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下一個是誰

本頁使用了標題或全文手工轉換
維基百科，自由的百科全書
Who's Next
照片展示了誰人樂團遠離石壩段和拉上褲子，可見狀尿條紋。
誰人樂團的錄音室專輯
發行日期1971年8月14日 (美國)
1971年8月25日 (英國)[1]
錄製時間1971年4月-6月，奧林匹克錄音室，巴恩斯，倫敦；奧林匹克錄音室混音[2]
"Won't Get Fooled Again"在倫敦Stargroves錄製 (滾石移動錄音室)和倫敦小島唱片混音[3]
類型硬搖滾
時長43:38
唱片公司Track、 黛卡唱片
監製The Who
Glyn Johns (製作)
Chris Stamp (監製)
Kit Lambert (監製)
Pete Kameron (監製)
誰人樂團專輯年表
Live at Leeds
（1970年） 		Who's Next
（1971年） 		Meaty Beaty Big and Bouncy
（1971年）
收錄於《Who's Next》的單曲
  1. Won't Get Fooled Again
    發行日期：1971年6月25日[4]
  2. Baba O'Riley
    發行日期：1971年10月23日(Europe)[5]
  3. Behind Blue Eyes
    發行日期：1971年11月6日[6]

《下一個是誰》[7]（英語：Who's Next）是英國搖滾樂隊誰人樂團的第五張錄音室專輯。它發展自一個由樂隊成員皮特·湯申德創作的作為樂隊1969年的專輯Tommy（英語：Tommy）的多媒體搖滾歌劇Lifehouse（英語：Lifehouse (rock opera)）項目，由於樂隊與樂隊經理人Kit Lambert錯綜複雜的關係，該項目被取消了，但皮特·湯申德被說服錄製其中一些歌曲作為通俗的專輯。

誰人樂團錄製這張專輯受到錄音師Glyn Johns的幫助。在滾石移動錄音室錄製「Won't Get Fooled Again」之後，他們搬到倫敦奧林匹克錄音室錄製和混合該專輯剩餘的大部分歌曲。他們在該專輯中突出地使用合成器，特別是在「Won't Get Fooled Again」和「 Baba O'Riley 」之中，兩首歌都是單曲發行。封面照片由Ethan Russell攝製，參考了1968年電影2001太空漫遊中提到的巨石（monolith），就像該封面上樂隊成員背對有小便條紋的堆渣中的突出的混凝土樁。

《下一個是誰》在1971年8月發行後立刻獲得成功。許多評論家認為它是誰人樂團的最佳唱片和有史以來最偉大的專輯之一。該專輯以CD形式再版了幾次，再版包含了最初用於Lifehouse的曲目。

背景

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主條目：Lifehouse（英語：Lifehouse (rock opera)）

到1970年，誰人樂團既受到了顯著的批評又獲得了商業成功，而他們已經開始與脫離原來的觀眾。摩德文化已經消失,

已隱藏部分未翻譯內容，歡迎參與翻譯。

and the original followers from Shepherd's Bush had grown up and acquired jobs and families. The group had started to drift apart from manager Kit Lambert due to his preoccupation with their label, Track Records.[8] They had been touring since the release of Tommy the previous May, with a set that contained most of that album, but realized that millions had now seen their live performances, and Pete Townshend in particular recognized that they needed to do something new.[9] A single, "The Seeker", and a live album, Live at Leeds were released in 1970,[10] and an EP of new material ("Water", "Naked Eye", "I Don't Even Know Myself", "Postcard" and "Now I'm a Farmer") was recorded, but not released as the band felt it would not be a satisfactory follow-up to Tommy.[11]

Instead, the group tackled a project called Lifehouse. This evolved from a series of columns Townshend wrote for Melody Maker in August 1970, in which he discussed the importance of rock music, and in particular what the audience could do.[12] Of all the group, he was the most keen to use music as a communication device, and wanted to branch out into other media, including film, to get away from the traditional album / tour cycle.[13] Townshend has variously described Lifehouse as a futuristic rock opera, a live-recorded concept album and as the music for a scripted film project.[14] The basic plot was outlined in an interview Townshend gave to Disc and Music Echo on 24 October 1970.[15] Lifehouse is set in the near future in a society in which music is banned and most of the population live indoors in government-controlled "experience suits". A rebel, Bobby, broadcasts rock music into the suits, allowing people to remove them and become more enlightened. Some elements accurately describe future technology; for example, The Grid resembles the internet and "grid sleep" virtual reality.[16]

Pete Townshend was given a Gretsch 6120 guitar by Joe Walsh in early 1971, and it became his main electric instrument for Who's Next.

