The Who released Who’s Next

Who’s Next The Who

Released: August 14, 1971 Peak: 4 US, 11 UK, 5 CN, 3 AU, 18 DF Click for codes to charts. Sales (in millions): 3.0 US, 0.3 UK, 4.03 world (includes US and UK) Genre: classic rock

Tracks: Click on a song titled for more details. Baba O’Riley [5:08] Bargain [5:34] Love Ain’t for Keeping [2:10] My Wife [3:41] The Song Is Over [6:14] Getting in Tune [4:50] Goin’ Mobile [3:42] Behind Blue Eyes [3:42] Won’t Get Fooled Again [8:32] Total Running Time: 43:38 The Players: Roger Daltrey (vocals) Pete Townshend (guitar, keyboards, vocals) John Entwistle (bass) Keith Moon (drums, percussion)

Rating: 4.750 out of 5.00 (average of 39 ratings) Quotable: “A hard rock classic, Who’s Next is required listening for rock fans of all ages.” – Genevieve Williams, Amazon.com Awards: (Click on award to learn more). Spotify Podcast: Check out Dave’s Music Database podcast: The 50th Anniversary of Who’s Next. It premiered August 17, 2021, at 7pm CST.

About the Album “A hard rock classic, Who’s Next is required listening for rock fans of all ages.” AZ The album is “powerful and angry…a Who masterpiece and…without doubt their best work. This is yet another album that many of today’s so called rock bands should listen to, in order to find out how this rock thing should really be done.” CA In the excellent “Counterbalance” series from PopMatters, Eric Klinger says he is still “tempted to lift my skinny fists like Judd Nelson at the end of The Breakfast Club whenever I hear these songs.” EK The “combination of braggadocio and navel-gazing found on ’70s Who records is the same weird mix that’s found in most teenage boys;” EK as an adult, that may mean perspective makes the album appear “more than a little mawkish and overwrought in their broodiness,” EK but as the fifteen-year-old Klinger would say, “the Who was the third best British group, just behind the Beatles and the Stones and just ahead of the Kinks…Who’s Next was a huge transformation for the band as they made their way from Day-Glo mod singles to rock operas to arena rock superstars. It’s a pivotal album for them, and in many ways it’s a harbinger of what’s to come later in the 1970s.” EK “Music can show those scrawny, awkward 15-year-olds that they aren’t alone and on the other side, it can allow the band to find its true sound.” JM With “Who’s Next we see a band finally strike upon the formula that would define them;” JM it “is considered by many fans and critics alike as the Who’s crowning achievement.” MU It “set a hard rock standard that even its creators struggled to emulate.” CD A Stadium Rock Staple This is “stadium rock at its best.” EW’93 “Without this, there would be no U2. No Clash. No Pearl Jam.” TM “The Who’s tenure as a stadium-packing rock band began here: out went the mod suits and jerky beat-pop; in came long hair and epic riffs.” BL It was here that The Who “made a full and final transition from arty acid rock to ear-blasting, arena-friendly hard rock.” JA “Frontman Roger Daltrey wooed a nation of Zeppelin fans with this collection of radio-friendly ballads and panoramic hard rock.” BL “The Who's crowning achievement…set the stage for the band to become one of the most explosive (and certainly the loudest) arena act of the decade.” EW’12 With Who’s Next, the Who would “strike a counterbalance to Led Zeppelin as the two figureheads of ‘70s AOR.” JM The Who’s “use of synthesizers may be one of the best, or worst, things to happen to rock, depending on your Rock Purist ranking.” JM “In many ways, the Who and Led Zeppelin were opposite sides of the coin. While Page & Co. were creating loving homages to the blues masters, Townshend appears to have been bent on distancing themselves from rock’s bluesier influences.” EK There is “something grandiose in the Who’s music that seems to go hand-in-hand with a classical school of thought, a sort of romantic view of rock music that doesn’t jibe with the blues-inspired licks proffered by Zep or the Stones.” JM “In 1970, the Who released Live at Leeds, the Zeppiest music they’d ever make, but by ’71 Townshend is explicitly striving for a more classical feel – and the blues essentially goes out the window.” EK Still, the band’s “Maximum R&B roots never fully went away” EK and “Who’s Next still rocks quite convincingly.” EK Lifehouse Who’s Next is “one of the finest examples in rock history of artistic victory snatched from the jaws of defeat.” TB It evolved from Lifehouse, “an ambitious sci-fi rock opera” AM that delved into the “grandiose concept…of…salvation of humanity through rock and roll” SM achieved via “a quest for transcendence shared between band and audience.” TB The story “was about a little boy called Bobby…who set himself to finding the Lost Chord and flinging the world into Rock Nirvana in order to save it from the bad guys.” GS In publicity for a 1999 radioplay, Townshend even made a case that the show anticipated the Internet. CC “A pair of abortive sessions at the Record Plant in New York with long time manager Kit Lambert producing proved unsatisfactory, mainly due to Townsend’s increasing submersion in the brandy bottle and Lambert’s propensity for hard drugs.” SM “After two fruitless years and a near-suicidal breakdown,” TL Townshend and the band shelved the project. You can read more about Lifehouse here. However, “Who’s Next isn’t any kind of ‘cop-out’ release – something you would