Posterazzi Pete Townshend in Mid-Jump Photo Print (8 x 10)

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Yes, I did. It was a real buzz. I remember being very moved by it and very honored. It was a dark comedy show with deep, swinging connotations about performance and education and all the things I’m talking about. The uses were very, very smart. In a sense, it redeemed and gave credence to the fact that I’ve always felt the worst person … Let’s get into real trouble here. The worst person to have control of Neil Young’s catalog is Neil Young. [ Laughs] Give it to me. I just think there’s so much stuff there that could be just turned into joy. He’s such an incredible writer, and so much of his stuff is just unknown, partly because he keeps it tied so tight to his chest. READ MORE: The Who – ‘WHO’ review: 13 years since their last album, this stands up alongside their classics The Lifehouse demos included are: "Pure and Easy," edited from its original length of 8:35; " Let's See Action"; and (with minor overdubs added) "Time Is Passing." Of these, only "Let's See Action" had seen prior release, as a single by the Who in 1971. [7] The Who's versions of the remaining two Lifehouse songs were eventually released on Odds & Sods (1974) and its reissued version. [8] [9] All of Townshend's Lifehouse demos were eventually released on Lifehouse Chronicles in 2000. In a sense, one of the things that my generation of musicians has has to cope with is the ground, the moral ground, the political ground, the legal ground, but particularly the moral ground, moving under us to such an extent that we have to accept that our rage against not being noticed after the Second World War was probably a little overdone.

We did get paid out for our U.K. tour, which was fabulous since we were able to pay some of the debt that we had to people around us and help some of the crew and help some friends and family, and just generally charity stuff that we would normally do as a part of what we do every time we go out on tour. We were able to cover some of that in a period that was otherwise totally dead.

Navigation and Disclaimers

I have to confess here that our insurance company here in the U.K., our agent as it were, Robertson Taylor, is a kind of friend. [ Laughs] We’ve been working with him since the very beginning. I’ve got no sympathy with the insurance companies, but there you go. What happened was that everything went very well until the people at Polydor suggested that we need a producer. We got a producer [Dave Sardy] in and he spent a million dollars. [ Laughs] He made a great record, of course. I think it was a better record than had I produced it because I certainly wouldn’t have done a lot of the things that he did. I’m very pleased with the record.

And this is something he’s had close to his breast since 1993. He has to tell his own story; he has to have his own way. He sometimes crashes in sideways into my projects. [ Laughs] But if I don’t like it, I will say so in the press. I might have a moan about it if there’s something I don’t like, but I will never go to war in the way that some bands have. Because I don’t think, at the moment, I need to do that. I think I need to finish The Age of Anxiety… My original idea was the novel would come out, I’d put out an album, and then I’d do an art installation. What actually happened was I put the album out, and then the pandemic hit and there was no question of putting an album out. There’s been a big gap between the publication of the novel and the possibility of putting out an album of music. And so I need to find a new bridge, in a sense, and I’m still thinking that through, getting advice from various people. You know, I think I laughed when you asked that first question because I knew it was going to be the first thing you’d say. I am looking forward to it, but I don’t like touring. I have to be honest with people. I’m not going to bark at people I meet. I like what happens when we tour. I like the whole feeling of it. I’m somebody that if someone says, “Do you want to go to a party? There are going to be a lot of your friends there,” my first response will be to say, “No.” [ Laughs.] Pete Townshend — vocals, guitars, keyboards, bass guitar, drums, percussion; harmonica on "Day of Silence" We have no choice, unfortunately. The insurers are the ones making these dictates. This is not the Rolling Stones or Elton John [making these calls]. This is the insurers. They are insisting that they won’t pay out if you cancel because of Covid. That’s the first thing. And secondly, if they do pay out, they only pay out 85 percent. And thirdly, they up their charges from 2.5 percent to 5 percent and now to 8 percent of the gross income on a tour. It’s absolutely brutal.Pete Townshend: Who Came First — 45th Anniversary Edition". American Songwriter. 18 April 2018 . Retrieved 16 August 2022. Kent, David (1993). Australian Chart Book 1970–1992 (illustrateded.). St Ives, N.S.W.: Australian Chart Book. p.312. ISBN 0-646-11917-6. I’m happy that they paid us, but one of the stipulations is that when we travel, we’re not allowed to leave our hotel rooms. We have to travel in a very small bubble. And when we’re at the show, we’re not allowed to leave our dressing rooms.