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Keith, pictured with Gary Rossington, Allen Collins and Ronnie Van Zant from Lynyrd Skynyrd...and a bottle of J&B on 23 October 1976 |
In memory of Neil Innes 'Rutland Weekend Television' have a feature on 'Pommy' from December 1975 |
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Pete joins The Clash on stage at the Brighton Top Rank on January 8th, 1980. He would jam with them on 'Garageland', 'Armagideon Time', 'English Civil War' and 'Louie Louie' |
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January 15th, 1965 - The Who release their debut single 'I Can't Explain', backed with 'Bald Headed Woman', would reach #8 in the UK singles chart As well as the band, the single included contributions from The Ivy League on backing vocals, and a certain Jimmy Page on rhythm guitar on both sides of the release |
January 16th, 1978 - Filming begins on the horror film 'The Legacy', which features Roger as Clive Jackson After 'Tommy' and 'Lisztomania', this is the first film he has been in that wasn't directed by Ken Russell! |
January 20th, 1977 - Pete with Paul Cook and Steve Jones of The Sex Pistols Pete and band manager Chris Stamp went clubbing at The Speakeasy in London, where they saw John Otway performing. Later that night Paul Cook and Steve Jones of The Sex Pistols stop by. Mistaking them for Johnny Rotten and Sid Vicious, Pete huddles with them at their table and tells them The Sex Pistols will have to carry the 'rock 'n' roll banner' as The Who are finished Instead of the snarled response he expects, the two Pistols express their admiration for The Who and declare they don't want them to break up Pete and the Pistols are snapped by a NME photographer, who has punches thrown at him by a very inebriated Pete Pete then tears up a million-dollar check he had just been given as a settlement for his U.S. copyrights, leaves The Speakeasy and passes out in the gutter where he is recognised by a policeman, who brings him around The rozzer tells him that if he is drunk, he will be arrested, but if he can get up and walk home, he will be let go Pete will later write the events of this night into the first verse of the song 'Who Are You.' |
January 25th, 1999 - The covers album 'Humanary Stew: A Tribute to Alice Cooper' is released, featuring Roger (and Slash) on 'No More Mr. Nice Guy' |
January 27th, 2002 - The first time I saw the band! There were a handful of small warm-up shows (Jan 27th & 28th - Portsmouth Guildhall, Jan 31st Watford Colosseum) before two shows at the Royal Albert Hall (Feb 7th & 8th) All concerts were charity shows in aid of the Teenage Cancer Trust My mate Les, who was an original Mod, got his wife to queue overnight to get tickets for the opening night. She got three, and I was offered the spare one. It cost £32.50, which was bloody expensive at the time - it was more than a weeks dole money for me! I couldn't really afford it, but then I thought it might be the only chance I get to see them, so I said 'yes' Portsmouth Guildhall was a medium sized venue, split over two levels, with a capacity of about 2,200. We were upstairs, on the right hand side of the stage - traditionally Pete's side We missed the opening act because we were in the bar, but I *think* they might have been black rebel motorcycle club The Who came on and played:
Too much beer before the show meant I had to go to the bathroom during '5:15', so I missed the opening power chord to 'Fooled Again'! At the end of 'Generation', Pete smashed his guitar! A great show and a great set |
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February 6th, 1979 - Pete (centre) with cast members from the stage version of 'Tommy' at the Queens Theatre in London. Left - right Anna Nicholas (Acid Queen), Peter Straker (Narrator), Allan Love (Tommy) and Bob Grant (Uncle Ernie / The Doctor) Yes, *that* Bob Grant, better known as Jack from 'On The Buses'! |
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The band are currently performing a series of club dates at the Pryzm nightclub in Kingston-Upon-Thames, to celebrate the 50th anniversary of the historic concert at Leeds University on February 14th, 1970 The first two acoustic concerts, one early (6.30pm) and one late (8.00pm), was held on Wednesday, February 12th. Two more shows are to be held on Friday, February 14th All four concerts were instant sell-outs when tickets, costing only £13.00, went on-sale in mid-December The setlist for both the early and late shows was:
