The Who at Kilburn Act 1

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This is one of the most definitive examples of The Who live. This and the following two videos are highlights from the Kilburn performance which convey how purely raw their live performances were even in their heyday. You've got to love Pete losing his temper with one of the roadies at the end of "My Wife" which, by the way, has to be my favorite tune in the concert. Even though it was written by Entwistle you can see (and hear) clearly how much Pete loves playing it.

The Who at Kilburn Act 2

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Keith Moon is funny at the beginning of this Act but at the same time sadly prophetic.

At the end of the mini Tommy medley Townshend basically confesses that he thinks the concert is sucking so far... And then it goes downhill from there... Until, of course, Act 3.

The Who at Kilburn Act 3

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I have no words.

Sunrise

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"Sunrise" is one of Townshend's most underrated ballads and I believe Rachel Fuller was born to sing it. The video is from a performance in the ITA Airstream Bus on tour with The Who, Belgium, 2006. Michael Cuthbert is the one just hangin'.

Townshend on Letterman 1989

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Pete performs "Be Friendly" and talks about what brought The Who back from their "farewell."

Amazing Journey/Sparks - 2006

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Performed in Bristol, England, summer 2006. Check out my 12/31/05 post "Sparks" and see the evolution.

Substitute / 2006

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The Who perform in Bristol, England, Summer 2006.

Tattoo / 1974

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The Who perform "Tattoo" at Charlton Athletic Stadium, London, in 1974.

1982 "Farewell Tour" Expose' Part 1

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Pete said he was "pretty sure" he'd made up his mind to stop touring.

1982 "Farewell Tour" Expose' Part 2

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After viewing parts 1 & 2 fast forward to 2006 by scrolling down to my August 10 post, "Pete & Roger on the webcast..." What a difference over two decades makes.

Townshend & Fuller in NYC

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Townshend accompanies Rachel Fuller on "Breathe" at Barnes & Noble in NYC, September 11, 2006. The performance was to promote Rachel's CD, "Shine." The lyrics could not have been more poetic on that particular anniversary.

Concert For New York / Baba O'Riley

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The Who performs the 70's anthem for an elated Madison Square Garden crowd of firefighters and police. Townshend's guitar sounds particularly.... shall I say... angry? But, that's oh such a good thing.

Pete & Roger on the webcast, loss leaders... & the fans

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Pete assesses the "Who Webcast" on In The Attic with Rachel Fuller and "Mikey" Cuthbert. Townshend is a man who's protected the branding of "The Who" for almost 4 decades.

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Daltry explains the current dynamics of The Who at a recent US press conference after telling Townshend in no uncertain terms that The Who Webcast is history.

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An attempt by Pete to explain his business relationship with Roger reveals his frustration with the whole Internet marketing process. He also explains that there are currently two "hard camps" expressing opposing opinions regarding The Who's rebirth. Pete & Rachel give their opinions about both. (It's too bad Rachel has such a hard time expressing herself.)

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The Who's journey has finally brought Pete to a place where he no longer takes it for granted. The Madrid show reminded him of how many people support The Who... Crew & fans.

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View this video and then scroll down to my previous post, "The Ox Met Me." It's incredibly poignant for me to have experienced first hand Townshend's Entwistle anecdote.

Greyhound Girl

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Pete performs "Greyhound Girl" on the last European episode of ITA with "Mikey" Cuthbert, Simon Townshend and Rachel fuller.

Best of In The Attic

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Justin Kreutzmann did an amazing job editing together a 22 minute movie of memorable moments during various In The Attic episodes. I abbreviated his work to make this 6 minute version for my blog with all credits intact at the end of the video. A lot of the entertainment value for me in watching ITA is seeing Townshend happy at 60+, in an amazing relationship and still doing what he loves to do. The Who continues to inspire me.

In The Attic in jeopardy?

In the 7/16/06 episode of "In The Attic" from Monte Carlo, Monaco, Rachel, Michael & Pete got into a discussion about whether or not the ITA web-cast is being justified by viewership as well as financially. Like a father getting serious with his children Pete explains that it has to be more about the music. His concern is that viewers will start tuning out if the music takes a backseat to superfluous conversations not having anything to do with the musicians featured on the show.

