Keith Moon – PowerPop… An Eclectic Collection of Pop Culture

Jam – Down In The Tube Station At Midnight

I found The Jam around the time I found Big Star. An older brother of a friend of mine played some albums by them in the early 80s. Another band that could not make the jump to America. Sometimes people say…oh this or that band was just too British. I never found a fault in that and wanted more British bands. But…if ever a band could be considered “too British” this may very well be the band.

This song about a brutal mugging in London became a classic. The song is on the album All Mod Cons which was released in 1978. It was their third album since May of 1977 when their debut was released. They would release six studio albums in the five years they were around making records.

The song gave them their second top-20 hit. It peaked at #15 in the UK in 1978. Paul Weller, who wrote most of the Jam’s songs, wasn’t going to include it on the album. He didn’t think the song was developed enough but producer Vic Coppersmith-Heaven finally convinced him to work on it and include it.

The single cover showed the band and the back cover had a picture of Keith Moon who had just died. The B side to the song was The Who’s So Sad About Us. The Jam was in the middle of the 1970s Mod Revival going on. You can see and hear The Who and other sixties bands’ influences in their music and videos.

They formed in 1973 and released their first album in 1977. Their members included guitarist Paul Weller, bassist Bruce Foxton, and drummer Rick Butler. Paul Weller is the best known out of the band but they were all great musicians. Being a bass player…I’ve noticed a lot of Foxton’s bass playing is terrific.

Although The Jam was at the height of its popularity, Weller was becoming frustrated with the trio’s sound and made the decision to disband the group in 1982.

Producer Vic Coppersmith-Heaven – “I remember Paul throwing certain songs out of the All Mod Cons album, like ‘Down in the Tube Station’, which he rejected largely because the arrangement hadn’t developed during the recording session. I said, ‘Hang on, I haven’t even read the lyrics yet, Paul… You should really work on this song, it’s great. I was insistent on him reviving it, and once the band got involved and we developed the sound it turned into an absolutely brilliant track, a classic. Maybe we would have come around to recording it later on in the project, but he’d just reached that point of ‘Oh bollocks, this isn’t working, it’s a load of crap.'”

The B side…So Sad About Us (I like it just as well as the A side)

Down In The Tube Station At Midnight

The distant echo
Of faraway voices boarding faraway trains
To take them home to
The ones that they love and who love them forever
The glazed, dirty steps
Repeat my own and reflect my thoughts
Cold and uninviting, partially naked
Except for toffee wrappers and this morning’s papers
Mr. Jones got run down
Headlines of death and sorrow, they tell of tomorrow
Madmen on the rampage
And I’m down in the tube station at midnight, oh

I fumble for change, and pull out the Queen
Smiling, beguiling
I put in the money and pull out a plum
Behind me
Whispers in the shadows, gruff blazing voices
Hating, waiting
“Hey boy” they shout, “Have you got any money?”
And I say, “I’ve a little money and a takeaway curry
I’m on my way home to my wife
She’ll be lining up the cutlery, you know she’s expecting me
Polishing the glasses and pulling out the cork”
I’m down in the tube station at midnight, oh

I first felt a fist, and then a kick
I could now smell their breath
They smelt of pubs, and wormwood scrubs
And too many right wing meetings
My life swam around me
It took a look and drowned me in its own existence
The smell of brown leather
It blended in with the weather
Filled my eyes, ears, nose and mouth, it blocked all my senses
Couldn’t see, hear, speak any longer
I’m down in the tube station at midnight, oh
I said I was down in the tube station at midnight, oh

The last thing that I saw as I lay there on the floor
Was “Jesus saves” painted by an atheist nutter
And a British rail poster read
“Have an away day, a cheap holiday, do it today”
I glanced back on my life, and thought about my wife
‘Cause they took the keys, and she’ll think it’s me
I’m down in the tube station at midnight
The wine will be flat and the curry’s gone cold
I’m down in the tube station at midnight, oh
Don’t want to go down in a tube station at midnight, oh
Don’t want to go down in a tube station at midnight, oh
Don’t want to go down in a tube station at midnight, oh
Don’t want to go down in a tube station at midnight, oh

Who – Pictures of Lily

Starting with The Who’s Tommy album…everything after that gets noticed. Their brilliant early singles sometimes get criminally overlooked. Personally, and I know I am in the minority, I think many of their early singles trump both the Beatles’ and Stones’s early singles. The Who and Kinks didn’t have the quality of the sound of those bigger bands…but that was the point. Those singles were exciting and raw…a few experimental. Paul McCartney was influenced heavily by The Who when he wrote Paperback Writer and Helter Skelter.

On July 8, 1989, I traveled to Atlanta Georgia to see The Who for the first time. Nashville at that time had no place really big enough for them to play. Vanderbilt wasn’t allowing rock concerts at their stadium at that time. I’ll never forget when The Who played this song that night. Roger forgot the words to it and said “I don’t know the bloody words to this song.” I found the clip and I’ll have it below.

The only part of that concert that bothered me was the volume or the lack of really. Entwistle had to turn down his volume and they carried a brass section with them because of Pete’s tinnitus. It sounded great of course but not as in your face as when I saw them in Nashville in 2016. My only guess is now the PA equipment is better because The Who were much louder in 2016 than when I heard them in 1989.

Describing The Who’s next new single (Pictures of Lily)…Pete Townshend coined the term “Power Pop” to describe this song before it was released. It made it to #4 in the UK Charts, #60 on the Billboard 100, and #36 in Canada in 1967. The song tells the story of a father giving his son risque pictures of a woman taken in the 1920s…and after a while, the son finds out that she had died many years ago.

It is a song about the lust of a teenage boy…we will keep it at that. John Entwistle played the French Horn on this that he later didn’t like.

