The Who

English rock band

This article is about the English rock band. For other uses, see Who.

Not to be confused with The Hu or World Health Organization.

The Who

The Who in 1975. From left to right: Roger Daltrey (vocals), John Entwistle (bass), Keith Moon (drums) and Pete Townshend (guitar).

Background information
Also known as|

* The Detours
* The High Numbers

Origin| London, England
Genres|

* Rock
* hard rock
* power pop
* proto-punk

Works| The Who discography
Years active|

* 1964–1983[1]
* 1985
* 1988
* 1989
* 1996–present

Labels|

* Brunswick
* Reaction
* Track
* Polydor
* Decca
* Virgin
* MCA
* Warner Bros.
* Universal Republic
* Geffen
* Atco

Members|

* Roger Daltrey
* Pete Townshend

Past members|

* John Entwistle
* Doug Sandom
* Keith Moon
* Kenney Jones

Website| thewho.com

The Who are an English rock band formed in London in 1964. Their classic lineup (1964–1978) consisted of lead vocalist Roger Daltrey, guitarist Pete Townshend, bassist John Entwistle and drummer Keith Moon. Considered one of the most influential rock bands of the 20th century, their contributions to rock music include the development of the Marshall stack, large public address systems, the use of synthesizers, Entwistle's and Moon's influential playing styles, Townshend's feedback and power chord guitar technique, and the development of the rock opera. They are cited as an influence by many hard rock, punk, power pop and mod bands. The Who were inducted into the Rock and Roll Hall of Fame in 1990.

The Who evolved from an earlier group, the Detours, and established themselves as part of the pop art and mod movements, featuring auto-destructive art by destroying guitars and drums on stage. Their first single as the Who, "I Can't Explain" (1965), reached the UK top ten, and was followed by a string of hit singles including "Anyway, Anyhow, Anywhere", "My Generation" (both 1965), "Substitute", "I'm a Boy", "Happy Jack" (all 1966) and "Pictures of Lily" (1967). In 1967, they performed at the Monterey Pop Festival and released "I Can See for Miles", their only US top ten single. The group's 1969 concept album Tommy included the single "Pinball Wizard" and was a critical and commercial success.

Further festival appearances at Woodstock and the Isle of Wight, along with the concert album Live at Leeds (1970), established their reputation as a respected rock act. The success put pressure on lead songwriter Townshend, and the follow-up to Tommy, Lifehouse, was abandoned. Songs from the project made up the album Who's Next (1971), including the hits "Won't Get Fooled Again", "Baba O'Riley", and "Behind Blue Eyes". The group released another concept album, Quadrophenia (1973), as a celebration of their mod roots, and oversaw the film adaptation of Tommy (1975). Following the release of The Who by Numbers (1975), they continued to tour to large audiences before semi-retiring from live performances at the end of 1976. The release of Who Are You (1978) was overshadowed by Moon's death shortly after.

Kenney Jones replaced Moon and the group resumed touring. In 1979, they released a film adaptation of Quadrophenia and the retrospective rockumentary The Kids Are Alright. The early 1980s brought two more albums, Face Dances (1981) and It's Hard (1982), and more successful world tours, though Townshend became weary of the group during this time, and they officially split in 1983. The Who occasionally re-formed for live appearances such as Live Aid in 1985, a 25th-anniversary tour in 1989 with Simon Phillips on drums, and a tour of Quadrophenia during 1996–1997 with Zak Starkey on drums. A full-time reunion began in 1999, with Starkey as drummer. After Entwistle's death in 2002, plans for a new album were delayed until 2006, with Endless Wire. Since Entwistle's death, the Who have continued to perform and tour officially as a duo of Daltrey and Townshend, augmented by drummers Starkey (until 2025) and Scott Devours (since 2025), bassists Pino Palladino (2002–2016) and Jon Button (since 2017), and Pete's brother, guitarist Simon Townshend. In 2019, the group released their twelfth studio album Who and supported the album with their Moving On! Tour with a symphony orchestra.[2][3]

## History

[edit]

### Background

[edit]

Pete Townshend attended Ealing Art College in west London (pictured in 2010), and his experience there contributed to the Who's career.

The founding members of the Who, Roger Daltrey, Pete Townshend and John Entwistle, grew up in Acton, London and attended Acton County Grammar School.[4] 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, and both supported their son's interest in rock and roll.[5] Townshend and Entwistle became friends in their second year of Acton County, and formed a trad jazz group;[6] Entwistle also played French horn in the Middlesex Schools' Symphony Orchestra. Both were interested in rock, and Townshend particularly admired Cliff Richard's début single, "Move It".[7] Entwistle moved to guitar, but struggled with it due to his large fingers, and moved to bass on hearing the guitar work of Duane Eddy. He was unable to afford a bass and built one at home.[8][7] After Acton County, Townshend attended Ealing Art College,[9] a move he later described as profoundly influential on the course of the Who.[10]

Daltrey, who was in the year above, had moved to Acton from Shepherd's Bush, a more working-class area. He had trouble fitting in at the school, and discovered gangs and rock and roll.[11] He was expelled at 15 and found work on a building site.[12] In 1959 he started the Detours, the band that was to evolve into the Who. The band played professional gigs, such as corporate and wedding functions, and Daltrey kept a close eye on the finances as well as the music.[13]

Daltrey spotted Entwistle by chance on the street carrying a bass and recruited him into the Detours.[14] In mid-1961, Entwistle suggested Townshend as a guitarist,[14] Daltrey on rhythm guitar, Entwistle on bass, Harry Wilson on drums, and Colin Dawson on vocals. The band played instrumentals by the Shadows and the Ventures, and a variety of pop and trad jazz covers.[15] Daltrey was considered the leader and, according to Townshend, "ran things the way he wanted them".[10] Wilson was fired in mid-1962 and replaced by Doug Sandom, though he was older than the rest of the band, married, and a more proficient musician, having been playing semi-professionally for two years.[16]

Dawson left after frequently arguing with Daltrey[10] and was briefly replaced by Gabby Connolly, before Daltrey moved to lead vocals. Townshend, with Entwistle's encouragement, became the sole guitarist. Through Townshend's mother, the group obtained a management contract with local promoter Robert Druce,[17] who started booking the band as a support act. The Detours were influenced by the bands they supported, 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, who inspired Townshend to combine rhythm and lead guitar in his style. Entwistle's bass became more of a lead instrument,[18] playing melodies.[19] In February 1964, the Detours became aware of the group Johnny Devlin and the Detours, and changed their name.[20] Townshend and his house-mate Richard Barnes spent a night considering names, focusing on a theme of joke announcements, including "No One" and "the Group". Townshend preferred "the Hair", and Barnes liked "the Who" because it "had a pop punch".[21] Daltrey chose "the Who" the next morning.[22]

### 1964–1978

[edit]

#### Early career

[edit]

Plaque at the Goldhawk Social Club in Shepherd's Bush, London marking early performances by the Who

By the time the Detours had become 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.[23] They had also replaced Druce as manager with Helmut Gorden, with whom they secured an audition with Chris Parmeinter for Fontana Records.[24] Parmeinter found problems with the drumming and, according to Sandom, Townshend immediately turned on him and threatened to fire him if his playing did not immediately improve. Sandom left 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.[25]

During a gig with a stand-in drummer in late April at the Oldfield, the band first met Keith Moon. Moon grew up in Wembley, and had been drumming in bands since 1961.[26] He was performing with a semi-professional band called the Beachcombers, and wanted to play full-time.[27] Moon played a few songs with the group, breaking a bass drum pedal and tearing a drum skin. The band were impressed with his energy and enthusiasm, and offered him the job.[28] Moon performed with the Beachcombers a few more times, but dates clashed and he chose to devote himself to the Who. The Beachcombers auditioned Sandom, but were unimpressed and did not ask him to join.[29]

The Who's aesthetic grew out of mod subculture with its high fashion, scooters for transport, and shaggy hairstyles.

The Who changed managers 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 modern jazz. He renamed the group the High Numbers, dressed them up in mod clothes,[30] secured a second, more favourable audition with Fontana and wrote the lyrics for both sides of their single "Zoot Suit"/"I'm the Face" to appeal to mods. The tune for "Zoot Suit" was "Misery" by the Dynamics,[31] and "I'm the Face" borrowed from Slim Harpo's "I Got Love If You Want It".[32] Although Meaden tried to promote the single, it failed to reach the top 50[33] and the band reverted to calling themselves the Who.[34] The group – none of whom played their instruments conventionally[35] – began to improve their stage image; Daltrey started using his microphone cable as a whip on stage, and occasionally leapt into the crowd; Moon threw drumsticks into the air mid-beat; Townshend mimed machine-gunning the crowd with his guitar while jumping on stage and playing guitar with a fast arm-windmilling motion,[36] or stood with his arms aloft allowing his guitar to produce feedback in a posture dubbed "the Bird Man".[37]

Meaden was replaced as manager by two filmmakers, Kit Lambert and Chris Stamp. They were looking for a young, unsigned rock group that they could make a film about,[38] and had seen the band at the Railway Hotel in Wealdstone, which had become a regular venue for them.[39][40] Lambert related to Townshend and his art school background, and encouraged him to write songs.[38] In August, Lambert and Stamp made a promotional film featuring the group and their audience at the Railway.[41] The band changed their set towards soul, rhythm and blues and Motown covers, and created the slogan "Maximum R&B".[30]

In June 1964, during a performance at the Railway, Townshend accidentally broke the head of his guitar on the low ceiling of the stage.[42] Angered by the audience's laughter, 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 obliged by kicking his drum kit over,[43] and auto-destructive art became a feature of the Who's live set.[44]

#### First singles and My Generation

[edit]

Promotional shot of the Who, 1965

By late 1964, the Who were becoming popular in London's Marquee Club, and a rave review of their live act appeared in Melody Maker.[45] Lambert and Stamp attracted the attention of the American producer Shel Talmy, who had produced 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 them to his production company,[46] 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.[47] "I Can't Explain" was recorded in early November 1964 at Pye Studios in Marble Arch with the Ivy League on backing vocals, and Jimmy Page played fuzz guitar on the B-side, "Bald Headed Woman".[34]

"I Can't Explain" became popular with pirate radio stations such as Radio Caroline.[48] Pirate radio was important for bands as there were no commercial radio stations in the UK and BBC Radio played little pop music.[49] The group gained further exposure when they appeared on the television programme Ready Steady Go![30] Lambert and Stamp were tasked with finding "typical teens", and invited the group's regular audience from the Goldhawk Social Club.[50] Enthusiastic reception on television and regular airplay on pirate radio helped the single slowly climb the charts in early 1965 until it reached the top 10.[51] In early 1965, the Who made their first appearance on the television music show, Top of the Pops, at the BBC's Dickenson Road Studios in Manchester, with "I Can't Explain".[52]

The follow-up single, "Anyway, Anyhow, Anywhere", by Townshend and Daltrey,[53] features guitar noises such as pick sliding, toggle switching[54] and feedback, which was so unconventional that it was initially rejected by the US arm of Decca. The single reached the top 10 in the UK[53] and was used as the theme song to Ready Steady Go![55]

The transition to a hit-making band with original material, encouraged by Lambert, did not sit well with Daltrey, and a recording session of R&B covers went unreleased.[56] The Who were not close friends either, apart from Moon and Entwistle, who enjoyed visiting nightclubs together in the West End of London.[57] The group experienced a difficult time when touring Denmark in September, which culminated in Daltrey throwing Moon's amphetamines down the toilet and assaulting him. Immediately on returning to Britain, Daltrey was sacked,[58] but was reinstated on the condition that the group became a democracy without his dominant leadership. At this time, the group enlisted Richard Cole as a roadie.[59]

"My Generation"

"My Generation" includes the line "Hope I die before I get old".

* * *

Problems playing this file? See media help.

The next single, "My Generation", followed 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. The song used gimmicks such as a vocal stutter to simulate the speech of a mod on amphetamines, and two key changes.[60] Townshend insisted in interviews that the lyrics "Hope I die before I get old" were not meant to be taken literally.[61] Peaking at No. 2, "My Generation" is the group's highest-charting single in the UK.[51] The debut album My Generation was released in late 1965. Among original material by Townshend, including the title track and "The Kids Are Alright", the album has several James Brown covers from the session earlier that year that Daltrey favoured.[62]

After My Generation, the Who fell out with Talmy, which meant an abrupt end to their recording contract.[63] The resulting legal acrimony resulted in Talmy holding the rights to the master tapes, which prevented the album from being reissued until 2002.[64] The Who were signed to Robert Stigwood's label, Reaction, and released "Substitute". Townshend said he wrote the song about identity crisis, and as a parody of the Rolling Stones's "19th Nervous Breakdown". It was the first single to feature him playing an acoustic twelve-string guitar.[65] Talmy took legal action over the B-side, "Instant Party", and 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".[66]

In 1966 the Who released "I'm a Boy", about a boy dressed as a girl, taken from an abortive collection of songs called Quads;[67] "Happy Jack";[68] and an EP, Ready Steady Who, that tied in with their regular appearances on Ready Steady Go![69] The group continued to have conflict; on 20 May, Moon and Entwistle were late to a gig having been on the Ready Steady Go! set with the Beach Boys' Bruce Johnston. During "My Generation", Townshend attacked Moon with his guitar; Moon suffered a black eye and bruises, and he and Entwistle left the band, but changed their minds and rejoined a week later.[70] Moon kept looking for other work, and Jeff Beck had him play drums on his song "Beck's Bolero" (with Page, John Paul Jones and Nicky Hopkins) because he was "trying to get Keith out of the Who".[71]

#### A Quick One and The Who Sell Out

[edit]

Roger Daltrey (left) and Keith Moon, 1967

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.[72] The band found they needed to fill an extra ten minutes, and Lambert encouraged Townshend to write a longer piece, "A Quick One, While He's Away". The suite of song fragments is about a girl who has an affair while her lover is away, but is ultimately forgiven. The album was titled A Quick One[73] (Happy Jack in the US),[74] and reached No. 4 in the UK charts.[75] It was followed in 1967 by the UK Top 5 single "Pictures of Lily".[76]

By 1966, Ready Steady Go! had ended, the mod movement was becoming unfashionable, and the Who found themselves in competition on the London circuit with groups including Cream and the Jimi Hendrix Experience.[77] Lambert and Stamp realised that commercial success in the US was paramount to the group's future, and arranged a deal with promoter Frank Barsalona for a short package tour in New York.[78] The group's performances, which still involved smashing guitars and kicking over drums, were well received,[79] and led to their first major US appearance at the Monterey Pop Festival. The group, especially Moon, were not fond of the hippie movement, and thought their violent stage act would stand in sharp contrast to the peaceful atmosphere of the festival. Hendrix was also on the bill, and was also going to smash his guitar on stage. Townshend verbally abused Hendrix and accused him of stealing his act,[80] and the pair argued about who should go on stage first, with the Who winning the argument.[81] The Who brought hired equipment to the festival; Hendrix shipped over his regular touring gear from Britain, including a full Marshall stack. According to biographer Tony Fletcher, Hendrix sounded "so much better than the Who it was embarrassing".[82] The Who's appearance at Monterey gave them recognition in the US, and "Happy Jack" reached the top 30.[82]

The Who in 1967. From left: Moon, Entwistle, Daltrey, Townshend

The group followed Monterey with a US tour supporting Herman's Hermits.[82] The Hermits were a straightforward pop band and enjoyed drugs and practical jokes. They bonded with Moon,[83] 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,[79] 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".[84] Moon recalled his first attempt to flush one down the toilet: "[A]ll that porcelain flying through the air was quite unforgettable. I never realised dynamite was so powerful."[84] After a gig in Flint, Michigan on Moon's 21st birthday on 23 August 1967, the entourage caused $24,000 of damage at the hotel, and Moon knocked out one of his front teeth.[85] Daltrey later said that the tour brought the band closer, and as the support act, they could turn up and perform a short show without any major responsibilities.[86]

John Entwistle backstage in 1967

After the Hermits tour, the Who recorded their next single, "I Can See for Miles", which Townshend had written in 1966 but had avoided recording until he was sure it could be produced well.[87] Townshend called it "the ultimate Who record",[88] and was disappointed it reached only No. 10 in the UK.[88] It became their best selling single in the US, reaching No. 9.[76] The group toured the US again with Eric Burdon and the Animals, including an appearance on The Smothers Brothers Comedy Hour, miming to "I Can See For Miles" and "My Generation".[89] Moon bribed a stage hand to put explosives in his drum kit, who loaded it with ten times the expected quantity. The resulting detonation threw Moon off his drum riser and his arm was cut by a flying piece of a cymbal. Townshend's hair was singed and his left ear left ringing, and a camera and studio monitor were destroyed.[90]

The next album was The Who Sell Out – a concept album parodying pirate radio, which had been outlawed in August 1967 by the Marine Broadcasting Offences Act 1967. It included humorous jingles and mock commercials between songs,[91] a mini rock opera called "Rael", and "I Can See For Miles".[88] The Who declared themselves a pop art group and thus viewed advertising as an artform; they recorded a wide variety of radio advertisements, such as for canned milkshakes and the American Cancer Society, in defiance of the rising anti-consumerist ethos of the hippie counterculture.[92] Townshend stated, "We don't change offstage. We live pop art."[93] Later that year, Lambert and Stamp formed a 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.[94]

