4 The Who Songs You Forgot Have Pete Townshend On Vocals

Few rock musicians have shaped a band’s identity quite like Pete Townshend did with The Who. As the group’s lead guitarist and chief songwriter, Townshend wasn’t just writing hits—he was crafting anthems that helped define an era. From explosive singles to sprawling rock operas, his creative vision pushed the band far beyond their early mod roots and into the upper ranks of rock history.

While most listeners immediately associate The Who’s most powerful vocal moments with the late Roger Daltrey, it’s easy to overlook just how often Townshend took the mic himself. Whether it was to bring a personal touch to his lyrics or simply because the moment called for something more understated or introspective, his voice occasionally stepped out of the background and into the spotlight.

To celebrate Townshend’s 80th birthday and recognize his underappreciated vocal contributions, we’re revisiting four The Who songs where Pete didn’t just write the tune—he sang it too. These tracks offer a different perspective on a band known for its bombast, and showcase another side of the mastermind behind the music.

 

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“A Legal Matter” (1965)

Before Pete Townshend’s name became synonymous with epic concept albums and guitar-smashing theatrics, he took on lead vocal duties for this early Who track. “A Legal Matter” appeared on their debut album My Generation, a record that introduced the world to the band’s blend of youthful defiance and sharp wit. With its energetic pace and jangly riffs, the song stood out not just for its sound but for the unexpected presence of Townshend behind the mic.

Lyrically, the track dives into cheeky territory, telling the story of a man trying to dodge the consequences of a looming marriage. Delivered with Townshend’s slightly nasal yet earnest tone, the vocals add a layer of sincerity to the satire. Nicky Hopkins’ piano work also gives the song a pop edge, showcasing a fuller and more polished sound than much of the band’s rougher early output.

Though not a major hit, “A Legal Matter” still managed to crack the U.K. charts, peaking at No. 32. In the U.S., it was tucked away as the B-side to “The Kids Are Alright.” Despite its modest chart performance, the track marks an important milestone—it was the first time listeners heard Townshend take center stage vocally, offering a glimpse of his versatility beyond songwriting and guitar duties.

“Sunrise” (1967)

Nestled quietly in the middle of The Who Sell Out, “Sunrise” breaks from the album’s tongue-in-cheek radio jingle concept to offer a moment of introspection. Stripped down to just Townshend’s vocals and a fingerpicked 12-string guitar, the track is intimate and contemplative. It’s a stark contrast to The Who’s typical bombast, revealing a more delicate side of their sound.

Townshend later shared that he wrote “Sunrise” during a period when he was studying jazz chords and composition, wanting to impress his mother with a more ‘serious’ piece of music. That motivation comes through clearly in the song’s complexity and subtle beauty. It’s a showcase not only for his guitar technique but for his ability to channel emotion with restraint.

The result is a song that feels deeply personal. “Sunrise” may not be as widely known as other Who tracks, but its quiet power and sincerity make it a standout. It’s one of those moments where Townshend steps out of the shadow of his own theatricality to remind listeners that, at his core, he’s a songwriter with heart.

“Sensation” (1969)

By the time Tommy was released in 1969, Pete Townshend had solidified his reputation as a rock visionary. “Sensation,” sung from the perspective of the album’s titular character, captures the euphoria of Tommy’s newfound voice and influence. Townshend’s vocals bring a sense of vulnerability to the role, distinguishing it from the bravado typically delivered by Roger Daltrey.

Interestingly, the song didn’t start as a piece of the rock opera puzzle. According to Townshend, it was originally inspired by a woman he met in Australia. Later, he reworked it to suit Tommy’s narrative, showcasing his adaptability and knack for storytelling. The transition from personal muse to fictional prophet is seamless, reflecting the blurred line between Townshend’s real and conceptual lives.

Though Daltrey sang the track in the 1975 film adaptation of Tommy, the original recording remains uniquely powerful with Townshend’s voice. It adds another layer of authenticity to the character’s awakening, serving both the storyline and the music with sincerity and nuance.

“Blue Red and Grey” (1975)

“Blue Red and Grey” might be the sunniest moment on The Who by Numbers, an album otherwise drenched in existential gloom. Built around Townshend’s vocals and a gentle ukulele strum, the song is refreshingly light. It delivers a message of gratitude and optimism—uncharacteristic, perhaps, for the brooding tone that defines much of the album.

The simplicity of the arrangement only enhances its charm. Originally recorded as a demo, Townshend didn’t expect the song to make the final cut. But producer Glyn Johns insisted, recognizing its emotional clarity and tonal contrast. It ended up being a breath of fresh air on an otherwise emotionally heavy record.

Townshend later admitted his surprise at the song’s inclusion, especially given his mental state during the album’s creation. “Here’s me wanting to commit suicide, and you’re going to put that thing on the record?” he said. Still, “Blue Red and Grey” endures as a small but meaningful reminder that even the most introspective artists can find beauty in the everyday.