Rickresource Rickenbacker Forum

doctorwho wrote:IIRC I do have a photo of the label with all of the signatures in my "analog" photo archives.

Some how, I figured you might. What a great story and as Scott pointed out returning that treasured item says a whole lot about you as a person..........but then those of us who have been around this forum for a while, know that's what you are all about anyway.

Tommy was well received by the press but it was only after relentless touring that it started to blow off of the shelves. Soon after its release, on a swing through Chicago, they played two sets at a roller rink that was on the north side of town. Their earlier stuff they played in the first half, and Tommy from start to finish in the second. Opening the show for them was the Kinks on their Village Green Preservation Society tour. I can't imagine a better, and more interesting double bill, and one happening at a better time in both band's careers. And with no "convenience" charges to boot.

Still, all those #$%@ing skaters had to be a distraction...

As many have said here, simply one of the best bands of all time, and I don't use that term lightly. For many, possibly the greatest live band too...

The direction that Tommy takes them from the late 60's until 78 is their creative peak imo, but I'm not a lover of the early stuff from any of the big boys as it always sounds so thin and light compared to the power and production that comes later.

That period really is the golden age of many types of music, and I wish I was 10 years older sometimes.

Mark mentioned the "windmill". Does anyone remember where and how Pete came up with that patented move. I remember reading somewher that he was inspired by watching the performance of another artist, but I can't remember who it was.

Rogers mic throwing bit, was fairly common in England at the time. I recall PJ Proby doing it and Gene Vincent used to twirl the mic stand. Roger however used it with more effect than anyone else that I can think of.

Johns stoic, bored stance of course was also a trait of a number top bass players in England at the time that the Who emerged. Bill Wyman, Klaus Voorman were examples that come to mind and were probably amongst the first to adopt that stance. Although Bill played his bass as vertical as he could just to be slightly different again.

Nobody intentionally destroyed their equipment though, except for Keith and Pete. Later on Jimi set his guitar on fire but the Who put it all together into a show that you would never forget.

Their camaraderie on and off the stage is stuff that legends are made of. Here is a band that stuck it out through hardship, pain, fame, loss of members you name it. To me they are the quintessential rock band.

My Generation and Who's Next have always been my favorites...

winston wrote:Mark mentioned the "windmill". Does anyone remember where and how Pete came up with that patented move. I remember reading somewher that he was inspired by watching the performance of another artist, but I can't remember who it was ...

IIRC, Pete said it was Keith Richards of the Rolling Stones (I know it was a Stone for sure ... I'm thinking it was Keith).

I believe Jimi first set his guitar on fire at Monterey, after the Who's set...they blew away the crowd and destroyed a bit of equipment. Lo and behold, Jimi follows suit.

Jimi gave that scorched Stratocaster to Frank Zappa right after the gig, and Frank restored to playability but left it looking like a burnt weenie sandwich. It's the main guitar he played on the Zoot Allures album. It has been continually modified, and Dweezil now owns it. Ain't it pretty?

EDIT: Actually, the one he gave to Zappa was burned at the Miami Pop festival, not Monterey. I guess I'd settle for that...

About the windmill, here is something I found in a blog:

"On December 22nd 1963, The Detours, a covers band featuring Pete Townshend, John Entwistle and Roger Daltrey, played at St Mary's Hall in Putney as support to the Rolling Stones.

Prior to the Stones performance, Townshend noticed that Keith Richards was warming-up by slowly windmilling his arm around. It so impressed young Pete that he took it for himself, speeding it up onstage. He assumed the movement was a regular pre-gig thing with Richards, but when years later he admitted to him that he'd 'stolen' it, Richards said he couldn't ever remember having done it!"

http://thewholocationguide.blogspot.com ... dmill.html

I love this forum. Ask a question and voila! Thanks guys. I thought that I'd read that it was "adopted" or "borrowed" from someone famous. I am somewhat surprised that Keith would not remember his warm up routine. Mind you he did fall out of a tree a few years back so who knows what sort of shape his thought processes are in. Never the less Pete does it best.

Glenn, I saw The Who do the first of preformance of Tommy in the USA at The Grandy Ballroom in Detroit, Michigan. Joe Cocker opened, 5 bucks. Tom Wright was manager of the Grandy and The Who at that time. Check out his web site, he was one of the premier Rock and Roll photographers of the era.

Great stuff, Hank, thanks.

So lets dredge this post back from the bowels of uncertainty.Do you think The Who sold out after time after time saying this is the final tour? Or do you think hey this is a business and the bills need to be payed.As this applies to many other bands is it acceptable to tour to make ends meat and not record new material or do you think the actual term "selling out" is another term for realizing your bands financial horizon.Where does the buck stop when it comes to commitment and enthusiasm is it with the band or from a higher source? Is the reason for touring another form of income to the band or in the case of bands that are financially secure in their royalties just a way of keeping in touch with their fans? Many different and diverse ideas welcome as many people who have not seen legendary bands would naturally pay to see their heroes perform.This can also apply to the recent Led Zeppelin concert in London.Lots of opinion's welcome.Lets hear the good and the bad!

P.S Brian I have to say many thanks for the informative and interesting threads you have started here.It is a pleasure to read and absorb your posts.
Scott

Scott,

This is just my opinion on the question you raise. I would postulate that a band of this stature is not financially strapped. They could probably give away half of their earnings and still live like kings.

I suspect that they play for a while and they get tired (remember they are not 19 anymore) and then they get the urge to play again. Simply put, I believe that they play because they can and they enjoy it.

I am just glad that they keep coming back to entertain their fans. They are clearly one of the best (if not the best) bands in the history of rock.

On a side note: I got over the loss of Keith but I really miss John thumping away in his very methodical perfect metronome manner though. He played his bass with a groove and a feel that is unparalleled.

Long time Who fan here, ever since I heard My Generation back in 65. Entwistles Bass and Moon Drums left a lasting impression, but I didn't agree with the line " I hope I die before I get old" !!!

They certainly impressed with their stage act and Townshends windmill power chord has gone down in history. I read some where years ago that he actually impaled his hand on the whammy bar at one show. Painful !!!! Does anyone know if the story is true ????