The Who developed from an earlier group, the Detours, and established themselves as part of the pop art and mod movements, featuring auto-destructive art by destroying guitars and drums on stage. Their first single as the Who, "I Can't Explain", reached the UK top ten, followed by a string of singles including "My Generation", "Substitute" and "Happy Jack". In 1967, they performed at the Monterey Pop Festival and released the US top ten single "I Can See for Miles", while touring extensively. The group's fourth album, 1969's rock opera Tommy, included the single "Pinball Wizard" and was a critical and commercial success. Live appearances at Woodstock and the Isle of Wight Festival, along with the live album Live at Leeds, cemented their reputation as a respected rock act. With their success came increased pressure on lead songwriter Townshend, and the follow-up to Tommy, Lifehouse, was abandoned. Songs from the project made up 1971's Who's Next, which included the hit "Won't Get Fooled Again". The group released the album Quadrophenia in 1973 as a celebration of their mod roots, and oversaw the film adaptation of Tommy in 1975. They continued to tour to large audiences before semi-retiring from live performances at the end of 1976. The release of Who Are You in 1978 was overshadowed by the death of Moon shortly after.
Kenney Jones replaced Moon and the group resumed activity, releasing a film adaptation of Quadrophenia and the retrospective documentary The Kids Are Alright. After Townshend became weary of touring, the group split in 1982. The Who occasionally re-formed for live appearances such as Live Aid in 1985, a 25th anniversary tour in 1989 and a tour of Quadrophenia in 1996–1997. They resumed regular touring in 1999, with drummer Zak Starkey. After Entwistle's death in 2002, plans for a new album were delayed. Townshend and Daltrey continued as the Who, releasing Endless Wire in 2006, and continued to play live regularly.
The Who's major contributions to rock music include the development of the Marshall stack, large PA systems, use of the synthesizer, Entwistle and Moon's lead playing styles, Townshend's feedback and power chord guitar technique, and the development of the rock opera. They are cited as an influence by hard rock, punk rock and mod bands, and their songs still receive regular exposure.
The Who is one of the most influential rock bands of the 20th century. Their appearances at Monterey and Woodstock helped give them a reputation as one of the greatest live rock acts and they have been credited with originating the "rock opera". The band has sold over 100 million records worldwide.
The group's contributions to rock include the power chord, windmill strum and the use of non-musical instrument noise such as feedback. The band influenced fashion from their earliest days with their embrace of pop art and the use of the Union Jack for clothing. The guitar-smashing incident at the Railway Hotel in 1964 is one of Rolling Stone magazine's "50 Moments That Changed the History of Rock 'n' Roll".
Pink Floyd began to use feedback from their early shows in 1966, inspired by the Who, whom they considered a formative influence. Shortly after arriving in London in 1966, Jimi Hendrix visited Marshall's music shop demanding an amp setup like Townshend's and manipulated electronic noises in ways that Townshend had pioneered. The Beatles were fans and socialised with Moon in particular during the mid-1960s. In 1965, Paul McCartney said the Who "are the most exciting thing around" and was inspired to write "Helter Skelter" in the group's "heavy" style; John Lennon borrowed the acoustic guitar style in "Pinball Wizard" for "Polythene Pam".
The loud volume of the band's live show influenced the approach of hard rock and heavy metal. Proto punk and punk rock bands such as the MC5, the Stooges, the Ramones, the Sex Pistols, the Clash and Green Day cite the Who as an influence. The Who inspired mod revival bands, particularly the Jam, which helped other groups influenced by the Who become popular. The Who influenced hard rock bands such as Guns N' Roses. In the mid-1990s, Britpop bands such as Blur and Oasis were influenced by the Who. The Who have also influenced pop punk band Panic! at the Disco.
The Who has inspired many tribute bands; Daltrey has endorsed the Whodlums, who raise money for the Teenage Cancer Trust. Many bands have covered Who songs; Elton John's version of "Pinball Wizard" reached No. 7 in the UK.
