Find many great new & used options and get the best deals for THE WHO - Who's Next - 1971 Vinyl 12'' Lp./ Pete Townsend / Prog Hard Rock AOR at the best online prices at … £44.13. Still, Lifehouse came remarkably close to becoming an actual album. This video is part of the Classic Albums documentary series, zeroing in on the making and realization of the Who's 1971 recording Who's Next.It does the usual thorough and enjoyable job that one expects from the producers of this series, employing interviews, about a quarter-century after the release of the record, with many of the principals. I thought of Brian Wilson and the Beach Boys as a contemporary American take on Pierre Menard, but instead of trying to “arrive at” the text of Don Quixote, word for word, in a contemporary context, Wilson and the Beach Boys were trying to recreate that text out of their own, original context, and in doing so, had somehow breached the authenticity that music fans crave. As part of the album’s concept, the band booked a residency at the Young Vic theatre, with some heady goals, as described by Townshend: “We want to see how far the interaction [between audience and band] can be taken . We’d both known about the album for years, had listened to bootleg studio outtakes and half-formed reconstructions, had fantasized about it. The album had origins in a rock opera conceived by Pete Townshend called Lifehouse as an attempt to follow Tommy. The project fell apart due to the pressure Wilson was putting on himself and his declining mental health. Conceptually, too, Townshend’s ideas moved beyond the realm of reason into a bizarre notion of spirituality. Date : 1971 Lieu : Studio sessions + Young Vic Theatre, London, UK Label : Virgin Vinyl Records (Ref. Of course, it’s rare for lost albums to stay lost forever. Who’s Next (Deluxe Edition) is British rock band The Who’s fifth studio album, originally released in 1971. Just like I want to hear a 1967-released version of Smile, or a fully sequenced and mastered version of Jimi Hendrix’s fourth album, or a ‘70s-released version of Chrome Dreams. Though I recognize that Who’s Next is the superior album, part of me still yearns to hear the original concept as Townshend originally intended. When an official Beach Boys version was released a few years later, I bought, that, too—and sure, it’s the closest we can get to Smile, but it’s still not Smile, not the way it would have existed in 1967. But none of these things can ever happen. If the lore is to be believed, though, the image came together organically when the band, driving with photographer Ethan A. Russell, saw the giant concrete block and decided it was a good spot for a photo. p&p: + £13.50 p&p . Is Lifehouse such an alluring idea because it was Pete Townshend’s original idea for the Who’s follow up to Tommy? I try to use the term sparingly; as should be obvious, there are dozens. Isn’t what exists, be it officially released or cobbled together by fans, enough? These versions can be found fairly easily online. (or will automatically be re-listed) Neil Young’s Chrome Dreams was never realized due to the weight of a heavy concept—one side would be a history of America, the second side social commentary. Consider this: what is the enduring legacy of Smile now that it more or less exists? These versions can be found fairly easily online, ← #16: Bob Dylan, "Blood on the Tracks" (1975). Who's Next (1971). Sleeve is in good plus condition does have wear. Great album! The Who, "Who's Next" album cover, 1971 by Ethan Russell. I don’t seriously expect people to leave their bodies. Honestly, that’s all Lifehouse should be, because, instead of Lifehouse, we have Who’s Next, born almost entirely from songs that had been recorded for Lifehouse (John Entwistle’s “My Wife” being the only one that never seemed earmarked for the failed album). View credits, reviews, tracks and shop for the 1971 Vinyl release of Who's Next on Discogs. It’s clear that Lifehouse didn’t fail, was never going to fail, because of its songs. But I did want to pontificate for a moment about what it means for an album to change your life. JOB LOT VINYL LPs RECORDS ALBUMS X 20 12" MIXED GENRE & ERA RANDOM MIX BUNDLE. And so if the “authentic” release in its “authentic” context can never be realized, what is the point of desiring these things? We shouldn’t. The record produced hit songs “Won’t Get Fooled Again”, “Behind Blue Eyes” and “Baby O’Riley”. If the creative muscle driving the music believes something great was lost when the album was shelved, maybe, it seems, we should carry a torch for that album as well? Ultimately, Lifehouse is an unnecessary footnote in the history of the Who. But as a diversion, I'm picking one of them each day and sharing a few thoughts. The Ox is fantastic throughout, Daltry is a bit weak on a couple of tunes, but this is a classic album with great use of the synthesiser on their greatest tune "Won't Get Fooled Again". The songs were always there. For a project that failed so spectacularly, it’s odd to realize that many of the songs that had been recorded for Lifehouse are among the band’s best: “Baba O’Riley,” “Won’t Get Fooled Again,” “Behind Blue Eyes”—these have all become a part of popular culture, were part of popular culture before Who songs were adopted as opening credit anthems for CBS crime scene procedurals. The bloat and mess of Lifehouse obscures the power of “Baba O’Riley” and “Won’t Get Fooled Again.” Buries the beauty of “Behind Blue Eyes.” Defangs “Bargain.” Maybe, had Lifehouse been released instead of Who’s Next, it would have been just as much or even more of a classic, but I doubt that. That is, the Who’s star, after a meteoric rise on the strength of early singles, fell into decline almost as quickly, with Sell Out, their 1967 classic, being their first LP not to crack the UK top ten. But to Pete Townshend, an album like Who’s Next wasn’t initially perceived as being enough. But Who's Next, that one did change my life. But I think we might go further than rock concerts have gone before.” Townshend added, at a later press conference, “We shall try to induce mental and spiritual harmony through the medium of rock music.” Lifehouse had no prayer of succeeding. Vinly is in very good used condition. Maybe albums like Lifehouse and Smile are different because their creators are the ones who can’t quite let them go. Across the pond, album sales were steadily increasing with each album, but the band still hadn’t wormed their way into the top forty on the LP charts—until Tommy. HOUSE DANCE RECORD STARTER COLLECTION … Who’s Next by The Who ; Released: August 14, 1971 (Decca/Polydor) Produced by: Glyn Johns & The Who Recorded: Pete Townshend & John Entwistle’s Home Studios, Olympic Studios, London, The Record Plant, New York, 1970 – 1971: Side One Side Two; Baba O’Riley Bargain Love Ain’t for Keeping My Wife The Song Is Over: Gettin’ In Tune Going Mobile See, Lifehouse does exist as a radio drama, and as a “sessions” box set, and will, in 2020, also exist as a graphic novel. . Having listened to a couple Lifehouse reconstructions, I can say confidently that Who’s Next is the better album, by far. When we found a copy, I don’t remember where, we drove up I-75 listening, then stopped at a Waffle House. To be fair, this is a fairly common place for lost albums to come from. fans have reconstructed the album from outtakes and official releases, using studio notes, books, and published interviews to guide sequencing. There was a tremendous amount of pressure on the band to follow their previous studio effort, “TOMMY”. The cover of Who’s Next features the Who standing around a giant pylon in some sort of post-industrial wasteland. shipping: + C $25.96 shipping . It showed the world that the Who didn’t need to do musical theater to make important music—they could still be just a killer rock band. the original hits of 1970 / 1971 vinyl lp album,near mint condition,1970's hits. In 2003 a Deluxe Edition 2-CD set (Polydor 113 056-2), was released. It was the jumping off point where a kid back in the 70s, riveted by his AM transistor radio and the Top 40 hits of the day, discovered that rock music was more than just fun but fluffy 3-minute pop hits, but rather a deep well of incredible, diverse music built to endure more than just a few weeks on Casey Kasem's American Top 40. Prince’s The Black Album was driven by his desire to answer calls that his music had become too pop-oriented, and was shelved for years because he came to believe the album was evil. The impetus for Lifehouse was the success of Tommy. All was not lost, though—Lifehouse ultimately became Who’s Next, one of the great albums of the classic rock era. Listen to Who’s Next right now. But I didn't want to go with the cliched legal thriller... and frankly, a career spent investigating and litigating securities fraud matters, while providing some colorful stories I'd be happy to share, is just not something I felt like writing about. No, the problem with Lifehouse was part narrative, part conceptual—that is, Townshend’s ideas for the narrative of Lifehouse were so convoluted and intricate that the rest of the band couldn’t keep up. Released in August 1971, this would be THE WHO ‘s fifth studio LP. The idea behind the Who’s aborted Lifehouse project was simple enough—in the future, everybody lives in special suits, through which the Government feeds non-stop entertainment to keep citizens numb and distracted. Maybe the idea of authenticity in pop music is absurd. As far as the first part of all that goes, looking at it in 2019, it’s an easy idea to wrap our heads around, sort of Fahrenheit 451 meets The Matrix meets the actual internet. Because even though I know Who’s Next is better than Lifehouse could have ever been, I can’t shake the lost album’s mythology. UK BIDDERS ONLY(OVER 20 FEEDBACK TO BID) PAYMENT via PAYPAL : Within 3 days of Auction end, please. It was released briefly in 1994. #28: The Who, "Who's Next" (1971) The idea behind the Who’s aborted Lifehouse project was simple enough —in the future, everybody lives in special suits, through which the Government feeds non-stop entertainment to keep citizens numb and distracted. 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