The Who
Join Together

The Who have long been one of the major forces in rock, counted among those bands that, like it or not, have become part of the collective imagination.

This double live album dates back to 1990 and paints a vivid picture of what was the tour of the previous year; the golden years have passed, Keith is now a painful memory, as are their latest studio albums. Yet, this record is an incredible demonstration of youth. The novelty lies in the sound clarity, the use of brass instruments, choir singers, and percussionists: there is a clear intention to deliver a performance as faithful as possible to the studio products, to amaze with an unconventional setlist, and to create an alternative to the legendary ‘Live At Leeds’. Undoubted is the quality of the musicians: the three remaining members of the band are still in great shape, accompanied by great artists; Bundrick, who has been handling the keyboards since ‘Quadrophenia’, the excellent Bolton backs Pete on guitar, and drummer Philips brings an incredible breath of freshness, using the double bass drum(!). The record could not be anything but wonderful.

It starts with… well, with the entire ‘Tommy’! A great rendition, intense, dramatic, perfect, engaging, without the slightest flaw. The melodies intertwine among acoustic guitars, electric guitars, trumpets of every kind, and the natural passion put into the vocals by the great Daltrey. As I hinted, there are surprises: The Hawker is rearranged in a blues version, John sings Cousin Kevin and Fiddle About (just like in the originals!) and Townshend enchants on Sparks and The Acid Queen, up to the collective ecstasy of We’re Not Gonna Take It, which also closes the first CD. But let's not hesitate, let's insert the second part of the concert into the player! The journey continues through the group's all-time great classics (5:15, Love Reign O'er Me, Join Together) and an interesting selection of secondary tracks and solo album pieces, like the dynamic Face The Face, the fun rock of Rough Boys, a fantastic version of Eminence Front, and others.

The finale is inevitably entrusted to the moving Behind Blue Eyes and Won't Get Fooled Again, sublime, immense, born to make us lose ourselves among the notes of the synth, to make us move our fingers, dreaming of strumming the strings of an imaginary guitar, and to make us shout with Roger all our anger, our joy, our love for music that only a few bands can make so exciting.

An amazing live album, which I always listen to with anticipation, waiting for one song or another, indispensable for any rock lover... And when the last murmurs of the audience have faded in your headphones, turn the cover over and read: "This album is dedicated to Keith Moon".