00:00 MUSIC IN: Classic Albums Title Sequence & Title Music
00:19 SEQUENCE & MUSIC OUT		
00:20 MUSIC IN: Won’t Get Fooled Again                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                   
ARCHIVE IN : sequence of excerpts on stage at Shepperton Studios © Trinifold NON-SYNCH SOUND
00:56 ARCHIVE OUT		

	TOWNSHEND: The story that lay behind this batch of songs that led to the Who’s Next album was supposed to be probably the most ambitious concept that I worked on ever	
01:02 ARCHIVE IN Sequence of excerpts from The Who on stage at Shepperton studios © Trinifold NON-SYNCH SOUND.

01:06 ARCHIVE OUT	DALTREY: He wanted the feeling that the audience were as important as the group to what was coming out of the music and to be fair I think the proof is there that it actually, that part of it actually worked because the record, is certainly to my mind I think the best record we ever made	
01:18 STILL Who’s Next album cover

01:33 PAN OVER MIXING DESK
01:37 MUSIC OUT	STAMP: I think it’s a fabulous album y’know I think it’s, it’s, it will stand the test of time. I mean it’s a great pity that it wasn’t - um -  as fantastic as it was intended to be.	
01:37 MUSIC IN: Won’t Get Fooled Again multi tracks
01:57 MUSIC OUT	JOHNS: Pete’s guitar . . .Bass. . .Roger01:58 ARCHIVE & MUSIC IN On stage at Shepperton Studios performing Won’t Get Fooled Again © Trinifold

02:00 CAPTION “Won’t Get Fooled Again”
02:04 CAPTION OUT		

02:39 ARCHIVE PIX OUT

02:40 CAPTION IN Keith Altham Press Agent

02:44 CAPTION OUT

02:48 ARCHIVE PIX IN Shepperton Studios

	ALTHAM: Who’s Next is a great album because The Who were at the peak of their powers, Daltrey’s voice was just beginning to sort of reach its maximum sort of range and power and depth - er - Entwistle was a prodigious musical talent anyway, Moon was at his very best, Townshend was at his most arrogant, inspirational with his songwriting	

03:15 ARCHIVE PIX OUT

03:17 CAPTION IN Dave Marsh Journalist & Biographer
03:21 CAPTION OUT

3:26 ARCHIVE PIX IN Shepperton Studios

	MARSH: To me that’s the best group of songs he ever had, there aren’t any big misses - er - there are some of the best things he ever wrote there - um - there are ideas in the songs that are, that are important ideas, that echo before and after for him03:43 ARCHIVE PIX OUT Shepperton Sudios

03:44 CAPTION IN Irish Jack Ex Mod
03:48 CAPTION OUT

03:54 ARCHIVE PIX IN Shepperton Studios
03:54 MUSIC OUT

03:55 MUSIC IN: I Can’t Explain promo 	IRISH JACK: He is probably the only writer who writes as a Who fan, that’s the backbone to his writing, he writes as a fan and this, this, I mean this is one of the amazing things about Pete Townshend, he is a mirror of his, of own audience	
03:58 ARCHIVE MIX IN Promo I Can’t Explain © Trinifold

04:02 ARCHIVE PIX OUT Shepperton

04:07 CAPTION IN “I Can’t Explain” - 1965
04:11 CAPTION OUT

04:17 ARCHIVE PIX OUT Promo

04:19 CAPTION IN Roger Daltrey
04:23 CAPTION OUT

04:29 ARCHIVE PIX IN Promo I Can’t Explain © Trinifold

	DALTREY: We used to bring one of the guys from the audience on the stage doing it and I think again that that really is down to the kind of songs Pete used to write - um - he, he had a way of communicating with those guys and making, making them feel it was them up there doing it.

04:40 ARCHIVE PIX OUT

	IRISH JACK: The Who were not a band for um - a girl with an engagement ring on her finger, I mean they were not a band to be screamed at. This is the thing about a band like The Who, they were very very much a guy’s band.	
04:45 ARCHIVE PIX IN Promo I Can’t Explain © Trinifold

04:51 ARCHIVE PIX OUT

04:52 CAPTION IN John Entwistle
04:56 CAPTION OUT

	ENTWISTLE: All the guys that were standing in the front, front rows . . . all we could see were fellas, we always told ourselves that all the females were at the back where we couldn’t see	

05:00 ARCHIVE PIX IN Promo I Can’t Explain

05:08 ARCHIVE PIX OUT

05:09 CAPTION IN Chris Stamp Manager (1964 - 1974)
05:13 CAPTION OUT	STAMP: They were very tough guys y’know they very much knew what they wanted to do, they all had like very individual opinions and that, they all had their absolute sort of taste in music but they were all very - um - y’know open y’know to ideas05:16 B/W STILL Kit Lambert & Chris Stamp in doorway © Chris Morphet