usually expect in the wake of the failure of a major project by a high profile group.” AD Instead, now “freed from thematic grandiosity,” TL The Who “siphoned the best ideas into a traditional record.” BL “This sense of freedom allowed The Who to focus on making great individual songs rather than an overarching story.” CQ The result was “nine prime songs, all of them flawlessly performed and produced.” GS “There’s no discernable theme behind these songs, yet this album is stronger than Tommy” AM and has “more juice than Live at Leeds,” RC and, apart from that album, the band “never sounded as LOUD and unhinged.” AM The adrenaline-juiced rockers are “balanced by ballads, both lovely (‘The Song Is Over’) and scathing (‘Behind Blue Eyes’).” AM Townshend is “laying his soul bare in ways that are funny, painful, and utterly life-affirming.” AM “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.” AM The Players The Who “were now at their creative peak, both as individual musicians and as a band.” CC “The musicianship is indisputably excellent.” JNM It’s on Who’s Next that “we see all the pieces and parts of the group finally fall into alignment. Remember, this group is like a bumblebee: on paper, it shouldn’t fly at all. The two rhythm players, Keith Moon and John Entwistle, each played as if the drums and bass were lead and/or melody instruments. Both of them play with a technique that’s completely distinct (it’s one reason why you seldom hear crappy bar bands successfully cover Who songs) and probably wouldn’t work anywhere else.” EK Moon is “thrashing and bashing more precisely than ever before.” JNM His drums leap “out of the speakers with unheard of force” SM as he “runs rampant” AM with “his best ever display of drumming skill and power.” CA He “managed to rein in his wilder antics while maintaining his usual key expressive role.” CC John “Entwistle’s bass thunders magnificently” SM and “is as precise as usual” CA and “as fluent as ever.” GS “As much swagger as Daltrey brings to the Who’s sound, it was always undercut by the understanding that it was Townshend’s introspection and often downright frailty that was really the driving force behind the group.” EK This is where he “fully comes into his own.” EK “Upon first listenings [one] may…wonder if The Who hadn’t replaced him altogether.” AD “Although he started out as a fairly standard-issue British R&B belter,” EK “two years [of] singing Tommy to appreciative audiences the world over…gave [Daltrey]…a huge boost in confidence.” AD “He learned to…make himself heard…over the top of The Who’s usual immense sonic assault,” AD giving “him the courage necessary to be an honest-to-goodness rock star.” EK He “has never sung better,” AM having “developed his mighty roar” MU and “reaching heights that were only hinted at in the past.” CQ “Throw Townshend’s grandstanding style into the mix and you essentially have four lead players each propped up against each other like a house of cards.” EK His “guitar playing alternates between delicate acoustic picking and earthshaking riffing.” SM In addition, his “songwriting showed a sustained level of brilliance he would never again achieve.” CC The Synthesizer “Who’s Next was a landmark in its innovative use of synthesizers and sequencers in rock.” TB Townsend embraces “the novel technology of the synthesizer” SM as an instrument for “adding texture where needed and amplifying the force, which is already at a fever pitch.” AM “Pete uses the synths mainly as a rhythm instrument, and they don’t bury the drums and bass.” MU The use of the synthesizer to “vary the power trio format, not to art things up” RC “was really groundbreaking, especially in 1971, as they were often regarded as a novelty instrument.” CA The Recording “What makes Who’s Next different from any of its predecessors is the clarity of sound achieved by associate producer Glyn Johns.” CC The project started with Kit Lambert, who “was the perfect foil for Townshend to bounce ideas off, and his creative influence on The Who cannot be over-emphasized.” CC However, “the ailing Lambert was replaced by Glyn Johns whose no-nonsense approach suited the chastened Townsend.” SM The band weren’t satisfied with the original results of their New York sessions with Lambert, so they went to Olympic Studios in London to re-record material with Johns. CC The Songs This is the Who at “their most consistent in terms of quality songs.” CC “Every one of the nine tracks is a gem.” TB “The songs combine the hard-hitting energy of the band in their youth with the more experimental elements explored on Tommy.” CQ “While everyone knows about the singles, from the opening keyboard of ‘Baba O’Riley’ to the building acoustics of ‘Behind Blue Eyes,’ every song on this record is a potential hit.” CQ “With tracks like these, it’s easy to see why Who’s Next moved The Who from a great band of the ’60s to a rock superpower in the ’70s.” CQ Reissue A 1995 CD reissue added an alternate version of “Behind Blue Eyes” along with cuts “Pure and Easy,” “Baby Don’t You Do It,” “Naked Eye,” “Water,” “Too Much of Anything,” and “I Don’t Even Know Myself.” The 2003 Deluxe Edition includes all of the aforementioned bonus tracks, adds alternate versions of most of the original album, and throws in the songs “Young Man Blues,” “Time Is Passing,” “My Generation,” and “Road Runner.” The Songs Here’s a breakdown of each of the individual songs.