Pete Townshend: On Karen’s (his future wife) bedroom wall were three Victorian black-and-white postcard photographs of scantily dressed actresses. One was the infamous Lily Langtry, mistress of Prince Edward, later King Edward VII, and one sunny afternoon while Karen was at work I scribbled out a lyric inspired by the images and made a demo of ‘Pictures of Lily’. My song was intended to be an ironic comment on the sexual shallows of show business, especially pop, a world of postcard images for boys and girls to fantasise over. ‘Pictures of Lily’ ended up, famously, being about a boy saved from burgeoning adolescent sexual frustration when his father presented him with dirty postcards over which he could masturbate.

John Entwistle: “The thing I hate about ‘Pictures Of Lily’ is that bloody elephant call on the French horn. I also hated the backing vocals, the mermaid voices, where we’d sing all the ‘oooooohs.’ I hated ‘oooooohs.'”

Below is the concert I was at when Roger forgot the words. It’s around the 1:36 mark.

Pictures Of Lily

I used to wake up in the morningI always feel so gladI got so sick of having sleepless nightsI went and told my dad

He said, “Son, now here’s some little somethings”And stuck them on my wallAnd now my nights ain’t quite so lonelyIn fact I don’t feel bad at all (I don’t feel bad at all)

Pictures of Lily that make my life so wonderfulPictures of Lily that let me sleep at nightPictures of Lily that solved my childhood problemPictures of Lily, they make me feel alright

Pictures of Lily (pictures of Lily)Pictures of Lily (Lily, oh Lily)Pictures of Lily (Lily, oh Lily)Pictures of Lily (pictures of Lily)Pictures of Lily, pictures of LilyPictures of Lily, pictures of Lily

And then one day things weren’t so fineI fell in love with LilyI asked my dad where Lily I could findHe said, “Don’t be silly”

“She’s been dead since 1929”Oh, how I cried that nightIf only I’d been born in Lily’s timeIt would have been alrightThere were always pictures of Lily to help me sleep at nightPictures of Lily to help me feel alright

‘Cause me and Lily are together in my dreams (my mind)And I was wonderin’, mister, have you ever seen?

Pictures of Lily to help you sleep at nightPictures of Lily to help you feel alright

‘Cause me and Lily are together in my dreamsAnd I was wonderin’, mister, have you ever seenPictures of Lily?

Jeff Beck – Beck’s Bolero

This song is for Song Lyric Sunday for Jim Adams’s blog. This week’s prompt is Gone But Not Forgotten. We lost Jeff Beck this year and he was a huge loss.

I hardly ever post instrumentals but this one is special. Keith Moon on drums, John Paul Jones on bass, Nicky Hopkins on keyboard, and Jimmy Page, on 12-string guitar along with Jeff Beck on slide guitar. John Paul Jones said the group that played on Beck’s Bolero was kicking around the idea of touring. They also were thinking about trying to get the Small Faces singer Steve Marriott but his management would not go for that.

Beck’s Bolero was recorded over one day on May 16th, 1966. At this point, Moon was unhappy in The Who, and this impromptu band did initially plan to record and release a full album, but contractual obligations…amongst other things, prevented them from ever doing it.

John Entwistle, who originally agreed to play bass in the session, pulled out at the last minute and was replaced with session ace John Paul Jones. Personally, I’m glad this didn’t gel because The Who would have stopped dead most likely.

When you listen to the song…there isn’t a doubt who was playing drums. Jeff Beck later claimed that Pete Townshend “glared like daggers at me” after he found out about the recording sessions.

Jimmy Page is credited with writing the song but Jeff has said no… that he worked more of it out. Instead of me writing out the differences…I’ll let Beck and Page do it below.

Jimmy Page: “On the ‘Beck’s Bolero’ thing I was working with that, the track was done, and then the producer just disappeared. He was never seen again; he simply didn’t come back. Napier-Bell, he just sort of left me and Jeff to it. Jeff was playing and I was in the box (recording booth). And even though he says he wrote it, I wrote it. I’m playing the electric 12-string on it. Beck’s doing the slide bits, and I’m basically playing around the chords. The idea was built around (classical composer) Maurice Ravel’s ‘Bolero.’ It’s got a lot of drama to it; it came off right. It was a good lineup too, with Keith Moon, and everything.”

Jeff Beck: “No, Page didn’t write that song, we sat down in his front room once, this tiny, pokey room, and he was sitting on the arm of a chair and he started playing that Ravel rhythm. He had a 12-string, and it sounded so full, really fat and heavy. And I just played the melody. And I went home and worked out the other bit [the up-tempo section].”

This song was the B side to Hi Ho Silver Lining which peaked at #14 in the UK in 1967. The song was later on Jeff Beck’s Truth album.

Jeff Beck: Me and Jim Page arranged a session with Keith Moon in secret, just to see what would happen. But we had to have something to play in the studio because Keith only had a limited time — he could only give us like three hours before his roadies would start looking for him. So I went over to Jim’s house a few days before the session, and he was strumming away on this 12-string Fender electric that had a really big sound. It was the sound of that Fender 12-string that really inspired the melody. And I don’t care what he says, I invented that melody, such as it is. I know I’m going to get screamed at because in some articles he says he invented it, he wrote it. I say I invented it. This is what it was: He hit these Amaj7 chords and the Fm7 chords, and I just started playing over the top of it. We agreed that we would go in and get Moonie to play a bolero rhythm with it. That’s where it came from, and in three or four takes it was down. John Paul Jones on the bass. In fact, that group could have been a new Led Zeppelin.

Books I Would Recommend …Part 2

I want to thank all of you readers this week. I have blogged way more than usual and I appreciate you reading. I will be taking a break after Monday until the 17th and then I’ll be back! I’ll see you all this weekend.

