its teeth in the face of a society that demands more than ever that young popstars toe the line and behave (‘I will always  be the one to speak the truth, if it don’t hurt’ is the tagline to ‘Break The News’), appealing only to the lowest common denominator who would probably run away screaming if they met The Who in a dark tunnel, even now. For our modern times the sound is spot on (bassist Pino Pallodini and drummer Zak Starkey sounding like John and Keith used to, while Pete and Roger can get on with the business of sounding like they do now): it’s how a 21st century Who would sound, with their crisp timeless sound matched to a roughly modern production, the way ‘Who’s Next’ and ‘Quadrophenia’ did. This is itself a huge improvement on ‘Endless Wire’ which was trying too hard to sound like a modern album by a modern band, albeit one that was making a deeply unfashionable rock opera. By contrast I defy anyone who didn’t know the band name to detect that ‘WHO’ isn’t by a bunch of hungry young wannabes rather than a band celebrating their 55th birthday. However what’s odd about this is that Pete’s songwriting, always so up-to-date and aware of the modern world in all it’s fallacies and self-destruction and potential greatness, doesn’t go anywhere near the modern world once.  In the thirteen years since the last album the career of whole bands have come and gone, not to mention various stories in the media that seem like they belong to an era before this g-g-g-g-generation, with songs from this album about 9/11 and Guantanamo Bay released into a world that has largely left these sad memories for yesteryear and has moved on to what random fake war Donald Trump is going to start next in the erroneous belief it makes him look good and the  startling statistic that there are now more foodbanks in Britain than there are McDonalds. There’s no mention of anything that’s happened in the last decade and even our curmudgeonly AAA oldies like Neil Young and Cat Stevens have caught up with that now. I would love to know Pete’s take on Trump or Brexit for instance and whether the changes in technology since the last album have brought us closer to or further away from the dystopian/utopian imagery of ‘Lifehouse’, but alas all that seems to have ended up being diverted into Pete’s new novel instead (‘The Age Of Anxiety’; the answer is mostly that it makes him scared). The world is a mess and we need The Who more than ever before, their rage and power and sharp edges and if there’s a theme to this album then I’m pleased to say that it’s a nod to ‘We Won’t Get Fooled Again’, the idea that the band are older but also, somehow, wiser, and they can see through all the band-aids that the world has plastered over it’s real problems hoping they’d just go away. Far more so than ‘Endless Wire’, which was an album largely recycled from all the hooks that The Who were most famous for, ‘WHO’ sounds like a living breathing embodiment of all things the band ever stood for, at last. 


Unexpectedly, though, the old Who sound it most recalls is ‘Who By Numbers’. You would think from a band this aged and from the first of their albums to be named after the band (something groups traditionally do with their first re3cord) that they would be full of their own identity by now, confident and self-assured, but not a bit of it. The first major release in the Whoniverse since Pete wrote his autobiography ‘Who I Am’, ‘WHO’ is kind of the band’s equivalent: for all that they’ve done, for all the units of vinyl shifted, for all of the books written about them and assumptions made, Pete still doesn’t know who the Who are and never did. ‘I know you’re gonna hate this song!’ is almost this album’s first line, recalling ‘New Song’ as Pete imagines what perhaps Roger or maybe his fans will say about his new work, while ‘Rockin’ Rage’ admits that ‘I’m too old to fight…and might as well be mute’ in one of the most direct throwbacks yet to the band’s most famous generational song, while other songs have the entirety of The Who as a ’detour’ when Pete expected to be doing something else with his life or has the narrator actively getting in touch with the audience he knows he’s been ignoring for decades now (‘Street Song’). ‘Hero Ground Zero’ is also a fascinating song – for all the 9/11 references it sounds to me as if it’s set in the early 1980s when Pete felt ‘the heat of a new sunrise’ on his back, but his band were more interested in being ‘rockstars who wanted to make movies’ (quite a dig at Roger, that). This isn’t an album that sounds like anything else in the AAA canon though: our other septuagenarians worked out who they were a long time ago and have either grown to accept it (Cat Stevens),get nostalgic (Paul McCartney), act like our elder and superior because he warned us this was all going to happen (Roger Waters), worry about what comes next (Paul Simon) or ignore it (most everybody else). By contrast ‘WHO’ sounds like a slightly slower version of debut ‘My Generation’, split between being full of guilt for the fact that the band can’t fit in and half mocking the world that does. Pete has lost little of his bitterness and Roger still has the ability to put across that rage well, angry on behalf of the political prisoners still being kept in Guantanamo Bay, angry at the fire-fighting-fire that happened in the wake of 9/11, angry that the 1960s utopia died out when the decade did and nobody really came along to carry on the mantle, angry that they still have to be doing this and pointing out life’s imperfections instead of living in a perfect world. Only on ‘I’ll Be Back’, already this album’s most divisive song amongst fans, do The Who sound middle-aged (and then only middle, not old-aged). However, as with Pete’s darkness of the soul works in the mid-1970s, he no longer feels capable of ‘joining the parades’ – he has nothing to say that will comfort us and feels just as lost and messed-up as we do and feels as if he’s just going through the motions. For all that this gives ‘WHO’ a faintly depressing tone though (and even though this album is clearly less inspired and courage than the exquisite ‘Who By Numbers’), at least this is honest and makes ‘WHO’ sound like a much more ‘WHO’ album than ‘Endless Wire’ ever did.  


I’ve noticed, while going back through the reviews in my Who book in order (‘Getting’ In Tune’, out in October next year folks!) how much of Pete’s writing seems to be a search for identity. There’s that band name for a start as well as various rock-operas exploring characters trying to find their place in the world (‘Tommy’ after outside hurt, Jimmy The Mod from Quadrophenia from the pressure of growing up, the characters in ‘Lifehouse’ growing up isolated and alone, ruled by a wicked tyrant government that thinks it’s trying to keep them safe). It all came crashing down in 1975 when Pete admitted he didn’t know who he was anymore and could no longer keep the truth from us – that he was a washed-up drunk has-been who’d been fooling us all this time. Quite apart from the fact that he was wrong (the brilliance of The Who was that they reflected our own less than perfect selves) ‘Who By Numbers’ brought identity back to the forefront of The Who sound again in 1975. If ‘Endless Wire’ sounds more like the albums that followed, the cleverly written and catchy but ultimately less satisfying batch of material from 1978-1982, then ‘WHO’ is back at that worry again: what place is there in the world for a writer-guitarist and a singer who retired decades ago but could somehow never quite stop? Pete never quite finds it across these songs, but it’s the fact that he’s back looking for it that brings the special magic to this album and particularly the first half, the old teenage belief that stability and happiness are right around the corner. It’s as if, when Meher Baba supposedly told Pete in 1980 to ‘keep playing guitar with The Who until further notice’ Townshend has been straining to hear what that further notice might be and still hopes he might find it, but is ready to fill in more passing time with another album (it’s notable that while Baba’s influence was strong on ‘Endless Wire’ here he’s restricted to the bonus track ‘Danny and My Ponies’).  


