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Discography > Albums > My Generation

My Generation

For more information check these links:
Liner Notes with additions and corrections by Brian Cady
Wikipedia
Whitefang's Who Site

Disc Track # Song
1 1Out in the Street
1 2I Don't Mind
1 3The Good's Gone
1 4La La La Lies
1 5Much Too Much
1 6My Generation
1 7The Kids Are Alright
1 8Please, Please, Please
1 9It's Not True
1 10I'm a Man
1 11A Legal Matter
1 12The Ox
1 13Circles
1 14I Can't Explain
1 15Bald Headed Woman
1 16Daddy Rolling Stone
2 1Leaving Here
2 2Lubie (Come Back Home)
2 3Shout and Shimmy
2 4Heat Wave
2 5Motoring
2 6Anytime You Want Me
2 7Anyway, Anyhow, Anywhere
2 8Instant Party Mixture
2 9I Don't Mind
2 10The Good's Gone
2 11My Generation
2 12Anytime You Want Me
2 13A Legal Matter
2 14My Generation

Buy it at one of these fine online retailers
The Who - My Generation

Here are some reviews of this album:


Reviewer: anonymous
Rating:

This is the ultimate of the Who's early work, and as far as I'm concerned the top albums of the sixties are My Generation, Revolver, Let It Bleed, The Stooges and Led Zeppelin (not in that specific order). When I read the reviews written by some fans I couldn't believe what I was hearing, people nowadays just can't understand what raw production is about, who wants a record like this to be remastered ? The production is perfect, it captures the Who's aggression and bite perfectly, and is the pure middle finger to all the refined rock acts who have been picked up and polished by modern technology. The Who have made a great album whose production suits it perfectly, why wreck it?
Enough of the production though, what about the songs: Out In The Street, La La La Lies, It's Not True, and The Ox are pure stomp alongs; I Don't Mind, and Please, Please, Please show Daltrey's voice tackling soul with success; A Legal Matter see's Townshend on vocal, and he delivers to great effect, despite the fact that his voice lacks the power, leer, and downright aggression of Daltrey's; The Kids Are Alright and Instant Party show that the Who were aware of the downside to their aggressive lifestyle; and My Generation is every bit the monster it was when first relief, Daltrey's voice oozes aggression, Townshend's guitar sends it's chords off like machine gun fire, Moon's drumming is incredible, but the prize goes to Entwhistle, whose bass solo must be the only bass line that fans play along to.
This is an album that has it's faults (Instant Party and Please, Please, Please are hardly among the bands best), but it's faults are forever outshadowed by it's incredible highs. One has to think that while the Beatles were releasing Rubber Soul, which was a brightly melodic pop album, the Who were taking no prisoners with this. Raw, uncompromising, musically adept, and exciting; Everything a rock album should be.


Reviewer: anonymous
Rating:

This debut album is sensational and truly announces The Who to the world in a manner that was befitting their ultimate status. While The Who were "late to the scene" with this album (already well behind the Kinks, Stones, and Beatles with their debut's), the wait may well be what distinguishes this album -- and the band -- from their cohorts on the British scene.
The legendary Shel Talmy's (legendary for good and bad reasons) production gives The Who an unusually strong and thick wall of sound that the Yardbirds, and Pretty Things only were able to grasp in moments of brilliance. Keith's drums and Pete's early bar chord guitar riffs are in full force and sound superb (cleaner on the British pressing I might add). The only quibble I have with production is the occasional reticence to really embrace John Entwistle. While he is prominent in songs such as My Generation (obviously) and The OX, his playing is relegated to background for many other fine songs such as "Out in the Streets" and Kids Are Alright.
To the songs themselves: Pete shows himself early as a brilliant and clever songwriter. While his lyricism is yet to blossom fully (wait for Sell Out for that!), his chord construction and courage to create aggressive songs mixed with beautiful melodies is a real harbinger for The Who fans. Every Townshend penned song is worthy of praise in its own way. Of particular note, My Generation's out and out aggression and defiance; The Kids Are Alright's sweet melody (and contrary lyrics) should have been the follow up single to Generation and pushed hard by the label; The Good's Gone opening Rickenbacher riff (foreshadowing the Byrds) and (on the American version) Instant party (aka Circles in European EP release) brilliant song construction are enough for the album to be great. But for sure, the country-esque Legal Matter, Out In the Streets, Much Too Much and so on are all there just for added enjoyment. Each of these are a must for any person trying to learn how to play like Pete!
My only complaints with the album -- making it a 4.5 star and not five star -- are the covers. Roger's over-the-top machismo vocals are a little too much for my taste. Plus, who plays a Who album to hear covers? The American version comes with two James Brown covers. Both fine, but really who cares? The Brit version has an interesting but in the end unconvincing version of Bo Diddley's I'm a Man. Great musical break in the middle, but again, Roger's vocals are just ridiculous. Luckily an early review of the album (by MNE?) panned the first version of this album's song choices (which contained many more covers) as out of date and boring. That sent Pete back to the tape machine where he penned three last minute additions: La la la lies, the brilliant It's Not True, and The Ox (a wild and barely recognizable cover of the Safari's Wipe Out) which is actually not penned so much as performed (with vigor). Nicky Hopkins piano work is brilliant on this.
The forgotten covers are apparently one more James Brown cover (name escapes me) that they performed on BBC, Lubie, and the Vandella's Motoring. All good, but not as good as a Pete song.


Reviewer: anonymous
Rating:

The Who's debut is raw, brutal, exciting proto-punk that ranks as one of the most exciting statements made by a rock band up to that point in time. Although not the best album of 1965 (that honor is held by either "Bringing It All Back Home" or "Rubber Soul") it is certainly the most fun. The only downers are the covers (especially the James Brown ones), which do not fit in with the overall sound and prove that Daltrey was unable to sing soul music at this point. Otherwise, the album presents one great song after another: the all-time classic "My Generation", the anthemic "Kids Are Alright", the powerhouse feedback instrumental "The Ox", the mysterious, Kinks-inspired "Good's Gone", and the perfect harmony pop of "La La La Lies" are reason enough to buy the album. The album lacks the sophistication and maturity of later efforts but works instead as an unadulterated statement of youthful aggression. Additionally, the band's playing is far beyond what other groups could muster at the time; Moon and Entwhistle amaze and along with Townshend's experiments in feedback on "Out In The Street", "The Ox" and "My Generation", give the group the sound of an electronic roller-coaster ride. The basic sound of the album would be gloriously refined and expanded on as the years went by--and the covers would thankfully be abandoned--but as a whole "My Generation" is a worthy start. Now, if only Shel Talmy would allow it to be remastered with bonus cuts like the rest of the catalogue...


Reviewer: Chester
Rating:

This is my review


Reviewer: anonymous
Rating:

123213




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