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THE WHO The Who by Numbers Half-speed mastered LP ( Polydor / UMe )
One year ahead of the album ’ s 50th anniversary , 1975 ’ s The Who by Numbers is reissued on heavyweight vinyl and benefits from half-speed mastering for improved high-end response . The Who ’ s seventh studio album followed Quadrophenia by two years and followed a string of four conceptual projects ( or , more accurately , in the case of Who ’ s Next , a powerhouse set that sprang from conceptual origins ) written by guitarist Pete Townshend . The Who by Numbers couldn ’ t help but seem to be a less ambitious grab bag by comparison . However , the album collects compelling songs that find Townshend at his most introspective , vulnerable , and insecure . Only the most uncommonly blessed listener wouldn ’ t find the sentiments relatable . The album is best remembered for its most lighthearted moment . Spirited US Top 20 single “ Squeeze Box ” was once described by Townshend as “ a poorly aimed dirty joke ,” loaded with double entendre . Producer Glyn Johns ’ treatment of the giddy romp features the country twang of Townshend ’ s Telecaster over the titular organ , but the mix does feature Townshend ’ s spirited banjo solo . “ Slip Kid ” was one of many songs written for The Who ’ s abandoned rock opera Lifehouse . Like the similarly sourced songs included on Who ’ s Next , “ Slip Kid ” functions well as a standalone track with warnings for idealists to be wary of authority while lamenting the creeping inevitability of responsibility . “ There ’ s no easy way to be free ,” growls Who frontman Roger Daltrey against Keith Moon ’ s salsa-influenced rhythm . Townshend ’ s muscular power chords and Nicky Hopkin ’ s sparkling piano are capped by a bristling guitar riff . Kaleidoscopic drumming by Moon and a cheerful melody belie the downcast content of “ However Much I Booze ,” a song that Daltrey wouldn ’ t sing because he considered it too personal to Townshend . The song ’ s lyric describes loneliness and other pitfalls of the deceptively glamorized rock and roll lifestyle . Townshend also addresses his audience as confidants . “ You at home can easily decide what ’ s right by glancing very briefly at the songs I write ,” he sings in this troubled but honest confessional . The structure of the
song is reminiscent of Who ’ s Next favorite , “ Goin ’ Mobile .” The theatrical “ Imagine a Man ” arises from similar misgivings . Daltrey sings with thespian rigor from the point of view of a man who believes his efforts are a waste of time , and that real life back home is passing him by as he struggles . The pensive and troubled “ How Many Friends ” is yet another song that finds Townshend ruminating on how much of his soul the music business and its scene of shallow relationships may have cost himself or his bandmates . “ How many friends have I really got ?” sings Daltrey . Also fitting right into the recurring theme is the chiming “ Success Story ,” bassist John Entwistle ’ s own wry reflection on making the big time and paying the price . “ Dreaming from the Waist ” meditates on aging , ennui , sexual frustration , and self-control . “ I ’ m too old to give up but too young to rest ,” sings Daltrey , giving voice to the words of a songwriter who had just turned 30 . The song descends from Townshend ’ s shimmering tenor chords to conclude with a virtuosic and nimble bass solo by Entwistle . Townshend ’ s second lead vocal arrives with the optimistic acoustic ballad “ Blue , Red and Grey .” Townshend performs the song on ukulele , accompanied by Entwistle ’ s brass arrangement . “ I like every minute of the day ,” sings an appreciative Townshend with uncharacteristically sunny sentiment . Townshend ’ s willingness to drop any rock star facade and put his heart on his sleeve allows the material on The Who by Numbers to connect with everyday listeners . The subjects are down to earth , while the band ’ s thundering sound remains larger than life . Even without rock opera ambition , that combination makes this album one that no fan should overlook .
The Who By Numbers sleeve features Entwistle ’ s connect-the-dots caricature drawings of the band . The new Jon Astley master from Close to the Edge and halfspeed master from Abbey Road Studios produce improved overall body and balance when compared to a well-maintained 1979 pressing on MCA records used for review . The differences aren ’ t drastic , but during “ Slip Kid ,” there ’ s a bit more bite to Townshend ’ s guitar , more air around Daltrey ’ s vocal and Hopkins ’ piano , a modest enhancement to the presence of Entwistle ’ s bass , and more visceral thump in Moon ’ s kick drum . Overall , the separation is improved .
– Jeff Elbel
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