As we ponder whether to see The Who on their North American farewell tour this summer, we asked ourselves if it is worth seeing them deliver the same greatest hits package we’ve heard so many times and have grown accustomed to. Opening with "My Generation" and closing with "Baba O’Riley" with a slew of raucous power-chord-laden classic rock radio staples such as "Who Are You", "Won’t Get Fooled Again", "Love Reign O’er Me", "Pinball Wizard", etc., filling out the middle.
These songs would undoubtedly make a good show and a great time, but we got to wondering why artists opt to please their fair-weather fans with greatest hits and not their diehard fans with deep tracks. The answer, of course, is ticket and concession sales, but bands like The Who don’t need to pad their retirement accounts. So, we wondered what a set list would look like for one of the most iconic and influential bands of all time on a deep tracks tour, and here’s what materialized. Note: We’ve left out songs from Tommy and Quadrophenia as tours have been done extensively covering these songs.
"The Good’s Gone" - A nod to James Brown, it is one of their most soulful songs, highlighting Roger Daltrey’s booming baritone bravado. Early Keith Moon smashing gave the Who their signature sound, a sound any subsequent replacement drummer from Kenny Jones to Zach Starkey to Scott Devours(?) can't touch, although we'd like to see Devours try.
"Sunrise" - Juxtaposed against a bevy of hard-driving, blues-influenced pop powerhouses on The Who Sell Out, Sunrise shows a softer side of the band and introduces Pete Townshend’s vulnerable, yet impassioned vocal range.
"So Sad About Us" - In a similar vein on the next album, Townshend's solo version pours out his soul with a surprising vocal range ebbing and flowing like the lament of the breakup he’s trilling about. Also, the band's first and few attempts at Daltrey, Townshend, and Entwistle harmonizing.
"Pictures of Lily" - For its sheer unsung nature, the power chords rival anything they’ve ever played in an encore. The blaring entrance of John Entwistle’s French horn solo is both unexpected and outlandish.
"Young Man Blues" - We yearn to hear anything close to the blistering live version The Who performed on 1970's Live at Leeds, voted by many, the greatest live album ever recorded.
"Love Ain’t for Keeping" - An earthy ballad, this short and sweet jangle highlights Townshend’s acoustic fingerpicking alongside Daltrey’s kinder and gentler vocals.
"Blue, Red, and Grey" - A philosophical creed of sorts, it is existential by nature and zen-like in its message to live in the present. Along with the lyrics, seeing Townshend play the ukulele would surely please the audience.
"How Many Friends" - Here, Townshend confesses the blues and laments the hollow relationships born from fame and fortune. Daltrey sings it not like a frontman but like the guy at the end of the bar, staring into his drink for answers to one of life’s loneliest questions.
"Guitar and Pen" - We couldn't leave out this site's namesake, could we? Another confessional that, as a true songwriter, expression is both liberating and tormenting, and a reminder that there’s only one thing left in the end - your guitar and your pen.
"God Speaks of Marty Robbins" - Imagine God reflecting on the life and times of country singer Marty Robbins. A delicate, acoustic number, Townshend’s guitar is hypnotic, and his voice is soft yet soulful.
Check out the Spotify playlist below and please leave your own 'deep track' requests in the comments.
Much too Much off My Generation
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