The group started 1968 by touring Australia and New Zealand with the Small Faces.[95] The groups had trouble with the local authorities and the New Zealand Truth called them "unwashed, foul-smelling, booze-swilling no-hopers".[96][97] After an incident that took place on a flight to Sydney, the band were briefly arrested in Melbourne and then forced to leave the country; Prime Minister John Gorton sent a telegram to the Who telling them never to return to Australia.[98] The Who would not return to Australia again until 2004. They continued to tour across the US and Canada during the first half of the year.[99]

#### Tommy, Woodstock, Isle of Wight and Live at Leeds

[edit]

By 1968, the Who had started to attract attention in the underground press.[100] Townshend had stopped using drugs and became interested in the teachings of Meher Baba.[101] In August, he gave an interview to Rolling Stone editor Jann Wenner describing in detail the plot of a new album project and its relationship to Baba's teachings. The album went through several names during recording, including Deaf Dumb and Blind Boy and Amazing Journey; Townshend settled on Tommy[102] for the album about the life of a deaf, dumb and blind boy, and his attempt to communicate with others.[103][104] Some songs, such as "Welcome" and "Amazing Journey", were inspired by Baba's teaching,[105] and others came from observations within the band. "Sally Simpson" is about a fan who tried to climb on stage at a gig by the Doors that they attended[106] and "Pinball Wizard" was written so that New York Times journalist Nik Cohn, a pinball enthusiast, would give the album a good review.[107] 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.[108] The album was projected for a Christmas 1968 release[108] but recording stalled after Townshend decided to make a double album to cover the story in sufficient depth.[109]

By the end of the year, 18 months of 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 television special. The Stones considered their own performance lacklustre, and the project was never broadcast.[110] The Who had not released an album in over a year, and had not completed the recording of Tommy, which continued well into 1969, interspersed with gigs at weekends.[111] Lambert was a key figure in keeping the group focused and getting the album completed, and typed up a script to help them understand the story and how the songs fitted together.[112]

By the time the Who were touring Tommy, Daltrey's stage image had changed to include long hair and open shirts.[113]

The album was released in May with the accompanying single, "Pinball Wizard", a debut performance at Ronnie Scott's,[114] and a tour, playing most of the new album live.[115] Tommy sold 200,000 copies in the US in its first two weeks,[116] and was a critical success, Life saying, "for sheer power, invention and brilliance of performance, Tommy outstrips anything which has ever come out of a recording studio".[117] Melody Maker declared: "Surely the Who are now the band against which all others are to be judged."[118] Daltrey had significantly improved as a singer, and set a template for rock singers in the 1970s by growing his hair long and wearing open shirts on stage.[113] Townshend had taken to wearing a boiler suit and Doctor Martens shoes.[113]

In August, the Who performed at the Woodstock Festival, despite being reluctant and demanding $13,000 up front.[119] Pete Townshend gave journalist Robert Christgau a lift to Woodstock.[120] The group were scheduled to appear on Saturday night, 16 August,[121] but the festival ran late and they did not take to the stage until 5 am on Sunday;[122] they played most of Tommy.[123] During their performance, Yippie leader Abbie Hoffman interrupted the set to give a political speech about the arrest of John Sinclair; Townshend kicked him off stage,[119] shouting: "Fuck off my fucking stage!"[124][122] During "See Me, Feel Me", the sun rose almost as if on cue;[125] Entwistle later said, "God was our lighting man".[124] At the end, Townshend threw his guitar into the audience.[125][126] The set was professionally recorded and filmed, and portions appear on the Woodstock film, The Old Grey Whistle Test and The Kids Are Alright.[127]

Woodstock has been regarded as culturally significant, but the Who were critical of the event. Roadie John "Wiggie" Wolff, who arranged the band's payment, described it as "a shambles".[121] Daltrey declared it as "the worst gig [they] ever played"[128] and Townshend said, "I thought the whole of America had gone mad."[122] A more enjoyable appearance came a few weeks later at the 1969 Isle of Wight Festival in England, which Townshend described as "a great concert for" the band.[129] According to Townshend, at the end of the Isle of Wight gig the field was covered in rubbish left by fans (which the band's roadies helped to clear up), which inspired the line "teenage wasteland" from their single "Baba O'Riley".[130]

Townshend and Daltrey unveiling a blue plaque at Leeds University, where Live at Leeds was recorded in 1970

By 1970, the Who were widely considered one of the best and most popular live rock bands; Chris Charlesworth described their concerts as "leading to a kind of rock nirvana that most bands can only dream about". 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 demanded that all the tapes be burned. Instead, they booked two shows, one in Leeds on 14 February, and one in Hull the following day, with the intention of recording a live album. Technical problems from the Hull gig resulted in the Leeds gig being used, which became Live at Leeds.[131] The album is viewed by several critics including The Independent,[132][133] The Telegraph[134] and the BBC,[135] as one of the best live rock albums of all time.[136]

The Tommy tour included shows in European opera houses and saw the Who become the first rock act to play at the Metropolitan Opera House in New York City.[137] 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.[138] The tour included their second appearance at the Isle of Wight Festival. A record attendance in England which the Guinness Book of Records estimated at between 600,000 and 700,000 people,[139] the Who began their set at 2:00 A.M. on Sunday 30 August.[140]

#### Lifehouse and Who's Next

[edit]

The Who at the Coliseum, Charlotte, North Carolina, 20 November 1971[141]

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 was at odds with Meher Baba's ideals, and Moon spent frivolously.[142]

During the latter part of 1970, Townshend conceived a follow-up Tommy: Lifehouse, which was to be a multi-media project symbolising the relationship between an artist and his audience.[143] He developed ideas in his home studio, creating layers of synthesizers,[144] 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.[145] Eventually, the others complained to Townshend that the project was too complicated and they should simply record another album. Things deteriorated until Townshend had a nervous breakdown and abandoned Lifehouse.[146] Entwistle was the first member of the group to release a solo album, Smash Your Head Against the Wall, in May 1971.[147][148]

Recording at the Record Plant in New York City in March 1971 was abandoned when Lambert's addiction to hard drugs interfered with his ability to produce.[149] The group restarted with Glyn Johns in April.[150] The album was mostly Lifehouse material,[149] with one unrelated song by Entwistle, "My Wife", and was released as Who's Next in August.[151] The album reached No. 1 in the UK and No. 4 in the US. "Baba O'Riley" and "Won't Get Fooled Again" are early examples of synthesizer use in rock, featuring keyboard sounds generated in real time by a Lowrey organ; on "Won't Get Fooled Again", it was further processed through a VCS3 synthesizer.[150] The synthesizer intro to "Baba O'Riley" was programmed based on Meher Baba's vital stats,[152] and the track featured a violin solo by Dave Arbus.[153] The album was a critical and commercial success, and has been certified 3× platinum by the RIAA.[154] The Who continued to issue Lifehouse-related material over the next few years, including the singles "Let's See Action", "Join Together" and "Relay".[155][156][157]

The band went back on tour, and "Baba O' Riley" and "Won't Get Fooled Again" became live favourites.[158][159] In November they performed at the newly renovated Rainbow Theatre in London for three nights,[160] continuing in the US later that month, where Robert Hilburn of the Los Angeles Times described the Who as "the Greatest Show on Earth".[161] The tour was slightly disrupted at the Civic Auditorium in San Francisco on 12 December when Moon passed out over his kit after overdosing on brandy and barbiturates.[162] He recovered and completed the gig, playing to his usual strength.[163]

#### Quadrophenia, Tommy film, and The Who by Numbers

[edit]

The Who at the Ernst-Mercke-Halle, Hamburg, 12 August 1972[164]

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.[165] There was no group activity until May 1972, when they started working on a proposed new album, Rock Is Dead—Long Live Rock!,[166] but, unhappy with the recordings, abandoned the sessions. Tensions began to emerge as Townshend believed Daltrey just wanted a money-making band and Daltrey thought Townshend's projects were getting pretentious. Moon's behaviour was becoming increasingly destructive and problematic through excessive drinking and drugs use, and a desire to party and tour.[167] Daltrey 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 managers, which Townshend and Moon disputed.[168] The painful dissolution of the managerial and personal relationships are recounted in James D. Cooper's 2014 retrospective documentary, Lambert & Stamp.[169] Following a short European tour, the remainder of 1972 was spent working on an orchestral version of Tommy with Lou Reizner.[170]

By 1973, the Who turned to recording the album Quadrophenia about mod and its subculture, set against clashes with Rockers in early 1960s Britain.[171] The story is about a boy named Jimmy, who undergoes a personality crisis, and his relationship with his family, friends and mod culture.[172] The music features four themes, reflecting the four personalities of the Who.[173] Townshend played multi-tracked synthesizers, and Entwistle played several overdubbed horn parts.[174] 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.[175] The album reached No. 2 in both the UK and US.[176]

The Quadrophenia tour started in Stoke on Trent in October[177] and was immediately beset with problems. Daltrey resisted Townshend's wish to add Joe Cocker's keyboardist Chris Stainton (who played on the album) to the touring band.[178] As a compromise, Townshend assembled the keyboard and synthesizer parts on backing tapes, as such a strategy had been successful with "Baba O'Riley" and "Won't Get Fooled Again".[79] The technology was not sophisticated enough to deal with the demands of the music; added to this issue, tour rehearsals had been interrupted due to an argument that culminated in Daltrey punching Townshend and knocking him out cold.[179] At a gig in Newcastle, the tapes completely malfunctioned, and an enraged Townshend dragged sound-man Bob Pridden on-stage, screamed at him, kicked all the amps over and partially destroyed the backing tapes. The show was abandoned for an "oldies" set, at the end of which Townshend smashed his guitar and Moon kicked over his drumkit.[180][179] The Independent described this gig as one of the worst of all time.[181] The US tour started on 20 November at the Cow Palace in Daly City, California; Moon passed out during "Won't Get Fooled Again" and 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.[182][181] After a show in Montreal, the band (except for Daltrey, who retired to bed early) caused so much damage to their hotel room, including destroying an antique painting and ramming a marble table through a wall, that federal law enforcement arrested them.[183]

Promotional photograph celebrating the band's tenth anniversary, December 1974

By 1974, work had begun in earnest on a Tommy film. Stigwood suggested Ken Russell as director, whose previous work Townshend had admired.[184] The film featured a star-studded cast, including the band members. David Essex auditioned for the title role, but the band persuaded Daltrey to take it.[185] The cast included Ann-Margret, Oliver Reed, Eric Clapton, Tina Turner, Elton John and Jack Nicholson.[186] Townshend and Entwistle worked on the soundtrack for most of the year, handling the bulk of the instrumentation. Moon had moved to Los Angeles, so they used session drummers, including Kenney Jones (who would later join the Who). Elton John used his own band for "Pinball Wizard".[187] Filming was from April[188] until August.[189] 1,500 extras appeared in the "Pinball Wizard" sequence.[188]

The film premiered on 18 March 1975 to a standing ovation.[190] Townshend was nominated for the Academy Award for Best Original Score.[191] Tommy was shown at the 1975 Cannes Film Festival, but not in the main competition.[192] It won the award for Rock Movie of the Year in the First Annual Rock Music Awards[193] and generated over $2 million in its first month.[190] The soundtrack reached number two on the Billboard charts.[194]

Keith Moon in 1975

Work on Tommy took up most of 1974, and live performances by the Who were restricted to a show in May at the Valley, the home of Charlton Athletic, in front of 80,000 fans,[195] and a few dates at Madison Square Garden in June.[196] Towards the end of the year, the group released the out-takes album Odds & Sods, which featured several songs from the aborted Lifehouse project.[197]

In 1975, Daltrey and Townshend disagreed about the band's future and criticised each other via interviews in the music paper New Musical Express. Daltrey was grateful that the Who had saved him from a career as a sheet-metal worker and was unhappy at Townshend not playing well; Townshend felt the commitment of the group prevented him from releasing solo material.[198] The next album, The Who by Numbers, had introspective songs from Townshend that dealt with disillusionment such as "However Much I Booze" and "How Many Friends"; they resembled his later solo work.[199] Entwistle's "Success Story" gave a humorous look at the music industry, and "Squeeze Box" was a hit single.[200] The group toured from October, playing little new material and few Quadrophenia numbers, and reintroducing several from Tommy. The American leg of the tour began in Houston to a crowd of 18,000 at The Summit Arena, and was supported by Toots and the Maytals.[201] On 6 December 1975, the Who set the record for largest indoor concert at the Pontiac Silverdome, attended by 78,000.[202] 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.[117] Townshend had become fed up of touring[203] but Entwistle considered live performance to be at a peak.[204]

#### Who Are You and Moon's death

[edit]

Daltrey and Townshend, 21 October 1976, Maple Leaf Gardens, Toronto, Ontario – their last public gig with Moon

After the 1976 tour, Townshend took most of the following year off to spend time with his family.[205] He discovered that former Beatles and Rolling Stones manager Allen Klein had bought a stake in his publishing company. A settlement was reached, but Townshend was upset and disillusioned that Klein had attempted to take ownership of his songs. Townshend went to the Speakeasy where he met the Sex Pistols' Steve Jones and Paul Cook, fans of the Who. After leaving, 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.[206]

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 unhealthy that the Who conceded it would be difficult for him to cope with touring. The only gig that year was an informal show on 15 December at the Gaumont State Cinema in Kilburn, London, filmed for the documentary The Kids Are Alright.[207] The band had not played for 14 months, and their performance was so weak that the footage was not used. Moon's playing was particularly lacklustre and he had gained a lot of weight,[208] though Daltrey later said, "even at his worst, Keith Moon was amazing."[209]

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 improved, but on one track, "Music Must Change", he was replaced as he could not play in 6
8 time.[210] In May, the Who filmed another performance at Shepperton Sound Studios for The Kids Are Alright. This performance was strong, and several tracks were used in the film. It was the last gig Moon performed with the Who.[211]

The album was released on 18 August, and became their biggest and fastest seller to date, peaking at No. 6 in the UK and No. 2 in the US.[194] Instead of touring, Daltrey, Townshend and Moon did a series of promotional television interviews, and Entwistle worked on the soundtrack for The Kids Are Alright.[212]

On 6 September, Moon attended a party held by Paul McCartney to celebrate Buddy Holly's birthday. Returning to his flat, Moon took 32 tablets of clomethiazole which had been prescribed to combat his alcohol withdrawal.[213] He passed out the following morning and was discovered dead later that day.[214][213]

### 1978–1983

[edit]

The day after Moon's death, Townshend issued the statement: "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."[215] Drummer Phil Collins, having a temporary break from Genesis after his first marriage had failed, was at a loose end and asked to replace Moon, but Townshend had already asked Kenney Jones, who had previously played with the Small Faces and Faces. Jones officially joined the band in November 1978.[216][217] John "Rabbit" Bundrick joined the live band as an unofficial keyboardist.[218] On 2 May 1979, the Who returned to the stage with a concert at the Rainbow Theatre, followed by the Cannes Film Festival in France[219] and dates at Madison Square Garden in New York.[220]

The Quadrophenia film was released that year. It was directed by Franc Roddam in his feature-directing début,[221] and had straightforward acting rather than musical numbers as in Tommy. John Lydon was considered for Jimmy, but the role went to Phil Daniels. Sting played Jimmy's friend and fellow mod, the Ace Face.[222] The soundtrack was Jones' first appearance on a Who record, performing on newly written material not on the original album.[223] The film was a critical and box office success in the UK[224] and appealed to the growing mod revival movement. The Jam were influenced by the Who, and critics noticed a similarity between Townshend and the group's leader, Paul Weller.[220]

The Kids Are Alright was also completed in 1979. It was a retrospective of the band's career, directed by Jeff Stein.[225] The film included footage of the band at Monterey, Woodstock and Pontiac, and clips from the Smothers Brothers' show and Russell Harty Plus.[226] Moon had died one week after seeing the rough cut with Daltrey. The film contains the Shepperton concert,[227] and an audio track of him playing over silent footage of himself was the last time he ever played the drums.[228]

In December, the Who became the third band, after the Beatles and the Band, to appear on the cover of Time. The article, by Jay Cocks, said the band had outpaced, outlasted, outlived and outclassed all of their rock band contemporaries.[229]

#### Cincinnati tragedy

[edit]

Main article: The Who concert disaster

On 3 December 1979, a crowd crush at a Who gig at the Riverfront Coliseum, Cincinnati killed 11 fans.[230] This was partly due to the festival seating, where the first to enter get the best positions. Some fans waiting outside mistook the band's soundcheck for the concert, and attempted to force their way inside. As only a few entrance doors were opened, a bottleneck situation ensued with thousands trying to gain entry, and the crush became deadly.[231]

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 it and requested that appropriate safety precautions be taken in the future.[232] 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".[233]

#### Change and break-up

[edit]

The Who in Toronto, 1980

Daltrey took a break in 1980 to work on the film McVicar, in which he took the lead role of bank robber John McVicar.[234] The soundtrack album is a Daltrey solo album, though all members of the Who are included in the supporting musicians, and was his most successful solo release.[235]

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 shown on MTV.[236] Both Face Dances and It's Hard sold well and the latter received a five-star review in Rolling Stone.[237] The single "Eminence Front" from It's Hard was a hit, and became a regular at live shows.[238] By this time Townshend had fallen into depression, wondering if he was no longer a visionary.[239] He was again at odds with Daltrey and Entwistle, who merely wanted to tour and play hits[240] and thought Townshend had saved his best songs for his solo album, Empty Glass (1980).[241] Jones' drumming style was very different from Moon's and this drew criticism within the band.[240] Townshend briefly became addicted to heroin before cleaning up early in 1982 after treatment with Meg Patterson.[242]