I’m not ranking these books… but I will kick it off with another Marx Brothers book. If you missed the first one it’s here.

Raised Eyebrows by Steve Stolliar. Stoliar, who was Groucho’s personal secretary and archivist while attending UCLA published this book in 1996. He was there in the seventies in Groucho’s house for the last three years of Groucho’s life. A who’s who of movie and rock stars visited. From Queen to Barbara Streisand to Jack Lemmon and Walter Matthau. So many came by and Stoliar doesn’t pull punches.

Sound Man by Glyn Johns – I read this book not knowing what to expect but I did know of Glyn Johns… so many of my albums had his name on it…A name that is known throughout the music industry as a great recording engineer, producer, and mixer. Glyn has worked with huge rock groups such as The Rolling Stones, Beatles, Who, Small Faces, Led Zeppelin, The Band, and more.

Brian Jones: The Making of the Rolling Stones by Paul Trynka – A biography about Brian Jones who founded the Rolling Stones written by Paul Trynka. This is more of a sympathetic look on Brian than other books I’ve read. Trynka digs deep with meticulous research. He tries to be fair and Brian isn’t always shown as the nicest guy in the world but he also isn’t always the person that Mick and Keith seem to remember when they actually remember him at all.

This book is not just a rehash of the best-known things about Jones and the Stones. Some instances that Stones fans know like the period where Keith ran off with Brian’s girlfriend Anita Pallenberg, we get more information on what happened. He researched Brian’s childhood and adult life thoroughly and you feel like you know the man before the book is over.

Moon The Loon or Full Moon – This book is for fans OR non fans alike. The book will have you physically burst out laughing at different parts of it. Keith left a trail of wrecked cars, wrecked drums, wrecked hotel rooms, wrecked nerves, wrecked bars, and many smiles.

Dougal doesn’t try to tell Moon’s life history. Full Moon highlights the tales of Mr. Keith John Moon…Patent British Exploding Drummer. It is a very quick read at around 250 pages. The audio version is approximately 9 hours long.

Butler worked for Moon for ten years and was right there during much of the craziness. He was behind the wheel of Moon’s AC Frua 428 as it flipped end-over-end through a field off Chertsey Lane after Moon decided to grab the shifter and downshift at around 120 mph.

In my next edition…I’ll include Tony Fletcher’s nearly 700 -page book on Keth Moon. It is fantastic.

IT by Stephen King – I always describe this book as a coming-of-age book that just so happens to have a psychotic alien shape-shifter clown. The book is brilliantly written. It takes place in a fictional town called Derry. After you read it…it doesn’t feel like a fictional town. You know every detail of the city and where everything is located. The films, 1990 and 2017, don’t even come close to this book.

I have re-read this book so many times and I find something new every time. I wanted to include a fiction book in this edition so here you go.

Miss O’Dell: Hard Days and Long Nights with The Beatles, The Stones, Bob Dylan and Eric Clapton… by Chris O’Dell and Katherine Ketcham

I enjoyed this book immensely. It’s almost like a fantasy book. You are a fan and suddenly you get thrown into the world with The Beatles as friends and co-workers. You move from the Beatles to the Stones, CSNY, Bob Dylan and the list kept growing.

I will say this… as a Beatle fan, this book gave me insight that I never had before. Chris O’Dell happened to meet Derek Taylor (press officer of the Beatles) in Los Angeles in 1968…she worked for him for a few weeks in LA as a PA. He told her she should come over to London to check out the new company that The Beatles were starting called Apple. He didn’t promise her a job but she took a chance and sold her records and borrowed from her parents to go to London. She was like Alice down the rabbit hole, O’Dell stumbled upon a life even she could not have dreamed of.

…

Who – 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

America missed out on The Who’s great early singles. Some didn’t hear their 60’s singles until after they hit with Tommy and released Meaty Beaty Big and Bouncy in 1971. It’s one of my favorite compilation albums. This one has a raw power to it and it’s pushed by John Entwistle and Keith Moon driving the song along.

Great song by The Who. The song peaked at #5 in the UK charts in 1966. The twelve-string guitar opening riff kicks into one of The Who’s best singles. This was a flop in the US, partly because it wasn’t promoted well. It was the only Who song released on Atco Records.

Townshend’s favorite song at the time was “Tracks of My Tears” by Smokey Robinson & The Miracles. Townshend loved the way Smokey sang the word “substitute” so perfectly “Although she may be cute she’s just a substitute ‘Cause you’re the permanent one” that he decided to celebrate the word with a song all its own. The song was also influenced by 19th Nervous Breakdown by the Rolling Stones. Townshend admitted to getting the riff from that song. Townshend also got his trademark windmill from watching Keith Richards warm up with his arms going above his head.

This was the first single The Who released after breaking their contract with their manager and producer, Shel Talmy. As part of the deal, Talmy got royalties from this and the other Who records over the next 5 years, which turned out to be albums that old-time producer Shel Talmy would never have produced. The albums were Tommy, Who’s Next, and Quadrophenia.

After listening to a recording of the song, Keith Moon began to become paranoid, insisting that it wasn’t him drumming and that the band had gone behind his back and gotten another drummer. John Entwistle refuted this paranoia as ridiculous – he could hear Keith screaming on the recording as he did a difficult fill.

