Song Is Over. To be honest as a young lad with testosterone running through his veins, this was one I used to skip in my formative Who years. Back then it was all about the anthems of teenage wastlands and meeting new bosses that were the same as old bosses. But saying that, this song more than any other on the album is the one that has grown most in stature over the decades for me. Just a beautiful song with great mature playing. And to think they were all basically still in their mid-20's to boot is incredible.
I should note that I did not say they were weak songs. I said I consider them "weaker" relative to the rest of the album, but still like them a great deal.
The multiple key changes in this have always reminded me of "Burn Down The Mission," which had come out the previous December. Elton John has, on numerous occasions, stated that that was musically influenced by Laura Nyro.
I did not know that about Burn Down The Mission regarding LN. How I never heard her influence on the song has me puzzled. You are correct..... Burn Down The Mission modulates similar to The Song is Over. I never picked up on that either! And to think I just listened to Tumbleweed Connection a few nights ago.
Getting in tune This song always felt to me like a sibling to “Song Is Over”. It might be the Nicky Hopkins piano, the similar juxtapositions of beautiful melody and rocking out, or even the semi complementary lyrics (tune in, sing out?). Was this a Lifehouse song? It seems to share a lyrical concern with music as a form of connection. It’s a good, robust song this, not too heavy lyrically but still with some great lines, and as ever on this record, is beautifully sung (with some terrific harmonies) and played. Despite starting out as a ballad, it’s mostly a rocker but with a slow paced feel that is slightly unusual for the band, reminiscent of Pete’s demo style in places. (Compare the rhythm of the “Got it all here in my head” parts with Pete’s “Won’t Get Fooled Again” demo). Something about the more open style of arrangement on this album leaves a lot of room for extended instrumental passages. This song, again prefiguring Quadrophenia, turns into a bit of a jam towards the end, feeling more like something the band would do on stage. It’s really quite the departure from “Tommy”, this album. An effective, fun and upbeat start to side two.
Yes, a pivotal "Lifehouse" song, describing how music can be the conduit for getting "together, before we get much older". What if we could share musical vibrations instead of pickup lines ("Do you come here often?")?
The Song is Over I particularly love Pete's electric guitar on this one. The tone is so warm and ringing, and his phrasing is immaculate. As others have said, another particular highlight of this track is the contrast between Pete and Roger's voices. Pete's plaintive tone is beautiful while Roger is in full, golden-throated, rock god mode. Might be Roger's single most impressive vocal contribution on record. Nicky Hopkins' contribution is lovely, as always. The reprise of "Pure and Easy" at the end is glorious, especially Keith Moon's drumming. Listening to that finale through headphones is bliss. What an album!
I'm singing this note 'cause it fits in well With the chords I'm playing I can't pretend there's any meaning here Or in the things I'm saying Getting in Tune I love this song. Sometimes there doesn't need to be any great meaning; just being in sync is the meaning. The procession of the music itself is fantastic as it starts out soft and reflective, builds throughout, and ultimately breaks free; the freedom that comes from being in tune. Spectacular. Roger's vocal here really shows his range as he carries that mood shift quite deftly. Another fantastic cut. Six songs in and The Who are still batting 1.000.
Roger Daltrey did do a stunning live version of The Song Is Over; it's on A Celebration: The Music of Pete Townshend and The Who, also known as Daltrey Sings Townshend.
not to get carried off into a discussion of this Roger release, but it was pretty cool (the versions he came up with) and Pete's "Who Ae You" was also pretty cool Check it out if you haven't seen it. I was disappointed that Eddie Vedder didn't want to be included in the DVD or CD but also performed in this show.