As an aside, traditionally most of The Who’s cover illustrators have picked up on this sense of identity, of needing to belong to something without being quite sure what. You can see it in the trendy pop art outlines on ‘A Quick One’, the blue tunnels of spirit on ‘Tommy’, on John Entwistle’s join-the-dots illustration for ‘Numbers’ (where until the links are made the drawing could be of almost anything) and the sixteen-heads-as-one cover for ‘Face Dances’. Failing this The Who have always just gone with a generic ‘photo’ cover, usually one with the band playing up to camera as if laughing at how their peers do this kind of thing (‘My Generation’ Who’s Next’ ‘Who Are You’ and at a push the modern look of ‘It’s Hard’). ‘WHO’ has perhaps the most banal cover of them all with its mixture of imagery and symbolism fans will recognise (from boxers to Chuck Berry to baked beans, via pinball to mod scooters). Peter Blake’s third cover for the band is sadly more like his ‘greatest hits’ work for The Who than his genuinely daring one for ‘Face Dances’ and its all clearly meant to hit the nostalgia trail. Clever marketing maybe, but it feels wrong for an album that if nothing else is trying so hard to be honest throughout. At least no one is sitting in the baked beans risking hypothermia this time though, so at least something has developed in fifty years of making records. 


One thing that alas doesn’t quite work is that this album was largely recorded in two separate parts – and it sounds it too. For all that Pete and Roger sound closer than ever in interviews these days they are clearly still struggling to work together and recorded all their parts separately. That leaves Pete in charge of the backing tracks on one side of the Atlantic, ably assisted by three bassists and three drummers (but the bulk by Piano and Zak) and unsung hero and Pete’s younger brother Simon who gets his first ever song on a Who album after thirty loyal years on the road (the nicely Who-ish ‘Break The News’).  Roger, meanwhile, added his vocals later half the world away with Bob Pridden and Dave Eringa overseeing his parts. As far as I can tell Roger had little input into what Pete wrote for him – and Pete had little input into how Roger sang his words. At times this dichotomy shows: though snug, the two don’t quite fit. Roger sounds as if he’s singing along to a band who are playing in the next room, not flying centre-focus in the eye of the hurricane the way he used to. It also sounds like a Pete Townshend solo album with a guest lead vocalist rather than a true collaboration, although I guess there’s only so much input a singer who reportedly hated writing songs can ever have. Even so, as much as Pete has been telling us lately that he’s been ‘writing the sort of songs that Roger could enjoy singing’ I’m not altogether convinced by that either: the man who famously disagreed with the deeply personal nature of ‘Who By Numbers’ and ‘Who Are You?’ sounded much more comfortable on Pete’s more generic story-telling songs from ‘Endless Wire’ than he does here channelling the personal view of a brain that, by all accounts, couldn’t be less like his own. However Roger at least still has his roar largely intact to get him out of trouble; it’s Pete who really sounds lost on his own vocal tracks, underplaying his own performance so that they sound more like they belong to a different band than ever. If you happen to own the deluxe version of this album (and I’m not altogether sure you should, given that for once all the good stuff really did make the parent album) then hearing a mid-twenties Pete singing lead on ‘Got Nothing To Prove’ just pushes the point home even more: that Pete lived for every line even when he didn’t expect anyone outside close family and friends to ever his demo tapes; this Pete is putting on a ‘performance’ and on this album particularly that seems like the ‘wrong’ thing to do. If I was to put my cynical writer’s head on for a moment Worzel Gummidge style (you know, the one that has the same look of withering scorn that Pete di on the ‘My Generation’ cover) I could also tell you that things fall apart a bit on the album’s second half, when the band get out the synthesisers and slow down the tempo to a crawl for too many unfinished-sounding tracks in a row. The lyrics of this album are again stronger than the melodies, as if they are easier nowadays for Pete to write. I also laughed my reviewer socks off yet again at the people who said this album is the band’s best since ‘Quadrophenia’ as they’ve been saying every since 1975 – it’s hardly that.  


No matter though – what other band even got close to ‘Quadrophenia’ in forty odd years? No that would be asking too much and all you can really ask of a modern-day album by a one-time giant who retired once because they had nothing to say is that it doesn’t hurt their legacy. The great news is that ‘WHO’ does all that and more and this album still gets one hell of a lot more right than it gets wrong. While there’s nothing here to match the highlights of even the lesser last Who run of ‘Face Dances’ and ‘It’s Hard’, ‘WHO’ is a consistently impressive record that only messes up a couple of times. Every song sounds like it could have been recorded by the ‘old’ band and a logical extension of where it all started with ‘I Can’t Explain’, a return to the simple brilliance of the sixties Who rather than the eighties Who of ‘Endless Wire’. This is something helped greatly by the power in the rhythm section admittedly, but Pete’s writing too sounds far more like his old self, as intellectual as ‘Wire’ yet far more emotionally charged. Pete and Roger aren’t just thrashing about as if they’re twenty either – there’s a layer of wisdom and understanding to this record that Pete could never have written during his younger years (dare I say it, is ‘Beads On A String’ Pete finding faith in a religion that isn’t Babaism?!?), but equally this isn’t a band who have worked out all the answers to life a long time ago and no longer have to keep in touch with their audience. Best of all there are lashings and lashings of that famous Townshend guitar underpinning everything, the first time we’ve heard it so loud in the mix since the early 1970s back where it should be. Pete sounds as messed up as ever he did, aching to belong to something bigger than himself and desperate for forgiveness, whilst as cynical as ever that the people in charge of keeping us safe and well do any such thing. There’s a moment in ‘Ball and Chain’where Pete surprises you by suddenly making his narrator middle-aged and dying of a tumour: so successful are the opening two minutes at being everything the 1960s Who stood for you could easily believe you had travelled back in time.  The Who are still our ‘heroes’ who sound ready to ‘take off’ and reach new heights if only this album sells enough copies to let them and who have grown up, but who are still very much in touch with the adolescents they always were (hence my favourite line from the album: ‘I was touched by angels, who told me my future was…postponed’). WHO cares if that teenage wasteland is still stretching into old age, for this band know better than to pretend they have all the answers and WHO fans know better than to make their heroes pretend. The Who are back on track at last and if this is to be a last hurrah then it is a noble coda to a great legacy that in true Who style does thing nobody else in their g-g-g-g-generation ever could.      


