The Who

The Who are an English rock band that formed in 1964. Their best known line-up consisted of lead singer Roger Daltrey, guitarist Pete Townshend, bassistJohn Entwistle and drummer Keith Moon. For much of their career they have been regarded as one of the three most important British rock acts along with the Beatles and the Rolling Stones and one of the world's best-selling bands of all time, having sold more than 100 million records.[1] [2]

The Who developed from an earlier group, the Detours, before stabilising around a line-up of Daltrey, Townshend, Entwistle and Moon. After releasing a single as the High Numbers, the group established themselves as part of the mod movement and featured auto-destructive art by destroying guitars and drums on stage. They achieved recognition in the UK after their first single as the Who, "I Can't Explain", reached the top ten. A string of hit singles followed, including "My Generation", "Substitute" and "Happy Jack". Although initially regarded as a singles act, they also found success with the albums My Generation and A Quick One. In 1967, they achieved success in the US after performing at the Monterey Pop Festival, and with the top ten single "I Can See for Miles". They releasedThe Who Sell Out at the end of the year, and spent much of 1968 touring the US.

The group's fourth album, 1969's rock opera Tommy, was a major commercial and critical success. Subsequent live appearances at Woodstock and the Isle of Wight Festival, along with the live album Live At Leeds, transformed the Who's reputation from a hit-singles band into a respected rock act. With their success came increased pressure on lead songwriter Townshend, and the follow-up to Tommy, Lifehouse, was abandoned in favour of 1971's Who's Next. The group subsequently released Quadrophenia (1973) and The Who by Numbers (1975), oversaw the film adaptation of Tommy and toured to large audiences before semi-retiring from live performances at the end of 1976. The release of Who Are You in August 1978 was overshadowed by the death of Moon on 7 September.

Kenney Jones, formerly of the Small Faces and the Faces, replaced Moon and the group resumed touring. A film adaptation of Quadrophenia and the retrospective documentary The Kids Are Alright were released in 1979. The group continued recording, releasing Face Dances in 1981 and It's Hard the following year, before breaking up. They occasionally re-formed for live appearances such as Live Aid in 1985, a 25th anniversary tour in 1989 and for a tour ofQuadrophenia in 1996. The Who resumed regular touring in 1999, with drummer Zak Starkey, to a positive response, and were considering the possibility of a new album, but these plans were stalled by Entwistle's death in June 2002. Townshend and Daltrey elected to continue as the Who, releasing Endless Wire(2006), which reached the top ten in the UK and US. The group played live regularly through the 2000s, including the Quadrophenia and More tour in 2012, before announcing their intention to retire at the end 2014 after a final album and accompanying live shows.



Contents
[hide]  *1 History  ==History[ edit] == ===Background[ edit] === Pete Townshend attended Ealing Art College (pictured in 2010), and his experience there made a notable contribution to the Who's career.The three founding members of the Who, Roger Daltrey, Pete Townshend and John Entwistle, grew up in Acton, London. All three passed the Eleven plus exam and went to Acton County Grammar School.[3]  Townshend's father, Cliff, played saxophone and his mother, Betty, had sung in the entertainment division of the Royal Air Force during World War II.<sup class="reference" id="cite_ref-FOOTNOTEMarsh198315.E2.80.9316_4-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[4]  Entwistle's father, Herbert, played trumpet, and his mother, Queenie, played piano.<sup class="reference" id="cite_ref-FOOTNOTEMarsh198324.E2.80.9325_5-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[5]  Townshend and Entwistle became friends in their second year of Acton County, and formed a trad jazz group, the Confederates,<sup class="reference" id="cite_ref-FOOTNOTEMarsh198326_6-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[6]  while Entwistle also played french horn in the Middlesex Schools' Symphony Orchestra. Both became influenced by the increasing popularity of rock 'n' roll, and Townshend particularly admired Cliff Richard's debut single, "Move It".<sup class="reference" id="cite_ref-FOOTNOTENeillKent200917_7-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[7] Entwistle had decided to move to guitar as his instrument of choice, but after struggling with it due to his large fingers, and on hearing the guitar work of Duane Eddy, decided to move to the bass. He was unable to afford his own instrument and built one at home.<sup class="reference" id="cite_ref-FOOTNOTEMarsh198329_8-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[8] <sup class="reference" id="cite_ref-FOOTNOTENeillKent200917_7-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[7]  After Acton County, Entwistle went to work with the Inland Revenue, while Townshend started a course at Ealing Art College,<sup class="reference" id="cite_ref-FOOTNOTENeillKent200920_9-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[9]  a move that he later described as profoundly influential on the course of the Who.<sup class="reference" id="cite_ref-FOOTNOTENeillKent200922_10-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[10]
 * 1.1 Background
 * 1.2 1964–1978
 * 1.2.1 Early career
 * 1.2.2 First singles and My Generation
 * 1.2.3 A Quick One and The Who Sell Out
 * 1.2.4 Tommy, Woodstock and Live at Leeds
 * 1.2.5 Lifehouse and Who's Next
 * 1.2.6 Quadrophenia, Tommy film and The Who by Numbers
 * 1.2.7 Who Are You and Moon's death
 * 1.3 1978–1983
 * 1.3.1 Cincinnati tragedy
 * 1.3.2 Change and break-up
 * 1.4 Reunions
 * 1.4.1 1989 tour
 * 1.4.2 Partial reunions
 * 1.5 Re-formation
 * 1.5.1 Revival of Quadrophenia
 * 1.5.2 Charity shows and Entwistle's death
 * 1.5.3 After Entwistle and Endless Wire
 * 1.5.4 Quadrophenia and More
 * 1.5.5 Future plans
 * 2 Musical style
 * 3 Legacy and influence
 * 3.1 Television, film and games
 * 4 Awards and accolades
 * 5 Band members
 * 6 Discography
 * 7 Tours and performances
 * 8 See also
 * 9 References
 * 10 External links