Baba O’Riley The Who

Writer(s): Pete Townshend Released: single (10/15/1971), Album (8/14/1971), Hooligans (compilation, 1981), My Generation: The Very Best of (compilation, 1996), The Ultimate Collection (compilation, 2002), Greatest Hits (compilation, 2009), Hits 50! (compilation, 2014) Peak: 1 CL, 80 AU, 2 DF Click for codes to charts. Sales (in millions): -- US, 1.0 UK Airplay/Streaming (in millions): -- radio, 123.28 video, 688.39 streaming

Awards: (Click on award to learn more).

About the Song: “Baba O’Riley” is “arguably the greatest album-opener in rock history.” TM The song “opens with a skittering synthesizer that flirts with melody” TL and “works as an immediately ear-catching hook” UCR that serves as “the fundamental foundation of the song.” UCR It “expanded the Who’s power-trio sound” RS500 and “was considered unprecedented at the time…pre-dating Stevie Wonder’s similar experiments by nearly a year.” UCR Townshend was learning the instrument from Terry Riley, a minimalist composer whose work “A Rainbow in Curved Air” CC particularly influenced Townshend. The song’s title was an homage to Riley as well as Meher Baba, an Indian spiritual guru “who advocated divine love, spiritual understanding, and selfless service to mankind.” SS Roger Daltrey’s powerful lead vocals juxtaposed beautifully with Townshend’s softer voice on the famous ‘Don’t cry; don’t raise your eye’ segment.” UCR Daltrey “sounds 10 years older than [he] did on Tommy. This is a vocal of some power.” AD His “leonine roar and Townshend’s tuneful pleading…gives the song its tension and best moments.” CC The song finishes with a “smashing violin solo” UCR in “what can only be described as an Irish romp.” TM It was suggested by Keith Moon RS500 who also provides “explosive drum work” UCR alongside “John Entwistle's rumbling low end.” UCR “It all adds up to one mammoth rock anthem.” UCR Lyrically, the song is “a beautiful ode to that painful, lost feeling known as adolescence.” TM It has also been called “a bitter remonstrations towards a society that seemed hell-bent on hanging an entire generation of kids out to rot.” DT It is often referred to as “Teenage Wasteland” because of the chorus. The song was originally nine minutes long in the context of the Lifehouse project, TC a “wildly ambitious science-fiction” SS rock opera. Dissention amongst the band and a nervous breakdown by Townshend shuttled the project but the best tracks resurfaced on the more conventional Who’s Next album.

