The song was credited to Keith Moon, Towser and Jason; the latter two “composers” being Pete Townshend and John Entwistle’s actual pet dogs.
I know this instrumental mostly for the drumming..and for vocals by…you guessed it… Towser and Jason…Pete and John’s dogs. This was the B side to Pinball Wizard in some countries. When they flipped the single about the deaf, dumb, and blind kid…they would hear this odd instrumental.
I found an a few Neil Peart questions answers and I thought I would post it along with this song.
Neil Peart: I told you what a big Who fan I was. When that song first started, I didn’t recognize it. It’s been probably 20 years since I’ve heard it. I thought, “Who’s around that can play like that?” I was really knocked out. Then the answer became clear. Of course. It was Keith Moon.
Question: He wrote the song.
Neil Peart: Yeah, well…. (laughs). It’s one of the craziest songs known to man. So that doesn’t surprise me.
Question: If he was just hitting the scene today, do you think he could get away with playing like that? Would there be a venue for his style of playing?
Neil Peart: Yeah. He proved it later on with the Who’s Next album, for instance, where he had to play with sequencers. He was playing to true metronomic time, but he was able to average himself over it. In the same terms that we were just discussing, he could play all around that metronomic time and still be bound by it.
Chad Smith (Red Hot Chili Peppers): I got the partying from Keith Moon. As you can see, there are ghosts. Keith Moon was the first guy I ever heard who incorporated such wild abandon. He had such personality, and it came out more in his playing than almost any other musician. No one else played like that. He was the first one I heard incorporate crashes in the middle of his fills. Live At Leeds and Quadrophenia are my favorite Who records. I don’t play anything like Moon, but what really moved me was that he always sounded like he was having so much fun playing the drums.
Roger Taylor (Queen Drummer): Keith Moon was great. In the early days, he was absolutely brilliant. He had a totally unique style; he didn’t owe anyone anything. The first time I saw him perform was with the Who in ’64 or ’65. It was just great. The Who was an outrageous band—real energy, real art. I loved them
Neil Peart: I think (Gene Krupa’s) rock ‘n’ roll heir was probably Keith Moon. In fact, I see a lot of direct similarities between their playing styles, even though Keith Moon showed even more abandon and was more sloppy. But he was a drummer who really captured my imagination because he was so free and so exciting because of his freedom. It opened me up.