Mod Is Dead: Psychedelia Is King Part Two-The Who "I Can See For Miles"

 

THE WHO-I Can See For Miles/Someone's Coming U.K. Track 604011 1967

When Pete Townshend was staggering around a Pink Floyd gig at the U.F.O. club London in the middle of a bad L.S.D. trip in 1967 he bumped into loyal Who fan and Goldhawk club mod Ace Face "Irish Jack" Lyons who could hardly believe his eyes. His hero was wearing an Afghan coat and beads and tripping his balls off. Pete was equally astonished that Jack was still in his mod gear and declined Lyon's invite for a pint at the pub across the street instead stating that he was going to go check out the macrobiotic food stall, that his girlfriend, Karen Astley (daughter of "The Saint" theme composer Edwin Astley) was working in her risque paper dress sans undergarments. Karen  Astley was heavily involved with the U.F.O. club and appeared on one of their flyers (see below). 

Pete and Karen Astley, pre-psychedelia (note bottle of Teacher's whiskey)

Roger Daltrey has stated "The Who didn't do peace and love" and though this is essentially true Pete's acid experiences had a major impact on their third single of 1967, "I Can See For Miles". It was unleashed on the British public on October 13, 1967 , strangely it was issued in America on September 18th (where the band promoted it the previous evening on "The Smothers Brothers Show").  Much to Pete Townshend's chagrin (he considered it one of his greatest accomplishments and still does) it stalled at #10 in Britain but went on to become their highest American chart placing single to date reaching #9. The American release featured "Mary Anne With The Shaky Hand" as it's B-side, whereas the British release featured John Entwistle's "Someone's Coming". The lyrics to "I Can See For Miles", partially inspired by Pete's insecurities that Karen was cheating on him while he was on the road (one has the feeling that he was not remotely chaste at this time) were also inspired by his L.S.D. use (something he would end after a bad experience on Owsley's STP while on the flight home to England following the Monterey Pop Festival in June). During one particular trip at a Pink Floyd gig (quite possibly the same one he encountered Irish Jack at) Pete became convinced that Roger Waters was seducing Karen from the stage and was terrified that Waters was "swallowing him" and according to Pink Floyd producer and U.F.O. Club organizer Joe Boyd, Pete spent most of the gig crouched in front of the stage telling all and sundry how terrified he was. 

"I Can See For Miles" put the Who firmly back in their game of powerful singles in the tradition of "My Generation" or "Anyway Anyhow Anywhere" after light weight releases like "Substitute", "Happy Jack" and their ill advised Rolling Stone's cover "The Last Time". Beginning with a resonating power chord and Moon's surprisingly tight drumming (in fact Moon's drumming throughout the entire track is incredibly intricate and disciplined!) "I Can See For Miles" is an iconic track with layer upon layer of buzzing /stinging guitars and a chorus of harmony vocals that perfectly mesh with the thundering crescendo.  This is The Who at their best after spending forever on the road in the United States and recording on the hoof as they criss crossed the country in a Greyhound bus (the backing track was recorded in London and the vocals and overdubs were cut at Talent Masters in NYC and the soon to be finished product was mixed at Gold Star in Los Angeles). 

The flip side, Entwistle's "Someone's Coming" is a polar opposite the A-side. Backed by Entwistle's intricate horns layered in overdubs it's not an unlikable track but truly a throwaway B-side and nothing in the league of previous stellar Entwistle flip sides like "In The City" or "Doctor Doctor". 

We briefly dipped into the waters of the death of mod and the birth of psychedelia way back when in a previous post. 

Hear  "I Can See For Miles"

Hear "Someone's Coming"