The Who

ARTICLE ABOUT Keith Moon (THe Who) FROM NEW MUSICAL EXPRESS, January 17, 1976

I really like this interview with the legend that is Keith Moon. What Moon didn`t know at the time was that he would go on his last tour with The Who this year. There wouldn`t be much of his plans to become a movie star either.
Still considered one of the greatest drummers in rock – enjoy this great interview with a political twist.

IMG_0468

Is KEITH MOON The Biggest Loony in the World?

Or is DENIS HEALEY Even Dafter?

ROY CARR tells the heart-tugging tale of

The Chancellor and the Drummer Boy

When Keith Moon first left the Old Country, it wasn`t to seek a refuge from the taxman. Anyone familiar with Mr. Moon will agree that, up till quite recently, he`s never possessed sufficient funds to worry about such things.
No, the truth is that for the best part of their career the Who have been busy paying off the numerous debts that they have accumulated over the years.
Keith Moon, Esq., with the self-assurance of a man invited to address The Explorers Club after returning from a highly successful expedition into hitherto uncharted terrain, clarifies his current financial position over oxtail and red wines.
“I left Britain”, he recollects with an air of authority, “before Denis Healey came to power. Aside from the weather, I enjoy California because it suits my particular lifestyle – also it never rains. Apparently, one day it did rain, but I was asleep at the time”.
As one who likes to live out of a suitcase, Moon entertains the thought of commuting between Los Angeles and London at the slightest whim; but for the time being his residency in America will be on a much more permanent basis.
Mr. Moon and Mr. Healey have been forced to cross swords.

Moon rationalises that it`s ridiculous, just because the Who will be spending a greater part of the year touring and recording, that in order to stay in, or for that matter gain easy access to Britain, they would have to run a business as a tax loss.
He fully realises that it`s a very touchy subject, but he argues that under the present “regime”, there`s no logical incentive to re-invest any profits in Britain.
“People often misconstrue why so many entertainers, celebrities and sports stars flee the country”, he continues with all seriousness. “It`s not that one isn`t patriotic… perish the thought old chap. What so many people fail to appreciate is that in many cases a person may only ever have a single opportunity to make it”.
In the case of rock musicians, declares Moon, the lifestyle is so precarious that the vast majority are only good for a couple of albums and a couple of tours, and often a degree of success merely enables them (if they`re fortunate) to pay off their most pressing debts. He then goes on to point out that by the time an act is in any position to break even, they`re either on the verge of breaking up or have lost their box office appeal.
“And they may never again have the opportunity to re-establish themselves. Worse still, if they only make it for a year they often stand to end up being worse off financially than when they were playing around the pubs for beer money”.

It`s no secret that economical instability and increased Government taxation has drained much of the adrenalin out of the once thriving British entertainment industry. One can almost detect the regal strains of `Land Of Hope And Glory` growing louder over the clatter of crockery and cutlery as Keith Moon (his hand over his heart and his head held high) makes a plea for those about to go into exile.
Unfortunately, there`s only myself and the wine-waiter to hear him, and the wine-waiter doesn`t understand English.
Thus spake Moon: “I`m British born and educated and proud of it”. He clears his throat. The waiter shrugs his shoulders. “Yet America gets the benefits”. The waiter smiles when he hears the word “America”.
“I`m not just talking about rock stars”, continues Moon, “I`m talking about professional people. I`m talking about a lot of money… millions, millions of pounds and this Government is too bloody damn stupid to realise what they`re doing.
“They`re driving out all those people who make the money – whether it`s on a long or short-term basis. How on earth can a professional man afford to work and live in Britain? He can`t. He`s penalised because of his talent and because of his business acumen and individual enterprise.
“I`m talking from experience now. It`s just not worth making a film or an album over here, and the result is that the business suffers. Skilled people are put out of work and a potential money-making industry goes into decline.
“If you`re a best-selling recording artist and decide to make an album in this country, you can forget about ever seeing 90 percent of the profits because that goes straight to the Government.
“Believe me, anyone who becomes successful is insane to stay here. Anyone who makes sterling – convert it! Sterling isn`t worth a bloody light abroad.”

Temporarily setting aside its financial implications, Moon chooses to elaborate upon the artistic side of his burning ambition to become accepted as both a Bona Fide Movie Actor and a Television Personality.
In Britain, Moon insists, he is automatically type-cast. “I`m a rock star who only ever gets offers to play rock stars. I`ve done that in all four films I`ve been in”.
Hold on, weren`t you a Nun in 200 Motels?
“Typecasting”.
And a throughly disgusting sexual pervert in Tommy?
“Typecasting old chap, typecasting”.
The waiter registers an expression of shock as he overhears the conversation. I register the same face-quake upon being presented with the cheque.
Moon guffaws.
“As an erstwhile actor-laddie”, Moon continues, as efforts are made to reactivate my heartbeat, “I want to do much more acting. It`s the same as a brewer living in Hamburg… you`re in the thick of it, and the same goes for Hollywood”. Quickly adding, “I don`t mean brewing, I mean acting”.
What else!

IMG_0471

“Also, Hollywood offers much more scope in television. There`s a lot more than just plugging your latest record on either the Lulu or Cilla Black Show.
“What else can you do over here? Be one of Bob Monkhouse`s Square Celebrities and hope somebody picks your square, make a prick of yourself on the Generation Game – didn`t he do well! ! !”
You can always guest on the Des O`Connor Show!
“Precisely… and no matter what people say, Hollywood is still the Entertainment Capital of the World and, if I`m into making movies it`s the obvious place for me to live.”
Already Keith Moon has attracted the attention and in some cases the friendship of movie moguls like Sam Peckinpah, Mel Brooks and John Huston. There have been unconfirmed rumours that Peckinpah was interested in re-making the classic `Soldiers Three` yarn with Moon, Ringo and Harry Nilsson cast as the trio of British Army privates stationed in India during the Queen Victorian Raj. Likewise there is a strong possibility that a comedy script written by Moon and Graham Chapman may soon go before the cameras.
A 40 page draft has been delivered simultaneously to Peckinpah, Brooks and Huston for their candid and professional opinion.