Substitute

You think we look pretty good together
You think my shoes are made of leather

But I’m a substitute for another guy
I look pretty tall but my heels are high
The simple things you see are all complicated
I look pretty young, but I’m just back-dated, yeah

(Substitute) your lies for fact
(Substitute) I can see right through your plastic mac
(Substitute) I look all white, but my dad was black
(Substitute) my fine linen suit is really made out of sack

I was born with a plastic spoon in my mouth
The north side of my town faced east, and the east was facing south
And now you dare to look me in the eye
Those crocodile tears are what you cry
It’s a genuine problem, you won’t try
To work it out at all you just pass it by, pass it by

(Substitute) me for him
(Substitute) my coke for gin
(Substitute) you for my mum
(Substitute) at least I’ll get my washing done

I’m a substitute for another guy
I look pretty tall but my heels are high
The simple things you see are all complicated
I look pretty young, but I’m just back-dated, yeah

(Substitute) me for him
(Substitute) my coke for gin
(Substitute) you for my mum
(Substitute) at least I’ll get my washing done

(Substitute) your lies for fact
(Substitute) I can see right through your plastic mac
(Substitute) I look all white, but my dad was black
(Substitute) My fine-looking suit is really made out of sack

Who – Relay

This was a non-album single released in 1972. It was released between Who’s Next (1971) and Quadrophenia (1973).

Pete Townshend wrote this… it was part of his “Lifehouse” project, which was a film script featuring The Who in a future world where rock ‘n’ roll saves the masses. The Who scrapped plans for the concept double album and released most of the songs on Who’s Next…pretty much agreed their best album and one of the best in rock period.

Townshend’s use of the ARP synthesizer on Who’s Next was groundbreaking. He didn’t just add texture to it but the ARP became part of the structure of the songs. This was not like today’s synthesizer where you just took it out of the box. It had to be programmed and connected together…and not many people knew how to do it. He took a risk using it because technology in general always moving ahead, Who’s Next could have sounded dated a few years afterward but it still sounds fresh and interesting today…unlike some other synth music.

They played this song on the Russell Harty Show and Harty looked terrified of The Who. Harty was a gay man which was secret in the 1970s… Keith knew this and you could tell he thought Keith Moon was going to say something out loud in an interview but of course Keith didn’t. He was messing with Harty and the interview is both funny and demented to watch. I keep thinking….an interview like this would not happen today. What makes the interview funnier is how Daltrey and Entwistle just chill in the background while Moon and Townshend torment Harty.

They were joking around with Harty and you could see Harty tense up a bit when Moon stripped down to his underwear. Moon and Townshend then preceded to rip and tear each other’s shirt off.

Harty asked them some questions and if they were all married. That was when Moon started to talk about messing with Harty’s sleeves (as Pete and Keith did to each other) he said to Harty “You leave his sleeves alone… personal them ay…Can’t touch the interviewer can we? Hey he is in command isn’t he? You can make everyone else look like a right twit as long as you don’t have a go at him. How long have you been happily married? ” You have to wonder by the look on Harty’s face if he thought Moon was going to say something out loud…he did know Harty was gay…but of course, Moon didn’t…he was just having fun with him.

Someone put all the Rusell Harty short interview segments together from the documentary The Kids Are Alright…I have it below.

Anyway…a good song and it peaked at #21 in the UK, #50 in Canada, and #39 on the Billboard 100 in 1972.

Relay

You can hear it in the street, see it in the dragging feet
The word is gettin’ out about control
Spies they’ve come and gone, the story travels on
The only quiet place is inside your soul

From tree to tree, from you to me
Travelin’ twice as fast as on any freeway
Every single dream, wrapped up in the scheme
They all get carried on the relay

Relay, things are brewin’
Relay, something’s doin’
Relay, there’s a revolution
Relay, relay
(Hand me down a solution, yeah)
Pass it on, come on, a relay

Someone disapproves, what you say and do
I was asked to see what I could really learn you
Don’t believe your eyes, they’re tellin’ only lies
What is done in the first place don’t concern you

From tree to tree, from you to me
Travelin’ twice as fast as on any freeway
Every single dream wrapped up in the scheme
They all get carried on the relay

Relay, things are brewin’
Relay, something’s doin’
Relay, there’s a revolution
Relay, relay
(Hand me down a solution, yeah)
Pass it on, pass it on, pass it on, hey you, pass it on

We’re on the relay, get a movin’
Get on a movin’ on
The relay, the relay
The relay, the relay

Who – Mary Anne With The Shaky Hand

This song was on the album called The Who Sell Out. I’ve said before that titles sometimes grab my attention and this one certainly did. This one has had many covers from other bands and artists.

The Who Sell Out is A Pop Art album that was fashioned after Pirate radio. The Who created spoof promo slots for Radio London, Premier Drums and Rotosound Strings, recorded in the brash ad-speak of 60s pirate radio. John Entwistle wrote two commercial jingles for Heinz Beans and Medac spot pimple cream.

Pete Townshend: “I’d already written two songs for [co-manager] Kit Lambert for the American Cancer Society – Little Billy and Kids! Do You Want Kids? – and I had Odorono, about a girl who loses a record contract. It wasn’t meant to be a commercial, it was just a song about body odor.”

I always thought it was a brilliant idea and remains a great satirical take on 60s consumerism.

The song would be the B side in America to I Can See For Miles.

The album was released on December 16, 1967. It peaked at #13 in the UK and #48 in the Billboard Album Charts. Their album Tommy would be released 2 years after this one and it would be their breakthrough all over the world.

Critic Dave Marsh called it “the greatest rock and roll album of its era” and “the Who’s consummate masterpiece, the work that holds together most tightly as concept and realization”.

Pete Townshend on the album: I’d demoed ‘Tattoo’ in my hotel room in Las Vegas during our three-day vacation, and a song called ‘Odorono’, named after a deodorant stick. ‘Odorono’ led us to the most perfect pop idea of all time: we would make our next record a vehicle for advertising. When we called Kit to explain, he was as excited as we were. I suggested we link the gaps between songs with jingles like those on commercial pirate radio.

