The Who

The Who (in French, literally, “Which”) is a British rock group created in 1964. Regarded as one of the symbols of the Years 1960, Who had a major influence on the music rock'n'roll as a whole. One owes them in particular the songs Behind Blue Eyes , My Generation and Won' T Get Fooled Again .

Practitioner at the beginning an explosive rock' roll, that one indicates under the term of Maximum R' B , and who announced the movement Punk, the group is the pioneer many other styles, of which a music rock'n'roll more reflected and influenced by art in general, such as the operas rock'n'roll.

In the Years 2000, the group is always active.

Personnel

See also: Amorce=Pour more details, to see the article, Members of The Who

Official members

Note: for more information on the biography of the members of the group, their collaboration with other projects and their solo production, to refer to the articles detailed with regard to them.

There were in the history of the group only 4 official members:

Additional members

Other musicians having taken part in the group, in studio or on scene:

History of the group

1961-1965: origins

The prehistory of Who starts in 1961, when Pete Townshend between at the school of art of Ealing, where it creates with his friend John Entwistle a group of Jazz Dixieland, in The Confederates . Pete holds to with it the Banjo, of which he plays, in addition to the Guitare, since the 12 years age, while John, more educated musicalement, plays of the French horn. They play thereafter both in in The Aristocrats and in The Scorpions . Impressed by the instrumental control of John Entwistle, small, muscular and impulsive the Roger Daltrey, student and metal-worker at his hours, invites it to leave The Scorpions to join its group of Skiffle, in [[The Detours]] , of which he is the guitarist solo. Townshend, pushed by his/her friend Entwistle, joined to him also the group shortly after as a guitarist.

The Who futures are devoted to the Rhythm & Blues, and are joined in 1964 by the beater Keith Moon, 17 years old. Pete Townshend told the way in which Keith Moon joined Who:

It came to one from our concerts, and said: " I can play better than your beater! " It settled then behind the battery and destroyed almost completely it. We said ourselves immediately: " It is the man who we need! ".

The historical formation is complete, and groups it renamed The Who , in a concern, says one, to find a name shorter. It still briefly changes name, at the end of 1964, for The High Numbers under the influence to manage Peter Meaden to them. Meaden is then promptly transfered, and the group recovers the name of The Who and engages two new managers, Kit Lambert and Chris Stamp.

At that time, Who are associated with the movement Mods, whereas they even never really formed part of it. Vêtus in a way sophisticated like the mods, they practice a music which establishes the link between the negro music, very appraisal of the latter, and the rock'n'roll of their enemies the rockers. Townshend tells that window of a hotel, it saw a group Mods to wedge two rockers and to throw bottles to them: “I felt a kind of being able suddenly. I said myself: " They are these people-there who come to listen to our music? " ”.

1966-1968: group with individual

Pete Townshend settles quickly like the central figure of the group: its talents of Type-setter and Parolier ensure the group his great successes, and that throughout its career. The feather of Townshend is however very introspective: the voice of Roger Daltrey makes it possible to diffuse his own feelings and anguishes. Seul John Entwistle could compete in term of writing with the guitarist. Follower of the Cynicism and the black Humor, the written bass player and composes a score of pieces for the group.

It is in 1965 that Who take down their first hit with I Can' T Explain , a song in connection with the difficulty in communicating of Townshend. The guitarist wrote this song, in a style close to the compositions which the Kinks record, in the hope to convince their producer, Shell Talmy. The title likes Talmy which makes them sign with its production company. Left in January 1965, the disc does not go until the group does an appearance in the show televised Ready Steady Go! , an emission which helped to launch the group. Moreover, the group paid homage to him through the title of their EP Ready Steady Who! in 1966. After this first success, Who leave quickly Anyway, Anyhow, Anywhere , more pop piece which will be only the never jointly made up one by Townshend and Daltrey. The same year leaves, produced by Shell Talmy, My Generation , first album of the group which contains the many individual ones, the such piece éponyme where Townshend clamp, by the voice of Daltrey, that he hopes for “ to die before being old ” (“ I hope I die before I get old ”). Some see there the origin of the movement Punk. But the words are not the only interest of the piece: the guitarist also done there one of the first recorded uses of the Feedback and a duet with Entwistle which contains base lines of a virtuosity ever heard at the time.

In 1966 leaves individual the Substitute , which will be censured with the radio because of lines as “ out of I look all white goal my dad was black ” (“ I appear very white but my father was black ”).

