It debuted at number ten on the Billboard 200, selling 63,000 copies in its first week of release, and was certified gold by the Recording Industry Association of America (RIAA) on September 7, 2005.[5][6] Lifehouse has sold 960,000 units in the US as of November 2009,[7] and over three million worldwide to date.[citation needed]
The album saw a notable shift in Lifehouse's sound. It was their first to be executive produced by American record producer Jude Cole, who had served as the band's talent manager since 2000. Lifehouse featured less angst-ridden post-grunge present in the band's previous two albums in favor of a lighter, more radio-friendly, adult contemporary pop rock sound; this would continue with each of the band's subsequent releases. The song "We'll Never Know" features a post-grunge flair, while the album's two lead singles, "You and Me" and "Blind", co-written and produced by Cole, respectively, both lean towards pop rock.
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American alternative rock band Lifehouse has released seven studio albums, three extended plays, one DVD, and sixteen singles. The band's debut single, "Hanging by a Moment", was named Billboard's song of the year in 2001. After signing to DreamWorks Records in 2000, the band released their debut studio album, No Name Face, which has been certified 2 Platinum by the RIAA.
The aforementioned Handsome is packed to the brim with confidence, Young blasting lyrics at inconsistent speeds raging from medium to 100mph over skittery guitar lines. The production on this job helps to make it sound messy but to its advantage, resulting in one of the highlights of this album.
And some similar advice to Brian Wilson and Jimi Hendrix: get a track list or two together and pick the best versions you have to get on the road to getting a finished album together, instead of perpetually recording and re-recording in a quest for perfection. Far easier said than done, I know, especially considering how much pressure they (and the Who and the Beatles) were under from multiple directions to churn out product instead of taking their work into new, risky, and expensive territory.
2. If Lifehouse should be a double album, take some more time to make the songwriting of a more consistent standard, and/or provide brief link tracks of sorts that both make the story clearer and move it along, as was done in Tommy.
A key difference is that while Lifehouse was something of a science fiction story that would have been hard to film in the 1970s, with a plot still challenging to follow if it was only in LP form, Quadrophenia was very much based on the real-life experiences of the Who and their fans in the mid-1960s. That itself made it more conducive to generating a story that could be reasonably straightforward to follow, and eventually developed into a film. And, perhaps, something ultimately more universally appreciated and understood than what Lifehouse ever could have been, as much as Townshend wanted it to address universal concepts in life, music, and transcendence into a higher state of existence.
After a two-year hiatus, Lifehouse returns to the pop rock music scene with their 7th studio album, Out of the Wasteland. While band members Jason Wade, Bryce Soderberg, and Rick Woolstenhulme, Jr. pursued other musical career paths during this time, they ultimately decided to reunite in 2014 to the delight of their dedicated fans. It is safe to say that the album was worth the wait.
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1971. Life House was a double-barrelled project. One part film script, the other part the plan for a live musical experiment to be carried out at the Young Vic Theatre to be filmed and incorporated into the fictional movie.
After the success of Tommy, providing The Who with a very powerful and uplifting concert piece as well as a hit album, I tried to create an audacious music project that would replace it musically for stage and album. I hoped too for a movie. I framed Life House as a portentous polemic about the coming of a nation beaten down by climate issues and pollution. In a sci-fi setting an opportunist and autocratic government enforce a national lock-down in which every person is hooked up to an entertainment grid, provided with solace, food, peace, and spiritual succour. The population could enjoy this Grid safe at home, using virtual reality experience suits. Life experience programmes would be provided by a co-opted entertainment industry and piped down tubes and wires to every home.
Dear Pete and co, so much of what you have written about is now so real. We are unwittingly being fed music and information as though we are in subjugation suits. It flows directly into our brains or in augmented reality head sets. I hope someone with an imagination equal to yours takes up the story from here so we can see what the future really is
This is one of the most exciting things to happen in the music world to me because to have unreleased songs and hearing Lifehouse as a whole is something I have always dreamed of. I am a musician and huge fan of The Who and Townsend is one of my favorite song writers of this century. Cannot wait.