John Entwistle performing with the Who at the Manchester Apollo, 1981

Townshend wanted the Who to stop touring and become a studio act; Entwistle threatened to quit, saying, "I don't intend to get off the road ... there's not much I can do about it except hope they change their minds."[243] Townshend did not change his mind, and so the Who embarked on a farewell tour of the US and Canada[244] with the Clash as support,[245] ending in Toronto on 17 December 1982.[243]

Townshend spent part of 1983 writing material for a Who studio album owed to Warner Bros. Records from a contract in 1980,[246] but he found himself unable to generate music appropriate for the Who and at the end of 1983 paid for himself and Jones to be released from the contract.[247] On 16 December 1983, Townshend announced at a press conference that he was leaving the Who, effectively ending the band.[248]

After the Who break-up, Townshend focused on solo albums such as White City: A Novel (1985), The Iron Man (1989, featuring Daltrey and Entwistle and two songs credited to the Who), and Psychoderelict (1993).[249]

### Reunions

[edit]

In July 1985, the Who performed at Live Aid at Wembley Stadium, London.[250] The BBC transmission truck blew a fuse during the set, temporarily interrupting the broadcast.[251][252] At the 1988 Brit Awards, at the Royal Albert Hall, the band were given the British Phonographic Industry's Lifetime Achievement Award.[253] The short set they played there was the last time Jones played with the Who until 2014.[254]

#### 1989 tour

[edit]

In 1989, the band embarked on a 25th-anniversary The Kids Are Alright reunion tour with Simon Phillips on drums and Steve "Boltz" Bolton as a second guitarist. Townshend had announced in 1987 that he suffered from tinnitus[255][256] and alternated acoustic, rhythm and lead guitar to preserve his hearing.[257] Their two shows at Sullivan Stadium in Foxborough, Massachusetts, sold 100,000 tickets in less than eight hours, beating previous records set there by U2 and David Bowie.[258] The tour was briefly marred at a gig in Tacoma, Washington, where Townshend injured his hand on-stage.[259] Some critics disliked the tour's over-produced and expanded line-up, calling it "The Who on Ice";[260] Stephen Thomas Erlewine of AllMusic said the tour "tarnished the reputation of the Who almost irreparably".[261] The tour included most of Tommy and included such guests as Phil Collins, Billy Idol and Elton John.[262] A 2-CD live album, Join Together, was released in 1990.[261]

#### Partial reunions

[edit]

In 1990, the Who were inducted into the Rock and Roll Hall of Fame.[263] The group have a featured collection in the hall's museum, including one of Moon's velvet suits, a Warwick bass of Entwistle's, and a drumhead from 1968.[264]

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 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 appeared on stage together only during the finale, "Join Together", with the other guests. Daltrey toured that year with Entwistle, Zak Starkey on drums and Simon Townshend filling in for his brother as guitarist.[265]

### Re-formation

[edit]

#### Revival of Quadrophenia

[edit]

Zak Starkey had been the Who's main drummer from 1996 to 2025, and turned down an invitation to be a full-time member.[266]

In 1996, Townshend, Entwistle and Daltrey performed Quadrophenia with guests and Starkey on drums at Hyde Park.[267] The performance was narrated by Daniels, who had played Jimmy in the 1979 film. This was the first live performance of Quadrophenia in its entirety. Despite technical difficulties the show led to a six-night residency at Madison Square Garden and a US and European tour through 1996 and 1997.[267] Townshend played mostly acoustic guitar, but eventually was persuaded to play some electric.[268] In 1998, VH1 ranked the Who ninth in their list of the "100 Greatest Artists of Rock 'n' Roll".[269]

#### Charity shows and Entwistle's death

[edit]

In late 1999, the Who performed as a five-piece for the first time since 1985, with Bundrick on keyboards and Starkey on drums. The first show in Las Vegas at the MGM Grand Garden Arena[260] was partially broadcast on TV and the Internet and released as the DVD The Vegas Job. They then performed acoustic shows at Neil Young's Bridge School Benefit at the Shoreline Amphitheatre in Mountain View, California,[270] followed by gigs at the House of Blues in Chicago[271] and two Christmas charity shows at the Shepherd's Bush Empire in London.[272] Critics were delighted to see a rejuvenated band with a basic line-up comparable to the tours of the 1960s and 1970s. Andy Greene in Rolling Stone called the 1999 tour better than the final one with Moon in 1976.[260]

The band toured the US and UK from June to October 2000,[271] to generally favourable reviews,[273] culminating in a charity show at the Royal Albert Hall for the Teenage Cancer Trust with guest performances from Paul Weller, Eddie Vedder, Noel Gallagher, Bryan Adams and Nigel Kennedy.[274] Stephen Tomas Erlewine described the gig as "an exceptional reunion concert".[275] In October 2001 the band performed at The Concert for New York City at Madison Square Garden for families of firefighters and police who had lost their lives following the September 11 attacks on the World Trade Center;[276] with Forbes describing their performance as a "catharsis" for the law enforcement in attendance.[277] Earlier that year the band were honoured with a Grammy Lifetime Achievement Award.[278]

The Who played concerts in the UK in early 2002 in preparation for a full US tour. On 27 June, the day before the first date,[279] Entwistle, 57, was found dead of a heart attack at the Hard Rock Hotel in Las Vegas. Cocaine was a contributing factor.[280]

#### After Entwistle: Tours and Endless Wire

[edit]

The Who on tour in 2007. L to R: Zak Starkey, Daltrey, Townshend, and John "Rabbit" Bundrick

Entwistle's son, Christopher, gave a statement supporting the Who's decision to carry on. The US tour began at the Hollywood Bowl with touring bassist Pino Palladino. Townshend dedicated the show to Entwistle, and ended with a montage of pictures of him. The tour lasted until September.[281] The loss of a founding member of the Who caused Townshend to re-evaluate his relationship with Daltrey, which had been strained over the band's career. He decided their friendship was important, and this ultimately led to writing and recording new material.[282]

To combat bootlegging, in 2002 the band began to release the Encore Series of official soundboard recordings via themusic.com. An official statement read: "to satisfy this demand they have agreed to release their own official recordings to benefit worthy causes".[283] In 2004, the Who released "Old Red Wine" and "Real Good Looking Boy" (with Palladino and Greg Lake, respectively, on bass guitar) on a singles anthology, The Who: Then and Now, and went on an 18-date tour of Japan, Australia, the UK and the US, including a return appearance at the Isle of Wight.[284] Later that year, Rolling Stone ranked the Who No. 29 on their list of the 100 Greatest Artists of All Time.[285]

The Who announced in 2005 that they were working on a new album. 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.[282] Endless Wire, released in 2006, 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" in 1967. The album reached No. 7 in the US and No. 9 in the UK.[286] Starkey was invited to join Oasis in April 2006 and the Who in November 2006, but he declined and split his time between the two.[266]

In November 2007, the documentary Amazing Journey: The Story of The Who was released, featuring unreleased footage of the 1970 Leeds appearance and a 1964 performance at the Railway Hotel when the group were the High Numbers. Amazing Journey was nominated for a 2009 Grammy Award.[287]

The Who performing the 2010 Super Bowl halftime show

The Who toured in support of Endless Wire, including the BBC Electric Proms at the Roundhouse in London in 2006,[288] headlining the 2007 Glastonbury Festival,[289] a half-time appearance at the Super Bowl XLIV in 2010[290] and being the final act at the closing ceremony of the London 2012 Olympic Games.[291] In November 2012, the Who released Live at Hull, an album of the band's performance the night after the Live at Leeds gig.[292]

#### Quadrophenia and More

[edit]

Main article: Quadrophenia and More

In 2010, the Who performed Quadrophenia with parts played by Vedder and Tom Meighan at the Royal Albert Hall as part of the Teenage Cancer Trust series of 10 gigs.[293] A planned tour for early 2010 was jeopardised by the return of Townshend's tinnitus. He experimented with an in-ear monitoring system that was recommended by Neil Young and his audiologist.[294]

The Quadrophenia and More tour started in November 2012 in Ottawa[295] with keyboardists John Corey, Loren Gold and Frank Simes, the last of whom was also musical director.[296] In February 2013, Starkey pulled a tendon and was replaced for a gig by Scott Devours, who performed with less than four hours' notice.[297] The tour moved to Europe and the UK, and ended at the Wembley Arena in July 2013.[298]

#### The Who Hits 50! and beyond

[edit]

Daltrey and Townshend on the Who Hits 50! tour in 2016

In October 2013, Townshend announced the Who would stage their final tour in 2015, performing in locations they have never played before.[299][300] Daltrey clarified that the tour was unrelated to the band's 50th anniversary and indicated that he and Townshend were considering recording new material.[301] Daltrey stated, "We can't go on touring forever ... it could be open-ended, but it will have a finality to it."[302]

Kenney Jones reunited with the Who in June 2014 at a charity gig for Prostate Cancer UK in his Hurtwood Polo Club, alongside Jeff Beck, Procol Harum and Mike Rutherford.[254] Later that month, the Who announced plans for a world tour with a possible accompanying album.[303][304] In September, the Who released the song "Be Lucky", which was included on the compilation The Who Hits 50! in October.[305] That November, the group released a virtual reality app co-designed by Daltrey's son, Jamie, featuring events and images from the band's history.[306]

The Who headlined 2015's Hyde Park Festival in June, and two days later, the Glastonbury Festival. Townshend suggested to Mojo that it could be the group's last UK gig.[307][308] To coincide with the Who's 50th anniversary, all studio albums, and the new compilation The Who Hits 50!, were reissued on vinyl.[309] In September 2015, all remaining US tour dates were cancelled after Daltrey contracted viral meningitis. Then Townshend promised the band would come back "stronger than ever".[310]

The Who performing at Desert Trip in October 2016

The Who embarked on the Back to the Who Tour 51! in 2016, a continuation of the previous year's tour.[311][312] This included a return visit to the Isle of Wight Festival (at the Seaclose Park in Newport) on 11 June opening date. After 13 concerts, it concluded with a performance at the Desert Trip festival at the Empire Polo Club in Indio, California on 16 October.[313][314][315] In November, the Who announced that five UK dates the following April (previously scheduled for that August and September) would include a full live performance of Tommy. The five-date tour was renamed "2017 Tommy & More" and included the largest selections from the album since 1989.[316] Two preliminary concerts at the Royal Albert Hall for the Teenage Cancer Trust on 30 March and 1 April featured Tommy in full.[317]

In January 2019, the band announced the Moving On! Tour,[318] followed by their first studio album in thirteen years, Who, to critical and commercial success.[319]

#### The Who Hits Back and The Song Is Over

[edit]

In February 2022, the band announced they would embark on a new North American tour entitled The Who Hits Back beginning 22 April 2022 in Hollywood, Florida and concluding 5 November 2022 in Las Vegas, Nevada.[320] In April 2025, it was announced that Zak Starkey would no longer be touring with the band after a dispute about playing style at a Royal Albert Hall gig earlier that year.[321] Starkey stated that he was "surprised and saddened anyone would have an issue with my performance that night" but that he would "remain their biggest fan."[322] However, Townshend clarified a few days later that there had been a miscommunication and that Starkey would remain in the group.[323]

On May 8, 2025, the Who announced The Song Is Over North American Farewell Tour, the band's last-ever run in the U.S. and Canada that is set for mid-August to late September 2025.[324]

On May 18, 2025, Townshend announced on Instagram that Starkey would leave the band to pursue other projects and Scott Devours (who previously played in Daltrey's solo touring band, and later a official member of the band) would replace him for the Who's final shows. Shortly after, Starkey indicated on his own page that his departure was not voluntary and that he had been let go by the band two weeks after his initial reinstatement.[325] The band then released a formal announcement reiterating their impending retirement and that Starkey "needs to devote all his energy" towards his other projects.[326]

## Musical style and equipment

[edit]

See also: The Who's musical equipment

> "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[327]

The Who have been regarded primarily as a rock band, yet have taken influence from several other styles of music during their career. The original group played a mixture of trad jazz and contemporary pop hits as the Detours, and R&B in 1963.[328] The group moved to a mod sound the following year, particularly after hearing the Small Faces fuse Motown with a harsher R&B sound.[329][330] The group's early work was geared towards singles, though it was not straightforward pop. In 1967, Townshend coined the term "power pop" to describe the Who's style.[331] Like their contemporaries, the group were influenced by the arrival of Hendrix, particularly after the Who and the Experience met at Monterey.[82] This and lengthy touring strengthened the band's sound. In the studio, they began to develop softer pieces, particularly from Tommy onwards,[332] and turned their attention towards albums more than singles.[333]

"Won't Get Fooled Again"

The closing section of "Won't Get Fooled Again" merges Townshend's synthesised organ with power chords, Moon's drum fills and "the greatest scream of a career".[334]

* * *

Problems playing this file? See media help.

From the early 1970s, the band's sound included synthesizers, particularly on Who's Next and Quadrophenia.[335] Although groups had used synthesizers before, the Who were one of the first to integrate the sound into a basic rock structure.[336] In By Numbers the group's style had scaled back to more standard rock,[337] but synthesisers regained prominence on Face Dances.[338]

Townshend and Entwistle were instrumental in making extreme volumes and distortion standard rock practices.[339] The Who were early adopters of Marshall Amplification. Entwistle was the first member to get two 4×12 speaker cabinets, quickly followed by Townshend. The group used feedback as part of their guitar sound, both live and in the studio.[340][341] In 1967, Townshend changed to using Sound City amplifiers, customised by Dave Reeves, then in 1970 to Hiwatt.[342] The group were the first to use 1000-watt PA systems for live gigs, which led to competition from bands such as the Rolling Stones and Pink Floyd.[343]

Throughout their careers, the members of the Who have said their live sound has never been captured as they wished on record.[344] Live gigs and the audience have always been important to the group. "Irish" Jack Lyons said, "The Who weren't a joke, they were fucking real, and so were we."[345]

### Vocals

[edit]

Daltrey initially based his style on Motown and rock and roll,[346] but from Tommy onwards he tackled a wider range of styles.[347] His trademark sound with the band, as noted in 1983, has been a characteristic scream, as heard at the end of "Won't Get Fooled Again".[348]

Group backing vocals are prominent in the Who. After "I Can't Explain" used session men for backing vocals, Townshend and Entwistle resolved to do better themselves on subsequent releases, producing strong backing harmonies.[349] Daltrey, Townshend and Entwistle sang lead on various songs, and occasionally Moon joined in. Who's Next featured Daltrey and Townshend sharing the lead vocals on several songs, and biographer Dave Marsh considers the contrast between Daltrey's strong, guttural tone and Townshend's higher and gentler sound to be one of the album's highlights.[350]

Daltrey's voice is negatively affected by marijuana smoke, to which he says he is allergic. On 20 May 2015, during a Who concert at Nassau Coliseum, he smelled a joint burning and told the smoker to put it out or "the show will be over". The fan obliged, without taking Pete Townshend's advice that "the quickest way" to extinguish a joint is "up your fucking arse".[351][352]

### Guitars

[edit]

A selection of instruments used by the Who, including a Rickenbacker and Gibson SG Special guitar, and Moon's "Pictures of Lily" drum kit from Premier

Townshend considered himself less technical than guitarists such as Eric Clapton and Jeff Beck and wanted to stand out visually instead.[340] His playing style evolved from the banjo, favouring down strokes and using a combination of the plectrum and fingerpicking. His rhythm playing frequently used seventh chords and suspended fourths,[342] and he is associated with the power chord, an easy-to-finger chord built from the root and fifth[55] that has since become a fundamental part of the rock guitar vocabulary.[353] Townshend also produced noises by manipulating controls on his guitar and by allowing the instrument to feedback.[37]

In the group's early career, Townshend favoured Rickenbacker guitars as they allowed him to fret rhythm guitar chords easily and move the neck back and forwards to create vibrato.[354] From 1968 to 1973, he favoured a Gibson SG Special live,[355] and later used customised Les Pauls in different tunings.[356]

"Pinball Wizard"

The opening of "Pinball Wizard" demonstrates Townshend's acoustic guitar with a flamenco influence.

* * *

Problems playing this file? See media help.

In the studio for Who's Next and thereafter, Townshend used a 1959 Gretsch 6120 Chet Atkins hollow-body guitar, a Fender Bandmaster amp and an Edwards volume pedal, all gifts from Joe Walsh.[357] Townshend started his career with an acoustic guitar[7] and has regularly recorded and written with a Gibson J-200.[358]

### Bass

[edit]

A distinctive part of the original band's sound was Entwistle's lead bass playing, while Townshend concentrated on rhythm and chords.[18][333] Entwistle's was the first popular use of Rotosound strings in 1966, trying to find a piano-like sound.[359] His bassline on "Pinball Wizard" was described by Who biographer John Atkins as "a contribution of its own without diminishing the guitar lines";[360] he described his part on "The Real Me" from Quadrophenia, recorded in one take, as "a bass solo with vocals".[361] Entwistle's basses include a "Frankenstein" assembled from five Fender Precision and Jazz basses, and Warwick, Alembic, and Status Graphite basses.[362]

### Drums

[edit]

Moon further strengthened the reversal of traditional rock instrumentation by playing lead parts on his drums.[363] His style was at odds with British rock contemporaries such as the Kinks' Mick Avory and the Shadows' Brian Bennett, who did not consider tom-toms necessary for rock music.[364] Moon used Premier kits starting in 1966. He avoided the hi-hat, and concentrated on a mix of tom rolls and cymbals.[365]

Jones' concise, supportive drumming style was in sharp contrast to Moon's. The Who were initially enthusiastic about working with a completely different drummer.[257] Townshend later stated, "we've never really been able to replace Keith"[267] and Daltrey ultimately believed Jones was not right for the band, while still speaking highly of him as a friend and drummer.[366] Starkey knew Moon from childhood and Moon gave him his first drum kit.