Album opener ‘All This Music Will Fade’ is ‘New Song’ done properly, with a few sneaky tips of the hat to ‘Substitute’ along the way. Pete-Roger never did get to become ‘black’ the way they wanted and now they’re grey they’re well aware they aren’t relevant to the music world anymore. They have no drive anymore to change the world because the world is never changed just by a song and the days of a movement for good being driven by songs is long gone. They don’t care what we think anyway because ‘we never really got along’ spits out Roger, though it is perhaps Pete talking to Roger or maybe the two of them talking to us, with memories of what happened last time (when ‘Endless Wire’ was a respectable rather than billion seller). For all that this song keeps telling us over and over why we shouldn’t be listening to this old and supposedly dated band though, it’s so hard to look away. There’s a great line that has Pete trying to get angry at everyone stealing his songs, before admitting that he’s no saint and he’s done it too. This is the one song on the album to be driven by a rock and roll riff, a fat heavy guitar sound that’s ‘Pinball Wizard’ in a tumble-dryer, falling over itself to try and grab our attention. Zak sounds impressively like his God-dad Keith Moon. Roger sounds magnificent, as if he’s found the secret of eternal youth as he fully invests in Pete’s mocking lyric in a way his younger self never could back in 1978. Sadly he won’t sound quite this good for the rest of the album, but for a second there this could easily be a vintage Who outtake. After a year of not really hearing any rock and roll on the radio at all (even Liam G’s biggest hit this year was a ballad) it sounds so utterly devastatingly good that you can’t ignore it, so immediate and dangerous and everything that was ever great about The Who. This is rock and roll back to shaking our life by the roots, demanding our dinner money and forcing us to change how we think, the way it should be. However, in a wicked twist on his usual ‘listening to you’ statement to the audience Pete whisks it all away from under our noses, a sea of mini-Townshends telling us that ‘what’s yours is yours and what’s mine is mine’, as if our generation don’t even deserve this music anymore now that we’ve agreed to sell out for that awful piped-in stuff. ‘Ah, fuck it!’ swears Pete on what was clearly intended to be a fade too, at once making him sound younger and more rebellious than the crowd he is laughing at and ensuring this song won’t get played on the radio after all. It also reminds me of that old adage: don’t trust anyone under seventy-four, because surely only the hippie generation ever go anything right and weren’t taken in by the system. What a start! The Who immediately sound a half-century younger than they did on ‘Endless Wire’. Attitude will get you everywhere even if, as one line of this song admits, it really is only a ‘simple verse’.  


As if to underline the point made in the last song, ‘Ball and Chain’ would have been the perfect protest song for somewhere round about 2009 ten years ago – but The Who weren’t around then (perhaps because we didn’t deserve them?) It did in fact appear in an earlier inferior version as ‘Guantanamo’ on a Pete Townshend solo compilation in 2014. Roger’s bluesier voice sounds more like the rougher edges he had on his collaboration with the Dr Feelgood guitarist (a record I’m still desperate to re-name ‘Roger and Wilko’!) than anything he did with The Who and musically at least is the one track here I can imagine Pete writing purely to give Roger something he liked singing. This is Roger at his best too, angry at a world that said it would only lock terrorists up in Guantanamo Bay for a short time for questioning, angry at a world of haves and have-nots that re-acts in this over-handed way to terrorists instead of deflating the causes of tension in the first place, angry that the Western world attacked communist Cuba for corruption and then did things ten times worse, angry that the world didn’t get better or more honest as promised. This is a world where we did get fooled again, where the young leaders just took over from their elders with no change at all ‘still waiting for the big cigars’. Incidentally, around 200 prisoners have actually been released from Guantanamo Bay, though many purely to other existing prisons and to accommodate new terrorists who have been locked up instead (this is one of those very revealing modern news stories that would have been reported down the middle even a few years earlier, but now is split between the right pointing out that people were released and were only locked up to keep us safe and the left pointing out that they weren’t properly and were never as much of a threat as we were told. This fits in nicely with a bigger over-arching theme of this album that the world has been polarised down the middle between those who believe ‘fake news’ even though it is getting more blatant and more dishonest and those who see straight through it but don’t have any role-models to tell them the truth anymore. Pete ducks the question several times this album about whether that person should be him). It’s hard, though, to imagine another album where Roger would sound so right singing one of Pete’s most dense and poetic creations though: lines like ‘there’s a long to travel for justice to make its claim’ sounds more like CSN or Moody Blues than The Who. The fact that it fits this band as well as it does though has much to do with Roger’s magnificent vocal and the lashings of thick Townshend grungy guitar that sound much like the title track of ‘Who Are You’. Unfortunately this song just ends without the cynicism or even the scream of a ‘Won’t Get Fooled Again’ to punctuate it, so it never quite becomes a classic to compete with the days of old. Even so, is this the best one-two punch on a Who album since ‘Who By Numbers’?!?


