"Who's Next"是英国摇滚乐队谁人乐队的第五张录音室专辑。它发展自一个由乐队成员皮特·汤申德创作的作为乐队1969年的专辑Tommy（英语：）的多媒体摇滚歌剧Lifehouse（英语：）项目，由于乐队与乐队经理人Kit Lambert错综复杂的关系，该项目被取消了，但皮特·汤申德被说服录制其中一些歌曲作为通俗的专辑。

谁人乐队录制这张专辑受到录音师Glyn Johns的帮助。在滚石移动录音室录制"Won't Get Fooled Again"之后，他们搬到伦敦奥林匹克录音室录制和混合该专辑剩余的大部分歌曲。他们在该专辑中突出地使用合成器，特别是在"Won't Get Fooled Again"和" Baba O'Riley "之中，两首歌都是单曲发行。封面照片由Ethan Russell摄制，参考了1968年电影2001太空漫游中提到的巨石（monolith），就像该封面上乐队成员背对有小便条纹的堆渣中的突出的混凝土桩。

"Who's Next"在1971年8月发行后立刻获得成功。许多评论家认为它是谁人乐队的最佳唱片和有史以来最伟大的专辑之一。该专辑以CD形式再版了几次，再版包含了最初用于Lifehouse的曲目。

背景
--

条目：Lifehouse（英语：）
到1970年，谁人乐队既受到了显著的批评又获得了商业成功，而他们已经开始与脱离原来的观众。摩德文化已经消失, 

已隱藏部分未翻譯内容，歡迎參與翻譯。
and the original followers from Shepherd's Bush had grown up and acquired jobs and families. The group had started to drift apart from manager Kit Lambert due to his preoccupation with their label, Track Records. They had been touring since the release of *Tommy* the previous May, with a set that contained most of that album, but realized that millions had now seen their live performances, and Pete Townshend in particular recognized that they needed to do something new. A single, "The Seeker", and a live album, *Live at Leeds* were released in 1970, and an EP of new material ("Water", "Naked Eye", "I Don't Even Know Myself", "Postcard" and "Now I'm a Farmer") was recorded, but not released as the band felt it would not be a satisfactory follow-up to *Tommy*.

Instead, the group tackled a project called *Lifehouse*. This evolved from a series of columns Townshend wrote for *Melody Maker* in August 1970, in which he discussed the importance of rock music, and in particular what the audience could do. Of all the group, he was the most keen to use music as a communication device, and wanted to branch out into other media, including film, to get away from the traditional album / tour cycle. Townshend has variously described *Lifehouse* as a futuristic rock opera, a live-recorded concept album and as the music for a scripted film project. The basic plot was outlined in an interview Townshend gave to *Disc and Music Echo* on 24 October 1970. *Lifehouse* is set in the near future in a society in which music is banned and most of the population live indoors in government-controlled "experience suits". A rebel, Bobby, broadcasts rock music into the suits, allowing people to remove them and become more enlightened. Some elements accurately describe future technology; for example, The Grid resembles the internet and "grid sleep" virtual reality.

Pete Townshend was given a Gretsch 6120 guitar by Joe Walsh in early 1971, and it became his main electric instrument for *Who's Next*.
The group held a press conference on 13 January 1971, explaining that they would be giving a series of concerts at the Young Vic theatre, where they would develop the fictional elements of the proposed film along with the audience. After Keith Moon had completed his work on the film *200 Motels*, the group performed their first Young Vic concert on 15 February. The show included a new quadrophonic public address system which cost £30,000 and the audience was mainly invited from various organisations such as youth clubs, with only a few tickets on sale to the general public.

After the initial concerts, the group flew to New York's Record Plant Studios at Lambert's suggestion, for studio recordings. The group were joined by guests Al Kooper on Hammond organ, Ken Ascher on piano and Leslie West on guitar. Townshend used a 1957 Gretsch guitar, given to him by Joe Walsh, during the session and it went on to become his main guitar for studio recording. Lambert's participation in the recording was minimal, and he proved to be unable to mix the final recordings. He had started taking hard drugs, while Townshend was drinking brandy regularly. After returning to Britain, engineer Glyn Johns made safety copies of the Record Plant material but decided that it would be better to re-record it from scratch at Olympic Sound Studios in Barnes.

