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DISCID=3d0dd115
DTITLE=The Who / Endlesswire
DYEAR=2006
DGENRE=Rock
TTITLE0=Fragments
TTITLE1=A Man In A Purple Dress
TTITLE2=Mike Post Theme
TTITLE3=In The Ether
TTITLE4=Black Widow's Eyes
TTITLE5=Two Thousand Years
TTITLE6=God Speaks Of Marty Robbins
TTITLE7=It's Not Enough
TTITLE8=You Stand By Me
TTITLE9=Wire & Glass - A Mini-Opera: Sound Round
TTITLE10=Wire & Glass - A Mini-Opera: Pick Up The Peace
TTITLE11=Wire & Glass - A Mini-Opera: Unholy Trinity
TTITLE12=Wire & Glass - A Mini-Opera: Trilby's Piano
TTITLE13=Wire & Glass - A Mini-Opera: Endless Wire
TTITLE14=Wire & Glass - A Mini-Opera: Fragments Of Fragments
TTITLE15=Wire & Glass - A Mini-Opera: We Got A Hit
TTITLE16=Wire & Glass - A Mini-Opera: They Made My Dream Come True
TTITLE17=Wire & Glass - A Mini-Opera: Mirror Door
TTITLE18=Wire & Glass - A Mini-Opera: Tea & Theatre
TTITLE19=Wire & Glass - A Mini-Opera: We Got A Hit (Extended Version)
TTITLE20=Wire & Glass - A Mini-Opera: Endless Wire (Extended Version)
EXTD=2006 Universal Republic Records\n\nOriginally Released October 31, 2006\n\nAMG EXPERT REVIEW:  The Who retired following their 1982 farewell tour but like Frank Sinatra's frequent retreats from the stage, it was not a permanent goodbye. Seven years 
EXTD=later, the band -- Pete Townshend, Roger Daltrey and John Entwistle; that is, Keith Moon's replacement Kenny Jones wasn't invited back -- embarked on a reunion tour, and ever since then the band was a going concern. Perhaps not really active -- they
EXTD= did not tour on a regular basis, they did not record outside of a version of "Saturday Night's Alright for Fighting" for the 1991 Elton John and Bernie Taupin tribute album Two Rooms -- but they were always around, playing tribute gigs and reviving
EXTD= old projects, such as a mid-'90s stab at Quadrophenia, before truly reuniting as an active touring band after the turn of the century. Just as they were reaching cruising altitude in 2002, bad luck and tragedy intervened, as Entwistle died from a h
EXTD=eart attack on the eve of a summer tour, leaving Townshend and Daltrey the only surviving original members. Their decision to continue performing as the Who rankled some longtime fans -- many of whom thought they should have packed it in after Moon'
EXTD=s death in 1978 -- but the ensuing tours helped them work through their grief, not only over Entwistle's death but during the fallout surrounding Pete Townshend's arrest for accessing child porn on the internet. Townshend was cleared of all charges,
EXTD= and throughout the turmoil of the scandal he had no stronger defender than Daltrey. According to several interviews with both men, the process brought them closer together and they began seriously talking about recording a new Who studio album -- s
EXTD=omething that had not happened since It's Hard in 1982. They tentatively dipped their toes in the water with a couple of strong new songs on the 2004 hits comp Then and Now, and two years later, they followed through with the long-promised, long-awa
EXTD=ited Endless Wire. \n\nOpening with a synth riff that strongly recalls, if not directly quotes, the famed loop underpinning "Baba O'Reilly," Endless Wire often hearkens back to previous Who albums in its themes, structure, and sound. The "Baba O'Rei
EXTD=lly" riff pops up in "Fragments," the pummeling triplets of "The Punk Meets the Godfather" resurface in "Mike Post Theme." Like The Who by Numbers, it has its fair share of stark acoustic introspection. Like The Who Sell Out and A Quick One, it clos
EXTD=es with a mini-rock opera, this one called "Wire & Glass." This closing suite also shares a lineage with Townshend's 1993 solo album Psychoderelict, a record that's not well loved but one that is connected thematically to Lifehouse Chronicles, his o
EXTD=ften-muddled yet often-intriguing futuristic rock opera that seemed to suggest portions of a technologically saturated internet age. Such ideas bubble up throughout Endless Wire and not just on "Wire & Glass," yet that opera specifically shares a ch
EXTD=aracter with Psychoderelict in Ray High, a rock star who was the central figure in that 1993 opus and functions as a semi-autobiographical distancing device for Townshend, particularly on this record where the narrative ebbs and flows and sometimes 