How is this possible? The Who original master tapes were among the thousands of artists that were destroyed in the Universal fire in 2008, that the record company tried to cover up for almost a decade.
I am so looking forward to this! I bought the original album in 1971 whilst on a holiday to the UK as a 13 year-old. It was stunning and since then I have bought all the remastered versions as well as the Lifehouse Chronicles set and one version or another is nearly always in circulation in my CD player (car and home). Thank you for this Pete!
Als Who Fan seit 1969 freue ich mich schon riesig auf dieses Meisterwerk, natrlich werde ich die CD- Box als auch die LPs kaufen.
Habe The Who zuletzt in Berlin am 20.06.2023 gesehen und war wieder begeistert.
I am 71. I have wanted to see the who for 59 years. I have the opportunity to see them recently at Derby Cricket Ground. The Who with an Orchestra. Well they were fantastic, with new arrangements to some new numbers. Then when the Orchestra had a rest, the Who played their early stuff and the crowd went wild. Yes the crowd were on the older side, but wow we partied!!! we met some guys who had seen them some 17 times, and are going again to Sandringham. Proper whooooligans they were!!!
Got this delivered today. It is a gorgeous box of goodies. I unboxed it and recorded doing so. It is up on YouTube. @timsmeltzer64. It will take some time to digest all that is included. And I am so excited to listen to the new included 11 discs.
A music-obsessed, retired San Francisco lawyer, and author of the rock & roll memoir Jittery White Guy Music (available on Amazon)... picking a random album or song in his collection every day or so and sharing a few thoughts.
Plenty of fans have compiled their own versions of Lifehouse over the years (and you can find various playlists on Spotify). For my own personal version, I pared it back a little. While songs like "Mary" and "Greyhound Girl" and "Teenage Wasteland" (not to be confused with "Baba O'Riley"), originally intended for Lifehouse, are great, they exist only as Townshend demos, and I find they interrupt the flow when mixed in among the finished Who songs. I also wobbled on whether to include songs recorded after Who's Next which Townshend apparently intended to be part of a future Lifehouse expansion; I omitted most of these as sounding anachronistic alongside the originals, but did include "Put The Money Down" from Sods, which was released as a b-side to "Won't Get Fooled Again" and fits in just fine here.
Otherwise, my version is largely just Who's Next, less John Entwistle's "My Wife" and with a different version of "Behind Blue Eyes" (not a huge fan of the original, so I needed a way to keep it interesting) and the completed Who versions of the remaining Lifehouse tracks. (And, frankly, that "Pure And Easy" wasn't included on Who's Next has always struck me as a crime, as it's better than much of the record.) Though there's some agreement as to Townshend's intended running order, I sequenced my mix in a way that I found flows better (alas, decades of spinning Who's Next left me unable to imagine a record that doesn't open with "Baba O'Riley" and close with "Won't Get Fooled Again"). I also created my own artwork, though fans have shared various other images for the imagined record, some of which are pretty cool, i.e.:
And there you have it, the Lifehouse albums in order of how I rank them from the worst to the best. Let me know what you think. Where did we differ and where did we agree. What is fun about these list is how differently each album impacts people. What I like, you might not, but we like the same band and that is all that matters really.
This consists entirely of demos for his attempted rock opera "Lifehouse." I saw "attempted" because he scrapped what would have been a double album in 1971 and had the Who put out the single album "Who's Next" instead. It seems that nobody but Townshend really understood what the concept was about. Townshend returned to the project and put out versions decades later, but I must admit I still don't really understand. If you can see a story through all the songs below, please explain it to the rest of us!
Anyway, not all of these became Who songs, but the vast majority did. (I think the only exceptions are "Greyhound Girl," "Mary," and the variants on "Baba O'Riley," "Teenage Wasteland" and "Baba O'Riley [Instrumental].") The songs are generally from 1970 or 1971. However, two of them, "Join Together" and "The Relay," were written in 1972 when Townshend briefly made another attempt at finishing his Lifehouse project. 152ee80cbc
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