The Who

[Analogman]

Are we talking about the original Live at Leeds with the inserts or something special?? There are lots of these around. I bought one for less than ten bucks at some point in the past.

 

LouieB

 

Yes - and a show on the History Channel called Pawn Stars.

 

They did not have anyone look at it, they just bought it.

 

The Who Eying Spring 2011 'Quadrophenia' Tour

 

The Who are hoping to hit the road again in 2011, with "a new show," according to singer Roger Daltrey, or possibly a retooled stage presentation of the group's 1973 rock opera "Quadrophenia."

 

"We're just working out what to do next," Daltrey tells Billboard.com. "We've got ideas...We're looking on probably being out there, hopefully if all goes well, in the spring of next year...We definitely don't want to stop. We feel it's the role of the artist to go all the way through life 'til you can't do it anymore."

 

Daltrey does acknowledge, however, that "there's a few things to get around -- primarily guitarist and composer Pete Townshend's continuing battle with severe Tinnitus. Daltrey says that "it's nothing that can't be sorted out -- just different monitor systems, different on-stage volume, which is where the issue is. Pete being the addictive character he is, if he gets carried away he tends to turn his volume up to the old levels, and that's when it causes the trouble. That's one of the problems with rock 'n' roll, once the old adrenalin kicks in."

 

Daltrey, who's been doing solo dates as a headliner and opening for Eric Clapton while the Who is off the road, says he's not sure about the progress of Townshend's new musical "Floss" -- "That's not my bag, that's Pete." -- but is always hopeful for new material to sing. "He writes, and then we decide what to do," Daltrey explains. "One of the reasons I'm doing this (touring) is so if he ever does write anything significant or anything he needs me to sing, I've got a voice to do it. I've dedicated my life to being the voice of his music. I'm happy with that position. I feel I've done a good job for him."

 

As for taking "Quadrophenia" -- which the Who performed as part of the Teenage Cancer Trust benefits on March 30 in London -- back out on the road, Daltrey says that "there are issues with it to make it work at our age. I'm 16 years older than when we last did it, and I always had a bit of a problem, as far as the crowd was concerned, with the way we were presenting that show, the way our position within the piece was explained. For the newcomers it was narratively a bit of a puzzle, what Pete and I were to this guy on the screen. It needs a revamp. It would be dated to put it out as it is now. We need to fix that area, but I know how to do it."

 

While he's waiting for the Who's next move, Daltrey is also supporting the launch of a Teenage Cancer Trust in the U.S. He reports that UCLA has recently signed on to be one of the organization's medical center, and he predicts that "the way America is with philanthropy, I think you'll get it done a lot quicker than (the U.K.) did, once people are aware of the issue."

[calvino]

Nice piece by Pete regarding the 10 year anniversary of Entwislte's death. Do remember Pete being pissed - perhaps rightly so.

 

October 9, 1944 - June 27, 2002 R.I.P.

 

l_3a8190d7cf866354f5e3f336aa69075b.jpg

 

Pete Townshend -

 

It's ten years since his shocking death in Las Vegas. I have to say that this is not a particularly special time for me because I remember John every day. There is always something to trigger a fond memory. What does make the time just after John's death in 2002 worth remembering and processing were the massive changes that happened because – suddenly – he was gone, and we had a tour to do, or perhaps not to do. Musically I knew everything would be different on stage. Not better, just different.

 

Let me speak first then about John the musician.

 

John's sound was harmonically rich and filled an enormous part of the audio spectrum. There really is no one who can do what he did. Other bass players can copy his sound, and try to emulate his fingering, but at the heart of John's playing was a contradiction. His laid back character disguised a powerful musical ego, supported by immense musical talent. His playing was complex and fast, but there are few players alive who could combine such speed and eloquence on the bass with such good taste musically speaking. Like Keith Moon, he really is irreplaceable. His sound can be emulated, and I sometimes hear players who can approach John's musicianship, but John really was unique, a complete one-off, an innovator who never stopped experimenting.

 

As a person, as an old friend from my school days, I think my side of the street is reasonably clean. I always felt a strong sense of loving friendship from John, and I think I will cling on to that memory even though Queenie, his late mother, once got angry with me for being angry with John about the way he died and told me that John had never loved me at all. In fact a couple of times John had actually told me he loved me. We were usually alone, and he might have been a bit drunk, but sometimes when we're drunk we tell the truth. I accept that sometimes we stretch it, so I reserve the right to stretch it and believe that John was not stretching it.

 

When we speak about loving someone, there is always something unsaid. We love people we do not like. We like people we can never love. We might even marry or go into business with someone we neither like nor love and have a wonderful life or career with them. This is especially true for bands. It isn't always easy to know what is the truth, and of course – if Queenie is to be believed – feelings between two friends can be intense but not necessarily equal. For me, with John, the situation is clear cut. There are no difficulties, no blurred images. I loved John, I liked him, I respected him, and I miss him. I don't think he ever put a foot wrong in our relationship. He never said or did anything that I can look back on and fan embers of even the smallest resentment towards him.