‘I Don’t Wanna Get Wise’ is The Who growing old disgracefully and it’s so totally utterly Who-like. Pete admits to everything – yes his bandmates were drunk, yes he got lucky, yes they lost band members, frequently turned up late to gigs, he was a faker who bluffed his way through it all and the band failed at staying young the way their audience wanted them to. But by God how they meant every word (and despite the band’s image Pete slips in the very hippie line ‘we tried hard to be kind’). Everyone said The Who would grow up one day and be horrified in their old age at the antics of their youth as ‘snotty nosed kids’. Pete, though, is now older than almost all his critics back in the day and he still stands by everything the band ever did. Were they always right? No – Pete admits in a further damning verse that sounds like an outtake from ‘Numbers’ that he got smug, drugged-out, puffed up and reduced to producing ‘crap’ as he realised he didn’t actually have to be any good in order to get paid. But even here Pete knows that they had to do it, that it was the right thing to do and the universe only stopped them when they stopped believing in what they were doing, not when they were scaring the people who needed to be scared. Pete also disputes his most famous line, arguing that you should never retire when you have something to say (‘Why set a fire you plan to douse?’) Roger sounds utterly magnificent again, his vocal half boastful about having been in one of the greatest bands that ever lived and half a sneer at having gotten away with it. If, as I’ve long argued in my Who reviews, the de facto sound of this band is the kid everyone picked on using the voice of the bully to scream back at the world, then this is the song where they both pat each other on the back having ganged up on the people who truly deserved it. Though I could have done without the auto-tuned Pete harmony (even on this album this is a track calling out to be sung honestly and from the heart), this song is another winner with perhaps the best melody on the album, part ‘Bargain’, part ‘Young Man Blues’. May The Who never get wise when they can sound like this!


‘Detour’ is a detour in more ways than one and the first track on the album that isn’t top-notch. It doesn’t sound like The Who so much as an odd combination of what both Pete and Roger have been doing in their solo work – it has the same 1950s throwback sound of, say ‘Face To Face’ and all the Daltrey solo albums where he isn’t just singing syrupy ballads. It’s also, weirdly, not unlike the blues and R and B songs The Who were singing in their very earliest days back before they (or at any rate their manager Pete Meadon) discovered mod, back when they were called erm ‘The Detours’. The lyric, though, is very much about the present day again: Pete believes that ‘we’re all good people deep down’ but we’re not allowed to be in a divisive age that makes us miserable and sets us on each other in an attempt to get ahead. The Who demand that we pull a u-turn before it’s too late and ‘swerve’ back to the way it used to be. They have no qualms from me about that, although it’s interesting that the period of music we turn the clock back to here is the 1950s, arguably the last time that music (or at least successful music) was quite this generic and bland. Roger at least makes this music come alive, although the backing track never quite gets there. Pete’s guitar stings nicely (sounding like his solo acoustic renditions of ‘Magic Bus’) but every other overdub, from the very 1980s synths to the twee backing vocals, only take away from the power of this song they don’t add to it. Fittingly, perhaps, this main lyric also finds room for two ‘detours’ which sadly are only sketched in but sound like much stronger songs. One is The Who again, Pete acknowledging that he only felt safe and comfortable in this band ‘fifteen’ years in which puts it about the time Keith died and the albums stopped selling, ‘adolescent fears’ keeping the band together. Another is the fallout from a marriage, presumably Pete’s to college sweetheart Karen which ended around the same time The Who did.  In keeping with many of his originally unreleased ‘Scoop’ demos and a few bits and pieces of his solo work but interestingly not much of his Who work Pete apologises for saying ‘I love you’ when he didn’t fully mean it and for ‘always leaving you holding the weight of my pain’ before ‘running away’ (this could also, of course, be a sneaky reference to Meher Baba and getting blind drunk instead of saving the universe as his guru wanted him to). Whatever it is this three-way apology is a rare album song that’s more fun to analyse than to listen to and a rare miss on this album, although even this song is head and shoulders above 90% of ‘Endless Wire’. 


‘Beads On One String’ sounds as if we’ve just jumped in one go from ‘My Generation’ to ‘Face Dances’. While Pete wrote some gorgeous ballads over the years he wrote some pretty anonymous ones too and this song is alas one of those, sounding not unlike one of Roger’s solo albums until the harmonies and vocals suddenly come in. Lyrically though this song is an orphan, utterly unlike anything else any part of this band have done before. Pete apologises again, but this time to God (and not just to Meher either by the sound of it), wondering why the human race keep quoting the Bible and then misunderstanding it, ignoring the messages of peace to take lands belonging to other religions. Once again it feels like a relic from a decade ago when the Iraq and Afghanistan Wars made it feel like a second Christian crusade. The idea of humanity being different coloured versions of the same thing ‘beads on the same string’ that can’t see the bigger picture of God’s jewellery box is a strong one, though it’s unfortunate that the album has to choose this moment to get sugary with ‘Sister Disco’ style synth runs which nudges this song into uncomfortable worthy-but-dull ‘charity single’ status. Roger, too, sounds far less sure of himself here than he does roaring his head off and for the first time you can hear the age in his voice as he tries to play it sweet and tender. Remember too this album’s opening lyric about people nicking your work and not getting everything right yourself? Well, this album’s idea is taken wholesale from a band named Uncover and their album ‘Dark Arc’ from 2014 and a much more Who-ish song it sounds too (not an apology to God but an accusation that faith didn’t keep their loved ones safe from harm, before a chorus that has the narrator expressing belief again all the same). The result is a song that isn’t that bad but sounds so out of kilter with everything else (and Townshend’s damnation of the Catholic Church on ‘Man In A Purple Dress’ from ‘Endless Wire’ – he got quite a bit of stick from religious fans so is this him redressing the balance?)  that it rather sticks in the throat. 


Most of ‘WHO’ has been a return back to the band’s early days of simplicity and shock, but starting with ‘Hero Ground Zero’ the album makes a move towards the complexities of ‘Lifehouse’. On one level this is a simple song akin to ‘The Dirty Jobs’, with Roger a youth whose too young to have done anything but is truly bursting with ambition and possibilities. Life hasn’t got complicated yet – he doesn’t feel pigeon-holed at doing what he’s told he’s meant to be doing yet. On another level it’s about the potential of everybody to be a future hero, from the firefighters on 9/11 on. On yet another level this is a song about Pete’s ever evolving relationship with Meher Baba and his feeling that on some level he was ‘blessed’, given all the right lucky breaks at just the right time to make something of his life ‘marked by the angels’ before they drop him and he ‘sinks like a stone’. Other Pete songs for decades now have dealt with the fall-out from that feeling of no longer being ‘special’ but here, for one glorious five minute song, Pete is back in grateful mode, proud that he was chosen when he was an absolute nobody at the start of his career. This very clever song fits together several different periods of Whodom in one giant whole – the opening violin phrase mimics the Bach pieces that inspired so much of ‘Lifehouse’, the synth lick that washes in and out of the song is pure ‘Baba O’Riley’, the opening verse is a softer, happier, there’s a key change straight out of ‘The Punk and the Godfather’, kinder ‘The Real Me’, while the drum charge from Zak’s greatest performance on record yet puts you instantly in mind of The Who in their mid-1960s prime. However this is more than just the musical version of ‘Where’s Wally’ played by ‘Endless Wire’ - the lyrics too could have been from any era for they are what The Who have always done best, giving faith and hope to an under-dog who fears he’s in for a miserable life that actually turns out to be pretty wonderful. The brilliance of it all though is that this is a seventy-odd-year-old band praising youth – not slagging it off as their peers so often do, or wishing they were young, or less miserable, but a memory of how great it felt to be alive back when life was simple. That’s such a Who thing to do on what might well turn out to be their last album, wishing in a way that they had indeed died before they got old – but of course if they had they wouldn’t have learnt to appreciate their youth the way they do here. It’s hard too not to shed a tear as Roger, on Pete’s behalf, thanks fate for allowing him to never grow up, the life of drudgery he was born into (and, so most 1960s musicians reckoned would be waiting on their return when rock and roll spat them out and gave them up) ‘postponed’ past the point where he no longer has to live it anymore. Probably the album highlight on a record bulging with greatness, with Roger nailing Pete’s genius as only he can. 


