Tag Archives: the who

September 18th 1975

“Nothing much happened all day. Phoned everywhere enquiring about The Who. Holly had to go to Boys Brigade (??)”

Well I know I have never seen The Who play live (much to my chagrin, Keith Moon being one of my favourite musicians ever) so I must presume I was unsuccesful in my quest for (again presumed) concert tickets.

Online research reveals that The Who were not scheduled to play anywhere locally (i.e. Southampton, Portsmouth or Bournemouth) in 1975 so maybe I was considering tramping up to London to catch one of their planned shows at Wembley Arena?

I’ve been let down by women for all kinds of reasons in my life, but it takes a lot to beat being ignored in favour of attendance at a Christian organisation that is… only for boys?!

Maybe there was something Holly hadn’t told me… or which I hadn’t yet ‘discovered’ for myself?!!!


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August 11th 1975

“Work. In evening went to see Tommy with Debbie, Nig and Kim. Film was absolutely incredible”

I loved, loved, LOVED this movie!

Truth be told I STILL love this movie.

It’s an exercise in excess, Director Ken Russell assulting the senses from start to finish with his adaptation of The Who’s classic rock opera about that deaf, dumb and blind kind (who played a mean pinball).

The casting of the various roles are as bizarre as they are perfect. A manic Tina Turner as The Acid Queen, Jack Nicholson as the Doctor, Eric Clapton as the Preacher, Robert Powell as Tommy’s Dad and Elton John as the wannabe pinball wizard. The lead roles are saved for Roger Daltrey, Oliver Reed – whose singing is, let’s just say, an ‘acquired taste’ – and the rather scrumptious Ann-Margret as Tommy’s unhinged mother.

I have never been able to look a baked bean squarely in the eye since first seeing this in 1975…

Rumour has it the the above scene was Russell’s not so discreet method of ‘revenge’ against the various detergent and bean commercials he was forced to direct at the start of his (eventually long and illustrious) career.

When I got my first VCR, “Tommy” was one of the first films I recorded and then later bought. I likewise snapped it up on DVDs when they hit the scene. Even now, and despite owning the disc and being able to watch it whenever, I will still watch “Tommy” whenever it appears on our TV listings.

Despite all this I still haven’t watched it as many times as The Who’s other movie ‘opus’, the magnficient “Quadrophenia”, but it was easier for me to relate to a scooter-riding mod than it was a would-be religious cult leader!

Some of the magnificent scenes from “Tommy”…


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August 4th 1975

“Started back at Francis – Great! Got some record covers and Free Tommy tickets”

Yes, you read that right.

I’m back behind the counter in Francis Records’ pop department.

How did this happen? Weird really… it seems the elderly Mrs Francis suddenly decided to retire. Actually, semi-retire as I was to find out a little later.

Despite getting unceremoniously fired by her – for reasons still unknown – I continued to go back in the store as a customer to look for stuff, always popping in to the classical department downstairs to say hello to her son John.

During one of these visits he informed me of his mother’s decision and asked me if I would be interested in returning to the fold. Would I?!!

So here I am during my Summer holidays, providing my services to the recording industry once again. Pig back in the poop.

Looks as if my timing was perfect too? My first day back and John gifted me four complimentary tickets to Ken Russell’s new film “Tommy”

I need to say a few words about Tommy…

Apart from – obviously – their singles, Tommy was perhaps my first proper introduction to The Who. Released in 1969 this expansive double album was the first concept album billed as a “rock opera”, a term I have always liked!

It – as anyone will inform you – tells the detailed story about a deaf, dumb and blind boy who – via his love for pinball – becomes the leader of a weird messianic cult. When you say that ‘out loud’ it sounds utterly preposterous doesn’t it?