EXTD=disappears completely. Since the whole of Townshend's rock operas always were overshadowed by the strength of their individual parts -- musically and emotionally, "Pinball Wizard," "Bargain," "Behind Blue Eyes," "The Real Me" and "Love Reign O'er Me
EXTD=" carried as great a weight, if not greater, on their own as they did as part of a larger theme -- this is not unusual or unwelcome, because the focus turns away from the specifics of the narrative and to the merits of the songs and the Who's perfor
EXTD=mances, and how they connect at a gut level. \n\nAnd, like much of the best of the Who's work, the best of Endless Wire does indeed connect at a gut level, even if it's in a considerably different way than it was in the past: instead of being viscer
EXTD=al and immediate, this is music carries a slow burn. This is partially because they are no longer driven by Moon and Entwistle, but quite frankly, this most manic of rhythm sections never really anchored the Who; Townshend always did with his furiou
EXTD=s windmills and propulsive rhythms, and there was never any question that this, along with his songs, formed the complex, contradictory heart of the Who, while Daltrey gave the songs both muscle and a commonality, undercutting Townshend's pretension
EXTD=s -- or giving him a voice behind which to hide, a voice to act out his best and worst impulses. After all the upheaval of the first part of the 2000s, Townshend needed to have Daltrey interpret his songs, which do confront many tough emotions and q
EXTD=uestions regarding faith, mortality and persecution, albeit often in oblique ways. For a writer as obsessed with concepts and fictionalized autobiography as Townshend, obliqueness serves him well, and often turns out to be more revealing than blunt 
EXTD=confessionals, as is the case with "A Man in a Purple Dress," a searing, bitter, anti-religion folk tune reportedly inspired by a viewing of The Passion of the Christ but unmistakably bearing echoes of Townshend's treatment in the tabloids during hi
EXTD=s 2003 scandal. Townshend does not sing this tune, Daltrey does, and it's an angry performance that leans heavily on his blunt force, but also reveals a new subtlety that serves him very well throughout Endless Wire. Instead of powering through the 
EXTD=songs as he could tend to do in the past, Daltrey is truly interpreting Townshend's songs here, giving them nuanced, textured readings that cut close to the emotional quick of the tunes. His voice may have lost some of its range and power over the y
EXTD=ears, but Daltrey has developed into a better singer, and he helps ground Endless Wire, which doesn't meander so much as it overreaches, a trend not uncommon to either the Who or Townshend. Even the best Who albums had a tendency to not quite follow
EXTD= through on their concepts -- the mock pirate-radio broadcast of The Who Sell Out is abandoned on the second side, Who's Next was pulled together from the flailing Lifehouse -- but even so they were nevertheless triumphs given the sheer power of the
EXTD= band, or Townshend's writing. Here, the band is indeed changed, and while they have top-notch professional support from drummer Zak Starkey and bassist Pino Palladino, they do not sound like a session band: they sound like the Who, only older, with
EXTD= their boundless energy replaced by a bittersweet melancholy undercurrent. It's a sound that fits Townshend's new songs, alternately sweetly sad, bitterly reflective and, despite it all, cautiously optimistic. Unlike the fussy theatricality of The I
EXTD=ron Man or the impenetrable mess that was Psychoderelict -- or any Townshend project since It's Hard, really -- Endless Wire is not a slave to its concept; the songs fuel the album instead of the other way around. Even when it goes off the tracks --
EXTD= and it does, most grandly on the bizarre "In the Ether," where Townshend affects Tom Waits' patented growl -- it feels as if it was written from the heart, which is why it's always appealing even though it feels curiously disjointed, with the The W
EXTD=ho by Numbers-styled first half not quite synching up with the mini-opera that dominates the second side. It may not add up to a totally satisfying whole, yet within both halves of Endless Wire there is much to treasure: on the first half, there's t