The group gave a further series of concerts at the Young Vic on 25 and 26 April, which were recorded on the Rolling Stones Mobile Studio by Andy Johns, but Townshend grew disillusioned with *Lifehouse* and further shows were cancelled. The project proved to be intractable on several levels and caused stress within the band as well as a major falling out between Townshend and Lambert. Years later, in the liner notes to the remastered CD, Townshend wrote that the failure of the project led him to the verge of a nervous breakdown. Audiences at the Young Vic gigs were not interested in interacting with the group to create new material, but simply wanted the Who to play "My Generation" and smash a guitar. At the time, Roger Daltrey said the Who "were never nearer to breaking up".

Although the *Lifehouse* concept was abandoned, scraps of the project remained in the final album, including the use of synthesizers and computers. An early concept for *Lifehouse* featured the feeding of personal data from audience members into the controller of an early analogue synthesizer to create a "universal chord" that would have ended the proposed film. Abandoning *Lifehouse* gave the group extra freedom due to the absence of an overriding musical theme or storyline (which had been the basis of *Tommy*). This allowed the band to concentrate on maximising the impact of individual tracks, and providing a unifying sound for them.

Although he gave up his original intentions for the *Lifehouse* project, Townshend continued to develop the concepts, revisiting them in later albums, including a 6-CD set, *The Lifehouse Chronicles* in 1999. In 2007 he opened a website called The Lifehouse Method to accept personal input from applicants that would be turned into musical portraits.

录音和制作
-----

Most of *Who's Next* was recorded at Olympic Studios, Barnes with Glyn Johns.
The first session for what became *Who's Next* was at Mick Jagger's house, Stargroves, at the start of April 1971, using the Rolling Stones Mobile. The backing track of "Won't Get Fooled Again" was recorded there before the band decided to relocate recording to Olympic at Johns' suggestion; the first session was on 9 April, attempting a basic take of "Bargain". The bulk of the sessions occurred during May, when the group recorded "Time is Passing", "Pure and Easy", "Love Ain't for Keeping" (which had been reworked from a rock track into an acoustic arrangement), "Behind Blue Eyes", "The Song Is Over", "Let's See Action" and "Baba O'Riley". Nicky Hopkins guested on piano, while Dave Arbus was invited by Moon to play violin on "Baba O'Riley". John Entwistle's "My Wife" was added to the album at the last minute late in the sessions, and was originally intended for a solo album.

In contrast to the Record Plant and Young Vic sessions, recording with Johns went well as he was primarily concerned about creating a good sound, whereas Lambert had always been more preoccupied about the group's image. Townshend recalled, "we were just getting astounded at the sounds Glyn was producing". Townshend used the early synthesizers and modified keyboard sounds in several modes: as a drone effect on several songs, notably "Baba O'Riley" and "Won't Get Fooled Again", as well as on "Bargain", "Going Mobile" and "The Song Is Over". The synthesizer was used as an integral part of the sound, as opposed to providing gloss as was the case on other artists' albums up to this point.  Moon's drumming had a distinctly different style from earlier albums, being more formal and less reliant on long drum fills – partly due to the synthesizer backing, but also due to the no-nonsense production techniques of Johns, who insisted on a good recording performance that only used flamboyancy when truly necessary. Johns was instrumental in convincing the Who that they should simply put a single studio album out, believing the songs to be excellent. The group gave him free rein to assemble a single album of whatever songs he wanted in any order. Despite Johns' key contributions, he only received an associate producer credit on the finished album, though he maintained he acted mainly in an engineering capacity and based most of the arrangements on Townshend's original demos.

An ARP synthesizer similar to the one used on *Who's Next*
The album opened with "Baba O'Riley", featuring piano and synthesizer-processed Lowrey organ by Townshend. The song's title pays homage to Townshend's guru, Meher Baba, and minimalist composer Terry Riley (and is informally known as "Teenage Wasteland" from a line in the lyrics). The organ track came from a longer demo by Townshend, portions of which were later included on a Baba tribute album *I Am*, that was edited down for the final recording. Townshend later said this part had "two or three thousand edits to it". The opening lyrics to the next track, "Bargain", "I'd gladly lose me to find you", came from a phrase used by Baba. Entwistle wrote "My Wife" after having an argument with his wife and exaggerating the conflict in the lyrics. The track features several overdubbed brass instruments recorded in a single half-hour session. "Pure and Easy", a key track from *Lifehouse*, did not make the final track selection, but the opening line was included as a coda to "The Song is Over".

"Behind Blue Eyes" featured three-part harmony by Daltrey, Townshend and Entwistle and was written for the main antagonist in *Lifehouse*, Brick. Moon, uncharacteristically, did not appear on the first half of the track, which was later described by Who biographer Dave Marsh as "the longest time Keith Moon was still in his entire life." The closing track, "Won't Get Fooled Again", was critical of revolutions. Townshend explained, "a revolution is only a revolution in the long run and a lot of people are going to get hurt". The song features the Lowrey organ fed through an ARP synthesizer, which came from Townshend's original demo and was re-used for the finished track.