John and Keith leapt on the idea, and, inspired by ‘Odorono’, began making up advertising jingles for all kinds of things, like Medac spot cream, Premier Drums and Heinz Baked Beans. But when the album was ready to be put together we were still short of tracks. John’s track didn’t feel right either, so he quickly produced a demo for another song called ‘Silas Stingy’, which, to be honest, was equally eccentric. But this was obviously going to be a very eccentric record.

Who – Mary Anne With The Shaky Hand

I danced with Linda
I danced with Jean
I danced with Cindy
Then I suddenly see

Mary-Anne with the shaky hands
What they’ve done to her man
Those shaky hands

Mary is so pretty
The prettiest in the land
Guys come from every city
Just to shake her shaky hands

Linda can cook
Jean reads books
Cindy can sew
But I’d rather know

Mary-Anne with the shaky hands
What they’ve done to her man
Those shaky hands

Infamous Rock and Roll Locations…Part II

I did a post earlier on Infamous Rock and Roll Locations and I wanted to do a follow-up on it. If you don’t want to click on the link…I mentioned the Riot/Hyatt House, The Edgewater Inn, The Rainbow Bar and Grille, Villa Nellcôte, and Rodney Bingenheimer’s English Disco.

To be honest….a few are infamous but the other are just cool. I love reading rock music bios and there are some places I would love to visit one day. A warning though…a few are very morbid.

The Highland Gardens Hotel…Ok…this one is a little morbid…well a lot morbid. On October 4, 1970, Janis Joplin stayed here and it was called The Landmark Motor Hotel. She died in room #105 of a suspected heroin overdose. The same hotel stands but it’s called The Highland Gardens Hotel now. Yes, you can rent room #105. She lived there for months while working on her last album Pearl. The closet has handwriting by visitors but the rest of the room is normal. Yes, I would love to go.

Big Pink in Saugerties/Woodstock: This is the house where The Band and Bob Dylan recorded The Band’s debut album…Music From Big Pink…this house was pink then and is now. Now you can rent the house but you cannot go down to the basement where they recorded…what’s the fun in that?

Whisky a Go-Go on the Sunset Strip: The one on the Sunset Strip opened in 1964. So many bands played and visited there. The Doors, Van Morrison, Buffalo Springfield, Alice Cooper, The Byrds, The Flying Burrito Brothers, Chicago, Germs, Elton John, Oasis, Buffalo Springfield, Steppenwolf, Van Halen, Johnny Rivers, X, Led Zeppelin, Fleetwood Mac, KISS, Guns N’ Roses, Death, AC/DC, Linkin Park, Metallica, Mötley Crüe Stryper, and many many more.

The Whiskey is still open now.

The Joshua Tree Inn – Another morbid one but I would stay there. On September 18, 1973, Gram Parsons purchased liquid morphine on that night from an unknown girl and died of an overdose. This all happened in Room 8 of this Inn. Yes, you can rent room 8 today in fact..it’s decorated with posters of Gram.

Mayfair…Curzon Square – This apartment was owned by Harry Nilsson at the time. It was in this building, in the same apartment that both Cass Elliot (Mama Cass) and Keith Moon died 4 years apart. Nilsson liked the location because it was near Apple Records and nightclubs. It was decorated by ROR…Ringo and Robin (Ringo Starr and designer Robin Cruikshank).

On July 29, 1974 after a performance…Mama Cass died of a heart attack. In 1978 Keith Moon wanted to rent it from Nilsson but he was afraid to rent it again because Nilsson remembered what happened to Cass. He ended up talking to Pete Townshend and Townshend told him that ‘lightning does not strike in the same place twice’ so he let Keith rent it. On September 7, 1978, Keith Moon died because of an overdose of clomethiazole…a prescription drug for combating alcoholism in the same bedroom.

Who – Getting In Tune

This song was originally on the Who’s Next album released in 1971…my favorite album of that year and maybe of the seventies. That year was an incredible time for albums. Led Zeppelin would release their most remembered album Led Zeppelin IV a few months after Who’s Next.

There is not a bad song on the album. Roger excels on this song and it builds up in the middle for good dynamics. In 2016, Rolling Stone ranked Getting In Tune number 8 on its list of the 50 greatest songs by The Who. Nicky Hopkins plays piano on this song.

The Who’s Next album is one of the most sonic-sounding albums I’ve ever heard. Glyn Johns produced it and said this: “I have a residing memory of sitting in the truck, my hair being parted by what was coming out of the speakers, a massive amount of adrenaline coursing through my veins. There have been a few occasions over the years when I have been completely blown away, believing without a doubt that what I was listening to would become much more than just commercially successful but also a marker in the evolution of popular music, and this was one of those moments.”

Pete Townshend originally wrote this about a character in his “Lifehouse” project, which was going to be a film similar to The Who’s Tommy and Quadrophenia. Townshend never finished “Lifehouse,” but the songs ended up on the great album Who’s Next.

Pete Townshend wrote this as part of his “Lifehouse” project. He wanted to release a film about a futuristic world where the people are enslaved… but saved by a rock concert. Pete couldn’t get enough support to finish the project, but most of the songs he wrote were used on the Who’s Next album.

The album peaked at #4 on the Billboard Album Charts, #1 in the UK, and #5 in Canada in 1971. It also peaked at #7 on the US Billboard Top Pop Catalog in 2014.