EXTD=he incendiary "A Man in a Purple Dress," the powerful yet understated "Mike Post Theme," the delicate "God Speaks of Marty Robbins," a surging rocker in "It's Not Enough" (whose lyrics are riddled with the self-doubt of Empty Glass) and the sweet so
EXTD=ng sketch "You Stand by Me"; on the second, there's the mini-opera of "Wire & Glass," a ten-song suite beginning with the rampaging "Sound Round" and closing with the haunting "Tea & Theatre," that manages to touch on every one of the band's strengt
EXTD=hs. Taken on its own, "Wire & Glass" does stand as the greatest Who music since Who Are You, so it's a bit hard not to wish that the entire album had its thematic cohesion, muscular melody, and sense of purpose, but if it meant losing the quite wond
EXTD=erful highlights of the first half, it may not have been worth it because they're not only strong songs, they give this record its ragged heart. No, Endless Wire is not perfect -- its parts don't quite fit together, and not all of the parts work on 
EXTD=their own -- but it is an endearingly human, impassioned work that more than justifies Townshend's and Daltrey's decision to continue working as the Who. Hopefully, it will lead to another record or two but if it doesn't, Endless Wire is certainly a
EXTD= better final Who album than It's Hard, which is quite an accomplishment after a quarter-century hiatus. \n\n[This version of the CD comes with a bonus DVD.]  -- Stephen Thomas Erlewine\n\n\nAmazon.com Editorial Review\nNearly a quarter-century (and
EXTD= bassist John Entwistle) passed between what had been considered the Who's career-capping album, It's Hard, and this 19-song epic, which at its best has the band of two pining for the days of Who's Next. Built from the triumph of the mini-opera Wire
EXTD= & Glass EP (included here in its entirety), Endless Wire mixes metaphors of music, war, and religion, while showcasing Roger Daltrey's ageless vocal cords and Pete Townshend at his windmilling best. Launching with a "Baba O'Riley"-like synth break 
EXTD=in "Fragments," Daltrey asks "Are we breathing out or breathing in?" and Townshend answers with a thrashing, crashing Gibson. When the volume is turned up, there are echoes of three decades ago. "It's Not Enough" and "Mike Post Theme" conjure images
EXTD= of Entwistle and Keith Moon--the latter song, with its quiet verse and thunderous chorus, recalls "Going Mobile" and longs for Moon to whack it into shape. But the linchpin remains Townshend's songwriting, whether he's questioning faith ("Man in a 
EXTD=Purple Dress"), showing gratitude for support ("You Stand By Me"), or dreaming of entertaining immortals into eternity ("Out on an Endless Wire"). By the time it wraps up, Endless Wire tells two things. No, it does not rank with the band's best work
EXTD=. But yes, as long as Pete Townshend and Roger Daltrey walk the earth in tandem, the Who live on. --Scott Holter \n\nAMAZON.COM CUSTOMER REVIEW\nIt's not enough for me to like, May 12, 2007 \nBy  Mark Blevins (Lindside, WV United States)\nFor me, th
EXTD=is CD has a lot in common with the 1982 CD It's Hard. Neither are very strong, but both have a couple strong tracks. Some folks might think it's great that Daltrey and Townshed are putting out new music, but nothing on here is as good as the two tra
EXTD=cks that appeared on the Then and Now compiliation from a couple years back. "It's Not Enough" and "We Got a Hit" are decent songs, but too much of the CD is reflective and quiet. Townshed seems to be straining to make statements, like on the song "
EXTD=Black Widow's Eyes," when just writing some lyrics that people could relate to would help. That's one thing I love about The Who - I could relate to the lyrics. Townshend wrote songs that helped me get through periods in life. Quadrophenia and Who b
EXTD=y Numbers have songs that I'll always love, and that's the problem. I, like many others, expected too much from these two because they've given us so much over the years. It's nice that they have new music, but I'll just stick with the classics. \n\
EXTD=n\nAMAZON.COM CUSTOMER REVIEW\n3+1/2 - The Who relocate their fire, April 25, 2007 \nBy  redtunictroll (Earth, USA)\nWith half the band having shifted off this mortal coil, it's tempting (particularly before actually giving this a spin) to suggest t
EXTD=he subtitle "Who's Left." But 40-seconds of Pete Townshend's opening synthesizer homage to "Baba O'Reilly," and the combination of Daltrey's ageless voice and Townshend's guitars and songwriting really do feel like the late-70s Who of "Who By Number
