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The first part of the title comes from Meher Baba, who was Pete Townshend's spiritual guru. The second part comes from Terry Riley, an experimental, minimalist composer Townshend admired - many of the keyboard riffs and sound effects on Who's Next were a result of Riley's influence. According to the Who's Next liner notes, Townshend wrote it as his vision of what would happen if the spirit of Meher Baba was fed into a computer and transformed into music. The result would be Baba in the style of Terry Riley, or "Baba O'Riley."
The title is not mentioned in the lyrics, so the song is often referred to as "Teenage Wasteland." The "Teenage Wasteland" section was a completely different song Townshend combined with his "Baba O'Riley" idea to form the song.
This is the first song on Who's Next, the most successful album of The Who's career. Although this is one of the most popular Who songs, it was never released as a single in America or the UK. It was, however, the perfect song for the up-and-coming Album Oriented Rock (AOR) format that was picking up steam on FM radio. Always played in moderation, "Baba" became a Classic Rock staple and remains on many playlists.
This began as part of Townshend's "Lifehouse" project, which is a film script he wrote. The playscript was published in 1999 by Pocket Books, Great Britain. In the screenplay of "Lifehouse," Townshend wrote about the composer (Bobby) setting up the concert: "An experiment Bobby conducts in which each participant [in the concert] is both blueprint and inspiration for a unique piece of music or song which will feature largely in the first event to be hacked onto the grid." Townshend subsequently decided to actually pursue this, and he announces the experiment toward the end of the playscript Intro referenced above. The project ran on
lifehouse-method.com.
Townshend was never able to convince anyone to do the Lifehouse film, and he more or less gave up on that - but he never gave up on having it produced. He revised the script to be more relevant to the world of the Internet (which had caught up with his 1971 concept of a global grid), and to incorporate thoughts and insights he'd had in the ensuing 25+ years, and it was performed on
BBC3 on December 5, 1999. A recording of that performance (along with a lot of additional material) is available from Townshend's mercantile website
eelpie.com.
This marked one of the first times a synthesizer was used to form the rhythm of a song. Until then, just about everyone using a synthesizer was using it as a lead instrument. The synthesizer part was played from tape at their concerts because it was too difficult to reproduce live.
Regarding the phrase "Teenage Wasteland":
Lifehouse is set in a time where most of England is a polluted wasteland. Townshend described it as: "A self-sufficient drop-out family group farming in a remote part of Scotland decide to return South to investigate rumors of a subversive concert event that promises to shake and wake up apathetic, fearful British society. Ray is married to Sally, they hope to link up with their daughter Mary who has run away from home to attend the concert. They travel through the scarred wasteland of middle England in a motor caravan, running an air conditioner they hope will protect them from pollution."
As for the "teenage" bit, Townshend said: "There are regular people, but they're the scum off the surface; there's a few farmers there, that's where the thing from 'Baba O'Riley' comes in. It's mainly young people who are either farmer's kids whose parents can't afford to buy them experience suits; then there's just scum, like these two geezers who ride around in a battered-up old Cadillac limousine and they play old Who records on the tape deck... I call them Track fans." So basically, teenagers traveling across the wasteland to attend this concert. (thanks to The Seeker)
The famous violin part was performed by Dave Arbus of the group East of Eden, who created what many consider the first Celtic Rock song with
Jig a Jig.
According to
Rolling Stone magazine's 500 Greatest Songs Of All Time, this violin jig at the end was drummer Keith Moon's idea. In concert, Roger Daltrey would play the jig on harmonica. (thanks, Bertrand - Paris, France)
The final version of the song runs 5:01, but Townshend's instrumental synthesizer demo of the song was a healthy 9:48. This demo was released in 1972 on a Meher Baba tribute album called I Am.
This is the theme song for the TV show
CSI New York. The original
CSI uses "Who Are You," and
CSI Miami uses "
Won't Get Fooled Again."