封面艺术
----

The cover artwork shows a photograph, taken at Easington Colliery, of the band apparently having just urinated on a large concrete piling protruding from a slag heap. The decision to shoot the picture came from Entwistle and Moon discussing Stanley Kubrick and the film *2001: A Space Odyssey*. According to photographer Ethan Russell, most of the band members were unable to urinate, so rainwater was tipped from an empty film canister to achieve the desired effect. The rear cover showed the band backstage at De Montfort Hall, Leicester, amongst a debris of furniture.  In 2003, the television channel VH1 named *Who's Next'*s cover one of the greatest album covers of all time.

Other suggestions for the cover included the group urinating against a Marshall Stack and an overweight nude woman with the Who's faces in place of her genitalia. An alternative cover featuring Moon dressed in black lingerie and a brown wig, holding a whip, was later used for the inside art for the 1995 and 2003 CD releases. Some of the photographs taken during these sessions were later used as part of Decca's United States promotion of the album.

发行和推广
-----

The Who playing in Charlotte, North Carolina, shortly after *Who's Next* was released
The lead single, "Won't Get Fooled Again" (edited down to three and a half minutes), was released on 25 June 1971 in the UK and in July in the US ahead of the album. It reached #9 and #15 in the charts respectively. The album was released in August in the US and on 27 August in the UK. It became the only album by the Who to top the UK charts.

The Who starting touring the US just before the album was released. The group used the *Lifehouse* PA, though soundman Bob Pridden found the technical requirements of the equipment to be over-complicated. The set list was revamped, and while it included a smaller selection of numbers from *Tommy*, several new numbers from the new album such as "My Wife", "Baba O'Riley" and "Won't Get Fooled Again" became live favourites. The latter two songs involved the band playing to a backing track containing the synthesizer parts. The tour moved to the UK in September, including a show at The Oval, Kennington in front of 35,000 fans, and the opening gig at the Rainbow Theatre in Finsbury Park, before going back to the US, ending in Seattle on December 15. The group then took eight months off touring, the longest break of their career at that point.

Several additional songs recorded at the *Who's Next* sessions were released later as singles or on compilations. "Let's See Action" was released as a single in 1971, followed by "Join Together" in June 1972 and "Relay" in November. "Pure and Easy", "Put The Money Down" and "Too Much of Anything" were released on the album *Odds & Sods*, while "Time is Passing" was added to the 1998 CD version. A cover of "Baby Don't You Do It" was recorded and the longest version currently available is on the deluxe edition of the album.

The album has been re-issued remastered several times using tapes from different sessions. The master tapes for the Olympic sessions are believed to be lost, as Virgin Records threw out a substantial number of old recordings when they purchased the studio in the 1980s. Video game publisher Harmonix wanted to release *Who's Next* as downloadable, playable content for the music video game series *Rock Band*, but were unable to do so due to difficulty finding the original multi track recordings. Instead, a compilation of Who songs dubbed "The Best of The Who," which includes three of the album's songs ("Behind Blue Eyes", "Baba O'Riley", and "Going Mobile"), was released as downloadable content, in lieu of the earlier-promised *Who's Next* album. The 16-track tapes to "Won't Get Fooled Again" and the 8-track tapes to the other material except "Bargain" and "Getting In Tune" have since been discovered.

评价和影响
-----

專業評分| 評論得分 |
| --- |
| 來源 | 評分 |
| AllMusic | 5/5颗星 |
| *Christgau's Record Guide* | A |
| *Encyclopedia of Popular Music* | 5/5颗星 |
| *Mojo* | 4/5颗星 |
| *MusicHound Rock* | 5/5 |
| *Q* | 4/5颗星 |
| *The Rolling Stone Album Guide* | 5/5颗星 |
| *The Village Voice* | A+ |