EXTD=s" and "Who Are You." Distanced from 1982's mediocre then-swan-song "It's Hard," Townsend-the-producer has relocated the sounds that made The Who who they were. Gone are the layers of synthesizers and overly ambitious song structures, back are the d
EXTD=ynamics that animate Townshend's songs of philosophical yearning and self-doubt. \n\nThe slashing guitars and intimate acoustic numbers are surprisingly vital for a band that's only dabbled in the studio together over the past twenty-four years. Dal
EXTD=trey's vocals remain surprisingly powerful, but with added nuance and depth. He turns Tom Waitsian on "In the Ether," and raps like a Greenwich Village folkie for a few moments of "Mike Post Theme." But mostly he sounds like vintage Daltrey, able to
EXTD= both overpower and embrace you with his voice. Townshend is similarly fired up, with his trademark guitar chords and a good helping of mandolin)helping gloss over the absence of Entwistle and Moon. Peter Huntington (drums) and Pino Palladino (bass)
EXTD= do an admirable job of standing in for the original rhythm battery. \n\nNo one expects The Who to recapture their career-defining arc from teenage excess to knowing 30s, but Townshend and Daltrey have hung on to enough of their youthful fervor to m
EXTD=ake the maturity of their 60s pay off. After such a long layoff, there's a sense of The Who emulating The Who here, but when they do it so well, who's to complain? 3-1/2 stars, if allowed fractional ratings. [2007 redtunictroll at hotmail dot com] 
EXTD=\n\n\nAMAZON.COM CUSTOMER REVIEW\nSo It's Hard Is No Longer The Who's Worst Album, April 9, 2007 \nBy  Paul Nichols\nThe two new tracks on Maximum R & B were both pretty good, and gave me hope that this album might actually be decent, or at least be
EXTD=tter than It's Hard. Well, the good news is that after comparing this album to It's Hard, I actually liked It's Hard a little better. Not quite a good album, but not as bad as its reputation suggests. But this is just boring. It's problems stem from
EXTD= the same pretentious mannerisms that have plagued Townshend's solo work since All the Chinese Cowboys... As others have noted, this sounds more like a post-Cowboys Townshend solo album more than any Who album. Which makes sense. As great as Townshe
EXTD=nd's power chords were, Moon's drumming and Entwistle's bass always defined The Who sound for me. Now with both gone, we really just have a latter day Townshend album with some lead vocals by Daltrey, whose voice is now pretty much shot. Both All th
EXTD=e Chinese Cowboys... and The White City remain perversely interesting for their ambition and the musical ideas they seem to work toward without quite attaining. I almost feel that way about some tracks here, particularly the mini-opera. But the idea
EXTD= at the heart of this album seems essentially narcissistic. Every interesting music flourish, beginning with the synthesizer pattern which opens the album, references The Who's better past work. The only musical idea Townshend seems left with is the
EXTD= myth of The Who itself. But his contact with that myth only serves to highlight the album's shortcoming. The extraordinary musical force of the The Who's playing usually saved the band from the threat of Townshend's conceptual noodling, but with To
EXTD=wnshend really the only first rate musician on board, he gets to chart the Who's course all by himself. Except he apparently has lost all sense of direction. \n\n\nAMAZON.COM CUSTOMER REVIEW\nGood but half is a Pete Townshend kind of "Scoop" solo cd
EXTD=., April 3, 2007 \nBy  luco "luco" (Panama)\nThe problem with this cd is that half of the songs are original demos recorded by Pete Townshend at his home studio with no producer. He wrote most of the songs, recorded almost all the parts and produce 
EXTD=them. Some of Pete Townshend s' songs included here that are the original "demos" are excelent, like "In the Ether". Other songs sound like "demos" that should have been recorded properly with a producer, like the regular "God speak to Marty Robbins
EXTD=" and "Stand by me" Other two "demo" songs that are part of the so called "mini opera" Wire and Glass, the so "Fragments of Fragments" and the horrible "Tribly s' Piano" sound completely out of place. \n\nOther 3 songs are acustic duets with Roger D