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February 13th, 1998 - The Christian rock group ApologetiX releases their CD 'Jesus Christ Morningstar' featuring a re-written cover of 'Pinball Wizard' which they called 'Temple Physician' |
Pete, on the right, as he appears in his friend Richard Stanley's 1968 student film 'Lone Ranger' Graphic designer Storm Thorgerson worked as the assistant director on the piece |
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Live at Leeds: The Who's legendary gig remembered 50 years on | BBC News "On the 50th anniversary of a legendary gig by The Who, people who were there have been recalling how the band "threw everything into it." The rock group played at the packed University of Leeds refectory on 14 February 1970 and recorded the gig. The record it spawned, Live at Leeds, is often cited as one of the best live rock albums of all time. Ed Anderson, a Who fan who was at the Valentine's Day concert, said: "I remember it vividly. The band threw everything into it." Mr Anderson, then an economics student at Leeds Polytechnic, was a big fan of the band and first saw them in 1968. "Leeds University was then the number one venue for rock music, week after week I saw the top bands and I would be there most Saturdays," he said. He remembered queuing up on that Saturday for tickets costing a few shillings in those pre-decimal times. https://ichef.bbci.co.uk/news/320/cp...70_daltrey.jpg https://ichef.bbci.co.uk/news/320/cp...79668_moon.jpg Mr Anderson said people knew the concert was to be recorded and said "anyone there would remember it to this day". "It was very, very hot and we were crammed in like sardines," he said. Mr Anderson said he was lucky to be in the city when "gig economics just worked" and a student union could host such an event. Five decades on, the former student is now the Lord Lieutenant of West Yorkshire and also sits on the University Council but said music was "still very much part of my life". Chris McCourt, a 17-year-old amateur photographer was chosen by the band to take pictures that night. He was asked to take pictures at the Leeds gig, and one at Hull the next day, for a £50 fee, despite having no experience of live music photography. "There was not much of a stage at Leeds but I took what pictures I could," Mr McCourt said. "It was pretty informal. I was standing right in front of the stage and it was a lively crowd." Mr McCourt recalled the band played for more than two hours and his colour photographs were to be used for a potential album cover. However, he had another camera and rolls of black and white film that he also used to take pictures for himself. "I wasn't a Who fan and I never bought the live album," he admitted. None of his pictures were used for an album cover and at the time Mr McCourt did not even print the black and white pictures he took. It was not until 1995 when some of his work from the night was published in a music magazine and on reissued CDs of the gig. Mr McCourt remembered "it was hard work that night but I had no previous experience and didn't know what I was doing". Steve Keeble, of the student union, said the venue The Who played was still largely unchanged. "It's a student refectory, many of the students eating their lunch will be oblivious to the fact it's one of the most historic rock venues in the country," he said. Dr Simon Warner, visiting research fellow in the school of music at the university, said: "The Who playing here in 1970 gave the venue such a status, bands wanted to play here and play here they did. "The album was released in a nondescript, undistinguished brown paper packet meant to hint it was a bootleg, even though it wasn't." Dr Warner said the biggest groups of the day would appear at the university in that era. "The college circuit was massive, it's not anymore but in 1970 it was rocking," he added." |
