The Who at Kilburn 1977

[Applause] Over there?

Just there, through here.

Where do you want it?

Yeah, right there.

Boy, you guys sure-- They look after us on this show.

You know, you guys are really too much, and I want to introduce you to the guys individually in The Who because you never get to know their names.

You know them as The Who.

Everybody says, "Who?"

and you say--you know, so what's your name?

Pete.

Pete?

Yeah, Townshend, yeah.

Pete, and where are you from, Pete?

London.

From London?

Yeah.

London where?

London, England.

Hey, where'd you learn to play-- You know, that's a wild...style of play.

Where did you learn to play the guitar like that?

That was bowling.

That's bowling?

Heh.

Bowling.

Yeah.

I could tell.

Now we move right along-- Eh.

Right over here-- right over here, and you're-- John.

You're John?

John, yeah.

And you're from-- London, too.

From London, too?

Yeah.

And you must be Roger.

I must be.

Yeah.

Well, are you?

Yeah.

You're Roger?

I'm Roger.

And where are you from?

Oz.

Roger-- Here's Roger from Oz, and over here, the guy who plays the sloppy drums-- follow the yellow brick road-- What's your name?

Keith.

Keith?

My friends call me Keith.

You can call me John.

OK, John.

I'm gonna-- I'd just as soon call you Roger.

Roger from Oz, what's the next song you're gonna do?

"M-m-my Generation."

"Your Generation."

Yeah.

I can really identify with that because I really identify with these guys.

I dig them, and this is a-- Moon: [Blows raspberry] [Laughter] You know, you got sloppy stagehands round here.

[Laughter] OK!

That's enough!

They're gonna sing "My Generation."

This song really goes, and you're gonna be surprised what happens because this is excitement, and hit it.

"My Generation."

[Playing "My Generation"] People try to put us d-d-down Talkin' 'bout my generation Thank you!

Just bec-c-cause we get around Talkin' 'bout my generation Things they do look awful c-c-cold Talkin' 'bout my generation Yeah, hope I die before I get old Talkin' 'bout my generation This is my generation This is my generation, baby Why don't you all f-f-fade away?

Talkin' 'bout my generation I said, yeah, don't try and dig what we all s-s-say Talkin' 'bout my generation I'm not trying' to cause a b-b-big sensation Talkin' 'bout my generation I'm just talkin' 'bout my g-g-generation Talkin' 'bout my generation My generation This is my generation, baby Why don't you all f-f-fade away?

Talkin' 'bout my generation I said, yeah, don't try and dig what we all s-s-say Talkin' 'bout my generation I'm not trying to cause a b-b-big sensation I'm just talkin' 'bout my g-g-generation It's my generation This is my generation, baby My, my g-g-g... G-g-generation Talkin' about my g-g-g... G-generation Yeah, I'm talkin' about [Guitar feedback] [Guitars stop] [Applause and laughter] [Applause] Here... Ow!

Waah!

[Cymbal crashes] Uh...hey, guys?

Hey, Dick... Dick Smothers: Yeah?

I'd like to borrow your bass for a minute.

[Laughter] Announcer: Now, here is your "Shindig!"

host--Jimmy O'Neill.

[Girls screaming] Thank you very much, ladies and gentlemen.

Howdy hi, "Shindiggers."

Well, tonight is our very last "Shindig!"

and we're going out with a bang, and, boy, we got a bang-up cast for you, starring Billy J. Kramer and the Dakotas, The Who, Dave Berry, Ian Whitcomb, Sandie Shaw, The Kinks, the Barron Knights, Twinkle, and, of course, our own Blossoms and Wellingtons, so what do you say we get ready to live it up?

Because here we go with our kickoff tune tonight called "I Can't Explain," and here to sing it are The Who.

[Playing "I Can't Explain"] Got a feeling inside Can't explain Certain kind Can't explain I feel hot and cold Can't explain Yeah, down in my soul, yeah Can't explain I said Can't explain I'm feeling good now, yeah, but Can't explain Dizzy in the head, and I'm feeling blue The things you've said, well, maybe they're true I'm gettin' funny dreams again and again I know what it means, but Can't explain I think it's love Try to say it to you When I feel blue But can't explain Can't explain Yeah, hear what I'm sayin', girl Can't explain Dizzy in the head, and I'm feeling bad The things you said have got me real mad I'm gettin' funny dreams again and again I know what it means, but Can't explain I think it's love Try to say it to you When I feel blue, but I can't explain Can't explain Yeah, one more time, yeah, yeah, yeah Ooh, can't explain I said, I can't explain, yeah Drive me out of my mind Yeah, I'm the worrying kind, yeah I said, I can't explain [Applause] [Claves clicking] Oh, look out!

Terribly sorry, Russell.

Oh... Harty: Does this lot belong to you or not?

Have a seat.

Have a seat, old love.

Go on.

You sit down, then.

Drape yourselves all over the upholstery.

Who does that machinery belong to?

Does it belong to you or to us?

Bank owns it.

I mean, who has to pay for it?

It's mortgaged.

It's all right.

It looks all right.

Mind, a lot of people live in then, you know.

We've got 83 deposed Pakistanis.

Stop interrupting.

Do go on.

It's no good, darling.

I've lost my nerve now.

All right.

Let me take over, then.

Now, you've been together now as a group for how many years, 10 years?

Moon: Yeah.

I'm leaving.

No.

Wait a minute.

Hold on.

Was it that long?

Christ Almigh-- It's known as the Decay of The Who, or is it the Decade?

The decline of The Who?

The Decayed of The Who, Who Decayed.

[Playing "Baba O'Riley"] Whoo hoo!