EXTD=altrey and Pete Townshend: "Two thowsand years" and the closer " Tea and Theatre..." \n\nOn the other hand, the good ones are "Fragments", "We got a hit", Mirror Door" and the excelent "It is not enough", a song that Roger Daltrey sings with absolut
EXTD=e passion (one of his best performance ever recorded). \n\nThe songs sung by Pete Townshend, evidence the lack of a producer; it is not bad but you can not compare his singin with any of his solo cds, mainly "All best cowboys have Chinesse Eyes" and
EXTD= "Empty Glass". \n\nMost of the reviews pointed out Roger s' voice as "worn out" or in bad shape, but i find this, not true particularly on "Two thowsand years" and "Unholy Trinity", two songs were his voice sounds fresh and like in the old times. H
EXTD=e also does a great work in "Mirror Door". And yes, there are a couple of songs were his voice sounds aged like in "Sound Round", "Tea and theater" and "It s not enough" (saved by a particular great performance). And his voice cracks at the middle o
EXTD=f "We got a hit". \n\nJohn Entwisle songs are sorely missed here, since they were stronger and diferent in text to PT s'. The should have recorded some of the many songs he recorded as "demos" for the posible inclusion on this album or the one they 
EXTD=considered recording in 2002, the first Who album with the mayority of songs written by John Entwistle; another Who album that never was (like their first album, like the one recorded as follow up to "Sells Out". like the one recorded and never rele
EXTD=ased after "Tommy", like the complete "Who s' Next/Lifehouse recordings, like the 1972 follow up to "Who s' Next" and also the 1983 aborted "Siege" album. \n\nThe Who recorded legacy is the result of great hidden failures, and this one, in not the e
EXTD=xception. It is not their best cd, but it is what they are in 2006, and we have to be grateful because they are still with us, and have the guts to put a new collection with good music on it. The Who will always be the reference band in rock because
EXTD= their legacy and values are still valid. They were and are a band very near their fans, like no other in rock music. They feed the fans with their music and passion and the fans feed them with their loyalty. \n\nNow the great question: how many unr
EXTD=eleased songs were leftover unreleased? \n\n\nAMAZON.COM CUSTOMER REVIEW\nGet over it, This is really some of the worst material in years., December 26, 2006 \nBy  Dr Winston O'Boogie "cheetohman" (just outta Yosemite)\nI've been a fan of The Who fa
EXTD=n since I bought my first LP back in '68 or '69, and I own tons of memorabilia . However, I must agree with the scathing reviews here. \n\nAlthough I gave it a two star review, this is probably the WORST material since "It's Hard." And at least THAT
EXTD= album had "Emminance Front" to anchor it. I actually had to sit down to listen to "Wire" three different times to get through the whole thing. Vocals are bad, there are no memorable melody lines, and the instrumentation (oh, how we all miss Keith M
EXTD=oon...) is way below what I expected from the band. \n\nI was bitterly disappointed, and I think most fans expecting classic "Who" type material, which can be resung and hummed for years, will be, too. Some reviews here point out "highlights" like "
EXTD=Mike Post Theme," or "Marty Robbins," but these songs would be B-Side throwaways from any other Who album, or a possible top 200 hit for some other non-established band. \n\nThe bonus DVD, Live at Lyons, is embarassingly bad, too, with Daltrey's voc
EXTD=als at his absolute worst--cracking and off key--and Townshend actually giving a Daltry with a "what the hell is wrong with your voice" look that really sums it up. \n\nAs Grampa says in an earlier review, borrow this one first before deciding to dr
EXTD=op $15 on it. \n\n\nAMAZON.COM CUSTOMER REVIEW\nadmit it...IT'S A NIGHTMARE! "Who" are these guys?, December 26, 2006 \nBy  Grampa Santo (Oceanside, CA)\nAfter hearing the Rolling Stones put out one of the best albums of their career in their "rigor
EXTD= mortis" years, I couldn't wait to see what these guys could come up with! I am bitterly disappointed. I'm sorry to say no matter how big a fan you might be, this one is a complete failure. I had to listen to "Whos Next" over and over to cleanse mys
