The sequence of chords that occurs every time Roger sings the word "You" reminds me of the fade-out of Badfinger's "We're For The Dark."
It is similar. The same pentatonic thingy going on with the E chord. Heck, and I know that song but did not make the connection.
The Song is over--I didn't know that was Hopkins on this..Figures.. Excellent song and sort of new territory bringing an epic quality that we see more of on Quadrophenia. Really nice vocals by Roger and Pete. Gettin' in tune--A positive straight forward ditty that really works. A little humility in taking stock of ones self and improving that culminates in loud self confidence......apparently being quite tuned in to the person he was after..LOL Top notch Roger vocal....Great way the song is so serine and builds to it's climax's...I'm a sucker for it, and it's how amazing the subdued parts are that make the climax'z such a decent payoff... I like the serine parts best overall.....great subtle vocal harmonies. Going Mobile---Great Rhythm guitar work and I never knew the tape was sped up.. Wonder if Pete just decided "I'm singing this one" or if Roger said "Pete you can do this better, why don't you go for it". Regardless I couldn't imagine it any other way. Cool synth parts......
Going Mobile According to Glyn Johns this was recorded live, with Pete on acoustic guitar and lead vocal and John and Keith on bass and drums. There are of course overdubs added later including the rather wonderful sounding guitar solo through the synth. The song itself brings a sense of the open air and travelling and the joys of living a transient existence away from authority. A cheerful interlude for Pete and the band. Obligatory mention of Lifehouse now... When I did become aware of the project I used to think Going Mobile wasn't part of it, it didn't seem to fit in with the concept such as it was and as I understood it. Of course following more reading about the subject it indeed was part of Lifehouse and as such IMHO is a reminder of some of the songs on Tommy which are there to move the narrative along. I do really like this song but for me this is my least favorite on the album, now that is mostly because everything else on it is so strong of course. If I were to replace a song with Pure and Easy, then this would be the one. HOWEVER, I'm not sure I could really and truthfully do without Going Mobile. The performances are just so good, the guitar / synth solo so different and so brilliant and the song itself is just so infectious that I would miss it too much. So still trying to find a place for Pure and Easy and we are running out of time now...
This is partly why if there was a song on the album which I possibly, maybe, might change it was Going Mobile... simply because it sounds so different to everything else on the album. It is joyful, cheery and seemingly very straight forward. A superb song in itself but always felt a little bit jarring to me on this album. These are my problems with it though, not a fault of the song which as you say there is nothing here not to like. Ultimately as I note in my own post on the song I wouldn't really change this anyway... it's just too good!!
Just goes to show you, great songs stand up to being played in just about every way. Love this cut. Son of a gun, Moon actually swings on this, something I didn’t think he ever did. Love hearing Pete and West playing on this.
I own a copy of that CD. I bought it from Amazon Canada, and the shipping charge to the USA was more than the cost of the CD.
Behind Blue Eyes We’re deep in the realm of “classic rock” now folks, for better or worse, and the one-two punch that ends “Who’s Next”, starting with “Behind Blue Eyes”, has arguably been over played and praised to the point of tedium. So what is there to say about the current song without just making obvious, banal statements? I suppose we can but try.. In some ways it’s a return to the personal, first person songs of The Who’s earliest singles. Here yet again is the struggle to communicate, to be understood, to be accepted, though it’s a more sophisticated lyric than before. One reason this song is so popular may be that, despite being sung from the point of view of a “bad man”, it still offers points of identification for almost anyone. Pete has stated that it is about the repression of love – Roger identified with the repression of violence. In fact it is about the destructive repression of emotion in all its forms. I find the idea that repressed love can become “vengeance” curious, though it’s good to hear lyrics that challenge and don’t simply drift by. Otherwise, why bother? As with a lot of Who’s Next there's a dynamic contrast of styles, but here the moment where augmented “Sunrise”-esque acoustic ballad explodes into heavy rock is simply startling. Quite apt for a song about the containment and release of emotion (he stated, stating the obvious). However the song gains much from not overdoing things- it pulls back at just the right moment, rather than turning into an epic multi part jam or similar. Keeping our focus on the lyric, where it belongs. Musically however what we get here is a tick box of all the ingredients that made The Who circa 1971 so irresistible – affecting melody, attractive vocal harmonies, Roger alternately crooning and roaring, inventive bass parts, power chords and eventually a whole lot of Keith Moon, who makes up for lost time in spades. When I first heard this, it was a song that particularly drew me in. I remember listening carefully to each verse unfold and then wanting to hear where it went next (it helped that the music was fantastic of course). Pete once described the art of songwriting as actually being that of “writing letters” and this is a good way to look at much of his lyrical output. A really well written letter (remember letters?) should take you on a little journey, reveal something, confide something, and perhaps that goes for songs too. How many “classic rock” songs can still genuinely hold the attention, lyrically and emotionally, like “Behind Blue Eyes”? A miniature masterpiece.
I totally agree with your well-written assessment, except I would drop the word "miniature". A powerful performance that combines the light and heavy sides of The Who in a logical and highly effective manner. This is one of the most complex lyrics Pete has ever written. A perfect piece for the "Lifehouse" villain, but a song that clearly has its roots in Pete's relationship with the rest of the band (and to some degree, as you point out above, Roger's relationship as well, including his repressed rage). This song anticipates some of the "woe is me" Pete songs that would come later in the decade ("However Much I Booze", "How Many Friends", "Who Are You"). Shortly after 9-11 it occurred to Pete that the song worked on another level - describing portions of Western society being seen as "the bad man" in the eyes of portions of MidEastern society. How does it feel, like Neil Young said, when you don't feel like Satan but you are to them?
Agreed. Keith's drum work on this track is stellar. It isn't one of those Who "magnum opus" tracks fans often think of where Keith's brilliance is on full display, but this is a great band performance and Keith drives it.
Not by me. I can listen to this on repeat and praise it to high heaven every time. "My love is vengence that's never free" is a great line.
Going Mobile: Great interplay between the guitars and drums on this one. When the song slows down during the bridge sections it doesn't lose any of its intensity.
Roger's delivery of "If my fist clenches, crack it open, before I use it and lose my cool" is sublime and I can't imagine anyone doing it better.
I don't know. It's the anger in Daltry's voice while asking whoever to hold him back that makes such an impression on me. Add to that the sheer brilliance of Pete's lyric. A perfect example of Daltry's calling in life being to sing Pete Townshend songs. If my fist clenches, crack it open, Before I use it and lose my cool. If I smile, tell me some bad news, Before I laugh and act like a fool.
One thing I love in the second hard section is the way after "Before I lose it and lose my cool" Pete hits that sustained D chord. This is a sore point with me because I don't think I've ever heard him play it that way live. He just keeps the same strumming pattern and loses the impact that the sustained chord brings.
Behind Blue Eyes Don't think there has ever been a son with more authentic bite than this one. From the sweet harmonies to the acid tongue, this is epic. And Entwistle's bass line! Killer!!! Another A++. Tho thumbs waaayyyy up! No, I never tire of this one.
Behing Blue Eyes: Another song I heard about 5000 too many times thanks to iHearache radio. I distictly remember this first time I ever heard this though, and the adrenaline rush when the great guitar hook in the second part of the song kicked in. Running into the kitchen afterward to ask my parents, "Wow, did you hear that?!"
A great song, arguably one of the top 3 songs Pete has ever written. I have to say though, as much as I love the studio version, the concert versions without Moon are, well, kinda boring. Without Moon, the last half of the song drags and the beautiful contrast so evident when Moon is playing is lacking. When Simon joined the band in 2002 I thought that "here's a chance for Pete to reproduce those beautiful few beats of searing guitar solo in the bridge" while bro Simon does the rhythm part. Nope. Hasn't happened yet and I guess it won't. So, as much as I admire this song and love hearing it on various bootlegs from 71-76, nowadays it's something I wish they'd drop from the playlist. But, on this album, it's another 10/10 song and perfect setup for the closer.
