The Who
It's Hard

In this review, I won't be long-winded; in fact, I'll be quite concise. Since I find myself writing about an album already reviewed, something that isn't my style, I've decided to do it simply to express my opinion and manifest my disappointment towards the superficiality of many who criticize for the sake of it and perhaps hear the music but do not truly listen to it.

Many did not like this Who album for various reasons. The commercial pop turn or, a more substantial reason, the absence of the historic drummer Keith Moon, who passed away prematurely in 1978, a few months after the release of "Who are you." Since then, the Who decided to continue with "Face dances," dated 1981, a mediocre album that, however, contained the beautiful "You better you bet." The following year, they tried again with the album I'm writing about, "It's hard."

I want to express my disappointment especially towards those who claim that without Keith Moon, the music is no longer the same. Now, I ask myself: am I facing great connoisseurs and experts of music, or a bunch of pure and hard ignoramuses who wrinkle their noses at every slight sign of change?

You need to be a true expert to perceive, especially in studio works, the difference between one drummer and another. Live, the difference is clear, but in a studio album, you cannot judge a drummer. If they had told you that Keith Moon played on this album, you would have likely believed it. Here, by the way, he is excellently replaced by Kenney Jones. In my opinion, the album is very good. With good songs like the title track, "Athena" with its driving rhythm and Pete Townshend's beautiful voice in a part of the chorus, the fast and smooth "One at the time" written by bassist John Entwistle, the beautiful ballad "A man is a man," and the cheerful "Why did I fall for that?". The other songs are not particularly memorable but stand out for a certain catchiness, the utmost professionalism in playing the instruments, and Roger Daltrey's always beautiful voice.

For those who criticize the commercial pop turn: between '69 and '73, the Who gifted us absolute masterpieces of rock music like "Tommy," "Who's next," and "Quadrophenia." What more can we ask for? That they try to emulate those works without reaching their peak, or that they offer us decent, catchy, and singable pop songs? I choose the latter option. If this work is evaluated from this point of view, then it will turn out to be a good album.

Until next time...