The Who
Odds and Sods

In 1974 the Who released "Odds And Sods", an intriguing collection of unreleased tracks. The songs contained in this record were originally part of recording projects that the group later abandoned or forgot. It is not a set of useless fillers but important pieces, often a constant presence in concert setlists, recorded in different time frames.

Erroneously considered a secondary chapter in the band's discography, "Odds And Sods", while not being "Tommy", works overall and highlights the versatility and compositional skills of the Who. Moreover, it is a work that anticipated albums like "Dead Letter Office" by R.E.M. and "Lost Dogs" by Pearl Jam, both collections of unreleased tracks, b-sides, songs only found on compilations, or that didn't make it onto official albums.

"Postcard" by John Entwistle and the energetic "Now I'm A Farmer" were originally intended for an EP that was never realized. The pleasant and successful "Glow Girl" and "Little Billy" seem to come from the "Sell Out" sessions and show Keith Moon in top form. "Faith In Something Bigger", a modest ballad about faith, dates back to the late Sixties. A series of successful tracks belong to the ambitious "Lifehouse" project, which eventually fell through and was incorporated into the masterpiece "Who's Next". "Pure And Easy", already present in a different version on Pete Townshend’s solo album "Who Came First", is simply perfect thanks to its open melody and the significant musical contribution of the band. "Too Much Of Anything" is a pianistic and evocative ballad while "Put The Money Down" has strength and character. The splendid and pessimistic "Naked Eye", unjustly left out of "Who's Next", has become a classic in the band’s live performances in the Seventies. A deep and introspective track, recently performed on stage by Pearl Jam. The anthem "Long Live Rock" is another classic composed to be played live, rightly famous because it was chosen as the closing theme for the beautiful film "The Kids Are Alright". The presence of "I'm The Face", a cult track for the Mods, takes us back in time to when the Who were called High Numbers.

Decidedly interesting is the CD reissue, which has further enriched the original version with other forgotten gems from the group's production. Among these, the successful covers of Eddie Cochran's "Summertime Blues", the Rolling Stones' "Under My Thumb", and Motown's "Leaving Here" and "Baby Don't You Do It" must be mentioned. "Odds And Sods" thus represents a complete and valuable record. A piece that is not fundamental but in its own way important in the discographic history of this great band.