The definitive The Who playlist

"The Seeker" was initially released in 1970 as a single only. However, it can be found on several compilation projects from The Who. Most notably, 1971's Meaty Beaty Big and Bouncy. The tune cracked the top 50 on the Billboard Hot 100 in the United States. 

The closing number off 1981's Face Dances is a take on social consciousness, though "Another Tricky Day" offered a more optimistic approach than what many thought about the current state of the world in the early 1980s. It's also one of the better tracks from The Who during the 1980s, when the band was trying to remain relevant and not fall into the traps of being considered a nostalgia act. 

The first of several songs from the 1969 classic rock opera Tommy that we'll showcase. In the case of "Acid Queen," Tommy's parents hope to solve his introverted and isolation issues by taking him to a gypsy-like sex worker. She plies him with hallucinogens and offers other unorthodox measures to cure his ills. Many stars have covered and performed the tune. Tina Turner, who played the part in the 1975 film adaptation, remains the best.

There will be various references to Pete Townshend's science-fiction concept project Lifehouse on this list. "Slip Kid" was one of the songs written for that ill-fated album, but eventually, it was included on 1975's The Who by Numbers. While it may not draw heavy praise within the massively deep catalog from The Who, "Slip Kid" should be celebrated as more than an underrated record.

We're returning to The Who's 1965 debut album, My Generation. Music critics, at the time, noted a Rolling Stones influence in the track. Yet, this is one of the harder tunes from the early days of The Who. 

The second single released by The Who, in all its "Mod" best, "I Can't Explain" came out in 1964 in the United States and early 1965 in the United Kingdom. This early Who classic has a British invasion vibe but also represents how raw some of the band's initial material sounded. It's a love song, at least in the mind of writer Peter Townshend, who's struggling to tell his girlfriend how he feels because of a reported chemical imbalance. 

It's easy to immediately think of Tommy when discussing concept albums or rock operas from this group. However, many die-hard fans of The Who believe 1973's Quadrophenia is just as good or better. The soul-searching story of a young "Mod," Jimmy, Quadrophenia has many special moments, and "5:15/Water" is one of them. 

One of The Who's most recognizable songs is a standout moment from Quadrophenia. "The Real Me" is the second track off the famed double album and introduces protagonist Jimmy's various personalities. The song also features some of John Entwistle's best bass work, if not the best he's ever performed with the band. The glam metal band W.A.S.P. delivered a fairly solid cover of the song in 1989.

From 1971's Who's Next album, "Bargain" is just one highlight on a great rock record. Pete Townshend has described "Bargain" as a love song about God. The legendary guitarist has also stated on numerous occasions that this is his favorite track on Who's Next. From a lyrical standpoint, rock critics have praised the track as one of the best Townshend ever composed. 

More early greatness from The Who. One of the band's most well-known tracks was "Substitute," initially released as a single only. It's often been included in numerous compilation albums. It's perhaps The Who's most soulful tune with a Motown influence. The solo is performed by bassist John Entwistle, the most stoic and underrated member of this legendary band. 

There are plenty of sexual double entendres in the lyrics, and there is a country vibe. Off The Who by Numbers, "Squeeze Box" is a fun song and one of the more animated from a band that was OK with not taking itself too seriously from time to time. 

The 1980s had dawned, and The Who was still cranking out hits. From 1981's Face Dances, "You Better You Bet" was the band's last single that made it into the top 20 of Billboard's Hot 100 — peaking at No 18. It also went No. 1 on the Billboard Mainstream Rock chart. This was another Pete Townshend "love" song. According to MTV, it was the fourth music video to air on the network's launch day on Aug. 1, 1981. 

"Love, Reign o'er Me" is Quadrophenia's final number and arguably the album's most recognizable song. Since its release in the early 1970s, the track has been a live concert staple and cracked the Billboard Hot 100 in the U.S. — peaking at No. 76. "Love, Reign o'er Me" is the conclusion of Jimmy's story where he finds the rain as something of a cleansing savior. 