The album’s tale is held together by a set of terrific songs though, Pete Townshend proving his worth as a terrific songwriter. 40 years later they still sound strong and fresh, standing the test of time magnificently. Indeed, much of the subject matter still has a relevance in the 21st Century:- “Amazing Journey” & “The Acid Queen” (The growth of psychotropic drugs), “Eyesight to the Blind” (religious beliefs), “Cousin Kevin” (bullying), “Pinball Wizard” (OCD), “Tommy Can You Hear Me” (child abandonment), “Sally Simpson” (celebrity fanaticism), “Tommy’s Holiday Camp” (religious cults) and, somewhat ironically given Townshend’s own brush with the law in this general arena, “Fiddle About” with its graphic depiction of pedophilia.

As with many of my other eventual album purchases I had listened to “Tommy” on tape first, drawn initially to Sides 3 & 4 moreso than 1 & 2, mainly thanks to the inclusion there of the hits “Pinball Wizard” and “I’m Free”. (“I’m Free” took on special significance for me in 1997 when I blared – and I mean BLARED – it on repeat for an hour straight when getting home after selling my business)

For me, it’s not as perfect a concept album as I later discovered “Quadrophenia” to be, but it comes pretty damned close. As I remarked to my wife just the other night my adoration for The Who is based almost entirely on these two double LPs. Personally I never felt “Who’s Next” to be as brilliant as everyone else kept/keeps telling me (“Won’t Get Fooled Again” obviously excepted) much preferring this pair of pairs. (I also have a soft spot for “The Who Sell Out”… if that even counts as a proper Who album anymore?)

The impending movie adaptation would merely take my love for “Tommy” to a whole new level, but more of that later. In the meantime here’s all of its GREAT cuts…

It’s a Boy
Amazing Journey
Eyesight to the Blind (The Hawker)
Cousin Kevin
The Acid Queen
Underture Pt 1
Do You Think It’s Alright?
Fiddle About
Pinball Wizard
There’s a Doctor
Go to the Mirror
Tommy, Can You Hear Me?
Smash the Mirror
Miracle Cure
Sally Simpson
I’m Free
Tommy’s Holiday Camp
We’re Not Gonna Take It

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(1974 Album) The Who – Quadrophenia

As I think I have stated before, I was far from a huge fan of The Who. Sure, I liked their singles – “Won’t Get Fooled Again” was, is, and always will be, magnificent – but unlike many of my contemporaries the band themselves never grabbed me as an album act.

Then – and sadly I can’t remember where  – I heard “Quadrophenia” for the first time. For whatever reason it really struck a chord with me and is now – if had just one choice – the album I would want with me for musical comfort on that fabled ‘desert island’.

By itself, the album kindled in interest in finding out more about the band – crazy and flamboyant drummer Keith Moon in particular – and researching the mid-60’s “mod” music the story revolved around. It’s fact that, as I have grown older, it has been sixties music I have found myself listening to more than anything else, all – I think – as a result of the influence this album’s backdrop conjured up. So much so that I often joke that I was born 10 years too late, and would have LOVED to have been a Vespa-riding teenage Mod.

I’m being honest with you when I state that I have tried writing this particular post/retrospective review a half-dozen times before. Each time I have somehow stalled, finding myself unable not to go off on long-winded tangents that bear no relevance to the album, or that could ever be of interest to you, the reader.

I think that’s because this album is just so ingrained in my psyche and so very loved by me that I find it hard to be fully objective. With that in mind, I shall keep any overtly ‘gushing’ comments somewhat brief.

If you discount the “A Quick One” project, “Quadrophenia” was guitarist Pete Townshend’s second rock opera opus. Where “Tommy” was about a disadvantaged deaf, dumb & blind kid (who sure played a mean pinball) “Quadrophenia” followed the fortunes (or lack thereof) of a disaffected teenager growing up in a 1964/65 South of England.

Jimmy Cooper, for that is his name, is supposed to be a Quadrophenic, an enhanced (and made up) interpretation of schizophrenia, wherein he is apparently burdened with four personalities.