Starkey has been praised for his playing style which echoes Moon's without being a copy.[267][367]

### Lyrics

[edit]

Townshend focused on writing meaningful lyrics[368] inspired by Bob Dylan, whose words dealt with subjects other than boy–girl relationships that were common in rock music; in contrast to Dylan's intellectualism, Townshend believed his lyrics should be about things kids could relate to.[369] Early material focused on the frustration and anxiety shared by mod audiences,[368] which Townshend said was a result of "searching for [his] niche".[370] By The Who Sell Out, he began to work narrative and characters into songs,[371] which he fully developed by Tommy, including spiritual themes influenced by Baba.[108] From the mid-1970s onwards, his songs tended to be more personal,[199] which influenced his decision to go solo.[372]

Entwistle's songs, by contrast, typically feature black humour and darker themes.[373] His two contributions to Tommy ("Cousin Kevin" and "Fiddle About") appeared because Townshend did not believe he could write songs as "nasty" as Entwistle's.[109]

## Personal relationships

[edit]

> "We're not mates at all."

—Roger Daltrey, 1965[374]

> "I just couldn't get through to Pete and Roger. We have absolutely nothing in common apart from music."

—Keith Moon, 1965[374]

The Who are perceived as having had a poor working relationship. In the original band, Doug Sandom acted as the peacemaker and settled disputes. Moon, by contrast, was as volatile as Daltrey and Townshend. Entwistle was too passive to become involved in arguments.[375] The group established their live reputation and stage show in part out of insecurity and aggression amongst its members,[376] and Townshend recalled that all decisions had to be made democratically "because we always disagreed".[377]

The only genuine friendship in the band during the 1960s was between Entwistle and Moon. The pair enjoyed each other's sense of humour and shared a fondness for clubbing. Journalist Richard Green noted a "chemistry of playfullness that would go beyond playfullness".[57] Their relationship diminished somewhat when Entwistle got married in 1967, though they still socialised on tour.[82] When Moon was destroying toilets in hotels, Entwistle admitted he "was standing behind him with the matches".[378]

The group regularly argued in the press,[377] though Townshend said disputes were amplified in print and the group simply found it difficult to agree on things.[379] Tommy mutually benefitted Townshend and Daltrey's standing in the band because of the former's songwriting and the latter's stage presence, yet even this did not make them close friends.[380] The pair quarrelled, particularly in the mid-1970s, over the group's direction.[381] During his time with the band, Jones was subject to intermittent criticism from Daltrey.[382]

Entwistle's death in 2002 came as a shock to both Townshend and Daltrey, and caused them to re-evaluate their relationship. Townshend has said that he and Daltrey have since become close friends.[379] In 2015, Townshend confirmed their friendship was still strong, adding their acceptance of each other's differences "brought us to a really genuine and compassionate relationship, which can only be described as love".[307]

## Legacy

[edit]

> "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."

—Eddie Vedder[383]

The Who are considered one of the most influential rock bands of the 20th century.[305][384] Their appearances at Monterey and Woodstock helped give them a reputation as one of the greatest live rock acts[385] and they have been credited with originating the "rock opera".[384]

The group's contributions to rock include "perfecting the power chord",[386][387] windmill strum[388] and the use of non-musical instrument noise such as feedback.[37] The band influenced fashion from their earliest days with their embrace of pop art[389] and the use of the Union Jack for clothing.[390] The guitar-smashing incident at the Railway Hotel in 1964 is one of Rolling Stone magazine's "50 Moments That Changed the History of Rock 'n' Roll".[391]

Pink Floyd began to use feedback from their early shows in 1966, inspired by the Who, whom they considered a formative influence.[392] Shortly after arriving in London in 1966, Jimi Hendrix visited Marshall's music shop demanding an amp setup like Townshend's[369] and manipulated electronic noises in ways that Townshend had pioneered.[37] The Beatles were fans and socialised with Moon in particular during the mid-1960s.[393] In 1965, Paul McCartney said the Who "are the most exciting thing around"[393] and was inspired to write "Helter Skelter" in the group's "heavy" style;[394] John Lennon borrowed the acoustic guitar style in "Pinball Wizard" for "Polythene Pam".[395] Ramones guitarist Johnny Ramone has stated that the Who was what first inspired him to make music and named their debut as one of his favorite albums.[396]

The loud volume of the band's live show influenced the approach of hard rock and heavy metal.[397] A wide variety of proto-punk, punk rock, and alternative rock bands such as the MC5,[398] the Stooges,[399] the Sex Pistols,[206] the Clash,[400] Pearl Jam frontman Eddie Vedder,[401][402] Green Day frontman Billie Joe Armstrong,[403] and Melvins[404] cite the Who as an influence. An early influence on Queen, guitarist Brian May referred to the Who as being "among our favourite groups".[405] The Who inspired mod revival bands, particularly the Jam,[406] which helped other groups influenced by the Who become popular.[385] The Who influenced hard rock bands such as Guns N' Roses.[407] In the mid-1990s, Britpop bands such as Blur[408] and Oasis were influenced by the Who.[409] The Who have also influenced pop rock band Panic! at the Disco.[410]

The Who have inspired many tribute bands; Daltrey has endorsed the Whodlums, who raise money for the Teenage Cancer Trust.[411][412] Many bands have covered Who songs; Elton John's version of "Pinball Wizard" reached No. 7 in the UK.[413]

### Media

[edit]

During the Who's hiatuses in the 1980s and 90s, Townshend developed his skills as a music publisher to be financially successful from the Who without recording or touring. He countered criticism of "selling out" by saying that licensing the songs to other media allows a wider exposure and widens the group's appeal.[379]

The American police procedural franchise CSI (CSI: Crime Scene Investigation, CSI: Miami, CSI: NY, CSI: Cyber and CSI: Vegas) feature Who songs as theme music, "Who Are You", "Won't Get Fooled Again", "Baba O'Riley" and "I Can See for Miles" respectively.[414][415] The group's songs have featured in other popular TV series such as The Simpsons,[416] and Top Gear, which had an episode where the presenters were tasked with being roadies for the band.[417]

Rock-oriented films such as Almost Famous,[418] School of Rock[419] and Tenacious D in the Pick of Destiny refer to the band and feature their songs,[420] and other films have used the band's material in their soundtracks, including Apollo 13 (which used "I Can See For Miles")[421] and Austin Powers: The Spy Who Shagged Me (which used a take of "My Generation" recorded for the BBC).[422] Several of the band's tracks have appeared in the video game Rock Band and its sequels.[423]

### Awards and nominations

[edit]

Main article: List of awards and nominations received by the Who

The Who have received many awards and accolades from the music industry for their recordings and their influence. They received Lifetime Achievement Awards from the British Phonographic Industry in 1988,[424] and from the Grammy Foundation in 2001.[425]

The band were inducted into the Rock and Roll Hall of Fame in 1990 where their display describes them as "prime contenders, in the minds of many, for the title of World's Greatest Rock Band",[426][427] and the UK Music Hall of Fame in 2005.[428]

The single "My Generation" and the albums Tommy and Who's Next have each been inducted into the Grammy Hall of Fame.[429] In 2008, Pete Townshend and Roger Daltrey received Kennedy Center Honors as members of the Who.[430] In 2009, My Generation was selected for preservation in the United States National Recording Registry.[431]

In 2003, Rolling Stone magazine's 500 Greatest Albums of All Time list included Who's Next at number 28,[432] Tommy at number 96,[433] The Who Sell Out at number 113,[434] Live at Leeds at number 170,[435] My Generation at number 236,[436] Quadrophenia at number 266,[437] and A Quick One at number 383.[438] And in 2004, on their 500 Greatest Songs of All Time list, Rolling Stone included "My Generation" at number 11,[439] "Won't Get Fooled Again" at number 133,[440] "I Can See for Miles" at number 258,[441] "Baba O'Riley" at number 340, and "I Can't Explain" at number 371.[442] The same publication ranked them the 29th greatest artist of all time. Eddie Vedder wrote in tribute:

> The Who began as spectacle. They became spectacular. Early on, the band was in pure demolition mode; later, on albums like Tommy and Quadrophenia, it coupled that raw energy with precision and desire to complete musical experiments on a grand scale. They asked, "What were the limits of rock & roll? Could the power of music actually change the way you feel?" Pete Townshend demanded that there be spiritual value in music. They were an incredible band whose main songwriter happened to be on a quest for reason and harmony in his life. He shared that journey with the listener, becoming an inspiration for others to seek out their own path. They did all this while also being in the Guinness Book of World Records as the world's loudest band... The songwriter-listener relationship grows deeper after all the years. Pete saw that a celebrity in rock is charged by the audience with a function, like, "You stand there and we will know ourselves." Not "You stand there and we will pay you loads of money to keep us entertained as we eat our oysters." He saw the connection could be profound. He also realized the audience may say, "When we're finished with you, we'll replace you with somebody else." For myself and so many others (including shopkeepers, foremen, professionals, bellboys, gravediggers, directors, musicians), they won't be replaced. Yes, Pete, it's true, music can change you.[443]

## Band members

[edit]

Main article: List of the Who band members

The Who's mod roundel

### Current members

[edit]

* Roger Daltrey – lead and backing vocals, rhythm guitar, harmonica, percussion, ukulele (1964–1983, 1985, 1988, 1989, 1996–present)
* Pete Townshend – lead and rhythm guitar, backing and lead vocals, keyboards (1964–1983, 1985, 1988, 1989, 1996–present)

### Former members

[edit]

* John Entwistle – bass guitar, horns, backing and lead vocals (1964–1983, 1985, 1988, 1989, 1996–2002; his death)
* Doug Sandom – drums (1964; died 2019)
* Keith Moon – drums, backing and lead vocals (1964–1978; his death)
* Kenney Jones – drums (1978–1983, 1985, 1988)

### Current touring musicians

[edit]

* Billy Nicholls – backing vocals (1989, 1996–1997, 2019–present)
* Simon Townshend – guitar, backing vocals (1996–1997, 2002–present)
* Loren Gold – keyboards, backing vocals (2012–present)
* Jon Button – bass guitar (2017–present)
* Katie Jacoby – lead violinist (2019–present)
* Keith Levenson – music coordinator, conductor (2019–present)
* Emily Marshall – keyboards, associate conductor (2019–present)[444]
* Audrey Q. Snyder – lead cellist (2019–present)
* Scott Devours – drums, percussion (2025–present)[325]

### Former touring musicians

[edit]

For a complete list, see former touring members

* John Bundrick – keyboards (1979–1981, 1985, 1988, 1989, 1996–2011)
* Tim Gorman – keyboards (1982)
* Steve Bolton – guitar (1989)
* Simon Phillips – drums (1989)
* Zak Starkey – drums, percussion (1996–2025)[325]
* Pino Palladino – bass guitar (2002–2016)
* John Corey – keyboards, backing vocals (2012–2017)
* Frank Simes – keyboards, mandolin, banjo, percussion, backing vocals, musical director (2012–2017)[445]

## Discography

[edit]

Main articles: The Who discography and List of songs recorded by the Who

* 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)
* Who (2019)

## Tours and performances

[edit]

### Headlining 1960s–1990s

[edit]

* 1962–1963 performances
* Tommy Tour
* Quadrophenia 1973–1974 tour (28 October 1973 – 24 February 1974)
* The Who by Numbers Tour
* 1979 tour
* 1980 tour
* 1981 tour
* 1982 tour
* 1985 and 1988 reunions
* The Kids Are Alright Tour
* 1999 performances

### Headlining 2000s–2010s

[edit]

* 2000 tour
* 2001 The Concert for New York City appearance
* 2002 tour
* 2004 tour
* 2005 Live 8 appearance
* 2006–2007 tour
* 2008–2009 tour
* Super Bowl XLIV halftime show
* 2010 performances
* 2011 performances
* Quadrophenia and More
* The Who Hits 50!
* Back to the Who Tour 51!
* 2017 Tommy & More
* 2017 tour
* Moving On! Tour
* The Who Hits Back! (22 April 2022 – 28 August 2023)[446][447]
* The Song Is Over: The North American Farewell Tour (2025)

## References

[edit]