Bargain The Who

Writer(s): Pete Townshend Released: Album (8/14/1971), Hooligans (compilation, 1981), The Ultimate Collection (compilation, 2002), Hits 50! (compilation, 2014) Peak: 2 CL, 12 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 14.59 streaming About the Song: Bargain is “Pete’s prayer to the above-mentioned [Maher] Baba” GS “soliciting forgiveness for the writer’s earthly foibles and unworthiness.” CC This is a “search for personal identity amid a sea of conformity.” CC With “devastating rhythm guitar,” JA “inventive synth parts,” GS, and an “explosive chorus” CQ the song “has that typical, unmistakeable Who sound.” CA

Love Ain’t for Keeping The Who

Writer(s): Pete Townshend Released: Album (8/14/1971) Peak: 23 CL, 20 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 14.83 streaming About the Song: Love Ain’t for Keepin’ is “a more subdued song than either of the first two.” AD “Seriously upfront acoustic guitars feature strongly throughout” CC while Daltrey “sings about the difficulty of sustaining relationships in the modern world.” CC It “wouldn’t sound out of place on Led Zeppelin III. It’s the shortest track on the album at a little over 2 minutes, but still a gem.” CA It “is slightly folky, vaguely [and] features lovely harmonies in the background.” AD

My Wife The Who

Writer(s): John Entwistle Released: Album (8/14/1971), Greatest Hits (compilation, 1983), The Ultimate Collection (compilation, 2002) Peak: 11 CL, 22 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 5.76 streaming About the Song: Bassist, and in this case, singer John “Entwistle gets in his best song ever: the hysterically paranoid My Wife.” JA Of course, depending on one’s perspective, it was “thoughtful…of Townshend to let John Entwistle sully his masterwork with the irredeemable “My Wife’.” EK It may be best to consider this song about “the danger of being both married and fond of lazing about in the boozer until all hours” JNM as both “stupendously catchy and stupid.” JNM Entwistle “spins out manic bass lines that are as captivating as [the song] is funny.” AM “The song is a basic rock number but with much groove and ultimately it’s a song that works and works well.” AD

The Song Is Over The Who

Writer(s): Pete Townshend Released: Album (8/14/1971), Hooligans (compilation, 1981) Peak: 11 CL, 10 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 6.91 streaming About the Song: The Song Is Over is “among the most gorgeous ballads Townshend has ever written.” CC He “sings exquisitely over a gentle piano background before and in between Daltrey charging in exhilaratingly over a hard part with breathtaking chord changes in the manner of the ‘Listening to you I hear the music ...’ refrain from Tommy.” JNM The song is also “very similar in structure” CA to “ ‘5:15,’ from the later Quadrophenia album, [but] it’s still a very good song in it’s own right with Townshend and Daltrey taking turns on lead vocals” CA which “are genuinely affecting.” AD “Among their very best work is this one.” JNM

Getting in Tune The Who

Writer(s): Pete Townshend Released: Album (8/14/1971) Peak: 14 CL, 14 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 9.88 streaming About the Song: “The superb Getting in Tune” CA is a “fearless rocker” CC that “demonstrates Daltrey’s previously hidden vocal range.” CA As the song “develops, and the harmonies come in, Keith plays a few modest rolls – piano is added – it becomes another gorgeous piece of writing and performance.” AD

Goin’ Mobile The Who

Writer(s): Pete Townshend Released: B-side of “Behind Blue Eyes” (11/6/1971), Album (8/14/1971) Peak: 5 CL, 13 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, -- video, 6.93 streaming About the Song: Following two ballads, you want something a little different, if not a sudden switch to a monstrous noise.” AD With its “catchy hooks,” JA Goin’ Mobile is a “witty and worthy contender,” CC “a nice little nifty driving song.” AD It “is a funny home-made travelogue-rock sung by Pete, and it’s the most modest song on this album, highlighted by a real weird guitar solo” GS and “Keith Moon’s splashing, crashing cymbals and manic drumming that really stand out and make the track what it is.” CA

Behind Blue Eyes The Who

Writer(s): Pete Townshend Released: single (11/6/1971), Album (8/14/1971), Hooligans (compilation, 1981), The Ultimate Collection (compilation, 2002), Then & Now (compilation, 2004), Greatest Hits (compilation, 2009), Hits 50! (compilation, 2014) Peak: 34 BB, 24 CB, 24 GR, 27 HR, 1 CL, 1 DF Click for codes to charts. Sales (in millions): -- US, 0.2 UK, 0.65 world (includes US + UK) Airplay/Streaming (in millions): 2.0 radio, 39.20 video, 322.96 streaming

Awards: (Click on award to learn more).

