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Speaker 1: I'm Alec Baldwin and you're listening to Here's the Thing

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Speaker 1: Crazy Tommy six, California. In nineteen sixty seven, the Beatles

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Speaker 1: released Sergeant Pepper's Lonely Hearts Club Band, which, although not

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Speaker 1: the first concept album ever made, is certainly the most popular.

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Speaker 1: Over the years, bands like Pink Floyd and Jethro Tull

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Speaker 1: and artists like David Bowie would expand and deepen the genre.

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Speaker 1: But in nineteen sixty nine, Pete Townsend labeled his album

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Speaker 1: Tommy a rock Opera to remind her obvious she knew,

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Speaker 1: but is to be what you Opera is not just

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Speaker 1: a label that One clip from Tommy has plot, exposition

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Speaker 1: and a line worthy of verity. She carries a scar

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Speaker 1: on her cheek to remind her of his smile. The

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Speaker 1: Who spent decades as one of the Big Four of

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Speaker 1: the British invasion of American radio in the sixties. Big

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Speaker 1: Four as in Beatles, Stones Who, Zeppelin. Their arena shows

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Speaker 1: earned them a reputation as the greatest live act in

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Speaker 1: rock and roll. The brilliant Townsend wrote most of the

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Speaker 1: songs and played lead guitar. Keith Moon and John entwhistle

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Speaker 1: Worthy rhythm section. The band's front man is my guest today,

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Speaker 1: the legendary Roger Daltrey. Daltrey's talent speaks through nuanced vocal

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Speaker 1: styles over many years and his raw energy, that looping

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Speaker 1: swing of a microphone started with him electrified the vinyl,

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Speaker 1: then eight tracks, then cassettes that anyone my age remembers.

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Speaker 1: Roger Daltrey is the rock star prototype. Well we needed

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Speaker 1: to be was a blokes band. The Beatles were writing

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Speaker 1: songs for the girls. They had the Moose screaming the

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Speaker 1: Stones that we're a guy and we're a girls band.

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Speaker 1: He wrote songs for fellas and I I could say this,

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Speaker 1: maybe it's gonna sound like a joke, but it's not

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Speaker 1: a joke. And that is you have no idea what

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Speaker 1: you and your music has meant to me in my lifetime.

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Speaker 1: It's it's if you can't even measure it. You are

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Speaker 1: it for me in terms of the range and the

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Speaker 1: beauty and no offense to other people, but you have

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Speaker 1: the range could do it had the writer, I mean

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Speaker 1: townsends of music, what a vehicle to to see Could

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Speaker 1: you imagine what it felt like to be presented with

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Speaker 1: those songs for the first time. Here roses demo, see

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Speaker 1: what you can do with this. We'll describe. We'll describe

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Speaker 1: what that was like, meaning how was that process? Someone

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Speaker 1: came to you with a tape and you start with

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Speaker 1: him and listen to a tape where you bring them

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Speaker 1: into the studio. I mean when I can't explain. We

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Speaker 1: just played a rehearsal that was easy. It was kind

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Speaker 1: of a Kinker like song. You know, it's kind of

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Speaker 1: all day and all of the night again, you know,

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Speaker 1: you really got me and it was a tribute to

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Speaker 1: the Kinks and it was a kind of easy song

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Speaker 1: for me as well as anyway anyhow anywhere, which he

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Speaker 1: we finished writing on the stage at the Marquee in London.

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Speaker 1: He had he had the verses, but he didn't have

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Speaker 1: the middle eight, which I helped him with. That's why

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Speaker 1: it's a copu co writing thing on that. And then

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Speaker 1: we did my generation and substitute of They were really

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Speaker 1: easy for me because we come from the Blues and

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Speaker 1: James Brown and all that heavy stuff, so that was

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Speaker 1: easy to get my teeth into and he just presented them,

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Speaker 1: you know, and I just we just slammed away. We

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Speaker 1: used to go into the studio and we used to

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Speaker 1: have to make those records in probably two hours. Max.

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Speaker 1: You know you made the whole album in four hours.

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Speaker 1: McCartney told me when I sat was in privately, he

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Speaker 1: said to me, you know, we do two songs in

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Speaker 1: the morning. We go have a cigarette and have a

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Speaker 1: paint and go have a sandwich and come back and

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Speaker 1: do two in the afternoon. Well a week they had

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Speaker 1: a week, but that's how it was. And then it

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Speaker 1: was only um uh. Once I got presented with Happy Jack,

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Speaker 1: I had to think totally different about how I as

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Speaker 1: a singer. I was going to sing townsend songs and

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Speaker 1: present them in any kind of way that I could

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Speaker 1: hold my head up in the streets, because I mean

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Speaker 1: Happy Jack. I mean, if you listen, Happy Jack wasn't old,

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Speaker 1: but he was a man, very tramanic tone to him,

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Speaker 1: very it's like unpassed song. I'm thinking, you know, this

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Speaker 1: is embarrassing, but he but Peter had written it and

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Speaker 1: it became a huge hit. I don't know why, but

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Speaker 1: it did. And then of course the next song he

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Speaker 1: presents is I'm a Boy about a woman who wanted

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Speaker 1: who was having quads and she wanted them all to

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Speaker 1: be goals. And one of them turns up as a boy,

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Speaker 1: but she treats it like a like a girl. So

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Speaker 1: it's this little boy screaming to be heard. I'm a boy,

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Speaker 1: but my mom won't submit it. And then I thought, well,

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Speaker 1: the only way I'm going to get round this at

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Speaker 1: all is to kind of climb into Pete's head and

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Speaker 1: into his psyche. Was it a difficult thing to do?

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Speaker 1: It was tricky, especially those early songs, and I listened

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Speaker 1: back to them now. When I listened to them at

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Speaker 1: the time, I used to be kind of embarrassed about

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Speaker 1: my voice. I was never happy with the sound of it.

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Speaker 1: I've never done a good job on it. That a

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Speaker 1: kind of paranoia about it, because it wasn't the kind

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Speaker 1: of range I was used to singing in, wasn't the

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Speaker 1: emotion I was used to singing about. So I always

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Speaker 1: felt that I failed. And it's only now and perhaps

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Speaker 1: for the last ten years, that I listened back to them,

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Speaker 1: and they have a haunted quality about them, which is

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Speaker 1: exactly right, because he writes in a very unusual way,

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Speaker 1: as you know, I mean, as you see peak very

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Speaker 1: early on got very shrewd and realized that later on

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Speaker 1: it became much easier. Tommy became the vehicle that that

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Speaker 1: really developed me as a singer because there was an

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Speaker 1: ongoing process being slowly put together in the studio to

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Speaker 1: develop this rock opera, which was going to be a

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Speaker 1: single album, carried on into being this double album. And

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Speaker 1: of course when you're in the studio that long working

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Speaker 1: on a project, it just gives you more time to

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Speaker 1: artistic experiment. So so just with that point, there is

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Speaker 1: that where you begin, like most commercially successful groups early on,

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Speaker 1: you're recording an album in two days. Is Tommy the

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Speaker 1: first time you get to luxuriate in the studio and

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Speaker 1: spend months making a single album? Yeah, I mean it

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Speaker 1: was ridiculously long time, but in those days and the

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Speaker 1: label didn't care that way. In those days, the labels

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Speaker 1: kind of did what they were told by the bands

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Speaker 1: and that was successful. Yeah, you know, they we were invented,

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Speaker 1: inventing this industry that it became, and they were happy

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Speaker 1: to let us get on with it. You know, they

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Speaker 1: come in and have a listen. Obviously, I'm pretty sure

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Speaker 1: they must have done. But this is obviously and Kit Lambert,

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Speaker 1: our manager at the time, it was always convinced that

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Speaker 1: the pop song could be much much more. And he

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Speaker 1: always had this idea that if Mozart had written not

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Speaker 1: for us, why can't we have a rock opera? And

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Speaker 1: how student was he? Because it told me it was

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Speaker 1: the first rock opera. In my opinion, it's one of

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Speaker 1: the best operas ever written. Certainly got the most lyrics,

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Speaker 1: so the most copious yes, and it's probably had had

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Speaker 1: as bigger audiences. That process of making Tommy and the

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Speaker 1: studio got me to a certain level, but it was

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Speaker 1: only after we then brought into rehearsals of doing it

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Speaker 1: live on stage it just took off like a rocket.

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Speaker 1: In the studio, you've got the comfort of being able

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Speaker 1: to hear everything you've seen and so you can concentrate on,

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Speaker 1: you know, all the little details that you think are important.

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Speaker 1: Once you get on stage, it's all about giving it

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Speaker 1: the wallet that you need to give it to get

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Speaker 1: it out, because you've got no Monetly says you have

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Speaker 1: to be a belter. But why were you and the

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Speaker 1: other three so great on stage? Meaning I mean you're

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Speaker 1: again I don't want to lay it on too thick here,

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Speaker 1: but you're going to be the unfortunate repository of all

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Speaker 1: my fandom here and that is you guys are smart

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Speaker 1: and right in the studio and your balls out on stage.

