Chords for The Who Under Review 1964 1968 Part 1 of 8
Tempo:
110.05 bpm
Chords used:
A
G
B
E
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
And there are those who demand that pop music is nothing but the grotesque mumblings of
a drug sodden youth.
Others that it is making possible the most startling artistic upheaval since the Renaissance.
Others still that it is merely the harmless entertainment of adolescents.
Everyone however demands the existence of heroes.
[A]
I told you [G] it was you.
[A] [E] You did what we [A] all should.
I told you it [G] was you.
[A] You son [Eb] of a cuss.
[A] Bitch, I [G] told you it was [A] you.
I told you it was you.
In 1964, The Who [Db] emerged from the clubs of [Am] West London to become one of the most influential
[G] and controversial acts of [A] the 1960s.
[G] It was breaking the [E] mould of what happened before.
Everybody prior to that was kind of polite.
The Who were not polite.
They were the sort of right combination of sort of competent performance and inventiveness
with that sort of tinge of madness about it.
Between [B] 1964 and [A] 1968, the band would [B] release a series of revolutionary singles that would
[Ab] change the face of modern [Gb] music.
This program is an examination of these [A] records, their [Gb] musical significance and [B] the band who
[A] [B] made them.
[A] [B] [A] [B]
[A] [B] [Gb]
[N]
The Who formed in West London at Acton Grammar School where John Entwistle, Pete Townsend
and Roger Daltrey all attended.
Coming together initially as The Detours, the group quickly formed around Pete on guitar,
John on bass and Roger on vocals with the slightly older Doug Sandon behind the drum kit.
Playing various small venues around Shepherds Bush, the group began by covering popular
American rhythm and blues acts.
Well The Who at the time were doing what a lot of bands were doing at the time which
was R&B covers.
They were doing James Brown, Howling Wolf, you know, BB King, you know, Bo Diddley.
You know, that's what the basis for [G] thousands of groups was in the early 60s in Britain.
[Dm]
[F] [Dm]
[A] [F] [C] There was more of a move towards the harder edged [F] electric R&B and that may have come
about through influence by bands like Alexis Corners Blues [Abm] Incorporated who really were
the first R&B band in the UK.
Back to The Who or The Detours as they were called then, they had this rather confused
battery of images.
There was all this like a melting pot really and a tremendous excitement of discovery and
all of that kind of invested itself in The Who's influences in their music.
That's what the standard was.
R&B was what every group in Britain played.
That's what
you cut your teeth on and The Who were doing [Bb] that just like a thousand [G] other groups were doing.
[E]
[G] [B]
[D]
[Ab] The next significant influence on the band's sound was to come in the form of an early
manager, Pete Meaden.
Meaden had long since been at the forefront of a growing youth movement that became known as Mod.
Well Pete brought Mod culture to the band.
He brought this huge blanket and he draped
it over them and he immersed them in Mod culture.
He played them all the records that they should
be listening to.
He took them to Carnaby Street and to clothes shops to get dressed in a certain
way.
And he just immersed them in Mod culture.
He turned them into a Mod band.
I mean the
thing about The Who is they were a band who became Mods as opposed to someone like The
Small Faces who were Mods who became a band.
The Who were made into a Mod band by Pete Meaden obviously.
I mean they weren't a Mod
band as [C] such.
And he was quite smart to spot that really and turn them into, give that
crowd their own band.
And he pushed that very hard.
The one guy [G] who really, really took to all this was Townsend.
[E] Townsend had come from
art school so he was really open to any artistic, new artistic directions, new artistic ways.
And also what happened was him and Richard Barnes, who was a very close friend of his,
were sharing a flat and the guy who they were sharing the flat with had this huge record
collection, had to get out of town for whatever reason.
And suddenly they were left with this
amazing record collection of blues and R&B.
And so they just immersed themselves in that.
So you had Meaden, you had this record collection, you had this developing Mod culture.
And so
it was natural for The Who to kind of start positioning themselves as the voice of this subculture.
Although The Who had found their place amongst youth culture, there were problems forming
within the group itself.