“Basically”, explains Metro Goldwyn Moon, “Graham Chapman and myself have written what can best be described as a High Adventure movie – just how high the adventure will be remains to be seen.
“What I`ve tried to do is to combine all the truly great adventure and pantomime stories into one… Treasure Island, 20,000 Leagues Under The Sea, Dick Whittington, The Pied Piper, Grimms – and select an all-star cast in the title roles”.
According to Moon, he`s already secured verbal agreements from such box office stars as James Caan, Elliott Gould, Peter Sellers, Oliver Reed, Peter Cook, Ringo Starr and Zsa Zsa Gabor – who, it transpires, has taken a particular personal interest in Our Lad.
“But she can forget it, I`m much too young and also much too skint to become husband number… well whatever it is. Seven!”
“As I was saying. Aside from a cameo role as Long John Silver (naturally), my role would be producer.”
One thing is certain: no matter how long before plans are finalised, Moon`s movie will not be shot in Britain.
“It will be produced in America with an American crew. I would much rather make it in Britain but the cost would be astronomical and I would have to be prepared to lose on it. “If I made the movie in Britain it would be subject to British tax on a world-wide basis; therefore I could easily end up paying a lot of money out of my own pocket for the `privilege` of making it here.” Moon argues that if one cannot make a profit by bringing money into Britain it`s no use to do so since there won`t be any margin of profit to re-invest in future projects.

“The more films that are made abroad the more the British film industry will suffer. At the moment, there`s no alternative.”
However, Moon wishes to point out that he`s not letting personal ambitions get in the way of The Who.
“Suddenly”, he says with excitement in his voice, “it`s the Who again, and to tell you the truth we didn`t really know quite how it would work or if it would work at all. But once the four of us got back together again the chemistry started fizzing.
“When Pete, Roger, John and myself were out there on stage – Bang!!! It really is something I can`t explain. Sure, I want to get into things like movies but I`m not about to sacrifice the Who because of that. It`s too much fun.
“There`s two sides to the Who”, he insists. “There`s the Pete Townshend side which is all intellectual and there`s the crazy side, the fun side – me”.
We leave the restaurant and climb into the back of Moon`s white Rolls Royce. “I`m the pop image, too many people have forgotten that rock`n`roll is fun”, he says. Then, as we pass the Law Courts, Moon jumps on me and begins tearing off my clothes in full view of the public.
Thank God he won`t be back for almost a year.

IMG_0472

A nice overview of musicians birthplaces.

I have personally transcribed this from the original paper. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of New Musical Express also contains articles/interviews with these people:Gary Holton, Ronnie Lane, Warne Marsh, Bad Company, Kid Strange.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail, if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT The Who FROM NEW MUSICAL EXPRESS, January 3, 1976

I have regular visits from people reading articles featuring The Who at this site. So for that reason alone it is a pleasure to post an old concert review from the legendary Hammersmith.
Enjoy!

IMG_0446

The Who

HAMMERSMITH

By Steve Clarke

The black monolith (stereolith?) of a PA system towers from floor to ceiling. Onstage The Goodies` Graham Chapman is receiving a hard time from this day-before-Christmas Eve audience, who`re wearing expressions of celebration all over their paper-hatted faces.
It`s the third and final gig of The Who`s Christmas series at Hammersmith Odeon. According to reports Sunday night was great – Monday`s gig a little dodgy. Tonight (Tuesday) they just have to blow everybody`s heads off.
Chapman leaves the audience with a few select profanities. Seconds later, The Who tumble onstage, Moon cartwheeling, and take their positions. Entwistle, a sturdy glitzy carnival with his sequined jacket, is stage right, and Pete`s opposite, wearing a white baggy outfit which looks as if it was pulled on a few seconds beforehand. His face looks decidedly haggard.
Townshend`s arms go into action and his fingers make contact with the sunburst Les Paul, introducing the staccato riff to “I Can`t Explain”.

The music`s okay, but not as powerful as The Who can be. Daltrey`s voice is shot, not as pure as it ought to be. Townshend`s guitar should be louder, but the Entwistle-Moon rhythm section is invincible and pounds along ruthlessly, compelling you to stamp your feet.
Despite these `defects`, spines are tingling and it wouldn`t surprise me if there`s a few wet eyes in the house. Hell, it`s more than good to see The Who onstage at Christmas. All around are faces brimful of joy. I`ve yet to see a band audience relationship like The Who`s; their audiences, no matter what the standard of playing, are always totally entranced by the sheer thrill of seeing Daltrey, Townshend, Entwistle and Moon on stage together again.
It`s not as if all present grew up with The Who – looking around at the audience, it seems to me that Pete Townshend has no cause to worry whether he`s too old to play rock `n` roll. He might look a little weary, but the spirit which he and the rest of the band project is as young and as vital as ever; “the magic that will set you free” to borrow a phrase.
“Substitute” follows, and like the opening number its lyrics are as relevant today as they ever were. What`s the betting that more than a few guys in the audience are feeling just like that tonight? Into “My Wife”, Entwistle`s excellent song from the band`s finest, “Who`s Next”, follows, and the bassist`s voice is in worse shape than Daltrey`s.

IMG_0448

The further into the set, the better the music gets, and by the time of “Tommy” The Who are playing as they should. Townshend has gained the power his playing lacked earlier, and everything that has made The Who arguably rock`s greatest band is being demonstrated here tonight; the pyrotechnics, the dynamics, the band`s attitude towards its audience and its music.
“I`m Free”, “We`re Not Gonna Take It” and “Pinball Wizard” comes as a feast of power chording, and the energy which flows from the band is almost tangible. The first climax of the evening comes with the “See Me Feel Me” sequence, myriads of `lazer` beams being projected from backstage out across the theatre.
The audience erupts, spilling out into the near-stage area.
Introducing “Tommy”, Moon and Townshend had the wit to send the whole thing up, saying it was a piece of classical music when they know damn well it isn`t. Rock opera? Bullshit. Rock and roll isn`t about `operas`, it`s essentially about energy, joy, and most important of all, communication – and this is where The Who are succeeding most of all.
Unlike Led Zeppelin, The Who cry out for an audience to relate to, and there is no barrier between them and their audience. Mostly they`re not about pretensions. They might be a good deal more affluent than their audiences, but get them on a stage and their richness disappears and you know that at one time in their lives, they`ve lived the kind of life most of the audience are now living.