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Daltrey, who was in the year above them, had moved to Acton from Shepherd's Bush, a more working-class area. He had trouble fitting in at school, and discovered gangs and rock 'n' roll.<sup class="reference" id="cite_ref-FOOTNOTEMarsh198314_11-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[11]  He was expelled from school aged 15 and found work on a building site.<sup class="reference" id="cite_ref-FOOTNOTENeillKent200911_12-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[12]  Daltrey maintains that his subsequent musical career saved him from a dead-end working man's job,<sup class="reference" id="cite_ref-FOOTNOTEMarsh198314_11-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[11]  and in 1959 he started the band that was to evolve into the Who. The band, called the Detours, played professional gigs from the very beginning, such as corporate and wedding functions, and Daltrey kept a close eye on the finances as well as the music.<sup class="reference" id="cite_ref-FOOTNOTEMarsh198331_13-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[13]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Daltrey met Entwistle by chance on the street, noticed he was carrying a bass, and recruited him into the Detours.<sup class="reference" id="cite_ref-FOOTNOTENeillKent200918_14-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[14]  In the summer of 1961, Entwistle suggested Townshend as an additional guitarist.<sup class="reference" id="cite_ref-FOOTNOTENeillKent200918_14-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[14] The band played instrumentals by the Shadows and the Ventures, as well as a variety of pop and trad jazz covers. By the time Townshend was recruited, the line-up consisted of Daltrey as lead guitarist, Entwistle on bass, Harry Wilson on drums and Colin Dawson as vocalist.<sup class="reference" id="cite_ref-FOOTNOTENeillKent200919_15-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[15]  Daltrey was considered the leader of the group and, according to Townshend, "ran things the way he wanted them".<sup class="reference" id="cite_ref-FOOTNOTENeillKent200922_10-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[10]  Wilson was fired in the summer of 1962 in preference to Doug Sandom, who despite being significantly older than the rest of the band, and married, was a better musician, having been playing semi-professionally for two years at that point.<sup class="reference" id="cite_ref-FOOTNOTENeillKent200919.E2.80.9320_16-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[16]  Dawson subsequently quit after frequently arguing with Daltrey.<sup class="reference" id="cite_ref-FOOTNOTENeillKent200922_10-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[10]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">With the departure of Dawson, Daltrey moved to performing as lead vocalist, and Townshend, with Entwistle's encouragement, became the sole guitarist. Through Townshend's mother, the group obtained a management contract with local promoter Robert Druce<sup class="reference" id="cite_ref-FOOTNOTENeillKent200921_17-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[17]  who started booking the band as a support act. The Detours became influenced by bands they were supporting, including Screaming Lord Sutch,Cliff Bennett and the Rebel Rousers, Shane Fenton and the Fentones, and Johnny Kidd and the Pirates. The Detours were particularly interested in the Pirates as they also only had one guitarist, Mick Green. Green inspired Townshend to take up a combined rhythm and lead guitar style, while Entwistle's bass became more of a lead instrument,<sup class="reference" id="cite_ref-FOOTNOTENeillKent200924_18-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[18]  playing melodies. Entwistle would develop his bass technique throughout his career.<sup class="reference" id="cite_ref-FOOTNOTEAtkins200065_19-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[19]  In February 1964, they became aware of the group Johnny Devlin and the Detours, so they decided to change their name.<sup class="reference" id="cite_ref-FOOTNOTENeillKent200926_20-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[20]  Townshend and his room-mate Richard Barnes spent a night considering potential names, focusing on a theme of joke announcements, including "No One" and "The Group". Townshend preferred "the Hair", while Barnes liked "the Who" because it "had a pop punch".<sup class="reference" id="cite_ref-FOOTNOTEMarsh198365_21-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[21]  Daltrey listened to suggestions the next morning and decided the Who was the best choice.<sup class="reference" id="cite_ref-FOOTNOTEMarsh198366_22-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[22] ===1964–1978<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === ====Early career<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">By the time the Detours had changed their name to the Who, they had already found regular gigs, including at the Oldfield Hotel in Greenford, the White Hart Hotel in Acton, the Goldhawk Social Club in Shepherd's Bush, and the Notre Dame Hall in Leicester Square.<sup class="reference" id="cite_ref-FOOTNOTEFletcher199868_23-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[23]  They had also replaced Druce as manager with Helmut Gorden, with whom they secured an audition with Chris Parmeinter for Fontana Records.<sup class="reference" id="cite_ref-FOOTNOTEFletcher199870_24-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[24]  At the end of the audition, Parmeinter explained the drumming was a problem. According to Sandom, Townshend immediately turned on him and verbally assaulted him, threatening to fire him if his playing did not immediately improve. Sandom quit in disgust, but was persuaded to lend his kit to any potential stand-ins or replacements. Sandom and Townshend did not speak to each other again for 14 years.<sup class="reference" id="cite_ref-FOOTNOTEMarsh198378.E2.80.9379_25-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[25]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">During a gig with a stand-in drummer in late April at the Oldfield,the band met Keith Moon for the first time. Unlike the other members, Moon grew up in Wembley, and had been drumming in bands since 1961.<sup class="reference" id="cite_ref-FOOTNOTEFletcher199829_26-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[26]  At the time he was performing with a semi-professional band called the Beachcombers, but wanted to play in a band full-time.<sup class="reference" id="cite_ref-FOOTNOTEMarsh198380_27-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[27]  Moon played a few songs with the group, breaking a bass drum pedal and tearing a drum skin in the process. The band were impressed with his energy and enthusiasm, and offered him the job.<sup class="reference" id="cite_ref-FOOTNOTEFletcher199873_28-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[28]  Moon performed with the Beachcombers a few more times, but eventually a clash of dates occurred and he had no option but to devote himself full-time to the Who. The Beachcombers auditioned Sandom as a replacement, believing he left the Who due to a personality clash, but were unimpressed with his playing and declined him.<sup class="reference" id="cite_ref-FOOTNOTEFletcher199880.E2.80.9381_29-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[29]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In the summer, the Who changed their manager to Peter Meaden. He decided that the group would be ideal to represent the growing mod movement in Britain which involved fashion, scooters and music genres such as rhythm and blues, soul, and beat music. He renamed the group the High Numbers, dressed them up in typical mod clothes,<sup class="reference" id="cite_ref-eder_30-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[30]  secured a second, more favourable audition with Fontana and wrote the two sides for their single "Zoot Suit"/"I'm the Face" as an attempt to appeal to mods. Meaden had in fact merely written the lyrics, as the tune for "Zoot Suit" was "Misery" by the Dynamics,<sup class="reference" id="cite_ref-31" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[31]  while "I'm the Face" borrowed from Slim Harpo's "I Got Love If You Want It".<sup class="reference" id="cite_ref-FOOTNOTEFletcher199891-92_32-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[32]  Although Meaden attempted to promote the single, it failed to reach the top 50<sup class="reference" id="cite_ref-FOOTNOTENeillKent200954_33-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[33]  and the band reverted to calling themselves the Who.<sup class="reference" id="cite_ref-FOOTNOTENeillKent200960_34-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[34]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Meaden was replaced as manager by two film-makers, Kit Lambert and Chris Stamp. They were looking for a young, unsigned rock group that they could make a film about,<sup class="reference" id="cite_ref-kurutz_35-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[35]  and had seen the band playing at the Railway Hotel in Wealdstone, which had become a regular venue for them.<sup class="reference" id="cite_ref-FOOTNOTENeillKent200955_36-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[36] <sup class="reference" id="cite_ref-37" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[37]  Lambert found affinity with Townshend in particular, due to his art school background, and encouraged him to write songs.<sup class="reference" id="cite_ref-kurutz_35-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[35]  In August, Lambert and Stamp filmed a promotional film featuring the group and their audience at the Railway.<sup class="reference" id="cite_ref-FOOTNOTENeillKent200956_38-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[38]  To highlight their music style, the band changed their set towards soul, rhythm and blues and Motown covers, and created the slogan "Maximum R&B".<sup class="reference" id="cite_ref-eder_30-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[30]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In June 1964, during a performance at the Railway, Townshend accidentally broke the head of his guitar on the low ceiling above the stage.<sup class="reference" id="cite_ref-Railway_Hotel_39-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[39]  Angered by laughing from the audience, he smashed the instrument on the stage, then picked up another guitar and continued the show. The following week, the audience were keen to see a repeat of the event. Moon promptly obliged and kicked his drum kit over.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983125_40-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[40]  Subsequent auto-destructive art, as described by Townshend, became a feature of the Who's live set.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983126_41-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[41] <sup class="reference" id="cite_ref-RS_29_42-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[42]  The incident at the Railway Hotel is one of Rolling Stone magazine's "50 Moments That Changed the History of Rock 'n' Roll".<sup class="reference" id="cite_ref-43" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[43] ====First singles and My Generation<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">By late 1964, the Who had started to become popular in London's Marquee club and a rave review of their live act appeared in Melody Maker.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983134_44-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[44]  Lambert and Stamp had managed to attract the attention of the American producer Shel Talmy, who had already found success by producing the Kinks. Townshend had written a song, "I Can't Explain", that deliberately sounded like the Kinks to attract Talmy's attention. Talmy saw the group in rehearsals and was impressed. He signed the group to his production company,<sup class="reference" id="cite_ref-FOOTNOTEHoward2004106.E2.80.93107_45-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[45]  and sold the recording to the US arm of Decca Records, which meant that the group's early singles were released in Britain on Brunswick Records, one of UK Decca's labels for US artists.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983151-152_46-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[46]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The single became popular with pirate radio stations such as Radio Caroline.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983152_47-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[47]  Pirate radio was important for bands during this time, as there were no commercial radios in the UK and the BBC Radio's output for pop music was extremely limited.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983100_48-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[48]  The group gained further popularity when they appeared on the television programme ''[http://en.wikipedia.org/wiki/Ready_Steady_Go! Ready Steady Go!]''<sup class="reference" id="cite_ref-eder_30-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[30]  Lambert and Stamp had been given the task of finding "typical teens", and invited the group's regular audience from the Goldhawk Social Club.<sup class="reference" id="cite_ref-carr_49-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[49]  Their enthusiastic reception on television, aided by regular airplay on pirate radio, helped the single slowly climb the charts during early 1965, eventually reaching the top 10.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009419_50-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[50]  For the follow-up single, "Anyway, Anyhow, Anywhere", credited to both Townshend and Daltrey, Talmy arranged the use of guitarfeedback, which was so unconventional that the US arm of Decca rejected the master tapes. The single reached the top 10 in the UK.<sup class="reference" id="cite_ref-FOOTNOTEHoward2004107.E2.80.93108_51-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[51]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The transition into a hit-making band with original material, eagerly encouraged by Lambert, did not sit well with Daltrey, particularly after a recording session of R&B covers went unreleased.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998121_52-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[52]  The Who were not particularly good friends either, apart from Moon and Entwistle, who enjoyed visiting nightclubs in the West End of London.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998126_53-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[53]  The group experienced a particularly fraught time when touring Denmark in September, which culminated in Daltrey throwing Moon's amphetamines down the toilet and physically assaulting him. Immediately on returning to Britain, Daltrey was sacked from the Who.<sup class="reference" id="cite_ref-FOOTNOTENeillKent200993_54-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[54] After a band meeting, he was reinstated on the strict condition that the group became a democracy without his dominant leadership. At the same time, the group enlisted Richard Cole as a roadie.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998130.E2.80.93132_55-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[55]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The group recorded a follow-up single, "My Generation", in October. Townshend had written it as a slow blues, but after several abortive attempts, it was turned into a more powerful song with a bass solo from Entwistle.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983182_56-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[56]  It became the highest charting single the group have achieved to date, reaching No. 2.<sup class="reference" id="cite_ref-charlesworth_57-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[57] <sup class="reference" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;white-space:nowrap;">:12  The debut album My Generation (The Who Sings My Generation in the US) was released in late 1965. It included original material written by Townshend, including the title track and "The Kids Are Alright", as well as several James Brown covers that Daltrey favoured, from the aborted session earlier that year.<sup class="reference" id="cite_ref-58" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[58]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">After My Generation, the Who fell out with Talmy, which meant an abrupt end to their recording contract. Lambert and Stamp felt the royalty rate was poor,<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983199_59-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[59]  while Talmy thought Lambert wanted to control recording sessions more. The resulting legal acrimony resulted in Talmy holding the rights to the master tapes, which prevented the album from being reissued. The dispute was finally resolved in 2002, when the album was remixed and reissued on CD.<sup class="reference" id="cite_ref-FOOTNOTEHoward2004108_60-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[60]  Meanwhile, the Who were signed to Robert Stigwood's label, Reaction, and released "Substitute". Talmy took legal action over the B-side, "Instant Party", and so the single was withdrawn. A new B-side, "Waltz for a Pig", was recorded by the Graham Bond Organisation under the pseudonym "the Who Orchestra".<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983203_61-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[61]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Subsequent singles released in 1966 included "I'm a Boy", about a boy dressed as a girl, taken from an abortive collection of songs called Quads,<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983217_62-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[62]  "Happy Jack",<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009109_63-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[63]  and an EP, Ready Steady Who, that tied in with their regular appearances on Ready Steady Go!<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983218_64-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[64] ====A Quick One and The Who Sell Out<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== Roger Daltrey and Keith Moon, 1967<p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">To alleviate financial pressure on the band, Lambert arranged a song-writing deal which required each member to write two songs for the next album. Entwistle contributed "Boris the Spider" and "Whiskey Man" and found a niche role as second songwriter,<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983225_65-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[65]  but after recording the material, they found they needed to fill an extra ten minutes. Lambert encouraged Townshend to write a longer piece, which became "A Quick One, While He's Away". The album was subsequently titled A Quick One<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983227_66-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[66]  (released as Happy Jack in the US),<sup class="reference" id="cite_ref-67" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[67]  and reached No. 4 in the charts.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983229_68-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[68]  It was followed in 1967 by the UK Top 5 single "Pictures of Lily."<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009420_69-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[69]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">By 1966, Ready Steady Go! had stopped being broadcast, mod was in decline, and the Who found themselves in competition with groups including Cream and the Jimi Hendrix Experience on the London gigging circuit.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983_70-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[70]  Lambert and Stamp realised that commercial success in the US was paramount to the group's future, and so arranged a deal with promoter Frank Barsalona for a short package tour in New York.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983243_71-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[71]  The group's performances, which still involved smashing guitars and kicking over drums, were well received,<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983247_72-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[72]  and led to their first major US appearance at the Monterey Pop Festival. The group, especially Moon, were not fond of thehippie movement, but thought their violent stage act would stand in sharp contrast to the peaceful atmosphere of the festival. Hendrix was also on the bill, and decided he would also smash his guitar onstage. Townshend verbally abused Hendrix and accused him of stealing his act,<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998188_73-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[73]  and the pair argued about who should go on stage first, with the Who winning the argument.<sup class="reference" id="cite_ref-FOOTNOTEMcMichaelLyons1998223_74-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[74]  The Who brought hired equipment to the festival, while Hendrix shipped over his regular touring gear from Britain, including a full Marshall stack. According to biographer Tony Fletcher, Hendrix was "so much better than the Who it was embarrassing." Nevertheless, the Who's appearance at Monterey gave them recognition in the US, and led to "Happy Jack" reach the top 30.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998189_75-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[75]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Immediately after Monterey, the group toured the US, supporting Herman's Hermits.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998189_75-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[75]  Though the Hermits were a straightforward pop band, the group members enjoyed drugs and practical jokes, and bonded with Moon,<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998193_76-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[76]  who was excited to learn that cherry bombs were legal to purchase in Alabama. Moon acquired a reputation of destroying hotel rooms while on tour,<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983247_72-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[72]  with a particular interest in blowing up toilets. Entwistle said the first cherry bomb they tried "blew a hole in the suitcase and the chair" while Moon, recalling his first attempt to flush one down the toilet, "all that porcelain flying through the air was quite unforgettable. I never realised dynamite was so powerful."<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998194_77-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[77]  After a gig in Flint, Michigan on 23 August 1967 (Moon's 21st birthday), the entourage caused $24,000 of damage at the hotel, while Moon knocked out one of his front teeth.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998197_78-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[78]  Daltrey later said that the tour brought the band closer, and because they were only the support act, they could simply turn up and perform a short show without any major responsibilities.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983266_79-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[79]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">After the Hermits tour, the Who finished work on their next single, "I Can See for Miles". Townshend wrote the song in 1966, but had held off recording it until he was sure that it could be produced well.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983273_80-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[80]  The single reached No. 10 in the UK, which disappointed Townshend, who called it "the ultimate Who record",<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009149_81-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[81]  and became their best selling single in the US, reaching No. 9.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009420_69-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[69]  The group then set out to tour the US again with Eric Burdon and the Animals, including an appearance on the The Smothers Brothers Comedy Hour, miming to "I Can See For Miles" and "My Generation".<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983275_82-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[82]  Moon bribed a stage hand to put explosives in his drum kit, loading it with ten times the expected dose. The resulting detonation threw Moon off his drum riser while his arm was cut by flying cymbal shrapnel. Townshend's hair was fried and his left ear left ringing, while a camera and studio monitor were destroyed by a blast.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983275-276_83-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[83]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The next album was The Who Sell Out—a concept album paying tribute to British pirate radio, which had been outlawed in August 1967 due to the Marine, &c., Broadcasting (Offences) Act 1967. It included several humorous jingles and mock commercials between songs,<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009148-149_84-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[84]  a mini rock opera called "Rael" whose closing theme was reused for "Sparks" and "Underture" on Tommy, and "I Can See For Miles".<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009149_81-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[81] Later that year, Lambert and Stamp formed their own record label, Track Records, with distribution by Polydor. As well as signing Hendrix, Track became the imprint for all the Who's UK output until the mid-1970s.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983250_85-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[85]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The group started 1968 with a fairly disastrous tour of Australia and New Zealand with the Small Faces,<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009196_86-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[86]  where the New Zealand Truth called them "unwashed, foul-smelling, booze-swilling no-hopers".<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983293_87-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[87] They continued to tour across the US and Canada during the spring and summer.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009190_88-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[88] ====Tommy, Woodstock and Live at Leeds<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">By 1968, the Who had started to attract attention in the underground press.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009191_89-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[89]  Townshend had stopped using drugs by this point, and became interested in the teachings of Meher Baba.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983294_90-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[90]  In August, he gave a major interview to Rolling Stone editor Jann Wenner in which he described in intricate detail an album project he was working on, the plot of which eventually became the Tommy album. The basic concept was to describe the life of a deaf, dumb and blind boy, and his attempt to communicate with others.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983314.E2.80.93315_91-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[91] <sup class="reference" id="cite_ref-92" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[92]  Some songs, such as "Welcome" and "Amazing Journey" were inspired by Baba's teaching,<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983320_93-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[93]  while others came from observations within the band. "Sally Simpson" was written about a fan trying to climb on stage at a gig by the Doors that they attended<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983316_94-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[94]  and "Pinball Wizard" was written so that New York Times journalist Nik Cohn, a pinball enthusiast, would give the album a good review.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009221_95-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[95]  Townshend later said "I wanted the story of Tommy to have several levels ... a rock singles level and a bigger concept level", containing the spiritual message he wanted as well as being entertaining.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983318_96-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[96]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">By the end of the year, 18 months of continuous touring had led to a well-rehearsed and tight live band, which was evident when they performed "A Quick One While He's Away" at The Rolling Stones Rock and Roll Circus, a planned television special. The Stones considered their own performance lacklustre, and the project was shelved and never broadcast.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998228-29_97-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[97]  The Who had not released an album in over a year, and had not completed the recording of Tommy, which continued well into 1969.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983324_98-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[98]  Lambert was a key figure in keeping the group focused and the album completed, and typed up a script to help them understand the story and how the songs fitted together.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009220_99-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[99]

