Read what I had to say about the original LP here.
The remastered “Odds & Sods” was issued in 1998, effectively becoming the final Who album to be expanded and reissued (leaving aside “My Generation”, which as I am sure you know remained in Shel Talmy’s grip). There was a lot of curiosity to see what was going to be added, and how it would be presented. Well, as it turned out the album length was more than doubled (it went from 11 to 23 tracks), and the new “Odds & Sods” was presented in chronological order. Now the album started with “I’m The Face” and finished with “Water”.
Led by Jon Astley, the archivists unearthed three true gems. The first two were from the sessions for Who’s Next: “Time Is Passing” and “Love Is For Keeping”. Of course, every self-respecting Who fan knew “Time Is Passing” from Pete’s version on “Who Came First”, but The ‘Oo’s version did not lag behind in any sense, and it evinced a gentle vocal by Roger at the time he was truly at the top of the Totem. And the song was fantastic even when it was only half the song – the channels that were meant to be on the left side were missing. As I explained when reviewing “Who Came First”, some bootlegger found them and put the full version together. Good luck if you can find it…
The “new” version of “Love Is For Keeping” was the electric take mentioned on the booklet of the reissued “Who’s Next”. Lesley West (from Mountain) played electric with Pete, and the result was equally as satisfying as “Baby Don’t You Do It” from the bonus-fortified “Who’s Next”.
The final true discovery was to be an outtake from “Quadrophenia“, “We Close Tonight”. But there was something strange about it – the song was credited to Pete but vocals were handled by John and Keith. That was something rare indeed, and the uber developed bass line just makes the question mark on who really composed it stand all the more noticeable. Personally, I think that “We Close Tonight” was the one song John wrote for “Quadrophenia”, and that he eventually chose to discard since he feared it summarized the whole opera in one song. Continue reading →
"Odds & Sods" Was Compiled By John Entwistle In 1974 At The Band's Behest, In Order To Buy Time For A "Proper" Who Album
“Odds & Sods” was an album of rarities that The Who had John Entwistle assemble while the members of the band were engrossed in other film and career projects. The year was 1974. John came up with an album that had “I’m The Face”, The Who’s very first single from 1964 (when they were known as The High Numbers), a song that was always very popular onstage like “Naked Eye” (from an aborted post “Who’s Next” EP) and the tune that had inspired “Lifehouse”, “Pure & Easy”. That was by far the most notable omission on the finished “Who’s Next” (remember, the band did not choose the songs that were featured – Glyn Johns did), and its inclusion on an official album was long overdue
Two other songs from that troubled but incredibly fruitful period include “Put The Money Down” and “Now I’m A Farmer”. The first is actually every bit as good as any other song Pete wrote about performers and fans. The jawbone synthesizer is also noticeable, if only because it gives Keith a chance to play around the beat like only he could do in his prime. The song also has one of Roger’s most bestial screams ever, I am a bit perplexed that the fact is seldom mentioned.
On the other hand, “Now I’m A Farmer” is a jumble of a song, jumping from a rockier tune to a silly folksier number back and forth and back and forth, and with Keith Moon impersonating an old farmer at the end. The song was even shortly considered for inclusion on “Tommy” right before the band decided to make it a double album – that was a time when they also thought about including “Young Man Blues” on the deaf, dumb and blind boy’s opera.
Entwistle’s one contribution to the album was “Postcard”, a song about the band’s life on the road which was fine, although only devoted fans got the full joke. (There’s kangaroos and we’re bad news in Australia/Thrown off the plane for drinking beer/So long on the plane it drove us insane/So long on the plane). The song was to be the one and only Entwistle-penned composition to be issued as a Who A-side. Continue reading →