 

On stage with the Who I often look across and expect to see John standing there scratching the side of his nose and take a resigned deep breath in that characteristically thoughtful way that often presaged a funny story or a blistering bass passage. There has always been talk about how loud we all were, and in particular how John's massive sound caused problems for us on stage. John was louder than most bass players, there is no question of that. If there were problems it was because both John and Keith competed with Roger for the role of vocalist. I don't mean that they wanted to be the singer, but rather that they performed like members of an anarchic choir, a street corner singing group, rather than accompanists.

 

Over on my side of the stage, when Keith was alive, my musical relationship with John was straightforward. I accompanied him. I accompanied (or rather provided a solid rhythmic backbone) for Keith. I hope I accompanied Roger sometimes. It was only when suddenly, ten years ago, John was gone, that I realised that I had inherited a new job on stage with the Who: to play decorative passages, to fill the gaps, to make long sequences of so-called 'solos' musically interesting – because that is what John had done for years, so I had never had to bother. So despite the fact that Pino Palladino is one of my favourite musicians on the planet, and I don't want John's sound to return so that I am re-graded again to a mere rhythm guitar player who gets to play an occasional lead line, when I am on stage playing Who music, and Roger is with me, I am always aware of how different our 'band' is today. It sounds different, and it feels different. Not better or worse, but very different. We just happen to play the same songs.

 

Some people are utterly without peer. When they are gone they leave an immense vacuum. So it is with John: When he died he left a void that can only be filled with good memories, affectionate recollections, and some healthy and critical review of his occasionally crazy behaviour and extraordinary sense of humour. We met at school, but although we were only twelve years old, John was almost a man by then, while I would remain a little boy for many years to come; we've all known such friendships in our school days. I sometimes say that when we met I was eleven years old because that's how it felt; John was like a fifteen or sixteen year old to me. What is extraordinary is that John took me under his wing so kindly when we first met, and was always a supporter of mine even when I goofed. He was never patronising. I never felt he had to work at it, his support came naturally, and didn't seem to be a part of any agenda. By the way, Queenie was always kind to me too when I was a teenager.

 

I could go on for pages and pages. But I'm not the only one to be in a position to speak for John. He was the one of us who stayed closest to our most obsessively loyal fans, propping up the bar before and after shows, and enjoying their affection and interest. I'm sure there a hundred stories out there. It would be good to hear some of them.

 

 

Roger Daltrey -

 

"So its 10 years on from that sunny day in LA when I got a phone call from Pete telling me of John’s death. It seems like yesterday. I still think of him often. I miss his love, his friendship and his wonderful dry sense of humour. The great thing for me about playing our music "live", even with different bass players who don't have the same sound, is that John is right there on the stage with me. Keith too. I have said from the stage many times that the thunder they created in their lifetimes still echoes around the Universe. It always will."

[Analogman]

I am a Who fan from way back, and was saddened to hear how he went out. I know they took a lot of shit for going on with the tour after he died.

 

I saw an episode of Pawn Stars a while back where a woman brought in a silver Walkman that once belonged to John. That was Maxine, his second wife.

 

The next lady brought in a Sony Walkman from Tiffany. It was made for a band member of the Who, John Entwistle and his wife was selling the Walkman. The lady wanted $2000. Rick offered $700 and then $900. The wife wanted $1250 and that was the selling price.

[calvino]

If I remember correctly, a main reason they were going out on tour was to get John some money - could be wrong about that, though.

I think that was one of Pete's bitter comments, during the aftermath.

 

I am guessing, if his wife was selling his Walkman, John did not leave much behind, as far as money goes. I bet the Pawn Star guy kept the Walkman for himself - I think he is a big Who fan, then again the old man probably made him sell it.

 

Never gotten around to see the Who live.

[Analogman]

I never did either. And if I could pick a time, it would be the 1971 tour.

 

His first wife and son sold just about everything in a big auction sometime after he died.

 

Including the mansion/estate you see him walking around in during parts of The Kids Are Alright.

[calvino]

That scene with him and his guitars is great.

[uncool2pillow]

10 years, wow! I would've have guessed 5 max. Time flies. The Who had 2 of the most talented musicians on the planet (Keith and John) playing one of the best songwriter's material. Roger isn't too bad at singing them either.

[suites]

Yep. I was thinking the other day when I was watching a show on Palladia...I think it was Isle of Wright who they were probably the best ever (member by member). Moon #1 or #2, John #1 for sure, Pete very underrated in pure guitar but songwriting speaks for itself, Roger just a top tier singer for sure.

 

Maybe LZ but I think the who in the prime......

[Analogman]

That's a great film.

 

The version of Young Man Blues from that show is fantastic. Plus - you get a few songs you don't usually get to see the band play (Water and I Don't Even Know Myself).

[suites]

Yeah...I loved Water....just A+++++

[jff]

I only got to see the Who once. On the 1989 Kids Are Alright tour. 4th row. I couldn't believe what I was seeing and hearing from Entwhistle. Truly a one of a kind musician.

[froggie]

did his bass rapture your lungs?... he's got such a powerful sound!