The group held a press conference on 13 January 1971, explaining that they would be giving a series of concerts at the Young Vic theatre, where they would develop the fictional elements of the proposed film along with the audience.[16] After Keith Moon had completed his work on the film 200 Motels, the group performed their first Young Vic concert on 15 February. The show included a new quadrophonic public address system which cost £30,000 and the audience was mainly invited from various organisations such as youth clubs, with only a few tickets on sale to the general public.[17]

After the initial concerts, the group flew to New York's Record Plant Studios at Lambert's suggestion, for studio recordings. The group were joined by guests Al Kooper on Hammond organ, Ken Ascher on piano and Leslie West on guitar. Townshend used a 1957 Gretsch guitar, given to him by Joe Walsh, during the session and it went on to become his main guitar for studio recording.[18] Lambert's participation in the recording was minimal, and he proved to be unable to mix the final recordings.[3] He had started taking hard drugs, while Townshend was drinking brandy regularly.[19] After returning to Britain, engineer Glyn Johns made safety copies of the Record Plant material but decided that it would be better to re-record it from scratch at Olympic Sound Studios in Barnes.[3]

The group gave a further series of concerts at the Young Vic on 25 and 26 April, which were recorded on the Rolling Stones Mobile Studio by Andy Johns, but Townshend grew disillusioned with Lifehouse and further shows were cancelled.[20] The project proved to be intractable on several levels and caused stress within the band as well as a major falling out between Townshend and Lambert. Years later, in the liner notes to the remastered CD, Townshend wrote that the failure of the project led him to the verge of a nervous breakdown.[21] Audiences at the Young Vic gigs were not interested in interacting with the group to create new material, but simply wanted the Who to play "My Generation" and smash a guitar.[22] At the time, Roger Daltrey said the Who "were never nearer to breaking up".[23]

Although the Lifehouse concept was abandoned, scraps of the project remained in the final album, including the use of synthesizers and computers.[24] An early concept for Lifehouse featured the feeding of personal data from audience members into the controller of an early analogue synthesizer to create a "universal chord" that would have ended the proposed film.[25] Abandoning Lifehouse gave the group extra freedom due to the absence of an overriding musical theme or storyline (which had been the basis of Tommy). This allowed the band to concentrate on maximising the impact of individual tracks, and providing a unifying sound for them.[26]

Although he gave up his original intentions for the Lifehouse project, Townshend continued to develop the concepts, revisiting them in later albums, including a 6-CD set, The Lifehouse Chronicles in 1999.[27] In 2007 he opened a website called The Lifehouse Method to accept personal input from applicants that would be turned into musical portraits.[28]

錄音和製作

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Most of Who's Next was recorded at Olympic Studios, Barnes with Glyn Johns.

The first session for what became Who's Next was at Mick Jagger's house, Stargroves, at the start of April 1971, using the Rolling Stones Mobile. The backing track of "Won't Get Fooled Again" was recorded there[3] before the band decided to relocate recording to Olympic at Johns' suggestion;[29] the first session was on 9 April, attempting a basic take of "Bargain".[20] The bulk of the sessions occurred during May, when the group recorded "Time is Passing", "Pure and Easy", "Love Ain't for Keeping" (which had been reworked from a rock track into an acoustic arrangement), "Behind Blue Eyes", "The Song Is Over", "Let's See Action" and "Baba O'Riley". Nicky Hopkins guested on piano, while Dave Arbus was invited by Moon to play violin on "Baba O'Riley". John Entwistle's "My Wife" was added to the album at the last minute late in the sessions, and was originally intended for a solo album.[23]