Out here in the fields I fight for my meals I get my back into my living I don't need to fight To prove I'm right I don't need to be forgiven No, no, no, no, no, no Don't cry Don't raise your eye It's only Teenage wasteland Yeah!

Sally, take my hand We'll travel south cross land Put out the fire And don't look past my shoulder The exodus is here The happy ones are near Let's get together Before we get much older Teenage wasteland, oh, yeah It's only teenage wasteland Teenage wasteland Oh, yeah It's only teenage wasteland They're all wasted [Cheering and applause] Yup.

Everybody, do you feel all right?

Sure, sure, sure.

Yeah, yeah.

Come on, everybody So good, do you feel all right?

Yeah, yeah, yeah.

We all right.

Do you feel--ah, yeah-- do you feel all right?

Yeah, yeah, yeah.

Yeah, yeah.

You know, you make me want to shout Shimmy Oh, yeah, you gonna shout Shimmy Oh, yeah, you gonna shout Shimmy Ooh, yeah, go on and shout Shimmy Oh, baby, know I walked up to the front Try to do the flop Shout, shimmy Walked down and shout it now Shout, shimmy Oh, yeah, now Shout, shimmy Ooh, yeah, now Shout, shimmy Whoa, yeah, now I do a little thing I never did before Shout, shimmy | Everybody, you feel so good Shout, shimmy Do you feel so fine?

Feel all right Come on, everybody Everybody shout Ooh ooh ooh ooh Ooh ooh ooh ooh You make me feel real good Ooh ooh ooh ooh Everybody clap your hands, come on Ooh ooh ooh ooh Come on, come on, make me feel all right Ooh ooh ooh ooh All right, do you feel all right?

All right Everybody, go on, clap your hands Come on and shout [Girls screaming] Yeah.

Shh.

Clap your hands a little louder Go on.

A bit louder Shout Shout Come on.

A bit louder, that's good Shout A little louder Hey, hey, hey Let's bring ourselves together.

You've been together for 10 years, a decade.

You haven't yet decayed.

Apart from the Rolling Stones, you're the longest surviving together group, are you not?

Moon: Half of them are not together.

You tell me, Mr. Townshend, what strains that you've suffered together, if at all.

Oh!

It seems it's just beginning.

Uh, it's such a long story.

Shall I start in on-- Yeah.

Start at the beginning.

Well, we started off as a-- Small family butcher's firm.

Fantastic thing about The Who is that we were all incredibly nasty.

You are or were?

Were.

I mean, we're-- His feet are nasty, as well, by the smell of it.

Townshend: Christ.

Don't mind me.

Carry on, Russell.

No.

We were nasty-- Oh, God.

You carry on, Russell.

Get it out.

I don't want it.

Oh, you--you just carry on, Russell.

Go on.

Go on.

I, you know-- Are you sure it's gonna be worth seeing?

[Laughter] [Playing "Young Man Blues"] Daltrey: Well, a young man Ain't got nothing in the world these days I said, a young man Ain't got nothing in the world these days Well, you know, in the old days When a young man was a strong man All the people, they stepped back When a young man walked by But you know nowadays It's the old man Who's got all the money And a young man Ain't got nothing in the world these days, I say You know he ain't got Ain't got nothing Whoa, in the world these days Everybody knows Everybody knows That a young man ain't got nothing No, no Waah, oh, yes In the old days Everybody stepped back When a young man Walked by They stepped back They stepped back Melvyn Bragg: There's a thing here, or an account, of one week exactly 10 years ago... Yeah.

when you had played in that week at the Social Club in Goldhawk Road and the California Ballroom in Dunstable and the Railway Arms in Neasden, and what you'd made that week was �370, and what you had spent was �1,946.17.6 and including �785 on replacement of guitars, drum kits, and microphones.

Who covered that gap in money, that �400 gap, which left �1,300 to find every week?

It's hard to say.

I used to rush into Marshall's Music Shop and steal guitars off the wall.

I'd say, "Just taking a guitar, pay you Tuesday," and rush out.

Kit Lambert, our manager then, was frustrating.

"Photographer from the "Daily Mail" in the audience.

Smash your guitar," he'd say, so I smash the guitar around the stage, so he'd come back, "Pete, Pete, sorry.

He missed it.

Can you smash another one?

I'll give you the money," and as soon as I started smashing something up, Keith, who's a great sort of joiner inner, used to smash up his drum kit.

[Guitar feedback] Well, I suppose all his friends have been on here-- because, you know, I'm only one of several-- have told you about all the mad things he's done in life, such as, you know, breaking up rooms, driving his car into swimming pools, driving his car into foyers.

Well, I'm not gonna tell you about any of that, you know?

I'm just here to tell you about the Keith I know and love, you know?

Man: Keith, What's your opinion of your public image?

I think it sort of varies with every record I put out.

I think sometimes the-- Could you get on with it?

Keep-- Will you keep it together?

No.

I think I'm very reliant on my management and my public relations people.

Ken Russell: This country's in a weird, feeble, grotesque state, and it's about time it got out of it, and the reason it could get out of it is rock music, and I think that Townshend, The Who, Roger Daltrey, Entwistle, Moon could rise this country out of its decadent, ambient state more than Wilson and those crappy people could ever hope to achieve!

[Playing "Tommy, Can You Hear Me?"]

Tommy, can you hear me?

Can you feel me near you?

Tommy, can you see me?

Can I help to cheer you?

Ooh, Tommy Tommy, Tommy Tommy Tommy, can you hear me?

Can you feel me near you?

Tommy, can you see me?

Can I help to cheer you?