By the time the Who were touring Tommy, Daltrey's stage image had changed to include long hair and open shirts.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983344_100-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10px;">[100] <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The album was released in May with the accompanying single, "Pinball Wizard", and a début performance at Ronnie Scott's,<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009222_101-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[101]  after which the group set out on tour, playing most of the new album live.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983326_102-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[102]  The album was an immediate success, selling 200,000 copies in the first two weeks of release in the US.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009223_103-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[103]  In addition to commercial success, Tommy became a critical smash, Life saying, "... for sheer power, invention and brilliance of performance, Tommy outstrips anything which has ever come out of a recording studio".<sup class="reference" id="cite_ref-Sanctuary_104-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[104]  Melody Maker declared: "Surely the Who are now the band against which all others are to be judged."<sup class="reference" id="cite_ref-The_Who_Kennedy_Center_105-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[105]  Daltrey's singing had become significantly better, and it translated well into performing the new material. He had grown his hair and tended to wear open shirts on stage, and this set the template for rock singers in the 1970s.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983344_100-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[100]  Townshend, meanwhile, had taken to wearing a boiler suit and Doctor Martens on stage,<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983344_100-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[100]  and settled on the Gibson SG Special as his main live instrument, using one for every gig until 1973. Gibson subsequently manufactured a signature Pete Townshend SG.<sup class="reference" id="cite_ref-106" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[106]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In August, the Who performed at the Woodstock Festival, despite being reluctant to do so and only agreeing after being paid $13,000 up front.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998240_107-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[107]  Originally scheduled to appear at 10pm on Saturday, 16 August,<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009237_108-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[108]  the festival ran late and the group did not take to the stage until 5am on Sunday,<sup class="reference" id="cite_ref-FOOTNOTEEvansKingsbury2009165_109-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[109]  where they played most ofTommy.<sup class="reference" id="cite_ref-110" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[110]  During their performance, Yippie leader Abbie Hoffman interrupted the set to give a political speech about the arrest of John Sinclair, before Townshend kicked him off stage,<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998240_107-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[107]  shouting: "Fuck off my fucking stage!"<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009224_111-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[111] <sup class="reference" id="cite_ref-FOOTNOTEEvansKingsbury2009165_109-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[109]  During "See Me, Feel Me", the sun rose almost as if on cue<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998241_112-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[112]  (Entwistle later said "God was our lighting man"),<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009224_111-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[111]  while at the very end of the set, Townshend threw his guitar into the audience.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998241_112-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[112] <sup class="reference" id="cite_ref-113" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[113]  The set was professionally recorded and filmed, and portions of it appeared on the Woodstockfilm, The Old Grey Whistle Test and The Kids Are Alright.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009238_114-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[114]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">While Woodstock in general has been regarded as culturally significant, the Who have been critical of the event. Roadie John "Wiggie" Wolff, who arranged the band's payment, described the event as "a shambles",<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009237_108-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[108]  while Daltrey declared it as "the worst gig we ever played"<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983350_115-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[115]  and Townshend said, "I thought the whole of America had gone mad."<sup class="reference" id="cite_ref-FOOTNOTEEvansKingsbury2009165_109-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[109]  A more favourable appearance came a few weeks later at the second Isle of Wight Festival, which Townshend later described as "a great concert for us".<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009240_116-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[116]

A blue plaque at Leeds University, where Live at Leeds was recorded<p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">By 1970, the Who were widely considered to be one of the best and most popular live rock bands, with Chris Charlesworth describing concerts as "leading to a kind of rock nirvana that most bands can only dream about".<sup class="reference" id="cite_ref-charlesworth_57-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[57] <sup class="reference" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;white-space:nowrap;">:5  They decided a live album would help demonstrate how different the sound at their gigs was to Tommy, and set about listening to the hours of recordings they had accumulated. Townshend baulked at the prospect of doing so, and insisted that all the tapes should be burned. Instead, they booked two shows, one in Leeds on 14 February, and one in Hull the following day, with the specific intention of recording them for a live album. Technical problems from the Hull gig resulted in the Leeds gig being used, which became Live at Leeds.<sup class="reference" id="cite_ref-charlesworth_57-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[57] <sup class="reference" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;white-space:nowrap;">:5  The album is viewed by several critics as being one of the best live rock albums of all time, including The Independent,<sup class="reference" id="cite_ref-Best_Live_Album_117-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[117] <sup class="reference" id="cite_ref-Independent_118-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[118]  The Telegraph<sup class="reference" id="cite_ref-Telegraph_119-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[119]  Rolling Stone<sup class="reference" id="cite_ref-RollingStoneLiveatLeeds_120-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[120]  and the BBC.<sup class="reference" id="cite_ref-BBCLiveatLeeds_121-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[121]  The original album contained six songs, taken from the middle and end of the set, and has been reissued several times in expanded and remastered versions, which remedy technical problems and contain the performance of Tommy, as well as renditions of earlier singles.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009426_122-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[122]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The Leeds University gig was part of the Tommy tour, which not only included shows in European opera houses but saw the Who become the first rock act to play at the Metropolitan Opera House in New York City.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983352_123-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[123]  In March the Who released the UK top 20 hit "The Seeker", continuing a theme of issuing singles separate to albums. Townshend wrote the song to commemorate the common man, as a contrast to the themes on Tommy.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009247.2C421_124-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[124] ====Lifehouse and Who's Next<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The success of Tommy secured the Who's future, and made them millionaires. The group reacted in different ways—Daltrey and Entwistle lived comfortably, Townshend was embarrassed at his wealth, which he felt at odds with Meher Baba's ideals, while Moon spent frivolously.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983354_125-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[125]  Entwistle had accumulated a backlog of songs that had not made it onto any Who album, and became the first member of the group to release a solo album, Smash Your Head Against the Wall, in May 1971.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983364_126-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[126] <sup class="reference" id="cite_ref-FOOTNOTENeillKent2009283_127-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[127]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">During the latter part of 1970, Townshend planned how the Who could make a studio album to follow up Tommy. He came up with Lifehouse, which was designed to be a multi-media project symbolising the relationship between an artist and his audience.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983368-369_128-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[128]  He developed numerous ideas in his home studio, creating various layers of synthesizers,<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983373_129-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[129]  and the Young Vic theatre in London was booked for a series of experimental concerts. Townshend approached the gigs with optimism; the rest of the band were just happy to be gigging again.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983375_130-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[130]  Eventually, the others confronted Townshend, complaining the project was too complicated and they should simply record another album. Things deteriorated to the point that Townshend had a nervous breakdown, and Lifehouse was abandoned.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983378_131-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[131] <sup class="reference" id="cite_ref-whosnext_132-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[132]

The Who at the Coliseum, Charlotte, North Carolina, 20 November 1971<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009294_133-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10px;">[133] <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In March 1971, the Who began recording the material written for Lifehouse with Kit Lambert at the Record Plant, New York City. Lambert produced the sessions, but was unproductive as he had acquired a heroin habit, and recording was eventually abandoned.<sup class="reference" id="cite_ref-whosnext_132-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[132]  The group restarted the sessions withGlyn Johns in April.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009275_134-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[134]  Selections from the material, with one unrelated song ("My Wife") by Entwistle, were released as a traditional studio album, Who's Next in August.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009288_135-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[135]  The album became their most successful among critics and fans, reaching No. 1 in the UK and No. 1 in the US. Two tracks from the album, "Baba O'Riley" and "Won't Get Fooled Again", are early examples of synthesizer use in rock music; both tracks' keyboard sounds were generated in real time by a Lowrey organ, and on "Won't Get Fooled Again", it was further processed through a VCS3 synthesizer.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009275_134-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[134]  "Baba O'Riley" also featured a violin solo by Dave Arbus.<sup class="reference" id="cite_ref-136" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[136]  The Who continued to issue Lifehouse-related material over the next few years, including the singles "Let's See Action", "Join Together" and "Relay".<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009421_137-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[137] <sup class="reference" id="cite_ref-138" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[138] <sup class="reference" id="cite_ref-Whitburn_139-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[139]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Following the success of Who's Next, the band went back on tour, replacing much of the old Tommy material with the new songs.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009277_140-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[140]  In November they performed at the newly opened Rainbow Theatre in London for three nights,<sup class="reference" id="cite_ref-141" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[141]  continuing in the US later that month. Robert Hilburn of The Los Angeles Times described the Who as "the Greatest Show on Earth".<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009278_142-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[142]  The tour was slightly disrupted at the Civic Auditorium in San Francisco on 12 December, when Moon passed out over his kit after an overdose of brandy and barbiturates.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009295_143-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[143]  He recovered and completed the gig, playing to his usual strength.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998301_144-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[144] ====Quadrophenia, Tommy film and The Who by Numbers<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== The Who at the Ernst-Mercke-Halle, Hamburg, 12 August 1972<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009307_145-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10px;">[145] <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">After touring Who's Next, and needing time to write a follow-up, Townshend insisted that the Who take a lengthy break as they had not stopped touring since the band started.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998302_146-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[146]  There was no group activity until May 1972, when they started working on a proposed new album, Rock is Dead - Long Live Rock, <sup class="reference" id="cite_ref-FOOTNOTENeillKent2009302_147-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[147]  but the results were uninspired, and the sessions were abandoned. Tensions began to emerge between the group members—Townshend believed Daltrey just wanted a money-making band; Daltrey, conversely, thought Townshend's projects were getting pretentious. In addition, Moon's behaviour was becoming increasingly destructive and problematic.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983390-91_148-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[148] Daltrey had also performed an audit of the group's finances and discovered that Lambert and Stamp had not kept sufficient records. He believed them to be no longer effective as managers, which Townshend and Moon disputed.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983406_149-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[149]  Following a short European tour, the remainder of 1972 was spent working on an orchestral version ofTommy, with Daltrey and Townshend collaborating with Lou Reizner.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983401_150-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[150]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">By 1973, the Who had decided to record an album called Quadrophenia about mod and its subculture, set against clashes with Rockers in early 1960s Britain (particularly atBrighton).<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983412-413_151-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[151]  The story is about a boy named Jimmy, who undergoes a personality crisis, and the narrative details the relationship with his family, friends and mod culture.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998341.2C344_152-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[152]  By the time the album was being recorded, relationships between the band and Lambert and Stamp had broken down irreparably, and Bill Curbishley replaced them as manager.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983412_153-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[153]  Townshend played a variety of multi-tracked synthesizers, and Entwistle played several overdubbed horn parts.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983414_154-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[154]  The album became their highest charting cross-Atlantic success, peaking at No. 2 in both the UK and US.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009428_155-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[155]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The tour for the album started in Stoke on Trent in October,<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009335.E2.80.93336_156-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[156]  but was immediately beset with problems. Having successfully played "Baba O'Riley" and "Won't Get Fooled Again" live over a backing tape of the synthesizer parts, Townshend had assembled a variety of similar tapes for Quadrophenia. Unfortunately, the technology was not sophisticated enough to deal with the demands of the music, and rehearsals were interrupted due to an argument which culminated in Daltrey punching Townshend and knocking him out cold.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998359_157-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[157]  At a gig in Newcastle, the tapes completely malfunctioned, and an enraged Townshend dragged sound-man Bob Pridden on-stage, screamed verbal abuse at him, kicked all the amps over and partially destroyed the backing tapes. The show was abandoned in place of an "oldies" set, at the end of which Townshend smashed his guitar and Moon kicked over his drumkit.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009336_158-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[158] <sup class="reference" id="cite_ref-FOOTNOTEFletcher1998359_157-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[157]  A report in The Independent described this gig as one of the worst of all time.<sup class="reference" id="cite_ref-perrone_159-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[159]  The US tour started on 20 November at the Cow Palace, Daly City, California, where Moon passed out during "Won't Get Fooled Again" and, after a break backstage, again during "Magic Bus". Townshend asked the audience, "Can anyone play the drums?—I mean somebody good." An audience member, Scot Halpin, filled in for the rest of the show.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009337_160-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[160] <sup class="reference" id="cite_ref-perrone_159-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[159]  After a show in Montreal, the band (except for Daltrey, who retired to bed early) caused so much destruction to their hotel room, including destroying an antique painting and ramming a marble table through a wall, that the federal law enforcement was called, and they were arrested.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998363_161-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[161]

Promotional photograph celebrating the band's tenth anniversary, December 1974<p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">By 1974, work had begun in earnest on a Tommy film. Stigwood suggested Ken Russell as director, whose previous work Townshend had admired.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983437_162-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[162]  The film featured a star-studded cast, including the band members themselves. David Essex auditioned for the title role, but the band persuaded Daltrey to take it.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983439_163-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[163]  The other cast members included Ann-Margret, Oliver Reed, Eric Clapton, Tina Turner, Elton John and Jack Nicholson.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983439.E2.80.93440_164-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[164]  Townshend and Entwistle worked on the film soundtrack for most of the year, handling the bulk of the instrumentation, but as Moon had moved to Los Angeles, they used Kenney Jones and Tony Newman as drummers. Phil Chen played some bass on the album, Nicky Hopkins and Chris Stainton handled some keyboards and Ronnie Wood, Mick Ralphs and Caleb Quaye guested on guitar. Elton John insisted on using his own band when recording "Pinball Wizard".<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983441_165-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[165]  Filming began in April 1974 (including 1500 extras atPortsmouth Polytechnic for the "Pinball Wizard" sequence)<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009349-350_166-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[166]  and lasted through until August.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009357_167-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[167]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The film premièred on 18 March 1975, to a standing ovation from the audience.<sup class="reference" id="cite_ref-FOOTNOTENeilKent2009369_168-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[168]  Ann-Margret received a Golden Globe Award for her performance, and was nominated for the Academy Award for Best Actress.<sup class="reference" id="cite_ref-169" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[169]  Townshend was also nominated for an Oscar for his work in scoring and adapting the music for the film.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983451_170-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[170]  Tommy was shown at the 1975 Cannes Film Festival, but was not entered into the main competition.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009371.E2.80.93372_171-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[171]  It won the award for Rock Movie of the Year in the First Annual Rock Music Awards<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009373_172-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[172]  and was a commercial success, generating over $2M in box-office receipts in its first month.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009369_173-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[173]  The soundtrack was also successful, reaching No. 2 on the Billboard albums chart.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009430_174-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[174]

