I should stress that I am definitely someone who generally dislikes overproduced albums, so my criticisms of this album do not center around the production. I don't think it sounds underproduced, nor do things like the vocal error in Eminence Front bother me in the least. Rather, my thought is that not enough time was spent in the process of songwriting and arranging. There's a lot of lyrics on this record that seem clumsy, like they should have been given a little more thought or one more rewrite. There's several instances where instrumental choices (what is played, how it is played) seem not to work well, and it seems like if they'd given it a few more listens that might have become apparent to them. There are tracks that feel underdeveloped. There are songs where parts of the song work and other parts don't, and there are some songs that feel more like a collection of parts shoved together than a finished song. And there are songs (like today's entry) that seem half-written and unfinished.
Here’s something I found archived from thewho.net that might be what you’re referring to: And Pete also spoke of how happy he was with his songs and the recording. "I think the writing I'm doing now for the band has come out much more successfully. I haven't tried particularly hard on the material. I haven't sat and ruminated and tortured myself to get anything out. I've just written the songs that I think are right for the band and they're much, much, much better for them; much more effective. "I must say the material's come out really good and I'm really pleased with it so far. The new Who songs are violently aggressive, the most aggressive stuff we've ever come up with. The songs that I've written are totally preoccupied with the danger and tension of living in the '80's. And that is the common attitude and stance that the band has. Six weeks later the album was finished and it was a natural, unconsidered, spontaneous record; the kind I would imagine a brand new group could easily make. Perhaps in the context of a lot of Who records, particularly Who's Next and Quadrophenia it's not quite such a landmark, but from our point of view it's a tremendous record." More here: The Hypertext Who › It's Hard
Thanks for that. I remember reading many of those quotes in interviews at the time. Also interesting to see that Roger more or less echoed some of the concerns here. He was publicly lukewarm about the album at its time of release, but then unloaded on it in the 90s. It's interesting that he characterizes Pete as being kind of apathetic about the album, which contradicts Pete's public enthusiasm for the record. Roger's reaction to it in 1982, however, was negative even as he tried to sell it. "It's more of a live type album. I think it's very unpretentious. It's not particularly my favorite Who album. I think there's about five really good tracks on it...it's a stopgap album...I think musically you just cannot keep doing the same old thing. I think that's been one of our mistakes; that's one of my main criticisms of this album. It is a bit like this is The Who doing what they know how to do and I don't like that particularly. I like taking chances." In 1994, Roger allowed his feelings about the album to come out full force. "It's Hard should never have been released. I had huge rows with Pete...when the album was finished and I heard it I said, 'Pete, this is just a complete piece of **** and it should never come out!' It came out because as usual we were being manipulated at that time by other things. The record company wanted a record out and they wanted us to do a tour. What I said to Pete was, 'Pete, if we'd tried to get any of these songs onto Face Dances, or any of the albums that we've done since our first ****ing album, we would not allow these songs to be on an album! Why are we releasing them? Why? Let's just say that was an experience to pull the band back together, now let's go and make an album.' He said, 'Too late. It's good enough, that's how we are now.'"
That's great, many thanks. The Hypertext Who is being redesigned and I'm missing it.. so that's a useful link to access it. A lot more inside info on these tracks from Pete and the others as well.
I've Known No War Funny.... I always heard "I won't know for sure" as "I wanna' know for sure." Fortunately, that doesn't change the overall meaning much. I do like the song as how it flows from the wars of the past to the cold war and how that changes our understanding of the very concept of war itself. Musically I like it a bit less. The intro has me half expecting to he vocal enter with "When you hear this sound a-comin'....." For whatever merits the lyric has, it doesn't seem to lend itself to interesting melodic construction, so to be fair, writing the music to go with the song had to have been a real challenge. In the end, it's a 50/50 song for me. One Life's Enough Beautifully introspective, and perfectly sold by Daltrey. It really is amazing to hear this powerful belter of big vocals, get this tender and do it so well. I think the song has an excellent message and that alone makes it worthwhile, although I do think it could have used another verse with more exposition on the theme. There is more that could be said to support the thesis. But even a little half baked, it's still an excellent song.