Friction had developed between Doug Sandon and the rest of the band.
They needed a much more powerful drummer, somebody who could respond to the increasingly
exciting lead guitar work and much more energetic vocals.
Everybody else was putting a lot of
power and energy into the band, but the drummer was actually ten years older than the rest
of them and probably played adequately and well, but in a kind of routine style and they
needed that push.
So I think after a row between Roger and Doug, the drummer quit or was fired
and that left them needing, obviously they had gigs lined up, so they went through quite
a few different drummers for a while.
And one night they were playing somewhere, a gig
in West London and somebody showed up and said, oh, you should get my mate to try out,
he's a much better drummer [Ab] than the boat you've got.
My mate's name's Keith Moon.
So Keith
Moon showed up, leapt on stage and took over the drum kit and wrecked it, probably knocked
it to hell because Keith's mode of playing the drums was to play with full power and
attack, rather like Gene Krupa, who was one of his early idols.
I think everybody realised
that they'd [Gbm] found the man for The Who.
Trying to sum up Keith Moon's drumming in a couple of sentences is pretty much impossible.
He [D] was a mould breaker, a pioneer.
There's really been nobody like him.
The way he played
drums was absolutely reflective of his personality.
He was mischievous, lovable, off the wall, unhinged.
With Keith installed behind the drum kit, Pete Meaden completed the band's mod image
by changing the group's name to the high numbers.
Soon after, the band signed a one-single deal
with Fontana.
The record they were to release was the Meaden-penned I'm The Face.
The single that Pete Meaden wrote for The Who, I'm The Face and Zoot Su, he actually
nicked from two R&B records, one by Slim Harpo called Got Love If You Want It and one by
The Showmen.
Again, another signal to the audience, you know, taking these records,
changing them around a little bit, giving them lyrics, you know.
I'm The Face.
The Face
was a mod term for the guy who was number one.
He was the leader.
The Face was the guy
with the best clothes, the best ideas.
Like most of the
a drug sodden youth.
Others that it is making possible the most startling artistic upheaval since the Renaissance.
Others still that it is merely the harmless entertainment of adolescents.
Everyone however demands the existence of heroes.
[A]
I told you [G] it was you.
[A] [E] You did what we [A] all should.
I told you it [G] was you.
[A] You son [Eb] of a cuss.
[A] Bitch, I [G] told you it was [A] you.
I told you it was you.
In 1964, The Who [Db] emerged from the clubs of [Am] West London to become one of the most influential
[G] and controversial acts of [A] the 1960s.
[G] It was breaking the [E] mould of what happened before.
Everybody prior to that was kind of polite.
The Who were not polite.
They were the sort of right combination of sort of competent performance and inventiveness
with that sort of tinge of madness about it.
Between [B] 1964 and [A] 1968, the band would [B] release a series of revolutionary singles that would
[Ab] change the face of modern [Gb] music.
This program is an examination of these [A] records, their [Gb] musical significance and [B] the band who
[A] [B] made them.
[A] [B] [A] [B]
[A] [B] [Gb]
[N]
The Who formed in West London at Acton Grammar School where John Entwistle, Pete Townsend
and Roger Daltrey all attended.
Coming together initially as The Detours, the group quickly formed around Pete on guitar,
John on bass and Roger on vocals with the slightly older Doug Sandon behind the drum kit.
Playing various small venues around Shepherds Bush, the group began by covering popular
American rhythm and blues acts.
Well The Who at the time were doing what a lot of bands were doing at the time which
was R&B covers.
They were doing James Brown, Howling Wolf, you know, BB King, you know, Bo Diddley.
You know, that's what the basis for [G] thousands of groups was in the early 60s in Britain.
[Dm]
[F] [Dm]
[A] [F] [C] There was more of a move towards the harder edged [F] electric R&B and that may have come
about through influence by bands like Alexis Corners Blues [Abm] Incorporated who really were
the first R&B band in the UK.
Back to The Who or The Detours as they were called then, they had this rather confused
battery of images.
There was all this like a melting pot really and a tremendous excitement of discovery and
all of that kind of invested itself in The Who's influences in their music.