Moon in 1975<p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Because work on Tommy took up most of 1974, live performances by the Who were restricted to a one-off show in May at the Valley, the home of Charlton Athletic, in front of 80,000 fans<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009351_175-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[175]  and a few dates at Madison Square Garden in June.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009354_176-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[176]  Towards the end of the year, the group released the out-takes album Odds & Sods, which featured several songs from the aborted Lifehouse project that had been compiled by Entwistle.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983446_177-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[177]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Their 1975 album, The Who by Numbers, had introspective songs from Townshend that dealt with disillusionment such as "However Much I Booze" and "How Many Friends", Entwistle's "Success Story" that gave a humorous look at the music industry, and the hit single "Squeeze Box".<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009364_178-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[178]  The group set out on tour in October, playing little new material, removing most of the Quadrophenia numbers and reintroducing several numbers from Tommy back into the set.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009365_179-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[179]  On 6 December 1975, the Who set the record for largest indoor concert at the Pontiac Silverdome, attended by 78,000 fans.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998443_180-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[180]  On 31 May 1976, they played a second concert at the Valley which was listed in the Guinness Book of Records as the world's loudest concert, at over 120 dB.<sup class="reference" id="cite_ref-Sanctuary_104-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[104]  Townshend had become fed up of touring by this point<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983473_181-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[181]  but Entwistle considered live performances to be at their peak at this time.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998465_182-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[182] ====Who Are You and Moon's death<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== Daltrey and Townshend, 21 October 1976, Maple Leaf Gardens, Toronto, Ontario—their last ever public gig with Moon<p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">After the 1976 tour, Townshend insisted on having most of the following year off to spend time with his family.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009394_183-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[183]  He discovered that former Beatles and Rolling Stones manager Allen Klein had managed to buy a stake in his publishing company. A settlement was reached, but Townshend was upset and disillusioned that Klein had attempted to force ownership of his songs. Townshend went to the Speakeasy where he bumped into the Sex Pistols' Steve Jones and Paul Cook, who both liked the Who. After leaving the club, he passed out in a doorway, where a policeman said he would not be arrested if he could stand and walk. The events inspired the title track of the next album, Who Are You.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009396_184-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[184]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The group reconvened in September 1977, but Townshend announced there would be no live performances for the immediate future, a decision that Daltrey endorsed. By this point, Moon was so unfit that the Who conceded it would be difficult for him to cope with touring. The only live gig performed that year was an informal show at the Gaumont State Cinema in Kilburn, London, on 15 December, as part of an upcoming documentary film about the band, The Kids Are Alright.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009406_185-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[185]  The band had not played for 14 months, and their performance was so weak that the footage was left unused. Moon's playing was particularly lacklustre and he had gained a lot of weight.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983494_186-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[186]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Recording of Who Are You started in January 1978. Daltrey clashed with Johns over the production of his vocals, and Moon's drumming was so poor that Daltrey and Entwistle considered firing him. Moon's playing subsequently improved, but on one track, "Music Must Change", he was absent entirely.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983496_187-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[187]  In May, the Who were required to film another performance at Shepperton Sound Studios in May for The Kids Are Alright, due to the poor performance at Kilburn. Their performance was strong, and several tracks were used on the final cut. It was the last gig Moon ever performed with the Who.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983499_188-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[188]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The album was released on 18 August, and became their biggest and fastest seller to that date, peaking at No. 6 in the UK and No. 2 in the US.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009430_174-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[174]  Instead of touring, Daltrey, Townshend and Moon did a series of promotional television interviews, while Entwistle worked on the soundtrack for The Kids Are Alright.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983504-505_189-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[189]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">On 6 September, Moon attended a party held by Paul McCartney to celebrate Buddy Holly's birthday. Upon arriving back at his flat, Moon took 32 tablets of Heminevrin—a drug prescribed to combat hisalcohol withdrawal.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009416_190-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[190]  He passed out the following morning, and was discovered dead later that day.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983506.E2.80.93507_191-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[191]  He was 32.<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009416_190-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[190] ===1978–1983<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The day after Moon's death, Townshend issued a statement saying "We are more determined than ever to carry on, and we want the spirit of the group to which Keith contributed so much to go on, although no human being can ever take his place."<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009416-417_192-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[192]  In November 1978, Kenney Jones, formerly of the Small Faces and the Faces, joined the band as Moon's successor.<sup class="reference" id="cite_ref-FOOTNOTETownshend2012287_193-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[193]  Keyboardist John "Rabbit" Bundrickalso joined the live band as an unofficial member.<sup class="reference" id="cite_ref-FOOTNOTETownshend2012289_194-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[194]  Bundrick had been scheduled to play on Who Are You, but he was unavailable due to an injury.<sup class="reference" id="cite_ref-FOOTNOTETownshend2012264_195-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[195]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">On 2 May 1979, the Who returned to the stage with a well-received concert at the Rainbow Theatre in London, followed up over the spring and summer by performances at the Cannes Film Festival in France,<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983509_196-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[196]  in Scotland, at Wembley Stadium in London, in West Germany, at the Capitol Theater in Passaic, New Jersey, and in five dates at Madison Square Garden in New York City.<sup class="reference" id="cite_ref-official_197-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[197]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">That year also saw the release of the Quadrophenia film. It was directed by Franc Roddam in his feature-directing début,<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998518_198-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[198]  and features straightforward acting rather than musical numbers as in Tommy.Sting starred as the Ace Face, a fellow mod and friend of Jimmy. John Lydon was considered as Jimmy, but the role went to Phil Daniels.<sup class="reference" id="cite_ref-199" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[199]  The soundtrack was Jones' first appearance on record after taking over full-time from Moon after his death, performing on newly written material not on the original album.<sup class="reference" id="cite_ref-200" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[200]  The film was a critical and box office success in the UK<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998535_201-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[201]  and appealed to the growingmod revival movement. The Jam were musically influenced by the Who, and critics noticed a similarity between Townshend and the group's leader, Paul Weller.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983510_202-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[202]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The Kids Are Alright was also completed in 1979. It was a retrospective of the band's career to that date, directed by Jeff Stein.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983486_203-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[203]  The film included footage of the band at Monterey, Woodstock and Pontiac, and clips from the Smothers Brothers' show and Russell Harty Plus.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998486_204-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[204]  Moon had died during production, one week after he had seen the rough cut with Daltrey. The film contains Moon's final live performance at Shepperton Studios,<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998503_205-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[205]  and an audio track of him playing over silent footage of himself was the last time he ever played the drums.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998514_206-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[206]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In December, the Who became the third band, after the Beatles and the Band, to be featured on the cover of Time. The article, written by Jay Cocks, said the band had "outpaced, outlasted, outlived and outclassed" all of their rock band contemporaries.<sup class="reference" id="cite_ref-Time_Magazine_207-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[207] ====Cincinnati tragedy<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== Main article: 1979 The Who concert disaster<p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">On 3 December 1979, a crowd crush at the Who's gig at the Riverfront Coliseum, Cincinnati, Ohio killed 11 fans.<sup class="reference" id="cite_ref-208" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[208]  This was partly due to the use of festival seating, where the first to enter the venue get the best positions to view the concert. Some fans waiting outside mistook the band's sound check for the actual concert, and attempted to force their way inside. When only a few entrance doors were opened, a bottleneck situation ensued and, with so many thousands trying to gain entry, the crush became deadly.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983512_209-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[209]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The Who were not told until after the show because civic authorities feared crowd problems if the concert were cancelled. The band were deeply shaken upon learning of the incident, and requested that appropriate safety precautions be taken at subsequent concerts.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983513_210-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[210]  The following evening, in Buffalo, New York, Daltrey told the crowd that the band had "lost a lot of family last night and this show's for them".<sup class="reference" id="cite_ref-211" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[211] ====Change and break-up<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== The Who in Toronto, 1980<p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Daltrey took a short break from the Who in 1980 to work on the film McVicar, in which he took the lead role of bank robber John McVicar.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983492_212-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[212]  The soundtrack albumis a Daltrey solo album featuring other members of the Who, and was his most successful solo release.<sup class="reference" id="cite_ref-213" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[213]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The Who released two studio albums with Jones as drummer, Face Dances (1981) and It's Hard (1982). Face Dances produced a US top 20 and UK top ten hit with the single "You Better You Bet", whose video was one of the first to be shown on MTV.<sup class="reference" id="cite_ref-214" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[214]  Both Face Dances and It's Hard sold fairly well and the latter received a five-star review in Rolling Stone.<sup class="reference" id="cite_ref-215" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[215]  The single "Eminence Front" from It's Hard was a hit, and became a regular feature of live shows, including future reunions.<sup class="reference" id="cite_ref-216" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[216]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">By this time, however, Townshend had fallen into a depression, realising his role as a visionary had come to an end.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983514_217-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[217]  He was again at odds with Daltrey and Entwistle, who merely wanted to tour and play hits. In addition, Jones' consistent and precise drumming was very different from Moon's wild and unpredictable playing.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983517.E2.80.93518_218-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[218]  There was resentment, too, that Townshend seemed to have saved his best songs for his solo album, Empty Glass.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983519_219-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[219]  He briefly became addicted to heroin, before cleaning up at Meg Patterson's San Diego clinic in early 1982.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983523_220-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[220]

