《下一個是誰》是英國搖滾樂隊誰人樂隊的第五張錄音室專輯。它發展自一個由樂隊成員皮特湯申德創作的作為樂隊 1969 年的專輯的多媒體搖滾歌劇專案，由於樂隊與樂隊經理人 Kit Lambert 錯綜複雜的關係，該專案被取消了，但皮特湯申德被說服錄製其中一些歌曲作為通俗的專輯。 誰人樂隊錄製這張專輯受到錄音師 Glyn Johns 的幫助。在滾石移動錄音室錄製 Wont Get Fooled Again 之後，他們搬到倫敦奧林匹克錄音室錄製和混合該專輯剩餘的大部分歌曲。他們在該專輯中突出地使用合成器，特別是在 Wont Get Fooled Again 和 Baba ORiley 之中，兩首歌都是單曲發行。封面照片由 Ethan Russell 攝製，參考了 1968 年電影 2001 太空漫遊中提到的巨石（monolith），就像該封面上樂隊成員背對有小便條紋的堆渣中的突出的混凝土樁。 《下一個是誰》在 1971 年 8 月發行後立刻獲得成功。許多評論家認為它是誰人樂隊的最佳唱片和有史以來最偉大的專輯之一。該專輯以 CD 形式再版了幾次，再版包含了最初用於 Lifehouse 的曲目。 背景 到 1970 年，誰人樂隊既受到了顯著的批評又獲得了商業成功，而他們已經開始與脫離原來的觀眾。摩德文化已經消失，and the original followers from Shepherds 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 Dont Even Know Myself Postcard and Now Im a Farmer was recorded but not released as the band felt it would not be a satisfactory followup 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 liverecorded 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 governmentcontrolled 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 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 30000 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 Yorks Record Plant Studios at Lamberts 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 Lamberts 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 rerecord 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 6CD 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 錄音和製作 The first session for what became Whos Next was at Mick Jaggers house Stargroves at the start of April 1971 using the Rolling Stones Mobile The backing track of Wont 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 Aint for Keeping which had been reworked from a rock track into an acoustic arrangement Behind Blue Eyes The Song Is Over Lets See Action and Baba ORiley Nicky Hopkins guested on piano while Dave Arbus was invited by Moon to play violin on Baba ORiley John Entwistles 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 groups 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 ORiley and Wont 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 Moons 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 nononsense 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 Townshends original demos The album opened with Baba ORiley featuring piano and synthesizerprocessed Lowrey organ by Townshend The songs title pays homage to Townshends 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 Id 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 halfhour 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 threepart 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 Wont 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 Townshends original demo and was reused for the finished track 封面藝術 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 Whos Nexts 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 Whos 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 Deccas United States promotion of the album 發行和推廣 The lead single Wont 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 overcomplicated 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 ORiley and Wont 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 35000 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 Whos Next sessions were released later as singles or on compilations Lets 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 Dont You Do It was recorded and the longest version currently available is on the deluxe edition of the album The album has been reissued 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 Whos 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 albums songs Behind Blue Eyes Baba ORiley and Going Mobile was released as downloadable content in lieu of the earlierpromised Whos Next album The 16track tapes to Wont Get Fooled Again and the 8track tapes to the other material except Bargain and Getting In Tune have since been discovered 評價和影響 In a contemporary review for The Village Voice music critic Robert Christgau called Whos 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 ORiley 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 straightforward album rather than an extension of their rock opera says much for their courage and inventiveness Rolling Stone magazines John Mendelsohn felt that despite some amount of seriousness and artificiality the albums brand of rock and roll is intelligentlyconceived superblyperformed brilliantlyproduced 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 Whos Next has often been viewed as the Whos 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 Whos Next even with its pretensions is rock roll BBC Musics Chris Roberts cited it as the bands best record and one of those carvedinstone landmarks that the rock canon doesnt allow you to badmouth Mojo claimed its sophisticated music and hookladen songs featured innovative use of rock synthesizers that did not weaken the Whos characteristic powerquartet 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 artrock band writing that Whos Next revealed itself to be less tasteful in retrospect because of Daltreys histrionic singing and all that synth noodling According to Acclaimed Music Whos Next is the 35th most ranked record in critics lists of the alltime 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 Medias 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 Whos Next initially on radio in 1989 and then on television in 1998 which was released in 2006 on DVD as Classic Albums The Who Whos 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 1995 年附加曲目 2003 年豪華版 豪華版的第一盤包含來自原始專輯的九張曲目幷包含了原版混音，接下來六個片段中包含了以前未發行的 Getting in Tune andWont Get Fooled Again。六個片段之中每個片段都在工作重新開始之前的 1971 年 5 月在英國 Record Plant 的一段時間錄製。 第二盤的曲目是在 1971 年 4 月 26 日倫敦 Young Vic Theatre 現場錄製的，所有曲目除了 Water 和 Naked Eye 都在先前未曾發行。 人員 誰人樂隊 Roger Daltrey 主唱 Keith Moon 鼓，敲擊樂器 John Entwistle 貝斯，銅管樂器，主唱，My Wife 之中的鋼琴 Pete Townshend 吉他，，風琴，ARP 合成器，主唱，Baba ORiley 之中的鋼琴 額外音樂人 Dave Arbus Baba ORiley 之中的小提琴 Nicky Hopkins The Song Is Over 和 Getting in Tune 之中的鋼琴 Al Kooper alternate version 版本的 Behind Blue Eyes 之中的風琴 Leslie West Baby Dont You Do It 之中的主吉他 製作 The Who 製作 Glyn Johns 助理製作，錄製，混音 Doug Sax 母帶製作 Kit Lambert 執行製作 Chris Stamp 執行製作 Pete Kameron 執行製作 John Kosh 專輯設計 Ethan Russell 拍攝 榜單 榜單 1971 排名 美國 Billboard 200 4 加拿大 RPM100 Albums 5 英國 （Top 40 Albums） 1 法國 （InfoDisc） 2 荷蘭 （Top 100 Albums） 2 丹麥 3 法國 （Top 200 Albums） 143 榜單 2014 排名 US Billboard Top Pop Catalog 7 銷量 參考資料 引用 來源 延伸閱讀 Classic Albums The Who Whos Next DVD Eagle Vision Classic albums series 外部連結 Whos Next 在 Acclaimed Music 上 Whos Next liner notes 吉他琴譜 Category1971 年音樂專輯 Category 誰人樂隊音樂專輯 Category 環球音樂集團音樂專輯