Customer Reviews

Endless Wire

5 star:		(67)
4 star:		(72)
3 star:		(37)
2 star:		(28)
1 star:		(32)

 

 

When a popular band does not release a studio album of new material for over two decades, diehard fans can never be sure what to expect. I have been a Who fan since I saw them play "I Can See For Miles" on the Smothers Brothers television program, many years ago. After that moment, I saved my allowance money to buy "The Who Sell Out", which remains one of my very favorite albums to this day. I continued to follow the band closely up through the Kenny Jones years and until "It's Hard", feeling at that time that the Who was producing music that was still vital despite changes in its sound and despite original Who drummer Keith Moon's death.

It wasn't until a few years ago when I saw The Who at the Gorge Amphitheatre at George, WA that I thought of them again as a functioning band. They gave an incredible performance on a wonderful night, on the late bassist John Entwistle's final tour. After that show, I wondered if there would ever be any new studio material, particular after the sad passing of Entwistle. A few years later, I found myself on pins and needles awaiting the release of "Endless Wire".

Not knowing what to expect, when I first listened to this new album I was taken back through the Who's history, but also into the future. While certain parts of "Endless Wire" may recall the earlier Who, some parts incorporate later Who sounds and recall some of guitarist/composer Pete Townshend's best solo work... but this album sounds like it is all here, happening right now. My thought after hearing "Endless Wire":

This is The Who in the 21st Century.

Stripped-down arrangements on songs such as "Tea and Theater", "Man In a Purple Dress" and "God Speaks of Marty Robbins" heighten the sense of intimacy within this music. As Townshend ages, he continues his spiritual journey; as a result, one difference between this and earlier Who music is that more songs touch more directly on faith, mortality and eternity. The title track "Endless Wire" is a joyful-sounding song about something infinite and glorious, something of near-mythical proportions which Townshend has discovered within music itself. In "God Speaks of Marty Robbins", he sings "I knew I'd find music and time were the perfect plan..." On the other hand, he doesn't seem to be in support of organized religion at all, as "Man in a Purple Dress" appears to be all about the importance of the individual, above churches, in finding one's spiritual self.

Roger Daltrey sounds older, wiser and deeper, but he certainly does not sound weary. He sings with vigor, and he proves he is still the consummate vocal conduit for Townshend's lyrics. As Daltrey has done in the past, he spans an emotional spectrum with his rich vocals. Townshend's voice is also in good form, despite its descent into mostly baritone territory. The production is impecccable; it tends to be dry in places, with very little reverb or effects added on sparely-arranged numbers, causing some of these guitar-and-vocal arrangements to sound naked, almost vulnerable. Zak Starkey is a fine drummer, and he can change his style whenever he needs, to suit the needs of the band. Pino Palladino works well as the band's bass player, and long-time band associate John "Rabbit" Bundrick adds keyboards that fill out the sound. Check out the keyboards in the album opener "Fragments"... now what song does that remind us of?

I couldn't have asked for a more perfect return by The Who from studio exile. Their energy is still there. Townshend's songwriting and guitar playing have not diminished with time, and Daltrey sounds as good as ever. "Endless Wire" takes me back to my boyhood Who memories through some familiar rhythms and sounds, as it pulses with the life of The Who. It also takes me ahead into a time of maturity. It reassures me that the passage of time does not always mean that good things become lost. Despite the loss of two revered band members over the years, The Who has aged like a fine wine, learning to discover and rediscover good musical things along their journey. I am looking forward to hearing their NEXT studio release, confident that it will be as immediate, as relevant and as important as "Endless Wire".

I am now going to go crank up "Mike Post Theme" full blast!

Opening with a synthesizer that deliberately reminds fans of "Baba O'Riley" providing a bridge from the past to the present (and rather tongue-in-cheek), "Endless Wire" demonstrates that Townshend and Daltry aren't just resting on their laurels. This is the most vital sounding Who album since "Who Are You" and producer Pete Townshend dispenses with the bloated sythnesizer sound that dominated "It's Hard" for less straight forward imaginative arrangements. It's hard to pick out favorites at this early stage but "Fragments" that opens the album and "God Speaks of Marty Robbins" are two I've listened to quite a few times already. The latter tune features Townshend playing acoustic guitar and singing sounding as direct as he did on "Who Came First" his first solo album. Daltrey is in good voice throughout.

The "mini-opera" Wire & Glass begins with the tenth opening with a propeling drum roll by Peter Huntington that recalls Moonie when he was a lot more focused. The gourgeous "Trilby's Piano" also has Pete at the mic with some lovely piano playing by Rachel Fuller and a orchestral arrangement by Townshend with help from Fuller. "Mirror Door" closes the album out with a full band and like much of the album proves that Townshend's writing has been re-energized by his collaboration with Daltry. His music within the Who hasn't sounded this vital, energetic or as lyrically interesting since "Who Are You" (which at times sounded fatigued compared to some previous albums). The Who wasn't always the best at choosing Pete's best material (look at the outtakes from "Who Are You" and "Face Dances" which features great material that Pete would record solo)but here both Daltry and Townshend have presented some of Pete's best material in years.