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Speaker 1: It's a combination. It's a really simple thing. When I

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Speaker 1: put that group together, as each one of them joined

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Speaker 1: me in my band, John, it mustle First, I knew

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Speaker 1: that I had an ingredient that worked. Our bio rhythms

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Speaker 1: were similar. You know, everyone has a bio rhythm that

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Speaker 1: is a certain thing. I knew that John and I

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Speaker 1: had something that was special. Same when Pete joined people.

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Speaker 1: Obviously an enormous talent, immediately obvious just by the guitar

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Speaker 1: shapes he was playing. We've never seen anything like it.

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Speaker 1: And his right hand movement, you know, because he'd been

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Speaker 1: a banjo player, he had this kind of rhythm action

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Speaker 1: to was ductor die for you anyway. Then Keith Moon

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Speaker 1: came along and all of a sudden, all these individual

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Speaker 1: bio rhythms came together and made the algorithm that then

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Speaker 1: became the Who. Because who is a unique rhythmic pattern,

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Speaker 1: doesn't it. It's this like any other music out there.

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Speaker 1: The next rock music it's on the one, you know,

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Speaker 1: it's it's a slam rock and roll was music to

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Speaker 1: screw too, and whose music was definitely music to fight too,

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Speaker 1: and that's what it was about. So once that algorithm

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Speaker 1: that we had came together, it's like laying bricks. It's

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Speaker 1: really weird. It's musical bricks. I just want to say that,

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Speaker 1: you know what you mentioned about that music being for

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Speaker 1: young men, there's music. When we knew there was a

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Speaker 1: group of guys we had to go beat the ship

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Speaker 1: out of across town that night, and that's when your

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Speaker 1: music that came up. Your music was your Your music

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Speaker 1: with him is we played in the locker room, so

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Speaker 1: I was getting it ready for the big game. That's right.

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Speaker 1: Who got you on your feet? Yeah, there was. That's

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Speaker 1: what we always tried to do. We always tried to

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Speaker 1: play our music to you to move you. But I

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Speaker 1: want to know you say it moved you to go

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Speaker 1: out fighting, but but it moved me to tears as well,

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Speaker 1: so of its beauty. And that's what I want to

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Speaker 1: get to, which is you grew up very poor, Yeah,

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Speaker 1: very little money, but post war England had a lot

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Speaker 1: going on for it that that made it incredibly wealthy.

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Speaker 1: We had incredible community. Uh you know, I was born

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Speaker 1: in a v one raiding in World War two. And

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Speaker 1: so everything around us when we grew up been leveled

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Speaker 1: by bombs and the war. To get through the war.

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Speaker 1: All our aunties and uncles and our mothers and our

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Speaker 1: dads are away fighting the war, but they were in

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Speaker 1: the bomb shelters every night, and of course drown out

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Speaker 1: the bombs. I used to sing, so seeing became a

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Speaker 1: really big part of the community. In those days. Every

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Speaker 1: pub would have a piano and they would sing all

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Speaker 1: these old, these old musical songs and things, and we'd

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Speaker 1: all seen them too, And everywhere you went there would

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Speaker 1: be people seeing on the streets. How old were you

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Speaker 1: when you joined the Boy's Brigade? That would have been

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Speaker 1: about eleven? Your boy, yeah, young boy? Yeah? What was

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Speaker 1: singing to you? Like? Them were your stuff coaches about?

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Speaker 1: So from the beginning you enjoyed it. Yeah. I sang

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Speaker 1: in a US choir when I was six or seven

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Speaker 1: because I like dressing up. I knew I had a voice,

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Speaker 1: and the skiffle of music came along. They were that

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Speaker 1: earlier lead belly songs, Chain gang songs. Nnie Donegan, who

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Speaker 1: was this guy in Britain who inspired me and people

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Speaker 1: like Robert Plant to do what we did because he

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Speaker 1: was just so free with his voice. We could play

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Speaker 1: that music because it's always three chords, so you've only

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Speaker 1: got to learn three chords and you can play all

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Speaker 1: those songs. And every street had a group, a skiffle group,

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Speaker 1: which consisted of someone who's got a guitar from somewhere.

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Speaker 1: I made my first guitar. For a bass, you'd have

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Speaker 1: an old t chest, which was a two ft six

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Speaker 1: square box open one end string through the middle of

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Speaker 1: the top. With a broomstick, a good player could make

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Speaker 1: that sound like a double bass. And of course for rhythm,

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Speaker 1: you could take something from mom's kitchen and the washboard

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Speaker 1: and you had a band um. And that's where it

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Speaker 1: all started. And the first time you played in front

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Speaker 1: of an audience was when how old were There was

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Speaker 1: a Churchill youth club on a on a Saturday night

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Speaker 1: in Sheep's Bush and it's my mate said we gotta

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Speaker 1: get up and sing a song. So I went up

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Speaker 1: and I think I did hound Dog for five minutes

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Speaker 1: there with my hair soaped back. We couldn't afford any

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Speaker 1: grease like the Elvis, but the soap work wonders and

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Speaker 1: we all thought we could look like Elvis with the soap.

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Speaker 1: I did my version of Elvis doing hound Dog and

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Speaker 1: it was probably awful because that's right at the point

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Speaker 1: when your voice is breaking. So but I didn't have

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Speaker 1: any worries about it. And what I did notice immediately

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Speaker 1: there was other people kind of looking up, and I thought,

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Speaker 1: this is quite a nice position to occupy. Some of

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Speaker 1: them girls, most of them some of them girls, most

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Speaker 1: of them giving you that look. There's something about a voice,

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Speaker 1: isn't it. I don't know why. Boy. We had Mark

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Speaker 1: Farner from Grand Funk Railroad on this show and he

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Speaker 1: tells the story about he said, you know you're on stage, man.

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Speaker 1: He talks like this. He says, you're on stage and

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Speaker 1: the producer said, you know you're really small down there.

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Speaker 1: The people are weigh in the back. Because you gotta

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Speaker 1: do something big, you gotta make it. Bigg got to

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Speaker 1: give him a show. He goes, I want you to

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Speaker 1: rip your shirt off in the middle of the show,

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Speaker 1: and he looks at he goes what. He goes, I

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Speaker 1: want you to because Foreigner was really fit, like you're

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Speaker 1: very ripped kind of fit guy. He goes, I want

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Speaker 1: you to rip your shirt off in the show, and

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Speaker 1: Fier goes okay in the middleitary rip, the girls go insane.

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Speaker 1: They come to work the next thing that the concert hall.

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Speaker 1: There's a box of shirts in his dressing room. It's

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Speaker 1: like you're gonna rip your shirt off every night. And

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Speaker 1: now actually exactly how it was. You can find something

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Speaker 1: making it up as we went along, you know, uh,

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Speaker 1: you know, and that that were wanders familiar with that

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Speaker 1: Tommy outfit that I made, you know, all made out

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Speaker 1: of shammy leather um. And but it was so wonderful

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Speaker 1: to work in a skin, in another skin because it's

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Speaker 1: so free. You know, it sweats with you, it breathes,

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Speaker 1: and you don't get so hot because when you wear

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Speaker 1: ordinary clothes. It was it was wonderful to wear that.

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Speaker 1: But when you when you have the four of you

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Speaker 1: together for the first time, it's the detours, that's that's

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Speaker 1: the who it was the detours with the four and

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Speaker 1: then there was five of us we had. We were

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Speaker 1: a kind of Cliff Richard and the shadows are like,

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Speaker 1: you know, kind of doing the movements and everything very coolly.

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Speaker 1: And then he was going on the fifth one, yes

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Speaker 1: he was. I mean we had a singer called Colin

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Speaker 1: Dawson who thought it was Cliff Richard, but he wasn't,

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Speaker 1: of course, and he decided to become a bacon salesman.

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Speaker 1: But we by this time, I've seen a band called

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Speaker 1: Johnny Kidd and the Pirates, which you should look up

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Speaker 1: because they made some great records. And that was the

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Speaker 1: first three piece band we've seen as a rock band

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Speaker 1: where that had a lead come rhythm guitarist, a bass player,

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Speaker 1: and a great drama and a least singer in black

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Speaker 1: letter trousers and a black patch over his eye. And

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Speaker 1: it was Johnny Kidd and the Pirates. They even had

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Speaker 1: a backdrop hand painted of a galleon that this is

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Speaker 1: the bar looking crazy. But they did great songs. They

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Speaker 1: did Shaking all Over, the original Shaking all Over, you

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Speaker 1: know that song, and they need a shot of rhythm

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Speaker 1: and blues, which the Beatles covered. That was Johnny Kidd

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Speaker 1: and the Pirates. And the guitarists of that band was

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Speaker 1: a guy called Mickey Green, and he played in a

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Speaker 1: way where not only was he doing the rhythm, he'd

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Speaker 1: do the leads as well, so there was particular sound

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Speaker 1: and Pete got it immediately. So by that time I

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Speaker 1: was the lead guitarist when we had Peter's rhythm, but

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Speaker 1: I was a sheep metal worker and sheet metalwork and

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Speaker 1: guitar playing don't really go together because my hands were shredded.

