| Product Summary | | Label: Uni/polydor | | UPC: 00731454369121 | | Release Date: 4/17/2001 | | Buy.com Sku: 60473777 | | Item#: M7KJ4F | Format:  CD |
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| Song Listing |  |
Disc 1
| | Song Title | Sample | | 1. I Am The Sea - The Who ~ Original Soundtrack |  | | 2. Real Me, The - The Who ~ Original Soundtrack | | | 3. I'm One - The Who ~ Original Soundtrack | | | 4. 5:15 - The Who ~ Original Soundtrack | | | 5. Love Reign O'er Me - The Who ~ Original Soundtrack | | | 6. Bell Boy - The Who ~ Original Soundtrack | | | 7. I've Had Enough - The Who ~ Original Soundtrack | | | 8. Helpless Dancer - The Who ~ Original Soundtrack | | | 9. Doctor Jimmy - The Who ~ Original Soundtrack | | | 10. Zoot Suit - The High Numbers ~ Original Soundtrack | | | 11. Hi Heel Sneakers - Cross Section ~ Original Soundtrack | | | 12. Get Out And Stay Out - The Who ~ Original Soundtrack | | | 13. Four Faces - The Who ~ Original Soundtrack | | | 14. Joker James - The Who ~ Original Soundtrack | | | 15. Punk And The Godfather, The - The Who ~ Original Soundtrack | | | 16. Night Train - James Brown ~ Original Soundtrack | | | 17. Louie Louie - The Kingsmen ~ Original Soundtrack | | | 18. Green Onions - Booker T. & The MG's ~ Original Soundtrack | | | 19. Rhythm Of The Rain - The Cascades ~ Original Soundtrack | | | 20. He's So Fine - The Chiffons ~ Original Soundtrack | | | 21. Be My Baby - The Ronettes ~ Original Soundtrack | | | 22. Da Doo Ron Ron - The Crystals ~ Original Soundtrack | | | 23. I'm The Face - The High Numbers ~ Original Soundtrack | |
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| | Album Notes and Credits |
Notes & Personnel Info |  | Originally released on Polydor (6235). | | Digitally remastered by Jon Astley (Close To The Edge). | | The Who: Pete Townshend (vocals, guitar, keyboards); John Entwistle (vocals, bass, horns); Roger Daltrey (vocals); Keith Moon (drums, percussion, vocals). | | Additional personnel: John Curle (spoken vocals); Chris Stainton (piano). | | Recorded at The Kitchen, Battersea, England. | | Includes a 56-page booklet. | | Personnel: Pete Townshend (vocals, guitar, keyboards); Roger Daltrey (vocals, harmonica); John Entwistle (vocals, keyboards); Keith Moon (vocals, drums). | | Audio Remasterer: Jon Astley. | | Audio Remixer: Cy Langston. | | Recording information: Ramport Studios, Battersea, Ontario, Canada. | | Directors: Franc Roddam; John Entwistle. | | Photographer: Richard Evans . | | The film adaptation of the Who's rock opera Quadrophenia couldn't have been different than the film of Tommy. Where that was garish, star-studded, and wrong-headed, Franc Roddam's Quadrophenia was lean, incisive, and nearly brilliant, thanks in no small part to his gritty, matter-of-fact approach and a searing, star-making performance by Phil Daniels. It was focused, dramatic, and affecting, the best illustration of what a rock musical can do, so it shouldn't be a surprise that the accompanying soundtrack is equally fine. It repeats much of the Who's album of the same name, plus a generous share of re-recordings, which may be subtly different (there are an abundance of grace notes on "I'm One," for instance), but different, more produced all the same. Even better, they're all pretty good, and help give this a different -- yet, again, subtly different -- feel than the album that's welcome. Then there's the last side of the record, containing a bunch of mod anthems -- which means there's a bunch of early-'60s soul, plus a couple of girl group numbers and "Louie Louie," all of which are familiar, yet still offer a good portrait of what mods actually listened to. Along the way, a song by the High Numbers -- the early incarnation of the Who -- is thrown in for good measure, along with the Cross Section's take on "Hi Heel Sneakers," plus three new songs, all added to assist the film narrative, all enjoyable but only "Four Faces" really standing out (and it sounds more Who by Numbers than Quadrophenia, anyway). So, unlike the Tommy soundtrack, this not just stands apart from the film, it's a nice little record on its own merits -- one that many passionate Who fans will enjoy, even as they realize it's hardly a monumental effort. ~ Stephen Thomas Erlewine | | Pete Townshend revisited the rock opera concept with another double-album opus, this time built around the story of a young mod's struggle to come of age in the mid-'60s. If anything, this was a more ambitious project than Tommy, given added weight by the fact that the Who weren't devising some fantasy but were re-examining the roots of their own birth in mod culture. In the end, there may have been too much weight, as Townshend tried to combine the story of a mixed-up mod named Jimmy with the examination of a four-way split personality (hence the title Quadrophenia), in turn meant to reflect the four conflicting personas at work within the Who itself. The concept might have ultimately been too obscure and confusing for a mass audience. But there's plenty of great music anyway, especially on "The Real Me," "The Punk Meets the Godfather," "I'm One," "Bell