Almost as good and even more complicated is ‘Street Song’ a return to the dense image-laden songs of ‘Face Dances’ and ‘It’s Hard’ but far happier and played by a band who use it as an excuse for a boxing match rather than laidback pontificating. It’s all part of Pete’s long return from hibernation, getting out of the headspace of the last few decades with works like ‘Psychoderelict’ and ‘Endless Wire’ that you sense you had to be Pete himself to truly understand and make the most of and re-connecting with his audience. The Who were always at their best when holding up a mirror to the world to reflect its fears and concerns and Pete even wrote a song very similar to this one, ‘Street In The City’, about looking beyond the end of his nose to what the people in his town were up to. This song though is less arch and more heartfelt, picking up specifically on what the youth of the day – the Who of the new era – are feeling and what it makes Pete feel now. For the most part this is another upbeat, optimistic song as Pete realises that his inspiration haven’t really gone anywhere – they’re here in the world waiting for him, with human beings out there in the ‘real world’ as complicated, desperate, messed-up and yet brilliant as he remembered. Like ‘Ground Zero’ Pete goes against the curve here – where everyone else sees a world of failure, a dying planet ruled by corrupt politicians turning us on each other he sees untapped potential. This ‘street’ could be any street around the world and it’s ruled not by the ‘supremos’ but by ‘us’, the people who walk it every day. . The key line here is ‘we can shout and we can share’, a line that perfectly merges hippie-speak with the modern age and its times of social media while reflecting Pete’s long-term vision of a humanity that can move things without the need for leaders (a key theme of ‘Lifehouse’). ‘We once lacked the strength to wail…and stooped to fail’ says Pete, but he sees a huge sea-change in the way people are thinking as they walk out on protests and demand their rights. Another verse has the movement like a fire, one that the band thought had extinguished slowly coming back to life again – because the human spirit can neve3r truly be extinguished. It’s like the 1960s never went away and for a brief shining moment Roger sounds as he used to then too, holding on to long lines that strain him but on which he still sounds magnificent. Much as The Who may have laughed at the biggest excesses of the hippie era (they never really did peace and love) they were always perfect for the sense of community the age created and it’s odd in many ways that it should have taken so long to get a song like this in their canon – the closest is ‘Listening To You’ but even that song is sarcastic and bitter and this one is heartfelt. Well for the most part. Just when we think we’ve reached a big finale, all flying Keith drum-parts and Roger heavy breathing, the song leaps across a chasm and falls short, crashing on a minor key that comes out of nowhere. Just as in the days of old Pete’s worried voice peeps out from behind Roger’s, afraid that we are all just going to get fooled again. ‘Gotta keep running but you can’t get out’ he sings over and over, getting increasingly desperate till Roger doesn’t so much compete with him or shut him up as he always used to but rather lulls him with a lullaby, repeating affirmations from the main song: ‘We will, we’ve searched for so long, we sing, that street song, for so long, my darling’. This naturally leads in to one last great reprise of the main riff as the song goes for one last dazzling audience-connecting hurrah. Wow, Roger actually comforting Pete in song, now I’ve heard everything! Another album and indeed highlight as The Who take their usual scathing look at the modern world and yet still find it in their hearts and give us hope. Even my street start looks a little brighter with this song playing and boy is that saying something!


Alas, in next comes ‘I’ll Be Back’, which is a song that seems designed to drive the same audience away. The album’s most divisive song looking at internet forums, it’s the one that doesn’t really fit and one that sounds far more like what Pete has been writing in his solo career (which might be why he gets to sing it, not Roger). A love song for second wife Rachel but written with the strings that always used to be associated with first wife Karen (not least because her dad used to do the string arrangements for Pete), this is a treacly ballad about being blessed and finding a happiness and stability Pete once thought was a myth and mirage. He can afford to laugh at himself on an auto-tuned middle eight of ‘being a star wanting a big car…’, thinking he had everything in his youth with record sales, fans galore and money in the bank. However what his younger self didn’t know was that this was just another mountain he had to climb up to see what really mattered in life – love. That’s a sweet idea and contrary to what many fans think I like the idea that one of our messed up, miserable Who narrators finally gets to understand the meaning of happiness. This is what I like to think happens to all those characters after the records stopped playing: it’s the true love Tommy gets when the crowds have dispersed and all the sycophants have left; the love story at the heart of ‘Lifehouse’ finally allowed to unfurl quietly at its own pace in a new world of freedom  and the ‘reward’ Jimmy gets for being brave enough to climb off his rock and give love another try. For all his cynicism and barbs over the years there’s always been a romantic heart beating in Pete’s songs and while we’ve heard that a few times in his solo work it’s lovely to hear that as part of The Who’s canon. Pete also touches on re-incarnation, believing that next lifetime he’ll be back to the grindstone looking for what he has now – but for now all he has to do is savour it until the end of his days. The problem I have is with this song is what Pete and co then did to it: there’s a very pre-war vibe with the Larry Adler/Max Geldray harmonica lick while the Rhodes piano is pure late 1970s and the slow tempo and crooning effect in Pete’s voice is 1980s coffee lounge. That’s without the vocodered middle eight which is barely the right side of rap or the sugary strings (‘What did you think that was? Mantovani?’ Well yes actually Pete, that’s exactly what it sounds like). Love can make you do funny things it seems and never more than this song, though it’s growing on me the more I play it. 


