The current world order does not work and people are paying the price for it. The rock opera depicts leadership as a dangerous idea, which may be some of the reason why it was so hard to pull off. It put forth the idea that actions have consequences. The order of the day back then was that actions and revolutions were supposed to have glorious results — not consequences.
Was the world ready for such a message back then? It may have been more convenient to lump it in with the political protest songs of the era.
Most of the songs that make up the Lifehouse rock opera reflects a striving to try and make more of ourselves — to become more conscious, more aware, more complete as human beings. But, as part of Lifehouse, it was part of an even bigger message.
Manager Kit Lambert had recommended the studio to the group, which led to his producer credit, though the de facto work was done by Felix Pappalardi from the band Mountain. Keith Moon had to carefully synchronise his drum playing with the synthesizer, while Townshend and Entwistle played electric guitar and bass.
Townshend played a Gretsch Chet Atkins hollow body guitar fed through an Edwards volume pedal to a Fender Bandmaster amp, all of which he had been given by Joe Walsh while in New York. This combination became his main electric guitar recording setup for subsequent albums. The Stargroves recording of the song was intended as a demo recording, but the end result sounded so good that they decided to use it as the final take.
Some overdubs, including an acoustic guitar part played by Townshend, were recorded at Olympic Studios at the end of April. The track was mixed at Island Studios by Johns on 28 May. During this process, Lifehouse as a project was abandoned.
You could say it collapsed under its own weight, with Townshend never fully being able to explain the full concept or get others to share his own enthusiasm for the project. He did not have the strength to carry all the ideas through on his own. The best of them could simply be released as a single album of standalone songs. Without the concept of Lifehouse to provide an overarching context, the songs now had to stand on their own legs, providing their own inner meaning.
Roger Daltrey felt that having gone through the initial phases of the Lifehouse project had been very beneficial to the album they ended up with. It has much more of our stage presence, because we knew the songs so well. This is a very good point, and every musician delivered brilliantly.
Whether you focus on the vocals, guitar, bass, or drums, the parts are incredibly well developed. They managed to display the usual levels of virtuosity while fitting it in naturally within the song. Nothing sounds overwrought — it just sounds amazing.
The album version runs The single was shortened to so radio stations would play it. The band was not happy that the song had to be edited, and Daltrey has expressed particular unhappiness about it. It was released in July in the US.
The single reached 9 in the UK charts and 15 in the US. Townshend has most radically rearranged the song several times, using instrumentation varying from acoustic to techno. The song was first covered in a distinctive soul style by Labelle on their album Moon Shadow.
Punk rockers Skrewdriver covered it on their debut album All Skrewed Up. In Van Halen's performances of the song during instrumental section, singer Sammy Hagar shouts "they're all wasted!
The song is noted for its angular organ part set against guitar power chords , leading up to an extended synthesizer break into a drum entrance followed by a long scream by Daltrey. The first bit of processing to be applied to the organ sound is a low-frequency oscillator LFO controlling the frequency of a voltage-controlled filter VCF , using a sine or triangle wave shape.
In other words, the synth is turning the tone of the organ from mellow to bright, up and down automatically.
There are pictures of Townshend playing this instrument, as well as a video of Townshend demonstrating how the sound was produced. Townshend's guitar sound was produced using a Gretsch guitar, a tweed Fender 3x10 Bandmaster amp, and an Edwards Light Beam volume pedal, all of which was a gift from Joe Walsh. The song ranges from eight to nine minutes depending on the version; the original album version is approximately A heavily shortened and edited single was released for use on broadcast radio and appeared on some hit collections such as Who's Better, Who's Best.
Townshend stated in that: "It is not precisely a song that decries revolution — it suggests that we will indeed fight in the streets — but that revolution, like all action, can have results we cannot predict. Don't expect to see what you expect to see. The modulation of the synthesizer placements is also effective, both enabling and guiding the blissful musical mayhem that the band indulge in. Your email address will not be published. By Keith Mulopo. Posted in Album Review , Music , Review.
When Daltrey sings the chorus it is an infectious rallying cry for both listeners and musicians alike The lyrics on this song are incredibly dense.
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