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Speaker 1: Most nights we get caught in the cuts and all

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Speaker 1: kinds of stuff. So I was very happy to give

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Speaker 1: up the guitar. And all the time we've been doing

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Speaker 1: these Cliff Richard songs. We used to play for g

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Speaker 1: I's in some of the clubs in London, and they

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Speaker 1: used to request things like Chuck Berry and you know,

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Speaker 1: some John any Cash and weird stuff and I Royal Orbison.

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Speaker 1: Now Colin couldn't sing that, but I could, so I

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Speaker 1: used to do some of the singing. And uh so

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Speaker 1: it became obvious that Pete should now become the lead

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Speaker 1: rhythm guitarist and I would be very happy just to

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Speaker 1: become the singer. And that's when it changed their sheet

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Speaker 1: metal career, media the lead vocalist of the Who. Yeah.

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Speaker 1: But it also made us our first electric guitars. We

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Speaker 1: couldn't afford to buy them in those days, but we

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Speaker 1: could make them what I could make them, very rudimentary things,

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Speaker 1: but they worked. So the four of you, did you

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Speaker 1: get a record deal when you were the Detours. No,

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Speaker 1: we were the Detour Us and for quite a long

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Speaker 1: while then we became the Who. And by then we

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Speaker 1: were playing Chicago blues mostly, starting to feed in a

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Speaker 1: bit of James Brown, a bit of Tamla Motown and uh,

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Speaker 1: we've got a new manager, so now we've got to

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Speaker 1: find an image. And he recognized that it was this

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Speaker 1: group of fashion easters coming up called the MUDs, who

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Speaker 1: were very sharp dressers. Uh, fashion changing very quickly, very

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Speaker 1: tight suits, short haircuts, smart. And he said they need

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Speaker 1: a band for them, and you can be that band.

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Speaker 1: And we kind of looked at him and said, yeah,

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Speaker 1: what were it involved? He said, well, first of all,

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Speaker 1: the barbers shop. And we went in to the barber's

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Speaker 1: shop as the stones are like, and we came out

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Speaker 1: there's a bunch of MUDs with short haircuts. Uh. Immediately

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Speaker 1: took around the corner to buy some mud clothes. So

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Speaker 1: there we were really wolves in sheep's clothing. And he said,

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Speaker 1: you can't keep the name the Who. That's not mud enough,

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Speaker 1: and we're gonna call you the higher Numbers. So we said,

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Speaker 1: what does that mean? Where does that come from? There

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Speaker 1: said what the this week fashion Bowling shoes that you

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Speaker 1: have to steal from the bowling alley because he's got

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Speaker 1: numbers on the back, you know the side. Of course,

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Speaker 1: the legend goes the bigger defeat, and all of a sudden,

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Speaker 1: the MUDs really got behind us as our fan base.

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Speaker 1: We were their band, and then they would come and

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Speaker 1: request their kind of music that they and they were

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Speaker 1: changing their music regularly. It was. It went from kind

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Speaker 1: of early reggae what was then called blue beat, Prince

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00:19:27,280 --> 00:19:30,399
Speaker 1: Buster and all people like that. But by now the

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Speaker 1: blues for us have become a little bit tedious to

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Speaker 1: twelve bar. But with the aid of Keith Moon and

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Speaker 1: his very short attention span and double bassed dru feat,

344
00:19:42,080 --> 00:19:45,640
Speaker 1: we could turn that into the feedback cycle and start

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Speaker 1: inventing and be free form, which will then bring the

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Speaker 1: jazz influences that we we had round about. Yeah, when

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Speaker 1: the high numbers go back to becoming the Who wegan,

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Speaker 1: we're still the higher numbers. But then we get an

349
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Speaker 1: another manager, which was Kit Lambert and Chris Stamp, fabulous

350
00:20:05,040 --> 00:20:07,960
Speaker 1: creative managers, and they said, well, we don't like to

351
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Speaker 1: name the higher numbers, um, and we've heard you with

352
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Speaker 1: the Who before that we think the who is in

353
00:20:13,040 --> 00:20:14,960
Speaker 1: the right name, so they changed it back to the

354
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Speaker 1: Who that fans were very confused for a while. They

355
00:20:18,440 --> 00:20:21,439
Speaker 1: were It's funny when you talk about the mad period

356
00:20:21,480 --> 00:20:24,040
Speaker 1: and everything, you just start to see those images. You

357
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Speaker 1: can even hear the lyrics in your head. You know,

358
00:20:26,080 --> 00:20:31,480
Speaker 1: zoot suit by jacket with sivince five inches are quite

359
00:20:31,520 --> 00:20:34,600
Speaker 1: dfinia and it makes you think, did Quae Drofinia come

360
00:20:34,720 --> 00:20:37,240
Speaker 1: in his mind before Tommy but he put it on

361
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Speaker 1: the shelf. I think Quadrapa came at the time he

362
00:20:40,080 --> 00:20:44,080
Speaker 1: wrote it in seventy three. But musically you're right about

363
00:20:44,400 --> 00:20:49,720
Speaker 1: the lyrics Quadrophenia. It every generation that comes around picks

364
00:20:49,800 --> 00:20:55,520
Speaker 1: up that album and goes somebody understands me. Yeah, it's

365
00:20:55,560 --> 00:20:59,720
Speaker 1: really weird. And we were recently last year. We've never

366
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Speaker 1: been South America before. We've never been you know, who

367
00:21:02,680 --> 00:21:07,040
Speaker 1: are crazy? We're nuts? All those years obsuring never been

368
00:21:07,080 --> 00:21:09,080
Speaker 1: out in the Brazil or do you know Argentina or

369
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Speaker 1: Chill any of those places. Only went to Mexico. It's

370
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Speaker 1: to Mexico five years ago. What you guys down there, well,

371
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Speaker 1: we just we just I don't know why we didn't

372
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Speaker 1: get there, don't ask were mostly on the tour in

373
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Speaker 1: the side of his peet that called the Scots, and

374
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Speaker 1: he just didn't want to go there. He said, we

375
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Speaker 1: have enough trouble fulfilling, you know, our crowd in the States,

376
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Speaker 1: in the UK. So we never went down there. But anyway,

377
00:21:35,960 --> 00:21:39,480
Speaker 1: we went down there last year. They knew every word

378
00:21:39,560 --> 00:21:47,879
Speaker 1: of every song and they were singing louder, immensely, I

379
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Speaker 1: mean Mexico City. They it was extraordinary and they were

380
00:21:52,840 --> 00:21:56,440
Speaker 1: all young people. They knew every word of every song.

381
00:21:56,520 --> 00:21:59,000
Speaker 1: But they need this. I mean, it's good music. You know.

382
00:21:59,040 --> 00:22:02,360
Speaker 1: People want it's good. They don't care how you know, yeah,

383
00:22:02,400 --> 00:22:04,359
Speaker 1: as good as long as you can deliver it properly.

384
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Speaker 1: And if we ever can't do that, then we'll stop.

385
00:22:08,240 --> 00:22:10,000
Speaker 1: I don't ever want to go through the emotions. And

386
00:22:10,160 --> 00:22:12,840
Speaker 1: I never who have never ever done a show where

387
00:22:12,840 --> 00:22:15,679
Speaker 1: we've dialed it in and I can How is your

388
00:22:15,720 --> 00:22:18,000
Speaker 1: voice now? It's great. You had you had some trouble

389
00:22:18,040 --> 00:22:20,040
Speaker 1: with your throat, Well, yeah, that was about that was

390
00:22:20,080 --> 00:22:22,399
Speaker 1: about nine years ago. I had I've got it. I

391
00:22:22,520 --> 00:22:27,760
Speaker 1: had a pre cancerous condition. But I found a doctor, Stevens,

392
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Speaker 1: I tells. I put the Voice Institute in Massachusetts in Boston,

393
00:22:32,640 --> 00:22:36,280
Speaker 1: and he sorted me out. My voice is fabulous now,

394
00:22:36,280 --> 00:22:38,560
Speaker 1: it's it's a joy to sing and all the time

395
00:22:38,600 --> 00:22:41,199
Speaker 1: I can give it the grit and the balls that

396
00:22:41,240 --> 00:22:44,239
Speaker 1: it needs. I'll do it now. When you when you

397
00:22:44,320 --> 00:22:48,520
Speaker 1: do a show, let's pick up the difference between studio recording.

398
00:22:49,320 --> 00:22:51,359
Speaker 1: What was your preparation before you went into the studio

399
00:22:51,440 --> 00:22:53,679
Speaker 1: or you went on tour? Well, you have you have

400
00:22:53,800 --> 00:22:56,600
Speaker 1: to be like an athlete. You owe it to your audience.

401
00:22:56,720 --> 00:22:59,960
Speaker 1: You train your voice trained the voice that you can't

402
00:23:00,040 --> 00:23:02,320
Speaker 1: train a voice, you train all life out of it.