5:27 B/W STILL Kit Lambert & Chris Stamp standing in street © Chris Morphet

05:32 B/W STILL Townshend & Lambert in studio © Chris Morphet

05:37  STILL Townshend & Lambert in studio © Chris Morphet
(Repeat of above)

05:45 B/W Still Kit Lambert in studio © Chris Morphet

	DALTREY: Kit Lambert and Chris Stamp were very valuable to us at the time I mean the group was kind of, people don’t realise this was really six members, Lambert and Stamp behind the scenes were incredibly valuable to us, especially to Pete, Pete’s relationship with Kit was one of um, they really did feed of each other, Kit would spark up ideas in Pete and Kit was the only one who could really - er - communicate to Pete what was good and what was bad and Pete would accept it, he wouldn’t accept anything off of us.	
05:57 MUSIC OUT Can’t Explain

06:01 CAPTION IN Pete Townshend
06:02 MUSIC IN My Generation

06:05 CAPTION OUT
	TOWNSHEND: But what he used to do was, he used to accentuate the positive, he used to find the good stuff, and I’d say what about this and he’d say, let’s come to that later he was just brilliant.06:06 ARCHIVE & MUSIC IN: The Who perform My Generation on Beat Club © Radio Bremen

06:09 CAPTION IN 
“My Generation” - 1965
06:13 CAPTION OUT

06:25 ARCHIVE PIX OUT		

	STAMP: Kit and Pete would discuss in detail and long into the night the structure of what you did and did not put into a sort of pop song but what Pete had as a voice was - um - was a mod kid06:38 ARCHIVE PIX IN Promo I Can’t Explain © Trinifold

06:47 ARCHIVE PIX OUT Promo

06:51 MUSIC OUT My Generation

06:57 ARCHIVE IN Hippies from “God Respects Us When We Work, But Loves Us When We Dance” © Flower Films

06:58 ARCHIVE IN Hippy footage as above - Hippy chick smokes a doobie

07:01 ARCHIVE IN Hippy footage as above - Hippy guy with flowers in hair

07:05 OUT	TOWNSHEND: We were into the idea that the audience was the people to serve so I suppose I lost that audience, I lost touch with The Who’s mod audience and I decided that what I actually had to do is I had to write something for me and where I was at the time was that I was in a very strange place I’d I’d had a couple of acid trips and hated it everybody else in the world was, was wearing funny clothes and blowing their heads off and wearing flares with- er -flowers in their hair and I felt very out of step with it but I was interested in the mysticism I was interested in the spiritual side of it. So I thought maybe what I could try to do is marry the pop single with this idea of this mystical journey and - er - that’s when I started to work on, on, on Tommy.	
07:20 ARCHIVE IN B/W The Who on Beat Club © Radio Bremen
MUSIC IN: Tommy Can You Hear Me

07:22 CAPTION IN “Tommy Can You Hear Me ?” 1969
07:26 CAPTION OUT

07:46 ARCHIVE PIX OUT
07:48  MUSIC OUT 

	TOWNSHEND: I wasn’t aware of the minefield that I was getting into when I, when I playfully called this piece that I was working on a rock opera but Kit Lambert was just fantastic he he kind of took me the other way though he used to say things like I’d say - are you sure it’s OK to all this thing a rock opera and he’d go, he’d say - well yeah course it is and I’d say - well the story’s a bit dodgy at the moment - and he’d go - yeah but all opera’s got a stupid story and I realised later actually that some of his ambitions of course were to usurp the musical
establishment.	
	DALTREY: Most of the drive for Tommy was from Kit Lambert because his father was a composer Constant Lambert - um - and Kit was always pushing Pete saying - I really - but Kit loved pop music and he loved the three minute single but he was determined to make the music of a rock band more important then the three, he was always saying this music’s much more important then people realise it’s not just a throwaway thing, he knew back then it was gonna still survive today.08:37 MUSIC & ARCHIVE IN: Pinball Wizard Live at Isle of Wight © Murray Lerner

08:39 CAPTION IN “Pinball Wizard”
08:43 CAPTION OUT

09:10 ARCHIVE PIX OUT

09:19 ARCHIVE PIX IN: Isle of Wight as above

09:32 ARCHIVE PIX	ENTWISTLE: Tommy finally found out that - er - there was a lot of money coming in and we thought wooaah, I guess we’ve made it. We always had an idea that Tommy was gonna mean something. . .We liked the album and - er - we knew it was gonna be kind of important but - um - the audiences just started getting bigger and bigger, y’know every time we did a tour we had to play bigger places.	

