siLLy puPPy Following in the trendy 60s mod and art pop scenes as the Detours, the band that changed its name to THE WHO quickly wooed audiences with its slick crafty menagerie of garage rock mixed with rhythm & blues and found instant success with the single “I Can’t Explain” which was admittedly a derivative of The Kinks “You Really Got Me” which shot up the British charts and launched the band into the big leagues right out of the gate. The unexpected success of that single that hit #8 on the charts opened the doors and quickly followed by another top 10 in the form of “Daddy Rolling Stone.” Due to these two high charting singles THE WHO was rushed into the studio where they cranked out their debut album MY GENERATION which debuted in December of 1965 and while a bit fashionably late to the British rock invasion, once THE WHO had arrived they wouldn’t stop until they hit the big time which happened practically overnight.

Like many albums of the era, MY GENERATION found two slightly different releases for its British audiences and another for the US with two different album covers. While a rushed job for sure with a mixed bag of varied tracks, MY GENERATION is notable for being one of the first British rock albums to showcase a more energetic aggressive approach which by today’s standards sounds laughable but around 1965-66 was quite shocking and single-handedly signaled an arms race of heavier and faster guitar riffs that ultimately led to the unthinkable variety of extreme metal and punk that would come a few decades down the road. That means THE WHO are considered both a proto-metal as well as a proto-punk band and although the songs on MY GENERATION are fairly standard blues driven pop rock that was fairly common for the British scene of the mid-60s, the drumming prowess of Keith Moon in particular along with heavier jangle guitars upped the ante in harder rock.

While i wouldn’t call MY GENERATION the most essential release by THE WHO, the album is interesting in connecting the dots between classic 50s rock and roll with the hard rock and proto-punk bands that followed. The title track was the only single off of this one which was a huge hit peaking at #2 on the British charts but also one of the best songs THE WHO ever did in its early years. The other notable songs are the opening “Out In The Street” and the instrumental “The Ox” which prognosticated the heavier and more progressive route that the band would take. This feisty number features incessantly heavy drums, a hyperactive piano groove and a punkish guitar and bass attack unlike anything that had been released at the time although it still retained a melodic connection to the R&B driven rock and roll era that THE WHO emerged from.

The album is decent but many rushed albums in the 60s included fluff and this album is no exception. The album features not one but two covers from James Brown: “I Don’t Mind” and “Please, Please, Please” as well as “I’m A Man” from Bo Diddley. Decently done but nothing more than adequate covers that really don’t hold up well over time. While touted as a masterpiece of the ages, i really don’t find MY GENERATION to be that exciting of a listen other than tuning into the zeitgeist of the mod scene of the mid-60s. Other than the title track and “The Ox” there is really nothing memorable about this album however if you have the Deluxe remastered version (the one i have) then you will be treated by extras such as the excellent track “Circles” as well as the singles that were released before MY GENERATION. Overall, this is a decent slice of mid-60s British blues fueled pop rock but hardly the best the era had to offer and certainly not THE WHO’s magnum opus but a great place to explore the band’s music for sure.

Warthur The Who's debut sees them still in the shadow of other British Invasion bands such as the Beatles, the Kinks, and - more than any other influence - the Rolling Stones. But from a few unusual Townsend guitar departures towards the end, opening song Out in the Street could be a Stones off-cut, as could I Don't Mind (which seems to lift more than a little from the Stones' own Heart of Stone), and The Good's Gone... and, to be honest, most of the album.

The two songs which feel most like the Who on here - My Generation and The Kids Are Alright - are of course excellent, though marred by cheap production standards. But those are readily available on various compilations; as far as the rest of the album goes, it's mostly filler which is pleasant enough if you like mid-60s R&B, but the Stones did it better.

The worst songs on the album are probably the Bo Diddley cover I'm a Man and James Brown cover Please, Please, Please, which present renditions that could have been knocked out by any half-decent covers band at the time. It's hard to work out what part of these song is the worst, but particularly embarrassing is Roger Daltery's vocal delivery - maybe the production quality doesn't help, but even so nobody should try to out-soul James Brown, it just isn't possible and you end up looking silly. Best song - aside from My Generation and The Kids Are Alright - is probably The Ox, an instrumental jam which suggests that there might be more to this maximum R&B than just R&B, though even that outstays its welcome (as jams often do).