About the Song: This was the second single from the Who’s 1971 album Who’s Next. Like most of the songs on that album, this was written for the intended Lifehouse sci-fi rock opera but abandoned when guitarist and songwriter Pete Townshend struggled to bring clarity to the concept. This song was written for the villain, Jumbo. He laments that no one understands the pressure he faces. He “was forced to subsume his more noble impulses in the serve of corrupt power structure.” AMG Townshend said it was about “how lonely it is to be powerful” SF and that the character “felt…he was forced into a position of being a villain whereas he felt he was a good guy.” WK In the context of Who’s Next, “Behind Blue Eyes” had to stand on its own instead of being part of a greater story. It became a “meditation of one man’s dual nature, and the result was one of the most powerful and mature performances on the album.” AMG Townshend’s initial inspiration came from being tempted by a groupie and writing a prayer asking for help in resisting temptation. SF “The by turns sorrowful and angry” AZ song “is Townshend’s absolute peak in terms of lyrics.” JA It “rightly became a Who classic almost immediately” CC proving “the band really were capable of performing a top quality ballad.” CA This was a technique Townshend had also employed on songs for the Who’s 1969 rock opera Tommy. WK It was a contrast to the band’s reputation for the “bash-and-crash amphetamine overdrive of their live show.” AMG The song starts out quietly with Roger Daltrey, “in the clear voice of a schoolboy,” AMG singing “No one knows what it’s like / To be the bad man / To be the sad man / Behind blue eyes.” John Entwistle comes in with his bass, but subtly instead of with “his usual dive-bombing fretboard runs.” AMG Daltrey then “conjures the image of a man desperately holding himself back from an explosion of anger and wrath.” AMG Keith Moon’s drums “burst onto the scene, Townshend’s guitar wails and full force” AMG and the song “breaks out into a full-scale rock anthem” WK before eventually returning to the quieter theme that opened the song.

Won’t Get Fooled Again The Who

Writer(s): Pete Townshend Released: single (6/25/1971), Album (8/14/1971), Greatest Hits (compilation, 1983), Who’s Better Who’s Best (compilation, 1988), My Generation: The Very Best of (compilation, 1996), The Ultimate Collection (compilation, 2002), Then & Now (compilation, 2004), Greatest Hits (compilation, 2009), Hits 50! (compilation, 2014) Peak: 15 BB, 9 CB, 15 GR, 8 HR, 1 CL, 9 UK, 7 CN, 14 AU, 1 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): 1.0 radio, 86.58 video, 203.28 streaming

Awards: (Click on award to learn more).

About the Song: “Won’t Get Fooled Again” is “one of the band’s all-time great epics.” SM It “has rightfully earned its place in rock history” CA as one of the most “stirring, cataclysmic rock & roll anthems” SS of all time. It is “loud, raucous and out of control.” RV “The power guitar of Townshend and the vocal performance by Daltrey are outstanding.” CA Townshend also uses “the synth as a rhythmic undertow to Moon’s astonishing freefall drum breaks.” SM Entwistle dreams “up all manner of scrumptious melodic and rhythmic flourishes…especially to what he plays beneath the chorus.” JNM The song “is so dense that it’s hard to believe it’s played by a three piece.” TL “In the hands of any other musicians it would have repeatedly collapsed into chaos. And yet not only were they able to create lasting songs out of that mix, they were able to navigate together through the twists and turns of an eight-minute epic like ‘Won’t Get Fooled Again.’” EK The song’s most distinctive feature is Daltrey’s iconic blood-curdling wail, “arguably the most powerful roar ever captured on a rock record.” GS It inspires one “to leap five feet in the air with…arm raised, ready to slam down on some imaginary guitar.” AD “It would go on to close all their subsequent live shows.” SM Interestingly, the title never appears in the lyrics, although there is the line “we don’t get fooled again.” Pete Townshend originally wrote the song for the intended Lifehouse project, which centered on a futuristic world in which an enslaved people are freed by rock ‘n’ roll. The project became so confusing to everyone else that it was aborted in favor of Who’s Next, a more direct album. In the context of Lifehouse, “Won’t Get Fooled Again” was about rebels receiving amnesty for accepting the status quo. SS Despite the song commonly being perceived as a revolutionary song, it is really about “the futility of revolution when the conqueror is likely to become as corrupt as the conquered.” CC The song is about the “frustration and disillusion with political sloganeering and false promises.” SM Townshend “felt revolution was pointless because whoever takes over is destined to become corrupt.” SF Bassist John Entwistle said of all the songs Townshend wrote in that era, this one “really stands out, because he was saying things that really mattered to him.” DT When the song was released as a single, it was edited down from its album running time of 8:30 to 3:35. Daltrey told Uncut magazine, “I hated it when they chopped it down…After that we started to lose interest in singles because they’d cut them to bits. We thought, ‘What’s the point? Our music’s evolved past the three-minute barrier and if they can’t accommodate that we’re just gonna have to live on albums.’” SF

