Tag: music

Last time we looked at 1975, and if anything 1976 was a bit more settled for The Who in some respects.  Most of their time was spent doing a huge tour, with multiple Atlantic Ocean crossings.  There were a couple of reasons for that.

Likely the largest reason was that the dispute betwixt the band and Kit Lambert was still in litigation, and it was sort of difficult to release old material, and new material was still being written.  They were stuck in a way just to perform live.  That was to my personal advantage, and more on that is to come later.

One the whole, the band were probably at their best musically in 1976.  The exception was Moon, who was beginning to accelerate his decline both personally and musically, but that did not come out until sort of late in the year.

If 1974 had been a bizarre year, 1975 was more structured in some ways.  Several events happened in 1975 that were important to their financial security, for both good and ill.

The most significant events of 1975 were the release of the motion picture Tommy, the release of The Who by Numbers, and the beginning of a huge tour of Europe, the UK, and North America.  Now, there were certainly some problems associated with all three of these events, but 1975 turned out to be a pretty good year for them.

However, Townshend was not a really good frame of mind for much of the year.  He was very unhappy with his place in the band and whether or not there even should be a band called The Who, at least with him in it.  It is sort of an interesting turn of events that kept them together, and there is more on that later.

Whilst 1973 was a roller coaster year, 1974 was downright bizarre.  The main reason for that was the extreme domination of time and energy by the film version of Tommy.

This is as close to writing a piece about that motion picture as I am going to get, because I really did not like it very well, and though that it was just a caricature of the outstanding album.  I also blame that motion picture in part for the demise of Moon a few years later, mostly because of Moon’s relationship with Oliver Reed.

This year also provided a dearth of material from the band, with only two singles and one album being released.  There were also personal conflicts, particularly betwixt the band and their management.  

Last time we looked at 1972, sort of a quiet year for my favorite band.  1973 would be anything but quiet.  Townshend’s opus, Quadrophenia, was released late in the year, and there was a lot of internal conflict with the band members for the way it was done.

In addition, Kit Lambert was shown to be little more than an embezzler, and that caused a lot of more problems.  Townshend counted on Lambert as a musical wizard, and Lambert, because of his affliction to drugs and alcohol, was anything but that.

There was still a struggle for control of the band, with a surprise hit by Daltrey that gave him some credibility.  By that time, The Who belonged to Townshend, but Daltrey would not go down without a fight.

Then there were the other problems.  1973 would prove to be a very bad year for them, but also one of their best years.  Let’s go!

We covered 1971, one of their stellar years, last time.  Even with the crushing bruise to his ego about the collapse of Lifehouse, Townshend was soldiering on, starting to write new material for what many consider to the be finest effort that The Who would ever produce.  But 1972 was a slow year for them in many ways, and it took its toll.

They did not do a North American tour, and only did a few venues in Europe.  What is not widely known was that the rift betwixt the band and Kit Lambert was growing, due both to Lambert’s increasingly debilitating addiction to narcotics and alcohol and for lack of studio work for them.  They started working with Glyn Johns more and more, but Lambert still controlled the finances at Track Records, and that eventually prove to be a disaster.

Townshend spent most of the first two months of the year visiting shrines to Meyer Baba, his religious center, in India.  He also recorded some music that was released in limited editions to people who bought albums from the Baba association.  I have not included any of that in this piece, out of respect for Townshend.  I think that he would think that it is too personal for public display except for the faithful.

Last week we finished up 1970, which to date had been by far the best year for The Who insofar as commercial success goes.  Sales of Tommy were still good, and Live at Leeds was very well received both critically and in sales figures.

Now, what to do?  Townshend was at sort of a crossroads, knowing that he had to do something to show that Tommy was not just a fluke.  The answer to this, at least in his mind, was turned out to be the ill-fated Lifehouse project.  Since I did a standalone piece about Lifehouse here, I shall concentrate on other aspects of 1971.

I suggest that you read this chronological treatment of other things from 1971, then take a break and read the Lifehouse piece, then come back.  It’s OK, I can wait!  I have some snacks and can answer comments all night!

The year 1970 was a roller coaster for The Who.  The success of Tommy, both in record sales and in touring revenue, were making them rich.  Not just doing OK, but rich.  However, the year started with a real tragedy, and probably marked the beginning of the end of the band, but no one knew it at the time.

Actually, there were two events that presaged the decline, but the one on 19700104 was the actual tragedy.  What I find interesting is that this event, which really happened, is not nearly as well know as the one about Moon driving the car into the swimming pool at the Holiday Inn the previous year, which as we discussed last week, never happened.

Hello, boys and girls!  Last week, until my ill advised outburst, we were finishing up 1968.  Actually, I think that some of their finest work was done then, but their commercial success was not as much as they would have liked, and Townshend in particular was in sort of a crisis of his ability to write and delivers songs that would chart well.

There were other things going on as well.  Please remember the it was Daltrey who invited Townshend to join HIS band, and by the end of 1968 is was pretty clear that Daltrey was not the “owner” of the band any more, Townshend was.  Daltrey had always been pugnacious, but he recognized that under the leadership of Townshend The Who was much more successful than The Detours ever would have been.

There were some other dynamics as well, as Kit Lambert began to spiral out of control with drink and narcotics, hard narcotics.  This was not full blown at the end of 1968, but the die had been cast and Townshend was well on his way to being the undisputed leader.

Our last installment in this series appeared on 201111.  This took us up to about the middle of 1967, and we shall pick up where we stopped.

They had been recording material for what ended up being The Who Sell Out, and some singles from that effort appeared beginning in September.  However, they also did a tour in the US and Canada.

Last week we started this series, beginning in 1958 and going through early 1966.  This week we shall cover to the end of 1967.  The reason for the shorter timeframe is that the band were much busier and beginning to know real success beginning then, with a really good year in 1967.

Last week I failed to mention that Keith Moon married Patsy Kerrigan on 19660317.  He nicknamed her “Kim”, which stayed with her for the rest of her life.  She was killed in an automobile accident in 2006.  I apologize for the oversight.

I also neglected to report this piece of trivia about “Substitute”.  In the original US release on 19660402, the line in the original that goes “I look all white, but my dad was black.” was altered to “I try going forward but my feet walk back.”  I strongly suspect that this was because the Atco executives (this was the only song released by Atco with The Who) feared reprisal from the bigots in the US.

In any event, let us take up where we left off, more or less, last week.

In this series about The Who we have reviewed all of their albums through Who are You, and I chose to stop there because the band were just not the same after the death of Keith Moon.  We shall now go back and look at the formation of the band, their rise to fame, and their slow decline after the release of Who’s Next.

Tonight we shall concentrate on their meeting and early success, ending with the departure of the really shady Shel Talmey in 1966.  Most people are not really aware of how far back some of the band members actually went, and how the band came to be in its lineup of Roger Daltrey, John Enwistle, Keith Moon, and Peter Townshend.  There were two others who, although they did not play or sing or write, were absolutely essential to the evolution of the band into what it became.