Unlike The Stones, there`s no celebration of evil and no jet-set ambience.
Daltrey might not be such an amazing performer as Jagger, but he is a lot more touchable as he trots around onstage like a toy soldier.
The only time on Tuesday The Who weren`t one hundred per cent convincing was during “My Generation”. I understand why they have to play it, yet when they do it`s as if they realise it`s one damn big lie.
Otherwise it all makes sense.
Part way through the song the band goes into one of their flop singles “Join Together”, and the song is genuinely apt. By that time the audience`s inhibitions have disappeared.
The following “Summertime Blues” is true to the spirit of classic rock `n`roll. Oddly the penultimate number is “Roadrunner”, at the end of which Townshend widens his guitar tone, even turning in a few Beckisms.
Their set closes with “Won`t Get Fooled Again”, a classic post-Woodstock statement. It`s played majestically, climax after climax, and perfectly timed so that balloons and fake snow fall from the ceiling as the music bursts into its final crescendo.
Townshend hurls his guitar at the amps and it`s over.
If you thought rock was dead at that moment in time, you must have been born in the wrong age. Easily the year`s best display of rock `n` roll.

IMG_0451

I have personally transcribed this from the original paper. If you have a music-related web-page where this fits – please make a link to the article. With a great, big thank you to the original writer of the article from all of us music fans!

This number of New Musical Express also contains articles/interviews with these people: Rory Gallagher, Steve Cropper, Sailor, Paul Bley, Labelle, Frank Zappa/Captain Beefheart, Queen.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail, if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT The Who from New Musical Express, October 4, 1975

If every record review was as positive as this one, I guess we wouldn`t need record reviews. I must admit that I haven`t given this album much attention, but I am on my way to have a listen to it right now.
Enjoy the read!

The Who 1.JPG

Once upon a time, Pete Townshend was young and full of hope.
That was Then.

By Roy Carr
Pic: Neal Preston

THE WHO: “The Who By Numbers” (Polydor)

“The Who By Numbers” displays all the symptoms of post-“Tommy” depression. It`s an album that vividly depicts The Who – in particular Pete Townshend – in a similar position as when they recorded “Who`s Next”. However, this time they appear to be (over) reacting to “Tommy`s” third and most “commercial” manifestation, with the result that “The Who By Numbers” is somewhat tainted with the decaying bittersweet stench of enforced showbiz success.
For most of the time, Townshend takes on all the illusory mannerisms of the artist in torment, aware that he has something to prove but afraid that he may be out of synch with himself. Therefore, against the underlying themes of frustration, isolation, cynicism, disillusionment and self-doubt, Townshend attempts to come to terms with Townshend. However, it`s not in his nature to go on the defensive, so instead he chooses to mount a nihilistic attack: he lashes out in fury and frustration at The Who, severed business associates and himself.

If I didn`t know better, I could have easily construed this LP as The Grand Gesture – Townshend`s Suicide Note. I mean, what other conclusions can be drawn from the lyric of “They Are All In Love”?
“Hey, Goodbye all you punks stay young and high, hand me my cheque book and I’ll crawl off and die / Like a woman in childbirth grown ugly in a flash, I’ve seen magic and fame now I’m recycling trash”.
Throughout, “The Who By Numbers” appears to place much more emphasis on the lyrics than melody to the extent that one immediately realises the overall ambience of the album is somewhat muted. It`s almost as if Townshend doesn`t want to detract from the vitriolic statements he`s making by enveloping the material in archetypal Who pyrotechnics. Sure, there are occasions when The Who resort to these familiar shock tactics but these are kept to a minimum.
It`s for this reason that on just one listening some people might jump to the wrong conclusions about the merits of this album – a problem encountered by Neil Young`s “Tonight`s The Night” – a brilliant rock verite album with which “The Who By Numbers” has an affinity.

With sparse yet extremely careful, clean and subtle production (by Glyn Johns), there is an overall “live” quality to the performances with the basic line-up augmented by a predominant scrubbed acoustic guitar, occasional brass figures and relevant pianistics from Nicky Hopkins.
Yet in appreciating the motives behind the lyrical stance adopted throughout this album, I feel that one needs to be conversant with the lengthy interview we conducted with Townshend (NME May 24). During the interview, Townshend intimated that perhaps both he and The Who had experienced some kind of creative menopause. He pointed out: “The group as a whole have got to realise that The Who are not the same group as they used to be”.
A few weeks later, Roger Daltrey replied to Townshend`s accusations in no uncertain manner (NME August 9). Such was the hostile attitude prevalent in both interviews that everyone expected The Who to break up there and then. They didn`t. But nonetheless, “The Who By Numbers” reveals many of the traumas that were being enacted in The Who camp.
Success often plays strange tricks on one`s psyche and we find Townshend attempting to exorcise his in the only way he knows how – through The Who.

The who 2

Though the staccato powerhouse chording and rumbling drums on “Dreaming From The Waist” are reminiscent of the tension that prevailed throughout “Quadrophenia”, it`s a saga of Pete`s quest for lost youth. He admits that the spirit is willing but the flesh is weak almost to the point of impotence.
Such is his dilemma that Townshend often communicates with the voice of a young man feeling that he`s grown prematurely old. This may just be a temporary fixation but one cannot avoid the overwhelming aura of finality about the way in which he observes himself in “However Much I Booze”.
“I see myself on tv, I’m a faker, a paper clown / It’s clear to all my friends that I habitually lie, I just bring them down”.
Utilising his familiar anthem approach Townshend castigates past associates with the venomous anti-music business “How Many Friends” – a subject which John Entwistle sardonically explores over a brute force riff on “Success Story”.
However, there are moments when the apocalyptic vision is temporarily set aside. With an almost skiffle-type treatment “Squeeze Box” is a spot of sheer rudery, while “Blue Red And Grey” is pure whimsy as Pete plunks a mandolin with just a suggestion of brass hovering in the background.