In a contemporary review for *The Village Voice*, music critic Robert Christgau called *Who's Next* "the best hard rock album in years" and said that, while their previous recordings were marred by a thin sound, the group now "achieves the same resonant immediacy in the studio that it does live". Billy Walker from *Sounds* highlighted the songs "Baba O'Riley", "My Wife", and "The Song Is Over", and wrote, "After the unique brilliance of *Tommy* something special had to be thought out and the fact that they settled for a straight-forward album rather than an extension of their rock opera, says much for their courage and inventiveness." *Rolling Stone* magazine's John Mendelsohn felt that, despite some amount of seriousness and artificiality, the album's brand of rock and roll is "intelligently-conceived, superbly-performed, brilliantly-produced, and sometimes even exciting". At the end of 1971, the record was voted the best album of the year in the Pazz & Jop, an annual poll of American critics published by *The Village Voice*.
Since then, *Who's Next* has often been viewed as the Who's best album. In a retrospective review for AllMusic, Stephen Thomas Erlewine said its music was more genuine than *Tommy* or the aborted *Lifehouse* project because "those were art – [*Who's Next*], even with its pretensions, is rock & roll." BBC Music's Chris Roberts cited it as the band's best record and "one of those carved-in-stone landmarks that the rock canon doesn't allow you to bad-mouth." *Mojo* claimed its sophisticated music and hook-laden songs featured innovative use of rock synthesizers that did not weaken the Who's characteristic "power-quartet attack". In *The Encyclopedia of Popular Music* (1998), Colin Larkin said it raised the standards for both hard rock and the Who, whose "sense of dynamics" was highlighted by the contrast between their powerful playing and a counterpoint produced at times from acoustic guitars and synthesizer obbligatos. Christgau, on the other hand, was less enthusiastic about the record during the 1980s when the Who became what he felt was "the worst kind of art-rock band", writing that *Who's Next* revealed itself to be less tasteful in retrospect because of Daltrey's histrionic singing and "all that synth noodling".

According to Acclaimed Music, *Who's Next* is the 35th most ranked record in critics' lists of the all-time greatest albums. In 2003, *Rolling Stone* ranked it 28th on its list of the 500 greatest albums of all time. The album appeared at number 15 on Pitchfork Media's list of the 100 best records from the 1970s. It was also included in the book *1001 Albums You Must Hear Before You Die* (2005). The *Classic Albums* BBC documentary series aired an episode on *Who's Next*, initially on radio in 1989, and then on television in 1998, which was released in 2006 on DVD as *Classic Albums: The Who – Who's Next*. That year, the album was chosen by *時代雜誌* as one of their 100 best records of all time. In 2007, it was inducted into the Grammy Hall of Fame for "lasting qualitative or historical significance".

曲目列表
----

全碟词曲：皮特·汤申德，除了由約翰·恩特維斯托创作的"My Wife"。　

| 第一面 |
| --- |
| 曲序 | 曲目 | 主唱 | 时长 |
| 1. | Baba O'Riley | Roger Daltrey(主歌)，Townshend (桥接) | 5:08 |
| 2. | Bargain | Daltrey (主歌)，Townshend (桥接) | 5:34 |
| 3. | Love Ain't for Keeping | Daltrey | 2:10 |
| 4. | My Wife | Entwistle | 3:41 |
| 5. | The Song Is Over | Townshend (主歌)，Daltrey (主歌) | 6:14 |

| 第二面 |
| --- |
| 曲序 | 曲目 | 主唱 | 时长 |
| 6. | Getting in Tune | Daltrey | 4:50 |
| 7. | Going Mobile | Townshend | 3:42 |
| 8. | Behind Blue Eyes | Daltrey | 3:42 |
| 9. | Won't Get Fooled Again | Daltrey | 8:32 |

### 1995年附加曲目

| 再版CD附加曲目 |
| --- |
| 曲序 | 曲目 | 时长 |
| 10. | Pure and Easy（Original Version） | 4:22 |
| 11. | Baby Don't You Do It（Holland-Dozier-Holland） | 5:15 |
| 12. | Naked Eye（Live at the Young Vic 26/4/71） | 5:31 |
| 13. | Water（Live at the Young Vic 26/4/71） | 6:26 |
| 14. | Too Much of Anything（Original Version） | 4:25 |
| 15. | I Don't Even Know Myself | 4:56 |
| 16. | Behind Blue Eyes（Original Version） | 3:25 |

### 2003年豪华版

豪华版的第一盘包含来自原始专辑的九张曲目并包含了原版混音，接下来六个片段中包含了以前未发行的"Getting in Tune"and"Won't Get Fooled Again"。六个片段之中每个片段都在工作重新开始之前的1971年5月在英国Record Plant的一段时间录制。