09:38 ARCHIVE MUSIC OUTALTHAM: Tommy really kind of I suppose - set a target for The Who - um -  and it created an enormous interest, because it was a rock opera and it had a - a new concept about it - it created an awful lot of interest and then Townshend had another project in mind to follow that of course which was The Life House.	TOWNSHEND: How could I make my, my subject of this new piece, this Life House piece, I want the story to be about music, I want it to be about the future, I want it to be about hope and vision but it’s got to be rooted in reality, got to look at the possible problems, how could I make my character effectively deaf, dumb and blind without doing it again y’know, and I thought I know what I’ll do I’ll make him live in the future and I’ll put him in a suit and he’ll be in the suit and he won’t live real life, he’ll live pretend life, he’ll live spoonfed life, he’ll live couch potato life, he’ll live the life that film makers, storytellers, advertisers y’know - um - um - political manipulators and and, and -er - brainwashers want him to live and thus he’ll be effectively deaf, dumb and blind to his spiritual potential which is his freedom to congregate with other human beings, interact with other human beings and live what we now call life.
	STAMP: It wasn’t an idea that I y’know, can clearly remember everyone sort of like thinking - yeah - about, but at the same time no one, no one sort of like felt that way about Tommy y’know it just begun. So we thought we would begin the process because very much, this, this, this, this, this whole Who thing was very much y’know a  group process y’know the group, this is how ideas grew y’know we we had to begin	
11:16

	DALTREY: From there I think Pete came up with a kind of basic script which was like a film script which didn’t make any sense, none of us could grasp it, but it had some good ideas in it about, and I think from what I can remember the one idea that I picked up - er - on was the fact that - er - if we ever do find the meaning of life it will be a musical note and I thought yeah that’s great, that’s a great, that in itself is a great idea for some kind of some kind of musical story.11:50 MUSIC IN: Pure & Easy
(specially recorded) 
PETE PLAYS PIANO

12:00 CAPTION IN “Pure and Easy”
12:04 CAPTION OUT

12:45 MUSIC OUT	TOWNSHEND (OOV): There once was a note pure and easy playing so free like a breath rippling by, that was where the story of Life House was told.	
12:46 MUSIC IN Pure & Easy 
ARCHIVE Hippy footage © Flower Films
12:58 ARCHIVE OUT		

13:00 CAPTION IN Frank Dulop, Artistic Director, The Young Vic Theatre
13:04 CAPTION OUT

13:15 YOUNG VIC GV’s © Isis

	DUNLOP: Pete said he was trying to work on a musical which, kind of revolutionary and preached the way to go for everybody - er - especially the youth of the country and I said well come on use the Young Vic free because it’s like an incredible circus and had a wonderful acoustic, use it free and do a series of attempts at - er -  working on this musical.	
13:25 GV’s OUT

13:29 Melody Maker Feb 13th 1971 Headline © IPC
13:33 MIX Melody Maker Feb 13th 1971 text  © IPC	TOWNSHEND: I intended to film both live action and then later to spin in - y’know a normal movie and cut the live action into the movie in a way that the live action served the story and the setting for the fiction was The Young Vic.

13:51 MUSIC OUT	DALTREY: This was the first time we had the chance to sit in a room or in a theatre, learn the songs as a band, hear what they felt like to play them live, see what reaction we got off an audience and the whole thing started to feedback.	
13:52 MUSIC IN Bargain

13:54 STILL COLOUR Pete on stage at Young Vic © Idols

13:57 STILL COLOUR Pete on stage at Young Vic © Idols

14:04 STILL COLOUR The Who on stage at Young Vic © Idols

intercut with Young Vic GV’s

	ALTHAM: It always worried me that I couldn’t grasp fully what the impact of Life House was because of my job as The Who’s press agent, and I felt that I should make an effort to understand and comprehend this, the very complex idea, and I felt a lot less bad about it when I realised so many other people who were exceptionally brighter then I was on papers and things couldn’t grasp it either.

	MARSH: Was Life House some attempt to try to create utopia and really y’know - er- get everybody to live at The Young Vic and have utopia right there on the ground or y’know was it just an excuse to stay up late and do crazy things with this, all this great equipment you’ve got or what was it, beats me.	
15:01	ENTWISTLE: From what I understand I mean we were supposed to take over The Young Vic and the audience was supposed to be there and live with us right . . . And we were supposed to  . . .Well I didn’t quite actually get it, and in practice it didn’t work because we brought in a bunch of people from the street that had to go home for their tea and it kind of failed at that point	
	DUNLOP: I think what happened was that his co-workers did not think it was getting anywhere and so - um - I think Pete lost heart.15:39

16:10 MUSIC OUT Bargain	TOWNSHEND: When I tried to articulate to people what it was that may happen what was going on it probably sounded very confused and I think a lot of people were very concerned for me - er - and eventually that concern turned out to be justified cos I did start to come apart at the seams y’know I started to realise that there were very few people around me that understood what was going on and there was a lack of conviction even within the band. There was great support for me but there was a lack of conviction in our ability to make a movie.	