The Revolutionary salsa-inspired “Slip Kid” which opens up the proceedings has all the earmarks of another “Magic Bus” and restates the “My Generation” thesis, while the closer “In A Hand Or A Face” reverts to archetypal Whoism and deals with rock `n` roll paranoia set against a veritable barrage of the band`s collective might.
It`s common knowledge that The Who`s greatest musical achievements have been born out of sheer frustration and “The Who By Numbers” is no exception, revealing as it does the kind of sagacity that Lennon attained by publicly casting out his demons via his “Working Class Hero” album.
Thematically, “The Who By Numbers” is a transistory album in that with vehement honesty it brings to a close the first decade of The Who; clearing both the decks and the air for the immediate future.
Despite all its inherent characteristics of a downer trip, I refuse to believe that in any way this is The End. The remarkable way in which Townshend, Daltrey, Entwistle and Moon perform their respective roles throughout this album isn`t indicative of a band suffering from a terminal malady. It`s more a maturing – a girding of the loins.
The Who have always been fraught with problems and the paradox is that it`s this element of anguish that persistently motivates them as such a highly intense and vital creative force.
Earlier this year, The Who threatened to deliver a straight-forward rock album. They kept their word. Though it may take some time for certain factions to arrive at this conclusion. “The Who By Numbers” is an affirmation of four great, if somewhat idiosyncratic personalities.
In short, this album is brilliant.

The Who 3

I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own webpages – please credit me or put up a link to my blog.

This number of New Musical Express also contains articles/interviews with these people: Johnny Cash, All Platinum Records, Victor Jara, Andrew Cyrille, Peter Haycock (Climax), Jim Morrison, The Doors, Joan Baez, Poco.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail, if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT The Who from New Musical Express, August 9, 1975

This is the kind of interview that you don`t see too often these days. Today a band of The Who`s magnitude would be surrounded by managers, press agents or people from the record company that would control everything being said. Such honesty as revealed in this article would simply not be allowed. And probably for the better, as it would break up most bands. The Who are still an ongoing entity with Pete and Roger in the band. Quite interesting really, considering the odds after the articles published in 1975. Have a nice read!

IMG_1178

A few weeks ago Pete Townshend, in an interview with NME, got all hot and steamy and despairing about his role with The `Oo – and about The `Oo themselves. This week Roger Daltrey, also in an exclusive NME interview, returned Pete`s fire – with interest. And after this furious exchange of invective, the question on all our lips is: can The `Oo survive…in any shape or form at all?

Tape Op: Tony Stewart Camera: Joe Stevens

Who`s Last?

Just how do you conduct yourself when interviewing a man who`s destined to become A Living Legend?
Do you ensure your shoe laces are tied, your hair`s neatly brushed and that your breath smells sweetly? And then humbly sit opposite your subject, dutifully silent as you wait to hear his proclamations?
Or perhaps you just take along a bucket and spade in case the Centaur – as his latest album sleeve depicts him – craps on the rug.
After all, this is how Polydor are promoting Roger Daltrey.
The Centaur photograph exploits all the romanticism of Greek Mythology to intimate Daltrey is A Living Legend, as well as incorporating the sexual blatancy of the classic Satyr – the lustful beast which is reputed to be part man, part goat. But moulding the hindquarters of a goat onto Daltrey`s fine torso would project a considerably less virile image than those of a stallion.
Look at the shot closely, and you`ll see my (or his) point.
“It`s nothing to do with me mate,” Daltry asserts. “I can never consider that. I wish I could become Charlie Bloggs. I`m pissed off with it, because I feel it`s not me. I`m not A Living Legend. A lot of old bollocks. It`s all half-truths and I don`t really want to be associated with that kind of thing.

“I don`t really want to be A Pop Star, believe it or not. I`d like to have successful records, but that`s it. And I`d very much like never to do any more interviews or anything.”
Gee thanks, Roger.
“Well, you know, the occasional one. I suppose it`s the price you have to pay.”
Yes. But Roger also has an ulterior motive in talking to us, and that`s to answer Pete Townshend`s attack on The Who, carried in a recent NME article.
Stick around because the dirt flies like a sand storm.
Somehow though, you just can`t come to terms with Daltrey`s new image. Here he is, in the Goldhawk Record company offices in London, sandwiched into a comfy chair between a filing cabinet and a stack of audio equipment, taking large hungry bites out of a pear, causing juice to trickle down his chin, the flow of which increases as he tries to talk with his mouth full.
His moods change faster than a streetful of Belisha beacons, going from Sullen to Friendly, and from Aggressive to Rationally Polite. And invariably he`ll laugh at his own moods, throwing his head back and roaring like a triumphant bar-room brawler.
You could describe him as an earthy streetboy.

The interview, though, comes at an appropriate juncture. Sessions for the new Who album, “The Who By Numbers”, have just finished, and after our rap Daltrey will go off to hear the final mixes.
“I`m really pleased with it,” he says, chewing on the pear. “One song particularly, called `Imaginary Man` I think is the best song Pete`s ever written. There`s a few mysteries in there, but it`ll be a good album.
“The shape and form of it is similar to `Who`s Next` with a lot of varied material unlike `Quadrophenia` which was really one vein. But I don`t know what it`s going to do, because I don`t know what people are expecting.
“I think it`s going to be surprising.
“There`s not been a lot of style change at all. How can we? Moon still plays like Moon, John still plays like John, Pete still plays like Pete, and I still sing like me.
“The only time that we really change is after extensive touring, never when we`re in the studio.”
Yet the conversation doesn`t dwell on the album for long, as it`s quite apparent Daltrey wishes to discuss another topic. Like the Townshend feature.