403
00:23:02,880 --> 00:23:07,760
Speaker 1: Some of the trained voices. It's what ruins good voices. Obviously,

404
00:23:07,760 --> 00:23:09,880
Speaker 1: if you had to sing eight shows a week on Broadway,

405
00:23:09,920 --> 00:23:13,320
Speaker 1: you probably need to go to that area where you

406
00:23:13,400 --> 00:23:16,200
Speaker 1: get the sound of the trained voice. Personally, I don't

407
00:23:16,240 --> 00:23:21,040
Speaker 1: particularly like it, but my voices, I'm very careful about

408
00:23:21,119 --> 00:23:23,800
Speaker 1: resting it. And these days I'm not allowed to do

409
00:23:23,880 --> 00:23:26,119
Speaker 1: two shows back to back. I have to have a

410
00:23:26,200 --> 00:23:29,160
Speaker 1: day in between. There's just out of respect for my voice.

411
00:23:29,640 --> 00:23:33,359
Speaker 1: But then I can give it all the pedal that

412
00:23:33,480 --> 00:23:36,000
Speaker 1: I need to give it. Why it is pedal, it's

413
00:23:36,040 --> 00:23:39,760
Speaker 1: about this is you know, this is singing from your

414
00:23:39,800 --> 00:23:43,680
Speaker 1: ass um but that's how it happens down there. Well,

415
00:23:43,680 --> 00:23:46,359
Speaker 1: that's how it has to be to get those songs

416
00:23:46,560 --> 00:23:49,480
Speaker 1: into the vein of getting the who as it needs

417
00:23:49,520 --> 00:23:52,720
Speaker 1: to be in my head anyway. And touch Woods my

418
00:23:52,920 --> 00:23:55,600
Speaker 1: voice is is kind of looking after me at the moment,

419
00:24:00,800 --> 00:24:47,160
Speaker 1: Damn Me Sweet music side a seminal moment in the counterculture.

420
00:24:47,760 --> 00:24:50,959
Speaker 1: Dultry at Woodstock sings see Me Feel Me from Tommy.

421
00:24:51,480 --> 00:24:55,439
Speaker 1: There's earnestness and anger in Dualtry's voice. The band and

422
00:24:55,520 --> 00:25:00,679
Speaker 1: the crowd took Tommy's rebellious message seriously. Another artist with

423
00:25:00,760 --> 00:25:05,840
Speaker 1: a revolutionary sound is Tom York of Radiohead. York finds

424
00:25:05,880 --> 00:25:09,719
Speaker 1: an almost giddy joy in hearing how his innovations spread

425
00:25:09,760 --> 00:25:13,880
Speaker 1: into different music, sometimes very different. One of the best

426
00:25:13,920 --> 00:25:19,000
Speaker 1: buzzes really is that thing where someone comes up you know,

427
00:25:19,040 --> 00:25:21,080
Speaker 1: I'm really into what they're doing. It's really fascinating and

428
00:25:21,119 --> 00:25:25,800
Speaker 1: it's really totally new to me. But yet the occasions

429
00:25:25,840 --> 00:25:28,080
Speaker 1: when fed off of you, yeah, and You're like, how

430
00:25:28,119 --> 00:25:29,800
Speaker 1: could you? How could you feed off me? I don't

431
00:25:29,960 --> 00:25:34,760
Speaker 1: see any of my stuff, yeah, but they see it

432
00:25:34,800 --> 00:25:37,679
Speaker 1: and I'm like, wow, that's so cool. You know, people

433
00:25:37,840 --> 00:25:40,040
Speaker 1: within hip hop who who are into Radiohead I'm like,

434
00:25:40,200 --> 00:25:42,880
Speaker 1: I mean, obviously, I'm massively into hip hop, and we've

435
00:25:43,240 --> 00:25:45,199
Speaker 1: we use hip hop as a reference point in the

436
00:25:45,200 --> 00:25:49,560
Speaker 1: way we build tracks and stuff. But really, wow, that's bonkers.

437
00:25:49,600 --> 00:25:53,560
Speaker 1: The rest of my conversation with radioheads Tom York and

438
00:25:53,760 --> 00:25:59,040
Speaker 1: here's the thing, dot'll work. I'm Alec Baldwin and you're

439
00:25:59,080 --> 00:26:22,840
Speaker 1: listening to hear is the thing? Shaking All Live at

440
00:26:22,960 --> 00:26:27,320
Speaker 1: leads the greatest live rock album of all time according

441
00:26:27,359 --> 00:26:31,240
Speaker 1: to the New York Times and the BBC. Only halfway

442
00:26:31,240 --> 00:26:34,880
Speaker 1: through the show and already Daltrey's voice is ragged where

443
00:26:34,880 --> 00:26:38,680
Speaker 1: you can hear him pushing, literally shaking through the song's

444
00:26:38,800 --> 00:26:44,520
Speaker 1: last stanzas Roger Daltrey's intense physicality extends to his fists.

445
00:26:44,960 --> 00:26:47,439
Speaker 1: He told me he had a bit of a short fuse.

446
00:26:47,920 --> 00:26:50,639
Speaker 1: But you know, I think that came from being bullied

447
00:26:50,640 --> 00:26:54,040
Speaker 1: at school. I'm a little guy. I'm a very small guy,

448
00:26:54,560 --> 00:26:56,600
Speaker 1: and the little ones always used to get bullied. As

449
00:26:56,640 --> 00:26:59,200
Speaker 1: you know. It went on at school for quite a while.

450
00:26:59,240 --> 00:27:01,640
Speaker 1: And she day I picked up a chair and when

451
00:27:01,640 --> 00:27:03,920
Speaker 1: they were starting on me, and I just went in

452
00:27:04,040 --> 00:27:05,879
Speaker 1: first with the chair and they left me alone. They

453
00:27:05,920 --> 00:27:09,639
Speaker 1: all backed off, and I thought, what this works. What

454
00:27:09,760 --> 00:27:12,960
Speaker 1: it did to me, it kind of made my fight

455
00:27:13,080 --> 00:27:17,760
Speaker 1: or flight mode, but it tripped it into I would

456
00:27:17,760 --> 00:27:21,679
Speaker 1: always fight and if ever I felt that the threat

457
00:27:21,760 --> 00:27:24,919
Speaker 1: was going to get out of hand, there's one thing

458
00:27:24,960 --> 00:27:26,800
Speaker 1: a little guy I can do against a bigger guy

459
00:27:27,119 --> 00:27:29,399
Speaker 1: and has to get the first punch or the first

460
00:27:29,440 --> 00:27:37,680
Speaker 1: kick or whatever the region handshake, you know, and then

461
00:27:37,720 --> 00:27:39,959
Speaker 1: you might have a chance of surviving. But that's what

462
00:27:40,040 --> 00:27:42,359
Speaker 1: it did for me, So I yeah, I kind of

463
00:27:42,440 --> 00:27:45,040
Speaker 1: had a red mist and I I used to have

464
00:27:45,080 --> 00:27:46,360
Speaker 1: to rule a band with a bit of an iron

465
00:27:46,400 --> 00:27:50,399
Speaker 1: fisted the beginning because they were a lippy lot. Is

466
00:27:50,440 --> 00:27:53,640
Speaker 1: it safe to say? Because you're a person who sings

467
00:27:53,640 --> 00:27:57,440
Speaker 1: such you know, long live rock and these blistering anthems

468
00:27:57,440 --> 00:27:59,879
Speaker 1: you the band would sing and then you blow some

469
00:28:00,000 --> 00:28:03,200
Speaker 1: of the most beautiful notes and music history, singing sea

470
00:28:03,280 --> 00:28:05,439
Speaker 1: and Sand and see Me Feel Me and all these

471
00:28:05,440 --> 00:28:07,600
Speaker 1: are the songs. Does Pete bring that out on you?

472
00:28:07,680 --> 00:28:10,440
Speaker 1: His writing brings it out. It's it's in the lyrics,

473
00:28:10,920 --> 00:28:13,000
Speaker 1: it's in the melody. You know, a lot of his

474
00:28:13,119 --> 00:28:15,600
Speaker 1: demos when he writes them are very, very different than

475
00:28:15,640 --> 00:28:18,840
Speaker 1: the finished product that I often give him, especially towards

476
00:28:18,880 --> 00:28:21,040
Speaker 1: a lot of years of our career. I try and

477
00:28:21,080 --> 00:28:26,720
Speaker 1: make each song have a starting point and take you

478
00:28:26,760 --> 00:28:29,359
Speaker 1: on the journey through it. Rather a lot of songs

479
00:28:29,440 --> 00:28:31,800
Speaker 1: kind of start and they get to a level and

480
00:28:31,840 --> 00:28:33,680
Speaker 1: they stay there all the way through to the end.

481
00:28:34,280 --> 00:28:37,280
Speaker 1: I've always tried to make whose songs climb a ladder

482
00:28:38,360 --> 00:28:41,920
Speaker 1: rather than being flatlining, you know what I mean. I

483
00:28:41,960 --> 00:28:44,760
Speaker 1: mean brown Sugar comes out, they come out guns blazing,

484
00:28:44,760 --> 00:28:47,440
Speaker 1: and a lot of those songs, the students, they start here,

485
00:28:47,960 --> 00:28:49,280
Speaker 1: you know where as you say you want to kind

486
00:28:49,280 --> 00:28:51,520
Speaker 1: of move around and said the song. I did the

487
00:28:51,520 --> 00:28:53,080
Speaker 1: whole of telling me this summer with it with an

488
00:28:53,160 --> 00:28:58,400
Speaker 1: orchestra uh and a rock band, and it's phenomenal. That's exciting.

