Artist	Song
The Who	Under My Thumb
from Odds & Sods (1998)
The Who	A Quick One, While He's Away (Mono Version)
from A Quick One (Happy Jack) [Remastered] (1995)
The High Numbers	I'm the Face
from Odds & Sods (1998)
The Who	Quadrophenia
from Quadrophenia (1996)
The Who	I Can't Reach You
from The Who Sell Out (1995)
The Who	Long Live Rock (Remixed Album Version)
from Odds & Sods (1998)
The Who	Tattoo
from The Who Sell Out (1995)
The Who	We Got a Hit
from Endless Wire (2006)
The Who	Is It In My Head
from Quadrophenia (1996)
The Who	Too Much of Anything
from Who's Next (1995)
The Who	Mary Anne With the Shaky Hand
from The Who Sell Out (1995)
The Who	Dreaming from the Waist
from The Who By Numbers (Remastered) (1996)
The Who	Run Run Run
from A Quick One (Happy Jack) [Remastered] (1995)
The Who	Postcard
from Odds & Sods (1998)
The Who	Water (Live)
from Who's Next (1995)
The Who	Sister Disco
from Who Are You (1996)
The Who	Early Morning Cold Taxi
from The Who Sell Out (1995)
The Who	The Ox
from My Generation (Deluxe Edition) (2002)
The Who	I Don't Even Know Myself
from Who's Next (1995)
The Who	Bell Boy
from Quadrophenia (1996)
The Who	Don't Let Go the Coat
from Face Dances (1997)
The Who	Relax (Including Rotosound Strings [Demo] Commercial)
from The Who Sell Out (1995)
The Who	A Man In a Purple Dress
from Endless Wire (2006)
The Who	Real Good Looking Boy
from Then and Now! 1964-2004 (2004)
The Who	Mirror Door
from Endless Wire (2006)

Comment:

Ultimately, what drives the Who's sound — and nearly drove the band crazy — is four wildly idiosyncratic identities submerging themselves into a massive sonic cauldron of churning rhythm, overdriven volume, and frenzy-inspiring showmanship. Bassist John Entwistle, the unflappable anchor, kept the bottom end down as his bandmates raged: the manic-panic cymbal-and-tom spray of Keith Moon; the windmilling guitar spectacle of Pete Townshend; the blue-collar-opera vocal melodrama of Roger Daltrey. Nowhere is this dynamic better captured than in "A Quick One While He's Away" from their 1968 appearance on [i]The Rolling Stones Rock and Roll Circus[/i], where they come together for an [i]a cappella[/i] intro, then split apart like an atomic reactor reaching critical mass. And consider the outfit's gob-smacking ability to capture the anguish of teenhood, from the angelic beauty of "Tattoo," Townshend's coming-of-age confessional, to the cotton-candy innocence of Daltrey's bittersweet Britpop bouquet, "Early Morning Cold Taxi."

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