“I never read such a load of bullshit in all my life,” he comments, angrily. “To be perfectly honest, it really took a lot of my Who energy out reading that. Because I don`t feel that way about The Who, about our audiences or anything in that way.
“It was an unbelievably down interview. And I still haven`t come out of it properly yet.
“I`ve talked to fans,” he continues, “and I think Townshend lost a lot of respect from that article. He`s talked himself up his own ass. And there are quite a lot of disillusioned and disenchanted kids about now.”
(In fact the tone of Townshend`s rap was itself disillusioned. He was highly critical of the band as a working unit, their audience and even of their future. In his introduction to the piece Roy Carr admirably precised the prevalent attitude the Axe man expressed.
“Pete Townshend didn`t die before he got old. Yet death isn`t his problem, it`s the passing of the years and his current position in what he feels is a younger man`s occupation”.
But that`s not 32-year-old Daltrey`s chief beef about the article. “My main criticism,” he elaborates, “was the generalisation of saying the Who were bad. The Who weren`t bad. I think we`ve had a few gigs where Townshend was bad… and I`ll go on record as saying that.

“I think we had a few gigs where under normal circumstances we could have waltzed it. We could have done Madison Square Gardens with our eyes closed, only the group was running on three cylinders. Especially the last night.
“You don`t generalise and say the Who was bad,” he stresses, his rage stronger now. “Because The Who wasn`t bad. Wasn`t quite as good as we could have been, but it was because Townshend was in a bad frame of mind about what he wanted to do. And he didn`t play well.
“Sure, we all have our off nights. But don`t go round saying the Who was bad.”
Did Pete sound like a Rock And Roll Martyr to you?
“Yes. Very much.
“You`re putting words in me mouth, ain`t ya?” He laughs.
Well sure. But only if there`s room with the pear.
“Right. That`s the impression I got. And it riles me when he generalises it to say the Who weren`t playing well. The Who can play as well as they ever did, if we can get down to it and take it for what it is. He`s just trying to make the Who something it isn`t.
“I can understand his musical frustration,” he continues. “He must be so far ahead now with just writing songs for The Who. But surely if The Who isn`t a vehicle to get those frustrations out he should find another vehicle.

“But use the Who for what it is. A good rock `n` roll band, that`s all. And one that was progressing.”
Was?
“I say was because we haven`t done anything for such a long time. Hopefully when we get back on the road we`ll still progress. But if we have any more statements like that I don`t see how we can. Cos I know it`s taken a lot of steam out of me and I`m sure it did with the others.”
But Roger you said, was progressing, which strikes me as a rather strange comment to make just as you complete a new album.
“I`m just talking about the road side of it,” he clarifies.
“I mean, we are still progressing. We`re never really The Who in the studio. That`s one of the difficulties getting records made with the band. There was a lot wrong, but we rectified it on this album. We all got stuck in and made a record.
“But there`s not a lot of room for a group because it`s becoming more and more dominated by Pete. It`s very hard to make a group contribution outside of what you actually do in the band. Outside of me just singing, for instance.
“John seems to do alright at it – but every suggestion I make I just get laughed at.
“But I can live with that. I don`t care if I`m just the singer anyway.”

On this point, though, it was Townshend who complained he had to bear too much responsibility for The Who. There was, he bemoaned, too much pressure on him.
“There`s all sorts of problems going down at the moment that have got bugger all to do with the music side of it,” counters Daltrey, “which is usually lumped on my bloody shoulders. But I don`t ever complain about it.
“I agree that because he`s been the mainstay songwriter of the band he`s obviously going to be under that pressure. But I think he enjoys that. As far as going on the road goes I don`t think he`s under any more pressure than any of us, really.”
Townshend`s argument – just to refresh your memories – was also that because the other three guys heavied him into the studio any songs he`d written for a solo album would be snapped up by them. And inadvertently he seemed to be moaning about the fact that Daltrey, Entwistle and Moon could work solo – but that he never saw his own efforts come to fruition – because of The Who.
Daltrey does feel it would be a good thing for Townshend if he did record a solo album, but denies it was impossible because of The Who situation. “You see, I think if he made a solo album he would get some of the musical frustrations out which he can`t accomplish with The Who. Because he can do fucking incredible stuff that The Who`ll never do. They just haven`t got that sort of scope.

“That`s why solo LPs are nice to do. They let your head run riot for a while.
“And I don`t see why he couldn`t have done his own album before this Who set, because I can`t see this one getting released for ages because we`ve got so many problems, outside of just the music. Then The Who would have had second choice.
“And I don`t see it would have hurt The Who.”
“I think we needed this year break. We need to sort certain things out. Like, two months ago it looked as though we weren`t ever going to record again – and now at least we`ve made another record. And I really want to get back on the road.
“I just don`t feel I`m in a group unless we`re playing on the road. It feels like you`re just another session man.”
He pauses, having said his piece.
“Want a cup of tea?” he inquires politely.
Snippets of Daltrey`s rap keep flashing up on the brain`s screen like trailers at the cinema. And it could just be possible that`s yet to come.
At intervals he`s made oblique, but apparent, references to some kind of internal problems other than musical that are having a detrimental effect on The Who`s well-being.
Something seems greatly amiss.

But as the mugs of tea are handed round – and you`ll be glad to know Centaurs do have sweet teeth, because Daltrey started to crunch sugar cubes. Roger seems reticent to divulge the relevant information.
“There`s just certain things going down at the moment,” he does proffer, not particularly helpfully. “You`ll probably hear the whole story in about two month`s time.”
Can`t we hear it now?
“I can`t. There`s a lot of litigation going on between our record company and our management and everything else.”
A clue. But not exactly a scoop.
With a little gently prodding he does, however, begin to open up, revealing in unguarded terms there is, er, disagreement between the Who and their management.
“If we were free now to do what we wanted to do we`d have our record out in the first week of October and we would be touring England in the third week of October and the first week of November. And we`d be off to the States in the second week of November, then back here for some Christmas shows.” He comes out with a series of anecdotes which, due to the laws of libel, I can`t repeat. Worse luck.
“If the record doesn`t come out I don`t know what`s going to happen.
“We could still tour – but we wouldn`t tour with a new act because it`s hopeless trying to play people unfamiliar material. It`s like, the worst thing any band can do. Even if it`s vaguely familiar. Like Elton John at Wembley playing `Captain Fantastic`.
“It didn`t work.