‘Break The News’ is an intriguing song. It’s a track that’s trying so hard to be 1960s that it couldn’t possibly have been written by anyone actually around at the time. All becomes clear when you learn that this is a song written by Townshend S rather than Townshend P and from a true blue Who fan indeed rather than a band member (it thus becomes the first ‘cover’ to make a bona fide Who studio album since ‘The Hawker’ although then again Simon has been in the band longer than Keith Moon nowadays). Normally tapping into songs by your unpublished younger brother would be a bad move, but this is a great song, a sweet tale of love and faith that’s very in keeping with the Who tradition despite being another rare love song. For what does love mean to this narrator? It means the difficult, edgy stuff not the sloppy romantic clichés and deals with how complicated and contradictory love really is at its core. Roger’s narrator wants to be comfortable enough to ‘speak my truth’ but also wants his partner to be comfortable enough with how loved they are that she knows he would never say anything to hurt her. Like all good Who songs this one also throws back to ‘My generation’ and the idea of youth. The song looks back on a youth spent making love (with memories of ‘Love Ain’t For Keeping’ in there for good measure) and is amazed to find that it’s not just restricted to the young – this couple are getting old now and yet they still feel the same way and do the same things. The narrator’s reflection on aging: ‘life’s amazing, but it’s been a bumpy road’, before debating the question of whether the difficulties have enabled him to grow from a child into an adult or whether he’s still the same; the narrator isn’t sure and all he knows is that he ‘doesn’t feel any different’. As ever with The Who, was this narrator always old before his time (a youthful curmudgeon) or is he perennially young and adolescent? These are very Who questions and while it doesn’t sound altogether like a Who song (it’s more like an Oasis pop song or a Britpop 1960s cover) with a particularly catchy chorus), it works well with a good chance for Pete to do some acoustic rather than electric playing for a change. Roger sounds at his weakest here, the key pushing his vocal uncomfortably high, but even that works on a rare song that couldn’t have been sung by a ‘youthful’ narrator. Overall it’s pretty, not a word often associated with The Who but something they pull off well here.


So far we’ve had most periods of the Whoniverse across the album and one that fans probably weren’t expecting is ‘Rockin’ In Rage’, a throwback to the postmodernism songs-about-writing that appeared on ‘Who Are You’. Just as on ‘Guitar and Pen’ Pete writes a song by trying to work out why he’s writing at all, figuring he has enough in hi for ‘one last rampage’. Two verse speed by as Roger sounds uncomfortably weak and insipid, singing lines that surely reflect Pete’s feelings since the much-publicised (and misunderstood) child porn charges a decade or more ago. He’s pushed to the sidelines, afraid to ‘speak the truth’ so going the other way and deciding to become mute, turning his back on a world he no longer understands and which he thinks can get along just fine without him, too old to have anything left to say. However a very Who chord change (‘Summertime Blues’ via ‘Substitute’) wakes him up as he realises why he always wrote in the first place: out of rage. He’s still as angry as ever so he tells himself he should be still writing, figuring that if he’s still here and hasn’t been taken yet when so many others have then he is surely meant to still say something worth saying. Returning back to where it (nearly) began, Pete even tells us that his task now is to learn how to ‘die right’, to have learnt all his lessons and express everything there ever was to express, his job done. This wasn’t he old age he’d imagined for himself, he tells us. He thought he would be old and worn-out, ‘freed’ to act as a kind old man whose problems were all spent. But he doesn’t feel like that: there are still too many rights to wrong, still too many crosses to bear, too many wrongs to put right. Though the ‘pop opera’ style makes this song tougher going than it should be, the song continually slowing down to show up the contrasts between the two halves, this is another very Who construct and fans of ‘Guitar and Pen’ have a worthy sequel on their hands. Roger seems to understand how to sing these sort of songs better these days too, getting into a right old battle with Zak on the false ending, before the song goes back to the start again. Also, the fact that ‘rage’ and ‘age’ rhyme makes this the perfect Who song – how have they never used that rhyme before?!?


The album deserved to end there in many ways, Pete and Roger still – quite literally – raging against the dying of the light. Instead we get a last experiment in ‘She Rocked My World’, another love song from Pete to Rachel as he tells us Who fans the biggest development since ‘It’s Hard’ (an album, remember, filled with songs about affairs and lust, a far cry from the stability Pete has found since). The biggest development is that this is an out-and-out jazz song. One imagines that Pete gave this song to Roger not so much to give him something he wanted to sing as because he couldn’t perhaps sing it himself – this piece demands a singer who can hold long notes and keep them spinning over several spins of piano chords this way and that. For the most part this song is unexpectedly faithful to the genre as Pete recalls how he met his partner in a town where ‘old friends are gone’ and he noticed a girl in a bar (not quite the true story interestingly: she was recommended to him when he was looking for an arranger for the ‘Lifehouse’ gigs of the early 1990s).  When other romantic crooners sing about how a person ‘rocked their world’ they’re lying – no one could possibly mean it the way they do as this girl changes everything about his life in an instant. For the most part this is as un-Who like as it’s possible to get, but the moment when the song moves from a jazzy (5/4?) time signature to a more rock and roll attack. Interestingly Roger sounds more comfortable on the jazz than he does on this part, lowering his voice to its more natural growl instead of his higher-pitched rock voice. It’s all very nice, but very unexpected and makes for a rather odd ending to the album (and, quite possibly, The Who’s discography), even if in many ways it is a more sophisticated update of where we started with ‘I Can’t Explain’ (with this narrator unable to describe how in love he is, even if he’s more open about the fact that he is in love this time).      