That's what the standard was.
R&B was what every group in Britain played.
That's what
you cut your teeth on and The Who were doing [Bb] that just like a thousand [G] other groups were doing.
[E]
[G] [B]
[D]
[Ab] The next significant influence on the band's sound was to come in the form of an early
manager, Pete Meaden.
Meaden had long since been at the forefront of a growing youth movement that became known as Mod.
Well Pete brought Mod culture to the band.
He brought this huge blanket and he draped
it over them and he immersed them in Mod culture.
He played them all the records that they should
be listening to.
He took them to Carnaby Street and to clothes shops to get dressed in a certain
way.
And he just immersed them in Mod culture.
He turned them into a Mod band.
I mean the
thing about The Who is they were a band who became Mods as opposed to someone like The
Small Faces who were Mods who became a band.
The Who were made into a Mod band by Pete Meaden obviously.
I mean they weren't a Mod
band as [C] such.
And he was quite smart to spot that really and turn them into, give that
crowd their own band.
And he pushed that very hard.
The one guy [G] who really, really took to all this was Townsend.
[E] Townsend had come from
art school so he was really open to any artistic, new artistic directions, new artistic ways.
And also what happened was him and Richard Barnes, who was a very close friend of his,
were sharing a flat and the guy who they were sharing the flat with had this huge record
collection, had to get out of town for whatever reason.
And suddenly they were left with this
amazing record collection of blues and R&B.
And so they just immersed themselves in that.
So you had Meaden, you had this record collection, you had this developing Mod culture.
And so
it was natural for The Who to kind of start positioning themselves as the voice of this subculture.
Although The Who had found their place amongst youth culture, there were problems forming
within the group itself.
Friction had developed between Doug Sandon and the rest of the band.
They needed a much more powerful drummer, somebody who could respond to the increasingly
exciting lead guitar work and much more energetic vocals.
Everybody else was putting a lot of
power and energy into the band, but the drummer was actually ten years older than the rest
of them and probably played adequately and well, but in a kind of routine style and they
needed that push.
So I think after a row between Roger and Doug, the drummer quit or was fired
and that left them needing, obviously they had gigs lined up, so they went through quite
a few different drummers for a while.
And one night they were playing somewhere, a gig
in West London and somebody showed up and said, oh, you should get my mate to try out,
he's a much better drummer [Ab] than the boat you've got.
My mate's name's Keith Moon.
So Keith
Moon showed up, leapt on stage and took over the drum kit and wrecked it, probably knocked
it to hell because Keith's mode of playing the drums was to play with full power and
attack, rather like Gene Krupa, who was one of his early idols.
I think everybody realised
that they'd [Gbm] found the man for The Who.
Trying to sum up Keith Moon's drumming in a couple of sentences is pretty much impossible.
He [D] was a mould breaker, a pioneer.
There's really been nobody like him.
The way he played
drums was absolutely reflective of his personality.
He was mischievous, lovable, off the wall, unhinged.
With Keith installed behind the drum kit, Pete Meaden completed the band's mod image
by changing the group's name to the high numbers.
Soon after, the band signed a one-single deal
with Fontana.
The record they were to release was the Meaden-penned I'm The Face.
The single that Pete Meaden wrote for The Who, I'm The Face and Zoot Su, he actually
nicked from two R&B records, one by Slim Harpo called Got Love If You Want It and one by
The Showmen.
Again, another signal to the audience, you know, taking these records,
changing them around a little bit, giving them lyrics, you know.
I'm The Face.
The Face
was a mod term for the guy who was number one.
He was the leader.
The Face was the guy
with the best clothes, the best ideas.
Like most of the
Key:
A
G
B
E
Ab
A
G
B
_ _ _ _ And there are those who demand that pop music is nothing but the grotesque mumblings of
a drug sodden youth.
Others that it is making possible the most startling artistic upheaval since the Renaissance.
Others still that it is merely the harmless entertainment of adolescents. _
Everyone however demands the existence of heroes.
[A]
I told you [G] it was you.