A Quick One While He's Away
The Who Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
For nigh on a year
He was due home yesterday
But he ain't here
Her man's been gone
For nigh on a year
He was due home yesterday
Down your street your crying is a well-known sound
Your street is very well known throughout town
Your town is very famous for the little girl
Whose crying can be heard all around the world
We have a remedy
You'll appreciate
No need to feel so bad
He's only late
We'll bring you flowers and things
Help pass your time
We'll give him eagle's wings
Then he can fly to you
Fa la la la la la
Fa la la la la
Fa la la la la la
Fa la la la la
Fa la la la la la
Fa la la la la la
We have a remedy
Fa la la la la la la
We have a remedy
Fa la la la la la la
We have a remedy
Fa la la la la la la
We have a remedy
We have!
Little girl guide, why don't you stop your crying?
Here comes Ivor the Engine Driver to make you feel much better
(Dirty old sod)
(I say, steady on)
My name is Ivor
I'm an engine driver
I know him well
I know why you feel blue
Just 'cause he's late
Don't mean he'll never get through
He told me he loves you
He ain't no liar, I ain't either
So let's have a smile for an old engine driver
Let's have a smile for an old engine driver
Here he comes
Soon be home
Soon be home
We'll soon
We'll soon, soon, soon be home
We'll soon be home
Soon be home
We'll soon
We'll soon, soon, soon be home
Come on, old horse
We'll soon be home
Soon be home
Dang, dang, dang, dang, dang, dang, dang, dang, dang
Cello, cello, cello, cello, cello, cello, cello
Cello, cello, cello, cello, cello, cello, cello
Cello, cello, cello, cello, cello, cello, cello
Cello, cello, cello, cello, cello, cello, cello
I can't believe it
Do my eyes deceive me?
Am I back in your arms?
Away from all harm?
It's like a dream to be with you again
Can't believe that I'm with you again
I missed you and I must admit
I kissed a few and once did sit
On Ivor the Engine Driver's lap
And later with him, had a nap
You are forgiven (you are forgiven)
You are forgiven (you are forgiven)
You are forgiven (you are forgiven)
You are forgiven (you are forgiven)
Forgiven (you are forgiven)
Forgiven
Forgiven (forgiven), forgiven (forgiven)
Forgiven (forgiven), forgiven (forgiven)
Forgiven (forgiven), forgiven (forgiven)
Forgiven (forgiven), forgiven (forgiven)
Forgiven
You are forgiven
You are forgiven
Forgiven
You are forgiven
You are forgiven, baby
Forgiven (forgiven), forgiven (forgiven)
Forgiven (forgiven), forgiven (forgiven)
Forgiven (forgiven), forgiven (forgiven)
Oh you're forgiven
You are forgiven
Baby, forgiven
You are forgiven
Oh you're forgiven
You are forgiven
Forgiven, forgiven
Forgiven, forgiven
Forgiven (forgiven), forgiven (forgiven)
Forgiven (forgiven), forgiven (forgiven)
No more, babe
We're all forgiven
The Who's "A Quick One, While He's Away" is a narrative rock opera song that tells a story of a woman whose man is away for almost a year. She is crying, and the whole town is aware of it. A group of men offers her a remedy, but they are unsure if it would work. In the end, the woman's man comes back, and everyone is forgiven.
The song starts with the woman's story, depicting how she feels for her man's absence. It then proceeds with the town's story, indicating that everyone knows about the crying woman. A group of men offers her a remedy and promises to bring her man back. Eventually, the woman's man arrives, and they reconcile.
The narrative song uses changing tempos to emphasize the plot's shifts and different characters, adding interest and drama to the piece. The song closes with the repetition of the phrase "forgiven" as the resolution of the story.
This song is part of The Who's second studio album, also called "A Quick One," and it is known as the first-ever rock opera. Although "A Quick One, While He's Away" is a relatively unknown song, many critics regard it as one of the band's most significant achievements.
