Yes yes and yes. Could not believe this was the title track (and that they performed it live regularly!) - just so uninteresting in every way.
It's Hard Musically kind of OK but lyrically a complete disaster. And this song gave the album its title? And this song was a single? Yikes.
Yeah, I'm a lyrics guy too, and unfortunately (as you say) several of the couplets are doggerel. And the song ends up being self-contradictory. Most of the song seems to suggest that it takes exceptional effort to rise above the mediocre. But then we get that final verse which says success is determined entirely by luck (being dealt "the right cards") rather than effort. Taken as a whole, it makes no sense. And unfortunately the best lyrics in "Popular" (the refrain "I just want to be popular, I don't really care who you are/I just want to be popular") are the ones that get excised from the rewrite. I agree that the rewritten refrain is very, very, very, very bad. So very bad. It's interesting to contrast Pete and Roger's standpoints on life. The original refrain to Popular is at its core an expression of insecurity, whereas the rewritten refrain is an ode to hard work. I can see why Roger didn't like the former and did go for the latter. There's the difference between them, summed up in a few lines of lyric. Beyond the lyrical analysis, the song doesn't rock, and Roger doesn't sing it very well. In fact, I'd say the demo for Popular rocks harder, and I think that's about the only time I'd say that a demo outdoes a Who recording in that department.
I suspect a big part of the reason it was the title track was because someone liked the double entendre suggested by it. Coupled with the cheesey album cover (which I've seen described as "your Dad visits the arcade") you get an impression of some middle-aged guys trying a bit too hard to seem cool. Why it was chosen as a single is one of the great mysteries of the age. It may not be the worst song on the album, but I'd put it in the bottom three or four.
I would have figured you for drums first, lyrics second. I still don't have a clue what differentiates crying from weeping and why one is better. And for any gang to scatter, doesn't it have to form first?
While still down on Cook County overall in a Who context, fresh thought has made me decide Pete's vocal countermelody thing is interesting, at least.
It’s Hard: 4/5 A perfectly cromulent single at this point, and probably should have done better with airplay. I think if there’s a hangup, it’s Roger sounding flat out laconic on the studio version compared to the live versions!
Ha. And really, shouldn't it be "anyone can lease, few can pay" rather than the other way around? Isn't leasing typically what you do when you're unable to pay outright? Of course then, Pete would lose the lazy slant rhyme of "please" and "lease." In the Moon era I'm drums first, lyrics second. Without Keith to distract me, Pete needs to try harder with his lyrics. He needs to try very, very, very, very hard.
As always, The Gorts are on top of everything and we are back on SHF. Noting the depths of my 1982 tour fanaticism and the current It's Hard discussion, great views by everyone on this album btw, listened today to the rehearsal from the Cap Centre that preceded the US tour openers in DC and was also the film session for the Eminence Front video and the Schlitz commercials. Clearly remember a late night make out session with high school girlfriend Fall '82 and the only thing that could divert my attention was seeing one of the Schlitz Who commercials come on her parents TV! Pretty sure it is the one below featuring a certain song being roasted right now!
The rehearsal which I was able to get through Wolfgang's Vault download, is pretty interesting. Two full versions of Eminence and It's Hard, bits of Dangerous and Cry If You Want, the full run through of Won't Get Fooled from commercial below, and a lot of drums, guitar, and especially fantastic bass noodling by John. You can also hear Tim Gorman on keyboards and backing vocal, I much prefer him to Rabbit's contributions. Pete even breaks into a quick riff on I Don't Know Myself as they wait on the film crew adjustments between songs. One surprising segment is a jam and partial run through of Cook's County. In soundboard quality, it actually sounds really powerful and with some work may have been a great addition to the setlist more than just the single time played outside Chicago. Agreeing with some here that It's Hard gained power in the live setting, though it's not a strong song. Cool they played so many new songs on that tour, but sometimes lame compared to other songs in the set.
It's Hard is a very substandard Who song, arguably the worst song on the album. Unconvincing vocals, pedestrian lyrics, and musically monotone. It is baffling that it became the title track.
