CD, стоящие на полке рядом : Rock (Psychedelic)      

2 LP on 1 CD

## 1-10 "A Quick One (Happy Jack)" - 1966 MCA (4.5*)

The group's second album is a less impressive outing than their debut, primarily because, at the urging of their managers, all four members penned original material (though Townshend wrote more than anyone else). The pure adrenaline of My Generation also subsided somewhat, as the band began to grapple with more complex melodic and lyrical themes, especially on the erratic mini-opera, "A Quick One While He's Away." Still, there's some great madness on Moon's instrumental "Cobwebs and Strange," and Townshend delivered some solid mod pop with "Run Run Run" and "So Sad About Us." John Entwistle was also revealed to be a writer of considerable talent (and a morbid bent) on "Whiskey Man" and "Boris the Spider." The 1995 CD reissue adds ten bonus tracks: some 1966-67 B-sides, their U.K.-only 1966 Ready Steady Who! EP, an acoustic version of "Happy Jack," and a previously unreleased cover of the Everly Brothers' "Man with the Money."

- Richie Unterberger (All Music Guide)

##11-19 "Who's Next" - 1971 MCA (5*)

Much of Who's Next derives from Lifehouse, an ambitious sci-fi rock opera Pete Townshend abandoned after suffering a nervous breakdown, caused in part from working on the sequel to Tommy. There's no discernable theme behind these songs, yet this album is stronger than Tommy, falling just behind Who Sell Out as the finest record the Who ever cut. Townshend developed an infatuation with synthesizers during the recording of the album, and they're all over this album, adding texture where needed and amplifying the force, which is already at a fever pitch. Apart from Live at Leeds, the Who have never sounded as LOUD and unhinged as they do here, yet that's balanced by ballads, both lovely ("The Song Is Over") and scathing ("Behind Blue Eyes"). That's the key to Who's Next - there's anger and sorrow, humor and regret, passion and tumult, all wrapped up in a blistering package where the rage is as affecting as the heartbreak. This is a retreat from the '60s, as Townshend declares the "Song Is Over," scorns the teenage wasteland, and bitterly declares that we "Won't Get Fooled Again." For all the sorrow and heartbreak that runs beneath the surface, this is an invigorating record, not just because Keith Moon runs rampant or because Roger Daltrey has never sung better or because John Entwistle spins out manic bass lines that are as captivating as his "My Wife" is funny. This is invigorating because it has all of that, plus Townshend laying his soul bare in ways that are funny, painful, and utterly life-affirming. That is what the Who was about, not the rock operas, and that's why Who's Next is truer than Tommy or the abandoned Lifehouse. Those were art - this, even with its pretensions, is rock & roll.

- Stephen Thomas Erlewine (All Music Guide)