Line by Line Meaning
Her man's been gone
For nigh on a year
He was due home yesterday
But he ain't here
The woman's man has been away for almost a year and was supposed to be back yesterday, but he hasn't yet returned.
Down your street your crying is a well-known sound
Your street is very well known throughout town
Your town is very famous for the little girl
Whose crying can be heard all around the world
Everyone in the town knows the sound of the woman's crying, as she is famously known as the little girl whose crying can be heard all around the world.
We have a remedy
You'll appreciate
No need to feel so bad
He's only late
There's a remedy to make the woman feel better since there is no need to worry about her man, he's just late.
We'll bring you flowers and things
Help pass your time
We'll give him eagle's wings
Then he can fly to you
To help her pass her time, they'll bring her flowers and other things, and they'll also give her man eagle's wings, so he can fly to her.
Fa la la la la la
Fa la la la la
Fa la la la la la
Fa la la la la
Fa la la la la la
Fa la la la la la
This is just a part of the song where they are singing fa la la.
My name is Ivor
I'm an engine driver
I know him well
I know why you feel blue
Just 'cause he's late
Don't mean he'll never get through
He told me he loves you
He ain't no liar, I ain't either
So let's have a smile for an old engine driver
Let's have a smile for an old engine driver
Ivor is introducing himself as an engine driver who knows the woman's man well and understands why she's feeling blue. He assures her that her man loves her and will come back despite being late, so she should smile for him.
Soon be home
Soon be home
We'll soon
We'll soon, soon, soon be home
We'll soon be home
Soon be home
We'll soon
We'll soon, soon, soon be home
Come on, old horse
We'll soon be home
Soon be home
Dang, dang, dang, dang, dang, dang, dang, dang, dang
Cello, cello, cello, cello, cello, cello, cello
Cello, cello, cello, cello, cello, cello, cello
Cello, cello, cello, cello, cello, cello, cello
Cello, cello, cello, cello, cello, cello, cello
This part of the song is just repeating that they'll soon be home and adding in sounds of bells and cello to create a certain atmosphere.
I can't believe it
Do my eyes deceive me?
Am I back in your arms?
Away from all harm?
It's like a dream to be with you again
Can't believe that I'm with you again
I missed you and I must admit
I kissed a few and once did sit
On Ivor the Engine Driver's lap
And later with him, had a nap
The woman can't believe she's back in her man's arms, away from all harm. It feels like a dream come true. She also admits to having kissed a few others and even sat on Ivor the Engine Driver's lap and had a nap.
You are forgiven (you are forgiven)
You are forgiven (you are forgiven)
You are forgiven (you are forgiven)
You are forgiven (you are forgiven)
Forgiven (you are forgiven)
Forgiven
Forgiven (forgiven), forgiven (forgiven)
Forgiven (forgiven), forgiven (forgiven)
Forgiven (forgiven), forgiven (forgiven)
Forgiven (forgiven), forgiven (forgiven)
Forgiven
You are forgiven
You are forgiven
Forgiven
You are forgiven
You are forgiven, baby
Forgiven (forgiven), forgiven (forgiven)
Forgiven (forgiven), forgiven (forgiven)
Forgiven (forgiven), forgiven (forgiven)
Oh you're forgiven
You are forgiven
Baby, forgiven
You are forgiven
Oh you're forgiven
You are forgiven
Forgiven, forgiven
Forgiven, forgiven
Forgiven (forgiven), forgiven (forgiven)
Forgiven (forgiven), forgiven (forgiven)
No more, babe
We're all forgiven
The song ends with the woman forgiving her man (you are forgiven) and being forgiven in return (forgiven). It ends in a joyful atmosphere of being forgiven and forgivable for all.
Lyrics © O/B/O APRA AMCOS
Written by: Peter Townshend
Lyrics Licensed & Provided by LyricFind
Kevy Nova
Some moments from this performance that show why The Who is the best live band ever:
0:59 - Pete tunes his guitar while playing
1:27 - Pete’s windmilling arm knocks down the overhead drum mic and it hits Keith in the face. Neither of them miss a beat.
