The 500 - #384 - A Quick One - The Who

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone's 2012 edition of The 500 Greatest Albums of All Time. 

Album # 384

Album Title: A Quick One
Artist: The Who
Genre: Rock
Recorded: IBC, Regent and Pye Studios (London, England)
Released: December, 1966
My age at release: 1 - My Guest Blogger was not born yet
How familiar was I with it before this week: Somewhat
Song I am putting on my Spotify: So Sad About Us

This week I welcome guest blogger Steve Crew. Steve and I have been friends for about 25 years. However, we would later realize that our time in high school briefly overlapped and we were in the school band together. Steve is a professional musician and multi-instrumentalist. However, he is best known around the London, Ontario, music scene as a drummer for The Rizdales. 

Steve Crew - behind his kit at  a Rizdale's show

There have been many nights when I've been able to corner him at the bar (often between sets with one of his many bands) to talk hockey and music. I distinctly remember an evening in 1999. I had just seen the Wes Craven movie Rushmore and was enraptured by the soundtrack to the film. 

Rushmore Soundtrack (1988)

When I saw Steve, I asked him if he knew The Who song that was in the film - I think I referred to it as, "You Are Forgiven". Without skipping a beat he said: "It's A Quick One". When I saw this record coming up on The 500, I knew I had to reach out to Steve and ask him if he was willing to share his knowledge as a guest blogger. Fortunately, he agreed. Enjoy.

A little background: The Who are a rock band formed in 1964 in London, England. Their classic line-up was Roger Daltry (lead vocals), Pete Townsend (guitar, secondary lead vocals, principle song writer), John Entwistle (bass and vocals) and Keith Moon (drummer). The Who achieved quick success in the UK and North America, capitalizing on the Mod and pop art sub-cultures. They gained notoriety when they destroyed their instruments on stage at the end of performances. They were, however, more than a "stunt-act". Their talent as musicians was recognized quickly by music critics and fans. They quickly became one of the biggest bands in the world.

The Who: A Quick One album cover (1966)

As it turns out, you shouldn’t judge the album you're about to review based on a casual background listen.

“This isn’t their best showing, is it?” I said to my girlfriend.

A few days and several listens later, my impression changed. “Hey wait, I forgot how amazing this record is!”

Even as a Who fan, this wouldn’t be my first pick. It might not even be my second or third. It’s an important record, though. Released in 1966, A Quick One is The Who’s sophomore effort. It’s exciting, it’s pivotal for band’s future, and it’s LOUD.

By this point the band were already established in North America. Their 1965 debut album included huge hits, The Kids Are Alright and My Generation. This new record was a departure from that Maximum R ’n’ B formula. To make it even weirder, each member wrote material and sang on least one track.

The Who - (left to right) - Daltry, Entwistle, Townsend, Moon 

Let’s start with the hits.

Happy Jack Is about an old-timer that Townsend and his friends would incessantly tease when they were young. It’s a song that showcases The Who’s signature style: Loud-Quiet-Loud. We get the power and force from the backing trio as they hit the instrumental sections. Then, just as quickly, they rein it in when the verse returns.

It’s exciting to hear something so loud and frenetic one moment, and subdued and balanced the next. To me, this is what The Who is all about. Worth noting, this song is not on the original UK release. In its place was a pretty bang up cover of Martha & the Vandals Heat Wave.

Boris the Spider. This is what you get when two bass players get drunk and come up with human names for animals. John Entwhistle and Rolling Stones’ bassist, Bill Wyman, were out for a night on the town and this song was the result.

The subject matter and John’s demonic voice in the chorus give this song its screwball quality. It’s reminiscent of something you might hear on Dr Demento. That aside, it’s a bona fide fan favourite that gets its share of play on rock radio. 

Drummer’s note: check out the late snare drum hit at 1:40. Maybe Mr. Moon thought the song was over or he lost the grip on his stick. But hey, it’s Keith. Perhaps he’s just playing “behind the beat.”

Next: 

Three tracks don’t fit the standard Who “rock radio” designation. For both diehard and casual fans, these songs deserve regular rotation.

Run Run Run has the classic mod-pop Who sound and it’s a great start to the album. With its jangly guitar, sweet vocals, and a catchy chorus, it’s really the sound of the times. A perfect song for ‘66.

So Sad About Us gives us a peek into the band’s future sound. For me, this is the gem on the record. It’s melodic, powerful, and it has harmonies for days. The push and pull of the rhythm section, Roger Daltry feeding those lead vocals, and that amazing chiming guitar are the straight-up goods!

Whiskey Man is John Entwistle’s second number on the record. It tells the tale of a man with an imaginary friend who loves to drink. The production (hello French horn!) and song structure give it a feel reminiscent of The Beatle's Rubber Soul record. This is my choice for best song on the first side.

Alright, it’s time to talk about Keith Moon

When I first started drumming, Keith was one of my top influences. There was so much fun, power, and passion in his drumming. I couldn’t get enough of it. Not surprisingly, there was always room for a Moon-style drum-fill in my playing.

Keith wrote two songs for this record and sang lead vocals on one of them. The first is the instrumental, Cobwebs and Strange. Horns, flutes, and marching drums give it a carnival feel, and every band member plays a wind instrument throughout. Check it out here.

The main reason for this number? A drum solo! Keith’s maniacal playing takes centre stage as each segment quickens to a frantic pace. The speed and accuracy of Pete Townsend’s right hand strumming is pretty amazing too. This is easily one of the most bizarre songs The Who ever recorded.

I Need You, Keith’s second track on the record, illustrates his love of surf music. The drums are incredibly loud, with as much presence as Moon’s lead vocal.

Finally, a bit about the album’s title track

At a whopping nine minutes, A Quick One is a tale of loss, infidelity, and redemption in six parts. It is Townsend’s first attempt at mini rock opera. He actually wanted cellos for the finale, but producer Kit Lambert, said they couldn’t afford them. You can actually hear the band singing “cello, cello, cello” in place of the real thing.

The song was groundbreaking for its time. It challenged the conventions of what a rock song could be, and led the way to era-defining records, Tommy and Quadrophenia, which appear on The 500 list at #96 and #267 respectively

For me, the perfect version of A Quick One is from The Rolling Stones Rock and Roll Circus, a concert organized by the Rolling Stones in 1968. 

Promotional Poster for Rock and Roll Circus film

The Who, fresh off a concert tour of their own, unleashed their seemingly reckless power, then effortlessly dialed it all back. Worth checking this out to see the true essence of the band on full display.

And that, my friends, is The Who, A Quick One. Enjoy!