Getting In Tune

I’m singing this note ’cause it fits in well with the chords I’m playing
I can’t pretend there’s any meaning hidden in the things I’m saying

But I’m in tune
Right in tune
I’m in tune
And I’m gonna tune
Right in on you
Right in on you
Right in on you

I get a little tired of having to say
“Do you come here often?”
But when I look in your eyes, I see the harmonies
And the heartaches soften

I’m getting in tune
Right in tune
I’m in tune
And I’m gonna tune
Right in on you (right in on you)
Right in on you (right in on you)
Right in on you

I got it all here in my head
There’s nothing more needs to be said
I’m just bangin’ on my old piano
I’m getting in tune to the straight and narrow
(Getting in tune to the straight and narrow)
Getting in tune to the straight and narrow
(I’m getting in tune to the straight and narrow)
Yeah, I’m getting in tune to the straight and narrow
(I’m getting in tune to the straight and narrow)

I’m singing this note ’cause it fits in well with the way I’m feeling
There’s a symphony that I hear in your heart, sets my head a-reeling

But I’m in tune
Right in tune
I’m in tune
And I’m gonna tune
Right in on you (right in on you)
Right in on you (right in on you)
Right in on you

Baby, with you
(Baby, with you)
Baby, with you
(Baby, with you)
Baby, with you

I’ve got it all here in my head
There’s nothing more needs to be said
I’m just bangin’ on my old piano
I’m getting in tune to the straight and narrow

Getting in tune to the straight and narrow
I’m getting in tune to the straight and narrow
Getting in tune to the straight and narrow
I’m getting in tune to the straight and narrow
(Getting in tune to the straight and narrow)
Yeah, I’m getting in tune to the straight and narrow
(Getting in tune to the straight and narrow)
Yeah, I’m getting in tune to the straight and narrow
(Getting in tune to the straight and narrow)
Yeah, I’m getting in tune to the straight and narrow, yeah
(Getting in tune to the straight and narrow)
(Getting in tune to the straight and narrow)
(Getting in tune to the straight and narrow)
(Getting in tune to the straight and narrow)
(I’m getting in tune to the straight and narrow)
Yeah, I’m getting in tune to the straight and narrow
(I’m getting in tune to the straight and narrow)
(I’m getting in tune to the straight and narrow)

Who – Live At Leeds

My friend Dave first posted this article I wrote here on an episode of Turntable Talk. For those who didn’t see it…here it is. Cincinnati Babyhead also reviewed this on Hanspostcard’s site.

Dave asked a question: Is there an act that actually comes out better on live releases than studio ones?

First, let me say…overall I’m more of a record guy…I usually like the studio version of songs but yes there are some bands that can come off better. I would say The Who, Allman Brothers, Cream, The Grateful Dead, Aerosmith, The Stones (1969-1972), and Bob Dylan’s “1966 tour.” However, there is one condition to this.

I think you have to take into consideration the era you are talking about with each band or artist. If we are talking about the peak years then yes. The Rolling Stones for instance…for me it would be 1969 through 1974. When they had Mick Taylor on guitar…they had a huge raw sound live they haven’t had since. With Dylan, the 66 tour for me was the top and I could listen to those versions all day. The Who it would be 1969 through 1976 when they were untouchable live. But I’m not saying I don’t like other years with these artists…but those are known as the peak years.

When the Who took Tommy on tour I think the live recordings beat the studio album by a long shot. That leads me to…my favorite live rock album of all time.

From Classic Rock website ranking Who albums: “We usually don’t include live albums in our rankings, but ‘Live at Leeds’ is no ordinary live album. Like ‘Live at the Apollo,’ ‘At Fillmore East,’ ‘At Folsom Prison’ and a handful of other classic concert records, it transcends the genre, turning a quick record-company cash turnaround into a statement of purpose.”

The Who: Live at Leads. If you are a rock and roll fan, a rock fan, or even a heavy metal fan…everyone can find something on that album. This is guitar rock at its best. Listening to the sound of that record, it’s no telling how loud they played. They weren’t the loudest in the Guinness Book of World Records for nothing! When Pete hit a power chord you could almost feel your eardrums retract in and out like a speaker.

It’s not being loud though that makes it so great. Personally, I’ve never heard a band as tight as they were during this tour. They wanted to release a live album and soundman Bob Pridden had 38 shows taped. Pete wanted Pridden to go through all shows and tell him which one was best. Because of constant touring Pridden could never get through all of the shows. The day came and Pete asked him ok…which shows. He couldn’t give Pete an answer.

They had a show at Leeds and Hull coming up on the schedule. In a move he’d later label “one of the stupidest decisions of my life,” Townshend told Pridden to burn the tapes so that they’d never wind up in the hands of bootleggers. So, instead of more shows from that era…we have very few.

So…now the tapes were burned and the Leeds and Hull concert was coming up. They had a lot of pressure to get it right for the live album.

Pete Townshend: “I played more carefully than usual and tried to avoid the careless bum notes that often occurred because I was trying to play and jump around at the same time. The next day we played a similar set in City Hall in Hull. This was another venue with good acoustics for loud rock, but it felt less intense than the previous night.”

They played most of the Tommy album and their “oldies” on this tour, which was songs only around 5-6 years old. The original Live at Leeds didn’t have any Tommy songs on it. This album was like a marker for the pre-Tommy Who coming to an end. The deluxe re-released version had the complete show full of Tommy material

The recordings had a few clicks in the tape and Townshend tried to maneuver around them.

Townshend tried slicing out the clicks with a razor blade and quickly realized it would be impossible to get all of them. But subpar-sounding bootlegs were flooding the market at this time, so the band just added a note to the label saying the clicks were intentional! The album cover was a faded stamp reading “The Who: Live at Leeds” on brown paper, mirroring the look of illegal vinyl bootlegs of the era. Later on, Aerosmith had a similar live bootleg album cover.

What impresses me is the only overdubbing on the album was the backup vocals because they were poorly recorded. John Entwistle and Pete did the backup vocals in one take in the studio to stay true to the live album. What you hear on the album is what the good people at Leeds heard that night. No massive overdubbing to tighten anything up.

By 1970 The Who had been touring almost non-stop since 1964 and it showed on this album. After the album, the band didn’t tour as much as before. They worked in the studio on more complex albums Who’s Next and Quadrophenia. Their tours were not the marathon tours of the sixties.