 

IMG_1180

“I wouldn`t mind touring with the old stuff. But that`s what it`ll have to be.”
Any dates pencilled in?
“There are, but I can`t even talk about them because it`s so vague at the moment.
“Maybe it will sort itself out and it`ll go ahead, but I can`t really see it somehow. It`s probably gonna be December before we actually get on the road. The way things are going, and the lack of decisions and various things.”
Christ. Some Main Feature, huh?
Going back to That Townshend Feature – and considering all Daltrey has just said – it does seem somewhat unfair Peter Meter should blame Daltrey`s involvement in “Lisztomania” for holding up the recording of the new album. Which he did.
“Obviously he doesn`t want to talk about these other problems in the Press,” suggested Roger quite rationally. “I do it reluctantly, but I suppose it`s got to come out at one time.
“I can see if it does happen then I`m gonna come out as The McCartney Of The Piece. But there again, what do you do? You can`t live on lies forever. But the last thing in the world I want to do is break The Who up. Anything I can do to stop that happening…I`ll do.
“Now The Who have acted.” (Daltrey`s referring to the legals). “But I don`t know how long I could have gone on without them acting. I really don`t.

“If the legal hassles hadn`t been going on, yeah, then Liszt would have held up The Who recording for three months. Which isn`t a long time.
“I know it was a drag for The Who, and I don`t ever really want it to happen again. But there was nothing I could have done about it.
“As it`s worked out, it didn`t really matter anyway.”
Perhaps at this stage it`d be useful to clarify one or two other matters with so many insinuations whizzing around. Roger, how important is The Who to you then?
“Obviously very important,” he responds immediately. “I mean it`s part of me life, and it`s the last ten years of me life.
“I can accept the fact now it`s not going to go on forever. That`s for sure. You do start to see the boundaries. But I just don`t ever want to give up.
“The Who comes before anything really. It didn`t come before Liszt but it was a group thing. I said, `What do I do?`
“I think Liszt will do The Who good as well. That`s one of the main things in my mind about it, because people – especially in the States – are gonna start thinking I`m Tommy. And I`m not Tommy. I don`t think `Tommy` is – The Who`s best piece of work.

“Liszt is a quick way of showing people that I ain`t Tommy. Which is, at least, a start in destroying that whole `Tommy` stigma.”
But again, when discussing his career in the movies, Daltrey is prone to relate it to his musical pursuits and his role with The Who. For instance, working with Russell, he says, has given him a better understanding of PT`s song writing. “Ken is very similar to Pete,” he explains. “He`s very visual and thinks all the time. But unlike Pete I can talk to Ken. And he`ll explain how he sees a situation to me, and I`ve got a terrific rapport with him.
“Unfortunately me and Pete have never actually got on, on that level. But I find now it`s not so important, because just working with Ken so much has taught me a lot about getting into things in the way I think you should.
“It`s given me a lot more confidence.
“If you can`t communicate on a talking level with someone, and you just go on feelings, and he`s given you a sheet of lyrics and you`ve got a demo to work with, then you need quite a lot of confidence.”
At this point, however, Daltrey is understating his turbulent relationship with Townshend because, as our conversation unfolds – covering The Who`s music and the sheer aggression and frustration it incorporates – it`s necessary for Roger to explain why this should be such an overt facet. And in doing so he reveals considerably more about the personality structure of the band.

“It`s probably because we`re so different,” he says, “and don`t particularly get on that well outside the band. I don`t want to be in a group with anybody else, although if I could choose three friends to go about with it wouldn`t be those three.
“It`s a very weird situation, but it does lead to frustration. But it`s always worked because it`s led to creating something.”
And also led, it should be noted, to fights. On occasion.
“Yes. On occasion.” Agrees Daltrey.
Well, your knuckles aren`t bruised so the recording sessions must have gone well.
“Look!” He cries, laughing, and holding up his right fist. “Look at that!”
He displays one severely swollen and purple set of knuckles.
“No, no, no. We didn`t have any fights at all,” he points out. “That`s a mosquito bite. Believe it or not.”
A likely story.
“No. We didn`t have any fights this time. We had fights in `Quadrophenia`.”
Tell us more.
“I`ve only ever had one fight with Pete and that was during `Quadrophenia`. It was a bit of a shame because it was a non-argument, and the last thing I wanted to do in the world was to have a fist fight with Pete Townshend.

“Unfortunately”, he adds petulantly, “he hit me first with a guitar. I really felt terrible about it afterwards. What can you say? Pete should never try and be a fighter.
“But when he was being held back by two roadies and he`s spitting at me, calling me a dirty little cunt and hitting me with his guitar I become quite angry. And I was forced to lay one on him. But it was only one.”
That was sufficient?
“Well,” he roars with laughter, “when he came out of hospital…”
But according to Daltrey there has always been a clash between him and Townshend – with Entwistle and Moon as mediators. And perhaps for this reason Daltrey is able to contend with being laughed at in the studio when he makes suggestions.
“Like I say,” he explains, “I can put up with being just the singer. It doesn`t really bother me that much. It`s just one of those things that make you feel – what`s the word? – makes you feel a bit of a misfit.
“But I`ve always felt a bit of a misfit in the Who. That`s another reason why solo things are good for me.”
Cue. Change of reel, and subject.
Everything seemed to be going well for Roger Daltrey, the solo artiste.
He`s now grabbed himself a prestigious slice of the Movie Biz by doing the films “Tommy” and “Lisztomania” – with another, of which he`ll reveal nothing except he has to have his hair cropped, on the starting blocks.

