26 of 27 people found the following review helpful
on 10 September 2002
As an owner of the previously available CD version it needed something special to persuade me to shell out for the latest offering, despite the extra tracks and remastering.
One listen was enough convince me! The sound is truly superb - crystal clear and just leaps off the CD to invade your space and leave your senses reeling. I was particularly taken with the awesome drumming of Moony - you can almost see him laying into the drumkit. Roger's vocals and John's bass are equally clear and impressive. Shel Talmy has achieved what sounds to me like the perfect mix. Startlingly good!
Two minor gripes - some might find the more restrained Pete Townshend sound takes a bit of getting used to, with his guitar lower in the mix and overdubs missing from a couple of tracks. However this is compensated for by including the original mono versions of "A legal matter" and "My generation" for comparison.
Also, some of the material on the second CD has previously been available and is of variable quality, although some of its belting - the previously unreleased a cappella version of "Anytime you want me" is fantastic.
If you're a Who fan who hasn't heard the 'My Generation' album (or even a non-Who fan!) then this is an absolute must, and for those of you who are already in love with the original, this is still well worth shelling out for - the sound is incredible!
7 of 7 people found the following review helpful
on 24 November 2012
I feel the need to clarify to potential purchasers - that this is the single disc mono edition (at least - thats what i received last week!) - so it is as close to the original as you'll ever get!
I wasnt there in '65 when the needle first hit the vinyl - so it is impossible for me to imagine what an impact this album had on people. For me, its very rudimentary Who. Yes, My Generation is incredible, but a lot of the motown/r&b covers on here, with the passage of time, sound fairly awful and vaguely incompetant. I know i'm offending people, but its just what I hear. I am a HUGE Who fan (honest!!) but this album has never done it for me, so fans of the purple patch 1969-73 - could be dissappointed.
However, the sound is crisp, clear, explosive and mono!!! As it should be. So its an essential part of my collection.
5 of 5 people found the following review helpful
on 27 December 2012
This review is for the 2012 mono reissue and where it fits into the "Who landscape".
At last we have the original mono mixes!
This sounds exactly the same as my original Brunswick vinyl, minus scratches, so job done there.
Packaging, as others have indicated, is minimal, but the music is what matters most.
This goes some way to redressing the damage done by the 2002 stereo remaster.
(which is still here on my shelves, due to the odd singles, B sides and super packaging)
The yawning gaps & clumsy edits on show here should never have got past "quality control" IMHO.
Couldn't stop myself, sorry, back to the mono CD.
Five star music, four star packaging, three star overall value,
-3 stars because, if you have bought Who LPs & CDs previously, as I have over the years,
you do begin to wonder quite when a definitive edition of anything will ever be delivered!
(three versions of A Quick One, four Tommy's -the list goes on)
I guess, sometime in the future we'll get the combined My Generation stereo/ mono versions bundled into another special pack.
More expense looms!
I won't even try to review this album musically, it was a classic, it always will be.
Perhaps the crucial point for any prospective buyer is, despite the Who's many great albums,
this remains the band at their freshest, bringing their measured mayhem crashing into the 60s scene.
The mono edition is a true reflection of those early days, avoid the stereo edition!
And back to 2012, the usual fast delivery from Amazon.
2 of 2 people found the following review helpful
on 22 November 2012
First of all, I've known this album since the Brunswick mono LP repease and loved the Who since the time I saw them explode into 'Anyway. Anyhow, Anywhere' on on of the pre-TOTP B & W mid-60s pop shows.
This is a great remaster, in mono of course. It is vibrant, powerful and true - much better than some of the previous trashy remasterings of early Who material, notably the quite poor job done on the 2-disc 'Deluxe' re-release of 'My Generation' a few years back.
This is the real McCoy (for a CD format) - all the crashing Moon pungency, the arm-swirling Townshend Link-Wray power chords, the surly Daltrey vocal and The Ox's deep bass spaces are there in their primal glory.
Now, the dunces in the marketing depatment should be admonished for missing a great opportunity to make a definitive CD issue even better by getting a few things right about the disc presentation or making the package more comprehensive.
For a start, the 'Brunswick' label on the disc itself is fine in principle - but why mark it as a '45' and make the CD LP look like the centre of the 7" 45 rpm single? Odd!