Ooh, Tommy Tommy, Tommy Tommy Tommy, can you hear me?

Can you feel me near you?

Tommy, can you see me?

Can I help to cheer you?

Ooh, Tommy Tommy, Tommy Tommy, Tommy Tommy, Tommy Tommy, Tommy Tommy, Tommy... What about the little singer?

What's your opinion of him?

Well, I think he does a damn good job out there.

Personally, I mean, I wouldn't go out there up front with nothing to protect me but a small microphone, but he manages to, like, revolve it so fast that when people do throw things, he gets sort of desiccated egg and sliced tomato.

I turn my cymbals up this way so that at the end of the night, I have a salad mixed.

I just sprinkle some salt and some Italian seasoning on it, and that sort of really ends up my evening here.

[Playing "Pinball Wizard"] Ever since I was a young boy I played the silver ball From Soho down to Brighton I must have played them all But I ain't seen nothing like him In any amusement hall That Deaf, dumb, and blind kid Sure plays a mean pinball He stands like a statue Becomes part of the machine Feeling all the bumpers Always playing clean Plays by intuition The digit counters fall That Deaf, dumb, and blind kid Sure plays a mean pinball He's a pinball wizard There has got to be a twist A pinball wizard's got such a supple wrist How do you think he does it?

I don't know What makes him so good?

Ain't got no distractions Can't hear no buzzers and bells Don't see no lights a-flashin' Plays by sense of smell Always gets a replay Never tilts at all That Deaf, dumb, and blind kid Sure plays a mean pinball I thought I was The Bally table king But I just handed My pinball crown to him Even on my favorite table He can beat my best His disciples lead him in And he just does the rest He's got crazy flipper fingers Never seen him fall That Deaf, dumb, and blind kid Sure plays a mean pinball The are some elements in the story-- like the image in the mirror; the pinball; and the sensibility in general: "See me, feel me, touch me, heal me"-- which reflect, in a certain sense, the phenomenon of youth subculture.

There is narcissism.

There is a kind of new sensibility as a strong tendency for playing up things and no more putting it into aggressive forms of a counteraction.

Um...

Uh, yeah.

[Playing "See Me, Feel Me/ Listening to You"] See me Feel me Touch me Heal me See me Feel me Touch me Heal me See me Feel me Touch me Heal me Listening to you I get the music Gazing at you I get the heat Following you I climb the mountain I get excitement at your feet Right behind you I see the millions On you I see the glory From you I get opinions From you I get the story Listening to you I get the music Gazing at you I get the heat Following you I climb the mountain I get excitement at your feet Right behind you I see the millions On you I see the glory From you I get opinions From you I get the story Yeah, listening to you I get the music Gazing at you I get the heat, heat Following you I climb the mountain I get excitement at your feet Right behind you I see the millions On you I see the glory From you I get opinions From you I get the story Listening to you I get the music Gazing at you I get the heat, heat Following you I climb the mountain I get excitement at your feet Right behind you I see the millions On you I see the glory From you I get opinions From you I get the story Yeah Right behind you I see the millions On you I see the glory From you I get opinions From you I get the story [Cheering and applause] Thank you.

Good.

Thank you.

Bragg: That was the end of the sixties.

That seemed to sum up an awful lot about rock.

It was the time when-- I mean, you were the great star of Woodstock.

Woodstock itself was one of the biggest pop events in world terms because of the film that masses and millions of people had seen, and it was a marvelous thing in its way, but, just as a matter of interest, what do you think it changed?

What was different after it?

What did that generation, all those people, I mean, given the same high by the same thing and yourself and so on, what did it change?

I'm just interested to know.

Well, it changed me.

I hated it.

[Guitar feedback] [Guitar feedback] [Cheering and applause] Announcer: Ladies and gentlemen... [Guitar feedback] The Who.

[Cheering and applause] You have to resign yourself to the fact that a large part of the audience is sort of thick, you know, and don't appreciate quality, however much you try and put it over.

The fact is is that our group hasn't got any quality.

It's just musical sensationalism.

You do something big on the stage, and a thousand geezers sort of go, "Ah!"

It's just basic Shepherd's Bush enjoyment.

[Playing "Anyway, Anyhow, Anywhere"] I can go anyway Way I choose I can live anyhow Win or lose I can go anywhere For something new Anyway, anyhow, anywhere I choose I can do anything Right or wrong I can talk anyhow And get along Don't care anyway I'll never lose Anyway, anyhow, anywhere I choose Nothing gets in my way Not even locked doors Don't follow lines that been laid before I get along anyway I dare Anyway, anyhow, anywhere Our sound appeals to Mods in that it caters for aggression.

For example, when, for a brief period, I stopped smashing guitars, kids started shouting out, "Smash your guitar, Pete.

Smash your guitar," and getting quite annoyed that I wasn't because to a large percentage of geezers that come to see the group, they paid their money to see me at me amplifier with a guitar and see a guitar break, you know.

A lot of girls come to see the group because of various things which people in the group wear, such as John's jacket and medals and my jacket made out of flags and Keith, who wears sort of fab, gear, pop-art t-shirts made out of targets and hearts and things like this.

Because the group is a fairly simple form of pop art, we get a lot of audience this way.

Off stage, the group get on terribly badly.

There's a lot of just spite and things which flash around.

The singer's a Shepherds Bush geezer who wants everything to be a big laugh, and when it isn't, you know, he thinks something's going wrong, terribly wrong.

The drummer is a sort of completely different person to anyone else I've ever met.

The bass player just doesn't seem to be interested in anything, you know, which makes it all very difficult.

You've been together 10 years.