In this blogger's opinion there has been quite a nice balance between the "banter" and the music on ITA. I enjoy the conversations with Pete, Simon and the other guests that pop in. I think Rachel's dry and quick sense of humor is endearing and gives ITA a "return factor" (Viewers wanting to come back and see more.)













Just before they get to the music Rachel drops a bombshell; The possibility of ITA selling out to commercial TV?!! Yes, if it's about money then by all means. VH1 would LOVE this show. BUT, if it's about keeping the "guerilla" aspect and the novelty of an uncensored, live internet feed then selling out would be over Rachel's dead body.

After Rachel put the kibosh on the commercial TV idea she looked straight into the camera and charged her audience as well as anonymous "lurkers" to go to rachelfuller.blogspot.com and tell her if they're watching ITA. For the record this will be the 4th time I've posted on Rachel's blog encouraging her to continue producing the show. It's simply too cool.









Another thing that's incredibly cool... The ITA/concert backstage footage. The image above is Rachel & E from the Eels bringing Pete a cup of tea as he starts to play "Pinball Wizard."

Pete's Confession

In a recent instalment of "In The Attic" the guest lineup included Regina Spektor who performed at the "T In The Park Festival" in Scotland where the Airstream ITA trailer had made a landing. Pete, Rachel, Mikey and Regina talked about the dynamics of music festivals and in particular the sensibilities of audiences in the 60's as opposed to modern day audiences. With an almost confessional like conviction Pete blurts out that all those classic festivals The Who performed at in the 60's/early 70's like Monterey, Woodstock and The Isle Of Wight, two of which I feature in videos below, were personally for him obligatory. The image above is the exact moment Pete (far right) says, "I hated them." His justification is that he feels back in the "hippie days" the people who ran the festivals were "hypocrites," along with the audiences which promulgated the hippie philosophy... hypocritically. My opinion is that Pete believes the British Mod movement, which basically paralleled the American hippie movement back in the late 60's, was the standard. Thus, hippies were a bad and failed imitation of the Mods.

My fascination with Pete saying that he "hated" those festivals is the fact that they are historically "classic" concerts where The Who defined their status as one of the all time super rock groups. Talk about a dichotomy.

The First Two Whos

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I edited this video together to show the first two incarnations of The Who; The mod influence in the mid 60's and the psychedelic/coming into their own period in the late 60's/early 70's. The Who in the late 60's/early 70's influenced me the most and is basically what compelled me to create this blog. I also hope that anyone viewing these videos that's not familiar with The Who will gain an appreciation for how they created a style of performing that has since become a rock & roll standard.

Photos from "A Visual History Compiled by Richard Barnes" and "The Who - by Jeff Stein and Chris Johnston/1970-1971. Video excerpts from "The Kids Are Alright."

Sparks

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The "Live At Leeds" CD contains my favorite performance of "Sparks." I just wish somebody would have filmed it! But, this Woodstock performance from "The Kids Are Alright" is pretty amazing.

Summer Time Blues

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A classic performance by The Who from "The Who: Live At The Isle Of Wight 1970"

A mini tribute to The Who

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I edited this mini tribute to The Who with excerpts from "The Kids Are Alright" and "The Who: Live at the Isle of Wight."

The Ox met me

In 1997 I toured Germany and parts of Switzerland for six months performing the role of Peron in "Evita." The Who were also touring Europe at the same time performing "Quadrophenia." While "Evita" was in Zurich The Who thundered into town to do one night at Hallenstadion. Unfortunately I had a show that night and couldn't attend. I even tried to convince the stage manager to put on my understudy but the attempt was futile. So, as I'm singing "Diamond" The Who are performing "The Rock" at about the same time. Symbiotic, man.