489
00:28:58,520 --> 00:29:00,880
Speaker 1: That's that. That's like a new claud Secle music when

490
00:29:00,920 --> 00:29:03,840
Speaker 1: you hear that. I've had these orchestrations done by a

491
00:29:03,880 --> 00:29:07,640
Speaker 1: guy called David Campbell who's the father of Beck. But

492
00:29:09,080 --> 00:29:13,600
Speaker 1: it's elevated Tommy to where I believe it should be now,

493
00:29:14,120 --> 00:29:17,440
Speaker 1: so exciting to play. It's wonderful. Cameron Crowe, when I

494
00:29:17,440 --> 00:29:19,760
Speaker 1: did a movie with them, got me the vinyl copy

495
00:29:19,800 --> 00:29:22,000
Speaker 1: that I worshiped of the ls So with the gleaming

496
00:29:22,080 --> 00:29:27,120
Speaker 1: ball on top of that's just an orchestra. This is

497
00:29:27,160 --> 00:29:30,520
Speaker 1: an orchestra, and I've got to tell you there's not

498
00:29:31,040 --> 00:29:35,080
Speaker 1: one piece of this orchestration where the orchestras playing anything

499
00:29:35,200 --> 00:29:38,040
Speaker 1: like a keyboard pad, you know, you know what I mean.

500
00:29:38,440 --> 00:29:47,360
Speaker 1: It's all melodic, interesting, percussive instrumentation. It's in recorded. I'm

501
00:29:47,400 --> 00:29:50,640
Speaker 1: going to release possibly the Bethel Concert which is the

502
00:29:50,640 --> 00:29:54,120
Speaker 1: Woodstock site, as you know, because it's the fifty years

503
00:29:54,120 --> 00:29:57,520
Speaker 1: of Tommy in March, and of course next years fifty

504
00:29:57,600 --> 00:30:03,560
Speaker 1: years of Woodstock, which is me made, us made, really made.

505
00:30:03,720 --> 00:30:06,040
Speaker 1: So I'm yeah, I'm gonna I'm gonna release it as

506
00:30:06,040 --> 00:30:09,080
Speaker 1: a solo album. I just you know, as a performance.

507
00:30:09,080 --> 00:30:11,720
Speaker 1: Then I'm gonna ask if he'd like to overdub some

508
00:30:11,800 --> 00:30:14,080
Speaker 1: guitar on it, and then it can be the who

509
00:30:14,400 --> 00:30:16,200
Speaker 1: I want it out there for the record, because it's

510
00:30:16,200 --> 00:30:20,200
Speaker 1: an incredible piece of work. It really is. People always

511
00:30:20,400 --> 00:30:23,520
Speaker 1: talk about Moon and the legend of Moon and Moon

512
00:30:23,600 --> 00:30:26,320
Speaker 1: being a very ill saying as politely as possible, being

513
00:30:26,320 --> 00:30:30,400
Speaker 1: a very colorful character. You would have loved him, You

514
00:30:30,400 --> 00:30:33,880
Speaker 1: would have adored everyone adorned Moon. You also would have

515
00:30:33,920 --> 00:30:40,760
Speaker 1: hated him. You also would have exactly but Whistle, who

516
00:30:40,840 --> 00:30:43,440
Speaker 1: also died young. He was not that old and when

517
00:30:43,480 --> 00:30:46,960
Speaker 1: when he died from a drug overdose as well, correct, uh, well,

518
00:30:47,000 --> 00:30:50,560
Speaker 1: it was a heart attack. You know. John was unconditional

519
00:30:50,640 --> 00:30:53,080
Speaker 1: with the way he lived. He wanted to live the

520
00:30:53,120 --> 00:30:55,800
Speaker 1: life of a rock and roll star. You know. The

521
00:30:55,880 --> 00:30:59,320
Speaker 1: sad thing about John's death was the fact that the

522
00:30:59,400 --> 00:31:02,320
Speaker 1: hard rock casino in Las Vegas, where he died in

523
00:31:02,400 --> 00:31:05,840
Speaker 1: bed after a line of coke and whatever else she

524
00:31:05,880 --> 00:31:09,160
Speaker 1: had taken that night, didn't put a glass case around

525
00:31:09,240 --> 00:31:14,160
Speaker 1: him and open it as an exhibit, because John would

526
00:31:14,200 --> 00:31:20,040
Speaker 1: have loved that. Then John, that to John, I've made it,

527
00:31:21,120 --> 00:31:24,280
Speaker 1: but he was the first one. But he's the first

528
00:31:24,280 --> 00:31:26,160
Speaker 1: one you recruited in the band. He was kind of

529
00:31:26,160 --> 00:31:28,480
Speaker 1: a real maid of yours. And I remember seeing to

530
00:31:28,560 --> 00:31:30,640
Speaker 1: McCartney one time. He said to me, they were always

531
00:31:30,680 --> 00:31:33,520
Speaker 1: telling them, you know, here's the best drummer in London

532
00:31:33,720 --> 00:31:36,720
Speaker 1: that you should have, and you're gonna replace this guy.

533
00:31:36,840 --> 00:31:38,640
Speaker 1: And he said, no, no, no, no, no, it's got

534
00:31:38,640 --> 00:31:41,800
Speaker 1: to be these four people. It's these four. This is

535
00:31:41,840 --> 00:31:43,880
Speaker 1: my band, these four. But we all felt like if

536
00:31:44,240 --> 00:31:46,080
Speaker 1: if Ringo leaves and you get another guy in there,

537
00:31:46,080 --> 00:31:51,120
Speaker 1: we ain't doing it. And how you felt. Definitely, twenty

538
00:31:51,120 --> 00:31:52,480
Speaker 1: Element is not going to be as good. No, And

539
00:31:52,520 --> 00:31:55,320
Speaker 1: it took a long time to find the missing missing

540
00:31:55,400 --> 00:31:59,480
Speaker 1: link that when Keith died, we put Kenny Jones in

541
00:31:59,480 --> 00:32:01,960
Speaker 1: in the band was a fabulous drama Kenny Jones, but

542
00:32:02,240 --> 00:32:04,760
Speaker 1: he was a drummer from Small Faces. But can you

543
00:32:04,800 --> 00:32:07,840
Speaker 1: imagine putting Keith Moon in the Faces? It would have

544
00:32:07,840 --> 00:32:13,040
Speaker 1: been you know, but equally it was a disastrous putting

545
00:32:13,120 --> 00:32:16,440
Speaker 1: Kenny Jones in there. Who the algorithm didn't work anymore.

546
00:32:16,720 --> 00:32:19,880
Speaker 1: It was like like having a square wheel on a car.

547
00:32:20,480 --> 00:32:23,160
Speaker 1: I love Kenny as a mate, and it was incredibly

548
00:32:23,200 --> 00:32:26,000
Speaker 1: difficult to have to say I can't work with you, Kenny,

549
00:32:26,000 --> 00:32:27,920
Speaker 1: it just doesn't work. How long did you work with them?

550
00:32:28,360 --> 00:32:31,280
Speaker 1: We went on for about four years. How many albums

551
00:32:31,320 --> 00:32:34,600
Speaker 1: did you record with them? We did? We did too. Um,

552
00:32:34,640 --> 00:32:37,520
Speaker 1: we did face dances. And it's hard to Petee the

553
00:32:37,560 --> 00:32:40,400
Speaker 1: same way. No. Well, initially he said he didn't, but

554
00:32:40,520 --> 00:32:45,080
Speaker 1: my intuition told me that Pete knew Um I would

555
00:32:45,080 --> 00:32:48,120
Speaker 1: stock obviously for many many people. You know, there are

556
00:32:48,120 --> 00:32:51,160
Speaker 1: people who are musical sophistic kids and they know even

557
00:32:51,200 --> 00:32:53,840
Speaker 1: before Rolling Stones shows up and things like that, they

558
00:32:53,880 --> 00:32:56,120
Speaker 1: find what is music and clubs and they're much more,

559
00:32:56,440 --> 00:32:58,800
Speaker 1: you know, kind of savvy. For me, I was a

560
00:32:58,800 --> 00:33:01,560
Speaker 1: bit younger. The as time I become aware of you

561
00:33:01,640 --> 00:33:04,480
Speaker 1: is because of Woodstock wood Stuck is what introduces me

562
00:33:04,520 --> 00:33:06,000
Speaker 1: to the who. I don't know where you're at in

563
00:33:06,040 --> 00:33:09,240
Speaker 1: your career in terms of success are you? Helicoptering in

564
00:33:09,280 --> 00:33:13,960
Speaker 1: the Baffle described that experience. I was in Connecticut with

565
00:33:14,040 --> 00:33:18,680
Speaker 1: my soon to be wife, Heather, and a mother and father,

