Who By Numbers is an album I find to be eclectic within the band's previously powerful outputs of Quadrophenia, Who's Next and Tommy and is much simpler, but all the more stronger of an effort on behalf of the group and leader Pete Townshend. Lyrically, Pete's source of inspiration takes on a more introspective angle, with an unfettered sense of humility, addressing, specifically, the problems of aging.   By this point, Townshend and the Who were in order for an extended break and eventually, did manage to take some much needed time off; and yet this album closes a particular chapter within their history as a group. For, by the time of their next effort, 1978's Who Are You, things would never quite be the same for this legendary rock group. Opening the record, "Slip Kid" offers a 6/8 time signature and the band crash in accordingly with a track that has all of the elements of the Who firing on all trusted cylinders, backed by a lyrical reference of "there's no easy way to be free", while drawing the parallels of a kid at 13 and the older man at 63. As the lyrics beckon this declaration, musically the number itself is of an organic liking, featuring a workman-like chord structure from Townshend with pepperings of piano and a strong vocal from singer Roger Daltrey. "However Much I Booze" tells a tale of dependency and desperation with another, relatively familiar theme of reference at the end of its chorus in the phrase, "there ain't no way out". Although the song is rather melodically upbeat, lyrically it appears as if Pete is reflecting on his life during this time with a very dim and cynical outlook as the dangers of drink loomed over his head ominously.

 

"Imagine a Man" is bittersweet in its delivery with a very heartfelt and gentle vocal from Roger and again, the theme of the number within its lyrical scheme evokes images of a man's character traits, for better or worse and the resolve of its composition declares, "And you will see the end, you will see the end". Some fans have often expressed their opinions that Pete's writing on this record equates the notion of an open suicide note as a majority of the subject matter leaves the listener with the impression that its creator has come to a certain crossroads in life and is perhaps, unhappy with the path he has chosen. "How Many Friends" continues to reiterate this assumption as the writer expresses a general wariness and distrust of most of those surrounding him and questions their genuine interest(or not) of maintaining a friendship. 

​

On a more upbeat note, "Squeeze Box" turned out to be one of the few numbers that stood the test of time and was used as a fine reference for this uneasy record. It did do rather well as a single and became a favorite on the ensuing tour. Another special quality to the number is Pete's use of the banjo for the solo spot of the tune, which broke away from the conventional and/or standard electric guitar spot and offers a unique and different sound for an otherwise, pop-styled number. "Blue, Red and Grey" features Pete on lead vocals and utilizes a ukulele as its main instrument, accompanied by a horn arrangement, offering a brighter view to this calming, but fun little number. John Entwistle contributes "Success Story", a tight little rocker which is a semi-autobiography of the band's life, tongue in cheek, mind you. "Dreaming From the Waist" and "In a Hand or a Face", join "Slip Kid" and "Success Story" as more of the rockier sides of the material, while lyrically, continuing the album's cynical, sometimes cryptic views on life. Again, to reference a line from "In a Hand or a Face",  "Ain't it funny how they fire the pistol, at the wrong end of the race", it's this line specifically that fans and critics reference to in regards to Townshend's unstable and troubled state of mind during the writing for this album. 

 

Performance wise, Keith Moon was still at the peak of his powers before faltering off with the impending haze of alcohol that would ultimately, lead to his undoing. Songs such as "Dreaming from the Waist", "However Much I Booze", "Squeeze Box" and "How Many Friends" show off his "joker's wild" styles of sensibility, unbridled aggression and "in the pocket" sense of rhythm majesty. Entwistle's bass playing is as powerful, prolific and propelling as ever, adding depth to numbers like "Slip Kid", "In a Hand Or a Face", "Dreaming from the Waist" and "However Much I Booze" with amazing dexterity. Daltrey's vocals are robust with energy and a defiant sense of confidence, despite the lyrics Pete had written for the record, a problem that would arise on the following, Who Are You release. Still, though, Daltrey's voice has always been a welcomed power and style that defines a quarter's part sound of the Who.

​

Who By Numbers is more of a personal and psychological update within Townshend and the band that succeeds well in its intents as a mid-life album that sometimes can be depressing, but all the more appealing as well in terms of maturity and growth. 

​

Rating Grade- A