You must have been subject to a great deal of strain and inner tension...

Moon: Oh, yes.

and I now cannot...

The thing was, actually... We do try and ignore each other.

I mean, we've always been very close, you and I, haven't we?

No.

Well, one of the things is that in the history of the group...

The group has had no history... is that Keith and I always got on incredibly well.

and I've hated him ever since it began.

One of the things, too, is, since I've been doing a bulk of the writing...

The things is that he does no writing, and then I have to do most of it... and I think of most of the lyric work.

and the thing is, of course, you know, he thinks he does the lyrics.

["Success Story" playing] Entwistle and Daltrey: Friday night I'm on my way home They ought to make work a crime I'm home for the weekend I'm gonna make the most of my time There's a rock and roll singer on the television Given up his music Gonna take up religion Entwistle and Townshend: Deserted rock and roll To try to save his soul Entwistle and Daltrey: Saturday night Got a gig with the band Playing the electric guitar Someday I'm gonna make it Gonna be a super duper star Get a big, flashy car And a house for my ma... Entwistle: Pull!

[Gunshots] Pull!

[Gunshots] Pull!

[Gunshots] Entwistle: Just like Cinderella When she couldn't go to the ball... Pull!

[Machine gun fire] Entwistle: "You shall play at Carnegie Hall."

I'm gonna give up my day job To become a heartthrob I may go far If I smash my guitar Woman: What about musical quality, though?

You said that you don't think your group have got any.

Well, why don't you try and give it some?

If you don't-- If you steer clear of quality, you're all right, you know?

[Laughter] No, really.

This is the truth, you know.

Woman: But wouldn't you say the Beatles and people like that had a certain musical quality?

Ooh, you know, that's a tough question.

I-- Actually, this afternoon, we, John and I, were listening to a stereo LP of The Beatles in which the voices come out of one side and the backing track comes out of the other, and when you actually hear the backing track to the Beatles without their voices, they're flippin' lousy.

[Playing "Substitute"] I was born with a plastic spoon in my mouth The north side of my town faced east And the east was facing south [Playing "Pictures of Lily"] Daltrey: Pictures of Lily Lily, oh, Lily Lily, oh, Lily Pictures of Lily [Playing "Magic Bus"] I don't care how much I pay Too much, the Magic Bus I want to drive my bus to my baby each day Too much, the Magic Bus I want it, I want it I want it, I want it I want it, I want it You can't have it I want it, I want it, I want it Thruppence and sixpence every day Just to drive to my baby Thruppence and sixpence each day 'Cause I drive my baby every way No Magic Bus Magic Bus Magic Bus Magic Bus Magic Bus Whoa, oh Magic Bus Oh, oh Magic Bus I want the Magic Bus I want the Magic Bus I want the Magic Bus I want the Magic Bus Magic Bus Whoa, whoa, whoa Magic bus I said, now I got my Magic Bus Too much, the Magic Bus I said, now I got my Magic Bus Too much, the Magic Bus I drive my baby every way Too much, the Magic Bus Each time, I go a different way Too much, the Magic Bus I want it, I want it I want it, I want it I want it, I want it I want it, I want it Every day, you'll see the dust Too much, the Magic Bus As I drive my baby in my Magic Bus Too much, the Magic Bus I drive my baby every way Too much, the Magic Bus Each time, I go a different way Too much, the Magic Bus I want it, I want it, I want it... Moon, voice-over: The first major American tour was by bus.

We traveled--we did-- We went from, you know, coast to coast, and from Miami, we'd go up to Canada.

It was pretty awful.

We used New York as a springboard.

We used to play for Murray the K. We used to do 5 shows a day there, and we had 3 minutes to do our show, so we used to do, like, 1 1/2 minutes of "Can't Explain" and 1 1/2 minutes of "My Generation," smash your guitar and run off, you know, 5 times a day, 7 days a week.

In those days, your performances used to end up with you smashing all your equipment.

There were stories about you smashing hotel rooms on every tour you went on.

All lies, not a word of truth.

Well, according to people at the time, it certainly was true.

I mean, why was there all that violence surrounding you?

Well, this was only last week, wasn't it?

What made us first want to go to America and conquer it was being English, not because we cared a monkey's about the American Dream or about the American drug situation or about the dollars or anything.

It's because we were English kids, right, and we wanted to go to America and beat it.

Pop music is crucial to today's art, and it's crucial that it should remain art, and it is crucial that it should progress as art.

["Happy Jack" playing] Daltrey: Happy Jack wasn't tall But he was a man He lived in the sand at the Isle of Man The kids would all sing He would take the wrong key La la la la la la la La la la la la la la la So they rode on his head in their furry donkey La la la la la la la La la la la la la la la The kids couldn't hurt Jack They tried and tried and tried They dropped things on his back And lied and lied and lied and lied and lied But they couldn't stop Jack or the water's lapping La la la la-la la la la La-la la la la la-la la la la And they couldn't prevent Jack from feeling happy La la la la la la la But they couldn't stop Jack or the waters lapping Lap lap lap lap lap lap lap And they couldn't prevent Jack from feeling happy Lap lap lap The kids couldn't hurt Jack They tried and tried and tried They dropped things on his back And lied and lied and lied and lied and lied But they couldn't stop Jack or the waters lapping And they couldn't prevent Jack from feeling happy Townshend: I saw you.

Woman: Girls came to see you mainly to look at the clothes you wear.

Don't you think that most of them come for a certain sexual thrill they get out of your performance?

Townshend: Look.

You know, our group's probably one of the most unglamorous on the stage today, you know.

I mean, no, really.