Kudos to all the support musicians that appear on the album including Zak Starkey, Rabbit and Pino Palladino. While they can't make up for the absence of Keith and John they certainly fill in for them nicely.

The DVD has five tracks recorded live at the Vienne Amphitheatre in Lyon, France from July of this year. The DVD is a nice bonus to a terrific album from the duo. Best Buy also is offering a limited edition 7 track live album that duplicatest two of the tracks and offers "The Seeker", "Who Are You", "Relay", "Greyhound Girl" and "Naked Eye" in place of "I Can't Explain", "Behind Blue Eyes" and "Baba O'Riley".

Welcome back guys you've been missed! Recommended for Who fans.

Despite the fact that Endless Wire isn't quite in the league of Tommy, Who's Next, or Quadrophenia, repeated listening nudges this disc closer to five stars than four. The fact that The Who have made an album this good this late in their career is nothing short of astounding.

Virtually every song here is remarkable, whether it's a fired-up rocker ("Mike Post Theme", "Mirror Door") or a stripped-down ballad ("Man in a Purple Dress", "Tea and Theatre"). There's never been a Who album with this much variety, and it's not lacking in passion.

Quite simply, it's not hyperbole to say that this is the best Who album since By Numbers (1975); indeed, you have to go back to Quadrophenia (1973) to better it.

People write that: WHO RETURN TO FORM.
Where does that come from. When did The Who ever deviate from form?
These reveiwers are just regurgitating the PR release to sell this CD.

This is The Who's first studio album since 1982. I think it is different and worse than any previous studio album. And bonus live DVD is just depressing.

There are some good songs on ths CD. Some sound like typical The Who songs and others are more like Pete Townshend solo material. There are some interesting twists, like the Tom Waits gravely vocals on In The Ether.

However, there are a number of stark, under produced songs that are simply boring.

The biggest problem is the Endless Wire mini-rock opera. It is a bunch of unrealized song snippets. All of the songs are 1 to 2 minutes long and really aren't fully realized songs. It is not like Tommy or Quadrephenia, where the songs can be enjoyed on their own or as a part of a whole. And it is not like the mini-rock opera, A Quick One While He Is Away, where the story moves and the pieces blend well together.

The DVD of a 2006 concert in Lyons is really depressing. It is a dinosaur reunion concert at its worst. It is only 5 songs and about 25 minutes long. The performance is uninspiring and Roger Daltry's voice is horrible. And except for Mike Post's Theme, it contains the same songs that are on all of The Who's live albums since 1970. I love Baba O'Riley, but there are many better versions on other live albums.

I bought this yesterday, rushed home, and listened to it all in one sitting. I listened to it again by the end of the day. I can safetly say that this is the best music pete has done since white city, and the best who music since who are you. I know, the competition isn't exactly fierce (the iron man is a joke, psychoderelict sometimes promising but erratic; face dances and it's hard, while being "okay" were very forced) but it's still amazing that the band was able to put out an album this good. It's not as good as Who By Numbers or Who Are You (classics in my book) let alone Quadrophenia or Tommy, but is it fair to expect that? No of course not.

A long time has past since the who's last album. Twenty four years; the entirity of my life! I have lived my whole life without a new who album coming out. Being a fan for the last eight years of my life, I have been rewarded by listening, and relistening to the old classics, but I never expected a new who album. Sure, the stones, dylan, and various oldies were releasing critically acclaimed albums. But I never thought pete would get out of whatever doldrums he had placed himself.

Thirteen years without any townshend music! I mean, Lifehouse Chronicles was fine, but not really a "new" album. Again, I have to ask, is it fair to expect Tommy out of townshend and daltrey?

No; they're in their sixties. They don't have it in them to do another quadrophenia, and by that I mean it's simply beyond their interest. Their focus in life has changed, they've become different people, their lives are vastly different than they were when they were children.

This album eschews most synthesizer experiments, an important part of Townshend's career both with the Who and especially solo. There is one small nod to modern trends, in the drum loop that closes the album. This does not seem like band wagon jumping, so much as it does some slight experimentation. The instrumentation is mostly guitar drums bass with some keys and violin and viol played by Pete (!). Pete produced, which was interesting, something he hadn't done since Quadrophenia. He played almost all the instruments on the album, like on Quadrophenia.

I'm rambling, and I apologize. What makes this album good is that Townshend focuses on topics that interest him, and simply writes from the heart. Instead of trying to stay hip, he simply lets his songs do the talking. Is this best collection of who songs ever? Not even close. It is still a great album, from two of rock's truest legends. I hope another album comes out.

