Elsewhere Pete berates himself for being an alcoholic in "However Much I Booze", describes the temptation of easy sex in "Squeeze Box" and "Dreaming From The Waist". It begins brilliantly with "Slip Kid", which compares the fans going off to see the Who to their forefathers going off to fight in war. No great rock-opera concept album this one, just Ten solid tracks exploring many of the trials and tribulations of being in a rock band for most of your life. Coming as it did after Quadrophenia and Odds & Sods, it has much of the old spark, wit and energy of earlier Who masterpieces, and all four original members were firing on all cylinders. The Who By Numbers, released in 1975, could well be the last great Who album.
Very rare for a decade, "I'm the Face" and 'Zoot Suit" appeared on Who compilation albums in the '70s, and later on CD.LP (NEW) - Vinyl, Polydor, UK, 2012, 3715627, 180g Vinyl, Remastered, Reissue Whether this was intentional or not, it also erased any stigma that might have been attached to them as the result of the High Numbers' flop 45, and allowed them to present their first 1965 single, "I Can't Explain," as the debut of a brand-new band, the Who. The Who By Numbers, released 1975, is Petes most personal Who album, one on which he glances inward at himself and produces some of the most beautiful. as However Much I Booze, In A Hand Or Face and. that features the atypical Who hit Squeeze Box, and such keepers. solely by longtime Who associate producer Glyn Johns, this is the collection. just be the band’s forgotten masterpiece. The High Numbers wisely changed their name back to the Who by November 1964, by which time they had also changed management, replacing Meaden with Kit Lambert and Chris Stamp. The Who By Numbers, the Who’s seventh album, might. Both of those songs eventually found official release on archival Who compilations. The group did record two R&B-soul covers at the same session, Bo Diddley's "Here 'Tis" and Eddie Holland's "Leaving Here," that showed them to better advantage, if still a long way off from their great 1965 power pop recordings. In any case, the single went virtually unnoticed upon initial release. In fact, "Zoot Suit" rather overshadows the routine R&B of the A-side, with its unusual minor-key tune and rushed tempo. Pete Townshend's guitar in particular bore little resemblance to his power chords and searing feedback on the Who's 1965 singles the leads on the single were so jazzy and thin that one wonders if they were, in fact, the work of a session musician. Relatively little of the Who's personality came through on the disc.
THE WHO BY NUMBERS MOD
The flipside is often said to be similarly based on "Country Fool," an obscure New Orleans R&B number by the Showmen, although the resemblance to a previous song is not as blatant as it is with "I'm the Face." The lyrics, too, were rather blunt pastiches of mod jargon and sloganeering. The High Numbers did a single for Fontana in July, "I'm the Face"/"Zoot Suit." Both sides of the 45 were written by Meaden, the A-side loosely adapted from Slim Harpo's "Got Love If You Want It," a popular cover choice among British bands of the time (including the Kinks and the Yardbirds). Meaden was instrumental in getting the band to gear their music and image more toward the mod movement, and this was reflected in his choice of the name "the High Numbers," which arose from mod slang. For just a few months in 1964 (approximately July to October), the Who changed their name to the High Numbers, releasing one single under that billing before reverting to the more inventive and appropriate " the Who." The name change resulted from their association with Pete Meaden, a mod who briefly managed them in mid-1964 ( Helmut Gorden was also involved in their management with Meaden for much of that time).
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