Review: 'Teenage Wasteland: The Who at Winterland, 1968 and 1976'

There have been so many books about The Who that it only makes sense that, sixty years after the band's formation, a new entry in their library would be almost unbelievably specific. The very title of Edoardo Genzolini's Teenage Wasteland: The Who at Winterland, 1968 and 1976 announces its specificity. That is not a mistyped conjunction; this book does not track the years 1968 through 1976, when The Who were pretty much the greatest live band in the world. Genzolini's only covers two years in The Who's history, and not conspicuously auspicious ones either. 1968 was the first year The Who did not release an LP since their beginning, and the few singles they managed to squeak out in '68 are often dismissed as novelties made by an out-of-touch band desperate for fresh material (I'm not one of those dismissers though, largely because the zany "Dogs" is one of my faves). In 1976, they were touring their most troubled album, the virtual suicide-note The Who By Numbers, with rapidly deteriorating intraband relationships and a rapidly deteriorating drummer with just two years left in the world.

But! But! 1968 was also the year The Who performed relentlessly, honing their stagecraft, while working behind-the-scenes to slowly craft the rock opera that would solidify their stardom. And the drama of '76 that nearly broke the band arguably made for some electrifying performances. 

But why San Francisco's Winterland? Well, The Who apparently had a very tight relationship with the hippiest town in the U.S.A., which is ironic considering that they're the major classic rock band that was most reluctant to buy into that's era's hippie idealism. 

Plus, their dates at Winterland produced oodles of photos, which is probably what got Teenage Wasteland green-lit. But Genzolini does not allow his book to simply coast on its photos, which are as exciting as one would expect photos of one of the most visually striking rock bands as they leap, flail, swing, smash, and disappear into an action-pact blur (and, in one remarkable instance, hanging out with Ronnie Spector backstage) to be. The writer takes his topic seriously, providing ample background about the band, the venue, the San Francisco rock scene, and the specific shows on which his book mainly focuses (though he does include extended riffs on other key years, such as 1967 and 1969). 

Genzolini also relays many memories of those who were in attendance, goes into depth about such side-road topics as Pete's relationship with Meher Baba or San Fran-locals Blue Cheer or Jefferson Airplane, and discharges convincing insights into the band's image, legacy, and goals. As far as a book that was likely sold as coffee table book about one of rock's most widely covered bands goes, Teenage Wasteland is refreshingly smart and surprisingly essential.

P.S.-Be sure to head over to Edoardo Genzolini's YouTube page, where he has posted some unbelievably rare recordings of The Who performing such nuggets as "Run Run Run" and "Don't Look Away", as well as about five seconds of "I Can See for Miles", in 1968.