EXTD=elf! \n\n1. Pete Townsend stated once he did not want to record another Who album until the music was good enough...who the heck convinced him these were it? \n\n2. Roger Daltry's vocals range from singing with bronchitis to scraping claws on a chal
EXTD=kboard. \n\n3. Pete Townsend sounds like a bad drunk doing "The Who" karaoke songs. \n\n4. There was not one good hook or catchy phrase that was able to redeem the $15.00 I paid for this atrocity. \n\n5. They add insult to injury by singing a song w
EXTD=ith the phrase "we got a hit". Unless duped into singing along, this statement and this album are mutually exclusive. \n\nOk...I know their getting old. You can make allowances for that with good music. Again the Rolling Stones, Deep Purple and you 
EXTD=know the rest. But this is soooooo incredibly bad it actually causes physical pain. Some reviewers say it takes a few hearings to take in the cd and it's entirety...all I can say is I hope you can spare a billion years, because even then it still wi
EXTD=ll suck. Life's too short. If you live in Oceanside, CA...I'll mail it to you. \n\nANY OTHER "WHO" CD IS BETTER THAN THIS ONE. IF YOU HAVE TO HAVE IT, PLEASE BUY IT USED OR BORROW IT. \n\n\nAMAZON.COM CUSTOMER REVIEW\nWorthy of Respect, Not Raves, D
EXTD=ecember 11, 2006 \nBy  Paco (MA United States)\nWho loyalists will tend to make allowances for this effort. And why not: Townshend and Daltrey are in the twilight years of an amazing career; they still care about their music and their fans, and they
EXTD='ve lost one of the most musically theatrical rhythm sections in rock and roll. At times, though, Endless Wire seems more like the Endless CD. There are some gems. God Speaks of Marty Robbins is a wonderful ballad. In It's Not Enough one hears echoe
EXTD=s of Quadrophenia. The Wire and Glass mini opera faces some narrative challenges, but hangs together (and actually plays well in concert). But if you're not a Who fan, you'll probably not be moved by this CD. And if you are Who fan, it's just nice t
EXTD=o have Townshend still writing and playing new songs -- even if the themes are familiar.\n\n\nAMAZON.COM CUSTOMER REVIEW\nSo Sad About Us, November 4, 2006 \nBy  CJD (California)\nAs any Who fan will recall, a few years back Pete Townshend stated th
EXTD=at he was reluctant to release a new Who studio album because it would likely be pretty awful. Endless Wire isn't awful, but its not as good as the vast majority of the Who's studio output, arguably including the best tracks from Face Dances and It'
EXTD=s Hard. \n\nBy Who studio album standards, this CD rates at just about fair as Pete exhibits his much diminished compositional powers, and Roger emotes with his now aged, although still fairly effective, voice. That Pete's muse has left him is appar
EXTD=ent from his need to directly quote his prior work on "Fragments" and its reprise, imitate early Bob Dylan with "Man In A Purple Dress", and then latter-day Tom Petty on the title track. "Pick Up The Peace" and "Unholy Trinity" are pretty much re-to
EXTD=oled segments from Quadrophenia. "Mirror Door", especially at its chorus, sounds like half-baked Tommy. While Face Dances and It's Hard are correctly regarded as mediocre Who albums, at least those efforts don't find Pete blatantly repeating himself
EXTD= and cribbing from others. \n\nWith the possible exception of the lyrically inscrutable "Mike Post Theme", the tracks on Endless Wire fail to either attain or sustain the energy level one would typically expect on a Who album. "It's Not Enough" is a
EXTD= middle of the road rocker that immediately sounds tired. When Endless Wire finally gets moving on track ten, "Sound Round", it comes to a halt after a mere 72 seconds. "We Got A Hit" manages to rock a bit, but ends abruptly after a little over a mi
EXTD=nute. The whole affair ends with a whimper on "Tea and Theatre". All told, this CD features no track that is both as kinetic and long-playing as "You Better You Bet" or even "Athena". Granted, those songs were recorded by a Pete and Roger over 20 ye
EXTD=ars younger. But the fact that these guys are now in their sixties is no excuse for populating a CD bearing the Who name with not-quite-rockers and near-narcoleptic easy listeners that are little more than, well, listenable. \n\nOn a positive note, 