Boy," and "Love, Reign o'er Me." Some of Townshend's most direct, heartfelt writing is contained here, and production-wise it's a tour de force, with some of the most imaginative use of synthesizers on a rock record. Various members of the band griped endlessly about flaws in the mix, but really these will bug very few listeners, who in general will find this to be one of the Who's most powerful statements. ~ Richie Unterberger | | By the early 1970s, rock & roll had been around long enough to begin to examine its own past. In the States, this resulted in Sha Na Na, but in Great Britain, where the popular culture of the young was more complex and coded, the Who's QUADROPHENIA was the most powerful example of this nostalgic view. Reviews at the time focused primarily on the obscure psychological aspect of the story--supposedly, the four sides of the original double-album set are meant to examine the four sides of the main character's personality, each one represented by a different member of the Who. However, the most interesting aspect of QUADROPHENIA is its seamy but poetic depiction of London's early-'60s Mod subculture, from which the Who originally sprang. | | Set during the weekend of a climactic seaside gang fight between the Mods and their archenemies the Rockers, Townshend's story follows Jimmy, the archetypal Mod. The impressionistic songs tell an elliptical tale, but also function on their own as vintage '70s Who at their hard-rock height--the sneering "The Punk and the Godfather," the driving "5:15" and the anthemic, redemptive closer "Love, Reign O'er Me" are among Townshend's finest work. | | The film adaptation of the Who's rock opera Quadrophenia couldn't have been different than the film of Tommy. Where that was garish, star-studded, and wrong-headed, Franc Roddam's Quadrophenia was lean, incisive, and nearly brilliant, thanks in no small part to his gritty, matter-of-fact approach and a searing, star-making performance by Phil Daniels. It was focused, dramatic, and affecting, the best illustration of what a rock musical can do, so it shouldn't be a surprise that the accompanying soundtrack is equally fine. It repeats much of the Who's album of the same name, plus a generous share of re-recordings, which may be subtly different (there are an abundance of grace notes on "I'm One," for instance), but different, more produced all the same. Even better, they're all pretty good, and help give this a different -- yet, again, subtly different -- feel than the album that's welcome. Then there's the last side of the record, containing a bunch of mod anthems -- which means there's a bunch of early-'60s soul, plus a couple of girl group numbers and "Louie Louie," all of which are familiar, yet still offer a good portrait of what mods actually listened to. Along the way, a song by the High Numbers -- the early incarnation of the Who -- is thrown in for good measure, along with the Cross Section's take on "Hi Heel Sneakers," plus three new songs, all added to assist the film narrative, all enjoyable but only "Four Faces" really standing out (and it sounds more Who by Numbers than Quadrophenia, anyway). So, unlike the Tommy soundtrack, this not just stands apart from the film, it's a nice little record on its own merits -- one that many passionate Who fans will enjoy, even as they realize it's hardly a monumental effort. ~ Stephen Thomas Erlewine |
Engineer: Cy Langston |
| | Technical Info | | Release Date : 04/17/2001 | | Original Release Date : 1973 | | Catalog ID : 543691 | | Label : Polydor (USA) | | Number of Discs : 1 | | Runtime : 82m : 15s | | Studio/Live : Studio | | Mono/Stereo : Stereo | | SPAR Code : n/a | | UPC : 00731454369121 |
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| | Professional Reviews | | Q (6/00, p.69)
- Ranked #56 in Q's "100 Greatest British Albums"Q (8/96, p.143)
- 5 Stars - Indispensible - "...it abides as one of The Who's peaks because...its instant, push-button atmosphere is always lifted from the realms of ham by some heartfelt Daltrey shout'n'croon, a bit of comedy Moon...and the anthemic elegance of the last two tracks..." Q (4/01, p.127)
- 4 stars out of 5 - "...The very essence of The Who in the '70s - gravity-defying bassruns and all....Townshend's heart sounds like it might burst with all that disaffection. Fantastic, still." Q (8/96, p.143)
- 5 Stars - Indispensible - "...it abides as one of The Who's peaks because...its instant, push-button atmosphere is always lifted from the realms of ham by some heartfelt Daltrey shout'n'croon, a bit of comedy Moon...and the antemic elegance of the last two tracks..." Mojo (Publisher)
(6/02, p.67)
- Included in Mojo's "100 Coolest Movie Soundtracks" - "...Sensitive, insightful lyrics set to a soundscape of windmill-guitar driven rock." NME (Magazine)
(6/29/96, p.54)
- 8 (out of 10)
- "...it is only now that a fully remastered...full, double CD version has been released....Townshend's windmilling riffing arm has never been busier, John Entwistle remains the finest bass player breathing, and Keith Moon...is truly magnificent..." |
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