[A] [E] You did what we [A] all should.
I told you it [G] was you.
[A] You son [Eb] of a cuss.
[A] Bitch, I [G] told you it was [A] you.
I told you it was you.
In 1964, The Who [Db] emerged from the clubs of [Am] West London to become one of the most influential
[G] and controversial acts of [A] the 1960s.
[G] It was breaking the [E] mould of what happened before.
Everybody prior to that was kind of polite.
The Who were not polite.
_ They were the sort of right combination of sort of competent _ performance and inventiveness
with that sort of tinge of madness about it.
Between [B] 1964 and [A] 1968, the band would [B] release a series of revolutionary singles that would
[Ab] change the face of modern [Gb] music.
This program is an examination of these [A] records, their [Gb] musical significance and [B] the band who
_ _ [A] _ _ [B] made them.
[A] _ _ [B] _ _ [A] _ _ [B] _ _
[A] _ _ _ [B] _ _ _ [Gb] _ _
_ _ _ _ [N] _ _ _ _
The Who formed in West London at Acton Grammar School where John Entwistle, Pete Townsend
and Roger Daltrey all attended.
Coming together initially as The Detours, the group quickly formed around Pete on guitar,
John on bass and Roger on vocals with the slightly older Doug Sandon behind the drum kit.
Playing various small venues around Shepherds Bush, the group began by covering popular
American rhythm and blues acts.
Well The Who at the time were doing what a lot of bands were doing at the time which
was R&B covers.
They were doing James Brown, Howling Wolf, you know, BB King, you know, Bo Diddley.
You know, that's what the basis for [G] thousands of groups was in the early 60s in Britain.
_ _ _ _ [Dm] _ _ _
_ _ [F] _ _ [Dm] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [A] _ _ [F] _ [C] There was more of a move towards the harder edged [F] electric R&B and that may have come
about through influence by bands like Alexis Corners Blues [Abm] Incorporated who really were
the first R&B band in the UK.
Back to The Who or The Detours as they were called then, _ they had this rather confused
battery of images.
There was all this like a melting pot really and a tremendous excitement of discovery and
all of that kind of invested itself in The Who's influences in their music.
That's what the standard was.
R&B was what every group in Britain played.
That's what
you cut your teeth on and The Who were doing [Bb] that just like a thousand [G] other groups were doing.
_ _ _ _ [E] _ _ _
[G] _ _ _ _ [B] _ _ _ _
_ _ _ _ _ [D] _ _ _
_ _ [Ab] _ The next significant influence on the band's sound was to come in the form of an early
manager, Pete Meaden. _
Meaden had long since been at the forefront of a growing youth movement that became known as Mod.
Well Pete brought Mod culture to the band.
He brought this huge blanket and he draped
it over them and he immersed them in Mod culture.
He played them _ all the records that they should
be listening to.
He took them to Carnaby Street and to clothes shops to get dressed in a certain
way.
And he just immersed them in Mod culture.
He turned them into a Mod band.
I mean the
thing about The Who is they were a band who became Mods as opposed to someone like The
Small Faces who were Mods who became a band.
The Who were made into a Mod band by Pete Meaden obviously.
I mean they weren't a Mod
band as [C] such.
And he was quite _ smart to spot that really and turn them into, give that
crowd their own band.
And he pushed that very hard.
The one guy [G] who really, really took to all this was Townsend.
[E] Townsend had come from
art school so he was really open to any artistic, new artistic directions, new artistic ways.
And also what happened was him and Richard Barnes, who was a very close friend of his,
were sharing a flat and the guy who they were sharing the flat with had this huge record
collection, had to get out of town for whatever reason.
And suddenly they were left with this
amazing record collection of blues and R&B.
And so they just immersed themselves in that.
So _ you had Meaden, you had this record collection, you had this developing Mod culture.
And so
it was natural for The Who to kind of start _ positioning themselves as the voice of this subculture. _
_ Although The Who had found their place amongst youth culture, there were problems forming
within the group itself.
Friction had developed between Doug Sandon and the rest of the band.