This album will be misunderstood by a great deal of listeners. What makes it so attractive is its diversity. As a buyer you get a great deal of bang for your buck. The only weak track on the album to my ears is In the ether, but otherwise there is an amazing amount of great stuff. From fantastic acoustic numbers like God speaks of Marty Robbins to the fantastic Mike Post theme. This is great stuff with full liner notes with lyrics. Go out and spend $10 to celebrate a 24 year delay from the greatest live band of all time. A nice collection trust me..

When a album is released that has the name "The Who" on it, expectations are already a big problem. Can it possibly compare to such classics as "Who's Next," "Who Are You" or "Quadrophenia?" Is it fair to compare a new work to those old favorites? Most records need time to grow in the listener's ear and head, and this one is no exception. The first listen of "Endless Wire" left me pretty cold: it meandered by without making much of an impression. At second listen I began to hear the record better, really enjoying "Mike Post Theme," "Endless Wire," and "Mirror Door." I have plans to listen to this one again tonight, giving it the full attention that a release by a band with such a majestic history deserves. I am definitely going to give this one time to grow. It's very existence is improbable and very heartening to fans of rock and roll music. I doubt this one will grow into a "Tommy," but I think it might turn out to be a tough and serious piece of rock and roll, and that ain't too bad 40 years after "My Generation."

I thought I knew what to expect when I first heard they were making this album, but I was wrong. Dead wrong. It doesn't occur often... the resurrection of genius. But when it does, it just goes to show that you can't assume genius is no longer genius simply because you haven't heard from it in a while. Endless Wire is everything that I had always hoped for from The Who, ever since they first announced they would go on after Keith's death. It is lush, inspired and soaring. It is magical in a pure and uncomplicated kind of way. They've been able to present something totally fresh and unique here without losing touch with who they are as a band.
I won't bore you with my take on the production and songwriting details, the performer's skills, etc. Those are the very things that make it so beautiful and complete to begin with. I leave you to find that out on your own. But I do think that in the end, this album will stand the test of time as a great Who record. It is the first album that I have ever purchased where I played it a second time immediately after hearing it the first. Because it was that good. I couldn't believe what I had just heard.
Comeback album of the year....? Rubbish. Genius was there all along. It never really went anywhere. It just wasn't ready to be seen. That's all.

I'm sure all of you went and got your copy. If you have not you are missing out on an absolutely amazing piece of work.

You hear just about every style and then some that the Who ever created. And most of all it's Pete's relentless and brilliant creativity that continues to amaze. This is interpreted as always with passion and power by Roger Daltry's vocals.

I cannot say enough good things about this brilliant album. This is clearly the BEST piece of work since Quadrophenia, and that is no joke. You have to go back that far, 30 years for work this passionate, well written and powerfully performed.

Right from the start, I heard a familiar strain, but yet a different music track that harkens Baba O'Reilly and all of a sudden chills just ran through me.

The album is cut into two parts. The first half is, I feel, the strongest. The songs are powerful, from the opening "Fragments" to a totally breathtaking "A Man In A Purple Dress" that again, left me with chills at the end. Pete's gorgeous acoustic guitar will truely move you. It did me. This is probably my favorite song on the album.

The rest of the songs are just as good, and the song, "In The Ether" will surprise you with Pete's chosen vocal style. Other standouts are "Mike Post Theme", "Two Thousand Years" and "God Speaks Of Marty Robbins", "It's Not Enough" and "You Stand By Me". These first nine songs stand tall as being as good as anything that The Who have ever recorded.

As the album leads into part two, we are given a mini-opera of Pete's novella, "The Boy Who Heard Music" truely brought to hard rocking life as only The Who can do. The opera ends with a gorgeous song called, "Tea & Theatre".

After 19 fantastic songs you would think that that would be more than enough yet the album continues and ends with two more expanded songs. The expanded songs weren't really necessary but are a cool addition none the less. 21 songs in all.

Included are a 17 page booklet with great liner notes and a dvd of 5 songs recorded from a show The Who did in September.

Apparantly there is also a version that includes a 2nd cd of some live tunes. I do not have that version.

All in all a great collection and a phenominal way for these men to come back with something brand new after 24 years. There is so much more that I can say but you should find out for yourself. A truely, truely remarkable album. I cannot recommend it highly enough.

In my view this is clearly one of the best 5 albums of the year.

Thank you so much Roger and Pete.

While not The Who's best work, we should be only grateful to have this wonderful CD. Is it "the best Who CD since _______ ?" (place your favorite Who CD here) Probably not. Does it break new ground or add anything significant to The Who's body of work? Definitely. Is it flawed? Yes. Does Roger's voice sound frayed at times? Yup. Does that matter? Nope. Is it a moving CD in its own way? Very. Does it bring a sense of repose that is unique to The Who's body of work? Yes. Would it have benefited from Entwistle's participation? Absolutely. Do Pete and Roger embarrass themselves in any way with this? Absolutely not.

Thank you, Pete and Roger, for giving us this music, which didn't need to exist, yet which is a moving and welcome addition to a tremendous body of work.