In contrast to the Record Plant and Young Vic sessions, recording with Johns went well as he was primarily concerned about creating a good sound, whereas Lambert had always been more preoccupied about the group's image. Townshend recalled, "we were just getting astounded at the sounds Glyn was producing".[23] Townshend used the early synthesizers and modified keyboard sounds in several modes: as a drone effect on several songs, notably "Baba O'Riley" and "Won't Get Fooled Again",[30] as well as on "Bargain", "Going Mobile" and "The Song Is Over". The synthesizer was used as an integral part of the sound, as opposed to providing gloss as was the case on other artists' albums up to this point. [31] Moon's drumming had a distinctly different style from earlier albums, being more formal and less reliant on long drum fills – partly due to the synthesizer backing, but also due to the no-nonsense production techniques of Johns, who insisted on a good recording performance that only used flamboyancy when truly necessary.[32] Johns was instrumental in convincing the Who that they should simply put a single studio album out, believing the songs to be excellent. The group gave him free rein to assemble a single album of whatever songs he wanted in any order.[30] Despite Johns' key contributions, he only received an associate producer credit on the finished album,[23] though he maintained he acted mainly in an engineering capacity and based most of the arrangements on Townshend's original demos.[33]

An ARP synthesizer similar to the one used on Who's Next

The album opened with "Baba O'Riley", featuring piano and synthesizer-processed Lowrey organ by Townshend. The song's title pays homage to Townshend's guru, Meher Baba, and minimalist composer Terry Riley (and is informally known as "Teenage Wasteland" from a line in the lyrics).[34] The organ track came from a longer demo by Townshend, portions of which were later included on a Baba tribute album I Am,[35] that was edited down for the final recording. Townshend later said this part had "two or three thousand edits to it".[36] The opening lyrics to the next track, "Bargain", "I'd gladly lose me to find you", came from a phrase used by Baba.[34] Entwistle wrote "My Wife" after having an argument with his wife and exaggerating the conflict in the lyrics. The track features several overdubbed brass instruments recorded in a single half-hour session.[37] "Pure and Easy", a key track from Lifehouse, did not make the final track selection, but the opening line was included as a coda to "The Song is Over".[34]

"Behind Blue Eyes" featured three-part harmony by Daltrey, Townshend and Entwistle and was written for the main antagonist in Lifehouse, Brick. Moon, uncharacteristically, did not appear on the first half of the track, which was later described by Who biographer Dave Marsh as "the longest time Keith Moon was still in his entire life."[35] The closing track, "Won't Get Fooled Again", was critical of revolutions. Townshend explained, "a revolution is only a revolution in the long run and a lot of people are going to get hurt".[34] The song features the Lowrey organ fed through an ARP synthesizer, which came from Townshend's original demo and was re-used for the finished track.[29]

封面藝術

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The cover artwork shows a photograph, taken at Easington Colliery, of the band apparently having just urinated on a large concrete piling protruding from a slag heap.[38] The decision to shoot the picture came from Entwistle and Moon discussing Stanley Kubrick and the film 2001: A Space Odyssey.[39] According to photographer Ethan Russell, most of the band members were unable to urinate, so rainwater was tipped from an empty film canister to achieve the desired effect. The rear cover showed the band backstage at De Montfort Hall, Leicester, amongst a debris of furniture. [38] In 2003, the television channel VH1 named Who's Next's cover one of the greatest album covers of all time.[40]

Other suggestions for the cover included the group urinating against a Marshall Stack and an overweight nude woman with the Who's faces in place of her genitalia.[38] An alternative cover featuring Moon dressed in black lingerie and a brown wig, holding a whip, was later used for the inside art for the 1995 and 2003 CD releases. Some of the photographs taken during these sessions were later used as part of Decca's United States promotion of the album.[1]

發行和推廣

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The Who playing in Charlotte, North Carolina, shortly after Who's Next was released

The lead single, "Won't Get Fooled Again" (edited down to three and a half minutes), was released on 25 June 1971 in the UK and in July in the US ahead of the album. It reached #9 and #15 in the charts respectively.[41] The album was released in August in the US and on 27 August in the UK. It became the only album by the Who to top the UK charts.[42]

The Who starting touring the US just before the album was released.[43] The group used the Lifehouse PA, though soundman Bob Pridden found the technical requirements of the equipment to be over-complicated.[44] The set list was revamped, and while it included a smaller selection of numbers from Tommy, several new numbers from the new album such as "My Wife", "Baba O'Riley" and "Won't Get Fooled Again" became live favourites. The latter two songs involved the band playing to a backing track containing the synthesizer parts.[45] The tour moved to the UK in September, including a show at The Oval, Kennington in front of 35,000 fans, and the opening gig at the Rainbow Theatre in Finsbury Park, before going back to the US, ending in Seattle on December 15. The group then took eight months off touring, the longest break of their career at that point.[46]

