Pete heeft op zijn site geschreven dat John "Rabbit" Bundrick voorlopig niet mee gaat op de Amerikaanse tournee. Bundrick’s vrouw, Sue, is erg ziek. Normaal gesproken ging Sue altijd mee op tour, maar Rabbit blijft nu bij haar in Engeland. De tour gaat gewoon door zonder hem, maar – zo schrijft Pete – Rabbit zal niet vervangen worden. "We have some keyboard players in our team who will cover where necessary, but no one can play rock piano and Hammond like Rabbit and I will miss his many moments of stratospheric brilliance".
Gisteravond speelde The Who tijdens de BBC Electric Proms in de Roundhouse in Londen. Officieel zou het gaan om de live-première van “Wire & Glass“, terwijl deze mini-opera toch al geruime tijd in de set zit. Desalniettemin zette de band een stevige show neer. De setlist was in principe hetzelfde als die tijdens de Amerikaanse tour, alleen werd “My Generation” nu wat vroeger in de set gespeeld. Ook werd “Won’t Get Fooled Again” niet gespeeld.
Who Are You
Pick Up The Peace
We’ve Got A Hit
They’ve Made My Dreams Come True
Man In A Purple Dress
Mike Post Theme
Amazing Journey / Sparks
See Me, Feel Me
Tea and Theatre
Reacties van fans:
“It was incredible. Yes, it was a bit puzzling at the end, with no encore, but it was a faultless gig. I’ve never heard Roger better, and he seemed to be giving it everything!”
“I thought it was pretty damn good apart from the length of course. The My Generation extended jam was superb. The reason it may of seemed a bit flat in places was due to the way they were switching from new to old stuff but its a good job they did it in that way rather than have to listen to the new material from start to finish”
“The band seemed really into it, and dare I say it…looked to be enjoying themselves! Daltrey was in fine voice, better than we’ve seen on a number of the tour webcasts”
“I thought it was fantastic. Having seen them at Bristol, i think we have to understand that this was a one-off gig, mainly for tv. They were never going to play for 1.5/2hrs. They were on a strict start and finish time as all performances have been at the Roundhouse this week.I thought Rog’s voice was best I’ve heard, Zak was in fine form and overall they were having fun. The Roundhouse also has a strict noise limit,which has nothing to do with The Who.I left the venue very happy”
"Sound Round" en "Pick Up The Peace" behoren tot de sterkste tracks op "Endless Wire", maar helaas zijn ze veel te kort. Aangezien er inmiddels langere versies van "We Got A Hit" en "Endless Wire" zijn opgenomen, zou het geweldig zijn als er ook langere versies van "Sound Round" en "Pick Up The Peace" opgenomen zouden worden. Leden van The Who Chat Forum zijn een petitie begonnen, met de bedoeling Pete en Roger er van te overtuigen om langere versies op te nemen.
Stemt en zegt het voort!
The Who heeft een optreden gegeven in de Engelse talkshow "Parkinson" op de Engelse zender ITV. In tegenstelling tot het optreden bij David Letterman, trad nu de volledige band voor het voetlicht. Ook nu was er geen interview, de band speelde "Black Widow’s Eyes".
Een klein fanverslag van ‘The Shout’:
"It was strange to see Pete and Roger casually walk out to forced applause. Without much messing about they launched straight into BWE. Roger’s voice was a little off and he made a couple of minor errors, nothing too serious but I guessed they would run through it again. Pete played acoustic, Zak was absolutely awesome, the song really suits his style. Pino was very up in the mix and had a great sound. The song was very well received at the end, but they wanted another take. So we got another run through. This time it was perfection, really tight and with a lot more energy than the 1st take, everyone in the band enjoying themselves. Absolutely amazing to see. And that was that, they took the applause and was gone".
BBC Radio 6 besprak de plaat tijdens de uitzending van Steve Lamacq. Het “deskundige panel” was niet erg te spreken over de plaat. Blijkbaar houden ze niet van oude rocksterren, aangezien ze “A Bigger Bang” van de Rolling Stones eveneens zowat met de grond gelijk maakten.
