The Who – ‘Endless Wire’

What should one’s expectations be for a new album from a bunch of rock dinosaurs who started making music back in the Jurassic era? A work that manages to catch a faint glimpse of past glories? Given that this is now only really half The Who, perhaps even that is too much to hope for. Imagine my surprise then, when, after a few listens, I fell in love with this new album from Pete Townshend and Roger Daltrey, the two surviving members of this legendary rock band.

The album breaks down into two halves – the first nine songs stand on their own while the final ten make up the mini-opera “Wire & Glass”.

The first track, “Fragments” starts with a repeated keyboard refrain before that distinctive Townshend guitar breaks in along with drums from Zak Starkey and bass from master session player Pino Paladino. They’re soon joined by the unmistakable voice of Roger Daltrey. The song itself deals with man’s individuality and the possibility of unity through music. It’s a good way to start but things get better.

“Man In a Purple Dress” was inspired by the film The Passion of the Christ and sees Townshend railing against the pomposity of organised religion, where men need to play dress up in order to commune with god. The arrangement is simple, just acoustic guitar and vocals and it’s very country in style. It’s one of Roger Daltrey’s finest moments, not just singing the words but feeling them as well.

I’ve often wondered how Mr Townshend feels about his tunes being used for TV themes and with “Mike Post Theme” he gives me his answer – he thinks it’s cool. Here he pays tribute to the master of the catchy TV theme, Mike Post. After the subtlety of the previous track, it gives Roger a chance to show us he can bawl with the best of them. It’s an incredibly catchy song with a typical Who hook and would make an excellent single (or C.S.I. theme).

Pete does a passable Tom Waits impression on “In The Ether”, a song about an aging rock star whose drug abuse has left him confined to a sanatorium. He doesn’t just sing the song but acts it out for the listener and he’s accompanied by some emotive piano and gentle acoustic guitar.

“Black Widow’s Eyes” at first seems like a standard love song but a closer listen reveals the black widow of the title to be a terrorist bomber. Love defies reason and can happen in the blink of an eye and sometimes we fall for the wrong people… even a suicide bomber. It’s the kind of infectious rock song with a brain that epitomises the band.

The Passion of the Christ obviously had a profound effect on Townshend as “Two Thousand Years” is another song he wrote after seeing it. It’s about man’s wait for the second coming and Judas’ wait for redemption – mostly just vocals and acoustic guitar with an arrangement that again shows off Daltrey’s amazing voice.

Pete pays tribute to one of his heroes with “God Speaks of Marty Robbins.” The leanest arrangement on the album, it features some beautiful acoustic guitar and Roger (obviously a fan as well) sings the song Robbins-style. It’s a simple song and all the more beautiful for it’s simplicity.

Back in full on rock mode again for “It’s Not Enough” and Townshend shows he can still deliver a stunning guitar solo. Sometimes no matter how much we love someone it will never be enough and Roger rails against this fact with a magnificent bluesy vocal performance. The title comes from a line by Bridget Bardot in Godard’s Le Mepris.

“You Stand by Me” is the final track before the rock opera half of Endless Wire kicks in. It’s another simple song about loyalty and love and was written for Rachel Fuller, Townsend’s partner, and also for Roger Daltrey. They may have had numerous bust-ups over the years but they’re still together and here Pete takes the opportunity to give thanks for that.

If that was the end it would be more than enough to make this listener thankful that these old curmudgeons are still making music together but now we get Townshend’s semi-autobiographical rock opera.

The story starts off with “Sound Round” as a young rock star in the ’70s named Ray High has a vision of a future where the world will be chocked by miles and miles of wire. It’s the first of a double whammy of rockers that continues with “Pick Up the Peace” which finds modern-day Ray institutionalised. He remembers his past while observing three youths through his hospital window and has a vision of them in the future as big stars. These two songs show Townshend’s gift for writing a perfectly good rock song while also incorporating a bigger story within.

“Unholy Trinity” continues the trio’s journey to stardom while slowing the tempo a little. “Trilby’s Piano” is next and it’s the weakest track on the album with Roger’s vocal sounding a little forced.

Ray High and the kids’ stories merge with “Endless Wire” as they plan to put his idea for a world unified by music into practice. “Fragments of Fragment” is that concept brought to life. It’s a more music-focused version of the first track on the album.

“We Got a Hit” follows the kids to adulthood and superstardom; the lyrics could apply just as well to the Who as the fictional band The Glass Household. It’s a rise that Ray High observes from his cell in “They Made My Dream Come True.” He also has a vision of impending tragedy at the band’s biggest show.

That tragedy is brought to life in “Mirror Door” as one of our heroes ends up in that great gig in the sky. The song features a roll call of rock greats that includes among others Elvis, Bobby Darin, Johnny Cash and the not yet departed but surely destined for heaven Doris Day.

The album reaches its conclusion with “Tea & Theatre” and it’s a lovely, gentle, sad tune that gives Roger one last chance to give his tonsils a workout and he rises to the challenge beautifully.

Daltrey has described the late John Entwistle as the equator keeping himself and Pete Townshend in balance and one could question whether they should have used the band name without him. One thing is for sure – although this may not be The Who of old, they have managed to create a superb album that doesn’t just hope to recapture past glories but create brand new ones. Daltrey, now 62, still sounds as good as anyone around today and he relishes having songs worthy of his ability.

Both Roger and Pete are talented individuals in their own right, but it’s only when they come together that we witness true genius.