Best Keith Moon Performances: 20 Kit-Shattering Drum Highlights | UDiscover Music Titles discussed (with videos) 20: ‘Dreaming From The Waist’ (live in Swansea, 1976) 19: ‘So Sad About Us’ 18: ‘Happy Jack’ 17: ‘The Real Me’ 16: ‘I Can’t Explain’ (live in Texas, 1975) 15: ‘The Rock’ 14: ‘Substitute’ 13: ‘Behind Blue Eyes’ 12: ‘Pinball Wizard’ 11: ‘Sea And Sand’ 10: ‘Baba O’Riley’ (Shepperton Studios, 1978) 9: ‘Love, Reign O’er Me’ 8: ‘My Generation’ 7: ‘Bargain’ 6: ‘Young Man Blues’ (from Live At Leeds) 5: ‘Bell Boy’ 4: ‘Who Are You’ (live at Ramport Studios in Battersea, 1978) 3: ‘I Can See For Miles’ 2: ‘A Quick One (While He’s Away)’ (The Rolling Stones Rock And Roll Circus, 1968) 1: ‘Won’t Get Fooled Again’ |
New magazine from 'Uncut' - £10.99 For a new fan, it's a recommended purchase. However, this is the third printing (updated with the new album), so I think I'll stick with the original copy I got about 15 years ago! |
Roger as the twin slaves Dromio of Ephesus and Dromio of Syracuse in a 1983 BBC production of Shakespeare's 'The Comedy Of Errors' |
Pete with Ronnie Wood, Mick and Keef when the Stones played a show at London's 100 Club as a tribute to the late Ian Stewart on February 23rd, 1986 Stewart, who died from a heart attack on December 12th, 1985, was a Scottish keyboard player and co-founder of the Stones who was removed from the line-up in May 1963 at the request of manager Andrew Loog Oldham because "...he didn't fit the band's image". However, he remained with the band as their road manager and played piano on most of their albums released between 1964 - 1986 |
The Detours, with drummer Doug Sandom (third from left). Keith joined in April '64, so this picture must have been taken sometime between June '62, when he joined the band, and that date |
Roger, as Hugh Fitzcairn, in a 1995 episode of 'Highlander: The Series' entitled 'Star-Crossed' |
"People try to drink us down Just because we drink in town Drinks down here seem awful cold Ill have another before i get old!!" |
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Roger and laser - Manchester Apollo, March 2nd, 1981 |
March 4th, 1981 - The band record their last appearance on the BBC music programme 'Top Of The Pops', where they mime to their current single 'You Better You Bet' |
Record Store Day 2020 "The Who - Odds and Sods Format: 2LP - Red /and Yellow Label: UMC-Polydor More Info: One of the very first 'rarities' collections, released to try and defeat the bootleggers, the original 11-track album was released on the Track Records label in September 1974.Compiled in band down-time by bass guitarist John Entwistle, it includes the single 'Long Live Rock', the unedited unreleased version of 'The Seeker', the studio version of 'Young Man Blues', alternative versions of 'Dogs Part Two' and 'Water', amongst many other gems.This reissue includes the original LP sequence on disc one and adds 14 bonus tracks - B-sides, rarities & extras on disc two, 'Odds & Sods Too' - to create a definitive, 25-track double LP.The stunning artwork and design restore the original 'die-cut' front sleeve and includes all Pete Townshend's original track annotation." No word on the complete track listing, but the 1998 remastered and expanded CD consisted of: 1. "I'm the Face" (The High Numbers) 2. "Leaving Here" 3. "Baby Don't You Do It" 4. "Summertime Blues" (studio version) 5. "Under My Thumb" 6. "Mary Anne with the Shaky Hand" 7. "My Way" 8. "Faith in Something Bigger" 9. "Glow Girl" 10. "Little Billy" 11. "Young Man Blues" (alternate version) 12. "Cousin Kevin Model Child" 13. "Love Ain't for Keeping" 14. "Time Is Passing" 15. "Pure and Easy" 16. "Too Much of Anything" 17. "Long Live Rock" 18. "Put the Money Down" 19. "We Close Tonight" 20. "Postcard" 21. "Now I'm a Farmer" 22. "Water" 23. "Naked Eye" **Edit - Full track listing** Side A Postcard Now I'm A Farmer Put The Money Down Little Billy Too Much Of Anything Glow Girl Side B Pure And Easy Faith In Something Bigger I'm The Face Naked Eye Long Live Rock Side C Zoot Suit (remix with fade) Here Tis (only previously released on 30 Years… box set) Leaving Here (from ‘Pye’ acetate) Baby Don’t You Do It (from ‘Pye’ acetate) Young Man Blues (alternate studio version, included on 1998 CD) Dogs Part Two (B-side, the single mix; included on Tommy SDE) Here For More (B-side single mix) The Seeker (long unedited version; unreleased) Side D Heaven And Hell (B-side single mix) Don’t Know Myself (B-side single mix) When I Was A Boy (B-side single mix) Waspman (B-side single mix) We Close Tonight (included on 1998 CD) Water (B-side single mix) |