De St. Petersburg Times schrijft o.a. “On the band’s first studio album since ’82, the Who still sound BIG.I was too busy air-guitaring and marveling at Daltrey’s vocal gusto to follow plot lines”
De reviewer van Blogcritics is te spreken over het nieuwe album. “What should one’s expectations be for a new album from a bunch of rockdinosaurs who started making music back in the Jurassic era? A work that manages to catch a faint glimpse of past glories? Given that this is now only really half The Who, perhaps even that is too much to hope for. Imagine my surprise then, when, after a few listens, I fell in love with this new album“. Hij is er echter van overtuigd dat Roger “In The Ether” zingt.
Conclusie: “Although this may not be The Who of old, they have managed to create a superb album that doesn’t just hope to recapture past glories but create brand new ones. Both Roger and Pete are talented individuals in their own right, but it’sonly when they come together that we witness true genius”
Daarnaast is de kans vrij groot dat je een track van “Endless Wire” op BBC Radio 2 kunt horen. “Black Widow’s Eyes” en “We Got A Hit” zit daar in de zogenaamde C-lijst.
Popmatters heeft ook aandacht besteed aan het album. “The Who are back, and they’re still very good and just as relevant as ever“, schrijft de recensent. “The high point comes with Mike Post Theme, the best track any member of the Who has recorded since Empty Glass“. De plaat krijgt uiteindelijk een 7, met als conclusie: “It’s been a Jesus-lifetime worth since we’ve gotten a Who album this good, and the group tackles a growing world of concerns with the grace and enthusiasm to prove that it’s no longer up to Mike Post to turn us inside out“.
The Phoenix noemt de plaat “it is a true child of the Who-niverse, immediately recognizable and as thrillingly up-its-own-ass as anything they’ve ever done“.
The Badger Herald schrijft o.a. : “This isn’t an album from the same Who that distilled teenage angst into a cathartic form of rock & roll on Tommy and Quadrophenia. Without the nimble plodding of the Ox’s basslines, the songs lack the drive they could have had back in the glory days. In fact, the album’s main drawback is the what-if pondering it evokes: what if this album had been made while Moon and Entwistle were still alive? Most listeners barely expected them to survive this long, let alone create a new album that was more than a cruelmockery of their past glory”
Sign On San Diego schrijft o.a. “Townshend, one of rock’s most gifted and imaginative craftsmen, still has something left to prove. Ditto Daltrey, who is in strong voice throughout. Endless Wire is too uneven to rank alongside Who’s Next, Tommy or Quadropheniax as a rock masterpiece. But it’s best moments qualify as a real cause for celebration. Despite its flaws, Endless Wire is a generally impressive return. At its best, what results is more moving and inspired than almost anyone – Pete Townshend and Roger Daltrey included – might have hoped for or expected. One of rock’s most influential bands ever is back, at least in a manner, and that’s good news indeed“
Rocky Mountain News meldt: “Just as on the road, at times Endless Wire is a very close approximation to what we’ve come to expect. We’ve met the new boss, and if not exactly the same, he’s very similar to the old boss“. De conclusie: “Endless Wire is a more-than-respectable effort to bring The Who into the new millennium as a creative force rather than a nostalgia act. The band’s contemporaries should take note.”