They needed a much more powerful drummer, somebody who could respond to the increasingly
exciting lead guitar work and much more energetic vocals.
Everybody else was putting a lot of
power and energy into the band, but the drummer was actually ten years older than the rest
of them and probably played adequately and well, but in a kind of routine style and they
needed that push.
So I think after a row between Roger and Doug, the drummer quit or was fired
and that left them needing, obviously they had gigs lined up, so they went through quite
a few different drummers for a while.
And one night they were playing somewhere, a gig
in West London and somebody showed up and said, oh, you should get my mate to try out,
he's a much better drummer [Ab] than the boat you've got.
My mate's name's Keith Moon.
So Keith
Moon showed up, leapt on stage and took over the drum kit and wrecked it, probably knocked
it to hell because _ Keith's mode of playing the drums was to play with full power and
attack, rather like Gene Krupa, who was one of his early idols.
I think everybody realised
that they'd [Gbm] found the man for The Who.
Trying to sum up Keith Moon's drumming in a couple of sentences is pretty much impossible.
He [D] was _ a mould breaker, a pioneer.
There's really been nobody like him.
The way he played
drums was absolutely reflective of his personality.
He was mischievous, lovable, _ off the wall, unhinged.
_ _ _ With Keith installed behind the drum kit, Pete Meaden completed the band's mod image
by changing the group's name to the high numbers.
Soon after, the band signed a one-single deal
with Fontana.
The record they were to release was the Meaden-penned I'm The Face.
_ _ The single that Pete Meaden wrote for The Who, I'm The Face and Zoot Su, he actually
nicked from two R&B records, one by Slim Harpo called Got Love If You Want It and one by
The Showmen.
Again, another signal to the audience, you know, taking these records,
changing them around a little bit, giving them lyrics, you know.
I'm The Face.
The Face
was a mod term for the guy who was number one.
He was the leader.
The Face was the guy
with the best clothes, the best ideas.
Like most of the
a drug sodden youth.
Others that it is making possible the most startling artistic upheaval since the Renaissance.
Others still that it is merely the harmless entertainment of adolescents. _
Everyone however demands the existence of heroes.
[A]
I told you [G] it was you.
[A] [E] You did what we [A] all should.
I told you it [G] was you.
[A] You son [Eb] of a cuss.
[A] Bitch, I [G] told you it was [A] you.
I told you it was you.
In 1964, The Who [Db] emerged from the clubs of [Am] West London to become one of the most influential
[G] and controversial acts of [A] the 1960s.
[G] It was breaking the [E] mould of what happened before.
Everybody prior to that was kind of polite.
The Who were not polite.
_ They were the sort of right combination of sort of competent _ performance and inventiveness
with that sort of tinge of madness about it.
Between [B] 1964 and [A] 1968, the band would [B] release a series of revolutionary singles that would
[Ab] change the face of modern [Gb] music.
This program is an examination of these [A] records, their [Gb] musical significance and [B] the band who
_ _ [A] _ _ [B] made them.
[A] _ _ [B] _ _ [A] _ _ [B] _ _
[A] _ _ _ [B] _ _ _ [Gb] _ _
_ _ _ _ [N] _ _ _ _
The Who formed in West London at Acton Grammar School where John Entwistle, Pete Townsend
and Roger Daltrey all attended.
Coming together initially as The Detours, the group quickly formed around Pete on guitar,
John on bass and Roger on vocals with the slightly older Doug Sandon behind the drum kit.
Playing various small venues around Shepherds Bush, the group began by covering popular
American rhythm and blues acts.
Well The Who at the time were doing what a lot of bands were doing at the time which
was R&B covers.
They were doing James Brown, Howling Wolf, you know, BB King, you know, Bo Diddley.
You know, that's what the basis for [G] thousands of groups was in the early 60s in Britain.
_ _ _ _ [Dm] _ _ _
_ _ [F] _ _ [Dm] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [A] _ _ [F] _ [C] There was more of a move towards the harder edged [F] electric R&B and that may have come
about through influence by bands like Alexis Corners Blues [Abm] Incorporated who really were
the first R&B band in the UK.