In spite of the success of the productions of Shell Talmy ( I Can' T Explain , Anyway, Anyhow, Anywhere and My Generation ), the managers of the group, Kit Lambert and Chris Stamp, consider the contract binding Who to Talmy too not very advantageous. They are untied some and thus signed at Reaction , of the group Polydor. After a lawsuit committed and gained by Talmy, the group pours to him royalties to the exit of Tommy in 1969.

But Townshend wants to go further: with the image of the Beatles, he wants to test more in his music and to carry out true albums, coherent and ambitious. In 1966, the group leaves the album has Quick One , of which the song éponyme, which comprises several distinct parts, was considered since, in the light of following work of the group, like one minis Rock opera .

In 1967 leaves individual the I Edge See for Miles , 45 turns more sold of their history. It is introduced into the third album of Who, The Who Sell Out (“Who are sold”), Concept-album which are appeared as a radio program, with jingles and parodic publicities composed and interpreted by the group.

In 1968, they take part in the Rock-and-roll Circus with the Rolling Stones, John Lennon, Eric Clapton and several others. They play there has Quick One While He' S Away . The same year leaves the very popular Magic Bus , individual writes two years earlier.

1969-1973: art rock'n'roll

At the end of the Years 1960, the popularity of the group grows; the plates of television and the concerts multiply.

In September 1968, Pete Townshend gives an interview to stores Rolling Stone , announcing its intention to leave true a Opéra-rock. It holds word the following year with Tommy , which, if it is not the first — this honor returns to the Pretty Things with S.F. Sorrow —, remains the most famous rock opera to date. Metaphor of the difficulties of the childhood of Townshend, Tommy tells the history of a deaf, dumb young child and blind man because of a secrecy which it should acknowledge with nobody: the murder of his/her biological father (returned of war after years) by his father-in-law. At its exit in May 1969, Tommy is received with enthusiasm by the fans but with more skepticism by the uninitiated persons. Nevertheless, thanks to its hits like Pinball Wizard or Amazing Journey , the Album-concept widens its public. In April 1970, Who present Tommy in its totality on scene to the New York Metropolitan Opera House. The theatrical version of the work, launched by Lou Reizner, is played in December 1971 in Rainbow Theater of London. A version slightly different from these concerts recorded with the participation of Ringo Starr, Peter Sellers and the Symphony orchestra of London, left besides on Ode Records in 1972. To final, Tommy propels the group to the row of superstars in the whole world, encouraging Townshend to be still launched out in a more ambitious project. It is from this point of view that Pete Townshend written and composes the song Pure and Easy , which was to be it central pivot of a very promising project on which Who are harnessed: the project Lifehouse , a rather obscure concept of radiophonic album-concert-show based on an active collaboration enters Who and their public. The history is located in a future where only the Rock can save the world. But the concept is too ambitious and fails halfway. Who nevertheless recorded sufficient pieces to leave an album, Who' S Next , which is still an enormous success. Based mainly on the use of the last invention in date as regards musical instruments, the Synthetizer, Who' S Next are the first album rock'n'roll to contain canned electronic tracks which, against any waiting, are integrated perfectly well into the music of Who. One finds there the very popular Behind Blue Eyes and Won' T Get Fooled Again . This album exceeds Tommy in success and, of the opinion of criticism, in richness and inventiveness.

With the following album, Quadrophenia , in 1973, Who return successfully to the rock opera. This disc tells the tribulations of a young person MOD, Jimmy, suffering of a quadrupling of personality (a “quadrophénie”, even if the term is inaccurate, one should rather say “tétraphénie”). Each one of its personalities corresponds to a member of the group and a musical topic. The history of Jimmy falls under a content of tensions between Mods and Rocker S, in the England of the beginning of the Années 1960. The album, if its business success is lower than that of Tommy , is however richer musicalement, with keyboards and guitars which interpenetrate perfectly.

The same year, of the serious disagreements between Pete Townshend, Kit Lambert and Chris Stamp involve the replacement of the two managers by their assistant, Bill Curbishley.

1974-1982: the wandering

After Odds and Sods , a compilation of faces B left in 1974, Who record in 1975 a new album, The Who By Numbers . Without the least synthetizer, this disc is regarded as more “dark” and most personal of Pete Townshend. According to the words of a journalist, Townshend, then in full depression, abused by its drug taking and of alcohol, delivers with this disc a true “letter of suicide”. Little appreciated criticism, it is classified all the same 7th in the best sales of albums in England.