How come you spelled 'Daltrey' as 'Dultrey' on the rear cover? It wasn't spelt wrong on the original LP (I checked).
Why didn't you add proper little touches like the 'Brunswick' logo on the front and rear? Surely a barcodea and modern (2012) credits ruin the attempt at authenticity?
The booklet is a single-fold with one decent period pic of the band (in front of Big Ben) - but why not more pics? They were an iconic Mod band and lots of great pics exist. The page of sleeve notes are good, informative comments on the group's career to that date (1965).
Anyway, if you love real rock, buy this and play it loud and often.
It is a brilliant, timeless, exciting blast of power pop/blues that infused the era and inspired me to follow the Who for the next 40-odd years and enjoy them as much, if not more, than any other band encountered in my life.
2 of 2 people found the following review helpful
on 18 June 2012
As far as modern releases of this album go - across all formats - this is certainly the best yet.
First the good. Despite there only being so much one could do with this album given the original primitive mix, pressing it directly from the original mono masters has made some difference. Not a vast difference, but a difference nonetheless.
This LP sounds a little more open and alive than any other modern version I've heard, with slightly more clarity. There's also a bit more bass. It's an all round positive improvement.
And now, the bad (although I must admit "bad" within this context is too much of an extreme choice of word!).
Because of the freshly unveiled layer of clarity, albeit not that huge, it becomes more obvious with this release than on any other that the songs were recorded at different sessions. On all previous releases the album (being overly compressed, peak limited or slightly murky, depending upon which version you owned) has an overall quality which left it sounding pretty much like the band went into the studio and banged the entire thing out in one go. To be completely fair, the difference here isn't majorly obvious. It probably wouldn't even catch the attention of the average listener, but if you are a serious audiophile you'll probably pick up on it....but maybe it could be considered a good thing rather than bad? It all depends on taste I suppose.
Anyway. If you want the best possible modern vinyl listening experience of this album there is no question this Classic Records release is one you need. If you're not too bothered about the slight improvement in clarity you'll probably be happy with the much cheaper Virgin LP from the 1980s, which itself is slightly better than the original MCA CD.
The biggest annoyance is that this album has never been transferred to CD with the same care and attention seen with this Classic Records issue. That would truly have made for a "deluxe" listening experience!
Now, previously I would have recommended this Classic Records LP over the original 1965 Brunswick vinyl, but the pair now seem to be drifting ever closer when it comes to pricing. So if you have the money to spare you may be better off spending an extra £20 or £30 on the original. If not, buy this. You'll certainly be more than happy with it and probably never feel the need to upgrade again.
2 of 2 people found the following review helpful
on 26 December 2012
The CD that Universal released in the '80s was pretty much a quick cash-in, which is what the major labels were doing at the time in order to get as much product out there on the market as possible. It was an LP master, sounded OK but not great. In 2002, we got the Deluxe Edition, which was a huge disappointment because of the missing overdubs. At last, we have this edition which was remastered directly from the original mono masters, and sounds exactly as the original album was intended to. While not a perfect album - the lads were really still finding their sound, adding covers amongst Pete Townshend's originals - it is certainly a great mission statement. The original liner notes, of course, tell us of the band's four disparate personalities (Moon's wildman drumming, Townshend's windmill arm and guitar smashing, Daltrey's swagger and Entwistle's calm, eye-of-the-storm presence on bass), and all of that can be heard in the music.
BTW, this is a straight remaster of the original album - no bonus tracks, non-LP singles or outtakes - so if you were hoping for any of that, you'd best pass on this and go for the Deluxe Edition. But if all you want is the Who's 1965 debut, straight no chaser, this will hit the spot for you.
11 of 12 people found the following review helpful
on 14 February 2005
Shel Talmy has done a fantatstic job of re-mixing the original master tapes. Normally when old tapes are re-mixed producers tend to mix them using modern digital studio equipment and you end up losing a lot of the original sound.
This sounds like Shel has re-mixed the tapes using authentic 1960's equipment and has pushed the EQ right up to "11".
You feel as if you are sitting right in the middle of the studio.
It sounds like 1965 but oh so much clearer and louder
A fantastic job.
I wish Shel had re-mixed "A quick one" and "Sell out" as their re-mixes sound wishy-washy.