Mansized vergelijkt de zang van Pete in “In The Ether” met een gecastreerde Tom Waits, maar voor de rest zijn ze wel positief. “It’s as if Townsend and Daltrey have never been away, bullish windmillpower chords wrestling the weight of time to the dirty ground, kicking,screaming and spitting blood, while gentle ballads tend to wounds. But regardless of the album’s imperfections, you’ll be glad these two ageing rockers got old before they died”
De Amerikaanse Observer schrijft: “Even if “Endless Wire” is more easily classed as a Townshend solo album on which Daltrey happens to sing most of the lead vocals, it’s a relatively enjoyable set. Daltrey’s vocals don’t swoop and soar the way they did on Who standards like”Won’t Get Fooled Again” or “See Me, Feel Me,” but he’s still in the fight and, at 62, that’s not something to take for granted”
Los Angeles Times geeft 2,5 ster: “The album is inconsistent, sometimes impenetrable, sometimes enlightening, but always engaged.. Daltrey tries an assortment of vocal approaches to replace the powerful belting of his youth, and he largely holds his own. But the music itself shows signs of strain and labor when they try to mount the old anthemic grandeur and rock dynamism.It’s not a record to reconfigure the band’s legacy. But for a late, unexpected addition to the family, it’s a handful”
“The best thing about this disc: I hated it the first four times I heard it. Then, like a kaleidescope coming into focus, I suddenly loved it, something that has happened many times with the best discs, and more than a few times with Townshend“, schrijft Mercury News. “After a while, the nuances come through. My only criticism is that the drums aren’t up enougn in the mix. Four decades after he wrote it, this version of the Who is living it: “Rock is dead…long live rock.”
Cleveland.com meldt:”Long-deprived fans will find much to savor throughout “Endless Wire,” including the down-home ditty “Two Thousand Years,” which wouldn’t have sounded out of place on “The Who by Numbers,” and the”Quadrophenia”-style pomp and circumstance of “Pick Up the Peace.” During the soul-searching”Fragments,” it brings a smile to your face to hear Daltrey and Townshend singing: “Are we breathing out / Or breathing in?” The important thing is they’re still breathing, period. Still alive and kicking, artistically. Still a perfectly reasonable facsimile of the Who”.
Detroit Free-Press geeft 2 van de 4 sterren: ““Endless Wire,” whose interesting moments are too scattered, won’t stand shoulder-to-shoulder with the best of the Who’s albums. But it’s not the liability it could have been to a legacy that has already taken more than its fair share of hits”
De Engelse kranten hebben “Endless Wire” inmiddels ook ontdekt.
De tabloid Mirror meldt o.a.: “Twenty-four years on, The Who 2 are battered, confused and still searching, trying to make sense of their crazy life. They have honoured their past, without becoming slaves to it. All of which makes Endless Wire a considerable achievement“.
Ook de tabloid The Sun laat van zich horen. Phil Daniels, mod Jimmy uit de film “Quadrophenia” laat zijn licht schijnen over de nieuwe plaat. “Wire & Glass is not on the same epic musical scale as Quadrophenia or as outrageous as Tommy. But it’s a much more personal, spiritual concoction from the talented Mr Townshend.The words spiritual and personal are also the best way to describe the other songs on the album“, schrijft Daniels. “Not the barnstorming Who of old, but a new and more reflective Who. One for the connoisseur”
The Times geeft ook 4 sterren, en schrijft: “Endless Wire does sound undernourished alongside The Who Sell Out or Who’s Next, totemic albums from more than three decades ago. Unlike their later albums, though, it never tries too hard, never attempts to touch the Zeitgeist: it gets by on its self-deprecating, daffy charismaquite nicely.”. De recensent heeft wel kritiek op Roger’s stem: “Some time at the turn of the Seventies he ditched his clear, soulfulstyle and developed a gargling growl somewhere between football commentator Brian Moore and Matt Goss. Age has not added to its charm“.
The Scotsman kopt origineel: “Faulty wiring leads to plenty of sparks”. “The chief pleasure is those recognisable Who signatures on the more epic tracks – Townshend’s keening guitar, the familiar drum fills, the oscillating keyboard loops, the lofty backing vocals and Daltrey huffing and puffing to deliver an appropriately blustery vocal performance of Townshend’s pseudo-philosophical lyrics.“
The Guardian geeft 3 van de 5 sterren: “Uneven as it is, it’s equally hard not to feel that Endless Wire forms a fitting coda to that band’s career.”
De eerste negatieve recensie komt van The Independent. “The energy seems dissipated through weak arrangements – a “BabaO’Riley”-esque sequenced synthesiser for “Fragments”, a Tom Waits-wannabe blend of piano and gravel voice for “In the Ether”, and aweedy alliance of cello and mandolin for “2000 Years”“, klinkt het zuur. De mini-opera “could all be being dreamed by a washed-up old rocker in a sanatorium.”