I mean, this is one of our-- was one of our big problems, you know, and probably still is, you know, that the group didn't have enough glamor.

It was all being clothes and smashing things up, and it was all mechanical things, and it was bricks and stones and things and not enough sort of normal group things, you know.

We made our second-- second album, which he produced, and it was during that album which-- as I said, Kit Lambert produced-- that we really realized what making albums was all about.

You know, we had great fun, and it was very creative, and Kit was learning about record production and doing crazy things, like recording the group from a microphone down the corridor and all these things which are very commonplace nowadays but using incredible amounts of compression and squeezing the sound up, squeezing cymbal sounds up to make them sound like steam engines and various sort of twiddling knobs as the recording was going and the engineers throwing their hands in the air-- "Platinum-coated knobs, mate.

You can't do that"-- and all this was going on in the studio, but unfortunately, we had 10 minutes on the album to fill when we'd finished, and so Kit turned round to me.

He said, "I think you should write something linear, "something with continuity, perhaps a 10-minute song," so I said, "You can't write a 10-minute song.

I mean, rock songs are two minutes, 50, by tradition.

It's one of the traditions, you know?

They only allowed you one modulation, and the 4 chords or 5.

You know, 5 chords, you might be up before the committee.

"10 minutes?

It's ridiculous," so he said, "Well, listen."

"If you can't write a 10-minute song, "write a 10-minute story made up of two minute, 50, songs, right?"

which I did, and that was the mini opera, it was called.

Now, ladies and gentlemen, dig The Who.

2, 3 Her man's been gone For nigh on a year He was due home yesterday But he ain't here Her man's been gone For nigh on a year He was due home yesterday But he ain't here [Playing "Crying Town"] Down your street your crying is a well-known sound Your street is very well-known Throughout your town Your town is very famous for the little girl Whose crying can be heard all around the world Ooh ooh ooh, ooh ooh, ooh ooh ooh ooh Ooh ooh ooh, ooh ooh, ooh ooh ooh ooh [Playing "We Have a Remedy"] We have a remedy You'll appreciate No need to be so sad He's only late We'll bring you flowers and things Help pass your time We'll give him eagle's wings Then he can fly to you Fa la la la la la Fa la la la la Fa la la la la la Fa la la la la Fa la la la la la Fa la la la la la We have a remedy Fa la la la la la la We have a remedy Fa la la la la la la We have a remedy Fa la la la la la la We have a remedy.

Little Girl Guide... why don't you stop your crying?

Here comes Ivor the dirty, old, sooty engine driver to make you feel all right.

[Playing "Ivor the Engine Driver"] Entwistle and Daltrey: My name is Ivor I'm an engine driver I know him well I know why you feel blue Just 'cause he's late Don't mean he'll never get through He told me he loves you He ain't no liar, I ain't, either So let's have a smile for an old engine driver Let's have a smile for an old engine driver [Playing "Soon Be Home"] Soon be home Soon be home We'll soon We'll soon, soon, soon be home Soon be home Soon be home Oh, yeah We'll soon We'll soon, soon, soon be home Soon be home Soon be home Dang Dang Dang Dang Dang Dang Dang Dang [Playing "You Are Forgiven"] Cello cello cello cello Cello cello cello cello Cello cello cello cello Cello cello cello cello Cello cello cello cello Cello cello cello cello Cello cello cello cello Cello cello cello cello Townshend: I can't believe it Do my eyes deceive me?

Am I back in your arms?

Away from all harm?

It's like a dream to be with you again Can't believe that I'm with you again Bow bow, bow ooh wow ooh bow bow I missed you, and I must admit I kissed a few And once did sit On Ivor the Engine Driver's lap And later with him Had a nap You are forgiven You are forgiven You are forgiven You are forgiven You are forgiven You are forgiven You are forgiven You are forgiven You are forgiven, forgiven Forgiven, forgiven Forgiven Forgiven Forgiven Forgiven Forgiven Forgiven Forgiven Forgiven Forgiven, forgiven, forgiven, forgiven, forgiven Daltrey: Oh, you're forgiven Come on, baby Don't let you cry Oh, you're forgiven Don't want to hear you cry Baby You are forgi... ven You are forgiven You are forgiven You are forgiven Forgiven, forgiven Forgiven, forgiven Forgiven Oh, you're forgiven You are all forgiven.

What we have to do is, we have to-- we have to decide whether or not we're gonna remain the circus act, right, or whether we're gonna-- in other words, doing what everybody knows we can do and what we know we can do, right, until the band eventually turns into a cabaret act, which is inevitable.

No.

That's ridiculous to say that.

Daltrey: Ha ha ha!

I mean, that's just... OK, Keith.

irresponsible.

Brandy's dry on the heel and just-- Hey!

Ba da da da da da daaaa ah Rump tum da da da daaaa rump bum Woman: I've heard a lot about you and the rest of the group taking drugs, Pete.

Does this mean you're usually blocked up when you're actually on stage?

No, but it means we're blocked up all the time, you know?

Well, Keith, we've heard you drink a lot, but that's besides the point.

If you could tell us, you know, I mean, how did you-- how did you happen to join The Who, and if, in fact, that's what they were called when you joined?

Well, I've just been sitting in for the past 15 years.

You know, they never actually told me that I was part of the band.

I knew it by instinct.

Keith Moon rolled up one day, all ginger all over-- ginger shoes, ginger corduroy trousers, ginger jacket, and his hair dyed ginger, holding a glass of brown ale-- so this complete ginger sort of vision came up and said, "I can play better than him," this horrible impudent with his hair down like this, and got up on the drummer's drum kit and practically smashed it to pieces, and we thought, "This is the man for us."