 Onto the bonus tracks now, sadly none of which are up to the album standard and all of them sung by Pete with no sign whatsoever of Roger (did he decide not to sing on them because he didn’t understand them or were they simply not considered suitable to give to him?) In his publicity for this album Pete has been having fun at The Rolling Stones’ expense, saying that he stayed away from writing and recording because he didn’t want to end up where his old rivals were repeating themselves into cliché. However, from it’s title down ‘This Gun Will Misfire’ sounds exactly like a modern-day Stones song. It’s a rock song that’s been slowed down so the band can keep up and given a modern production style to make it sound falsely period. Unlike the rest of this album’s impressively clear production, too, everyone sounds as if they’re playing a different song entirely and it’s all a bit messy, your ear not quite sure where to go. That’s a shame because there’s a good song buried within here, touching on the themes of revolution and rule heard on ‘Won’t Get Fooled Again’ and on a few songs on ‘WHO’. Every violent revolution always come back to hurt the perpetrators, sings Pete here and if you can depose somebody because you don’t agree with their principles then they can just do exactly the same to you. He invites anyone who wants to start a dictatorship to read some history books because it never ends well: ‘the Kings may live, lose their thrones, but they’re junkies on the wire’ sings Pete, an interesting variation on the age-old Who idea of ‘Relay’, that every generation passes a baton on to someone else. Pete again backs out of trying to give true and complete answers though. He’s old enough to know ‘I am the fool who gets the ending wrong’ and never predicted most of what’s happened to us since the 1960s. However, he can’t help but urge caution to a world that seems to have torn up the rulebook and where the baddies are throwing their weight around, sure that they will never be caught. 


‘Got Nothing To Prove’ was a song title that was once being mooted for inclusion on the deluxe edition of ‘The Who Sings My Generation’ before Pete decided to pull it and have a re-think. That, many fans expected, would be that and we would either see it on a ‘deluxe deluxe deluxe’ edition of the album, a rumoured ‘A Quick One’ deluxe set that never came or not at all. Few fans would have betted on the song turning up as a bonus track on a deluxe edition of a new Who alum instead and you have to ask in many ways what it’s doing here: though tidied up with a new string ove3rdub (which itself sounds oddly late 1970s) it is otherwise no more finished and no more relevant than the demos that did make that album (indeed reviving ‘As Children We Grew’ would have been the perfect thematic choice, a twenty-year-old Pete wondering what might happen by the time he reaches old age). It’s a shame too that Roger wasn’t given a re-made version of this track to sing as it’s one of Pete’s few unused demos that sound tailor made for his rockier gravelly song. Pete used to feel as if he had to play up to his angst, staring out people in the street, that sort of thing. But he fell in love and ‘she rocked his world’ and now ‘everything makes sense – and I don’t need no evidence!’ He is no longer an angry young man, pigeon-holed into a stereotype that feels he has to be angry to get noticed for now he is a fuller person. This is certainly an old-before-its-time song that maybe this is why it was re-used here, but it’s delivered in such a 1960s way that it also sounds oddly out of time, a naïve reminder of a time when love was enough to put everything right one day (a sentiment that hasn’t really been heard, except in jest, since things got bleak in 1968). This track doesn’t have the casual magic of many of Pete’s songs of that early period but it does have a very clever catchy pop chorus that’s impossible not to sing along with (‘Got nothing to prove anymore!’) and a notable deep line that’s unusual for its vintage and seemingly dropped in from nowhere that goes against everything the narrator of ‘My Generation’ stood for even back then (after meeting a rival called Michael ‘now I don’t look forward to my death, I look forward to my life’). A shame the orchestra seem to be going for a ‘James Bond’ effect while Pete is trying to deliver an honest confessional though which really doesn’t work!


Finally there’s ‘Danny and My Ponies’, which isn’t much of a song but is at any rate a very suitable place to say goodbye. This parable of a song makes no sense at all unless you swap the two-syllable biblical name ‘Daniel’ for the more mystical ‘Baba’ and assume that the narrator is Pete on a pilgrimage. Pete is desperate for answers to all his questions and appeals for anything to help him in his quest – even ‘one note’ will do, a neat reference back to the main theme of ‘Lifehouse’ – but Daniel has taken a vow of silence and can only smile bemusedly at Pete’s earnest face. He knows that the question is pointless, that there are no answers of the type his young protégé wants to know. Pete still tries, confused as to why whenever he walked in his grand clothes with his raggedy friend ‘his eyes would flash like I was the one who needed the cash’. He also didn’t see why, when there was so much to do, his friend would walk so slowly as if he didn’t really care about getting anywhere at all. The two lived very different lives and the young Pete clearly didn’t understand the way he lived at all, though he still ‘tore at my heart’, Pete sensing there was something here he had to learn. The end result is that Pete ended up singing for Baba/Daniel instead and learnt that way, trying to put together his own version of what life was – Danny’s response ‘he nodded, not moving, scratching his throat’. Only this way did Pete learn the lessons he needed to learn, his guru having never spoken a word. This is then a very moving lyric to anyone whose ever spent any time looking into Pete’s feelings for Baba and the many mentions on his own solo LPs as well as the lessons at the heart of ‘Tommy’ and ‘Lifehouse’. Unfortunately the melody is not as strong as the words, too obviously written as a ‘folk parable’ but without the life and inspiration of the ones on Pete’s Baba albums like ‘I Am’ or ‘Happy Birthday’. It is, however, a very sweet song and a very natural end for The Who, as a man who knows the answers but won’t explain inspires another man who doesn’t have the answers and yet somehow can. No idea what the ‘ponies’ in the title are though! 


 By chance ‘She Rocked My World’ happened to be the first song I heard from this album and I really wasn’t sure it was The Who, never mind that it belonged on an album simply called ‘Who’. I wasn’t that convinced by the early promotional guff for this album either, Pete telling The Guardian that this album was to be ‘a series of songs led by a guitar that goes yanga-danga-din’. I wasn’t sure if any album made in the 21st century should really be called ‘Who’ given that there are just half the band left (one gone, one mad all of us sad, as the only song from ‘Endless Wire’ put it so eloquently). I was wrong. This album is ‘The Who’ all over. It bursts with the brash youthful wisdom the band always made their own up to somewhere circa 1973 and somehow manages to mix the best of what came after (the courageous self-doubt of 1975-78, the wordplay of 1979-1982) and a few new experiments Pete and Roger had never tried before into a wonderful whole. ‘WHO’ sounds like it’s an official release by The World Health Organisation. In many ways it could be – it talks about the poison in the heart of society and reminds us that we used to know how to treat it, before self-deprecatingly ducking the question of knowing any answers on how to solve it.Not every track works and at just eleven relatively compact songs there’s not enough room for as many experiments as we get here, the blues pastiche the heavy ballad the religious hymn and the jazz song that should perhaps have been held back for yet more bonus tracks (the Who like their deluxe editions after all). There are indeed times when it feels like two people in two different recording studios singing against a baking band who haven’t met long enough to bond properly yet. The album cover is atrocious as tacky and backwards as the album itself is heartfelt and forward-looking. But it also sounds terrific and enough like The Who to instantly banish memories of ‘Endless Wire’, the endless weak-kneed ‘Tommy’ revivals, the greatest-hits-by-number-tours and ever so very nearly the classical version of ‘Quadrophenia’ (what were they thinking?!?) Those different parallel universe Whos suddenly don’t exist anymore, evidence of how hard it is for even great bands like this one to stay wise, to stay on their true path and ultimately what happens when you’re unlucky enough not to die before you get old.