48 of 54 people found the following review helpful
The Who's 1st LP, originally released in the UK on Brunswick, one of Decca's group of labels, had been unavailable in the UK for decades, due to a legal matter involving the group's defection to their manager's new Reaction label, and the ownership of the album master tapes by their former producer, Shel Talmy. Thirty-five years later, after they had almost ended up auctioned on E-bay, the 3-track masters were re-mixed by Shel Talmy into true stereo for the first time and eventually released in a lavish 2CD set, overflowing with bonus tracks of unreleased out-takes and alternative versions. It seemed too good to be true, when first announced, but it almost isn't. The stereo sound is incredibly vibrant and powerful and the Who crackle with a raw energy and with a righteous commitment from each to outdo all the others, a clash of ambition and ego which provides glorious results.
There were slight variations between the UK track-list and its US release, The Who Sing My Generation, which came out later. I'm A Man was replaced by a newer recording, Circles, from 1966. This had been recorded as their intended fourth single, but had been abandoned when the band left the label (Brunswick cheekily released it later as the B-side to A Legal Matter, which was lifted off the album; they mistitled it Instant Party). Both items are included on Disc One, which also houses both sides of their first single and the UK B-side of their second (Anyway Anyhow Anywhere), which was the Otis Blackwell song Daddy Rolling Stone, covered first by Jimmy Ricks and the Ravens but known to the Who from a Sue label single by the Jamaican former-Top Note and Raven, Derek Martin. All of these are also mixed in stereo.
Disc Two begins with "additional bonus tracks", the first twelve tracks comprising material unreleased at the time, though some have subsequently appeared on 1980s compilations such as Who's Missing. Exceptions to this include the James Brown song Shout And Shimmy which became the UK B-side to My Generation, and Anytime You Want Me (Garnett Mimms and the Enchanters), unreleased in the UK at the time but found on the US B-side of Anyway Anyhow Anywhere. An a cappella version is also included, as is the instrumental version of My Generation.
It was the practice of the time to include well-known songs on albums and the Who's set was full of R&B, soul and Motown covers, many of which were recorded for their debut album, although Shel Talmy says in the notes that he was admirer of Pete Townshend's writing and would have been happy to include only original material. When early acetates of the sessions went out for review, the paucity of new material was commented on by Beat Instrumental reviewer John Emery, and so the release date was put back while some covers were replaced with Townshend songs: La-La-La-Lies, Much Too Much, It's Not True, A Legal Matter (featuring an early Pete Townshend lead vocal) and The Good's Gone.
The replaced tracks included, as well as those mentioned, Leaving Here (a Motown cover, originally by Eddie Holland), Lubie (Come Back Home) (an adaptation of Paul Revere and the Raider's Louie Go Home), Heat Wave and Motoring (both from Martha and the Vandellas), all collected here. Leaving Here exists in a number of different forms: a 1964 demo appeared on the expanded CD version of Odds And Sods, a version from April 1965 appeared on Who's Missing, and it was also recorded for the BBC's Saturday Club programme the following month (available on The BBC Sessions). The version here is an unknown alternative take from the April 1965 session. Heat Wave was re-recorded for the album A Quick One, copying the arrangement used by the Everly Brothers, whereas its clear from this earlier version that its genesis in the Who cannon was the Motown original.
Instant Party Mixture was recorded at the same time as Circles and was to have been its flipside. Circles was later re-recorded for the Ready Steady Who EP but Instant Party Mixture never saw the light of day until this release.
Full length versions of two of the album tracks follow. Their version of I Don't Mind is considerably adapted from James Brown's original, whether by design or out of necessity for a 3-piece group and a singer, and benefits from the extra minute or so, while what The Good's Gone owes to its inspiration, The Kink's See My Friends, is made much clearer by the guitar on the extended fade. Incidentally, See My Friends and other Kink titles were produced by Shel Talmy on 14 April 1965 at Pye Studios, while the Who were at IBC Studios cutting Anyway Anyhow Anywhere and several tracks for this album with the same producer. He must have been quite busy.
The band's extraordinary second single, Anyway Anyhow Anywhere, is unfortunately not included, but a rare early version with a slightly different title, which was released by accident on a French EP in 1966, takes its place. Apparently it was impossible to include a stereo mix of the released version as the vocal overdubs had been performed directly onto the final mono mix-down, a common practice at the time in order to minimize tape hiss.