Cancelled! "After serious consideration, it is with much regret that THE WHO have postponed their UK tour, due to start next Monday March 16th in Manchester at the Manchester Arena and finishing at Wembley SSE Arena on April 8th. The fans' safety is paramount and given the developing Coronavirus situation, the band felt that they had no option but to postpone the shows. The dates will be rescheduled for later in the year. All tickets will be honoured. Singer Roger Daltrey assures fans that the shows will "definitely happen and it may be the last time we do a tour of this type, so keep those tickets, as the shows will be fantastic.” Pete Townshend said the band, ”haven't reached this decision easily, but given the concerns about public gatherings, we couldn’t go ahead.” He added that “if one fan caught Coronavirus at a WHO concert it would be one too many.” Unfortunately, THE WHO will also be unable to appear at the Royal Albert Hall on March 28th as part of the annual Teenage Cancer Trust shows, but intend to reschedule that show also, with more news to follow." |
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This is quite a good list, with a number of lesser known songs included The Who’s 20 greatest songs, ranked | The Independent "This week should have witnessed the start of The Who’s UK tour. Instead, the band have become one of the many acts who have been affected by the coronavirus pandemic. Now in their fifth decade as a recording act, the original quartet remain the quintessential drums, bass, guitar and vocalist rock band. The third part of the great triumvirate of English bands of the Sixties (with due respect to The Kinks), The Who were a force of nature both on stage and in the studio. Roger Daltrey was the charismatic front man, the manic Keith Moon – dwarfed by his massive drum kit – assailed his instrument, and Pete Townsend’s flailing whirlwind guitar action provided a strong visual focus. Meanwhile, laid-back bassist John Entwistle just stood and yawned while anchoring the overall sound. And it was all possible because of Pete Townsend’s wonderful songs, celebrated here on this list of the 20 greatest Who tracks. 20) “I’m a Boy” (single, 1966) Astonishingly, for all their phenomenal achievements, The Who have never had a number one single. “I’m a Boy”, with its gender identity theme, was an unlikely No 2 smash. Full of wonderful harmonies, this quirky study of a young man who rejects his mother’s attempts to raise him as a girl is one of Townsend’s most humorous, poignant and unusual songs. 19) “Blue, Red and Grey” (The Who by Numbers, 1975) “Blue, Red and Grey” is rarely mentioned in lists of greatest Who songs, Roger Daltrey is a big fan of this charming low-key number – the eternally self-examining Townsend less so. Composed on the ukulele during a depressed time in his life, the only other instrumentation is the Hovis advert-themed brass, as Townsend sings about the simple joys of life no matter the time of day. 18) “The Song is Over” (Who’s Next, 1971) One of the many highlights of the masterpiece that is Who’s Next is Pete Townsend’s vocal contributions, his highly affecting lighter voice provides an effective counter balance to Daltrey’s epochal hard rock sound. The Daltrey/Townsend vocal tag-team on this beautiful ballad, rescued from the abandoned Lifehouse project, is a delight (with the lyrics possibly referring to the ending of a love affair). 17) “Young Man Blues” (Live at Leeds, 1970) Fittingly, the band touted by many as the greatest live act of the Seventies released an album capturing everything that made them great in the concert arena. It marked the end of The Who’s first great era and heralded the beginning of a new one. The powerhouse version of Mose Allison’s “Young Man Blues” found the quartet in their absolute pomp. 16) “Pictures of Lily” (single, 1967) A boy falls in love with a picture of a Vaudeville artist only to be told that she had died in 1929. A la Peter Ibbotson, he finds comfort in his dreams with the subject of his desires. Or as Townsend says, it could simply be about masturbation. Regardless, it’s a power-pop classic of adolescent longing. 