Even his solo-singing career had an auspicious debut, with the excellent “Daltrey” album, “Ride A Rock Horse”, however, isn`t too good.
The vocal performance is good, the musicianship is good, OK, but the material just doesn`t have that stamp of quality.
And to date, business has not been brisk with the set, which is certainly not the kind of sequel one would expect (either artistically or sales-wise) following his first album.
“I`m pleased with it,” comments Roger. “I like it. But then I`m bound to, ain`t I?
“It`s a very American kind of album and it`s not particularly the English people`s taste. But that was intentional. I aimed it at America.
“Maybe I aimed it too much at America.”
Perhaps, though, Daltrey, who as a prominent British vocalist would have the world`s established writers scrambling over each others` backs to get him to use their songs, has taken even more of a chance with the material than he did with the first set. Once again, he`s used unestablished writers (like Leo Sayer was).
“I know it`s a gamble and maybe this time it hasn`t paid off, but I`m gonna carry on doing it.
“It`s just that I get so many kids coming to with songs – and they`re not all good – but occasionally you get the good ones, and I think it`s worth taking a gamble. Maybe I`ve picked the wrong numbers this time… I don`t know. Obviously I haven`t in America. It`s in at 60 this week.
“With a bullet.
“So my judgement`s right somewhere.

“I just remember the days when I would have done anything for a helping hand. If I can help somebody who can`t get a look in elsewhere… then it`s a valid thing to do.”
Not, I wouldn`t have thought, if the album bombed, along with Daltrey`s sole reputation.
Polydor (who can improve your image as Charles Atlas helped build your body) do seem to be putting the big promo wheels in motion. This when discussed, moves onto Roger`s own reluctance to be drawn into the area which he describes as “poshlust”.
“But that`s the business, I suppose,” he remarks mildly. “I don`t suppose kids want to buy records wrapped up in paper bags. They want a bit of glamour.
“You do need your Jaggers and Rod Stewarts, but they`re trying to make me into one, and I`m not. And I never will be.”
Just why is he in the business in the first place then?
You guessed it. “Cos I sings in a band called the `Oo and I likes it. And That Is It.”
But according to Townshend (in That Feature) Daltrey would like to believe rock and roll was “making records, pullin` birds, getting pissed and having a good time.”
“That” retorts Daltrey disgustedly, “just shows he doesn`t understand me at all. Because that proportion of my life which is devoted to that kind of living is such a minimal proportion. If he thinks that`s what rock and roll is to me he must be kidding.

“Just coz I don`t live in a studio like he does doesn`t mean to say I don`t like rock and roll much.”
He pauses.
“There`s a terrible battle going on between me and him, ain`t there?”
In fact you could say this last quote of Townshend`s proves to weigh heavily on Daltrey`s mind. It isn`t until near the end of the interview when he decides to elaborate on the point.
“I`m just thinking about what he said,” he said. “That I`d like to believe that rock and roll was birds, booze and fun. The naivete of that is that the last few bad gigs the Who did were, in my opinion – apart from his head trip – bad because they were physically out boozing and balling all night. And by the time it got to the show at night they were physically incapable of doing a good show.
“So… put that in your pipe and smoke it.
Was that all of you?
“No. That was Townshend. Moon does it, but he can control it. On a few of the last gigs Townshend was pissed and incapable.”
Now Daltrey`s anger is rising.
“So don`t talk to me about booze, because I`ve never been onstage drunk in the last seven years, Mr. Townshend! I don`t know if you`ve ever noticed, maybe he hasn`t but I have. I remember every show we`ve ever done!

“I`m just getting a bit fed up with these left-handed attacks.”
And now he`s retaliating.
“One of the sad things is that Pete and I are probably never gonna be able to communicate,” he explains coolly. “I think I`ll have to sit down and write a letter to the band, because there`s no way of ever speaking to them about it.”
Jesus. What`s the future going to bring then?
Maybe Daltrey is outspoken, vitriolic and often enraged by the circumstances surrounding The Who, and yet underneath it all runs a deep devotion for the band. He may criticise Townshend for what he describes as “pathetic” guitar playing on one gig, and yet he`ll get back up on stage and work with him again.
“The only other way is to give up, init?
“From my point of view… I think I`ve got better on stage in the last six years… and it really frustrates me that the people who were heads, hands and feet above me before are starting to fall by the wayside. I think it`s unnecessary.
“That`s why i want to get back on the road and do it. Because I know they can do it.
“And if they don`t, then the Who breaks up. We`re not a government. It`s only a rock and roll band, after all.
“It`ll be a terrible shame and a lot of people will be disgusted with us for letting it break up. But what can you do?
“In a way,” he continues, “I don`t mind if the Who do finish, because I think we`ve done a helluva lot and I`d hate to see it fizzle. I`d hate to see anything mediocre come out by The Who.”
And in a more dis-spirited moment he comments: “If I feel I`ve come to the stage where I can`t give anymore into rock, and I can`t do the things I like, then I might as well take up acting.
“I might as well.”

IMG_1187

I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own  webpages – please credit me or put up a link to my blog.

This number of New Musical Express also contains articles/interviews with these people: Gary Holton, Rod Stewart, Colosseum, Aston Barrett, Isaac Hayes, Mike Gibbs, Tim Hinckley.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail, if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT The Who FROM SOUNDS, November 30, 1974

The Who is one of the few bands were all the members of the original band made solo albums. With the exception of drummer Keith Moon, who died too early, all the other members have made several solo albums. While waiting for the other members of The Who finishing their film “Tommy”, Bass player John Entwistle were planning a tour. This is a short interview from that period of time.
Enjoy!

IMG_0712

FIRST NIGHT NERVES, TEN YEARS ON…

or how, in times of beef crisis, SOUNDS/Mike Flood Page Productions offers you a large slice of Ox (cunningly disguised in a mushroom sauce as John Entwistle), co-titled “The Ox Lies Down In Battersea”

Just the day to go see the man who created Cousin Kevin and Uncle Ernie, the Whisky Man and a cast of assorted freaks and casualties. The rain was coming down like it was monsoon season and the streets of Battersea where the Who`s Ramport studios are to be found were awash and uninviting.
Inside the converted ecclesiastical building which houses the studios, Roger Daltrey was picking his way through lunch in front of the TV, Russ Ballard dropped by to see a journalist and the Ox, Mr Entwistle himself was settled into the control booth listening to the playback of some brass tracks he was laying down for the “Tommy” soundtrack.
Unlike my preconceptions he seemed a friendly slightly serious guy. I enquired if he didn`t feel haunted by “Tommy” and keen to see the back of it, but he was unperturbed by its refusal to go away, describing it as “a friendly ghost”.