1. ^ Marsh 1983, pp. 66, 524.
2. ^ Evans, Richard (13 September 2019). "The Who announce the release of their new album 'WHO' plus UK Tour dates". The Who. Retrieved 24 January 2025.
3. ^ Snapes, Laura (14 January 2019). "The Who Confirm First New Studio Album in 13 Years". The Guardian. Retrieved 24 January 2025.
4. ^ Marsh 1983, pp. 13, 19, 24.
5. ^ Marsh 1983, pp. 15–16.
6. ^ Marsh 1983, p. 26.
7. ^ a b c Neill & Kent 2009, p. 17.
8. ^ Marsh 1983, p. 29.
9. ^ Neill & Kent 2009, p. 20.
10. ^ a b c Neill & Kent 2009, p. 22.
11. ^ Marsh 1983, p. 14.
12. ^ Neill & Kent 2009, p. 11.
13. ^ Marsh 1983, p. 31.
14. ^ a b Neill & Kent 2009, p. 18.
15. ^ Neill & Kent 2009, p. 19.
16. ^ Neill & Kent 2009, pp. 19–20.
17. ^ Neill & Kent 2009, p. 21.
18. ^ a b Neill & Kent 2009, p. 24.
19. ^ Atkins 2000, p. 65.
20. ^ Neill & Kent 2009, p. 26.
21. ^ Marsh 1983, p. 65.
22. ^ Marsh 1983, p. 66.
23. ^ Fletcher 1998, p. 68.
24. ^ Fletcher 1998, p. 70.
25. ^ Marsh 1983, pp. 78–79.
26. ^ Fletcher 1998, p. 29.
27. ^ Marsh 1983, p. 80.
28. ^ Fletcher 1998, p. 73.
29. ^ Fletcher 1998, pp. 80–81.
30. ^ a b c Eder, Bruce. "The Who – biography". AllMusic. Archived from the original on 29 October 2013. Retrieved 19 September 2013.
31. ^ Icons of Rock. ABC-Clio. October 2007. p. 240\. ISBN 978-0-313-33845-8.
32. ^ Fletcher 1998, pp. 91–92.
33. ^ Neill & Kent 2009, p. 54.
34. ^ a b Neill & Kent 2009, p. 60.
35. ^ Rogovoy, Seth (12 November 2019). "The Secret Jewish History of The Who". The Forward. Archived from the original on 12 November 2019. Retrieved 12 November 2019.
36. ^ Marsh 1983, p. 120.
37. ^ a b c d DiPerna 1994, p. 44.
38. ^ a b Kurutz, Steve. "Kit Lambert – Biography". AllMusic. Archived from the original on 27 October 2013. Retrieved 19 September 2013.
39. ^ Neill & Kent 2009, p. 55.
40. ^ The Railway burned down in 2002 and became blocks of flats named after members of the band.Historic England. "THE RAILWAY HOTEL (1440043)". Research records (formerly PastScape). Retrieved 25 August 2013.
41. ^ Neill & Kent 2009, p. 56.
42. ^ "'Who I Am': Rock icon Pete Townshend tells his story" . MSNBC. Retrieved 23 November 2012
43. ^ Marsh 1983, p. 125.
44. ^ Marsh 1983, p. 126.
45. ^ Marsh 1983, p. 134.
46. ^ Howard 2004, pp. 106–107.
47. ^ Marsh 1983, pp. 151–152.
48. ^ Marsh 1983, p. 152.
49. ^ Marsh 1983, p. 100.
50. ^ Carr, Roy (1979). The Kids are Alright (soundtrack) (Media notes). Polydor.
51. ^ a b Neill & Kent 2009, p. 419.
52. ^ Humphries, Patrick (28 November 2013). Top of the Pops 50th Anniversary. McNidder and Grace Limited. p. 52\. ISBN 978-0-85716-063-8. Retrieved 29 May 2022.
53. ^ a b Howard 2004, pp. 107–108.
54. ^ Aledort 1994, p. 58.
55. ^ a b Aledort 1994, p. 57.
56. ^ Fletcher 1998, p. 121.
57. ^ a b Fletcher 1998, p. 126.
58. ^ Neill & Kent 2009, p. 93.
59. ^ Fletcher 1998, pp. 130–132.
60. ^ Marsh 1983, p. 182.
61. ^ Fletcher 1998, p. x.
62. ^ Unterberger, Richie. "My Generation – review". AllMusic. Archived from the original on 3 October 2013. Retrieved 19 September 2013.
63. ^ Marsh 1983, p. 199.
64. ^ Howard 2004, p. 108.
65. ^ Marsh 1983, pp. 200–201.
66. ^ Marsh 1983, p. 203.
67. ^ Marsh 1983, p. 217.
68. ^ Neill & Kent 2009, p. 109.
69. ^ Marsh 1983, p. 218.
70. ^ Fletcher 1998, p. 160.
71. ^ Fletcher 1998, p. 175.
72. ^ Marsh 1983, p. 225.
73. ^ Marsh 1983, p. 227.
74. ^ Unterberger, Ritchie. "A Quick One (Happy Jack)". AllMusic. Archived from the original on 5 September 2013. Retrieved 24 September 2013.
75. ^ Marsh 1983, p. 229.
76. ^ a b Neill & Kent 2009, p. 420.
77. ^ Marsh 1983, pp. 239–240.
78. ^ Marsh 1983, p. 243.
79. ^ a b c Marsh 1983, p. 247.
80. ^ Fletcher 1998, p. 188.
81. ^ McMichael & Lyons 1998, p. 223.
82. ^ a b c d e Fletcher 1998, p. 189.
83. ^ Fletcher 1998, p. 193.
84. ^ a b Fletcher 1998, p. 194.
85. ^ Fletcher 1998, p. 197.
86. ^ Marsh 1983, p. 266.
87. ^ Marsh 1983, p. 273.
88. ^ a b c Neill & Kent 2009, p. 149.
89. ^ Marsh 1983, p. 275.
90. ^ Marsh 1983, pp. 275–276.
91. ^ Neill & Kent 2009, pp. 148–149.
92. ^ DiPerna 1994, pp. 44, 47.
93. ^ Neill & Kent 2009, p. 67.
94. ^ Marsh 1983, p. 250.
95. ^ Neill & Kent 2009, p. 196.
96. ^ Marsh 1983, p. 293.
97. ^ Fletcher 1998, p. 180.
98. ^ Townshend 2012, p. 142.
99. ^ Neill & Kent 2009, p. 190.
100. ^ Neill & Kent 2009, p. 191.
101. ^ Marsh 1983, p. 294.
102. ^ Marsh 1983, p. 317.
103. ^ Marsh 1983, pp. 314–315.
104. ^ Wenner, Jann (28 September 1968). "The Rolling Stone Interview: Pete Townshend". Rolling Stone. Archived from the original on 1 April 2009.
105. ^ Marsh 1983, p. 320.
106. ^ Marsh 1983, p. 316.
107. ^ Neill & Kent 2009, p. 221.
108. ^ a b c Marsh 1983, p. 318.
109. ^ a b Marsh 1983, p. 323.
110. ^ Fletcher 1998, pp. 228–229.
111. ^ Marsh 1983, p. 324.
112. ^ Neill & Kent 2009, p. 220.
113. ^ a b c Marsh 1983, p. 344.
114. ^ Neill & Kent 2009, p. 222.
115. ^ Marsh 1983, p. 326.
116. ^ Neill & Kent 2009, p. 223.
117. ^ a b The Who. Sanctuary Group, Artist Management. Retrieved 3 January 2007.
118. ^ "The Who Kennedy Center Honors". The Kennedy Center. Archived from the original on 29 December 2008. Retrieved 24 November 2010.
119. ^ a b Fletcher 1998, p. 240.
120. ^ Gorman, Paul (2001). In Their Own Write. London: Sanctuary Publishing. p. 122\. ISBN 1-86074-341-2.
121. ^ a b Neill & Kent 2009, p. 237.
122. ^ a b c Evans & Kingsbury 2009, p. 165.
123. ^ Spitz, Bob (1979). Barefoot in Babylon: The Creation of the Woodstock Music Festival. W.W. Norton & Company. p. 462\. ISBN 0-393-30644-5.
124. ^ a b Neill & Kent 2009, p. 224.
125. ^ a b Fletcher 1998, p. 241.
126. ^ "The Who Cement Their Place in Rock History". Rolling Stone. 25 June 2009. Archived from the original on 28 June 2009.
127. ^ Neill & Kent 2009, p. 238.
128. ^ Marsh 1983, p. 350.
129. ^ Neill & Kent 2009, p. 240.
130. ^ "Come Together: The Rise of the Festival". Sky Arts. 7 June 2020. Archived from the original on 7 June 2020. Retrieved 7 June 2020.
131. ^ Charlesworth, Chris (1995). Live At Leeds (1995 CD reissue) (CD). The Who. UK: Polydor. p. 5\. 527–169–2.
132. ^ "Shake, rattle and roll!: The best live albums of all time". The Independent. 12 November 2010. Archived from the original on 14 June 2012. Retrieved 22 November 2012.
133. ^ "Live at Leeds: Who's best ..." The Independent. 7 June 2006. Archived from the original on 16 January 2009. Retrieved 3 January 2007.
134. ^ "Hope I don't have a heart attack". The Telegraph. 22 June 2006. Archived from the original on 4 June 2010. Retrieved 3 January 2007.
135. ^ "The Who: Live at Leeds". BBC. 18 August 2006. Archived from the original on 16 December 2006. Retrieved 3 January 2007.
136. ^ Neill & Kent 2009, p. 426.
137. ^ Marsh 1983, p. 352.
138. ^ Neill & Kent 2009, pp. 247, 421.
139. ^ "The original Isle of Wight festivals – in pictures". The Guardian. Archived from the original on 17 November 2020. Retrieved 15 November 2020.
140. ^ Michael Heatley, liner notes from 1996 CD release
141. ^ Neill & Kent 2009, p. 294.
142. ^ Marsh 1983, p. 354.
143. ^ Marsh 1983, pp. 368–369.
144. ^ Marsh 1983, p. 373.
145. ^ Marsh 1983, p. 375.
146. ^ Marsh 1983, p. 378.
147. ^ Marsh 1983, p. 364.
148. ^ Neill & Kent 2009, p. 283.
149. ^ a b Neill & Kent 2009, pp. 279, 280.
150. ^ a b Neill & Kent 2009, p. 275.
151. ^ Neill & Kent 2009, p. 288.
152. ^ DiPerna 1994, p. 49.
153. ^ Who's Next (Media notes). The Who. Track Records. 1971. 2408 102.`{{cite AV media notes}}`: CS1 maint: others in cite AV media (notes) (link)
154. ^ "Gold & Platinum – The Who". RIAA. Archived from the original on 8 March 2021. Retrieved 27 December 2016.
155. ^ Neill & Kent 2009, p. 421.
156. ^ Smith, Larry (1999). Pete Townshend: the minstrel's dilemma. Praeger Frederick A. p. 171\. ISBN 978-0-275-96472-6.
157. ^ Whitburn, Joel (2006). The Billboard Book of Top 40 Hits. Billboard Books
158. ^ Marsh 1983, p. 392.
159. ^ Neill & Kent 2009, p. 277.
160. ^ "New Rainbow/Astoria". The Theatres Trust. Archived from the original on 21 September 2013. Retrieved 20 September 2013.
161. ^ Neill & Kent 2009, p. 278.
162. ^ Neill & Kent 2009, p. 295.
163. ^ Fletcher 1998, p. 301.
164. ^ Neill & Kent 2009, p. 307.
165. ^ Fletcher 1998, p. 302.
166. ^ Neill & Kent 2009, p. 302.
167. ^ Marsh 1983, pp. 390–391.
168. ^ Marsh 1983, p. 406.
169. ^ Lambert & Stamp: Spotlight shifts to the two who made The Who Archived 10 October 2015 at the Wayback Machine, Chicago Sun-Times, Bruce Ingram, 14 May 2015. Retrieved 2 January 2016.
170. ^ Marsh 1983, p. 401.
171. ^ Marsh 1983, pp. 412–413.
172. ^ Fletcher 1998, pp. 341, 344.
173. ^ Marsh 1983, p. 420.
174. ^ Marsh 1983, p. 414.
175. ^ Marsh 1983, p. 412.
176. ^ Neill & Kent 2009, p. 428.
177. ^ Neill & Kent 2009, pp. 335–336.
178. ^ Marsh 1983, pp. 425–246.
179. ^ a b Fletcher 1998, p. 359.
180. ^ Neill & Kent 2009, p. 336.
181. ^ a b Perrone, Pierre (24 January 2008). "The worst gigs of all time". The Independent. Archived from the original on 25 January 2014. Retrieved 20 August 2014.
182. ^ Neill & Kent 2009, p. 337.
183. ^ Fletcher 1998, p. 363.
184. ^ Marsh 1983, p. 437.
185. ^ Marsh 1983, p. 439.
186. ^ Marsh 1983, pp. 439–440.
187. ^ Marsh 1983, p. 441.
188. ^ a b Neill & Kent 2009, pp. 349–350.
189. ^ Neill & Kent 2009, p. 357.
190. ^ a b Neill & Kent 2009, p. 369.
191. ^ Marsh 1983, p. 451.
192. ^ Neill & Kent 2009, pp. 371–372.
193. ^ Neill & Kent 2009, p. 373.
194. ^ a b Neill & Kent 2009, p. 430.
195. ^ Neill & Kent 2009, p. 351.
196. ^ Neill & Kent 2009, p. 354.
197. ^ Marsh 1983, p. 446.
198. ^ Marsh 1983, p. 458.
199. ^ a b Marsh 1983, p. 460.
200. ^ Neill & Kent 2009, p. 364.
201. ^ Neill & Kent 2009, p. 365.
202. ^ Fletcher 1998, p. 443.
203. ^ Marsh 1983, p. 473.
204. ^ Fletcher 1998, p. 465.
205. ^ Neill & Kent 2009, p. 394.
206. ^ a b Neill & Kent 2009, p. 396.
207. ^ Neill & Kent 2009, p. 406.
208. ^ Marsh 1983, p. 494.
209. ^ The Who release Live At Kilburn DVD from their archive vault. Artisan News Service. 12 November 2008. Event occurs at 1:08. Archived from the original on 11 December 2021. Retrieved 5 September 2014.
210. ^ Marsh 1983, p. 496.
211. ^ Marsh 1983, p. 499.
212. ^ Marsh 1983, pp. 504–505.
213. ^ a b Neill & Kent 2009, p. 416.
214. ^ Marsh 1983, pp. 506–507.
215. ^ Neill & Kent 2009, pp. 416–417.
216. ^ Townshend 2012, p. 287.
217. ^ Bowler, Dave; Dray, Bryan (1992). Genesis: A Biography. Sidgwick & Jackson Ltd. p. 60. ISBN 978-0-283-06132-5.
218. ^ Townshend 2012, p. 289.
219. ^ Marsh 1983, p. 509.
220. ^ a b Marsh 1983, p. 510.
221. ^ Fletcher 1998, p. 518.
222. ^ Spitz, Marc (24 August 2012). "'Quadrophenia,' Still a Flash Point for the Mods". The New York Times. Archived from the original on 13 March 2017. Retrieved 23 September 2013.
223. ^ Rayl, Salley; Henke, James (28 December 1978). "Kenny Jones Joins The Who". Rolling Stone. Archived from the original on 28 December 2014. Retrieved 25 November 2014.
224. ^ Fletcher 1998, p. 535.
225. ^ Marsh 1983, p. 486.
226. ^ Fletcher 1998, p. 486.
227. ^ Fletcher 1998, p. 503.
228. ^ Fletcher 1998, p. 514.
229. ^ Cocks, Jay (17 December 1979). "Rock's Outer Limits". Time. Archived from the original on 15 May 2007. Retrieved 24 November 2010.
230. ^ Flippo, Chet (24 January 1980). "Rock and Roll Tragedy : Why Eleven Died at The Who's Cincinnati Concert". Rolling Stone. Archived from the original on 5 October 2013. Retrieved 23 September 2013.
231. ^ Marsh 1983, p. 512.
232. ^ Marsh 1983, p. 513.
233. ^ "Music: The Stampede to Tragedy". Time. 17 December 1979. Archived from the original on 8 December 2015. Retrieved 30 November 2015.
234. ^ Marsh 1983, p. 492.
235. ^ Ruhlmann, William. "McVicar – Roger Daltrey". AllMusic. Archived from the original on 4 October 2014. Retrieved 23 September 2013.
236. ^ Evans, Richard (2008). Remember the 80s: Now That's What I Call Nostalgia!. Anova Books. p. 33\. ISBN 978-1-906032-12-8. Archived from the original on 15 August 2021. Retrieved 22 November 2020.
237. ^ Puterbaugh, Parke (30 September 1982). "It's Hard". Rolling Stone. Archived from the original on 10 November 2013. Retrieved 23 September 2013.
238. ^ "Readers' Poll: The Who's 10 Greatest Songs : 8 'Eminence Front'". Rolling Stone. 17 October 2012. Archived from the original on 20 August 2013. Retrieved 23 September 2013.
239. ^ Marsh 1983, p. 514.
240. ^ a b Marsh 1983, pp. 517–518.
241. ^ Marsh 1983, p. 519.
242. ^ Marsh 1983, p. 523.
243. ^ a b Greene, Andy (13 June 2013). "Flashback: The Who Wrap Up Their 'Farewell' Tour in 1982". Rolling Stone. Archived from the original on 28 August 2013. Retrieved 23 September 2013.
244. ^ "The 25 Boldest Career Moves in Rock History: Pete Townshend Becomes a Book Editor". Rolling Stone. 23 March 2011. Archived from the original on 13 March 2013. Retrieved 22 November 2012.
245. ^ Myers, Mitch (21 September 2013). "The Clash Unveils 12-Disc Set". The Hollywood Reporter. Archived from the original on 24 September 2013. Retrieved 23 September 2013.
246. ^ Marsh 1983, p. 524.
247. ^ Fletcher 1998, p. 538.
248. ^ Whitaker, Sterling (16 December 2016), The History of the Who's First Breakup, archived from the original on 19 December 2016, retrieved 17 December 2016
249. ^ "Pete Townshend discography". AllMusic. Archived from the original on 7 December 2013. Retrieved 25 September 2013.
250. ^ "Looking back at Live Aid 25 years later". MTV. 13 July 2010. Archived from the original on 19 December 2011. Retrieved 23 September 2013.
251. ^ "Aaaaaay-o! Aaaaaay-o! Why Live Aid was the greatest show of all". The Independent. Archived from the original on 13 July 2020. Retrieved 15 July 2020.
252. ^ "On this day : 13 July". BBC News. Archived from the original on 23 December 2008. Retrieved 23 September 2013.
253. ^ "The Who". Brit Awards. Archived from the original on 2 February 2012. Retrieved 3 February 2012.
254. ^ a b Watkins, James (11 June 2014). "Kenney Jones to perform with The Who on stage for first time in more than 25 years". Get Surrey. Archived from the original on 15 June 2014. Retrieved 18 June 2014.
255. ^ Haller, Anne Kathryn; Montgomery, Judy (2004). "Noise-Induced Hearing Loss in Children: What Educators Need to Know" (PDF). AGS Publishing: 1. Archived (PDF) from the original on 12 June 2015. Retrieved 25 November 2014. `{{cite journal}}`: Cite journal requires `|journal=` (help)
256. ^ Greene, Michael (16 September 1995). "Musicians' Health Issues Often Overlooked". Billboard. p. 8. Retrieved 22 September 2014.
257. ^ a b Fletcher 1998, p. 539.
258. ^ Ressner, Jeffrey (15 June 1989). "The Who Sell Out (Again)". Rolling Stone. p. 20.
259. ^ "10 classic onstage injuries". Guitar Player. 27 September 2011. Archived from the original on 24 September 2014. Retrieved 17 September 2014.
260. ^ a b c Greene, Andy (26 February 2013). "Flashback: The Who Strip Down at their 1999 comeback show". Rolling Stone. Archived from the original on 8 October 2013. Retrieved 21 September 2013.
261. ^ a b Erlewine, Stephen Thomas. "Join Together – The Who". AllMusic. Archived from the original on 20 July 2013. Retrieved 27 September 2013.
262. ^ "Live:Featuring Rock Opera Tommy". AllMusic. Archived from the original on 3 June 2013. Retrieved 27 September 2013.
263. ^ Fletcher 1998, p. 540.
264. ^ "Featured Collections: The Who". Rock and Roll Hall of Fame. Archived from the original on 2 October 2013. Retrieved 30 September 2013.
265. ^ Fletcher 1998, p. 542.
266. ^ a b Townshend, Pete (4 December 2006). "Zak and the Revision of History". Pete Townshend (official site). Archived from the original on 1 January 2007. Retrieved 23 September 2013.
267. ^ a b c d Fletcher 1998, p. 543.
268. ^ Mervis, Scott (8 November 2012). "The Who resurrects its 'other' rock opera, 'Quadrophenia'". Pittsburgh Post-Gazette. Archived from the original on 28 September 2013. Retrieved 23 September 2013.
269. ^ "VH1: 100 Greatest Artists of Rock & Roll". VH1. Archived from the original on 19 November 2019. Retrieved 22 November 2012.
270. ^ Sullivan, Denise (1 November 1999). "Neil Young, the Who, Pearl Jam, Take It to the Bridge". Rolling Stone. Archived from the original on 10 November 2013. Retrieved 23 September 2013.
271. ^ a b "History – The Who". The Who (official site). Archived from the original on 27 September 2013. Retrieved 23 September 2013.
272. ^ "Shepherd's Bush Empire". Academy Music Group. Archived from the original on 25 September 2013. Retrieved 21 September 2013.
273. ^ Piccoli, Sean (25 September 2000). "Great Generation". The Sun Sentinel. Archived from the original on 19 July 2011.
274. ^ Mark Deming (2013). "The Who & Special Guests: Live at the Royal Albert Hall (2000)". Movies & TV Dept. The New York Times. Archived from the original on 28 September 2013. Retrieved 23 September 2013.
275. ^ Erlewine, Stephen Thomas. "Live at the Royal Albert Hall". AllMusic. Archived from the original on 22 September 2013. Retrieved 23 September 2013.
276. ^ Lieberman, David (19 October 2001). "Corporations put aside egos, rivalry to help out". USA Today. Archived from the original on 27 September 2013. Retrieved 23 September 2013.
277. ^ "The Night The Who Saved New York". Forbes. Archived from the original on 18 June 2020. Retrieved 18 June 2020.
278. ^ "Grammy Lifetime Achievement Awards". National Academy of Recording Arts and Sciences. 8 February 2009. Archived from the original on 17 February 2011. Retrieved 24 November 2010.
279. ^ "The Who bassist Entwistle dies". BBC News. 28 June 2002. Archived from the original on 15 August 2021. Retrieved 23 September 2013.
280. ^ "Cocaine 'killed The Who star'". BBC News. 26 July 2002. Archived from the original on 17 December 2009. Retrieved 3 November 2012.
281. ^ Weinraub, Bernard (3 July 2002). "The Who Spring Back And Start Their Tour". The New York Times. Archived from the original on 13 December 2014. Retrieved 5 December 2014.
282. ^ a b Light, Alan (29 October 2006). "24 Years Later, Believe It or Not, The Who's Next". The New York Times. Archived from the original on 19 August 2012. Retrieved 23 September 2013.
283. ^ "The Who To Offer Live Bootlegs". Billboard. 26 August 2002. Archived from the original on 27 May 2014. Retrieved 23 September 2013.
284. ^ Wolfson, Richard (14 June 2004). "Sheer genius". The Daily Telegraph. UK. Archived from the original on 8 February 2006. Retrieved 7 January 2007.
285. ^ "The Immortals: The First Fifty". Rolling Stone. No. 946\. 24 March 2004. Archived from the original on 25 June 2008. Retrieved 3 January 2007.
286. ^ "Endless Wire". The Who (official site). Archived from the original on 27 September 2013. Retrieved 23 September 2013.
287. ^ "The 51st Annual Grammy Awards". CBS News. Archived from the original on 11 November 2012. Retrieved 22 November 2012.
288. ^ "Electric Proms – The Who". BBC News. Archived from the original on 12 April 2013. Retrieved 27 November 2012.
289. ^ "The Who close Glastonbury 2007". NME. Archived from the original on 31 March 2013. Retrieved 27 November 2012.
290. ^ Kreps, Daniel (8 February 2010). "Fans React to the Who's Super Bowl Halftime Performance". Rolling Stone. Archived from the original on 13 January 2015. Retrieved 1 December 2014.
291. ^ "Olympics closing ceremony: playlist". The Daily Telegraph. 12 August 2012. Archived from the original on 8 March 2021. Retrieved 23 September 2013.