Getting In Tune: 10/10 Again 10. Wow. I'm almost starting to get tired of it, but... that tune is just too good to rate it less! Unfortunately, at least IMHO, with this beautiful melodic tune, the album begins to wear thin somehow... While everything is great, maybe it's a sameyness in feel, I don't know... maybe too much mega-intense songs in a too short while? Hm. We'll see how it will go on. Maybe it's the 2nd victim of sequencing (though I wouldn't change anything up until now), maybe it's a lack of short and quick songs... Okay, I got it: this is too much epic stuff for ONE album, at least for my tastes, and I feel seriously fed up. I know I'm going ahead, but "Goin' Mobile" is exactly what I'm longing for right now! Cured! So now for the song's overwhelming qualities: Fantastic start with John's gentle ear flattering bassline into one of The Who's most delicate and fluffy vocal outings. Yet they manage to keep it all true and pure thanks to Roger's untouchable and heartfelt honesty - Wow! The band's playing tight, and I think also Moon is in great shape here: While there are definitively The Who moments where he does more (oh really?), to me he sounds really flawless here within the beat and his breaks, sort of warmed-up, full-bloodied and in full posession of his powers. John's and Pete's harmonizing is also stupendous "altruistic" and do nothing but enhance the unity - so as for the "one note" concept, the boys are getting damn near to it here! Love it! The chorus' singalong quality and the jam-feel at the end work fabulous. It's all great. As I said before, only problem for me is "The Song Is Over" and then "Getting In Tune" in a row is bit hard to swallow. What I'm saying doesn't even make much sense, because one's the last song on the first and the other the opener of the second side. Also, it would have been a deadly sin to leave any of these diamonds out of the album... maybe, burried in-between shorter and poignant stuff of a rather short 2-LP (not fully packed, something along the length of Tommy), these two would shine brighter?
The Song Is Over: I didn't know much about the Lifehouse story when I first heard this song, but it does give a sense of closure and I now see how it would have fit as the ending of Lifehouse. My initial impression was that it was an absolutely gorgeous song. The Who are at the top of their game with this song, as is the case with all of Who's Next. Great singing from Pete and Roger and great playing from John and Keith. The "Pure and Easy" closing section suggests that although an ending has been reached, the cycle ultimately leads to rebirth and renewal. Getting in Tune: Lovely bass playing from John in the intro and the quieter moments of the song. Wonderful lyrics from Pete: "But when I look in your eyes and see the harmonies/And the heartaches soften" and "There's a symphony that I hear in your heart/Sets my head a reeling."
Getting in Tune Guitars I think are either capoed up a half step or tuned up....all the chords I list sound a half step higher. Starts off with Nicky on piano with E to a sus A chord. The piano figure sounds a little cliché today since it has been so widely copied.....power ballads et al. The verse line repeats, rises up and then at :40 goes to the B chord to kick off the powered up chorus. A fine chorus that rises up as well....simple but effective with Roger killing it and with Pete and the rest of the band playing a cool rhythmic hook. The verse returns at :56 and Pete plays nice fills that almost sound like a pedal steel at times. Great work from the Ox with those 16th note hooks sounding damn near Beethovenish. At 1:23 the chorus returns with Pete adding in some response to Roger. Great vocal work. At 1:37 a bridge enters that sounds like a key change a little but it isn't. A nod to R and B a little here. Roger's doubled vocals sound amazing...as if he needs to do that but heck....I will take two scoops over one of Roger any time. At 1:50 the boys hang on the B and E chords and do a work out on the refrain. At 2:12 you would think the verse proper would return in E but instead Pete brilliantly resets the verse and changes key to F sharp. Beautiful harmonies abound. At 2:41 the chorus in the new key enters. At 3:06 the bridge comes back and is used to outro the song with the refrain repeated. The boys sound like they are jamming with the tempo picking up at 3:42. Moon plays his typical amazing insanity on the skins. Nicky is blazing as well with honky tonkish piano work. The song gradually fades but I for one wish they had continued for another minute or so....yeah... the definition of locked in. Another example of Pete's fantastic chord progressions and embellishments. Fine use of dynamics. John really stands out on this one as well.
When I first heard ' Who' s Next ' I didn't Lighthouse from an outhouse. Did it matter to me then ? No Does it matter to me now ? No.
I just heard the 1995 remix of Who's Next for the first time. IMO it is great. Baba O'Riley sounds the most different. Now Roger does not sound like he is out in the fields.