This same practice affects the stereo presentation of a number of the album tracks, which are missing those final touches that were added at the mixing stage. These include vital guitar parts and some back-up vocals on My Generation and A Legal Matter, John Entwistle's french horn playing on Circles and vocal overdubs for La-La-La Lies and Much Too Much. This is partially addressed by the final two tracks on Disc Two, which are "monaural versions with guitar overdubs" (the great original mono versions of A Legal Matter and My Generation), and is made up for by the chance to hear these historic tracks in full stereo for the first time.
All of what is found here is so important and so fantastic to hear after all this time, and in such high quality sound, that one really doesn't want to carp. However, it would surely have been a good idea to have the entire original mono album on the second half of Disc One, with its three bonus tracks added to the second disc, along with the original mono version of Anyway Anyhow Anywhere, a top ten hit in the UK after all, and perhaps the Who's Missing version of Leaving Here. Maybe next time
24 of 27 people found the following review helpful
on 4 September 2011
I'm going to do two-reviews-in-one for this CD because Amazon has mixed together the reviews for the stereo and mono releases, which can be misleading to the reader as the content and quality of each is radically different.
The first section of this review is for the MONO CD featuring the original 1965 mix, the second part is for the STEREO "Deluxe" CD featuring the modern remix.
My Generation. MONO CD, on Polydor/Universal (3716077);
It's astounding to think this is the first time since 1979 that the original 1965 mono mix of the UK release of My Generation has been available on the shelves in UK stores. This original British version of the album first went out of print in the late 1960s due to legal issues with the album's Producer, Shel Talmy. It reappeared for just a couple of years in 1979 as an LP/Cassette on the Virgin Records label, before again completely disappearing from the market. When the CD age arrived in the 1980s the nearest thing offered to us was an American import on MCA titled "The Who Sings My Generation", which was an edited version of the British album with an altered tracklist.
So it should be something of a big deal that we can for the first time in almost 30 years walk into a music shop in the UK and pluck the original British version of The Who's debut album from the shelves.
But Polydor/Universal don't seem to view it that way, because basically the overall quality of this landmark release is one step up the ladder from the old MCA budget-price CD of "The Who Sings My Generation".
The packaging is some of the most sparse I've seen on a major label CD release for many years. The inlay artwork is simply a two-page fold-over with one page reproducing some 1965 Decca promotional blurb, the other listing the song titles and writing credits. There is nothing about the music, nothing about the history of the album, no recording details and no mastering details,
The rear artwork of the CD attempts to replicate the rear artwork of the original LP release, but in comparison to the original the band photographs look like photocopies and Roger Daltrey finds himself renamed as "Roger Dultrey". There is nothing more than some small text on the rear stating "mono" to suggest this release is different to any other CD version of the album.
The lack of mastering information is an intriguing omission because one could be forgiven for assuming that for this CD Polydor/Universal returned to the orginal mastertapes of the mono mix which they've used on recent Japanese CD remasters. After all, it took the record company over 30 years to finally secure those tapes from Shel Talmy.
It's been reported on a number of websites that this CD was sourced from a 1980 copy-tape made for a German LP release, which given the relatively low fidelty I can well believe. I compared this disc with the old MCA "The Who Sings My Generation" CD from the 1980s. This new CD is bassier with less top-end definition. To my ears it sounds like the source used here was a lower quality tape than that used for "The Who Sings My Generation".
This disc is louder than the old MCA disc, although surprisingly not by a vast amount. On a very positive note, there's no clipping, harshess, overdone compression or uncomfortable brightness, there's no problem cranking this CD up loud. But I can't help thinking the "Who Sings My Generation" CD remains, from a sonic perspective, the superior of the pair due its better clarity.
I paid £5.00 for this new mono CD on pre-order. It has the sound and appearance of a budget release, and within that context I consider £5.00 a reasonable price. I do though believe Polydor/Universal should at least have made clear on the outer artwork that this disc was sourced from different (and inferior) tapes to all other modern remasters of this title.
Now for the big question. How am I going to rate this CD?
Judging it solely on its own merits as a disc purchased for a budget price, I'll give it a rating of 3 stars out of 5. Had I paid more than £5.00 I'd be inclined, purely on the basis of presentation, to feel a star or two less generous.
Based on the music alone the disc is a solid 4 star purchase, essential for anyone who wants to explore The Who's Mod/R&B roots.
