How The Who learned to “be masculine without being chauvinistic”
The Who is not only one of the most influential bands in history, but they also stand as a prime example of rock groups that are well and truly indulging in the role. Their aggressive style and wild on-stage antics helped them to become one of the world’s best by the mid-1960s.
Co-founder Pete Townshend especially stands out as the archetype of a rock star. The guitarist and his bandmates were touring the world, smashing up hotel rooms and diving deep into the world of sex, drugs and rock and roll. Their lyric, “I hope I die before I get old”, seemed to stand as a kind of code of conduct for the band who indulged fully in the hedonistic lifestyle.
Developing an increasingly eye-catching style as he threw himself around the stage during every gig, The Who’s guitar player was more of a frontman than a traditional player. With this mindset, it makes perfect sense that Townshend valued all the leading guitarists. With an era booming in outstanding musicians, it was Eric Clapton and Jimi Hendrix who stood out to Townshend, both being captivating players who commanded their stages.
But one particular inspiration comes across as relatively demure. While The Who lived a chaotic life, they never let the music slip. Still managing to deliver some of the most defining songs and albums of the time, music remained their focus. This work ethic may have come from one of Townshend’s biggest inspirations, who was never afforded the rockstar lifestyle. An example of a male artist who didn’t need to rely on bravado, Howlin’ Wolf was a real class act in the eyes of Townshend.
Considered to be one of the most influential blues artists of all time, Howlin’ Wolf’s guitar playing helped define the sound of modern blues music, taking the genre away from strictly acoustic sounds and into something bigger.
The solo artist was a critical and imposing figure. Howlin’ Wolf didn’t need a band to back him and didn’t have to rely on stage showmanship to capture his audience’s attention. The Who’s guitar player looked to him for inspiration often, possibly to keep him grounded.
“I was at Ealing Art school in 1961, and sometime in the following year, I met a young American photography student, Tom Wright,” the guitar player recalled of his introduction to the artist. “He had a big collection of R&B, including Howling Wolf. I’m afraid I can’t remember the album, but ‘Smokestack Lightnin’’ was one of the tracks… I have to say that I loved the guitar sound on these records, and the drummer played in a New Orleans style I was unfamiliar with until then.”
“He is not just some guy with a band. He helped to change our view of the world and to harden up this new way we have found to express our deepest feelings,” Townshend continued, making no secret of his admiration.
Standing out as an example of real, unpretentious music in an ever-changing landscape of pop hits and mainstream rock, the American artist taught them the importance of broadening their horizons. Townsend added: “Unlike the radio pop of that period, Howlin Wolf had real teeth; he showed us we could let our music be unapologetically masculine without being chauvinistic.”
