Arguably the most disgusting album cover in history, if you really think about it. Roger Daltrey, chin tainted by disgusting beans, Pete Townshend rubbing an oversized deodorant can on himself, there is less to fear in the 120 Days of Sodom than there is on The Who Sell Out. An obvious joke from the band, whose preceding album, A Quick One, did considerably well to split listeners. My Generation was a gutsy mod rocker, their follow-up a chance to reduce expectations. The Who Sell Out is of the In it for the Money variety, that tongue-in-cheek tone taken by a band who were aware of their success, but also indicated little satisfaction with it, financial joys and all. This is a chance to join the growing cry for concept albums, and The Who does well on their first attempt. Naturally, they’d improve over time, but the commercial mockery from the band here is sincere, as proven by A Quick One the year before.
Armenia City in the Sky highlights that blur of art rock and pop music The Who has always had, or so is claimed in their Spotify biography. Cliche it may sound to even suggest, but it’s true, you do need to play The Who Sell Out as loud as can be to really get to grips with its sound and intention. Armenia City in the Sky has a psychedelic twinge to it at a time when rock was evolving away from that style. Follow up Heinz Baked Beans is the bold start the band are looking for in their concept album, rush into it early and pierce the listener. That repetition of “more music” on Mary Anne with the Shaky Hand is crucial for this. Concept survives and reigns over The Who Sell Out, which could have done with some sharper songs to aid this concept. Instead, it’s a lot of impressive instrumentals and a huge reliance on intermission pops that the Monty Python troupe would use in their films and repetition of a familiar-sounding lyric. It works, but not as well as hoped.
That’s not to say The Who Sell Out doesn’t have moments of triumph. Repeating the word “triumphant” works well enough for Odorono, in turn creating that triumphing spirit The Who had hoped to capture in the middle of their advertising mock-up. Radio London is the concept, that’s about as far as it goes. There’s no real, wider commentary on the advertisement spots because The Who are still, at their core, hitmakers whose experience is in short and blisteringly sweet work. It means there’s not all that much room for those thematic ideas to truly come to life, but what makes it through is honest work. Tattoo, Our Love Was, and I Can See for Miles are all solid pieces of that early instrumental sound The Who would pursue in the years to follow.
But overwhelming all of that is the psychedelic touch, the twee style of writing of Silas Stingy a real struggle to get through. A real slog to get through it, surprising considering it’s just three minutes, but it makes for an underwhelming listen. The Who sounds influenced a little too heavily by the psychedelics and Americanisation of their sound is almost inevitable here. They would deflect it for a bit longer but long gone is the sound of British pop, and to be fair to The Who, The Who Sell Out is a massive step to finding a unique style. It works well on reflection, but they’re not quite comfortable with the concept album project, often relying on larger breaks from the context of the setting. It works, just about, and certainly remains worth a listen. The Who Sell Out is an obvious tongue-in-cheek piece that starts to lose its confidence pretty fast.
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