Skip to main content

The Who - Love, Reign O'er Me

I would contend that "Love, Reign O'er Me" is one of the most climactic and rewarding endings to an album in the history of rock & roll. It comes at the conclusion of a four-sided rock opera, begins with the sound of rain and ultimately ends with Keith Moon beating the shit out of his drums right after Roger Daltrey bellows "Looooooooooooove!" as if he is literally in the process of casting his life into the storming Atlantic Ocean while simultaneously absorbing every hardship, letdown and impossibility that he has ever faced.
This is The Who at the peak of their powers. "Love, Reign O'er Me" was released in1973 as the second single from the band's sixth album and second rock opera, Quadrophenia. However, the deeper context of the song can only be truly experienced through listening to the entirety of Side 4 (Dr. Jimmy > The Rock > Love, Reign O'er Me). "The Rock," and six-minute instrumental, has a proggy, Celtic jig feel, similar to the extended break in their earlier hit "Baba O'Riley." It builds an impenetrable wall of tension through the melodies of his ARP 2500 synthesizer. Finally, as "The Rock" subsides, the rain enters and "Love, Reign O'er Me" takes the listener on a cathartic journey home.

The Rock

Love, Reign O'er Me



Comments

Trending Tracks

The Alarm - Marching On (Live)

Never underestimate the power of corporeal politics. Today, hundreds of thousands of people marched through the streets of American cities demanding political action on gun control. In downtown Portland, ME thousands streamed down Congress St. and gathered at City Hall. I was there. It was powerful. When you are united with others in your community, marching, there is an energy -- a sense of unstoppable momentum. It is also reassuring. We are not alone in standing up to the insanity. We are one. I am inspired by the Americans (especially the women and young people) who have once again discovered the power of peaceful, non-violent protest. If we continue to march in these numbers, politicians will hear us. The continuing volume of our chants and rhythm of our marching feet, knocking at their door, will remind them to legislate on behalf of us -- the people. All of the money in the world can't pay back the moral deficit and heal the wounded conscience of NRA-backed legislators...

Jules & the Polar Bears - Good Reason

Jules & The Polar Bears is one of those bands that you want to like, but continue to remain on the fence about even after a decade of failed listens. Recently, I've been sampling bands from the late 70s and early 80s who released fake new wave albums -- major label acts who played middle of the road rock, but disguised it in skinny ties, brightly colored sweaters and catchy, Cars-y keyboard riffs. Jules & The Polar Bears are a good example. Their first record, 1978's Got No Breeding, was compared to Dylan, The Kinks and Springsteen. Personally, I hear a quirky Jackson Browne in the songwriting. Everything sounds bearded and mid-tempo, except Jules Shear, the singer. He gives the band a distinct sound with his "singing at the top of my range" yelp. But even with Shears' interesting squelch, the songs never break out of 70s rock conformity. The guitarist's resemblance to a member of Orleans or Doobie Brothers is telling. Enter 1979's "Fenêt...