John Entwistle Albums (12)
What The Critics Say
Throughout the '70s, the Who would take extended hiatuses, usually while Pete Townshend was cooking up another complex concept work (1973's Quadrophenia) or readying a movie (1975's film adaptation of Tommy). During these periods, bassist John Entwistle would often occupy his down time by playing solo shows -- one of which serves as the basis for Greatest Hits Live. Although the set was released in 2003, it is a show from the '70s (originally broadcast as part of the King Biscuit Flower Hour series) that is documented here. While Entwistle's solo albums didn't always adhere to a strict "hard rock" policy, he did on-stage, as standout rockers from both the Who and his solo career -- "Heaven and Hell" (which is wisely played à la the Who's Live at Leeds version, not the flat Smash Your Head Against the Wall version), "My Size," "Whiskey Man," "Boris the Spider," and "My Wife" -- are included. Also rounding out the set is a nearly 15-minute interview with the late/great Entwistle. While not as over the top as the Who prior to Keith Moon's death, Entwistle's group from this era had no problem cranking out the hard rock, as evidenced throughout Greatest Hits Live. ~ Greg Prato, All Music Guide
'From the Front Row...Live!'
Release Date 3/25/2003
Tracks 9
Label Silverline
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What The Critics Say
When you buy an album by the John Entwistle Band, you want to get the full effect of Entwistle's bass prowess and not have it buried in the mix. The keyboards almost drown out everything but the vocals ("Rebel Without a Car"). The CD has a Faith No More feel to it, with heavy metal pop ballads and over-flanged guitars and bass ("Darker Side of Night," "Good & Evil"). Other numbers like "Sometimes" are weaker than a wet paper bag occupied by a boulder. It would work well as the sound bed for an aerobics video. Entwistle doesn't break completely loose with his bass playing until the last few songs on the album. For most of the CD, he opts to play the same parts as the guitar. It's not until a track such as "Endless Vacation" when he throws aside his safety net and forces the listener into submission with a heavily fuzzed bass solo. Mountain guitarist/vocalist Leslie West also appears to lend some beef to "Don't Be a Sucker." West's vocals add a gruff punch to the music that howl like a whisky-soaked, Faces-era Rod Stewart. Probably the most attention-grabbing aspect of the disc is the song "Bogeyman." Entwistle blew the dust off this oldie that he recorded as a demo for the Who back in the 1970s. It features a guest spot by the late Keith Moon on drums, and it has a slight 1960s Who feel. This holds especially true in the narrative presented by Entwistle, which almost reaches the same peak as a classic like "Boris the Spider," with lines such as "don't pick your nose at the table. Go straight to bed, that's very rude." Even though there are a few standout tracks, the album is not what you expect from a bass legend. For a man who penned the songs "The Real Me" and "Success Story," this is a disappointment. ~ Stephen Howell, All Music Guide
'King Biscuit Flower Hour Presents In Concert'
Release Date 6/17/1997
Tracks 10
Label King Biscuit
See Album Tracklist and Review
What The Critics Say
It took John Entwistle four years after the release of his first solo album to actually go out on tour -- that was in connection with his fourth solo album, Mad Dog, and whence this show (sharing a bill with Humble Pie on the latter's final concert) on March 15, 1975 at the Philadelphia Spectrum was recorded. Ironically, only one song from Mad Dog, "Cell Number Seven," and is featured on this disc -- all of the rest are either classic Entwistle/Who songs ("Whiskey Man," "Boris the Spider," "My Wife") or material off of his earlier solo albums, such as "My Size" (Entwistle: "I'm not boasting in any way"). The backing band, consisting of Robert Johnson (guitar, vocals), Mike Decan (keyboards), Graham Deacon (drums), and Jeff Daily (sax), is pretty tight, even if they don't generate the sort of massive wall of sound that the Who often did on stage -- it's a more articulate sound, giving Entwistle a chance to stretch out better vocally. He has great fun with "Boris the Spider" and "My Wife," and all of the versions of his own stuff here are worth owning, even as alternatives to the Who originals, some of which ("Whiskey Man") weren't done in concert all that often. As a bonus, we get a very Who-ish cover of "Not Fade Away," and an interview with Entwistle, conducted (by a guy who can sound like a real dork at times) immediately after hearing the concert anew in 1997, in which he reflects on the show, the tour, and his career; it's pretty entertaining and very honest. Johnson's guitar and Decan's keyboards sometimes get a bit buried in the mix, but that's okay, because Entwistle's bass is right up front and provides a massive, throbbing wash of sound. A fun and enjoyable alternative to Rhino's John Entwistle best-of. ~ Bruce Eder, All Music Guide
What The Critics Say
