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Rock - Verschenen op 1 januari 1971 | Geffen

Hi-Res Onderscheidingen The Qobuz Ideal Discography
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Rock - Verschenen op 1 januari 1971 | Geffen

Hi-Res Onderscheidingen The Qobuz Ideal Discography
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Rock - Verschenen op 1 januari 1970 | Geffen

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Rock - Verschenen op 1 januari 2003 | Polydor Records

Onderscheidingen The Qobuz Ideal Discography
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Pop - Verschenen op 1 januari 1995 | Polydor Records

Onderscheidingen The Qobuz Ideal Discography
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Rock - Verschenen op 1 januari 2011 | Polydor Records

Onderscheidingen 3F de Télérama
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Rock - Verschenen op 1 januari 1965 | UMC (Universal Music Catalogue)

Onderscheidingen The Qobuz Ideal Discography
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Rock - Verschenen op 1 januari 2002 | Geffen*

Onderscheidingen The Qobuz Ideal Discography
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Rock - Verschenen op 1 januari 1995 | Polydor Records

Onderscheidingen The Qobuz Ideal Discography
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Rock - Verschenen op 23 mei 1969 | Geffen

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Rock - Verschenen op 1 november 1973 | Geffen

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Rock - Verschenen op 15 december 1967 | UMC (Universal Music Catalogue)

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It's a bit strange to think that an album that originally contained 13 tracks could be re-released in a collector's edition, or more precisely a Super Deluxe edition that boasts a hundred songs to get stuck into. But that is exactly what is on offer in this exceptional re-release of The Who's Sell Out, which is rich in surprises and other rare treats. When first released in 1967, the album shocked some audiences who didn't always understand quite what the group was trying to do. With advertising jingles interspersed between the tracks, the album feels more like a pirate radio broadcast emanating from The Boat That Rocked.Offbeat, and adopting a somewhat sarcastic tone, The Who Sell Out was an amazing journey. Although it is not quite a concept album (as was Tommy, released in 1969), a connecting thread does run through it, and it enjoys a real sense of overall coherence. In particular, it was an opportunity for The Who to get more closely acquainted with psychedelia, a few months after the release of the Beatles' Sgt. Pepper's Lonely Hearts Club Band and Pink Floyd's Piper at the Gates of Dawn. The band go easy on powerful riffs, and put more of an emphasis on the pop side of things, bolstered with a smattering of hallucinogenics, but they manage to not lost in endless flights of fancy and lashings of echo and reverb. The Who Sell Out is very much an album of songs, and it contains some of the four-piece's most famous tracks, such as the magnificent I Can See for Miles, which nestles among other gems like the incredible opening number Armenia City in the Sky and Tattoo. The result is a daring, audacious and adventurous record, which has not always been given the credit it deserves. But over the years it has been rehabilitated, thanks in large part to a number of generous reissues.This Super Deluxe edition is surely the ultimate version for any fan wishing to soak up even more of the work’s off-beam atmosphere, charged with British humour and very elegant writing. In addition to the album's mono and stereo mixes, we get a heap of bonus material like previously-unreleased versions of Pictures of Lilly (which was released at the time as a single) and of various songs recorded in studio sessions in 1967 and 1968... Most notably, there are 47 pieces which have never made it out of the archives until the present day, including 14 demos by Pete Townshend. It all adds up to a fitting tribute to an album that broke the mould, a kind of magical interlude flavoured with just the right amount of sarcasm. This record really highlights the songwriting talent of the guitarist, Townshend, who was then preparing for a sally into rock opera, but along the way he produced this seemingly-lightweight article, which in fact turned out to be a real masterpiece. © Chief Brody / Qobuz
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Rock - Verschenen op 1 januari 1965 | Geffen

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Rock - Verschenen op 30 oktober 2020 | Polydor Records