Several additional songs recorded at the Who's Next sessions were released later as singles or on compilations. "Let's See Action" was released as a single in 1971,[26] followed by "Join Together" in June 1972 and "Relay" in November. "Pure and Easy", "Put The Money Down" and "Too Much of Anything" were released on the album Odds & Sods,[26] while "Time is Passing" was added to the 1998 CD version.[47] A cover of "Baby Don't You Do It" was recorded and the longest version currently available is on the deluxe edition of the album.[48]

The album has been re-issued remastered several times using tapes from different sessions. The master tapes for the Olympic sessions are believed to be lost, as Virgin Records threw out a substantial number of old recordings when they purchased the studio in the 1980s.[49] Video game publisher Harmonix wanted to release Who's Next as downloadable, playable content for the music video game series Rock Band, but were unable to do so due to difficulty finding the original multi track recordings. Instead, a compilation of Who songs dubbed "The Best of The Who," which includes three of the album's songs ("Behind Blue Eyes", "Baba O'Riley", and "Going Mobile"), was released as downloadable content, in lieu of the earlier-promised Who's Next album.[50] The 16-track tapes to "Won't Get Fooled Again" and the 8-track tapes to the other material except "Bargain" and "Getting In Tune" have since been discovered.[49]

評價和影響

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專業評分
評論得分
來源評分
AllMusic5/5顆星[51]
Christgau's Record GuideA[52]
Encyclopedia of Popular Music5/5顆星[53]
Mojo4/5顆星[54]
MusicHound Rock5/5[55]
Q4/5顆星[56]
The Rolling Stone Album Guide5/5顆星[57]
The Village VoiceA+[58]
In a contemporary review for The Village Voice, music critic Robert Christgau called Who's Next "the best hard rock album in years" and said that, while their previous recordings were marred by a thin sound, the group now "achieves the same resonant immediacy in the studio that it does live".[58] Billy Walker from Sounds highlighted the songs "Baba O'Riley", "My Wife", and "The Song Is Over", and wrote, "After the unique brilliance of Tommy something special had to be thought out and the fact that they settled for a straight-forward album rather than an extension of their rock opera, says much for their courage and inventiveness."[59] Rolling Stone magazine's John Mendelsohn felt that, despite some amount of seriousness and artificiality, the album's brand of rock and roll is "intelligently-conceived, superbly-performed, brilliantly-produced, and sometimes even exciting".[60] At the end of 1971, the record was voted the best album of the year in the Pazz & Jop, an annual poll of American critics published by The Village Voice.[61]

Since then, Who's Next has often been viewed as the Who's best album.[56] In a retrospective review for AllMusic, Stephen Thomas Erlewine said its music was more genuine than Tommy or the aborted Lifehouse project because "those were art – [Who's Next], even with its pretensions, is rock & roll."[51] BBC Music's Chris Roberts cited it as the band's best record and "one of those carved-in-stone landmarks that the rock canon doesn't allow you to bad-mouth."[62] Mojo claimed its sophisticated music and hook-laden songs featured innovative use of rock synthesizers that did not weaken the Who's characteristic "power-quartet attack".[54] In The Encyclopedia of Popular Music (1998), Colin Larkin said it raised the standards for both hard rock and the Who, whose "sense of dynamics" was highlighted by the contrast between their powerful playing and a counterpoint produced at times from acoustic guitars and synthesizer obbligatos.[53] Christgau, on the other hand, was less enthusiastic about the record during the 1980s when the Who became what he felt was "the worst kind of art-rock band", writing that Who's Next revealed itself to be less tasteful in retrospect because of Daltrey's histrionic singing and "all that synth noodling".[63]

According to Acclaimed Music, Who's Next is the 35th most ranked record in critics' lists of the all-time greatest albums.[64] In 2003, Rolling Stone ranked it 28th on its list of the 500 greatest albums of all time.[65] The album appeared at number 15 on Pitchfork Media's list of the 100 best records from the 1970s.[66] It was also included in the book 1001 Albums You Must Hear Before You Die (2005).[67] The Classic Albums BBC documentary series aired an episode on Who's Next, initially on radio in 1989, and then on television in 1998,[68] which was released in 2006 on DVD as Classic Albums: The Who – Who's Next.[69] That year, the album was chosen by 時代雜誌 as one of their 100 best records of all time.[70] In 2007, it was inducted into the Grammy Hall of Fame for "lasting qualitative or historical significance".[71]