3:41 - How does Keith get that floor tom on top of his kit so quickly?!? And then tosses it over his head and comes back in perfectly on beat!!!!
6:18 - When did Keith have a chance to pour water on his snare? Listen to John’s “opera” voice!!!!
6:41 - NO band has ever played with more energy. Any guitar player who has ever tried windmilling can tell you how hard it is but Pete NEVER misses.
7:09 - Pete raises his falling mic back up with his nose!
Plus all throughout, John’s bass playing, Keith’s drumming, three part vocal harmonies all NAILED. The Stones were INSANE to ask THE WHO to open for them!
idk ✨
0:01 - roger and john’s smiles :))
0:12 - keith’s intense eye roll + pete’s vest that I thought was just shiny but really has about 1000 buttons on it
0:28 - john and roger’s heels are actually everything
0:30 - B A M
1:00 - pete tuning his guitar while playing it
1:11 - john <33
1:17 - john’s expressions are funny to me here idk why lol
1:24 - roger’s microphone making swishing sounds + the way he caught it
1:28 - pete hitting the microphone behind him
1:40 - keith being keith
2:11 - keith singing along and looking very happy :))
2:25 - pete launching himself into the stratosphere
3:30 - “WOOO” - roger daltrey, 1968
3:35 - the person in the blue hat sitting above them approves lol
3:40 - roger’s absolutely fabulous hair swoosh
4:02 - keith
4:09 - pete’s pretty blue eyes
4:12 - roger’s pretty blue eyes
4:27 - y e e t
4:41 - pete and roger stomping their feet
4:46 - slay roger slay
4:48 - pete launching himself into the stratosphere part 2
4:50 - cellocellocellocellocellocellocello
5:05 - keith mouthing pete’s part
5:26 - pete looking right into the camera lol
5:32 - “bOW bow BbOw BOw bow” - roger and john
5:57 - john looking like he wants to go home
6:06 - john’s vocals- like hOLY CRAP
6:13 - pete looking very smug here lmao
6:29 - roger’s vocals
6:36 - keith
6:41 - pete’s windmills :0
6:48 - pete launching himself into the stratosphere part 3
6:58 - roger harry daltrey’s pretty hair
7:00 - SLAY JOHN SLAY
7:09 - pete pushing the microphone up with his nose
7:20 - “you’re all forgiven” :) + pete’s face knowing they just played the crap out of everyone in that room
7:27 - brian jones!
7:30 - “thank you yes we ate that” - pete probably
Sledzeppelin
This is probably my single favorite musical performance of all time.
Urlocallordandsavior
Same
zoot soot
Only in the UK could such a weird, wonderful band like the Who crop up. Absolute pinnacle of 60s rock.
Ian Gilchrist
Mine too mate.
Duane Georges
Check out Who Isle of Wight
Marc Tremblay
Same!
T Z
Keith Moon here is truly electrifying. SO much expression and presence. The others are actually amazing, but Moon is just so expressive that he becomes the central figure for most of the performance. Townsend pulls off some iconic moves, and manages to draw attention, then Daltry swings his mic, but you just cant help watching that drummer. This might be the greatest single live song performance I have ever seen. The result is so beautifully free that it dispels fear and raises the human spirit. I suppose the greatest accomplishment of any art form. Impossible to follow.
Barry Cowan
Yeah, all these years later, I had forgotten how much I liked Keith Moon's playing. No one sounded like him, fills throughout the verses and choruses, instead of at the ends of them. I see where Animal of the Muppets got his style from. I found myself focused on him the whole time.
Michael G
Brian Jones, at 7:26 whistling for this performance, no ego or jealousy of The Who, just happy they gave a brilliant performance. Great guy. His slide guitar on "No Expectations" is probably my favourite musical moment of the Circus. The Who were the most explosive, but something about The Stones' performance of "No Expectations". That was by far their best performance at the Circus.
David Flynn
Hey "tz," You've nailed it! Dead on! ... a bit like "da OO!" if you don't mind my sayin...??