AOL en The Who hebben de handen in elkaar geslagen. Op de site van AOL kun je kijken naar 14 live nummers van de afgelopen Amerikaanse tournee. De nummers zijn gekozen door Roger en Pete zelf. Pete geeft bij elk nummer commentaar.
Gisteren werden Roger en Pete geïnterviewd in het BBC programma “Front Row”. Het interview is hier te beluisteren (klik op “Listen Again”).
Pete is vandaag tijdens het interview met shock-jock Howard Stern weggelopen. Hij was met Roger vandaag te gast bij Stern om “Endless Wire” te promoten. Stern noemde Pete’s vriendin Rachel “Yoko”. Vlak voordat Pete en Roger met het interview zouden beginnen waren Roger en een andere DJ’s bezig over de kinderporno-zaak uit 2003 – en dat was de reden voor Pete om de studio uit te lopen. Roger kwam toen in de uitzending en gaf Stern er verbaal flink van langs.
Roger gaf uiteindelijk het interview, dat je hier kunt downloaden.
Rachel reageerde later op de dag op haar weblog op de situatie:
“Its a yawn…. – The Howard Stern thing really is not a big deal. We arrived at the studio as they were talking about Pete being a woman,having sex with men etc. Its a yawn i’m afraid. there was an opportunity to have a great interview with pete and Roger and they blew it. Rog is a good bloke. Pete left, so did I. We had some nice croissants waiting at home which were still warm. Please don’t give this any “air time” guys. It’s not about us dishing it out and not being able to take it. We love abit of INTELLIGENT banter, and would certainly never “dish it out” to another in quite the same way.
Anyway, everyone’s entitled to their opinion, and i’m sure Howard got his show, and the listeners love a bit of controversy. Who fucking cares?
I guess i was hoping that the worst it would get would be a few questions about my bangers. As for Yoko, as i have said many times before here, i’m only ever honoured to be compared to her, i’ve met her – she’s fucking adorable and an incredibly powerful force.
God bless you all, I’m off to eat a croissant.
pete says i can interiew him and we’ll post it up somewhere.
’s Avonds heeft Pete op zijn website gereageerd: “Howard, let’s have lunch”.
WhoTour heeft weer wat informatie prijsgegeven. 24 van de “limited edition”-CD’s bevatten speciale “Golden Tickets”. De hoofdprijs is een vliegreis met de band in een privé-vliegtuig naar een concert in Amerika.
Pete is ook weer aan het schrijven geslagen.
“I have been writing some new lyrics too – mainly cynical ones I’m afraid about the new psychedelic sub-culture that is trying to make another breakthrough. It didn’t work the first time, why would it work now? A lot of good and beautiful people with good hearts about to fry their brains, have too much sex, catch Hep-C and catch fire trying to burn the Burning Man. I’m writing. That’s what counts.“
TheWhotour.com heeft een kort gesprekje met Pete gehad. Waarschijnlijk zullen er op het tweede deel van de tour geen andere nieuwe nummers meer gespeeld worden. "We may try to play "It’s not enough" as it has been chosen for radio play, but we are fairly happy with the set we play now".
Over de opmerkingen in "Rolling Stone" magazine:
"I think what happens when I speak about my contemporaries (and end up sounding angry at them, or insulting towards them) is that Ifeel they are in fact more than contemporaries: they are a part of me, my world, my history. People like Crosby, Stills and Nash, and Bob Dylan, followed the very same path I did and we all experienced the shock of finding that our music began to change the face of the entire entertainment industry. I make a big mistake when I say something like ‘Young people don’t care about the Who, or Bob Dylan or Crosby, Stills and Nash" because a sub-editor can simply leave out the Who, and I appear to be a shit-head. Hey, sometimes I am a shit-head. But I deeply respect most of my contemporaries, and the ones I singleout to speak about are important to me and in my mind. I wouldn’t wastemy time referring to artists I felt had lost their power".