Spike Lee used this in his movie Summer of Sam, and a fully orchestrated version was used at the beginning of the movie Slackers. It was also used in an episode of the TV show House. (thanks, Brennan - Columbia, SD)
This was used in commercials for the 2000 Nissan Pathfinder, and also appeared in ads for Cisco. The Who lost a lot of money on bad business deals in their early years and decided to cash in when they were offered big bucks for commercials.
This song was used for part 3 of the VH1 special The Drug Years about drug use in the 1970s. It showed how drugs went from a religious experience in the '60s to just getting "Wasted" in the '70s. (thanks, Ben - cincinnati, OH)
This quickly became a concert favorite for The Who. Live versions of this song can be found on the albums The Kids Are Alright (1978), Concerts for the People of Kampuchea (1979), Who's Last (1982), The Blues To The Bush (1999) and The Who & Special Guests Live at the Royal Albert Hall video (2000). (thanks, Bertrand - Paris, France)
This was used at the end of the trailer for the film The Girl Next Door. The movie encompasses some of the dramas of teenage life. (thanks, Cody - new york city, NY)
In 2007, the song was covered by The Blue Man Group for the TV show America's Got Talent. Since then, it has become a staple at Blue Man Group shows. (thanks, Cliff - Burkesville, KY)
While Townsend's keyboard playing is legendary and brilliant, it's not quite what it seems. When the song was recorded, the band's newly purchased Lowry organ came with a very special feature: a pedal that, when depressed, would repeat each note played three times in succession. (Source: interstitial on 97.1FM The Mountain, Denver, Colorado - thanks, S.D. - Denver, CO)
In an interview with Billboard magazine carried out in February 2010 Townshend discussed how he feels now that 40 years on this and other Who songs take on a deeper meaning. He explained that when he wrote the band's classic tunes, "the music there was about living in the present and losing yourself in the moment. Now that has changed. Boomers kind of hang on to that as a memory. When I go back and listen to those songs, the Who songs in particular of the late '60s and early 70s, there was an aspiration in my writing to attune to the fact that what I could feel in he audience was - I won't say religious - but there was certainly a spiritual component to what people wanted their music to contain. There's definitely a higher call for the music now which is almost religious. U2, for example, are hugely successful with songs about inner longing for freedom, ideas.
A song like 'Baba O'Riley,' with 'we're all wasted,' it just meant 'we're all wasted' - it didn't have the significance that it now has. What we fear is that in actual fact we have wasted an opportunity. I think I speak for my audience when I say that, I hope I do."
Comments (218):
Billy Gould of Faith No More
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Graham Parker
When Judd Apatow needed under-appreciated rockers for his
Knocked Up sequel, he immediately thought of Parker, who just happened to be getting his band The Rumour back together.
Spooner Oldham
His keyboard work helped define the Muscle Shoals sound and make him an integral part of many Neil Young recordings. Spooner is also an accomplished songwriter, whose hits include "I'm Your Puppet" and "Cry Like A Baby."
Richard Marx
Richard explains how Joe Walsh kickstarted his career, and why he chose Hazard, Nebraska for a hit.
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As for the theories about the Vietnam war, I do think it is a possibility that this song is referring to the war, even though it was meant for a rock opera and had to do with a specific plot. Movies and musicals often comment on issues in society, so I think it is very possible that he wrote the film to comment on the war and how it affected those who fought and the generation that followed. It makes sense to me that the song could have lyrics that have one meaning in relation to the plot but a second meaning in relation to what is going on in the world.
"The beginning of this song is from Pete's Arp 2600, The same instrument used by Edgar Winter in Frankenstein!
- Dennis, Oklahoma City, OK"
"while recording the album, pete townshend found a synthesizer that could translate a persons characteristics into keyboard notes. so he took all of meher baba's personal information and uploaded it into the synth and the opening keyboard part is what came out.
- Timmy, Mukilteo, WA"
http://www.thewho.net/whotabs/equip-baba.htm
It's actually not the csi miami theme... it's the csi new york theme
so he took all of meher baba's personal information and uploaded it into the synth and the opening keyboard part is what came out.
House, MD.