The English scenario writer Ken Russell carried out in 1975 the film Tommy , based on the Chanson S of the album éponyme and constituting a setting in scene of the rock opera imagined by Who.

In spite of the failure of The Who By Numbers , Who join the studio in 1978 to record Who Are You , album rather experimental including/understanding as many keyboards as of guitars. This disc is however a sound exploration which returns to a merrier sound and shows an renewed interest of the group for the music. But Who are cut Net in their dash by the sudden death of Keith Moon, the September 7th 1978, of a surdose of the Médicament S which it took to treat its Alcoolisme which gallops.

The only topicality of Who the following years is cinematographic: in 1979 leaves documentary on them, The Kids Are Alright , whose excellent soundtrack is later available on disc, and they produce the same year a filmed version of Quadrophenia , in which figure in particular the singer Sting.

In 1981 leaves Face Dances , followed the following year by It' S Hard . These two albums with the very pop sound are well accommodated by the press, but less by the public which is sulky them. Townshend feels more and more badly at ease within the group, takes drugs more and more and ends up cracking and dissolving Who in 1982, stopping a meeting of recording to explain to the other musicians whom it “cannot write any more for Who”.

1983-2007: the return

During nearly twenty-five years, Who will not leave any album studio. Each one is devoted initially to its career solo, of which that of Pete Townshend appears most ambitious (until Psychoderelict (énième concept-album) in 1993). The leader guitarist will be thus the only one to take again on scene with the group some titles resulting from his own discs.

After the death of John Entwistle in 2002, following a surdose of Cocaine, a new album studio is finally recorded in 2006. Baptized in [[Endless Wire]] and in particular proposing mini-opera an eleven minute old, he is greeted by broad critical. Although more introspective and alleviated that their works passed, this very awaited disc justifies before even its exit a gigantic round greeted like the return to the sound of the years in Who' S Next .

The topicality of the group is also cinematographic. Roger Daltrey currently develops a feature-length film (envisaged for 2009) which should report the life of Keith Moon, entitled in [[See Me Feel Me: Keith Moon Naked For Your Pleasure]] . Mike Myers is had a presentiment of in the role of the beater, and Nicolas Cage, fan of long time, or Tim Roth could incarnate Pete Townshend well.

Ideological print

Pete Townshend was of a timid and coleric naturalness. He was the spokesperson of the revolted youth of the medium of the Années 1960. Keith Moon declared:

To be in anger in the world of the adults is not given to everyone. Not with me, nor in John. Only with half for Roger but entirely for Pete.

The Gurû of Townshend, Meher Baba, is done more and more influence him starting from Tommy , to which it is dedicated. Townshend is then in search of spirituality. It is not rare besides, at that time, to find Pete Townshend in religious emissions on television. In 1970, in stores Rolling Stone , it writes even an article on its mentor, In Coils With Meher Baba .

Meher Baba is, with Inayat Khan, a musician soufist, one of the sources of inspiration of the project Lifehouse .

In concert

Characteristics

In the DVD of The Who - Who' S Next , Roger Daltrey explains why on scene had been born a contest between the musicians: that would gain which would be pointed out more, from where their energy and their exceptional stage business.

Daltrey, with the powerful voice, was often vêtu at the time of the concerts (especially towards 1970) of an open jacket with fringes letting appear its muscular chest. Its play consisted in launching its Microphone in the air and making it whirl to catch up with it at the last time.

Pete Townshend, however very timid out of the scene, returns in its concerts in what it describes itself like a state second, leaping with its guitar through the plate, crashing to pieces its guitar on the ground. The play of Pete Townshend is not really of an high-tech in particular in the Solo S where it remains in lower part of certain guitarists of the time like Jimi Hendrix or Jimmy Page, on the other hand its very personal use of the play in Power chord S which it often alternates with a play in arpeggio in fact a very interesting guitarist at the point of considering rhythmic, showing of an energy and a not very common power.

It liked Pete Townshend to play very high volume: in 1976, a concert with the Charlton Athletic Football Ground was approved by the Livre Guinness of the records like more “the strong” concert of all times (126 Décibel S, is 6 decibels more than the level tolerance of the human ear and as much of noise than a plane on takeoff with 300 meters). The group preserved this title during nearly 10 years.