15) “Who Are You” (Who Are You, 1978) The title refers to a fraught meeting with covetous ex-Beatles and Rolling Stones manager, Allan Klein, prompting Townsend to go on a massive bender with Paul Cook and Steve Jones of the Sex Pistols. Alternatively proggy, hard rocking and melodious, the original quartet’s last hurrah is a fitting epitaph for Keith Moon, who died soon after it was released. 14) “Anyway, Anyhow, Anywhere” (single, 1965) The famous Who harmonies are all over this Top 10 single, which is that rarest of beasts – a Townsend/ Daltrey co-write (the only time they wrote together). And how far ahead of the game this must have seemed in 1965, with its riot of feedback and distortion midway through. Nothing quite like it had ever been heard before and it proved infinitely influential. 13) “The Real Me” (Quadrophenia, 1973) All four members are at the peak of their powers on Quadrophenia’s glorious scene-setter, although it’s tempting to say that “The Real Me” is all about the bass. John Entwistle possessed an incredible ability to turn his bass guitar into a lead instrument, and his work here drives a dynamic song reflecting the conflicted personality of Jimmy, Quadrophenia’s protagonist. 12) “Pinball Wizard” (Tommy, 1969) The story of “the deaf, dumb and blind kid” reached No 4 in the UK and remains inexorably linked with Tommy, but is strong enough to transcend the rock opera and to even survive a cover by the New Seekers. Fantastic strummed acoustic guitars and slashing riffs from Townsend and an archetypal Daltrey vocal can both be heard on arguably the Who’s most famous song. 11) “See Me, Feel Me” (Tommy, 1969) Actually part of Tommy’s closing song “We’re Not Gonna Take It”, “See Me, Feel Me” was extracted from that track as a stand-alone single after a legendary performance at the Woodstock festival. Unlike “Pinball Wizard”, it failed to chart in the UK – the song’s strength and resonance lay in its status as the emotional and spiritual highpoint in the finale of Tommy. 10) “The Kids Are Alright” (My Generation, 1965) A Byrds’ influence is detectable on the jangly guitars of the ultimate Mod anthem, with a 20-year-old Townsend maturing quickly in terms of his songwriting. Here, his narrator is leaving someone or something behind – either his wife or the Mod movement itself. But he’s satisfied that “the kids are alright”. 9) “5.15” (Quadrophenia, 1973) Documenting a drug fuelled train journey, this tremendous brass-driven single from Quadrophenia offers sweet and sour vocals, thumping percussion and blistering Townsend riffs, and culminates in the heartbreaking “why should I care?” coda. The band gave an ill-advised but memorable performance of “5.15” on Top of the Pops and, predictably enough, they destroyed their equipment and ran riot afterwards. 8) “I Can’t Explain” (single, 1965) The first of a run of classic three-minute hit singles has an edginess underneath the innocent charm. Perhaps that’s down to the power of 18-year-old Keith Moon or the garage rock/power pop fusion fuelled by the Kinks influence, in particular “You Really Got Me”, but as an opening statement, “I Can’t Explain” is pretty much unbeatable. 7) “Behind Blue Eyes” (Who’s Next, 1971) Who’s Next’s reputation rests not only on its power chord numbers, but the glorious ballads too. This is the best of them, although it still rocks out. Lyrics like “No one knows what it’s like/to be the sad man/behind blue eyes”, seem like a twist on “Tracks of My Tears”, however by any standards, “Behind Blue Eyes” is a Who classic. 6) “Love, Reign o’er Me” (Quadrophenia, 1973) The epic and hugely emotional conclusion to Quadrophenia is almost classical in its conception and execution. The instrumentation is world class, with Moon’s thunderous drums, Entwistle’s driving basslines and Townsend’s whiplash guitar and synthesised strings, vital components. However, “Love Reign o’er Me” is Roger Daltrey’s song, and his stunning, soaring vocal over the heartbreaking melody provides the majesty it deserves. 