Also: There are four versions of this song or something on Pete Townshend's CD "The Lifehouse Chronicles", one "Instrumental" version, one "Live" (Not really, I think) version, and a version that actually drops the synth and just adds violins and other gorgeous instruments, and the original-ish one, only slightly longer and with Pete's vocals.
Interestingly enough, the first song on the Lifehouse Chronicles CD set is named "Teenage Wasteland" and is a even longer version, a different melody even, and again, Pete's vocals.
"THE ROCK IS BACK"
Jimmy from Texarkana, get your hands on a copy of the "Classic Albums" DVD about the origins and creation of Who's Next, and you can check your theory (I don't know enough to say). Pete demonstrates on the equipment he actually used.
Amber from Phila, it depends on what you mean by "produced." If you're referrng to he role of record producer, probably; but other than recruiting his friend Dave Arbus to play on the song, he didn't (AFAIK) have any direct role in creating the part
But whatever it means to you, its a great song, one of The Who's best.
I love the cover that Blue Man Group does of it, but does anyone know where I can find the actual song version of it (I know that Blue Man Group came out with a DVD of their concert in which they play the song but I can't find it through ITunes or anywhere else that I can purchase it).
By the way, whoever said that "If you're a true Who fan you wouldn't say this song is the best"?
If you're a true fan of any group, it doesn't matter which song actually is the best;
what matters is how much you love the song.
This song, in my own opinion, is their best, because it is my favorite.
I'll acknowledge if you like another song better, and I won't argue with you about it, so long as you acknowledge that I like this one better.
So there. :P
It's all very well, gang, to theorize about what this song "means" -- but doing it without knowing the context is a bit misguided. You can certainly talk about what it means *to you*, but the only person who can say what it meant to Pete Townshend in 1971 is...well, Pete Townshend.
Townshend is very clear that it was written as part of his (recently completed) "Lifehouse" project, and the events described in the song parallel the events in the original film script.
As s few other commaentators have said, Ray, a farmer ("Out here in the fields/I farm [not *fight*]for my meals"), lives "in a remote part of Scotland." He and his wife Sally ("Sally, take my hand") "decide to return South...in a motor caravan [RV]" ("We'll travel South cross land").
They are searching for their daughter Mary, who has gone to find a young composer who is planning a concert (called the Lifehouse) that will liberate the attendees from the oppressive and repressive regime ruling England. They get to the concert, at which the participants all disappear. Townshend is clear about the fact that he "simply wanted to demonstrate [his] belief that music could set the soul free, both of the restrictions of of the bod, and the isolating impediments and encumbrances of the modern world."
"Lifehouse" never appeared as a film, but on December 5, 1999 it was performed as a radio play on BBC Radio 3; the playscript was also published in 1999 (by Pocket Books, UK -- look it up on Amazon), and this is what I've been quoting from.
In the playscript -- and presumably also in the film script -- the biblical book of Exodus is mentioned several times ("The Exodus is here"), and the parallels with the biblical story of Sodom and Gomorrah -- in which Lot's wife is turned to a pillar of salt for looking back as they escape ("don't look past my shoulder") -- should be obvious. "The happy ones" who are near are, presumably, those who have been (or are about to be) liberated by the Lifehouse concert (although this is admittedly an inference on my part).
I haven't seen a specific reference to "teenage wasteland," and it's not as clear as the Sodom and Gomorrah reference, but once you know that the population of Britain have been turned into a nation of "couch potatoes" who never leave their protective suits, and have 24x7 "entertainment" pumped into those suits by the establishment, it's not hard to imagine what "They're all wasted!" might mean.
So the song has nothing to do with Vietnam, drugs, or Woodstock, or any of the things you folks have been speculating about. It's also not about "growing up in the postmodern West" (Matt, Durham, NH) or "The Cather in the Rye." As far as its being about "foolishness and futility of the 60s counterculture" or "wasting your life on what you should really be doing like giving to the poor and focusing your attention the real problems in the world" -- this *is* consistent with Pete's mature evaluation of his early career, but keep in mind that in 1971 he was, what, 26? Conflating his adult evaluation of his younger self's behavior with his attitude at the time is not really justifiable, as any of you who is out of your teens or tweens know. At 56, things look very different from the way they looked at 26.
