WHO THE ENDLESSWIRE

The Who | Format: Audio CD

Product Details

• Audio CD
• Number of Discs: 1
• Label: UNIVERSAL
• ASIN: B000IFRQM2
• In-Print Editions: Audio CD  |  Vinyl  |  MP3 Download
• Average Customer Review: 3.5 out of 5 stars  See all reviews (236 customer reviews)
• Amazon Best Sellers Rank: #440,510 in Music (See Top 100 in Music)

Editorial Reviews

Amazon.com

Nearly a quarter-century (and bassist John Entwistle) passed between what had been considered the Who's career-capping album, It's Hard, and this 19-song epic, which at its best has the band of two pining for the days of Who's Next. Built from the triumph of the mini-opera Wire & Glass EP (included here in its entirety), Endless Wire mixes metaphors of music, war, and religion, while showcasing Roger Daltrey's ageless vocal cords and Pete Townshend at his windmilling best. Launching with a "Baba O'Riley"-like synth break in "Fragments," Daltrey asks "Are we breathing out or breathing in?" and Townshend answers with a thrashing, crashing Gibson. When the volume is turned up, there are echoes of three decades ago. "It's Not Enough" and "Mike Post Theme" conjure images of Entwistle and Keith Moon--the latter song, with its quiet verse and thunderous chorus, recalls "Going Mobile" and longs for Moon to whack it into shape. But the linchpin remains Townshend's songwriting, whether he's questioning faith ("Man in a Purple Dress"), showing gratitude for support ("You Stand By Me"), or dreaming of entertaining immortals into eternity ("Out on an Endless Wire"). By the time it wraps up, Endless Wire tells two things. No, it does not rank with the band's best work. But yes, as long as Pete Townshend and Roger Daltrey walk the earth in tandem, the Who live on. --Scott Holter

More Who

The Who Sings My Generation	A Quick One (Happy Jack)	The Who Sell Out
Tommy	Live at Leeds	Who's Next
Quadrophenia	The Kids Are Alright	The Ultimate Collection

Product Description

First Studio Album in 24 years includes special limited edition bonus disc of rarities and classics.

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Customer Reviews

Most Helpful Customer Reviews

66 of 76 people found the following review helpful:

5.0 out of 5 stars 21st Century Who, November 20, 2006

By 

John W. Evans (La Grande, OR United States) - See all my reviews
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This review is from: Endless Wire (W/Dvd) (Audio CD)

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!

34 of 40 people found the following review helpful:

4.0 out of 5 stars The Who return to form on new album, October 31, 2006

By 

WTDK "If at first the idea is not absurd, the... (My Little Blue Window, USA) - See all my reviews
(TOP 50 REVIEWER)    (HALL OF FAME REVIEWER)    (VINE VOICE)   

This review is from: Endless Wire (W/Dvd) (Audio CD)

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.

12 of 13 people found the following review helpful:

5.0 out of 5 stars Meet the New Boss..., October 31, 2006

By 

Music Fan - See all my reviews

This review is from: Endless Wire (W/Dvd) (Audio CD)

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.