Word: musicalizations
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Dates: during 1970-1979
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Whether witting or withdrawn, like savings, from some secret zinc-lined stockpile, the honesty of the performance and of the music was armor piercing. "The Who sound came from us playing as a three-piece band and trying to sound like more," Entwistle told TIME's Janice Castro. "I play standard bass, but I combine it with long runs where I take over the lead while Pete bashes out chords." Townshends guitar style?a sort of flywheel progression from rhythmic chords to melody and back again, all performed with whirling arms, splits, slides and high jumps?attracted as much attention...
...Jones, 31. The group still puts My Generation across with enough swagger and insinuation to get you giddy or make you feel like you are being stalked down a dark street. When Townshend, 35, called himself "the aging daddy of punk rock," he was not being entirely facetious. Who music can match the tough street impact of punk, especially as Daltrey dishes it out. At 35, he may be one of the oldest kids in the playground, but he is still one of the toughest. Townshend melodies like Pure and Easy, Baba O'Riley and Music Must Change have...
...rush is the path into the music. The way to the center and out again is a good deal more complex and subtle. Townshend's obsessions are the audience, music itself and a certain evasive, almost evanescent kind of spirituality that has its roots in the teaching of the Indian mystic Meher Baba, to whom Townshend is devoted. Tommy, which became the most widely known Who work, was a two-record "rock opera" about a deaf, dumb and blind pinball champ who was raised into a kind of pop artifact and rock-'n'-roll godhead. It sold more than...
Another project, conceived after Tommy but so far unrealized, is a futuristic tale about the rediscovery of music in a society that is totally programmed and controlled. Called Lifehouse, the piece was intended to be a kind of environmental theater event. Some of Townshend's best songs were written originally for Lifehouse: Baba O'Riley, with its synthesizer line running like cold water down the spine, mixing with an old Irish fiddle reel and the memorable lyric refrain, "Don't cry/ Don't raise your eye/ It's only teen-age wasteland"; the aching, almost elegant poignancy of The Song...
...greatest bloody triumph of my schooldays was when Roger asked me if I could play guitar," Townshend recalls. "If he had ever said, 'Come out in the playground and I'll fight you,' I would have been down in one punch. Music was the only way I could ever win. But I've despised him ever since...