The first thing that impresses me about The Who Sings My Generation is the group's sound. Despite an inferior recording, what I hear loud and clear are Roger Daltrey's rough yet urgent vocals, John Entwistle's popping bass, Pete Townshend's ringing guitar and underrated backing vocal, and Keith Moon's thunderous drumming which somehow holds everything all together. I wonder how it all sounded to the world when this British band's first platter hit the U.S. shores in the spring of 1966.

The second thing that impresses me is Townshend's songwriting. With the exception of the standard rock love song "Much Too Much," his writing seems mature and confident for a mid-'60s debut album. Of course, he cut his teeth on some early singles and competition from fellow Brit songwriters John Lennon/Paul McCartney, Mick Jagger/Keith Richards, and Ray Davies.

The jangly "It's Not True," where the singer fends off ridiculous rumours, is the humourous cousin of their early single, "Substitute." "Circles" (titled "Instant Party" on the original release due to complicated legal reasons) expresses vulnerability within its early-psychedelic groove. The bouncy "La La La Lies," featuring session player Nicky Hopkins on piano, is young love at its most self-assured while the droning "The Good's Gone" shows the other side of the coin, emphasized by Daltrey's too-tired-to-give-a-damn phrasing.

But I think the best example of Townshend's writing, is the song that opens Side 2, "The Kids Are Alright." It's a joyous and melodic song that defends "the kids" (presumably the English mods who formed the group's fan base) and looks restlessly ahead to a life of independence, responsibility, and self-awareness. As the singer puts it:

Sometimes
I feel I've got to get away
Bells chime
I know I've got to get away
And I know if I don't I'll go out of my mind
Better leave her behind with the kids are alright

As for taking "her" with him: "I know if I go things will be a lot better for her/I had things planned but her folks wouldn't let her." It sounds like he was planning marriage or, at the very least, co-habitation. But due to the confines put on him by her parents and perhaps his own developing maturity, he has the urge to go away, clear his mind, and leave his girlfriend with "the kids." An instrumental break builds up a sonic force that reflects the singer's mixed emotions.

The song opens with the lines "I don't mind/Other guys dancing with my girl/That's fine/I know them all pretty well" so when he leaves her behind it is debatable whether he trusts them to look out for her or, since if he goes things will be a lot better for her, he hopes one of the kids more worthy than he will end up with her. Either way it is a memorable song made more remarkable for its complexity.

"The Kids Are Alright" is certainly one of the two standout tracks on the album. The other one is, of course, the title piece. Much has been written about "My Generation" and its key line "Hope I die before I get old," so I don't think there is anything I can add to that conversation. But I will say that it is a great piece that gave voice to a legion of awkward, tongue-tied youths, and continues to do so today, if not directly then through its many offspring. Daltrey's stuttering characterization, demanding to be heard though not quite sure of himself, is dead-on ("Why don't you all just ffff-ade away" is about as good a verbal one-fingered salute as you could slip by the censors in those days).

Guitar, bass, and drums click throughout the start-stop song. Entwistle performs a bass solo, rarely heard on a single and reportedly because Townshend was not comfortable enough with his guitar solo (in keeping with the character, no doubt). The song doesn't end so much as it implodes, with Moon flailing on his drums like a Type 4 hurricane, Townshend getting feedback from his guitar, and Daltrey screaming the title over and over.

Also included on The Who Sings My Generation are two homages to James Brown ("I Don't Mind" and "Please Please Please") where the group showcases its mod-heavy R&B influences, and Entwistle's instrumental "The Ox," which lets the band go bonkers for several minutes. The opening cut, "Out in the Street," sort of molds the two forms together in typical mod culture.

The only song I could never get into was "A Legal Matter," partly because of its flippant lyrics. I mean, a 20 year-old talking about loving and leaving a girlfriend is one thing, but a 20 year-old talking about divorce just doesn't cut it, no matter how hard it tries to be tongue-in-cheek. I also don't care for Pete's nasally, whiny vocals on this cut, the only time he sings lead on this album. Knock that song off the list and The Who Sings My Generation would have a more forceful ending. But hey, as debut albums go, this one is more than alright.

Recommended: Yes