第二盘的曲目是在1971年4月26日伦敦Young Vic Theatre现场录制的，所有曲目除了"Water"和"Naked Eye"都在先前未曾发行。

| Disc 1 |
| --- |
| 曲序 | 曲目 | 时长 |
| 1. | Baba O'Riley | 5:01 |
| 2. | Bargain | 5:33 |
| 3. | Love Ain't for Keeping | 2:10 |
| 4. | My Wife | 3:35 |
| 5. | The Song Is Over | 6:17 |
| 6. | Getting in Tune | 4:49 |
| 7. | Going Mobile | 3:43 |
| 8. | Behind Blue Eyes | 3:42 |
| 9. | Won't Get Fooled Again | 8:35 |
| 10. | Baby Don't You Do It（Longer Version） | 8:21 |
| 11. | Getting in Tune（Alternate Version） | 6:36 |
| 12. | Pure and Easy（Alternate Version） | 4:33 |
| 13. | Love Ain't For Keeping（Electric Version, Townshend on lead vocals） | 4:06 |
| 14. | Behind Blue Eyes（Alternate Version） | 3:30 |
| 15. | Won't Get Fooled Again（Original New York sessions version） | 8:48 |

| Disc 2 |
| --- |
| 曲序 | 曲目 | 时长 |
| 1. | Love Ain't For Keeping | 2:57 |
| 2. | Pure and Easy | 6:00 |
| 3. | Young Man Blues | 4:47 |
| 4. | Time Is Passing | 3:59 |
| 5. | Behind Blue Eyes | 4:49 |
| 6. | I Don't Even Know Myself | 5:42 |
| 7. | Too Much of Anything | 4:20 |
| 8. | Getting in Tune | 6:42 |
| 9. | Bargain | 5:46 |
| 10. | Water | 8:19 |
| 11. | My Generation | 2:58 |
| 12. | Road Runner（Ellas McDaniel） | 3:14 |
| 13. | Naked Eye | 6:21 |
| 14. | Won't Get Fooled Again | 8:50 |

人员
--

### 谁人乐队

* Roger Daltrey – 主唱
* Keith Moon – 鼓，敲击乐器
* John Entwistle – 贝斯，铜管乐器，主唱，"My Wife"之中的钢琴
* Pete Townshend – 吉他，VCS3（英语：），风琴，A.R.P. 合成器，主唱，"Baba O'Riley"之中的钢琴

### 额外音乐人

* Dave Arbus – "Baba O'Riley"之中的小提琴
* Nicky Hopkins – "The Song Is Over"和"Getting in Tune"之中的钢琴
* Al Kooper – alternate version版本的"Behind Blue Eyes"之中的风琴
* Leslie West – "Baby, Don't You Do It"之中的主吉他

### 制作

* The Who – 制作
* Glyn Johns – 助理制作，录制，混音
* Doug Sax – 母带制作
* Kit Lambert – 执行制作
* Chris Stamp – 执行制作
* Pete Kameron – 执行制作
* John Kosh – 专辑设计
* Ethan Russell – 拍摄

榜单
--

| 榜单 (1971) | 排名 |
| --- | --- |
| 美国 *Billboard* 200 | 4 |
| 加拿大 *RPM*100 Albums | 5 |
| 英国 （Top 40 Albums） | 1 |
| 法国 （InfoDisc） | 2 |
| 荷兰 （Top 100 Albums） | 2 |
| 丹麦 | 3 |
| 法国 （Top 200 Albums） | 143 |
| 榜单 (2014) | 排名 |
| US *Billboard* Top Pop Catalog | 7 |

销量
--

| 地區 | 认证 | 认证单位/销量 |
| --- | --- | --- |
| 意大利（意大利音乐产业联盟） | 金 | 50,000\* |
| 英国（英国唱片业协会） | 金 | 100,000^ |
| 美国（美國唱片業協會） | 3× 白金 | 3,000,000^ |
| \*僅含認證的實際銷量^僅含認證的出貨量 |