It's important also to remember that this release is currently the *only* way to hear The Who's debut album on CD in its original and complete mono mix outside of a couple of expensive Japanese releases. This is My Generation as it was intended to be heard when it was recorded and mixed in 1965. So despite my sometimes negative tone in the review, that alone should make it worth considering buying.
My Generation, STEREO "Deluxe" CD;
I'll cut to the chase: This is not the same My Generation album which exploded into the mid-sixties music scene with an impact reverberating throughout assorted Mod and Britpop revivals worldwide over subsequent decades until the mid-nineties. That was the original 1965 mono mix.
This Deluxe double-CD edition is very much a modern reinvention of the album. It is a reboot. A rethink. A revisionism. A creature that did not exist before 2002.
So what's the difference?
Firstly. The "original album" presented here is a modern stereo remix. This new mix gives the music quite a different dynamic to the original mono release, despite Shel Talmy being responsible for both mixes.
Secondly. Mr. Talmy felt the need with this modern remix to "enhance" the recording by adding a fake stereo effect to a number of the guitar and vocal parts, as a consequence of which the latter at times has a slight "telephone receiver" quality in comparison to the unprocessed mono original.
Whilst on this topic, Much Too Much really deserves a special mention. It suffers more than any other track on the album from the fake stereo processing, very noticeably so. In comparison to the original mono mix the overall sound is sort of muffled and almost phasey, a downgrade even from the unremastered MCA "The Who Sings My Generation". The mind boggles as to what Mr. Talmy was trying to achieve when remixing this track.
There was no need anyway to be adding fake stereo effects to *any* of these recordings. Some of the material which appears on this album has previously appeared in stereo on the Who's Missing and Two's Missing compilations with no fake stereo effects and sounding perfectly fine, some would say sounding superior to the versions appearing here.
Thirdly. The album is now missing a number of vocal and guitar overdubs which existed on the original mono release. Most noticeably (and disappointingly) the title track itself is missing the latter, which substantially lessens its impact. It's an odd state of affairs when "Deluxe" means you get less of something than you received with an earlier (and by default, inferior) version.
Finally. The Kids Are Alright uses a different vocal take to that found on the original album. It's also worth mentioning that with the stereo remix The Ox is slightly extended and comes to a natural end rather than fading out as was originally the case. I find this newly revealed ending to be something of an anti-climax compared to the original, where the music thundered off into the distance.
Oh, and just one more thing. The guitar seems to have at some points been mixed lower than it was on the original mono album. That's a strange (and annoying) choice for a recording which previously owed a large chunk of its fame to Townshend's brash and upfront guitar style.
What you're getting with this latest My Generation is something very different to the album which existed previously under the same name.
Being a Deluxe edition you of course also get a pile of bonus tracks. These are spread across the end of Disc One and the entirety of Disc Two, and you can probably split them into four groupings;
The Essential: A remix of I Can't Explain (which removes the tambourine and gives the track a much punchier and driving drum sound, very modern, but in a good way). Daddy Rolling Stone (an uptempo soul B-side, maximum R&B),
The Mildly Interesting: Lubie, Heatwave, Motoring, (a collection of covers rejected from the album's originally intended tracklist). Anytime You Want Me (a b-side similar in tone to I Don't Mind). Full length versions of The Good's Gone and I Don't Mind (with some nasty out of tune guitar work revealing why the original fade was needed). Anyway Anyhow Anywhere (not the original single, but an inferior EP version with a different vocal track) .
The Annoyingly Pointless: Bald Headed Woman (a b-side which starts off promisingly with some nicely growling vocals and darkly fuzzed and ominious guitar chords, before descending into a cheesy and cliched quadruple-speed instrumental "rave up"). Shout and Shimmy (a b-side that doesn't seem to do much more than go "Shout! Shimmy! Shout! Shimmy! Wooooah! Shout! Shimmy!" for 3 minutes). Anytime You Want Me (a *vocal only* version. Why?). Instant Party Mixture (a throwaway "comedy" song with the band doing assorted silly voiced comments between verses).
The Odd: Mono mixes of My Generation and A Legal Matter. I call these "odd" because their inclusion only serves to prove just how much better a complete remastered mono mix of this album would have been than the stereo rehash. All the overdubs missing from these same two tracks in stereo on the first disc are present and correct here in their mono form. There's no added modern audio fakery. And the mono sound gives the music an authentic extra punch missing from the stereo mixes. Quite simply these two mono tracks are superior in every way to anything on the stereo remix "original album" of the first disc.
