Who Odds And Sods CD

ODDS AND SODS is a collection of outtakes and rarities from the 1960s through the early '70s, including "I'm The Face," recorded by The Who when they called themselves The High Numbers.
Originally released on MCA (2126) .
The Who: John Entwistle (bass instrument, background vocals); Keith Moon, Pete Townshend (background vocals); Roger Daltrey.
Personnel: Pete Townshend (vocals, guitar, piano, synthesizer); John Entwistle (vocals, brass, bass guitar); Keith Moon (vocals, drums); Roger Daltrey (vocals).
Additional personnel: Leslie West (guitar); Al Kooper (organ).
Audio Remixer: Andy MacPherson.
Liner Note Authors: Pete Townshend; Chris Charlesworth.
Recording information: CBS Studios (06/1964); CBS Studios, London, England (06/1964); De Lane Lea Studios, London, England (06/1964); De Lane Sea Studios (06/1964); Eel Pie Sound Studios, England (06/1964); Fontana Studios, England (06/1964); IBC Studios, England (06/1964); Olympic Studios, England (06/1964); Pye Studios, London, England (06/1964); Ramport Studios, England (06/1964).
Photographer: Graham Hughes.
Odds & Sods, a compilation of outtakes and rarities from the Who's first decade, is a rather jumpy listen that harbors few songs that could be termed top of the line. Also, since its 1974 release, several of the tracks have been issued on other compilations, or as bonus tracks to CD reissues of legitimate Who albums. Setting your expectations at the appropriate level, however, you'll find much of this worthwhile. "Pure and Easy," "Naked Eye," and "Long Live Rock" were all concert favorites of the group in the '70s; "Glow Girl" introduced some riffs that would resurface in Tommy; and "Postcard," John Entwistle's tale of rock life on the road, was one of his better compositions. This also has their very first single, "I'm the Face," recorded in 1964 when the group were known as the High Numbers. The 1998 CD reissue is a must-have even if you've got the original LP, as it doubles the album size with a dozen bonus tracks, most previously unreleased. These include some really interesting items: the Motown covers "Leaving Here" and "Baby Don't You Do It" are taken from demos circa late 1964, the latter track featuring some early guitar distortion freak-out in the solo; "Mary Anne with the Shaky Hand" is the rare U.S. B-side version; there are late-'60s studio versions of Live at Leeds faves "Summertime Blues" and "Young Man Blues"; the Rolling Stones' cover "Under My Thumb" and "Water" are B-sides that weren't on an album for a long time; and there are less exciting alternates and outtakes from Tommy, Who's Next and Quadrophenia. ~ Richie Unterberger
ODDS AND SODS stands out a bit in the Who canon. The aptly titled 1974 collection features songs that, for one reason or another, didn't end up on their initial recordings. It's a mixed bag to be sure, one that includes pre-Who numbers like "I'm the Face," introspective and religious-themed pop ("Too Much of Anything," "Faith in Something Bigger"), and some inspired goofiness like the anti-smoking "Little Billy." Unlike a lot of out-takes collections, there are no clinkers here, and there are several gems.
"Pure and Easy," from the aborted "Lighthouse" project, ranks with any of the great melodies Pete Townshend has written. The slowly building "Naked Eye," passionately sung in alternating verses by Daltrey and Townshend, ebbs and flows to an explosive climax. The most familiar tune here is probably "Long Live Rock," whose canny lyrics look back at the band's early days and boast, "We were the first band to vomit in the bar/and find the distance to the stage too far." A quirky collection that grows more appealing as time goes by.

Remastered