John Entwistle's greatest failings as a solo artist are generally a matter of not being the best judge of his own work. He can't seem to tell his good jokes from the ones that sink without a trace, he sets his best songs right beside numbers that would have been best left in the rehearsal space, and for a guy who was one-third of England's greatest power trio (plus vocalist), he doesn't always know what to do with a large band. All of these flaws are certainly evident on Mad Dog, Entwistle's third solo set, but it's actually one of his better albums, one where the good songs really do work. "I Fall to Pieces" is not the Patsy Cline chestnut, but a snappy horn-fortified number, "Who in the Hell?" is a C&W parody that's both funny and tuneful, "Mad Dog" gets the Spector-esque girl group sound down cold (appropriately enough, Entwistle hands the lead vocal over to his female backing singers), and "I'm So Scared" is a charging rocker that could have passed muster with the Who. But "You Can Be So Mean" and "Drowning" are novelty numbers that wear out their welcome fast, the instrumental "Jungle Bunny" is just taking up space, and only Who fans interested in tales of woe on the road will be interested in "Cell Number Seven" (about the band's arrest in Montreal in 1974). Mad Dog is enjoyable in short bursts, but it also makes a good case for the conventional wisdom that even the best bass players are only so-so as band leaders. ~ Mark Deming, All Music Guide
What The Critics Say
One could argue that John Entwistle's instrumental prowess on the bass and mordant lyrical humor in tunes like "Boris the Spider" and "Whiskey Man" had nearly as strong an impact on the Who's early work as Pete Townshend's input, but both men's work grew and changed significantly with the passing of time. While Townshend was always determined to remain on the cutting edge of what mattered in rock, Entwistle evolved from the cool guy who never moved on-stage to the cheesy old geezer in the tight polyester pants who never moved on-stage, and in the 1980s his solo work reflected less of the witty hard rock that dominated Mad Dog or Whistle Rymes and more of the hard rock bombast that was filling arenas in America. After the disappointing commercial reception of his 1981 solo effort, Too Late the Hero, and his difficulties scoring a record deal after the Who broke up, Entwistle was determined to make an album that would sell beyond his cult following, and The Rock not only didn't sound like a typical Entwistle album, he didn't even sing on it (believing his voice was part of what put folks off) and wrote only four of its 11 tracks. Elsewhere, former Prism vocalist Henry Small co-wrote the other seven tunes (primarily with guitarist Devin Powers) and took over lead vocals, with Gene Block also handling guitar, Zak Starkey playing drums, and Adrien Cook on keyboards. Ultimately, the results resemble Tesla, Extreme, or other bands on the (relatively) more intelligent side of the 1980s hair metal scene than anything the ostensive leader did with the Who. There's no questioning the technical skill of the performances -- this band sounds tight and expert throughout, and Entwistle and Starkey are a mighty rhythm section -- but most of Small's songs are a mass of clichés and the guitar and keyboard figures firmly date this album as a product of the mid-'80s (it was recorded in 1986, but legal issues with Entwistle's record company kept The Rock on the shelf for ten years). You can't blame Entwistle for wanting his solo work to appeal to an audience as much as the Who's music has, but The Rock trades his more distinctive work for faceless cookie-cutter hard rock, and there's no denying he could do better. ~ Mark Deming, All Music Guide
What The Critics Say
The cover art for Rigor Mortis Sets In presents a grave for rock & roll with a tombstone that proclaims that it "didn't die, it just ran out of time." Ironically, the same could be said for this album: after establishing a singular voice on Smash Your Head Against the Wall and Whistle Rymes, John Entwistle's burgeoning solo career took a surprising nosedive with this misjudged collection of halfhearted covers and schlocky retro-rock originals. It's obvious from this album's tone that Entwistle wanted to make a commentary about how rock & roll had gone in the wrong direction, but doing tongue-in-cheek covers of classics was not the way to do it. In fact, the versions of songs like "Hound Dog" and "Lucille" are so lifelessly performed that it sounds like the band is merely attempting to imitate Sha Na Na instead of sending up the original tunes themselves. The biggest offender in this respect is "Mr. Bass Man," which replaces the enthusiasm of Johnny Cymbal's original version with a self-consciously campy production built on cutesy vocals guaranteed to make listeners grind their teeth. The original material on Rigor Mortis Sets In is better by comparison, but still fails to satisfy: "Roller Skate Kate" is a parody of death-dirge songs like "Teen Angel" that lacks the morbid drive of the songs it's trying to send up and "Do the Dangle" is a parody of dance-craze tunes that is too pleased with itself to attempt being genuinely witty. The best of the originals doesn't fit in with the album's theme, ironically enough: "Made in Japan" is a tight little mid-tempo pop tune featuring a witty lyric where Entwistle bemoans how few things are actually made in his home country. However, even this tune pales in comparison to the highlights of his previous solo work. Ultimately, Rigor Mortis Sets In is a professional enough affair to please Entwistle's hardcore fans, but it will mostly likely leave the casual listener cold. ~ Donald A. Guarisco, All Music Guide