I had a poster of Shock The Monkey where Peter G was crouching and had a shadow of his figure behind him. A monkey it must have been, I guess. I put it in the corner of my tiny apartment so Gabriel was on one wall and the shadow was right angle on the next. Thought that was pretty clever. But I would look at it and it just didn't really pop out in any special way. Ahh, the life of a failed artist, haha. Still a good song, but .... Back to The Who.
I guess I am the only one that really likes the guitar solo in It's Hard. It is a great Power Pop solo that uses opens strings and double stops. It hit's the mark for me.
You know, I didn't go back and listen to the song before making my comments above, but just went off my memory of it. And it's been years since I listened to it all the way through. I'd totally forgotten about that solo, and upon re-listening just now, you've reminded me that I really like it. It's the only really good thing about the song, in fact. That's kind of a weird thing about this album... there are bits and pieces of songs I like, such as the solo here and the "song goes on" portion of Cooks County, but they come amid songs that otherwise don't work well for me. I guess that's why I'm a subscriber to the theory that this album needed more work, or that if Pete had spent more time on the songwriting before they started recording the results would have been better. In some ways, the whole isn't as good as some of the parts. The solo reminds me somewhat of the stuff Pete plays on this McCartney song a few years later (the bit he first plays at the :38 mark):
It's Hard - thankfully this is missing from the Maximum As & Bs box! It's so awful it's difficult to believe it was officially released, and a very surprising choice for a single.
Surprised somewhat at the total dislike for It's Hard. I will just add a few more comments. The verse chords are the blues pattern in G and the chorus changes key to the blues chord pattern in D. To me the song is a fine blues based pop song. The bass could have used some variety I suppose. The intro harkens back to Sell Out and Tommy with its moving lower voice......a style Pete kind of moved away from after Tommy. I guess the song reminds me of the old Pete at times and makes me like it more than I should when taken at face value. The solo opens strings reminds me of his older style as well.
Dangerous Can you feel it? Watching you in the darkness Touching you like a sickness Fear is taking control The beach head is the street In the gutter lies defeat Fear is the key to your soul That makes you dangerous So dangerous to yourself Can you feel it in the shadows Watching you, touching you Can you feel it in the shadows Watching you, touching you Changing you into a mad dog Howling at the moon And you're so far out of tune Better learn how to sing Fences, we put up defences Then we come to our senses It may keep them out But it keeps us in And that makes us dangerous We're all dangerous to ourselves This is a jungle, not illusion Jungle city in confusion We are the next step in evolution The new stone age revolution Back to the stone age, constitution No solution Can you feel it in the shadows Watching you, touching you Can you feel it in the shadows Follow you, swallow you Can you feel it? (Fear is the key) Can you feel it? (Fear is the key) Can you feel it? (Can you feel it?) Fear is the key to your soul Source: Musixmatch Songwriters: Bill Bottrell / Teddy Riley / Michael Joe Jackson Dangerous lyrics © Emi Blackwood Music Inc., Sony/atv Songs Llc, Ezra Music, Ezra Music Corp., Zman Music, Douche Cash Music, Pen Island Music, On The Fence Music, Pw Ballads, Songs Of Universal Inc., Universal Polygram Int. Publishing Inc., Lido Music, Inc. Well I like this one also. This is one of John's songs and it certainly sounds very eighties, but that doesn't make any difference to me. This song seems to be about the fear and paranoia of living in a city under duress, and the effect that it can have on some people. I think there a couple of clunky lines, but for the most part it is a pretty valid observation. Fear of course is useless to anyone's development, but to suggest it doesn't exist or doesn't effect people's lives would be a side step from reality. The main focus seems to be that this is a fear that comes from things that we can't see, as it is constantly in the shadows taunting us. Also we have the addition of the effects on us. We put up defences and fail to let anyone in, which has a compounding effect. There is also the effect of becoming a type of mad dog, that can't function around other people. Fear is the great destroyer in the world.... and there sure seems to be a lot of it about at the moment, masquerading as righteousness. Musically we open with a pretty cool keyboard and guitar section, and underneath we get John thumping on that solid block of bass. He really has a solid sound on this album. Kenney/Kenney is predominantly accenting the parts of the songs here rather than monstering the kit into submission, and it suits the song that we have here. I thing this has some really cool melodic lines and for me it all joins/fits together well. The main thing about the music here to me, is it really suits the feel of the lyrics. Interestingly the credits seem somewhat confused. I assume this is an Entwistle song, but the online lyric credits are written for Bottrell, Riley and Jackson ... I assume that is an error. So for the experts out there, please let us know the deal. I'm sure that we will get another round of dismissive thoughts about this track, but I reckon it is a good track, without being a classic Who song.