It so happened that the actress playing Evita had a cousin who was actually in the brass section backing up The Who. He told her that most everybody from the Who Tour was staying at the same hotel as the "Evita" company. Obviously I made it down to the hotel bar after my show the night The Who played. Sure enough there was John Entwistle, affectionately nicknamed "The Ox" by his fellow band mates because of his laid back yet dependable presence on stage. He was sitting at a table with Zach Starkey and a couple other tour musicians. I was introduced to John as one of the stars of "Evita" which didn't seem to impress him at all. But, after making small talk about the tour he whips out a picture of his rottweilers sitting in the back of a pickup. He told me their names, ages and where his farm was. As he mostly answered my questions about Leeds and Woodstock he was gracious, humble and a tad bit hard of hearing. Since we were in a bar I did have to raise my voice that much more. While I was talking with Entwistle I noticed Daltry walking through the lobby making a bee line for the elevators. I kept looking for Townshend but never saw him. I was told by a reliable source that he wasn't staying at the hotel.

I have wonderful memories from the "Evita" tour but the conversation I had with Entwistle over snifters of cognac stands out from them all.

Why

My passion for The Who's music isn't remedial in the least. I didn't have some hole in my being that needed to be filled nor was I succumbing to peer pressure. When I heard The Who's "See Me, Feel Me" off the 1969 "Woodstock" movie soundtrack I was literally rocked. I'd never heard such a shameless and fearless sound. My junior high friends and I had already been listening to Jimi Hendrix and a couple other obscure psychedelic bands all the while perfecting our air guitar skills. After listening to Hendrix's "Manic Depression" and "EXP" from the "Axis: Bold As Love" album I was, well... Who the hell needed drugs? But, The Who truly inspired me. As impressionable as the early teens are The Who tattooed themselves into my creative core. Some of their live stuff is unbelievable. The one example that no one can refute is "Sparks" from the "Live At Leeds" album. Townshend performs a break that does nothing less than give me goose bumps. Most of the time I'm compelled to play it back a couple times just to savour the sound of that intense chord change. I can't help but imagine Townshend's performance as I listen to it and pine that someday a special surprise edition "Live At Leeds" DVD will be released!

Obviously my discussing The Who is basically rehashing history. I listen to current rock bands who I probably could speak just as passionately about but The Who were the first as far as I'm concerned. The first to perform maximum R&B on a level that could not be ignored.

I'll be posting a Vlog soon as sort of my mini tribute to The Who. Hopefully I'll capture the essence of why I have such an affinity for this group.

HAPPY NEW YEAR!

Almost got

In 1992 I auditioned in Los Angeles for the La Jolla Playhouse production of "The Who's Tommy" which was to be the pre-Broadway run. Needless to say my affinity for "Tommy" made it a priority that I get hired. At the first audition I sang "Behind Blue Eyes" for the casting director. He was impressed and gushed with encouragement. I returned a couple days later for my first call-back with the director, Des McAnuff. I sang "Behind Blue Eyes" again. Des gave me another call-back on the spot and asked me to prepare "Go To The Mirror Boy" which is the Doctor's song. So, at this point I've impressed the director enough to not only come back but now I'm up for a specific role. Very cool.

I come back the next day and start in with "He seems to be completely unreceptive... " only I'm singing the movie melody instead of the original concept album melody. In 1975 there was an embarrassing movie version of "Tommy" starring Roger Daltry. This is a whole other discussion but... Why Pete? Why? If that movie was never made I would have never sang the wrong melody. But, back to the audition... So, after I realized that I was singing from the movie I stopped myself and said, "I can't believe I'm singing the movie version. Didn't Jack Nicholson (The movie Doctor) make up that melody?" Des chuckled and said, "Yeah, we're not doing that version." I quickly regrouped and sang from the original. Afterwards Des told me that he thought it was cool that I knew both versions. I took that as a cue to explain to him my passion for Pete Townshend's music and that no matter what happens with the audition I was excited that he was creating a definitive stage version. I also mentioned seeing "Tommy" at the then Aquarius Theatre in Hollywood in 1972 starring Ted Neeley and how I thought it was another misguided attempt at capturing the power and mystery of the piece. Des said he heard about that production and said it was "unfortunate."

On my way home I replayed the symbiotic conversation Des and I had in my head. I felt I should be getting a call any day to offer me the Doctor role.

I never heard a thing.

Fast forward...

I went down to see the La Jolla production and it turned out they hired a black actor to play the Doctor. He was very good. I then saw the Broadway and the tour productions the following year. Clean and loud, the way it should be.

What can I say... I love the music.