John has laid down about 95% of the bass work on the album besides the brass, all of which he played except the saxophone parts, and he has a role as, would you believe, a bass player, and one of Tommy`s disciples. But on his mind now is his own project, the Ox.
Originally conceived as a twelve-piece, the group has shrunk to a four-piece augmented by a sax player and two girl singers who will play three British dates before Christmas, around fifteen in January and February before leaving for a twenty city tour of the States where it emerges he has a substantial cult following that has produced sales of around 100,000 a time for his solo albums, and earned him number one bass player title in several polls and even number three in the brass section once.
His most successful albums have been, he admits, the sick ones. “They dribble into the charts for a bit and stagger around for a while.”
His own material on three albums so far and reportedly on the forthcoming Ox album betray a bizarre imagination steeped in a black vision of the world. Did he ever stop to ask himself why he wrote like this. I was keen to know. “I`m gradually getting out of that, I must be getting happier or something.

“That early stuff, I was encouraged by Kit Lambert to write…horrible songs really; songs about people with phobias and hang-ups, about spiders and alcoholics who see imaginary people, and stuff like that.
“My first album was about birth, death, reincarnation, the devil, heaven and hell; and the second solo album was about people with things wrong with them: someone whose wife runs off and commits suicide, and a fellow with a dominant mother, a peeping Tom, someone who finds out his girlfriend is married with three kids to a weight lifter.
“Kit Lambert realised I had an ability…he actually wanted me to write a children`s album…stuff like `Boris The Spider` and `Whisky Man` was appealing to 11 and 12 year old kids.”
He conceded that the “Rigor Mortis” album had marked a move from “Sick subjects to slightly sick things; but the latest album isn`t that black, though it`s still got that black undertone to it.” Some kind of concession to public sensibility I suppose.

“I think the sickest album that could ever be released is the stuff I`ve written with the Who. The `Ox` album released on Bactrack is all my numbers with the Who, and the fellow who actually spliced it together said he felt like jumping out of the window after he finished.”
I asked if that had been his original intention: “It was in those days, but I`m gradually getting out of it now. The Ox album is the most commercial thing I`ve done; it`s quite varied in its music. The whole reason for me forming a band was so that I could get a direction musically, so that I could actually write for that band.
“Our strongest thing at the moment seems to be going into free form stuff – improvising on a riff. Once we start working out our own riffs I shall use them to write new material; in the same way that Pete draws on the Who.”

IMG_0713

In some ways it might seem surprising that someone who is a part of a band as good as the Who should ever want to take his own band out on the road, the Ox thinks otherwise. “There`s a lot of numbers of mine that the Who don`t feature on stage, and also a lot of stuff from my solo albums that have never been performed, four albums worth, that`ve never been performed before an audience.”
The amount of stage equipment, especially keyboards that the Ox will have, means there will be one and a half times the amount of speaker cabinets that the Who use. It doesn`t sound a very economic way to tour. “Oh it won`t be economic. I just want to play to the audiences; I`d only have to pay it in tax if I didn`t use it, so why not. Why should the government get it? The audiences can have it instead.”
Rehearsals have been going on for three weeks now and there are only five days left, but John feels confident about the band. He plans to use tapes like the Who onstage for a couple of the new numbers, one of which involves six percussion tracks, and another based around twelve acoustic guitars, both impossible to do on stage.

But tapes present their own problems: “It`s like a deadly perfect musician who plays exactly the same thing every night.” With the Who they found the solution was to use a tape with cue-in clicks through Keith`s headset and for him to cue the group; with the Ox John will do the cues.
He is looking forward to playing two and three thousand seater halls, something the Who can no longer do. Again there is a problem about the likely response. “Why should they be content with 25 per cent of the Who when they can have 100 per cent? Really, you`ve got to make it not 25 per cent of the Who, but 100 per cent of something else.”
This tour is a project John has been eager to do ever since Rigor Mortis and the tour that never came off, but Who commitments have made this the first practical opportunity to do it, and then when the Ox tour is over and the others return from their separate projects in March or thereabouts he`ll be back on the road with the Who, and a new album which Townshend is due to be writing in January and February, everything is planned six months in advance these days.

The Who schedule seems to be fairly light as regards live performance these days, I asked John why: “The main reason we haven`t been doing so many dates is material. We started doing “Quadrophenia” and we found it didn`t work as a work onstage so we picked the best numbers. Then we found that the stage act was exactly the same as the one we`d been playing except for three or four numbers.
The thing is once the Who get tired of a stage act they just don`t want to play it; so it`s really all down to new material all the time. With “Tommy” we spent two years on the road, with “Quadrophenia” it was two months. With the next album we may spend six months on the road or two years.”
John plans that his own immediate next spell of writing will be directed towards the Who, but he also has another more long term scheme up his sleeve which has been fermenting for a couple of years, in between all his other work.

He is very cagey about saying too much: “I`m writing a sort of a…..I`m not gonna call it an opera, `cos it isn`t. It`s gonna be a single album, and the whole album tells a story, a science fiction story. It`ll be very involved. I`m still rewriting numbers from it, though it`s only half written.”
But the immediate future is the tour, his first heading a band, a responsibility he is not too worried about: “After the first gig I`ll be all right. I`m confident the band`s really incredible, but it`s that first gig…I just want to see people`s reaction.” Must be strange, ten years in a top line world beater band like the Who and getting anxious about your first gig, all over again.

Status Quo on tour with Snafu. Nice ad!

Status Quo on tour with Snafu. Nice ad!

I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own webpages – please credit me or put up a link to my blog.

This number of Sounds also contains articles/interviews with these people: Nico, Steve Gibbons Band, Gentle Giant, Hawkwind, David Essex, Bob Dylan, Sweet, Fanny.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail, if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be around or upwards of 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.