 This album is instead, you suspect, the only ending the twenty-year-old Pete Townshend on the cover of ‘My Generation’ would have allowed himself if he’d broken the band promise by living to this ripe old age – it says the same old things with the old fizz and power of youth and it continues to be as mad, as cynical and as passionate for life as The Who ever were in their youth despite all the many many things that have happened since that debut album in 1965. But it’s not purely the same – there are moments here, usually hidden away within the songs, that suggest that the band have learnt and grown, developed from that start of windmilling arms and thrashing chords and brutality. There’s a spiritual mystical core at the heart of this album that’s very in keeping with The Who’s middle period, even if it’s dressed up in the mod clothes they used to wear when they were young and concerned with being trendy. It is an album that is, somehow, more Who-like than any of the other Who albums purely because they all represented part of that rich tapestry at a time and this one sounds like the picture on the box, the maximum R and B guitar about to be smashed in violent frustration at still not living in the perfect peaceful utopian world that Pete wished so hard would happen one day. It is, near enough, where we came in with so much changed and yet nothing really changed at all. It is, still, a rallying cry for their generation who are still as horrified at the adult world as ever they were in the 1960s and who still long for the power to change it. It is the perfect album for our times and if it ends up being so the perfect goodbye. It is angry and mad but wise and focussed. It at last it puts to bed that sad half-goodbye on the band’s 1982 pause that even after seventeen years they were ‘still a boy whose tears should have long since dried’ – the tears have faded, the bittiness has flown but still they cry because it is what The Who were born to do. It is one of the reasons I love being a record collector whose still surprised, release by release, at how much of the story is left to be told by all these bands just as we think we’ve heard everything there is to hear. It is unquestionably one of the AAA releases of the decade, never mind the year. It is, despite the absence of The Ox and The Moon and the session musicians and the thirteen year gap, The Who in all their multi-layered glory. It is, after all, an album that can explain and a million light years beyond the band’s beginnings as a self-conscious ‘substitute’ for The Rolling Stones in the modern era. It is an album that, if it had arms and eyes and ears, would surely play a mean pinball. It is the end of a half-century long quest to work out who this band are and what they stand for. It is, give or take a couple of duff tracks, every bit that good. ‘WHO’ are you? Yes, that’s Who!



A complete collection of Who reviews:

'The Who Sing My Generation' (1965) http://alansalbumarchives.blogspot.co.uk/2014/07/the-who-sing-my-generation-1965.html


'Sell Out' (1967) http://alansalbumarchives.blogspot.co.uk/2008/07/19-who-sell-out-1967.html

‘Tommy’ (1969) http://www.alansalbumarchives.blogspot.co.uk/2013/03/the-who-tommy-1969.html

'Live At Leeds' (1970) http://alansalbumarchives.blogspot.co.uk/2008/07/review-33-who-live-at-leeds-1970.html

'Lifehouse' (As It Might Have Been) (1971) http://alansalbumarchives.blogspot.co.uk/2010/11/news-views-and-music-issue-81-who.html

'Who's Next' ('Lifehouse' As It Became) (1971) http://alansalbumarchives.blogspot.co.uk/2008/12/news-views-and-music-issue-14-who-whos.html

'Quadrophenia' (1973) http://alansalbumarchives.blogspot.co.uk/2008/07/review-60-who-quadrophenia-1973.html

'The Who By Numbers' (1975) http://alansalbumarchives.blogspot.co.uk/2008/07/review-69-who-by-numbers-1975.html

'Who Are You' (1978) http://alansalbumarchives.blogspot.co.uk/2008/07/review-72-who-who-are-you-1978.html

'Face Dances' (1979)  http://alansalbumarchives.blogspot.co.uk/2012/05/news-views-and-music-issue-137-who-face.html

'Empty Glass' (Townshend solo 1980) http://alansalbumarchives.blogspot.co.uk/2008/07/pete-townshend-empty-glass-1980.html

'It's Hard' (1982) http://alansalbumarchives.blogspot.com/2013/11/the-who-its-hard-1982-album-review.html



Surviving Who TV Clips 1965-2015 https://alansalbumarchives.blogspot.co.uk/2017/09/the-who-surviving-tv-and-film-clips.html

Non-Album Recordings Part One 1964-1967 https://alansalbumarchives.blogspot.co.uk/2017/09/the-who-non-album-recordings-part-one.html

Non-Album Recordings Part Two 1968-2014 https://alansalbumarchives.blogspot.co.uk/2017/09/the-who-non-album-recordings-part-two.html

Pete Townshend “Scoop” 1-3 https://alansalbumarchives.blogspot.co.uk/2017/08/the-who-pete-townshends-scoop-demo.html

The Best Unreleased Who Recordings https://alansalbumarchives.blogspot.co.uk/2017/09/the-who-best-unreleased-recordings.html

Live/Solo/Rarities/Competition Albums Part One 1965-1972
https://alansalbumarchives.blogspot.co.uk/2017/10/the-who-livesolocompilationrarities.html

Live/Solo/Rarities/Competition Albums Part Two 1972-1975 https://alansalbumarchives.blogspot.co.uk/2017/10/the-who-livesolocompilationrarities_9.html

Live/Solo/Rarities/Compilation Albums Part Three 1976-1982
https://alansalbumarchives.blogspot.co.uk/2017/10/the-who-livesolocompilationrarities_16.html

Live/Solo/Rarities/Compilation Albums Part Four 1983-1990 https://alansalbumarchives.blogspot.co.uk/2017/10/the-who-livesolocompilationrarities_23.html

Live/Solo/Rarities/Compilation Albums Part Five 1991-2000 https://alansalbumarchives.blogspot.co.uk/2017/10/the-who-livesolocompilationrarities_30.html



Essay: Who Are You And Who Am I?: http://alansalbumarchives.blogspot.com/2018/07/the-who-essay-who-are-you-and-who-am-i.html