参考资料
----

### 引用

1. 1 2  Atkins, John..  (CD liner). The Who. MCA Records: 13, 24. 1995 [1971]. MCAD-11269.
2. ↑  Neill & Kent 2002，第282–284頁.
3. 1 2 3 4  Neill & Kent 2002，第280頁.
4. ↑ . The Who (official website).  [6 November 2010]. （原始内容存档于2021-08-15）.
5. ↑ . ung Medien / hitparade.ch.  [28 November 2011]. （原始内容存档于2021-08-15）.
6. ↑ . The Who (official website).  [6 November 2010]. （原始内容存档于2021-08-15）.
7. ↑  Marsh 1983，第361頁.
8. ↑  Marsh 1983，第363頁.
9. ↑  Marsh 1983，第358頁.
10. ↑  Marsh 1983，第365頁.
11. ↑  Marsh 1983，第368頁.
12. ↑  Neill & Kent 2002，第272頁.
13. ↑  Marsh 1983，第369頁.
14. ↑  Neill & Kent 2002，第250頁.
15. 1 2  Neill & Kent 2002，第273頁.
16. ↑  Neill & Kent 2002，第278頁.
17. ↑  Neill & Kent 2002，第279頁.
18. ↑  Neill & Kent 2002，第274頁.
19. 1 2  Neill & Kent 2002，第281頁.
20. ↑  Townshend 2003，第6頁.
21. ↑  Marsh 1983，第377頁.
22. 1 2 3 4  Neill & Kent 2002，第282頁.
23. ↑  Atkins 2003，第13頁.
24. ↑  Atkins 2003，第14頁.
25. 1 2 3  Marsh 1983，第383頁.
26. ↑  Townshend 2003，第9頁.
27. ↑ .  [25 November 2014]. （原始内容存档于2008-05-18）.
28. 1 2  Marsh 1983，第381頁.
29. 1 2  Marsh 1983，第382頁.
30. ↑  Atkins 2003，第18頁.
31. ↑  Fletcher 1998，第286頁.
32. ↑  Unterberger 2011，第105頁.
33. 1 2 3 4  Neill & Kent 2002，第275頁.
34. 1 2  Marsh 1983，第386頁.
35. ↑  Unterberger 2011，第108頁.
36. ↑  Unterberger 2011，第113頁.
37. 1 2 3  Neill & Kent 2002，第285頁.
38. ↑  McMichael, Joe; Lyons, Jack.. Omnibus Press. 2001: 480. ISBN 978-0-857-12737-2.
39. ↑ . VH1.  [6 November 2010]. （原始内容存档于2013-10-29）.
40. ↑  Neill & Kent 2002，第284頁.
41. ↑  Neill & Kent 2002，第288頁.
42. ↑  Marsh 1983，第389頁.
43. ↑  Marsh 1983，第390頁.
44. ↑  Marsh 1983，第392頁.
45. ↑  Marsh 1983，第393頁.
46. ↑ . AllMusic.  [23 November 2014]. （原始内容存档于2021-08-15）.
47. ↑  Atkins 2003，第24頁.
48. 1 2  Unterberger 2011，第107頁.
49. ↑  Cavalli, Earnest.. Wired News. 1 July 2008  [25 November 2014]. （原始内容存档于2009-08-22）.
50. 1 2  Erlewine, Stephen Thomas.. AllMusic.  [22 June 2011].
51. ↑  Christgau, Robert.. Da Capo Press: 419. 1981. ISBN 0306804093.  缺少或`|url=`为空 (帮助)
52. 1 2  Larkin, Colin.  **7** 3rd. Muze UK. 1998: 5812. ISBN 1561592374.
53. 1 2 . Mojo (London). May 2003: 110. WHO'S NEXT is The Who's most polished album, its hook-ridden songs pioneering the use of rock synthesizers without diluting the power-quartet attack that had defined the group since the mid-60s...
54. ↑  Graff, Gary; Durchholz, Daniel (编).. Farmington Hills, MI: Visible Ink Press. 1999: 1227. ISBN 1-57859-061-2.
55. 1 2 . Q (London). January 1996: 158. Considered by many to be the band's best, 1971's WHO'S NEXT was their only Number 1 album...
56. ↑ . Rollingstone.com/Wayback Machine. 1970-02-14  [31 December 2014]. （原始内容存档于2013-12-12）.
57. 1 2  Christgau, Robert.. The Village Voice (New York). 19 August 1971  [9 March 2013]. （原始内容存档于2021-04-01）.
58. ↑  Walker, Billy.. Sounds (Spotlight Publications). 28 August 1971: 18.
59. ↑  Mendelsohn, John Ned.. Rolling Stone (90). 1 September 1971  [14 February 2005]. （原始内容存档于2005-09-15）.
60. ↑ . Robertchristgau.com.  [2013-10-24]. （原始内容存档于2013-07-09）.
61. ↑ . BBC. 1971-08-25  [2013-10-24]. （原始内容存档于2021-08-15）.
62. ↑ . RockCritics.com.  [8 August 2015]. （原始内容存档于2019-02-05）.
63. ↑ . Acclaimed Music.  [September 2, 2015]. （原始内容存档于2015年9月22日）.
64. ↑  Levy, Joe; Steven Van Zandt..  3rd. London: Turnaround. 2006 [2005]  [20 March 2005]. ISBN 1-932958-61-4. OCLC 70672814. （原始内容存档于2013-10-20）.
65. ↑ . Pitchfork Media. 23 June 2004  [31 December 2014]. （原始内容存档于2007-05-05）.
66. ↑ . Rocklistmusic.co.uk.  [2013-10-24]. （原始内容存档于2017-04-05）.
67. ↑  Inglis, Ian (编).. Ashgate. 2013: 43–44. ISBN 978-1-409-49417-1.
68. ↑ . Amazon.  [25 November 2014]. （原始内容存档于2021-08-15）.
69. ↑  Light, Alan.. TIME.com. 2010-01-27  [2013-10-24]. （原始内容存档于2007-11-09）.
70. ↑ . blabbermouth.net. 11 January 2007  [25 November 2014]. （原始内容存档于2021-08-15）.
71. 1 2 . Thewho.com.  [16 December 2012]. （原始内容存档于2021-04-01）.
72. ↑ . Allmusic.  [6 November 2010]. （原始内容存档于2012-06-14）.
73. ↑ . Collectionscanada.gc.ca.  [27 March 2011]. （原始内容存档于2012-10-20）.
74. ↑ . Theofficialcharts.com.  [27 March 2011]. （原始内容存档于2012-11-01）.
75. ↑ . Infodisc.fr.  [27 March 2011]. （原始内容存档于2012-10-24）.
76. ↑  Steffen Hung.. dutchcharts.nl.  [27 March 2011]. （原始内容存档于2021-08-01）.
77. ↑ .  [30 March 2016]. （原始内容存档于2016-04-09）.
78. ↑  Steffen Hung.. Lescharts.com.  [27 March 2011]. （原始内容存档于2021-12-20）.
79. ↑ . Allmusic.  [8 April 2014]. （原始内容存档于2013-12-11）.
80. ↑ . Federazione Industria Musicale Italiana （意大利语）.  在「Anno」下拉選單中選擇「2015」。 在「Filtra」欄位中選擇「Who's Next」。 在「Sezione」下面選擇「Album e Compilation」。
81. ↑ . British Phonographic Industry.  在格式（Format）欄位選擇「album」。 在認證（Certification）欄位選擇「Gold」。 在「Search BPI Awards」欄位中輸入「Who's Next」並按下Enter鍵。
82. ↑ . Recording Industry Association of America.  若有必要，請按「Advanced」，再按「Format」，然後選擇「Album」， 最後按「SEARCH」。