292. ^ "Whovember 2012". Universal Music. 24 October 2011. Archived from the original on 1 November 2012. Retrieved 8 November 2012.
293. ^ McCormick, Neil (31 March 2010). "The Who: Quadrophenia at the Royal Albert Hall". The Daily Telegraph. Archived from the original on 9 November 2014. Retrieved 25 November 2014.
294. ^ "The Who's Future Uncertain as Townshend's Tinnitus Returns". Rolling Stone. 18 February 2010. Archived from the original on 21 February 2010. Retrieved 18 February 2010.
295. ^ "The Who Quadrophenia (and more) in Ottawa". Ottawa Sun. 21 November 2012. Archived from the original on 15 August 2021. Retrieved 22 November 2012.
296. ^ "The Who announce North American tour performing "Quadrophenia" plus Who classics" (Press release). The Who. 18 July 2012. Archived from the original on 21 July 2012. Retrieved 18 July 2012.
297. ^ Owen, Arrissia (19 February 2013). "How Local Drummer Scott Devours Scored a Gig With the Who With Four Hours to Learn 'Quadrophenia'". OC Weekly. Archived from the original on 3 September 2014. Retrieved 27 August 2014.
298. ^ McCormick, Neil (24 June 2014). "The Who: Quadrophenia Live in London – The Sea and the Sand – exclusive footage". The Daily Telegraph. Archived from the original on 29 June 2014. Retrieved 25 November 2014.
299. ^ Gibsone, Harriet (24 October 2013). "The Who Quit Touring After 2015". The Guardian. Archived from the original on 3 November 2013. Retrieved 29 October 2013.
300. ^ "The Who announce they will quit touring after 50th anniversary gig in 2015". NME. 24 October 2013. Archived from the original on 29 October 2013. Retrieved 31 October 2013.
301. ^ Greene, Andy (29 October 2013). "The Who to Launch 'Last Big Tour' in 2015". Rolling Stone. Archived from the original on 30 August 2017. Retrieved 16 September 2017.
302. ^ Masters, Tim (30 June 2014). "The Who say UK tour begins 'long goodbye'". BBC News. Archived from the original on 27 September 2014. Retrieved 19 September 2014.
303. ^ Gallo, Phil (16 April 2014). "The Who Launching World Tour This Year and 'Hoping' for New Album". Billboard. Archived from the original on 20 September 2020. Retrieved 21 April 2020.
304. ^ Singh, Anita (30 June 2014). "The Who announce 50th anniversary 'goodbye' tour". The Daily Telegraph. Archived from the original on 21 October 2014. Retrieved 17 September 2014.
305. ^ a b "The Who unveil first new song in eight years". BBC News. Archived from the original on 26 September 2014. Retrieved 26 September 2014.
306. ^ Sexton, Paul (10 November 2014). "The Who Announce New App, Preview Foray Into Virtual Reality". Billboard. Archived from the original on 13 November 2014. Retrieved 25 November 2014.
307. ^ a b "Pete Townshend: "I Think The Who Will Stop After This Year"". Mojo. 29 June 2015. Archived from the original on 4 December 2015. Retrieved 29 June 2015.
308. ^ "The Who to Headline Sunday at Glastonbury Festival 2015". Glastonbury Festivals. 6 May 2015. Archived from the original on 7 May 2015. Retrieved 6 May 2015.
309. ^ "The Who Hits Vinyl!". thewho.com. 27 January 2015. Archived from the original on 6 April 2015. Retrieved 10 May 2015.
310. ^ "Roger Daltrey's meningitis puts The Who's tour on hold". The Guardian. 19 September 2015. Archived from the original on 25 September 2015. Retrieved 24 September 2015.
311. ^ "Back to The Who Tour 2016". The Who Official Website. 3 May 2016. Archived from the original on 17 June 2016. Retrieved 19 July 2016.
312. ^ "The Who Heading Back On The Road". WROR. 3 May 2016. Archived from the original on 1 July 2016. Retrieved 19 July 2016.
313. ^ "The Who to Return to the Isle of Wight Festival". The Who (official website). 17 March 2016. Archived from the original on 28 July 2016. Retrieved 19 July 2016.
314. ^ "The Who 2017 – Tommy and More". axs.com. July 2016. Archived from the original on 16 September 2016. Retrieved 27 July 2016.
315. ^ "The Who to Premiere a New Acoustic Presentation of 'Tommy' at Teenage Cancer Trust at the Royal Albert Hall 30 March / 1 April 2017". thewho.com. 27 July 2016. Archived from the original on 30 July 2016. Retrieved 27 July 2016.
316. ^ Lach, Stef (23 November 2016), "The Who to perform Tommy in full on 2017 UK tour – The Who announce that 5 UK dates scheduled for April [2017] will include a performance of classic album Tommy in full", teamrock.com, archived from the original on 24 November 2016, retrieved 24 November 2016
317. ^ "The Who Concert Guide 2017". 11 January 2019. Archived from the original on 12 January 2019. Retrieved 11 January 2019.
318. ^ Green, Andy (11 January 2019). "The Who Plot Symphonic U.S. Arena Tour, New Studio Album for 2019". Rolling Stone. Archived from the original on 11 January 2019. Retrieved 11 January 2019.
319. ^ "The Who to Release New Album 'Who' in November; 'Ball and Chain' Single Available". Blabbermouth.net. 13 September 2019. Archived from the original on 26 January 2021. Retrieved 28 May 2021.
320. ^ DeSantis, Rachel (7 February 2022). "The Who Announce New North American Tour: 'We Are Thrilled,' Says Roger Daltrey". People. Retrieved 11 February 2022.
321. ^ "The Who appear to fire drummer Zak Starkey over Royal Albert Hall performance". The Guardian. 16 April 2025. Retrieved 16 April 2025.
322. ^ Greene, Andy (16 April 2025). "Zak Starkey Breaks Silence on Firing From the Who: 'I'm Surprised and Saddened'". Rolling Stone. Retrieved 17 April 2025.
323. ^ Legaspi, Althea (19 April 2025). "Zak Is Back, the Who's Pete Townshend Says: 'Not Being Asked to Step Down'". Rolling Stone. Retrieved 19 April 2025.
324. ^ Greene, Andy (8 May 2025). "The Who Announce 'The Song Is Over' North American Farewell Tour". Rolling Stone. Retrieved 8 May 2025.
325. ^ a b c Kreps, Daniel (18 May 2025). "The Who Part Ways With Drummer Zak Starkey (Again) Ahead of Farewell Tour". Rolling Stone. Retrieved 19 May 2025.
326. ^ Jones, Abby (18 May 2025). "The Who Fire Zak Starkey Again". Stereogum. Retrieved 19 May 2025.
327. ^ Marsh 1983, p. 89.
328. ^ Neill & Kent 2009, pp. 22, 26.
329. ^ Neill & Kent 2009, pp. 38–39.
330. ^ Abbey, Eric James (2006). Garage Rock and Its Roots: Musical Rebels and the Drive for Individuality. McFarland. p. 38. ISBN 978-0-7864-5125-8.
331. ^ Marsh 1983, p. 253.
332. ^ Fletcher 1998, p. 232.
333. ^ a b Campbell 2012, p. 239.
334. ^ Marsh 1983, p. 388.
335. ^ Atkins 2000, p. 177.
336. ^ Atkins 2000, p. 140.
337. ^ Atkins 2000, p. 222.
338. ^ Charlesworth, Chris; Hanel, Ed (2004). The Who: The Complete Guide to Their Music. Omnibus Press. p. 92\. ISBN 978-1-84449-428-6.
339. ^ Atkins 2000, pp. 14, 16.
340. ^ a b Neill & Kent 2009, p. 43.
341. ^ Harison 2014, p. 199.
342. ^ a b Drozdowski, Ted (16 May 2013). "The Earthshaking Sound of Who-Era Pete Townshend". Gibson. Archived from the original on 6 October 2014. Retrieved 29 September 2014.
343. ^ James, Daniel (December 2004). "The Isle Of Wight Festival Sound". Sound on Sound. Archived from the original on 5 June 2016. Retrieved 29 September 2014.
344. ^ Neill & Kent 2009, p. 2.
345. ^ Marsh 1983, p. 9.
346. ^ Marsh 1983, p. 43.
347. ^ Marsh 1983, p. 328.
348. ^ Marsh 1983, pp. 388, 496.
349. ^ Thompson, Gordon (2008). Please Please Me : Sixties British Pop, Inside Out: Sixties British Pop, Inside Out. Oxford University Press. p. 95\. ISBN 978-0-19-971555-8.
350. ^ Marsh 1983, p. 386.
351. ^ "The Who's Roger Daltrey Threatens to Cancel Concert After Smelling Weed". Spin. 22 May 2015. Archived from the original on 24 May 2015. Retrieved 23 May 2015.
352. ^ Gamboa, Glenn (21 May 2015). "The Who Hits 50 at Nassau Coliseum: Smoke impacts Roger Daltrey's voice". Newsday. Archived from the original on 24 May 2015. Retrieved 23 May 2015.
353. ^ DiPerna 1994, p. 47.
354. ^ Smith, Richard (1987). The History of Rickenbacker Guitars. Centerstream Publications. pp. 81–82\. ISBN 978-0-931759-15-4.
355. ^ "50th Anniversary Pete Townshend SG". Gibson. Archived from the original on 10 September 2013. Retrieved 20 September 2013.
356. ^ "20 Iconic Guitars : Pete Townshend's #5 Gibson Les Paul". Rolling Stone. 23 May 2012. Archived from the original on 9 October 2014. Retrieved 29 September 2014.
357. ^ Hunter, Dave (15 April 2009). "Myth Busters: Pete Townshend's Recording Secrets". Gibson. Archived from the original on 6 October 2014. Retrieved 29 September 2014.
358. ^ Walsh, Christopher (14 February 2004). "News Line". Billboard. p. 8\. Archived from the original on 15 August 2021. Retrieved 22 November 2020.
359. ^ Ashton, Adrian (2006). The Bass Handbook: A complete Guide for Mastering the Bass Guitar. Backbeat Books. p. 42\. ISBN 978-1-4768-5301-7.
360. ^ Atkins 2000, p. 116.
361. ^ Unterberger 2011, p. 203.
362. ^ Davis, Hugh (31 January 2003). "Entwistle's guitar sale to include his pink Frankenstein". The Daily Telegraph. Archived from the original on 8 October 2014. Retrieved 29 September 2014.
363. ^ Marsh 1983, p. 88.
364. ^ Fletcher 1998, p. 109.
365. ^ Fletcher 1998, p. 152.
366. ^ "The History of Kenney Jones' Time With the Who". Ultimate Classic Rock. January 2016.
367. ^ "Channeling Keith and More". Modern Drummer. 16 November 2006. Archived from the original on 14 April 2012. Retrieved 2 November 2010.
368. ^ a b Marsh 1983, p. 8.
369. ^ a b DiPerna 1994, p. 46.
370. ^ Marsh 1983, p. 118.
371. ^ Marsh 1983, p. 282.
372. ^ Marsh 1983, pp. 518–519.
373. ^ Marsh 1983, p. 252.
374. ^ a b Ewbank & Hildred 2012, p. 28.
375. ^ Marsh 1983, p. 87.
376. ^ Marsh 1983, p. 122.
377. ^ a b Marsh 1983, p. 140.
378. ^ Boucher, Geoff (28 June 2002). "John Entwistle, 57; Innovative Bass Player Co-Founded the Who". Los Angeles Times. Archived from the original on 22 December 2014. Retrieved 6 December 2014.
379. ^ a b c Waddell, Ray (9 January 2010). "Q & A – Pete Townshend". Billboard. Archived from the original on 15 August 2021. Retrieved 6 December 2014.
380. ^ Marsh 1983, p. 144.
381. ^ Marsh 1983, p. 426.
382. ^ Marsh 1983, p. 517.
383. ^ Substitute: The Songs of The Who (Media notes). Edel Records. 2001. 0126242ERE.
384. ^ a b "The Who". Encyclopædia Britannica. Archived from the original on 19 June 2008. Retrieved 16 May 2008.
385. ^ a b Webb, Alex (28 June 2002). "The how and why of the Who". BBC News. Archived from the original on 8 June 2021. Retrieved 29 September 2014.
386. ^ Pareles, Jon (2024). Pillsbury, Glenn (ed.). "Heavy metal in the United States". Grove Music Online. doi:10.1093/omo/9781561592630.013.90000349739. ISBN 978-1-56159-263-0 – via Wikipedia Library. "The Who perfected the power chord."
387. ^ Shaar Murray, Charles (12 January 2003). "Power chord pioneer's artful life". The Observer. Archived from the original on 4 November 2013. Retrieved 30 September 2013.
388. ^ Prown, Pete; Newquist, Harvey (1997). Legends of Rock Guitar: The Essential Reference of Rock's Greatest Guitarists. Hal Leonard Corporation. p. 73\. ISBN 978-0-7935-4042-6.
389. ^ Frith, Simon; Horne, Howard (1987). Art Into Pop. Methuen. p. 101. ISBN 978-0-416-41540-7.
390. ^ Cable, Richard (10 January 2013). "The union jack: A very complex flag". BBC News. Archived from the original on 9 June 2013. Retrieved 30 September 2013.
391. ^ "50 Moments That Changed the History of Rock 'n' Roll". Rolling Stone. 24 June 2004. Archived from the original on 1 January 2009.
392. ^ Whiteley 2003, p. 27.
393. ^ a b Fletcher 1998, p. 127.
394. ^ MacDonald 1997, p. 261.
395. ^ MacDonald 1997, p. 319.
396. ^ Browne, David (15 April 2001). "State of the Art". Entertainment Weekly. Archived from the original on 24 May 2013. Retrieved 3 November 2012.
397. ^ Knowles 2013, p. 140.
398. ^ "Wayne Kramer and the MC5 – Still Kickin'". Guitar.com. Archived from the original on 29 November 2012. Retrieved 3 November 2012.
399. ^ Greene, Andy (6 January 2009). "The Stooges' Ron Asheton Remembered". Rolling Stone. Archived from the original on 28 June 2011. Retrieved 27 July 2011.
400. ^ "The Who". The Kennedy Center. Archived from the original on 24 December 2013.
401. ^ Kerr, Dave (16 May 2006). "Pearl Jam - Explore and Not Explode".  The Skinny. Archived from the original on 5 February 2025. Retrieved 3 May 2025.
402. ^ Brannigan, Paul (10 February 2022). "Watch Eddie Vedder hail The Beatles, The Who, Fugazi in cosy chat with Bruce Springsteen".  Classic Rock Magazine. Archived from the original on 25 January 2025. Retrieved 3 May 2025.
403. ^ Montgomery, James; Stolz, Kim (11 May 2009). "Green Day On 21st Century Breakdown: 'We're Capable Of Doing Anything'". MTV. Archived from the original on 14 May 2009. Retrieved 3 May 2025.
404. ^ Hughes, Rory (2023). "The Stink of Influence: In Conversation with The Melvins' Dale Crover". Astral Noize. Archived from the original on 4 October 2023. Retrieved 8 January 2025. "I would say [The Who] are probably even a bigger influence on us than people realise. Certainly, that's one of  Buzz's, if not his very favourite band, and definitely I like Keith Moon."
405. ^ Hodkinson, Mark (2009). Queen: The Early Years. Omnibus Press.
406. ^ Erlewine, Stephen Thomas. "The Jam: Biography". AllMusic.
407. ^ "Slash Gives Us His Official List of the Greatest Guitarists Ever". Esquire. 17 September 2014. Archived from the original on 20 December 2016. Retrieved 4 December 2016.
408. ^ Azad, Bharat (14 August 2007). "Is Damon Albarn the new David Bowie?". The Guardian. Archived from the original on 24 December 2017. Retrieved 3 November 2012.
409. ^ Till, Rupert (2010). Pop Cult: Religion and Popular Music. A&C Black. p. 87\. ISBN 978-0-8264-4592-6.
410. ^ "Panic at the Disco's Secret Influences". Rolling Stone. 28 October 2012. Archived from the original on 6 February 2016. Retrieved 16 February 2016.
411. ^ Davies, Katie (1 September 2010). "Roger Daltrey backs Newcastle tribute band". Evening Chronicle. Newcastle upon Tyne. Archived from the original on 10 July 2011. Retrieved 18 September 2012.
412. ^ Wearmouth, Rachel (3 June 2011). "2Toots Scooter Club raising funds for Amble boy Brandon Ballance". The Journal. Newcastle upon Tyne. Archived from the original on 14 January 2013. Retrieved 18 September 2012.
413. ^ Rees, Dafydd; Crampton, Luke (1991). Rock movers & shakers. ABC-CLIO. p. 278\. ISBN 978-0-87436-661-7.
414. ^ Allen, Michael (2007). Reading CSI: Crime TV Under the Microscope. I.B.Tauris. p. 110\. ISBN 978-1-84511-428-2. Archived from the original on 15 August 2021. Retrieved 22 November 2020.
415. ^ Paton, Jamie (10 May 2014). "The CSI Franchise Rises Again With CSI: Cyber". Watching the Wastland. Archived from the original on 27 May 2014. Retrieved 26 May 2014.
416. ^ "The Simpsons – 'A Tale of Two Springfields'". TV.com. Archived from the original on 18 January 2013. Retrieved 3 September 2012.
417. ^ "All the vans : Series 8, Episode 8". Top Gear (official website). Archived from the original on 27 September 2013. Retrieved 23 September 2013.
418. ^ Hay, Carla (2 September 2000). "'Almost Famous' CD A Souvenir of the '70s". Billboard. p. 94\. Archived from the original on 15 August 2021. Retrieved 23 September 2013.
419. ^ Hay, Carla (25 October 2003). "Black Back From Media Blitz, Really Wants To play Ozzy". Billboard. p. 18\. Archived from the original on 17 December 2020. Retrieved 23 September 2013.
420. ^ Osgood, Ronald (29 January 2013). Cengage Advantage Books: Visual Storytelling. Cengage Learning. ISBN 978-1-285-60709-2. Archived from the original on 15 August 2021. Retrieved 22 November 2020.
421. ^ Erlewine, Stephen Thomas. "Music from the Motion Picture Apollo 13". AllMusic. Archived from the original on 20 January 2013. Retrieved 24 September 2013.
422. ^ Boldman, Gina. "Original soundtrack – Austin Powers: The Spy Who Shagged Me". AllMusic. Archived from the original on 21 August 2013. Retrieved 24 September 2013.
423. ^ "The Who // Songs". Rock Band (official site). Archived from the original on 28 September 2013. Retrieved 24 September 2013.
424. ^ "BRIT Awards". Everyhit.com. Archived from the original on 19 April 2012. Retrieved 24 November 2010.
425. ^ "Grammy Lifetime Achievement Awards". National Academy of Recording Arts and Sciences. 8 February 2009. Archived from the original on 26 August 2010. Retrieved 25 November 2014.
426. ^ Montgomery, James (3 April 2007). "Always Second Place? David Bowie, Public Enemy, Kiss Never Topped Charts". MTV. Archived from the original on 2 July 2012. Retrieved 3 November 2012.
427. ^ "Rock and Roll Hall of Fame". Rockhall.com. Archived from the original on 17 May 2013. Retrieved 24 November 2010.
428. ^ "UK Music Hall of Fame". Everyhit.com. 11 November 2004. Archived from the original on 7 April 2010. Retrieved 24 November 2010.
429. ^ "Grammy Hall of Fame". Grammy Awards. 18 October 2010. Archived from the original on 3 April 2020. Retrieved 2 January 2019.
430. ^ "Kennedy Center Honors". kennedy-center.org. Archived from the original on 31 December 2018. Retrieved 2 January 2019.
431. ^ Metzler, Natasha T. (9 June 2009). "Etta James, The Who make National Recording Registry". USA Today. Archived from the original on 27 July 2011. Retrieved 24 November 2010.
432. ^ "Who's Next ranked no. 28". Rolling Stone. Archived from the original on 2 September 2011. Retrieved 4 November 2021.
433. ^ "Tommy ranked no. 96". Rolling Stone. Archived from the original on 2 September 2011. Retrieved 4 November 2021.
434. ^ "Sell Out ranked no. 113". Rolling Stone. Archived from the original on 2 September 2011. Retrieved 4 November 2021.
435. ^ "Live at Leeds ranked no. 170". Rolling Stone. Archived from the original on 2 September 2011. Retrieved 4 November 2021.
436. ^ "My Generation ranked no. 236". Rolling Stone. Archived from the original on 2 September 2011. Retrieved 4 November 2021.
437. ^ "Quadrophenia ranked no. 266". Rolling Stone. Archived from the original on 2 September 2011. Retrieved 4 November 2021.
438. ^ "A Quick One ranked no. 383". Rolling Stone. Archived from the original on 2 September 2011. Retrieved 4 November 2021.
439. ^ "Rolling Stone: 500 Greatest Songs of All Time 2004 1–100". Rolling Stone. Archived from the original on 19 June 2008. Retrieved 4 November 2021.
440. ^ "Rolling Stone: 500 Greatest Songs of All Time 2004 101–200". Rolling Stone. Archived from the original on 20 June 2008. Retrieved 4 November 2021.
441. ^ "Rolling Stone: 500 Greatest Songs of All Time 2004 201–300". Rolling Stone. 6 September 2007. Archived from the original on 19 June 2008. Retrieved 4 November 2021.
442. ^ "Rolling Stone: 500 Greatest Songs of All Time 2004 301–400". Rolling Stone. Archived from the original on 21 June 2008. Retrieved 4 November 2021.
443. ^ "The Who ranked 29th greatest artist". Rolling Stone. 3 December 2010. Archived from the original on 4 August 2020. Retrieved 11 July 2020.
444. ^ "Current Touring Band". The Who. Retrieved 25 May 2022.
445. ^ "Current touring band". The Who (official website). Archived from the original on 15 March 2015. Retrieved 25 November 2014.
446. ^ "The Who Official Website – 20s – Previous Gigs – 2022". Thewho.com. Retrieved 29 August 2024.
447. ^ "The Who Official Website – 20s – Previous Gigs – 2023". Thewho.com. Retrieved 29 August 2024.

