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Track List
01) I Am the Sea
02) The Real Me
03) Quadrophenia
04) Cut My Hair
05) The Punk and the Godfather
06) I'm One
07) The Dirty Jobs
08) Helpless Dancer
09) Is It in My Head?
10) I've Had Enough
01) I Am the Sea
02) The Real Me
03) Quadrophenia
04) Cut My Hair
05) The Punk and the Godfather
06) I'm One
07) The Dirty Jobs
08) Helpless Dancer
09) Is It in My Head?
10) I've Had Enough
2:09
3:21
6:13
3:45
5:11
2:38
4:29
2:34
3:43
6:16
Data Complete
80%
Total Rating
80%Total Rating
(7 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1973
Classic Rock
Enlightened
Rock/Pop
---
Fast
Album
0 copies
Album Description
Available in:
Quadrophenia est un album du groupe britannique The Who, sorti en 1973. C'est le second des opéras-rock du groupe, après Tommy, sorti quatre ans plus tôt (1969). Entièrement composé par Pete Townshend, Quadrophenia a été produit par les Who avec l'aide de Kit Lambert et de Glyn Johns. Il se classe 2e au Royaume-Uni (la première place était occupée par Pin Ups de David Bowie) et aux États-Unis (où le numéro 1 était Goodbye Yellow Brick Road d'Elton John). Toutefois, "Quadrophenia" ne marque pas autant les esprits que Tommy.
Ce double album raconte l'histoire d'un jeune mod nommé Jimmy. Tout au long de l'album, Jimmy parle de ses problèmes avec sa famille, ses amis et surtout de la difficulté à se trouver soi-même. L'action se déroule dans les années 1960, lors des émeutes entre bandes rivales (mods contre rockers).
L'album est marqué par une grande utilisation des synthétiseurs et une utilisation très importante des cuivres joués par John Entwistle, habituellement bassiste.
Un film, Quadrophenia, tiré de cet album et réalisé par Franc Roddam sort en 1979.
L'album a été présent dans les charts britanniques durant quarante semaines et est devenu disque d'or le 29 octobre 1973. Il atteint la 2e place en novembre 1973 tandis que le single 5:15 monte à la 20e place en octobre de la même année.
User Album Review
There are certain albums from the 1970s the brilliance of which must be taken on trust by listeners of today. If you weren’t in the neighbourhood of Ladbroke Grove in 1976, The Clash’s first LP sounds fairly far from revolutionary. If you weren’t around to hear the Ramones emerge as the fastest band in the world – before Bad Brains came along, that is – then the New Yorkers’ self-titled debut sounds slower than a solar-powered milk-float on a December morning. But certain albums of the time have managed to retain their untamed quality. Never Mind the Bollocks is one; Quadrophenia is another.
Available here in an almost pornographically sumptuous box-set edition, featuring the original 1973 album, two CDs worth of demos, a 5.1 surround DVD mix, a poster and a beautifully presented 100-page hardback book which also features a brand-new essay from Pete Townshend (there is also a cheaper two-disc version for anyone not looking to blow 70 sheets five weeks before Christmas – said set’s tracklisting, to the left), this is the album that refuses to die. For while Tommy may have made it all the way to Broadway, it is Quadrophenia which has aced the test of time better than any other album released by The Who.
Thematic if not quite conceptual, the original double-LP – which in freshly re-mastered form sounds both sharp and clear – frames England in an time of uncertainty: the uncertainty of the class system, the uncertainty of youth as it greys into older age, the uncertainty of an economy in its first shudder of industrial decline. As befits an album bursting with conflict and even violence – "I’ve seen my share of kills," sings the narrator of the impossibly brilliant I’ve Had Enough – Quadrophenia’s music is performed by a band who seem to be not just at odds with their country but also at times with each other. These are songs with very little space in which to breathe – when the denouement of a fully-aerated Love Reign O’er Me does arrive, the effect is almost cleansing – all played out to a backdrop of psychiatrists, priests, furious fathers, amphetamine-filled teenagers, fallen idols and enough sharp suits to cut open a whole army of greasers on the seafront at Brighton.
Soon to celebrate its 40th birthday, Quadrophenia is one of the few albums of its time that sounds as good today as it must have done then. For once, the term ‘masterpiece’ is not sold on the cheap.
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User Comments
Available in:
Quadrophenia est un album du groupe britannique The Who, sorti en 1973. C'est le second des opéras-rock du groupe, après Tommy, sorti quatre ans plus tôt (1969). Entièrement composé par Pete Townshend, Quadrophenia a été produit par les Who avec l'aide de Kit Lambert et de Glyn Johns. Il se classe 2e au Royaume-Uni (la première place était occupée par Pin Ups de David Bowie) et aux États-Unis (où le numéro 1 était Goodbye Yellow Brick Road d'Elton John). Toutefois, "Quadrophenia" ne marque pas autant les esprits que Tommy.
Ce double album raconte l'histoire d'un jeune mod nommé Jimmy. Tout au long de l'album, Jimmy parle de ses problèmes avec sa famille, ses amis et surtout de la difficulté à se trouver soi-même. L'action se déroule dans les années 1960, lors des émeutes entre bandes rivales (mods contre rockers).
L'album est marqué par une grande utilisation des synthétiseurs et une utilisation très importante des cuivres joués par John Entwistle, habituellement bassiste.
Un film, Quadrophenia, tiré de cet album et réalisé par Franc Roddam sort en 1979.
L'album a été présent dans les charts britanniques durant quarante semaines et est devenu disque d'or le 29 octobre 1973. Il atteint la 2e place en novembre 1973 tandis que le single 5:15 monte à la 20e place en octobre de la même année.
User Album Review
There are certain albums from the 1970s the brilliance of which must be taken on trust by listeners of today. If you weren’t in the neighbourhood of Ladbroke Grove in 1976, The Clash’s first LP sounds fairly far from revolutionary. If you weren’t around to hear the Ramones emerge as the fastest band in the world – before Bad Brains came along, that is – then the New Yorkers’ self-titled debut sounds slower than a solar-powered milk-float on a December morning. But certain albums of the time have managed to retain their untamed quality. Never Mind the Bollocks is one; Quadrophenia is another.
Available here in an almost pornographically sumptuous box-set edition, featuring the original 1973 album, two CDs worth of demos, a 5.1 surround DVD mix, a poster and a beautifully presented 100-page hardback book which also features a brand-new essay from Pete Townshend (there is also a cheaper two-disc version for anyone not looking to blow 70 sheets five weeks before Christmas – said set’s tracklisting, to the left), this is the album that refuses to die. For while Tommy may have made it all the way to Broadway, it is Quadrophenia which has aced the test of time better than any other album released by The Who.
Thematic if not quite conceptual, the original double-LP – which in freshly re-mastered form sounds both sharp and clear – frames England in an time of uncertainty: the uncertainty of the class system, the uncertainty of youth as it greys into older age, the uncertainty of an economy in its first shudder of industrial decline. As befits an album bursting with conflict and even violence – "I’ve seen my share of kills," sings the narrator of the impossibly brilliant I’ve Had Enough – Quadrophenia’s music is performed by a band who seem to be not just at odds with their country but also at times with each other. These are songs with very little space in which to breathe – when the denouement of a fully-aerated Love Reign O’er Me does arrive, the effect is almost cleansing – all played out to a backdrop of psychiatrists, priests, furious fathers, amphetamine-filled teenagers, fallen idols and enough sharp suits to cut open a whole army of greasers on the seafront at Brighton.
Soon to celebrate its 40th birthday, Quadrophenia is one of the few albums of its time that sounds as good today as it must have done then. For once, the term ‘masterpiece’ is not sold on the cheap.
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