566
00:33:19,120 --> 00:33:21,600
Speaker 1: and we were watching the news and it had about

567
00:33:21,600 --> 00:33:24,120
Speaker 1: this festival that we were due to play the following

568
00:33:24,200 --> 00:33:27,040
Speaker 1: day with this was the Friday, And how the governor

569
00:33:27,040 --> 00:33:30,400
Speaker 1: of New York declared the area a disaster zone because

570
00:33:30,440 --> 00:33:33,120
Speaker 1: of all the mud and the rain and lack of

571
00:33:33,160 --> 00:33:35,760
Speaker 1: food and lack of this, and the lack of medicine

572
00:33:35,840 --> 00:33:38,160
Speaker 1: behavior and the kind of medicine that was the wrong

573
00:33:38,240 --> 00:33:41,000
Speaker 1: kind of medicine getting in, and how all the roads

574
00:33:41,000 --> 00:33:44,000
Speaker 1: have been blocked and the state police had blocked everything off,

575
00:33:44,360 --> 00:33:47,640
Speaker 1: and how everybody was having flying in a helicopter to

576
00:33:47,760 --> 00:33:50,239
Speaker 1: even get to the site. Well, how are we going

577
00:33:50,280 --> 00:33:54,600
Speaker 1: to get there? And that was father. He just said, well, well,

578
00:33:54,600 --> 00:33:57,440
Speaker 1: well I'll drive you there in the Volkswagen and they

579
00:33:57,440 --> 00:34:01,480
Speaker 1: had a Volkswagen Beetle, and so her we went to Woodstock.

580
00:34:01,600 --> 00:34:04,240
Speaker 1: We we jumped in the volks Wagon Beetle on the

581
00:34:04,280 --> 00:34:07,680
Speaker 1: morning of the of the that Saturday morning, and we

582
00:34:07,840 --> 00:34:11,520
Speaker 1: drove all the way to Bethel, and every time we

583
00:34:11,600 --> 00:34:15,640
Speaker 1: came to any kind of roadblock which we drove through

584
00:34:16,440 --> 00:34:19,640
Speaker 1: we got there. It was chaos. Yes, it was all

585
00:34:19,680 --> 00:34:21,680
Speaker 1: those things, but it wasn't like they were presenting it

586
00:34:21,719 --> 00:34:26,640
Speaker 1: on the news at all. Um, it wasn't as bad now.

587
00:34:26,680 --> 00:34:31,080
Speaker 1: And we drove into the site in the obligatory hurt

588
00:34:31,160 --> 00:34:35,080
Speaker 1: station wagon which every group used to have in those days. Um,

589
00:34:35,400 --> 00:34:39,120
Speaker 1: So that was myth made up by the fake news

590
00:34:39,120 --> 00:34:42,239
Speaker 1: on the television. You went on what time, Well, we

591
00:34:42,239 --> 00:34:44,000
Speaker 1: were due to go on at nine o'clock at night.

592
00:34:44,800 --> 00:34:47,720
Speaker 1: You gear yourself up psychologically and you get your energy

593
00:34:47,760 --> 00:34:51,360
Speaker 1: to be peeking at the time you hit the stage,

594
00:34:51,440 --> 00:34:54,640
Speaker 1: so that you're ready to deliver to your audience everything

595
00:34:55,080 --> 00:35:00,440
Speaker 1: that they deserve to be given. And we were already

596
00:35:00,440 --> 00:35:05,080
Speaker 1: by nine o'clock, five o'clock in the morning or we

597
00:35:05,200 --> 00:35:08,399
Speaker 1: go and there was hardly anything to eat. We had

598
00:35:08,400 --> 00:35:11,080
Speaker 1: hard they anything to eat, hardly anything to drink that

599
00:35:11,200 --> 00:35:17,760
Speaker 1: wasn't laced with some something already an herb. Yeah. Um,

600
00:35:17,840 --> 00:35:19,920
Speaker 1: and by the time we got on stage, so much

601
00:35:19,960 --> 00:35:22,040
Speaker 1: of the equipment of broken down. It was. It was

602
00:35:22,080 --> 00:35:24,880
Speaker 1: all a bit hit and miss, But for some reason

603
00:35:25,000 --> 00:35:28,280
Speaker 1: or the other, it seemed to it seemed to capture

604
00:35:28,320 --> 00:35:32,680
Speaker 1: a moment of the period, the struggle that that that age.

605
00:35:32,840 --> 00:35:34,920
Speaker 1: You know, we we tend to forget now that that

606
00:35:35,040 --> 00:35:38,520
Speaker 1: was the whole generation they were living with the Vietnam War,

607
00:35:39,000 --> 00:35:41,600
Speaker 1: the horror of it, and you know, so many of

608
00:35:41,640 --> 00:35:45,480
Speaker 1: them being drafted. I remember Pete kicking Abbie Hoffman off

609
00:35:45,480 --> 00:35:49,960
Speaker 1: the stage making his political speech. Just is not that

610
00:35:50,040 --> 00:35:53,000
Speaker 1: we don't need any more politics? Did you get up

611
00:35:53,000 --> 00:35:56,160
Speaker 1: here again? I'll kill you peace? Lava rock and roll

612
00:35:57,840 --> 00:36:01,200
Speaker 1: now when you Because we had Peter Frampton on this show,

613
00:36:01,840 --> 00:36:04,520
Speaker 1: and Frampton talked about, Um, they go out now and

614
00:36:04,560 --> 00:36:07,759
Speaker 1: do this uh legacy album thing where they play the

615
00:36:07,760 --> 00:36:09,920
Speaker 1: album and it's entirety from start to finish the way

616
00:36:09,960 --> 00:36:13,240
Speaker 1: the album is performed. Are you guys doing Quadrophenia started?

617
00:36:13,280 --> 00:36:14,799
Speaker 1: We did it. We did it not too long ago,

618
00:36:14,840 --> 00:36:17,560
Speaker 1: and we did in a two townsand thirteen. How did

619
00:36:17,600 --> 00:36:20,759
Speaker 1: it go? Fantastic? Yeah, we did the whole the whole

620
00:36:20,840 --> 00:36:24,880
Speaker 1: piece as it studies piece and it's it's a good place.

621
00:36:25,120 --> 00:36:28,200
Speaker 1: We might revisit it sometime. I'll invite you along. Did

622
00:36:28,200 --> 00:36:30,480
Speaker 1: you did you record that? Yes, there is a there's

623
00:36:30,480 --> 00:36:32,040
Speaker 1: a DVD of it. Get it. It's really good. Have

624
00:36:32,120 --> 00:36:35,560
Speaker 1: you perform? Where? Did you perform? Everywhere? Matter? Squigden? Why

625
00:36:35,560 --> 00:36:38,760
Speaker 1: didn't you come? You did obviously on the film? Obviously?

626
00:36:40,680 --> 00:36:42,960
Speaker 1: I got four kids? Yeah, I got four kids five

627
00:36:43,000 --> 00:36:45,920
Speaker 1: and under and I'm sixty. I got five months. You

628
00:36:45,960 --> 00:36:50,439
Speaker 1: got a hundred kids? Took you get about a hundred

629
00:36:50,520 --> 00:36:52,600
Speaker 1: kids on. That's what it brings me to my other question.

630
00:36:52,640 --> 00:36:55,160
Speaker 1: I got two more questions for you. I got a

631
00:36:55,160 --> 00:36:58,040
Speaker 1: thousand questions. You've been married for a long time, and

632
00:36:58,080 --> 00:36:59,960
Speaker 1: you speak very lovingly about your wife in the book,

633
00:37:00,920 --> 00:37:04,720
Speaker 1: and uh, what's your secret? I found the right woman,

634
00:37:05,000 --> 00:37:10,640
Speaker 1: and I found a woman who very early on, um,

635
00:37:10,840 --> 00:37:13,279
Speaker 1: she understood the industry we were in, which, as you know,

636
00:37:13,480 --> 00:37:16,480
Speaker 1: is very difficult to have any kind of relationship in

637
00:37:16,920 --> 00:37:20,960
Speaker 1: long term unless you're have incredible goodwill and understanding and

638
00:37:21,040 --> 00:37:25,319
Speaker 1: truly love each other. She wanted to get married because

639
00:37:25,320 --> 00:37:27,359
Speaker 1: we wanted to have children, and I said, well, I'll

640
00:37:27,440 --> 00:37:30,160
Speaker 1: marry you, but you know, you know what band I'm in,

641
00:37:30,360 --> 00:37:32,239
Speaker 1: and you know what I'm like, I'm never going to

642
00:37:32,360 --> 00:37:37,399
Speaker 1: be that faithful husband that much like right, oh yeah,

643
00:37:37,400 --> 00:37:39,279
Speaker 1: you have to yeah, and you have, but you have

644
00:37:39,400 --> 00:37:41,240
Speaker 1: to do it up front. You can't do it after

645
00:37:41,320 --> 00:37:43,919
Speaker 1: the occasion. And I did it up front and Heather

646
00:37:44,000 --> 00:37:47,319
Speaker 1: accepted it. Um. You know, it wasn't as bad as

647
00:37:47,320 --> 00:37:51,239
Speaker 1: I could have been because of that. Um. And you know,

648
00:37:51,360 --> 00:37:54,920
Speaker 1: here we are fifty one years later and we're true partners,

649
00:37:55,480 --> 00:37:58,120
Speaker 1: true partners. She and your kids when their kids were school.