He lives at home with his perpetually arguing parents and holds down a menial job which pays him just enough to run his scooter and buy the music and fashionable clothes his ‘mod’ lifestyle demands. Track by track the tale unfolds…

I am the Sea/The Real Me“, the segued opening cuts, try to set the scene, with Jimmy going to the doctor, hearing his mother tell him that mental illness runs in the family, letting us know about his job and his lost girlfriend and hinting at drug use.

Quadrophenia”/”Cut My Hair“. This pair of cuts, with all their lush orchestral flourishes, then pad out the story a little, informing us of his leanings towards ‘mod’ and his participation in the mods vs rockers fights that occurred almost every Bank Holiday weekend down on Brighton’s seafront. It culminates with him arguing with his parents over drugs and leaving home.

The Punk & the Godfather” is supposed to represent Jimmy going to a rock concert, then, wacked out on ‘uppers’ trying to meet the band backstage. The band blank him and he decides that music is just another element of his life that has let him down. This may just be THE finest song The Who have EVER recorded. A personal opinion, yes, but I don’t think I’m wrong.

In “I’m One” Jimmy tries to reinforce his own love for the mod lifestyle he has chosen and how it brings him out of himself and “Dirty Jobs” finds Jimmy getting into trouble at work, disagreeing with his colleagues before walking out.

Helpless Dancer” gives us Jimmy’s angry side. He seems angry at…well, the entire world in general. As if to somehow qualify his anger “Is it in my Head?” is Jimmy blaming either the drugs or all the injustices he has been exposed to all his life.

I’ve Had Enough” is something of a pivotal track where Jimmy sees his ex-girlfriend with another guy, then smashes up his beloved scooter in an act of frustration. Depressed and drugged up, he then catches the train – captured perfectly in “5:15” – down to Brighton in an attempt to recapture some of the energy and excitement had last time he was there.

Whilst “The Sea & the Sand” finds Jimmy quite optimistic, the gloom soon reappears inDrowned where he is, quite possibly, at his lowest ebb, contemplating suicide as a way out.

Bell Boy” is Kimmy’s final ignominy as he chances across a fellow mod “face”, who he once hung around with and admired, schlepping bags around for customers at a seafront hotel.

Jimmy then descends into a drug hell in “Doctor Jimmy” before stealing a boat and sailing it to a lone rock in the middle of the sea (“The Rock“/”Love, Reign O’er Me“) and finally finding spiritual redemption. Redemption which, dependent on your own interpretation of things, either finds him dying or obtaining strength to carry on.

Reading that back makes “Quadrophenia” sound like an UTTERLY depressing album doesn’t it? The weird thing is that the album sounds – musically – very joyous and vibrant by comparison to the storyline with only a handful of slow numbers interrupting the excitement.

I didn’t want to say too much about each track individually as this is one of those rare albums which demands to be listened to in its entirety. Whilst the hit single “5:15” is undoubtedly great on its own, it actually makes little sense outside of the story structure where it becomes an intrinsic element. Along with Pink Floyd’s “Dark Side of the Moon”, “Quadrophenia” was one of the first albums I ‘properly’ listened to. By that I mean I sat down (usually at night with the lights out) and listened to how it was recorded, which instruments went where in the mix and how the story unfolded.

Sonically, it is an utterly immense piece of work, the entire band contributing some of their very finest recorded output, Keith Moon most certainly. I have always said that if anyone is training to be a drummer they should spend a few months listening to “Quadrophenia” and nothing else. I never fail to be shocked when Moonie is overlooked for being “the best drummer ever” in music polls when, to my ears anyway, his drumming was as natural and instinctively played as (for instance) any of Hendrix’s guitar work. Keith’s tricky little fills alone put other drummers to shame.

Then there’s John Entwistle’s bass playing. Playing it like a lead guitar, something he could have written the manual for. His death in 2002 – despite it being the ultimate rock & roll death… a cocaine-fuelled heart attack whilst romping with groupies in a Las Vegas hotel suite – hit me as hard as Keith Moon’s 24 years earlier.