### Bibliography

[edit]

* Aledort, Andy (June 1994). "Maximum Rock 'n' Roll". Guitar World. pp. 57–63.
* Atkins, John (2000). The Who on Record: A Critical History, 1963–1998. McFarland. ISBN 978-0-7864-0609-8.
* Campbell, Michael (2012). Popular Music in America:The Beat Goes On. Cengage. ISBN 978-0-8400-2976-8.
* DiPerna, Alan (June 1994). "Not F-F-F-Fade Away". Guitar World. pp. 40–50.
* Evans, Mike; Kingsbury, Paul (2009). Woodstock: Three Days that Rocked the World. Sterling Publishing Company. ISBN 978-1-4027-6623-7.
* Ewbank, Tim; Hildred, Stafford (2012). Roger Daltrey: The biography. Hachette UK. ISBN 978-1-4055-1845-1.
* Fletcher, Tony (1998). Dear Boy: The Life of Keith Moon. Omnibus Press. ISBN 978-1-84449-807-9.
* Harison, Casey (2014). "Is It in My Head?": The Pleasure and Pain of Listening to the Who, 1964–1973. Volume! / Éditions Mélanie Seteun. ISBN 978-2-913169-35-7. Archived from the original on 10 August 2014. Retrieved 17 August 2014.
* Howard, David (2004). Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings. Hal Leonard Corporation. ISBN 978-0-634-05560-7.
* MacDonald, Ian (1997). Revolution in the Head: The Beatles' Records and the Sixties (First Revised ed.). Pimlico/Random House. ISBN 978-0-7126-6697-8.
* Knowles, Christopher (2013). The Secret History of Rock 'n' Roll. Cleis Press. ISBN 978-1-57344-564-1. Archived from the original on 19 May 2016. Retrieved 12 January 2016.
* Marsh, Dave (1983). Before I Get Old: The Story of The Who. Plexus Publishing Ltd. ISBN 978-0-85965-083-0.
* McMichael, Joe; Lyons, Jack (1998). The Who: Concert File. Omnibus Press. ISBN 978-0-7119-6316-0.
* Neill, Andrew; Kent, Matthew (2009). Anyway Anyhow Anywhere: The Complete Chronicle of The Who 1958–1978. Sterling Publishing. ISBN 978-0-7535-1217-3.
* Townshend, Pete (2012). Who I Am: A Memoir. HarperCollins. ISBN 978-0-06-212726-6.
* Unterberger, Richie (2011). Won't Get Fooled Again: The Who from Lifehouse to Quadrophenia. Jawbone Press. ISBN 978-1-906002-75-6.
* Whiteley, Sheila (2003). The Space Between the Notes: Rock and the Counter-Culture. Routledge. ISBN 978-1-134-91662-7. Archived from the original on 16 June 2016. Retrieved 12 January 2016.

## Further reading

[edit]

* Barnes, Richard (1982). The Who: Maximum R & B. Eel Pie Publishing. ISBN 978-0-85965-351-0.
* Halfin, Ross, ed. (2002). Maximum Who: The Who In The Sixties. Genesis Publications. ISBN 978-0-904351-85-9.

## External links

[edit]

The Who at Wikipedia's sister projects

* Media from Commons
* Quotations from Wikiquote
* Data from Wikidata

* Official website
* The Who Concert Guide
* The Who at AllMusic
* The Who discography at Discogs
* "The Who". Rock and Roll Hall of Fame.

* v
* t
* e

The Who

* Roger Daltrey
* Pete Townshend

* John Entwistle
* Keith Moon
* Kenney Jones
* Doug Sandom

Studio albums|

* My Generation / The Who Sings My Generation
* A Quick One / Happy Jack
* The Who Sell Out
* Tommy
* Who's Next
* Quadrophenia
* The Who by Numbers
* Who Are You
* Face Dances
* It's Hard
* Endless Wire
* Who

Live albums|

* Live at Leeds
* Who's Last
* Join Together
* Live at the Isle of Wight Festival 1970
* BBC Sessions
* Blues to the Bush
* Live at the Royal Albert Hall
* Live from Toronto
* View from a Backstage Pass
* Greatest Hits Live
* Live at Hull 1970
* Quadrophenia Live in London
* Live at the Fillmore East 1968

Soundtrack albums|

* Tommy
* The Kids Are Alright
* Quadrophenia
* Amazing Journey: The Story of The Who

Compilation albums|

* Magic Bus: The Who on Tour
* Direct Hits
* Meaty Beaty Big and Bouncy
* Odds & Sods
* The Story of The Who
* Phases
* Hooligans
* Who's Greatest Hits
* Rarities Volume I & Volume II
* The Singles
* The Who Collection
* Who's Missing
* Two's Missing
* Who's Better, Who's Best
* Thirty Years of Maximum R&B
* My Generation: The Very Best of The Who
* 20th Century Masters – The Millennium Collection
* Encore Series
* The Ultimate Collection
* Then and Now
* The 1st Singles Box
* Greatest Hits
* The Who Hits 50!

Extended plays|

* Ready Steady Who
* Won't Get Fooled Again
* Wire & Glass

Filmography|

* Tommy
* The Kids Are Alright
* Quadrophenia
* Who's Better, Who's Best
* Thirty Years of Maximum R&B Live
* Live at the Isle of Wight Festival 1970
* The Who & Special Guests: Live at the Royal Albert Hall
* The Who Special Edition EP
* Live in Boston
* Tommy and Quadrophenia Live
* The Vegas Job
* Amazing Journey: The Story of The Who
* The Who at Kilburn: 1977
* Quadrophenia Live in London
* Lambert & Stamp

Discographies|

* The Who
* Roger Daltrey
* Pete Townshend
* John Entwistle
* Keith Moon

Tours and
performances|

* 1962–1963 performances
* Tommy Tour
* The Who by Numbers Tour
* 1979 tour (1979 Cincinnati human crush)
* 1980 tour
* 2000 tour
* 2001 The Concert for New York City appearance
* 2003 The 46664 Concert appearance
* 2006–2007 tour
* Quadrophenia and More
* The Who Hits 50!
* Back to the Who Tour 51!
* 2017 Tommy & More
* Moving On! Tour

Musicians|

* Mitch Mitchell
* Julian Covey
* Chris Townson
* Scot Halpin
* John "Rabbit" Bundrick
* Tim Gorman
* Steve "Boltz" Bolton
* Simon Phillips
* Jon Carin
* Steve White
* Brian Kehew
* J. J. Blair
* Danny Thompson
* Simon Townshend
* Jon Button
* Loren Gold
* Frank Simes
* Pino Palladino
* Reggie Grisham
* Morgan Nicholls
* Chris Stainton
* Scott Devours
* Zak Starkey

Associated places|

* Ashdown House, Oxfordshire
* Chapel House, Twickenham
* Holmshurst Manor
* Quarwood
* Ramport Studios
* Shepperton Studios
* Tara, Chertsey
* The Wick

Related|

* Songs
* Awards and nominations
* Band members
* Musical equipment
* The Boy Who Heard Music
* Lifehouse
* The Who's Tommy
* Rock Is Dead—Long Live Rock!
* The Who's Tommy Pinball Wizard
* Who Covers Who?
* "A Tale of Two Springfields"
* "In Concert"
* Double O
* The Rolling Stones Rock and Roll Circus
* No Plan B
* Kim McLagan
* Richard Barnes
* Dougal Butler
* Chris Charlesworth
* Kit Lambert
* Chris Stamp
* Bill Curbishley
* Track Records
* Shel Talmy

* Category

* v
* t
* e

The Who singles

UK 1960s|

* "Zoot Suit" / "I'm the Face"
* "I Can't Explain" / "Bald Headed Woman"
* "Anyway, Anyhow, Anywhere" / "Daddy Rolling Stone"
* "My Generation" / "Shout and Shimmy"
* "Substitute" / "Circles"
* "A Legal Matter" / "Instant Party"
* "The Kids Are Alright" / "The Ox"
* "I'm a Boy" / "In the City"
* "La-La-La-Lies" / "The Good's Gone"
* "Happy Jack" / "I've Been Away"
* "Pictures of Lily" / "Doctor, Doctor"
* "The Last Time" / "Under My Thumb"
* "I Can See for Miles" / "Someone's Coming"
* "Dogs" / "Call Me Lightning"
* "Magic Bus" / "Dr. Jekyll and Mr. Hyde"
* "Pinball Wizard" / "Dogs Part Two"

US 1960s|

* "I Can't Explain" / "Bald Headed Woman"
* "Anyway, Anyhow, Anywhere" / "Anytime You Want Me"
* "My Generation" / "Out in the Street"
* "Substitute" / "Waltz For a Pig"
* "The Kids Are Alright" / "A Legal Matter"
* "I'm a Boy" / "In the City"
* "Happy Jack" / "Whiskey Man"
* "Pictures of Lily" / "Doctor, Doctor"
* "I Can See for Miles" / "Mary Anne with the Shaky Hand"
* "Call Me Lightning" / "Dr. Jekyll and Mr. Hyde"
* "Magic Bus" / "Someone's Coming"
* "Pinball Wizard" / "Dogs Part Two"
* "I'm Free" / "We're Not Gonna Take It"

UK 1970s|

* "The Seeker" / "Here For More"
* "Summertime Blues" / "Heaven and Hell"
* "See Me, Feel Me" / "Overture from Tommy"
* "Won't Get Fooled Again" / "I Don't Even Know Myself"
* "Let's See Action" / "When I Was A Boy"
* "Baba O'Riley"
* "Join Together" / "Baby Don't You Do It"
* "Relay" / "Waspman"
* "5:15" / "Water"
* "Squeeze Box" / "Success Story"
* "Who Are You" / "Had Enough"
* " Trick of the Light" / "905"
* "Long Live Rock" / "I'm the Face"/"My Wife (Live)"
* "I'm One" / "5:15 (Soundtrack Version)"

US 1970s|

* "The Seeker" / "Here For More"
* "Summertime Blues" / "Heaven and Hell"
* "See Me, Feel Me" / "Overture from Tommy"
* "Won't Get Fooled Again" / "I Don't Even Know Myself"
* "Behind Blue Eyes" / "My Wife"
* "Join Together" / "Baby Don't You Do It"
* "The Relay" / "Wasp Man"
* "Love, Reign o'er Me" / "Water"
* "The Real Me" / "I'm One"
* "Postcard" / "Put the Money Down"
* "Squeeze Box" / "Success Story"
* "Slip Kid" / "Dreaming from the Waist"
* "Substitute (Reissue)" / "I'm a Boy (Alternate Version)"
* "Who Are You" / "Had Enough"
* "Trick of the Light" / "905"
* "Long Live Rock" / "My Wife (Live)"