The play of the beater Keith Moon was also not very conventional. While typing violently on its barrels, by multiplying the station-wagons, its batteries seldom survived a concert, and were to often be fastened on the ground not to move under its blows. On the majority of the pieces of Who of the great time, Keith Moon seems to make a constant solo. For a television program, it installed in its battery of the explosives which it exploded at the end My Generation , which, according to the legend, left with its partner Pete Townshend a permanent hearing disorder (to see the anecdote). Its attitude on scene was worth to him the nickname of in Moon the Loon (translation approximate: Moon insane the ). To compete with his/her friends while contrasting with their behavior on scene, John Entwistle had developed a very fast set of fingers (it for this reason was called John Thunderfingers Entwistle) and remained motionless and impassive on the scene. John Entwistle was not satisfied to double with the octave the play of the guitarist but its completely free base line could be connected with the play of a second guitarist so much it played solo.

It is the perfect counterpoint of Pete Townshend, playing even in in lead when the guitarist is in agreements. John Entwistle at his time enormously made evolve/move the role of the bass player in an rock group. He is today the influence of many bass players rock'n'roll and is regarded as the largest bass player of all times. He was in addition elected " bassist off the millenium".

Evolution

Formation and first scenes

Each member of the group had one or more groups before playing within Who. Pete Townshend and John Entwistle initially played in The Confederates , in The Aristocrats and The Scorpions . Roger Daltrey, as for him, was the guitarist of The Detours .

The Who takes its final form in 1964, with Roger Daltrey in the song, Pete Townshend with the guitar, John Entwistle with low and Keith Moon with the battery. The group, very directed Rhythm and Blues, impresses already on scene by a very good technical control. The very personal style that had Keith Moon to beat and the winches of arm of Pete Townshend contribute to the success in the first concerts.

As of the beginnings of the group, the concerts are of an essential importance for the group: Who play in a very energetic way, with a sound volume never considering at the time, and Pete Townshend systematically destroys its guitar and part of the material at the end of the last song (what is not without involving some money problems). This energy quickly makes them know as a group of scene in a England whose rock groups are still rather clean on them, at least seemingly.

The apogee

At the end of the Years 1960, Who deliver explosive services literally . The destruction of instruments on scenes is done very frequent, and Townshend has fun with martyriser its guitars and the ears of the spectators, in particular while playing on the Larsen. Their passage to the International festival of pop music of Monterey in June 1967, in which also Jimi Hendrix occurred, mark spirits (see the anecdote on this subject). One will retain in particular a very good interpretation of My Generation .

The album Tommy , great success of 1969). Their performance, diffused in Woodstock, 3 Days off Peace & Music , finishes propelling them to the row of superstars to the the United States.

Who take part in 1969 and 1970 in the Festival of the island of Wight, in front of a floor estimated at 600.000 people.

After this world tour of promotion of the album Tommy , Who return to England to the end of the year 1969, with the desire to market one of lives filmed round. The very great quantity of the recordings and thus the hours of listenings which are announced reject the group. They thus decide to burn the recordings (to avoid the Bootleg S) and program two concerts in 1970: one at the university of Leeds the February 14th and the other the day following to Hull (Yorkshire of the East), with an aim of publishing them. Engineering problems with the low guitar évincent the concert of Hull. The live one at the University of Leeds ( Live At Leeds ) published the same year is often regarded as the best album live of all times. The group interprets the individual ones there, recoveries, pieces drawn from the albums and the near total of Tommy .

The end of the year 1970

The second promotional tour of Quadrophenia is far from occurring as well: in 1974, the group does not manage to play over the bands of sound effects and recorded electronic sounds, which are desynchronized permanently. Only the town of Paris will hear the entirety of the show conceived by Pete Townshend. Furious, this last destroys all the material of the round during a concert, and returns to a simpler spectacle with the least complicated extracts of the album. The group moves away a little from the scenes, preferring to work on the version cinema of Tommy .

Broken by the death of Keith Moon in 1978, the group decides despite everything to continue and embarks the beater Kenney Jones for a world tour which aims at proving that Who are always alive. But the fate is baited on them: the December 3rd 1979, with Cincinnati (Ohio), a scuffle right before one their concerts makes eleven dead among the spectators. The group is horrified: Daltrey crumbles in tears in the slides. Nothing will be any more as before for the group. 1982 mark the suspension of the group, on the initiative of Pete Townshend. A triumphal round of good-bye follows which beats records of audience, but the heart is not there for a long time any more.

Return on the roads

Who are reformed all the same with many recoveries, in particular for the Live Aid of 1985. In 1989, the twentieth birthday of the rock opera Tommy justifies a round event in the United States with Simon Philips behind the battery.