John Entwistle performing with The Who at the Manchester Apollo, 1981<p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Townshend wanted to stop touring completely and for the Who to become solely a studio act, though Entwistle threatened to quit unless there were promises of further tours.<sup class="reference" id="cite_ref-greene82_221-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[221]  Townshend did not change his mind, and so the Who embarked on a "farewell" tour of the US and Canada<sup class="reference" id="cite_ref-222" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[222]  with the Clash as support, including two shows at Shea Stadium in New York<sup class="reference" id="cite_ref-223" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[223]  and ending in Toronto on 17 December.<sup class="reference" id="cite_ref-greene82_221-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[221]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Townshend spent part of 1983 trying to write material for a studio album still owed to Warner Bros. Records from a contract in 1980.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983524_224-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[224]  By the end of 1983, however, Townshend declared himself unable to generate material appropriate for the Who and paid for himself and Jones to be released from the record contract.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998538_225-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[225]  He then focused on solo projects such as White City: A Novel, The Iron Man (which featured Daltrey and Entwistle and two songs on the album credited to "the Who"), and Psychoderelict.<sup class="reference" id="cite_ref-226" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[226] ===Reunions<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In July 1985, the Who re-formed for a one-off performance at Bob Geldof's Live Aid concert at Wembley Stadium, London.<sup class="reference" id="cite_ref-227" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[227]  The BBC transmission truck blew a fuse during the band's set, stopping video from being broadcast. It resumed a short while later.<sup class="reference" id="cite_ref-228" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[228]  At the 1988 Brit Awards, held at the Royal Albert Hall, the band was honoured with the British Phonographic Industry's Lifetime Achievement Award.<sup class="reference" id="cite_ref-229" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[229]  They played a short set at the ceremony, which turned out to be the last time Jones played with the Who.<sup class="reference" id="cite_ref-230" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[230] ====1989 tour<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In 1989, the band embarked on a 25th anniversary The Kids Are Alright reunion tour. Simon Phillips played drums, and Steve "Boltz" Bolton played lead guitar. Townshend relegated himself to acoustic guitar and some electric rhythm guitar to preserve his hearing.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998539_231-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[231]  Their two shows at Sullivan Stadium in Foxboro, Massachusetts, sold 100,000 tickets in less than eight hours, beating previous records set there by U2 and David Bowie.<sup class="reference" id="cite_ref-232" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[232]  However, some critics slated the over-produced and expanded line-up of the tour, calling it "The Who on Ice",<sup class="reference" id="cite_ref-greene_233-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[233]  while AllMusic's Stephen Thomas Erlewine said the tour "tarnished the reputation of the Who almost irreparably".<sup class="reference" id="cite_ref-jointogether_234-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[234]  The 1989 reunion tour included most of Tommy with several guest stars, including Phil Collins, Billy Idol and Elton John.<sup class="reference" id="cite_ref-235" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[235]  A 2-CD live album,Join Together, was released in 1990.<sup class="reference" id="cite_ref-jointogether_234-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[234] ====Partial reunions<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In 1990, the Who were inducted into the Rock and Roll Hall of Fame.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998540_236-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[236]  The group have a featured collection in the hall's museum, including one of Moon's velvet suits, a Warwick bass used by Entwistle, and a drum head dating from 1968.<sup class="reference" id="cite_ref-237" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[237]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In 1991, the Who recorded a cover of Elton John's "Saturday Night's Alright for Fighting" for the tribute album Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin. It was the last new studio recording to feature Entwistle. In 1994, Daltrey turned 50 and celebrated with two concerts at New York's Carnegie Hall. The shows included guest spots by Entwistle and Townshend. Although all three surviving original members of the Who attended, they did not appear on stage together except for during the finale, "Join Together", with the other guests. Daltrey toured that year with Entwistle, Zak Starkeyon drums and Simon Townshend filling in for his brother as guitarist.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998542_238-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[238] ===Re-formation<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === ====Revival of Quadrophenia<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In 1996, Townshend, Entwistle and Daltrey performed Quadrophenia with guest stars at a concert in Hyde Park, including Starkey on drums.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998543_239-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[239]  The performance was narrated by Daniels, who had played Jimmy in the 1979 film. Despite technical difficulties the show was a success and led to a six-night residency at Madison Square Garden. This led to a US and European tour through 1996 and 1997.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998543_239-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[239] Townshend played mostly acoustic guitar, but eventually was persuaded to play some electric.<sup class="reference" id="cite_ref-240" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[240]  In 1998, VH1 ranked the Who ninth in their list of the "100 Greatest Artists of Rock 'n' Roll".<sup class="reference" id="cite_ref-241" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[241] ====Charity shows and Entwistle's death<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In late 1999, the Who performed in concert as a five-piece for the first time since 1985, with Bundrick on keyboards and Starkey on drums. The first show took place on 29 October 1999 in Las Vegas at theMGM Grand Garden Arena.<sup class="reference" id="cite_ref-greene_233-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[233]  which was partially broadcast on TV, as well as the internet, and would later see release as the DVD The Vegas Job. They then performed acoustic shows at Neil Young'sBridge School Benefit at the Shoreline Amphitheatre in Mountain View, California, on 30 and 31 October,<sup class="reference" id="cite_ref-242" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[242]  followed by gigs at the House of Blues in Chicago.<sup class="reference" id="cite_ref-official_197-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[197]  Finally, there were two Christmas charity shows on 22 and 23 December at the Shepherds Bush Empire in London.<sup class="reference" id="cite_ref-243" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[243]  Critics were delighted to see the band back on form with a basic line-up comparable to the tours of the 1960s and 1970s. Andy Greene, writing in Rolling Stone, claimed the 1999 tour to be even better than the final one with Moon in 1976.<sup class="reference" id="cite_ref-greene_233-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[233]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The success of 1999 led to a US tour in 2000 from June to October, moving to the UK in October and November,<sup class="reference" id="cite_ref-official_197-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[197]  to generally favourable reviews.<sup class="reference" id="cite_ref-244" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[244]  The final date was charity show on 27 November at the Royal Albert Hall for the Teenage Cancer trust, which included guest performances from Weller, Pearl Jam's Eddie Vedder, Oasis' Noel Gallagher, Bryan Adams and Nigel Kennedy.<sup class="reference" id="cite_ref-245" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[245]  Stephen Tomas Erlewine described the Albert Hall gig as "an exceptional reunion concert".<sup class="reference" id="cite_ref-alberthall_246-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[246]  The band performed the Concert for New York City at Madison Square Garden on 20 October 2001, dedicated to families of fallen New York City firemen and policemen who had lost their lives at the World Trade Center on 11 September 2001.<sup class="reference" id="cite_ref-usatoday200110_247-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[247]  The Who were also honoured with a Grammy Lifetime Achievement Award that year.<sup class="reference" id="cite_ref-Grammy_248-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[248]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The Who played some concerts in the UK in early 2002, in preparation for a full US tour. On 27 June, the day before the first date,<sup class="reference" id="cite_ref-249" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[249]  Entwistle was found dead at the Hard Rock Hotel in Las Vegas. The cause was a heart attack in which cocaine was a contributing factor. He was 57.<sup class="reference" id="cite_ref-250" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[250] ====After Entwistle and Endless Wire<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== The Who on Tour in 2007. L to R:Zak Starkey, Daltrey, Townshend, and John "Rabbit" Bundrick<p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Entwistle's son, Christopher, gave a statement supporting the Who's decision to carry on. The US tour began at the Hollywood Bowl on 2 July with bassist Pino Palladino. Townshend dedicated the show to Entwistle, which ended with a montage of pictures featuring him. The tour lasted until September.<sup class="reference" id="cite_ref-251" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[251]  The loss of a founder member of the Who caused Townshend to re-evaluate his relationship with Daltrey, which had become strained several times over the band's career. He decided their friendship was important, and this ultimately led to writing and recording new material.<sup class="reference" id="cite_ref-nyt20061029_252-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[252]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">As part of a general plan to combat bootlegging, the band began to release the Encore Series of officially released soundboard tapes via themusic.com. An official statement read "to satisfy this demand they have agreed to release their own official recordings to benefit worthy causes."<sup class="reference" id="cite_ref-253" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[253]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In 2004, the Who released "Old Red Wine" and "Real Good Looking Boy" (with Palladino and Greg Lake, respectively, on bass), as part of a singles anthology (The Who: Then and Now), and went on an 18-date tour playing Japan, Australia, the UK and the US. Later that year, Rolling Stone ranked the Who No. 29 on their list of the 100 Greatest Artists of All Time.<sup class="reference" id="cite_ref-254" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[254]