["Cobwebs and Strange" playing] [Drum solo] [Band playing] [Drum solo] Hi.

I'm Ralph Baines, speaking to you for the Hewitt House Hotels, the rock star's home away from home.

Don't be alarmed.

I think I know what's going on.

["Cobwebs and Strange" resumes] [Drum solo] [Band playing] [Drum solo] Keith: Whoo!

[Band playing] Whoo!

[Drum solo] [Siren] [Drum roll] [Cymbal crash] [Drum roll] [Band playing] Uh!

Ooh!

Ah!

Let's get some information across before the fun and games break loose again.

What were you before you kicked off as a group?

He was almost as interesting as-- I was with the-- the Inland Revenue.

You were what?

Inland Revenue, income tax.

I thought you said you were in a Land Rover.

Yeah, sometimes, you know, in the back.

Inland Revenue, income tax, so what did you do?

Me?

Uh, all sorts of things.

Like what?

Be more specific.

He wants specifics.

I want one thing that you did before you joined as a group.

Were you digging a garden, or what?

Townshend: He was born in a bunker.

Sheet metal worker.

Sheet metal worker?

Yeah.

Moon: Yeah.

I was a rust repairer.

[Laughter] I was a rust repairer and 4-time survivor.

I survived all the major earthquakes and the Titanic and several air crashes.

I think you'll have to give me a few lessons in survival because if I'm gonna survive this interview, I'll need a few lessons.

Townshend: Well, there is more brandy-- I mean, lemonade.

That's right, and you were doing what?

Townshend: Oh.

Entwistle: He didn't work.

Moon: Arty farty, he was.

Do leave me out of this.

We were talking about me.

Here.

Get out.

Oh, no.

No.

Oh, no, Keith.

Oh...

It's the breakup of The Who.

Ohh... That's what he was doing-- developing his muscles.

Keith, leave me alone.

Well, they have to ask you this, you know.

I know, but-- You know, what do you think about Pete?

I love the man.

He's one of my dearest friends, but I couldn't say, Ringo, if Pete said, "What do you think about Ringo?"

see, well, you know, we have our moments, and when we get together, there are certain times that you just-- something happens, and I really don't know what it is, but there's that magic there.

It's probably you were drunk.

It could be that.

Oh, not drunk, teenyboppers.

No, absolutely not, you Donny and Marie fans.

I mean, Keith and Ring had a lot of medicine.

Absolutely.

You know, just a lot of medicine because... We're getting on.

we're getting on now.

We need our medicine, so-- You know, do you see the age of the suit?

When I'm on the stage-- Let me try and explain.

When I'm on the stage, I'm not in control of myself at all.

I don't even know who I am, you know.

I'm not this rational person that can sit here now and talk to you.

If you walked on the stage with a microphone in the middle of a concert, I'd probably come close to killing you.

I have come close to killing people who have walked on the stage.

Abbie Hoffman walked on the stage at Woodstock, and I nearly killed him with me guitar.

A cameraman walked on the stage at-- A policeman came on when the bloody building at the Fillmore in New York was burning down, and I kicked him in the balls and sent him off, you know, because I-- you know, I-- I'm just not there, really.

It's not like being possessed.

It's just, I do my job, and I know that I have to get into a certain state of mind to do it.

[Playing "Sparks"] [Guitar feedback] We'd realized the end of our tether.

We'd reached it.

We'd come upon the point when the... [Whooshing] nosebleeds and all that, you know, they're no good.

You can't go on doing that.

It's no good.

It's beyond the beyond.

Ba Ba Barbara Ann "Barbara Ann"?

Ba Ba Ba Ba Barbara Ann We'll have to go and have a look-- Ba Ba Uh... Ba Ba Ba Ba Ba Ba B-Ba Ba Ba Ba Ba Ba Ba No.

That's the key.

Ba Ba Ba Ba Ba Barbara Ann Both: Ba Ba Ba Ba Barbara Ann Barbara Ann Ba Ba Barbara Ann Ba Ba Ba Ba Barbara Ann Barbara Ann Take my hand Barbara Ann You got me rockin' and a-rollin' Rockin' and a-reelin', Barbara Ann Ba Ba Ba Barbara Ann Went to a dance looking for romance Saw Barbara Ann, so I thought I'd take a chance With Barbara Ann, Ba Ba Ba Barbara Ann Barbara Ann You got me rockin' and a-rollin' Rockin' and a-reelin', Barbara Ann Ba Ba Ba Barbara Ann Tried Mary Lou, tried Peggy Sue Tried Betty, too, she really wouldn't do Barbara Ann, Ba Ba Ba Barbara Ann Barbara Ann You got me rockin' and a-rollin' Rockin' and a-reelin', Barbara Ann Ba Ba Ba Barbara Ann Now?

Ba Ba Ba Ba Barbara Ann Ba Ba Ba Ba Barb-- Barbara Ann Take my hand Barbara Ann You got me rockin' and a-rollin' Rockin' and a-reeling, Barbara Ann Ba Ba Ba Barbara Ann Went to a dance looking for romance Saw Barbara Ann, so I thought I'd take a chance With Barbara Ann, Ba Ba Ba Barbara Ann Barbara Ann Ha ha!

Ba Barbara Ann You got me rockin' and a-rollin' Rockin' and a-reelin', Barbara Ann Another solo, eh?

Yes.

Went to a dance looking for romance We did that bit, then?

Does it come in twice, that bit?

I just-- Daltrey: Oh, moving on, Moon.

I mean, one main ambition now is to get back on the road with the horrible Who, the worst rock and roll group in the world.

Man: The worst?

