An FYI on CSI’s rock connection

By Lee Zimmerman

As the signature songs for the CSI franchise, The Who’s anthems of anger and outrage provide an appropriate setup for the series’ tangle of suspense and intrigue. Although each of these songs—specifically, “Who Are You” (CSI: Crime Scene Investigation), “Won’t Get Fooled Again” (CSI: Miami) and “Baba O’Riley” (CSI: NY)—has solid standing within the band’s repertoire, they’ve been reborn as memorable themes intrinsically tied to these top-rated dramas.

“The first time we thought about having a timeless song for the main title sequence, ‘Who Are You’ came about,” explains CSI creator and executive producer Anthony Zuiker. “And then we wanted to actually echo that with another Who song, which is ‘Won’t Get Fooled Again.’ So we were sort of into the situation where if there was a third show, we’d have to do a third Who song.”

Interestingly, there were actually four Who tunes in contention for use with CSI: NY, and the ballad “Behind Blue Eyes” was actually Zuiker’s first choice. That is, until he met a man named Moonves. “I sat down with [CBS President and CEO] Leslie Moonves and did my little tap dance, and he overruled me and chose ‘Baba O’Riley,’” Zuiker said. “I’ll be darned, that man is always right. And now the song is ‘Baba O’Riley,’ and it’s a great anthem and a great choice. And, yeah, I was overruled, and I was like, ‘Yes, sir, you’re the boss. No problem.’” It was at that same lunch that Zuiker reportedly played air guitar in pitching another Who song for the series: “Eminence Front.”

That decision marked another milestone for a band whose collective career has been built on scaling one pinnacle after another, even as members have been forced to cope with turmoil and tragedy. Along with the Rolling Stones, they’re one of the few bands that managed to survive the ‘60s and transition into the new millennium. In the process, they’ve found themselves in unique standing among their peers—ranking with the Beatles, the Stones and Bob Dylan as rock’s most influential artists of all time.

Endless Wire: Admittedly, a debatable choice (and one that could easily have given way to Quadrophenia, Tommy’s equally expansive successor, or Who Are You, the final outing prior to Keith Moon’s sad demise), it gains the edge not only for its music (which is brilliant), but for illuminating the power of perseverance. Arriving 25 years after The Who’s final failed comeback attempt, and in the wake of both John Entwistle’s death (which reduced The Who to the Two) and Townshend’s arrest for alleged Internet pornography, it showed the band could rebound as emphatically as ever. With the added bonus of a return to their rock opera format, it also tested the unsteady alliance between Townshend and Daltrey and showed that happily—thankfully— it could survive the strain. (Choice tracks: “Wire & Glass,” “Mike Post Theme” and “A Man in a Purple Dress.”)

Sorting out the band’s best efforts is a heady task, given their vast repertoire, but here are our picks for the five most essential albums in The Who’s musical arsenal. The Who Sell Out: A concept album of sorts, scored as a mock BBC radio playlist (complete with original jingles segueing between songs), it marked Townshend’s emergence as a songwriter capable of channeling both urgency and intelligence. Cover photos of the band members cast in mock adverts initially caused a stir, but it was the songs—sweeping in dimension and wholly infectious—that made Sell Out the most consistent set of their early era. (Choice tracks: “I Can See for Miles,” “Tattoo” and “Mary Ann with the Shaky Hand.”) Tommy: Though not the first, it’s arguably the best and most resilient rock opera of all time (having mutated into both film and stage adaptations). It’s also the work that established Townshend as an astute visionary who gave new dimension to the rock n’ roll experience. A formidable part of their stage show from Woodstock until now, its impact remains as potent as ever. (Choice tracks: “Pinball Wizard,” “I’m Free,” “Amazing Journey,” “We’re Not Gonna Take It” and “See Me/Feel Me/Listening to You.”) Roger Daltrey Live at Leeds: Widely hailed as the greatest live album of all time, it confirmed The Who’s reign as rock’s most spectacular stage act—one that could summon both brilliance and mayhem to create their indelible impression. Gleaned from the band’s pre-Tommy catalog, it remains the most durable example of the band at its best. (Choice tracks: “I Can’t Explain,” “My Generation,” “Magic Bus” and “Happy Jack.”) Who’s Next: The most accomplished rock album ever? Arguably so. Built on the fragments of an ambitious but aborted concept album called Lifehouse (as legendary in its lost stature as Beach Boy Brian Wilson’s heralded Smile), it marked the band’s zenith, setting a bar that may never be toppled. An adept mix of passion and purpose, frenzy and philosophy, it’s equally likely that its tracks will never wear thin. (Choice tracks: “Baba O’Riley,” “Won’t Get Fooled Again,” “Behind Blue Eyes,” “My Wife,” “The Song Is Over” and “Bargain.”)