This was before Won’t Get Fooled Again, Baba O’Riley, and Quadrophenia’s complex music that required backing tapes live. This album was The Who as nature intended… a very loud tight rock band and possibly the best live rock album.

BTW…Bob Pridden worked as The Who’s soundman until 2016 when he retired.

Here are three examples. Young Man Blues. Listen to Moon and Entwistle intertwine with each other. You also have Summertime Blues and A Quick One, While He’s Away.

The Who : Maximum R&B at it’s best.

…

Happy Birthday to Keith Moon

August 23, 1946…I didn’t want to miss Keith’s birthday this year so I scheduled this before I took my break. I wanted to say hi today and I’m getting ready to be back here soon.

Keith Moon was to drummers what Jimi Hendrix was to guitarists…a true pioneer. For my money, he was the best drummer and personality in rock and roll. He would have been 76 years old today. I can’t imagine a 76-year-old Keith Moon walking about earth today though.

In 2012 the Olympic Committee asked if Keith Moon could perform in the opening ceremonies…seriously. Their manager, Bill Curbishley… “I emailed back saying Keith now resides in Golders Green Crematorium, having lived up to the Who’s anthemic line ‘I hope I die before I get old’ … If they have a round table, some glasses, and candles, we might contact him.”

If Keith would have only played drums to “Bargain” that would have been enough for me.

…

Rock Star Hologram Tours

It’s gone past simple holograms…they are now avatars (the ABBA reunion). For the sake of this post… I’ll call them holograms. This post is basically me arguing with myself and wanting some input.

I’ve thought about the subject of the dead rock star hologram tours off and on. I apologize for putting it so bluntly but that is what it is. Something in me just tells me there is something inherently wrong about this. So I hate to ask myself this…but would I want to go to a Jimi Hendrix show playing near me? Uh…yes I would and I feel bad about saying that. I would probably go and then hate the decision later. How could they capture Jimi Hendrix? I don’t see how someone could capture a performer like him…who was different every time he played.

I was surprised at my answer that I would even go. On the other hand, we have laser shows with bands’ music…so what is the big difference? We also have duets with Paul McCartney singing with John Lennon right now on Paul’s tour. When I saw The Who, there was Keith Moon singing “Bell Boy” in a film from a concert in the 70s while the current Who was playing. I also got to see Beatlemania with artists dressed up as The Beatles…somewhat different than this but is it really?

It’s something that I think will happen in the near future for different stars no matter if we like it or not. Holograms have been around for a while. In 1977 The Who presented a promotional event just for their fans with this Keith Moon hologram (with the real Keith Moon in attendance) and in another event in 2009…obviously without the real Keith in attendance.

Keith is near the end of his life in this version…you can tell it’s older with the greenwash all around. The big difference is now …the holograms sing, move, and play their instruments or rather they appear to do that. There have been shows now built around Buddy Holly, Roy Orbison, Elvis, Ronnie James Dio, ABBA (who are very much alive), Whitney Houston, Tupac, Billie Holiday, Wilson Pickett, and more.

The families are in control now and will decide. I’ll ask myself again…would I want to see the Hamburg or Cavern Beatles? The 1972 Rolling Stones? the 1969 Who? The 1950’s Elvis? AC/DC with Bon Scott? 1970 Janis Joplin? The Doors?

Yes to all the questions I asked but…I’m not sure how I would feel.

What do you think? Would it be unsettling to see a long-gone performer in their prime again a few feet from you? Would you go see a show (not really a concert) of your favorite deceased performer?

Now, on the other hand, there is another angle. If Bob Dylan, who is very much alive, would announce tomorrow that a 1966 version of himself was going on tour…would I go? Oh yes, I would and I would not feel bad at all. ABBA just did this also. So why do I think I would feel different about seeing Jimi, Lennon, Janis, or someone else that has long been gone?

Before you answer…now, current bands can play in Washington and be projected as holograms in London simultaneously…so it’s taken a huge jump. See the bottom video. No traveling in stuffy vans….just play at your local pizza joint and be somewhere else also. So our band could play in my garage and be on stage at Carnegie Hall and interact with the audience. I have to wonder how far it will go?

…

Who – Love Ain’t For Keeping

The Who’s Next album was released in 1971 and is one of the greatest classic rock albums ever released. This song is a song one clocking in at a short 2:11 and unlike most of the album…this one is softer. Pete Townshend originally wrote this for his Lifehouse project, where the character of Ray, a Scottish farmer, was intended to sing the song, which expresses the sentiment that love is meant to be shared.

The song was originally recorded several months prior to Who’s Next, as a four-minute electric version with Townshend singing lead and playing rhythm guitar, and the lead solos performed by Leslie West, the guitarist for New York power trio Mountain. The Who was recording at the Record Plant in New York, and Townshend reportedly didn’t want to spend time on overdubs, so West was called in to play on the track.

After a falling out with producer Kit Lambert, the band recorded an acoustic version that was used on the album. The Who often played the harder Rock version at their concerts. This version can be heard on their 1974 Odds & Sods album.

If two versions weren’t enough… Townshend’s original demo of the song appears on the six-disc Lifehouse Chronicles, songs from Townshend’s never fully-completed Lifehouse rock opera. This demo clocks in at 1:31, with no solo and Townshend taking advantage of the then-novel oscillator bank on his Arp synthesizer.

The album peaked at #4 in the Billboard Album Charts, #5 in Canada, and #1 in New Zealand in 1971.