For me, the band died along with Keith in 1978 and whilst I didn’t necessarily begrudge them trying to continue with three original members, now doing so with just two feels like an utter travesty for which I’d really like to punch Pete Townshend in the face. I know he might consider it “his band” and yes, OK, it’s his material and everything, but I just find it disquieting that – for some time now – he has done little more than shill The Who’s finest material to whomever turns up at his door with the fattest cheque. I can’t believe that he or Roger Daltrey can be ‘that poor’ they have to undermine the band’s body of work by allowing it to be constantly used for TV ads or theme tunes. I’m most certainly with (the late and very great) comedian Bill Hicks when he said “Do a commercial, there’s a price on your head, everything you say is suspect and every word out of your mouth is now like a turd falling into my drink

Now, see that’s one of the tangents I can’t avoid going off on when I talk about “Quadrophenia”. It’s a TERRIFIC, AWESOME & BLOODY BRILLIANT album – and I make absolutely no apologies for the ALL-CAPS screaming – but Townshend has been such a money-grabbing prick in recent years that, sadly, I now find it very difficult to listen to it with anything like the regularity which I once did.

If, as rumours suggest, “The Who” are going to play the prestigious half-time show at next years Superbowl, yet another turd will plop into my drink. I wish Townshend – for all his writing props – would realise that the LEAST talented musicians of The Who are the ones that survived and that calling themselves “The Who” is remarkably pathetic and self-delusional. It’s not even “The Who Lite”… it’s more like a karaoke/covers band turning up at your local pub while you’re trying to watch the game.

Anyway, yes… “Quadrophenia”… fantastic album, should be in everyone’s collection, by far the best rock opera ever, is perfect… etc., etc. If you’ve never heard it, may I invite you to my isolated little desert island – far away from ‘shilling pete’ and his apparent CSI fixation – for 81 minutes of sheer musical bliss.


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(1974 Albums) Various Artists – The House That Track Built

I believe I bought this Track Records budget compilation from Woolworths’ music department in Eastleigh.

In terms of a budget compilation it certainly had a LOT going for it. Here’s the track listing….
• The Who – Magic Bus
• Jimi Hendrix Experience – All along the Watchtower
• The Sandpebbles – Love Power
• The Who – Young Man Blues
• The Precisions – If this is Love
• Thunderclap Newman – Wilhemina
• John’s Children – Desdemona
• The Crazy World of Arthur Brown – Fire
• Jimi Hendrix Experience – Purple Haze
• The Parliaments – (I Wanna) Testify
• Fairport Convention – If I had a Ribbon Bow
• The Crazy World of Arthur Brown – Devil’s Grip
• The Who – A Quick One While He’s Away

Track Records was a label set up by The Who’s managers, Chris Stamp &  Kit Lambert, so it’s no wonder that their boys get the lion’s share of cuts, and “Magic Bus” has always been one of my favourite Townshend & Co cuts (outside of the “Quadrophenia” album… more about that in a later post).

For the unaware, John’s Children was an early incarnation of T.Rex’s Marc Bolan. The cut here, “Desdemona“, was actually banned by the BBC when it came out, the lyric “Lift up your skirt and fly” evidently corrupting the youth of Britain. There’s really no doubting Bolan’s distinctive warble in the background is there?

Fire” is, as this blog has mentioned before, a psychedelic prog rock classic of the very highest order. We tip our (probably flaming) hat to Arthur Brown for that one!

The Sandpebbles “Love Power” was their one and only R&B hit (at least, in the USA), whilst The Precisions – another R&B offering by Track – were probably the only Motown-sounding band from Detroit who weren’t actually signed to Motown!

Let’s face it, Fairport Convention are never worth talking about. 

The Parliaments - that's George Clinton on the right!

