The Who
The Who By Numbers

This is the first review I am writing about the Who, and since the band's classics like "Tommy," "Who's Next," and "Quadrophenia" are already present in the DeBaser "catalog," I am setting out to talk about a record known only to true fans of Townshend & Co. "The Who By Numbers."

This 1975 album follows "Quadrophenia," and holds its own against the group's previous works with its stunning melodies and arrangements. Yes, it's true that it may not be fully classed among the masterpieces of the Who and rock in general, but it's an album that has some truly interesting aspects and is, at the same time, a container of emotions and sensations. There are tracks (especially the ballads) on this album that are truly wonderful, and even the lyrics are true literary works. In short, as a great admirer of this magical band, I can say that "The Who By Numbers" is one of the best albums by the Who.

It starts with the rhythms and magical atmosphere of "Slip Kid". With this first track, we can already guess what the album is made of. The central solo by Townshend gives you chills! It proceeds with the boogie "However Much I Booze", where Pete gives us one of his best vocal performances. A great start with these two tracks, don't you think?! It's time for the celebrated "Squeeze Box", with its amused and bluesy atmosphere. Perfect backing vocals sing the lines "Mama's got a squeeze box, Daddy never sleeps at night..." Next is "Dreaming From The Waist", which recalls "Tommy" (from the acoustic guitar) and "Quadrophenia" (due to the electric guitar), a pure Who-style track (and you know what I mean when I say that!) with a dazzling Daltrey. After these four tracks, we are well charged (they haven't missed a beat...!) and ready to witness with chills in our body the beautiful melody of "Imagine A Man". A delicate acoustic arpeggio, Roger's warm and harmonious voice, piano decorations in the background, and magic, just lots of magic. The focal point of the track is everyone raising their voice saying "And you will see the end, you will see the end, and you will see the end, you will see the end, oh yeah..."

"Success Story", if it weren't for the voices, seems like a track from "Physical Graffiti" by Led Zeppelin. We also find a formidable Keith Moon on the drums. "They Are All In Love" is another beautiful melody, where the piano is the real star. This track is proof that music can do everything, a succession of truly astounding emotions and visions. "Blue, Red And Grey" is yet more sound magic, sung and played solely by Townshend, accompanying himself with the ukulele and the harmonization of some wind instruments (obviously not all played by him, as he accompanies himself only with the Hawaiian guitar...). "How Many Friends", is where I want to analyze the lyrical part of the album. As we all already know, the Who in their great works have always dealt with deep topics: from the adolescent dissatisfaction of "My Generation," moving through the sexual issues (specifically masturbation) of "Mary-Anne With The Shaky Hands," and the mockery of commercials in "The Who Sell Out," finally culminating in a mix of childhood, sexual violence, exploitation of those who cannot defend themselves, and idolatry in "Tommy." Here, in this track, the topic is friendship, fake friendship. "I feel so good right now, there's a handsome boy telling me how I've changed his past, he buys me a brandy, but could he be just after my ass?", in this ironic way Daltrey sings the first verse of the piece and continues... "He likes my clothes, says he appreciates well-dressed men, but no one else does, he's so kind, for what reason?", then unleashing his anger at the climax of the track... "How many friends have I really got? Can you count them on one hand? How many friends have I really got? How many friends have I really got? Who love me, who want me, who take me for what I am?" Thus, making us learn that it is never certain that if someone gives us a compliment, they are truly our friend, but they will be only if they accept us for who we really are. The album closes with "In A Hand Or A Face", with a Hard and Psychedelic taste. A tough track, also thanks to the stunning performance of one of the greatest and most charismatic drummers of all time: Keith Moon.

How can a review dedicated to an album full of emotions, sensations, visions, feelings, and emotional charge, like this one, be concluded? With one word:

AMAZING!!!