Zak Starkey has been The Who's main drummer since 1994, and turned down an invitation to be a full-time member<sup class="reference" id="cite_ref-townshend200612_255-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10px;">[255] <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The Who announced in 2005 that a new album was being worked on. Townshend posted a novella called The Boy Who Heard Music on his blog, which developed into a mini-opera called Wire & Glass, forming the basis for the album.<sup class="reference" id="cite_ref-nyt20061029_252-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[252]  Endless Wire was released on 30 October 2006 (31 October in the US). It was the first full studio album of new material since 1982's It's Hard and contained the band's first mini-opera since "Rael" on 1967's The Who Sell Out. Endless Wire reached No. 7 on Billboard and No. 9 in the UK Albums Chart.<sup class="reference" id="cite_ref-256" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[256]  Starkey was invited to join Oasis in April 2006, and the Who in November 2006, but he declined, preferring to split his time between the two.<sup class="reference" id="cite_ref-townshend200612_255-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[255]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In November 2007, the documentary Amazing Journey: The Story of the Who was released. The documentary includes footage not in earlier documentaries, including film from the 1970 Leeds University appearance and the 1964 performance at the Railway Hotel when they were The High Numbers. Amazing Journeywas nominated for a 2009 Grammy Award.<sup class="reference" id="cite_ref-257" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[257]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Since the release of Endless Wire, the Who have continued to tour and receive awards on a regular basis. Highlights include performing on the London stage of the Live 8 concert in July 2005, winning the Freddie Mercury Lifetime Achievement Award in Live Music at the Vodafone music awards,<sup class="reference" id="cite_ref-Vodafone_258-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[258]  performing at the BBC Electric Proms at the Roundhouse in London,<sup class="reference" id="cite_ref-259" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[259]  headlining the Glastonbury Festival<sup class="reference" id="cite_ref-260" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[260]  and a return appearance at the Isle of Wight,<sup class="reference" id="cite_ref-261" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[261]  being honoured at the2008 VH1 Rock Honors in Los Angeles,<sup class="reference" id="cite_ref-262" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[262]  appearing in the music video game Rock Band,<sup class="reference" id="cite_ref-263" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[263]  recognition at the Kennedy Center Honors,<sup class="reference" id="cite_ref-Kennedy_Center_Honors_264-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[264]  and being the final act at the closing ceremony of the London 2012 Olympic Games.<sup class="reference" id="cite_ref-olympics_265-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[265]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In August 2009, Townshend announced on the Who's website that he is working on a new musical titled Floss which follows the story of an ageing rocker known as "Walter", some songs of which may appear on a future Who album.<sup class="reference" id="cite_ref-266" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[266]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">On 19 November 2012, the Who released the album Live at Hull, the band's performance in Hull on 15 February 1970—the night after the Live at Leeds gig was recorded.<sup class="reference" id="cite_ref-267" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[267]  The missing bass at the start of the gig was restored by using the recording from the Leeds gig and digitally realigning it.<sup class="reference" id="cite_ref-268" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[268]  A remastered mono mix of "My Generation" was also released as a single.<sup class="reference" id="cite_ref-269" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[269] ====Quadrophenia and More<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== Main article: Quadrophenia and MoreRoger Daltrey and Pete Townshend performing in Miami, Florida, on 5 February 2010<p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The Who performed Quadrophenia at the Royal Albert Hall on 30 March 2010 as part of the Teenage Cancer Trust series of 10 gigs. This one-off performance of the rock opera featured guest appearances from Vedder, Kasabian's Tom Meighan and the London Symphony Orchestra's Tom Norris.<sup class="reference" id="cite_ref-270" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[270]  Townshend told Rolling Stone that the band had planned a tour for early 2010, but later stated this was jeopardised due to the return of his tinnitus. He is experimenting with a new in-ear monitoring system that was recommended to him by fellow rocker Neil Young and his audiologist.<sup class="reference" id="cite_ref-271" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[271]  The in-ear monitoring system was scheduled to be tested out at the Quadrophenia concert at the Royal Albert Hall on 30 March.<sup class="reference" id="cite_ref-272" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[272]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In July, Daltrey stated that they had acquired new equipment, including earpieces, that allowed Townshend to perform. The Who hoped to tour again in 2011, with "a new show," according to Daltrey, or possibly a retooled stage presentation of Quadrophenia.<sup class="reference" id="cite_ref-273" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[273]  The tour was officially announced in July 2012,<sup class="reference" id="cite_ref-thewho20120718_274-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[274]  and started on 1 November in Ottawa.<sup class="reference" id="cite_ref-275" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[275] <sup class="reference" id="cite_ref-276" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[276]  Bundrick was not present for the tour, having been replaced by keyboardists Chris Stainton, Loren Gold and Frank Simes, the latter of which also acted as musical director.<sup class="reference" id="cite_ref-thewho20120718_274-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[274]  At the Valley View Casino, San Diego in February 2013, Starkey was unable to play drums after pulling a tendon and was replaced for the gig by Scott Devours who performed with less than four hours' notice.<sup class="reference" id="cite_ref-277" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[277]  The tour moved to Europe and the UK for the remainder of 2013, ending at the Wembley Arena, London on 8 July.<sup class="reference" id="cite_ref-278" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[278] ====Future plans<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==== <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In October 2013, Townshend told the London Evening Standard that the Who would stage their final tour in 2015 and will perform in locations they have never performed previously.<sup class="reference" id="cite_ref-279" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[279] <sup class="reference" id="cite_ref-280" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[280]  Daltrey later clarified that the tour is unrelated to the band's 50th anniversary—which actually occurred in 2013—and also indicated that he and Townshend were considering recording new material but would be emphasising their hits in their final stadium tour.<sup class="reference" id="cite_ref-rs2015_281-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[281]  However, some journalists were suspicious of this being a genuine "final" tour, with the Daily Mirror's Johnny Sharp pointing out that the Who previously quit touring, supposedly for good, in 1982.<sup class="reference" id="cite_ref-282" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[282]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In April 2014, Townshend confirmed that the band was considering working on a new album, stating that, "I'm trying to [look] through my 20,000 hours of complete and utter disorganized music [to find possible songs]," adding, "I'll be pulling some songs out of [his long-gestating project] 'Floss' to give to Roger to see if we've got enough to make an album. It might be a big waste of time, but I'm hoping there will be an album."<sup class="reference" id="cite_ref-rs2015_281-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[281]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Jones reunited with The Who on 14 June 2014 at his Hurtwood Polo Club. The band performed for an event set up by him to benefit Prostate Cancer UK, an organization that promotes awareness of the disease, which Jones suffers from. It was the first time that he had appeared on-stage with Townshend and Daltrey since 1988. Sharing the bill were contemporaries such as Jeff Beck, Procol Harum, andMike Rutherford.<sup class="reference" id="cite_ref-gs_283-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[283]  Later that month, the Who announced plans to enter the studio to record a new album in the summer and a 50th anniversary world tour later in the year, which would be their last major tour. The British leg of the tour is set to begin in Dublin on 26 November.<sup class="reference" id="cite_ref-284" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[284] ==Musical style<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == See also: The Who's musical equipment<p style="margin-top:0.5em;line-height:inherit;">The music of the Who can only be called rock & roll ... it is neither derivative of folk music nor the blues; the primary influence is rock & roll itself.

“”— Jann Wenner<sup class="reference" id="cite_ref-FOOTNOTEMarsh198389_285-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10px;">[285] <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">While the Who have been regarded primarily as a rock band, their career showed a wider variety of styles. The original group played a mixture of trad jazz and contemporary pop hits as the Detours, which evolved into R&B during 1963<sup class="reference" id="cite_ref-FOOTNOTENeillKent200922.2C_26_286-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[286]  and then to mod the following year.<sup class="reference" id="cite_ref-FOOTNOTENeillKent200938.E2.80.9339_287-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[287]  A distinctive part of the original band's sound was Entwistle's lead bass playing, while Townshend concentrated on rhythm and chords.<sup class="reference" id="cite_ref-FOOTNOTENeillKent200924_18-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[18]  Entwistle's bass has been described as displaying "the strong influence of Rhythm and Blues".<sup class="reference" id="cite_ref-FOOTNOTECampbell2012239_288-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[288]  His bassline on "Pinball Wizard" was described as "a constribution of its own without diminishing the guitar lines",<sup class="reference" id="cite_ref-FOOTNOTEAtkins2000116_289-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[289]  while he described his part on "The Real Me" from Quadrophenia, recorded in one take, as "a bass solo with vocals".<sup class="reference" id="cite_ref-FOOTNOTEUnterberger2011203_290-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[290]  has been described Moon's arrival in the band further strengthened this reversal of traditional rock instrumentation, frequently playing lead parts on his drum kit.<sup class="reference" id="cite_ref-FOOTNOTEMarsh198388_291-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[291]