曲目列表

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全碟詞曲：皮特·湯申德，除了由約翰·恩特維斯托創作的「My Wife」。　
第一面
曲序曲目主音歌手時長
1.Baba O'RileyRoger Daltrey(主歌)，Townshend (橋接)5:08
2.BargainDaltrey (主歌)，Townshend (橋接)5:34
3.Love Ain't for KeepingDaltrey2:10
4.My WifeEntwistle3:41
5.The Song Is OverTownshend (主歌)，Daltrey (主歌)6:14
第二面
曲序曲目主音歌手時長
6.Getting in TuneDaltrey4:50
7.Going MobileTownshend3:42
8.Behind Blue EyesDaltrey3:42
9.Won't Get Fooled AgainDaltrey8:32

1995年附加曲目

[編輯]
再版CD附加曲目
曲序曲目時長
10.Pure and Easy（Original Version）4:22
11.Baby Don't You Do It（Holland-Dozier-Holland）5:15
12.Naked Eye（Live at the Young Vic 26/4/71）5:31
13.Water（Live at the Young Vic 26/4/71）6:26
14.Too Much of Anything（Original Version）4:25
15.I Don't Even Know Myself4:56
16.Behind Blue Eyes（Original Version）3:25

2003年豪華版

[編輯]

豪華版的第一盤包含來自原始專輯的九張曲目並包含了原版混音，接下來六個片段中包含了以前未發行的「Getting in Tune」and「Won't Get Fooled Again」。六個片段之中每個片段都在工作重新開始之前的1971年5月在英國Record Plant的一段時間錄製。

第二盤的曲目是在1971年4月26日倫敦Young Vic Theatre現場錄製的，所有曲目除了「Water」和「Naked Eye」都在先前未曾發行。

Disc 1
曲序曲目時長
1.Baba O'Riley5:01
2.Bargain5:33
3.Love Ain't for Keeping2:10
4.My Wife3:35
5.The Song Is Over6:17
6.Getting in Tune4:49
7.Going Mobile3:43
8.Behind Blue Eyes3:42
9.Won't Get Fooled Again8:35
10.Baby Don't You Do It（Longer Version）8:21
11.Getting in Tune（Alternate Version）6:36
12.Pure and Easy（Alternate Version）4:33
13.Love Ain't For Keeping（Electric Version, Townshend on lead vocals）4:06
14.Behind Blue Eyes（Alternate Version）3:30
15.Won't Get Fooled Again（Original New York sessions version）8:48
Disc 2
曲序曲目時長
1.Love Ain't For Keeping2:57
2.Pure and Easy6:00
3.Young Man Blues4:47
4.Time Is Passing3:59
5.Behind Blue Eyes4:49
6.I Don't Even Know Myself5:42
7.Too Much of Anything4:20
8.Getting in Tune6:42
9.Bargain5:46
10.Water8:19
11.My Generation2:58
12.Road Runner（Ellas McDaniel）3:14
13.Naked Eye6:21
14.Won't Get Fooled Again8:50

人員

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誰人樂團

[編輯]

額外音樂人

[編輯]
  • Dave Arbus – 「Baba O'Riley」之中的小提琴
  • Nicky Hopkins – 「The Song Is Over」和「Getting in Tune」之中的鋼琴
  • Al Kooper – alternate version版本的「Behind Blue Eyes」之中的風琴[72]
  • Leslie West – 「Baby, Don't You Do It」之中的主結他[72]

製作

[編輯]
  • The Who – 製作
  • Glyn Johns – 助理製作，錄製，混音
  • Doug Sax – 母帶製作
  • Kit Lambert – 執行製作
  • Chris Stamp – 執行製作
  • Pete Kameron – 執行製作
  • John Kosh – 專輯設計
  • Ethan Russell – 拍攝