16:28 MUSIC IN Getting in Tune	STAMP: The idea itself wasn’t going anywhere and we weren’t tackling Pete’s songs, we weren’t tackling the story line, so - um - Kit’s idea as their producer was that to move to the most sophisticated recording studios to try and record these songs in this new very sophisticated way y’know with like 12 tracks, 16 track etcetera. And he knew about The Record Plant in New York, he’d actually worked there a few times and so the band flew over to New York to record some tracks in The Record Plant.16:42 GV’s New York © Isis

16:44 CAPTION IN “Getting in Tune”
16:49 CAPTION OUT 

17:20 GV’s OUT		

17:22 B/W STILL Kit, Keith & Pete © Pictorial Press	STAMP: I think probably that what Kit envisioned doing was the same as he had done with Tommy of trying to get more and more into Pete’s idea and working it out that way.	

	TOWNSHEND: Yeah, I mean y’know when we finished the, when we finished the recording in New York I, which we had to stop because it turned out that that Kit Lambert was doing smack and - er- and I was very very straight at the time, I used to drink a bit but I was very very straight I hadn’t used drugs since ‘67 and I certainly never used narcotics so I, and I was very worried because it looked to me like Keith was getting involved in it and I was desperately worried that Keith would y’know become a junky. 

18:04 GV’s NY Night © Isis 

18:26 GV’s OUT

18:38 MUSIC OUT
	STAMP: And also New York is y’know is the hedonistic town right, so everyone was getting more loaded, the more halcyon hallucinogenic days had passed on now to the more sort of neurotic narcotic days and there’s the night life of New York, the after hours bars, the clubs, the sex, the everything it’s just a little bit more un-, un-intimate for sitting down and getting seriously y’know creative as a group of people so the recordings didn’t really work in The Record Plant. So what happened was Pete and the group just felt uncomfortable and went home.	
18:39 CAPTION IN Glyn Johns Associate Record Producer
18:44 CAPTION OUT

	JOHNS: We all had a meeting a few weeks later, the band and the management and - er- Pete and I to discuss where to go from there and the general consensus was that - um - that the movie script wasn’t as forthcoming as, no one really got it , no one quite understood it like Pete did I don’t think and - um - I suggested that that we should go in and make a record of the songs cos the songs were so, just amazing.	

19:13 MUSIC IN: Baba O’Riley multi-tracks
                      
	DALTREY: And we went into the studio in England er - I think it would have been about May, May/June 1971 and recorded the songs for Who’s NextGlyn at desk

19:30 CAPTION IN “Baba O’Riley”
19:34 CAPTION OUT	JOHNS: This is not a loop, this  actually is played - er - it does actually make the changes of the song, a lot of people think maybe its a loop but it isn’t at all, piano comes in in a second, thundering in, there it is, I recorded the rest of the band in stereo with the piano, live, they’ll come thundering in in a second, Moony’ll come hurtling in like a herd of buffalo, there he is - brilliant, and Entwistle joins with the vocal with Roger.	
20:26 Entwistle plays bass along with multi tracks.	

TOWNSHEND (OOV): John was y’know was a lead guitar bass player he was one of the first players to depart from that boom, boom, boom y’know er - because I think essentially as a musician he was quite capable of. . .has developed this incredible style of playing.	
20:58 bass playing out & multi tracks out
	JOHNS: Pete’s live guitar comes  in here	
20:58 ARCHIVE & MUSIC IN The Who on stage at Shepperton performing Baba O’Riley © Trinifold
21:56 ARCHIVE PIX OUT	

	MARSH: Who’s Next had enough of the Life House ideas that if you had been a Who fan enough to have followed what Pete had been claiming he was trying to do that you, you’d know that this ridiculous thing with Roger singing about teenage wasteland and standing out in the middle of a field trying to create it must have come from that project right and and incidentally its only ridiculous when I say it, it’s not ridiculous at all when he sings it.	
22:25 ARCHIVE PIX IN Shepperton concert as above
22:41 ARCHIVE PIX OUT		

	TOWNSHEND: For me y’know that notion of Teenage Wasteland is about waste, it’s not about getting wasted it’s about waste, it’s about wasted life, wasted opportunity, wasted years and I take full responsibility for the fact that my generation complained about the state of the planet and did nothing to change it.	
23:00 ARCHIVE PIX IN Shepperton as above
23:06 ARCHIVE PIX & AUDIO OUT		
23:06 MUSIC IN Baba O’Riley multi tracks

GLYN JOHNS AT MIXING DESK	JOHNS: Dave Arbus coming up on violin.
23:12 CAPTION IN Dave Arbus Violinist
23:16 CAPTION OUT
	ARBUS: I was friendly with Keith Moon who um used to turn up and -er - sit in with the band I was with - um -  East of Eden when they were doing this album he said do you fancy coming and playing on a track and I said sure and it all went very smoothly.	
23:26 ARBUS violin solo ( Baba O’Riley) specially recorded
23:48 SOLO OUT		

23:49 ARCHIVE & MUSIC IN The Who on stage at Shepperton performing Baba O’Riley © Trinifold
24:03 ARCHIVE PIX OUT	DALTREY: In the early days it was impossible doing this stuff live, we had to play with tapes and Keith had to strap headphones to his head, soundwise it was incredibly useful to have the extra dimension of the- er- synthesizer on the tape but performance-wise it was incredibly inhibiting which you could never break away from, you had to sit with that tape otherwise you were stuffed which we quite often were, and it used to get quite painful didn’t it Bob ?24:24 CAPTION IN Bob Pridden The Who’s Sound Man
24:28 CAPTION OUT

	PRIDDEN: You’re in the hands of a tape machine now machines go wrong, and when they go wrong it doesn’t matter what ha - whose fault it is everyone looks at the person’s next to it, and even up until and still to this day when we do that on the road, my heart goes into my mouth when I hit that button, like before I’m looking at it thinking are you gonna work ? I don’t trust machines they go wrong.	

24:58 ARCHIVE PIX IN Shepperton as above

25:13 MUSIC OUT

25:19 CAPTION IN End of Part One

25:28 ARCHIVE PIX OUT

25:30 CAPTION OUT
DALTREY: Bob got the blame got the tape recorder thrown at him many a time, especially when the tape broke, fun days.27:00 CAPTION IN : Part Two
27:04 CAPTION OUT

27:00 ARCHIVE IN Pete with synthesizer from “Whatever Happened to Tin Pan Alley ?” © Polygram/Carlton TBC
MUSIC Won’t Get Fooled Again from Townshend’s demos

27:09 ARCHIVE OUT

27:15 ARCHIVE IN Pete with synthesizer as above
27:20 ARCHIVE OUT

27:26 ARCHIVE IN Pete with synthesizer as above
27:32 ARCHIVE OUT	JOHNS: The whole thing about this album is the two tracks, Baba O’Riley and Won’t Get Fooled Again use the synthesizer in a completely different way then anyone ever used one before where it actually defines a rhythm, it’s not just a sound but it’s a rhythm as well, to the best of my knowledge its the first time anyone had used a synthesizer like this, first of all nobody I knew anyway, knew how to work one I mean, they were really difficult to program and - er- get any kind of sound out of.

27:36 DEMO MUSIC OUT 

27:52 B/W STILL: Pete at keyboards © Chris Morphet

28:00 B/W STILL: Pete at keyboards © Chris Morphet

28:10 B/W STILL: Pete at keyboards © Chris Morphet

28:15 B/W STILL: Pete profile (wearing cans) © Chris Morphet

28:16 MUSIC IN Won’t Get Fooled Again Townshend performance of synth part	TOWNSHEND: When I did the sound for Won’t Get Fooled Again I didn’t have this bit, this was a bit that I got during the demos and - um - so by the time I’d finished the demos I knew how to work it but what I did have is a much simpler synthesizer very much like this one, the one that I actually had you can see in the photographs it was this organ with the EMS synthesizer on the top of it, that was the rig that I used and basically what I did was I took the output of the organ, put it through a filter which is what they call, its on sample and hold, you get these random voltages coming out on a voltage sweep, just a simple kind of synthesizer - um -  normal standard sound which a lot of people will be familiar with but I suppose I was just sitting there, y’know playing this for hour after hour y’know and just kind of getting into it really.	

28:42 Performance Out

28:46 MUSIC IN Won’t Get Fooled Again demos	TOWNSHEND: Very, very simple chords obviously, y’know almost kind of naively simple but on the other hand the end result is extraordinarily harmonically complex.	
Pete at Mixing Desk
29:01 CAPTION IN “Won’t Get Fooled Again” (demo recording)
29:05 CAPTION OUT
	TOWNSHEND. . .32 bars in, playing through the chords, then I added the acoustic guitar, I hope29:22 ARCHIVE IN Pete with synthesizer from “Whatever Happened to Tin Pan Alley” © Polygram/Carlton TBC
29:45 ARCHIVE OUT		
29:43 Townshend’s demos Won’t Get Fooled Again	JOHNS: Pete’s demos were always fantastic and were always a challenge because it was very different, I mean very often I’d listen to the song we were about to cut and I’d go how the hell am I going to compete with that, it really really brilliant really, obviously he doesn’t play drums like Keith Moon, and he doesn’t play bass like John Entwistle so - um - by the time the band got hold of anything it became The Who instantly because of the way those two played, they took his stuff and did their thing to it	
30:12 MUSIC  Won’t Get Fooled Again Demo Drum Track

30:23 MUSIC demo sound out	TOWNSHEND: And my style was very very not like Keith Moon’s, I mean when I first started to play the drums I used to try to emulate Keith but in the end I thought fuck it y’know I don’t actually really quite, really y’know want to play like that.	
30:29 MUSIC Demo bass sound

	ENTWISTLE: The drums were always very simple, the bass was always very simple - er - very sort of bassy and basic, no, no treble or twang or anything like that he’s basically leave it, leave it to the rest of us - er - to make the rest of the song

Townshend in studio
Bass part isolated

31:16 Bass part out	TOWNSHEND: This is the sound of the 70’s bass guitar which I suppose really was the sound that the guy who played bass in Led Zeppelin had been famous for inventing this sound, he’d, before he joined Led Zeppelin he was a session player John Paul Jones, and he used to play with a flat pick and got this really clean sound and if you listen to particularly to sort of early Walker Brothers records and things like that you hear this incredible clean, tight sound which I suppose had come a little bit from the Beach Boys early recordings, from Pet Sounds and Good Vibrations because Brian Wilson was a a composer so played the bass to serve the song.	
31:20 MUSIC IN Won’t Get Fooled Again Demos.

	JOHNS: The basic - er - arrangements and sound ideas and whatever else came from Pete’s demos always and the feel pretty much so it made my job particularly easy really I mean I was much more of an engineer on on their stuff then anything really, I mean my job was, was to record it as simply and easily and smooth the path as best I could, the actual recording process as best I could.

Pete in his home studio

32:56 MUSIC OUT	TOWNSHEND: And what’s interesting here is what happened in the organ remember,  remember I’d done a backing track, and the organ just suddenly becomes a solo . . There’s no edits it’s just me playing y’know, turns into this beautiful little kind of, that’s something I could have never written on paper but very very very disciplined. . .you hear a counterpoint in there and y’know and bits of fugal stuff, just brilliant, I’m just playing and I’m following the music, I’m not writing it, I’m following it as I play it y’know. And of course Who fans will know this because this was the whole centrepiece of The Who show with the lasers and Roger looking like some kind of furry animal.	
32:57 MUSIC IN
32:58 ARCHIVE IN The Who on stage at Shepperton performing Won’t Get Fooled Again © Trinifold

33:23 MUSIC OUT
33:24 ARCHIVE OUT

	STAMP: We were already now talking about just an album, y’know Life House can be forgotten I mean Glyn is, Glyn Johns was just recording a series of songs.

	JOHNS: The fact was it didn’t really need the story to carry the songs as individual songs which obviously Pete couldn’t quite see initially because he’d written them as part of a story, they illustrated part of the script. 	
	TOWNSHEND: And I regretted that Pure and Easy for example wasn’t on the record cos that was where the story was held y’know - There once was a note.	

	MARSH: Y’know Going Mobile I always thought must have had something to do with the plot y’know and that was probably the closest thing to a programme number on the whole thing y’know, where it was just like you could sort of  see them going off on a magical mystery tour, these are the shots of the bus moving by or something.34:07 MUSIC IN: Going Mobile multi tracks

34:09 CAPTION IN “Going Mobile”
34:13 CAPTION OUT

GLYN IN STUDIO

35:22 MUSIC IN Going Mobile CD	JOHNS: Going Mobile - brilliant - great example of The Who as a trio, Daltrey’s not on this, cut live, Pete playing acoustic guitar and singing and John playing bass, and Keith playing drums - er - so this that you’re hearing now all completely live, no overdubs yet, and it’s a really brilliant example of the energy of the band . . .Moon’s just amazing, amazing, and he’s playing to an acoustic guitar and a vocal and a bass. There’s Pete’s vocal mic actually, you can just hear the acoustic guitar on it, there’s the acoustic guitar, here’s John . . .brass synthesizer, overdubbed by Pete later just a bit of colour . . .	

35:27 GV’S COUNTRYSIDE 

35:50 GV’s OUT	TOWNSHEND: The story as it unfolded was about a society who had been because of the vagaries of the modern world, because of pollution being caused mainly by peoples’ needs to travel to be somewhere else had been told you can’t do that anymore, you have to stay where you are and people had got this lust for life and adventure and colour and been told - well actually the best way to go to Bali is to just get into your suit and we’ll take you.	
35:50 GLYN IN STUDIO
multi track sound	JOHNS: Synthesized guitar solo  coming up . . .with a , with a wah wah pedal on it, here it comes, really unusual sound

	DALTREY: I didn’t mind the synthesizer as the drone in the back but I didn’t like it taking over as lead instrument in the mix what I considered to be one of the best guitarists in the world in the band used to frustrate me a bit	
	JOHNS: Another lead guitar in this originally which he replaced with that, which I thought was very good but I’m really glad he came up with the other sound we didn’t use that but we used this.	
37:00 MUSIC OUT Going Mobile
37:01 MUSIC IN My Wife
	MARSH: Who’s Next is a record that was totally of it’s moment and when a record really freezes it’s moment like that it can survive vast changes in musical style.	
37:06 ARCHIVE IN The Who perform “My Wife” at the International Amphitheatre in Chicago © Trinifold

37:13 CAPTION IN “My Wife”
37:17 CAPTION OUT

37:22 ARCHIVE OUT	37:23 MUSIC IN My Wife multi tracks 

ENTWISTLE & PRIDDEN AT DESKS

37:46 MUSIC IN My Wife	

ENYWISTLE: . . .this track - er - “My Wife” wasn’t really meant for the original Life House it was a song that I has hanging around and the band asked me if I had any songs and this was the only one I had left over from my -er - solo album that I was working on at the time.	
37:47 ARCHIVE IN The Who perform “My Wife” at the International Amphitheatre in Chicago © Trinifold

38:05 ARCHIVE PIX OUT		
38:06 ARCHIVE SOUND OUT

ENTWISTLE & PRIDDEN AT DESKS. ENTWISTLE PLAYS HORNS.	PRIDDEN: Brass	
Multi tracks

	PRIDDEN: And then at the end you’ve got your other vocal comes in at the end and that was at the moment there’s Pete’s guitar feedback . . .	
	ENTWISTLE: Sounds like he was double tracking39:06 ARCHIVE IN: The Who perform “My Generation” Keith slow-mo NON-SYNCH AUDIO
Audio:  My Wife

39:17 ARCHIVE OUT

39:21 MUSIC OUT My Wife

39:29 COLOUR STILL Article “Moon The Loon” headline source TBC 	TOWNSHEND: Keith Moon we all know about, Keith Moon’s drumming was an expression of his personality and his ego and his grandiosity and his ridiculousness and his theatricality and his sense of humour, a lot of what Keith did was incredibly funny y’know there wasn’t a drum fill that he did that didn’t go dum dum dum dum diddle diddle dum dum, I mean it was all that was all of them but just different variations of that played very very fast y’know sometimes dum dum dum dum diddle um pum and then he’d fall on the floor.	

39:39 STILL: The Sun (TBC) May 17th 1978 “Moon The Loon is Buying a Hotel” headline

39:44 STILL: Daily Record (TBC) Moon Held By The Police

39:47 B/W STILL Keith Moon in clown hat © Chris Morphet	JOHNS: I think that his image of somebody being a little off the rails was something he promoted and it actually got him talked about then most drummers in any, in any band as a result because it became a personality with some predictability but if you talk to Who fans I think you’ll find that they all thought he was a brilliant drummer and a um - and obviously of you talk to musician’s they would agree they would say the same thing and they would talk about his drumming ability far more then the other episodes of his life

40:14 ARCHIVE IN: Keith on stage at Shepperton performs “My Wife” NO AUDIO

40:24 ARCHIVE OUT	DALTREY: A lot of people really, really, really have never understood - er - how important Keith’s drumming style was to The Who and I kind of pictorially describe it as if you imagine Pete and John as two knitting needles and Keith was the ball of wool, he would kind of keep it all together and with the vocals on top it would produce a product. You took Keith out of it and it was just like schscheompf.	
40:32 ARCHIVE IN: Promo “Who Are You ?” Keith drumming © PolyGram NO AUDIO

40:36 ARCHIVE OUT	ENTWISTLE: If you played back our song in the studio if we put the drums up we’d know which song it was because he always played with the vocals.	

40:49 MUSIC IN: Behind Blue Eyes
KEITH DRUMMING Multi tracks

41:28 MUSIC OUT	DALTREY: He accentuates lines in the song, he’ll play along dead rhythm and then he’ll just go . . .in with the vocal and its true genius what he’s doing, it’s abso-, it’s incredible. Let’s have listen to this . . .listen to just Keith and the vocal. . .and he plays the break pretty straight . . .brilliant	
41:29 ARCHIVE IN: Promo “Who Are You ?” Keith drumming © PolyGram NO AUDIO
41:37 ARCHIVE OUT

41:39 ARCHIVE IN: Promo “Who Are You ?” © PolyGram NO AUDIO
41:44 ARCHIVE OUT

	STAMP: You know he was in a sense the the  soul of the band, y’know he wasn’t only this drummer he was this sort of - er - wild sort of genius who beat the drums but he had all this other energy that he was transmitting that the group needed.
41:46 ARCHIVE IN: Promo “Who Are You?” © PolyGram NO AUDIO 

41:52 ARCHIVE OUT

41:53 CAPTION IN : End Of Part Two
42:10 CAPTION OUT		
43:00 CAPTION IN: Part Three
43:00 ARCHIVE & MUSIC IN The Who on stage at Charlton FC performing Behind Blue Eyes © BBC

43:04 CAPTION OUT

43:12 CAPTION IN “Behind Blue Eyes”
43:17 CAPTION OUT

43:25 ARCHIVE PIX & SOUND OUT		

43:25 MUSIC IN: Behind Blue Eyes multi tracks

43:38 ARCHIVE SOUND IN 	JOHNS: Roger sings particularly well, I think on this track but he does on the whole of this record it’s a lot to do with the material. . .he really identified I think with the songs, particularly well	
43:41 ARCHIVE PIX IN The Who on stage at Charlton FC performing Behind Blue Eyes © BBC