As an aside, I was thinking today about alternative titles for this album.. partly to stop the sniggering at the back, but also because "It's Hard" seems slightly lame. However, so many of the track titles are still potentially double entendres - It's Your Turn, Dangerous, Eminence Front, One Life's Enough, One At A Time, Why Did I Fall For That, Cry If You Want.. they'd all be inevitably inviting scorn, especially from reviewers/the music press, for one reason or another. Even I've Known No War, which could make an interesting album title, might feel like this was a whimsical look backwards. OK, this is just idle thinking on my part, plus 20/20 hindsight, etc. But looking at the song titles like this, they do seem to betray something of having giving up, that it's all a front, that the past is more important than the present. I don't think most of the actual songs, or lyrics, sound that way. But it does seem there's some kind of malaise creeping into the song titles. As a track listing, to me it always read as tired and terminal. There's probably a better phrase buried somewhere within the lyrics that might do the album more justice, but I suppose if The Who didn't want to put the effort in, then neither should we. "It's Hard" it is, then..
I followed the instructions and tracked this down. It's a 30 second clip but is well worth the effort to find it. This version would be a really great addition to any future reissue or "Odds & Sods Part X" release.
I’m glad you found it! Even in the short amount provided, you get the sense Roger was able to sink his teeth into the vocal. I also dig the call and response between him and Pete on the “It’s a put on” line.
One At A Time I love the opening to this song. the way the horns play against each other and create that wonderful rhythmic and melodic push and pull is beautiful. One at a time Always ready to fight over the little things One at a time, she's Always ready to fight over the little things. She's going crazy and the table starts shakin', She's been abusin' her body again Her vision gets hazy and the bottles start breakin' She's been seeing that man again. If you want her, you can keep her 'Cos I can only handle one at a time, You can take her. I've got someone waitin' in line And I'd like to But I can only handle one at a time One at a time. I found out she's continually cheatin' She insists, she so innocent. So I stayed out at another late meeting And she waited up for another arguement. If you want her, you can keep her 'Cos I can only handle one at a time, You can take her. I've got someone waitin' in line And I'd like to But I can only handle one at a time One at a time. I'm moving on to something better, There must be something better than this, She's got me so confused As to who's being used Call her up right away You've got her number And I promise not to pick up the phone You can pick her up in your clapped out Humber I just hope it can get you home If you want her, you can keep her 'Cos I can only handle one at a time, You can take her. I've got someone waitin' in line And I'd like to But I can only handle one at a time One at a time. Written by John Entwistle unsure of publisher. Apologies This is an exercise in braggadocio. Essentially this comes across to me, as a guy in a bad relationship, where he is being cheated on, and being made look silly by a woman. In the meantime he is suggesting that he has other girls lined up who can take this woman's place, but in reality if that was the case, he wouldn't be boastfully saying what he could do, he would just do it. So for me, this ends up being a pretty good lyric that from my perspective shows one of those petty human foibles up, the somewhat misguided idea that I don't care about you, and I have other folks who want me .... Again if this was really true, one would just disconnect, and move on rather tha try and rationalise it all.... Musically I really like this a lot. As I said I really love the opening, and then we launch into a variation of an uptempo Bo Diddley type drum pattern, which I think is really very good. We have the bass and the guitars just rip roaring through the song beautifully, and we have plenty of colouring in done by Pete (I assume) on the lead guitar. I think the bridge fits in really nicely and gives us a small reprieve before jumping back into the somewhat ferocious playing that came before. I am gathering from comments so far, that this isn't a favourite for the folks that generally like John's songs, but I think this is an excellent track, that really punches along beautifully.
My favorite of the three JAE songs on the album. You nailed the fact that we've got something of an unreliable narrator here, which makes the song more intriguing. The narrator is reacting emotionally rather than logically. Addressing a song to the person your significant other is cheating with is fairly uncommon (outside of Loretta Lynn), especially when it's done with absolutely no malice towards him. The narrator never addresses his (alleged) cheating partner directly, which is also an effective display of his attempt at detachment. His flippant statement "I'd like two" (ignore the official lyrics when it comes to the homonyms, IMO) suggests that he's no saint either, but again, that detachment comes across as masking emotional vulnerability. One of the best songs on the album, IMO.
