He was nicknamed "The Ox" because of his amazing consitution (e.g. drinking). Bill Wyman described him as "the quietest man in private but the loudest man on stage." He was also known as "Thunderfingers" by his bandmates and fans.
John Entwistle was a talented songwriter and artist. He wrote several well-known Who songs including:
"Cousin Kevin"
"My Wife"
"Boris The Spider"
"Heaven and Hell"
"Success Story"
"Whiskey Man"
"905"
These songs, along with his solo material, reveal a dark sense of humor which was often incompatible with Pete Townshend's more introspective work. Though he continued to contribute material to all of The Who's albums, his frustration with having his material recorded by the band (largely with having to relenquish singing duties to Roger Daltrey) led him to release Smash Your Head Against The Wall in 1971. He was the first member of The Who to release a solo record.
Entwistle also contributed many backing vocals and horn performances to the group, most notably on Quadrophenia, where he layered several horns to create the impressive brass as heard on songs such as 5:15, among others.
Rarely captured well in the studio, his style and sound was fully developed by the time of The Who's performance of "A Quick One While He's Away" for the Rolling Stones' 1968 Rock and Roll Circus, as well as the seminal 1970 Live at Leeds concert recording. In concert, Entwistle and guitarist Pete Townshend frequently exchanged roles, with Entwistle providing rapid melodic lines and Townshend anchoring the song with rhythmic chord work. Indeed, Pete Townshend was often quoted that it was Entwistle who was the lead guitarist in the band, while he, being the rhythmic timekeeping element, was in effect the drummer. Moon, on the other hand, with all his flourishes round the kit, was considered by Townshend to be the equivalent of a keyboard player. Entwistle himself stated in many interviews (including one with Guitar Player's Chris Jisi in 1989) that, according to modern standards, "The Who haven't a proper bass player."
Entwistle helped uncover the potential of the bass guitar as a lead instrument, using aggressive pentatonic lead lines, and a trebly sound virtually unheard of in the early 1960s. He pioneered the use of roundwound steel bass strings, developed for him by the Rotosound company. Indeed, his search for a sound to cut through The Who's sonic onslaught led him to experiment with more and different basses, leading him to amass a collection of over 200 instruments by the time of his death. His search for the perfect sound led him to experiment most notably with Alembic's basses in the 1970s, Warwick in the 1980s, and Status all-graphite basses in the 1990s.
In the mid '60s, Entwistle was one of the first to make use of Marshall stacks. Pete Townshend later remarked that John started using Marshalls in order to hear himself over Moon's drums, and Townshend himself also had to use them just to be heard over John. They both continued expanding and experimenting with their rigs, until (at a time when most bands used 50-100w amps with single cabinets) they were both using twin Stacks with new experimental prototype 200w amps. This, in turn, also had a strong influence on the band's contemporaries at the time, with Cream and the Jimi Hendrix Experience both following suit. Ironically, although they pioneered and directly contributed to the development of the "classic" Marshall sound (at this point their equipment was being built/tweaked to their personal specifications), they would only use Marshalls for a couple of years. Entwistle eventually switched to using a Sound City rig in search of his perfect sound, with Townshend also switching later on.
Entwistle also experimented throughout his career with "bi-amping," where the high and low ends of the bass sound are sent through separate signal paths, allowing for more control over the output. At one point his rig became so loaded with speaker cabinets and processing gear that it was dubbed "Little Manhattan."
His "full treble, full volume" approach to bass sound was originally supposed to be captured in the bass solo to "My Generation". According to Entwistle, his original intention was to feature the distinctive Danelectro bass, which had a very twangy sound, in the solo. After repeatedly breaking strings on the instrument. And even purchasing two more Danelectros in an attempt to capture the sound (Danelectro strings apparently being unavailable separately at the time). He ended up recording a simpler solo using a stock Fender Jazz Bass and a pick. This solo bass break is important as it is one of the first (if not the first) bass solo captured on a rock record. A live recording of The Who from this period (c1965) exists with Entwistle playing a Danelectro on "My Generation," giving an idea of what that solo would have sounded like.
Entwistle developed what he called a "typewriter" approach to playing the bass. It involved positioning the right hand over the strings so all four fingers could be used to tap percussively on the strings, causing them to strike the fretboard with a distinctive twangy sound. This gives the player the aility to play three or four strings at once. Or to use several fingers on a single string. It allowed him to create passages that were very percussive and melodic. He used this approach to mimic the fills used by his drummers in band situations, sometimes sending the fills back at the drummers faster than the drummers themselves could play them. This method is unique and should not be confused with the hammer-on tapping techniques of Eddie Van Halen and Stu Hamm or the slapping technique of Larry Graham, and in fact pre-dates these other techniques. A demonstration of this approach to bass playing can be seen on a video called John Entwistle - Master Class, part of Arlen Roth's Hot Licks instructional series.
