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Who's Next
 
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Who's Next

6 Dec 1999 | Format: MP3

8.49 (VAT included if applicable)
Buy the CD album for 5.95 and get the MP3 version for FREE. Does not apply to gift orders.
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Product details

  • Original Release Date: 6 Dec 1999
  • Release Date: 6 Dec 1999
  • Label: Polydor Ltd.
  • Copyright: (C) 1995 Polydor Ltd. (UK)
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:17:39
  • Genres:
  • ASIN: B001KRTYWM
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (121 customer reviews)
  • Amazon Bestsellers Rank: 8,775 in MP3 Albums (See Top 100 in MP3 Albums)

Customer Reviews

4.6 out of 5 stars
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Most Helpful Customer Reviews

77 of 81 people found the following review helpful By John Basham on 17 May 2008
Format: Audio CD
This is a more technical comment on this re-release - obviously this is a full five star album, genius at its very height, etc.

However having listened closely to the "Deluxe" (2-CD) version of Who's Next against the earlier 1995 "Remixed and Digitally Remastered" (1-CD) version - they ain't the same (if you use iTunes, use Apple Lossless - you'll never go back to MP3, BTW - or FLAC with other players). The track lengths give this away, but on a good system, and particularly with good headphones, you will be able to tell the difference easily. Essentially the Deluxe sounds like a remaster only - i.e. taken from the original stereo master tapes, and a harsh one at that - whereas the 1995 version is clearly a remix from the original multitrack master.

OK, so what? Well, in almost every case (every case in my own view) the remixed versions - while sticking closely to the original mixes and overall production quality (and quite rightly so, this recording was also Glyn Johns' own masterpiece) have a clearer and more transparent quality that makes the vinyl/Deluxe versions sound sonically limited. Subtle details in the mix, tambourines, vocal inflections, even creaking studio chairs and background whispers become clear on the 1995 remix versions - it's uncanny, and for music/Who fans who really care about this album the effect is much like the (also remixed/remastered) 2-CD Tommy - which is frankly breathtaking and sounds like it might have been recorded last week. Studio technology was quite advanced from the sixties onwards, only the need to adjust things for vinyl messed up the sound quality. Revisting the master tapes allows modern listeners to hear what Glyn Johns would have heard in the studio.
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29 of 30 people found the following review helpful By Geoffrey Millar on 16 Mar 2007
Format: Audio CD
Who's Next, apart from having a brilliant cover, is for me the absolute studio peak for this band. The songwriting, recording, musicianship and

'feel' of the album remain stunning almost forty years after its release.

It was/is the perfect Who album, although so are The Who Sell Out, and Who Live at Leeds, and.....

BUT, in these days of CD, why do the record companies think they have to fill up the disc to give value? The bonus tracks are excellent and most welcome, of course, but why not (OK, I know it's dollars) put them on a second CD?

Won't Get Fooled Again was the perfect close to the record, but now it closes with Behind Blue Eyes: great song, but not the 'kapow' ending of the original. Of course, in these days of MP3 and IPods, you can re-jig albums in any way you like, but can you imagine Sgt Pepper ending with, say, an outtake version of Lovely Rita instead of Day in the Life?!

Anyway, enough griping. This is great stuff, and I defy anyone to avoid playing along with the drum break in Won't Get Fooled Again.

PS There is another issue of Who's Next, too. This is a 2 CD set which features a terrific, unreleased live collection from the Vic Theatre which was planned to be part of the Lifehouse project, I think. The first CD is the same as the first re-issue reviewed here.
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20 of 21 people found the following review helpful By David Lovie on 22 May 2006
Format: Audio CD
A fantastic album, definitely up there with the best rock has offered over the last 50 years. A slightly more grown up and `rock' sounding Who compared to some of their earlier work, but still with all the classic sounds and features that made the Who so great, from Keith Moons rather mad drumming to Pete Townshend's huge chords and excellent guitar playing.

This album starts with Baba O'Riley, opening with a synth line that flows through the whole song (at times in the forefront, other times hidden under guitars) to which a simple few chords on piano are added and drums and the song gets into swing, Daltrey's vocals of teenage years and feelings, and the huge crashing guitars. Before later stripping right back down to the basics before building up again for the crash of the ending.

Bargain is another five plus minutes of classic Who rock, starting with some violin inspired guitar swells before launching into the song proper, a song of chasing that one girl.

I don't want to go through all the songs individually, but `Behind Blue eyes' must be mentioned, more lately known from a Limp Bizkit `cover' of it (some would say massacre) this is the original version as it should be. A heartfelt song of not fitting in and being the outsider, simple acoustic and bass playing and vocal line for a few verses until the song opens up with Keith Moon coming crashing in on the drums accompanied by Pete Townshend with huge crashing chords and riffs.
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4 of 4 people found the following review helpful By A Customer on 3 Jun 2000
Format: Audio CD
A lot has already been written about this, one of the most important albums of any genre of all time. Much has been made of Townshend's pioneering work with synthesisers and the fact that each band member gives as good an account of himself as he ever had or would. The thing that strikes home when listening to this masterpiece is that it serves as the best reminder of The Who's live form when in the studio. Indeed, it demonstrates that which made The Who unique - the band contained 4 lead performers out of 4. Only Moon and Entwistle could make their drums/base work so well in the forefront of a song-witness 'Song is Over'. Only Daltery, ostensibly the 'front man' could blend his perfect rocker's tones with the more delicate vocals of Townshend to come up with such emotion as is released in 'Behind Blue Eyes'. Entwistle excels with 'My Wife', brilliantly demonstrating his macabre sense of humour as well as his ability to lay down a great, no frills rock song. Fans of the band will know that this was to be the basis of the yet-to-be-realised Lifehouse Project. New listeners will be awe-struck by the concept of the project (detailed in the sleeve notes) and the genius of Townshend. Only he could have attempted something so audacious. In short, only the insane, tone deaf or those who already own a copy should refrain from buying it. Go on. Buy some history.
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