One at a Time Well if this is John's last Who song, which technically speaking I think it is, he ended with a pretty decent one. There's a pleasing musical look back, as well as a contemporary feel. It's his first vocal in a while that's not sounded strained or even painful, in fact this almost has the clarity of a "Heaven or Hell". The duelling horns at the start (criminally not repeated!) recall his excellent 70s arrangements. But there's also a more modern NWOBHM galloping 6/4 (or 12/8? whatever) beat, reminiscent of The Quiet One. Most satisfying of all there's a hint of vintage Entwistle humour here, albeit subtle, both in the lyric and the vocal. And an attractive lightness in the overall delivery. If that's Pete on the lead guitars (and not Andy Fairweather-Low), then he's chucking in a spot of the old Townshend magic, the sort of playing that can really elevate a song. God knows why but this also gives me a Beatles vibe.. or is it a solo Ringo vibe?.. in the best possible way. Nothing earth shattering of course, but fair play John. Is it just the novelty of hearing "new" (to me) Who after all these years? Because I'm honestly enjoying the Kenney era. Compared to the 70s Who it's a bit solo Lennon/Macca vs the Beatles, perhaps, but it's all cool. Happy weekend all
1964 - 1977 Aug 1978 Who Are You New Song Had Enough 905 Sister Disco - Kampuchea - Capital Radio Music Must Change - Live - demo Trick Of The Light Guitar And Pen - Demo - Alt Love Is Coming Down - Demo - Alt Who Are You - lost verse mix - demo No Road Romance - band version? - band version? Empty Glass - Pete's demo Keith Moon 8/23/1946 - 9/7/1978 Last interview June 1979 The Kids Are Alright - promo/trailer My Generation - alt link Can't Explain Happy Jack I Can See For Miles - alt link Magic Bus - edit mono version Long Live Rock Anyway Anyhow Anywhere Young Man Blues Baba O'Riley A Quick One Tommy Can You Hear Me Sparks Pinball Wizard See Me Feel Me Join Together Won't Get Fooled Again Oct 1979 Quadrophenia Soundtrack - the remix I Am The Sea The Real Me I'm One 5:15 Love Reign O'er Me Bell Boy I've Had Enough Helpless Dancer Doctor Jimmy Zoot Suit - The High Numbers Hi Heeled Sneakers - Cross Section Get Out And Stay Out Four Faces Joker James The Punk and the Godfather Night Train Louie Louie Green Onions Rhythm Of The Rain He's So Fine Be My Baby Da Doo Ron Ron Apr 1980 Pete Townshend Empty Glass Rough Boys I Am An Animal And I Moved Let My Love Open The Door Jools And Jim Keep On Working Cats In The Cupboard A Little Is Enough Empty Glass - demo Gonna get Ya May 1980 Concerts For Kampuchea - with whole Who set following Keith Moon's Drumming June 1980 Roger Daltrey McVicar soundtrack Bitter And Twisted Just A Dream Away Escape 1 White City Lights Free Me My time Is Gonna Come Waiting For A Friend Escape 2 Without Your Love McVicar 1980 The Secret Policeman's Ball full Won't Get Fooled Again Mar 1981 Face Dances You Better You Bet - live Don't Let Go The Coat - Pete demo - live 81 Cache Cache - Pete demo The Quiet One - live - live - live bonus track Did You Steal My Money -demo How Can You Do It Alone - demo - jam origin - live bonus track Daily Records You Another Tricky Day - live I Like Nightmares It's In You Somebody Saved Me What Is love demo Dance It Away - The Who Dance It Away - Pete May 1981 Phases (album box set) Sept 1981 Hooligans Nov 1981 John Entwistle Too Late The Hero June 1982 All The Best Cowboys Have Chinese Eyes Stop Hurting People The Sea Refuses No River - Roger Prelude Face Dances Part 2 Exquisitely Bored Communication Stardom In Acton Uniforms North Country Girl Somebody Saved Me Slit Skirts - live 82 Vivienne Man Watching Dance It Away 1982 Pete Interview - Another Pete Interview Sept 1982 It's Hard Athena - Theresa It's Your Turn Cooks County It's Hard - Popular demo Dangerous Eminence Front - live - single I've Known No War One Life's Enough One At A Time 1982 tour rehearsal Roger Interview Beer Commercial
One Life'e Enough: 5,5 Put simple: meh. Nothing memorable for me here, just a little ballad without a nice chorus. The lyrics are really good, but the music's forgotten a soon as it's gone. No blame towards production - indeed, I would have kept it even more sparse, with only piano and vocals in order to create an intimate feeling. On another album, this would be the kind one could get away with as "a breath of fresh air", but "It's Hard" is neither packed enough nor sequenced in a way that there's a need for it. It's just there, and I can well do without.