Yes.

You couldn't pick more-- 4 more horrible geezers that make more-- I mean, make the worst noise that you've ever heard in your life.

[Playing "Roadrunner"] Daltrey: Hey, I'm a roadrunner, honey I'm a roadrunner, honey And you can't keep up with me Hey, I'm a roadrunner, honey And you can't keep up with me Come on, precious B-b-baby, baby, you and me Now, baby, rock on Roadrunner, roadrunner Come on, precious B-b-baby, baby, you and me Baby You got to help me Whoo!

Well, people try to put us d-d-down Just because we get around Things they do look awful c-c-cold I hope I die before I get old This is my generation This is my generation Why don't you all f-f-fade away?

And don't try to dig what we are saying I'm not, not, not, not trying to cause a big sensation I'm just talkin' about my generation This is my generation This is my generation, baby Talkin', talkin' Talkin' about, yeah Right now My, my All right Talk One of the reasons for having sort of music and things fantastically loud is because you get so many people sort of just turn deaf ears to what you do.

You know what I mean?

They sort of just won't listen to what you do, and it doesn't matter how good or bad it is.

In fact, the bigger it is, normally, the more they'll close their ears to it, so the louder you've got to-- you got to work, you know.

Volume's a fantastic thing, power and volume and power and volume.

Yeah.

Townshend: When I went to get me ears tested, thought it was really encouraging, apart from the fact he said I had-- Terrible problems.

got terrible ears.

He said-- Bill said to him, "Well, what advice would you give him?

"Would you tell him to stop playing entirely and leave the group..." "Throw his career out the window?"

"throw his career out the window, "become a pauper, starve?

Would you tell him that?"

"Well, no, actually, no, but I would advise him to learn to lipread."

That's what he said.

Ha ha ha!

It's true.

That's what he said.

Get out.

Have you, all of you made enough money to stop work this afternoon, tonight?

Could buy and sell you like that.

Yes.

I have.

You have?

Why don't you stop, then?

Moon: He's got to support me and the rest of the boys.

[Laughter] You mean you've made more money than they have?

Well, I write all the the songs.

No.

I write the songs, so if you write songs, you'd get a bit on the side, you know.

They're gonna break up.

You see, the thing is, as songwriter, I do have something, you know, you know, an edge...

Going for you.

going for me, I think, so-- [Laughter] We go for him.

Scab.

Moon: Oh !

Moon: No.

Carry on, Russell.

No.

I mean, I'm transfixed by it all.

I don't know why I'm here.

Yeah.

Woman: In "My Generation," you wrote, "I hope I die before I get old."

Do you, in fact, mean it?

Yes.

Eh?

There's a guitar up here if any bigmouthed, little git wants to come and ... take it off me.

Rock and roll's got no future.

It don't matter.

We became rich a lot later than I expected.

Ha ha ha!

Now I'm too old to enjoy my money.

Man: Uh, excuse me.

You know, we just shot a lot of film with the interview... Mm.

and talking about all that.

I was wondering... Heard the word.

now if you'd really tell us the truth and stop lying.

No.

It's-- I mean, the truth as you want to hear it?

I can't do that.

You couldn't afford me.

Man: But you're a very different person now to the desperate, young man of the early sixties, aren't you?

Yeah.

I'm a desperate, old fart now, not boring, though.

[Playing "Who Are You"] Who are you?

Who, who, who, who?

Who are you?

Who, who, who, who?

Who are you?

Who, who, who, who?

Who are you?

Who, who, who, who?

I woke up in a Soho doorway A policeman knew my name He said, "You can go sleep at home tonight If you can get up and walk away" I staggered back to the underground And the breeze blew back my hair I remember throwin' punches around And preachin' from my chair Well, who are you?

Who are you?

Who, who, who, who?

I really wanna know Who are you?

Who, who, who, who?

Come on, tell me, who are you?

Who are you?

Who, who, who, who?

'Cause I really wanna know Who are you?

Who, who, who, who?

I took the tube back out of town Back to the Rolling Pin I felt a little like a dying clown With a streak of Rin Tin Tin I stretched back, and I hiccupped And looked back on my busy day 11 hours in the Tin Pan God, there's got to be another way Well, who are you?

Who are you?

Who, who, who, who?

Oh, I really wanna know Who are you?

Who, who, who, who?

Oh, who the ... are you?

Who are you?

Who, who, who, who?

I really wanna know Who are you?

Who, who, who, who?

Who Are you?

Who are, who are, who are Nearly.

Who are, who are, who Who are, who are, who are Who are, who are, who Who are, who are, who are Who are, who are, who Who are, who are, who are Who are, who are, who Who are, who are, who are Who are, who are, who Who are, who are, who are Who are, who are, who Who are you?

Who, who, who, who?

Who are you?

Who, who, who, who?

Who are you?

Who, who, who, who?

Who are you?

Who, who, who, who?

Ooh, I really wanna know Who are you?

Who, who, who, who?

I really wanna know Who are you?

Who, who, who, who?

Oh, tell me, who are you?

Who are you?

Who, who, who, who?

I really wanna know Who are you?

Who I really wanna know I really wanna know Come on, tell me, who are you You, you?

Who are you?

Hey!

Ow!

[Laughter] So there.

I've been saving that.

Harty: You all behave in this crazy way the whole time?

You're all married, aren't you?

Eh?

Eh?

Nope.

No, no, no, no, no.

Moon: I wouldn't marry this lot.

[Laughter] Oh, God.

That's a great sleeve, that is...

If you touch my bleeding sleeve... because these sleeves...

Moon: No.

Eh.

