A band from our Proskuneo School of the Arts (a mix of teachers and students from Sudan, Syria, Burma, USA, and Democratic Republic of Congo) led worship recently at the Sudanese church here in Clarkston. I originally learned this song from this church, a couple years ago, and it has become one of my favorites to teach cross-culturally. In this video, I am especially proud of our piano player. Raheal is Sudanese, and has been taking classes and lessons at our Proskuneo School of the Arts since we began in 2012. This is the first time she has ever played in church, and the first time she ever played with a band. Amazing. This is one reason the Proskuneo School of the Arts exists.
"Baba O'Riley" is a song by the English rock band The Who, written by guitarist and primary songwriter Pete Townshend. It is the opening track to the Who's fifth album, Who's Next (1971). In Europe, it was released as a single in October 1971, coupled with "My Wife". Performances of "Baba O'Riley" appear on several Who live albums.
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Widely regarded as one of the Who's finest songs and as one of the greatest rock songs of all time, "Baba O'Riley" appears in Time "All-Time 100 Songs" list, Rolling Stone's list of "The 500 Greatest Songs of All Time", and the Rock and Roll Hall of Fame as one of the 500 Songs That Shaped Rock and Roll.
Townshend wrote "Baba O'Riley" for his Lifehouse project, a rock opera intended as the followup to the Who's 1969 opera Tommy. In Lifehouse, a Scottish farmer named Ray would have sung the song at the beginning as he gathered his wife Sally and his two children to begin their exodus to London. When Lifehouse was scrapped, eight of the songs were salvaged and recorded for the Who's 1971 album Who's Next, with "Baba O'Riley" as the lead-off track.[citation needed] The song title refers to two of Townshend's major inspirations at the time: Indian spiritual master Meher Baba and American minimalist composer Terry Riley.[4]
According to Townshend, at the end of the band's gig at the 1969 Isle of Wight Festival, the field was covered in rubbish left by fans, which inspired the line "teenage wasteland".[5] In another interview, Townshend said the song was also inspired by "the absolute desolation of teenagers at Woodstock, where audience members were strung out on acid and 20 people had brain damage. The irony was that some listeners took the song to be a teenage celebration: 'Teenage Wasteland, yes! We're all wasted!'"[6]
The repeating set of notes (ostinato) in "Baba O'Riley" that opens and underlies the song was derived from the Lifehouse concept, where Townshend wanted to input the vital signs and personality of Meher Baba into a synthesiser, which would then generate music based on that data. When this idea fell through, Townshend instead recorded a Lowrey Berkshire Deluxe TBO-1 organ using its marimba repeat feature to generate them.[7] This modal approach was inspired by the work of minimalist composer Terry Riley.[citation needed]
The song was derived from a nine-minute demo, which the band reconstructed.[2] "Baba O'Riley" was initially 30 minutes in length, but was edited down to the "high points" of the track for Who's Next.[8] The other parts of the song appeared on the third disc of Townshend's Lifehouse Chronicles as "Baba M1 (O'Riley 1st Movement 1971)" and "Baba M2 (2nd Movement Part 1 1971)". Dave Arbus, whose band East of Eden was recording in the same studio, was invited by Keith Moon to play the violin solo during the outro. In most live performances, this part is played instead by Daltrey on harmonica.[citation needed]
"Baba O'Riley" was released in November 1971 as a single in several European countries. However, in the United Kingdom and the United States, it was released only as part of the album Who's Next. The song became one of the band's most popular songs, as well as a popular staple of AOR radio, and remains on the classic rock radio canon.
"Baba O'Riley" appears at No. 159 on Rolling Stone's list of "The 500 Greatest Songs of All Time".[9] The song is in the Rock and Roll Hall of Fame as one of the 500 Songs That Shaped Rock and Roll.[10] The band Pearl Jam regularly plays a cover of the song during concerts, and a readers' poll in Rolling Stone awarded this cover as #8 in their "Greatest Live Cover Songs".[11] In 2012, Paste ranked the song number two on their list of the 20 greatest Who songs,[12] and in 2022, Rolling Stone ranked the song number six on their list of the 50 greatest Who songs.[13]
In October 2001, the Who gave a much lauded performance of the song at the Concert for New York City.[21] Since 2003, "Baba O'Riley" has been played during player introductions for the Los Angeles Lakers during home games at the Staples Center.[22] The song is played before live UFC events during a highlight package showing some of the most famous fights in the mixed martial arts company's history.[23] The song was used for the trailer of the EA Sports UFC 4 game. It is also the official theme song of competitive eater Joey Chestnut.[24]
At both the opening and closing ceremonies of the 2012 London Olympics, the 120 BPM dance track "The Road Goes on Forever" by High Contrast, which samples "Baba O'Riley", is used during the countdown at the start of the proceedings.[25] "Baba O'Riley" was then performed by the Who as their first number during the last musical segment at the closing ceremony, with Daltrey singing a changed lyric of "Don't cry/Just raise your eye/There's more than teenage wasteland".[26] "Baba O'Riley" is also used as the pregame music at Sanford Stadium and is played right before kickoff at every University of Georgia home football game. In addition, the Boston College Marching Band have featured a rendition of the song at football and hockey games. It is also played at halftime of most New England Patriots home games, leading up to the second-half kickoff. It is also the entrance music for the New York Rangers at Madison Square Garden for every Rangers home playoff game.