Entwistle identified his influences as a combination of his school training on French horn, trumpet, and piano (giving his fingers impressive strength and dexterity). Along with rock & roll guitarists Duane Eddy and Gene Vincent, and American soul and R&B bassists such as James Jamerson. Like Jamerson, he is credited as a pioneer on the bass guitar.
In turn, Entwistle has been a massive influence on the playing styles and sounds used by generations of bass players that have followed him and continues to top 'best ever bass player' polls in musicians magazines. In 2000, Guitar magazine named him "Bassist of the Millennium" in a readers' poll.
Late career
Toward the end of his career, he formed "The John Entwistle Band" with longtime friend, drummer Steve Luongo. Godfrey Townsend ("no 'h', no relation" to Pete) played guitar and sang lead vocals. In 1996, the band went on the "Left for Dead" tour with Alan St. Jon on keyboards. After Entwistle toured with The Who for Quadrophenia in 1996-97, the Entwistle band set off on the "Left for Dead - the Sequel" tour in late 1998 now with Gordon Cotten on keyboards. After this second venture, the band released an album of highlights from the tour, called Left for Live.
In 1999 and 2000 John played as part of The Who.
In 2001 he played in Alan Parson's Beatles tribute show "A Walk Down Abbey Road". Along with John and Mr. Parsons the show featured Ann Wilson of Heart, Todd Rundgren, David Pack of Ambrosia, Godfrey Townsend on guitar, Steve Luongo on drums, and John Beck on keyboards.
In January-February 2002 John played his last concerts in The Who in a handful of dates in England, the last being February 8 in London's Royal Albert Hall.
In late 2002, an expanded 2-CD Left for Live Deluxe was released, further highlighting The John Entwistle Band performances.
Death
John Entwistle died in Las Vegas on June 27, 2002 one day before the scheduled first show of The Who's 2002 US tour.
The Las Vegas medical examiner determined that death was due to a heart attack induced by an undetermined amount of cocaine. Though the amount in his bloodstream was not great, the drug caused his coronary arteries — already damaged by a pre-existing heart condition — to contract, which led to the fatal heart attack. Entwistle, like Townshend, battled cocaine addiction through much of his adult life.
John's funeral was held at Saint Edward's Church in Stow-On-The-Wold, Gloucester, England, on July 10. He was cremated and his ashes buried privately. A memorial service was held the following October 24 at St. Martin-in-the-Fields, Trafalgar Square, London.
Entwistle's massive collection of guitars and basses was auctioned at Sotheby's in London by his son Christopher Entwistle to meet anticipated duties on his father's estate. Of the auction, Christopher was quoted as saying his father would have hated it. Joy Division/New Order bassist Peter Hook is amongst those who acquired some of Entwistle's basses at the auction.
Entwistle's enormous mansion in Stow-On-The-Wold in the Cotswolds and a large number of his very personal effects were also later sold off to meet the demands of the Inland Revenue. Ironically, Entwistle was a former employee of that department, only quitting his job there when The Who became successful.
Welsh-born bassist Pino Palladino, who played on several of Pete Townshend's solo records, replaced Entwistle on stage when The Who resumed their postponed U.S. tour following John's funeral. Pete Townshend and Roger Daltrey spoke at length about their reaction to John's death. Their comments can be found on the "The Who Live in Boston" DVD. They explained that John's death, while very sad, gives the music a new lease on life. A new bass player means a whole new approach to some of those parts. Townshend and Daltrey also said that they accept the fact that they are now members of a cover band who play songs of The Who - the only real difference is that they don't have to pay royalties.
Solo discography
Smash Your Head Against the Wall (1971)
Whistle Rymes (1972)
Rigor Mortis Sets In (1973)
Mad Dog(1975)
Too Late The Hero{1981)
The Rock{1996)
King Biscuit Flower Hour Presents In Concert (1996)
Left For Live (1999)
So Who's the Bass Player? The Ox Anthology (2005)
Too Much Too Soon
John Entwistle Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I should have known right away
I should have started running
Everybody told me
I should have known from the start
What you were up to,
I should have known better then
Now I knew.
Too much too soon, too much too soon.
You got the feeling things cannot fly
No matter what you get you wanna buy
Well baby what's a boy to do
Well now don't talk to Samson
When I move too fast you want to jump
Well baby better buy me out.