One At A Time: 6/10 This features the very same rhythm like "The Quiet One", he must have liked that! I think the start (the "duelling horns", greatly put!) is the highlight of the song and I agree with Orino it should have been repeated. Then comes that rhythm, accompanied with a rather stressed vocal delivery. It may suit the lyrics, but I can't say I like it, and same goes for the chorus. Still, I also feel reminded somehow of old, witty Entwistle-humour, but there are only hints towards that direction instead of the full-blown repertoire he's capable of. So musically, another exercise in skills, but not much of a good song, and the inevitable comparison with "The Quiet One" doesn't help either. Lyrically, I think he touches the same topic as "You" which makes me think that maybe John's private life was more on the sad side of things (at least to me, it would); with a relay run-like affair with one groupie-turned-girlfriend after the other... I don't know much about his private life, but we know how he ended, and unfortunately it fits that theory, and that he possibly wasn't able or didn't have the chance to meet somebody to stay with more in terms of a serious relationship...
Many (most?) of the LPs have titles not based on tracks, so maybe that was the better way to go... but if we’re changing the title, I want a new album cover too!
I hear you, but rather than hearing it as more of “You”, it feels like more of “My Wife” to me, and that distinction helps me like it a lot! It’s back to more of a classic John thing (the horns, the aforementioned “My Wife”-iness of the topic) and less of an 80s-rock stadium thing (like the other two tracks) and that works for me. Wish it was the only John song on the album!
I kind of like the album cover. The idea of the guys as being old, and now Tommy is playing video games, and doesn't even know what pinball is lol
This one is definitely a throwback to the Entwistle of old, writing about a character who is thoroughly unlikable and pathetic, and using his braggadocio to mask vulnerability. As you noted, the trope of directly addressing the person your wife/girlfriend is cheating with is somewhat rare in rock music, though it's quite commonplace in country and R&B (Roy Hamilton's "You Can Have Her" is a favorite of mine in this genre). Musically it rocks, and the horns are a nice touch. It's a decent song, which maybe stands out more on this album due to lack of strong competition.
For anyone interested, the kind of disappointing Live At Shea Stadium 1982 bluray on Live On Saturdays
Ha! Fair enough! At least the guys look better than their subsequent tour makeover (Pete, those sleeveless shirts, oy....)
"One At A Time" is much better than Entwistle's two Night Ranger clones on side one. I hadn't actually listened to it in years, and I find I really enjoy the fanfare at the beginning and the song's frenetic pace (which is whiplash-inducing coming right after "One Life's Enough"). The punkiest song on the album. Going back a bit, I'm kind of surprised as to how much disdain the title track gets around here. It's not a lost classic or anything, but I always thought it was perfectly listenable. Somewhat reminds me of Bruce Springsteen's "Badlands". Then again, maybe I like it because the two tracks surrounding it are as arid and tuneless as the Who ever got. "Athena" is the "Squeeze Box" of its era -- a tame but perfectly hummable pop song. I agree with the general consensus that "Eminence Front" is the one unassailable classic from this very uneven album.