In the course of a debate on Twitter, it was noted that "Best Song Ever" (2013) by One Direction bore a strong resemblance to the basic structure of "Baba O'Riley". Pete Townshend responded to the claims by denying that the Who were pursuing legal action, and stated that he was a fan of One Direction's single and was happy that One Direction appeared to have been influenced by the Who, just as he had been influenced by earlier musicians such as Eddie Cochran.[27]
In 1969, The Who released an album that would irrevocably change their fortunes. Their rock opera, Tommy, was a huge success in their native England, but even more so in America, where it was hailed a triumph of the surging rock scene.
The trappings of technology are a running theme in Life House, and so it was that Townshend turned to the latest in electronic instruments to best realize his intricate notions of transcending artificiality.
It was decided that instead of the double album the group had planned for the Life House soundtrack, they should compile its strongest songs into a single album format, which is when they began working with Glyn Johns.
It is closely associated with a sense of mettle, and as such has become a cultural touchstone for film and TV makers wishing to reflect a fighting spirit. Spike Lee, for example, used it to great effect in his 1999 crime thriller Summer Of Sam, but it is perhaps best known as the theme song for the forensic cop show CSI: NY.
The teachings of Indian spiritual master Meher Baba were a heavy influence on Pete Townshend during his peak creative period as a composer, primarily between 1967 and 1980. Pete's spiritual aspirations were the driving force behind many of his greatest compositions, giving his work extraordinary depth and timelessness. In many ways this is what sets Pete apart from other artists of this era.
Here is the story of Pete Townshend's spiritual relationship with Meher Baba and how it affected his life and work, as told in Pete's own words, sourced from various interviews and articles over the years.
Only one person on this earth is capable of an absolutely perfect love for all and everything, and that is, when earth is fortunate enough to be his illusory host, the Messiah. The Avatar. He just came and went. Meher Baba.
"Baba's life story is well known: He was born in a town in India called Poona in February, 1894. While in college, he built up an affection for an old woman named Hazrat Babajan, who was in reality a Perfect Master. One day she kissed him on the forehead, and from that moment he was changed. He neither ate nor slept for months, and spent the next seven years in study with the five Perfect Masters of the time. One of these Masters, Upasni Maharaj, threw a stone at Baba, hitting him at the spot where Babajan had kissed him, between his eyes. It was at this moment that Baba became aware of his role and destiny as a Perfect Master himself.
"Meher Baba did not speak at all from July 10th, 1925 until he died in 1969. His silence was of great symbolical meaning. Baba said, "You have had enough of my words, now is the time to live by them." He also said that the breaking of his silence would occur before he dropped his body, and that the impact of the word he would speak would bring an incredible surge of spirituality to mankind. In later life, Baba explained that the "word" he would speak would not be a word in the ordinary sense, but would be in his own Divine language. (I often wondered previous to hearing this how Baba would manage to utter even a single word after 40 years of silence without a terrible croak emerging, but at last I heard that Baba did in fact speak to himself, his vocal chords functioned.) The effect of this word on any given individual would depend on that individual's readiness to receive it. The spiritually prepared would get it at full force, receiving a push towards Self-Realization that they couldn't normally achieve even in many incarnations. The unprepared would feel nothing, but all mankind would receive an immense spiritual push. I held that Baba's word has been spoken, probably about the time of his death. I felt confused that I was suffering from a bout of flu when Baba was about to drop his earthly body. We were playing in Newcastle the day he died, and when I got home and the news was broken to me I felt as if I had betrayed myself. I felt as if I hadn't had enough time to really make myself ready, to learn to love Baba and hang tightly to his apron strings as the whirlwind of spiritual events around the closing of his manifestation speeded up. [1] 152ee80cbc
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