[Albert Tatlock]

Another in the list of BBC friday night music docs:-

 

http://www.thewho.com/news/title/quadrophenia-night

 

Watching it on BBC iPlayer now after missing it on Friday. I think someone has already YouTubed it in chunks for all you non-UK folks

 

"Pete Townshend leads us on a trip back to the early 1970s and the making of the rock opera Quadrophenia. Featuring Jimmy the Mod, a double schizophrenic reflecting the personalities of all four Who members, the album was fraught in the making, as Roger Daltrey and other contemporaries vividly testify. A workaholic focused with laser intensity on his vision, Townshend's stress levels spiked when his producer's heroin habit became all consuming. A range of fascinating anecdotes help bring to life the album's subject, the mod scene of early '60s Britain, where style prevailed over substance. The album's completion hardly brought the relief it should have, as the band immediately set off on a disastrous American tour, featuring Keith Moon on elephant tranquilizers. Nevertheless, Quadrophenia was critically acclaimed, and Townshend looks back with pride: "We never really ever made a truly great album again.""

[Analogman]

I think that may be the same film that is going to be shown during one of those one night only deals at movie theaters. I seem to recall receiving an email about that recently.

[Albert Tatlock]

I think that may be the same film that is going to be shown during one of those one night only deals at movie theaters. I seem to recall receiving an email about that recently.

Yes it is. Some very honest/revealing comments from Pete. Enjoyed it.

[Analogman]

I'm watching it on Youtube right now.

 

Quadrophenia: Can You See The Real Me?

 

Someone in the comments section says the studio is now a Doctor's office. It use to be a church before The Who bought it.

 

The house he is sitting in is The Wick. It use to be Ron Wood's house.

[Doctor B]

Saw The Who for the first time in Atlanta,1973. Skynyrd opened. The Who were awesome but Quadrophenia was less than great as performed. They seemed to have a hard time with taped elements of the songs. The crowd was loud when Pete tried to explain the songs before playing them. Once they finished that part of the concert, it was like a release of energy and tension- they tore through old songs with unbelievable force. It was like standing in front of a jet in takeoff. I remember just watching Moon...he had a roadie just holding drumsticks throughout the show so he could grab one after either breaking one or bouncing one into the crowd without missing a beat.

 

Saw them one more time but after Moon's death, I just would not seem them again. I loved The Who- my go to band to help with every part of teenage angst. Long live rock....

[Analogman]

They did have problems with that tour.

 

I figured Irish Jack would pop-up in the documentary.

 

It's nice to see some sexy old birds in there.

 

Can you imagine being able to watch the band record?

[The Inside of Outside]

Quadrophenia is one of those discs I would take to a deserted island. The album expresses all of those teen-angsty feelings I felt as a 15 year old some ten years after the release of the album.

 

Thank you for sharing this clip! Loved it.

[Analogman]

It ended on a bummer. I've read about Roger punching him many times, but I don't think I've ever heard them mention it in an non-print interview.

[IRememberDBoon]

Saw The Who for the first time in Atlanta,1973. Skynyrd opened. The Who were awesome but Quadrophenia was less than great as performed. They seemed to have a hard time with taped elements of the songs. The crowd was loud when Pete tried to explain the songs before playing them. Once they finished that part of the concert, it was like a release of energy and tension- they tore through old songs with unbelievable force. It was like standing in front of a jet in takeoff. I remember just watching Moon...he had a roadie just holding drumsticks throughout the show so he could grab one after either breaking one or bouncing one into the crowd without missing a beat.

 

Saw them one more time but after Moon's death, I just would not seem them again. I loved The Who- my go to band to help with every part of teenage angst. Long live rock....

 

how the hell did Moon do what he did anyway?? has anyone ever come close?? i mean was he trained or what was it?? watching him on the rock and roll circus really is something. him and entwhistle together is friggin off the chizzain

[jff]

how the hell did Moon do what he did anyway?? has anyone ever come close?? i mean was he trained or what was it?? watching him on the rock and roll circus really is something. him and entwhistle together is friggin off the chizzain

 

He was not trained, aside perhaps from a few informal drum lessons as a kid. If I had to guess, I would say his playing style probably has to do with the manic energy that comes from someone with some sort of chemical imbalance.

[calvino]

It ended on a bummer. I've read about Roger punching him many times, but I don't think I've ever heard them mention it in an non-print interview.

 

Sure the hell was a bummer...

[Analogman]

Of course, the reason Roger spent so much time trying to set-up the songs is that most people in this country did not have any idea about The Mod movement. Even more interesting is that (the Mod movement) it came back when the film came out.

 

I figure once you see film of guys chugging Southern Comfort, bad shit is bound to happen at some point.

[calvino]

I was kinda surprised to Roger drinking straight from the bottle - I am by far an Who expert, but I thought he was the only somewhat sane one in the group, not much of a drugger/drinker. Not that there is anything necessarily wrong with drinking whiskey from the bottle....

 

Rock and roll shouldn't be so stressful - but then again, perhaps stress induces great music, who knows.

 

It was sad seeing Moon being dragged off, too.