Over the years, the track about indulging in too many illegal substances has gained quite the cult following. It's perhaps the last great and commercially recognizable single that The Who put out. 

"Who Are You," a classic rock staple today, reached No. 14 on the Hot 100. Though the song from the 1978 album by the same name should have been a bittersweet moment because drummer Keith Moon died just three weeks after the album's release. 

Not only is "Pinball Wizard" arguably the most notable song from the Tommy album, but it's one of the defining songs within the legacy of The Who. Despite his physical and mental shortcomings, Tommy was exceptional at pinball. So good that he took down the song's narrator, who is a pinball star. The tune was a top-five hit in the United Kingdom and cracked the top 20 on the Billboard Hot 100. Elton John famously performed the song in the film. 

Another track that was intended to be part of Pete Townshend's Lifehouse project. "Getting in Tune" is one of the true yet underrated gems of Who's Next. While Townshend gets credit as a legendary songwriter, this tune showcases one of Roger Daltrey's best vocal performances.

The rebellious Tommy finale is best known for the "See Me, Feel Me"/"Listening to You" reprisal, which was released as a stand-alone single in September 1970. According to Pete Townshend, "We're Not Gonna Take It" was not originally intended to be part of the rock opera. However, it ended up presenting a rousing finish to one of the most ambitious projects in rock history.

"My Generation," and its ode to the "Mod" lifestyle, was released as a stand-alone single in 1965, then on the album by the same name later that year. From Pete Townshend's anthemic lyrics to John Entwistle's rock-solid bass playing to Keith Moon's blistering backbeats, "My Generation" has had an influence on many rockers over the decades. It made Billboard's Hot 100 and is a certified gold record in the United Kingdom.

Yes, "The Kids Are Alright" is the true gem of the My Generation album. It can be argued that "The Kids Are Alright" was just as much an anthem within the "Mod" culture as "My Generation." It's also one song by The Who that has spanned the pop culture spectrum. In addition to the many covers over the years (Susanna Hoffs, Pearl Jam, to name a couple), there's a 2010 film (The Kids Are All Right) and the short-lived ABC sitcom by the same name.

Another rock classic that is a major part of The Who's legacy. Rising from the ashes of Pete Townshend's abandoned Lifehouse album, "Behind Blue Eyes" was tweaked from its original version to be included on Who's Next. Though it didn't crack the top 50 of the Hot 100, "Behind Blue Eyes" has long been a staple on classic rock radio. From a lyrical and musical standpoint, it's one of The Who's most complete works. 

From late 1967 and off The Who Sell Out, "I Can See Miles" is a good example of The Who's foray into progressive rock and perhaps its most musically complex tune — especially the song's harmonies and Keith Moon's frenetic drumming. There are certain aspects of psychedelic rock, a movement that was picking up steam during the late 1960s. This is the only song from The Who to crack the top 10 of Billboard's Hot 100 — checking in at No. 9.

"Go to the Mirror" is a turning point in the Tommy story arc, as the boy starts to break free from his self-inflicted isolation and begins his healing process. It features the "See Me, Feel Me"/"Listening to You" theme that's reprised on the aforementioned album finale "We're Not Gonna Take It." Though the song was only released as a single in Australia, it remains one of the highlights of the rock opera and within The Who's overall catalog.

The legendary opener from Who's Next. For those new to The Who or classic rock, the song is not called "Teenage Wasteland." Originally written as a 30-minute opus of sorts, "Baba O'Riley" has long been considered one of the great songs of all time. The song's memorable instrumental opening comes courtesy of Pete Townshend on the Lowrey organ. The song has often been used in television and film and is covered frequently. Pearl Jam's cover might be the best.

"Won't Get Fooled Again" is one of the great album closers of all time. Perhaps the undisputed highlight of Who's Next, the album version is roughly 8 1/2 minutes long. More memorable organ and guitar work from Pete Townshend is featured as well as Roger Daltrey's legendary scream and Keith Moon's manic drumming. The song was a top-20 hit in the U.S. and made it into the top 5 in the U.K. It can be argued that The Who has had many defining musical moments, but this might be its greatest.