榜單

[編輯]
榜單 (1971) 排名
美國 Billboard 200[73] 4
加拿大 RPM100 Albums[74] 5
英國 （Top 40 Albums）[75] 1
法國 （InfoDisc）[76] 2
荷蘭 （Top 100 Albums）[77] 2
丹麥[78] 3
法國 （Top 200 Albums）[79] 143
榜單 (2014) 排名
US Billboard Top Pop Catalog[80] 7

銷量

[編輯]
地區 認證 認證單位/銷量
意大利（意大利音樂產業聯盟）[81] 金 25,000*
英國（英國唱片業協會）[82] 金 100,000^
美國（美國唱片業協會）[83] 3× 白金 3,000,000^

*僅含認證的實際銷量
^僅含認證的出貨量


參考資料

[編輯]

引用

[編輯]
  1. ^ 1.0 1.1 Atkins, John. Who's Next and The Lifehouse Project. Who's Next (CD liner). The Who. MCA Records: 13, 24. 1995 [1971]. MCAD-11269. 
  2. ^ Neill & Kent 2002，第282–284頁.
  3. ^ 3.0 3.1 3.2 3.3 Neill & Kent 2002，第280頁.
  4. ^ Discography – Won't Get Fooled Again. The Who (official website). [6 November 2010]. （原始內容存檔於2021-08-15）. 
  5. ^ Baba O'Riley. ung Medien / hitparade.ch. [28 November 2011]. （原始內容存檔於2021-08-15）. 
  6. ^ Discography – Behind Blue Eyes. The Who (official website). [6 November 2010]. （原始內容存檔於2021-08-15）. 
  7. ^ 下一個是誰. 山海山唱片. [2024-09-02] （中文（臺灣））. 
  8. ^ Marsh 1983，第361頁.
  9. ^ Marsh 1983，第363頁.
  10. ^ Marsh 1983，第358頁.
  11. ^ Marsh 1983，第365頁.
  12. ^ Marsh 1983，第368頁.
  13. ^ Neill & Kent 2002，第272頁.
  14. ^ Marsh 1983，第369頁.
  15. ^ Neill & Kent 2002，第250頁.
  16. ^ 16.0 16.1 Neill & Kent 2002，第273頁.
  17. ^ Neill & Kent 2002，第278頁.
  18. ^ Neill & Kent 2002，第279頁.
  19. ^ Neill & Kent 2002，第274頁.
  20. ^ 20.0 20.1 Neill & Kent 2002，第281頁.
  21. ^ Townshend 2003，第6頁.
  22. ^ Marsh 1983，第377頁.
  23. ^ 23.0 23.1 23.2 23.3 Neill & Kent 2002，第282頁.
  24. ^ Atkins 2003，第13頁.
  25. ^ Atkins 2003，第14頁.
  26. ^ 26.0 26.1 26.2 Marsh 1983，第383頁.
  27. ^ Townshend 2003，第9頁.
  28. ^ The Lifehouse Method (official website). [25 November 2014]. （原始內容存檔於2008-05-18）. 
  29. ^ 29.0 29.1 Marsh 1983，第381頁.
  30. ^ 30.0 30.1 Marsh 1983，第382頁.
  31. ^ Atkins 2003，第18頁.
  32. ^ Fletcher 1998，第286頁.
  33. ^ Unterberger 2011，第105頁.
  34. ^ 34.0 34.1 34.2 34.3 Neill & Kent 2002，第275頁.
  35. ^ 35.0 35.1 Marsh 1983，第386頁.
  36. ^ Unterberger 2011，第108頁.
  37. ^ Unterberger 2011，第113頁.
  38. ^ 38.0 38.1 38.2 Neill & Kent 2002，第285頁.
  39. ^ McMichael, Joe; Lyons, Jack. The Who: Concert File. Omnibus Press. 2001: 480. ISBN 978-0-857-12737-2. 
  40. ^ The Greatest Album Covers – Photos. VH1. [6 November 2010]. （原始內容存檔於2013-10-29）. 
  41. ^ Neill & Kent 2002，第284頁.
  42. ^ Neill & Kent 2002，第288頁.
  43. ^ Marsh 1983，第389頁.
  44. ^ Marsh 1983，第390頁.
  45. ^ Marsh 1983，第392頁.
  46. ^ Marsh 1983，第393頁.
  47. ^ Odds & Sods. AllMusic. [23 November 2014]. （原始內容存檔於2021-08-15）. 
  48. ^ Atkins 2003，第24頁.
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來源

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外部連結

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