However, The Parliaments are hugely notable for being the precursor to Funkadelic & Parliament, all featuring the one and only P-funkmeister; Mr George Clinton. (Many of The Parliaments songs were later re-recorded by both bands after a label dispute was settled in the early 70’s)

Thunderclap Newman had one hit single during their brief career, the sublime “Something in the Air“. Newman himself was a Dixieland jazz pianist, whilst the band featured not only an uncredited Pete Townshend on guitar, but a 15-year-old axe virtuoso, Jimmy McCullogh, who later went on to play in Stone the Crows, Paul McCartney’s Wings and an ill-advised 1977 reformation of The Small Faces. (McCullogh died of a heroin overdose in 1979, aged just 26)

You do have to say though that for the Hendrix and Who tracks alone this album was worth every penny of its entrance fee. Surprisingly, it wasn’t an album I held on to… which in retrospect is one hell of a shame as original UK copies regularly fetch three figure sums on the likes of eBay. (Mainly because it’s the only album where that studio version of The Who’s “Young Man Blues” appears)


Just to let you know, EFA70sTRO posts will continue to appear a little sporadically for a week or so. This is due to the necessary ‘catch up’ following my battle with the flu. Once again, apologies to all the regular readers out there.


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January 18th (Part 2) / 19th / 20th

• “Go to Alresford”
• “Good laugh at Al. Usual missing of clothes etc”
• “Got home about 5:30”

Old Alresford Place was built in the 17th Century as a country parish rectory.

In the 1800’s it became the home of the Rt Hon Reverend Sumner, whose wife Mary  founded the Mothers Union, now a worldwide christian organisation boasting a membership of over 3 million grassroots volunteers and helpers.

The lovely building became a stylish commercial “christian retreat” deep in the heart of the Hampshire countryside.

Here’s what I remember – and what I am willing to openly divulge – about my two night stay there in 1974…

• It was run by a bunch of nuns. If not nuns, then women who dressed in some kind of nun-like garments

• The dining room was massive, containing a HUGE and very solid dining table that sat around 30 or more people

• I was there for some kind of ‘religious’ retreat thing organised by my TIB group, a group which included Val (my unattainable crush), one of my best teenage chums (Trev) and sundry other nefarious characters.

• Also in attendance – from another religious group that presumably ran ‘parellel’ to ours – was Angela (again, name changed to protect her identity). Yes, the same Angela with whom I had shared a certain ‘ religious experience ‘ during a sleepover at a vicar’s residence in February 1973.

• All the different groups got together for praying and general religious brainwashing in a chapel somewhere on the premises.

• We also had writing and drawing lessons and I seem to recall some singing songs rubbish one of the afternoons whilst our vicar played a guitar. There was also a crappy football match.

• I can CLEARLY remember spending (at least) a couple of hours sat – with my feet dangling outside – one of the dorm room windows on the upper floor with my little cassette player blaring (and I mean BLARING) the opening sequence from The Who’s “Won’t Get Fooled Again” on constant repeat. I don’t think alcohol was involved, but I can’t be 100% certain. (Funny how certain things can’t be forgotten isn’t it?)

• I remember seeing Angela in the grounds below looking up at me and smiling & waving. Then coming to our dorm room and quietly asking me if we were going to repeat our ‘time’ of a year or so earlier.

• Each dorm room slept 8 teenagers.

• In the most respectful way I can possibly express this, let me say that our dorm room slept nine.

This religion stuff wasn’t all bad.

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November 20th 1973

“Borrowed Live Man. Man on Old Grey Stoker’s Vest – smart!”

“Live Man” must refer to the “Live at Padget Rooms, Penarth” album, a three track concert recording which, in retrospect, has been described by some as the sound of Man at their musical peak.

Not by me though. The album never stuck with me over the years, mainly because the entire second side – an extensive jazz-rock 20+ minute jam called “H.Samuel” – never sat that comfortably with me. It seemed just too…. well, random and unstructured.

If I’d listened to the album again 6 or 7 years later it may have made more sense as I suspect “the drugs would have worked”, if you get my drift? But to this chemically-bereft teenager it sounded a bit of a bloomin’ mess.