A selection of instruments used by the Who, including a Rickenbackerguitar and Moon's "Pictures of Lily" drum kit from Premier.<p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The group became pioneering users of the Marshall Stack. This arose from Townshend perceiving himself to be less technical than contemporary guitarists such asEric Clapton and Jeff Beck and deciding to stand out visually instead. Entwistle was the first member to get two 4x12 speaker cabinets, quickly followed by Townshend. The group integrated feedback as an integral part of the guitar sound,<sup class="reference" id="cite_ref-FOOTNOTENeillKent200943_292-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[292]  in their live sound as well as in their recordings.<sup class="reference" id="cite_ref-FOOTNOTEHarison2014199_293-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[293]  Moon stopped using thehi hat in 1966, and started using Premier drum kits on an exclusive basis.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998152_294-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[294]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Like several other contemporary musicians, the group were influenced by the arrival of Jimi Hendrix, particularly after the Who and the Experience met at Monterey. Fletcher described the latter as "so much better than the Who it was embarrassing".<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998189_75-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[75]  This, combined with lengthy touring, strengthened the band's sound. In the studio, they began to develop softer pieces, particularly on Tommy onwards, albeit with Moon's distinctive drumming.<sup class="reference" id="cite_ref-FOOTNOTEFletcher1998232_295-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[295]  At the same time, they grew out of being a singles band to an album band, creating more than mere three-minute pop songs.<sup class="reference" id="cite_ref-FOOTNOTECampbell2012239_288-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[288]  In the early 1970s, the band's sound developed to include synthesizers, particularly on Quadrophenia,<sup class="reference" id="cite_ref-FOOTNOTEAtkins2000177_296-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[296]  and using backing tapes live. Who author John Atkins praised Moon's ability to be able to synchronise with the synthesizer backin on "Won't Get Fooled Again".<sup class="reference" id="cite_ref-FOOTNOTEAtkins2000152_297-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[297]  By By Numbers the style had scaled back to more standard rock.<sup class="reference" id="cite_ref-FOOTNOTEAtkins2000222_298-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[298]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Unlike several other major rock acts, the Who have featured prominent backing vocals within the group. After "I Can't Explain" used session men to sing backing vocals, Townshend and Entwistle resolved to do better themselves on subsequent releases, producing strong falsetto harmonies.<sup class="reference" id="cite_ref-299" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[299]  Daltrey, Townshend and Entwistle all sang lead on various songs, with Moon joining in for the occasional number. Who's Next featured Daltrey and Townshend sharing the lead vocal on several songs, and biographer Dave Marsh considers the contrast between Daltrey's strong, guttural vocal and Townshend's higher and more gentle voice to be one of the album's highlights.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983386_300-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[300] ==Legacy and influence<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == Pete Townshend does the windmill in 1976<p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The Who are one of the most influential rock groups of the 1960s and 1970s.<sup class="reference" id="cite_ref-Britannica_vid_301-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[301]  The group has been credited with originating the "rock opera"<sup class="reference" id="cite_ref-Britannica_vid_301-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[301]  and it made one of the first notable concept albums. Their contributions to rock iconography include the power chord,<sup class="reference" id="cite_ref-302" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[302]  windmill strum,<sup class="reference" id="cite_ref-303" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[303]  the Marshall Stack<sup class="reference" id="cite_ref-304" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[304]  and the guitar smash.<sup class="reference" id="cite_ref-305" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[305]  The band had an impact on fashion from their earliest days with their embrace of pop art<sup class="reference" id="cite_ref-306" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[306]  and their use of the Union Jack for clothing.<sup class="reference" id="cite_ref-307" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[307]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Several notable artists have been influenced by the Who. Bono of U2 said, "More than any other band, the Who are our role models."<sup class="reference" id="cite_ref-The_Who_Kennedy_Center_105-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[105]  Brian May of Queen said, "They were my inspiration."<sup class="reference" id="cite_ref-308" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[308]  Wayne Coyne of the Flaming Lips said, "I already believed in rock & roll, but seeing the Who really made me feel it. I knew I had to become a musician after that."<sup class="reference" id="cite_ref-309" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[309]  Geddy Lee of Rush said, "They were really influential on our band in a big way."<sup class="reference" id="cite_ref-310" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[310]  Pearl Jam's Eddie Vedder said, "The one thing that disgusts me about the Who is the way they smashed through every door in the uncharted hallway of rock 'n' roll without leaving much more than some debris for the rest of us to lay claim to."<sup class="reference" id="cite_ref-311" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[311]  Jack Black has declared: "The Who are the greatest band of all time".<sup class="reference" id="cite_ref-black_312-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[312]  A number of songs by the Who have been covered by various artists. The most commercially successful cover is by Elton John, with "Pinball Wizard" peaking at No. 7 in the UK.<sup class="reference" id="cite_ref-313" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[313]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Due to their major influence in rock music, the Who have spawned a number of tribute bands. Daltrey has endorsed the Whodlums, which regularly raises money for theTeenage Cancer Trust.<sup class="reference" id="cite_ref-314" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[314] <sup class="reference" id="cite_ref-315" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[315]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The Who's mod genesis inspired mod revival bands such as the Jam,<sup class="reference" id="cite_ref-316" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[316]  as well as later bands of the Britpop wave in the mid-1990s, such as Blur<sup class="reference" id="cite_ref-317" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[317]  and Oasis.<sup class="reference" id="cite_ref-318" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[318]  The band has also been called "The Godfathers of Punk"<sup class="reference" id="cite_ref-319" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[319]  and several punk rock bands including the Sex Pistols,<sup class="reference" id="cite_ref-FOOTNOTENeillKent2009396_184-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[184]  The Clash,<sup class="reference" id="cite_ref-320" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[320]  the MC5,<sup class="reference" id="cite_ref-321" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[321]  The Stooges,<sup class="reference" id="cite_ref-322" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[322]  theRamones<sup class="reference" id="cite_ref-323" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[323]  and Green Day, point to the Who as an influence.<sup class="reference" id="cite_ref-324" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[324]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">In 1967, Townshend coined the term "power pop" to describe the Who's sixties singles.<sup class="reference" id="cite_ref-FOOTNOTEMarsh1983253_325-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[325]  Andy Summers of the Police lauded Townshend by saying "He more or less invented the power chord, and you can hear a sort of pre-Zeppelin thing in the Who's Sixties work. So much of this stuff came from him."<sup class="reference" id="cite_ref-326" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[326]  Rolling Stone magazine said in its "100 Greatest Singers" list that Daltrey "had an uncanny ability to adapt to whatever character songwriter Pete Townshend came up with". Similarly, Wayne Coyne of Flaming Lips said "You don't realize how great a singer Roger Daltrey is until you try to do it yourself".<sup class="reference" id="cite_ref-327" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[327] The Who's influence can also be seen in early incorporation of synthesisers, with Who's Next featuring the instrument prominently.<sup class="reference" id="cite_ref-328" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[328]  Prominent synthpop act Orchestral Manoeuvres in the Dark drew influence from the Who on their 1991 hit single "Sailing on the Seven Seas".<sup class="reference" id="cite_ref-329" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[329] ===Television, film and games<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">All three versions of the American forensic drama CSI (CSI: Crime Scene Investigation, CSI: Miami, and CSI: NY) feature songs written and performed by the Who as theme songs, "Who Are You", "Won't Get Fooled Again" and "Baba O'Riley" respectively.<sup class="reference" id="cite_ref-330" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[330]  A fourth version of the drama CSI has been announced for the 2014–15 television season entitled CSI: Cyber. The show's theme will once again be a Who song, "I Can See for Miles".<sup class="reference" id="cite_ref-331" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[331]  The group's songs have featured in other popular TV series such as The Simpsons,<sup class="reference" id="cite_ref-332" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[332]  and Top Gear (which featured an episode where the presenters were tasked with being roadies for the band).<sup class="reference" id="cite_ref-333" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[333]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">Rock-orientated films such as Almost Famous,<sup class="reference" id="cite_ref-334" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[334]  School of Rock<sup class="reference" id="cite_ref-335" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[335]  and Tenacious D and the Pick of Destiny refer to the band and feature their songs,<sup class="reference" id="cite_ref-336" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[336]  and other notable films have used the band's material in their soundtracks, including Apollo 13 (which used "I Can See For Miles")<sup class="reference" id="cite_ref-337" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[337]  and Austin Powers: The Spy Who Shagged Me (for which the band re-recorded "My Generation").<sup class="reference" id="cite_ref-338" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[338]  Several of the band's tracks have appeared in Rock Band and its sequels. Rock Band 3 contains twelve additional Who tracks that can be downloaded and used in the game.<sup class="reference" id="cite_ref-339" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[339] ==Awards and accolades<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == Townshend and Daltrey unveil ablue plaque at Leeds University on 17 June 2006, to commemorate their 1970 album Live at LeedsMain article: List of awards and nominations received by The Who<p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">TIME magazine wrote in 1979 that "No other group has ever pushed rock so far, or asked so much from it."<sup class="reference" id="cite_ref-Time_Magazine_207-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[207]  Rolling Stone wrote: "Along with the Beatles and the Rolling Stones, the Who complete the holy trinity of British rock."<sup class="reference" id="cite_ref-The_Who_1-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[1]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302947998px;">The Who's display at the Rock and Roll Hall of Fame describes them as "Prime contenders, in the minds of many, for the title of World's Greatest Rock Band."<sup class="reference" id="cite_ref-MTV_Montgomery_340-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[340] They received an award for Outstanding Contribution from the British Phonographic Industry in 1988<sup class="reference" id="cite_ref-BPI_341-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[341]  and from the Grammy Foundation in 2001, for creative contributions of outstanding artistic significance to the field of recording.<sup class="reference" id="cite_ref-Grammy_248-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[248]  In 2005 the were inducted into the UK Music Hall of Fame in 2005.The Who won the first annual Freddie Mercury Lifetime Achievement in Live Music Award in 2006. In 2007, the Who received the South Bank Lifetime Achievement Award.<sup class="reference" id="cite_ref-342" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[342]  In 2008, Townshend and Daltrey were given Kennedy Center Honors for their enduring influence on popular culture.<sup class="reference" id="cite_ref-The_Who_Kennedy_Center_105-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[105] ==Band members<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == Main article: Members of the Who;Current members ==Discography<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == Main article: The Who discography;Studio albums ==Tours and performances<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==
 * Roger Daltrey – lead vocals, guitar, harmonica, percussion (1964–present)
 * Pete Townshend – guitar, keyboards, synthesisers, vocals (1964–present)
 * Past members
 * John Entwistle – bass guitar, horns, keyboards, vocals (1964–2002)
 * Doug Sandom – drums (1964)
 * Keith Moon – drums, vocals (1964–1978)
 * Kenney Jones – drums (1978–1988)
 * Touring musicians
 * Zak Starkey – drums, percussion (1994–present)
 * Simon Townshend – guitar, backing vocals (1996–1997, 2002–present)
 * Pino Palladino – bass guitar (2002–present)
 * John Corey – keyboards, backing vocals (2012–present)
 * Loren Gold – keyboards, backing vocals (2012–present)
 * J. Greg Miller – horns (2012–present)
 * Reggie Grisham – horns (2012–present)
 * Frank Simes – keyboards, backing vocals, musical director (2012–present)
 * Former touring musicians
 * John Bundrick – keyboards, backing vocals (1979–1981, 1985–2012)
 * Tim Gorman – keyboards, backing vocals (1982)
 * Simon Philips – drums (1989–1991)
 * Steve "Boltz" Bolton - electric guitar (1989)
 * My Generation (1965)
 * A Quick One (1966)
 * The Who Sell Out (1967)
 * Tommy (1969)
 * Who's Next (1971)
 * Quadrophenia (1973)
 * The Who by Numbers (1975)
 * Who Are You (1978)
 * Face Dances (1981)
 * It's Hard (1982)
 * Endless Wire (2006)