5) “Substitute” (single, 1966) An intricate study of confused identity with the self-deprecating lyrics masterfully delivered by Daltrey. Townsend was moving on apace as a songwriter with some wonderful imagery here (“I see right through your plastic mac”). Power pop at its finest with the opening acoustic guitar chords and bass-driven solo etched on the memory, “Substitute” is perhaps The Who’s most-loved single. 4) “Baba O’Riley” (Who’s Next, 1971) The anthemic opening track from The Who’s greatest album demonstrated how far Townsend’s song craft had progressed, even from the triumphant Tommy. The “Teenage Wasteland” lyric reflected Townsend’s observations of drug-addled fans at rock festivals, and the music is simply sensational, from the hypnotic synthesiser intro all the way through to the memorable electric fiddle climax. Daltrey’s essential vocal is the icing on the cake. 3) “I Can See for Miles” (The Who Sell Out, 1967) The huge production with thundering Keith Moon drums and Townsend’s jagged riffs is the key to what Pete Townsend has described as the “ultimate Who record”. Townsend was crushed when this fantastic single stalled at No 10, but perhaps this rare excursion into psychedelia, with its themes of deceit and paranoia had too ominous a vibe for the trippy scene of 1967. 2) “My Generation” (My Generation, 1965) The Who’s early career-defining song spoke for and to a generation of disaffected youths. Entwistle’s incredible bass runs, Daltrey’s iconic stuttering vocal with implied expletive, Moon’s frenetic drumming, Townsend’s opening riff and closing feedback, and one of the most famous lines in rock, “Hope I die before I get old”, make this as influential as any one record can possibly be. 1) “Won’t Get Fooled Again” (Who’s Next, 1971) Over eight minutes long and featuring the most iconic scream in Seventies rock, the ultimate Who stadium anthem works on two levels – as a withering assessment of the political status quo and those who seek to change it, and as a mighty power chord epic. The mesmerising synthesisers embellish the majesty of The Who’s greatest song which Townsend called “a prayer”." |
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March 28, 1964 - The start of two days of skirmishes between Mods and Rockers at Clacton and Hastings over the Easter weekend The battles culminate in Brighton over the 1964 Whitsun weekend (May 18 and 19) The British tabloid press leaps on it, describing it as 'an invasion' and begins to write articles trying to understand what these Mods and their enemies the Rockers are all about These events, of course, form the basis of 'Quadrophenia' |
Ken Russell, in the red pullover, with members of the Black Angels (North East Coast) motorcycle group, during the making of 'Tommy' (1974) |
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Roger, as King Janos of Hungary, in the 2000 TV movie 'Dark Prince: The Legend Of Dracula' |
April 5th, 1969 - Mod no more! Melody Maker groups The Who with Led Zeppelin and Free as one of 'The heavy mob.' The article describes their sound under the new label 'heavy' rock, a label that will eventually mutate to 'heavy metal' If you are unable to read the relevant text, the entry runs: "The heavy mob tend to stun their audiences with volume, violence and mass moodiness" "THINKING back, it becomes apparent the Who were years ahead of their time. I can recall when it was the craze for bands like the Spencer Davis Group or Zoot Money's Big Roll Band to devote one number of their act as a kind of friendly send-up of the Who's violence-personified act. Their approach was a revolution that took the competition several moons to catch up and equal. Pete Townshend, Roger Daltrey, John Entwistle and Keith Moon between them set the nation back on its ears with a style that eschewed the normal group methods of creating excitement. Not for them an off-beat and solos in neat and orderly turn. Keith hammered his bass drums non-stop on all beats to the bar, and if occasionally the rest couldn't be heard above the noise, it wasn't for want of trying" |
April 6th, 1967 - Journalist Richard Goldstein writes a lengthy article in 'The Village Voice' on The Who's appearance on the Murray the K show on March 28th. He concentrates on the group's interaction with backstage groupies and the "shtick" of their instrument smashing The full text: "Rock ‘n’ Wreck |
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