All of this said, one thing that distinguishes great art from run-of-the-mill schlock is that it evokes images and feelings across time and generations, and inspires discussion and thought, in addition to being aesthetically pleasing. Townshend was and is a great songwriter because his music speaks to my 22-year-old son as much as to my 56-year-old self, and it speaks to me differently than it did to my 22-year-old self, and probably speaks to my son differently from the way it spoke to me when I was his age. And I predict (and hope to be around to see) that my son will still be listening to The Who in 30 years, and that his eventual son will find that Townshend's music speaks to *him* when he's 22.
So yourselves a favor: buy a copy of "Lifehouse"; then think about the song (and others from Who's Next) in that context.
similar to the theme in the book "all quiet on the western front"
and is obviously on about the second boer war
The name almost certainly originates from two of the song's influences; Meher Baba, an Iranian-Indian spiritual leader by whom many The Who songs were inspired, and Terry Riley, an American minimalist composer. It is also often misidentified as "Teenage Wasteland."
Originally to be included in a rock opera and film, "Lifehouse." This somewhat clarifies the meaning of the song; a farmer named Ray and his wife, Sally, living in a futuristic Scotland, must travel to the Lifehouse to find their daughter, Mary, who has run away to see a concert.
Though often transcribed as "I fight for my meals," this second line can be argued to be "I farm for my meals," which does make more sense in the context of the rest of the stanza. Also, one should note the articulation in the fourth line, "I don't need to fight," where a clear "t" sound can be heard that is absent from the second line.
The violin in the song is similar to Klezmer, which is a Jewish music tradition. It was Keith Moon who had the idea to include the violin, and the part was played by Dave Arbus.
Was released as a single, though not in the US or the UK.
Common in film and television.
All of these have reputable sources, excepting the statement that the violin part is similar to Klezmer. This is based on my own analysis as a graduate student of music education. Also, if you don't like the meaning I presented of the song, that's perfectly acceptable. Make it mean whatever you'd like, but please don't state it as "fact."
-Me :)
I believe that the first verse is very straight forward. It is not referring to war, but to the surprising simple and often rebellious alterative of working hard, being true to oneself, and not needing to prove it to anyone. This is the feeling I got the moment I heard this verse.
I think the second verse is also pretty straight forward. On the surface it is about running off with a lover, but it has overtones that relate the need to let go, and live in the moment.
I have trouble tying the first verse to the second first, because it seems to have a much more mature and responsible message than the latter ?teenage wasteland? I suppose, given the time it was written in, the type of teenage rebellion that was going on was viewed by many people who were involved as altruistic and righteous. This helps me tie the two verses together. We all deal with these basic issues as we are coming of age. I agree with both the person who said "for me expressed the struggles of getting through the teen years... ...is truly ageless" and the person who said "It's simple in its complication".
This song, like life, is full of contradictions. I think that the course Pete's life and music took allowed him to see past the romance of it all and understand the futility as expressed in the phrase teenage wasteland. I can certainly see how it was dedicated to his spiritual mentor
Check out petetownshend.com, and read through his personal diaries (blog), which are updated frequently. It's quite interesting. Also check his link for TowserTV. He has a weekly show, or rather his wife does, but he is on it with her, along with other guests. There are also recordings of old Who concerts.
I remember thinking how there was no end to the the possibilities. I also remembered how so many of my peers - musicians and classmates - thought it was just a fad that synthesizers would die off in a couple years. Many professional musicians felt the same way. In fact, I believe that was one of the reasons the original keyboardist for Yes got fired; he didn't want to take the plunge into synthesizers... or some such hear-say :-)
I digress...
I think it would be difficult to recreate the synth track(s) in this song even using today's advanced instruments (*without* sampling or taping). I doubt it would be easy by any measure.