I guess I scorched it a little earlier, merely for it's title...... It's Hard is still a pretty good song, and yes Pete's lead lines with the open stings is nice guitar work (Agreed) Funny I felt a little guilty after that scorching... Still not a title I'm comfortable with but it's still music I like. I really like when people point out nice guitar work by Pete, because IMO he gets pigeonholed as great rhythm guitar player. I believe he is just a great guitar player, and the distinguishing of rhythm sells him short. The Who needed a writer, and it was Pete, but say somebody else in the band was prolific with that skill. The guitar playing carried it's own weight, no problem. It's not Pete's nature to be a pure side man, but he certainly has the skills needed. Dangerous This IMO is the good John song on It's hard. I really kind of like everything about it. Had I written this I'd be pretty proud. To nitpick I'd like the guitar power chords higher in the mix. This tune for me is The Who in their classic hard rock mode ala Who's Next/Who Are You. Keith could of slayed on this track IMO, but you will never read words from me bashing Kenney in this thread. If Rose River Bear is a fan of this song and feels into it, I'd certainly enjoy a musical breakdown. Seems a John thing to mix ascending and descending riffs in songs. Pretty strong melody lines here IMO. Cool how the riffs work their way to the big fretboard slide going into the 1 chord for the verse. Good tension creating the mood, and those verses ease their way into some full on chugging rock....Like this tune
I find "Dangerous" to be, by far, the weakest of the three JAE tracks on "It's Hard". I certainly don't hate, I just like the other two songs a lot more. I don't care much for the lyrics, which don't add up for me, particularly the verse about the jungle. I like Pete's contribution on guitar.
No time to do much here but have a quick listen and scan the thread. It's Hard What's great about hitting the Kenney era is discovering it is nowhere near as bad as its rep. I was expecting a real stinker here with such a nothing title, but damn it, I don't mind this song.. It feels like back to roots Who almost, but lyrically Pete was clearly feeling ancient (at all of 37). Rog's yobbish 1960s edge is now replaced by a studied weariness, but this is still reminiscent of the languid insolence of Much too Much. Musically there's even a hint of Circles. Only the synth fanfare drags it into the 80s. This is the polar opposite of Face Dances. The lyrics are unforgivably half arsed however, but I'm seeing this as a pre-Baba 60s throwback, so there. Tee hee.. Dangerous This feels like late 70s Genesis meets Van Halen (minus the lead guitars) .. chuck in any one else you fancy. And another cut off ending a la It's Your Turn. Come on boys, make some effort! It's not bad actually, in its own slick, moody way. Lyrics.. hm. It feels a bit like The Who covering a John Entwistle song. But it says "The Who", so that's what it is. And makes an interesting contrast to the previous track.
Totally with you on the “worst of John’s 3”. I was baffled by Roger taking credit for the lyrics - they are terrible, and if I was in the room when they were written I wouldn’t be bragging about it. Just like the last track, it’s bizarre that they did this live - with the crazy huge catalogue of incredible dynamic songs to pick from, THIS makes the set list? I guess John needed a spotlight and they wanted something current, but geez louise!
It's taken me years, decades really, to come to terms with the idea that John Entwistle really grated at playing second fiddle to Pete Townshend in the songwriting department throughout his time in The Who.
Yeah, I like this one quite a bit. I put it solidly in the upper half of the songs on this album. What I particularly like about it is Pete's guitar. The fact that the guitar line is repetitive, but played rather than looped, makes it fascinating to me to hear all the little intricacies throughout. And I love that guitar solo. The song reminds me of Combat Rock-era Clash.
For the longest time this was tied with "Love Is Coming Down" for worst Who song for me. Probably still is. It's okay. Roger sounds ridiculous on the chorus and the bridge, but sings the verses well. The instrumental break is pretty nifty. Other than that, meh. Pete's demo is light years better.