Back to The Who or The Detours as they were called then, _ they had this rather confused
battery of images.
There was all this like a melting pot really and a tremendous excitement of discovery and
all of that kind of invested itself in The Who's influences in their music.
That's what the standard was.
R&B was what every group in Britain played.
That's what
you cut your teeth on and The Who were doing [Bb] that just like a thousand [G] other groups were doing.
_ _ _ _ [E] _ _ _
[G] _ _ _ _ [B] _ _ _ _
_ _ _ _ _ [D] _ _ _
_ _ [Ab] _ The next significant influence on the band's sound was to come in the form of an early
manager, Pete Meaden. _
Meaden had long since been at the forefront of a growing youth movement that became known as Mod.
Well Pete brought Mod culture to the band.
He brought this huge blanket and he draped
it over them and he immersed them in Mod culture.
He played them _ all the records that they should
be listening to.
He took them to Carnaby Street and to clothes shops to get dressed in a certain
way.
And he just immersed them in Mod culture.
He turned them into a Mod band.
I mean the
thing about The Who is they were a band who became Mods as opposed to someone like The
Small Faces who were Mods who became a band.
The Who were made into a Mod band by Pete Meaden obviously.
I mean they weren't a Mod
band as [C] such.
And he was quite _ smart to spot that really and turn them into, give that
crowd their own band.
And he pushed that very hard.
The one guy [G] who really, really took to all this was Townsend.
[E] Townsend had come from
art school so he was really open to any artistic, new artistic directions, new artistic ways.
And also what happened was him and Richard Barnes, who was a very close friend of his,
were sharing a flat and the guy who they were sharing the flat with had this huge record
collection, had to get out of town for whatever reason.
And suddenly they were left with this
amazing record collection of blues and R&B.
And so they just immersed themselves in that.
So _ you had Meaden, you had this record collection, you had this developing Mod culture.
And so
it was natural for The Who to kind of start _ positioning themselves as the voice of this subculture. _
_ Although The Who had found their place amongst youth culture, there were problems forming
within the group itself.
Friction had developed between Doug Sandon and the rest of the band.
They needed a much more powerful drummer, somebody who could respond to the increasingly
exciting lead guitar work and much more energetic vocals.
Everybody else was putting a lot of
power and energy into the band, but the drummer was actually ten years older than the rest
of them and probably played adequately and well, but in a kind of routine style and they
needed that push.
So I think after a row between Roger and Doug, the drummer quit or was fired
and that left them needing, obviously they had gigs lined up, so they went through quite
a few different drummers for a while.
And one night they were playing somewhere, a gig
in West London and somebody showed up and said, oh, you should get my mate to try out,
he's a much better drummer [Ab] than the boat you've got.
My mate's name's Keith Moon.
So Keith
Moon showed up, leapt on stage and took over the drum kit and wrecked it, probably knocked
it to hell because _ Keith's mode of playing the drums was to play with full power and
attack, rather like Gene Krupa, who was one of his early idols.
I think everybody realised
that they'd [Gbm] found the man for The Who.
Trying to sum up Keith Moon's drumming in a couple of sentences is pretty much impossible.
He [D] was _ a mould breaker, a pioneer.
There's really been nobody like him.
The way he played
drums was absolutely reflective of his personality.
He was mischievous, lovable, _ off the wall, unhinged.
_ _ _ With Keith installed behind the drum kit, Pete Meaden completed the band's mod image
by changing the group's name to the high numbers.
Soon after, the band signed a one-single deal
with Fontana.
The record they were to release was the Meaden-penned I'm The Face.
_ _ The single that Pete Meaden wrote for The Who, I'm The Face and Zoot Su, he actually
nicked from two R&B records, one by Slim Harpo called Got Love If You Want It and one by
The Showmen.
Again, another signal to the audience, you know, taking these records,
changing them around a little bit, giving them lyrics, you know.
I'm The Face.
The Face
was a mod term for the guy who was number one.
He was the leader.
The Face was the guy
with the best clothes, the best ideas.
Like most of the