### 来源

* Atkins, John.  (影音). Polydor. 2003. 113-056-2.
* Fletcher, Tony.. Omnibus Press. 1998. ISBN 978-0-711-96625-3.
* Marsh, Dave.. Plexus. 1983. ISBN 978-0-85965-083-0.
* Neill, Andrew; Kent, Matthew.. Virgin. 2002. ISBN 978-0-7535-1217-3.
* Townshend, Pete.  (影音). Polydor. 2003. 113-056-2.
* Unterberger, Richie.. Jawbone Press. 2011. ISBN 978-1-906002-75-6.

延伸阅读
----

* Atkins, John.. McFarland. 2000. ISBN 978-0-7864-0609-8.
* Classic Albums: The Who - Who's Next*, DVD, Eagle Vision (Classic albums series).*


|  |
| --- |
| 从维基百科的姊妹计划了解更多有关"**Who's Next**"的内容 |
|
|
|
| 维基语录 | 维基语录上的名言 |
|
|
|
|
| 维基数据 | 维基数据上的数据项 |
|
|
|
|

外部链接
----

* *Who's Next*在Acclaimed Music上

* Who's Next liner notes （页面存档备份，存于）
* 吉他琴谱 （页面存档备份，存于）

|  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 

| * 
* 论
* 编
谁人乐队 |
| --- |
|  |
| 
* **Roger Daltrey**
* **Pete Townshend**

组团成员
**John Entwistle**
**Keith Moon**
Doug Sandom
Kenney Jones
巡演成员
Zak Starkey
Pino Palladino
Simon Townshend
Loren Gold
Frank Simes
John Corey
 |
|  |
| 录音室专辑 | 
* *My Generation*
* *A Quick One*
* *The Who Sell Out*
* *Tommy*
* *Who's Next*
* *Quadrophenia*
* *The Who by Numbers*
* *Who Are You*
* *Face Dances*
* *It's Hard*
* *Endless Wire*