It’s a shame I never bought the album rather than just tape it. Not only was it was budget-priced but it was issued in a very strictly limited edition of just 8000 copies. An eBay success story could well have been in my future?!

I have threatened to write at some length about The Old Grey Whistle Test (for that is what I mean when I say Old Grey Stoker’s Vest) before without having actually done so. Perhaps now is the time?!…

OGWT was perhaps THE most influential music TV show of the seventies in Britain. It was certainly the only ‘serious’ music show to feature acts from outside the mainstream or Top 30 chart arenas.

I would lose count trying to list the bands or artists I initially encountered on OGWT, but a few who did and who subsequently became lifetime favourites include Be Bop Deluxe, Bob Marley & the Wailers, Tom Waits, Little Feat and the Sensational Alex Harvey Band. (All links to their early OGWT performances)

As the commentary on Volume 1 of the OGWT DVD series confirms, the shows early performances were filmed in what was, essentially, a corridor at the BBC TV Centre. The space measured just 30 x 20 feet, there was rarely an audience (other than the crew), and everything was usually filmed by union cameramen with no experience of musical acts. The combination of all these things usually resulted in under-rehearsed and quite raw performances, most of which have become classic TV ephemera in their own right. (See above)

In addition to live (a few mimed) performances, the presenters would also hold small uninhibited interviews with a few acts, as well as playing album tracks with an accompanying ‘weird/trippy’ cartoon video.

OGWT’s most celebrated and legendary presenter was the laid back Bob Harris whose broadcasting style is to speak extremely lightly, resulting in many viewers having to turn up their TV’s volume whenever he was on. He was eventually monikered “Whispering Bob” and was often parodied and impersonated in many comedy skits.

Here he is interviewing (a strangely reserved) Keith Moon about The Who’s drummer’s (thankfully, only) solo album “Two Sides of the Moon”.

Recently diagnosed with prostate cancer, Bob (under the auspices of his own “Whispering Bob Broadcasting Company”) remains heavily involved in the music business and still produces and presents one-off specials for BBC Radio including the recent “Maple Leaf Revolution” (about Canadian music) and “The Sandy Denny Story

Bob (quietly) presented OGWT from 1972 until 1978, which pretty much represent my seminal years in music, so I owe him – and the programme – a lot for what came later in my life. Thank you Bob!

The show’s theme tune was a harmonica-driven track called “Stone Fox Chase” by Nashville band Area Code 615 whose only other claim to fame is that several members backed up Bob Dylan on his albums “Blonde on Blonde” and “Nashville Skyline”.

If you’re wondering about the show’s name, it’s weird that the derivation has little to do with the music played by Bob & Co. It’s a vintage ‘Tin Pan Alley‘ phrase from the 40’s. When a label got its first pressing of a record they would play it to the building’s elderly doormen (who were known as “greys”). If the doormen could subsequently whistle the tune after just one listen, the song was said to have passed…yep, you’ve guessed it… “the old grey whistle test”

I doubt this evening’s Man performance had much to whistle along with?!

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An Aside – My “History of Music” Project: Part VII

Here’s my piece about “Mod”. Having just read this again, I now wonder if researching this in 1975 gave me my interest  in the genre, or it was solely the responsibility of The Who’s “Quadrophenia” album a few years later?

Admittedly it did take a couple of decades to fully appreciate the Small Faces, even longer to really like Ray Davies’ songwriting. Don’t get me wrong, I adored almost all the Kinks singles they released, but most of their albums left me cold. Then, on a long train journey just 8 or 9 years ago I REALLY got into their “Village Green Preservation Society” album (from 1968) and a little (belated) love affair kicked off.

In classic “build them up then knock them down” journalistic fashion – which actually didn’t become fashionable until the early 80s’ (The Sun newspaper a master of the art), I end this nice piece on Mod with a strange reference to comedian Ken Dodd.

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