You might think The Who had their work cut out for them if they wanted to not sound like The Who - this was, after all, the same year that Sgt. Pepper's Lonely Hearts Club Band not only gave commercial legitimacy to the concept album, but was a concept album that relished in the idea that you weren't hearing The Beatles, but Sgt. Pepper's Band. That being said, The Who Sell Out blows Sgt. Pepper's out of the water in terms of conceptual execution, and does it so thoroughly that it's hard not to be impressed. Sell Out is filled to the brim with fictional ads and real Wonderful Radio London jingles, adding more than a little life to the concept - this did bring about some legal issues for the group at the time, but it's hard to argue that it's not effective. From the fake acne treatment of "Medac" to the bittersweet tale of the woman's failed weak deodorant on "Odorono", all sandwiched in between affirmations of smooth sailing with Wonderful Radio London, it's an incredibly immersive album. Not only is it a cleverly assembled and structured album, but it's one with plenty of humor and comedy to boot - Entwistle's the MVP in this department, and his lively jingle for Heinz Baked Beans is the best example of this, although Townshend's writing is certainly just as clever on this record. It's all very tongue-in-cheek, from the ode to skin-printing that is "Tattoo" with lines mentioning regret and how the tattoo "will be there when I die" to the aforementioned story of "Odorono", and yet it's all equally catchy at the same time. And how diverse the record is! From the psychedelia of "Armenia City in the Sky" to the folk rock of "Mary Anne With the Shaky Hand", the sunshine pop leaning of "I Can't Reach You" to the Simon & Garfunkel energy of "Sunrise", if the album didn't want to sound like The Who, it's halfway there, all while remaining in their camp in part due to the sharp production and continuously sharp musicianship of their members.
It doesn't sound like The Who on first listen, and yet The Who Sell Out is an embodiment of everything great about the group, both musically and lyrically. Ignoring the fact that a song like "I Can See for Miles" is the natural endpoint of their early material, turned up to 11, most of the other songs carry the group's sharp ear for melody and interesting musical ideas - Townshend had learnt how to play the piano earlier that year, and was looking to make his compositions more mature. It's hard to deny the results, especially when the music is as interesting as the laid-back psychedelia of "Relax" or the multiple parts of the pseudo-opera "Rael" that closes the album, a tale of invasion and freedom backed with brilliant singing and crashing instrumentation (including a particularly distinct musical motif towards the end that will pop up on a future release from The Who). The other key aspect that remains alive in The Who here is their playing, as previously touched upon, and frankly this is the best they've sounded yet. John Entwistle is the star here, with his driving bass rhythms and creative melodic lines. From the crunchy thump on "Armenia City in the Sky" to the creative up-and-down on "Odorono" to the rising line on his own cynical tale "Silas Stingy". Keith Moon is ever the powerhouse that he's been, although this album showcases of his best restraint and mood setting - he keeps a steady tempo on tunes like "Tattoo" or "Mary Anne With the Shaky Hand" in what may be his most subtle performances in The Who. It showcases a great amount of variety on his part in what may be his most underrated performances, but of course Keith can still do his usual octopus-armed craziness on songs like "Armenia City" or "I Can't Reach You". Roger's vocals often take a bit of a backseat to Townshend's on this album, but when Daltrey has the microphone, he gives some of his most gentle performances laid to record - there's a subtlety to his voice on moments like "Tattoo" or "Mary Anne" that, much like Moon, showcase some of his best variety on any album, fittingly so for such an alive product.
The Who Sell Out was it, baby - the moment The Who showed that they could truly hold their own artistically against the likes of The Beatles, Stones, and Kinks all at once. In the year of the Rise of the Concept Album™, Pete Townshend ran away with the idea to create one of the most lively, humorous, and catchy concept records of the entire decade, let alone of the year. Pop, folk, psychedelia, rock, all smashed together with an undeniable charm and wit that's central to The Who, and with that same musical prowess from every single member involved, too. It's the first in a steady line of truly fantastic records from The Who; the first gem in a lavish and exuberant crown that will only grow with time. Selling out has never sounded so good.
RATING: ✯✯✯✯✯✯✯✯✯✯
Listen to The Who Sell Out.
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