 |
|  |
| EP | 
* *Ready Steady Who*
* *Won't Get Fooled Again*
* *Wire & Glass*

 |
|  |
| 现场专辑 | 
* *Live at Leeds*
* *Who's Last*
* *Join Together*
* *Live at the Isle of Wight Festival 1970*
* *BBC Sessions*
* *Blues to the Bush*
* *Live at the Royal Albert Hall*
* *Live from Toronto*
* *View from a Backstage Pass*
* *Greatest Hits Live*
* *Live at Hull 1970*
* *Quadrophenia Live in London*

 |
|  |
| 精选辑 | 
* *Magic Bus: The Who on Tour*
* *Direct Hits*
* *Meaty Beaty Big and Bouncy*
* *Odds & Sods*
* *The Story of The Who*
* *Phases*
* *Hooligans*
* *Who's Greatest Hits*
* *Rarities Volume I & Volume II*
* *The Singles*
* *The Who Collection*
* *Who's Missing*
* *Two's Missing*
* *Who's Better, Who's Best*
* *Thirty Years of Maximum R&B*
* *My Generation: The Very Best of The Who*
* *Encore Series*
* *The Ultimate Collection*
* *Then and Now*
* *The 1st Singles Box*
* *Greatest Hits*
* *The Who Hits 50!*

 |
|  |
| 原声带 | 
* *Tommy*
* *The Kids Are Alright*
* *Quadrophenia*
* *Amazing Journey: The Story of The Who*

 |
|  |
| 电影作品 | 
* *Tommy*
* *The Kids Are Alright*
* *Quadrophenia*
* *Who's Better, Who's Best*
* *Thirty Years of Maximum R&B Live*
* *Live at the Isle of Wight Festival 1970*
* *The Who & Special Guests: Live at the Royal Albert Hall*
* *The Who Special Edition EP*
* *Live in Boston*
* *Tommy and Quadrophenia Live*
* *The Vegas Job*
* *Amazing Journey: The Story of The Who*
* *The Who at Kilburn: 1977*
* *Quadrophenia Live in London*
* *Lambert & Stamp*

 |
|  |
| 录音作品列表 | 
* 谁人乐队作品列表
* Roger Daltrey作品列表
* Pete Townshend作品列表
* John Entwistle作品列表
* Keith Moon作品列表

 |
|  |
| 演出 | 
* 1962–1963 演出
* 1964 演出
* 1965 巡演
* 1966 巡演
* 1967 巡演
* 1968 巡演
* 1969 巡演
* 1970 巡演
* 1971 巡演
* 1972 巡演
* 1973 巡演
* 1974 巡演
* 1975 巡演
* 1976 巡演
* 1977–1978 演出
* 1979 巡演
* 1980 巡演
* 1981 巡演
* 1982 巡演
* 1985 and 1988 重逢
* 1989 tour
* 1996–1997 巡演
* 1999 演出
* 2000 巡演
* 2001 The Concert for New York City appearance
* 2002 巡演
* 2003 The 46664 Concert appearance
* 2004 巡演
* The Who 2005 performances
* 2006–2007 巡演
* 2008–2009 巡演
* 2010 演出
* 2011 演出
* Quadrophenia and More
* The Who Hits 50!
* Back to the Who Tour 51!
* 2017 *Tommy* & More
* The Who 2017年巡演

 |
|  |
| 成员 | 
* Doug Sandom
* Mitch Mitchell
* Dave Golding
* Julian Covey
* Chris Townson
* Scot Halpin
* John "Rabbit" Bundrick
* Tim Gorman
* Steve "Boltz" Bolton
* Simon Phillips
* Jon Carin
* Damon Minchella
* Steve White
* Brian Kehew
* J. J. Blair
* Danny Thompson
* Jon Button
* Loren Gold
* Frank Simes
* J. Greg Miller
* Reggie Grisham
* Morgan Nicholls
* Chris Stainton
* Scott Devours

 |
|  |
| 相关地点 | 
* Ashdown House, Oxfordshire
* Chapel House, Twickenham
* Holmshurst Manor
* Quarwood
* Ramport Studios
* Shepperton Studios
* Tara, Chertsey
* The Wick

 |
|  |
| 相关条目 | 
* *The Boy Who Heard Music*
* *Lifehouse*
* *The Who's Tommy*
* *Rock Is Dead—Long Live Rock!*
* *The Who's Tommy Pinball Wizard*
* *Who Covers Who?*
* "A Tale of Two Springfields"
* Awards and nominations
* Musical equipment
* Double O
* *The Rolling Stones Rock and Roll Circus*
* No Plan B
* Kit Lambert
* Kim McLagan
* Richard Barnes
* Dougal Butler
* Chris Charlesworth
* Bob Pridden
* 谁人乐队歌曲列表

 |

 |