Love Ain’t For Keeping

Layin’ on my back
In the newly mown grass
Rain is coming down
But I know the clouds will pass
You bring me tea
Say “the babe’s a-sleepin'”
Lay down beside me
Love ain’t for keeping

Black ash from the foundry
Hangs like a hood
But the air is perfumed
By the burning firewood
The seeds are bursting
The spring is a-seeping
Lay down my darling
Love ain’t for keeping
Lay down beside me
Love ain’t for keeping

Lay down beside me
Love ain’t for keeping
Lay down my darling
Love ain’t for keeping

Who – Young Man Blues

Young Man Blues was written by jazz artist Mose Allison in 1957. Mose’s version is jazzy and smooth. The Who took the song and set it afire with an explosive charge. Mose Allison called The Who’s version The “Command Performance” of his song. That’s a great compliment from the author. Pete was a big fan of Mose Allison. He has said that if he never heard this song he would not have written My Generation.

The Who version has great dynamics. The bass and drums are all over the place and yet perfect. The Who sound like they are driving near a cliff and you know the song is going to fall off but they save it at the last moment time after time. The song was on the Live At Leeds album released in 1970.

The key to this song and most Who songs was the rhythm section. Keith Moon and John Entwistle pushed each other to greatness. The frenetic chaotic bass and drums made it exciting. You had the lead guitar player punching in licks between the lead bass and drums. Later on, when Keith passed away and Kenney Jones took his place…they were not the same. That is nothing against Jones…he was one of the best British drummers at that time but that touch of insanity was gone permanently.

A year or so before John Entwistle died, Roger Daltrey was complaining about John’s volume on stage to Pete. Pete replied that without that volume and John’s style…they are not the Who. That was a true statement. I saw the Who with John and later on without him. It wasn’t the same. Was it a great show without him? Yes, the songs were great but that element of danger was gone. That is what both Keith and John added to the Who.

So I’ll take this note for myself… February 14, 1970… I’ll buy a ticket for Leeds University when I get my time machine working…I’ll take some cotton balls though.

Young Man Blues

Oh well a young man ain’t got nothin’ in the world these days
I said a young man ain’t got nothin’ in the world these days

You know in the old days
When a young man was a strong man
All the people they’d step back
When a young man walked by

But you know nowadays
It’s the old man,
He’s got all the money
And a young man ain’t got nothin’ in the world these days
I said nothing

Everybody knows that a young man ain’t got nothin’
Everybody!
Everybody knows that a young man ain’t got nothin’
He got nothin’
Nothin’

Take it easy on the young man
They ain’t got nothin’ in the world these days
I said they ain’t got nothin’!
They got sweet fuck-all!

….

Who – Slip Kid

I have a bootleg concert of The Who in 1976 in Houston. This song is very dynamic and powerful live. This was released in August 1976 in Canada and the US with “Dreaming From The Waist” as its B side. It was on the album The Who By Numbers and it peaked at #8 in the Billboard Album charts, #7 in the UK, #9 in Canada and #29 in New Zealand in 1976.

The Who played this song in 1976 but after they didn’t play it much at all until the 50h anniversary tour.

Pete Townshend wrote this song, which uses imagery as metaphor for life in the music business. Much of the album deals with his frustrations with the industry, of being obsolete as a 30-year-old rock star. Oh, how times have changed now.

Pete usually wrote a lot of songs for the band to pick from for an album. This time they recorded everything he wrote because he was going through writer’s block at the time.

It’s one of my favorite Who album covers. They usually took turns on who would think of the album cover. It was John Entwistle’s turn and he drew the album cover along with numbers.

John Entwistle on the cover

“The first piece of artwork released is The Who by Numbers cover, which I never got paid for, so now I’m going to get paid. We were taking it in turns to do the covers. It was Pete’s turn before me and we did the Quadrophenia cover, which cost about the same as a small house back then, about £16,000. My cover cost £32

Pete Townshend: “‘Slip Kid’ came across as a warning to young kids getting into music that it would hurt them – it was almost parental in its assumed wisdom.”

Pete Townshend on The Who By Numbers: I felt partly responsible because the Who recording schedule had, as usual, dragged on and on, sweeping all individuals and their needs aside. Glyn worked harder on The Who by Numbers than I’ve ever seen him. He had to, not because the tracks were weak or the music poor but because the group was so useless. We played cricket between takes or went to the pub. I personally had never done that before. I felt detached from my own songs, from the whole record. Recording the album seemed to take me nowhere. Roger [Daltrey] was angry with the world at the time. Keith [Moon] seemed as impetuous as ever, on the wagon one minute, off the next. John [Entwistle] was obviously gathering strength throughout the whole period; the great thing about it was he seemed to know we were going to need him more than ever before in the coming year

Slip Kid

One, two, three, four, five, six, seven, eight …

I’ve got my clipboard, text books
Lead me to the station
Yeah, I’m off to the civil war
I’ve got my kit bag, my heavy boots
I’m runnin’ in the rain
Gonna run till my feet are raw

Slip kid, slip kid, second generation
And I’m a soldier at thirteen
Slip kid, slip kid, realization
There’s no easy way to be free
No easy way to be free

It’s a hard, hard world

I left my doctor’s prescription bungalow behind me
I left the door ajar
I left my vacuum flask
Full of hot tea and sugar
Left the keys right in my car

Slip kid, slip kid, second generation
Only half way up the tree
Slip kid, slip kid, I’m a relation
I’m a soldier at sixty-three
No easy way to be free

Slip kid, slip kid

Keep away old man, you won’t fool me
You and your history won’t rule me
You might have been a fighter, but admit you failed
I’m not affected by your blackmail
You won’t blackmail me

I’ve got my clipboard, text books
Lead me to the station
Yeah, I’m off to the civil war
I’ve got my kit bag, my heavy boots
I’m runnin’ in the rain
Gonna run till my feet are raw

Slip kid, slip kid, slip out of trouble
Slip over here and set me free
Slip kid, slip kid, second generation
You’re slidin’ down the hill like me
No easy way to be free
No easy way to be free
No easy way to be free