Although i am sure (may have made this part up) that townsend based the piece on the audiences weight/height/vital stats in an attempt to join the band with the audience. Like in 'Join Together'
Anyway, its a great song. When i first heard the first part i thought my cd was screwed. I love the beginning.Classic.
ken. Australia
Saw the song performed by the Who in Bloomington Indiana, in 1975. Baba O'Riley was the first song. The lights went out in the arena, and someone started the tape with the synthesizer music (synths played with a normal keyboard were rare in those days). The crowd was beginning to clap along with the synth in the dark. Pete hit the first power chord, spots came on, and a multicolored laser displayed on the wall behind the band. We went nuts, and so did the Who. Pete played power chords, The Ox held down the rhythm with his bass, Keith played maniacal drums, and Roger sang--for about 3 hours. Probably the best concert I've ever seen in person, and I saw a lot in those days.
"Sally, take my hand
Travel south cross land"
Whether or not this Sally here is Holden's Sally, though, I can not say.
"House" is not a UK show...it is American. It has a British actor playing the lead role, but he is playing an American, in an American hospital, in America.
And the Stuff listed under comments... Is opinion... Guesses or stuff that COULD be correct... But, I must admit that I'm losing a little faith in the accuracy of the stuff under songfacts on this site when it says that "O'Riley is the name of the jig(violin part)at the end of the song"...
There is a ton of a documentation that clearly state that the Riley part of the Title comes from Terry Riley... I've heard Pete Townshend say it himself... Just to prove the point furthur... Do a simple Google search... Type in "Baba O' Riley Terry Riley" and then start reading the many pages on the subject... Then do a simple Google search... Type in "Baba O' Riley Violin Part Jig" whatever you want... And you only get the same comment on this website LISTED AS FACT and other pages of stuff that talk about the Violin part at the end and also point out that the Riley part of the title comes from TERRY RILEY...
IF YOU ARE GOING TO LIST IT AS FACT... MAKE SURE THAT IT'S FACT... THIS WAY THE WRONG INFORMATION DOESN'T GET PASSED AROUND THE GLOBE... SAY THANKS TO CHRIS FROM QUEENS IF YOU WANT BUT LEAVE IT IN THE COMMENTS SECTION WHERE IT BELONGS...
The line "teenage wasteland" then would refer to the foolishness and futility of the 60s counterculture. As part of Lifehouse, it could be the voice of an older Englishmen, maybe someone simple. Probably not autobiographical for Townsend. Just another character in the Lifehouse arsenal.
Tell me what you think about this if you've read the book
-Eddie
Debra...the line "they're all wasted" does not imply drug use.
This song has been overly commercialized in my opinion. But it is a good song and kinda cool, sorta, to hear it on a commercial. It could be interpreted as a song about Vietnam, but it is not a Vietnam song.
I think that the song is more about the vietnam than about teenagers.
All in All... There is too much to this song to consider and try to get a handle on it...
It's part Meher Baba stating that Entertainment will replace Religion(Teenage Wasteland)... And Meher Baba's Teachings were very important to a young Pete Townshend...
It's Part Terry Riley and the Synth Riff... Which was compiled from Vital statistics from Meher Baba... (programming his age, height and other things into a computer)...
It's Part Lifehouse concept... In the Lifehouse concept... People are living in space suits or life suits that constantly entertain them and even tell them when to sleep by dosing them with gas... The suits feed them... Water them... they do everything for them... And everyone in the suits are connected to a life grid which is controlled by the Powerful... (See Won't Get Fooled Again and Behind Blue Eyes)
Yet, there are some such as Sally and her family... Who are like gypsies... Are not a part of the life grid... And Sally and and her family are going to travel (SOUTH CROSS LAND) To attend a Rock Concert... Because in Pete Townshend Eye's... Rock Music is the great Freedom... In such a controlled world...
It actually gets even more complicated and I've read a lot about it and I'm sure there are even more details that I am not grasping...
The Lifehouse project failed in part because everyone thought it was too complicated... And Pete Townshend had a nervous breakdown screaming that it was really quite simple...
I'll meet him half way... It's simple in it's complication...
(get a grip and quit trying to pshycoanalyze all the great rock songs, dudes!)