Word: basse
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...excess, insists on, and receives, a response in kind. Who audiences are some of the most fiercely loyal, and some of the wildest, in rock. Abandon is the aim, and to reach that The Who acts in concert with the audience; "They bring you alive," as John Entwistle, the bass player, puts it. The excess they want, group and fans together, is a release, an explosive culmination of energy, a detonation of good will and great music. "Rock's always been demanding," says Pete Townshend, who writes most Who songs. "It is demanding of its performers, and its audience...
...each performance. It was, at first, a flashy, frightening and finally exhilarating thing to see. Drummer Keith Moon blew up his drum kit, and Townshend rammed the neck of his guitar into his amp, while Daltrey slammed his microphone against the stage and Entwistle held tight to his bass, playing stubbornly on like a shipwreck's lone survivor trying to keep dry in a leaking lifeboat. There was too much discussion about how all this was rock's reflection of Pop art, happenings and autodestruction, how the demolition was an action critique of material values. But until the destruction came...
...PLACE IS AT THE EDGE. An hour after showtime, it is packed with more bodies and the mirror behind the bar is steamed with human heat. The little black box is itself pumping when the lead guitarist breaks his Sex Pistols cover and chants with his bass player, DESTROY-DESTROY-DESTROY and he disappears behind the drummer, who keeps a steady, low roll. The singer emerges from the other side of the drums wearing an Iranian flag shirt and American flag pants. There are 50 safety pins mending the rips in his shirt. They do a song called "Take...
...alive, just like he almost did when he was alive. He could be standing right next to you. Same crooning voice, sincerely telling you to "do drugs"--which you hear in the background if you play the cut "When You Trim Your Christmas Tree" super loud and with the bass turned down...
...from the dead. The death is heralded by crashing chords from Hubbard's piano, the ascension by a rising run on the bouzouki. As "Russian Roulette" gives way to "Dream #23," Clarke--in his sole appearance on the album--gives a grim picture of war-wracked Stuart England. His bass conveys depression and despair by a simple, minor sequence. Hubbard tries to flesh out the piece by drastically slowing the tempo and playing entirely in the piano's lower register. For all of Hubbard's attempts to write "felt" music, her combination of blatant imagery and her derivative performance produces...