![]() ![]() The way the vocal bounces, it always reminds me of Elvis. Probably their last convincing shot of maximum R’n’B.ĭaltrey: “A wonderful, wonderful song. The single fought its way into the UK Top 10, past Adam & The Ants and The Human League, to claim The Who’s place as old but obstreperous gatecrashers at the early-’80s pop party. It certainly bears all the hallmarks, from aerated synthesizer intro to rebounding power chords and Daltrey’s yobbish choruses (“you bettarrr!”).Īll this and a namecheck for T. Still, as a post-Moon postscript there’s no denying the former album’s “You Better, You Bet” was Townshend’s last truly inspired Who anthem. Even Entwistle would reflect that his memories of recording both records were far from happy and “a kind of blank”. Jones was no substitute as a musician, nor as a mediator between Daltrey and Townshend. On the evidence of their final two studio albums with ex-Faces drummer Kenney Jones – Face Dances (1981) and It’s Hard (1982) – maybe they should have called it quits. ![]() Though many purists put a full stop to The Who after the death of Moon, the band’s reaction was to soldier on. We toured with The Clash in 1982, we took them to the US with us, and I used to fucking love watching ’em. Being pissed and aggressive and a c***! It was only a few years after that I realised what a great favour punk did the business. ![]() When I listen back to ‘Who Are You?’ I can hear that it made me incredibly aggressive. To me it was like, ‘Well, they think they’re fucking tough, but we’re fucking tougher.’ It unsettled me in my vocals. They were saying how much they loved The Who, that we were the only band they’d leave alive after they’d taken out the rest of the establishment! But I felt very threatened by the punk thing at first. Even if his death didn’t kill off the group, after the loss of their crucial rear guard, The Who would be incomplete thereafter.ĭaltrey: “We were getting incredible accolades from some of the new punk bands. Tragically, it was to be his swan song – just three weeks after its release, on September 7, 1978, Moon ‘The Loon’ died in his sleep, having accidentally overdosed on downers. Their first new 45 after a two-year lay-off, they were big men but out of shape, none more so than Keith Moon, whose performance on the LP was below par. At which point Townshend apparently slurred, “ ’oo the fuck are you?”Įdited down from its full six minutes for single release, against this real-life narrative “Who Are You?” still owed less to punk than it did to The Who’s track record for chugging synth-rock leviathans a big, boisterous din but stadium rock by any other name. Recognising this celebrity vagrant, the bobby advised him to “get up and walk away” or risk a night in the cells. Faced with one of their idols drunkenly babbling on about how he’d sold them out and lost his ideals, Jones and Cook retorted, “That’s a shame, we really like The ’Oo.”Ī severely pissed and emotional Townshend then staggered off into the Soho night where, hours later, slumped in a doorway, he was awoken by a policeman. Deciding to drown his sorrows at London’s Speakeasy club, he happened upon the Pistols’ Steve Jones and Paul Cook. On the day in question, January 20, 1977, Townshend emerged from a rancorous publishing meeting to iron out the group’s finances several thousand pounds better off but depressed that rock’n’roll could be reduced to the language of accountancy. Fittingly, his self-effacing acceptance of punk played a major part in a drunk and disorderly day that would later form the basis of “Who Are You?” – the title cut of what perhaps should have been the final album. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |