Question:
Cowdrey's father, Ernest Arthur Cowdrey, played for the Surrey County Cricket Club Second XI and Berkshire County Cricket Club in the Minor Counties, but lacked the talent to enter first-class cricket and his father made him join a bank. Ernest Cowdrey had been born in Calcutta, moved to India to run a tea plantation and played the 1926-27 MCC touring team for the Madras Europeans XI and top scored with 48. His mother, Molly Cowdrey (nee Taylor), played tennis and hockey. Michael Colin Cowdrey was born on his father's tea plantation at Ootacamund, Madras Presidency, although his birthplace was usually misrecorded as Bangalore 100 miles to the north.
His cover-drive was still his chief glory, but other shots were scarcely inferior: the glory of the moon and stars as opposed to the rich glory of the sun. There seemed to be no effort about his work. With a short back-swing he persuaded the ball through the gaps, guiding it with an iron hand inside the velvet glove which disguised his power and purpose. Johnny Moyes Cowdrey was a prodigy who learned to bat as soon as he could walk thanks to his cricket-mad father. When he arrived at Tonbridge School he was placed immediately in the First XI even though he was only 13, and became the youngest cricketer to play at Lord's. He was a fine strokemaker who possessed a full array of stokes around the wicket "a masterly batsman with an excellent technique he... delighted crowds throughout the world with his style and elegance". His favourite stroke was the most pleasing - the cover drive, his son Chris Cowdrey was always asked "Why don't you caress the ball through extra cover like your father?" and replied "If I could, I would". Cowdrey also liked to experiment with new grips and unconventional strokes, to the annoyance of purists who thought his technique was already near perfect and Cowdrey himself noted that "I have not been a good player when the going is easy... unless the match provided a problem to solve, a theory to test, a hurdle to leap, a challenge worthy of battle, I have never been fully plugged in". At the start of his career the England batting was fragile and Cowdrey never forgot that his wicket was too important to throw away, sometimes treating bowlers too cautiously for a man of his great talents, John Arlott commenting "Cowdrey could sink into pits of uncertainty when the fire ceased to burn, allowing himself to be dominated by bowlers inferior to him in skill". Cowdrey himself thought that "the proudest thing in my career was that I kept surviving", playing Lindwall and Miller at 21 and Lillee and Thomson at 41, still able to move immaculately into line even though he hadn't played for months. His quick reflexes also made him an outstanding slip, whose 120 catches was a Test record for a fielder. In his youth, Cowdrey was a useful leg-spinner at club level, but only took 63 first-class wickets at a cost of 51.21 apiece. He claimed if Alan Knott hadn't misread a googly he would have picked up a Test wicket, though his son Chris wrote "I can't see Knotty losing sleep over that one". In Cowdrey's last Test at Melbourne the fans famously hung out a banner 'M.C.G. FANS THANK COLIN - 6 TOURS', with Cowdrey "wearing a large straw sun-hat ... signing endless autographs, posing for photographs and exchanging friendly talk with young and old in the way that has made him as popular a cricketer as has ever visited Australia".
Answer this question using a quote from the text above:

What were some of Chris's other shots like?

Answer:
With a short back-swing he persuaded the ball through the gaps, guiding it with an iron hand inside the velvet glove which disguised his power and purpose.

Answer the question at the end by quoting:

The Who are an English rock band that formed in 1964. Their classic line-up consisted of lead singer Roger Daltrey, guitarist and singer Pete Townshend, bass guitarist John Entwistle, and drummer Keith Moon. They are considered one of the most influential rock bands of the 20th century, selling over 100 million records worldwide and holding a reputation for their live shows and studio work. 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.
Tommy secured the Who's future, and made them millionaires. The group reacted in different ways--Daltrey and Entwistle lived comfortably, Townshend was embarrassed at his wealth, which he felt was at odds with Meher Baba's ideals, and Moon spent frivolously. During the latter part of 1970, Townshend plotted a follow up Tommy: Lifehouse, which was to be a multi-media project symbolising the relationship between an artist and his audience. He developed ideas in his home studio, creating layers of synthesizers, and the Young Vic theatre in London was booked for a series of experimental concerts. Townshend approached the gigs with optimism; the rest of the band were just happy to be gigging again. Eventually, the others complained to Townshend that the project was too complicated and they should simply record another album. Things deteriorated until Townshend had a nervous breakdown and abandoned Lifehouse. Entwistle was the first member of the group to release a solo album, Smash Your Head Against the Wall, in May 1971. Recording at the Record Plant in New York City in March 1971 was abandoned when Lambert's addiction to hard drugs interfered with his ability to produce. The group restarted with Glyn Johns in April. The album was mostly Lifehouse material, with one unrelated song by Entwistle, "My Wife", and was released as Who's Next in August. The album reached No. 1 in the UK and No. 4 in the US. "Baba O'Riley" and "Won't Get Fooled Again" are early examples of synthesizer use in rock, featuring keyboard sounds generated in real time by a Lowrey organ; on "Won't Get Fooled Again", it was further processed through a VCS3 synthesizer. The synthesizer intro to "Baba O'Riley" was programmed based on Meher Baba's vital stats, and the track featured a violin solo by Dave Arbus. The album was a critical and commercial success, and has been certified 3x platinum by the RIAA. The Who continued to issue Lifehouse-related material over the next few years, including the singles "Let's See Action", "Join Together" and "Relay". The band went back on tour, and "Baba O' Riley" and "Won't Get Fooled Again" became live favourites. In November they performed at the newly opened Rainbow Theatre in London for three nights, continuing in the US later that month, where Robert Hilburn of the Los Angeles Times described the Who as "the Greatest Show on Earth". The tour was slightly disrupted at the Civic Auditorium in San Francisco on 12 December when Moon passed out over his kit after overdosing on brandy and barbiturates. He recovered and completed the gig, playing to his usual strength.

Can you name a single from Who's Next ?
"Baba O'Riley"