EXTD="Mike Post Theme" and especially "Black Widow's Eyes" recall shades of the Who's Next era, and "Two Thousand Years" has a nice acoustic instrument and strings-based lilt to it. These tracks are among the few on Endless Wire that get a bit better wit
EXTD=h repeated listenings. Overall, Endless Wire is better than either of Pete's last two solo efforts, The Iron Man and Psychoderelict, with the exception of "A Friend Is A Friend" off The Iron Man, which at least rates as a great children's song. This
EXTD= is not to say "In The Ether" and "Trilby's Piano" are any better than the weakest tracks from Pete's solo albums. They're not. \n\nThe prospective buyer should be aware that in reviewing Endless Wire on Amazon, many fans have ignored the fact that 
EXTD=passing years have taken their toll on Pete and Roger as performers. In the spirit of The Emperor's New Clothes, most reviewers are willing to rate a new record from an ailing Who as nothing less than phenomenal. Don't be misled by the reviews prete
EXTD=nding that Endless Wire is an atonement for the disappointment created by Face Dances and It's Hard, or, even worse, duped by the budding Gene Shallits trumpeting this CD as a comeback for the Who as a full-tilt rock unit with no equal. It is true t
EXTD=hat this time out the band has taken a decidedly classicist turn on several tracks, and has left the busy keyboard and synth sounds from its last two albums in the closet. Nevertheless, simply revisiting Who sounds of the 70's hardly amounts to a re
EXTD=turn to form. Whatever its merits, Endless Wire is much like It's Hard and Face Dances in the following respect: while it has some bright spots, it serves primarily as a reminder that the Who have seen much better days, not to mention much stronger 
EXTD=lineups. \n\nIt is also interesting to note that in the Pete Townshend tradition of publicly second-guessing himself (remember the "music only" edition of Psychoderelict?), the end of the CD includes extended versions of "We Got A Hit" and "Endless 
EXTD=Wire". The inclusion of these bonus tracks hopefully alleviates any need to ever release a special edition of this album. \n\nFinally, if you own any performance footage of the Who recorded since 2000, the bonus DVD is unnecessary to your collection
EXTD=, unless you have a desire to see Roger perform in shorts. \n\n"Rock is dead they say/Long live rock" \n\n\nHalf.com Details \nProducer: Billy Nicholls, Bob Pridden \n\nAlbum Notes\nThe Who: Roger Daltrey (vocals); Pete Townshend (guitar, background
EXTD= vocals); John "Rabbit" Bundrick (keyboards); Pino Palladino (bass guitar); Simon Townshend (drums, background vocals); Zak Starkey (drums).\n\nAdditional personnel: Jolyon Dixon (acoustic guitar); Brian Wright, Gill Morley (violin); Ellen Blair (vi
EXTD=ola); Vicky Matthews (cello); Rachel Fuller (keyboards); Stuart Ross (bass instrument); Peter Huntington (drums); Lawrence Ball (electronics); Billy Nicholls (background vocals).\n\nNeither time, nor the deaths of founding members, nor claims that t
EXTD=hey'll never play together again seem to stop the legendary Who. On 2006's ENDLESS WIRE, the band's first official studio full-length since 1982's IT'S HARD, Pete Townshend is still folding progressive structures and lofty themes into bombastic, are
EXTD=na-ready rock, while Roger Daltrey belts it out as though it were still 1976. The Who's 2000s-era touring band, including drummer Zak Starkey, bassist Pino Palladino, and keyboardist John Bundrick, lend enough muscle to the musical attack here to re
EXTD=call the Who's glory days, and a host of studio musicians help flesh out and vary the sound.\n\nSurprisingly, all of these elements--Townshend's songwriting, Daltrey's impassioned singing, and the band's tight performances--coalesce to create a rema
EXTD=rkably consistent whole. At its best, ENDLESSWIRE resembles the band circa WHO'S NEXT (the synth intro to opener "Fragments," which directly references "Baba O'Reily," is a clear tip-off). In addition to nine new songs, the set also includes the EP 
EXTD=WIRE & GLASS (a mini rock-opera from Townsend), which has the band rocking with more vitality than they have in decades. A bonus DVD shows the Who performing live in Lyon, France in 2006, and churning out immortal classics like "I Can't Explain" and
EXTD= "Won't Get Fooled Again." YEAR: 2006
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