"My Generation" is the most famous Who song, and a good nominee for rock's most explosive expression of adolescent rebellion. Guitar feedback, crashing drums, power chords -- all had already been heard on Who records, particularly on the 1965 single preceding "My Generation," "Anyway, Anyhow, Anywhere." "My Generation" delivered all of this and more with a fury and trenchant defiance that could not be matched, let alone exceeded, by any competitors. Hard as it may be to imagine now, when endless repetitions of the song have made it so familiar, "My Generation" began life as a slow talking blues of sorts, and recordings were attempted on three separate occasions prior to the session that produced the released version. One of the main changes made to the song was to speed it up, and actually it probably couldn't have been taken at a pace any faster than the one ultimately used. The song's urgency is established by the opening clanging guitar chords and the usual hyper-energetic Keith Moon drum roll preceding the verse. The verses are call responses between Roger Daltrey, with his memorable stutter and sputter on numerous key words, answered by harmonized "talkin' bout my generation" chants from the band. That stuttering was enough on its own to ensure people took notice of this song. Some thought it was an emulation of blocked-up mod pill-heads, as had been the case with "I Can't Explain." In a more universal sense, it mirrors the barely articulated frustration of youth, especially when Daltrey stutters on a word that begins with f, though this turns out not to be the actual f-word. And there was that unforgettable assertion of hoping to die before getting old, although the Who, of course, would still be playing the number more than 30 years later, even after the guy who drummed on the track had been in the grave for more than 20 years. Unusually, and quite creatively, there is not a conventional guitar solo, but an excellent bass solo by John Entwistle, the tension heightened by having him play unaccompanied and instrumentally answered by sections featuring the full band. Two key changes (the Who would subsequently use key changes on numerous songs) corkscrew the tension until it's nearly unbearable. Then, it's mayhem. Keith Moon deviates from the standard splashing rhythm to play nonstop rolls, like "Wipe Out" taken from the beach into outer space. Pete Townshend plays searing, piercing feedback that is not as wild as that heard on the solo in "Anyhow, Anyway, Anywhere," but no less spellbinding. The backup harmonies declaring possession of their generation come in once again as Daltrey makes some final, half-shouted, defiant repetitions of the title. "My Generation" rose to number two in the British charts in late 1965, but was barely heard in the United States at the time, due in part to incomprehension from their American record label, which thought that the feedback on early Who records was a mastering defect. As the Who became well-known in America as both a concert and recording act, however, "My Generation" would become every bit as much a part of the collective audience consciousness there as it was elsewhere in the world. Its exposure was guaranteed by its place of pride in the Who's live set, where the group would do even wilder versions than the one they had released on the single, sometimes climaxing in the destruction of instruments, as it did in 1967 at the Monterey Pop Festival (as seen in the documentary film of the event). Even before the Who became stars in the U.S., it was starting to attract cover versions by American bands, such as one by the Human Beinz (of "Nobody But Me" fame) and a truly deranged rendition by Northwest group the Bards, with an instrumental tag of cuckoo-clock-like sounds, string rattles, and a gong before going back into a furious hard rock coda. There was even a satirical song, "My Degeneration," by a fellow British mod group (the Eyes) that took part of its inspiration from "My Generation" itself. In the 1970s, Generation X would offer an "answer" record of sorts, "Your Generation," that reclaimed the "My Generation" ethos for the punk generation. The best cover of "My Generation," however, is undoubtedly the one done by the Patti Smith Group live in the mid-'70s (as heard on a B-side and some bootlegs), in which Smith substituted some new nasty, profane lines in place of the original lyrics.