650
00:37:58,160 --> 00:38:00,319
Speaker 1: Are you and she have three kids together? We got

651
00:38:00,360 --> 00:38:02,480
Speaker 1: three kids when you when they were school? It would

652
00:38:02,480 --> 00:38:03,960
Speaker 1: they go with you on the road? Did you always

653
00:38:04,000 --> 00:38:08,080
Speaker 1: leave to They all came out and that was wonderful.

654
00:38:08,719 --> 00:38:10,759
Speaker 1: But it was really quite kind of funny when my

655
00:38:10,880 --> 00:38:14,200
Speaker 1: kids first saw me on stage and kind of kind

656
00:38:14,200 --> 00:38:17,359
Speaker 1: of thought, you know, and I couldn't hear them talking.

657
00:38:17,400 --> 00:38:19,319
Speaker 1: They were kind of like six or seven years old,

658
00:38:19,360 --> 00:38:22,360
Speaker 1: and my little girls and their friends were talking, and

659
00:38:22,640 --> 00:38:26,200
Speaker 1: I could hear my daughter say, my dad's a rock star,

660
00:38:26,920 --> 00:38:28,919
Speaker 1: and the other little girl said, yeah, but my dad

661
00:38:28,920 --> 00:38:34,479
Speaker 1: takes the train to London every day, you know, which

662
00:38:34,520 --> 00:38:37,040
Speaker 1: is so wonderful when you go Oh, this is this

663
00:38:37,120 --> 00:38:40,440
Speaker 1: is real life. It isn't amazing. How you you you're

664
00:38:40,440 --> 00:38:43,840
Speaker 1: trying to tell that to people's kids. I've met famous,

665
00:38:43,920 --> 00:38:47,239
Speaker 1: especially famous musicians, you know, acting as so ephemeral like

666
00:38:47,320 --> 00:38:49,400
Speaker 1: who's good and who's great and what works and what

667
00:38:49,480 --> 00:38:51,719
Speaker 1: doesn't work. As live music is much more pure, I

668
00:38:51,760 --> 00:38:54,360
Speaker 1: agree with you. And there's there's also something about music.

669
00:38:55,080 --> 00:38:56,759
Speaker 1: I don't know whether it's the same today, but it

670
00:38:56,880 --> 00:39:00,799
Speaker 1: used to be so you could always remember exactly what

671
00:39:00,840 --> 00:39:04,399
Speaker 1: you were doing when you first heard that track. There's

672
00:39:04,440 --> 00:39:08,640
Speaker 1: something about Buddy Holly singing that will the other day.

673
00:39:09,160 --> 00:39:12,000
Speaker 1: Wow did that turn our heads? When you heard first

674
00:39:12,000 --> 00:39:16,279
Speaker 1: heard Obvious singing? You know Heartbreak Hotel Whoa, you know,

675
00:39:16,719 --> 00:39:21,239
Speaker 1: Little Richard singing, you know lou Seal. When I was

676
00:39:21,280 --> 00:39:24,560
Speaker 1: gonna do lip sync battle on Jimmy Fallon, I didn't

677
00:39:24,560 --> 00:39:25,680
Speaker 1: do it, but I was gonna do it, and they said,

678
00:39:25,880 --> 00:39:27,200
Speaker 1: what do you want to do? I said, I want

679
00:39:27,200 --> 00:39:30,200
Speaker 1: to do Barbara O'Reilly and they said, you can't do that.

680
00:39:30,200 --> 00:39:31,920
Speaker 1: I go way to go because you can't spin the mic.

681
00:39:31,960 --> 00:39:34,120
Speaker 1: You're gonna smash the lights up in the TV studio.

682
00:39:34,480 --> 00:39:36,680
Speaker 1: I couldn't. Who taught you how to do that. Where

683
00:39:36,680 --> 00:39:38,120
Speaker 1: did you get that idea to take that mic and

684
00:39:38,120 --> 00:39:39,920
Speaker 1: throw that mic? I didn't know. One told me. I

685
00:39:39,960 --> 00:39:43,359
Speaker 1: just got yourself once they went into the free form

686
00:39:43,400 --> 00:39:46,879
Speaker 1: in the early days, the late sixties. It just came

687
00:39:46,880 --> 00:39:49,160
Speaker 1: out of boredom I was. I couldn't stand there and

688
00:39:49,200 --> 00:39:52,239
Speaker 1: be like Robert Plant. I wasn't cool enough. I just

689
00:39:52,280 --> 00:39:54,279
Speaker 1: needed to dance, but I didn't want to dance like

690
00:39:54,320 --> 00:39:59,080
Speaker 1: a an ordinary dancer. So I just started to play

691
00:39:59,120 --> 00:40:01,680
Speaker 1: with it and it just got bigger and bigger. Energy

692
00:40:02,120 --> 00:40:05,640
Speaker 1: and channel the energy, and then Pete started jumping and

693
00:40:05,719 --> 00:40:10,520
Speaker 1: that legendary jump of here he's like a kangaroo. And uh,

694
00:40:11,080 --> 00:40:13,600
Speaker 1: but the whole thing was kind of in with the music.

695
00:40:13,680 --> 00:40:15,759
Speaker 1: It became like a ballet, didn't it. It was kind

696
00:40:15,760 --> 00:40:19,480
Speaker 1: of extraordinary. And by when I think back and I

697
00:40:19,560 --> 00:40:22,520
Speaker 1: look at some of those there's one piece of film

698
00:40:22,600 --> 00:40:26,440
Speaker 1: that I've seen recently. Somebody showed me the Freddie Mercury

699
00:40:26,560 --> 00:40:32,120
Speaker 1: Tribute concert at Wembley Stadium. I had the rotten job

700
00:40:32,480 --> 00:40:36,080
Speaker 1: of being the first act out on the stage. But

701
00:40:36,520 --> 00:40:38,600
Speaker 1: take a look at it. It's on YouTube. You can

702
00:40:38,719 --> 00:40:43,080
Speaker 1: you can watch it. What an entrance I'm reading that, Mike,

703
00:40:44,360 --> 00:40:48,440
Speaker 1: It's wonderful to see the fear on Brian May's face.

704
00:40:50,000 --> 00:40:54,439
Speaker 1: Things flying everywhere and it misses you every time. I've

705
00:40:54,440 --> 00:40:57,480
Speaker 1: never hit anyone but myself with it. Fortunately aren't only

706
00:40:57,520 --> 00:41:01,920
Speaker 1: one person um, but that that was deliberate and I

707
00:41:02,000 --> 00:41:04,759
Speaker 1: was quite pleased with that. We we we could possibly

708
00:41:05,000 --> 00:41:06,800
Speaker 1: make an effort. I'm sure we would make an effort,

709
00:41:06,840 --> 00:41:11,319
Speaker 1: although we think we tracked when Townsend was in New

710
00:41:11,400 --> 00:41:13,200
Speaker 1: York to promote his book All a couple of years

711
00:41:13,200 --> 00:41:15,719
Speaker 1: ago and we made a stabber trying to last sue

712
00:41:15,760 --> 00:41:17,920
Speaker 1: him in here to do the show. How does he

713
00:41:18,000 --> 00:41:19,960
Speaker 1: look back on all that worked at you guys? Did

714
00:41:20,400 --> 00:41:23,239
Speaker 1: Is he proud? I think he is. He's got to be.

715
00:41:23,440 --> 00:41:25,520
Speaker 1: We're having a great time on stage now for the

716
00:41:25,560 --> 00:41:28,879
Speaker 1: first time in our career, the last well since two

717
00:41:28,960 --> 00:41:32,640
Speaker 1: thousand and third, Team has been an absolute joy. Now

718
00:41:33,040 --> 00:41:35,440
Speaker 1: the band is very different. We've still got Zack Starkey,

719
00:41:36,239 --> 00:41:39,680
Speaker 1: Pete Townsend and meet Uh. We've got the band I

720
00:41:39,719 --> 00:41:43,480
Speaker 1: go out touring solo with. We've got Lauren Gold on keyboards.