UK 1980s|

* "You Better You Bet" / "The Quiet One"
* "Don't Let Go the Coat" / "You"
* "Athena" / "A Man Is a Man"
* "Twist and Shout (live)" / "I Can't Explain (live)"
* "Won't Get Fooled Again (EP)" ( "Won't Get Fooled Again (live)" / "Bony Moronie (live)" / "Dancing in the Street (live)" / "Dance it Away (live)" )

US 1980s|

* "You Better You Bet" / "The Quiet One"
* "Don't Let Go the Coat" / "You"
* "Athena" / "It's Your Turn"
* "Eminence Front" / "One At A Time"
* "It's Hard" / "Dangerous"

2000s|

* "Real Good Looking Boy" / "Old Red Wine"

2010s|

* "Be Lucky"
* "Ball and Chain"

Awards for the Who

* v
* t
* e

Grammy Lifetime Achievement Award

1963–1990|

* 1963
* Bing Crosby
* 1965
* Frank Sinatra
* 1966
* Duke Ellington
* 1967
* Ella Fitzgerald
* 1968
* Irving Berlin
* 1971
* Elvis Presley
* 1972
* Louis Armstrong
* Mahalia Jackson
* 1984
* Chuck Berry
* Charlie Parker
* 1985
* Leonard Bernstein
* 1986
* Benny Goodman
* The Rolling Stones
* Andrés Segovia
* 1987
* Roy Acuff
* Benny Carter
* Enrico Caruso
* Ray Charles
* Fats Domino
* Woody Herman
* Billie Holiday
* B. B. King
* Isaac Stern
* Igor Stravinsky
* Arturo Toscanini
* Hank Williams
* 1989
* Fred Astaire
* Pablo Casals
* Dizzy Gillespie
* Jascha Heifetz
* Lena Horne
* Leontyne Price
* Bessie Smith
* Art Tatum
* Sarah Vaughan
* 1990
* Nat King Cole
* Miles Davis
* Vladimir Horowitz
* Paul McCartney

1991–2000|

* 1991
* Marian Anderson
* Bob Dylan
* John Lennon
* Kitty Wells
* 1992
* James Brown
* John Coltrane
* Jimi Hendrix
* Muddy Waters
* 1993
* Chet Atkins
* Little Richard
* Thelonious Monk
* Bill Monroe
* Pete Seeger
* Fats Waller
* 1994
* Bill Evans
* Aretha Franklin
* Arthur Rubinstein
* 1995
* Patsy Cline
* Peggy Lee
* Henry Mancini
* Curtis Mayfield
* Barbra Streisand
* 1996
* Dave Brubeck
* Marvin Gaye
* Georg Solti
* Stevie Wonder
* 1997
* Bobby "Blue" Bland
* The Everly Brothers
* Judy Garland
* Stéphane Grappelli
* Buddy Holly
* Charles Mingus
* Oscar Peterson
* Frank Zappa
* 1998
* Bo Diddley
* The Mills Brothers
* Roy Orbison
* Paul Robeson
* 1999
* Johnny Cash
* Sam Cooke
* Otis Redding
* Smokey Robinson
* Mel Tormé
* 2000
* Harry Belafonte
* Woody Guthrie
* John Lee Hooker
* Mitch Miller
* Willie Nelson

2001–2010|

* 2001
* The Beach Boys
* Tony Bennett
* Sammy Davis Jr.
* Bob Marley
* The Who
* 2002
* Count Basie
* Rosemary Clooney
* Perry Como
* Al Green
* Joni Mitchell
* 2003
* Etta James
* Johnny Mathis
* Glenn Miller
* Tito Puente
* Simon & Garfunkel
* 2004
* Van Cliburn
* The Funk Brothers
* Ella Jenkins
* Sonny Rollins
* Artie Shaw
* Doc Watson
* 2005
* Eddy Arnold
* Art Blakey
* The Carter Family
* Morton Gould
* Janis Joplin
* Led Zeppelin
* Jerry Lee Lewis
* Jelly Roll Morton
* Pinetop Perkins
* The Staple Singers
* 2006
* David Bowie
* Cream
* Merle Haggard
* Robert Johnson
* Jessye Norman
* Richard Pryor
* The Weavers
* 2007
* Joan Baez
* Booker T. & the M.G.'s
* Maria Callas
* Ornette Coleman
* The Doors
* The Grateful Dead
* Bob Wills
* 2008
* Burt Bacharach
* The Band
* Cab Calloway
* Doris Day
* Itzhak Perlman
* Max Roach
* Earl Scruggs
* 2009
* Gene Autry
* The Blind Boys of Alabama
* The Four Tops
* Hank Jones
* Brenda Lee
* Dean Martin
* Tom Paxton
* 2010
* Leonard Cohen
* Bobby Darin
* David "Honeyboy" Edwards
* Michael Jackson
* Loretta Lynn
* André Previn
* Clark Terry

2011–2020|

* 2011
* Julie Andrews
* Roy Haynes
* Juilliard String Quartet
* The Kingston Trio
* Dolly Parton
* Ramones
* George Beverly Shea
* 2012
* The Allman Brothers Band
* Glen Campbell
* Antônio Carlos Jobim
* George Jones
* The Memphis Horns
* Diana Ross
* Gil Scott-Heron
* 2013
* Glenn Gould
* Charlie Haden
* Lightnin' Hopkins
* Carole King
* Patti Page
* Ravi Shankar
* The Temptations
* 2014
* The Beatles
* Clifton Chenier
* The Isley Brothers
* Kraftwerk
* Kris Kristofferson
* Armando Manzanero
* Maud Powell
* 2015
* Bee Gees
* Pierre Boulez
* Buddy Guy
* George Harrison
* Flaco Jiménez
* The Louvin Brothers
* Wayne Shorter
* 2016
* Ruth Brown
* Celia Cruz
* Earth, Wind & Fire
* Herbie Hancock
* Jefferson Airplane
* Linda Ronstadt
* Run-DMC
* 2017
* Shirley Caesar
* Ahmad Jamal
* Charley Pride
* Jimmie Rodgers
* Nina Simone
* Sly Stone
* The Velvet Underground
* 2018
* Hal Blaine
* Neil Diamond
* Emmylou Harris
* Louis Jordan
* The Meters
* Queen
* Tina Turner
* 2019
* Black Sabbath
* George Clinton and Parliament-Funkadelic
* Billy Eckstine
* Donny Hathaway
* Julio Iglesias
* Sam & Dave
* Dionne Warwick
* 2020
* Chicago
* Roberta Flack
* Isaac Hayes
* Iggy Pop
* John Prine
* Public Enemy
* Sister Rosetta Tharpe

2021–present|

* 2021
* Grandmaster Flash and the Furious Five
* Lionel Hampton
* Marilyn Horne
* Salt-N-Pepa
* Selena
* Talking Heads
* 2022
* Bonnie Raitt
* 2023
* Bobby McFerrin
* Nirvana
* Ma Rainey
* Slick Rick
* Nile Rodgers
* The Supremes
* Ann Wilson and Nancy Wilson
* 2024
* Laurie Anderson
* The Clark Sisters
* Gladys Knight
* N.W.A
* Donna Summer
* Tammy Wynette
* 2025
* Frankie Beverly
* The Clash
* Bobby Jones
* Taj Mahal
* Prince
* Roxanne Shante
* Frankie Valli

* v
* t
* e

Rock and Roll Hall of Fame – Class of 1990

Performers|

* Hank Ballard
* Bobby Darin
* The Four Seasons
* Tom DeVito, Bob Gaudio, Nick Massi, Frankie Valli
* Four Tops
* Renaldo Benson, Abdul "Duke" Fakir, Lawrence Payton, Levi Stubbs
* The Kinks
* Mick Avory, Dave Davies, Ray Davies, Pete Quaife
* The Platters
* David Lynch, Herb Reed, Paul Robi, Zola Taylor, Tony Williams
* Simon & Garfunkel
* Art Garfunkel, Paul Simon
* The Who
* Roger Daltrey, John Entwistle, Keith Moon, Pete Townshend

Early influences|

* Louis Armstrong
* Charlie Christian
* Ma Rainey

Non-performers
(Ahmet Ertegun Award)|

* Gerry Goffin and Carole King
* Holland–Dozier–Holland
* Brian Holland, Lamont Dozier, Eddie Holland

* v
* t
* e

Roger Daltrey

* Jon Button
* Scott Devours
* Loren Gold
* Frank Simes
* Simon Townshend

* Gary Grainger
* Clem Clempson
* Don Snow

Studio albums|

* Daltrey
* Ride a Rock Horse
* One of the Boys
* McVicar
* Parting Should Be Painless
* Under a Raging Moon
* Can't Wait to See the Movie
* Rocks in the Head
* Going Back Home (with Wilko Johnson)
* As Long As I Have You

Live albums|

* A Celebration: The Music of Pete Townshend and The Who
* The Who's Tommy Orchestral

Singles|

* "I'm Free" (with London Symphony Orchestra)
* "Giving It All Away"
* "Thinking"
* "One Man Band"
* "Say It Ain't So, Joe"
* "Written on the Wind"
* "Free Me"
* "Without Your Love"
* "Walking in My Sleep"
* "After the Fire"
* "Let Me Down Easy"
* "Under a Raging Moon"
* "The Pride You Hide"
* "Quicksilver Lightning"
* "Take Me Home"
* "Don't Let the Sun Go Down on Me"
* "Rock and Roll"
* "Days of Light"
* "Behind Blue Eyes"
* "Pinball Wizard"
* "My Generation"

Compilations|

* Best Bits
* Best of Rockers & Ballads
* Martyrs & Madmen: The Best of Roger Daltrey
* Moonlighting: The Anthology

Selected films|

* Tommy
* Lisztomania
* The Legacy
* McVicar
* Mack the Knife
* Buddy's Song
* The Magical Legend of the Leprechauns
* Dark Prince: The True Story of Dracula
* The Young Messiah
* Johnny Was

Children's programming|

* The Wheels on the Bus (video series)
* The Real Story of Happy Birthday to You

Stage musicals|

* The Hunting of the Snark
* The Wizard of Oz in Concert: Dreams Come True
* A Christmas Carol
* My Fair Lady

Films produced|

* McVicar
* Quadrophenia
* Buddy's Song

Related articles|

* Albums
* Discography
* The Who
* The RD Crusaders
* Teenage Cancer Trust
* No Plan B
* Holmshurst Manor
* British Rock Symphony

* v
* t
* e

Pete Townshend

Discography

Studio albums|

* Who Came First
* Rough Mix (w/ Ronnie Lane)
* Empty Glass
* All the Best Cowboys Have Chinese Eyes
* White City: A Novel
* The Iron Man: A Musical
* Psychoderelict

Live albums|

* Deep End Live! (w/ Deep End)
* A Benefit for Maryville Academy
* Live: The Empire
* Live: Sadler's Wells
* Live: The Fillmore
* The Oceanic Concerts (w/ Raphael Rudd)
* Live: La Jolla Playhouse 2001
* Pete Townshend Live BAM 1993
* Live: Brixton Academy '85

Compilations|

* Scoop
* Another Scoop
* The Best of Pete Townshend
* Scoop 3
* Scooped
* Jai Baba
* Lifehouse Chronicles
* Lifehouse Elements
* Anthology
* Truancy: The Very Best of Pete Townshend

Singles|

* "Rough Boys"
* "Let My Love Open the Door"
* "A Little Is Enough"
* "Keep On Working"
* "Face Dances, Pt. 2"
* "Face the Face"
* "Give Blood"
* "English Boy"

Other songs|

* "Fire"

DVDs|

* Lifehouse Chronicles (video)
* Live In New York Feat. Psychoderelict
* O' Parvardigar

Related articles|

* Peter Meaden
* The Who
* Deep End
* Happy Birthday
* I Am
* With Love
* O' Parvardigar
* Tommy (1975 film)
* The Who's Tommy
* Tommy (soundtrack)
* Quadrophenia (film)
* Horse's Neck
* The Boy Who Heard Music
* The Lifehouse Method
* Who I Am
* Classic Quadrophenia
* Eel Pie Publishing
* Eel Pie Studios
* Double O
* Cliff Townshend
* Emma Townshend
* Simon Townshend
* The Wick
* Ashdown House, Oxfordshire
* The Boathouse, Twickenham
* Chapel House, Twickenham

* v
* t
* e

John Entwistle

Studio albums|

* Smash Your Head Against the Wall
* Whistle Rymes
* Rigor Mortis Sets In
* Mad Dog
* Too Late the Hero
* The Rock
* Music from Van-Pires

Live albums|

* King Biscuit Flower Hour Presents in Concert
* Ringo Starr and His Third All-Starr Band Volume 1
* Left for Live

Compilations|

* Thunderfingers: The Best of John Entwistle
* So Who's the Bass Player? The Ox Anthology

Collaborations|

* One of the Boys
* Fabulous Poodles
* Rough Mix
* McVicar
* Un autre monde
* You'll Never Walk Alone
* The Iron Man
* When You're a Boy
* A Celebration: The Music of Pete Townshend and The Who
* Baptizm of Fire
* The Deep End, Volume 1

Songs|

* "I Believe in Everything"
* "My Size"
* "Do the Dangle"
* "Talk Dirty"
* "Too Late the Hero"
* "The Ox"
* "Boris the Spider"
* "Whiskey Man"
* "In the City"
* "Dr. Jekyll and Mr. Hyde"
* "Heaven and Hell
* "Fiddle About"
* "My Wife"
* "Success Story"
* "Had Enough"
* "Trick of the Light"
* "905"
* "The Quiet One"
* "You"
* "It's Your Turn"
* "Dangerous"
* "One at a Time"
* "Twist and Shout"
* "The Real Me"

Related articles|

* The Who
* Quarwood
* Edge of the World

* v
* t
* e

Woodstock Festival

List of performances and events

Founders|

* Joel Rosenman
* John P. Roberts
* Artie Kornfeld
* Michael Lang
* Max Yasgur

Performers|

| August 15, 1969|

* Richie Havens
* Swami Satchidananda
* Sweetwater
* Bert Sommer
* Tim Hardin
* Ravi Shankar
* Melanie
* Arlo Guthrie
* Joan Baez

|

August 16, 1969|

* Quill
* Country Joe McDonald
* Santana
* John Sebastian
* Keef Hartley
* The Incredible String Band
* Canned Heat
* Mountain
* Grateful Dead

August 17, 1969|

* Creedence Clearwater Revival
* Janis Joplin
* Sly and the Family Stone
* The Who
* Jefferson Airplane
* Joe Cocker and The Grease Band
* Country Joe and the Fish
* Ten Years After
* The Band

August 18, 1969|

* Blood, Sweat & Tears
* Johnny and Edgar Winter
* Crosby, Stills, Nash & Young
* Paul Butterfield Blues Band
* Sha Na Na
* Jimi Hendrix

Media|

* Woodstock (1970 film)
* My Generation (2000 film)
* The Road to Woodstock (2009 book)
* Taking Woodstock (2007 book)
* 2009 film
* Woodstock Revisited (2009 film)
* Woodstock or Bust (2019 film)
* Woodstock 99: Peace, Love, and Rage (2021 film)
* Trainwreck: Woodstock '99 (2022 miniseries)

Songs|

* "Woodstock"
* "Lay Down (Candles in the Rain)"

Recordings|

* At the Woodstock Festival (1970)
* Woodstock: Music from the Original Soundtrack and More (1970)
* Woodstock Two (1971)
* The Best of Woodstock (1994)
* Woodstock: Three Days of Peace and Music (1994)
* Woodstock (Jimi Hendrix) (1994)
* Woodstock Diary (1994)
* Woodstock 94 (1994)
* Live at Woodstock (Jimi Hendrix) (1999)
* Woodstock 1999 (1999)
* The Woodstock Experience (2009)
* Woodstock 40 Years On: Back to Yasgur's Farm (2009)
* Live at Woodstock (Joe Cocker) (2009)
* Woodstock 1994 (Red Hot Chili Peppers) (2016)
* Woodstock 1994 (Green Day) (2019)
* Woodstock – Back to the Garden: 50th Anniversary Collection (2019)
* Woodstock – Back to the Garden: 50th Anniversary Experience (2019)
* Woodstock – Back to the Garden: The Definitive 50th Anniversary Archive (2019)
* Live at Woodstock (Creedence Clearwater Revival) (2019)

Revivals|

* Woodstock '79
* Woodstock Reunion 1979
* Woodstock '89
* Woodstock '94
* Woodstock '99
* Heroes of Woodstock Tour
* Woodstock 50 (canceled)

Related|

* Woodstock Nation
* Woodstock Sound-Outs
* Chip Monck (festival master of ceremonies)
* Arnold Skolnick
* Bethel Woods Center for the Arts
* Hog Farm Collective
* Wavy Gravy

Authority control databases

International|

* ISNI
* VIAF

National|

* Germany
* United States
* France
* BnF data
* Australia
* Czech Republic
* Spain
* Norway
* Croatia
* Sweden
* Poland
* Israel
* 2
* Finland

Artists|

* MusicBrainz
* Discography of American Historical Recordings

Other|

* IdRef
* SNAC
* Yale LUX

*[v]: View this template
*[t]: Discuss this template
*[e]: Edit this template