The Who-Tommy (1969)

We are faced with one of the fundamental works of the 20th century, considered the first rock opera in history, one of the most influential on subsequent generations, and one of the best-selling albums in the history of rock music, with over 25 million copies sold worldwide. An ambitious and epic album, intense, with opulent musical structures, sublime developments, and the immense instrumental and vocal talent of the four members of The Who. However, this impressive work, created almost entirely by Pete Townshend, also generated some controversy regarding its subject matter: a tearful and cruel story about a blind and deaf-mute boy who learns to play pinball. Beyond the controversial concept, musically there are great moments of energetic rock, forays into pop, and a progressive musical feel that pervades the entire double album, mainly due to the long instrumental interludes, which give it that clear progressive rock feel. From the opening "Overture" with its orchestrated grandiosity, the album unfolds through fluid and overflowing music, such as the simple acoustic tracks "It's A Boy" or "Tommy Can You Hear Me", which are the perfect counterpoint to the medieval sounds of "Welcome", the complex arrangements of "Eyesight To The Blind" and "Christmas", the sad "Cousin Kevin", the mournful "1921", or the powerful rock tracks "Pinball Wizard" and "Go To The Mirror".

The Who-Who Are You (1978)

We are faced with another masterpiece from the legendary The Who, an album that showcases the power of this magnificent British band. 

“Who Are You” went down in history not only for retaining the characteristic essence of The Who after so many years (in 1978 the band celebrated thirteen years since their debut album), but also for being the last album with drummer Keith Moon, who would die several weeks after its release, the result of a fatal combination of medication and alcohol.

Musically, “Who Are You” follows a similar path to its predecessor, “The Who By Numbers”, with excellent songs, brilliant and powerful guitars, a prodigious voice, and a devastating and precise rhythm section. Tracks like the superb title track, now widely known as the opening theme of the legendary American series "CSI", or the melodic "Trick Of The Light", make this work one of their most brilliant, but the rest are also of a high standard, such as the dynamic "New Song", the symphonic "Love Is Coming Down", the addictive "Had Enough" or the irresistible "905".

The Who-Live at Leeds (1970)

The proliferation of pirated records made from concert recordings with ambient sound, without going through any kind of post-production in a studio or further training, led many groups to try to combat the negative image of their personality that bootlegs offered by editing their own live records, with professional teams, thoroughly preparing the performances and showing a much higher quality product. That was the idea that prompted the Who to record two performances, on February 14, 1970 on the Leeds University Campus, and on February 15 at Hull's City Hall, to release their first official live album. Even the sobriety of the cover - a mere cardboard-colored folder, with the title of the album over impressed as if it had been stamped with a rubber stamp which curiously recalled the aesthetics of pirate recordings from the early 1970s.
In the end, only the recordings of the Leeds concert hence the album's title would be used since, according to Pete Townsend's statement, the sound quality in Hull was not up to par and the material recorded, compared to the from Leeds, it wasn't worth it.
Instead, the "Young Man Blues", "Substitute", "Shakin All Over" and "Summertime Blues" that the Who recorded that historic night leave on their own an irrefutable proof of the degree of strength and genius they were capable of liberating live to the heights of 1970. Just a month before, they had toured Europe presenting 'Tommy' on tour in a series of special shows lasting more than two hours and forty-five minutes, and precisely because of marking distances, practically nothing Except for a few excerpts from "Tommy", "See Me, Feel Me / Listening To You" and "Sparks" within the medley included in the middle part of "My Generation" was included on this album.
In 'Live At Leeds' you can widely enjoy one of the main virtues that live records had at that time: The almost complete transformation of many of the songs compared to studio versions. Outside the studio, outside the pressures of sound engineers and producers, the groups sought, within an environment of creative freedom that today sadly has been lost, to turn the songs, recreate them, make each song a musical base on which to build another song, or pick up a cover in the early 70s was almost forced in most groups, when they played live, restructure the songs, give them a new vision, introduce improvisations in the intermediate parts , make medleys -in this Led Zeppelin and Deep Purple were consummate masters, and this is seen in their live records- and in this way turn each performance into something unrepeatable. This clearly happens with the Who of 'Live At Leeds', who squander improvisation, imagination and above all, devastating power, sound brutality as overwhelming as that of the most solid Heavy Metal bands - just listen to their version of "Magic Bus" to realize.

The Who-Who's Next (1971)

With the album "Who's Next". the British band The Who achieved worldwide acclaim. While they had already made their mark with iconic works like the rock opera "Tommy" and intergenerational anthems such as "My Generation", it wasn't until this album that they finally reached the forefront of global rock music. 

This album was initially intended to be The Who's second rock opera, as guitarist and frontman Pete Townshend wanted to continue with that format after the success of "Tommy". However, this complex and ambitious project, which was to be called "Lifehouse", was scrapped, and many of the songs composed for it ended up on "Who's Next". 

The band's style on this album is somewhat different from their previous work, featuring a heavy dose of experimentation and incorporating the most cutting-edge sounds of the time, such as synthesizers, vigorous hard rock, and subtle progressive arrangements. All of this is combined with Townshend's own great guitar riffs, Roger Daltrey's powerful vocals, and the devastating rhythm section of Keith Moon and John Entwistle. 

This album is packed with legendary tracks, such as the opening "Baba O'Riley", with its now iconic synthesizer sounds the theme song for the TV series "CSI: Las Vegas", followed by the powerful and addictive "Bargain", the progressive "My Wife", the epic "The Song Is Over", the heartfelt "Getting In Tune", the exquisite "Going Mobile", and the sublime, progressive-tinged rock track "Won't Get Fooled Again". 

“Who’s Next” was a huge hit with the public, with sales that earned them three platinum records and at the same time made it The Who’s best work and one of the masterpieces of rock music.

The Who-Quadrophenia (1973)

Four years after their first rock opera, the grandiose "Tommy", The Who returned with another conceptual masterpiece, releasing the double album "Quadrophenia". This time, their leader, guitarist and keyboardist Pete Townshend, musically narrates a series of social and psychological events that affected the youth of the 1960s, recounting the madness and hallucinations suffered by many young people of the era. On this new album, each member is in top form, starting with Pete, who masterfully weaves a musical tapestry that moves between progressive rock and hard rock. This is followed by the frenetic style of drummer Keith Moon, who here showcases his more melodic side, the extraordinary talent of John Entwistle on bass, and the enormous vocal range of Roger Daltrey, who displays a power and emotion never before heard from him. The entire album is immensely enjoyable, but tracks like the haunting "I Am the Sea", the rocking "The Real Me", the instrumentals "Quadrophenia" and "The Rock", the orchestral "Cut My Hair", the catchy "5:15", and the hard rock "Doctor Jimmy" are the highlights of one of the "classic" albums in rock history. The subsequent reception of "Quadrophenia" would earn it several gold and platinum records and millions of copies sold on both sides of the Atlantic.