721
00:41:43,480 --> 00:41:46,960
Speaker 1: Frank Simes is our music director. Simon Townshend Peace brother

722
00:41:47,440 --> 00:41:50,960
Speaker 1: of course, who's a fabulous rhythm player. We've got John

723
00:41:51,040 --> 00:41:53,719
Speaker 1: a guy called John Button on bass and a guy

724
00:41:53,719 --> 00:41:58,080
Speaker 1: called John Corey on keyboards. That's the lineup. We need

725
00:41:58,120 --> 00:42:00,840
Speaker 1: to do Quadrophenia because it's there's so much music and

726
00:42:01,040 --> 00:42:04,279
Speaker 1: instrumentation in it. You know you need that. We've been

727
00:42:04,480 --> 00:42:07,640
Speaker 1: getting reviews as good as anything we ever got in

728
00:42:07,640 --> 00:42:10,440
Speaker 1: the seventies, which I'm so proud of to be this

729
00:42:10,520 --> 00:42:14,680
Speaker 1: age and know that you're still delivering it in the

730
00:42:14,800 --> 00:42:19,160
Speaker 1: right way. I'm gonna name three songs out of countless

731
00:42:19,200 --> 00:42:21,879
Speaker 1: songs you sang, and you tell me was it easy

732
00:42:22,000 --> 00:42:23,440
Speaker 1: or hard for you to sing this song? And I'm

733
00:42:23,440 --> 00:42:25,920
Speaker 1: curious about something that's a really ripping kind of a

734
00:42:25,920 --> 00:42:28,600
Speaker 1: lot of notes, so to sing see me filming a

735
00:42:28,640 --> 00:42:32,960
Speaker 1: piece of cake. Easy. It just came, yeah, yeah, absolutely

736
00:42:33,239 --> 00:42:36,680
Speaker 1: easy as anything, easy, easy, easy. I went back to

737
00:42:36,719 --> 00:42:43,239
Speaker 1: be the choir boy. Um Love Rain Army. That was

738
00:42:43,480 --> 00:42:50,920
Speaker 1: really really easy, incredibly uh painful to hear Pete's remark

739
00:42:51,000 --> 00:42:54,520
Speaker 1: when he first heard it, I don't like it. Well,

740
00:42:54,560 --> 00:42:57,200
Speaker 1: he didn't like it. He didn't hear it the same

741
00:42:57,239 --> 00:43:00,480
Speaker 1: way I see it again. Like I was talking to earlier,

742
00:43:00,760 --> 00:43:03,320
Speaker 1: how I would interpret his songs very differently sometimes and

743
00:43:03,920 --> 00:43:06,600
Speaker 1: then he kind of wrote them and he he wrote

744
00:43:06,600 --> 00:43:12,239
Speaker 1: it as this gentle love song, love Rain Army and

745
00:43:12,360 --> 00:43:17,480
Speaker 1: I I thought, this is the last song on the album.

746
00:43:17,880 --> 00:43:20,480
Speaker 1: Uh and you know, you know the songs you rip

747
00:43:20,520 --> 00:43:24,480
Speaker 1: it in the end just needed to be primal. It was,

748
00:43:25,000 --> 00:43:28,840
Speaker 1: you know, it needed to be out into space, you know.

749
00:43:29,400 --> 00:43:32,799
Speaker 1: Uh So I did that ending that I do. And

750
00:43:32,840 --> 00:43:35,040
Speaker 1: he hates it, he can like it at all, And

751
00:43:35,160 --> 00:43:37,319
Speaker 1: it was it was kind of that that hurt at

752
00:43:37,360 --> 00:43:40,160
Speaker 1: the time, and it hurt because he said it quite

753
00:43:40,200 --> 00:43:42,040
Speaker 1: a bit in the press at the time, so that

754
00:43:42,120 --> 00:43:46,360
Speaker 1: was kind of weird. But equally, I still carried on

755
00:43:46,440 --> 00:43:50,880
Speaker 1: singing it that way. Didn't have any effect on your choice? No, no, no,

756
00:43:50,960 --> 00:43:53,880
Speaker 1: what's the song you sang that you got the talked

757
00:43:53,920 --> 00:43:56,040
Speaker 1: into or you even talked yourself into sing in a

758
00:43:56,040 --> 00:43:57,839
Speaker 1: certain way, and you didn't like it And it turned

759
00:43:57,840 --> 00:44:01,840
Speaker 1: out to be a great hit, Happy Jack Jake, But

760
00:44:02,760 --> 00:44:04,600
Speaker 1: it was it was. It was a hit record. I

761
00:44:04,640 --> 00:44:08,200
Speaker 1: couldn't could not believe it. I just could not believe

762
00:44:08,400 --> 00:44:12,359
Speaker 1: this records hit record. I just never ever heard it.

763
00:44:13,360 --> 00:44:15,239
Speaker 1: And it's one of the few ones today I kind

764
00:44:15,239 --> 00:44:19,000
Speaker 1: of when we start to revisit the hits, forget that one,

765
00:44:19,120 --> 00:44:21,520
Speaker 1: and and and over the years, you did or did

766
00:44:21,560 --> 00:44:24,359
Speaker 1: not do much songwriting with him, and he did he do, no, no, no,

767
00:44:24,840 --> 00:44:26,440
Speaker 1: you know. I've written a few songs, but I'm no

768
00:44:27,000 --> 00:44:30,240
Speaker 1: songwriter in the caliber of Pete Townshend. I co wrote

769
00:44:30,640 --> 00:44:32,839
Speaker 1: anyway and how manywhere with him? But that was it.

770
00:44:33,280 --> 00:44:35,719
Speaker 1: And I've written songs of my own, you know. But

771
00:44:37,680 --> 00:44:42,960
Speaker 1: who you left it him well when you were I'm

772
00:44:43,000 --> 00:44:45,440
Speaker 1: like you, I'm such a big fan of his. I

773
00:44:45,480 --> 00:44:47,960
Speaker 1: am such a fan of his, And the more I

774
00:44:48,000 --> 00:44:50,719
Speaker 1: let him have his reign in his head, that the

775
00:44:50,760 --> 00:44:53,520
Speaker 1: better the stuff. Because if you try and inter fear,

776
00:44:54,000 --> 00:44:57,040
Speaker 1: you know, you probably screw it up. But I'll never

777
00:44:57,080 --> 00:44:58,719
Speaker 1: think you guys went on tour in the U s

778
00:44:58,719 --> 00:44:59,719
Speaker 1: and they put you in I think it was on

779
00:44:59,760 --> 00:45:03,200
Speaker 1: the for of Newsweek, and I do believe. Sometimes I

780
00:45:03,200 --> 00:45:05,480
Speaker 1: don't trust my memory anymore, but I do believe I'm

781
00:45:05,560 --> 00:45:07,560
Speaker 1: precise in this one, which you had one of my

782
00:45:07,600 --> 00:45:10,440
Speaker 1: favorite lines of all time. You and they quoted you

783
00:45:10,480 --> 00:45:14,560
Speaker 1: as saying, you said, nobody writes songs like Pete, and

784
00:45:14,640 --> 00:45:18,680
Speaker 1: no one sings Pete songs like I do. That's the

785
00:45:18,800 --> 00:45:24,359
Speaker 1: definition of the help me. When I was a kid,

786
00:45:24,520 --> 00:45:26,239
Speaker 1: I thought to myself, I was like a little like

787
00:45:26,280 --> 00:45:27,880
Speaker 1: I was young. I forget how old I was, and

788
00:45:27,920 --> 00:45:30,000
Speaker 1: I thought any band that puts an album that was

789
00:45:30,040 --> 00:45:32,600
Speaker 1: a song on it called a quick one while he's away,

790
00:45:33,160 --> 00:45:37,400
Speaker 1: I thought, I gotta meet this band had had a

791
00:45:37,440 --> 00:45:39,320
Speaker 1: song code a quick one while he's a wire, and

792
00:45:39,360 --> 00:45:46,919
Speaker 1: would play young people for me already levered twelve. Thus

793
00:45:49,960 --> 00:45:52,600
Speaker 1: the name of the book is Thanks a Lot, Mr

794
00:45:52,719 --> 00:45:56,840
Speaker 1: kibble White, with the name of your teacher who bounced

795
00:45:56,840 --> 00:45:59,560
Speaker 1: you out of school. I made you the star that

796
00:45:59,640 --> 00:46:02,520
Speaker 1: you are today thanks to let Mr. And I want

797
00:46:02,520 --> 00:46:05,720
Speaker 1: to say, truly, you are, for my money, the greatest

798
00:46:05,840 --> 00:46:07,680
Speaker 1: rock and will singer of all time. Thank you for

799
00:46:07,719 --> 00:46:10,160
Speaker 1: doing this with us, absolute pleasure. I'll do it any time,

800
00:46:10,840 --> 00:46:14,920
Speaker 1: and I'll tell Pete hete you got to it for you. Pete,

801
00:46:15,280 --> 00:46:55,400
Speaker 1: You've got to do it for me. Thank God. A

802
00:46:55,560 --> 00:47:00,960
Speaker 1: track from Quadrafenia to Go Out On from three Daughtry

803
00:47:01,120 --> 00:47:05,640
Speaker 1: captures the melancholy of Pete Townsend's lyric. His character a

804
00:47:05,760 --> 00:47:09,320
Speaker 1: disillusioned who fan sits looking from meaning on a cold

805
00:47:09,360 --> 00:47:12,840
Speaker 1: beach in Brighton. There's all of the lost promise of

806
00:47:12,880 --> 00:47:17,120
Speaker 1: the nineteen sixties in that voice that was the incomparable

807
00:47:17,239 --> 00:47:20,440
Speaker 1: Roger Daltrey. This is Alec Baldwin, and you were listening

808
00:47:20,480 --> 00:47:21,439
Speaker 1: to here's the Thing