Six years later, it is the republication of Quadrophenia which sees them turning to America and Europe with many guests; Zak Starkey (wire of Ringo Starr and godson/raises of Keith Moon) settling from now on behind the battery. Several rounds still visit the anglophone countries (Who will be besides “victims” in 1999 of a famous swindle related to Internet, the Pixelon.com company claiming retransmettre on the screens of the whole world one their concerts with Las Vegas).

Some excellent lives emergent also of their files - of which legendary the Live At the Isle off Wight Festival 1970 , of the festival of the same name. The June 27th 2002, the day before a new round, John Entwistle is found Mort in a hotel room of Las Vegas, victim of a Heart attack. It would have apparently decided to celebrate the return of its group by taking Cocaïne, which its heart already used by years of excess did not support. In spite of the death of Entwistle, Who take again the road in 2002 and confirm their found form, Roger Daltrey assuming rocky” but always powerful voice more a “. If Pete Townshend lost its scenic acrobatics a little, it compensates by punctuating its set of impromptu solos longer and complicated that in the past. Pino Palladino replaces John Entwistle in the near total in the concerts. The group is invited, the July 2nd 2005, with the Live 8 of London: it plays there Who Are You and Won' T Get Fooled Again , with the battery Steve White (beater for Paul and brother of Alan White, ex-member of Oasis) and Damon Minchella with low (Pino Palladino being in South America as a bass player of Jeff Beck).

In November 2006, the group proposes with Zak Starkey to become full member of the group, but this one declines the invitation.

The group continues to give international rounds (in particular in America of North) since its last reformation in 2002. A concert with Bercy (Paris) takes place the June 6th 2007. Sylvain Siclier, in his report in the concert published in the newspaper Le Monde, written: Not such a long time ago, the group was described as " dinosaur of the rock". In Bercy, it had proud allure.

Anecdotes

  • the evening in a concert of the round Quadrophenia , in Cow De luxe hotel of San Francisco, on November 20th 1973, a fan who spoke with Keith Moon proposes him “a new brilliant drug” when one takes a half-seal with cognac glass of it, it with what Keith Moon answered “Wait, you know who I am? I am Keith Moon! I do not take a half - seal, I take an entirety, me! ”, then was carried out. The concert was filmed. One can see Keith Moon collapsing on his clear Caisse right in the middle of a piece: K.O. “New drug” was in fact a sleeping pill for horses: Keith Moon, out of state to play, was replaced by a spectator of crowd. The beater spent two days to be gone back some, during which, transported in wheelchair and unable to speak, it had to undergo the sarcastic remarks of Pete Townshend.
  • In addition to the fact of destroying their instruments on scene, Who launched the fashion of the confusion of hotel rooms. These acts were worth to them to be prohibited hotels Holiday Inn. The two services, this evening, were memorable.
  • Keith Moon was particularly enthusiastic in connection with the song. At the end of the song Happy Jack , one can hear Pete Townshend distinctly shout: " I saw ya! " (" I saw you! ") in Keith Moon. This last, with which it producing Kit Lambert had prohibited to remain in the studio during the recording, made a short incursion there.

Discography and songs

See also: Discography of Who

See also: List of the songs of Who

Positions of individual in the charts

Rounds This table is an outline. Thank you to supplement it.

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The musical heritage

Influence

The Who were one of the groups of Rock most popular and most influential of their time. Emblématique of the step of the British musicians of the Years 1960, the group illustrates how, while taking as a starting point the Rock-and-roll, the Blues and of the Rhythm and American blues, they gradually created new a Musical genre which is clean for them, and whose influence extended to the whole world. Although today the name of Who is less familiar for the general public than that of the Beatles or the Rolling Stones, they left an indelible print and many songs are still often taken again.

The musical style of Who, borrowing at the same time from the Rhythm and blues and Rock'n'roll “roll pure and hard, is precursory, and even pioneer, of the Hard rock, following the example groups as Led Zeppelin (the two groups got along very well and it is very easy to establish a parallelism between their stories), Deep Purple, AC/DC (cf majority of the other groups founded at the beginning of the Années 1970).

Called " The Godfathers off Punk " (Godfathers of Punk), in many biographies as in film of Spike Lee Summer off Sam , the group is known to be one of the sources of the movement Punk, in particular for its aggressiveness on scene, its arrogance and its violence. After a first album very irritated for the time, Who signed several operas rock'n'roll, which will become at the end of the Années 1970 the symbol of what these same punks will want to destroy.