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The Who’s golden age has long passed, but this release is nothing short of a miracle. The London group’s magic was shattered upon the death of Keith Moon in 1978; their two 1981 and 1982 albums incidentally drew little interest. Their 2006 album, which came four years after the death of bassist John Entwistle barely raised the bar. It was difficult to expect anything great to come from the remaining duo but then, in 2019, Who was released. The tireless efforts of Pete Townshend, the band’s determined guitarist and composer was ready to do anything to make another album after many long years out of the studio. Produced by Dave Sardy (who we know more for his work with bands like Helmet, the Red Hot Chili Peppers, Marilyn Manson and System of a Down), this record goes back to a true and honest form of rock that some more experimental additions (such as some electronic sounds) do not tarnish. Townshend, conscience of his age like his associate Roger Daltrey, recognises the futility of trying to chase after a lost youth. On the contrary, many of the songs seem to articulate the image of inevitability, the aging rocker. Are rockers destined for long-lasting careers? Perhaps not. But they have weathered the winds and here they are. The foundation to many of the songs is his novel Age of Anxiety which was intended to be converted into a musical before Townshend turned his interest onto making a veritable Who album. Who is a not the most full-on rock album and is less energetic than what we are used to. But it is incredibly well written (Rockin’ Rage, Detour), containing beautiful, unifying choruses (Street Song) and some forthright messages as heard on the first words to All This Music Must Fade: “I don’t care, I know you’re gonna hate this song, and that’s fair, we never really got along.” It’s a somewhat indirect way of talking about the relationship between Townshend and Daltrey who don’t compose together. The guitarist writes, the singer performs. After years of a love-hate relationship and recurrent feuds, one might imagine that this bad chemistry would show on the album, especially considering the separate recording sessions. However, the result is clear. It works! The rockers who sang of dying before getting old in 1965 now sing of not wanting to get wise (I Don’t Wanna Get Wise). If getting wise means recording songs like these ones, we won’t complain. The Deluxe version offers a remix by Townshend of Beads on One String and also a live acoustic taken from their unique concert given on Valentine’s Day 2020 at Kingston-on-Thames, 50 years day for day after the recording of the famous Live at Leeds. While it lacks some songs played on this day (notably Pinball Wizard and Behind Blue Eyes), simply listening to classics like Substitute and Won’t Get Fooled Again in this new format is enchanting and hard-hitting despite the lack of saturation. Our old rockers are still going strong and know how to interpret tracks that balance the band’s identity without ever making themselves appear old and frail. A real mark of wisdom despite their refusal to accept so. Rock’n’roll still lives. © Chief Brody/Qobuz 
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Rock - Verschenen op 1 januari 1967 | Geffen

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Rock - Verschenen op 22 november 2019 | Polydor Records

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Thirteen years after Endless Wire, the eminence grise Pete Townshend and singer Roger Daltrey are back together again with the simply named album Who. They are the only two surviving members of The Who; their eccentric drummer Keith Moon died from an overdose in 1978 and their bassist John Entwistle had a cardiac arrest in 2002. Townshend wrote the songs with the aim of inspiring Daltrey, with whom he doesn’t keep up much contact these days. Everything was composed in 2018 and written for his 70-year-old voice. Townshend says that the album is made up of “dark ballads, heavy rock stuff, experimental electronica, sampled stuff and Who-ish tunes that began with a guitar that goes yanga-dang”. Sure, it’s got The Who written all over it: a radiant rock energy, striking guitars and Daltrey at his finest. Though it is less experimental. While The Who have previously stood out for their mini-operas both short (Wire & Glass, A Quick One) and long (Tommy, Quadrophenia), this last work concentrates on eleven songs without trying to turn them into a cohesive whole. Townsend commented “there is no theme, no concept, no story, just a set of songs”. Despite their age, this album is a brilliantly vibrant patchwork and while it does not reach the poetic heights of Who’s Next, it has the merit of cementing Townshend’s genius. © Charlotte Saintoin/Qobuz
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Rock - Verschenen op 1 januari 1975 | Geffen

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Pop - Verschenen op 1 januari 1990 | Geffen

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Rock - Verschenen op 18 augustus 1978 | Geffen

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Rock - Verschenen op 4 september 1982 | Geffen

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