Also included amongst the bonus tracks is Circles, which I wasn't sure where to categorise. Firstly it's (surprise! surprise!) missing an overdub. Secondly it was recorded a number of months after this album was released - and in a different year. Chronologically it would have fitted better on the following album, A Quick One. I suppose it ended up here because it was the band's final Shel Talmy production.
Overall the major annoyance with this release is that there certainly *was* enough space across the two discs to include the complete mono and stereo album mixes on the first disc, with the pick of the best bonus tracks on the second. Instead we were given a stereo Franken-album with a big pile of bonus tracks, a number of which are questionable at best.
But for all its faults there is a positive side to this Deluxe edition. You do for the first time on CD get the original UK tracklist. The previous CD issue followed the altered original US album release, which completely removed I'm A Man, added Circles, and used the single version of The Kids Are Alright (which had it's "pop art" middle section edited out). Also, the CD uses the original (and arguably superior) UK cover artwork.
So, to sum up;
For audio presentation I'm giving this Deluxe set a rating of two stars. It had the potential to be SO much better, to be the ultimate My Generation, to easily be a five star set. Unfortunately, questionable mixing choices and a lack of the album's essential mono mix drag it to the lower end of the scale with great ease. If you were hoping with this release to hear an authentic presentation of the original 1965 album, you're out of luck
That said, if you enjoy early Mod R&B and have never heard the My Generation album you'll probably like this Deluxe edition despite the aforementioned flaws, which unlike a listener used to the original album, you probably wouldn't on the whole notice. And when all is said and done, no matter which version you hear, this IS an essential album from the Mod genre.
30 of 34 people found the following review helpful
on 10 September 2002
This deluxe edition of the first Long Player by 'The Who' should tantalize the tastebuds of anyone who professes to love Britpop. The simple truth is that without this album The Jam would still be playing working mens clubs and Noel Gallagher and his cohorts would still be standing in the Kipax wondering why Peter Reid had to go.
There is a poignant quality that it should be released now so soon after the untimely death of the greatest English Rock Bass player, John 'The Ox' Entwhistle.
Just in case you need reminding,John transformed the bass guitar into a lead instrument here. There are no less than 3 separate versions of 'My Generation'. Marvel at the musical athleticism of his bass solo on a paired down, backing track version that hardly misses the infamous D-D-D-altrey vocal at all. More striking is the sheer funk he brings to Godfather James Brown covers 'Please, Please,Please','Shout and Shimmy' and 'I don't mind' that were a staple of their live set at that time.
This extended package is also bang on the money as an historical document, conveying as it does a great sense of time and place: 'Swinging London' when time was money and the royalty rates were costed in farthings. If this really is the sound of four socially incompatible young men steering their weary way through a succession of low big city dives, it makes for some great music.
Of course when you record in hours rather than months or years you retain a certain spontaneity, an endearing roughness that is never crude but always energetic. The whole thing bulges with blue beat majesty.
The reputed organised chaos is here in an alternate version of 'Anyway, anyhow, anywhere' where Moon is in a galaxy all of his own but still comes back on a crescendo of feedback to nail a beat as tight as the checks on Daltrey's jacket. Ah yes, Mr Daltrey - sir to me and you - tough as teak with the original cockney blues voice at full throttle and tough enough to make you believe they really do have cotton fields in Shepherds Bush.
The real maestro in the ensemble is of course Pete Townshend...the creative leadership of the group. God he was only 20 when this record was made! As were they all... but consider the perception, the tenderness and the bile he brings to his compositions. Anthem for 'My Generation', 'kids are alright' 'The good's gone' Truth is Townshend really could explain and does so with an inarticulate eloquence that lets you know he thinks feeling is better than thinking.
The guitarplaying featured here is not that of a virtuoso, no Pete is a working man using the tools of his trade and woe betide those 12 strings if they fail him by the end of the night......The informative sleeve has a terrific picture of a deadpan Pete flanked by the casualties of battle, a gallery of Beautiful but wrecked Rickenbackers.
So I tell no la-la-la-lies when I say forget all substitutes -'My Generation' is my album of the year, 1965 and 2002.