The group will be then one of the precursors of the use of the Synthétiseur in the rock'n'roll, while recording, with Who Are You and Who' S Next , two albums based mainly on this instrument. This permanent will to make progress their music, as well in the spirit as in the technique - one can for example mention Doctor, Doctor or an individual version of Mary-Anne with the Shaky Hand which is sung in a Vibrato, or even the repeated use of the French horn by John Entwistle - explains for much the influence why Who nowadays continue to have on the whole of the scene rock'n'roll.

The Who in addition formed part of the most spectacular groups of their time on scene, and contributed to redefine the principle in the concert of rock'n'roll. This vice of energy and sound power - Who were a long time the noisiest group of the world, all confused categories - contrast with the major topics approached by the group.

This will to put the experimentation, as well sound as literary, with the range of the greatest number, but without to make concession, is undoubtedly one of the points which join together some of the largest artists rock'n'roll of this time, such as the Beatles or Bob Dylan. A will which made it possible the Rock-and-roll this time to become the musical movement most influential of the 20th century, as well on the artistic level as social or political.

Recoveries (selective list)

In 2005, the singer and American violonist Petra Haden recorded, with the chorus-singers of The Sellouts, a resumption of the album of Who The Who Sell Out entitled Petra Haden Sings: The Who Salt Out . Pete Townshend spoke in praise at its exit of it.

Cover Bands of The Who

One finds many groups, for the American majority British and , mimant the music and the style of Who. In these cover bands , most notorious are The Wholigans, Who' S Next the USA, BARGAIN, The Relay and The OHM in the United States and Who' S Next the U.K., Who' S Who the U.K. and The Whodlums in the United Kingdom.

The Who with the cinema and on television

  • an episode of the animated series Simpson , the battle of both Springfield (2001), was devoted to Who. Homer Simpson separated the town of Springfield in two parts. It makes come the group in Springfield for a concert. Roger Daltrey agrees to play only if Homer destroys the wall which separates the city. This last refuses. Finally, Pete Townshend is given the responsability to destroy this wall by playing in [[Won' T Get Fooled Again]] with full power… In the original version of this episode, Pete Townshend is interpreted by his/her young brother, Paul Townshend, Pete having refused to take share with the play of the voices.
  • the episodes of the series in [[That '70s That Show' 70s Show]] are named by titles of songs of rock groups of the Années 1970. As from the fifth season, the episodes of the same season are named by titles resulting from a single group: Led Zeppelin for the fifth season, The Who for the sixth, the Rolling Stones for the seventh and Queen for the eighth.
  • Who passed to the American emission in Smothers Brothers Comedy Hour . They played there in [[My Generation (song) My Generation]] . During the emission, all seems canned, until the destruction of the guitar of Pete, and even the explosion of the battery of Keith Moon. The latter was an initiative of the beater, which would have, according to the legend, returned Pete Townshend deaf.
  • Certaines songs of Who is used as credits with the televised series the Experts and derived:
  • One finds moreover songs of Who in many films, among lequels one can quote Rushmore, Summer off Sam, American Beauty,…
  • In the film Tenacious D in The Pick off Destiny, Kyle shows with JB what is a slip thanks to a concert of Who.

Praises, homages and rewards

Praises

David Bowie: The work of Who became a capital model for much among us. The intelligent and reasoned use of what is called the “ in art-theory ”, actively introduced into the music rock'n'roll, quite simply was one of the contributions most phenomenally important of Peter Townshend, guitarist and author of Who '' to the new “language” of the rock'n'roll. Beautiful pants also! Bono, of U2: More still than any other group, The Who is our model.

International homages

  • 1988 : The Who receives one in '' Lifetime Achievement Award '' of the British Phonographic Industry.
  • 1990: The Who is introduced into in '' [[Rock'n'roll Hall off Famed]] ''.
  • 2004: The Rolling Stone Magazine place The Who with the 29ème place of their classification of the " 100 Larger Artists of All Temps".
  • 2005: The Who enters in '' [[the U.K. Music Hall off Famed]] ''.

Rewards

  • 1984 : Pete Townshend receives a Brit Award for “reward for completed work”.
  • 1988: The Who receives Brit Award for “exceptional contribution to the British music”.
  • 2001: The Who is rewarded for a Grammy Award for in '' Lifetime Achievement '' by the Recording Academy.

Related articles

Sources

Random links:Technique of the impulses | One Your Mark | Reta Shaw | XIIIe century in music | Chery QQ | Skidmore,_Owings_et_Merrill