Hey, he's getting stroppy now.

Yes.

You leave his sleeves alone.

Yeah.

Personal them, eh?

Can't touch the interviewer, can we, eh?

No.

He's in command, isn't he?

He can make everybody else look a right twit as long as you don't have a go at him.

How long you been happily married, then, eh?

[Laughter] You know the the BBC has a wardrobe department.

Townshend: Go on, then.

Moon: You've got a lovely life line.

Have I a long life line?

Pity about the warts.

No.

No, not too long.

I should say about, um, two minutes.

Ladies and gentlemen, before my life-- My lifeline, according to him, is two minutes long, which means we've got to the end of the program.

We'll be back, God willing, same time, same place next week.

See you then.

Good night.

Moon: Oh, he's so smooth.

Aagh!

Townshend: This is where it all ends.

[Playing "My Generation"] People try to put us d-d-down Talkin' 'bout my generation Thank you!

Just bec-c-cause we get around Talkin' 'bout my generation Things they do look awful c-c-cold Talkin' 'bout my generation Yeah, hope I die before I get old Talkin' 'bout my generation This is my generation This is my generation, baby Why don't you all f-f-fade away?

Talkin' 'bout my generation I said, yeah, don't try and dig what we all s-s-say Talkin' 'bout my generation I'm not trying' to cause a b-b-big sensation Talkin' 'bout my generation I'm just talkin' 'bout my g-g-generation Talkin' 'bout my generation My generation This is my generation, baby Why don't you all f-f-fade away?

Talkin' 'bout my generation I said, yeah, don't try and dig what we all s-s-say Talkin' 'bout my generation I'm not trying to cause a b-b-big sensation I'm just talkin' 'bout my g-g-generation My generation This is my generation, baby M-m-m-m-m-m-m-m-m-m-my, my G-g--g-generation [Guitar feedback] [Cheering and applause] [Chuckles] Can't think of anything to say.

Rock and roll's never ever stood dissecting and inspecting at close range.

It just doesn't.

It doesn't stand up, so shut up.

There is a place for us I am accused of letting the side down, as it were, often by our fans, you know.

Like, for example, like, "You can't stop doing this.

"You can't stop doing what you're doing because, you know, you'd let down all these people."

It's not people just saying, "Listen.

"You'll disappoint your fans if you don't go on.

"The show must go on.

You know, you must go on.

Otherwise, all those people will be so upset."

It's, "You've got to go on, man.

"Otherwise, all those kids, they'll be finished.

They'll have nothing to live for."

That's rock and roll.

[Playing "Won't Get Fooled Again"] We'll be fighting in the streets With our children at our feet And the morals that they worship will be gone And the men who spurred us on Sit in judgement of all wrong They decide, and the shotgun sings the song I'll tip my hat to the new constitution Take a bow for the new revolution Smile and grin at the change all around Pick up my guitar and play Just like yesterday Then I'll get on my knees and pray We don't get fooled again Don't get fooled again A change, it had to come We knew it all along We were liberated from the fold That's all But the world looks just the same And history ain't changed 'Cause the banners they are flown in the last war I'll tip my hat to the new constitution Take a bow for the new revolution Smile and grin at the change all around Pick up my guitar and play Just like yesterday Then I'll get on my knees and pray We don't get fooled again Don't get fooled again No, no, no, no, no I'll move myself and my family aside If we happen to be left half alive I'll get all my papers and smile at the sky For I know that the hypnotized never lie Do ya?

Oh, no There's nothing in the street Looks any different to me And the slogans are replaced by-the-bye And the parting on the left Is now parting on the right And the beards have all grown longer overnight I'll tip my hat to the new constitution Take a bow for the new revolution Smile and grin at the change all around Pick up my guitar and play Just like yesterday Then I'll get on my knees and pray We don't get fooled again Don't get fooled again No, no, no, no, no Don't get fooled again Yeah Meet the new boss Whoo, same as the old boss You got it [Cheering and applause] ["Long Live Rock" playing] Townshend: Down at the Astoria The scene was changing Thank you.

Bingo and rock were pushing out X-rating We were the first band to vomit at the bar And find the distance to the stage too far Meanwhile, it's getting late at 10:00 Rock is dead, they say Long live rock Daltrey: Long live rock I need it every night Long live rock Come on and join the line Long live rock Be it dead or alive Townshend: People walk in sideways Pretending that they're leaving We put on their makeup and work out all the lead-ins Jack is in the alley selling tickets made in Hong Kong Promoter's in the pay box Wondering where the band's gone Back in the pub, the governor stops the clock Rock is dead, they say Long live rock Daltrey: Long live rock I need it every night Long live rock Come on and join the line Long live rock Be it dead or alive Landslide Rocks are falling Falling down around our very heads We tried, but you were yawning Look again Rock is dead Rock is dead Rock is dead Townshend: The place is really jumping to the Hiwatt amps Till a 20-inch cymbal fell and cut the lamps In the blackout, they danced right into the aisle And as the doors fly open, even the promoter smiles Someone takes his pants off, and the rafters knock Rock is dead, they say Long live rock Long live rock Long live rock Long live rock Daltrey: Long live rock Long live rock Long live rock Long live rock Long live rock Long live rock I need it every night Long live rock Come on and join the line Long live rock Be it dead or alive ["The Kids Are Alright" playing] I don't mind other guys dancing with my girl That's fine I know them all pretty well But I know sometimes I must get out in the light Better leave her behind with the kids They're alright The kids are alright Sometimes I feel I gotta get away Bells chime I know I got to get away And I know if I don't I'll go out of my mind Better leave her behind with the kids They're alright The kids are alright