The Who’s Pete Townshend 10 greatest riffs of all time
There aren’t many acts who can hold a torch to The Who’s undying legend. The gorup burst out through the sixties swinging scene and soon carved out their own nich with a run of rock operas. Soon enough, The Who were a legacy act and capable of filling stadiums wherever they went. We’d like to say that much of that was down to Pete Townshend.
Not only was the guitarist the mercurial lifeblood that moved around the body of the band but he was also the brain, the engine and at some points, the muscle. Here, we thought we’d celebrate Townshend’s birthday by revisiting 10 of his greatest guitar moments with The Who.
A selection of Pete Townshend’s greatest riffs is always going to be a smorgasbord of electrifying joy. The guitarist, never really famed for the noodling solos which many of his contemporaries preferred, always delivered his dose of rebel-rousing rock through a fuzzed-up chord or two. As capable of altering your mind as he was splitting it with a guitar, it didn’t stop Townshend from being one of the greatest guitarists of his generation.
When MOJO asked The Smiths’ guitarist Johnny Marr where Townshend ranked among the greats of the 60s he replied: “He’s the best of the ’60s guitar players by miles. Definitely my favourite. George Harrison was inventive, but I love the wildness in Townshend. His solos are brilliant – ‘I Can See For Miles’, and ‘Slip Kid’ – and he was always making progress. You can hear him developing his playing.”
Moving away from the band who tore up every stage they set foot on — literally — The Who quickly reached the top of the pile and they have Pete Townshend to thank for it.
The Who’s Pete Townshend’s 10 greatest riffs
‘I Can See For Miles’
The 1967 track will rank among Johnny Marr’s favourite The Who songs, and we’d imagine, everybody else’s too. Largely because of the epic solo Townshend delivers which quivers the brain just thinking about it.
Townshend was proud of the song too and made sure it was the only single to be released from 1967’s The Who Sell Out. Believing it to be “the ace in the hole” the songwriter was sure it would be the band’s first number one but it only reached number 10. Townshend is quoted as saying of the song, “To me, it was the ultimate Who record, yet it didn’t sell. I spat on the British record buyer.”
Another addition from the mind of Johnny Marr is the 1975 track ‘Slip Kid’ from the band’s seventh studio album The Who by Numbers. The song was originally written for Townshend’s rock opera project Lifehouse but was revived in 1975.
The guitar work is second-to-none in this piece and its contextualisation of falling through society’s gaps is still valuable to this day. In 2015, Townshend reflected on the song’s continued relevance, saying, “You could put it into the voice of some young Islamic student who decides to go fight in Syria and ends up in ISIS being forced to chop people’s heads off, and it would fit”
The instrumental titular track from The Who’s sensational rock-opera Quadrophenia sees Townshend and his guitar completely at one with the album’s surroundings. As able to flit between synth patterns or change pacing as lead proceedings, Townshend’s guitar is in perfect sync.
Many people have commented on Townshend’s ability to make his instrument “sing”, or perhaps more accurately, have its own voice. If you needed any proof of that then just listen to ‘Quadrophenia’ below.
‘A Quick One While He’s Away’
There was a moment in 1968 when The Who made The Rolling Stones look very ordinary. Not many times does that happen on the live stage but when the group joined the Stones’ Rock and Roll Circus, that’s exactly what happened.
Townshend takes control of proceedings from the very opening of the band’s performance. The Who were in tip-top condition following a run of recording Tommy in the studio and they delivered a rousing performance of this guitar classic.
‘Pictures of Lily’
Not including a guitar solo could well see you struck off most similar lists but when you’re considering the guitar of Pete Townshend it’s best to open your mind a little. It may lead you to astounding songs like ‘Pictures of Lily’.
The track, essentially a short story about masturbation, sees Pete take the bull by the horns and lead Keith Moon and John Entwistle down his bouncing riffy path.
Perhaps no song is more recognisably The Who than their iconic number ‘Pinball Wizard’ taken from their huge rock opera, Tommy. The fact that the song is a composition of acoustic and electric and doesn’t include a solo, yet still is regarded as one of the finest air guitar anthems of all time, says a lot.
Whether it is the crunchy riff on “sure plays a mean pinball” or indeed the opening riff, which is about as easy to play as it gets, Townshend is economical and passionate with his work. It’s not always what you do but how you do it.
Bold as brass and with enough muscle to knock you down, ‘5:15’ is a swashbuckling song on the band’s rock opera Quadrophenia. The song perfectly typifies the angry young man at the centre of it and is positively bubbling with ego and aggression.
Jimmy The Mod is the central figure and ‘5:15’ is about as close as you can get to a perfect score as it sets the scene of the angsty kid making his way out whatever way he can. When Townshend’s solo kicks in, it does so with style and verve.
The opening track from Tommy is littered with instrumental high points for The Who. Keith Moon’s drumming is of particular significance as he bounces through the rhythm section like an energised frog. But listen a little closer and Townshend’s delicate acoustic steals the show.
Opening like so many summer flowers, Townshend proves that he isn’t only about the thrash and vigour of his electric live performances. Sometimes he is capable of slowing it down and melting your heart.
Perhaps not happy with just having one of the most powerful and frantic singles of the sixties in ‘My Generation’ when the group began to outgrow their smash and grab live performances they decided to give it a classic rock makeover. It means that the once short and sharp dagger of a song is no more of the broadsword variety.
In the below performance Townshend takes his newly acquired ‘My Generation’ solo and begins playing it off against the echo in the room. It’s a joy to behold and sees Townshend at both ends of the musical spectrum. Holding both the petrol and the match in one hand.
‘Won’t Get Fooled Again’
It turns out guitar solos are for wimps. On ‘Won’t Get Fooled Again’ Pete Townshend’s power chords enter into a love affair with a synthesizer and end up duelling it out across the whole song. The tracks peaks and troughs all while Townshend does his best to bring down the synthesizer dragon.
Firing out staccato bursts of guitar Townshend is again integral to the soundscape the group are creating with the song. It may be powerful and punchy but it is also precise and completely cultivated for maximum impact.
Simply put, it is the perfect combination of Townshend’s talents. An ear for a tune, the vision to complete it and the mouth to make himself heard, the guitarist is, without doubt, one of the best.