Too much too soon, too much too soon.
Too much too soon, too much too soon.
I came out feeling hurting knowing
What else can I say
I came out feeling it's too much too soon
Well baby gotta get away.
Too much too soon, too much too soon.
Too much too soon, too much too soon.
Too much too soon, too much too soon.
The lyrics of John Entwistle's song Too Much Too Soon tell the story of a man who fell for a woman who was clearly trouble from the start. He acknowledges that he should have seen the signs, that everyone warned him about her, and that he should have run away before getting too involved. He admits that he knew what she was up to, but he still let himself fall for her charm. Now, he's realizing that it was all too much too soon.
The song's title is a reference to the idea that the man was overwhelmed by the intensity of his feelings for the woman. He feels like he was caught up in a whirlwind romance that moved too quickly for him to really understand what was happening. He's left feeling hurt and wanting to get away from the situation.
Overall, the lyrics convey a sense of regret and resignation. The man knows that he made a mistake by getting involved with this woman, but he can't change the past. He's left to deal with the fallout and try to find a way to move on.
Line by Line Meaning
I should have seen her coming
I should have anticipated the problems and danger that are associated with getting into a relationship with that particular individual.
I should have known right away
I should have realized from the beginning that the relationship is doomed and it would only lead to despair.
I should have started running
I should have immediately ended the relationship to save myself from the troubles and heartache that is upcoming.
Everybody told me
I received suggestions and warnings from people around me about the potential risks and downsides of continuing the relationship.
I should have known from the start
I should have been aware of the risks involved and not be fooled by superficial benefits of the relationship.
What you were up to,
I should have realized the ulterior motives of my partner in the relationship and the negative aspects that come with it.
I should have known better then
I should have been smarter, more intuitive and more insightful when it came to identifying relationship red flags and identifying problems beforehand.
Now I knew.
I have learned the hard way about the downsides of the relationship, and I understand its pitfalls.
Too much too soon, too much too soon.
I feel like I was overwhelmed and rushed into the relationship instead of taking time to understand the implications and downsides, and now I need to pay the price of that hastiness.
You got the feeling things cannot fly
The relationship has failed, and it's evident that nothing will work between us.
No matter what you get you wanna buy
My partner is materialistic and values commodities more than the relationship itself.
Well baby what's a boy to do
I don't know how to fix the problems with this particular relationship due to apparent unsolvable obstacles.
Well now don't talk to Samson
I'm warning you not to test my anger or my threshold, as things can go out of hand if pushed further.
When I move too fast you want to jump
If I want to end this relationship, you will be the first to agree with me because you already know that it is hurtful and doomed.
Well baby better buy me out.
Instead of asking me to stay in this relationship, you should pay me to just leave it quickly without any new issues or drama being created.
I came out feeling hurting knowing
I'm deeply wounded and emotionally affected by this relationship's horrors.
What else can I say
I can't express my feelings about the relationship beyond what I've already said.
I came out feeling it's too much too soon
I feel like I entered this relationship too soon, and it's been disastrous since day one.
Well baby gotta get away.
I need to stop this relationship, and I have to leave it as soon as possible. It's harmful and dangerous.
Too much too soon, too much too soon.
The final repetition of this phrase reiterates the sentiment that the relationship was rushed and led to destructive consequences.
Lyrics © BMG Rights Management, SANDY LINZER PRODUCTIONS INC
Written by: DAVID P. WOLFERT, SANDY LINZER
Lyrics Licensed & Provided by LyricFind
Tom Shaw
I bought this the day it was released. I was 15 years old. I still have the original copy plus one spare. I have the CD as well. Great songs, and a fantastic performance from Joe Walsh as usual.
Sissy
same for me
Paul Norris
Same mate👍👍👊💪💙The Who forever with love
KORPSEKWEEN
One of the first vinyl albums I bought when I was 13 or so. Almost 30 now and still love it. Entwistle is why I love the bass
Loretta santos
Erika Ferrazzano loved the song Sleeping Man......patrick santos
Brock Frazier
Entwistle was arguably at his best in this era (he was great up to the end though). Entwistle delivers big time on The Who albums from the early 80's too.
LosSaliasTv
Excelente Album, Me gusta de principio a fin. Gracias por subirlo
Adam C
My favourite Entwistle album.
And 40 years old this year!!!
AMAZING!!!
Adam C
Yep, couldn't agree more!! 👍👍
Thirteenth Tale
how can you go wrong with John, Joe Walsh and Vitale on Drums. Probably my favorite Entwistle album.