Resources/References: AM AllMusic.com review by Stephen Thomas Erlewine AMG All Music Guide review by Mark Deming of “Behind Blue Eyes” JA Jason Alroy, Wilson and Alroy’s Record Reviews AZ Amazon.com review by Genevieve Williams BL Blender magazine. Details unknown. CD CdUniverse.com CC Chris Charlesworth, editor (2008). 25 Albums That Rocked the World!. Omnibus Press: London, England. Pages 80-97. RC Robert Christgau CA ClassicAlbums.co.uk CQ Consequence.net (9/12/2022). “The 100 Greatest Albums of All Time” TC Toby Creswell (2005). 1001 Songs: The Great Songs of All Time. Pages 212 and 671. AD Adrian Denning (3/30/2007). “Adrian’s Top 100 Albums, So Far” EW’93 Entertainment Weekly (10/29/1993). “100 Greatest CDs: A Love-It-Or-Loathe It Guide to the Essential Disc Library” EW’12 Entertainment Weekly (9/27/2012). “Top 100 Albums” EK Eric Klinger, PopMatters’ Counterbalance series (2010-2012) SM Stuart Maconie, Critical List on BBC Radio 2. JM Jason Mendelsohn, PopMatters’ Counterbalance series (2010-2012) TM Tom Moon (2008). 1,000 Recordings to Hear Before You Die. Workman Publishing Company, Inc.: New York, NY. Pages 859-60. CRS Tim Morse (1998). Classic Rock Stories: The Stories Behind the Greatest Rock Songs of All Time. New York, NY: St. Martin's Griffin. Pages 181-195. RV The Review (Oct./Nov. 2001). “The 100 Greatest Albums of All Time” by Clarke Speicher RS RollingStone.com review by John Ned Mendelsohn RS500 Rolling Stone (12/04). “The 500 Greatest Songs of All Time” (“Won’t Get Fooled Again”) RS500 Rolling Stone (2004). “500 Greatest Songs of All Time” (“Baba O’Riley”) GS George Starostin SF Songfacts page for “Won’t Get Fooled Again” SF Songfacts page for “Behind Blue Eyes” SS Steve Sullivan (2013). Encyclopedia of Great Popular Song Recordings (Volumes I & II). Scarecrow Press: Lanham, Maryland. Pages 128-30 and 492-3. DT Dave Thompson (2011). 1000 Songs That Rock Your World. Krause Publications: Iola, WI. Pages 22 and 270. TB Thunder Bay (2005). Albums: The Stories Behind 50 Years of Great Recordings. Thunder Bay Press; San Diego, CA. Page 139. TM Time magazine (10/24/2011). “All Time 100 Songs” (“Baba O’Riley”) TB-S Thunder Bay Press (2006). Singles: Six Decades of Hot Hits & Classic Cuts. Outline Press Ltd.: San Diego, CA. TL Time Magazine (11/13/2006). “All-TIME 100 Albums” by Josh Tyrangiel and Alan Light UCR UltimateClassicRock.com (6/20/2013). “Top 100 Classic Rock Songs” (“Baba O’Riley”) MU Marco Ursi WK Wikipedia page for Who’s Next WK Wikipedia page for “Won’t Get Fooled Again” WK Wikipedia page for “Behind Blue Eyes” Related DMDB Pages: First posted 8/14/2012; last updated 8/31/2025.