44:02 MULTI TRACK SOUND IN
44:06 ARCHIVE PIX OUT	

Roger sings along

44:38 MUSIC IN Behind Blue Eyes Charlton FC	DALTREY: Keep this vocal . .this is all pretty straight “ahs”, and this is where it starts to go . .	
44:39 ARCHIVE IN The Who on stage at Charlton FC © BBC
45:00 ARCHIVE PIX OUT

45:06 ARCHIVE SOUND OUT	DALTREY: Behind Blue Eyes to me really speaks volumes, my fist clench is cracking open y’know it just all made sense, I though yeah that’s the only way we used to deal with anything from the part of England where I grew up .. . everything was solved with a fight, whoever won the fight that’s the way you went, as simple as that but obviously it didn’t quite work that way in the band and they slung me out for fighting - um - and the band was everything, it was my band and it meant, it was my whole life so I had two choices give up the fighting or give up the band, it was no choice whatsoever.	
45:25 ARCHIVE & MUSIC IN The Who on stage at Charlton FC performing Behind Blue Eyes © BBC
45:43 ARCHIVE PIX OUT	

45:45 ARCHIVE SOUND OUT 

45:53 MUSIC IN: Behind Blue Eyes - Pete’s acoustic performance	TOWNSHEND: Just in the way that he can identify with it I too can identify with it, I had to learn to control my anger, I had to find a way to - um - deal with my pain and my frustration y’know, when I sing it my way it’s a song about a whole different kind of frustration, it’s not about the repression of anger, it’s about the repression of love y’know, it’s about the perversion of love, about love becoming vengeful.	
Pete’s acoustic performance of Behind Blue Eyes
47:03 OUT		
	STAMP: The songs reflect this striving to try and to sort of like make more of ourselves y’know to sort of become more conscious, more aware and more complete as human beings and the songs are talking about at least the seeking of doing that, so that they stand out on their own because they have that message but y’know they were part of a bigger message.	
47:25

	MARSH: Maybe it was a crackpot idea but it was, it was beautiful and it was powerful, and it was exciting and beauty, power and excitement and if that’s not what the rock’n’roll dream is then I didn’t understand it at all ever.47:39

	TOWNSHEND: You know it’s like, it just felt like the one that had got away, it just felt so, it felt to me like it was such a fantastic idea that had just escaped me somehow. 	

48:00 MUSIC IN Won’t Get Fooled Again

48:04 ARCHIVE IN: The Who on stage at Shepperton performing “Won’t Get Fooled Again” © Trinifold
48:10 ARCHIVE PIX OUT	DALTREY: If we hadn’t of been given the chance to at least be working for this kind of ethereal project that Pete had in his mind that was gonna be this film, it was gonna be this, it was gonna be that, we would have just gone in the studio with the demos and just recorded the way all our other albums were recorded where as this album is a real organic Who album and it’s got much more of what The Who were really all about, much more of our stage presence because we knew the songs well48:16 ARCHIVE IN: The Who on stage at Shepperton performing “Won’t Get Fooled Again” © Trinifold

48:50 ARCHIVE OUT	MARSH: As I looked more at Life House and particularly at Won’t Get Fooled Again I realised the twist in the plot is that this is not utopia this is dystopia, this doesn’t work and people are really paying the price for it. And I think that may in fact have been part of why it was so hard to pull off, this whole idea of leadership is a very dangerous idea, their trying to do this stuff had consequences, that was a new thought that really was, the idea that action had consequences. It was sort of supposed to have glorious results but not consequences.

49:13 ARCHIVE MUSIC OUT	STAMP:Y’know The Who were this sort of absolutely sort of like out there, let’s do it all, let’s change, let’s change society, let’s be part of, let’s really move ahead here and then suddenly by the time you get to Who’s Next you know its OK with them to be in the best studio in London, making the best technical record and going home to sort of fabulous houses. It isn’t quite so much a problem, y’know, and I think it was talking about people was talking about the betrayal that happens in y’know in our humanness, y’know not like a political betrayal but the betrayal we make to ourselves.	TOWNSHEND: Won’t Get Fooled Again was not a defiant statement it was a plea, it was a plea y’know, please don’t y’know in this story, please don’t feel that because you’ve come to this concert, because you’ve come to this place, that you’ve got an answer, please don’t make me on the stage the new boss y’know cos I’m just the same as the guy who was up here before y’know, you’re in charge.	
50:02 ARCHIVE & MUSIC IN: The Who on stage at Shepperton performing Won’t Get Fooled Again © Trinifold
51:18 ARCHIVE & MUSIC OUT		
51:19 CAPTION IN
A millennial adaptation of Life House will be broadcast on radio in December 1999. This will be the first wholly achieved narrative of Pete Townshend’s project in its 30-year history.
51:27 CAPTION OUT

51:25 MUSIC IN: The Song is Over 
51:28 CREDITS IN		
52:35 MUSIC & CREDITS OUT